New York Silver Table Lamp

Standing on a double-layered, footed square base, this table lamp boasts an elegant and light silhouette. Classic and timeless, it features a cylindrical beige lampshade in linen and...

Proving the everlasting appeal of the rose, this table lamp features handmade blossoms embraced by leaves, made of stainless steel. A glistening example of exceptional craftsmanship,...

Add a regal touch to a side table or console with the Orcio table lamp. Made entirely by hand in stainless steel, the lamp's transparent base is made up of elegant swirls, coated in ...

This collection resembles a beautifully balanced design with strong know-how that grew up in the years. Hammered by the hands of experienced craftsmen. Designed to be a breathtaking ...

Vintage quirky-chic meets contemporary cool in the skinny table lamp. From a small collection including a complementary floor lamp, the skinny table lamp ...

Part of the Ginevra collection of luxurious lighting pieces with a distinct modern allure, this table lamp features a polished chromed metal structure with two globes of decreasing s...

This delicately sized Tiffany Studios New York “Damascene” lamp is superbly colored in blood-orange and gold. Trails of blood orange glass were applied...

Tiffany’s “Peony” table lamp was a work grounded in naturalism but reaching for the divine. With a shade of resplendent blooms and a mosaic base evoking the hallowed ground of church floors, Tiffany’s peony lamp demonstrates his foundation in both Art nouveau and ecclesiastical art. To depict his multi-hued bouquet, Tiffany depicted two different cultivars, a Greek peony, and a Japanese peony. Tiffany used burgundy glass streaked with lapis to express the richness of the Greek Peony. Favored by neoclassical artists for their symmetry and simplicity, Tiffany featured the bloom in the architecture of his country estate. To represent the candy-striped Japanese peony Shima Nishiki, Tiffany used cream glass streaked with fuschia. The shade elegantly depicts different stages of growth from the bud, first bloom, peak bloom, to wilting. When peony petals wilt, their veins darken, and their form puckers. Tiffany’s glass selectors chose a stone textured glass called granite glass to express the wilting of the petals and their pronounced venation. The background and border of the shade is a golden amber, streaked with magenta and blue. The top-down perspective of the peony with a dirt background was a type of painting called “Rasenstück”, a detailed study of a piece of turf. The crux of the Rasenstück was the elevation of the humble. Popularized in the nineteenth century by the American Pre-Raphaelites, the movement believed in the idea of "truth to nature". The principle encouraged painters to capture the natural world as truthfully as possible, not romanticizing what they saw. In these nature studies, painters depicted flowers and trees in the soil from which they grew. While sublime on its own, the shade and base taken together paint a picture of Tiffany’s Japanese garden. Peonies imported from the far east bordered serene ponds. A frieze of turtleback tiles hypnotizes the viewers with its scarlet glow, evoking the red flash of a sunset, as seen through a field of cattails, rendered in bronze. Below it, the row of cat tails blends into a mosaic of red, yellow, and green glass. While Tiffany’s chief designer Clara Driscoll is most famous for her naturalistic lamp designs, the bread and butter of Tiffany Studios was its ecclesiastical department. Red, yellow, and green colorways were widely used in the depiction of Baroque angels, whose wings were modeled after birds of paradise. As hunters removed their legs upon sale, many believed they neither ate nor drank, and instead floated ethereally like angels. A lamp such as this epitomizes Tiffany’s understanding of his artistic vision in the context of the entire history of artistic expression. Since falling in love with glass at age twelve in the cathedrals of Chartres, light itself became a representation of divinity. A contemporary critic described Tiffany’s mosaics...

This remarkable Tiffany Studios New York "Wisteria" table lamp is a very fine and unusually rare lamp, composed of a palette of wisteria blossoms in shades of blue, green, cream and white that cascade down the shade to an irregular border. The blossoms are surrounded by abundant leaves in varying shades of green and are delicately interspersed with "confetti" glass, lending them added three-dimensionality. The shade has a latticework top, portraying the branches and stems of a wisteria vine. The base, designed specifically to hold the shade, is also embellished with vegetal, vine-like properties. Product Details: Item #: L-20375 Artist: Tiffany Studios New York Country: United States Circa: 1902 Dimensions: 18.5" diameter, 27" height Materials: Leaded glass, Bronze Shade Signed: Interior of shade crown impressed 1073 and 13; underside of shade mounting post impressed 1073 and 13 Base Signed: ''Tiffany Studios New York 1073"; top of tree trunk column impressed 13 Literature: Robert Koch, Louis C. Tiffany: Rebel in Glass, New York, 1964, pl. v Dr. Egon Neustadt, The Lamps of Tiffany, New York, 1970, pp. 215-220 Alastair Duncan, Tiffany At Auction, New York, 1981, pp. 89, no. 238 and 148, no. 391 William Feldstein, Jr. and Alastair Duncan, The Lamps of Tiffany Studios, New York, 1983, p. 37 Robert Koch, Louis C. Tiffany's Glass, Bronzes, Lamps: A Complete Collector's Guide, New York, 1989, p. 131 Robert Koch, Louis C. Tiffany: The Collected Works of Robert Koch, Atglen, PA, 2001, pp. 74, 242 and 284 Alastair Duncan, Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, pp. 292-293 Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, p. 107 Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 67, no. 254 Martin Eidelberg, Nina Gray and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls...

This Tiffany Studios New York "Dragonfly" leaded glass and gilt bronze table lamp was designed circa 1905-1913. The shade, bordered above and below by amber streaked with violet and ...

Hansen New York Bronze Gilt Table Lamps. Tall hourglass form table lamps with their original porcelain sockets and Hansen's patented circular 3-way switch. Gold oil rubbed finish. R...

The plain squares pattern from Tiffany Studios features columns of amber glass rectangles, arranged with precision to mirror the intricate veining observed in insect wings. The fusio...