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The gallery will be closed Monday, 5/27 for Memorial Day

Tiffany Studios New York “Flowering Water Lily” Table Lamp

This Tiffany Studios New York "Flowering Water Lily" leaded glass and bronze table lamp begins with joyous green pads, which serve as the base to the blooms that take center stage in this wonderful, watery composition are constructed of mottled glass with tints of yellow and orange. Large, white blooms in white-pink are colored so as to appear almost velvety to the touch, while the background, due to being executed in ripple glass, truly captures the appearance of a deep, clear pond. The glass shifts from cerulean blue to smoky black flint. The pink flowers against black background recall the famille-noir ceramics of the Qing dynasty, which were composed of multicolor flowers and leaves against black enamel. A band of green mottled glass, interrupted by an occasional bud, rims the aperture and lower border. Its depth of color, the brilliance of design, and relative rarity combine to make this Flowering Water Lily one of the most impressive of all Tiffany lamp shades, fully entitled to the dash number (indicating a special order) awarded it. The shade sits atop a patinated bronze "cat tail" base.
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  • Product Details
  • Curator's Notes

Item #: L-18531
Artist: Tiffany Studios New York
Country: United States
Circa: 1905
Dimensions: 26" height, 20" diameter
Materials: Favrile glass, Bronze
Shade Signed: Tiffany Studios New York 1490-19
Base Signed: Tiffany Studios New York 6817 with the Tiffany Glass & Decorating Company monogram. Impressed on oil canister
Literature: Lamp base pictured in Tiffany Lamps and Metalware: An illustrated reference to over 2000 models, by Alastair Duncan, Woodbridge, Suffolk: Antiques Collectors’ Club Ltd., p. 98, cat . 392, base # 453; Lamp shade also on p. 150, cat. 627, shade # 1490; Lamp shade also pictured in The Lamps of Tiffany, by Dr. Egon Neustadt, New York: The Fairfield Press, 1970, p. 181, plate 146

This rare shade reveals the designer’s clever use of perspective in handling the lily pads. While the artist’s forking angle foreshortens all those at the lower edge, turning them into ovals and ellipses, their true roundness is observed in the upper reaches of the shade. One, right off-center, has an edge uplifted as if caught in a gust of wind.
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