.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This spectacular example of the ‘Magnolia’ shade is one of the most beloved patterns produced by Tiffany Studios. Inspired by the large blossom that blooms in the Spring, the magnolia originates as a large genus of ancient flowering trees native to east and southeast Asia, but also the North, Central and South Americas.
Louis Comfort Tiffany’s renowned estate Laurelton Hall sat on nearly 600 acres overlooking Oyster Bay, Long Island, where native plants and exotic imports such as wisteria and magnolia brought diverse fragrances and visual stimuli to those who visited. Tiffany, a keen botanist and member of the New York Botanical Gardens, carefully maintained the lush grounds for his growing family and also the artists and contemporaries who saw Laurelton Hall as a retreat.
The Magnolia trees were the study of Agnes Northrop, Tiffany’s close friend and confident who photographed the flower and fauna as an exploration of the natural environment. It is from these studies that impressive windows from Tiffany Studios for important commissions and for Laurelton Hall were born. The present shade pattern also came to life from these studies: a profusion of magnolia both in nascent bud form in addition to the lush full bloom on thin intertwined branches with small leaves just growing indicating an early Spring timing. The glass selection in this shade helps to profess this moment in time by way of the pearlized white, cream, peach and rose colored petals accented by yellow-green and olive-green foliage. The vibrant periwinkle blue background glass is reminiscent of a clear afternoon, free of cloud or overcast.
The Magnolia was introduced after the 1906 Price List was issued, and before the subsequent 1910 edition. Production of the massive 28-inch domed Magnolia shade was one of the most expensive patterns to produced given the size, complexity and materials required, and subsequently a rare production as well. This grand statement of a floor lamp was exclusive amongst Tiffany Studios offerings yet its popularity allowed for the production to continue into the early 1920s as seen with the present lot.
Louis Comfort Tiffany’s renowned estate Laurelton Hall sat on nearly 600 acres overlooking Oyster Bay, Long Island, where native plants and exotic imports such as wisteria and magnolia brought diverse fragrances and visual stimuli to those who visited. Tiffany, a keen botanist and member of the New York Botanical Gardens, carefully maintained the lush grounds for his growing family and also the artists and contemporaries who saw Laurelton Hall as a retreat.
The Magnolia trees were the study of Agnes Northrop, Tiffany’s close friend and confident who photographed the flower and fauna as an exploration of the natural environment. It is from these studies that impressive windows from Tiffany Studios for important commissions and for Laurelton Hall were born. The present shade pattern also came to life from these studies: a profusion of magnolia both in nascent bud form in addition to the lush full bloom on thin intertwined branches with small leaves just growing indicating an early Spring timing. The glass selection in this shade helps to profess this moment in time by way of the pearlized white, cream, peach and rose colored petals accented by yellow-green and olive-green foliage. The vibrant periwinkle blue background glass is reminiscent of a clear afternoon, free of cloud or overcast.
The Magnolia was introduced after the 1906 Price List was issued, and before the subsequent 1910 edition. Production of the massive 28-inch domed Magnolia shade was one of the most expensive patterns to produced given the size, complexity and materials required, and subsequently a rare production as well. This grand statement of a floor lamp was exclusive amongst Tiffany Studios offerings yet its popularity allowed for the production to continue into the early 1920s as seen with the present lot.