DIY Tiffany lamp base. DIY lampshade in tiffany style made of colored glass. The rarest and most expensive lamps

All my life there were stained-glass windows. For each multi-color panel, special types and shades of glass were made, but after each work there was great amount material. In order not to throw away glass and not send it for recycling, the artist decided to make practical things, which became lamps. The lamps contained the same variety of glass, and their subjects often repeated themes stained glass works. Invented by Louis Tiffany, the technique of connecting colored glass with a narrow strip of copper foil made it possible to create elegant lamps and lampshades with multiple fine details.

History of Tiffany Lamps

Tiffany lamps were exhibited for the first time in 1893 at the World's Columbian Fair in Chicago. Models attracted everyone's attention with their sophistication, magnificent play of light, and perfect execution. Art historian Julius Lessing, one of the leaders of the Berlin Museum, immediately acquired several pieces for the exposition of the Museum of Decorative Arts in Berlin. The earliest Tiffany lamps, made of blown or lead glass and bronze, were designed for kerosene lamps. As electric light became available and gained popularity, Tiffany began to offer his customers the choice of either oil or electric lighting designs.

In 1895, the first serial production of Tiffany lamps was made. They were available in various sizes and styles. Thousands of lamps, in multiple designs, were produced at Tiffany's workshops. Despite the fact that some models were mass-produced, each lampshade was unique due to the unique shades and types of glass. To make the lamps even more personal, most of the lampshades were removable. This allowed them to be combined with different metal bases, taking into account the tastes and needs of customers.

After the Dresden International Exhibition of 1897 and a number of Tiffany Glass Company exhibitions in Germany and Austria-Hungary, Tiffany lamps and other products became popular in this part of Europe. But in other countries, especially in France, where society treated American arts and crafts condescendingly, it was possible to gain popularity only thanks to the contract and the assistance of the art dealer Siegfried Bing.

In 1894, Siegfried Bing visited the Tiffany Glass Company, after which he began to promote the company's products for European demand. In his famous Parisian Art Nouveau gallery Maison De L "Art Nouveau (1895–1904), Bing represented and sold paintings, sculpture, jewelry, ceramics, textiles, glass, furniture, stained-glass windows. Contributed to the global spread in the art market works of art, supplying them to private collectors and museums. He advanced the careers of many subsequently famous artists, designers, sculptors, architects. He was the exclusive European dealer of large American companies: ceramic from Cenzenati, faience from Boston and Tiffany Glass Company. Without Byng's cooperation, after his death in 1905, Tiffany's products began to sell less successfully, the European audience lost interest in them. Although the stained glass technique for lampshades itself was borrowed and used in European art nouveau products.

In America, demand for Tiffany lamps declined substantially from the mid-1910s, although their production continued until the early thirties. Then they were forgotten for a long time, they had no place in newfangled interiors. In the 1970s, interest in lamps increased again, and since the eighties, it has grown into a real mania. At the peak of their popularity, the design of lamps was copied by many manufacturers, similar lamps were created using Tiffany technology. Genuine Tiffany lamps featured a variety of glass types in each model. It was never just colored glass, each element had color transitions and a special texture. Complex, sculptural-made, with decorative trim metal bases also became a feature of Tiffany.

Technology of stained glass Tiffany lampshades

Sketch L.K. Tiffany
motif for the lampshade "Poppies".
Watercolor, gouache, ink, paper.

At the beginning, a sketch was created according to the shape of the lampshade. On it, a drawing was drawn on paper, and each fragment of the pattern was numbered. According to the drawing, a template was cut out of cardboard, which was sometimes cast from brass, as a cutting guide. Each template had a number corresponding to the drawing.

According to the stencil, parts were cut out with a glass cutter from a large glass sheet or stained glass residues, all excess and irregularities were removed with pliers. Along the perimeter, each fragment was wrapped in a thin strip of copper foil, the edges of which were bent on both sides of the part.

The lampshade was going to wooden form with an incised pattern, fragments of the pattern were placed on it and soldered one by one with a soldering iron and tin solder. For each model, a new wooden mold was specially carved.

With inside all copper foil joints were also soldered.

If the selection and cutting of glass was carried out in the women's workshop, then the finishing with copper foil, assembly and soldering was done in the assembly workshop by men.

Tiffany lamps today

The cost of the lamps depends on the type of lampshade (blown or mosaic), how rare the model is, how many mosaic pieces it consists of, what are color shades, types of glass and the number of their varieties in one copy, how rare and complex the metal base is.

Poppy patterns are very popular among collectors. The cost ranges from $ 80,000-130,000. In 2013, a copy was sold for $135,750, which had an expensive "twisted vine" base. Probably with a different base, the lamp would cost closer to $100,000.

Lamp DAFFODIL AND NARCISSUS

Model "Ginkol and daffodils" was created in 1905. A magnificent specimen on a complex bronze base "Twisted leg water lily”, with tonal and color transitions in every detail of the lampshade. With an estimated value of $100,000–$150,000, it was sold in 2013 at Sotheby's for $191,000.

Lamps from the Japanese Garden of the Louis C. Tiffany Treasure Museum

In 1912, the Michaan auction featured works from " Japanese garden museum Treasure Louis C. Tiffany" by Takeo Horiuchi, a passionate admirer of L. Tiffany's work and the owner of perhaps the largest collection of his works. The auction attracted many wealthy collectors: the exhibits of the Takeo Horiuchi Museum contain undeniable originals, rare and most beautiful works of the Tiffany studio.

Chandelier Alamander from the collection
Takeo Horiuchi, sold
for $212,400 in 1912
from the Michaan auction.

The lampshade of the Laburnum lamp is an example of the most successful interpretations, flowering tree. The rather rare Bird Skeleton base resembles a tree trunk and roots. In 1906 the lampshade cost $175, the base $90. From the collection of the Matsue Garden Museum, Japan. Michaan starting cost: $500,000–$600,000.

With designed by Clara Driscoll
lampshade, from the collection
Takeo Horiuchi, sold
for $129,800 in 1912
from the Michaan auction.

Table lamp Peony with lampshade designed by Clara Driscoll. The base "Crabs" was in the production of the company since 1898 and was made for gas lighting. At the Michaan auction, the lot was offered with a preliminary cost of $200,000–$300,000. Origin: Museum Collection Garden, Matsue, Japan.

The rarest and most expensive lamps

for a while" pink lotus was the most expensive lamp bought at auction. One of the earliest, most elegant and complex models, in December 1997 was sold at Christie's auction for $ 2,800,000. Unfortunately, the copy has not been exhibited anywhere since then, and photographs can be found to fully convey the beauty of the subject failed.

The "web" was developed in 1899, first presented by L.K. Tiffany at an exhibition in 1900, then in 1901. Initially, the models were intended for kerosene lighting, because the fuel tanks were masterfully disguised in mosaic, floral-patterned balusters. A few years after the release of the first Web, its design was changed to electricity, for which the wick and glass chimney were replaced with a device of three light bulbs. From the moment it was created, it was an extremely expensive design, designed for the firm's wealthiest clients. Its price in 1906 was at the level of $500, with an average wages in the country 22 cents per hour. Today Spiderweb remains one of the most attractive Tiffany lamps and the most expensive. In 2012, the "Web" was sold at Sotheby's for $ 3,250,000 at an initial bid of $ 2,500,000. Only seven designs of this model are known in the world. The photo shows a copy recognized as the best in color solution, selection of glass and safety. Lamp height is 30 1/4 inches, lampshade diameter is 19 inches.

Wisterias are perhaps the most iconic design among Tiffany Studios lamps and are considered an icon of American Art Nouveau design. It has been made since about 1903. “Wisterias” and “Lilies in the Pond” were awarded the main prize in Turin at the first Italian international exposition d "Arte Moderna Decorativa in 1902. The complex pattern of the lampshade consists of almost 2000 fragments. Each copy is distinguished by its shades of blue , with gradations from cobalt to aquamarine. The cost of Wisteria in 1906 was $ 400. In 2013, with an initial price of $ 600,000–800,000, the Wisteria lamp was auctioned by Sotheby's for $ 1,565,000. Structure height is 26 7/8" (68.2 cm), lampshade diameter is 17 3/4" (45.1 cm).

In 2013, the lamp “ Bat”(estimated cost $550,000–$750,000). The lamp was not sold, although it is one of the rarest models (only five pieces are known). The popular Art Nouveau story was rare in Tiffany's decor. This was one of the early models that went out of production in 1910 when Tiffany Studios stopped making metal bases with mosaic inlay, probably due to their labor and cost. The stylized bronze spider that serves as the lampshade cover was originally created for the "Spider" model.

unnamed lamp

Perhaps this lamp is the most unique. It has no name and remains in a single copy. The developed project was not put into production. Obviously, the item was not intended for sale. Lampshade without branding. The bronze mosaic base has an imprint of TIFFANY STUDIOS NEW. YORK.

The design remained in the studio until the closure and bankruptcy of the enterprise. After the death of L.K. The Tiffany lamp was sold by a public successor to the artist Charles Berman in 1938. Having changed hands several times, the lamp was offered for auction twice by Sotheby's in 1985 and 1992. The last owner is Takeo Horiuchi. The vase is being sold at auction by Michaan with an initial value of $1,000,000–$1,500,000. If the lot is purchased, I wonder what will be its final price?

Single copy
Tiffany lamps

Stamp on lamps

On each lampshade there were such options for imprints with an indispensable model number:

For a short time, the imprint on the bases contained a monogram:

Matching lampshade and base numbers indicate that the objects are made for the same model, thus driving up the cost of the lamp.

The first appearance of the Tiffany lampshade dates back to the eighteenth century, and its homeland is France. The popularity of such lamps is fully justified, because since ancient times people have sought to protect their eyes from the blinding light of torches and candles. Later, they were replaced by kerosene lamps, from which they tried to protect themselves with iron shutters. Their external unattractive appearance interested decorators and artists. This is how lampshades appeared, which began to turn into a decor item: they began to decorate them with fabric (fringe or beads) and paint them. After that, they already become interior items that can bring a certain aesthetic pleasure.

The end of the nineteenth century is significant for the beginning of the modern era. She is characterized by a passion for natural motives, various wavy patterns and floral ornaments. Naturally, all this was reflected in the interior design. During this period, lampshades begin to be painted with leaves, flowers, butterflies. At the same time, the very base-stand of the lampshade also changes. She begins to give a variety of forms.

Initially, lampshades were made exclusively from fabric. But the famous jeweler and designer Louis Tiffany (USA) decided to create the first lampshade, which was a stained glass window made from pieces of colored glass left over from stained glass production. Tiffany liked this lampshade so much that he began to make them not only for floor lamps, but also for lamps. So there was a whole separate direction in the production of stained glass Tiffany.

Lampshades can be decorated in various stained glass techniques. To learn more interesting information regarding the features of the production of lampshades in the technique of Tiffany, fusing, as well as artistic painting You can use the thematic block of articles, links to which are given below:

Features of the production of Tiffany lampshades

Tiffany was an experimenter. He always liked working with glass, so he decided to create his own unique way of decorating. lighting fixtures. To create his own lampshade, Tiffany used special glass, which he soldered together in a special way. The photos below show the process of creating a Tiffany lampshade:

Application of Tiffany lampshades

Tiffany lampshade is used not only for floor lamps. Table lamps, sconces, chandeliers - this is not a complete list of the possibilities of using such a stained-glass window. But it was Louis-Comfort Tiffany himself who chose floor lamps as one of the areas for applying his creative energy. And this is not surprising, because they are mobile and very light, which allows you to move them around the house if necessary. different rooms, and in each it will successfully fit and harmonize with the design. Such a lamp can be moved from one place to another, and everywhere it will harmoniously fit into the design of the room. Choosing a Tiffany lampshade is a purely individual procedure. Everyone can choose a stained glass product in accordance with their tastes and capabilities, which will certainly be taken into account by our specialists. In chapter you can find out more information about the features of such products.

Rice. 1. Tiffany ceiling lamps have a gorgeous appearance and can combine many shades of glass

Advantages and disadvantages of Tiffany lampshades

To the obvious dignity of Tiffany lampshadesinclude the following features:

• luxurious appearance of the product;
• volume and texture;
• the use of different shades of glass;
• resistance to temperature extremes;
• durability;
• manual study of each element;
• variety of shapes etc.

The disadvantages of Tiffany lampshades include the heavy weight of the product and the high cost compared to other stained glass techniques. However, the listed nuances are very conditional, because. the weight completely depends on the dimensions of the lampshade, which may not be too large, and the formation of the cost is determined taking into account the financial capabilities of the customer. Turning to our employees, you will be convinced that our prices are more than acceptable.

Check out the features for more details.

It is worth noting that the Tiffany technique is used not only to create lampshades. Its use in decor and interior is very diverse. You can learn more about this by clicking on the links in the thematic section of the site:

The cost of Tiffany lampshades

The price of Tiffany lampshades is determined by the features of the following criteria:

• the shape and size of the lamp;
• stained glass detail; In our stained glass workshop you can buy a Tiffany lampshade with the best price/quality ratio. The choice is so great that everyone can find an exclusive decoration for their premises or order its production, taking into account their own original ideas. We guarantee acceptable prices and high quality luminaires made with strict observance of all the features of Tiffany technology.

Tiffany lamps are known all over the world. A special assembly technique made it possible to create amazing products from colored glass, made it possible to produce stained-glass windows and lamps with a bright personality.

History of Tiffany (Tiffani)

Tiffany lamps got their name from the creator of a special technique of working with glass. The inventor was the American artist Louis Comfort Tiffany (1848 - 1933). He was considered one of the leading designers of his time and a great master of stained glass.

Louis Tiffany made stained glass a new art form. He studied in Paris, visited many countries, collecting information about the possibilities of glass and working with it. Products and samples of glass, which he presented at the Paris exhibition, he called favrile. This exhibition brought him worldwide fame.

In Russia, the first mention of opal glass appeared at the end of the 19th century. In the stained glass workshops one could see ads mentioning Tiffany glass. Then his lamps went on sale. Opalescent glasses appeared in the warehouses of Russian factories and factories (they were invented by John La Farge, an American muralist), but the production did not dare to work with them.

Returning to his homeland in the United States, Tiffany created his own eponymous studio. She worked with wealthy clients, helping in the design of private houses and interiors, as well as offices, churches. The reception rooms of the White House were also designed by Louis's studio.

Louis Tiffany created stained glass windows, jewelry and lampshades from glass. But the stained glass windows were the biggest passion. He considered them a special object, located on the verge of worlds: in front of the stained-glass window and behind it. Colored glass lets in natural light, but hides what is outside the window, and inner space transformed into bright colors.

About the Tiffany technique

The technique was developed at the end of the 19th century by the son of a famous jeweler. Before Tiffany, there was no such technology for making stained glass windows. It consisted in the following: each piece of colored glass was wrapped around the edge with copper foil. Then they were laid out on a cardboard, where a pattern / sketch of the future pattern was previously applied and soldered with tin solder.

This technique made it possible to create elaborate and complex ornaments. The object became lighter in weight and visual perception. It also became possible to obtain three-dimensional figures with curves. Now, thanks to this technology, we can admire lamps with colored mosaic glass shades.

Bright stained glass, which previously was only possible to see in churches, palaces and other public buildings, now appeared in houses in the form of . The natural light in them was replaced by electric, and the stained-glass window became a voluminous rounded ceiling.

The artistic ability of Louis Comfort Tiffany and his love of detail were the main factors behind the Art Nouveau lamps.

About the features of glass

Tiffany worked twice with La Farge and became familiar with the technology of opalescent glass and the production of objects from it. He later commercialized glass production. An official agreement was made that the stained-glass windows, lamp shades and the opalescent glass itself would be called Tiffany.

special effect opalescent glass occurs when an opacifying substance is added to the composition: tin or burnt bone. Then small drops of phosphate glass are formed in the glass mass, which give the effect of "clouding". When adding different quantity clouding agents, different opal effects are obtained.

Another signature type of glass from Tiffany is iridescent. It turns out when sprinkling metal grains on the finished, but not yet chilled glass. A specific metallic iridescent sheen appears on the surface. Iridescent glass appeared before Tiffany, but became known thanks to him.

Tiffany also popularized "folded" glass, draped. A soft plate of heated glass is deformed during the production process, obtaining the desired folds / draperies. This method was often used when creating large stained glass windows, when depicting foliage and plant motifs.

Tiffany lamps in the interior

Huge potential is hidden in the colored glass of various patterns of lamps. Tiffany is bright and original item in the interior, radiating warmth and comfort.

In each plafond, a clear, well-thought-out pattern structure is visible that forms the product. The authors drew ideas for creating ornaments from nature.

The fact that small glasses are soldered makes these objects more resilient and stronger than conventional glass shades.

The Tiffany technique offers not only table lamps and floor lamps, but also chandeliers and. Since colored glass products are bright and attract attention, do not abuse the number of lamps in one room. Organically in one room will watch table lamp with a floor lamp or a chandelier with a table lamp. The drawing must be the same (from the same series), otherwise one room will turn into an exhibition space or a store. Color palette wide, so choosing a lamp you need to color in the interior of any color will not be a problem.

Tiffany lamps belong to the Art Nouveau style, which was widespread in the last decade of the 19th - early 20th centuries.

Characteristic patterns of plafonds of Tiffany lamps:

lotus leaves

dragonflies

Broom (golden rain)

And Tiffany also came up with a lamp in the form of a clam, a nautilus.

In 2007, it was discovered that a woman named Clara Pierce Walcott was the main contributor to the design of the Tiffany shades. That is, Louis did not invent them himself. Clara worked in a division with the unofficial name "Tiffany's Girls". It was she who came up with floral ornaments in the Art Nouveau style - Wisteria, Narcissus, Peony.

Here is what is known about her life: she was born in 1861 in Ohio near Cleveland, she was interested in art. She graduated from the Art School of Fine Arts at the Metropolitan Museum of Art. There, Tiffany spotted her and hired her in 1888, when Clara was 27.

Her first work was Narcissus. During her career, Clara has designed 30 lamp patterns. The famous "Dragonfly", which shone at an exhibition in Paris in 1900, is also her design find.

Clara worked for Tiffany for 20 years. In 1909 she married and was forced to leave the company. Louis Tiffany forbade employees to marry, as he believed that personal life and family distracted from work.

Every person dreams of making their home beautiful, cozy and making original design solutions. Stained glass is one of the ways to make a house bright and memorable.

Previously, its manufacture was an expensive pleasure and, basically, castles, rich estates and temples were decorated with them. Now modern technologies allow you to create your own unique stained glass without ordering it from the master and using inexpensive materials.

To create a stained glass window with your own hands, you do not need special knowledge and skills, and the materials, tools and equipment are quite reasonable prices. Using a tool that is in almost every home and a small set Supplies sold in construction stores, you can create a unique masterpiece.

closest to classic style and gained great popularity in modern design is a Tiffany stained glass window.

Where to start making Tiffany stained glass?

We create a sketch of a stained-glass window. We will need two full-size copies on thick paper (you can use copiers). Number all the details of the future drawing in parallel on both copies.

Use the template scissors to cut out one of the sketches. Such scissors have three blades, the middle of which removes a strip 1.27 mm wide. This distance is calculated on the thickness of the copper foil (folia).

Put the resulting cardboard blanks on the glasses of the corresponding colors. Circle the blanks with a thin marker and number them.

Cut out all the elements of the future Tiffany stained glass with a diamond glass cutter.

Sketch

1. when sketching your stained glass window, pay attention to future seams: the more T-joints it has, the stronger your masterpiece will be
2. consider proportions. If stained glass elements have small size or width, then the seams must be thin, otherwise the work will look rough, and the foil will block most of the glass
3. if the seams are intended to be wide, then avoid narrow parts and sharp corners in the stained glass window, otherwise overheating and damage to the glass may occur during soldering
4. if the stained-glass window has an elongated, narrow shape, then we advise you to plan several vertical lines in the sketch. This method will make the stained glass design more durable.
5. in order to make it convenient to assemble the stained glass, the sketch is placed inside the frame, and then the prepared glass begins to be laid out. The layout starts from the corner. The accuracy of the layout depends on how carefully you fit the frame to the sketch.

Tip1: if bumps form when breaking off the glass, then they can be chipped off with wire cutters, and then all the details are honed on a whetstone.

Tip2: so that glass fragments do not scatter to the sides, this procedure is best done in a container of water, immersing the blanks there. Turning occurs until each part matches the size and shape of the sketch.

We proceed to winding the edges of glass blanks with foil. Special copper foil looks like tape with one adhesive side. Attach it in the center to the edge of the glass and completely wrap the entire workpiece, bending on both sides
the edges of the fold must be the same size on both sides for strength and aesthetic beauty of the seam

1. Smooth the folds of the foil to the glass with a wooden spatula (harder materials scratch and tear the patina).

2. Glue the sketch with glue or transparent tape to flat surface, and nail the planks along the edge of the picture, forming a frame so that the mosaic elements of the stained-glass window do not move during assembly and soldering.

3. We put all the elements according to the template into a single composition. All parts of the future stained-glass window should lie freely with a small gap so that they do not burst during soldering due to high temperature.

4. We adjust all the details in size into a single composition.

5. Treat all seams with flux in order to remove all oxides from the surface of the copper and so that the tin lays down even seam. It is best to use solder fat or liquid fluxes that are applied with a brush.

6. Tiffany stained glass elements are soldered along the inner and outer edges with a well-heated, thin soldering iron. This should give you one continuous seam that completely covers the entire visible portion of the copper foil, including the outer edges of the composition.

7. Thoroughly wipe all seams with residual flux after soldering to avoid oxidizing the tin. Use any detergent for this

Applying patina to the seams is the final step in making a Tiffany stained glass window. More often, a black or copper patina is used, which is rubbed into all seams with a cotton swab. Excess that has fallen on the glass should be immediately removed with a sponge.

Tip 1. Any stained-glass window has its maximum allowable size limits. They are different for ceiling, door or window stained-glass windows. If your product involves larger dimensions, the stained glass pattern should be divided into several fragments.

Tip 2. Make and assemble elements of irregular, curvilinear shapes using a matrix, on which apply a sketch of a stained-glass window. When laying out the prepared parts on the matrix, make sure that they are located freely. So you save the glass from overheating and cracking during soldering.

The width of the seams between the stained glass elements depends on your requirements for its strength and artistic design. Often the seams are different thickness which gives the product an original look.

Tip 3. Make stained-glass windows of convex or concave shapes (plafonds for lamps, chandeliers) on special forms, which exactly repeat the configuration and dimensions of the future stained-glass window. This approach will greatly facilitate the work. The form (blank) can be cast from plaster or made of wood.

Tip 4. It is necessary to cut the elements of the stained-glass window without tearing the glass cutter from the canvas, from beginning to end. When finishing the line, reduce the pressure on the glass cutter. This will help avoid chipping.

Tip 5 Remove all defects and irregularities that have arisen during the soldering of the stained-glass window immediately. It will take a little time and effort, and the product will look much neater.

Tip 6 If you have at your disposal thick glass, then in order for the cut on it to be neat, it is necessary: ​​to cut through the contour of the stained glass element with a glass cutter, it is easy to tap with reverse side along the cut line, break off the glass along the crack

Glass work

Carefully select the glass for your stained glass. Illuminated by sunlight or artificial light, colored glass will have different shades and tones. The thickness and transparency of the glass also matter.

You can use products with Tiffany stained glass windows not only indoors, but also outdoors, for decoration entrance groups. Such stained-glass windows are not afraid of temperature changes, and all elements are easily replaced in case of damage. Colored glass does not fade, does not fade in the sun.

It is easy to care for a stained-glass window: clean with detergents (even those containing solvent and alcohol). This is because the dye is inside the glass and not on the surface.

Try to avoid sharp corners in stained glass, deep cutouts and narrow elements. The best option will divide a complex stained glass fragment into simpler ones. This will avoid cracks and damage during operation. This approach will not spoil your work at all, but it will also make it possible to enrich the stained-glass window with additional shades of color.

A glass sheet has a "front" and a "back" side. To facilitate the work, carry out all manipulations with the smooth side, which will become the "wrong side" of your product.

Clue: often, large workshops and firms sell marriage, broken and leftover glass after completing their work. The price of such glass is usually significantly reduced. You can save quite a decent amount by getting high-quality glass for your stained glass window and enriching the palette of shades.

Published by DecorateMe.

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