Private Collection, California, circa 1970

Alastair Duncan, Tiffany Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 236 (for related variants of the model) and p. 321, no. 1278 (for the present example illustrated)
Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 136-140 (for the present example illustrated)

Overall in very good condition. The Warshawsky Family acquired this chandelier in the early 1970s and converted it to a ceiling uplighter in their residence. With the assistance of a professional Tiffany conservator we have faithfully converted the chandelier back to its original orientation as a down lighter. In this process we have replaced the accompanying chains and central rod in a manner consistent with hardware produced by the Tiffany firm for related documented examples. In this process we also sensitively filled a few small holes that had been previously drilled to some of the arms just in front of the scrolled terminals. (The latter is reversible, and the former hardware will be presented to the successful purchaser should they wish to present the work as an uplighter.) The shade is composed of 12 leaded glass panels interspersed with curvilinear patinated bronze arms ending in scrolled terminals. All of the leaded glass panels are in beautiful original condition, showing no evidence of prior restoration or glass replacement. With approximately 45 cracks to the glass tiles dispersed throughout the 12 panels, which is a relatively low number in proportion to the vast number of individual glass tiles which were required to execute this complex and monumental design. The glass selection is outstanding, comprised of highly artistic early experimental glass in a full range of saturated hues. Some of the glass shows minor surface imperfections and irregularities inherent in the firm’s earliest glass production. The Daffodil blossoms are selectively articulated in rippled glass, and many of the stylized floral bulbs above the Daffodil spheres as well as accents in the lower stem register are articulated in dynamic “Confetti” and “Streamer” glass. By all accounts the upper leaded glass dome is original to the piece, showing a consistent glass selection and leading treatment. The dome is firmly secured to the upper fixture with two bayonet-style fasteners. The leaded glass dome with a few hairline cracks dispersed throughout which have recently been sensitively stabilized. The bronze armature and lower beaded border is in very good stable condition. In a few isolated areas the beaded border is very slightly irregular and inset just below the lower undulating armature. The outer armature in one small area between two arms is very slightly flattened inward, and the bottom of the adjacent leaded glass panel shows minor buckling (very minor and only visible under close inspection). The scrolled terminals are all stable, with a few showing very subtle irregular bending. The patinated bronze armature throughout displays an early dark patina, showing light surface wear, rubbing and minor discolorations consistent with age and gentle use. The fixture is fitted with four interior sockets and paddle switches, all which appear original and undisturbed. These are the earliest Bryant sockets that the Tiffany firm used in their lighting, dating to around 1900. The fixture has recently been re-wired to insure its safety and working order. The six chains visible in the catalogue illustration are suspended from a Viking ball, which is surmounted by a loop and heavier single-link chain that can be adjusted to meet the requirements of an installation by adding or removing links. With a period Tiffany ceiling canopy and hook showing expected light surface wear. (This accompanying hardware is not entirely visible in the catalogue illustration. Feel welcome to contact the department for additional photographs.) The shade interior is fitted with three small patinated metal knobs, most likely for a fabric diffuser. This is the only example presently known of this magnificent chandelier design. The chandelier showcases the highest artistry of Tiffany’s leaded glass production. When viewed firsthand the chandelier is absolutely dazzling. The glass selection is extraordinary, and the chandelier’s stunning silhouette is highly sculptural and dramatic. As impressive as the chandelier appears in the catalogue presentation, these illustrations fall short of conveying the true artistic nuance and richness of the glass selection.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Within the realm of Tiffany’s hanging shades, the present Daffodil chandelier is not only remarkable but unique.  No other example of this model is known to exist, although that is not to say that there are not closely related models.  Tiffany Studios produced several leaded shades with undulant ribs terminating in spirals that protrude outward beyond the perimeter of the shade.  The company also produced at least one other model featuring daffodils set within circles similar to the arrangement here.

It is apparent that this hanging shade represents an early design.  Its eight long ribs ending in spirals, like the tentacles of an octopus, and its bronze crown with wirework are forms that Tiffany’s designers used at the turn of the century.  An example of this type is to be seen in Lamps and Fixtures, a brochure that the Tiffany Glass & Decorating Company issued in 1899 to show the new range of lamps being offered.  This 1899 hanging shade—an “electrolier,” as they called it—has the same type of ribbed structure but the leaded glass has no floral pattern, just rectangular glass tesserae in a monochromatic arrangement.  The brochure specified that it could be ordered in “any color desired.”

The complex, symmetrical arrangement of the daffodil blossoms, buds, and leaves in each of the eight panels of this shade is equally indicative of its early date, somewhere around the turn of the century.  While Tiffany Studios created both hieratic and relatively naturalistic renderings of the same flowers, the type of conventionalization seen here relates to the design suggestions found in progressive design manuals.  Especially telling in this shade is the positioning of the orange-yellow daffodil blossoms in two overlapping circles.  Complementing this is another highly stylized design in the crown where the daffodils are fitted into a circular field with a gentle, rhythmic energy.  These are exceptional schemes, reminiscent of the types of conventions found in advanced design manuals such as Eugène Grasset’s Flore ornementale and Alfons Mucha’s posters and book illustrations.  These modern designs also appeared in European periodicals such as La Revue des arts décoratifs, L’Art décoratif, and Art et décoration, magazines that were assiduously studied by Americans who sought to stay abreast of what has happening in cosmopolitan European centers.  For example, although portraying a different flower, nonetheless, a border design used in La Revue des arts décoratifs features a similar semi-conventionalized treatment of blossoms and buds, and sets the flowers in circular haloes much the way that was done for this Daffodil shade.

The distinctive approach to modern design seen in this shade is paralleled by the choice of glass—a  combination of boldly veined glass and richly colored confetti or fractured glass.  As in many of the early Tiffany Studios shades and special commissions, the so-called “selector” sought out exciting coloristic effects that surpass nature. 

MARTIN EIDELBERG