Private Collection, California
Roy and Sarita Warshawsky, Chicago, circa 1970
Sotheby’s New York, The Warshawsky Collection: Masterworks of Tiffany and Prewar Design, May 19, 2015, lot 47
Acquired from the above by the present owner

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 lot 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 lot illustrated)

Overall in very good condition. Please note the overall drop of this chandelier is 40 inches. This rare chandelier had at one point been converted to an uplighter by its previous owner, Roy Warshawsky, in the early 1970s. The fixture was then converted back to a downlighter, and in the process a few small holes that had been previously drilled to some of the arms just in front of the scrolled terminals were sensitively filled in, only visible upon close inspection. 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 hairline cracks to the glass tiles dispersed throughout the 12 panels and leaded glass dome, all stable, 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 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 handling. 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 shade interior is fitted with three small patinated metal knobs, most likely for a fabric diffuser. With a later replaced rod, chains and ceiling canopy, all faithful in design to period Tiffany componentry. The weight of the shade is supported by the central rod, causing the chains to have some minor slack when assembled; this could be remedied by removing one link from each chain. 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.

The present "Daffodil" chandelier is the only example of the shade model known to exist.  Its organic, undulant ribs recall the tentacles of an octopus, gracefully terminating in spirals beyond the shade's perimeter.  These qualities, in addition to the bent wirework on the crown, are indicative of the chandelier's early execution—such strong naturalistic motifs and complex decoration was typical of Tiffany's production at the turn of the century.  Comprised by an artistic palette of individually cut and selected confetti and fractured glass tiles, the present chandelier's exquisite glass selection is a testimony to the unparalleled skill of Tiffany's craftsmen.

Though wholly unique, this chandelier does belong to a series of closely related "Octopus" shades.  One such shade was published in Tiffany's Lamps and Fixtures, a brochure issued by the firm in 1899 to show the new range of lamps being offered.  The present shade is distinguished by its elaborate, symmetrical arrangement of daffodil blossoms, buds, and leaves set within each of the shade's eight sections.  The conventionalization of these natural forms is redolent of the of the design suggestions found in progressive design manuals of the late 19th and early 20th centuries, such as Eugène Grasset’s Flore ornementale, Alphonse Mucha’s posters and book illustrations, and others that appeared in periodicals like La Revue des arts décoratifs, L’Art décoratif, and Art et décoration.