Tiffany Studios

Private Collection, Navesink, NJ, circa 1905
Thence by descent
Acquired from the above by the present owner

Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, p. 99 (for the other known example of the model)
Alastair Duncan, Tiffany:  Lamps and Metalware, Woodbridge, Suffolk, 2007, p. 149 (for the other known example of the model)

Overall in very good condition. This lamp until very recently descended in the same Southern New Jersey family since the period, and by all accounts the shade, base and finial have originated together. The shade with approximately 25 cracks to the glass tiles dispersed throughout, some of which appear to have been stabilized with glue many years ago. The top aperture of the shade is slightly out of round, though this is not visibly apparent and the lamp sits straight on the base wheel. There are a few small and minor areas to the shade leading that were possibly stabilized in the past, including one small area below the top rim. The patinated bronze surfaces of the base display an exceptionally deep and rich green and russet brown patina. The bronze surfaces with some occasional surface scratches, surface abrasions with a few small associated patina losses, and gentle rubbing to the patina consistent with age and use. There are a few small and minor traces of what appears to be black paint to a small area along the perimeter of the base cushion. All of the sockets and paddle switches appear to be original and undisturbed, along with the finial. Four of the tiny screws securing the base plate on the underside of the lamp are missing (the base plate however is entirely stable and secure). A superb example of this exceedingly rare shade model, displaying an early and highly artistic glass selection. Each piece of glass was thoughtfully selected, and each individual piece of glass displays great artistic nuance, which meaningfully contributes to the overall visual impact of the lamp.
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 lot is one of only two examples of this exceedingly rare shade model presently known.  The other was sold by Sotheby's New York, December 1, 2001, lot 346.  This rare early model is thought to have been in production in the first decade of the century as it was cited in Tiffany Studios' 1906 Price List. The model is absent on the firm's subsequent price list of 1910, suggesting it was discontinued by this date.  The Tulip Tree itself is an uncommonly-found motif in the decorative arts at this time, employed far less often than the Magnolia blossom, another flowering tree species native to North America and the genus under which the Tulip Tree falls.  This lamp has remarkably descended in the same Southern New Jersey family until recently, and is distinguished by its extraordinary glass selection articulating the sculptural nature of the Tulip blossoms seen at various vantages around the shade.  A photograph from the study collection of Agnes Northrup inscribed "Tulip Tree Blossoms / light green petals - stamens yellow / orange spots inside" may well have been the inspiration for this particular shade model and glass selection.