Tiffany Studios

with a "Scroll" Senior floor base

Merton Armstrong, Rochester, NY, circa 1920s
Thence by descent

Overall in very good condition. This lamp was recently removed from its original residence in Rochester, New York, and by all accounts the shade and base have originated together since the period. The shade with approximately 20-25 cracks to the glass tiles dispersed throughout, which is a relatively low number in proportion to the vast number of glass tiles which were required to execute this complex and monumental shade. A few of these cracks appear to have been stabilized in the past with glue. With some surface soiling to the recessed contours of the shade leading along the upper register of the shade. There appears to be one small old repair to the shade leading surrounding one small piece of blue glass (1 x ½ inch). This one piece of glass is slightly lighter in hue and likely represents an old replacement. The metallic gilt patinated base appears to be in untouched original condition, and by all accounts retains all of its original components. The patinated bronze surfaces of the base with surface soiling throughout, and with some occasional surface scratches, abrasions, rubbing to the patina, and minor traces of surface oxidation primarily reserved to the perimeter contours of the bottom cushion, all consistent with age and use. All of the sockets and paddle switches appear to be original and undisturbed. Two of the small screws securing the base plate are presently missing (the base plate however is entirely stable and secure). With a replaced “pigtail” finial. A beautiful example of one of Tiffany’s most iconic and glorious floor lamp designs, displaying a naturalistic color palette distinguished by opalescent white, purple, amber and pale green magnolia blossoms with burnt orange centers, set against a dramatic ground of vigorously mottled cobalt blue glass. The lamp presents beautifully in person with strong visual presence and scale.
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.

As a horticulturist in the tradition of John Ruskin and the natural garden, Tiffany espoused the cultivation of native trees and flowers.  He rhapsodized about his own efforts at Laurelton Hall and passionately described his “love of these native woods.”  Like many of his generation, he opposed hothouse hybrids and disdained varieties with doubled blossoms and other artificial effects.  Ironically, the magnolia represented on this beautiful lampshade is not actually an American tree.  There is a native American species (magnolia grandiflora) but it is restricted to the warmer clime of the South and, among other characteristics, retains its leaves all year long.  The familiar type of magnolia represented on this lampshade, despite it being widely cultivated throughout the United States, was native to Asia, was hybridized by French horticulturists, and subsequently imported into the United States.  A welcome harbinger of Spring, it has the distinctive characteristic of first sending out blossoms and later, after the flowers have opened fully, the small green leaf shoots appear.  That is the stage featured in this design.

Flowering magnolias adorned many of the domestic leaded glass windows that Tiffany Studios created at the turn of the century, and Agnes Northrop, whose specialty was such floral subjects, had photographs of these blossoms and made quite beautiful watercolor renderings of them—images that helped her render these branches with accuracy and grace.  Only later did the designers in the lamp department adapt this motif for lamps.  This 28-inch domed Magnolia shade is the largest standard model that Tiffany Studios produced, and the naturally large magnolia blossoms are well suited to the ample scale of this shade.  The model was introduced some time after the fall 1906 Price List was printed and before the fall 1910 edition was issued.  But then, unlike so many other designs, the “Magnolia” remained in production until 1924.  Its endurance is probably to be explained not only by the sheer splendor of the design but also by the usefulness of its design:  the large, open dome supplies an ample source of practical illumination.

-Martin Eidelberg, Co-Author of  The Lamps of Louis Comfort Tiffany, and Author of Tiffany Favrile Glass and the Quest of Beauty and Tiffany Favrile Pottery and the Quest of Beauty