Charles Sumner Greene and Henry Mather Greene

For related early period lanterns designed by the Greenes, see the following:
Randell L. Makinson, Greene & Greene: Architecture as a Fine Art, Salt Lake City, 1977, pp. 84, 92, 104 and 140
Randell L. Makinson, Greene & Greene: Furniture and Related Designs, Salt Lake City, 1979, pp. 23-24
Randell L. Makinson, Greene & Greene: The Passion and the Legacy, Salt Lake City, 1998, pp. 44 and 67
Edward R. Bosley, Greene & Greene, London, 2000, p. 62, fig. 51

Overall in very good condition. The lantern incorporates shaped pieces of textured opalescent glass, all of which appear original and undisturbed. The fixture with approximately 9 small and minor cracks to the glass tiles dispersed throughout. None of these cracks appear on the large round central glass panels, but rather are reserved to the smaller border tiles. The lantern has recently been professionally conserved, and all of these minor cracks were stabilized with Hextal, an archival resin which does not discolor over time and also minimizes the appearance of the cracks. At this time, the lead caming was also stabilized throughout and the metalwork was very lightly cleaned. The patinated metal armature and caming with expected surface wear, discolorations and scattered traces of oxidation consistent with age and use. The canopy with some subtle irregular bends along the bottom contours, none of which are visually detracting to the fixture. With replaced link chain and electrical hardware which is fully functional. Lacking ceiling plate. This rare, early lantern has a strong architectural and hand-built sensibility and would display beautifully in either an exterior or interior context. The glass selection is particularly artistic and thoughtful, and when illuminated the lantern emits an attractive warm glow. The glass is slightly less red than it appears in the catalogue illustration.
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.

This lantern is highly characteristic of the Greenes’ early work in metal during the 1903-1905 period, when the fraternal architectural firm in Pasadena, California was beginning to design a wide range of decorative arts for their clients’ houses.  This example resonates particularly with fixtures the Greenes designed for the Cora A. Hollister House (1904-1905), the William G. Bowen House (1904-1905), and Francis F. Rowland House (1903-1904), although these other examples lack the peaked hood of the present lot.  Square in plan, the lantern rises at a gentle taper to a hood that is relatively steeply pitched, possibly indicating that it was designed to be a fixture positioned on the exterior of a house without the benefit of protection from deeply overhanging eaves.  The oval shape of the leading surrounding the main field glass of each side pushes to the extreme corners of the fixture, leaving only tiny bits of glass outside the oval shape itself.  The smaller bits of glass are of different coloring, a detail carefully noted by Charles Greene in sketches for the similar lanterns mentioned above.

The original commission history of this lantern is presently unknown.  The lantern was later moved to another residence designed by the Greenes, the Van Rossem-Neil House, located at 400 Arroyo Terrace in Pasadena.  This is documented by a photograph showing the fixture on the house taken in 1974 by the famous Japanese-American photographer, Yasuhiro Ishimoto (1921-2012).  Ishimoto's archives, including this print, are at Kochi City Prefectural Museum, Japan.