Tiffany Studios, early 20th century

Christie's, New York, 9 December 1989, lot 80

Each lantern has original hook for ceiling fixing in patinated metal, fitted for electricity. Photographs available on request. Superficial dirt overall, glass in good condition. Patination to mount worn, commensurate with age. One plastic fitting to hook broken. Some minor traces of old paint over the entire surface. This lot would benefit from a judicious cleaning.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Tiffany Studios’ production of chainmail light fixtures executed in the Moorish style hallmarks Louis C. Tiffany’s penchant for drawing inspiration from Middle Eastern decorative motifs early in his career.  From 1870-1871,  Tiffany and Robert Swain Gifford, fellow American painter, toured through Spain, Gibraltar, Egypt and Italy, marking his first encounter with Moorish architecture and culture. This experience deeply influenced Tiffany’s aesthetic not only in the design of his residence, Laurelton Hall, but also in the lighting and decorative arts produced by Tiffany Studios.  Characterized by a combination of curvilinear forms with geometric surface ornamentation and rhythmic patterning, the Moorish style is clearly highlighted in the design of these two chainmail lanterns.  These examples demonstrate rectilinear simplicity through the reticulated geometric patterning of the bronze caps as well as the delicate multi-point star pattern formed by the placement of the hanging glass tiles in the chainmail construction.  A fusion of both Medieval and Moorish styles, these lanterns highlight Tiffany’s penchant for exoticism and an overarching  trend to re-appropriate Eastern styles into a Western idiom at the turn of the twentieth century.