Tiffany Studios

with a "Night Blooming Cereus" base

Christie’s East, New York, June 2, 1982, lot 414
Barr-Gardner Associates, New York, circa 1985

Martin Eidelberg, Alice Cooney Frelinghuysen, Nancy A. McClelland and Lars Rachen, The Lamps of Louis Comfort Tiffany, New York, 2005, pp. 36-37 (for the present example illustrated)

Overall in very good condition. The shade with approximately 10 cracks to the glass tiles dispersed throughout; a few of these hairlines have recently been sensitively stabilized. The top aperture ring, which is original to the shade, appears to have been professionally stabilized in the past. Select glass tiles just below the top ring and in the bottom geometric rows appear to be replaced, though these replacements appear to have been very well executed with complementary period glass. The shade leading is beautifully rendered to follow the organic lines of the Fern pattern, displaying a rich green and russet brown patina. Some isolated areas of the shade leading appear to have been stabilized. The rare “Night Blooming Cereus” base displays exceptional casting, particularly in the upper register which exemplifies a very intricate organic motif. The rich deep green and russet brown patina with minimal surface wear, gentle rubbing to the high points of the design and some very minor surface soiling to the recessed contours consistent with age and gentle use. By all accounts this base appears to have had an early conversion to electricity by the Tiffany firm as evidenced by the period riser and socket cluster. With two replaced paddle switches, though they appear quite old. The oil canister with a few very minor bruises to the outer perimeter. The early slip-fit finial shows a complementary patina to the base and is assumingly original to the lamp. The finial is in excellent condition showing minimal wear and gentle rubbing. A stunning example of this exceedingly rare Fern model, displaying a particularly harmonious and desirable shade and pairing. The shade pattern is wonderfully abstract, and represents one of the only examples presently known of the model. When viewed firsthand the favrile glass in the shade is slightly more vibrant and luminous than seen in the catalogue illustrations.
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.

“Conventionalization” was one of the buzzwords among progressive designers around the turn of the century.  For them, this term meant transforming three-dimensional subjects into surface ornamentation.  These ideas were espoused by reformers who abhorred the excesses of the Victorian aesthetic and sought to establish a simpler, more rational approach to design.  English reformers such as Owen Jones led the way in the mid-nineteenth century, and by the end of the century it had been widely adopted in France as well, particularly by Eugène Grasset and his followers.  Needless to say, by 1900 Americans also were fervent exponents of conventionalization, and the floral designs on this lamp well represent that innovative mode.

At first glance, the leaded glass shade might seem to have a rigidly geometric pattern of green non-objective, looping forms arranged symmetrically around vertical stems.  These vertical formations are staggered in an alternating system of one stepped higher, the next lower, representing individual fern fronds.  While the frond in nature gracefully bends and uncurls and the individual leaflets are graduated in size, here all is arranged architectonically.  The color scheme of dark against light green is equally controlled and restrained.  Likewise, the design of the base is a conventionalized rendering of a cereus plant.  The plant’s long leaves rise vertically, and the horizontal band at the top is composed of cross sections of the flower—all in accord with progressive design manuals.

The high degree of abstraction present in this base and shade are unusual in the products of Tiffany Studios.  Equally significant, the firm not only catered to a wide variety of tastes but, as we are increasingly aware, various designers were actually responsible for the many different patterns.  Both the shade and base were made prior to October 1910 when the company officially announced in its Price List that these and many other designs had been discontinued.  Prior to this, there had been two rival workshops within Tiffany’s firm.  The lamp bases were designed and executed by the men in the Corona, Long Island plant, and they were also responsible for the geometric shades.  The competing workshop, controlled by Clara Driscoll in Manhattan, had the prerogative to design and execute all the floral shades.  One wonders which shop created this intriguing Fern shade, which could perhaps be claimed by both parties.

MARTIN EIDELBERG