Classical Gilt and Patinated Bronze, Cut-Glass Mounted Four-Light Argand Chandelier, England, likely Birmingham, Circa 1825

Hirschl & Adler Galleries, New York.

Overall fine condition. Retains four etched, frosted glass shades with four chimney tubes. The height overall, including the brass ceiling cap, measures 40 in. For further information please contact the Americana Department at americana@sothebys.com or by phone at 212-606-7130.
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.

Although many Argand lamps in a variety of designs have been recorded, chandeliers using the same device for lighting are extremely rare, particularly those that have remained essentially intact.  The design of this chandelier relies ultimately on the discoveries of the Franco-Swiss chemist Ami Argand (1759-1803).  Argand employed new principles of combustion in the invention of a burner consisting of two concentric tubes surrounding a wick.  These tubes drew a double current of air to feed the flame.  The Argand workshop was the first to perfect the use of a glass tube as a chimney to increase the upward flow of air.  The combination of the two tubes and the glass chimney produced a larger flame that provided a good deal more light - twelve times that of a single candle - and permitted much more activity at night than had been possible before.  However, the oil that was used was too thick to be drawn up by the wicks, so these lamps had a reservoir placed higher than the wicks so that the flow of oil could be aided by gravity.  In a negative way, these reservoirs caused a large shadow, which ultimately left to the development of the sinumbra lamp.