Tiffany Studios

Christie's New York, December 10, 1998, lot 286
David Whitney Collection
Sotheby's New York, An American Visionary: The Collection of David Whitney, November 16, 2006, lot 21
Acquired from the above by the present owner

Overall in very good condition. The exterior of the vase with some very fine and light surface scratches, primarily reserved to the outermost extremities of the body, lower base region and underbase. With some very minute air bubble inclusions inherent in the making. With iridized interior, which imparts the vase with nice luminosity. The vase has great scale and presence, and the aquatic Aquamarine decoration is incredibly optical when viewed in person with great visual depth and movement. A very impressive example of this rare decorative technique.
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.

TIFFANY FAVRILE AQUAMARINE

One of the last major innovations in Tiffany Studios' glassmaking was the introduction of Aquamarine glass about 1912. The craftsmen had been using paperweight techniques for a decade—works in which floral motives were worked in hot glass and then encased within layers of additional glass. Those made around 1900 generally had a shimmering golden background but, around 1910, this changed to a clear, transparent glass. Aquamarine glass introduced a subtle, green-tinged material that suggested a watery realm. Cased within the glass are yellow flowered plants like the ones seen here, floating in an aqueous world, or water lilies, goldfish, sea anemones, and other creatures of the deep. To further the illusion of watery depths, the glass itself is quite thick—offering the viewer different perspectives such as one has when peering through actual water.

Tiffany Studios' difficulty in making this glass was constantly emphasized. Not only was there the difficulty of properly annealing the many layers but equally challenging was the manipulation of the weighty glass ball while it was still hot and fluid. This example, although only 6 5/8 inches high, weighs 203 ounces. These technical difficulties caused much breakage, and the Aquamarine vases were costly as a result. 

This vase, which survived all those perils, was singled out for its artistic success and was set aside to be shown publicly. This explains the engraved designation, "Exhibition Piece" engraved as part of the signature. Several examples engraved with an "M" registration number, like the one here, were shown at the 1915 Panama-Pacific International Exhibition in San Francisco. Where and when this vase was shown remains a tantalizing question.

--Martin Eidelberg