Tiffany Studios

Team Antiques, New York, 2006

Martin Eidelberg and Nancy A. McClelland, Behind the Scenes of Tiffany Glassmaking:  The Nash Notebooks, New York, 2000, p. 177 (for a Tiffany Studios period photograph of this design executed in pottery)
Martin Eidelberg, Tiffany Favrile Pottery and the Quest of Beauty, New York, 2010, p. 94 (for a Tiffany Studios period photograph of this design executed in pottery)

Overall in very good condition. This vase was recently conserved by a highly regarded professional conservator with expertise in Tiffany enamel work. There was an old restoration to the upper rim and lower foot of the vase, which was rather heavy handed with excessive overpainting beyond the actual losses. The areas of enamel loss are minimal and almost entirely limited to undecorated background passages located along the upper rim and bottom foot, and do not impact the primary decorative areas of the vase. All of the overpainting from the prior restoration was removed, and the vase was photo documented in a completely unrestored state to show the actual losses. (Please feel welcome to contact the 20th Century Design Department at 212-606-7170 for copies of these photographs.) All of the losses to the enameled copper surfaces were sensitively restored, and any overpainting was kept to a bare minimum around these losses. The losses which were restored include a slightly irregular area just below the top rim which runs approximately 1/3 around the rim’s circumference, at its widest area extending approximately 1 inch below the rim. There is a small and shallow surface indentation to the center of this area which likely accounts for the enamel loss. There is an additional small area of restoration to the opposite side of the rim, approximately ½ x ½ inch. The interior recessed edge of the rim with a few small areas of enamel loss (left unrestored), possibly inherent in the making as these areas fall to the outermost edge of the decorated register. The foot of the vase with several small scattered losses around the circumference which were also sensitively restored, all of which appear to be limited to the recessed contour which is approximately 3/4 inch above the base. The exterior of the vase with some occasional fine surface scratches consistent with age. The interior is fully enameled in a striking cobalt blue, with surface soiling and fine craquelure throughout and with some small and minor enamel losses to the interior lower register. The underbase with a shallow surface indentation, and with rubbing and surface scratches from prior surface contact. The vase presents beautifully, displaying impressive scale, exquisite decoration and very thoughtful and artistic coloration. The conservation was sensitively executed, and even upon close inspection is not discernible or at all detracting to the visual impact of the piece.
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.

Louis Comfort Tiffany was the consummate designer.  When he had conquered one artistic medium, he turned to another.  After experimenting with glass, in 1898, he turned to enameling on copper to achieve hues that only nature could produce.  Flowers, plants and trees, which had dominated his designs before he began his work with enamels, now took over as his major source of inspiration. Tiffany preferred copper as the base for his enamels because of the beautiful subdued tones that could be achieved.  The vessel could be repoussé chased which, literally, means ‘repulsed’ or ‘pushed back’ to create a design in relief.  The horse chestnut branches, buds and leaves on this vase have been created in this manner.

The horse chestnut tree on this vase has been artfully designed.  Branches wind around the vase from which grow buds and palmate leaves.  Each leaf has either five or six leaflets that have been meticulously enameled in gradations of different colors.  On some, the vein is highlighted in a dark color with the blade enameled in lighter tones while, on others, each half is enameled in different colors.  Some sections of the branch have exfoliated exposing orange bark underneath, simulating the changing fall foliage.  The branches are set against the sky depicted in modulations of blues, greens and purples. 

As an artist searching for new avenues to realize his ideas, enameling naturalistic motifs onto copper was a logical avenue for Louis Comfort Tiffany to pursue his never-ending interest in color and nature.  This vase with the portrayal of the horse chestnut tree epitomizes his quest to capture nature in its most natural state.

-Janet Zapata
Author, The Jewelry and Enamels of Louis Comfort Tiffany