Tiffany Studios

Private Collection, Rochester, NY
Dr. Richard K. Sheehan
Sotheby's New York, June 19, 2007, lot 210

Overall in excellent condition. The exterior surfaces are incredibly tactile, with several inherent surface irregularities and open air bubbles all consistent in the making and part of the intended artistic technique. The exterior surfaces are beautifully iridized and display superb color with jewel-tone hues ranging from purple, magenta, aqua, orange and yellow. When viewed in person the surfaces shows far greater subtlety and variation in color than seen in the catalogue illustration. The interior neck of the vase is flashed in a pale orange tone. A superb example displaying impressive scale, vigorous decoration and strong color.
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 had an abiding love for, and considerable knowledge of, ancient glass and it was this affinity that influenced many of his glasshouse’s designs, including what is known today as “Cypriote.”

The Metropolitan Museum of Art, in 1877, purchased for $60,000 in gold 22,000 antiquities previously discovered in Cyprus. Among the collection were a number of ancient glass objects displaying an iridescent, pockmarked exterior. This condition was due to the actual deterioration of the glass, caused from its being buried in the ground for centuries. Tiffany was well acquainted with these pieces and they were perhaps the primary catalyst in his urgent quest to artificially replicate their multi-colored iridescence on his Favrile glass. They also served as the inspiration for his “Cypriote” glass.

The vase being offered exemplifies the cratered exterior that is “Cypriote’s” most noteworthy feature. Jimmy Stewart, one of only nine gaffers ever employed by Tiffany’s glassworks, claimed this effect was created by marvering broken bits of glass onto the gather. This technique, though certainly part of the process, would not have produced the exact decorative effect. As the object was re-heated in the glory hole, the glass particles would have simply merged into the gather. Hence, this method would not explain the distinct ovoid shape of the pockmarks.

Another element must have been necessary to create the circular craters, and it is highly probable that it was potassium nitrate, also known as potash or saltpeter, a chemical commonly used by most glass manufacturers. It is also likely that sodium nitrate was occasionally employed and silver nitrate was used in rare instances. These three nitrates have a common property: they begin to break down when heated to a temperature of approximately 750ºF (400ºC) and release oxygen as a result. If a gaffer marvered a mixture of potassium nitrate and glass particles onto, or just below, the gather’s surface, the heat of the glass would cause the chemical to decompose, resulting in numerous gas bubbles that would gently rupture the surface of the glass and form a pitted exterior. The piece could then be further enhanced and decorated with dripped and padded sections of glass and given an overall iridescence.

-Paul Doros, Author of the forthcoming book, The Art Glass of Louis Comfort Tiffany