Tiffany Studios

James Sneige, Detroit, MI, circa 1935
Thence by descent to the present owner

Paul E. Doros, The Tiffany Collection of the Chysler Museum at Norfolk, Richmond, 1978, p. 53 (for a related example)

Overall in very good condition. As expected with the “Lava” technique, the exterior surfaces are irregular and highly tactile showing some occasional surface irregularities, crazing and a few minute open air bubbles, all inherent in the making and technique. With a few small air bubble inclusions, also inherent in the making. The interior of the vase with traces of calcification to the bottom region (not at all visible from the exterior and only detectable under close inspection of the vase interior.) The exterior with a few light surface scratches and light surface abrasions to the outermost contours of the gold bands, primarily reserved to one side of the vase (all very minor and visible in the catalogue illustrations). The exterior of the vase is intensely iridized, imparting the vase with strong luminosity and a spectacular range of brilliant hues. When viewing the vase in the round, the gold iridized spiral is highly dimensional and tactile against the rich blue ground, imparting the vase with a strong sculptural sensibility. The spiral decoration is applied, which is quite unusual, as most of the other known examples from this Lava series are molded. An outstanding example from this rare Lava series, epitomizing the highest artistry of Tiffany’s favrile glass. When viewing the vase firsthand, the colors are richer and more saturated than seen in the catalogue illustrations. The glass walls are quite thick and the vase has great heft, heightening its boldness and sculptural nature. ---
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.

The “Lava” glass technique presents a dynamic union of some of the most influential aesthetic concepts that shaped Louis C. Tiffany’s artistic approach.  Chief among them was Tiffany’s profound love of nature which, in the case of the Lava vase, is interpreted through both subject matter and craftsmanship.  In the mid-19^th Century, Tiffany spent time traveling in Italy and it is possible that he was inspired to create the Lava series by the volcanic eruption of Mount Etna in Sicily.  The development of a technique to capture the essence of flowing lava began in the early 1900s.

Compared to other favrile glass vases produced by the firm, relatively few Lava vases were made due to the challenging method employed in creating them.  By manipulating molten favrile glass, the glassmakers were able to produce rough, organic shapes and surfaces that simulate the appearance of volcanic rock.  This textural treatment invites comparison between many Lava examples and 17^th Century Japanese raku-fired pottery.  As Tiffany was an avid collector of Japanese artifacts, this type of Japanese ceramic was likely another source of inspiration for the Lava series.

The quintessential feature of the Lava technique is the iridescent glass drippings to the exterior of the vase.  In the present example, the golden spiral beginning at the aperture harmonizes with the cone-shaped structure of the vessel.  The overall composition evokes the languid flow of lava down the side of a volcano through an abstract interpretation of this geological process rather than a completely naturalistic depiction.

The present vase is an early example of Lava glass, dating to the firm's earliest explorations of the technique.  Numbered 2324C, it was made at approximately the same time as a similar Lava vase in the collections of the Chrysler Museum (Norfolk, VA), numbered 2326C.  A unique and rare object in its own right, this vase is further distinguished by the fact that it has remained in the same family since the period.