- 25
Tiffany Studios
Estimate
80,000 - 120,000 USD
Log in to view results
bidding is closed
Description
- Tiffany Studios
- An Important "Apple" Bowl
- impressed SG45 and engraved Louis C. Tiffany
- enameled copper
Literature
Janet Zapata, The Jewelry and Enamels of Louis Comfort Tiffany, New York, 1993, p. 58 (for the present example illustrated)
John Loring, Louis Comfort Tiffany at Tiffany & Co., New York, 2002, pp. 124-127 (for a drawing and related examples of enameled copper vases)
Marilynn A. Johnson, Louis Comfort Tiffany: Artist for the Ages, London, 2005, p. 131 (for a related bowl in the collection of the Chrysler Museum of Art, Norfolk, VA)
Alice Cooney Frelinghuysen, Louis Comfort Tiffany and Laurelton Hall: An Artist's Country Estate, New York, 2006, p. 127 (for a related bowl)
Martin Eidelberg, Tiffany Favrile Pottery and the Quest of Beauty, New York, 2010, pp. 29 and 47 (for related glazed earthenware bowls) and p. 92, no. 180 (for the model in glazed earthenware)
John Loring, Louis Comfort Tiffany at Tiffany & Co., New York, 2002, pp. 124-127 (for a drawing and related examples of enameled copper vases)
Marilynn A. Johnson, Louis Comfort Tiffany: Artist for the Ages, London, 2005, p. 131 (for a related bowl in the collection of the Chrysler Museum of Art, Norfolk, VA)
Alice Cooney Frelinghuysen, Louis Comfort Tiffany and Laurelton Hall: An Artist's Country Estate, New York, 2006, p. 127 (for a related bowl)
Martin Eidelberg, Tiffany Favrile Pottery and the Quest of Beauty, New York, 2010, pp. 29 and 47 (for related glazed earthenware bowls) and p. 92, no. 180 (for the model in glazed earthenware)
Condition
Overall in very good condition. The bowl presents beautifully, displaying impressive scale, exquisite decoration and very thoughtful and artistic coloration. The bowl is executed in layers of intensely colored enamel imparting the work with strong luminosity and a spectacular range of brilliant hues as seen in the catalogue illustrations. The bowl was professionally conserved approximately ten years ago by a leading conservator to address a small number of minute chips concentrated around the lower and upper perimeter of the bowl. At the time of the restoration, a transparent enamel was applied to these select areas to stabilize the condition of the vase. The conservation was sensitively executed, and even upon close inspection is not discernible or detracting to the visual impact of the piece. The surfaces throughout with some minor irregularities, and the blue background passages along the lower register with some irregularities to the enamel work, all which appear inherent in the making. The bowl with very light wear and rubbing along the bottom rim of the copper base. With two minute surface losses to the enamel on the branches, only visible under close inspection. The interior of the bowl with minor surface soiling. An outstanding example which epitomizes the highest artistry of Tiffanys enamelwork.
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.
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.
Catalogue Note
When Tiffany first began experimenting with enamels, he was interested in all aspects of the design, including shapes, surface treatment and unique colorations. Early on, Tiffany sometimes turned to fruits and vegetables as subject matter, as their forms allowed him to explore an array of design concepts. This impressive Apple bowl is an early example of Tiffany’s foray into enameling on copper dating to 1898, the year of Stourbridge Glass Company's inception.
Created in the repoussé process, the bowl presents branches laden with apples in various stages of ripening. Each fruit is enameled with reds and yellows, some with traces of green and some with yellow around the calyx while leaves are colored in shades of green with touches of yellow. The assymetrical composition is presented against a rich luminous ground of ultramarine blue, which adds to the impression of apples growing on the vine as seen in nature. The combination of the diverse, saturated color palette and the sculptural composition of the vessel itself creates a highly naturalistic effect.
Tiffany enamels were first offered for sale in the 1904 Tiffany Blue Book, Tiffany & Co.’s annual selling catalogue with prices ranging from $10 to $300. By 1911, the upper price had escalated to $600. It was noted in the catalogue that Tiffany enamel was, “made under the personal supervision of Mr. Louis C. Tiffany” and that “Tiffany Enamel is singularly unique and distinctive in character as the Tiffany Favrile Glass.”
JANET ZAPATA
Created in the repoussé process, the bowl presents branches laden with apples in various stages of ripening. Each fruit is enameled with reds and yellows, some with traces of green and some with yellow around the calyx while leaves are colored in shades of green with touches of yellow. The assymetrical composition is presented against a rich luminous ground of ultramarine blue, which adds to the impression of apples growing on the vine as seen in nature. The combination of the diverse, saturated color palette and the sculptural composition of the vessel itself creates a highly naturalistic effect.
Tiffany enamels were first offered for sale in the 1904 Tiffany Blue Book, Tiffany & Co.’s annual selling catalogue with prices ranging from $10 to $300. By 1911, the upper price had escalated to $600. It was noted in the catalogue that Tiffany enamel was, “made under the personal supervision of Mr. Louis C. Tiffany” and that “Tiffany Enamel is singularly unique and distinctive in character as the Tiffany Favrile Glass.”
JANET ZAPATA