Lot Essay
This window was formerly in the collection of one of Norway's best known late 19th Century painters, Frits Thaulow (1847-1906). Along with Edvard Munch, Thaulow is regarded as an important influence on the development of the impressionist and modern painting style in Norway. Known for his impressionistic studies of landscape and river scenes with intense brillance of color and light, Frits Thaulow's work was included in many of the important international salons and expositions of his time.
Throughout his life, Thaulow traveled extensively, and probably visited the United States on several occasions. His paintings were included in the World's Columbian Exposition, Chicago, 1893, at which time he may have become familiar with Louis Comfort Tiffany's work, or he may have met Tiffany during a documented trip to New York in 1898. Tiffany and Thaulow were both masters of manipulating light and color: Tiffany through the medium of glass, Thaulow through the medium of paint. Both artists observed nature with a trained eye; however, they interpreted it in a 'modern' impressionistic manner, rather than the more traditional styles of realism which were common in the mid/late 19th Century.
With the arrival of the 20th Century, the French Government announced the 1900 Exposition Universelle, which was to be the largest world Exposition ever. The traditional styles of the Beaux Arts period made way for a more avant-garde style, soon to be called 'Art Nouveau', which was first shown at the Exposition in Paris. Many of the countries which exhibited at the Exposition constructed buildings to showcase their cultural achievements.
In the medium of glass, Emile Galle was still the most important artist of his time. Louis Comfort Tiffany, however, was the only other significant artist who, with his unique style and difficult techniques in the glass medium, received enormous recognition during the Exposition. Tiffany's goal was to become America's premier glass artist, and he quickly surpassed his artistic rival, John LaFarge.
At the 1900 Exposition, Frits Thaulow first saw the Snowball window in Tiffany's booth. There were many objects, glass and windows from which to choose, including the Four Seasons and another window featuring Magnolias, both of which were recorded in an article in Deutsche Kunst und Dekoration. Thaulow, however, was attracted to the Snowball window because of its painterly qualities. At the close of the exposition, Thaulow acquired the window and shipped it to Norway.
The window depicts a branch of a Snowball bush (Viburnum opulus) in blossom against an abstract ground of mottled purple, blue and amber glass representing the sky. Tiffany also used this design for two lamp shades, which were produced in 16 inch diameter and 24 inch diameter and which were listed in the Tiffany Studios price list of 1906. In recent years, these models have been referred to as Hydrangea; however, horticulturists have long referred to a variety of Viburnum by the terminology of Snowball, which is the more likely reference in this window and in the lamp models which clearly depict the same flowering shrub.
The window fully employs the technique made possible by the use of Tiffany's hand-made 'art glass'. With the careful selection of what is known as opalescent glass, plated with several layers of 'favrile' glass, the three-dimesional effect is remarkable. Thaulow must have been particularly impressed with Tiffany's interpretation of light and color which is clearly seen when the window is illuminated.
Throughout his life, Thaulow traveled extensively, and probably visited the United States on several occasions. His paintings were included in the World's Columbian Exposition, Chicago, 1893, at which time he may have become familiar with Louis Comfort Tiffany's work, or he may have met Tiffany during a documented trip to New York in 1898. Tiffany and Thaulow were both masters of manipulating light and color: Tiffany through the medium of glass, Thaulow through the medium of paint. Both artists observed nature with a trained eye; however, they interpreted it in a 'modern' impressionistic manner, rather than the more traditional styles of realism which were common in the mid/late 19th Century.
With the arrival of the 20th Century, the French Government announced the 1900 Exposition Universelle, which was to be the largest world Exposition ever. The traditional styles of the Beaux Arts period made way for a more avant-garde style, soon to be called 'Art Nouveau', which was first shown at the Exposition in Paris. Many of the countries which exhibited at the Exposition constructed buildings to showcase their cultural achievements.
In the medium of glass, Emile Galle was still the most important artist of his time. Louis Comfort Tiffany, however, was the only other significant artist who, with his unique style and difficult techniques in the glass medium, received enormous recognition during the Exposition. Tiffany's goal was to become America's premier glass artist, and he quickly surpassed his artistic rival, John LaFarge.
At the 1900 Exposition, Frits Thaulow first saw the Snowball window in Tiffany's booth. There were many objects, glass and windows from which to choose, including the Four Seasons and another window featuring Magnolias, both of which were recorded in an article in Deutsche Kunst und Dekoration. Thaulow, however, was attracted to the Snowball window because of its painterly qualities. At the close of the exposition, Thaulow acquired the window and shipped it to Norway.
The window depicts a branch of a Snowball bush (Viburnum opulus) in blossom against an abstract ground of mottled purple, blue and amber glass representing the sky. Tiffany also used this design for two lamp shades, which were produced in 16 inch diameter and 24 inch diameter and which were listed in the Tiffany Studios price list of 1906. In recent years, these models have been referred to as Hydrangea; however, horticulturists have long referred to a variety of Viburnum by the terminology of Snowball, which is the more likely reference in this window and in the lamp models which clearly depict the same flowering shrub.
The window fully employs the technique made possible by the use of Tiffany's hand-made 'art glass'. With the careful selection of what is known as opalescent glass, plated with several layers of 'favrile' glass, the three-dimesional effect is remarkable. Thaulow must have been particularly impressed with Tiffany's interpretation of light and color which is clearly seen when the window is illuminated.