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拍品专文
An identical pitcher sold in these Rooms June 19, 1996, lot 50.
This pitcher was made to one of Tiffany's most important designs in the Japanesque style, exhibited at the Paris Exposition of 1878. A woodcut of this pitcher appeared in a contemporary review of Tiffany's acclaimed exhibition by French critic Emile Bergerat, "Les Chefs d'oeuvre d'art gl'Exposition Universelle," Paris, 1878, vol. I, p. 121. Another pitcher of this pattern, with a French control mark, is now in the collection of the Mus/aee d'Orsay, illustrated in Marc Bascou, et al., Catalogue Sommaire Illustr/ae des Arts D/aecoratifs, 1988, p. 212. Both the Mus/aee d'Orsay pitcher and the present example were retailed in Paris, either at the 1878 Exposition or shortly thereafter through Tiffany's Paris store. A third example of this pitcher in the collection of the Art Institute of Chicago is illustrated in Tom Armstrong, "The New Field-McCormick Galleries in the Art Institute of Chicago," Antiques (October 1988), p. 830. This pitcher combines all the elements of Edward Moore's mature designs in the Japanese style: a scenic approach to the decoration, based on a natural subject; a painter-like use of color, created by alloys and applied gold; and a hand-made effect created by spot-hammering which has been matte-finished. Moore's work for Tiffany was inspired by the principles of the Aesthetic movement, which rejected Western historical revival styles, heavy sculptural ornament, and the highly polished surfaces seen as products of the machine age.
[B&W PHOTO CAPTION] Design for decoration of pitcher #5051. Copyright c Tiffany and Company, 1998. Not to be published or reproduced without prior permission. No permission for commercial use will be granted except by written license agreement.
This pitcher was made to one of Tiffany's most important designs in the Japanesque style, exhibited at the Paris Exposition of 1878. A woodcut of this pitcher appeared in a contemporary review of Tiffany's acclaimed exhibition by French critic Emile Bergerat, "Les Chefs d'oeuvre d'art gl'Exposition Universelle," Paris, 1878, vol. I, p. 121. Another pitcher of this pattern, with a French control mark, is now in the collection of the Mus/aee d'Orsay, illustrated in Marc Bascou, et al., Catalogue Sommaire Illustr/ae des Arts D/aecoratifs, 1988, p. 212. Both the Mus/aee d'Orsay pitcher and the present example were retailed in Paris, either at the 1878 Exposition or shortly thereafter through Tiffany's Paris store. A third example of this pitcher in the collection of the Art Institute of Chicago is illustrated in Tom Armstrong, "The New Field-McCormick Galleries in the Art Institute of Chicago," Antiques (October 1988), p. 830. This pitcher combines all the elements of Edward Moore's mature designs in the Japanese style: a scenic approach to the decoration, based on a natural subject; a painter-like use of color, created by alloys and applied gold; and a hand-made effect created by spot-hammering which has been matte-finished. Moore's work for Tiffany was inspired by the principles of the Aesthetic movement, which rejected Western historical revival styles, heavy sculptural ornament, and the highly polished surfaces seen as products of the machine age.
[B&W PHOTO CAPTION] Design for decoration of pitcher #5051. Copyright c Tiffany and Company, 1998. Not to be published or reproduced without prior permission. No permission for commercial use will be granted except by written license agreement.