Tiffany Studios

Marilynn A. Johnson, Louis Comfort Tiffany:  Artist for the Ages, London, 2005, pp. 210-211 (for a closely related example in the collection of Toledo Museum of Art)

Overall in very good condition. The exterior surfaces with a few very light and fine surface scratches, most prevalent to the outermost contours of the shoulder. When viewed with strong reflected light, the vase appears a true “Samian” blood red hue, which is deeper and more saturated than seen in the catalogue illustration. The vase interior is cased in white, and the exterior of the top decorated collar is beautifully iridized, imparting the collar with strong luminosity and a range of brilliant hues. A superb example displaying an exceptionally elegant form, extraordinary color and finely articulated decoration on the top collar.
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 name for the banded decoration of intersecting zigzags, chains and other variations found on the applied necks and bases of many Favrile vases has changed over time.  Once known as “Egyptian Collar,” the term “Tel-el-Amarna” has come to be accepted.  However, recently discovered evidence indicates that “Byzantine” might be more accurate, as it appears Tiffany Studios intended “Tel-el-Amarna” to refer not to a decoration but to a particular shade of blue.

Tiffany Studios had a special exhibition at its Madison Avenue showrooms in March 1909.  A review of the display in the New York Observer commented:

Mr. Tiffany of the Tiffany Studios has just succeeded in producing the turquoise tone in Favrile glass. Upon this he has been at work for a long time. That his success is a triumph will be appreciated when it is known that only once before in the world’s art history (the Egyptian Tel-el-Amarna period) has this delicate hue in glass been approached, and that the Tiffany glass in color and tone not only equals but surpasses the Egyptian. Mr. Tiffany was inspired to try for this difficult shade in glass by seeing some rare bits of Egyptian porcelains of the Tel-el-Amarna period while he was in Egypt two years ago.

Both the article in the Observer, and one appearing in the York Evening Post, mention that some of the vases in the exhibit were decorated with “bands of fine interlacing design,” and this is perhaps the basis for referring to all pieces with a similar decorative motif as “Tel-el-Amarna.”  However, the fact that Arthur and Leslie Nash, in unpublished company notebooks, referred to Favrile shades with a border decoration of zigzags as “Byzantine” would seem to indicate that it, and not “Tel-el-Amarna," is a more historically accurate description for this category of vases.

Tel-el-Amarna vases, with their classic shapes, diversity of colors and wide range of decorative motifs have long been favored by collectors.  The McConnells’ collection superbly exemplifies the finest characteristics of this style, ranging from a vivid “Mazarine” blue (lot 3) to a striking “Samian” red (lot 1), and the imaginatively modified decorations on the necks of lots 2 and 7.

─Paul Doros