Tiffany Studios

La Société Nationale des Beaux-Arts, Paris, 1914

Robert Koch, Louis C. Tiffany’s Art Glass, New York, 1977, fig. 97, no. 4 (for a related example formerly in the A. Douglas Nash Collection) and fig. 127 (for the related example cited below in the Metropolitan's collection)
John Loring, Louis Comfort Tiffany at Tiffany & Co., New York, 2002, p. 163 (for the related example cited below in the Metropolitan's collection)
Alice Cooney Frelinghuysen, Louis Comfort Tiffany and Laurelton Hall:  An Artist's Country Estate, New York, 2006, p. 123, fig. 208 (for a related example in the collection of The Metropolitan Museum of Art, gift of Louis Comfort Tiffany Foundation, 1951)
Martin Eidelberg, Tiffany Favrile Glass and the Quest of Beauty, New York, 2007, p. 68 (for a related example)
Paul E. Doros, The Art Glass of Louis Comfort Tiffany, New York, 2013, pp. 3 and 140-141 (for a related example)

Overall in very good condition. With a few minute air bubble and particular inclusions inherent in the making, not at all visually detracting from the vase. The exterior with a few light and fine surface scratches at the outermost contours of the shoulder. A superb example from this rare and iconic “Morning Glory” paperweight series distinguished by its elegant elongated neck which creates a larger canvas to depict the exceptional foliage decoration. When viewing the vase in the round, the Morning Glory blossoms and foliage are cohesively continuous around the full circumference imparting the vase with strong lyrical movement and visual interest. The vase displays a brilliant range of strongly saturated vibrant colors to the flower blossoms, and exquisitely rendered decoration to the surrounding leaves and foliage. An outstanding example which epitomizes the highest artistry of Tiffany glass.
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.

This iconic design first appeared in late 1913, when Tiffany Furnaces decided to move away from creating paperweight vases with an interior iridescence.  This new design philosophy permitted the flowers to be the primary focal point, and the transparency of the glass added a greater three-dimensional aspect to the internal decoration.

According to Leslie Nash, who was the son of Arthur Nash, the glasshouse’s superintendent, the company was experimenting with special formulas that created a glass that reacted and changed colors when struck with heat.  Louis Tiffany, aware of these experiments, came to Tiffany Furnaces one Monday in October 1913 with a watercolor of morning glories he had recently painted.  He showed the painting to Arthur Nash and insisted the glasshouse reproduce his painting in glass.  After numerous failures, the gaffers finally succeeded by using five different types of reactive glass.  Leslie Nash claimed the company spent $12,000 in materials and labor by the time the first successful Morning Glory paperweight vase was created.  For this reason, they were priced at no less than $1000 each. 

The model was first shown to the public at the 1914 Paris Salon and this lot, which is an outstanding example, was part of that display.  This vase is somewhat unusual in that, while most Morning Glory vases have an inverted top rim, it has a slightly elongated neck, which creates a larger canvas to depict the exceptional foliage.

─Paul Doros