Tiffany Studios

Macklowe Gallery, New York
Acquired from the above by the present owner, 1992

Robert Koch, Louis C. Tiffany’s Art Glass, New York, 1977, fig. 25 (for a closely related example)
Alice Cooney Frelinghuysen, Louis Comfort Tiffany and Laurelton Hall:  An Artist's Country Estate, New York, 2006, p. 122, fig. 204 (for a closely related example formerly in the collection of Louis Comfort Tiffany at Laurelton Hall)
Martin Eidelberg, Tiffany Favrile Glass and the Quest of Beauty, New York, 2007, p. 63 (for two closely related examples)
Paul E. Doros, The Art Glass of Louis Comfort Tiffany, New York, 2013, p. 130 (for a related example)

Overall in very good condition. With some small and minute air bubble and particulate inclusions inherent in the making and not at all visually detracting. The exterior with a few very light and fine surface scratches. The lower register of the vase with a very small superficial abrasion (approximately 1/8 inch) which appears on the exterior surface and does not have depth through the glass. This is only visible under close inspection with extreme magnification. The interior of the vase is beautifully iridized, imparting the vase with a strong sense of luminosity and visual depth. The vase is exquisitely decorated with twelve Poppy blossoms surrounding the full circumference of the upper shoulder and midsection of the body in alternating heights, imparting the vase with strong lyrical movement and visual interest. The blossoms are well defined with petals in striking poppy red, with centers articulated in deep cadmium yellow and ultramarine, all set against a pale blue-green background streaked with subtle hues of cobalt and ultramarine. The composition of the leaves is particularly artistic and beautifully rendered, articulated in rich tones of green and ultramarine. An outstanding example from this iconic Paperweight series displaying superb scale, decoration and color.
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.

Tiffany Furnaces never made paperweights in the traditional sense.  However, around 1900, they discovered a technique to encase a decoration between two layers of clear glass.  The design was frequently enhanced by the use of glass millefiori—from the Italian mille (thousand) and fiori (flowers)—and a gold, or orange-gold, iridescence on the vase’s interior surface.  The glasshouse’s initial attempts to produce paperweight vases featured basic shapes, simple designs and an occasional production flaw.  Louis Tiffany, however, quickly realized that this technique would be the perfect medium to express his love of nature, particularly flowers.  The gaffers’ skills and inventiveness improved rapidly, and paperweight vases are among some of the glassworks’ most artistic creations.  This Poppy paperweight vase exemplifies the heights of the gaffer’s abilities.  The graceful baluster-shaped body encasing vivid millefiori-centered flowers dynamically composed amongst stylized foliage clearly demonstrates the glassmaker’s great skill and artistry.   

─Paul Doros