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224

Tiffany Studios

Cameo "Rose" Bowl

Tiffany Studios

Tiffany Studios

Cameo "Rose" Bowl

Cameo "Rose" Bowl

Authenticity guarantee

What is guaranteed?

Tiffany Studios

Cameo "Rose" Bowl


circa 1897

Favrile glass

engraved o2532

6⅛ inches (15.6 cm) high

8⅝ inches (21.9 cm) diameter

Overall in very good condition. When viewed firsthand, the bowl displays a palette of rich cranberry and chartreuse with olive green accents. The cameo work is expertly executed imparting the work with wonderful naturalistic texture and dimension. The glass with occasional minor air bubbles, particulate inclusions and surface irregularities which are inherent in the making and not visually distracting. The glass surfaces throughout with scattered, very fine and light surface scratches consistent with age and gentle handling. The underside of the vase is applied with a Doros Collection accession number, a second accession number, and some minor traces of adhesive residue. An extraordinary work exemplifying the technical mastery of Tiffany’s craftsmen.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Sotheby Parke-Bernet, New York, October 31, 1979, lot 572
Hugh McKean, The “Lost” Treasures of Louis Comfort Tiffany, New York, 1980, p. 172, fig. 173 (for a related example numbered o3440
Paul Doros, The Art Glass of Louis Comfort Tiffany, New York, 2013, pp. 2 and 86 (for the present lot illustrated)
Timeless Beauty, The Art of Louis Comfort Tiffany, The Charles Hosmer Morse Museum of American Art, Atglen, PA, 2016, p. 71 (for the above mentioned related example)

Reinventing Tradition –

The "Cameo" Technique


Cameo glass, in which the exterior is formed into a design in relief, was exceptionally popular in late-19th Century Europe. The commercial success of Émile Gallé in France and Thomas Webb & Sons in England was the catalyst for numerous imitators throughout the Continent. Tiffany, through his many trips to Europe, and Arthur Nash, his British-born and trained glasshouse superintendent, were very aware of these European products. It is therefore no surprise that the Stourbridge Glass Company incorporated cameo work soon after it began operations.


Although inspired by the European production, Tiffany’s cameo glass differed in three very important elements. Most of the foreign manufacturers cased, or covered, the hot glass with one or two layers of different colored glasses and then used an acid bath that would dissolve the unwanted sections and leave a design in low relief. The designs on Tiffany’s cameo vases, in contrast, were created largely by using a cutting or engraving wheel rather than acid. Also, Favrile cameo pieces were usually not reliant on only one or two layers of glass. Instead, sections of hot glass were applied and padded onto the body to introduce additional colors. Finally, the decorative motifs favored by Tiffany were entirely different than much of the European work. While the latter was generally stiff and very literal, Tiffany’s designs were far more artistic and impressionistic.


One of Tiffany’s most valued employees during this early period was Fredolin Kretschmann (1853-1898). Born in Austria, Kretschmann moved to England when he was 19 years old, received training at a glasshouse near Birmingham, and was soon recognized as one of the world’s leading glass cutters and engravers. Tiffany supposedly met and hired Kretschmann while the latter was preparing an exhibition of his work at the 1893 Columbian Exposition. Kretschmann’s finest pieces, some of which was sold at the then-incredible price of $1,500, were offered to some of the glasshouse’s most important clients, including the Goulds, Havemeyers and Vanderbilts.


Kretschmann tragically died at the age of 45. The Cameo “Rose” Bowl (lot 224), likely made by him shortly prior to his death, epitomizes his supreme skill and artistic acumen. The transparent bowl, with a coined top rim, features on the front and side glorious, large crimson and plum dahlias in relief with superbly carved petals and bright chartreuse pistils. Bordering the blossoms are brown-streaked chartreuse leaves and stems, also finely engraved. The piece is an absolute tour de force created by the hands of a master craftsman. 


- PD