Laurelton Hall Collection (by repute)

Private Collection

Collection of Maude B. Feld, New York

T💖hence by descent to Alan W. Feld and Suza𒅌nne C. Feld, 1995

Louis Tiffany long avoided, and was roundly praised for not using, enamel on his leaded glass windows. When he finally did decide to employ enamel, it was for entirely innovative products. These objects, composed of shaped copper beautifully overlaid with vitreous enamel, were first displayed in Tiffany Glass and Decorating Company’s exhibition at the 1900 Paris Exposition Universelle. The pieces featured both i🐻ridescent highlights and, more significantly, a unique translucency that allowed portions of the copper body to sparkle under reflected light. The incredible attention Tiffany’s enamelware received was only heightened when the Exposition awarded them the Grand Prix.

A similar display was shown by the firm at the 1902 Pan-American Exposition and caused one critic to proclaim: “The future extensive use of enamel seems to be assured, since experiments are now making, under the direction of Mr. Louis C. Tiffany, in his studio at Corona, Long Island, with the purpose of doing for enamel what has already been accomplished for glass. And surely all that ingenuityꦅ, skill and knowledge can suggest, this artist will work out and complete!”

The box offered here directly reflects Tiffany’s attraction to marine life, a theme that he referenced in a myriad of mediums. In this instance, the golden ochre, blue and green cover is finely decorated with a mass of raspberry coral that extends to the matching body⛎. Similarly overlapping the cover and body is a pink-tinged oyster attached to the coral. Likely designed by Alice Gouvy, one of the “Tiffany Girls,” the box is typical of the artistry and craftsmanship found in all of the company’s enameled works.