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The creation of this vase was overseen (as design director) by Louis Comfort
Tiffany and produced by Tiffany Glass and Decorating Company. It is dated ca.
1900 and its medium is mold-blown favrile glass.
At his Corona, New York factory, Tiffany encouraged continuous experi-
mentation in glass color and surface effects. On the top shelf is an example of agate-
ware [1979-84-1] in which a colorful mix of opaque glass simulates the laminated
pattern and ridged texture of stone. A wide-mouthed vessel [1966-55-29] shows
flame-like decoration and a goblet and vase [1966-55-9-a and 1977-83-1] are
covered with plant-like patterning.

(Left) (Right) This is a Les
This lapel Fleurs Animees, vol. 1.
watch, made The booklet is dated 1847.
by Tiffany & It is believed that
Co. ca. 1889, Emile Gallé used Les
was designed Fleurs Animées to learn
by Paulding how to read
Farnham. Its Along with Gallé,
medium is renowned illustrator and
gold, enamel, cartoonist J. J. Grandville
porcelain, and was born in Nancy,
diamonds. France, but he later estab-
In 1889, Farnham’s enameled and bejeweled lished himself in Paris.
orchids for Tiffany & Co. created a sensation at the In the two volumes on
Paris Exposition Universelle. The choice of orchids display, Grandville draws
coincided with these flowers being sought for the gar- fashionable French ladies
dens of the wealthy, who were also the jewelry firm’s as beautiful, wilting
patrons. Designers consulted botanical texts at the wildflowers or threatening
studio and made watercolor sketches to devise poisonous herbs.
life-like enameling schemes.

Above is a two-handled vase paint-
ed by Samuel Schellink and manufac-
tured by Rozenburg Pottery and
Porcelain Factory. It is dated 1903. Its
medium is porcelain, vitreous enamel.
The decoration on Rozenburg
porcelain was designed by a few master
painters including Samuel Schellink,
who is responsible for most objects in
this case. His designs were applied in
pencil and then other painters would
complete the decoration. In 1900,
there were 60 painters and ten
apprentices working at Rozenburg.

Above is a Folding desk designed by Emile Gallé and manufactured by
Etablissement Gallé. It is dated ca. 190. Its medium is various woods. This folding desk
is an example of French art nouveau furniture sold to American shoppers at Chicago’s
department store Marshall Field & Co. Gallé opened a small woodworking shop in
1884–85 where this piece was created. The desk showcases Gallé’s inlay work and
passion for nature, while also highlighting the piece’s utility, shown by two small
folddown shelves to support inkwell and pens.

At right is a Kettle and stand was designed by Christopher Dresser and manufactured
by Benham & Froud, Ltd. Its medium is copper, brass, ebony (kettle), wrought iron
(stand). Christopher Dresser (1834–1904) held a position of considerable importance
in the history of design during the 19th century. His published theories on design were
based on the importance of an object’s functionality and the simplicity of botanical
forms. Unlike many of his peers, he recognized the implications of mechanized production
and integrated an understanding of industrial processes into the development of his
designs, which were produced by various manufacturing companies.
This kettle and stand, manufactured by Benham and Froud, are today rarely seen
together as a pair. The kettle illustrates Dresser’s desire for undecorated, geometric
forms. The stand, with its intertwined tendril-like forms, reflects his interest in botany.

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