Object Notes

1983.19, Louis Comfort Tiffany, vase, 1905, manufacturer: Tiffany Glass and Decorating Company, favrile glass


GENERAL DESCRIPTION  
Louis Comfort Tiffany was one of America's most important designers at the turn of the century. The glass produced at his Corona Furnace on Long Island was especially famous because of its rich colors, organic shapes, and sinuous decoration.

1996.187.2.A-B, "Biarritz" shape cup and saucer with No. 5948 pattern, c. 1933, designer: Clarice Cliff, manuf: Arthur J. Wilkinson Ltd, Royal Staffordshire Pottery, Burslem, England, Earthenware with painted decoration copy


GENERAL DESCRIPTION  
The high modernist taste for streamlined shapes and spartan decoration was embodied in Clarice Cliff's designs of the 1930s. Her direct inspiration came from the work of French designer Jean Tetard, from whom Cliff took the idea for the very successful Stamford shape around 1930.

1996.187.1, "Biarritz" shape plate with No. 5948 pattern, c. 1933, designer: Clarice Cliff, manuf: Arthur J. Wilkinson Ltd, Royal Staffordshire Pottery, Burslem, England, Earthenware with painted decoration


GENERAL DESCRIPTION  
The high modernist taste for streamlined shapes and spartan decoration is embodied in Clarice Cliff's designs of the 1930s. Her direct inspiration came from the work of French designer Jean Tetard, from whom Cliff took the idea for the very successful Stamford shape around 1930.

1999.37.2, Plate, c. 1933, designer: Jean Luce, unknown factory, manufacturer, Limoges, France, earthenware with platinum decoration copy


GENERAL DESCRIPTION  
Square plates became a fashionable alternative to the more conventional round shape early in the 1930s, as designers sought to express a new vocabulary of geometrical forms inspired by the Machine Age.

1999.37.1, Plate, c. 1933, designer: Jean Luce, unknown factory, manufacturer, Limoges, France, earthenware with platinum decoration


GENERAL DESCRIPTION  
Square plates became a fashionable alternative to the more conventional round shape early in the 1930s, as designers sought to express a new vocabulary of geometrical forms inspired by the Machine Age.