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拍品专文
Japanese ports opened to the West in 1854 with US Admiral Matthew C. Perry’s visit to the country with the Convention of Kanagawa. The convention served as the first treaty between
the United States and Japan and the beginning of greater trade between the East and West. As part of this exchange, typical Japanese art such as woodblock prints, ceramics and metalware
made their way into the studios of major artists during the second half of 19th century, including into the libraries of several esteemed silver factories such as Gorham Manufacturing Co. of Rhode Island and Tiffany & Co. of New York. By the late 1860s and early 1870s, exuberant flatware patterns were introduced by both firms, including the Japanese and the Vine patterns at Tiffany & Co., each of which remained in production well into the 20th century, the former rereleased under the name Audubon with slight modifications in the 1950’s and the latter discontinued in 1934. Undoubtedly, Japanese woodblock prints offered inspiration for the artists at Tiffany who strived to translate the appearance of movement and fluidity seen
in the two-dimensional Japanese art form into their hollow-ware. Given the success and desire for these Japanesque works of art, a period of elaborately designed pitchers and household silver items in the style came into production. Tiffany & Co. displayed one of their most prominent shows at the Paris exhibition of 1878 – a show which won the firm the illustrious gold medal for their mixed-metal works of art. Major American and European private collectors as well as prominent institutions are on record as buying these objects at the remarkable exhibition. The Japanese influence on silver was paramount and continued into the 20th century with subsequent art movements such as Arts and Crafts and Art Nouveau.
Les ports japonais s’ouvrirent en 1854 quand l’amiral Matthew C. Perry’s visita le pays pour assister à la Convention de Kanagawa. Il s’agissait du premier traité commercial entre les Etats-Unis et le Japon. Dans le cadre de cet accord des œuvres d’art japonaises typiques comme des estampes, des céramiques et des bronzes arrivèrent dans les ateliers des grands artistes dans la seconde partie du XIXe siècle et des dessins arrivèrent chez d’importants d’orfèvres comme Gorham Manufacturing Co. à Rhode Island et Tiffany & Co.à New York qui en répétèrent les motifs sur leurs productions dès la fin des années 1860, début des années 1870. Production populaire qui continua jusque dans les années 1950 pour le premier et 1934 pour Tiffany. Leurs artisans s’attachèrent à traduire la fluidité et le mouvement libre de l’art japonais sur des pichets et toute sorte de pièces d’orfèvrerie domestique qui connurent un grand succès. Tiffany & Co. eu l’un des stands les plus admirés lors de l’Exposition universelle de 1878 notamment pour la technique du métal mixte inspiré du mokume japonais que la manufacture maîtrisait à la perfection.
the United States and Japan and the beginning of greater trade between the East and West. As part of this exchange, typical Japanese art such as woodblock prints, ceramics and metalware
made their way into the studios of major artists during the second half of 19th century, including into the libraries of several esteemed silver factories such as Gorham Manufacturing Co. of Rhode Island and Tiffany & Co. of New York. By the late 1860s and early 1870s, exuberant flatware patterns were introduced by both firms, including the Japanese and the Vine patterns at Tiffany & Co., each of which remained in production well into the 20th century, the former rereleased under the name Audubon with slight modifications in the 1950’s and the latter discontinued in 1934. Undoubtedly, Japanese woodblock prints offered inspiration for the artists at Tiffany who strived to translate the appearance of movement and fluidity seen
in the two-dimensional Japanese art form into their hollow-ware. Given the success and desire for these Japanesque works of art, a period of elaborately designed pitchers and household silver items in the style came into production. Tiffany & Co. displayed one of their most prominent shows at the Paris exhibition of 1878 – a show which won the firm the illustrious gold medal for their mixed-metal works of art. Major American and European private collectors as well as prominent institutions are on record as buying these objects at the remarkable exhibition. The Japanese influence on silver was paramount and continued into the 20th century with subsequent art movements such as Arts and Crafts and Art Nouveau.
Les ports japonais s’ouvrirent en 1854 quand l’amiral Matthew C. Perry’s visita le pays pour assister à la Convention de Kanagawa. Il s’agissait du premier traité commercial entre les Etats-Unis et le Japon. Dans le cadre de cet accord des œuvres d’art japonaises typiques comme des estampes, des céramiques et des bronzes arrivèrent dans les ateliers des grands artistes dans la seconde partie du XIXe siècle et des dessins arrivèrent chez d’importants d’orfèvres comme Gorham Manufacturing Co. à Rhode Island et Tiffany & Co.à New York qui en répétèrent les motifs sur leurs productions dès la fin des années 1860, début des années 1870. Production populaire qui continua jusque dans les années 1950 pour le premier et 1934 pour Tiffany. Leurs artisans s’attachèrent à traduire la fluidité et le mouvement libre de l’art japonais sur des pichets et toute sorte de pièces d’orfèvrerie domestique qui connurent un grand succès. Tiffany & Co. eu l’un des stands les plus admirés lors de l’Exposition universelle de 1878 notamment pour la technique du métal mixte inspiré du mokume japonais que la manufacture maîtrisait à la perfection.