Collecting Inspiration: Edward C. Moore at Tiffany & Co.

Intro

Edward C. Moore was the creative force behind the magnificent and inventive silver produced at Tiﬀany & Co. during the second half of the nineteenth century. His is a tale of phenomenal artistry, ambition, innovation, and vision. In his drive to study and create beauty, Moore sought inspiration in diverse cultures and geographies. He amassed a vast collection of artworks from ancient Greece and Rome, Asia, Europe, and the Islamic world with the aim of educating and sparking creativity among artists and artisans in the United States, particularly those at Tiﬀany. He believed American design could be transformed through engagement with historical and international exemplars, and his collection not only revolutionized Tiﬀany’s silver but also came to influence generations of artists and craftspeople.

Moore’s commitment to education led him to designate that his collection be bequeathed to a museum. Upon his death in 1891, his family donated his more than two thousand objects and five hundred books to The Met so that they would continue to be available to all. The Museum displayed the works together in a dedicated gallery until 1942, after which they were dispersed to specialized departments that had developed in the intervening decades.

This exhibition reunites more than 180 works from Moore’s collection, presenting them alongside Tiffany silver created under his direction. The juxtapositions reveal that Moore and his team engaged with these objects in dynamic ways, producing hybrid designs with experimental techniques that endowed silver with new colors, textures, decorative vocabularies, and aesthetic sensibilities.

Early Years

Throughout his career, Edward C. Moore guided the design and manufacture of silver bearing the Tiffany mark. Trained in his family’s New York City silversmithing shop, he proved to be a gifted designer and silversmith at an early age, and in 1849 he joined his father in the partnership John C. Moore and Son. Two years later, Tiffany, Young & Ellis, the firm that would later become Tiffany & Co., secured an agreement to be the sole retail outlet for Moore silver. Edward soon took charge of the family business and served as Tiffany’s exclusive supplier; later, in 1868, his silver manufactory was transferred to Tiffany & Co. in exchange for cash and shares in the newly incorporated company.

Moore’s position afforded him opportunities to travel and access to social and artistic circles that informed his collecting. His holdings became integral to the training and working methods of Tiffany designers and silversmiths; he set up a design room where a vast array of objects and an extensive library were made available to apprentices and staff. He created a collaborative work environment, and each exquisite piece reflects the contributions of many individuals. Their work soon attracted international attention, receiving awards and accolades at world’s fairs and enjoying avid patronage in the United States and around the globe.

Selected Artworks

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Cup, Edward C. Moore American, Silver and silver-gilt, American — Cup
Edward C. Moore
1853

Pitcher, Tiffany, Young & Ellis American, Silver — Pitcher
Tiffany, Young & Ellis
John C. Moore and Son
ca. 1853

Portrait of Edward C. Moore, Howard Russell Butler American, Oil on canvas — Portrait of Edward C. Moore
Howard Russell Butler
ca. 1885-91

Tiffany silver and Greek and Roman Art

Throughout the nineteenth century, Western collectors were captivated by the art of ancient Greece and Rome. Moore amassed an impressive assemblage of Greek and Roman glass vessels and fragments as well as terracotta vases, jugs, and lamps. Much of the silver produced under his direction reflects classical sources, as seen in the symmetrical forms, figural compositions inspired by black- and red-figure Greek vases, and distinctive decorative vocabulary such as helmets, shields, and stylized plant motifs.

Moore embraced the trend of collecting ancient glass; of the approximately 650 classical objects he left to The Met, 618 of them are glass. Spanning a range of manufacturing techniques from the late sixth century BCE through the sixth century CE, the exceptional collection features core-formed, cast, blown, and mold-blown vessels and fragments. Their lustrous surfaces and rich colors fueled Moore’s experiments with mixed metal compositions and surface treatments for silver. Although Moore and his team were on the vanguard of looking beyond the canon that had defined Euro-American art for centuries—exploring more progressive and non-Western styles—Greek and Roman art remained foundational for Tiffany designers, and classically inspired silver continued to be a mainstay of the company’s production.

Selected Artworks

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The Bryant Vase, Tiffany & Co., Silver and gold, American — The Bryant Vase
Multiple artists/makers
1876

Pitcher and Goblets, Tiffany & Co., Silver, silver gilt — Pitcher and Goblets
Tiffany & Co.
1859

Vase, Tiffany & Co., Silver, silver-gilt, and glass or stone, American — Vase
Tiffany & Co.
1869

Sugar Bowl, Tiffany & Co., Silver, American — Sugar Bowl
Tiffany & Co.
1862–1863

Mustard Pot, Tiffany & Co., Silver, copper, gold, patinated copper-gold alloy, patinated copper-platinum-iron alloy, and niello, American — Mustard Pot
Tiffany & Co.
ca. 1879

Goelet Cup, Tiffany & Co., Silver and silver gilt, American — Goelet Cup
Tiffany & Co.
1888

Cup and saucer, Tiffany & Co., Silver, patinated copper, patinated copper-platinum-iron alloy, and gold, American — Cup and saucer
Tiffany & Co.
ca. 1881

Goelet Cup, Schooner Prize, Tiffany & Co., Silver and silver gilt, American — Goelet Cup, Schooner Prize
Multiple artists/makers
1884

Pitcher, Tiffany & Co., Silver, American — Pitcher
Tiffany & Co.
1882-89

Tea and Coffee Set, Tiffany & Co., Silver, silver gilt, and ivory, American — Tea and Coffee Set
Tiffany & Co.
1853–1861

Glass mosaic ribbed bowl fragment, Glass, Roman — Glass mosaic ribbed bowl fragment
Roman
late 1st century BCE–early 1st century CE

Glass mosaic carinated dish fragment, Glass, Roman — Glass mosaic carinated dish fragment
Roman
late 1st century BCE–early 1st century CE

Glass striped mosaic bowl fragment, Glass, Roman — Glass striped mosaic bowl fragment
Roman
late 1st century BCE–early 1st century CE

Glass mosaic carinated bowl fragment, Glass, Roman — Glass mosaic carinated bowl fragment
Roman
late 1st century BCE–early 1st century CE

Glass short-strip mosaic bowl fragment, Glass, Roman — Glass short-strip mosaic bowl fragment
Roman
late 1st century BCE–early 1st century CE

Glass network mosaic fragment, Glass, Roman — Glass network mosaic fragment
Roman
late 1st century BCE–early 1st century CE

Glass mosaic bowl fragment, Glass, Roman — Glass mosaic bowl fragment
Roman
late 1st century BCE–early 1st century CE

Glass amphoriskos (perfume flask), Glass, Roman, Syrian — Glass amphoriskos (perfume flask)
Roman, Syrian
1st century CE

Glass double head-shaped flask, Glass, Roman — Glass double head-shaped flask
Roman
3rd century CE

Glass ribbed bottle, Glass, Roman — Glass ribbed bottle
Roman
1st century CE

Glass ribbed bowl, Glass, Roman — Glass ribbed bowl
Roman
mid-1st century CE

Glass perfume bottle, Glass, Roman — Glass perfume bottle
Roman
1st century CE

Glass mosaic bottle, Glass, Roman — Glass mosaic bottle
Roman
1st half of 1st century CE

Glass bottle shaped like a date, Glass, Roman — Glass bottle shaped like a date
Roman
mid-1st–early 2nd century CE

Glass mosaic bowl, Glass, Greek or Roman — Glass mosaic bowl
Greek or Roman
2nd–1st century BCE

Glass mosaic pyxis with lid, Glass, Roman — Glass mosaic pyxis with lid
Roman
1st half of 1st century CE

Glass mosaic jar, Glass, Greek, probably Eastern Mediterranean — Glass mosaic jar
Greek, probably Eastern Mediterranean
2nd–early 1st century BCE

Glass mosaic bowl, Glass, Greek, probably Eastern Mediterranean — Glass mosaic bowl
Greek, probably Eastern Mediterranean
2nd–mid-1st century BCE

Glass alabastron (perfume bottle), Glass, Greek, Eastern Mediterranean — Glass alabastron (perfume bottle)
Greek, Eastern Mediterranean
late 6th–5th century BCE

Glass aryballos (perfume bottle), Glass, Greek, Eastern Mediterranean — Glass aryballos (perfume bottle)
Greek, Eastern Mediterranean
late 6th–5th century BCE

Glass oinochoe (perfume jug), Glass, Eastern Mediterranean or Italian — Glass oinochoe (perfume jug)
Eastern Mediterranean or Italian
late 4th–early 3rd century BCE

Glass jug, Glass, Roman — Glass jug
Roman
4th century CE

Glass lentoid bottle, Glass, Roman — Glass lentoid bottle
Roman
ca. 3rd century CE

Glass garland bowl, Glass, Roman — Glass garland bowl
Roman
late 1st century BCE

Glass amphoriskos (perfume bottle), Glass, Greek, Eastern Mediterranean — Glass amphoriskos (perfume bottle)
Greek, Eastern Mediterranean
late 6th–5th century BCE

Glass flask, Glass, Roman — Glass flask
Roman
4th century CE

Glass cinerary urn with lid, Glass, Roman — Glass cinerary urn with lid
Roman
mid-1st century CE

Glass jar, Glass, Roman, Syrian — Glass jar
Roman, Syrian
4th century CE

Glass jug with trefoil rim, Glass, Roman — Glass jug with trefoil rim
Roman
4th–5th century CE

Glass bowl, Glass, Roman — Glass bowl
Roman
3rd century CE

Glass jug, Glass, Roman, Syrian — Glass jug
Roman, Syrian
4th–6th century CE

La Basilica di San Marco in Venezia illustrata nella storia e nell'arte da scrittori veneziani : [volume 3], Camillo Boito — La Basilica di San Marco in Venezia illustrata nella storia e nell'arte da scrittori veneziani : [volume 3]
Camillo Boito
Ferdinando Ongania
1881

Terracotta column-krater (bowl for mixing wine and water), Göttingen Painter, Terracotta, Greek, Attic — Terracotta column-krater (bowl for mixing wine and water)
Göttingen Painter
ca. 500 BCE

Jug, Terracotta, Italic-Native, South Italian (Daunian) — Jug
Italic-Native, South Italian (Daunian)
1st half of 6th century BCE

Terracotta neck-amphora (jar), Terracotta, Greek, Attic — Terracotta neck-amphora (jar)
Greek, Attic
ca. 510 BCE

Terracotta hydria (water jar), Amykos Painter, Terracotta, Greek, South Italian, Lucanian — Terracotta hydria (water jar)
Amykos Painter
ca. 420–400 BCE

Terracotta calyx-krater (mixing bowl), Terracotta, Greek, South Italian, Apulian, Gnathian — Terracotta calyx-krater (mixing bowl)
Greek, South Italian, Apulian, Gnathian
ca. 350–300 BCE

Tiffany silver and European Glass

Moore had a particular passion for glass. While his collection features a broad range of art forms, the modern European works are primarily glass. The selection on view here, drawn from the larger group of 116, conveys Moore’s fascination with the variety of colors and forms that could be realized through different glassworking techniques.

Ranging in date from the 1500s to the mid-nineteenth century, Moore’s European glass collection is particularly strong in Venetian and façon de Venise (Venetian style) objects. The revival of the Venetian glass industry in the 1860s aligned with his own interest in invigorating contemporary design and artistic practice. He was clearly drawn to the dynamic hot-working techniques that exploited glass’s molten state to create new forms, integrate colors, and shape energetic decorative details. While some direct parallels in vessel shape and decoration exist between the glass and the silver produced at Tiffany, this part of the collection appears to have offered inspiration on a more abstract, visceral level, encouraging Moore and his designers to transcend silver’s traditionally monochromatic palette with the use of enamels, mixed metals, and tonal surface treatments.

Selected Artworks

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Claret Jug (one of a pair), Tiffany, Young & Ellis American, Silver, American — Claret Jug (one of a pair)
Tiffany, Young & Ellis
John C. Moore and Son
1853

Pail (Situla), Glass, enameled and gilt, Italian, Venice (Murano) — Pail (Situla)
Italian, Venice (Murano)
early 16th century

Footed vase (Vasenpokal), Glass: blown, applied mold-blown, impressed, and milled decoration, engraved, cold-painted, and gilded, Austrian, Innsbruck — Footed vase (Vasenpokal)
Austrian, Innsbruck
ca. 1570–1590

Wineglass, Glass, blown with applied decoration, Italian, Venice (Murano) or façon de Venise possibly Dutch — Wineglass
Italian, Venice (Murano) or façon de Venise possibly Dutch
17th century

Plate, Glass; blown a reticello, Italian, Venice (Murano) — Plate
Italian, Venice (Murano)
17th-early 18th century

Tankard, Glass; blown, applied and marvered decoration; pewter mount, probably South German — Tankard
probably South German
1716

Drinking bottle (Porrón), Glass; blown, a retorti, Spanish, probably Barcelona (Façon de Venise) — Drinking bottle (Porrón)
Spanish, probably Barcelona (Façon de Venise)
18th century

Thumb glass, Glass; blown, applied and milled decoration, German — Thumb glass
German
17th –18th century

Bottle, Glass; mold-blown, applied, combed, and marbered decoration; pewter, Central European — Bottle
Central European
18th century

Vase, Glass; blown, applied and crimped decoration, Spanish, Almería or Granada — Vase
Spanish, Almería or Granada
17th–18th century

Beaker, Glass; blown, a fili, dip-molded, and applied milled decoration, possibly Dutch, Amsterdam — Beaker
possibly Dutch, Amsterdam
first quarter 17th century

Beaker, Glass; blown, a retorti, Italian, Venice (Murano) — Beaker
Italian, Venice (Murano)
mid-19th century

Pharmacy jar (albarello), Glass; blown, marbleized decoration, possibly Italian, Venice (Murano) or possibly French, façon de Venise — Pharmacy jar (albarello)
possibly Italian, Venice (Murano) or possibly French, façon de Venise
18th–19th century

Perfume bottle, Chalcedony and aventurine glass, blown with gilded bronze mount and stopper, Italian, Venice (Murano) — Perfume bottle
Italian, Venice (Murano)
17th–18th century

Cup, Chalcedony glass; blown, Italian, possibly Venice (Murano) — Cup
Italian, possibly Venice (Murano)
18th century

Bowl, Glass; blown and molded, a stampatura, Italian, Venice (Murano) — Bowl
Italian, Venice (Murano)
17th or 18th century

Basket, Glass; blown, applied trails, probably Flemish — Basket
probably Flemish
18th century

Bowl, Glass; blown, a ghiaccio, applied decoration, Spanish, probably Catalonia, façon de Venise — Bowl
Spanish, probably Catalonia, façon de Venise
16th-17th century

Tiffany silver and Arts of the Islamic World

A pioneering American collector of art from the Islamic world, Moore created designs inspired by Islamic sources from his earliest days at Tiffany. He began acquiring outstanding examples of Islamic ceramics, glass, textiles, jewelry, and metalwork at a time when there was neither a U.S. market for this art nor notable domestic interest in it. His bequest of approximately four hundred works from Islamic lands remains the largest and most comprehensive collection of material of this type to have entered The Met.

This gallery reflects the quality and diversity of the objects he collected, marked by a chronological and geographic scope that ranges from the 1100s to the 1800s and from Spain to the Middle East and India. Sinuous forms, brilliant colors, and interlaced motifs appealed to Moore and reinvigorated Tiffany’s designs with new sensibilities and artistic vocabularies. The mixed-metal wares in Moore’s collection inspired experiments with what Tiffany called “chromatically decorated” silver, inlaid with reddish copper and black niello, while the firm’s success with enameling techniques recalls the colorful enameled glassware and Iznik ceramics. Inventive designs identified in company records as “Moresque,” “Persian,” and “Saracenic” brought Tiffany new patrons and critical acclaim.

Selected Artworks

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Swan Centerpiece, Tiffany & Co., Silver and silver gilt, American — Swan Centerpiece
Tiffany & Co.
1874

Tea and Coffee Set, Tiffany & Co., Silver, copper, niello, and ivory, American — Tea and Coffee Set
Tiffany & Co.
1876

Tea Set, Tiffany & Co., Silver, silver gilt, and ivory, American — Tea Set
Tiffany & Co.
1866-67

Dish, Tiffany & Co., Silver, copper, niello, and gold, American — Dish
Tiffany & Co.
1875–76

Tea and Coffee Set, Tiffany & Co., Silver, American — Tea and Coffee Set
Tiffany & Co.
1879

Pitcher, Tiffany & Co., Silver and copper, American — Pitcher
Tiffany & Co.
1875

Two cups and saucers from the Mackay Service, Tiffany & Co., Silver-gilt and enamel, American — Two cups and saucers from the Mackay Service
Tiffany & Co.
1878

Candlestick, Tiffany & Co., Iron, silver, gold, and copper, American — Candlestick
Tiffany & Co.
1878

Ice Cream Dish from Mackay Service, Tiffany & Co., Silver, silver gilt, American — Ice Cream Dish from Mackay Service
Tiffany & Co.
1878

Love Cup, Tiffany & Co., Silver and silver gilt, American — Love Cup
Tiffany & Co.
1888

Presentation Vase, Tiffany & Co., Silver, American — Presentation Vase
Tiffany & Co.
1888

Smith and Wesson .38 Caliber Safety Third Model Double-Action Revolver, serial no. 83097, with Case, Smith & Wesson American, Steel, silver, enamel, nickel, wood, leather, copper alloy, gold, American, Springfield, Massachusetts and New York — Smith and Wesson .38 Caliber Safety Third Model Double-Action Revolver, serial no. 83097, with Case
Smith & Wesson
Tiffany & Co.
1892–93

Smith and Wesson .32 Caliber Single-Action Revolver, serial no. 94421, Smith & Wesson American, Steel, silver, niello, nickel, American, Springfield, Massachusetts and New York — Smith and Wesson .32 Caliber Single-Action Revolver, serial no. 94421
Smith & Wesson
Tiffany & Co.
1892–93

Smith and Wesson .44 Double-Action Revolver for George Jay Gould (1864–1923), serial no. 23402, with Case and Cleaning Brush, Smith & Wesson American, Steel, silver, ivory, wood, paper, textile, leather, gold, copper alloy, iron, silver substitute, fiber, American, Springfield, Massachusetts and New York — Smith and Wesson .44 Double-Action Revolver for George Jay Gould (1864–1923), serial no. 23402, with Case and Cleaning Brush
Smith & Wesson
Tiffany & Co.
1888–89

Love Cup, Tiffany & Co., Silver, enamel, and silver gilt, American — Love Cup
Tiffany & Co.
1889

Desk Set, Tiffany & Co., Silver and enamel, American — Desk Set
Tiffany & Co.
1891–1902

Candlestick, Tiffany & Co., Silver and niello, American — Candlestick
Tiffany & Co.
1889

Tray Stand, Brass; hammered, turned, and chased, inlaid with silver, copper, and black compound — Tray Stand
mid-14th century (after 1342)

Mortar and Pestle made for Abu Bakr 'Ali Malikzad al-Tabrizi, Bronze; inlaid with silver and black compound — Mortar and Pestle made for Abu Bakr 'Ali Malikzad al-Tabrizi
late 12th–early 13th century

Tray, Brass; inlaid with silver and black compound — Tray
1250–1300

Ewer with Inscription, Horsemen, and Vegetal Decoration, `Umar ibn al-Hajji Jaldak, Brass; inlaid with silver and black compound — Ewer with Inscription, Horsemen, and Vegetal Decoration
`Umar ibn al-Hajji Jaldak
dated 623 AH/1226 CE

Candlestick Base with Interlacing Dragons, Brass; inlaid with silver and copper — Candlestick Base with Interlacing Dragons
early to mid-13th century

Tray, Zinc alloy; cast, engraved, inlaid with silver (bidri ware) — Tray
second half 18th–19th century

Engraved Lamp Stand with a Cylindrical Body, Brass; cast, engraved, and inlaid with black compound — Engraved Lamp Stand with a Cylindrical Body
probably late 16th or early 17th century

Dragon-Handled Jug with Inscription, Brass; cast and turned, engraved, and inlaid with silver, gold, and black organic compound — Dragon-Handled Jug with Inscription
early 16th century

Inscribed Pen Box, Brass; engraved and inlaid with silver, gold, and black compound — Inscribed Pen Box
made in early–late 14th century; altered shortly before mid-15th century

Architecture arabe : ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826, Pascal Coste French — Architecture arabe : ou, Monuments du Kaire, mesurés et dessinés, de 1818 à 1826
Pascal Coste
Firmin Didot Freres
1839

Coptic Panels, Wood; inlaid with bone, Egyptian (Fatimid, Coptic) — Coptic Panels
Egyptian (Fatimid, Coptic)
10th–12th century

Textile Fragments, Silk and metal-wrapped thread; lampas — Textile Fragments
probably late 17th–18th century

Bookbinding (Jild-i kitab), Pasteboard; painted and lacquered — Bookbinding (Jild-i kitab)
19th century

Collection of specimens and illustrations of the textile manufactures of India. Second series : Kincobs, Nos. 401 to 458, John Forbes Watson Scottish — Collection of specimens and illustrations of the textile manufactures of India. Second series : Kincobs, Nos. 401 to 458
Multiple artists/makers
1873–80

Flintlock Gun, Iron, wood (likely mahogany), silver, brass, ivory, Sri Lankan — Flintlock Gun
Sri Lankan
17th–18th century

Tripod Candlestick, Brass; inlaid with silver, gold, and black compound — Tripod Candlestick
1250–1300

Helmet with Talismanic Inscriptions, Steel; damascened with gold — Helmet with Talismanic Inscriptions
18th–early 19th century

Dish, Tin-glazed and luster-painted earthenware, Spanish, Valencia — Dish
Spanish, Valencia
ca. 1500

Plate, Stonepaste; polychrome-painted under transparent glaze — Plate
third quarter 16th century

Plate with Vegetal Decoration in a Seven-pointed Star, Stonepaste; polychrome-painted under transparent glaze — Plate with Vegetal Decoration in a Seven-pointed Star
ca. 1655–80

Dagger (<i>Qama</i>) with Sheath and Utility Knife, Steel, ivory (walrus), silver, gold, niello, copper, wood (likely mahogany), leather, sharkskin, Caucasian, probably Tbilisi, Georgia — Dagger (*Qama*) with Sheath and Utility Knife
Caucasian, probably Tbilisi, Georgia
dated A.H. 1273 /1856–57 CE and 1861

Star-Shaped Tile, Stonepaste; luster-painted on opaque white glaze — Star-Shaped Tile
dated 663 AH/1265 CE

Footed Bowl with Eagle Emblem, Glass; dip-molded, blown, enameled, and gilded — Footed Bowl with Eagle Emblem
mid-13th century

Ceramic Mosque Lamp, Ibn al-Ghaibi al-Tabrizi, Stonepaste; polychrome-painted under transparent glaze — Ceramic Mosque Lamp
Ibn al-Ghaibi al-Tabrizi
15th century

Bottle, Stonepaste; luster-painted on yellow glaze ground with cobalt blue glaze — Bottle
late 17th century

Bottle, Stonepaste; luster-painted on opaque blue glaze, with silver fitting — Bottle
late 17th century

Figure of a Mouse in Deep Blue Glass, Glass; mold-blown with applied decoration — Figure of a Mouse in Deep Blue Glass
probably 19th century

Ewer, Glass; mold-blown with applied decoration — Ewer
probably 19th century

Jar, Stonepaste; polychrome-painted under transparent glaze — Jar
14th century

Vase in the Form of a Double Gourd, Stonepaste; painted under transparent glaze — Vase in the Form of a Double Gourd
second half of the 17th century

Bottle, Glass; mold-blown, tooled — Bottle
probably 19th century

Rosewater Sprinkler, Glass; blown — Rosewater Sprinkler
late 18th–19th century

Vase, Glass; mold-blown, tooled — Vase
probably 19th century

Napkin or Hand Towel, Linen, silk; plain weave, embroidered — Napkin or Hand Towel
18th century

Cover, Cotton; embroidered with silk and metal-wrapped thread — Cover
19th century

Rosewater Sprinkler, Glass; mold-blown, tooled — Rosewater Sprinkler
probably 19th century

Swan-Neck Bottle (Ashkdan), Glass; mold-blown, tooled — Swan-Neck Bottle (Ashkdan)
probably 19th century

Girdle Clasp, Silver sheet; gilt, filigree, wire and granulation over silvered copper alloy — Girdle Clasp
19th century

Girdle Clasp, Silver sheet; gilt, repoussé, patterned wire, and granulation; inlaid with silicae, coral and turquoise beads filigreed, granulation — Girdle Clasp
19th century

Girdle Clasp, Silver sheet; applied with filigree, granulation, inlaid with enamel — Girdle Clasp
19th century

Turban Ornament, Silver sheet; gilded, applied with filigree, inlaid with enamel and colored glass/pearls — Turban Ornament
19th century

Mosque Lamp, Glass; blown, enameled, and gilded — Mosque Lamp
14th century

Turban Ornament, Silver sheet; gilded, applied with filigree, inlaid with turquoise — Turban Ornament
19th century

Tiffany silver and Arts of East Asia

The decorative arts of East Asia captured Moore’s imagination and inspired inventive flights of fancy from Tiffany designers and craftspeople. About eight hundred Japanese works of art that he collected are now at The Met, including metalwork, textiles, lacquerware, ceramics, bamboo basketry, and sword fittings, and he gave an equally varied group of more than one hundred Chinese works. A fashion for Japanese art, or “Japanism,” swept through Europe and the United States following the 1854 opening of several ports in Japan for trade with the West, and many regarded Japanese artistic practices as an exemplar for avant-garde design reform. Guided by his desire to spark creativity and innovation, Moore acquired a range of exceptional objects and relatively inexpensive collectibles from the Edo (1615–1868) and Meiji (1868–1912) periods.

Moore and his team carefully studied materials, techniques, decorative vocabularies, and compositions in East Asian art. The related silver designs incorporate novel methods for creating multicolored alloys and mixed-metal laminates, as well as fresh combinations of imagery—and they made Tiffany an international sensation. One critic wrote in 1878 that the artists’ study of “Japanese forms and styles . . . has led not to imitation of those models, but to adaptations that have resulted in the creation of a new order of production.”

Selected Artworks

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Vase, Tiffany & Co., Silver, copper, brass, and silver-copper-gold alloy, American — Vase
Tiffany & Co.
1877

Necklace, Tiffany & Co., Yellow, green, and pink gold, American — Necklace
Tiffany & Co.
1875–80

Necklace, Tiffany & Co., Gold, American — Necklace
Tiffany & Co.
1873–1878

Teapot, Tiffany & Co., Silver, American — Teapot
Tiffany & Co.
1872–1873

Pair of vases, Tiffany & Co., Silver, copper, gold, brass, and gold-copper-silver alloy, American — Pair of vases
Tiffany & Co.
ca. 1878

Vase, Tiffany & Co., Silver, American — Vase
Tiffany & Co.
1877

Teapot, Tiffany & Co., Silver, copper, gold, ivory, and jade, American — Teapot
Tiffany & Co.
1878–80

Tray, Tiffany & Co., Silver, gold, copper, and iron, American — Tray
Tiffany & Co.
1878

Vase, Tiffany & Co., Silver, copper, silver-zinc alloy, copper-gold alloy, copper-silver alloy with gold traces, gold-silver-copper alloy, and gold-silver alloy, American — Vase
Tiffany & Co.
1878

Tea and Coffee Set, Tiffany & Co., Silver, copper, brass, copper-gold-silver alloys, silver-gilt, and ivory, American — Tea and Coffee Set
Tiffany & Co.
1877–1878

Conglomerate Vase, Tiffany & Co., Silver, etched iron, copper, fire-gilded copper, gold-copper-silver alloys, and niello, American — Conglomerate Vase
Tiffany & Co.
1878

Selection of Flatware from a Sixty-Two-Piece Service, Tiffany & Co., Silver, copper, brass, gold, silver gilt, other alloys — Selection of Flatware from a Sixty-Two-Piece Service
Tiffany & Co.
1880-83

Tray, Tiffany & Co., Silver, copper, brass, gold-copper alloy, and copper-platinum-iron alloy, American — Tray
Tiffany & Co.
1879–80

Vase, Tiffany & Co., Silver, copper, brass, and silver-copper-zinc alloy, American — Vase
Tiffany & Co.
ca. 1880

Pitcher, Tiffany & Co., Silver, copper, brass, gold-silver alloy, and copper-gold alloy, American — Pitcher
Tiffany & Co.
1878

Smith and Wesson .38 Caliber Double-Action Revolver, serial no. 70002, Smith & Wesson American, Steel, nickel, silver, American, Springfield, Massachusetts and New York — Smith and Wesson .38 Caliber Double-Action Revolver, serial no. 70002
Smith & Wesson
Tiffany & Co.
1882–83

Smith and Wesson .32 Caliber Single-Action Revolver, serial no. 17156, Smith & Wesson American, Steel, silver, copper-platinum-iron alloy, nickel, American, Springfield, Massachusetts and New York — Smith and Wesson .32 Caliber Single-Action Revolver, serial no. 17156
Smith & Wesson
Tiffany & Co.
1881–1902

Creamer and Sugar Bowl, Tiffany & Co., Silver and silver gilt, American — Creamer and Sugar Bowl
Tiffany & Co.
1883

Tea Caddy, Tiffany & Co., Silver, ivory, copper, and other metals, American — Tea Caddy
Tiffany & Co.
1880

Cigarette Case, Tiffany & Co., Gold, silver, brass, patinated copper, gold-copper alloy, silver-copper alloy, and patinated copper-platinum-iron alloy, American — Cigarette Case
Tiffany & Co.
ca. 1889

Match Case, Tiffany & Co., Gold, silver, brass, patinated copper, gold-copper alloy, silver-copper alloy, and patinated copper-platinum-iron alloy, American — Match Case
Tiffany & Co.
ca. 1889

Chocolate Pot, Tiffany & Co., Silver, patinated copper, gold, and ivory, American — Chocolate Pot
Tiffany & Co.
Charles Osborne
1879

Vase, Tiffany & Co., Silver, copper, gold, and silver-copper-zinc alloy, American — Vase
Tiffany & Co.
1879

Morgan Cup, Tiffany & Co., Silver and ivory, American — Morgan Cup
Tiffany & Co.
1887

Jardinière, Tiffany & Co., Silver, copper, gold, American — Jardinière
Tiffany & Co.
1879

Tea Caddy, Tiffany & Co., Silver and silver gilt, American — Tea Caddy
Tiffany & Co.
ca. 1882

Tray, Tiffany & Co., Silver, gold, copper, and platinum, American — Tray
Tiffany & Co.
1879–1880

Pair of Candelabra, Tiffany & Co., Silver, copper, gold, brass, and copper-platinum alloy with traces of iron, American — Pair of Candelabra
Tiffany & Co.
1879–1880

Coffeepot, Tiffany & Co., Silver, silver gilt, and tagua nut, American — Coffeepot
Tiffany & Co.
1878–1885

Teapot, Tiffany & Co., Silver, jade, and boxwood, American — Teapot
Tiffany & Co.
1881

Candelabrum, Tiffany & Co., Silver, American — Candelabrum
Tiffany & Co.
1890

Mythical Chimera (Kirin) Standing on a Seal, Ivory, Japan — Mythical Chimera (Kirin) Standing on a Seal
Japan
second half 18th century–first half 19th century

Crab on a Lotus Leaf, Ivory body, patinated copper disk with mixed-metal and gilded details, Japan — Crab on a Lotus Leaf
Japan
early 19th century

Chestnut Burr, Porcelain (Hirado ware), Japan — Chestnut Burr
Japan
early 19th century

Pair of Candelabra, Tiffany & Co., Silver, American — Pair of Candelabra
Tiffany & Co.
1884

String of Mushrooms, Ivory, Japan — String of Mushrooms
Japan
first half 19th century

Pea Pods, Okatomo Japanese, Ivory, Japan — Pea Pods
Okatomo
late 18th century

Rabbit, Ōhara Mitsuhiro Japanese, Ivory, Japan — Rabbit
Ōhara Mitsuhiro
mid-19th century

Boar and Grasses, Wood, Japan — Boar and Grasses
Japan
second half 19th century

Inrō with Wisteria Trellis, Inrō: five cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cutout gold foil application on gold lacquer ground; ojime: goldstone (glass) bead; netsuke: three wise monkeys; carved wood with red lacquer, Japan — Inrō with Wisteria Trellis
Japan
mid-19th century

Two Mythical Creatures (Tengu) Carrying a Parcel, Ivory, Japan — Two Mythical Creatures (Tengu) Carrying a Parcel
Japan
second half 19th century

Noh Mask: Ō-Tobide, Lacquered wood, gold, Japan — Noh Mask: Ō-Tobide
Japan
late 18th–early 19th century

Frog, Wood, Japan — Frog
Japan
18th century

Inrō with Dragon among Clouds and Waves, Inrō: four cases; lacquered wood, gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cutout gold foil application, tortoiseshell inlay on black lacquer ground; metal cord runners; ojime: carved ivory; netsuke: turtles; carved ivory, Japan — Inrō with Dragon among Clouds and Waves
Japan
17th–18th century

Inrō with Dragon in Cartouche on Arabesque Foliage (Karakusa) Background, Inrō: four cases; lacquered wood with gold and silver takamaki-e, hiramaki-e, togidashimaki-e, on black lacquer ground; metal cord runners; ojime: fire agate bead; netsuke: rabbit in a boat; carved wood, Japan — Inrō with Dragon in Cartouche on Arabesque Foliage (Karakusa) Background
Japan
18th century

Inrō with Ducks on Swirls, Tōyō Japanese, Inrō: four cases; gold, silver takamaki-e, hiramaki-e, gold foil application, mother-of-pearl inlay on red lacquer ground; ojime: fire agate bead; netsuke: Kappa; carved wood, Japan — Inrō with Ducks on Swirls
Tōyō
second half 19th century

Inrō with Stylized Flower Patterns in Interconnected Roundels, Inrō: four cases; lacquered wood with gold, silver, yellow, and red togidashimaki-e, mother-of-pearl inlay on black lacquer ground; ojime: malachite bead; netsuke: openwork (ryūsa); ivory, Japan — Inrō with Stylized Flower Patterns in Interconnected Roundels
Japan
18th century

Metal Inrō with Flower Medallions

, Inrō: four cases; mokume-gane (wood grain) mixed-metal laminate with gold and silver hiramaki-e; ojime: cloisonné bead with shippō pattern; netsuke: kagamibuta-type with chrysanthemums and butterfly; various metals, Japan — Metal Inrō with Flower Medallions
Japan
mid-19th century

Inrō in the Shape of a Leather Tobacco Case (Tabakoire) with Flowering Plum, Matsuda Sukenaga Japanese, Inrō: carved wood with lacquer imitating leather; gilded metal clasp; ojime: patinated metal bead; netsuke: Chinese boy (karako) with mask on shishi lion; carved wood, Japan — Inrō in the Shape of a Leather Tobacco Case (Tabakoire) with Flowering Plum
Matsuda Sukenaga
mid-19th century

Inrō with Lotus and Crab (obverse); Lotus and Tadpole (reverse), Inrō: four cases; wood with gold and silver takamaki-e, hiramaki-e, lead, mixed-metal inlay; ojime: tadpoles in a stream; copper alloy with mixed-metal inlays; netsuke: turtle in a lotus leaf; carved ivory with gilded copper, Japan — Inrō with Lotus and Crab (obverse); Lotus and Tadpole (reverse)
Japan
second half 19th century

Inrō with Shells and Seaweeds amid Rocks and Waves, Inrō: four cases; lacquered wood, gold and silver takamaki-e, hiramaki-e, togidashimaki-e, cutout gold foil application, silver inlay on gold ground; metal cord runners; ojime: copper with mixed-metal inlay and gilded details; netsuke: carved ivory, Japan — Inrō with Shells and Seaweeds amid Rocks and Waves
Japan
17th–18th century

Sake Bottle (Tokkuri), Porcelain with overglaze enamel, gold and silver hiramaki-e (Kyoto ware), Japan — Sake Bottle (Tokkuri)
Japan
mid-19th century

Inrō with Butterflies and Pampas Grass, Inrō: three cases; lacquered wood with cherry bark, gold and silver hiramaki-e, gold and silver foil application; ojime: semiprecious stone bead; netsuke: Chinese boy (karako) with covered brazier; carved wood with red lacquer, Japan — Inrō with Butterflies and Pampas Grass
Japan
mid-19th century

Tortoiseshell and Basketry Inrō, Inrō: single case; tortoiseshell under rattan “net” covered with lacquer (urushi); ojime: flower petals, brushwood; patinated copper with mixed-metal inlays; netsuke: turtle; carved wood, Japan — Tortoiseshell and Basketry Inrō
Japan
17th century

Basketry Inrō, Inrō: single case; bamboo, rattan; ojime: marbled ceramic bead; netsuke: lacquer box with mandarin ducks; lacquered wood with gold and silver hiramaki-e, Japan — Basketry Inrō
Japan
mid-19th century

The ornamental arts of Japan, George Ashdown Audsley British, Scottish — The ornamental arts of Japan
George Ashdown Audsley
Charles Scribner's Sons
1883

Examples of Chinese ornament selected from objects in the South Kensington Museum and other collections, Owen Jones British — Examples of Chinese ornament selected from objects in the South Kensington Museum and other collections
Owen Jones
S. & T. Gilbert
1867

Tea Caddy (Natsume), Stoneware with polychrome overglaze enamels and gold, Japan — Tea Caddy (Natsume)
Japan
second half 19th century

Fragment, Twill-weave silk with brocading in silk and supplementary weft patterning in silk (karaori), Japan — Fragment
Japan
18th century

Buddhist Altar Cloth (Uchishiki), Twill-weave silk with supplementary weft patterning, Japan — Buddhist Altar Cloth (Uchishiki)
Japan
first half 19th century

Kimono (Shijira), Extended plain-weave silk, Japan — Kimono (Shijira)
Japan
mid-19th century

Brush Holder (Fude-zutsu), Cast iron with relief inlay in silver, gold and shibuichi, Japan — Brush Holder (Fude-zutsu)
Japan
early 1870s

Tea Caddy (Chaire), Porcelain with underglaze blue decoration (perhaps Kyoto ware); ivory lid, Japan — Tea Caddy (Chaire)
Japan
first half 19th century

Incense Box (Kōgō) in the Shape of a Plum Blossom, Porcelain with polychrome overglaze enamels and overglaze gold (Kutani ware), Japan — Incense Box (Kōgō) in the Shape of a Plum Blossom
Japan
first half 19th century

Sake Bottle (Tokkuri), Porcelain with underglaze iron brown and blue (Kutani ware), Japan — Sake Bottle (Tokkuri)
Japan
first half 19th century

Waterpot (Suichū), Stoneware with polychrome overglazes (Awata ware), Japan — Waterpot (Suichū)
Japan
ca. 1850–60s

Teabowl, Stoneware (Jian ware), copper, China — Teabowl
China
12th–13th century

Teabowl (Chawan), Ogata Kenzan Japanese, Stoneware with black glaze and inlaid white slip (Kyoto ware), Japan — Teabowl (Chawan)
Ogata Kenzan
second half 18th century

Freshwater Jar (Mizusashi), Ogata Ihachi Japanese, Stoneware with polychrome underglazes (Kyoto ware); wood with black lacquer lid, Japan — Freshwater Jar (Mizusashi)
Ogata Ihachi
first half 18th century

Teabowl (Chawan), Stoneware with iron-oxide glaze (Seto ware), Japan — Teabowl (Chawan)
Japan
18th century

Tea Caddy (Chaire), Stoneware with iron glaze (Seto ware); ivory lid, Japan — Tea Caddy (Chaire)
Japan
18th century

Tea Caddy (Chaire), Stoneware with iron and rice-straw ash glazes (Satsuma ware), Japan — Tea Caddy (Chaire)
Japan
18th century

Incense Box, Carved lacquer, China — Incense Box
China
14th century

Incense Box (Kōgō) with Interlinked Circles (Shippō) Pattern, Carved wood with red and black lacquer layers (Kamakura-bori), Japan — Incense Box (Kōgō) with Interlinked Circles (Shippō) Pattern
Japan
early 17th century

Noh Robe (Karaori), Twill-weave silk with brocading in silk and supplementary weft patterning in silk (karaori), Japan — Noh Robe (Karaori)
Japan
second half 18th century

Plate, Copper, Japan — Plate
Japan
mid-19th century

Gourd-Shaped Basket, Bamboo, rattan, Japan — Gourd-Shaped Basket
Japan
mid-19th century

Hanging Vase, Earthenware with lead and copper glazes, Japan — Hanging Vase
Japan
mid-19th century

Vase, Porcelain with polychrome overglaze enamels and overglaze gold (Kyoto ware), Japan — Vase
Japan
mid-19th century

Dish, Porcelain with polychrome overglaze enamels (Kutani ware), Japan — Dish
Japan
mid-19th century

Box, Lacquered wood with gold and silver hiramaki-e, mother-of-pearl inlay on black lacquer ground; leather strap with metal fittings, Japan — Box
Japan
mid-19th century

Noh Robe (Karaori)
, Twill-weave silk with supplementary weft patterning in silk and gold-leaf paper strips (karaori), Japan — Noh Robe (Karaori)
Japan
first half 19th century

Incense Box (Kōbako), Lacquered wood with mother-of-pearl and metal-wire inlays on black ground, Japan — Incense Box (Kōbako)
Japan
second half 18th century

Box with Geometric Designs, Black lacquer with mother-of-pearl inlay, China — Box with Geometric Designs
China
late 17th century

Dish, Porcelain (Jingdezhen ware), China — Dish
China
late 17th century

Water coupe, Porcelain (Jingdezhen ware), China — Water coupe
China
late 17th century

Vase, Glass, blown and ground, China — Vase
China
mid-18th century

Incense burner, Copper alloy, parcel gilding, China — Incense burner
China
18th century

Cup, Silver with gilded details, Japan — Cup
Japan
wecond half 19th century

Vase, Iron, Japan — Vase
Japan
second half 19th century

Vase, Copper alloy with inlaid silver details, Japan — Vase
Japan
second half 19th century

Candlestick, Copper alloy, Japan — Candlestick
Japan
second half 19th century

Turtle, Copper alloy, Japan — Turtle
Japan
second half 19th century

Flower Basket in the Shape of a Cicada, Bamboo, rattan, Japan — Flower Basket in the Shape of a Cicada
Japan
mid-19th century

Flower Basket, Bamboo, lacquer, Japan — Flower Basket
Japan
mid-19th century

Vase, Copper alloy with inlaid silver and gold, Japan — Vase
Japan
second half 19th century

Freshwater Jar (Mizusashi), Makuzu Kōzan I (Miyagawa Toranosuke) Japanese, Stoneware with polychrome overglaze enamels and gold, wood lid, ivory knob (Makuzu ware), Japan — Freshwater Jar (Mizusashi)
Makuzu Kōzan I (Miyagawa Toranosuke)
1870–80s

Karamono-Style Flower Basket (Hanakago), Hayakawa Shōkosai I Japanese, Timber bamboo and rattan, Japan — Karamono-Style Flower Basket (Hanakago)
Hayakawa Shōkosai I
ca. 1870s–80s

Mosquito Smoker (Katori), Minzan, Earthenware with white lead glaze and polychrome overglaze enamels (Sanuki ware), Japan — Mosquito Smoker (Katori)
Minzan
first half 19th century

Hanging Vase, Iron inlaid with copper, silver and copper alloys (shibuichi), gilded accents, Japan — Hanging Vase
Japan
second half 19th century

Noh Costume (Kariginu), Twill-weave silk with supplementary weft patterning, Japan — Noh Costume (Kariginu)
Japan
first half 19th century

Knife Handle (<i>Kozuka</i>) with Blade Depicting Maples, Arabesques, and Patterns (紅葉唐草文様図小柄), Iron, gold, steel, Japanese — Knife Handle (*Kozuka*) with Blade Depicting Maples, Arabesques, and Patterns (紅葉唐草文様図小柄)
Japanese
probably 18th–19th century

Knife Handle (<i>Kozuka</i>) With Lotus Motif (蓮図小柄), Copper, copper-silver alloy (<i>shibuichi</i>), gold, Japanese — Knife Handle (*Kozuka*) With Lotus Motif (蓮図小柄)
Japanese
19th century

Knife Handle (<i>Kozuka</i>) Depicting Shells on Beach (海辺に貝散図小柄), Copper-gold alloy (<i>shakudō</i>), gold, brass, abalone shell, Japanese — Knife Handle (*Kozuka*) Depicting Shells on Beach (海辺に貝散図小柄)
Japanese
18th–19th century

Sword Guard (<i>Tsuba</i>) Depicting Heron on Boat (一路平安図鐔), Shōzui Japanese, Iron, gold, copper-silver alloy (<i>shibuichi</i>), Japanese — Sword Guard (*Tsuba*) Depicting Heron on Boat (一路平安図鐔)
Shōzui
18th century

Sword Guard (<i>Tsuba</i>) With the Motif of Dragonfly in Grapevine (葡萄に勝虫図鐔), Iron, gold, copper-gold alloy (<i>shakudō</i>), Japanese — Sword Guard (*Tsuba*) With the Motif of Dragonfly in Grapevine (葡萄に勝虫図鐔)
Japanese
probably 18th–19th century

Sword Guard (<i>Tsuba</i>) With the Motif of Chrysanthemums and Arabesques (菊唐草に七宝図鐔), Brass, enameled cloisonné (<i>shippō</i>), copper, Japanese — Sword Guard (*Tsuba*) With the Motif of Chrysanthemums and Arabesques (菊唐草に七宝図鐔)
Japanese
19th century

Sword Guard (<i>Tsuba</i>) Depicting Biting Lion Heads (<i>Shikami</i>) and Arabesques (獅噛唐草図南蛮鐔), Iron, gold, copper-gold alloy (<i>shakudō</i>), Japanese — Sword Guard (*Tsuba*) Depicting Biting Lion Heads (*Shikami*) and Arabesques (獅噛唐草図南蛮鐔)
Japanese
19th century

Sword Guard (<i>Tsuba</i>) With the Motif of Autumnal Vegetation (秋草透鐔), Mitsunobu Japanese, Iron, gold, copper, silver-copper alloy (<i>shibuichi</i>), Japanese — Sword Guard (*Tsuba*) With the Motif of Autumnal Vegetation (秋草透鐔)
Mitsunobu
17th century

Sword Guard (<i>Tsuba</i>) with the Carp and Seaweed Motif (藻鯉図鐔), Kansai Japanese, Iron, gold, copper-gold alloy (<i>shakudō</i>), Japanese — Sword Guard (*Tsuba*) with the Carp and Seaweed Motif (藻鯉図鐔)
Kansai
dated 1868 (Keiō 4, 5th month)

Sword Guard (<i>Tsuba</i>) Depicting Peony and Butterflies (菊に蝶図鐔), Copper, copper-gold alloy (<i>shakudō</i>), silver, gold, bronze, Japanese — Sword Guard (*Tsuba*) Depicting Peony and Butterflies (菊に蝶図鐔)
Japanese
19th century

Sword Guard (<i>Tsuba</i>) Depicting Iris in Running Water (水辺の杜若図鐔), Brass, gold, Japanese — Sword Guard (*Tsuba*) Depicting Iris in Running Water (水辺の杜若図鐔)
Japanese
19th century

Basketwork Box with Ivy, Bamboo, and lacquer, with gold and silver hiramaki-e with red lacquer accents, Japan — Basketwork Box with Ivy
Japan
mid-19th century

Flower Basket (Hanakago) in the Shape of a Flower, Bamboo, rattan, Japan — Flower Basket (Hanakago) in the Shape of a Flower
Japan
mid-19th century

Sake Bottle (Tokkuri), Stoneware with crackled glaze (Satsuma ware), Japan — Sake Bottle (Tokkuri)
Japan
late 18th–early 19th century

Gourd-Shaped Bottle, Porcelain (Jingdezhen ware), China — Gourd-Shaped Bottle
China
mid-16th century

Legacy

Moore’s legacy of creativity and innovation endured well beyond his death in 1891, as exemplified by the famed Magnolia Vase. Toward the end of his life, he was deeply engaged in planning for the 1893 Chicago World’s Fair. One of his last designs would be the centerpiece of the Tiffany & Co. exhibit, a grand vase embellished with exquisitely rendered enameled magnolia blossoms.

A newspaper account heralding the vase and Moore’s role in its design reported, “It is a triumph of the goldsmith’s art to have overcome the difficulty of representing a dull surface by means of enamel.” Moore had long been passionate about perfecting and advancing the art of enameling, experimenting especially with ways to achieve naturalistic effects with matte enamels. After much trial and error, his staff succeeded in replicating the velvety texture of magnolia petals through the controlled use of fluoric acid fumes. In a remarkable technical feat, they managed to adhere the enamels to an undulating, convex metal surface, while enlivening the design with subtle tonal shifts in the blossoms. Guided by Moore’s protégé and successor John Curran, more than fifteen different craftspeople, including lead enamelist Godfrey Swamby, worked for nearly two years to create a tour de force that fulfilled Moore’s ambitious vision.