By the 1878 Paris Exposition Universelle, Moore’s Japonisme had reached its peak. Among his masterpieces was a Japonist pitcher, earning the Grand Prize in its category. Siegfried Bing praised Moore’s work, noting: “Although their concept was not inherently original—their decorative principles were directly borrowed from the Japanese—their borrowed elements were so ingeniously transposed to serve their new function that they became the equivalent of new discoveries.” The millions of visitors to the Exposition marveled at the grace, harmony, and restraint in Moore’s silverwork, exemplified by this pitcher.
Left: Dragonfly detail, Japonist Pitcher, 1878, Edward C. Moore, Tiffany & Co.; Right: Red Dragonfly (Akatonbo); Locust (Inago), from the Picture Book of Crawling Creatures (Ehon mushi erami), Kitagawa Utamaro, 1788, Metropolitan Museum of Art
The pitcher’s motifs drew inspiration from the woodblock prints of celebrated Japanese artists Utamaro, Hokusai, and Hiroshige. Its dragonfly design references Utamaro’s Red Dragonfly (Akatonbo) from Picture Book of Crawling Creatures (Ehon mushi erami) (1788). The Akatonbo, a red dragonfly species (Sympetrum frequens), is a symbol of autumn in Japan. According to Tiffany’s technical manual, the dragonfly’s wings were electrotyped with gold and the body with copper, both metals sourced from Lake Superior. Moore meticulously reproduced the intricate vein patterns of the dragonfly’s wings and the iris petals, capturing the precision of Japanese art. The pitcher’s textured effects, from the planished hammering mimicking a marshy mist to ripples accentuating the water surface, added depth and delicacy. An applied copper carp pierced the water’s surface, further enhancing the scene. Moore described planishing as creating “the appearance of Morocco... smeared to represent water. Fishes and water plants bring light to the surface, which is gilt in colors after engraving. It has a beautiful effect when viewed as water.”
Top Left: Utagawa, Koi (Carp), Uozukushi (Every Variety of Fish), published by Yamadaya Shojiro, ca. 1840-42; Bottom Left: Carp detail, Japonist Pitcher, 1878, Edward C. Moore, Tiffany & Co.; Right: Nihiki no koi (Two Carp), Katsushika Hokusai, 1831, Rijksmuseum
The pitcher’s irises and carp were inspired by Hiroshige’s and Hokusai’s prints. The irises reference Hiroshige’s Horikiri Iris Garden (1857), part of his One Hundred Famous Views of Edo series. Horikiri was renowned for its swampy terrain, ideal for cultivating the hanashobu iris, which gained popularity in Europe and America in the 1870s. The carp design draws on Hiroshige’s Uozukushi (Every Variety of Fish) series and Hokusai’s Nihiki no koi (Two Carp). The carp swimming upstream symbolizes determination, strength, and resilience in Japanese culture. Hokusai often paired koi and irises, reflecting themes of courage and triumph, particularly in Boys’ Day celebrations. This harmonious blend of irises, carp, and dragonflies embodies the balance of nature and human virtues central to Japanese tradition. Tiffany & Co.’s design library, which included several volumes of Hokusai’s works, was instrumental in inspiring the delicate yet dynamic motifs of this Japonist pitcher. This masterful fusion of Japanese artistry and Tiffany’s exceptional silversmithing not only captivated audiences at the Exposition but also cemented the pitcher’s legacy as a defining example of the Japoniste aesthetic in American decorative arts.
Left: Iris detail, Japonist Pitcher, 1878, Edward C. Moore, Tiffany & Co.; Right: Horikiri Iris Garden (Horikiri no Hanashobu), No. 64 from One Hundred Famous Views of Edo, Utagawa Hiroshige, Woodblock Print, 1857, Brooklyn Museum
