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inscribed L. C. Tiffany-Favrile and 1998H. Louis Comfort Tiffany's experiments with glass were an outgrowth of the work of his interior decorating company, Louis Comfort Tiffany and Associated Artists. The inclusion of lighting devices and stained glass windows in his aesthetic interiors in the 1890's naturally led to the development of the iridescent glass articles and lamps on which his reputation is based. A late development in the production of vases and other tableware from the Tiffany Studios are his compelling aquamarine vases. Produced between 1905 and 1915 they are amongst the most innovative and remarkable of the glass produced at the Studios. Most examples that have recently appeared on the market depict underwater vegetation encased within heavy walls of pale green tinted glass. The rarest examples, seldom seen on the open market, are those that incorporate sea life as well. The present example is virtually identical to that formerly in the private collection of Joseph Briggs and presently in the permanent collection of the Hawarth Art Gallery in Accrington, England, in its depiction of carp swimming amongst undulating sea grasses. Both vases have distinctive faceted bases. The colossal weight of the vase (over sixteen pounds) most likely necessitated the use of calipers to hold the vase in place while the workmen were manipulating the molten glass. The marks made by these calipers were then ground in the finishing department when the pontil was polished and the vase signed. Literature Robert Koch, Louis C. Tiffany's Art Glass, Crown Publishers, Inc., New York, 1977, fig. 28 for a similar example from the Collection of Joseph Briggs at the Haworth Art Gallery, Accrington, Lancashire, England. Tessa Paul, The Art of Louis Comfort Tiffany, Baldock, Hertfordshire, England, pp. 80-81, Briggs example. Exhibited Masterworks of Louis Comfort Tiffany, Renick Gallery, Washington, D.C. 1889-1990; The Metropolitan Museum of Art, New York, 1990, illustrated in the