Edward C. Moore's Designs for Tiffany at the Met

Summary

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Podcast Summary

Podcast: All Of It (WNYC)
Episode: Edward C. Moore's Designs for Tiffany at the Met
Host: Alison Stewart
Guest: Medill Higgins Harvey, Ruth Bigelow Wriston Curator of American Decorative Arts at the Met
Date: August 5, 2024

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Episode Overview

This episode delves into the life, work, and lasting impact of Edward C. Moore—a master silversmith who shaped the course of Tiffany & Co. and the American decorative arts by drawing inspiration from his eclectic, world-spanning collection. Host Alison Stewart interviews Met curator Medill Higgins Harvey about the new Metropolitan Museum exhibition, "Collecting Inspiration: Edward C. Moore at Tiffany and Company," which displays Moore’s Tiffany designs alongside the diverse objects that inspired him. Together, they explore the personal history of Moore, his pivotal partnership with Tiffany, and the questions of cultural inspiration versus appropriation in his work.

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Key Discussion Points & Insights

1. Edward C. Moore: Origins and Early Life

• Family Tradition: Moore was born in 1827 into a family of silversmiths—both parents’ families were involved in silversmithing, making it “in his blood and very much a part of how he would have come of age” with “a tremendous amount of time watching his father work, working in the shop.” (02:38)
• Limited Knowledge of His Interests: Little is known of Moore’s inner life—his reserved, private nature means historical evidence about his wider interests or ambitions is scarce. (03:10)
• Shaping His Field: Despite the expectations of his lineage, Moore significantly shifted the trajectory of American silversmithing “by virtue of his vision and ambition to do things differently from the way silversmiths had worked previously.” (03:17)

2. The Rise of Silver in 19th Century America

• Moore’s client base included both the affluent and a burgeoning middle class, at a time when “silver was much more ubiquitous in people’s houses than...today...A burgeoning middle class, people with more leisure time and more disposable income.” (03:54)

3. Marking and Selling: The Tiffany Partnership

• Silversmith’s Mark: Moore’s silver was typically marked with initials or a symbol, alongside the retailer’s mark (often Tiffany, Young & Ellis, the precursor to Tiffany & Co.). (04:47)
• Tiffany’s Growth: Tiffany, Young & Ellis began as a stationary and “fancy goods” store, selling elegant trinkets and expanding to become New York’s largest silver retailer. (05:37)

4. The Tiffany-Moore Exclusive and Signature Style

• Quality Over Design (Initially): The hallmark of Moore’s shop was execution: “The quality of the way the details were rendered...every aspect...was just beautifully executed. And that clearly was apparent to Charles Tiffany.” (06:39)
• Exclusive Deal: Recognizing Moore’s superiority, Tiffany struck an exclusive.
• A School for Designers: Moore founded a training program for young men at Tiffany, emphasizing “draftsmanship” and a design education built on looking at global works of art—here, his collection became central. (07:34)

5. Moore’s Collection & Its Significance

• Eclectic Diversity: Unlike his contemporaries, Moore collected a remarkable array of objects: “glass, ceramics, textiles, jewelry, lacquerware, basketry...from ancient Greece...to the Islamic world, East Asia, European glass.” (09:41)
• Relationship to Craft: Despite being a metalsmith, Moore was especially drawn to glass, “which for me was somewhat surprising,” says Harvey. (10:25)
• Integration at the Met: His collection (2,000+ objects, 500+ books) entered the Met, eventually distributed across six departments, reflecting shifting curatorial trends. (10:54)

6. Spotlight on Specific Pieces in the Exhibition

• Union Victory Sugar Bowl (1862–63):
  Commemorates the Union warship Monitor’s victory; presented to its engineer, Albin Stimmers. “This sugar bowl has a lot going on...It commemorates...an incredibly historic battle…” (11:53)
• Nast Vase:
  A gift to political cartoonist Thomas Nast, featuring cherub-like figures armed with writing tools, symbolizing the power of words in support of the Union.
  • “His words helped slay the dragons...of secession” (12:50)
• Glass Artifacts:
  Moore’s fascination with glass relates to its “inventive, fluid forms” and “kinds of color and pattern effects” he sought to emulate in silver. (13:56)

7. Inspiration vs. Appropriation

• Cultural Engagement: Moore collected and drew inspiration from the Islamic world, ancient Greece, Japan, and more.
  • On the line between inspiration and appropriation: “It is the reverence and fascination with which he’s approaching these works from different cultures...recognizing how much they have to teach.” (14:51)
  • Harvey concedes the topic is complex but argues Moore worked “with the utmost respect and fascination.” (15:38)

8. Japanese Influence & Technical Innovation

• Learning from Japan: Moore and his team studied Japanese techniques (like shokudo inlay) “closely,” even analyzing metal samples and experimenting to replicate effects, yielding unprecedented color and pattern in American silver. (16:25)

9. Pitcher—The Museum Acquisition

• First Museum-Piece: The first Tiffany silver acquired by any museum, a small “Pitcher” displayed at the 1870 Philadelphia World’s Fair, was “more about design and showcasing newly acquired knowledge...more than functional.” (17:53)
• Why Art?: 19th-century commentators prized novelty—“chromatically decorated silver” with new alloys and non-Western patterns “stood out...There was a great mania at these World’s Fairs to celebrate...where did American production fall relative to crafts and art from around the world.” (18:29)

10. Unusual Objects: Silver Pistols

• Male Jewelry: Tiffany’s decorated pistols were essentially “male jewelry,” rarely practical, prized for “luxury...to be showed off and admired,” and created through partnerships with weapon manufacturers. (20:17)

11. Exhibition Presentation & Lighting

• Lighting Challenges: Displaying silver is notoriously difficult; the Met’s lighting team “thinks about lighting the deck and letting the light bounce back up off the silver. Because if you light silver, it blinds the viewers.” (21:44)

12. Pandemic Delay and Curatorial Reflection

• Exhibition Delay: Originally slated to open in July 2020, the pandemic forced postponement. Most content remained unchanged, but Harvey appreciated the time to “think in somewhat different ways about what you’re going to share...So I think the shift is not sort of losing the forest for the trees and being a little more rational about what information...can live in the footnotes of a book.” (22:38)

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Notable Quotes & Memorable Moments

• On Moore’s Upbringing:
  • “In his blood and very much a part of how he would have come of age watching and assisting making.”
    — Medill Higgins Harvey, 02:38
• On Silver’s Ubiquity:
  • “In the middle of the 19th century, silver was much more ubiquitous in people’s houses than I would say it is today.”
    — Medill Higgins Harvey, 03:54
• On Moore’s Collecting Instinct:
  • “He seemed to have a real affection for glass, which for me was somewhat surprising when you think a metalsmith might have gravitated towards work in his own medium. But he was thinking much more broadly.”
    — Medill Higgins Harvey, 10:25
• On Appropriation vs. Inspiration:
  • “It is the reverence and fascination with which he’s approaching these works from different cultures...instead of it being a desire to demonstrate cultural hegemony or superiority, it is with the utmost respect and fascination.”
    — Medill Higgins Harvey, 14:51
• On Exhibition Lighting:
  • “The simplest way I can summarize her artistry is that she thinks about lighting the deck and letting the light bounce back up off the silver. Because if you light silver, it blinds the viewers.”
    — Medill Higgins Harvey, 21:44
• On Exhibition Delay Perspective:
  • “And having a little bit of distance allows you to maybe think in somewhat different ways about what you’re going to share in the form of a label and things like that.”
    — Medill Higgins Harvey, 22:38

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Timestamps for Key Segments

• 02:22 — Introduction to Edward C. Moore and his legacy
• 03:44 — Moore’s clients and the rise of silver in households
• 04:47 — How to identify Moore’s silver and mark discussion
• 06:39 — The special qualities of Moore’s craftsmanship
• 07:34 — Moore’s design school at Tiffany
• 09:41 — Moore’s vast and varied collection
• 11:53 — The Union warship sugar bowl and Civil War context
• 12:50 — Thomas Nast vase and symbolism
• 13:56 — Moore’s fascination with glass
• 14:51 — Inspiration vs. appropriation debate
• 16:25 — Japanese influence and technical experimentation
• 17:53 — The first museum “Pitcher” and its significance
• 20:17 — Silver pistols as objects of conspicuous luxury
• 21:44 — Lighting the exhibition for silver
• 22:38 — How the pandemic delay shaped curatorial decisions

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Conclusion

This episode offers a rich tour of Edward C. Moore’s role as a creative force and collector, shaping American decorative arts and Tiffany’s international reputation. Listeners gain insight not only into the stunning objects but into the complexities of cultural inspiration, innovation, and museum practice. For anyone interested in art, craft, or the cultural intersections that shape great design, the Met’s "Collecting Inspiration" is not to be missed.

Exhibition:
Collecting Inspiration: Edward C. Moore at Tiffany & Co.
On view at the Met through October 20th, 2024.

Transcript

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[Medill Higgins Harvey]

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[Interviewer/Host]

A new show at the Metropolitan Museum of Art will make collectors feel. When Edward C. Moore died in 1891, his estate donated 2,000 items from his collection and nearly 500 books to the museum. Now, during his lifetime, Moore was a master silversmith, so much so that Tiffany and Company asked him to be their silversmith exclusively. He was known for designing and creating works of art, from candelabras to sugar jars. But like most artisans, Moore's imagination and vision were sparked through his own collection. You can see the relationship in an exhibit called Collecting Edward Moore at Tiffany and Company. The show features 70 silver pieces designed under Moore's direction at Tiffany and 180 items from his collection that were his muses. Joining us now is Medille Higgins Harvey, the Ruth Bigelow Riston curator of American Decorative Art at the Met. Welcome to all of it.

[Medill Higgins Harvey]

Thank you, Alison. I'm pleased to be here.

[Interviewer/Host]

Let's start with a little background on Edward Seymour. He was born the first of five children in 1827. His father was a silversmith. What kind of childhood would the son of a silversmith have?

[Medill Higgins Harvey]

So it would have been one where he would have spent a tremendous amount of time watching his father work, working in the shop. Both his mother and his father came from silversmithing families. So in his blood and very much a part of how he would have come of age watching and assisting making.

[Interviewer/Host]

Silver, did Edward Moore show any interest in doing anything else other than silversmithing?

[Medill Higgins Harvey]

You asked such a good question, and I'm afraid I don't know the answer. He was a very reserved, private person, and we don't know very much about how he felt, what he thought. So did he consider it? Who knows? Did he have many other choices? Probably not. But he certainly changed the trajectory of his career by virtue of his vision and ambition to do things differently from the way silversmiths had worked previously.

[Interviewer/Host]

He it became clear that he was a designer and a fabricator, but what kind of people would more be making silver for?

[Medill Higgins Harvey]

So he would have been making silver, obviously, for affluent individuals. But it is worth remembering that in the middle of the 19th century, silver was much more ubiquitous in people's houses than I would say it is today. So this is a moment when you have a burgeoning middle class, people with more leisure time and more disposable income. So individuals who are out shopping would be buying a silver spoon or individual pieces of silver, probably with greater regularity than people are doing so in 2024.

[Interviewer/Host]

Now, how would someone know that they.

[Co-Host/Interviewer]

Were getting a piece of silver designed by Edward Moore?

[Medill Higgins Harvey]

So silversmiths marked their silver typically so that their either their initials or some sort of symbol that they had done the work appeared on the silver. In the early years of Moore's life and work, he and his father were retailing silver through a lot of different retailers. So you have both the retailer, if you've gone shopping at Tiffany, Young and Ellis or another retailer, that mark is on the silver. But then there's also a mark that tells you who made the silver.

[Interviewer/Host]

You mentioned Tiffany, Young and Ellis at the time, in 1851, Tiffany & Co. Was the trio Tiffany, Young and Ellis. What was their Tiffany, Young and Ellis profile and how did it go on to become Tiffany and Company?

[Medill Higgins Harvey]

So Tiffany, Young and Ellis was founded as a stationary and fancy goods store. And so they were selling various different sort of elegant trinkets, stationery and silver. And it was a relatively small operation that went on to become the largest silver retail operation in New York. Selling. But they were selling by the time they became Tiffany and Company, they're selling glass, bronzes, all kinds of different merchandise. So when they described themselves as a fancy goods store, it really was a whole array of merchandise.

[Interviewer/Host]

Now Tiffany made a deal with Moore to be the exclusive retailer of his.

[Co-Host/Interviewer]

Work that he would design for them.

[Interviewer/Host]

What made Moore's work so fine that.

[Co-Host/Interviewer]

Tiffany would ask for his talents to be theirs?

[Medill Higgins Harvey]

So what distinguished his and his father's work was the quality of the execution. I would say the design was probably pretty typical of the moment, but the Quality of the way the details were rendered. Every aspect of their silver was just beautifully executed. And that clearly was apparent to Charles Tiffany, who was looking for competitive advantages and, as you say, decided they needed an exclusive with Moore.

[Co-Host/Interviewer]

My guest, Medille Higgins Harvey. She is a curator of American decorative arts at the Met. We're talking about collecting inspiration. Edward C. Moore and Tiffany and Company. So one thing Moore did when he was at Tiffany & Co. Is he created a kind of a school for young designers.

[Interviewer/Host]

What would someone learn at the school.

[Co-Host/Interviewer]

He set up for aspiring silversmiths?

[Medill Higgins Harvey]

So, again, we're short on details, but what we do know is that young and it was all men at this time. Young men would come and be trained in draftsmanship in. And a lot of the education comes by looking, watching, and helping silversmiths do their work, but also looking at works of art, which is where Moore's collection comes into play.

[Co-Host/Interviewer]

There's this beautiful picture. It's when Moore's moved into 53 Prince street, not that far from where we are right now. And it gives you an inkling of what life was like for a silversmith and for him particularly. Could you share what is in that picture, the picture of his showroom that is in collecting inspiration?

[Medill Higgins Harvey]

Yes. So that is an image of the design room. And it really does give you a sense of how many different objects, molds, books are all made available for designers to look and study. And you can really almost hear the hum of activity that must be occurring just out of. Out of frame of the photograph. So designers would have been able to take objects to their workbenches, study them, and do a lot of drafting as well as there were a number of different floors where they're making silver, polishing silver, chasing silver. But what that's showing you is where all the designs are originating and where all the creativity is percolating.

[Co-Host/Interviewer]

Now, before we get into the exhibit, I have to ask about the huge donation. He donated more than 2,000 objects, 500 books to the Met. What kind of things did he like to collect?

[Medill Higgins Harvey]

So his collections are incredibly diverse and very unlike any other collectors of this moment. He was really on the vanguard when it came to collecting works from the Islamic world, and a very early collector of works from East Asia as well. So he collected. He didn't collect flat art, as we call it, didn't have drawings and prints or paintings. His collections were glass, ceramics, textiles, jewelry, lacquerware, basketry, and any possible form or pattern or that spoke to him. He seems to have snapped up. It ranged from ancient Greece, works from ancient Greece in Rome to works from the Islamic world, East Asia, European glass. He seemed to have a real affection for glass, which for me was somewhat surprising when you think a metalsmith might have gravitated towards work in his own medium. But he was thinking much more broadly.

[Interviewer/Host]

These objects, they lived in different departments in the Met, is that correct? Across six different divisions.

[Medill Higgins Harvey]

They do now. So when they came to the museum, we didn't have the kinds of specialized departments we do now. And they were shown together as the Moore collection. And then in the ensuing years, specialized departments developed. And so after the collection was put into storage During World War II, it was then distributed to the various specialized departments. And it sort of shows the shift in the way museums thought about and displayed works of art.

[Interviewer/Host]

We are talking about collecting inspiration. Edward C. Moore and Tiffany and company. Let's get into the exhibition. The exhibition starts with two examples of silver that are not only beautiful, but they also give us a window into what was going on at the time. Let's start with Sugar Bowl. 1862, 63. It was a sugar bowl and it depicts an important moment in the Civil War. A Confederacy ship being thwarted. Can you describe the bowl and its recipient?

[Medill Higgins Harvey]

Yes. So this sugar bowl has a lot going on. And it commemorates the fact that the Union warship USS Monitor had arrived in Virginia to confront the Confederate ironclad CSS Virginia. And it was an incredibly historic battle. And the presentation was to honor the engineer Albin Stimmers, who had created the. Who had designed the ship.

[Interviewer/Host]

Another piece near the front is a vase, and it's made for a man named Thomas Nast. He was an artist, he was a political cartoonist actually, who was recognized for his efforts in supporting the Union cause. It's pretty big. What can we learn from this piece?

[Medill Higgins Harvey]

So this piece really does tell a wonderful story about this moment in time as you have these sort of cherub like figures, but their spears are actually tools of writing and they are meant to tell the recipient, Nash himself, but also viewers, that his words helped slay the dragons, quote, unquote, of secession. So on each side of the vase you have these open mouth dragons who are meeting their demise at the end of the stylus. That was Nast's tool in rallying support for the Union cause.

[Co-Host/Interviewer]

Now you have the silver, but you.

[Interviewer/Host]

Also have various parts of the collection.

[Co-Host/Interviewer]

And glass is in the first room.

[Interviewer/Host]

Just beautiful glass, all different kinds of glass. Glass dating back to the first century.

[Co-Host/Interviewer]

What was it about glass that interested a silversmith? You sort of touched on this A little earlier.

[Medill Higgins Harvey]

No, you asked such a good question. And it is the ability to achieve inventive, fluid forms, and it is the kinds of color and pattern effects that. That glass makers achieved. And as you go through and look at the silver that Moore created, you realize he was wanting to find ways for silver to have that same kind of energy, color, pattern, and texture.

[Co-Host/Interviewer]

Throughout the exhibition, we see all different kinds of elements that inspired Moore. We see pieces from Japan and his reflections on Islam and his use of ancient Greece and Rome. So this is a good place to ask what makes his work different from appropriation of a different culture? What makes it inspiration rather than appropriation?

[Medill Higgins Harvey]

I think a key part of the distinction there, and obviously that's a complex question to answer, but it is the reverence and fascination with which he's approaching these works from different cultures, recognizing how much they have to teach and the ways in which they can inspire better artistry. And instead of it being a desire to demonstrate cultural hegemony or superiority, it is with the utmost respect and fascination that he's approaching the works that he's collecting. Does he know and understand them in the ways that we might expect an artist to today to sort of navigate that. That divide between appropriation and artistic inspiration? I think it's complicated, but I do think that's an important factor to consider in terms of thinking about Moore's work.

[Interviewer/Host]

Collecting inspiration. Edward C. Moore at Tiffany & Co. Is running through October 20th at the Met. I'm speaking with Medill, Higgins, Harvey. So let's talk about his influences from Japan. In the Japanese section, we see kimonos, we see the sort of samurai sword holders. The use of. I think it's shokudo, which is sort of inlaying of various materials. Where would we see that used in his silversmithing?

[Medill Higgins Harvey]

Yes. So in terms of the shokuto and various different metalworking techniques, he and his team at Tiffany studied these very closely. They didn't know how they were done, but they actually took scrapes of metals and analyzed them and experimented endlessly to achieve them. And then they would use those, the kinds of color and pattern that were achieved with these different Japanese inspired alloys to perhaps create texture in a butterfly's wing or to decorate an entire surface of an object. So it's when it comes to the silver making, they used it in all kinds of different ways and sort of everywhere. But it lends what was at the time sort of unprecedented color and pattern to silver designs.

[Interviewer/Host]

The first piece of Tiffany silver to be acquired by any museum comes from the Museum of Fine Arts in Boston. And you have it. It's titled Pitcher.

[Medill Higgins Harvey]

Is it a poetic title?

[Interviewer/Host]

I know, right? And it's very tiny, might I say it's a very little picture.

[Medill Higgins Harvey]

Every time I see it, I am struck by how diminutive it is. It has such presence that even though I've seen it many, many times, I'm always surprised by how petite.

[Interviewer/Host]

First of all, did it have a practical use?

[Medill Higgins Harvey]

You are not the first person to ask that question. And I suspect. I mean, it could have, but it was displayed at their exhibit at the 1870 Philadelphia World's Fair. And I think it was more about design and showcasing newly acquired knowledge as to how to combine different metals into an object. You could have put a teeny bit of something in there, but I don't think it's the most functional object they created.

[Interviewer/Host]

Well, at the time, why was this considered a piece of art?

[Medill Higgins Harvey]

So I think it was in large part the innovation. In the 19th century, when you read people talking about what defines accomplishment and art, it is very focused on novelty and innovation. And so when they unveiled what they called, quote unquote, chromatically decorated silver, it is the fact that they are using both copper and silver and that they are incorporating patterns that were entirely unfamiliar to most American and Western audiences in the form of these abstracted, sort of inspired by the Islamic world and the Indian subcontinent. So that, I think, is part of it. There was a great mania at these World's fairs to celebrate sort of where did American production fall relative to crafts and art from around the world. And so this work stood out for those reasons. It was also. The acquisition was prompted and funded by a man who was. Was involved with Tiffany and Company. So it was probably a very strategic effort to get people to think about Tiffany as. As a place where fine art in the form of what we now call decorative arts is being made.

[Co-Host/Interviewer]

We're discussing an exhibition at the Met featuring in the work of 19th century silversmith Edward Moore, his association with Tiffany & Co. And his collections that inspired him. We're speaking with curator of American decorative arts, Medill Higgins. Harvey. Let me ask you about the section on guns.

[Interviewer/Host]

What did it mean for a person to carry a silver pistol?

[Medill Higgins Harvey]

So I liken these silver pistols to male jewelry. We don't see any evidence that these were particularly used or some of them. It's clear they really weren't used. And by having the grips decorated in such elaborate fashions, they would not be the easiest or most comfortable weapons to use. And in fact, I think they're very much more a sort of object to admire and show friends. And, in fact, the way the designs are created, they sort of think about them in two dimensions and then wrap them around the handles. And they offer a wonderful array of examples of the kind of work that Tiffany was most proud of. And so this partnership with Smith and Wesson and some other gun makers, it is a sort of curiosity. You can't really imagine what the appeal was on the one hand, but I think it is very much a sort of luxury object to be showed off and admired.

[Interviewer/Host]

It's so interesting in the exhibit is the lighting is really interesting.

[Medill Higgins Harvey]

It is so difficult to light silver. And I have such admiration for the lighting team at the Met, led by, in this case, by Jordan Ferguson. It's so hard to light silver. And the simplest way I can summarize her artistry is that she thinks about lighting the deck and letting the light bounce back up off the silver. Because if you light silver, it blinds the viewers.

[Interviewer/Host]

Oh, I'm glad they didn't do that.

[Medill Higgins Harvey]

Well, no, I mean, you know, the reflection is such that it really would not be an enjoyable experience.

[Co-Host/Interviewer]

No, I understand.

[Interviewer/Host]

This was supposed to open in July of 2020.

[Medill Higgins Harvey]

It was.

[Interviewer/Host]

What has changed as the result of waiting four years?

[Medill Higgins Harvey]

So in certain senses, a wonderful amount didn't change in that amount of time. You, as a curator, cannot count on the fact that every lender is going to be willing to meet the new schedule. So in certain senses, I'm happy to say, very little changed. All of the objects I hope to include are all on view in the exhibition. And because the book was published in 2021, it allowed me time to think about what I had written and what my collaborating curators had written. And having a little bit of distance allows you to maybe think in somewhat different ways about what you're going to share in the form of a label and things like that. So I think the shift is not sort of losing the forest for the trees and being a little more rational about what information that you. You need to share and what information can live in the footnotes of a book.

[Interviewer/Host]

For example, my guest has been Medill, Higgins, Harvey. We've been talking about Collecting Inspiration. Edward C. Moore, Ifany and co. It's at the Met through October 20th. Medille, thank you for being with us.

[Medill Higgins Harvey]

Thank you so much for having me.

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