(New York, 1848-1933) On the Corniche, circa 1890, signed lower right "Louis C. Tiffany", watercolor and gouache over pencil on green/gray paper, 10 x 16-3/8 in.; original gilt wood frame with early card label with title, date and "No. 24" in pencil verso,. Notes: Gary A. Reynolds, Curator and author of Louis Comfort Tiffany: The Paintings, referencing On the Corniche, states that the " ‘luminous qualities’ of watercolor were well-suited to Tiffany‘s love of color and its portability made it ideal for traveling and painting outdoors. Many of Tiffany‘s most satisfying works are watercolors that capture the color and spontaneity of freshly observed and rendered views. He was especially attracted by subjects such as the dramatic rock formations and stucco buildings of Roque Brune-that featured dramatic variations of color and texture. To achieve these effects, Tiffany combined both opaque and transparent pigments with a minimum of under drawing. In an interview of 1922, Tiffany recalled his enjoyment and using various colors and textures of paper: ‘Do you know, we Tiffany and Colman in 1878 used to go rummaging about everywhere buying all kinds of old wrapping paper to experiment with.’" Lot accompanied by original exhibition catalog, an early Art Nouveau era card label with title and inscribed verso "No. 24", facsimile letter of appreciation from New York University, Grey Art Gallery, signed by Robert R. Littman, Director and Gary A. Reynolds, Curator., dated June 25, 1979, from Grey Art Gallery Exhibited: Grey Art Gallery, New York University, Louis Comfort Tiffany: The Paintings, March 20-May 12, 1979. Literature: Reynolds, Gary A., Louis Comfort Tiffany: The Paintings, Grey Art Gallery, New York University, March 20-May 12, 1979; New York, 1979, fig.13, p.21-22.. Provenance: Helen Malloy, Oyster Bay, Long Island, New York; to her cousin, Annie Holman, Long Island, New York; by descent in family

toning from light, laid down on card, slight insect speck; frame with abrasions