The composition is enlivened by an exquisitely modeled bell cricket (suzumushi) in contrasting red copper, its naturalism heightened through delicate chasing. The cup is further distinguished by a “CL” monogram for Charles Lewis Tiffany, executed in copper and enriched with a niello patina—a sulfur-based inlay technique that produces a deep, velvety black within engraved lines—introducing a striking visual contrast characteristic of Moore’s Japonisme aesthetic.

As with many of these sterling silver works, the surface was hand-hammered by highly skilled immigrant artisans, many from Germany’s Hanau region, whose craftsmanship was essential to Tiffany’s production.

Edward C. Moore first presented silverwork for Tiffany & Co. at the 1867 Paris Exposition Universelle, marking his debut on the international stage. This event also introduced Japanese arts and crafts to France through the Meiji government’s exhibition of lacquerware, ceramics, woodblock prints, arms, armor, and textiles. Inspired by these works, Moore began incorporating Japanese techniques and motifs into his creations. By the 1878 Paris Exposition Universelle, Moore’s Japonisme had reached its peak.