Louis Comfort Tiffany

15) Mountain landscape, c. 1886 19) Wagon Fording a Stream, c. 1875 Albumen print Oil on canvas (1998-028:039) Signed, lower right: L.C.T. LOUIS COMFORT TIFFANY Gift of Susan and Edwin Linville 16) Children at Guard (83-009) Impressions on Film, Lock, June 21, 1886 Lehigh Canal, 20) Abundance, 1888 Canvas, and Paper Easton, Pennsylvania Exhibited: Society of Painters in Albumen print Water-Colors, at the National (1998-028:106) Academy of Design, 1889; Louis OBJECT GUIDE Comfort Tiffany Retrospective, Tiffany captured dozens of images Tiffany Studios, New York, 1916 Louis Comfort Tiffany (1848–1933) established his reputation creating while on a pleasure trip down the Watercolor and gouache on paper Lehigh and Delaware Canals with his Signed, lower right: Louis C. Tiffany beautiful objects. He gave us symphonies in glass and raised the modest fiancé, Louise Wakeman Knox, soon to (64-030) lamp to high art. It is these visually dramatic works that have made be his second wife. This stop in Easton Tiffany a beloved American artist. So it is no wonder that most Tiffany was especially important because they 21) Cradling, c. 1877 met up with her father, then president Oil on artist’s cardboard exhibitions feature his show stoppers. of nearby Lafayette College. Marks: by / L C Tiffany Gift of Mrs. Comfort Gilder This exhibition, on the other hand, everyday life—farm scenes, children 17) Children at the Beach c. 1887 (75-003) draws on the Museum’s collection playing in the surf, and boats on Sea Bright, New Jersey of Tiffany’s less well known two- the Hudson River. Tiffany began Albumen print An etching of this painting was (1998-028:215) published with “Glimpses of New dimensional works, examples that his long and spectacular career as England Farm Life” in the August are poetic in character—sometimes a painter and continued painting 18) Children at the Beach 1878 issue of Scribner’s Monthly joyous, sometimes elegiac. throughout his life. The artist also c. 1888 alongside illustrations of works by Tiffany, who traveled broadly, embraced the relatively new invention Sea Bright, American artists including R. Swain was unceasingly engaged with his of photography enthusiastically. Some New Jersey Gifford (1840–1905) and Winslow visual environment, recording his pieces here reflect the exotic places Oil on panel Homer (1836–1910). impressions with camera, brush, and that proved so influential in his work Gift of Comfort Tiffany Gilder pen. These paintings and photographs in the decorative arts. Others were (55-022) provide an intimate portrait of a captured on family outings. Some man moved by the simple beauty of inspired grander works, but most of Tiffany exhibited a painting from them likely emerged from Tiffany’s this study at the National Academy of Design in 1889. One New York impulse, if not compulsion, to express Times critic observed, “Even the so- the whole of his being in art without called impressionists have invaded the regard to future development or Academy and we find Mr. Tiffany marketability. They are moments seeking to realize the ‘key of nature’ in and meditations rife with the his study of children on the shore… .” spontaneity and creative energy that so marked Tiffany as an artistic force 445 NORTH PARK AVENUE, WINTER in design. Each of them embodies PARK, FLORIDA 32789 Louis Comfort Tiffany’s poetic spirit, 407-645-5311 richly rewarding the viewer who can Above: Abundance, 1888. Watercolor, gouache through them share some of the artist’s WWW.MORSEMUSEUM.ORG on paper, Louis Comfort Tiffany, American, 1848– 1933 (64-030). impressions of life and experience.

©2017 Charles Hosmer Morse Foundation, Inc. All works are by Louis Comfort Tiffany 6) North African Scene with City Wall, TIFFANY STUDIOS STUDY PHOTOGRAPH COLLECTION (1848–1933). c. 1875 Photographs included in this exhibition are part of the Museum’s collection Oil on canvas of images captured by Louis Comfort Tiffany to use later in his artwork. The 1) Landscape with Figure, Signed, lower right: ownership stamp—Louis C. Tiffany—often can be found on the mats around c. 1870 [conjoined LCT] the images, identifying them as photographs taken during his travels as early as Oil on paper Gift of Susan and Edwin Linville the 1870s. Signed, lower right: (83-011) As the artist’s photographs grew in quantity, a number was added to the mat for Louis C. Tiffany filing purposes, and they were incorporated into a broader collection maintained (66-062) 7) On the Hudson, near by his companies. In this way, Tiffany’s personal pictures, impressions always artfully Dobb’s [sic] Ferry, composed, continued to be an essential part of the creative process for decades. 2) Tower of Library in Parliament 1870 Tiffany was one of the earliest artists associated with the relatively new medium Building, Ottawa, June 30, 1919 Oil on canvas of photography, and most of his images are albumen prints. The albumen print was Watercolor on paper Signed, lower left: a popular form of photograph produced between the 1850s and 1890s. Improving Signed, lower right: Louis C. Tiffany upon the earlier salt print, albumen—or egg white—added a sheen to the surface Louis C. Tiffany (78-0013) and a wide range of tonal variation. Marks: Ottawa June 30th 19- / The Morse Museum’s archive of Tiffany Studios study photographs encompasses Tower of Library in Parliament build- Tiffany was just twenty-two when he thousands of images, and these are likely only a fraction of the original collection. ing / partially destroyed by fire completed this painting of Dobbs Ferry The Museum acquired the photographs from a glass studio that had probably Gift of Comfort Tiffany Gilder in Westchester, New York. A similar purchased them from the Tiffany Studios bankruptcy sales in the 1930s. (55-024) painting by his friend and mentor Samuel Colman (1832–1920) is on 3) Fruit Vendors under the Seawall at display in the Other Rooms Gallery 11) Top to bottom: 13) Beach, c. 1883 Nassau, New Providence, 1872 in the Museum’s Laurelton Hall St. Augustine, Florida Exhibited: Pittsburgh Academy of exhibition. It is likely that the two men Drying Sails, c. 1888 Albumen prints Art and Design, 1872 painted the scene in the same location at Sea Bright, Stamped: LOUIS C. TIFFANY. Oil on canvas the same time. New Jersey Marks on photographs: 15 / 1 / Signed, lower left: L. Tiffany 72 Albumen print 48 / 30 / 29 / 9 / 16 / 31 (69-015) 8) Landscape, c. 1875 (1998-028:078) (2001-052:A–H) Oil on panel 4) North African Harbor Scene, c. 1877 Signed, lower right: LCT Boats on Beach, c. 1888 14) Castillo de San Marcos, c. 1883 Watercolor and gouache on paper Gift of Doris and H. K. Blumberg Sea Bright, New Jersey St. Augustine, Florida Signed, lower left: L.C.T. (1999-111) Albumen print Albumen prints Gift of Susan and Edwin Linville (1998-028:052) Stamped: LOUIS C. TIFFANY. (83-010) 9) Landscape with Evening Sky, c. 1880 Marks on mount: 15 Watercolor on laid paper on Sea Bright, New Jersey, was a Marks on photographs: 16 / 28 / 5) Tangier May 5 Market Place, brown board well-known resort area, but also served 47 / [illegible] / 37 / 38 September 1870 Signed, lower left: Louis C. Tiffany as an important hub for commercial (2001-050:A–F) Tangier, Morocco Gift of Comfort Tiffany Gilder fishing. Tiffany took scores of Photographic reproduction (55-019) photographs from as early as 1878, The lower left image inspired the Marked: Tangier / May 5 / capturing both the leisure activities as painting of the entrance to the Castillo Market place 10) Landscape, c. 1880 well as the boats and men at work. on view in the Museum’s exhibition (1998-028:018) Probably the Adirondacks Louis Comfort Tiffany’s Life and Albumen print 12) Dune landscape, c. 1883 Art. Tiffany visited St. Augustine in This photograph inspired the 1873 Stamped: LOUIS C. TIFFANY. Probably St. Augustine, Florida part to improve the health of his first painting, Market Day Outside the Marks on mount: 16 Albumen print wife, Mary, but the surviving sets of Walls of Tangiers, Morocco, now (2015-001:118) Marks on photograph: 53 photographs taken while there speak to in the collection of the Smithsonian’s (1998-028:049) his excitement with his surroundings. American Art Museum.

Impressions on Film, Canva,s and Paper Impressions on Film, Canvas, and Paper 15) Mountain landscape, c. 1886 19) Wagon Fording a Stream, c. 1875 Albumen print Oil on canvas (1998-028:039) Signed, lower right: L.C.T. LOUIS COMFORT TIFFANY Gift of Susan and Edwin Linville 16) Children at Guard (83-009) Impressions on Film, Lock, June 21, 1886 Lehigh Canal, 20) Abundance, 1888 Canvas, and Paper Easton, Pennsylvania Exhibited: Society of Painters in Albumen print Water-Colors, at the National (1998-028:106) Academy of Design, 1889; Louis OBJECT GUIDE Comfort Tiffany Retrospective, Tiffany captured dozens of images Tiffany Studios, New York, 1916 Louis Comfort Tiffany (1848–1933) established his reputation creating while on a pleasure trip down the Watercolor and gouache on paper Lehigh and Delaware Canals with his Signed, lower right: Louis C. Tiffany beautiful objects. He gave us symphonies in glass and raised the modest fiancé, Louise Wakeman Knox, soon to (64-030) lamp to high art. It is these visually dramatic works that have made be his second wife. This stop in Easton Tiffany a beloved American artist. So it is no wonder that most Tiffany was especially important because they 21) Cradling, c. 1877 met up with her father, then president Oil on artist’s cardboard exhibitions feature his show stoppers. of nearby Lafayette College. Marks: by / L C Tiffany Gift of Mrs. Comfort Gilder This exhibition, on the other hand, everyday life—farm scenes, children 17) Children at the Beach c. 1887 (75-003) draws on the Museum’s collection playing in the surf, and boats on Sea Bright, New Jersey of Tiffany’s less well known two- the Hudson River. Tiffany began Albumen print An etching of this painting was (1998-028:215) published with “Glimpses of New dimensional works, examples that his long and spectacular career as England Farm Life” in the August are poetic in character—sometimes a painter and continued painting 18) Children at the Beach 1878 issue of Scribner’s Monthly joyous, sometimes elegiac. throughout his life. The artist also c. 1888 alongside illustrations of works by Tiffany, who traveled broadly, embraced the relatively new invention Sea Bright, American artists including R. Swain was unceasingly engaged with his of photography enthusiastically. Some New Jersey Gifford (1840–1905) and Winslow visual environment, recording his pieces here reflect the exotic places Oil on panel Homer (1836–1910). impressions with camera, brush, and that proved so influential in his work Gift of Comfort Tiffany Gilder pen. These paintings and photographs in the decorative arts. Others were (55-022) provide an intimate portrait of a captured on family outings. Some man moved by the simple beauty of inspired grander works, but most of Tiffany exhibited a painting from them likely emerged from Tiffany’s this study at the National Academy of Design in 1889. One New York impulse, if not compulsion, to express Times critic observed, “Even the so- the whole of his being in art without called impressionists have invaded the regard to future development or Academy and we find Mr. Tiffany marketability. They are moments seeking to realize the ‘key of nature’ in and meditations rife with the his study of children on the shore… .” spontaneity and creative energy that so marked Tiffany as an artistic force 445 NORTH PARK AVENUE, WINTER in design. Each of them embodies PARK, FLORIDA 32789 Louis Comfort Tiffany’s poetic spirit, 407-645-5311 richly rewarding the viewer who can Above: Abundance, 1888. Watercolor, gouache through them share some of the artist’s WWW.MORSEMUSEUM.ORG on paper, Louis Comfort Tiffany, American, 1848– 1933 (64-030). impressions of life and experience.