The Neustadt Collection of Tiffany Glass Ongoing

Total Page:16

File Type:pdf, Size:1020Kb

The Neustadt Collection of Tiffany Glass Ongoing The Neustadt Ongoing Collection of Tiffany Glass About The Neustadt Collection of Tiffany Glass The Neustadt Established in 1969, The Neustadt Collection of Tiffany Glass is an independent non-profit collection dedicated to fostering a better Collection of understanding and appreciation of the artwork of Louis C. Tiffany. With a focus on Tiffany’s leaded glass, the collection includes an extraordinary Tiffany Glass array of floral and geometric lamps as well as landscape and figural windows. A unique feature of the collection is a vast, one-of-a-kind archive of original flat glass and pressed-glass “jewels” used by Tiffany Studios, which provides valuable insight into the development of the stained-glass movement in America at the turn of the twentieth century. In 1995, the Ongoing Neustadt Collection partnered with the Queens Museum to share its collection with the New York metropolitan area through a permanent Tiffany gallery and educational programming. This partnership has special significance because Tiffany’s glass furnaces, metal foundry and workshops were located in Corona, Queens, less than two miles from the Museum. Portions of the collection are also available to museums across the United States through loans and traveling exhibitions. Louis C. Tiffany Louis C. Tiffany (1848-1933) was the son of the founder of Tiffany & Company, the luxury retailer renowned for jewelry and silver. Although Tiffany began as a landscape painter, his interests turned to interior design and the decorative arts. Under his direction, hundreds of artists and artisans created extraordinary leaded-glass windows, lamps, mosaics, glassware, enamels, ceramics, metalwork, jewelry, furniture and textiles. Many of his clients were wealthy, socially-prominent families. Commissions included the White House under President Chester A. Arthur’s administration and the Connecticut home of author Mark Twain. Tiffany also decorated public buildings and houses of worship across America. Cover: Tiffany Studios, New York During his fifty-year career, Tiffany earned widespread critical acclaim and Peony Hanging Shade, ca. 1905 became one of the most celebrated artists of his time. Leaded glass, bronze Diameter: 28 in. Reproduction hanging hardware Visionary Collectors: Egon & Hildegard Neustadt The Neustadt Collection of Tiffany Glass The Neustadt Collection of Tiffany Glass was founded by Dr. Egon N86.C.16 Neustadt (1898-1984) and his wife Hildegard (1911-1961), Austrian Queens Museum immigrants who amassed an unparalleled collection of Tiffany lamps over New York City Building the course of fifty years. The Neustadts bought their first Tifany lamp Flushing Meadows Corona Park from a second-hand shop in 1935 when Tiffany’s designs were out of Queens, NY 11368 fashion. Newly married, they were decorating their home in Queens when T 718 592 9700 F 718 592 5778 they happened upon an old stained-glass daffodil lampshade, “which gave E [email protected] a fascinating effect of real flowers growing in a real garden.” Enamored of all things American, they were delighted to learn that the lampshade was queensmuseum.org @QueensMuseum made in the country they now proudly called home. They purchased the lamp for $12.50. The Neustadt Collection of Tiffany Glass Today, the Neustadts’ passion for Tiffany continues at the Queens T 718 361 8489 Museum. Through changing exhibitions in the Neustadt Gallery, visitors E [email protected] not only enjoy the beauty of this extraordinary collection, but also gain a theneustadt.org deeper appreciation of the artwork through a discussion of materials, @TheNeustadt fabrication processes and historical context..
Recommended publications
  • 3 Flushing Meadows Corona Park Strategic Framework Plan
    Possible reconfiguration of the Meadow Lake edge with new topographic variation Flushing Meadows Corona Park Strategic Framework Plan 36 Quennell Rothschild & Partners | Smith-Miller + Hawkinson Architects Vision & Goals The river and the lakes organize the space of the Park. Our view of the Park as an ecology of activity calls for a large-scale reorganization of program. As the first phase in the installation of corridors of activity we propose to daylight the Flushing River and to reconfigure the lakes to create a continuous ribbon of water back to Flushing Bay. RECONFIGURE & RESTORE THE LAKES Flushing Meadows Corona Park is defined by water. Today, the Park meets Flushing Bay at its extreme northern channel without significantly impacting the ecological characteristics of Willow and Meadow Lakes and their end. At its southern end, the Park is dominated by the two large lakes, Willow Lake and Meadow Lake, created for shorelines. In fact, additional dredged material would be valuable resource for the reconfiguration of the lakes’ the 1939 World’s Fair. shoreline. This proposal would, of course, require construction of a larger bridge at Jewel Avenue and a redesign of the Park road system. The hydrology of FMCP was shaped by humans. The site prior to human interference was a tidal wetland. Between 1906 and 1934, the site was filled with ash and garbage. Historic maps prior to the ‘39 Fair show the Flushing To realize the lakes’ ecological value and their potential as a recreation resource with more usable shoreline and Creek meandering along widely varying routes through what later became the Park.
    [Show full text]
  • Tomorrow's World
    Tomorrow’s World: The New York World’s Fairs and Flushing Meadows Corona Park The Arsenal Gallery June 26 – August 27, 2014 the “Versailles of America.” Within one year Tomorrow’s World: 10,000 trees were planted, the Grand Central Parkway connection to the Triborough Bridge The New York was completed and the Bronx-Whitestone Bridge well underway.Michael Rapuano’s World’s Fairs and landscape design created radiating pathways to the north influenced by St. Peter’s piazza in the Flushing Meadows Vatican, and also included naturalized areas Corona Park and recreational fields to the south and west. The Arsenal Gallery The fair was divided into seven great zones from Amusement to Transportation, and 60 countries June 26 – August 27, 2014 and 33 states or territories paraded their wares. Though the Fair planners aimed at high culture, Organized by Jonathan Kuhn and Jennifer Lantzas they left plenty of room for honky-tonk delights, noting that “A is for amusement; and in the interests of many of the millions of Fair visitors, This year marks the 50th and 75th anniversaries amusement comes first.” of the New York World’s Fairs of 1939-40 and 1964-65, cultural milestones that celebrated our If the New York World’s Fair of 1939-40 belonged civilization’s advancement, and whose visions of to New Dealers, then the Fair in 1964-65 was for the future are now remembered with nostalgia. the baby boomers. Five months before the Fair The Fairs were also a mechanism for transform- opened, President Kennedy, who had said, “I ing a vast industrial dump atop a wetland into hope to be with you at the ribbon cutting,” was the city’s fourth largest urban park.
    [Show full text]
  • Tiffany Memorial Windows
    Tiffany Memorial Windows: How They Unified a Region and a Nation through Women’s Associations from the North and the South at the Turn of the Twentieth Century Michelle Rene Powell Submitted in partial fulfillment of the requirements for the degree Master’s of Arts in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art and Design 2012 ii ©2012 Michelle Rene Powell All Rights Reserved i Table of Contents List of Illustrations i Introduction 1 Chapter 1: Old Blandford Church, American Red Cross Building, and Windows 8 The Buildings 9 The Windows in Old Blandford Church 18 The Windows in the National American Red Cross Building 18 Comparing the Window Imagery 22 Chapter 2: History of Women’s Memorial Associations 30 Ladies’ Memorial Associations 30 United Daughters of the Confederacy 34 Woman’s Relief Corps 39 Fundraising 41 Chapter 3: Civil War Monuments and Memorials 45 Monuments and Memorials 45 Chapter 4: From the Late Twentieth Century to the Present 51 What the Windows Mean Today 51 Personal Reflections 53 Endnotes 55 Bibliography 62 Illustrations 67 ii List of Illustrations I.1: Tiffany Glass & Decorating Company, Reconstruction of 1893 Tiffany Chapel 67 Displayed at the Columbian Exposition I.2: Tiffany Glass & Decorating Company advertisement, 1898 68 I.3: Tiffany Glass & Decorating Company advertisement, 1895 69 I.4: Tiffany Glass & Decorating Company advertisement, 1899 70 I.5: Tiffany Studios, Materials in Glass and Stone, 1913 71 I.6: Tiffany Studios, Tributes to Honor, 1918 71 1.1: Old Blandford Church exterior 72 1.2: Old Blandford Church interior 72 1.3: Depictions of the marble buildings along 17th St.
    [Show full text]
  • Community: a Collaborative Prospective to Curatorial Practices
    COMMUNITY: A COLLABORATIVE PROSPECTIVE TO CURATORIAL PRACTICES A thesis submitted to the faculty of San Francisco State University A ^ In partial fulfillment of the requirements for the Degree MOSST * Master of Arts In Museum Studies by Crystal Renee Taylor San Francisco, California May 2015 Copyright by Crystal Renee Taylor 2015 CERTIFICATION OF APPROVAL I certify that I have read Community: A Collaborative Prospective to Curatorial Practices by Crystal Renee Taylor, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Museum Studies at San Francisco State University. rward Luby, Ph.D. Director of Museum Studies & _______________________ <i.ren Kienzle, MA Jecturer of Museum Studies ACKNOWLEDGEMENTS I would like to dedicate this thesis to my wonderful parents Albert and Frances Taylor who have always supported and encouraged me in all aspects of my life. Also, to Nathaniel who has been a great source of encouragement throughout this process I truly appreciate and thank you. TABLE OF CONTENTS List of Figures................................................................................................................................vii List of Appendices.......................................................................................................................viii Chapter 1: Introduction................................................................................................................... 1 Chapter 2: Literature
    [Show full text]
  • December 2013 Volume 6 Alabama Epscor Alabama’S Graduate Research Scholars Program - GRSP
    GRSP GRADUATE RESEARCH SCHOLARS PROGRAM December 2013 Volume 6 Alabama EPSCoR alabama’s Graduate Research Scholars Program - GRSP - Is unique Among National EPSCoR Programs. Few states have committed major resources toward the sponsorship and development of its next generation of researchers, scientists, and innovators. The GRSP is a state investment in Alabama’s universities that will expand research output, attract quality graduate students and make our universities more competitive for quality faculty hires. The program will provide a highly trained workforce to fuel the growth of high technology companies in Alabama. A significant goal of the GRSP is to encourage interdisciplinary training and research, to train professionals for careers in the scrutinized fields, and to encourage individuals from underrepresented groups to consider careers in these fields. Table of Contents Message from the ALEPSCoR Steering Committee Chair....................................................................4 Message from the ALEPSCoR Executive Director................................................................................5 Overview ......................................................................................................................................................................6 Tables and Statistics............................................................................................................................7 GRSP Presentation to the Alabama Commission on Higher Education .......................................................8
    [Show full text]
  • Life and Art Gift of Louis T
    Morse Museum Object Guide 20) Top to bottom: 22) Top to bottom: Tiffany Studios, Madison Avenue Invitation, February 4, 1913 Louis Comfort showroom, New York City, c. 1927 “Egyptian Fête of the Time of Cleopatra,” Photographic print Tiffany Studios, New York City 2000-024:04 Print on paper Gift of Mrs. Collier F. Platt Tiffany’s Award certificate, 1901 55-030 Pan-American Exposition, Buffalo, New York Synopsis of the Egyptian Fête, Print and ink on paper February 4, 1913 Inscribed: A Silver Medal on Louis C. Tiffany Studios, New York City Louis Comfort Tiffany, c. 1920s. Tiffany for Fountain and Decoration Print on paper Photograph by Blank & Stoller. Life and Art Gift of Louis T. Lusk Gift of Mrs. Collier F. Platt Gift of Mrs. Benjamin Hosking (67-035). 68-060:12 1999-080 Unless otherwise noted, the objects in 1879–1887: LEADING AMERICAN DECORATOR this gallery were designed by Louis 21) The Art Work of Louis C. Tiffany 1916–1933: QUEST OF BEAUTY Comfort Tiffany (1848–1933) or one of 5) Castillo de San Marcos, Embossed gilt bronze, printed vellum his artists and made under the name of St. Augustine, Florida, c. 1883 Louis Comfort Tiffany, 1848–1933, 23) Top to bottom: Oil on canvas binding designer one of his companies. The installation history at various Tiffany residences is Signed, lower right: L.C.T. Charles de Kay, 1848–1935, author Proclamation, 1925–26 92-003 New York: Doubleday, Page & Company, Recognition of Louis C. Tiffany by stated if known. 1914 The Louis Comfort Tiffany Foundation 6) Tile, c.
    [Show full text]
  • Brooklyn-Queens Greenway Guide
    TABLE OF CONTENTS The Brooklyn-Queens Greenway Guide INTRODUCTION . .2 1 CONEY ISLAND . .3 2 OCEAN PARKWAY . .11 3 PROSPECT PARK . .16 4 EASTERN PARKWAY . .22 5 HIGHLAND PARK/RIDGEWOOD RESERVOIR . .29 6 FOREST PARK . .36 7 FLUSHING MEADOWS CORONA PARK . .42 8 KISSENA-CUNNINGHAM CORRIDOR . .54 9 ALLEY POND PARK TO FORT TOTTEN . .61 CONCLUSION . .70 GREENWAY SIGNAGE . .71 BIKE SHOPS . .73 2 The Brooklyn-Queens Greenway System ntroduction New York City Department of Parks & Recreation (Parks) works closely with The Brooklyn-Queens the Departments of Transportation Greenway (BQG) is a 40- and City Planning on the planning mile, continuous pedestrian and implementation of the City’s and cyclist route from Greenway Network. Parks has juris- Coney Island in Brooklyn to diction and maintains over 100 miles Fort Totten, on the Long of greenways for commuting and Island Sound, in Queens. recreational use, and continues to I plan, design, and construct additional The Brooklyn-Queens Greenway pro- greenway segments in each borough, vides an active and engaging way of utilizing City capital funds and a exploring these two lively and diverse number of federal transportation boroughs. The BQG presents the grants. cyclist or pedestrian with a wide range of amenities, cultural offerings, In 1987, the Neighborhood Open and urban experiences—linking 13 Space Coalition spearheaded the parks, two botanical gardens, the New concept of the Brooklyn-Queens York Aquarium, the Brooklyn Greenway, building on the work of Museum, the New York Hall of Frederick Law Olmsted, Calvert Vaux, Science, two environmental education and Robert Moses in their creations of centers, four lakes, and numerous the great parkways and parks of ethnic and historic neighborhoods.
    [Show full text]
  • Tiffany Glass
    Woodson Art Museum in your classroom Tiffany Glass Winter 2016-17 Top: Detail from Tiffany Studios, New York, Apple Blossom Library Lamp, ca. 1905, leaded glass, bronze; Below: Tiffany Studios, New York, Clara Driscoll, designer, Wisteria Library Lamp, ca. 1901, leaded glass, bronze. All artworks and images from The Neustadt Collection of Tiffany Glass, Queen, New York. Above: Detail from Tiffany Studios, New York, Begonia Reading Lamp, ca. 1905, leaded glass, bronze; Below: Louis Comfort Tiffany, Favrile Vase, 1909, blown glass; Victorian Art Glass Basket Introduction to Exhibitions on View This winter at the Leigh Yawkey Woodson Art Museum, three complementary exhibitions focused on art glass showcase the range of materials, forms, and designs spanning three iconic movements in American decorative arts: Victorian Era, Gilded Age, and Art Nouveau. Tiffany Glass: Painting with Color and Light includes twenty Tiffany Studios leaded glass lamps, five large stained glass windows, hanging shades, and three forgeries modeled after Tiffany’s iconic lamp designs, all from The Neaustadt Collection of Tiffany Glass. For more information about the exhibition and The Neustadt Collection, check out the Woodson Art Museum’s free app and videos on our Youtube Channel. Two exhibitions from the Woodson Art Museum’s glass collection juxtapose the intricate, feminine designs of the Victorian Era with the more modern and restrained aesthetics of the Art Nouveau period. Enduring Beauty: Art Nouveau Glass features bold iridescent glass in sleek undulating forms typical of the decorative, yet utilitarian, turn-of-the-twentieth-century glassware. Victorian Art Glass Baskets also from the Art Museum’s collection, feature bright colors “woven” throughout delicate glass reminiscent of frills on tutus and unfurling flower petals.
    [Show full text]
  • The Los Angeles County Museum of Art (LACMA) Presents Do Ho Suh: 348 West 22Nd Street Showcasing a Recent Gift to the Museum
    Image caption on page 3 The Los Angeles County Museum of Art (LACMA) presents Do Ho Suh: 348 West 22nd Street showcasing a recent gift to the museum. 348 West 22nd Street, Apartment A, Unit-2, Staircase (2011–15) replicates the artist’s ground-floor residence from a New York City building. Created in luminous swaths of translucent polyester, the rooms and hallways are supported by stainless-steel. In this immersive passageway of conjoined rooms, visitors pass through an ephemeral representation of the artist’s personal history. The corridor, stairs, apartment, and studio are each rendered in a single block of color, with fixtures and appliances replicated in exacting detail. Fusing traditional Korean sewing techniques with digital modeling tools, the maze-like installation of 348 West 22nd Street balances intricate construction with delicate monumentality. The installation is curated by Meghan Doherty, Curatorial Assistant, Contemporary Art at LACMA. Inspired by his own history of migration, Suh’s ethereal, malleable architecture presents an intimate world both deeply familiar and profoundly estranged. The artist’s works elicit a physical manifestation of memory, exploring ideas of personal history, cultural tradition, and belief systems in the contemporary world. Best known for his full-size fabric reconstructions of places he has lived including former residences in Seoul, Providence, New York, Berlin, and London, Suh’s creations of physicalized memory address issues of home, displacement, individuality, and collectivity, articulated through the architecture of domestic space. 348 West 22nd Street, Apartment A, Unit-2, Staircase is the second work by Do Ho Suh to enter LACMA’s collection, following the artist’s Gate (2005) which was acquired by the museum in 2006.
    [Show full text]
  • Jul 11 Aug 18 2016 Jun 1 (Deadline) Summer Youth
    Summer Youth Arts Project 2016 Jul 11 A free summer program Aug 18 2016 Jun 1 (deadline) Queens middle school students, thinking about your summer? How about: • Spending your summer at a world- class art museum? • Working closely and learning from professional artists? • Developing your arts, academic and social skills through fun art projects and workshops? • Going on art field trips around NYC • Exhibiting your work in a two- week public exhibition and celebration at the Queens Museum in September. • Learning about high school art programs at the Queens Museum and around NYC In this intensive six-week summer arts program, How will the participants be selected? How do I apply? you will grow your art skills in drawing, sculpture, We’ll be looking for youth who Complete your application form online: graphics and much more. You’ll grow as an artist and • Commit to ALL the dates of the program. queensmuseum.org/summer-youth-arts-project learn about how other artists think and create. This • Are OPEN-MINDED and willing to try new is a great opportunity for students who might be things. We strongly encourage applicants to apply online. interested in applying to high schools arts programs. • Are MOTIVATED to grow as artists. Or mail or fax your completed application to Dates Important program details SYAP Education • Mondays to Thursdays, 10AM-5PM • This program is FREE for all admitted Queens Museum • July 11 to August 18 (six weeks) students participants, including art supplies NYC Building • Students will also have access to additional and materials. Flushing Meadows Corona Park optional studio time at the Museum.
    [Show full text]
  • American Glassware, Old and New : a Sketch of the Glass Industry In
    II 6G6-( f pRflMKLlN [WSTITUTE \J3RAR^ FHIL/lDELFHId 5'4 ' S / Class leookB 23 a Accession 4 Digitized by the Internet Archive in 2014 https://archive.org/details/americanglasswarOObarb WASHINGTON (See No. 79) American Glassware Old and New A Sketch of the Glass Industry IN THE United States AND Manual for Collectors of Historical Bottles By EDWIN ATLEE BARBER, A.M., Ph.D. Author of Pottery and Porcelain of the United States, Anglo-American Pottery, Etc., Etc., Etc. Honorary Curator of the Department of American Pottery and Porcelain, Pennsylvania Museum and School of Industrial Art, Philadelphia , Pa. PRESS OF Patterson & White Company philadelphia, pa, MCM Jii n lA 1 900 Copyright 1900 By Edwin A. Barber Cj o MOORE FUND THE GETTY CENTER LIBRARv TO ALL LOVERS OF THE ANTIQUE THE CURIOUS THE BEAUTIFUL IN GLASSWARE PREFACE Collectors of antiquities have recently begun to turn their attention to those curious old de- signs in glassware which illustrate events of im- portance in our nation's progress, or attempt to portray the features of some of the personages who were prominent in the country's history. On account of the absence of distinguishing marks, the origin of these quaint old flasks and bottles and teacup plates has heretofore been en- shrouded in doubt. Whether they were oi foreign or American production, none could posi- tively say. Those whose interest has been aroused in this subject have felt the need of a manual which, while throwing some light on the factories where these objects were produced, shall furnish a refer- ence list of known designs.
    [Show full text]
  • Tiffany Windows in Richmond and Petersburg, Virginia Rachel M
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr.
    [Show full text]