STAFF LIBRARY Cover: Enlarged Detail of Favrile Glass Plate (Cat
'-"M~ AMERICAN CRAFTSMEN'S COUNCIL 29 WEST 53RD STREET, N.Y.19, N.Y.
STAFF LIBRARY Cover: Enlarged detail of Favrile glass plate (Cat. No. 17ob).
Louis Comfort Tiffany
1848-1933
TEXT, CHRONOLOGY AND BIBLIOGRAPHY BY DR. ROBERT KOCH
FOREWORD BY THOMAS S. TIBBS, Director, NfLlseLlIIt of Contemporary Crafts
OTES ON THE PLATES BY ROBERT A. LAURER, As istant Director
EDITOR OF THE CATALOG, PATRICIA S FRI ,Secretary
Museum of Contemporary Crafts ~f the A m erican Craftsmen's Council, New York
January 24 throug h April 6, 1958 © 1958 by the Jlusewl1 of Contemporary Crafts, New York
Printed in the United States of America
Designed by Bert Clarke and produced by Clarke &- lVay, Inc., The Thistle Pres Ii() J' (" \\' () l'( I
'I'll('
5 Vases from the Joseph Heil Collection, with an anliquc Roman vase for comparison. (Left to right: Cat. Nos. 119, 129, 131, 130, 1700) Photograph by Joseph Heil
by Dr. Robert Koch
More than a painter, more than a decorator, more than a craftsman, Louis C. Tiffany was an organizer, an entrepreneur and an innovator who led his contemporaries in a movement that set new standards of artistry and changed the taste of the nation. He was one of America's fore- 111.0st creative designers. Born in Tew York City on February 18, 1848, the year of his father's first important business success, he was raised as the oldest son in a family that included two girls and a younger boy. It was expected that he would some day succeed hi father as director of Tiffany and Com pany. Instead he decided to become a painter. At the age of eighteen, in 1866, he chose an apprenticeship in the studio of George Inness in preference to a college education. As a painter TiJTallY's rapid success was phenomenal. Early landscapes like "View of the Palisades" (Plate NO.1) or "Fuller's Country Store" have much decorative charm. Then, for more than five years, he spent most of his time abroad. He studied in Paris and he traveled in North Africa and in Brittany. He was in Cairo in 1870 and there painted treet scenes, mosques and market places. He quickly established a reputation a" a painter of outdoor genre scenes and was a regular contributor to exhibitions at the Century Club and the rational Academy of Design in New York. At the age of twenty-two, in 1870, he was elected to membership in the Century Club; in 1871 he became an associate lVlember of the National Academy; and in 1880 he was made an Academician. He was also a member of the American Water Color Society and one of the founders of the Society of American Artists where he served as treasurer in 1878. In the decade between 1868 and 1878 he devoted most of his energy to painting. Over thirty pain Ling by Tiffany were seell at the Century Club and fourteen others were included in the ten annuals of the National Academy at this time. The reviews were mostly favorable and many oils and water colors were purchased. His most important painting, "Duane Street" of 1875 (Plate NO.3) is a forceful prefiguration of the work of those New York painters of the early twentieth century known as the" A h Can School." Here the drab quality of the city slum is the
7 subject which is organized into rectangular areas oftexture that give a mood of quiet permanence and dignity to the scene. Another painting "In the Fields at Irvington" of 1878, which repre sents his wife and three children, show pim equally able to represent life in the country._One observes the same directness that is char; cteristic of the best paintings by Winslow Homer. By 1878 Tiffany was already involved with the decorative and applied arts. His interest seems to stem from the Philadelphia Centennial Exhibition of 1876 where he exhibited three oils and ix water colors. His sister's brother-in-law, Donald G. Mitchell of New Haven, a writer better known by his pen name Ik Marvel, was chairman of the judges of the decorative arts. Here Tiffany became acquainted with the work of decorators from all over the world and was particularly impressed by the English and the Japanese. Also his father's partner in Tiffany and Company, the silversmith and collector of decorative arts, Edward C. Moore, encouraged the younger Tiffany in this direction. His first experiments were with glass and, together with John La Farge, he learned chemistry and worked in the Heidt glasshouse in Brooklyn, New York. Tif-fany and La Farge were never in partnership. They were working toward different goals. La Farge'S aim was to use glass in windows as a painter's medium. Tiffany's aim was to exploit the properties of the glass itself in the decoration of interiors. Both artists made their first ornamental windows of opalescent glass in 1876; both installed their fir t figure windows in 1878; and both worked for the same architect on the same job in 1880, always in a spirit of competition. La Farge may have been the first to use opalescent glass in a churcll window, but by 1880 Tif-fany had applied for the patents on the metallic iridescent glass that has been a sociated with him ever since. His first extensive use of this glass was for fireplace tiles and mosaic windows. Another result of the Phila8elphia Centennial "vas the organization of the ociety of Decorative Art by Candace ' lYheeler. Tiffany contributed designs and attended meetings of this group until 1879 when, together with Samuel Colman and Lockwood de Forest, two of his painter friends, he resigned. They formed the "Louis C. Tiffany Company, Associated Artists" and then persuaded Mrs. ' Vheeler to abandon her organization and become a fourth partner. These" Associated Artists" continued i;n busine s until 1883. During these four years Tiffany and his associates devoted their efforts entirely to the decoration of interiors. Many private homes and city apartments ,,,,ere completely done over by them. Tiffany's own apartment was the most celebrated with many draV\ings and photographs r describing the various rooms appearing in popular periodicals. Tiffany and his associates suc- ceeded in launching a new style of interior based on the English-cancept of "fitness" which had been advocated by Ruskin and then implemented by both \ Yilliam Morris and James icNeill
8 vVhistler. Tiffany's first custom rs included J. Taylor Johnston, president of the Metropolitan Museum of Art, Hamilton Fish / d Mark Twain. Among the important pUblic buildings then decorated under Tiffany's direction were the Madison Square Theatre for which he prepared an embroidered drop cUTtain in 1879, the Veteran's Room and Library of the Seventh Regiment Armory in 1880, a major portion of the Union League Club building in 1881 and the White House in "'\i\Tashington, D.C., in 188z- 1883. Still preserved in good condition are the two large r00111,S in the Seventh Armory Regiment where one can see one of the subtlest and most colorful late Victorian interiors in this country (Plate NO.4). A wonderful blend of textures and materials is here achieved by the consistent use of small scale and flat interlace scroll patterns that clearly anticipate the highest accomplishments of the Art Nouveau designers. When Mrs. VVheeler left th, Tiffany firm in 1883, she took with her the department of needlework and the name "Associ'ilted Artists." The then newly formed Tiffany Glass Company concerned itself primarily with S1jained glass windows and some related interiors. The Lyceum Theatre, decorated by Tiffany ir:l' 1885, was most important and probably had a profound effect on the decorations used by Louis Sullivan in his Auditorium in ] 887- 1889. As president and director of the Tiffany Glass Company, Tiffany worked directly with many of the most advanced American architects of the eighties and nineties. The windows and screens which he supplied to hotels, clubs, homes, churches and theatres had to be incorporated into the architects' plans and installed during con$truction~As his business expanded its scope to include a complete decorating service, Tiffany learne to solve the problems of planning and building. Problems of lighting were particularly interesting to him and on one occasion he had the opportunity of working directly with Tllomas Edison. In the Tift'any House on 7znd Street, built in 1884. at his father's expense, he worked with Stanford VVhite. In the Ponce de Leon Hotel in St. Augustine, Florida, he worked with Thomas Hastings. He also made windows for buildings by J. C. Cady, C. C. Haight, Potter and Robertson and W . Halsey Wood. Then in 1893 he became his own architect for the first time and both planned and built a chapel for display at the Chicago Columbian Exposition. This was so great a success that it was later purchased by an individual and donated to the Cathedral Church of St. John the Divine in New York where it was in use for over ten years as the hi.gh altar in the crypt. This chapel is one of the most important monuments in the history of American Art (Plate NO.7)' In this structure Tiffany's use of Richardsonian-Romanesque concentric round arches resembles Sulli van's "Golden Door" of his Transportation Building for the same Chicago Fair. TifFany's ornanlent is entirely uniq ue in a way that has given it the designation of "Tiffany-
9 Byzantine." Hi exten ive use of glass and marble mosaics to create varying patterns of light and color represented a new departure in church decoration which led to a simpler and brighter treatment of walls and space. The most effective feature of this chapel is the blue-green iridescent mosaic of peacocks which served as the reredos. The ensemble is completely Art Nouveau in a way that relates it to English, French and Belgian architectural ornament of this period. Sim plicity of contour and form articulated by flat linear ornament gives this work its essentially modern character when it is compared with any Gothic or Classic revival building of the time. Those qualities which are characteristic of the whole are also to be seen in the the cross, candle holders and tabernacle door. The chapel contained a series of religious windows which were among Tiffany's finest. There are also several other windows, of the same period, which were then equally well known. A large and complex allegory to Education was designed and installed by Tiffany in 1890 in the Yale Chittenden Library in New Haven. Anoth~r secular window, representing the four season, was sent for exhibition abroad in 1890 and attracted a great deal of attention in Paris. These windows can be properly understood today only if we are able to overlook the obviously dated aspects of the figures and see in the treatment of the basic forms the expression through a new material of new effects of light and color. These effects which were seen in 1890 by a group of advanced French painters, stimulated them to make designs for execution in America of Tiffany glass. In the Salon of 1895 there were, ten vvindows designed by French artists and made by Tif-fany, The list of contributing artists includes Bonnard, Vuillard and Toulouse-Lautrec. The location of these windows is at present unknown. The popularity of his windows and the growing demand for his interior decorations enabled Tiffany to expand his business rapidly in the nineties. In 1892 he reorganized as the Tiffany Glass and Decorating Company and began to plan the building of a new factory for the manufacture of hi glass. By the end of 1893 the Tiffany Furnaces were in operation ,vith a glass blowing division under Arthur J. Iash. The introduction of blown vases and bowls was the logical outcome of Tiffany's grovvth and development as an artist and decorator for fifteen years. Although he did not actually blow the glass himself, every piece produced under his supervision is an expression of his taste and his personality. He gave a great deal of freedom to those craftsmen employed by him and yet asserted his objectives so strongly that they are manifest in almost all the products that bear his name or the name of his firm. Tiffany would tolerate no compromi e with quality and would permit no falsification of the material. He encouraged the use of accidental effects and of the combining of various mate-
IO Favrile glass bowl, from the Joseph lIcil Collection. (Cat. No. 146) Photograph. by Joseph Heil
II rials to achieve new colors or textm·es. To him glass as a material could be opaq ue or trarisparent, pliable as it was in its molten stage or hard and brittle. Thus it ,,,as the most flexible and varied of all the materials then known. Many of his sh apes wel'e based on Islamic or Oriental forms but far more were based on nature. The earliest pieces of blown glass, for which h e Llsed the trade-mark "Favrile," meaning handmade, show a tremendous range of hape' and colors. At first no two pieces could be exactly alike. It was ouly after 1900 that he began to produce pieces that had named patterns or shapes and could at least be matched for a table setting. Tiffany's ability to get the best from his employees " 'as matched only by his ability to publicize their products. By discreetly giving his finest pieces to museums all over the world alld by contributing to many exhibitions, within a few 'hort years Tiffany ware became a world-wide vogue. It was new, it wa colorful and it met the growing demand fo)" originality and simpliciLy in hone t craftsmanship. On an international scale it made an importanL co ntribution to the then developing modern movement in the arts and crafts. Also before 1900, Tiffany began to design and to man u fact Lll"e objects of bronze including lamps and candelabra of various sizes and shapes. (Early examples of both glass and bronze can be identified by the "T. G. & D. Co ." monogram or label which was abandoned in 1900.) Shapes in bronze differ from those in glass to the extent that they expre s the properties of a differenL material. When several materials are combined each is therefore able to maintaiJl a speciaJ quality. This is the 1.ll1derlying secret of products by Tiffany. There never could be a single formula since variety and originality were the most sought after properties. However, it is precisely these which make it impossible to copy or imitate. Tiffany's style is the work of a master craftsman, sensitive to the most advanced cunents of taste of his own time and produced with a sense of continuity. Thi is confirmed in a tatement in a booklet issued by Tiffany Furnaces shortly after 1902 which, referring to Tiffany Favrile Glass, declare :
"Its individLlality lies in its diversified radiance of iridescence, and ill the use of glass of various colors and metal combinations, to produce design as an integral part of the structure of the object decorated, all of which is accomplished in the actual making of the article in the furnace, and not by any sub eq uent treatment."
In 1900, the corporatioJl\yas reorganized as Tiffany Studios and continued to operate Llnder that name until 1936. The death of his fadler, Charles L. Tiffany, ill 1902, provided Tiffany with almost unlimited fLlnds for the rest of his life. In the years immediately following, Tiffany was both the pre ident of Tiffany Studios and the art director of Tiffany and Company.
I2 Bronze ca ndleholclers. (CaL. :\Tos. 268, 269 and 267) The Joseph Fleil Collection
Flower form vase, in bronze base. (Cat. ro. 174) The Edgar Kaufmann, Jr., Collection IJ He concentrated on designing jewelry and in building L~urelton Hall, a palatial home for him self and his family in Oyster Bay, Long Island. Laurelton Hall was designed by Tiffany and executed between 1902 and 1904 in the Mission-Moorish style and was, until it burned in 1957, the finest example of mature Art ouveau architecture in the United States. The main house cost more than two million dollars in 1903, and after later alterations, contained over eighty rooms. The style and some of the most conspicuous features of this house are surprisingly modern, representing an important step in the direction of today's concepts of architecture. The asymmetrical arrangement of the parts, the bare stucco exterior walls with rounded corners, the single tall tower with rounded copper roofing are all expressions of structure clearly related to later twentieth centw7 forms. A stream flowed through the central court under a blue iridescent glass dome and represented an early attempt at bringing nature indoors, a concept which is also reflected in the wall decorations (Plates o. 5 and 24). The glass-enclosed dining room with its thin rectangular panels of clear glass from floor to ceiling wa the first use of glass ofthis kind in America, only anticipated by a store front by Alfred Loes in Vienna in 18g8. The later insertion of wisteria stained glass panels above the glass walls did not materially alter the effect. Taken singly, each of the main rooms of this house embodied some aspect of Tiffany's desire to arrive at a balance between form and structure. That he was unable to arrive at a single unified concept was not a personal fault of Tiffany's but rather represented the fundamental weakness of the entire international Art ouveau movem.ent. H ere, at Laurelton Hall, how ever, was the first large scale expre sion of Tiffany's creed that "Simplicity ... is the foundation of all really effective decoration." After 1900 Tiffany became a living symbol of the Craftsman's Movement, the vVilliam Morris of the twentieth century. H e experimented in various media, including pottery and enamels. Hi line of commercial products, sold both at Tiffany Studios and at Tiffany and Com pany, was continually expanded to include new gift items and new materials. Matched Favrile glassware in green, blue or gold opalescent with an iridescent lustre was made up into simple shapes and given names like "prince," "queen," "colonial," "ribbon," "dominion," etc., and fashioned into every useful size where glassware was appropriate. The vases were naturally the most elaborate. Glass and metal were combined for many items of which jewel boxes and desk sets were the most popular. The latter were made in at least ten different patterns and could be finished in silver, green bronze or gold wash. Metalware in gilt or green included candlesticks, desk clocks, candy dishes, ash trays, etc., often inlaid with enamel or small bits of glass. Tiffany himself experimented with inlaying copper in silver and developed an interesting etched mottled surface for some of his metalware items. Tiffany lamps were also im.portant products of the firm, only a few of which were actually designed by the head of the firm himself. One of these, undoubtedly a favorite, was the "lily-cluster" lamp which won a grand prize in Turin in 1902. It was made up with anywhere from three to twenty lights. The "snail" and the "dandelion" lamps can also be attributed to Tiffany on the basis of design patents filed under , this artist's name, but the many other lamps with their leaded glass shades of which there are dozens of varieties must be considered as shop pieces designed by assistants. Bigger and more elaborate landscape and memorial windows were also in continuous production. La Farge's aim to make figure windows in glass without the use of paint was achieved only after this painter's death by the Tiffany Studios. There were only two such 'windows ever made. One made in 1914 for Laurelton Hall, "The Bathers," was destroyed in the fire of 1957; the other made in 1917 for Christ ChuTch in Brooklyn was burned in 1939. The memorial division of Tiffany's business expanded to such proportions that in 1912 he purchased his own , granite quarry in Massachusetts. His most publicized decorations of the twentieth century were the mosaic glass curtain of 1911 for the Mexico City National Theatre and the mosaic landscape 'Dream Garden" designed by Maxfield Parrish and in talled in the Curtis Publishing Building in Philadelphia in 1915. During the seasons of 1913, 1914. and 1916 Tiffany conducted three large social affairs , that attracted attention to him and to his art. The first was an Egyptian Fete held in the Madison A venue Studios, the second was an Artists' Reception and Peacock Dinner at Laurelton Hall, the third was a Masque to the Quest of Beauty on the occasion of his sixty-eighth birthday. None 'of these vvas vvritten or staged by Tiffany although the ideas were certainly his. The third vir tually marked the end of his career as an artist although like his father he continued to be active in his business until his death. He died on January 17, 1933, one month short of his eighty-fifth birthday. In 1918 he established the Louis Comfort Tiffany Foundation to which he gave Laurelton Hall with its extensive collections of the finest in decorative arts from all over the world. He then spent his declining years sharing his appreciation for beauty and fine craftsmanship with those younger artists who were fortunate enough to win fellowships and to enjoy the refined atmosphere created by one of America's greatest and most prolific designers.
15 Chronology
1848 February 18: Louis Comfort Tiffany was born. 1889 European tour and window for Yale. 1866 Began his studies with Inness. 189z Tiffany Glass and Decorating Company. 1867 First dated water colors. 1893 Chapel at the Chicago Fair and first pieces of 1869 First trip to Paris. blown glass. 1870 Visit to Cairo and elected to membership in 1895 Exhibitions of windows at the Paris Salon. the Century Club. 1896 First exhibit of Tiffany Favrile Glass. 187 1 Associate Member of the National Academy. 1900 Tiffany Studios established. .... 187z May 15: Married to Mary Woodbridge God- 19 0Z Moved to 45th Street. Laurelton Hall begun. dard. 1903 Honorary M.A. degree from Yale Unive~sity. 1876 Exhibited paintings at the Philadelphia Cen- 1904 May 9: Death of the second Mrs. Tiffany. tennial. 1905 Laurelton Hall completed. 18 Founded the Society of American Artists. 77 1906 Jewelry exhibited in Paris. 18 8 Paintings exhibited at the Paris Exposition. 7 1908 Trip up the Nile. 18 Formed the Louis C. Tiffany & Company, 79 1910 Lecture to Illuminating Engineers. Associated Artists. 19 l1 Glass curtain for Mexico National Theatl!e. 1880 Elected to full membership in the National 1 Egyptian Fete. Academy and decorations for the Seventh Reg- 19 3 imentArmory. 1914 Peacock Dinner. 1881 Decorations for the Union League Club and 1915 " Dream Garden" mosaic for Philadelphia. patents on windows and tiles. 1916 Birthday party Masque and the Chapel moved 1882 Decorations for the White House. to Oyster Bay. 1 Christ Church, Brooklyn , interior. 1883 Associated Artists move out. 19 7 18 Louis Comfort Tiffany Foundation. 1884 January 22 : Death of Mary Tiffany. 19 ]884 The Seventy-second Street Mansion. 193z Tiffany Studios bankrupt. January 17: Death. 1885 The Lyceum Theatre and incorporation ofthe 1933 Tiffany Glass Company. 1946 September: Contents of Laurelton Hall sold 1886 November 9: Married to Louise Wakeman at auction. Knox. 1957 March 8: Laurelton Hall burned.
I6 Select Bibliography
Articles by Louis C. Tiffany : James Burrell, God's Acre, 1906. Tiffany Favrile GLass, n.d. "American Art upre1ne in Colored Glass" Forum A Partial List of Windows, n.d. Vol. XV (1893), pp. 621-28. ' , Mrs. J. C. Ripley, Collection ofNotable Oriental Rugs, "Thl'! Gospel of Good Taste," Country Life in Amer 1st ed. 1906, 2nd ed. 1907. ica, Vol. XIX, 0.2 ( ovember 1910), p. 105. Luke V. Lockwood, A Collection of English Furniture, "The Tasteful Use of Light, Color in Artificial Illu mination," Scientific American, Vol. 104 (1911), 19°7· Collection of Antique Chinese Rugs, 1908. P·373· Antique Textiles, n.d. "What is the Quest of Beauty," The International The Art of American Indians, 1909 St(J.dio, Vol. 58 (1916), p. Lxm. Ethel Syford , Examples of Recent 'Fork from the "Color and its Kinship to Sound," The Art World, Studio of Louis C. Tiffany, 1911. Vol. 2 (1917), pp. 142-43. The JIIlosaic Curtain for the ational Theatre of "The Quest of Beauty," Harper's Bazaar (December Mexico, 1911. " 19 1 7), pp. 43-44· Memorials in GLass and Stone, 1913. Character and Individuality in Decorations and Fur Brochures by the Tiffany Glass and nishings, 1913. Decorating Com pany: Mausoleums, 1914. A Synopsis ofthe Exlzibitatthe World's Fair, Chicago, Charles de Kay, The Art Work of Louis C. Tiffany, 1893. Doubleday, Page & Co., 1914. IVlemorial Windows, 1896. Recollections and Interviews : Tiffany Glass Mosaics, 1896. Tiffany Favrile Glass, 1896. Samuel Howe, "One Source of Color Values," l-fouse Memorial Tablets, 1896. and Garden, Vol. x, NO.3 (September 1906), pp. A List of Windows and Extracts from Letters and 104-1 3. ewspapers, 1897. Samuel Howe, "The Dwelling Place as an Expression of Individuality," Appleton's Nlagazine, Vol. IX, No.2 (February 1907), pp. 156-65. Pu blications by Tiffany Studios: Gustav Kobbe, "Mr. Louis C. Tiffany, Famous Artist Porifolio of Work of the Tiffany Studios, 1901 . in Stained Glass ," New York !-lerald, April 23, Esposizione d'arte decoration moderna, Turin, 1902. 191 6, Magazine, p. 6. Candace Wheeler, Yesterda)rs in a Bllsy L~fe, ew Edgar Kaufmann, Jr., "Tiffany, Then and Now," York,1918. Interiors, Vol. 114, NO.7 (Feb. 1955), pp.82-85· H ugh IiVeir, "Through the Rooking Glass," Colliers, Aline B. Saarinen, "Famous, D erided and Revived ," Vol. 75,No. Z I (Mayz l, 19z 1),Pp.l0, 11, 50- 51. The New York Times, March 13, 1955, p. X9. Edward Bok, The Americanization of Ed/pard Sok, Larry Freeman, Iridescent Glass, IiVatkins Glen, ew New York, 1922. York,1956. "America's Arts aIld SIG Hs," Part 8, Life, Vol. 40, Recent Refe rences : i: o. 10, March 5, 1956, pp. 92- 93. H elen and George S. McKearin, Two f-fundred Years Gertrude Speenburgh, The Arts of the nffanys, of American Blown Glass, ew York, 1950. Chicago, 1956. Um 1900; Art IVollveali und Jilgendstil, Kunst Betty Pepis, " Revival of TiffaI1Y Lamps," The ew gewerbemusemn, Zi.irich, June-Sept. 1952. York Times, July 9, 1956, p. 28. Ruth Webb Lee, ineteenth Century .Art Glass, New Mr. Harper, "Revival ofthe Fanciest; Tiffany Glass," York,1952. Harper's JlI[agazine, Vol. 2 13 (Sept. 1956), p. 80. Valentine Van Tassel, "Louis Comfort Tiffany," The H erbert IiVeissberger, "After Many Years: Tiffany Antiques Journal, Vol. 7 (1952), NO·7, pp. 19- 2 1, Glass," Carnegie Magazine (October 1956), pp. 42; No.8, pp. 13- 15,42. 265-68 and 279. H enry La Cossitt, "Treasure House on Fifth Avenue," " Iridescence, the New Dimension in Your Decorat
The Saturday Evening Post, JaIlUal-y 24, and Jan ing," ffouse Beautiful, Vol. 98, 1 o. 10 (October uary 31, J 953. 1956), pp. 176- 8 l. David Howard Dickason , The Daring YOlln~ J fen, Ruth B. Davidson, "Tiffany Glass and Bristol Glass Tndiana, 1953. at the Metropolitan Museum of Art," Antiqlles, Ettore ottsass, Jr., "Liberty: la bibbio di mezzo Vol. 70 (December 1956), p. 582. secolo," DOll1us, March, ' 954, pp. 43- 46. Stephan T. Madsen, Sources of Art l\TO Ill!eall, New Russell Lynes, The Tastemakers, ~ew York, ' 954- York" 957· H erbert Oppenh eimer , Louis C. Tiffany- His Leg Robert Koch, Stained Glass Decades, A Stud)rof L ol/.is acy, unpublished paper, Columbia University, COllifort Tiffany and the Art LVouveau in A merica, 1954· Ph.D. Dissertation, Yale University, June 1957. Hugh F. lVJcKean, "A Study of Louis Comfort Tif Edgar J\:aufmann, Jr. , "At I-lome Vhth Louis C. fany," aIld Ward Jackson, " Arlin Glass," Flamingo, Tiffany," Interiors, Vol. 11 7, o. 5 (D ecember Vol. 3 1, No.2 (1955), pp. 3- + 1957), pp. 118- 25 and 183. Notes on the Plates
by Robert A . Laurer
Frontispiece. A photographic interpretation of the it is still used for the purpose for which it was origi close relationship existing between Tiffany's Favrile nally designed. Tiffany created in this room a well glass vases and nature. Vases from the Joseph Heil integrated scheme of decoration, although it is mark Collection. (Catalog Nos. 142 and 170C.) edly dark and heavy looking in contrast to his later work in interior design. He was able to surmount the Color plate, page 6. Vases from the Joseph I-Ieil severe limitations of the architectural style at that Collection, including an antique Roman vase, for the time by imposing on the room his distinctive style. purpose of comparison "nth the effects of iridescence The dragon and the Celtic interlace motifs make their that Louis C. Tiffany achieved. (Catalog Nos. I1g, appearance in carved moldings; the great fireplace 12g, 131 , 130, I70a.) dominates the room; and the magnificent lighting Color plate, page I I. Bowl from the Joseph Heil fixtures show his early concern for interesting and Collection. (Catalog No. 146.) effective illumination.
Plates I, 2, and J. Louis C. Tiffany's paintings are Plate 5. In the Court of Laurelton Hall, the Moorish probably more important in the history of American cast is a strong decorative element, especially in the painting than has been heretofore acknowledged. The fireplace (partially hidden by the sofa) and the arcad best paintings have a strength and character that is ing of the mezzanine. The floral and foliate forms of an ingredient of most of his creative work. Tiffany's the stenciled wall decoration reveal Tiffany's interest early concentration on painting contributed immeas and dependence upon the forms of nature. The beau urably to his l.ater success in the decorative arts. tifully landscaped grounds were easily viewed through Although his attention turned to many other interests the large windows, and decorative motifs, such as the after he developed as a painter, Tiffany never ceased wisteria vine in a stained glass window, often related to paint. He developed style and facility, and a vision directly to actual trees and vines in the garden. Three that seems to have been securely based on reality. of the light fixtures suspended from the arches are in the exhibition. (Catalog No. 26.) Plate 4. The Veterans' Room of the Seventh Regi ment Armory was decorated by Louis C. Tiffany and Plate 6. The concentration of the intricate design of Associated Artists in 1880. It is one of the most monu the grapevine around the edges of the window of the mental and impressive of the many interiors by Tif. Heckscher House permitted an open view of the fany, and has become especially important to the garden, anoth er instance of Tiffany's effort to unite student of Tiffany because of the irreparable loss of the out-of-doors v.rith the interior. When the Heck so many other buildings and interiors associated with scher House on the corner of Fifth Avenue and 53rcl his name. It has changed little since the illustration Street was taken down, the window was purchased by was published in J-farper's Weekly in .Tune 1881, and the J. and R. Lamb Studios, of Tenafly, New Jersey, its present owners. Photograph through the courtesy Plates 19 and 20. The great variety of Tiffany tile of the J. and R. Lamb Studios. designs is suggested by these examples. They were produced for architectural usage and have a quality Plate 7. The Tiffany chapel as it appeared installed that recalls the vases and bowls. Some tiles contain at the Columbian Exposition in 1893. Tt is reproduced design in actual relief, like the dragon and cloud tiles, from a photograph published by E. I-I. Blashfield, in while others depend for their effectiveness on the in iVIural Painters of America, New York, 1913. The trinsic design and color of the glass. In a patent se chapel was subsequently incorporated in the crypt of cured by Louis C. Tiffany on February 8, 1881 (U.S. the Cathedral of St. John the Divine, New York, and Patent Office, No. 237,416) appears the following then moved by Tiffany to an especially constructed statement: " ... (The) invention relates to improve chapel on his Oyster Bay estate. In 1950 Albertus ments in the combination of certain kinds of glass in Magnus College acquired the altar, the cross, lectern, tiles, mosaics, etc., thereby obtaining different and the Easter candle, baptismal font, and four candle more pleasing effects in light and color than have been holders for a projected chapel. The altar cross, candle heretofore produced therein. It consists in combining holders and tabernacle door are in the exhibition. with opalescent glass some surface as a background (Catalog os. 14, 15, and 16). Tn the design of these which is reflective of the light back to and through important objects, Tiffany drew upon the interlace the opalescent glass, or which is wholly or in part ab motif of Celtic art, the tabernacle door resembling, sorbent of such light. The effect is greater brilliancy for instance, a richly encrusted book cover of an early and iridescence in the opalescent glass." medieval book.
Plates 8- 18. vVhatever the derivation of the tenn Plate 25. From what still remains to be seen at the " Favrile," it is peculiarly Tiffany's own. It connotes Mark Twain House in Hartford, Louis C. Tiffany's "handmade" or "handcraftsmanship" and cOlnmuni most important contribution appears to have been cates Tiffany's concern for and interest in the promo stenciled decorations in the entrance hall and the tion of the handcrafts of his time, anticipating the dining room. The design element in the former de movement of today. " Favrile" is not used exclusively rives from Tiffany's interest in J ndian motifs, such as on glass objects but on work in metal and pottery as one sees on baskets, pottery and rugs. well. rnscriptions on the glass vary a great deal in the sequence of initials or name, numbers and alphabeti Plate 26. The hand mirror in the form of a ~eacock cal designations. Some pieces are not marked at all. is one of Tiffany's most impressive works in a precious The alphabetical designations may refer to certain metal and an interesting example of his application craftslnen who worked under Tiffany's surveillance; of the art nouveau style, with its characteristic sin the "X" may indicate an experimental work. It is uous line and asymmetrical composition. safe to assume that "ColI." following Tiffany's name or initials indicates a piece that was intended for, or Plate 28. The Peacock ecklace is a spectacular show an actual part of, his personal collection. piece and one of the notable creations in jewelry in The exhi.bition contains unique pieces of Favrile modern times. The aura of splendor it possesses re glass and also production pieces which were made for calls antique or Byzantine jewelry. The peacock on the a wider market. In order to estimate the contribution three sections of the front side are backed by flamingos of Tiffany to American craftsmanship and American on the reverse side. The gem suspended from the culture, it is necessary to take into account his interest center piece is a replacement for the original ruby in raising the standards of taste in his time by the which, with its color and setting, harmonized better wide scope of decorative objects produced in his Studio. with the necklace as a whole.
20 CATALOG
In the following catalog entries, italics are used to represent original documentation, including signa tures and inscriptions. The dimensions are given in inches unless otherwise stated, height preceding width.
Paintings Stained Glass
1. Dllane Street, New York. c. 1878. Oil. h. 27, 11. H eck scher House window. T ranslucent and w . 30. (Plate 3)' Signed: Louis C. Tiffany opaque Favrile glass; grapevine motif. h. 10, Lent by the Brooklyn Museu III. W. 11. (Plate 6). Lent by the J. and R. Lamb Studios, Tenafly, New 2. View of the Palisades. c. 1870. Oil. h . 9 Ys, Jersey . . w. 1274. (Plate 1). Lent by the New York lIistorical Society. 12. D ecor a tive panel . 1924. Translucent Favrile glass; irises set in landscape. h. 30, w. 18. 3. A Corner ofthe 72nd Street Studio. 1896. Oil. Lent by Mrs. Graham Lusk, lVew York. h·30 74,W.12Ys. Lent by the Yale University Art Gallery. 13. Anniversary w indow. 1891. Translucent Fav rile glass, with the following inscription: All 4. T he Tower. VVatercolor. h. 20, W. 12. Hail I "Greeting Golden Wedding" J Harriet Lent by Mr. and Mrs. Louis T. Lusk, lVorwalk, Conn. Avery Tiffany J and J Charles Louis Tiffany I 5. In the Fields at h-vington . 1879. Watercolor. I84IJNov.JOJI89IJfrom their daughter and h. 19, w. 26. Signed: Louis C. Tiffany '79 son J Lou and Louis. h. 21 %, w. 2674. Lent by lWr. and Mrs. Collier Platt, Syosset, IVew York. Lent by the Mark Twain Library and Memorial Com mission, Hartford, Connecticut. 6. Snowscen e . Watercolor. h. 9, w . 13%. (Plate 2). Signed: Louis C. Tiffany Lent by Mr. and Mrs. Collier Platt, Syosset, New York. Heligious Ohjects
7· African Scen e . 'iVatercolor. h. 9, w. 17· 14. Altar Cross. Metal, with inserts of glass and Signed: L.C. T. semi-precious stones. h. 31, w. 17%· (Plate 7). Lent by Nlr. and Mrs. Collier Platt, Syosset, New York. 15. Four altar candleholder s. Metal with inserts 8. Chateau d 'Amboise. 1869. Oil. h . 9 %, w. 15 Yz. of glass and semi-precious stones. h. 12. Signed: Louis C. Tiffany (Plate 7). Lent by NIr. and IVIrs . Collier Platt, Syosset, New York. 16. Tab ernacle door. Metal with inserts of glass 9. A Churc h in Morlaix, Britta ny. 1890. Oil. and semi-precious stones. h. 13%, w. 15. h . 4.0, w. 17. Signed: Louis C. Tiffany (Plate 7). Lent by Mr. and NIrs. Collier Platt, Syosset, New York. 17. Baptism al font. Marble base with mosaic, leaded 10. Fuller 's Country Stor e. Watercolor. glass dome. h. 5. h. 1174, w. 15. Signed: Louis C. Tiffany, N.Y. Alilent by Albertus Magnus College, lVew Haven, Lent by lVirs. Arthur IVooley, Hartford, Conn. Connecticut.
2 I Favrile Glass 28. Pinc hed decanter. Gold iridescent. h. g%. 116 L .C. Tiffany FaVl:iLe Lent by Carnegie Institute Collection, 2g. Compote . Gold iridescent; blue iridescent inte- Pittsburgh rior. h . 5%· 4}88D L.C. Tiffany FavriLe
18. Vasco Mottled brown, yellow and green. h. 8. 30. Bowl. Gold iridescent. diaru. 6. L.C.']'. L.C.T. Exp. 31. Four goble Ls. Gold and iridescent; cut leaf de- Ig. Vase. Purple iridescent; green vine motif. h. 7%. sign. h. 5 7fs. L.C. T. FaVl-ile (Plate 17)' (Original Seal) Tiffany 966A Salon I906 32. Grou p of fI nger' bon Is. Varicolored iriclescen t. Exhibition Piece Louis C . Tiffany h. 4\1,. L.C. T. FavriLe
20. Vase. Red to yellow. h . 81's . L.C.T. Exp. 33. G r'oup or f1n gcr' bonI pla tes. Varicolored iri- descent. diam. 6. L.C. T. 21. Vase. Purple to blue iridescent; bosses around center. h. 6. (Plate 17)' (Original eal)}} J2P L.C. Tiffany Favrile Lent by the Metropolitan Musellm ofArt, New York
Lent by Cooper Union lV!useum for the 34. F lower fOl'm vase. Gold iridescent; leaf tips in Arts ofDecoration, New York green. h. 18 1)16' L.C. T. T I 269
22. Flowe r form vase. Milk white and lavender. 35. Vase. Red-brown to red; dark red lily pads. h. 4?/s. 1964 L.C. Tiffany Favrile h. 4Yt . II}A CoIl. L.C. Tiffanx
23. Vase. Gold iridescent; peacock feather motif. 36. Vase. Gold iridescent; gold and white scale pat- h.g. (Plate g). L.C. T. 010487 tern. h. 6 Yt. L.C. T. A I 6I9
37. Vase. Mottled blue-green iridescent; blue-green Lent by Corning lV!useum of Glass, leaf shapes. h. 8%. Louis C. Tiffany B2 }87
Corning, New York 38. Vase. Deep blue to turquoise iridescent; black interior. h. gYt. L.C.T. 0640 -II-f} 24. Vase. Iridescent; purple scroll motif. h. 5. (Plate 16). I}9}C L.C.TiffanyFavrile 39. Vase. Green to red iridescent; green and blue peacock feather motif. h. 14 Va. Lent by the New York H istorical Society 40. Vase. Gold iridescent; purple, blue and green peacock feather motif. h. 11 'Va. 25. Trumpc t vase. Gold iridescent. h. 18%. L.C. Tiffany 78-148 41. Bowl. Iridescent; off-white spots. h. 3 %. 26. Stemmcd vase. Gold and purple iridescent. 42. Stemmed vasco iVlat brown; green and blue L.C.T. calyx motif. h. 12 ~s.
27· T hree-handled vase. Gold iridescent. h. 7 y.. 43. Plaque . Clear iridescent; amber Hower motif. }778D L.C. Tiffany Favrile diam. 13~(6'
22 Objects in Fa.vrile Glass
44. P laque. Iridescent opalescent; gadrooned center L ent by Milseum C?! lVIodern Art D esign with bosses and dots. diatn. 13 . Collection, ew York
+5. Vasco Gold iridescent; incised lines at base. 58. Flo" C l' form vase. Green iridescent; leaf lllotif h. 3 \"s · 72 f2J L.C. Tiffany FavriLe in gold. h . 18 y,. . L.C. T. 1'8 }}
40. Vase. T extured purple antl gold; gold iridescent 59. Vasco Opaque blue and green iridescent; vari overlay around rim. h. 512 . colored bosses. h. 4 'Va . L.C Tiffany, FavriLe 20.1. CaLL. 7265J L.C. Tiffall), FavriLe
47. Bowl. Gold, purple and blue iridescent; blue a nd 60. Vasco 1\lottled blue anti green iridescent. h . 5 %. green interior. h. 6 K6 . 72 -1- 9J L.C. Tiffany Favrile 2IA CaLL. L.C. Tiffany Favrile 61 . Vasc. Gold iridescent; opaqne white lines and green tear drop motif. h . +K6 · 0-1-055 L.C. 1.'. Lent by the Nlusellin of D ecorative Arts, The Louvre, Paris L ent by the Smithsonian J nstitution, l'Vashington, D.C. 48. Vase. Green marbleized; gold thread overlay. h.6 %. 62. Vase. Off-white and yellow iridescent; fluted motif. h. 13 %. (Original Seal) 49· Vase. Red; brown vein motif. h. 5 Ya . L.C. T iffany FavriLe 03 . Vase. Green iridescent; carved fish motif. h. 7 Ys . (Original Seal) 50. Vasco Green , opaque to translucent; striped 64. motif. h. 6 Ya. L.C. T~ffany FavriLe Vase. Dark blue iridescent; spiral thread decoration. h. 13. (Original Seal) 5 1. Vasco Red; green anti gray iridescent plant 05. Vase. Pearly-grey iridescent; overlayed with motif. h. 13%. L.C. Ti.fflLnY Favrile smoky-yellow. h . 9 \12 . (Original Seal) 52. Vase. Transparent iridescent; green and blue 06. Bottle . Smoky-yellow and grey; leaf motif. water lily motif. h. 7 Va · L.C. Tiffany Favrile h.4%. (Original Seal) 53. Thrce-ste mmed vasco Gold to gray; overlay 67. Vase. Brown; spiral bands and dots in blue, thread motif. h. 7 Va . L.C'. Tiffany Favrile yellow and green. h. 5. (Original Seal)
54. Vasco Translucent iridescent; gold leaf motif. 68. 130\\ I. Opalescent; green mushroom 1l10tif. h. 7 Ys . L.C. Tiffan); FavriLe 8-1-09 h . 2 \"s . (Original Seal)
55. Vase. Blue; greenleaf tTl.otif. h. 4 %. 69. Vase. Gold iridescenL ; green leaf and carved L.C. Tiffany F'avriLe flo wer decoration. h. 8 v.,. (Original Seal)
56. Footcd c up. Blue; branch motif. h. 2 \12 . L.C. Tiffany Favrile L ent by Talbot County IIistoricaL Society, TaLbot, NlaryLand 57. Vase. Purple and gold ; thread overlay, with uncut stones. h. 9 W6· 70. Punc h bo"l and cups. Gold iridescent. Bowl: L.C. Tiffany Ei'avriLe Saloll I906 202 }C h. 12. cliam. 13; Cnps: h . 3%. 8020C FavriLe
2} Obj ects in Favrile Glass
Lent by the Victoria and Albert Museum, 83. Vase. Varicolored mottled iridescent. h. 7. London 5J66N L.C. Tiffany, Inc. Favrile
71. Bowl. Iridescent green; green and purple 84. Four tiles. Blue and green iridescent; dragon', decoration. h. 4 Y2. wave and cloud motifs. square 4. (Plate 19)' Pat. Appl'd For 72. Perfume bottle. Green iridescent; plant forms 85· Tile. Dark varigated iridescent. recto4 x 5%· in red. h. 16. + 1279 86. Two tiles. Varicolored opaque; abstract pattern. 73. Vase. Opaque and transparent green iridescent; square 4. (Plate 19)' Pat. Appl'd For leaf shapes in yellow. h. 14Y.· +2924 74. Vase. Green iridescent; green and purple plant 87. Two tiles. Varicolored; lily pad and swirl motifs. square 3. (Plate 20). forms. h. 12 Vs. (Plate 8). + 2946 75. Vase. Brownish-green iridescent; red and green 88. Three tiles. Semi-transparent iridescent; 111 leaf shapes. h. 15Y2. (Plate 8). + 1457 assorted colors. square 4. 76. Plate. Green iridescent; peacock feather motif. 89. Tile. Purple to blue iridescent. square 4. h. 9 %. L.C. T. 90 . T ile. Green semi-opaque. square 6. (Plate 19)' 77. Vase. Yellow iridescent; vertical green stripes. Patent Applied For h. 4 %. L.C. T. F2086 91. Tile . Red and yellow opaque; swirl motif. square 6. (Plate 19)' 99 Lent by the Wadsworth Atheneum, Hartford, Connecticut Lent by Maude B. Feld, Clifton, N.J. 78. Flower form vase. White iridescent; salmon 92. Vase. Gold and orange iridescent. h. 8. interior, green leaf motif. h. 10 O/S. L.C. T. G1780 79. Flower form vase. Green to apricot iridescent. 93. Plate. Blue and opal. diam. 10 %. h. 15%. (Original Seal) L.C. Tiffany Favrile 94. Vase. Opaque brown; gold line deconition. Lent by George S. Barrows, Jr., h. 10 Y2 . (Plate 12). L.C. T. E720 New York 95. Vase. Red iridescent. h. 11. (Plate 12). 80. Flower form vase. Clear; translucent leaves and L.C. T. 77 58A flowers in green, red and white. h. 11 %. 96. Vase. Gold iridescent; raised medallion. h. 9. 05022 L.C. Tiffany Favrile L.C. Tiffany Favrile A 188 81. Flower form vase on bronze base. 97. Vase. Gold iridescent; linear decoration. h. 6 y. . Semi-opaque; leaf and flower motif in green, L.C.T. A1925 gold and white. h. 16. 98. Vase. Opaque blue. h. 7 Ys · Base: 1795 25695 Tiffany Studios, New York L.C. Tiffany Favrile 1612E 82. Flower form vase. Gold iridescent; leaf and 99. Bowl. Deep blue iridescent; opaque green lily linear motif. h . 10%. 04981 pad motif. h. 4%. L.C. T. 622B Objects in Favrile Glass
Lent by Maude B. Feld, Cujton, N. J. Lent by Sarah E . Hanley, Oyster Bay, New York 100. Flower form yase. Yellow and brown. h. II %. L.C.T765J 113. Perfume bottle . Gold iridescent; green lily pad motif. h. 3 Y4. L.C. Tiffany Favrile IO 57 101. Vase. Opal; gold leaf motif. h. 7Y4.
L.C. T 6065 J 114· Vase. Gold iridescent; fluted surface. h. 3 %.
102. (Jowl. Blue; green lily pad motif. h. 20/. . Louis C. Tiffany L.C. Tiffany Favrile 6487K 115. Plate. Purple and green iridescent. diam. 4Y2. Louis C. Tiffany Favrile 103. Footed bow1. Turquoise and opal. h. 2 %. L.C. T. Favrile 116. Pairofdishes. Dark blue iridescent. diam. 3 . • L.C. T Favrile UJ215 104. Vase. Pink. h. 10. L.C. Tiffany Favrile 972 JB 117. Bowl with Victory Seal. Gold and pale irides 105. Covered jar. Gold iridescent; hinged bronze cent. diam. 5. cover. h. 2. Louis C. Tiffany Furnaces I09
106. Bowl. Semi-opaque iridescent; morning glory motif. h. 6. (Plate 12). Lent by Joseph Heil, New York L.C. Tiffany Favrile 625L 118. Miniature vase. Amber, blue and gold irides- 107. Vase. Yellow to green millefiori; brown irides cent. h . 3. L.C. T. B60J cent interior. h. 5Y2. (Plate 12). I1g. Miniature vase. Gold iridescent; lily pad motif. L.C. Tiffany Favrile 6675H h. 2 Y2. (Plate, p. 6). L.C. T. 108. Vase. Mat green; gold iridescentleafmotifwith 120. Miniature vase. Blue and gold iridescent. h . 10/.. carved flowers, blue iridescent interior. h. 13 Y2. L.C. T. N6JJJ Louis C. Tiffany Favrile 865 121. Miniature vase. Gold iridescent. h . 17'.. 109. Bowl. Light blue iridescent; yellow and orange Q6176 L.C. T. swirl decoration, dark blue iridescent interior. 122. Miniature vase. Brown and green; striped h·4%· L.C.T·78IA motif. h. 1 Y2 . (Original Seal)
123. Miniature vase. Blue iridescent. h. 40/.. Lent by Elizabeth Gordon, Dobbs Ferry, L.C. T. U80IO New York 124. MiniatUl'c vasco Gold iridescent. h. 2Y2. L.C.T 65JJA 110. Trumpet type vase on bronze base. Gold iri descent; leaf motif. h. 140/.. 125. Miniature vase. Opalescent; green and gold leaf Vase: L.C. T; Base: I04J motif. h. 2. 8106A L.C. T
11 J. Flower bowl with candle holder. Gold irides 126. Flower form vase. Opalescent; green stem and cent; green lily pad motif. h . 5. leaf motif. h. 6. L.C. T Y7247 L.C.Tiffany Favrile 9192L 127. Miniature vase. Dark blue iridescent; green 112. Three stemmed cups. Dark blue iridescent. lily pad motif. h. 20/.. h·3Y2· L.C.T W617 562IJ L.C. Tiffany Favrile
25 Objects in Favrile C lass
1zB. Miniature vasc. Red with gold iridescent; wave 143. Vasc. Clear; with green and white narCISSUS ll1.otif. h. z%. 208-fG L.C. T. FavriLe motif. h. l O. 8026K L.C. Tiffany FavriLe
1z9. Vase. Red iridescent; gold iridescent wave 144· Vase. Clear; green and white narcissus motif. motif. h. 5. (Plate, p. 6). UJ022 L.C. T. FavriLe h. 13 Y:,. L.C. Tiffany Favrile 299 5G
130. Vase. Gold and blue iridescent; brown and blue 145. Vase. Clear; green and white lily motif. h. 16 y". leaf motif. h. 5%. (Plate, p. 6). L.C. Tiffany FavriLe 17.d. Call. 72-foJ L.C. Tiffany FavriLe 146. Bowl. Translucent and gold iridescent; with 13 1. Homan typc vase. Purple and blue iridescent; green leaf and pink petal motif, blue iridescent with encrustations. h . 3 y". (Plate, p. 6). interior. h. 6 Y:,. (Plate, page I I). 6795K L.C. Tiffany FavriLe LOllis C. T~lfan)r R2-f20
13Z. Homall type vase. Gold and amber iridescent. 147. Vasc. Amber to gold iridescent; vine and leaf h. zy". L.C. T. B076 motif. h. 6. 916}C L.C. Tiffany FavriLe
133. Homan type ,'asc. Varicolored iridescent; with 14B . Basc. H.ed opaque; blue-green leaf and vine encrustations. h. 5. 6082K L.C. Tiffany FavriLp motif, iridescent red-gold interior. h . 7. L.C. T. C9179 134. Flower form yase. Gold iridescent to white; 149. Vase and base. Gold iridescent; base, black gold iridescent interior. h. 13 y". (Plate 10). iridescent. 11. By.. L.C. T. T1186 Vase: 5064K L.C. Tiffany FavriLe 135. Flo" er form vase. Gold iridescent to dark green Base: 2IoA CaLL., L.C. Tiffany FavriLe and opalescent. h. 14. (Plate IB). L.C. T. TJ215 150. Two-handled miniatuI'c vase. Blue and gold 136. Flower form vase. Green and gold iridescent to iridescent. h . l%. L.C.T. Y797} opalescent; green leaf motif. h. 1 2. (Plate IB ). 151. .\liniature ,'ase. Blue iridescent. h. Z. L.C. Tiffany ]?avriLe 5 146A 81} L.C. T. P564 137. Flowcr form vase. Blue iridescent to pale green opalescent. h. 14. (Plate IB). L.C. T. Ff/i60-f 152. Vase. Turquoise and blue iridescent; linear motif. h. 5 Y2' 5048K L.C. Tiffany Favrile 13B. Flower 1'01'111 vase. Pale green; orange irides- 153. Vase. Black iridescent; white flower motif. cent interior. h. I Z Y:,. L.C. T. R9848 h. 5 Y:,. L.C. T. R9}4 139. Iflower form vasc. Light amber to brown and 154 .. Vase. Black iridescent; cobweb motif. Purple white translucent. h. J Z Y:,. (Plate (8). 0766} and blue iridescent interior. h. 5 y. . 140. Flower form vase. Am bel' to gold iridescent. 997 1 B L.C. Tiffany Favrile h. IB y" . (Plate IB ). T. L.C. PV2896 155. Vase. Blue iridescent. h. lO Y:,. L.C.T. D712
141 . l' lower I'orm vase. Yellow and white opaque. 156. Vase. Silver-blue iridescent. h. II y,;. h. lB. (Plate IB). L.C. T. E2981 L.C.T. D729
14Z, Flower form vasc. Opaque green and trans 157. ~liniature vase. Silver-blue iridescent. h. zy" . lucent red. h. 15. (Frontispiece). L.C. T. 5197 G1896 L.C.l'. Objects in Favrile Glass
158. Vase on enameled metaL base. Gold and blue J 70e. Flower·form vase. Clear amber to semi-opaque iridescent. h. 13. L.C. Tiffany [iurnaces I50B green iridescent. h.12Yz. L.C.T. N476}
J 59. Vase o n ename led metal base. Blue iridescent. 170f. Flower form gobLet. Clear base with white h.16%. Vase: L.C. T. Favrile linear design to brown and white petal and semi Base: Tiffany Furnaces Inc. I52E opaque flower. h. 5%· 04N9 160. Bo\\'1. Clear; carved stylized decoration. Yellow Lent by Edgar Kaufmann, Jr., New York interior with blue iridescence. h. 3 Yz. C.;. 5 5 Louis C. Tiffany 171. Vase. Yellow-green iridescent; purple and blue 16J . .\ 167. T\\ 0 tiles. ;\ Lulticolored iridescent; foliate 175. Two wine glasses. \'Vhite to blue iridescent. motif. recto 6 x 3. (Plate 20). h.6. L.C. T. Favrile 168. T \\ 0 tiles. ,\Yhite and off-white opalescent. Lent by Dr. and Mrs. Robert Koch, sq uare 2 . (Plate 20) . South Norwalk, Connecticut L.C.T.& Co. Pat. Feb. 8, 1881 169. Tile. 1'lulticolored iridescent; rod and wheel 176. Jack-in-the-Pulpit vase. Gold iridescent. h.I2 'l's. (Plate 14). motif. rect. 1 Yz x 4. (Original Seal) L.C.T. Y}559 170a.Group of three an c ie nt Roman "ases for COIll 177· Bon I. Gold iridescent; swirl motif. h. 7· parison with Tiffany iridescent surfaces. (Plate 14)' Louis C. Tiffany L.C. T. AI652 J 70b. Plate . Ligh t green iridescent; petal motif in 178. Trumpet ,·ase. Gold iridescent; h. 15 %. white. c1iam. 15%. L.C.TifJany Favrile X2 I }9 (Original Seal) L.C. T. Favrile 1900 170C. flower form vase. '\'Vh ite to green; petal and 179. Pa ir of candlesticks. Gold and blue iridescent. leaf motif. 11. 12. (Frontispiece). 1'1551 L.C. T. h.4. Louis C. Tiffany Favrile 1')27 170d.T\\0 wine goblets. Varicolored iridescent; 180. Bowl with bl'OJ1ze fl ower holder. Gold irides green to white and pale purple. h. 7 Yz. cent; green lily pad motif. h. 3 . L.C. T. F2 56.;.: L.C. T. F258') L.C. TifJany Favrile 7870D 27 Objects in Favrile Glass IB1. Vase. Gold iridescent; lily pad motif. h. 22 Yo . Lent by Ward Mount, Jersey City, (Original Seal) °4552 Louis C. Tiffany New Jersey IB2. Vase. Semi-opaque; linear design. h. By". X I I} 195. Vase. Green translucent; white with iridescent feather and wave motif. h . 14 Vs. (Plate 11). 1B3· Group of four tiles. Varicolored. square 3. L.C. T. (Origil:tal Seal) IB4. Group of four tiles. R ed and orange. square 4. 196. Vasco Opaque red; h. B. (Plate 11). V206 L.C. Tiffany Favrile Lent by Mrs. Graham Lusk, New York Ig7. Vasco Opaque turquoise; white interior. h. By". (Plate 11 ). I628E L.C. Tiffany 1B5. Plate. Violet to blue iridescent; overlaid tear drop motif. diam. 7. 19B. Vase. Off-white iridescent. h. 10 y". (Plate 11 ). 7976J L.C. Tiffany Favrile Lent by Mr. and Mrs. Hugh F. McKean, Igg. Vase. Green-gold iridescent; mat black neck. Winter Park, Florida h. B. (Plate 11). L.C. T. K23-t (Original Seal) 200. Vase. Blue iridescent; green and purple swirl IB6. Vase. Dark blue iridescent. h. 10 %. (Plate 15)' motif. h. 14 5/s. 07509 Louis C. Tiffany L.C. TiJfany Favrile D4559 201. Flower form vase. Green and yellow translu- 1B7. Vase. Blue iridescent; white flowers overlaid. cent. h. 9 y". yV445 I L.C. T. h . 10 %. Louis C. Tiffany R40I7 202. Bowl. Yellow iridescent; champagne color swirl IBB. Vase. Dark blue iridescent; light blue and gold motif. h. 4y". B894 L.C. T. swirl design. h. 9. L.C. T. HI727 203. Vase. Gold iridescent; yellow and white swirl IB9. Flower form vase. Pink and white. h. 14Ys. motif. h. 5Y.· 8459 L.C. T. L.C. Tiffany Favrile 1900 204. Bowl. Varicolored iridescent. h. 3. 190. Vase. Black; overlaid with blue leaf-shaped dots, L.C.T,. W9900 blue interior. h . 7 y.. (Original Seal) 205. Vase. Deep blue iridescent; lily pad and vine Louis C.TiJfany Favrile I972N motif. h. 6 y". 19 1. Vase. Clear iridescent; water lily motif. h. 10. I04}- 2964M L.C. Tiffany Favrile 5254G L.C. Tiffan)r Favrile 206. Flower form vase. Clear; green, red and yellow 192. Compote . Clear and opaque; blue morning glory leaf and flower motif. h. 11 %. 129"; motif. h. 3y". 2057P L.C. Tiffany Favrile 207. Vasco Green translucent; blue linear motif. h. g%. Q4646 L.C. T. 193. Vase. Cream colored; iridescent gold leaf motif. h.19. (Original Seal) 20B. Vase. Clear iridescent. h. IB y. . L.C. Tiffany Favrile 8577B C28 508N L.C. Tiffany Favrile 194. Flower form vase. Chartreuse and clear. h. 5 y.. 20g. Compote. White to blue. h. 2. I9}8 L.C. TiJfany Favrile 1264 L.C. Tiffany, Inc. Objects in Favrile Glass Z10. Compote. Blue and white iridescent. h. 2 Ys . 2z6. Ball-shaped ornament on metal base. Blue I56I L.C. T. Favrile iridescent. diam. 5. Louis C. Tiffany Furnaces, Inc. I52 ZII. Compote. Green and white iridescent; with carved butterfly. h. Z Ys. I56I L.C. T. Favrile 2z7. Three tiles. Blue iridescent. square 4. Pat. Applied For ZlZ . Compote. Light amber and white translucent; green interior. h. 4%. 228. Tile. Red and green opaque; quatrefoil motif. SJ I70 L.C. Tiffany, Inc. , Favrile square 3 . z13. Compote. Green to white; iridescent green interior. h. 4 y.. I70I L.C. T. Favrile Lent by Lillian Nassau Antiques, z14. Compote. Amber and gold iridescent. h. 4 Y4 . New York L.C. T. Favrile 28I9 229. Vase. Green and gold iridescent; overlaid wave z15. Decanter. Champagne color iridescent; tear- motif on neck. h. 8. (Original Seal) 04505 dr 217. Decanter with cordial glasses. Gold iridescent. 231. Vase. Gold and blue iridescent; purple linear h.: decanter 9 %, glasses 4 %. decoration. h. 4. OI0I20 L .C. T. Decanter: 685 23Z. Vase with five spouts. Clear; green leaf motif. Glasses: L.C. T. Favrile 20I h.7%. (Plate 13)' L.C. Tiffany Favrile 280D 218. Two goblets. Gold iridescent. h. 7Y4. NO. 1: L.C.T. G92J; NO.2: L.C.T. J·hJ89 233. Flower form vase. Opaque white; green leaf motif, gold Favrile glass base joined to body with 2l9. Two water glasses. Gold with red iridescent. silver band. h. 12. (Plate 13)' L.C. T. I770B h·4· 7 234.. Vase. Gold iridescent; red-brown decoration. 2Z0. Two w ine glasses. Gold iridescent. h. 6 / S ' L.C.T. L.C.T. GI7f2 2Zl. Two champagll e glasses. Gold iridescent. 235. Vase. Gold iridescent; leaf motif, bronze base. h.6. I54 h. 14%. (Plate 13)' 2I74 Tiffany Studios, New York 7 I I zzz. Two wine goblets. Gold iridescent. h. 63),. No. I:L.C.T.F25JI;No. 2:L.C.T.KI658 236. Vase. Brown; blue vine and leaf motif. h. 6 Y4. Q9889 L.C. T. 223. 1""'0 sh erbet glasses. Gold and green iridescent. h. 3 Y4. L.C. T. 204 237. Bowl. Gold and blue iridescent. diam. 8. L.C. T. 2025B 224. 1918 Victory Medal. Gold iridescent, with bronze; bell and eagle motif. diam. 2 %. Z38 . Vase. Gold and purple iridescent. h. 6Y4. Louis C. Tiffany Favrile Louis C. Tiffany W22I2 z25. Ball-shaped ornament on metal base. Gold 239. Urn. Gold iridescent. h. 6 %. iridescent. diam. 5. 20J2 L.C. Tiffany Favrile Objects in Favrile Glass / Jewelry and Enamels 240. Flower form vase on bronze and glass base. 248. Peacock necklace. Gold. Center piece a mosaic Blue iridescent. Vase: h. 7. of opals, amethysts and sapphires. The smaller 152J 5180111 L.C. Tiffany, Inc., Favrile sid e pieces, enamel on gold repousse with opals, Base: Jf2J Louis C. Tiffan)C, rubies and emeralds. Length open: 10. Favrile Bronze Potter)C (Plate 28) . Lent by DeSedle's, Inc. , .Yelv 1'ork. Lent by Mr. and Mrs. Collier Platt, 249. Pin, w ith pendant pill. Enamel on gold with Syosset, j\lew York Australian black opals. 2 y:! x 10/.. 241. Four place settings : plate: finger bowl, wine Lent by Elizabeth Gordon, Dobbs Ferry , Xew York. glasses and nut dish. Gold iridescent. 250. Pin. Gold with enamel on silver and pearls. L.C. Tiffan)C Favrile l %X l %.. Lent by Elizabeth Gordon, Dobbs Ferry, Z\Tew )'ork. Lent by iVIrs . Charles B. Salsbury, I-lariford, Connecticut 25 1. Covel'ed e namel bowl. dial11. 2 y:!. L.C.T . Lent by Sarah K Ilanley, Oyster Bay , ]Vew York. 242. Iilower form vase on bronze base. Green iri descent translucent; leaf motif. h. 180/.. 252. Hand mirror. Silver handle in form of peacock, Tiffal1.Y Studios ew York 270405895 enamel peacock panel on back. L ength lO y:!, width 5. (Plate 26). Lent by Edward J. Wormley, ew York Lent by Joseph IIeil, .Yell' }'ork. 24.3 ' Swan n eck vase. Transparent green; opaque 253. Cufflinks and sti c kpin. Blue iridescent Favrile veining in dull orange. h. 18. glass, scarab design, gold mOllntings (cufflinks (Original Seal) X I402 in modern mounting). Lent by J oseph lIeii, .:'ITeIU York. 244. Cup. Blue to pale green iridescent; wave motif. h. 2 Yz . L.C. T. 254. Hat pin. Blue iridescent Favrile glass, blossom 245. Vase. Dark blue to blue-green iridescent; swirl form, bronze mounting. motif. h. 7. Lent by JI 'ard l11ollnt, Jersey City, XeIU Jersey. 255. Set of three pins. Enamel on gold,.peacock Jewelry and Enanlels feath er motif. 1 V. and 1 x lI". Lenl b.r Airs. Andrew Ritchie, lYew ]J aL'en , Con11ecticII I. 246. Necklace. Pendant with lar ge oval opal sur rounded by grape leaves in green enamel and grapes formed of circular opals set in gold. Ch ain Lamps and Miscellaneous of long gold links and matching grape clusters. Objects Length open: 18. (Plate 30). Lent by the Metropolitan jlll/set/ m of Art, fleIU York. 256. Roman type oil lamp. Bronze. h. 4·%, diam. 3. 247. Necklace. P endant of alexandrite with topazes 10048 Tiffany Studios New York Lent by GeorgeS. Barrows, Jr., .YeIV Yo rk. below, set in enameled composition with semi precious stones in pendant and strung between 257. Lampshade. L ead ed Favrile glass; lotus leaf gold beads on chain. L ength open: 20. (Plate 29)' motif. cliam. 22 . Tiffany and Co. Lent by the DlInbar Fllmillire Corporalion of Indiana, Lent by the Metropolitan M" selll." of Art, jl,TelU Yo rk. B erne, Indiana. 30 Lamps and Miscellaneous Objects 25B. Three hanging lamps. Green Favrile glass and 269. Candleholder. Bronze and green Favrile glass. bronze; leaf and flower motif. From Laurelton h. 19 Y<. (Illustratedp. 13)· S57I Hall. h . 13 Yo, diam. B. Lent by Joseph H eil, New York. Lent by jHallde B. Feld, Clifton, New Jersey. 270. Candleholder. Bronze with green Favrile glass. 259. Tripod base floor lamp. Bronze screen with h .16Y2. 2JJOO iridescent Favrile glass mosaic border supported Lent by Dr. and Mrs. Hobert Koch, SOllth :Vonvalk, on iron and bronze standard. h. 5 feet. Connecticllt. Lent by SarahE. Hanley, Oyster Bay, New York. 271. Two-branch cande labrum. Bronze. h. 6 Ys. 260. Table lamp. Bronze base with leaded Favrile Tiffany Studios New York glass shade; leaf motif. h. IB y<, diam. 12. Lent by Dr. and Mrs. Robert Koch, SOlah "Vo rwalk, Lent b.r the Mark Twain Library and iV!emorial Com Connecticllt. mission, IIartjord, Connecticllt. 261. Pair of hanging lamps. Metal and iridescent 272. Pair of cand leholders. Bronze with gold irides Favrile glass "turtle-back" tiles combined with cent Favrile glass shades. h. 20 Yo. opaque green glass. From Laurelton Hall. h. 22, Tiffany Studios 25622 diam. lB. Lent b.r TVard lYIOlmt , Jersey City, Xew Jersey. Lent by Mr. and 1)1!rs. Hllgh F. iV!cKean, Tnnter Park, 273. Candle holder. Bronze. h. B%. L.C.T. Florida. Lent by rVa rd lYIo/lIlt, Jersey City, .'Vew Jersey. 262. Ten-branch lily lamp. Bronze and gold irides cent Favrile glass. h . 20Yo . 274. Child 's dinner set. Sterling silver with copper Lent by Ira rd 11401mt , Jerse)' City, .Yew Jersey. inlay. Plate, shallow bowl, deep bowl, knife, fork and spoon. Designed by Louis Comfort Tiffany, 263. Table lamp, base and shade forming wisteria Tiffany & Company Makers. (Plate 23) . vine. Bronze and purple, green and white Lent by Mr. and lYfrs. LOllis T. Lllsk, Norwalk, Favrile glass. h. 27, shade diam. lB. (Plate 21). Connecticllt. Tiffany Studios New York 9764 ~ Lent by- Irard lljullnt , Jersey City, ,Yew Jerse.r. 275. Tray. Gilt bronze with etched surface and Chinese motif border. recto 15 x 12. 264. Table lamp. Bronze base with leaded Favrile Tiffany Studios New York I 7J9 glass shade. h. 1BYo, dialTl. 9 Y2· Lent by IT'ard MOImt, Jersey City, ,Yew Jersey. Lent by F.dward J. IFormley, ;Yew York. 265. Sconce. Metal with varicolored Favrile glass 276. Tray. Gilt bronze, etch ed surface with pearl insets. h. 10, w. 5 feet 1 0. inlaid border. diam.1 4. Lent by TVard MOllnt , Jerse.r City, .Vew Jersey. Tiffany Studios New York I 728 266. SLx-branch candelabrum. Bronze with green. Lent by Wa rd Mow,t, Jerse)' City, New Jersey. h. 15, w. 21. Tiffany Studios New York 10088 277. Revolving tray. Gilt bronze, etch ed surface Lent by George S. Barrows, Jr., IVew York. with teardrop motif. diam. B. 267. Candleholder. Bronze. h. 19. (Tllustrated p. 13). Tiffany Studios New York J 7 J 2 Tiffany Studios ew York J2J J Lent by "flard MOllnt, Jersey Cit.r, New Jersey. Len~ by Joseph Heil, New York. 27B. Footed bowl. Gilt bronze with etch ed surface. 26B. Candleholder. Bronze, tripod base with root h .2Yo. motif. h. 12. (Illustrated p. 13). Louis C. Tiffany Furnaces Inc. Favrile 409 Tiffany Studios New York J 200 Lent by Dr. and Mrs. Robert Koch, SOl/th Norwalk, Lent by Joseph Heil, I'lew York. Conn ecticll! . ]I Lamps and Miscellaneous Objects / Pottery 27g. Compote . Gilt bronze with mother-of-pearl ~ go. Mirror. ilvered metal frame with border of inlay. h. 3~. Tiffany Studios New York I70} off-yellow opalescent Favrile glass tiles. Lent by Dr. and Mrs. Robert Koch, South l\Tor/valk, h. 26, w. 20. ConnecticlIt. Lent by l'Vard MOllnt, Jersey City, New Jersey. 280. Compote. Gilt bronze, etched surface with 2g1. Octagonal dining table . Painted cherry. From enameled border. h. 3 %. Laurelton Hall. Louis C. Tiffany Furnaces Inc. 506 Lent by Mr. and Mrs. Hugh McKean, J1' inter Park, Lent by Mr. and Mrs. Louis T. Lusk, IVorwalk, Florida. Connecticut. 281. Trivet. Varicolored iridescent FavTile glass and 2g2. Sten ciled w all covering. Stylized tree and bronze; dragonfly motif. square 6 %. flower motif. From Laurelton Hall. (Plate 24)' Tiffany Studios ew York I47} Lent anonymously. Lent by Joseph Heil, New York. 2g3. Stenciled folding door. Wood. Geometric 282. Picture fram e . Gilt bronze with blue and purple motif. h. 8g %, w. 39~. (Plate 25) . iridescent Favrile glass. h. 10%, w . 7. Lent by the Mark Twain Librar)' and 111elllorial Com Louis C. Tiffany Furnaces Inc. 56 mission, Hartford, Connecticut. Lent by Joseph lIeil, New York. 283. Elephant. Green iridescent Favrile glass and 2g4. Special parchme nt edition ' 'Art W ork of Loui s silver. h. 4%, w. 6. L.C. T. C. Tiffany." Published in 1 g16 at the request of Lent b.r 111rs. Miriam N. Godofsky, Hewlett, New York. Mr. Tiffany's children. Unique copy. Lent by Mr. If'illiam T. Lllsk, New York. 284. Cigar b ox. Gilt bronze with etched surface, enameled leaf motif. length 8. LOllis C. Tiffany Furnaces Inc. 7}4 Pottery Lent by Mr. and Mrs. LOllis T. Lusk, Norwalk, Connecticut. 2g5. Vase. Mat yellow and light orange glaze. h. 7 'Is . 285. P en tray. Bronze and Favrile glass mosaic. Incised monogram: LCT length 7%, width 3· 28908 Lent by arahE. Hanley, Oyster Bay, New York. 2g6. Vase. Green and brown-green mat glaze. h. 5 V8' 286. Inkwell. Yellow-green Favrile glass, wave motif. Incised monogram: LC T h.2. L.C. T. A654 2g7. Vase. Mottled green and blue glaze. h. 6%. Lent by Joseph lfeil, New York. Incised: B 287. P ap erwe ig ht. Bronze and iridescent Favrile glass mosaic. length 3 'Is, width 2%. (Plate 22). 2g8. Vase. Dark green and yellow mottled glaze. h. 5. Tiffany Studios New York 9} J Incised monogram: LC T B Lent by Edward J. /1'ormley, New York. Inscription: 2 I nx EL 288. Four scarab seals. Gold iridescent Favrile glass. 2gg. Vase. Cream colored with dark green and h.l%. magenta mottled overglaze. h. 4%. Lent by Wa rd Mounl, Jersey City, lVew Jersey. Incised monogram: LCT B 28g. Clock. Gilt bronze, enamel ivy leaf motif. Inscription: 6IA EL height 6%, width 4}i" depth 2 'Is. Louis C. Tiffany Furnaces Inc. 300. Vase. Dark brown and yellow mottled glaze. 652 Favrile L h.3%. Inscription: P Lent by Ed Lipson, New Haven, Connecticut. Lent by Ward Mount, Jerse.r City, New Jersey. J2 Plale I. \ ' ie\\ of the Palisades, Xe\\" Jersey. Cat. NO.2) The .Yew York Historical Society Plale 2. Snowscene. (Cat. ro. 6) Collection of Mr. and Mrs. Collier Platt }} Plate 3 . Duane Street, New York. (Cat. No. I) The Brooklyn Aluseum Collection 34 Plate 4. Veterans' Room, Seventh Regiment Armory, :\few York. Courtesy' of Robe rt Koch 35 Plate 5. The Cow·! of Law·elton Ila ll, residence of Louis C. T iffany, at Oyster Bay, Long Island. COllrtesy of Mr. and Mrs. Collier Plait }6 PlaLe 6. \Vindow frvll1 Lhe Heckschcr lIousc,;'Il"ew York. (Cal. No. 11 ) Cortrtesy of the J. and R. Lamb Studios J7 Plate 7. The Tiffany Chapel installed at the Chicago Columbian Expositioll, 1893. Parts of it in the exhibition. (Cat. Nos. '4, 15 ancl16). CUllrtesy of RobertXoch }8 Plate 8. Favrile glass vases. Cat. "\los. 75 alld 74) rictaria and Albert lIlllselllll, London Left: Plate g. Fa vrile glass vase. (Cal. No. 23) The Cooper Union lIlllselll17for the Arts of Ueco ratiun Right: Plate J O. Favrile glass nlse. (Cal. ~o . 134) The Joseph I1 eil Collection 39 Plate 11. Fauile glass vase. (Cal. l os . 197, 198, J 95,196 and 199) The 1r ard I1iollnt Colleclion Plate 12. Fa\'1·ile glass bO\ds :lnd \"ases. (Cat. Jos. 106, 95,107 and 94) The Maude B. Feld Coileclion Plate 13. Pa\"rile glass vases. , Cal. "\os. 233, 235 and 232) COllrtesy of Lillion ~Nassatl Al1tiqll~s Plalc ' 5. Pavrilcglass vasC' . (Cal. ",,0. 186) The Collection of i1Ir. and JIll's. iIl/gh F. iUrAean Plate J4. f'aVl·ile glass vase alld bo\\'l. (Cal. -os. J76 and 177; The Collection of Dr. and llJrs. Robert Koch Plale 16. FavTile glass vasco (Cat. "",0.2+) Plale 17. Favrile glass vases. (Cal. Nos. 19 and 21) The Corning Museum oj Glr;ss The Carnegie institllte Collection PlaLc 18. Flower rorm vases in FavTilc glass. (Cat. _ os. IS5, 139, ' S7, 14.0 , ' S6 andl4') The Juseph JI eil Collection Plate J 9. Tiles. The Joseph Heil alld Geurge S. Barruws Collections Plate !l0 . Tiles. The Joseph lieil and George S. Barrows Collections 4J Plate 22. Paperweight. (Cat. 00. 287) The E,{'('ord J. IT'onnley Cullection Plate 21. Table lamp. (Cat. ~o. 263 The I r 0 I'd JlJulint Collection Plale 23. Child's dinner sel. (Cat. ~o. 274) The Collection of Mr. and "'1rs. LOllis T. Lllsk 44 Plate 24. ' lencited wall covering from Laurelton Hall. Plate 25. Stenciled folding door [rom the ]V]ar], (Ca I. No. 292) Twain House, Hartford, Connecticut. (Cat. No. 293) COllrtesy of the Mark TIL'ain Library and Ivlemorial Commission Plate 26. Il and mirror. (Cal. ","0. 252) Plate 27. Perfllme flagon. (Cat. No. 172) The Joseph lfeil Collection Collection of F,dgar Kallfmann , Jr. 45 Pia I e 28. \'ecklacc. (Cat. !\" o. 28+) COllrlesy ofDeSedle's, Inc. Left: Plate 29. Necklace in gold, enamcl and semi-prccious stones. (Cal. :\0. 2+7) The Metropolilan MIlSel1l71 of Arl Right: Plale 30. \'ecklucc. (Cal. :\'0. 2+6) The llletropolitan l1111selltn of Art Trustees of the American Craftsmen' Council which maintains the Musellm i\Jrs. Vanderbilt \Vebb, President Kenneth Chorley, Vice-President DavidP-.. Campbell, Executive Vice-Presiden.t William J. Barrett, Treasurer i\ lary Vail Andress , Secretary i\ lark Ellingson, Chairman, Finance Committee Alfred Auerbach Rich ard F. Bach Rene l)'Harnoncourt Doroth y Draper Ely Jacques Kahn TI cnry ''-luck V. L ada-i\/[ocarski Jack L enor Larsen Dorothy Liebes H arvey K. Little ton Florence I-l. P ettit 1\ Leyric R . Rogers Frank Stanton Jean Sulzberger Robert Turner i\ la rgu erite VVildenhain Jackson \Voolley Edward J. VVonnley 47 S1-fV.J.Q A.J.V.J.OaWa1-UoQ fo wnasnw