#tiffanystudios

[aic-american]

Hartwell Memorial Window (Light in Heaven and Earth), Tiffany Studios, 1917, Art Institute of Chicago: American Art

Restricted gift of the Antiquarian Society, the Chauncey and Marion Deering McCormick Family Foundation, and Ann and Samuel M. Mencoff; through prior gift of the George F. Harding Collection; Roger and J. Peter McCormick Endowment Fund; American Art Sales Proceeds, Discretionary, and Purchase funds; Jane and Morris Weeden and Mary Swissler Oldberg funds; restricted gift of the Davee Foundation, Pamela R. Conant in memory of Louis J. Conant, Stephanie Field Harris, the Komarek-Hyde-Soskin Foundation, and Jane Woldenberg; gifts in memory of John H. Bryan, Jr.; Wesley M. Dixon, Jr. Endowment Fund; through prior gift of the Friends of American Art Collection and Mr. and Mrs. Martin A. Ryerson; restricted gift of Jamee J. and Marshall Field, Roxelyn and Richard Pepper, and an anonymous donor; Goodman Endowment Fund; restricted gift of Abbie Helene Roth in memory of Sandra Gladstone Roth, Henry and Gilda Buchbinder Family in memory of John H. Bryan, Jr., Suzanne Hammond and Richard Leftwich, Maureen Tokar in memory of Edward Tokar, Bonnie and Frank X. Henke, III, Erica Meyer, Joseph P. Gromacki in memory of John H. Bryan, Jr., Louise Ingersoll Tausché, Christopher and Sara Pfaff, Charles L. and Patricia A. Swisher, Kim and Andy Stephens, and Dorothy J. Vance; B. F. Ferguson Fund; Jay W. McGreevy, Dr. Julian Archie, Mr. and Mrs. John W. Puth, and Kate S. Buckingham endowment funds Size: 701 ✕ 487.7 cm (276 ✕ 192 in.) Medium: Leaded glass

https://www.artic.edu/artworks/243516/

[mia-decorative]

Jewel box, Tiffany Studios, c. 1905, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

box with hinged lid; green and white swirled glass with copper openwork leaf and stem overlays on top and sides; ball feet Size: 2 5/16 x 7 x 7 3/16in. (5.9 x 17.8 x 18.3cm) Medium: Copper, opalescent glass

https://collections.artsmia.org/art/13011/

[the-met-art]

Seal by Tiffany Studios, American Decorative Arts

Medium: Favrile glass, bronze

Gift of Mrs. H. S. Mesick, 1962 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/7363

[met-drawings-prints]

"Bronze Works" album of photographs by Tiffany Studios, Drawings and Prints

Medium: Photography

Friends of the American Wing Fund; Edward Pearce Casey Fund, 1996 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/357955

[aic-american]

Vase, Tiffany Studios, 1898, Art Institute of Chicago: American Art

Restricted gift of the Antiquarian Society in honor of David Hanks Size: 43.7 × 14.6 × 4 cm (17 1/4 × 5 3/4 × 1 1/2 in.) Medium: Glass and bronze

https://www.artic.edu/artworks/50366/

[aic-american]

Lily Lamp, Tiffany Studios, 1902, Art Institute of Chicago: American Art

In the 1890s, Louis Comfort Tiffany combined his Favrile glass with the relatively new technology of electricity to produce his first lamp, the form for which he would become most famous. The lily lamp won a grand prize at the International Exposition of Modern Decorative Art in Turin, Italy, in 1902. Although the original version of the lamp had 18 lights, the firm went on to manufacture smaller versions with 7, 10, and 12 bulbs. Combining Tiffany’s iridescent Favrile glass with masterfully naturalistic work in metal, this design became one of the firm’s most popular. Its sinuous asymmetry demonstrated Tiffany’s strong ties to Art Nouveau. Gift of Mrs. Ruth Arrowsmith Size: 53.3 × 23.5 × 24.1 cm (21 × 9 1/4 × 9 1/2 in.) Medium: Favrile glass and bronze

https://www.artic.edu/artworks/152745/

[aic-american]

Hanging Head Dragonfly Shade on Mosaic and Turtleback Base, Tiffany Studios, 1901, Art Institute of Chicago: American Art

In the 1890s Louis Comfort Tiffany began using his opalescent Favrile glass to produce lamps, the decorative form for which he would become most famous. As the artistic director of Tiffany Studios located in Corona, New York, he approved all patterns but created relatively few lamps himself. Clara Driscoll, head of the Women’s Glass Cutting Department, was likely responsible for this shade and base. Driscoll began working for Tiffany in 1888, and she designed the majority of the firm’s lamps before she left the company in 1908 or 1909. Driscoll created at least eight dragonfly shades. This example is distinguished by its large size, glass cabochons, and the placement of insects’ bodies along the lower edge. While Tiffany Studios mass-produced these shades and bases, the firm varied the color scheme of each object to heighten the sense of handcraftsmanship. This daring design became one of Tiffany’s most popular and was made through 1924. Roger and J. Peter McCormick Endowments, Robert Allerton Purchase Fund, Goodman Endowment for the Collection of the Friends of American Art, Pauline S. Armstrong Endowment, Edward E. Ayer Endowment in memory of Charles L. Hutchinson; restricted gift of the Antiquarian Society in memory of Helen Richman Gilbert and Lena Turnbull Gilbert, Sandra van den Broek, Mr. and Mrs. Henry M. Buchbinder, Quinn E. Delaney, Mr. and Mrs. Wesley M. Dixon, Jamee J. and Marshall Field, Celia and David Hilliard, Elizabeth Souder Louis, Mrs. Herbert A. Vance, and Mr. and Mrs. Morris S. Weeden Size: H.: 86.4 cm (34 in.); diam: 57.2 cm (22 1/2 in.) Medium: Favrile glass and bronze

https://www.artic.edu/artworks/185905/

[aic-american]

Hanging Head Dragonfly Shade on Mosaic and Turtleback Base, Tiffany Studios, 1901, Art Institute of Chicago: American Art

In the 1890s Louis Comfort Tiffany began using his opalescent Favrile glass to produce lamps, the decorative form for which he would become most famous. As the artistic director of Tiffany Studios located in Corona, New York, he approved all patterns but created relatively few lamps himself. Clara Driscoll, head of the Women’s Glass Cutting Department, was likely responsible for this shade and base. Driscoll began working for Tiffany in 1888, and she designed the majority of the firm’s lamps before she left the company in 1908 or 1909. Driscoll created at least eight dragonfly shades. This example is distinguished by its large size, glass cabochons, and the placement of insects’ bodies along the lower edge. While Tiffany Studios mass-produced these shades and bases, the firm varied the color scheme of each object to heighten the sense of handcraftsmanship. This daring design became one of Tiffany’s most popular and was made through 1924. Roger and J. Peter McCormick Endowments, Robert Allerton Purchase Fund, Goodman Endowment for the Collection of the Friends of American Art, Pauline S. Armstrong Endowment, Edward E. Ayer Endowment in memory of Charles L. Hutchinson; restricted gift of the Antiquarian Society in memory of Helen Richman Gilbert and Lena Turnbull Gilbert, Sandra van den Broek, Mr. and Mrs. Henry M. Buchbinder, Quinn E. Delaney, Mr. and Mrs. Wesley M. Dixon, Jamee J. and Marshall Field, Celia and David Hilliard, Elizabeth Souder Louis, Mrs. Herbert A. Vance, and Mr. and Mrs. Morris S. Weeden Size: H.: 86.4 cm (34 in.); diam: 57.2 cm (22 1/2 in.) Medium: Favrile glass and bronze

https://www.artic.edu/artworks/185905/