Beauty In Glass: A Tiffany Lamp Exhibit Catalog by Galaudet Gallery LLC

Beauty in Glass: A Tiffany Replica Lamp Exhibit

Galaudet Gallery Published by Galaudet Gallery 2223 West Hubbard Chicago, Illinois 60612 & 618 South Farwell Eau Claire, Wisconsin 54701 @ http://galaudetgallery.wix.com/ggllc Galaudet Gallery copyright 2015 All Rights Reserved Organized and Designed by Vicki Milewski & Michael Milewski Cover Photo: Detail of the Lotus Lamp Title Page Photo: Detail of Wisteria Lamp

Published for the Exhibit Beauty in Glass A Tiffany Replica Lamp Exhibit

Beauty in Glass: A Tiffany Replica Lamp Exhibit

Presented by

Galaudet Gallery

“The goal of my life is the pursuit of beauty.” --Louis Comfort Tiffany

Table of Contents for “Beauty in Glass: A Tiffany Replica Lamp Exhibit” Essays Tiffany and the Arts and Crafts Movement The Beginning of “Beauty in Glass” The Art and Craft of Tiffany Studios The Exhibit “Beauty in Glass”

The Tiffany Replica Lamps The Flowering Lotus The Wisteria The Grape and Vine 12 Light Trumpet Lily Torchere with Favrile Glass Shades Persian Style Table Lamp Three Tiffany Replica Dragonfly Lamps The Spiral Dragonfly The Hanging Dragonfly (Twilight) The Hanging Dragonfly (Autumn Dusk) The Tiffany Style Lamps The Honey Locust 6 Light Lily Lamp with Carnival Glass The Looking Lady Sculptural Lamp The Rose Garden Beauty in Glass Bibliography

Detail from The Rose Garden Tiffany Style Lamp

Tiffany and the Arts and Crafts Movement God has given us our talents, not to copy the talents of others, but rather to use our brains and imagination in order to obtain the revelation of true beauty.—Louis Comfort Tiffany Galaudet Gallery’s Tiffany replica lamp exhibit “Beauty in Glass” shows the delightful purpose Tiffany lamps serve. Louis Comfort Tiffany1 is the artist who innovated how glass was colored and created while also making the lamp designs still sought after 100 years later. He said his goal of life was the “pursuit of beauty” and we all are the better for it. The molds from the original lamps are now used in the creation of Tiffany replica lamps. The beautiful colors when lit bring to life natural scenes and designs that have a philosophic foundation and a gardener’s sense of nature. The first Tiffany lamp was created around 1895, a product of the Arts and Crafts Movement 2 that was revolutionizing the ties between the arts with craftwork in both America and Europe. The Arts and Crafts Movement was a loosely formed group choosing arts and crafts as their vehicle to recapture handmade goods from the increasing industrialized production methods which had relegated individual craftspeople to working in factories on production lines. This increasing loss of individually-made goods and the increasingly homogenized-goods being produced fueled the Arts and Crafts Movement which also embraced naturalized forms versus the revival of overly ornate forms such as those like Baroque or Rococo. The Arts and Crafts Movement in England and Europe was also called the Art Nouveau3 period and the Aesthetic Movement in the United States of America. Tiffany was inspired by The Arts and Craft Movement and is seen as a part of the Art Nouveau Movement with its embrace of nature and positioning crafts like glasswork on the same level as painting and sculpture. Reclaiming the lost natural world was a central tenet of the Arts and Crafts Movement and so they utilized natural forms and plants and animals as their subject matter. Tiffany was inspired by William Morris4, seen as one of the principle originators of the Arts and Crafts Movement in England, because Tiffany shared a love of nature and a drive to produce art in a field that had long been considered craft. Morris said, “All the arts hang together”5 since he felt that the arts of music, poetry, painting, 1

Louis Comfort Tiffany (1848-1933) was the son of the founder of the famous jewelry store owner in New York and the founder of what is now known as Tiffany Studios after many name changes throughout its formation. 2 The Arts and Crafts Movement was begun in England around 1880 in response to the Industrial Revolution and the mass production of goods which displaced the individual craftspeople. The low cost goods made it hard for hand made goods to be sold and coupled with the degradation of the environment led many craftspeople to join The Arts and Crafts Movement which sought to unite high quality craft with the rest of the arts while highlighting the necessity of natural places in order for human nature to continue and possibly progress. This movement gave way to other concerns in the 1910’s. 3 Art Nouveau was a movement in the late 19th and early 20th centuries and sought to “modernize’ design and create a more democratic view of all the arts so that craft would be on the same level as painting. Artists drew inspiration from both nature and Euclidean geometry attempting to unite the two. Art Nouveau (New Art) is seen today as an important step to modernity which was at first a rejection of the replication of older styles mainly because they were poorly made, once the industrial revolution created the factory’s of today, Art Nouveau was replaced by Art Deco in the 1920’s and the cult of the new began its walk toward the contemporary times. 4 William Morris (1834 – 1896) was an English textile designer, stained glass artist, printer, poet, novelist and socialist activist. As one of the principles in the Arts and Crafts Movement, he assisted in the revival of traditional textile arts and methods of production 5 William Morris from his address delivered before the Trades’ Guild of Learning in London called “The Decorative Arts Their Relation to Modern Life and Progress” 1882

sculpture and architecture hang with the decorative arts and that all rise or sink together so that if we disrespect one we are disrespecting the other and that if we deplore decorative arts as something beneath the other arts then we are also deploring the other arts since their foundation is the same: nature and the human impulse to create. When we appreciate a well made glove or hat or scarf we also appreciate a Michelangelo, a Picasso, a Monet, a Milewski. Both Morris and Tiffany also believed in the ties between the arts and nature with a similar idea as to the existence of nature. Morris said in the same address that “The laws of nature are also the laws of art…”6 discussing how the loss of art and craftwork could mean the loss of nature. It is in a full appreciation of the arts and nature that everyone has a chance to gain from their presence and in that gain move forward toward a more meaningful life that is full of real family and friends and adventure (if we choose) or peacefulness (if that is our choice) a life that cultivates the “powers of the mind in the general cultivation of the powers of the eye and hand”. 7 And that which makes us human, our sense of creation and our chances to execute creation could fall away if we do not embrace all the arts. Morris felt that our human nature could fall away and the natural world with it if we lose touch with the arts and crafts of our world. Tiffany sought to paint with glass and in so doing set a traditional craftwork like glass on par with the other arts. But both Morris and Tiffany knew only high quality work could reach such levels. First, Morris stated, an artisan’s job was “To give people pleasure in the things that they use.” 8 he felt that decorative objects would assist in making any labor enjoyable and perhaps make the idea of “labor” change from a slavery perspective to one of enjoyment and physical and intellectual growth. But these “decorative objects” need to be well made, of the highest quality and from well trained artisans. Morris called this level of artisan work “ornamental workmanship”, “How good a foundation it would be toward getting good Decorative Art, that is ornamental workmanship in all things, instead of having as we too often have now, a very low average standard of work, which we often fall below.”9 Morris lamented the “nasty wares” and low quality goods for sale at half price bargains which were becoming the norm in the marketplace instead of better quality products made from educated and skilled hands, eyes and minds. He saw how the “war commercial” walked hand in hand with the war waged with bullets. He stated that Liberty might have been gained, but we now had to work on equality and a fraternity that could create the true leisure of having time to think about our work and create a leisure not based on greed or inequality or an outdated class system but to think of leisure as a time spent as our creative impulses wish and a time spent amongst the world we create. Tiffany mirrored these ideas in his work on ecclesial environments like chapels and interiors of churches as well as creating decorative pieces to outfit each room in a home creating the beautiful lamps and other decorative goods on display at Galaudet Gallery. “It is a dream,” Morris spoke, “but dreams have before now come about of things so good and necessary to us, that we scarcely think of them more than of the daylight: though once people had to live without them, without even hope of them.”10 It is this dream that Tiffany also worked toward, the dream of a utopia, yes, but also a possible world in which everyone can enjoy art and nature, everyone 6

ibid Ibid 8 Ibid 9 William Morris from his address delivered before the Trades’ Guild of Learning in London called “The Decorative Arts Their Relation to Modern Life and Progress” 1882 10 Ibid 7

can enjoy education, and everyone can enjoy freedom. Tiffany may have worked on lamps that only a few could afford to purchase, but with these proceeds he built a retreat for artists that anyone could attend, he built sacred places anyone could visit. “I say that the remedy lies with the handicraftsmen, who are not ignorant of these things like the public, and who have no call to be greedy and isolated like (others)…; the duty and honour of educating the public lies with them and they have in them the seeds of order and organization which make that duty easier.” 11 Part of this education is to choose beautiful, well made, everyday objects that will last longer than the bargain pieces we buy. Tiffany chose to work on lighting and other objects to beautify the home. Each original Tiffany lamp was handmade by skilled craftsmen and although Tiffany's craftsmen used patterns to make each lampshade, each was unique due to the selection of the individual pieces of glass with their varied colors and densities. This uniqueness continues to this day as found in the lamps offered by Galaudet Gallery sourced from companies utilizing patterns made from existing Tiffany lamps and who have craftsman individually set each piece of glass. During Winter 2015-206, Galaudet Gallery presents “Beauty in Glass” as their main exhibition. “Beauty in Glass” has some of the most sought after Tiffany Replica Lamps and other lighting inspired by Tiffany. “Beauty in Glass” is a show for everyone with history, artworks and of course lamps. Each lamp is carefully researched to determine if it is a Tiffany replica or just in the style of Tiffany. Tiffany lamps have specific characteristics as opposed to Tiffany style lamps which may only share the use of colored glass with the Tiffany legacy and some having similar scenes depicted but the lamp shade or lamp stand does not use a mold from an original Tiffany product. And in the tradition of the Arts and Crafts Movement, each Tiffany Replica lamp is of the highest quality in construction and in lighting effects. Some lamps are for reading, others for decorative lighting; still others are lighted sculptures in glass. The rest of the Arts and Crafts philosophy is present in the design and history of each lamp. The Beauty in Glass lamps illuminate values we all hold with a belief in the importance of each and every person because we all have something to share, create, support and love. Vicki Milewski Eau Claire, Wisconsin November 2015

Detail of Hanging Head Dragonfly Twilight 11

Ibid

The Beginning of “Beauty in Glass”

It is my dearest wish to help young artists of our country....and to assist them in establishing themselves in the art world.—Louis Comfort Tiffany Louis Comfort Tiffany began his “Tiffany Studios” in 1885 as first an interior decorating company which turned more fully to making glass products by the 1890’s. Tiffany Studios experimented with combining minerals and more with glass in order to create a fuller range of colors within one piece of glass. As Tiffany registered patents for different glassmaking processes, some in the glass art field felt Tiffany was not following a long held tradition of painting on glass and coloring glass in a uniform way. Some pointed to inclusions and bubbles in the glass as a mark of inferiority when in fact Tiffany carefully manipulated the glassmaking process to include these things in the glass! A bubble stood for a seed in a grape or apple, an inclusion was meant to show how the sun plays with shadows in nature. Tiffany sought his inspiration for glassmaking and his design from nature cultivating fields of flowers and other flora on his 600 acres on Long Island, New York.12 Tiffany was also an astute businessman as seen in the numerous patents, trademarks and copyrights he registered and that his company still holds today which help to define what products are Tiffany replicas (those products that have gained the exclusive right to reproduce Tiffany designs) and Tiffany style (those that use Tiffany designs as inspiration). 13 The debate between traditional glassmakers who painted on glass and Tiffany’s new glassmaking techniques lasted into the 20th Century. Now there is seen a lineage that traces back to medieval times where artists painted on glass and the new lineage, the Art Nouveau, which begins with Tiffany and his 19th Century competitor John La Farge who was also creating new glassmaking effects. La Farge lamps and glass screens are still worth money at auction today but do not compare with the quality of design and craftsmanship of an original Tiffany product. Some say the rarity of La Farge products is due to their inferior craftsmanship since original Tiffany products have only sustained minor cracks and chipping as expected from normal wear and tear on a product that is probably used every day for lighting. Tiffany believed that he and the artists in his Studio should work on each product from conception to completion. Artists not only drew the design of a lamp shade but then also worked with the chemists on how to prepare and create the glass for the shade, how to capture the nuances of nature and the passing of sunlight and moonlight throughout a day, season, or even years. There are shades that show a grape flower, a grape ripening and a grape ready for harvest all on the same shade. Original Tiffany lamps and the Tiffany replicas of this quality are rare. Even when a Tiffany mold is used to create a Tiffany replica lamp shade, the glass still needs to be created, cut and fitted by an artist who is making a one of a kind piece of art since even Tiffany could not exactly replicate glass he made through these new processes. 21st Century production methods are getting closer to making lampshade that are identical but the patent authorization does not allow for this in Tiffany replica 12

Tiffany’s main home was known as Laurelton Hall on Cold Spring Harbor whose approximately 600 acres spanned much of Oyster Bay and Laurel Hollow on Long Island, New York. 13 There are some companies who only change a Tiffany design slightly and sometimes risk infringement—Galaudet Gallery does not hold, show or sell these products.

lamps and so the ones that are exactly alike can only be Tiffany style. The unity of a Tiffany design is unmistakable in how the lamp shade shape and construction all are a part of the whole design, even the soldering pieces can play a part in the design simulating branches or shadows or parts of an animal’s body—nature is the unifying force behind these designs and Tiffany sought to bring that to light. Tiffany wanted to remain true to the Arts and Crafts Movement’s philosophy of equality, unity with nature as inspiration and as something to conserve and protect. Using natural scenes was not only to show their inspiring beauty but to also make a statement that these natural scenes should be protected because of their natural beauty. The artists who adhered their practice with the Arts and Crafts Movement were not environmentalists as we know them but were more like the conservationists of the same time period who sought to bring attention to nature and her beauty and in so doing convince people to conserve that beauty and protect it from the ever increasing industrial revolution which spawned the Arts and Crafts Movement. John Muir worked to bring people into Yosemite Valley in California so that they could experience the spiritual “temple in nature” 14 because he believed that once people had this experience with nature they would join him in conserving the area and protecting it from resource depletion. Henry David Thoreau spent a year at Walden Pond to not only learn how to live a simple life but to also bring attention to the industry that was moving into those pastoral areas and changing those areas forever. Tiffany himself gave lectures on the importance of nature and how we should not manipulate it to a point that it is no longer “natural”. Michael Milewski Eau Claire, Wisconsin November 2015

Detail of The Hanging Dragonfly (Autumn Dusk)

John Muir wrote in many letters and essays that his “temple in nature” should be conserved.

The Art and Craft of Tiffany Studios

We are going after the money there is in art, but art is there all the same. – Louis Comfort Tiffany All Tiffany lamps and other products were marketed with the phrase that each was made “under the supervision of Mr. Louis C. Tiffany.” Not only did Tiffany sometimes only supervise, often the designs of his products were made by other artists—both men and women. A recent discovery of letters written by a woman designer in the Tiffany Studios has illuminated the role women played there. Clara Driscoll15 has become pretty famous recently because her descendants found a large amount of letters written by Driscoll in the 1890s—the early 1900’s that document her day to day work at Tiffany Studios. Because of the persistence of her modern day family, these letters were researched and compiled eventually becoming an international exhibition of her work at Tiffany. Sought after Tiffany lamp shades like the Wisteria and the Dragonfly and Water designs are now known as Clara Driscoll creations that were “supervised” by Louis C. Tiffany. In 2011-2012 the exhibit “A New Light on Tiffany: Clara Driscoll and the Tiffany Girls” toured the world bringing to light the work of the women in the Tiffany Studios and Clara Driscoll specifically. Tiffany was progressive in his employment of women in the late 1800’s and early 1900’s, many of them making substantial salaries which allowed them the freedom to choose their own lives, own property and in some cases divorce, remarry and divorce again as they saw fit. Since Driscoll wrote lengthy descriptive letters, she is the main Tiffany Studio woman to be highlighted but this doesn’t mean that she was the only one. The exhibit shows that the “Tiffany Girls” were instrumental in many designs and other aspects of the work in Tiffany Studios. Driscoll was also applauded in newspapers of her time and was given several awards for the Tiffany designs she created. Some of the designs were from her own experiences with nature having been influenced in her high school days by Harriet Louise Keeler16 and others from sketches and full designs Tiffany would ask the Woman’s Glass Cutting Department to execute. And even though most people recognize that “work product”, a product made while working for someone else, is owned wholly by the employer, Tiffany supported Driscoll’s imaginative designs and applauded her awards as well as the many other designers who worked in the Tiffany Studios 17. But after Tiffany Studios closed production in the 1930’s and Tiffany products were relegated to basements and attics the identity of the true designers of Tiffany lamps and other products was lost. After the revival of Tiffany’s art began in the 1960’s and continuing in strength today, interest in the background of Tiffany Studios began to surface. The famous and much sought after Dragonfly in 15

Clara Driscoll (1861-1944) was an employee of Tiffany Studios who led the Woman’s Glass Cutting Department and has recently been credited with the design of 30 or so Tiffany lamps some the most popular designs such as the Wisteria and the Dragonfly and Water. 16 Harriet Louise Keeler (1846-1922), an Ohio naturalist and author of The Wild Flowers of Early Spring: A Study of One Hundred Flowers Growing in the Suburbs of Cleveland (1894) 17 Tiffany publicly credited a number of individuals for their work. In the Synopsis of the Exhibit of the Tiffany Glass and Decorating Company from the World’s Columbian Exposition in 1893, for example—published by Tiffany Glass and Decorating Company and freely distributed—Will H. Low (1853–1932) and Lydia Emmet (1866–1952) are cited beneath pictures of their designs. Other important designers at Tiffany’s company included Frederick Wilson

Water was found to be a Driscoll design and not, as had been thought for over 50 years, Louis Comfort Tiffany. Driscoll as artist would have remained unknown if her family had not brought her back into attention through letters and article clippings which showed her to have been the designer and creator of some of Tiffany’s most sought after lamps. In 2007, Rutgers professor Martin Eidelberg confirmed Driscoll’s family’s assertions and named Driscoll as being the master designer behind the most creative and valuable leaded glass lamps produced by Tiffany Studios. The international “A New Light on Tiffany…” exhibit of those lamps commenced to applaud this revelation making guesses at how many other designers at Tiffany Studios also created much loved lamps.

Vicki Milewski Eau Claire, Wisconsin November 2015

Detail of The Spiral Dragonfly Lamp

Detail from the Wisteria Tiffany Replica Lamp

The Exhibit “Beauty in Glass” Craftsmen...are nearer the people, for they fabricate useful objects belonging to daily life—Louis Comfort Tiffany Galaudet Gallery’s goal in holding the exhibit “Beauty in Glass” is not only to enjoy the beautiful light these Tiffany replica lamps show, nor is it only to sell the lamps and other wares, but it is also to begin the process of revitalizing the Arts and Crafts Movement of the 21 st Century positing that it should be known as the 21st Century Arts Movement—fully including all high quality crafts in with the known arts. Gallery co-owner Michael Milewski has long been a craftsman of the highest order, first working alongside his father and now continuing the high quality woodwork and other residential construction he is known for. Adding to his list is now the designing of residential ornamental architecture features which are also useful such as his “half moon” brace for a Chicago back porch or his low rise steps, specifically designed to be wider with a lower rise than other stairs to ease the walk up and down them. It is this attention to design detail that Michael brings to this exhibit and to this goal speaking on “Art as an investment” with many people he also stresses that the investment is in ourselves as well as our financial portfolio. A well made reproduction that is framed and matted in a quality way does not have to be expensive, but can have the longevity and investment that both Tiffany and Morris spoke of so that we can cultivate our minds, eyes and hands and in so doing find a new level of respect for our natural world. Even though Michael is the first to explain how wellselected pieces from his personal art holdings have been used as collateral for entrepreneurial experiences he has undertaken, this is not the full meaning of “art as an investment” since the 21 st Century Arts Movement also contains a spoon, or scarf, or a chair along with a painting, a sculpture, an beautiful architectural flourish. Tiffany also sought to further align the traditional arts with the traditional crafts in his own interpretation of the Arts and Crafts Movement of his time. He helped fund area schools that trained future Tiffany Studio employees, he created an artists’ retreat at his home on Long Island and he insisted in the highest standards of quality in everything produced in his studios. Galaudet Gallery has selected Tiffany replica lamps and Tiffany style lighting that continues this tradition. Each piece of glass in the lamps is individually selected, placed and soldered. Each lamp stand is selected to correspond with the shade since during Tiffany’s day the shades and stands were purchased separately, with several different shades being compatible with several different stands. The placement of certain lamps within the gallery space has been experimented with in order to receive the full benefit of the lighting and the chance to see how the sun plays with these beautiful shades during the day. And of course a full education on light bulbs was undertaken, from incandescent

white, soft white, natural, reveal and more with lessons in watts and voltages in stay in accord with the suggestions from the lamp creators and to elicit the best lighting experience; even LED’s were found to be the best choice in a few of the lamps. All these considerations were taken into account in order to respect the high quality of craftsmanship and to pursue our goal of a 21 st Century Arts Movement. The representation of nature in “Beauty in Glass” is the most delight to gallery co-owner Vicki Milewski who has made a career of painting and drawing her experiences in nature. The natural world is a feast for the spirit and a chance to reconnect with self. Lamps like the Lotus and the Swirling Dragonflies capture a moment in time unlike any other piece of art and it is the experience Vicki has had with these lamps that has created the photos in this catalog and an art collection she is working on in response to this exhibit. Known as a Abstract Experientialist, Vicki has sought to define her artistic practice through high quality work that integrates traditional art and craft while also introducing other elements not commonly used. Her use of metaphysical experiences in the natural world is akin to Tiffany who remarked that the fields of flowers were singing and the song was one he knew well. Flowers and more sing on Vicki’s canvases and paper creations and in utilizing an egalitarian approach to art making Vicki supports the 21 st Century Arts Movement and ties it to a sense of responsibility to our natural world. This sense of responsibility is not founded on returning nature to pre-industrial revolution states which Vicki sees as impossibility, but in conserving areas that have not been manipulated beyond their original relation to the earth. Areas like Yellowstone, Glacier National Park and The Arctic National Wildlife Refuge are places Vicki has worked in and for trying to assist in keeping them as natural and beautiful as they were, are and can be in the future. It is in work like this that Vicki has gained great inspiration for her artwork and she sees these values in Tiffany and in the Arts and Crafts Movement that inspired him. Galaudet Gallery’s “Beauty in Glass” exhibit is first and foremost a celebration of the Tiffany replica lamps on display. The other ideas presented here are a part of the enjoyment of art and craft that can be seen in the wonderful lamps and in the ideas of Tiffany and his inspiration found in the Arts and Crafts Movement and William Morris. In work, by employing women as fully vested partners in the artistic process and in design, by elevating nature to the level of a new art form, Tiffany fully embraced the Arts and Crafts Movement moving it into the Morris name “new art” by cultivating the Art Nouveau Movement in the United States of America. Tiffany’s legacy lives on in these Tiffany replica lamps and in the next wave of artists exploring the wonderful, artistic craft of glass work that Galaudet Gallery looks to exhibit in the future. Jules Hefe Chicago, Illinois November 2015

Detail from The Wisteria Tiffany Replica Lamp

Detail of lotus flower leaves on the Lotus Lamp

Tiffany Replica Lamps for “Beauty in Glass” Exhibit

The Lotus Blossom Lamp

Lotus Blossom Tiffany Replica Lamp Lamp Description Description: This is an exquisite lamp which shows the lotus blossoms on the lip of the shade and their stems growing upward to the top of the shade. The lotus blossoms are white, crème and pink with lighter green leaves surrounding them. The blue and green background is made of rectangles in various shades. The glass making up the thinner, darker green stems has a pearl essence that causes them to shine even when the lamp is not on, but just a shine since the coloration is completely different when the lamp is turned on. The original Tiffany design has three different kinds of shades. The First is exactly like this one with a darker green and brown glass representing the mud of the pond the lilies are growing in. The second kind is a shorter, sometimes wider shade. The third kind has the lilies on the top as they are during the daytime hours. The first two lamp shade types show the lilies on the bottom of the shade which follows the natural cycle of the lilies that sink below the surface fo the water during the nighttime. The irregular lip of the base is most sought after since it shows an higher level of craftsmanship than an uniform bottom. The stand for this lamp is surrounded by lily pads of an antique bronze verde finish on metal and it has an extra antique look with a slightly green patina like the original brass bases from Tiffany which have turned green due to oxidation. There is an in cord on/off switch. This lamp is wonderful to see and it can be seen at Galaudet Gallery from 9am-9pm in downtown Eau Claire call or email for directions. Dimensions:

Total Measurements Shade is

25"H x 12"W 15” H X 12” W

The greens, blues and browns of the upper part of the shade show the pond waters expressed in the larger rectangle and the lotus stems shown as the narrow strips of less densely colored glass

The gentle curve of the shade is shown here and marks a high level of craftsmanship mimicking the shape of lily flower.

The color variations are exquisite in the shade as shown here by the many shades within lime green and the use of delicate shadings of bubblegum pink, salmon and watermelon colors.

Lotus Blossom Tiffany Replica Lamp Historical Associations This shade shows the Lotus underwater with the green, brown and blue rectangular glass representing the water that each lotus sinks into during the night. Each morning actual lotus flowers rise from a pond’s water to slowly open over the course of several hours and then after noon they slowly close for several hours until after sunset when the flowers actually go underneath the water to wait for the new day. There are pink and white lotuses on this shade. The Egyptians, Buddhists and Hindus all have spiritual associations with the lotus flowers. Rebirth and new life are easily seen since the flower dips under the water and rises a new each say. Ancient Egyptian mythology saw the lotus as a sign of rebirth and purity. In Buddhism the lotus is also associated with purity as well as spiritual awakening and faithfulness. The flower is considered pure as it is able to emerge from murky waters in the morning and be perfectly clean. The pink lotus represents the Buddha’s life for Buddhists. The white lotus represents purity of mind and spirit. For Hindus, the breaking of the surface every morning is also suggestive of desire, this leads to it being associated with spiritual enlightenment. Tiffany was known to study Asiatic cultures and might very well have known the spiritual associations with lilies. As a Christian, Tiffany could have associated the daily rebirth of the lilies to be akin to Jesus Christ’s rising from death as well as the lily which was a common symbol in sacred art to depict Mary’s acceptance of her role in the Mysteries. Many paintings have Gabriel offering a lily to Mary or with a lily in a vase while Gabriel tells Mary she is to bear a son.

The Grapes and Vine Lamp with its wonderful base showing monkeys climbing the tree and the effect of sunlight shining through the leaves and around the grapes.

Grapes and Vine Lamp with Monkey Lamp stand Lamp Description Description: This exceedingly rare Grape and Vine lamp has exceptional artistic glass selection from the large, oval cabochons that have impressionistic changes in the coloration of the Zinfandel grapes as they ripen and become ready for harvest, to the glass chosen for the woody branches and leaves of the grape tree. The cabochons display vigorously mottled glass so that the seeds inside some of the grapes are seen. There is also a quality in this lamp that is rarely achieved in the effect of creating a realistic scene. This scene setting shows the rays of sunlight as they filter through the leaves ad around each grape. Tiffany noted this effect as a goal in creating certain lamps representing trees and scenes and it is quite successful here. The simply superb quality continues with an oval shade shape and an equally rare open top structure that is extremely difficult to create one. The irregular lip of the shade has some of the grapes hanging below the lip-line with their bulging cabochons looking like you could pick them. Two pull chains, one for each bulb, have hardware of warm hand finished mahogany color. The lamp base is equally wonderful with two monkeys working together with a smaller one on the shoulders of a larger one as they prepare to climb the grape treeâ&#x20AC;&#x2122;s trunk and branches to get to the grapes above. The elaborate tree has three branches with one branch hold the shade. There are also grapes on the lamp stand that the monkeys would be happy to reach. Dimensions:

Total Measurements: Shade is:

25"H x 12"W 12"H x 9"

Detail of the Grapes and Vine Lamp showing the large cabochons of the ripening grapes with the mottling effect representing the seeds inside each grape

Detail of the Grapes and Vine lamp showing the ripened grapes and the effect of sunlight streaming through the tree

Grapes and Vine Lamp with Monkey lamp stand Historical Associations Tiffanyâ&#x20AC;&#x2122;s interest in portraying change and temporality within nature is shown through this thoughtful design. This lamp evokes the slow transformation of the Zinfandel grape as it ripens toward harvest through a skillful and sensitive interpretation of coloration and placement highlighting luminous color and diverse textures to achieve a harmonious composition. The ripening process starts with luminous green cabochons moving from light mint to light olive colorations. Then the Zinfandel grape becomes red as shown in a cinnamon turning to carnelian cabochon that also has burgundy tones running through it. The ripe grape is seen in cabochons of an unusual pale blue-grey with deep cobalt tones. The subtleness of the teal blue and lime green vine leaves are complementary to the nuanced progression of these ripening grapes. Grape trees form after over 75 years of cultivation since their elaborate root systems take that long to get established. Their roots allow Zinfandel trees to grow in sand. The original grapes and vine lamps were researched and designed by both Tiffany and his head of Womenâ&#x20AC;&#x2122;s Glass Cutting Clara Driscoll who worked on a vine series of designs from 1899-1902 contemplating wisteria vines, trumpet flower vines and grape vines among others. The addition of the two monkeys on the grape strewn base is heartwarming and lends a bit of fancy to a decidedly rationally researched and interpretive design that has garnered high auction prices since it rarely comes up for sale

The Wisteria Table Lamp has a wonderfully accurate tree stand with the roots of the tree exposed as they are known to grow.

The Wisteria Lamp with a Tree Lamp Stand Lamp Description Description: The Wisteria lamp is one of Tiffany Studios most recognizable lamps. This 1901 Clara Driscoll design became one of the most expensive lamps sold during the Tiffany Studio’s production years. The combination of the natural study of the Wisterias Tiffany cultivated at his home on Long Island and the possible life span of a tree often surpassing 500 years has also made the Tiffany Studio Wisteria Lamp a symbol for the studio and its craftsmanship. The shade has a semi-irregular bottom border which requires a skilled craftsman to execute. This irregular border is also flayed outward about an inch as if the breeze has caught the blossoms and leaves allowing more light to flood the area around the lamp making it an excellent reading lamp and overall room light. In place of the original upper shade design of metal work to represent the branches of the tree, there is now deep orange glass used as. This change was due to the difficulty in keeping the original upper branches in place since the shade is quite large and heavy. The Wisteria’s originally designed Wisteria blooms are readily evident and exciting in the choices of glass and placement. There are three distinct Wisteria Lamp shade designs, this shade is the most difficult to reproduce and is rare to see as a replica. The detailed tree lamp stand is of an antique bronze verde finish on metal and it has an extra antique look with a slightly faded patina. This stand’s branches and metal leaves represent a wisteria tree that has been cultivated and shaped into a tree—not allowed to grow wild into a vine. The extra weight of the stand achieves the needed balance to make the large shade of the wisteria lamp steady and stable. The extra branching on the stand to create this balance also assists in creating a more naturalistic setting for the Wisteria blooms above. Dimensions:

Total Measurements: Shade is:

25"H x 20"W 16"H x 20” W

This lamp uses 3 reveal 60 watt bulbs. There are three pull chains, one for each light bulb and an in cord on/off switch.

Each Wisteria bloom is unique

This is another bloom when the light is offâ&#x20AC;&#x201D;still beautiful colors!

Another Wisteria bloomâ&#x20AC;&#x201D;each one shows the plant through the seasons

Detail of Wisteria lamp showing the top of this detailed shade which has the Wisteria branches and how it reflect in a window on a rainy night.

The Wisteria Lamp with a Tree Lamp Stand Historical Associations The Wisteria Lamp is one of Tiffany Studios most complex designs, often needing more than 2000 pieces of glass for completion. Even though the Tiffany Studios created molds for their popular lamps like the Wisteria, each lamp is handmade with glass selection rising to an artistic pursuit. The lilac colored blossoms of this Wisteria Lamp have nuances of colors even within a single glass piece. The large, dripping blossoms also bulge outward as they would on a real tree with the leaves interspersed between the wonderful blossoms. There are eight different blossoms which show the progression of blooming with a lighter coloration moving towards the end of the season teal and aqua colors. The height of blooming is found in lilac and orchid colored glass. Each of the eight blossoms on this lamp is of a different coloration underlying the realistic interpretation of the craftsman in glass selection. The leaves on this Wisteria lamp shade are smaller and contain hints of a sunset filtering through the tree with careful placement of tangerine, sapphire, ruby and citrine jewels and teardrops. There is a depth produced by the green coloration of the leaves moving from a peridot to an emerald green and into a forest green to simulate the leaves deep within the treeâ&#x20AC;&#x2122;s structure. There are also leaves starting to change color showing the onset of autumn. On top, behind the glass branching, mottled olive green glass makes the branches stand out even more then their color and copper foiling. There are also butterflies on the bottom of this shade which float on top of the scene providing more dimensionality and a different range of color in their wings and cabochon bodies. Some Wisteria trees alive today are over a 1000 years old. Families in Europe mark generational shifts by the curve of Wisteria branches. In Japan the Wisteria is seen as a sign of longevity and health. For Tiffany, this sentiment has proved true. Note: In 2014 two Wisteria original Tiffany lamps sold for 1 million dollars each.

The 12 Light Trumpet Lily Torchere lamp has a glow like a torch which is where its name comes from. Its reflection in a window is wonderful.

12 Light Trumpet Lily Torchere with Favrile Glass Shades Lamp Description Description: This Tiffany Replica Lily Lamp has 12 Tiffany Replica Favrile Glass Lily Shades. Each flower shade is unique in glass work with the shape of each head in keeping with the original Tiffany mold for the Lily Lamp. There are four shades on the top section of this Torchere and eight shades on the bottom with all in a circle so that the eight shades encircle the four. The gentle curve of each arm is like that of a natural lily flower as the head of the flower becomes heavier with pollen. The lamp bases have a vertically ribbed platform foot supporting a cylindrical stem with 12 arms terminating in bronze flower forms lily shade holders, each having replica sockets. Bases are finished in rich brown patina with green highlights. The quality in light this lamp shines simply must be seen for it radiates outward around each shade so that the whole is like one unit of lighting. The reflection in a window or mirror is remarkable and delightful. It definitely brightens a room and yet the glass coloration softens this light and makes it metaphysically glow. Dimensions:

Total Measurements: Each Shade is:

29"H x 22"W 6"H x 4 Âžâ&#x20AC;?W

Construction: This Tiffany Reproduction light features handmade jade favrile art glass where each piece of glass has been handmade and is unique. Each shade is made of thick favrile glass that are white inside to produce the resultant glow of this lamp and accentuate the green swirling of the favrile effect. There is an in cord on/off switch.

Each of the 12 shades is unique favrile glass that is a trademark of Tiffany Studios

The top tier has four shades

Even when not lit, this lamp is beautiful

12 Light Trumpet Lily Torchere with Favrile Glass Shades Historical Associations This favrile trumpet lily Torchere does not hang from the ceiling but instead sits politely upon a table. The “Lily Pad” base has slender curving leaves and lily pads on bottom. Tiffany Studios produced this design circa 1900 to great enthusiasm. The thin stems and leaves meant an absence of an interior canister which had to be added later to incorporate a switching device for turning the lamp on and off. This piece showcases Tiffany’s skill for interpreting nature into elegant, simplified forms of glass and metal which was in direct support of Tiffany’s Arts and Crafts Movement support. The lily has symbolized purity and innocence for over two thousand years and it was these characteristics that the Arts and Crafts Movement sought to engage their artists and artisans in to combat the increasing factory made goods for an increasingly consumer driven society. This beginning of a capitalist system was seen as impure since it spewed impurities into the environment causing air and water quality issues even at the turn of the 20th Century. The consumer based model for society which was being more and more accepted by the masses also meant that a lost innocence was afoot in that the traits of greed, pride and ignorance seemed to be needed to support this model. Tiffany sought to have nature included in home through his work with these lamps and other decorative arts for the home so that they could be a constant reminder that nature is a beauty, an innocence, a purity that should be protected. This Torchere and set of twelve shades display shades of green swirled decoration, further heightening the sense of naturalism in these works. Ultimately, in this Lily ensemble, timeless beauty is enriched by a deep seated symbolism and the work Tiffany employed to help cease or at least slow down the coming of a consumer driven society that would only want factory made goods. The glow of this lily lamp certainly stands up to that work here in the 21st Century.

The Persian Inspired Lamp shows the influence Persian and Islamic design had on many of Tiffanyâ&#x20AC;&#x2122;s creations

The rounded and bulging naturally shaped cabochons shine out in streams of blue and yellow

Persian Style Tiffany Replica Table Lamp Description: The main body of the shade has a four petal flower design with red round cabochon centers alternating with dusty rose colored, diamond-shaped cabochons made from Favrile Glass. These diamond shapes are echoed in a minor pattern just below the alternating flower and diamond pattern. Below the main body of the shade are the eye catching, large egg sized cabochons of a gold nature with the requisite ring mottle glass bubbles that allow light to be refracted and thrown in a wider and more varied illumination pattern. Natural sunlight shining through the lamp shade causes a completely different coloration to result and should be appreciated if possible. The stand for the lamp is brass and continues the Persian theme with curled supports for the primary stand. These are doubled and represent another rare design element for Tiffany. Below these double curled stands is a lighted base made up primarily of carnival glass placed at different angles to refract the light and cause shadows to occur in the copper foil separators. Dimensions:

Total Measurements: 27"H x 17"W Shade is: 14"H x 17"W

Construction: This Tiffany Replica light features hand rolled art glass construction where each piece of glass has been hand placed. No two pieces are exactly alike, making each lamp a treasured keepsake work of art. This lamp uses two 40W bulbs on the top and one 15 W bulb on bottom. Since the carnival glass on the bottom is quite opaque a larger wattage may give more light to the bottom if an LED is used. It is suggested to use lemon oil cleaner over the entire lamp to retain the quality of this lamp. There is an in cord on/off switch and a pull chain for each upper bulb. The bottom is lit by turning the in cord switch on and the two pull chains in the off position

The main shade has alternations between a red centered gold flower and a elongated diamond

Persian Style Table Lamp Historical Associations

This is an exquisite lamp which shows the influence Persian and Islamic design had on many of Tiffany’s creations. The arabesque designs that run along the irregular lip of the base of the shade can be traced to Persian tiling designs seen in photos of Tiffany’s Laurelton Hall. The multiple diamond patterns are most like the Laurelton Hall designs. The deep pearl essence of these diamonds show off whether the lamp is on or off, but different coloration exists in both states. This pattern is filled in with trapezoid shapes of opalescent glass in a variety of glowing colors of both opaque and translucent stained glass. The irregular lip of the base is most sought after since it shows a higher level of craftsmanship than a uniform bottom and the lip here also has a wave pattern that is rare in a Tiffany design. The gold cabochons placed just above this irregular base are another sign of high quality craftsmanship since they are pushed outward in the design of the shade causing the light to be even more outstanding. These rounded and bulging naturally shaped cabochons look completely handmade. Between these cabochons are colored glass that acts like the ribbon work one might see in Persian tiling. The use of Favrile Glass on this lamp is another Tiffany patent and the one that he is most famous for since it is a melting of different colorations within one sheet of glass. The lighted base made up primarily of carnival glass which was one of the first patents Tiffany obtained in his pursuit of the beauty in glass making. Many Tiffany enthusiasts refer to this glass as Fracture Glass, but Tiffany referred to it as “carnival” glass in several letters and in several Tiffany Studio salesmen books. This carnival glass is modeled after those original carnival glass creations Tiffany constructed which places this lamp’s design in the earlier stages of Tiffany Studios between 1900-1908.

Twilight— dragonflies lit— from within Vicki Milewski

Tiffany Replica Dragonfly Lamps For the exhibit “Beauty in Glass”:

The Spiral Dragonfly Lamp The Hanging Head Dragonfly Lamp (Twilight) The Hanging Head Dragonfly Lamp (Autumn Dusk)

The Spiral Dragonfly Lamp

Spiral Dragonfly Lamp with Dragonfly Lady Art Nouveau Base Lamp Description Description: This is an enchanting Tiffany replica stained glass globe shaped shade. The orange bodied dragonflies have delicate metal filigree wings over hand cut glass and they swirl playfully against a setting sun colored sky. This elegant table lamp has a scallop border dotted with jewel glass in blues, reds and greens. This is a remarkable Tiffany reproduction. Each of the five dragonflies has glowing amber jeweled eyes and bodies of slightly varied rectangular and glistening glass in shades of tangerine, clementine and carrot. Three pull chains, one for each bulb, have hardware of warm hand finished mahogany color. Due to the high quality of craftsmanship this lamp actually shows the swirling dragonflies when it is reflected in a window. Iâ&#x20AC;&#x2122;ve tried to capture the effect in the photos, enjoy. The lamp base has a slender Dragonfly Lady complete with wings and dragonfly friends in her hair, at her feet and one on her navel. Her form is art nouveau as well as the design of the dragonflies and she stands on a 1â&#x20AC;? thick piece of green marble. The base has a bronze verde finish on metal. Dimensions:

Total Measurements: Shade is:

35"H x 18"W 12"H x 18" W

Construction: This Tiffany Reproduction light features hand rolled art glass construction where each piece of glass has been hand placed. No two pieces are exactly alike, making each lamp a treasured keepsake work of art.. This lamp uses 3 regular 100 watt bulbs. There are three pull chains, one for each light bulb and an in cord on/off switch. Note: A 2014 Sotheby's auction sold an original Tiffany Dragonfly table lamp for $965,00.00. Limits on Tiffany replica production increase the value of the lamp shown here each year.

Above:

Below:

The Spiral Dragonfly lamp has a wonderful spectrum of reds, greens, blues and yellows in each oval cabochons which shine different colorations depending on your view. The setting sun sky behind the dragonflies is wonderfully contained inside each piece of glass.

The dragonfly lady of the Spiral Dragonfly lampâ&#x20AC;&#x2122;s stand has dragonfly wings and dragonfly friends in her hair and at her feet they stand on a green marble base representing grass or even pond water with white veins running through it.

Spiral Dragonfly Lamp with Dragonfly Lady Art Nouveau Base Historical Associations Tiffany collected photographs of specimens of flora and fauna that inspired his designs and the dragonfly was one. There is a photograph in Tiffany’s collection of a dragonfly pinned with its wings outspread, showing a distinct similarity to the dragonflies found on the lamps Tiffany and head of Tiffany Studios Women’s Glass Cutting Department Clara Driscoll designed. In nature, dragonflies can move straight up or down, fly backwards, stop and hover, and make hairpin turns, at full speed or in slow motion. A dragonfly can fly forward of almost 30 miles per hour. Such detailed studies of dragonflies signals a sense of rationality; bringing these studies into a piece of art for everyday use signals a support of the Arts and Crafts Movement of the turn of the last century when artists and craftsmen united to create a world that would embrace nature and conserve her so that these kinds of studies could be made and once understood then interpreted within art. In those interpretations more knowledge would be gained about flora and fauna and how they are physically constituted. This physical taxonomy could then lead to a mental taxonomy, a philosophy of nature that would increase the cultivation of hands, eyes and minds. Previously unknown patterns, concepts and new ideas about nature could be another result. This passion with how nature works and what it looks like translates into art and carries with sense of awe and a sense of beauty. Clara Driscoll wrote in her letters about observing dragonflies in flight and trying to recreate that magic in her lamp designs. This kind of artistry makes clear once unknown patterns of nature. Through careful observation and then interpretation nature and our own human nature can be understood It is these dream-like qualities that have made people come back each evening to experience the swirl of the dragonflies in the large Tower Room’s picture window. It is the glass selection evoking a moment captured, a moment without time. Tiffany sought to bring these moments into everyday life by creating artistic pieces for the home.

Spiral Dragonfly lamp gets its name from the flight of the dragonflies seen in the reflection of the lamp in a window.

The amber eyes of each dragonfly have a luminous shine and the wire mesh over each wing simulates how a Dragonflies can move each of their four wings independently being able to flap and rotate their wings forward and back on an axis.

Spiral Dragonfly Lamp with Dragonfly Lady Art Nouveau Base Historical Associations There are over 5000 dragonfly species alive today and to get to know one through a household item like a lamp is amazing. The dragonfly has been on earth over a billion years, making it one of the oldest life forms still in existence on the planet. Dragonflies have a deep mythology attached to them from pre-historical drawings to recently understood hunting movements. Most of the myths involve a sense of change probably due to the speed a dragonfly can fly even though it flaps its wings less than any other insect to reach those speeds. Some cultures see a change in self realization as someone matures and moves forward in understanding personal emotions and personal concepts. These are some of the ideas that make this lamp so dramatic. The drama found in the highly contrasting colors of the dragonflies’ tangerine bodies and their crème colored wings against the setting sun sky is achieved through artistic glass selection and placement. Each piece on this shade is tilted to produce the swirling effect for the lamp’s reflection. This rich background heightens the perception and brilliance of the amber cabochon jewels of the dragonflies’ eyes making them sizzle. The mosaic of lime green panels under each dragonfly goes from larger to smaller as if each dragonfly is flying past them. These colors of nature suggest the natural world but also assist in a transcendental experience that is understood in the monumental base of the dragonfly lady standing on green marble which elevates this lamp to a heroic stature.

The Hanging Head Dragonfly Lamp (Twilight) has exceptional glass selection and placement

The jewel ruby eyes glow differently on each dragonfly.

Hanging Head Dragonfly Lamp (Twilight) Lamp Description Description: This exquisite table lamp is based on a design by Clara Driscoll which she did for Tiffany Studios around 1910 of a twilight sky hanging head dragonfly lamp with the desirable design of the hanging dragonfly heads that extend below the bottom lip of the shade. This globe shaped shade has its irregular border marked by seven hanging dragonfly heads with jewel ruby eyes. Favrile glass is interleaved with the dragonflies to create a setting sun with vertical rays of citrine, coquelicot and mandarin orange offsetting the sky blue dragonfly wings. These wings are overlaid with delicate metal filigree that imitates the motion of flight. Each of the seven dragonflies has a lavender colored body which follows the curve of the globe shade. Hand cut and hand placed cabochons of different sizes are placed in the twilight sky as deeper pools of sapphire and tangerine stars with the rest of the sky containing round cut glass pieces fitted to show the magical colors during twilight. The classic Tiffany replica lamp stand is made of patinated metal with a verde bronze finish. Four feet on the round bottom section set the stand off the table top it sits upon. Dimensions:

Total Measurements: Shade is:

29"H x 19"W 13"H x 19"

Construction: This Tiffany Reproduction light features hand rolled art glass construction where each piece of glass has been hand placed. No two pieces are exactly alike, making each lamp a treasured keepsake work of art. This lamp uses 2 regular 60 watt bulbs. There are two pull chains, one for each light bulb and an in cord on/off switch. Note: A 20o7 Sotheby's auction sold an original Tiffany Hanging Dragonfly table lamp for $245,00.00. The rarity of a Tiffany replica lamp like this one means it will increase in value each year.

The globe shape of these lamps is inspired by the globe shape of our planet. The two lines of citrine glass on top speak of the new day that will dawn once the mid section of night is through

Setting sun colors are seen within the citrine glass as streaks of orange run through it; and it is seen in the amber cabochons which give way to the cobalt cabochons and jewels which signal the approach of night.

The larger shade more easily shows the curve of the dragonfly body as it swoops down toward the horizon in search of dinner. The unique construction of dragonfly wings allow them to hover in any position.

Hanging Head Dragonfly Lamp (Twilight) Historical Associations Although Clara won an award for this design and newspapers wrote articles about it, her connection to this lamp design was obscured for decades so that it took the urging of her present day family to bring her status as designer to light. Once she was recognized as the designer of this and over 30 other products from Tiffany Studios, an international exhibit of some of the lamps was held in 2007. Tiffany Studios produced a wide assortment of Dragonfly motifs, many of them designed by Driscoll like the three Dragonfly lamps in this exhibit. The Hanging Head Dragonfly lamp mold was offered for reproduction by Tiffany Studios and several other lamp companies created similar, and sometimes almost exact replicas of this mold so it the hanging head Dragonfly motif is one of the most widely seen on sale on the internet. However, this Hanging Head Dragonfly Lamp is unique and more connected to the original Tiffany/Driscoll design then most. First, is the size of the shade which measures several inches larger in diameter which necessitates a different mold and placement of glass than the smaller lampshades. Second, is the glass choices which creates a scene of dragonflies at twilight flying downward toward the horizon line and the presumable lake dragonflies inhabit. This horizon line shows the last flickers of sunlight in a circumference around the edge of the irregular border shade that interconnects the dragonflies’ wings. Calling this lampshade a “globe” is further accentuated by the scene-setting glass selection since it shows the roundness of our earth, our globe, and on top of the shade are thin lines of sun rising glass that is separated from the twilight by the midsection of deepening blue skies. It is in this scene-setting and the greater illusions to our natural world seen in the diurnal rhythms and shape of our world which cleaves closely to the Tiffany legacy.

This Hanging Head Dragonfly Lamp shows an autumn scene at dusk

The green mottled glass is made to look like pond water

Hanging Head Dragonfly Lamp (Autumn Dusk) Lamp Description Description: This wonderful dragonfly table lamp has a similar Clara Driscoll design but is slightly smaller and with a different scene setting within the choice of glass. Tiffany studios glass cutters and placement of the glass within shades was done to achieve certain effects in illumination, reflection and scene setting. This dragonfly lamp shows six dragonflies with their heads hanging over the lip of the shade with an autumn sunset sky behind them. Vigorously mottled mint green glass has deep set waves to suggest the pond these dragonflies are headed toward and is interwoven between the dragonfly wings which are covered in a filigree to suggest the iridescence of dragonfly wings and the inability to clearly see the coloration of the wings when dragonflies are in flight. Iris and plum colored glass has tangerine and lilac colorations interspersed with large jewels and cabochons of cobalt, mandarin and red to create a dramatic new autumn setting sun. These colorations are throughout the globe with no suggestion of a night sky coming any time soon. At the very top of the globe there is a circular line of the mottled mint green glass and then a circular line of citrine which suggests the water in the atmosphere above our terrestrial dragonfly scene and the dawn sun which is always suggested in the setting sun since the two set our diurnal rhythms. This globe shaped shade has its irregular border marked by six hanging dragonfly heads with jewel ruby eyes. Each of the six dragonflies has a lavender colored body which follows the curve of the globe shade. The classic Tiffany replica lamp stand is made of patinated metal with a verde bronze finish of the single tree trunk representation of the tree of life. Dimensions:

Total Measurements: Shade is:

22” H x 17” W 9”H x 17”W

Construction: This Tiffany Reproduction light features hand rolled art glass construction where each piece of glass has been hand placed. The coloration for an autumn dusk sky shows a true sense of scene setting This lamp uses 2 regular 60 watt bulbs. There are two pull chains, one for each light bulb and an in cord on/off switch.

The cabochons and jewels are highly contrasting with each other and the dusk sky seen in the stained glass

Each dragonfly has red ruby jewel eyes which hang below the border causing them to shine even more brightly on both sides

The top of the shade shows the water in our atmosphere and the coming dawn in the thin slice of citrine glass.

Hanging Head Dragonfly Lamp (Autumn Dusk) Historical Associations There is a reason Tiffany Studios created many different variations of shades with dragonflies as a central theme. Tiffany and Driscoll’s dragonfly lamp design was inspired by their shared love of the natural world and close study of it as well as the opening of trade with Japan in 1853 which created a great interest in this largely unknown culture and its myths which made importation of Japanese goods and ideas quite large during Tiffany’s formative years of starting his business. The Japanese allure of the dragonfly was not lost on Tiffany and their use of the dragonfly to symbolize the beginning of autumn as seen in dramatic sunsets, as seen in this lamp shade. The dragonfly also was greatly admired and respected and Japan which was once called “Dragonfly Island”. Samurai Warriors used the dragonfly as an emblem to show strength, power, victory; Japanese farmers saw dragonflies in their rice fields as an omen of a bountiful harvest and upper class Japanese would have the dragonfly on decorative arts and crafts in their homes. Iris and plum colored glass has tangerine and lilac colorations interspersed with large jewels and cabochons of cobalt, mandarin and red to create a dramatic new autumn setting sun. These colorations are throughout the globe with no suggestion of a night sky coming any time soon. At the very top of the globe there is a circular line of the mottled mint green glass and then a circular line of citrine which suggests the water in the atmosphere above our terrestrial dragonfly scene and the dawn sun which is always suggested in the setting sun since the two set our diurnal rhythms. It is in this naturalized scene setting achieved through careful glass choices and placement that make this Tiffany lamp rare and valuable. The highly contrasting glass coloration set within a harmonious serenade of purples, shows an understanding of a sunsets progression from start to finish. There are many dragonfly table lamps on the market, but few achieve the honoring of our natural world like this shade and the other two shades in this exhibit. It is these qualities, along with the high quality craftsmanship, which put these lamps in a market all their own.

Tiffany Style Lamps for the Exhibit “Beauty in Glass”

The Honey Locust Lamp

The Honey Locust Lamp Lamp Description

Description: This Tiffany style lamp is full of movement in graceful curves. Its bowed empire shade shape lends itself to the feeling of wind gently pushing the leaves of a honey locust to the side. The selection of stained glass is also gentle with some piece mica schist and others carefully cut leaves. This lamp shows the Honey Locust leaves and fruit throughout its foliage season, starting with lime green leaves, deepening to emerald green leaves before creating its golden-citrine leaves for fall as well as its seed pods seen here in teal. The wonderful choice of colors for this seasonal representation makes this lamp quite rare as well as the mold for its shade and stand. The double-lit lamp has an elaborate matching stand with pieces of the same glass colors fitted into the bulging stand which has wonderful muted stones fitted to the base. The lampâ&#x20AC;&#x2122;s two warm, hand finished mahogany color pull chains enable you to light either or both 60 watt LED light bulbs can be lit and the stand can be lit alone as a wonderful nightlight. Dimensions:

Total Measurements: Shade is:

22"H x 16"W 8"H x 16" W

Construction: This lamp features hand rolled art glass construction where each piece of glass has been hand placed. No two pieces are exactly alike, making each lamp a treasured keepsake work of art. This lamp uses 2 LED 60 watt bulbs. There are two pull chains, one for each light bulb and an in cord on/off switch which can turn off the entire lamp or just turn on the nightlight stand lights when the pull chains are used to turn of the overhead bulbs.

6 Light Lily Lamp

6 Light Lily Lamp with Carnival Glass Lamp Description Description: This Tiffany Style Lily Lamp has 6 wonderfully formed glass heads which look down as most original Tiffany Lily Lamps do. Each flower head is unique in the confetti carnival glass work done for it and the shape of each head is in keeping with the original Tiffany mold for the Lily Lamp. It is the confetti glass that makes this a Tiffany Style lamp and not a full replication. There is also a quality in light of this lamp that causes all who see it to pause and feel a sense of awe. It definitely brightens a room and yet the glass coloration is soft. The lamp base is equally wonderful with a more modern looking set of leaves and stalks that are very similar to original Tiffany but add something to this lamp that brings it fully into the 21st century. The round bottom base mimics the effect of a pool of water the lily flowers stand in by reflecting their light. Dimensions:

Total Measurements: Each Shade is:

25"H x 20"W 6"H x 4"W

Construction: This Tiffany Reproduction light features handmade carnival confetti art glass where each piece of glass has been handmade and is unique. No two pieces are exactly alike, making each lamp a treasured keepsake work of art. This lamp uses 6 regular 26 watt bulbs. There is an in cord on/off switch.

The Looking Lady Sculptural Lamp is a piece of art

The Looking Lady Sculptural Lamp Lamp Description Description: This wonderful Art Nouveau Lamp features a round stained glass “window” with a lady looking into the window. The “window” is a cross section of orange daffodils and a pink lily near the bottom with greenery and blue skies behind them. This “window” is a replica from a stained glass window in Louis Comfort Tiffany’s home on Long Island called Laurelton Hall. The previous owner had identified the window as being in the Daffodil Terrace at Laurelton Hall probably because of the name; however closer research showed that this particular window was designed by Clara Driscoll after a Daffodil Lamp she designed. This window was found in the central court, opening on the terrace to the north and onto the lawn to the south as captioned in a photo showing the window in an article called “The Dwelling Place as an Expression of Individuality”. Daffodils were Tiffany’s favorite flower and so there were several different Daffodil lamps and windows created during the lifetime of Tiffany Studios. This particular sculptural lamp has not been found in our research but this does not mean this is not a Tiffany Replica it simply means we have yet to find an image or mention of it. The quality sculptural part of this lamp leads us to believe this is a Tiffany replica. The round stained glass window cross section is a replica of Tiffany’s window in Laurelton Hall and the lady looking into the window is quite beautiful with roses in one arm and her sweeping long dress in the other arm with the rest of the dress encircling the beautiful window. We named her the “Looking Lady” because of her eternal gaze into this beautiful window. Dimensions:

Total Measurements Window is

19"H x 22"W 9” H X 9” W

Construction: This Tiffany Style Lamp features hand rolled art glass construction where each piece of glass has been hand placed. No two pieces are exactly alike, making each lamp a treasured keepsake work of art. This lamp uses one 10W bulbs turned on by an in cord switch

The Rose Garden Floor Lamp

Rose Garden Floor Lamp Lamp Description Description: So far in our research this is a one of a kind lamp with the central flower the beloved rose which Tiffany felt was one of the best flowers to study for artistic pursuit. Five levels of stained glass craftsmanship is simply a must see to fully take in the beauty and quality workmanship involved. We call this our Rose Garden Lamp because above the prominent red rose bush on the bottom level is a level filled with purple irises that seem to leap off the glass and into the room, then above the iris level are several more levels of the other lover’s flower—the daisy in all her wonderful natural colorations. This floor lamp can be used for reading or just enjoying the mastery of this shade. The stand has a verde brass finish over metal and heavy enough to provide stability and strength for this wonderful shade. That the shape of the shade itself is of a rose makes this lamp rare and beautiful but add to that an unbelievable choice and placement of stained glass that makes each of the roses have a depth and 3-d quality unlike other flower lamps of this kind. This quality is not only achieved through special tilting and placement of glass but also the depth of colors in the red from a light almost orange red to the deepest red imaginable. Even with the lights off this lamp shines! Dimensions:

Total Measurements: Shade is:

64"H x 16"W 14 ½”"H x 16" W

The top tiers of the Rose Garden Lamp have daisies of different colors with jewels for their centers

The middle tier (near top of picture) has blue irises and the roses fill the bottom tier. The entire shade is constructed like a rose bloom

Rose Garden Floor Lamp Lamp Description

Each rose is either looking straight at us or turned to show its profile. Each flower on this shade is unique due to the coloration of the glass and the placement of this glass. The deep hued irises lean outward while the playful daisies have rich jewel centers that glow brightly as if the sun it hitting each one in turn. The five levels of this lamp are separated by a gently mottled glass which acts as the sunlight between these “rows” of flowers in our garden here. One the very top level are carefully placed golden jewels that match the coloration of the mottled glass and shine up and out a glorious color. The fine foliage of leaves are also unique, with each leaf being unique as well as displaying individual characteristics that are common to the plant they are attached to. The irises’ have longer and more slender leaves while the roses have larger and more attentive ones. While all around the leaves and flower blooms there is sunlit glass placed that has different ways of allowing the light to pass through. Even though we have not yet found this to be a Tiffany Replica lamp one thing is certain: each of the flowers on the shade follow the design of Tiffany. Each rose, iris and daisy is a replica in its form, glass choice and placement of the glass. This replication of Tiffany design is also found in the leaves and in the sunlight filtering through the garden and out the top of the shade which was a trick Tiffany Studios employed but only in their more complex and sophisticated lamps. It is the shape of the shade that has put this lamp in the “Tiffany Style” category; however, the shape of this shade is outstanding! If we do find this to be a Tiffany replica and not Tiffany style lamp the price will surely double.

The Beauty of Glass: A Tiffany Replica Exhibit Curated by Galaudet Gallery Bibliography Following is a list of the books, articles and transcripts that have assisted in the creation of this catalog: “The Decorative Arts Their Relation to Modern Life and Progress” William Morris address delivered before the Trades’ Guild of Learning in London called 1882 “The Dwelling Place as an Expression of Individuality: the House of Louis C. Tiffany” by Samuel Howe as found in Appleton’s Magazine 1907 The Wild Flowers of Early Spring: A Study of One Hundred Flowers Growing in the Suburbs of Cleveland (1894) Harriet Louise Keeler (1846-1922), an Ohio naturalist and author In Pursuit of Beauty Americans and the Aesthetic Movement Catalog for the exhibition of the same name for the Metropolitan Museum of Art 1986 Louis Comfort Tiffany at the Metropolitan Museum by Alice Cooney Frelinghuysen from the Metropolitan Museum of Art Bulletin Summer 1998 Tiffany: Dreaming in Glass Sotheby’s New York Auction Catalog December 17, 2014 Treasures of Louis C. Tiffany from the Garden Museum, Japan Michaan’s Auctions Catalog November 17, 2012

Louis C. Tiffany: The Collected Works by Robert Koch (Schiffer Classic Reference Book) 2007 The Lamps of Louis Comfort Tiffany (New, smaller format) Eidelberg, Martin 2012 Louis Comfort Tiffany (Creator), Jacob Baal-Teshuva (Editor) 2008 Masterworks of Louis Comfort Tiffany by Alastair Duncan (Author), Martin Eidelberg (Author), Neil Harris (Author) 1998 Louis Comfort Tiffany and Laurelton Hall: An Artist's Country Estate by Alice Cooney Frelinghuysen 2006 The "Lost" Treasures of Louis Comfort Tiffany by Hugh McKean 1981 A New Light on Tiffany: Clara Driscoll and the Tiffany Girls by Martin Eidelberg, Nina Gray, Margaret K. Hofer 2007 Clara and Mr. Tiffany: A Novel by Susan Vreeland 2012

Detail of Peacock Lamp

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That â&#x20AC;&#x153;newâ&#x20AC;? is not better unless it is better That art should be valued because of personal choices not because it cost a lot of money That hard work is good for the body and soul and that exhaustion is not a sign of hard work but sometimes being sore and tired is a good thing. That people who support you, nurture your dreams and allow you to be brutally honest are the family we all crave and that family is the most important thing in life That there is a balance between using resources and conserving them, between passion that lights a fire and a good roasted marshmallow, between seeking deeper meanings and just laughing at the day. That a renewal of an Arts and Crafts ideology with a 21st Century sensibility will encourage the creation, collection, and appreciation of art, craft and what is coming next That everyone can lead self chosen lives with loving people and beautiful art

Beauty in Glass was first presented by Galaudet Gallery at their gallery space in beautiful downtown Eau Claire, Wisconsin. Galaudet Galleryâ&#x20AC;&#x2122;s space in Eau Claire is a striking Queen Anne built in 1905 by Albert E. White who invented and patented saw blades and other tools in order to bring to life his vision of the Arts and Crafts Movement and the corollary philosophies with a foundation in handmade crafts that are elevated to art by making them the highest quality possible.