Dragonflies of Glass

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For Michelle Ann Noble Moldof —S.G.R.

To the memory of my first art teacher, Mrs. Terrio, who taught with immense skill and kindness —S.C.

The illustrations were created with watercolor, gouache, cut paper, and a digital zhuzh.

Photo credits:

p. 40: Courtesy of Metropolitan Museum of Art, NY. library.metmuseum.org/record=b1780059. p. 41: Clara Driscoll, designer American, 1861–1944

Tiffany Glass & Decorating Co. New York, 1892–1902

Wisteria Lamp, ca. 1901

Leaded glass with bronze base, 25 x 18 in. (63.5 x 45.7 cm)

Chrysler Museum of Art, Norfolk, VA Gift of Walter P. Chrysler, Jr. 71.6932

p. 42: Courtesy, The Charles Hosmer Morse Museum of American Art, Winter Park, FL.

Cataloging-in-Publication Data has been applied for and may be obtained from the Library of Congress.

ISBN 978-1-4197-5436-4

Edited by Howard W. Reeves Book design by Heather Kelly

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By Susan Goldman Rubin Illustrated by Susanna Chapman Abrams Books for Young Readers • New York

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As a girl, Clara loved to draw every flower and weed on her family’s farm in Ohio: daffodils, poppies, and wild carrot. She drew dragonflies and butterflies and even cobwebs.

After high school, Clara attended a design school for women. She wanted to be an artist, a designer who makes things. Her mother encouraged Clara and her three younger sisters to become educated. Their father had died when Clara was twelve, and she wanted to support herself and be independent. At that time, in the mid-nineteenth century, most women who were not raising families became teachers and nurses.

Not Clara.

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Clara’s sister Josephine was an artist too, and in 1888 they went to New York City to study at the Metropolitan Museum Art School. Clara was excited to be living in the busy city, where she could go to concerts and plays.

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Both she and Josephine applied for jobs at the worldfamous Tiffany Glass Company. Mr. Louis Comfort Tiffany, son of a fancy jeweler, was known for creating gorgeous stained glass windows for churches, theaters, and libraries. Ideas came to him from his gardens. “Nature is always beautiful,” said Mr. Tiffany. When Clara showed him her flower sketches, he liked them right away and hired her and Josephine.

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At first, Clara worked in the leaded glass window department. She and other men and women selected pieces of glass to fit into the pattern of a huge window, mounted on an easel like a painting. A drawing of the picture contained the different shapes outlined in black, like pieces of a jigsaw puzzle. Some bits were smaller than postage stamps. Clara chose colors for each shape from racks holding sheets of glass gleaming like jewels. The hundreds of colors dazzled her.

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With his glassmaker, Mr. Tiffany developed new kinds of glass with crackles, ripples, and threads of gold at his factory in Corona, Queens, New York. His special iridescent glass shimmered like a rainbow. Men carted bins of the glass up from the basement to the women’s workshop. Windows let in daylight, which was better than “nasty little electric bulbs” for seeing color, said Clara. She would hold up her piece of glass to the window to check if it was the right shade.

Clara carefully cut her shard of glass along the line she had marked, then broke the parts away with pliers.

The noise of crunching glass filled the workshop.

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Mr. Tiffany noticed Clara’s talent in choosing and cutting glass. He put her in charge of the Women’s Glass Cutting department.

A newspaper reported that Clara headed “the only shop of women glass cutters in the world.” Clara called her staff the Tiffany Girls. (It was common then to call adult women girls .) She started out with six assistants, and soon there were thirty-five. Although the men had their own department, everyone worked together creating leaded glass windows.

Clara wrote often to her family in Ohio, telling her mother and sisters about her work at the Studio.

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Clara would ask the Tiffany Girl who was the best artist to sketch flower designs for a new window. Then another Tiffany Girl developed the design into a huge drawing called a cartoon. A third Tiffany Girl traced the cartoon on a flat piece of glass in the chosen color. “Each petal and leaf required precise color selections,” wrote Clara. The women wrapped every piece of glass along its edges in thin strips of copper with beeswax.

Clara wrote letters to her mother and sisters about her work.

“The Tiffany work goes well. There is plenty to do.”

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Then the huge window went to the men who joined the pieces together with melted metal called solder. They would also melt the copper edging so that the glass pieces would attach to one another and keep the entire piece intact.

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Mr. Tiffany and a male assistant designed many of the windows and large mosaic panels, but sometimes Clara created the floral parts. However, neither her name nor anyone else’s appeared on the finished pieces. The magnificent art glass was marked simply TIFFANY STUDIOS . Mr. Tiffany preferred doing things this way, and Clara felt proud to be part of the company. “There is nothing like having enough work to do and feeling able to do so,” she wrote.

As time passed, new ideas whirled in Clara’s head. Along with windows, the studio also produced lamps. Remembering summers on the family farm, she imagined “a Dragon fly [ sic ] lamp . . . with gauze wings . . . eyes made of glass beads cut in two . . . and the bodies made of metal.”

Her family was overjoyed to hear from her! “One would think that I did nothing but design, but the usual routine goes on and I jump up to look at samples of glass and have conversations with the various divinities from the basement up, assign the work and then keep an eye upon it.”

The lamps were usually attached to brass bases that were produced at Mr. Tiffany’s factory. But Clara had another brainstorm. “Today I thought how nice it would be to make a lamp with a mosaic base, instead of a metal or glass vase,” she wrote.

First, she made a model in wax. “I want to submit the idea to Mr. Tiffany in the shape it will actually be,” she wrote. Clara arranged the insects around the edge of the lampshade. With pieces of paper, she added wings and stuck “real beads in the holes where the eyes would come.” When she showed the model to Mr. Tiffany, he said, “It was the most interesting lamp in the place,” and put the lamp into production.

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Clara selected crackled glass in tones of blue and violet for the dragonfly wings and blue beads for the eyes. When the light was turned on, the wings glistened beneath bright green leaves.

Clara presented the finished lamp to Mr. Tiffany in the showroom just as a customer walked in and spotted it. “A rich woman bought it,” wrote Clara, “and then Mr. Tiffany said she couldn’t have it.” He wanted to enter the lamp in a contest at the Paris world’s fair of 1900. He told Clara to quickly make another dragonfly lamp for the lady and to have four more ready in a week.

“Today has been a field day at Tiffany’s when things have swum along and a great deal accomplished.”

“Today we got an order for forty more dragonfly lampshades. I feel quite pleased.”

Clara dashed upstairs to ask the men who soldered the glass together if they could help fill the rush order. They agreed. “Now comes a race,” said Clara. “We are to work early and late and I hope it will be done.”

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When Mr. Tiffany submitted the dragonfly lamp for the contest in Paris, he had to give the name of the designer to the judges and jury. For the first time, Clara Driscoll’s name appeared with her work. And her dragonfly lamp won the Bronze medal!

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“I have just received two large diplomas from the Paris Exposition, stating that I have been awarded the bronze medal.”

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Clara designed many more lamps. Memories of Ohio stuck in her mind, and she recalled “a cloud of little yellow butterflies” swarming over a field of yellow primroses on a neighbor’s farm.

She hurried to Mr. Tiffany’s office to tell him what she pictured. He was so excited he grabbed a pencil and drew sketches all over the clean desk blotter. “The lamp must be tall and slim,” he said. “Well, work out your own idea.” And she did.

“By Friday I had made a model of paper and linen so that Mr. Tiffany could see exactly what my idea was,” she wrote to her family.

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“Mr. Tiffany was not only pleased but quite enthusiastic.” The Tiffany Girls went to work. The finished lamp was exquisite. Butterflies fluttered around the blue glass sky of the shade, and mosaic primroses climbed up the base—which was slim, as Mr. Tiffany had suggested. This was the “sample,” and the studio made a number of copies.

Next came Clara’s poppy lampshade with a different shape: a fourteen-inch cone.

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More and more flower themes filled Clara’s head. Daffodils. Geraniums.

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For another pattern, she remembered cobwebs and apple blossoms from the Ohio farm. City flowers inspired her too. In the spring, Clara thrilled at tulips blooming in the park, and she and her Tiffany Girls turned all her ideas into beautiful leaded glass lamps.

At Tiffany Studios, Clara was now responsible for many jobs. Not only did she design lamps but also small “fancy goods,” such as vases, clocks, and paperweights. “All this week I have been working hard on the wild carrot idea and it is not nearly finished,” she wrote to a friend about a design for bronze boxes.

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She assigned the task of working out her ideas to those Tiffany Girls who were best at making plaster models. “I . . . train others to finish things I start while I start something else,” she wrote.

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One Monday morning an order came in for six “landscape windows” to be ready by Saturday. “Impossible,” said the men, and they refused to do it. Clara, however, said, “I knew it would be a great feather in our cap if we could,” and accepted the job. She and her Tiffany Girls worked for nearly twelve hours a day for the whole week and finished the project on time.

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Competition between the men and women grew more intense over the years. Mr. Tiffany paid female workers the same as male workers, which was very unusual in that era.

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The men believed they should earn more than the women because many of them were married and supported a family. (Mr. Tiffany didn’t hire married women, the custom at that time.)

In 1903, when Clara and her Tiffany Girls were making a window, the men threatened to strike and stop working unless the women’s department was closed. Clara was miserable. “I came home and had a crying spell (a thing I do about once in thirty years),” she wrote. But Mr. Tiffany stood up for the women.

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They could continue making everything as long as Clara kept her staff down to twenty-seven women, and she agreed. He wanted to assign projects to “those who would do the best job,” and this meant Clara and the Tiffany Girls.

Once Mr. Tiffany called Clara into his office to show her a fantastic new glass he had just made. “I am dreadfully scared about it and can’t bear to cut into it for fear of making a mistake,” she wrote.

“If I were a genius, I could do something perfectly wonderful that would take Mr. Tiffany’s breath away and bring honor to me.”

And that’s exactly what she did. Clara designed a lamp that became Tiffany’s most famous. It depicted Mr. Tiffany’s favorite flowering vine, wisteria. It was a masterpiece. Many orders came in for the wisteria lamp, and each one was a little different. “The blossoms can vary in color from one model to the other,” wrote Clara, “as they do in nature.”

The lamp became a symbol of Tiffany’s glass artworks. Everyone thought Mr. Tiffany had designed it, but the true artist was Clara Driscoll.

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Author’s Note

For over one hundred years, Clara Driscoll’s name remained unknown as the genius who designed Tiffany Studio’s most beloved glass lamps, as well as their “fancy goods.” Her name was revealed in 2005 when scholars discovered her letters to her family. Clara had remained close to her mother in Ohio—as well as her sisters, who were also living away from home—by writing letters. Each week, they exchanged a “Round Robin.” One sister wrote a letter telling what had happened to her and mailed it to the next sister, who added her news and sent it to the next sister, and so on until the big fat letter wound up at their mother’s “home on the hill.” (In this book, for simplicity of storytelling, the family is shown all at home in Ohio. Please see the Artist’s Note about the art interpretation of these Round Robin letters.)

Clara drew sketches of her designs in the letters and described how she and her Tiffany Girls

produced the work. Her mother had saved the Round Robin letters in binders. A relative found some in 1995 and gave them to Kent State University Library in Ohio. And in 1997, the owner of the house that had belonged to Clara’s sister Emily came across more binders and donated them to the Queens Historical Society in New York. For me as a nonfiction writer, it was thrilling to find out about Clara and to eventually read her words and see her drawings printed in books and copies of The Pierce and Wolcott Letters at Kent State. Here was a woman artist I didn’t know and a detective story all rolled into one!

I first learned of Clara when I noticed a book on my shelf that I had picked up at a conference: a novel titled Clara and Mr. Tiffany . The name caught my interest again, and as I started leafing through, the concept of the “Tiffany Girls” as a subject for a book excited me. The

Clara Driscoll in her workroom at Tiffany Studios, with Joseph Briggs, head of the mosaics department (ca. 1901).

afterword acknowledged the recent discovery of letters from Clara proving that she and her girls had designed and produced the beautiful flower-themed lamps. I sent for the book A New Light on Tiffany: Clara Driscoll and the Tiffany Girls that accompanied an exhibition of the lamps at the New York Historical Society in 2007. Eager to know more, I tracked down these facts about her.

Clara Pierce Wolcott, the eldest of four sisters, was born on December 15, 1861, in Tallmadge, Ohio. When she started working at the Tiffany Glass Company, she was single. Clara and her sister Josephine lived in a boardinghouse in Brooklyn, New York, and Clara became friends with a fellow boarder, Mr. Francis Driscoll. He proposed, and Clara married him in 1889, even though it meant giving up her job at Tiffany Studios, as Mr. Tiffany did not employ married women. She then became known as Mrs. Driscoll.

Three years later, Clara’s husband died, and she was rehired by Tiffany Studios. Meanwhile, Josephine had evidently left Tiffany to teach at a private school, but she was not well, and she died from heart problems in April 1896. Josephine was buried in the Tallmadge cemetery, and a grieving Clara covered her grave with blue violets. That year, Clara became engaged again, but this second proposal came to nothing. Clara, still unmarried, returned to Tiffany, moving into a boardinghouse in New York City that was close to the studios. Her housemates included men and women, and she enjoyed going to the theater and opera with them as well as riding her bicycle, a new sport for women. In the summer, she and her friends would rent a cottage at the seashore in Point Pleasant, New Jersey.

After working at Tiffany Studios for a total of twenty years, Clara left for good in 1909 when she married Edward Booth, a dear friend from the boardinghouse. The pair continued to live there and vacation in Point Pleasant; later, they moved to Florida. Clara became ill and died on November 6, 1944. She was eighty-two.

Clara’s work lives on in museums, galleries, and private collections. The Metropolitan Museum of Art, whose school she had attended, houses hundreds of artworks that Clara designed for Tiffany Studios. In tribute, her sister Emily wrote, “A brilliant light has gone out. Clara was an artist. She thrilled to earth’s beauty.”

Wisteria Lamp, ca. 1901, designed by Clara Driscoll for Tiffany Glass & Decorating Co.

Artist’s Note

Clara Driscoll’s beautiful glass designs are otherworldly to me, but I felt a close connection to her “round robin” letters. When I moved from my childhood home to start my career, long email threads with my family were a lifeline. I loved imagining Clara’s family receiving her letters, celebrating (or commiserating) with her, offering notes on her sketches, always emboldening the stunning creativity of this young career woman in the big city. I felt so strongly about this aspect of the story that I gave it a storyline all its own in

the lower margins. Though not literally true (her sisters also moved away from home; the letters passed between them in different locations), I wanted to show the emotional truth, that Clara’s team “at home” cheered her on throughout all seasons of her life, constantly tethering her with love to the beautiful Ohio flora that first inspired her art. Clara constructed glassworks with the help of astounding women called the Tiffany Girls—and I saw her sisters and mother as honorary members of that legendary team.

Clara Driscoll and the Tiffany Girls on the roof of Tiffany Studio, c. 1904-1905. (Driscoll is standing on the far left.)

Where to See Artworks by Clara Driscoll

United States

California

Los Angeles County Museum of Art, Los Angeles

Florida

Charles Hosmer Morse Museum of American

Art, Winter Park

New York

Brooklyn Museum, Brooklyn

Corning Museum of Glass, Corning

Macklowe Gallery, New York City

Metropolitan Museum of Art, New York City

New-York Historical Society, New York City

Queens Museum, Corona, Queens

Strong National Museum of Play, Rochester

Illinois

Art Institute of Chicago, Chicago

Driehaus Museum, Chicago

Maryland

Baltimore Museum of Art, Baltimore

Michigan

University of Michigan Museum of Art, Ann Arbor

Ohio

Cleveland Museum of Art, Cleveland

Texas

Dallas Museum of Art, Dallas Museum of Fine Arts Houston, Houston

Virginia

Chrysler Museum of Art, Norfolk

Virginia Museum of Fine Arts, Richmond

Canada

Ontario

Royal Ontario Museum, Toronto

Québec

Montreal Museum of Fine Arts, Montreal

United Kingdom

Victoria and Albert Museum, London, England

Bibliography

Books

Duncan, Alastair. Tiffany Lamps and Metalware: An Illustrated Reference to Over 2000 Models. Woodbridge, Suffolk (UK): ACC Art Books, 2019.

Eidelberg, Martin, Alice Cooney Frelinghuysen, Nancy A. McClelland, and Lars Rachen. The Lamps of Louis Comfort Tiffany. New York: Vendome Press, 2005.

Eidelberg, Martin, Nina Gray, and Margaret K. Hofer. A New Light on Tiffany: Clara Driscoll and the Tiffany Girls. New York: New York Historical Society/GILES, 2007.

Heron, Echo. Noon at Tiffany’s: An Historical Biographical Novel. Coppell, Texas: Heron Quill Press, 2012.

A New Light on Tiffany: Clara Driscoll and the Tiffany Girls. An Acoustiguide Tour, New York Historical Society, 2007.

The Pierce and Wolcott Letters (Elizabeth A. Jones Yeargin, ed). Kent State University Libraries (Ohio), Special Collections and Archives, Kelso House, Box 26. See www.library.kent.edu/ special-collections-and-archives-80.

Vreeland, Susan. Clara and Mr. Tiffany. New York: Random House, 2011.

Articles

Bassett, Mark. “Breaking Tiffany’s Glass Ceiling: Clara Wolcott Driscoll (1861–1944).” Cleveland Institute of Art, College of Art and Design, January 1, 2012. See www.cia.edu/news/stories/ breaking-tiffanys-glass-ceiling-clara-wolcott-driscoll-1861-1944.

Kastner, Jeffrey. “Out of Tiffany’s Shadow, A Woman of Light.” New York Times, February 25, 2007. See www.nytimes.com/2007/02/25/arts/design/25kast.html.

Sentilles, Rene M. “The Women of Tiffany Studios: Clara Wolcott Driscoll Made Visible.” Cleveland Museum of Art/CMA Thinker, Medium.com, February 21, 2020. See medium.com/cmathinker/the-women-of-tiffany-studios-clara-wolcott-driscoll-made-visible-5d67ecbb4341.

YouTube

“Clara Driscoll and the Tiffany Girls.” Curator Confidential (Margi Hofer), New York Historical Society, July 16, 2020. See www. youtube.com/watch?v=KZduLW9uwn8.

Notes

Page 5 “Nature is always beautiful”: Eidelberg, Martin, Alice Cooney Frelinghuysen, Nancy A. McClelland, and Lars Rachen. The Lamps of Louis Comfort Tiffany. New York: Vendome Press, 2005, 36.

Page 8 “nasty little electric bulbs”: Eidelberg, Martin, Nina Gray, and Margaret K. Hofer. A New Light on Tiffany: Clara Driscoll and the Tiffany Girls. New York: New York Historical Society/GILES, 2007, 101.

Page 11 “the only . . . the world”: Daily News quoted in Mark Bassett, “Breaking Tiffany’s Glass Ceiling: Clara Wolcott Driscoll (1861–1944),” 3 of 6.

Page 12 “Each petal . . . color selections”: Heron, Echo. Noon at Tiffany’s: An Historical Biographical Novel. Coppell, Texas: Heron Quill Press, LLC, 2012, 42.

Page 15 “There is . . . to do so”: A New Light on Tiffany, 35.

Page 15 “a Dragon fly . . . of metal”: A New Light on Tiffany: Clara Driscoll and the Tiffany Girls Acoustiguide Tour. New York Historical Society, 2007, 21. See www.youtube.com/ watch?v=OzWZZQIds98.

Page 16 “Today I . . . glass vase”: A New Light on Tiffany, 66.

Page 20 “Now comes . . . will be done”: A New Light on Tiffany, 97.

Page 21 “This Dragon fly lamp is an idea that I had last Summer . . .” Clara’s letter dated April 6, 1899. Also quoted in Eidelberg, A New Light on Tiffany, p. 97.

Page 23 “a cloud . . . tall and slim . . . own idea”: A New Light on Tiffany, 23.

Page 23 “Today has been a field day at Tiffany’s when things have swum along and a great deal accomplished.” Clara’s letter dated November 10, 1897.

Page 23 “Today we got an order for forty more dragonfly lampshades. I feel quite pleased.”

Clara’s letter, No. XXVII, dated July 30, 1902.

Page 24 “By Friday . . . quite enthusiastic”: A New Light on Tiffany, 52

Page 25 “sample”: A New Light on Tiffany, 55.

Page 25 “I have just received two large diplomas from the Paris Exposition, stating that I have been awarded the bronze medal.” Clara’s letter dated May 21, 1902, the Pierce & Wolcott Letters, transcript p. 65.

Page 16 “I want . . . actually be”: A New Light on Tiffany, 66.

Page 16 “real beads . . . would come”: A New Light on Tiffany, 66.

Page 16 “It was . . . the place”: A New Light on Tiffany, 97.

Page 16 “The Tiffany work goes well. There is plenty to do.” Eidelberg, A New Light on Tiffany, p. 89.

Page 19 “A rich . . . have it”: A New Light on Tiffany, 97.

Page 19 “One would think that I did nothing but design, but the usual routine goes on and I jump up to look at sample of glass and have conversations with the various divinities from the basement up, assign the work and then keep an eye upon it.”

Clara’s letter dated July 26, 1898. Also quoted in Eidelberg, A New Light On Tiffany, p. 102.

Page 28 “fancy goods”: A New Light on Tiffany, 70.

Page 28 “All this . . . nearly finished”: A New Light Acoustiguide Tour, 41.

Page 29 “I . . . something else”: A New Light on Tiffany, 109.

Page 30 “Impossible . . . we could”: A New Light on Tiffany, 119.

Page 33 “I came . . . thirty years”: A New Light on Tiffany, 121.

Page 33 “those who . . . best job”: A New Light on Tiffany, 121.

Page 34 “I am dreadfully . . . honor to me”: A New Light Acoustiguide Tour, 60.

Page 34 “The blossoms . . . in nature”: A New Light Acoustiguide Tour, 33.

This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.

This is an advance, uncorrected proof. Not for resale, duplication, or reposting. Please do not quote without comparison to the finished book.

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