THE TIFFANY GIRLS

In the production of lamps, Tiffany Studios employed scores of people,

Decorative lamp, c. 1900
Glass, bronze
COBWEB LIBRARY LAMP
Among the many beautiful Tiffany
g a l l e r y x
TIFFA N Y L A M PS
each with specialized skills and training. Louis Comfort Tiffany kept Emile Gallé, French, 1846–1904 lamps in the Morse collection, the
strict control over design and quality, ensuring that everything the Marks on glass: Gallé
Cobweb library lamp is likely the
studios created met his standards and taste. In the creation of Tiffany lamps, no (MISC-029-69)
rarest. Fewer than ten examples are
individual was more important than Clara Driscoll (1861–1944), who supervised
the Women’s Glass Cutting Department and is believed to have designed many
Portable lamp, c. 1903–17
Leaded glass, metal
known to exist today. The lamp
incorporates an extremely complex
a n d l i g h t i n g
leaded-glass lamps for Tiffany. Driscoll’s staff, a group of female employees known Unique Art Glass & Metal Co., leaded-glass shade on an elaborate
as the “Tiffany Girls,” worked in design, glass selection, and fabrication. Male O B J E C T   G U I D E
Brooklyn, New York, c. 1896–1917 mosaic base, making it much more
employees soldered pieces together and patinated the lead surfaces. Gift of Elizabeth Brown difficult to produce than the typical
(GL-004-84) Tiffany lamp. At $500 in 1906, it Few designers did more to bring art into
Decorative lamp, c. 1915 also sold for nearly four times the
Desk lamp, after 1902 Portable lamp, c. 1910 the home than Louis Comfort Tiffany
Shade No. 242, Arabian design, No. 349, Pony Wistaria design average lamp. The shade is composed
Leaded glass, metal of flowers and eight spiderweb (1848–1933), and few of Tiffany’s incredibly varied
green and opal, small Leaded glass, bronze Cincinnati Artistic
Blown glass Marks on shade: TIFFANY medallions, each of differing products did more in this regard than his lamps.
Wrought Iron Works,
Marks on shade: L.C.T. Favrile STUDIOS / NEW YORK Cincinnati, Ohio, configuration and glass. Bronze
Marks on base: L.C. Tiffany – Favrile branches form a canopy over the
Tiffany had been interested in lighting since
Marks on base: TIFFANY 1894–c. 1990
(55-005) STUDIOS / NEW YORK / 7805 Gift of Donald C. Douglass lamp’s mosaic base, a vessel for holding his days as a decorator, but the rapid adoption
(69-008) (MET-119-81) fuel oil that is covered with clusters of of electricity in the late nineteenth and early
5) Right platform, objects on plinths white narcissus in full bloom. Featured
6) Library lamp, c. 1900 Table Lamp, c. 1910–26 on the cover of the company’s 1904
twentieth centuries created an unprecedented opportunity to marry
Clockwise from back row left: No. 146, Cobweb design shade, No. L29,Vasekraft line, Funnel lamps catalog, the technology and beautiful design for a much larger group of consumers.
mosaic floral base design, flambé glazed Cobweb lamp
Library lamp, c. 1910 [oil lamp conversion] Glazed clay, leaded-glass inset
Shade No. 1539, 22 in. Leaded glass, mosaic, bronze brilliantly fulfills
Fulper Pottery Company, Louis Comfort In his 1904 catalog Tiffany Lamps, the booming market for electric
Laburnum design, irregular (62-020) Flemington, New Jersey, 1909-35
edge, dome shape Tiffany’s vision Tiffany described his clever and lighting for the home. Some
Marks: WE / FULPER and 1 competed directly with Tiffany
Standard No. 529, Roman 7) Other makers / 1 / 1 / patent pending U.S. / of transforming a richly colored lampshades as “pieces
design [Vasekraft logo] Fulper / 805 utilitarian object into of glass bound together with copper in the high-end luxury market,
Leaded glass, bronze Left to right: (PO-024-84) a unique expression and welded together, producing others produced spinoffs of Tiffany
Marks on shade: TIFFANY of art. the effect found in our floral and designs for the middle class by using
STUDIOS / NEW YORK / 1539 Table lamp, c. 1910–28 Portable lamp, c. 1903–17 finished white metal in place of
Marks on base: Tiffany Studios / Leaded glass, brass,
geometrical windows.”
Leaded glass, metal From the 1890s on, world bronze for bases and by limiting the
NEW YORK / 529 copper Unique Art Glass &
(66-009) Roycroft, East Aurora, expositions boldly celebrated options in design and glass selection
Metal Co., Brooklyn,
New York, 1894–1938 New York, c. 1896–1917 electrified light, giving it the to keep costs down.
Library lamp, c. 1901 Designer: Dard Hunter, (GL-092-68) attention formerly reserved for This exhibition includes
No. 342, Wistaria design lamp 1883–1966 examples of lamps and lighting
master furniture or fine art. Other
and shade, large (GL-016-80)
Leaded glass, bronze design and production firms fixtures designed by Louis Comfort
Designer: Clara Driscoll, 1861–1944 Portable lamp, c. 1906–11 besides Tiffany vied for a stake in Tiffany or one of his artists and
Marks on shade: TIFFANY Flaming Sword design 445 north park avenue, made under the name of one of his
STUDIOS / NEW YORK Leaded glass, bronze winter park, florida 32789 companies. It also includes examples
Marks on base: [conjoined TGDco] / Duffner & Kimberly Company, 407-645-5311 Above: Pond Lily decorative lamp, after
by other makers of the era.
TIFFANY STUDIOS / NEW YORK New York City, 1906–11 www.morsemuseum.org 1902. Blown glass, bronze; Tiffany Studios,
(70-020) (70-010) New York City, 1902–32 (74-003).

Tiffany Lamps and Lighting ©2015 Charles Hosmer Morse Foundation, Inc.
All makers and designers are American 2) Center platform Library lamp, c. 1905 Desk lamp, after 1902 Electric bracket, c. 1895
TIFFANY LAMP SCREENS
unless otherwise noted. Shade No. 1505, 22 in. No. 349, Pony Wistaria design Molded turtleback glass, bronze
Back row, left to right: Peony design, Leaded glass, bronze Lamp screens were among the fancy Marks: D739
1) Left platform Holden shape Marks on shade: TIFFANY goods Tiffany Studios offered for (94-003)
Floor standard, c. 1902 Standard No. 367, STUDIOS / NEW YORK sale with its lamps. These decorative
Left to right: Shade No. 1521, O’Brien design, Marks on base: TIFFANY screens were attached to a large lamp’s Lamp screen, c. 1920
Bamboo design, cushion base, large STUDIOS / NEW YORK / 1001 finial by chain and suspended below Moth design,
Library lamp, c. 1910 dome shape Leaded glass, bronze (79-536) the shade, shielding the person using Leaded glass, bronze
Shade No. 1486, 18 Leaded glass, bronze Marks on shade: TIFFANY the lamp from its bare light bulbs. (2001-060)
in. Gentian Blossom Marks on base: STUDIOS / NEW YORK Reading lamp, These leaded-glass screens were
design, conventional TIFFANY STUDIOS / Marks on base: TIFFANY after 1902 available in the shapes of the winged 4) Right platform, floor objects
jeweled, flat NEW YORK STUDIOS / NEW YORK / 6006 Shade No. 1424, insects or figures that appropriately
Standard No. 371, (64-013) (69-016) plain, Heavy Ribs Clockwise from back row left:
might hover around Tiffany’s garden
Indian Hookah design design (“Spider
Leaded glass, bronze Reading lamp, c. 1905 Library lamp, c. 1910 and Web”) of nature-themed lamps. Reading lamp, c. 1915
Marks on shade: TIFFANY Shade No. 1453, 16 in. Tulip design, Shade No. 1447, Standard No. 337, Shade No. 1928, 10 in.
STUDIOS / NEW YORK dome shape Black-eyed Susan Mushroom design, small Favrile-Fabrique glass,
(69-013) Standard No. 181, Greek design, design, dome shape Leaded glass, bronze 3) Right platform, hanging lamps Abalone desk set
large [oil lamp conversion] Standard No. 357, Marks on shade: TIFFANY and objects Standard No. 604,
Decorative lamp, after 1900 Leaded glass, bronze Cushion base, STUDIOS / NEW YORK / 1424 inlaid abalone,
Pond lily design, ball shape Marks on shade: TIFFANY Leaf design Marks on base: TIFFANY Left to right: gold finish
Leaded glass STUDIOS / NEW YORK Leaded glass, bronze STUDIOS / 337 Molded glass, bronze, abalone shell
(1999-113) Marks on base: [conjoined TGDco] Marks on base: TIFFANY (66-029) Hanging shade, Marks on shade: 1928 / TIFFANY
/ TIFFANY STUDIOS / NEW STUDIOS / NEW YORK / 6839 after 1900 STUDIOS / NEW YORK
YORK/ 1453 (70-028) Library lamp, c. 1905 No. 605, 28 in. Marks on base: 604 / TIFFANY
(68-001) Shade No. 1495, 20 in. Dragonfly & Dogwood design, STUDIOS / NEW YORK
Floor lamp, after 1902 Water design, amber, cone shape straight sides, (68-003:17)
Shades No. 104, Drop Cluster Standard No. 360, Conventional circular shape
Blossoms design design, cushion base Leaded glass, bronze Candlestick lamp, c. 1900
Standard No. 685, Pond Lily design, Leaded glass, bronze Marks: TIFFANY STUDIOS One light, four legged base
12 lights Designer: Clara Driscoll, 1861–1944 NEW YORK Blown glass, bronze
Blown glass, bronze Marks on shade: TIFFANY (68-008) Marks on shade:  L.C.T
AWARD-WINNING ELECTRIC LAMPS
Marks on shades: L.C.T. STUDIOS / NEW YORK / 1495-36 Marks on base: 5635 / TIFFANY
At the 1902 Prima Esposizione Internazionale d’Arte Lamp screen, c. 1904
Marks on base: TIFFANY Marks on base: TIFFANY STUDIOS / NEW YORK / 15
Decorativa Moderna, in Turin, Italy, Tiffany Studios was STUDIOS / NEW YORK / 685 STUDIOS / NEW YORK / 360 No. 924, Butterfly design Gift of Mrs. Beatrice Craig
awarded a grand prize for two lamps that transformed (70-013) (66-005) Leaded glass, bronze (89-001)
standard lamp forms into electrified sculptures from (70-029)
nature: the Pond Lily and Wistaria lamps. This ambitious Front row, left to right: Decorative lamp, after 1902 Balanced lamp, c. 1902
decorative arts exposition put an emphasis on the aesthetic Shades No. 104, Drop Cluster Four-sided hanging lantern, after 1902 Shade No. S207, Shell design,
renewal of everyday objects. Many of Tiffany’s early Library lamp, after 1902 Blossoms design Molded turtleback glass, bronze dome shape
Shade No. 1482, Standard No. 381, Pond Lily design, (58-019) Standard No. 416, Claflin design
lighting designs were oil lamps that required a base that
could serve as a fuel source and a shade that provided ventilation for an open Turtleback Band 10 lights Blown glass, bronze
design, dome shape Blown glass, bronze Lamp screen, c. 1920s Marks on shade: L.C.T.
flame. Electricity made new designs for lighting possible. The delicate form of the No. 926, Winged Figure design
Pond Lily lamp housed only wire and small light bulbs that followed the natural Leaded glass, bronze Marks on shades: L.C.T. Marks on base: TIFFANY STUDIOS /
Marks on shade: Marks on base: TIFFANY Leaded glass, bronze NEW YORK / 416 / S207
down-turned orientation of the lilies. On the Wistaria lamp, the bronze vine Design attributed to Alphonse
TIFFANY STUDIOS STUDIOS / NEW YORK / 381 (66-028)
completely envelops the top of the shade. / NEW YORK Gift of Mrs. George L. Cragg Mucha, Czech, 1860–1939
(55-018) (74-003) (2004-013)

Tiffany Lamps and Lighting Tiffany Lamps and Lighting Tiffany Lamps and Lighting
All makers and designers are American 2) Center platform Library lamp, c. 1905 Desk lamp, after 1902 Electric bracket, c. 1895
TIFFANY LAMP SCREENS
unless otherwise noted. Shade No. 1505, 22 in. No. 349, Pony Wistaria design Molded turtleback glass, bronze
Back row, left to right: Peony design, Leaded glass, bronze Lamp screens were among the fancy Marks: D739
1) Left platform Holden shape Marks on shade: TIFFANY goods Tiffany Studios offered for (94-003)
Floor standard, c. 1902 Standard No. 367, STUDIOS / NEW YORK sale with its lamps. These decorative
Left to right: Shade No. 1521, O’Brien design, Marks on base: TIFFANY screens were attached to a large lamp’s Lamp screen, c. 1920
Bamboo design, cushion base, large STUDIOS / NEW YORK / 1001 finial by chain and suspended below Moth design,
Library lamp, c. 1910 dome shape Leaded glass, bronze (79-536) the shade, shielding the person using Leaded glass, bronze
Shade No. 1486, 18 Leaded glass, bronze Marks on shade: TIFFANY the lamp from its bare light bulbs. (2001-060)
in. Gentian Blossom Marks on base: STUDIOS / NEW YORK Reading lamp, These leaded-glass screens were
design, conventional TIFFANY STUDIOS / Marks on base: TIFFANY after 1902 available in the shapes of the winged 4) Right platform, floor objects
jeweled, flat NEW YORK STUDIOS / NEW YORK / 6006 Shade No. 1424, insects or figures that appropriately
Standard No. 371, (64-013) (69-016) plain, Heavy Ribs Clockwise from back row left:
might hover around Tiffany’s garden
Indian Hookah design design (“Spider
Leaded glass, bronze Reading lamp, c. 1905 Library lamp, c. 1910 and Web”) of nature-themed lamps. Reading lamp, c. 1915
Marks on shade: TIFFANY Shade No. 1453, 16 in. Tulip design, Shade No. 1447, Standard No. 337, Shade No. 1928, 10 in.
STUDIOS / NEW YORK dome shape Black-eyed Susan Mushroom design, small Favrile-Fabrique glass,
(69-013) Standard No. 181, Greek design, design, dome shape Leaded glass, bronze 3) Right platform, hanging lamps Abalone desk set
large [oil lamp conversion] Standard No. 357, Marks on shade: TIFFANY and objects Standard No. 604,
Decorative lamp, after 1900 Leaded glass, bronze Cushion base, STUDIOS / NEW YORK / 1424 inlaid abalone,
Pond lily design, ball shape Marks on shade: TIFFANY Leaf design Marks on base: TIFFANY Left to right: gold finish
Leaded glass STUDIOS / NEW YORK Leaded glass, bronze STUDIOS / 337 Molded glass, bronze, abalone shell
(1999-113) Marks on base: [conjoined TGDco] Marks on base: TIFFANY (66-029) Hanging shade, Marks on shade: 1928 / TIFFANY
/ TIFFANY STUDIOS / NEW STUDIOS / NEW YORK / 6839 after 1900 STUDIOS / NEW YORK
YORK/ 1453 (70-028) Library lamp, c. 1905 No. 605, 28 in. Marks on base: 604 / TIFFANY
(68-001) Shade No. 1495, 20 in. Dragonfly & Dogwood design, STUDIOS / NEW YORK
Floor lamp, after 1902 Water design, amber, cone shape straight sides, (68-003:17)
Shades No. 104, Drop Cluster Standard No. 360, Conventional circular shape
Blossoms design design, cushion base Leaded glass, bronze Candlestick lamp, c. 1900
Standard No. 685, Pond Lily design, Leaded glass, bronze Marks: TIFFANY STUDIOS One light, four legged base
12 lights Designer: Clara Driscoll, 1861–1944 NEW YORK Blown glass, bronze
Blown glass, bronze Marks on shade: TIFFANY (68-008) Marks on shade: L.C.T
AWARD-WINNING ELECTRIC LAMPS
Marks on shades: L.C.T. STUDIOS / NEW YORK / 1495-36 Marks on base: 5635 / TIFFANY
At the 1902 Prima Esposizione Internazionale d’Arte Lamp screen, c. 1904
Marks on base: TIFFANY Marks on base: TIFFANY STUDIOS / NEW YORK / 15
Decorativa Moderna, in Turin, Italy, Tiffany Studios was STUDIOS / NEW YORK / 685 STUDIOS / NEW YORK / 360 No. 924, Butterfly design Gift of Mrs. Beatrice Craig
awarded a grand prize for two lamps that transformed (70-013) (66-005) Leaded glass, bronze (89-001)
standard lamp forms into electrified sculptures from (70-029)
nature: the Pond Lily and Wistaria lamps. This ambitious Front row, left to right: Decorative lamp, after 1902 Balanced lamp, c. 1902
decorative arts exposition put an emphasis on the aesthetic Shades No. 104, Drop Cluster Four-sided hanging lantern, after 1902 Shade No. S207, Shell design,
renewal of everyday objects. Many of Tiffany’s early Library lamp, after 1902 Blossoms design Molded turtleback glass, bronze dome shape
Shade No. 1482, Standard No. 381, Pond Lily design, (58-019) Standard No. 416, Claflin design
lighting designs were oil lamps that required a base that
could serve as a fuel source and a shade that provided ventilation for an open Turtleback Band 10 lights Blown glass, bronze
design, dome shape Blown glass, bronze Lamp screen, c. 1920s Marks on shade: L.C.T.
flame. Electricity made new designs for lighting possible. The delicate form of the No. 926, Winged Figure design
Pond Lily lamp housed only wire and small light bulbs that followed the natural Leaded glass, bronze Marks on shades: L.C.T. Marks on base: TIFFANY STUDIOS /
Marks on shade: Marks on base: TIFFANY Leaded glass, bronze NEW YORK / 416 / S207
down-turned orientation of the lilies. On the Wistaria lamp, the bronze vine Design attributed to Alphonse
TIFFANY STUDIOS STUDIOS / NEW YORK / 381 (66-028)
completely envelops the top of the shade. / NEW YORK Gift of Mrs. George L. Cragg Mucha, Czech, 1860–1939
(55-018) (74-003) (2004-013)

Tiffany Lamps and Lighting Tiffany Lamps and Lighting Tiffany Lamps and Lighting
 THE TIFFANY GIRLS
In the production of lamps, Tiffany Studios employed scores of people,
Decorative lamp, c. 1900
Glass, bronze
COBWEB LIBRARY LAMP
Among the many beautiful Tiffany
g a l l e r y x
TIFFA N Y L A M PS
each with specialized skills and training. Louis Comfort Tiffany kept Emile Gallé, French, 1846–1904 lamps in the Morse collection, the
strict control over design and quality, ensuring that everything the Marks on glass: Gallé
Cobweb library lamp is likely the
studios created met his standards and taste. In the creation of Tiffany lamps, no (MISC-029-69)
rarest. Fewer than ten examples are
individual was more important than Clara Driscoll (1861–1944), who supervised
the Women’s Glass Cutting Department and is believed to have designed many
Portable lamp, c. 1903–17
Leaded glass, metal
known to exist today. The lamp
incorporates an extremely complex
a n d l i g h t i n g
leaded-glass lamps for Tiffany. Driscoll’s staff, a group of female employees known Unique Art Glass & Metal Co., leaded-glass shade on an elaborate
as the “Tiffany Girls,” worked in design, glass selection, and fabrication. Male O B J E C T G U I D E
Brooklyn, New York, c. 1896–1917 mosaic base, making it much more
employees soldered pieces together and patinated the lead surfaces. Gift of Elizabeth Brown difficult to produce than the typical
(GL-004-84) Tiffany lamp. At $500 in 1906, it Few designers did more to bring art into
also sold for nearly four times the
Decorative lamp, c. 1915 Desk lamp, after 1902 Portable lamp, c. 1910 the home than Louis Comfort Tiffany
Shade No. 242, Arabian design, No. 349, Pony Wistaria design average lamp. The shade is composed
Leaded glass, metal of flowers and eight spiderweb (1848–1933), and few of Tiffany’s incredibly varied
green and opal, small Leaded glass, bronze Cincinnati Artistic
Blown glass Marks on shade: TIFFANY medallions, each of differing products did more in this regard than his lamps.
Wrought Iron Works,
Marks on shade: L.C.T. Favrile STUDIOS / NEW YORK Cincinnati, Ohio, configuration and glass. Bronze
Marks on base: L.C. Tiffany – Favrile branches form a canopy over the
Tiffany had been interested in lighting since
Marks on base: TIFFANY 1894–c. 1990
(55-005) STUDIOS / NEW YORK / 7805 Gift of Donald C. Douglass lamp’s mosaic base, a vessel for holding his days as a decorator, but the rapid adoption
(69-008) (MET-119-81) fuel oil that is covered with clusters of of electricity in the late nineteenth and early
5) Right platform, objects on plinths white narcissus in full bloom. Featured
6) Library lamp, c. 1900 Table Lamp, c. 1910–26 on the cover of the company’s 1904
twentieth centuries created an unprecedented opportunity to marry
Clockwise from back row left: No. 146, Cobweb design shade, No. L29,Vasekraft line, Funnel lamps catalog, the technology and beautiful design for a much larger group of consumers.
mosaic floral base design, flambé glazed Cobweb lamp
Library lamp, c. 1910 [oil lamp conversion] Glazed clay, leaded-glass inset
Shade No. 1539, 22 in. Leaded glass, mosaic, bronze brilliantly fulfills
Fulper Pottery Company, Louis Comfort In his 1904 catalog Tiffany Lamps, the booming market for electric
Laburnum design, irregular (62-020) Flemington, New Jersey, 1909-35
edge, dome shape Tiffany’s vision Tiffany described his clever and lighting for the home. Some
Marks: WE / FULPER and 1 competed directly with Tiffany
Standard No. 529, Roman 7) Other makers / 1 / 1 / patent pending U.S. / of transforming a richly colored lampshades as “pieces
design [Vasekraft logo] Fulper / 805 utilitarian object into of glass bound together with copper in the high-end luxury market,
Leaded glass, bronze Left to right: (PO-024-84) a unique expression and welded together, producing others produced spinoffs of Tiffany
Marks on shade: TIFFANY of art. the effect found in our floral and designs for the middle class by using
STUDIOS / NEW YORK / 1539 Table lamp, c. 1910–28 Portable lamp, c. 1903–17 finished white metal in place of
Marks on base: Tiffany Studios / Leaded glass, brass,
geometrical windows.”
Leaded glass, metal From the 1890s on, world bronze for bases and by limiting the
NEW YORK / 529 copper Unique Art Glass &
(66-009) Roycroft, East Aurora, expositions boldly celebrated options in design and glass selection
Metal Co., Brooklyn,
New York, 1894–1938 New York, c. 1896–1917 electrified light, giving it the to keep costs down.
Library lamp, c. 1901 Designer: Dard Hunter, (GL-092-68) attention formerly reserved for This exhibition includes
No. 342, Wistaria design lamp 1883–1966 examples of lamps and lighting
master furniture or fine art. Other
and shade, large (GL-016-80)
Leaded glass, bronze design and production firms fixtures designed by Louis Comfort
Designer: Clara Driscoll, 1861–1944 Portable lamp, c. 1906–11 besides Tiffany vied for a stake in Tiffany or one of his artists and
Marks on shade: TIFFANY Flaming Sword design 445 north park avenue, made under the name of one of his
STUDIOS / NEW YORK Leaded glass, bronze winter park, florida 32789 companies. It also includes examples
Marks on base: [conjoined TGDco] / Duffner & Kimberly Company, 407-645-5311 Above: Pond Lily decorative lamp, after
by other makers of the era.
TIFFANY STUDIOS / NEW YORK New York City, 1906–11 www.morsemuseum.org 1902. Blown glass, bronze; Tiffany Studios,
(70-020) (70-010) New York City, 1902–32 (74-003).

Tiffany Lamps and Lighting ©2015 Charles Hosmer Morse Foundation, Inc.
 THE TIFFANY GIRLS
In the production of lamps, Tiffany Studios employed scores of people,
Decorative lamp, c. 1900
Glass, bronze
COBWEB LIBRARY LAMP
Among the many beautiful Tiffany
g a l l e r y x
TIFFA N Y L A M PS
each with specialized skills and training. Louis Comfort Tiffany kept Emile Gallé, French, 1846–1904 lamps in the Morse collection, the
strict control over design and quality, ensuring that everything the Marks on glass: Gallé
Cobweb library lamp is likely the
studios created met his standards and taste. In the creation of Tiffany lamps, no (MISC-029-69)
rarest. Fewer than ten examples are
individual was more important than Clara Driscoll (1861–1944), who supervised
the Women’s Glass Cutting Department and is believed to have designed many
Portable lamp, c. 1903–17
Leaded glass, metal
known to exist today. The lamp
incorporates an extremely complex
a n d l i g h t i n g
leaded-glass lamps for Tiffany. Driscoll’s staff, a group of female employees known Unique Art Glass & Metal Co., leaded-glass shade on an elaborate
as the “Tiffany Girls,” worked in design, glass selection, and fabrication. Male O B J E C T G U I D E
Brooklyn, New York, c. 1896–1917 mosaic base, making it much more
employees soldered pieces together and patinated the lead surfaces. Gift of Elizabeth Brown difficult to produce than the typical
(GL-004-84) Tiffany lamp. At $500 in 1906, it Few designers did more to bring art into
also sold for nearly four times the
Decorative lamp, c. 1915 Desk lamp, after 1902 Portable lamp, c. 1910 the home than Louis Comfort Tiffany
Shade No. 242, Arabian design, No. 349, Pony Wistaria design average lamp. The shade is composed
Leaded glass, metal of flowers and eight spiderweb (1848–1933), and few of Tiffany’s incredibly varied
green and opal, small Leaded glass, bronze Cincinnati Artistic
Blown glass Marks on shade: TIFFANY medallions, each of differing products did more in this regard than his lamps.
Wrought Iron Works,
Marks on shade: L.C.T. Favrile STUDIOS / NEW YORK Cincinnati, Ohio, configuration and glass. Bronze
Marks on base: L.C. Tiffany – Favrile branches form a canopy over the
Tiffany had been interested in lighting since
Marks on base: TIFFANY 1894–c. 1990
(55-005) STUDIOS / NEW YORK / 7805 Gift of Donald C. Douglass lamp’s mosaic base, a vessel for holding his days as a decorator, but the rapid adoption
(69-008) (MET-119-81) fuel oil that is covered with clusters of of electricity in the late nineteenth and early
5) Right platform, objects on plinths white narcissus in full bloom. Featured
6) Library lamp, c. 1900 Table Lamp, c. 1910–26 on the cover of the company’s 1904
twentieth centuries created an unprecedented opportunity to marry
Clockwise from back row left: No. 146, Cobweb design shade, No. L29,Vasekraft line, Funnel lamps catalog, the technology and beautiful design for a much larger group of consumers.
mosaic floral base design, flambé glazed Cobweb lamp
Library lamp, c. 1910 [oil lamp conversion] Glazed clay, leaded-glass inset
Shade No. 1539, 22 in. Leaded glass, mosaic, bronze brilliantly fulfills
Fulper Pottery Company, Louis Comfort In his 1904 catalog Tiffany Lamps, the booming market for electric
Laburnum design, irregular (62-020) Flemington, New Jersey, 1909-35
edge, dome shape Tiffany’s vision Tiffany described his clever and lighting for the home. Some
Marks: WE / FULPER and 1 competed directly with Tiffany
Standard No. 529, Roman 7) Other makers / 1 / 1 / patent pending U.S. / of transforming a richly colored lampshades as “pieces
design [Vasekraft logo] Fulper / 805 utilitarian object into of glass bound together with copper in the high-end luxury market,
Leaded glass, bronze Left to right: (PO-024-84) a unique expression and welded together, producing others produced spinoffs of Tiffany
Marks on shade: TIFFANY of art. the effect found in our floral and designs for the middle class by using
STUDIOS / NEW YORK / 1539 Table lamp, c. 1910–28 Portable lamp, c. 1903–17 finished white metal in place of
Marks on base: Tiffany Studios / Leaded glass, brass,
geometrical windows.”
Leaded glass, metal From the 1890s on, world bronze for bases and by limiting the
NEW YORK / 529 copper Unique Art Glass &
(66-009) Roycroft, East Aurora, expositions boldly celebrated options in design and glass selection
Metal Co., Brooklyn,
New York, 1894–1938 New York, c. 1896–1917 electrified light, giving it the to keep costs down.
Library lamp, c. 1901 Designer: Dard Hunter, (GL-092-68) attention formerly reserved for This exhibition includes
No. 342, Wistaria design lamp 1883–1966 examples of lamps and lighting
master furniture or fine art. Other
and shade, large (GL-016-80)
Leaded glass, bronze design and production firms fixtures designed by Louis Comfort
Designer: Clara Driscoll, 1861–1944 Portable lamp, c. 1906–11 besides Tiffany vied for a stake in Tiffany or one of his artists and
Marks on shade: TIFFANY Flaming Sword design 445 north park avenue, made under the name of one of his
STUDIOS / NEW YORK Leaded glass, bronze winter park, florida 32789 companies. It also includes examples
Marks on base: [conjoined TGDco] / Duffner & Kimberly Company, 407-645-5311 Above: Pond Lily decorative lamp, after
by other makers of the era.
TIFFANY STUDIOS / NEW YORK New York City, 1906–11 www.morsemuseum.org 1902. Blown glass, bronze; Tiffany Studios,
(70-020) (70-010) New York City, 1902–32 (74-003).

Tiffany Lamps and Lighting ©2015 Charles Hosmer Morse Foundation, Inc.
All makers and designers are American 2) Center platform Library lamp, c. 1905 Desk lamp, after 1902 Electric bracket, c. 1895
TIFFANY LAMP SCREENS
unless otherwise noted. Shade No. 1505, 22 in. No. 349, Pony Wistaria design Molded turtleback glass, bronze
Back row, left to right: Peony design, Leaded glass, bronze Lamp screens were among the fancy Marks: D739
1) Left platform Holden shape Marks on shade: TIFFANY goods Tiffany Studios offered for (94-003)
Floor standard, c. 1902 Standard No. 367, STUDIOS / NEW YORK sale with its lamps. These decorative
Left to right: Shade No. 1521, O’Brien design, Marks on base: TIFFANY screens were attached to a large lamp’s Lamp screen, c. 1920
Bamboo design, cushion base, large STUDIOS / NEW YORK / 1001 finial by chain and suspended below Moth design,
Library lamp, c. 1910 dome shape Leaded glass, bronze (79-536) the shade, shielding the person using Leaded glass, bronze
Shade No. 1486, 18 Leaded glass, bronze Marks on shade: TIFFANY the lamp from its bare light bulbs. (2001-060)
in. Gentian Blossom Marks on base: STUDIOS / NEW YORK Reading lamp, These leaded-glass screens were
design, conventional TIFFANY STUDIOS / Marks on base: TIFFANY after 1902 available in the shapes of the winged 4) Right platform, floor objects
jeweled, flat NEW YORK STUDIOS / NEW YORK / 6006 Shade No. 1424, insects or figures that appropriately
Standard No. 371, (64-013) (69-016) plain, Heavy Ribs Clockwise from back row left:
might hover around Tiffany’s garden
Indian Hookah design design (“Spider
Leaded glass, bronze Reading lamp, c. 1905 Library lamp, c. 1910 and Web”) of nature-themed lamps. Reading lamp, c. 1915
Marks on shade: TIFFANY Shade No. 1453, 16 in. Tulip design, Shade No. 1447, Standard No. 337, Shade No. 1928, 10 in.
STUDIOS / NEW YORK dome shape Black-eyed Susan Mushroom design, small Favrile-Fabrique glass,
(69-013) Standard No. 181, Greek design, design, dome shape Leaded glass, bronze 3) Right platform, hanging lamps Abalone desk set
large [oil lamp conversion] Standard No. 357, Marks on shade: TIFFANY and objects Standard No. 604,
Decorative lamp, after 1900 Leaded glass, bronze Cushion base, STUDIOS / NEW YORK / 1424 inlaid abalone,
Pond lily design, ball shape Marks on shade: TIFFANY Leaf design Marks on base: TIFFANY Left to right: gold finish
Leaded glass STUDIOS / NEW YORK Leaded glass, bronze STUDIOS / 337 Molded glass, bronze, abalone shell
(1999-113) Marks on base: [conjoined TGDco] Marks on base: TIFFANY (66-029) Hanging shade, Marks on shade: 1928 / TIFFANY
/ TIFFANY STUDIOS / NEW STUDIOS / NEW YORK / 6839 after 1900 STUDIOS / NEW YORK
YORK/ 1453 (70-028) Library lamp, c. 1905 No. 605, 28 in. Marks on base: 604 / TIFFANY
(68-001) Shade No. 1495, 20 in. Dragonfly & Dogwood design, STUDIOS / NEW YORK
Floor lamp, after 1902 Water design, amber, cone shape straight sides, (68-003:17)
Shades No. 104, Drop Cluster Standard No. 360, Conventional circular shape
Blossoms design design, cushion base Leaded glass, bronze Candlestick lamp, c. 1900
Standard No. 685, Pond Lily design, Leaded glass, bronze Marks: TIFFANY STUDIOS One light, four legged base
12 lights Designer: Clara Driscoll, 1861–1944 NEW YORK Blown glass, bronze
Blown glass, bronze Marks on shade: TIFFANY (68-008) Marks on shade: L.C.T
AWARD-WINNING ELECTRIC LAMPS
Marks on shades: L.C.T. STUDIOS / NEW YORK / 1495-36 Marks on base: 5635 / TIFFANY
At the 1902 Prima Esposizione Internazionale d’Arte Lamp screen, c. 1904
Marks on base: TIFFANY Marks on base: TIFFANY STUDIOS / NEW YORK / 15
Decorativa Moderna, in Turin, Italy, Tiffany Studios was STUDIOS / NEW YORK / 685 STUDIOS / NEW YORK / 360 No. 924, Butterfly design Gift of Mrs. Beatrice Craig
awarded a grand prize for two lamps that transformed (70-013) (66-005) Leaded glass, bronze (89-001)
standard lamp forms into electrified sculptures from (70-029)
nature: the Pond Lily and Wistaria lamps. This ambitious Front row, left to right: Decorative lamp, after 1902 Balanced lamp, c. 1902
decorative arts exposition put an emphasis on the aesthetic Shades No. 104, Drop Cluster Four-sided hanging lantern, after 1902 Shade No. S207, Shell design,
renewal of everyday objects. Many of Tiffany’s early Library lamp, after 1902 Blossoms design Molded turtleback glass, bronze dome shape
Shade No. 1482, Standard No. 381, Pond Lily design, (58-019) Standard No. 416, Claflin design
lighting designs were oil lamps that required a base that
could serve as a fuel source and a shade that provided ventilation for an open Turtleback Band 10 lights Blown glass, bronze
design, dome shape Blown glass, bronze Lamp screen, c. 1920s Marks on shade: L.C.T.
flame. Electricity made new designs for lighting possible. The delicate form of the No. 926, Winged Figure design
Pond Lily lamp housed only wire and small light bulbs that followed the natural Leaded glass, bronze Marks on shades: L.C.T. Marks on base: TIFFANY STUDIOS /
Marks on shade: Marks on base: TIFFANY Leaded glass, bronze NEW YORK / 416 / S207
down-turned orientation of the lilies. On the Wistaria lamp, the bronze vine Design attributed to Alphonse
TIFFANY STUDIOS STUDIOS / NEW YORK / 381 (66-028)
completely envelops the top of the shade. / NEW YORK Gift of Mrs. George L. Cragg Mucha, Czech, 1860–1939
(55-018) (74-003) (2004-013)

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