DOI issue:
No. 53 (August, 1897)
DOI article:Waern, Cecilia: The industrial arts of America: the Tiffany Glass and Decorative Co.
DOI Page / Citation link:https://doi.org/10.11588/diglit.18389#0185
Industrial Arts of America
and half-workshop, of the metal-work floor. To But no commercial considerations are allowed to
me this is one of the most fascinating parts of stand in the way of the alert curiosity of the highly
the building. Here choice pieces of blown glass gifted artist who is the soul of the concern, and
lie around, awaiting attention from Mr. Tiffany or whom I would suspect of sometimes regarding the
his intelligent aide, among odds and ends of all workshops as nothing but a splendid opportunity
kinds; the dark-green " turtle-backs" of moulded for trying experiments on a large scale. The
glass that make such delightful hall lamps, simplification of labour itself tends in two ways—
knobs and jewels of glass, bits of unused metal- if, for instance, some charming Japanese models
work and other representatives of suggestive experi- are "cheapened" in this process of translating,
ments, new departures, or frank failures. The same and really new -forms and devices, almost Greek or
spirit prevails in all the other branches of work Japanese in their directness, are evolved in this
done in this large decorative establishment, such as way.
furniture, hangings, embroideries, &c. The back Other factors are at work, too, affording us the
premises and stairwrays are full of waifs and strays most interesting glimpses of old truths in new
of abandoned essays in every direction—sometimes forms. The history of the Tiffany lamps is a
of a very costly kind, or touching upon domains case in point. The older well-knowTn type wrould
such as etched stuffs, where modern
French and Belgian artists have
found some of their new departures.
The experimental nature of the
Tiffany wTork is at once the weakest
and the strongest point of this
curiously complicated organisation.
The weak points are obvious. The
results of this ceaseless movement,
with the colouristic bias showrn,
must vary in interest and import-
ance; much of it must perforce
seem to purists barbaric, not to
say barbarous, in taste. On the
other hand, conquests are won this
way that could hardly be wTon in
any other way—nay, products are
turned out, when the Fates are pro-
pitious, that differ very little in the
essential qualities of novelty, sim-
plicity and straightforwardness from
the " creations " of individual crafts-
men. The tendency is to grace
and worldliness, rather than dignity
and austerity; but that is the
American note. We have hinted
at the "commercialism" of this
big American concern ; it is time
to define it more closely. It is.
shown in two ways : " The Tiffanys "
certainly do not try to emulate
Morris and Co. in educating the
public taste ; their aim is to sell,
to persuade, not to elevate or
instruct; there is also a tendency
to simplify the labour expended,
as far as possible, with a view
to reducing the cost of production. lectern designed and executed by louis c. tiffany
162
and half-workshop, of the metal-work floor. To But no commercial considerations are allowed to
me this is one of the most fascinating parts of stand in the way of the alert curiosity of the highly
the building. Here choice pieces of blown glass gifted artist who is the soul of the concern, and
lie around, awaiting attention from Mr. Tiffany or whom I would suspect of sometimes regarding the
his intelligent aide, among odds and ends of all workshops as nothing but a splendid opportunity
kinds; the dark-green " turtle-backs" of moulded for trying experiments on a large scale. The
glass that make such delightful hall lamps, simplification of labour itself tends in two ways—
knobs and jewels of glass, bits of unused metal- if, for instance, some charming Japanese models
work and other representatives of suggestive experi- are "cheapened" in this process of translating,
ments, new departures, or frank failures. The same and really new -forms and devices, almost Greek or
spirit prevails in all the other branches of work Japanese in their directness, are evolved in this
done in this large decorative establishment, such as way.
furniture, hangings, embroideries, &c. The back Other factors are at work, too, affording us the
premises and stairwrays are full of waifs and strays most interesting glimpses of old truths in new
of abandoned essays in every direction—sometimes forms. The history of the Tiffany lamps is a
of a very costly kind, or touching upon domains case in point. The older well-knowTn type wrould
such as etched stuffs, where modern
French and Belgian artists have
found some of their new departures.
The experimental nature of the
Tiffany wTork is at once the weakest
and the strongest point of this
curiously complicated organisation.
The weak points are obvious. The
results of this ceaseless movement,
with the colouristic bias showrn,
must vary in interest and import-
ance; much of it must perforce
seem to purists barbaric, not to
say barbarous, in taste. On the
other hand, conquests are won this
way that could hardly be wTon in
any other way—nay, products are
turned out, when the Fates are pro-
pitious, that differ very little in the
essential qualities of novelty, sim-
plicity and straightforwardness from
the " creations " of individual crafts-
men. The tendency is to grace
and worldliness, rather than dignity
and austerity; but that is the
American note. We have hinted
at the "commercialism" of this
big American concern ; it is time
to define it more closely. It is.
shown in two ways : " The Tiffanys "
certainly do not try to emulate
Morris and Co. in educating the
public taste ; their aim is to sell,
to persuade, not to elevate or
instruct; there is also a tendency
to simplify the labour expended,
as far as possible, with a view
to reducing the cost of production. lectern designed and executed by louis c. tiffany
162