WINTER PARK, FL.- The Charles Hosmer Morse Museum of American Art
, the most comprehensive collection of Louis Comfort Tiffany materials in the world, will open a new 12,000-square-foot wing in February 2011. The addition will provide, for the first time, long-term public access to the recently restored Daffodil Terrace from Louis Comfort Tiffanys celebrated Long Island home, Laurelton Hall. The new galleries will also feature approximately 250 art and architectural objects from or related to the long-lost estate. Highlights include prize-winning leaded-glass windows, iconic Tiffany Studios lamps, as well as art glass and custom furnishings.
The new Laurelton Hall galleries will provide 6,000 square feet of additional public exhibition space and will deepen the Morses interpretations of Tiffanys life and legacy. Laurelton Hall, every room and architectural detail designed and controlled by Tiffany, was destroyed by fire in 1957. The 11 new galleries at the Morse will showcase surviving components of Laurelton Halls dining room, living room and reception hallalso known as the Fountain Courtas well as other rooms, creating a uniquely immersive experience.
"The new galleries will suggest aspects of the actual rooms designed and decorated by Tiffany during his lifetime," said Laurence J. Ruggiero, Director of the Morse Museum. "Visitors can no longer go to Laurelton Hall to appreciate Tiffany's approach to design, but they can come to the Morse and, we hope, gain a more holistic sense of the man, his aesthetic, and the power of his imagination."
"Laurelton Hall was Tiffany's masterpiece, and it housed a self-curated collection of Tiffany Studios' production," said Curator and Collection Manager Jennifer Perry Thalheimer. "The objects he put in his home and the way he arranged them reflected his perpetual quest for beauty."
Photographs of interiors from the much-published estate aided the museums efforts to suggest the true experience of Laurelton Hall. Working with the Morse Museums staff, George Sexton Associates of Washington, D.C., designed the lighting and installations in the museums new addition to evoke the essence of Tiffany's design vision.
The Daffodil Terrace, installed in a new glass-enclosed gallery, will serve as a focal point for the new wing. The 18-by-32-foot outdoor terrace exemplifies Tiffanys exotic and extravagant style. Supported by eight 11-foot columns that are topped with bouquets of glass daffodils, the terraces coffered ceiling is composed of hundreds of stenciled wood elements and molded tiles in three bays. The central bay features a skylight covered by six large panels of iridescent-glass tiles in a pear-tree motif. The terrace, pieced together from more than 600 distinct parts and fragments, is the museums most significant conservation project since reassembling Tiffanys chapel interior from the 1893Worlds Columbian Exposition in Chicago. The conservation team, headed by Griswold Conservation Associates LLC, of Culver City, California, was able to reconstruct the terrace using old black-and-white photographs, historical descriptions and computer technology.
The terrace will be visible from vantage points both inside and outside the museum. Situated with a view of an expanded garden courtyard at the museum, the Daffodil Terrace, for the first time, will be presented in a manner related to its original location at Laurelton Hall.
Highlights from the dining-room installation include: a 13.5-foot-high, mosaic decorated marble mantelpiece that is one of Tiffanys most forward-looking designs; a 25-foot-long Oriental rug; a domed leaded-glass chandelier 6.5 feet in diameter; and a suite of six leaded-glass Wisteria transoms.
Four leaded-glass panels depicting the four seasons are a focal point of the living room installation. These were part of a single large window from the Tiffany exhibit at the Exposition Universelle in Paris in 1900, for which the artist won a gold medal. The room will also feature five Turtleback-glass hanging lamps. Turtleback-glass tiles are unique to Tiffany Studios, pressed from iron molds and iridized while still hot to create a unique aesthetic.
The Morse will also display a pair of intricately carved Indian teak doors and a half-moon-shaped glass mosaic with a central leaded-glass window in a peacock-feather motif, which formed the entryway to the art gallery Tiffany built on the estate. Another new gallery will serve as a study room and include accessible copies of books that were in Tiffanys personal library. Together the art objects and installations work to provide context for understanding Tiffanys originality and enduring appeal.
Louis Comfort Tiffanys Laurelton Hall
Laurelton Hall, built between 1902 and 1905 on Long Island, is arguably Tiffanys greatest work of art. In his 84-room, eight-level mansion, set on almost 600 acres overlooking Cold Spring Harbor and Long Island Sound, Tiffany integrated into one rapturous whole all the passions and preoccupations of his lifecolor, light, nature and the art of Eastern and Islamic cultures.
After the fire in 1957, Hugh F. McKean and his wife, Jeannette, who together assembled the Morse Museums collection, salvaged architectural elements, windows and other objects from the ruins of the estate. Over the next four decades, they continued to search out and collect objects from the estate that earlier had been auctioned, sold or given away. The Morse is the largest single repository of surviving materials from Laurelton Hall.