The early 20th century was an exciting time for the people of Corpus Christi, Texas. As land values soared, the town's economy began to prosper. Clara Driscoll assumed ownership of several Driscoll properties, including farms, ranches and oil interests. She later became president of the Corpus Christi Bank and Trust Company. She also ran her family's businesses, which boosted the city's economy.
For more than half a century, the director and head of Tiffany Studios, Clara Driscoll, was not well known. Despite her significant contributions, her name did not appear on Tiffany Studios Work until 2006. Martin Eidelbergs research into the lives of male designers at Tiffany Studios showed that Driscoll had not received the credit she deserved. Her contributions were finally recognised fifteen years ago, when author Nina Gray discovered her letters to the family.
Clara Driscolls Studio's work was unique. The lamps she created were not just lights, but also decorative objects. Clara Driscoll, the woman who ran the studio, was responsible for colour selection and spectacle selection. Clara was also involved in the cutting and design of the lamps. In addition to her own work, she also helped Louis to comfort Tiffany with her artistic vision and technical expertise.
A table lamp by Clara Driscoll was designed around 1905. Today, a similar lamp by Driscoll sold for half a million dollars at the Philips auction in 2012. The original shade was stamped with the studio's name, but its replica has been reproduced by many companies for over 25 years. It is a classic example of his work, showcasing his love of natural beauty.
The shade features seven dragonflies in amber and green, with twenty-one green jewels. A base of four raised greens features a New York Tiffany Studios stamp. The shading plate has stable cracks and a greenish patina. The artists' work can be found in many museums and galleries in the United States. And these beautiful lamps still bear witness to his work.
Tiffany Policy
In 1909, Clara Driscoll remarried. Her first marriage had ended in divorce and her employment in the Tiffany studios had been terminated after twenty years. This policy was a blow to her career, as women were not allowed to work in the Tiffany studios if they married. However, her family were prolific letter writers, and her letters helped to piece together her story. Her story is well documented in three novels by Margaret K. Hofer, curator of decorative arts at the New York Historical Society.
Tiffany's policy for Clara Driscoll is not entirely surprising. While many women were forced into single employment because of the legality of marriage, discrimination against women was common. The company paid single women more than single men and refused to hire married women. This discrimination was often accompanied by unionised male workers who saw single women as a threat and prevented them from working.
It was an unfortunate decision for Clara Driscoll, a woman and an artist, not to have credit for her work. She wanted to take credit for her work and planned to open her own design studio. In her letters, Clara describes life in New York as a fascinating and glamorous place. She attended unveilings of inventions, concerts, new plays and long bike rides.
Despite these challenges, Driscoll was determined to be a creative force in the Tiffany studios, and her letters are rare examples of how she grew up under Tiffany's guidance. The two had a shared appreciation for beautiful materials and the beauty of nature. They also probably worked together to introduce shades of lead to their work. She died in 1944. And today, the Cleveland Museum of Art has a permanent exhibition of her work.
Clara Driscolls' role in the conception of Tiffanys
Clara Driscoll was born in Tallmadge, Ohio, and moved to New York in 1888 to study at the Metropolitan Museum Art School. In New York, she met and married Francis Driscoll, a man thirty years her senior, and soon began working in the Tiffany studios as a designer. In 1888, Tiffany hired Driscoll to head its newly formed women's glass-cutting department. Clara Driscoll's role at Tiffany was largely responsible for many of the company's lampshades and mosaic bases.
In 1892, Driscoll was appointed supervisor of Tiffany's women's cutting department. She had a long and successful career as a designer at the time, and her creations were among the best works in the Tiffany studio. The Wisteria table lamp is one of Driscolls' greatest masterpieces, and many consider it an icon of modern American design. Clara Driscolls' contribution to the design of Tiffanys could easily have been lost to time, but the detective work of researchers has led to its reintegration into corporate history.
As well as designing windows, Driscoll may have helped develop full-size cartoons for the glass cutters to illustrate the designs. An all-male union had recently gone on strike and Tiffany had to replace these workers with young women. In response to the strike, Tiffany hired women from art schools. Driscoll was appointed head of the women's glass-cutting department, and the women soon proved to be the most talented workers in the studio.
Driscoll était un designer clé au Tiffany Studio, et son travail a influencé bon nombre des Tiffany lamps les plus appréciées. Elle était responsable d’une trentaine de lampes, y compris les lampes de pivoine, de libellule et de glycine. Elle a également dirigé le département de coupe en verre pour femmes, où jusqu’à cinquante femmes ont conçu et coupé le verre pour les célèbres produits Tiffany. Les lettres de Clara Driscolls ont été une base clé pour une exposition majeure à la New-York Historical Society.
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