Published to coincide with the Museum’s 75th anniversary, Timeless Beauty: The Art of Louis Comfort Tiffany presents full-color images of more than 200 objects by Louis Comfort Tiffany (1848–1932) in chronological order, offering a biographical view of the man behind the famous glass.
This companion catalogue to the Metropolitan Museum of Art's 2006 exhibition—produced in collaboration with the Morse Museum—focuses on Louis Comfort Tiffany's grand Long Island estate, Laurelton Hall. Essays by Alice Cooney Frelinghuysen, Elizabeth Hutchinson, Richard Guy Wilson, and Morse Museum Collection Manager and Curator Jennifer Perry Thalheimer explore every aspect of the home from the stunning interiors to the beautiful surrounding gardens.
This catalogue was published in conjunction with the exhibition of the same name at the Orlando Museum of Art in 1995. During their lifetime, Hugh and Jeannette McKean amassed a collection of more than 800 pieces of art pottery, many from renowned factories such as Rookwood, Grueby, Weller, and Tiffany. Alice Cooney Frelinghuysen, Curator of the Department of American Decorative Arts at The Metropolitan Museum of Art and guest curator of the exhibition and author of the catalogue, chose 175 pieces from the Morse's collection to be featured in the exhibition. The book features 115 color plates.
This booklet, featuring 30 color plates, accompanied an exhibition of Jeannette Genius McKean's paintings at the Morse in 1996. Includes a preface by Morse Museum Director, Laurence J. Ruggierio.
This biography illustrates the life of a woman who was beloved by the Winter Park community and tireless in her efforts to support the arts. Jeannette was born and raised in Chicago and later made Winter Park her home as had her grandfather, Chicago industrialist Charles Hosmer Morse. She founded the Morse in 1942, naming it for him, and she and her husband Hugh F. McKean built a collection over a 50-year period that would become the world's most comprehensive collection of works by Louis C. Tiffany. Jeannette, however, was not only a collector of art but a remarkable artist in her own right. "She was among the last of a breed," writes author Twardy, "born to families whose wealth was formed in the Industrial Revolution of the last century, devoted to using that wealth in the service of art and design."
This booklet is a collection of writings by Hugh F. McKean about individual works of art he and his wife assembled for the Morse Museum. In the book's introduction, Dr. Laurence J. Ruggiero, Director of the Morse Museum, notes that through his labels, Hugh McKean, attempted to capture the imagination of the Museum's visitor: "They sometimes accomplished this with wit and sometimes with wisdom: Some of the labels are truly poetic—none are boring."
Part art history and part biography, this pioneering work explores the life and art of Tiffany through the eyes of the author, who spent time as a young artist at Tiffany's Laurelton Hall estate on Long Island. Containing more than 200 color plates, the book explores in depth the many media that Tiffany worked in over his lifetime: stained glass, mosaics, blown glass, pottery, jewelry, enamels, painting and even interior design. Hugh McKean (1908–1995) presents a rare portrait of Tiffany the man in a discussion of Tiffany's lesser-known personal works—his "lost" works—that were at the core of his great artistic achievement.
This booklet, containing 30 color and black and white photographs, provides readers with a brief overview of the history of the Tiffany chapel, including its significance, its conservation, and its reinstallation at the Morse in 1999.
The book is an assembly of seven scholarly essays about the Tiffany chapel, its significance, history, and conservation by the Morse. The articles are accompanied by more than 100 color and black-and-white photographs. Contributing authors are Alice Cooney Frelinghuysen, curator in the Department of American Decorative Arts at The Metropolitan Museum of Art in New York City; Wendy Kaplan, department head and curator, Decorative Arts at the Los Angeles County Museum of Art; Joel M. Hoffman, vice-director, Education and Program Development, Brooklyn Museum of Art; Rustin Levenson, director of Art Conservation Associates, New York City and Miami; John Maseman, director and chief conservator, South Florida Conservation Center; Patricia Pongracz Spicka, curator, The Gallery at the American Bible Society in New York; Laurence Ruggiero, director of the Morse Museum; and Thomas Venturella, owner and operator of Venturella Studio in New York.