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"Clara and Mr. Tiffany: A Novel" Overview
Against the unforgettable backdrop of New York near the turn of the twentieth century, from the Gilded Age world of formal balls and opera to the immigrant poverty of the Lower East Side, bestselling author Susan Vreeland again breathes life into a work of art in this extraordinary novel, which brings a woman once lost in the shadows into vivid color.
It’s 1893, and at the Chicago World’s Fair, Louis Comfort Tiffany makes his debut with a luminous exhibition of innovative stained-glass windows, which he hopes will honor his family business and earn him a place on the international artistic stage. But behind the scenes in his New York studio is the freethinking Clara Driscoll, head of his women’s division. Publicly unrecognized by Tiffany, Clara conceives of and designs nearly all of the iconic leaded-glass lamps for which he is long remembered.
Clara struggles with her desire for artistic recognition and the seemingly insurmountable challenges that she faces as a professional woman, which ultimately force her to protest against the company she has worked so hard to cultivate. She also yearns for love and companionship, and is devoted in different ways to five men, including Tiffany, who enforces to a strict policy: he does not hire married women, and any who do marry while under his employ must resign immediately. Eventually, like many women, Clara must decide what makes her happiest—the professional world of her hands or the personal world of her heart.
"Clara and Mr. Tiffany: A Novel" Specifications
A Letter from Author Susan Vreeland
 © Sam Ryu |
For a century, everyone assumed that the iconic Tiffany lamps were conceived and designed by that American master of stained glass, Louis Comfort Tiffany. Not so! It was a woman! Aha! If it weren't for the Victorian zest for writing voluminous letters, Clara Driscoll would be only a footnote in the history of decorative arts. However, by an astonishing coincidence in 2005, three individuals unknown to each other--a distant relative of Clara, a Tiffany scholar, and an archivist at the Queens Historical Society--each aware of only one collection of Clara's letters, brought the correspondence to the attention of two art historians specializing in Tiffany, Martin Eidelberg and Nina Gray. The result was electric. The two art historians contacted Margaret K. Hofer, Curator of Decorative Arts at the New York Historical Society which owns a huge collection of Tiffany lamps. Together they mounted an exhibition in 2007, A New Light on Tiffany: Clara Driscoll and the Tiffany Girls, in which Clara was hailed as "a gifted unsung artist" whose letters provided an eyewitness account of the workings of Tiffany Studios and revealed the vital role played by women. Their startling discovery rocked the art world. While I was on tour in New York for my 2007 novel, Luncheon of the Boating Party, my agent and I went to the Metropolitan Museum of Art to see a lavish Tiffany exhibit recreating a portion of his fabled Long Island estate, Laurelton Hall. Instantly, I fell in love with Tiffany glass. By another coincidence, her husband spotted a review of the New York Historical Society exhibition, which we saw the next day. I was intrigued, but not convinced until I read the illuminating exhibition book as well as Clara's correspondence at the library of Kent State University, Ohio, and at the Queens Historical Society. Poring over her letters, I discovered the wry, lively, sometimes rhapsodic voice of a freethinking woman who bicycled all around Manhattan and beyond, wore a riding skirt daringly shorter than street length, adored opera, followed the politics of the city even though she couldn't vote, and threw herself into the crush of Manhattan life--the Gilded Age uptown as well as the immigrant poverty of the Lower East Side. There before me in her own handwriting was an account of her making the first leaded-glass lampshade with mosaic base. I recognized her to be a dynamic yet tender leader who developed the Women's Department which created the nature-based lamps she designed. I rubbed my hands together in glee. When I remembered that my mother, who lovingly called colors by their flower and fruit names, and who worked briefly as a lamp designer in Chicago in the 1930s, was required to resign from another position when she became engaged, just like the Tiffany Girls were required to do, I felt a personal connection to Clara. I sought out as many of her lamps as I could find, researched Tiffany and New York's cultural history in more than fifty books and articles, and then I eagerly settled down to write the story I felt was mine to tell.
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