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Some of the most striking gardens aren’t a riot of multiple colors
A HUE
but a carefully curated assemblage of hues. Using foliage and flowers, gardeners can create drama and artistry. h A lake of blue salvia, perhaps. A swath of feathery green grass. The idea is to mass-plant so the color becomes a living brush stroke along the landscape. h Architect Peter Marino used the technique on his 12-acre property in
endeavor
Southampton, New York. Among the apple orchards, art objects and hundreds of evergreens, his garden includes a “color wheel,” with purple flowers at the north end, pink at the south, and red and mixed hues to the east and west. h Yellow is off on its own. h “The yellow
Garden color blocks create drama and artistry
garden is a separate, one-acre ‘room,’ bordered by European chestSee COLOR BLOCKS, Page 2H
KIM COOK ASSOCIATED PRESS
RIZZOLI VIA AP
Purple hydrangeas lead to an 18th-century French fountain whose basin is filled with purple water lilies, in architect Peter Marino’s purple garden.
New York show casts new light on Tiffany lamps KATHERINE ROTH ASSOCIATED PRESS
NEW YORK - A newly renovated section of the New-York Historical Society showcases dozens of lamps by Louis Comfort Tiffany, putting renewed focus on how the works were made — and by whom. The 4,800-square-foot Gallery of Tiffany Lamps, a permanent display area on the museum’s fourth floor, features a
dramatic glass staircase leading to a mezzanine where there are high-tech, interactive displays, as well as actual templates and tools used to make Tiffany lamps. The new floor also features a Center for Women’s History and a section on interpreting U.S. history through the lens of New York. But the real eye-catchers are the 100 lamps, made starting in 1898 for use with kerosene and later electricity, and all illuminated here for maxi-
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mum impact. “Electricity was very liberating from a design standpoint because it permitted much more slender lamp bases, as opposed to the bulbous bases required for use with kerosene,” explains museum director Margaret K. Hofer, who curated the exhibit with Rebecca Klassen. The show reveals the subtle gradations of colors and textured glass, and the enormous range of bases, for which Louis C. Tiffany and his firm were fam-
ous. But the thrust of the exhibit is to dispel the long-held idea that Tiffany himself crafted the now-iconic lamps. It celebrates the crucial and little-known role of women in their design and production. The focus is on Clara Driscoll, an aspiring artist from Ohio, and her team of “Tiffany girls” in the Women’s Glass Cutting Department. Their importance was See TIFFANY, Page 3H
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