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These ‚Äúpot stickers,‚ÄĚ as Murray calls them, pop out.
They were custom-made by Asheville stain-glassed artist John Orlich, imitating single elements in Tiffany lamps.
Murray took care to place the ‚Äúpot stickers‚ÄĚ in what he thought were pretty pots, but he also coordinated the color palette of the flowers to match the colors of a Tiffany lamp.
The peacock feather pot stickers, for example, blend with yellow and orange flowers and lots of green leaves, just as the Tiffany lamp designs blend in an impressionistic style, Murray said.
Doc Cudd, Biltmore's blacksmith, also created wrought-iron lamp posts with tops that resemble Tiffany lampshades, each planted with colorful flowers.
Inside the conservatory next to Biltmore House, the horticulture team also built a 24-foot ‚Äúliving wall‚ÄĚ of flowering plants and greenery, resembling a stain-glassed window.
Klingner also noted the preexisting connections between plants on the estate and Tiffany designs.
Wisteria, for example, is both a frequent Tiffany motif and abundant on the library terrace of Biltmore House.
While both the Tiffanys and the Vanderbilts were part of early 1900s New York City high society, the families are not known to have interacted.
The only signs of the Tiffany family within the house itself are the silver table lamps from Tiffany & Co. installed before Louis Comfort Tiffany took over the company in 1902 from his father, Charles Lewis Tiffany. They are not at all similar to the Tiffany lamps people recognize, Klingner said. There is also a vase that Louis Tiffany made, dating to 1895 in the house, he said.
The Biltmore Legacy exhibition hall also houses a permanent exhibit of three stain-glassed windows made for William Vanderbilt, George Vanderbilt's father, in 1879 by John La Farge, a contemporary of Louis Tiffany.
‚ÄúThey were both known for their innovative ways of making stain glassed,‚ÄĚ Donnelly said. ‚ÄúThat's where the tie lies.‚ÄĚ
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