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The Jefferson Hotel opened in 1895, a creation of Lewis Ginter and the New York firm Carrère & Hastings. In 1901, a devastating fire consumed much of the building, and the iconic marble statue of Thomas Jefferson, sculpted by Edward Valentine, was heroically rescued—wrapped in mattresses and carried to safety by hotel staff.

A conversation with architectural historian Richard Guy Wilson recently illuminated the complex web of cultural influences that shaped Louis Comfort Tiffany's celebrated fascination with the Orient. Wilson, author of "Mysticism, Alchemy, and Architecture: Designing Laurelton Hall," offered insights that extend far beyond the individual artist to reveal a broader intellectual cosmology of 19th-century America.

Tiffany in the Wild: La Habana is both a search and a testament. A search for what remains, and a testament to what endures despite the passage of time and the weight of history. My hope is to share these rare survivals before they vanish from the living world, to let audiences see and hear Tiffany as I first did — in the wild.

In the annals of American art preservation, few stories are as compelling as Hugh McCain's personal connection to Louis Comfort Tiffany and his subsequent mission to save the master's work from destruction. Through a remarkable interview conducted by Les Anderson, we gain intimate access to McCain's memories—not just as a scholar and museum director, but as one of the last people to know Tiffany personally and witness the splendor of Laurelton Hall before its tragic demise.

Between 1898 and 1933—spanning thirty-five years until Tiffany's death—Arlington Street Church commissioned what would become the largest collection of single-themed Tiffany windows in the world. Sixteen magnificent panels, conceived and executed as a unified narrative, demonstrate what becomes possible when patronage extends beyond individual commissions to embrace a complete artistic vision.

Tiffany Studios flourished through the collective brilliance of its diverse workforce. The “Tiffany Girls” movement has rightfully spotlighted the contributions of women designers, but a complete picture of the studio’s legacy demands recognition of the talented men and women who worked side by side. This exploration celebrates the collaborative synergy of artists, craftsmen, and innovators who together forged Tiffany’s legendary success. These are the names and faces I want

Today, The Dream Garden remains in situ at its original home in Philadelphia's Curtis Center, its 100,000+ pieces of glass catching and transforming light just as Tiffany intended. Visitors come from all over the world, just as Bok hoped they would more than a century ago.