"In 1879, he seized up the suggestion of Candace Wheeler that he join with Samuel Colman and Lockwood de Forest to form a firm that would apply aesthetic idealism to the practice of interior design. Impelled by Tiffany's leadership and nascent talent, as well as by his father's money and connections, 'Louis Comfort Tiffany and Associated American Artists' thrived until 1885.....A desire to pursue independent endeavors lead to the breakup of the firm in 1885, when Tiffany chose to concentrate on art in glass, establishing his new business later that year."

"Even after initiating a successful independent career, Louis was encouraged to maintain close ties with the family firm, as Charles Lewis Tiffany realized that his son's artisitic prowess, affirmed by international honors at museum and gallery shows, would work to their mutual advantage." [L. C. Tiffany became Artistic Director of Tiffany & Co. after his father's death in 1902, and the company sold many Tiffany Studios wares - ed.]

"Tiffany actually had begun his glass experiments about 1875 to 1878, when he was working first at glasshouses in Brooklyn, where his later rival, John La Farge was also working, both being particularly interested in opalescent glass. Tiffany's early patents date from 1880-81. He incorporated the first Tiffany Glass Company on December 1, 1885, which later [1900] became known as Tiffany Studios, and remained in business until 1928 [after 1919 sometimes using the factory's name and mark of Tiffany Furnaces - ed.]. Tiffany trademarked the name Favrile, derived from the old french word for handmade, to generically describe his production."

"Louis Comfort Tiffany actually located [c. 1893] his Tiffany Studios factory, called the Tiffany Glass Furnaces, in Corona, Queens.....Here Tiffany functioned as the ultimate authority over more than three hundred workers, designers and artists, glass blowers and gaffers, and artisans of numerous other tasks."

"Tiffany's first commercially produced lamps date from around 1895, though some early examples were exhibited in the 1893 World's Fair in Chicago."

"After 1900, Tiffany Studios produced a wide array of objects employing glass, and other diverse materials."

Above exerpts from essay by F. H. Perrell in catalog Louis Confort Tiffany and Standford White, for an exhibit at the Nassau County Museum of Art which featured The Mermaid Window loaned by Carl Heck

The following is excerpted from Miller's antiques series "Victoriana to Art Deco, A Collector's Guide" by Eric Knowlton, an excellent general reference to objets d'art and furniture of the period, in print and available through Amazon Books or Barnes and Noble; due to the complexity of the subject and the frequency of misunderstandings even by the comparatively well-informed, we have added a number of editorial notes in brackets to clarify some points:

"Tiffany and the American Approach"
"Tiffany's designs were emulated by several American companies, including Handel, the Pairpoint Corporation and Quezal. While Handel and Pairpoint concentrated upon creating innovative lampshades, often, but not always, in the style of Tiffany, Quezal helped to satisfy the increasing demand for the irridescent glassware popularized by Tiffany in America. [Tiffany's metalware, such as desk sets in cast bronze designs or with bronze openwork over glass panels, was emulated by companies like Riviere Studios and Apollo Studios in New York, and Bradley and Hubbard - ed]"
"Tiffany's Lamps
Tiffany table lamps were made in two sections; the base and stem, and the shade. Shades consist of many pieces of favrile glass set in a bronze framework of irregular lozenge shapes, with the decoration often inspired by organic and naturalistic motifs. Dragonflies are common, as are Renaissance, zodiacal, bamboo and medieval motisfs. Bases are bronze or gilt bronze, and sometimes incorporate tile or mosaic work. The shade may reflect the design: the irregular border [of less common but highly desirable lamps like the Apple Blossom and Wisteria - ed.] enhances the organic effect of the tree-like base and floral motifs. Being hand-made, no two shades are identical.
Other Tiffany Studio wares
As well as table lamps and lampshades, Louis Comfort Tiffany also produced vases and scent bottles, tiles, lamps, stained-glass windows and glass mosaics and desk furniture. Some mosaics measure as much as 14 x 49 ft (4.6 x 15m).

Tiffany developed and used innovative glassmaking methods. He avoided surface decoration, preferring to make ornament integral to the body of the piece. However, he was a designer of glassware rather than a glassmaker, and he paid little heed to the technical aspect of working in glass."

"Marks and Fakes.
All pieces are marked, usually with the initials 'LCT', in small letters [see exceptions and caveats to this generalization in the next section - ed]. Lamps and some larger pieces bear the full name, perhaps with a reference number. Some have original paper labels. On lamps, shades are also marked with a bronze pad. Fakes and copies abound; collectors should develop an eye for Tiffany's distinctive style."

Notes on Marks, Authentication and Reproduction. The subject of Tiffany's marks is complex and frought with misconceptions, and elusive to even to those familiar with the subject as is shown in the following quote. Renowned Tiffany collector and curator Hugh McKean says in his book "The 'Lost' Treasures of Louis Comfort Tiffany":

"Tiffany's marks and marking systems changed over the years. Some are clear, but others are obscure and may remain so since exceptions seem to abound for every proposed explanation".

"Some items remained without being finished or marked for several years.....If a vase was purchased by an employee, or even a friend of an employee at the Corona plant, it was usually not signed or numbered. When, in 1928, the remaining stock of Tiffany Furnaces was placed on the market, most of the ware was not signed or registered. Thus, there is still a fair amount of unsigned Tiffany to be found. [note that this was written in 1971, and many unsigned pieces - as well as the work of other period manufacturers - have had Tiffany "signatures" added in the meantime - ed.]"

"Finally, a word of advice: Collect glass, not signatures. It is virtually impossible to be sure the signature on a piece of Tiffany glass is authentic. The name or initials were cut or etched into the glass by workmen, and they vary in size and style according to who did the job.....Until the collector is sure that he can recognize a piece of Tiffany glass, signed or unsigned, it is advisable that he deal with only the most reliable sources."

"As prices go up and up, objects go round and round, often with bewildering speed.....A Southern client sent a photograph of a Tiffany lamp to Christie's and, following an exchange of correspondence, the lamp arrived in New York where, on inspection, it was found to be a modern reproduction.  The owner was notified and the lamp returned.  It was immediately placed in a local auction where it was purchased and sent by the next owner -- to Christie's.  It was again returned.  Over the next three months the piece is now known to have changed hands three further times, making its way, finally, into a Tiffany collection in California just in time to be included in a shipment -- to Christie's.  The entire episode, from the time the first photograph of the lamp was sent, to the time that the lamp made its third visit to New York, took only seven months, highlighting the frantic pace at which the Tiffany market can operate.  Another indomitable adversary has been an unsigned iridescent Loetz glass vase which first sold at Christie's in 1977, only to reappear some months later with a full Tiffany signature.  The consignor.....took it to a glass restorer to have the Tiffany signature removed.  The vase was then returned to Christie's and offered in its original condition.  It has recently re-appeared on the market, this time boldly inscribed Loetz Austria."

"Thanks for sending me the beautiful samples of your mottled glass. I am afraid that in a way they may be even too beautiful and close to the Tiffany standards...and if you produce such excellent duplications, I wonder how I will be able to distinguish them from the originals?"

"There were also imitations made in the 1920s. One of the imitators, supposedly employing workmen from Tiffany's, was Riviere Studios, which produced desk sets [copying Tiffany patterns, as well other items such as slag glass and filligree lamps] ... often with no signature. [but which may have since had Tiffany Studios markings stamped on them - ed.]"

Bibliography (focusing on books known to be in print)

Louis Comfort Tiffany (Library of American Art) / Alastair Duncan, Louis Comfort Tiffany / Hardcover / Published 1992/  - Print status unknown

The Art of Louis Comfort Tiffany Hardcover / Published 1991 / Republication of original book commissioned by Tiffany's family in 1914 as a gift for family, friends, and colleagues / In print, special order

The Jewelry and Enamels of Louis Comfort Tiffany / Janet Zapata / Hardcover / Published 1993 / In print

NEW Tiffany Favrile Art Glass (Schiffer Book for Collectors) Moise S. Steeg / Hardcover / Published 1997 / In print

NEW the authoritative The 'Lost' Treasures of Louis Comfort Tiffany by Hugh McKean is now back in print.

NEW the two classic books mentioned below are now published in a volume of the combined works of Robert Koch.

The following are the first two scholarly works in the field by Robert Koch, out of print but often available used, and well worth acquiring:
 

Louis C. Tiffany, Rebel in Glass

Louis C. Tiffany's Glass - Bronzes - Lamps
 

Other classics worth seeking out from used book sources include Tiffany Lamps by Egon Neustadt, Tiffany Windows by Alastair Duncan

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Quoted material is Fair Use for informational purposes, and to review/recommend references quoted. Balance of material and layout (c) 1998-2002 by JP Cass (see http://www.cass.com/) for Carl Heck Decorative Arts.