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At first, Louis Comfort Tiffany used glass used by outside firms, but this did not give him total satisfaction. As his fascination with glass grew, he experimented with lustering techniques, largely inspired by the natural iridescence of ancient Roman glass. He patented his first glass-lustering technique in 1881. Favrile glass, the trademark for Tiffany handmade glass, resulted from these experiments and, with the exception of Tiffany lamps, it is the ware for which he is best known. Tiffany set up his own glasshouse at Corona, Long Island and put a brilliant Englishman, Arthur J. Nash, in charge. His previous companies had all been concerned with interior decoration; this one, Tiffany Furnaces, concentrated on decorative blown glassware. In 1893 Tiffany introduced his first hand blown-glass vases and bowls, which he called "Favrile." The word Favrile was taken by Tiffany from an old English word for hand made. Tiffany Favrile glass quickly gained international renown for its surface iridescence and brilliant colors. Tiffany, no craftsman himself, died considerably less wealthy than he began, because of his own fascination with the capabilities of glass in the furnace. He was not content to leave the experiments to his skilled workers, and he would not abandon his own ideas even when Nash was satisfied, after repeated efforts, that they would not work. Such interference was not cost effective, but it was symptomatic of what he was trying to do. He was a leader and Tiffany glass was never a shadow of other men's work.

Tiffany developed a whole range of unique glassware by trying out and perfecting new techniques in the furnace. The glass itself was of the best quality, its colors achieved by the addition of metallic oxides, variable by temperature within the furnace. His lustering technique, with its iridescent effect, was the most important because it was his hallmark, used in many different wares. This involved dissolving salts of metallic oxides in the molten glass, so creating the chosen colors -- soft greens, blues, golds, etc. The metallic content was then brought to the surface by subjecting the glass to a reducing flame and spraying with another chloride. This treatment caused the surface to crackle into a profusion of tiny lines that refracted light. The skill of the blower was paramount in this, because Tiffany glass was free blown. Speed was necessary to achieve the desired effect before the molten glass cooled.

Tiffany Studios Lamps & Favrile Glass: Page 5 (click to enlarge)


Tiffany Favrile Glass Flower Form Vase. Height 13.25"


Tiffany Favrile Glass Jack in the Pulpit Vase. Height 22"

Tiffany Favrile Glass Adventurine Vase. Height 12"

Tiffany Favrile Glass Peacock Vase. Height 22.5"

Tiffany Favrile Glass Millefiore Vase. Height 6"

Tiffany Favrile Glass Paperweight Vase. Height 6"


Tiffany Favrile Glass Double Gourd Vase. Height 8.75"


Tiffany Favrile Cameo Glass Paperweight Vase. Height 5"

Tiffany Flower Form Favrile Glass Vase On Bronze Mount. Height 16.5"
Tiffany Lamps & Glass- Page 1   2   3   4   5   6
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Tiffany Favrile Art Glass

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Lamps of Tiffany


Great Art Glass Lamps
Art Deco: 1910-1939
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The Lamps of Tiffany
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