He was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman.

In 1879 he joined with Candace Wheeler, Samuel Colman, and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists.

After Tiffany had formed a partnership with Colman, Lockwood DeForest, and Candace Wheeler, and after having incorporated the interior decorating firm of L.C.

He had used commercial glass houses for 19 years to supply his Manhattan showroom and clients, but wanted to be fully in charge of production and design security.

As a youth Tiffany had attended the Flushing Institute, on Roosevelt Avenue between Main and Union Streets, where Macy's department store now sits.

[8][9] Tiffany was keenly aware of the area's potential and for his furnaces to succeed, he needed to hire the town's pool of experienced immigrant workers, who were then mostly Italian, German, and Irish.

[10] The factory was the old Tiffany Studios in Corona, Queens, at the southwest corner of 43rd Avenue and 97th place, where it was used to cast art sculptures of bronze designs for sculptors, and bronze architectural elements such as floor registers, door jambs, window casings, lamps, and sconces, most notably for Tiffany.

[5] The building had undergone a metamorphosis of name changes, beginning with the Tiffany Glass and Decorating Company, in 1892.

At the beginning of his career, Tiffany used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked.

"Tiffany's favrile glass vases were based on Venetian glassmaking techniques mixed with ancient Egyptian and Near Eastern inspirations.

[14] Since the common practice at the time was to limit female hires to unmarried status, Driscoll worked on and off on three separate occasions.

[18] He was among the most prominent and prolific designers: e.g., The Righteous Shall Receive a Crown of Glory (1901); Angel of the Resurrection (1904); The Prayer of the Christian Soldier (1919).

"During the twelve years they collaborated on jewelry, they maintained the practice of taking themes from Tiffany's glass, mosaics, and metalwork, creating jewels that women sought around the world.

[22] One notable example of their collaboration is the Peacock Necklace (circa 1906), designed by Louis Comfort Tiffany and crafted by Munson.

The necklace showcases opals, amethysts, sapphires, and demantoid garnets, all set in intricate cloisonné enamel on gold.

Mr. Tiffany bought in all the stock at par, paid all outstanding indebtedness—and the famous Glass business was closed forever.

"When the firm was obliged to disclose the names of individual workers to juries, as at the Paris World's Fair of 1900, it complied and, in fact, both Clara Driscoll and Arthur Nash as well as others received prizes.

"[5] "The documentary evidence shows that at two points in its early history, on June 26 and September 13, 1893, the Stourbridge Glass Company sought financing by issuing additional stock.

The new firm's most notable work came in 1882 when U.S. president Chester Alan Arthur refused to move into the White House until it had been redecorated.

In 1889, at the Paris Exposition, Tiffany was said to have been "overwhelmed" by the glass work of Émile Gallé, French Art Nouveau artisan.

The mosaics workshop, largely staffed by women, was overseen until 1898 by the Swiss-born sculptor and designer Jacob Adolphus Holzer.

[40] 1911 saw the installation of an enormous glass curtain fabricated for the Palacio de Bellas Artes in Mexico City.

As construction on the cathedral continued, the chapel fell into disuse, and in 1916, Tiffany removed the bulk of it to Laurelton Hall.

The church was Tiffany's place of worship, and was torn down in 1919 after the Metropolitan Life Insurance Company bought the land to build their new headquarters.

Tiffany had inserted a clause in his contract stipulating that if the church were ever to be demolished, then ownership of the windows would revert to him.

The church archives include designs for 4 additional windows which were never commissioned due to financial constraints caused by the Great Depression.

[54] When funds again became available, Tiffany Studios had gone out of business and its stockpile of glass had been dispersed and lost, ending the prospect of completing the set.

Between 1917 and 2018 the church featured a large Tiffany stained glass memorial to Frederick W. Hartwell that was created by Agnes F. Northrop[56] and entitled "Light in Heaven and Earth".

The complex work, considered "one of the largest and finest landscape windows ever produced by Tiffany Studios", largely was overlooked in the community.

The Haworth Art Gallery in Accrington, England,[59] contains a collection of more than 140 examples of the work of Louis Comfort Tiffany, including vases, tiles, lamps, and mosaics.