Treasures of Louis C. Tiffany, Including selections from The Garden Museum, Japan & Decorative Arts

Treasures of Louis C. Tiffany

Including selections from the Garden Museum, Japan and Decorative Arts

Saturday, April 12, 2014

Treasures of Louis C. Tiffany

Including selections from the Garden Museum, Japan and Decorative Arts

April 12, 2014, 1pm (Pacific Time) Preview dates:

Friday, April 4, 12pm - 5pm Saturday, April 5, 10am - 5pm Sunday, April 6, 9am - 5pm Friday, April 11, 12pm - 5pm Day of sale, beginning at 9am to the end of the Auction or by appointment Michaan’s Auctions 2751 Todd Street • Alameda, CA 94501 Phone #: (800) 380-9822 or (510) 740-0220 Fax #: (510) 749-7517 Inquiries: Allen Michaan (510) 227-2503 amichaan@michaans.com

View this catalog online at www.michaans.com.

Additional photos and condition reports available online.

Catalog Design by Andre Salcido Photography by Jeffrey Lee Text by Alastair Duncan and Allen Michaan Front Cover: Lot 1050 Back Cover: Lot 1082 Inside Front Cover: Lot 1069 Inside Back Cover: Lot 1070

COPYRIGHT NOTICE No part of this catalog may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Michaan’s Auctions.

Michaan’s Auctions bond # 71393954

Introduction This auction is the fourth in a series of sales which has brought a major portion of Japan’s Garden Museum Collection assembled by Takeo Horiuchi to the worldwide art marketplace.

The initial auction held here in Alameda, California, on November 17, 2012, included the sale of over a hundred Tiffany objects from that museum and set a record at that time for the highest grossing action ever held at Michaan’s Auctions. That record has since been surpassed as the auction house continues to grow.

The second act played out at Sotheby’s Paris on February 16, 2013, (which Michaan’s chose as the European venue for this particular sale) when the most important of the European Art Nouveau holdings of the Garden Museum Collection resulted in the highest grossing Art Nouveau sale in Sotheby’s history, the third installment occurred on May 18, 2013 here at Michaan’s Auctions.

The sale contained in this catalog features many selections from the Garden Museum Collection plus additional consignments.

In assembling this sale, an effort was made to create an exciting cross-section of Tiffany Studio’s artistry plus the inclusion of several pieces from Tiffany & Company. Most notable from that group is the important 8 piece beverage set in sterling silver designed by Edwin Moore in the Japanesque taste.

This catalog includes previously unpublished images that were reproduced from a collection of negatives in the Garden Museum Collection. Wherever possible, descriptive text concerning the objects from the Garden Museum Collection has been taken from the massive museum catalog, “Louis Comfort Tiffany, The Garden Museum Collection” by Alastair Duncan.

It has been an honor and a privilege for Michaan’s Auctions to bring this collection back to the domestic marketplace.

Sincerely, Allen Michaan

The “Anchorman Collection” custom built cases. Prior to being named the Garden Museum, Mr. Horiuchi called his collection the “Anchorman Collection”. He commissioned the creation of lavish velvet lined custom carrying cases for every lamp, vase, enamel, and other objects in his collection. With the exception of books, floor lamp bases, windows, tiles and paintings, each Garden Museum lot includes the custom-built Garden Museum case unless otherwise noted.

Many of the lamps have a separate case for the shade as well as the base.

These beautifully crafted storage and shipping units add to the special nature of these selections from The Garden Museum Collection.

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Tiffany’s home on Madison Ave.

A rare view of Louis C. Tiffany’s residence at the corner of Madison Ave. and 72nd Street in New York City.

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Lot 1001

Lot 1002

1001 Tiffany Favrile Glass Vase

1002 Tiffany Studios Blue Iridescent Turtleback Tile

The iridescent blue/green body is adorned with decorations of silver waves on the upper shoulder area.

Bears a paper label for the Tiffany Glass and Decorating Co. Height 6 3/4 inches, Maximum width 3 1/2 inches.

Estimate: $1,400 / 1,600

These tiles were produced at the Tiffany Studios for use in lamp shades and bases, mosaics, as desk paperweights and architectural embellishments.

Length 5 3/4 inches, Width 4 3/8 inches.

Provenance: The Garden Museum Collection, Matsue Japan.

This tile is pictured on page 219 of “The Louis C. Tiffany, The Garden Museum Collection� by Alastair Duncan, 2004.

Estimate: $400 / 600

1003 Tiffany Studios Pineneedle Jewelry Box

Finished in a dark green patina or finish (which does not appear to be original). The box is fitted with two velvet lined jewelry trays.

Unsigned.

Height 3 1/2 inches, Width 9 1/4 inches, Depth 6 1/2 inches.

Estimate: $500 / 600

Lot 1003

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1004 Tiffany Studios Watercolor Study For An Ecclesiastical Window Commission “Christ Blessing Little Children�

This large and colorful watercolor depicts a double lancet window of Christ along with three children and a young woman in a landscape with palm tree fronds behind Christ, a fruited tree is on the left, bushes and flowers are spreading out in the foreground.

Marked in pencil: Tiffany Studios, Mrs. F.P. Morris, Garden City, N.J.. Signed Louis C. Tiffany (in pencil script) also marked on rear 11228.

Height of Mat: 20 3/4 inches, Width 11 1/2 inches.

Height of each drawing 14 3/8 inches.

Estimate: $3,000 / 3,500

Lot 1004

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Lot 1005

Lot 1006

1005 Tiffany Studios Counterbalance Desk Lamp with Metal Shade

1006 Tiffany Studios Sundial Diameter 12 3/4 inches (32.5 cm.).

This piece is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it comes housed in a custom fitted museum carrying case. This piece is pictured on pg. 463 of “Tiffany Lamps and Metalware”, by Alastair Duncan, 2006.

Provenance: The Garden Museum Collection, Matsue, Japan.

The bronze base is finished in brown patina with green highlights with a “gooseneck” design on the portion between the counterweight bronze ball and the light socket. The Tiffany Studios metal shade in alligator finish in light gold dore has a silver interior reflective finish.

Base Impressed: “TIFFANY STUDIOS NEW YORK” 4487.

Shade Impressed: “TIFFANY STUDIOS”.

Shade Diameter 8 inches, Base Pad Diameter 5 inches.

Estimate: $3,500 / 4,500

Estimate: $1,800 / 2,200

Lot 1007 lit detail

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1007 Tiffany Studios Autumn Leaf Ball Lamp

The globe shade features an allover design of red, orange and green leaves against a background of semitransparent pale green and white glass.

Mounted on a bronze Tiffany Studios artichoke style base (as sometimes used for ashtray supports).

Base marked Tiffany Studios New York, 4243 also 438.

Diameter of Shade 10 1/2 inches, Height of Base to Shade lowest support 20 1/2 inches, Overall Height 31 inches.

Provenance: Butterfield & Butterfield 1970’s, A private Northern California Collector.

Estimate: $70,000 / 90,000

Lot 1007 shade in reflected light

Lot 1007

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1008 Tiffany Studios Red Decorated Vase

The depth and intensity of the red in this vase, identified as Samian Red in the firm’s literature, are highly prized by today’s collectors, drawing comparison to the sang de boeuf porcelain glazes of the Chinese Ming and Ch’ing dynasties.

Inscribed: L.C. Tiffany Favrile 2454L. Height: 9 7/8 inches, (25 cm).

This vase is pictured on pg. 240 of “Louis C. Tiffany, The Garden Museum Collection” Alastair Duncan 2004.

Provenance: John Mecum, Jr., Houston, Texas.

Sotheby’s, New York, October 3, 1992; lot 281.

The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

Lot 1008

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1009 Tiffany Studios Leaded Glass Window

Oriental Poppies. The delicate landscape of this window features a group of blood red oriental poppies rising above leaves and stems to be silhouetted against the sky of hammered glass. This window appears to be the third section of an original triptych installation. The other two panels are in the Smith Museum of Stained Glass Windows located on Navy Pier, Chicago, Illinois.

Dimensions (not including frame): Height 24 inches, Width 13 1/4 inches.

Estimate: $70,000 / 80,000

Lot 1009 detail in reflected light

Lot 1009

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1010 Tiffany Studios Desk Lamp with Molded Glass Favrile Shade

The shade is gold/brown with an unusual design of molded leaves in raised relief the iridescence with purple surface highlights on the upper sections of the shade. The shade is topped by a finial (not original) which covers a rim chip.

The decorated miniature library base features coiled wire embellishments rising from the mushroom shaped lower portion to the three arm shade support. All finished in a brown patina.

Base signed TG & D Co. Logo. Impressed: D942 “TIFFANY STUDIOS NEW YORK�. Shade signed L.C.T. Favrile on upper fitter.

Overall Height of Lamp 14 1/4 inches. Shade diameter 8 inches. Height of Base 10 1/4 inches to upper socket, Diameter of lower portion 4 5/8 inches.

Estimate: $8,000 / 10,000

Lot 1010

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The metal shop at Tiffany Studios

1011 Tiffany Studios Bronze and Abalone Platter

The large bronze platter in Dore gold finish is inset with 20 abalone discs embellishing the raised ornamented outer rim.

Underside Impressed: “TIFFANY STUDIOS NEW YORK� 1730.

Diameter 12 inches.

Estimate: $200 / 250

Lot 1011

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1012 Tiffany Studios Cabinet Vase

The squat bulbous body in yellow with blue iridescent highlights is decorated with an allover wave pattern in a light silvery iridescence. This piece closely resembles a cabinet vase marked A-Coll from Tiffany’s private collection which was sold in these rooms on May 18, 2013 as Lot 2034. It is identical in form and size to Lot 2034.

Signed on lower body near foot: LCT. Height 2 3/4 inches, Maximum Width 3 inches.

Provenance: Property of an East Coast Collector.

Estimate: $2,000 / 2,500

Lot 1012

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1013 Tiffany Studios Pottery Three-Handled Vase

Pottery wares at Tiffany Furnaces were frequently made from living models such as wild flowers and vegetables, which were sprayed with shellac until rigid and then electroplated with copper. These, in turn were made into the plaster of Paris molds in which the clay was pressed into its final form. Other themes included specimens of tooled leather, American Indian pottery and forms of marine life, such as octopi, algae and coral growths. To the public, pottery was the least readily identifiable of Tiffany’s mediums, and for that reason, in part, the least financially successful: Jimmy Stewart, a glassblower at Corona, later stated that a good deal of it was put out of sight whenever Mr. Tiffany was expected to visit the factory as the staff did not want him to know how little demand there was for it (see Albert Christian Revi, American Art Nouveau Glass, 1968, p.89).

The firm’s pottery was offered for sale from 1905 until around 1917, and therefore presumably remained in production for most of these years.

Height 6 1/4 inches.

Provenance: The Garden Museum Collection, Matsue Japan.

This vase can be found on page 458 of “Louis C. Tiffany The Garden Museum Collection,” Alastair Duncan, 2004.

Estimate: $10,000 / 12,000

Lot 1013

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1014 Louis C.Tiffany Paperweight Vase Inscribed L.C.T Y3300.

Height 12 1/2 inches (32 cm.).

This vase is pictured on pg. 262 of “Louis C. Tiffany, The Garden Museum Collection” Alastair Duncan 2004.

Provenance: Sothebys, New York, March 13, 1998, lot 323; The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 22,000

Lot 1014

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1015 Tiffany Studios Paperweight Vase

In the ‘paperweight’, technique, the decoration is encased in an outer layer of clear glass which serves both to magnify it and to protect it from damage such as chipping and bruising. The name derives from the process developed by 19th century French glasshouses, including Baccarat, St. Louis and Clichy, in their manufacture of paperweights, perfume bottles, doorstops, etc. These tiny objects of vertu inspired a revival in the technique during the Art Nouveau era in the Graal creations of Simon Gate and Edward Hald at Orrefors, Sweden, and in the intarsia works of Frederick Carder at Steuben in New York State. At Tiffany Furnaces, the technique was known as the Morning Glory technique (paper-weight is a recent generic term), in recognition of Tiffany’s watercolour sketch that inspired its creation.

Inscribed L.C.T. Y5617.

Height 4 inches (10 cm.).

This vase is pictured on pg. 257 of “Louis C. Tiffany, The Garden Museum Collection”, Alastair Duncan, 2004.

Provenance: Sothebys, New York, March 13, 1998, lot 326; The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 18,000

Lot 1015

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1016 A Tiffany Glass & Decorating Company, Mosaic Panel, “Head of San Andres” (Saint Andrew)

This mosaic panel repeats a detail of the last supper mosaic designed by Frederick Wilson in 1897 and installed in the First Unitarian Church of Baltimore.

The last supper mosaic, truly monumental in size, at a height of 9 feet and length of 18 feet was considered a major achievement for the Tiffany Glass & Decorating Company. So successful was this design that another version at 6 feet by 16 feet in size was created for the Chapel of Sanitarium apartment building in Clifton Springs, New York. An earlier version while quite different, was installed at the St. Pauls Episcopal Church Richmond, Virginia and measured a smaller 5 feet by 9 feet. A fourth variant can be found in Christ Church Rochester, New York which was, as well, designed by Frederick Wilson in 1902.

(It should be noted that the following lot in this sale is a Tiffany Studios depiction of The Last Supper in bronze and iridescent mosaic glass replicating Lorenzo Ghiberti’s Last Supper Depiction as found on the doors of the Baptistery in Florence, Italy.) This panel was created and displayed as a showroom sample for the Tiffany Studios and remained at that location until the liquidation sale of the bankrupt Tiffany Studios in 1932.

Provenance: The Tiffany Studios Showroom Display.

Tiffany Studios Bankruptcy Sale.

An early private Tiffany collector (purchased at bankruptcy sale), Lilian Nassau Gallery, Private Collection.

Published in The Mosaics of Louis Comfort Tiffany, Edith Crouch, Schiffer 2009 Page 153.

Louis C. Tiffany, The Art of Devotion page 144.

Tiffany Glass, A Passion For Color by Rosalind Pepall on page 62.

Exhibited: “A New Light on Tiffany: Clara Driscoll and the Tiffany Girls” at New -York Historical Society, 2007, Louis C. Tiffany, The Art of Devotion: Museum of Biblical Art, N. Y. Oct. 2012 to Jan. 2013.

The Flagler Museum, Palm Beach Fla. Tiffany Glass, A Passion For Color, Montreal, Canada and Richmond, Virginia.

Estimate: $80,000 / 100,000

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Lot 1016

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Lot 1017 detail

1017 The Last Supper, A Panel In Bronze & Mosaic Glass The bronze figures of Christ and His Apostles cast in high relief on a varicoloured iridescent mosaic glass ground. The panel is a replication of Lorenzo Ghiberti’s Last Supper, one of the twenty-eight panels of the life of Christ he completed for the doors of the Baptistery in Florence between 1403 and 1424.

Mosaic glass and bronze, early 1920’s, impressed lower right, LOUIS C TIFFANY FURNACES INC. TIFFANY STUDIOS NEW YORK ECCL. DEPT 2707.

Height 23 inches, Width 43 inches (58.5 x 109 cm.), including separate bronze stand.

This panel is pictured on pgs. 450 & 451 of “Louis C. Tiffany, The Garden Museum Collection,” Alastair Duncan 2004.

Provenance: Private collection, Havana, Cuba; The Garden Museum Collection, Matsue, Japan.

Estimate: $35,000 / 45,000

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Lot 1017

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1018 Tiffany Studios Saxifrage Candlestick

Like his contemporary, Emile Gallé in France, Tiffany drew artistic inspiration from the humblest species of meadow plants, such as the Wild Carrot, Queen Anne’s Lace and in this instance, an herb which grows in the clefts of rocks. Here, the plant’s seed pods have been fashioned with great delicacy into a candle bobeche supported by a slender stalk rising from a symmetrical band of leaves that fan out to form the foot. In this manner, a simple household appliance has been transformed into a refined work of art.

Underside Impressed: “TIFFANY STUDIOS NEW YORK” 11485.

Height 18 inches, Width of Base 8 7/8 inches Provenance: Property of Brooklyn New York Collector.

Estimate: $14,000 / 16,000

Lot 1018

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Lot 1019 detail

1019 An Important Early Tiffany Glass & Decorating Co. Table Lamp In the Moorish Style

Lot 1019 detail

Originally an oil lamp and since electrified. The shade is comprised of 48 elongated panels of twisted wire alternating between finely coiled circular designs and an open loop design. Each panel is backed by an individual leaded glass section of amber colored glass. The shade terminates in an upper crown embellished by 24 amber chunk glass jewels. The base features a highly elaborate Moorish style upper apron of fine twisted wire and bronze spheres covering the upper half of a large glass body blown from brown amber glass. This structure is supported by 8 “feet” that are fashioned from elaborately shaped purple iridescent turtleback tiles enclosed in bronze structures mounted on each side of each foot.

Overall Height: 20 1/2 inches, Diameter of Shade 18 1/4 inches, Maximum diameter of glass in base 10 1/2 inches.

Provenance: Property of a Southern California Lady (This lamp was acquired by a family member in the early 1950’s).

For a nearly identical example see figure 170 on page 50 of Tiffany Lamps & Metalware, Alastair Duncan 2006.

Please see fig. 37 on page 87 of Louis Comfort Tiffany, Artist of the Ages, Marilynn A. Johnson, for a view of the Bing Gallery, Paris, showing an identical lamp.

Estimate: $95,000 / 115,000

Lot 1019 detail

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Lot 1019

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1020 Red Turtleback Paperweight

The iridescent red turtleback tile has been set in an original Tiffany Studios bronze mount for use as a paperweight. The bronze mount has 4 raised feet on the underside and is finished in a brown patina with green highlights.

Underside Impressed: “TIFFANY STUDIOS NEW YORK” 935.

Length 6 1/2 inches, Width 4 1/4 inches.

Estimate: $1,400 / 1,600

Lot 1020

Lot 1021 1021 Tiffany Studios Pine Needle Pattern 3 Compartment Letter Rack and an Inkwell

The large three sectioned letter rack is finished in a dore patina (tarnished) on the bronze overlay sections backed by amber glass with white streaks. Plus a single compartment pine needle inkwell in gold dore finish with original clear glass insert over amber glass with white inclusions.

Letter rack underside impressed: “TIFFANY STUDIOS NEW YORK” 1007.

Inkwell underside impressed: “TIFFANY STUDIOS NEW YORK” 844.

Letter Rack: Height 8 5/8 inches, Width 12 5/8 inches, Depth 3 1/2 inches.

Inkwell: Height 3 3/4 inches, Width & Depth 3 7/8 inches.

Estimate: $500 / 800

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Lot 1022

1022 Tiffany Studios Chrysanthemum Covered Enamel Box

Unlike the vast majority of his enamelwares, in which the vitreous coloured paste was applied with a brush in a blended and totally naturalistic painterly manner, Tiffany has here utilised the medium’s traditional champleve technique (the word derives from champ, the French for field), in which the areas to be enamelled are etched or carved out of the base metal and then filled with powdered enamels that liquefy when heated in a furnace or kiln. There is a handwrought element to this piece, evident in the irregularity in some areas of the walls that separate the petals, that is uncharacteristic of Tiffany’s work, suggesting that it was of an experimental nature.

Enamel-on-Copper, c. 1905, inscribed SG 208 L.C.T. Height 2 1/2 inches (6.5 cm.).

This box is pictured on pg. 408 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $16,000 / 20,000

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Lot 1023

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Lot 1023 pitcher Pitcher: Height 10 7/8 inches, Width of Body 4 3/4 inches Weight: 50.09 Troy oz.

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Lot 1023 tray Tray size: 12 7/8 inches by 13 inches.

Silver 925-1000, Weight: 29 Troy oz.

Lot 1023 signature mark

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Lot 1023 pitcher reverse view

Lot 1023 drinking cup detail

1023 Tiffany & Co. Aesthetic Movement Silver Beverage Set in the Japanesque Style Comprised of a Tray, Pitcher, and Six Goblets, all fashioned of sterling silver.

The goblets are highly embellished with allover applications of dragonflies, flowers, snails, leaves, moths and grasshoppers plus a lower section of aquatic motif with water lilies, cattails and fish.

The pitcher is embellished with iris flowers and attendant leaves rising from an aquatic motif with leaping fish. As well there are bamboo shoots and leaves, two dragonflies in flight and insects on the handle and lid with a salamander on the lid preying on an insect.

The tray with an incised spiderweb emanating from the applied spider with a maple leaf and a large dragonfly apparently caught in the web.

Tray marked: Tiffany & Co. Makers, Sterling Silver 925-1000.

Each Goblet Marked: Tiffany & Co. Makers, Sterling Silver 925-1000.

Pitcher marked: Tiffany & Co. Makers, Sterling Silver 925-1000.

Tray size: 12 7/8 inches by 13 inches. Silver 925-1000, Weight: 29 Troy oz.

Each Goblet: Height 3 inches, Maximum Width 2 3/8 inches.

Goblet Weights: 4.655 Troy oz. 4.215 Troy oz. 4.365 Troy oz. 4.790 Troy oz. 4.830 Troy oz. 4.950 Troy oz.

Pitcher: Height 10 7/8 inches, Width of Body 4 3/4 inches. Weight: 50.09 Troy oz.

The Japanesque line of Tiffany & Co. silver and mixed metal pieces were designed

by Edward C Moore in the late 1870’s and early 1880’s and are highly prized by museums and collectors.

Estimate: $60,000 / 80,000

Lot 1023 drinking cup detail

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1024 Tiffany Studios Blue Geometric Table Lamp

The conical shade is comprised of pale blue mottled tiles with strong surface hazing on the glass to the interior of the shade. Mounted on a large “stick style” Tiffany base bearing 4 light sockets.

Base signed: “TIFFANY STUDIOS NEW YORK “ 532. Shade signed in metal tags “TIFFANY STUDIOS NEW YORK” 1493.

Overall Height: 26 inches. Shade Diameter 20 1/4 inches, Height of Shade 7 3/4 inches. Height of Base 25 1/2 inches.

Estimate: $8,000 / 10,000

Lot 1024

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Lot 1025

Lot 1026

1025 Pair Of Tiffany Studios Candlestick Lamps

1026 Tiffany Studios Bronze Candlestick Lamp With Jeweled Bobeche

An unusual matched pair of candlestick lamps with decorated rounded bases supporting the shafts decorated with a leaf motif and surrounded by rounded platforms supporting lamp sockets, camouflaged by free standing leaves. Finished in a brown patina with green highlights.

Each candlestick holds a gold Favrile tulip shade.

Each candlestick signed: “TIFFANY STUDIOS NEW YORK” 621.

Each shade signed: L.C.T. Diameter of bases 4 7/8 inches.

Height of bases 12 3/8 inches.

Height of shades 4 1/2 inches.

Provenance: A Southwestern collector.

Estimate: $5,000 / 6,000

The tall slender shaft rises from a round platform base decorated with a reeded motif. The shaft culminates in a bronze bobeche mounted with six iridescent Tiffany jewels and an original Tiffany switch in the position of the jewels. Overall, finished in a brown patina with green highlights.

Signed: “TIFFANY STUDIOS NEW YORK” 5977 435.

Height 17 1/2 inches, Diameter of base 6 1/2 inches.

Provenance: A Southwestern collector.

Please note: This lamp lacks a shade.

Estimate: $5,000 / 7,000

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1027 A Pair Of Printed Views From “The Art of Louis Comfort Tiffany�

These plates were among the archival material collection from The Garden Museum and are two of the interior views of Laurelton Hall. Presumably they were provided to Mr. Tiffany for his approval in the process of the production of his personal book which he printed for distribution to family and friends.

One view: Fountain Court in Laurelton Hall.

Second View: The Dining Room in Laurelton Hall.

Size of sheet 9 1/2 Wide by 12 1/2 inches High.

Fountain Court Size of Image 5 3/4 inches Wide by 7 1/2 inches High.

Dining Room Size of Image 8 1/4 Wide by 5 3/4 inches High.

Provenance: The Garden Collection Museum, Matsue, Japan.

Estimate: $150 / 200

Lot 1027

Lot 1027

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Lot 1028 1028 A Pair Of Printed Views From “The Art Of Louis Comfort Tiffany�

These plates were among the archival material collection from The Garden Museum and are two views of Laurelton Hall. Presumably they were provided to Mr. Tiffany for his approval in the process of the production of his personal book which he printed for distribution to family and friends.

One view: Fireplace in Laurelton Hall.

Second view: Exterior of Laurelton Hall as seen from Rock Crystal Fountain.

Size of Fireplace view page: 9 1/2 inches by 12 1/2 inches. Size of image 7 1/2 inches Wide by 6 inches High.

Size of Exterior view page: 9 1/2 inches by 12 1/2 inches. Size of image 7 3/4 Wide by 6 inches High.

Provenance: The Garden Collection Museum, Matsue, Japan.

Estimate: $150 / 200

Lot 1028

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1029 Milkweed Pod Enamel Vase

This enamel vase was designed by Julia Munson for the Tiffany Studios. Depicting the bursting pods of the milkweed plant with emerging blossoms all executed in brilliant iridescent enamel work.

Height 6 3/4 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

This enamel is pictured on page 425 of “Louis C. Tiffany The Garden Museum Collection,” Alastair Duncan 2004.

The original watercolor study for this enamel can be found pictured on page 424 of “Louis C. Tiffany The Garden Museum Collection,” Alastair Duncan 2004.

Estimate: $50,000 / 60,000

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Lot 1029

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1030 Louis Comfort Tiffany (American 1848-1933) Street Scene in Algiers Watercolor on paper 13 13/16 inches x 21 1/4 inches (35 x 54 cm.) c. 1880. unsigned Provenance: Julia Knox Wakeman Tiffany, daughter of the artist; Mary Parker Weaver Tiffany, granddaughter of the artist.

This painting is pictured on pg. 43 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $35,000 / 40,000

During his busy travel and exhibition schedule in the 1870s and 1880s, Tiffany made several trips to Spain, from where he crossed to North Africa. This composition provides a warm and intimate personal recollection of one of those visits in its depiction of a typical kasbah scene in the Algerian capital. In its subtle modulation of a narrow range of colors, the painting reveals the influence of Tiffany’s earliest mentor, George Inness, a tonalist who sought to evoke a poetic mood in his landscapes by the understated interplay of light and shadow. Here, the jumbled displays of fruit, baskets, woven fabrics, and the turbans of the passers-by, highlighted by the slanting rays of the sun, serve as jewel-like spot colors.

‘Rich in architectural design is “A Street Scene in Algiers,” with its groups of picturesque Arabs and fascinating shops with their goods displayed outdoors in the brilliant sunlight of the colorful tropics. It is an achievement to paint such a setting, obtaining the true values of color and the thousand-and-one tones in shadow, half shadow and cast shadow, produced in a climate of intense light.

In an analysis of this painting, we cannot but be impressed with the artist’s surety and knowledge in grasping the various requirements: the difficult lines of the archway, the perspective, the ornamental details- all beautifully drawn and rendered; but the really amazing feature is the attention to and correctness of detail in so many articles, each drawn with the same time, embodying that breadth of effect which melts into the whole, without disturbing insistence.’

Commentary on Street scene in Algiers by Rene DeQuelin, in ‘A Many-sided Creator of the Beautiful’, Arts and Decoration, 17 (July 1922), p.177.

A similar painting depicted in “Art of Louis C. Tiffany”

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Lot 1030

Lot 1031 in reflected light

1031 Tiffany Studios Peacock Chandelier

This very rare shade is almost entirely fashioned from Favrile “feather glass” which is usually seen only in the wings on angels of Tiffany church windows. While the angel wings are almost always fashioned in white opalescent glass, in this fixture the technique is applied to the creation of glass of the deepest and richest hues imaginable. The lush colors evoke the brilliant plumage of the peacock, one of Tiffany’s favorite natural motifs.

Unsigned.

Diameter 26 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

This lamp is pictured on page 329 of “Tiffany Lamps & Metalware,” Alastair Duncan, 2004.

Estimate: $250,000 / 300,000

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Lot 1031

Lot 1032

1032 Tiffany Studios Bronze And Favrile Glass Jeweled Hanging Planter

This planter is a rare form from Tiffany Studios and is fashioned in bronze with brown and green patina. The underside is embellished with an elaborate center acorn finial, from which six fancy “leaves” extend to the edges of the piece. The sides are adorned with 23 elongated Tiffany jewels in milky white.

Impressed “TIFFANY STUDIOS”.

Height from chain loop top to finial 19 3/4 inches, Height of planter 4 inches to bottom of finial, Diameter 6 3/4 inches, Interior Depth 2 1/8 inches.

Property of a New York City Collector.

Estimate: $5,000 / 7,000

Lot 1032 detail of underside

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1033 Tiffany Studios Bronze Table Lamp Base

The slender bronze lamp base in a green and brown patina rises from it’s ribbed bottom platform with an elongated body adorned by 6 raised ribs. The three arm shade rest is sized for a 10 inch shade and the base rests on four ball feet.

Signed: “TIFFANY STUDIOS NEW YORK” 401.

Diameter of Base 5 3/4, Height 13 3/4 inches.

Estimate: $1,800 / 2,000

Lot 1033

1034 Mausoleums

A promotional booklet published by The Tiffany Studios Copyright 1914. “Mausoleums” is one of a series of promotional publications given to prospective clients and is considered among the scarcest of these printings. The generously illustrated booklet shows a variety of Tiffany Studios products such as windows, bronzes, headstones and complete funerary structures that were an important part of their product line.

Height 9 1/4 inches, Width 6 1/2 inches.

Provenance: This book was part of the collection of Tiffany archival materials from The Garden Museum Collection, Matsue, Japan.

Estimate: $200 / 250

Lot 1034

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1035 A Bronze Raised Tazza In The Roman Style By Tiffany Studios

The round upper section is held by three stylized winged lions with paw feet all supported on a base pad comprised of a round center portion with support sections radiating to intersect with the paw feet.

Underside Impressed: “TIFFANY STUDIOS NEW YORK” c 5777.

Diameter 7 inches, Height 3 inches.

Estimate: $1,400 / 1,800

Lot 1035 detail

Lot 1035

1036 Tiffany Studios Enameled Table Lamp with Favrile Glass Shade

Relatively few enameled lamp bases were produced. An early example, with peacock feather decoration, was included in Siegfried Bing’s pavilion at the 1900 Exposition Universelle, from where it was acquired by the Danish Industrial Arts Museum in Copenhagen. The glass shade on this lamp incorporates a Murano crosshatched pattern executed in favrile glass.

Shade: Inscribed S 4545. Base: Enameled, impressed (later) SG 40.

Height 22 inches (56 cm.). Diameter of shade 16 inches (40.5).

This lamp is pictured on pg. 313 of “Louis C. Tiffany: The Garden Museum Collection” Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Lot 1036 detail

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Lot 1036

43

1037 Tiffany Studios Decorated Cabinet Vase

‘Decorated’ is an imprecise, if not mystifying, term used to describe Tiffany glassware that incorporates surface decoration only, including the threaded peacock feather and trailing lily pad motifs that adorn so many wares. The surface of all Tiffany art glass is, by definition, decorated, even if only iridised, yet while the expression is imprecise, it nevertheless persists in common parlance. Perhaps it is easier to explain ‘decorated’ glassware by what it is NOT: it is not a technique that has its own name, such as Agate, Cypriote or Aquamarine. In short, it seems to encompass any decorative finish that is not classifiable by another name. Tiffany’s hallmark iridescence followed the lustred wares popularised by Ludwig Lobmeyer in Vienna as early as 1873. The process was improved upon by Nash at Corona, where the salts of certain metals were dissolved into the glass object while it was still in a molten state. The object was then subjected to a reducing flame, which brought the metallic coating to the surface.

Finally, the surface was exposed in a fume chamber to vapours of tin and iron chloride which reacted with the metallic coating, causing the surface to dissolve into a multitude of microscopic cracked lines that provided high reflectivity. The formula was credited by Leslie H. Nash to his father, Arthur J. Nash, who, he wrote, kept it in a secret even from Tiffany, apparently to protect his job.

Unsigned.

Height 2 1/8 inches (6 cm.).

This vase is pictured on pg. 230 of “Louis C. Tiffany, The Garden Museum Collection” Alastair Duncan 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 5,000

Lot 1037

44

45

Lot 1038

Estimate: $100,000 / 150,000

Mosaic glass, depicting ‘Commerce’, this is one of four allegorical panels reputed to have come from a bank in New York State. The other panels depict a winged wheel, scales of justice and a medical staff, or caduceus. unsigned.

Height: 75 1/2 inches, Length: 151 inches (192 x 383.5 cm).

This mosaic is pictured on pg. 180 of “Louis C. Tiffany, The Garden Museum Collection” Alastair Duncan 2004.

Provenance: Allen Michaan; The Garden Museum Collection, Matsue, Japan.

See page 46 of Louis C Tiffany At The Metropolitan Museum for a view of a watercolor study for a related panel.

1038 Monumental Mosaic Panel by Tiffany Studios

1039 Madison Square Theater Original Program

The Madison Square Theater was a major early project for Louis C. Tiffany and associated artists as his firm was commissioned for the entire interior decoration treatment and collaborated with Thomas A. Edison who installed his revolutionary new electric lighting in the building. The main curtain was the work of Candace Wheeler, a member of Louis C. Tiffany and The Associated Artists group, and featured a highly elaborate naturalistic scene in embroidery. Sadly, nothing from this theater is known to have survived. This rare original program brochure beautifully illustrates the elaborate colorful treatment that was lavished on this interior. According to Candace Wheeler: “The curtain was a landscape effect rendered in textiles, including oak and birch trees, wisteria and yucca. All sorts of materials came into use, velvet and plushes for trees and great-leaved plants in the foreground, shadowy silks for perspective and bits of misty blue distanct iridescent stuffs of any material which would produce illusion or give the required effect ... Unfortunately, it took fire and went up in smoke before the season was over, but we replaced it with an improved copy.”

Dimensions: Height 6 1/4”, Width 5 1/8”

Estimate: $100 / 150

1040 A Group Of Ten Opalescent Glass Tiles Tiffany Glass & Decorating Company 1881

These tiles are representative of the prolific output of architectural embellishments marketed by Tiffany thoughout the early decades of his enterprises in interior decoration. Bearing the copyright date of 1881, they display some of Tiffany’s earliest creations in the new medium of American opalescent glass. Tiles of this exact form can be found in surviving Tiffany interiors such as The Mark Twain residence in Connecticut and the Veterans Room in the Seventh Regiment Armory in New York City.

Lot 1039

Estimate: $500 / 700

Lot 1040

46

1041 Tiffany Studios Small Floriform Vase

The minuscule and delicate vase in a fluted form features green pulled feather leafy designs against a creamy background all ascending from an applied circular base in greenish cream color. Subtle iridescence throughout.

Signed L.C. Tiffany Favrile 5109.

Height 8 1/8 inches, Width of Base 2 5/8 inches.

Estimate: $1,000 / 1,200

Lot 1042 1042 Tiffany Studios Floor Lamp With A Metal Shade

Lot 1041

The slender bronze standard rises from a tripod base with three stylized lily pad feet. The piece is finished in a deep brown patina with a green patina on the shade. (Please note: The three screws holding the shade are not original) Base signed on underside of one foot TIFFANY STUDIOS NEW YORK S209, also signed 403. Shade Impressed: TIFFANY STUDIOS 1414.

Height 54 1/4 inches, Diameter of Shade 10 1/4 inches.

Estimate: $1,500 / 2,000

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A Tiffany Studios photograph of a desk set with enamel highlights

1043 A Desk Set In “The American Indian Pattern”

10 pieces finished in dark brown patina with unusual red patinas in the incised areas. The ten pieces comprising of: - A Picture Frame 5 7/8 inches high by 7 7/16 inches wide. Rear marked “TIFFANY STUDIOS NEW YORK” 1187 and scratched beneath “529”.

- A Two Compartment Letter Rack 5 3/4 high by 10 7/8 wide. Impressed “TIFFANY STUDIOS NEW YORK” 1186 with scratched mark 568.

-A Two Compartment Letter Rack 4 1/2 inches high by 6 3/8 inches wide. Underside impressed “TIFFANY STUDIOS NEW YORK” 1193 with scratched mark ONF. - A Three Compartment Stamp Box 1 /3/4 inches high by 5 inches wide. Underside impressed “TIFFANY STUDIOS NEW YORK’1184 with scratched mark 1606.

- A Notepad Holder 7 1/2 inches high by 4 1/2 wide. The rear impressed ‘TIFFANY STUDIOS NEW YORK”1188 with scratched mark 310.

- A Letter Opener 10 1/4 inches in length. Top impressed “TIFFANY STUDIOS” 1189.

Please note: there are no red highlights in the incised areas of this piece.

- An ink blotter 5 5/8 inches long by 3 inches wide. Impressed “TIFFANY STUDIOS NEW YORK” 1191.

- A Paper Clip 1 1/4 inches high by 4 inches long by 2 3/4 inches wide. Underside impressed “TIFFANY STUDIOS NEW YORK” 1190 with scratched number 211.

- A Pen Tray 11 1/2 inches long by 3 7/8 wide. Underside Impressed:”TIFFANY STUDIOS NEW YORK” 1185.

- A Match Holder 3 7/8 inches high by 6 1/4 inches long by 3 1/4 inches wide. Underside impressed: “TIFFANY STUDIOS NEW YORK” 1194.

Estimate: $4,500 / 5,000

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49

Lot 1043

1044 Tiffany Studios Gold Iridescent Turtleback Tile

These tiles were produced at theTiffany Studios for use in lamp shades and bases, mosaics, as desk paperweights and architectural embellishments.

Length 5 3/4 inches, Width 4 3/8 inches.

Provenance: The Garden Museum Collection, Matsue Japan.

Estimate: $350 / 500

1045 Pair Of Tiffany Studios Tulip Shades

The Favrile glass shades with 2 1/4 inch fitter opening. The highly iridized gold bodies are decorated with pale green pulled feather design.

Each shade is signed L.C.T. Favrile.

Height 4 7/8 inches, Height second shade 5 1/4 inches.

Estimate: $2,500 / 3,000

Lot 1044

Lot 1045

50

51

Lot 1046 1046 Two Stem Glasses By The Tiffany Studios

The delicate pastel goblets each with outer pearly white finish and highly iridized glass interior luster. Note: These are not a matched pair as the base colors differ.

Height 5 1/4 inches each, Diameter of base 2 1/2 inches.

Estimate: $1,000 / 1,200

1047 A Favrile Glass Pastel Compote In Pink Opalescent Glass

The delicate reddish pink iridescent “onion skin� finish creates a lovely example of this form.

Signed L.C. Tiffany Favrile 1954 Diameter 6 1/4 inches, Height 2 inches.

Estimate: $1,400 / 1,600

Lot 1047

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Lot 1047 side view

Lot 1048 1048 Set Of Four Pine Needle Candle Lamp Shades

Four silvered bronze shades, each lined to the interior with red hued liners.

Each shade impressed: “TIFFANY STUDIOS” and “PAT APLD FOR”.

Diameter of each 5 1/8 inches, Height of each 3 inches.

Estimate: $400 / 600 1049 A Favrile Glass Stalactite By The Tiffany Studios

The Blown glass shade executed in greenish yellow is decorated with a pulled feather design originating at the lowermost tip and radiating towards the upper rim. The shade is held in a Tiffany bronze collar.

Shade marked S 125.

Height of Shade 10 1/8 inches.

Lot 49

Estimate: $2,000 / 2,500

Lot 1050 overview

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Lot 1050 under reflected light

1050 Tiffany Studios 22 Inch Peony Table Lamp On A Reticulated Bronze Base Shade: Impressed “TIFFANY STUDIOS NEW YORK” 1906 Price List: Model #1505, 22 in. Peony, $150. Base: Impressed “TIFFANY STUDIOS NEW YORK” 397 1906 Price List: Model #397, Library standard, 6 lights, cast stem, large, slide, $150 Amongst the firm’s most consistently popular lamp models, the Peony remained in continuous production from its debut around 1900 until the late 1920’s.

Height 27 inches. Diameter of Shade 22 inches Provenance: The Garden Museum Collection, Matsue, Japan.

This lamp is pictured on page 301 of Louis C. Tiffany’s Garden Museum Collection By Alastair Duncan 2004.

Estimate: $250,000 / 350,000

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Lot 1050

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Lot 1051

1051 Tiffany Studios Silver Mounted Cameo Carved Vase

The wild rose imagery on the glass is replicated in the openwork silver collar.

The Tiffany & Co. mount impressed TIFFANY AND CO. MAKERS STERLING SILVER, the glass inscribed L.C.Tiffany-Favrile 5402C. Diameter 5 7/8 inches (15 cm.).

This vase is pictured on pg. 246 of “Louis C. Tiffany, The Garden Museum Collection” Alastair Duncan 2004. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 22,000

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Lot 1052 1052 Tiffany Studios Favrile Decorated Vase

Decorated with vertical bands of double dot-like motifs, part of the Persian design series.

Inscribed L.C.T o1663.

Height 7 7/8 inches (20 cm.).

This vase is pictured on pg. 237 of “Louis C. Tiffany, The Garden Museum Collection�, Alastair Duncan, 2004.

Provenance: Minna Rosenblatt; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 10,000

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Lot 1053 shade under reflected light

1053 Tiffany Studios Peacock Table Lamp

Lot 1053 base detail

The Peacock was one of Tiffany’s favorite design motifs, often occurring in his stained glass windows, vases, and enamels. This line of peacock lamps mirrors the brilliant plumage found in the tail feathers of the peacock which are here artfully rendered in Favrile glass as well, the motif is carried through onto the bronze base which is only seen with this shade and is highlighted with iridescent favrile glass peacock feather “eyes.” This model is the largest version of the peacock table lamp. 1906 Price List: Model #224, Peacock, large, $115 [shade and base].

Shade: Impressed “TIFFANY STUDIOS NEW YORK”.

Base: Impressed “TIFFANY STUDIOS NEW YORK” 23923 Height 25 inches (63.5 cm.), Diameter of shade 18 inches (46 cm.).

This lamp is pictured on pg. 308 of “Louis C. Tiffany, The Garden Museum Collection”, Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

Lot 1053 base detail

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Lot 1053

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1054 Tiffany Havemeyer House Armchair

This armchair was created by the Tiffany Glass and Decorating Company, New York, early 1890’s; and designed by Samuel Colman. American white oak fumed with ammonia sulfide to highlight the graining, then layered with rosin and wax to provide a polished surface. Carved throughout with a Celtic-inspired design extending along the chair’s front and back legs, backrest, armrests, crestrail, stiles, seat rails, and stretchers.

Examination of this armchair, unrecorded until it emerged recently from a collection in Berlin, Germany, establishes that it was made in the same Tiffany workshops as the two other known examples. One formerly in the collections of the Louis C. Tiffany Garden Museum (and sold in these rooms in May 2013) and the second in the Metropolitan Museum of Art, New York, were part of the furnishings which Louis C. Tiffany, in collaboration with Samuel Colman, designed for the library in the residence of the sugar refinery tycoon, Henry O. Havemeyer, and his wife Louisine, at #1 East 66th Street, Manhattan, in the late 1880’s. This chair has the exact same massive dimensions as those two, and is nearly identical in construction: for example, the arched stretchers are mortised on the three chairs into the seat rail above and the stretcher below with an identical row of circular tenons, all approximately 1 cm in diameter and spaced equally apart. And whereas the two other examples have casters on their front legs, presumed original inset with a 2.5 cm. plate, this chair has evidence of identically-sized caster plates (now missing) on its front legs. In its Celtic ornamentation, this chair varies slightly from that on the other two, including the addition of punched detailing in the background areas to the relief carving, perhaps an element of “artistic license’ invoked by the chair’s carver to enhance the decorative effect.

The period illustration of the library in the Havemeyer residence, known as the Rembrandt Room as it housed the owners’ collection of Dutch masters (Architectural Record, January-March, 1892, n.p.), includes a complete view of one armchair and partial views of three others, indicating that at least four (and perhaps more) examples of the armchair were manufactured for the Havemeyer interior. It is plausible, therefore, that this example was part of the same commission. If so, it would in likelihood have been included in the auction of the home’s furniture and architectural elements conducted by Anderson Galleries, Manhattan, on April 22, 1930, less than a year after Louisine Havemeyer’s death.

By this reasoning, the armchair could have made its way into a Berlin collection at, or at some point following, the 1930 auction.

Samuel Colman(1832-1930) was a landscape artist who served as a mentor to L.C. Tiffany during his initial career as a painter, following which the tow came friends and occasional collaborators when Tiffany turned his energies in the late 1870’s to interior design and furniture manufacture. Colman worked on several Tiffany interiors during this period before retiring to Newport to concentrate on painting. A friend from the mid-1870’s also of Mrs. Havemeyer, whose interest in Chinese porcelains and textiles he shared, Colman came out of retirement in 1888 to work with his former associate on the Havemeyer commission. He is credited specifically with the designs of the furnishings in the residences library.

In her book The Proud Possessors, Aline B Saarinen provides a description of Colman’s role, “the furniture and the woodwork in the library were based on Viking designs and Celtic motifs. In order to stain the oak woodwork the exact color of a Japanese lacquer he admired, Mr. Colman invented a system of acid stinging that intrigued Mrs. Havemeyer so much she busily diverted herself for many years experimenting with it...” Colman repeated the scroll motifs that he designed for the carved detailing on the room’s mantel on the room’s frieze, stenciled wall papers, carved seat furniture, and quilted upholstery. Tiffany designed matching andirons and fireplace tools for the room’s hearth.

If the armchair was not part of the original Havemeyer commission, might it have been commissioned from the Tiffany workshop shortly after the Havemeyer interiors were completed in the Spring of 1892? This could explain its slightly modified construction, introduced by the cabinetmaker to refine the design of the Havemeyer prototypes. If so, might the purchaser have been German? In this, one can speculate that the armchair was ordered by the renowned Hamburg-born art connoisseur and dealer, Siegfried Bing (1838-1905) for a client of his. Bing is today known as the owner of the upscale gallery, L’Art Nouveau, which opened in December, 1895, at 22 rue de Provence, Paris, and which took its name from the modernist decorative arts movement which he helped sweep to fashionability at the fin-de-siecle. Well before this, in the 1880’s Bing had established showrooms in New York, London, and Berlin, through which to sell Oriental ceramics and textiles. Amongst his wealthy clientele and art world acquaintances in New York at the time were the Havemeyers, who, as established collectors of Oriental art, in 1894 purchased from his inventory a collection of Japanese textiles that they then donated to the Metropolitan Museum of Art. The business relationship and friendship that Bing cultivated with Tiffany at the

60

View of the Havemeyer library (known also as the Rembrandt room as it housed the family’s collection of Dutch masters) showing an example of the chair (lot 2007) to the left of a mosaic glass fireplace surrond. The designs for the furniture in the Havemeyer commission have been credited to Samuel Colman. same time was ultimately even more closely foraged and mutually beneficial: in the report he published in 1895 for the French government on his observations of current developments in American painting, sculpture, architecture, and the industrial arts, entitled La Culture Artistique en Amerique (Artistic America), Bing wrote glowingly of Tiffany’s multidisciplinary operation, “Tiffany saw only one means of effecting this perfect union between the various branches of industry: the establishment of a large factory, a vast central workshop that could consolidate under one roof an army of craftsmen representing every relevant technique: glassmakers, and stone setters, silversmiths, embroiderers and weavers, case makers and carvers, gliders, jewelers, cabinetmakers-all working to give shape to the carefully planned concepts of a group directing artist, themselves united by a common current of ideas”.

Bing toured the Havemeyer residence shortly after is completion and later wrote of its unifying impact on the viewer, “Art objects of the most far-flung origins are placed side by side, but the ingenious eclecticism responsible for these interiors has so skillfully combined disparate elements, integrating them so artfully, that we are left with an impression of perfect harmony”.

Bing returned to Paris around 1894 with a contract for the sole distribution of Tiffany wares in Europe and the British Isles, and the following year included 10 Tiffany windows in his display at the annual Salon du Champ-de-Mars. Between this time and him death in 1905, he continued to champion Tiffany’s achievements while selling a host of his artworks to numerous European museums, including, in Germany, those in Krefeld, Berlin, Kaisserslautern, Leipzig, Hamburg, and Nuremberg. Familiar with the Havemeyer armchair, Bing may well have commissioned an example of it from Tiffany for a private or institutional German client.

A copy of the wood analysis report and opinion letter from Margaret B. Caldwell may be found in the condition report on this lot posted at Michaans.com.

Bibliography: Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, New York, 1961, p. 18.

Robert Koch, Lois C. Tiffany Rebel in Glass, Crown Publishers, New York, 1964. pp. 72-75.

Robert Koch (introduction), Artistic America, Tiffany Glass, and Art Nouveau Samuel Bing, MIT Press, 1970, pp.3-4, 6, 146.

Gabriel P. Weisberg, Art Nouveau Bing Paris Style 1900, Harry N. Abrams, 1986, pp.34, 49.

Alice Cooney Frelinghuysen, et al.,Splendid Legacy: The Havemeyer Collection, exhibition catalogue, The Metropolitan Museum of Art, New York, 1993, pp. 176, 182, 196-197.

Louis C. tiffany: Meisterwerke des Amerikanischen Jugendstils, exhibition catalogue, Museum fur Kunst und Gewerbe, Hamburg, 1999, p. 69.

Alastair Duncan, Louis C. Tiffany The garden Museum Collection, Antique Collectors’ Club, 2004, pp.90-91.

The underside bearing a faded ink stamp, Fritz Hohenwald Berlin W15....39/49.

Note: F. Hohenwald was listed in a mid-20th Century Berlin business directory as a local upholsterer. Examination of this armchair, unrecorded until it emerged recently from a collection in Berlin, Germany, establishes that it was made in the same Tiffany workshops as the two other known examples.

Height 44 inches, Width 29 3/4 inches, Depth 27 1/2 inches.

Estimate: $50,000 / 75,000

Lot 1054

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1055 Tiffany Studios Flower Form Vase

This lovely vase captures the delicate elegance of Tiffany’s line of flowerform art glass. The thinly scalloped upper edges shine with iridescence.

Inscribed L.C.T. M5271 Height 14 inches (35.5 cm.).

Provenance: The Garden Museum Collection, Matsue, Japan.

This vase is pictured on page 225 of “Louis C. Tiffany The Garden Museum Collection”, Alastair Duncan 2004.

Estimate: $16,000 / 20,000

Lot 1055

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Lot 1056 1056 Tiffany Studios Winged Scarab Sconce

Molded and leaded Cypriote glass, with bronze mount impressed: “TIFFANY STUDIOS”. This spectacular object is unique amongst Tiffany’s lighting production and is the largest of his scarab creations. Equally beautiful in reflected light as in transmitted light the use of Cypriote glass in the wings creates a stunning effect.

Height 8 1/2 inches, Width 28 3/4 inches.

Provenance: The Garden Collection Museum, Matsue, Japan.

This sconce is pictured on page 326 of Louis C. Tiffany The Garden Museum Collection, Alastair Duncan 2004.

Estimate: $40,000 / 60,000

Lot 1056 reflectied light detail

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1057 A Printers Proof For “The Rose Window”

A Color Plate For “The Art Of Louis Comfort Tiffany”. A submittal dated 2/23/12 from the Electron Tint Engraving Co. to Mr. Tiffany showing the color separations for the plates for the Rose Window to be used in “The Art of Louis Comfort Tiffany.” This window is presently in the collection of the Morse Gallery of Art in Winter Park Florida. 7 pages including the cover.

Height 11 1/4 inches, Width 9 1/4 inches Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $250 / 300

Lot 1057

1058 A Printers Proof From The Electro Tint Engraving Co. For “The Tiffany Chapel,” A Color Plate For “The Art Of Louis Comfort Tiffany”

A submittal from the Electro Tint Engraving Co. to Mr. Tiffany showing the color separations for the plates to be used for this illustration in the “Art of Louis Comfort Tiffany”. This chapel has been restored and reconstructed and is on display at the Morse Gallery of Art in Winter Park Florida. Seven plates including cover.

Height 11 1/4 inches, Width 9 1/4 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $300 / 350

Lot 1058

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1059 Tiffany Studios Ruffle Edge Bowl in Favrile Glass

The gold iridescent bowl with blue and purple highlights is embellished with a ruffled edge.

Diameter 4 1/8 inches, Height 1 7/8 inches.

Estimate: $250 / 350

Lot 1059

1060 Tiffany Studios Tel El Armana Vase

A large bulbous vessel executed in a reddish brown Favrile glass decorated with a wavy iridescent triple line motif just below the upper lip.

Signed: 4556 G L.C. Tiffany Favrile.

Height: 10 1/4 inches Diameter of base: 4 1/8 inches.

Maximum diameter of body: 9 1/2 inches.

Provenance: A private collector.

Estimate: $2,000 / 2,500

Lot 1060

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1061 Tiffany Studios Geranium Table Lamp With An Arrowhead Bronze and Iridescent Favrile Glass Mosaic Base This shade is mounted on a superb example of a Tiffany Studios mosaic bronze lamp base. The Tiffany bases adorned with mosaic decorations are the most highly desirable and rarest table lamp base creations.

Shade: Impressed Tiffany Studios New York. 1906 Price List: model #1451, 16 inch Geranium, cone, $90. Base: Impressed on canister Tiffany Studios New York 147 and on the base Tiffany Studios New York 145. 1906 Price List: Model #145, Mosaic arrowhead, squat, $75.

Provenance: The Garden Museum Collection, Matsue, Japan.

This lamp is pictured on page 295 of “Louis C. Tiffany, The Garden Museum Collection�.

Estimate: $150,000 / 170,000

Lot 1061

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Lot 1062

Lot 1062 detail

1062 Set Of Twelve Tiffany & Co. Sterling Ice Cream Spoons In The Vine And Gourd Pattern Circa 1872 Each spoon with an acid etched ground with an entwining vine ripe with gourds in raised relief, the wide rimmed bowls with a gilt wash, each stamped TIFFANY & CO. STERLING. Total Silver Weight 8.75 troy oz; Length of each 6 inches (15.25 cm) Provenance: A Southwestern collector.

Estimate: $1,200 / 1,400 1063 Tiffany Studios Mushroom Table Lamp Base

The bronze base in green/brown patina having 3 light sockets on curved arms emanating from a ball shaped central hub atop a riser ascending from the three arm shade support all descending down a ribbed support and flaring out to a round bulbous mushroom lower portion.

Signed; TG & D Co. D713 and Impressed: “TIFFANY STUDIOS NEW YORK: Also impressed 11.

Maximum width of lower portion of base 8 1/2 inches, Height of Base 18 1/2 inches, Height to Shade Rest 14 3/4 inches.

Estimate: $3,500 / 4,000 Lot 1063

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1064 Silver Mounted Cameo Carved Vase

The chased wave and whiplash motifs on the mount are rendered in a vigorous Art Nouveau style uncharacteristic of Tiffany. ‘Many of the vases, bowls, jardinieres, scent-bottles, plaques, and many of the other decorative pieces had no other purpose than to be beautiful, were no less exquisite in their treatment and effect. Some were rich in blues and greens, and others in the russets and golds of autumn. Some were as opalescent as a soap-bubble, and almost as thin, while others were heavy with jeweled effects and rich with gold dust blown into the molten glass. Some were notable mainly in texture and shape, while others had added beauties imparted to them by carving, by cutting through one layer of glass down to another color, or by enrichments of metallic lusters.

Apart from any consideration of artistic design, which alone bespeaks painstaking efforts to attain perfection, the whole collection was an appeal to the aesthetic color sense. Herein lies one of the chief characteristics and beauties of the Tiffany ware: no matter how simple the design- nay, one may say, how formless

the shape- the rich opal effects of the material itself satisfies the requirements of taste. Every piece gives an almost infinite variety of beauties, since whatever be the effect by reflected light, it is utterly transformed by the transmitted light.

What at one moment or under one set of conditions seems as soft and scintillating as mother-of-pearl may at another moment or under a different set of conditions appear as roseate as a sunset.’

Contemporary commentary on Favrile glass by James L. Harvey in ‘Source of Beauty in Favrile Glass’, Brush and Pencil, January 1902, pp. 175-76.

The glass inscribed A1514 L.C.T., the mount stamped STERLING. Height 10 1/2 inches (26.5 cm.).

This vase is pictured on pg. 238 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 25,000

Lot 1064

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Lot 1065

1065 Silver Tiffany Studios Covered Box The box was probably produced at Tiffany & Co.’s Forest Hill factory.

Silver with repousse enamelled decoration, c. 1905. The octagonal lid with graduating bands of bosses, the outer band with raised turquoise enamelled squares.

Impressed TIFFANY FURNACES/STERLING/243.

Width: 4 3/4 inches (12 centimeters).

This box is pictured on pg. 440 of “Louis C. Tiffany, The Garden Museum Collection”, Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

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1066 Tiffany Studios Maple Leaf Table Lamp Shade: Impressed “TIFFANY STUDIOS” 1999. Base: Impressed “TIFFANY STUDIOS NEW YORK” S577.

Shade: 1913 Price List: Model #1999, 22 inch Maple Leaf, dome, $175. This lamp is pictured on pg. 300 of “Louis C. Tiffany, The Garden Museum Collection” by Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 100,000

Lot 1066

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1067 Tiffany Studios Favrile Flower Form Vase

The stiff depiction of the flower on its flat disc form foot, dates this piece to the firm’s earliest years of glass experimentation.

Inscribed L.C. Tiffany Favrile Height 10 1/2 inches (26.5 cm.).

This vase is pictured on pg. 213 of “Louis C. Tiffany, The Garden Museum Collection”, Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 10,000

Lot 1067

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A corner in Tiffany’s Studio

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Lot 1068 1068 Tiffany Studios Sketch For A Rose Window

Unidentified designer in the Tiffany Studios Window Department, watercolor on paper. The designer had to oversee every stage of a window’s production to ensure its faithful translation from sketch to finished work. After the initial colour sketch was approved first by Tiffany and then buy the customer, a full-scale cartoon was produced from which the glazier later assembled the window, and the other divided up with a special cutting knife to form the templates with which the glazier cut the individual panels of glass. Along the way, the designer had to oversee the selection of the glass, made by a coloururist, to ensure that it matched his intended palette; if the correct hue or texture could not be found in the racks, a special batch of glass needed to be prepared. In all this, Tiffany’s indefatigable enthusiasm, embodied in his daily exhortation that ‘infinite endless labor makes the masterpiece’, proved infectious to his staff.

Length 3 inches, Width 4 1/2 inches (7.5x11.5 cm.)

Provenance: Liquidation Sale, Tiffany Studios, 1930’s; Vito D’Agustino; The Garden Museum Collection, Matsue, Japan.

This drawing is pictured on page 148 of Louis C. Tiffany The Garden Museum Collection, Alastair Duncan 2004.

Estimate: $3,000 / 5,000

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Lot 1069 with reflected light

1069 Tiffany Studios Landscape Window

Although described in recent literature as a View from Laurelton Hall, the details in this window, including the columned foreground and contours of the distant hills do not correspond to any known vista from Tiffany’s residence.

According to a previous owner, the window was discovered in New Jersey, which corresponds to the origin of an almost identical composition offered at auction (see “Important Works of Art by Louis Comfort Tiffany” auction catalogue, Sotheby’s New York, 2 December, 2000, lot 617), that was removed from a church in Hoboken. It should be noted that the related panel is now in the collection of the Driehaus Museum, Chicago. It is likely that the view in the window replicated that from the house where the window was to be placed, a request made by some of Tiffany’s customers.

Length: 58 inches, Height 30 1/4 inches.

Provenance: Collection of Stuart Pivar, The Garden Museum, Collection, Matsue, Japan.

This window is pictured on Pages 162 & 163 of Louis C. Tiffany The Garden Museum Collection, Alastair Duncan 2004.

Exhibited : Louis Comfort Tiffany and Stanford White and their Circle, Nassau County Museum of Art, Roslyn Harbor, New York, 1999.

Estimate: $250,000 / 275,000

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Lot 1069

1070 A Large And Important Tiffany Studios Enamel Vase Depicting Flowering Sumac

Enamel-on-copper, c.1900, impressed Louis C. Tiffany SG 77 and inscribed s/c 453/110. Among the most exquisite products of the Tiffany enamels are pieces meant to hold flower pots or cut flowers. Besides these warm and resplendent enamels the tones of old Limoges ware look formal and cold. The designs are commonly flower motifs which recall Mr. Tiffany’s paintings of roses, rhododendrons and peonies. They reflect the pleasure which the artist takes in color analogous in music to the notes of the cello.

Next to the structure of the design is the color scheme in these and a hundred other pieces. Long practice in selecting glass for windows trains an artist to a certainty of eye which makes him instantaneous in his judgment. He does not require a rule of color adjustment; it is more like an instinct. This allows the master to get through a vast quantity of work in a given time. Mr. Tiffany has his helpers so well trained that he needs to devote but a few hours a day to enamels and jewelry.

It is through his study of flowers a painter interspaced in nature and his delight in the growing of flowers that he has come to many happy adaptations of flower forms in enamel work and stained glass. Insect life and marine forms have suggested other combinations of lines and masses, hues and shades. He has followed the bidding “reach boldly out and grasp the life about you” as we may paraphrase one of Goethe’s best known verses, and taken advantage of the endless wealth of precept and suggestion that lies around us in air and water and earth, in all vast, teeming bosom of nature.’

Height 11 1/2 inches (29 cm.)

Provenance: The Garden Museum Collection Matsue, Japan.

Estimate: $80,000 / 100,000

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Lot 1070

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1071 Tiffany Studios Dogwood Table Lamp

Bearing a design of allover dogwood blossoms in white and pale pink against a background of green confetti glass throughout. On a bronze base with green brown patina of stylized interlocking leaf petals in two sections rising from a rounded 8 1/2 inch base plate.

Shade impressed on metal tag “TIFFANY STUDIOS NEW YORK”. Base is impressed “TIFFANY STUDIOS NEW YORK” 566.

Height of lamp including finial is 23 inches.

This lamp was acquired by The Garden Museum after the publication of “Louis C. Tiffany, The Garden Museum Collection”, and is therefore not pictured.

It is however housed in a custom built museum case.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 1071

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Untitled photograph presumably taken by Tiffany on a European trip, inscribed in his album, “Market in Dol, Aug. 3�

1072 A Painting By Louis Comfort Tiffany, Market Scene in Geneva

Watercolor on paper, 1874, signed and dated lower right, Louis C. Tiffany Geneva Aug. 30, 74. This market scene is typical of most by Tiffany in its placement of the vendors and their wares in the foreground of a town square. Characteristic also is his depiction of the figures with their faces turned downward or away from the viewer, both means whereby he did not have to define their features. Tiffany never achieved the academic ideals of draughtmanship - that an artist be able to draw and model precisely -either in his initial instruction in classes at the National Academy of Design (1866-67) and under George Inness or later, in the atelier of Leon Charles Adrien Bailly (1827-77) in Paris.

Portraiture and the anatomy-the latter determined by an artists ability to present fully -rounded three-dimensional forms and to balance the proportions of the limbs and torsos in his figures-therefore remained potential weaknesses in his oeuvre, and which he circumvented whenever possible.

Length 20 inches, Width 13 1/2 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

This painting is pictured on page 40 of Louis C. Tiffany The Garden Museum Collection, Alastair Duncan 2004.

Estimate: $30,000 / 40,000

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Lot 1072

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Lot 1073 appears in this archival photograph of a display at Tiffany Studios

1073 Tiffany Studios Watercolor Study Of Morning Glories

Painting of paperweight vases by Leslie H. Nash.

(This painting was sold as lot 101 on November 17, 2012 at Michaan’s Auctions.)

This sketch provides a key to the ease with whichTiffany straddled the tradition barrier between the fine and applied arts- that of the artist and craftsman- at a time when they were still strictly delineated. Here, on a flat plane, the decoration for a three-dimensional object has been laid out in the conventional manner employed by glass and porcelain designers for a decorator to follow as he or she transposes it on to the curved surface or the work at hand. There is one important distinction, however: the decoration in this instance was to be replicated within the surface of the work. Leslie H. Nash traced the introduction of the Morning Glory technique in his unpublished memoirs to this sketch: ‘One morning he (Mr. Tiffany) brought a watercolor painting of a spray of Morning Glories, and smiling as he went out, said “Try these with your new glass”. We did, and with fair results.

These experiments cost about 12,000.00 , and about twelve pieces were finally made The price was $1000.00 each....It was named “Morning Glory Glass”.

I may say, that no flower that I can think of, could offer a more difficult problem’. Nash Archives.

Watercolor on paper, signed and dated, Louis C. Tiffany Oct 1913.

Length 22 5/8 inches. Width 21 3/8 inches.

Exhibited: Masterworks of Louis Comfort Tiffany,Traveling Japanere Exhibition.

Pictured on page 57 of “Masterworks of Louis Comfort Tiffany”.

Pictured on Page 31, figure 21 and also figure 98 on page 83 of “Louis C. Tiffany’s Glass-Bronzes-Lamps” Robert Koch 1971.

This drawing can be found on page 258 of Louis C. Tiffany The Garden Museum Collection, Alastair Duncan 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $35,000 / 45,000

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Lot 1073

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1074 Tiffany Studios Table Lamp Base

The bronze base, finished in brown patina, is fitted with a three arm support for a 12 inch shade. The central urn shaped body is held by 4 ribs terminating in a paw feet resting on a circular pad with a beaded border.

Signed with TG & D Co. Logo and Impressed: “TIFFANY STUDIOS NEW YORK� 23563.

Height of Base 12 3/4 inches, Diameter of Base Plate 6 inches.

Estimate: $2,000 / 2,500

Lot 1074

1075 Tiffany Studios Turtleback Tile Chandelier with Dichroic Glass Although not pictured in Louis C. Tiffany The Garden Museum Collection by Alastair Duncan 2004, this chandelier was a later acquisition by Mr. Horiuchii for his museum collection. Pictured in Tiffany Lamps and Metalware, Alastair Duncan, 2006 Page 251.

The color of the glass is a rich creamy yellowish off white in reflected light and transforms into a warm reddish orange when illuminated.

Signed on Interior of Shade Alongside Turtlebacks (2 Tags) TIFFANY STUDIOS NEW YORK. Height of Shade 12 inches (to top of upper ring).

Diameter of Shade 30 1/2 inches.

Provenance: The Garden Museum Collection, Matsue Japan.

Estimate: $60,000 / 80,000

Lot 1075 under reflected light

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Lot 1075

1076 Tiffany Studios Tulip Cluster Table Lamp

This lamp is especially rare due to its placement on a bronze base with elaborate tooling creating a swirling pattern of openings through which green glass was blown.

The paring of this very desirable base with the beautifully colored tulip shade results in a stunning combination.

Shade: 1906 Price List: Model #1454, 16 inch Tulip Cluster, dome, $75.

Shade: Impressed “TIFFANY STUDIOS NEW YORK “ 1454.

Base: Bronze with blown glass, base and canister with impressed Tiffany Glass and Decorating Co. Logo, the canister also impressed “TIFFANY STUDIOS NEW YORK “ 866.S. Height 23 inches (58.5 cm.) , Diameter of shade 16 inches (40.5 cm.).

This lamp is pictured on pg. 281 of “Louis C. Tiffany, The Garden Museum Collection” by Alastair Duncan, 2004.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 90,000

Lot 1076

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Lot 1077

1077 “The Artwork of Louis C. Tiffany” Charles de Kay Published by Doubleday, Page & Co., New York, 1914 One of the 10 special edition copies of de Kay’s book, printed on Japanese parchment. Due to the parchment’s bulkiness- because of its translucency the text was printed on one side only of each page- the cover was provided with a pair of gilt-bronze clasps to prevent the pages from fanning out. Printed on parchment, the cover in painted and gilded cardboard with embossed block design, and two clasps, limited edition of 10. 13 inches x 10 inches.

Estimate: $30,000 / 35,000

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Lot 1078

Lot 1079 1078 Tiffany Studios Favrile Glass Flower Bowl with Frog

This is an unusually fine example of this form. The highly iridized interior of gold with delicate vines is aglow with purple and blue highlights and evokes the strong impression of a Cypriot quality glass. The leaves which are usually simply flat and colored in the making are here executed in the cameo cut technique, which imparts a special quality to the bowl.

Bowl marked: 159 L L.C. Tiffany Favrile.

Frog marked: L.C. Tiffany Favrile 6303K. Frog: Height 3 inches, Diameter 3 1/8 inches.

Bowl: Height 2 3/8 inches, Diameter 14 1/4 inches.

Provenance: A private collector in Northern California.

Estimate: $3,000 / 3,500

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1079 Tiffany & Co. Bronze Pen & Inkwell Set With Favrile Glass Mounts

This large and imposing bronze desk piece integrates two inkwells, along with a pen tray. The decoration is of classical medieval motifs incorporating two free standing griffins with raised paws and two pairs of ornate columns with capitals and fancy overall design. This piece is unusual in that it incorporates an iridescent Favrile glass globe atop each inkwell hinged cover as well as three highly iridized Favrile tiles inset into the rear raised portion and framed by the columns.

Impressed: “TIFFANY & Co.� 1093.

Height 6 5/8 inches, Width 12 inches.

Estimate: $2,000 / 2,500

Lot 1080

1080 Tiffany Studios New York 20� Leaded Glass Acorn Hanger

The shade is comprised of green and green with white segments enclosing a band of acorns executed in mottled pale yellow glass. This lamp was originally created as a hanging shade, but has been modified for use as a table lamp with the removal of the three hanging hooks on the inside edge. The lamp retains its turtleback tile hinged element at the aperture. (Fastening pin not original).

Unsigned.

Provenance: Property of a California Family.

Estimate: $10,000 / 12,000

Lot 1080 hinged turtleback tile element detail in reflected light

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1081 Tiffany Studios Double Student Lamp With Red/Purple Leaded Acorn Shades

The adjustable double student base in gold dore finish holds two identical leaded shades of green acorns set against a deep reddish purple background The upper collars of the shades are finished in matching gold dore and the leading on the shades has as well been patinated with dore finish.

Overall a very colorful and impressive student lamp.

Base marked with TG & D Co. logo and “TIFFANY STUDIOS NEW YORK “28600 One shade bears tag: “TIFFANY STUDIOS NEW YORK.” Height of Base 25 1/2 inches, Diameter of Base Lower Pad 7 inches, Each Shade Width 10 3/16 inches by a Height of 5 1/2 inches.

Estimate: $12,000 / 14,000

Lot 1081 shade in reflected light

Lot 1081

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Estimate: $85,000 / 100,000

The large conical shade is covered with Dogwood blossoms rendered in mottled white Favrile glass against a background of confetti glass and green leaves. Both the upper and lower borders of this shade are decorated with a beaded bronze trim. Please note: This chandelier lacks hanging hardware.

Bears metal tag on interior: “TIFFANY STUDIOS NEW YORK�

Diameter 26 inches, Height of Shade 9 3/4 inches.

1082 A Dogwood Chandelier By The Tiffany Studios

Lot 1082 interior of shade in reflected light

Lot 1082

Lot 1082 shade in reflected light

1083 A Blue Favrile Glass Vase By The Tiffany Studios

In iridescent peacock blue, the urn shaped vase flares out to a shoulder which then reduces to an upper section.

In allover high blue purple iridescence.

Signed L.C.T. Favrile Inc. 4036M. Height 5 3/4 inches.

Estimate: $2,750 / 3,250

Lot 1083

1084 A Tiffany & Co. Bronze Table Lamp Base

The bronze base in a brown patina is signed Tiffany & Co., but bears many similarities to those produced by Tiffany Studios. The base rests upon an eight lobed pad and which meets at the slender central shaft which widens for a portion and then diminishes in size to support the triple socket arrangement with acorn pulls, on the three original Hubbell sockets. All surrounded by the original final cap.

Base signed with fabric label Tiffany & Co, Paris, New York, London.

Height to tip without finial 22 1/4inches, Diameter of 8 inches.

Estimate: $2,000 / 2,500

Lot 1084

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Lot 1085

1085 Intaglio Carved Trumpet Vase By Tiffany Studios

The Favrile glass vase with a ribbed inverted saucer applied foot base which supports the tall flaring trumpet body, is finished in gold iridescence with strong flashes of pink and green around the foot. The vase is decorated with a band of fine Intaglio carved grape leaves encircling the inside of the rim with additional engraving around the outer section of the upper portion.

Signed L.C. Tiffany Inc., Favrile 1537-4898N. Height 16 inches.

Estimate: $,3750 / 4,250

Lot 1086

1086 Steuben or Quezal Vase On A Bronze Base

The tall elongated gold iridescent glass body measures 5/16 inches in diameter at the bottom and slowly flares out to a maximum width of 2 1/2 inches at the upper ruffled edge. The base is of bronze with a brown patina and features a cast design of birds in flight circling the raised central shaft which holds the glass portion.

Base signed Griffoul. Copyright 1916. (Unreadable word) Bronze.

Overall height 18 7/8 inches. Height of Base 2 7/8 inches, Width of Base 3 7/8 inches.

Estimate: $1,200 / 1,400

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1087 A Floriform Blue Vase By The Tiffany Studios

The small peacock shaped Favrile vase with iridescence has a ruffled upper rim and deep purple interior iridescence shading to deep blue in the upper sections.

Signed L.C. Tiffany Favrile 4945E. Height 4 1/4 inches

Estimate: $2,500 / 3,000

Lot 1087

1088 Two Quezal Bowls With Underplates

Each bowl features a green pulled feather design with gold iridescent trim against a creamy white background.

The interior of each bowl glows with rich gold iridescence having strong blue and purple highlights.

The underplates with creamy white iridized glass on the bottom and brilliant gold iridescence on the top sections with strong multicolored highlights.

Bowls signed: Quezal B-551, Quezal B-564.

Underplates signed: Quezal B-539, B-529.

Estimate: $2,800 / 3,250

Lot 1088

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1089 A Quezal Vase

The diminutive flower form vessel is decorated with green and white pulled feathers ascending to a ruffled and rolled rim. The interior having brilliant gold iridescence with strong pink and blue highlights.

Signed in the pontil, Quezal p 61.

Height 5 1/2 inches.

Estimate: $2,500 / 2,750

Lot 1089

1090 A Large Quezal Shade

The iridescent gold shade for a lamp using a 2 1/4 inch fitter has purple highlights, vertical ribbing and a flared edge. Lovely iridescence throughout.

Signed: Quezal on upper fitter rim.

Height 5 1/2 inches, Diameter 7 1/2 inches.

Estimate: $600 / 800

Lot 1090

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Lot 1091

1091 A Gold Iridescent Vase By Nash

The tapered vase with footed base in allover gold iridescence and strong rose colored highlights on interior surfaces is adorned with relief decoration in the glass.

Signed: Nash 649 Height 5 3/4 inches.

Estimate: $1,200 / 1,400

1092 “Abandoned Orchard�

A Painting In Glass By Steve Stelz

In the Pate De Verre technique. This recent work by Steven Stelz is rendered in powdered glass which is fired onto a ceramic substrate, resulting in a depth and luminosity which can never be attained through paints. Depicting a favored subject of the artist, the abandoned orchard is overgrown with weeds and depicts fruit trees in partial bloom. Please note: A related work by Mr. Stelz depicting an abandoned orchard was sold in these rooms as Lot 2129 on May 18, 2013.

Height of Image 17 1/2 inches., Width of Image 23 1/2 inches, Height including Frame 24 1/2 inches, Width including Frame 30 1/2 inches.

Estimate: $6,000 / 8,000

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Lot 1092

1093 A Pate De Verre Lamp In The Pine Cone Motif

By Steven Stelz

This lamp is a recent creation by New Jersey Glass artist Steven Stelz. He has resuscitated the art of Pate De Verre and expanded that technique into the creation of a line of table lamps in this art form. In this example the domed shade is embellished with realistic tree branches from which full bodied pine cones hang. When lighted the shade displays a border of realistic pine needles contained in the glass. The pottery base continues the pine cone motif with branches and pine cones executed against a dark green glazed background.

Shade signed “Stelz� in relief. Base signed - Stelz Studios (Impressed mark) and also impressed: Peace Valley Tile, New Britain, PA. Overall Height 20 inches, Diameter of shade 12 1/4 inches.

Estimate: $5,000 / 7,000

Lot 1093

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1094 A Dragonfly Pate De Verre Lamp

By Steven Stelz

Another creation in the Pate De Verre technique by Steven Stelz. In this lamp, the ever popular motif of dragonflies is realistically rendered in high relief glass. Three large dragonflies occupy the deep brown shade and when illuminated, there appears internal grasses inside the glass.

The shade is executed in allover watery ripples which impart a magical aquatic feel. The base is formed of brown pottery textured to evoke the bark of a tree.

The shade is signed “Stelz”. The base impressed: “Stelz Studios” and further impressed: Peace Valley Tile, New Britain, PA. Diameter of Shade 12 1/2 inches. Overall Height of lamp 20 inches.

Estimate: $5,000 / 7,000

Lot 1094

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Now seeking consignments for our 2014 Asian Works of Art Auctions.

Inquiries: Harry Huang Specialist (510) 227-2535 harry@michaans.com Kim Jee Manager (510) 227-2511 kim@michaans.com

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2.

3.

4.

An Exceedingly Rare and Important Soapstone Figural Carving, 18th Century, dated by inscription to 1750 Sold for $2,235,000 A Gilt-Bronze Figure of Avalokiteshvara Sadaksari, 17th/18th Century Sold for $18,880 Qi Baishi (1864-1957): Rabbits Under Osmanthus Tree, Ink and color on paper Sold for $379,000 Two Jade Double Gourd-Form Pendants Sold for $106,200

(510) 740-0220 • www.michaans.com • 2751 Todd Street, Alameda, California 94501

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Now seeking consignments for our fall Arts and Crafts Auction.

Inquiries: Lee Jester Specialist in Charge lee@michaans.com (510) 227-2548

1. Rare California Faience University California, Berkeley Tile, Sold for $1,298 2. Authur Mathews Music Cabinet, Sold for $212,400 3. Lifetime Morris Chair with Leather, Sold for $2,360 4. Grueby 22 inch Floor Vase, Sold for $12,980 3. Van Erp Picture Frame, Sold for $3,245

(510) 740-0220 • www.michaans.com • 2751 Todd Street, Alameda, California 94501

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by Buyer as well as retain any and all Property of

Buyer in our possession as security against payment of the sums in default, or we may re-offer the Property for sale, at auction or privately, without reserve. Buyer shall be liable to us and the Consignor for the additional fees, commissions and costs on both sales (including handling, storage and court costs and attorney’s fees) resulting from the cancellation or resale of the Property and in the event of resale, any deficiency which may result.

RESCISSION The sole and exclusive remedy, available only to the original buyer, is the limited right of rescission set forth herein. MA will cancel the sale of Property if the original buyer establishes to our satisfaction that there has been a breach of the Consignor’s warranty of title, or that the identification of Authorship* of the Property as set forth in Bold Type Heading is not substantially correct, based on a fair reading of the Catalogue (as may be amended by posted or announced changes.) IN ALL INSTANCES, YOU MUST GIVE WRITTEN NOTICE TO US WITHIN 30 DAYS OF THE SALE OF THE PROPERTY, SETTING FORTH THE BASIS FOR YOUR CLAIM AND, AT YOUR SOLE EXPENSE AND RISK, RETURN THE PROPERTY IN QUESTION TO MA WITHIN SEVEN (7) DAYS AFTER NOTICE IS GIVEN AND IN THE SAME CONDITION AS WHEN SOLD. Upon review of the claim and the property, if we are satisfied with the bases for your claim and the property is in the same condition it was in when sold, MA will rescind the sale and return to you the Purchase price, unless we have already remitted funds to the Consignor. In that event, and at MA’s sole discretion, MA shall either pay you as provided above, or shall pay you only that portion of the Purchase price retained by us (the Seller’s commission, the buyer’s premium and any sales taxes collected) and on your behalf make demand on the Consignor for the balance and upon receipt of the funds remit same to you. Should the Consignor refuse to return the funds to you or to MA, we shall disclose the Consignor’s identity and assign to you any and all rights MA may have against the Consignor. Any and all liability MA may have as agent for the Consignor shall thereupon terminate.

BUYER EXPRESSLY UNDERSTANDS AND AGREES THAT MA SHALL HAVE NO OTHER LIABILITY TO THE BUYER EXCEPT FOR THE RETURN OF THE PURCHASE PRICE AND THAT IN NO EVENT SHALL MA BE LIABLE FOR ANY DAMAGES, INCLUDING BUT NOT LIMITED TO INCIDENTAL, CONSEQUENTIAL OR COMPENSATORY DAMAGES OR LOSS OF PROFIT OR BUSINESS OPPORTUNITY. *Authorship refers to the maker or creator of the Property, and the period, social culture, and origin of the Property as stated in the Bold Type Heading for a given lot in our catalogue. It does not refer to the descriptions which may be contained in the information below the Bold Type Heading.

MISCELLANEOUS a. Modification: No modification or amendment of the Conditions of Sale shall bind MA unless contained in a writing signed by MA, except as may be posted or published as noted above or verbally announced at time of sale. b. Severability: If, for any reason, any part of the Conditions of Sale is held to be invalid or unenforceable, the remaining portion shall be valid and enforceable. c. Successors and Assigns: The Conditions of Sale shall be binding on all the heirs and assigns of the Buyers and bidders and inure to the benefit of MA’s succes-

sors and assigns. d. Jurisdiction, Venue, Choice of Law: Dispute resolution shall occur in Alameda County, California, USA. The provisions of the Conditions of Sale will be construed and disputes determined by application of California Law, without regard to conflicts of law. e. Notice, Service of Process: Buyers agree to accept all notices and service of process relating to dispute resolution at the address provided by Buyer on any registration forms required to be executed as a condition of bidding in our auction. f. Dispute Resolution: All disputes and claims arising out of or relating to events and actions covered herein, brought by or against us, shall be resolved by mediation or binding arbitration in accord with the procedures set forth below. This provision does not apply to claims brought by the Buyer directly against the Consignor, including, but not limited to any action brought pursuant to the rescission provisions noted above OPTIONAL PROVISIONS Shipping, insurance packaging and handling of purchased lots is at the risk and expense of the purchaser. As a service to the purchaser, MA may ship appropriate items solely via United Parcel Service, (UPS) Ground. MA will not ship by any other method including USPS, and property requiring freight shipment. MA will, in no event insure the property whether or not packaged and shipped by MA. MA shall not, under any circumstances, be liable for the loss, theft or damage to property, including, but not limited to selection of shipper, the acts or omissions of any shipper or the acts or omissions occurring in packing for shipment. It is the purchaser’s responsibility to obtain a shipping quote for any lot being offered, from an outside shipper, prior to the auction date. (As a courtesy, MA may provide quotes for items to be shipped via UPS). Post sale determination of shipping costs does not constitute grounds for cancellation of any purchase made at auction.

Purchasers are advised that large and fragile items can be expensive and that MA will ship no property without first obtaining consent from the purchaser and only after packing and shipping costs have been disclosed by MA. When MA is to pack and ship, MA will provide to the bidder with a quote for cost of packing and handling and the UPS fee. The Purchaser is responsible for any insurance of the shipment.

Shipment will not be made until both all sums due MA including the shipping and handling fees as quoted, and written confirmation is received that insurance has been waived or has been obtained by purchaser. Shipment may take up to 21 days after payment is received.

MEDIATION AND ARBITRATION PROCEDURES (a) Within 30 days of written notice that there is a dispute, the parties or their representatives may meet at a time and place mutually agreed upon, to mediate their differences. If the parties agree, a mediator acceptable to the parties shall be selected.

The mediator shall be an attorney, trained in mediation techniques and familiar with commercial law and the California Uniform Commercial Code (UCC). The mediator’s fees shall be shared equally and paid by all parties. At the mediation, all parties shall have actual authority to settle the dispute. Any statements made during, and all aspects of, the mediation process shall be kept confidential and shall not be admissible in any subsequent arbitration or judicial proceeding. Any resolution shall be confidential. (b) If the parties cannot agree to mediation, or if mediation does not resolve the dispute, or in any

event no longer than 60 days after receipt of written notice referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator jointly selected, or absent agreement, selected from the panel of Arbitrators provided by the American Arbitration Association (AAA).

If, within 15 days, the parties cannot agree on an arbitrator, then AAA shall select one (1) person as arbitrator in accord with AAA rules. The arbitrator shall be an attorney, experienced in commercial law and with the UCC. The arbitrator shall be required to follow the law in making his award, and the award shall be in writing and shall set forth findings of fact and legal conclusions.(c) The arbitration shall occur within 60 days of the selection of the arbitrator, in either Oakland or San Francisco, California, unless the parties agree to another location. Discovery and the procedure for the Arbitration shall, unless otherwise agreed to by the parties, follow the procedures and policies of AAA governing commercial arbitration, subject however to the following modifications: 1. All arbitration proceedings shall be confidential.

None of the parties nor the arbitrator, may disclose the existence, content or results of the arbitration without the written consent of all parties.

2. The parties shall attempt to agree on the issues to be arbitrated, or identify the disputed issues in writing no later than 45 days prior to arbitration.

3. Unless otherwise agreed by the parties, discovery, if any, shall be limited as follows: (a) Requests for no more than 10 clearly identified categories of documents, to be provided to the requesting party within 14 days of written request therefore; (b) Depositions: No more than two (2) per party, provided however, the deposition(s) are to be completed within one (1) day; (c) Compliance with the above shall be enforced by the arbitrator in accord with California law.

4. Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days, unless all parties agree otherwise in writing.

The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

Each party shall bear its own attorney’s fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

This auction is being conducted in compliance with section 2328 of the Commercial Code, section 535 of the Penal Code, and provisions of the California Civil Code.

Bonded pursuant to California Civil Code sec 1812.600 et seq. Bond # 71393954 JEWELRY SOLD AT MICHAAN’S AUCTIONS: It is the responsibility of the bidder to examine carefully any item(s) of potential interest.

For all the jewelry sold here at Michaan’s Auctions the following applies: All gemstone weights are approximate.

We are aware of the many types of treatments and/ or enhancements used today on diamonds and colored stones. The purpose is to improve their appearance i.e. color and/or clarity. Techniques like heat treatments, color diffusion, irradiated, HTHP, oiling, resin, bleaching, dying and impregnation are just a few techniques known today. Some treatments combined. Some treatments are not detectable using standard gemological procedures. Not all treatments are permanent. Prospective buyers are therefore

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reminded that unless otherwise noted in the description(s), it must be assumed that some form of enhancement may have been used.

Regarding laboratories certification: The certifications mentioned in the descriptions only reflect the opinions of the laboratory. From one laboratory to another they do differ on the degrees of grading and/or treatments. And if a stone has a certificate from a laboratory we cannot guarantee this grading.

Watches must be examined carefully. Although we do attempt to mention in our descriptions significant defects, needed repairs, absent stones and the like, we do not guarantee the accuracy or operation of any watch function.

Detailed condition reports are available for most pieces. These reports contain more information than the catalog descriptions. Images shown may appear smaller or larger than actual size.

PROPERTY MADE FROM OR CONTAINING MATERIALS FROM ENDANGERED OR PROTECTED SPECIES Property that contains any percentage of material made or potentially made from endangered and/or other protected species of wildlife are, as a courtesy, marked in the catalogue with the symbol “ * ”.

Michaan’s Auctions does not accept any responsibility or liability for failing to mark such lots. Such material includes, but is not limited to, ivory, tortoise shell, crocodile skin, whalebone, rhinoceros horn, some species of coral and certain woods.

Prospective buyers are advised that several countries completely prohibit importation of property made, all or in part, of proscribed materials. Some countries require special permits, such as a CITES permit, from the relevant regulating authority in the countries of exportation and importation as well.

Potential buyers intending to import the property into another country should be familiar with the relevant customs laws and regulations prior to bidding on property containing wildlife material. Regulations may vary as the U.S. prohibits importation of articles containing material(s) from species it has designated endangered or threatened if the articles are less than 100 years old.

It shall be the potential buyer’s sole responsibility to research and satisfy the requirements of any laws and regulations that apply to the import and export of property as described in the aforementioned paragraphs.

Prospective buyers must also note that the inability or delay in obtaining permits, licenses or other permissions to import or export property containing potentially regulated

wildlife material will not constitute a basis for rescission or cancellation of the sale of said property or the delay in payment of purchased items in accordance with the Conditions of Sale.

Definitions of Authorship: This is to qualify the relationship between the object and the named person in the catalogue. The following conventions for attribution are used by Michaan’s Auctions: Giovanni Bellini: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artists named.

Attributed to Giovanni Bellini: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

Studio of Giovanni Bellini: In our opinion a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

Circle of Giovanni Bellini: In our opinion a work by an as yet unidentified by distinct hand, closely associated with the named artist but not necessarily his pupil.

Style of ......; follower of Giovanni Bellini: In our opinion a work by a painter working in the artist’s style, contemporary or near contemporary, but not necessarily his pupil.

Manner of Giovanni Bellini: In our opinion a work in the style of the artist and of a later date. after Giovanni Bellini: In our opinion a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. “bearing signature...”/”bearing date...”/”bearing inscription...” In our opinion the signature/ date/inscription is by a hand other than that of the artist.

Typical Headings: FURNITURE George III Mahogany Chest of Drawers

Third Quarter 18th Century This heading, with date included, means that the piece is, in our opinion, of the period indicated with no major alterations or restorations.

George III Mahogany Chest of Drawers This heading, without the inclusion of the date, indicates that, in our opinion, the piece, while basically of the period, has undergone significant restoration and alteration.

George III Style Mahogany Chest of Drawers The inclusion of the word “style” in the heading indicates that, in our opinion, the piece was made as an intentional reproduction of an earlier style.

BRONZES Antoine-Louis Barye This heading indicates that the casting and patination were done by the artist or with his direct authorization or supervsion.

Cast After a Model by Antoine-Louis Barye This heading indicates that the casting and patination of a known Barye model were done by another, i.e., artisans at the F. Barbedienne or other foundry.

CERAMICS Meissen Porcelain Cup and Saucer Late 19th Century This states that the cup and saucer were made at the Meissen factory in the last quarter of the 19th Century.

Meissen Porcelain Cup and a Saucer Late 19th Century Again, this states that the cup and saucer were made at the Meissen factory in the last quarter of the 19th Century, but it also indicates that the cup and saucer may not have been “born” together.

Meissen Porcelain Cup and Saucer Circa 1900 This states that the cup and saucer are of Meissen style, and although of the date specified, not necessarily made at the Meissen factory.

‘Meissen’ Porcelain Cup and a Saucer 19th Century This states that the cup and saucer are of Meissen style, and although of the date specified, not necessarily made at the Meissen factory.

Meissen Porcelain Cup and Saucer The title without a specific date simply states that the pieces were made at the Meissen factory but does not specify when, implying that their age is questionable.

Bid Increments Minimum Value from US $ 0 from US $ 50 from US $ 200 from US $ 500 from US $ 1,000 from US $ 2,000 from US $ 5,000 from US $ 10,000 from US $ 20,000 from US $ 50,000 from US $ 100,000 from US $ 200,000

Maximum Value to US $ 49 to US $ 199 to US $ 499 to US $ 999 to US $ 1,999 to US $ 4,999 to US $ 9,999 to US $ 199,99 to US $ 49,999 to US $ 100,000 to US $ 199,999 to US $ 499,999

Expected Bid Increment US $ 5 US $ 10 US $ 25 US $ 50 US $ 100 US $ 250 US $ 500 US $ 1,000 US $ 2,500 US $ 5,000 US $ 10,000 US $ 25,000

All increments may vary at auctioneer’s discretion.

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Michaan’s Auctions 2751 Todd Street Alameda, CA 94501 (800) 380-9822 or (510) 740-0220 www.michaans.com info@michaans.com