Treasures of Louis C. Tiffany from the Garden Museum, Part 2

Treasures of Louis C. Tiffany from the Garden Museum, Japan Part 2 Saturday, May 18, 2013 1pm (Pacific Time)

Lot 2050 detail

Treasures of Louis C. Tiffany from the Garden Museum, Japan Part 2 Including other Tiffany artworks and contemporary glass

May 18, 2013, 1pm (Pacific Time) Preview dates:

Friday, May 3, 12pm - 5pm Saturday, May 4, 10am - 5pm Sunday, May 5, 9am - 5pm Friday, May 17, 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: multiple lots Back Cover Lot: 2031

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 third in a series of sales which has brought a major portion of Japan’s Garden Museum Collection 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 for the highest grossing auction ever held at Michaan’s Auctions.

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 sale contained in this catalog features nearly 100 Tiffany 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 a wonderful selection of pieces from Tiffany & Company. Most notable from that group is the mixed metal Camondo-style sugar and water set that was exhibited at the 1878 Exposition Universelle in Paris and later in the Metropolitan Museum of Art’s landmark 1987 exhibition “In Pursuit of Beauty: Americans and the Aesthetic Movement” (Lots 55, 56, 57 & 58).

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.

I feel confident that this important sale will result in new homes for many of these wonderful American treasures.

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 and paintings, each lot includes the custom-built museum case unless otherwise noted in the lot description. 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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A previously unpublished photo of Charles Lewis Tiffany circa 1885 with 5 grandchildren. This photo was provided for our catalog by a direct descendant of Louis C. Tiffany. It is believed that 3 of the children in the photo are: Mary (born 1873), Charles Lewis Tiffany II (born 1878) and Hilda (born 1879) the offspring of Louis Comfort Tiffany.

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2001 Tiffany Tooled Gilt Leather Book: The Artwork of Louis C. Tiffany An unsigned copy of the volume personally commissioned by Louis C. Tiffany in a limited run of four hundred and ninety-two copies. This book is profusely illustrated with Tiffany’s favorite creations in the various disciplines of his artwork. This is an especially pristine example of this work.

Estimate: $3,000 / 5,000

Lot 2001

2002 Tiffany Studios Bronze and Favrile Glass Paperweight

A rare and unusual bronze and iridescent glass desk paperweight.

Marked on underside: Tiffany Studios New York 932 with monogrammed T. G. & D. Co. Length: 3 3/4 inches Width: 2 7/8 inches.

Similar pieces can be found on page 398 “Tiffany Lamps and Metalware”, (Duncan); page 215 “Louis C. Tiffany Collected Works of Robert Koch” (Schiffer Publications).

Provenance: A private collector.

Estimate: $3,000 / 3,500

Lot 2002 2003 Pair of Tiffany Studios Grapevine Desk Set Boxes

Each bronze box is backed with green Favrile glass with white streaks and finished in a green and brown patina on the grapevine filigree.

Both boxes impressed on the underside: Tiffany Studios New York.

Larger box dimensions: 6 15/16 x 7 1/16 inches Height: 2 1/2 inches. Smaller box dimensions: Length: 6 1/2 inches Width: 4 inches Height: 2 3/4 inches.

Provenance: A private collector.

Estimate: $1,600 / 1,800 Lot 2003

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Lot 2004 2004 Tiffany Studios Twelve Light Lily Table Lamp

The lamp features a gold dore finish with twelve original shades. The shades are the ten point ruffled examples.

Shades signed: L.C.T. Favrile. Base signed: Tiffany Studios New York 1063.

Provenance: A private collector.

Estimate: $27,500 / 30,000

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Tiffany Studios workers posing with a finished shade.

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Lot 2005 2005 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. Tiffany bases adorned with mosaic decorations are the most highly desirable and rarest of the 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.

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

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $160,000 / 180,000

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2006 Tiffany Studios Overall Swirling Daffodil Table Lamp

The background glass transitions from green at the top to white at the bottom. The stems and leaves are done in varying colors of mottled green and the daffodil blossoms are yellow to orange with ripple glass centers.

Shade signed: Tiffany Studios New York with an early small tag. Base signed: Tiffany Studios New York 29940 with the Tiffany Glass and Decorating Co. logo.

Diameter of shade: 20 inches.

Provenance: A private collector.

Estimate: $32,500 / 35,000

Lot 2006 2006A Original Program from the Madison Square Theater 1883 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 distance 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.”

Height: 6 1/4 inches Width: 5 1/8 inches.

Decorated by Louis C. Tiffany and Associated Artists. An identical piece can be found on page 21 of “Louis C. Tiffany, The Collected Works of Robert Koch” (Schiffer), originally published in “Louis C. Tiffany, Rebel in Glass” (Koch ,1964)

Estimate: $100 / 150 Lot 2006A

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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.

Tiffany’s most prestigious decorating commission came roughly five years after the completion of the interiors that he designed in the mid 1880’s for his own apartment in his family’s mansion on 72nd Street, Manhattan. These, which in their disparate mix of exotic cultures and periods epitomized the historicism that dominated the 19th century taste in America, influenced one of its wealthiest couples, Henry and Louisine Havemeyer, to retain Tiffany to decorate the residence built for them at 848 Fifth Avenue, on the corner of 66th Street, by the architect Charles C. Haight. Assisted by Samuel Colman, Tiffany drew on an evocative blend of materials, colors, textures and patterns to serve as a unifying setting for the family’s wide ranging art collections, including Old Master and Impressionist paintings, and Asian art.

Within a year of Louisine Havemeyer’s death in 1929, the house was demolished and its furnishing and architectural elements offered in an auction conducted by Anderson Galleries in New York on April 22, 1930. In attendance was the Dean of the College of Architecture at the University of Michigan, who acquired twenty-five lots of architectural fragments (for a total of $1,325) and twenty-seven pieces of Favrile glassware, part of his effort to assemble a study collection for students. This mosaic wall panel (lot 2008), together with an identical pair from the same frieze acquired by the University of Michigan (see The Havemeyer Tiffany Collection, University of Michigan Museum of Art, 1992, n.p.), is believed to have come from the residence’s entrance hall.

A nearly identical panel is on permanent display in New York at the Metropolitan Museum of Art in The New American Wing. Also on display in the same gallery is the mate to lot 2007.

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2007 Tiffany Studios H.O. Havemeyer Armchair 1891-1892.

Oak, upholstered in quilted silk velvet. This massive chair was designed for the library in the residence completed in 1892 for Henry O. Havemeyer on the corner of Fifth Avenue and 66th Street, New York City. The interlaced strapwork design that repeats itself throughout the chair’s carved oak frame and quilted upholstery, inspired by Celtic and Norwegian Viking prototypes, was continued on the room’s mantel, architectural trim, and stenciled wall pattern to ensure a single artistic vision. According to Mrs. Havemeyers’ 1930 memoir (Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector. N.Y. 1961.p.18) the chair frame was finished with many coats of varnish buffed to create an effect resembling Japanese lacquer work. The mate to this chair is in the collection of the Metropolitan Museum of Art, New York.

Height: 45 1/4 inches (115 cm) Width: 29 inches (73.5 cm) Depth: 27 inches (68.5 cm).

Provenance: Margot Johnson, Inc., The Garden Museum Collection, Matsue, Japan.

This chair is pictured on page 90 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $90,000 / 100,000

Lot 2007

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2008 Tiffany Studios H.O. Havemeyer House Mosaic Panel Mosaic glass, 1891-92.

Measurement: 34 1/2 x 12 inches (87.5 x 30.5 cm).

Provenance: Havemeyer residence, Manhattan.

The Garden Museum Collection, Matsue, Japan.

This panel is pictured on page 181 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $70,000 / 90,000 Tiffany’s most prestigious decorating commision came roughly five years after the completion of the interiors that he designed in the mid-1880’s for his own apartment in his family’s mansion on 72nd Street, Manhattan. These, which in their disparate mix of exotic cultures and periods epitomized the historicism that dominated the 19th century taste in America, influenced one of its wealthiest couples, Henry and Louisine Havemeyer, to retain Tiffany to decorate the residence built for them at 848 Fifth Avenue, on the corner of 66th Street, by the architect Charles C. Haight. Assisted

by Samuel Colman, Tiffany drew on an evocative blend of materials, colors, textures and patterns to serve as a unifying setting for the family’s wide-ranging art collections, including Old Master and Impressionist painting and Asian art.

The entrance hall in the Havemeyer residence, showing part of its mosaic frieze. Illustrated in Architectural Record, January-March, 1892, n.p.

Lot 2008

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Lot 2009 2009 Tiffany Studios H.O. Havemeyer House Cold Air Return Screen

The frame in silvered bronze supports a screen of Tiffany “chain mail” comprised of two hundred and thirty-seven square segments of amber and cream Favrile glass segments, each segment enclosed in its own silvered bronze element all connected by silvered bronze rings.

Dimensions of glass segments: 1/2 x 1/2 inch Width of screen: 23 3/4 inches Height of screen: 29 1/4 inches.

Provenance: H.O. Havemeyer Home, circa 1891.

Christie’s New York, June 2011, Lot #62.

A private collector.

Estimate: $25,000 / 30,000

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Lot 2010

Estimate: $40,000 / 60,000

(American 1848-1933) Desert Scene Watercolor and gouache on paper 11 1/2 x 19 3/8 inches (29 x 49 cm).

1873, signed L.C.T. and dated ‘73 Provenance: The Garden Museum Collection, Matsue, Japan.

This painting is pictured on page 51 of “Louis C. Tiffany, The Garden Museum Collection”.

2010 Louis Comfort Tiffany

During his sojourn in Paris in 1868-69, while a student at the atelier of the artist Leon Charles Adrien Bailly, Tiffany was exposed to the French Orientalist School, including Adolphe Belly, Eugene Fromentin and Albert Decamps, who all exhibited at the annual Salons. Amongst these, Belly was of particular influence, both because his paintings provided a repository of Near Eastern subject matter for the young American, and because he was an accomplished colorist. This work, depicting nomadic Berbers with pitched tents and camels beneath the glow of a distant orange sunset, is reminiscent, both from a compositional standpoint and in its atmospheric effects, of how Belly had earlier portrayed similar desert vistas. By combining opaque (gouache) and transparent watercolor pigments, Tiffany has created the heat haze which provides the work with its depth and perspective.

2011 Set of Four Tiffany Studios Door Knobs

Executed in bronze with a brown patina in the Moorish taste.

Diameter of each knob: 2 1/8 inches.

Provenance: A private collector.

These four pieces were acquired a number of years ago from an East coast auction house by the consignor.

Estimate: $1,200 / 1,800

Lot 2011

Leslie Nash drawing of the Tiffany Furnaces, Corona, Long Island.

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Lot 2012 2012 Tiffany Studios Landscape Window Early 1920’s.

This window depicts a moody landscape with birch trees on the right and evergreens on the opposite side against a sunset sky. The boughs of the evergreens contain groupings of thin glass threads within the glass for a dramatic realistic effect.

Signed Tiffany Studios in enamel.

Height: 34 1/2 inches (87 cm) Width: 26 inches (66 cm).

This window is pictured on page 137 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $100,000 / 150,000

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2013 Tiffany Studios Wisteria Table Lamp

Tiffany depicted the different colorations of the wisteria species faithfully in his lamps, creating examples in blue-purple-grey, pink-burgundy and white tinged with yellow. The design for the model was credited to a client, Mrs. Curtis Freschel, who in 1901 submitted to the firm a sketch of the lamp she wished made for her.

Shade: Impressed TIFFANY STUDIOS NEW YORK. Base: Impressed TIFFANY STUDIOS NEW YORK 5795.

Height: 27 inches (68.5 cm) Diameter of shade: 18 inches (46 cm).

Base: 1906 Price List: Model 342, Wisteria Lamp and shade, large, $400.

This lamp is pictured on pg. 292 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $175,000 / 250,000

Lot 2013

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Lot 2014 2014 Tiffany Studios Scarab Humidor

Carved by Joseph Briggs. The lid’s hinge is housed within a hemisphere designed as the ball of dung in which the beetle implants its eggs, and which, after hardening by the sun, it buries in the ground. After hatching, the larva makes its way to the surface to renew the insect’s life cycle.

Wood and Favrile glass, stamped (twice) Tiffany Studios New York encircling L.C.T. monogram and inscribed S/C2871.

Height: 5 1/2 inches (14 cm).

Exhibited: Masterworks of Louis Comfort Tiffany, The Renwick Gallery, Smithsonian Institution, Washington, DC. September 29-March 4, 1990, The Metropolitan Museum of Art, New York, April 12-September 9, 1990; Masterworks of Louis Comfort Tiffany, traveling Japanese exhibition (Tokyo, Kobe, Nagoya, Toyama), January-August, 1991.

Provenance: Alice Osofsky.

Benedict Silverman.

The Garden Museum Collection, Matsue, Japan.

This piece is pictured on page 357 of “Louis C. Tiffany, The Garden Museum Collection” and also pictured on page 55 of “Masterworks of Louis C. Tiffany”.

Estimate: $40,000 / 60,000

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Lot 2015 2015 Tiffany Studios Hexagonal Favrile Glass Table Lamp

The six panel shade, each panel separated by a leaded glass strip is executed in creamy yellow and gold Favrile glass with surface hazing in the glass. The shade is surmounted by a bronze crown which encloses an iridescent round blue turtleback 1 1/2 inches in diameter. The lead work on this shade bears a gold patina. The gilded bronze telescoping base supports the shade on three arms and rises from four padded feet to join the rising shaft above four triangular amber turtleback tiles mounted within.

Shade: Paneled glass with turtleback tile finial, impressed TIFFANY STUDIOS NEW YORK. 1906 Price List: Model #1565, 10 in. Hexagon, straight panels, turtleback glass on top for #434 lamp, $12. Base: Bronze and turtleback tiles, impressed TIFFANY STUDIOS 9966. 1906 Price List: Model #434, 1 light, 4 legs, Turtle-back glass in base, slide, $26.

Height: 16 3/4 inches (42.5 cm) Diameter of shade: 9 1/2 inches (24 cm).

A second example is pictured on page 317 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 92 of “Tiffany Lamps and Metalware” (Duncan).

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $13,000 / 15,000

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Lot 2016 2016 Tiffany Studios Turtleback Casket Inkwell

Bronze inset with Favrile glass turtleback tiles, unsigned.

1906 Price List: Model #1068, $75.00.

The interior of the lid houses three pens above a pair of inkwells: the front central drawer serves as a receptacle for stamps.

Height: 4 1/4 inches (10.5 cm) Length: 8 5/8 inches (22 cm).

Provenance: Benedict Silverman, The Garden Museum Collection.

This inkwell is pictured on page 354 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $25,000 / 30,000

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Lot 2017

2017 Tiffany Studios Banded Turtleback Table Lamp

Featuring striated green geometric glass and iridescent purple turtlebacks that light green. The shade rests on a Colonial stick base.

Shade signed with an early small tag: Tiffany Studios New York. Base signed: Tiffany Studios New York 532.

Diameter of shade: 20 inches Provenance: A private collector.

Estimate: $27,500 / 30,000

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2018 Tiffany Studios Turtleback Double Lamp Pendant

Composed of two Tiffany Studios turtleback tiles mounted in lead borders and connected by a chain for use as a hanging pendant.

Larger Turtleback Length: 6 inches Width: 5 inches Smaller Turtleback Length: 2 3/8 inches Width: 2 3/4 inches. Total Height Including Chain: 12 1/2 inches.

Provenance: A private collector.

Estimate: $1,400 / 1,600

2019 Tiffany Studios Glove Box

The bronze box executed with green Favrile glass panels overlaid with bronze pine needle metal filigree and finished in a green patina.

Signed on inside clasp: Tiffany Studios New York.

Width: 13 1/2 inches Depth: 4 5/8 inches Height: 3 1/4 inches.

Provenance: A private collector.

Estimate: $1,800 / 2,000

Lot 2018

Lot 2019

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Lot 2020 2020 Tiffany Studios Nautilus Lamp

The bronze lamp with green-brown patina has a central shaft which rises from a circular base to two arms which hold a nautilus shell.

Signed: Tiffany Studios New York 266 and impressed with the Tiffany Glass and Decorating Co. logo.

Height: 13 inches Diameter of Base: 4 3/4 inches.

Provenance: A private collector Please note: the shell on this lamp is a replacement.

Estimate: $4,000 / 5,000

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2021 Tiffany Studios Poppy Table Lamp Mounted on a Pond Lily Base Shade impressed: TIFFANY STUDIOS NEW YORK 1531.

1906 Price List: Model #1531, 20 inch Poppy, Dragonfly block, cone, $115. Base: Impressed on the canister TIFFANY STUDIOS NEW YORK 6828 and 7496. 1906 Price List: Model #225, Cat-tail, Pond Lily base, $115.

Height: 25 1/2 inches (65 cm) Diameter of Shade: 20 inches (51 cm).

This lamp is pictured on page 294 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $170,000 / 200,000

Lot 2021

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Lot 2022 2022 Tiffany Studios Carved Leaf Damascene Desk Lamp

The green shade features heavily carved leaves and vines throughout.

The base is an adjustable harp desk lamp base.

Shade signed: L.C. Tiffany Favrile 1115K. Base signed: Tiffany Studios New York 470.

Diameter of shade: 10 inches.

Provenance: A private collector.

Estimate: $13,000 / 15,000

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Lot 2023

2023 Pair of Tiffany Studios Prism Sconces

The matching pair of sconces each featuring eleven green glass prisms and ball chains with original gold finish.

Unsigned. Extra prisms are included with this lot.

Height: 14 inches Width: 6 inches Provenance: A private collector.

Estimate: $10,000 / 12,000

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View of the atrium of Louis C. Tiffany’s Long Island home.

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2024 Tiffany Studios Lantern from Laurelton Hall Blown and leaded glass with gilt-bronze mount.

Inscribed: o3449 Height: 23 3/4 inches (60.5 cm).

This lantern is pictured on page 336 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: Laurelton Hall, home of Louis C. Tiffany; Bruce Randall; The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 100,000

Lot 2024

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Tiffany’s nurse & companion Sarah Hanley in Laurelton Hall

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Lot 2025

A bright and airy composition that assimilates color and light. The subjects are Sarah Hanley and a fellow artist on a south Florida beach.

Estimate: $50,000 / 60,000

(American 1848-1933) Painting on the Beach Oil on Canvas Measurement: 15 x 23 inches (38 x 58.5 cm).

Signed lower left, Louis C. Tiffany ‘25.

Provenance: The Garden Museum Collection, Matsue, Japan.

This painting is pictured on pages 68 and 69 of “Louis C. Tiffany, The Garden Museum Collection”.

2025 Louis Comfort Tiffany

Still life photograph, c. 1905-1910, of a group of Tiffany artworks illustrated in Charles de Kay, The Art Work of Louis C Tiffany, 1914, a copy of which is offered as lot 2001 in this auction catalog.

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2026 Tiffany Studios Vase

Of tall form tapering from the circular base to a wider shoulder near the top before tapering back in to an upper rim. The gold iridescent background is decorated with green leaves interconnected with slender trailing green vines.

Base inscribed: 3041 C L.C. Tiffany Favrile.

Height: 13 1/4 inches Diameter of base: 4 inches Maximum width: 6 1/4 inches.

Provenance: A West Coast collector.

Estimate: $3,000 / 4,000

Lot 2026 2027 Tiffany Studios Ash Stand

Tiffany often drew on antiquity to adorn and enliven mundane household appliances, in this instance a phoenix, griffin or similar fabled creature. A second example of this ash stand in the Louis C. Tiffany Garden Museum Collection bears the model #1648. This ash stand is executed in a greenbrown patina.

Impressed: Tiffany Studios New York 2033.

Height: 31 1/4 inches (79.5 cm).

This piece is pictured on page 388 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 6,000

Lot 2027

2028 Tiffany Studios Chrysanthemum Enamel Sketch

The sketch was a design for a chrysanthemum covered box to be executed in the Tiffany Studios conventional enameling technique.

The hand written notation reads SG 273.

Provenance: The Garden Museum Collection, Matsue, Japan.

The finished box appears on page 408 of “Louis C. Tiffany, The Garden Museum Collection”.

Lot 2028

Estimate: $800 / 1,200

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An enamel department was established at the Tiffany Glass and Decorating Co. factory in Corona in 1898, an inevitable progression of the firm’s experimentation in glass. Although information is sketchy, it appears that Tiffany was assisted in the new venture by his chemist and metallurgist, Dr. Parker McIlhiney, who worked on formulae, firing temperatures and other technical issues. The department’s staff has been identified as Patricia Gay, who was placed in charge, Julia Munson, Alice C. Gouvy and later, Lillian A. Palmie. Specific responsibilities are uncertain, although it appears that Munson, the principal designer, and Gouvy prepared the renderings which Gay and Palmie painted on copper forms made in the Corona metalshop. Arthur Nash then fired (and, when required, iridised) the finished pieces. The Tiffany Furnaces Enamel Department together with its jewelry division, was purchased by Tiffany & Co. on May 3, 1907, and the staffs of both transferred to Tiffany & Co. From this point, Tiffany’s enamels were manufactured and retailed through the Tiffany & Co. hallmark.

Tiffany’s interest in his manufacture of enamels appears to have diminished after the 1907 transfer; thenceforth, the technique was employed principally in conjunction with his jewelry.

2029 Tiffany Studios Sagittaria Vase c.1901 Enamel-on-copper. Possibly an arrowhead, a member of the Sagittaria genus. The upper edges of the plant’s leaves delineate the contour of the vessel’s lip. The pottery version is illustrated on page 466 of “Louis C. Tiffany, The Garden Museum Collection”.

Inscribed: Louis C. Tiffany, impressed SG 76.

Height: 9 3/4 inches (25 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

This vase is pictured on page 427 of “Louis C. Tiffany, The Garden Museum Collection”.

Please note: this piece is not housed in a custom museum case.

Estimate: $100,000 / 120,000

Lot 2029

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Lot 2030 2030 Tiffany Studios Peacock Feather Enamel Covered Bowl

Examination of the surface reveals spangles of paillons (particles of foil) attached to the surface of the copper beneath the translucent enamels. These serve as a mirror to reflect and magnify the light after it passes back through the enamel towards the viewer. The initials SG stand for the Stourbridge Glass Co., the glass-making division of The Tiffany Glass and Decorating Co. established in 1892 under Arthur Nash’s direction. It was absorbed by Tiffany Furnaces in 1902.

Enamel-on-copper, c.1907, inscribed 9/6 237 SG 349 L.C.T. Diameter: 2 1/2 inches (6.5 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

This bowl is pictured on page 402 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $10,000 / 15,000

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Note: Top photo: The Cala Lily and Poppy vase with two other enameled wares displayed at the Esposizione d’ Arte Decorativa Moderna, Turin, 1902. Dekorative Kunst, Vol. VI. 2 (November 1902), p.55 Large photo: Side view of the Tiffany display at the 1906 Salon of the Societe des Artistes Francais, Paris. Shown with the Cala Lily and Poppy vase were recent examples of the firm’s creations in glass, pottery, jewelry, Fancy Goods and a lamp. The latter’s shade is apparently comprised of a filigree of tightly coiled wire, recalling some of the fixtures which Tiffany designed for the Havemeyer residence, New York, in the early 1890’s.

Period photographs of lot 2031 34

2031 Tiffany Studios Cala Lily and Poppy Enamel on Copper Vase

The construction and ornamentation at the Corona factory of a cylindrical vessel with repousse enamel decoration, as in this example, required several intricate steps: first, the areas designated for relief treatment on the sheet of copper were raised into their desired shapes from the reverse by a metalworker who hammered and chased the surface with a variety of tools, including an anvil, snarling iron, and assortment of chisels and burins. Final detailing was achieved with a series of chasing tools and punches which the metalworker interchanged as he manipulated the decoration on the copper into its final form. Next, the completed sheet was rolled around a cylinder-formed block and neatly soldered along its vertical seam, before the circular foot was attached, likewise by soldering. Now in its final form, the vessel was decorated by an enamelist, who painted the composition on to its surface as a traditional china painter would decorate a porcelain vessel, moving around it in a clockwise or counterclockwise direction. Using a painterly technique, the enamelist applied the superimposed layers of transparent pigments with a brush until the desired level of definition and richness of color was attained.

Enamel-on-copper, c.1900, impressed Louis C. Tiffany SG 79.

Height: 14 1/2 inches (37 cm).

This vase is pictured on page 421 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 117 of “Louis C. Tiffany at Tiffany & Co.”(Loring, 2002).

Provenance: Team Antiques; The Garden Museum Collection, Matsue, Japan

Estimate: $90,000 / 120,000

Lot 2031

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Lot 2032 2032 Tiffany Studios Bird-of-Prey Enamel on Copper Vase

‘Scarcely less remarkable than favrile glass in artistic results is the Tiffany enamel, of which many specimens were shown at Buffalo. Many exquisite pieces of copper in repousse, of chaste and unique design, and covered with an almost indestructible enamel as beautiful in its tints as the choicest of the favrile vases, were exhibited.

“It is not the purpose of this article to describe individual pieces of the Tiffany output. One could no more do this effectively than one could describe the harmonies of a masterpiece of music. It is the intention only to state clearly America’s rank in at least one line of art product, and to give some suggestion of the causes behind the mysterious and marvelous play of colors observable in the Tiffany ware. The Tiffany studios have their secrets of detail that are jealously screened from vulgar inspectionthat is a matter of business which the public has no right to probe. The hint given above is sufficient for the inquiring and the curious.’

James L. Harvey, ‘Source of Beauty in Favrile Glass’, Brush and Pencil, vol.9, 1901, p.176.

Enamel-on-Copper, c. 1901, inscribed L.C.T. SG 100.

Height 6 1/4 inches (16 cm.).

This vase is pictured on pg. 419 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: Sothebys, New York, March 11, 1989, lot 592; Private collection; Sothebys, New York, June 12, 1998, lot 305; The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

36

Lot 2033 2033 Tiffany Studios Crane Enamel on Copper Vase

Enamel-on-copper, c. 1901. With its crane and bamboo motifs and delicate blue-green-beige naturalistic palette, this vase emphasises the stylistic influence exerted by Japanese artists on their western counterparts at the fin de siecle.

Enamel-on-copper, c. 1901, inscribed SG 96 L.C.T. Height: 5 3/4 inches (14.5 cm).

This vase is pictured on pg. 428 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 115 of “Louis C. Tiffany at Tiffany & Co.” (Loring 2002).

Provenance: Lillian Nassau, Ltd., New York; The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

37

2034 Tiffany Studios Cabinet Vase Inscribed L.C. Tiffany Favrile 145 A-Coll. L.C.T. The A-Coll inscription denotes this piece as part of the personal collection of Louis Comfort Tiffany.

Height: 2 3/4 inches (7 cm).

This vase is pictured on page 240 of “Louis C, Tiffany, The Garden Collection Museum”.

Provenance: Louis C. Tiffany Collection.

The Garden Museum Collection, Matsue, Japan.

Estimate: $12,000 / 15,000

Lot 2034

2035 Tiffany Studios Toadstool Cabinet 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 moulds 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.

Incised underglaze LCT monogram.

Height: 2 3/4 inches (7 cm).

This vase is pictured on page 457 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 6,000

Lot 2035

38

2036 Tiffany Studios Table Lamp Laburnum on a Tree Trunk Base

The leaded glass shade is executed in yellow blossoms of Favrile glass set against a deep purple background with vibrant green leaves. The glass segments used for the blossoms feature dramatic surface hazing in reflected light and mottled glass is used in many of the blossoms. The shade is mounted on a tree trunk base finished in green and brown patina.

Base signed: Tiffany Studios New York 553.

Diameter of shade: 21 1/8 inches Height to top of finial: 33 1/2 inches Height of base: 29 1/2 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

Please note: Although this lamp is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, as such, both the lamp’s shade and base have their own museum custom cases.

Estimate: $160,000 / 200,000

Lot 2036

39

2037 Tiffany Studios Scent Bottle c. 1900-5.

Cypriote glass with jewelled silver mount. The silver collar and cover embellished with bands of classical floral emblems suggest that the scent bottle was designed by Paulding Farnham.

Mount impressed TIFFANY & CO. 925.

Length: 5 1/4 inches (13.5 cm.).

This scent bottle is pictured on pg. 534 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 2037

40

2038 Tiffany Studios Scent Bottle c. 1900.

Designed by Paulding Farnham, glass with guilloche (engine-turned) and enamelled gold mount set with twelve diamonds and an upper peridot.

Mount impressed TIFFANY & CO. Length: 4 3/8 inches (11 cm).

This scent bottle is pictured on pg. 531 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 122 of “Louis Comfort Tiffany” (Duncan 1992) and on page 229 of “Louis C. Tiffany at Tiffany & Co.”(Loring 2002).

Farnham’s sketch for this bottle is illustrated in John Loring, Louis Comfort Tiffany at Tiffany & Co., New York, 2002, p. 229.

Provenance: John Mecom, Jr., Houston, Texas; The Garden Museum Collection, Matsue, Japan.

Estimate: $75,000 / 90,000

Lot 2038

41

View of All Angel’s Church with the Altar Cross in it’s original setting.

2039 Tiffany Studios Altar Cross

Gilt-brass inset with topaz, amethyst and glass jewels. The altar cross, described in The Tiffany Glass and Decorating Co.’s exhibition booklet: “Resting upon the top of the tabernacle ... there is an altar cross, with just enough metal to carry an enormous quantity of white topazes, which are so set as to scintillate the light in every direction. The base of the cross corresponds in richness with the cross itself”. This cross was presented to the All Angels’ Church at Easter 1892, by Thomas R. Keator in memory of his wife, Emily Estelle Keator, who had been a member of the congregation. Commissioned from The Tiffany Glass and Decorating Co., the cross drew the praise of the critics of The Churchman and The Decorator and Furnisher, who both noted its lavish use of gemstones to highlight the piece’s gold surface. Tiffany himself was so pleased with it that he borrowed it from the church for inclusion in his chapel at the 1893 Columbian Exposition in Chicago. c.1891, Inscribed “To the glory of God, and in loving memory of Emily Estelle, beloved wife of Thomas R. Keator, entered into rest, April 27, 1891”.

Height: 47 inches (119.5 cm).

Literature: “The Churchman” June 25, 1892, p.838; “A Synopsis of the Exhibit of The Tiffany Glass and Decorating Company...” firm’s booklet, 1893, pp. 11 and 14; “The Decorator and Furnisher” October, 1893.

Also pictured on page 37 of “The Jewelry and Enamels of Louis Comfort Tiffany” by Janet Zapata (Abrams 1993).

This cross is pictured on page 449 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: All Angels’ Church, 251 West 80th Street, New York City (demolished).

The Garden Museum Collection, Matsue, Japan.

Note: Photo of Church: All Angels’ Church, the chancel, photographed in 1978 (since demolished). The cross rests on the marble altar which, with the mosaic panel The Garden of Gethsemane behind it and the wrought metal baldachin, was executed by the stained glass studio, J. & R. Lamb.

Estimate: $90,000 / 120,000

42

Lot 2039

43

2040 Tiffany Studios Bronze Pottery Covered Bowl

The bronze exterior with traces of gilding, the pottery interior in a mottled green glaze.

Bronze Pottery was introduced by Tiffany Furnaces around 1908, initially as a medium for table lamp bases fueled by oil or kerosene.

In the technique, which combined the resources of the Metalware and Pottery Departments, the exterior surface of the pottery item was plated in copper by electrolysis. This copper sheath, or sleeve, was in turn patinated to simulate a range of bronze finishes (bronze is an alloy of copper and tin that cannot be electroplated).

Although bronze pottery remained in production for several years, there is no record of when it was discontinued.

Incised LCT monogram.

Height: 4 inches (10 cm) Diameter: 5 1/2 inches (14 cm).

This bowl is pictured on page 471 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 10,000

Lot 2040

2041 Tiffany Studios Double Candlestick with Jeweled Bobeches

The bronze candlestick finished in green and brown patina rises from a simple round base and substantial shaft to a rounded section which flares out to support two candleholders, each adorned with a bobeche mounted with seven iridescent Tiffany Favrile glass jewels. Including the original snuffer on chain. On each bobeche rests a gold Favrile glass iridescent candle shade which tapers to a narrow upper opening from a wider base.

Signed: Tiffany Studios New York 4292. Shades signed: L.C.T. Height of each shade: 5 1/8 inches Height of each candlestick: 13 inches Diameter of base: 5 3/4 inches Overall height: 17 7/8 inches.

Provenance: A Southwestern collector.

Estimate: $9,000 / 12,000

Lot 2041

44

2042 Tiffany Studios Bronze Candlestick Lamp with Jeweled Bobeche

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: $7,000 / 9,000

Lot 2042

2043 Tiffany Studios Decorated Candle Lamp Shade

The pulled feather green decoration with blue iridescent highlights is set against an off-white background in the upper portions of this shade.

Signed LCT on fitter rim.

Height: 5 3/4 inches.

Provenance: A West Coast collector.

Lot 2043

Estimate: $1,600 / 1,800

45

Lot 2044 2044 Tiffany Studios Jeweled Damascene Desk Lamp

The shade is decorated green with optic ribs.

Shade signed: S9069. Base signed: Tiffany Studios New York S934 and 324.

Diameter of shade: 7 inches.

Provenance: A private collector.

Estimate: $9,000 / 10,000

46

Lot 2045 2045 Louis Comfort Tiffany (American 1848-1933) Arab Street Scene Watercolor on paper 21 x 15 inches (53.5 x 38 cm). c.1870-75, signed lower left, Louis C. Tiffany Pictured in Charles de Kay “The Art Work of Louis C. Tiffany” New York, 1914, between pp.6 and 7. Also pictured in “Louis C. Tiffany, The Garden Museum Collection” p.44.

Provenance: Artist’s family, by descent.

The Garden Museum Collection, Matsue, Japan.

Estimate: $35,000 / 50,000

Executed in watercolors, the composition is amplified by the interplay of light and shadow on the wall and cobbled street. As an Orientalist, Tiffany preferred intimate views of near eastern life like this sunfilled scene in a souk to the sweeping panoramas of the desert depicted by many of his colleagues.

47

Lot 2046

Lot 2047

2046 Tiffany Studios Saxifrage Candlestick

2047 Tiffany Studios Favrile Glass and Bronze Candlestick

Like his contemporary, Emile Galle 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, a 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.

Bronze, impressed TIFFANY STUDIOS NEW YORK 11485. 1906 Price List: Model #1331, 18 inch Saxifrage, $20.

Height: 17 3/4 inches (45 cm).

This piece is pictured on page 352 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Tiffany Studios continued to produce a wide range of candlesticks after the commercialization of Thomas Edison’s incandescent filament bulb in the 1890’s. For many householders the cost of immediate transition from combustion fuels to electricity was prohibitive, while for others, candles were kept on reserve for those moments when the electric bulb faltered, which it did with some frequency during its infancy.

Bronze with Favrile glass balls and bobeche, impressed TIFFANY STUDIOS NEW YORK. 1906 Price List: Model #1223, 1 light, Favrile Glass balls in base and stem, $30.

Height: 15 inches (38 cm).

This candlestick is pictured on page 350 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: Jules Cohen.

The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 18,000

Estimate: $35,000 / 45,000

48

Lot 2048 2048 Louis Comfort Tiffany (American 1848-1933) Architectural Study of Urban Dwellings Watercolor on paper.

14 13/16 inches x 13 inches (38 x 33 cm.).

1874, signed and dated lower left, Louis C. Tiffany 1874.

Provenance: Julia Knox Weaver Tiffany, daughter of the artist; Mary Parker Weaver, granddaughter of the artist The Garden Museum Collection, Matsue, Japan.

This painting is pictured on pg. 29 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $28,000 / 35,000

Tiffany traveled to Europe with his family in April, 1874, returning to New York the following February. Listed as a member of the American Society of Painters in Water Colors from 1871, he participated in its exhibitions until 1893, when his preoccupation with the other artistic disciplines made increasing demands on his time.

49

Lot 2049 2049 Tiffany Studios Scarab Pottery Vase with Jeweled Scarab Mount

Tiffany applied similar jeweled mounts to his glassware from the late 1890’s; see, for example, the Agate vase, lot 2090 in this catalog. The application of copper in this manner to pottery is practically unknown; usually, the metal was applied by electroplating to the entire outer surface of the piece and left, as such. Here, however, a repeating pattern has been cut out of the metal to reveal the glazed surface of the pottery beneath it.

Jeweled scarab mount, bronze underside with inscribed signature LCT 19.

Height: 5 1/8 inches (13 cm).

This vase is pictured on page 473 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $9,000 / 12,000

50

The entrance foyer of Laurelton Hall.

51

Lot 2050 detail of lit shade.

Lot 2050 detail of unlit shade.

52

2050 Tiffany Studios Oriental Poppy Floor Lamp

A particularly strong example of this major and impressive group of Tiffany lamps. In this lamp the ample scale of the petals allowed the introduction of large blocks of concentrated color; red, as in this example, and yellow or orange in other examples.

Shade: Impressed TIFFANY STUDIOS NEW YORK 1902. 1913 Price List: Model #1902, 26 inch Oriental Poppy, dome, $350. Base: Impressed TIFFANY STUDIOS NEW YORK 375. 1906 Price List: Model #375, Piano, floor, large, wire decoration, scroll, $165.

Height: 79 inches (200.5 cm) Diameter of shade: 26 inches (66 cm).

Provenance: Ted and Nellie Ingham.

The Garden Museum Collection, Matsue, Japan.

This lamp is pictured on page 325 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $600,000 / 750,000

Lot 2050

53

Lot 2051 2051 Tiffany Studios Pussy Willow Vase

The glazes of Tiffany’s pottery were rendered mostly in complementary earth tones: ivory, beige, ochre, brown and green. Further spectral effects were achieved by the addition of intermediate colors. This vase has a lightly transparent ‘old ivory’ glaze that accentuates the relief detailing on the white semi-porcelainous clay body beneath it. The same model was produced entirely in a bisque (unglazed) state and with a bisque exterior and green-glazed interior (bisque pottery was made available to customers at the Tiffany Studios showroom, so that they could choose their own finish).

Incised underglaze LCT monogram.

Height: 8 1/2 inches (21.5 cm).

The Pussy Willow vase, in repousse enamel-on-copper, is illustrated in “The Craftsman”, IV (June), 1903, p. 180.

Pictured on p. 462 of “Louis C. Tiffany: The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

54

2052 Tiffany Studios Apple Blossom Table Lamp

This lamp bears a dash number (351-1). The reason dash numbers were appended to some models remains unresolved. One interpretation is that if, on completion, a shade was considered by the quality control official at the Tiffany works to be of exceptional artistic and technical quality, it was assigned a dash number, and that these numbers were allocated sequentially; for example, the twentieth superior example of a lamp model was identified with a ‘-20’. Another interpretation, less plausible perhaps, is that a dash number identified a special commission; for example if a client requested a specific artistic effect in the model he was ordering- a different colour or hue in the petals or sky - in place of the routine one, this fact was recorded by a dash number. Whatever the reason, dash-number lamps are invariably of surpassing quality.

Shade: Impressed TIFFANY STUDIOS NEW YORK 351-1. Base: Impressed TIFFANY STUDIOS NEW YORK 351.

Height: 28 inches (71 cm) Diameter of shade: 25 inches (63.5 cm).

Shade and base: 1906 Price List: Model #351, Apple Blossom stand and shade, large, $425.

This lamp is pictured on pg. 285 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

Lot 2052

55

Lot 2053 2053 Tiffany Studios Dogwood Lampshade Salesman’s Sample Panel

Most Tiffany lamp models are comprised of a design that repeats itself around the shade (sometimes four or eight times), a fact that is often not readily evident to the viewer, who can only see a part of the lamp at any one time. To assist it’s sales staff in the promotion of the firms wares and in doing so to eliminate the need for them to carry a selection of bulky lampshades to their appointments around the country, the Tiffany Studios Design Department created a series of sample panels, such as this one, which incorporates a repeat segment of the lamp’s overall design. Naturally the selection of glass for these panels was critical as it had to represent to the client the complete range and intensity of colors and all the novel glassmaking techniques contained within a completed shade. Very few of these sample panels, which are often prized by collectors as dazzling miniature floral window compositions rather than as important documents of the firm’s retailing procedures, have survived; this one was taken from the surviving inventory of the Tiffany Studios showroom when it closed in 1933.

Unsigned.

Measurement: 16 1/8 x 26 inches (41 x 66 cm).

This piece is pictured on page 346 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

56

A previously unpublished view of the upper section of the atrium at Laurelton Hall, the Long Island residence of Louis C. Tiffany.

This photo shows the lower portion of the massive favrile glass dome which covered the entire ceiling.

Sadly the home was destroyed by fire in 1957.

57

Lot 2054

2054 Tiffany Studios Poinsettia Chandelier

Comprised of a profusion of brilliant red blossoms against a mottled green background shading to light blue green at the top of the shade. This shade has a beaded lower border.

Impressed: Tiffany Studios New York 1331 Diameter: 29 inches (73.5 cm).

This Chandelier is pictured on page 329 of “Louis C. Tiffany, The Garden Museum Collection” as well as on page 240 of “Tiffany Lamps and Metalware”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $220,000 / 250,000

58

Camondo-style sugar and water set; Comprising lidded pitcher, flacon, sugar bowl and tray, silver with applications and inlays of gold and copper, all with impressed hallmarks for Tiffany & Co., New York, 1878, and French control marks. (Lots 2055, 2056, 2057 & 2058)

The set incorporates Japanese metalware techniques introduced into the firm’s silver repertoire by Edward C. Moore, who had been appointed design director in 1868, the year that the Meiji emperor came to power in Japan.

A collector of Japanese artifacts, Moore was familiar with that nation’s emphasis on Nature, asymmetry and non-repetitive patterns. In 1877, Christopher Dresser, the distinguished English designer and a friend of Moore’s, traveled to Japan on behalf of Tiffany & Co., for which he gathered samples of local handicrafts and artworks. Clearly, this gave Moore and his staff an advantage in their preparation of novel works for the 1878 Exposition Universelle, where the firm’s reputation as an international silver manufacturer was solidified. The firm’s quick assimilation of the Japanese techniques of applying metals to one another and of varying their colors through patination, until then unknown in the West, propelled it to the forefront of the American and European silver industries. This ability to mix metals - silver,

copper, gold and lead - and to tint them, permitted the firm to create a range of more naturalistic aesthetic effects. In particular, its mastery of the Japanese alloys of shibuichi, shakudo and mokume, enabled it to create realistic shaded and textured detailing, such as wood grains and the skin patterns of insects. The critic for the New York Daily Tribune paid tribute to these newly-introduced processes in an article on December 10, 1878: “The Messrs. Tiffany have made the greatest progress and won their most marked success in the treatment of metallic alloys and in the lamination of different metals ... [they] have taken up the Japanese method and applied it in a very effective and entirely novel manner to the decoration of hammered silver”.

The original photo of the entire 6 pieces of this set can be seen on page 444 of “Louise C. Tiffany, The Garden Museum Collection,” as well as page 268 of “In Pursuit of Beauty, Americans & The Aesthetic Movement” (Rizzoli). And again on page 36 of “Magnificent Tiffany Silver” (John Loring, 2001).

59

Lot 2055

2055 Tiffany & Co. Mixed Metal Tray Circa 1878 The honeycomb hammered lily pad form with an engraved flowering iris stem finished with copper and gilt inlays, a buzzing gold and copper dragonfly and a copper stem.

Impressed: on base TIFFANY & CO. 5391 M 607. STERLING SILVER. OTHER METALS. 435. PATENT APPLIED FOR. with French control marks Total weight 34.7 troy oz; Length: 16 inches (40.5 cm) Provenance: The Garden Museum Collection, Matsue, Japan.

Pictured on page 445 of “Louise C. Tiffany, The Garden Museum Collection,” also pictured on page 268 of “In Pursuit of Beauty, Americans & the Aesthetic Movement” (Rizzoli).

Exhibited: Exposition Universelle, Paris, 1878; The Metropolitan Museum of Art, New York, In Pursuit of Beauty: Americans and the Aesthetic Movement, 1987.

Estimate: $80,000 / 100,000

60

Lot 2056

2056 Tiffany & Co. Mixed Metal Open Sugar with Spider Circa 1878 The hammered deep well form with a waisted scalloped rim, twin applied mixed metal maple branches, the leaves with a copper wash, enwrapping the bulbous body, applied fauna specimen including a spider, a bumblebee and a fly, the interior with gilt wash, Impressed on base TIFFANY & CO. 5388 M 607. STERLING SILVER-ANDOTHER-METALS. 429. with French control marks Total weight 7 troy oz; Diameter: 4 inches (10 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

Pictured on page 445 of “Louise C. Tiffany, The Garden Museum Collection,” also pictured on page 268 of “In Pursuit of Beauty, Americans & the Aesthetic Movement” (Rizzoli).

Exhibited: Exposition Universelle, Paris, 1878; The Metropolitan Museum of Art, New York, In Pursuit of Beauty: Americans and the Aesthetic Movement, 1987.

Estimate: $15,000 / 20,000

Lot 2056 detail 61

2057 Tiffany & Co. Mixed Metal Sterling Flacon Circa 1878 The hammered double-gourd form with applied wisteria vine branches, the blossoms with a copper wash, enwrapping the bulbous body, applied fauna specimen including a two-tone, gold and copper dragonfly to body and a beetle to lid, fitted with an applied faux scale, entwining snake form handle, impressed on base TIFFANY & CO. 5388 M 607.

STERLING SILVER. OTHER METALS. 430. with French control marks Total weight 11.2 troy oz; Height: 8 3/4 inches (22 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

Pictured on page 445 of “Louise C. Tiffany, The Garden Museum Collection,” also pictured on page 268 of “In Pursuit of Beauty, Americans & the Aesthetic Movement” (Rizzoli).

Exhibited: Exposition Universelle, Paris, 1878; The Metropolitan Museum of Art, New York, In Pursuit of Beauty: Americans and the Aesthetic Movement, 1987.

Estimate: $60,000 / 80,000

Lot 2057

62

Lot 2057 detail

2058 Tiffany & Co. Mixed Metal Pitcher with Fish Circa 1878 The hammered baluster-form with an applied entwining snake form handle, cast with a faux scale finish, and a reticulated thumbpiece spreading to a cobra hood lid with an applied copper beetle, applied flora and fauna specimen enwrapping the bulbous body, with sprays of seaweed scattered fish in various mixed metal finishes, impressed TIFFANY & CO. 5387 M 607. STERLING SILVER. AND. OTHER METALS. 423.

Total weight 25.5 troy oz; Height: 9 1/2 inches (24 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

Pictured on page 445 of “Louise C. Tiffany, The Garden Museum Collection,” also pictured on page 268 of “In Pursuit of Beauty, Americans & the Aesthetic Movement” (Rizzoli).

Exhibited: Exposition Universelle, Paris, 1878; The Metropolitan Museum of Art, New York, In Pursuit of Beauty: Americans and the Aesthetic Movement, 1987.

Estimate: $80,000 / 100,000

Lot 2058

63

Silver in the Japanesque style was produced by Tiffany & Co. in the late 1800’s under the directorship of Edward C. Moore, a pioneer collector of Japanese artworks drawn to the Japanese metal-worker’s choice of motifs inspired by Nature. His silver designs in the Japanesque style won Tiffany & Co. the Grand Prix for silver at the 1878 Exposition Universelle in Paris, which established the firm’s reputation as an international silver manufacturer.

Today this vase falls stylistically into the broad category of the Aesthetic Movement, the late 19th century style that took as its mandate the concept of ‘Art for Art’s sake.’

2059 Tiffany & Co. Butterfly Vase Circa 1874 The cylindrical form with twin assymetrically applied butterfly form handles, the front with applied bamboo shoots, the reverse with an engraved strapwork “S” monogram, over an applied flowering prunus trunk, an elaborate Japanesque foot band with roundels, raised on chamfered, cushioned lily pad feet with engraved lingzhi heads, Impressed on recessed base TIFFANY & CO. 3565 QUALITY 925.100. M. 3246. UNION SQUARE. Total weight 21.4 troy oz; Height: 9 1/4 inches (23.5 cm).

This vase is pictured on page 443 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 30,000

Lot 2059

64

2060 Tiffany and Company Sterling Chafing Dish Circa 1892.

The footed deep well bowl with chased leafy band divided by flowerheads, fitted with a cantilevered bone handle, the waisted, fluted hat-form cover with a raised daisy flowerhead band and a flowering loopform handle, the tripod footed base with conforming cast cabriole supports.

Chafing dish base impressed TIFFANY AND COMPANY 11469 Makers 5571. STERLING SILVER. 925-1000. T 4 Pints. Burner base similarly marked.

Overall height 11 inches (28 cm); Diameter of chafing dish 9 inches (23 cm).

Estimate: $4,000 / 6,000

Lot 2060

2061 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”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 15,000

Lot 2061

65

2062 Tiffany & Co. Sterling Compote Circa 1891 The footed bowl with a wide leafy vine band divided by chrysathemum flowerheads, enclosed by a leafy rocaille volute rim border, centering a leafy engraved monogram, the footed cushioned base with conforming decoration, Impressed TIFFANY AND CO .10719 Makers 1611.

STERLING SILVER. M. Total Silver Weight 11.6 troy oz; Height 3 3/4 inches (3.4 cm); Diameter 7 inches (6.4 cm).

Estimate: $1,200 / 1,400

Lot 2062

2063 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: $2,250 / 2,750

Lot 2063

66

Lot 2064

2064 Pair of Tiffany Studios Silver and Silver Plated Bronze Ten Light Candelabras

Each urn form standard issuing a low tier of six upswept arms with urn form candle cups, an upper tier of three upswept arms with conforming cups, centering a center urn form candle cup finial, the whole raised on paw feet supports on a corseted, fluted platform base, Impressed on base of each “TIFFANY STUDIOS NEW YORK”.

Height 24.5 inches (62 cm)

Estimate: $14,000 / 16,000

67

2065 American Art Nouveau Shreve & Co. Sterling Silver Flower Form Vase Height: 22 1/2 inches.

Encrusted with shells and a leaf motif emanating from the chasing on the body (base weighted).

Signed: Shreve & Co. Sterling San Francisco. Base also marked: Base loaded Provenance: Lot #722 at Butterfield & Butterfield, sale of the contents of Filoli, The Woodside California Residence of Lurline B. Roth, March 1975 (catalog of sale is included with this lot)

Estimate: $7,000 / 9,000

Lot 2065

2066 Tiffany and Company Repousse Sterling Tea Caddy Circa 1884.

The cylindrical form decorated in a heavy repousse pattern of fern leaftips, various flowerheads, and bands of acanthus leaf bands, the dome form lid with an applied sunflower handle, Impressed: Tiffany and Company. 7970 Makers 9064. Sterling Silver. 925-1000. T. Centering an engraved monogram on underside.

Total silver weight 7.8 troy oz; Height 4 1/4 inches (11 cm) Diameter 3 1/4 inches (8.5 cm).

Estimate: $1,000 / 1,200 Lot 2066

68

2067 Tiffany and Company Sterling Silver Pitcher Circa 1878.

The baluster form with an applied ribbed form handle, with repeating repousse bands of interlocking athenaeum leaves, Impressed on base Tiffany and Company,. 5066 Makers 6772. Sterling Silver. 925-1000. T . 6 1/4 pints, Total Weight 27.25 Troy ounces. Height 8 1/4 inches (21 cm).

Estimate: $3,000 / 5,000

Lot 2067

2068 Tiffany Studios Pulled Feather Compote

The upper round flared section in an ivory background is decorated by a green pulled feather design originating at the bottom of the slender shaft where it joins a circular base highly iridized in a deep golden finish with bluish highlights.

Signed on underside: L.C.T. Height: 15 1/2 inches Diameter of base: 6 inches Maximum diameter of upper section: 6 1/4 inches.

Provenance: A Southwestern collector.

Estimate: $7,000 / 9,000

Lot 2068

69

2069 Tiffany Studios Banded Dogwood Table Lamp

Featuring mottled green background glass, white mottled flowers, purple branches and multicolored green leaves. The shade rests on a smooth mushroom library base.

Shade signed: Tiffany Studios New York 1555. Base signed: Tiffany Studios New York 394.

Diameter of shade: 18 inches.

Provenance: A private collector.

Estimate: $22,500 / 25,000

Lot 2069

70

2070 Tiffany Studios Cypriote Vase

In the Cypriote technique, Tiffany sought to simulate the corrosive qualities of glass excavated from archaeological sites on Cyprus. To replicate the devitrified surfaces of buried artifacts, particles of metallic oxides were applied to a mass of molten glass. This created a chemical reaction that, in turn, pitted the surface of the glass when it was held to a flame. Alternatively, a gather of molten glass was rolled over a marver (i.e. steel plate) covered in pulverized silica rock, a process which also pitted its surface. Often additional decorative effects, such as silvery-blue leaves on trailing stems, were applied to the encrusted ground before it was iridised.

“The development of iridescent colors and all the varied hues and shades in Favrile glass calls upon chemical knowledge and makes the production of new combinations a very fascinating occupation. Ancient Greek and Roman glass subjected to the disintegrating effects of burial for long periods in a humid soil has produced objects of great attraction to amateurs, some of whom devote themselves to their collection. Just as modern painters have tried to rival in painting the tones effected by age on old pictures, so in his Favrile glass Tiffany has vied with that beauty which has been added to antique glass by the centuries, aided perhaps by the oily contents of such receptacles as were filled with cosmetics and other unguents.” - Derivation of Cypriote glass by Charles de Kay in The Art Work of Louis C. Tiffany, New York, 1914, p.27.

Inscribed: Louis Comfort Tiffany o8923.

Height: 10 inches (25.5 cm).

Provenance: The Garden Museum Collection, Matsue, Japan.

Note: Photo below: Selection of vases, three which appear to incorporate the Cypriote technique, shown at the Esposizione d’ Arte Decorativa Moderna, Turin, 1902.

Estimate: $15,000 / 20,000

Lot 2070

71

2071 Tiffany Studios Aquamarine Vase

Introduced around 1911-12, Aquamarine glass was the last major technique publicized by the firm.

Compositions of aquatic plants and other marine life were fashioned out of small colored glass canes that the glassblower pulled into their required forms with a metal hook not unlike a crochet needle. At various stages in the process, the composition was encased in layers of clear or tinted glass gathered on a blowpipe from a crystal pot. The result provided the viewer with the impression of looking into a fishbowl or pond, better examples providing a sense of motion within the water. The effect is illusionary as the decoration is far smaller than it appears, the thick outer mass of glass acting as a magnifying lens. In addition to flora, aquamarine glassware includes fish, algae, sea anemones, jelly fish and molluscs, in many instances presented within a complete ecological environment.

Inscribed: L.C. Tiffany-Favrile 5249G. Height: 10 1/2 inches (26.5 cm).

Provenance: Benedict Silverman.

The Garden Museum Collection, Matsue, Japan.

This vase is pictured on p. 264 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $50,000 / 60,000

Lot 2071

72

2072 Tiffany Studios Flowerform Vase

With its bulbous foot, elongated column and globular mouth, Tiffany has here integrated the entire organism - bulb, stem and petalswithin a single fluid shape to create the quintessential Art Nouveau object. As Siegfried Bing noted in the introduction to his exhibition catalogue at the Grafton Galleries, London, 1899: ‘Never, perhaps, has any man carried to greater perfection the art of faithfully rendering Nature in her most seductive aspects, while subjecting her with so much sagacity to the wholesome canons of decoration’.

Inscribed L.C.T. Y 9065 Height: 20 1/4 inches (51.5 cm.).

This vase is pictured on pg. 225 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: Sotheby’s New York, Nov 19, 1994, Lot 502 The Garden Museum Collection, Matsue, Japan.

Estimate: $35,000 / 50,000

Lot 2072

73

2073 Tiffany Studios Table Lamp in the Venetian Motif

The multicolored shade in hues of deep blue, green and mauve with red highlights is a wonderful example of this model which features some of the smallest pieces of Favrile glass and the finest lead work of all Tiffany models. This shade is mounted on a gilded bronze base with excellent finish throughout.

Underside of base signed: Tiffany Studios New York 515.

Diameter of Shade: 13 1/8 inches Height of Shade: 5 7/8 inches Overall Height: 20 3/8 inches.

See page 188 in “Louis C. Tiffany at Tiffany & Co.” (Loring, 2002) for an example of an identical jeweled base.

Provenance: a Southwestern collector.

Note: Please note that this base is a variant from the Venetian base sold in these rooms on November 17, 2012, in that there are only two groups of Favrile glass jewels mounted within it’s openings as opposed to four groups in the previously sold lot.

Estimate: $70,000 / 90,000

Lot 2073

74

2074 Tiffany Studios Pine Needle Desk Set Box

A bronze and Favrile glass box executed in green Favrile glass with white and light green striations all overlaid with pine needle filigree decoration and finished with a green and brown patina.

Underside impressed: Tiffany Studios New York 17.

Width: 7 inches Depth: 7 inches Height: 2 1/2 inches.

Provenance: A private collector.

Estimate: $900 / 1,200

Lot 2074

2075 Tiffany Studios Acorn Table Lamp

The Favrile glass shade in pleasing tones of reddish pink segments of glass with extensive surface hazing on the interior of the lamp.

The shade is mounted on an urn base originally oil burning with original canister fitted with a one bulb socket. The central urn is supported by four legs mounted to a stylized square foot. The patina is dark green with lighter green and yellowish highlights.

Shade signed with metal tag: Tiffany Studios New York. Base impressed: Tiffany Studios New York 14. Oil canister impressed: Tiffany Studios New York D 888 and bearing the Tiffany Glass and Decorating Co. monogram. Support collar impressed 21151.

Diameter of shade: 16 inches Height of base: 15 1/2 inches Overall height of lamp: 20 inches.

Provenance: A West coast collector.

Estimate: $8,000 / 10,000

Lot 2075

75

2076 Tiffany Studios Peacock Table Lamp

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 artfully rendered in favrile glass. This model is the largest version of the peacock table lamp.

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.).

1906 Price List: Model #224, Peacock, large, $115 [shade and base] This lamp is pictured on pg. 308 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

Lot 2076

76

Lot 2077

Lot 2078

2077 Pair of Tiffany Studios Candlestick Lamps

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: $7,000 / 9,000 2078 Tiffany Studios Cypriote Vase

The highly iridized surface covered with the pitting and random imperfections which characterized this series of glassware examples. The coloration is gold with purple, pink, blue and red highlights.

Signed: 7246 L.C. Tiffany Favrile, also bears a Tiffany Favrile Glass paper label.

Height: 6 5/8 inches Maximum width: 3 inches.

Provenance: A Midwest collector.

Estimate: $6,000 / 8,000 2079 Tiffany Studios Decorated Vase

The bulbous body with all over deep green iridescence and decorated with two iridized waves, the lower in blue and purple highlights, the upper wave in silvery grey.

Signed: L.C.T. H-1456 Height: 3 15/16 inches Maximum width: 3 3/8 inches Diameter of base: 2 1/16 inches.

Provenance: A Midwest collector.

Lot 2079

Estimate: $2,000 / 3,000

77

2080 Tiffany Studios Gothic-Style Vase Completed October 4, 1911.

Of flaring octagonal form adorned with panels simulating medieval stained glass lancets intersected by vertical bands of rosettes.

Following the absorption by Tiffany & Co. in 1907 of the Jewellery and Enamel Departments at Tiffany Furnaces, Tiffany ceased to use copper in his enamelware in preference for gold, silver, and other precious metals, as in this vase.

Gold, champleve and plique-a-jour enamel, designed by Louis C. Tiffany.

Impressed TIFFANY & Co. 17942 MAKERS 1860 22 KT. GOLD and M. Height 10 5/8 inches (27 cm.).

This vase is pictured on pgs. 430 & 431 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 175 of “Louis C. Tiffany at Tiffany & Co.” (Loring, 2002).

Literature: “The Jewelry & Enamels of Louis Comfort Tiffany”, Zapata, 1993, pg. 147.

Exhibited: The Silver of Tiffany and Company, 1850-1987, Museum of Fine Arts, Boston, 1987 Provenance: Lillian Nassau, Ltd., New York; Sothebys, New York, June 5, 1996, lot 43; The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 80,000

Lot 2080

78

Lot 2082 2081 Tiffany Studios Counterbalance Desk Lamp

The bronze base in green-brown patina with a round bottom section supporting a pair of arms to which is mounted a heavy bronze counterweight ball and ascending to a curved arm which ultimately supports a swivel socket. The Tiffany damascene shade is decorated with a blue wave pattern on a green background with overall iridescence.

Base Impressed: Tiffany Studios New York 416 Shade impressed on fitter rim: L.C.T. Height of Shade: 4 1/4 inches Diameter of Shade: 7 inches Diameter of lower section of base: 4 3/4 inches Maximum Height of Base: 14 3/4 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

Note: This lamp is housed in a custom Garden Museum case.

Estimate: $7,000 / 9,000 2082 Tiffany Studios Favrile Glass Compote

Lot 2081

2083 Tiffany Studios Swirl Pen Tray with Mosaic

Swirl pen tray in bronze with mosaic Favrile glass.

Impressed: 23303. 1906 Price List: Model #1001, Metal and mosaic, swirl, $5.

Length: 7 3/4 inches (19.5 cm).

This piece is pictured on page 398 of “Tiffany Lamps and Metalware” and page 371 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Executed in iridescent gold Favrile glass with purple and pink highlights. The upper section rising from a circular foot on a slender stem which is knobbed nearing the underside of the upper form.

Signed: 1705 L.C. Tiffany Inc. Favrile Height: 3 7/8 inches Diameter of Top: 5 3/4 inches Diameter of Base: 3 inches.

Provenance: A private collector

Estimate: $600 / 800

Estimate: $8,000 / 10,000

Lot 2083

79

Lot 2084

2084 Tiffany Studios Fish Mosaic Inkstand

Bronze and mosaic Favrile glass tiles, with glasswell and plastic liner.

Inkstand impressed with Tiffany Studios New York D 1121 with the firm’s logo. Liner impressed The DAVIS/Pat. Mar. 19 Oct. 22, 89, Feb. 14, 93.

Height: 3 1/2 inches (9 cm) Square: 7 inches (18 cm.).

Provenance: The Garden Museum Collection, Matsue, Japan.

This piece is pictured on page 368 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 193 of “Louis C. Tiffany at Tiffany & Co.” (Loring, 2002).

Estimate: $50,000 / 70,000

80

A Tiffany Studios archival photo showing Clara Driscoll at her worktable along with Joseph Briggs, circa 1901.

Note the fish inkstand in the foreground.

81

Lot 2085 2085 Tiffany Studios Sailing Ship Panel

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”.

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

Estimate: $150,000 / 180,000

82

Lot 2086

2086 Tiffany Studios Mosaic Inkstand

Bronze and mosaic Favrile glass tiles in iridescent glass.

Impressed TIFFANY STUDIOS NEW YORK D 1323 7. 1906 Price List: Model #865, Inkstand, mosaic, round, plain, diameter 4 3/4 in. $15.

Height: 4 1/2 inches (11.5 cm) Diameter: 3 inches (7.5 cm).

This inkstand is pictured on page 429 of “Tiffany Lamps and Metalware” and on page 366 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

83

2087 Tiffany Studios Decorated Peacock Vase

“Many of the vases, bowls, jardinieres, scent bottles, plaques and many of the other decorative pieces that 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 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 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 Inscribed L.C.T. o4532T, with an original paper label from The Tiffany Glass and Decorating Co. Height: 24 1/2 inches (62 cm).

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

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $22,000 / 28,000

Lot 2087

84

A previously unpublished view of Laurelton Hall.

85

Lot 2088 2088 Leslie H. Nash 1924 The Night Shift. Tiffany Favrile Glassworkers Oil on Canvas Height: 17 3/8 inches Width: 23 inches.

Inscribed on rear.

This painting, inscribed “Night Shift” on the lower left corner of the front, depicts three glass blowers at work manipulating glass next to the furnaces at Tiffany Studios. It depicts the process of glass blowing artists creating the spectacular iridescent vases and glassware at the Corona Furnaces. Nash created a series of oil paintings depicting various aspects of the Tiffany Studios showrooms and production. Leslie Nash was the son of Arthur John Nash, who became the production manager at the Tiffany Glass and Decorating Company’s furnaces in 1892. His father remained in that position until the late 1920’s and Leslie joined the studies initially as the manager of the blown glass department and later the management of the pottery and enamel divisions became part of his duties.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 6,000

Tiffany Studios glassworker shaping a vase 86

2089 Tiffany Studios Cameo Cut Arrowhead Vase

Cameo cut arrowhead pattern.

Inscribed L.C.T. 3072 A. with an original paper label from The Tiffany Glass and Decorating Company.

Height: 7 3/8 inches (18.5 cm).

Provenance: Sotheby’s New York, Oct 3, 1992, Lot 336 The Garden Museum Collection, Matsue, Japan.

This vase is pictured on page 245 of “Louis C. Tiffany, The Garden Museum Collection”.

Estimate: $20,000 / 25,000

Lot 2089

87

2090 Tiffany Studios Agate Vase in Scarab Mount

“Agate glassware was developed to imitate the granular or striated composition of hardstones such as Jasper and chalcedony. The effect was achieved by placing gathers of opaque earth-toned glasses into the same melting pot, in which they were mixed until the desired pattern of layered colors was achieved. On completion, the vessel’s surface was cut into bands of faceted panels that exposed its laminated internal structure. Agate wares were made quickly at relatively low temperatures as excessive heat and exposure turned the mixture black. “The metal work of this piece is put together first, and the glass then blown into it. In another piece that I saw, to be used as a lamp, the metal work predominated, and a rich ruby opalescent glass was blown into the perforations of an openwork globe... No two pieces of Favrile being exactly alike, each design has to be individually considered, and the hand-wrought metal made to follow all the caprices of the material; for instance, all the little dents and curves round the mouth of the vase, into which the well is sunk.

The charm of direct contact with the material has worked in another way too, and the aim is to let the metal interfere as little as possible with the wonderful beauty of the glass.

Much though has of necessity to be expended upon keeping the two materials in proper relation to each other. All depends on the requirements of the piece of glass chosen.

The metal is given a kind of patina which harmonizes with the color of the glass. Thus it may be either dull gold, silvery, or quite grey, according to the relative coolness or warmth of the Cipollino veinings of the glass, or it may be reddish, greenish, or variegated.”

- Horace Townsend, “American and French Applied Art at the Grafton Galleries”.

Bronze mount inset with eight jeweled glass scarabs, glass inscribed L.C. Tiffany-Favrile.

Height: 8 1/4 inches (21 cm).

One of the first pieces of mounted agateware, perhaps the technique’s prototype, included in Bing’s Tiffany exhibition at the Grafton Galleries, London, 1899. Described and illustrated in Horace Townsends “American and French Applied Art at the Grafton Galleries”, International Studio, 8, 1899, pp.

157, 161, 165. John Mecom, Jr. Provenance: Sotheby’s New York, Oct 3, 1992, Lot 308 The Garden Museum Collection, Matsue, Japan. This vase is pictured on page 256 of the “Louis C. Tiffany, The Garden Museum Collection” and also on page 154 of “Louis C. Tiffany at Tiffany & Co.” by John Loring.

Estimate: $30,000 / 40,000

Lot 2090

88

2091 Tiffany Studios Lava Vase

A visit to Mount Etna in Sicily during one of its eruptions is said to have inspired Tiffany to capture in glass the force and beauty of the molten volcanic flows and basaltic rock formations that he observed there.

Inscribed: L.C. Tiffany Favrile 9166C. Height: 4 1/4 inches (10.5 cm).

This vase is pictured on page 250 of “Louis C. Tiffany, Garden Museum Collection”.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 2091

89

2092 Tiffany Studios Decorated Window Vase

The central band of eight circular bulging apertures is comprised of translucent glass embedded internally with varicolored fractured or ‘confetti’ fragments of glass. The insertion of the ‘windows’ into the main body of the vessel, while both were still molten, required skilled collaboration between a blower and his gaffer (assistant), one in which the accident rate was inordinately high as the different coefficients of expansion in the glasses created friction during the annealing process which could result in internal stress cracks in the ‘windows’. The wheel-carved bands, resembling eyelashes, that border each aperture provide a delicate finishing touch, or decorative fillip. There is no apparent record of this complex glassmaking technique in the firm’s literature.

Inscribed: 600N Louis C. Tiffany.

Height: 7 inches (18 cm).

Exhibited: Masterworks of Louis Comfort Tiffany, traveling Japanese exhibition (Tokyo, Kobe, Nagoya and Toyama), January-August, 1991.

Provenance: Michael Lerner.

The Garden Museum Collection, Matsue, Japan.

This vase is pictured on page 236 on “Louis C. Tiffany, The Garden Museum Collection”

Estimate: $60,000 / 80,000

Lot 2092

90

2093 Tiffany Studios Jack in the Pulpit Flower Form Vase

This vase is an exceptional example of an early unsigned Tiffany Jack in the Pulpit vase.

Height: 16 1/4 inches.

Provenance: A private collector.

Estimate: $20,000 / 22,000

Lot 2093

91

2094 Tiffany Studios Lava Vase

At 12 1/2 inches in height and weighing about 13 lbs., this is one of the most monumental lava vases recorded, a factor no doubt in Tiffany’s decision to reserve it as a study piece.

Another reason is the satiny salmon iridescence on the gold volcanic flow. This vase remained in Tiffany’s private collection at Laurelton Hall until the contents of his home were sold in 1946.

A visit to Mount Etna in Sicily during one of its eruptions is said to have inspired Tiffany to capture in glass the force and beauty of the molten volcanic flows and basaltic rock formations that he observed there. Whereas the technique became one of the most innovative developed at Corona, the precarious nature of its manufacture led to a high attrition rate and consequently, high production costs. The pressures generated by the different coefficients of expansion of the metallic oxides employed created internal stress cracks that formed during the annealing process.

Prohibitively priced for the average American homeowner, therefore, lava pieces became the preserve of wealthy clients and museums.

Inscribed L.C.Tiffany-Favrile 26 A-Coll.

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

This vase is pictured on pg. 251 of “Louis C. Tiffany, The Garden Museum Collection” and also on page 90 of “Louis Comfort Tiffany” (Duncan 1992, Abrams).

Provenance: Louis Comfort Tiffany; Parke-Bernet Galleries, New York, September 24-28, 1946; Felice and Julia Minucci; The Garden Museum Collection, Matsue, Japan.

Estimate: $180,000 / 220,000

Lot 2094

92

Lot 2095

Lot 2096

2095 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: $3,000 / 4,000 2096 Tiffany Studios Paperweight Ovoid Vase

The exterior clear cased glass vessel backed by an iridescent interior treatment of highly iridized wave designs, the background color changing from a watery aquamarine at the base to a deep sea blue at the upper shoulder.

Signed on the underside: L.C. Tiffany Favrile 8870 L Height: 4 1/2 inches Width of base: 2 3/4 inches Maximum width: 4 1/2 inches.

Provenance: A Midwestern collector.

Estimate: $4,000 / 6,000 2097 Tiffany Studios Cypriote Vase

In the classical Ancient Roman form. The highly iridized surface in tones of amber, blue and purple with surface texture and pitting as appropriate to the Cypriote creations of Tiffany Studios, the vessel flares out from its base before reducing in size to a long neck and again flares to a flat style upper lip.

Signed on base: 6215 N L.C. Tiffany.

Height: 6 3/8 inches Diameter of base: 2 1/4 inches Maximum width: 3 3/8 inches.

Provenance: A Midwestern collector.

Estimate: $4,500 / 6,000

Lot 2097

93

Lot 2098

2098 Tiffany Studios Jack in the Pulpit Vase

The deep purple body decorated with grey green design rises from its round bulbous base to a deep green upper blossom area. Allover strong iridescence with strong pink and purple highlights in the upper sections.

Signed: LCT Favrile. height: 9 3/4 inches Width of upper blossom: 6 inches Diameter of base: 3 1/4 inches.

Provenance: A Midwest collector.

Estimate: $10,000 / 12,000

94

Louis C. Tiffany reviewing window designs at the Tiffany Studios.

95

Lot 2099 detail of lit shade.

Lot 2099 detail of unlit shade.

96

2099 Tiffany Studios Yellow Rose Floor Lamp

This exceedingly rare shade is perhaps the most technically elaborate of all Tiffany shades produced and is one of only two known examples of the model.

Shade: Impressed TIFFANY STUDIOS NEW YORK. 1913 Price List: Model #1904, 26 inch yellow rose, dome, $350 Base: Impressed TIFFANY STUDIOS NEW YORK. 1906 Price List: Model #376, Piano, floor, large, chased pod, $165.

Height: 72 inches (183 cm) Shade Diameter: 26 inches (66 cm).

Provenance: Vito D’ Agustino.

The Garden Museum Collection, Matsue, Japan.

This lamp is pictured on page 324 of “Louis C. Tiffany, The Garden Museum Collection” and page 207 of “Tiffany Lamps and Metalware”.

Estimate: $750,000 / 900,000

Lot 2099

97

2101 Louis Comfort Tiffany (American 1848-1933) Sketch for a stained glass memorial window Watercolor and ink on paper within a cardboard mount.

8 1/2 x 4 1/2 inches (21.5 x 11.5 cm).

Marked: Ecclesiastical Department, Tiffany Studios, New York and further marked: Approved by Louis C. Tiffany (script signature).

Provenance: The Garden Museum Collection, Matsue, Japan.

This piece is pictured on page 118 of “Louis C. Tiffany, The Garden Collection”.

Estimate: $1,400 / 1,800

The initial step in response to a church window commission involved the preparation of a sketch by a designer in the Window Department. After the client has expressed his desire for a particular theme, such as a Biblical scene from the Old or New Testaments, the designer would prepare a scale drawing, most often in watercolor or gouache with penciled detailing. On completion, this was set into a cardboard mount on which pertinent information relating to the commission was handwritten. This could include the copy for the dedicatory panel to be placed on the bottom of the window, and any information required by the glass colorist relating to color, type of glass, etc.

Before they were sent to the client, all sketches were reviewed by Tiffany, who would note his desired revisions, and, after these had been implemented, add his signature to signify his approval. The window was a memorial to Mrs. Belle H. Kaufmann, for the Far Hills Catholic Church, New Jersey.

98

2100 Tiffany Studios Pebble Table Lamp

The shade is comprised of a graduating pattern of florettes, the pebbled petals with glass centres, their perimeters pierced with tiny holes that serve to emit the hot air generated by the bulb and to provide a novel twinkling effect.

Shade: Freshwater pebbles, jewelled and Cypriote glass, unsigned. Base: Impressed Tiffany Studios New York 433.

Height 10 inches (51 cm.). Diameter of shade: 12 inches (30.5 cm.).

Base: 1906 Price List: Model #433, 1 light, tripod, same as No. 1211 candlestick, $22.

This lamp is pictured on pg. 319 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 139 of “Tiffany Lamps and Metalware”, by Alastair Duncan.

Provenance: Jules Cohen; The Garden Museum Collection, Matsue, Japan.

Estimate: $35,000 / 40,000

Lot 2101

Lot 2100

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2102 Pair of Tiffany Studios Wisteria Landscape Windows

The two panels form part of an original triptych depicting a mountainous panorama viewed through trellised wisteria blossoms. They are rendered in a vibrant naturalistic palette, and contain a wonderful selection of favrile glass including large selections of confetti glass as well as mottled glass. Rear Layers of plating have been used in the creation of these panels.

Unsigned.

Each panel measures 47 1/2 in height by 30 1/2 in width, not including the massive museum frame.

Dimensions with museum frame: Height 72 1/2 inches, Width 57 1/4 inches.

These panels are pictured on pgs.

154 & 155 of “Louis C. Tiffany, The Garden Museum Collection”.

Provenance: Sotheby’s New York, Dec 6 & 7, 1996, Lot 451 Sean McNally; to Charles Maurer; to The Garden Museum Collection, Matsue, Japan.

Estimate: $180,000 / 220,000

Lot 2102

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Lot 2102

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2103 Tiffany Studios Angel Window

Depicting a male winged angel holding a multilayered orb inscribed “SPR”, surrounded by an ornamental leaf motif border in multihued blues and orange Favrile glass. Many sections plated on the rear of the window with additional layers of glass.

Signed: Tiffany Studios. Inscribed: “But the greatest of these is charity, Corinthians 13”.

Height: 39 inches Width: 22 inches (not including frame). Height: 40 5/8 inches Width: 23 5/16 inches (including frame).

Provenance: A private collector.

Estimate: $35,000 / 45,000

A Tiffany Studios worker selecting glass for a window

Lot 2103

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2104 Tiffany Studios Angel Window

Depicting a female angel holding a multilayered orb. Surrounded by an ornamental leafy border in multihued blue and orange Favrile glass, many sections plated on the rear of the window with additional layers of glass.

Inscribed: LIVI “And now abideth faith hope and charity these three” Dimensions (excluding frame): 22 x 39 inches Dimensions (including frame): 23 5/16 x 40 5/8 inches.

Provenance: A private collector.

Please note: This window was from the same church installation as the previous signed “Tiffany Studios” Window (Lot) 103

Estimate: $35,000 / 45,000

Lot 2104

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Tiffany Studios workers laboring in the various steps of creating windows.

2105 Tiffany Leaded Glass Window “Christ on the Road to Emmaus”

A scenic window depicting Jesus and several disciples journeying to Emmaus. The background depicts a landscape and in the distance is an ancient city executed in multilayered enamels. This window was commissioned for a New Jersey church.

Height: 105 inches Width: 68 1/2 inches (not including the frame).

Provenance: A private collector.

Estimate: $70,000 / 90,000

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Lot 2105

This photo was taken in reflected light.

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Lot 2106

Lot 2107 2106 Tiffany Studios White Bisque Pottery Vase

Depicting maple leaves and pods against an uncolored bisque ground.

The interior is glazed.

Signed: LCT. Height: 8 inches Diameter of Base: 3 3/8 inches.

Provenance: A private collector.

Estimate: $1,400 / 1,600 2107 Tiffany Studios Pine Needle Picture Frame

The bronze and glass frame finished in a gold dore patina features light green mottled Tiffany glass and pine needle filigree overlay. The rear is equipped with a swivel stand.

Rear of frame impressed: Tiffany Studios New York.

Outside dimensions: Width: 7 7/8 Height: 91/2 inches Inner frame opening dimensions: Height: 5 7/16 inches Width: 3 15/16 inches.

Provenance: A private collector.

Estimate: $2,000 / 2,500 2108 Tiffany Studios Lamp Base

The bronze conical urn form is supported by five legs holding the urn at the bottom edge and again just below the flaring upper body of the urn. Mounted on a round, slightly stylized base plate and all surmounted by a three bulb cluster above the three arm spider shade support for a 14 inch shade. The patina is in brown with green highlights and is excellent throughout.

Base signed: Tiffany Studios New York 29939. Also bears the Tiffany Glass and Decorating Co. logo.

Height: 19 inches Diameter of base plate: 7 inches.

Provenance: A West Coast collector.

Estimate: $3,500 / 4,500 Lot 2108

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2109 Tiffany Studios Lily Shade

A single lily shade with green pulled feather design bearing blue purple highlights against an ivory background.

Etched signature on fitter edge: L.C.T. Height: 4 1/2 inches.

Provenance: A West Coast collector.

Estimate: $1,200 / 1,400

Lot 2109

2110 Tiffany Studios New York Suggestion for a Marble Altar, Church of the Resurrection Greensburg, Pennsylvania.

Marked: From Ecclesiastical Department, Tiffany Studios, 46 West 23rd Street, New York City. Approved by - Louis C. Tiffany.

Frame Dimensions: 19 1/2 x 23 1/4 inches Image Dimensions: 13 3/4 x 17 3/4 inches.

This drawing was exhibited at: “Louis C. Tiffany and the Art of Devotion” at Mobia, N.Y. 9/12 to 1/13. It is pictured on page 76 of the Exhibition Catalog.

Provenance: Collection of Allen Michaan

Estimate: $2,000 / 2,500

Lot 2110

2111 Collection of Three Tiffany Studios Brochures

Including Tiffany Favrile Glass, four pages; Favrile Glass, four pages; Tiffany Favrile Glass and Metal Producers, six pages with eleven pages of inserts together with an envelope on stationary of: Louis C. Tiffany Furnaces Inc., Corona L.I., New York.

Dimensions of each brochure: 3 1/2 x 6 inches.

Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $100 / 150

Lot 2111

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2112 Tiffany Studios Harp Lamp Base

The bronze base featuring a large circular foot embellished with a stylized petal motif all joining to a central shaft which splits to create a harp style shade support for a seven inch shade. The single Tiffany Studios lamp socket swivels to accommodate different positions for the shade. The uppermost tightening knobs, it should be noted, are unusual in that they are more elaborate than the standard knobs found on other Tiffany lamps. All finished in a brown and green patina.

Base impressed: Tiffany Studios New York.

Height: 271/2 inches Diameter of base plate: 7 7/8 inches.

Provenance: A West Coast collector.

Estimate: $2,500 / 3,000

Lot 2112

2113 Louis Comfort Tiffany Foundation Presentation Medal

Given to William J. Fielding in 1955 for long and faithful service from 1918 to 1955.

Edge of medal inscribed: Medallic Art Co. N.Y. Inscribed on reverse: Secretary Treasurer from 1942 Trustee from 1946 Continuous service since 1918 Diameter of medal: 3 inches. Size of custom case: Height: 6 inches Width: 5 1/8 inches.

Provenance: A private collector.

Estimate: $600 / 800

Lot 2113

2114 Tiffany Studios Desk Lamp Base

A bronze base featuring a heavy bulbous bottom section with dull brown patina mounted to a single arm which rises to the height of 6 3/4 inches before curving over to hold a single shade with the light pointing downwards.

Base impressed: Tiffany Studios New York and bears the Tiffany Glass and Decorating Co. logo with scratched number 168.

Maximum height: 12 3/4 inches Maximum diameter of base: 6 3/4 inches.

Provenance: A private collector.

Estimate: $2,000 / 2,500

Lot 2114

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Lot 2115

Lot 2116 2115 Tiffany Studios Zodiac Pattern Partial Desk Set

Comprised of a pair of blotter ends; a small box marked Tiffany Studios New York 810 measuring 5 3/8 x 3 1/2 x 1 inches; a larger box marked Tiffany Studios New York 1666 measuring 6 1/2 x 6 x 2 1/2 inches and a two compartment letter rack marked Tiffany Studios New York 1009 measuring 9 1/2 x 6 inches. All finished in a brown patina.

Estimate: $1,200 / 1,400 2116 Tiffany Blue Favrile Bud Vase

The round footed vase base supports a rounded body which tapers as it rises to the top where it flares out. The allover iridescent vase features blue and purple color throughout.

Base signed: 1501-700 M L.C. Tiffany Favrile.

Height: 8 inches Diameter of base: 2 5/8 inches.

Provenance: A private collector.

Estimate: $800 / 1,200 2117 Tiffany Favrile Glass Goblet

In gold iridescence with purple, pink and blue highlights.

Signed: L.C.T. 05999 Height: 8 1/2 inches.

Provenance: A private collector.

Estimate: $1,000 / 1,200

Lot 2117

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2118 Tiffany Studios Spider Lamp 1899-1928 The spider cast domical shade with graduated trapezoidal tiles, a center shaft with cluster of three lights, the knobbed cylindrical form spreading to a floriform base.

The base stamped “Tiffany Studios/New York/181”; the shade stamped “Tiffany Studios/New York”.

Height with shade 17 3/4 inches (45 cm); diameter of shade 15 1/4 inches (39 cm).

Estimate: $13,000 / 15,000

Lot 2118

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Students of the L.C. Tiffany Foundation at work in the Laurelton Hall Art Gallery.

The Tiffany Studios, New York.

Lot 2119 2119 Tiffany Studios Desk Set Box in the Grapevine Pattern

The large box in allover grapevine bronze filigree over green Favrile glass streaked with white and finished in a green and brown patina.

Underside marked: Tiffany Studios New York 17.

Width: 7 7/8 inches Depth: 8 inches Height: 2 1/2 inches.

Provenance: A private collector.

Estimate: $1,200 / 1,400

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A previously unpublished view of Laurelton Hall

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2120 Tiffany Studios Dogwood Cone on a Reticulated Base

The large dogwood shade (which is most often seen as a hanging chandelier), is here mounted on a large telescoping base as a table lamp. The dogwood shade with beaded upper and lower borders is decorated with dogwood blossoms throughout, rendered in mottled white and greenish white flowers and deep green leaves all set against a background of multicolored confetti glass with predominant background colors in the blue range. The shade is mounted on a large “reticulated” bronze base with a six bulb cluster mounted on a telescoping shaft in a green and brown patina.

Shade signed on interior with metal tag: Tiffany Studios New York. Base signed: Tiffany Studios New York 397.

Diameter of shade: 25 3/4 inches Height of shade: 9 3/4 inches Height of base: 25 3/4 inches Extended height of base: 36 1/4 inches.

Provenance: A private collector.

Note: Please note: Lacks finial.

Estimate: $140,000 / 160,000

Lot 2120

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2121 Tiffany Studios Overall Daffodil Table Lamp

This shade is a strong example with mottled blue geometric bands. The leaves are alternating mottled blue and green as they extend up the shade. The background is striated with portions done in fractured glass. The flowers are mottled yellow with green highlights. The base is a rare form.

Shade signed: Tiffany Studios New York 1426. Base signed: Tiffany Studios New York D425 with the Tiffany Glass and Decorating Co. logo.

Diameter of shade: 14 inches.

Provenance: A private collector.

Estimate: $37,500 / 40,000

Lot 2121

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Lot 2122

2122 Tiffany Studios Dragonfly Pendant

Executed with a mottled green background. The wings are done with a wispy translucent green. The eyes are red jewels and the body of the dragonfly is a brown to orange.

Unsigned.

Width: 9 7/8 inches. Height: 6 1/2 inches.

Provenance: A private collector.

Estimate: $3,500 / 4,000

Lot 2123

2123 Handel Bronze Lamp Base

Usually fitted with the Handel Egyptian style shade. This base features a bottom plate decorated with three fierce winged lions, their wing tips supporting a bulbous element transforming into a reeded shaft rising to meet the four bulb socket arrangement with each socket equipped with an acorn pull on a chain. The bronze base is in brown patina.

Underside of base signed Handel plus a metal tag bearing the number 1953.

Height to top of finial: 26 inches Diameter of base: 10 inches.

Provenance: A West coast collector.

Estimate: $2,500 / 3,500

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Lot 2124

2124 Handel Cherry Blossom Table Lamp

The elaborate leaded glass shade is decorated with a profusion of cherry blossoms executed in red and pink glass many of which feature chunk glass jewel centers. The blossoms are surrounded by leaves in green glass and all terminating in an irregular lower border. The shade is supported by a bronze Handel base in a simple but pleasing Oriental motif.

The shade is signed on the interior with metal tag: Handel. Base unsigned.

Diameter of shade: 18 inches Height of shade: 7 1/2 inches Height of base to top of finial: 23 inches.

Provenance: A West coast collector.

Estimate: $3,500 / 4,500

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Lot 2125

2125 G. Argy - Rousseau Pate De Verre Lamp Base

The bulbous glass base executed in Pate De Verre featuring a lower row of large stylized red blossoms surmounted by an upper row of similar smaller embellishments. The blossoms are interconnected by stylized triangular leaf decorations.

The body of the glass base is of pinkish glass with purple and red areas. The glass section is mounted in a brass circular foot and topped with a two bulb cluster.

Underside of base marked: 1841/0175 Glass signed: G. Argy - Rousseau.

Height: 22 inches Vase Height: 12 inches Diameter of brass foot: 6 1/2 inches.

Provenance: A West coast collector.

Estimate: $2,000 / 3,000

FOUR WORKS BY STEVEN STELZ

2126 Pate De Verre Fish Lamp Date of creation: 2013 This unique creation by New Jersey stained glass artist Steven Stelz marks the successful culmination of his efforts undertaken for the past few years to advance the Pate De Verre art form to a level where full lamp shades can be produced. The deep sea green shade is decorated around the lower borders by highly realistic multicolored koi frolicking amongst foamy waves. The shade is made ever more realistic by the inclusion of hundreds of tiny bubbles trapped in the glass. The base is a custom pottery piece designed by Steven Stelz in an ocean wave motif and finished in green and blue hues.

Base signed: Stelz Studios, Peace Valley Tile, New Britain, PA. Shade signed: STELZ Diameter of shade: 12 1/4 inches Height of shade: 6 1/4 inches Height of base: 18 inches Overall Height: 20 3/4 inches.

Provenance: The artist.

Estimate: $5,500 / 7,000

Lot 2126

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Lot 2127 2127 Steven Stelz Twilight Solitude Pate De Verre painting In this work, powders of glass have been painted onto a ceramic substrate and layers have been built up with multiple firings in an enamel like process. This process is unique in the art of glass making.

Maximum width of frame: 15 inches Height of frame: 21 inches Width of artwork: 8 1/2 inches Height of artwork: 15 1/4 inches.

Provenance: The artist.

Estimate: $3,000 / 4,000

Housed in a custom frame, this landscape painting in glass evokes a moody scene of a lone tree at the far reaches of a grassy meadow against a stormy sunset sky.

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2128 Steven Stelz Water Lilies Pate De Verre painting Width of painting: 13 1/2 inches Height of painting: 10 5/8 inches. Mounted in a custom gilded frame; Width of frame: 23 1/2 inches Height of frame: 20 1/2 inches.

Provenance: A private collector.

Estimate: $3,000 / 4,000

Depicting three water lily blossoms on lily pads floating on a deep blue and green pond.

Lot 2128

Lot 2129 2129 Steven Stelz Abandoned Orchard Pate De Verre painting Width of painting: 17 1/2 inches Height of painting: 12 inches.

Set in a custom built gilt frame; Width of frame: 26 1/2 inches Height of frame: 21 1/4 inches.

Provenance: A private collector.

Estimate: $3,800 / 5,000

Depicting a dry summer meadow with tall grasses in the foreground and sparsely foliated trees all set by bluish and whitish mountains in the distance.

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Lot 2130 2130 Laburnum and Snowball Window

This is a contemporary stained glass creation executed in the style of Tiffany Studios by Colorado stained glass artist Michael Mattei. The window depicts pendants of flowering laburnum amongst hydrangea blossoms (also known as snowballs), all against a background of confetti glass and surrounded by a jeweled border of clear hand chipped jewels. Sections of the window are plated on the rear with additional glass for depth.

Width: 26 1/2 inches Height: 34 1/2 inches Width of frame: 33 1/2 inches Height of frame: 41 3/4 inches.

Estimate: $16,000 / 18,000

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Inaugural Auction Arts & Crafts October 12, 2013 at 1pm Now accepting consignments Inquiries: Lee Jester Specialist in Charge lee@michaans.com (510) 227-2548

www.michaans.com • Ph. (800) 380-9822 • (510) 740-0220 • 2751 Todd Street, Alameda, California 94501 Bond #: 71393954

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Terms and Conditions of Sale STANDARD CONDITIONS OF SALE These Conditions of Sale are binding on all purchasers at Auction. Please read carefully.

By registering to bid at auction, in person, or through an agent, by absentee bid, or telephone or any other means including the Internet and e-mail, you agree to be bound by these Conditions of Sale (and changes made as noted below.)

All property and every lot for sale in our catalogue is offered subject to the following terms and conditions, along with any changes that may be published or announced prior to or during a sale by Michaan’s Auctions. (MA). The terms “MA” “us,” “we,” or “our” as used herein all refer to Michaan’s Auctions. Unless otherwise indicated in the catalogue or at time of sale, MA acts at all times solely as the agent for the seller. All sales shall be deemed to occur in California regardless whether by telephone, mail or through the Internet or the physical location of the buyer.

DEFINITIONS Hammer price: The highest bid received for a lot upon the fall of the auctioneer’s hammer.

Buyer’s premium: The amount paid by the buyer as a percentage of the hammer price and in addition thereto.

Purchase price: The aggregate of the hammer, buyer’s premium and applicable taxes or other fees, if any, as may be required by law.

Reserve: The minimum price at which the lot may be sold.

Buyer: The person or entity who buys property at auction or private sale.

Consignor: The seller, or the seller’s representative, on behalf of whom we are selling the Property.

Lot: The single item or group of items offered by us for sale.

Property: The item or items comprising an auction lot being offered for sale.

BUYER’S PREMIUM The Buyer shall pay a Buyer’s Premium which shall be retained by MA as follows: If you choose to pay by check, cashier’s check or cash, the Buyer’s Premium is eighteen percent (18%) per lot up to and including $250,000 plus twelve percent (12%) per lot of any amount in excess of $250,001 up to and including $1,000,000 and ten percent (10%) per lot in excess of $1,000,001. If you choose to pay by credit card (Visa, Mastercard or Discover only) or any other form of payment, the Buyer’s Premium is twenty-one percent (21%) per lot up to and including $250,000 plus fifteen percent (15%) per lot of any amount in excess of $250,001 up to and including $1,000,000 and twelve percent (12%) in excess of $1,000,001. Internet Buyer’s Premium is twenty-three percent (23%) per lot up to and including $250,000 plus eighteen percent (18%) per lot of any amount in excess of $250,001.

TERMS OF SALE a. The Purchase of and Payment for Property The sale of a lot shall be to the highest bidder as determined by the auctioneer, in accord with these Conditions of Sale. Title to the lot shall pass with the fall of the Auctioneer’s hammer. Buyer shall pay the Purchase price, as defined above, and such other fees as may be due, in full, within seven (7) days of the auction sale. Sale is not final and property will not be released to Buyer until good funds for all amounts due, are received by MA. Payment may be made (i) in cash, (ii) by wire transfer (additional $15

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fee), (iii) by money order or other guaranteed funds, or (iv) by personal check (when buyer’s credit is approved). No lot shall be transferred by Buyer to another person until the sale is final. In the event of partial payment for any lot or lots we shall apply payments, in our discretion, to the lot or lots we select. The Buyer grants MA a security interest in the purchased Property, and we may retain as collateral any property purchased and any funds in our possession, to secure a Buyer’s obligations to us, if any. We retain the rights of a secured party under the California Commercial Code. All fees, taxes, premiums or other sums due and not paid pursuant to this paragraph shall bear interest at 1.5 % per month from the 8th day following the sale to the date paid in full. b. Collection of Property Upon transfer of title, Buyer assumes full responsibility, including risk of loss and damage, for the Property. Purchased property shall be removed at Buyer’s expense within fifteen (15) days after the sale becomes final. Property not removed shall be subject to a service fee of $50, and a storage fee, if retained by MA, of 1% of the purchase price per month. MA may also, in its sole discretion, elect to place the Property in a public storage facility at the Buyer’s sole risk, responsibility and expense. c. Liability for delivery of property If, for any reason whatsoever, we are unable to deliver the purchased Property to the Buyer, MA shall be liable to the Buyer only for the Purchase price paid by the Buyer and in no event shall we be liable for incidental or consequential damages, including, but not limited to, business interruption or loss of profit. d. Available Shipping As a service to the purchaser, MA may be able to pack and ship items as set forth in the provisions for shipping in the paragraph following the terms and conditions of sale.

THE AUCTION PROCEDURE a. Registration Bidders must register in advance to bid at auction. (a) If by mail or on the Internet please comply with, sign and send back the requisite form or absentee bid. (b) To telephone bid, Bidders must complete, sign and fax a copy of the Telephone Bid Registration Form, which is available only by calling MA. Telephone lines are limited, and available on a firstcome, first-serve basis. Registration to bid by telephone must be completed by 5 p.m. the day prior to the auction. (c) When intending to bid in person, pre register at the desk and obtain a bidding paddle. The auctioneer may refuse to recognize any person not registered and not having a paddle number. MA reserves the right at its sole discretion, to refuse anyone the right to register and participate at an auction. b. Announcements We may, at the commencement of, or during the Auction, announce changes in or modifications to the Conditions of Sale or descriptions of Property. c. Absentee Bids For a Buyer’s convenience, absentee bids will be accepted, when properly executed and submitted in a timely manner. However, we neither accept any responsibility to an absentee bidder, nor any liability whatsoever for a failure to execute the absentee bid for any reason. In the event that identical multiple absentee bids are the highest bids received for the same lot then the earliest received of the competing

absentee bids shall prevail at that bid amount. d. Auctioneer’s Discretion The Auctioneer has the absolute discretion to 1) pass a lot or withdraw it from sale at any time prior to its actual sale; 2) refuse to recognize any bidder; 3) refuse to recognize any bid; 4) resolve any dispute between bidders or resolve any doubtful bid by deciding who is the successful bidder or nullifying the auction of the lot and reoffering it for sale. The Auctioneer’s decision is binding as to disputes arising at auction. If a dispute arises post sale, our records of the sale shall be conclusive. Both the Auctioneer and MA shall be without any liability whatsoever resulting from the exercise of the discretion referred to herein. e. Reserves All Property is offered for sale subject to a Reserve unless otherwise stated by us at time of sale. MA may protect the Reserve by an initial bid or continued bidding on behalf of the consignor. Any bids by MA staff after the Reserve is met shall be made only on behalf or registered bidders. Neither the consignor nor an agent or representative of the consignor is allowed to bid on their own property.

DISCLAIMER OF WARRANTIES Except for warranty of title, neither we nor the Consignor make any warranties, guarantees or representation, express or implied, with respect to the Property, including, but not necessarily limited to, any implied warranty of “fitness for purpose” or “merchantability.”

Any and all statements and descriptions in any catalogue or elsewhere by MA, relating to age, attribution, authenticity, size, genuineness, provenance, historical relevance or significance, physical condition, importance, quality, quantity, rarity, period, culture, source or origin, are presented as statements of qualified opinion only.

MA’s disclaimer of liability covers information contained in catalogues, and all other printed material published by us, including condition reports. Buyers assume the responsibility to inspect the Property and make their own decision as to the nature, quality and value of the Property.

Neither MA nor the Consignor make any warranty or representation with regard to the existence of or the transfer of intellectual property rights, except and to such extent as may, from time to time, be explicitly stated.

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BUYER’S DEFAULT If a Buyer fails to pay for purchased Property, or otherwise does not comply with these Conditions of Sale, the Buyer shall be in default. In addition to all remedies available in law, to MA and to the Consignor, the Buyer shall be liable for the entire Purchase price. Additionally, at our option, we may either cancel the sale and retain all payments made

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.

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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 successors 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

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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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Lot 2099 detail

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