Treasures of Louis C. Tiffany

Transcription

Including selections from the Garden Museum, Japan
and Decorative Arts
Saturday, April 12, 2014
Including selections from the Garden Museum, Japan
and Decorative Arts
April 12, 2014, 1pm (Pacific Time)
Preview dates:
Friday, April 4, 12pm - 5pm
Saturday, April 5, 10am - 5pm
Sunday, April 6, 9am - 5pm
Friday, April 11, 12pm - 5pm
Day of sale, beginning at 9am to the end of the Auction
or by appointment
Michaan’s Auctions
2751 Todd Street • Alameda, CA 94501
Phone #: (800) 380-9822 or (510) 740-0220
Fax #: (510) 749-7517
Inquiries:
Allen Michaan
(510) 227-2503
[email protected]
View this catalog online at www.michaans.com.
Additional photos and condition reports available online.
Catalog Design by Andre Salcido
Photography by Jeffrey Lee
Text by Alastair Duncan and Allen Michaan
Front Cover: Lot 1050
Back Cover: Lot 1082
Inside Front Cover: Lot 1069
Inside Back Cover: Lot 1070
COPYRIGHT NOTICE
No part of this catalog may be reproduced, stored in a retrieval system or transmitted by any form or
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permission of Michaan’s Auctions.
Michaan’s Auctions bond # 71393954
Introduction
This auction is the fourth in a series of sales which has brought a major portion of Japan’s Garden Museum
Collection assembled by Takeo Horiuchi to the worldwide art marketplace.
The initial auction held here in Alameda, California, on November 17, 2012, included the sale of over a hundred
Tiffany objects from that museum and set a record at that time for the highest grossing action ever held at
Michaan’s Auctions. That record has since been surpassed as the auction house continues to grow.
The second act played out at Sotheby’s Paris on February 16, 2013, (which Michaan’s chose as the European venue
for this particular sale) when the most important of the European Art Nouveau holdings of the Garden Museum
Collection resulted in the highest grossing Art Nouveau sale in Sotheby’s history, the third installment occurred
on May 18, 2013 here at Michaan’s Auctions.
The sale contained in this catalog features many selections from the Garden Museum Collection plus additional
consignments.
In assembling this sale, an effort was made to create an exciting cross-section of Tiffany Studio’s artistry plus the
inclusion of several pieces from Tiffany & Company. Most notable from that group is the important 8 piece
beverage set in sterling silver designed by Edwin Moore in the Japanesque taste.
This catalog includes previously unpublished images that were reproduced from a collection of negatives in the
Garden Museum Collection. Wherever possible, descriptive text concerning the objects from the Garden
Museum Collection has been taken from the massive museum catalog, “Louis Comfort Tiffany, The Garden
Museum Collection” by Alastair Duncan.
It has been an honor and a privilege for Michaan’s Auctions to bring this collection back to the domestic
marketplace.
Sincerely,
Allen Michaan
The “Anchorman Collection” custom
built cases. Prior to being named the
Garden Museum, Mr. Horiuchi called
his collection the “Anchorman
Collection”. He commissioned the
creation of lavish velvet lined
custom carrying cases for every lamp,
vase, enamel, and other objects in
his collection. With the exception of
books, floor lamp bases, windows, tiles
and paintings, each Garden Museum
lot includes the custom-built Garden
Museum case unless otherwise noted.
Many of the lamps have a separate
case for the shade as well as the base.
These beautifully crafted storage and
shipping units add to the special
nature of these selections from The
Garden Museum Collection.
2
Tiffany’s home on Madison Ave.
A rare view of Louis C. Tiffany’s residence at the corner of Madison Ave. and 72nd Street in New York City.
3
Lot 1001
Lot 1002
1001
Tiffany Favrile Glass Vase
1002
Tiffany Studios Blue Iridescent Turtleback Tile
The iridescent blue/green body is adorned with decorations
of silver waves on the upper shoulder area.
Bears a paper label for the Tiffany Glass and Decorating Co.
Height 6 3/4 inches, Maximum width 3 1/2 inches.
Estimate: $1,400 / 1,600
These tiles were produced at the Tiffany Studios for use in
lamp shades and bases, mosaics, as desk paperweights and
architectural embellishments.
Length 5 3/4 inches, Width 4 3/8 inches.
Provenance: The Garden Museum Collection, Matsue Japan.
This tile is pictured on page 219 of “The Louis C. Tiffany,
The Garden Museum Collection” by Alastair Duncan, 2004.
Estimate: $400 / 600
1003
Tiffany Studios Pineneedle Jewelry Box
Finished in a dark green patina or finish (which does not
appear to be original). The box is fitted with two velvet
lined jewelry trays.
Unsigned.
Height 3 1/2 inches, Width 9 1/4 inches, Depth 6 1/2 inches.
Lot 1003
4
1004
Tiffany Studios Watercolor Study
For An Ecclesiastical Window
Commission “Christ Blessing Little
Children”
This large and colorful watercolor depicts a
double lancet window of Christ along with
three children and a young woman in a landscape with palm tree fronds behind Christ, a
fruited tree is on the left, bushes and flowers
are spreading out in the foreground.
Marked in pencil: Tiffany Studios, Mrs. F.P. Morris,
Garden City, N.J.. Signed Louis C. Tiffany (in pencil
script) also marked on rear 11228.
Height of Mat: 20 3/4 inches, Width 11 1/2 inches.
Height of each drawing 14 3/8 inches.
Estimate: $3,000 / 3,500
Lot 1004
5
Lot 1005
Lot 1006
1005
Tiffany Studios Counterbalance Desk Lamp with
Metal Shade
1006
Tiffany Studios Sundial
Diameter 12 3/4 inches (32.5 cm.).
This piece is not pictured in “Louis C. Tiffany, The Garden
Museum Collection”, however it comes housed in a custom
fitted museum carrying case. This piece is pictured on pg. 463 of
“Tiffany Lamps and Metalware”, by Alastair Duncan, 2006.
Provenance: The Garden Museum Collection, Matsue, Japan.
The bronze base is finished in brown patina with green
highlights with a “gooseneck” design on the portion between
the counterweight bronze ball and the light socket. The Tiffany
Studios metal shade in alligator finish in light gold dore has a
silver interior reflective finish.
Base Impressed: “TIFFANY STUDIOS NEW YORK” 4487.
Shade Impressed: “TIFFANY STUDIOS”.
Shade Diameter 8 inches, Base Pad Diameter 5 inches.
Estimate: $3,500 / 4,500
Estimate: $1,800 / 2,200
Lot 1007 lit detail
6
1007
Tiffany Studios Autumn Leaf Ball Lamp
The globe shade features an allover design of red,
orange and green leaves against a background of
semitransparent pale green and white glass.
Mounted on a bronze Tiffany Studios artichoke style
base (as sometimes used for ashtray supports).
Base marked Tiffany Studios New York, 4243 also 438.
Diameter of Shade 10 1/2 inches, Height of Base to
Shade lowest support 20 1/2 inches, Overall Height 31
inches.
Provenance: Butterfield & Butterfield 1970’s,
A private Northern California Collector.
Estimate: $70,000 / 90,000
Lot 1007 shade in reflected light
Lot 1007
7
1008
Tiffany Studios Red Decorated Vase
The depth and intensity of the red in this vase, identified as
Samian Red in the firm’s literature, are highly prized by today’s
collectors, drawing comparison to the sang de boeuf porcelain
glazes of the Chinese Ming and Ch’ing dynasties.
Inscribed: L.C. Tiffany Favrile 2454L.
Height: 9 7/8 inches, (25 cm).
This vase is pictured on pg. 240 of “Louis C. Tiffany, The Garden
Museum Collection” Alastair Duncan 2004.
Provenance: John Mecum, Jr., Houston, Texas.
Sotheby’s, New York, October 3, 1992; lot 281.
The Garden Museum Collection, Matsue, Japan.
Estimate: $15,000 / 20,000
Lot 1008
8
1009
Tiffany Studios Leaded Glass
Window
Oriental Poppies. The delicate landscape
of this window features a group of
blood red oriental poppies rising above
leaves and stems to be silhouetted
against the sky of hammered glass. This
window appears to be the third section
of an original triptych installation. The
other two panels are in the Smith
Museum of Stained Glass Windows
located on Navy Pier, Chicago, Illinois.
Dimensions (not including frame): Height
24 inches, Width 13 1/4 inches.
Estimate: $70,000 / 80,000
Lot 1009 detail in reflected light
Lot 1009
9
1010
Tiffany Studios Desk Lamp with Molded
Glass Favrile Shade
The shade is gold/brown with an unusual design of molded
leaves in raised relief the iridescence with purple surface
highlights on the upper sections of the shade. The shade
is topped by a finial (not original) which covers a rim chip.
The decorated miniature library base features coiled wire
embellishments rising from the mushroom shaped lower
portion to the three arm shade support. All finished in a
brown patina.
Base signed TG & D Co. Logo. Impressed: D942 “TIFFANY
STUDIOS NEW YORK”. Shade signed L.C.T. Favrile on upper
fitter.
Overall Height of Lamp 14 1/4 inches. Shade diameter 8
inches. Height of Base 10 1/4 inches to upper socket,
Diameter of lower portion 4 5/8 inches.
Estimate: $8,000 / 10,000
Lot 1010
10
The metal shop at Tiffany Studios
1011
Tiffany Studios Bronze and Abalone Platter
The large bronze platter in Dore gold finish is inset with 20
abalone discs embellishing the raised ornamented outer rim.
Underside Impressed: “TIFFANY STUDIOS NEW YORK” 1730.
Diameter 12 inches.
Lot 1011
11
1012
Tiffany Studios Cabinet Vase
The squat bulbous body in yellow with blue iridescent highlights is decorated with an allover wave pattern in a light silvery iridescence. This piece closely
resembles a cabinet vase marked A-Coll from Tiffany’s
private collection which was sold in these rooms on
May 18, 2013 as Lot 2034. It is identical in form and
size to Lot 2034.
Signed on lower body near foot: LCT.
Height 2 3/4 inches, Maximum Width 3 inches.
Provenance: Property of an East Coast Collector.
Estimate: $2,000 / 2,500
Lot 1012
12
1013
Tiffany Studios Pottery Three-Handled Vase
Pottery wares at Tiffany Furnaces were frequently made from living models such
as wild flowers and vegetables, which were sprayed with shellac until rigid and
then electroplated with copper. These, in turn were made into the plaster of
Paris molds in which the clay was pressed into its final form. Other themes
included specimens of tooled leather, American Indian pottery and forms of
marine life, such as octopi, algae and coral growths. To the public, pottery was
the least readily identifiable of Tiffany’s mediums, and for that reason, in part, the
least financially successful: Jimmy Stewart, a glassblower at Corona, later stated
that a good deal of it was put out of sight whenever Mr. Tiffany was expected to
visit the factory as the staff did not want him to know how little demand there
was for it (see Albert Christian Revi, American Art Nouveau Glass, 1968, p.89).
The firm’s pottery was offered for sale from 1905 until around 1917, and
therefore presumably remained in production for most of these years.
Height 6 1/4 inches.
This vase can be found on page 458 of “Louis C. Tiffany The Garden Museum
Collection,” Alastair Duncan, 2004.
Estimate: $10,000 / 12,000
Lot 1013
13
1014
Louis C.Tiffany Paperweight Vase
Inscribed L.C.T Y3300.
Height 12 1/2 inches (32 cm.).
This vase is pictured on pg. 262 of “Louis C. Tiffany, The
Garden Museum Collection” Alastair Duncan 2004.
Provenance: Sothebys, New York, March 13, 1998, lot 323;
Estimate: $18,000 / 22,000
Lot 1014
14
1015
Tiffany Studios Paperweight Vase
In the ‘paperweight’, technique, the decoration is encased in an outer layer of
clear glass which serves both to magnify it and to protect it from damage such
as chipping and bruising. The name derives from the process developed by
19th century French glasshouses, including Baccarat, St. Louis and Clichy, in
their manufacture of paperweights, perfume bottles, doorstops, etc. These tiny
objects of vertu inspired a revival in the technique during the Art Nouveau era
in the Graal creations of Simon Gate and Edward Hald at Orrefors, Sweden,
and in the intarsia works of Frederick Carder at Steuben in New York State. At
Tiffany Furnaces, the technique was known as the Morning Glory technique
(paper-weight is a recent generic term), in recognition of Tiffany’s watercolour
sketch that inspired its creation.
Inscribed L.C.T. Y5617.
Height 4 inches (10 cm.).
This vase is pictured on pg. 257 of “Louis C. Tiffany, The Garden Museum
Collection”, Alastair Duncan, 2004.
Provenance: Sothebys, New York, March 13, 1998, lot 326;
Estimate: $14,000 / 18,000
Lot 1015
15
1016
A Tiffany Glass & Decorating Company, Mosaic Panel,
“Head of San Andres” (Saint Andrew)
This mosaic panel repeats a detail of the last supper mosaic designed by
Frederick Wilson in 1897 and installed in the First Unitarian Church of Baltimore.
The last supper mosaic, truly monumental in size, at a height of 9 feet and length
of 18 feet was considered a major achievement for the Tiffany Glass &
Decorating Company. So successful was this design that another version at 6
feet by 16 feet in size was created for the Chapel of Sanitarium apartment
building in Clifton Springs, New York. An earlier version while quite different, was
installed at the St. Pauls Episcopal Church Richmond, Virginia and measured a
smaller 5 feet by 9 feet. A fourth variant can be found in Christ Church
Rochester, New York which was, as well, designed by Frederick Wilson in 1902.
(It should be noted that the following lot in this sale is a Tiffany Studios depiction
of The Last Supper in bronze and iridescent mosaic glass replicating Lorenzo
Ghiberti’s Last Supper Depiction as found on the doors of the Baptistery in
Florence, Italy.) This panel was created and displayed as a showroom sample for
the Tiffany Studios and remained at that location until the liquidation sale of the
bankrupt Tiffany Studios in 1932.
Provenance: The Tiffany Studios Showroom Display.
Tiffany Studios Bankruptcy Sale.
An early private Tiffany collector (purchased at bankruptcy sale),
Lilian Nassau Gallery,
Private Collection.
Published in The Mosaics of Louis Comfort Tiffany, Edith Crouch, Schiffer 2009
Page 153.
Louis C. Tiffany, The Art of Devotion page 144.
Tiffany Glass, A Passion For Color by Rosalind Pepall on page 62.
Exhibited: “A New Light on Tiffany: Clara Driscoll and the Tiffany Girls” at New
-York Historical Society, 2007,
Louis C. Tiffany, The Art of Devotion: Museum of Biblical Art, N. Y. Oct. 2012 to
Jan. 2013.
The Flagler Museum, Palm Beach Fla.
Tiffany Glass, A Passion For Color, Montreal, Canada and Richmond, Virginia.
Estimate: $80,000 / 100,000
16
Lot 1016
17
Lot 1017 detail
1017
The Last Supper, A Panel In Bronze & Mosaic Glass
The bronze figures of Christ and His Apostles cast in high relief on
a varicoloured iridescent mosaic glass ground. The panel is a
replication of Lorenzo Ghiberti’s Last Supper, one of the
twenty-eight panels of the life of Christ he completed for the
doors of the Baptistery in Florence between 1403 and 1424.
Mosaic glass and bronze, early 1920’s, impressed lower right, LOUIS C
TIFFANY FURNACES INC. TIFFANY STUDIOS NEW YORK ECCL. DEPT
2707.
Height 23 inches, Width 43 inches (58.5 x 109 cm.), including separate
bronze stand.
This panel is pictured on pgs. 450 & 451 of “Louis C. Tiffany, The
Garden Museum Collection,” Alastair Duncan 2004.
Provenance: Private collection, Havana, Cuba;
Estimate: $35,000 / 45,000
18
19
Lot 1017
20
1018
Tiffany Studios Saxifrage Candlestick
Like his contemporary, Emile Gallé in France, Tiffany drew artistic
inspiration from the humblest species of meadow plants, such as
the Wild Carrot, Queen Anne’s Lace and in this instance, an herb
which grows in the clefts of rocks. Here, the plant’s seed pods
have been fashioned with great delicacy into a candle bobeche
supported by a slender stalk rising from a symmetrical band of
leaves that fan out to form the foot. In this manner, a simple
household appliance has been transformed into a refined work
of art.
Height 18 inches, Width of Base 8 7/8 inches
Provenance: Property of Brooklyn New York Collector.
Estimate: $14,000 / 16,000
Lot 1018
21
Lot 1019 detail
1019
An Important Early Tiffany Glass & Decorating Co.
Table Lamp In the Moorish Style
Lot 1019 detail
Originally an oil lamp and since electrified. The shade is comprised of 48
elongated panels of twisted wire alternating between finely coiled circular
designs and an open loop design. Each panel is backed by an individual
leaded glass section of amber colored glass. The shade terminates in an
upper crown embellished by 24 amber chunk glass jewels. The base
features a highly elaborate Moorish style upper apron of fine twisted wire
and bronze spheres covering the upper half of a large glass body blown
from brown amber glass. This structure is supported by 8 “feet” that are
fashioned from elaborately shaped purple iridescent turtleback tiles
enclosed in bronze structures mounted on each side of each foot.
Overall Height: 20 1/2 inches, Diameter of Shade 18 1/4 inches, Maximum
diameter of glass in base 10 1/2 inches.
Provenance: Property of a Southern California Lady (This lamp was
acquired by a family member in the early 1950’s).
For a nearly identical example see figure 170 on page 50 of Tiffany Lamps
& Metalware, Alastair Duncan 2006.
Please see fig. 37 on page 87 of Louis Comfort Tiffany, Artist of the Ages,
Marilynn A. Johnson, for a view of the Bing Gallery, Paris, showing an
identical lamp.
Estimate: $95,000 / 115,000
Lot 1019 detail
22
Lot 1019
23
1020
Red Turtleback Paperweight
The iridescent red turtleback tile has been set in an
original Tiffany Studios bronze mount for use as a
paperweight. The bronze mount has 4 raised feet on the
underside and is finished in a brown patina with green
highlights.
Estimate: $1,400 / 1,600
Lot 1020
Lot 1021
1021
Tiffany Studios Pine Needle Pattern 3 Compartment Letter
Rack and an Inkwell
The large three sectioned letter rack is finished in a dore patina (tarnished) on
the bronze overlay sections backed by amber glass with white streaks. Plus a
single compartment pine needle inkwell in gold dore finish with original clear
glass insert over amber glass with white inclusions.
Letter rack underside impressed: “TIFFANY STUDIOS NEW YORK” 1007.
Inkwell underside impressed: “TIFFANY STUDIOS NEW YORK” 844.
Letter Rack: Height 8 5/8 inches, Width 12 5/8 inches, Depth 3 1/2 inches.
Inkwell: Height 3 3/4 inches, Width & Depth 3 7/8 inches.
24
Lot 1022
1022
Tiffany Studios Chrysanthemum Covered Enamel Box
Unlike the vast majority of his enamelwares, in which the vitreous coloured paste
was applied with a brush in a blended and totally naturalistic painterly manner, Tiffany
has here utilised the medium’s traditional champleve technique (the word derives
from champ, the French for field), in which the areas to be enamelled are etched or
carved out of the base metal and then filled with powdered enamels that liquefy
when heated in a furnace or kiln. There is a handwrought element to this piece, evident in the irregularity in some areas of the walls that separate the petals, that is
uncharacteristic of Tiffany’s work, suggesting that it was of an experimental nature.
Enamel-on-Copper, c. 1905, inscribed SG 208 L.C.T.
Height 2 1/2 inches (6.5 cm.).
This box is pictured on pg. 408 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $16,000 / 20,000
25
Lot 1023
26
Lot 1023 pitcher
Pitcher: Height 10 7/8 inches, Width of Body 4 3/4 inches
Weight: 50.09 Troy oz.
27
Lot 1023 tray
Tray size: 12 7/8 inches by 13 inches.
Silver 925-1000, Weight: 29 Troy oz.
Lot 1023 signature mark
28
Lot 1023 pitcher reverse view
Lot 1023 drinking cup detail
1023
Tiffany & Co. Aesthetic Movement Silver Beverage Set in the
Japanesque Style
Comprised of a Tray, Pitcher, and Six Goblets, all fashioned of sterling silver.
The goblets are highly embellished with allover applications of dragonflies,
flowers, snails, leaves, moths and grasshoppers plus a lower section of aquatic
motif with water lilies, cattails and fish.
The pitcher is embellished with iris flowers and attendant leaves rising from an
aquatic motif with leaping fish. As well there are bamboo shoots and leaves, two
dragonflies in flight and insects on the handle and lid with a salamander on the lid
preying on an insect.
The tray with an incised spiderweb emanating from the applied spider with a
maple leaf and a large dragonfly apparently caught in the web.
Tray marked: Tiffany & Co. Makers, Sterling Silver 925-1000.
Each Goblet Marked: Tiffany & Co. Makers, Sterling Silver 925-1000.
Pitcher marked: Tiffany & Co. Makers, Sterling Silver 925-1000.
Tray size: 12 7/8 inches by 13 inches. Silver 925-1000, Weight: 29 Troy oz.
Each Goblet: Height 3 inches, Maximum Width 2 3/8 inches.
Goblet Weights: 4.655 Troy oz. 4.215 Troy oz. 4.365 Troy oz. 4.790 Troy oz. 4.830 Troy
oz. 4.950 Troy oz.
Pitcher: Height 10 7/8 inches, Width of Body 4 3/4 inches. Weight: 50.09 Troy oz.
The Japanesque line of Tiffany & Co. silver and mixed metal pieces were designed
by Edward C Moore in the late 1870’s and early 1880’s and are highly prized by
museums and collectors.
Estimate: $60,000 / 80,000
Lot 1023 drinking cup detail
29
1024
Tiffany Studios Blue Geometric Table Lamp
The conical shade is comprised of pale blue mottled tiles
with strong surface hazing on the glass to the interior of
the shade. Mounted on a large “stick style” Tiffany base
bearing 4 light sockets.
Base signed: “TIFFANY STUDIOS NEW YORK “ 532. Shade
signed in metal tags “TIFFANY STUDIOS NEW YORK” 1493.
Overall Height: 26 inches. Shade Diameter 20 1/4 inches,
Height of Shade 7 3/4 inches. Height of Base 25 1/2 inches.
Estimate: $8,000 / 10,000
Lot 1024
30
Lot 1025
Lot 1026
1025
Pair Of Tiffany Studios Candlestick Lamps
1026
Tiffany Studios Bronze Candlestick Lamp With
Jeweled Bobeche
An unusual matched pair of candlestick lamps with decorated rounded bases supporting the
shafts decorated with a leaf motif and surrounded by rounded platforms supporting lamp
sockets, camouflaged by free standing leaves. Finished in a brown patina with green highlights.
Each candlestick holds a gold Favrile tulip shade.
Each candlestick signed: “TIFFANY STUDIOS NEW YORK” 621.
Each shade signed: L.C.T.
Diameter of bases 4 7/8 inches.
Height of bases 12 3/8 inches.
Height of shades 4 1/2 inches.
Provenance: A Southwestern collector.
Estimate: $5,000 / 6,000
The tall slender shaft rises from a round platform base decorated
with a reeded motif. The shaft culminates in a bronze bobeche
mounted with six iridescent Tiffany jewels and an original Tiffany
switch in the position of the jewels. Overall, finished in a brown
patina with green highlights.
Signed: “TIFFANY STUDIOS NEW YORK” 5977 435.
Height 17 1/2 inches, Diameter of base 6 1/2 inches.
Please note: This lamp lacks a shade.
Estimate: $5,000 / 7,000
31
1027
A Pair Of Printed Views From
“The Art of Louis Comfort Tiffany”
These plates were among the archival material
collection from The Garden Museum and are two of
the interior views of Laurelton Hall. Presumably they
were provided to Mr. Tiffany for his approval in the
process of the production of his personal book which
he printed for distribution to family and friends.
One view: Fountain Court in Laurelton Hall.
Second View: The Dining Room in Laurelton Hall.
Size of sheet 9 1/2 Wide by 12 1/2 inches High.
Fountain Court Size of Image 5 3/4 inches Wide by 7 1/2
inches High.
Dining Room Size of Image 8 1/4 Wide by 5 3/4 inches
High.
Provenance: The Garden Collection Museum, Matsue,
Japan.
Lot 1027
Lot 1027
32
Lot 1028
1028
A Pair Of Printed Views From “The Art Of Louis Comfort Tiffany”
These plates were among the archival material collection from The Garden Museum and are two views of
Laurelton Hall. Presumably they were provided to Mr. Tiffany for his approval in the process of the
production of his personal book which he printed for distribution to family and friends.
One view: Fireplace in Laurelton Hall.
Second view: Exterior of Laurelton Hall as seen from Rock Crystal Fountain.
Size of Fireplace view page: 9 1/2 inches by 12 1/2 inches. Size of image 7 1/2 inches Wide by 6 inches High.
Size of Exterior view page: 9 1/2 inches by 12 1/2 inches. Size of image 7 3/4 Wide by 6 inches High.
Provenance: The Garden Collection Museum, Matsue, Japan.
Lot 1028
33
1029
Milkweed Pod Enamel Vase
This enamel vase was designed by Julia Munson for the
Tiffany Studios. Depicting the bursting pods of the
milkweed plant with emerging blossoms all executed in
brilliant iridescent enamel work.
This enamel is pictured on page 425 of “Louis C. Tiffany The
Garden Museum Collection,” Alastair Duncan 2004.
The original watercolor study for this enamel can be found
pictured on page 424 of “Louis C. Tiffany The Garden
Museum Collection,” Alastair Duncan 2004.
Estimate: $50,000 / 60,000
34
Lot 1029
35
1030
Louis Comfort Tiffany
(American 1848-1933)
Street Scene in Algiers
Watercolor on paper
13 13/16 inches x 21 1/4 inches (35 x 54 cm.)
c. 1880. unsigned
Provenance: Julia Knox Wakeman Tiffany, daughter of the artist; Mary Parker Weaver Tiffany,
granddaughter of the artist.
This painting is pictured on pg. 43 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $35,000 / 40,000
During his busy travel and exhibition schedule in the 1870s and 1880s, Tiffany made several
trips to Spain, from where he crossed to North Africa. This composition provides a warm and
intimate personal recollection of one of those visits in its depiction of a typical kasbah scene in
the Algerian capital. In its subtle modulation of a narrow range of colors, the painting reveals the
influence of Tiffany’s earliest mentor, George Inness, a tonalist who sought to evoke a poetic
mood in his landscapes by the understated interplay of light and shadow. Here, the jumbled
displays of fruit, baskets, woven fabrics, and the turbans of the passers-by, highlighted by the
slanting rays of the sun, serve as jewel-like spot colors.
‘Rich in architectural design is “A Street Scene in Algiers,” with its groups of picturesque Arabs
and fascinating shops with their goods displayed outdoors in the brilliant sunlight of the colorful
tropics. It is an achievement to paint such a setting, obtaining the true values of color and the
thousand-and-one tones in shadow, half shadow and cast shadow, produced in a climate of
intense light.
In an analysis of this painting, we cannot but be impressed with the artist’s surety and
knowledge in grasping the various requirements: the difficult lines of the archway, the
perspective, the ornamental details- all beautifully drawn and rendered; but the really amazing
feature is the attention to and correctness of detail in so many articles, each drawn with the
same time, embodying that breadth of effect which melts into the whole, without disturbing
insistence.’
Commentary on Street scene in Algiers by Rene DeQuelin, in ‘A Many-sided Creator of the
Beautiful’, Arts and Decoration, 17 (July 1922), p.177.
A similar painting depicted in “Art of Louis C. Tiffany”
36
37
Lot 1030
Lot 1031 in reflected light
1031
Tiffany Studios Peacock Chandelier
This very rare shade is almost entirely fashioned from Favrile “feather glass” which is
usually seen only in the wings on angels of Tiffany church windows. While the angel
wings are almost always fashioned in white opalescent glass, in this fixture the
technique is applied to the creation of glass of the deepest and richest hues
imaginable. The lush colors evoke the brilliant plumage of the peacock, one of
Tiffany’s favorite natural motifs.
Unsigned.
Diameter 26 inches.
This lamp is pictured on page 329 of “Tiffany Lamps & Metalware,” Alastair Duncan,
2004.
Estimate: $250,000 / 300,000
38
39
Lot 1031
Lot 1032
1032
Tiffany Studios Bronze And Favrile Glass Jeweled Hanging
Planter
This planter is a rare form from Tiffany Studios and is fashioned in bronze
with brown and green patina. The underside is embellished with an elaborate
center acorn finial, from which six fancy “leaves” extend to the edges of the
piece. The sides are adorned with 23 elongated Tiffany jewels in milky white.
Impressed “TIFFANY STUDIOS”.
Height from chain loop top to finial 19 3/4 inches,
Height of planter 4 inches to bottom of finial,
Diameter 6 3/4 inches, Interior Depth 2 1/8 inches.
Property of a New York City Collector.
Estimate: $5,000 / 7,000
Lot 1032 detail of underside
40
1033
Tiffany Studios Bronze Table Lamp Base
The slender bronze lamp base in a green and brown patina
rises from it’s ribbed bottom platform with an elongated
body adorned by 6 raised ribs. The three arm shade rest is
sized for a 10 inch shade and the base rests on four ball
feet.
Signed: “TIFFANY STUDIOS NEW YORK” 401.
Diameter of Base 5 3/4, Height 13 3/4 inches.
Estimate: $1,800 / 2,000
Lot 1033
1034
Mausoleums
A promotional booklet published by The Tiffany Studios
Copyright 1914. “Mausoleums” is one of a series of
promotional publications given to prospective clients and is
considered among the scarcest of these printings. The
generously illustrated booklet shows a variety of Tiffany
Studios products such as windows, bronzes, headstones and
complete funerary structures that were an important part
of their product line.
Height 9 1/4 inches, Width 6 1/2 inches.
Provenance: This book was part of the collection of Tiffany
archival materials from The Garden Museum Collection,
Matsue, Japan.
Lot 1034
41
1035
A Bronze Raised Tazza In The Roman Style By
Tiffany Studios
The round upper section is held by three stylized winged lions
with paw feet all supported on a base pad comprised of a
round center portion with support sections radiating to
intersect with the paw feet.
Underside Impressed: “TIFFANY STUDIOS NEW YORK” c 5777.
Diameter 7 inches, Height 3 inches.
Estimate: $1,400 / 1,800
Lot 1035 detail
Lot 1035
1036
Tiffany Studios Enameled Table Lamp
with Favrile Glass Shade
Relatively few enameled lamp bases were produced. An early
example, with peacock feather decoration, was included in
Siegfried Bing’s pavilion at the 1900 Exposition Universelle, from
where it was acquired by the Danish Industrial Arts Museum in
Copenhagen. The glass shade on this lamp incorporates a Murano
crosshatched pattern executed in favrile glass.
Shade: Inscribed S 4545. Base: Enameled, impressed (later) SG 40.
Height 22 inches (56 cm.). Diameter of shade 16 inches (40.5).
This lamp is pictured on pg. 313 of “Louis C. Tiffany: The Garden
Museum Collection” Alastair Duncan, 2004.
Estimate: $50,000 / 70,000
Lot 1036 detail
42
Lot 1036
43
1037
Tiffany Studios Decorated Cabinet Vase
‘Decorated’ is an imprecise, if not mystifying, term used to describe
Tiffany glassware that incorporates surface decoration only, including
the threaded peacock feather and trailing lily pad motifs that adorn so
many wares. The surface of all Tiffany art glass is, by definition,
decorated, even if only iridised, yet while the expression is imprecise,
it nevertheless persists in common parlance. Perhaps it is easier to
explain ‘decorated’ glassware by what it is NOT: it is not a technique
that has its own name, such as Agate, Cypriote or Aquamarine. In
short, it seems to encompass any decorative finish that is not
classifiable by another name. Tiffany’s hallmark iridescence followed
the lustred wares popularised by Ludwig Lobmeyer in Vienna as early
as 1873. The process was improved upon by Nash at Corona, where
the salts of certain metals were dissolved into the glass object while it
was still in a molten state. The object was then subjected to a
reducing flame, which brought the metallic coating to the surface.
Finally, the surface was exposed in a fume chamber to vapours of tin
and iron chloride which reacted with the metallic coating, causing the
surface to dissolve into a multitude of microscopic cracked lines that
provided high reflectivity. The formula was credited by Leslie H. Nash
to his father, Arthur J. Nash, who, he wrote, kept it in a secret even
from Tiffany, apparently to protect his job.
Unsigned.
This vase is pictured on pg. 230 of “Louis C. Tiffany,
The Garden Museum Collection” Alastair
Duncan 2004.
Provenance: The Garden Museum
Collection, Matsue, Japan.
Estimate: $4,000 / 5,000
Lot 1037
44
45
Lot 1038
Estimate: $100,000 / 150,000
Mosaic glass, depicting ‘Commerce’, this is one of four allegorical panels
reputed to have come from a bank in New York State. The other panels
depict a winged wheel, scales of justice and a medical staff, or caduceus.
unsigned.
Height: 75 1/2 inches, Length: 151 inches (192 x 383.5 cm).
This mosaic is pictured on pg. 180 of “Louis C. Tiffany, The Garden Museum
Collection” Alastair Duncan 2004.
Provenance: Allen Michaan;
See page 46 of Louis C Tiffany At The Metropolitan Museum for a view of a
watercolor study for a related panel.
1038
Monumental Mosaic Panel by Tiffany Studios
1039
Madison Square Theater Original Program
The Madison Square Theater was a major early project for Louis C.
Tiffany and associated artists as his firm was commissioned for the
entire interior decoration treatment and collaborated with Thomas A.
Edison who installed his revolutionary new electric lighting in the
building. The main curtain was the work of Candace Wheeler, a
member of Louis C. Tiffany and The Associated Artists group, and
featured a highly elaborate naturalistic scene in embroidery. Sadly,
nothing from this theater is known to have survived. This rare original
program brochure beautifully illustrates the elaborate colorful
treatment that was lavished on this interior. According to Candace
Wheeler: “The curtain was a landscape effect rendered in textiles,
including oak and birch trees, wisteria and yucca. All sorts of materials
came into use, velvet and plushes for trees and great-leaved plants in
the foreground, shadowy silks for perspective and bits of misty blue
distanct iridescent stuffs of any material which would produce illusion
or give the required effect ... Unfortunately, it took fire and went up in
smoke before the season was over, but we replaced it with an
improved copy.”
Dimensions: Height 6 1/4”, Width 5 1/8”
1040
A Group Of Ten Opalescent Glass Tiles
Tiffany Glass & Decorating Company 1881
These tiles are representative of the prolific output of architectural
embellishments marketed by Tiffany thoughout the early decades of his
enterprises in interior decoration. Bearing the copyright date of 1881,
they display some of Tiffany’s earliest creations in the new medium of
American opalescent glass. Tiles of this exact form can be found in
surviving Tiffany interiors such as The Mark Twain residence in
Connecticut and the Veterans Room in the Seventh Regiment Armory
in New York City.
Lot 1039
Lot 1040
46
1041
Tiffany Studios Small Floriform Vase
The minuscule and delicate vase in a fluted form features green pulled
feather leafy designs against a creamy background all ascending from an
applied circular base in greenish cream color. Subtle iridescence
throughout.
Signed L.C. Tiffany Favrile 5109.
Height 8 1/8 inches, Width of Base 2 5/8 inches.
Estimate: $1,000 / 1,200
Lot 1042
1042
Tiffany Studios Floor Lamp With A Metal Shade
Lot 1041
The slender bronze standard rises from a tripod base with three stylized
lily pad feet. The piece is finished in a deep brown patina with a green
patina on the shade. (Please note: The three screws holding the shade are
not original)
Base signed on underside of one foot TIFFANY STUDIOS NEW YORK S209, also
signed 403. Shade Impressed: TIFFANY STUDIOS 1414.
Height 54 1/4 inches, Diameter of Shade 10 1/4 inches.
Estimate: $1,500 / 2,000
47
A Tiffany Studios photograph of a desk set with enamel highlights
1043
A Desk Set In “The American Indian Pattern”
10 pieces finished in dark brown patina with unusual red patinas in the incised areas. The ten
pieces comprising of:
- A Picture Frame 5 7/8 inches high by 7 7/16 inches wide. Rear marked “TIFFANY STUDIOS
NEW YORK” 1187 and scratched beneath “529”.
- A Two Compartment Letter Rack 5 3/4 high by 10 7/8 wide. Impressed “TIFFANY
STUDIOS NEW YORK” 1186 with scratched mark 568.
-A Two Compartment Letter Rack 4 1/2 inches high by 6 3/8 inches wide. Underside
impressed “TIFFANY STUDIOS NEW YORK” 1193 with scratched mark ONF.
- A Three Compartment Stamp Box 1 /3/4 inches high by 5 inches wide. Underside
impressed “TIFFANY STUDIOS NEW YORK’1184 with scratched mark 1606.
- A Notepad Holder 7 1/2 inches high by 4 1/2 wide. The rear impressed ‘TIFFANY
STUDIOS NEW YORK”1188 with scratched mark 310.
- A Letter Opener 10 1/4 inches in length. Top impressed “TIFFANY STUDIOS” 1189.
Please note: there are no red highlights in the incised areas of this piece.
- An ink blotter 5 5/8 inches long by 3 inches wide. Impressed “TIFFANY STUDIOS NEW
YORK” 1191.
- A Paper Clip 1 1/4 inches high by 4 inches long by 2 3/4 inches wide. Underside impressed
“TIFFANY STUDIOS NEW YORK” 1190 with scratched number 211.
- A Pen Tray 11 1/2 inches long by 3 7/8 wide. Underside Impressed:”TIFFANY STUDIOS
NEW YORK” 1185.
- A Match Holder 3 7/8 inches high by 6 1/4 inches long by 3 1/4 inches wide. Underside
impressed: “TIFFANY STUDIOS NEW YORK” 1194.
Estimate: $4,500 / 5,000
48
49
Lot 1043
1044
Tiffany Studios Gold Iridescent Turtleback Tile
These tiles were produced at theTiffany Studios for use in lamp
shades and bases, mosaics, as desk paperweights and
architectural embellishments.
1045
Pair Of Tiffany Studios Tulip Shades
The Favrile glass shades with 2 1/4 inch fitter opening. The
highly iridized gold bodies are decorated with pale green pulled
feather design.
Each shade is signed L.C.T. Favrile.
Height 4 7/8 inches, Height second shade 5 1/4 inches.
Estimate: $2,500 / 3,000
Lot 1044
Lot 1045
50
51
Lot 1046
1046
Two Stem Glasses By The Tiffany Studios
The delicate pastel goblets each with outer pearly white
finish and highly iridized glass interior luster. Note: These
are not a matched pair as the base colors differ.
Height 5 1/4 inches each, Diameter of base 2 1/2 inches.
Estimate: $1,000 / 1,200
1047
A Favrile Glass Pastel Compote In Pink
Opalescent Glass
The delicate reddish pink iridescent “onion skin” finish
creates a lovely example of this form.
Signed L.C. Tiffany Favrile 1954
Diameter 6 1/4 inches, Height 2 inches.
Estimate: $1,400 / 1,600
Lot 1047
52
Lot 1047 side view
Lot 1048
1048
Set Of Four Pine Needle Candle Lamp Shades
Four silvered bronze shades, each lined to the interior with red
hued liners.
Each shade impressed: “TIFFANY STUDIOS” and “PAT APLD FOR”.
Diameter of each 5 1/8 inches, Height of each 3 inches.
1049
A Favrile Glass Stalactite By The Tiffany Studios
The Blown glass shade executed in greenish yellow is decorated
with a pulled feather design originating at the lowermost tip and
radiating towards the upper rim. The shade is held in a Tiffany
bronze collar.
Shade marked S 125.
Height of Shade 10 1/8 inches.
Lot 49
Estimate: $2,000 / 2,500
Lot 1050 overview
53
Lot 1050 under reflected light
1050
Tiffany Studios 22 Inch Peony Table Lamp On A Reticulated Bronze Base
Shade: Impressed “TIFFANY STUDIOS NEW YORK” 1906 Price List: Model #1505, 22 in. Peony,
$150. Base: Impressed “TIFFANY STUDIOS NEW YORK” 397 1906 Price List: Model #397, Library
standard, 6 lights, cast stem, large, slide, $150
Amongst the firm’s most consistently popular lamp models, the Peony remained in continuous
production from its debut around 1900 until the late 1920’s.
Height 27 inches. Diameter of Shade 22 inches
This lamp is pictured on page 301 of Louis C. Tiffany’s Garden Museum Collection By Alastair
Duncan 2004.
Estimate: $250,000 / 350,000
54
Lot 1050
55
Lot 1051
1051
Tiffany Studios Silver Mounted Cameo Carved Vase
The wild rose imagery on the glass is replicated in the openwork
silver collar.
The Tiffany & Co. mount impressed TIFFANY AND CO. MAKERS
STERLING SILVER, the glass inscribed L.C.Tiffany-Favrile 5402C.
Diameter 5 7/8 inches (15 cm.).
This vase is pictured on pg. 246 of “Louis C. Tiffany, The Garden
Museum Collection” Alastair Duncan 2004. Provenance: The Garden
Museum Collection, Matsue, Japan.
Estimate: $18,000 / 22,000
56
Lot 1052
1052
Tiffany Studios Favrile Decorated Vase
Decorated with vertical bands of double dot-like motifs, part
of the Persian design series.
Inscribed L.C.T o1663.
Garden Museum Collection”, Alastair Duncan, 2004.
Provenance: Minna Rosenblatt;
Estimate: $8,000 / 10,000
57
Lot 1053 shade under reflected light
1053
Tiffany Studios Peacock Table Lamp
Lot 1053 base detail
The Peacock was one of Tiffany’s favorite design motifs,
often occurring in his stained glass windows, vases, and
enamels. This line of peacock lamps mirrors the brilliant
plumage found in the tail feathers of the peacock which are
here artfully rendered in Favrile glass as well, the motif is
carried through onto the bronze base which is only seen
with this shade and is highlighted with iridescent favrile
glass peacock feather “eyes.” This model is the largest
version of the peacock table lamp. 1906 Price List: Model
#224, Peacock, large, $115 [shade and base].
Shade: Impressed “TIFFANY STUDIOS NEW YORK”.
Base: Impressed “TIFFANY STUDIOS NEW YORK” 23923
Height 25 inches (63.5 cm.),
Diameter of shade 18 inches (46 cm.).
This lamp is pictured on pg. 308 of “Louis C. Tiffany, The
Estimate: $150,000 / 200,000
Lot 1053 base detail
58
Lot 1053
59
1054
Tiffany Havemeyer House Armchair
This armchair was created by the Tiffany Glass and Decorating Company, New
York, early 1890’s; and designed by Samuel Colman. American white oak fumed
with ammonia sulfide to highlight the graining, then layered with rosin and wax to
provide a polished surface. Carved throughout with a Celtic-inspired design
extending along the chair’s front and back legs, backrest, armrests, crestrail, stiles,
seat rails, and stretchers.
Examination of this armchair, unrecorded until it emerged recently from a
collection in Berlin, Germany, establishes that it was made in the same Tiffany
workshops as the two other known examples. One formerly in the collections
of the Louis C. Tiffany Garden Museum (and sold in these rooms in May 2013)
and the second in the Metropolitan Museum of Art, New York, were part of the
furnishings which Louis C. Tiffany, in collaboration with Samuel Colman, designed
for the library in the residence of the sugar refinery tycoon, Henry O.
Havemeyer, and his wife Louisine, at #1 East 66th Street, Manhattan, in the late
1880’s. This chair has the exact same massive dimensions as those two, and is
nearly identical in construction: for example, the arched stretchers are mortised
on the three chairs into the seat rail above and the stretcher below with an
identical row of circular tenons, all approximately 1 cm in diameter and spaced
equally apart. And whereas the two other examples have casters on their front
legs, presumed original inset with a 2.5 cm. plate, this chair has evidence of
identically-sized caster plates (now missing) on its front legs. In its Celtic
ornamentation, this chair varies slightly from that on the other two, including the
addition of punched detailing in the background areas to the relief carving,
perhaps an element of “artistic license’ invoked by the chair’s carver to enhance
the decorative effect.
The period illustration of the library in the Havemeyer residence, known as the
Rembrandt Room as it housed the owners’ collection of Dutch masters
(Architectural Record, January-March, 1892, n.p.), includes a complete view of
one armchair and partial views of three others, indicating that at least four (and
perhaps more) examples of the armchair were manufactured for the Havemeyer
interior. It is plausible, therefore, that this example was part of the same
commission. If so, it would in likelihood have been included in the auction of the
home’s furniture and architectural elements conducted by Anderson Galleries,
Manhattan, on April 22, 1930, less than a year after Louisine Havemeyer’s death.
By this reasoning, the armchair could have made its way into a Berlin collection
at, or at some point following, the 1930 auction.
Samuel Colman(1832-1930) was a landscape artist who served as a mentor to
L.C. Tiffany during his initial career as a painter, following which the tow came
friends and occasional collaborators when Tiffany turned his energies in the late
1870’s to interior design and furniture manufacture. Colman worked on several
Tiffany interiors during this period before retiring to Newport to concentrate on
painting. A friend from the mid-1870’s also of Mrs. Havemeyer, whose interest in
Chinese porcelains and textiles he shared, Colman came out of retirement in
1888 to work with his former associate on the Havemeyer commission. He is
credited specifically with the designs of the furnishings in the residences library.
In her book The Proud Possessors, Aline B Saarinen provides a description of
Colman’s role, “the furniture and the woodwork in the library were based on
Viking designs and Celtic motifs. In order to stain the oak woodwork the exact
color of a Japanese lacquer he admired, Mr. Colman invented a system of acid
stinging that intrigued Mrs. Havemeyer so much she busily diverted herself for
many years experimenting with it...” Colman repeated the scroll motifs that he
designed for the carved detailing on the room’s mantel on the room’s frieze,
stenciled wall papers, carved seat furniture, and quilted upholstery. Tiffany
designed matching andirons and fireplace tools for the room’s hearth.
If the armchair was not part of the original Havemeyer commission, might it have
been commissioned from the Tiffany workshop shortly after the Havemeyer
interiors were completed in the Spring of 1892? This could explain its slightly
modified construction, introduced by the cabinetmaker to refine the design of
the Havemeyer prototypes. If so, might the purchaser have been German? In
this, one can speculate that the armchair was ordered by the renowned
Hamburg-born art connoisseur and dealer, Siegfried Bing (1838-1905) for a client
of his. Bing is today known as the owner of the upscale gallery, L’Art Nouveau,
which opened in December, 1895, at 22 rue de Provence, Paris, and which took
its name from the modernist decorative arts movement which he helped sweep
to fashionability at the fin-de-siecle. Well before this, in the 1880’s Bing had
established showrooms in New York, London, and Berlin, through which to sell
Oriental ceramics and textiles. Amongst his wealthy clientele and art world
acquaintances in New York at the time were the Havemeyers, who, as established
collectors of Oriental art, in 1894 purchased from his inventory a collection of
Japanese textiles that they then donated to the Metropolitan Museum of Art.
The business relationship and friendship that Bing cultivated with Tiffany at the
60
View of the Havemeyer library (known also as the Rembrandt room as it housed
the family’s collection of Dutch masters) showing an example of the chair (lot
2007) to the left of a mosaic glass fireplace surrond. The designs for the furniture
in the Havemeyer commission have been credited to Samuel Colman.
same time was ultimately even more closely foraged and mutually beneficial: in
the report he published in 1895 for the French government on his observations
of current developments in American painting, sculpture, architecture, and the
industrial arts, entitled La Culture Artistique en Amerique (Artistic America), Bing
wrote glowingly of Tiffany’s multidisciplinary operation, “Tiffany saw only one
means of effecting this perfect union between the various branches of industry:
the establishment of a large factory, a vast central workshop that could
consolidate under one roof an army of craftsmen representing every relevant
technique: glassmakers, and stone setters, silversmiths, embroiderers and weavers,
case makers and carvers, gliders, jewelers, cabinetmakers-all working to give
shape to the carefully planned concepts of a group directing artist, themselves
united by a common current of ideas”.
Bing toured the Havemeyer residence shortly after is completion and later wrote
of its unifying impact on the viewer, “Art objects of the most far-flung origins are
placed side by side, but the ingenious eclecticism responsible for these interiors
has so skillfully combined disparate elements, integrating them so artfully, that we
are left with an impression of perfect harmony”.
Bing returned to Paris around 1894 with a contract for the sole distribution of
Tiffany wares in Europe and the British Isles, and the following year included 10
Tiffany windows in his display at the annual Salon du Champ-de-Mars. Between this
time and him death in 1905, he continued to champion Tiffany’s achievements while
selling a host of his artworks to numerous European museums, including, in Germany,
those in Krefeld, Berlin, Kaisserslautern, Leipzig, Hamburg, and Nuremberg. Familiar
with the Havemeyer armchair, Bing may well have commissioned an example of it
from Tiffany for a private or institutional German client.
A copy of the wood analysis report and opinion letter from Margaret B. Caldwell
may be found in the condition report on this lot posted at Michaans.com.
Bibliography:
Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, New York, 1961, p. 18.
Robert Koch, Lois C. Tiffany Rebel in Glass, Crown Publishers, New York, 1964.
pp. 72-75.
Robert Koch (introduction), Artistic America, Tiffany Glass, and Art Nouveau
Samuel Bing, MIT Press, 1970, pp.3-4, 6, 146.
Gabriel P. Weisberg, Art Nouveau Bing Paris Style 1900, Harry N. Abrams, 1986,
pp.34, 49.
Alice Cooney Frelinghuysen, et al.,Splendid Legacy: The Havemeyer Collection,
exhibition catalogue, The Metropolitan Museum of Art, New York, 1993, pp. 176,
182, 196-197.
Louis C. tiffany: Meisterwerke des Amerikanischen Jugendstils, exhibition
catalogue, Museum fur Kunst und Gewerbe, Hamburg, 1999, p. 69.
Alastair Duncan, Louis C. Tiffany The garden Museum Collection, Antique
Collectors’ Club, 2004, pp.90-91.
The underside bearing a faded ink stamp, Fritz Hohenwald Berlin W15....39/49.
Note: F. Hohenwald was listed in a mid-20th Century Berlin business directory as a local
upholsterer. Examination of this armchair, unrecorded until it emerged recently from a
collection in Berlin, Germany, establishes that it was made in the same Tiffany
workshops as the two other known examples.
Height 44 inches, Width 29 3/4 inches, Depth 27 1/2 inches.
Estimate: $50,000 / 75,000
Lot 1054
61
1055
Tiffany Studios Flower Form Vase
This lovely vase captures the delicate elegance of Tiffany’s line of
flowerform art glass. The thinly scalloped upper edges shine with
iridescence.
Inscribed L.C.T. M5271
Height 14 inches (35.5 cm.).
This vase is pictured on page 225 of “Louis C. Tiffany The Garden
Museum Collection”, Alastair Duncan 2004.
Estimate: $16,000 / 20,000
Lot 1055
62
Lot 1056
1056
Tiffany Studios Winged Scarab Sconce
Molded and leaded Cypriote glass, with bronze mount impressed:
“TIFFANY STUDIOS”. This spectacular object is unique amongst Tiffany’s
lighting production and is the largest of his scarab creations. Equally
beautiful in reflected light as in transmitted light the use of Cypriote
glass in the wings creates a stunning effect.
Provenance: The Garden Collection Museum, Matsue, Japan.
This sconce is pictured on page 326 of Louis C. Tiffany The Garden
Museum Collection, Alastair Duncan 2004.
Estimate: $40,000 / 60,000
Lot 1056 reflectied light detail
63
1057
A Printers Proof For “The Rose Window”
A Color Plate For “The Art Of Louis Comfort Tiffany”. A
submittal dated 2/23/12 from the Electron Tint Engraving Co.
to Mr. Tiffany showing the color separations for the plates
for the Rose Window to be used in “The Art of Louis
Comfort Tiffany.” This window is presently in the collection
of the Morse Gallery of Art in Winter Park Florida. 7 pages
including the cover.
Height 11 1/4 inches, Width 9 1/4 inches
Lot 1057
1058
A Printers Proof From The Electro Tint
Engraving Co. For “The Tiffany Chapel,”
A Color Plate For “The Art Of Louis Comfort
Tiffany”
A submittal from the Electro Tint Engraving Co. to Mr. Tiffany
showing the color separations for the plates to be used for
this illustration in the “Art of Louis Comfort Tiffany”. This
chapel has been restored and reconstructed and is on display
at the Morse Gallery of Art in Winter Park Florida. Seven
plates including cover.
Lot 1058
64
1059
Tiffany Studios Ruffle Edge Bowl in Favrile
Glass
The gold iridescent bowl with blue and purple highlights is
embellished with a ruffled edge.
Diameter 4 1/8 inches, Height 1 7/8 inches.
Lot 1059
1060
Tiffany Studios Tel El Armana Vase
A large bulbous vessel executed in a reddish brown Favrile
glass decorated with a wavy iridescent triple line motif
just below the upper lip.
Signed: 4556 G L.C. Tiffany Favrile.
Height: 10 1/4 inches Diameter of base: 4 1/8 inches.
Maximum diameter of body: 9 1/2 inches.
Provenance: A private collector.
Estimate: $2,000 / 2,500
Lot 1060
65
1061
Tiffany Studios Geranium Table Lamp With
An Arrowhead Bronze and Iridescent Favrile
Glass Mosaic Base
This shade is mounted on a superb example of a Tiffany
Studios mosaic bronze lamp base. The Tiffany bases
adorned with mosaic decorations are the most highly
desirable and rarest table lamp base creations.
Shade: Impressed Tiffany Studios New York. 1906 Price List:
model #1451, 16 inch Geranium, cone, $90. Base: Impressed
on canister Tiffany Studios New York 147 and on the base
Tiffany Studios New York 145. 1906 Price List: Model #145,
Mosaic arrowhead, squat, $75.
Provenance: The Garden Museum Collection, Matsue,
Japan.
This lamp is pictured on page 295 of “Louis C. Tiffany,
The Garden Museum Collection”.
Estimate: $150,000 / 170,000
Lot 1061
66
Lot 1062
Lot 1062 detail
1062
Set Of Twelve Tiffany & Co. Sterling Ice Cream Spoons In
The Vine And Gourd Pattern
Circa 1872
Each spoon with an acid etched ground with an entwining vine ripe with
gourds in raised relief, the wide rimmed bowls with a gilt wash,
each stamped TIFFANY & CO. STERLING.
Total Silver Weight 8.75 troy oz; Length of each 6 inches (15.25 cm)
Estimate: $1,200 / 1,400
1063
Tiffany Studios Mushroom Table Lamp Base
The bronze base in green/brown patina having 3 light sockets on curved
arms emanating from a ball shaped central hub atop a riser ascending from
the three arm shade support all descending down a ribbed support and
flaring out to a round bulbous mushroom lower portion.
Signed; TG & D Co. D713 and Impressed: “TIFFANY STUDIOS NEW YORK: Also
impressed 11.
Maximum width of lower portion of base 8 1/2 inches, Height of Base 18 1/2
inches, Height to Shade Rest 14 3/4 inches.
Estimate: $3,500 / 4,000
Lot 1063
67
1064
Silver Mounted Cameo Carved Vase
The chased wave and whiplash motifs on the mount are rendered in a vigorous
Art Nouveau style uncharacteristic of Tiffany. ‘Many of the vases, bowls,
jardinieres, scent-bottles, plaques, and many of the other decorative pieces had
no other purpose than to be beautiful, were no less exquisite in their treatment
and effect. Some were rich in blues and greens, and others in the russets and
golds of autumn. Some were as opalescent as a soap-bubble, and almost as thin,
while others were heavy with jeweled effects and rich with gold dust blown into
the molten glass. Some were notable mainly in texture and shape, while others
had added beauties imparted to them by carving, by cutting through one layer of
glass down to another color, or by enrichments of metallic lusters.
Apart from any consideration of artistic design, which alone bespeaks painstaking
efforts to attain perfection, the whole collection was an appeal to the aesthetic
color sense. Herein lies one of the chief characteristics and beauties of the
Tiffany ware: no matter how simple the design- nay, one may say, how formless
the shape- the rich opal effects of the material itself satisfies the requirements of
taste. Every piece gives an almost infinite variety of beauties, since whatever be
the effect by reflected light, it is utterly transformed by the transmitted light.
What at one moment or under one set of conditions seems as soft and
scintillating as mother-of-pearl may at another moment or under a different set
of conditions appear as roseate as a sunset.’
Contemporary commentary on Favrile glass by James L. Harvey in ‘Source of
Beauty in Favrile Glass’, Brush and Pencil, January 1902, pp. 175-76.
The glass inscribed A1514 L.C.T., the mount stamped STERLING.
This vase is pictured on pg. 238 of “Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $20,000 / 25,000
Lot 1064
68
Lot 1065
1065
Silver Tiffany Studios Covered Box
The box was probably produced at Tiffany & Co.’s Forest Hill factory.
Silver with repousse enamelled decoration, c. 1905. The octagonal lid with
graduating bands of bosses, the outer band with raised turquoise enamelled
squares.
Impressed TIFFANY FURNACES/STERLING/243.
Width: 4 3/4 inches (12 centimeters).
This box is pictured on pg. 440 of “Louis C. Tiffany, The Garden Museum
Collection”, Alastair Duncan, 2004.
Estimate: $10,000 / 12,000
69
1066
Tiffany Studios Maple Leaf Table Lamp
Shade: Impressed “TIFFANY STUDIOS” 1999. Base: Impressed
“TIFFANY STUDIOS NEW YORK” S577.
Shade: 1913 Price List: Model #1999, 22 inch Maple Leaf,
dome, $175. This lamp is pictured on pg. 300 of “Louis C.
Tiffany, The Garden Museum Collection” by Alastair Duncan,
2004.
Estimate: $80,000 / 100,000
Lot 1066
70
1067
Tiffany Studios Favrile Flower Form Vase
The stiff depiction of the flower on its flat disc form
foot, dates this piece to the firm’s earliest years of glass
experimentation.
Inscribed L.C. Tiffany Favrile
Japan.
Estimate: $8,000 / 10,000
Lot 1067
71
A corner in Tiffany’s Studio
72
Lot 1068
1068
Tiffany Studios Sketch For A Rose Window
Unidentified designer in the Tiffany Studios Window Department, watercolor on paper. The
designer had to oversee every stage of a window’s production to ensure its faithful translation
from sketch to finished work. After the initial colour sketch was approved first by Tiffany and
then buy the customer, a full-scale cartoon was produced from which the glazier later
assembled the window, and the other divided up with a special cutting knife to form the
templates with which the glazier cut the individual panels of glass. Along the way, the designer
had to oversee the selection of the glass, made by a coloururist, to ensure that it matched his
intended palette; if the correct hue or texture could not be found in the racks, a special batch
of glass needed to be prepared. In all this, Tiffany’s indefatigable enthusiasm, embodied in his
daily exhortation that ‘infinite endless labor makes the masterpiece’, proved infectious to his
staff.
Length 3 inches, Width 4 1/2 inches (7.5x11.5 cm.)
Provenance: Liquidation Sale, Tiffany Studios, 1930’s;
Vito D’Agustino;
This drawing is pictured on page 148 of Louis C. Tiffany The Garden Museum Collection,
Alastair Duncan 2004.
Estimate: $3,000 / 5,000
73
Lot 1069 with reflected light
1069
Tiffany Studios Landscape Window
Although described in recent literature as a View from Laurelton Hall, the
details in this window, including the columned foreground and contours of the
distant hills do not correspond to any known vista from Tiffany’s residence.
According to a previous owner, the window was discovered in New Jersey,
which corresponds to the origin of an almost identical composition offered at
auction (see “Important Works of Art by Louis Comfort Tiffany” auction
catalogue, Sotheby’s New York, 2 December, 2000, lot 617), that was removed
from a church in Hoboken. It should be noted that the related panel is now in
the collection of the Driehaus Museum, Chicago. It is likely that the view in
the window replicated that from the house where the window was to be
placed, a request made by some of Tiffany’s customers.
Length: 58 inches, Height 30 1/4 inches.
Provenance: Collection of Stuart Pivar,
The Garden Museum, Collection, Matsue, Japan.
This window is pictured on Pages 162 & 163 of Louis C. Tiffany The Garden
Exhibited : Louis Comfort Tiffany and Stanford White and their Circle, Nassau
County Museum of Art, Roslyn Harbor, New York, 1999.
Estimate: $250,000 / 275,000
74
75
Lot 1069
1070
A Large And Important Tiffany Studios Enamel Vase Depicting
Flowering Sumac
Enamel-on-copper, c.1900, impressed Louis C. Tiffany SG 77 and inscribed s/c
453/110. Among the most exquisite products of the Tiffany enamels are pieces meant
to hold flower pots or cut flowers. Besides these warm and resplendent enamels the
tones of old Limoges ware look formal and cold. The designs are commonly flower
motifs which recall Mr. Tiffany’s paintings of roses, rhododendrons and peonies. They
reflect the pleasure which the artist takes in color analogous in music to the notes of
the cello.
Next to the structure of the design is the color scheme in these and a hundred
other pieces. Long practice in selecting glass for windows trains an artist to a
certainty of eye which makes him instantaneous in his judgment. He does not
require a rule of color adjustment; it is more like an instinct. This allows the master
to get through a vast quantity of work in a given time. Mr. Tiffany has his helpers so
well trained that he needs to devote but a few hours a day to enamels and jewelry.
It is through his study of flowers a painter interspaced in nature and his delight in the
growing of flowers that he has come to many happy adaptations of flower forms in
enamel work and stained glass. Insect life and marine forms have suggested other
combinations of lines and masses, hues and shades. He has followed the bidding
“reach boldly out and grasp the life about you” as we may paraphrase one of
Goethe’s best known verses, and taken advantage of the endless wealth of precept
and suggestion that lies around us in air and water and earth, in all vast, teeming
bosom of nature.’
Height 11 1/2 inches (29 cm.)
Provenance: The Garden Museum Collection Matsue, Japan.
Estimate: $80,000 / 100,000
76
Lot 1070
77
1071
Tiffany Studios Dogwood Table Lamp
Bearing a design of allover dogwood blossoms in
white and pale pink against a background of green
confetti glass throughout. On a bronze base with
green brown patina of stylized interlocking leaf
petals in two sections rising from a rounded 8 1/2
inch base plate.
Shade impressed on metal tag “TIFFANY STUDIOS
NEW YORK”. Base is impressed “TIFFANY STUDIOS
NEW YORK” 566.
Height of lamp including finial is 23 inches.
This lamp was acquired by The Garden Museum
after the publication of “Louis C. Tiffany, The Garden
Museum Collection”, and is therefore not pictured.
It is however housed in a custom built museum case.
Japan.
Estimate: $40,000 / 60,000
Lot 1071
78
79
Untitled photograph presumably taken by Tiffany on a European trip, inscribed in his album, “Market in Dol, Aug. 3”
1072
A Painting By Louis Comfort Tiffany, Market Scene in Geneva
Watercolor on paper, 1874, signed and dated lower right, Louis C. Tiffany Geneva Aug.
30, 74. This market scene is typical of most by Tiffany in its placement of the vendors
and their wares in the foreground of a town square. Characteristic also is his depiction
of the figures with their faces turned downward or away from the viewer, both means
whereby he did not have to define their features. Tiffany never achieved the academic
ideals of draughtmanship - that an artist be able to draw and model precisely -either in
his initial instruction in classes at the National Academy of Design (1866-67) and under
George Inness or later, in the atelier of Leon Charles Adrien Bailly (1827-77) in Paris.
Portraiture and the anatomy-the latter determined by an artists ability to present fully
-rounded three-dimensional forms and to balance the proportions of the limbs and
torsos in his figures-therefore remained potential weaknesses in his oeuvre, and which
he circumvented whenever possible.
Length 20 inches, Width 13 1/2 inches.
This painting is pictured on page 40 of Louis C. Tiffany The Garden Museum Collection,
Alastair Duncan 2004.
Estimate: $30,000 / 40,000
80
Lot 1072
81
Lot 1073 appears in this archival photograph of a display at Tiffany Studios
1073
Tiffany Studios Watercolor Study Of Morning Glories
Painting of paperweight vases by Leslie H. Nash.
(This painting was sold as lot 101 on November 17, 2012 at Michaan’s Auctions.)
This sketch provides a key to the ease with whichTiffany straddled the
tradition barrier between the fine and applied arts- that of the artist and
craftsman- at a time when they were still strictly delineated. Here, on a flat
plane, the decoration for a three-dimensional object has been laid out in the
conventional manner employed by glass and porcelain designers for a
decorator to follow as he or she transposes it on to the curved surface or
the work at hand. There is one important distinction, however: the
decoration in this instance was to be replicated within the surface of the
work. Leslie H. Nash traced the introduction of the Morning Glory technique
in his unpublished memoirs to this sketch: ‘One morning he (Mr. Tiffany)
brought a watercolor painting of a spray of Morning Glories, and smiling as he
went out, said “Try these with your new glass”. We did, and with fair results.
These experiments cost about 12,000.00 , and about twelve pieces were finally made The price was $1000.00 each....It was named “Morning Glory Glass”.
I may say, that no flower that I can think of, could offer a more difficult
problem’. Nash Archives.
Watercolor on paper, signed and dated, Louis C. Tiffany Oct 1913.
Length 22 5/8 inches. Width 21 3/8 inches.
Exhibited: Masterworks of Louis Comfort Tiffany,Traveling Japanere Exhibition.
Pictured on page 57 of “Masterworks of Louis Comfort Tiffany”.
Pictured on Page 31, figure 21 and also figure 98 on page 83 of “Louis C.
Tiffany’s Glass-Bronzes-Lamps” Robert Koch 1971.
This drawing can be found on page 258 of Louis C. Tiffany The Garden
Estimate: $35,000 / 45,000
82
Lot 1073
83
1074
Tiffany Studios Table Lamp Base
The bronze base, finished in brown patina, is fitted with a
three arm support for a 12 inch shade. The central urn
shaped body is held by 4 ribs terminating in a paw feet
resting on a circular pad with a beaded border.
Signed with TG & D Co. Logo and Impressed: “TIFFANY STUDIOS
NEW YORK” 23563.
Height of Base 12 3/4 inches, Diameter of Base Plate 6 inches.
Estimate: $2,000 / 2,500
Lot 1074
1075
Tiffany Studios Turtleback Tile Chandelier with
Dichroic Glass
Although not pictured in Louis C. Tiffany The Garden Museum
Collection by Alastair Duncan 2004, this chandelier was a later
acquisition by Mr. Horiuchii for his museum collection. Pictured in
Tiffany Lamps and Metalware, Alastair Duncan, 2006 Page 251.
The color of the glass is a rich creamy yellowish off white in
reflected light and transforms into a warm reddish orange when
illuminated.
Signed on Interior of Shade Alongside Turtlebacks (2 Tags) TIFFANY
STUDIOS NEW YORK.
Height of Shade 12 inches (to top of upper ring).
Diameter of Shade 30 1/2 inches.
Estimate: $60,000 / 80,000
Lot 1075 under reflected light
84
85
Lot 1075
1076
Tiffany Studios Tulip Cluster Table Lamp
This lamp is especially rare due to its placement on a
bronze base with elaborate tooling creating a swirling
pattern of openings through which green glass was blown.
The paring of this very desirable base with the beautifully
colored tulip shade results in a stunning combination.
Shade: 1906 Price List: Model #1454, 16 inch Tulip Cluster,
dome, $75.
Shade: Impressed “TIFFANY STUDIOS NEW YORK “ 1454.
Base: Bronze with blown glass, base and canister with impressed
Tiffany Glass and Decorating Co. Logo, the canister also
impressed “TIFFANY STUDIOS NEW YORK “ 866.S.
Height 23 inches (58.5 cm.) , Diameter of shade 16 inches
(40.5 cm.).
This lamp is pictured on pg. 281 of “Louis C. Tiffany, The
Garden Museum Collection” by Alastair Duncan, 2004.
Estimate: $70,000 / 90,000
Lot 1076
86
Lot 1077
1077
“The Artwork of Louis C. Tiffany”
Charles de Kay
Published by Doubleday, Page & Co., New York,
1914
One of the 10 special edition copies of de Kay’s book, printed on Japanese
parchment. Due to the parchment’s bulkiness- because of its translucency the text
was printed on one side only of each page- the cover was provided with a pair of
gilt-bronze clasps to prevent the pages from fanning out. Printed on parchment, the
cover in painted and gilded cardboard with embossed block design, and two clasps,
limited edition of 10. 13 inches x 10 inches.
Estimate: $30,000 / 35,000
87
Lot 1078
Lot 1079
1078
Tiffany Studios Favrile Glass Flower Bowl with Frog
This is an unusually fine example of this form. The highly iridized interior of gold
with delicate vines is aglow with purple and blue highlights and evokes the strong
impression of a Cypriot quality glass. The leaves which are usually simply flat and
colored in the making are here executed in the cameo cut technique, which
imparts a special quality to the bowl.
Bowl marked: 159 L L.C. Tiffany Favrile.
Frog marked: L.C. Tiffany Favrile 6303K.
Frog: Height 3 inches, Diameter 3 1/8 inches.
Bowl: Height 2 3/8 inches, Diameter 14 1/4 inches.
Provenance: A private collector in Northern California.
Estimate: $3,000 / 3,500
88
1079
Tiffany & Co. Bronze Pen & Inkwell Set With Favrile Glass
Mounts
This large and imposing bronze desk piece integrates two inkwells, along with a
pen tray. The decoration is of classical medieval motifs incorporating two free
standing griffins with raised paws and two pairs of ornate columns with capitals
and fancy overall design. This piece is unusual in that it incorporates an
iridescent Favrile glass globe atop each inkwell hinged cover as well as three
highly iridized Favrile tiles inset into the rear raised portion and framed by the
columns.
Impressed: “TIFFANY & Co.” 1093.
Height 6 5/8 inches, Width 12 inches.
Estimate: $2,000 / 2,500
Lot 1080
1080
Tiffany Studios New York 20” Leaded Glass Acorn Hanger
The shade is comprised of green and green with white segments enclosing a
band of acorns executed in mottled pale yellow glass. This lamp was originally
created as a hanging shade, but has been modified for use as a table lamp with
the removal of the three hanging hooks on the inside edge. The lamp retains its
turtleback tile hinged element at the aperture. (Fastening pin not original).
Unsigned.
Provenance: Property of a California Family.
Estimate: $10,000 / 12,000
Lot 1080 hinged turtleback tile element detail in reflected light
89
1081
Tiffany Studios Double Student Lamp
With Red/Purple Leaded Acorn Shades
The adjustable double student base in gold dore
finish holds two identical leaded shades of green
acorns set against a deep reddish purple background The upper collars of the shades are finished
in matching gold dore and the leading on the
shades has as well been patinated with dore finish.
Overall a very colorful and impressive student lamp.
Base marked with TG & D Co. logo and “TIFFANY
STUDIOS NEW YORK “28600 One shade bears tag:
“TIFFANY STUDIOS NEW YORK.”
Height of Base 25 1/2 inches, Diameter of Base Lower
Pad 7 inches, Each Shade Width 10 3/16 inches by a
Height of 5 1/2 inches.
Estimate: $12,000 / 14,000
Lot 1081
90
91
Estimate: $85,000 / 100,000
The large conical shade is covered with Dogwood blossoms rendered in
mottled white Favrile glass against a background of confetti glass and green
leaves. Both the upper and lower borders of this shade are decorated with a
beaded bronze trim. Please note: This chandelier lacks hanging hardware.
Bears metal tag on interior: “TIFFANY STUDIOS NEW YORK”
Diameter 26 inches, Height of Shade 9 3/4 inches.
1082
A Dogwood Chandelier By The Tiffany Studios
Lot 1082 interior of shade in reflected light
Lot 1082
1083
A Blue Favrile Glass Vase By The Tiffany
Studios
In iridescent peacock blue, the urn shaped vase flares out
to a shoulder which then reduces to an upper section.
In allover high blue purple iridescence.
Signed L.C.T. Favrile Inc. 4036M.
Estimate: $2,750 / 3,250
Lot 1083
1084
A Tiffany & Co. Bronze Table Lamp Base
The bronze base in a brown patina is signed Tiffany & Co.,
but bears many similarities to those produced by Tiffany
Studios. The base rests upon an eight lobed pad and which
meets at the slender central shaft which widens for a
portion and then diminishes in size to support the triple
socket arrangement with acorn pulls, on the three original
Hubbell sockets. All surrounded by the original final cap.
Base signed with fabric label Tiffany & Co, Paris, New York,
London.
Height to tip without finial 22 1/4inches, Diameter of 8 inches.
Estimate: $2,000 / 2,500
Lot 1084
92
Lot 1085
1085
Intaglio Carved Trumpet Vase By Tiffany Studios
The Favrile glass vase with a ribbed inverted saucer applied foot base which supports the tall
flaring trumpet body, is finished in gold iridescence with strong flashes of pink and green around
the foot. The vase is decorated with a band of fine Intaglio carved grape leaves encircling the
inside of the rim with additional engraving around the outer section of the upper portion.
Signed L.C. Tiffany Inc., Favrile 1537-4898N.
Height 16 inches.
Estimate: $,3750 / 4,250
Lot 1086
1086
Steuben or Quezal Vase On A Bronze Base
The tall elongated gold iridescent glass body measures 5/16
inches in diameter at the bottom and slowly flares out to a
maximum width of 2 1/2 inches at the upper ruffled edge. The
base is of bronze with a brown patina and features a cast design
of birds in flight circling the raised central shaft which holds the
glass portion.
Base signed Griffoul. Copyright 1916. (Unreadable word) Bronze.
Overall height 18 7/8 inches. Height of Base 2 7/8 inches, Width of
Base 3 7/8 inches.
Estimate: $1,200 / 1,400
93
1087
A Floriform Blue Vase By The Tiffany
Studios
The small peacock shaped Favrile vase with iridescence
has a ruffled upper rim and deep purple interior
iridescence shading to deep blue in the upper sections.
Signed L.C. Tiffany Favrile 4945E.
Height 4 1/4 inches
Estimate: $2,500 / 3,000
Lot 1087
1088
Two Quezal Bowls With Underplates
Each bowl features a green pulled feather design with
gold iridescent trim against a creamy white background.
The interior of each bowl glows with rich gold
iridescence having strong blue and purple highlights.
The underplates with creamy white iridized glass on the
bottom and brilliant gold iridescence on the top
sections with strong multicolored highlights.
Bowls signed: Quezal B-551, Quezal B-564.
Underplates signed: Quezal B-539, B-529.
Estimate: $2,800 / 3,250
Lot 1088
94
1089
A Quezal Vase
The diminutive flower form vessel is decorated with
green and white pulled feathers ascending to a ruffled
and rolled rim. The interior having brilliant gold
iridescence with strong pink and blue highlights.
Signed in the pontil, Quezal p 61.
Estimate: $2,500 / 2,750
Lot 1089
1090
A Large Quezal Shade
The iridescent gold shade for a lamp using a 2 1/4 inch
fitter has purple highlights, vertical ribbing and a flared
edge. Lovely iridescence throughout.
Signed: Quezal on upper fitter rim.
Height 5 1/2 inches, Diameter 7 1/2 inches.
Lot 1090
95
Lot 1091
1091
A Gold Iridescent Vase By Nash
The tapered vase with footed base in allover gold
iridescence and strong rose colored highlights on interior
surfaces is adorned with relief decoration in the glass.
Signed: Nash 649
Estimate: $1,200 / 1,400
1092
“Abandoned Orchard”
A Painting In Glass By Steve Stelz
In the Pate De Verre technique. This recent work by Steven Stelz is
rendered in powdered glass which is fired onto a ceramic substrate,
resulting in a depth and luminosity which can never be attained
through paints. Depicting a favored subject of the artist, the
abandoned orchard is overgrown with weeds and depicts fruit trees
in partial bloom. Please note: A related work by Mr. Stelz depicting
an abandoned orchard was sold in these rooms as Lot 2129 on May
18, 2013.
Height of Image 17 1/2 inches., Width of Image 23 1/2 inches, Height
including Frame 24 1/2 inches, Width including Frame 30 1/2 inches.
Estimate: $6,000 / 8,000
96
97
Lot 1092
1093
A Pate De Verre Lamp In The Pine Cone Motif
By Steven Stelz
This lamp is a recent creation by New Jersey Glass artist
Steven Stelz. He has resuscitated the art of Pate De Verre
and expanded that technique into the creation of a line of
table lamps in this art form. In this example the domed
shade is embellished with realistic tree branches from which
full bodied pine cones hang. When lighted the shade
displays a border of realistic pine needles contained in the
glass. The pottery base continues the pine cone motif with
branches and pine cones executed against a dark green
glazed background.
Shade signed “Stelz” in relief. Base signed - Stelz Studios
(Impressed mark) and also impressed: Peace Valley Tile, New
Britain, PA.
Overall Height 20 inches, Diameter of shade 12 1/4 inches.
Estimate: $5,000 / 7,000
Lot 1093
98
1094
A Dragonfly Pate De Verre Lamp
By Steven Stelz
Another creation in the Pate De Verre technique by Steven
Stelz. In this lamp, the ever popular motif of dragonflies is
realistically rendered in high relief glass. Three large
dragonflies occupy the deep brown shade and when
illuminated, there appears internal grasses inside the glass.
The shade is executed in allover watery ripples which
impart a magical aquatic feel. The base is formed of brown
pottery textured to evoke the bark of a tree.
The shade is signed “Stelz”. The base impressed: “Stelz Studios”
and further impressed: Peace Valley Tile, New Britain, PA.
Diameter of Shade 12 1/2 inches. Overall Height of lamp 20
inches.
Estimate: $5,000 / 7,000
Lot 1094
99
Now seeking consignments for our
2014 Asian Works of Art Auctions.
Inquiries:
Harry Huang
Specialist
(510) 227-2535
[email protected]
Kim Jee
Manager
(510) 227-2511
[email protected]
1.
2.
3.
4.
An Exceedingly Rare and Important Soapstone Figural Carving,
18th Century, dated by inscription to 1750
Sold for $2,235,000
A Gilt-Bronze Figure of Avalokiteshvara Sadaksari, 17th/18th Century
Sold for $18,880
Qi Baishi (1864-1957): Rabbits Under Osmanthus Tree, Ink and color on paper
Sold for $379,000
Two Jade Double Gourd-Form Pendants
Sold for $106,200
(510) 740-0220 • www.michaans.com • 2751 Todd Street, Alameda, California 94501
100
Now seeking consignments for our fall
Arts and Crafts Auction.
Inquiries:
Lee Jester
Specialist in Charge
[email protected]
(510) 227-2548
1. Rare California Faience University
California, Berkeley Tile,
Sold for $1,298
2. Authur Mathews Music Cabinet,
Sold for $212,400
3. Lifetime Morris Chair with Leather,
Sold for $2,360
4. Grueby 22 inch Floor Vase,
Sold for $12,980
3. Van Erp Picture Frame,
Sold for $3,245
(510) 740-0220 • www.michaans.com • 2751 Todd Street, Alameda, California 94501
101
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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.
No employee of MA is authorized to nor shall make
any warranty or representation on MA’s behalf,
except as stated in the catalog or in any written
addendum.
ESTIMATES OF VALUE
All estimates of value as published in our Catalogues
or elsewhere are statements of qualified opinion as
to the range of the price a willing buyer might pay
for the Property at auction. The actual price paid at
auction or subsequently, may vary substantially from
the estimates. MA shall not be liable for any such
differential.
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.
BUYER EXPRESSLY UNDERSTANDS AND AGREES
THAT MA SHALL HAVE NO OTHER LIABILITY
TO THE BUYER EXCEPT FOR THE RETURN OF
THE PURCHASE PRICE AND THAT IN NO EVENT
SHALL MA BE LIABLE FOR ANY DAMAGES,
INCLUDING BUT NOT LIMITED TO
INCIDENTAL, CONSEQUENTIAL OR
COMPENSATORY DAMAGES OR LOSS OF
PROFIT OR BUSINESS OPPORTUNITY.
*Authorship refers to the maker or creator of the
Property, and the period, social culture, and origin of
the Property as stated in the Bold Type Heading for
a given lot in our catalogue. It does not refer to the
descriptions which may be contained in the information below the Bold Type Heading.
MISCELLANEOUS
a. Modification: No modification or amendment of
the Conditions of Sale shall bind MA unless contained in a writing signed by MA, except as may be
posted or published as noted above or verbally
announced at time of sale.
b. Severability: If, for any reason, any part of the
Conditions of Sale is held to be invalid or unenforceable, the remaining portion shall be valid and
enforceable.
c. Successors and Assigns: The Conditions of Sale shall
be binding on all the heirs and assigns of the Buyers
and bidders and inure to the benefit of MA’s succes-
sors and assigns.
d. Jurisdiction, Venue, Choice of Law: Dispute resolution
shall occur in Alameda County, California, USA. The
provisions of the Conditions of Sale will be construed and disputes determined by application of
California Law, without regard to conflicts of law.
e. Notice, Service of Process: Buyers agree to accept all
notices and service of process relating to dispute
resolution at the address provided by Buyer on any
registration forms required to be executed as a condition of bidding in our auction.
f. Dispute Resolution: All disputes and claims arising
out of or relating to events and actions covered
herein, brought by or against us, shall be resolved by
mediation or binding arbitration in accord with the
procedures set forth below. This provision does not
apply to claims brought by the Buyer directly against
the Consignor, including, but not limited to any
action brought pursuant to the rescission provisions
noted above
OPTIONAL PROVISIONS
Shipping, insurance packaging and handling of purchased lots is at the risk and expense of the purchaser. As a service to the purchaser, MA may ship
appropriate items solely via United Parcel Service,
(UPS) Ground. MA will not ship by any other method including USPS, and property requiring freight
shipment. MA will, in no event insure the property
whether or not packaged and shipped by MA. MA
shall not, under any circumstances, be liable for the
loss, theft or damage to property, including, but not
limited to selection of shipper, the acts or omissions
of any shipper or the acts or omissions occurring in
packing for shipment. It is the purchaser’s responsibility to obtain a shipping quote for any lot being
offered, from an outside shipper, prior to the auction date. (As a courtesy, MA may provide quotes
for items to be shipped via UPS). Post sale determination of shipping costs does not constitute grounds
for cancellation of any purchase made at auction.
Purchasers are advised that large and fragile items
can be expensive and that MA will ship no property
without first obtaining consent from the purchaser
and only after packing and shipping costs have been
disclosed by MA. When MA is to pack and ship, MA
will provide to the bidder with a quote for cost of
packing and handling and the UPS fee. The Purchaser
is responsible for any insurance of the shipment.
Shipment will not be made until both all sums due
MA including the shipping and handling fees as quoted, and written confirmation is received that insurance has been waived or has been obtained by purchaser. Shipment may take up to 21 days after payment is received.
MEDIATION AND ARBITRATION
PROCEDURES
(a) Within 30 days of written notice that there is a
dispute, the parties or their representatives may
meet at a time and place mutually agreed upon, to
mediate their differences. If the parties agree, a
mediator acceptable to the parties shall be selected.
The mediator shall be an attorney, trained in mediation techniques and familiar with commercial law
and the California Uniform Commercial Code
(UCC). The mediator’s fees shall be shared equally
and paid by all parties. At the mediation, all parties
shall have actual authority to settle the dispute. Any
statements made during, and all aspects of, the mediation process shall be kept confidential and shall not
be admissible in any subsequent arbitration or judicial proceeding. Any resolution shall be confidential.
(b) If the parties cannot agree to mediation, or if
mediation does not resolve the dispute, or in any
event no longer than 60 days after receipt of written notice referred to above, the parties shall submit
the dispute for binding arbitration before a single
neutral arbitrator jointly selected, or absent agreement, selected from the panel of Arbitrators provided by the American Arbitration Association (AAA).
If, within 15 days, the parties cannot agree on an
arbitrator, then AAA shall select one (1) person as
arbitrator in accord with AAA rules. The arbitrator
shall be an attorney, experienced in commercial law
and with the UCC. The arbitrator shall be required
to follow the law in making his award, and the award
shall be in writing and shall set forth findings of fact
and legal conclusions.(c) The arbitration shall occur
within 60 days of the selection of the arbitrator, in
either Oakland or San Francisco, California, unless
the parties agree to another location. Discovery
and the procedure for the Arbitration shall, unless
otherwise agreed to by the parties, follow the procedures and policies of AAA governing commercial
arbitration, subject however to the following modifications:
1. All arbitration proceedings shall be confidential.
None of the parties nor the arbitrator, may disclose
the existence, content or results of the arbitration
without the written consent of all parties.
2. The parties shall attempt to agree on the issues to
be arbitrated, or identify the disputed issues in writing no later than 45 days prior to arbitration.
3. Unless otherwise agreed by the parties, discovery,
if any, shall be limited as follows: (a) Requests for no
more than 10 clearly identified categories of documents, to be provided to the requesting party within
14 days of written request therefore; (b)
Depositions: No more than two (2) per party, provided however, the deposition(s) are to be completed within one (1) day; (c) Compliance with the
above shall be enforced by the arbitrator in accord
with California law.
4. Each party shall have no longer than eight (8)
hours to present its position. The entire hearing
before the arbitrator shall not take longer than
three (3) consecutive days, unless all parties agree
otherwise in writing.
The award shall be made in writing no more than 30
days following the end of the proceeding. Judgment
upon the award rendered by the arbitrator may be
entered by any court having jurisdiction thereof.
Each party shall bear its own attorney’s fees and
costs in connection with the proceedings and shall
share equally the fees and expenses of the arbitrator.
This auction is being conducted in compliance with
section 2328 of the Commercial Code, section 535
of the Penal Code, and provisions of the California
Civil Code.
Bonded pursuant to California Civil Code sec
1812.600 et seq. Bond # 71393954
JEWELRY SOLD AT MICHAAN’S AUCTIONS:
It is the responsibility of the bidder to examine
carefully any item(s) of potential interest.
For all the jewelry sold here at Michaan’s Auctions
the following applies:
All gemstone weights are approximate.
We are aware of the many types of treatments and/
or enhancements used today on diamonds and colored stones. The purpose is to improve their
appearance i.e. color and/or clarity. Techniques like
heat treatments, color diffusion, irradiated, HTHP,
oiling, resin, bleaching, dying and impregnation are
just a few techniques known today. Some treatments
combined. Some treatments are not detectable using
standard gemological procedures. Not all treatments
are permanent. Prospective buyers are therefore
103
reminded that unless otherwise noted in the
description(s), it must be assumed that some form
of enhancement may have been used.
Regarding laboratories certification: The certifications mentioned in the descriptions only reflect the
opinions of the laboratory. From one laboratory to
another they do differ on the degrees of grading
and/or treatments. And if a stone has a certificate
from a laboratory we cannot guarantee this grading.
Watches must be examined carefully. Although we
do attempt to mention in our descriptions significant defects, needed repairs, absent stones and the
like, we do not guarantee the accuracy or operation
of any watch function.
Detailed condition reports are available for most
pieces. These reports contain more information than
the catalog descriptions. Images shown may appear
smaller or larger than actual size.
PROPERTY MADE FROM OR CONTAINING
MATERIALS FROM ENDANGERED OR
PROTECTED SPECIES
Property that contains any percentage of material
made or potentially made from endangered and/or
other protected species of wildlife are, as a courtesy,
marked in the catalogue with the symbol “ * ”.
Michaan’s Auctions does not accept any responsibility or liability for failing to mark such lots. Such
material includes, but is not limited to, ivory, tortoise
shell, crocodile skin, whalebone, rhinoceros horn,
some species of coral and certain woods.
Prospective buyers are advised that several countries completely prohibit importation of property
made, all or in part, of proscribed materials. Some
countries require special permits, such as a CITES
permit, from the relevant regulating authority in the
countries of exportation and importation as well.
Potential buyers intending to import the property
into another country should be familiar with the relevant customs laws and regulations prior to bidding
on property containing wildlife material. Regulations
may vary as the U.S. prohibits importation of articles
containing material(s) from species it has designated
endangered or threatened if the articles are less
than 100 years old.
It shall be the potential buyer’s sole responsibility to research and satisfy the requirements of any laws and regulations that apply
to the import and export of property as
described in the aforementioned paragraphs.
Prospective buyers must also note that the
inability or delay in obtaining permits, licenses or other permissions to import or export
property containing potentially regulated
wildlife material will not constitute a basis for
rescission or cancellation of the sale of said
property or the delay in payment of purchased items in accordance with the
Conditions of Sale.
Definitions of Authorship:
This is to qualify the relationship between the object
and the named person in the catalogue. The following conventions for attribution are used by
Michaan’s Auctions:
Giovanni Bellini: In our opinion a work by the artist. When the artist’s forename(s) is not known, a
series of asterisks, followed by the surname of the
artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artists
named.
Attributed to Giovanni Bellini: In our opinion
probably a work by the artist but less certainty as
to authorship is expressed than in the preceding
category.
Studio of Giovanni Bellini: In our opinion a work
by an unknown hand in the studio of the artist,
which may or may not have been executed under
the artist’s direction.
Circle of Giovanni Bellini: In our opinion a work
by an as yet unidentified by distinct hand, closely
associated with the named artist but not necessarily
his pupil.
Style of ......; follower of Giovanni Bellini: In
our opinion a work by a painter working in the artist’s style, contemporary or near contemporary, but
not necessarily his pupil.
Manner of Giovanni Bellini: In our opinion a
work in the style of the artist and of a later date.
after Giovanni Bellini: In our opinion a copy of a
known work of the artist.
The term signed and/or dated and/or inscribed
means that in our opinion the signature and/or date
and/or inscription are from the hand of the artist.
The term bears a signature and/or date and/or
inscription means that in our opinion the signature
and/or date and/or inscription have been added by
another hand.
“bearing signature...”/”bearing date...”/”bearing inscription...” In our opinion the signature/
date/inscription is by a hand other than that of the
artist.
Typical Headings:
FURNITURE
George III Mahogany Chest of Drawers
Third Quarter 18th Century
This heading, with date included, means that
the piece is, in our opinion, of the period indicated with no major alterations or restorations.
George III Mahogany Chest of Drawers
This heading, without the inclusion of the date,
indicates that, in our opinion, the piece, while
basically of the period, has undergone significant restoration and alteration.
George III Style Mahogany Chest of Drawers
The inclusion of the word “style” in the heading indicates that, in our opinion, the piece was
made as an intentional reproduction of an earlier style.
BRONZES
Antoine-Louis Barye
This heading indicates that the casting and patination were done by the artist or with his
direct authorization or supervsion.
Cast After a Model by Antoine-Louis Barye
This heading indicates that the casting and patination of a known Barye model were done by
another, i.e., artisans at the F. Barbedienne or
other foundry.
CERAMICS
Meissen Porcelain Cup and Saucer
Late 19th Century
This states that the cup and saucer were made
at the Meissen factory in the last quarter of
the 19th Century.
Meissen Porcelain Cup and a Saucer
Late 19th Century
Again, this states that the cup and saucer were
made at the Meissen factory in the last quarter of the 19th Century, but it also indicates
that the cup and saucer may not have been
“born” together.
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.
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.
104
Michaan’s Auctions
2751 Todd Street
Alameda, CA 94501
(800) 380-9822 or (510) 740-0220
www.michaans.com
[email protected]

Treasures of Louis C. Tiffany

Transcription

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