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

Transcription

Treasures of Louis C. Tiffany
from the Garden Museum, Japan
Part 2
Saturday, May 18, 2013
1pm (Pacific Time)
Lot 2050 detail
Treasures of Louis C. Tiffany from the
Garden Museum, Japan
Part 2
Including other Tiffany artworks
and contemporary glass
May 18, 2013, 1pm (Pacific Time)
Preview dates:
Friday, May 3, 12pm - 5pm
Saturday, May 4, 10am - 5pm
Sunday, May 5, 9am - 5pm
Friday, May 17, 12pm - 5pm
Day of sale, beginning at 9am to the end of the Auction
or by appointment
Michaan’s Auctions
2751 Todd Street • Alameda, CA 94501
Phone #: 800-380-9822 or 510-740-0220
Fax #: 510-749-7517
Inquiries:
Allen Michaan
(510) 227-2503
[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: multiple lots
Back Cover Lot: 2031
COPYRIGHT NOTICE
No part of this catalog may be reproduced, stored in a retrieval system or transmitted by any form or
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permission of Michaan’s Auctions.
Michaan’s Auctions bond # 71393954
Introduction
This auction is the third in a series of sales which has brought a major portion of Japan’s Garden Museum
Collection to the worldwide art marketplace.
The initial auction held here in Alameda, California, on November 17, 2012, included the sale of over a hundred
Tiffany objects from that museum and set a record for the highest grossing auction ever held at Michaan’s Auctions.
The second act played out at Sotheby’s Paris on February 16, 2013, (which Michaan’s chose as the European venue
for this particular sale) when the most important of the European Art Nouveau holdings of the Garden Museum
Collection resulted in the highest grossing Art Nouveau sale in Sotheby’s history.
The sale contained in this catalog features nearly 100 Tiffany selections from the Garden Museum Collection plus
additional consignments.
In assembling this sale, an effort was made to create an exciting cross-section of Tiffany Studio’s artistry plus the
inclusion of a wonderful selection of pieces from Tiffany & Company. Most notable from that group is the mixed
metal Camondo-style sugar and water set that was exhibited at the 1878 Exposition Universelle in Paris and later
in the Metropolitan Museum of Art’s landmark 1987 exhibition “In Pursuit of Beauty: Americans and the Aesthetic
Movement” (Lots 55, 56, 57 & 58).
This catalog includes previously unpublished images that were reproduced from a collection of negatives in the
Garden Museum Collection. Wherever possible, descriptive text concerning the objects from the Garden Museum Collection has been taken from the massive museum catalog, “Louis Comfort Tiffany, The Garden Museum
Collection” by Alastair Duncan.
I feel confident that this important sale will result in new homes for many of these wonderful American treasures.
Allen Michaan
The “Anchorman Collection” custom
built cases. Prior to being named the
Garden Museum, Mr. Horiuchi called
his collection the “Anchorman Collection”. He commissioned the creation
of lavish velvet lined custom carrying
cases for every lamp, vase, enamel, and
other objects in his collection. With
the exception of books, floor lamp
bases, windows and paintings, each
lot includes the custom-built museum
case unless otherwise noted in the lot
description. Many of the lamps have
a separate case for the shade as well
as the base. These beautifully crafted
storage and shipping units add to the
special nature of these selections
from The Garden Museum Collection.
2
A previously unpublished photo of Charles Lewis Tiffany circa 1885 with 5 grandchildren. This photo was provided for our
catalog by a direct descendant of Louis C. Tiffany. It is believed that 3 of the children in the photo are: Mary (born 1873),
Charles Lewis Tiffany II (born 1878) and Hilda (born 1879) the offspring of Louis Comfort Tiffany.
3
2001
Tiffany Tooled Gilt Leather Book: The Artwork of Louis C. Tiffany
An unsigned copy of the volume personally commissioned by Louis C. Tiffany in a limited run
of four hundred and ninety-two copies. This book is profusely illustrated with Tiffany’s favorite
creations in the various disciplines of his artwork. This is an especially pristine example of this
work.
Estimate: $3,000 / 5,000
Lot 2001
2002
Tiffany Studios Bronze and Favrile Glass Paperweight
A rare and unusual bronze and iridescent glass desk paperweight.
Marked on underside: Tiffany Studios New York 932 with monogrammed T. G. & D. Co.
Length: 3 3/4 inches Width: 2 7/8 inches.
Similar pieces can be found on page 398 “Tiffany Lamps and Metalware”, (Duncan);
page 215 “Louis C. Tiffany Collected Works of Robert Koch” (Schiffer Publications).
Provenance: A private collector.
Estimate: $3,000 / 3,500
Lot 2002
2003
Pair of Tiffany Studios Grapevine Desk Set
Boxes
Each bronze box is backed with green Favrile glass with
white streaks and finished in a green and brown patina
on the grapevine filigree.
Both boxes impressed on the underside: Tiffany Studios New
York.
Larger box dimensions: 6 15/16 x 7 1/16 inches Height: 2
1/2 inches. Smaller box dimensions: Length: 6 1/2 inches
Width: 4 inches Height: 2 3/4 inches.
Estimate: $1,600 / 1,800
Lot 2003
4
Lot 2004
2004
Tiffany Studios Twelve Light Lily Table Lamp
The lamp features a gold dore finish with twelve original shades. The shades are
the ten point ruffled examples.
Shades signed: L.C.T. Favrile. Base signed: Tiffany Studios New York 1063.
Estimate: $27,500 / 30,000
5
Tiffany Studios workers posing with a finished shade.
6
Lot 2005
2005
Tiffany Studios Geranium Table Lamp With An Arrowhead Bronze
and Iridescent Favrile Glass Mosaic Base
This shade is mounted on a superb example of a Tiffany Studios mosaic bronze lamp
base. Tiffany bases adorned with mosaic decorations are the most highly desirable and
rarest of the table lamp base creations.
Shade: Impressed Tiffany Studios New York. 1906 Price List: model #1451, 16 inch Geranium,
cone, $90. Base: Impressed on canister Tiffany Studios New York 147 and on the base Tiffany
Studios New York 145. 1906 Price List: Model #145, Mosaic arrowhead, squat, $75.
This lamp is pictured on page 295 of “Louis C. Tiffany, The Garden Museum
Collection”.
Provenance: The Garden Museum Collection, Matsue, Japan.
Estimate: $160,000 / 180,000
7
2006
Tiffany Studios Overall Swirling Daffodil
Table Lamp
The background glass transitions from green at the
top to white at the bottom. The stems and leaves
are done in varying colors of mottled green and the
daffodil blossoms are yellow to orange with ripple
glass centers.
Shade signed: Tiffany Studios New York with an early
small tag. Base signed: Tiffany Studios New York 29940
with the Tiffany Glass and Decorating Co. logo.
Diameter of shade: 20 inches.
Estimate: $32,500 / 35,000
Lot 2006
2006A
Original Program from the Madison Square Theater
1883
The Madison Square Theater was a major early project for Louis C. Tiffany and Associated
Artists as his firm was commissioned for the entire interior decoration treatment and collaborated with Thomas A. Edison who installed his revolutionary new electric lighting in the building.
The main curtain was the work of Candace Wheeler, a member of Louis C. Tiffany and The
Associated Artists group, and featured a highly elaborate naturalistic scene in embroidery. Sadly,
nothing from this theater is known to have survived. This rare original program brochure beautifully illustrates the elaborate colorful treatment that was lavished on this interior. According to
Candace Wheeler: “The curtain was a landscape effect rendered in textiles, including oak and
birch trees, wisteria and yucca. All sorts of materials came into use, velvet and plushes for trees
and great-leaved plants in the foreground, shadowy silks for perspective and bits of misty blue
distance iridescent stuffs of any material which would produce illusion or give the required
effect ... Unfortunately, it took fire and went up in smoke before the season was over, but we
replaced it with an improved copy.”
Height: 6 1/4 inches Width: 5 1/8 inches.
Decorated by Louis C. Tiffany and Associated Artists. An identical piece can be found on page
21 of “Louis C. Tiffany, The Collected Works of Robert Koch” (Schiffer), originally published in
“Louis C. Tiffany, Rebel in Glass” (Koch ,1964)
Estimate: $100 / 150
Lot 2006A
8
View of the Havemeyer library (known also as the Rembrandt room as it housed the family’s
collection of Dutch masters) showing an example of the chair (lot 2007) to the left of a mosaic
glass fireplace surrond. The designs for the furniture in the Havemeyer commission have been
credited to Samuel Colman.
Tiffany’s most prestigious decorating commission came roughly five years after the
completion of the interiors that he designed in the mid 1880’s for his own apartment
in his family’s mansion on 72nd Street, Manhattan. These, which in their disparate mix
of exotic cultures and periods epitomized the historicism that dominated the 19th
century taste in America, influenced one of its wealthiest couples, Henry and Louisine
Havemeyer, to retain Tiffany to decorate the residence built for them at 848 Fifth
Avenue, on the corner of 66th Street, by the architect Charles C. Haight. Assisted by
Samuel Colman, Tiffany drew on an evocative blend of materials, colors, textures and
patterns to serve as a unifying setting for the family’s wide ranging art collections,
including Old Master and Impressionist paintings, and Asian art.
Within a year of Louisine Havemeyer’s death in 1929, the house was demolished and
its furnishing and architectural elements offered in an auction conducted by Anderson
Galleries in New York on April 22, 1930. In attendance was the Dean of the College
of Architecture at the University of Michigan, who acquired twenty-five lots of architectural fragments (for a total of $1,325) and twenty-seven pieces of Favrile glassware, part of his effort to assemble a study collection for students. This mosaic wall
panel (lot 2008), together with an identical pair from the same frieze acquired by the
University of Michigan (see The Havemeyer Tiffany Collection, University of Michigan
Museum of Art, 1992, n.p.), is believed to have come from the residence’s entrance
hall.
A nearly identical panel is on permanent display in New York at the Metropolitan
Museum of Art in The New American Wing. Also on display in the same gallery is the
mate to lot 2007.
9
2007
Tiffany Studios H.O. Havemeyer Armchair
1891-1892.
Oak, upholstered in quilted silk velvet. This massive chair was
designed for the library in the residence completed in 1892 for
Henry O. Havemeyer on the corner of Fifth Avenue and 66th
Street, New York City. The interlaced strapwork design that
repeats itself throughout the chair’s carved oak frame and quilted
upholstery, inspired by Celtic and Norwegian Viking prototypes,
was continued on the room’s mantel, architectural trim, and stenciled wall pattern to ensure a single artistic vision. According to
Mrs. Havemeyers’ 1930 memoir (Louisine W. Havemeyer, Sixteen
to Sixty: Memoirs of a Collector. N.Y. 1961.p.18) the chair frame
was finished with many coats of varnish buffed to create an effect
resembling Japanese lacquer work. The mate to this chair is in the
collection of the Metropolitan Museum of Art, New York.
Height: 45 1/4 inches (115 cm) Width: 29 inches (73.5 cm) Depth: 27
inches (68.5 cm).
Provenance: Margot Johnson, Inc.,
The Garden Museum Collection, Matsue, Japan.
This chair is pictured on page 90 of “Louis C. Tiffany, The Garden
Museum Collection”.
Estimate: $90,000 / 100,000
Lot 2007
10
2008
Tiffany Studios H.O. Havemeyer House Mosaic
Panel
Mosaic glass, 1891-92.
Measurement: 34 1/2 x 12 inches (87.5 x 30.5 cm).
Provenance: Havemeyer residence, Manhattan.
This panel is pictured on page 181 of “Louis C. Tiffany, The
Garden Museum Collection”.
Estimate: $70,000 / 90,000
Tiffany’s most prestigious decorating commision came
roughly five years after the completion of the interiors that
he designed in the mid-1880’s for his own apartment in his
family’s mansion on 72nd Street, Manhattan. These, which in
their disparate mix of exotic cultures and periods epitomized the historicism that dominated the 19th century taste
in America, influenced one of its wealthiest couples, Henry
and Louisine Havemeyer, to retain Tiffany to decorate the
residence built for them at 848 Fifth Avenue, on the corner
of 66th Street, by the architect Charles C. Haight. Assisted
by Samuel Colman, Tiffany drew on an evocative blend of
materials, colors, textures and patterns to serve as a unifying
setting for the family’s wide-ranging art collections, including
Old Master and Impressionist painting and Asian art.
The entrance hall in the Havemeyer residence,
showing part of its mosaic frieze. Illustrated in
Architectural Record, January-March, 1892, n.p.
Lot 2008
11
Lot 2009
2009
Tiffany Studios H.O. Havemeyer House Cold Air Return Screen
The frame in silvered bronze supports a screen of Tiffany “chain mail” comprised of
two hundred and thirty-seven square segments of amber and cream Favrile glass
segments, each segment enclosed in its own silvered bronze element all connected
by silvered bronze rings.
Dimensions of glass segments: 1/2 x 1/2 inch Width of screen: 23 3/4 inches
Height of screen: 29 1/4 inches.
Provenance: H.O. Havemeyer Home, circa 1891.
Christie’s New York, June 2011, Lot #62.
A private collector.
Estimate: $25,000 / 30,000
12
12
13
13
Lot 2010
Estimate: $40,000 / 60,000
(American 1848-1933)
Desert Scene
Watercolor and gouache on paper
11 1/2 x 19 3/8 inches (29 x 49 cm).
1873, signed L.C.T. and dated ‘73
This painting is pictured on page 51 of “Louis C. Tiffany,
The Garden Museum Collection”.
2010
Louis Comfort Tiffany
During his sojourn in Paris in 1868-69, while a student at the
atelier of the artist Leon Charles Adrien Bailly, Tiffany was
exposed to the French Orientalist School, including Adolphe Belly,
Eugene Fromentin and Albert Decamps, who all exhibited at the
annual Salons. Amongst these, Belly was of particular influence,
both because his paintings provided a repository of Near Eastern
subject matter for the young American, and because he was an
accomplished colorist. This work, depicting nomadic Berbers with
pitched tents and camels beneath the glow of a distant orange
sunset, is reminiscent, both from a compositional standpoint and
in its atmospheric effects, of how Belly had earlier portrayed similar desert vistas. By combining opaque (gouache) and transparent
watercolor pigments, Tiffany has created the heat haze which
provides the work with its depth and perspective.
2011
Set of Four Tiffany Studios Door Knobs
Executed in bronze with a brown patina in the
Moorish taste.
Diameter of each knob: 2 1/8 inches.
These four pieces were acquired a number of years
ago from an East coast auction house by the
consignor.
Estimate: $1,200 / 1,800
Lot 2011
Leslie Nash drawing of the Tiffany Furnaces, Corona, Long Island.
14
Lot 2012
2012
Tiffany Studios Landscape Window
Early 1920’s.
This window depicts a moody landscape with birch trees on the right and evergreens on the
opposite side against a sunset sky. The boughs of the evergreens contain groupings of thin glass
threads within the glass for a dramatic realistic effect.
Signed Tiffany Studios in enamel.
Height: 34 1/2 inches (87 cm) Width: 26 inches (66 cm).
This window is pictured on page 137 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $100,000 / 150,000
15
2013
Tiffany Studios Wisteria Table Lamp
Tiffany depicted the different colorations of the wisteria species faithfully in his lamps, creating examples in blue-purple-grey, pink-burgundy
and white tinged with yellow. The design for the model was credited
to a client, Mrs. Curtis Freschel, who in 1901 submitted to the firm a
sketch of the lamp she wished made for her.
Shade: Impressed TIFFANY STUDIOS NEW YORK. Base: Impressed TIFFANY
STUDIOS NEW YORK 5795.
Height: 27 inches (68.5 cm) Diameter of shade: 18 inches (46 cm).
Base: 1906 Price List: Model 342, Wisteria Lamp and shade, large, $400.
This lamp is pictured on pg. 292 of “Louis C. Tiffany, The Garden
Provenance: The Garden Museum Collection,
Matsue, Japan.
Estimate: $175,000 / 250,000
Lot 2013
16
Lot 2014
2014
Tiffany Studios Scarab Humidor
Carved by Joseph Briggs. The lid’s hinge is housed within a hemisphere designed as
the ball of dung in which the beetle implants its eggs, and which, after hardening by
the sun, it buries in the ground. After hatching, the larva makes its way to the surface to renew the insect’s life cycle.
Wood and Favrile glass, stamped (twice) Tiffany Studios New York encircling L.C.T. monogram and inscribed S/C2871.
Height: 5 1/2 inches (14 cm).
Exhibited: Masterworks of Louis Comfort Tiffany, The Renwick Gallery, Smithsonian
Institution, Washington, DC. September 29-March 4, 1990,
The Metropolitan Museum of Art, New York, April 12-September 9, 1990;
Masterworks of Louis Comfort Tiffany, traveling Japanese exhibition (Tokyo, Kobe,
Nagoya, Toyama), January-August, 1991.
Provenance: Alice Osofsky.
Benedict Silverman.
This piece is pictured on page 357 of “Louis C. Tiffany, The Garden Museum
Collection” and also pictured on page 55 of “Masterworks of Louis C. Tiffany”.
Estimate: $40,000 / 60,000
17
Lot 2015
2015
Tiffany Studios Hexagonal Favrile Glass Table Lamp
The six panel shade, each panel separated by a leaded glass strip is executed in creamy
yellow and gold Favrile glass with surface hazing in the glass. The shade is surmounted
by a bronze crown which encloses an iridescent round blue turtleback 1 1/2 inches in
diameter. The lead work on this shade bears a gold patina. The gilded bronze telescoping base supports the shade on three arms and rises from four padded feet to join the
rising shaft above four triangular amber turtleback tiles mounted within.
Shade: Paneled glass with turtleback tile finial, impressed TIFFANY STUDIOS NEW YORK.
1906 Price List: Model #1565, 10 in. Hexagon, straight panels, turtleback glass on top for
#434 lamp, $12. Base: Bronze and turtleback tiles, impressed TIFFANY STUDIOS 9966. 1906
Price List: Model #434, 1 light, 4 legs, Turtle-back glass in base, slide, $26.
Height: 16 3/4 inches (42.5 cm) Diameter of shade: 9 1/2 inches (24 cm).
A second example is pictured on page 317 of “Louis C. Tiffany, The Garden Museum
Collection” and also on page 92 of “Tiffany Lamps and Metalware” (Duncan).
Estimate: $13,000 / 15,000
18
Lot 2016
2016
Tiffany Studios Turtleback Casket Inkwell
Bronze inset with Favrile glass turtleback tiles, unsigned.
1906 Price List: Model #1068, $75.00.
The interior of the lid houses three pens above a pair of inkwells: the front
central drawer serves as a receptacle for stamps.
Height: 4 1/4 inches (10.5 cm) Length: 8 5/8 inches (22 cm).
Provenance: Benedict Silverman,
The Garden Museum Collection.
This inkwell is pictured on page 354 of “Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $25,000 / 30,000
19
Lot 2017
2017
Tiffany Studios Banded Turtleback Table Lamp
Featuring striated green geometric glass and iridescent purple turtlebacks that light
green. The shade rests on a Colonial stick base.
Shade signed with an early small tag: Tiffany Studios New York. Base signed: Tiffany Studios
New York 532.
Diameter of shade: 20 inches
Estimate: $27,500 / 30,000
20
2018
Tiffany Studios Turtleback Double Lamp Pendant
Composed of two Tiffany Studios turtleback tiles mounted in lead borders and
connected by a chain for use as a hanging pendant.
Larger Turtleback Length: 6 inches Width: 5 inches Smaller Turtleback Length: 2 3/8
inches Width: 2 3/4 inches. Total Height Including Chain: 12 1/2 inches.
Estimate: $1,400 / 1,600
2019
Tiffany Studios Glove Box
The bronze box executed with green Favrile glass panels overlaid with bronze
pine needle metal filigree and finished in a green patina.
Signed on inside clasp: Tiffany Studios New York.
Width: 13 1/2 inches Depth: 4 5/8 inches Height: 3 1/4 inches.
Estimate: $1,800 / 2,000
Lot 2018
Lot 2019
21
Lot 2020
2020
Tiffany Studios Nautilus Lamp
The bronze lamp with green-brown patina has a central shaft which rises
from a circular base to two arms which hold a nautilus shell.
Signed: Tiffany Studios New York 266 and impressed with the Tiffany Glass and
Decorating Co. logo.
Height: 13 inches Diameter of Base: 4 3/4 inches.
Provenance: A private collector
Please note: the shell on this lamp is a replacement.
Estimate: $4,000 / 5,000
22
2021
Tiffany Studios Poppy Table Lamp
Mounted on a Pond Lily Base
Shade impressed: TIFFANY STUDIOS NEW YORK 1531.
1906 Price List: Model #1531, 20 inch Poppy, Dragonfly
block, cone, $115. Base: Impressed on the canister
TIFFANY STUDIOS NEW YORK 6828 and 7496. 1906
Price List: Model #225, Cat-tail, Pond Lily base, $115.
Height: 25 1/2 inches (65 cm) Diameter of Shade: 20
inches (51 cm).
This lamp is pictured on page 294 of “Louis C. Tiffany,
Provenance: The Garden Museum Collection, Matsue,
Japan.
Estimate: $170,000 / 200,000
Lot 2021
23
Lot 2022
2022
Tiffany Studios Carved Leaf Damascene Desk Lamp
The green shade features heavily carved leaves and vines throughout.
The base is an adjustable harp desk lamp base.
Shade signed: L.C. Tiffany Favrile 1115K. Base signed: Tiffany Studios New York 470.
Estimate: $13,000 / 15,000
24
Lot 2023
2023
Pair of Tiffany Studios Prism Sconces
The matching pair of sconces each featuring eleven green glass prisms and ball
chains with original gold finish.
Unsigned. Extra prisms are included with this lot.
Height: 14 inches
Width: 6 inches
Estimate: $10,000 / 12,000
25
View of the atrium of Louis C. Tiffany’s Long Island home.
26
2024
Tiffany Studios Lantern from Laurelton Hall
Blown and leaded glass with gilt-bronze mount.
Inscribed: o3449
Height: 23 3/4 inches (60.5 cm).
This lantern is pictured on page 336 of “Louis C. Tiffany,
Provenance: Laurelton Hall, home of Louis C. Tiffany;
Bruce Randall;
Estimate: $80,000 / 100,000
Lot 2024
27
Tiffany’s nurse & companion Sarah Hanley in Laurelton Hall
28
29
Lot 2025
A bright and airy composition that assimilates color and light. The
subjects are Sarah Hanley and a fellow artist on a south Florida
beach.
Estimate: $50,000 / 60,000
Painting on the Beach
Oil on Canvas
Measurement: 15 x 23 inches (38 x 58.5 cm).
Signed lower left, Louis C. Tiffany ‘25.
This painting is pictured on pages 68 and 69 of “Louis C.
Tiffany, The Garden Museum Collection”.
2025
Still life photograph, c. 1905-1910, of a group of Tiffany artworks illustrated in Charles de Kay, The Art Work of Louis C Tiffany,
1914, a copy of which is offered as lot 2001 in this auction catalog.
30
2026
Tiffany Studios Vase
Of tall form tapering from the circular base to a wider shoulder near
the top before tapering back in to an upper rim. The gold iridescent
background is decorated with green leaves interconnected with slender trailing green vines.
Base inscribed: 3041 C L.C. Tiffany Favrile.
Height: 13 1/4 inches Diameter of base: 4 inches Maximum width: 6 1/4
inches.
Provenance: A West Coast collector.
Estimate: $3,000 / 4,000
Lot 2026
2027
Tiffany Studios Ash Stand
Tiffany often drew on antiquity to adorn and enliven mundane household
appliances, in this instance a phoenix, griffin or similar fabled creature. A second example of this ash stand in the Louis C. Tiffany Garden Museum
Collection bears the model #1648. This ash stand is executed in a greenbrown patina.
Impressed: Tiffany Studios New York 2033.
Collection”.
Estimate: $4,000 / 6,000
Lot 2027
2028
Tiffany Studios Chrysanthemum Enamel Sketch
The sketch was a design for a chrysanthemum covered box to be executed in the Tiffany Studios conventional enameling technique.
The hand written notation reads SG 273.
The finished box appears on page 408 of “Louis C. Tiffany, The Garden
Lot 2028
Estimate: $800 / 1,200
31
An enamel department was established at the
Tiffany Glass and Decorating Co. factory in
Corona in 1898, an inevitable progression of
the firm’s experimentation in glass. Although
information is sketchy, it appears that Tiffany
was assisted in the new venture by his chemist
and metallurgist, Dr. Parker McIlhiney, who
worked on formulae, firing temperatures and
other technical issues. The department’s staff
has been identified as Patricia Gay, who was
placed in charge, Julia Munson, Alice C. Gouvy
and later, Lillian A. Palmie. Specific responsibilities are uncertain, although it appears that
Munson, the principal designer, and Gouvy prepared the renderings which Gay and Palmie
painted on copper forms made in the Corona
metalshop. Arthur Nash then fired (and, when
required, iridised) the finished pieces. The
Tiffany Furnaces Enamel Department together
with its jewelry division, was purchased by
Tiffany & Co. on May 3, 1907, and the staffs of
both transferred to Tiffany & Co. From this
point, Tiffany’s enamels were manufactured and
retailed through the Tiffany & Co. hallmark.
Tiffany’s interest in his manufacture of enamels
appears to have diminished after the 1907
transfer; thenceforth, the technique was
employed principally in conjunction with his
jewelry.
2029
Tiffany Studios Sagittaria Vase
c.1901
Enamel-on-copper. Possibly an arrowhead, a member of the
Sagittaria genus. The upper edges of the plant’s leaves delineate the contour of the vessel’s lip. The pottery version is
illustrated on page 466 of “Louis C. Tiffany, The Garden
Inscribed: Louis C. Tiffany, impressed SG 76.
This vase is pictured on page 427 of “Louis C. Tiffany, The
Please note: this piece is not housed in a custom museum
case.
Estimate: $100,000 / 120,000
Lot 2029
32
Lot 2030
2030
Tiffany Studios Peacock Feather Enamel Covered Bowl
Examination of the surface reveals spangles of paillons (particles of foil) attached
to the surface of the copper beneath the translucent enamels. These serve as a
mirror to reflect and magnify the light after it passes back through the enamel
towards the viewer. The initials SG stand for the Stourbridge Glass Co., the
glass-making division of The Tiffany Glass and Decorating Co. established in 1892
under Arthur Nash’s direction. It was absorbed by Tiffany Furnaces in 1902.
Enamel-on-copper, c.1907, inscribed 9/6 237 SG 349 L.C.T.
Diameter: 2 1/2 inches (6.5 cm).
This bowl is pictured on page 402 of “Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $10,000 / 15,000
33
Note: Top photo: The Cala Lily and Poppy
vase with two other enameled wares displayed at the Esposizione d’ Arte Decorativa
Moderna, Turin, 1902. Dekorative Kunst, Vol.
VI. 2 (November 1902), p.55 Large photo:
Side view of the Tiffany display at the 1906
Salon of the Societe des Artistes Francais,
Paris. Shown with the Cala Lily and Poppy
vase were recent examples of the firm’s creations in glass, pottery, jewelry, Fancy Goods
and a lamp. The latter’s shade is apparently
comprised of a filigree of tightly coiled wire,
recalling some of the fixtures which Tiffany
designed for the Havemeyer residence, New
York, in the early 1890’s.
Period photographs of lot 2031
34
2031
Tiffany Studios Cala Lily and Poppy
Enamel on Copper Vase
The construction and ornamentation at the Corona factory of a cylindrical vessel with repousse enamel decoration, as in this example,
required several intricate steps: first, the areas designated for relief
treatment on the sheet of copper were raised into their desired shapes
from the reverse by a metalworker who hammered and chased the surface with a variety of tools, including an anvil, snarling iron, and assortment of chisels and burins. Final detailing was achieved with a series of
chasing tools and punches which the metalworker interchanged as he
manipulated the decoration on the copper into its final form. Next, the
completed sheet was rolled around a cylinder-formed block and neatly
soldered along its vertical seam, before the circular foot was attached,
likewise by soldering. Now in its final form, the vessel was decorated by
an enamelist, who painted the composition on to its surface as a traditional china painter would decorate a porcelain vessel, moving around it
in a clockwise or counterclockwise direction. Using a painterly technique, the enamelist applied the superimposed layers of transparent pigments with a brush until the desired level of definition and richness of
color was attained.
Enamel-on-copper, c.1900, impressed Louis C. Tiffany SG 79.
This vase is pictured on page 421 of “Louis C. Tiffany, The Garden
Museum Collection” and also on page 117 of “Louis C. Tiffany at Tiffany
& Co.”(Loring, 2002).
Provenance: Team Antiques;
The Garden Museum Collection, Matsue, Japan
Estimate: $90,000 / 120,000
Lot 2031
35
Lot 2032
2032
Tiffany Studios Bird-of-Prey Enamel on Copper Vase
‘Scarcely less remarkable than favrile glass in artistic results is the Tiffany enamel, of which many specimens were shown at Buffalo. Many exquisite pieces of copper in repousse, of chaste and unique design,
and covered with an almost indestructible enamel as beautiful in its tints as the choicest of the favrile
vases, were exhibited.
“It is not the purpose of this article to describe individual pieces of the Tiffany output. One could no
more do this effectively than one could describe the harmonies of a masterpiece of music. It is the
intention only to state clearly America’s rank in at least one line of art product, and to give some suggestion of the causes behind the mysterious and marvelous play of colors observable in the Tiffany
ware. The Tiffany studios have their secrets of detail that are jealously screened from vulgar inspectionthat is a matter of business which the public has no right to probe. The hint given above is sufficient for
the inquiring and the curious.’
James L. Harvey, ‘Source of Beauty in Favrile Glass’, Brush and Pencil, vol.9, 1901, p.176.
Enamel-on-Copper, c. 1901, inscribed L.C.T. SG 100.
Height 6 1/4 inches (16 cm.).
This vase is pictured on pg. 419 of “Louis C. Tiffany, The Garden Museum Collection”.
Provenance: Sothebys, New York, March 11, 1989, lot 592;
Private collection;
Sothebys, New York, June 12, 1998, lot 305;
Estimate: $10,000 / 12,000
36
Lot 2033
2033
Tiffany Studios Crane Enamel on Copper Vase
Enamel-on-copper, c. 1901. With its crane and bamboo motifs and
delicate blue-green-beige naturalistic palette, this vase emphasises
the stylistic influence exerted by Japanese artists on their western
counterparts at the fin de siecle.
Enamel-on-copper, c. 1901, inscribed SG 96 L.C.T.
This vase is pictured on pg. 428 of “Louis C. Tiffany, The Garden
Museum Collection” and also on page 115 of “Louis C. Tiffany at
Tiffany & Co.” (Loring 2002).
Provenance: Lillian Nassau, Ltd., New York;
Estimate: $10,000 / 12,000
37
2034
Tiffany Studios Cabinet Vase
Inscribed L.C. Tiffany Favrile 145 A-Coll. L.C.T. The A-Coll inscription denotes this piece as part of the personal collection of
Louis Comfort Tiffany.
This vase is pictured on page 240 of “Louis C, Tiffany, The
Garden Collection Museum”.
Provenance: Louis C. Tiffany Collection.
Estimate: $12,000 / 15,000
Lot 2034
2035
Tiffany Studios Toadstool Cabinet Vase
Pottery wares at Tiffany Furnaces were frequently made from living models,
such as wild flowers and vegetables, which were sprayed with shellac until
rigid and then electroplated with copper. These, in turn, were made into the
plaster of Paris moulds in which the clay was pressed into its final form. Other
themes included specimens of tooled leather, American Indian pottery and
forms of marine life, such as octopi, algae and coral growths. To the public,
pottery was the least readily identifiable of Tiffany’s mediums, and for that reason, in part, the least financially successful: Jimmy Stewart, a glassblower at
Corona, later stated that a good deal of it was put out of sight whenever Mr.
Tiffany was expected to visit the factory as the staff did not want him to
know how little demand there was for it (see Albert Christian Revi, American
Art Nouveau Glass, 1968, p.89). The firm’s pottery was offered for sale from
1905 until around 1917, and therefore presumably remained in production for
most of these years.
Incised underglaze LCT monogram.
This vase is pictured on page 457 of “Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $4,000 / 6,000
Lot 2035
38
2036
Tiffany Studios Table Lamp
Laburnum on a Tree Trunk Base
The leaded glass shade is executed in yellow blossoms of Favrile
glass set against a deep purple background with vibrant green
leaves. The glass segments used for the blossoms feature dramatic
surface hazing in reflected light and mottled glass is used in many
of the blossoms. The shade is mounted on a tree trunk base finished in green and brown patina.
Base signed: Tiffany Studios New York 553.
Diameter of shade: 21 1/8 inches Height to top of finial: 33 1/2 inches
Height of base: 29 1/2 inches.
Please note: Although this lamp is not pictured in “Louis C. Tiffany, The
Garden Museum Collection”, as such, both the lamp’s shade and base
have their own museum custom cases.
Estimate: $160,000 / 200,000
Lot 2036
39
2037
Tiffany Studios Scent Bottle
c. 1900-5.
Cypriote glass with jewelled silver mount. The silver collar and cover
embellished with bands of classical floral emblems suggest that the scent
bottle was designed by Paulding Farnham.
Mount impressed TIFFANY & CO. 925.
Length: 5 1/4 inches (13.5 cm.).
This scent bottle is pictured on pg. 534 of “Louis C. Tiffany, The Garden
Estimate: $30,000 / 40,000
Lot 2037
40
2038
Tiffany Studios Scent Bottle
c. 1900.
Designed by Paulding Farnham, glass with guilloche (engine-turned) and
enamelled gold mount set with twelve diamonds and an upper peridot.
Mount impressed TIFFANY & CO.
Length: 4 3/8 inches (11 cm).
This scent bottle is pictured on pg. 531 of “Louis C. Tiffany, The Garden
Museum Collection” and also on page 122 of “Louis Comfort Tiffany”
(Duncan 1992) and on page 229 of “Louis C. Tiffany at Tiffany & Co.”(Loring
2002).
Farnham’s sketch for this bottle is illustrated in John Loring, Louis Comfort
Tiffany at Tiffany & Co., New York, 2002, p. 229.
Provenance: John Mecom, Jr., Houston, Texas;
Estimate: $75,000 / 90,000
Lot 2038
41
View of All Angel’s Church with the Altar Cross in it’s original setting.
2039
Tiffany Studios Altar Cross
Gilt-brass inset with topaz, amethyst and glass jewels. The altar cross, described in The Tiffany
Glass and Decorating Co.’s exhibition booklet: “Resting upon the top of the tabernacle ... there
is an altar cross, with just enough metal to carry an enormous quantity of white topazes,
which are so set as to scintillate the light in every direction. The base of the cross corresponds
in richness with the cross itself”. This cross was presented to the All Angels’ Church at Easter
1892, by Thomas R. Keator in memory of his wife, Emily Estelle Keator, who had been a member of the congregation. Commissioned from The Tiffany Glass and Decorating Co., the cross
drew the praise of the critics of The Churchman and The Decorator and Furnisher, who both
noted its lavish use of gemstones to highlight the piece’s gold surface. Tiffany himself was so
pleased with it that he borrowed it from the church for inclusion in his chapel at the 1893
Columbian Exposition in Chicago.
c.1891, Inscribed “To the glory of God, and in loving memory of Emily Estelle, beloved wife of Thomas
R. Keator, entered into rest, April 27, 1891”.
Height: 47 inches (119.5 cm).
Literature: “The Churchman” June 25, 1892, p.838;
“A Synopsis of the Exhibit of The Tiffany Glass and Decorating Company...” firm’s booklet,
1893, pp. 11 and 14;
“The Decorator and Furnisher” October, 1893.
Also pictured on page 37 of “The Jewelry and Enamels of Louis Comfort Tiffany” by Janet
Zapata (Abrams 1993).
This cross is pictured on page 449 of “Louis C. Tiffany, The Garden Museum Collection”.
Provenance: All Angels’ Church, 251 West 80th Street, New York City (demolished).
Note: Photo of Church: All Angels’ Church, the chancel, photographed in 1978 (since demolished). The
cross rests on the marble altar which, with the mosaic panel The Garden of Gethsemane behind it and
the wrought metal baldachin, was executed by the stained glass studio, J. & R. Lamb.
Estimate: $90,000 / 120,000
42
Lot 2039
43
2040
Tiffany Studios Bronze Pottery Covered Bowl
The bronze exterior with traces of gilding, the pottery interior in a
mottled green glaze.
Bronze Pottery was introduced by Tiffany Furnaces around 1908,
initially as a medium for table lamp bases fueled by oil or kerosene.
In the technique, which combined the resources of the Metalware
and Pottery Departments, the exterior surface of the pottery item
was plated in copper by electrolysis. This copper sheath, or sleeve,
was in turn patinated to simulate a range of bronze finishes
(bronze is an alloy of copper and tin that cannot be electroplated).
Although bronze pottery remained in production for several years,
there is no record of when it was
discontinued.
Incised LCT monogram.
Height: 4 inches (10 cm) Diameter: 5 1/2 inches (14 cm).
This bowl is pictured on page 471 of “Louis C. Tiffany, The Garden
Estimate: $8,000 / 10,000
Lot 2040
2041
Tiffany Studios Double Candlestick with Jeweled Bobeches
The bronze candlestick finished in green and brown patina rises from a simple
round base and substantial shaft to a rounded section which flares out to support
two candleholders, each adorned with a bobeche mounted with seven iridescent
Tiffany Favrile glass jewels. Including the original snuffer on chain. On each bobeche
rests a gold Favrile glass iridescent candle shade which tapers to a narrow upper
opening from a wider base.
Signed: Tiffany Studios New York 4292. Shades signed: L.C.T.
Height of each shade: 5 1/8 inches Height of each candlestick: 13 inches Diameter of
base: 5 3/4 inches Overall height: 17 7/8 inches.
Provenance: A Southwestern collector.
Estimate: $9,000 / 12,000
Lot 2041
44
2042
Tiffany Studios Bronze Candlestick Lamp with Jeweled
Bobeche
The tall slender shaft rises from a round platform base decorated with a
reeded motif. The shaft culminates in a bronze bobeche mounted with six
iridescent Tiffany jewels and an original Tiffany switch in the position of the
jewels. Overall finished in a brown patina with green highlights.
Signed: Tiffany Studios New York 5977 435.
Height: 17 1/2 inches Diameter of base: 6 1/2 inches.
Please note: This lamp lacks a shade.
Estimate: $7,000 / 9,000
Lot 2042
2043
Tiffany Studios Decorated Candle Lamp Shade
The pulled feather green decoration with blue iridescent highlights is set
against an off-white background in the upper portions of this shade.
Signed LCT on fitter rim.
Height: 5 3/4 inches.
Lot 2043
Estimate: $1,600 / 1,800
45
Lot 2044
2044
Tiffany Studios Jeweled Damascene Desk Lamp
The shade is decorated green with optic ribs.
Shade signed: S9069. Base signed: Tiffany Studios New York S934 and 324.
Estimate: $9,000 / 10,000
46
Lot 2045
2045
Arab Street Scene
Watercolor on paper
21 x 15 inches (53.5 x 38 cm).
c.1870-75, signed lower left, Louis C. Tiffany
Pictured in Charles de Kay “The Art Work of Louis C. Tiffany” New York, 1914, between pp.6
and 7. Also pictured in “Louis C. Tiffany, The Garden Museum Collection” p.44.
Provenance: Artist’s family, by descent.
Estimate: $35,000 / 50,000
Executed in watercolors, the composition is amplified by the interplay of light and shadow on the wall
and cobbled street. As an Orientalist, Tiffany preferred intimate views of near eastern life like this sunfilled scene in a souk to the sweeping panoramas of the desert depicted by many of his colleagues.
47
Lot 2046
Lot 2047
2046
Tiffany Studios Saxifrage Candlestick
2047
Tiffany Studios Favrile Glass and Bronze Candlestick
Like his contemporary, Emile Galle in France, Tiffany drew artistic inspiration
from the humblest species of meadow plants, such as the Wild Carrot, Queen
Anne’s Lace and in this instance, a herb which grows in the clefts of rocks. Here,
the plant’s seed pods have been fashioned with great delicacy into a candle bobeche supported by a slender stalk rising from a symmetrical band of leaves that
fan out to form the foot. In this manner, a simple household appliance has been
transformed into a refined work of art.
Bronze, impressed TIFFANY STUDIOS NEW YORK 11485. 1906 Price List: Model
#1331, 18 inch Saxifrage, $20.
Collection”.
Tiffany Studios continued to produce a wide range of candlesticks after the commercialization of Thomas Edison’s incandescent filament bulb in the 1890’s. For
many householders the cost of immediate transition from combustion fuels to
electricity was prohibitive, while for others, candles were kept on reserve for
those moments when the electric bulb faltered, which it did with some frequency
during its infancy.
Bronze with Favrile glass balls and bobeche, impressed TIFFANY STUDIOS NEW YORK.
1906 Price List: Model #1223, 1 light, Favrile Glass balls in base and stem, $30.
Height: 15 inches (38 cm).
This candlestick is pictured on page 350 of “Louis C. Tiffany, The Garden Museum
Collection”.
Provenance: Jules Cohen.
Estimate: $14,000 / 18,000
Estimate: $35,000 / 45,000
48
Lot 2048
2048
Architectural Study of Urban Dwellings
Watercolor on paper.
14 13/16 inches x 13 inches (38 x 33 cm.).
1874, signed and dated lower left, Louis C. Tiffany 1874.
Provenance: Julia Knox Weaver Tiffany, daughter of the artist;
Mary Parker Weaver, granddaughter of the artist
This painting is pictured on pg. 29 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $28,000 / 35,000
Tiffany traveled to Europe with his family in April, 1874, returning to New York the following
February. Listed as a member of the American Society of Painters in Water Colors from 1871, he
participated in its exhibitions until 1893, when his preoccupation with the other artistic disciplines made increasing demands on his time.
49
Lot 2049
2049
Tiffany Studios Scarab Pottery Vase with Jeweled Scarab
Mount
Tiffany applied similar jeweled mounts to his glassware from the late 1890’s;
see, for example, the Agate vase, lot 2090 in this catalog. The application of
copper in this manner to pottery is practically unknown; usually, the metal
was applied by electroplating to the entire outer surface of the piece and left,
as such. Here, however, a repeating pattern has been cut out of the metal to
reveal the glazed surface of the pottery beneath it.
Jeweled scarab mount, bronze underside with inscribed signature LCT 19.
This vase is pictured on page 473 of “Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $9,000 / 12,000
50
The entrance foyer of Laurelton Hall.
51
Lot 2050 detail of lit shade.
Lot 2050 detail of unlit shade.
52
2050
Tiffany Studios Oriental Poppy Floor Lamp
A particularly strong example of this major and impressive group of Tiffany lamps. In
this lamp the ample scale of the petals allowed the introduction of large blocks of
concentrated color; red, as in this example, and yellow or orange in other examples.
Shade: Impressed TIFFANY STUDIOS NEW YORK 1902. 1913 Price List: Model #1902, 26
inch Oriental Poppy, dome, $350. Base: Impressed TIFFANY STUDIOS NEW YORK 375. 1906
Price List: Model #375, Piano, floor, large, wire decoration, scroll, $165.
Height: 79 inches (200.5 cm) Diameter of shade: 26 inches (66 cm).
Provenance: Ted and Nellie Ingham.
This lamp is pictured on page 325 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $600,000 / 750,000
Lot 2050
53
Lot 2051
2051
Tiffany Studios Pussy Willow Vase
The glazes of Tiffany’s pottery were rendered mostly in complementary earth
tones: ivory, beige, ochre, brown and green. Further spectral effects were
achieved by the addition of intermediate colors. This vase has a lightly transparent ‘old ivory’ glaze that accentuates the relief detailing on the white semi-porcelainous clay body beneath it. The same model was produced entirely in a
bisque (unglazed) state and with a bisque exterior and green-glazed interior
(bisque pottery was made available to customers at the Tiffany Studios showroom, so that they could choose their own finish).
Incised underglaze LCT monogram.
The Pussy Willow vase, in repousse enamel-on-copper, is illustrated in “The
Craftsman”, IV (June), 1903, p. 180.
Pictured on p. 462 of “Louis C. Tiffany: The Garden Museum Collection”.
Estimate: $10,000 / 12,000
54
2052
Tiffany Studios Apple Blossom Table Lamp
This lamp bears a dash number (351-1). The reason dash numbers were appended to some models remains unresolved. One
interpretation is that if, on completion, a shade was considered
by the quality control official at the Tiffany works to be of
exceptional artistic and technical quality, it was assigned a dash
number, and that these numbers were allocated sequentially; for
example, the twentieth superior example of a lamp model was
identified with a ‘-20’. Another interpretation, less plausible perhaps, is that a dash number identified a special commission; for
example if a client requested a specific artistic effect in the
model he was ordering- a different colour or hue in the petals
or sky - in place of the routine one, this fact was recorded by a
dash number. Whatever the reason, dash-number lamps are
invariably of surpassing quality.
Shade: Impressed TIFFANY STUDIOS NEW YORK 351-1. Base:
Impressed TIFFANY STUDIOS NEW YORK 351.
Height: 28 inches (71 cm) Diameter of shade: 25 inches (63.5 cm).
Shade and base: 1906 Price List: Model #351, Apple Blossom
stand and shade, large, $425.
This lamp is pictured on pg. 285 of “Louis C. Tiffany,
Provenance: The Garden Museum
Collection, Matsue, Japan.
Estimate: $150,000 / 200,000
Lot 2052
55
Lot 2053
2053
Tiffany Studios Dogwood Lampshade Salesman’s Sample Panel
Most Tiffany lamp models are comprised of a design that repeats itself around the shade (sometimes four or eight times), a fact that is often not readily evident to the viewer, who can only
see a part of the lamp at any one time. To assist it’s sales staff in the promotion of the firms
wares and in doing so to eliminate the need for them to carry a selection of bulky lampshades
to their appointments around the country, the Tiffany Studios Design Department created a
series of sample panels, such as this one, which incorporates a repeat segment of the lamp’s
overall design. Naturally the selection of glass for these panels was critical as it had to represent to the client the complete range and intensity of colors and all the novel glassmaking techniques contained within a completed shade. Very few of these sample panels, which are often
prized by collectors as dazzling miniature floral window compositions rather than as important
documents of the firm’s retailing procedures, have survived; this one was taken from the surviving inventory of the Tiffany Studios showroom when it closed in 1933.
Unsigned.
Measurement: 16 1/8 x 26 inches (41 x 66 cm).
This piece is pictured on page 346 of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $15,000 / 20,000
56
A previously unpublished view of the upper section of the atrium at Laurelton Hall, the Long Island residence of Louis C. Tiffany.
This photo shows the lower portion of the massive favrile glass dome which covered the entire ceiling.
Sadly the home was destroyed by fire in 1957.
57
Lot 2054
2054
Tiffany Studios Poinsettia Chandelier
Comprised of a profusion of brilliant red blossoms against a
mottled green background shading to light blue green at the top
of the shade. This shade has a beaded lower border.
Impressed: Tiffany Studios New York 1331
Diameter: 29 inches (73.5 cm).
This Chandelier is pictured on page 329 of “Louis C. Tiffany, The
Garden Museum Collection” as well as on page 240 of “Tiffany
Lamps and Metalware”.
Estimate: $220,000 / 250,000
58
Camondo-style sugar and water set; Comprising lidded pitcher, flacon, sugar bowl and tray, silver with applications and inlays of gold
and copper, all with impressed hallmarks for Tiffany & Co., New York, 1878, and French control marks. (Lots 2055, 2056, 2057 & 2058)
The set incorporates Japanese metalware techniques introduced into the firm’s silver repertoire by Edward C. Moore,
who had been appointed design director in 1868, the year
that the Meiji emperor came to power in Japan.
A collector of Japanese artifacts, Moore was familiar with
that nation’s emphasis on Nature, asymmetry and non-repetitive patterns. In 1877, Christopher Dresser, the distinguished English designer and a friend of Moore’s, traveled
to Japan on behalf of Tiffany & Co., for which he gathered
samples of local handicrafts and artworks. Clearly, this gave
Moore and his staff an advantage in their preparation of
novel works for the 1878 Exposition Universelle, where
the firm’s reputation as an international silver manufacturer
was solidified. The firm’s quick assimilation of the Japanese
techniques of applying metals to one another and of varying
their colors through patination, until then unknown in the
West, propelled it to the forefront of the American and
European silver industries. This ability to mix metals - silver,
copper, gold and lead - and to tint them, permitted the firm
to create a range of more naturalistic aesthetic effects. In
particular, its mastery of the Japanese alloys of shibuichi,
shakudo and mokume, enabled it to create realistic shaded
and textured detailing, such as wood grains and the skin
patterns of insects. The critic for the New York Daily Tribune
paid tribute to these newly-introduced processes in an article on December 10, 1878: “The Messrs. Tiffany have made
the greatest progress and won their most marked success
in the treatment of metallic alloys and in the lamination of
different metals ... [they] have taken up the Japanese method
and applied it in a very effective and entirely novel manner
to the decoration of hammered silver”.
The original photo of the entire 6 pieces of this set can be
seen on page 444 of “Louise C. Tiffany, The Garden Museum
Collection,” as well as page 268 of “In Pursuit of Beauty,
Americans & The Aesthetic Movement” (Rizzoli). And again
on page 36 of “Magnificent Tiffany Silver” (John Loring, 2001).
59
Lot 2055
2055
Tiffany & Co. Mixed Metal Tray
Circa 1878
The honeycomb hammered lily pad form with an engraved flowering iris stem
finished with copper and gilt inlays, a buzzing gold and copper dragonfly and a
copper stem.
Impressed: on base TIFFANY & CO. 5391 M 607. STERLING SILVER. OTHER METALS.
435. PATENT APPLIED FOR. with French control marks
Total weight 34.7 troy oz; Length: 16 inches (40.5 cm)
Pictured on page 445 of “Louise C. Tiffany, The Garden Museum Collection,” also
pictured on page 268 of “In Pursuit of Beauty, Americans & the Aesthetic
Movement” (Rizzoli).
Exhibited: Exposition Universelle, Paris, 1878;
The Metropolitan Museum of Art, New York, In Pursuit of Beauty: Americans and
the Aesthetic Movement, 1987.
Estimate: $80,000 / 100,000
60
Lot 2056
2056
Tiffany & Co. Mixed Metal Open Sugar with Spider
Circa 1878
The hammered deep well form with a waisted scalloped rim, twin
applied mixed metal maple branches, the leaves with a copper wash,
enwrapping the bulbous body, applied fauna specimen including a spider,
a bumblebee and a fly, the interior with gilt wash,
Impressed on base TIFFANY & CO. 5388 M 607. STERLING SILVER-ANDOTHER-METALS. 429. with French control marks
Total weight 7 troy oz; Diameter: 4 inches (10 cm).
Pictured on page 445 of “Louise C. Tiffany, The Garden Museum
Collection,” also pictured on page 268 of “In Pursuit of Beauty,
Americans & the Aesthetic Movement” (Rizzoli).
The Metropolitan Museum of Art, New York, In Pursuit of Beauty:
Americans and the Aesthetic Movement, 1987.
Estimate: $15,000 / 20,000
Lot 2056 detail
61
2057
Tiffany & Co. Mixed Metal Sterling Flacon
Circa 1878
The hammered double-gourd form with applied wisteria
vine branches, the blossoms with a copper wash,
enwrapping the bulbous body, applied fauna specimen
including a two-tone, gold and copper dragonfly to body
and a beetle to lid, fitted with an applied faux scale,
entwining snake form handle,
impressed on base TIFFANY & CO. 5388 M 607.
STERLING SILVER. OTHER METALS. 430. with French control marks
Total weight 11.2 troy oz; Height: 8 3/4 inches (22 cm).
Japan.
Pictured on page 445 of “Louise C. Tiffany, The Garden
Museum Collection,” also pictured on page 268 of “In
Pursuit of Beauty, Americans & the Aesthetic
The Metropolitan Museum of Art, New York, In Pursuit
of Beauty: Americans and the Aesthetic Movement, 1987.
Estimate: $60,000 / 80,000
Lot 2057
62
Lot 2057 detail
2058
Tiffany & Co. Mixed Metal Pitcher with Fish
Circa 1878
The hammered baluster-form with an applied entwining
snake form handle, cast with a faux scale finish, and a
reticulated thumbpiece spreading to a cobra hood lid
with an applied copper beetle, applied flora and fauna
specimen enwrapping the bulbous body, with sprays of
seaweed scattered fish in various mixed metal finishes,
impressed TIFFANY & CO. 5387 M 607. STERLING SILVER.
AND. OTHER METALS. 423.
Total weight 25.5 troy oz; Height: 9 1/2 inches (24 cm).
Japan.
Pictured on page 445 of “Louise C. Tiffany, The Garden
Museum Collection,” also pictured on page 268 of “In
Pursuit of Beauty, Americans & the Aesthetic
The Metropolitan Museum of Art, New York, In Pursuit
of Beauty: Americans and the Aesthetic Movement, 1987.
Estimate: $80,000 / 100,000
Lot 2058
63
Silver in the Japanesque style was
produced by Tiffany & Co. in the late
1800’s under the directorship of Edward C. Moore, a pioneer collector of
Japanese artworks drawn to the Japanese metal-worker’s choice of motifs
inspired by Nature. His silver designs
in the Japanesque style won Tiffany &
Co. the Grand Prix for silver at the
1878 Exposition Universelle in Paris,
which established the firm’s reputation
as an international silver manufacturer.
Today this vase falls stylistically into
the broad category of the Aesthetic
Movement, the late 19th century style
that took as its mandate the concept
of ‘Art for Art’s sake.’
2059
Tiffany & Co. Butterfly Vase
Circa 1874
The cylindrical form with twin assymetrically applied
butterfly form handles, the front with applied bamboo shoots, the reverse with an engraved strapwork
“S” monogram, over an applied flowering prunus
trunk, an elaborate Japanesque foot band with roundels, raised on chamfered, cushioned lily pad feet
with engraved lingzhi heads,
Impressed on recessed base TIFFANY & CO. 3565
QUALITY 925.100. M. 3246. UNION SQUARE.
Total weight 21.4 troy oz; Height: 9 1/4 inches
(23.5 cm).
This vase is pictured on page 443 of “Louis C. Tiffany,
The Garden Museum Collection”. Provenance: The
Garden Museum Collection, Matsue, Japan.
Estimate: $25,000 / 30,000
Lot 2059
64
2060
Tiffany and Company Sterling Chafing
Dish
Circa 1892.
The footed deep well bowl with chased leafy band
divided by flowerheads, fitted with a cantilevered
bone handle, the waisted, fluted hat-form cover with
a raised daisy flowerhead band and a flowering loopform handle, the tripod footed base with conforming
cast cabriole supports.
Chafing dish base impressed TIFFANY AND COMPANY
11469 Makers 5571. STERLING SILVER. 925-1000. T
4 Pints. Burner base similarly marked.
Overall height 11 inches (28 cm); Diameter of chafing
dish 9 inches (23 cm).
Estimate: $4,000 / 6,000
Lot 2060
2061
Tiffany Studios Covered Box
The box was probably produced at Tiffany & Co.’s Forest
Hill factory.
Silver with repousse enamelled decoration, c. 1905.
The octagonal lid with graduating bands of bosses,
the outer band with raised turquoise enamelled
squares.
Impressed TIFFANY FURNACES/STERLING/243.
Width: 4 3/4 inches (12 centimeters).
This box is pictured on pg. 440 of “Louis C. Tiffany,
Japan.
Estimate: $10,000 / 15,000
Lot 2061
65
2062
Tiffany & Co. Sterling Compote
Circa 1891
The footed bowl with a wide leafy vine band divided
by chrysathemum flowerheads, enclosed by a leafy
rocaille volute rim border, centering a leafy engraved
monogram, the footed cushioned base with conforming decoration,
Impressed TIFFANY AND CO .10719 Makers 1611.
STERLING SILVER. M.
Total Silver Weight 11.6 troy oz; Height 3 3/4 inches (3.4
cm); Diameter 7 inches (6.4 cm).
Estimate: $1,200 / 1,400
Lot 2062
2063
Set of Twelve Tiffany & Co. Sterling Ice
Cream Spoons in the Vine and Gourd
Pattern
Circa 1872
Each spoon with an acid etched ground with an
entwining vine ripe with gourds in raised relief, the
wide rimmed bowls with a gilt wash,
each stamped TIFFANY & CO. STERLING.
Total Silver Weight 8.75 troy oz; Length of each 6 inches
(15.25 cm)
Estimate: $2,250 / 2,750
Lot 2063
66
Lot 2064
2064
Pair of Tiffany Studios Silver and Silver Plated Bronze Ten
Light Candelabras
Each urn form standard issuing a low tier of six upswept arms with urn form
candle cups, an upper tier of three upswept arms with conforming cups, centering a center urn form candle cup finial, the whole raised on paw feet supports on
a corseted, fluted platform base,
Impressed on base of each “TIFFANY STUDIOS NEW YORK”.
Height 24.5 inches (62 cm)
Estimate: $14,000 / 16,000
67
2065
American Art Nouveau Shreve & Co. Sterling Silver
Flower Form Vase
Encrusted with shells and a leaf motif emanating from the chasing on the
body (base weighted).
Signed: Shreve & Co. Sterling San Francisco. Base also marked: Base loaded
Provenance: Lot #722 at Butterfield & Butterfield, sale of the contents of
Filoli, The Woodside California Residence of Lurline B. Roth, March 1975
(catalog of sale is included with this lot)
Estimate: $7,000 / 9,000
Lot 2065
2066
Tiffany and Company Repousse Sterling Tea Caddy
Circa 1884.
The cylindrical form decorated in a heavy repousse pattern of fern leaftips, various flowerheads, and bands of acanthus leaf bands, the dome form lid with an
applied sunflower handle,
Impressed: Tiffany and Company. 7970 Makers 9064. Sterling Silver. 925-1000. T.
Centering an engraved monogram on underside.
Total silver weight 7.8 troy oz; Height 4 1/4 inches (11 cm) Diameter 3 1/4 inches
(8.5 cm).
Estimate: $1,000 / 1,200
Lot 2066
68
2067
Tiffany and Company Sterling Silver Pitcher
Circa 1878.
The baluster form with an applied ribbed form handle, with repeating repousse bands of interlocking athenaeum leaves,
Impressed on base Tiffany and Company,. 5066 Makers 6772. Sterling
Silver. 925-1000. T . 6 1/4 pints,
Total Weight 27.25 Troy ounces. Height 8 1/4 inches (21 cm).
Estimate: $3,000 / 5,000
Lot 2067
2068
Tiffany Studios Pulled Feather Compote
The upper round flared section in an ivory background is decorated by a green
pulled feather design originating at the bottom of the slender shaft where it joins
a circular base highly iridized in a deep golden finish with bluish highlights.
Signed on underside: L.C.T.
Height: 15 1/2 inches Diameter of base: 6 inches Maximum diameter of upper section:
6 1/4 inches.
Estimate: $7,000 / 9,000
Lot 2068
69
2069
Tiffany Studios Banded Dogwood Table Lamp
Featuring mottled green background glass, white mottled flowers,
purple branches and multicolored green leaves. The shade rests on
a smooth mushroom library base.
Shade signed: Tiffany Studios New York 1555. Base signed: Tiffany Studios
New York 394.
Estimate: $22,500 / 25,000
Lot 2069
70
2070
Tiffany Studios Cypriote Vase
In the Cypriote technique, Tiffany sought to simulate the
corrosive qualities of glass excavated from archaeological
sites on Cyprus. To replicate the devitrified surfaces of buried artifacts, particles of metallic oxides were applied to a
mass of molten glass. This created a chemical reaction that,
in turn, pitted the surface of the glass when it was held to a
flame. Alternatively, a gather of molten glass was rolled over
a marver (i.e. steel plate) covered in pulverized silica rock, a
process which also pitted its surface. Often additional decorative effects, such as silvery-blue leaves on trailing stems,
were applied to the encrusted ground before it was iridised.
“The development of iridescent colors and all the varied
hues and shades in Favrile glass calls upon chemical knowledge and makes the production of new combinations a very
fascinating occupation. Ancient Greek and Roman glass subjected to the disintegrating effects of burial for long periods
in a humid soil has produced objects of great attraction to
amateurs, some of whom devote themselves to their collection. Just as modern painters have tried to rival in painting
the tones effected by age on old pictures, so in his Favrile
glass Tiffany has vied with that beauty which has been added
to antique glass by the centuries, aided perhaps by the oily
contents of such receptacles as were filled with cosmetics
and other unguents.” - Derivation of Cypriote glass by
Charles de Kay in The Art Work of Louis C. Tiffany, New
York, 1914, p.27.
Inscribed: Louis Comfort Tiffany o8923.
Height: 10 inches (25.5 cm).
Note: Photo below: Selection of vases, three which appear to
incorporate the Cypriote technique, shown at the Esposizione d’
Arte Decorativa Moderna, Turin, 1902.
Estimate: $15,000 / 20,000
Lot 2070
71
2071
Tiffany Studios Aquamarine Vase
Introduced around 1911-12, Aquamarine glass was
the last major technique publicized by the firm.
Compositions of aquatic plants and other marine life
were fashioned out of small colored glass canes that
the glassblower pulled into their required forms with
a metal hook not unlike a crochet needle. At various
stages in the process, the composition was encased in
layers of clear or tinted glass gathered on a blowpipe
from a crystal pot. The result provided the viewer
with the impression of looking into a fishbowl or
pond, better examples providing a sense of motion
within the water. The effect is illusionary as the decoration is far smaller than it appears, the thick outer
mass of glass acting as a magnifying lens. In addition
to flora, aquamarine glassware includes fish, algae, sea
anemones, jelly fish and molluscs, in many instances
presented within a complete ecological environment.
Inscribed: L.C. Tiffany-Favrile 5249G.
Provenance: Benedict Silverman.
This vase is pictured on p. 264 of “Louis C. Tiffany,
Estimate: $50,000 / 60,000
Lot 2071
72
2072
Tiffany Studios Flowerform Vase
With its bulbous foot, elongated column and globular mouth, Tiffany
has here integrated the entire organism - bulb, stem and petalswithin a single fluid shape to create the quintessential Art Nouveau
object. As Siegfried Bing noted in the introduction to his exhibition
catalogue at the Grafton Galleries, London, 1899: ‘Never, perhaps, has
any man carried to greater perfection the art of faithfully rendering
Nature in her most seductive aspects, while subjecting her with so
much sagacity to the wholesome canons of decoration’.
Inscribed L.C.T. Y 9065
Height: 20 1/4 inches (51.5 cm.).
This vase is pictured on pg. 225 of “Louis C. Tiffany, The Garden
Provenance: Sotheby’s New York, Nov 19, 1994, Lot 502
Estimate: $35,000 / 50,000
Lot 2072
73
2073
Tiffany Studios Table Lamp in the Venetian Motif
The multicolored shade in hues of deep blue, green and mauve
with red highlights is a wonderful example of this model which
features some of the smallest pieces of Favrile glass and the finest lead work of all Tiffany models. This shade is mounted on a
gilded bronze base with excellent finish throughout.
Underside of base signed: Tiffany Studios New York 515.
Diameter of Shade: 13 1/8 inches Height of Shade: 5 7/8 inches
Overall Height: 20 3/8 inches.
See page 188 in “Louis C. Tiffany at Tiffany & Co.” (Loring, 2002)
for an example of an identical jeweled base.
Provenance: a Southwestern collector.
Note: Please note that this base is a variant from the Venetian base
sold in these rooms on November 17, 2012, in that there are only
two groups of Favrile glass jewels mounted within it’s openings as
opposed to four groups in the previously sold lot.
Estimate: $70,000 / 90,000
Lot 2073
74
2074
Tiffany Studios Pine Needle Desk Set Box
A bronze and Favrile glass box executed in green Favrile glass with
white and light green striations all overlaid with pine needle filigree decoration and finished with a green and brown patina.
Underside impressed: Tiffany Studios New York 17.
Width: 7 inches Depth: 7 inches Height: 2 1/2 inches.
Estimate: $900 / 1,200
Lot 2074
2075
Tiffany Studios Acorn Table Lamp
The Favrile glass shade in pleasing tones of
reddish pink segments of glass with extensive
surface hazing on the interior of the lamp.
The shade is mounted on an urn base originally oil burning with original canister fitted
with a one bulb socket. The central urn is
supported by four legs mounted to a stylized
square foot. The patina is dark green with
lighter green and yellowish highlights.
Shade signed with metal tag: Tiffany Studios New
York. Base impressed: Tiffany Studios New York
14. Oil canister impressed: Tiffany Studios New
York D 888 and bearing the Tiffany Glass and
Decorating Co. monogram. Support collar
impressed 21151.
Diameter of shade: 16 inches Height of base: 15
1/2 inches Overall height of lamp: 20 inches.
Provenance: A West coast collector.
Estimate: $8,000 / 10,000
Lot 2075
75
2076
Tiffany Studios Peacock Table Lamp
The Peacock was one of Tiffany’s favorite design
motifs, often occurring in his stained glass windows, vases, and enamels. This line of peacock
lamps mirrors the brilliant plumage found in the
tail feathers of the peacock which are artfully
rendered in favrile glass. This model is the largest
version of the peacock table lamp.
Shade: Impressed TIFFANY STUDIOS NEW YORK.
Base: Impressed TIFFANY STUDIOS NEW YORK
23923
Height 25 inches (63.5 cm.), Diameter of shade 18
inches (46 cm.).
1906 Price List: Model #224, Peacock, large,
$115 [shade and base]
This lamp is pictured on pg. 308 of “Louis C.
Tiffany, The Garden Museum Collection”.
Provenance: The Garden Museum Collection,
Matsue, Japan.
Estimate: $150,000 / 200,000
Lot 2076
76
Lot 2077
Lot 2078
2077
Pair of Tiffany Studios Candlestick Lamps
An unusual matched pair of candlestick lamps with decorated rounded bases supporting
the shafts decorated with a leaf motif and surrounded by rounded platforms supporting
lamp sockets, camouflaged by free standing leaves. Finished in a brown patina with green
highlights. Each candlestick holds a gold Favrile tulip shade.
Each candlestick signed: Tiffany Studios New York 621. Each shade signed: L.C.T.
Diameter of bases: 4 7/8 inches Height of bases: 12 3/8 inches Height of shades: 4 1/2 inches.
Estimate: $7,000 / 9,000
2078
The highly iridized surface covered with the pitting and random imperfections which
characterized this series of glassware examples. The coloration is gold with purple, pink,
blue and red highlights.
Signed: 7246 L.C. Tiffany Favrile, also bears a Tiffany Favrile Glass paper label.
Height: 6 5/8 inches Maximum width: 3 inches.
Provenance: A Midwest collector.
Estimate: $6,000 / 8,000
2079
Tiffany Studios Decorated Vase
The bulbous body with all over deep green iridescence and decorated with two iridized
waves, the lower in blue and purple highlights, the upper wave in silvery grey.
Signed: L.C.T. H-1456
Height: 3 15/16 inches Maximum width: 3 3/8 inches Diameter of base: 2 1/16 inches.
Lot 2079
Estimate: $2,000 / 3,000
77
2080
Tiffany Studios Gothic-Style Vase
Completed October 4, 1911.
Of flaring octagonal form adorned with panels simulating medieval
stained glass lancets intersected by vertical bands of rosettes.
Following the absorption by Tiffany & Co. in 1907 of the Jewellery
and Enamel Departments at Tiffany Furnaces, Tiffany ceased to use
copper in his enamelware in preference for gold, silver, and other
precious metals, as in this vase.
Gold, champleve and plique-a-jour enamel, designed by Louis C. Tiffany.
Impressed TIFFANY & Co. 17942 MAKERS 1860 22 KT. GOLD and M.
Height 10 5/8 inches (27 cm.).
This vase is pictured on pgs. 430 & 431 of “Louis C. Tiffany, The
Garden Museum Collection” and also on page 175 of “Louis C.
Tiffany at Tiffany & Co.” (Loring, 2002).
Literature: “The Jewelry & Enamels of Louis Comfort Tiffany”,
Zapata, 1993, pg. 147.
Exhibited: The Silver of Tiffany and Company, 1850-1987, Museum
of Fine Arts, Boston, 1987
Provenance: Lillian Nassau, Ltd., New York;
Sothebys, New York, June 5, 1996, lot 43;
Estimate: $70,000 / 80,000
Lot 2080
78
Lot 2082
2081
Tiffany Studios Counterbalance Desk Lamp
The bronze base in green-brown patina with a round bottom section supporting a pair of arms to which is mounted a heavy bronze
counterweight ball and ascending to a curved arm which ultimately
supports a swivel socket. The Tiffany damascene shade is decorated
with a blue wave pattern on a green background with overall
iridescence.
Base Impressed: Tiffany Studios New York 416 Shade impressed on fitter
rim: L.C.T.
Height of Shade: 4 1/4 inches Diameter of Shade: 7 inches Diameter of
lower section of base: 4 3/4 inches Maximum Height of Base: 14 3/4
inches.
Note: This lamp is housed in a custom Garden Museum case.
Estimate: $7,000 / 9,000
2082
Tiffany Studios Favrile Glass Compote
Lot 2081
2083
Tiffany Studios Swirl Pen Tray with Mosaic
Swirl pen tray in bronze with mosaic Favrile glass.
Impressed: 23303. 1906 Price List: Model #1001, Metal and mosaic, swirl,
$5.
Length: 7 3/4 inches (19.5 cm).
This piece is pictured on page 398 of “Tiffany Lamps and Metalware”
and page 371 of “Louis C. Tiffany, The Garden Museum Collection”.
Executed in iridescent gold Favrile glass with purple and pink highlights. The upper section rising from a circular foot on a slender
stem which is knobbed nearing the underside of the upper form.
Signed: 1705 L.C. Tiffany Inc. Favrile
Height: 3 7/8 inches Diameter of Top: 5 3/4 inches Diameter of Base: 3
inches.
Provenance: A private collector
Estimate: $8,000 / 10,000
Lot 2083
79
Lot 2084
2084
Tiffany Studios Fish Mosaic Inkstand
Bronze and mosaic Favrile glass tiles, with glasswell and plastic liner.
Inkstand impressed with Tiffany Studios New York D 1121 with the firm’s logo. Liner impressed
The DAVIS/Pat. Mar. 19 Oct. 22, 89, Feb. 14, 93.
Height: 3 1/2 inches (9 cm) Square: 7 inches (18 cm.).
This piece is pictured on page 368 of “Louis C. Tiffany, The Garden Museum Collection”
and also on page 193 of “Louis C. Tiffany at Tiffany & Co.” (Loring, 2002).
Estimate: $50,000 / 70,000
80
A Tiffany Studios archival photo showing Clara Driscoll at her worktable along with Joseph Briggs, circa 1901.
Note the fish inkstand in the foreground.
81
Lot 2085
2085
Tiffany Studios Sailing Ship Panel
Mosaic glass, depicting ‘Commerce’, this is one of four allegorical panels reputed to have come
from a bank in New York State. The other panels depict a winged wheel, scales of justice and a
medical staff, or caduceus.
unsigned.
Height: 75 1/2 inches, Length: 151 inches (192 x 383.5 cm).
This mosaic is pictured on pg. 180 of “Louis C. Tiffany, The Garden Museum Collection”.
Provenance: Allen Michaan;
The Garden Museum Collection, Matsue Japan.
Estimate: $150,000 / 180,000
82
Lot 2086
2086
Tiffany Studios Mosaic Inkstand
Bronze and mosaic Favrile glass tiles in iridescent glass.
Impressed TIFFANY STUDIOS NEW YORK D 1323 7. 1906 Price List: Model #865, Inkstand,
mosaic, round, plain, diameter 4 3/4 in. $15.
Height: 4 1/2 inches (11.5 cm) Diameter: 3 inches (7.5 cm).
This inkstand is pictured on page 429 of “Tiffany Lamps and Metalware” and on page 366
of “Louis C. Tiffany, The Garden Museum Collection”.
Estimate: $10,000 / 12,000
83
2087
Tiffany Studios Decorated Peacock Vase
“Many of the vases, bowls, jardinieres, scent bottles,
plaques and many of the other decorative pieces that
had no other purpose than to be beautiful, were no less
exquisite in their treatment and effect. Some were rich in
blues and greens and others in the russets and golds of
autumn. Some were as opalescent as a soap bubble, and
almost as thin, while others were heavy with jeweled
effects and rich with gold dust blown into the molten
glass. Some were notable mainly in texture and shape,
while others had added beauties imparted to them by
carving, by cutting through one layer of glass down to
another color, or by enrichments of metallic lusters.
Apart from any consideration of artistic design, which
alone bespeaks painstaking efforts to attain perfection,
the whole collection was an appeal to the aesthetic
color sense. Herein lies one of the chief characteristics
and beauties of the Tiffany ware: no matter how simple
the design - nay, one may say, how formless the shape the rich opal effects of the material itself satisfies the
requirements of taste. Every piece gives an almost infinite
variety of beauties, since whatever be the effect by
reflected light, it is utterly transformed by transmitted
light. What at one moment or under one set of conditions seems as soft and scintillating as mother-of-pearl
may at another moment or under different set of conditions appear as roseate as a sunset.”
- Contemporary commentary on Favrile glass by James L.
Harvey in ‘Source of Beauty in Favrile Glass’, Brush and
Pencil, January 1902, pp. 175-76
Inscribed L.C.T. o4532T, with an original paper label from The
Tiffany Glass and Decorating Co.
This vase is pictured on page 238 of “Louis C. Tiffany, The
Japan.
Estimate: $22,000 / 28,000
Lot 2087
84
A previously unpublished view of Laurelton Hall.
85
Lot 2088
2088
Leslie H. Nash
1924
The Night Shift. Tiffany Favrile Glassworkers
Oil on Canvas
Height: 17 3/8 inches Width: 23 inches.
Inscribed on rear.
This painting, inscribed “Night Shift” on the lower left corner of the front, depicts three
glass blowers at work manipulating glass next to the furnaces at Tiffany Studios. It depicts
the process of glass blowing artists creating the spectacular iridescent vases and glassware
at the Corona Furnaces. Nash created a series of oil paintings depicting various aspects of
the Tiffany Studios showrooms and production. Leslie Nash was the son of Arthur John
Nash, who became the production manager at the Tiffany Glass and Decorating Company’s
furnaces in 1892. His father remained in that position until the late 1920’s and Leslie joined
the studies initially as the manager of the blown glass department and later the management of the pottery and enamel divisions became part of his duties.
Estimate: $4,000 / 6,000
Tiffany Studios glassworker shaping a vase
86
2089
Tiffany Studios Cameo Cut
Arrowhead Vase
Cameo cut arrowhead pattern.
Inscribed L.C.T. 3072 A. with an original
paper label from The Tiffany Glass and
Decorating Company.
Provenance: Sotheby’s New York, Oct 3,
1992, Lot 336
The Garden Museum Collection, Matsue,
Japan.
This vase is pictured on page 245 of
“Louis C. Tiffany, The Garden Museum
Collection”.
Estimate: $20,000 / 25,000
Lot 2089
87
2090
Tiffany Studios Agate Vase in Scarab Mount
“Agate glassware was developed to imitate the granular or
striated composition of hardstones such as Jasper and chalcedony. The effect was achieved by placing gathers of opaque
earth-toned glasses into the same melting pot, in which they
were mixed until the desired pattern of layered colors was
achieved. On completion, the vessel’s surface was cut into
bands of faceted panels that exposed its laminated internal
structure. Agate wares were made quickly at relatively low
temperatures as excessive heat and exposure turned the
mixture black. “The metal work of this piece is put together
first, and the glass then blown into it. In another piece that I
saw, to be used as a lamp, the metal work predominated,
and a rich ruby opalescent glass was blown into the perforations of an openwork globe... No two pieces of Favrile being
exactly alike, each design has to be individually considered,
and the hand-wrought metal made to follow all the caprices
of the material; for instance, all the little dents and curves
round the mouth of the vase, into which the well is sunk.
The charm of direct contact with the material has worked
in another way too, and the aim is to let the metal interfere
as little as possible with the wonderful beauty of the glass.
Much though has of necessity to be expended upon keeping
the two materials in proper relation to each other. All
depends on the requirements of the piece of glass chosen.
The metal is given a kind of patina which harmonizes with
the color of the glass. Thus it may be either dull gold, silvery,
or quite grey, according to the relative coolness or warmth
of the Cipollino veinings of the glass, or it may be reddish,
greenish, or variegated.”
- Horace Townsend, “American and French Applied Art at
the Grafton Galleries”.
Bronze mount inset with eight jeweled glass scarabs, glass
inscribed L.C. Tiffany-Favrile.
One of the first pieces of mounted agateware, perhaps the
technique’s prototype, included in Bing’s Tiffany exhibition at
the Grafton Galleries, London, 1899. Described and illustrated in Horace Townsends “American and French Applied Art
at the Grafton Galleries”, International Studio, 8, 1899, pp.
157, 161, 165. John Mecom, Jr.
Provenance: Sotheby’s New York, Oct 3, 1992, Lot 308
The Garden Museum Collection, Matsue, Japan. This vase is
pictured on page 256 of the “Louis C. Tiffany, The Garden
Museum Collection” and also on page 154 of “Louis C.
Tiffany at Tiffany & Co.” by John Loring.
Estimate: $30,000 / 40,000
Lot 2090
88
2091
Tiffany Studios Lava Vase
A visit to Mount Etna in Sicily during one of its eruptions is said to have inspired Tiffany
to capture in glass the force and beauty of the molten volcanic flows and basaltic rock
formations that he observed there.
Inscribed: L.C. Tiffany Favrile 9166C.
This vase is pictured on page 250 of “Louis C. Tiffany, Garden Museum Collection”.
Estimate: $30,000 / 40,000
Lot 2091
89
2092
Tiffany Studios Decorated Window Vase
The central band of eight circular bulging apertures is comprised of translucent glass embedded internally with varicolored fractured or ‘confetti’ fragments of glass. The insertion
of the ‘windows’ into the main body of the vessel, while both
were still molten, required skilled collaboration between a
blower and his gaffer (assistant), one in which the accident
rate was inordinately high as the different coefficients of
expansion in the glasses created friction during the annealing
process which could result in internal stress cracks in the
‘windows’. The wheel-carved bands, resembling eyelashes,
that border each aperture provide a delicate finishing touch,
or decorative fillip. There is no apparent record of this complex glassmaking technique in the firm’s literature.
Inscribed: 600N Louis C. Tiffany.
Height: 7 inches (18 cm).
Exhibited: Masterworks of Louis Comfort Tiffany, traveling
Japanese exhibition (Tokyo, Kobe, Nagoya and Toyama),
January-August, 1991.
Provenance: Michael Lerner.
This vase is pictured on page 236 on “Louis C. Tiffany, The
Garden Museum Collection”
Estimate: $60,000 / 80,000
Lot 2092
90
2093
Tiffany Studios Jack in the Pulpit Flower
Form Vase
This vase is an exceptional example of an early unsigned
Tiffany Jack in the Pulpit vase.
Estimate: $20,000 / 22,000
Lot 2093
91
2094
Tiffany Studios Lava Vase
At 12 1/2 inches in height and weighing about 13 lbs., this is
one of the most monumental lava vases recorded, a factor
no doubt in Tiffany’s decision to reserve it as a study piece.
Another reason is the satiny salmon iridescence on the
gold volcanic flow. This vase remained in Tiffany’s private
collection at Laurelton Hall until the contents of his home
were sold in 1946.
A visit to Mount Etna in Sicily during one of its eruptions is
said to have inspired Tiffany to capture in glass the force
and beauty of the molten volcanic flows and basaltic rock
formations that he observed there. Whereas the technique
became one of the most innovative developed at Corona,
the precarious nature of its manufacture led to a high attrition rate and consequently, high production costs. The pressures generated by the different coefficients of expansion
of the metallic oxides employed created internal stress
cracks that formed during the annealing process.
Prohibitively priced for the average American homeowner,
therefore, lava pieces became the preserve of wealthy clients and museums.
Inscribed L.C.Tiffany-Favrile 26 A-Coll.
Height: 12 1/2 inches (32 cm.).
This vase is pictured on pg. 251 of “Louis C. Tiffany, The
Garden Museum Collection” and also on page 90 of “Louis
Comfort Tiffany” (Duncan 1992, Abrams).
Provenance: Louis Comfort Tiffany;
Parke-Bernet Galleries, New York, September 24-28, 1946;
Felice and Julia Minucci;
Estimate: $180,000 / 220,000
Lot 2094
92
Lot 2095
Lot 2096
2095
Tiffany Studios Tel el Armana Vase
A large bulbous vessel executed in a reddish brown Favrile glass decorated
with a wavy iridescent triple line motif just below the upper lip.
Signed: 4556 G L.C. Tiffany Favrile.
Height: 10 1/4 inches Diameter of base: 4 1/8 inches Maximum diameter of body:
9 1/2 inches.
Estimate: $3,000 / 4,000
2096
Tiffany Studios Paperweight Ovoid Vase
The exterior clear cased glass vessel backed by an iridescent interior treatment of highly iridized wave designs, the background color changing from a
watery aquamarine at the base to a deep sea blue at the upper shoulder.
Signed on the underside: L.C. Tiffany Favrile 8870 L
Height: 4 1/2 inches Width of base: 2 3/4 inches Maximum width: 4 1/2 inches.
Provenance: A Midwestern collector.
Estimate: $4,000 / 6,000
2097
In the classical Ancient Roman form. The highly iridized surface in tones of
amber, blue and purple with surface texture and pitting as appropriate to the
Cypriote creations of Tiffany Studios, the vessel flares out from its base
before reducing in size to a long neck and again flares to a flat style upper lip.
Signed on base: 6215 N L.C. Tiffany.
Height: 6 3/8 inches Diameter of base: 2 1/4 inches Maximum width: 3 3/8 inches.
Provenance: A Midwestern collector.
Estimate: $4,500 / 6,000
Lot 2097
93
Lot 2098
2098
Tiffany Studios Jack in the Pulpit Vase
The deep purple body decorated with grey green design rises from its round bulbous base to a deep
green upper blossom area. Allover strong iridescence with strong pink and purple highlights in the upper
sections.
Signed: LCT Favrile.
height: 9 3/4 inches Width of upper blossom: 6 inches Diameter of base: 3 1/4 inches.
Estimate: $10,000 / 12,000
94
Louis C. Tiffany reviewing window designs at the Tiffany Studios.
95
Lot 2099 detail of lit shade.
Lot 2099 detail of unlit shade.
96
2099
Tiffany Studios Yellow Rose Floor Lamp
This exceedingly rare shade is perhaps the most technically
elaborate of all Tiffany shades produced and is one of only
two known examples of the model.
Shade: Impressed TIFFANY STUDIOS NEW YORK. 1913 Price List:
Model #1904, 26 inch yellow rose, dome, $350
Base: Impressed TIFFANY STUDIOS NEW YORK. 1906 Price List:
Model #376, Piano, floor, large, chased pod, $165.
Height: 72 inches (183 cm) Shade Diameter: 26 inches (66 cm).
Provenance: Vito D’ Agustino.
This lamp is pictured on page 324 of “Louis C. Tiffany, The
Garden Museum Collection” and page 207 of “Tiffany Lamps
and Metalware”.
Estimate: $750,000 / 900,000
Lot 2099
97
2101
Sketch for a stained glass memorial window
Watercolor and ink on paper within a cardboard mount.
8 1/2 x 4 1/2 inches (21.5 x 11.5 cm).
Marked: Ecclesiastical Department, Tiffany Studios, New York and further marked:
Approved by Louis C. Tiffany (script signature).
This piece is pictured on page 118 of “Louis C. Tiffany, The Garden Collection”.
Estimate: $1,400 / 1,800
The initial step in response to a church window commission involved the preparation of a sketch
by a designer in the Window Department. After the client has expressed his desire for a particular theme, such as a Biblical scene from the Old or New Testaments, the designer would prepare
a scale drawing, most often in watercolor or gouache with penciled detailing. On completion, this
was set into a cardboard mount on which pertinent information relating to the commission was
handwritten. This could include the copy for the dedicatory panel to be placed on the bottom of
the window, and any information required by the glass colorist relating to color, type of glass, etc.
Before they were sent to the client, all sketches were reviewed by Tiffany, who would note his
desired revisions, and, after these had been implemented, add his signature to signify his approval. The window was a memorial to Mrs. Belle H. Kaufmann, for the Far Hills Catholic Church,
New Jersey.
98
2100
Tiffany Studios Pebble Table Lamp
The shade is comprised of a graduating pattern of florettes, the pebbled petals with glass centres, their
perimeters pierced with tiny holes that serve to emit
the hot air generated by the bulb and to provide a
novel twinkling effect.
Shade: Freshwater pebbles, jewelled and Cypriote glass,
unsigned. Base: Impressed Tiffany Studios New York 433.
Height 10 inches (51 cm.). Diameter of shade: 12 inches
(30.5 cm.).
Base: 1906 Price List: Model #433, 1 light, tripod, same
as No. 1211 candlestick, $22.
This lamp is pictured on pg. 319 of “Louis C. Tiffany,
The Garden Museum Collection”; as well as pg. 139 of
“Tiffany Lamps and Metalware”, by Alastair Duncan.
Provenance: Jules Cohen;
Estimate: $35,000 / 40,000
Lot 2101
Lot 2100
99
2102
Pair of Tiffany Studios
Wisteria Landscape
Windows
The two panels form part of an
original triptych depicting a mountainous panorama viewed through
trellised wisteria blossoms. They
are rendered in a vibrant naturalistic palette, and contain a wonderful selection of favrile glass including large selections of confetti
glass as well as mottled glass. Rear
Layers of plating have been used in
the creation of these panels.
Unsigned.
Each panel measures 47 1/2 in
height by 30 1/2 in width, not including the massive museum frame.
Dimensions with museum frame:
Height 72 1/2 inches, Width 57 1/4
inches.
These panels are pictured on pgs.
154 & 155 of “Louis C. Tiffany, The
Provenance: Sotheby’s New York,
Dec 6 & 7, 1996, Lot 451
Sean McNally;
to Charles Maurer;
to The Garden Museum
Collection, Matsue, Japan.
Estimate: $180,000 / 220,000
Lot 2102
100
Lot 2102
101
2103
Tiffany Studios Angel Window
Depicting a male winged angel holding a
multilayered orb inscribed “SPR”, surrounded
by an ornamental leaf motif border in multihued blues and orange Favrile glass. Many
sections plated on the rear of the window
with additional layers of glass.
Signed: Tiffany Studios. Inscribed: “But the greatest of these is charity, Corinthians 13”.
Height: 39 inches Width: 22 inches (not including frame). Height: 40 5/8 inches Width: 23
5/16 inches (including frame).
Estimate: $35,000 / 45,000
A Tiffany Studios worker selecting
glass for a window
Lot 2103
102
2104
Tiffany Studios Angel Window
Depicting a female angel holding a multilayered
orb. Surrounded by an ornamental leafy border in multihued blue and orange Favrile glass,
many sections plated on the rear of the window with additional layers of glass.
Inscribed: LIVI “And now abideth faith hope and
charity these three”
Dimensions (excluding frame): 22 x 39 inches
Dimensions (including frame): 23 5/16 x 40 5/8
inches.
Please note: This window was from the same
church installation as the previous signed “Tiffany
Studios” Window (Lot) 103
Estimate: $35,000 / 45,000
Lot 2104
103
Tiffany Studios workers laboring in the various steps of creating windows.
2105
Tiffany Leaded Glass Window “Christ on the Road to Emmaus”
A scenic window depicting Jesus and several disciples journeying to Emmaus. The background
depicts a landscape and in the distance is an ancient city executed in multilayered enamels. This
window was commissioned for a New Jersey church.
Height: 105 inches Width: 68 1/2 inches (not including the frame).
Estimate: $70,000 / 90,000
104
Lot 2105
This photo was taken in reflected light.
105
Lot 2106
Lot 2107
2106
Tiffany Studios White Bisque Pottery Vase
Depicting maple leaves and pods against an uncolored bisque ground.
The interior is glazed.
Signed: LCT.
Height: 8 inches Diameter of Base: 3 3/8 inches.
Estimate: $1,400 / 1,600
2107
Tiffany Studios Pine Needle Picture Frame
The bronze and glass frame finished in a gold dore patina features light
green mottled Tiffany glass and pine needle filigree overlay. The rear is
equipped with a swivel stand.
Rear of frame impressed: Tiffany Studios New York.
Outside dimensions: Width: 7 7/8 Height: 91/2 inches Inner frame opening
dimensions: Height: 5 7/16 inches Width: 3 15/16 inches.
Estimate: $2,000 / 2,500
2108
Tiffany Studios Lamp Base
The bronze conical urn form is supported by five legs holding the urn
at the bottom edge and again just below the flaring upper body of the
urn. Mounted on a round, slightly stylized base plate and all surmounted by a three bulb cluster above the three arm spider shade support
for a 14 inch shade. The patina is in brown with green highlights and is
excellent throughout.
Base signed: Tiffany Studios New York 29939. Also bears the Tiffany Glass
and Decorating Co. logo.
Height: 19 inches Diameter of base plate: 7 inches.
Estimate: $3,500 / 4,500
Lot 2108
106
2109
Tiffany Studios Lily Shade
A single lily shade with green pulled feather design bearing blue purple highlights against an ivory background.
Etched signature on fitter edge: L.C.T.
Estimate: $1,200 / 1,400
Lot 2109
2110
Tiffany Studios New York Suggestion for a Marble
Altar, Church of the Resurrection
Greensburg, Pennsylvania.
Marked: From Ecclesiastical Department, Tiffany Studios, 46 West 23rd
Street, New York City. Approved by - Louis C. Tiffany.
Frame Dimensions: 19 1/2 x 23 1/4 inches
Image Dimensions: 13 3/4 x 17 3/4 inches.
This drawing was exhibited at: “Louis C. Tiffany and the Art of
Devotion” at Mobia, N.Y. 9/12 to 1/13. It is pictured on page 76 of
the Exhibition Catalog.
Provenance: Collection of Allen Michaan
Estimate: $2,000 / 2,500
Lot 2110
2111
Collection of Three Tiffany Studios Brochures
Including Tiffany Favrile Glass, four pages; Favrile Glass, four pages;
Tiffany Favrile Glass and Metal Producers, six pages with eleven
pages of inserts together with an envelope on stationary of: Louis C.
Tiffany Furnaces Inc., Corona L.I., New York.
Dimensions of each brochure: 3 1/2 x 6 inches.
Lot 2111
107
2112
Tiffany Studios Harp Lamp Base
The bronze base featuring a large circular foot embellished with a stylized
petal motif all joining to a central shaft which splits to create a harp style
shade support for a seven inch shade. The single Tiffany Studios lamp socket
swivels to accommodate different positions for the shade. The uppermost
tightening knobs, it should be noted, are unusual in that they are more elaborate than the standard knobs found on other Tiffany lamps. All finished in a
brown and green patina.
Base impressed: Tiffany Studios New York.
Height: 271/2 inches Diameter of base plate: 7 7/8 inches.
Estimate: $2,500 / 3,000
Lot 2112
2113
Louis Comfort Tiffany Foundation Presentation Medal
Given to William J. Fielding in 1955 for long and faithful service from 1918
to 1955.
Edge of medal inscribed: Medallic Art Co. N.Y.
Inscribed on reverse: Secretary Treasurer from 1942
Trustee from 1946
Continuous service since 1918
Diameter of medal: 3 inches. Size of custom case: Height: 6 inches Width: 5 1/8
inches.
Lot 2113
2114
Tiffany Studios Desk Lamp Base
A bronze base featuring a heavy bulbous bottom section with dull brown
patina mounted to a single arm which rises to the height of 6 3/4 inches
before curving over to hold a single shade with the light pointing downwards.
Base impressed: Tiffany Studios New York and bears the Tiffany Glass and
Decorating Co. logo with scratched number 168.
Maximum height: 12 3/4 inches Maximum diameter of base: 6 3/4 inches.
Estimate: $2,000 / 2,500
Lot 2114
108
Lot 2115
Lot 2116
2115
Tiffany Studios Zodiac Pattern Partial Desk Set
Comprised of a pair of blotter ends; a small box marked Tiffany
Studios New York 810 measuring 5 3/8 x 3 1/2 x 1 inches; a larger box
marked Tiffany Studios New York 1666 measuring 6 1/2 x 6 x 2 1/2
inches and a two compartment letter rack marked Tiffany Studios
New York 1009 measuring 9 1/2 x 6 inches. All finished in a brown
patina.
Estimate: $1,200 / 1,400
2116
Tiffany Blue Favrile Bud Vase
The round footed vase base supports a rounded body which tapers as
it rises to the top where it flares out. The allover iridescent vase
features blue and purple color throughout.
Base signed: 1501-700 M L.C. Tiffany Favrile.
Height: 8 inches Diameter of base: 2 5/8 inches.
Estimate: $800 / 1,200
2117
Tiffany Favrile Glass Goblet
In gold iridescence with purple, pink and blue highlights.
Signed: L.C.T. 05999
Estimate: $1,000 / 1,200
Lot 2117
109
2118
Tiffany Studios Spider Lamp
1899-1928
The spider cast domical shade with graduated trapezoidal tiles, a
center shaft with cluster of three lights, the knobbed cylindrical
form spreading to a floriform base.
The base stamped “Tiffany Studios/New York/181”; the shade stamped
“Tiffany Studios/New York”.
Height with shade 17 3/4 inches (45 cm); diameter of shade 15 1/4
inches (39 cm).
Estimate: $13,000 / 15,000
Lot 2118
110
Students of the L.C. Tiffany Foundation at work in the Laurelton Hall Art Gallery.
The Tiffany Studios, New York.
Lot 2119
2119
Tiffany Studios Desk Set Box in the Grapevine Pattern
The large box in allover grapevine bronze filigree over green Favrile glass
streaked with white and finished in a green and brown patina.
Underside marked: Tiffany Studios New York 17.
Width: 7 7/8 inches Depth: 8 inches Height: 2 1/2 inches.
Estimate: $1,200 / 1,400
111
A previously unpublished view of Laurelton Hall
112
2120
Tiffany Studios Dogwood Cone on
a Reticulated Base
The large dogwood shade (which is most
often seen as a hanging chandelier), is here
mounted on a large telescoping base as a table
lamp. The dogwood shade with beaded upper
and lower borders is decorated with dogwood blossoms throughout, rendered in mottled white and greenish white flowers and
deep green leaves all set against a background
of multicolored confetti glass with predominant background colors in the blue range. The
shade is mounted on a large “reticulated”
bronze base with a six bulb cluster mounted
on a telescoping shaft in a green and brown
patina.
Shade signed on interior with metal tag: Tiffany
Studios New York. Base signed: Tiffany Studios
New York 397.
Diameter of shade: 25 3/4 inches Height of
shade: 9 3/4 inches Height of base: 25 3/4 inches
Extended height of base: 36 1/4 inches.
Note: Please note: Lacks finial.
Estimate: $140,000 / 160,000
Lot 2120
113
2121
Tiffany Studios Overall Daffodil Table Lamp
This shade is a strong example with mottled blue geometric
bands. The leaves are alternating mottled blue and green as they
extend up the shade. The background is striated with portions
done in fractured glass. The flowers are mottled yellow with
green highlights. The base is a rare form.
Shade signed: Tiffany Studios New York 1426. Base signed: Tiffany
Studios New York D425 with the Tiffany Glass and Decorating Co. logo.
Estimate: $37,500 / 40,000
Lot 2121
114
Lot 2122
2122
Tiffany Studios Dragonfly Pendant
Executed with a mottled green background. The wings are done with a wispy
translucent green. The eyes are red jewels and the body of the dragonfly is a
brown to orange.
Unsigned.
Width: 9 7/8 inches. Height: 6 1/2 inches.
Estimate: $3,500 / 4,000
Lot 2123
2123
Handel Bronze Lamp Base
Usually fitted with the Handel Egyptian style shade. This base features a bottom
plate decorated with three fierce winged lions, their wing tips supporting a bulbous element transforming into a reeded shaft rising to meet the four bulb socket arrangement with each socket equipped with an acorn pull on a chain. The
bronze base is in brown patina.
Underside of base signed Handel plus a metal tag bearing the number 1953.
Height to top of finial: 26 inches Diameter of base: 10 inches.
Estimate: $2,500 / 3,500
115
Lot 2124
2124
Handel Cherry Blossom Table Lamp
The elaborate leaded glass shade is decorated with a profusion of cherry blossoms executed in red and pink glass many of which feature chunk glass jewel
centers. The blossoms are surrounded by leaves in green glass and all terminating
in an irregular lower border. The shade is supported by a bronze Handel base in
a simple but pleasing Oriental motif.
The shade is signed on the interior with metal tag: Handel. Base unsigned.
Diameter of shade: 18 inches Height of shade: 7 1/2 inches Height of base to top of
finial: 23 inches.
Estimate: $3,500 / 4,500
116
Lot 2125
2125
G. Argy - Rousseau Pate De Verre Lamp Base
The bulbous glass base executed in Pate De Verre featuring a lower row of large
stylized red blossoms surmounted by an upper row of similar smaller embellishments. The blossoms are interconnected by stylized triangular leaf decorations.
The body of the glass base is of pinkish glass with purple and red areas. The glass
section is mounted in a brass circular foot and topped with a two bulb cluster.
Underside of base marked: 1841/0175 Glass signed: G. Argy - Rousseau.
Height: 22 inches Vase Height: 12 inches Diameter of brass foot: 6 1/2 inches.
Estimate: $2,000 / 3,000
FOUR WORKS BY STEVEN STELZ
2126
Pate De Verre Fish Lamp
Date of creation: 2013
This unique creation by New Jersey stained glass artist Steven Stelz
marks the successful culmination of his efforts undertaken for the
past few years to advance the Pate De Verre art form to a level
where full lamp shades can be produced. The deep sea green shade
is decorated around the lower borders by highly realistic multicolored koi frolicking amongst foamy waves. The shade is made ever
more realistic by the inclusion of hundreds of tiny bubbles trapped
in the glass. The base is a custom pottery piece designed by Steven
Stelz in an ocean wave motif and finished in green and blue hues.
Base signed: Stelz Studios, Peace Valley Tile, New Britain, PA. Shade signed:
STELZ
Diameter of shade: 12 1/4 inches Height of shade: 6 1/4 inches Height of
base: 18 inches Overall Height: 20 3/4 inches.
Provenance: The artist.
Estimate: $5,500 / 7,000
Lot 2126
117
Lot 2127
2127
Steven Stelz
Twilight Solitude
Pate De Verre painting
In this work, powders of glass have been painted onto a ceramic substrate and
layers have been built up with multiple firings in an enamel like process. This process is unique in the art of glass making.
Maximum width of frame: 15 inches Height of frame: 21 inches Width of artwork: 8
1/2 inches Height of artwork: 15 1/4 inches.
Provenance: The artist.
Estimate: $3,000 / 4,000
Housed in a custom frame, this landscape painting in glass evokes a moody scene of a
lone tree at the far reaches of a grassy meadow against a stormy sunset sky.
118
2128
Steven Stelz
Water Lilies
Width of painting: 13 1/2 inches Height of painting: 10 5/8
inches. Mounted in a custom gilded frame; Width of frame: 23
1/2 inches Height of frame: 20 1/2 inches.
Estimate: $3,000 / 4,000
Depicting three water lily blossoms on lily pads floating on a
deep blue and green pond.
Lot 2128
Lot 2129
2129
Steven Stelz
Abandoned Orchard
Width of painting: 17 1/2 inches Height of painting: 12 inches.
Set in a custom built gilt frame; Width of frame: 26 1/2 inches
Height of frame: 21 1/4 inches.
Estimate: $3,800 / 5,000
Depicting a dry summer meadow with tall grasses in the foreground and sparsely foliated trees all set by bluish and whitish
mountains in the distance.
119
Lot 2130
2130
Laburnum and Snowball Window
This is a contemporary stained glass creation executed in the style of Tiffany Studios by
Colorado stained glass artist Michael Mattei. The window depicts pendants of flowering
laburnum amongst hydrangea blossoms (also known as snowballs), all against a background
of confetti glass and surrounded by a jeweled border of clear hand chipped jewels. Sections
of the window are plated on the rear with additional glass for depth.
Width: 26 1/2 inches Height: 34 1/2 inches Width of frame: 33 1/2 inches
Height of frame: 41 3/4 inches.
Estimate: $16,000 / 18,000
End of auction
120
Inaugural Auction
Arts & Crafts
October 12, 2013 at 1pm
Now accepting consignments
Inquiries:
Lee Jester
Specialist in Charge
[email protected]
(510) 227-2548
www.michaans.com • Ph. (800) 380-9822 • (510) 740-0220 • 2751 Todd Street, Alameda, California 94501
Bond #: 71393954
121
Terms and Conditions of Sale
STANDARD CONDITIONS OF SALE
These Conditions of Sale are binding on all purchasers
at Auction. Please read carefully.
By registering to bid at auction, in person, or
through an agent, by absentee bid, or telephone or
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(and changes made as noted below.)
All property and every lot for sale in our catalogue
is offered subject to the following terms and conditions, along with any changes that may be published
or announced prior to or during a sale by Michaan’s
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as used herein all refer to Michaan’s Auctions. Unless
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seller. All sales shall be deemed to occur in
California regardless whether by telephone, mail or
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DEFINITIONS
Hammer price: The highest bid received for a lot
upon the fall of the auctioneer’s hammer.
Buyer’s premium: The amount paid by the buyer as a
percentage of the hammer price and in addition
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premium and applicable taxes or other fees, if any, as
may be required by law.
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on behalf of whom we are selling the Property.
Lot: The single item or group of items offered by us
for sale.
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lot being offered for sale.
BUYER’S PREMIUM
The Buyer shall pay a Buyer’s Premium which shall
be retained by MA as follows:
If you choose to pay by check, cashier’s check or
cash, the Buyer’s Premium is eighteen percent (18%)
per lot up to and including $250,000 plus twelve
percent (12%) per lot of any amount in excess of
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percent (10%) per lot in excess of $1,000,001. If you
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lot up to and including $250,000 plus fifteen percent
(15%) per lot of any amount in excess of $250,001
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(18%) per lot of any amount in excess of $250,001.
TERMS OF SALE
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The sale of a lot shall be to the highest bidder as
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the Purchase price, as defined above, and such other
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122
fee), (iii) by money order or other guaranteed funds,
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from the 8th day following the sale to the date paid
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Upon transfer of title, Buyer assumes full responsibility, including risk of loss and damage, for the
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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
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the Catalogue (as may be amended by posted or
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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
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WHEN SOLD. Upon review of the claim and the
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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 successors and assigns.
d. Jurisdiction, Venue, Choice of Law: Dispute resolution
shall occur in Alameda County, California, USA. The
provisions of the Conditions of Sale will be construed and disputes determined by application of
California Law, without regard to conflicts of law.
e. Notice, Service of Process: Buyers agree to accept all
notices and service of process relating to dispute
resolution at the address provided by Buyer on any
registration forms required to be executed as a condition of bidding in our auction.
f. Dispute Resolution: All disputes and claims arising
out of or relating to events and actions covered
herein, brought by or against us, shall be resolved by
mediation or binding arbitration in accord with the
procedures set forth below. This provision does not
apply to claims brought by the Buyer directly against
the Consignor, including, but not limited to any
action brought pursuant to the rescission provisions
noted above
OPTIONAL PROVISIONS
Shipping, insurance packaging and handling of purchased lots is at the risk and expense of the purchaser. As a service to the purchaser, MA may ship
appropriate items solely via United Parcel Service,
(UPS) Ground. MA will not ship by any other method including USPS, and property requiring freight
shipment. MA will, in no event insure the property
whether or not packaged and shipped by MA. MA
shall not, under any circumstances, be liable for the
loss, theft or damage to property, including, but not
limited to selection of shipper, the acts or omissions
of any shipper or the acts or omissions occurring in
packing for shipment. It is the purchaser’s responsibility to obtain a shipping quote for any lot being
offered, from an outside shipper, prior to the auction date. (As a courtesy, MA may provide quotes
for items to be shipped via UPS). Post sale determination of shipping costs does not constitute grounds
for cancellation of any purchase made at auction.
Purchasers are advised that large and fragile items
can be expensive and that MA will ship no property
without first obtaining consent from the purchaser
and only after packing and shipping costs have been
disclosed by MA. When MA is to pack and ship, MA
will provide to the bidder with a quote for cost of
packing and handling and the UPS fee. The Purchaser
is responsible for any insurance of the shipment.
Shipment will not be made until both all sums due
MA including the shipping and handling fees as quoted, and written confirmation is received that insurance has been waived or has been obtained by purchaser. Shipment may take up to 21 days after payment is received.
MEDIATION AND ARBITRATION
PROCEDURES
(a) Within 30 days of written notice that there is a
dispute, the parties or their representatives may
meet at a time and place mutually agreed upon, to
mediate their differences. If the parties agree, a
mediator acceptable to the parties shall be selected.
The mediator shall be an attorney, trained in mediation techniques and familiar with commercial law
and the California Uniform Commercial Code
(UCC). The mediator’s fees shall be shared equally
and paid by all parties. At the mediation, all parties
shall have actual authority to settle the dispute. Any
statements made during, and all aspects of, the mediation process shall be kept confidential and shall not
be admissible in any subsequent arbitration or judicial proceeding. Any resolution shall be confidential.
(b) If the parties cannot agree to mediation, or if
mediation does not resolve the dispute, or in any
event no longer than 60 days after receipt of written notice referred to above, the parties shall submit
the dispute for binding arbitration before a single
neutral arbitrator jointly selected, or absent agreement, selected from the panel of Arbitrators provided by the American Arbitration Association (AAA).
If, within 15 days, the parties cannot agree on an
arbitrator, then AAA shall select one (1) person as
arbitrator in accord with AAA rules. The arbitrator
shall be an attorney, experienced in commercial law
and with the UCC. The arbitrator shall be required
to follow the law in making his award, and the award
shall be in writing and shall set forth findings of fact
and legal conclusions.(c) The arbitration shall occur
within 60 days of the selection of the arbitrator, in
either Oakland or San Francisco, California, unless
the parties agree to another location. Discovery
and the procedure for the Arbitration shall, unless
otherwise agreed to by the parties, follow the procedures and policies of AAA governing commercial
arbitration, subject however to the following modifications:
1. All arbitration proceedings shall be confidential.
None of the parties nor the arbitrator, may disclose
the existence, content or results of the arbitration
without the written consent of all parties.
2. The parties shall attempt to agree on the issues to
be arbitrated, or identify the disputed issues in writing no later than 45 days prior to arbitration.
3. Unless otherwise agreed by the parties, discovery,
if any, shall be limited as follows: (a) Requests for no
more than 10 clearly identified categories of documents, to be provided to the requesting party within
14 days of written request therefore; (b)
Depositions: No more than two (2) per party, provided however, the deposition(s) are to be completed within one (1) day; (c) Compliance with the
above shall be enforced by the arbitrator in accord
with California law.
4. Each party shall have no longer than eight (8)
hours to present its position. The entire hearing
before the arbitrator shall not take longer than
three (3) consecutive days, unless all parties agree
otherwise in writing.
The award shall be made in writing no more than 30
days following the end of the proceeding. Judgment
upon the award rendered by the arbitrator may be
entered by any court having jurisdiction thereof.
Each party shall bear its own attorney’s fees and
costs in connection with the proceedings and shall
share equally the fees and expenses of the arbitrator.
This auction is being conducted in compliance with
section 2328 of the Commercial Code, section 535
of the Penal Code, and provisions of the California
Civil Code.
Bonded pursuant to California Civil Code sec
1812.600 et seq. Bond # 71393954
123
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.
124
Lot 2099 detail
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 from the Garden Museum, Japan Part 2

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