Treasures of Louis C. Tiffany from the Garden Museum, JapanSaturday, November 17, 2012

Michaan’s Auctions2751 Todd Street Alameda, CA 94501800-380-9822 or 510-740-0220www.michaans.cominfo@michaans.com

Treasures of Louis C. Tiffany from the Garden Museum, JapanNovember 17, 2012, 1pm

Preview dates: Friday, November 2, 12pm - 5pmSaturday, November 3, 10am - 5pmSunday, November 4, 9am - 5pmSaturday, November 10, 10am - 5pmSunday, November 11, 10am - 5pmFriday, November 16, 12pm - 5pmDay of sale at 9 am to the end of the Auction or by appointment

Michaan’s Auctions2751 Todd Street • Alameda, CA 94501Phone #: 800-380-9822 or 510-740-0220Fax #: 510-749-7517

View this catalog online at www.michaans.com.Additional photos and condition reports available online.

Catalog Design by Andre SalcidoPhotography by Jeffrey LeeText by Alastair Duncan and Allen Michaan

Front Cover Lot: 100Back Cover Lot: 93

Inquiries:Allen Michaan: extension 103amichaan@michaans.com

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Lot 120 detail

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Dedication

This sale is dedicated to the amazing collecting passion of Mr. Takeo Horiuchi, a real estate investor residing in Nagoya, Japan, who embarked in 1992 on a personal mission spanning 17 years to assemble the world’s finest collection of Art Nouveau with a particular focus on the exquisite creations of Louis Comfort Tiffany.

During the two decades of his active pursuit of the finest examples, Mr. Horiuchi was a constant fixture at New York’s Tiffany auctions. As well, through his acquisition expert, Alastair Duncan, he also sought out and acquired masterpieces residing in private collections to add to his ever-growing holdings.

As his collection grew in both size and importance, Mr. Horiuchi decided that he would open a museum to share his treasures with the general public. His first museum was inaugurated in October 1994 in Na-goya, Japan, with a catalog illustrating seventy-seven pieces.

Concerned about the danger of earthquakes in his native Nagoya, he decided to relocate his museum to the tourist resort town of Matsue in the western part of the country located by the Sea of Japan. After 4 years of planning and construction the new facility opened in 2001.

The location proved to be less popular than Mr. Horiuchi had anticipated and he subsequently decided to construct yet another museum, to be located at the foot of Mount Fuji, and on March 31, 2007 he closed his Matsue Venue.

The planning for the new museum by Mount Fuji was under way when in March of 2011, Japan was stricken by a devastating earthquake and tsunami. Subsequent to that event the Japanese Government published very serious predictions about major earthquakes in the vicinity of the planned new museum and out of concern and love for his precious collections, Mr. Horiuchi elected not to proceed with his plans and allowed the achievement of his years of passion to leave the shores of Japan for a safer home elsewhere.

Mr. Horiuchi will always be admired for the passion and dedication of his own personal pursuit of beauty, an ideal which Louis C. Tiffany himself so often lauded.

While his collections will now pass into the hands of collectors and museums throughout the world, he will always remain a giant in the world of Art Nouveau with his achievements forever memorialized in the massive and comprehensive catalog of his collections, The Louis C. Tiffany Garden Museum Collec-tion by Alastair Duncan.

The above photo was taken on March 24, 2012, on the occasion of the signing of the contract for the sale of his collection. The world of Tiffany collectors admire and salute you Mr. Horiuchi. Thank you for what you have given us all.

Alastair Duncan Allen Michaan Takeo HoriuchiMarch 24, 2012, Nagoya, Japan

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A Tribute

The Garden Museum Collection would have never been possible without the unique contribution and participation of Mr. Alastair Duncan. I first met Alastair in 1977 when he was the head of the Art Nou-veau Department at Christie’s auction house in New York City. As a novice collector he took the time to talk with me about my new interest and advised me to buy an inexpensive Tiffany leaded lamp that he thought would be a bargain since one of the supporting arms on the base was broken off and the beauty of the dichroic glass shade would likely be overlooked. I purchased that lamp, had the base repaired and still enjoy it to this day.

In the intervening years we became good friends and I was amazed to see Alastair write and publish book after book on the subjects of Tiffany, Art Nouveau and Art Deco, a handful of books soon became dozens and dozens and I have long ago lost track of how many.

Building on a foundation laid by pioneer Tiffany scholars Robert Koch and Hugh McKean, Alastair Dun-can has, more than anyone in the art world provided an enormous volume of information, archival re-search, variety, and most importantly, he has published countless thousands of photographs of every part of Louis C. Tiffany’s work. His scholarship in this field is constantly used by everyone who is involved, whether as a Tiffany collector, dealer, auction house or merely someone interested in America’s greatest decorator and artist.

The Garden Museum Collection would have never happened without Alastair Duncan nor would the collecting world have so much valuable information available. When Mr. Horiuchi decided to sell his col-lections, Alastair contacted me and I was able to form a group to provide the financing for the acquisition. In so many ways this sale, and the upcoming sale of the Garden Museum’s French Art Nouveau Collec-tions that will occur in the salesrooms of Sotheby’s Paris on February 16, 2013, are a direct result of my 35-year association and friendship with Alastair Duncan.

His monumental coffee table book, “Louis C. Tiffany, The Garden Museum Collection” fully documents the assemblage of art masterpieces, which have now left Japan for our country and Europe. The descrip-tive texts used in this auction catalog were reproduced from that book wherever possible.

Allen Michaan

3

September 2012

Mr. Horiuchi’s focus on the entire gamut of artistic disciplines in which Louis C. Tiffany worked set him apart from other Tiffany collectors, the majority of whom have traditionally selected one or two categories on which to focus their interests, such as lamps, windows, and/or glassware. Mr. Horiuchi chose rather to concentrate on all of the twelve media in which Tiffany worked, educating all of us in so doing on the artist’s all-encompassing creative genius.

Combining a disarming charm, theatrical gestures and a smattering of comical English phrases that to-gether served as an effective negotiating cocktail, Mr. Horiuchi brought chuckles to collectors and dealers alike even as they sparred with him over the prices of those prized artworks he wished to acquire. Levity was further injected into his purchases in the early 1990s when wide swings in the exchange rate between the dollar and yen occurred almost daily. Mr. Horiuchi would make his offer in yen, which led to inevi-table confusion as the ongoing negotiations went back and forth, both sides checking the day’s currency rate repeatedly and scrambling to adjust their prices accordingly on their calculators. Often it was initially unclear in which currency the price had been agreed to! On those occasions when the rate provided a stronger yen a day or two after an auction, Mr. Horiuchi would advise the auction house’s cashier that he was set to pay for his purchase at that day’s rate, not the one on the sale date, flustering the cashier as he stammered to explain that this was not allowed, until the twinkle in Mr. Horiuchi’s eye revealed the joke and generated joint laughter.

Mr. Horiuchi’s final auction purchase occurred in New York in March last year, a week after the Fuku-shima nuclear meltdown and subsequent tsunami that devastated his homeland, conclusive proof that his appetite for collecting remained insatiable until that unforeseen moment. The subsequent seismology report issued by the Japanese government brought an abrupt halt to his plans for an expanded new Tif-fany museum at the base of Mt. Fuji, where three earthquakes of Richter scale 8 magnitude are predicted within the next three decades. A glass museum, one housing the world’s premier Tiffany holdings, was unthinkable under the weight of such a cataclysmic forecast, bringing Mr. Horiuchi’s unwavering 20-year odyssey to a close. For diehard Tiffany enthusiasts in the United States the unimaginable happened: the world’s unrivalled collection, thought gone forever, was heading home.

Alastair Duncan

The “Anchorman Collection” custom-built cases. Prior to being named the Garden Museum, Mr. Horiuchi called his collection the “Anchorman Collection”. He com-missioned 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 spe-cial nature of these selections from The Garden Museum Collection.

4

1Tiffany Studios Dressing Table Mirrorc. early 1920. The exuberant organic design of this mirror is stylistically more characteristic of the high European Art Nouveau movement than of L.C. Tiffany, whose designs were typically more restrained in their interpretation of Nature. The profusion of translucent enamelled purple morn-ing glory blossoms and green leaves surmounting the oval mirror, rendered in full relief on an entwined gold creeper that carries the foliage down on either side and across the apron to the Rococo-style scrolled feet, are more reminiscent of Paris and Nancy around 1900, and even the Munich Jungendstil, than with designs produced at the time under L.C. Tiffany’s direction. The technique on the mirror’s rear easel, which is crisply chased with a matching compact foliate pat-tern, likewise echoes that of the French orfeviers, such as Boucheron, Vever, and Fouquet, whose floral confections were so fashionable at the annual Paris Salons. It is likely, therefore, that this was a unique commission for Tiffany from a patron who was specific about the type of decoration sought, one influenced perhaps by something seen in Europe. Silver with plique-a-jour enamel, impressed STERLING/LOUIS C. TIFFANY FURNACES INC., with firm’s logo and TIFFANY & CO. Height 19 7/8 inches (50.5 cm.), Width 15 inches (38 cm.). This mirror is the cover photograph of “Louis C. Tiffany, The Garden Museum Collection”, and can be additionally found on pg. 441. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $75,000 / 90,000

55

Lot 1

6

2Tiffany Studios Counter Balance Desk LampFeaturing a decorated seven inch damascene shade with an ivory colored lower border and an unusually fancy upper section, mounted on a coun-ter balance desk base with dark brown patina. Shade signed L.C.T etched into fitter section. Base signed TIFFANY STUDIOS NEW YORK 416. Height of base in highest position 14 1/4 inches. This lamp is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it is housed in a custom-built museum carrying case. This lamp is pictured on pg. 89 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

3Tiffany Studios Peacock Plate ‘For some years already Tiffany had been able to produce in this way the veining of leaves, the outlines of the petals of flowers. In the material there flowed meandering waters and fantastic cloud forms. But he was only waiting the opportunity to apply his process on a more intricate scale. Having, at the instance of an amateur friend, sought to produce in coloured glass the peacock in all the glory of his plumage, he saw in this motif a theme admirably adapted to enable him to display his skill in glass-blowing- the peacock’s feather. For a whole year he pursued his studies with feverish activity, and when at last a large group of vases had been completed embodying this ideal adornment, no two of which were alike, the result was a dazzling revelation. Just as in the natural feather itself, we find here a suggestion of the impal-pable, the tenuity of the fronds and their pliability- all this intimately incorporated with the texture of the substance which serves as back-ground for the ornament... This power which the artist possesses of assigning in advance to each morsel of glass, whatever its colour or chemical composition, the exact place which it is to occupy when the article leaves the glassblower’s hands- this truly unique art is combined in these peacock’s feathers with the charm of iridescence which bathes the subtle and velvety ornamentation with an almost supernatural light.’ Excerpt (in translation) from Siegfried Bing’s introduction to the exhibi-tion catalogue at the Grafton Galleries, London, 1899, from an article he wrote on Tiffany in Kunst und Kunsthandwerk, vol. 1, 1898, pp. 105-111.

Inscribed L.C.T. Favrile R293. Diameter 7 7/8 inches (20 cm.). This plate is pictured on pg. 235 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $2,000 / 2,500

Lot 2

Lot 3

7

4Tiffany Studios Favrilefabrique (Linenfold) Table LampUsing bands of pressed glass tiles designed to simulate pleated fabric, the series of Linenfold lampshades was introduced towards 1910. Colours ranged from yel-lows, gold and amber, to greens, blues and amethyst, in soft matt tones. A lower and upper ruffled frieze, likewise comprised of pressed glass tiles and in a com-plementary hue, completed the impression that these shades were made of cloth. Ironically, for an artist whom glass was the signature material and the cause of his international celebrity, Favrilefabrique lamps were designed not to resemble glass. Shade: Pressed glass tiles, impressed TIFFANY STUDIOS NEW YORK 1936. Base: Impressed TIFFANY STUDIOS NEW YORK.Height 17 1/2 inches (44.5 cm.). Diameter of shade 9 1/2 inches (24 cm.). Shade: 1913 Price List Model #1936, 10 in. Favrilefabrique, 12 C, F and G sec-tions, for Swing Lamps. This lamp is pictured on pg. 314 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 192 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $6,000 / 8,000

5Set of Eight Tiffany Studios Dessert PlatesAll unsigned, one with firm’s original paper label. Diameter of each plate 9 inches (23 cm.). This plate is pictured on pg. 270 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 13, 1998, lot 328; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000Lot 4

Lot 5

88

6Tiffany Studios Venetian/ Ninth Century Table LampPart of both the Venetian and Ninth Century desk set patterns. The base is adorned with bands of circular glass cabochons that simulate the precious jewels- rubies and garnets -worn as personal adornment by the era’s nobility and wealthy merchant class. Shade: Impressed TIFFANY STUDIOS NEW YORK 515-6. Base: Gilt Bronze, enamelled and gem-set, impressed TIFFANY STUDIOS NEW YORK 515. Height 20 inches (50.8 cm), Diameter of shade 13 1/8 inches (33.5 cm.). Base: Undated Price List: model #515, lamp, Venetian, gold only, $250 [shade and base]. This lamp is pictured on pg. 312 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 102 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $75,000 / 90,000

99

Lot 6

10

7Tiffany Studios Ninth Century Desk SetGilt-bronze, each piece impressed TIFFANY STUDIOS NEW YORK with individual model number. Comprising a letter rack, letter scale, blotter ends, stamp box, pen brush, letter clip, paper knife, pen tray and inkstand. Tiffany Studios introduced the first of its desk set patterns shortly after 1900. Sold at its showroom on Madison Avenue and through Tiffany & Co. and other retailers, these sets remained in production for many years. The two most popular sets were the Grape and Pine Needle patterns, in etched metal and glass, each of which grew in number to around forty pieces. New items were added from year to year so that customers could add to their original purchase on special occasions, such as Christmas. This desk set is pictured on pg. 387 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 6,000

Lot 7

11

8Louis C. Tiffany’s Personal Limoges Tea Servicec. 1893. Limoges porcelain, 43 pieces comprising cups, saucers, plates, sugar, creamers, pitcher, covered serving plate and platters. A commemorative tea service that belonged originally to L.C. Tiffany, all of the pieces are decorated in slip with a delicate floral pattern highlighted with cobalt blue and gold accents. The signifi-cance of the 1868-93 date, representing a twenty-five-year period, is not readily apparent. Perhaps 1893 provides a clue as it was the year that Tiffany made his public debut to huge public acclaim at the Columbian World’s Fair in Chicago. If so, the service may pay tribute to an artist’s career that begun in 1868, when he was twenty, and achieved international renown a quarter century later. All pieces with conjoined capitalised gilt monogram L.C.T, and marked LIMOGES FRANCE October 14th L.C.T. 1868-93. Diameter of largest platter 11 1/2 inches (29 cm.). This tea service is pictured on pg. 632 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $6,000 / 8,000

Lot 8

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9Tiffany Studios Turtle Back Tile ClockThis stunning and very heavy clock is made entirely of iridescent blue, green, and purple turtle back tiles set in bronze. Case unsigned, the enamelled dial signed Tiffany & Co.Height 13 inches (33 cm.). This clock is pictured on pg. 355 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 422 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 9

13

10Tiffany Studios Mosaic Pen WiperA necessity for the man-of-letters at the turn of the century, a pen wiper (or pen brush) removed excess ink from his quill pen after he had dipped it into his inkstand. Most Tiffany Studio desk sets included one, but this example, hand-somely set with vertical bands of vari-coloured iridescent mosaic tesserae, quali-fies rather as a Fancy Good than a mere desk set accessory. The model was offered either with bristles or with chamois, an absorbent leather. Bronze and mosaic Favrile glass tiles, with bristle fibres, impressed TIFFANY STUDIOS NEW YORK 28290 with the Tiffany Glass and Decorating Co. logo. Height 2 3/4 inches (7 cm.). 1906 Price List: Model #984, Pen wiper, chamois, $12. This pen wiper is pictured on pg. 370 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 432 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 24,000

Lot 10

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11Tiffany Studios Enamel Pea-pod Belt BuckleNo clear explanation of the identification marks on Tiffany enamels has emerged beyond the fact that almost all of the department’s production was designated one of two prefixes: SG or EL. The two series appear to have operated in parallel from the department’s formation in 1898, items numbered sequentially. This buckle is therefore identified as the 262nd item manufactured within the EL cate-gory, dating it to around 1906. The definition of EL is uncertain, although it might be an abbreviation of EnameL. Enamel-on-copper, c. 1906, inscribed Louis C. Tiffany and impressed EL 262. Length 3 inches (7.5 cm.), Width 1 3/8 inches (3.5 cm.). This belt buckle is pictured on pg. 402 of “Louis C. Tiffany, The Garden Museum Collection”. Literature: “The Jewelry and Enamels of Louis Comfort Tiffany”, Zapata, 1993, pg. 82. Exhibited: Tiffany, 150 Years of Gems and Jewelry, The American Museum of Natural History, New York, March 30 – June 5, 1988 Provenance: Lillian Nassau, Ltd, New York; Sothebys, New York, June 5, 1996, lot 46; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

Lot 11

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13Tiffany Studios Organic Form Fire ScreenSigned TIFFANY STUDIOS NEW YORK 72254. Height 32 5/8 inches, Width 42 1/8 inches (108 x 82 1/2 cm.). This screen is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it comes housed in a custom fitted museum carrying case. This screen is pictured on pg. 458 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

Lot 13

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14Charles De KayPublished Doubleday, Page & Co., New York, 1914The Artwork of Louis C. TiffanyPrinted on Japan paper, the cover in painted and gilded cardboard with an embossed block design, No. 80 of an edition of 492, this copy signed and dedicat-ed by Tiffany to his younger sister, Louise, and dated Jan 27th. Inscription reads, “To my dear sister Louise who has helped me in my work by her tender care and love, Louis C. Tiffany.” 13 inches x 10 inches (33 x 25.5 cm.). Charles de Kay, a noted writer on the arts at the time, was commissioned by Tiffany’s children, probably around 1912, to provide a record of their father’s accomplishments. The book was intended for private distribution, as specified in its opening sentence: ‘This volume is not written for the public, but for the chil-dren of Louis Comfort Tiffany at their request’. Copies were sent to friends, rela-tives, museums and libraries, many by Tiffany himself with a personal notation to the recipient. This standard edition of 492 had a faux cardboard cover resembling a mediaeval tooled leather binding that made it appear substantial and therefore of consequence. This book is pictured on p. 571 of “Louis C. Tiffany, The Garden Museum Collection.

Estimate: $4,000 / 6,000

Lot 14

Inscription by Tiffany to his younger sister, Louise, on the dedication page in lot 14

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Lot 15

19

15Tiffany Studios Daffodil Table LampThis base is a wonderful example of favrile glass blown through bronze. The shade is especially stirring with its vivid use of confetti glass as a background to the blossoms.Shade: Impressed TIFFANY STUDIOS NEW YORK 1449. Base: Bronze with blown glass, impressed TIFFANY STUDIOS NEW YORK and 28621, with the Tiffany Glass and Decorating Co. Logo. Height 21 inches (53.5 cm.). Diameter of shade 16 inches (40.5 cm.). Shade: 1906 Price List: Model #1449, 16 in. Daffodil, dome, $75. Base: 1906 Price List: Model #372, library standard, Blown Glass in metal, $80. This lamp is pictured on pg. 302 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: David Bellis (shade); The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 175,000

16Tiffany Studios Byzantine BoxBronze, with jewelled and panelled Favrile glass, impressed TIFFANY STUDIOS NEW YORK 1657. Height 2 1/2 inches (6.3 cm.), Width 6 3/8 inches (16.2 cm.), Depth 5 7/8 inches (14.9 cm.). This box is pictured on pg. 372 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 487 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

Lot 16

20

17Tiffany Studios Apple Blossom WindowCirca 1915.Depicting an apple tree in full bloom, it’s limbs covered in flowers. With a dra-matic cloud streaked sky in the distance, and a stylized body of water entering the scene from the right side.The panel bears a metal tag impressed “Tiffany Studios New York”.Height 50 inches, Width 20 1/2 inches, not including the massive museum frame. With the museum frame: Height 60 1/4 inches, Width 30 1/2 inches. This window is pictured on pg. 147 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Black family, Chapel House, Fife, Scotland Christies, New York, December 10, 1988, lot 494 The Garden Museum Collection, Matsue, Japan

Estimate: $125,000 / 150,000

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Lot 17

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18Louis Comfort Tiffany(American 1848-1933)The Village PeddlerWatercolor on board.28 inches x 40 inches (71 cm x 101.5 cm.). 1875, signed and dated, lower left, Louis C. Tiffany 1875. Provenance: The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 36 of “Louis C. Tiffany, The Garden Museum Collection”. ‘Of the advantages that water color painting in some respects possesses over oil, it may be well here to say a few words. No artist pretends that it can ever take the place of oil painting. The masters of water color, however, maintain, with some reason, that for certain luminous qualities, for purity of tint and tone, for delicate gradation, especially in skies and distance, their favorite style of painting has decided advantages over oil.’ The debate over the relative pros and cons of watercolour versus oil was revived around the time that the American Society of Painters in Water Colors was founded in 1866. This opinion was expressed by members of the Society in a brochure shortly after its formation. From Ralph Fabri, History of the American Watercolor Society: The First Hundred Years, New York, 1969, p.14.

Estimate: $60,000 / 80,000

Lot 18

22

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19Tiffany Studios Cabinet Vase‘Decorated’ is an imprecise, if not mystifying, term used to describe Tiffany glassware that incorporates surface decoration only, including the threaded peacock feather and trailing lily pad motifs that adorn so many wares. The surface of all Tiffany art glass is, by definition, decorated, even if only iridised, yet while the expression is impre-cise, it nevertheless persists in common parlance. Perhaps it is easier to explain ‘decorated’ glassware by what it is NOT: it is not a technique that has its own name, such as Agate, Cypriote or Aquamarine. In short, it seems to encompass any decorative finish that is not classifiable by another name. Tiffany’s hallmark iridescence followed the lustred wares popularised by Ludwig Lobmeyer in Vienna as early as 1873. The process was improved upon by Nash at Corona, where the salts of certain metals were dissolved into the glass object while it was still in a molten state. The object was then subjected to a reducing flame, which brought the metallic coating to the surface. Finally, the surface was exposed in a fume chamber to vapours of tin and iron chloride which reacted with the metallic coating, causing the surface to dissolve into a multitude of microscopic cracked lines that provided high reflectivity. The formula was credited by Leslie H. Nash to his father, Arthur J. Nash, who, he wrote, kept it in a secret even from Tiffany, apparently to protect his job. Unsigned. Height 2 1/8 inches (6 cm.). This vase is pictured on pg. 230 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

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Lot 19

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Lot 20

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20Tiffany Studios Decorated VaseDecorated with vertical bands of double dot-like motifs, part of the Persian design series. Inscribed L.C.T o1663. Height 7 7/8 inches (20 cm.). This vase is pictured on pg. 237 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Minna Rosenblatt; The Garden Museum Collection, Matsue, Japan.

Estimate: $12,000 / 15,000

21Tiffany Studios Saxifrage CandlestickLike 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, an herb which grows in the clefts of rocks. Here, the plant’s seed pods have been fashioned with great delicacy into a candle bobeche supported by a slender stalk rising from a symmetrical band of leaves that fan out to form the foot. In this manner, a simple household appliance has been transformed into a refined work of art. Bronze, impressed TIFFANY STUDIOS NEW YORK 11485.Height: 17 3/4 inches (45 centimeters).1906 Price List: Model #1331, 18 inch saxifrage, $20. This candlestick is pictured on pg. 352 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

Lot 21

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22Tiffany Studios Tea and Coffee ServiceCommissioned by Gertrude Vanderbilt Whitney and her husband Harry Paine Whitney for the marriage of their niece, Emily Frances Whitney, to Allan Lindsay Briggs in 1910.Comprising hot water kettle on stand with burner, coffee pot, teapot, sugar bowl, cream jug, waste bowl, c. 1910, tray 1902-7, waiter post - 1907.The service pieces with Tiffany Studios hallmarks and 1842, the tray with Tiffany & Co. hallmark and 6905/6320, the waiter with Tiffany & Co. hallmark and 5765/4374, all pieces with inscribed monogram EFW. The hollowware pieces in this service, executed by silversmiths at Tiffany & Co., are enhanced with crisply-chased bands of formalized yar-row flowers rendered in repousse. The pattern is repeated, with modifications, on the tray and waiter.Weight: 350 ounces. Height of kettle on stand: 12 3/4 inches (32.5 centimeters).This service is pictured on pgs. 438 & 439 of “Louis C. Tiffany, The Garden Museum Collection”. Literature: Charles H. Carpenter, Jr., Tiffany Silver, 1978, pp. 47-50 (figs. 47-49), p. 265 (fig. 319); ‘The Silver of Louis Comfort Tiffany’, The Magazine Antiques, February 1980, p. 391, pl.II. Exhibited: New York Historical Society, Tiffany Silver, 1980; Baltimore Museum of Art, Louis Comfort Tiffany: Revelations of True Beauty, 1989; Museum of Fine Arts, Boston, The Silver of Tiffany & Co., 1850-1987, 1987; Cooper-Hewitt Museum, New York, Design in the Service of Tea, August 7 - October 28, 1984. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 60,000

Lot 22

27

23Tiffany Studios Alamander ChandelierDepicting a profusion of blossoms against a background of mottled confetti glass. Shade: Impressed Tiffany Studios, New York. Diameter of shade 28 1/4 inches. This chandelier is pictured on pg. 331 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 223 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: Sotheby Parke Bernet, New York, June 19, 1979, lot 386; Private collection; Sothebys, New York, November 7, 1992, lot 476; The Garden Museum Collection, Matsue, Japan

Estimate: $200,000 / 250,000

Lot 23

Lot 23 unlit

28

24Tiffany Studios Template for a Dragonfly TrivetInk on lined paper. Unsigned. Diameter 6 3/4 inches (17 cm.). Template pictured on pg. 377 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Mrs. Haas, niece of a Tiffany Studios’ employee; The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

25Tiffany Studios Mosaic Dragonfly TrivetBronze inset with mosaic Favrile glass, impressed TIFFANY STUDIOS NEW YORK. Diameter 7 1/4 inches (18.5 c,.). This trivet is pictured on pg. 377 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pgs. 409 & 392 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

Lot 25

Lot 24

Photograph, c. 1902, of Joseph Briggs and Clara Driscoll with various works in progress

29

26Tiffany Studios Hanging Cameo Glass GlobeCarved glass lamps, such as this, were offered in Tiffany and Co.’s Blue Book from 1907 at prices ranging from $20 to $500. Blown and engraved glass, with bronze mount. The glass inscribed Louis C. Tiffany-Favrile 114G. Height 13 inches (33 cm.). Diameter 8 inches (20.5 cm.). This globe is pictured on pg. 334 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 297 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 100,000

29

Lot 26

Group of glassware and a dragonfly trivet in the Tiffany display at the 1902 Exposition, Turin

30

28Tiffany Studios Aquamarine VaseIntroduced around 1911-12, Aquamarine glass was the last major technique publicised by the firm. Compositions of aquatic plants and other marine life were fashioned out of small coloured 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 blow-pipe 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 5202G. Height 9 7/8 inches (25 cm.). This vase is pictured on page 264 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Benedict Silverman; Sothebys, New York, November 19, 1994, lot 510; The Garden Museum Collection, Matsue, Japan.

Estimate: $100,000 / 120,000

27Leslie H. NashTwo Aquamarine VasesPencil and watercolor on paper. 8 1/2 inches by 11 inches (21 1/2 x 28 cm.). Signed, L.H. Nash.This drawing was a part of the archival collection at The Garden Museum, and is not pictured in “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

Lot 27

3131

Lot 28

32

29Tiffany Studios Table LampAlthough identified by its model number in the firm’s Price Lists as Bookmark, this lamp does not correspond stylistically to the bookmark desk set pattern. It was more probably designed for a vestibule or stairway, perhaps for placing on a newel post. The pierced bands of formalised leaves and lush foliage provide the model with a classicism that evokes the Middle Ages, a historicising theme drawn on frequently by Tiffany in a range of Ninth Century, Venetian and Byzantine household accessories. Shade: Unsigned. Base: Gilt Bronze, enamelled, impressed TIFFANY STUDIOS NEW YORK 517. Height 14 inches. 1906 Price List: Model 3517, Electrolier, Bookmark [shade and base]. This lamp is pictured on pg. 316 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 102 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 15,000

30Tiffany Studios Peony Table Lampc. 1898. The crab base was amongst the firm’s earliest models, c. 1898; its bulbous form was determined by the need for it to house a fuel canister. After 1900, when many of the firm’s existing bases were electrified (as in this instance), the model remained in production. The crab motif was applied to other household appliances, including an inkstand in which the crab holds a shell-covered inkwell in its extended claws. Shade: Impressed TIFFANY STUDIOS NEW YORK 1475-33. Base: Bronze with blown glass, impressed TIFFANY STUDIOS NEW YORK S1239.Height 23 1/2 inches (60 cm.). Diameter of shade: 18 inches (46 cm.).Shade: 1906 Price List: Model #1475, 18 inch PEONY, Tyler, $125. Base: 1906 Price List: Model #298, Blown glass in wire, crab base, like No. 289, oil, $125. This lamp is pictured on pg. 278 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $200,000 / 300,000

Lot 29

Tiffany Studios sepia photograph of peony sprays, ex-collection Agnes Northrop, courtesy Damien Peduto

3333

Lot 30

34

31Tiffany Studios Morning Glory Paperweight VaseThe glassmakers at Corona faced an on-going challenge in their creation of Morning Glory glass. Leslie H. Nash later noted that in countless hours of unsuc-cessful experimentation, five different types of glass were employed in multiple reactive firings and coolings in the attempt to create the ‘most beautiful prismatic colours’ of the flower. International recognition of the firm’s ultimate achieve-ment in this endeavor was provided by the award of First Honorable Mention by the jury at the 1914 Salon of La Societe des Artistes Francais in Paris. Inscribed L.C. Tiffany-Favrile 3309JHeight 6 1/2 inches (16.5 cm.). This vase is pictured on pg. 258 of “Louis C. Tiffany, The Garden Museum Collection”. Exhibited: Masterworks of Louis Comfort Tiffany, travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: A. Douglas Nash; Albert Christian Revi; David Bellis; Sothebys, New York, November 19, 1994, lot 499; The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 120,000

Period photograph of Morning Glory vases with a notation by Leslie H. Nash

35

Lot 31

36

32Tiffany Studios Table Lamp Base with Blown Glass BodyThis early and unique table lamp base features a blown glass body resting on a flat bronze round base plate decorated with leaves rising to a circular row of fourteen large round bronze spheres interspersed with 64 smaller spheres both above and below. The lower section connects to the glass body which is sur-mounted by an upper section of twisted rope and bead design rising to a three arm shade support with unusual castings of an elaborate leaf design where the supports connect to the base. This very striking base designed to support a 16 inch shade, with dark brown patina is signed: Tiffany Studios New York 208 S, and bears the Tiffany Glass and Decorating Co. imprint. Height up to shade support 12 1/8 inches, Width of glass body 11 inches, Diameter of base plate 8 7/8 inches. This lamp is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it does come housed in a custom fitted museum case. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 90,000

Lot 32

37

33Pair of Tiffany Studios Wall SconcesComprised of panels of textured opalescent glass and turtle-back tiles that, in providing a richly jewelled luminescence, allow only a small percentage of the light rays to penetrate the glass. The fixtures serve therefore more as illuminated objets d’art than sources of light per se, an observation that can be made about a majority of Tiffany’s Lamps. Most are enjoyed more for the innate beauty of their glass and the diffused ambiance they generate, than for their functionalism. Unsigned. Height of each 15 inches (38 cm.). Width 15 inches (38 cm.). These sconces are pictured on pg. 326 of “Louis C. Tiffany, The Garden Museum Collection”. One of these sconces is also pictured on pp. 326-327 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $60,000 / 80,000

Lot 33

38

34Louis Comfort Tiffany(American 1848-1933)Double Staircase in the Courtyard at BloisBrown ink, watercolour and gouache on textured paper. 18 3/8 inches x 13 1/8 inches (46.5 x 33.5 cm). Signed in ink lower right, Louis C. Tiffany. Provenance: The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 32 of “Louis C. Tiffany, The Garden Museum Collection.” Tiffany’s style evolved as he matured and tried his hand at some of the period’s most prominent art movements, including those of the Hudson River School, Orientalism, and French Impressionism. Unresolved technical issues in his drawing ability- those of pro-portion, depth, and modelling- dogged him through his early years in oils, which led him increasingly to watercolour, of which he became an accomplished exponent. From the 1890’s, as the growing demands of his glass business ate increasingly into his time, his watercolours, often mixed with gouache and pastels, served to entertain and occupy him during his trips to Europe, North Africa, the western United States and Canada, and, in his waning years, southern Florida.

Estimate: $30,000 / 40,000

38

3939

Lot 34

4040

35Tiffany Studios Magnolia Paperweight VaseThe inscription “A-Coll” indicates that Louis Tiffany chose to keep this vase as a part of his personal collection. Inscribed Tiffany-Favrile 118 A-Coll. Height 6 inches (15 cm.). This vase is pictured on pg. 263 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Louis Comfort Tiffany; The Garden Museum Collection, Matsue, Japan.

Estimate: $60,000 / 80,000

Lot 35

41

36Tiffany Studios Drop Head Dragonfly Floor LampThe shade depicts a border of blue bodied and purple winged drag-onflies, with their heads hanging below the lower rim of the shade. The background glass is a pale yellow colored favrile glass inter-spersed with golden favrile glass jewels. The leadwork on the shade is finished in gold dore. The plain “Junior” model bronze floor base is finished in gold dore. The rounded bottom section rises to a plain shaft supporting a six bulb cluster. Shade signed on the interior, with metal tags reading “Tiffany Studios New York 1507”. The bottom plate of the base is impressed Tiffany Studios New York”. Height of lamp including finial 64 inches. Diameter of shade 22 1/2 inches. This lamp is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, but the shade does come housed in a custom-built museum carrying case. Provenance: Garden Museum Collection, Matsue, Japan.

Estimate: $100,000 / 150,000

Lot 36

Tiffany Studios sepia photograph of a magnolia spray, ex-collection Agnes Northrop, courtesy Damien Peduto

42

37Tiffany Studios Pebble Table LampThe shade is comprised of a graduating pattern of florettes, the pebbled petals with glass cen-tres, 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, tri-pod, same as No. 1211 candlestick, $22. This lamp is pictured on pg. 319 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 139 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: Jules Cohen; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 75,000

42

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44

39Tiffany Studios Mosaic Match SafeBronze and mosaic Favrile glass tiles, impressed TIFFANY STUDIOS NEW YORK. Height 3 1/2 inches (9 cm.). 1906 Price List: Model #956, mosaic, plain, diam. 23/4 in., $10. This match safe is pictured on pg. 370 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 432 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 24,000

Lot 39

45

40Tiffany Studios Scarab Stamp BoxThis box was no doubt inspired by the Egyptian Revivalism that enjoyed a surge in popularity towards the end of the 19th century. Here the design on the hinged cover includes two scarab beetles and a central ball of dung ren-dered elegant and charming in moulded iridescent glass and gilt bronze on a multi-coloured mosaic ground. Gilt-bronze, with moulded and mosaic Favrile glass, impressed TIFFANY STUDIOS NEW YORK. Height 2 inches (5 cm.)., Length 4 1/2 inches (11.5 cm.). This stamp box is pictured on pg. 370 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, June 12, 1998, lot 297; The Garden Museum Collection, Matsue, Japan.

Estimate: $60,000 / 80,000

Lot 40

Tiffany Studios photograph showing a selection of its Fancy Goods, including the mosaic Stamp Box, center row, right

46

41Tiffany Studios Reactive Paperweight VaseReactive is a term broadly used to describe the change in colour that occurs both when a single colour of glass is re-fired and when differently coloured batches of glass are fired together; in both instances, the chemical reaction that takes place can generate dramatic new chromatic effects. Whereas such changes can be anticipated and therefore controlled to a certain degree, the firing tem-perature and mix of metallic oxides often provide ‘accidents’ that in many instances result in startling optical effects that may be hard to replicate. Many of these ‘happy’ mistakes were routinely set aside for analysis and further experi-mentation at Corona. Some, as in this example, were reserved for Tiffany’s own collection. Inscribed 18 A-Coll. L.C.Tiffany-Favrile. Height 5 3/8 inches (13.5 cm.). This vase is pictured on pg. 262 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Louis Comfort Tiffany; Christies, New York, June 8, 2000, lot 219; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

4747

Lot 41

48

42Tiffany Studios Nasturtium Paperweight VaseInscribed L.C.T R2032. Height 10 1/4 inches (27.5 cm.). This vase is pictured on pg. 260 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 13, 1998, lot 321; The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

Lot 42

49

43Tiffany Studios Cameo VaseInscribed L.C. Tiffany-Favrile 1746c., with an original paper label from the Tiffany Glass and Decorating Co. Height 7 inches (18 cm.). This vase is pictured on pg. 245 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: John Mecom, Jr., Houston, Texas; Sothebys, New York, October 3, 1992, lot 335; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 43

50

44Tiffany Studios Millefiore Paperweight VaseThe millefiore technique (literally ‘thousand flowers’) has existed since at least the 2nd century B.C. In it, cross-sections of the desired motif, usually a flower-head, are sliced off a long glass rod which carries the pattern through its entire length. These tiny glass segments are applied to the object at hand, which is then reheated to fuse the millefiori into its surface. This monumental example contains several superimposed layers of decoration within a thick outer wall of glass. Inscribed Louis C. Tiffany P2386. Height 11 3/4 inches (30 cm.). This vase is pictured on pg. 261 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 14, 1997, lot 312; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 80,000

50

Lot 44

51

45Tiffany StudiosPrepratory Sketch of Morning Glories, listed as EL239Watercolor on paper. Width 6 7/8 inches, Height 5 1/4 inches (17.5 x 13.5 cm.). Diameter of image 3 1/8 inches (8 cm.). This sketch is pictured on pg. 405 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

51

Lot 45

52

46Tiffany Studios Wisteria Table LampTiffany depicted the different colorations of the wisteria species faithfully in his lamps, creating examples in blue-purple-grey, pink-burgandy 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 3342, Wisteria Lamp and shade, large, $400. This lamp is pictured on pg. 292 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $300,000 / 400,000

Tiffany Studios sepia photograph of flowering wisteria, ex-collection Agnes Northrop, courtesy Damien Peduto

53

Lot 46

53

54

47Pair of Tiffany Studios Wisteria Landscape WindowsThe two panels form part of an origi-nal triptych depicting a mountainous panorama viewed through trellised wisteria blossoms. They are rendered in a vibrant naturalistic palette, and contain a wonderful selection of favrile glass including large selections of confetti glass as well as mottled glass. Rear Layers of plating have been used in the creation of these panels. Unsigned. Each panel measures 47 1/2 in height by 30 1/2 in width, not including the massive museum frame. Dimensions with museum frame: Height 72 1/2 inches, Width 57 1/4 inches. These panels are pictured on pgs. 154 & 155 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sean McNally; Charles Maurer; The Garden Museum Collection.

Estimate: $250,000 / 350,000

54

Lot 47

5555

Lot 47

56

48Tiffany Studios Pony Wisteria Table LampIn the firm’s literature Pony refers to certain miniature mod-els. Today’s collectors refer to such models as Miniatures. This lamp is a smaller version of the popular Large Wisteria Lamp, also in this sale. Shade: Impressed TIFFANY STUDIOS NEW YORK. Base: Impressed TIFFANY STUDIOS NEW YORK 249.Height 15 1/2 inches (39.5 cm.). Diameter of shade 10 inches (25.5 cm.). Base: 1906 Price List: Model 3349, Pony Wisteria, $200 [Base and shade]. This lamp is pictured on pg. 292 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $120,000 / 150,000

56

Lot 48 Tiffany Studios sepia photograph of a wisteria plant, ex-collection Agnes Northrop, courtesy Damien Peduto

57

49Tiffany Studios Cameo Paperweight VaseInscribed L.C.Tiffany-Favrile 7900C. Height 6 1/2 inches (15.5 cm.). This vase is pictured on pg. 245 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Christies, New York, June 12, 1997, lot 88; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 30,000

57

Lot 49

58

50Louis Comfort Tiffany(American 1848-1933)Family Group with OxenOil on board.22 3/4 inches x 35 1/8 inches (58 x 89 cm.). c. 1888. unsigned. Provenance: Artist’s family; Thence by descent; The Garden Museum Collection, Matsue, Japan. Exhibited: The Genius of Louis C. Tiffany, Heckscher Museum, Huntington, New York, July 9-August 15, 1967; Louis Comfort Tiffany: The Paintings, Grey Art Gallery and Study Center, New York University/Faculty of Arts and Science, March 20-May 12, 1979; Masterworks of Louis Comfort Tiffany, Science, March 20-May 12, 1979; Masterworks of Louis Comfort Tiffany, travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. This painting is pictured on pg. 54 of “Louis C. Tiffany, The Garden Museum Collection”, as well as pg. 58 of “Masterworks of Louis Comfort Tiffany”, 1989, Duncan. This painting presumably shows Tiffany’s children, Mary, Hilda, twins Louise and Julia, and his son, Charles Lewis II, with his second wife, Louise, mother of the twins. The loca-tion is documented as Somesvilla, a resort area on Mount Desert Island off the coast of Maine, where the family vacationed. Typically, the figures are painted with their facial features obscured, in this instance beneath broad-rimmed bonnets, revealing the artist’s awareness of his unresolved problems as a portraitist. The high horizon line both pre-vents a deep reading into space and emphasis the flatness.

Estimate: $120,000 / 150,000

58

Family Group with cow, gouache and watercolor on paper, c. 1888, signed lower right, Louis C. Tiffany. A composition en plein air of another family group at Somesville

5959

Lot

50

60

51Tiffany Studios Millefiore Paperweight VaseInscribed L.C.T Y3300. Height 12 1/2 inches (32 cm.). This vase is pictured on pg. 262 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 13, 1998, lot 323; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 30,000

Lot 51

61

52Tiffany Studios Inkstandc. 1902. The quality of the ornamentation on the silver and its perfect stylistic union with that on the glass shows the close collaboration between the glass artisans at Tiffany Studios and the metalsmiths at Tiffany & Co. Favrile glass with silver mount and cover, glass inscribed L.C.T. H212, mount impressed TIFFANY & CO. MAKERS STERLING SILVER C. Height 5 3/4 inches (14.5 cm.). This inkstand is pictured on pg. 381 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 52

62

53Tiffany Studios Apple Blossom Table LampThis 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 exam-ple of a lamp model was identified with a ‘-20’. Another interpretation, less plausible perhaps, is that a dash number identified a special commission; for example if a client requested a specific artistic effect in the model he was ordering- a different colour or hue in the petals or sky - in place of the routine one, this fact was recorded by a dash number. Whatever the reason, dash-number lamps are invariably of surpassing quality. Shade: Impressed TIFFANY STUDIOS NEW YORK 351-1. Base: Impressed TIFFANY STUDIOS NEW YORK 351. Height 28 inches (71 cm.). Diameter of shade 25 inches (63.5 cm.). Shade and base: 1906 Price List: Model #351, Apple Blossom stand and shade, large, $425. This lamp is pictured on pg. 285 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $220,000 / 280,000

An unrecorded Tiffany Studios photograph of trees in Gibraltar, probably from the late 1890s, included in the suitcase of archival documents from Agnes Northrop’s estate sold at a New York auction in the late 1970s. The trees’ gnarled and knotted trunks and exposed root system may well have served as the initial inspiration for the firm’s celebrated edition of treeform table lamp bases (see, for example, that in the Apple Blossom lamp, opposite). The photograph may also have been a design aid for Ms. Northrop in her landscape window compositions

6363

Lot 53

64

54Tiffany Studios Pair of Claw Foot AndironsGilt-bronze surmounted with Favrile glass turtleback tiles, unsigned. With ribbed columns and gadrooned lion’s paw feet, these andirons evoke an 18th century Colonial Revival formality and gentility.Height: 23 1/2 inches (59.5 centimeters).One of these andirons is pictured on p. 353 of “Louis C. Tiffany, The Garden Museum Collection”, as well as pg. 457 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: John Mecom, Jr., Houston, Texas; The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 54

65

55Leslie H. NashSketch of Corona LabPencil on paper.Height 11 5/8 inches, Width 10 1/4 inches (29 1/2 x 26 1/2 cm.). Signed, L.H. Nash. This drawing was a part of the archival collection at The Garden Museum, and is pic-tured on pg. 539 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $1,500 / 2,000

Lot 55

6666

Lot 56

67

56Tiffany Studios Pebbled Lava VaseThere is apparently no description of this technique in the firm’s literature. The insertion of the nacreous protrusions, resembling pebbles or pearls, into the body of the vessel added to the existing technical difficulties of creating lava vases, a reason that so few examples have survived. Many were discarded in the final stages of their creation due to imperfections; especially, the internal fissures that formed during the annealing process. Further examples of pebbled lava vases are in the collections of the Museum of Modern Art, New York, and the Musee des Arts Decoratifs, Paris. Inscribed L.C.Tiffany-Favrile 6904B, with original firm’s paper label. Height 5 1/2 inches (14 cm.). This vase is pictured on pg. 253 of “Louis C. Tiffany, The Garden Museum Collection”, as well as pg. 100 of “Masterworks of Louis Comfort Tiffany”, 1989, Duncan. Exhibited: Masterworks of Louis Comfort Tiffany, The Renwick Gallery, Smithsonian Institution, Washington, D.C., September 29, 1989-March 4, 1990; and The Metropolitan Museum of Art, New York, April 12-September 9, 1990; Masterworks of Louis Comfort Tiffany, travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: David Bellis; The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 120,000

57Tiffany Studios Lava BowlInscribed L.C. Tiffany Favrile Inc. 6081M. Height 6 1/2 inches (16.5 cm.). This bowl is pictured on pg. 250 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 50,000

Lot 57

68

58Tiffany Studios Lava VaseAt 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”. Provenance: Louis Comfort Tiffany; Parke-Bernet Galleries, New York, September 24-28, 1946; Felice and Julia Minucci; The Garden Museum Collection, Matsue, Japan.

Estimate: $250,000 / 350,000

6969

Lot 58

70

59Tiffany Studios Lava VaseInscribed L.C.Tiffany-Favrile 6025K. Height 4 7/8 inches (12 cm.). This vase is pictured on pg. 251 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Christies, New York, November 14, 1980, lot 404; John Mecom, Jr., Houston, Texas; Sothebys, New York, October 3, 1992, lot 284; Private collection; Sothebys, New York, December 5, 1998, lot 660; The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 59

71

60Tiffany Studios Lava EwerInscribed L.C.Tiffany-Favrile 606K, with enamelled accession no. L88.2 GAT. Height 4 1/2 inches (11.5 cm.). This ewer is pictured on pg. 253 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Walter P. Chrysler, Jr.; Sothebys, New York, June 16, 1989, lot 412; The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 60

72

61Tiffany Studios Maple Leaf Table LampShade: Impressed TIFFANY STUDIOS 1999. Base: Impressed TIFFANY STUDIOS NEW YORK S577. Shade: 1913 Price List: Model #1999, 22 inch Maple Leaf, dome, $175. This lamp is pictured on pg. 300 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $180,000 / 250,000

72

Lot 61

73

62Tiffany Studios Mounted Cabinet VaseIt was no doubt Siegfried Bing, the proprietor of the upscale Maison Art Nouveau Bing at 22 rue de Provence, in Paris, and Tiffany’s European representa-tive, distributor and most ardent publicist, who served as the artistic liaison between Tiffany and France’s foremost jewellers and modernist designers. The Maison Vever, a traditional joaillier and orfevrier, was induced by the Art Nouveau mania which swept the French capital towards 1900 to introduce a select line of its own modernist designs, and it was in this spirit that it designed a number of mounts in precious materials for Tiffany glassware. The omni talented Edouard Colonna, who designed household appurtenances and items of personal adorn-ment for Bing, was another invited to create mounts for Tiffany glass. Less is known of the business arrangements between Bing (or Tiffany) and Carl Faberge in Moscow, and H. Schaper, a Berlin jeweller, both of whom also produced mounts for Favrile glassware. Silver-gilt mount by La Maison Vever, Paris, the glass inscribed L.C.T. B1285, the mount impressed VEVER PARIS with a boar’s head hallmark. Height 3 1/8 inches (8 cm.). This vase is pictured on pg. 248 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 30,000

Lot 62

74

63Tiffany Studios Silver Mounted Cameo VaseThe Tiffany & Co. mount impressed: TIFFANY & CO MAKERS STERLING SILVER. Height 14 1/2 inches. This vase is pictured on pg. 247 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 50,000

64Tiffany Studios Silver-mounted VaseThe chased wave and whiplash motifs on the mount are rendered in a vigorous Art Nouveau style uncharacteristic of Tiffany. ‘Many of the vases, bowls, jardinieres, scent-bottles, plaques, and many of the other decorative pieces had no other purpose than to be beautiful, were no less exquisite in their treatment and effect. Some were rich in blues and greens, and others in the russets and golds of autumn. Some were as opalescent as a soap-bubble, and almost as thin, while others were heavy with jeweled effects and rich with gold dust blown into the molten glass. Some were notable mainly in texture and shape, while others had added beauties imparted to them by carving, by cutting through one layer of glass down to another color, or by enrich-ments 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 charac-teristics 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 reflect-ed light, it is utterly transformed by the transmitted light. What at one moment or under one set of conditions seems as soft and scintillating as mother-of-pearl may at another moment or under a different set of con-ditions appear as roseate as a sunset.’ Contemporary commentary on Favrile glass by James L. Harvey in ‘Source of Beauty in Favrile Glass’, Brush and Pencil, January 1902, pp. 175-76. The glass inscribed A1514 L.C.T., the mount stamped STERLING. Height 10 1/2 inches (26.5 cm.). This vase is pictured on pg. 238 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 63

7575

Lot 64

76

65Pair of Tiffany Studios Peacock Wall Ornaments Probably part of a larger decorative scheme for an interior, based on the theme of the peacock. This could have included light fixtures, windows, and enamelware. Dispersed amongst later generations of the original owner, such works often reach today’s market without an early history, as in this instance. The pair in parcel-gilt and patinated metal, inset with Favrile glass jewels, both impressed TIFFANY STUDIOS NEW YORK. Height of each 22 1/2 inches (57 cm.), Width 37 inches (94 cm.), approx. These wall ornaments are pictured on pg. 383 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Renee’s Antiques, New York; Christies, New York, June 7, 2001, lot 62; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

One of a pair Lot 65

Archival Tiffany Studios glass plate photograph of a stuffed peacock that served as a modeling aid

77

66Tiffany Studios Peacock Table LampThe 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 lamp is the largest version of the peacock table lamp. Shade: Impressed TIFFANY STUDIOS NEW YORK. Base: Impressed TIFFANY STUDIOS NEW YORK 23923Height 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: $250,000 / 300,000

77

Lot 66

78

67Tiffany Studios Peacock BowlThe translucency of the enamel on this bowl allows the light to penetrate it and to rebound off the bright surface of the copper underneath, which enhances its luminescence. Adding to the sparkling effect is the iridised finish on the birds’ finely chased plumage. Enamel-on-copper, c. 1900, inscribed L.C.T. EL 85. Height 2 1/2 inches (6 cm.). This bowl is pictured on pg. 403 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Richard Mintzer; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 30,000

Lot 67

79

68Tiffany Studios Favrile Peacock VaseThis vase is nearly identical to the peacock vase displayed at the Grafton Galleries exhibition, London, 1899, illustrated in Horace Townsend, ‘American and French Applied Art at the Grafton Galleries’, International Studio, vol. 8 (1899), p. 41.Inscribed: L.C.T. Favrile E121Height: 23 1/8 inches (58.5 centimeters)This vase is pictured on pg. 233 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 68

80

69Tiffany Studios Silver-mounted Cameo VaseThe wild rose imagery on the glass is replicated in the openwork silver collar. The Tiffany & Co. mount impressed TIFFANY AND CO. MAKERS STERLING SILVER, the glass inscribed L.C.Tiffany-favrile 5402C. Diameter 5 7/8 inches (15 cm.). This vase is pictured on pg. 246 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Lot 69

81

Family group, including Louis and Mary Tiffany and their three children, Mary, Hilda and Charles Lewis II, c. 1881. In his two marriages, Tiffany fathered eight children, of whom six survived infancy. These, in chronological order were: Mary, Charles Lewis II, and Hilda (first marriage); and the twins, Louise Comfort and Julia, and Dorothy (second marriage).

82

70Tiffany Studios Scent Bottle-on-Standc. 1900-5. Inscribed mark Ex. identifies the piece as one displayed at an international exhibition, such as a world’s Fair or one of the annual Paris Salons. The rampant Art Nouveau exu-berance of its foliate mount, uncharacteristic of Tiffany’s standard style suggests that the piece was designed spe-cifically for display in Paris, perhaps at one of the annual Salons, where it would be viewed alongside the enamelled creations of the host nation’s most progressive bijoutiers-orfeviers, including Rene Lalique, Eugene Feuillatre and Fernand Thesmar. Glass with plique-a-jour and champleve enamelled gold mount. Collar and cover impressed TIFFANY & CO. and 18K (twice), bottle inscribed L.C.T 9270, stand inscribed Louis C. Tiffany Ex., impressed TIFFANY & CO.Height on stand 7 1/16 inches (18 cm.), Length of bottle 6 15/16 inches (17.5 cm.). This scent bottle is pictured on pg. 529 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 120,000

71Tiffany Studios Nasturtium Table LampThis large, colorful lamp faithfully captures the beauty of the nasturtium blossoms and leaves. It is paired with a monumental blown favrile glass vase in which the glass is mounted in a heavy bronze bottom plate with tendrils rising up around the lower sections of the glass to securely hold the vase. Shade: Impressed TIFFANY STUDIOS NEW YORK 1506-19. Base: Bronze and blown glass, bronze impressed TIFFANY STUDIOS NEW YORK 22471, glass inscribed Louis C. Tiffany.Height 32 1/2 inches (*2 cm.). Diameter of shade 22 inches (56 cm.). Shade: 1906 Price List: Model #1506, 22 inch Nasturtium. Holden, $140. This lamp is pictured on pg. 289 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Collection, Matsue, Japan.

Estimate: $250,000 / 350,000

Lot 70

83

Lot 71

83

84

72Tiffany Studios Exposition Silver Gilt Mounted Scent Bottle.Cypriote glass, the vermeil (silver-gilt) mount set with an amethyst stopper, c. 1905. An exhibition piece that provides a collaborative effort between the glass blowers at the Corona furnaces and the jewellers on the sixth floor of the Tiffany & Co. building on Fifth Avenue, New York.Impressed: TIFFANY STUDIOS NEW YORK EX STERLING TIFFANY & CO.This bottle is pictured on pg. 533 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $100,000 / 120,000

84

Lot 72

85

73Tiffany 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”. Farnham’s sketch for this bottle is illustrated in John Loring, Louis Comfort Tiffany at Tiffany & Co., New York, 2002, p. 229. Provenance: John Mecom, Jr., Houston, Texas; The Garden Museum Collection, Matsue, Japan.

Estimate: $125,000 / 150,000

85

Lot 73

86

74Louis Comfort Tiffany(American 1848-1933)RoccabrunnaGouache on board. 14 inches x 20 1/3 inches (35.5 x 51.5 cm.). Signed lower right, Louis C. Tiffany, and dated lower left, Roccabrunna France May 8, 1874. Provenance: The Garden Museum Collection, Matsue, Japan. Exhibited: Louis Comfort Tiffany: The Paintings, Grey Art Museum and Study Center, New York University/Faculty of Arts and Sciences, March 20-May 12, 1979This painting is pictured on pg. 33 of “Louis Comfort Tiffany, The Garden Museum Collection”. Tiffany spent the latter part of his 1874 trip to Europe in Mentone on the French Riviera. Roquebrune is on the Route de la Grande-Corniche, the road that traces the Mediterranean coast between Nice and Genoa. The town’s steep elevation, distinct rock formations, stuccoed buildings and ruined 10th century castle proved a popular subject with landscapists in the late 1800s.

Estimate: $35,000 / 50,000

Lot 74

86

87

75Tiffany Studios Clock and Sample SegmentCarved by Joseph Briggs, the two pieces are made of boxwood, the material of choice for many of history’s finest sculptors, notably during the German Renaissance, due to its durability and compact uniform grain, which afforded the carver the highest level of detail. The brass numerals on the dial are set into irregular mother-of-pearl medallions, the intervening spaces on the dial filled with a dense pattern of nacreous florets that glisten in the light. The original key to the clock was recently located by Mr. Neil Harrington, who donated it to the Louis C. Tiffany Garden Museum. As he had in previous international Expositions (1893, 1900, and 1901), Tiffany chose to exhibit some works at the 1904 World’s Fair separately from his father’s firm, even though he served at the time as the latter’s Artistic Director. This fierce measure of independence remained a hallmark of Tiffany’s entire career, no doubt propelling him in St. Louis to present to the world, once again, a dazzling array of virtuoso objects made under his direction by the artist-crafts-men at Tiffany Studios. Clock: Inscribed Louis C. Tiffany Ex 948, a paper label with hand written inscription S.L. 948 04 and further indecipherable notations. Sample Segment: Inscribed Louis C. Tiffany L.C.T 24 J.B. Diameter of clock 9 5/8 inches (24.5 cm), Length of Segment 3 1/2 inches (9 cm.). This clock and segment is pictured on pgs. 358 & 359 of “Louis C. Tiffany, The Garden Museum Collection”. Exhibited: World’s Fair, St. Louis, 1904. Provenance: Joseph Briggs; Briggs Family by descent; Neil Harrington; The Garden Museum Collection, Matsue, Japan.

Estimate: $200,000 / 250,000

Lot 75

87

88

76Tiffany Studios Scent Bottlec. 1900-1905. Cypriote glass with jewelled silver mount. The silver collar and cover embellished with bands of classical floral emblems suggest that the scent bottle was designed by Paulding Farnham. Mount impressed TIFFANY & CO. 925. Length 5 1/4 inches (13.5 cm.). This scent bottle is pictured on pg. 534 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

88

Lot 76

89

77Tiffany Studios Scent Bottlec. 1900-1905. At the time of their manufacture around 1900, containers for fra-grances were described in contemporary literature by several names, including vinaigrette, atomiser, flacon, vial, perfume bottle and scent bottle. The last-mentioned used is used here as a matter of consistency. Glass with silver mount, vial inscribed L.C.T. 0899. Length 4 3/16 inches (10.5 cm.). This scent bottle is pictured on pg. 528 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 25,000

89

Lot 77

90

78Tiffany Studios Exposition Scent Bottle-on-StandGlass, the gold mount set with amethysts, 1900. Stand inscribed Paris Exposition 1900 Louis C. Tiffany 14K, and impressed TIFFANY & CO 8415.7 ¼ in. (19.5 cm.) high Exhibited: Exposition Universelle, Paris, 1900The Art Nouveau theme of its plant mount suggests that the piece was included in the Tiffany Glass and Decorating Co. display rather than in the conserva-tive Tiffany & Co. booth alongside it in the American pavilion.This bottle is pictured on pg. 532 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 100,000

90

Lot 78

91

79Tiffany Studios Covered BoxThe box was probably produced at Tiffany & Co.’s Forest Hill factory.Silver with repousee enamelled decoration, c. 1905. The octagonal lid with gradu-ating bands of bosses, the outer band with raised turquoise enamelled squares.Impressed TIFFANY FURNACES/STERLING/243.Width: 4 3/4 inches (12 centimeters).This box is pictured on pg. 440 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

Lot 79

92

80Tiffany Studios Laburnum Table LampThe Laburnum lampshade provides one of the most successful artistic interpreta-tions of those flowering trees reproduced in lamp form at Tiffany Studios. This shade is mounted on an excellent example of the organic tree root base also known as the bird skeleton base. Shade: Unsigned. Base: Impressed TIFFANY STUDIOS NEW YORK 29349 Height 27 inches (68.5 cm.). Diameter of shade 22 inches (56 cm.).Shade: 1906 Price List: Model #1539, 22 inch Laburnum, for No. 367, irregular edge, $175. Base: 1906 Price List: Model #442, Bird Skeleton, Standard, $90. This lamp is pictured on pg. 282 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 95 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: Joel Schur, Greenwich, CT.; Tiff.look collection, Osaka, Japan; Sothebys, New York, June 11, 1992, lot 285; The Garden Museum Collection, Matsue, Japan.

Estimate: $500,000 / 600,000

Lot 80 detail

93

Lot 80

93

94

81Louis Comfort Tiffany(American 1848-1933)At WorkOil on wood. 16 1/2 inches x 11 1/4 inches ( 42 x 28.5 cm.). probably 1880s, signed lower left, Louis C. Tiffany. The reverse with the hand-written notation At Work on a paper label. Provenance: The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 39 of “Louis C. Tiffany, The Garden Museum Collection”. ‘[Tiffany] was, for some years a very clever painter of oriental phenomena, the attrac-tiveness of which was also appreciated with the same keenness by Mr. Colman and Mr. Swain Gifford. But no more than these painters did he find them exclusively interesting, and though both he and Mr. Colman have clung pretty closely to cathedrals, -represen-tations of which, in general, have a vogue that may be explained on religious grounds, perhaps, - he has ranged as far afield upon occassion as either of the others, and with equally felicitous results. Some of the most attractive of his works that we remember were of the naturally unromantic, not to say hideous, “localities” to be found in this city. In particular, the impression left by a miniature portrait of an uptown green-grocer’s shanty and garden remains with us still.’ Extract from an article by William C. Brownell, ‘The Younger Painters of America’, in the magazine Century, LXXII, 3 (July 1881), p.326, in which mention was made of Tiffany’s affinity for depressed urban areas. The miniature portrait referred to was Duane Street, painted in 1878, which Tiffany showed the following year at the Exposition Universelle Paris

Estimate: $18,000 / 24,000

94

9595

Lot 81

96

82Tiffany Studios CiboriumA ciborium is a covered chalice containing the consecrated wafers or pieces of bread served during the sacrament of Holy Communion. Inscribed 15594 TIFFANY & Co. MAKERS 18KT SOLID GOLD C 1634 Marie E de M Amour Reconnaissance, with original velvet-lined box. 18K. gold, 44.17 ounces, 1903. Height 11 3/4 inches (30 cm.). This ciborium is pictured on pg. 453 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Archbishop Quigley, Chicago, Illinois; The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 100,000

96

Lot 82

97

83Louis Comfort Tiffany(American 1848-1933)Street Scene in AlgiersWatercolour on paper. 13 13/16 x 21 ¼ in (35 x 54 cm.). c. 1880. unsigned. Provenance: Julia Knox Wakerman Tiffany, daughter of the artist; Mary Parker Weaver Tiffany, granddaughter of the artistThis painting is pictured on pg. 43 of “Louis C. Tiffany, The Garden Museum Collection”. During his busy travel and exhibition schedule in the 1870s and 1880s, Tiffany made sever-al trips to Spain, from where he crossed to North Africa. This composition provides a warm and intimate personal recollection of one of those visits in its depiction of a typical kasbah scene in the Algerian capital. In its subtle modulation of a narrow range of colours, the painting reveals the influence of Tiffany’s earliest mentor, George Inness, a tonalist who sought to evoke a poetic mood in his landscapes by the understated interplay of light and shadow. Here, the jumbled displays of fruit, baskets, woven fabrics, and the turbans of the passers-by, highlighted by the slanting rays of the sun, serve as jewel-like spot colours. ‘Rich in architectural design is “A Street Scene in Algiers,” with its groups of picturesque Arabs and fascinating shops with their goods displayed outdoors in the brilliant sunlight of the colorful tropics. It is an achievement to paint such a setting, obtaining the true values of color and the thousand-and-one tones in shadow, half shadow and cast shadow, produced in a climate of intense light. In an analysis of this painting, we cannot but be impressed with the artist’s surety and knowledge in grasping the various requirements: the difficult lines of the archway, the per-spective, the ornamental details- all beautifully drawn and rendered; but the really amazing feature is the attention to and correctness of detail in so many articles, each drawn with the same time, embodying that breadth of effect which melts into the whole, without dis-turbing insistence.’ Commentary on Street scene in Algiers by Rene DeQuelin, in ‘A Many-sided Creator of the Beautiful’, Arts and Decoration, 17 (July 1922), p.177.

Estimate: $40,000 / 60,000

97

Lot 83

98

84Tiffany Studios Tulip Cluster Table LampThis lamp is especially rare due to its placement on a bronze base with elaborate tooling creating a swirling pattern of openings through which green glass was blown. The paring of this very desirable base with the beautifully colored tulip shade results in a stunning combination. Shade: Impressed TIFFANY STUDIOS NEW YORK 1454. Base: Bronze with blown glass, base and canister with impressed Tiffany Glass and Decorating Co. Logo, the canister also impressed TIFFANY STUDIOS NEW YORK 866.S. Height 23 inches (58.5 cm.) , Diameter of shade 16 inches (40.5 cm.). Shade: 1906 Price List: Model #1454, 16 inch Tulip Cluster, dome, $75. This lamp is pictured on pg. 281 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $120,000 / 180,000

Tiffany Studios sepia photograph of tulip blossoms, ex-collection Agnes Northrop, courtesy Damien Peduto

9999

Lot 84

100

85Louis Comfort Tiffany(American 1848-1933). Lake LouiseWatercolour with graphite and gouache on paper. 20 inches x 13 1/3 inches (51 x 34 cm.). 1919 Signed and dated lower left, Louis C. Tiffany 19. Provenance: Artist’s family; Thence by descent; The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 73 of “Louis C. Tiffany, The Garden Museum Collection”. Tiffany’s visit to the Canadian Rockies in 1919 was recorded in a series of sketches of the spectacular mountain panoramas he saw along his route. Late works in the artist’s career, such as this, often combine transparent watercolour pigments with pastel and gouache on coloured papers to achieve a variety of atmospheric effects. ‘It may be remarked that the majority of Tiffany’s water-colors are done in a combina-tion of clear wash and the admixture of white, sometimes referred to as gouache. Nearly all his highlights are touches of solid body-color. Some one may aver that this is not true water-color painting, since it allies itself so closely to oil-painting methods; nev-ertheless, water is the medium. This particular method today has resolved itself into the so-called tempera, the only difference being that the latter colors are all opaque. Everyone to his own liking. There are commendable works executed both ways, accord-ing to the demand of the artist to express his own reaction to the vibration of light, prismatised into myriad tones, depths and high C’s in color.’ Description of Tiffany’s employment of watercolour and gouache by Rene DeQuelin, in ‘A Many-Sided Creator of the Beautiful’, Arts and Decoration, 17 (July 1922), p. 177.

Estimate: $15,000 / 20,000

100

Lot 85

101

86Charles de KayPublished by Doubleday, Page & Co., New York,1914Limited Edition of “The Artworks of Louis C. Tiffany” This book is pictured on pg. 571 of “Louis C. Tiffany, The Garden Museum Collection”. One of the special edition copies of de Kay’s book, printed on parchment. Due to the parchment’s bulkiness- because of its translucency the text was printed on one side only of each page- the cover was provided with a pair of gilt-bronze clasps to prevent the pages from fanning out. Printed on parchment, the cover in painted and gilded card-board with embossed block design, and two clasps, limited edition of 10. 13 inches x 10 inches.

Estimate: $40,000 / 60,000

101

Lot 86

102

87Tiffany Armchairc. 1880. The Kemp residence at 720 Fifth Avenue, New York City, in which this model was included, was one of the first commissions undertaken by Tiffany as an interior designer, in 1879. Kemp (1826-93), who made a fortune in the pharmaceutical field through his firm Lanman & Kemp, was a friend of Tiffany’s father, through whom the introduction was presumably made. The matching side chairs are shown overleaf. White oak, upholstered in studded leather, stamped on the stretcher 5290. Height 41 1/2 inches x Width 24 inches x Depth 21 inches. (105.5 x 61 x 53.5 cm.). This armchair is pictured on pg. 79 of “Louis C. Tiffany, The Garden Museum Collection”. For a view of the chair in it’s original setting in the kemp dining Room, see pg 19 of “Masterworks of Louis Comfort Tiffany”, 1989, Duncan. Provenance: George Kemp, New York; Margaret Caldwell; The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 87

102

103103

104

88Louis Comfort Tiffany(American 1848-1933)Beach Scene, Sea Bright, New JerseyOil on canvas.31 inches x 55 inches (79 x 140 cm.). Signed and dated lower left, Louis C. Tiffany 1919. Provenance: Randy Beach; The Garden Museum Collection, Matsue, Japan.This painting is pictured on pg. 58 of “Louis C. Tiffany, The Garden Museum Collection”. The location of this monumental canvas is identified in notations written on the reverse of a series of photographs (see right) taken by Tiffany of the central groupings in the composition at the time he painted it. This practice became popular amongst artists towards the end of the 19th century following the invention and commercialisation of the camera.

Estimate: $80,000 / 100,000

104

Tiffany on the beach in southern Florida with his granddaughter, Louise Lusk Platt, and Sarah Hanley, 1930

105105

Lot

88

106

89Louis Comfort Tiffany(American 1848-1933)Market SceneOil on board.23 1/2 inches x 17 1/2 inches (59.5 x 44.5 cm.). Undated, unsigned. Provenance: Miss Emilie Schuld, Tiffany’s private secretary; The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 37 of “Louis C. Tiffany, The Garden Museum Collection”. It appears that the locale for this squalid setting was southern France or Spain, perhaps the Arab quarter in a provincial town. Tiffany painted unromantic settings such as this when something positive about them drew his interest- nothing more; unlike the later members of the Eight, or Ashcan School, for whom the depressed inner city served as an instrument for political and social commentary.

Estimate: $18,000 / 24,000

106

Lot 89

107107

108

90Tiffany Studios Flowerform VaseFlowerform vase with a broad undulating mouth. Another vase from the same batch, with a registration number that varies by one digit from this one, is in the collection of the Chrysler Museum, Norfolk, Virginia. Inscribed 02417. Height 14 3/8 inches (36.5 cm.). This vase is pictured on pg. 224 of “Louis C. Tiffany, The Garden Museum Collection”, as well as pg. 98 of “Masterworks of Louis Comfort Tiffany”, 1989, Duncan. Exhibited: Masterworks of Louis Comfort Tiffany, The Renwick Gallery, Smithsonian Institution, Washington, D.C., September 29, 1989-March 4, 1990; and The Metropolitan Museum of Art, New York, April12-September 9, 1990; Masterworks of Louis Comfort Tiffany travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: Pauline Heilman; Sothebys, New York, May 19 and 20, 1982, lot 596A; Sothebys, New York, November 19, 1994, lot 497; The Garden Museum Collection, Matsue, Japan.

Estimate: $250,000 / 350,000

Illustration in The House Beautiful, April 1900, p.278

109109

Lot 90

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91Tiffany Studios Lily Flowerfrom VaseHere the flower is depicted with closed petals, prior to blossoming. Even at the time of their creation, such works were perceived by collectors more as works of art than vessels. Certainly, the vase’s value today pre-cludes its use for anything other than decoration. Inscribed L.C. Tiffany-Favrile 8035HHeight 17 1/2 inches (44.5 cm.). This vase is pictured on pg. 220 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 15,000

92Tiffany Studios Flowerform VaseWith its bulbous foot, elongated column and globular mouth, Tiffany has here integrated the entire organism - bulb, stem and petals- within a sin-gle 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 in 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. Y9065Height 20 1/4 inches (51.5 cm.). This vase is pictured on pg. 225 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $60,000 / 80,000

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93Tiffany Studios Magnolia Landscape WindowCirca 1912.Depicting a flowering magnolia tree in the foreground of a serene land-scape, with a a river meandering down from a mountainous pass to a lake. The setting sun behind the mountains is sending rays of light up into the sky. This effect was achieved by selective acid etching on rear layers of glass. “The inclusion of magnolia blossoms within the composition allowed Tiffany to include a selection of his drapery glass, which he had developed initially to portray the folds in the vestments in his figural windows, an inevitable corollary of his rejection of painted glass. The glass, while still molten, was thrown on to a marver and rolled into a disk. The glassmaker, clad in thick asbestos gloves and armed with tongs, then manipulated the glass mass, as one would pastry dough, by taking hold of it from both ends and pulling and twisting till it fell into folds. Where necessary, pliers were used to form the corrugations. In this window, the deep crevices and undu-lations in the glass capture precisely those of the magnolia petal.” Unsigned. Height of panel 44 1/4 inches by 30 1/4 inches wide. Height with frame 55 inches, Width 40 inches. This window is pictured on pg. 149 of “Louis C. Tiffany, The Garden Museum Collection”. The cover photograph of “Louis Comfort Tiffany” by Alastair Duncan, published 1992. Provenance: Urban Archeology, New York; The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

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Tiffany Studios photograph of a flowering magnolia tree, ex-collection Agnes Northrop, courtesy of Damien Peduto

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94Tiffany Studios Flowerform VaseInscribed o2417Height 14 1/8 inches (36 cm.). This vase is pictured on pg. 225 of “Louis C. Tiffany, The Garden Museum Collection”. Exhibited: Masterworks of Louis Comfort Tiffany, travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 25,000

Lot 94 Tiffany Studios sepia photograph of grape clusters and a poppy plant, ex-collection Agnes Northrop, courtesy of Damien Peduto

Glassware in the Tiffany display at the 1902 Exposition in Turin, including two flowerform vases similar to lot 94

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95Tiffany Studios Elaborate Grape Table LampTwo versions of the Grape model were produced; this one, which is identified as ‘Elaborate’ due to its compact pattern of grape clusters, and the ‘Standard’ version, which has far fewer grapes. Some examples ren-der the grapes in an autumnal palette. Here the fruit is seen in its full summer ripeness. Shade: Impressed TIFFANY STUDIOS NEW YORK 28276. Base: Impressed TIFFANY STUDIOS NEW YORK 1462. Height 28 1/2 inches (72 cm.). Diameter of shade 18 inches (46 cm.).Base: 1906 Price List: Model #348, Grape and shade, No. 432 block, $375. This lamp is pictured on pg. 285 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sotheby Parke Bernet, New York, June 14, 1980, lot 1020; Private collection; Sothebys, New York, June 11, 1992, lot 284; The Garden Museum Collection, Matsue, Japan.

Estimate: $750,000 / 900,000

Lot 95

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96Tiffany Studios Flowerfrom VaseThe stiff depiction of the flower on its flat disc form foot, dates this piece to the firm’s earliest years of glass experimentation. Inscribed L.C. Tiffany favrileHeight 10 1/2 inches (26.5 cm.). This vase is pictured on pg. 213 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 10,000

97John La Farge HollyHocks Window1881Commissioned for the residence of Michael Jenkins of Baltimore, the floral com-position in this window provides a superlative example of La Farge’s secular designs, of which there were unfortunately relatively few compared to those that he executed for ecclesiastical placement. The window invites comparison with Tiffany, his arch rival in the field between 1880 and the late 1890s, at which point the sheer volume of Tiffany’s output, plus his inimitable glass-making facilities, pro-pelled him to an unchallenged position at the top of the stained glass industry. Plagued by ill-health and financial woes, La Farge’s business was by 1900 in decline, and he would never again challenge Tiffany. In 1881, however, when this window was designed, the situation was reversed, with La Farge’s work clearly more advanced stylistically. At the time, he and Tiffany were dependent on the same commercial glasshouses for their supply of opalescent glass, providing a level playing field so to speak, and the crisp design and harmonious bright colours in this composition reveal a greater sensitivity to the medium than that shown by Tiffany (or anyone else) at the time. Unsigned. Panel Height 45 inches, Width 29 1/2 inches (114.5 x 75 cm.). Including frame Height 50 3/4 inches, Width 34 1/2 inches. This window is pictured on pg. 637 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Michael Jenkins, Baltimore; Catholic Ladies’ Home, Baltimore; Unidentified owner, Baltimore; Robert Koch; Sean McNally; The Garden Museum Collection, Matsue, Japan.

Estimate: $80,000 / 100,000

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98Tiffany Studios Cameo Flowerform VaseInscribed L.C.T. W6778Height 14 1/8 inches (36 cm.). This vase is pictured on pg. 223 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Christies, New York, June 12, 1993, lot 386; The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 98

Sketch in an undated Tiffany Studios brochure, c. 1900, entitled Tiffany Favrile Glass

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99Tiffany Studios Flowerform VaseInscribed L.C.T M5288. Height 13 1/2 inches (35 cm.). This vase is pictured on pg. 226 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

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100Tiffany Studios Cobweb Table LampAlso known today in the Tiffany market par-lance as a ‘Spiderweb’, this model was intro-duced around 1900, at the latest in 1901. Designed for combustion fuels, the first examples contained canisters within their baluster bases. To disguise the heavy visual effect that this entailed, a floral pattern rendered in mosaic tiles was added. When the design was modified some years later for electrification, as in this example, the wick and glass chimney were replaced by a 3-light cluster unit. Priced in 1906 at $500, from its inception the Cobweb was an extremely costly work of art that, ipso facto. targeted the firm’s wealthiest patrician clients. It has remained amongst the most aesthetically desirable (and costly) models in Tiffany’s lamp repertoire, both for the successful integration of it’s shade and base, and for the virtuoso level of its hand-craftsmanship. Of the seven known examples of this model this lamp is universally acknowledged to be the best in coloration, glass selection and condition. Shade: unsigned. Base: impressed TIFFANY STUDIOS NEW YORKHeight: 30 1/4 inches. Diameter of shade: 19 inches.1906 Price List: Model #146, Mosaic floral base, Cobweb shade, $500. This lamp is pictured on pgs. 311 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 111 (Fig 47) of “Masterworks of Louis Comfort Tiffany”, Duncan, 1989. Exhibition History: Masterworks of Louis Comfort Tiffany, the Renwick Gallery. Smithsonian Institution, Washington, D.C.. September 29, 1989- March 4, 1990: and the Metropolitan Museum of Art, New York. April 12 - September 9, 1990: Masterworks of Louis Comfort Tiffany, Japanese travelling exhibition (Tokyo, Kobe, Nagoya, and Toyama). January - August 1991. Provenance: Jeffrey Thier; Jack and Harriet Stievelman; The Garden Museum Collection, Matsue, Japan

Estimate upon request

Lot 100

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101Leslie H. Nash Three Paperweight VasesOil on board. Height 13 3/4 inches, Width 18 inches (35 x 45.5 cm.). signed lower right. The reverse carries the notation; (left) ‘Morning Glory glass Place of Honor gold award Paris Salon. Chemical reactive glass only kind ever made Collaboration of LHN, LCT and AJN Prices at $1200 but small crack to neck, so $800’; (centre) ‘Gold Medal Paris Exh. Silver and Br. Medal partly reactive glass, $500’; (right) ‘Gold Medal Panama Pacific Alaska Yukon Paris Ex, $400’. This painting is pictured on pg. 258 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $3,500 / 4,500

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102Tiffany Studios Paperweight VaseIn the ‘paperweight’, technique, the decoration is encased in an outer layer of clear glass which serves both to magnify it and to protect it from damage such as chipping and bruising. The name derives from the process developed by 19th cen-tury French glasshouses, including Baccarat, St. Louis and Clichy, in their manufac-ture of paperweights, perfume bottles, doorstops, etc. These tiny objects of vertu inspired a revival in the technique during the Art Nouveau era in the Graal cre-ations of Simon Gate and Edward Hald at Orrefors, Sweden, and in the intarsia works of Frederick Carder at Steuben in New York State. At Tiffany Furnaces, the technique was known as the Morning Glory technique (paper-weight is a recent generic term), in recognition of Tiffany’s watercolour sketch that inspired its cre-ation. Inscribed L.C.T. Y5617. The pontil enclosing an aperture. Appertures were included in some vessels as the means of drainage. Height 4 inches (10 cm.). This vase is pictured on pg. 257 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 13, 1998, lot 326; The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

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103Tiffany Studios Cabinet Vase‘The new lustre glass made by Mr. Louis Comfort Tiffany, after many experiments, brings the production of metallic lustres to the point which had been attained by the makers of the old Italian and Hispano-Moresque wares, so much sought by collectors. The specimens shown are remarkable for brilliancy, quality, and variety of hue, varying from silvery grey to deep ruby and emerald hues. A new depar-ture has been made by combining the mat effects of an ordinary metallic surface with the chatoyent lustres. Mr. Tiffany makes no secret of the fact that he obtains these results by mixing with the glass the ordinary coloring matters (which are all metallic oxides) in excess of the amount needed for the production of color. But to obtain the right tones in the right place obviously requires great skill in the management of the furnace and it is unlikely that anybody less determined to obtain good results at any cost of labor and time will ever be able to compete with him. In some of the pieces so far turned out the effects obtained in the fur-nace are completed by the engraver, producing a rich naturalistic ornamentation of an entirely new genre.’ Report on Tiffany’s initial experimentation with lustred finishes in The Art Amateur, November 1895, p.113. Inscribed L.C.T. Favrile. Height 3 1/8 inches (8 cm.). This vase is pictured on pg. 230 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

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104Tiffany Studios Cameo VaseIt seems that Tiffany was initially reluctant to incorporate the cameo technique into his glass-making repertoire, perhaps because the public identified it closely with English and European glasshouses, particularly those in Stourbridge, Bohemia and Alsace-Lorraine, and did not want to be seen as imitative. Whatever his reti-cence, he preferred always to achieve his decorative effects within the glass while it was molten. Fortunately, however, he was sufficiently curious about the tech-nique’s potential to retain an Austrian-born engraver, Fredolin Kretschmann, who left Thomas Webb & Sons in Stourbridge, England, for New York in 1892. Kretschmann confirmed his carving skills in several virtuoso pieces accessioned from Tiffany at the time by American museums, but suffered an untimely death in 1898 aged thirty-eight (in an obituary he was listed as Paul Kreischmann, perhaps an attempted anglicisation of his name). He was succeeded some years later by Ernest Flogel, another Viennese engraver, but cameo production remained rela-tively limited, perhaps because it was so labour intensive. Other engravers listed in the firm’s records were Arthur Richter and his son, Arthur, Jr. Collectors can only regret Tiffany’s reluctance to embrace the technique more fully as many of the firm’s carved pieces rival in their microscopic detailing and artistic sensibility the best of those made in England and on the Continent. Inscribed L.C.T. T1123. Height 5 inches (12.5 cm.). This vase is pictured on pg. 242 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Christies, New York, April 1, 1995, lot 246; Private collection; Sothebys, New York, December 6, 1997, lot 501; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Lot 104

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105Tiffany Studios Cameo Paperweight VaseThis vase incorporates two additional procedures to those employed in the stan-dard paperweight techniques available to the glassblowers at the Corona plant. After the application of the clear outer layer of glass, normally the last process employed, the still-molten surface was embedded with pieces of white glass earli-er fashioned with shears on the marver into individual flowerheads. These, after annealing has been concluded, were carved to provide realism. Inscribed L.C.T. W759. Height 3 3/4 inches (9.5 cm.). This vase is pictured on pg. 243 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Collection of Arthur J. and Leslie Nash; Sothebys, New York, November 19, 1983, lot 676; John Mecom, Jr., Houston, Texas; Sothebys, New York, October 3, 1992, lot 218; The Garden Museum Collection, Matsue, Japan.

Estimate: $12,000 / 15,000

Lot 105

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106Tiffany Studios Cameo VaseA special commission, identified by the lower case ‘o’ preceding the registration number, this vase was no doubt made for a wealthy patron. Inscribed L.C.T. o3444. Height 7 inches (18 cm.). This vase is pictured on pg. 243 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, December 12, 1999, lot 439; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Lot 106

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107Tiffany StudiosFloral Vase Watercolor on paper. Height 11 1/4 inches (29 cm.), Width 8 1/2 inches (22 cm.). Dated May 11, 1903. This sketch is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it was a part of the collection. Provenance: Created for Miss. Gay; The Garden Museum Collection, Matsue, Japan. Showing a separate color view of each side with pencil notations throughout.

Estimate: $800 / 1,200

Lot 107

Part of the Tiffany Studios display at the Exposizione d’Arte Decorativa Moderna, Turin, 1902. Illustrated in Dekorative Kunst, November, 1902, p. 57

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108Tiffany Studios Clematis Paperweight BowlInscribed L.C.Tiffany-Favrile 843T. Diameter 6 inches (15 cm.). This bowl is pictured on pg. 257 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 13, 1998, lot 322; The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 18,000

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109Tiffany Studios Dragonfly Table LampThis Dragonfly shade is mounted on one of the most sought after, and rare bases. The base is decorated with three dragonflies in heavy relief bronze and an inlay of iridescent mosaic favrile glass tiles, which continue up the shaft of the base. The shade features fractured (or confetti) favrile glass forming the wings of the blue bodied dragonflies. Shade: Impressed TIFFANY STUDIOS NEW YORK NY 1585. Base: Bronze applied with mosaic glass tiles, impressed TIFFANY STUDIOS NEW YORK 356. Height 20 inches (51 cm.). Diameter of shade: 14 inches (35.5 cm.). Shade: 1913 Price List: Model #1585, 14 inch Dragonfly, for lamp see #356, $50. Base: 1906 Price List: Model #356, Dragonfly, standard, mosaic and metal, small, $100. This lamp is pictured on pg. 304 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

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110Tiffany Studios Flowerform VaseInscribed L.C.T. M2448Height 12 1/8 inches (31 cm.). This vase is pictured on pg. 226 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 18,000

111Seven Tiffany Studios Dessert Plates and a Dinner PlateAll unsigned. Diameter of dinner plate 15 1/4 inches (38.5 cm.), Diameter of dessert plates 8 1/4 inches (21 cm.). These plates are pictured on pg. 271 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 15, 1998, lot 329; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

112Set of Ten Tiffany Studios GobletsIt is easy, as one focuses on the tours de force in Tiffany’s artistic rep-ertoire, to dismiss the voluminous output of commercial glassware generated through nearly thirty years of continuous production at the Corona plant as lacking individuality. Yet if appreciation- aesthetic, his-torical or financial- for this feature in Tiffany’s total oeuvre was for many years absent, it has recently been revived. And not a moment too soon, as the attrition rate of such fragile and often diminutive pieces has been acute. A fresh eye cast on the pastel pink, blue and green wares shown here reveals the grace and understated refine-ment that they can bring to the 21st century tea and dinner table. One goblet broken and repaired.All inscribed L.C.T. 593T. Height of each 5 1/4 inches (14.5 cm.). These goblets are pictured on pg. 267 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys. New York, March 13, 1998, lot 3267; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

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113Tiffany Studios ComportFavrile glass with enamelled gilt metal mount impressed Louis C. Tiffany Furnaces, Inc. 502. Diameter 8 1/5 inches (21 cm.). This comport is pictured on pg. 272 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $1,200 / 1,800

114Set of Three Tiffany Studios Lily ShadesUnusual rare opaque-ish coloration of yellow with red striations. These shades are not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however they do come housed in a custom fitted museum carrying case. Provenance: The Garden Museum Collection.

Estimate: $3,000 / 4,000

Lot 113

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115Tiffany Studios SundialDiameter 12 3/4 inches (32.5 cm.). This piece is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however it comes housed in a custom fit-ted museum carrying case. This piece is pictured on pg. 463 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $5,000 / 7,000

116Tiffany Studios Ash StandTiffany 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, and will be offered in Michaan’s May 2013 sale of Tiffany Studios works and 20th century Decorative Arts. Gilt-bronze, impressed TIFFANY STUDIOS NEW YORK 2033. Height 31 1/4 inches (79.5 cm.). This ash stand is pictured on pg. 388 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $4,000 / 6,000

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117Louis Comfort TiffanyFloor Torchiere Archival DrawingOriginal Tiffany Studios archival drawing for a standing floor torchere. Height 10 inches, Width 6 1/4 inches (25 1/2 x 16 cm.). Signed L.C.T. This drawing was a part of the archival collection at The Garden Museum, and is not pictured in “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

Lot 117

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118Tiffany Studios Jack-in-the Pulpit Flowerform VaseThe domed circular foot is uncharacteristic of the Jack-in-the-Pulpit model, suggesting that this may have been an early form that was modified later. Inscribed L.C.T. 3059Height 12 1/2 inches (32 cm.). This vase is pictured on pg. 226 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

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119Tiffany Studios Rambling Rose Table LampThis lamp is mounted on a very rare bronze base which features green favrile glass blown into the openings in the bronze which exist from just above the elab-orate lower section up to the light cluster. Shade: unsigned. Base: Impressed TIFFANY STUDIOS NEW YORK 25873, with the Tiffany Glass and Decorating Co. Logo. Height 25 inches (63.5 cm.). Diameter of shade 16 inches (40.5 cm.). Shade: 1913 Price List; Model #1466, 16 inch Rambling Rose, cone. Base: 1906 Price List: Model #338, Blown Glass in metal, Pineapple, 4 leaf legs, $80. This lamp is pictured on pg. 309 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

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An article by Doris Herzig in Newsday, February 17, 1967, entitled ‘Tif-fany Treasure Shines Again’ provides information on the history of the six mosaic columns, including lot 120, after they were removed from the Tiffany Studios showroom on Madison Avenue. She wrote, in part, “Laurel Hollow - A small treasure of Louis Comfort Tiffany art works has come to light with the sale of the only remaining part of the late artist’s estate… The works include a stained glass window, six Moorish mosaic columns, five bronze chandeliers with glass cups and a mosaic plaque depicting three disciples. In all their iridescent glory, they have been reposing quietly in an odd arrangement of buildings on Laurel Hol-low Road that started out as a complex of stables and carriage house and was converted by Tiffany in 1918 as living and working quarters for selected artists-in-residence… Mrs. Beatrice Weiss, an antique dealer representing the purchaser of the estate, is planning to exhibit some

of the pieces at the National Antiques Show, which opens in Madison Square Garden Tuesday… The six glass columns frame two glass-domed entrances to the same room, but are not part of the supporting structure. Set predominantly with blue and gold glass tiles in a rope and tassel design, they are crowned with rows of turtle-back glass inserts and elaborate carved, gilded capitals of wood and gesso. They are 12 feet tall and 24 inches in diameter… The total value of the Tiffany works is estimated by Mrs. Weiss at about $75,000. This was described as a conservative estimate by Erwine Laverne, who, with his wife Estelle, in-dustrial designers, bought the property in 1947 from the Louis Comfort Tiffany Foundation and lived there until 1962. After fire destroyed the main Tiffany mansion in 1957, they occupied the only remaining part of the original 600-acre estate”.

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120Tiffany Studios One of the set of six columns salvaged from storage at Laurelton Hall following the fire there in 1957. Of the remaining five columns, a pair is in the collection of the Baltimore Museum of Art, another at the Metropolitan Museum of Art, New York, and another at the Philadelphia Museum of Art. ‘Although the origin of Mosaic work is lost in the dawn of history, the art has been used for hundreds of years when colorful ornamental effects are sought that will stand the test of time. Our Mosaics are made of Tiffany Favrile Glass by cutting sheets of the glass into pieces of proper size and color and setting them in cement. The selection and placing of each piece call for the skill and knowledge of the master craftsman and require the same artistic sense as a stroke of the painter’s brush. Favrile Glass Mosaic is used for walls, ceilings, columns and other decorative surfaces. Because of its limitless range of color and its imperviousness to weather conditions, Tiffany Mosaic forms an excellent material for churches and public or private buildings with an architectural background that permits a rich and colorful decorative treatment.’ Page from a brochure, Activities of Tiffany Studios (n.d., p. 21), promoting the firm’s mosaic department. Mosaic glass, with black painted gesso plinth and jewelled and polychromed gesso capi-tal. Unsigned. height 11 feet 2 inches (340 cm.). This column is pictured on pages 182 & 183 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Tiffany Studios showroom, Madison Avenue, New York; Laurelton Hall, Laurel Hollow, Long Island; Beatrice Weiss; Shepherd Gallery, New York; The Garden Museum Collection, Matsue, Japan.

Estimate: $1,500,000 / 2,000,000

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121Tiffany Studios Favrile Glass Bud VaseUnsigned, with an original paper label from the Tiffany Glass and Decorating Co., in its slightly asymmetrical and dimpled form and its lustred finish, this vase bears the hallmarks of Tiffany’s earliest glass production.Height: 8 1/2 inches (21.5 centimeters).This vase is pictured on pg. 211 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

Lot 121

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122Tiffany Studios Paperweight VaseInscribed: L.C.T. T8468.Height: 7 1/4 inches (18.5 centimeters).This vase is pictured on pg. 262 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 30,000

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123Tiffany Studios Cypriote VaseIn 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 artefacts, 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 pulverised 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.Inscribed: Louis C. Tiffany M2698, with an original paper label from The Tiffany Glass and Decorating Co.Height: 7 inches (18 centimeters).This vase is pictured on pg. 255 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: John Mecom, Jr., Houston, Texas. Sotheby’s, New York, October 3, 1992; lot 387. The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

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124Tiffany Studios Monumental Decorated VaseInscribed: D1210 Louis C. Tiffany with an original paper label from the Tiffany Glass and Decorating, Co. and two others listing a price of $150.00.Height: 17 1/4 inches (45 centimeters).This vase is pictured on pg. 239 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Christie’s, New York, December 16, 1996; lot 275. The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 124

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125Tiffany Studios Mosque LampThe model was no doubt inspired by the small fuel lamps that Tiffany saw on his travels in the Near East. He was fascinated by all types and periods of illu-mination, drawing on ancient Pompeian oil lamps and Italian Renaissance liturgical candelabra, for example, for the designs of two of the firm’s bronze lamp bases. Shade: Favrile glass, inscribed L.C. Tiffany-Favrile, and L.C.T. Favrile on the cover, with decorated octagonal wood base. Height 8 inches (20.5 cm.). Diameter of shade 5 1/2 inches (14 cm.). This lamp is pictured on pg. 317 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $3,000 / 4,000

Lot 125

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126Tiffany Studios Red Decorated Favrile Glass VaseRed vases such as this example were more expensive than other colors and much scarcer since gold coins were added to the molten glass mixture to achieve this color.Inscribed: L.C. Tiffany Inc. Favrile 1120-5183.Height: 5 1/4 inches (13.5 centimeters).This vase is pictured on pg. 240 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: John Mecom, Jr., Houston, Texas. Sotheby’s, New York, October 3, 1992; lot 386. The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 30,000

Lot 126

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127Tiffany Studios Red Decorated VaseThe depth and intensity of the red in this vase, identified as Samian Red in the firm’s literature, are highly prized by today’s collectors, drawing comparison to the sang de boeuf porcelain glazes of the Chinese Ming and Ch’ing dynasties.Inscribed: L.C. Tiffany Favrile 2454L.Height: 9 7/8 inches (25 centimeters).This vase is pictured on pg. 240 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: John Mecum, Jr., Houston, Texas. Sotheby’s, New York, October 3, 1992; lot 281. The Garden Museum Collection, Matsue, Japan.

Estimate: $15,000 / 20,000

Lot 127

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128Tiffany Studios Apple Blossom Table LampThis shade was originally designed as a chandelier with inverted dome, and has been adapted as a table lamp. Shade: Impressed TIFFANY STUDIOS NEW YORK 3967. Base: Impressed TIFFANY STUDIOS NEW YORK 529. Height 28 inches (71 cm.). Diameter of shade 22 inches (56 cm.). Base: 1906 Price List: Model #529, library standard, 15th century. This lamp is pictured on pg. 295 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 247 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: Barbra Streisand; The Garden Museum Collection, Matsue, Japan.

Estimate: $150,000 / 200,000

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Lot 128

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129Tiffany Studios Monumental Experimental VaseInscribed: x2051.Height: 15 5/8 inches (39.5 centimeters).This vase is pictured on pg. 232 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

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Lot 129

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130Louis Comfort Tiffany(American 1848-1933)On The NilePastel on paper laid down on board. 12 inches x 9 inches (30.5 x 23 cm.). 1908, signed Louis Comfort Tiffany, and titled On the Nile. Provenance: Sothebys, New York, June 6, 1996, lot 495A; The Garden Museum Collection, Matsue, Japan. This painting is pictured on pg. 53 of “Louis C. Tiffany, The Garden Museum Collection”. In 1908, returning to the Near East for the first time since the 1870s, Tiffany travelled in a yacht up the Nile, visiting Karnak, Luxor, and Aswan en route. This loose rendering reflects his continuing sensitivity to light and atmospheric conditions and, a late stylistic development in his career, the deviation from natural colours.

Estimate: $15,000 / 20,000

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Lot 130

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131Tiffany Studios InkstandThe lobed vessel decorated with intaglio-carved salmon-pink and emerald-green peony sprays, the mount and cover with swagged bands of green glass beads intersected by cabochon carnelians and, on top, a Mexican fire opal. The clear Chinese influence here is unusual for Tiffany; perhaps it was inspired by some item within his own collection of Oriental wares, such as a silver-mounted snuff bottle from the Chien Lung period (1736-95). Features characteristic of Chien Lung wares within the inkwell include the use of colourless glass in imitation of rock crystal, and the intaglio-carved detailing in the flowers. Cameo Favrile glass with jewelled and enamelled silver cover and mount, 1907, glass inscribed L.C.Tiffany-Favrile T4820. Height 3 1/2 inches (9 cm.). Diameter 5 1/2 inches (13.5 cm.). This inkstand is pictured on pg. 380 of “Louis C. Tiffany, The Garden Museum Collection”. Literature: “The Jewelry & Enamels of Louis Comfort Tiffany”, Janet Zapata, 1993, pg. 144. Exhibited: Masterworks of Louis Comfort Tiffany, travelling Japanese exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: Michael Lerner; The Garden Museum Collection, Matsue, Japan.

Estimate: $75,000 / 100,000

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Lot 131

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132Tiffany Studios Dogwood Table LampBearing a design of all over dogwood blossoms in white and pale pink against a background of green confetti glass throughout. On a bronze base with green brown patina of stylized interlocking leaf petals in two sections rising from a rounded 8 1/2 inch base plate. Shade impressed on metal tag TIFFANY STUDIOS NEW YORK. Base is impressed TIFFANY STUDIOS NEW YORK 566. Height of lamp including finial is 23 inches. This lamp was acquired by The Garden Museum after the publication of “Louis C. Tiffany, The Garden Museum Collection”, and is therefore not pictured. However it is housed in a custom-built museum case. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 90,000

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Lot 132

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133Tiffany Studios Gothic-Style VaseCompleted 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”. Literature: “The Jewelry & Enamels of Louis Comfort Tiffany”, Zapata, 1993, pg. 147. Exhibited: The Silver of Tiffany and Company, 1850-1987, Museum of Fine Arts, Boston, 1987 Provenance: Lillian Nassau, Ltd., New York; Sothebys, New York, June 5, 1996, lot 43; The Garden Museum Collection, Matsue, Japan.

Estimate: $140,000 / 180,000

The 3-building complex at 333-341 Fourth Avenue (now Park Avenue South at 25th Street), Manhattan, that housed Tiffany’s decorating business through its various expansions and corporate name changes, from 1881 until the turn-of-the-century.

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Lot 133

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134Tiffany Studios Parakeets and Goldfish Bowl Tea ScreenManufactured by the Jewellery Department at Tiffany & Co., the tea screen serves as a compendium of enamelling techniques which required several trips to the firing kiln to achieve the different degrees of translucency in the enamel, from the opacity of the parakeets and cherry blossoms to the clarity of the water in the fish bowl. According to John Loring in Louis Comfort Tiffany at Tiffany & Co., New York, 2002, p. 176, tea screens were used to shield spirit lamps under the hot-water ket-tles in tea services. Opaque and plique-a-jour enamel, with 18kt. gold frame and carved boxwood stand, the gold frame inscribed TIFFANY & CO.PP (addorsed) 7. Height without stand 7 1/8 inches (18 cm.), Height with stand 8 inches (20.5 cm.). This screen is pictured on pgs. 432-435 of “Louis C. Tiffany, The Garden Museum Collection”. Literature: “The Jewelry and Enamels of Louis Comfort Tiffany”, Zapata, 1993, pg. 151. Exhibited: Masterworks of Louis Comfort Tiffany, The Renwick Gallery, Smithsonian Institution, Washington, D.C., September 29, 1989-March 4, 1990; and The Metropolitan Museum of Art, New York, April 12-September 9, 1990.; Masterworks of Louis Comfort Tiffany, travelling Japanese exhibi-tion (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991. Provenance: Lee and Ray Grover; Sothebys, New York, March 19, 1994, lot 9; The Garden Museum Collection, Matsue, Japan.

Estimate: $400,000 / 600,000

Lot 134 detail

The tea screen’s hand-engraved signature. The addorsed capital Ps were used by Tiffany & Co. to identify items it displayed at the Panama-Pacific Exposition.

The Parakeets and Fish Bowl window, as illustrated in The Tiffany Glass and Decorating Company’s catalogue for its exhibit at the Columbian Exposi-tion, Chicago, 1893, on which the tea screen was modeled

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Lot 134

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135Tiffany StudiosDesign for a Box Cover with notations. Watercolor on paper. Height 5 7/8 inches, Width 8 7/8 inches (15x22 cm.). Diameter of drawing 3 3/4 inches (9 1/4 cm.). This design is pictured on pg. 405 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

136Tiffany Studios Enamelled Table LampRelatively few enamelled lamp bases were produced. An early example, with pea-cock feather decoration, was included in Siegfried Bing’s pavilion at the 1900 Exposition Universelle, from where it was acquired by the Danish Industrial Arts Museum in Copenhagen. The glass shade on the lamp incorporates a Murano cross-hatched pattern. Shade: Inscribed S 4545. Base: Enamelled, impressed (later) SG 40. Height 22 inches (56 cm.). Diameter of shade 16 inches (40.5). This lamp is pictured on pg. 313 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $125,000 / 175,000

Lot 135

Lot 136 detail

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Lot 136

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137Tiffany Studios Poppy Covered JarThere is an experimental element to this jar in its matt finish and somewhat impressionist detailing. PLEASE NOTE: This lot does not come with a custom fit-ted museum carrying case. Enamel-on-Copper, c. 1900-2, impressed TIFFANY STUDIOS NEW YORK 9150/11, with the Tiffany Glass and Decorating Co. Logo, and inscribed facsimile signature Louis C. Tiffany. Height 9 3/4 inches (25 cm.). This jar is pictured on pg. 413 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, June 6, 2003, lot 362; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Illustrated in Dekorative Kunst, November, 1902, p. 55

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Lot 137

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138Tiffany Studios Dinner Windowapprox. 1890. This window is comprised of a center rectangular section bisected by a depiction in stained glass of a fork, knife, and spoon with the enamelled inscription: “Tis not the food but the content that makes the tables merriment when trobers serves the board. We eat the platters there as goode as meat. A little pipkin with a bit of mutton or of veale in it set on my table (Trouble Free) more than a toast con-tenteth me.” Surrounded by floral vines with silvered leadwork milled to give a naturalistic feeling of branches and interspersed with rough cut jewels all against a clear crackle glass background. Panel Height 17 1/2 inches, Width 45 1/2 inches. With frame Height 21 1/4 inches, Width 50 inches. This window was acquired by the Garden Museum after the publication of “Louis C. Tiffany, The Garden Museum Collection”, and therefore does not appear in the book. Provenance: Christies, New York; The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 15,000

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Lot 138

Lot 138, reflected light

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139Tiffany Studios Easter Lily Memorial Windowc. 1888-1893. The Easter Lily, symbolizing the Resurrection of Christ, was a popular motif employed by the Tiffany Ecclesiastical Department and other stained glass studios for religious commissions in the late 1800s. The window’s somewhat static depic-tion of the outdoors - evident in the horizontal row of flowers and flat mono-chromatic sky - indicates that it was a relatively early work. Around 1900, the same composition was interpreted with more movement, perspective, and nuances of colour. Length including frame 40 inches by 34 inches in height. This window is pictured on pg. 135 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance; The Garden Museum Collection.

Estimate: $40,000 / 60,000

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Lot 139

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140Tiffany Studios Last Supper Mosaic & Bronze PanelThe bronze figures of Christ and His Apostles cast in high relief on a varico-loured mosaic glass ground. The panel is a replication of Lorenzo Ghiberti’s Last Supper, one of the twenty-eight panels of the life of Christ he completed for the doors of the Baptistery in Florence between 1403 and 1424. Mosaic glass and bronze, early 1920’s, impressed lower right, LOUIS C TIFFANY FURNACES INC. TIFFANY STUDIOS NEW YORK ECCL. DEPT 2707. Height 23 inches, Width 43 inches (58.5 x 109 cm.), including separate bronze stand. This panel is pictured on pgs. 450 & 451 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Private collection, Havana, Cuba; The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 70,000

Lot 140 detail

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Lot

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141Tiffany Studios Pottery VaseA member of the umbel family, Queen Anne’s lace was a popular turn-of-the-cen-tury botanical motif, one employed also at Tiffany Studios in bronze tabletop items such as candlesticks and inkstands and in a model for a table lamp base. 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 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, pot-tery 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 under glaze monogram: LCT.Height: 8 inches (20.5 centimeters).This vase is pictured on pg. 460 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 18,000

Lot 141

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142Tiffany Studios Pottery Parrot EwerIt is claimed that Mr. Tiffany, the maker of the beautiful Favrile glass, is experiment-ing in pottery and it is very probable that he is not following beaten paths and that we will see sooner or later some striking and artistic potteries come out of his kilns. But so far nobody knows. “French Pottery”, Keramic Studio, IV (June), 1902, p. 30, provided perhaps the earliest reference to Tiffany’s entry into the pot-tery field, which had drawn his interest during his visits in the 1890’s to the annual Paris Salons and to Siegfried Bing’s Maison Art Nouveau, where the works of prominent French potters such as Dalpayrat, Delaherche and Bigot were displayed. Like that for his enamels and jewelry, much of Tiffany’s early experimentation in ceramics was undertaken in secrecy until such time that he felt he had achieved a sufficiently high degree of artistry and technical proficiency to publicise his prog-ress.Incised under glaze signature: LCT 159.Height: 8 3/4 inches (22 centimeters).This ewer is pictured on pg. 458 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sotheby’s, New York, June 9, 2000; lot 307. The Garden Museum Collection, Matsue, Japan.

Estimate: $10,000 / 12,000

Lot 142

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143Tiffany Studios Crane VaseEnamel-on-copper, c. 1901. With its crane and bamboo motifs and delicate blue-green-beige naturalistic palette, this vase emphasises the stylistic influence exert-ed by Japanese artists on their western counterparts at the fin de siecle. An enamel department was established at the Tiffany Glass and Decorating Co. fac-tory 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 divi-sion, was purchased by Tiffany & Co. on May 3, 1907 and the staffs of both trans-ferred 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.Enamel-on-copper, c. 1901, inscribed SG 96 L.C.T. Height 5 3/4 inches (14.5 cm.). This vase is pictured on pg. 428 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Lillian Nassau, Ltd., New York; The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

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Lot 143

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144Tiffany Studios Bird-of-Prey 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 cop-per in repousse, of chaste and unique design, and covered with an almost inde-structible 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 har-monies of a masterpieces 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 inspection- that is a matter of business which the public has no right to probe. The hint given above is sufficient for the inquiring and the curious.’ James L. Harvey, ‘Source of Beauty in Favrile Glass’, Brush and Pencil, vol.9, 1901, p.176. Enamel-on-Copper, c. 1901, inscribed L.C.T. SG 100. Height 6 1/4 inches (16 cm.). This vase is pictured on pg. 419 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, March 11, 1989, lot 592; Private collection; Sothebys, New York, June 12, 1998, lot 305; The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

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Lot 144

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145Tiffany Studios Daffodil Table LampBearing a profusion of daffodil blossoms against a background of dark green near the lower border shading to lighter green as the shade narrows to the upper aperture. There are two bands of blue glass borders in the lower section of the shade.Shade signed Tiffany Studios New York 1426, impressed into the lower ring of lead-work. The base signed Tiffany Studios New York 28608, bearing the Tiffany Glass and Decorating Co. Monogram. Height of shade 6 1/2 inches, Diameter 13 3/16 inches. Height of lamp including shade 20 inches. This lamp is not pictured in the Garden Museum Catalogue, but is housed in a custom-built museum carrying case. This shade is pictured on pg. 130 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $60,000 / 80,000

Lot 145 detail

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Lot 145

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146Tiffany Studios Beetle Covered BoxThe backs of the repousse beetles have been pierced and the holes filled with speckled red and yellow enamelled markings. Enamel-on-copper, c. 1905, inscribed L.C.T. SG 243. Diameter 2 1/2 inches (6.5 cm.). This box is pictured on pg. 406 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Louis C. Tiffany; Mary Parker Weaver, artist’s granddaughter; The Garden Museum Collection, Matsue, Japan.

Estimate: $18,000 / 25,000

Lot 146

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147Tiffany Studios Covered BoxDepicting a frog on the cover resting on a lily pad floating in water with various pond leaves adorning the sides and reaching onto the cover. The interior of the box is further adorned with a swimming Koi fish. ‘Enamel offers an almost limitless field to the artist, and likewise presents difficul-ties in execution warranted to test the enthusiasm and patience of the most eager. Mr. Louis C. Tiffany has, for some years, been carrying on elaborate experiments in enamels and pastes applied, for the most part, to lamp bodies, small boxes, vases, and the like. He has produced an astonishing range of color, surface and gradations of transparency and translucency, from the absolutely clear to the completely opaque, and by applying his compositions to surfaces of repousse copper, has attained most interesting results.’ Harry W. Bleknap, ‘Jewelry and Enamels’, The Craftsman, June 1903, pp. 179-80. Enamel-on-Copper, c. 1900, impressed with the Tiffany Glass and Decorating Co. Logo and 9041/3. Diameter 4 inches (10 cm.). This box is pictured on pg. 407 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 147

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148Tiffany Studios Curtain Border Floor LampA Tiffany Studios green curtain border shade on a senior floor base. Shade: Impressed with metal tag TIFFANY STUDIOS NEW YORK 595 (number indistinguishable). Base: Impressed TIFFANY STUDIOS NEW YORK 377. Height of lamp with finial 76 inches. Diameter of shade 24 inches. This piece is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however the shade does comes housed in a custom fit-ted museum carrying case. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $70,000 / 90,000

Lot 148

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149Tiffany Studios Chrysanthemum Covered BoxUnlike the vast majority of his enamelwares, in which the vitreous coloured paste was applied with a brush in a blended and totally naturalistic painterly manner, Tiffany has here utilised the medium’s traditional champleve technique (the word derives from champ, the French for field), in which the areas to be enamelled are etched or carved out of the base metal and then filled with powdered enamels that liquefy when heated in a furnace or kiln. There is a handwrought element to this piece, evident in the irregularity in some areas of the walls that separate the petals, that is uncharacteristic of Tiffany’s work, suggesting that it was of an experimental nature. Enamel-on-Copper, c. 1905, inscribed SG 208 L.C.T. Height 2 1/2 inches (6.5 cm.). This box is pictured on pg. 408 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 25,000

Lot 149

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150Tiffany Studios Zinnia Table LampThe lamp’s history is well-documented, indicating that it is a unique work which was neither sold nor duplicated. It remained in the Studio’s inventory when the firm closed following Tiffany’s death in 1933. At that time it was sold by the appointed public receiver, Herman Cohen, to Mrs. Charles Burton, of Baltimore, who bequeathed it on her death in 1975 to her brother, Wallace Groves, of Floroves, Florida. Another acquisition at the time by a member of Mrs. Burton’s family was the Mosaic fountain now installed in the Charles Engelhard Court in the American wing at The Metropolitan Museum of Art, New York. No records have survived to identify with certainty the lamp’s correct name. The shade’s flo-ral pattern provides the only clue- that of flowering zinnias. Shade: unsigned. Base: Mosaic tiles in bronze, impressed TIFFANY STUDIOS NEW YORK. Height 28 1/2 inches (72.5 cm.). Diameter of shade 24 inches (61 cm.). This lamp is pictured on pg. 303 of “Louis C. Tiffany, The Garden Museum Collection”; pg. 20 of “Tiffany Lamps and Metalwork”, by Alastair Duncan; and is pictured on pg. 13, as well as the cover photograph, of “The Art of Louis Comfort Tiffany”, by Vivienne Couldrey. Provenance: Tiffany Studios bankruptcy sale, Washington D.C., March 14-19, 1938; Mrs. Charles Burton, Baltimore, Maryland; Lillian Nassau, Ltd., New York; Burt Sugarman; Christies, New York, March 30, 1985, lot 21; Tiff.look collection, Osaka, Japan; Sothebys, New York, June 11, 1992, lot 287; The Garden Museum Collection, Matsue, Japan.

Estimate: $1,000,000 / 1,500,000

Lot 150 detail

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Lot 150

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151Tiffany Studios ComportFavrile glass with enamelled gilt metal mount. Impressed Louis C. Tiffany Furnaces Inc. 502. Diameter 8 1/5 inches. This comport is pictured on pg. 272 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $1,200 / 1,800

152Tiffany LilyPad FlowerHolderInscribed Louis C. Furnaces Inc. Favrile 6368L, the flower frog inscribed LC Tiffany Favrile 6368L. Diameter 13 inches (33 cm.). This flowerholder is pictured on pg. 239 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, June 6, 1996, lot 490; The Garden Museum Collection, Matsue, Japan.

Estimate: $2,500 / 3,500

Lot 151

Lot 152

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153Tiffany Studios Card TrayGilt-bronze, impressed TIFFANY STUDIOS NEW YORK 1707, inscribed 18827. Diameter 8 7/8 inches (22.5 cm.). 1913 Price List: Model #1707, 9 in. Card tray. This card tray is pictured on pg. 389 of “Louis C. Tiffany, The Garden Museum Collection”, and comes housed in a custom-built museum carrying case. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $200 / 300

154Tiffany Studios Abalone ComportGilt bronze inset with mother-of-pearl discs, impressed TIFFANY STUDIOS NEW YORK 1733. Diameter 8 inches (20.5 cm.). This comport is pictured on pg. 389 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $250 / 350

155Tiffany Studios Card TrayGilt-bronze and enamel, impressed TIFFANY STUDIOS NEW YORK 1707, inscribed 18360. Diameter 8 7/8 inches (22.5 cm.). 1913 Price List: Model #1707, 9 in. Card tray. This card tray is pictured on pg. 388 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $200 / 350

Lot 153

Lot 154

Lot 155

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156Tiffany Studios Favrilefabrique (Linenfold) Table LampLibrary Lamps with parchment and pleated silk shades, part of the selection of non-glass shades offered by Tiffany Studios through the years. The reason that the firm put a selection of Favrilefabrique panelled glass shades imitative of pleated silk into production when it already offered a comparable range of designs in fabric is unrecorded, nor is it known which type, if either, was better received by the buying public. Illustrated in Tiffany Studios: Lamps and Desk Sets, Favrile Glass, Furniture, Oriental Rugs, undated and unpaginated firm’s brochure. Shade: Pressed glass tiles, impressed TIFFANY STUDIOS NEW YORK PAT APPLD FOR 1927 and 3906. Base: Impressed TIFFANY STUDIOS NEW YORK 587.Height 23 1/2 inches (59.5 cm.). Diameter of shade 18 1/2 inches (47.5 cm.). Base: 1913 Price List: Model #587, Pad design lamp. This lamp is pictured on pg. 315 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection.

Estimate: $14,000 / 18,000

Lot 156

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Entry foyer, Laurelton Hall

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Lot 157

157Tiffany Studios Three Panel Clematis SkylightCirca 1915.This skylight was installed in the passageway between the dining and breakfast rooms in the Firestone residence, Harbor Manor, in Akron, Ohio. The home was demolished in 1959.Unsigned.The panels measure: (52 1/2 inches by 73 1/2 inches), (57 1/2 inches by 73 1/4 inches), and (58 1/4 inches by 73 1/4 inches). This window is pictured on pg. 168 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Harvey Firestone, Harbel Manor, Akron, Ohio, c. 1915; Colonel Jake Rudd; Christies, New York, May 26, 1983, lot 337; Private collection Christies, New York, December 10, 1998, lot 349; The Garden Museum Collection, Matsue, Japan

Estimate: $350,000 / 450,000

Tiffany Studios photograph of clematis in the wild, ex-collection Agnes Northrop, courtesy Damien Peduto

196

158Tiffany Studios Dragonfly Table LampThe background in this shade features dichroic favrile glass which appears to be green when unlit and changes to mottled yellow when illuminated.Shade: Impressed TIFFANY STUDIOS NEW YORK 1585. Base: Impressed TIFFANY STUDIOS NEW YORK 337, inscribed 2380. Height 17 3/4 inches (45 cm.). Diameter of shade 14 inches (35.5 cm.). Shade: 1906 Price List: Model #1585, 14 inch Dragonfly, for lamp see no. 356, $50. Base: 1906 Price List: Model #337, Mushroom, standard, small, $90. This lamp is pictured on pg. 306 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $50,000 / 80,000

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Lot 158

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159Tiffany Studios Hexagonal Table LampShade: Panelled glass with turtle back tile finial, impressed TIFFANY STUDIOS NEW YORK. Base: Bronze and turtle-back tiles, impressed TIFFANY STUDIOS 9966.Height 16 3/4 inches (42.5 cm.). Diameter of shade 9 1/2 inches (24 cm.). Shade: 1906 Price List: Model 31565, 10 in. Hexagon, straight panels, turtle back glass on top for #434 lamp, $12. Base: 1906 Price List: Model #434, 1 light, 4 legs, Turtle-back glass in base, slide, $26. This lamp is pictured on pg. 317 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $14,000 / 16,000

160Tiffany Studios Junior Floor Lamp Base With Green Patina and six bulb cluster. Fancy onion pad design, with ribs rising to top of shaft.Each foot impressed 23 on underside. Bottom plate of base impressed TIFFANY STUDIOS NEW YORK 4996. Height 60 9/16 inches. This lamp base does not appear in “Louis C. Tiffany, The Garden Museum Collection”, and does not come housed in a museum carrying case. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $20,000 / 30,000

Lot 159

Lot 160

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162Tiffany Studios HumidorCarved by Joseph Briggs. Here a segment of a tree branch has been transformed into a domestic appliance, one for use in an Edwardian gentleman’s library, ‘den’, or smoking room. The removal of the wood’s burls, often unsightly and therefore of artistic detriment, and of their replacement with conforming pieces of irides-cent Cypriote glass, provided an eye-catching effect. Wood inlaid with sections of Cypriote Favrile glass, inscribed A23614 L.C.T. and (indis-tinctly) 207. Height 4 1/2 inches (11.5 cm.), Length 4 1/2 inches (11.5 cm.).

This humidor is pictured on pg. 356 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 55 of “Masterworks of Louis Comfort Tiffany”, 1989, Duncan. Exhibited: Masterworks of Louis Comfort TIffany, The Renwick Gallery, Smithsonian Institution, Washington, D.C., September 29-March 4, 1990; and the Metropolitan Museum of Art, New York, April 12-September 9, 1990. Provenance: Joseph Briggs; Briggs family, by descent; Howard and Paula Ellman; The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Lot 162

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163Tiffany Studios Milkweed Pod Covered BoxCarved by Joseph Briggs. For a view of the model, seemingly in plaster, see the centre of the work table, pg. 369 in the Garden Museum Collection publication. The model was produced also by Tiffany Studios in silver. Oak, inscribed L.C. Tiffany. Height 4 1/2 inches (11.5 cm.), Diameter 4 1/2 inches (11.5 cm.). This box is pictured on pg. 356 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Joseph Briggs; Briggs family, by descent; Neil Harrington; The Garden Museum Collection, Matsue, Japan.

Estimate: $30,000 / 40,000

Lot 163

Tiffany Studios photograph of milkweed pods with escaping seeds, ex-collection Agnes Northrop, courtesy Damien Peduto

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164Tiffany Studios Scarab ReflectorThis corresponds to lot 54 in the 1946 auction of the Louis Comfort Tiffany Foundation Collection: ‘Favrile glass Hanging Reflector, oval and centering a huge scarab, within a border of flame red leaded glass segments. Fitted for electricity, with suspending bar. Height 15 1/2 inches’. The item sold for $30. The triangular pieces of flame in the reflector’s oval border include an optical phenomenon defined as ‘dichroic’, i.e. of two colours. The term, which did not appear in period literature, is today commonly used to describe sheet glass that appears of one colour when seen by reflected light and of another when seen by transmitted light. Here, the pieces are transformed from a muddy brown when unlit to a dramatic mottled orange-red when illuminated. The term’s origin in a Tiffany context can be traced to Dr. Egon Neustadt, who incorporated it in his description of the various characteristics of Favrile glass. See The Lamps of Tiffany, Fairfield Press, 1970, pp. 26-7. Moulded and leaded glass, unsigned. Height 15 1/2 inches (39.5 cm.), width 10 1/2 inches (26.5 cm.). This reflector is pictured on pg. 328 of “Louis C. Tiffany, The Garden Museum Collection”; as well as pg. 285 of “Tiffany Lamps and Metalware”, by Alastair Duncan. Literature: Alastair Duncan, Tiffany at Auction, New York, 1981, p. 212, #604. Provenance: Christies, New York, April 12, 1997, lot 87; The Garden Museum Collection, Matsue, Japan.

Estimate: $40,000 / 60,000

Illustration of a similar scarab reflector in Brush and Pencil, September, 1899, p. 305

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Lot 164

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165Louis Comfort Tiffany(American 1848-1933)Architectural Study of Urban DwellingsWatercolour on paper. 14 13/16 inches x 13 inches (38 x 33 cm.). 1874, signed and dated lower left, Louis C. Tiffany 1874. Provenance: Julia Knox Weaver Tiffany, daughter of the artist; Mary Parker Weaver, granddaughter of the artist

The Garden Museum Collection, Matsue, Japan.This painting is pictured on pg. 29 of “Louis C. Tiffany, The Garden Museum Collection”. Tiffany travelled 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 preoccupa-tion with the other artistic disciplines made increasing demands on his time.

Estimate: $30,000 / 40,000

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Lot 165

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166Tiffany Studios Cake DishFavrile glass, with enamelled gilt-metal mount impressed LOUIS C. TIFFANY FURNACES INC. 501, with the firm’s logo. Diameter 7 7/8 inches (20 cm.). This cake dish is pictured on pg. 270 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $2,000 / 2,500

167Tiffany Studios BowlInscribed L.C.Tiffany-Favrile with model registration number. Height 3 1/2 inches (9 cm.), Diameter 8 3/4 inches (22 cm.). This bowl is pictured on pg. 269 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, December 6, 1997, lot 518; The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

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Lot 166

Lot 167

Glass tablewares awaiting finishing and inspection in the Tiffany Furnaces storage showroom at Corona, Queens

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168Tiffany Studios BowlInscribed L.C. Tiffany Favrile 5-1925. Height 4 inches (10 cm.), Diameter 10 inches (25.5 cm). This bowl is pictured on pg. 269 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys, New York, December 6, 1997, lot 519; The Garden Museum Collection, Matsue, Japan.

Estimate: $800 / 1,200

169Tiffany Studios ComportInscribed Tiffany-Favrile with registration number and firm’s original paper label. Height 8 1/4 inches (22 cm.). This comport is pictured on pg. 266 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Sothebys. New York, December 6, 1997, lot 518; The Garden Museum Collection, Matsue, Japan.

Estimate: $1000 / 1500

Lot 168

Lot 169

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170Tiffany Studios Cake StandInscribed L.C.Tiffany-Favrile 1580. Height 4 inches (10 cm.), Diameter 10 inches (25.5 cm.). This cake stand is pictured on pg. 269 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $1000 / 1500

171Tiffany Studios Table Lamp BaseIn brown patina with low relief, and embossed surface texture, resting on a six-teen sided round lower plate, continuous to a slender shaft flowing out towards the upper section where it flares in then out again before diminishing to the socket riser supporting three bulb sockets with acorn and chain pulls. Inscribed TIFFANY STUDIOS NEW YORK 585. Height including finial 22 1/4 inches. Diameter of lower plate 7 5/16 inches. This base is not pictured in “Louis C. Tiffany, The Garden Museum Collection”, however is housed in a custom fitted museum case, labeled “Dragonfly Table Lamp”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $3000 / 5000

Lot 170

Lot 171

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172Tiffany Studios Publicationc. 1913. Character and Individuality in Decorations and FurnishingsA very scarce book that is filled with views of the various showrooms and depart-ments at Tiffany Studios. Note: Height 8 3/4 inches, Width 6 1/8 inches.

Estimate: $200 / 300

173Memorials in Glass and Stone Tiffany Studios Publicationc. 1913. This book was a part of the archival collection at The Garden Museum, and is not pictured in “Louis C. Tiffany, The Garden Museum Collection”. Provenance: The Garden Museum Collection, Matsue, Japan.

Estimate: $200 / 300

Lot 172

Lot 173

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174Frank Lloyd Wright Leaded Glass Panelc. 1902-3. Leaded glass panel. Height 67 inches, Width 30 inches. Provenance: The Ward W. Willits residence, Highland Park, Illinois; Christies, New York, December 8, 2009, lot 157; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

Lot 174

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175Frank Lloyd Wright Leaded Skylightc. 1912. Leaded glass skylight. Height 35 1/2 inches, Width 22 1/2 inches. Provenance: The Francis W. Little residence, Wayzata, Minneapolis; Christies, New York, March 11, 2011, lot 16; The Garden Museum Collection, Matsue, Japan.

Estimate: $25,000 / 35,000

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Lot 175

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176Frank Lloyd Wright Side Chair from The Imperial Hotelc. 1916. Unidentified wood, with upholstered seat and backrest. Completed around 1919, the Imperial Hotel in Tokyo survived the powerful earthquake that struck the Tokyo area in 1922, vindicating Wright’s original earthquake-proof design for the structure, which included a foundation that would ride with the earth’s move-ment rather than resist it. The hotel was demolished in 1968. Unsigned. Height 38 inches, Width 16 inches. (96.5 cm x 40.5 cm). This chair is pictured on pg. 644 of “Louis C. Tiffany, The Garden Museum Collection”. Provenance: Imperial Hotel, Tokyo; The Garden Museum Collection, Matsue, Japan.

Estimate: $8,000 / 12,000

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Lot 176

MICHA AN ’ S AUC TIONS IS PROUD TO ANNOUNCE THE SALE IN SOTHEBY ’ S PARIS OF M A STERwORk S OF ART NOU vE AU F O R M E R LY F R O M T H E G A R D E N M U S E U M CO L L E C T I O N , J A PA N

au c ti o n i n Pa r i s 16 Feb rua ry 2013 | en q u i r i e s céci l e V er d i er +3 3 1 53 05 52 81sotHeby’s Galerie cHarPentier 76, rue du FaubourG saint-Honoré 75008 Paris | reGister now at sotHebys.comaG rém ent n °2001- 002 du 25 oc tob re 2001

louis ma jorelle, ‘Aux Orch i dées’ desk maHoGany, tooled le atHer and Gilt b ronze, tHe t wo Gl a ss l amP sHades by daum Frères , 1903

124186_MichaanUS_Paris 2.indd 1 04/10/2012 16:38

211Bond #70044066

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

InquiriesThomas De Donckerthomas@michaans.com(510) 227-2540

Jeffrey O’Learyjeffo@michaans.com(510) 227-2519

19th & 20th Centuries, American & European Fine Art AuctionDecember 1, 2012 at 10am

Preview: November 30 - December 1and by appointment

1. John La Farge (American 1835-1910) Yellow Roses in a Blue Glass Vase, 1879 Watercolor with gouache on paper 11.125 x 15.5 inches Estimate: $150,000/200,0002. Arthur Wesley Dow (American 1857-1922) Golden Willow Oil on canvas, 26.25 x 36.25 inches Estimate: $80,000 / 120,0003. James Abbott McNeill Whistler (American/British 1834-1903) Study of Poppies, 1886 Pastel on paper, with artist’s butterfly motif 10 1/2 x 7 inches Estimate: $25,000/35,000

4. Robert Frederick Blum (American 1857 - 1903) Repose Pastel on paper, 12.5 x 15.5 inches Estimate: $25,000/50,0005. Lilla Cabot Perry (American 1848-1933) Contemplation, Giverny, 1891 Oil on canvas, 45.75 x 35.25 inches Estimate: $60,000 / 90,0006. Theodore Wores (American 1859-1939) Mt Fujiyama from Yokohamo, Japan, 1895 Oil on board, 15.5 x 11.75 inches Estimate: $10,000 / 15,0007. Robert Frederick Blum (American 1857-1903) Temple Grounds with Buddhist Shrine, Uyeno Park, Tokyo Japan, 1890 Ink wash on paper, 9.25 x 10.75 inches Estimate: $2,000 / 4,000

Including these selections from the Garden Museum Collection

Bond #70044066www.michaans.com • (510) 740-0220 • 2751 Todd Street, Alameda, California 94501

Treasures of Tiffany StudiosFrom the Garden Museum and other property

Tiffany and 20th Century Decorative ArtsSaturday, May 11, 2013

Consignments Now Being AcceptedInquiriesAllen Michaanamichaan@michaans.com(510) 227-2503

Bond #70044066www.michaans.com • (510) 740-0220 • 2751 Todd Street, Alameda, California 94501

InquiriesFurniture & Decorative ArtsElizabeth Daltonboo@michaans.com(510) 227-2527

20th Century DesignGreg Favorsgregfavors@michaans.com(510) 227-2512

Jewelry & TimepiecesRhonda Harnessrhonda@michaans.com(510) 227-2525

Furniture, Decorative Arts, Jewelry & Timepieces AuctionDecember 7, 2012 at 10am

Preview: November 30 - December 2and by appointment

1. Victorian, Diamond, Silver Topped, 14K Yellow Gold Pendant Brooch Estimate: $7,000 / 9,000

2. Royal Copenhagen Flora Danica Plates, Cups and Saucers Estimates ranging from $4,000 / 8,000

3. Foutis Diamond, 18K Yellow Gold Bracelet Estimate: $3,750 / 5,000

4. A Warren Platner Large Metal Chair Manufacturer Knoll Estimate: $2,250 / 3,000

5. Victorian Shell Cameo, 14K Yellow Gold Necklace Estimate: $3,000 / 4,000

6. Vincennes Patinated and Gilt Bronze Clock, Retailed by Tiffany & Co., Estimate: $5,000 / 7,000

To learn more about these auctions or to view an online catalog, please visit www.michaans.com.Quality consignments invited.

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Terms and Conditions of SaleSTANDARD CONDITIONS OF SALEThese Conditions of Sale are binding on all purchasers at Auction. Please read carefully.By registering to bid at auction, in person, or through an agent, by absentee bid, or telephone or any other means including the Internet and e-mail, you agree to be bound by these Conditions of Sale (and changes made as noted below.) All property and every lot for sale in our catalogue is offered subject to the following terms and condi-tions, along with any changes that may be published or announced prior to or during a sale by Michaan’s Auctions. (MA). The terms “MA” “us,” “we,” or “our” as used herein all refer to Michaan’s Auctions. Unless otherwise indicated in the catalogue or at time of sale, MA acts at all times solely as the agent for the seller. All sales shall be deemed to occur in California regardless whether by telephone, mail or through the Internet or the physical location of the buyer.DEFINITIONS Hammer price: The highest bid received for a lot upon the fall of the auctioneer’s hammer. Buyer’s premium: The amount paid by the buyer as a percentage of the hammer price and in addition thereto. Purchase price: The aggregate of the hammer, buyer’s premium and applicable taxes or other fees, if any, as may be required by law.Reserve: The minimum price at which the lot may be sold. Buyer: The person or entity who buys property at auction or private sale.Consignor: The seller, or the seller’s representative, on behalf of whom we are selling the Property.Lot: The single item or group of items offered by us for sale.Property: The item or items comprising an auction lot being offered for sale.BUYER’S PREMIUM The Buyer shall pay a Buyer’s Premium which shall be retained by MA as follows: If you choose to pay by check, cashier’s check or cash, the Buyer’s Premium is eighteen percent (18%) per lot up to and including $250,000 plus twelve percent (12%) per lot of any amount in excess of $250,001 up to and including $1,000,000 and ten percent (10%) per lot in excess of $1,000,001. If you choose to pay by credit card (Visa, Mastercard or Discover only) or any other form of payment, the Buyer’s Premium is twenty-one percent (21%) per lot up to and including $250,000 plus fifteen percent (15%) per lot of any amount in excess of $250,001 up to and including $1,000,000 and twelve percent (12%) in excess of $1,000,001. Internet Buyer’s Premium is twenty-three percent (23%) per lot up to and including $250,000 plus eighteen percent (18%) per lot of any amount in excess of $250,001.TERMS OF SALEa. The Purchase of and Payment for PropertyThe sale of a lot shall be to the highest bidder as determined by the auctioneer, in accord with these Conditions of Sale. Title to the lot shall pass with the fall of the Auctioneer’s hammer. Buyer shall pay the Purchase price, as defined above, and such other fees as may be due, in full, within seven (7) days of the auction sale. Sale is not final and property will not be released to Buyer until good funds for all amounts due, are received by MA. Payment may be made (i) in cash, (ii) by wire transfer (additional $15

fee), (iii) by money order or other guaranteed funds, or (iv) by personal check (when buyer’s credit is approved). No lot shall be transferred by Buyer to another person until the sale is final. In the event of partial payment for any lot or lots we shall apply payments, in our discretion, to the lot or lots we select. The Buyer grants MA a security interest in the purchased Property, and we may retain as collat-eral any property purchased and any funds in our possession, to secure a Buyer’s obligations to us, if any. We retain the rights of a secured party under the California Commercial Code. All fees, taxes, pre-miums or other sums due and not paid pursuant to this paragraph shall bear interest at 1.5 % per month from the 8th day following the sale to the date paid in full. b. Collection of PropertyUpon transfer of title, Buyer assumes full responsi-bility, including risk of loss and damage, for the Property. Purchased property shall be removed at Buyer’s expense within fifteen (15) days after the sale becomes final. Property not removed shall be subject to a service fee of $50, and a storage fee, if retained by MA, of 1% of the purchase price per month. MA may also, in its sole discretion, elect to place the Property in a public storage facility at the Buyer’s sole risk, responsibility and expense.c. Liability for delivery of propertyIf, for any reason whatsoever, we are unable to deliv-er the purchased Property to the Buyer, MA shall be liable to the Buyer only for the Purchase price paid by the Buyer and in no event shall we be liable for incidental or consequential damages, including, but not limited to, business interruption or loss of profit.d. Available ShippingAs a service to the purchaser, MA may be able to pack and ship items as set forth in the provisions for shipping in the paragraph following the terms and conditions of sale.THE AUCTION PROCEDUREa. RegistrationBidders must register in advance to bid at auction. (a) If by mail or on the Internet please comply with, sign and send back the requisite form or absentee bid. (b) To telephone bid, Bidders must complete, sign and fax a copy of the Telephone Bid Registration Form, which is available only by calling MA. Telephone lines are limited, and available on a first-come, first-serve basis. Registration to bid by telephone must be completed by 5 p.m. the day prior to the auction. (c) When intending to bid in person, pre register at the desk and obtain a bidding paddle. The auctioneer may refuse to recognize any person not registered and not having a paddle num-ber. MA reserves the right at its sole discretion, to refuse anyone the right to register and participate at an auction.b. AnnouncementsWe may, at the commencement of, or during the Auction, announce changes in or modifications to the Conditions of Sale or descriptions of Property.c. Absentee BidsFor a Buyer’s convenience, absentee bids will be accepted, when properly executed and submitted in a timely manner. However, we neither accept any responsibility to an absentee bidder, nor any liability whatsoever for a failure to execute the absentee bid for any reason. In the event that identical multiple absentee bids are the highest bids received for the same lot then the earliest received of the competing

absentee bids shall prevail at that bid amount.d. Auctioneer’s Discretion The Auctioneer has the absolute discretion to 1) pass a lot or withdraw it from sale at any time prior to its actual sale; 2) refuse to recognize any bidder; 3) refuse to recognize any bid; 4) resolve any dis-pute between bidders or resolve any doubtful bid by deciding who is the successful bidder or nullifying the auction of the lot and reoffering it for sale. The Auctioneer’s decision is binding as to disputes aris-ing at auction. If a dispute arises post sale, our records of the sale shall be conclusive. Both the Auctioneer and MA shall be without any liability whatsoever resulting from the exercise of the dis-cretion referred to herein.e. ReservesAll Property is offered for sale subject to a Reserve unless otherwise stated by us at time of sale. MA may protect the Reserve by an initial bid or contin-ued bidding on behalf of the consignor. Any bids by MA staff after the Reserve is met shall be made only on behalf of registered bidders. Neither the consign-or nor an agent or representative of the consignor is allowed to bid on their own property.DISCLAIMER OF WARRANTIESExcept for warranty of title, neither we nor the Consignor make any warranties, guarantees or rep-resentation, express or implied, with respect to the Property, including, but not necessarily limited to, any implied warranty of “fitness for purpose” or “merchantability.”Any and all statements and descriptions in any cata-logue or elsewhere by MA, relating to age, attribu-tion, authenticity, size, genuineness, provenance, his-torical relevance or significance, physical condition, importance, quality, quantity, rarity, period, culture, source or origin, are presented as statements of qualified opinion only. MA’s disclaimer of liability covers information con-tained in catalogues, and all other printed material published by us, including condition reports. Buyers assume the responsibility to inspect the Property and make their own decision as to the nature, quali-ty and value of the Property.Neither MA nor the Consignor make any warranty or representation with regard to the existence of or the transfer of intellectual property rights, except and to such extent as may, from time to time, be explicitly stated.No employee of MA is authorized to nor shall make any warranty or representation on MA’s behalf, except as stated in the catalog or in any written addendum. ESTIMATES OF VALUEAll estimates of value as published in our Catalogues or elsewhere are statements of qualified opinion as to the range of the price a willing buyer might pay for the Property at auction. The actual price paid at auction or subsequently, may vary substantially from the estimates. MA shall not be liable for any such differential.BUYER’S DEFAULTIf a Buyer fails to pay for purchased Property, or otherwise does not comply with these Conditions of Sale, the Buyer shall be in default. In addition to all remedies available in law, to MA and to the Consignor, the Buyer shall be liable for the entire Purchase price. Additionally, at our option, we may either cancel the sale and retain all payments made by Buyer as well as retain any and all Property of

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Buyer in our possession as security against payment of the sums in default, or we may re-offer the Property for sale, at auction or privately, without reserve. Buyer shall be liable to us and the Consignor for the additional fees, commissions and costs on both sales (including handling, storage and court costs and attorney’s fees) resulting from the cancellation or resale of the Property and in the event of resale, any deficiency which may result.RESCISSIONThe sole and exclusive remedy, available only to the original buyer, is the limited right of rescission set forth herein. MA will cancel the sale of Property if the original buyer establishes to our satisfaction that there has been a breach of the Consignor’s warran-ty of title, or that the identification of Authorship* of the Property as set forth in Bold Type Heading is not substantially correct, based on a fair reading of the Catalogue (as may be amended by posted or announced changes.) IN ALL INSTANCES, YOU MUST GIVE WRITTEN NOTICE TO US WITHIN 30 DAYS OF THE SALE OF THE PROPERTY, SETTING FORTH THE BASIS FOR YOUR CLAIM AND, AT YOUR SOLE EXPENSE AND RISK, RETURN THE PROPERTY IN QUESTION TO MA WITHIN SEVEN (7) DAYS AFTER NOTICE IS GIVEN AND IN THE SAME CONDITION AS WHEN SOLD. Upon review of the claim and the property, if we are satisfied with the bases for your claim and the property is in the same condition it was in when sold, MA will rescind the sale and return to you the Purchase price, unless we have already remitted funds to the Consignor. In that event, and at MA’s sole discretion, MA shall either pay you as provided above, or shall pay you only that portion of the Purchase price retained by us (the Seller’s commission, the buyer’s premium and any sales taxes collected) and on your behalf make demand on the Consignor for the balance and upon receipt of the funds remit same to you. Should the Consignor refuse to return the funds to you or to MA, we shall disclose the Consignor’s identity and assign to you any and all rights MA may have against the Consignor. Any and all liability MA may have as agent for the Consignor shall thereupon terminate.BUYER EXPRESSLY UNDERSTANDS AND AGREES THAT MA SHALL HAVE NO OTHER LIABILITY TO THE BUYER EXCEPT FOR THE RETURN OF THE PURCHASE PRICE AND THAT IN NO EVENT SHALL MA BE LIABLE FOR ANY DAMAGES, INCLUDING BUT NOT LIMITED TO INCIDENTAL, CONSEQUENTIAL OR COMPENSATORY DAMAGES OR LOSS OF PROFIT OR BUSINESS OPPORTUNITY. *Authorship refers to the maker or creator of the Property, and the period, social culture, and origin of the Property as stated in the Bold Type Heading for a given lot in our catalogue. It does not refer to the descriptions which may be contained in the informa-tion below the Bold Type Heading.

MISCELLANEOUS a. Modification: No modification or amendment of the Conditions of Sale shall bind MA unless con-tained 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 unen-forceable, the remaining portion shall be valid and enforceable.c. Successors and Assigns: The Conditions of Sale shall

be binding on all the heirs and assigns of the Buyers and bidders and inure to the benefit of MA’s succes-sors and assigns.d. Jurisdiction, Venue, Choice of Law: Dispute resolution shall occur in Alameda County, California, USA. The provisions of the Conditions of Sale will be con-strued 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 con-dition 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 aboveOPTIONAL PROVISIONS Shipping, insurance packaging and handling of pur-chased lots is at the risk and expense of the pur-chaser. 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 meth-od 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 responsi-bility to obtain a shipping quote for any lot being offered, from an outside shipper, prior to the auc-tion date. (As a courtesy, MA may provide quotes for items to be shipped via UPS). Post sale determi-nation 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 quot-ed, and written confirmation is received that insur-ance has been waived or has been obtained by pur-chaser. Shipment may take up to 21 days after pay-ment 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 media-tion 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 confi-

dential. (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) per-son as arbitrator in accord with AAA rules. The arbitrator shall be an attorney, experienced in com-mercial 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 arbitra-tion shall occur within 60 days of the selection of the arbitrator, in either Oakland or San Francisco, California, unless the parties agree to another loca-tion. 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 writ-ing 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 docu-ments, to be provided to the requesting party within 14 days of written request therefore; (b) Depositions: No more than two (2) per party, pro-vided however, the deposition(s) are to be complet-ed 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 arbitra-tor.

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 # 70044066

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PROPERTY MADE FROM OR CONTAINING MATERIALS FROM ENDANGERED OR PROTECTED SPECIESProperty 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 responsibili-ty or liability for failing to mark such lots. Such material includes, but is not limited to, ivory, tor-toise shell, crocodile skin, whalebone, rhinoceros horn, some species of coral and certain woods.

Prospective buyers are advised that several coun-tries 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 bid-ding on property containing wildlife material. Regulations may vary as the U.S. prohibits importa-tion of articles containing material(s) from species it has designated endangered or threatened if the arti-cles are less than 100 years old.

It shall be the potential buyer’s sole responsi-bility to research and satisfy the require-ments 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, licens-es 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 pur-chased 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, indi-cates 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 art-ist’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 DrawersThird Quarter 18th Century

This heading, with date included, means that the piece is, in our opinion, of the period indi-cated with no major alterations or restora-tions.

George III Mahogany Chest of DrawersThis heading, without the inclusion of the date, indicates that, in our opinion, the piece, while basically of the period, has undergone signifi-cant restoration and alteration.

George III Style Mahogany Chest of DrawersThe inclusion of the word “style” in the head-ing indicates that, in our opinion, the piece was made as an intentional reproduction of an ear-lier style.

BRONZES

Antoine-Louis BaryeThis heading indicates that the casting and pat-ination were done by the artist or with his direct authorization or supervsion.

Cast After a Model by Antoine-Louis BaryeThis 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 SaucerLate 19th Century

This states that the cup and saucer were made at the Meissen factory in the last quar-ter of the 19th Century.

Meissen Porcelain Cup and a SaucerLate 19th Century

Again, this states that the cup and saucer were made at the Meissen factory in the last quar-ter of the 19th Century, but it also indicates that the cup and saucer may not have been “born” together.

Meissen Porcelain Cup and SaucerCirca 1900

This states that the cup and saucer are of Meissen style, and although of the date specified, not nec-essarily made at the Meissen factory.

‘Meissen’ Porcelain Cup and a Saucer19th Century

This states that the cup and saucer are of Meissen style, and although of the date speci-fied, not necessarily made at the Meissen factory.

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

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

Bid Increments

All increments may vary at auctioneer’s discretion.