Michaans Auction

Treasures of Louis C.
Tiffany from the Garden

Museum, Japan
Saturday, November 17, 2012
Michaans Auctions
2751 Todd Street
Alameda, CA 94501
800-380-9822 or 510-740-0220
www.michaans.com
Treasures of Louis C. Tiffany from the
Garden Museum, Japan
November 17, 2012, 1pm
Preview dates:
Friday, November 2, 12pm - 5pm
Saturday, November 3, 10am - 5pm
Sunday, November 4, 9am - 5pm
Saturday, November 10, 10am - 5pm
Sunday, November 11, 10am - 5pm
Friday, November 16, 12pm - 5pm
Day of sale at 9 am to the end of the Auction
or by appointment
Michaans Auctions
2751 Todd Street Alameda, CA 94501
Phone #: 800-380-9822 or 510-740-0220
Fax #: 510-749-7517
Inquiries: View this catalog online at www.michaans.com.

Allen Michaan: extension 103 Additional photos and condition reports available online.
Catalog Design by Andre Salcido

Photography by Jeffrey Lee
Text by Alastair Duncan and Allen Michaan
Front Cover Lot: 100

Back Cover Lot: 93
COPYRIGHT NOTICE
No part of this catalog may be reproduced, stored in a retrieval system or transmitted by any form or
by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permissions of Michaans Auctions.
Michaans Auctions bond # 70044066
Lot 120 detail
Alastair Duncan Allen Michaan Takeo Horiuchi
March 24, 2012, Nagoya, Japan
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 worlds 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 Yorks 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.
1
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 Christies 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. Tiffanys 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 Americas 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 Museums French Art Nouveau Collec-
tions that will occur in the salesrooms of Sothebys 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
2
September 2012
Mr. Horiuchis 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
artists 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 days 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 houses cashier that he
was set to pay for his purchase at that days 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. Horiuchis eye revealed the joke
and generated joint laughter.
Mr. Horiuchis 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 worlds premier Tiffany holdings, was
unthinkable under the weight of such a cataclysmic forecast, bringing Mr. Horiuchis unwavering 20-year
odyssey to a close. For diehard Tiffany enthusiasts in the United States the unimaginable happened: the
worlds 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.
3
1
Tiffany Studios Dressing Table Mirror
c. 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. Tiffanys direction. The
technique on the mirrors 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 firms
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
4
Lot 1
5
2
Tiffany Studios Counter Balance Desk Lamp
Featuring 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.
Estimate: $10,000 / 12,000
Lot 2 3
Tiffany 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 peacocks 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 glassblowers hands- this truly unique art is combined in
these peacocks feathers with the charm of iridescence which bathes the
subtle and velvety ornamentation with an almost supernatural light.
Excerpt (in translation) from Siegfried Bings 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.
Lot 3
Estimate: $2,000 / 2,500
6
4
Tiffany Studios Favrilefabrique (Linenfold) Table Lamp
Using 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.
Estimate: $6,000 / 8,000
5
Set of Eight Tiffany Studios Dessert Plates
All unsigned, one with firms 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 / 12,000
Lot 4
Lot 5
7
6
Tiffany Studios Venetian/ Ninth Century Table Lamp
Part 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 eras 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].
Duncan.
Estimate: $75,000 / 90,000
8
Lot 6
9
Lot 7
7
Tiffany Studios Ninth Century Desk Set
Gilt-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.
Estimate: $4,000 / 6,000
10
Lot 8
8
Louis C. Tiffanys Personal Limoges Tea Service
c. 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 Worlds Fair in Chicago. If
so, the service may pay tribute to an artists 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.
Estimate: $6,000 / 8,000
11
Lot 9
9
Tiffany Studios Turtle Back Tile Clock
This 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
Duncan.
Estimate: $40,000 / 60,000
12
Lot 10
10
Tiffany Studios Mosaic Pen Wiper
A 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
Duncan.
Estimate: $18,000 / 24,000
13
Lot 11
11
Tiffany Studios Enamel Pea-pod Belt Buckle
No clear explanation of the identification marks on Tiffany enamels has emerged
beyond the fact that almost all of the departments production was designated
one of two prefixes: SG or EL. The two series appear to have operated in parallel
from the departments 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;
Estimate: $8,000 / 12,000
14
Lot 12 12
Tiffany Studios Sailing Ship Panel
Mosaic glass, depicting Commerce, this is one of four allegorical panels reputed
to have come from a bank in New York State. The other panels depict a winged
wheel, scales of justice and a medical staff, or caduceus.
unsigned.
Height 75 1/2 inches, Length 151 inches (192 x 383.5 cm.).
This mosaic is pictured on pg. 180 of Louis C. Tiffany, The Garden Museum
Collection.
Provenance: Allen Michaan;
The Garden Museum Collection, Matsue Japan.
Estimate: $200,000 / 300,000
15
Lot 13
13
Tiffany Studios Organic Form Fire Screen
Signed 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.
Estimate: $18,000 / 25,000
16
Lot 14
14
Charles De Kay
Published Doubleday, Page & Co., New York,
1914
The Artwork of Louis C. Tiffany
Printed 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
Tiffanys children, probably around 1912, to provide a record of their fathers
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. Inscription by Tiffany to his younger sister, Louise, on the
This book is pictured on p. 571 of Louis C. Tiffany, The Garden Museum dedication page in lot 14
Collection.
Estimate: $4,000 / 6,000
17
Lot 15
18
15 16
Tiffany Studios Daffodil Table Lamp Tiffany Studios Byzantine Box
This base is a wonderful example of favrile glass blown through bronze. The Bronze, with jewelled and panelled Favrile glass, impressed TIFFANY STUDIOS NEW
shade is especially stirring with its vivid use of confetti glass as a background to YORK 1657.
the blossoms. Height 2 1/2 inches (6.3 cm.), Width 6 3/8 inches (16.2 cm.), Depth 5 7/8 inches
Shade: Impressed TIFFANY STUDIOS NEW YORK 1449. Base: Bronze with blown glass, (14.9 cm.).
impressed TIFFANY STUDIOS NEW YORK and 28621, with the Tiffany Glass and This box is pictured on pg. 372 of Louis C. Tiffany, The Garden Museum
Decorating Co. Logo. Collection; as well as pg. 487 of Tiffany Lamps and Metalware, by Alastair
Height 21 inches (53.5 cm.). Diameter of shade 16 inches (40.5 cm.). Duncan.
Shade: 1906 Price List: Model #1449, 16 in. Daffodil, dome, $75. Base: 1906 Price Provenance: The Garden Museum Collection, Matsue, Japan.
List: Model #372, library standard, Blown Glass in metal, $80. Estimate: $8,000 / 12,000
Collection.
Provenance: David Bellis (shade);
Estimate: $150,000 / 175,000
Lot 16
19
17
Tiffany Studios Apple Blossom Window
Circa 1915.
Depicting an apple tree in full bloom, its 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
20
Lot 17
21
Lot 18
18
Louis Comfort Tiffany
(American 1848-1933)
The Village Peddler
Watercolor on board.
28 inches x 40 inches (71 cm x 101.5 cm.).
1875, signed and dated, lower left, Louis C. Tiffany 1875.
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
22
Lot 19
19
Tiffany 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.
Tiffanys hallmark iridescence followed the lustred wares popularised by Ludwig Lobmeyer in Vienna as early as
1873. The process was improved upon by Nash at Corona, where the salts of certain metals were dissolved into
the glass object while it was still in a molten state. The object was then subjected to a reducing flame, which
brought the metallic coating to the surface. Finally, the surface was exposed in a fume chamber to vapours of tin
and iron chloride which reacted with the metallic coating, causing the surface to dissolve into a multitude of
microscopic cracked lines that provided high reflectivity. The formula was credited by Leslie H. Nash to his father,
Arthur J. Nash, who, he wrote, kept it in a secret even from Tiffany, apparently to protect his job.
Unsigned.
This vase is pictured on pg. 230 of Louis C. Tiffany, The Garden Museum Collection.
Estimate: $10,000 / 12,000
23
Lot 20
24
20
Tiffany Studios Decorated Vase
Decorated with vertical bands of double dot-like motifs,
part of the Persian design series.
Inscribed L.C.T o1663.
This vase is pictured on pg. 237 of Louis C. Tiffany, The
Garden Museum Collection.
Provenance: Minna Rosenblatt;
Estimate: $12,000 / 15,000
21
Tiffany Studios Saxifrage Candlestick
Like his contemporary, Emile Galle in France, Tiffany drew
artistic inspiration from the humblest species of meadow
plants, such as the Wild Carrot, Queen Annes Lace and in
this instance, an herb which grows in the clefts of rocks.
Here, the plants 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,
Estimate: $15,000 / 20,000
Lot 21
25
Lot 22
22
Tiffany Studios Tea and Coffee Service
Commissioned 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.
Estimate: $50,000 / 60,000
26
Lot 23
23
Tiffany Studios Alamander Chandelier
Depicting 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;
Estimate: $200,000 / 250,000
Lot 23 unlit
27
Lot 25
25
Tiffany Studios Mosaic Dragonfly Trivet
Bronze 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.
Estimate: $15,000 / 20,000
Lot 24
24
Tiffany Studios Template for a Dragonfly Trivet
Ink on lined paper.
Unsigned.
Template pictured on pg. 377 of Louis C. Tiffany, The Garden Museum
Collection.
Provenance: Mrs. Haas, niece of a Tiffany Studios employee;
Estimate: $800 / 1,200 Photograph, c. 1902, of Joseph Briggs and Clara Driscoll with various
works in progress
28
26
Tiffany Studios Hanging Cameo Glass Globe
Carved 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
Group of glassware and a dragonfly trivet

in the Tiffany display at the 1902 Exposition,
Turin
Lot 26
29
27
Leslie H. Nash
Two Aquamarine Vases
Pencil 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,
Japan.
Estimate: $800 / 1,200
Lot 27
28
Tiffany Studios Aquamarine Vase
Introduced 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.
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;
Estimate: $100,000 / 120,000
30
Lot 28
31
29
Tiffany Studios Table Lamp
Although identified by its model number in the firms 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].
Duncan.
Estimate: $10,000 / 15,000
30
Tiffany Studios Peony Table Lamp
c. 1898.
The crab base was amongst the firms 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 firms 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.
Collection.
Estimate: $200,000 / 300,000
Lot 29
Tiffany Studios sepia

photograph of peony
sprays, ex-collection
Agnes Northrop,
courtesy Damien Peduto
32
Lot 30
33
31
Tiffany Studios Morning Glory Paperweight Vase
The 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 firms 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 3309J
Height 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;
Estimate: $80,000 / 120,000
Period photograph of Morning Glory vases with a notation by Leslie H. Nash
34
Lot 31
35
Lot 32
32
Tiffany Studios Table Lamp Base with Blown Glass Body
This 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.
Estimate: $70,000 / 90,000
36
Lot 33
33
Pair of Tiffany Studios Wall Sconces
Comprised 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 dart than sources of light per se, an observation that can be made about
a majority of Tiffanys 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
Estimate: $60,000 / 80,000
37
34
Double Staircase in the Courtyard at Blois
Brown 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.
Collection.
Tiffanys style evolved as he matured and tried his hand at some of the periods 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
1890s, 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
Lot 34
39
35
Tiffany Studios Magnolia Paperweight Vase
The 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.
Collection.
Provenance: Louis Comfort Tiffany; The Garden Museum Collection, Matsue,
Japan.
Estimate: $60,000 / 80,000
Lot 35
40
Tiffany Studios sepia photograph of a magnolia spray,
ex-collection Agnes Northrop, courtesy Damien Peduto
36
Tiffany Studios Drop Head Dragonfly Floor Lamp
The 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
41
37
Tiffany Studios Pebble Table Lamp
The 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;
Estimate: $50,000 / 75,000
Lot 37
42
Lot 38 38
Louis Comfort Tiffany landing in Tangier around May 5 via the Straits of Gilbraltar. This canvas,
(American 1848-1933) which has a formal, if not impersonal, stiffness to it, depicts the outskirts of
Algerian Scene a typical Arab town, its domed mosques visible in the distance. Absent is the
Oil on canvas. natural flow and intimacy of the artists more mature works (opposite), in
24 inches x 36 inches (61 x 91.5 cm.). which he tried to capture the fleeting images of his travels, rather than to
c. 1870, signed lower left, Louis C. Tiffany. detail them precisely. Tiffany first exhibited his North African paintings, small
Provenance: The Garden Museum Collection, Matsue, Japan. figure studies, and watercolours at the combined winter exhibition of the
This painting is pictured on pg. 47 of Louis Comfort Tiffany, The National Academy of Design and the American Society of Painters in Water
Garden Museum Collection. Colors in 1871.
Family records show that Tiffany made his first trip to North Africa in 1870, Estimate: $40,000 / 60,000
43
Lot 39
39
Tiffany Studios Mosaic Match Safe
Bronze and mosaic Favrile glass tiles, impressed TIFFANY STUDIOS NEW YORK.
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
Duncan.
Estimate: $18,000 / 24,000
44
Lot 40
40
Tiffany Studios Scarab Stamp Box
This 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;
Estimate: $60,000 / 80,000
Tiffany Studios photograph showing a selection of its Fancy Goods,

including the mosaic Stamp Box, center row, right
45
41
Tiffany Studios Reactive Paperweight Vase
Reactive 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 Tiffanys own
collection.
Inscribed 18 A-Coll. L.C.Tiffany-Favrile.
Collection.
Provenance: Louis Comfort Tiffany;
Christies, New York, June 8, 2000, lot 219;
Estimate: $50,000 / 70,000
46
Lot 41
47
Lot 42
42
Tiffany Studios Nasturtium Paperweight Vase
Inscribed L.C.T R2032.
Collection.
Estimate: $18,000 / 25,000
48
Lot 43
43
Tiffany Studios Cameo Vase
Inscribed L.C. Tiffany-Favrile 1746c., with an original paper label from the Tiffany Glass
and Decorating Co.
Collection.
Provenance: John Mecom, Jr., Houston, Texas;
Sothebys, New York, October 3, 1992, lot 335;
Estimate: $25,000 / 35,000
49
Lot 44
44
Tiffany Studios Millefiore Paperweight Vase
The 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.
Collection.
Estimate: $50,000 / 80,000
50
Lot 45
45
Tiffany Studios
Prepratory Sketch of Morning Glories, listed as EL239
Watercolor 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.
Estimate: $800 / 1,200
51
Tiffany Studios sepia photograph of flowering wisteria, ex-collection Agnes Northrop, courtesy Damien Peduto
46
Tiffany Studios Wisteria Table Lamp
Tiffany depicted the different colorations of the wisteria species faithfully in his
lamps, creating examples in blue-purple-grey, pink-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.
Collection.
Estimate: $300,000 / 400,000
52
Lot 46
53
47
Pair of Tiffany Studios
Wisteria Landscape
Windows
The 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
Provenance: Sean McNally;
Charles Maurer;
Estimate: $250,000 / 350,000
Lot 47
54
Lot 47
55
48
Tiffany Studios Pony Wisteria Table Lamp
In the firms literature Pony refers to certain miniature mod-
els. Todays 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
Lot 48 Tiffany Studios sepia photograph of a wisteria

plant, ex-collection Agnes Northrop, courtesy
Damien Peduto
56
56
Lot 49
49
Tiffany Studios Cameo Paperweight Vase
Inscribed L.C.Tiffany-Favrile 7900C.
Collection.
Provenance: Christies, New York, June 12, 1997, lot 88;
Estimate: $25,000 / 30,000
57
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
50
Family Group with Oxen
Oil on board.
22 3/4 inches x 35 1/8 inches (58 x 89 cm.).
c. 1888. unsigned.
Provenance: Artists family;
Thence by descent;
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;
Collection, as well as pg. 58 of Masterworks of Louis Comfort Tiffany, 1989,
Duncan.
This painting presumably shows Tiffanys 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 artists
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
Lot 50
59
Lot 51
51
Tiffany Studios Millefiore Paperweight Vase
Inscribed L.C.T Y3300.
Collection.
Estimate: $25,000 / 30,000
60
Lot 52
52
Tiffany Studios Inkstand
c. 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.
This inkstand is pictured on pg. 381 of Louis C. Tiffany, The Garden Museum
Collection.
Estimate: $25,000 / 35,000
61
An unrecorded Tiffany Studios photograph of trees in Gibraltar, probably from the late 1890s, included in the suitcase of archival documents from
Agnes Northrops 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 firms 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
53
Tiffany Studios Apple Blossom Table Lamp
This lamp bears a dash number (351-1). The reason dash numbers were appended to
some models remains unresolved. One interpretation is that if, on completion, a
shade was considered by the quality control official at the Tiffany works to be of
exceptional artistic and technical quality, it was assigned a dash number, and that
these numbers were allocated sequentially; for example, the twentieth superior 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.
Estimate: $220,000 / 280,000
62
Lot 53
63
Lot 54
54
Tiffany Studios Pair of Claw Foot Andirons
Gilt-bronze surmounted with Favrile glass turtleback tiles, unsigned. With ribbed
columns and gadrooned lions 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.
Estimate: $40,000 / 60,000
64
Lot 55
55
Leslie H. Nash
Sketch of Corona Lab
Pencil 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.
Estimate: $1,500 / 2,000
65
Lot 56
66
Lot 57
56 57
Tiffany Studios Pebbled Lava Vase Tiffany Studios Lava Bowl
There is apparently no description of this technique in the firms literature. The Inscribed L.C. Tiffany Favrile Inc. 6081M.
insertion of the nacreous protrusions, resembling pebbles or pearls, into the Height 6 1/2 inches (16.5 cm.).
body of the vessel added to the existing technical difficulties of creating lava This bowl is pictured on pg. 250 of Louis C. Tiffany, The Garden Museum
vases, a reason that so few examples have survived. Many were discarded in the Collection.
final stages of their creation due to imperfections; especially, the internal fissures Provenance: The Garden Museum Collection, Matsue, Japan.
that formed during the annealing process. Further examples of pebbled lava vases Estimate: $40,000 / 50,000
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 firms paper label.
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;
Provenance: David Bellis;
Estimate: $80,000 / 120,000
67
58
Tiffany Studios Lava Vase
At 12 1/2 inches in height and weighing about 13 lbs., this is one of the most
monumental lava vases recorded, a factor no doubt in Tiffanys decision to
reserve it as a study piece. Another reason is the satiny salmon iridescence on
the gold volcanic flow. This vase remained in Tiffanys 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.
Collection.
Provenance: Louis Comfort Tiffany;
Parke-Bernet Galleries, New York, September 24-28, 1946;
Felice and Julia Minucci;
Estimate: $250,000 / 350,000
68
Lot 58
69
Lot 59
59
Tiffany Studios Lava Vase
Inscribed L.C.Tiffany-Favrile 6025K.
Collection.
Provenance: Christies, New York, November 14, 1980, lot 404;
John Mecom, Jr., Houston, Texas;
Private collection;
Sothebys, New York, December 5, 1998, lot 660;
Estimate: $30,000 / 40,000
70
Lot 60
60
Tiffany Studios Lava Ewer
Inscribed L.C.Tiffany-Favrile 606K, with enamelled accession no. L88.2 GAT.
This ewer is pictured on pg. 253 of Louis C. Tiffany, The Garden Museum
Collection.
Provenance: Walter P. Chrysler, Jr.;
Estimate: $30,000 / 40,000
71
61
Tiffany Studios Maple Leaf Table Lamp
Shade: Impressed TIFFANY STUDIOS 1999. Base: Impressed TIFFANY
STUDIOS NEW YORK S577.
Shade: 1913 Price List: Model #1999, 22 inch Maple Leaf, dome, $175.
This lamp is pictured on pg. 300 of Louis C. Tiffany, The Garden
Museum Collection.
Estimate: $180,000 / 250,000
Lot 61
72
Lot 62
62
Tiffany Studios Mounted Cabinet Vase
It was no doubt Siegfried Bing, the proprietor of the upscale Maison Art
Nouveau Bing at 22 rue de Provence, in Paris, and Tiffanys European representa-
tive, distributor and most ardent publicist, who served as the artistic liaison
between Tiffany and Frances 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 boars head hallmark.
Collection.
Estimate: $20,000 / 30,000
73
63
Tiffany Studios Silver Mounted Cameo Vase
The Tiffany & Co. mount impressed: TIFFANY & CO MAKERS STERLING
SILVER.
Height 14 1/2 inches.
Collection.
Estimate: $40,000 / 50,000
64
Tiffany Studios Silver-mounted Vase
The chased wave and whiplash motifs on the mount are rendered in a
vigorous Art Nouveau style uncharacteristic of Tiffany.
Many of the vases, bowls, jardinieres, scent-bottles, plaques, and many of
the other decorative pieces had no other purpose than to be beautiful,
were no less exquisite in their treatment and effect.
Some were rich in blues and greens, and others in the russets and golds
of autumn. Some were as opalescent as a soap-bubble, and almost as thin,
while others were heavy with jeweled effects and rich with gold dust
blown into the molten glass. Some were notable mainly in texture and
shape, while others had added beauties imparted to them by carving, by
cutting through one layer of glass down to another color, or by 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.
Collection.
Estimate: $25,000 / 35,000
Lot 63
74
Lot 64
75
One of a pair Lot 65
65
Pair 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 todays 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: Renees Antiques, New York;
Christies, New York, June 7, 2001, lot 62;
Estimate: $25,000 / 35,000
Archival Tiffany Studios glass plate photograph of a stuffed peacock that

served as a modeling aid
76
66
Tiffany Studios Peacock Table Lamp
The Peacock was one of Tiffanys 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
23923
Height 25 inches (63.5 cm.), Diameter of shade
18 inches (46 cm.).
1906 Price List: Model #224, Peacock, large,
$115 [shade and base]
Tiffany, The Garden Museum Collection.
Provenance: The Garden Museum Collection,
Matsue, Japan.
Estimate: $250,000 / 300,000
Lot 66
77
Lot 67
67
Tiffany Studios Peacock Bowl
The 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.
This bowl is pictured on pg. 403 of Louis C. Tiffany, The Garden Museum
Collection.
Provenance: Richard Mintzer;
Estimate: $25,000 / 30,000
78
68
Tiffany Studios Favrile Peacock Vase
This 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 E121
Height: 23 1/8 inches (58.5 centimeters)
Collection.
Estimate: $25,000 / 35,000
Lot 68
79
Lot 69
69
Tiffany Studios Silver-mounted Cameo Vase
The wild rose imagery on the glass is replicated in the openwork silver collar.
The Tiffany & Co. mount impressed TIFFANY AND CO. MAKERS STERLING SILVER, the
glass inscribed L.C.Tiffany-favrile 5402C.
Collection.
Estimate: $50,000 / 70,000
80
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).
81
70
Tiffany Studios Scent Bottle-on-Stand
c. 1900-5.
Inscribed mark Ex. identifies the piece as one displayed at
an international exhibition, such as a worlds Fair or one
of the annual Paris Salons. The rampant Art Nouveau exu-
berance of its foliate mount, uncharacteristic of Tiffanys
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 nations 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.
Japan.
Estimate: $80,000 / 120,000
71
Tiffany Studios Nasturtium Table Lamp
This 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
Provenance: The Garden Collection, Matsue, Japan.
Estimate: $250,000 / 350,000
Lot 70
82
Lot 71
83
72
Tiffany 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,
Matsue, Japan.
Estimate: $100,000 / 120,000
Lot 72
84
73
Tiffany Studios Scent Bottle
c. 1900.
Designed by Paulding Farnham, glass with guilloche
(engine-turned) and enamelled gold mount set
with twelve diamonds and an upper peridot.
Mount impressed TIFFANY & CO.
Length 4 3/8 inches (11 cm.).
This scent bottle is pictured on pg. 531 of Louis
C. Tiffany, The Garden Museum Collection.
Farnhams sketch for this bottle is illustrated in
John Loring, Louis Comfort Tiffany at Tiffany & Co.,
New York, 2002, p. 229.
Estimate: $125,000 / 150,000
Lot 73
85
Lot 74
74
Roccabrunna
Gouache 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.
Exhibited: Louis Comfort Tiffany: The Paintings, Grey Art Museum and Study
Center, New York University/Faculty of Arts and Sciences, March 20-May 12, 1979
This 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 towns 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
86
Lot 75
75
Tiffany Studios Clock and Sample Segment
Carved by Joseph Briggs, the two pieces are made of boxwood, the material of
choice for many of historys 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 Worlds Fair separately from his
fathers firm, even though he served at the time as the latters Artistic Director.
This fierce measure of independence remained a hallmark of Tiffanys 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
Exhibited: Worlds Fair, St. Louis, 1904.
Provenance: Joseph Briggs;
Briggs Family by descent;
Neil Harrington;
Estimate: $200,000 / 250,000
87
76
c. 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
Estimate: $50,000 / 70,000
Lot 76
88
77
c. 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
Estimate: $20,000 / 25,000
Lot 77
89
78
Tiffany Studios Exposition Scent Bottle-
on-Stand
Glass, the gold mount set with amethysts, 1900.
Stand inscribed Paris Exposition 1900 Louis C.
Tiffany 14K, and impressed TIFFANY & CO 8415.
7 in. (19.5 cm.) high
Exhibited: Exposition Universelle, Paris, 1900
The 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.
Matsue, Japan.
Estimate: $80,000 / 100,000
Lot 78
90
Lot 79
79
Tiffany Studios Covered Box
The 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.
Estimate: $18,000 / 25,000
91
Lot 80 detail
80
Tiffany Studios Laburnum Table Lamp
The 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.
Duncan.
Provenance: Joel Schur, Greenwich, CT.;
Tiff.look collection, Osaka, Japan;
Estimate: $500,000 / 600,000
92
Lot 80
93
81
At Work
Oil 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.
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-grocers
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 Tiffanys
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
Lot 81
95
Lot 82
82
Tiffany Studios Ciborium
A 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;
Estimate: $70,000 / 100,000
96
Lot 83
83
Street Scene in Algiers
Watercolour on paper.
13 13/16 x 21 in (35 x 54 cm.).
c. 1880. unsigned.
Provenance: Julia Knox Wakerman Tiffany, daughter of the artist;
Mary Parker Weaver Tiffany, granddaughter of the artist
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 Tiffanys 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 artists 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
Tiffany Studios sepia photograph of tulip blossoms, ex-collection Agnes Northrop, courtesy Damien Peduto
84
Tiffany Studios Tulip Cluster Table Lamp
This lamp is especially rare due to its placement on a bronze base with elaborate
tooling creating a swirling pattern of openings through which green glass was
blown. The paring of this very desirable base with the beautifully colored tulip
shade results in a stunning combination.
Shade: 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.
Collection.
Estimate: $120,000 / 180,000
98
Lot 84
99
Lot 85
85
(American 1848-1933).
Lake Louise
Watercolour 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: Artists family;
Thence by descent;
Collection.
Tiffanys 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 artists
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 Tiffanys 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 Cs in color.
Description of Tiffanys 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 86
86
Charles de Kay
Published by Doubleday, Page & Co., New York,
1914
Limited 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 Kays book, printed on parchment. Due to the
parchments 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 87
87
Tiffany Armchair
c. 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 Tiffanys 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 its 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;
Estimate: $40,000 / 60,000
102
103
Tiffany on the beach in southern Florida with his granddaughter, Louise Lusk Platt,
and Sarah Hanley, 1930
88
Beach Scene, Sea Bright, New Jersey
Oil on canvas.
31 inches x 55 inches (79 x 140 cm.).
Signed and dated lower left, Louis C. Tiffany 1919.
Provenance: Randy Beach;
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
Lot 88
105
Lot 89
89
Market Scene
Oil on board.
23 1/2 inches x 17 1/2 inches (59.5 x 44.5 cm.).
Undated, unsigned.
Provenance: Miss Emilie Schuld, Tiffanys private secretary;
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
107
Illustration in The House Beautiful, April 1900, p.278
90
Tiffany Studios Flowerform Vase
Flowerform 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.
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,
Provenance: Pauline Heilman;
Sothebys, New York, May 19 and 20, 1982, lot 596A;
Estimate: $250,000 / 350,000
108
Lot 90
109
91
Tiffany Studios Lily Flowerfrom Vase
Here 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 vases value today pre-
cludes its use for anything other than decoration.
Inscribed L.C. Tiffany-Favrile 8035H
Collection.
Estimate: $10,000 / 15,000
92
With 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. Y9065
Collection.
Estimate: $60,000 / 80,000
Lot 91
110
Lot 92
111
93
Tiffany Studios Magnolia Landscape Window
Circa 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;
Tiffany Studios photograph of a flowering magnolia tree, ex-collection Agnes The Garden Museum Collection, Matsue, Japan.
Northrop, courtesy of Damien Peduto Estimate: $150,000 / 200,000
112
Lot 93
113
Glassware in the Tiffany display at the 1902 Exposition in Turin,
including two flowerform vases similar to lot 94
94
Inscribed o2417
Collection.
Exhibited: Masterworks of Louis Comfort Tiffany, travelling Japanese
exhibition (Tokyo, Kobe, Nagoya, and Toyama), January-August, 1991.
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
114
95
Tiffany Studios Elaborate Grape Table Lamp
Two 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.
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
115
96
Tiffany Studios Flowerfrom Vase
The stiff depiction of the flower on its flat disc form foot, dates this piece to the
firms earliest years of glass experimentation.
Inscribed L.C. Tiffany favrile
Collection.
Estimate: $8,000 / 10,000
97
John La Farge HollyHocks Window
1881
Commissioned for the residence of Michael Jenkins of Baltimore, the floral com-
position in this window provides a superlative example of La Farges 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 Tiffanys 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 Farges 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 Farges 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.
Collection.
Provenance: Michael Jenkins, Baltimore;
Catholic Ladies Home, Baltimore;
Unidentified owner, Baltimore;
Robert Koch;
Sean McNally;
Estimate: $80,000 / 100,000
Lot 96
116
Lot 97
117
98
Tiffany Studios Cameo Flowerform Vase
Inscribed L.C.T. W6778
This vase is pictured on pg. 223 of Louis C. Tiffany, The Garden
Museum Collection.
Provenance: Christies, New York, June 12, 1993, lot 386;
Estimate: $40,000 / 60,000
Sketch in an undated Tiffany Studios brochure, c. 1900,

entitled Tiffany Favrile Glass
Lot 98
118
99
Inscribed L.C.T M5288.
This vase is pictured on pg. 226 of Louis C.
Matsue, Japan.
Estimate: $8,000 / 12,000
Lot 99
119
Lot 100 detail
Lot 100 detail
120
Lot 100 detail
Lot 100 detail
121
Lot 100 detail
Lot 100 detail
122
Lot 100 detail
Lot 100 detail
123 123
Lot 100 detail
Lot 100 detail
124
Lot 100 detail
Lot 100 detail
125
Lot 100 detail
126
100
Tiffany Studios Cobweb Table Lamp
Also 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
firms wealthiest patrician clients. It has remained amongst
the most aesthetically desirable (and costly) models in
Tiffanys lamp repertoire, both for the successful integration
of its 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 YORK
Height: 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
127
Lot 101
101
Leslie H. Nash
Three Paperweight Vases
Oil 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.
Collection.
Estimate: $3,500 / 4,500
Lot 101 Reverse
128
Lot 102
102
Tiffany Studios Paperweight Vase
In the paperweight, technique, the decoration is encased in an outer layer of
clear glass which serves both to magnify it and to protect it from damage such as
chipping and bruising. The name derives from the process developed by 19th 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 Tiffanys 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.
Collection.
Estimate: $15,000 / 20,000
129
Lot 103
103
Tiffany 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 Tiffanys initial experimentation with lustred finishes in The Art
Amateur, November 1895, p.113.
Inscribed L.C.T. Favrile.
Collection.
Estimate: $10,000 / 12,000
130
Lot 104
104
It 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-
niques 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 firms records were Arthur Richter and his son, Arthur, Jr. Collectors can
only regret Tiffanys reluctance to embrace the technique more fully as many of
the firms 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.).
Collection.
Provenance: Christies, New York, April 1, 1995, lot 246;
Private collection;
Sothebys, New York, December 6, 1997, lot 501;
Estimate: $50,000 / 70,000
131
Lot 105
105
Tiffany Studios Cameo Paperweight Vase
This 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.
Collection.
Provenance: Collection of Arthur J. and Leslie Nash;
John Mecom, Jr., Houston, Texas;
Estimate: $12,000 / 15,000
132
Lot 106
106
A 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.
Collection.
Provenance: Sothebys, New York, December 12, 1999, lot 439;
Estimate: $50,000 / 70,000
133
107
Tiffany Studios
Floral Vase
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
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 dArte Decorativa Moderna, Turin, 1902.
Illustrated in Dekorative Kunst, November, 1902, p. 57
134
Lot 108
108
Tiffany Studios Clematis Paperweight Bowl
Inscribed 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.
Estimate: $14,000 / 18,000
135
Lot 109 detail
109
Tiffany Studios Dragonfly Table Lamp
This 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.
Collection.
Estimate: $150,000 / 200,000
136
Lot 109
137
110
Inscribed L.C.T. M2448
This vase is pictured on pg. 226 of Louis C. Tiffany, The Garden
Museum Collection.
Estimate: $14,000 / 18,000
111
Seven Tiffany Studios Dessert Plates and a Dinner
Plate
All 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.
Estimate: $8,000 / 12,000
112
Set of Ten Tiffany Studios Goblets
It is easy, as one focuses on the tours de force in Tiffanys 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 Tiffanys 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;
Estimate: $8,000 / 12,000
Lot 110
138
Lot 111
Lot 112
139
113
Tiffany Studios Comport
Favrile glass with enamelled gilt metal mount impressed
Louis C. Tiffany Furnaces, Inc. 502.
This comport is pictured on pg. 272 of Louis C.
Matsue, Japan.
Estimate: $1,200 / 1,800
Lot 113
Lot 114
114
Set of Three Tiffany Studios Lily Shades
Unusual 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
140
115
Tiffany Studios Sundial
Diameter 12 3/4 inches (32.5 cm.).
This piece is not pictured in Louis C. Tiffany, The Garden
Museum Collection, however it comes housed in a custom fit-
ted museum carrying case. This piece is pictured on pg. 463 of
Tiffany Lamps and Metalware, by Alastair Duncan.
Estimate: $5,000 / 7,000
Lot 115
116
Tiffany Studios Ash Stand
Tiffany often drew on antiquity to adorn and enliven mundane household appliances, in
this instance a phoenix, griffin or similar fabled creature. A second example of this ash
stand in the Louis C. Tiffany Garden Museum Collection bears the model #1648, and
will be offered in Michaans May 2013 sale of Tiffany Studios works and 20th century
Decorative Arts.
Gilt-bronze, impressed TIFFANY STUDIOS NEW YORK 2033.
This ash stand is pictured on pg. 388 of Louis C. Tiffany, The Garden Museum
Collection.
Estimate: $4,000 / 6,000
Lot 116
141
Lot 117
117
Floor Torchiere Archival Drawing
Original 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.
Estimate: $800 / 1,200
142
118
Tiffany Studios Jack-in-the Pulpit
Flowerform Vase
The 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. 3059
This vase is pictured on pg. 226 of Louis C.
Matsue, Japan.
Estimate: $8,000 / 12,000
Lot 118
143
Lot 119 detail
119
Tiffany Studios Rambling Rose Table Lamp
This 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.
Collection.
Estimate: $150,000 / 200,000
144
Lot 119
145
146
An article by Doris Herzig in Newsday, February 17, 1967, entitled Tif- of the pieces at the National Antiques Show, which opens in Madison
fany Treasure Shines Again provides information on the history of the Square Garden Tuesday The six glass columns frame two glass-
six mosaic columns, including lot 120, after they were removed from domed entrances to the same room, but are not part of the supporting
the Tiffany Studios showroom on Madison Avenue. She wrote, in part, structure. Set predominantly with blue and gold glass tiles in a rope and
Laurel Hollow - A small treasure of Louis Comfort Tiffany art works tassel design, they are crowned with rows of turtle-back glass inserts
has come to light with the sale of the only remaining part of the late and elaborate carved, gilded capitals of wood and gesso. They are 12 feet
artists estate The works include a stained glass window, six Moorish tall and 24 inches in diameter The total value of the Tiffany works
mosaic columns, five bronze chandeliers with glass cups and a mosaic is estimated by Mrs. Weiss at about $75,000. This was described as a
plaque depicting three disciples. In all their iridescent glory, they have conservative estimate by Erwine Laverne, who, with his wife Estelle, in-
been reposing quietly in an odd arrangement of buildings on Laurel Hol- dustrial designers, bought the property in 1947 from the Louis Comfort
low Road that started out as a complex of stables and carriage house Tiffany Foundation and lived there until 1962. After fire destroyed the
and was converted by Tiffany in 1918 as living and working quarters for main Tiffany mansion in 1957, they occupied the only remaining part of
selected artists-in-residence Mrs. Beatrice Weiss, an antique dealer the original 600-acre estate.
representing the purchaser of the estate, is planning to exhibit some
147
120
Tiffany 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
painters 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
firms 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;
Estimate: $1,500,000 / 2,000,000
Lot 120 detail
148
Lot 120
149
Lot 121
121
Tiffany Studios Favrile Glass Bud Vase
Unsigned, 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 Tiffanys earliest glass production.
Collection.
Estimate: $8,000 / 12,000
150
Lot 122
122
Tiffany Studios Paperweight Vase
Inscribed: L.C.T. T8468.
Collection.
Estimate: $20,000 / 30,000
151
123
Tiffany Studios Cypriote Vase
In the Cypriote technique, Tiffany sought to simulate the corrosive qualities of
glass excavated from archaeological sites on Cyprus. To replicate the devitrified
surfaces of buried 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).
Collection.
Provenance: John Mecom, Jr., Houston, Texas.
Sothebys, New York, October 3, 1992; lot 387.
Estimate: $30,000 / 40,000
152
Lot 123
153
Lot 124
124
Tiffany Studios Monumental Decorated Vase
Inscribed: 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.
Collection.
Provenance: Christies, New York, December 16, 1996; lot 275.
Estimate: $30,000 / 40,000
154
Lot 125
125
Tiffany Studios Mosque Lamp
The 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 firms 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.).
Collection.
Estimate: $3,000 / 4,000
155
Lot 126
126
Tiffany Studios Red Decorated Favrile Glass Vase
Red 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.
Collection.
Provenance: John Mecom, Jr., Houston, Texas.
Estimate: $20,000 / 30,000
156
Lot 127
127
Tiffany Studios Red Decorated Vase
The depth and intensity of the red in this vase, identified as Samian Red in the
firms literature, are highly prized by todays collectors, drawing comparison to
the sang de boeuf porcelain glazes of the Chinese Ming and Ching dynasties.
Inscribed: L.C. Tiffany Favrile 2454L.
Collection.
Provenance: John Mecum, Jr., Houston, Texas.
Estimate: $15,000 / 20,000
157
128
Tiffany Studios Apple Blossom Table Lamp
This shade was originally designed as a chandelier with inverted
dome, and has been adapted as a table lamp.
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;
Estimate: $150,000 / 200,000
Lot 128
158
Lot 129
129
Tiffany Studios Monumental Experimental Vase
Inscribed: x2051.
Collection.
Estimate: $30,000 / 40,000
159
Lot 130
130
On The Nile
Pastel 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;
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
160
Lot 131
131
Tiffany Studios Inkstand
The 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;
Estimate: $75,000 / 100,000
161
132
Tiffany Studios Dogwood Table Lamp
Bearing 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
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.
Estimate: $70,000 / 90,000
162
Lot 132
163
The 3-building complex at 333-341 Fourth Avenue (now Park Avenue South at 25th Street), Manhattan, that housed Tiffanys decorating business
through its various expansions and corporate name changes, from 1881 until the turn-of-the-century.
133
Tiffany Studios Gothic-Style Vase
Completed October 4, 1911.
Of flaring octagonal form adorned with panels simulating medieval stained glass
lancets intersected by vertical bands of rosettes. Following the absorption by
Tiffany & Co. in 1907 of the Jewellery and Enamel Departments at Tiffany
Furnaces, Tiffany ceased to use copper in his enamelware in preference for gold,
silver, and other precious metals, as in this vase.
Gold, champleve, and plique-a-jour enamel, designed by Louis C. Tiffany. Impressed
TIFFANY & Co. 17942 MAKERS 1860 22 KT. GOLD and M.
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;
Estimate: $140,000 / 180,000
164
Lot 133
165
134
Tiffany Studios Parakeets and Goldfish Bowl Tea Screen
Manufactured 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;
Estimate: $400,000 / 600,000
The Parakeets and Fish Bowl window, as illustrated

in The Tiffany Glass and Decorating Companys
catalogue for its exhibit at the Columbian Exposi-
tion, Chicago, 1893, on which the tea screen was
modeled
The tea screens hand-engraved signature. The addorsed

capital Ps were used by Tiffany & Co. to identify items it
displayed at the Panama-Pacific Exposition.
Lot 134 detail
166
Lot 134
167
Lot 135
135
Tiffany Studios
Design for a Box Cover with notations.
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:
Estimate: $800 / 1,200
136
Tiffany Studios Enamelled Table Lamp
Relatively few enamelled lamp bases were produced. An early example, with pea-
cock feather decoration, was included in Siegfried Bings 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).
Collection.
Estimate: $125,000 / 175,000
Lot 136 detail
168
Lot 136
169
Illustrated in Dekorative Kunst, November, 1902, p. 55
137
Tiffany Studios Poppy Covered Jar
There 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.
This jar is pictured on pg. 413 of Louis C. Tiffany, The Garden Museum
Collection.
Estimate: $50,000 / 70,000
170
Lot 137
171
Lot 138
138
Tiffany Studios Dinner Window
approx. 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;
Estimate: $10,000 / 15,000
Lot 138, reflected light
172
Lot 139
139
Tiffany Studios Easter Lily Memorial Window
c. 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 windows 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.
Collection.
Provenance; The Garden Museum Collection.
Estimate: $40,000 / 60,000
173
Lot 140 detail
140
Tiffany Studios Last Supper Mosaic & Bronze Panel
The 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 Ghibertis 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 1920s, 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;
Estimate: $50,000 / 70,000
174
Lot 140
175
Lot 141
141
Tiffany Studios Pottery Vase
A member of the umbel family, Queen Annes 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 Tiffanys 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 firms 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).
Collection.
Estimate: $14,000 / 18,000
176
Lot 142
142
Tiffany Studios Pottery Parrot Ewer
It 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 Tiffanys entry into the pot-
tery field, which had drawn his interest during his visits in the 1890s to the annual
Paris Salons and to Siegfried Bings 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 Tiffanys 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.
This ewer is pictured on pg. 458 of Louis C. Tiffany, The Garden Museum
Collection.
Provenance: Sothebys, New York, June 9, 2000; lot 307.
Estimate: $10,000 / 12,000
177
143
Tiffany Studios Crane Vase
Enamel-on-copper, c. 1901. With its crane and bamboo motifs and delicate blue-
green-beige naturalistic palette, this vase emphasises the stylistic influence 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 firms 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 departments
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, Tiffanys enamels were manufactured and
retailed through the Tiffany & Co. hallmark. Tiffanys 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.
Collection.
Provenance: Lillian Nassau, Ltd., New York;
Estimate: $18,000 / 25,000
178
Lot 143
179
144
Tiffany 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
Americas 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.
Collection.
Private collection; Sothebys, New York, June 12, 1998, lot 305;
Estimate: $18,000 / 25,000
180
Lot 144
181
Lot 145 detail
145
Tiffany Studios Daffodil Table Lamp
Bearing 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
Estimate: $60,000 / 80,000
182
Lot 145
183
Lot 146
146
Tiffany Studios Beetle Covered Box
The 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.
Collection.
Provenance: Louis C. Tiffany;
Mary Parker Weaver, artists granddaughter;
Estimate: $18,000 / 25,000
184
Lot 147
147
Tiffany Studios Covered Box
Depicting 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.
Collection.
Estimate: $25,000 / 35,000
185
148
Tiffany Studios Curtain Border Floor Lamp
A 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.
Estimate: $70,000 / 90,000
Lot 148
186
Lot 149
149
Tiffany Studios Chrysanthemum Covered Box
Unlike the vast majority of his enamelwares, in which the vitreous coloured paste
was applied with a brush in a blended and totally naturalistic painterly manner,
Tiffany has here utilised the mediums 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 Tiffanys work, suggesting that it was of an
experimental nature.
Enamel-on-Copper, c. 1905, inscribed SG 208 L.C.T.
Collection.
Estimate: $20,000 / 25,000
187
Lot 150 detail
150
Tiffany Studios Zinnia Table Lamp
The lamps history is well-documented, indicating that it is a unique work which
was neither sold nor duplicated. It remained in the Studios inventory when the
firm closed following Tiffanys 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. Burtons
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 lamps correct name. The shades 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.).
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;
Estimate: $1,000,000 / 1,500,000
188
Lot 150
189
151
Favrile 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,
Japan.
Estimate: $1,200 / 1,800
Lot 151
152
Tiffany LilyPad FlowerHolder
Inscribed Louis C. Furnaces Inc. Favrile 6368L, the flower frog
inscribed LC Tiffany Favrile 6368L.
This flowerholder is pictured on pg. 239 of Louis C.
Estimate: $2,500 / 3,500
Lot 152
190
153
Tiffany Studios Card Tray
Gilt-bronze, impressed TIFFANY STUDIOS NEW YORK 1707, inscribed 18827.
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.
Estimate: $200 / 300
Lot 153
154
Tiffany Studios Abalone Comport
Gilt 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.
Lot 154
155
Tiffany Studios Card Tray
Gilt-bronze and enamel, impressed TIFFANY STUDIOS NEW YORK 1707,
inscribed 18360.
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.
Lot 155
191
Lot 156
156
Tiffany Studios Favrilefabrique (Linenfold) Table Lamp
Library 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 firms 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.
Collection.
Provenance: The Garden Museum Collection.
Estimate: $14,000 / 18,000
192
Entry foyer, Laurelton Hall
193
194
157
Tiffany Studios Three Panel Clematis Skylight
Circa 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;
Estimate: $350,000 / 450,000
Tiffany Studios photograph of clematis in the wild,

ex-collection Agnes Northrop, courtesy Damien Peduto
Lot 157
195
158
Tiffany Studios Dragonfly Table Lamp
The background in this shade features dichroic favrile glass which
appears to be green when unlit and changes to mottled yellow when
illuminated.
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
Estimate: $50,000 / 80,000
Lot 158
196
159
Tiffany Studios Hexagonal Table Lamp
Shade: 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.
Collection.
Estimate: $14,000 / 16,000
Lot 159
160
Tiffany 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.
Estimate: $20,000 / 30,000
Lot 160
197
Lot 162
162
Tiffany Studios Humidor
Carved by Joseph Briggs. Here a segment of a tree branch has been transformed
into a domestic appliance, one for use in an Edwardian gentlemans library, den,
or smoking room. The removal of the woods 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;
Estimate: $40,000 / 60,000
198
Lot 163
163
Tiffany Studios Milkweed Pod Covered Box
Carved 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.).
Collection.
Provenance: Joseph Briggs; Briggs family, by descent; Neil Harrington; The
Garden Museum Collection, Matsue, Japan.
Estimate: $30,000 / 40,000
Tiffany Studios photograph of milkweed pods with escaping

seeds, ex-collection Agnes Northrop, courtesy Damien Peduto
199
Illustration of a similar scarab reflector in Brush and
Pencil, September, 1899, p. 305
164
Tiffany Studios Scarab Reflector
This 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 reflectors 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 terms 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
Duncan.
Literature: Alastair Duncan, Tiffany at Auction, New York, 1981, p. 212, #604.
Provenance: Christies, New York, April 12, 1997, lot 87;
Estimate: $40,000 / 60,000
200
Lot 164
201
Lot 165
165
Louis Comfort Tiffany The Garden Museum Collection, Matsue, Japan.
(American 1848-1933) This painting is pictured on pg. 29 of Louis C. Tiffany, The Garden Museum
Architectural Study of Urban Dwellings Collection.
Watercolour on paper. Tiffany travelled to Europe with his family in April, 1874, returning to New York the
14 13/16 inches x 13 inches (38 x 33 cm.). following February. Listed as a member of the American Society of Painters in Water
1874, signed and dated lower left, Louis C. Tiffany 1874. Colors from 1871, he participated in its exhibitions until 1893, when his preoccupa-
Provenance: Julia Knox Weaver Tiffany, daughter of the artist; tion with the other artistic disciplines made increasing demands on his time.
Mary Parker Weaver, granddaughter of the artist Estimate: $30,000 / 40,000
202
166
Tiffany Studios Cake Dish
Favrile glass, with enamelled gilt-metal mount impressed
LOUIS C. TIFFANY FURNACES INC. 501, with the firms logo.
This cake dish is pictured on pg. 270 of Louis C. Tiffany,
Japan.
Estimate: $2,000 / 2,500
Lot 166
167
Tiffany Studios Bowl
Inscribed 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
Estimate: $800 / 1,200
Lot 167
Glass tablewares awaiting finishing and inspection in the

Tiffany Furnaces storage showroom at Corona, Queens
203
168
Tiffany Studios Bowl
Inscribed 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
Estimate: $800 / 1,200
Lot 168
169
Inscribed Tiffany-Favrile with registration number and firms
original paper label.
This comport is pictured on pg. 266 of Louis C. Tiffany,
Provenance: Sothebys. New York, December 6, 1997, lot 518;
Estimate: $1000 / 1500
Lot 169
204
Lot 170
170
Tiffany Studios Cake Stand
Inscribed 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.
Estimate: $1000 / 1500
171
Tiffany Studios Table Lamp Base
In 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.
Estimate: $3000 / 5000
Lot 171
205
172
Tiffany Studios Publication
c. 1913.
Character and Individuality in Decorations and Furnishings
A 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.
Lot 172
173
Memorials in Glass and Stone Tiffany Studios Publication
c. 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.
Lot 173
206
Lot 174
174
Frank Lloyd Wright Leaded Glass Panel
c. 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;
Estimate: $25,000 / 35,000
207
Lot 175
175
Frank Lloyd Wright Leaded Skylight
c. 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;
Estimate: $25,000 / 35,000
208
Lot 176
176
Frank Lloyd Wright Side Chair from The Imperial Hotel
c. 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 Wrights original earthquake-proof design for the
structure, which included a foundation that would ride with the earths 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;
Estimate: $8,000 / 12,000
209
lou is m a jorel l e, Aux Orch i des de sk
m aHoGany, tool ed l e atH er an d G i lt b ronze, tH e t wo G l a ss l a m P sHade s by dau m Frre s , 1903
MICH A A N S AUC TION S IS PROU D T O A N NOU NCE TH E SA LE

IN SOTH EBY S PA RIS OF M A S TERwOR k S OF A RT NOU v E 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 C O L L E C T I O N , J A PA N
au c t i o n i n Pa r i s 16 F eb r ua ry 2013 | en q u i r i e s c ci l e V er d i er +3 3 1 53 05 52 81
sotHeby s Galerie cHarPentier 76, rue du FaubourG saint-Honor 75008 Paris | reGister now at sotHebys.com
aG r m ent n 2001- 002 d u 25 oc to b r e 2001
Including these selections
from the Garden Museum Collection
19th & 20th Centuries, 1. John La Farge (American 1835-1910)

Yellow Roses in a Blue Glass Vase, 1879
4. Robert Frederick Blum
(American 1857 - 1903)
American & European Watercolor with gouache on paper Repose
11.125 x 15.5 inches Pastel on paper, 12.5 x 15.5 inches
Fine Art Auction Estimate: $150,000/200,000 Estimate: $25,000/50,000
December 1, 2012 at 10am 2. Arthur Wesley Dow (American 1857-1922)
Golden Willow
5. Lilla Cabot Perry (American 1848-1933)
Contemplation, Giverny, 1891
Oil on canvas, 26.25 x 36.25 inches Oil on canvas, 45.75 x 35.25 inches
Preview: Estimate: $80,000 / 120,000 Estimate: $60,000 / 90,000
3. James Abbott McNeill Whistler 6. Theodore Wores (American 1859-1939)
November 30 - December 1 (American/British 1834-1903) Mt Fujiyama from Yokohamo, Japan, 1895
and by appointment Study of Poppies, 1886 Oil on board, 15.5 x 11.75 inches
Pastel on paper, with artists butterfly motif Estimate: $10,000 / 15,000
10 1/2 x 7 inches 7. Robert Frederick Blum
Estimate: $25,000/35,000 (American 1857-1903)
Inquiries Temple Grounds with Buddhist Shrine,
Thomas De Doncker Uyeno Park,Tokyo Japan, 1890
Ink wash on paper, 9.25 x 10.75 inches
Estimate: $2,000 / 4,000
(510) 227-2540
Jeffrey OLeary
(510) 227-2519
www.michaans.com (510) 740-0220 2751 Todd Street, Alameda, California 94501

Bond #70044066
211
Treasures of Tiffany Studios
From the Garden Museum and other property
Tiffany and 20th Century Decorative Arts

Saturday, May 11, 2013
Consignments Now Being Accepted

Inquiries
Allen Michaan
(510) 227-2503

Bond #70044066
Furniture, Decorative Arts, Inquiries To learn more about these auctions or to view an
Furniture & Decorative Arts online catalog, please visit www.michaans.com.
Jewelry & Timepieces Auction Elizabeth Dalton Quality consignments invited.
December 7, 2012 at 10am 1. Victorian, Diamond, Silver Topped, 14K Yellow Gold
(510) 227-2527 Pendant Brooch
Preview: 20th Century Design Estimate: $7,000 / 9,000
November 30 - December 2 Greg Favors 2. Royal Copenhagen Flora Danica Plates, Cups and Saucers
Estimates ranging from $4,000 / 8,000
and by appointment
3. Foutis Diamond, 18K Yellow Gold Bracelet
(510) 227-2512
Estimate: $3,750 / 5,000
Jewelry & Timepieces 4. A Warren Platner Large Metal Chair
Rhonda Harness Manufacturer Knoll
Estimate: $2,250 / 3,000
(510) 227-2525 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

Bond #70044066
Terms and Conditions of Sale
STANDARD CONDITIONS OF SALE fee), (iii) by money order or other guaranteed funds, absentee bids shall prevail at that bid amount.
These Conditions of Sale are binding on all purchasers or (iv) by personal check (when buyers credit is d. Auctioneers Discretion
at Auction. Please read carefully. approved). No lot shall be transferred by Buyer to The Auctioneer has the absolute discretion to 1)
By registering to bid at auction, in person, or another person until the sale is final. In the event of pass a lot or withdraw it from sale at any time prior
through an agent, by absentee bid, or telephone or partial payment for any lot or lots we shall apply to its actual sale; 2) refuse to recognize any bidder;
any other means including the Internet and e-mail, payments, in our discretion, to the lot or lots we 3) refuse to recognize any bid; 4) resolve any dis-
you agree to be bound by these Conditions of Sale select. The Buyer grants MA a security interest in pute between bidders or resolve any doubtful bid by
(and changes made as noted below.) the purchased Property, and we may retain as collat- deciding who is the successful bidder or nullifying
All property and every lot for sale in our catalogue eral any property purchased and any funds in our the auction of the lot and reoffering it for sale. The
is offered subject to the following terms and condi- possession, to secure a Buyers obligations to us, if Auctioneers decision is binding as to disputes aris-
tions, along with any changes that may be published any. We retain the rights of a secured party under ing at auction. If a dispute arises post sale, our
or announced prior to or during a sale by Michaans the California Commercial Code. All fees, taxes, pre- records of the sale shall be conclusive. Both the
Auctions. (MA). The terms MA us, we, or our miums or other sums due and not paid pursuant to Auctioneer and MA shall be without any liability
as used herein all refer to Michaans Auctions. this paragraph shall bear interest at 1.5 % per whatsoever resulting from the exercise of the dis-
Unless otherwise indicated in the catalogue or at month from the 8th day following the sale to the cretion referred to herein.
time of sale, MA acts at all times solely as the agent date paid in full. e. Reserves
for the seller. All sales shall be deemed to occur in b. Collection of Property All Property is offered for sale subject to a Reserve
California regardless whether by telephone, mail or Upon transfer of title, Buyer assumes full responsi- unless otherwise stated by us at time of sale. MA
through the Internet or the physical location of the bility, including risk of loss and damage, for the may protect the Reserve by an initial bid or contin-
buyer. Property. Purchased property shall be removed at ued bidding on behalf of the consignor. Any bids by
DEFINITIONS Buyers expense within fifteen (15) days after the MA staff after the Reserve is met shall be made only
Hammer price: The highest bid received for a lot sale becomes final. Property not removed shall be on behalf of registered bidders. Neither the consign-
upon the fall of the auctioneers hammer. subject to a service fee of $50, and a storage fee, if or nor an agent or representative of the consignor
Buyers premium: The amount paid by the buyer as a retained by MA, of 1% of the purchase price per is allowed to bid on their own property.
percentage of the hammer price and in addition month. MA may also, in its sole discretion, elect to DISCLAIMER OF WARRANTIES
thereto. place the Property in a public storage facility at the Except for warranty of title, neither we nor the
Purchase price: The aggregate of the hammer, buyers Buyers sole risk, responsibility and expense. Consignor make any warranties, guarantees or rep-
premium and applicable taxes or other fees, if any, as c. Liability for delivery of property resentation, express or implied, with respect to the
may be required by law. If, for any reason whatsoever, we are unable to deliv- Property, including, but not necessarily limited to,
Reserve: The minimum price at which the lot may er the purchased Property to the Buyer, MA shall be any implied warranty of fitness for purpose or
be sold. liable to the Buyer only for the Purchase price paid merchantability.
Buyer: The person or entity who buys property at by the Buyer and in no event shall we be liable for Any and all statements and descriptions in any cata-
auction or private sale. incidental or consequential damages, including, but logue or elsewhere by MA, relating to age, attribu-
Consignor: The seller, or the sellers representative, not limited to, business interruption or loss of profit. tion, authenticity, size, genuineness, provenance, his-
on behalf of whom we are selling the Property. d. Available Shipping torical relevance or significance, physical condition,
Lot: The single item or group of items offered by us As a service to the purchaser, MA may be able to importance, quality, quantity, rarity, period, culture,
for sale. pack and ship items as set forth in the provisions source or origin, are presented as statements of
Property: The item or items comprising an auction for shipping in the paragraph following the terms qualified opinion only.
lot being offered for sale. and conditions of sale. MAs disclaimer of liability covers information con-
BUYERS PREMIUM THE AUCTION PROCEDURE tained in catalogues, and all other printed material
The Buyer shall pay a Buyers Premium which shall a. Registration published by us, including condition reports. Buyers
be retained by MA as follows: Bidders must register in advance to bid at auction. assume the responsibility to inspect the Property
If you choose to pay by check, cashiers check or (a) If by mail or on the Internet please comply with, and make their own decision as to the nature, quali-
cash, the Buyers Premium is eighteen percent (18%) sign and send back the requisite form or absentee ty and value of the Property.
per lot up to and including $250,000 plus twelve bid. (b) To telephone bid, Bidders must complete, Neither MA nor the Consignor make any warranty
percent (12%) per lot of any amount in excess of sign and fax a copy of the Telephone Bid or representation with regard to the existence of or
$250,001 up to and including $1,000,000 and ten Registration Form, which is available only by calling the transfer of intellectual property rights, except
percent (10%) per lot in excess of $1,000,001. If you MA. Telephone lines are limited, and available on a and to such extent as may, from time to time, be
choose to pay by credit card (Visa, Mastercard or first-come, first-serve basis. Registration to bid by explicitly stated.
Discover only) or any other form of payment, the telephone must be completed by 5 p.m. the day No employee of MA is authorized to nor shall make
Buyers Premium is twenty-one percent (21%) per prior to the auction. (c) When intending to bid in any warranty or representation on MAs behalf,
lot up to and including $250,000 plus fifteen percent person, pre register at the desk and obtain a bidding except as stated in the catalog or in any written
(15%) per lot of any amount in excess of $250,001 paddle. The auctioneer may refuse to recognize any addendum.
up to and including $1,000,000 and twelve percent person not registered and not having a paddle num- ESTIMATES OF VALUE
(12%) in excess of $1,000,001. Internet Buyers ber. MA reserves the right at its sole discretion, to All estimates of value as published in our Catalogues
Premium is twenty-three percent (23%) per lot up refuse anyone the right to register and participate at or elsewhere are statements of qualified opinion as
to and including $250,000 plus eighteen percent an auction. to the range of the price a willing buyer might pay
(18%) per lot of any amount in excess of $250,001. b. Announcements for the Property at auction. The actual price paid at
TERMS OF SALE We may, at the commencement of, or during the auction or subsequently, may vary substantially from
a. The Purchase of and Payment for Property Auction, announce changes in or modifications to the estimates. MA shall not be liable for any such
The sale of a lot shall be to the highest bidder as the Conditions of Sale or descriptions of Property. differential.
determined by the auctioneer, in accord with these c. Absentee Bids BUYERS DEFAULT
Conditions of Sale. Title to the lot shall pass with For a Buyers convenience, absentee bids will be If a Buyer fails to pay for purchased Property, or
the fall of the Auctioneers hammer. Buyer shall pay accepted, when properly executed and submitted in otherwise does not comply with these Conditions
the Purchase price, as defined above, and such other a timely manner. However, we neither accept any of Sale, the Buyer shall be in default. In addition to
fees as may be due, in full, within seven (7) days of responsibility to an absentee bidder, nor any liability all remedies available in law, to MA and to the
the auction sale. Sale is not final and property will whatsoever for a failure to execute the absentee bid Consignor, the Buyer shall be liable for the entire
not be released to Buyer until good funds for all for any reason. In the event that identical multiple Purchase price. Additionally, at our option, we may
amounts due, are received by MA. Payment may be absentee bids are the highest bids received for the either cancel the sale and retain all payments made
made (i) in cash, (ii) by wire transfer (additional $15 same lot then the earliest received of the competing by Buyer as well as retain any and all Property of
214
Buyer in our possession as security against payment be binding on all the heirs and assigns of the Buyers dential. (b) If the parties cannot agree to mediation,
of the sums in default, or we may re-offer the and bidders and inure to the benefit of MAs succes- or if mediation does not resolve the dispute, or in
Property for sale, at auction or privately, without sors and assigns. any event no longer than 60 days after receipt of
reserve. Buyer shall be liable to us and the d. Jurisdiction, Venue, Choice of Law: Dispute resolution written notice referred to above, the parties shall
Consignor for the additional fees, commissions and shall occur in Alameda County, California, USA. The submit the dispute for binding arbitration before a
costs on both sales (including handling, storage and provisions of the Conditions of Sale will be con- single neutral arbitrator jointly selected, or absent
court costs and attorneys fees) resulting from the strued and disputes determined by application of agreement, selected from the panel of Arbitrators
cancellation or resale of the Property and in the California Law, without regard to conflicts of law. provided by the American Arbitration Association
event of resale, any deficiency which may result. e. Notice, Service of Process: Buyers agree to accept all (AAA). If, within 15 days, the parties cannot agree
RESCISSION notices and service of process relating to dispute on an arbitrator, then AAA shall select one (1) per-
The sole and exclusive remedy, available only to the resolution at the address provided by Buyer on any son as arbitrator in accord with AAA rules. The
original buyer, is the limited right of rescission set registration forms required to be executed as a con- arbitrator shall be an attorney, experienced in com-
forth herein. MA will cancel the sale of Property if dition of bidding in our auction. mercial law and with the UCC. The arbitrator shall
the original buyer establishes to our satisfaction that f. Dispute Resolution: All disputes and claims arising be required to follow the law in making his award,
there has been a breach of the Consignors warran- out of or relating to events and actions covered and the award shall be in writing and shall set forth
ty of title, or that the identification of Authorship* herein, brought by or against us, shall be resolved by findings of fact and legal conclusions.(c) The arbitra-
of the Property as set forth in Bold Type Heading is mediation or binding arbitration in accord with the tion shall occur within 60 days of the selection of
not substantially correct, based on a fair reading of procedures set forth below. This provision does not the arbitrator, in either Oakland or San Francisco,
the Catalogue (as may be amended by posted or apply to claims brought by the Buyer directly against California, unless the parties agree to another loca-
announced changes.) IN ALL INSTANCES, YOU the Consignor, including, but not limited to any tion. Discovery and the procedure for the
MUST GIVE WRITTEN NOTICE TO US WITHIN action brought pursuant to the rescission provisions Arbitration shall, unless otherwise agreed to by the
30 DAYS OF THE SALE OF THE PROPERTY, noted above parties, follow the procedures and policies of AAA
SETTING FORTH THE BASIS FOR YOUR CLAIM OPTIONAL PROVISIONS governing commercial arbitration, subject however
AND, AT YOUR SOLE EXPENSE AND RISK, Shipping, insurance packaging and handling of pur- to the following modifications:
RETURN THE PROPERTY IN QUESTION TO MA chased lots is at the risk and expense of the pur- 1. All arbitration proceedings shall be confidential.
WITHIN SEVEN (7) DAYS AFTER NOTICE IS chaser. As a service to the purchaser, MA may ship None of the parties nor the arbitrator, may disclose
GIVEN AND IN THE SAME CONDITION AS appropriate items solely via United Parcel Service, the existence, content or results of the arbitration
WHEN SOLD. Upon review of the claim and the (UPS) Ground. MA will not ship by any other meth- without the written consent of all parties.
property, if we are satisfied with the bases for your od including USPS, and property requiring freight 2. The parties shall attempt to agree on the issues to
claim and the property is in the same condition it shipment. MA will, in no event insure the property be arbitrated, or identify the disputed issues in writ-
was in when sold, MA will rescind the sale and whether or not packaged and shipped by MA. MA ing no later than 45 days prior to arbitration.
return to you the Purchase price, unless we have shall not, under any circumstances, be liable for the 3. Unless otherwise agreed by the parties, discovery,
already remitted funds to the Consignor. In that loss, theft or damage to property, including, but not if any, shall be limited as follows: (a) Requests for no
event, and at MAs sole discretion, MA shall either limited to selection of shipper, the acts or omissions more than 10 clearly identified categories of docu-
pay you as provided above, or shall pay you only of any shipper or the acts or omissions occurring in ments, to be provided to the requesting party within
that portion of the Purchase price retained by us packing for shipment. It is the purchasers responsi- 14 days of written request therefore; (b)
(the Sellers commission, the buyers premium and bility to obtain a shipping quote for any lot being Depositions: No more than two (2) per party, pro-
any sales taxes collected) and on your behalf make offered, from an outside shipper, prior to the auc- vided however, the deposition(s) are to be complet-
demand on the Consignor for the balance and upon tion date. (As a courtesy, MA may provide quotes ed within one (1) day; (c) Compliance with the
receipt of the funds remit same to you. Should the for items to be shipped via UPS). Post sale determi- above shall be enforced by the arbitrator in accord
Consignor refuse to return the funds to you or to nation of shipping costs does not constitute grounds with California law.
MA, we shall disclose the Consignors identity and for cancellation of any purchase made at auction. 4. Each party shall have no longer than eight (8)
assign to you any and all rights MA may have against Purchasers are advised that large and fragile items hours to present its position. The entire hearing
the Consignor. Any and all liability MA may have as can be expensive and that MA will ship no property before the arbitrator shall not take longer than
agent for the Consignor shall thereupon terminate. without first obtaining consent from the purchaser three (3) consecutive days, unless all parties agree
BUYER EXPRESSLY UNDERSTANDS AND AGREES and only after packing and shipping costs have been otherwise in writing.
THAT MA SHALL HAVE NO OTHER LIABILITY disclosed by MA. When MA is to pack and ship, MA The award shall be made in writing no more than 30
TO THE BUYER EXCEPT FOR THE RETURN OF will provide to the bidder with a quote for cost of days following the end of the proceeding. Judgment
THE PURCHASE PRICE AND THAT IN NO EVENT packing and handling and the UPS fee. The Purchaser upon the award rendered by the arbitrator may be
SHALL MA BE LIABLE FOR ANY DAMAGES, is responsible for any insurance of the shipment. entered by any court having jurisdiction thereof.
INCLUDING BUT NOT LIMITED TO Shipment will not be made until both all sums due Each party shall bear its own attorneys fees and
INCIDENTAL, CONSEQUENTIAL OR MA including the shipping and handling fees as quot- costs in connection with the proceedings and shall
COMPENSATORY DAMAGES OR LOSS OF ed, and written confirmation is received that insur- share equally the fees and expenses of the arbitra-
PROFIT OR BUSINESS OPPORTUNITY. ance has been waived or has been obtained by pur- tor.
chaser. Shipment may take up to 21 days after pay-
*Authorship refers to the maker or creator of the ment is received. This auction is being conducted in compliance with
Property, and the period, social culture, and origin of MEDIATION AND ARBITRATION section 2328 of the Commercial Code, section 535
the Property as stated in the Bold Type Heading for PROCEDURES of the Penal Code, and provisions of the California
a given lot in our catalogue. It does not refer to the (a) Within 30 days of written notice that there is a Civil Code.
descriptions which may be contained in the informa- dispute, the parties or their representatives may
Bonded pursuant to California Civil Code sec
tion below the Bold Type Heading. meet at a time and place mutually agreed upon, to
1812.600 et seq. Bond # 70044066
mediate their differences. If the parties agree, a
MISCELLANEOUS mediator acceptable to the parties shall be selected.
a. Modification: No modification or amendment of The mediator shall be an attorney, trained in media-
the Conditions of Sale shall bind MA unless con- tion techniques and familiar with commercial law
tained in a writing signed by MA, except as may be and the California Uniform Commercial Code
posted or published as noted above or verbally (UCC). The mediators fees shall be shared equally
announced at time of sale. and paid by all parties. At the mediation, all parties
b. Severability: If, for any reason, any part of the shall have actual authority to settle the dispute. Any
Conditions of Sale is held to be invalid or unen- statements made during, and all aspects of, the
forceable, the remaining portion shall be valid and mediation process shall be kept confidential and
enforceable. shall not be admissible in any subsequent arbitration
c. Successors and Assigns: The Conditions of Sale shall or judicial proceeding. Any resolution shall be confi-
215
PROPERTY MADE FROM OR CONTAINING Attributed to Giovanni Bellini: In our opinion George III Style Mahogany Chest of Drawers
MATERIALS FROM ENDANGERED OR probably a work by the artist but less certainty as The inclusion of the word style in the head-
PROTECTED SPECIES to authorship is expressed than in the preceding ing indicates that, in our opinion, the piece was
Property that contains any percentage of material category. made as an intentional reproduction of an ear-
made or potentially made from endangered and/or lier style.
other protected species of wildlife are, as a courtesy, Studio of Giovanni Bellini: In our opinion a work
marked in the catalogue with the symbol * . by an unknown hand in the studio of the artist, BRONZES
Michaans Auctions does not accept any responsibili- which may or may not have been executed under
ty or liability for failing to mark such lots. Such the artists direction. Antoine-Louis Barye
material includes, but is not limited to, ivory, tor- This heading indicates that the casting and pat-
toise shell, crocodile skin, whalebone, rhinoceros Circle of Giovanni Bellini: In our opinion a work ination were done by the artist or with his
horn, some species of coral and certain woods. by an as yet unidentified by distinct hand, closely direct authorization or supervsion.
associated with the named artist but not necessarily
Prospective buyers are advised that several coun- his pupil. Cast After a Model by Antoine-Louis Barye
tries completely prohibit importation of property This heading indicates that the casting and
made, all or in part, of proscribed materials. Some Style of ......; follower of Giovanni Bellini: In patination of a known Barye model were done
countries require special permits, such as a CITES our opinion a work by a painter working in the art- by another, i.e., artisans at the F. Barbedienne
permit, from the relevant regulating authority in the ists style, contemporary or near contemporary, but or other foundry.
countries of exportation and importation as well. not necessarily his pupil.
Potential buyers intending to import the property CERAMICS
into another country should be familiar with the Manner of Giovanni Bellini: In our opinion a
relevant customs laws and regulations prior to bid- work in the style of the artist and of a later date. Meissen Porcelain Cup and Saucer
ding on property containing wildlife material. Late 19th Century
Regulations may vary as the U.S. prohibits importa- after Giovanni Bellini: In our opinion a copy of a This states that the cup and saucer were
tion of articles containing material(s) from species it known work of the artist. made at the Meissen factory in the last quar-
has designated endangered or threatened if the arti- ter of the 19th Century.
cles are less than 100 years old. The term signed and/or dated and/or inscribed
means that in our opinion the signature and/or date
It shall be the potential buyers sole responsi- and/or inscription are from the hand of the artist. Meissen Porcelain Cup and a Saucer
bility to research and satisfy the require- Late 19th Century
ments of any laws and regulations that apply The term bears a signature and/or date and/or Again, this states that the cup and saucer were
to the import and export of property as inscription means that in our opinion the signature made at the Meissen factory in the last quar-
described in the aforementioned paragraphs. and/or date and/or inscription have been added by ter of the 19th Century, but it also indicates
Prospective buyers must also note that the another hand. that the cup and saucer may not have been
inability or delay in obtaining permits, licens- bearing signature.../bearing born together.
es or other permissions to import or export date.../bearing inscription... In our opinion
property containing potentially regulated the signature/date/inscription is by a hand other Meissen Porcelain Cup and Saucer
wildlife material will not constitute a basis for than that of the artist. Circa 1900
rescission or cancellation of the sale of said This states that the cup and saucer are of Meissen
property or the delay in payment of pur- Typical Headings: style, and although of the date specified, not nec-
chased items in accordance with the essarily made at the Meissen factory.
Conditions of Sale. FURNITURE
Meissen Porcelain Cup and a Saucer
Definitions of Authorship: George III Mahogany Chest of Drawers
19th Century
This is to qualify the relationship between the Third Quarter 18th Century
This states that the cup and saucer are of
object and the named person in the catalogue. The This heading, with date included, means that
Meissen style, and although of the date speci-
following conventions for attribution are used by the piece is, in our opinion, of the period indi-
fied, not necessarily made at the Meissen factory.
Michaans Auctions: cated with no major alterations or restora-
tions. Meissen Porcelain Cup and Saucer
Giovanni Bellini: In our opinion a work by the The title without a specific date simply states
artist. When the artists forename(s) is not known, a George III Mahogany Chest of Drawers
that the pieces were made at the Meissen fac-
series of asterisks, followed by the surname of the This heading, without the inclusion of the date,
tory but does not specify when, implying that
artist, whether preceded by an initial or not, indi- indicates that, in our opinion, the piece, while
their age is questionable.
cates that in our opinion the work is by the artists basically of the period, has undergone signifi-
named. cant restoration and alteration.
Bid Increments
Minimum Value Maximum Value Expected Bid Increment
from US $ 0 to US $ 49 US $ 5
from US $ 50 to US $ 199 US $ 10
from US $ 200 to US $ 499 US $ 25
from US $ 500 to US $ 999 US $ 50
from US $ 1,000 to US $ 1,999 US $ 100
from US $ 2,000 to US $ 4,999 US $ 250
from US $ 5,000 to US $ 9,999 US $ 500
from US $ 10,000 to US $ 199,99 US $ 1,000
from US $ 20,000 to US $ 49,999 US $ 2,500
from US $ 50,000 to US $ 100,000 US $ 5,000
from US $ 100,000 to US $ 199,999 US $ 10,000
from US $ 200,000 to US $ 499,999 US $ 25,000
All increments may vary at auctioneers discretion.
216

Michaans Auction

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Michaans Auction

Uploaded by

Copyright:

Available Formats

Treasures of Louis C.

Tiffany from the Garden

Inquiries: View this catalog online at www.michaans.com.

Catalog Design by Andre Salcido

Front Cover Lot: 100

The Anchorman Collection

Inscribed L.C.T. Favrile R293.

Group of glassware and a dragonfly trivet

Tiffany Studios sepia

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

Tiffany Studios photograph showing a selection of its Fancy Goods,

Lot 48 Tiffany Studios sepia photograph of a wisteria

Archival Tiffany Studios glass plate photograph of a stuffed peacock that

Sketch in an undated Tiffany Studios brochure, c. 1900,

Lot 100 detail

Lot 100 detail

Lot 100 detail

Lot 100 detail

Lot 100 detail

Lot 100 detail

Lot 101 Reverse

Lot 120 detail

The Parakeets and Fish Bowl window, as illustrated

The tea screens hand-engraved signature. The addorsed

Lot 134 detail

Lot 136 detail

Lot 138, reflected light

Tiffany Studios photograph of clematis in the wild,

Tiffany Studios photograph of milkweed pods with escaping

Glass tablewares awaiting finishing and inspection in the

MICH A A N S AUC TION S IS PROU D T O A N NOU NCE TH E SA LE

19th & 20th Centuries, 1. John La Farge (American 1835-1910)

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

Tiffany and 20th Century Decorative Arts

Consignments Now Being Accepted

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

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

You might also like