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Sale Date:
Dec. 4, 2005
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Lot Numbers, Descriptions and Estimates
501. Unusual and nice L.C. Tiffany compote, footed flower form in gold favrile glass with a really nice overall surface iridescence, signed L.C.T., #9777, 11.5"h 2000-3000
502. L.C. Tiffany vase, footed and broad form with two applied handles in gold favrile glass with nice iridescence, signed L.C. Tiffany Favrile #2033H, 4"h, crack to handle 1200-1700
503. Unusual Tiffany Studios matchbox holder, bronze with Zodiac pattern, signed Tiffany Studios New York #960, original patina, 2.5"h 150-250
504. L.C. Tiffany vase, gold favrile glass with a pulled green leaf and white floral design, overall iridescence, signed L.C. Tiffany #4089H, 3.25"h 2200-2700
505. Collector's Blue Books, Tiffany Glass, by Amaya, 80 pages, hardbound, fully illustrated, ca. 1967; with The Tiffany Touch, by Joseph Purtell, featuring jewelry, over 300 pages, hardbound and fully illustrated, ca. 1971 50-100
506. Louis C. Tiffany’s Glass-Bronzes-Lamps, by Koch, collector’s guide, over 200 pages, hardbound, fully illustrated, ca. 1971, rare and informative out of print book; with L.C. Tiffanyana Quarterly, Volume1, 1968, 20 pages 100-150
507. Rare L.C. Tiffany vase, flower form in blue favrile glass with green and yellow highlights, signed L.C. Tiffany-Favrile 4437H, 8.75"h 3000-5000
508. Tiffany Studios candlestick, unusual organic form in bronze with its original gold dore patina, signed Tiffany Studios New York #1233 plus insignia, 8"h 1000-1500
509. L.C. Tiffany candlestick, three-footed form in bronze with its original gold dore patina, signed Tiffany Studios New York #1202, 8.5"h 1000-1500
510. L.C. Tiffany vase, flower form in gold favrile glass with overall surface iridescence, paper label, signed L.C.T. 4907A, 9"h 1700-2200
511. Moorcroft vase, bulbous form with a Moonlit Blue landscape pattern, signed, impressed mark, 6.25"h 900-1200
512. Moorcroft bowl, large form with a Pansy pattern, signed, impressed mark, 10.5"w x 4"h 500-700
513. Moorcroft vase, Florian pattern, slender form, signed, stamped mark, 10"h, repaired top 250-350
514. Moorcroft vase, bulbous form with a blue Big Poppy pattern, signed, impressed mark, 7"h 500-700
515. Moorcroft bowl, Pomegranate design on a mottled brown and green ground, signed, impressed mark, 5"w, minor hairline 800-1100
516. Moorcroft vase, large bulbous form with a Anemone design, signed, impressed mark, 10.25"h, repaired top 500-700
517. Moorcroft vase, bulbous form with a Fresia pattern on a red ground, signed, impressed mark, 5"h 500-700
518. Moorcroft vase, large shouldered form with a Poppy pattern, signed, impressed mark, 10.25"h 500-700
519. Moorcroft vase, swollen form with a Grape and Leaf pattern, signed, impressed mark, 6.5"h 500-700
520. Moorcroft vase, bulbous form with a bird design on a yellow ground, signed, impressed mark, partial paper label, 8"h, drill hole in base 1000-1500
521. Moorcroft bowl, footed form with a Moonlit Blue landscape pattern, signed, impressed mark, 7"w x 5.5"h 1500-2500
522. Moorcroft vase, tapered form with an Eventide landscape pattern, signed, impressed mark, 6"h 1000-1500
523. Excellent Dalpayrat vase, large and elegant shouldered form covered with a red, blue and purple glaze, signed, #134, 10.5"h, beautiful example 3500-4500
524. Fine Dalpayrat handled vessel, unusual Art Nouveau shape covered with a green, red, purple, blue and black glaze, signed, #2, 9"h, great form, great glaze 1500-2000
525. Numa Gillet vase, silhouetted figure of a woman against a mottled gray and brown ground, signed, 10"h, ref. "Paris Salon", by Alistair Duncan 500-700
526. Delaherche vase, squat form in ivory with a green floral design, signed, 3"h 250-350
527. Exceptional Taxile Doat for Sevres charger, multi-toned brown and green crystalline glaze with an applied medallion to center with cameo figures, signed Doat Sevres, 12"w 3500-5500
528. Greber tray, lizard figural under a blue, nice green and tan glaze, signed, 4.5"w 250-350
529. Exceptional Rozenburg vase, ca.1900, eggshell porcelain with a beautifully painted orchid decoration, artist signed, #1756, 4"h 4000-6000
530. Moorcroft vase, tapered form with a Dianthus pattern on a green ground, impressed mark, 4"h 350-450
531. Moorcroft vase, swollen form with a Late Florian pattern, signed, impressed mark, 7"h, hairline to rim 500-700
532. Moorcroft vase, tapered form with a Dianthus pattern on a red ground, impressed mark, 4"h, hairline 400-600
533. Moorcroft vase, footed form with a revived Florian style Peacock Feather pattern, signed, impressed mark, 6"h 900-1200
534. Moorcroft vase, bulbous form with an unusual Anemone pattern, signed, impressed mark, 6"h 600-800
535. Moorcroft vase, flaring shouldered form with an Honesty pattern, signed, impressed mark, 7"h, chip and cracks to rim 600-800
536. Moorcroft vase, large form with an unusual Apple Blossom pattern in green, signed, impressed mark, paper label, 12"h, factory hole in base 1000-2000
537. Moorcroft plate, Moonlit Blue pattern, signed, impressed mark, 7.5"w, minor chip to rim 500-1000
538. Moorcroft vase, green Flamminian pattern on a green ground, signed, impressed mark, 12"h 500-700
539. Moorcroft vase, shouldered form with a Grape pattern on a yellow ground with overall surface luster, signed, marked made for Liberty & Co., 5"h 1000-1500
540. Moorcroft tobacco jar, Florian pattern, signed, stamped mark, 6"h, repaired chip and hairline to rim 900-1200
541. Moorcroft vase, shouldered form with a Grape and Leaf pattern on a brown ground, signed, impressed mark, 8.5"h 900-1200
542. Exceptional G. Argy-Rousseau vase, pate-de-verre glass with a poppy design, signed, 9"h, beautifully crafted example 6000-8000
543. Fine Daum vase, large form with blown-out landscape with cypress trees in purple against a mottled yellow, white and blue ground, incised signature, 16"h 8000-11,000
544. Large and unusual Loetz vase, attribution, tapered form in pink opalescent glass, unmarked, 12.5"h 500-700
545. Exceptional Loetz vase, bulbous form with a Phänomen design, unmarked, 4.25"h, beautifully made 4500-6500
546. Fine Loetz vase, cylindrical form with folded rim with a Cytisus design, held by a silver base with an Art Nouveau design, unmarked, 11.5"h 5000-7000
547. Nice Loetz vase, three handled form with a wonderful Phanomen design, unmarked, 5.25"h 3500-4500
548. Good Tiffany Studios smoker's lamp, bronze base which includes a wooden tray, ashtray basket with match holder and a book rack, linenfold shade in gold glass and bronze, original gold dore patina, base signed Tiffany Studios New York #582, shade signed Tiffany Studios N.Y. with patent, 56"h, excellent original base and shade 10,000-15,000
549. Tiffany Studios table lamp, harp base in bronze with its original gold dore patina holding a gold favrile glass shade with a good overall surface iridescence, base signed Tiffany Studios New York #613, shade signed L.C.T., 8"w x 18"h 4500-5500
550. Excellent Tiffany Studios lamp, two arm bronze base with its original patina holding two gold favrile shades with nice overall iridescence, shades signed L.C.T., base signed Tiffany Studios New York, 11"w x 21"h, unusual lamp with a great patina 5500-7500
551. Tiffany Studios lamp, bronze base in Zodiac pattern with its original patina supporting a leaded glass shade in yellow, green and white, base signed Tiffany Studios New York #687, shade signed Tiffany Studios New York #1587, 11"w x 15"h, shown in "Tiffany at Auction", Duncan, pg.263 3500-5500
552. Tiffany Studios table lamp, bronze base with its original gold dore patina supporting a Daffodil shade in multi-colored leaded glass, base signed Tiffany Studios New York #620, shade signed Tiffany Studios N.Y. #426, 14"w x 19.5"h, a couple of cracked glass segments 20,000-25,000
553. Tiffany at Auction, by Alastair Duncan, over 300 pages, hardbound, fully illustrated, ca. 1981, probably the best pictorial book on the subject, rare hard to find book, out of print 400-600
554. Unusual Handel floor lamp, reverse painted shade with a detailed landscape supported by a bronzed metal base with intricate peacock feather designs at bottom, shade signed and numbered 5664, 18"w x 63"h, this rare base has an excellent original patina 15,000-25,000
555. Eugene Grasset color Art Nouveau lithograph, c. 1895, signed in pencil, 16.5"w x 30"h, very good condition 300-400
556. Tiffany Studios bowl, flaring form in bronze with its original gold dore patina, signed Tiffany Studios #1708, 9"w 150-250
557. Decorative Art Nouveau print, Greco woman playing flutes, marked, matted and framed, 10.5" x 14" 150-250
558. Paul Berthon Queen Wilhelmina of the Netherlands lithograph, signed and dated 1901, framed in a carved period frame, image 14"w x 15.5"h, very good condition 300-400
559. Alphonse Marie Mucha color lithograph, 1896, for Job Paper Co., printed by F. Champenois, image 15.5"w x 20"h, very good condition 4000-6000
560. Wrought iron bench, in the style of Oscar Bach, twisted brass with applied design, original patina and fabric, 20"w x 13"d x 30"h, very good condition 400-500
561. Tiffany Studios Memorial landscape window, "River of Life" theme depicting distant hills silhouetted against the dusk sky with a river descending through cypress lined banks leading to a foreground with a blooming dogwood, a lone pine tree and a gaggle of irises, plated layers of leaded mottled, fractured, drapery and etched glass in a multitude of colors, enamel signature lower right: Tiffany Studios New York 1918, wood frame, 49.5" x 38" overall 90,000-120,000

Session Two - Fine American & European Paintings/Watercolors/Drawings - Approx. 3:30 (cst)
562. Charles Warren Eaton (American, 1857-1937), “The Last Gleam", c.1911 oil/canvas, 30" x 36", signed and dated; titled and signed on verso. Well known tonalist painter. Eaton studied at the Art Students League and the National Academy of Design in the 1870s, and exhibited there as early as 1882. He was a member of the Lotos Club, Salmagundi Club, New York Watercolor Club, and the National Academy. In 1886, he shared a studio with Leonard Ochtman and Ben Foster, and traveled with them to Grez. He also painted in Italy, Belgium, Holland, and France. This is an exceptional example of the artist’s work. 30,000-50,000
563. Wellington J. Reynolds (American, b. 1869), “Sailboats on Lake Michigan", c. 1910; oil/board, 20" x 30", signed. Reynolds was an important painter and teacher in Chicago. He was a member of the Cliff Dwellers and the Societe des Artistes Francaises. He exhibited at the Chicago Society of Artists, Paris Salon, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Corcoran Gallery. He taught at the Chicago Academy of Fine Art. 2000-3000
564. Wellington J. Reynolds (American, b. 1869), “Landscape with Cattle", c. 1910; oil/board, 20" x 30", signed. Reynolds was an important painter and teacher in Chicago. He was a member of the Cliff Dwellers and the Societe des Artistes Francaises. He exhibited at the Chicago Society of Artists, Paris Salon, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Corcoran Gallery. He taught at the Chicago Academy of Fine Art. 2000-3000
565. George Schultz (American, 1869-1934), “Marine", c. 1910, gouache/paper, 20" x 29.5", signed. Studied and exhibited at the Art Institute of Chicago from 1889-1925. 1000-2000
566. William Henry Hilliard (American, 1836-1905), “Waterfall", c. 1870; oil/canvas, 24" x 18", signed ; inscribed, “San Lorenza River, CA" on verso. Hilliard was active in Indiana in the 1860s-70s, painting primarily landscapes. In the late 1870s, he moved to New York, and eventually settled in Washington, D.C. He painted in Paris from 1880-83, and exhibited at the Paris Salon. 2500-3500
567. Henry Thomas Schafer (English, 1873-1915), “Farmhouse with Figures and Ducks", 1874, oil/canvas, 18" x 23.5", signed. 2500-3500
568. Haynes King (school of) (English, 1831-1904), “Young Sportsmen", c. 1880, oil/canvas, 36" x 28", bears signature. King was born in Barbados, but came to England in his early twenties where he became a notable London based figure painter. He exhibited at the Royal Academy from the 1860s-1900s. 2000-3000
569. Daniel Merlin (French, 1861-1933), “Kittens", c.1890, oil/canvas, 13" x 16", signed. Merlin painted this subject almost exclusively. 3000-5000
570. Antal (Laszlo) Neogrady (Hungarian, 1861-1942), “Lady in Garden", c. 1910; oil/canvas, 22" x 29", signed. 2500-4500
571. Franklin DeHaven (American, 1856-1934), “Indiana Landscape", c. 1892; oil/canvas, 18.5" x 25.5", signed and dated with original ornate frame. DeHaven worked in Indiana early in his career, before moving to New York. He studied with Smillie in New York, and exhibited at the National Academy of Design (for 50 years), Brooklyn Art Association, Pennsylvania Academy of Fine Art, Boston Art Club, and the Art Institute of Chicago. He was an important member of the Salmagundi Club, and was fondly known as “Pop" to the members. This is an excellent early example of his work. 2500-4500
572. Alfred-Victor Fournier (French, 1872-1924), “An Abandoned Amphitheatre in the French Countryside", c. 1900; oil/canvas, 18" x 24", signed. Studied with Maignan. He became a member of the Societaire des Artistes Francais in 1901. He painted in the region of Concarneau, Pont-Aven, and Quimperle in the first two decades of the twentieth century. 1000-2000
573. Arthur Spooner (British, 1873-1962), “Shepherd", c. 1900; oil/board, 20" x 24", signed. 2500-4500
574. Attributed to Pietro Merq (Flemish, 16th Century), “Christ in logos", oil/copper, 10" x 8", attributed to Merq on verso. 1000-1500
575. Paul E. Harney (American, 1850-1915), “Midwestern Landscape", 1908; oil/canvas, 11" x 14", signed and dated. Harney studied at the National Academy of Design in New York City and the Royal Academy in Munich. He painted most of his career in St. Louis. His subjects were monks, chickens, and landscapes. 1500-2000
576. British School, "Marsh Landscape" , c. 1870; oil/canvas, 30" x 48", signed with a monogram, and dated. 1000-2000
577. Stephan Sedlacek (German, 19th-20th century), "Figures in an Interior", c.1890; oil/canvas, 31.5" x 23", signed. 1500-2000
578. Claude Michel (Clodion) (French, 1738-1814), "Three Children and a Goat", c. 1875; bronze, 20"w x 13"d x 22"h, signed on base. 5000-7000
579. Alexis Fournier (attribution) (American, 1865-1948), "On the Scent", c. 1890; oil/canvas, 9.5" x 17.5", unsigned and in original frame; accompanied by a copy of a letter supporting this attribution. Fournier was a member of the Roycrofters in East Aurora, New York. He exhibited primarily landscapes at the Hoosier Salon, National Academy of Design, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and the Buffalo Art Club. He also painted in Brown County, Indiana. 1000-2000
580. Maude A. Norrie (American, 20th century), "Western Mountain Landscape with a River", c. 1930, oil/canvas, 32" x 24", signed. 1000-2000
581. Hudson Mindell Kitchell (American, 1862-1944), "Entrance to Forest of Fountain Bleu", c.1900; oil/canvas, 34" x 54", signed. Kitchell’s address in 1924 was New York City, but he painted across the entire nation. His style is strikingly similar to R.A. Blakelock’s, and the results were very successful. He exhibited at the Society of Independent Artists in the 1920s. 2000-4000
582. Peter Alfred Gross (American, 1849-1914), "Barnyard", c. 1894; oil/canvas, 36" x 50", signed and dated. Gross moved from Pennsylvania to France in 1874 and lived there until 1914. He exhibited at the Paris Salon from 1883-1899 and the Paris Expo in 1889. 2000-3000
583. Launay, (French, early 20th century), "Figure by a Stream", c. 1920; oil/canvas, 22" x 18", signed. 600-800
584. Nanna M. Bryant (American, 1871-1933), "The Lovers", c. 1910; bronze, 13.5" x 11", signed. Bryant was a painter as well as a sculptor. She studied at the Academie Julian, Paris. She exhibited her sculpture at the Pennsylvania Academy of Fine Art, the National Academy of Design and the Copley Society in Boston. 1000-2000
585. Leon Dabo (American, 1868-1960) "Steamer", c.1920; oil/canvas, 30” x 34”, signed; Anderson Gallery label on verso. Dabo went to New York City in 1884, and became a friend and employee of John La Farge. He exhibited at the Art Institute of Chicago, Pennsylvania Academy of Fine Art, and the Armory Show (New York, 1913; he was one of the founders of the AAPS, the group which organized this show). His work is included in the collections of the Imperial Museum of Art (Tokyo), Boston Museum of Fine Art, Detroit Art Association, St. Louis Art Museum, and the Detroit Art Institute. 10,000-20,000
586. Edward Moran (American, 1829-1901), " Fishing Boats at Sunset", c. 1870; oil/canvas, 16" x 24", signed. Moran was one of four brothers who were all well-known artists. Early in his career, he was primarily interested in marine painting, but after a visit to France in 1878, he began painting figures and animals as well as marines. Moran was a member of the National Academy of Design and the Pennsylvania American Federation of Arts. His work is in numerous public collections, including the Milwaukee Art Museum, National Museum of American Art, United States Naval Academy Museum (Annapolis), and the Chysler Museum. 8,000-12,000
587. James Carroll Beckwith (American, 1852-1917), "Sylvan Toilette", c.1897; oil/canvas, 28" x 20", signed; Berry-Hill label on verso. Beckwith studied in Chicago and at the National Academy of Design. He exhibited at the Art Institute of Chicago, Paris Salons, Paris Expo, and the World’s Colombian Expo (Chicago, 1893). He shared a studio with J.S. Sargent for a time, and was a highly influential teacher at the Art Students League in New York during the 1880s-1890s, 20,000-30,000
588. Louis W. Bonsib (American, 1892-1979), "Path through the Indiana Hills", c.1940; oil/canvasboard, 16" x 20", signed . Ft. Wayne, Indiana painter. Bonsib exhibited at the Herron Art Institute, Hoosier Salon, and the Maine Art Museum (Ogunquit). His work is in several public collections in Ft. Wayne. 500-700
589. Travis Olin (American, 1888-1975), "Arkansas Landscape", c. 1930; oil/board, 12" x 16", signed and titled on verso. Travis worked in Dallas, and exhibited at the Southern States Art League, Denver Art Museum, and the Museum of Modern Art. He and his wife, Kathryn founded the Dallas Art Institute (1926), and Olin taught at the Art Institute of Chicago. 800-1200
590. Paul Turner Sargent (American, 1880-1946), "Illinois Landscape", c. 1925; oil/board, 14" x 17", signed. Landscape painter from Charleston, Illinois. Sargent exhibited at the Hoosier Salon, Art Institute of Chicago, and in California, at the Laguna Beach Art Association. 600-800
591. Leon Lundmark (American, early 20th century), "Lake Superior in Summer", c. 1920; oil/board, 7" x 9.25", signed. Chicago area artist. Lundmark was one of a number of Swedish painters who settled in Chicago. He exhibited at the Swedish Art Exhibition (Chicago, 1923), and won a prize. 500-700
592. Gerald A. Frank (American, b. 1889), "Floral Still Life", c. 1920; oil/board, 26" x 22", signed. Chicago painter. Frank studied with Ufer, Reynolds, and Charles Hawthorne. He was a member of the Chicago Painters and Sculptors and the Chicago Gallery Association. He exhibited at the Pennsylvania Academy of Fine Art, Chicago Gallery Association, and the Art Institute of Chicago 1910s-30s). 600-800
593. C. Curry Bohm (American, 1894-1971), "Brown County", c. 1940; oil/board, 8" x 10", signed. Important landscape painter from Indiana. Bohm studied at the Art Institute of Chicago, and began visiting Brown County around 1920, usually spending part of the summer there. He was a charter member of the Brown County Art Gallery Association (founded in 1926), although he did not permanently reside there until 1932. He specialized in landscapes, and exhibited at the Hoosier Salon, Art Institute of Chicago, Brown County Art Gallery Association, Chicago Municipal Art League, and the Chicago Palette and Chisel Academy of Fine Art. 800-1200
594. Carl Oscar August Erickson (American, 1891-1958), "Country Road", c.1930, oil/canvas, 23.25" x 27", signed. Chicago painter. Erickson studied at the Chicago Academy of Fine Art and the Art Students League. He exhibited at the Art Institute of Chicago, Society of Independent Artists, and the Pennsylvania Academy of Fine Art. He also worked as a successful illustrator, working for Vogue for a time. 1000-2000
595. T.Y. Houak (American, early 20th century) "Hilltop overlooking Mississippi River", c. 1920; oil/canvas board, 9" x 12", signed ; partial artist exhibition label on verso - "St. Louis Art League". 300-500
596. Charles Oglesby Longabaugh (American, 1885-1944), lot of two, one pictured; "Chicago", c. 1937; watercolor/paper, 11.5" x 15.5", signed; with a similar image. Illinois-based artist. 500-700
597. George Demont Otis (American, 1879-1962), "Woodland Brook", c. 1920; oil/canvas, 18" x 22", signed; Hamilton Club of Chicago label verso. 2500-3500
598. WITHDRAWN
599. George Demont Otis (American, 1879-1962), "Opalescence", c. 1920; oil/canvas, 18" x 22", signed; Vose/Mongerson label (1920; 24th annual) on verso. An impressionist landscape painter who began his career in Chicago, and then moved to west coast in 1920. 2500-3500
600. Pauline Palmer (American, 1867-1938), "My Mother", c. 1914; oil/canvas, 24" x 20", signed. Palmer studied at the Art Institute of Chicago and in Paris with Raphael Colin. She exhibited at the Paris Salon, 1903-06 and 1911, the Pennsylvania Academy of Fine Art, and the Art Institute of Chicago. Exhibited: Eighteenth annual Exhibition of the Society of Western Artists; Art Institute of Chicago, 1914, #52; illustrated in catalog, "Pauline Palmer: An American Impressionist", 1984, Lakeview Museum, Peoria, IL. 10,000-20,000
Sale Date:
Dec. 4, 2005