A Deeper Dive - Doyle+Design - June 23

A DEEPER DIVE DOYLE+DESIGN® | AUCTION JUNE 23

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Lot 239 Pair of Arne Jacobsen Upholstered Egg Chairs and Ottomans For Fritz Hansen, 1997 C Estate of Richard and Carole Rifkind Estimate: $4,000 - $6,000

DOYLE+DESIGN

®

Auction, Tuesday, June 23, 2020 at 10am

TABLE OF CONTENTS

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The Southern Folk Art of Purvis Young Billy Al Bengston: West Coast Watercolors Louis Comfort Tiffany and the Pan American Exhibition Tiffany at the Hotel Manhattan Tiffany Glass Mosaics An Art Nouveau Treasure of Louis Comfort Tiffany An Aesthetic Movement Settee for the Havemeyers by Louis Comfort Tiffany and Samuel Colman

ANGELO MADRIGALE EXPLORES

Hailing from the Overtown neighborhood of Miami, a destitute area known as the “Harlem of the South,” legendary Folk artist Purvis Young created several thousand paintings and drawings in his four-plus decade career.

African-American artist Purvis Young (1943-2010) was born into a poor family and did not attend high school. Young rediscovered his childhood passion for art while serving a three-year sentence at Raiford State Penitentiary for breaking and entering. He began drawing and poring over art books in earnest while incarcerated.

Young returned to Overtown and settled into Good Bread Alley in the mid-1960s after being released from prison. The famed alley was named after the many bakeries and homes lining the street, filling the air with the smell of fresh johnnycakes and cornbread. Young was inspired by images of murals he had seen in cities like Chicago and Detroit, and set about doing what he could to replicate them. Nailing and hanging his crudely beautiful paintings across the walls, Young would coat Good Bread Alley with his art. The resulting project was large enough to be seen from the nearby highway, and travelers would stop to observe – and eventually to buy – the works on view.

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UNTITLED Doyle+DesignÂŽ June 23

Lot 115 Purvis Young American, 1943-2010 Untitled Signed Young (ur) Paint on unstretched fabric 23 x 42 inches (58.42 x 106.68 cm) Unframed

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Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C Estimate: $3,500 - $4,500

As with many Outsider artists, Young had the intense desire to create, even though materials were not affordable. Overtown became Young’s source, in a sense, as the neighborhood’s detritus would be transformed into his art.

Young employed not just paper scraps and fabric, but parts of broken doors, carpet remnants, pieces of metal. Firefighters brought him leftover fire hydrant paint. Old TVs, manila folders; Young would repurpose almost anything he could find, and was painting and drawing compulsively nearly every waking hour.

Purvis Young was a popular fixture in the community because he was intent on beautifying the neighborhood.

Young’s style was loose; his figures are inky squiggles, wavering and quivering; his horses blotchy masses, childlike in their simplicity.

Young wished to “paint the truth,” as he told it, and in documenting both joyful religious scenes, as well as tragic wars, he was creating art that he felt could make harmony. “I’d just like to see peace. Then maybe I’d [take] my brush and throw it away.”

and trucks, horses, figures in prayer, scenes of war. By the early '70s, the artist had drawn the attention of Bernard Davis, owner of the Miami Art Museum. With Davis’ promotion, Young sold works to tourists and assorted collectors.

Along with many of Miami’s best-known collectors, celebrities like Jane Fonda, David Byrne and Lenny Kravitz collected his work in depth.

Young did not have a proper studio until the '90s, a Wynwood space where he eventually faced eviction due to his massive hoarding.

Miami’s well-known Rubell family, some of the art world’s foremost collectors and philanthropists, came to his rescue with an offer to buy his entire inventory. While the figure is still debated – said to be anywhere from $60,000 to $1 million – the purchase was enough to keep Young from eviction.

The Rubells, in addition to showing works in their own museum space, have donated hundreds of paintings to an assortment of institutions.

“I’d just like to see peace.

Then maybe I’d [take] my brush and throw it away.”

Buoyed by sales, Young began studying art books at the local library. As such, the influence of pivotal figures including Gauguin, Van Gogh, El Greco and Rembrandt can be seen in his work. Young was also inspired by history documentaries as well as a desire to respond to the tragedies he saw happening in the Vietnam War on television news stations.

Young’s subject matter was repetitive, his output voluminous. He often depicted refugees arriving to the US on boats, cities with buses

Purvis Young’s life is a complicated, brutal tale of poverty, health troubles and manipulative art dealers (including a Cuban Santerian priest who cast curses on his competitors). To this day, there are inexplicable battles, bad faith deals and debates over his estate. Even so, this self-taught artist overcame countless obstacles to transform his impoverished community into an artistic vision of his own creation. Young eventually had an exhibition at the Venice Biennale, and his work is held by many of the world’s foremost institutions and private collections.

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Six of the eight works included in the Design sale are culled from the collection of the late James Hedges III, owner and proprietor of the renowned former Outsider Art gallery Rising Fawn Folk Art Gallery, based in Rising Fawn, Georgia. Hedges was a wood carver and chainsaw artist who expanded into exhibiting and managing the careers of many outsider artists, focusing on those with physical or mental disabilities, as well as those who were incarcerated. His massive archive is now with the Smithsonian Archives of American Art and is understood to be one of the most important archives of American Folk Art in existence. The works that Hedges acquired from Purvis Young have many of the artist’s trademark elements – painted on found paper and fabric, the human figures and horses are raw but stylized; painted quickly and energetically, emblematic of his unique work and life.

UNTITLED (HORSES) Doyle+Design® June 23 Lot 116 Purvis Young American, 1943-2010 Untitled (Horses) Signed Young (ur) Paint on newsprint 22 x 21 1/4 inches (55.88 x 53.97 cm) Unframed Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C $2,500-3,500

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UNTITLED (HORSES) Doyle+DesignÂŽ June 23

Lot 117 Purvis Young American, 1943-2010 Untitled (Horses) Signed Young (ur) Paint on newsprint 34 x 22 inches (86.36 x 55.88 cm) Unframed Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C $2,500-3,500

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UNTITLED (HORSES) Doyle+DesignÂŽ June 23 Lot 118 Purvis Young American, 1943-2010 Untitled (Horses) Signed Young (ur) Paint on newsprint 34 x 22 inches (86.36 x 55.88 cm) Unframed Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C $2,500-3,500

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UNTITLED (HORSES) Doyle+DesignÂŽ June 23 Lot 119 Purvis Young American, 1943-2010 Untitled (Horses) Signed Young (ur) Paint on newsprint 34 x 22 inches (86.36 x 55.88 cm) Unframed Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C $2,500-3,500

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UNTITLED (HORSES) Doyle+DesignÂŽ June 23 Lot 120 Purvis Young American, 1943-2010 Untitled (Horses) Signed Young (ur) Paint on newsprint 34 x 22 inches (86.36 x 55.88 inches cm) Unframed Provenance: The artist Rising Fawn Folk Art Gallery, Rising Fawn, GA Private Collection, Jimmy Hedges Thence by descent to Jim Hedges, IV C $2,500-3,500

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UNTITLED (HORSES) Doyle+DesignÂŽ June 23 Lot 121 Purvis Young American, 1943-2010 Untitled Signed Young on the reverse House paint on two joined sheets of paper Total size 22 7/8 x 17 3/4 inches C $2,000-3,000

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CLARITY Doyle+DesignÂŽ June 23 Lot 122 Purvis Young American, 1943-2010 Clarity Ink on found collaged paper Total size 10 1/2 x 13 5/8 inches Provenance: Sale: Hill Auction Gallery, Lauderhill, FL, Bass Museum Decomission Auction, 2016 C $1,000-1,500

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ANGELO MADRIGALE EXPLORES

When I think of the West Coast ideal at mid-century, the image I have is of a folk hero of sorts: part cowboy, part stuntman, possessing both movie star charisma and the skill to rebuild a truck engine, maybe like Steve McQueen or a young Marlon Brando in The Wild One. This mythical character could be Billy Al Bengston. Born 1934 in Dodge City, Kansas, Bengston studied under Richard Diebenkorn at the California College of Arts & Crafts in Oakland – he was asked to leave after only one year.

He was later mentored at Otis by the genre-defying ceramicist Peter Voulkos, who further encouraged Bengston’s desires to ignore art world rules, both in craft and in business. But even in a welcome environment, Bengston could still be too volatile. “He was so strong,” Bengston said of Voulkos. “He picked me up one day and locked me in the kiln because I was too rowdy.”

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Charming, charismatic, an impeccable dresser, Bengston surfed and raced motorcycles professionally. The legendary Ferus Gallery was an obvious fit for him – “ferus,” meaning savage or wild. This cutting edge gallery was run by Walter Hopps, Ed Kienholz and Irving Blum, and Bengston was a star on their roster. Ferus was the space to first debut Warhol’s soup can series in 1962 and set the tone for not only the West Coast aesthetic, but for much of American Post-War art. Bengston would have five solo shows at Ferus from 1958 to 1963. His bold motorcycle paintings predate much of Pop Art, though they are an early connector of graphic design to fine art. Further to this point, Bengston and his Ferus peers would be included in Lucy Lippard’s 1966 book Pop Art described as those “whose style, rather than subject, has been influenced by what might be called a Pop stance.”

Akin to Sinatra’s Rat Pack, or the Beat poets of the Village, Bengston was a leader of the “Cool School,” a tight-knit group of Los Angeles artists that included Ed Ruscha, Larry Bell, Ed Moses, Ken Price and others. Their art gang gave focus to the subcultures of their time: jazz and rock music, custom car culture, motorcycles, surfing. Defining their passions and lifestyles in their work was largely out of sync with New York Pop Art – far more bravado than sarcasm, even if the materials may have been similar. In the 1960s, Price and Bengston shared a 4,000 square foot Venice studio that ran for $75 a month. The artists all partied together, influenced each other and drove each other to explore and innovate in a variety of mediums.

Bengston focused on color field abstractions that blissfully blur out the more hard-edged, representational or appropriated forms he would often repeat in his Dracula series, or his Chevron series. Typically placing his forms in the center of his works, Bengston seemingly did this often not just to spite his art teachers, but to reject any preconceived notions of standard practices. “If people say you can’t do something, that’s what I’m going to do,” Bengston declared in a 2016 Hyperallergic interview. “Is there any place else other than the center, to put the form? I don’t dive on the edges of the pool, if I can help it. You go for the sweet center.”

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Bengston’s practice included industrial lacquers and spray-gunned polymer paint, all adopted from auto body use. Akin to his nature, using industrial materials and tough, punchy imagery, Bengston achieves a ghostly, ethereal quality to his works. Even when employing an appropriated “masculine” logo, such as the BSA motorcycle emblem, which graced an entire 1961 series, there’s a beauty to the toughness. The colors are bold, but the painter’s hand can be seen.

The result is, for lack of a better word, “pretty” art that at first blush seems incongruous to the era and to the source material. But Bengston simply reflects the dichotomy of his culture: the graceful waves carved by an athletic surfer, the supple tailfins on the car bodies built of Detroit steel.

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The two atmospheric watercolors featured in the June 23 Doyle+Design auction find Bengston in the late ‘70s and early ‘80s pushing himself in new ways, still flirting with hard edge abstraction, still appropriating representational imagery, but getting even dreamier. From 1980, Honolulu Watercolor is part of a series culled from the flora of Hawaii, created two years after his first trip to the islands, where the artist maintains a second home. Venice Watercolor, a work from five years earlier, shows Bengston similarly mining the psychedelia he is known for, breezy and ethereal. Honolulu Watercolor sees the artist playing with the picture plane, combining the hard edges seen painted in earlier works, approximated here with slicing, pointed cuts in the conjoined sheets. Always looking to expand upon the limitations of a painting’s edge, Bengston chose to physically cut crisp, jagged lines that challenge the surface.

Billy Al Bengston’s image is so steeped in West Coast macho cool, it necessitated a full-scale wax statue of the artist in riding gear astride a cycle to greet viewers at the entrance to his 1968 LACMA exhibition. Yet, the Honolulu and Venice watercolors have an obvious beauty, an action paintingmeets-Hawaiian shirt playfulness, even if marred by volatile fault lines, be they cut or painted. Bengston seems to thrive on these mixed messages. As in Full Metal Jacket, when Matthew Modine’s character, Private Joker, is confronted by a furious commanding officer befuddled by the phrase “born to kill” next to a peace sign on his helmet – “I think I was trying to suggest something about the duality of man, sir.” It’s smart-alecky, and mysterious and thoughtful all at once.

Bengston, now in his 80s, has not softened his stance over the years. A recent artist’s statement both welcomes and rejects us, as many of his works often do: “My real job is painting pictures and paying attention… I am an adequate cook and exceptional braggart still. For more details do your research. And use your imagination.”

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HONOLULU WATERCOLOR Doyle+DesignÂŽ June 23

Lot 4 Billy Al Bengston American, b. 1934 Honolulu Watercolor, 1980 Initialed B.A.B., dated 1980 and inscribed Honolulu (lc) Watercolor on paper 30 1/2 x 23 inches (77.47 x 58.42 cm) Provenance: Billy Al Bengston Artist Studio Exhibited: Modern Painters at the Corcoran: Billy Al Bengston, Corcoran Gallery of Art, Washington, DC, Jan. 30 - Mar. 29, 1981, catalog #26 C Estimate: $5,000 - $7,000

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VENICE WATERCOLOR Doyle+DesignÂŽ June 23 Lot 5 Billy Al Bengston American, b. 1934 Venice Watercolor, 1975 Initialed B.A.B., dated 1975 and inscribed Venice (lc) Watercolor on paper 10 x 40 1/4 inches (25.4 x 102.23 cm)

Provenance: Billy Al Bengston Artist Studio Exhibited: Modern Painters at the Corcoran: Billy Al Bengston, Corcoran Gallery of Art, Washington, DC, Jan. 30 - Mar. 29, 1981, catalog #2 C Estimate: $3,000 - $5,000

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LOUIS COMFORT TIFFANY AND THE PAN-AMERICAN 34

MALCOLM N. MACNEIL EXPLORES

LOUIS COMFORT TIFFANY AND THE PAN-AMERICAN EXHIBITION The Pan-American Exposition held in Buffalo, New York, in 1901, boasted an attendance of more than 8 million people from around the world. It was the first World’s Fair hosted by the United States as it entered the new century, following on the heels of the 1900 Paris Exposition. Situated on 350 acres of land, the Pan-American Exposition is perhaps today best remembered as the place where President William McKinley (1843-1901) was shot by an assassin at the Temple of Music on September 6, 1901. More favorably, the exposition is remembered also for its amazing exhibits and for the dramatic nighttime illumination. Hundreds of thousands of eight-watt light bulbs, powered by power plants at Niagara Falls, twenty miles away, were gradually lit as night fell on the fairgrounds. Until this time, most individuals in attendance would have been largely accustomed to experiencing and enjoying the benefit of nighttime illumination only by means of gas, oil and candlelight. The new experience of electric lighting must have been a beautiful and dazzling spectacle. At the time, the impressive display of electric light bulbs that outlined and illuminated the colorfully painted building structures, outdoor fountains, pools and fairgrounds, was the largest of its kind in our country. Thomas A. Edison, who patented his incandescent bulb in 1879, even captured the drama with a short film he made showing the illuminated fairgrounds at night. (left) Pan-American Exposition View of the Plaza at Night (right) The Temple of Music Illuminated at Night at the Pan-American Exposition, 1901. Source: C.D. Arnold.

Buffalo, N.Y., from The Pan-American Exposition Illustrated, p. 32.

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Pan American Exposition, 1901 Source: 36 https://i.imgur.com/BVdj3aA.jpg

“...I see a hundred things which are entirely new to me and many more which give me food for thought and reflection. It is a magnificent presentation.�

- Charles L. Tiffany

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The Electric Tower at the Pan-American Exposition, 1901

Like World’s Fairs before it, such as London’s Crystal Palace Exhibition of 1853 (the first World’s Fair), the purpose of the 1901 fair was to provide participating countries a platform to highlight and promote their respective cultures, scientific developments and artistic achievements. Electric technology was still a relatively new science and as such, it should not be surprising that it was a dominant feature of the fair. The massive “Electric Tower,” measuring 391 feet tall, celebrated the new technology, and, as if to emphasize the point, atop the building stood an 18-foot tall statue of a nude winged angel holding a torch and named “Goddess of Light.”

The Tiffany Fountain at the Pan-American Exposition, 1901 Source: http://panam1901.org/tour_1/mfla_tiffany3_pg59.htm

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A centerpiece of the fair was the illuminated “Great Fountain,” designed especially for the Pan-American Exposition by Louis Comfort Tiffany (1848-1933).

Located in the Inner Court of the Manufactures and Liberal Arts Building the fountain was part of the exhibit of Tiffany Studios. Described as one of the most artistic features of the exposition, attracting enthusiastic crowds day and night, the fountain was made of brilliantly colored glass mosaic, onyx and pearl. Electric lights installed below the water and colored lights projected from above the falling water resulted in a dramatic and mesmerizing effect. Prior to its installation in Buffalo, the fountain was placed on public view at the company’s showroom on Fourth Avenue (now Madison Avenue) between 24th Street and 25th Street in New York. Other artistic products, newly made for display at the fair, were also on view.

Louis C. Tiffany was one of the exposition’s most important and popular exhibitors. This was Tiffany’s third World’s Fair, having participated in two earlier fairs, the World’s Columbian Exposition, held in Chicago in 1893, and the 1900 Paris Exposition.

At the World’s Columbian Exposition, the Tiffany Glass and Decorating Company (precursor to Tiffany Studios, established only one year earlier), was awarded fifty-four medals, including one for lighting.

Some of Tiffany’s most important creations were exhibited there, including the Tiffany Chapel and the Feeding the Flamingos window, both now in the collection of the Charles Hosmer Morse Museum of American Art in Winter Park, Florida, and the Parakeets and Gold Fish Bowl window, now in the collection of the Museum of Fine Arts, Boston.

At the 1900 Paris Exposition, now operating under the name Allied Arts Company and marketing its creations under the name Tiffany Studios, the firm was bestowed twenty-four awards, including a Grand Prix for applied arts, and Tiffany was conferred the title chevalier of the Legion of Honor.

Tiffany’s exhibit at the Pan-American Exposition occupied 16,000 feet of space. One of the special items was a massive and lavishly “jeweled” leaded glass window depicting the seasons. Also on display were landscape windows, cartoons and designs for windows, colorful favrile glass vases, scent bottles and bowls, glass mosaic panels, jardinieres, rare cabinet pieces, copper enamel plaques, lamp fixtures and tapestries designed by Tiffany and woven at Tiffany Studios. In all, Tiffany presented more than three thousand creations to an admiring and appreciative world audience.

The legendary luxury retail firm of Tiffany & Co., established by Tiffany’s father, Charles Lewis Tiffany (1812-1902), also participated in the fair in an adjacent pavilion. Among the items Tiffany & Co. exhibited were fashionable jeweled gold and silver mounted favrile glass vases and scent bottles made

by Tiffany Studios. Another special exhibitor at the 1900 Paris Exposition was Siegfried Bing, a German-French art dealer, who was an early advocate and proponent of the younger Tiffany.

Parakeets and Gold Fish Bowl Window, Tiffany Glass & Decorating Co., 1889. Glass, lead and bronze chain.

Museum of Fine Arts, Boston.

Bing had visited the Tiffany Glass and Decorating Company in New York in 1894 and became Tiffany’s exclusive distributor in Europe. Among the pieces Bing exhibited were a Tiffany Dandelion lamp and a Dragonfly lamp base, designed by Clara Driscoll, which won an award. Bing and his Paris gallery, L’Art Nouveau, played an important role in influencing and popularizing the “new art” or modern art of the time, a style that came to be named after his shop, Art Nouveau.

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A wonderfully vivid account of the Pan-American Exposition exhibit of Tiffany Studios under Louis Tiffany’s direction is provided by an unnamed reporter for the Shreveport Evening Journal (Louisiana), in a Sunday paper on September 22, 1901: “Nine elaborate cases contain specimens of favrile glass in various formed vases, metal work and glass combinations in candlesticks, small delicate screens and jewel boxes.

One case contains the lustre enamel work, which is one of the latest achievements, being the first enamel productions ever exhibited. A magnificent collection of lustre lamps in various forms and great beauty are shown. Large collections of beautiful glass lamps, with remarkable leaded shades, same as leaded windows, are also seen, and the famous peacock lamp, with favrile glass stem three feet high, peacock feather decorations surmounted by three peacock heads supporting a favrile glass globe with necklace or group of scarab shaded drops.

There is a collection of beautiful large hanging shades in very rare and unusual colors and combinations and of graceful forms. In the arches of the pavilion are two very decorative lanterns, and a magnificent centerpiece lighted from above.”

Peacock Lamp, Tiffany Glass and Decorating Co., circa 1898-1900, Favrile glass, enamel, brass, gilding.

Virginia Museum of Fine Arts, Richmond, VA. 40

The Peacock lamp described above may be the spectacular and monumental lamp now in the collection of the Virginia Museum of Fine Arts, in Richmond, Virginia. The epitome of Art Nouveau design, this exceptionally artistic and original lamp was originally commissioned around 1898 by Charles Winthrop Gould (1849-1931), a prominent New York lawyer, relative of Jay Gould, art collector, trustee of the Metropolitan Museum of Art, and friend of Louis C. Tiffany. Gould had asked Tiffany to decorate the interior of his house. The peacock motif was a main design theme and may have inspired the lamp.

Gould’s Peacock lamp was bequeathed to the Louis Comfort Tiffany Foundation after his death. The foundation was established in 1918 by Tiffany to run his estate, Laurelton Hall, located on Long Island. It also served as a summer retreat for artists. When the foundation closed in 1946 its holdings were sold at public auction, including the Peacock lamp. At the sale, the lamp sold for $225, not a princely sum, however, it was the highest price achieved of any item in the sale.

Hanging Electric Lamp by Louis C. Tiffany, 1901.

Another contemporary account of Louis C. Tiffany at the Pan-American Exposition is gleaned in an article written by James L. Harvey, published in Brush and Pencil (Vol. 9, No. 3) in December 1901, titled Source of Beauty of Favrile Glass. In it, the author justifiably praises Tiffany’s favrile glass, and remarks how the display of Tiffany Studios was far superior to his display the previous year at the Paris Exposition. To today’s admirers of Tiffany favrile glass, a very welcome and special feature of the article are thirteen black and white photographs accompanying it. Of great note is the depiction of a rare bronze and glass electrified hanging lamp in the form of a scarab (see above).

The striking hanging lamp is made of “turtleback” tiles and is embellished with a set of wings, presumably of colored glass, and two spheres, presumably in golden color, and is suspended by chains. The survival or current whereabouts of this unique hanging lamp is not known to this author. An identical Tiffany Studios bronze and glass Scarab hanging lamp, equally rare, (differing only by the absence of wings and a second sphere), may have also been exhibited at Buffalo. Doyle is honored to offer this rare Tiffany Studios bronze and favrile glass scarab lamp as a highlight of the June 23 Doyle+Design auction (see right).

Lot 190

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The popularity of the scarab, or dung beetle, as a design motif can be traced back to ancient Egypt.

Scarabs lay their eggs in dung balls, which they form by rolling on the ground. Ancient Egyptians believed their sun god, Khepri, was responsible for rolling the morning sun, believed to be a disk, across the sky at the break of each day. The scarab was thus imbued with great symbolism and seen as a potent symbol of rebirth, transformation, and resurrection. It is often depicted clutching a ball. Tiffany used the scarab as a design motif with great artistic success. It appears in many different forms such as inkstands, stamp boxes, sconces, hanging lamps and even table lamps made of bronze and a single large molded green glass “turtleback” tile.

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As noted earlier, the elder Mr. Tiffany (Charles L.) visited the Pan-American Exposition. A reporter for the Buffalo Courier had the pleasure of interviewing the prominent visitor, then aged 89, in early October 1901, regarding his thoughts about the fair. The account provides a concise summation and personal testimony of his experience of the fair:

“I shall not see many more expositions. I have seen many, but I am thankful that the faculty for enjoying these things is not dead within me. I have never had a more enjoyable stay anywhere than I have had here in Buffalo, and every night make it a point to see the illumination and every day I see a hundred things which are entirely new to me and many more which give me food for thought and reflection. It is a magnificent presentation.”

The importance and success of the Pan-American Exposition is undeniable. Louis C. Tiffany ’s participation in the fair bolstered America’s position and status in the world, as we together strived to celebrate our technological innovation and artistic achievement at the turn of the century.

1. Tiffany Studios, Wood, favrile glass and bronze Box with Scarabs, circa 1905-10, The Metropolitan Museum of Art. 2. Tiffany Studios, metal and favrile glass mosaic scarab stamp box, circa 1910, SFO Museum Louis A. Turpen Aviation Museum and Library 3. Tiffany Glass and Decorating Co., Bronze and favrile glass Scarab Reading lamp, circa 1892–1900. The Charles Hosmer Morse Museum of American Art.

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RARE TIFFANY STUDIOS GREEN PATINATED BRONZE AND FAVRILE GLASS SCARAB HANGING LAMP Doyle+DesignÂŽ JUNE 23 Lot 190 Rare Tiffany Studios Green Patinated Bronze and Favrile Glass Scarab Hanging Lamp Possibly Made for Display at the Pan-American Exposition in Buffalo in 1901 Circa 1901 In the form of three conjoined scarabs, each side comprised of four iridescent molded "turtleback" tiles, one side in translucent green colored glass and the other two sides in opalescent glass, centering two translucent amethyst colored rippled glass segments, forming a shell and head flanked by needle-tipped legs and topped with two chiseled translucent amber colored "jeweled" glass eyes, the bottom claws inset with a gilt-metal sphere; suspended by three beaded metal strands and a ceiling cap; unsigned. Height overall (including chains and cap) 26 1/2 inches; height of body 12 inches.

See Alastair Duncan, Tiffany Lamps and Metalware: An Illustrated Reference to Over 2000 Models (Revised Edition), p. 309, no. 1218, for an illustration of the present lot.

See James L. Harvey, "Source of Beauty in Favrile Glass," in Brush and Pencil, Vol. 9, No. 3 (Dec. 1901), p. 171, for an account of Louis C. Tiffany's participation at the Pan-American Exposition in Buffalo in 1901 and a contemporary photograph of an identical and equally rare Tiffany Studios Scarab hanging lamp differing from the present lot by its added embellishment of a set of wings and a sphere in the claws at the top. The article has photographs of other Tiffany pieces displayed at the fair, including ten Favrile glass vases but it is the winged Scarab hanging lamp that is perhaps the most striking.

Provenance: Sotheby's, New York.

Doyle would like to thank Greg Kuharic for his important assistance in the cataloging of this lot.

C Estimate: $10,000 - $20,000 45

LOUIS COMFORT TIFFANY IN DOYLE ® +DESIGN 46

TIFFANY STUDIOS BRONZE AND FAVRILE GLASS THREE-LIGHT TABLE LAMP Doyle+DesignÂŽ June 23 Lot 191 Tiffany Studios Bronze and Favrile Glass Three-Light Table Lamp Circa 1910 The naturalistic base with three intertwined stems with downturned necks ending in light sockets and ring-shaped mounts supporting three opalescent bell-form shades, decorated with stylized green leaves, banded in gold, against a pearl colored ground, base stamped TIFFANY STUDIOS NEW YORK 339, each shade engraved L.C.T. Height 16 1/2 inches; height of shade 5 inches.

C Estimate: $4,000 - $6,000

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Tiffany Studios Bronze and Leaded Glass Parasol Library Lamp Doyle+DesignÂŽ June 23 Lot 192 Tiffany Studios Bronze and Leaded Glass Parasol Library Lamp Circa 1910 The green geometric shade signed TIFFANY STUDIOS NEW YORK; base stamped TIFFANY STUDIOS NEW YORK 1458. Height 30 inches; height of shade 6 1/4 inches, diameter 24 1/4 inches.

The present lot appears on the front cover of Architectural Digest, Vol. 52, No. 11, November 1995, and again in photographs of the living room in the feature article, "Bernard Jacobs, A Manhattan Brownstone for the Producer of Cats and Amadeus," pp. 234-7.

The present Tiffany Parasol lamp was gifted by Broadway theater choreographer Michael Bennett to Bernard B. Jacobs, president of the Shubert Organization.

Provenance: Michael Bennett Bernard B. Jacobs Thence by descent to the current owner C $30,000-40,000

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Tiffany Blown Favrile Glass Calla Lily Paperweight Vase Doyle+DesignÂŽ June 23 Lot 195 Tiffany Blown Favrile Glass Calla Lily Paperweight Vase Circa 1915 Of flower-form, with an elongated waisted body and bulbous mouth, in colorless glass, inlaid with naturalistic green colored leaves and stems and four white blossoms with green and brown centers, pearl iridized interior, signed L.C. Tiffany-Favrile 265 J. Height 16 1/8 inches.

The paperweight technique involved fusing thin rods of transparent glass in a variety of colors. The resulting thicker rod was cut into thin pieces and were then worked into clear glass.

Doyle sold a similar vase, Belle Epoque, February 8, 2012, lot 437, circa 1912, measuring 16 1/2 inches, signed L.C. Tiffany-Favrile 3002 G. A similar vase, circa 1910, signed L.C. Tiffany-Favrile 17 A-Coll., measuring 16 1/2 inches, is in the collection of the Charles Hosmer Morse Museum of American Art, in Winter Park, Florida (Acc. no. 2003-023).

C $15,000-20,000

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Tiffany STUDIOS BRONZE AND LEADED GLASS LOTUS BELL TABLE LAMP Doyle+Design® June 23 Lot 196 Tiffany Studios Bronze and Leaded Glass Lotus Bell Table Lamp Circa 1910 Base stamped TIFFANY STUDIOS NEW YORK 6874; shade signed TIFFANY STUDIOS NEW YORK. Height 19 3/4 inches; diameter of shade 15 1/2 inches.

See Alastair Duncan, Tiffany Lamps and Metalware, New Edition, p. 99, for a color illustration of this model lamp.

According to the Tiffany Price List of 1906, reproduced in Robert Koch's Louis C. Tiffany's Glass - Bronzes - Lamps: A Complete Collector's Guide, this model retailed in that year for $90.

C $15,000-25,000

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22

Louis Comfort Tiffany for Tiffany & Co. Art Nouveau Pendant-Brooch Necklace Important Jewelry June 24 Lot 22

By Louis Comfort Tiffany for Tiffany & Co. Art Nouveau Gold, Opal and Enamel Pendant-Brooch Necklace The pendant centering one cushion-shaped opal ap. 14.8 x 15.0 x 3.0 mm., two cracks and chip, within a cushion-shaped frame surrounded by lime green and grayish blue enamel discs spaced by three pierced rows of slender gold wire, suspended from a delicate filigree link chain, signed Tiffany & Co., circa 1900, ap. 13 dwts.

Length 24 1/4 inches. With signed box.

C $10,000 - $15,000

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LOUIS COMFORT TIFFANY IN IMPORTANT 55

DOYLE THROWBACK

Tiffany at the Hotel Manhattan

BY MALCOLM N. MACNEIL

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The Hotel Manhattan, also known as the Manhattan Hotel, was a magnificent and lavishly appointed fourteen-story hotel located on the northwest corner of Madison Avenue and 42nd Street near Grand Central Terminal in New York City. It was designed in 1893 by the American architect Henry Janeway Hardenbergh (1847-1918) and built between 1895-6 in the style of a French chateau.

Postcard depicting the Hotel Manhattan, At one time, it held the title of being the New York City, circa 1910. tallest structure in the world. Hardenbergh is renowned for a body of work that includes the famed Dakota Apartments (1880-84), the Waldorf Hotel (1893), the Astoria Hotel (1897) and the Plaza Hotel (1905-07), all in New York City, as well as the Copley Plaza Hotel (1912) in Boston, the Willard Hotel (1901) in Washington, DC, and the Windsor Hotel (1897) in Montreal, Canada.

Henry J. Hardenbergh spared no expense in the interior appointments and decoration of the palatial Hotel Manhattan. Some of the luxurious details on view in the public rooms included marble wainscoting inlaid with Tiffany Favrile glass mosaics and at least four magnificent and impressive Tiffany bronze and Favrile glass lamps.

At the time of the original commission, the Tiffany Glass & Decorating Company was relatively new, having been established only four years earlier by Louis Comfort Tiffany in 1892.

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Tiffany Favrile glass mosaic inlay in the Hotel Manhattan, circa 1895-6

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he hotel's official opening was reported and celebrated in The New York Times on October 15, 1896. The newspaper account describes the hotel's resplendent rotunda, which was decorated in the Italian Renaissance style. It had a twenty-foot-high ceiling, white marble floors and walls made of Italian light gray marble, which were divided into panels and decorated with friezes and arabesques made of Tiffany glass mosaic, mother-ofpearl and gold. The hotel was publicized in a promotional brochure issued by the Tiffany Glass & Decorating Company titled Glass Mosaic, published in 1896. It described the glass mosaics in the hotel's rotunda. A separate brochure published in 1917 included an article on the Hotel Manhattan, describing the rotunda in greater detail. It tells of a spectacular oil mural that was six feet high and sixty feet long painted above the wainscoting and depicting the Triumph of Manhattan. Above the mural was an arched skylight made of Tiffany Favrile glass. The brochure illustrates the parlor room of the State Suite, in which a stylish Tiffany lamp hung with iridescent glass prisms can be seen. The ceiling of the hotel's Palm Court, or Tea Room, featured a large circular dome of Tiffany Favrile glass, which certainly would have been a beautiful complement to the massive and impressive Tiffany lamps below.

The Parlor of the State Suite in the Hotel Manhattan, with a TIffany Studios Moorish style lamp on the center table, circa 1917

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Tiffany Studios Gilt-Bronze and Leaded Favrile Glass Oversize Table Lamp, Commissioned for Henry J. Hardenbergh’s Hotel Manhattan, circa 1897. Sold at Doyle for $65,000

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The Doyle+Design auction on June 7, 2017 offered one of only two known surviving examples of the circa 1897 Tiffany Studios gilt-bronze and leaded Favrile glass lamps commissioned for Henry Hardenbergh’s Hotel Manhattan.

The monumental Tiffany table lamp, with its generously-sized leaded green marbleized glass domed Interior view of the Hotel Manhattan’s Palm Court, or Tea Room, circa 1917. shade raised on a massive classical Two oversize Tiffany table lamps are seen on the tables at the rear. style base ending in winged lion monopode feet is identical in scale and appearance to two other Tiffany lamps that once adorned the hotel’s Palm Court, or Tea Room, differing only in that they feature floral rather than geometric shades.

The lamp in the June 7 auction was purchased by the present consignor at Doyle on March 25, 1987, lot 270. Only one other Tiffany lamp from this commission is currently known to exist. It exactly matches the lamp offered here and was sold at auction in New York City in 2009. These two rare surviving Tiffany lamps were earlier sold at auction in New York City in April 1974 as a single lot, together with the two tables upon which they were displayed at the luxury hotel.

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DOYLE THROWBACK

BY MALCOLM N. MACNEIL

Louis Comfort Tiffany (1848-1933) is celebrated for the beautiful leaded glass windows, colorful lamps and artistic hand-blown iridescent glass vases made by his firm, the Tiffany Glass and Decorating Company, and its successors, Tiffany Studios and Louis C. Tiffany Furnaces, Inc., respectively, over the course of its more than thirty-year history. Less well-known perhaps are the stunning Tiffany glass mosaics made for ecclesiastical, commercial and residential clients, which, if they have survived, are more often than not, still installed in their original settings, including churches, universities, theaters, banks, office buildings and private residences, where they are somewhat tucked away and less accessible than the firm’s other more highly acclaimed and appreciated achievements in glass.

One of Tiffany's earliest and prominent uses of glass mosaics in an architectural setting occurred in his spectacular Romanesque-inspired Tiffany Chapel made for the World Columbian Exposition held in Chicago in 1893. It is now installed at The Charles Hosmer Morse Museum of American Art in Winter Park, Florida. More than two million visitors at the Fair were exposed to Tiffany’s impressive display. The Chape furnishings included an altar, lectern, reredos and baptistery, all richly ornamented with Favrile glass mosaics. In addition, twelve splendid richly-hued mosaic-clad columns symbolizing the twelve Apostles supported the arches of the ciborium, adding to the visual spectacle.

Almost two million glass mosaic tiles or tesserae were used to decorate these furnishings. For its highly ambitious effort, the Tiffany firm was awarded fifty-four medals.

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Tiffany Studios Bronze Framed Favrile Glass Mosaic Panel, Commissioned for Dorothy Linn (Mrs. Cyrus McCormick), Lake Forest, Illinois, circa 1915-22.

Sold at Doyle for $75,000.

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vidual pieces of glass, each of which was carefully selected by Tiffany’s talented artisans. Another historically and culturally significant public commission was for a monumental glass mosaic stage curtain created for the National Theater, Palace of Fine Arts, in Mexico City, Mexico, completed in 1911-12 at a cost of $250,000. The Metropolitan Museum of Art in New York City is extremely fortunate to to have in its collection and now installed in the American Wing a colorful Favrile glass mosaic fountain depicting a bucolic garden landscape with swans and cyprus trees, circa 1905-15, which was originally displayed at Tiffany’s showrooms on Madison Avenue and 45th Street in New York City.

Sketch of the Tiffany Studios Favrile Glass Mosaic Panel (detail). circa 1915-22. The Collection of Allen Michaan.

The acclaim and success of Tiffany’s Chapel propelled the firm forward and garnered it new and exciting high-profile commercial commissions in various parts of the country. Soon thereafter, for instance, the firm received three such commissions in Chicago: the Marquette Building (1895), Chicago Public Library (1897) and the retail store Marshall Field & Company (now Macy’s), completed in 1907, all of which still exist today. We are also fortunate that one of Tiffany’s most magnificent and important commercial glass mosaic commissions ever created still survives. It is a large resplendent Favrile glass mosaic mural titled The Dream Garden. It was the result of a brilliant collaboration between Louis C. Tiffany and famed American artist Maxfield Parrish (1870-1966). The mural was commissioned in 1915 by the Curtis Publishing Company Building (now The Curtis Center & Dream Garden), publisher of the popular magazine Ladies’ Home Journal, in Philadelphia, Pennsylvania. It took fifty skilled artisans approximately one year to complete this breathtaking 15- by 49-feet glass mosaic garden mural.

It is reputed to contain more than one million indi-

Tiffany's wonderful Favrile glass mosaics also found great favor with private customers. Two early residential commissions were for the Moorish parlor in the residence of George Kemp, dating to 1879-81, and the Fifth Avenue residence of Henry O. and Louisine Havemeyer, both in New York City.

Tiffany Studios also produced a variety of luxury or “fancy goods” decorated with glass mosaics for the personal use of its affluent and wealthy clientelle, including inkstands, pen trays, mantel clocks and tea stands.

Doyle was honored to bring to auction a magnificent and exceedingly rare marine themed Favrile glass mosaic panel made by the Ecclesiastical Department at Tiffany Studios for a patron in Chicago, Dorothy Linn (Mrs. Cyrus Hall McCormick III) of Lake Forest, Illinois, circa 1915-22. The arched panel is comprised of a wondrous kaleidoscope of variously shaped and colored small jewel-like glass tesserae. This tranquil underwater composition depicts a seahorse in profile, a tortoise, goldfish, angel fish, snail, crustacean, coral branch and sinuous seaweed beneath shimmering blue water surrounded by a wide border of colorless glass tiles backed with gold foil.

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The McCormick-Linn Family. At left are Cyrus Hall McCormick, III, and his fiance Dorothy Linn, circa 1914-1915

Tiffany glass mosaics are quite rare and rarer still are those with secular rather than ecclesiastical subjects such as the present work. It is also extremely unusual to know the name of the original patron for whom such items were made. In this instance, aside from its original owner, Dorothy Linn, the panel has had only one other owner, who acquired it in about 1965.

The precise ownership and patronage of this previously unknown Tiffany glass mosaic panel is further confirmed by the original watercolor sketch for the panel that miraculously also has survived. Now in the private collection of Allen Michaan, the sketch appeared and was sold at auction in Maine in December 2011. It is inscribed "SUGGESTION OF MOSAIC PANEL FOR MRS. CYRUS MCCORMICK LAKE FOREST ILL." The sketch is numbered 3125 and was personally signed and approved by Louis C. Tiffany.

Cyrus Hall McCormick III (1890-1970) was vice president of International Harvester Co. of Chicago and grandson of Cyrus Hall McCormick (1809-1884), inventor of the mechanical reaper machine in 1831 and founder of the McCormick Harvesting Machine Company. This firm later merged with another company to create 66

International Harvester Co. Cyrus H. McCormick III and Dorothy Linn were married in 1915 and divorced in 1931. She was born in Chicago on September 2, 1892. Her father, William R. Linn, was a member of the Chicago Board of Trade. In later years, Ms. Linn went by the names Dorothy Butler and Dorothy Willard. She was one of the founders of the Actor's Studio and also produced a number of stage works.

She traveled extensively and lived in a palatial home on Washington Springs Road in the secret celebrity enclave of Snedens Landing, near the Hudson River in Palisades, New York. The late journalist Mike Wallace owned and lived in a house on the estate from 1959 until 1970.

Dorothy Willard's papers are now in the collection of Columbia University in New York City.

The McCormick families were among the wealthiest and most influential in Chicago's high society. Harold Fowler McCormick (b.

1872), brother of Cyrus H. McCormick II, also worked for International Harvester and served as the company's vice-president from 1901 until 1919. Harold became a son-in-law of John D. Rockefeller after he married Rockefeller's daughter, Edith, in 1895. Harold and Cyrus H.

McCormick II's sister, Anita (Mrs. Emmons Blaine), had a reported wealth of more than several million dollars in 1901. In March of that year, Mrs. Blaine gifted $1,000,000 in real estate and securities to endow and support the University of Chicago School of Education, which later became a part of the University of Chicago. At the wedding of Joseph Medill McCormick, great-nephew of Cyrus H. McCormick I, to Ruth Hanna, in June 1903, President Roosevelt and his daughter, Alice, were in attendance and gifted the couple a set of gold after dinner cups and saucers. At the Linn-McCormick wedding, Harold Fowler McCormick led the wedding procession, which was described in great detail in The Chicago Tribune on February 14, 1915. According to the report, "The

wedding presents comprise jewels which make Mrs. McCormick [Dorothy Linn] owner of one of the most costly assortments in Chicago. The bridegroom's present was a large string of pearls.

Mr. and Mrs. Cyrus H. McCormick's gift was a hair ornament of diamonds and emeralds, green being the bride's favorite color. Mrs. Martin Ryerson, the bride's godmother, gave her a brooch consisting of one large emerald and diamonds, a family heirloom."

It is probably safe to assume that wherever Mrs. Cyrus McCormick decided to display her Tiffany glass mosaic aquatic panel it enjoyed a very special place of honor.

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DOYLE THROWBACK

MALCOLM N. MACNEIL EXPLORES

An Art Nouveau Treasure of Louis Comfort Tiffany

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Louis C. Tiffany Furnaces, Inc., Gilt-Bronze and Favrile Glass Mosaic Inkstand and Paper Knife, circa 1920-24, owned by Potter Palmer II (1875-1943). Sold at Doyle for $34,375

Objects designed in the medium of Favrile glass mosaic, such as murals for domestic interiors, lamp bases and desk accessories, including the gilt-bronze and rainbow-hued Favrile glass mosaic inkstand to be offered on November 9 2016, are an enduring legacy of the artistic and creative genius of Louis Comfort Tiffany and his artisans.

The inkstand and paper knife desk set was made between 1920 and 1924.

It was owned by Potter Palmer II (1875-1943), son of Potter Palmer (1826-1902), the Chicago business magnate, business partner of Marshall Field, and builder of downtown Chicago’s luxurious Palmer House. His mother was Bertha Matilde Honoré (1849-1918), a wealthy socialite, philanthropist and art collector, who befriended Claude Monet in France and who amassed a large collection of Impressionist art. In fact, Potter and Bertha Palmer eventually owned twenty-nine Monet paintings and eleven Renoir paintings, which they later donated to the Art Institute of Chicago, forming the core of the institution’s collection of impressionist art. Palmer II was director of the First National Bank of Chicago and President of the Art Institute of Chicago.

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Potter and Bertha Palmer and their family resided in a grand mansion on Chicago’s North Lake Shore Drive, known as Potter Palmer Castle. Palmer II sold the family residence in 1930 and moved his family into a nearby modern sixteen-story cooperative apartment building, located at 1301 N. Astor Street. Their home occupied three floors as well as a ground floor lobby.

Decorated in the Art Nouveau style with its impressionistic red and golden-hued poppies against a blue-green ground, an exquisite and jewel-like covered box in the November 9 sale is an exceedingly rare example of enamel ware made

by Tiffany Studios. These wares were introduced to the public by the firm in 1900 at the Exposition Universelle in Paris, where they received great acclaim. A novel quality was the addition of a layer of gold or silver foil to the copper body and undercoat of thin enamel that resulted in greater luminescence, metallic brilliance and depth of beauty. Vases, bowls and covered boxes, mostly small in scale, were decorated with colorful iridescent enameled surfaces. Some examples have smooth surfaces while others display naturalistic or shaped bodies created to heighten the artistic effect. By the time production was ceased in 1907, it seems the enameling department had produced no more than 750 pieces.

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DOYLE THROWBACK

AN AESTHETIC MOVEMENT SETTEE FOR THE HAVEMEYERS BY LOUIS COMFORT TIFFANY AND SAMUEL COLMAN

BY MALCOLM N. MACNEIL

Louisine and Henry Osborne Havemeyer Source: https://www.greenwichtime.com/news/ article/Havemeyer-s-place-Book-looks-at-the-life-ofthe-2250158.php#photo-1718852

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Louisine and Henry O. Havemeyer were influential and enthusiastic art collectors and patrons during America's Gilded Age. Henry Osborne Havemeyer (1847-1907) made his vast fortune in sugar refining, and his second wife, the former Louisine Waldron Elder (1855-1929) was a suffragette, philanthropist and art collector, whose taste was influenced in part by her close friend Mary Cassatt. The imposing Havemeyer mansion on Fifth Avenue at 66th Street, completed in 1892, featured interiors that were a marked departure from the French revival styles preferred by the Havemeyer's social peers. They chose New York designers Louis Comfort Tiffany and Samuel Colman to create interiors that would showcase their extensive and diverse collection. The resulting design would herald a uniquely American Aesthetic style, incorporating exotic elements from Japanese, Indian, Islamic and natural motifs in unusual and fresh applications.

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Louis Comfort Tiffany and Samuel Colman Aesthetic Movement Carved and Parcel Gilt Ash Settee, designed for the Music Room in the Louisine and Henry Osborne Havemeyer mansion, New York, circa 1890-91.

Sold at Doyle for $350,000.

The suite of carved and gilded furniture designed

by Tiffany and Colman for the Havemeyer mansion's Music Room was inspired by Near Eastern design and decorated with elaborately carved floral patterns recalling Indian motifs. Although the mansion was razed in 1930, the craftsmanship and artistry of Tiffany and Colman can still be appreciated in the current settee from the Music Room, which has descended in the family to the consignor.

Six other items from the Tiffany and Colman designed suite of furniture from the Music Room are known to survive. An identical settee,

rectangular table, square table, armchair and side chair are now in the collection of the Shelburne Museum in Shelburne, Vermont. The Shelburne Museum was founded in 1947 by Electra Havemeyer Webb (1888-1960), the youngest of the Havemeyer's three children. These pieces were gifted in 1974 to the museum by he nephew, George G. Frelinghuysen (1911-2004), son of the eldest of the Havemeyer's children, Adaline, and her husband, Peter H.B. Frelinghuysen. A third settee is reputedly still in the family.

A pair of armchairs from the Havemeyer mansion's Rembrandt Room survive, one of which is in the collection of the Metropolitan Museum of Art. 75

Meet the Specialists Our team of Specialists welcome the opportunity to share their vast expertise and experience with you. They are available by telephone, email and even videochat to provide free auction estimates in all categories. Discover the value of your collection!

Todd Sell, SVP

Malcolm N. MacNeil, VP

Angelo Madrigale, SVP

Appraiser, Silver,

Director, 19th & 20th Century

Director, Paintings

Furniture & Decorations

Decorative Arts

Director, Contemporary Art

212-427-4141, ext 268

212-427-4141, ext 218

212-427-4141, ext 249

Todd.Sell@Doyle.com

Malcolm.Mac@Doyle.com

Paintings@Doyle.com

Cynthia L. Klein, SVP

Alexis Gyateng

Milan Tessler

Director, Prints & Multiples

Cataloguer, Prints & Multiples

Cataloguer, Paintings

212-427-4141, ext 246

212-427-4141, ext 246

212-427-4141, ext 249

Prints@Doyle.com

Prints@Doyle.com

Paintings@Doyle.com

Lot 257 Piero Fornasetti Lithographed Metal Trompe L’Oeil Antique Heads Umbrella Stand Height 28 3/4 inches, width 18 1/2 inches.

See Patrick Mauriès, Fornasetti Designer of Dreams, p. 163, for a full-page illustration of this model.

C Estate of Steven R. Gross Estimate: $800 - $1,200

Designed by Stephanie Cuenca

(Cover) Lot 104 Valeska Soares Brazilian, b. 1957 You and I, 2011 Numbered 3/10 and dated 2011 Two ceramic cups bound by gold chain, with two ceramic saucers, from and edition of 10 + 2 AP Height 2 1/2 inches (6.35 cm) Estimate: $2,000 - $4,000

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