The Alan Schneider Collection — March 2, 2021 | John Moran Auctioneers

Tuesday, March 2, 2021

Tuesday, March 2, 2021—12pm Sale 184 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Maranda Moran Head of Sale, Specialist marandam@johnmoran.com Jeff Moran President, Specialist jeff@johnmoran.com

Roland Rynkiewicz Vice President, Specialist roland@johnmoran.com

Shannon Dailey Decorative Arts Cataloguer shannon@johnmoran.com

Mike Hook Fine Art Cataloguer mike@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

Hoofrish Patel Client Services hoofrish@johnmoran.com

Alan Schneider of The Antique Traders was one of the largest antique collectors and dealers known specifically for his passion for the Art Nouveau movement. In 1970, as a young man, Mr. Schneider took a trip to Europe and was moved by the art he experienced. This trip led him to a lifetime of collecting and dealing in turn-of-the-century decorative art. In particular, he was drawn to the beauty of the Art Nouveau style - pieces with sinuous, organic, and elegant lines, often inspired by natural elements.

Born and raised in San Francisco, California, Mr. Schneider had a zest for life. After his inspiring trip to Europe, Schneider began buying and selling at yard sales. When he quickly realized that his interests were a calling, he opened The Antique Traders in San Francisco, California. For nearly 50 years, at the same location, he specialized in turn-of-thecentury pieces from the Art Nouveau movement. His collection largely featured lamps as well as beveled and stained glass windows. It has been said that he had the largest collection of Tiffany and stained glass windows on the West Coast. But his fervor for the style went well beyond that, as he had an eye for authentic and refined pieces. This was obvious with a visit to his store. Period tables and cabinets were lined and filled with not only real Louis Comfort Tiffany, Handel, and Pairpoint lamps, but authentic Favrile glass, French art glass, bronzes, ceramics, silver, sculptures, and tableware. Items from Daum Nancy, Emile Gallé, and Louis Majorelle were prominently and proudly notable as well. He prided himself in carrying investment-quality pieces.

It is now with great pleasure that Moran’s can feature Schneider’s life’s work, a remarkable selection of inventory from his shop, in a special sale dedicated to this collection. Bidders will surely delight in the artistry, craftsmanship and elegance of the Art Nouveau that Schneider had long admired

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A Tiffany Studios Favrile glass table lamp

Circa 1919-1928; New York, NY Shade signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] / Favrile / 903 / Pat. Appd. For; Base signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] Favrile / 81 A The enameled metal mesh shade with embossed Queen Anne’s lace motif, green enameling to interior, white enameling to exterior, brass rope-style borders, and art glass finial on a two-light Favrile glass base with flower and stem motifs raised on a gilt-bronze foot with stylized foliate designs and inset enameled details, electrified Overall: 23” H x 18” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios Favrile glass table lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T. / Favrile The red and gold damascene Favrile glass shade on a single-light patinated bronze converted oil lamp base with glass hurricane chimney, electrified Overall: 19.5” H x 10” Dia. $2,500-3,500 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Turtle-Back” seal lamp

1903; New York, NY Signed: [T.G.D.Co. monogram] / Tiffany Studios / New York / 29743 The “Turtle-Back” shade with gold iridescent glass with shades of green and hobnail design on a verdigris patinated bronze base with iridescent cabochons and floral motif, electrified 14.5” H x 8.5” W x 5.25” D $5,000-7,000 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios Favrile glass table lamp

Circa 1900-1902; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / [T.G.D.Co. monogram] / D 548 The gold iridescent Favrile glass shade with pulled feather motif and tones of purple and brown on a single-light patinated bronze “Greek” converted oil lamp base with glass hurricane chimney, electrified Overall: 23” H x 12” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios geometric table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York / 1436; Base unsigned The caramel-colored leaded glass geometric shade with square brick pattern on a three-light patinated bronze base, electrified Overall: 21.5” H x 16” Dia. $2,500-3,500 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 132, fig. 560.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios double-arm table lamp

Circa 1902-1919; New York, NY Each shade signed: L.C.T.; Further signed: S 1176 / S 1181; Base signed: Tiffany Studios / New York / 318 The two gold iridescent Favrile glass shades with pulled feather motif on a patinated bronze double-arm base with engraved swirl and scale motifs, electrified Overall: 25.5” H x 19” W x 7” D; Each shade: 6” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A pair of L.C. Tiffany Favrile glass pendant lights

First-quarter 20th Century; New York, NY Shades signed: L.C.T. Each teardrop-shaped gold iridescent Favrile glass shade with green pulled feather motif fitted with an associated single-light patinated metal stem, canopy, and three beaded harnesses, electrified Each: 24” H x 5.25” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A near-pair of L.C. Tiffany Favrile glass candle lamps

Circa 1892-1919; New York, NY Each signed: L.C.T.; One base with partial L.C.T. monogram paper label Each gold iridescent Favrile glass with swirled base terminating in a bobeche issuing a glass candle holder with green pulled feather motif fitted with a metal knob to control the wick and topped with a scalloped onion skin shade, 2 pieces Each: 14.5” H x 7.25” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 107.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios bronze and Favrile glass candlestick

Late 1902/early 1903; New York, NY Signed: Tiffany Studios / New York / [T.G.D.Co. monogram] / B 26522 The gold iridescent Favrile glass capital with trailing lily pad motif raised on a patinated bronze puddle-style “Plain” base with slender stem 18” H x 5.5” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A L.C. Tiffany Favrile glass “Jack-in-the-Pulpit” vase

1899; New York, NY Signed: L.C.T. / Favrile / L 1310 The gold iridescent “Jack-in-the-pulpit” floriform vase with heavy rounded base shaded to blue, slender stem, and wide blooming rim with light onion skin 16” H x 8.75” W x 5” D $2,500-3,500 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A L.C. Tiffany Favrile glass floriform vase

1924; New York, NY Signed: L.C.T. / Favrile / 9911 S The gold iridescent Favrile glass floriform vase with bulbous body, triform flared lip, ribbed exterior, knopped stem, and domed base shaded to blue 17.25” H x 5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Vine Border” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York / 1470; Base signed: Tiffany Studios / New York / 441 / [T.S. monogram] The green and blue leaded glass “Vine Border” shade on a three-light patinated bronze narrow urn-form “Greek” base, electrified Overall: 21.5” H x 18” Dia. $8,000-12,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 144, fig. 603.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios adjustable table lamp

1902; New York, NY Shade signed: L.C.T. / 624; Base signed: [T.G.D.Co. monogram] / Tiffany Studios / New York / 25858 The green and black Favrile glass shade with leaf motif on a patinated bronze adjustable, single swing arm base with bead designs and engraved swirl and scale motifs, electrified Overall: 25.5” H x 14” Dia.; Shade: 10” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios bronze boudoir lamp with art glass shade

Circa 1902-1919; New York, NY Shade marked: S 9069; Base signed: Tiffany Studios / New York / S 934 / 324 The iridescent green and blue Tiffany-style glass shade on a single-light patinated bronze Tiffany Studios base with iridescent jewels and floral motif, electrified Overall: 14” H x 7” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios counter-balance floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Based signed: Tiffany Studios / New York / 468 The green iridescent damascene Favrile glass shade on a single-light patinated bronze counter-balance base with plain narrow stem, weighted ball in a foliate cradle, and adjustable head raised on five curved legs with spade feet, electrified Overall: 55” H x 16” Dia.; Shade: 10.25” Dia. $6,000-8,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 211, fig. 827.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / 423 H The green iridescent damascene Favrile glass shade on a single-light patinated bronze harp base with plain stem and floral socket cover raised on five curved legs with spade feet, electrified Overall: 57.75” H x 16” Dia.; Shade: 12” Dia. $7,000-9,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 210, fig. 821.

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A L.C. Tiffany “Tel el-Amarna” Favrile glass vase

1917; New York, NY Signed: L.C. Tiffany / Favrile / 5035 L The squat globular Favrile glass vase with brown iridescent body and gold iridescent neck decorated with green and ochre geometric “Tel el-Amarna” design raised on a gold iridescent foot 6.5” H x 5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 26.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A L.C. Tiffany “Tel el-Amarna” Favrile glass vase

1912; New York, NY Signed: L.C. Tiffany / Favrile / 8715 G The flared Favrile glass vase with brown iridescent body and gold iridescent neck shaded to blue and decorated with green and ochre geometric “Tel el-Amarna” design 9” H x 4.25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 26.

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A L.C. Tiffany Favrile glass vase

Circa 1892-1893; New York, NY Signed: 5510 / [T.G.D.Co. paper label] The pinched-body vase with clear iridescent top and brown pulled feather motif 9” H x 4” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A L.C. Tiffany Favrile glass leaf and vine vase

1908; New York, NY Signed: L.C. Tiffany / Favrile / 8768 C The baluster-form gold iridescent Favrile glass vase shaded to blue with green leaf and vine motif 10.5” H x 4.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A L.C. Tiffany Favrile glass leaf and vine vase

1908; New York, NY Signed: L.C. Tiffany / Favrile / 4405 C The urn-form marbled gold iridescent Favrile glass vase with green iridescent leaf and vine motif 7” H x 5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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A L.C. Tiffany Favrile glass leaf and vine vase

1912; New York, NY Signed: L.C. Tiffany / Favrile / 2795 G The wide-shouldered gold iridescent Favrile glass vase with green iridescent leaf and vine motif 6.5” H x 6” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Arrowroot” table lamp

First-quarter 20th Century; New York, NY Shade signed: Tiffany Studios / New York; Base signed: Tiffany Studios / New York / 528 The polychrome leaded glass “Arrowroot” shade on a three-light gilt-bronze “Fifteenth Century” base with straight column and incised square patterning, electrified Overall: 25” H x 20.75” Dia. $30,000-40,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 103, fig. 408.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

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Mr. Schneider loved collecting, but also found great joy in owning and operating out o

he had with his clients, many became his friends. He enjoyed the casual visits from clien

quality collection. When clients and friends would acquire a piece to add to thei

of The Antique Traders. He was known for his amiability and cherished the relationships

nts, friends, neighbors, and customers who came in to browse and admire his museum-

ir collection, he found great reward in knowing they were sharing in his passion.

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A Tiffany Studios “Curtain Border” hanging lamp

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 1515-39 The yellow leaded glass domical shade with green diamond band and curtain-style border fitted with a six-light socket cluster, patinated bronze heat cap and suspended chain link harness, and verdigris patinated bronze rims, electrified 13” H x 24” Dia. $20,000-30,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 206, fig. 800.

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Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York; Base signed: Tiffany Studios / New York / 534 The green and cream leaded glass “Acorn” shade on a three-light patinated bronze “Colonial” base with a hexagonal column, electrified Overall: 21.5” H x 16” Dia.

1901; New One shade The two g converted electrified Overall: 29

A Tiffany Studios “Acorn” table lamp

$6,000-8,000 Provenance: The Alan Schneider Collection

A Tiffany

$8,000-10

Provenanc

Notes: Ma added the brand.

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The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

y Studios double-arm student lamp

w York, NY e signed: Tiffany Studios / New York; Base marked: 21346 green and white leaded glass “Acorn” shades on an etched and patinated bronze Hartshorn d oil lamp base with Manhattan Brass Co. spiral tubes decorated with low relief floral motif, d 9.25” H x 27.5” W x 10.25” D; Each shade: 10” Dia.

0,000

ce: The Alan Schneider Collection

anhattan Brass Co. and Hartshorn supplied oil lamp bases to Tiffany Studios, whom then eir finishes and exterior embellishments, which were then marketed under the Tiffany Studios

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A Tiffany Studios “Dogwood” table lamp

Late 1904/early 1905; New York, NY Shade signed: Tiffany Studios / New York / 1553-6; Base signed: Tiffany Studios / New York / 7876 The pink and green leaded glass “Dogwood” banded shade on a three-light patinated bronze urn-form converted oil lamp base, electrified Overall: 21” H x 14” Dia. $8,000-12,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios Favrile glass and bronze chandelier

Circa 1902-1919; New York, NY Seven shades signed: L.C.T.; One shade signed: L.C.T. / Favrile; Bronze fixture appears unsigned The square-form, eight-light, verdigris patinated bronze chandelier with gold iridescent Favrile glass floriform shades, turned-style corner mounts and drop finial, and suspended chain link harness, electrified 55” H x 28” W x 28” D $15,000-20,000 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass vase

1918; New York, NY Signed: L.C. Tiffany / Favrile / 2053 M / [L.C.T. monogram paper label] The blue iridescent Favrile glass vase with baluster-form body, tall cylindrical neck, and flared lip raised on footed base 16.75” H x 8” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass floriform vase

1918; New York, NY Signed: L.C. Tiffany, Inc. / Favrile / 1526 - 4805 M / [L.C.T. monogram paper label] The blue iridescent Favrile glass floriform vase with ribbed exterior, scalloped and flared rim, and knopped stem raised on a slightly domed foot 12.5” H x 4.25” Dia. $1,000-2,000 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 154.

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A blue L.C. Tiffany Favrile glass and bronze vase

Circa 1919-1928; New York, NY Signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] / 156 The blue iridescent glass vase with tapered and ribbed cylindrical body raised on a patinated bronze foot with fluting and blue enameled teardrop designs 15.25” H x 5.25” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass vase

Circa 1902-1919; New York, NY Signed: L.C. Tiffany / Favrile / 1972 / [L.C.T. monogram paper label] The urn-form blue iridescent Favrile glass vase with tapered foot 6.5” H x 6” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Tiffany Studios bronze and blown glass candlestick

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / S 1457 The green blown glass capital with removable bobeche raised on a patinated bronze puddle-style “Plain” base with slender stem 17.5” H x 5.5” Dia. $800-1,200 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany at Auction,” 1981, p. 310, fig. 972.

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Two Tiffany Studios bronze and blown glass candlesticks

Circa 1902-1919; New York, NY First signed: Tiffany Studios; Second signed: Tiffany Studios / New York / 294 Each candlestick patinated bronze, comprising one with four-legged “inverted cradle” base and green blown glass capital with removable bobeche and one with fluted oval base and green blown glass capital with wide bobeche, 2 pieces Larger: 11” H x 4.5” W x 4.5” D; Smaller: 6.75” H x 6.25” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Robert Koch, “Louis C. Tiffany: Glass, Bronzes, Lamps,” 1971, p. 103, fig. 142.

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A Tiffany Studios double-arm “Bud” candlestick

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 1230 / [T.S. monogram] The patinated bronze “Bud” candlestick with fluted oval base issuing two arms terminating in green blown glass capitals with removable bobeches 9” H x 7.75” W x 3” D $400-600 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany at Auction,” 1981, p. 312, fig. 978.

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A Tiffany Studios smoker’s stand

Circa 1902-1919; New York, NY Base signed: Tiffany Studios / New York / 1649; Glass signed: L.C.T. / Favrile The patinated bronze smoker’s stand with gold iridescent Favrile glass insert enclosed in a caged frame with matchbox holder and raised on a puddle-style “Plain” base with slender stem 27.5” H x 8.5” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Vine Ornament” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York; Base signed: Tiffany Studios / New York / 638 The green and yellow leaded glass “Vine Ornament” shade with geometric skirt on a three-light patinated bronze “Library” base with fluted stem, round foot, and floral and leaf motifs, electrified Overall: 31” H x 20” Dia. $8,000-12,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 115, fig. 485.

Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 144, fig. 601.

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A Tiffany Studios “Turtle-Back” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York / 1489-9; Base unsigned The green leaded glass “Turtle-Back” shade on a three-light patinated bronze base with an ovoid body supported by three arms and decorated with a “Turtle-Back” glass band, electrified Overall: 24” H x 20” Dia. $15,000-20,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 96, fig. 379.

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A Tiffany Studios leaded glass and Rookwood pottery table lamp

First-quarter 20th Century Shade signed: Tiffany Studios / New York / 1913; Base signed: [Rookwood monogram] / 191 A Z / AM [Albert Cyrus Munson] The aquamarine-colored Tiffany Studios leaded glass cone shade with stepped brick pattern on a three-light, matte sea green drip glaze Rookwood pottery base with a baluster-form body and incised geometric designs raised on three scrolled foliate feet, electrified Overall: 23” H x 18” Dia. $7,000-9,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 185, fig.

732.

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A Tiffany Studios “Linenfold” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York / 1927 / Pat. Applied For; Base signed: Tiffany Studios / New York / 631 The green “Linenfold,” also called “Favrilefabrique,” glass shade on a three-light patinated bronze octagonal base with tapered stem, electrified Overall: 24.5” H x 19.5” Dia. $6,000-8,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios double-arm table lamp

Circa 1902-1919; New York, NY Shades signed: L.C.T.; Base signed: Tiffany Studios / New York / 304 The two green and gold iridescent Favrile glass floriform shades with pulled feather motif on a patinated bronze double-arm, adjustable armature base with verdigris patination and engraved foliate and teardrop motifs, electrified Overall: 20” H x 13.5” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 55, fig. 184.

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1907; New York, NY Signed: L.C.T. / 5703 B The green iridescent Favrile glass vase with slender cylindrical neck, flared rim, and bulbous body decorated with blue iridescent leaf and vine motif 13.5” H x 5.75” Dia.

1909 and 1918; New York, NY First signed: L.C. Tiffany / Favrile / 5366 D; 1529-1261 M Each bulbous floriform vase with wide ruffle interior, and white glass exterior with green bases, 2 pieces Larger: 5” H x 5.75” Dia.

A L.C. Tiffany Favrile glass leaf and vine vase

$1,000-1,500 Provenance: The Alan Schneider Collection

Two L.C. Tiffany Favrile glass floriform

$800-1,200

Provenance: The Alan Schneider Collection

Literature: Moise S. Steeg, “Tiffany Favrile A

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m cabinet vases Second signed: L.C. Tiffany / Favrile /

ed edge, gold iridescent onion skin n pulled feathers atop blue iridescent

n

Art Glass,” 1997, p. 84.

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A L.C. Tiffany Favrile glass bud vase

Circa 1892-1902; New York, NY Signed: X 1885 / [T.G.D.Co. paper label] The brown iridescent Favrile glass vase with bulbous base, slender cylindrical stem, and polychrome pulled feather motif 6.75” H x 3.25” Dia. $600-800 Provenance: The Alan Schneider Collection Notes: Tiffany Favrile blown glass registry numbers preceded by “X” denote experimental pieces.

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A L.C. Tiffany Favrile glass free-form vase

1902; New York, NY Signed: L.C.T. / R 5519 The gold iridescent Favrile glass vase shaded to blue with tapered free-form body and low relief rippled exterior 9.5” H x 3.5” Dia. $500-700 Provenance: The Alan Schneider Collection

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A Tiffany Studios bronze and Favrile glass vase

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 711 The cylindrical gold iridescent Favrile glass vase with green pulled feather motif on a patinated bronze base with scroll designs 14” H x 3.5” Dia. $800-1,200 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany at Auction,” 1981, p. 313, fig. 981.

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A L.C. Tiffany Favrile glass vase

1902; New York, NY Signed: L.C.T. / Q 4494 The urn-form Favrile glass vase with green iridescent body, cream iridescent neck, and pulled feather transition 6.5” H x 4.5” Dia. $600-800 Provenance: The Alan Schneider Collection

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Two L.C. Tiffany Favrile glass bud vases

Circa 1892-1893; New York, NY Each appears unsigned; First marked: X 2120; Second marked: X 1823 Each with experimental translucent iridescence over clear glass, comprising one large vase with bulbous base and slender stem and one small vase with bulbous base and spiral stem, 2 pieces Larger: 9.75” H x 5” Dia.; Smaller: 6” H x 2.5” Dia. $600-800 Provenance: The Alan Schneider Collection Notes: Tiffany Favrile blown glass registry numbers preceded by “X” denote experimental pieces.

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A Tiffany Studios “Turtle-Back” seal lamp

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 408 The “Turtle-Back” shade with gold iridescent glass and hobnail design on a patinated bronze base with iridescent cabochons and floral motif, electrified 14.5” H x 8.5” W x 5.25” D $5,000-7,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios counter-balance desk lamp with intaglio shade

Circa 1902-1918; New York, NY Signed: Tiffany Studios / New York / 415; Shade signed: L.C. Tiffany/ Favrile / Inc / 5136 M The intaglio Favrile glass shade with daffodils motif cut into green iridescent ground on a patinated bronze counter-balance base with stem-and-leaf design, weighted ball, and adjustable head, electrified Base: 16” H x 8” W x 14.5” D; Shade: 8” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios counter-balance desk lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / 416 The green damascene Favrile glass shade with tones of blue and onion skin on a patinated bronze counter-balance “Chaflin” base with curved stem and adjustable head, electrified Base: 14.75” H x 7” W x 10.5”D; Shade: 7” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 425 The green iridescent “Wave” Favrile glass shade with tones of blue and orange on a singlelight, gilt-bronze, harp base with floriform stem raised on scrolled feet, electrified Overall: 55” H x 12.5” Dia.; Shade: 10.25” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 212, fig. 831.

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 423 The gold iridescent damascene Favrile glass shade on a single-light patinated bronze harp tripod base with plain stem raised on tree curved legs with spade feet, electrified Overall: 55.25” H x 14” Dia.; Shade: 8” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 210, fig. 820.

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A blue L.C. Tiffany Favrile glass vase

1902; New York, NY Signed: L.C.T. / Q 9251 The blue iridescent Favrile glass vase with globular body, flared lip, and low relief lattice motif 5.5” H x 4.75” Dia. $700-900 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass triple-throated vase

1895; New York, NY Signed: L.C. Tiffany / Favrile / 9548 D The blue iridescent Favrile glass vase with tapered body and three pointed segments with a central opening 12.25” H x 3” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass bud vase

1910; New York, NY Signed: L.C. Tiffany Favrile / 1576 E The opaque blue Favrile glass bud vase with gourd-shaped body and slender neck on a dark brown iridescent foot 12.5” H x 3” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A blue L.C. Tiffany Favrile glass bud vase

1910; New York, NY Signed: L.C. Tiffany / Favrile / 2534 E The opaque blue Favrile glass bud vase with gourd-shaped body, pinched neck, and light blue stripes 7.5” H x 4.25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 158.

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A blue L.C. Tiffany Favrile glass bud vase

Circa 1892-1893; New York, NY Signed: L.C. Tiffany / Favrile / X 169 The blue iridescent Favrile glass bud vase with tapered body and flared rim raised on a slightly domed foot 12” H x 3.5” Dia. $700-900 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 154.

Notes: Tiffany Favrile blown glass registry numbers preceded by “X” denote experimental pieces.

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A blue L.C. Tiffany Favrile glass intaglio compote

First-quarter 20th Century; New York, NY Signed: L.C. Tiffany / Favrile The blue iridescent Favrile glass compote with an intaglio leaf and vine border 2.75” H x 9.75” Dia. $500-700 Provenance: The Alan Schneider Collection

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A Tiffany Studios ten-light “Pond-Lily” table lamp Circa 1902-1919; New York, NY Each shade signed: L.C.T.; Base signed: Tiffany Studios / New York / 381 The gold-finished bronze “Pond-Lily” base designed with lily pads issuing a drop cluster of ten gold iridescent Favrile glass “Blossom” shades, electrified 21” H x 14” Dia. $10,000-15,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: S 2544; Base signed: Tiffany Studios / New York / 423 H The green and yellow iridescent “Wave” Favrile glass shade on a single-light patinated bronze harp base with plain stem and floral socket cover raised on five curved legs with spade feet, electrified Overall: 57.75” H x 16” Dia.; Shade: 10” Dia. $7,000-9,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 210, fig. 821.

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A Tiffany Studios “Pomegranate” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York / 1457; Base signed: Tiffany Studios / New York The yellow and green leaded glass “Pomegranate” shade on a three-light patinated bronze four-legged “inverted cradle” base, electrified Overall: 23.5” H x 16” Dia. $6,000-8,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios counter-balance floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 468 The blue iridescent “Wave” Favrile glass shade with tones of pink, yellow, and green on a single-light patinated bronze counter-balance base with plain narrow stem, weighted ball in a foliate cradle, and adjustable head raised on five curved legs with spade feet, electrified Overall: 54” H x 16” Dia.; Shade: 10.25” Dia. $6,000-8,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 211, fig. 827. w w w. j o h n m o r a n . c o m

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A Tiffany Studios “Vine Border” table lamp

Circa 1902-1919; New York, NY Shade signed: Tiffany Studios / New York; Base spuriously signed: Tiffany Studios / New York / 393 The green and yellow leaded glass “Vine Border” shade on a six-light patinated bronze Tiffany-style reproduction base in the form of three spreading root nodes, electrified Overall: 29” H x 20.5” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios counter-balance floor lamp

Circa 1902-1919; New York, NY Shade appears unsigned; Base stamped: Tiffany Studios / New York / 468 The yellow iridescent “Wave” Favrile glass shade on a single-light patinated bronze counterbalance base with plain narrow stem, weighted ball in a foliate cradle, foliate socket cover, and adjustable head raised on five curved legs with spade feet, electrified Overall: 56” H x 16” Dia.; Shade: 10” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 211, fig. 827.

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A L.C. Tiffany Favrile glass cabinet vase

1900; New York, NY Signed: L.C.T. / N 5350 The marbled gold iridescent Favrile glass vase with yellow swirls, wide-shouldered body, and flared neck 5.25” H x 3.25” Dia. $700-900 Provenance: The Alan Schneider Collection

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Mr. Schneider established himself as a respected expert in his field. Although he studied a bit of art history in college, he was largely self-taught, and that was evidenced by in his immense collection of art textbooks, collector books, and auction catalogs. His drive to continue to learn came from his great love of Art Nouveau and The Antique Traders itself. Throughout his career, Mr. Schneider appraised items for auction houses, advised museums, and was been featured in renowned magazines, newspapers, and books. He was considered by many to be a leading subject matter expert.

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A L.C. Tiffany Favrile glass compote

First-quarter 20th Century; New York, NY Signed: L.C.T. / Favrile The gold iridescent Favrile glass compote with heavy onion skin to rim 6” H x 12.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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Three L.C. Tiffany Favrile glass intaglio bowls

First-quarter 20th Century; New York, NY First signed: L.C.T. / Favrile; Second signed: L.C.T. / Favrile; Third signed: L.C. Tiffany / Favrile Each gold shaded to blue iridescent Favrile glass with intaglio cut leaf and stem motif to interior, comprising a large bowl with gently scalloped rim, a bowl with deeply scalloped rim and ribbed exterior, and a squat bowl with flared lip, 3 pieces Largest: 4” H x 10” Dia.; Smallest: 2.75” H x 6” Dia. $700-900 Provenance: The Alan Schneider Collection

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Four L.C. Tiffany Favrile glass items

Late 19th/early 20th Century; New York, NY Footed plate signed: L.C. Tiffany / Favrile; Plate signed: L.C. Tiffany / Favrile / 1877; Dish signed: L.C.T.; Bowl signed: L.C.T. / Favrile / 5 Each gold iridescent Favrile glass, comprising a large blue-shaded footed plate with onion skin, a medium onion skin plate with scalloped edge, a blue-shaded footed dish with optical base, and a small blue-shaded bowl, 4 pieces Largest: 1.5” H x 12” Dia.; Smallest: 2” H x 5.25” Dia. $600-800 Provenance: The Alan Schneider Collection

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Four L.C. Tiffany Favrile glass items

First-quarter 20th Century; New York, NY Two signed: L.C.T. / Favrile; One signed: L.C.T. / M 9153; One signed: L.C.T. M 2222 Each gold shaded to blue iridescent Favrile glass, comprising a large bowl with gently scalloped edge and ribbed exterior, a finger bowl with scalloped edge and ribbed exterior, an ice plate with pigtail decorations, and a toothpick holder with pigtail decorations, 4 pieces Largest: 3” H x 6.25” Dia.; Smallest: 2” H x 1.5” Dia. $600-800 Provenance: The Alan Schneider Collection

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Five L.C. Tiffany Favrile glass items

Circa 1904-1921; New York, NY Large vase signed: L.C. Tiffany Inc. / Favrile / 1025-4190 M; Small vase signed: L.C. Tiffany / Favrile / 3734 P; Toothpick holders signed: L.C.T.; One further signed: V 2984; One further signed: V 2951; One further signed: V 2992 Each gold iridescent Favrile glass, comprising a baluster-form vase with blue-shaded interior, an urn-form vase with sawtooth edge, and three blue-shaded toothpick holders with pinched sides, 5 pieces Largest: 6.5” H x 3.5” Dia.; Smallest: 1.75” H x 1.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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A L.C. Tiffany Favrile glass finger bowl and ice plate

First-quarter 20th Century; New York, NY Bowl signed: L.C.T.; Ice plate signed: L.C.T. / Favrile Each gold iridescent with scalloped edge, comprising a bowl with ribbon-style edge and an ice plate, 2 pieces Bowl: 2.25” H x 4.5” Dia.; Ice plate: 1.25” H x 6” Dia. $400-600 Provenance: The Alan Schneider Collection

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A Daum cameo glass and enameled “Paysage d’Hiver” boudoir lamp First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass boudoir lamp with enameled winter woodland scene over pink and yellow frost with domical shade on an illuminated and tapered base, electrified Overall: 13.5” H x 7.25” Dia. $7,000-9,000 Provenance: The Alan Schneider Collection

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A Daum “Algues et Poissons” intercalaire glass vase

Circa 1898; Nancy, France Etched signature to underside: Daum Nancy [Croix de Lorraine] Designed by Henri Berge, the rotund intercalaire vase with layers of blue and green glass cased in acid-etched burgundy glass depicting a painted polychrome enamel seascape of algae, a hermit crab, and fish motifs 7.25” H x 5.25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Notes: Concept drawings for this vase can be found in NoÎl Daum, “Daum: Mastery of Glass,” 1980, p. 15.

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A Daum cameo glass “Orchid” vase

First-quarter 20th Century; Nancy, France Signed: Daum Nancy / France [Croix de Lorraine] The acid-etched cameo glass vase cut to mottled orange and yellow frost with enameled orchid motif 4.75” H x 2.5” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Lily” bowl

First-quarter 20th Century; Nancy, France Signed: Daum Nancy / France [Croix de Lorraine] The acid-etched cameo glass “Lily” bowl cut from purple to mottled yellow and white frost 5.5” H x 8” Dia. $700-900 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Wild Rose” vase

Late 19th/early 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass “Wild Rose” footed vase with tapered neck and bulbous body cut from orange and green to clear 6.75” H x 4.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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A Daum vitrified cameo glass “Carnation” vase

Late 19th/early 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The vitrified and acid-etched cameo glass “Carnation” vase with tapered body cut from green and blue to purple and orange, raised on a green foot 11” H x 4.75” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A Daum vitrified cameo glass “Wild Rose Bud” vase

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The vitrified and acid-etched cameo glass “Wild Rose Bud” wide-shouldered vase with tapered body and wide base cut from green and red to mottled brown and yellow frost 10.75” H x 9” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A tall Daum cameo glass “Fern” vase

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass “fern” vase with cylindrical neck, footed base, and bulbous body cut from chartreuse to lavender frost 13.5” H x 5” Dia. $700-900 Provenance: The Alan Schneider Collection

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A French Mado Nancy vase

Circa 1920s; Nancy, France Signed: Mado Nancy Possibly designed by Paul Daum, the footed vase with tapered body and flared rim decorated with enameled floral motifs over mottled orange and blue glass 11.25” H x 4” Dia. $500-700 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Paysage du Lac” bowl

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass bowl cut from dark red and red to orange frost with wooded lakeside motif 5.5” H x 8” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A tall Daum vitrified cameo glass vase

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The vitrified and acid-etched cameo glass footed vase with tapered body and flared neck cut from orange and blue to clear frost with wheat sheaf and insect motifs 16.75” H x 4.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A pair of Daum enameled “Orchid” vases

Late 19th/early 20th Century; Nancy, France Each signed for Daum Nancy [D N / Croix de Lorraine] Each triangular-form footed vase with polychrome enameled orchid motifs on green chipped ice finished glass with gilt highlights to feet and rim, 2 pieces Each: 13.5” H x 4.5” W x 4.5” D $2,000-3,000 Provenance: The Alan Schneider Collection

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A Greco-Roman-style carved soft stone floor lamp

First-half 20th Century Incised: Made in Italy The Greco-Roman-style carved soft stone floor lamp depicting a contrapposto standing woman in front of a figural fountain and Corinthian column surmounted by an illuminated globe with gadrooning and Greek key meander, electrified Overall: 49” H x 14.5” W x 13.5” D $2,000-3,000 Provenance: The Alan Schneider Collection

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Carlo Pittaluga

(19th/20th Century, Italian) Woman reclining near waters edge White marble Signed: Pittaluga 10.5” H x 21” W x 12” D $700-900 Provenance: The Alan Schneider Collection

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Thomas Ball

(1819-1911, American) Bust of a young child with flowers, 1874 White marble Signed and dated: T. Ball / 1874 20” H x 13.75” W x 9” D $5,000-7,000 Provenance: The Alan Schneider Collection

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Longworth Nicholas Powers

(1835-1904, Italian/American) Bust of a woman, 1879 Italian white marble Signed and dated: Longworth Powers / Sculp. 1879 26” H x 17” W x 9” D $2,000-3,000 Provenance: The Alan Schneider Collection

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A carved alabaster Birth of Venus table lamp

First-quarter 20th Century Signed indistinctly to base The carved alabaster table lamp depicting the goddess Venus emerging from a shell atop crashing waves, electrified 21” H x 11” W x 9.5” D $700-900 Provenance: The Alan Schneider Collection

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A marble bust of a veiled woman

Fourth-quarter 19th Century Apparently unsigned The marble bust depicting a veiled woman with one arm resting across her chest holding flowers, raised on a circular plinth Overall: 27” H x 16” W x 10” D $1,000-2,000 Provenance: The Alan Schneider Collection

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Étienne Lenhoir

(Circa 1880-1910, French) Bust of a female White marble Signed: Lenhoir 17” H x 15” W x 8” D $800-1,200 Provenance: The Alan Schneider Collection

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A Gallé cameo glass “Magnolia” chandelier

First-quarter 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass domical “Magnolia” shade cut from red to white frost and fitted with three light sockets and three drop pendants with matching shades, mounted with floral-style wrought iron border, canopy, and suspended chain link harness, electrified 39” H x 25” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Wilder Wein” chandelier

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass domical “Wilder Wein” shade with wild vines and berry motifs cut from brown to red and yellow mottled frost, fitted with two light sockets and three drop pendants with matching shades, mounted with wrought iron hardware, canopy, and suspended chain link harness, electrified 33” H x 23” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Grape and Vine” pendant chandelier

First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass domical shade with grape and vine motifs cut from purple to light green and orange frost fitted with one light socket and wrought iron hardware and canopy, electrified 30” H x 16” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A Daum cameo glass “Grape and Vine” pendant chandelier

First-quarter 20th Century Signed: Daum Nancy [Croix de Lorraine] The acid-etched cameo glass domical shade with grape and vine motifs cut from purple to light green frost fitted with three light sockets and floral patterned wrought iron hardware and canopy, electrified 22” H x 12” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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97

Late 19th/early 20th Century; Nancy, France Each marked for sterling; One signed: Daum Nancy [Croix de Lorraine]; One Signed: Daum [illegible] Each acid-etched cameo glass with gilt highlights, sterling silver foot cap and lid, and glass stopper, comprising one cut from blue to clear frost with floral motif and floral designs to sterling silver and one cut from orange to orange frost with strawberry motif, 2 pieces Larger: 6.75” H x 1.25” Dia. 9.645 gross oz. troy approximately

Late 19th/early 20th Century; Nancy, Bottle signed: Galle; Atomizer marke Further inscribed: Molinard [illegible]/ The acid-etched cameo glass bottle w motif cut from purple and blue to gre Provencal atomizer for Maison Molina 5” H x 2” W x 1.75” D

Two Daum cameo glass perfume bottles

$500-700 Provenance: The Alan Schneider Collection

121

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

A Gallé for Molinard cameo glas

$600-800

Provenance: The Alan Schneider Coll

ss perfume bottle

France ed: Le Provencal / Bte S.G.D.G.; / Grasse Paris with wooded mountain landscape een fitted with a gilt-metal Le ard

98

A Gallé paperweight glass flacon perfume bottle

Late 19th/early 20th Century Etched signature: Galle The tapered perfume bottle in green cased paperweight glass with mottled ground surmounted by an elongated stopper 7.75” H x 3” Dia. $600-800 Provenance: The Alan Schneider Collection

lection

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99

Emile Guillemin

(1841-1907, French) Two Cavaliers Silvered bronze on marble base Signed: Ele. Guillemin LM Each: 9” H x 6” W x 4” D; Overall: 9.375” H x 6” W x 4.25” D $500-700 Provenance: The Alan Schneider Collection

123

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100

Adrien Ètienne Gaudez

(1845-1902, French) Standing woman with a mandolin Patinated bronze on a red marble plinth Signed: A. Gaudez 21.5” H x 8.5” W x 6” D; Overall: 24.5” H x 8.5” W x 8” D $800-1,200 Provenance: The Alan Schneider Collection

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101

Pierre-Félix Masseau

(1869-1937, French) Bust of a woman with bow collar Patinated bronze on bronze plinth Signed: Fix. Masseau 16” H x 12.5” W x 9” D; Overall: 20” H x 12.5” W x 9” D $600-800 Provenance: The Alan Schneider Collection

125

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102

A Japanese okimono bronze lion

Meiji period: 1868-1912 Chop mark to base: Takao The bronze okimono in the form of a prowling lion with mouth agape and inset glass eyes 6” H x 11” W x 2.75” D $800-1,200 Provenance: The Alan Schneider Collection

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103

A Handel reverse-painted glass “Parrot” table lamp Circa 1923; Meriden, Connecticut Shade signed: Handel / Pat’d. No. 979664 / Handel / 7023; Base signed: Handel The domical, chipped ice finished glass shade with reversepainted blue and orange parrots and a butterfly among pink and white peonies against a dark charcoal ground on a three-light patinated metal base with knopped column, gadrooning, daisy motifs, and circular foot, electrified Overall: 24.5” H x 18” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection Literature: Robert De Falco, Carole Goldman Hibel, and John Hibel, “Handel Lamps: Painted Shades and Glassware,” 1986, p. 135.

127

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104

A Handel reverse-painted glass “Parakeet” table lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel / Pat’d. No. 979664 / Handel / 7127; Base signed: Handel [cloth label] The domical chipped ice finished glass shade with reversepainted green and orange parakeets, pink and yellow flowers, and pine trees against a dark blue ground on a three-light bronzed metal tripod base with scrolled anthemion supports and foliate motifs set on a white and grey marble foot, electrified Overall: 24” H x 18” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

129

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105

A Handel reverse-painted glass “Rose Blossom” table lamp

Circa 1919; Meriden, Connecticut Shade signed: Handel Lamps / Pat’d. No. 979664 / Handel / 6688; Base signed: Handel [cloth label] The domical chipped ice finished glass shade with reverse-painted polychrome rose blossom and butterfly motifs on a three-light bronzed metal tripod base with scrolled anthemion supports and foliate motifs set on a circular foot with gadrooned border, electrified Overall: 24.5” H x 18” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Robert De Falco, Carole Goldman Hibel, and John Hibel, “Handel Lamps: Painted Shades and Glassware,” 1986, pp. 161 and 172.

131

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106

A Handel reverse-painted glass “Daffodil” table lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel Lamps / Pat’d. No. 979664 / Handel / 7042 / R.G.; Base signed: Handel The domical chipped ice finished glass shade with reverse-painted red daffodils and blades of grass against a light blue ground on a two-light patinated metal base with tapered column, circular foot, and chipped ice texture throughout, electrified Overall: 22” H x 15” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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107

A Handel reverse-painted glass “Rose Blossom” table lamp

Circa 1919; Meriden, Connecticut Shade signed: Handel Lamps / Pat’d. No. 979664 / Handel / 6688; Base signed: Handel [cloth label] / Handel [incised mark] The domical, chipped ice finished glass shade with reverse-painted polychrome rose blossom and butterfly motifs on a three-light patinated metal tapered base with low relief trees and roots extending over a circular foot, electrified Overall: 23” H x 18” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Robert De Falco, Carole Goldman Hibel, and John Hibel, “Handel Lamps: Painted Shades and Glassware,” 1986, pp. 161 and 199.

133

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108

A Handel painted glass landscape table lamp

Circa 1914; Meriden, Connecticut Shade signed: Handel / Pat’d. No. 979664 / Handel / 6209 / J.P. [Joseph Palme]; Base signed: Handel The domical, chipped ice and sand-finished glass shade with obverse and reverse-painted wooded lakeside landscape at sunset in tones of brown, green, and orange on a three-light patinated metal base in the form of a Japanese vase molded with low relief birds and prunus blossoms raised on a stepped Chinese pierced hardwood-style foot, electrified Overall: 22” H x 18” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Robert De Falco, Carole Goldman Hibel, and John Hibel, “Handel Lamps: Painted Shades and Glassware,” 1986, p. 51 and 171.

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109

A Handel reverse-painted glass landscape table lamp Circa 1918; Meriden, Connecticut Shade signed: Handel Lamps / Pat’d. No. 979664 / Handel / 6638; Base signed: Handel The domical, chipped ice finished glass shade with reversepainted birch woodland scene in green and grey against a purple and blue twilight sky with rising moon on a three-light patinated metal base with an urn-form body raised on a square foot, electrified Overall: 23” H x 18” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

135

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110

A Handel “Teroma” glass vase

First-quarter 20th Century; Meriden, Connecticut Signed: Handel / Teroma / 4216 The baluster-form vase in chipped ice and sand-finished glass with obverse-painted enamel woodland scene with swallows in flight 11” H x 4.5” Dia. $700-900 Provenance: The Alan Schneider Collection

137

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111

A Gallé cameo glass “Grapes and Vines” boudoir lamp

First-quarter 20th Century; Nancy, France Base and shade signed: Galle The acid-etched cameo glass “Grapes and Vines” lamp with tapering flared base and domical shade cut from amber to pink frost and fitted with metal arms, electrified 14.5” H x 6.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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112

Two Gallé cameo glass landscape vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass cut from dark amber to yellow frost with tree motifs, comprising one tapered bud vase and one wide-shouldered vase, 2 pieces Larger: 7” H x 2.25” Dia. $800-1,200 Provenance: The Alan Schneider Collection

139

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113

A Gallé engraved paperweight glass flacon

Late 19th/early 20th Century; Nancy, France Signed: Galle The paperweight glass bottle with red, pink, and amber swirl to clear with engraved swirl motif throughout 5.25” H x 4” Dia. $800-1,200 Provenance: The Alan Schneider Collection Literature: Alastair Duncan and Georges de Bartha, “Glass by Gallé,” 1984, p. 56, fig. 53(a).

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114

A tall Gallé cameo glass “Columbine” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass cylindrical “Columbine” vase with wide base and flared rim cut from mauve and pink to clear and yellow frost 24” H x 9” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

141

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115

A tall Gallé cameo glass “Wisteria” vase

Circa 1910; Nancy, France Signed: Galle The acid-etched cameo glass “Wisteria” vase with cylindrical neck and wide base cut from purple to yellow frost 30” H x 9.5” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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116

A tall Gallé cameo glass “Fern” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Fern” vase with undulating body and flared neck cut from red and chartreuse to pink 19.25” H x 13.75” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

143

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117

A tall Gallé cameo glass “Lily” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Lily” footed vase with wide base, scalloped rim, and tapered body cut from mauve to peach frost 19.75” H x 6.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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145

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118

A Gallé cameo glass “Sunflower” vase

Late 19th/early 20th Century; Nancy, France Etched signature to underside: Galle / depose The acid-etched, fire-polished cameo glass “Sunflower” vase cut from orange to clear with applied green glass cabochons and metallic foil inclusions 9” H x 5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Alastair Duncan and Georges de Bartha, “Glass by Gallé,” 1984, p. 187, fig. 281.

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119

120

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass cylindrical vase with bulbous base cut from amber to white frost with forest and mountain motifs 12.5” H x 3.5” Dia.

Late 19th/early 20th Century; Nancy, Fran Etched signature to underside: Galle The smoked glass vase with trefoil openin enameled and engraved “Lorraine thistle” 13.75” H x 3.75” Dia.

A Gallé cameo glass landscape vase

147

A tall Gallé smoked glass “Lorraine

$1,000-1,500

$800-1,200

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Collectio

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

Thistle” vase

nce

ng and tapered body decorated with ” motif and gilt details

on

121

A tall Gallé cameo glass “Wild Chervil” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Wild Chervil” vase with tapered undulating body and ovoid opening cut from pale green to clear frost 17.75” H x 4.75” W x 4.25” D $800-1,200 Provenance: The Alan Schneider Collection

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122

A tall Gallé cameo glass “Paysage du Lac” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass cylindrical vase with wide base cut from dark amber to white and pale pink frost with wooded lakeside and boats motif 10” H x 5.75” Dia. $700-900 Provenance: The Alan Schneider Collection

149

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123

Two Gallé cameo glass “Paysage du Lac” bud vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass cut from purple and blue to white frost with lakeside mountain landscape motifs, possibly depicting the Vosges, comprising one tapered footed vase with flared rim and one tapered vase, 2 pieces Larger: 8” H x 3.375” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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124

A Gallé cameo glass “Clematis” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass hexagonal “Clematis” vase with footed base cut from red and lavender to clear 7” H x 4.5” Dia. $600-800 Provenance: The Alan Schneider Collection

151

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125

A tall Gallé cameo glass “Clematis” vase

Late 19th/early 20th Century; Nancy, France Etched signature to underside: Galle / depose The acid-etched cameo glass “Clematis” vase with long neck and bulbous base cut from purple to clear 13.75” H x 5” W x 4” D $800-1,200 Provenance: The Alan Schneider Collection

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126

127

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Wisteria” vase with tapered ovoid body cut from pale pink and peach to clear 11.5” H x 6” W x 4.5” D

Late 19th/early 20th Century; Nancy, Signed: Galle The acid-etched cameo glass hexago base cut from lavender to clear and p 7” H x 4.5” W

A tall Gallé cameo glass “Wisteria” vase

153

A Gallé cameo glass “Wisteria”

$1,000-1,500

$1,000-1,500

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Coll

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

vase

France

onal “Wisteria” vase with footed peach frost with green enamel leaves

lection

128

A Gallé “Honeycomb and Bees” vase

Late 19th/early 20th Century; Nancy, France Signed: Cristallerie a Emile Galle a Nancy The footed vase with “Honeycomb and Bees” motif and stylized dripping honey to rim 6.5” H x 3.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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129

A Gallé cameo glass “Honeysuckle” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass wide-shouldered “Honeysuckle” vase cut from amber to pale green and white frost 5.25” H x 8” Dia. $800-1,200 Provenance: The Alan Schneider Collection

155

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130

A Gallé cameo glass “Primrose” bowl

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass four-lobe shaped “Primrose” bowl cut from red to green frost 3” H x 10” W x 5.25” D $600-800 Provenance: The Alan Schneider Collection

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131

Two Gallé “Grapes and Vines” cameo glass vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass cut from amber to pink frost with “Grapes and Vines” motif, comprising one tapered tall-neck vase with triform rim and one tapered bud vase, 2 pieces Largest: 10.25” H x 5” W x 4.25” D $800-1,200 Provenance: The Alan Schneider Collection

157

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132

A tall Gallé cameo glass “Violet” vase

Circa 1904-1906; Nancy, France Signed: Galle [starred] The acid-etched cameo glass cylindrical “Violet” vase with wide base and flared rim cut from purple to lavender and pink frost 13.75” H x 6” Dia. $700-900 Provenance: The Alan Schneider Collection Notes: Post-Gallé industrial glass from 1904-1906 was signed with Gallé’s signature preceded by a star.

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133

A Tiffany Studios “Grape Vine” filigree table lamp

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass cut from amber to pink frost with “Grapes and Vines” motif, comprising one tapered tall-neck vase with triform rim and one tapered bud vase, 2 pieces Largest: 10.25” H x 5” W x 4.25” D $5,000-7,000 Provenance: The Alan Schneider Collection

159

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134

135

First-quarter 20th Century; New York, NY One signed: Tiffany Studios / New York / 946; One unsigned Each rectangular patinated bronze “Grape Vine” frame with green mottled glass and bronze overlay enclosing an oval opening, comprising one with beaded border and one with verdigris patination, 2 pieces Larger: 10” H x 8” W x 4.5” D; Opening: 5.5” H x 4” W

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 1007 The patinated bronze letter rack with verdig glass, and “Grape Vine” motif overlay fitted 8.75” H x 12.75” W x 3.5” D

Two “Grape Vine” bronze picture frames

$1,500-2,000 Provenance: The Alan Schneider Collection

161

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A Tiffany Studios “Grape Vine” letter

$800-1,200 Provenance: The Alan Schneider Collection

r rack

gris patination, green mottled d with three compartments

136

Two Tiffany Studios “Grape Vine” desk accessories

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; One further marked: 832 Each mottled green glass with patinated bronze “Grape Vine” motif overlay and beaded border, comprising one humidor cigar box with cedar-lined lid and lockplate and one utility box raised on ball feet, 2 pieces Larger: 3” H x 9.5” W x 6.5” D; Smaller: 1.5” H x 4.375” W x 3” D $1,200-1,800 Provenance: The Alan Schneider Collection

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137

A pair of spherical leaded glass pendant chandeliers

Circa 1900-1910 Each caramel-colored pendant chandelier of painted lead came construction with fish scale pattern fitted with a single light socket and patinated metal stem, canopy, and suspended chain link harness, 2 pieces Each: 31” H x 10.5” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

163

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138

A leaded glass and patinated metal chandelier

First-quarter 20th Century Three shades signed: Quezal; Fixture signed: Horn and Brannen Mfg. Co. / Philadelphia The two-light patinated metal chandelier with a caramel-colored geometric leaded glass shade enclosed in a wreath-style metal border issuing four drop pendants with gold iridescent Quezal floriform glass shades and reeded hanging shafts, electrified 32” H x 21” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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139

A pair of American Arts and Crafts verdigris chandeliers First-quarter 20th Century; New York Each shade signed: Quezal Likely Riviere Brass and Bronze Works, each two-tiered verdigris patinated bronze chandelier with reticulated strapping, scrolling canopy, and floral-style ornamental hanging features with beaded and linked chains, fitted with five drop pendant lights with Quezal iridescent gold, white, and green glass shades with pulled feather motif, electrified, 2 pieces 37” H x 19” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

165

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140

141

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 919 The rectangular gilt-bronze frame with white and amber mottled glass, pine needle motif gilt-bronze overlay, and beaded border enclosing an oval opening Overall: 11.75” H x 9.5” W x 6.5” D; Opening: 8” H x 6” W

Circa 1902-1919; New Yo Each signed: Tiffany Stud Each white and amber m rocker blotter, a paperwe knife, and a pen wiper, 12 Largest: 6.25” H x 10” W

A Tiffany Studios gilt-bronze pine needle frame

167

A Tiffany Studios gilt-

$1,500-2,000

$1,500-2,500

Provenance: The Alan Schneider Collection

Provenance: The Alan Sch

Notes: In the Tiffany Studios catalogue, the pattern was originally refered to as “Etched Metal and Glass.”

Notes: In the Tiffany Stud

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

-bronze pine needle desk set

ork, NY dios / New York; Further marked: 800 / 844 / 845 / 876 / 930 / 969 / 977 / 981 / 995 / 1004 / 1008 mottled glass with gilt-bronze pine needle motif overlay, comprising a paper rack, two pen trays, a eight calendar, a card case, a large inkwell, a small inkwell, a small lidded box, an ashtray, a paper 2 pieces W x 2.5” D; Smallest: 1.75” H x 1.125” Dia.

hneider Collection

dios catalogue, the pattern was originally refered to as “Etched Metal and Glass.”

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142

A Tiffany Studios bronze pine needle frame

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 947 The rectangular verdigris patinated bronze frame with green glass, pine needle motif bronze overlay, and beaded border enclosing a rectangular opening Overall: 9.5” H x 8” W x 6” D; Opening: 5.375” H x 3.875” W $1,000-1,500 Provenance: The Alan Schneider Collection Notes: In the Tiffany Studios catalogue, the pattern was originally refered to as “Etched Metal and Glass.”

169

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143

A group of Tiffany Studios pine needle desk set items

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 1004 / 997 / 847 Each patinated bronze with pine needle motif, comprising an inkwell with green glass and bronze overlay, a pen tray with green glass and bronze overlay, and four bronze blotter corners, 6 pieces Largest: 4” H x 6.5” Dia.; Smallest: .25” H x 8” W x 4” D $500-700 Provenance: The Alan Schneider Collection Literature: Robert Koch, “Louis C. Tiffany: Glass, Bronzes, Lamps,” 1971, p. 93, fig. 109.

Notes: In the Tiffany Studios catalogue, the pattern was originally refered to as “Etched Metal and Glass.”

171

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173

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144

A Quezal “Jack-in-the-Pulpit” vase

First-quarter 20th Century; New York, NY Signed: Quezal / I 789 The gold iridescent glass “Jack-in-the-pulpit” vase shaded pink with heavy rounded base, slender stem, and wide blooming rim with light onion skin 14.5” H x 9.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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145

A L.C. Tiffany Favrile “Linenfold” boudoir lamp

First-quarter 20th Century; New York, NY Base signed: L.C. Tiffany / Favrile; Shade signed: Tiffany Furnaces / Patented Oct 14 1918 The green “Linenfold,” also called “Favrilefabrique,” glass shade with intaglio cut floral border on a one-light iridescent green Favrile glass base with slender column and wide foot, electrified 14” H x 5.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 193, fig. 755.

175

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146

A Tiffany Studios counter-balance desk lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / L 1421 The gold iridescent Favrile glass shade with pulled feather motif on a patinated bronze counter-balance “Chaflin” base with curved stem, weighted ball, and adjustable head, electrified Base: 14” H x 5.25” W x 5.75” D; Shade: 5.25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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147

A blue Steuben Aurene glass vase

Circa 1905-1933; Corning, New York Signed: Steuben / Aurene / 2683 The blue Aurene glass vase, model no. 2683, with wide-shouldered body and flared neck 10.75” H x 10” Dia. $500-700 Provenance: The Alan Schneider Collection

177

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148

A gold Steuben Aurene glass vase

Circa 1904-1933; Corning, New York Signed: Steuben / Aurene / 2683 The gold Aurene glass vase, model no. 2683, shaded pink with wide-shouldered body and flared neck 10.75” H x 9.5” Dia. $600-800 Provenance: The Alan Schneider Collection

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149

A group of Tiffany Studios “Zodiac” desk accessories

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 994 / 1009 Each verdigris patinated bronze with “Zodiac” motif depicting the astrological signs in cartouches surrounded by interlace, comprising a paper rack and two blotter ends, 3 pieces Larger: 6.25” H x 9.5” W x 2.25” D; Smaller: .25” H x 12.25” W x 2” D $600-800 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Zodiac” desk set

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 802 / 929 / 988 /1000 / 1009 / 1095 Each patinated bronze with “Zodiac” motif depicting the astrological signs in cartouches surrounded by interlace, comprising a paper rack, two large blotter ends, a pen tray, a paperweight calendar, a paper knife, and a stamp box, 7 pieces Largest: 6.25” H x 9.5” W x 2.25” D; Smallest: 1” H x 3.75” W x 2” D $1,000-1,500 Provenance: The Alan Schneider Collection

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151

A Tiffany Studios “American Indian” desk set

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 1181 / 1183 / 1184 / 1186 Each verdigris patinated bronze with Native American-style motifs and geometric designs, comprising a paper rack, an inkwell, two large blotter ends, and a stamp box, 5 pieces Largest: 5.75” H x 11” W x 2.75” D; Smallest: 1.75” H x 5” W x 3” D $800-1,200 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany at Auction,” 1981, p. 308, fig. 965.

Robert Koch, “Louis C. Tiffany: Glass, Bronzes, Lamps,” 1971, p. 94, fig.119.

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152

A Tiffany Studios “Grape and Vine” desk set

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 903 / 981 / 997 Each patinated bronze with green mottled glass and “Grape Vine” motif overlay with areas of verdigris patination, comprising a memoranda pad with wood back, a pen tray, a pen wiper, and four blotter corners, 7 pieces Largest: 7.75” H x 4.75” W x .75” D; Smallest: 1.5” H x 1.25” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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153

A L.C. Tiffany Favrile glass bowl

Circa 1892-1893; New York, NY Signed: L.C. Tiffany / Favrile / 1561 The Favrile glass footed bowl in pink to clear gradation with onion skin rim, white underside, and optical base 3.25” H x 12.25” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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154

A L.C. Tiffany Favrile pink pastille glass compote

Circa 1902-1919; New York, NY Signed: L.C. Tiffany / Favrile / 1293 / [L.C.T. monogram paper label] The opalescent pastille glass compote with a flared cranberry-colored onion skin edge fading to light pink, raised on a clear stem and opaque white foot, with opaque white leaf motif throughout 8.75” H x 9” Dia. $400-600 Provenance: The Alan Schneider Collection

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155

A near-pair of Tiffany & Co. amethyst glass compotes

1907-1947, directorship of John C. Moore II Marked: Tiffany & Co. / 19609 Makers 4623 / Sterling Silver / 925-1000 / M Each amethyst glass compote with fluted design raised on a sterling silver circular foot, 2 pieces Larger: 3.75” H x 6.625” Dia. $600-800 Provenance: The Alan Schneider Collection

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156

Two Tiffany-style experimental art glass vases

Late 19th/early 20th Century One marked: 4905 Comprising one bulbous gold iridescent glass vase with marbled body and green and blue diamond pattern to the base and one globular frosted glass bud vase with swirl and dot motif, 2 pieces Larger: 5” H x 3.25” Dia.; Smaller: 3” H x 2.5” Dia. $600-900 Provenance: The Alan Schneider Collection

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157

Four Gallé cameo glass bud vases

Late 19th/early 20th Century; Nancy, France Three signed: Galle; One signed: Galle [starred] Each acid-etched cameo glass, comprising one tall-necked vase cut from amber to chartreuse frost with floral motif and flared rim, one tall-necked “Hawthorn” vase cut from amber to white frost, one flared “Poppy” vase cut from amber to pink frost, and one squat “Fuchsia” vase cut from purple to light yellow frost, 4 pieces Largest: 8.5” H x 2.75” W x 1.5” D; Smallest: 4.5” H x 3” Dia. $800-1,200 Provenance: The Alan Schneider Collection Notes: Post-Gallé industrial glass from 1904-1906 was signed with Gallé’s signature preceded by a star.

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158

Four Gallé cameo glass bud vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass, comprising one tapered tall-neck vase cut from amber to pink frost with foliate motif, one flared “Grapes and Vines” vase cut from red to orange frost, one tapered “Marine” vase cut from red to yellow frost, and one tapered “Poppy” vase cut from amber to pink frost, 4 pieces Largest: 9.625” H x 2.58” Dia.; Smallest: 5.125” H x 2” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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159

Four Gallé and Muller Fréres cameo glass bud vases

Late 19th/early 20th Century; France Two signed: Galle; One signed: Galle [starred]; One signed: Muller Each acid-etched cameo glass, comprising one tall-necked “Chrysanthemum” vase with flared rim cut from orange to orange frost, one tall-necked “Nasturtium” vase cut from yellow to white frost, one tapered “Delphinium” vase cut from red to chartreuse frost, and one flared vase with floral motif cut from chartreuse and red to white frost, 4 pieces Largest: 8” H x 2.625” W x 1.625” D; Smallest: 3.75” H x 1.375” Dia. $800-1,200 Provenance: The Alan Schneider Collection Notes: Post-Gallé industrial glass from 1904-1906 was signed with Gallé’s signature preceded by a star.

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Four Gallé “Hydrangea” cameo glass items

Late 19th/early 20th Century; Nancy, France Three signed: Galle [starred]; One signed: Galle Each acid-etched cameo glass with “Hydrangea” motif cut from lavender and green to peach frost, comprising a tapered bud vase, a heart-shaped bud vase, a tapered cylindrical vase, and an egg-shaped covered jar, 4 pieces Largest: 11.5” H x 2.5” Dia.; Smallest: 5.75” H x 3.75” Dia. $1,200-1,800 Provenance: The Alan Schneider Collection Notes: Post-Gallé industrial glass from 1904-1906 was signed with Gallé’s signature preceded by a star.

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161

A Gallé cameo glass “Hydrangea” bud vase

Circa 1904-1906; Nancy, France Signed: Galle [starred] The heart-shaped acid-etched cameo glass “Hydrangea” vase cut from lavender and light green to pink frost 9.5” H x 5” W x 3.125” D $600-800 Provenance: The Alan Schneider Collection Notes: Post-Gallé industrial glass from 1904-1906 was signed with Gallé’s signature preceded by a star.

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A near-pair of Gallé cameo glass “Currant Berry” bud vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass cut from red to pale yellow frost with “Currant Berry” motif, 2 pieces Each: 12.25” H x 3.5” Dia. $700-900 Provenance: The Alan Schneider Collection

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163

A Gallé cameo glass “Fuchsia” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass cylindrical “Fuchsia” vase with wide base and flared rim cut from purple to yellow and white frost 9.5” H x 4.5” Dia. $600-800 Provenance: The Alan Schneider Collection

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164

A Gallé cameo glass “Pommier Japonais” bowl

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Pommier Japonais” pentagonal bowl with five drop points and scalloped rim cut from red to pale yellow and white frost 4.5” H x 6.75” Dia. $400-600 Provenance: The Alan Schneider Collection

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165

A Gallé enamel glass apéritif set

Fourth-quarter 19th Century; Nancy, France Each signed: Galle a Nancy Each amber glass with polychrome enamel overlay decoration, comprising a stoppered decanter with swirled glass body and twisted handle and four cordial glasses with twisted stems, 5 pieces Larger: 15” H x 4.75” W x 4” D; Smaller: 2.75” H x 1.5” Dia. $600-800 Provenance: The Alan Schneider Collection

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166

A Gallé faïence ceramic vase

Fourth-quarter 19th Century; Nancy, France Signed twice to underside: E G Depose [Croix de Lorraine] / E. Galle Nancy The faience vase with tapered bulbous body depicting a landscape scene in grey on white ground and polychrome low relief butterfly with gilt highlights throughout, raised on three flared feet 6” H x 3.25” Dia. $600-800 Provenance: The Alan Schneider Collection

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167

Gabriel Argy-Rousseau

(1885-1953, French) Papyrus floral motif art glass necklace in pink and raspberry glass, circa 1915 Pâte de verre Initialed in glass to front: GAR 25” L x 2” W $500-700 Provenance: The Alan Schneider Collection

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168

Gabriel Argy-Rousseau (1885-1953, French) Art Deco dish Pâte de Verre glass Signed: G. Argy-Rousseau 1.25” H x 3.5” Dia $400-600 Provenance: The Alan Schneider Collection

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169

An Art Nouveau silver plate table lamp

First-quarter 20th Century Marked indistinctly to underside; Further marked: 94/5 The silver plate lamp with figural column issuing two lights with opalescent nautilus shell shades atop a floral motif base, electrified 24” H x 11” W x 10.5” D $1,500-2,000 Provenance: The Alan Schneider Collection

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170

A pair of WMF Jungendstil decanters

Circa 1910; Germany First marked: WMFR I/0 OX / C; Second marked: WMFR I/0 AS / I Each flared decanter with emerald green glass inserts and polished pewter mounts with floral motifs and portrait heads, raised on four feet, 2 pieces Each: 16” H x 7” W x 6.75” D $1,000-1,500 Provenance: The Alan Schneider Collection Exhibitions: SFO Museum, San Francisco, “The Allure of Art Nouveau 1890-1914,” February-July 2016.

Notes: This lot is accompanied by an exhibition poster.

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171

An American Art Nouveau silver plate candelabrum

Late 19th/early 20th Century Marked for E.G. Webster & Son; Further marked: 3305 The silver plate candelabrum with figural column issuing four swirling arms and one central arm, each terminating in cabbage-leaf motif capitals and bobeches 20” H x 18” W x 18” D $500-700 Provenance: The Alan Schneider Collection

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172

A pair of Jugendstil-style English pewter vases

20th Century Each marked: JJP-RMP; First further marked: 7; Second further marked: 84

By A.E. Williams, each vase with double handles and figural motif depicting a stylized female figure with flowers in her hair, 2 pieces Each: 8.5” H x 4” Dia. $600-800 Provenance: The Alan Schneider Collection Notes: This vase design was featured in the film “Titanic” (1997) by James Cameron.

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173

An Art Nouveau marquetry bonheur du jour desk

Late 19th/early 20th Century; Nancy, France Inscribed signature: F. Bernard / Nancy The desk with an ovoid rear panel with low relief floral carving behind a raised compartment fitted with two flanking drawers and a floral marquetry back atop a floral marquetry top over a single frieze drawer with lockplate and raised overall on four carved straight legs with lightly flared feet 42” H x 35” W x 21.25” D $2,000-3,000 Provenance: The Alan Schneider Collection

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174

A Louis Majorelle two-tiered “au gui l’an neuf” table

Late 19th/early 20th Century; Nancy, France Singed in marquetry: L. Majorelle The rectangular two-tiered table with fixed top held aloft by four carved supports over a widening undershelf with stationary gilt-bronze handles, each tier with mistletoe motif marquetry and the upper tier with marquetry text reading “au gui l’an neuf,” raised overall on four slightly flared carved legs, the upper tier with fitted glass top 31.5” H x 33.5” W x 22” D $2,500-3,500 Provenance: The Alan Schneider Collection Notes: The French phrase “au gui l’an neuf” is an old idiomatic expression referencing mistletoe and used as a celebratory exclamation on New Year’s Eve, now replaced by “bonne année.”

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175

An Art Nouveau gilt-bronze chandelier with Quezal art glass shades

First-quarter 20th Century Each shade signed: Quezal The twelve-light gilt-bronze chandelier with central knopped column, foliate canopy, pointed finial, elaborate flowing ribbons, and floral motifs issuing twelve arms terminating in white iridescent Quezal floriform glass shades, electrified 50” H x 31” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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176

An Art Nouveau hand-painted armoire

Late 19th/early 20th Century The pine armoire with cavetto molding atop a three-door, two-cupboard cabinet with hand-painted doors with figural panels depicting a woman in a spring landscape, floral and ornamented borders, and floral side panels over three drawers raised on eight block feet 83” H x 72” W x 26” D $2,000-3,000 Provenance: The Alan Schneider Collection

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178

(1865-1922, Austrian) “Open Sesame” mechanical nude figure, first-quarter 20th Century Patinated bronze Signed: C. Kauba 6.75” H x 5.5” W x 2.75” D; Overall: 8.25” H x 5.5” W x 2.875” D

(1854-1936, Fren “Naïade,” 1899 Gilt and patinate Signed and date 13” H x 25” W x

$1,000-1,500

$800-1,200

Provenance: The Alan Schneider Collection

Provenance: The

Carl Kauba

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Charles Louche

et

nch)

ed bronze on marble base ed: C. H. Louchet, Salon de 1899; Further marked: 6006 5” D

e Alan Schneider Collection

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179

Auguste Ledru

(1860-1902, French) Figural jug with two naiads Gilt-bronze Signed: Ledru; Foundry mark: Thiebaut Freres Fondeurs / Paris 12” H x 7.5” W x 7” D $1,000-1,500 Provenance: The Alan Schneider Collection

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180

Alexandre Clerget

(1856-1931, French) A pair of Art Nouveau figural candlesticks Gilt-bronze Signed: A. Clerget; Foundry mark: Siot-Decauville Fondeur / Paris Each: 9.5” H x 5.5” Dia. $1,200-1,800 Provenance: The Alan Schneider Collection

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181

A two-tier painted metal chandelier

First-quarter 20th Century The two-tiered, four-light painted metal chandelier with two wreath-style circular frames decorated with red berries and gilt bows surrounding a central descending rose vine tendril, fitted with four rose-style drop pendant lights terminating in pink oil speckled Bohemian glass shades with spun green overlay, electrified 56” H x 26” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

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182

A Gallé two-tiered marquetry table

Circa 1885-1904; Nancy, France Inscribed signature: Emile Galle / Nancy / EG / [Croix de Lorraine] The two-tiered table with shaped top over a narrowing undershelf, each with marquetry flowers, raised overall on four straight legs with flared feet, the upper tier with fitted glass top 29” H x 34.5” W x 24.5” D $1,500-2,000 Provenance: The Alan Schneider Collection

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183

A Continental hand-painted leather folding screen

Circa 1920s Possibly Italian, the six-paneled room divider in hand-painted leather with Chinoiserie decoration depicting exotic birds, flowers, and grape vines surrounded by floral cartouches and finished with a nail stud trim Each panel: 102” H x 22” W x 1.125” D; Overall: 102” H x 132” W x 1.125” D $1,000-1,500 Provenance: The Alan Schneider Collection

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184

A Gallé two-tiered marquetry table

Circa 1885-1904; Nancy, France Inscribed signature: Emile Galle / Nancy / EG / [Croix de Lorraine] The rectangular two-tiered table with shaped top supported by four spiraling ribbed columns over a widening undershelf, each with marquetry flowers, foliage, and butterflies, raised overall on four spiraling ribbed legs with tapering turned feet, the upper tier with fitted glass top 31” H x 37.25” W x 26” D $2,500-3,500 Provenance: The Alan Schneider Collection

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185

A Gallé two-tiered marquetry table

Circa 1885-1904; Nancy, France Inscribed signature: Emile Galle / Nancy / EG / [Croix de Lorraine] The rectangular two-tiered table with shaped top supported by four fluted columns over a widening undershelf, each with marquetry flowers, foliage, and butterflies, raised overall on four fluted legs with tapering turned feet, the upper tier with fitted glass top 30.5” H x 37.25” W x 25.75” D $2,500-3,500 Provenance: The Alan Schneider Collection

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186

Jef Lambeaux

(1852-1908, Belgian) “Le Nuit” Patinated bronze Signed and numbered: J. Lambeaux / 6 35” H x 14.5” W x 7” D $1,000-1,500 Provenance: The Alan Schneider Collection

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187

An Art Nouveau gilt-bronze chandelier with Loetz art glass shades

First-quarter 20th Century Each shade marked: AG 552-B The green painted and gilt-bronze chandelier with coil wrapped column issuing four arms with free-form arm backs and one central pendant, terminating in five red and yellow Loetz floriform craquele glass shades, electrified 26” H x 25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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188

A Rococo-style gilt-bronze chandelier with Quezal art glass shades

First-quarter 20th Century Each shade signed: Quezal The six-light gilt-bronze chandelier with central knopped column, gadrooned canopy, openwork fonts, pointed finial, and scrolling foliage issuing six arms terminating in white and gold Quezal spun glass shades with green leaf motif, electrified 39” H x 36” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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189

190

Late 19th/early 20th Century; Germany Movement signed: Mullko 21 / Harmonie Vollgong / P 100 1955331 With a silvered dial with black Arabic numerals through twelve, red Arabic numerals through twenty-four, black minute track, three weights, and pendulum in a carved walnut case with vine and berry motif and a glazed beveled glass door raised on bracket feet 91” H x 18.25” W x 11” D $1,000-1,500

Late 19th/early 20th Century The walnut curio cabinet with glazed leaded glass and opposed figural re each concealing a fitted interior with flanking an open tiered center galle foliate shelf supports, and floral gall console with pink and white inset m drawer, two doors with carved floral one shelf compartment

Provenance: The Alan Schneider Collection

76” H x 41” W x 21” D

A Jugendstil walnut longcase clock

An Art Nouveau walnut curio c

$1,000-1,500

Provenance: The Alan Schneider Co

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cabinet

d doors featuring beveled epoussé gilt-copper inset panels, h single adjustable shelf, ery with beveled glass backing, lery rails over a bow-front marble top over one central l motif, and fitted interior with

191

An Art Nouveau-style swivel arm chair

First-quarter 20th Century or later Leather signed: P. Mykytka / 12.19.89 The oak swivel arm chair with figural carved back splat and inset tooled leather seat with floral motif supported by four curved legs 28” H x 24.5” W x 23” D $600-800 Provenance: The Alan Schneider Collection

ollection

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192

An Art Nouveau walnut marquetry bedroom set

Late 19th/early 20th Century The walnut bedroom set with high relief carved floral details and marquetry portrait roundels with mother-of-pearl inlay, comprising a headboard (66.25” H x 57.5” W x 4” D) and footboard (39.5” H x 57” W x 1.75” D), a two-door mirrored armoire with two open central compartments and four drawers (90.5” H x 67” W x 23” D), a vanity with pink marble top over two drawers and two cupboards with open central compartment (76” H x 47.25” W x 19.75” D), and two side tables each with a mirror and pink marble top over a single drawer and undertray (Each: 43.5” H x 15.75” W x 15.75” D), 6 pieces $2,000-3,000 Provenance: The Alan Schneider Collection

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193

A Tiffany & Co. bronze mantel clock

Fourth-quarter 19th Century Dial signed: Tiffany & Co.; Movement marked: 252 20-5 The clock with white metal dial, black Roman numeral hour markers and minute track, Breguet hands, two train movement, and gilt beaded bezel set in a patinated bronze case with inset black stone surmounted by a reclining Greco-Roman woman and tendrils of ivy 19” H x 28” W x 9” D; Dial: 5” Dia. $2,500-3,500 Provenance: The Alan Schneider Collection

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194

An Art Nouveau patinated metal figural clock

Signed: F. Flora [possibly Francisco Flora] Serial number: 820 The patinated metal clock with low relief gilt Arabic numeral hour markers and two train movement set in a tapered base with a standing female figure 20” H x 9” W x 7.5” D; Dial: 3.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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195

A French Art Nouveau glazed ceramic clock set

Late 19th/early 20th Century Marked: P / 307; Dial signed: Ackermann Bros. / San Francisco, Cal; Serial number: 4963 The clock with a painted white metal dial, cobalt Roman numeral hour markers, black minute track, gilt-metal hands and bezel, two train brass movement, and signed Ackermann Bros. San Francisco, enclosed in a cream to dark green glazed ceramic body with applied high relief polychrome flowers and geometric handles raised on four bracket feet, with two matching vases, 3 pieces Larger: 16.5” H x 10.5” W x 8.5” D $1,500-2,000 Provenance: The Alan Schneider Collection

233

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196

A French Art Nouveau porcelain jardinière and stand

Late 19th/early 20th Century Signed: JP / France / [castle] Each with gilt iris motif against a cobalt blue ground, comprising a wide-shouldered basin with tapered rim and opposed figural masks raised on a tapered columnar plinth, 2 pieces 44.75” H x 21” W x 15” D $700-900 Provenance: The Alan Schneider Collection

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197

198

First-quarter 20th Century The bronze chandelier with applied figural masks and scrolling foliate designs issuing six upright gold and pink iridescent glass tulip shades and fitted with associated patinated metal stem and canopy, electrified 43” H x 13” Dia.

First-quarter 20th Century The three-light patinated metal chandelier w and repoussé floral skirt issuing three arms te Bohemian glass shades with pulled feather m 42” H x 26” Dia.

An Art Nouveau bronze and art glass chandelier

235

An Art Nouveau patinated metal chan

$1,000-1,500

$800-1,200

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Collection

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ndelier

with canopy, triform column, erminating in green iridescent motif, electrified

199

A French Art Nouveau patinated and gilt-bronze wall sconce

First-quarter 20th Century The patinated and gilt-bronze figural wall sconce with female figure standing atop a shell issuing three foliate arms, each terminating in a floral-style capital with light socket, electrified 23” H x 13” W x 9” D $800-1,200 Provenance: The Alan Schneider Collection

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200

A Gallé two-tiered marquetry occasional table

Circa 1885-1904; Nancy, France Signed in marquetry: Galle The two-tiered table with rectangular top with lily pad and dragonfly marquetry over a narrowing and shaped undershelf, raised overall on four carved legs with lightly flared feet 30” H x 24” W x 13” D $700-900 Provenance: The Alan Schneider Collection

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201

A Gallé marquetry occasional table

Circa 1885-1904; Nancy, France Singed in marquetry: Galle The rectangular occasional table with marquetry landscape scene to the top over two trestlestyle legs, each with three supports, joined by a stretcher and raised overall on four flared feet 30.5” H x 25.5” W x 17.5” D $800-1,200 Provenance: The Alan Schneider Collection

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202

Friedrich Goldscheider

(1845-1897, Austrian) Woodland vase with hunter and dogs Glazed terracotta Signed and numbered: Friedrich Goldscheider / Wien / Fabrique en Autriche / 01433 42 17 25” H x 15” W x 10” D $600-800 Provenance: The Alan Schneider Collection

239

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203

An Art Nouveau walnut double-door bookcase

Late 19th/early 20th Century The walnut bookcase with arched bonnet with high relief carved lily pads atop two glazed doors with gilt-metal handles and an adjustable shelved interior over two drawers with gilt-metal handles raised on four bracket feet 96” H x 52” W x 20” D $2,000-3,000 Provenance: The Alan Schneider Collection

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204

A Loetz Crete Papillon vase

Late 19th/early 20th Century Signed: Loetz / Austria The four-sided vase with flared rim and descending ribbed details in iridescent green Crete Papillon glass 8.75” H x 6” Dia. $300-500 Provenance: The Alan Schneider Collection

241

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205

Two Jugendstil cast metal figural plaques

Late 19th/early 20th Century; Germany Each marked: ME [obelisk] / Musterschutz; Further marked: 7196 / 7197 Possibly designed by Wilhelm Elster Jr. (1869-1916, German), each cast metal figural plaque with cold painted highlights and depicting the arts of music and painting, 2 pieces Each: 28.25” H x 12” W x .25” D $800-1,200 Provenance: The Alan Schneider Collection

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206

An Archibald Knox for Liberty & Co. Tudric pewter bowl

First-quarter 20th Century; England Marked: Tudric / 0755 / 7 / Made in England Designed by Archibald Knox for Liberty & Co. of London, the scallopform footed pewter bowl with opposed handles and low relief Celtic Revival-style scrolling foliage raised on six feet 4.25” H x 11.25” W x 8.75” D $400-600 Provenance: The Alan Schneider Collection

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207

Four English Arts & Crafts pewter-clad table articles

Late 19th/early 20th Century Each hammered pewter facade with Ruskin ceramic medallions and glass stones, comprising a tapering squared vase with bird motifs, a lidded box, a tapering round vase, and a hinged lidded box, 4 pieces Largest: 12” H x 4.5” W x 4.5” D; Smallest: 6.75” H x 3.25” Dia. $500-700 Provenance: The Alan Schneider Collection

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208

An Art Nouveau pewter and glass vanity box

Late 19th/early 20th Century The rectangular, hinged lid pewter box with polychrome glass mosaic panels depicting seaside and wooded landscapes and a figural scene with a gilt interior 2.5” H x 6” W x 3.5” D $800-1,200 Provenance: The Alan Schneider Collection

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209

An Art Nouveau Loetz-style sterling silver overlay glass pitcher

Late 19th/early 20th Century Stamped: Sterling The iridescent green frosted glass pitcher with blue prunts and sterling silver handle, threaded neck, and leaf motif overlay 6.75” H x 5.25” W x 4.75” D 18.655 gross oz. troy approximately $600-800 Provenance: The Alan Schneider Collection

247

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210

Two Art Nouveau Loetz-style sterling silver overlay glass vases

Late 19th/early 20th Century One marked: 999/1000; One marked for La Pierre; Further marked: Sterling Comprising an iridescent green vase with leaf motif overlay and an emerald green vase with satin finish with foliate and flower motif overlay, 2 pieces Larger: 9” H x 6” Dia.; Smaller: 6.75” H x 4” Dia. 36.230 gross oz. troy approximately $600-800 Provenance: The Alan Schneider Collection

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211

A Loetz-style gilt-metal mounted glass centerpiece

Late 19th/early 20th Century The oval basin in iridescent green glass with amber oil spot finish and flared scalloped edge raised on a gilt-metal footed base and mounted with two scrolling handles and floral border 13” H x 17” W x 10” D $600-800 Provenance: The Alan Schneider Collection

249

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212

An Art Nouveau Royal Vienna “Solitude” portrait vase

Late 19th/early 20th Century Marked with blue underglaze Bindenschild; Further marked: Solitude / Dec. 341 / Depose; Signed: Wagner The baluster-form vase with central cartouche after Angelo Asti’s “Solitude” (1847ñ1903, French) enclosed by gilt-highlight floral motifs against a green and blue mottled ground 11.5” H x 4.5” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

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213

An Austrian Jugendstil ceramic centerpiece

Late 19th/early 20th Century; Austria Marked: Made in Austria / 4635 / 223 / 5 The ovoid ceramic centerpiece with gilt-highlight floral sprays surmounted by figural masks, flanked by two standing female figures, and raised on two central feet 12.5” H x 18” W x 7.25” D $600-800 Provenance: The Alan Schneider Collection

251

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214

An Amphora “Dancing Lady with Flowers” vide poche

Late 19th/early 20th Century Marked: Amphora / Riessner, Stellmacher & Kessel [RStK] Turn-Teplitz Bohemia / Made in Austria / 777 / 4 The ceramic vide poche with a low dish base and depicting a dancing woman in a yellow dress with a purple morning glory flower and gilt highlights throughout 16” H x 7.75” W x 9.5” D $500-700 Provenance: The Alan Schneider Collection Literature: Byron Vreeland, “Monsters & Maidens: Amphora Pottery of the Art Nouveau Era,” 2003, p. 83.

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215

An Amphora “Reflexion” ceramic bust

Late 19th/early 20th Century Marked: Amphora / 1243 / 21 The ceramic bust depicting a woman with flowing hair atop a squared plinth inscribed “Reflexion” 20” H x 10.5” W x 8” D $500-700 Provenance: The Alan Schneider Collection

253

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216

An Austrian Jugendstil ceramic standing nude

Late 19th/early 20th Century; Austria Marked: Made in Austria / 4638 / 1 The ceramic standing nude depicting a female figure surrounded by pink and green lily pads atop a rocky base with sea shells 16.5” H x 7.5” W x 6” D $500-700 Provenance: The Alan Schneider Collection

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217

A Pairpoint painted glass “Copely” nautical table lamp

1907-1929; New Bedford, Massachusetts Shade signed: The Pairpoint Corp. / H. Rae; Base signed: Pairpoint / D 3000 The chipped ice finished glass “Copely” shade with reverse-painted nautical scene in green, blue, and purple with sea gull and ship motifs on a three-light chipped ice finished glass base with matching obverse-painted scene raised on a circular mahogany foot, electrified Overall: 25” H x 20” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Louis O. St. Aubin, Jr., “Pairpoint Lamps: A Collector’s Guide,” 1974, p. 44, fig. 119.

Edward and Shelia Malakoff, “Pairpoint Lamps,” 1990, p. 124.

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218

A Pairpoint reverse-painted puffy glass “Devonshire” table lamp

1907-1929; New Bedford, Massachusetts Shade: unsiged; Base signed: Pairpoint Mf’g. Co. [“P” diamond monogram] / 3091 The mold-blown puffy and frosted glass “Devonshire” shade with reverse-painted polychrome roses and hummingbirds against opaque white stripes and torch and wreath motif on a singlelight gilt-bronze tree trunk base with circular foot, electrified Overall: 23” H x 15.5” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Louis O. St. Aubin, Jr., “Pairpoint Lamps: A Collector’s Guide,” 1974, p. 12, fig. 29.

257

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219

A Pairpoint reverse-painted glass “Exeter” table lamp

1907-1929; New Bedford, Massachusetts Shade signed: The Pairpoint Corp.; Base signed: Pairpoint [“P” diamond monogram] / D 3084 The bell-form frosted glass “Exeter” shade with reverse-painted polychrome floral motif against a green ground with yellow borders on a three-light brass tripod base with three scrolled supports raised on a triform foot, electrified Overall: 21” H x 17” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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220

A Pairpoint reverse-painted glass “Bombay” table lamp

1907-1929; New Bedford, Massachusetts Shade signed: The Pairpoint Corp.; Base signed: Pairpoint / C 3092 The frosted glass “Bombay” shade with reverse-painted polychrome wooded landscape scene with cream borders on a three-light mahogany base with tapered body and brass filigree applique raised on a circular foot, electrified Overall: 22.5” H x 19.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

259

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221

Marion Holden Pope

(1872-1958, San Francisco, CA) Two girls picking flowers Oil on canvas Signed lower left: Marion H. Pope 31.75” H x 42” W $800-1,200 Provenance: The Alan Schneider Collection

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222

19th Century Belgian School

Still life with hanging fruit and leaves, 1864 Oil on canvas Signed and dated lower left: C.A. van Belle, titled illegibly on the stretcher 18.25” H x 15” W $1,000-2,000 Provenance: The Alan Schneider Collection

261

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223

Georg Bernhard Liebig

(1873-1937, German) Still life with basket of vegetables, 1905 Oil on canvas laid to canvas Signed and dated lower left: Bernd. Liebig 27.25” H x 37.75” W $700-900 Provenance: The Alan Schneider Collection

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224

19th Century American School Portrait of a boy standing in a suit Oil on canvas Unsigned 53.25” H x 26.5” W $2,000-3,000 Provenance: The Alan Schneider Collection

263

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225

A Continental porcelain portrait plaque

Late 19th/early 20th Century Signed: E.G. White The painted porcelain plaque of a young boy seated by a rock in a lakeside landscape enclosed by a giltwood foliate frame Overall: 24” H x 20.5” W x 3” D; Sight: 12.5” H x 9” W $1,000-1,500 Provenance: The Alan Schneider Collection

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226

19th Century English School Portrait of a gentleman Oil on canvas laid to board Signed upper right: J. F. Earl 24” H x 20” W $600-800 Provenance: Van Kampen Gallery, San Francisco, CA The Alan Schneider Collection

265

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227

Late 19th Century American School Woman seated at a dressing table mirror Oil on canvas Unsigned 38” H x 28” W $1,000-2,000 Provenance: The Alan Schneider Collection

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228

229

Second-quarter 20th Century The pressed glass floral plafonnier with circular central dome embellished with gilt-glass daisies encircled by opalescent cut glass petals and fitted with ten lights on a bronze frame, electrified 9” H x 38” Dia.

First-quarter 20th Century; Veni The clear Murano glass chande throughout, and leaf motif to up terminating in candle sleeve lig teardrop pendalogues, electrifi 25” H x 21” Dia.

A Venetian Murano glass Barovier and Toso-style bouquet plafonnier

$1,500-2,000 Provenance: The Alan Schneider Collection

267

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A Venetian Murano glass c

$800-1,200

Provenance: The Alan Schneide

chandelier

ice, Italy elier with stepped column, wave-form designs pper gallery, issuing five ogee arms with bobeches ghts and eighteen scrolled branches, with floral and fied

er Collection

230

A Daum Art Deco etched glass table lamp

Second-quarter 20th Century; Nancy, France Base and shade signed: Daum Nancy / France [Croix de Lorraine] The acid-etched clear glass table lamp with frosted geometric square and wave-form designs throughout, the domical shade with scalloped border atop a bulbous base with Edgar Brandt hammered metal hardware, electrified Overall: 18” H x 13” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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231

A Charles Schneider Le Verre Français “Perlieres” vase

Circa 1918-1932; Paris, France Signed: Le Verre Francais The acid-etched cameo glass “Perlieres” vase with rotund body and footed base cut from red to mottled yellow and orange frost 14” H x 6.5” Dia. $800-1,200 Provenance: The Alan Schneider Collection

269

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232

A Charles Schneider Le Verre Français glass vase

Circa 1918-1932; Paris, France Signed: Charder / Le Verre Francais The acid-etched cameo glass vase with flared body and footed base cut from mottled orange to pink frost with cedar buds motif and geometric border 27.75” H x 8” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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233

A Steuben Cluthra glass vase

Second-quarter 20th Century; Corning, New York Signed: Steuben The rose Cluthra glass vase, model no. 2683, with wide-shouldered body and flared neck 10.25” H x 9.75” Dia. $700-900 Provenance: The Alan Schneider Collection

271

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234

A Lalique glass perfume bottle for Nina Ricci L’Air du Temps

Mid-20th Century Signed: Lalique The large perfume bottle with a ribbed, spiraled body and frosted glass double dove stopper 12.5” H x 7.5” W x 6” D $500-700 Provenance: The Alan Schneider Collection

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235

A set of Steuben jade and alabaster glass dishes

Second-quarter 20th Century; Corning, New York Each signed: Steuben Each of jade glass, comprising six plates (.5” H x 8.5” Dia.), six flared sherbet glasses on alabaster feet (2.5” H x 5” Dia.), and six flared lemonade glasses on alabaster feet (6.5” H x 4.25” Dia.), 18 pieces $800-1,200 Provenance: The Alan Schneider Collection

273

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236

Twelve Pairpoint cobalt blue art glass fruit plates

First-quarter 20th Century; New Bedford, Massachusetts Each cobalt blue glass cut to clear with engraved fruit motif, 12 pieces Each: 1” H x 10.5” Dia. $500-700 Provenance: The Alan Schneider Collection

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237

A set of Webb Corbett cut crystal wine goblets

Circa 1930-1947 Each signed: Webb Corbett / Made in England Each wine goblet with cut foliate and floral motifs and fro scrolling band raised on a twisted stem, 16 pieces Each: 10” H x 3.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

239

An American Brilliant cut glass punch bowl with stand

Late 19th/early 20th Century The Brilliant cut glass punch bowl and stand with hobstar and fan motif, fine crosshatching, and sawtooth scalloped edges, 2 pieces Overall: 13.25” H x 12.25” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

275

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osted

238

An American Brilliant cut glass table lamp

Late 19th/early 20th Century The two-light Brilliant cut glass lamp with domical shade, hanging crystal skirt, tapered base, and sawtooth scalloped edge foot with leaf and flower motif throughout, electrified Overall: 29” H x 14” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

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240

An American Brilliant cut glass whiskey jug

Late 19th/early 20th Century The Brilliant cut glass handled whiskey jug and stopper with fine crosshatching, strawberry diamond cuts, fan motifs, cut ovals, a hobstar base, and handle with facet-cut patterning 9” H x 5.25” Dia. $600-800 Provenance: The Alan Schneider Collection

277

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241

A pair of American Brilliant cut glass compotes

Late 19th/early 20th Century Each Brilliant cut glass compote with hobstar and fan motif, fine crosshatching, sawtooth scalloped edge, and a teardrop stem raised on a scalloped circular foot, 2 pieces Each: 9.5” H x 7.75” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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242

A Biedermeier-style vitrine cabinet

First-half 19th Century The Biedermeier-style vitrine with foliate marquetry, scrolled pediment, and giltwood egg-and-dart molding over molded dentil and Corinthian columns with giltwood capitals flanking the cabinet body with locked glazed door, plate glass side panels, and fitted interior with three shelves and mirrored back raised overall on four block feet 77.5” H x 43” W x 24” D $1,500-2,000 Provenance: The Alan Schneider Collection

279

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243

244

1797; St. Petersburg, Russia Marked for St. Petersburg; Further marked: 1797 / CV The two-toned repoussé silver vase with three figural scenes depicting nude female figures in oval cartouches enclosed by gold-toned floral swags 7” H x 5” Dia. 14.12 oz. troy approximately

Circa 1925-193 One marked: Ti marked: S. Kirk Each Paul Reve Larger: 4.75” H 41.11 oz. troy a

A Russian two-tone silver figural vase

281

Two American

$500-700

$500-700

Provenance: The Alan Schneider Collection

Provenance: Th

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

n Paul Revere-style sterling silver bowls

32 iffany & Co. / 20785 / Makers / 4070 / Sterling Silver / 925-1000 / M [John C. Moore II]; One & Son, Inc. / Sterling / 221 ere-style bowl raised on pedestal foot with flared body and personalized, 2 pieces H x 9.5” Dia.; Smaller: 3” H x 6” Dia. approximately

he Alan Schneider Collection

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245

An English sterling silver fruit bowl

Circa 1818-1819 Marked for sterling The sterling silver bowl with reeded rim and repoussé foliate motifs raised on three ball and claw feet surmounted by lion masks, monogrammed and engraved with lion rampant 7.5” H x 12.25” Dia. 78.44 oz. troy approximately $1,000-1,500 Provenance: The Alan Schneider Collection

283

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246

An English sterling silver handled bowl

1891 Marked for sterling The sterling silver bowl with opposed winged lion handles raised on a pedestal base with repoussé and chased floral motifs and gadrooning throughout, with engraved heraldic devices and commemorative inscription 8” H x 14.75” W x 11” D 39.29 oz. troy approximately $500-700 Provenance: The Alan Schneider Collection

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285

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247

An English sterling silver coffee and tea service

Circa 1853; London, England Marked for sterling Each pumpkin-form raised on foliate feet and engraved with Tudor rose and stag antler emblems, comprising a coffee pot (11” H x 8.5” W x 5.5” D), a teapot (6.5” H x 10” W x 6” D), a creamer (6.25” H x 5” W x 3.5” D), and a sugar bowl (4.25” H x 8.25” W x 5.75” D), 4 pieces 69.81 oz. troy approximately $800-1,200 Provenance: The Alan Schneider Collection

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248

A sterling silver box and inkwell

Second-half 19th Century Each marked for sterling Comprising a hinged French-style German Hanau repoussé box with courtiers and pastoral scenes surmounted by a figural bust finial and an English-made Dutch silver repoussé inkwell in the form of a chez lounge fitted with three interior compartments, 2 pieces Larger: 5” H x 5” W x 3.75” D; Smaller: 3.75” H x 6” W x 3.625” D 22.755 oz. troy approximately $600-800 Provenance: The Alan Schneider Collection

287

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249

Eight American Art Nouveau sterling silver items

Late 19th/early 20th Century Each marked for sterling; Various makers Comprising a raised repoussé compote with floral motif and ribbon edge, a pair of Foster & Bailey diminutive vases with figural masks and fish motif, a Shreve & Co. dust tray and crumber with iris motif, a Wallace repoussé oval tray with floral motif, and a pair of William B. Kerr & Co. repoussé bon-bon dishes with floral motif, 8 pieces Largest: 6.5” H x 6.5” Dia. 35.275 oz. troy approximately $400-600 Provenance: The Alan Schneider Collection

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250

251

Late 19th/early 20th Century Signed: Libbey The oval Brilliant cut glass ice cream dish with hobstar and fan motif and sawtooth scalloped edges 2.75” H x 17.5” W x 10.25” D

Late 19th/early 20th Century Signed: Libbey The Brilliant cut glass circular ice scalloped edges and segmented 1.5” H x 11.75” Dia.

An American Brilliant cut glass ice cream dish

289

An American Brilliant cut gla

$800-1,200

$600-800

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

ass ice cream dish cream dish with sawtooth thistle design

252

An American Brilliant cut glass punch bowl with stand

Late 19th/early 20th Century The Brilliant cut glass punch bowl and stand with fine crosshatching, diamond cuts, hobstars, cut floral motifs and sawtooth scalloped edges, 2 pieces 10” H x 10” Dia. $600-800

Collection

Provenance: The Alan Schneider Collection

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253

254

Late 19th/early 20th Century The Brilliant cut glass covered butter dish with hobstar and fan motif, fine crosshatching, faceted knob, and sawtooth scalloped edges 7” H x 9” Dia.

Late 19th/early 20th Century The Brilliant cut glass vase with bulb sawtooth edge and floral motif throu 10” H x 11” Dia.

An American Brilliant cut glass covered butter dish

291

An American Brilliant cut glass

$500-700

$600-800

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Co

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centerpiece vase

bous body, pinched neck, and flared rim with ughout

ollection

255

An American Brilliant cut glass centerpiece vase

Late 19th/early 20th Century The Brilliant cut glass vase with bulbous body, pinched neck, and flared scalloped rim with hobstar and fan motif and ridge-cut paneled neck 7” H x 10” Dia. $600-800 Provenance: The Alan Schneider Collection

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256

A Victorian Renaissance Revival marquetry library table

Third-quarter 19th Century The gilt-bronze mounted library table with musical motif marquetry to top with squared corners, rounded sides, gilt-highlight trim, and ebonized wood molding over a carved apron with applied painted porcelain plaques and foliate swags supported by four carved tapered legs with incised gilt highlights joined by an X-stretcher with buttressed urn and raised overall on castors 31” H x 55” W x 33.5” D $2,000-3,000 Provenance: The Alan Schneider Collection

293

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257

A Victorian Renaissance Revival pedestal table

Third-quarter 19th Century The walnut pedestal table with octagonal top over a tapered straight column with gilt sunburst paterae and applied carved brackets raised on a circular base with four inscrolled feet, with ebonized wood and incised gilt details throughout 34.5” H x 19” W x 14.25” D $1,000-1,500 Provenance: The Alan Schneider Collection

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258

A Victorian Renaissance Revival library table

Third-quarter 19th Century The mahogany library table with squared corners, rounded sides, and inset black leather writing surface with gold foil acanthus leaf border over a single divided frieze drawer with carved key frame, supported by openwork carved and turned trestle-style legs joined by a turned stretcher raised overall on four block pedestal feet with castors 29” H x 51” W x 29” D $1,000-1,500 Provenance: The Alan Schneider Collection

295

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259

An American Renaissance Revival console cabinet

Third-quarter 19th Century The breakfront-style Renaissance Revival console cabinet with ebonized wood accents, incised gilt highlights, geometric parquetry to the sides, and pedestal top over a single frieze drawer with lockplate, a door with floral inlay to front panel and lockplate, and fitted interior with a single shelf 45” H x 49” W x 16.5” D $1,500-2,000 Provenance: The Alan Schneider Collection

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260

A Victorian Renaissance Revival octagonal table

Third-quarter 19th Century The octagonal table with burlwood bookmatch parquetry top, ebonized and satinwood banded border, and gilt trim over a mounted apron with applied floral porcelain plaques enclosed in scrolled gilt-bronze framework supported by four fluted legs with incised gilt highlights joined by an X-stretcher raised overall on four swept legs with castors 29.875” H x 41.25” Dia. $1,000-2,000 Provenance: The Alan Schneider Collection

297

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

261

An American Renaissance Revival marquetry library table

Second-half 19th Century The Renaissance Revival/Eastlake transitional library table with central millinery motif and floral border marquetry to top over an anthemion motif marquetry apron supported by four turned tapering legs joined by an H-stretcher with incised gilt details throughout 28.5” H x 47.75” W x 29.5” D $1,000-1,500 Provenance: The Alan Schneider Collection

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262

263

First-half 19th Century; Naples, Italy Each marked with blue underglaze crowned “N”; Movement serial number: 334 24 The porcelain mantel clock designed with applied flowers, floral sprays, and gilt highlights, comprising a footed clock with two-train movement and white enameled dial with black Arabic numeral hour markers, minute track, and floral festoons encircled by a floral garland and four putti, raised on a three-footed stand, 2 pieces Overall: 22” H x 13.75” W x 8.5” D

Late 19th/early 20th Century; German Marked for Meissen [Blue Crossed Swo Originally designed by Kandler, Punct, figural group depicting an infant Triton nymphs and a putto on a rocky ground 12.5” H x 10” W x 7” D

A Capodimonte mantel clock with matching base

$1,000-1,500 Provenance: The Alan Schneider Collection

299

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

A Meissen “Capturing the Tritons

$800-1,200

Provenance: The Alan Schneider Colle

Literature: Laurence Mitchell, “Meissen

s” figural group

ny ords underglaze]; Further marked: C 35 / 57 , and Schonheit, the porcelain mythological n caught in a fishnet being pulled by two d

ection

264

A Meissen “Bacchus” figural group

Late 19th/early 20th Century; Germany Marked for Meissen [Blue Crossed Swords underglaze]; Further marked: B 19 Depicting Bacchus and Cupid with putti and female attendant sitting atop a wine cask 12.5” H x 9” W x 8” D $800-1,200 Provenance: The Alan Schneider Collection Literature: Laurence Mitchell, “Meissen Collector’s Catalogue,” 2004, p. 103, plate 21.

n Collector’s Catalogue,” 2004, p. 75, plate 7.

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265

A group of French Sèvres-style porcelain items

Second-half 19th Century Each variously marked Each with gilt-highlight scrolled foliate motif against cobalt blue ground, comprising a small footed jardiniere with central pastoral figural scene mounted with gilt-bronze beaded rim and four flared feet, a rectangular hinged dresser box with figural and landscape scenes, and a circular hinged dresser box with figural scene to lid, 3 pieces Largest: 6.5” H x 9.5” W x 6” D; Smallest: 4” H x 5.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

301

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

266

A Limoges enamel vanity box

Second-half 19th Century; France Signed: Gamet / France The circular enamel-over-metal vanity box with pastoral figural scene depicting a courting couple to the lid and woodland scene to the base 3” H x 6” Dia. $600-800 Provenance: The Alan Schneider Collection

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267

A German “Jungfrauenbecher” maiden’s cup

19th Century The gilt-bronze and glass figural maiden’s cup in the form of a woman with a wide skirt holding a pivoting glass bowl above her head, with hand-painted enamel decorations and inscription reading “alles gluck dem brautpaare” [all the luck to the bride and groom] 11” H x 3.75” Dia. $500-700 Provenance: The Alan Schneider Collection

303

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

268

A Meissen lidded tureen and underplate

Late 19th/early 20th Century; Germany Each marked for Meissen [Blue Crossed Swords underglaze]; Further marked: 671 1 / 16 Each white porcelain with polychrome floral sprays and gilt highlights, comprising an ovoid bombe-form tureen with opposed foliate handles, domed lid with twisted finial, and prominent orange nasturtiums and purple daisies and an ovoid underplate with scalloped edge and upturned handles, 2 pieces Tureen: 10.5” H x 15” W x 9.5” D; Underplate: 4” H x 19.5” W x 13.5” D $600-800 Provenance: The Alan Schneider Collection

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269

Twelve “Della Robia” hand-painted porcelain plates

1908-1909 Each dated and signed: EL Each banded with Della Robia-style peacock and fruit swag motif on a gilt ground with matching central medallion, 12 pieces Each: 1” H x 10.5” Dia. $600-800 Provenance: The Alan Schneider Collection

305

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

270

A green onyx and champlevé lamp table

Late 19th/early 20th Century The gilt-bronze mounted green onyx lamp table with champleve enamel border and column accents over four columns and raised on a pedestal base with four paw feet 31” H x 18.5” W x 18.5” D $1,000-2,000 Provenance: The Alan Schneider Collection

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271

An English rosewood Canterbury

Mid-19th Century The rosewood Canterbury with openwork gallery rail to the top supported by fretwork sides atop an openwork lower compartment with two interior partitions and serpentine columns over a single lower drawer raised overall on turned feet with castors 29” H x 29” W x 16.5” D $1,000-1,500 Provenance: The Alan Schneider Collection

307

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

w w w. j o h n m o r a n . c o m 3 0 8

272

An English rosewood flip-top game table

Second-quarter 19th Century The game table with pivoting hinged flip-top with inset circular leather panel and concealed compartment over a carved apron supported by a tapered pedestal on a circular platform raised overall on four paw feet Open: 27.75” H x 35.75” W x 34.875” D; Closed: 27.75” H x 36” W x 17.5” D $700-900 Provenance: The Alan Schneider Collection

309

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

273

A Continental carved wood side table

Fourth-quarter 19th Century The two-tiered side table with carved floral roundels against a basketweave patterned ground over acanthus leaf motif drops supported by four zoomorphic carved griffin legs with paw feet 27.5” H x 23.5” W x 22” D $500-700 Provenance: The Alan Schneider Collection

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274

275

Second-quarter 20th Century Dial signed: E. Gubelin / Lucerne / 8 Days / Swiss The gilt-bronze clock with a purple guilloche enamel face, black Roman numeral hour markers and minute track, and bronze eight day movement with gilt-bronze calendar on a black and white chamfered stone base 5.5” H x 4.5” W x 5.5” D

Circa 1920s Marked: Le Numero 7 d Didisheim Goldschmidt Dial marked: Swiss The Art Deco rectangul pearl dial, gilt Arabic nu designs, and brass Breg and onyx case with win 3.75” H x 2.5” W x 1” D

A Swiss E. Gübelin Art Deco desk clock and calendar

$800-1,200 Provenance: The Alan Schneider Collection

A Juvenia perfume b

$700-900

Provenance: The Alan S

311

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

bottle travel clock

de Juvenia / Importe de Suisse / ts Fils & Co. Swiss / Metal Dore;

lar travel clock with mother-ofumeral hour markers, gilt floral guet hands enclosed in a brass nd-up top D

276

A French gilt-bronze perpetual desk calendar

First-quarter 20th Century Marked: France; Serial number: 1469 The gilt-bronze perpetual calendar with black Arabic numeral tiles in a glazed case surmounted by a putti riding a dolphin and raised on four dolphin feet 8.5” H x 4” W x 4” D $600-800 Provenance: The Alan Schneider Collection

Schneider Collection

w w w. j o h n m o r a n . c o m 3 1 2

313

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

277

A Chinese carved wood console table

19th Century The carved wood console table with inlaid top enclosed by a carved border over an elaborate openwork apron with dragon motifs supported by four zoomorphic dragon legs joined by an X-stretcher raised overall on ball-and-claw feet 30” H x 39.5” W x 25” D $2,000-3,000 Provenance: The Alan Schneider Collection

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278

279

Late Qing Period (1644-1912) Each vase with lavender and blue flambe glaze, bulbous tapered body, flared neck, and double ring handles raised on a tapered foot, 2 pieces Each: 10” H x 4.25” Dia. $800-1,200

First-quarter 20th Century The enamel cloisonne moon neck, and two scrolled hand polychrome dragon, fish, an an openwork carved wood s Overall: 17” H x 10” W x 6”

Provenance: The Alan Schneider Collection

$1,000-1,500

A pair of Chinese flambé glazed porcelain vases

A large Chinese cloisonn

Provenance: The Alan Schne

315

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

né moonflask

nflask with flat circular body, tapered cylindrical dles raised on a flared foot with all-over nd foo dog motifs against a blue ground set atop stand ”D

eider Collection

280

A Chinese double-gourd cloisonné vase

Second-quarter 20th Century The detachable double-gourd cloisonne vase with polychrome scrolling foliate motif against a brick-red ground to the top and polychrome floral and butterfly motifs against a blue ground to the bottom with gilt-metal beaded band to the center 9” H x 5” Dia. $500-700 Provenance: The Alan Schneider Collection

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281

A Chinese export lacquered tea chest

19th Century The octagonal lacquered wood tea chest with gilt figural scenes and ornamentation, two drop bail handles, lockplate, and fitted with double brass canisters to the interior 7.75” H x 13.5” W x 10.5” D $600-900 Provenance: The Alan Schneider Collection

317

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

282

A pair of hand-painted Chinese porcelain vases

Late Qing Period (1644-1912) Each with chop marks and zhuanshu script reign mark Each hand-painted teardrop-shaped vase depicting a figural scene of four women playing games with an ornamental border and gilt rim raised on a flared foot with geometric designs, 2 pieces Each: 12.75” H x 4.5” Dia. $700-900 Provenance: The Alan Schneider Collection

w w w. j o h n m o r a n . c o m 3 1 8

283

A large Japanese Imari porcelain charger

Tenpo Period (1830-1844) The circular Imari ware charger depicting a pastoral figural scene with shippo and kikko patterning in blue underglaze with red and gilt enamel overglaze, blue underglaze scrolling foliage to reverse, and gilt border 2.75” H x 18.75” Dia. $500-700 Provenance: The Alan Schneider Collection

319

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

284

Two Chinese embroidered silk apron skirts

Late Qing Period (1644-1912) One with stamped label Each apron skirt with multicolored silk panels and accordion pleats, comprising one with floral applique and one with figural scene, 2 pieces Larger: 39” L x 45” W; Smaller: 37” L x 44” W $800-1,200 Provenance: The Alan Schneider Collection

w w w. j o h n m o r a n . c o m 3 2 0

285

A French satinwood parquetry table vitrine

Circa 1920s The parquetry veneered table vitrine with hinged and inset glass panel top over a glass-sided cabinet with tufted silk interior and gilt-bronze border, geometric parquetry roundels, and giltbronze figural medallion to exterior raised on four cabriole legs with gilt-bronze mounts and sabots 33” H x 28” W x 17” D $700-900 Provenance: The Alan Schneider Collection

321

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

286

A French drop front bureau de dame

First-quarter 20th Century The bombe-style bureau de dame with scenic marquetry cartouches and openwork gilt-bronze gallery rail over a locked drop front with inset leather writing surface and a fitted interior containing three drawers and a long pigeonhole atop a retractable compartment raised on gilt-bronze mounted cabriole legs with sabots 37” H x 30.25” W x 19.25” D $800-1,200 Provenance: The Alan Schneider Collection

w w w. j o h n m o r a n . c o m 3 2 2

287

A French gilded three-panel embroidered screen

Late 19th/early 20th Century Centering a painted panel of a peasant with basket of flowers over a jacquard-lined three-panel screen adorned with carved giltwood swags and flowers 61.5” H x 60” W x 3.5” D $800-1,200 Provenance: The Alan Schneider Collection

323

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

w w w. j o h n m o r a n . c o m 3 2 4

288

289

Third-quarter 19th Century; Paris, France Signed: Tahan / Fournisseur de L’Empereur The oval easel-back gilt-bronze frame with floral garlands and putti surrounding a cloisonne enameled border and enclosing an oval glass mirror 10” H x 7.25” W x 5.5” D

1904; Birmingham, Engl Marked for Birmingham The dressing table mirro and putti with monogram beveled mirror 24” H x 25” W x 14” D

An Alphonse Tahan cloisonné enamel and gilt-bronze table mirror

$800-1,200 Provenance: The Alan Schneider Collection

325

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

An English sterling si

$1,000-1,500

Provenance: The Alan Sc

ilver repoussé dressing table mirror

land m; Further marked: JM & Co. [possibly Joseph Moore] or with sterling silver repoussé overlay with scrolling foliage, rocaille, mmed central cartouche on wooden easel-back frame enclosing a

chneider Collection

w w w. j o h n m o r a n . c o m 3 2 6

290

An American sterling silver framed table mirror

First-half 20th Century Marked for William B. Kerr & Co.; Further marked: Sterling / 3481 The rectangular sterling silver easel-back frame with scrolling foliate motif and cartouche to bottom enclosing an oval mirror 18” H x 14.75” W x 6.75” D 29.3 oz. troy approximately $600-800 Provenance: The Alan Schneider Collection

327

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

291

A Tiffany & Co. sterling silver picture frame

1907-1947, directorship of John C. Moore II Marked: Tiffany & Co. / 16546Z Makers 13440 / Sterling Silver / 925-1000 / M The sterling silver easel back picture frame with scrolling foliate motifs and cartouches 13.875” H x 11.125” W x .5” D; Opening: 12” H x 9” W 38.57 gross oz. troy approximately $400-600 Provenance: The Alan Schneider Collection

w w w. j o h n m o r a n . c o m 3 2 8

329

The Al a n S c h n e id e r Colle c tion l Tu e sd ay, M arc h 2 , 2 021

Condition Reports

w w w. j o h n m o r a n . c o m 3 3 0

1 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade missing one wire frame support and one detached from lower rim. Losses to enameled surface on foot. Wiring should be checked by a qualified electrician prior to use.

2 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Tiffany signature on base’s oil canister obscured due to later conversion from oil to electricity. Wiring should be checked by a qualified electrician prior to use.

3 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

One missing screw to underside of base. Updates to one shade tension knob. Turtle-back panels without liners. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

4 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Hurricane chimney with adhesvie felt pads to base.

Wiring should be checked by a qualified electrician prior to use.

Condition Reports

5 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Base is missing base plate and with adhesive residue to underside. Lamp has been rewired. Approximately ten glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

331

6 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Loosening to base column. Wear to finial rim. Wiring should be checked by a qualified electrician prior to use.

7 Each overall good condition with wear and minor scuffs commensurate with age. Fixtures have been rewired. With later added metal hardware, stems, and canopies. Wiring should be checked by a qualified electrician prior to use.

8 Each overall good condition with minor shelf wear and light scuffs commensurate with age. One shade with three minor chips to fitter rim.

9 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

Crack to glass cap’s fitter rim.

10 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chip to pontil mark.

11 Overall good condition with minor shelf wear and light scuffs commensurate with age.

12 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Approxinately sixty-five glass panels with cracks.

Shade with later-added signature. Minor updates to hardware. Lamp has been rewired. One light socket tube updated with round switch knob. Wiring should be checked by a qualified electrician prior to use.

13 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade with one minor chip to fitter rim. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

14 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade with minor chip to fitter rim. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

15 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with minor chip to fitter rim. Wiring should be checked by a qualified electrician prior to use.

17 Overall good condition with minor shelf wear and light scuffs commensurate with age. Imperfections to the side dating to the time of manufacture.

18 Overall good condition with minor shelf wear and light scuffs commensurate with age.

19 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered ruptured air bubbles dating to the time of manufacture.

20 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered bubbling to surface dating to the time of manufacture.

21 Overall good condition with minor shelf wear and light scuffs commensurate with age. With a 1” area of nicks to rim.

22 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor scratches to interior rim and one scratch to exterior side.

23 Overall good condition with shelf wear, minor scuffs, and darkening and oxidation to bronze commensurate with age. Shade dates from the 1920s with early-form mark. Approximately nine glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

24 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age.

Approximately thirty-eight glass panels with cracks. Possible repairs to curtain border. Height measurement does not include suspended chain link harness. Wiring should be checked by a qualified electrician prior to use.

25 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Approximately two glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

26 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Scattered areas of scratches to surface throughout and scratches to columns. One shade with approximately one glass panel with crack. Wiring should be checked by a qualified electrician prior to use.

27 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Minor dent to base’s canister well rim. The converted oil lamp base with updates to arms. Approximately eleven glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

28 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Each shade with chips to fitter rim. With reinforced hanging strap. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

29 Overall good condition with minor shelf wear and light scuffs commensurate with age. Adhesive putty residue to underside. LCT monogram paper label adhered with tape to underside.

30 Overall good condition with minor shelf wear and light scuffs commensurate with age.

Condition Reports

16 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Missing one socket holder screw. Shade with scattered minor chips to lower rim and 1” scratch to interior lower rim. Wiring should be checked by a qualified electrician prior to use.

332

31 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

Localized area of minor scratches to base of glass.

Wear and scuffs to interoir rim.

32 Overall good condition with minor shelf wear and light scuffs commensurate with age.

33 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

34 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

35 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Condition Reports

36 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

Chipping throughout glass insert rim.

333

39 Overall good condition with shelf wear, minor scuffs, oxidation to bronze, and inherent firing flaws commensurate with age. Scattered minor dents to bronze cover. Period Tiffany Studios conversion with modern updates to hardware. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

40 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Two minor chips to glass panel exterior.

Approximately four lower trim glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

41 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Each shade with minor chips to fitter rim. Wiring should be checked by a qualified electrician prior to use.

42 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered bubbling to surface texture dating to the time of manufacture.

37 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Base with an ex-factory 6.75” height extension. Minor updates to hardware and reproduction heat cap.

Approximately twenty-nine glass panels with cracks.

Wiring should be checked by a qualified electrician prior to use.

43 Each overall good condition with minor shelf wear and light scuffs commensurate with age.

38 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

This is an oil lamp converted to electricity with later added etched holes to the body for heat ventilation, reproduction heat cap, and enhanced patina. Base with lighted interior and pull chain, working condition unkown. Approximately thirty glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

45 Overall good condition with minor shelf wear and light scuffs commensurate with age.

44 Overall good condition with minor shelf wear and light scuffs commensurate with age.

46 Overall good condition with minor shelf wear and light scuffs commensurate with age.

47 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chips to rim. Adhesive label residue to underside.

49 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Each turtle-back panel with imperfections to the surface likely dating to the time of manufacture.

Cabochons to base have worn over time from cleaning. Wiring should be checked by a qualified electrician prior to use.

50 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

Adhesive label residue to base. Depth measurement reflects lowest articulated position. Wiring should be checked by a qualified electrician prior to use.

51 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with minor chips to fitter rim. Depth measurement reflects lowest articulated position.

Wiring should be checked by a qualified electrician prior to use.

52 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with three chips to fitter rim. Lamp has been rewired.

Wiring should be checked by a qualified electrician prior to use.

53 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Wiring should be checked by a qualified electrician prior to use.

54 Overall good condition with minor shelf wear and light scuffs commensurate with age.

55 Overall good condition with minor shelf wear and light scuffs commensurate with age.

56 Overall good condition with minor shelf wear and light scuffs commensurate with age.

57 Overall good condition with minor shelf wear and light scuffs commensurate with age.

58 Overall good condition with minor shelf wear and light scuffs commensurate with age.

59 Overall good condition with minor shelf wear and light scuffs commensurate with age.

60 Overall good condition with minor shelf wear and light scuffs commensurate with age. One shade with label residue to interior. Fraying and wear to the cord.

Wiring should be checked by a qualified electrician prior to use.

61 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Wear to threading of one socket holder screw hole, screw does not hold securely in hole. Shade with minor chip to fitter rim and scattered chips to lower rim throughout. Wiring should be checked by a qualified electrician prior to use.

62 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. With reproduction heat cap. Approximately seventeen glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

63 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with chips to fitter rim. Base with minor losses to patina on the neck. Wiring should be checked by a qualified electrician prior to use.

64 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Original shade and heat cap with reproduction base.

Base with localized area of wear to one foot and one uneven foot. Approximately twenty-two glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

48 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The first with small chip to pontil mark. The second with minor chips to underside.

334

65 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Wiring should be checked by a qualified electrician prior to use.

66 Overall good condition with minor shelf wear and light scuffs commensurate with age.

67 Overall good condition with minor shelf wear and light scuffs commensurate with age. “2776” etched to the pontil mark. Adhesive felt pads to underside.

68 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The second with minor scratches to side.

69 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The first with adhesvie label residue to underside. The third with label remnants to underside.

70 Each overall good condition with minor shelf wear and light scuffs commensurate with age.

Condition Reports

71 Each overall good condition with minor shelf wear and light scuffs commensurate with age. One toothpick holder with minor chip to underside.

335

72 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The ice plate with adhesive residue to side.

73 Overall good condition with minor shelf wear and light scuffs commensurate with age. Wiring should be checked by a qualified electrician prior to use.

74 Overall good condition with minor shelf wear and light scuffs commensurate with age. Hairline crack running throughout rim. Minor chip to base rim. Wear to etched signature on underside.

75 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor wear to enameled decoration.

76 Overall good condition with minor shelf wear and light scuffs commensurate with age.

77 Overall good condition with minor shelf wear and light scuffs commensurate with age.

78 Overall good condition with minor shelf wear and light scuffs commensurate with age. Adhesive putty residue to underside.

79 Overall good condition with minor shelf wear and light scuffs commensurate with age.

80 Overall good condition with minor shelf wear and light scuffs commensurate with age.

81 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor nicks to rim.

82 Overall good condition with minor shelf wear and light scuffs commensurate with age.

83 Overall good condition with minor shelf wear and light scuffs commensurate with age.

84 Each overall good condition with minor shelf wear and light scuffs commensurate with age. Each with minor chips to feet and one with larger chip to back of one foot.

86 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Scatterd minor chips to base throughout. With inherent fracture to marble running through center-front.

87 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Repairs to plinth.

88 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Minor nick to chest. Possible repaired patch to shawl.

89 Overall good condition with shelf wear and light scuffs commensurate with age. Scattered losses along shell rim, to figure’s left hand, to base of waves, and to tapered edge of base. With updated wiring.

Wiring should be checked by a qualified electrician prior to use.

90 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Losses to the tip of the nose and to lower edges.

91 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

92 Overall good condition with wear, minor scuffs, and oxidation to wrought iron commensurate with age.

Drop pendant shades with scattered chips to fitter rims. Electrical tape securing the wiring at the canopy.

Wiring should be checked by a qualified electrician prior to use.

93 Overall good condition with wear, minor scuffs, and oxidation to wrought iron commensurate with age.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

94 Overall good condition with wear and light scuffs commensurate with age. Scattered areas of rust to wrought iron. Wiring should be checked by a qualified electrician prior to use.

95 Overall good condition with wear and light scuffs commensurate with age. Localized areas of rust to wrought iron. Wiring should be checked by a qualified electrician prior to use.

96 Each overall good condition with tarnishing, light scratches, and wear commensurate with age. The first with chips to glass stopper and wear to Daum signature on underside.

97 Overall good condition with minor wear and light scuffs commensurate with age. Atomizer further marked with “O” for “ouvrir” and “F” for “fermÈ.”

Working condition of atomizer unknown.

98 Overall good condition with minor shelf wear and light scuffs commensurate with age. With atypical etched Gallé signature to side.

99 Each overall good condition with shelf wear, minor scuffs, and tarnishing to silvered bronze commensurate with age. Each mounted on marble base. Adhesive felt pads to undersides.

100 Overall good condition with minor scuffs and darkening to bronze commensurate with age.

Marble plinth with 2.5” loss to top and rim and with scattered chips throughout.

101 Overall good condition with minor scuffs and darkening to bronze commensurate with age.

Scattered scratches and adhesive label residue to plinth reverse.

Condition Reports

85 Overall good condition with minor wear and light scuffs commensurate with age. Top of lighted dome with resurfacing and repaired cracks around aperture and repaired cracks running throughout. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

336

102 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

110 Overall good condition with minor shelf wear and light scuffs commensurate with age.

103 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with bubbled texture to foot. Wiring should be checked by a qualified electrician prior to use.

111 Overall good condition with minor shelf wear and light scuffs commensurate with age. Four chips to base’s upper rim. Wiring should be checked by a qualified electrician prior to to use.

104 Overall good condition with shelf wear and minor scuffs commensurate with age. One light socket not functional. Shade with minor chip to lower rim.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

112 Each overall good condition with minor shelf wear and light scuffs commensurate with age.

105 Overall good condition with shelf wear and minor scuffs commensurate with age. Shade with approximately two minor chips to lower rim. Wiring should be checked by a qualified electrician prior to use.

106 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with losses to one pull chain. Shade with verdigris patina to interlocking ring. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

107 Overall good condition with shelf wear and minor scuffs commensurate with age. Felt pad partially loosened from underside of base. Wiring should be checked by a qualified electrician prior to use.

337

108 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with minor scratches to foot. Shade with ruptured air bubble to interior dating to the time of manufacture. Wiring should be checked by a qualified electrician prior to use.

109 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with later applied adhesive felt pad to underside. Wiring should be checked by a qualified electrician prior to use.

113 Overall good condition with minor shelf wear and light scuffs commensurate with age. Repairs to rim and scattered nicks to base. Without bottle stopper.

114 Overall good condition with minor shelf wear and light scuffs commensurate with age.

115 Overall good condition with minor shelf wear and scuffs commensurate with age.

116 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor scratch along base.

117 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor scratch to base and light scratches to underside. Minor chip to surface on one flower stamen.

118 Overall good condition with minor shelf wear and light scuffs commensurate with age.

119 Overall good condition with minor shelf wear and light scuffs commensurate with age.

120 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chip to surface near base.

122 Overall good condition with minor shelf wear and light scuffs commensurate with age.

123 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The second with minor nicks along rim.

124 Overall good condition with minor shelf wear and light scuffs commensurate with age.

125 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chips to rim. Small chip to purple surface on one side. With adhesive felt pads to underside.

126 Overall good condition with minor shelf wear and light scuffs commensurate with age.

127 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chip to rim.

128 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor scattered chips along dripping honey rim. With applied bumpers to base.

129 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chip to rim.

130 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered minor nicks to rim.

131 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The first with a 1” repaired chip to rim.

132 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chip to underside rim.

133 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Crack to one glass panel. Wiring should be checked by a qualified electrician prior to use.

134 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. The first without framing glass and with one crack to back glass. The second with approximately three cracks to back glass.

135 Overall good condition with shelf wear, minor scuffs, and darkening to bronze commensurate with age.

Scattered cracks to glass throughout.

136 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Utility box with crack to interior lid glass. Does not include key.

137 Each overall good condition with wear and minor scuffs commensurate with age. The first with approximately thirteen cracked glass panels. The second with approximately eight cracked panels.

Leaded glass shades are period. Fixture has been rewired and with possible updates to metal hardware, stem, and canopy. Wiring should be checked by a qualified electrician prior to use.

138 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. One Quezal shade with minor chips to fitter rim. One drop pendant with possible wiring issues. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

121 Overall good condition with minor shelf wear and light scuffs commensurate with age.

338

139 Each overall good condition with wear, scuffs, and oxidation to bronze commensurate with age. Eight shades with minor chips to fitter rim. Two light sockets with missing fitter screw. One chandelier with break to one scrolled branch of canopy. Wiring should be checked by a qualified electrician prior to use.

140 Overall good condition with shelf wear, minor scuffs, and tarnishing commensurate with age.

141 Each overall good condition with shelf wear, minor scuffs, and oxidation and darkening to bronze commensurate with age. Card holder with crack to lid glass. Small lidded box with crack to lid glass.

142 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Chip and crack to glass panel on reverse.

143 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

144 Overall good condition with minor shelf wear and light scuffs commensurate with age.

Condition Reports

145 Overall good condition with minor shelf wear and light scuffs commensurate with age. Chips to base’s upper rim. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

339

146 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Minor chips to fitter rim. Depth measurement reflects lowest articulated position. Wiring should be checked by a qualified electrician prior to use.

147 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered scratches to exterior. Sticker label remnants to underside.

148 Overall good condition with minor shelf wear and light scuffs commensurate with age. Surface flaw to rim dating to the time of manufacture. Adhesive felt pad and residue to underside.

149 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

150 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

151 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. The stamp box is missing two screws to the underside.

152 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Pen wiper without insert. Pen tray with crack to glass. Includes leather blotter. Adhesive felt pads to underside of blotter corners.

153 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor scratch along rim. Light mounting putty residue and label residue to underside.

154 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor chips to pontil mark. Minor imperfection to the interior dating to the time of manufacture. Adhesive felt pads to underside.

155 Each overall good condition with shelf wear, light scratches, and tarnishing commensurate with age.

156 Each overall good condition with minor shelf wear commensurate with age.

157 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The fourth with “Made in France” adhesive label residue to side.

167 Overall good condition with light scratches commensurate with age. One small chip to the verso edge of the pendant.

158 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The first with putty residue to base.

168 Overall good condition with minor shelf wear and light sctratches commensurate with age.

160 Each overall good condition with minor shelf wear and light scuffs commensurate with age. The second with minor chips to rim. The third with minor chips to base. The fourth with minor chip to rim and adhesive residue to side.

161 Overall good condition with minor shelf wear and light scuffs commensurate with age.

162 Each overall good condition with minor shelf wear and light scuffs commensurate with age.

163 Overall good condition with minor shelf wear and light scuffs commensurate with age.

164 Overall good condition with minor shelf wear and light scuffs commensurate with age.

165 Each overall good condition with minor shelf wear and light scratches commensurate with age. Minor chip to stopper rim. Decanter handle with losses to lower end. Each glass with minor chips to foot rim. Scattered minor losses to enamel decoration throughout.

166 Overall good condition with scattered minor scuffs, shelf ware, and inherent firing flaws commensurate with age. Minor losses to painted decoration.

169 Overall good condition with tarnishing and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use.

170 Each overall good condition with tarnishing, light scratches, and wear commensurate with age.

171 Overall good condition with tarnishing, light scratches, and shelf wear commensurate with age.

172 Each overall good condition with tarnishing and light scratches commensurate with age.

173 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor bowing to rear panel. Minor repairs throughout. Does not include key.

174 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

175 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Ten shades with chips to fitter rims. Wiring should be checked by a qualified electrician prior to use.

176 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Wearing and abrasions to finish due to use. Right front panel with spliting to molding and shrinkage crack. Right side panel with bowing and minor shrinkage crack. Minor indentations throughout.

Condition Reports

159 Each overall good condition with minor shelf wear and light scuffs commensurate with age.

340

177 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

178 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

179 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Minor dents to base edge and small dent to one naiad’s leg.

180 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

181 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. Wear to painted surface throughout. Each shade with chips to fitter rim and one with chip to interior. Wiring should be checked by a qualified electrician prior to use.

182 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered minor repairs to veneer. Minor raised grain to top. Top has been refinished.

Condition Reports

183 Overall good condition with scattered scuffs, scratches, and wear commensurate with age. Surface craquelure throughout. Areas of abrasion, losses to painted surface, and repairs to panels and trim. A 14” repair to far left panel.

341

184 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor scattered chips to glass top edge. The table wobbles slightly.

185 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Repair to second tier support. Slight veneer buckling and surface abrasion throughout. Minor veneer repair. The table wobbles slightly.

186 Overall good condition with minor scuffs and darkening to bronze commensurate with age.

Scattered dents and minor nick to figure’s thigh. Two scratches to figure’s chest and stomach. Localized area of nicks to reverse drapery. Adhesive felt pads to underside.

187 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Four shades with chips to fitter rims. Wiring should be checked by a qualified electrician prior to use.

188 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Fading to gilt surface throughout. Possible updates to canopy. Soldered repairs to one arm. Three shades with chips to fitter rims. Wiring should be checked by a qualified electrician prior to use.

189 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Brassing and oxidation to dial. Reverse with 11” shrinkage crack to back panel. Shrinkage cracks to front panel. Each foot with shrinkage crack and possible repair. Clock runs and stops. Moran’s does not guarantee the working condition of clocks and watches.

190 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor chipping to inset marble’s edge. Moisture circles to upper cabinet shelves. Left glazed door requires hinge adjustment to close. Shrinkage crack to left side.

Right glazed door with chips to one glass panel.

Scattered losses to veneer. Includes key.

191 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. A 2” area of discoloration to tooled leather seat. Losses and repaired cracks to swivel base and legs. Repairs to arm joints.

193 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wear and chips to black stone on reverse. Crazing and loss to painted surface of dial and personalized “XII” numeral. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

194 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Losses to gilt detail on hour markers. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

195 Overall good condition with shelf wear and light scratches commensurate with age. Issues include, but are not limited to: scattered chips and losses to applied floral details; scattered chips to glazed surface; light rubbed wear to painted metal dial; retail label adhered to reverse of clock; each vase with possible repairs to handles and applied floral details; clock with chip to glaze on one foot and possible repairs to applied floral details. Includes pendulum and key. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

196 Overall good condition with shelf wear and light scratches commensurate with age. Issues include, but are not limited to: possible regilding to figural masks, minor chip to basin at shoulder, and scatterd recesses in the glaze.

197 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Fixture has been rewired. With later added metal hardware, stem, and canopy. With possible Tiffany Studios knob and fitters. Wiring should be checked by a qualified electrician prior to use.

198 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. Each shade with chips to fitter rim. Possible resoldering to upper joints of column structure. Wiring should be checked by a qualified electrician prior to use.

199 Overall good condition with minor scuffs, wear, and darkening to bronze commensurate with age.

Possibly marked indistinctly to reverse. Minor paint transfer to reverse. Wiring should be checked by a qualified electrician prior to use.

200 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Table has been refinished with glossy varnish. Scratches to upper portion of two legs. Top with 3” scratch to corner.

201 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Repair to one leg joint. Legs have been refinished with glossy varnish.

Minor shrinkage related buckling to inlaid top.

202 Overall good condition with scattered scuffs and inherent firing flaws commensurate with age. Minor chips to underside rim. Scuffs to figure’s chin.

Inscribed indistinctly to vase shoulder.

203 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Areas of veneer shrinkage and buckling throughout. Doors lacking hinges and attatchement screws to bonnet top.

Condition Reports

192 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Headboard with shrinkage cracks and possible repair to right side of cornice. Footboard with shrinkage cracks and paint residue to top rail. Armoire with a 2.5” loss to upper corner of left side panel; scattered losses to lower molding; minor indentations throughout; shrinkage cracks to doors, pediment, and top of center compartment; wear to left door handle; shrinkage crack with losses to floor of left-side cupboard; and clouding to mirror silvering. Vanity with shrinkage cracks to doors, molding, mirror frame, and mirror cornice, minor losses to carved floral details, and minor chips to marble top edges. First side table with losses to marble top edge, repair to front left foot, and shrinkage crack to undertray. Second side table with repaired break to marble top and shrinkage crack to undertray. Includes keys.

342

204 Overall good condition with minor shelf wear and light scuffs commensurate with age.

205 Each overall good condition with minor scuffs and oxidation to metal commensurate with age. Music plaque with repair to leaf on lower right. Each mounted with hanging bracket.

206 Overall good condition with minor shelf wear and light scuffs commensurate with age. Wear to interior of bowl. Adhesive label residue to underside.

207 Each overall good condition with shelf wear commensurate with age. The second with rusting and residue to interior. The third with one missing Ruskin medallion. The fourth with adhesive lable residue to underside.

208 Overall good condition with minor shelf wear and light scuffs commensurate with age.

209 Overall good condition with tarnishing, light scratches, and shelf wear commensurate with age.

Condition Reports

210 Each overall good condition with tarnishing, light scratches, and shelf wear commensurate with age.

The second with minor chips to underside.

343

211 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Loosening of glass basin from metal base and previously secured with mounting putty.

212 Overall good condition with rubbed wear and light scratches commensurate with age. Issues include, but are not limited to: minor rubbed wear to gilt rim, scattered minor losses to gilt highlights, and losses to enameled dot design.

213 Overall good condition with rubbed wear and light scratches commensurate with age. Issues include, but are not limited to: one mask with loss to floral crown, loss to one standing figure’s skirt drapery, and scatterd chips along bottom edge.

214 Overall good condition with shelf wear, light scratches, inherent firing flaws commensurate with age. Issues include, but are not limited to: repair to figure’s hand.

215 Overall good condition with shelf wear, light scratches, and scuffs commensurate with age. Issues and repairs include, but are not limited to: a chip to lower hair tendril and repairs to upper hair knot.

216 Overall good condition with shelf wear and light scratches commensurate with age. Issues include, but are not limited to: possible repairs to underside of lily pad.

217 Overall good condition with shelf wear and minor scuffs commensurate with age. Mahogany foot with wear to cord opening and chip in wood to underside. Shade with scattered minor chips to lower rim and side. Wiring should be checked by a qualified electrician prior to use.

218 Overall good condition with shelf wear, minor scuffs, and tarnishing to bronze commensurate with age.

Shade with approximately five chips to lower rim.

Wear to the cord. Wiring should be checked by a qualified electrician prior to use.

219 Overall good condition with shelf wear, minor scuffs, and tarnishing to brass commensurate with age.

Shade with three chips to fitter rim. Wiring should be checked by a qualified electrician prior to use.

220 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with minor nick to lower column and adhesive felt pad to underside.

Wiring should be checked by a qualified electrician prior to use.

221 Visual: Two pea-sized chips of paint loss with craquelure, instability and flaking lower right. Surface dirt and grime throughout.

226 Visual: Craquelure throughout. Frame abrasion along the right edge. A 6” ridge in the canvas upper center. Oxidation to the varnish layer scattered throughout. Two .5” scratches upper left.

Blacklight: No evidence of restoration under blacklight.

Blacklight: Areas of touch-up scattered throughout.

Frame: 36” H x 45.75” W x 1.75” D

Frame: 30” H x 26” W x 2” D

222 Visual: Nine scattered perforations in the canvas with corresponding patches verso. Craquelure throughout. Frame abrasion along the lower edge.

227 Visual: Stable craquelure scattered throughtout. A .5” repaired tear upper right. Small visible repairs upper center and lower right. A small chip of paint loss lower center. Surface dirt throughout.

Blacklight: Touch-up scattered throughout. Difficult to read under heavy varnish.

Frame: 29.75” H x 26.5” W x 4” D

Blacklight: Touch-up to repairs upper right, upper center and lower right. Touch-up scattered throughout the subject’s face.

Frame: 46.25” H x 36.75” W x 2.5” D

223 Visual: Craquelure throughout. Minor frame abrasion to the four edges. Small chip of paint loss upper right. Surface dirt and grime throughout.

Blacklight: Small spots, lines and areas of touch-up lightly scattered throughout, the largest a 3” x 2” scattered area in the center.

228 Overall good condition with wear, minor scratches, and oxidation to bronze commensurate with age.

Issues include, but are not limited to: losses and chips to each opalescent petal and scattered losses to gilt-glass flowers throuhghout. Wiring should be checked by a qualified electrician prior to use.

Unframed.

Blacklight: Spots and areas fluoresce under blacklight. Difficult to read under heavy varnish.

Frame: 57” H x 30.25” W x 2.25” D 225 Overall good condition with shelf wear and scuffs commensurate with age. Frame with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

229 Overall good condition with wear and minor scuffs commensurate with age. Issues include but are not limited to: minor crack to lower gallery. Wiring should be checked by a qualified electrician prior to use.

230 Overall good condition with shelf wear and minor scuffs commensurate with age. Shade with approximately two chips to lower rim. Base with adhesive felt pads to underside. Wiring should be checked by a qualified electrician prior to use.

231 Overall good condition with minor shelf wear and light scuffs commensurate with age. Minor hairline nicks to rim. Base further etched: France [illegible].

232 Overall good condition with minor shelf wear and light scuffs commensurate with age. Scattered scratches and ruptured air bubble to base. Base further etched: France.

Condition Reports

224 Visual: Generally good condition. Fine craquelure throughout. A .25” tear in the canvas upper right. A pea-sized scuff upper center. Surface dirt and spots of grime scattered throughout.

344

233 Overall good condition with minor shelf wear and light scuffs commensurate with age.

234 Overall good condition with minor shelf wear and light scratches commensurate with age. Adhesive label residue to underside of wing.

235 Each overall good condition with minor shelf wear and light scratches commensurate with age. Two plates with minor nicks to underside. Two sherbet glasse with nicks to underside, one with chip to rim, and one with discoloration to interior. One lemonade glass with nick to underside.

236 Each overall good condition with wear and light scratches commensurate with age. Four plates with chips to rim. One plate with minor chip to underside.

237 Each overall good condition with shelf wear and light scratches commensurate with age. Two goblets with minor chips to foot.

238 Overall good condition with shelf wear and light scratches commensurate with age. Base with minor chips to sawtooth edge and scattered pitted chips to foot. Chips and wear to hanging crystal points.

Lacking two hanging crystals. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

239 Each overall good condition with scattered scratches and shelf wear commensurate with age. Scattered chips to sawtooth edges and stand’s upper rim.

345

240 Overall good condition with scatterd scratches and shelf wear commensurate with age and use. Chips to interior rim and stopper bottom.

241 Each overall good condition with scattered scratches and shelf wear commensurate with age and use.

242 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Repairs to two feet.

Evidence of repaired veneer throughout. Without lockplate, with key. Localized areas of woodworm.

Scratches and scuffs to columns. One column with repair to gilt. Surface scratches and evidence of bowing to interior shelves. Three shrinkage cracks running throughout interior top. Loosening of glass paneling to the side. Losses to wood trim along interior mirror and exterior glass.

243 Overall good condition with shelf wear, minor scuffs, and tarnishing commensurate with age. Light scratch along one figural scene. Minor indentations to rim.

Adhesive label residue to underside.

244 Each overall good condition with tarnishing and light scratches commensurate with age. Each monogrammed: E.G.R. 245 Overall good condition with tarnishing and light scratches commensurate with age. Monogrammed: J.C. 246 Overall good condition with tarnishing and light scratches commensurate with age. Inscription: Presented to William Hunter Cockburn Esq. By His Fellow Townsmen, October 31,1893 In a complimentry dinner by the Town Hall Hove In token of their appraciation for his invaluable serveices for the Hove Regata for 17 years.

247 Each overall good condition with tarnishing and light scratches commensurate with age. Each personalized with Tudor rose and stag antlers.

248 Each overall good condition with tarnishing and light scratches commensurate with age.

249 Each overall good condition with tarnishing and light scratches commensurate with age. Dust tray and crumber monogrammed.

251 Overall good condition with scattered scratches and shelf wear commensurate with age and use. Scattered chips to sawtooth edge.

252 Each overall good condition with scattered scratches and shelf wear commensurate with age and use.

Scattered chips throughout sawtooth edges and stand’s upper edge.

253 Overall good condition with scattered scratches and shelf wear commensurate with age and use. Minor chip to knob.

254 Overall good condition with scattered scratches and shelf wear commensurate with age and use. Scattered minor chips to underside.

255 Overall good condition with scattered scratches and shelf wear commensurate with age and use. Scattered chips to underside and base.

256 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered areas of nicks, wood abrasion, and recesses to top molding edge. Porcelain plaques with minor losses to painted surface. Fading to incised gilt highlights throughout.

257 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minors losses and repairs to burlwood veneer on column. Two missing applied floral paterae. Octagonal top with a 8.5” scratch to surface and finish fading.

258 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor wear to inset leather writing surface. Wood abrasions to front molding edge. Minor scattered chips to base and structure. Does not include key.

259 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Surface abrasions throughout. Fading to gilt highlights. Minor chipping to veneer edges. Repair to cabinet door lockplate.

Includes key.

260 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. With 41” shrinkage crack running horizontal length to top. Minor shrinkage cracks to stretcher. Scattered surface abrasions throughout. Approximately five .5” W x .5” D patches to burlwood top veneer.

261 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Fading and deterioration to finish on one side. Repair to stretcher.

Repaired splits to legs. Minor losses throughout.

Scattered dimpling to top.

262 Overall good condition with shelf wear and light scratches commensurate with age. Issues and repairs include, but are not limited to: wear to gilt highlights, adhesive putty residue to clock feet and stand top, adhesive felt pads to stand feet, losses and repairs to applied floral decorations throughout, losses to central putto’s wheat bundle, losses to top putto’s hair, and repairs to floral garland reverse. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

263 Overall good condition with rubbed wear and light scratches commensurate with age. Issues and repairs include, but are not limited to: losses and repair to one nypmh’s fingers, chip to nymph’s blue sash, repairs to putto and Triton’s hands, scattered chips to gilt border, chip to foliage on reverse, repairs to foliage on reverse and front, repairs to frog in centerfront, and repair to fish tail in center-front.

Condition Reports

250 Overall good condition with scattered scratches and shelf wear commensurate with age. Minor chips to sawtooth edge throughout. Adhesive label residue to interior.

346

264 Overall good condition with rubbed wear and light scratches commensurate with age. Adhesive felt pads to underside. Issues and repairs include, but are not limited to: older repairs to joined areas, losses to Cupid’s bow and arrow, and losses to front putto’s hands and reverse putto’s toes.

265 Each overall good condition with rubbed wear and light scratches commensurate with age. Issues include, but are not limited to: jardiniere with minor nick to side; rectangular box with minor loss to gilt highlight and floral decoration, small chip to interior rim, and adhesive pads to feet; circular box with losses to gilt highlights and evidence of reattachment to gilt rims.

273 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Losses to three griffin wings and to two carved drops. Evidence of repairs to shrinkage cracks. Slight bowing to top.

266 Overall good condition with minor shelf wear and light scuffs commensurate with age.

274 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

267 Overall good condition with minor shelf wear, light scratches, and oxidation to bronze commensurate with age. Scatterd minor chips to lower rim.

268 Overall good condition with rubbed wear and light scratches commensurate with age. Issues include, but are not limited to: losses to gilt highlights and adhesive label residue to underplate.

Condition Reports

269 Each overall good condition with rubbed wear and light scratches commensurate with age. One plate with scattered chips and losses to painted surface.

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272 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Shrinkage cracks to platform. Buckling to veneer at central hinge joint. Minor wear to inset leather panel. Scattered discoloration to interior compartment. Losses and repairs to veneer throughout.

270 Overall good condition with scattered scuffs, scratches, nicks, and separation at joints commensurate with age. Onyx top detachable from base. Pedestal base with scattered minor chips, separation at joined sides, and possible repairs to tiered layers.

271 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One finial with missing ball. Extensive repairs and losses to carved openwork gallery and fretwork. Repaired crack to one foot.

Shrinkage crack to right side.

275 Overall good condition with wear and minor scratches commensurate with age. Onyx with scattered chips along lower edges, chips to corners, and cracks to left and bottom. Glass with minor chip in lower left corner. Working condition unknown.

Moran’s does not guarantee the working condition of clocks and watches.

276 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

277 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. With scattered losses and shrinkage cracks to openwork carving throughout. Top with 27.5” shrinkage crack with evidence of previous repair with added filler strip to top. Repairs to each leg and feet.

278 Each overall good condition with minor shelf wear, light scuffs, and inherent firing flaws commensurate with age. Each with scatterd minor recesses to the glaze. One with chips and possible repair to one handle joint. One with minor rust spot to central body.

280 Overall good condition with minor shelf wear and light scuffs commensurate with age. Losses to enamel to upper and lower rims. Small area of chipping to enamel surface of top piece. Minor scattered recesses to the enamel throughout. With “articles de Chine et du Japon” label to underside.

281 Overall good condition with scattered scuffs, scratches, nicks, and shrinkage cracks commensurate with age. Wear to gilt decoration throughout. Lid with two areas of cracking and chipping to lacquered surface. A .5” chip to reverse. Interior with cracking to lacquered surface throughout and a 10.75” split to lid interior. Does not include key.

282 Each overall good condition with shelf wear and light scuffs commensurate with age. Rubbed wear to gilt rims. One with 1.5” crack to lower front. Possible honorary reign mark for Qianlong (1736-1795).

283 Overall good condition with shelf wear and light scratches commensurate with age. Fading to gilt decoration throughout. Scattered recesses to the glaze. A 4.5” crack to upper right. Adhesive label residue to reverse.

284 Each overall good condition with creasing and minimal signs of wear commensurate with age. Each with light soiling to waist bands. The first with fading, soiling, a 1.5” stain to lining, soiling to hem line, a 1” stain to front panel, and loose stitches to floral applique. The second with small hole to hem line trim and pulled stitching to one applied figural scene.

285 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor lifting and buckling to veneer and losses to veneer throughout.

Shrinkage cracks to leg. Losses to front right foot.

Does not include key.

286 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Extensive shrinkage crack and finish blemishes to drop front lid. Veneer buckling at joints. Possible repairs to two leg joints.

Minor veneer losses. Does not include key.

287 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Tearing to the lining verso. Alligatoring and skinning to the painted panel.

Losses to carving and glued repairs to some carvings throughout.

288 Overall good condition with shelf wear, minor scratches, and oxidation to bronze commensurate with age. Visible chip to mirror’s interior edge. Glass not examined out of frame.

289 Overall good condition with tarnishing and light scratches commensurate with age. Wooden frame with scattered scuffs, scratches, and nicks. Scattered losses to repoussé overlay throughout. Small areas of dark spots to mirror silvering. Monogrammed: RBF. 290 Overall good condition with tarnishing and light scratches commensurate with age. Loosening of leg on frame back. Weight does not include mirror or backing.

291 Overall good condition with tarnishing and light scratches commensurate with age. Weight does not include glass.

Condition Reports

279 Overall good condition with shelf wear and minor scuffs commensurate with age.

Scattered recesses and minor chips to the enamelling throughout. Losses to enamelling under the rim and handle joints. Carved wood stand with scattered scuffs, scratches, and nicks with a shrinkage crack to the side.

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Consign Today

California & American Fine Art

Birger Sandzen 1871-1954, Lindsborg, KS “Mountain Landscape”

Price Realized: $62,500 Consignment and Auction Inquiries: jeff@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

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Consign Today

Art of the American West Armin Carl Hansen Bronco Busters, Salinas Rodeo Price Realized: $106,250 Consignment and Auction Inquiries: marandam@johnmoran.com

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 3 5 0

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Head of Sale, Specialist Maranda Moran Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Furniture & Decorative Arts Cataloguer Shannon Dailey Senior Vice President, Fine Art Director Morgana Blackwelder Post War & Contemporary Fine Art Bree Hughes Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain Client Services Hoofrish Patel

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Consignment Coordinator

Julia Hamilton Operations Coordinator

Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino Department Administrator Angela Bryant

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

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This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

w w w. j o h n m o r a n . c o m 3 5 4

Is your collection

protected?

Do you need a formal appraisal for insurance scheduling, estate tax filing, gift or charitable donation?

Moran’s team of USPAP compliant appraisers is here to meet your needs.

• USPAP

Compliant

• Quick

Turnaround

art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Jessie Arms Botke White cockatoos in an avocado tree

Price Realized: $87,500

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · trustsandestates@johnmoran.com · (626) 793-1833 355

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Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

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Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

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