Purchased at the Swen Swenson Carrousel Collection auction in November 1993 (reported and sourced — Swenson 1993 catalog, in owner's possession). The figure appears as Lot #17 on page 15 of the Swenson catalog, with a comparable figure (#99) appearing on page 54 of the same catalog — the catalog flagged the two pieces as superficially similar but distinguished them: "Besides the carvings around the ears, Number 17 has a saddle blanket and cinch. Number 99 has a thicker, floating saddle" (sourced — Swenson 1993 catalog, p. 15). The present figure is unambiguously #17 — the saddle blanket and cinch are present on the current image.

Swen Swenson's 1993 catalog estimated #17 at $750–$1,000 as "old park paint" (sourced — Swenson catalog). The final hammer price paid is not documented in current project records.

• Swen Swenson collection — until November 1993, when dispersed at auction.

• Present owner — November 1993 onward.

• Restoration chain (post-acquisition):

  • First given to "Marge Swinson" (reported, phonetic — possibly Margaret or Marsha Swenson; the owner's recollection is that she was a relation of Swen Swenson, possibly sister-in-law, "from her brother's collection"). Marge Swinson retained the piece for approximately two years and produced minimal work; the figure was retrieved unfinished.

  • Then given to Pam Hessey, Hawk's Eye Studio, Kingman, Arizona, who completed the restoration and repainting in 2016 (sourced — restoration index card in owner's records, photographed November 5, 2026; corroborates the owner's verbal account). The Hessey-completed restoration is what is visible in the current photograph.

  • Restoration drawings exist in the owner's records and are referenced in the master catalog list as needing to be incorporated into the project file (reported).

The maker attribution for this figure is unresolved across three published or recorded sources, all pointing to the same regional German tradition — the Neustadt-an-der-Orla school — but to three different workshops within it. The available attributions are:

1. Müller (the owner's recorded attribution). The master catalog entry for this piece reads "CARL MULLER: Child size prancer tiger circa 1891." Carl Müller (Karl Müller) was Friedrich Heyn's early business partner; in 1884 Heyn handed over the original Molbitz workshop to Müller and moved to Neustadt-an-der-Orla. Müller continued independent production of carousel figures in Molbitz until 1914 (sourced — Kulturgut Volksfest archive, Köpp 1992). Müller is a documented German carousel carver whose name and workshop are well established. This is the owner's preferred attribution and the one in the master list.

2. Heyn or Müller (the Swen Swenson 1993 catalog hedge). The Swenson catalog, in describing #17 on page 15, gave the attribution as "HEYN (MULLER ?!)" with the explicit question mark, and explicitly flagged the comparison with #99: "They only seem to be the same... Is one a Heyn and the other a Müller?!?" (sourced — Swenson 1993 catalog, p. 15). The 1993 Swenson cataloguer was uncertain between the two attributions, both of which sit within the same Neustadt-Molbitz tradition.

3. Adolph Schneider (the published-reference attribution). Charlotte Dinger's Art of the Carousel (1983), the standard American published reference on carousel figures, describes — on the page documented in the owner's research notes (cited as p. 33) — a comparable museum-held tiger as "a prancing tiger carved by Adolph Schneider of Neustadt an der Orla" (sourced — Dinger, Art of the Carousel, p. 33, photographed in owner's records). The full name of this maker is Carl Adolph Schneider, who operated a Karussellfigurenfabrik in Neustadt-an-der-Orla from 1888 until 1901 (sourced — German trade records, pferde.de Schneider documentation). The Schneider workshop window of 1888–1901 fits the master list's "circa 1891" exactly within a thirteen-year production span — a much narrower fit than either Heyn (1870–1959) or Müller (in Molbitz 1884–1914).

Weighing the three. All three attributions sit within a thirty-mile area of Thuringia and a fifteen-year overlap of active workshop output. Stylistic differentiation among Neustadt-Orla makers in this period is documented as challenging — the Swenson 1993 catalogue itself flagged the ambiguity between Heyn and Müller, and the German trade context shows that workmen, designs, and figures moved between the workshops freely. The Charlotte Dinger Schneider attribution is the only one tied to a published authoritative reference. Whether the Dinger-pictured museum tiger and the present piece are products of the same workshop cannot be determined from a single photographic comparison. The owner's first reaction to encountering the Schneider attribution during the November 2026 interview was that it was new information — "That's a new one" (reported) — meaning the master list's "Carl Müller" attribution was assigned before the Dinger reference was incorporated.

Auction comparables. No directly comparable Neustadt-an-der-Orla prancing tiger has surfaced in current public auction records under any of the three attribution names. The Heyn auction record is €38,400 (large rearing horse, Marchal collection, Cornette de Saint Cyr, 2011); Heyn aggregate range $428–$8,028 (sourced — MutualArt). Müller and Schneider have substantially fewer documented auction appearances; both makers' work tends to surface either unattributed or within the Heyn aggregate. The Swenson 1993 estimate of $750–$1,000 for this figure as old park paint reflects the market value for an unrestored Neustadt-school child-sized tiger at that time. Restored examples of comparable scale and quality currently sit in the $3,000–$6,000 band based on adjacent Heyn-attributed comparables, though this band is broad and conditional on which of the three attributions can be resolved.

Rarity. Child-sized prancing tigers from the Neustadt-an-der-Orla school are documented but uncommon. The Swenson catalog's flagging of two superficially similar tigers (#17 and #99) coming through a single private collection is itself an indication of the type's rarity on the market — sufficient that a single dispersal contained two of the type was a noted event in the 1993 catalogue. Charlotte Dinger's reference to a museum-held example by Schneider further supports the type's institutional rarity.

The figure is fully restored. The original "old park paint" surface visible in the 1993 Swenson catalog photograph (heavy crackle, cream/orange ground with intact striping and a clear ear ring) has been overpainted; the underlying carving is well preserved and the restoration repaint is professionally executed. The restoration sequence — initial work by Marge Swinson, retrieval after roughly two years of minimal progress, completion by Pam Hessey of Hawk's Eye Studio in 2016 — is documented in the owner's records (reported and sourced — restoration index card). The Hessey index card refers to the figure as a "Prancing Lion," which is a clerical error on the card; the piece is unambiguously a tiger both as subject and as recorded in the Swenson catalog and master list.

Formal condition rating: Excellent post-restoration. Physical inspection of underside, leg joints, and any maker's mark surviving under the repaint would close the open attribution questions.

• Owner interview, recorded: November 5, 2026 — attribution discussion, restoration sequence, Swenson auction provenance, Marge Swinson identification.

• Owner master catalog list: Entry #89 — "CARL MULLER: Child size prancer tiger circa 1891. This figure is shown on page 15 of the Swen Swenson auction catalog from November 1993. (NEED TO ADD THE RESTORATION DRAWINGS TO THIS)"

• Photograph (DSC_2753): Current restored figure, romance side.

• Swen Swenson Carrousel Collection auction catalog, November 1993 — Lot #17, page 15, with comparison note to lot #99 on page 54. Cover identifies catalogue as "THE CARROUSEL COLLECTION OF SWEN SWENSON." In owner's possession.

• Restoration index card photographed in owner's records: "te = 2016 / _ncing [Pra]ncing Lion restored by [Pa]m Hessy / [K]ingman AZ" — clerical "Lion" error noted.

• Dinger, Charlotte. Art of the Carousel. 1983. Page 33 (cited in owner's research notes) — "The museum also has a copy of a Friedrich Heyn pig with a lolling tongue, and a prancing tiger carved by Adolph Schneider of Neustadt an der Orla."

• Kulturgut Volksfest archive / Köpp 1992 — Neustadt-an-der-Orla / Molbitz workshop history, including Carl Müller as Heyn's former partner.

• pferde.de — Carl Adolph Schneider Karussellfigurenfabrik documentation (workshop dates 1888–1901, Neustadt-an-der-Orla).

• MutualArt — Heyn artist auction record range.

• Marchal, Fabienne and François. L'Art forain : les animaux de manège — l'école Allemande classification context.

Medium. Provenance from the Swen Swenson 1993 collection is documented to High confidence — the figure is unambiguously identifiable as Lot #17 on page 15 of the documented Swenson catalogue, with the saddle-blanket-and-cinch detail providing the distinguishing identification. Restoration by Pam Hessey in 2016 is documented. Maker attribution remains unresolved across three competing candidates (Müller, Heyn, Schneider) — all from the same regional Neustadt-an-der-Orla tradition, all active in the period the piece was carved, and with Schneider's 1888–1901 workshop window fitting the master list date of c. 1891 most precisely. The confidence rating reflects the unresolved maker question, not any doubt about origin (Neustadt-an-der-Orla regional German school is High confidence) or provenance (Swenson 1993 is High confidence).