A few examples of appraisal values for
LE JOUR

• LAURENT PRONEUR (B. 1969): LE
  LAURENT PRONEUR (B. 1969): LE JOUR D'APRESLaurent Proneur (B. 1969): Le Jour d'Apres, oil on canvas; signed lower center, dated upper left, signed and dated again to verso, and titled to COA on verso Dimensions: 57 x 39 in. (144.8 x 99.1 cm.) Condition: Not framed.
• (17) BOOKS: "LITTLE JOURNEY" ELBERT
  (17) BOOKS: "LITTLE JOURNEY" ELBERT HUBBARD, OTHER(lot of 17) Elbert Hubbard books: (17 volumes) "Little Journey", Elbert Hubbard, The Roycrofters, 1928; (2) volumes, "Elbert Hubbard of East Aurora", Felix Shay, Wm. H. Wise Co., New York, 1926, largest: 8.785"h, 6.5"w, 1.5"d, total: 20.25lbs **Provenance: From the Estate of University of Texas Professor, Scholar and Poet, Miguel Gonzalez-Gerth (1926-2017)**
• JEWELRY. LADY'S 14KT GOLD AND
  JEWELRY. LADY'S 14KT GOLD AND DIAMOND WATCH. A lady's 14kt yellow gold bracelet watch with a high polish bark finish. This watch features a 13mm (excluding crown) rectangular watch case, two-tone hinged cover with diamond accents, glass crystal, Le Jour signed silver tone dial, applied gold tonet Arabic numeral hours chapter, gold tone hands, non adjustable/removable 14kt yellow gold tapered bracelet with a high polish bark finish, 14kt yellow gold jewelry clasp, and a fine Swiss made Panto Watch Co. signed Cal. 5921H, 17 jewel mechanical movement. Total approx. weight is 13.9 dwt (gross) excluding crystal and movement. From a Yonkers, NY estate. Dimensions: watch fits up to an approx. 6" wrist. Condition: Good, with light surface scratches and minor dings/dents. Watch was running prior to auction. All watches are sold as is regardless of functionality. Upper link exhibits stretch as presented in the first (2) photographs.
• MACKEY RED KNOTCape May, NJ, c.
  MACKEY RED KNOTCape May, NJ, c. 1860 10 in. long This bold running decoy displays a hard chine, a chip-carved breast, and an underside with provenance markings. There is a Joe French Collection white label and the inked notion "#178," denoting the bird's place in the Shiller Martin Collection at one time. The red knot flies over 3,500 miles from Brazil to feed on the shores of the Delaware Bay as part of a 9,000-mile journey from Tierra del Fuego to the Arctic. This decoy resembles a plump red knot after fueling up on its favorite food, horseshoe crab eggs. Mostly original paint with heavy gunning wear, working black overpaint to breast, and a possibly replaced bill. Provenance: William J. Mackey Jr. Collection Donal C. O'Brien Jr. Collection Joe French Collection Shiller Martin Collection Private Collection, Cambridge, Massachusetts Private Collection Literature: Copley Fine Art Auctions, "The Donal C. O'Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III," Plymouth, MA, July 19, 2018, lot 101, rigmate illustrated. William J. Mackey Jr., "American Bird Decoys," New York, NY, 1965, p. 135, pl. 114, rigmate illustrated.
• CARL SUBLETT WATERCOLOR, BOAT &
  CARL SUBLETT WATERCOLOR, BOAT & HOUSE, 1968Carl Sublett (Tennessee, 1919-2008) modernist watercolor on paper depicting a small boat before a house, likely set in Port Clyde, Maine. Signed "68 Sublett," lower right. With 1985 Knoxville Journal article on Sublett affixed to backing. Housed under glass in a stained wood frame with tan mat. Sight: 16 1/4" H x 9 1/2" W. Frame: 25 3/4" H x 19 " W. Biography: Carl Sublett studied Art History at the American Academy in Florence, Italy, after serving as a sergeant in World War II. He moved to Knoxville in 1954 where he studied with Kermit Ewing and eventually became a Professor of Fine Art at the University of Tennessee. Sublett was a founding member of the art group, "The Knoxville Seven," a progressive group working from 1955-1965, which produced some of the first abstract expressionist art in Tennessee. In 1982 he retired from teaching, and, in 1984, he opened the Sublett Gallery in Knoxville. In 1991, "The Unseen Carl Sublett" was the first exhibit at the new Knoxville Museum of Art (built on the site of the 1982 World's Fair). Sublett won numerous awards for his paintings and was a member of the National Academy of Design. His works are in the collections of the National Academy of Design, The Tennessee State Museum, and Cheekwood, Nashville. (Source: The Tennessee Arts Commission) Condition: Very good condition overall
• STICKLEY ROYCROFT LITTLE JOURNEYS
  STICKLEY ROYCROFT LITTLE JOURNEYS BOOKSHELFStickley Furniture mission oak "Roycroft Little Journeys Table", having three tiers and exposed pegs and through-tenon tongues; measures approximately 26-3/8" high, 26" wide and 13-1/2" in depth. Branded Stickley with Stickley placard to underside of top, with a Roycroft logo to the trestle.
• APOLLO 11 FLOWN KAPTON FRAGMENTS
  APOLLO 11 FLOWN KAPTON FRAGMENTS RED TINT W/ COAGroup of two Kapton insulation fragments from the Apollo 11 Command Module "Columbia." One side showing the gold foil that was affixed to the CM; the other side showing the red-tinted silver side that would have been exposed to space. Removed from Command Module #107 after flying an 8-day 953,000-mile journey to the moon and back. Housed in a protective plastic case affixed to a certificate of authenticity. Silver; height: 3/4 in x width: 3/4 in. Gold; height: 1 1/4 in x width: 1/2 in. Condition: The fragments are in excellent condition. The fragments are housed in a protective circular plastic case with black foam. The certificate is in excellent condition with no visible issues.
• APOLLO 11 FLOWN KAPTON FRAGMENTS
  APOLLO 11 FLOWN KAPTON FRAGMENTS BLUE TINT W/ COAGroup of two Kapton insulation fragments from the Apollo 11 Command Module "Columbia." One side showing the gold foil that was affixed to the CM; the other side showing the blue-tinted silver side that would have been exposed to space. Removed from Command Module #107 after flying an 8-day 953,000-mile journey to the moon and back. Housed in a protective plastic case affixed to a certificate of authenticity. Silver; height: 2 1/4 in x width: 1/4 in. Gold; height: 1/2 in x width: 1/4 in. Condition: The fragments are in excellent condition. The fragments are housed in a protective circular plastic case with black foam. The certificate is in excellent condition with no visible issues.
• SIGNED SET OF ROYCROFTERS LITTLE
  SIGNED SET OF ROYCROFTERS LITTLE JOURNEYSSet of Roycrofters Little Journeys Condition: Please Email for a detailed condition report.
• EXPLORATIONS IN AFRICA BY
  EXPLORATIONS IN AFRICA BY LIVINGSTONE 1ST ED. 1872Included in this lot is a Rare First Edition of, "Explorations in Africa" by Dr. David Livingstone and others. David Livingstone (1813-1873) was a Scottish Missionary and medical doctor who explored much of the interior of Africa. In a remarkable journey in 1853-56, he became the first European to cross the African continent, starting on the Zambezi River, he traveled north and west across Angola to reach the Atlantic at Luanda. On his return journey, he followed the Zambezi to its mouth on the Indian Ocean in present-day Mozambique. Livingstone’s most famous expedition was in 1866-73, when he was believed lost. Both the Royal Geographical Society and the sensationalist New York Herald organized expeditions to find him. Henry M. Stanley (1841-1901), a British born reporter, who was to become a noted explorer in his own right. Led the Herald’s expedition. On November 10, 1871, Stanley found Livingstone in the town of Ujiji, on the shores of Lake Tanganyika, in present day Tanzania. News of the discovery caused a worldwide sensation. This book, which appeared in Chicago in 1872, was part of the efforts by publishers to capitalize on the demand from the public for information about Livingstone and Stanley and about Africa in general. This brown cloth stamped illustration gold gilt hardcover book is in good overall condition, cover exhibits scuffing and tears on edges, spine is loose and attached. Intact pages exhibit age tanning, very slight foxing. Measures 5"W x 7.75"L x 1.25"D
• LITTLE JOURNEYS TO THE HOMES OF THE
  LITTLE JOURNEYS TO THE HOMES OF THE GREATby Elbert Hubbard, New York: William H. Wise & Co., 1928, Memorial Edition, 11 volumes (partial set), art nouveau front covers and embossed spine detail, teg Provenance: Private Collection, Asheville, North Carolina Condition: near fine condition, light wear to extremities
• 1980 BETTY GOLD IRON MAQUETTE FOR
  1980 BETTY GOLD IRON MAQUETTE FOR MUSEUM OUTDOOR WORKBetty Gold (American, b. 1935). Iron maquette for Holistic Image VIII, 1980. A Betty Gold maquette for her monumental sculpture "Holistic Image VIII" which was originally owned by the Indianapolis Museum of Art and is currently located in front of the Danville, Indiana Town Hall. Gold has been creating such abstract sculptures inspired by geometry, space, order, and form since the 1970's - with her oeuvre ranging from tabletop pieces and maquettes like this example to monumental installations throughout the world. In this maquette, Gold not only masterfully envisioned and modeled the form in space, she also intentionally left the piece in its raw state to oxidize to a rich patina. What's more, the warm russet hues conjure classical references, despite the fact that the form is cutting edge modern. An outstanding work by a prestigious sculptor who has works in more than 75 permanent collections and has exhibited in more than 130 solo and group exhibitions. Size: 16" L x 16.25" W x 15.875" H (40.6 cm x 41.3 cm x 40.3 cm) The outdoor sculpture entitled "Holistic Image VIII" modeled upon this maquette is a monumental steel geometric abstract public artwork that also consists of a triangle bisected by a pentagon form with a C-shaped negative cutout on the right proper side, and a pronounced curvilinear C-form intersecting the left proper front face. First owned by the Indianapolis Museum of Art and currently gracing the Town Hall of Danville, Indiana, it stands 16 feet tall and 16 feet wide. Of course, this maquette is a much more manageable scale. Betty Gold studied at the Octavio Medellin Sculpting School in Austin, Texas (1959-1964) and the Texas Trade Welding School in Dallas, Texas (1966-1970). Born in Austin, Texas, Ms. Gold has lived in Mexico City, Dallas, Los Angeles, Aspen, Palma de Mallorca, Spain, Venice, California, and currently has a home in Santa Fe, New Mexico. She has received many honors including: Honorary Degree of Humane Letters from Mary Baldwin College in Staunton, Virginia (2014); XAM's Artist of the Year in Mallorca, Spain (2014) - Betty was the second woman to receive this award; numerous government commissions including Presidential Garden, Bratislava, Slovakia, Gift of the U.S. Embassy, Monumental Sculpture, "Tiron IV" (2002); Universiada '99, Ajuntament de Palma de Mallorca, Spain, "Tiron 1" (1999); Ronald Reagan State Judiciary Courthouse, Los Angeles, California, Monumental Fountain, "Redwood Moonrise" (1989); and International Olympic Workshop, National Museum of Contemporary Art, Olympic Village, Seoul, South Korea, "Kaikoo Series" (1987); Ms. Gold has been granted countless Artist in Residencies and given dozens of lectures throughout the world; and her works are in many elite institutions including Museo Nacional Centro de Arte Reina Sofia – Madrid, Spain; Austin Art Museum – Austin, TX; Es Baluard Museu d'Art Modern i Contemporani de Palma – Palma de Mallorca, Spain; Villas Buenaventura Sculpture Garden – San Juan, Cosala, Mexico; Milwaukee Museum – Milwaukee, WI; National Museum of Contemporary Art – Seoul, South Korea; Oakland Museum of California – Oakland, CA; Phoenix Art Museum – Phoenix, AZ; New Orleans Museum of Art – New Orleans, LA; Indianapolis Museum of Art – Indianapolis, IN; Orange County Museum of Art – Newport Beach, CA; Archer M. Huntington Gallery - University of Texas – Austin, TX; Georgia Museum of Art – University of Georgia – Athens, GA; Birmingham Museum of Art – Birmingham, AL; The Albuquerque Museum of Art and History– Albuquerque, NM; Art Museum of South Texas – Corpus Christi, TX; California Museum of Art Thousand Oaks - Thousand Oaks, CA; just to name a few. In 2016, an independent, full length feature film entitled "A Year with Betty Gold" - directed and produced by Professor J. McMerty of Elon University - provided a wonderful opportunity to learn more about Gold's body of work. The film was a 2016 Academy Award Nominee. In the film there is a wonderful moment when Gold describes her process, "My whole life is about order, form, and shape, and geometry. The sculptures come from one rectangle of steel, because that's how you sell steel. That's how you buy it, by the rectangles. .. Whenever I get to playing about making models, I have an idea, and then it's like making sisters of that one shape. You know, you can take that shape and then say, oh, I think I'll turn that wrong side out and make something else. I make about 50, and I throw them all away but maybe about 7 or 8 that I really like, and I cull down, and then that is a series." ("A Year with Betty Gold, 2016 - a film) Betty Gold's Artist Statement: "My inspiration comes from many directions, experiences and channels, but my work always begins with the simple act of folding paper. I create a flat, rectangular structure, deconstruct the parts and reassemble them into the whole, then create a set of drawings and geometric models based on the linear geometry of rotating movement." "From a basic set of shapes, I design several different models - or maquettes – then build them in steel and choose which piece integrates best into the commissioned landscape. The maquette also provides the visual and architectural reference needed to scale the work to its monumental dimensions. I still continue to personally oversee construction and site preparation for each of my installations to ensure the rigid-quality standards I’ve upheld throughout my 45-year career as a professional artist." "My continuing goal is to create art that brings a sense of joy and imaginative flight to those who engage with it, and that will endure long into the future. I also hope to motivate, represent, and inspire more women sculptors to assert themselves into the competitive art market, where they’ve yet to become dominant members." The monumental version of this piece was published in "Betty Gold Retrospectiva." Casal Solleric, Ajuntament de Palma, Spain (2005) p. 20 in addition to "Betty Gold: Permanent Installations Monumental Sculpture" p. 18. A copy of the latter catalogue as well as the artist's impressively extensive resume which opens with a few quotes from the artist. Here is a statement in which Betty Gold discusses her maquettes, "Based on a flat rectangular structure, I deconstruct the whole and reassemble the pieces into one. From a basic set of shapes a small number of models, or maquettes, are constructed in steel. The maquettes provide a visual and architectural reference for what can then be scaled to monumental dimensions." Media and Catalogues about Betty Gold: "A Year With Betty Gold". Full length Independent Feature film. Produced and Directed by Professor J. McMerty, Elon, NC, 2016; Block, Dick and Henry Breitrose. The Remarkable Journey of Betty Gold. Book and DVD. Los Angeles, CA: Block Communications Group, 2006; Betty Gold: Selected Sculptures 1970 – 2004. DVD. Block Communications Group, Los Angeles, CA, 2004; Serra, Pere A. Betty Gold: Velas de Mar. Soller, Mallorca, Spain: Museu Can Prunera, 2010; Serra, Pere A. Betty Gold: Mirades del Mon. Soller, Mallorca, Spain, 2008. Estacio del Ferrocarril de Soller; Pomar, Jaume, and Gold, Betty. Betty Gold: Retrospectiva. Casal Solleric. Palma de Mallorca, Spain: Ajuntament De Palma, 2005; Gold, Betty. Betty Gold: Acero. Santa Barbara, CA: Sullivan Goss--An American Gallery, 2004; Betty Gold. Nara, Japan: Nishida Gallery, 1989; Betty Gold. Seoul, South Korea: Walker Hill Art Center, 1987; Gold, Betty. Betty Gold: The Kaikoo Series. Venice, CA: Betty Gold Studio, 1985; Gold, Betty. Betty Gold: Venice. Venice, CA: Betty Gold Studio, 1984; Betty Gold: Los Angeles. Los Angeles, CA: Baum-Silverman Gallery, 1981; Gold, Betty. Betty Gold, Holistic Images. Santa Ana, CA: Bowers Museum, 1977. Forward by Suzie Pettit. Essay by Reilly P. Rhodes, Director; Gold, Betty. Betty Gold, Holistic Images: Palm Springs Desert Museum. February 26 through April 26, 1981. Palm Springs Desert Museum, Palm Springs, CA: 1977. Provenance: Private Santa Fe, New Mexico, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #168267 Condition: Intact and excellent. Gold intentionally left the piece in its raw state to oxidize to a rich patina. Accompanied by a catalogue entitled, "Betty Gold: Permanent Installations Monumental Sculpture" as well as a copy of the artist's impressively extensive resume; both are in good condition save slight age wear.
• SIGNED BETTY GOLD IRON ARTIST
  SIGNED BETTY GOLD IRON ARTIST PROOF, CA. 1980Betty Gold (American, b. 1935). Iron artist's proof, inscribed "A.P. B.G" (Artist's Proof / Betty Gold) at base of one side, ca. 1980. A special work by American artist Betty Gold who has been creating such abstract sculptures inspired by geometry, space, order, and form since the 1970's - with her oeuvre ranging from tabletop pieces and maquettes like this example to monumental installations throughout the world. In this sculpture, Gold not only masterfully envisioned and modeled the form in space, she also worked the surfaces to create a fine, smooth finish. What's more, the warm russet hues conjure classical references, despite the fact that the form is cutting edge modern. An outstanding work by a prestigious sculptor who has works in more than 75 permanent collections and has exhibited in more than 130 solo and group exhibitions. Size: 4.75" L x 12.25" W x 8.625" H (12.1 cm x 31.1 cm x 21.9 cm) This piece is also accompanied by a catalogue entitled, "Betty Gold: Permanent Installations Monumental Sculpture" as well as a copy of the artist's impressively extensive resume which opens with a few quotes from the artist. Here is a statement in which Betty Gold discusses her maquettes, "Based on a flat rectangular structure, I deconstruct the whole and reassemble the pieces into one. From a basic set of shapes a small number of models, or maquettes, are constructed in steel. The maquettes provide a visual and architectural reference for what can then be scaled to monumental dimensions." Betty Gold studied at the Octavio Medellin Sculpting School in Austin, Texas (1959-1964) and the Texas Trade Welding School in Dallas, Texas (1966-1970). Born in Austin, Texas, Ms. Gold has lived in Mexico City, Dallas, Los Angeles, Aspen, Palma de Mallorca, Spain, Venice, California, and currently has a home in Santa Fe, New Mexico. She has received many honors including: Honorary Degree of Humane Letters from Mary Baldwin College in Staunton, Virginia (2014); XAM's Artist of the Year in Mallorca, Spain (2014) - Betty was the second woman to receive this award; numerous government commissions including Presidential Garden, Bratislava, Slovakia, Gift of the U.S. Embassy, Monumental Sculpture, "Tiron IV" (2002); Universiada '99, Ajuntament de Palma de Mallorca, Spain, "Tiron 1" (1999); Ronald Reagan State Judiciary Courthouse, Los Angeles, California, Monumental Fountain, "Redwood Moonrise" (1989); and International Olympic Workshop, National Museum of Contemporary Art, Olympic Village, Seoul, South Korea, "Kaikoo Series" (1987); Ms. Gold has been granted countless Artist in Residencies and given dozens of lectures throughout the world; and her works are in many elite institutions including Museo Nacional Centro de Arte Reina Sofia – Madrid, Spain; Austin Art Museum – Austin, TX; Es Baluard Museu d'Art Modern i Contemporani de Palma – Palma de Mallorca, Spain; Villas Buenaventura Sculpture Garden – San Juan, Cosala, Mexico; Milwaukee Museum – Milwaukee, WI; National Museum of Contemporary Art – Seoul, South Korea; Oakland Museum of California – Oakland, CA; Phoenix Art Museum – Phoenix, AZ; New Orleans Museum of Art – New Orleans, LA; Indianapolis Museum of Art – Indianapolis, IN; Orange County Museum of Art – Newport Beach, CA; Archer M. Huntington Gallery - University of Texas – Austin, TX; Georgia Museum of Art – University of Georgia – Athens, GA; Birmingham Museum of Art – Birmingham, AL; The Albuquerque Museum of Art and History– Albuquerque, NM; Art Museum of South Texas – Corpus Christi, TX; California Museum of Art Thousand Oaks - Thousand Oaks, CA; just to name a few. In 2016, an independent, full length feature film entitled "A Year with Betty Gold" - directed and produced by Professor J. McMerty of Elon University - provided a wonderful opportunity to learn more about Gold's body of work. The film was a 2016 Academy Award Nominee. In the film there is a wonderful moment when Gold describes her process, "My whole life is about order, form, and shape, and geometry. The sculptures come from one rectangle of steel, because that's how you sell steel. That's how you buy it, by the rectangles. .. Whenever I get to playing about making models, I have an idea, and then it's like making sisters of that one shape. You know, you can take that shape and then say, oh, I think I'll turn that wrong side out and make something else. I make about 50, and I throw them all away but maybe about 7 or 8 that I really like, and I cull down, and then that is a series." ("A Year with Betty Gold, 2016 - a film) Betty Gold's Artist Statement: "My inspiration comes from many directions, experiences and channels, but my work always begins with the simple act of folding paper. I create a flat, rectangular structure, deconstruct the parts and reassemble them into the whole, then create a set of drawings and geometric models based on the linear geometry of rotating movement." "From a basic set of shapes, I design several different models - or maquettes – then build them in steel and choose which piece integrates best into the commissioned landscape. The maquette also provides the visual and architectural reference needed to scale the work to its monumental dimensions. I still continue to personally oversee construction and site preparation for each of my installations to ensure the rigid-quality standards I’ve upheld throughout my 45-year career as a professional artist." "My continuing goal is to create art that brings a sense of joy and imaginative flight to those who engage with it, and that will endure long into the future. I also hope to motivate, represent, and inspire more women sculptors to assert themselves into the competitive art market, where they’ve yet to become dominant members." Media and Catalogues about Betty Gold: "A Year With Betty Gold". Full length Independent Feature film. Produced and Directed by Professor J. McMerty, Elon, NC, 2016; Block, Dick and Henry Breitrose. The Remarkable Journey of Betty Gold. Book and DVD. Los Angeles, CA: Block Communications Group, 2006; Betty Gold: Selected Sculptures 1970 – 2004. DVD. Block Communications Group, Los Angeles, CA, 2004; Serra, Pere A. Betty Gold: Velas de Mar. Sóller, Mallorca, Spain: Museu Can Prunera, 2010; Serra, Pere A. Betty Gold: Mirades del Món. Sóller, Mallorca, Spain, 2008. Estacio del Ferrocarril de Soller; Pomar, Jaume, and Gold, Betty. Betty Gold: Retrospectiva. Casal Solleric. Palma de Mallorca, Spain: Ajuntament De Palma, 2005; Gold, Betty. Betty Gold: Acero. Santa Barbara, CA: Sullivan Goss--An American Gallery, 2004; Betty Gold. Nara, Japan: Nishida Gallery, 1989; Betty Gold. Seoul, South Korea: Walker Hill Art Center, 1987; Gold, Betty. Betty Gold: The Kaikoo Series. Venice, CA: Betty Gold Studio, 1985; Gold, Betty. Betty Gold: Venice. Venice, CA: Betty Gold Studio, 1984; Betty Gold: Los Angeles. Los Angeles, CA: Baum-Silverman Gallery, 1981; Gold, Betty. Betty Gold, Holistic Images. Santa Ana, CA: Bowers Museum, 1977. Forward by Suzie Pettit. Essay by Reilly P. Rhodes, Director; Gold, Betty. Betty Gold, Holistic Images: Palm Springs Desert Museum. February 26 through April 26, 1981. Palm Springs Desert Museum, Palm Springs, CA: 1977. Provenance: Private Santa Fe, New Mexico, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168270 Condition: Intact and excellent. Inscribed "A.P. B.G" (Artist's Proof / Betty Gold) at base of one side. Accompanied by a catalogue entitled, "Betty Gold: Permanent Installations Monumental Sculpture" as well as a copy of the artist's impressively extensive resume; both are in very good condition.
• IMPORTANT MIMBRES POTTERY BOWL W/
  IMPORTANT MIMBRES POTTERY BOWL W/ WALKING FISH - TL'DNative American, Southwestern US, Mimbres Valley, New Mexico, ca. 950 to 1150 CE. A smallish, deep bowl of classic form and decoration from an imaginative and unique ceramic culture. The bowl has step walls, an unpainted exterior, and a dramatic series of abstract geometric motifs on its interior. Painted in tondo is a pair of unusual large fish, a stylized depiction with a tiny triangular tail and large, rounded body beneath which are 4 clear foot-like appendages. Its surface is decorated with crossed lines and diamonds. Between these fish is a "kill" hole, which researchers believe means that the bowl was ritually punctured at its nadir prior to interment with a human burial. The fish are surrounded by a series of mountain-like sweeping triangles with stepped, rectangular, and linear motifs whose forms may have been inspired by the dramatic geology of the Mimbres homeland.Size: 6.375" Diameter x 2.75" H (16.2 cm x 7 cm); 11" H (27.9 cm) on included custom stand. Fascinatingly, a variety of fish as well as fishing scenes are depicted on Classic Mimbres pottery. A 1986 study by Jett and Moyle (see below) identified 20 fish taxa on Mimbres bowls, 18 of which are marine, from the Gulf of California. Does this mean that Mimbres traders traveled nearly 1000 miles across the desert to gain access to the rich resources of the coast? It must have been an arduous and remarkable journey, and yet the Mimbrenos seem to have undertaken it with some regularity - not only do they have many depictions of fish on their pottery, but thousands of marine shells have also been found in Mimbres archaeological sites. Given that they wore shell jewelry and left shells as offerings, we surmise that they were fascinated by the ocean. On this vessel, the fish is probably a marker of a particular clan, lineage, or other social group. c. f. Jett and Moyle, 1986, "The Exotic Origins of Fishes Depicted on Prehistoric Mimbres Pottery from New Mexico", American Antiquity, vol. 51, issue 4, pgs. 688-720. This item has been tested using Thermoluminescence analysis (TL) and has given results consistent with the age as stated here. A full report will be issued to the winning bidder. Provenance: private Niwot, Colorado, USA collection; ex-Kurquhill's Gallery, El Paso, Texas, USA; ex-private El Paso, Texas, USA collection, acquired early to mid 1970s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #175728 Condition: Kill hole as often found, repaired from 5 or 6 pieces with enhancement of pigment only over those repaired areas.
• 8TH C. INDIAN PALA STONE PANEL OF
  8TH C. INDIAN PALA STONE PANEL OF TARA BODHISATTVASouth Asia, India, region of Bengal, Pala Empire, ca. 8th to 12th centuries CE. A graceful stone sculpture depicting the goddess Tara - literally "savioress" - in high relief. Here she is shown bare-chested and holding a flowering lotus stem in one hand, while the other hand is open displaying the varada-mudra - the gesture of granting wishes. She is set against an elaborate backplate, which frames her figure and defines her status. A throne back with a dedicatory inscription is positioned behind her, as a large nimbus surrounds her head. Her voluptuous body is decorated with lavish adornments, such as armbands, necklaces, huge earrings, and a tiara - all of which reaffirm her elevated status. Size: 6.6" W x 11.3" H (16.8 cm x 28.7 cm); 12" H (30.5 cm) on included custom stand. Tara was a hugely popular Vajrayana deity with the rise of Tantra in 8th century Pala, a combination of "Mother of all Buddhas" and the Indian concept of a mother goddess. During the Pala dynasty, the kingdom was one of the only places in India where Buddhism was practiced; as a result, it became an enclave of Buddhist art, with Buddhist monks, students, and pilgrims journeying from across Asia to see holy sites, monasteries, and universities. When they returned home, the Pala artistic style journeyed with them, giving it great influence in art throughout the Buddhist world. See a similarly styled figure of Tara from the Pala period in bronze at the Metropolitan Museum of Art. Provenance: private Stillwater, Minnesota, USA collection; ex-Artemis Gallery, Louisville, Colorado, USA, March 15, 2017, lot 48; ex-prominent Los Angeles County, California, USA collection, acquired prior to 2000 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179251 Condition: Fragment of a larger piece with chipping to peripheries and proper right forearm. Some expected surface wear with nicks and abrasions as shown, but otherwise excellent with nice preservation of detail.
• 7 ARTWORKS PETER J. FISCHINGER
  7 ARTWORKS PETER J. FISCHINGER ESTATE: 1) Gauthien after Couvoisier, ''Vue Du Jardin Du Luxembourgh'' (A View of The Garden at Luxembourg''), Early 19th Century Hand Colored Engraving, sight size 12'' x 17'', framed 21'' x 26''. 2) Lingee after S. Freaudeberg, ''La Promenade Du Matin'', sight size 15.25'' x 11'', framed 22'' x 18''. 3) H. Riffarth Berlin after Seekatz, ''The Goethische Familie'', Photogravure, sight size 4.75'' x 6.75''. 4) ''La Toilette Dela Maree `Oule jour Desire''', 13'' x 10'', in small metal frame. 5) ''P. Bernardi Oggidi Valienastra'', Etching, 9'' x 12'', custom frame and matting 18.50'' x 21.50''. 6) F. Bedford, Color Photo Plate, Depicting Ivory Hanap and Cover, 9.25'' x 13.50'' image, Plate 5, custom frame and matting 22.50'' x 19''. 7) F. Bedford, XVI Century Color Plate of Silver Gilt Cup, Italian, 9.25'' x 12.50'', custom frame and matting 22 x 19'', property of the Earl of Warwick K.T. Provenance: Estate of Dr. Peter J. Fischinger, M.D., Ph.D., former Associate Director, National Cancer Institute. CONDITION: 1) Toning consistent with age. 4) Small Surface scuff.
• (23) BOOKS: HISTORICAL, VARIOUS
  (23) BOOKS: HISTORICAL, VARIOUS REFERENCE & POETRY(lot of 23) Historical, reference, and poetry books, including: (1) "The Shropshire Lad," A.E. Housman, 1932, 110 pages, loss and wear to book sleeve, (1) "Mayhew's London," Henry Mayhew, edited by Peter Quennell, Spring Books, London, 592 pages, (1) "The London Underworld in the Victorian Period," Henry Mayhew and Others, 2005, 404 pages, (1) "Corruption and the Decline of Rome," Ramsay MacMullen, 1988, 320 pages, (1) "Speeches That Changed the World," edited by Simon Sebag Montefiore, revised edition, 2005, 224 pages, (1) "The Last Days of Pompeii," Lord Edward George Bulwer-Lytton, 1957, 513 pages, (1) "Notre Dame de Paris," Victor Hugo, 1955, 332 pages, (1) "The Trial and Death of Socrates," Plato, 1963, 275 pages, (1) "Poetry Speaks Expanded," edited by Elise Paschen and Rebekah Presson Mosby, 2007, 384 pages, (1) "Speak Truth to Power," Kerry Kennedy Cuomo, signed by author on title page, 2000, 256 pages, minor water damage to pages; (1) "Currier and Ives' America - A Panorama of the Mid-Ninteenth Centruy Scene," edited by Colin Simkin, Crown Publishers, New York, 1952, eighty print illustrations, with loss and wear to cover, (1) "Inside the Victorian Home," Judith Flanders, 2003, 500 pages, (1) "Dorling Kindersley Handbooks - Gemstones," Cally Hall, 1994, 160 pages, (1) "The Story of Art," E.H. Gombrich, 2003, 688 pages, (1) "The Oxford History of Western Art," edited by Martin Kemp, 2000, 564 pages, (1) "Rights of Man," Thomas Paine, 1961, 270 pages, (1) "The Ocean World," Jacques Cousteau, 1993, 446 pages, (1) "How To Repair & Restore Furniture," William Cook, W.J. Cook & Sons, 2003, 256 pages, (1) "Nature Watch - Elephants," Barbara Taylor, 2008, 64 pages, (1) "Wild Amazon - A Photographer's Incredible Journey," Nick Gordon, 2004, 168 pages, (1) "Cyclodpedia Anatomicae," Gyorgy Feher, illustrated by Andras Szunyoghy, 1996, 603 pages, (1) "Oriental Carpets at the Philadelphia Museum of Art," Charles Grant Ellis, 1988, 304 pages, (1) "Van Gogh - In Provence and Auvers," Bogomila Welsh-Ovcharov, 319 pages; largest: 12.25"h, 16"w, 72lbs total **Provenance: A Sarasota, Florida estate**
• ROYCROFT OAK TABLE AND 'LITTLE
  ROYCROFT OAK TABLE AND 'LITTLE JOURNEYS' BOOK SETROYCROFT OAK TABLE AND 'LITTLE JOURNEYS' BOOK SET: rectangular three-tier oak book table, The Roycrofters emblem, East Aurora, N.Y., c. 1895-1938, 26.75"H x 14"W x 26.25"L; set of 12 'Little Journeys' books by Elbert Hubbard, Memorial Edition, Wm. Wise & Co., New York, 1916, leather bound. An Elbert Hubbard "An American Bible" book and pair of copper bookends accompanies the lot.
• ODILON REDON (FRANCE) 1840-1916
  ODILON REDON (FRANCE) 1840-1916 ET QUE DES YEUX SANS TêTE FLOTTAIT COMME DES MOLLUSQUES.Odilon Redon (France) 1840-1916 Et que des yeux sans tête flottait comme des mollusques. Lithograph, 1896. Mellerio 146. From the series La Temptation de Saint-Antoine. Plate 13. (Gustave Flaubert, 3rd series). Ed: 200, from the Mellerio edition of 1938, as published by Vollard, Paris. Printed in black ink on chine appliqué by Blanchard with complete margins. 308 x 222 mm. (12 1/8 x 8 1/2 in.) Oannès: Moi, la première conscience de chaos, j'ai surgi de l'abîme pour......... Lithograph, 1896. Mellerio 147. From the series La Temptation de Saint-Antoine. Plate 14 (Gustave Flaubert, 3rd series). Ed: 200, from the Mellerio edition of 1938, as published by Vollard, Paris. Printed in black ink on chine appliqué by Blanchard with complete margins 275 x 215 mm. (10 13/16 x 8 1/2 in. Le Jour enfin paraît..... et dans le disque même du soleil ….... Lithograph, 1896. Mellerio 157. from the series La Temptation de Saint-Antoine. Plate 24. (Gustave Flaubert, 3rd series). Ed: 200. from the Mellerio edition of 1938, as published by Vollard, Paris. Printed in black ink on chine appliqué by Blanchard with complete margins. Small areas of the appliqué are lifting.262 x 203 mm. (10 5/16 x 8 in.) (3) Ex Coll: The Ian Woodner Family Collection
• ARTS & CRAFTS BINDINGS[ARTS &
  ARTS & CRAFTS BINDINGS[ARTS & CRAFTS BINDINGS] Four titles, Hubbard, Elbert. Little Journesy Home of Great Lovers. Dante and Beatrice. March 1906. Paper cover; Little Journseys Home of Reformers. John Wesley. January 1907. Paper cover; Little Journeys to Homes of the Great. Book. New York: Wm. H. Wise & Co. Copyright 1926. Hardcover; Elbert Hubbard's Scrap Book, New York City: Wm. H. Wise & Co., Copyright 1923. Board cover tied with ribbon
• SIGNED LITHOGRAPH & BLOCK PRINT2
  SIGNED LITHOGRAPH & BLOCK PRINT2 prints. Cubist portrait of a woman Le Journal, pencil signed illegibly and numbered 89/100 lower right, 21" x 15 3/4"; block print woman with hat, pencil signed illegibly and dated 66 lower right and numbered 11/50 in pencil lower left, 29 7/8" x 20 1/8". Both unframed. Cubist lithograph stored rolled, tears to right margin; block print large stain upper left, toning and discoloration to sheet, large crease at upper right corner and minor creases to other corners. From the estate of Maurice Binder. Born in 1918, Maurice Binder was an American film title designer, best known for his work on 14 James Bond films, including Dr. No. He died in 1991 at the age of 72.
• WOMEN ARTISTS INTEREST BOOKS, 12
  WOMEN ARTISTS INTEREST BOOKS, 12 Group of books of women artists' interest, 12, and comprising: Charlotte Streifer Rubenstein, "American Women Sculptors" G.K. Hall & Co.: Boston, 1990; Charlotte Streifer Rubenstein, "American Women Artists" G.K. Hall & Co.: Boston, 1982; Whitney Chadwick: "Women Artists and the Surrealist Movement" NYGS Little Brown: Boston, 1985; Alice Carter, "The Red Rose Girls" Abrams: New York, 2000; Barbara Walz & Jill Barber, "Starring Mothers" Dolphin/Doubleday: New York, 1987; Barbara J. Bloemink, "The Life and Art of Florine Stettheimer", Yale: New Haven, 1995; Stephen Brown & Georgiana Uhlyarik, "Florine Stettheimer Painting Poetry" Yale: New Haven, 2017; Carlos Fuentes (Intro), "Le Journal de Frieda Kahlo" Editions du Chene: Paris, 1995; Phil Kovenick & Marian Yoshiki-Kovenick, "An Encyclopedia of Women Artists of the American West" University of Texas: Austin, 1998; Martha Zamora, "Frieda Kahlo: The Brush of Anguish" Chronicle Books: San Francisco, 1990; Eleanor Dwight, "Edith Wharton: An Extraordinary Life" Abrams: New York, 1994; and an exhibition catalogue: "Mary Cassatt 1844-1926" National Gallery of Art, Washington DC, 1970. Largest: 11" H x 8.5" W.
• Tobie Thelma Steinhouse, RCA (b.
  Tobie Thelma Steinhouse, RCA (b. 1925), Canadian ECARTEUT LE JOUR COMME UN RIDEAU, 1971 signed, titled, dated and numbered lower margin sight 12.75 x 22.4 in — 32.4 x 57.2 cm
• Ten book printed by Roycroft Press,
  Ten book printed by Roycroft Press, including: King Lear, Hamlet, Will O’ The Mill by R.L. Stevenson, Robert Browning, Little Journeys Great Musicians, Great Reformers, Elbert Hubbard’s Scrap Book, The Philosophy of Elbert Hubbard and The Notebook of Elbert Hubbard. Two small books, A Message to Garcia and Thomas Paine. Condition: original boxes of three with damages, two Little Journeys bindings with damage CT Transfer Fee $10
• HONORé DAUMIER, SET OF SEVEN
  HONORé DAUMIER, SET OF SEVEN LITHOGRAPHS, 1843-1845Honoré Daumier, (1808 - 1879) Set of Seven Lithographs, 1843-1845, lithographs on newsprint all initialed lower left in plate: h.d. From La Chasse, published in Le Charivari Merci! Ce Monsieur M'Invite à Chasse, 1843 Allons haut! Y sommes-nous? . . ., 1843 Oh!...Un faisan!..., 1843 From Les Beaux Jours de la Vie, published in Le Charivari Une Bonne Fin de Mois, 1844 Le Jour où il Faut se Montrer Galant, 1845 Quand on a son Portrait au Salon, 1845 From Les Bas-Bleus, published in Le Charivari Emportez donc ça plus loin... impossible de travailler..., 1844 lithographs on newsprint Dimensions: Sight view: 12 x 8 3/4 in. (30.5 x 22.2 cm.), Frame: 18 1/4 x 14 3/4 x 1 in. (46.4 x 37.5 x 2.5 cm.) Provenance: Private Collection, New Mexico
• ELBERT HUBBARD "LITTLE JOURNEYS" 13
  ELBERT HUBBARD "LITTLE JOURNEYS" 13 VOLUMES Elbert Hubbard (American, 1856-1915) thirteen volumes of "Little Journeys to the Homes of the Great" the memorial edition published by The Roycrofters, New York, in 1916. Each: 8.5" H x 6.5" W x 1.25" D.
• AFTER JAMES PRADIER PARIAN
  AFTER JAMES PRADIER PARIAN FIGURES "DAY" & "NIGHT" Two Parian figures after the 1840 originals by James Pradier (French, 1790-1852) "Le Jour" (Day) and "Le Nuit" (Night) depicting the day unveiling herself and holding attributed of the harvest supported by a putto, and the night covering herself with the starry night and supported by another putto. (repairs). 23" H x 6" W x 7" D (approx.)
• Richard Crump (American, Circa
  Richard Crump (American, Circa 1805-1853) Pair of Portraits: Possibly Richard and Rebecca Crump 1838-1839 oil on canvas each signed Rich'd Crump and dated to verso 29 3/4 x 25 inches. The gentleman holds a copy of the Louisville Journal dated December 16, 1838, and points with his finger to text in the newspaper reading Richard Crump / Portrait Painter. Little is currently known about the life and career of the Kentucky artist Richard Crump. Genealogical records from Bedford County, Virginia identify a Richard Crump (one of several) born in 1804, while noted art historian and scholar of southern portraiture Estill Curtis Pennington gives Crump’s life dates as circa 1816 – after 1852 in his discussion of Crump’s portrait of The Morris Family (circa 1840) in the collection of the Speed Museum (see Kentucky: The Master Painters from the Frontier Era to the Great Depression, Columbia, SC: University of South Carolina Press, 2008). However, it is well documented that Crump established himself as a portrait artist in Louisville as early as 1836, when his studio was listed on the east side of 3rd Street between Main and Market. His residence was listed at that time as on 1st Street between Green and Walnut. Crump moved several times over the next decade but continued to be listed as an artist and portrait painter in Louisville until at least 1852. Following the death of his first wife, Rebecca, from tuberculosis in 1841, Crump seems to have remarried, as he is recorded in the census of 1850 as living in Louisville’s Ward 8 with a wife, Elizabeth, and six children. The 1860 census lists Elizabeth and three non-adult children, but not Crump himself.
• A ROYCROFT "LITTLE JOURNEYS" OAK
  A ROYCROFT "LITTLE JOURNEYS" OAK BOOKCASE WITH BOOKSA Roycroft "Little Journeys" oak bookcase with books, Early 20th century; East Aurora, NY Bookcase with Roycroft metal tag The quarter sawn oak bookcase with keyed mortise and tenon joints and three shelves, sold together with thirteen Roycroft 1928 Memorial Edition "Little Journeys" hardcover books, the 1926 hardcover "Little Journeys Guide Book," and a signed 1902 suede bound softcover "Little Journeys: Eminent Artists" on Albert Thorvaldsen, 16 pieces Dimensions: Bookcase: 26.25" H x 26.25" W x 14" D
• FRENCH SPELTER AND MARBLE STATUE
  FRENCH SPELTER AND MARBLE STATUE CLOCKFRENCH SPELTER AND MARBLE STATUE CLOCK, A.D. Mougin, Paris, third quarter 19th century, "Le Jour de L'An" (New Years's Day), after the work of Auguste Moreau (French, 1834-1917), eight day time and bell-strike movement, missing pendulum, 21.25"H.
• LORENZ SCHWARTZ BOUND COMPLETE
  LORENZ SCHWARTZ BOUND COMPLETE WRITINGS OF ELBERT HUBBARD, INDIVIDUAL SET, IN FULL LEVANT, THE ROYCROFT BINDERY, 1908, VOL. 1 11 1/2 X 8 IN. (29.21 X 20.32 CM.)LORENZ SCHWARTZ BOUND COMPLETE WRITINGS OF ELBERT HUBBARD, INDIVIDUAL SET, IN FULL LEVANT, THE ROYCROFT BINDERY, 1908, VOL. 1, [Bindings] Hubbard, Elbert. The Complete Writings of Elbert Hubbard. East Aurora, NY: The Roycroft Press. 1908. 4to. 282 pp. Volume one only of an unknown number. Interior of the boards finely tooled with Art Nouveau border of stylized flowers in gold, green, orange, white and purple by Lorenz Schwartz, with his initials incorporated into the design of the base of the back board, raised bands and gilt lettering to spine. Endpapers in green moire silk, full green French levant, Jansenist style typeface with decorative devices throughout. With 14 portrait engravings by Jules Gaspard, with tissue guards, including a photogravure of Shakespeare's home. Tipped into the chapter on Victor Hugo, pages 19 and 20, are two pages of handwritten pencil manuscript from his article on 'Charlotte Bronte' from 'Little Journeys to the Homes of the Great Women' (1916) pp 108. Custom green leather box with gilt lettering to spine and 'Vol. 1', with green suede and marbled paper to interior. Limitation page states 'This is the Author's Edition of the Complete Writings of Elbert Hubbard. This Book is Volume One of the Individual Set bound in full French Levant, Jansenist style.' Catalogue note: An advertisement in 'The Philistine' from 1908 states that this volume had an accompanying second volume, both with individual designs in "doublure Full levant binding" by Lorenz Schwartz with a retail price of $200. Dimensions: 11 1/2 x 8 in. (29.21 x 20.32 cm.)
• GEORGES DE FEURE. "LE JOURNAL DES
  GEORGES DE FEURE. "LE JOURNAL DES VENTES," POSTER Reproduction French advertising poster, sight size: 34 x 23 in., framed.
• A set titled History of the
  A set titled History of the United States from the Compromise of 1850 to the Final Restoration of Home Rule at the South in 1877, by James Ford Rhodes (New York, 1910; complete in seven volumes). Together with a book bound in soft green leather titled Little Journeys to the Homes of Famous Women by Elbert Hubbard (New York and London, 1902) and a dozen 1970s comic books, including Archie, Beetle Bailey, Sad Sack, Underdog and Bugs Bunny.
• EIGHT ANTIQUE BOOKS: THE ETCHINGS
  EIGHT ANTIQUE BOOKS: THE ETCHINGS OF JAMES MCNEILL WHISTLER BY CAMPBELL DODGSON, 1922; WHISTLER BY ELISABETH LUTHER CARY, 1907; WHISTLER BY HALDANE MACFALL, 1906 11 3/4"H X 9 1/2"W (ETCHINGS)Eight antique books: The Etchings of James McNeill Whistler by Campbell Dodgson, 1922; Whistler by Elisabeth Luther Cary, 1907; Whistler by Haldane Macfall, 1906 Also includes Whistler Masters in Art A Series of Illustrated Monographs, Issued Monthly, Part 96, Volume 8 Bates and Guild Company; and four Roycrofters Little Journeys including To the Homes of eminent artists, Whistler 1902 and three 1905 to Homes of Great Scientists: 1Haeckel, Darwin and Huxley. 11 3/4"H x 9 1/2"W (etchings) Dimensions: 11 3/4"H x 9 1/2"W (etchings)
• GROUP, 15 BOOKS BY CHARLES DUDLEY
  GROUP, 15 BOOKS BY CHARLES DUDLEY WARNERMy Summer in a Garden Backlog Studies Baddeck, Saunterings, My Winter on the Nile, In The Levant, A Roundabout Journey, In The Wilderness Captain John Smith, Being a Boy on Horseback, Studies in the South & West Comments on Canada, Washington Irving Our Italy, Their Pilgrimage, Little Journey in the World, The Golden House, That Fortune, As We Were Saying As We Go Fashions in Literature, Relation of Literature to Life Author: Charles Dudley Warner Publisher: Hartford, Conn. Year: 1904
• [GAUGUIN] MAREHUREHU...O-TAHITI,
  [GAUGUIN] MAREHUREHU...O-TAHITI, 1925, #142/525 Marc Chadourne and Maurice Guiere. Marehurehu entre le jour et la nuit...des Maoris d'O-Tahiti. Librairie de France, 1925, #142/525 with 14 full-page wood-cut illustrations by Paul Gauguin (lacking the plate after page 32), and with facsimile manuscript page laid in, softcover, 11.25"h x 9"w