A few examples of appraisal values for
SUBLIME

• SUBLIME HARMONIE EIGHT-TUNE MUSIC BOX
  SUBLIME HARMONIE EIGHT-TUNE MUSIC BOX Inlaid rosewood case with musical motif. 14-inch cylinder.
• FORE-EDGE PAINTED BOOK, EDMUND BURKE
  FORE-EDGE PAINTED BOOK, EDMUND BURKE 1812 A fore-edge painted book of A Philosophical Enquiry Into The Origin Of Our Ideas Of The Sublime and Beautiful. With An Introductory Discourse Concerning Taste; And Several Other Additions by Edmund Burke, Esq. Published 1812 by Rivington, etc. The fore-edge painting shows a lovely large country home and tranquil scene. The other page edges are gilt. The book is fully bound in red leather with stamping and gilt decoration. The spine features raised bands with gilt titling. Marbled end papers. The book has a clamshell case for extra protection.
• STAFFORDSHIRE SALT-GLAZED STONEWARE
  STAFFORDSHIRE SALT-GLAZED STONEWARE POLYCHROME-ENAMELED ERMINE-GROUND TEAPOT AND COVER, CIRCA 1756-1763 HEIGHT: 3 3/4 IN. (9.5 CM.)STAFFORDSHIRE SALT-GLAZED STONEWARE POLYCHROME-ENAMELED ERMINE-GROUND TEAPOT AND COVER, CIRCA 1756-1763, the globular teapot with crabstock handle, spout and finial, enameled with a portrait of King Frederick of Prussia below the inscription 'FRED. PRUFSIAE REX', the reverse with an armorial trophy of a displaying Prussian eagle holding a banner inscribed 'SEMPER SUBLIMES' Dimensions: Height: 3 3/4 in. (9.5 cm.) Provenance: With Anthony Belton Antiques, London, October, 1987, 1,150 pounds ($1,967) From the Collection of Diana Edwards Murnaghan, No. 194 Catalogue note: For a similar example, see Henry Sandon "Coffee Pots and Teapots for the Collector", London, (1974), pl, 40; an example in "Lady Charlotte Schreiber's Journal", (1911), pl. 209 and another in City Museum and Art Gallery, Stoke-on-Trent.
• AVILA GENDIS (CUBA, B. 1959) ABSTRACT,
  AVILA GENDIS (CUBA, B. 1959) ABSTRACT, MIXED MEDIAUnframed acrylic painting on canvas, "Series: Paisajes Sublimes", signed lower right Avila Gendis (Pedro Avila Gendis, Cuba, Florida, b. 1959), pictured in the book "Pedro Avila Gendis, Shared Secrets", Artium Pub., Miami, 2016 at page 98, accompanied by a Certificate of Authenticity by Roberto J. Cayuso, Certificate Number 110666, size: 36" x 48", *Provenance: Private collection, Miami, Florida.
• A Philosophical Enquiry into the Origin
  A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful [by Edmund Burke] (London, 1773)
• LARGE ANCIENT CHINESE STONE CARVED HEAD
  LARGE ANCIENT CHINESE STONE CARVED HEAD OF BUDDHA Life-Sized Striated Granite Sculpture of the Buddha, Ming Dynasty or earlier, depicted with sublime facial expression, elongated earlobes, tightly curled hair with top knot, set loose on black wood museum stand. Object is roughly 12" x 7" x 8", overall size: 21 1/2" tall.
• GANDHARAN STONE HEAD OF BUDDHA, UTTAR
  GANDHARAN STONE HEAD OF BUDDHA, UTTAR PRADESH (MATHURA) REGION Sublime Bodhisattva, Northwest India, 4th-6th c. CE, in grey schist, with curled moustache, tiara, coiffed top knot hair, sharply defined hooded almond shaped eyes and brow, 5" tall encrusted.
• CANVASBACK PAIRWilliam Heverin (1860-1951) Charlestown,
  CANVASBACK PAIRWilliam Heverin (1860-1951) Charlestown, MD, c. 1920 15 1/2 in. long This pair represents two of the maker's best decoys known to exist. Though made as gunning decoys, they were never rigged, accounting for their sublime condition. Outstanding original paint with minimal wear. Provenance: Dr. Morton D. Kramer Collection Private Collection Literature: J. Evans McKinney, "Decoys of the Susquehanna Flats and their Makers," Ocean City, MD, 1978, p. 47, related examples illustrated. R. H. Richardson, “Chesapeake Bay Decoys,” Cambridge, MD, 1991, p. 68, rigmates illustrated.
• THE PERDEW PREENING BLACK DUCKCharles
  THE PERDEW PREENING BLACK DUCKCharles Perdew (1874-1963) and Edna Perdew (1882-1974) Henry, IL, c. 1910 15 in. long This early three-piece preening black duck is a singular decoy with no peers. Indeed, it is rare on several separate accounts, including its early three-piece construction, the preening pose, and as a black duck. The closest Illinois River comparable is an oversized black duck by Robert Elliston held in the Elaine and Alan Haid Collection. Rarity aside, Charlie's sublime preening form was finished with Edna's finest brushwork with embellishments only seen on her earliest work, including brushed-out feathering within the primary delineations. Earl W. Poggemoeller of Portage des Sioux, Missouri was the first collector to claim this decoy. After his passing in 1984, his birds were sold as "the finest collection of Illinois River decoys to ever come at auction." This standout preener has been celebrated in numerous publications and museum exhibitions since it was acquired at the Poggemoeller sale. Overall excellent original paint with light gunning wear and some areas of touch-up including right body seam. Provenance: Earl W. Poggemoeller Collection Masterworks of the Illinois River Collection Literature: Stephen B. O'Brien Jr. and Julie Carlson, "Masterworks of the Illinois River," Boston, MA, 2005, p. 67, exact decoy illustrated. Tandy Lacy, “The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley,” Washburn, IL, 1989, p. 11, exact decoy illustrated. Zac Zetterberg, ed., “American Decoy: The Invention,” Peoria, IL, 2020, p. 117, exact decoy illustrated. Jackson Parker, "Fine collection of Illinois River decoys tops Maine auction," Decoy Magazine, Winter 1986, p. 21, Poggemoeller sale discussed. Exhibited: Salisbury, Maryland, “The Illinois River Meets the Chesapeake,” Ward Museum of Wildfowl Art, September 2 - November 13, 2005. Peoria, Illinois, “The Wooden Bird Exhibition,” Lakeview Museum of Arts and Sciences, January 7–February 18, 1990. Springfield, Illinois, “The Wooden Bird Exhibition,” The Illinois State Museum, March 3–April 22, 1990. Peoria, Illinois, “American Decoy: The Invention,” Peoria Riverfront Museum, February 9–April 28, 2019.
• FINE MERMOD FRERES, IDEAL SUBLIME HARMONIE
  FINE MERMOD FRERES, IDEAL SUBLIME HARMONIE PICCOLO. A choice 40” inlaid interchangeable 17.75” cylinder roll music box by Mermod Freres, labeled on inside “Ideal Sublime Harmonie Piccolo, Jacob & Son 295 Broadway, New York”. The cabinet has crotch mahogany veneers, ebonized trim/ mouldings, and satinwood inlays, containing a lower drawer with one additional interchangeable roll, (two rolls total). Includes original booklet with musical program lists. Purchased for $11,000 in the 1990's. 12.5”H x 40”W x 18”D.
• A small collection of early 19th Century
  A small collection of early 19th Century coloured caricatures all of Napoleonic interest after George Cruickshank (1792-1878) and others comprising - \'\'The Genius of France expounding her Laws to the Sublime People\'\' 14.5ins x 9ins \'\'The Genius of France Nursing Her Darling\'\' 11.75ins x 9.5ins \'\'Political Quadrille - The Game Up\'\' 11.5ins x 14.5ins and four others including a broad sheet entitled \'\'Bob Rousem\'s Epistle to Bonaparte\'\' all framed and glazed
• (3 PC) CREED EXCLUSIVE PERFUME (8.5OZ)DESCRIPTION:
  (3 PC) CREED EXCLUSIVE PERFUME (8.5OZ)DESCRIPTION: (3 Pc) Creed exclusive perfume set composed of three crystal 8.4oz bottles. Marked "White Flowers" and "Sublime Vanilla" CIRCA: 20th Cent. ORIGIN: France DIMENSIONS: H: 5.5" x D: 3" (8.4oz) CONDITION: Great condition, one bottle missing scent label. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• BALDWIN, SAMRI (SAMUEL SPENCER BALDWIN).
  BALDWIN, SAMRI (SAMUEL SPENCER BALDWIN). THE WORLD’S GR...Hartford: Calhoun Print, ca. 1895. Eight-sheet color woodblock lithograph depicting a blindfolded Miss Baldwin surrounded by an army of red demons bearing questions on billets, from the ridiculous to the commonplace, to the sublime. To wit: “When will I be married?” “Will I ever travel?” and “Where are my pants?” 82 x 109 ¾". Chips, folds, and small losses restored, a few chips in upper border unrestored; B+.
• STAFFORDSHIRE COMMEMORATIVE PLATES,
  STAFFORDSHIRE COMMEMORATIVE PLATES, FIVE (5)Set of five Old English Staffordshire Ware commemorative plates; includes "Grand Canyon, From Point Sublime", "Great Smoky Mountains National Park, Chimney Top Peaks", "Souvenir of Pikes Peak Region, Colo., Gateway, Garden of The Gods, Colorado", "Souvenir of Estes Park and Rocky Mountain National Park, "Big Thompson Canyon", and "The Utah Plate, Temple Square, Salt Lake City, Utah"; all plates measure approximately 9-7/8" in diameter; in Very Good overall condition with some crazing.
• HUGE MERMOD FRERES SWISS MUSIC BOXLarge,
  HUGE MERMOD FRERES SWISS MUSIC BOXLarge, heavy Victorian carved oak Swiss music box with barely legible label IDEAL SUBLIME HARMONIE PICCOLO with three 2.5 inch diameter by 17.75 in long (23 in overall) interchangeable cylinders in slide-out lower drawer. Cylinders are stamped with numbers 550 (65886); 565 (100850); and 566 (62736). Has silvered bronze fancy handles and front escutcheon. Movement is missing. Interior metal tag has latest patent date of 1890 and Switzerland. Made by Mermod Freres. Very good cosmetic condition - cylinders appear to be dusty with some light surface corrosion but teeth appear good mostly. Size: 36 in long x 15 x 12.5 high.
• A FRENCH NEOCLASSICAL REVIVAL GILT BRASS
  A FRENCH NEOCLASSICAL REVIVAL GILT BRASS CRYSTAL REGULA...A FRENCH NEOCLASSICAL REVIVAL GILT BRASS CRYSTAL REGULATOR CLOCK, ACHILLE BROCOT SUSPENSION, SAMUEL MARTI, CLOCKWORKS, PARIS, 1900, the flowering two-handled urn atop an arched pediment with egg and dart molding above a recessed demilune frieze with relief beribboned cabochon shield within affronted mythical foliate "S" curve lions, above a sublimely floating circular dial set within a pearl bead chain and laurel leaf and berry bronze mount, the dial painted with black Arabic hour and quarterly notated red minute marks, signed "France," the clockworks with pastille, "Samuel Marti, Medaille D'or, Paris, 1900," numbers 2772 and 4-11, the pendulum suspension marked at gear, "BROCOT PROPll.," the copper coil chime mechanism marked with monogram, "E.C.," within a diamond, hung with a faux mercurial dual glass chamber pendulum, the four corners each fit with engaged columns designed using both the Corinthian and Egyptian orders, the whole raised on an egg and dart molded stepped plinth base on flat square bracket feet, case interior marked "France." Height: 16" Width: 7 1/2" Depth: 5 1/4" Provenance: Lifelong Collection of Clocks and Antiques, Navasota, Texas. Condition: Some mild patina, dust, the pendulum and corners of crystal on door has minor chips and cracks, the dial with minor cracking of enamel, but overall in good to very good condition, wear commensurate with age. Simpson Galleries does not guarantee any timepiece or clockwork mechanism. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
• SALVADOR DALI (SPANISH 1904-1989) A
  SALVADOR DALI (SPANISH 1904-1989) A PRINT, "COSMIC RAYS...SALVADOR DALI (Spanish 1904-1989) A PRINT, "Cosmic Rays Resuscitating Soft Watches," 1965, lithograph printed in colors on Rives wove paper, signed in pencil L/R, "Dali," numbered in pencil at L/L, "145/150," from the total edition of 162, published by Sidney Lucas, New York, with the ink stamp L/L, "© sidney . z. lucas," printed by Hollander's Workshop Inc., New York; sheet 24 3/4'' x 38'', framed 31 1/4'' x 39 1/4''. Note: The surrealist virtuoso Salvador Dalí expresses here a moment of fate as his familiar watches wilt just before being revived by a cosmic force bursting from the sky, joined by a bishop, a knight and dragon. His work steeped in Christian symbolism and technical skill, the artist conveys the moment just before his watches lap up the sublime lifeforce. Completed in 1965, at the height of his career, this lithograph offers collectors the opportunity not just to obtain a lithographic work of a blue chip artist, but the excitement of owning an indelible icon of the 20th century, the melting clocks of Salvador Dalí, presented herein, "Cosmic Rays Resuscitating Soft Watches."Reference: Michler/Löpsinger 1144, Field 65-3 Condition: There is fading of the colors and light stain in the sheet and matt stain in the margins and at the bevel edge, verso hinged with tape along the top. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• A REUGE WALNUT MUSIC BOX, "CANON IN
  A REUGE WALNUT MUSIC BOX, "CANON IN D," J. PACHELBEL, S...A REUGE WALNUT MUSIC BOX, "Canon in D," J. PACHELBEL, SWISS, 21ST CENTURY, the 144 note, three melody music box with walnut case and brass and stainless steel movement, with a plaque on the interior of the lid inscribed, "REUGE / THE ART OF MECHANICAL MUSIC / Mouvement Sublime Harmonie 144 Lames - 3 Mélodies / Canon (3 Parties) / J. Pachelbel," with glass plate over the movement which is inscribed, "MANUFACTURE / SAINTE CROIX / SWITZERLAND," and "REUGE." Height: 4'' Width: 12 3/4'' Depth: 5 1/4'' Condition: There are no visible signs of damage or repair. Simpson Galleries does not guarantee manual or mechanical music devices. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• HARVARD CLASSICS ALUMNI EDITIONSet of
  HARVARD CLASSICS ALUMNI EDITIONSet of Harvard Classics. Alumni Edition, set no. 434. Edited by Charles W. Elliot, LLD. Published by P. F. Collier & Son, New York, 1910. Titles include ìThe Autobiography of Benjamin Franklinî, ìThe Journal of John Woolmanî, ìFruits of Solitude William Penn,î three works in volume no. 1; ìThe Apology, Phaedo and Crito of Platoî, ìThe Golden Sayings of Epictetusî, The Meditations of Marcus Aurelius,î two works in vol. no. 2; Francis Bacon, ìEssays, Civil and Moral and the New Atlantisî, John Milton, ìAreopagitica and Tractate on Educationî, Sir Thomas Browne, ìReligio Medici,î three works in Vol. no. 3; ìThe Complete Poems of John Milton,î written in English, Vol. no. 4; R. W. Emerson, ìEssays and English Traits,î Vol. no. 5; ìThe Poems and Songs of Robert Burns,î Vol. no. 6; Thomas A. Kempis, ìThe Confessions of St. Augustine; The Imitation of Christ,î Vol. no. 7; Aeschylus, Sophocles, Euripides and Aristophanes, îNine Greek Dramas,î Vol. no. 8; ìLetters of Marcus Tullius Cicero with his treatises on Friendship and Old Ageî, ìLetters of Gaius Plinius Caecilius Secundus,î two works in Vol. no. 9; Adam Smith, ìAn Inquiry into the Nature and Causes of the Wealth of Nations,î Vol. no. 10; Charles Darwin, ìThe Origin of Species,î Vol. no. 11; ìPlutarchís Lives of Themistocles Pericles Aristides Alcibiades and Coriolanus Demosthenes and Cicero Caesar and Antony,î Vol. no. 12; ìVirgilís Aeneid,î Vol. no. 13; ìStories from the Thousand and One Nights (The Arabian Nightsí Entertainments),î Vol. no. 16; ìFolk-Lore and Fable: Aesop, Grimm, Andersen,î Vol. no. 17; ìModern English Drama: Dryden, Sheridan, Goldsmith, Shelley, Browning, Bryon,î Vol. no. 18; ìJohann Wolfgang von Goethe. Faust, part I, Egmont, Hermann and Dorotheaî, ìChristopher Marlowe, Doctor Faustus,î two works in Vol. no. 19; ìThe Divine Comedy of Dante Alighieri: Hell, Purgatory, Paradise,î Vol. no. 20; Alessandro Manzoni, ìI Promessi Sposi (The Betrothed),î Vol. no. 21; Homer, ìThe Odyssey,î Vol. no. 22; R. H. Dana, Jr., ìTwo Years Before the Mast, and Twenty-Four Years After,î Vol. no. 23; ìEdmund Burke on Taste on the Sublime and Beautiful Reflections on the French Revolution, A Letter to a Nobel Lord,î Vol. no. 24; ìJohn Stuart Mill, Autobiography Essay on Libertyî, ìThomas Carlyle, Characteristics Inaugural Address Essay on Scott,î two works in Vol. no. 25; ìContinental Drama: Calderon, Corneille, Racine, Moliere, Lessing, Schiller,î Vol. no. 26; ìEnglish Essays from Sir Philip Sidney to Macaulay,î Vol. no. 27; ìEssays, English and American,î Vol. no. 28; Charles Darwin, ìThe Voyage of the Beagle,î Vol. no. 29; ìScientific Papers: Physics, Chemistry, Astronomy, Geology,î Vol. no. 30; ìThe Autobiography of Benvenuto Cellini,î Vol. no. 31; ìLiterary and Philosophical Essays. French, German, and Italian,î Vol. no. 32; ìVoyages and Travels, Ancient and Modern,î Vol. no. 33; ìFrench and English Philosophers: Descartes, Rousseau, Voltaire, Hobbes,î Vol. no. 34; ìChronicle and Romance: Froissart, Malory, Holinshed,î Vol. no. 35; Niccolo Machiavelli, ìThe Princeî, Sir Thomas More, ìUtopiaî, Martin Luther, ìNinety-Five Theses address to the German Nobility Concerning Christian Liberty,î three works in Vol. no. 36; ìEnglish Poetry, Volume I from Chaucer to Gray,î Vol. no. 40; ìEnglish Poetry, Volume II from Collins to Fitzgerald,î Vol. no. 41; ìEnglish Poetry, Volume III from Tennyson to Whitman,î Vol. no. 42; ìAmerican Historical Documents, 1000-1904,î Vol. no. 43; ìSacred Writings. Volume I, Confucian, Hebrew, Christian (Part I),î Vol. no. 44; ìSacred Writings. Volume II, Christian (Part II), Buddhist, Hindu, Mohammedian,î Vol. no. 45; ìElizabethan Drama. Volume I, Marlowe, Shakespeare,î Vol. no. 46; ìElizabethan Drama: Dekker, Jonson, Beaumont and Fletcher, Webster, Massinger,î volume II, Vol. no. 47; ìBlaise Pascal, Thoughts, Letters, Minor Works,î Vol. no. 48; ìEpic and Saga: Beowulfî, ìThe Song of Rolandî, ìThe Destruction of Da Dergaís Hostelî, ìThe Story of the Volsungsî, and ìNiblungs,î five works in Vol. no. 49; ìThe Editorís Introduction Readerís Guide, Index to the First Lines of Poem Songs & Choruses Hymns & Psalms, General Index, Chronological Index,î Vol. no. 50. Each volume; Height: 8 3/4 x width: 6 1/4 in. Condition: Some discoloration to book covers and water damage. Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions. Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• SIX-ARIA SUBLIME HARMONIE MUSIC BOX,
  SIX-ARIA SUBLIME HARMONIE MUSIC BOX, SWITZERLANDSIX-ARIA SUBLIME HARMONIE MUSIC BOX, SWITZERLAND , serial #27307, rosewood veneered and crossbanded case with ebonized moldings and gilt bronze carrying handles; (the sides and back of the case are painted to simulate rosewood); the lid is centered by a marquetry spray of spring flowers and opens to disclose the movement with 13-inch cylinder and tune sheet listing six selections including Marche du Prophete, Salvator Rosa, Pizzicato Polka, Le Petit Bleu Valse, and La Boiteuse Chansonnette . Height 8 in. Length 23 ¾ in. Depth 11 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• RAY HOWLETT - FANNINGSigned, 2001, Coated
  RAY HOWLETT - FANNINGSigned, 2001, Coated glass and mirror with electric light, 26.5h x 9w x 9d. The American artist Ray Howlett is a pioneer of infinity light sculpture. He has been creating dichroic glass light sculptures for almost half a century. First experimenting with dichroic glass in 1973, Howlett was intrigued with structural optics and electric light that yielded an array of reflections and by 1978 had developed his sophisticated, personalized technique that we now associate with his name. Howlett’s sculptures are characterized by their cascading colors, complex geometries, organic symmetries, and by the illusion, they create of an expansive space within them. The sculptures are interactive and viewer kinetic, as the spectator moves around the sculpture, using their own time and space to create the famous Howlett shifts in composition and color inside the transparent sculpture. The contrast between the fixed physical dimension and expanded optical dimension creates an undeniably sublime sensation.The works emphasize a limited physical space containing an unlimited virtual space, addressing Howlett's fascination with illusions in which "the space inside the sculpture looks to be larger than the outside 3-dimensional measurements."He has created a totally original art form that explores the possibilities of light as a perceptual phenomenon. His art has shown in 25 solo museum exhibitions and can be seen in 25 museum permanent collections.Ray Howlett was born in Lincoln, Nebraska in 1940. Earned his Bachelor of Fine Arts from the University of Nebraska in 1963. Condition: Excellent
• GROUP OF SIX CHINESE EXPORT PORCELAIN
  GROUP OF SIX CHINESE EXPORT PORCELAIN DISHESmid 18th century, with floral, armorial, and figural enamel decoration, comprising: plate with scalloped edges and central decoration of elephant rider, floral sprays, spearhead border, gilt highlights; large charger with scalloped edges, floral sprays and central vase decoration; two plates with floral, bird, and butterfly decoration; two plates with armorial decoration, one with banner "In Sublime"; largest 11-5/8 in. diameter Provenance: The Important Private Collection of a Rocky Mountain Couple Condition: surface dirt and accretion, minor losses to enamel decoration, typical edge wear and small edge chips; "In Sublime" plate with several hairline/spider cracks to base; one floral and butterfly plate with two hairline cracks to edge
• HIGH GRADE RATE SWORD CANE-Ca. 1880
  HIGH GRADE RATE SWORD CANE-Ca. 1880 -Large staghorn handle fashioned in a stunning shaved L-shape with two grooved and gilt metal collars on a stepped natural yellowish malacca shaft and a metal ferrule. -The handle detaches through a precise quarter turn locking device to release a very long, 28 ½” tall linear tapering diamonds shaped steel blade with a redoubtable pointed tip. -Despite extensive corrosion and pitting, the high-grade forged steel blade kept its sublime feathering strength and still shows, and over its entire length, finely etched and blued linear decoration and scrolls. -This cane is marked by an inconspicuous profile that makes it a perfect disguised, defense weapon. It survived in untouched initial condition and only in need of an expert fastening and adjustment of its locking device. The passage of time endowed it with the indefinable and cherished personality of great collectables. -Notable is that sword canes were a popular fashion accessory for wealthy upper-class men routinely trained in swordsmanship who wished to go armed for self-defense. -H. 4 ½” x 3 ¾”, O.L. 35” -$600-$700
• 20TH C. BILL FREEMAN PAINTING - MOUNTAIN
  20TH C. BILL FREEMAN PAINTING - MOUNTAIN LANDSCAPEWilliam Joseph "Bill" Freeman (American, 1927-2012). Oil on canvas, ca. mid 20th century CE. A stunning Bill Freeman landscape painting depicting a picturesque sunlit view of the American West, perhaps a site in the Grand Tetons or Jackson Hole, two of the artist's favorite painting destinations. Freeman presents a majestic mountain range from the verdant foothills below. Freeman is known for his soothing palette, and this painting does not disappoint with greens ranging from sage to emerald, as well as shades of azure and periwinkle; blush pink and mauve; slate grey and creamy white; and occasional highlights of aqua and tangerine hues. In addition, his technique demonstrates free brushwork and a sophisticated command of the palette knife. A sublime view of this impressive mountain range in the American West. Size: 21.875" L x 27.875" W (55.6 cm x 70.8 cm) Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U.S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona as well as Jackson Hole and Grand Tetons National Park, Wyoming. Provenance: private Glorieta, 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. #168718 Condition: Generally excellent!
• PUBLISHED / EXHIBITED ROMAN BRONZE VENUS
  PUBLISHED / EXHIBITED ROMAN BRONZE VENUS W/ SILVER EYES...Roman, Imperial Period, ca. 1st to 4th century CE. A stunning leaded bronze figure of Venus (Greek Aphrodite), the goddess of love and beauty, enveloped in a verdant green patina. Crowned by a crescent-shaped diadem, the gorgeous deity stands in contrapposto with her right leg bent at the knee and her weight gracefully shifted. Her left arm gently bends as her hand grazes her body, hovering over her sex, perhaps a gesture of modesty like the Venus Pudica, and her right hand extends out from her body in a welcoming pose. The goddess turns her head ever-so-slightly toward her right, her tranquil visage displaying naturalistic features framed by a rolled back coiffure resolving in a chignon, while soft tendrils grace her shoulders. A truly remarkable relic from the ancient Roman Empire! Size: 1.5" W x 3.4" H (3.8 cm x 8.6 cm); 5" H (12.7 cm) on included custom stand. A breathtaking representation of the goddess who possessed such sublime beauty that she inspired much rivalry among the gods, all of whom wished to make her his wife. According to classical mythology, Jupiter (Zeus) determined that Venus (Aphrodite) would marry Vulcan (Hephaestus), the handicapped blacksmith god. Vulcan in turn created a magical girdle to guarantee her fidelity. Unfortunately for him, the Goddess of Love and Beauty proved unfaithful. Venus (Aphrodite) has inspired countless representations in visual culture, among the most famous, Attic sculptor Praxiteles' "Aphrodite of Knidos" (ca. 360 to 330 BCE) and Renaissance painter Sandro Botticelli's "Birth of Venus" (1484-86). Published: J. Eisenberg, Art of the Ancient World, vol. IV (1985), no. 194; vol. VI, 2 (1991), no. 119. On loan to Ball State University Art Museum, George Mason University, and Fitchburg Art Museum from 1997 to 2016. Provenance: private Jersey City, New Jersey, USA collection; ex-Artemis Gallery; ex-private K.D. collection, Warwick Rhode Island, USA, acquired from Royal-Athena in August 1997 - On loan to Ball State University Art Museum, George Mason University, and Fitchburg Art Museum from 1997 to 2016. Published: J. Eisenberg, Art of the Ancient World, vol. IV (1985), no. 194; vol. VI, 2 (1991), no. 119. 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. #169899 Condition: Losses to lower legs and feet. Expected surface wear with abrasions and softening of detail, commensurate with age. Bronze has developed a gorgeous green patina.
• EXHIBITED ROMAN BRONZE FIGURE OF VENUS,
  EXHIBITED ROMAN BRONZE FIGURE OF VENUS, EX-SOTHEBY'SRoman, Imperial Period, ca. 1st to 2nd century CE. A stunning leaded bronze figure of Venus (Greek Aphrodite), the goddess of love and beauty, resembling Praxiteles Aphrodite of Knidos, enveloped in a verdant green patina. Crowned by a crescent-shaped diadem, the gorgeous deity stands in contrapposto with her right leg bent at the knee and her weight gracefully shifted. Her left arm gently bends as her hand grazes her body, hovering over her sex, perhaps a gesture of modesty like the Venus Pudica, and her right hand extends out from her body in a welcoming pose. The goddess turns her head ever-so-slightly toward her right, her tranquil visage displaying naturalistic features framed by a rolled back coiffure resolving in a chignon, while soft tendrils grace her shoulders. A truly remarkable relic from the ancient Roman Empire! Size: 2" W x 6.5" H (5.1 cm x 16.5 cm); 7.9" H (20.1 cm) on included custom stand. A breathtaking representation of the goddess who possessed such sublime beauty that she inspired much rivalry among the gods, all of whom wished to make her his wife. According to classical mythology, Jupiter (Zeus) determined that Venus (Aphrodite) would marry Vulcan (Hephaestus), the handicapped blacksmith god. Vulcan in turn created a magical girdle to guarantee her fidelity. Unfortunately for him, the Goddess of Love and Beauty proved unfaithful. Venus (Aphrodite) has inspired countless representations in visual culture, among the most famous, Attic sculptor Praxiteles' "Aphrodite of Knidos" (ca. 360 to 330 BCE) and Renaissance painter Sandro Botticelli's "Birth of Venus" (1484-86). Published in Eisenberg, J. "Art of the Ancient World." Vol. XXVI, New York, 2015, no. 43; also "Art of the Ancient World." New York, 1985, no. 281. Exhibited in Picker Art Gallery, Colgate University and Ohio University Art Museum, 1985 to 1994 CE. Provenance: ex-private Michigan, USA collection, acquired in 1985; ex-Royal Athena Galleries, New York, New York, USA; ex-Sotheby's, London, July 9, 1984, Lot 315 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. #171565 Condition: Losses to middle finger of left hand. Light surface wear commensurate with age, as shown. Otherwise, excellent with lovely patina.
• BIERSTADT - "STORM IN THE ROCKIES, MT.
  BIERSTADT - "STORM IN THE ROCKIES, MT. ROSALIE" (1869)**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding. Albert Bierstadt (German-American, 1830-1902). "Storm in the Rocky Mountains, Mt. Rosalie" chromolithograph by H.M. Long, published by Thomas McLean, London, UK, 1869. Signed & dated 1866 (date for the original painting) in plate. A grand chromolithograph of Albert Bierstadt's "Storm in the Rocky Mountains, Mt. Rosalie" presenting a landscape inspired by sketches created during an 1863 expedition to the Colorado Rockies capturing Mt. Rosalie (now Mount Evans). The composition features a Native American hunting scene in the foreground, a waterfall leading to a lake (based on the Upper and Lower Chicago Lakes near Denver) in the middle ground, and Mt. Rosalie (now Mt. Evans) amidst threatening storm clouds but spot lit by a magical break in the clouds at the upper left. A grand landscape of the American West that reflects Bierstadt's understanding of Manifest Destiny as well as his audience's appetite for the dramatic sublime and, somewhat paradoxically, nearly photographic details, set in a custom, museum-quality frame behind glass. Size (sight view): 18" L x 32" W (45.7 cm x 81.3 cm) Size (frame): 32.75" L x 46.75" W (83.2 cm x 118.7 cm) Albert Bierstadt (1830-1902) was born in Germany, near Dusseldorf; however, he grew up in the United States. In his twenties he returned to Germany to study at the reputable Dusseldorf Academy. In addition to this school's tradition of heroic painting, the Hudson River School tradition would greatly impact the young Bierstadt who would go on to be best known for his grand paintings of the American West. Depicting the breathtaking beauty of such awe-inspiring locales as the Rocky Mountains and Yosemite Valley, Bierstadt's art also reflected the notion of Manifest Destiny in support of westward expansion. The original painting "Storm in the Rocky Mountains, Mt. Rosalie" is in the collection of the Brooklyn Museum of Art (accession number 76.79). As noted on their website, "In 1863, Albert Bierstadt made an arduous expedition to Colorado in order to gather studies of the region for this monumental painting, executed three years later in his New York studio. For the final canvas, he exercised artistic license-rearranging some landmarks and exaggerating the scale of others-to maximize the visual interest of this Rocky Mountain landscape. The picture toured the country on a yearlong exhibition and thrilled audiences with its dual effects of sublime grandeur and reportorial detail. Soaring peaks, expansive valleys, and turbulent weather conditions create a dramatic backdrop for the meticulously detailed flora and a Native American hunting scene in the foreground. Mt. Rosalie (now Mt. Evans) appears in spotlight within a ring of dark clouds in the upper left corner of the composition. Bierstadt established his artistic reputation with 'Great Pictures' of the American West that embodied the national agenda of expansionism known as Manifest Destiny." Of note: According to the Brooklyn Museum of Art, "The painting had a personal significance, for 'Mt. Rosalie' (now Mount Evans) was named by the artist in honor of his traveling companion's wife, Rosalie Osborne Ludlow, whom Bierstadt would marry in 1866 following her divorce." An invoice from Selker Fine Art, Cleveland, Ohio dated December 16, 2006 lists the price of this chromolithograph (with a different frame) at $9500. Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased from Selker Fine Art, Cleveland, Ohio, USA 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. #175644 Condition: Signed and dated 1866 in the plate (one boulder at lower right). Mounted in a custom, museum-quality frame with a linen matte behind glass. Chromolithograph has not been examined outside the frame but appears to be in overall excellent condition. Framing is excellent. Professional suspension hardware (Wallbuddies) on verso and ready to display.
• KATHRYN STEDHAM PAINTING - "GHOST RANCH
  KATHRYN STEDHAM PAINTING - "GHOST RANCH SHADOWS" (2020)...**First Time At Auction** Kathryn Stedham (American, Contemporary). "Ghost Ranch Shadows" oil on canvas panel, 2020. Signed on lower right. A stunning painting of New Mexico's Ghost Ranch by Kathryn Stedham. Stedham blends figurative interpretation with abstraction in this piece, delineating verdant passages leading to the sublime cliffs of renowned Ghost Ranch beneath an azure sky. All is rendered with her gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. While the scene depicts a site where ancient history has been unveiled via the discoveries of dinosaur fossils, Stedham interpreted it with a modern sensibility and a vibrant color palette that is fresh and current. A beautiful example of Kathryn Stedham's impressive artistry set in a custom frame. Size (painting): 30" L x 36" W (76.2 cm x 91.4 cm) Size (frame): 33.2" L x 39.2" W (84.3 cm x 99.6 cm) This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain Gallery's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.' Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery. Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility. Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico." Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased at Blue Rain Gallery, Santa Fe, New Mexico, USA 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. #176364 Condition: Painting is overall excellent and signed at the lower right. Also signed, titled, and dated on verso. Mounted in a beautiful custom frame with a lovely finish. Fit with suspension wire and ready to display.
• ALFRED DE BREANSKI "HIGHLAND VALLEY
  ALFRED DE BREANSKI "HIGHLAND VALLEY AT SUNSET" (1921)Alfred I. de Breanski Sr. (British, 1852-1904). "A Highland Valley at Sunset" oil on canvas, 1921. Signed "A. de Breanski 1921" at lower right corner. A breathtaking landscape of Scotland's Highland Valley by British artist Alfred de Breanski, a leading British landscape painter of the Victorian era. De Breanski presents this sublime mountain range bathed in radiant light of the setting sun, glowing in beautiful shades of red and gold as crystalline blue waters cascade in the riverbed below. De Breanski was especially adept at capturing natural light and a broad range of climactic conditions in the tradition of John Constable, as demonstrated in this outstanding landscape painting, mounted in a custom frame. Size (sight view): 15.5" L x 23.5" W (39.4 cm x 59.7 cm) Size (frame): 21" L x 29" W (53.3 cm x 73.7 cm) About the artist: "Alfred de Breanski Sr. was a British landscape painter, best known for his idyllic yet realistic depictions of rural Wales and Scotland. Through his close attention paid to the manifold textures, light, and coloristic qualities of each particular landscape, it is evident that de Breanski was deeply influenced by the work of John Constable. He also drew much inspiration from the dramatic nature of the Scottish countryside, such as the Highlands, which are noted for their desolate beauty and spectacular scenery. Born in 1852 in Greenwich, England, he went on to exhibit his works at the Royal Academy in London from 1872 until 1918. Today, his works are in the collections of the Southampton City Art Gallery, the Lang Art Gallery, and the Brighton & Hove Museums. De Breanski died in 1928 in London, England." (source: artnet) Provenance: private Monroe, Connecticut, USA collection, acquired September 2021 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. #178846 Condition: Signed "A. de Breanski 1921" at lower right corner. Painting has been professionally cleaned and is in overall very good condition. No patches, no unstable paint. A few small scattered in-painting spots in the sky and two small areas on the far left. Canvas is tight with no stretcher marks. Verso of canvas has darkened with age. A few scuffs and nicks to the custom frame as shown. Fit with an old suspension wire which we suggest replacing with new wire.
• SEVEN-PIECE PINO GICLEE LOT: 1. Young
  SEVEN-PIECE PINO GICLEE LOT: 1. Young Beauty Lamenting at her Bedside, Giclee on Canvas, 24'' x 16'', signed lower right, numbered 93/500, unframed. 2. Silk Taffeta, Lithograph on Paper, 27'' x 17'', signed lower left numbered 36/295 lower left, unframed, sold with certificate of authenticity from Classic Publications Inc. 3. Deborah Revisited, Giclee on Paper, 21'' x 16.50'', singed lower left, numbered 47/295 lower right, unframed, sold with certificate of authenticity from Classic Publications Inc. 4. White Camisole, Lithograph on Paper, 25'' x 17.50'', signed lower left, numbered 73/295 lower right, sold with certificate of authenticity. 5. Sublime Beauty, Giclee on Canvas, 22'' x 16'', signed lower left, numbered 69/500 lower right, unframed. 6. A Place in My Heart, Giclee on Paper, 18'' x 22'', signed lower right, numbered 31/295 lower left, unframed, sold with certificate of authenticity. 7. Almost Ready, Lithograph on Paper, 23'' x 19''signed lower left, numbered 24/295 lower right, unframed, sold with certificate of authenticity.
• IZNIK-STYLE RIMLESS POTTERY DISH WITH
  IZNIK-STYLE RIMLESS POTTERY DISH WITH SAZ LEAF 19TH CENTURY of circular form with short upright rim on a short foot, underglaze painting in blue, turquoise, bole red and black outline on an off-white ground, decorated with a saz leaf, carnations and roses issuing from a leafy tuft, the rim with a repeat zig-zag pattern, verso decorated with blue and turquoise flowerheads, with glaze scratched off in the middle(1)33.5cm diameterProvenance: Private collection of a notable Ottoman family in London.The collection is from a notable Ottoman land-owning family, that married over generations into the Sultans’ court. Some were judges, civil servants and vizirs in the Damascus vilayet, as well as members of parliament to the Sublime Porte.
• QUR’AN SECTION IN ‘EASTERN’ KUFIC
  QUR’AN SECTION IN ‘EASTERN’ KUFIC SCRIPT PERSIA, 11TH-12TH CENTURY 44 folios, comprising Sura II, al-Baqara, vv. 178-181, vv. 213-220, vv. 222-226, vv. 231-240, vv. 245-247, vv. 253-254, vv. 256-279, vv. 282-286; Sura III, Al ‘Imran, vv. 5-15, vv. 19-33, vv. 44-49, vv. 52-55, vv. 61-79, vv. 82-91, vv. 97-100, vv. 125-130, vv. 135-145, vv.173-178, vv. 183-189;Arabic manuscript on buff paper, with 7ll of black Eastern Kufic script with red diacritics, interlinear translations in Persian script, verses separated by gold and red dotted florets, further text divisions marked by gold and polychrome marginal medallions and further drop-shaped oblong cartouches(44)30.8 x 22 cmProvenance: Private collection of a notable Ottoman family in London.The collection is from a notable Ottoman land-owning family, that married over generations into the Sultans’ court. Some were judges, civil servants and vizirs in the Damascus vilayet, as well as members of parliament to the Sublime Porte.Note: The style of script of this Qur’an section epitomises the transitional period from the early kufic style into the more angular and more accentuated regional styles called ‘eastern’ and ‘western’. The crossed and perfectly symmetrical lam-alif is a characteristic of the eastern kufic. Another interesting feature of this Qur’an is the structure of the thick, buff paper, whose chain lines and laid lines are clearly visible. A single folio from the same Qur’an (Sura II, al-Baqara, v.146-150) previously in the collection of Adrienne Minassian, New York, 1955, was sold Sotheby’s, London, Stuart Cary Welch Collection Part II, 6 April 2011, lot 13.
• BIFOLIUM IN SYRIAC SCRIPT FROM THE 'PESHITTA'
  BIFOLIUM IN SYRIAC SCRIPT FROM THE 'PESHITTA' BIBLE CIRCA 16TH-17TH CENTURY written in black ink on paper, comprising New Testament Luke vv. 17.7- vv. 18.6, the text is divided into two columns on each of the four leaves, ruled with 28 lines per column, with justified margins, red quatrefoil cross paragraphii indicating verse endings, sporadically applied, rubrics in red on the side margins denote chapter and verse numbers, with occasional instructions for usage, rubric comments in red in the lower margins indicating variant readings from the synoptic gospels(2)40cm x 27cmProvenance: Private collection of a notable Ottoman family in London.The collection is from a notable Ottoman land-owning family, that married over generations into the Sultans’ court. Some were judges, civil servants and vizirs in the Damascus vilayet, as well as members of parliament to the Sublime Porte.Note: The Peshitta version of the New Testament emerged in the 5th century resulting from widespread reforms implemented by Rabbula, Bishop of Edessa. This bifolium is a wonderful and intact handwritten example from a later edition of the Peshitta, before printing became commonplace. It is written in the Syriac Eastrangelo script by a trained ecclesiastical hand, in a monastic context. The Estrangelo script was used for biblical and liturgical works, as well as for inscriptions, by the Syriac branches of Christianity.Please refer to the departement for a more in-depth report kindly provided by Dr Erica Hunter.
• OTTOMAN METAL-THREAD EMBROIDERED VELVET
  OTTOMAN METAL-THREAD EMBROIDERED VELVET PIRPIRI KAFTAN LATE 19TH / EARLY 20TH CENTURY the front black velvet ground heavily embroidered with silver and metal thread comprising repeat geometric and floral motifs, with foliated collar and cotton lining(1)103cm highProvenance: Private collection of a notable Ottoman family in London.The collection is from a notable Ottoman land-owning family, that married over generations into the Sultans’ court. Some were judges, civil servants and vizirs in the Damascus vilayet, as well as members of parliament to the Sublime Porte.Note: During the late Ottoman Empire, the sleeveless kaftan is known as the pirpiri type. For further examples in the Sadberk Hanim Museum, see Lale G?rünür, Women’s Costume of the late Ottoman Era, Istanbul 2010, nos. 49-52.
• OTTOMAN ROSE-CUT DIAMOND NECKLACE FROM
  OTTOMAN ROSE-CUT DIAMOND NECKLACE FROM THE REIGN OF SULTAN ABDULHAMID II (R.1876-1909) CIRCA 1900 composed of raised clusters and foliate motifs, set throughout with rose-cut diamonds and diamond slices in foiled closed back settings, two drops and a couple of diamonds deficient, to a later freshwater cultured pearl necklace and 9ct gold and blue enamel clasp(1)Length: 46.5cmProvenance: Private collection of a notable Ottoman family in London; formerly the property of the wife of a Pasha, Egypt.The collection is from a notable Ottoman land-owning family, that married over generations into the Sultans’ court. Some were judges, civil servants and vizirs in the Damascus vilayet, as well as members of parliament to the Sublime Porte.
• THOMAS MORAN, AMERICAN (1837-1926),
  THOMAS MORAN, AMERICAN (1837-1926), VENICE, 1903, OIL ON CANVAS, 20 X 30 INCHESTHOMAS MORAN, American, (1837-1926) Venice, 1903, oil on canvas signed and dated lower left "T. Moran 1903" oil on canvas Dimensions: 20 x 30 inches Provenance: Sotheby's, New York, New York, December 3, 1987, lot 85; Sotheby's, New York, New York, December 4, 2002, lot 128; Private Collection. Other notes: This painting will be included in the Thomas Moran Catalogue Raisonné Project under the direction of Stephen L. Good, Phyllis Braff, and Melissa Webster Speidel. Framed dimensions: 29 3/4 x 39 3/4 x 3 1/2 inches Thomas Moran immigrated with his family from England to Philadelphia in 1844. He attended public school and in 1853 apprenticed to a wood engraver. The four Moran brothers all became artists and Thomas worked in his older brother, Edward's, studio. Edward had already begun to establish himself as a marine painter. Of the four, Thomas Moran became the most successful and is today recognized as one of the preeminent painters of the American Landscape. In 1861, captivated by the work of J.M.W. Turner that they had seen in prints, the two brothers, Edward and Thomas, traveled to London where they spent several months studying and copying Turner's works on view at the National Gallery. This trip and Turner's influence would be evident in much of Thomas Moran's subsequent work. In 1871, Scribner's Magazine hired him to rework some sketches of Yellowstone made by another artist. Moran decided to visit Yellowstone himself and the trip generated numerous paintings and commissions. Inspired by the landscape he completed a 7 x 12 foot painting, Grand Canyon of the Yellowstone, that later sold to Congress shortly after the land was designated as a National Park. Following this success, he created another canvas, Chasm of the Colorado, also sold to Congress and matching the impressive scale of the previous painting. Moran returned to Europe, following in the footsteps of Turner and visiting places where his idol had painted. Captivated by Venice, Moran first visited in 1886 and returned again in 1890 and 1911. The paintings he created of the picturesque Italian city are sublime, luminous views reminiscent of his Turner. In the paintings, Moran masterfully switches between tightly painted areas to broader brush strokes, capturing the changing atmosphere. In 1883 Moran visited Mexico and traveled throughout the American Southwest and the Grand Canyon. He moved to Santa Barbara, California in 1916 and died there a decade later. At the age of 87 he made his last trip to Yellowstone, two years before his death. After his death he was memorialized as the "Dean of American Landscape Painters." Tags: oil painting, Venice, Italy, European, listed artist, 19th century, marine / coastal / seascape Condition: in overall excellent condition; lined canvas; very minor frame abrasion lower right with corresponding hairline of paint; in an exceptional period frame; very minor craquelure upper right; additional UV photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.