Rolex (Swiss, founded 1905). A men’s stainless steel Rolex Oyster Perpetual Cosmograph Daytona watch reference #116520 with 38.55mm case, tachymeter bezel, screw down triplock oyster crown and pushers; dial contains a black gloss surface, outer minute track and three subsidiary dials for seconds, thirty minute intervals and twelve hour registers, with serial number FLO8866, produced in the third quarter of 2003. Marked to band “Rolex, Geneva, Swiss Made”. Note: Accompanied with bothoriginal boxes.

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Condition
Surface scratches to bezel and band, no significant damage observed.

(American, 1946-1989)Flower Arrangement, 1986, printed 1986, 9/10, signed on the estate sticker verso, also signed by the executor Michael Ward Stout, vintage gelatin silver print, 24 x 20 in.; modern wood frame, 29 x 28-3/4 in.I; llustrated: Mapplethorpe, Robert, Mark Holborn, Dimitri Levas, and Herbert Muschamp. Flora: The Complete Flowers. 2016, pl. 131; Martineau, Paul, Britt Salvesen, Philip Gefter, Jonathan D. Katz, Ryan Linkof, Richard Meyer, and Carol Squiers. Robert Mapplethorpe The Photographs. Los Angeles, Calif: J. Paul Getty Museum, 2016, pl. 188Also of; Note: attached verso is a copy of correspondence between Tom Baril (one of Mapplethorpe’s master printers who printed this piece) and the consignor, discussing the merits of this composition.; Provenance: Xavier Hufkens Gallery, Brussels, Belgium (gallery label verso with artist credit, title, date and number ); An Important Photography Collection, Florida

Autumn
Signed and dated ‘PETER BLUME/1984’ bottom right; also signed, dated, titled, and copyrighted verso, oil on canvas
45 1/4 x 50 in. (114.9 x 127cm)
provenance:
Private Collection, Pennsylvania.
NOTE:
Upon his death at the age of eighty-six, Peter Blume was hailed as a “painter of dreamlike narratives” whose “obsessively detailed images made him one of this country’s best-known painters in the 1930s and 40s” by The New York Times. An ardent admirer of Renaissance technique, Blume’s highly detailed paintings have been described as combinations of various art movements, including Surrealism, Cubism, Precisionism, and Purism, the latter being associated with a style of painting which emphasizes contours and simple shapes. This amalgamation of styles in Blume’s work has sometimes been labeled as magic realism, in which familiar objects are rendered in meticulous detail-sometimes heavily shadowed, as with the harvested vegetables in the foreground of the present work-and placed in surreal or fantasized spatial relationships. In many of Blume’s figurative works, objects have been visibly altered in scale. Even before fully developing his quirky, iconic style, Blume was somewhat of a prodigy, studying with famed American realist painters Isaac Soyer and Raphael Soyer, patronized by the Rockefeller family, and exhibiting with the art dealer Charles Daniel by the age of nineteen. Blume’s painting South of Scranton won first prize at the Carnegie International Exhibition, Pittsburgh, while two of Blume’s best known paintings are in major public collections: Eternal City, originally shown at the Julian Levy Galleries, New York, and now in the Metropolitan Museum of Modern Art, and The Rock, in the Art Institute of Chicago.

Alphonse Maria Mucha (1860-1939)

1908

The life-sized lithograph poster printed in America for the promotion of Mrs. Leslie Carter as lead actress in the play Kassa, signed in the plate and dated 1908, published by The Strobridge Litho Company, Cincinnati and New York, the six-color stone lithography enhanced with metallic gold highlights, posters of this monumental size required printing on two joined sheets of standard poster paper.
The actress Caroline Louise Dudley, oft referred to as the American Sarah Bernhardt, used her married name of Mrs. Leslie Carter as her stage name in spite following her divorce from Chicago millionaire Leslie Carter.
Mucha designed the sets, costumes and publicity for Kassa in the Art Nouveau taste. This life-sized poster for the New York release is the largest of Mucha’s American posters.

The full sheet complete with margins, sheet width 32.125 inches. Frame measures 89.5 x 37 inches.

Provenance: The Estate of Robert Allan Haas, exhibited Hallmark Exhibition – 2005.

We happily provide seamless in-house packing and shipping services on nearly everything we sell.
Condition
Outstanding color and cleanliness, backed with archival paper, minor edge tears, a visible horizontal fold line the full width of the image just above the joint and with touched-up color along that line, a second less pronounced horizontal fold line just below the joint, less touch-up if any, otherwise fine to very good without additional issues beyond a small handful of tiny points of foxing.

A marquise and baguette-cut diamond scroll, suspending RBC diamond fringe terminating with pear-shaped diamonds, set in Platinum. Signed Van Cleef & Arpels, N.Y. 26894. 2 3/4″ x 1″. 19.2 dwt.
Condition
Approx. 20.0 cts. TW. Condition reports are rendered as specialist opinion by the staff of the Auction House and/or independent consultants and not as statements of fact. We do not guarantee the content of written or verbal condition reports. The absence of a condition report does not imply that there are no condition issues with the lot. Please call us at (609) 397-9374 or e-mail [email protected] with any questions about this lot at least 24 hours prior to auction.

Artist: Joan Miro (Spanish, 1893-1983) Title: La Meneuse de Lune (The Moon Driver) Medium: Lithograph in Colors on Arches Paper Circa: 1975 Dimensions: 47 3/4″ x 92 5/8″ Description: La Meneuse de Lune, or The Moon Driver, is an immense abstract lithograph depicting bright swatches of color interlaced with black detail, including what appear to be stars and a fish. Markings: Pencil signed and limited in lower margin. Edition #: 22/30 Condition: Minor toning at edges. Bottom edge slightly out of square. A few spots, mostly in the margins. Very slight sunning. Publications: Mourlot, 1029 This work is one of a series of large works published in 1975, similar in size and subject to The Warrior of a Hundred Years, The Big Oysterwoman and The Mad Woman with Passionate Pimento. Framed size is 53″ x 98 1/8″. Framing shows wear.
Condition
This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.

Coney Island The Cheating Chimps automaton, this complex mechanical device was a major attention getter on the boardwalk in Coney Island, New York. The Coney Island History Project (https://www.coneyislandhistory.org/ask-mr-coney/lillie-santangelos-world-wax) is a font of knowledge on all matters Coney Island and mentions this automaton noting that it was in the front window of Lillie Santangelo’s World in Wax, a major attraction in Coney Island from the 1920s until 1984 and was titled “The Cheating Cheaters”. Mr. Fox carefully restored it to operational condition: each figure moves their heads while raising their hands to bid. Other animations portray the “cheating” – the stack of poker chips under the arm of the figure on the left grows and diminishes during play, while an extra card appears out of the table leg next to the chimp on the right, overall height – 57″, base – 78″ w., 29″ d.

Condition
The mechanism is in full working order but the main drive belt has stretched and needs replacement for full functionality. Light wear to fur coats and composition heads.

Set of Gorham ‘Strasborg’ sterling silver flatware, 123 pcs. 8 piece plate setting for 12 including shrimp forks, salad forks, icetea spoons, forks, teaspoons, soup spoons, knives and butter knives, plus 27 serving pieces including fork and knife carving set, 4 cake/ pie servers, 4 serving forsk, 4 tablespoons, 3 ladles, sald fork and spoon and 8 other serving items. 3874 grmas.

Baranger Studios electric automaton fortune teller store display, denoted M-129 in John Daniel’s Baranger – Displays in Motion -“Your fortune will be read as you see the answers in the Magic Eye,” as the spinning wheel stops, the fortune teller nods his head, a scarce motion due to many having been “dismantled for salvage” according to Daniel, front placard inscribed A Happy Future for You with one of our Beautiful Diamonds, 16 3/4″ h.
Condition
No shipping box, wheel rotates and fortune tellers head moves, front peep hole window opens and closes and image rotates, 3″ hairline at neck line, some paint flaking to placard, gold paper loss to front edge of table.

Ulua Valley, Honduras, Late Classic, c. 600 – 850 AD

Expertly painted with two underworld palace scenes, each with a mythological half-figure seated under a flamboyantly decorated canopy holding a large feathered implement with long tassel or ribbons to the front, another standing figure tilted way forward from the waist and looking intensely at a small stepped pyramid altar, while holding a bag with one hand and a wand in the other. In excellent condition. Examined under blacklight: no apparent repairs or restorations, three short stress cracks, one strengthened with glue.

Provenance:
From the collection of Dr. and Mrs. Henry Gans

Height: 7 ¾ inches