Lot # 32: Claude MONET (1840-1926) French School Un Bras de Seine près de Vétheuil, 1878 Oil on canvas; signed lower right 18.1 X 28.1 In. – 46 X 71.5 Cm. This painting is accompanied by a certificate of authenticity issued by Daniel Wildenstein on the 16th of May, 1990.This work is also no. 484 In the catalogue raisonné of the artist, Volume I. Provenance Andre Schwob d’Hericourt De Castries Abel Rosenberg, circa 1968 Mr. & Mrs. Georges Strawbirdge, 1969 Private Collection

Lot # 475: Le placche sono decorate a motivi floreali e paesaggi con figure nei colori della Famiglia Rosa, cm 385X53X172

Lot # 58439: Art Deco Natural Fancy Blue Diamond, Diamond, Platinum Ring, J.E. Caldwell The ring features a natural fancy blue marquise-shaped diamond measuring 17.49 X 7.54 X 4.26 Mm and weighing 3.50 Carats, enhanced by baguette-cut diamonds weighing a total of approximately 0.20 Carat, accented by full and single-cut diamonds weighing a total of approximately 0.10 Carat, set in platinum, marked JEC & Co. For J.E. Caldwell and Company, reference number L2534. A GIA Laboratory report # 5151093895 dated November 12, 2012 stating Natural Fancy Blue color, VS1 clarity, as well as a working diagram indicating that the clarity may be potentially Internally Flawless, accompany the marquise diamond. Gross weight 3.75 Grams.Size: 5 (sizeable)Property of a New England Estate

Lot # 48: Ivan Konstantinovich AIVAZOVSKY (1817-1900) Naval Squadrons off the Coast of Crete, 1897 Oil on canvas; signed and dated 1897, signed again, and dated 1897 and inscribed Crete on the reverse 56 x 42 in. – 142 X 107 cm. Provenance Armand Hammer Foundation Collection A version of this painting is in the Naval Museum, St.Petersburg.

Lot # 2099: Tiffany Studios Yellow Rose Floor Lamp. This exceedingly rare shade is perhaps the most technically elaborate of all Tiffany shades produced and is one of only two known examples of the model. Shade: Impressed TIFFANY STUDIOS NEW YORK. 1913 Price List: Model #1904, 26 inch yellow rose, dome, $350Base: Impressed TIFFANY STUDIOS NEW YORK. 1906 Price List: Model #376, Piano, floor, large, chased pod, $165. Height: 72 inches (183 cm) Shade Diameter: 26 inches (66 cm). Provenance: Vito D' Agustino. The Garden Museum Collection, Matsue, Japan. This lamp is pictured on page 324 of "Louis C. Tiffany, The Garden Museum Collection" and page 207 of "Tiffany Lamps and Metalware".

Lot # 515: Blowing Series 2006 Oil on canvas 160 x 200 cm

Lot # 639: Self-Portrait 1951 Oil on canvas mounted onto board 51.5X43 cm

Lot # 5: Pablo Picasso Buste de Femme Spain, 1942 pencil on wove paper 15 h x 12.25 W inches Dated to the top right corner '23.4.42'. Estate stamp to the reverse 'Succ. Pablo Picasso Coll. Marina Picasso'. Literature: Pablo Picasso, Vol. 12 Oeuvres de 1942 et 1943, Zervos, no. 39 Provenance: Estate of the Artist, Marina Picasso | Jerald Melbery Gallery, Charlotte, NC | Estate of William H. Van Every, Jr. | Sotheby's, New York, Impressionist & Modern Drawings and Watercolors, 12 November 1988, Lot 141A | Acquired from James Rondell, London in 1997 | Important private collection

Lot # 57: Unique outfit of original Leitz gold plated 'Luxus' camera with brown lizard leather covering and 2 gold plated lenses (Summar 2/5cm no.190131, Elmar 3.5/3.5Cm no.182545). History of this outfit: It comes from the estate of the famous German sparkling pro

Lot # 2050: Tiffany Studios Oriental Poppy Floor Lamp. A particularly strong example of this major and impressive group of Tiffany lamps. In this lamp, the ample scale of the petals allowed the introduction of large blocks of concentrated color; red, as in this example, and yellow or orange in other examples. Shade: Impressed TIFFANY STUDIOS NEW YORK 1902. 1913 Price List: Model #1902, 26 inch Oriental Poppy, dome, $350. Base: Impressed TIFFANY STUDIOS NEW YORK 375. 1906 Price List: Model #375, Piano, floor, large, wire decoration, scroll, $165. Height: 79 inches (200.5 Cm) Diameter of shade: 26 inches (66 cm). Provenance: Ted and Nellie Ingham. The Garden Museum Collection, Matsue, Japan. This lamp is pictured on page 325 of "Louis C. Tiffany, The Garden Museum Collection".

Lot # 675: Voiler VI 1986 Oil on canvas 50x65.5Cm

Lot # 14: Original "Apple 1 Computer", 1976 This is the sensational 1st product of today's highest-valued company (approx. 600 Billion US$). – The "Apple 1" was designed and handmade by Steve Wozniak in the famous "electronics heaven" of "Silicon Valley", USA, and was marketed in April 1976 by Wozniak and Steve Jobs through electronics retail chain, the "Byte Shop", which bought the first 50 units. – The "Apple 1" was always delivered as a motherboard only and is seen here with the very rare original "NTI" sign. The peripheral equipment such as power pack, keyboard, monitor and cassette recorder had to be obtained personally by the user. "Apple" never offered a housing; every user had to make his own. – The "Apple 1" was the 1st PC in the world with monitor and keyboard access! – The peripheral items are authentic and correspond to the motherboard as recommended by "Apple". – Only 200 examples of the "Apple 1" were ever made. According to the highly regarded "Apple 1 Registry" by Mike Willegal (www.Willegal.Net), today there are only 46 (!) sets in existence worldwide, but just 6 of these are in fully-working condition, and the example offered here is one of those! – We prepared a video demonstration which you'll find on YouTube.Com/AuctionTeamBreker. The demo shows the direct input into the WOZ-monitor: The "Apple 1" did not have an operating system, just a so-called "monitor" program which provided the interface between keyboard entry – CPU – memory and monitor exit. Any more sophisticated software system – like "Basic" – had to be loaded on cassettes. Therefore, a cassette-interface-card, offered optionally by "Apple", was required. This present set contains the original card and the original early "6502 micro processor" in rare white ceramic design! The software cassettes are authentic reproductions. – "Basic" was available for the "Apple 1" at the beginning of 1977 only. In February 1977 "Apple" changed its first logo depicting Isaac Newton under a "paradisical" apple tree to the one which is still used today. The original "Apple 1 Manual" included here still shows the primary logo. – To date, the only two fully-working "Apple sets" in comparable condition to the one here, were auctioned in 2012: by Sotheby's New York on 15 June for US$ 374,500 and on 24 Nov. By Auction Team Breker in Cologne, Germany for US$ 640,000 (€ 491,868). – Today's "Apple 1" computer set is 100 % authentic and in fully working condition ... And it is already signed personally by its inventor and manufacturer Steve Wozniak. – Also enclosed is an original company letter from 1978 signed by Steve Jobs, and addressed to the U.S. Baseball legend Fred Hatfield, whom he offers to exchange his "Apple 1" plus a check about $400 for the new "Apple 2"... – The "Apple 1" is already a legendary milestone from the dynamic dawn of the personal computer age … and a legendary symbol of the "American Dream" too! Watch & Listen on: YouTube.Com/AuctionTeamBreker Original-"Apple 1 Computer", 1976 Das sensationelle erste Modell des heute – nach nur 35 Jahren – wertvollsten Unternehmens aller Zeiten (ca. € 500 Mrd.). – Der "Apple 1" wurde von Steve Wozniak im "Silicon Valley, CA" entwickelt und gebaut und erstmals im April 1976 von ihm und Steve Jobs für $ 666,66 über die Elektronik-Ladenkette "Byte Shop" angeboten. – Der "Apple 1" wurde nur als Platine ausgeliefert, hier mit der äußerst seltenen Original-Bezeichnung "NTI". Die Peripheriegeräte wie Netzteil, Tastatur, Monitor und Kassettenrekorder mussten sich die Käufer selbst besorgen. Ein Gehäuse hat "Apple" nie angeboten, jeder Besitzer konnte es sich nach eigenem Gusto selbst anfertigen. – Der "Apple 1" ist der erste PC der Welt mit Monitor- und Tastaturanschluß! – Das hier angebotene Set entspricht absoluter Authentizität der Peripherie, wie sie von "Apple" empfohlen wurde. – Nur 200 Stück des "Apple 1" wurden je gebaut. Laut dem absolut führenden "Apple 1 Registry" von Mike Willegal (www.Willegal.Net) sind heute nur noch 46 (!) Exemplare weltweit bekannt. Davon sind nur 6 Stück in funktionsfähigem Zustand, das hier angebotene Set zählt dazu! – Unser Demo-Video des hier angebotenen Sets finden Sie auf Youtube.Com/ AuctionTeamBreker. Die Demonstration umfaßt direkte Eingaben in den WOZ-Monitor: Der "Apple 1" hatte kein Betriebssystem, lediglich ein sogenanntes Monitor-Programm stellte die Schnittstelle zwischen Tastatureingabe – CPU – Memory und Monitorausgabe her. Ein höheres Betriebssystem – wie BASIC – musste von Kassette geladen werden. Dazu benötigte man eine Cassette-Interface-Karte, die optional von "Apple" angeboten wurde. Im vorliegenden Set ist eine Original-Karte (!) im Einsatz, außerdem der äußerst seltene und frühe Original "6502 Mikroprozessor in weißer Keramik-Ausführung". Die Software-Kassetten sind authentische Reproduktionen. BASIC war erst Anfang 1977 für den "Apple 1" verfügbar. Ab Februar 1977 verwendete "Apple" das bis heute bekannte Apfel-Logo als Firmenzeichen. Das hier vorliegende Original "Apple 1 Manual" zeigt noch das ursprüngliche Apple-Logo mit Isaac Newton unter einem "paradiesischen" Apfelbaum liegend. – Die beiden 2012 verkauften voll funktionsfähigen und in ähnlich gutem Zustand befindlichen "Apple 1" wurden am 15. Juli bei Sotheby's in New York für US$ 374.500 Bzw. Am 24. Nov. Beim Auction Team Breker in Köln für US$ 640.000 (€ 491.868) Versteigert. – Dieser hier angebotene "Apple 1" ist 100% authentisch und voll funktionsfähig ... Und ist bereits persönlich signiert von seinem Erfinder und Erbauer Steve Wozniak. – Ebenfalls dabei ist ein Original-Geschäftsbrief mit "Apple"-Firmenkopf von 1978, unterzeichnet von Steve Jobs und gerichtet an Fred Hatfield, der bereits 1998 verstorbenen U.S.-Baseball-Legende, dem Steve Jobs anbietet, seinen "Apple 1" umzutauschen gegen einen "Apple 2", wenn er einen Scheck über $400,- beilegt... – Der "Apple 1" ist bereits ein legendäres Highlight der großen, jungen Computer-Geschichte! Watch & Listen on: YouTube.Com/AuctionTeamBreker

Lot # 64100: REMBRANDT PEALE (American, 1778-1860)George Washington, circa 1856Oil on canvas36-1/2 x 29 inches (92.7 X 73.7 Cm)Signed lower left: Rembrandt Peale.Inscribed verso: Original Portrait of ... (1795)PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION PROVENANCE:The artist, prior to 1860;Charles J. Coggill, New York;Mrs. S. Edward Nash (Isabel Coggill), New York;By descent to the Nash family;The Hendershott Collection, 1996.EXHIBITED:Sanitary Fair, New York, 1864;Colonial Dames, New York, "Washington Bicentennial Exhibition", February-March, 1932;Museum of the City of New York, New York, 1946-1955 (on loan);Philadelphia Museum of Art, Philadelphia, Pennsylvania, "The Peale Family: Creation of a Legacy, 1770-1870", November 1996-January 1997;M.H. De Young Memorial Museum, San Francisco, January-April, 1997;The Corocan Gallery of Art, Washington D.C., April-July, 1997;The Museums at Stony Brook, Stony Brook, New York, "George Washington: American Symbol", 1999-2000;The Brandywine River Museum, Chadds Ford, Pennsylvania;The Museum of our National Heritage, Lexington, Massachusetts.LITERATURE:C.C. Sellers, Charles Willson Peale: A Biography, 1969, p. 276;L.B. Miller (ed.), The Peale Family: Creation of a Legacy, 1770-1870, 1997, p. 166, Pl. 78;B. Mitnick (ed.), George Washington: American Symbol, 1999, p. 16, Pl. 12.Intentionally rivaling fellow portraitists John Trumbull, Gilbert Stuart, and his own father, Charles Willson Peale, Rembrandt Peale made it his professional mission to render "the national portrait and standard likeness" of George Washington.1 In 1787, as a boy in Philadelphia, Rembrandt had met Washington, whom Charles Willson had recently celebrated in George Washington at the Battle of Princeton, and in 1795, at the age of seventeen, he requested from his father his first portrait sitting with the president; the resulting George Washington, an accomplished naturalistic study, focused on facial details over costume and captured an aging but proud man. Over the next two decades, Rembrandt Peale painted various likenesses of Washington after other artists like the sculptor Jean-Antoine Houdon, and in 1823, he verbalized his determination to create the official portrait: No Artist ever found his pride more strongly excited by magnitude and interest of his purpose than mine to rescue from oblivion the aspect of a Man who would forever be venerated as the "Father of his Country."2 &Nbsp;Peale's purpose was fueled by commercialism, however, as much as nationalism, as a popular portrait had the potential to generate a demand for replicas. The 1824 George Washington, Patriae Pater realized Peale's goals: it memorialized the president as a classical hero, depicting him in velvet finery against an ethereal ground and set within an oval trompe-l'oeil stone frame, carved with an oak wreath and the head of Jupiter. The portrait also served as the model for Peale's subsequent lucrative Washington commissions, including lithographs, equestrian portraits, and numerous smaller "porthole" portraits.The present George Washington of 1856, from the distinguished Hendershott Collection, exemplifies this "porthole" portrait, otherwise known as the George Washington Copy, which derived from the Patriae Pater and solidified Peale's reputation as the foremost 19th-century Washington painter. Around 1846, Peale began producing the Copy, featuring the Patriae Pater portrait bust within a simplified stonework frame, and available in different sizes (the standard was 25 x 30"), in military or civilian dress, and with orientation to the left or right. For the rest of his career, he solicited commissions for the Copy through pamphlets and a traveling lecture, "Washington and his Portraits." An 1857 article in The Crayon describes the successful lecture Peale delivered at the New York Historical Society:At the close of the reading Mr. Peale exhibited various portraits of Washington, together with one of Mrs. Washington, all painted by himself; the pictures were brilliantly lighted, and so arranged as to be seen to great advantage. The remarks upon the portraits were interspersed with anecdotes, personal reminiscences, and historical facts, possessing marked interest, as they were listened to with unflagging attention.3As part of his promotion of the George Washington Copy in these lecture-exhibits, Peale designed around 1853 a pendant Martha Washington portrait, including this fine 1856 version from the Hendershott Collection. Based on Charles Willson Peale's original 1795 portrait, Rembrandt's Martha Washington captured the first lady as a stately matron, offsetting her strong visage with her ruffled bonnet and diaphanous shawl and balancing the creams of her face and costume with shadowed background architecture. In their 1850s context, Peale's George Washington and Martha Washington together would have reminded audiences of the nobility and unity of America's founding era, indeed, a foil to the growing anxiety of the country on the brink of the Civil War. 1L. Miller, ed., The Peale Family: Creation of a Legacy 1770-1870, Washington, D.C., 1996, P. 163.2C. Hevner, Rembrandt Peale 1778-1860: A Life in the Arts, Philadelphia, 1985, p. 66.3Ibid., P. 88.Alternate Artist Spellings: "Peale, Rembrandt", "Rembrandt Peale"

Lot # 411: GIA 2151046431

Lot # 169: Extremely rare M3 prototype (pre-series, produced as test cameras in 1952/53). The camera is in beautiful and perfect working condition with original features including film advance lever, external frame counter, early speed dial, shape of self timer, bac

Lot # 1184: Pablo Picasso (Spanish, 1881-1973) Buste de Femme d'apres Cranach le Jeune, 1958 (verso Trial Proof Premier Plateau: Le Bistre) linoleum cut; Galerie Louise Leiris, pub.Artist Proof before the edition of 50, inscribed Linogravure Originale de Picasso 1958. Tirage realise par moi-H Arnera (verso) 25 1/2 x 20 7/8 inches. Ref: Bloch, 859 Property from the Estate of Mr. Ivan Bowen II, Wayzata, Minnesota Provenance: Gerhard Wurzer Gallery, Houston, Texas

Lot # 160: Vija Celmins Untitled (Knife and Dish) 1964 Oil on canvas Signed and dated verso Canvas: 16" x 18" Provenance: Private Collection, Los Angeles, California (acquired directly from the artist, 1964) LAMA would like to thank the artist for her assistance in cataloging this work Estimate: $300000 - $500000 MORE INFORMATION: Southern California is the birthplace for some of the most important contemporary art of the 20th century. A contemporary artist such as Vija Celmins (b. 1938) Is greatly admired throughout the world, but many forget that she had her start in Venice, California. Though before she arrived in America, Celmins and her family fled their hometown of Riga, Latvia to escape the imminent Soviet occupation of 1944. After a brief stay at a United Nations refugee camp in Germany, they eventually found solace in Indianapolis, Indiana in 1948. As a 16-year-old art student, she traveled to New York City where she encountered paintings by de Kooning and other Abstract Expressionists. Her infatuation with Action Painting was short-lived however, and upon graduating the John Heron Art Institute, she moved to Los Angeles in 1962 to begin her MFA at the University of California, Los Angeles. According to Department Head and Curator of Contemporary Art at LACMA, Franklin Sirmans, “… it was between 1964 and 1966, before [Celmins] was thirty years old, that she created some of her most important pieces.&Rdquo; “…When I came to L.A., I thought it was a new beginning,” recalls Celmins. From her studio at 701 Venice Blvd., She purged herself of what she knew – Abstract Expressionism, specifically the influences of Gorky and de Kooning – in hopes of finding her own artistic voice. Referring to the intense strokes employed in Action Painting, Celmins remembers, “I couldn’t resolve the stroke-making with the essential stillness of the painting.&Rdquo; In 1964, Celmins chose to venture into a minimal, almost primitive style, painting still lifes of common objects in her studio: a space heater, a fan, a lamp, eggs on a hot plate, cups, spoons, and forks. Painting these everyday objects, cloaked in muted grays, served as a way for Celmins to stop thinking and inventing; this was a period for her to revitalize her work and while doing so, she ultimately broke through to create a form of art that was entirely her own. Celmins describes the transition of her work in 1964 in an interview with Chuck Close: “I decided to go back to looking at something outside of myself. I was going back to what I thought was this basic, stupid painting. You know: there’s the surface, there’s me, there’s my hand. There’s my eye, I paint. I don’t embellish anymore, I don’t compose, and I don’t jazz up the colour.&Rdquo; This brief period in Celmins’ early years in Los Angeles served as a breakthrough, the catalyst for the next phase, yet only a handful of her object paintings still exist. The objects in Untitled (Knife and Dish) (1964) rest alone in a vacuum, “relegated to a purgatorial no-man’s land” that suggest action without a table on which to rest or food to cut. Out of this stillness the viewer feels the tension of inaction, the heavy breathing of stasis, and the objects come to represent some unknown force from what lies ahead. In 1965, Celmins’ thesis show marked a pivotal point in her career, replacing the common, everyday objects from her studio with surreal, radical imagery, commenting on current and historical disaster. The cups, forks, and space heater were replaced with a rhinoceros, a smoking gun, and a World War II fighter plane. Her thesis show and first solo show at David Stuart Galleries propelled Celmins’ career and ultimately launched her to produce some of the most influential contemporary art of our time. Similar examples of Celmins’ object paintings from the same year remain in permanent museum collections, including Heater (1964) at the Whitney Museum of American Art, Gun with Hand #1(1964) at the Museum of Modern Art, New York, and Eggs(1964) at the Museum of Contemporary Art, San Diego. Relyea, Lane, Robert Gober, and Briony Fer. Vija Celmins. New York: Phaidon, 2004. Print. Sirmans, Franklin, and Michelle White. Vija Celmins: Television and Disaster. New Haven: Yale University Press, 2010. Print.

Lot # 64137: JOHN MCCRADY (American, 1911-1968)Steamboat 'Round the Bend, 1946Oil on canvas78 x 168 inches (198.1 X 426.7 Cm)Signed and dated lower right: John McCrady 46PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTIONPROVENANCE:Delmonico's Restaurant, New Orleans, Louisiana, 1946;New Orleans Auction Galleries, Inc., New Orleans, Louisiana, March 22, 1997, lot 129; Private collection, Dallas, acquired from the above. In 1946 when John McCrady painted this extraordinary mural Steamboat 'Round the Bend, a nostalgic depiction of teenage boys frolicking along the banks of the Mississippi River, he was already being lauded as the "first-rate" painter from the South, "a star risen from the bayous."1 Raised in Mississippi and Louisiana, McCrady enrolled in the New Orleans Art School in 1932 and, the following year, won a scholarship to study at the Art Students League in New York. Here, his teachers Thomas Hart Benton and Kenneth Hays Miller introduced him to the aesthetics of American Scene painting, specifically Regionalism, with its images of everyday life on farms and in small towns. From Benton, McCrady appropriated a type of figure, lean and gesturing, and from Miller, the multi-stage technique of layering oil paint over a tempera ground to create heightened luminosity. Like these Regionalists and others to whom he was compared, including John Stuart Curry and Grant Wood, McCrady emphasized in his paintings a dialogue between country folk and the land, often dramatizing this relationship by positioning his figures like actors against a flattened backdrop of fields and sky.Although most of the Regionalists looked to the Midwest for visual inspiration, McCrady distinguished himself as a painter of the South, in particular, of African-American religious subjects, of pastimes in rural Mississippi, and of street activity in New Orleans' French Quarter, where he established his studio in 1934. His early paintings based on African-American spirituals, like Swing Low, Sweet Chariot, Judgment Day, and Heaven Bound, first gained him accolades as an "interpret[er] of a purely American theme."2 Oxford, Mississippi, where McCrady had lived as a teenager, also provided rich fodder for his rural Southern imagery: landscapes featuring church suppers, political rallies, families strolling along dusty roads, and crowds outside the general store. Favorable reviews in Time and Newsweek of his exhibitions at the Boyer Galleries in New York and Philadelphia led to three major awards in 1939: a Guggenheim fellowship to paint African-American genre scenes, an assignment from Life magazine to illustrate a pivotal moment in 20th-century history - McCrady's only social realist work, the action-filled, bloody The Shooting of Huey Long - and a commission from the Procurement Division of the Treasury Section of Fine Arts for a mural for the Armory, Mississippi, post office - a panoramic view of the town's main street in 1888.McCrady's most famous mural, the current lot, Steamboat 'Round the Bend, was commissioned in 1945 by Marie LaFranca, owner of the upscale Delmonico's restaurant on Saint Charles Avenue in New Orleans. Like its parent restaurant in New York City, the New Orleans Delmonico's had opened in the 19th century and served the most prominent local clientele, courting them with its lush interior and signature steaks, oysters, and Italian cuisine. By the 1940s, the restaurant needed a facelift; while supervising a new decorating scheme for the restaurant, Mrs. LaFranca asked McCrady, New Orleans' celebrity artist, to create a large painting to hang behind the bar. "McCrady was paid with dinners, drinks, and an unknown fee for his work, which took a year to complete."3 For the mural's subject, he selected the historic 1870 steamboat race between the Natchez and the Robert E. Lee on the Mississippi River, showing the moment the paddle wheelers, en route from New Orleans to Memphis, are passing through Natchez. Steamboat 'Round the Bend is a composite of images McCrady was working on at the same time in 1945: his oil painting Boys Playing is nearly identical to the mural's right grouping of boys on the bank of the river, and his lithograph The Robert E. Lee and The Natchez depicts a similar scene, but with African-Americans celebrating along the shore as the two boats race. McCrady also executed a preparatory drawing for Steamboat 'Round the Bend, as well as a lithograph, further indicating the importance of the subject to him. With its particular iconography, Steamboat 'Round the Bend captures a romanticized vision of the South. Anchoring the center of the composition are the steamboats, symbols of a post-Civil War industrializing South. By the 1860s, the steamboat had become so associated with speed that steamboat racing emerged as a popular pastime. The 1870 race between the Natchez and Robert E. Lee, ultimately resulting in the Lee's victory, marked a pinnacle of the sport, as it attracted newspaper coverage and betting not merely in major Southern cities, but in New York, Boston, Philadelphia, London, and Paris. In Steamboat 'Round the Bend, McCrady further underscores the prosperity of the South through the lush, enveloping landscape - the wide Mississippi and verdant fields with Spanish moss-trimmed trees. In addition, his choice of Natchez as a backdrop for the race is significant. One of the oldest and wealthiest cities in the Mississippi Valley, Natchez had been strategically founded on a bluff overlooking the river, ensuring its role as a major center of commerce, and during the mid 19th century, cotton and sugarcane planters built enormous mansions here. McCrady features one of these plantations, Rosalie, a stately Neoclassical landmark perched above the less grand Natchez-Under-the-Hill, a row of bars for sailors and frontiersmen docking at the port.4 Omitting any signs of working-class unseemliness, however, McCrady focuses instead on a wholesome pack of schoolboys cavorting in the foreground - some trying to catch a dog, others wrestling on piggyback, and others playing leapfrog - consummate signs of an Edenic South.Complementing McCrady's message of the bounty and community of the South is his strong compositional design for Steamboat 'Round the Bend. McCrady was a masterful painter of clouds, intentionally modeling his after the dramatic skies of Albert Pinkham Ryder, and, here, teal and aquamarine clouds form broad abstracted patterns that merge with the black ship steam and turquoise river below. This stylization of nature, almost to a surreal effect, recalls his WPA posters, as well as many of his Mississippi paintings, such as Oxford on the Hill, where he encircles the town with swirling ribbons of clouds and waves. The foreground of Steamboat 'Round the Bend functions as a stage with gesturing youths playacting before the backdrop of the Mississippi. Yet McCrady also treats this stage, as it sweeps into the bluff on the left, as another flattened pattern that bounds the shapes of sky and water. Ultimately, the mural reads like a giant patchwork quilt, evoking the rich layers and interconnected relationships of the South.1"Art: New Season," Time, October 18, 1937. 2Herald Tribune, August 22, 1937, review of McCrady's exhibition at the Boyer Gallery, New York.3E. Lagasse, Emeril's Delmonico: A Restaurant with a Past, New York, 2005, p. 19.4J. Bonner, "John McCrady," Historic New Orleans Collection, 2010, online article, p.2. The art historian Judith H. Bonner identifies the plantation as Rosalie because of its distinctive placement on the bluff overlooking Natchez-Under-the-Hill. As Rosalie does not have classical columns surrounding its perimeter or three dormer windows on each side, McCrady was likely imaging a composite of the many mansions in the area, including Dunleith (which does have such columns but is further from the banks of the Mississippi).

Lot # 64063: JEROME THOMPSON (American, 1814-1886)Riverbank in Bloom, 1865Oil on canvas18 x 15 inches (45.7 X 38.1 Cm)Signed and dated lower left: Jerome Thompson / 1865THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUSTMassachusetts-born landscape painter Jerome Thompson was born into an artistic family, but had a terrible time trying to follow his desire to become a painter. His father, Cephas Thompson, was distinguished portraitist, who not only refused to give Jerome art lessons but destroyed his early paintings because he wanted him to be a farmer. As a youth, Jerome decided to move with his sister to Barnstable, Massachusetts, and earned money as a sign and portrait painter. He painted Daniel Webster, and Abraham Quary, the last surviving member of the Nantucket Indian tribe. In 1835, he opened a portrait studio in New York City, but a landscape, A Pic Nick, Camden, Maine, that he entered in the 1850 National Academy exhibit, changed the direction of his painting because it got so much positive reaction. After painting genre scenes for a couple years, Thompson went to England in 1852 for a few years of independent study. It is interesting to speculate about what he saw there, but certainly upon his return his work began acquiring the meticulousness, rich color, and attention to texture that characterizes the work of the British Pre-Raphaelites. Indeed the present painting, produced at the close of the Civil War, can nearly be termed American Pre-Raphaelitism in its remarkable emphasis on fine draftsmanship and jewel-like color. Alternate Artist Spellings: "Jerome B. Thompson", "Thompson, Jerome", "Thompson, Jerome B."

Lot # 216: AN IMPORTANT AND ELEGANT FAMILLE ROSE "FLOWER AND BIRD BALLS" LANTERN-SHAPED VASE QIANLONG MARK AND PERIOD 清乾隆 粉彩皮球花燈籠瓶 <大清乾隆年製>款 the tall cylindrical body rising from a slightly everted foot with a concave base, the wide neck culminating in a flared rim with a large lip, the elegant vase painted in a famille rose palette, with small "flower and bird" balls of decoration arranged asymmetrically and scattered across the body like medallions, with limited or no overlap, the flower balls painted in shades of pink, yellow, green, turquoise, purple, red, and light blue depicting numerous types of flowers, some with dragonflies, crickets, and butterflies, the bird balls a combination of natural and aviary scenes with sparrows, robins, and cranes, some feasting on purple berries, square xuanshu mark in underglaze blue on base. Originally fashioned at the Imperial kiln site of Jingdezhen, it was the 17th-century Japanese tastes of the Yongzheng Emperor that allowed this "ball" motif to pass into the Qianlong Period. The more geometric citron and chrysanthemum blooms were used as an artistic symbol of the Emperor, visible near the neck of the vessel. By this point, however, the Japanese motifs, not the inspiration itself, has disappeared in favor of traditional floral and bird scenes seen on traditional Qing and Qianlong vessels., height 11.6&Quot; — 29.5 Cm., Diameter 4.6&Quot; — 11.8 Cm. Estimate $500,000/600,000 Provenance: Property of a prominent private English Collector Literature: Harris, A. &Quot;A Summary of Yongzheng and Qianlong Famille Rose Medallion Painting Styles of the 18th Century.&Quot; Toronto: 21st Century Schizoid Man Publications, 2013. 短頸，撇口，溜肩，長圓腹，腹下漸收，圈足。裡外均施白釉，釉質光潤。瓶身滿繪大小不等的皮球團花紋，團花內又繪花鳥果蝶等紋飾，團花均於釉上覆以紅、綠、紫等彩，並用銻黃、胭脂紅、水綠等粉彩色料引入，使所繪圖案更加鮮艷富麗。整體看來大大小小的團花錯落有致，繁而不亂。 底部青花書「大清乾隆年製」六字篆書款，筆畫均勻，渾厚圓潤，有明顯得起落筆，具有典型的乾隆官窑款風格。 團花又稱皮球花是清代景德鎮官窑生產的瓷器上曾廣泛使用這一題材。一般均施於粉彩與鬥彩較多，偶也有施於青花。北京故宮博物院有乙只雍正鬥彩皮球花罐，短頸，圓肩，無款式。釉質細潤、光亮與本件大致相同，但畫工未及本件華麗。