2202 Modern & Contemporary Art + Design Sale: April 24, 2022

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APRIL 24, 2022

333 Saint Joseph Street, New Orleans, Louisiana 70130 neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Eichenwald #1922 | 25% Buyer’s Premium

MODERN & CONTEMPORARY ART + DESIGN | 3

Exhibition: April 11-23, 2022 Monday - Friday 10:00 a.m. - 4:00 p.m.

Saturday, April 23 10:00 a.m. - 3:00 p.m.

By Appointment Email info@neworleansauction.com or call us at 504-566-1849 to schedule an appointment

Lot Schedule:

Please note that times are approximate Sunday, April 24, 2022 10:00 a.m. CT

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80

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A LETTER FROM THE DIRECTOR OF FINE ART

I

fresh crop of skyscrapers. Cook was fascinated with America’s have recently become fascinated by the notion of art as a form of record-keeping, and not merely of events ongoing construction and modern progress, especially the and memories, but rather, as a reflection of the artist’s country’s physical and social reshaping in the aftermath of emotions and ideas at the time of the piece’s creation.

World War II. His work, including the work offered in our sale What sparked this musing was the arrival of Lynda Benglis’s (Lot 83), reflects the artist’s fascination and exploration. pleated-knot metal sculpture (Lot 122) – its copper-clad Finally, Logan Maxwell Hagege expresses his own unique surface radiating energy vision of the American and movement, bound West landscape, rich with together to represent a imagination and realism.

I HAVE LOOKED TOWARDS AN richly meaningful moment In his paintings, he creates AFFIRMATIVE BACKGROUND IN in time. Fittingly, Benglis’s his own world, one where sculptures explore how purity of nature, distilled EXPERIENCING A WORLD OF physical experience into geometric shapes, THE SPIRITUAL REALM. BY THE subsists in memory. color and patterns, is SPIRITUAL WE DISCOVER For the artist, one such captured for eternity on memory is crocheting MANIFOLD LIFE, FOLDING OVER. the canvas. "Floating with her grandmother, a Skull at Vermillion Cliffs” YET, THERE IS AN EDGE OF BEING, central figure in her life.

(Lot 124), from the Estate AN ATTITUDE OF SEEING… I SEE of Nancy Morrison, is a As I explored this work, I came across an article in wonderful example of his THE SPIRIT [REVEALED] FROM which Benglis discusses work.

A PLIANT TENSION…” her fascination with the As we furnish our own – DOROTHY HOOD spaces, may we look at cultural and historical every work of art, piece significance of knotted of pottery or decorative forms, such as the ones object that we collect and surround ourselves with through used by Incas (called the Quipu) as a form of data-collecting the lens of more deeply understanding the artist’s mindset and record-keeping. and intent. Over time, our own thoughts and memories will be Dorothy Hood, another artist represented in this auction imprinted upon these pieces. Much like these objects reflect and a trailblazer in modernism, created experimental paintings something about their maker and their origin, so too do they to reflect her life experiences as well as her psychological state become a record of who we are at the moment in which we Complicated and impulsive, Hood’s story is a rich tapestry of brought them into our home. adventure, Southern roots, a love of Mexico, fame, poverty, Creating our own meaningful sense of place in today’s love and loss. Her canvases are epic tales of dreams and reflect unstable and fast-paced world is perhaps more important a mind caught between the physical and spiritual worlds. We than ever. are pleased to share two striking paintings by Hood in this sale In exploring this beautiful catalogue, I hope you will look (Lots 12 and 125). at objects through this lens. It’s my wish that you discover Howard Norton Cook’s “Magical City”, a 1957 vertical something that speaks to you – and that you find yourself canvas appears to be a memory of New York City during the reflected in some way.

1930s, a time during which the cityscape changed with a See you at the auction!

Jelena Restovic James Director of FIne Art

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1

Alexandre Altmann (Russian/French, 1885-1950) “Paysage en bord de Riviere” oil on canvas signed lower left, partial framer’s label en verso stretcher.

Framed.

23-5/8” x 28-5/8”, framed 29” x 34” $7,000-$10,000

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2

Albert Lebourg (French, 1849-1928) “Bord de Seine a La Bouille” oil on canvas signed and localized lower left, with a partial label en verso.

Framed.

18-1/8” x 33-1/2”, framed 25-1/2” x 41-3/4” Provenance: Private collection, Texas. $8,000-$12,000

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3

Marcel Dyf (French, 1899-1985) “Woman Reading” oil on canvas signed lower left.

Framed.

18” x 15”, framed 25” x 21-1/2” $2,000-$4,000

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4

Francois Gall (French, 1912-1987) “The Picnic” oil on board signed lower right and lower left, a “Arthur Lenars & Cie, Paris, France” label en verso.

Framed.

9” x 11”, framed 12-1/4” x 14-1/4” Provenance: Arthur Lenars & Cie, Paris, France. $1,500-$2,500

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5

Dietz Edzard (German/Paris, 1893-1963) “Munchinger Dirigiert in Menton (Festival St. Michel)” oil on canvas signed lower left, inscribed with title on stretcher, verso with “Kunsthaus Buhler, Stuttgart” gallery label, canvas stamped en verso: “Paris American Art Co., 2 Rue Bonaparte, Paris”.

Framed.

16” x 13”, framed 21” x 18” Provenance: Kunsthaus Buhler, Stuttgart, Germany; Christie’s Amsterdam, December 1, 2008, lot 110, Private collection, Shreveport, Louisiana. $2,000-$4,000

6

John William Hilton (American, 1904-1983) “Desert Landscape” oil on masonite signed lower right, signed and further inscribed en verso.

Framed.

30” x 36”, framed 34-3/4” x 40-1/2” $2,000-$4,000

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7

Jean Peltier (French, 1907-1984) “Les Petites Voiles” oil on canvas signed lower left, verso with “The Eric Galleries, Inc., New York” label, stretcher inscribed with title and “No. 240”.

Framed.

24” x 29”, framed 31” x 36” Provenance: The Eric Galleries, Inc., New York, New York. $1,000-$1,500

8

Pierre Bordenave (French, 1900-1970) “Voiliers au Port, Peut-etre St. Tropez” oil on canvas signed lower right.

Framed.

21-5/8” x 31-7/8”, framed 25-3/4” x 36-1/2” $800-$1,200

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9

Pair of Loren Walnut Circular Side Tables 21st century, in the Danish Modern taste, probably for Century. h. 25”, dia. 28-1/4” $700-$1,000

10

David Pryor Adickes (American/Texas, b. 1927) “Portrait of a French Woman”, 1954 oil on masonite signed and dated lower left, verso with printed label with artist, title and date.

Framed.

24” x 20”, framed 29” x 25” Provenance: Private collection, Houston, Texas. $2,000-$4,000

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12

Dorothy Hood (American/Texas, 1919-2000) “Stude” oil on canvas signed upper right and with a “DuBose Gallery, Houston, Texas” label with title en verso.

Framed.

34-1/2” x 43-1/2”, framed 35” x 44” Provenance: DuBose Gallery, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas. $18,000-$25,000

11

Diminutive Curved Settee mid-20th century, kidney-shaped, having a curving back and seat with a conforming loose cushion and raised on tapering carved front legs with curved rear legs, now upholstered in Holly Hunt olive mohair velvet. h. 35”, w. 46” $700-$1,000

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I AM COMPELLED BY THE SENSATION OF SEEING THINGS FRESH; AS IF FOR THE FIRST TIME. – MICHAEL SHERRILL It is as if I have been asleep, and when I wake up, I am surprised by the things that surround me. In my case, it is the flora and fauna surrounding my studio that continue to surprise me. For me, these discoveries are epiphanies. My desire is to create something that might bring its observer to the same place of discovery, I started using my extruder to extrude tubes and then pull tapered, long spouts for my

13

Michael Sherrill (American, b. 1954) “Untitled” seven stoneware vessels each signed at bottom. h. 7-1/2”, w. 5”, d. 2” to h. 20-1/2”, w. 4”, d. 2-1/2” $2,500-$4,000

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sculptural teapots. My involvement in using an extruder has totally changed my thinking about it as a tool. It widened my view of what I can do with clay...instead of the extruder being a static tool, it is a place to make and manipulate forms. This is the thing I would like to communicate and share with others.

These techniques can open up new possibilities for any one working in clay.

14

Isca Greenfield-Sanders (American, b. 1978) “Grassy Beach (Yellow Shirt)”, 2006 mixed media gouache with color pencil on paper signed and dated lower right, verso with “Goff + Rosenthal, New York, New York” label.

Glazed and framed.

22” x 22”, framed 23-3/4” x 23-3/4” Provenance: Goff & Rosenthal Gallery, New York, New York; The Collection of Adam Lippes. $2,000-$4,000

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15

Bill Wiman (American/Texas, b. 1940) “Stepladder”, 1974 oil on canvas signed, dated and titled en verso.

In a thin gallery frame.

65” x 54”, framed 66-1/4” x 55-1/2” $1,500-$2,500

16

Bill Wiman (American/Texas, b. 1940) “Lady in Pink Dress”, 1974 oil on canvas signed, dated and titled en verso.

In a thin gallery frame.

54” x 64”, framed 55-1/4” x 66” $1,500-$2,500

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17

Pair of Rodolfo Dordoni for Minotti “Blake Soft” Lounge Chairs and Ottoman labeled, each chair with an upholstered back roll over a seat curving up to closed arms, with a loose seat cushion and raised on chromed steel legs, the ottoman with an upholstered cushion and like legs. chair h. 35”, w. 36-1/2”, d. 38”, ottoman h. 15”, w.

24”, d. 29” $1,800-$2,500

18

Chrome and Glass Cube-Form Etagere probably third quarter 20th century, in the style of Milo Baughman, modeled at each end by a trio of cubes on square supports and joined by a pair of rectilinear shelves. h. 66-3/4”, w. 58-1/2”, d. 17-3/4” $1,000-$1,500

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19

Vintage Ludwig Mies van der Rohe “Barcelona” Polished Steel Cocktail Table ca. 1970, for Knoll, impressed “KP” underneath at the X-form juncture, the square glass top with finely beveled edges. h. 17”, w. 40”, d. 40” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $700-$1,000

20

Contemporary White Cowhide Club Armchair with a concave back and closed arms, fitted with loose seat and back cushions and trimmed with silvered tacks, labeled “Lee Earth-Friendly Upholstery” and “Made in the U.S.A.”. h. 31-1/4”, w. 29-1/4”, d. 31” $800-$1,200

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21

Metal-Clad and Pierced Four-Panel Screen 20th century, in the Moroccan taste, the pierced panels framed in Islamic patterns of scrolling flowers, the arched crests with pierced flower roundels. h. 72-1/2”, w. 70” $800-$1,200

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22

Modern Lucite and Glass Dining Suite comprised of a double-pedestal table and six chairs, the table with a rectilinear glass top with a beveled edge, supported by pedestals formed by three curved polycarbonate legs joined at their center, h. 28-3/4”, w. 72”, d. 38”, and each chair with a tall polycarbonate back with a beveled edge, extending to the floor, upholstered seat cushion and shaped legs, h. 42”. $1,500-$2,500

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“The Musician”

20th century, the acrylic bases set with brass standards supporting acanthus leaf-carved elements. h. 25-1/2”, w. 8”, d. 5-1/2”

Jie-Wei Zhou (Chinese, b. 1962)

oil on canvas signed and inscribed lower right.

Framed.

40” x 30”, framed 50-3/4” x 40-3/4”

Pair of Wood, Brass and Acrylic Lamps

$800-$1,200

$1,500-$2,500

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KLEINVELD AND JULIEN Epaul Julien of E2 portrays van Eyck in this self-portrait.

The original work, which hangs at the National Gallery, is often called “Portrait of a Man in a Turban”, and it is thought to be a self-portrait. While there is no direct evidence for this, the sitter’s dress is appropriate for a man of van Eyck’s position and the headdress, which is a chaperon, is intricately tied as an artist would have done while painting.

This image is part of the ongoing series, E2, by Elizabeth

Kleinveld and Epaul Julien, which uses photography to reimagine iconic images from the history of art, spanning 600 years, starting with Flemish Primitives.

With subjects enacting roles with varied representations of race, age and sexual orientation, E2 invites viewers to see the familiar images by Western artists with a fresh perspective in the hopes that they will realize how stereotypes can lead to prejudice and discrimination

25

Kleinveld and Julien Elizabeth Kleinveld (Dutch, b. 1967) Epaul Julien (American/Louisiana, b. 1972) “Ode to van Eyck’s Self Portrait”, 2012 Ilford gold fibre silk print from the “In Empathy We Trust” series.

Framed. sight 23” x 17”, framed 30-1/2” x 24-1/2” Provenance: Octavia Art Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500

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26

Dale Chihuly (American, b. 1941) Blown Glass Persian Set the larger spring green element with a red lip, the pontil engraved “CW 13”, and engraved signature midway up one side, the smaller undulating element gathered at one end and having a striped spring green exterior, rosy terracotta interior and red lip, presented in the original acrylic display box. larger: h. 7”, w. 12-1/2”, d. 10”; smaller: h. 6-1/2”, w. 8-1/2” d. 7”; box: h. 13-3/4”, w. 12-3/4”, d. 12-3/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $3,500-$5,000

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Christopher Guy Twenty-One-Light “Foxtrot” Glass Chandelier the design of Art Moderne inspiration, the glass-clad stem supporting three tiers of arms, each with a hand-finished shade, the bowl of inverted ribbed V-form. h. 54”, dia. 47” The present chandelier shares a number of design elements and overall form with the Baccarat Mille Nuits 18-light chandelier, currently in production by Baccarat. The Guy “Foxtrot” chandelier is no longer in production. Christopher Guy furniture was founded

by British-born designer Christopher Guy Harrison (1960-2020).

The firm occupies a one million square foot workshop complex in Java, Indonesia to accommodate the 1,400 joiners, woodcarvers and specialist finishers who craft the designs. Harrison’s designs have been incorporated into a number of Hollywood films. Among his most notable design projects include the Savoy Hotel in London, the Georgian Restaurant at Harrods, the Wynn Resorts in Las Vegas and Macau, the Ritz Carlton in Tokyo and the Presidential Suite at the Beverly Hills Hotel. $4,000-$7,000

28

Tim Hailand (American, b. 1965) “Marble Bust of Aphrodite Berlin”, 2016 archival inkjet print and gold thread on toile fabric an “Arthur Roger Gallery/New Orleans” label with title, material and date en verso.

Framed.

40” x 26”, framed 41” x 27” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,500-$2,500

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29

Luis Colmenares (American, b. 1959) Parcel-Gilt and Patinated Metal Dining Set late 1990s, with eight side chairs and a matching glass-topped dining table. table h. 30-1/2”, w. 46”, l. 66”; chairs h. 38”, w. 18”, seat h. 17-3/4” Provenance: Commissioned and purchased by the consignor from the artist in 1998; Private collection, New Orleans, Louisiana. $1,500-$2,500

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30

Robert Gordy (American/Louisiana, 1933-1986) “Women and Palm Trees”, 1977 felt tip marker on paper initialed and dated “R G ‘77” lower left.

Matted, glazed and framed.

8” x 10”, framed 14-1/4” x 15-3/4” $800-$1,200

31

Robert Gordy (American/Louisiana, 1933-1986) “Fallen Women”, 1967

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felt tip marker on paper signed and dated “R. Gordy ‘67” lower right.

Matted, glazed and framed.

22” x 17”, framed 25-3/4” x 20-1/4”

“Two Women”

$1,000-$1,500

Robert Gordy (American/Louisiana, 1933-1986)

silkscreen on paper signed and numbered “7/65” lower margin.

Glazed and framed.

31” x 35”, framed 34” x 37-1/2” $1,000-$1,500

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33

Pair of Contemporary Romweber Burlwood Vitrines each with a row of three beveled mirrors, above a pair of plate glass doors, and a pair of mirrored paneled doors below, an interior drawer bearing the Romweber label. h. 76”, w. 31-1/2”, d. 18” $800-$1,200

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ca. 1980, New York, the cantilevered satin-polished steel flat-bar frames with leather-upholstered seats and armrests, with Brueton fabric tags beneath the seats. h. 31-1/2”

ca. 1980, New York, the granite and satin-polished steel “floating” top resting on a rounded rectangular satin-polished steel base, both elements with rounded corners, the base and top factoryweighted. h. 29”, w. 48”, l. 102-1/4”

Suite of Ten Brueton Terracotta Leather and Steel Dining Chairs

Provenance: Estate of Nancy R. Morrison, Houston, Texas. $2,000-$4,000

Brueton Black Granite and Steel “Anello” Rectangular Pedestal Dining Table

Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,500-$2,500

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JOHN GIBSON “Although I have painted balls exclusively for over 25 years, I don’t really care that much about them. Of course I’m attracted to them just like anybody else; I admire their endlessness and mystery. I love the way they can stand in for all sorts of unknowns and even the way a circle, or a shape of some kind sits on the surface of a ball and bends into space.

But I don’t paint balls because of any of that, or because I think they have some significance or “meaning”. I paint balls because they are the most simple and fundamentally different

thing from the flat surface of a painting that I can think of. I like that elegant opposition of forces. Every day I try to wring a “real” ball out of a flat surface and every day I can’t quite do it.

In the good paintings there is some residue of that effort and in the best paintings there is a lot. In many ways then the subject of these paintings-at least for me- is just that residue: a wish for something that cannot be had, a version of a ball overlaid with desire.”

36

John Stuart Gibson (American, b. 1958) “3 Striped, Santa Fe”, 2000 oil on wood panel signed and dated en verso, with “Gerald Peters Gallery, Santa Fe, New Mexico” label.

Unframed.

60” x 58” Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas. $6,000-$9,000

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37

Hernan Caro (Columbian/New Orleans) Rectangular Steel Console contemporary, the rectangular pressed particle board top supported by a free-form series of steel rods and banners accented with balls and cylinders, and resting on half-ball feet. h. 32”, w. 84-1/2”, d. 15-1/2” Provenance: Ariodante, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,400-$1,800

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near pair, the back of both chairs with two cut-out “Zs”, the interior of one example with a conjoined reverse “C” stretcher. h. 33”, w. 21-1/4”

“Bonfouca No. 71”, 2014

Arthur Silverman (American/New Orleans, 1923-2018) Brushed Metal Side Chairs

$1,000-$1,500

George Bauer Dunbar (American/Louisiana, b. 1927)

collage with palladium, silver leaf and India ink signed lower right and en verso, label en verso with title, date and material.

Framed.

10-5/8” x 14-7/8”, framed 11-3/4” x 16” Provenance: Private collection, New Orleans, Louisiana. $3,000-$5,000

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Christopher Bucklow (British, b. 1957) “Untitled” chromogenic print on paper mounted on plexiglass from the “Guest” series, marked “35.453” and numbered “143/400” on artist stamp en verso.

19-3/4” x 15-3/4” Provenance: The Collection of Adam Lippes. $1,000-$1,500

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“Untitled”

“Untitled”

chromogenic print on paper mounted on plexiglass from the “Guest” series, marked “804210796” and numbered “363/400” on artist stamp en verso.

19-3/4” x 15-3/4”

chromogenic print on paper laid down on plexiglass from the “Guest” series, marked “82410796” and numbered “147/450” on artist stamp en verso.

19-3/4” x 15-3/4”

Provenance: The Collection of Adam Lippes.

Provenance: The Collection of Adam Lippes.

$1,000-$1,500

$1,000-$1,500

Christopher Bucklow (British, b. 1957)

Christopher Bucklow (British, b. 1957)

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43

Adam Fuss (American/British, b. 1961) “Untitled”, 1994-2002 photogram signed, dated and numbered “22/30” en verso.

Float-mounted, glazed and framed. sheet 14” x 10-3/8”, framed 17” x 13-1/2” Provenance: The Collection of Adam Lippes.

Literature: “In the Heights”, Architectural Digest, July/August 2019, illustrated p. 96. $1,500-$2,500 42 | NEW ORLEANS AUCTION GALLERIES

44

Matthias Meyer (German, b. 1969) “Untitled”, 2003 oil on canvas signed and dated en verso.

Framed.

6-1/2” x 9”, framed 11” x 13” Provenance: The Collection of Adam Lippes. $1,500-$2,500

45

Matthias Meyer (German, b. 1969) “Untitled”, 2003 oil on canvas signed and dated en verso.

Framed.

9-5/8” x 11-1/8”, framed 10-7/8” x 13-1/4” Provenance: The Collection of Adam Lippes. $1,500-$2,500

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46

David Harouni (American/Louisiana, b. 1962) “Untitled” oil on canvas signed lower left.

Unframed.

144” x 96” $5,000-$8,000

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47

Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper Unframed. sheet 49-1/2” x 49-1/2” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund.

Casey Williams’ photographs are large-scale abstractions that explore the delicate interaction between light and shadow, color and form. Many of his photos were taken along the miles of the Houston Ship Channel, of the Port of Houston. $1,000-$1,500

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49

“Untitled”

“Untitled”

chromogenic print on paper Unframed. sheet 50” x 49-1/2”

chromogenic print on paper Unframed. sheet 52” x 52”

Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund.

Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund.

$1,000-$1,500

$1,000-$1,500

Casey Williams (American/Texas, 1947-2013)

Casey Williams (American/Texas, 1947-2013)

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51

“Untitled”

“Untitled”

chromogenic print on paper pencil-signed and marked “04109”.

Unframed. sheet 48” x 48”

chromogenic print on paper Unframed. sheet 50-1/2” x 50”

Casey Williams (American/Texas, 1947-2013)

Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $1,000-$1,500

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Casey Williams (American/Texas, 1947-2013)

Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $1,000-$1,500

52

Miranda Lichtenstein (American, b. 1969) “Council Ring”, 2004 Chromogenic print signed, dated and numbered “1/5” on “Elizabeth Dee, New York, New York” gallery label en verso.

Framed.

40” x 50”, framed 41” x 51” Provenance: Elizabeth Dee Gallery, New York, New York; The Collection of Adam Lippes. $1,200-$1,800

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53

Pair of Stylized Boudoir Chairs with Matching Ottomans 20th century, in the Art Deco taste, upholstered in sage velour, all raised on swivel ball casters. chair h. 28-1/2”, w. 28-1/2”, d. 30-1/2”; seat h. 16-1/4”; ottoman h.

16-1/4”, w. 27-1/2”, d. 28-1/2” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

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54

Jack (James Wesley) Boynton (American/Texas, 1928-2010) “Rain”, 1957 oil on canvas signed upper right, verso with “Amarillo Art Center, Amarillo, Texas” 1957 exhibition label and “Moody Gallery, Houston, Texas” gallery label.

Unframed.

60” x 83-1/2” Provenance: Moody Gallery, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas.

Exhibited: Amarillo Art Center, Amarillo, Texas, 1957 (No. 7). $6,000-$9,000

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Carl Rice Embrey (American/Texas, b. 1938) “Down from Windsor Creek - Sante Fe de (sic) Cristo Mountains”, 1964 oil on artist panel signed en verso, old handwritten label with title and date en verso.

Thin gallery frame.

30” x 24”, framed 31-1/2” x 25-1/4” Provenance: Collection of John Mamoulides, Louisiana. $1,000-$1,500

56

Dick Wray (American/Texas, 1933-2011) “Para Mi Amigo (For My Friend)”, 2006 oil on canvas signed, titled and dated en verso.

Framed.

40” x 30”, framed 45-1/2” x 35-1/2” Provenance: Private collection, Houston, Texas. $3,000-$5,000

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57

Dick Wray (American/Texas, 1933-2011) “Untitled: Abstraction”, 2001-2 oil on canvas signed, initialed and dated en verso.

Framed.

16” x 20”, 17-1/2” x 21-1/2” Provenance: Private collection, Houston, Texas. $1,000-$1,500

58

John Tarrell Scott (American/Louisiana, 1940-2007) “Window Moth, Sunshine”, 1997 and “Window Moth, Rain Window”, 1996 pair of monotypes each pencil-signed, titled and inscribed “monotype” lower margin and with “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso.

Matted, glazed and framed alike. each sight 19” x 12-1/2”, framed 29” x 21-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Property from the collection of Dr. Arnold and Celia Lupin, New Orleans, Louisiana. $1,000-$1,500 54 | NEW ORLEANS AUCTION GALLERIES

59

Dick Wray (American/Texas, 1933-2011) “Untitled: Abstraction”, 1996 oil on canvas signed, dated and with a “David Lackey Antiques Art, Houston, Texas” label en verso.

Framed.

9” x 12”, framed 10” x 13” Provenance: David Lackay Antiques and Art, Houston, Texas; Private collection, Houston, Texas. $700-$1,000

MODERN & CONTEMPORARY ART + DESIGN | 55

60

Natalia Dumitresco (Russian/French, 1915-1997) “Two Abstract Compositions” mixed media on board each signed lower right, one example with “The Korby Gallery, Cedar Grove, New Jersey” label.

Each framed.

7-1/2” x 9”; 15” x 10”, framed 12-1/2” x 14-1/2”; 19” x 13” Provenance: The Korby Gallery, Cedar Grove, New Jersey. $1,500-$2,500

56 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 57

58 | NEW ORLEANS AUCTION GALLERIES

61

Romeo Tabuena (Filipino/Mexican, 1921-2015) “Musicians” oil on board signed lower left.

Framed.

11-7/8” x 19-5/8”, framed 14-5/8” x 22-1/2” $2,000-$4,000

62

Masaru Takiguchi (Japanese, b. 1941) “Penetration”, 1989 carved walnut marble h. 13”, w. 16-1/2”, d. 13” Provenance: Sally K. Reynolds/Dealer in Fine Art, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 59

63

Robert Marc (American, 1943-1993) “Untitled”, ca. 1975-1980 oil on canvas signed lower right, verso with “Forum Gallery, New York, NY” label.

Framed.

42-7/8” x 17-1/8”, framed 51-1/4” x 25-1/2” Provenance: Estate of the artist; Hotel Drouot Paris, November 17, 1987, lot 86; Forum Gallery, New York, New York; Barry Friedman Ltd., New York, New York; Sotheby’s New York, June 23, 2020, “Cubism and Beyond”, lot 8. $7,000-$10,000

64

Pair of Art Deco-Style Swivel Club Chairs 20th century, both with mauve leather arms flanking a tan boucleupholstered padded back and seat above a broad front panel and raised on a circular brushed steel-edged swivel base, one example paper-labeled “Houston Upholstery and Design”. h. 30-1/2”, w. 33” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

60 | NEW ORLEANS AUCTION GALLERIES

65

Mid-Century Modern Laminated Walnut and Plate Glass “Snail” Coffee Table attributed to Vladimir Kagan for Selig, with a rectangular plate glass top. h. 15”, w. 37”, d. 42” $1,000-$1,500

66

Angelo Lelli for Arredoluce-Style Chapman Lamp Co. Easel Lamp fourth quarter 20th century, brass, Chapman label at bottom. h. 85-1/4” $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 61

67

Pair of Contemporary Chrome, Maple, Cane and Glass Etageres each with five shelves supported by tubular chromed columns, the shelves with wooden frames supporting glass over woven cane. h. 72-1/4”, w. 22-1/2”, d. 14” $800-$1,200

68

Michael Vanderbyl for Baker King-Sized Bed from the Archetype Collection, retaining the Baker Furniture maker’s plaque, the headboard with figured veneers arranged as fitted wedges, the footboard in like adornment. h. 43”, inside w. 77-1/2”, l. 81-1/2”, outside w.

80-1/2”, l. 86-1/2” $1,000-$1,500

62 | NEW ORLEANS AUCTION GALLERIES

69

Michael Vanderbyl for Baker Pair of Bedside Stands from the Archetype Collection, each of oval form, with a pull-out work slide over a drawer with a cupboard below, all in maple-finish figured veneers, each retaining the maker’s label. h. 28”, w. 24”, d. 18-1/4” $1,000-$1,500

70

Michael Vanderbyl for Baker Chest from the Archetype Collection, labeled “Baker Furniture”, the case of breakfront form, with a projecting pair of drawers over a bank of three drawers, flanked by recessed banks of four drawers, all in figured veneers with a maple finish, fitted with nickel-plated drop pulls and raised on tapering legs. h. 42”, w. 55-3/4”, d. 20-1/4” $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 63

71

Jacob Collins (American, b. 1964) “Standing Nude”, 1997 oil on canvas signed and dated lower right, with a “John Pence Gallery” label en verso.

Framed.

26” x 19”, framed 33-1/4” x 26-1/4” Provenance: Acquired from John Pence Gallery, San Francisco, California, 2000; Freeman’s Auctions, Philadelphia, Pennsylvania, Forbes Collection Sale, December 14, 2016; Private collection. $5,000-$8,000

64 | NEW ORLEANS AUCTION GALLERIES

72

Pierced Giltwood Mirror decorated with leaves and flowers, with square corner blocks carved with flowers, the sides carved with running frets of pointed and pierced leaves. h. 52-1/4”, w. 37” $800-$1,200

73

Pair of Stylish Contemporary Gilt-Metal Cocktail Tables each with an inset mirrored top within a full pierced gallery, raised on tapering square legs. h. 18”, w. 30”, d. 18” $800-$1,200

MODERN & CONTEMPORARY ART + DESIGN | 65

66 | NEW ORLEANS AUCTION GALLERIES

74

75

ca. 1960s, with a horizontal looking glass in a molded frame, supported by extending brass legs, the case with figured teak and contrasting dark wood molding, and a bank of six drawers, all with bronze pulls, supported by brass legs. h. 46-1/2”, w. 62-1/2”, d. 19”

ca. 1925, by Saglier Freres, Paris, including: a teapot, h. 6”, l. 9-1/2”; a coffeepot, h. 7-1/4”, l. 8-3/4”; a covered sugar bowl, h. 4-3/8”, w. 6-3/4”; a cream jug, h. 3-3/4”, l. 6”; and a tray, 22-3/4” x 14-3/8”; the hollowware with a tapering body of ovoid section, decorated with stepped geometric shoulders, with rosewood inlaid finials and rosewood handles, all monogrammed “RM”, conjoined, the tray en suite.

Stylish Italian Mid-Century Sideboard by Silvio Cavatorta

Provenance: Bernd Goekler, New York; The Collection of Adam Lippes.

Literature: Similar examples illustrated in Il Mobile Italiano degli anni ë40 e ë50, Guttry, pp. 136-137; Modern Furniture Classics: Postwar to Post-Modernism, Fiell, pp. 64, 76. $5,000-$8,000

French Art Deco Silverplate Tea Set

Provenance: The Collection of Adam Lippes. $800-$1,200

MODERN & CONTEMPORARY ART + DESIGN | 67

76

Greta von Nessen (American, 1900-1978) Brass Double Cone Desk/Table Lamp 1960s, for Nessen Studios, with adjustable whiteenameled aluminum flared shades on arched swivel brass stems, the plinth base with two push switches. h. 20-1/4”, w. 28-1/4”, d. 8-1/4” Provenance: The Collection of Adam Lippes. $1,000-$1,500

77

Greta von Nessen (American, 1900-1978) Brass Single Cone Desk/Table Lamp 1960s, for Nessen Studios, with an adjustable whiteenameled aluminum flared shade on an arched swivel brass stem, the plinth base with a push switch. h. 20-1/4”, w. 14-1/2”, d. 8-1/4” Provenance: The Collection of Adam Lippes. $800-$1,200

78

Art Deco Calamander and Mahogany Cabinet second quarter 20th century, the tripartite case with three glazed doors, the center door with carved and geometric tracery, the sides decorated in three sections, raised on block feet. h. 53-1/4”, w. 67-3/4”, d. 14-3/4” Provenance: The Collection of Adam Lippes. $3,500-$5,000

68 | NEW ORLEANS AUCTION GALLERIES

79

William Anzalone (American/Texas, b. 1935) “Dancer with Bouquet of Flowers” oil on canvas signed lower right.

Framed.

30” x 24”, framed 31” x 25” Provenance: Private collection, Houston, Texas. $1,000-$1,500

80

Max Papart (French, 1911-1994) “Romance” oil on canvas signed lower left, signed and titled en verso.

Framed.

26” x 32”, framed 35” x 41” $1,500-$2,500

MODERN & CONTEMPORARY ART + DESIGN | 69

81

Louis Schanker (American, 1903-1981) “Football”, 1939 oil on canvas signed and dated lower left, with a “Meredith Long & Company, Houston, TX” label with artist and title en verso.

Framed.

30” x 24”, framed 34-1/2” x 28-1/2” Provenance: Meredith Long & Company, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas. $1,500-$2,500

82

Pair of Contemporary Calamander-Veneered Benches 20th century, the rolled, veneered side panels on ebonized plinths joined by an ebonized dowel stretcher, the padded seats upholstered in a gray, white and tan tweed boucle. h. 25”, w. 29”, d. 14-1/2”; seat h. 18-1/2” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,200-$1,800

70 | NEW ORLEANS AUCTION GALLERIES

HOWARD NORTON COOK Known as a printmaker and muralist, Howard Norton Cook and his wife, fellow artist Barbara Latham, traveled extensively, but maintained a residence in New York City from the late 1920s to the mid-1930s. Cook was inspired by the ongoing construction in the city and created a series of paintings of the skyscrapers and cityscape. In 1938, the couple settled near Taos on the Talpa Ridge in New Mexico, where they helped to establish the Roswell Museum and Art Center’s Artist-in-Residence program.

83

Howard Norton Cook (American, 1901-1980) “Magical City”, ca. 1957 oil on canvas “Grand Central Moderns (division of the Grand Central Art Galleries)” and “Contemporary American Painting and Sculpture”, University of Illinois, Urbana, 1957, exhibition labels with artist and title en verso.

Framed.

48-1/2” x 20-1/2”, framed 48-3/4” x 20-3/4” Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.

Exhibited: Exhibited, and listed and illustrated in catalogue Contemporary American Painting and Sculpture, March 3rd-April 7th, 1957, Galleries, Architecture Building, College of Fine and Applied Arts, University of Illinois, Urbana, no.

38, plate 21. The exhibition was held in conjunction with the Biennial Festival of Contemporary Art. $20,000-$40,000

MODERN & CONTEMPORARY ART + DESIGN | 71

72 | NEW ORLEANS AUCTION GALLERIES

84

Mary Neumuth Mito (American/New Mexico, b. 1944) “Hilldale Cornstalks”, 1984 oil on canvas dated “3/31/84” and with a “Gerald Peters Gallery, Santa Fe, New Mexico” label with artist and title en verso.

Unframed.

80” x 54” Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas. $3,000-$5,000

85

Albert Wein (American/New York, 1915-1991) “Still Life”, 1950 oil on board signed and dated lower right.

Framed.

8-1/2” x 11”, framed 11-1/2” x 14” $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 73

74 | NEW ORLEANS AUCTION GALLERIES

86

Andre Masson (French, 1896-1987) “Foule Vegetale, 1956 gouache on paper signed and dated upper left, verso with “Christie’s, October 22, 2020” sale label.

Matted, gazed and framed.

Together with a copy of the Galerie Gerald Piltzer 1992 exhibition catalogue. sight 17-1/4” x 13-3/8”, framed 28-1/2” x 24-1/2” Provenance: Christie’s, Paris, “Art Moderne”, October 23, 2020, lot 267.

Exhibited: Paris, Galerie Gerald Piltzer, Andre Masson, Drawings, the American period, drippings, March-May 1992.

This work is listed in the Andre Masson archives under number CAM 536. $8,000-$12,000

87

Enrique Tabara (Ecuadorian, 1930-2021) “Untitled, Composition with Insects”, 1996 pastel on handmade paper signed and dated lower left.

Float-mounted, glazed and framed.

29-5/8” x 22-1/2”, framed 36-1/2” x 29-1/2” Provenance: The Collection of Adam Lippes.

This work was gifted to Adam Lippes by his mentor and friend, Oscar de la Renta.

After graduating from Cornell with a degree in Psychology, Lippes worked as an investment banker at Bear Stearns before beginning his career in fashion. Starting at Ralph Lauren, he made the move to Oscar de la Renta in 1996 and quickly rose through the ranks to become one of the youngest creative directors of any luxury fashion brand.

Adam worked closely with de la Renta throughout his tenure and credits de la Renta with developing his eye for color and construction, as well as teaching him invaluable lessons about the fashion business. Lippes, with the support and encouragement of de la Renta, started his own fashion collection in 2004 before launching the Adam Lippes brand in 2013. $2,500-$4,000

MODERN & CONTEMPORARY ART + DESIGN | 75

88

Contemporary Silver-Leaf Mirror and Console in two parts, the oval mirror on a gadrooned frame, “tied” to form its base, resting on a demilune wall-mounted console table, with a marble top over a swag-carved apron, raised on legs “tied” at the base. h. 79-1/4”, w. 26-3/4’, d. 11-1/2” $800-$1,200

89

Porter Blanchard (American/California, 1886-1973) Center Bowl, third quarter 20th century polished pewter and copper marked on the underside “024 / handmade / Porter Blanchard” with the Blanchard trademark. h. 5-1/4”, dia. 10-1/2” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $500-$800

90

Jean-Emile Puiforcat (French, 1897-1945) “Art Deco 1937” Tea Set, Paris, after the 1928 “Etchea” design silverplate and ebony including: a coffeepot, h. 5-1/4”, l. 9”; a teapot, h. 4-1/4”, l. 8-1/2”; a creamer, h. 3-1/2”, l. 5-1/4”; a covered sugar bowl, h. 3-1/2”, l. 5-3/4”; and a tray, 27-3/4” x 15-3/4”.

Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500 76 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 77

91

Georg Jensen (Denmark, 1866-1935) Tea Set #34, dated 1928/1929 sterling silver and ebony including: a tea pot, h. 7-1/2”, l. 6”; a cream jug, h. 5-5/8”, l. 4-1/2”; and an open sugar bowl, h. 2”, dia. 4-1/8”; the cream and sugar monogrammed and dated on the underside “D.S.A. 1928”, the teapot inscribed and dated on the underside “Doris Sachs Asher January 1929”.

19.48 total t. oz. (including ebony handles) Provenance: Private collection, New Orleans, Louisiana.

Doris Sachs Asher (1896-1946) was the wife of Manhattan attorney Herman Asher (1884-1940). The couple married on April 9, 1918 at the Plaza Hotel, and lived at 1111 Park Avenue. The couple traveled to Europe in 1925 (on board the Cunard’s Aquitania) and in 1929 (on board the CGT Ile de France). $1,000-$1,500

78 | NEW ORLEANS AUCTION GALLERIES

92

Gerald Benney, CBE (British, 1930-2008) Cased Beverage Service, hallmarked London, 1973-1974 sterling silver including an ovoid pitcher, h. 7-3/4”, and eight cylindrical goblets, h. 5”, dia. 2-3/4”, each with “bark” finish and gilt interior, presented in an emerald green satin- and velvet-lined pigskin case, the interior lid with Benney gilt stamp, the exterior lid with engraved presentation plaque dated October 1973.

124.51 total t. oz.

Provenance: Private collection, New Orleans, Louisiana. $6,000-$9,000

MODERN & CONTEMPORARY ART + DESIGN | 79

93

Twelve Pieces of Peruvian Modernist Sterling Silver Tableware mid-20th century, various makers including Kohler and Mario Canepa & Cia (SIAM), all pieces hand-crafted with hammered finish, comprising ten butter pats, dia. 3-1/4”, an ovoid bowl, l.

9-1/8”, and a leaf-shaped dish, l. 11-1/4”.

27.77 total t. oz.

Provenance: Private collection, New Orleans, Louisiana. $700-$1,000

94

Gundorph Albertus (Danish, 1887-1954) “Cactus” Flatware, designed in 1930 for Georg Jensen, Copenhagen sterling silver and stainless steel fifteen assorted place and serving pieces.

15.71 total t. oz. (weighable silver) Provenance: Private collection, New Orleans, Louisiana.

Detailed list of pieces available on request. $600-$900

80 | NEW ORLEANS AUCTION GALLERIES

95

Damian Garrido (Spanish, 1931-2002) Centerpiece, 1997 sterling silver marked “Damian Garrido / Sterling Silver / 925 / M1” on basal edge. h. 8-1/2”, l. 12-3/4”, w. 11-3/8”; 109.31 t. oz.

Provenance: Estate of Nancy R. Morrison, Houston, Texas. $2,500-$4,000

96

Stainless Steel Curule Seat probably 1980s, with fine open slats laid over upright ribs, both sides joined at the center with a grommet-secured disc. h. 26-3/4”, w. 28”, 16-1/2” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 81

97

Woody Gwyn (American/New Mexico, b. 1944) “Earth, Water, Sky” acrylic on canvas, a triptych verso with “Meredith Long & Company, Houston, Texas” label.

Unframed. overall 32” x 96” Provenance: Meredith Long & Company, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas. $20,000-$40,000

82 | NEW ORLEANS AUCTION GALLERIES

WOODY GWYN A foremost contemporary landscape painter, Woody Gwyn’s precisely composed paintings can appear simultaneously nearly photographic in nature when viewed from a distance, yet abstract as one focuses on various planes of color. This is apparent in the “Earth, Water and Sky” triptych offered here where elements are distilled into uncomplicated representations without compromising attention to details. This is intentionally reminiscent of certain 17th-century Dutch artists.

“Look at [Johannes] Vermeer,” said the artist in a 2021 interview for an exhibit at LewAllen Galleries in Santa Fe, New Mexico. “You can turn a Vermeer upside down and it’s still exciting looking, just the way he broke up the spaces in an abstract sort of way. That’s what makes him better than, say, [Pieter] de Hooch, who painted just as

well as Vermeer but didn’t have that abstract flash. It’s very crucial that a thing work on the abstract level, whether it’s representational or not.”

Gwyn’s landscapes, such as the “Abiquiu II”, another work offered in this auction (Lot 130), mirror the ways he encounters the topographies as he drives along winding mountain roads in New Mexico, or gazes out past guardrails along the California coast. Where some would edit out the man-made elements such as guardrails and tarmac - or even choose a different angle or perspective - he faithfully incorporates them into his works. As the artist himself has stated, “There’s a potential for beauty in places where we don’t necessarily expect it.”

MODERN & CONTEMPORARY ART + DESIGN | 83

99

Donald Keith Sultan (American, b. 1951) “Pomegranate, Jan. 8, 1989” charcoal on paper initialed lower right and titled along left edge.

“Meredith Long & Company, Houston, TX” and “M. Knoedler & Co., Inc.” labels with artist, title and date of “1990” en verso.

Matted, glazed and framed.

11-1/2” x 8”, framed 20” x 17” Provenance: M. Knoedler & Co., Inc., New York, New York; Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. $2,000-$4,000

100

Joan Mitchell (American, 1926-1992) “Arbres (Black and Red)” lithograph in colors signed in pencil lower right, pencil-numbered “82/125” lower left.

Matted, glazed and framed. sight 27-3/4” x 21-1/2”, framed 35-1/4” x 26-3/4” $3,000-$5,000

84 | NEW ORLEANS AUCTION GALLERIES

101

103

“VII, de la carpeta Canto General”, 1968

from the “Living Furniture” series, incised “P. Troyano 2012”. h. 30-1/4”, w. 28-1/4”, d. 11”

David Alfaro Siquerios (Mexican, 1896-1974)

lithograph signed and numbered “21/25” lower right.

Float-mounted, glazed and framed. sheet 23-1/4” x 40-1/4”, framed 26-5/8” x 42-1/2” Provenance: Private collection, Houston, Texas.

Paul Troyano, New Orleans, Small Free-Form Wooden Console

Provenance: Ariodante, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $700-$1,000

$600-$900

MODERN & CONTEMPORARY ART + DESIGN | 85

104

George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” silver and moon gold leaf over black clay incised signature lower right.

Within an integral frame.

14-3/4” x 13” $4,000-$7,000

105

George Bauer Dunbar (American/Louisiana, b. 1927) “Untitled - Minimal Series” gold leaf over red and black clay incised signature lower right.

Within an integral frame.

49” x 55” $20,000-$40,000

106

George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” moon gold leaf over black clay incised signature along bottom.

Within an integral frame.

14-1/2” x 12-3/4” $2,000-$4,000

86 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 87

107

Herman Leonard (American, 1923-2010) “Armstrong-Newman-Ellington, Paris, 1960” silver gelatin print signed lower right, numbered “13/50”, titled and dated lower right.

Matted, glazed and framed. sight 13” x 18-1/2”, framed 23” x 28-1/2” $2,000-$4,000

108

109

labeled, of breakfront form, the projecting center with a bank of three mirrored drawers and flanked by like pilasters and a similar door on each side, raised on tapering legs, the inset top with black granite in a stained mahogany frame. h. 34”, w. 88-1/2”, d. 22”

“Composition Cubiste”, ca. 1975

Christopher Guy Mirrored Glass and Tessellated Granite Sideboard/Cabinet

$1,000-$1,500

Robert Marc (Swiss/French, 1943-1993)

oil on masonite signed lower left.

Framed.

34-3/4” x 29”, framed 43-1/2” x 38” Provenance: Vente Marchaut, France, March 23, 1996, No. 19.

Accompanied by a Certificate of Authenticity issued by Annie Fromentin-Sangnier. $14,000-$18,000

88 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 89

110

James Kennedy (Irish/American, b. 1962) “The Middle Realm”, 2014 acrylic polymer on incised masonite monogrammed and dated en verso.

30” x 30” $800-$1,200

90 | NEW ORLEANS AUCTION GALLERIES

111

James Drake (American/Texas, b. 1946) “City of Tells, Study No. 1”, 2004 photograph with oil signed lower right.

Float-mounted, glazed and framed. sheet 24” x 57-1/2”, framed 29” x 63-1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, Nashville, Tennessee. $1,200-$1,800

112

Hernan Caro (Columbian/New Orleans) Steel and Glass Side Table contemporary, the glass top supported by four serpentine steel rods soldered at the waist. h. 38-3/4”, w. 24”, d. 22” Provenance: Ariodante, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 91

113

George Valentine Dureau (American/Louisiana, 1930-2014) “Man and Woman, Study No. 1” conte crayon and gesso on canvas signed lower center.

“Isaac Delgado Museum of Art, Nineteen 65, Artists of Louisiana” exhibition label en verso.

Glazed and framed.

48” x 33”, framed 50-3/4” x 35-1/4” Provenance: Private collection, Houston, Texas.

Exhibited: Isaac Delgado Museum of Art, Nineteen 65, Artists of Louisiana, March 30 through April 25, 196 $3,000-$5,000

92 | NEW ORLEANS AUCTION GALLERIES

114

Jim Dine (American, b. 1935) “Tool Box”, 1966 screenprint and collage signed lower right, titled, dated and numbered “42/150” on label lower right corner of glazing.

Matted, glazed and framed. sight 23-1/2” x 18-1/2”, framed 32” x 27” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $2,000-$4,000

MODERN & CONTEMPORARY ART + DESIGN | 93

115

Frantisek Drtikol (Czech, 1883-1961) “Portfolio V” portfolio of three pigment prints and seven gelatin silver prints Prague: Odephil Editions for Prague House of Photography, 1996, each print with “Odephil Editions, Prague” blind stamp on the image, each with stamp and sequential numbering with edition “3/30” on the reverse of print mount; together with colophon page with list of plates and with edition number in ink; all prints archively processed and toned, presented in acid-free mat boards, and secured in a silkscreened linen clam-shell presentation box. each 11-1/4” x 9” or 9” x 11-1/4”, case 20-5/8” x 18-1/2” x 2” Provenance: Purchased directly from Suzanne Pastor of Odephil Editions, Prague, 1996; Private collection, New Orleans, Louisiana. $5,000-$8,000

94 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 95

116

Henri Cartier-Bresson (French, 1908-2004) “Louisiana, 1947” gelatin silver print later printing, ink-signed lower right and with artist’s blind stamp lower left margin.

Matted, glazed and framed. sight 11” x 15”, framed 18-1/4” x 21-1/4” Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana. $5,000-$8,000

96 | NEW ORLEANS AUCTION GALLERIES

117

Emmet Gowin (American, b. 1941)

118

Emmet Gowin (American, b. 1941)

“Baby with Wreath, Danville, Virginia”, 1967

“Untitled”, 1968

gelatin silver print from the portfolio Photographs: School of Dayton Art Institute, artistmounted, signed en verso, artist, title and date at lower left.

Unframed. image 4-1/2” x 5-1/2”, overall 13” x 10”

gelatin silver print from the portfolio Photographs: School of Dayton Art Institute, artistmounted, signed en verso.

Unframed. image 5” x 6-1/4”, overall 13” x 10”

Provenance: Collection of Laura Grannen, New Orleans, Louisiana.

Provenance: Collection of Laura Grannen, New Orleans, Louisiana.

$1,000-$1,500

$1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 97

98 | NEW ORLEANS AUCTION GALLERIES

MODERN & CONTEMPORARY ART + DESIGN | 99

119

Seven-Piece “Walter Lamb Aluminum Collection” Dining Suite by Brown Jordan comprised of a dining table and six armchairs, reissued by the firm based on its production of Lamb’s original designs utilizing WWII surplus bronze tubing, the present set in patinated aluminum, each chair with rope seat and back joined to a tubular aluminum frame, the table with a driftwood-finished teak top on shaped tubular legs joined by a stretcher. chair h. 33-1/4”, w. 21-1/2”, d. 24”, table h. 29”, w. 26”, l. 42-1/2” $1,000-$1,500

100 | NEW ORLEANS AUCTION GALLERIES

120

Harold Reddicliffe (American, b. 1947) “Still Life with Boxes and Cartons II”, 1980 oil on canvas signed and dated en verso.

Framed.

24” x 30”, framed 30-1/4” x 36-1/2” Provenance: Watson/de Nagy & Company, Houston, Texas; Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

121

Donald Roller Wilson (American/Arkansas, b. 1938) “A Little Scene in the Powder Room: Instructions for the Bath”, 1974 graphite, watercolor and mixed media collage on paper signed, titled and dated “August 23, 1974” upper center, and signed and titled en verso.

Plexiglass box framed.

20” x 16”, framed 20-1/4” x 16-1/4” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

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“Lynda Benglis contributes to new options in American art....

Few talents today are so alert to the weights and balances of the actual moment as Benglis, and no artist seems more capricious, more casual. She appears to toss aside important realizations at the instant of their discovery. Rarely has the observation that art is about beginnings been more apt than in her case.”

Robert Pincus-Witten ARTFORUM, 1974

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LYNDA BENGLIS Lynda Benglis’ career is one that has been consistently (and very pleats and ruffles. The artist herself has commented that these forms intentionally) dominated by the simultaneous exploration and were partially inspired by a nostalgia for her times spent crocheting with manipulation of the myriad materials available to the artist. her grandmother, one of the most significant and influential figures in Her earliest works were latex her life. Through thisjuxtaposition of pours, which acted as explorations I TOTALLY BELIEVE THAT material and form, Benglis scrutinizes of the relationship of the artist to the ART IS AN OPEN DIALOGUE concepts of social norms, cultural space she was presently occupying; symbolism and significance of knots AND THAT IT IS NOT in a sense, they are amorphous, in ancient cultures (such as the Incan LOGICAL. IT DOES NOT partially unrestrained, extensions Quipu), and art as an extension of ALWAYS MAKE SENSE.­ of her own corporeal presence. The the artist’s movements.

– LYNDA BENGLIS resultant works have been described The monumental knot sculpture as artistic gestures frozen in time. offered here is indicative of Benglis at In her later series of knot sculptures, she employs the hard metals her most accomplished and masterful: it is a powerful work of illusion, favored by male artists of the 60s and 70s in the creation of their shifting from the seemingly immutable rigidity of the materials “hard-edged” minimalist works. Benglistransforms these metals into employed, into a decorative pleated and knotted wall sculpture which “softer” forms reminiscent of the more consciously feminine bows, almost impulsively twists into itself.

122

Lynda Benglis (American, b. 1941) “Kanzler”, 1987/8 copper, steel and wire mesh h. 72”, w. 30”, d. 14” Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.

Literature: Robert Pincus-Witten, “Lynda Benglis - The Frozen Gesture” Artforum, November 1974; Elizabeth Buhe, “Lynda Benglis” Art in America, November 21, 2016; Julian Kreimer, “Shape-Shifter Lynda Benglis” Art in America, December 1, 2009. $120,000-$180,000 MODERN & CONTEMPORARY ART + DESIGN | 103

THAT’S WHERE IT STARTS AND THAT’S WHERE IT ENDS. – LOGAN MAXWELL HAGEGE Hagege's modern vision of the American West is a landscape distilled into its purest essence. The large planes of color, masterful use of light and observation of nature merge to create a place where imagination and realism coexist. He is a keen observer of nature but interprets it using his own unique “stylized realism”,

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layering patterns and geometric shapes to create visual roadmaps for the viewer. In this example, the clouds are created of vast domed curves, echoing the shape of horns on the floating skull as well as the ridges in the mesa.

This is the artist’s vision of the world; “that’s where it starts and that’s where it ends,” he says.

123

Copper-Wrapped Console Table in the Parsons Taste 1980s, having a narrow profile with boldly soldered joins throughout. h. 36”, w. 32”, d. 12” Provenance: Estate of Nancy R. Morrison, Houston, Texas. $1,000-$1,500

124

Logan Maxwell Hagege (American, b. 1980) “Floating Skull at Vermillion Cliffs”, 2012 oil on linen affixed to board signed upper right, signed, titled and dated, and “Gerald Peters Gallery, Santa Fe, N.M.” label with artist, title and date en verso.

Framed.

30” x 40”, framed 33-5/8” x 43-5/8” Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.

Hagege’s modern vision of the American West is a landscape $20,000-$40,000

MODERN & CONTEMPORARY ART + DESIGN | 105

125

Dorothy Hood (American/Texas, 1919-2000) “Under Sea Arrow” oil on canvas signed and titled on stretcher.

Unframed.

60” x 70” Provenance: Private collection, Houston, Texas. $25,000-$40,000

126

Dirk Staschke (American, b. 1971) “Untitled”, ca. 1993 matte-glazed pottery vessel incised signature on bottom. h. 10-1/2”, w. 6”, d. 5” Provenance: Private collection, Birmingham, Alabama.

According to the artist, this was an early work created while a student at the University of Montevallo, Montevallo, Alabama. $1,000-$1,500

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127

Six Vintage Sven Ivar Dysthe for Dokka Mobler Rosewood and Leather Armchairs ca. 1970, Norwegian, model 496, with rosewood frames, now upholstered in rich, channel-tufted Spinneybeck leather, each metal-labeled underneath “Dokka/Mobler/Made in/Norway”. h. 33-1/4”, w. 27-1/4”, d. 26-1/4”; seat h. 19”, d. 17-1/4” Provenance: Blitch-Knevel Architects, New Orleans, Louisiana.

Literature: ì737 St. Charles Buildingî, The Designer, April 1986, cover & p. 8.

Purchased by J. Buchanan Blitch, Sr. in the early 1970s and used in the St. Charles Avenue offices of Blitch-Knevel Architects, New Orleans, Louisiana for over fifty years. $2,000-$4,000

128

Vintage Rosewood Conference/Dining Table, Attributed to Sven Ivar Dysthe ca. 1970, probably for Dokka Mobler, Norway, with self-banded ends and two pairs of rounded straight legs, each pair joined by a slightly cushion-cut stretcher. h. 28-3/4”, w. 43-1/2”, l. 96” Provenance: Blitch-Knevel Architects, New Orleans, Louisiana.

Literature: ì737 St. Charles Buildingî, The Designer, April 1986, cover & p. 8.

Purchased by J. Buchanan Blitch, Sr. in the early 1970s and used in the St. Charles Avenue offices of Blitch-Knevel Architects, New Orleans, Louisiana for over fifty years. $1,400-$1,800

129

Mid-Century Modern Camer Fume Glass Chandelier third quarter 20th century, Murano, Italy, the frame dressed with fume glass prisms, labeled “Camer Glass Made in Italy”. h. 19”, dia. 13-1/2” $800-$1,200

MODERN & CONTEMPORARY ART + DESIGN | 107

130

Woody Gwyn (American/New Mexico, b. 1944) “Abiquiu II”, 2006

131

Pair of Vintage Mario Bellini Natural Saddle Hide “Cab 414” Armchairs

oil on board signed, titled and dated en verso, with a “Gerald Peters Gallery, Santa Fe, New Mexico” label.

Metal frame.

12” x 16”, framed 12-1/2” x 16-1/2”

1980s, for Cassina, Meda, Italy, the tubular steel frame “skeleton” with a pieced, freestanding saddle hide cover closed with zippers on the leg interiors, the removable Velcroed cushion faced underneath with black Cassina-labeled fabric, the cushion and seat front embossed “U-1 Cassina” underneath. h. 31”, seat h. 17”, front w. 21-1/2”, rear w. 17-1/2”, d. 19”

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico; Estate of Nancy R. Morrison, Houston, Texas.

Provenance: Estate of Nancy R. Morrison, Houston, Texas.

$3,000-$5,000

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$1,400-$1,800

IT’S VERY CRUCIAL THAT A THING WORK ON THE ABSTRACT LEVEL, WHETHER IT’S REPRESENTATIONAL OR NOT. – WOODY GWYN

MODERN & CONTEMPORARY ART + DESIGN | 109

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132

Elizabeth (Betsy) Fay Swanson (American/Louisiana, b. 1938) “Cabin, Rear Door, French Settlement, Livingston Parish, La.”, 1968; “Creole Plantation House, Paincourtville, La.”, 1967; “Fort Livingston, Grande Terre, Louisiana”; “St. Bernard Parish, La.”, 1957; “Orange Grove Plantation House, La.”, 1969, and “Untitled: Cabin in the Bayou” six gelatin silver prints four signed, titled and dated lower margin or en verso, and two unsigned.

Unframed. images 14” x 9-3/4”, 10” x 13-1/2”, 13” x 7-1/2”, 13” x 8-1/2”, 13” x 10” and 11” x 14”

ELIZABETH FAY SWANSON After graduating from Newcomb College, Tulane University, Betsy Swanson devoted her career to photographing, researching and writing about southeast Louisiana architecture. She documented many structures that were disappearing due to time and neglect. Swanson’s many accomplishments include her collaborations in the acclaimed multi-volume New Orleans Architecture series.

$1,000-$1,500

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133

Elizabeth (Betsy) Fay Swanson (American/Louisiana, b. 1938) “Fort Macomb, Chef Menteur”, 1967 silver gelatin print mounted on board pencil-signed, titled and dated on board.

Glazed and framed. photograph 13-1/4” x 8-1/4”, framed 18” x 14” $800-$1,200

134

Colette Pope Heldner (American/New Orleans, 1902-1990) “Old Brulator Courtyard, New Orleans” oil on canvas signed lower left, signed and titled en verso.

Framed.

24” x 30”, framed 27-1/2” x 33-1/2” $1,500-$2,500

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135

Knute Heldner (Swedish/Louisiana, 1877-1952) “Shrimp Boats” oil on canvas signed lower left.

Framed.

30” x 36-1/2”, framed 34” x 40-1/2” $4,000-$7,000

136

Caroline Wogan Durieux (American/Louisiana, 1896-1989) “Surprise” and “Senior”, 1975 two ink drawings each pencil-signed and dated lower right and titled lower left.

Matted, glazed and framed.

8” x 5”, framed 18-1/2” x 15” Provenance: Private collection, Houston, Texas. $800-$1,200

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137

Walter Inglis Anderson (American/Mississippi, 1903-1965) “Three Billy Goats Gruff” linoleum cut print unsigned.

Glazed and framed.

71-3/4” x 19”, framed 73-1/2” x 20-1/2” Provenance: Private collection, Houston, Texas.

Literature: Illustrated in Picard, Mary Anderson and Patricia Pinson, Form and Fantasy: The Block Prints of Walter Anderson, Jackson: University of Mississippi, 2007, color plate. $800-$1,200

138

Sister Gertrude Morgan (Alabama/Louisiana, 1900-1980) “The Meaning of Present Day” mixed media on board signed lower right, titled en verso, verso affixed with an article about Sister Gertrude Morgan’s Art from E. Lorenz Borenstein Gallery, Royal Sonesta Hotel and a Kodak image of the artist, probably taken by Borenstein.

Presented in an original shadowbox frame.

11-3/4” x 8-1/2”, framed 15” x 11-1/8” $4,000-$7,000

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139

Mose Tolliver (American/Alabama, 1925-2006) “Red Bird Chair” painted wood chair signed on seat. h. 34-1/2” $1,000-$1,500

140

Knute Heldner (Swedish/Louisiana, 1877-1952) “The Poplars, Minnesota” oil on board signed lower left, titled and with newspaper article about artist’s career in Minnesota en verso.

Framed.

23-1/2” x 18”, framed 27” x 22” $1,000-$1,500

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141

William R. Hollingsworth, Jr. (American/Mississippi, 1910-1944) “Two Girls and a Boy”, 1941 watercolor on paper signed lower right, titled lower center on board, localized and dated “Jackson ‘41” en verso.

Matted, glazed and framed.

9-1/2” x 8”, framed 18-1/2” x 12-3/4” $1,000-$1,500

142

Noel Rockmore (American/Louisiana, 1928-1995) “Portrait of Harry Salpeter”, 1955 oil on masonite signed and dated upper right.

Framed.

16” x 12”, framed 18-3/4” x 14-3/4” Noel Rockmore exhibited with Harry Salpeter Gallery in New York City in the mid-1950s. $1,000-$1,500

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143

Robert Rucker (American/Louisiana, 1932-2001) “French Market” oil on canvas signed lower right.

Framed.

24” x 30”, framed 28-1/2” x 34-1/2” $1,000-$1,500

144

Noel Rockmore (American/Louisiana, 1928-1995) “Carnival”, 1979 oil on canvas signed and dated lower right.

Framed.

24” x 30”, framed 30” x 36” Provenance: Private collection, New Orleans, Louisiana. $2,500-$4,000

MODERN & CONTEMPORARY ART + DESIGN | 117

145

Mario Villa (Nicaraguan/Louisiana, 1953-2021) Steel and Brass “Palm Leaf” Canopy Bed king size, the headboard and footboard with overlapping palm leaves bound by brass strapping, the arched canopy with palm leaf corners. h. 95”, inside w. 76-1/4”, l. 82”, outside w. 103”, l. 112” Literature: John Pope, “Obituaries” New Orleans Advocate, August 5, 2021. $2,500-$4,000

146

Mario Villa (Nicaraguan/Louisiana, 1953-2021) Steel and Brass “Acrobat” Console Table with rectangular plate glass top, the medial stretcher supporting a man on a tight rope, the surface in a patinated faux bronze finish. h. 35-1/2”, w. 50”, d. 12” $1,000-$1,500

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CLASSICAL WITH AN MV TWIST. –MARIO VILLA In 2021, New Orleans lost one of its most beloved designers, Mario Villa. An artist and artisan, Villa produced distinctive furniture, sculpture, jewelry and decorative arts, and was the owner of his eponymous gallery, which was a fixture of Magazine Street for nearly 40 years.

Artistic and creative from a young age, he was born into an intellectual Nicaraguan family; his father was an architect and renowned collector of Pre-Colombian art. Villa famously had his first exhibition at the age of 16, where one of his pieces was the - literal - door from his brother’s room. Shortly thereafter, the family was compelled to flee Nicaragua in the wake of the revolution, first to England where the young man attended the University of Bath, and eventually settling in New Orleans.

Villa obtained a degree in anthropology (from the University of New Orleans) and a degree in architecture (from Tulane University); both disciplines were to have a crucial influence on his eventual designs. As his friend and client Dianne Labouisse once stated, “Mario’s style was so embedded in the historical past, particularly of the Greek and Roman empires. It goes back to motion and gracefulness of GrecoRoman furniture and jewelry.” His classically inspired chairs, tables, beds and lamps were both sculptural in style and composition and eminently practical. Palm fronds, swags, mummies, classical busts, dancing figures and acrobats were all incorporated into various elements, resulting in pieces that the designer himself said were “Classical with an MV twist.”

147

Mario Villa (Nicaraguan/Louisiana, 1953-2021) Steel and Brass Chair in the neoclassical style, with a curved back crest above an interlocking circular and semi-circular brass panel, the frame in a sponge-painted black and navy finish, the seat covered in navy cut velvet. h. 36”, w. 26”, d. 21” $700-$1,000

MODERN & CONTEMPORARY ART + DESIGN | 119

148

Mario Villa (Nicaraguan/Louisiana, 1953-2021) “Female Torso”, 1997 monotype signed and dated in pencil lower right.

Presented in the artist-forged steel and brass frame. overall 31-1/2” x 24-1/2” $800-$1,200

149

Mario Villa (Nicaraguan/Louisiana, 1953-2021) “Classical Heads I, II, III” three painted ceramic plates two circular and one square, each signed and dated along edge. circular dia. 11-1/4”, square 14” x 14” $800-$1,200

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150

151

20th century, mixed metal, cross stretcher to legs with busts and twisted brass elements, with a glass top, incised signature along bottom of one bust. h. 17-1/2”, w. 36-1/2”, d. 25”

“Eglomise Panel of The Three Graces”

Provenance: Estate of Nancy R. Morrison, Houston, Texas.

$800-$1,200

Mario Villa (Nicaraguan/Louisiana, 1953-2021) Nefertiti Coffee Table

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

glass, black ink and gold leaf panel 19-3/4” x 55-3/4”

$1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 121

152

Robert Gordy (American/Louisiana, 1933-1986) “Diamond ‘Folly’ #2”, 1967 acrylic on canvas signed and dated “Robert Gordy, ‘67”, label with title en verso.

Framed.

45-1/2” x 45-1/2”, framed 47-1/2” x 47-1/2” $3,000-$5,000

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SCULPTURE IS LIVING, IT’S VITAL, IT’S CHANGEABLE. EVEN WHEN YOU WALK AROUND IT, IT CAN BE SOMETHING DIFFERENT. DRAWING IS A REFLECTION AND COORDINATING EYE AND HAND, BUT SCULPTURE IS YOUR MIND AND AN IDEA. – LIN EMERY

153

Lin Emery (American/Louisiana, 1926-2021) “Untitled” polished aluminum kinetic sculpture on an integral thin support base, incised signature and inscribed “Jim Farrell F.” along side of base. h. 48”, orbital radius 28” $15,000-$25,000

MODERN & CONTEMPORARY ART + DESIGN | 125

154

Faux Shagreen-Clad Writing Table late 20th century, the serpentine front with three drawers, raised on tapering square legs ending in brass caps. h. 30-1/4”, w. 60”, d. 30” $1,200-$1,800

155

Four Vintage Chrome and Faux Shagreen Side Chairs ca. 1980, with polished chrome frames, the box-padded seats upholstered in faux shagreen fabric. h. 37”, w. 19”, d. 24”; seat h. 20”, d. 17” $1,000-$1,500

156

Contemporary Silver Metal-Clad Cabinet the case with a pair of doors, each with mullion-work panels, opening to expose a well beneath a pair of drawers, the sides in similar decor to the doors. h. 35-1/4”, w. 46-1/2”, d. 19-1/2” $1,000-$1,500

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157

Allison Stewart (American/Louisiana, b. 1941) “Rim Trail #32”, 1999 mixed media on paper signed lower right, an “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso.

Glazed and framed.

22-1/2” x 22-1/2”, framed 28” x 26-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Property from the collection of Dr. Arnold and Celia Lupin, New Orleans, Louisiana. $1,000-$1,500

158

Allison Stewart (American/Louisiana, b. 1941) “Rim Trail #30”, 1999 mixed media on paper signed lower right, an “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso.

Glazed and framed.

22-1/2” x 22-1/2”, framed 28” x 26-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Property from the collection of Dr. Arnold and Celia Lupin, New Orleans, Louisiana. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 127

159

Susan Downing White (American/Alabama, b. 1960) “Little Street” oil on board signed and titled on artist-painted mat.

Artist mat and frame.

18-1/2” x 18”, framed 24-3/4” x 24-1/2” Provenance: Cole Pratt Gallery, New Orleans, Louisiana. $2,500-$4,000

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160

Gene Koss (American/Louisiana, b. 1947) “Wagon with Sculptures”, 1990 hand-formed glass with etching incised signature, date and title along edge. h. 13”, w. 16”, d. 3-1/4” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

161

162

“Untitled”, 2013

“Untitled”, 1988

hand-formed glass with etching incised signature and date along edge, with a metal presentation stand. overall h. 18”, w. 20”, d. 7”

hand-formed glass with etching from the “Ridge Series”, incised signature, date and series along lower edge. h. 15-1/2”, w 15”, d. 4-1/2”

Provenance: Private collection, New Orleans, Louisiana.

Provenance: Private collection, New Orleans, Louisiana.

$1,200-$1,800

$1,000-$1,500

Gene Koss (American/Louisiana, b. 1947)

Gene Koss (American/Louisiana, b. 1947)

MODERN & CONTEMPORARY ART + DESIGN | 129

163

Tony Mose (American/Louisiana, Contemporary) “Red Louisiana Irises”, 2005 oil on panel signed and dated lower right “Esom 05”.

Unframed.

40-1/2” x 42” $1,000-$1,500

164

Hasmig Vartanian (American/Louisiana, b. 1946) “Untitled: Abstraction” mixed media on board unsigned.

Matted, glazed and framed.

30” x 40-1/4”, framed 41” x 51” Provenance: Cole Pratt Gallery, New Orleans, Louisiana. $1,000-$1,500

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165

Douglas Bourgeois (American/Louisiana, b. 1951) “Little Objects Series #18”, 1999 gouache on Arches paper signed and dated lower right, verso with “Arthur Roger Gallery, New Orleans, Louisiana” label, accompanied by a personal letter of appreciation and a collage (signed and dated 1999).

Both float mounted, glazed and framed. gouache sheet 8” x 10”, framed 19” x 15”, letter/collage 6-1/4” x 4-5/8, framed 11” x 9-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, Houston, Texas. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 131

166

Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “The Wedding Party”, 1967 oil on canvas signed and dated mid-right.

Framed.

39” x 31”, framed 40-3/4” x 32-1/4” $8,000-$12,000

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167

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Untitled, from the Cluster Series”, 1978 mixed media on canvas signed and dated mid-right, a “Fine Contemporary Art, Joan E. Kaplan, New York” label en verso.

Matted, glazed and framed.

27” x 29-3/4”, framed 38-1/2” x 41-1/2” Provenance: Joan Kaplan Fine Art, New York, New York; Private collection, New Orleans, Louisiana. $5,000-$8,000

168

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Quinary Cube”, 1969 oil on canvas mounted on paperboard signed and dated at bottom, with an integral lucite presentation cube. overall h. 5-1/2”, w. 5-1/2”, d. 5-1/2” Provenance: Private collection, New Orleans, Louisiana. $1,200-$1,800

MODERN & CONTEMPORARY ART + DESIGN | 133

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FRITZ BULTMAN Born into a New Orleans family, Fritz Bultman joined a group of artists in New York City who adopted the tenets of the Abstract Expressionist Movement of the mid-20th century. Named after his father, A. Fred Bultman, the artist became known as Fritz. Apparently an early painting, Bultman signed it with his birth name’s initials. He later adopted the monogram of capital F.B. within a circle.

169

Fritz Bultman (American/Louisiana, 1919-1985) “Untitled: Abstraction” oil on board signed “A. F. Bultman” lower right.

Framed.

16” x 20”, framed 17-1/2” x 21-1/2” Provenance: Private collection, Houston, Texas. $15,000-$25,000 MODERN & CONTEMPORARY ART + DESIGN | 135

170

Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008) “Rice Tracks: Triple View”, 2004 acrylic on masonite, a triptych signed, titled and dated along upper edge, central panel with “Arthur Roger Gallery, New Orleans, Louisiana” label. each panel 40” x 95”, overall 40” x 288” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Riviana Foods Inc., Houston, Texas corporate collection. $30,000-$50,000

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I SCULPT CHARACTERS AND BEINGS—THE DOGS, THE HARES, THE MINOTAURS—ARE ALL CHARACTERS BEYOND ANIMAL FORM. I’M NOT INTERESTED IN MAKING A REPLICA. –SOPHIE RYDER Sophie Ryder has created her own mythology, a world populated by a menagerie of hybrid hares, minotaurs, and dogs. Her earliest anthropomorphized figures were monumental constructions intended for outdoor settings and open spaces. Composed of intricately bent and twisted wire, with sawdust, plastic, found objects and metal, these sculptures jauntily occupy space within their natural setting. These hybrid figures with human bodies and animal heads are permitted a degree of

freedom of expression, untethered by any societal expectations or pressures, allowing Ryder commentary on human emotions, relationships, and motivations.

Significantly, Ryder has stated that the body of the Lady Hare, one of her most identifiable subjects, is modeled from her own.

The sculpture offered here, the Lady Hare and Minotaur, is a figural group that Ryder has revisited in various configuration for decades.

171

Sophie Ryder (British, b. 1963) “Minotaur and Hare on Grate”, 1993 patinated bronze incised signature, dated, and numbered “3/9” along edges of base. h. 31”, w. 17”, d. 12” $12,000-$18,000

MODERN & CONTEMPORARY ART + DESIGN | 139

172

173

“Vence, Cite des Arts et des Fleurs”, 1959

“L’Accordeoniste”, 1957

color lithograph printed by Mourlot, Paris after the1954 poster, pencil-signed lower right, marked “H.C.” (artist proof) lower left, verso affixed with “National Art Guild” certificate of authenticity.

Matted, glazed and framed. sight 11” x 8-1/2”, framed 33” x 29”

lithograph in colors on Arches paper from the “Lassaigne” series, pencil-signed lower right and numbered “49/90” lower left, published by Maeght Editions, Paris and printed by Mourlot, Paris.

Float-mounted, glazed and framed. sheet 14-3/4” x 19-1/2”, framed 25-1/2” x 30”

$1,000-$1,500

$1,500-$2,500

After Marc Chagall (Russian/French, 1887-1985)

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Marc Chagall (Russian/French, 1887-1985)

174

Marc Chagall (Russian/French, 1887-1985) “Nuit d’Ete”, 1973

175

Marc Chagall (Russian/French, 1887-1985) “Le Bouquet a la Main”, 1957

lithograph in colors on Arches paper pencil-signed lower right and numbered “15/50” lower left.

Float-mounted, glazed and framed. sheet 27” x 19-1/2”, framed 36-1/4” x 28-1/4”

lithograph on Arches paper pencil-signed lower right and numbered “49/90” lower left, published by Maeght Editions, Paris and printed by Mourlot, Paris.

Float-mounted, glazed and framed. sheet 14-1/4” x 11-1/4”, framed 25-1/2” x 21-1/2”

$2,000-$4,000

$1,000-$1,500

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178

Salvador Dali (Spanish, 1904-1989) “Nude with Garter”, 1969/70 etching and drypoint on Japon paper from the Hippies series, pencil-signed lower right and marked “EA” lower left.

Float-mounted, glazed and framed. sheet 24-1/2” x 19-1/4”, framed 43-1/2” x 37-1/8”

177

Salvador Dali (Spanish, 1904-1989) “Pantagruel XI”, 1973 lithograph in colors on Japan nacre paper from the series “Les Songes Drolatiques de Pantagruel”, pencilsigned lower left and numbered “A32/250” lower left, printed

by Carpentier, inspired by the series of satirical novels La Vie de Gargantua et de Pantagruel by Francois Rabelais, with a letter of authentication from the Great Dane Collection en verso.

Float-mounted, glazed and framed. sheet 29-5/8” x 21-1/8”, framed 43-1/4” x 31-1/4” $1,000-$1,500

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$1,000-$1,500

179

Suite of Four Vintage Wrought Iron Garden Chairs, After Diego Giacometti second half 20th century, each armchair in his “Pommeaux de Canne” pattern, the back with a central ring over vertical splats, joined to shaped open arms terminating in ringed posts, with a slat seat and straight legs joined by a shaped stretcher. h. 37-3/8”, w. 22-1/4”, d. 19”

180

Wrought Iron and Marble-Top Console Table in the Manner of Gilbert Poillerat (French, 1902-1988) mid-20th century, the patinated and parcel-gilt wrought iron base with a molded breche oriental de Baixas marble top. h. 38”, w. 58”, d. 16-3/4” $1,500-$2,500

$1,000-$1,500

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181

Georges Rouault (French, 1871-1958) “Trois Personnages” gouache on paper initialed lower left, verso with multiple labels, including “Christie’s, 30 November 1995” sale labels, a “Benjamin Galleries, Chicago, Illinois” label with description: “Illustration for top of a page of the unpublished ‘Fleurs du Mal’” and “Munn, Los Angeles, California” framer label.

Matted, glazed and framed.

4-3/4” x 8”, framed 10-3/4” x 14” Provenance: Benjamin Galleries, Chicago, Illinois; Christie’s New York, Frank Sinatra sale, November 30, 1995, lot 77; Estate of Nancy R. Morrison, Houston, Texas. $20,000-$40,000

144 | NEW ORLEANS AUCTION GALLERIES

182

Joan Miro (Spanish, 1893-1983) “Affiche pour l’Exposition Sculptures”, 1970 lithograph in colors pencil-signed lower right and numbered “142/150” lower left, printed and published by Maeght editions, Paris.

Matted, glazed and framed.

29” x 22”, framed 38” x 31” $2,000-$4,000

MODERN & CONTEMPORARY ART + DESIGN | 145

183

Dale Chihuly (American, b. 1941) Garnet Flame Blown Glass Basket 2018, with white drawing shard, signed near the lower in engraved script “Chihuly/18”. h. 20”, w. 10”, d. 10-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $10,000-$15,000

146 | NEW ORLEANS AUCTION GALLERIES

184

Calman Shemi (Argentinian, b. 1939) “Antagonism Between Fog and Clarity” mixed media wool textile needle-felted signature lower left, signed, dated, titled, numbered “4/9” and copyright-marked on back.

Unframed.

55” x 82-1/2” $1,000-$1,500

185

Richard Gordon Stout (American/Texas, 1934-2020) “Untitled: Abstraction”, 1980 oil on canvas signed and dated lower right and en verso.

Framed.

20” x 28”, framed 21-1/2” x 29-1/4” Provenance: Private collection, Houston, Texas. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 147

186

Julie Silvers (American/Louisiana, Contemporary) “Atlantis 104” and “Atlantis 105”, 2003 pair of mixed medias on canvas each signed and dated lower right and titled en verso.

Framed.

24” x 24”, framed 28” x 28” Provenance: Property from the collection of Dr. Arnold and Celia Lupin, New Orleans, Louisiana. $1,500-$2,500

187

Charmion Von Wiegand (American, 1896-1983) “Untitled: Abstraction” oil on canvas unsigned.

Artist identified and a “DuBose Gallery, Houston, Texas” label en verso.

Framed.

6-1/4” x 9”, framed 17” x 20” Provenance: DuBose Gallery, Houston, Texas; Private collection, Houston, Texas. $1,000-$1,500

148 | NEW ORLEANS AUCTION GALLERIES

188

Francoise Gilot (French, b. 1921) “Sand Roses” lithograph pencil-signed, titled and numbered “17/100” lower margin.

Matted, glazed and framed. sight 18-1/2” x 22-1/2”, framed 25” x 29” Provenance: Vincent Mann Gallery, New Orleans, Louisiana; Odyssey Ball Auction, New Orleans Museum of Art; Property from the collection of Dr. Arnold and Celia Lupin, New Orleans, Louisiana. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 149

189

Regina Scully (American/New Orleans, b. 1975) “Untitled: Abstraction”, 2012 “Untitled: Abstraction”, 2012 acrylic on white rag paper acrylic on black rag paper former signed and dated lower right and latter signed and dated lower left.

Each glazed and framed. sheets 16” x 26”, 21-1/2” x 31-1/4”, framed 22” x 29-1/2”, 26” x 33-1/4” Provenance: Private collection, New Orleans, Louisiana. $1,500-$2,500

190

John Ross Palmer (American/Texas, b. 1974) “Untitled Vertical” “Untitled Horizontal” two carved and painted wood sculptures latter initialed along back and on an integral square base. former h. 3-1/2”, w. 96-1/2”, d. 1-1/2”, latter h. 75”, w. 14”, d. 14” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

150 | NEW ORLEANS AUCTION GALLERIES

191

Kim Howes Zabbia (American/Louisiana, 20th/21st Century) “Freedom II”, 2014 acrylic and rice paper on panels within an integral wooden framework signed lower right, and signed, titled, dated and inscribed en verso.

Unframed.

19” x 48” Provenance: Ariodante Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

Exhibited: Pensacola Museum of Art, Pensacola, Florida, October 17- November 29, 2014. $1,000-$1,500

192

Tanya Firmin Dischler (American/Louisiana, b. 1949) “Fire in the Sky: Burning Cane Series”, 2013 acrylic on canvas signed lower left, and signed, titled, dated “4/13” and inscribed en verso.

Unframed.

30” x 40” Provenance: Ariodante Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 151

193

Gustavo Duque (Colombian/Louisiana, Contemporary) “Silence”, 2012 “Silence - Globe” oil on wood panel and oil on wood globe former signed, dated and titled en verso, latter signed at bottom of globe and on a presentation stand. former dia. 28”, latter h. 13”, dia. 10-1/2” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

194

Kim Howes Zabbia (American/Louisiana, 20th/21st Century) “Duality”, 2015 “Venture”, 2015 acrylic on panels within in an integral wood framework acrylic and rice paper on panels within an integral wood framework each signed lower right, and signed, titled, dated and inscribed en verso.

Unframed.

25” x 12” and 25-1/8” x 24” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

152 | NEW ORLEANS AUCTION GALLERIES

195

Rose McBurney (American/New Orleans, b. 1976) “Rite of Passage”, 2017 oil on panel signed, titled and dated en verso stretcher, with “Hall-Barnett Gallery” label.

Framed.

24” x 30”, framed 25-1/2” x 31-1/2” Provenance: Hall-Barnett Gallery, New Orleans, Louisiana. $1,000-$1,500

196

Tony Green (American/Louisiana, b. 1954) “Balcony with American Flag” oil on masonite Artist’s stamp en verso.

Framed.

14” x 18”, framed 19-1/4” x 23-1/4” $1,000-$1,500

MODERN & CONTEMPORARY ART + DESIGN | 153

197

198

“Untitled - Nude Series”

“Eros Invectus”, 2008

mixed media on paper signed lower right.

Matted, glazed and framed. sight 8-1/8” x 4-3/4”, framed 22-5/8” x 19-1/4”

mixed media on paper signed, dated and titled lower right.

Matted, glazed and framed. sight 19-1/4” x 14-1/8”, framed 26” x 21”

$1,000-$1,500

$1,200-$1,800

Demond Matsuo (American/Louisiana, Contemporary)

154 | NEW ORLEANS AUCTION GALLERIES

Demond Matsuo (American/Louisiana, Contemporary)

199

Demond Matsuo (American/Louisiana, Contemporary) “Untitled”, 2007 mixed media and collage on paper signed and dated lower right .

Matted, glazed and framed. sight 21” x 14”, framed 28-1/2” x 21-1/2” $1,200-$1,800

MODERN & CONTEMPORARY ART + DESIGN | 155

156 | NEW ORLEANS AUCTION GALLERIES

200

Michael Schulze (German, b. 1952) “Pegasus” three sculptures and three watercolors the sculptures composed of plaster over a metal and mesh armature and with movable wings, the watercolors signed in pencil lower right. watercolors sheet size 17” x 12”, sculptures h. 23”, dia. 12” $2,500-$4,000

MODERN & CONTEMPORARY ART + DESIGN | 157

ARTIST INDEX Adickes, David Pryor

10

Gilot, Francoise

Albertus, Gundorph

94

Gordy, Robert

30-32, 152

Altmann, Alexandre

1

Gowin, Emmet

117, 118

Anderson, Walter Inglis Anzalone, William

137

Green, Tony

79

188

196

Greenfield-Sanders, Isca

Benglis, Lynda

122

Gwyn, Woody

Benney, Gerald

92

Hagege, Logan Maxwell

97, 130

Blanchard, Porter

89

Hailand, Tim

Bordenave, Pierre

8

Harouni, David

Bourgeois, Douglas

165

Bucklow, Christopher

54

40-42

124

28 46

Havel, Joseph

Boynton, Jack (James Wesley)

14

98

Heldner, Colette Pope Heldner, Knute

134

135, 140

Bultman, Fritz

169

Hilton, John William

Caro, Hernan

37, 112

Hollingsworth, Jr., William R.

Cartier-Bresson, Henri Chagall, Marc

116

Hood, Dorothy

173-175

Chagall, Marc (after)

91

Julien, Epaul

25

Chihuly, Dale

26, 183

Kennedy, James

Collins, Jacob

71

Kleinveld, Elizabeth

Colmenares, Luis

29

Cundin, Jose-Maria Dali, Salvador Dine, Jim

83

Koss, Gene

166

25

2

Leonard, Herman

114

107

Lichtenstein, Miranda

Dischler, Tanya Firmin

192

Marc, Robert

111 115

Dumitresco, Natalia Dunbar, George Bauer Duque, Gustavo

86

Matsuo, Demond 60 39, 104-106

193

197-199

McBurney, Rose

195

Meyer, Matthias

44, 45

Miro, Joan

182

Dureau, George Valentine

113

Mitchell, Joan

Durieux, Caroline Wogan

136

Mito, Mary Neumuth

Dyf, Marcel

3

Edzard, Dietz

5

Gall, Francois

84

Morgan, Sister Gertrude 55

153

Fuss, Adam

100

Morgan, Jr., Elemore Madison

Embrey, Carl Rice Emery, Lin

52

63, 109

Masson, Andre

Drtikol, Frantisek

167, 168

160-162

Lebourg, Albert

176-178

Drake, James

110

Kohlmeyer, Ida Rittenberg

Cook, Howard Norton

Mose, Tony

163

Palmer, John Ross

43 4

Garrido, Damian Gibson, John Stuart

95 36

158 | NEW ORLEANS AUCTION GALLERIES

141

12, 125

Jensen, Georg

172

6

Papart, Max

80

Peltier, Jean

7

190

Reddicliffe, Harold Rockmore, Noel

120

142, 144

138

170

Rouault, Georges Rucker, Robert

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

181

143

Ryder, Sophie

171

Sandback, Frederick Schanker, Louis

102

81

Schulze, Michael

200

Scott, John Tarrell

58

Scully, Regina

189

Shemi, Calman

184

Sherrill, Michael

13

Silverman, Arthur Silvers, Julie

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

38

186

Siquerios, David Alfaro Staschke, Dirk

101

126

Stewart, Allison

157, 158

Stout, Richard Gordon Sultan, Donald Keith

185

Tabara, Enrique

87

Tabuena, Romeo

61

Takiguchi, Masaru Tolliver, William Troyano, Paul

139 103

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

164

145-151

von Nessen, Greta

76, 77

Von Wiegand, Charmion

187

85

White, Susan Downing Williams, Casey

121

Signed: In our qualified opinion, has the signature which is that of the artist.

191, 194

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Wiman, Bill

15, 16

Wray, Dick

56, 57, 59

Zabbia, Kim Howes

After: In our qualified opinion, a copy of a known work by the artist.

159

47-51

Wilson, Donald Roller

Zhou, Jie-Wei

132, 133 Studio of: In our qualified opinion, a work possibly associated with the studio of the artist and showing his or her influence.

62

Vartanian, Hasmig

Wein, Albert

Circle of: In our qualified opinion, a work of the period of the artist and showing his or her influence.

99

Swanson, Elizabeth (Betsy) Fay

Villa, Mario

School of / Follower of: In our qualified opinion, a work by a follower of the artist.

23 Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

MODERN & CONTEMPORARY ART + DESIGN | 159

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 12% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision.

In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required

by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue.

Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted

by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Note that there is no discount for LiveAuctioneers and Invaluable bidders. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Susan D. Sarofim CEO

Jelena Restovic James Director of Fine Art

Tessa Steinkamp Director of Auctions

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Charles C. Cage Silver Specialist & Office Manager

Michele Carolla Fine Art Specialist

Burke Designer

Taylor Eichenwald Assistant Director of Auctions

Sarah Agnew Client Services & Administrative Assistant

Thomas Halverson American Furniture Specialist

Grace Connors Manager of Online Auctions

AUCTIONEERS

CONSULTANTS

ADMINISTRATION & MARKETING

Tessa Steinkamp, LA #1265 Taylor Eichenwald, LA #1922 Michael DeGeorge, LA #1774

Ellen McKenzie English & Continental Furniture

Denise Haik Office Administration

Ira Savoie Independent Certified Gemologist Appraiser

Christa Ougel Photographer & Graphic Designer Mark Hebert Marketing Coordinator & Graphic Designer

Kim Lemon Director of Fine Jewelry

Amelia Schussler Creative Director

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Theadrow Mark Jermaine Hargrove

160 | NEW ORLEANS AUCTION GALLERIES