Fine Art Auction | April 22, 2017

New Orleans Auction galleries

FINE ART AUCTION APRIL 22, 2017

FINE ART AUCTION APRIL 22, 2017 EXHIBITION:

April 8 - 21, 2017, Open Daily, 9 a.m. - 5 p.m.

(Closed Sundays, Good Friday & Easter Weekend)

EVENING RECEPTION: Thursday, April 20, 2017, 5 - 7 p.m.

LOT SCHEDULE 1 0 : 0 0 - 11 : 0 0

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75

11 : 0 0 - 1 2 : 0 0

76

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149

12:00 - 1:00

150

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225

1:00

226

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252

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1:30

F E AT U R I N G P R O P E R T Y F R O M : The Estate of Carolyn Grant Fay Houston, Texas The Collection of Zelda Gartner Jacksonville, Florida The Collection of Mr. and the Late Mrs. Jack Neal Ridgeland, Mississippi Private Collection Miami, Florida Private Collection Birmingham, Alabama The Collection of Naomi Damonte Marshall New Orleans, Louisiana

Website: NewOrleansAuction.com Email: Info@NewOrleansAuction.com Tel: 504-566-1849 | Fax: 504-566-1851 333 St. Joseph Street, New Orleans, Louisiana 70130 Right: Lot 219 | Front: Lot 56 | Back: Lot 26 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash or Check)

letter from the director of fine art

T

he relationship between art and viewer is a deeply personal one; it can evoke a memory of a place or experience or express emotion beyond the scope of spoken or written words. My own relationship with art is one that began at a young age with an innocent desire to create and ultimately became a lifelong obsession and a career.

I grew up in Dubrovnik, Croatia, an idyllic town perched on rocks thrust out into the Adriatic Sea, a scenic, sunshinefilled oasis away from the shadows of the rugged mountain range. It’s fortresses, massive walls, monasteries and palaces eventually became my art studio in addition to being a hands-on lesson in art history.

My earliest interactions with art were under the dining room table. I would imagine and draw alternative worlds, spending hours creating towns, homes and the people who inhabited them. For me, this early form of artistic expression evoked a deep satisfaction and happiness.

My primary education was an old fashioned one, a remnant of the Austro-Hungarian Empire. Aside from the typical classes in math, literature, penmanship, science and languages, we were taught to appreciate music and art.

I was one of several students invited to participate in the advanced drawing classes, which involved models, still life vignettes, and, my favorite, architecture. I loved being let loose on the streets of Dubrovnik looking for inspiration.

This sometimes included going inside centuries-old churches and staring at the emotional, heart-wrenching Baroque paintings and sculpture depicting the tragic lives of saints. I marveled at the crying Virgin, the tortured St. Catherine and lonely, skeletal Mary Magdalene. I could almost feel their pain through the artists’ remarkably graphic interpretations. Even at an early age, I was fascinated by the fact that an artist could understand and communicate basic human emotions in a way that transcended time and space.

In addition to my physical surroundings, I was also very fortunate to grow up around visual artists, writers and musicians, each interpreting their inner worlds in their own way and influencing how I expressed myself. I "acquired" my first artwork thanks to my godfather, Misho, an abstract expressionist painter. It was my twelfth birthday and as a present he invited me into his studio to pick a painting, any painting. Misho is a definition of a tortured artist: He wears a wool hat no matter the weather, mismatched

clothes too large for his thin frame, and talks to himself.

It was intimidating walking into his ramshackle of a studio in a basement of an ancient stone house, with a private entrance onto the beautiful pebble beach.

I still remember the thrill of getting to choose a painting, carefully examining each one and realizing that I was actually waiting for “The One” to choose me. The large canvas, about five feet in length, was splattered with thick, energetic brushstrokes, loosely forming the shape of Lokrum, an island my friends and family visited every summer on day trips. In that particular work I saw wild peacocks that roamed the overgrown Mediterranean gardens, felt sunshine and sea salt on my face and experienced every thrill of childhood games we played there. The painting is now long lost, but I will never forget the feeling I had when I saw it for the first time.

When I moved to New Orleans with my family to escape the political turmoil in Croatia, I kept my interest and love for art. I still painted, but I was more and more drawn to other people's work. My amazing mentors in high school and college introduced me to a plethora of new mediums and artists, satiating my hunger for learning. I went through infatuations with Artemisia Gentileschi, Jan Vermeer, Toulouse-Lautrec, Claude Monet and many others, gaining a more complex knowledge of art history.

New Orleans is a cornucopia of visual senses. The city dances to its own tune, a result of centuries of cultural melding. The layering of new and old in New Orleans makes it a fitting place for a fine art sale and we are pleased to present a wide range of paintings, photographs and sculpture ranging from 17th-century Europe to contemporary Louisiana. Whether you are purchasing your first piece or adding to an established collection, perhaps one — or more than one – piece will choose you and speak to a memory, desire or just a particular feeling you want to hold onto.

Enjoy, Jelena

Jelena James Director of Fine Art

C a r ol y n g r ant fa y HOUSTON, TEXAS

Carolyn Grant Fay was born on Galveston Island in 1914 to John F. Grant and Homoiselle Davenport Randall. The family moved to Houston the following year. She attended The Kinkaid School, at the time still located in Margaret Hunter Kinkaid’s home on the corner of San Jacinto and Elgin streets, from Kindergarten to ninth grade. She then enrolled in San Jacinto High School where she would meet the love of her life, Ernest Bel Fay. Ernest was a frequent guest at her mother’s Sunday night dinners and the two quickly became enamored with each other.

Following her graduation from San Jacinto High School in 1931, Carolyn attended the Madeira School outside of Washington, D.C. Carolyn went on to study at Vassar College while Ernest studied at Harvard. The two visited frequently via train and married in New York City just days after Carolyn’s graduation from Vassar in June 1936. An avid sailor, Ernest left the day after the wedding to sail in the Bermuda Race, a 635 nautical mile sailing race from Newport, Rhode Island to Bermuda. The biennial event is considered the oldest regularly scheduled ocean race. Carolyn followed Ernest on the RMS Queen of Bermuda. During World War II, Ernest was a commander in the Navy. The couple remained together for 50 happy years sailing, dancing, traveling and laughing through life together until Ernest’s tragic death during a sailboat race on Galveston Bay in 1986.

A brilliant and remarkable woman, Carolyn developed a passion for Jungian psychology in mid-life. She studied under Ruth Thacker Fry, a Jungian scholar who had completed three years of study at the Jung Institute in Zurich. In 1958, Carolyn, along with fellow students Alma Lloyd, Ella Winston and Ethel Kurth, founded The C.G. Jung Educational Center in Houston. She served as President of the Board of Trustees for 30 years and made numerous substantial contributions to ensure that The Center would continue to provide for future generations, including the generous donation of the building that houses The Center today.

In addition to Jungian psychology, Carolyn pursued her interest in dance therapy. She studied at the University of Houston, the University of Arizona and received her Masters in counseling and dance therapy from Goddard College. She became a counselor and a teacher, incorporating dance movement and other expressive arts into her work. One of her many lasting contributions to The Center is her creation of the School of Expressive Arts, an exploration of the intersections of dance therapy and Jungian psychology. Carolyn was awarded the Humanitarian Award by The Center in 2014 in honor of her 100th birthday.

Carolyn’s philanthropic contributions did not stop at The Jung Center – she was an influential force in many other causes in the Houston community.

She served on the Board of Directors for The Fay School, the Junior League of Houston, The Mental Health Association of Houston and Harris County and The DePelchin Children’s Center. She was a member of the Texas Corinthian Yacht Club, which she and her husband started with three other couples, Houston Country Club, Bayou Club, Bolero Club, Garden Club of Houston, The Argyle and the National Society of Colonial Dames of America. Carolyn also contributed to The University of Houston, MD Anderson Cancer Center, The Texas Medical Center, Vassar College, Madeira School, The Fay School and the establishment of the Grant/Fay Park in the Texas Medical Center in memory of her parents.

Carolyn resided in the West Eleventh Place Historic District, a community planned in the 1920s by architect J. W. Northrop, Jr., in the Museum District of Houston on a private cul-desac. She died in August 2016 at 101 years old.

New Orleans Auction Galleries is honored to offer fine art from the Estate of Carolyn Grant Fay.

N aomi damonte ma r shall ne w o r l eans , l ou i s i ana

A lifelong resident of New Orleans, Naomi Damonte Marshall was a beloved champion of local artists and an astute businesswoman. After attending Sophie B. Wright High School, Marshall opened Dixie Art Supplies in 1934, a successful company where she became acquainted with many local young artists.

Realizing these talented men and women had few options available for exhibiting their work, Marshall soon began to hold small art shows. In 1956 she opened the Downtown Gallery where she represented Regionalist painter John McCrady, Modernist artist Paul Ninas and Mexican-American sculptor Enrique Alferez - and introduced George Dureau and Noel Rockmore to the public. As the artist George Schmidt once said, “She was the mother of the arts here.” She was one of the first major collectors of the work of Clementine Hunter and published illustrated biographical monographs and prints by the Cane River artist. She went to Natchitoches several times each year to visit the artist and François Mignon, Clementine Hunter’s greatest booster.

Marshall was one of the first women on the New Orleans Board of Trade, was a member of the Louisiana State Arts Council, and was integral to the formation of a local chapter of Altrusa International, which recognizes the accomplishments of women in business. She received a lifetime achievement award from the Arts Council of New Orleans and was appointed by President Richard Nixon to the President’s Advisory Committee of the Arts.

The items included in this sale were exhibited in her Downtown Gallery, and many were featured in the Gallery’s 1973 exhibition, “Divergent Delicacies,” the first collection of Art Deco shown in New Orleans.

Naomi Damonte Marshall spent the last several years of her life at Madewood Plantation House located in Napoleonville, Louisiana, the National Historic Landmark property she purchased in 1964 and lovingly restored.

New Orleans Auction Galleries is pleased to offer fine art from the Collection of Naomi Damonte Marshall.

Lot 192

1 Manner of Willem van de Velde the Younger (Dutch, 1633‑1707) "Dutch Shipping Boats Colliding in a Heavy Sea", first quarter 19th century oil on wood panel faintly signed lower right, reverse stenciled "99KJ" in black with an early 20th-century auction label attributing the work to Jan van de Capelle. Presented in an early 19th-century giltwood frame.

16‑1/2" x 24" Provenance: The collector Wayne Francis Palmer (1895‑1983), Springlake Plantation, Mobile, Alabama; Thence by descent. $5,000‑$8,000

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2 Circle of Jakob Bogdani (Hungarian, 1660‑1724) "Still Life with Cockatoo, Bird and Spaniel" oil on canvas unsigned. Framed.

29‑5/8" x 52‑1/2" $10,000‑$15,000

Jakob Bogdani, a native of Presov, Hungary, moved to Amsterdam in 1684 where he was trained in the Dutch Golden Age tradition of the masters Melchoir de Hondeceoter (16361695) and Willem van Aelst ((1627-1683)- who specialized in still lifes with wild game and flowers. In 1688 Bogdani traveled to London, where he would remain for the rest of his life, seeking employment first with William III, Prince of Orange, before being appointed court painter to Queen Anne. Under the tutelage of the court, Bogdani achieved great success, earning commissions from some of the most esteemed aristocrats, such as Queen Mary II and Admiral George Churchill, brother

of the Duke of Marlborough. Churchill, one of his chief patrons, owned the famous aviary at Windsor Park, affording Bogdani ample access to the many exotic birds he depicted like the cockatoo in the painting offered here. Bogdani’s superb still lifes typically featured the imported goods of London’s rich maritime trade; foreign species of birds and flowers crowded his paintings with white and scarlet highlights in the plume and foliage accentuated by dark backgrounds. Examples of his work are conserved in the Royal Collection and Fitzwilliam Museum in London and in Magyar Nemzeti Galeria in Budapest.

3 Manner of Leonard Bramer (Dutch, 1596‑1674) "Peasants Dancing" oil on wood panel unsigned, frame backing affixed with two labels annotating an Art Sales Index reference and a sale at Christie's East as lot 95. Framed.

10" x 15" Provenance: Christie's East, undated sale, as lot 95; Private collection. $1,500‑$2,500 3

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4 After Gaspar de Crayer (Flemish, 1584‑1669) "Le Cardinal-Infant Ferdinand d'Autriche (1609‑1641)" oil on canvas unsigned. Presented in a late 18th-/ early 19th-century carved pine frame affixed with a brass artist plaque.

73‑1/4" x 47‑5/8" Provenance: Herbie Oakes Collection, Houston, Texas. $5,000‑$8,000 4

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The imposing portrait offered here is a celebration of the Habsburg Dynasty and 17th-century portraiture.

Ferdinand of Austria, the third son of Philip III, King of Spain, and Margaret of Austria, sister of Ferdinand II, the Holy Roman Emperor, had an equally illustrious ecclesiastical and political career. Ferdinand was ordained Arch Duke of Toledo at the age of 19‑20, and Cardinal shortly thereafter. As a prince of both the Roman Catholic order and of Spain (hence the double title Cardinal-Infant), Ferdinand was appointed Governor of the Spanish Netherlands in 1630 and military commander during the Thirty Years' War (1633‑1641). In 1634 Ferdinand moved to Brussels, the capital of the Spanish provinces, and appointed Gaspar de Crayer, a native of Antwerp, his first court painter, preferring his portraits over his Flemish rival Peter Paul Rubens. In the 1630s, de Crayer was considered the equal of Rubens in painting commissions. According to Edward Wamsley's 1822 biography on de Crayer, following his court appointment, Rubens impressed by his success visited him in his studio, and upon seeing his works in progress decried: "Crayer, Crayer, one will not surpass you!" Between 1634 and Ferdinand's premature death in 1641, de Crayer painted multiple portraits of Ferdinand, the most famous of them, an equestrian portrait, painted in concert with the one depicted here commemorates the Prince's victory at the Battle of Nordlingen, 1634, which ended Swedish Protestant resistance in Southern Germany.

While the former painting was presented to Ferdinand's brother King Philip IV, the latter one of Ferdinand in his vestments, now conserved in the Prado, was likely commissioned by the church for his religious victory as a Prince of the Holy Roman Empire. Given the scale of the work offered here, its finesse, and close mastery of composition and detail as the original, it is likely that it was commissioned in ca. 1800 for a church or building in one of the Belgian/ French provinces Ferdinand of Austria patronized.

References: Blanc, Charles. Histoire des Peintres de Toutes Les Ecoles: Ecole Flemande, vol. 13. Paris: Jules Renouard LibraireEditeur, 1864. pp. 62‑64; Walmsley, Edward. Physiognomical Portraits, 100 Characters from Originals, Engr. by British Artists.

London: John Major, Robert Jennings & Robert Triphook, 1822.

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5 Circle of Giovanni Bernardo Carbone (Italian, 1614‑1683) "Portrait of a Gentle Lady in Mourning, Seated in a Bargello Chair" oil on canvas unsigned. Presented in a 19th-century giltwood frame.

47‑7/8" x 39" Provenance: Herbie Oakes Collection, Houston, Texas. $5,000‑$8,000

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Giovanni Bernardo Carbone (sometimes spelled Carboni) was an Italian painter from Genoa, who studied under Giovanni Andrea de Ferrari, a pupil of Anthony van Dyck. While Ferrari preferred religious scenes, which he perfected in the form of altarpieces, Carbone's forte was portraiture - of all the Genoese artists, his work is the most closely allied to van Dyck's portraits from the 1630s, which were strongly influenced by the Venetian colorists. After a yearlong sojourn in Venice, van Dyck established himself as a prolific portraitist in Genoa from 1621‑1627, painting the wealthy with a grandeur that combined the Flemish penchant for detailed refinery and expressive hand and facial gestures/expressions with the color and subtle modeling of Titian. Van Dyck's presence in Genoa opened a tremendous door of opportunity in the decades that followed for the young Carbone; there was abundant demand for the growing mercantile class to ennoble themselves since the city was both the capital and center of maritime trade in the Liguria region.

The painting offered here is strongly suggestive of the portraiture Carbone executed in the manner of van Dyck for the Genoese gentry, and closely resembles the physiognomy, dress and execution of two wellknown portraits by van Dyck - "Dorothy, Lady Dacre" (1633) in the British Burger Collection (now housed in the Denver Art Museum), and "Lady with a Rose" in the Isabella Stewart Gardner Museum in Boston.

Like the aforementioned portraits, the imposing presence of the sitter is depicted in three-quarters view from below, so that the viewer is forced to look upward in admiration at the social position she wields. Even in mourning, she is larger than life, occupying two-thirds of the picture plane with the same voluminous black taffeta gown and diaphanous silk hair-piece as the two portraits. In all three works, the fabric cascades downward onto the viewer with the weight of their prestige. In Carbone's portrait, the fine modeling of the face, detailed lace rebato - a lighter version of the ruff collar - black pearls and elongated expressive hands (another van Dyckian convention) that touch the breast and finger the embroidered handkerchief all bespeak of the sitter's position within a prominent family.

In addition to the rich, imported fabrics and pearls, perhaps the most telling example of her mercantile wealth is the stunning Bargello patterned chair in which she sits with its prominently displayed gilt brass/bronze floral rivets and architectonic finials.

The fine Bargello needlepoint, characterized by colorful geometric patterns, is believed to have originated in Hungary, and was imported into Italy in the 17th century. One of the earliest known examples of the Hungarian point, a set of upholstered armchairs conserved at the Bargello Museum in Florence, bears a striking resemblance to the chair pictured here. The "Lady in Mourning's" identity, though unknown, is very much embedded in the fabric of Genoese portraiture tradition.

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6 Attributed to Frederik de Moucheron (Dutch, 1633‑1686) "Palace Gardens with a Fountain" oil on canvas Framed.

33" x 48" Provenance: Stockholms Auktionsverk, Stockholm, Sweden, May 30, 2007, lot 2406. $4,000‑$7,000

7 Italian School (18th Century) "Rest on the Flight into Egypt with Archangel Gabriel" oil on canvas Presented in a carved and pierced giltwood frame.

28‑1/8" x 34‑3/8" Provenance: Waddington's Auction, December 13, 2011, lot 239; Private collection, Canada. $1,000‑$1,500

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8 Manner of Alexandre Francois Desportes (French, 1661‑1743) "Self-Portrait as a Hunter" oil on canvas Presented in an early 20th-century giltwood frame.

63‑5/8" x 51‑1/4" Provenance: Palladin Inc., Houston, Texas; Herbie Oakes Collection, Houston, Texas. $3,000‑$5,000

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9 Manner of Jean-Baptiste Oudry (French, 1686‑1755) "La Chasse au Loup en Foret" oil on canvas unsigned. Presented in a thin metal gallery frame.

80" x 69‑5/8" Provenance: Animal Art Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $8,000‑$12,000

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10 British School (First Quarter 18th Century) "Portrait of a Girl with a Basket" and "Portrait of a Boy with His Dog" pair of oils on canvas both unsigned, former with a "Caelt Gallery, London, UK" gallery label en verso. Presented in matching oval frames. former 29‑1/2" x 24‑1/2", latter 31" x 24‑1/4" Provenance: Caelt Gallery, London, England; Private collection. $1,500‑$2,500

11 Louis Gabriel Moreau (French, 1740‑1805) "Paysage avec Chateau et Cours d'Eau (Landscape with Castle and Stream)", 1787 gouache on paper signed and dated lower right, frame backing with period handwritten inscription largely effaced and various labels including a 1907 auction label, exhibition/inventory sticker, "Paulin & Detres, Paris" shipping label and "Livingston Galleries, New York" label (ca. 1943‑1965). Glazed and framed.

19" x 26‑1/8" Provenance: Devaux Sale, Paris, November 27‑28, 1907, lot 86; Richard Owen Collection, Paris, France, 1907‑ ; Private collection. $7,000‑$10,000

Louis Gabriel Moreau, a gifted draughtsman, etcher and painter of landscapes, had a prodigious career. After studying with Pierre-Antoine de Machy, who specialized in painting Grand Tour themes - landscapes redolent with Classical ruins and tromp-l'oeil architectural scenes, he went on to become a member of the Academie de St. Luc, artist to Comte d'Artois (later King Charles X), and curator of the National Museum in Paris. Moreau, a master of watercolors and gouaches, combined the picturesque architectures of his master de Machy with naturalistically, almost plein-air-rendered, topographical landscapes in the Ile-de-France region just outside of Paris.

Moreau's fascination with the effects of light at different times of the day precipitated his use of a lighter palette, characterized by warm yellows and verdant foliage punctuated by deep ultramarine blues instead of browns. Moreau's predilection for natural light made him equally successful following the French Revolution, in which the Third Estate toppled the landed gentry and their royal established academies. Before 1789, French castles and estates in lush settings of abundance were Moreau's preferred subject; the painting offered exemplifies this style - a style upon which he established himself as an artist for nearly twenty-five years exhibiting annually at the Academie

de St. Luc. Following the Revolution, Moreau's, bright palette and light drenched compositions with voluminous clouds and ruins dotting the low horizon remained; his subjects, on the other hand, became distinctly more humble, showcasing the daily life scenes of farmers, fishermen, modest structures and gardens. Both Moreau's pre- and post-Revolutionary paintings are equally desired by collectors and institutions. Richard Owen (1873‑1946), a prominent British art dealer of French art in the early-to-mid 1900s, who purchased this lot for 950 Francs at the Devaux Sale in 1907, owned a few Moreaus that he exhibited widely in Boston and New York in 1933 in the "Richard Owen Collection of 18th Century French Drawings and Watercolors" at the Worcester Art Museum, The Fogg Art Museum, Carnegie Hall Art Gallery, and Brummer Gallery, New York. Additional numbered labels on the back of this Moreau suggest that it too may have been exhibited as part of the Richard Owen Collection.

References: Beaux-Arts: Chronique des Arts et de la Curiosite 9 (1939): 93; Hughes, Katherine. "New Worcester Art Museum Formally Opened to Public".

Boston Herald. 9 Jan.,1993: 11; "Coordination". Springfield Republican. 1 Jan. 1933: 44; "Master Drawings." Arts Magazine 8:28 (1933): 28; "LouisGabriel Moreau". Oxford Art Online. 2007‑2016. Web. 31 July 2016.

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12 Leon Herbo (French/Belgian, 1850‑1907) "Feeding the Starlings" oil on canvas signed lower left. Presented in a period deeply molded and carved giltwood and gesso frame.

29‑1/2" x 38‑3/4" $7,000‑$10,000 13 Emanuel Oberhauser (Austrian, 1854‑1919) "At the Roman Bath" oil on canvas signed lower left. Presented in a period giltwood and gesso frame.

26‑3/4" x 41‑3/4" $20,000‑$40,000 12

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14 Italian Carved Carrara Marble Figure of a Bathing Beauty, ca. 1900 the figure elegantly perched on a rock, with applied metal and stone bracelets and girdle. h. 20", w. 9", d. 9‑1/2" $2,000‑$4,000 15 Frank Howland (American, 19th Century) "Pleasures of the East" oil on wood panel signed lower left. Presented in a period giltwood and gesso frame.

11" x 23‑1/2" $3,000‑$5,000

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16 Frederick William MacMonnies (American, 1863‑1937) "Pan of Rohallion", first quarter 20th century bronze cast signature and date at back edge of sphere, marked "RBW" along back edge of self-base for the Roman Bronze Works Foundry, New York, New York, on a black marble plinth. h. 11", w. 4‑1/2", d. 4‑1/2" $1,000‑$1,500 The large-scale original of this sculpture was commissioned by the American businessman Edward Dean Adams (1846‑1931) for the garden fountain of his New Jersey estate, Rohallion. This startlingly elegant depiction of the Greek nature god was to prove immediately popular, and pantographic reductions (a technique made popular by the Frenchman Achille Collas working through the Barbedienne Foundry) were produced well into the 1920s.

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17 After Jean-Baptiste Le Prince (French, 1734‑1781) "The Docile Beasts Under the Spell of Circe" oil on canvas after the original by Giovanni Benedetto Castiglione (1609‑1664), unsigned, verso with early 20th-century inventory/exhibition label attributing the work to Le Prince.

Framed.

25‑1/2" x 31‑5/8" $4,000‑$7,000 17

Jean-Baptiste Le Prince was a prominent French artist, who had an illustrious career as a court painter to Catherine the Great at the Imperial Palace, St. Petersburg. A native of Metz, France, he entered the studio of the esteemed academic painter Francois Boucher (1703‑1770) , becoming one of his most accomplished students, perfecting pastoral and genre scenes through his studies as a copyist and etcher and later through his travails in Russia where it is believed that he developed the aquatint process. Le Prince was likely exposed to the works of Castiglione (1609‑1664) through Boucher, who was an admirer of Venetian eighteenth century painting, particularly Castiglione's virtuoso execution of rustic caravans and animals.

The work offered here, likely painted before Le Prince left for Russia in 1757, was a favored subject Castiglione painted many times- the story of Circe from Book X of the Odyssey. In Homer's epic poem, Odysseus and his men encounter Circe- a sorceress with an enchanting mansion in the woods surrounded by her companions- tamed wild beasts . After inviting Odysseus' men into her home for a feast, she drugs them with a magic potion before transforming them, at the wave of a wand, into swine to accompany her metamorphosized guests. Instead of swine proper, Castiglione took several artistic liberties, depicting a multitude of animals to showcase the extraordinary bravura of his talent.

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18 Pierre Guillaume (Dutch, b. 1954) "The Hunt" oil on canvas signed and titled en verso. Framed.

30" x 42" $3,000‑$5,000 18

19 After Antoine-Louis Barye (French, 1795‑1875) "Cavaliere Arabe", 20th century patinated plaster h. 25‑1/2", w. 16", d. 9" $1,000‑$1,500

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20 Victor Pierson (British, Active New Orleans, 1865‑1873) "French Cavalry in a Moorish Landscape" oil on canvas signed lower right. Framed.

24" x 20" Provenance: Belle Alliance Plantation, Lafourche Bayou, Louisiana. $1,200‑$1,800 Pierson came to New Orleans via Mexico. He was a noted animal painter particularly fond of horses.

While in New Orleans, Pierson worked on some grand-scale paintings with Paul Poincy and Theodore Sidney Moise, which hang in the Louisiana State Museum.

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21 After Pierre-Jules Mene (French 1810‑1879) "Cheval Libre", first quarter 20th century patinated bronze cast signature at edge of self-base. h. 16", w. 19", d. 9‑1/2". $1,000‑$1,500

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22 Adolf (Constantin) Baumgartner-Stoiloff (German/Austrian, 1850‑1924) "Siberian Treasure Train" oil on canvas signed lower right. Framed.

32" x 51" Provenance: Private collection, Canada; Waddington's Auctions, June 12, 2007, lot 31; Ex-collection of Col. Sam McLaughlin, Oshawa; Gifted to C. H. Carlisle, Toronto, in 1920; By descent. $4,000‑$7,000 23 After Ganu Gantcheff (Hungarian/Paris, 20th Century) "L'Archer", ca. 1930 patinated bronze cast signature at edge of self-base, on a rectangular marble plinth. h. 16", w. 14‑3/4", d. 7‑1/2" $1,500‑$2,500 23

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24 Italian Grand Tour Patinated Bronze of "The Borghese Gladiator" first quarter 20th century, now believed to represent a warrior, after the ca. 100 BCE sculpture by Agasias of Ephesus excavated in the 17th century at the ruins of Nero's palace at Antium (present day Anzio) and now conserved at the Musee de Louvre, Paris, on a black marble plinth. overall h. 18‑1/2", w. 18", d. 7" $1,500‑$2,500

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25 Eugenio Battiglia (Italian/Florence, 19th/20th Century) "Calliope", ca. 1900 carved marble of various types with incised patterns and designs, the muse of epic poetry presented with her attributes of a lyre in one hand and bay leaf laurel in the other, signed and inscribed "E. Battiglia/Firenze" at back of integral marble base. h. 44‑1/2", w. 18", d. 15" $3,000‑$5,000 Working in marble and alabaster, Battiglia created accomplished decorative sculptures and copies of antique statuary for the tourist market from his studio in Florence.

Reference: Frederick J. V. Skiff. Official Catalogue of Exhibitors, Panama Pacific International Exposition, San Francisco, California, 1915. The Wahlgreen Company: San Francisco, 1915. p. 43.

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26 Exceptional Italian Carved Marble Bust of the Roman Philosopher and Statesman Marcus Tullius Cicero (106 BCE-43 BCE) 19th century, various marbles and stone including Cararra, griotte rouge, and Sienna marble and striated onyx, presented on a later marble columnar plinth. h. 38", w. 25", d. 14"; with plinth overall h. 73" Provenance: M. S. Rau, New Orleans, Louisiana; Private collection. $25,000‑$40,000 In the 19th century, representations of ancient Roman dignitaries were highly desired as symbols of wealth, prestige and worldliness. Often acquired during the "Grand Tour", the European excursion undertaken by the upper-classes as a rite of passage, these works were prominently displayed in places of honor.

The fine example presented here is somewhat unusual in its slightly larger-than-life size, the deep carving, and, especially, the variety and richness of the marbles used. Though unsigned, it is clearly by the hand of a master trained in the Italian sculpture workshops.

These artists and artisans were internationally admired for their ability to work in the unforgiving and daunting media of marble and stone. This is evident in the deep modeling of the features of this bust, creating the deep shadowed furrows which suggest intense thought and concentration.

Cicero, the subject of this bust, was considered one of the greatest orators of the ancient world.

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27 Frederic Soulacroix (French, 1858‑1933) "Afternoon Tea for Three" oil on canvas signed lower right. Presented in a gilded frame.

39‑1/2" x 30" Provenance: Private collection, Birmingham, Alabama; Thence by descent. $20,000‑$40,000

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Frederic (Joseph, Pierre, Timothee) Soulacroix was born into a prominent artistic family. His father, a talented French sculptor and painter, married Italian fresco painter Giancinta Diofebo, with whom he collaborated on several fresco commissions. The talented young Soulacroix entered the Accademia di Belle Arti in Florence in 1873 and was later accepted into its prestigious School of Painting where he was exposed to romantic genre painting. The painting offered here is a fine example of his mature work that from the late 1870s represents a unique mixture of Rococo subject matter (courting couples and frivolous tea parties in gardens and parlors) and Neo-Classical draftsmanship within Empire-style settings. The sumptuous parlor and the three young debutantes engaged in teatime chatter are formed through strong compositional outlines and polished surfaces. The verisimilitude of the silk and satin gowns, the crisp lines of the curtained door, and upholstered fabrics are a testament to Soulacroix's virtuoso in depicting the fineries of late 18th-/early

19th-century costume pieces and decor. Soulacroix had a prodigious career with well-to-do patrons seeking portraits and genre scenes that aggrandized their wealth, moreover material possessions.

In 1924 he was appointed an officer of the French Academy and member of the Committee to the French Alliance in Florence. His commitment to working with French artists in Italy was awarded posthumously in 1945 by the French government with the Legion of Honor.

Though quite distinctive, Soulacroix's works are often confounded with those of his father's Charles Frederic Joseph Soulacroix. Many art database references (even Benezit) and Google images attribute his elegant paintings of ladies in refined domestic spaces to his father, who specialized in religious subject matter in two very different mediums - marble and frescos.

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28 Continental School (Fourth Quarter 19th Century) "May Festival, Spain" oil on canvas signed indistinctly lower right.

Presented in a period giltwood and gesso exhibition frame.

26" x 42" $2,000‑$4,000

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29 Pasquale Ruggiero (Italian, 1851‑1916) "Christening in the Courtyard" oil on canvas signed lower right. Framed.

20" x 30" $2,000‑$4,000 29

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30 Addison Thomas Millar (American, 1860‑1913) "Playtime" oil on canvas signed lower left. Presented in a handsome, period giltwood and gesso frame.

24" x 18" $1,500‑$2,500 30

31 Lammert Leire van der Tonge (Danish, 1871‑1937) "Mother and a Sleeping Child" oil on canvas laid on board signed lower left. Framed.

18" x 14‑1/2" $1,400‑$1,800

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32 Louis Laurent (Belgian, b. 1840‑?)

"Clam Diggers" oil on canvas signed lower left. Presented in a period giltwood and gesso frame.

25‑1/2" x 36" $2,000‑$4,000

33 Circle of Eugene Delacroix (French, 1798‑1863) "Shipwreck" oil on canvas unsigned. Presented in an impressive giltwood frame.

19" x 42" Provenance: By repute, William Hearst, Hearst Castle; Marion Davies, Los Angeles, California, ca. 1938; Private collection, Los Angeles; Thence by descent. $6,000‑$9,000

This shipwreck scene bears the keen influence of Eugene Delacroix, the leader of the French Romantic School, whose optical studies of color and expressive brushstroke profoundly shaped future Impressionist works. Though he was trained in the Neoclassical style of Jacques-Louis David by Pierre-Narcisse Guerin, he rejected the academic traditions, privileging emotive expressions of color through bold brush strokes over controlled lines and carefully modeled forms. Though beautifully rendered, classical depictions of historical and mythological scenes invoked a sense of stasis, in which the turmoil of the battle or deluge was lost on the viewer. Inspired by Peter Paul Rubens and the Venetian colorists, Delacroix created a new genre of painting, capturing the primacy of the moment through the rapid application of deep warms colors and exaggerated lighting to convey movement.

“The Storm on the Sea of Galilee”, a biblical tale from the Gospel of Mark that multiple artists depicted throughout the 18th and 19th century, was a subject Delacroix visited many times from 1822-1855, as the drama of the miracle performed amid a tempest, showcased his bravura of color

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and movement. In addition to multiple drawings, there are six known paintings of this subject, executed between 1850 and 1855 with the attendant focus in the earlier ones on the swells of the sea before Christ awakens and calms them- see ones conserved in the Metropolitan Museum, New York, New York, the Walters Museum, Baltimore, Maryland and the Nelson Atkins Museum of Art, Kansas City, Missouri. Created through swirling greys and greens with white capped sprays, the momentum of the sea, as it threatens to swallow the fishing vessel, borders on the sublime- the unbounded synergy drawn from the cataclysmic forces of nature. This “Shipwreck” was likely modeled after these paintings; it captures the same emotion of movement through heavy brush strokes executed in the same lurid green-gray palette. The juxtaposition of the crimson red of the survivor’s dress, burnt sienna of the mast he clings to, and the swatch of a torn blue sail, also mimics the color schema of Delacroix’s depictions of the apostles, which are rendered in a rich palette of red, sienna and ultramarine blue suffused with light. This palette and composition is characteristic of Delacroix’s “Sea of Galilee” and shipwreck scenes, including “The Shipwreck of Don Juan” in the Louvre Museum in Paris.

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34 Fritz Wagner (German, 1902‑1976) "Planning an Expedition" oil on canvas signed lower right. Framed.

25‑3/4" x 32" $3,500‑$5,000 34

35 Johann Zahnd (Swiss, 1854‑1934) "La Rentree du Betail" oil on canvas signed lower right "J. Zahnd, Roma". Framed.

24‑5/8" x 44‑5/8" $3,000‑$5,000

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36 After Rosa Bonheur (French, 1822‑1899) "Taureau Marchant" patinated bronze cast signature "Rosa B" at side of base. h. 5", w. 7‑3/4", d. 3‑3/4" $1,500‑$2,500

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37 Conradyn Cunaeus (Dutch, 1828‑1895) "Waiting for Mistress" oil on canvas signed lower right, verso with a label inscribed in pen "Leeuwhondje, C. Cunaeus...". Presented in a 20th-century giltwood frame.

34‑1/2" x 27‑3/4" Provenance: Sara Davenport Paintings, London, U.K., 1994. $8,000‑$12,000

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38 After Pierre-Jules Mene French (French, 1810‑1879) "Chasseur et son Chien", first quarter 20th century patinated bronze cast signature on edge of self-base, now on a marble plinth. overall h. 19‑1/2" w. 9", d. 15" $1,500‑$2,500

39 Anton Karssen (Dutch, b. 1945) "On the Alert" oil on canvas signed lower left. Framed.

13" x 20" $1,500‑$2,500

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40 Anton Karssen (Dutch, b. 1945) "Alert Before the Chase" oil on wood panel signed lower left. Framed.

19‑3/4" x 39‑7/8" $2,500‑$4,000

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41 Alois Heinrich Priechenfried (German/Austrian, 1867‑1953) "Portrait of a Lady Holding a Rose, Seated in an Elegant Interior" oil on canvas signed lower left. Presented in a contemporary giltwood frame.

21‑1/4" x 16‑3/4" $3,000‑$5,000 41

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42 Randolph Rogers (American, 1825‑1892) "Portrait Bust of a Woman" marble signed and inscribed "Rome" at rear. h. 28", w. 17", d. 8‑1/2" $3,000‑$5,000 The Neoclassical sculptor Randolph Rogers was a member of the American expatriate community which flourished in Rome in the mid-19th century.

Sponsored by his former employers in New York, who saw the potential of their artistically precocious but untrained young clerk, Rogers studied with Lorenzo Bartolini (1777-1850) at the Accademia di Belle Arti in Florence. By 1851, he had opened his own studio where he created popular allegorical, religious, and literary sculptures, many of which were reproduced in smaller scale, and completed portrait commissions from tourists and his fellow expats.

Rogers was the first American to be elected an academician of the Accademia di San Luca (now the Accademia Nazionale di San Luca), where he held the position of sculpture master. In 1884 he was made a Cavaliere dell’Ordine della Corona d’Italia by King Umberto I.

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43 A. Gilbert (British, 19th Century) "Leisure Hours" oil on canvas signed lower right. Presented in a giltwood exhibition frame.

27" x 31" Provenance: Sotheby's, London, November 11, 1998, lot 135, Victorian Pictures including Works by Burne-Jones and his Circle, offered as a work by Albert Thomas Jarvis Gilbert (British, 1877‑1927); Private collection, New Orleans, Louisiana. $5,000‑$8,000

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44 Attributed to Gainsborough Dupont (British, 1754‑1797) "Portrait of a Young Boy in Red Silk" oil on canvas Presented in a giltwood and gesso frame.

24" x 19‑3/4" $2,000‑$4,000

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45 Adrien Etienne Gaudez (French, 1845‑1902) "Jean-Baptiste Poquelin (Moliere), Tapissier", ca. 1900 patinated bronze incised signature at edge of self-base, a "Susse Freres" foundry mark at back, and fitted on its original bronze rotating socle base set on a marble plinth. h. 13‑3/4", w. 11", d. 8‑1/2" $1,500‑$2,500 The great French dramatist Moliere - born Jean Baptiste Poquelin - was the son of a valet de chambre tapissier, one of several furniture restorers and upholsterers to the King of France, responsible for maintaining the furnishings of the Royal residences. This was a prestigious and often hereditary position, and the younger Poquelin was apprenticed in anticipation of following in his father's footsteps. Unfortunately for his fatherís ambitions, Moliere was more interested in the theater and literature. The sculpture offered here has the young Moliere engrossed in a book, seated on an unfinished chair with an awl in one hand and the discarded cloth under the seat.

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46 After Albert Ernest Carrier-Belleuse (French, 1824‑1887) "Venus Desarmant l'Amour", fourth quarter 19th century patinated bronze cast signature and inscribed "Thiebaut Freres 32 Avenue de l'Opera Paris" along edges of selfbase. h. 32", w. 19", d. 17" $7,000‑$10,000 This gracefully composed figural group depicts a scene from Book X of Ovid's great narrative poem, Metamorphoses, wherein a playful and deviously mischievous Cupid accidentally pricks his mother Venus with one of his arrows, causing her to fall in love with Adonis. Venus, angered at having to experience the agonies of love, retaliates by disarming her son. Carrier-Belleuse, one of the most successful sculptors of his time, began his career as an apprentice to a goldsmith before briefly attending the Ecole des BeauxArts and the Petite Ecole. His elegant classical and mythological sculptures, often rendered in a rococo style, earned him the reputation as the heir to Clodion (1738‑1814). Carrier-Belleuse was the artistic director at the Manufacture Nationale de Sevres, a founding member of the Societe Nationale des Beaux-Arts, and was named an officer of the Legion d'Honneur in 1885.

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47 Thomas Cooper Gotch, R.B.A. (British, 1854‑1931) "Rex Magnificus" oil on canvas signed lower right, remnant of old gallery label en verso stretcher. Presented in an antique gilt-washed carved wood frame.

15‑1/2" x 19" $5,000‑$8,000

Gotch was one of the few 19th-century painters of children capable of merging an idealized version of childhood with the personality of the individual sitter. While his earliest work was naturalistic in style, a trip to Italy in the 1890s drastically altered his approach. His work became more allegorical, with attention given to decorative elements and the overall design.

The portrait presented here is a wonderful example of the success of this approach. Even with such a small, specific work, Gotch has not neglected any design element, from the delicately rendered wallpaper, to the various patterns of the child's clothing.

References: Charles Caffin, "A Painter of Childhood and Girlhood", Harper's Monthly Magazine, vol. 59, May 1910, pp. 922‑932.; A. L. Baldry, "The Work of T. C. Gotch", The Studio International, 1898, pp. 73‑82.

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48 Wright Barker (British, 1864‑1941) "Winter Twilight Landscape with Shepherd and Flock on a Snow-Covered Path" oil on canvas signed lower left. Presented in a giltwood frame affixed with an artist plaque.

28" x 36" $10,000‑$15,000 49 Louis van der Pol (Dutch, 1896‑1982) "In the Park" oil on canvas signed lower right. Handsomely framed.

30" x 44" $3,000‑$5,000

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50 Herman Jean-Joseph Richir (Belgian, 1866‑1942) "Elegie", ca. 1932 oil on canvas signed lower center, signed and titled en verso, with numerous exhibition and auction labels. Framed.

54‑1/4" x 42‑1/2" Provenance: M. Teichman, Brussels, Belgium; Christie's, New York, February 25, 1988, lot 56; Christie's, New York, May 20, 1996, lot 232.

Exhibitions: "Salon (Societe Nationale des Beaux-Arts)", Paris, 1932; "Towarzystwo Przyjaciot Sztuk Pieknyci w Krakowie", Krakow, 1935; "Cercle Royal Artistique et Litteraire", Brussels, 1947. $7,000‑$10,000 50

"He often paints his nudes from the back and succeeds in a surprising way in introducing not only a richness of nuances of colors but also the suggestion of life and action. In this field, Richir's art remains unmatched.”

- Joost De Geest, art historian As de Geest’s comment illustrates, Richir approached his female subjects, particularly unclothed, with an unparalleled psychological depth seldom seen in nude depictions at the time. Beauty for Richir was a faithful reproduction of the sitter that resided as much in the flesh as it did in the mood and expression of the figure, earning Richir the distinction as one of the best Belgian painters of women in the early 20th century. Influenced by the academic traditions of the Neo-classical school, his paintings elucidate depth through their fine attention to the nuances of color and line harmony, especially in his expert handling of rare fabrics and draperies.“Elegie”, the work offered here, exemplifies Richir’s mastery. Depicted with reverse light from behind and silhouetted in strong lines before the veiled window, “Elegie”, in her contemplative pose, evokes the poetic sorrow of her name; the pile of flowing drapery

on the bed beneath her spills outward in a symphony of tertiary blues. Georges Bierand, in his critique of Richir’s nudes, poignantly summarizes the artist’s virtuoso: Is it necessary to admire the perfection of drawing more than the translucent brilliance of color? Under the pearly epidermis, a young blood circulates because it is a precious gift of the painter to know, through the magic of color, to recreate on the canvas this internal flow that makes palpitate the flesh”.

In addition to nudes, Richir had a prodigious career as a portraitist and painter of allegorical and mythological scenes, earning the second Prize of Rome in 1885 and exhibiting at the Paris Salon and Triennial fair in Ghent from 1888-1892. After studying under the direction of Jean-François Portaels at the Royal Academy of Fine Arts in Brussels from 1884-1888, the Academy appointed him professor of drawing and painting respectively in 1900 and 1905 positions. Richir maintained his position at the Academy until 1927, often times acting as its director, while developing a lucrative portraiture business among the Belgium royalty that included King Albert I of Belgium and his wife Queen Elizabeth, King Leopold II of Belgium and the Count of Flanders.

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51 Willem Heytman (Dutch, b. 1950) "Pantheon - Rue Soufflot, Paris" oil on canvas signed lower left, titled en verso. Handsomely framed.

31‑1/2" x 30‑1/2" $2,500‑$4,000 51

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52 Paul Renard (French/Dutch, 20th Century)

53 Antoine Blanchard (French, 1910‑1988)

"Afternoon, Paris"

"Rue Royale, Madeleine"

oil on canvas signed lower left. Framed.

12" x 20"

oil on canvas signed lower right. Framed.

13" x 18"

$2,000‑$4,000

Provenance: Private collection, Houston, Texas. $2,000‑$4,000

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54 Paul Charles Chocarne-Moreau (French, 1855‑1931) "L'Apprenti Patissier et Le Petit Ramoneur", 1916 oil on canvas signed lower left, dated on stretcher.

Framed.

18" x 15" $7,000‑$10,000

Often regarded as the French predecessor of Norman Rockwell, Paul Chocarne-Moreau had a prodigious career, specializing in daily life genres scenes of young working class boys. Apprenticed out at young ages for vocational jobs, their childhood was often overlooked as they were dressed in the clothes of their to be profession- ferrier, baker, domestic, altar boy, factory worker etc… ChocarneMoreau, however, took to the streets to capture their juvenile, albeit endearing, games and charades played in moments of respite or idleness. Realistically portrayed, often times with vibrant store fronts or billboards, in the background, Chocarne-Moreau’s motley helpers won the hearts of Parisians. His sentimentalized depictions appealed to large audiences as they involved the public intimately, earning him multiple private commissions and honors. One of ChocarneMoreau favorite anecdotal characters was the young baker, who was more often than not depicted sneaking sweets than working. In the painting offered here, which he painted several versions of, the apprentice shares his spoils of “labor” with his pal, the little chimney sweep.

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55 Louis Marie De Schryver (French, 1862‑1942) "Les Premieres Fleurs", 1887 oil on canvas signed and dated lower right. Presented in a handsome giltwood frame.

40" x 67" Provenance: The art collection of the Narragansett Hotel, Providence, Rhode Island, under the auspice of hotel proprietor L. H. Humphreys, 1890‑1908 and perhaps later through 1914; Christie's, New York, May 27, 1992, lot 61; Merryl Israel Aron, New Orleans, Louisiana.

Exhibitions: Paris Salon of 1887, no. 2164.

Literature: Dumas, F. Exposition des Beaux-Arts, Salon de 1887: Catalogue Illustre. Paris: Lodovie Bachet Editeur, 1887, p. 296. Literature: King, Moses and M. F. Sweetser. Kings Handbook of the United States. Buffalo, New York: Moses King Corporation Publishers, 1892, pp. 772‑773; and Industries of Wealth of the Principal Points in Rhode Island, being the city of Providence, Pawtucket, Central Falls, Woonsocket, Newport, Narragansett Pier, Bristol and Westerly. New York: A. F. Parsons Publishing Co., 1895, pp. 121‑122. $150,000‑$300,000

"The flowers, these divine apparitions of nature, are they not the true companions of these pretty women? How we must praise and be grateful to Mr. Schryver for having assembled fresh flowers, ravishing colors and young seductive women in the same canvas. One only knows which of the two to truly prefer. Ö They are so beautiful that one would gladly stop to offer them flowers. Mr. Schryver has lavished a pleasing perfume of taste and elegance on this piece that makes you view these two Parisian femme-du-mondes in turn as aristocrats."

-Louis Enault review of "Les Premieres Fleurs" at the Paris Salon of 1887.

As Enault's overwhelming praise of "Les Premieres Fleurs" demonstrates, this still-life of figural and floral beauties epitomizes the French Belle Epoque- a period of burgeoning wealth and leisurely pursuits. Paris at the turn of the century was the epicenter of commerce and opportunity.

With the Industrial Revolution, came shops, theaters, cafes and bars, and the grand boulevards, designed by Baron Haussmann in the 1850s, to accommodate the flourishing economy. Young women and men from the provinces flocked to the city in pursuit of a brighter future. Women found work as au pairs or as saleswomen in the fashionable department stores and boutiques, and enjoyed a level of freedom from the social strictures imposed on wealthy "respectable" women, who seldom frequented public places without the companionship of men. Some of these women, like the ones pictured here with their fine dresses and hats, found fortune as actresses, courtesans, or by marrying well, while others fell into far more ignoble metiers, that fellow Impressionists Edouard Manet and Edgar Degas captured in bar room scenes. As Enault's review illustrates, Schryver focused instead on the opportunity the city offered by showcasing women, independent of their "true" social class, as models of Parisian fashion; their clothing, like the flowers they behold, are an arrangement of the finest specimens sold on the grand boulevards. As a true Impressionist, Schryver repainted the same scene multiple times, capturing the flower vendors and their patrons in various lights and times of day, on different boulevards that illustrated the architectural splendor of the city.

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56 Luigi Loir (French/Austrian, 1845‑1916) "Devant la Musee" gouache, chalk and graphite on paper signed lower right. Glazed and framed. sight 10" x 14" Provenance: Simic Gallery, La Jolla, California; Private collection, Middleburg, Virginia. $7,000‑$10,000

Loir was born in Austria of French parents employed by the French Royal Court in exile. In 1847 the family relocated to the Duchy of Parma, where the young man was to enter l'Ecole des Beaux-Arts at the astonishing age of 9. Upon the completion of his studies, Loir moved to France to train under Jean Amable Amedee Pastelot (1810‑1870). He had his debut at the Paris Salon in 1865; though he did not receive any medals, his work caught the attention of critics and patrons, and he spent several lucrative years working as a muralist, ceiling painter, and illustrator before deciding to concentrate on landscapes in 1870.

Enthralled by the vigorous urban progress of Belle Epoque France, Loir soon tuned his meticulous attentions to the architecture and denizens of Paris.

One of the first to concentrate on such scenes of the bustling and energetic city, Loir influenced such later artists as Eugene Galien-Laloue (1854‑1941) and Edouard Cortes (1882‑1969). Considered the official painter of the boulevards of Paris, his

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depictions of his adopted city were admired for their authenticity and attention to architectural detail.

Loir's technique included meticulous underdrawings that he frequently allowed to come through the paint surface. The success of this technique, and the impression of immediacy it creates, can be seen in the stunning painting offered here where Loir has intentionally rendered the central building ostensibly the main subject - in graphite and chalk, with only hints of additional pigment. While such an approach was unusual for the period, it has the effect of immediately drawing the viewer's eye into the complexity of the composition. This effect is only enhanced by the masterful juxtaposition of the linear draftsmanship of the colonnade and the painterly impasto of the sky.

Loir received numerous awards and accolades, including a gold medal at the Paris Salon of 1889, was named to the prestigious and influential Office d'Academie in 1889, and made a Chevalier of the Legion d'Honneur in 1898.

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57 Eugene Galien-Laloue (French, 1854‑1941)

58 Eugene Galien-Laloue (French, 1854‑1941)

59 Eugene Galien-Laloue (French, 1854‑1941)

"Rue de Rome, Paris"

"Place Pigalle, Paris"

gouache on paper signed lower left, verso with a "Cosmopolitan Art Gallery, La Jolla, California" label. Matted, glazed and framed. sight 7" x 12"

gouache and watercolor on paper signed lower left. Matted, glazed and framed. sight 7" x 12"

"Scene de Village Avec Vue d'Une Cathedrale", 1875

Provenance: Cosmopolitan Art Gallery, La Jolla, California; Private collection, Middleburg, Virginia. $6,000‑$9,000

Provenance: Classic Art Gallery, Carmel, California; Private collection, Middleburg, Virginia. $6,000‑$9,000

gouache and tempera on paper signed lower left, verso with a gallery inventory label, dated and inscribed en verso. Matted, glazed and framed. sight 7" x 9" Provenance: Classic Art Gallery, Carmel, California; Private collection, Middleburg, Virginia. $5,000‑$8,000

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60 Luigi Loir (French/Austrian, 1845‑1916) "Le Marche" gouache and watercolor on paper signed lower right. Matted, glazed and framed. sight 4‑1/2" x 9" Provenance: Private collection, Middleburg, Virginia. $1,500‑$2,500 61 Luigi Loir (French/Austrian, 1845‑1916) "Sur la Jetee le Soir" gouache and watercolor on paper signed lower right. Glazed and framed. sight 11" x 10" Provenance: Classic Art Gallery, Carmel, California; Private collection, Middleburg, Virginia. $3,000‑$5,000 61

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62 Luigi Loir (French/Austrian, 1845‑1916) "Barque" gouache and watercolor on paper signed lower right. Glazed and framed. sight 11" x 10" Provenance: Classic Art Gallery, Carmel, California; Private collection, Middleburg, Virginia. $3,000‑$5,000

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63 Maximilien Luce (French, 1858‑1941) "Soldats a la Gare", 1916 oil on cardboard signed and dated lower left. Framed.

21‑3/8" x 16‑1/5" Provenance: Christie's, South Kensington, November 28, 2007, lot 54; Private collection, Belle Alliance Plantation, Lafourche Bayou, Louisiana.

To be included in Denise Bazetoux's forthcoming catalogue raisonne, vol. 4, on Luce. $8,000‑$12,000

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64 Maximilien Luce (French, 1858‑1941) "Le Jeune Jardinier de Gentilly" oil on canvas signed lower left. Framed.

16‑1/4" x 13" Provenance: Lombrail sale, Enghien-les-Bains, France, June 21, 1989, lot 74; Ader, Paris, France, November 22, 1989, lot 62; Eric Pillon Encheres, Calais, France, March 4, 1990, lot 58; Claude Augettes, Paris, France, March 31, 2006, lot 184; Tajan, Paris, July 28, 2009, lot 1; Private collection, Belle Alliance Plantation, Lafourche Bayou, Louisiana.

Literature: Illustrated: Bouin-Luce, Jean and Denise Bazetoux. Maximilien Luce: Catalogue Raisonne de l'Oeuvre Peint, Paris, 1986, vol. III, no. 18, p. 58. $18,000‑$25,000

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Born into a family of modest means to a railway clerk and a mother whose family was from the peasantry, Luce always had a deep predilection for the working class. After serving in the military for four years, Luce began his artistic career as an engraver, before turning to painting full time in 1883, when employment opportunities for engravers became scarce, due to advancements in printmaking. The painting offered in lot X of the "Jeune Jardinier" is a fine example of his early endeavors. Influenced by the Impressionists that advocated plein air studies, Luce took multiple day trips to the outskirts of Paris - painting the changing effects of sunlight on the fields, gardens and laborers through the juxtaposition of colors quickly applied in wet overlapping impastos through rapid short brushstrokes. A fine example of this is the "Le Jeune Jardinier" offered here, which closely resembles two gardener depictions painted ca. 1880‑1881 in Lagny-surMarne and Bois-Le-Roi (Fontainebleau) - the latter of which sold as lot 2890 on November 6, 2014 at Christie's, New York for $60,000. In all three works, Luce elucidates the depth of the shaded foliage through layered tertiary blue and green hues offset by warm grays, blacks and browns created through the mixture of complementary colors.

In 1887 Luce was introduced to the Neo-Impressionist group by fellow artist Camille Pissarro, and quickly adopted the Divisionist technique of color application in separate patches or dots, believing it achieved unprecedented luminosity in paintings. By the early 1900s, Luce blended the dots, reverting back to a more tempered Impressionist style that he maintained in various facets throughout his life. Few artists at the turn of the century were as versatile in their range of subjects as Luce. He painted the coast of St. Tropez, day laborers (gardeners and washwomen) at

Gentilly, and later at his home as an old man in Rollebois with the same passion and sensitivity that he did the factory and mine workers at the height of his Divisionist period.

Luce simultaneously celebrated working class toil and conscription and recoiled from the brutish conditions and physique it engendered. War War I, the "Great War to End all Wars", was not, as Luce knew from experience, the glorified expedition war propaganda promoted it to be. As a staunch anti-militarist, he created a series of paintings that depicted the true stasis of war - waiting to be mobilized, waiting to go to battle, waiting to die, even wounded veterans awaiting transport from the epicenters of transits - the Paris train stations. In lot 63, the soldiers, engrossed in the solitude of their thoughts, are a still-life transfixed around the remnants of a shared meal on the station steps. This painting, along with 49 paintings from Luce's World War I soldier series, was likely part of his exposition "Les Gares de Paris pendant la guerre (The Train Stations of Paris During the War)" exhibited at Berheim Jeune et Cie. gallery from October 23‑November 11,1916. In Emile Verhaeren's preface to the catalogue for Luce's 1909 exhibition at Bernheim Jeune et Cie., Emile Verhaeren captured the virtuoso of Luce's oeuvre: "In this way you show us not only with the finery of your colors and lines fragments of the world that beauty appears to banish from its domain, but you also prove a talent as powerful , strong and fierce as you."

References: Bertrand Tillier, "Du souvenir de la Commune de Paris a l' Experience de la Grande Guerre: Luce et la Peinture d' Histoire", Maximilien Luce Neo-Impressionniste. Giverny: Ed. Marina Ferretti Bocquillon. Giverny: Musee des Impressionnismes, 2010. pp. 27‑28; Verhaeren, Emile. Exposition Luce chez MM. Bernheim Jeune et Cie. Paris: Moderne Imprimerie, 1909.

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65 Alfred Duriau (Belgian, 1877‑1958) "Les Jardiniers" oil on canvas signed lower right. Framed and affixed with an artist plaque.

20‑3/4" x 13‑7/8" $1,000‑$1,500 A native of Mons, Belgium, Duriau studied with the engraver Auguste Danse (1829‑1929) at l'Academie des Beaux-Arts de Mons. Upon the completion of his studies, he was named a professor of the school, a position he was to maintain until 1947. In 1906, Duriau was awarded the prestigious Prix de Rome in 1906, which enabled him to travel and study in Italy. Ostensibly awarded the prize for engraving, Duriau was an accomplished painter and took this opportunity to explore his approach to painting. The work presented here, with its painterly brushstroke, rich color palette, and masterful juxtaposition of light and shadow, is redolent of the artist Maximilien Luce (1858‑1941), as evidenced by that artist's painting of the young gardener offered in the previous lot. A work by the artist is conserved at the Bergen Kunstmuseum, Bergen, Norway.

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66 Jules Rene Herve (French/American, 1887‑1981) "In the Apple Orchard" oil on canvas signed lower right and en verso canvas.

Framed.

39‑1/2" x 31‑1/2" $6,000‑$9,000 66

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67 Franz Josef Bolinger (American/Florida, 1903‑1986) "Nude Seated in a Verdant Landscape" oil on canvas signed lower right. Framed.

30" x 24" $1,400‑$1,800

68 Antal Berkes (Hungarian, 1874‑1938) "Springtime in Paris" oil on canvas signed lower right. Presented in a giltwood frame.

27‑1/4" x 39‑1/4" $7,000‑$10,000

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68

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69 Henri Baptiste Lebasque (French, 1865‑1937) "Mediterranean Coastal Landscape" oil on canvas signed lower right. Framed.

22‑3/4" x 18‑3/4" $3,000‑$5,000 70 Lazzaro Pasini (Italian, 1861‑1949) "Embarking" oil on canvas signed lower right, verso with a gallery inventory label. Framed.

5‑1/2" x 9‑1/2" Provenance: Classic Art Gallery, Carmel, California; Private collection, Middleburg, Virginia. $1,000‑$1,500

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71 Amedee Rosier (French, 1831‑1898) "Venice" oil on panel signed lower right, verso with a gallery inventory label. Framed.

9‑1/8" x 6" Provenance: Classic Art Gallery, Carmel, California; Private collection, Houston, Texas. $1,000‑$1,500

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72 Antoine Bouvard (French, 1870‑1956) "Venetian Canal with St. Mark's in the Distance" oil on canvas signed lower right. Framed.

20" x 24" Provenance: Private collection, Beverly Hills, California. $3,500‑$5,000 73 Warren W. Sheppard (American, 1858‑1937) "Venetian Canal Scene" oil on canvas signed lower right. Presented in a giltwood and gesso frame.

16" x 19‑3/4"

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$2,000‑$4,000

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74 Romolo Pergola (Italian, 1890‑1960) "Seaside Village on the Ligurian Coast" oil on canvas signed lower right. Presented in a giltwood and gesso frame.

33‑1/2" x 21‑1/2" $3,000‑$5,000

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75 Jean-Gabriel Domergue (French, 1889‑1962) "La Repetition Generale", ca. 1955‑1962 oil on masonite signed lower left, titled and numbered "57" en verso. Framed.

28‑3/4" x 23‑5/8" $25,000‑$40,000

Born in 1889 at the height of the French Belle Epoquethe golden age of art, technology and commercial prosperity, Domergue was greatly influenced by all the splendors the period produced. Paris was its epicenter. With its galleries, cafes and grand boulevards lined with impressive shops brimming with fashionable accessories in their window fronts, it was a veritable spectacle to be had, one that gave rise to the term flaneur/boulevardier- the urban explorer, who voyeuristically seeks artistic inspiration from people watching, from perusing the streets and relishing in the abundant vagaries, follies and fashions they engender, particularly the "ladies of the evening".

Often referred to as "grand courtesans", "demimondaines" or "coquettes", these attractive women were born of meager origins. Instead of becoming maids or washwomen, they sought vocations in the performing arts as actresses, singers, ballerinas and dancers, achieving fame and status in society (much like Marilyn Monroe) through wealthy art patrons.

Emile Zola, Edouard Manet, Edgar Degas and Henri de Toulouse-Lautrec immortalized this archetype in their depictions of Nana and of the dancers at the Folies-Bergeres and Moulin Rouge, which left a lasting impression on the young Domergue. Following his studies at Ecole Nationale Superieure des BeauxArts where he won the second Prize of Rome in 1913, Domergue honed his artistic eye on "ladies of the evening", perfecting what he called the modern "pinup"- women with swan like necks, wide seductive eyes, and thin elongated bodies influenced by the Romantic odalisque- they invited viewers to look upon them with awe and longing. According to Domergue, they were

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to be imbibed with the same airiness and effervescent sparkle as champagne.

The painting offered here and in the following lot are fine examples of this style. In "Repetition Generale", the French theater expression for "Dress Rehearsal", the beautiful dame is poised coyly over the loge (box seat) rail, her attributes for all to see. Loge scenes presented an ideal opportunity for the flaneur, through the assistance of his opera/theater binoculars, to eye the ladies of fashion, before venturing backstage to the dressing rooms of the stars. Domergue painted several renditions of the Loge strikingly similar in composition and framed by the same deep red velvet decor. Two such examples, one of which includes a gentleman spying through his binoculars at the box seats instead of downward at the stage, sold respectively for over $40,000 in 2010 and 2011 at Dobiaschofsky Auction in Switzerland and at Bonhams, New York. The "Parisienne aux Gants Bleus" also belongs to the charade of feminine fetish and fantasy. Reproduced in an advertisement in1939 by the Guibert Freres, one of the preeminent Parisian manufacturers of gloves and women's accessories, the elongated fingered gloves in this painting perform a dance of their own, enticing the viewer to share in woman's reverie.

References: "Jean-Gabriel Domergue: Biographie". Galerie de Souzy. Web. Accessed March 27, 2017; Soyer, Gerard-Louis.

Jean-Gabriel Domergue, l'Art et la Mode. Paris: Editions sous Le Vent, 1984.

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76 Jean-Gabriel Domergue (French, 1889‑1962) "La Parisienne aux Gants Bleus", ca. 1939 oil on masonite signed lower right. Framed.

24" x 20" $18,000‑$25,000

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77 Francois Gall (Hungarian/French, 1912‑1987) "Jeune Femme, Nu" oil on canvas signed lower right. Framed.

11‑1/8" x 9‑1/4" $1,500‑$2,500 77

78 Francois Gall (Hungarian/French, 1912‑1987) "Au Cafe" oil on canvas signed lower right. Presented in a vintage floral-carved and polychrome frame.

10‑1/2" x 8‑3/4" $3,000‑$5,000 78

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79 Francois Gall (Hungarian/French, 1912‑1987) "Manteau Rouge" oil on canvas signed lower right. Presented in an ebonized and parcel-gilt frame.

24" x 18" Provenance: Private collection, New Orleans, Louisiana. $4,000‑$7,000

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80 Francois Gall (Hungarian/French, 1912‑1987) "Deux Vases des Fleurs" oil on canvas signed and indinstictly dated lower right "E. Gall F.". Framed.

24" x 20" $5,000‑$8,000

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81 Francois Gall (Hungarian/French, 1912‑1987) "Vue du Port de Dieppe" oil on board signed and inscribed lower right. Framed.

15" x 18" $2,000‑$4,000 82 Henri Joseph Pauwels (Belgian, 1903‑1983) "Summer Afternoon in the Garden" oil on canvas signed lower left. Framed.

24" x 46‑3/4" $2,000‑$4,000

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83 Henri Joseph Pauwels (Belgian, 1903‑1983) "Flowers for Afternoon Tea" oil on canvas signed lower left. Framed.

30" x 40" $2,000‑$4,000 84 Niek van der Plas (Dutch, b. 1954) "Still Life with a Spring Bouquet in a Blue Vase and Green Apples" oil on canvas signed lower right. Framed.

27‑1/2" x 19‑1/2" $1,500‑$2,500 83

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85 Niek van der Plas (Dutch, b. 1954) "Het Vondelpark, Amsterdam" oil on panel signed lower right, signed and titled en verso. Framed.

13‑1/2" x 19‑1/2" $1,500‑$2,500 84

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86 Niek van der Plas (Dutch, b. 1954) "Naples Beach" oil on panel signed lower right, signed and titled en verso. Framed.

24" x 26" $2,500‑$4,000

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87 Niek van der Plas (Dutch, b. 1954) "Fort Lauderdale Beach" oil on panel signed lower right, signed and titled en verso.

Framed.

10‑3/4" x 13‑3/4" $1,500‑$2,000

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88 Willem Heytman (Dutch, b. 1950) "Day on the Beach" oil on canvas signed lower left, an "Atelier Heytman" stamp en verso. Handsomely framed.

15‑3/4" x 23‑1/2" $1,000‑$1,500

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89 Andre Bauchant (French, 1873‑1958) "Au Bord de la Mer", 1942 oil on canvas signed and dated lower center, dated and initialed on stretcher. Framed.

15" x 18" Provenance: The Flatt Collection. $1,000‑$1,500

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90 Camille Bombois (French, 1883‑1970) "L'Arbre Abattu", ca. 1925 oil on canvas signed lower left "Bombois Clle", verso with "Perls Galleries, New York, N.Y." label. Framed.

25‑5/8" x 19‑5/8" Provenance: Sotheby's, New York, November 11, 1992, Impressionist & Modern Painting sale, lot 309; Perls Galleries, New York, N.Y.; The Flatt Collection. $4,000‑$7,000

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91 Camille Bombois (French, 1883‑1970) "La Marne de Champigny" oil on canvas signed lower left "Bombois Clle", titled on stretcher, verso with "James Vigeveno Galleries" label. Presented in a polychrome and parcel-gilt frame.

9‑3/8" x 13‑3/4" Provenance: The Flatt Collection. $2,000‑$4,000

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92 Camille Bombois (French, 1883‑1970) "Vase de Roses" oil on canvas signed lower left "Bombois Clle". Presented in a giltwood frame with a linen liner.

9" x 6‑1/2" Provenance: Christie's East, New York, November 13, 1990 sale, lot 54; The Flatt Collection. $1,000‑$1,500

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93 Camille Bombois (French, 1883‑1970) "Bouquet de Roses dans un Vase Orange" oil on panel signed lower left "Bombois Clle". Presented in a polychrome and parcel-gilt frame.

9‑1/2" x 12‑3/4" Provenance: Christie's East, New York, November 13, 1990 sale, lot 117; The Flatt Collection. $2,000‑$4,000 93

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94 Camille Bombois (French, 1883‑1970)

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"Les Enfants du Chatelain", ca. 1928 oil on canvas signed lower center, titled en verso stretcher, verso with "Perls Galleries, New York, N.Y." label. Presented in a giltwood frame with a linen liner.

21‑5/8" x 18‑1/8" Provenance: Perls Galleries, New York, N.Y.; The Flatt Collection.

Exhibitions: Perls Galleries, New York, "Bombois, the Early Years", 1967, no. 22. $5,000‑$8,000

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95 Jean Capeinick (Belgian, 1838‑1890) "Le Marche Flottant" oil on canvas signed lower left, an old "Paul Denis/Paris" canvas stamp en verso. Framed.

38‑3/4" x 46‑1/2" $5,000‑$8,000

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96 Ira Monte (Spanish, b. 1918) "The White Swan" oil on canvas signed "Monte" lower right.

Framed.

30" x 40" $1,000‑$1,500 96

97 Otto Walter Beck (American, 1864‑1954) "Christ and Nicodemus" pastel on paper mounted on board signed lower right. Presented in an Art Decostyle carved and incised giltwood frame affixed with an artist plaque. sight 18" x 23" $1,000‑$1,500 97

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98 Frank LeBrun Kirkpatrick (American/Philadelphia, 1853‑1917) "The Reliquary and the Rhyton", 1910 oil on canvas signed and dated lower right, signed and titled en verso, old handwritten exposition en verso frame. Framed.

24‑3/4" x 36" $2,500‑$4,000

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99 Charles Hernandez (American, 19th Century) "Coastal Scene with Rock Formation", 1877 oil on canvas signed and dated lower left. Framed.

16‑1/4" x 30‑1/4" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000 99

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100 Charles Henry Chapin (American/New York/Louisiana, 1830‑1889) "Sunset Over the Adirondacks" oil on canvas signed lower left "C. H. Chapin, N.Y.". Presented in a period Hudson River School giltwood and gesso frame.

27‑3/4" x 50" Provenance: Estate of Richard and Lucy Nunnally, Baton Rouge, Louisiana. $4,000‑$7,000

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101 Hudson River Valley School (Mid-19th Century) "Vista from a Mountain Overpass, Figures on a Bridge" oil on canvas unsigned. Presented in its original period giltwood frame.

35" x 50" Provenance: Descended in a Central/Upstate New York family; A New Orleans antiquarian. $10,000‑$15,000

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Between the early 1830s and mid-1850s, Thomas Cole and Asher Durand tried to capture the rugged American wilderness in the Catskill mountains through the rosy tinted lens of what the French call "romantic pantheism." The landscape was regarded as a sublime experience; it was a reflection of God's creation that simultaneously awed and intimidated people, and it was a medium that elucidated greater metaphysical meaning. Cole and Durand sketched the Catskill environs in plein-air, then embellished them in their studios. Both artists began their careers as engravers and thus approached the landscape tradition with the same conventions - predilection for topographical views born of surveyors' studies and extraordinarily detailed draftsmanship. Depicted from extremely high viewpoints (that could only truly be achieved from a great precipice), they created aerial windows onto the terrain in which settlers, portrayed as tiny figures cultivating pastures, roads and homesteads, are eclipsed by the staggered mountains and serpentine riverbeds. The daunting scale combined with low horizon lines and subtle, tonal variations between cool blues and warm browns that receded into the ethereal mists of the mountains and sky are pantheistic metaphors that both sanctioned and abated manifest destiny.

"Vista from a Mountain Overpass, Figures on a Bridge" offered here, exhibits the hallmark traits of early Hudson River Valley School landscape paintings. The adept handling of the mill and bridge nestled amid the verdant terrain contained by a unified palette, the vast expanse of the sky, the aerial view of rolling bluffs punctuated by winding roads and river that recede through the use of aerial perspective (the blurring through tertiary blues of the mountains on the horizon) recall Cole's "Ox-Bow" at the Metropolitan Museum (1836) and Durand's "Strawberrying" (1854) in the Huntington Library Art Collection. The manner in which the highlights are rendered on the figures on the bridge, especially the execution of them on the craggy tree stumps, fallen tree branch, bridge rail and decorative leaves that surround them, are depicted with the engraving like draftsmanship Durand perfected in his depictions of woodlands. The artist, possibly an engraver himself, had a keen eye for the Hudson River area and was strongly influenced by its early school of artists.

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102 Charles Hernandez (American, 19th Century) "Sunset Over the Valley", 1877 oil on canvas signed and dated lower right. Framed.

12‑1/4" x 20‑1/4" Provenance: Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana. $3,000‑$5,000

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Little is known about Charles Hernandez, other than he was active in New York City in the third quarter of the 19th century and was a member of the National Academy of Design, exhibiting with that institution in 1876, 1877, and 1880. Trow's New York City Directory of 1877 lists him as residing at 1155 Broadway. Since a number of artists were listed at this same address, it is possible it was a working gallery or studio space. Interestingly, the location was to become the site of the world's first Kinetoscope (early motion picture) theater in 1894.

103 Frederick Volck (German/American, 1833‑1891) "Robert E. Lee" patinated bronze after the 1863 terracotta, inscribed "Frederick Volck/1863/ Richmond, Virginia" at back, on a round black marble plinth. overall h. 19", w. 11", d. 9‑1/4" $2,000‑$4,000 Volck was born in Germany but as a young man moved to Virginia where he was employed by the Confederate Naval Ordnance and Hydrography Department. His brother Adalbert, a satirist and caricaturist, was also actively involved in the Confederacy. Volck's sculpture of General Lee was commissioned during the war and was primarily intended as a means of increasing and continuing support for the war effort and the Confederate cause.

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104 Henry Baerer (German/American, 1837‑1908) "The Lesson", fourth quarter 19th century patinated bronze inscribed "H. Baerer Sculptor N.Y. 1881" along proper left edge and with "The Henry Bonnard Bronze Co. N.Y. 1896" foundry mark along proper right edge. h. 21‑3/4", w. 13", d. 17‑1/4" $2,500‑$4,000 A native of Germany, Baerer attended the Academy of Fine Arts, Munich and studied sculpture under Eduard Schmidt von der Launitz (1796‑1869) before moving to the United States.

Eventually settling in the Bronx, he began a long association with the Henry-Bonnard Bronze Co., a foundry located in nearby Mount Vernon, New York. Baerer was a member of the National Sculpture Society and exhibited frequently at the National Academy of Design and the Brooklyn Academy of Art. His numerous public commissions include the bust of Beethoven at Central Park and the figure of Puck at the Puck Building, New York. As a member of the National Sculpture Society, Baerer was one of the sculptors tasked with designing and constructing the Dewey Arch, an intentionally impermanent triumphal gate, placed at the entrance to Madison Square Garden in honor of General George Dewey (1837‑1917).

Reference: New York Times Obituary, December 9, 1908.

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105 Johann Berthelsen (American, 1883‑1972) "New York, Washington Square", ca. 1950 oil on artist canvas panel signed lower right, verso with a reproduction rights stamp. Presented in a period frame affixed with an artist plaque.

16" x 12" This painting has been authenticated by Lee A. Berthelsen, the son of the artist. $6,000‑$9,000

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106 Guy Carleton Wiggins, N.A. (American, 1883‑1962) "Winter in New York City" oil on wood panel signed lower right. Framed.

7‑3/4" x 10" $8,000‑$12,000

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107 Guy Carleton Wiggins, N.A. (American, 1883‑1962) "Midtown, 5th Avenue, Winter" oil on canvas signed lower left, signed and titled en verso. Framed.

18" x 12‑1/4" Provenance: James D. Julia Auctioneers, Fairfield, Maine, February 4, 2010, lot 1118. $20,000‑$40,000 107

108 Willem Heytman (Dutch, b. 1950) "Broadway, New York City" oil on canvas signed lower right, titled en verso, verso with an "Atelier Heytman" stamp.

Framed.

19‑1/2" x 27‑1/2" $2,000‑$4,000 108

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109 Kathryn Cherry (American, 1860‑1931) "Gloucester Harbor" oil on board signed lower right. Presented in a handsome Arts and Crafts-style giltwood frame.

16" x 18‑1/2" $3,000‑$5,000

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110 Nan Sheets (American, 1885‑1976) "Concarneau Harbour" oil on canvas signed lower right, titled and signed in pencil en verso stretcher, affixed with a hand-inscribed label. Framed.

22" x 24" $1,500‑$2,500

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111 Nan Sheets (American, 1885‑1976) "Monhegan Island, Maine" oil on canvas signed lower right, signed and titled in pencil en verso stretcher. Framed.

20" x 22" $1,000‑$1,500 111

112 Frank Townsend Hutchens (American/New York, 1869‑1937) "Trees at Sunset" oil on canvas signed lower right. Framed.

27‑1/4" x 30‑1/4" Provenance: Isaac Delgado Museum of Art Sale, 1965; Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000 112

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113 Roy Andersen (American/Arizona, b. 1930) "The Peacock", 1981 oil on canvas signed and dated lower right, verso with a "Louann Ihde & Associates, Sedona, Arizona" label. Presented in a polychrome frame affixed with an artist plaque.

24" x 36" Provenance: Louann Ihde & Associates, Sedona, Arizona; Private collection. $15,000‑$25,000

A native of New Hampshire, Roy Anderson grew up on an apple farm before his family relocated to Illinois. Long fascinated by the romance and lore of the Old West, the young Anderson was intrigued by the artifacts of the Field Museum of Natural History in Chicago. He attended the Chicago Academy of Fine Art and the Art Center School of Los Angeles, and spent the next several decades as one of the most sought-after commercial illustrators, working for such well-known publications as Time Magazine, Sports Illustrated, and National Geographic, and creating stamp series for the United States Postal Service. Never having lost his interest in the West, Anderson made the decision in mid-career to move to Arizona and concentrate on painting.

Known for his thorough research and painstaking attention to details, Anderson's work has been lauded for its accuracy. He uses a bold color palette, limited to only twenty or so colors, which emphasizes the browns, umbers, and rusts of the Western terrain, and infuses his work with a brilliant light.

Anderson has been the recipient of numerous awards, and his paintings are in the permanent collection of the Smithsonian Institute's National Portrait Gallery, Washington, D.C., among other institutions.

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114 Robert Duncan (American/Utah, b. 1952) "Autumn Trail", 2009 oil on canvas board signed and dated lower left, signed, titled and dated en verso. Handsomely framed.

8‑3/4" x 12‑1/4" $2,500‑$4,000

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115 Jan L. Searle (American/Mexican, b. 1938) "Southern War Dance", 1980 patinated bronze cast signature, dated, copyright marked and numbered "5 of 12" at edge of self-base, on a carved wood plinth. overall h. 25‑1/2", w. 10", d. 13" $2,000‑$4,000

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116 John Duillo (American. b. 1928) "Voice of the Earth", 1981 oil on canvas signed and dated lower right. Framed.

18" x 28" $3,000‑$5,000

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117 Ted J. Feeley (American/Wyoming, 1948‑2016) "Return From the Hunt", 1981 oil on board signed and dated lower right. Framed.

25‑1/2" x 37‑1/2" $6,000‑$9,000

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118 Lajos Markos (American/Texas, 1917‑1993) "Vamanos" oil on masonite signed lower left. Presented in a giltwood frame affixed with an artist plaque.

16" x 20" $5,000‑$8,000 118

119 Joe Rader Roberts (American/Texas, 1925‑1982) "Howdy Little Doggie", 1967 oil on canvas signed and dated lower left. Presented in a carved frame affixed with an artist plaque.

24" x 20" $1,500‑$2,500 119

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120 Joe Rader Roberts (American/Texas, 1925‑1982) "Home to Mama", 1967 oil on canvas signed and dated mid-right. Presented in a carved frame affixed with an artist plaque.

24" x 20" $1,500‑$2,500

121 Robert William Wood (American/California/Texas, 1889‑1979) "Texas Landscape with a Distant View of a Farm" oil on canvas signed lower right. Framed.

25" x 30" $5,000‑$8,000

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122 Kent Wallis (American/Utah, b. 1945) "The Blue Wildflowers" oil on canvas signed lower right. Framed.

30" x 39‑3/4" $5,000‑$8,000

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123 Michael Albrechtsen (American/Utah, b. 1962) "Evidence of Time" oil on canvas signed lower right, signed and titled en verso canvas.

Framed.

24" x 36" $6,000‑$9,000

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124 Michael Albrechtsen (American/Utah, b. 1962) "Perfect View" oil on canvas signed lower right, signed and titled en verso canvas.

Framed.

24" x 30" $5,000‑$8,000

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"I have always preferred a realistic, academic and classical approach to sculpture, and I have been totally absorbed with the figure and head. With the passage of time... I find myself more conscious of the representation of emotion."

- Glenna Goodacre Profile: The Journal of the National Sculpture Society

A native of Texas, Glenna Goodacre attended Colorado College, College Springs, Colorado, and studied at the Art Students League in New York City. Initially a painter, she was encouraged by a gallery owner to begin to experiment in sculpture. Her first bronze was cast in 1969; several years later she had established her own sculpture studio. One of the pre-eminent American portrait sculptors, Goodacre has completed numerous public and private commissions, including the Women's Vietnam War Memorial in Washington, D.C., and the Irish Famine Memorial in Philadelphia, Pennsylvania.

Goodacre was made a fellow of the National Sculpture Society in 1981, and was named an Academician of the National Academy of Design in 1994.

Reference: Wolfgang Mabry, "Glenna Goodacre: A Sculptor of People", Profile: The Journal of the National Sculpture Society, Opus 002.

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125 Glenna Goodacre (American/New Mexico, b. 1939) "The Winner", 1996 patinated bronze cast signature, dated, numbered "2/15", and copyright marked along proper right back, on an integral base; together with receipt from Nedra Matteucci Galleries. overall h. 74", w. 52" d. 26" Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico; Estate of Carolyn G. Fay, Houston, Texas. $15,000‑$25,000 Goodacre is especially acclaimed for her depictions of the delights of childhood. The sculpture offered here adeptly reveals one of the moments of pure childhood joy.

126 Glenna Goodacre (American/New Mexico, b. 1939) "Dancer", 1986 patinated bronze bas-relief plaque cast signature, dated and numbered "11/12" lower right; together with a certificate of authenticity from Nedra Matteucci Galleries.

69" x 40" Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico; Estate of Carolyn G. Fay, Houston, Texas. $2,000‑$4,000 Goodacre has long been enthralled by dance and the movements of the human figure.

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127 Richard MacDonald (American, b. 1946) "Romeo (Third Life)" patinated bronze from the "Ballet Suite", cast signature and numbered "11/90" along front edge of self-base, presented on a round black marble stepped plinth; together with a certificate of authenticity from the artist. overall h. 14‑1/2", w. 15‑1/2", d. 18" $4,000‑$7,000

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"Parting is such sweet sorrow that I'll say my goodnight until tonight becomes tomorrow" Romeo and Juliet Act II, Scene 2 William Shakespeare The sculpture presented here is from the "Romeo and Juliet" suite by Richard MacDonald, which was inspired by the 1965 Royal Ballet version of Sergei Prokofiev's 1935 work and featured Rudolf Nureyev and Margot Fonteyn in the titular roles. Macdonald has chosen the dramatic "Balcony" scene where the two young lovers are loathe to leave each other.

The tension in the figure of Romeo is almost palpable; the taut muscles, the reaching, grasping hands, and the anguished facial expression all expose his internal torment, and reveal the sculptor's mastery at the depiction of the human form. Working in the time-consuming "lost wax" technique, MacDonald explores the innate power and complexity of the human figure.

128 John McCrady (American/Louisiana, 1911‑1968) "Mississippi Family", 1946 and "Leap Year", 1941/2 pair of lithographs on paper former pencil-signed lower right, titled lower left, and inscribed "In remembrance of your hospitality John and Martha", latter pencil-signed lower right, titled lower left.

Each matted, glazed and framed. former sight 10" x 13‑3/4", latter sight 9‑1/4" x 13"

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Provenance: Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana.

Exhibition: "John McCrady – 1911-1968", traveling exhibition, September 26, 1975August 8, 1976 Literature: Marshall, Keith. John McCrady - 1911‑1968. New Orleans Museum of Art, 1975. Illustrated pp. 110 and 105, respectively. $1,000‑$1,500

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129 John McCrady (American/Louisiana, 1911‑1968) 129

"Steamboat 'Round the Bend", 1945 and "The Robert E. Lee and the Natchez", 1945 pair of lithographs on paper former pencil-signed lower right and titled lower left, initialed in plate lower right, latter pencilsigned lower right and titled lower left, initialed in plate lower right. Each matted, glazed and framed. former sight 11" x 15‑1/2", latter sight 10‑3/4" x 15‑1/2" Provenance: Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana.

Exhibition: "John McCrady – 1911-1968", traveling exhibition, September 26, 1975August 8, 1976 Literature: Marshall, Keith. John McCrady 1911‑1968. New Orleans Museum of Art, 1975.

Illustrated pp. 110 and 109, respectively. $1,000‑$1,500

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130 John McCrady (American/New Orleans, 1911‑1968) "Wreck of the Old '97", 1942 lithograph on paper pencil-signed lower right and titled lower left, initialed in plate lower left. Matted, glazed and framed. sight 11‑3/4" x 15‑3/4" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

Exhibition: "John McCrady – 1911-1968", traveling exhibition, September 26, 1975- August 8, 1976 Literature: Marshall, Keith. John McCrady - 1911‑1968. New Orleans Museum of Art, 1975. Illustrated p. 108. $1,500‑$2,500

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131 John McCrady (American/Louisiana, 1911‑1968) "The Zulu King Arrives", 1947 and "Carnival in New Orleans", 1947 two lithographs on paper former pencil-signed lower right and titled lower left, initialed in plate lower left, latter pencil-signed and titled lower right, initialed in plate lower right. Each matted, glazed and framed. former sight 11‑1/4" x 8", latter sight 9‑3/4" x 13" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

Exhibition: John McCrady – 1911-1968, traveling exhibition, September 26, 1975- August 8, 1976 Literature: Marshall, Keith. John McCrady 1911‑1968. New Orleans Museum of Art, 1975.

Illustrated pp. 112 and 111, respectively. $1,500‑$2,500 131

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132 Leroy Neiman (American, 1921‑2012) "New York, 64 42nd Street" ink and gouache on artist board signed and titled lower left. Glazed in a float mount frame.

20" x 29‑3/4" $6,000‑$9,000

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133 Reynolds Beal (American, 1866‑1951) "Circus Scene", 1934 watercolor and colored pencil on paper signed and titled lower right. Matted, glazed and framed. sight 14‑1/2" x 18‑1/2" $1,200‑$1,800

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134 Robert Philipp (American, 1895‑1981) "Standing Nude" pastel on paper signed lower right "Philipp". Glazed and framed.

21" x 14" $1,000‑$1,500

134

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135

135 Paul J. Woolf (American, 1899‑1985) "Still Life with Standing Buddha Sculpture and Decanter", ca. 1930 platinum print verso inscribed with notation on composition and printing process, artist name inscribed on mat lower right. Matted.

4‑5/8" x 6‑1/2" $1,000‑$1,500

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136 Margaret Bourke-White (American, 1904‑1971) "United States Airship 'Akron' (Zeppelin)", 1931 silver gelatin print unsigned. Matted, glazed and presented in its original duralumin frame affixed with a presentation plaque. sight 13" x 18‑1/2" $1,000‑$1,500 136

On August 8, 1931, Margaret Bourke-White took this historic photograph of the first U.S. Zeppelin, the U.S.S. Akron (powered by helium instead of hydrogen), as it was launched from its hangar at the Goodyear Airdock in Akron, Ohio. To commemorate the event, the Goodyear Company had a limited number of Bourke-White's photos encased in specialty Art Deco frames made from the same duralumin metal used in the construction of the ship, and presented them to the company's executives, engineers and naval officers involved in the execution of the airship. Another of limited prints were set aside for the Goodyear tire dealers as sales awards for achieving outstanding quotas. As the plaque affixed to this work indicates, this one was presented to Robert L. Speck of Harrisburg, Pennsylvania, for the fiscal period of July-August 1931. Both the airship and Margaret Bourke-White's pioneering work as one of the most accomplished photojournalists of the first half of the 20th century represent a momentous time in U.S. history, marked by burgeoning discoveries in industry and technology. BourkeWhite gained early national recognition in the late 1920s with her photographs of bridges and factories, capturing the refractive nuances of steel through the use of magnesium flares. In 1930, Bourke-White, an associate editor and photographer of Fortune

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magazine, became the first Western photographer permitted to take pictures of Soviet industry. In 1936, she became the first woman photojournalist for Life magazine (a position she held until her retirement in 1969), and the first female war correspondent and only foreign photographer allowed behind enemy lines when Germany invaded Moscow in 1941. BourkeWhite, best known for her commercial images of commerce and industry at the height of the Great Depression and later World War II, are, in the words of art historian Sharon Corwin, a haunting testimony of the "promise of capitalist production" in an unstable world where "consumers were unable to keep pace with production."

References: "Margaret Bourke-White, United States Airship "Akron", 1931.

Akron Museum of Art. Accessed 14 March 2017; Brannan, Beverly W. "Margaret Bourke-White (1904‑1971): Prints and Photographs Reading Room". Library of Congress, 2015. Accessed 15 March 2017; Corwin, Sharon, Jessica May, and Terri Weissman. American Modern: Documentary Photography by Abbott, Evans, and Bourke-White. Berkeley: University of California Press, 2010, p. 112.

137 Henri Cartier-Bresson (French, 1908‑2004) "The University of Tennessee, Knoxville, Tennessee", 1947 silver gelatin print localized in pencil en verso and stamped "Nov. 1, 1947/Editorial Auditing Dept." with photographer's copyright credit. Unframed.

6‑3/4" x 9‑3/4" $3,000‑$5,000 137

138 Henri Cartier-Bresson (French, 1908‑2004) "Nebraska Legislature", 1957 gelatin silver print titled and dated en verso with Life magazine photo credit stamp.

Unframed.

8‑1/4" x 11‑1/2" Provenance: Christie's, New York, October 4‑13, 2016, lot 94.

Literature: Life. 40:15 (April 15, 1957) pp. 40‑48. $1,200‑$1,800 138

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139

139 Alfred Eisenstaedt (German/American, 1898‑1995) "Main Street, Los Angeles, 1936" silver gelatin print signed in ink lower right, pencil-inscribed and dated with stamp "Life Photo by Alfred Eisenstaedt" en verso. Matted, glazed and framed. sheet 16" x 20" $2,500‑$4,000

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Working as a freelance photographer in Hollywood in the 40s, 50s and 60s, Frank Worth befriended many of the film industry's stars, often becoming a trusted confidante. Not constrained by the strictures imposed by the studios on their staff photographers, Worth's black and white images, frequently taken on set during breaks in shooting, reveal a spontaneity and sense of playfulness rarely seen. Few images were published during his lifetime; it was only after his death in 2000 that his executor discovered a trove of negatives of Hollywood royalty, and the Estate produced limited edition pigment prints.

Reference: O'Connor, Patrick. "In Search of Lost Stars". The Telegraph September 27, 2002.

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140 Frank Worth (American, 1923‑2000) "Marilyn Monroe on Set of 'How to Marry a Millionaire'" and "Sammy Davis, Jr. Leaps for Marilyn Monroe" 140

pair of limited edition archival pigment prints each with a "Frank Worth Estate" blind stamp lower right, numbered "10/95" and "72/95", respectively. Framed. each sheet 20‑1/4" x 24" $1,200‑$1,800 141 Frank Worth (American, 1923‑2000) "Elizabeth Taylor on the Set of 'Giant'" limited edition archival pigment print with a "Frank Worth Estate" blind stamp lower right, numbered "72/95". Framed. sheet 24" x 20‑1/2" $1,000‑$1,500

140

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142 Francesco Scavullo (American, 1921‑2004) "Sting (Song)", 1984 silver gelatin print printed in 2004 by Motion Picture Group Inc., signed en verso by the artist's photo editor Sean M. Byrnes, and numbered "69/150", titled and numbered on "Martin Lawrence Galleries" label on frame backing, and accompanied by a letter of authenticity from Martin Lawrence Galleries. Matted, glazed and framed.

21" x 17‑3/8" Provenance: Martin Lawrence Gallery, New Orleans, Louisiana; Private collection. $1,000‑$1,500

142

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143

143 William Allyn Nichols (American, b. 1942) "Cedarberg Brook", 1982 acrylic on canvas signed and dated lower left. Unframed.

83" x 120" Provenance: Hooks-Epstein Galleries, Inc., Houston, Texas. $3,000‑$5,000

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144 Clyde Aspevig (American, b. 1951) "Blackwaters - Magnolia Gardens" oil on canvas mounted on board signed lower left, signed and titled en verso.

Presented in an attractive giltwood frame.

24" x 30" Provenance: Private collection, Winston-Salem, North Carolina. $8,000‑$12,000

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145 Michel Henry (French, b. 1928) "Floral Arrangement on Terrace" oil on canvas signed lower right. Presented in a giltwood frame with a linen liner.

42" x 41‑1/2" $3,000‑$5,000

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A member of an artistic Boston family - her sister is a photographer, her mother is a sculptor, and her maternal grandfather was the Impressionist painter Clark Voorhees (1871‑1933) - Janet Fish grew up on the sun-drenched island of Bermuda. She graduated from Smith College and was one of the first women to be accepted into the MA program at Yale University, being awarded her degree in 1963. While at Yale, she attended the color theory class conducted by Josef Albers (1888‑1976), which was to prove influential in her eventual approach to color and tone. Though she received her training at a time when abstract expressionism was the most lauded and encouraged artistic style, Fish was soon to abandon this approach in favor of something more representational.

Fish's lush, luminous still lifes, often of ordinary objects, reveal a masterful understanding of the interplay of color and the movement of light. Employing a palette of rich, saturated colors, and virtually no chiaroscuro, and a painterly approach which distills her subjects into an abstracted form (without losing their essence), she creates works imbued with a sense of energy and vibrancy.

Fish received the MacDowell Fellowship in 1968 and 1972, and the American Academy of Arts and Letters Award in 1994. Her works are in the collections of the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; Art Institute of Chicago; and the Pennsylvania Academy of the Fine Arts, among numerous others.

References: Arnold, Susanne and Morgan, Robert C. Janet Fish: Paintings and Drawings Since 1975 Exhibition Catalogue, September 10‑October 3, 1987, Marsh Gallery, University of Richmond, Virginia.

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146

146 Janet Fish (American, b. 1938) "Peacock Feathers", 2003 oil on canvas signed and dated lower left, titled and with a "LewAllen Contemporary/Santa Fe, New Mexico" label en verso. Framed. Together with the original receipt and exhibition brochure from LewAllen Contemporary.

24" x 18" Provenance: LewAllen Contemporary, Santa Fe, New Mexico; Collection of Zelda Gartner, Jacksonville, Florida. $8,000‑$12,000

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147 Evan Carter Wilson (American, b. 1953) "The Chinese Interior" oil on linen signed upper right, verso with a partial "Grand Central Gallery, Biltmore Hotel, New York, N.Y." label and "The House of Heydenryk, New York, N.Y." framer's label. Presented in an antiqued ribboncarved frame with a linen liner.

20" x 16" $2,000‑$4,000

147

148 Felix Kelly (British/New Zealand, 1916‑1994) "The London to Oxford, with Silos" oil on canvas board signed lower right, signed and dated en verso. Framed.

17" x 22" Provenance: Felix Kelly Gallery, London, England; Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana $3,000‑$5,000

148

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149 Albert Ernest "Beanie" Backus (American/Florida, 1906‑1990) "The Florida Everglades - The Tropical Hardwood Hammock", 1985 oil on canvas signed and dated lower right. Framed.

16" x 20" $10,000‑$15,000

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150 Alphonse J. Gamotis (American/New Orleans, 1842‑1919) "Oak Tree on the Bayou, at Dusk", 1890 oil on canvas signed and dated lower right "A. Gamotis/90". Presented in a giltwood and plaster frame in the Barbizon taste.

8" x 12" Provenance: Martha Ann and Ray Samuel Collection; sold at these galleries May 20, 2006, lot 221; Belle Alliance Plantation, Lafourche Bayou, Louisiana. $5,000‑$8,000

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151 Alexander John Drysdale (American/Louisiana, 1870‑1934) "Sunset on the Bayou" oil wash on paper board signed lower left. Matted, glazed and framed.

14" x 19" Provenance: Succession of George S. "Dod" Stewart, Slidell, Louisiana. $2,000‑$4,000 151

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152 Ellsworth Woodward (American/New Orleans, 1861‑1939) "French Quarter Scene" watercolor on paper signed lower left. Framed. sight 20‑3/4" x 14‑1/2" $2,000‑$4,000 152

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153

153 Clarence Millet (American/Louisiana, 1897‑1959) "Barnyard View" watercolor on illustration board signed lower right. Unframed.

13" x 20" $1,000‑$1,500

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154 Ellsworth Woodward (American/New Orleans, 1861‑1939) "Shakespeare Library, Stratford Upon Avon, England", 1900 watercolor on paper signed, dated and localized lower right.

Matted, glazed and framed. sight 20‑1/2" x 14" Provenance: Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana. $1,000‑$1,500 154

155 Ellsworth Woodward (American/New Orleans, 1861‑1939) "Mississippi Coastal Scene with Canoe" watercolor on paper initialed lower right. Matted, glazed and framed. sight 13" x 18‑3/4" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $1,000‑$1,200 155

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156

The form is there.

The stories are told.

Realize it and then Like a succession of flowers opening.

-Walter Inglis Anderson Between 1930 and 1950 Anderson carved 300 whimsical linoleum blocks (linocuts), inspired by lore and iconic Gulf Coast flora and fauna. The bold colors and abstracted geometric figures, innate to the linocut process, were designed to be printed in various combinations, imbuing typical landscapes with spiritual symbolism that, according to Mary Pickard, the artist's daughter, "emphasized connections in relationships among sea, earth and sky." Printed on the reverse side of wallpaper rolls, the linocuts were affordable to ordinary folk, empowering them to share in the narratives that shape their lives. In 1949, a "Pelican and Waves" print nearly identical to the one offered with slight variations in color was exhibited at the Brooklyn Museum of Art as part of the "Form and Fantasy: Modern Scroll Prints in Color by Walter I. Anderson" exhibition, and sold at auction in 2014 for over $22,000.

Reference: Pickard. Ibid.

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156 Walter Inglis Anderson (American/Mississippi, 1903‑1965) "Pelican and Waves (Horizontal Pelican)", ca. 1930‑1949 hand-colored linocut on wallpaper laid down on linen unsigned. Matted, glazed and framed.

18‑1/2" x 46‑1/2" Provenance: Private collection, Oakland, California. $5,000‑$8,000 Literature: Illustrated: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University of Mississippi Press, 2007, p. 70.

157 Walter Inglis Anderson (American, 1903‑1965) "Wild Turkey" watercolor and pencil on paper unsigned. Matted, glazed and framed.

11" x 8‑1/2" Provenance: Private collection, Ocean Springs, Mississippi. $8,000‑$12,000

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158 James McConnell "Mac" Anderson (American/Mississippi, 1907‑1998) "Coots in a Lagoon", 1995 oil on board initialed and dated lower right. Framed.

16" x 24" Provenance: Succession of George S. "Dod" Stewart, Slidell, Louisiana. $2,500‑$4,000 158

159 James McConnell "Mac" Anderson (American/Mississippi, 1907‑1998) "Fishing on the Gulf Coast", 1995 oil on board initialed and dated lower right. Framed.

16" x 24" Provenance: Succession of George S. "Dod" Stewart, Slidell, Louisiana. $2,500‑$4,000 159

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160 Walter Inglis Anderson (American/Mississippi, 1903‑1965) "'Sissy', the Artist's Wife Agnes Anderson (1909‑1991)", ca. 1935 ceramic bust with verdigris glaze unsigned.

8‑3/4" x 5‑1/2" Provenance: Friends of the artist, Ocean Springs, Mississippi; Thence by descent.

Illustrated: Dod Stewart and Marjorie Anderson Ashley. Shearwater Pottery. Slidell: Bristol Publishing, 2005, p. 249. $1,000‑$1,500

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161 Large Shearwater Pottery "Sea, Earth and Sky" Vase, ca. 1940‑1950 cast and glazed by Peter Anderson in double Antique Green over black glaze, designed by Walter Inglis Anderson, base with impressed "Shearwater" mark. h. 11‑3/4", w. 7‑3/4" Provenance: Friends of the artist, Ocean Springs, Mississippi; Thence by descent. $2,000‑$4,000

161

119

162 Marie Hull (American/Mississippi, 1890‑1980) "Two Figures on a Wooded Path" oil on "Fulton" canvas board signed lower right, inscribed en verso "October Sketch, Marie Hull, 825 Belhaven St.". Presented in a giltwood frame.

16" x 20" $2,500‑$4,000 162

163 Marie Hull (American/Mississippi, 1890‑1980) "Newspaper Boy in Front of the Old Absinthe House" watercolor and graphite on paper signed lower right. Matted, glazed and framed. sight 13" x 19" $1,500‑$2,500

163

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164 Marie Hull (American/Mississippi, 1890‑1980) "Saint-Cere, France" watercolor and graphite on paper signed lower right. Matted, glazed and framed.

26‑1/2" x 21" $1,000‑$1,500

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165 Marie Hull (American/Mississippi, 1890‑1980) "Watermelon Slices" watercolor on paper signed lower right. Matted, glazed and framed. sight 26‑1/2" x 21" $2,000‑$4,000 165

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166 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944) 166

"Still Life with a Basket, Lemons and a Bottle of Wine" and "Still Life with Pottery Jug and a Bowl of Lemons" two watercolors on paper both signed lower right, former dated "1942".

Both matted, glazed and framed. sight: former 7‑1/4" x 9", latter 4‑3/4" x 6‑1/8" $1,000‑$1,500

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167 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944) "Gossip", 1940 watercolor on paper signed and dated lower right. Matted, glazed and framed. sight 13" x 19" $3,000‑$5,000

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168 Luis Graner Y Arrufi (Spanish/Louisiana, 1863‑1929) "Eucalyptus Trees" oil on canvas signed lower left. Framed.

24‑1/4" x 30‑1/4" Provenance: The Isaac Delgado Museum of Art Auction: New Orleans, Louisiana, 1965; Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $1,200‑$1,800 168

169 William Tolliver (American/Mississippi/Louisiana, 1951‑2000) "Tilling the Fields, Mississippi" oil on canvas signed lower right. Presented in a giltwood frame with a "Crutchfield's Live Oak Gallery, Lafayette, LA" label en verso.

15" x 30" Provenance: Crutchfield's Live Oak Gallery, Lafayette, Louisiana; Private collection. $3,500‑$5,000

169

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170 Jim Pennington (American/Georgia/Louisiana, b. 1972) "Let's Put Our Hearts Together", 2003 oil on panel signed and dated lower right, verso with a "Callan Fine Art, New Orleans, Louisiana" gallery label. Framed.

39‑1/4" x 61‑1/2" Provenance: Callan Fine Art, New Orleans, Louisiana. $2,500‑$4,000 171 George Dureau (American/Louisiana, 1930‑2014) "B.J. Robinson" charcoal on paper signed lower center. Matted, glazed and framed. sight 39" x 29" Provenance: Galerie de Ville, New Orleans, Louisiana; private collection.

Exhibitions: "George Dureau Drawings", 1981. $1,000‑$1,500

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172 Noel Rockmore (American/New Orleans, 1928‑1995) "Terre Haute Coal Mine #3", 1964 oil on canvas board signed, titled and dated lower right. Framed.

18" x 24" Provenance: Greer Gallery, New York, New York; Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

Exhibited: Greer Gallery, New York, New York, October 12‑October 31, 1965.

Literature: Illustrated "Noel Rockmore at Terre Haute" exhibition catalogue, Greer Gallery, New York, New York, October 12‑October 31, 1965. $1,000‑$1,500 172

173 Noel Rockmore (American/New Orleans, 1928‑1995) "Abandoned Brick Factory No. 1, Terre Haute" oil on canvas unsigned. Framed.

40" x 50" Provenance: Greer Gallery, New York, New York; Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana.

Exhibited: Greer Gallery, New York, New York, October 12‑October 31, 1965.

Literature: Illustrated "Noel Rockmore at Terre Haute" exhibition catalogue, Greer Gallery, New York, New York, October 12‑October 31, 1965. $1,200‑$1,800

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174 Sandy Chism (American/Louisiana, 1957‑2013) "That Which Hath Wings Shall Tell me the Matter", 1997 acrylic on canvas Presented in a thin gallery frame.

62" x 93" Provenance: Private collection, New Orleans, Louisiana. $4,000‑$7,000

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175 Hunt Slonem (American, b. 1951) "Bayou 4", 2012 oil on canvas signed and dated en verso canvas. Framed.

33" x 37" $6,000‑$9,000

175

128

177 James Michalopoulos (American/Louisiana, b. 1951) "Napoleon's Gate", 1996 oil on canvas signed and dated lower left and en verso, titled en verso stretcher, and with a "Michalopoulos, New Orleans" label. Framed.

28" x 22" Literature: Illustrated: Michalopoulos, Cattywompus Press, 1997, p. 74. $4,000‑$7,000

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176 James Michalopoulos (American/Louisiana, b. 1951) "Green Frisette", 1994 oil on canvas signed lower left. Framed.

40" x 30" $5,000‑$8,000

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178 James Michalopoulos (American/Louisiana, b. 1951) "Untitled, French Quarter Facade", 1991 oil on canvas signed lower left "A. Mitchell", signed, dated and localized en verso canvas. Framed.

18" x 24" $2,000‑$4,000 178

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179 Theodore Fonville Winans (American/Louisiana, 1911‑1992) "Spring Fiesta" silver gelatin print mounted on board signed and dated "1938" lower left. Matted.

20" x 16" Provenance: The Fonville Estate Collection. $1,000‑$1,500

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180 Theodore Fonville Winans (American/Louisiana, 1911‑1992) "Costumed Mardi Gras Couple, New Orleans" silver gelatin print mounted on board signed and dated "1940" lower left. Matted.

16" x 20" Provenance: The Fonville Estate Collection. $1,200‑$1,800 180

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181

182

181 Theodore Fonville Winans (American/Louisiana, 1911‑1992)

183 Theodore Fonville Winans (American/Louisiana, 1911‑1992)

"Fonville - Self-Portrait"

"Angola Guard"

silver gelatin print mounted on board signed and dated "1934" lower left. Unframed.

20" x 16"

silver gelatin print mounted on board signed and dated "1938" upper left. Unframed.

16" x 20"

Provenance: The Fonville Estate Collection.

Provenance: The Fonville Estate Collection.

$1,500‑$2,500

$1,000‑$1,500

182 Theodore Fonville Winans (American/Louisiana, 1911‑1992) "Tony" silver gelatin print mounted on board signed and dated "1938" lower right. Unframed.

20" x 16" Provenance: The Fonville Estate Collection. $1,200‑$1,800

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Clyde Connell, the eldest of nine children of a Louisiana cotton planter, was a self-taught abstract expressionist artist who did not begin to receive nationwide acknowledgment until she was in her 70s. She briefly attended Brenau College in Gainesville, Georgia, before leaving that institution to raise her family and independently study art. Her earliest paintings were expressive documentary depictions of the society and culture around her. In the mid-50s, inspired by the Abstract Expressionist artists she encountered during a trip to New York City, such as Jackson Pollock and Adolph Gottlieb, Connell began to move away from figural representation.

In 1959, she and her husband moved to the edge of Lake Bistineau, a remote and rural area, and it was at this time that she began to concentrate on sculpture. Connell's often larger-than-life sculptures required materials that were plentiful, inexpensive, and easily manipulated by the diminutive artist, and these were ultimately to be found in the environment around her - the brown earth, red clay, and wood of the Louisiana countryside. Frequently incorporating found objects and materials into her assemblages, she created powerful works evocative of ritual. Mythical and often spiritual, but not indicative of a particular dogma, these sculptures integrate symbols and hieroglyphs with geometric and linear elements, allowing for the viewer's personal interpretation. Connell had her first non-regional solo exhibition in 1981 at New York's prestigious and influential Clocktower Gallery. In 1988, she was included in the "Different Drummers" show at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. She was the recipeint of numerous honors, including a 1982 Adolph Gottlieb Foundation Award, a 1984 Lifetime Achievement Award from the Women's Caucus for Art, and a 1985 Award for Visual Art from the National Endowment for the Arts.

References: "Obituaries", New York Times. May 10, 1998; Moser, Charlotte. "Clyde Connell: 1901‑1998". Sculpture. December 1998, Vol. 17, No. 10.

184 Clyde Connell (American/Louisiana, 1901‑1998) "Red Clay Series II", 1989 mixed media on wood titled and dated on reverse. h. 62", w. 3", d. 2" Provenance: Descended in the family of the artist. $1,500‑$2,500

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185 Clyde Connell (American/Louisiana, 1901‑1998) "Tower", 1981 mixed media on wood signed and dated. h. 91", w. 18", d. 18" Provenance: Descended in the family of the artist. $5,000‑$8,000

186

186 Clyde Connell (American/Louisiana, 1901‑1998) "Small Wall Object No. 23", 1994 mixed media on wood signed, numbered and dated en verso.

13‑1/2" x 4" x 1‑3/4" Provenance: Descended in the family of the artist. $1,000‑$1,500

185

133

187 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) "Cluster Drawing", 1982 mixed media on paper signed and dated lower right. Double-matted, glazed and presented in a contemporary burnished steel frame.

13" x 22" $3,000‑$5,000

187

188

188 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) "Synthesis 17B", 1983 mixed media on canvas signed and dated lower right, verso with "Heath Gallery" label and a Pensacola Museum of Art, "Kohlmeyer & Benglis: Teacher and Student in the 80's", 1995 exhibition label. Presented in a thin gallery frame.

48" x 70"

134

Provenance: Heath Gallery, Atlanta, Georgia; Private collection.

Exhibitions: Pensacola Museum of Art, "Kohlmeyer & Benglis: Teacher and Student in the 80's", 1995 $35,000‑$50,000

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189 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) "Untitled", 1973 oil on canvas signed and dated lower right. Presented in a thin gallery frame.

52" x 50" Provenance: DuBose Gallery, Houston, Texas; Private collection, Houston, Texas. $25,000‑$40,000

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190 Jose Maria Cundin (Spanish/Louisiana, b. 1938) "Saludad, Amor y Pesetas y Las Manos, Llenas d Tetas", 1969 oil on canvas signed and dated lower center. Unframed.

34‑1/2" x 22" $6,000‑$9,000 190

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191 Douglas Bourgeois (American/Louisiana, b. 1951) "Fabian", 1982 mixed media on paper signed and dated lower right. Glazed, float mounted and framed.

13‑3/4" x 11‑1/2" Provenance: Galerie Jules Laforgue, New Orleans, Louisiana. $1,000‑$1,500

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192 Leonard Flettrich (American/Louisiana, 1916‑1970) "Forest Fire" oil on canvas signed lower right. Framed.

29" x 36" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $1,000‑$1,500

192

137

193 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) "Markings Drawing #2", 1989 mixed media on paper signed and dated lower right, verso with "Allene Lapides Gallery" label. Matted, glazed and framed.

17" x 26‑1/2" Provenance: Allene Lapides Gallery, Santa Fe, New Mexico; Private collection. $5,000‑$8,000

193

194 Abigail Poplin (American/New Orleans, Contemporary) "The Pearl" oil on gallery-wrapped canvas signed lower right.

35" x 54" Provenance: Collection of the artist. $1,500‑$2,500 194

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195 Sandra Lerner (American/New York, Contemporary) "Untitled Abstract", 1982 oil and mixed media on canvas signed and dated en verso. Unframed.

85" x 79‑1/2" Provenance: Private collection, Houston, Texas. $3,000‑$5,000

195

139

196 Marie Hull (American/Mississippi, 1890‑1980) "Reflections" oil on canvas signed lower left, verso with "Juried Arts 1967, Tyler, Texas" exhibition label, 38" x 42". Presented in a thin gallery frame.

48" x 42" Provenance: Collection of Mr. and the late Mrs. Jack Neal, Ridgeland, Mississippi.

Exhibitions: Juried Arts Exhibition of 1967, Tyler, Texas $6,000‑$9,000

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197 Marie Hull (American/Mississippi, 1890‑1980) "Posey" oil on canvas signed lower left. Presented in a giltwood frame.

29‑1/2" x 29‑1/2" Provenance: Collection of Mr. and the late Mrs. Jack Neal, Ridgeland, Mississippi. $3,000‑$5,000

167

140

198 Charles Schorre (American/Texas, 1925‑1996) "White Birds In a Tree" and "Earth Burst"

198

two woven wall hangings former woven by Tapecarias de Portalegre, Portugal, titled and signed en verso manufacturer's label, 68" x 55‑1/2"; latter woven by Gobelinos Riedl, Mexico, 28‑1/2" x 38‑1/2".

Provenance: DuBose Gallery, Houston, Texas, purchased in 1976; Estate of Carolyn G. Fay, Houston, Texas. $1,000‑$1,500

198

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199 Stan Brodsky (American, New York, b. 1925) "Paros - Orange", 1977 oil on canvas signed and dated lower right, signed and titled en verso. Presented in a thin gallery frame.

60" x 50" Provenance: Lerner-Heller Gallery, New York, New York. $3,000‑$5,000

199

200

200 details

200 Pat Steir (American/New York, b. 1938) "Word", pub.1980 book of five drypoint and aquatint prints with handcoloring the prints executed in 1977, pencil-signed, dated "1977" and numbered "10/10" on back page. boards 5‑3/4" x 6" $1,000‑$1,500

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201 Eduardo Chillida (Spanish/Basque, 1924‑2002) "Hutsune II", 1970 etching on chiffon de Mandeure paper signed and numbered "27/50" lower right.

Glazed and framed. sheet sight 28‑1/2" x 62" $2,500‑$4,000

Chillida attended the architecture school of the Universidad Complutense de Madrid before moving to Paris to study art. Upon his return to Spain, he concentrated on creating large-scale sculptures which explored the relationship of volume, space and movement. In 1959, he began a series of etchings and lithographs which emphasized the importance of the "white" or blank space in creating a sense of tension when contrasted with the thick black lines of the ink.

Chillida received numerous awards, including the Kandinsky Prize in 1960, the Carnegie Prize in 1964, and the Andrew W. Mellon Prize in 1978, which he shared with Willem de Kooning.

References: Johnson, Ken. "Eduardo Chillida". New York Times.

August 22, 2002.

143

A native of Connecticut, David Hayes received his BA from the University of Notre Dame before enrolling in the Graduate Program at Indiana University, Bloomington, Indiana, where he studied with the abstract expressionist artist David Smith (1906‑1965).

Inspired by the geometric metal sculptures produced by Smith, Hayes began to create large scale steel sculptures of abstracted organic forms, suggestive of their natural inspiration. His earliest works were constructed of welded steel - a distinctly industrial material; Hayes had trained with a blacksmith in Indiana, and he forged and constructed the steel constructs himself. As his style evolved, Hayes began to turn more frequently to cut steel, which he weathered or painted and frequently textured. With these sculptures, composed of curving, asymmetrical elements, Hayes explored the relationship of form and space, shapes and colors.

One of the most acclaimed contemporary American sculptors, Hayes was the recipient of a Solomon R. Guggenheim Fellowship and a Fulbright Scholarship, the latter which enabled him to study in France where his neighbor was fellow sculptor Alexander Calder (1898‑1976). His works are in numerous public and private collections, including the Museum of Modern Art, New York; Guggenheim Museum, New York; University of Connecticut, Storrs; Hirschorn Museum and Sculpture Garden, Washington, D.C.; Musee des Arts Decoratifs, Paris; Wadsworth Athenaeum, Hartford; Carnegie Institute, Philadelphia; and the Museum of Fine Arts, Houston, Texas.

References: Byrnes, Richard A., "The Art of Friendship: David V. Hays".

Notre Dame Magazine; Autumn 2013; Wiregrass Museum of Art Exhibition Catalogue. Sculpture by David Hays. The Argian Press: New York, 2013; Dunne, Susan, "Coventry Sculptor David Hays Dies". Hartford Courant. April 11, 2013.

144

203

202

202 David Hayes (American, 1931‑2013) "Untitled", maquette, 2005 black-painted steel signed, dated and copyright marked. h. 20", w. 11‑1/4", d. 13" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. $1,500‑$2,500

203

204 David Hayes (American, 1931‑2013) "South Street", 1985 and "Block Island", 1986 pair of gouaches on Arches paper former dated lower right and titled en verso, latter signed and dated lower right, titled en verso. Both unframed. each sheet 22" x 30" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida.

204

Exhibitions: David Hayes Sculpture Fields, Coventry, Connecticut; City of Fort Pierce, Florida. $1,000‑$1,500

205 David Hayes (American, 1931‑2013) "Maquette", 2009 painted steel signed, dated and copyright marked. h. 16‑1/2", w. 9‑3/4", d. 7‑1/2"

204

Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida.

Exhibitions: Lowe Art Museum, University of Miami, Florida; Museum of Art, DeLand, Florida. $2,000‑$4,000

203 David Hayes (American, 1931‑2013) "Voyager", 2000 painted steel signed, dated and copyright marked along bottom edge of green element. h. 74", w. 50", d. 57" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida.

Exhibitions: Museum of Art, DeLand, Florida; Vero Beach Museum of Art, Florida; Picker Art Gallery, Colgate University, Hamilton, New York. $8,000‑$12,000

205

145

206

146

"...no illustration can begin to capture the absolute specificity which in this case also means the transfixing intensity, of the ultimate hue, or the tensile integrity of the paint surface, or the sheer rightness of the color in relation to the size and shape of the support, or the suggestion of depth within or behind the paint surface..."

Michael Fried Artforum International 98 September 1998

206 Joseph Marioni (American, b. 1943) "Green Painting", 2004 acrylic on Belgian linen signed, dated and titled on stretcher, with "Matthews Gallery" and "Larry Becker/Philadelphia, Pennsylvania" labels en verso. Unframed.

52" x 42" Provenance: Larry Becker Contemporary Art, Philadelphia, Pennsylvania; Matthews Gallery, Santa Fe, New Mexico; Private collection, Santa Fe, New Mexico. $25,000‑$40,000

147

207 Catherine "Tinka" Tarver (American/Texas/San Antonio, b. 1932) "Three Pillars" three wood and mixed media sculptures from the "Reunion" series, two signed and titled on bottom. Together with the original receipt from the artist.

83" x 9‑1/4" to 88" x 10‑3/4" Provenance: Purchased directly from the artist, 1995; Estate of Carolyn G. Fay, Houston, Texas; $3,000‑$5,000 A native of San Antonio, Texas, Tarver attended the University of Texas at Austin before returning to her hometown. In the 1990s, she began a series of monumental painted wood pillars. Incorporating various media, including metal, these sculptures were meant to be arranged in groups of three or more to form an imposing totemic phalanx.

207

148

208 Dick Wray (American, 1933‑2011) "Untitled", 2002 mixed media collage on canvas signed and dated en verso. Framed.

24" x 18" $1,000‑$1,500 208

209 Dick Wray (American, 1933‑2011) "Composition in Black and Yellow", 2009 mixed media collage on canvas signed and dated en verso. Unframed.

24" x 18" $1,000‑$1,500 209

149

A graduate of the College of Fine Arts, Seoul, South Korea, Choi also studied at the Cranbrook Academy of Art, Bloomfield, Michigan, and the Brooklyn Museum of Art, New York. An instructor at several prominent art schools, she also exhibited widely during her lifetime, receiving praise from critics and collectors alike. Her vibrant, complex compositions often explore the tenets of abstract expressionism, frequently pushing the boundaries of that artistic style. The resultant works teem with a sense of energy and movement.

There has been a recent revival of interest and appreciation in her work and a retrospective, "Wook-Kyung Choi: American Years 1960s-1970s" was recently held to much acclaim at the Kukje Gallery, Seoul, South Korea.

210 Wook-Kyung Choi (Korean, 1940‑1985) "Untitled", ca. 1968 acrylic on canvas Stretched.

39‑1/2" x 33‑1/2" 210

Provenance: Estate of the artist. $2,000‑$4,000

211 Wook-Kyung Choi (Korean, 1940‑1985) "Untitled", ca. 1980s mixed media on wood panel Unframed.

31‑3/4" x 44" Provenance: Estate of the artist. $3,000‑$5,000 211

150

212 Alexander Calder (American, 1898‑1976) "Untitled 2", ca. 1965 color lithograph pencil-signed lower right and numbered "72/110" lower left. Matted, glazed and framed. sight 22‑1/4" x 30‑1/4" $1,500‑$2,500

212

213 Jamali (Pakistani/New York, Contemporary) "Profile #5103" tempera on canvas Framed. Together with a copy of letter of autheniticity from the artist.

43" x 37" Provenance: Jamali Fine Art, Winter Park, Florida; Private collection. $4,000‑$7,000 213

151

214 Pablo Picasso (Spanish/Paris, 1881‑1973) "Face Medallion (A.R. 243)", 1954 earthenware clay reverse numbered "51/500" and impressed "Madoura Empreinte Originale de Picasso".

3‑1/4" x 2‑1/2" Provenance: Private collection, New York. $600‑$900

214

215 Pablo Picasso (Spanish/Paris, 1881‑1973) "Bird with Worm (A.R. 172)", 1952 earthenware clay dish with oxidized paraffin base inscribed "Edition Picasso" and impressed. h. 1‑3/8", dia. 7‑1/8" Provenance: Private collection, New York. $1,000‑$1,500

215

152

217

216 After Pablo Picasso (Spanish/French, 1881‑1973) "Femme Assise", 1982 lithograph in colors on Arches paper from the "Marina Picasso Estate Collection", pencil signed "Collection Marina Picasso" lower right, numbered "475/500" lower left, Picasso Estate blind stamp lower right, printer's blind stamp lower left, printed inscription from Picasso Estate en verso.

Unframed. sheet 29" x 22" $3,000‑$5,000

153

217 Joan Miro (Spanish, 1893‑1983) "Untitled" two color pochoirs from "Cahiers D'Art", unsigned. Both float mounted, glazed and framed. sheet size each 12‑1/4" x 8‑7/8" $2,000‑$4,000

217

217

154

218 Joan Miro (Spanish, 1893‑1983) "Aidez L'Espagne" pochoir in colors folded sheet, edition unknown. Glazed and framed. sheet size 12‑1/8" x 9‑1/4" $1,000‑$1,500

218

155

219 Dale Chihuly (American, b. 1941) "Cobalt Blue Macchia Set with Red Lip Wrap", 1990 blown glass the medium-sized bowl signed in etch: "Chihuly/90". largest h. 10", w. 26‑3/4", d. 26‑3/4", medium h. 10‑1/2", w. 15‑3/4", d. 14‑1/4", smallest h. 5", w. 8", d. 4‑3/4" Provenance: William Traver Gallery, Seattle, Washington; Estate of Carolyn G. Fay, Houston, Texas $15,000‑$25,000 This lot is accompanied by a copy of Dale Chihuly's Venetians (Altadena, California: Twin Palms Publishers, 1989), signed and dated on the flyleaf by the artist.

219 detail

219

156

7 5 1

220

220 Gen Paul (French/American, 1895‑1975) "Les Musiciens" gouache on paper signed lower right. Matted, glazed and framed. sight 25" x 19" $2,000‑$4,000

158

221 Marc Chagall (Russian/French, 1887‑1985)

221

"L'Oranger" lithograph in colors pencil-signed lower right, numbered "17/50" lower left, verso with "O'Karma-Jones Company, Atlanta, Georgia" framer's label. Matted, glazed and framed. sight 21" x 19‑1/2" $15,000‑$25,000

159

222 Joan Miro (Spanish, 1893‑1983) "Preparatifs d'Oiseau I", 1963 etching and aquatint signed in pencil lower right, numbered "11/75" lower left. Matted, glazed and framed. sight 11" x 12" $2,000‑$4,000 223 Tomihisa Handa (Japanese, b. 1937) "Rei", 1975 carved Swedish black granite Together with a letter of authentication from the artist. h. 12", w. 20‑3/4", d. 4‑1/2" Provenance: Estate of Carolyn G. Fay, Houston, Texas.

222

Exhibitions: Solo Traveling Exhibition: "Tomihisa Handa - The Way of Stone, various galleries including the Blaffer Art Museum, University of Houston, Houston, Texas, September 1979.

Literature: Handa, Tomihisa The Way of Stone - The Tomihisa Handa Sculpture Exhibition. Chicago: Art World Inc. 1979, no. 13. $3,000‑$5,000 Tomihisa Handa graduated from the Tokyo Academy of Fine Arts, majoring in Sculpture, before completing an MA in architecture at Meiji University and going on to become a lecturer at the same institution the following year. His pieces have been featured in various exhibitions in his native Japan, as well as being commissioned by numerous international collectors. His striking works, powerful in their visual simplicity, are characterized by clean lines and strong silhouettes, striving to give tangible form to illusive concepts.

224 Nasser Assar (Iranian/French, 1928‑2011) "Untitled", 1963 ink on paper laid on paper board signed and dated lower center. Matted, glazed and framed; verso with "Otto Seligman Gallery, Seattle, Washington" gallery label.

25‑1/2" x 19‑1/2" Provenance: Otto Seligman Gallery, Seattle, Washington; Private collection. $1,400‑$1,800

160

224

223

161

225 Marta Colvin (Chilean, 1907‑1995) "Sans Titre" patinated bronze articulated sculpture incised signature at back, on a black square presentation base. overall h. 16‑1/8", w. 9", d. 4‑1/4" Provenance: Descended in the family of the artist. $6,000‑$9,000 Born in Chile of Irish and Portuguese parentage, Colvin attended the Art School of the Universidad de Chile in Santiago. She worked with sculptors Lorenzo Dominguez (1901‑1963) and Julio Vasquez Cortes before receiving a scholarship to study in France at L'Academie de la Grande Chaumiere in Paris with Ossip Zadkine (1890‑1967) and Henri Laurens (1885‑1954).

In 1952 she attended the Slade School of Fine Art in London where she met Henry Moore (1898‑1986), who encouraged her to look to the beauty of Chile and its rich heritage. Inspired by the terrain of her native country, Colvin moved away from a realist approach and soon began to create works whose elements were distilled to their organic forms. These often large-scaled sculptures in wood, stone and metal are multi-layered and richly textured. As seen with the smaller scale sculpture offered here, her work frequently incorporates deeply incised, moveable elements.

Colvin's first solo exhibition was in 1954 in Paris. She was the recipient of numerous prestigious awards including the 1965 Grand Prix of Sao Paulo Biennale and the Chilean National Art Prize in 1970.

References: Jianou, Ionel La Sculpture Moderne en France depuis 1950. Arted Editions d'Art: Paris, 1982.; "The Centenary of Marta Colvin". El Mercurio. February 3, 2007. www.emol.com.

162

225

226 David Shapiro (American, 1944‑2014) "Savasan VI", 1991 lithograph and collagraph pencil-signed, titled and numbered "21" lower right, from an edition of 25. Glazed and framed. sheet 15‑1/2" x 79" $1,000‑$1,500

227 Victor John Pasmore, RA, CBE, CH (British, 1908‑1998) "Earth and Sky", 1975 etching with aquatint on Fabriano Rosaspina paper pencil-signed and dated lower right, numbered "75/80" lower left, published and printed by 2RC Edizioni d'Arte, Rome.

Matted, glazed and framed. Together with the receipt from Sotheby's, New York. sight 24‑1/2" x 105" Provenance: Sotheby's, New York, February 2, 1990, lot 1143; Private collection.

Literature: Bowness, Alan and Lambertini, Luigi. Victor Pasmore: catalogue raisonne of the paintings, constructions and graphics, 1926‑1979. Thames and Hudson: London, 1980. Illustrated pp. 270‑271. $3,000‑$5,000 226

227

163

228 David Hayes (American, 1931‑2013) "Totem", 2011 weathered steel signed, dated and copyright marked on base. h. 95‑3/4", w. 27‑3/4", d. 23‑1/2" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida.

Exhibitions: David Hayes Sculpture Fields, Coventry, Connecticut; City of Fort Pierce, Florida. $7,000‑$10,000

228

164

229 David Hayes (American, 1931‑2013) "Oval Screen 91", 2001 weathered steel signed, dated and copyright marked on base. h. 61‑1/2", w. 61", d. 27‑1/2" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida.

Exhibitions: David Hayes Sculpture Fields, Coventry, Connecticut; City of Fort Pierce, Florida. $7,000‑$10,000

229

165

230 Paul Horiuchi (American/Japanese, 1906‑1999) "Untitled" mixed media collage signed lower right. Glazed and framed. sight 23‑1/2" x 35‑1/2" $2,000‑$4,000

230

231 Charles Pebworth (American/Texas, b. 1926) "Why Not Say It Again" mixed metal wall relief signed upper center, titled en verso, verso with "Benjamin Galleries, Chicago, IL" label.

25‑1/8" x 49‑3/4" Provenance: Benjamin Galleries, Chicago, Illinois; Private collection. $1,500‑$2,500 231

232 Justin Garcia (American/Texas, Contemporary) "Ocean Morning" mixed media on canvas signed lower right. Framed.

47" x 32" $1,500‑$2,500

232

166

233 Nikolai Blokhin (Russian, b. 1968) "Still Life" oil on canvas signed lower right, verso with a gallery inventory label. Framed.

20" x 24" Provenance: Private collection, Middleburg, Virginia. $2,000‑$4,000

233

234 Norman Lundin (American/Norweigan, b. 1938) 234

"Grey Landscape" and "Bird" two works on paper former pastel on paper, signed lower right, latter watercolor on paper, signed lower left, with "Otto Seligman Gallery, Seattle, WA" label. Both framed. sight: former 13" x 18‑3/8", latter 16‑5/8" x 15‑1/2" Provenance: Otto Seligman Gallery, Seattle, Washington; Private collection. $1,000‑$1,500

234

167

235 Doris Caesar (American/New York, 1892‑1971) "Vision" patinated bronze on a self-base. Together with receipt and letters from E. Weyhe, Inc., Gallery, New York, New York. h. 25", w. 10", d. 8" Provenance: Purchased in 1959 from E. Weyhe, Inc., Gallery, New York, New York; Estate of Carolyn G. Fay, Houston, Texas.

Literature: This model is illustrated #36 in Wehye Gallery, New York, Exhibition Catalogue "Doris Caesar 1927‑1957". $1,200‑$1,800 A precocious talent, Doris Caesar began her artistic studies at the age of 16 under George Bridgman (1865‑1943) at the Art Students League in New York. She was to later receive instruction from the Russian American sculptor Alexander Archipenko (1887‑1964). Caesar's earliest works were slightly abstracted explorations of the nude female form, mainly composed of clay. In 1927, after casting her first bronze piece, she approached the influential Weyhe Gallery in New York City, which specialized in modern and expressionist art. The Gallery Director was immediately enthralled by the young artist and her work, and thus began an association which was to last decades.

Inspired by German Expressionism, especially the work of Kathe Kollwitz (1867‑1945), Caesar began to experiment with the human form.

Her textural figures became elongated, with intentionally distorted and exaggerated limbs. This new approach was immediately popular with collectors and critics alike. Her work was included in numerous exhibitions, including the Whitney Museum of American Art, New York.

Reference: Hayes, Bartlett. Doris Caesar, 1927‑1957. Weyhe Galley, New York, 1957; Whitney Museum of American Art, "1957 Annual Exhibition Catalogue".

235

236 Ricardo Maffei (Chilean, b. 1953) "Nude, Seated", 2000 graphite on paper signed and dated lower left.

Unframed.

19‑3/4" x 25‑3/8" $1,000‑$1,500

236

168

237 Daniel Adel (American, b. 1962) "Bloom", 2005 oil on canvas signed lower right, verso with "Arcadia Fine Arts, New York, NY" gallery label. Framed.

20" x 20" Provenance: Arcadia Fine Arts, New York, New York; Private collection. $3,000‑$5,000

237

238 Pedro Friedeberg (Mexican, b. 1936) "Untitled", 1992 pen, ink and acrylic on board signed and dated mid-right. Matted, glazed and presented in an artist-designed frame.

14‑1/4" x 14‑1/4" $2,000‑$4,000

238

169

239 side a

239 Pedro Friedeberg (Mexican, b. 1936) "Night and Day", 1975 acrylic and ink on paper signed mid-left. Double-glazed, float mounted and framed.

22‑1/2" x 22‑1/2" $1,500‑$2,500

170

239 side b

240 Jesus Rafael Soto (Venezuelan, 1923‑2005) "Petite Vibration Brique et Noire", 1966 silkscreen and paint on wood with nylon and painted metal rods signed, dated, titled and numbered "IX/X" on a "Galerie Bischofberger" label en verso, published by Edition Bischofberger, Zurich.

19‑3/4" x 17‑3/4" Provenance: Galerie Bischofberger, Zurich, Switzerland; Private collection. $4,000‑$7,000

240

The sculpture offered here represents an interesting mixture of kinetic and op art, and is an optical tour de force of movement that continuously shifts between 3D and 2D perceptions of space, blurring the boundaries between foreground/background and the usual assignation of them in terms of positive and negative space.

In a 2001 interview with art collector and LatinArt.com founding president, Dr. Hector Ziperovich, Soto characterizes the effect of his work as the creation of "ambiguous space."

"We cannot define space. It is different for each person who sees it and tries to represent it." Soto became fascinated with illusion and movement as a young man while employed as a sign painter for a cinema in Ciudad Bolivar. His early forays in

moving forms led to a scholarship at Cristobal Rojas School of Fine and Applied Arts in Caracas, where he met fellow kinetic artists Alejandro Otero (1921‑1990) and Carlos CruzDiez (b. 1923). Following his graduation, Soto was appointed Director of the School of Fine Arts in Maracaibo in 1949. In 1950, Soto won a government scholarship to study in Paris, where he was exposed to the kinetic and op art circle of artists at the Denise Renee Gallery. Since then, Soto's work has been exhibited worldwide, including a 1969 Retrospective at the Musee d'art Moderne de la Ville de Paris, and can be found in major public collections such as the MOMA, New York and the Tate in London.

171

241 Leo Kenny (American, 1925‑2001) "Study for Vertical Transformation", 1967 gouache on paper signed and dated lower right, verso with "Willard Gallery, New York, N.Y." label. sight 34‑1/2" x 11‑1/2" Provenance: Willard Gallery, New York, New York; Private collection. $2,000‑$4,000

241

172

242

242 Luis Tomasello (Argentinian, 1915‑2014) "Objet Plastique N. 871B", 2007 carved and painted wood construction signed, titled and dated en verso; together with a certificate of authenticity from the artist.

24" x 24" $20,000‑$40,000

173

243

243 Raya Sorkine (French, b. 1936) "Vie au Toujours" oil on canvas signed lower right and in Hebrew lower left, signed and titled en verso canvas. Now mounted and presented in a polychrome frame.

31‑3/4" x 39‑1/4" $2,000‑$4,000

174

244 Raya Sorkine (French, b. 1936) "Jour de Bonheur" oil on canvas signed lower left, signed and titled en verso. Framed.

57‑1/2" x 44‑1/2" $3,000‑$5,000

244

245 Charles Fazzino (American, b. 1955) "Carnevale Veneziano" 3‑D construction with embellished color screenprint signed lower right margin, numbered "25/50 PR" lower left, and titled lower center. Mounted in a shadowbox-style frame.

34‑3/4" x 39" $1,500‑$2,500

245

175

246

246 George Rodrigue (American/Louisiana, 1944‑2013) "Tilt" acrylic on canvas signed lower right, titled en verso stretcher, stretcher with "The Rodrigue Gallery" stamp. Framed.

20" x 16" $25,000‑$40,000

176

247 George Rodrigue (American/Louisiana, 1944‑2013) "Untitled Blue Dog", 1991 silkscreen cutout signed on paw lower left. Float mounted behind plexiglass and presented in a polychrome frame.

14" x 9" $1,500‑$2,500

247

248 George Rodrigue (American/Louisiana, 1944‑2013) "Blue Dog with Polka-Dotted Tie" double-sided painting, acrylic on shaped wood panel signed at edge and inscribed "To Jim Steinmeyer, Mon amie". h. 16", w. 10", d. 1‑1/4" $10,000‑$15,000 248

177

249

Donald Roller Wilson's playful and fanciful paintings are created utilizing the same painstaking techniques used by the Old Masters. His meticulous attention to detail, highly varnished and polished surfaces and use of a lush, rich color palette result in works that deftly combine whimsy and realism. His most beloved creation is the mischievous orangutan Cookie, the subject of the painting presented here. Admirers of the artist have enjoyed her delightful antics for years. A native of Houston, Texas, Wilson presently lives in Fayetteville, Arkansas. His paintings are in numerous private and public collections, including the Smithsonian Institution, Chicago Art Institute, and the Hirshhorn Museum and Sculpture Garden.

178

249 Donald Roller Wilson (American/Arkansas, b. 1938) "Cookie", 2010 oil on canvas signed and dated left center edge, signed, dated and titled on label en verso. Presented in a giltwood frame.

14" x 8‑1/2" $10,000‑$15,000

250

250 Donald Roller Wilson (American/Arkansas, b. 1938) "Cookie" (On The First Day Of Passover... Having Visited The Flower Garden, Only... But Looking Forward To The Following (Second) Day, When She Would Visit The Vegetable Garden Adjacent To The Front Porch... (With Naughty Having Already Cleared The Garden Of Hametz)... Selling It To A Large Baptist Woman Down The Road From The Nut Farm", 2008 oil on canvas signed and dated left center edge, signed, dated and titled on label en verso. Presented in an antique giltwood frame.

10" x 8" $7,000‑$10,000

179

251

251 Donald Roller Wilson (American/Arkansas, b. 1938) "Eye Mew", 1977 and "Mrs. Judd/Four Eyes", 1982 two color lithographs both signed and dated in pencil lower right, titled lower center and numbered lower left, former "Artist Proof 6/50", latter "48/50". Both glazed, float mounted and framed. sheet: former 11‑1/4" x 15‑1/2", latter 13‑1/4" x 17‑1/2" $1,000‑$1,500

180

252

252 Donald Roller Wilson (American/Arkansas, b. 1938) "And One Was Very Hot / One Was Going Down" and "Butt One Was Very Hot / Butt One Was Coming Up" pair of lithographs with intaglios each titled above the image and below the image, former numbered "50/60" lower left, latter signed and dated "1985" lower right, sheet size 10" x 9‑1/2", together with "The Shadow of Mrs. Jenkins' Match On Her Melon", color lithograph, signed and dated "1985" lower right, titled upper center and numbered "50/60" lower left, sheet size 12" x 17‑1/2". All glazed, float mounted and framed. $1,000‑$1,500

181

ARTIST INDEX | APRIL 22, 2017

Adel, Daniel, 237

Carrier-Belleuse, Albert Ernest (after), 46

Albrechtsen, Michael, 123, 124

Cartier-Bresson, Henri, 137, 138

Andersen, Roy, 113

Chagall, Marc, 221

Anderson, James McConnell ‘Mac’, 158, 159

Chapin, Charles Henry, 100

Anderson, Walter Inglis, 156, 157, 160

Cherry, Kathryn, 109

Arrufi, Luis Graner Y, 168

Chihuly, Dale, 219

Aspevig, Clyde, 144

Chillida, Eduardo, 201

Assar, Nasser, 224

Chism, Sandy, 174

Backus, Albert Ernest ‘Beanie’, 149

Chocarne-Moreau, Paul Charles, 54

Baerer, Henry, 104

Choi, Wook-Kyung, 210, 211

Barker, Wright, 48

Colvin, Marta, 225

Barye, Antoine-Louis (after), 19

Connell, Clyde, 184-186

Battiglia, Eugenio, 25

Continental School, 28

Bauchant, Andre, 89

Cunaeus, Conradyn, 37

Baumgartner-Stoiloff, Adolf, 22

Cundin, Jose Maria, 190

Beal, Reynolds, 133

de Crayer, Gaspar (after), 4

Beck, Otto Walter, 97

de Moucheron, Frederik (attributed), 6

Berkes, Antal, 68

de Schryver, Louis Marie, 55

Berthelsen, Johann, 105

Delacroix, Eugene (circle), 33

Blanchard, Antoine, 53

Desportes, Alexandre F. (manner), 8

Blokhin, Nikolai, 233

Domerque, Jean-Gabriel, 75, 76

Bogdani, Jakob (circle), 2

Drysdale, Alexander John, 151

Bolinger, Franz Josef, 67

Duillo, John, 116

Bombois, Camille, 90-94

Duncan, Robert, 114

Bonheur, Rosa (after), 36

Dupont, Gainsborough (attributed), 44

Bourgeois, Douglas, 191

Dureau, George, 171

Bourke-White, Margaret, 136

Duriau, Alfred, 65

Bouvard, Antoine, 72

Eisenstaedt, Alfred, 139

Bramer, Leonard (manner), 3

Fazzino, Charles, 245

British School, 10

Feeley, Ted J., 117

Brodsky, Stan, 199

Fish, Janet, 146

Caesar, Doris, 235

Flettrich, Leonard, 192

Calder, Alexander, 212

Friedeberg, Pedro, 238, 239

Capeinick, Jean, 95

Galien-Laloue, Eugene, 57-59

Carbone, Giovanni Bernardo (circle), 5

Gall, Francois, 77-81

ARTIST INDEX | APRIL 22, 2017

Gamotis, Alphonse J., 150

MacDonald, Richard, 127

Gantcheff, Ganu (after), 23

MacMonnies, Frederick William, 16

Garcia, Justin, 232

Maffei, Ricardo, 236

Gaudez, Adrien Etienne, 45

Marioni, Joseph, 206

Gilbert, A., 43

Markos, Lajos, 118

Goodacre, Glenna, 125, 126

McCrady, John, 128-131

Gotch, Thomas Cooper, 47

Mene, Pierre-Jules (after), 21, 38

Guillaume, Pierre, 18

Michalopoulos, James, 176-178

Handa, Tomihisa, 223

Millar, Addison Thomas, 30

Hayes, David, 202-205, 228, 229

Millet, Clarence, 153

Henry, Michel, 145

Miro, Joan, 217, 218, 222

Herbo, Leon, 12

Monte, Ira, 96

Hernandez, Charles, 99, 102

Moreau, Louis Gabriel, 11

Herve, Jules Rene, 66

Neiman, Leroy, 132

Heytman, Willem, 51, 88, 108

Nichols, William Allyn, 143

Hollingsworth, Jr., William R., 166, 167

Oberhauser, Emanuel, 13

Horiuchi, Paul, 230

Oudry, Jean-Baptiste (manner), 9

Howland, Frank, 15

Pasini, Lazzaro, 70

Hudson River Valley School, 101

Pasmore, Victor John, 227

Hull, Marie, 162-165, 196, 197

Paul, Gen, 220

Hutchens, Frank Townsend, 112

Pauwels, Henri Joseph, 82, 83

Italian School, 7, 14, 24, 26

Pebworth, Charles, 231

Jamali, 213

Pennington, Jim, 170

Karssen, Anton, 39, 40

Pergola, Romolo, 74

Kelly, Felix, 148

Philipp, Robert, 134

Kenny, Leo, 241

Picasso, Pablo (after), 214-216

Kirkpatrick, Frank LeBrun, 98

Pierson, Victor, 20

Kohlmeyer, Ida Rittenberg, 187-189, 193

Poplin, Abigail, 194

Laurent, Louis, 32

Priechenfried, Alois Heinrich, 41

Le Prince, Jean-Baptiste (after), 17

Renard, Paul, 52

Lebasque, Henri Baptiste, 69

Richir, Herman Jean-Joseph, 50

Lerner, Sandra, 195

Roberts, Joe Rader, 119, 120

Loir, Luigi, 56, 60-62

Rockmore, Noel, 172, 173

Luce, Maximilien, 63, 64

Rodrigue, George, 246-248

Lundin, Norman, 234

Rogers, Randolph, 42

ARTIST INDEX | APRIL 22, 2017

Rosier, Amedee, 71 Ruggiero, Pasquale, 29 Scavullo, Francesco, 142 Schorre, Charles, 198 Searle, Jan L., 115 Shapiro, David, 226 Shearwater Pottery, 161 Sheets, Nan, 110, 111 Sheppard, Warren W., 73 Slonem, Hunt, 175 Sorkine, Raya, 243, 244 Soto, Jesus Rafael, 240 Soulacroix, Charles, 27 Steir, Pat, 200 Tarver, Catherine ‘Tinka’, 207 Tolliver, William, 169 Tomasello, Luis, 242 Van de Velde, Willem the Younger (manner), 1

Van der Pol, Louis, 49

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.

Van der Tonge, Lammert Leire, 31

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

Volck, Frederick, 103

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.

Van der Plas, Niek, 84-87

Wagner, Fritz, 34 Wallis, Kent, 122 Wiggins, Guy Carleton, 106, 107 Wilson, Donald Roller, 249-252 Wilson, Evan Carter, 147 Winans, Theodore Fonville, 179-183 Wood, Robert William, 121 Woodward, Ellsworth, 152, 154, 155 Woolf, Paul J., 135 Worth, Frank, 140, 141 Wray, Dick, 208, 209 Zahnd, Johann, 35

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

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

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

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

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

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

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.

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.

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

(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.

(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 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(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.

(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.

(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.

(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 anti-terrorism 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 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: 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%.

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 Rev. 01/04/17

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

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

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Art; Continental and American

Michele M. Carolla

Continental and English

American and Continental

British and American; Sculpture

Nicole Casi, PhD Continental and American; Prints and Maps

FURNITURE: Ireys Bowman

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS & TEXTILES:

Asian Arts:

American, Continental and English

Rebecca Moss

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage

Grace Connors

Burke

Colleen Ryan

Nicole Casi, PhD

Director of Human Resources

Research

Taylor Eichenwald

Denise Haik

Gary Michael Gittelson

Office Manager

Office Administration

Leigh Firestone

Administrative Assistant

Manager of Cakebread Auctions

Photographer

Designer

Marketing & Public Relations

Christa Ougel

Graphic Designer

Cord McPhail Photographer

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

Ashton Thomas #1833 Taylor Eichenwald #1922 Michael DeGeorge #1774

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins