Modern & Contemporary Fine Art Auction | July 19, 2020 by New Orleans Auction Galleries

NOAG new orleans auction galleries

Fine Art Auction: July 19, 2020

NOAG Fine Art Auction: July 19, 2020

new orleans auction galleries 333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium

Pictured Left: Lot 101 | Front Cover: Lot 108 | Back Cover: Lot 108

Exhibition:

July 6 - July 17, 2020 Monday - Friday, 9:00 a.m. - 5:00 p.m.

Lot Schedule: Please note that times are approximate

Sunday, July 19, 2020 Lots 1 - 263 12:00 - 1:00 1:00 - 2:00 2:00 - 2:45

Lot 197

1 - 100 101 - 200 201 - 263

Letter from the Director of Fine Art During the third annual Global Auction House Summit, held in early February in Paris, I snuck away one afternoon to the nearby Musée de l’Orangerie. I last visited this renowned gallery of impressionist and post-impressionist paintings nearly 10 years ago and have wanted to get back ever since. There is something moving about those two oval rooms, a “temple” dedicated to Claude Monet’s Water Lilies, that make one feel cocooned and afloat in the artist’s world. I think what draws me to these seemingly abstract panels, with their watery colors offset by bursts of blooming reds and yellows, is they represent the determination to create beauty even during the most challenging times. Monet painted more than 250 water lily panels during the final 30 years of his life, and many were completed while the artist suffered from cataracts. The effects of the degenerative eye disease affected his use of color and brush stroke application, resulting in a blurred, “abstract” style of work evident in the paintings housed in Musée de l’Orangerie. That afternoon, as I set on a bench in the center of one of the rooms, I started reflecting on Monet’s struggle with his deteriorating eyesight and how he continued to creating despite this crippling obstacle. I, of course, had my notebook with me and felt compelled to start writing. As I considered Monet’s challenges, I couldn’t help but think about the barriers facing other artists, specifically women. Throughout history, female artists have struggled to carve out a place for themselves at the same table as their male counterparts. As Monet’s fight against his disease did not stop him from creating, women artists did not stop painting just because the critics and galleries did not recognize them in the same way as male peers (just because we used “male counterparts" in the previous sentence – again, lovely.) Male artists have dominated the auction rooms and museums, but in the last few years, women artists have seen a rise in recognition and sales results, especially Abstract Expressionist works. Still, women represent only two percent of the auction market. As this trend continues to grow in the secondary market, I think it speaks volumes that The Baltimore Museum of Art recognized this lack of representation and recently pledged to collect works by only female artists in 2020. That the announcement was viewed as provocative by some underscores the struggles many of female artists undoubtedly faced in Monet’s time (and to some extent still do) by their peers and critics as they were creating these works.

So perhaps we will see greater change within the next decade. In the meantime, we have decided to honor The Baltimore Museum of Art’s bold effort and dedicate a session within this catalogue to works by women, presenting a wide range of sculptures and paintings from early 20th-century American Impressionists, such as Martha Walter, to Abstract sculptor Louise Nevelson. Another new addition to our July Fine Art Auction is the inclusion of works under $1,000. We believe it is important to offer quality artwork for collectors at all stages of life and to offer work by artists who are established, but do not necessarily have an extensive sales history on the secondary market. A desire to collect is not tied to monetary value. On the contrary, it is born out of a need to experience more than what we see and do in our ordinary day-to-day lives, and New Orleans Auction Galleries wants to foster that desire and make it more accessible to achieve. I will leave you with a quote by Claude Monet I think perfectly explains what it means to look at art: “Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.” I invite you to flip through the pages of this catalogue and find something that you love.

Jelena James Director of Fine Art

1 George Vuillard (French, b. 1956) “Back from an Outing” oil on canvas panel signed lower right. Framed. 24” x 20”, framed 30-5/8” x 26-5/8” $1,500-$2,500

2 Gerardus Johannes Delfgaauw (Dutch, 1882-1947) “View of Rotterdam” oil on canvas signed lower right. Framed. 20” x 28”, framed 27” x 34” $2,000-$4,000

3 Georges Manzana Pissarro (French, 1871-1961) “Paysage avec Jardiniere de Fleurs” oil on masonite signed lower left. Framed. 13” x 14-1/2”, framed 17-1/2” x 18-3/4” $4,500-$7,000 Stern Pissarro Gallery has kindly confirmed the authenticity of this work.

4 Henri Jean Pontoy (French, 1888-1968) “Eglise dans la Montagne” oil on canvas signed lower right. Framed. 18” x 24”, framed 25” x 31” $2,000-$4,000

5 Henri Jean Pontoy (French, 1888-1968) “Environs de Paris”, 1932 oil on canvas signed lower left, titled en verso. Framed. 13” x 16”, framed 16” x 19” $1,500-$2,500

6 Imre Gergely (Hungarian, 1868-1914) “Market Scene” oil on canvas backed by wood panel signed lower right. Framed. 23-1/2” x 31-1/2”, framed 29” x 37” $1,500-$2,500

7 Eduardo Leon Garrido (Spanish/French, 1856-1949) “Coquette” oil on wood panel signed upper right. Framed. 11” x 6”, framed 19-3/8” x 15” Provenance: Jackson’s Auctioneers, Cedar Falls, Iowa, December 8, 2009, lot 8; Private collection. $1,500-$2,500

8 Antoine Daens (French/Belgian, 1871-1946) “Allegorie du Printemps” oil on canvas signed lower left. Framed. 39-1/2” x 48”, framed 44” x 53” $3,000-$5,000

9 J. Franceschini (Italian, 20th Century) “Bust of a Woman” patinated bronze cast signature along proper left shoulder truncation. h. 26-1/4”, w. 15-1/2”, d. 11-1/4” $1,000-$1,500

10 Dora Gordine (Estonian/British, 1895-1991) “Head of a Youth”, ca. 1940 patinated bronze cast signature and a “Valsuani/Paris” foundry mark at back, on a carved marble base. bust h. 16-1/2”, overall h. 16-1/2”, w. 9-3/4”, d. 9-3/4” $1,500-$2,500

11 Jean-Gabriel Domergue (French, 1889-1962) “La Parisienne aux Gants Bleus”, ca. 1939 oil on masonite signed lower right. Framed. 24” x 20”, framed 32” x 27” $10,000-$15,000

12 Henri Joseph Pauwels (Belgian, 1903-1983) “Tea in the Garden” oil on canvas signed lower left. Framed. 35” x 50”, framed 42-1/2” x 58” $1,500-$2,500

13 Jacques Renard Lejeune (French, 1930-2003) “Jolie Femme sur la Terrasse” oil on canvas signed lower right. Framed. 39-1/2” x 39-1/2”, framed 47” x 47” $5,000-$8,000

14 Marcel Dyf (French, 1899-1985) “Paysage Anime au Champ de Ble” oil on canvas signed lower left. Framed. 18” x 21-1/2”, framed 22-1/2” x 26” $3,000-$5,000

15 Maxime Roubinet (French, 20th Century) “Provencal Town with a Bridge over a Stream” oil on board signed lower left. Framed. 25-1/2” x 19-1/2”, framed 34” x 28” $1,200-$1,800

15A

15A Yvonne Canu (French, 1921-2008) “St. Tropez” oil on linen signed lower left, titled and no. “163” en verso, and French shipper’s label on stretcher. Framed. 21-1/2” x 25-3/4”, framed 28” x 32” $5,000-$8,000

16 George Masson (French, 1875-1948) “Vesuvius and the Bay of Naples” oil on canvas signed lower right. Framed. 15” x 18-1/8”, framed 22” x 25” $3,000-$5,000

17 Albert Marie Lebourg (French, 1849-1928) “L’Ecluse de la Monnaie” oil on canvas signed lower right. Framed. 10-3/4” x 18-1/4”, framed 18” x 25-1/2” $7,000-$10,000

18 Julien Gustave Gagliardini (French, 1846-1927) “La Marchande du Quatre Saisons” oil on cardboard signed lower right. Framed. 6-5/8” x 8-7/8”, framed 15-1/4” x 17-3/4” Provenance: Frances Aronson Fine Art, Atlanta, Georgia. $1,000-$1,500

19 Armand Guillaumin (French, 1841-1927) “Paysage de Creuse, pres de Puy Barriou”, ca. 1895 pastel on laid paper signed lower right, paper watermarked “Ingres 1871”, “Christie’s, New York” label on frame backing. Matted, glazed and framed. 17” x 22-3/4”, framed 25” x 33” $8,000-$12,000 Provenance: Possibly Christie’s, London, U.K. 6 April, 2001, lot 333; Frances Aronson Fine Art, Atlanta, Georgia. Guillaumin sketched numerous pastels of the hills and mountains in the Creuse region near the village of Crozant. A pastel with the same composition that is nearly identical to the one offered her is conserved in Paris at the Petit Palais, Musee des Beaux-Arts, access. no. PPD1453

20 Achille-Emile Othon Friesz (French, 1879-1949) “Personnages dans un Paysage” watercolor on paper signed lower right. Matted, glazed and framed. sight 12-1/4” x 19”, framed 23-1/2” x 30” $1,000-$1,500

21 Lucien Genin (French, 1894-1958) “Rue Norvins”, 1922 watercolor and gouache signed, titled and dated lower right. Glazed and framed. 14-3/4” x 12”, framed 21” x 18” Provenance: Frances Aronson Fine Art, Atlanta, Georgia. $1,000-$1,500

22 Gaston Balande (Spanish/French, 1880-1971) “Panoramic View of the Port of Rouen”, 1928 oil on canvas signed lower left, verso inscribed “Rouen 28”. Framed. 21-1/4” x 29”, framed 28-1/2” x 36” $4,000-$7,000

23 Khristo Polandov (Russian, 20th Century) “Breakfast”, 1972 oil on canvas signed and dated lower left. Framed. 42” x 56”, framed 45-1/2” x 59” Provenance: Private collection, Houston, Texas. $1,000-$1,500

24 Constantin Kluge (Russian/French, 1912-2003) “La Porte St. Denis, Paris” oil on canvas signed lower right, titled en verso stretcher. Framed. 29” x 46”, framed 35-1/2” x 52-1/2” $5,000-$8,000

25 Willem Heytman (Dutch, b. 1950) “Amsterdam Street Scene” oil on panel signed lower right. Framed. 19-1/2” x 24”, framed 23-1/2” x 28” $1,200-$1,800

26 Louis P. Fabien (French, b. 1924) “Sur la Plage”, 1980 oil on canvas signed and dated lower left, signed, dated and further inscribed en verso; “Wally Findlay Gallery” label en verso. Framed. 29” x 36”, framed 36-1/2” x 43-1/2” $2,000-$4,000

27 Nicola Simbari (Italian, 1927-2012) “Wind on the Beach” oil on canvas signed mid-right, titled en verso stretcher. Framed. 28” x 39-1/2”, framed 34-1/2” x 46” $5,000-$8,000

28 Willem Heytman (Dutch, b. 1950) “Beach Scene” oil on panel signed lower right. Framed. 16” x 20”, framed 25” x 29” $1,200-$1,800

29 Niek van der Plas (Dutch, b. 1954) “Naples Beach” oil on panel signed lower right, titled en verso. Framed. 11-3/4” x 15-3/4”, framed 19-1/4” x 23-1/4” $1,500-$2,500

30 Niek van der Plas (Dutch, b. 1954) “Sail, Amsterdam” oil on panel signed lower right, titled and signed en verso. Framed. 12” x 15”, framed 17-1/2” x 20-1/2” $1,500-$2,500

31 Niek van der Plas (Dutch, b. 1954) “Venice” oil on panel signed lower right. Framed. 24” x 30”, framed 31” x 36-1/2” $2,500-$4,000

32 Philip Castle (British, 20th Century) “Venice Festival” oil on canvas signed lower right. Framed. 24” x 29”, framed 33” x 38-1/2” $3,000-$5,000

33 Michele Lellouche (Tunisian/French, 20th Century) “Le Parassole Bleu” oil on canvas signed lower right, signed and titled en verso. Framed. 13” x 16”, framed 19-1/2” x 22-1/2” Provenance: Nolan-Rankin Galleries, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

34 Charles Levier (French, 1920-2003) “Le The” oil on canvas signed lower right, titled and signed en verso. Framed. 36” x 24”, framed 45-3/4” x 33-1/2” $4,000-$7,000

35 Pierre Douillet-Chevoleau (French, b. 1938) “Aristide et les Soeurs Ripolin ou l’art du Blaireautage” oil on canvas signed and titled lower left. Framed. 51-1/2” x 76-1/2”, framed 57-1/2” x 82-3/4” $10,000-$15,000

Raymond Douillet-Chevoleau has long been acclaimed for his meticulous brushwork enhanced by layers of smooth varnish, his deep, rich color palette reminiscent of that of the Renaissance masters, his painstaking attention to detail, and his masterful composition. Rife with symbolism, his paintings reference everything from classical mythology, ancient mystery cults, alchemy and pop culture, and, additionally, frequently toy with word play and double entendre. His works, though gratifying on a purely aesthetic level, require an intellectual curiosity on the part of the viewer to be truly appreciated. The painting offered here includes in its title alone allusions to the French sculptor Aristide Maillol and his most famous work “The Three Graces”, representations of which flank the main scene. The three central figures are indicative of the initiation rites of the Eleusinian Mysteries and are a nod to the early 20th-century advertisements for the French/Spanish enamel company, Ripolin. The term blaireautage refers to the artistic technique which employs the use of soft-haired brush (historically badger) to smooth the traces of brushstrokes. Douillet-Chevoleau is a longtime member of the prestigious Salon des Artistes Francais and the Salon d’Automne.

36 Marcel Delmotte (Belgian, 1901-1984) “Bouquet de Fleurs dans un Paysage Surrealiste”, 1969 oil on panel signed and dated lower left. Framed. 37” x 24-1/4”, framed 42” x 29-1/2” $2,000-$4,000

37 Gustave Camus (Belgian, 1914-1984) “Fleurs et Fruits”, 1966 oil on canvas signed lower right, signed, dated, titled and further inscribed en verso. Framed. 35” x 15-1/2”, framed 42” x 22” $1,200-$1,800

38 Sigrid Sandstrom (Swedish, b. 1970) “Untitled: Diptych”, 2006 two acrylics on panel each signed, dated and with “Inman Gallery, Houston, Texas” label with artist, title and date en verso. Unframed. each 16” x 20” $2,000-$4,000

F INE A RT P RINTS & M ULTIPLES 39 Lewis Carroll (British, 1832-1898) and Salvador Dali (Spanish, 1904-1989) Aliceâ&#x20AC;&#x2122;s Adventures in Wonderland, New York: Maecenas Press - Random House, 1969, limited edition portfolio with one color etching (facing frontispiece) and twelve color heliograves with woodcut remarque on wove Mandeure paper, signed by Dali on title page, this numbered 1,822 on colophon, in original linen-covered clamshell portfolio with toggle closures, leather spine with gilt lettering. $4,000-$7,000

39 details

40 Salvador Dali (Spanish, 1904-1989) “Studio of Dali” lithograph in colors printed by Sidney Z. Lucas, pencil-signed lower right, numbered “61/300” lower left with embossed publisher mark. Framed. sight 21-3/4” x 28”, framed 30-3/4” x 37” Provenance: Estate of Elaine Levy Proler, Houston, Texas. $700-$1,000

41 Salvador Dali (Spanish, 1904-1989) “Christ of Gala”, 1981 color lithograph diptych the first pencil-signed “Dali” lower right, the second embossed “Dali” lower right, each numbered lower left “EA (edition of the artist) 75/100”. Unframed. sheet 29” x 21” $1,000-$1,500

42 Rene Magritte (French, 1898-1967) “Les Bijoux Indiscrets”, 1963 lithograph in colors signed in pencil lower right, numbered “40/75” lower right. Matted, glazed and framed. sight 11” x 13-1/2”, framed 19-1/2” x 21-1/2” $5,000-$8,000

43 Andy Warhol (American, 1928-1987) “Campbell’s Soup Can Shopping Bag”, 1964 silkscreen on paper bag pencil-monogrammed and dated on bottom. Presented in a float-mount frame. bag 23” x 17”, framed 30-1/4” x 30-1/4” $3,000-$5,000

44 Roy Lichtenstein (American/New York, 1923-1997) “Turkey Shopping Bag”, 1964 color screenprint edition of approx. 125, pencil-signed lower center, co-published by Bianchini Gallery and Ben Birillo Editions, New York. Glazed in a float-mount frame. 23-1/4” x 16-5/8”, framed 30-1/4” x 30-1/4” $2,000-$4,000

45 Roy Lichtenstein (American/New York, 1923-1997) “Entablature VIII” from Entablature Series, 1976 color screenprint with collage and embossing signed and dated lower right, numbered “1/30” lower left. Float-mounted, glazed and framed. 28” x 44”, framed 39” x 54” $4,000-$7,000

46 David Reed (American, b. 1946) “Untitled” monotype signed and dated “1987” lower right, verso with “Pamela Auchincloss Gallery, Santa Barbara, CA” gallery label. Float-mounted, glazed and framed. sheet 21” x 88”, framed 26-1/2” x 92-1/4” Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Private collection, New Orleans, Louisiana. $2,000-$4,000

“We are used to observing ourselves from both inside and outside our bodies simultaneously. Baroque painting dealt with these out-of-body sensations as religious experiences, sometimes ecstatic, sometimes terrifying; today we live such experiences, often unexamined, through images on screens, as a part of our everyday lives.” - David Reed For more than 40 years, David Reed has pushed the boundaries of painting. Working in broad horizontal and sometimes vertical formats that recall contemporary film screens and celluloid strips, he explores interior/exterior and positive/negative spaces through an expressionist fluid form. Working wet into wet through broad and looping strokes, especially through the monotype media, he is able to explore light, speed and gestural tension through the forces of the process that bi-sect the picture plane and press pigment from a glass or acrylic refractive surface onto paper, creating alternative perspectives of light and space. Reed’s works have been exhibited extensively in Germany, Zurich and New York with a recent, impressive exhibit at Gagosian in New York, where his works have been represented through the years.

47 Robert Rauschenberg (American, 1925-2008) “Horsefeathers Thirteen - XII”, 1972 offset lithograph with screenprint, pochoir and collage on paper published by Gemini G.E.L., Los Angeles, pencil-signed, dated and numbered “36/51” lower right along with publisher’s blind stamp. Float-mounted, glazed and framed. sheet 30” x 22”, framed 34-1/4” x 26-1/2” $1,000-$1,500

48 After Pablo Picasso (Spanish/French, 1881-1973) “La Danseuse Nain” from the Barcelona Suite, 1966 offset color lithograph published Museo Picasso, Barcelona pencil-signed and numbered “22/60” lower margin. Matted, glazed and framed. 22-1/2” x 12-1/2”, framed 32” x 22-1/2” $3,000-$5,000

49 Attributed to Georges Rouault (French, 1871-1958) “Clown au Timbale”, from Cirque, ca. 1930 aquatint etching unsigned, titled on “La Boutie, New York” label on frame backing. Matted, glazed and framed. sheet 12-1/4” x 8-3/8”, framed 20” x 16” Provenance: Frances Aronson Fine Art, Atlanta, Georgia. $1,000-$1,500

50 Pierre-Auguste Renoir (French, 1841-1919) “L’Enfant au Biscuit”, 1898-1899 color lithograph on cream laid paper signature stamp lower right. Matted, glazed and framed. image 12-3/4” x 10-3/8”, framed 37” x 32” $3,000-$5,000

51 Louis John Rhead (American, 1857-1926) “The Sun (Advertising)”, 1896, published for The Sun Magazine, New York; “Jane”, 1897, published for L’Estampes Modernes, Paris two color lithographs each signed in plate. Each matted, glazed and framed. 14-1/8” x 9” and 14-1/8” x 8-5/8”, respectively; framed 22-1/2” x 16” and 21” x 16-1/4”, respectively $800-$1,200

52 Joseph Sattler (German, 1867-1931) “Pan”, 1895-1896 published by Kunst-Anstalt V. Albert Frisch, Berlin color lithograph titled and monogrammed in plate. Matted, glazed and framed. 10-3/8” x 8-1/8”, framed 21” x 16-1/4” $1,000-$1,500

53 After Marc Chagall (Russian/French, 1887-1985) “La Revolution”, 1963 lithograph in colors on wove paper printed by Charles Gray Sorlier, inscribed and signed in plate, pencil-signed lower right and numbered “129/150” lower left. Matted, glazed and framed. sight 24” x 20-3/4”, framed 37-1/2” x 32” $1,500-$2,500

54 James Rosenquist (American, 1933-2017) “Miles”, 1975 color screenprint with pochoir on Arches paper pencil-signed and dated lower right, numbered “164/200” and titled lower left. Float-mounted, glazed and framed. sheet 30” x 22”, framed 34-1/4” x 26-1/2” $1,000-$1,500

55 Sol LeWitt (American, 1928-2007) “Untitled”, 2001 linocut in colors pencil-signed and numbered “33/100” lower right. Unframed. sheet 30-3/8” x 30-1/4” $1,200-$1,800

56 Georg Baselitz (German, b. 1938) “Grunes Tuch”, 1990 color lithograph pencil-signed and dated lower right, numbered “46/60” lower left. Unframed. sheet 60” x 40” $2,000-$4,000

57 Keith Haring (American, 1958-1990) Jean-Michel Basquiat (American, 1960-1988) Andy Warhol (American, 1928-1987) Roy Lichtenstein (American, 1923-1997) Yoko Ono (Japanese/American, b. 1933) “Rain Dance”, 1985 color lithograph poster, signed in plate by each of the five artists. Matted, glazed and framed. 31” x 22”, framed 31-3/4” x 22-3/4” $1,000-$1,500 “Rain Dance” was a Pop Art Collaborative to benefit UNICEFís African Emergency Relief Fund. Curated and organized by Keith Haring, the poster was designed by all five Pop-Artists around the theme of water, so crucial to combating drought and famine in Ethiopia, and worked on by fellow Pop-Artists centered on the theme of water and its necessity in the fight against drought and famine in Ethiopia.

58 Bob Kane (American, 1915-1998) “Batman and Robin”, 1992 silkscreen on paper pencil-signed lower left, numbered “267/300” lower right. Matted, glazed and framed. 35-1/2” x 23-1/2”, framed 48” x 36” $2,000-$4,000

59 Charles Fazzino (American/New York, b. 1955) “New Orleans Saints Super Bowl Champions” mixed media 3D collage signed in pencil lower right, pencil-numbered “13/150” lower left. Matted, glazed and framed. sight 16” x 19-3/4”, framed 26” x 29-1/2” $2,000-$4,000

60 Charles Fazzino (American/New York, b. 1955) “Legal Briefs (Of the People, by the People, for the People)” 3D serigraph/mixed media pencil-signed, titled and numbered “164/300”. Mounted, glazed and framed. sight 29” x 23-1/2”, framed 41-1/2” x 35-1/4” $1,500-$2,500

61 Roy Lichtenstein (American/New York, 1923-1997) “Aspen Winter Jazz”, 1967 screenprint in colors signed in pencil lower right, numbered “160/300” lower center. Matted, glazed and framed. 39-1/2” x 25-1/2”, framed 51” x 37” $1,000-$1,500

62 Larry Rivers (American, 1923-2002) “Sky Music over Carnegie Hall”, 1990 color lithograph pencil-signed, numbered “2/60” and dated lower right. Unframed. sheet 57” x 40-1/4” $1,000-$1,500

63 Peter Max (American, b. 1937) “Beauty in Profile”, 1982 lithograph in colors signed and dated lower right, numbered “132/200” lower left. Matted, glazed and framed. sight 19-1/2” x 29-1/2”, framed 29” x 39” $1,000-$1,500

64 Jack Pierson (American, b. 1960) “Eric in Miami ‘89”, 1997 Iris print signed, dated, titled and numbered “7/30” in ink en verso. Float-mounted, glazed and framed. sheet 19-7/8” x 13-1/8”, framed 22-5/8” x 15-3/4” $1,000-$1,500

65 Herman Leonard (American, 1923-2010) “Crazy Horse Saloon, Paris”, 1960 digital pigment print, later imprint signed, titled and dated lower margin. Matted, glazed and framed. sight 35” x 50-1/2”, framed 45-1/2” x 61-1/2” $5,000-$8,000

66 David Halliday (American/Louisiana, b. 1958) “Box Series - Apricots” toned silver gelatin print embossed artist stamp lower right, signed and titled en verso backing. Matted, glazed and framed. sight 9-1/2” x 9-1/2”, image 8-1/2” x 8-1/2”, framed 17-1/8” x 17-5/8” $800-$1,200

S OUTHERN • R EGIONAL

67 William Woodward (American/Louisiana, 1859-1939) “Arts and Crafts Club (Brulatour Courtyard)”, now the Historic New Orleans Collection, 520 Royal Street, 1922 oil on academy board signed lower right, titled and dated en verso. Framed. 16-3/4” x 16”, framed 23-1/4” x 22-3/8” Provenance: Formerly in a private collection, Lafayette, Louisiana. Exhibited: Probably, William Woodward Exhibit, Art Gallery, Newcomb College, December 7-25, 1922; exhibit ran concurrently with the December 7-8 Newcomb Art Alumnae Exhibit and Sale. $15,000-$25,000

The courtyard of the Historic New Orleans Collection, then the Arts and Crafts Club of New Orleans, is one of the most iconic courtyards in the French Quarter, captured by one of the most important artists, educators, and supporters of Southern Art- William Woodward. Woodward and his brother Ellsworth were formative; they founded and organized numerous schools, buildings and associations, including Newcomb College, the Tulane University campus, the Tulane School of Architecture, the Art Association of New Orleans and Vieux Carrè Commission. The Woodwards equally championed the Arts and Crafts Club, an embodiment of their legacy that jointly fostered art education and historic preservation. Officially established in June 1922 after the wealthy financier W.R. Irby gifted the Seignouret-Brulatour building at 520 Royal Street to the Club for use as a gallery, club and school, the Club became a beacon for modern art in the South. It offered classes to the public, held meetings/lectures, exhibitions, and balls- the flourishing art center engendered the architectural revival of the French Quarter, which otherwise would have been lost to urban decay in the early 20th century. The Club’s illustrious faculty, who included Kinsey, Spratling, Millet, Heldner, Alferez, Stevens and Durieux, fostered another prolific generation of Southern artists, namely Crawford, McCrady and Boyd Cruise- the first director of the Historic New Orleans Collection, whose work was commissioned by the Historic American Buildings Survey (HABS) in the 1930s to document the architectural heritage of the French Quarter. In a 1924 letter to the editor of the American Magazine of Art, Woodward lauded the Club for having accomplished a “Renaissance of French Town” through its charter and described the prominent court, he so adeptly captures here, as being centrally located in one of the “best old courtyard buildings where they have a lofty and spacious gallery on level with the court and a stage at one end”. This view of the famous court not only commemorates the Club’s inception, but it is also one of the last architectural paintings Woodward executed in the French Quarter. In 1923 he moved to Biloxi following his untimely fall from a scaffold that left him paralyzed. Some of his last paintings of New Orleans, which likely included this work, were exhibited in a Christmas party retirement homage at Newcomb College that ran for three weeks concurrent with its alumnae sale.

68 George Rodrigue (American/Louisiana, 1944-2013) “Louisiana Landscape with Two Oak Trees” oil on canvas signed lower left. Presented in a beaux-arts giltwood frame. 16” x 20”, framed 32” x 36-1/2” $20,000-$40,000

69 Clarence Millet (American/Louisiana, 1897-1959) “Chartres St., New Orleans” oil on canvas laid on board signed lower left, titled and signed en verso. Framed. 24” x 20”, framed 31-1/2” x 27-1/2” Provenance: Purchased in New Orleans ca. 1930; thence by descent the Estate of Thomas J. McMahon, Abilene, Texas. $8,000-$12,000

A native of Brooklyn, New York, Bob Tannen grew up in a small community at the end of Coney Island. His artistic predilections were apparent early and he spent his free time on the beach, building sand and driftwood sculptures and watching the effects time and the elements had on them. He attended the Brooklyn Museum Art School, The New School of Social Research and the Pratt Institute where he studied industrial design and urban planning. From the beginning, Tanner deftly combined an artistic sensibility with the necessarily practical aspects of environmental planning. As he once stated, “I don’t think it is useful to make a distinction between art and life.” The culmination of this approach is evident in works such as the multi-structure abstracted model of Jackson Square offered here. The various buildings are monochromatic and reduced to their most rudimentary, yet still easily recognizable, elements.

70 Robert “Bob” Tannen (American/Louisiana, b. 1937) “Jackson Square” steel architectural model with movable elements. 120” x 144”, cathedral h. 61” Provenance: The Pan American Life Center Art Collection, 601 Poydras Street, New Orleans, Louisiana. $5,000-$8,000

71 Arthur Silverman (American/New Orleans, 1923-2018) “Untitled” steel h. 12-1/4”, w. 13-1/2”, d. 6” $1,000-$1,500

72 Martin Payton (American/Louisiana, b. 1948) “Untitled” weathered steel h. 73-1/4”, w. 23”, d. 22” $1,200-$1,800

73 George Valentine Dureau (American/Louisiana, 1930-2014) “Invitation to St. Francisville”, 1980 oil and crayon on canvas triptych signed on the far right panel, lower left. Unframed. each panel 75” x 96” Provenance: The Pan American Life Center Art Collection, 601 Poydras Street, New Orleans, Louisiana. $30,000-$50,000

Literature: Gregory Roberts, “Art in High Places: Corporate New Orleans Bids Farewell to the Framed Duck Print”, TimesPicayune, 27 Nov. 1983, D11; Roger Green, “Pan American Life Gives Big Boost to La Artists”, Times-Picayune, 10 Dec. 1980, 3D. In 1980, the Pan American Life Insurance Company commissioned the Chicago-based architecture firm Skidmore, Owings and Merrill (SOM) to design its $60 million building at 601 Poydras Street. The company’s vision was to incorporate public art spaces into corporate working places, creating a lifeline between the people of Louisiana and its rich cultural heritage. Under the collective guidance of NOMA, the Contemporary Arts Center and Galerie Simonne Stern, SOM’s interior designers - Judy Ridge and Patrick McConnell - purchased more than 200 pieces, including works by Kohlmeyer, Emery, Dunbar, Gordy and Tannen. After seeing a smaller landscape by Dureau in a Chicago catalogue, the interior designers were so impressed that they approached the artist, asking if he could produce an impressionistic largescale landscape representative of Louisiana. Dureau chose three elements rendered in three panels - blue skies, verdant trees and a sandy clearing, and called it an “Invitation to St. Francisville”. At a public opening in the building in 1983, Dureau stated that it was “one of his favorite paintings” - “I get totally passionate over landscapes. Nobody gets angry when I love the trees so much.”

74 Gene Koss (American/Louisiana, b. 1947) “Raindrop”, 2007 cast glass lime green textured glass with stainless steel hardware for hanging. each h. 25”, w. 2-1-2”, d. 2-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,000-$1,500

75 Philip Edward Mullen (American/South Carolina, b. 1942) “Aquarium” mixed media and paper on canvas titled, signed, numbered/dated “11/81” en verso. Framed. 60” x 84”, framed 61” x 85 $1,000-$1,500 74

76 Tony Mose (American/Louisiana, Contemporary) “Untitled Abstract”, 2016 oil on canvas signed, dated and localized “NOLA” en verso. Unframed. 84” x 60” $2,000-$4,000

77 Lin Emery (American/Louisiana, b. 1926) “Petals” patinated bronze cast signature on self-base, on a basketweave-textured composition base. h. 28”, w. 28”, d. 22”, base h. 48” $15,000-$25,000

77 detail

78 Mitchell Gaudet (American/Louisiana, b. 1962) “Untitled” cast glass and iron h. 30-1/2”, w. 10”, d. 8” $1,000-$1,500

79 Edmund Pramuk (American/Louisiana, b. 1936) “Terrace”, 1978 acrylic on cotton duck signed and dated en verso, with a label printed with artist name, title, date and medium. Thin gallery frame. 61-1/2” x 109-1/2”, framed 63” x 111” Provenance: The Pan American Life Center Art Collection, 601 Poydras Street, New Orleans, Louisiana. $2,000-$4,000

80 Syd Solomon (American/Florida, 1917-2004) “Sunrampant”, 1985 acrylic and oil on canvas signed lower left, signed, titled and dated en verso. Framed. 52” x 56”, framed 54-1/4” x 56-1/4” Provenance: Skinner, Boston, Massachusetts, June 25, 2011, lot 393. $3,000-$5,000

81 John Tarrell Scott (American/Louisiana, 1940-2007) “Dream Doorway - Buddy Bolden’s Fence” mixed media metal kinetic sculpture unsigned, titled at back. h. 12”, l. 64” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,000-$1,500

82 Robert Gordy (American/Louisiana, 1933-1986) “By the Sea”, 1980 acrylic on canvas signed, titled, dated and inscribed en verso. Framed. 74-1/2” x 142”, framed 76” x 144” Provenance: The Pan American Life Center Art Collection, 601 Poydras Street, New Orleans, Louisiana. $10,000-$15,000

83 Robert Gordy (American/Louisiana, 1933-1986) “Male Head”, 1984 monotype on paper from the “Faces” series, pencil-signed and dated lower right. Matted, glazed and framed. 42-1/2” x 31-3/4”, framed 59” x 44” $1,000-$1,500

84 Enrique Alferez (Mexican/Louisiana, 1901-1999) “La Vietnamita - Mother in Flight” bronze unsigned, on a black granite base, base integral to sculpture but removable. sculpture h. 46-1/2”, overall h. 49”, w. 54”, d. 22” Provenance: Richard W. Freeman, Folsom, Louisiana; Acquired directly from the artist. $50,000-$80,000 Provenance: Douglas Lake and Jeannette Hardy, Gardens of New Orleans: Exquisite Excess, with photographs by Richard Sexton, California: Chronicle Books, 2001, illus p. 179.

85 Noel Rockmore (American/Louisiana, 1928-1995) “French Quarter Composition and Rainbow”, 1998 ink, watercolor and metallic paint on paper signed, dated and titled lower right. Matted, glazed and framed. sight 19-3/8” x 15-1/8”, framed 28-3/4” x 23-7/8” Provenance: Bryant Galleries, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000-$1,500

86 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Tablon Primo De La Autentica Historia De La Nina (Hoy Adulta), Rosita Camargo”, 1966 oil on canvas signed and dated upper right. Presented in a thin gallery frame. 48” x 42”, framed 48-3/4” x 42-1/2” $4,000-$7,000

87 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Untitled - Religious Figure” polyester resin sculpture with cloth and wood seated figure holding a portrait of himself, on a thin presentation base. h. 31-1/2”, w. 21”, d. 26” $6,000-$9,000

88 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Folsom Blues (Reds and Yellows) Study”, 2006 acrylic on board signed and dated lower right, signed, titled and dated en verso. Framed. 4-1/2” x 5-1/2”, framed 10-1/2” x 12-1/2”

$1,000-$1,500

89 Robert Joseph Warrens (American/Louisiana, b. 1933) “Untitled” oil on canvas monogrammed lower left. Thin gallery frame. 43-3/4” x 49-1/2”, framed 44-1/2” x 50-1/2” $1,000-$1,500

90 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Untitled”, 1981 oil on paper pencil-signed and dated on mat lower right, illegibly inscribed lower left. Matted, glazed and framed. sight 5-1/2” x 7-3/4”, framed 12-1/2” x 14” $2,000-$4,000

91 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Gran Deriche”, 1973 oil on canvas signed and dated lower right, titled upper left. Framed. 15-3/4” x 11-3/4”, framed 22” x 18” $1,000-$1,500

92 John Tarrell Scott (American/Louisiana, 1940-2007) “Untitled” painted steel sculpture h. 58-1/2”, w. 125”, d. 9” $6,000-$9,000

93 George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” gold leaf over red and white clay signed lower center and en verso. Framed. 11” x 8-3/4”, framed 11-1/4” x 9” Provenance: Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,000-$1,500

94 Henry Hensche (American/Louisiana/Massachusetts, 1899-1992) “Autumn Landscape with a Cottage” oil on masonite signed upper right. Framed. 16” x 20”, framed 26” x 30” Provenance: Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $2,000-$4,000

95 Henry Hensche (American/Louisiana/Massachusetts, 1899-1992) “Still Life in the Artist’s Studio” oil on canvas signed lower right. Framed. 24” x 20”, framed 32” x 28” Provenance: Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,500-$2,500

100

96 William Tolliver (American/Mississippi, 1951-2000) “Rita” oil on canvas signed lower right and titled en verso. Unframed. 48” x 36” $5,000-$8,000

101

97 Noel Rockmore (American/Louisiana, 1928-1995) “Rose Bud: Egyptian Series”, 1990 oil, mixed media and found objects on canvas signed and dated lower left. Unframed. 84” x 58” $4,000-$7,000

102

98 Hunt Slonem (American, b. 1951) “Bayou Teche”, 2004 oil on canvas signed, titled and dated en verso. Giltwood gallery frame. 44” x 66”, framed 46” x 68” $15,000-$25,000

103

99 Doyle Gertjejansen (American/Louisiana, b. 1948) “Red Advances, Blue Recedes-10”, 2007 acrylic on canvas over “box” panel stretcher signed, titled and dated en verso. 30” x 30” $1,000-$1,500

104

100

100 George Rodrigue (American/Louisiana, 1944-2013) “Almost Primary Dog”, 1993 oil on canvas signed lower left. Framed. 18” x 24”, framed 26” x 32-1/2” Provenance: The Blue Dog Gallery, Tokyo, Japan; Private collection. Together with the 2009 certificate of authenticity from The Blue Dog Gallery, Tokyo, Japan. $40,000-$70,000

105

101

101 Dorothy Hood (American/Texas, 1919-2000) “Pony Express” oil on canvas signed upper right, inscribed with artist name and title en verso stretcher, verso with “Meredith Long & Company, Houston, Texas” label. Thin gallery frame. 40” x 40”, framed 41-1/2” x 41-1/2” Provenance: Meredith Long & Company, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $8,000-$12,000

106

107

102

102 Jimmy Lee Sudduth (American/Alabama, 1910-2007) “Tractor” acrylic and mud on salvaged wood panel pencil-signed upper left. 23-3/4” x 48” $1,000-$1,500

108

103 John Donovan (American/Tennessee, Contemporary) “Shooter with Broken Ankle” painted composition sculpture h. 30”, w. 29”, d. 9” Provenance: LeMieux Galleries, New Orleans, Louisiana, 2002. $1,500-$2,500

103

109

104 Wayne Amedee (American/Louisiana, b. 1946) “Multi Color Axis”, 1976 acrylic on canvas signed and dated en verso, verso stretcher with “Galerie Simonne Stern, New Orleans, Louisiana” label. Unframed. 30” x 54” Provenance: The Pan American Life Center Art Collection, 601 Poydras Street, New Orleans, Louisiana. $1,000-$1,500

104

110

105

105 William Ralph “Bill” Dunlap (American/Mississippi, b. 1944) “Late Light - Valley Series”, 1983 oil and dry pigment on paperboard signed, dated and titled lower right. Framed. 23” x 47”, framed 24” x 48” $4,000-$7,000

111

106 William Ralph “Bill” Dunlap (American/Mississippi, b. 1944)

107 Ben Smith (American/Georgia, b. 1941)

“Old Rudy”, 1985

“Processional Figure with Arrows”, 1970

polymer on canvas signed and dated lower right, titled lower left. Framed. 34” x 24”, framed 35” x 25”

woodblock on canvas pencil-signed, dated, titled and numbered “6/7 IMP” along lower edge. Thin gallery frame. 114” x 55-1/2”, framed 115” x 56-1/2”

$3,000-$5,000 $2,000-$4,000

106

112

107

113

A MERICAN • E ARLY TO L ATE 20 TH C ENTURY

108

108 William J. McCloskey (American, 1859-1941) “Wrapped Oranges”, 1897 oil on canvas signed and dated lower right, verso with a 1953 letter from “Bloomington National Bank” estate administrator detailing provenance. Framed. 10” x 17”, framed 16-1/4” x 23-1/2” $80,000-$120,000

114

Provenance: William H. Buskirk (1819-1906), Nashville, Tennessee/Bloomington, Indiana - by repute, purchased for his tavern in Nashville, before 1906; by descent to his daughter Amanda (1855-1934) and her husband, Dr. John P. Tourner (1854-1930), Bloomington, Indiana, 1906 to 1934; by descent to his brother, Dr. Francis F. Tourner (1859-1944), Bloomington, Indiana, 1934 to 1944; Bloomington National Bank, Estate of Dr. F. F. Tourner, 1953, no. 49271; Collection of Professor Vergil A. Smith (1900-1970), Bloomington, Indiana; Raymond C. Kilmer (1901-1968), Castleton, New York, thence by descent to his niece. William McCloskey and his wife Alberta Binford were two prolific American artists in the late 19th century. They collaborated for fifteen years, often painting portraits in tandem, and creating similar still life compositions. McCloskey, a portrait artist by trade, studied under Thomas Eakins at the Pennsylvania Academy of the Fine Arts before moving West to Denver, Colorado in 1882, where he met Alberta, a gifted autodidactic with a predilection for flowers. By 1884 they were married and spent the next fourteen years living a nomadic existence, traveling extensively throughout the U.S. and Europe; the true scope of their versatility still eludes art historians as it is reported that Alberta painted numerous genres in twenty-seven states. Between 1884 and 1898 when the couple separated, the McCloskeys spent most of their time on the East and West coasts, with extended sojourns in Paris and London. In Los Angeles in 1884-1885, they received numerous commissions and were pivotal figures in the budding art community. From portraiture to flowers, their paintings innately evoked the verisimilitude of the sitter’s comportment or subject with startling crispness and brilliancy of color that required no additional objects or setting. In France, the celebrated painter Leon Gerome, and mentor of Eakins, was so impressed that he issued a letter of recommendation lauding the “great sense of truth” and “sincere impression of nature” one gets from their oeuvre.

The McCloskey’s work did not receive the same acclaim in New York, where they resided from 1886-1892, though they produced the oeuvre for which they are most renowned still-lifes of wrapped fruit. Los Angeles may have been the epicenter of the booming citrus industry where migrant workers found ample work in orchards, but it was the waxed produce, delicately wrapped in tissue that christened the shop windows of New York that captivated the couple. Oranges and other sub-tropical fruits were expensive, rare commodities given mostly as gifts or during the holidays; the pristine tissue doubling as a gift wrap carefully placed by packaging workers instructed in the intricacies of fruit folding to prevent bruising or soiling. Perhaps nostalgia for California, or fascination with turn-of-the-century commerce drew the McCloskeys to the subject. Whichever the impetus, it inspired them to paint variations of the same composition for almost three decades. Like the painting offered here, each one is a tromp l’oeil masterpiece that delights in tricking the eye through its nuanced play on the same recurring textures - bright, taut fruit (often ensconced in a crisp, crinkled wrapper), the polished hardwood surfaces on which they sit become reflective pools of fruit, and the crushed velvet indigo or sable backdrop.

115

109

109 Johann Berthelsen (Danish/American, 1883-1972) “Trinity Church” oil on canvas board unsigned, a “Salmagundi Club/Thumb-box Exhibition” label en verso. Glazed and framed. 10” x 8”, framed 16-3/4” x 14” $3,000-$5,000

116

110

110 Jules Eugene Pages (American, 1867-1946) “Notre Dame” oil on canvas signed lower left, verso with “Kendall Fine Art” and “The Collection of Paul & Kathleen Bagley” labels. Framed. 18” x 24”, framed 29-1/2” x 32-1/2” Provenance: Bonhams, California, June 8, 2004, lot 4256. $8,000-$12,000

117

111

111 Louis Kronberg (American, 1872-1965) “Repose 5, Aline”, Paris, 1942 pastel on canvas signed lower right, frame backing titled, localized, dated and inscribed. Glazed and framed. 29-3/4” x 25-1/2”, framed 37” x 33” $3,000-$5,000

118

112 Gustave Adolph Wiegand (American/German, 1870-1957) “Autumnal Landscape” oil on canvas signed lower left. Framed. 24” x 28-1/2”, framed 31” x 35” $1,200-$1,800

112

113 Edmund William Greacen (American, 1876-1949) “Old Lyme, Blue River Sketch” oil on canvas board unsigned, titled en verso, localized and inscribed on frame backing, and on “Meredith Long & Company, Houston” label. Framed. 12” x 16”, framed 19-1/2” x 23-1/2” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,500-$2,500

113

119

114

114 Wolf Kahn (German/New York, 1927-2020) “After the Barn Raising”, 1977 oil on canvas signed lower right, dated en verso, verso with “Meredith Long & Company, Houston, Texas” label. Thin gallery frame. 28” x 32”, framed 29-1/2” x 33-1/2” Provenance: Meredith Long & Company, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $15,000-$25,000

8 120

121

115 LeRoy Neiman (American, 1921-2012) “Jockey”, 1959 acrylic on board signed and dated lower left. Framed. 10” x 8”, framed 16” x 14” $5,000-$8,000

115

116 John Nathaniel Fenton (American/New York, 1912-1977) “Women on the Beach” oil on canvas signed lower right, a “Long & Company, Houston/Paris” label with title en verso. Unframed. 24” x 18” $1,000-$1,500

116

122

117

117 William Skilling (British/American, b. 1949) “Mermaid” and “Merman” pair of oils on canvas both signed lower right. Presented in matching faux tortoiseshell frames. each 36” x 48”, framed 41-1/5” x 54” $3,000-$5,000

123

118

118 Patrick Hogan (American, 1945-1988) “Goroka”, 1984 oil and charcoal on gallery-wrapped canvas signed, dated and titled en verso. 90” x 78” $1,000-$1,500

124

119 Edward Lee Hendricks (American, b. 1952) “Untitled” painted aluminum with hardware for display. h. 5-1/4”, dia. 14” Provenance: New Gallery, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $2,000-$4,000 119

120 John “CRASH” Matos (American, b. 1961) “Untitled”, 1995 acrylic on canvas signed and dated en verso. In an artist-designed frame. 10” x 8”, framed 13-5/8” x 11-5/8” Provenance: Martin Lawrence Gallery, New Orleans, Louisiana. $1,000-$1,500

120

125

121 Futura 2000 (American/New York, b. 1955) “Adventure in Climbing”, 1987 acrylic and enamel spray paint on canvas signed, titled and dated en verso. Unframed. 74” x 25” $15,000-$25,000

126 121

122

122 Futura 2000 (American/New York, b. 1955) “Tower of the Hour”, 1984 acrylic and enamel spray paint on canvas signed, titled and dated en verso. Unframed. 54-1/2” x 95” $20,000-$40,000

127

123 Futura 2000 (American/New York, b. 1955) “Untitled”, 1985 acrylic and enamel spray paint on canvas signed, titled and dated en verso. Unframed. 52” x 52” $15,000-$25,000

123

128

124

124 Futura 2000 (American/New York, b. 1955) “We Saw the Difference”, 1985 acrylic and enamel spray paint on canvas signed, titled and dated en verso, verso with Michael Kohn Galleries, Los Angeles, CA” label. Unframed. 74” x 74” $20,000-$40,000

129

125 Lawrence Edward Kupferman (American, 1909-1982) “Landscape”, 1964 mixed media on canvas signed lower right, and signed, titled and dated en verso. Period frame. 10-1/4” x 14-1/4”, framed 10-3/4” x 14-3/4” $1,000-$1,500

126 Robert Zakanitch (American, b. 1935) “Untitled”, from the Angelman Series, 1968 oil on canvas signed en verso. Unframed. 84” x 84”

125

Provenance: Estate of John Stockwell Samuels III, Galveston, Texas. $1,000-$1,500

130

126

127

127 Ira Yeager (American, b. 1938) “Untitled”, 1979-80 wood and mixed media on gallery-wrapped canvas signed and dated lower right. 78” x 84” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $4,000-$7,000

131

128 Hunt Slonem (American, b. 1951) “Blueline” oil on canvas signed and titled en verso. Framed. 21-1/2” x 17-1/2”, framed 24” x 20” $3,000-$5,000

128

129 Hunt Slonem (American, b. 1951) “Untitled” oil on canvas unsigned. Framed. 6-3/4” x 5-7/8”, framed 19” x 14-1/2” Provenance: CRIA (Community Research Initiative on AIDS) benefit, 2002. $1,000-$1,500

129

132

130

130 Giora Angres (American, b. 1935) “Le Bistro”, 1991 oil on canvas signed lower right, signed, titled and dated en verso. Framed. 48” x 36”, framed 59” x 46” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

133

W OMEN A RTISTS

131 Gorilla Girls Houston (American, 20th Century) “Liberty Leading the People”, 1988 oil on canvas signed “Gorrilla Girls”, localized and dated mid-right, after the 1830 painting by Eugene Delacroix (French, 1798-1863) commemorating the July Revolution. Unframed. 72” x 84” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $3,000-$5,000 Literature: Vince Lee, “With Love and Bananas: Houston Gorilla Girls Seek Equality for Female Artists”, Houston History, Vol.10, No. 3, pp. 39-41; Catherine D. Anspon, “The Guerilla Girls Storm a Dallas Gallery”, Paper City, 7 Sept 2018 When racism and sexism are no longer fashionable, what will your art collection be worth? Guerrilla Girls Talk Back The Guerrilla Girls is an anonymous feminist women’s activist art collective created to increase the awareness of sexism and racism in the art world by protest, performance, billboards, exhibitions and other means. It made its first appearance in 1985 when seven masked women protested in front of the Museum of Modern Art in New York, in response to The International Survey of Painting and Sculpture, a major contemporary art exhibition which included 13 women out of 169 artists, and even fewer people of color . The decision to be masked was made to ensure that the issues and not the personalities became the focus. Also, the anonymity afforded the participants a degree of protection from verbal or physical retaliation. While responses were expectedly mixed, the Guerrilla Girls were ultimately successful in their initial goal; their “hits” garnered considerable media attention and brought to the forefront the myriad issues concerning the contemporary art world’s lack of inclusion and representation of women and people of color.

Shortly thereafter, the Guerrilla Girls began to appear in other major cities across the country. The Houston “Gorilla Girls” (they intentionally chose to spell it this way) made their first appearance in 1987 at the Glassell School of Art, Museum of Fine Arts, Houston. They were soon a fixture at many gallery and museum openings, sponsoring their own exhibitions, performances and creating works to visually address the issues. The 1988 work presented here is a wryly humorous feminist riff on Delacroix’s famous painting of “Liberty Leading the People”, with the central iconic figure of “Marianne”, the bare-breasted symbol of the French Republic/Democracy here depicted with a gorilla mask. Archives of the Houston Gorilla Girls are conserved at the Special Collections of the M.D. Anderson Library, University of Houston.

134

131

135

132 Clyde Connell (American/Louisiana, 1901-1998) “Portrait of a Woman” oil on masonite signed en verso. Artist frame. 25” x 18”, framed 32” x 25” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $1,400-$1,800

132

133 Alice Kent Stoddard (American, 1883-1976) “By the Sea” oil on canvas board signed lower right, stretcher stamped “David David Art Gallery, Philadelphia, Estate of A. K. Stoddard”. Framed. 16” x 20-1/4”, framed 25” x 29” Provenance: Estate of the artist; David David Art Gallery, Philadelphia, Pennsylvania; Heritage Auctions, Dallas, Texas, November 17, 2005, lot 30338; Frances Aronson Fine Art, Atlanta, Georgia. $5,000-$8,000

133

136

134

134 Martha Walter (American, 1875-1976) “Fish Market, Brittany” oil on canvas board signed lower right, titled and inscribed en verso. Framed. 16” x 20”, framed 24” x 28” Provenance: Heritage Auctions, Dallas, Texas, May 11, 2005, lot 23504; Frances Aronson Fine Art, Atlanta, Georgia. Exhibited: Impressionist Jewels. The Paintings of Martha Walter, A Retrospective. Woodmere Art Museum, Philadelphia, Pennsylvania, September 22-November 17, 2002. (ill. in catalogue, p. 52, pl. 130). $7,000-$10,000

137

135 Helen Maria Turner (American/Louisiana, 1858-1958) “Portrait of the Artist Nell Pomeroy O’Brien” oil on canvas signed lower right. Framed. 16” x 12”, framed 22-3/4” x 18-3/4” $3,000-$5,000 Initially exhibiting in 1890 at the Artists’ Association of New Orleans, the accomplished artist Helen Maria Turner went on to earn national acclaim by exhibiting at Pennsylvania Academy of Fine Arts, Corcoran Gallery, and American Society of Miniature Painters at the National Academy of Design. Turner was the first woman from the south to be elected to full membership in the National Academy of Design, and the third woman nationally. A highlight of her career was inclusion in the “Six American Women” exhibition organized by the St. Louis City Museum; which, in addition to Turner, featured Mary Cassatt, Jane Peterson, Johanna Hailman, Martha Walter and Alice Schille. At a time when few women achieved success as professional artists, Turner became well acquainted and friends with her female contemporaries. Although she occasionally accepted a commissioned portrait assignment, Turner largely asked her friends and family to be subjects of her paintings. The sitter has been identified as Nell Pomeroy O’Brien (1899-1966), herself a gifted painter and friend of Turner’s; she is painted with her brushes in hand and typically pensive glaze favored by Turner. (New Orleans Auction Galleries would like to thank Terry Simoneaux for the identification.)

135

136 Colette Pope Heldner (American/New Orleans, 1902-1990) “Brulatour Patio, French Quarter, Old New Orleans” oil on canvas signed lower right, signed and titled en verso. Framed. 24” x 30”, framed 30” x 36” $1,000-$1,500

136

138

137 Clementine Hunter (American/Louisiana, 1886/87-1988) “Picking Cotton” oil on board signed mid-right. Framed. 13” x 17”, framed 15-1/2” x 19-1/2” $2,500-$4,000 We are grateful to Mr. Tom Whitehead, Professor Emeritus at Northwestern State University in Natchitoches, Louisiana, for his assistance in verifying the authenticity of this work.

137

138 Clementine Hunter (American/Louisiana, 1886/87-1988) “Haulin’ Cotton” oil on Newton canvas board monogrammed lower right. Unframed. 16” x 20” $2,500-$4,000 We are grateful to Mr. Tom Whitehead, Professor Emeritus at Northwestern State University in Natchitoches, Louisiana, for his assistance in verifying the authenticity of this work.

138

139

139 Clementine Hunter (American/Louisiana, 1886/87-1988)

140 Clementine Hunter (American/Louisiana, 1886/87-1988)

“Uncle Tom’s Cabin”

“Wash Day”

oil on canvas board monogrammed lower right. Framed. 12” x 30”, framed 14-1/2” x 32-1/2”

oil on canvas board monogrammed lower right. Framed. 13” x 17”, framed 15-1/2” x 19-1/2”

$5,000-$8,000

$2,500-$4,000

We are grateful to Mr. Tom Whitehead, Professor Emeritus at Northwestern State University in Natchitoches, Louisiana, for his assistance in verifying the authenticity of this work.

140

141 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Untitled”, 1988 painted wood sculpture signed and dated at bottom. h. 11-1/4”, w. 12”, d. 2-3/4” $2,000-$4,000

141

141 detail

141

142

142 Niek van der Plas (Dutch, b. 1954) “Mardi Gras in the French Quarter” oil on panel signed lower right. Framed. 24” x 36”, framed 32” x 44” $4,000-$7,000

142

143 Jenny Pohlman (American, b. 1960) Sabrina Knowles (American, b. 1955) “Untitled - Three Spears” sculpted and polished glass with metal, beads and West African findings, in yellow, amber and olive brown. h. 62-1/2”, 60” and 63”, respectively, each w. 4” $1,800-$2,500

143

144 Clyde Connell (American/Louisiana, 1901-1998) “Untitled Abstract” mixed media relief on wood panel signed lower right. Unframed. 26” x 21” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $1,000-$1,500

144

143

145 Louise Nevelson (Russian/American, 1899-1988) “Untitled”, 1956 wood and paper assemblage signed and dated lower right. Glazed and framed in a shadowbox with “Pace Gallery” label on reverse. 36” x 24”, framed 37-1/4”, 25-3/4” Provenance: Pace Gallery, New York, New York; Estate of Elaine Levy Proler, Houston, Texas. $15,000-$25,000

When you put things together, things that other people have thrown out, you’re really bringing them to life - a spiritual life that surpasses the life for which they were originally created. -Louise Nevelson

Nevelson built extraordinary collages and assemblages from found objects and deconstructed material that has its roots in her early childhood as a young Jewish immigrant. Shortly after moving from Russia, her family settled in Maine where Nevelson’s father found work as a woodcutter and lumberyard worker, often bringing home odds and ends of wood for projects or tinder. As a struggling artist in the 1930s, she often scoured the streets of New York with her young son in search of wood. Branches, twigs, spindles, drawers and turned desk legs were amassed collectively and began to take form into abstract shapes and cityscapes that merged the mathematical and geometric properties of Cubist vision/ quest to represent the 4th dimension with the spiritual transcendence of Abstract Expressionism, that led her to the self-proclaimed title: architect of shadow. Nevelson’s mature sculptural work of assemblages, rendered in black, dark colors or shadows, prototypical of the work offered here, explore arrested movement- the monochromatic tones focus the eye on the light created by the natural variations of the wood and objects, rather than the illusion of it.

144

145

These works are the manifestation of a twenty-year sojourn of self- discovery that led her to leave behind a middle class marriage to pursue art through Hans Hoffman in Germany and New York, before entering the studio of Diego Rivera and travelling throughout Mexico and South America where she found inspiration in the Pre-Columbian stellae of the Maya. In Nevelson’s words- “You see shadow and everything else on earth actually is moving. Movement - that’s in color, that’s in form, that’s in almost everything. Shadow is fleeting... and I arrest it and I give it a solid substance.”

145

146 Clyde Connell (American/Louisiana, 1901-1998) “Untitled” mixed media with papier-mache and found objects unsigned. h. 27-1/4”, w. 9-1/2”, d. 8-1/2” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $1,000-$1,500

146

147 Clyde Connell (American/Louisiana, 1901-1998) “Fall Mists, Lake Bistineau” mixed media on canvas signed, titled and localized en verso. Unframed. 34” x 32” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $1,000-$1,500

147

146

148

148 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Tiny 95-6” and “Tiny 95-7”, 1995 pair of oils on canvas each monogrammed and dated. In matching giltwood frames. each 5” x 4-1/2”, framed 8-1/2” x 8-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,000-$1,500

147

149 Sonja Blomdahl (American, b. 1952) "Incalmo Vase" large red and Kelly green blown glass signed and numbered “B4300” at bottom. h. 12”, dia. 11-1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $800-$1,200

149

150 Sonja Blomdahl (American, b. 1952) "Incalmo Vase" yellow and mint blown glass signed and dated “2004” at bottom. h. 5-1/2”, w. 10-1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $800-$1,200 150

148

151

151 Clyde Connell (American/Louisiana, 1901-1998) “Morning Sun” oil on canvas signed and titled en verso. Artist frame. 36” x 26”, framed 37-1/2” x 27” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $1,500-$2,500

149

152 Jan Gilbert (American/Louisiana, Contemporary) “An Offering to Nemesis”, 1984 mixed media on gallery-wrapped canvas signed, titled and dated en verso. 61-1/4” x 60-7/8” $2,000-$4,000

152

153 Mary Stratford Newcomb (British, 1922-2008) “In the Garden”, 1957 oil on board signed and dated lower right. Framed. 22” x 35-1/2”, framed 23” x 37” $4,000-$7,000

153

150

154 Pablita Velarde (Santa Clara Pueblo/New Mexico, 1918-2006) “Deer in the Forest” mineral paint on board signed lower left. Unframed. 24” x 11-7/8” $1,000-$1,500

154

155 Sonja Blomdahl (American, b. 1952) “Incalmo Vase” blown glass shades of gold to deep purple, incised signature and marked “B903” at bottom. h. 6-5/8”, dia. 13” $1,200-$1,800

155

151

156 Allison Stewart (American/Louisiana, b. 1941) “In the Bayou #4”, 2008 oil on canvas diptych signed lower center, each panel signed and titled and with “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso. Unframed. each panel 48” x 48”, overall 48” x 96” $6,000-$9,000

152

156

153

157 Sonja Blomdahl (American, b. 1952) "Incalmo Vase" large brown and cobalt blown glass signed and numbered “B9899” at bottom. h. 10-3/8”, dia. 9” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $800-$1,200 157

158 Ginny Ruffner (American/Washington, b. 1952) “Basket” cast and blown glass, metal metal double basket with six clear glass sunflowers extending from handles on each side, baskets filled with 17 glass spheres of various sizes and colors. h. 32”, w. 48”, d. 21-1/2” $1,800-$2,500

154

158

159 Anstis Lundy (American, 1924-2009) “Orchid, Fish, Nautilus and Eggplant”, 2001 watercolor on paper pencil-signed and dated lower left. Float-mounted, glazed and framed. 41-1/2” x 29-1/4”, framed 49-1/4” x 37-3/8” $1,000-$1,500

159

160 Anstis Lundy (American, 1924-2009) “Chinese Long Beans, Cherries and Pear”, 1987 watercolor on paper pencil-signed and dated lower left. Float-mounted, glazed and framed. 59-1/2” x 40”, framed 64” x 44” $1,000-$1,500

160

155

161

161 Anstis Lundy (American, 1924-2009) “Iris”, 1984 watercolor on paper pencil-signed and dated lower right. Float-mounted, glazed and framed. 59” x 40”, framed 65” x 45-1/2” $1,000-$1,500

156

162 Valery Kosorukov (Russian/American, Louisiana, b. 1937) “In the Dressing Room” oil on canvas signed upper right. Framed. 36” x 48”, framed 45” x 57” Provenance: Art Associates Gallery, Central School, Lake Charles, Louisiana. Exhibited: Lake Charles Ballet Society, December 1, 1998-January 7, 1999. $1,000-$1,500

162

157

163 Glenna Goodacre (American, 1939-2020) “Le Bain” patinated bronze cast signature and numbered “8/25” on self-base, on an onyx and shaped wood base, together with a certificate of authenticity from Fenn Galleries, Ltd., New Mexico, and a copy of the exhibition catalogue from the 1995 retrospective of the artist at the Museum of Texas Tech University, now with a string-inlaid mahogany pedestal. overall h. 22”, w. 9-1/2”, d. 9”, pedestal h. 38-1/2” $1,200-$1,800

163

164 Jo Saylors (American/Tennessee, b. 1932) “Picking Daisies” patinated bronze cast signature and numbered “19/20” at back. h. 21-1/2”, w. 15”, l. 25” Provenance: Estate of Zoe Barrow Talbert, Tyler, Texas. $1,000-$1,500

164

158

165 Kari Russell-Pool (American/Connecticut, b. 1967) “Crib” pulled glass rods yellow frame with floral vine base in pink, blue and green. h. 14”, w. 10-1/2”, d. 10-1/2” $1,200-$1,800

165

165 detail

159

166

166 Alexandra Nechita (Romanian/California, b. 1985) “I Wish I Was There”, 1996 acrylic and mixed media on canvas signed and dated lower right, titled and dated “5/11/96” en verso. Framed. 60” x 36”, framed 67-1/2” x 43-1/2” $8,000-$12,000

160

161

When artist Laurie Simmons, known for her wryly clever and often dark artistic explorations of domestic life in miniature, was first approached by Larry Mengel, a former art dealer and the owner of the innovative toy company Bozart, to create a modern take on the dollhouse, she was initially uninterested. It was only after a fortuitous visit to the Museum of the City of New York where she was on assignment to photograph the legendary Stettheimer Dollhouse with its miniatures by artists such as Alexander Archipenko, George Bellows and Marcel Duchamp, that she understood the potential of the project. She joined forces with architect Peter Wheelwright, a family friend and chair of the architecture department at Parsons School of Design. The pair envisioned a structure drastically different from anything on the market. Unlike most dollhouses which were accessible from only one side (and occasionally from the top), they wanted to create a house which could be approached from every direction. The result was a neon delight of a dollhouse, with brightly hued acrylic moving wall panels which change colors as they intersect, modern modular furniture and art by a variety of contemporary artists. Simultaneously playful and innovative, it was an instant hit with children and critics alike and was exhibited at the Museum of Modern Art, the Guggenheim and the Victoria and Albert Museum of Childhood.

167 Laurie Simmons (American, b. 1949) “Kaleidoscope Dollhouse”, 2001 acrylic and plastic with architect Peter Wheelwright (American, 20th Century) in collaboration with Bozart Toys, brightly colored dollhouse with movable panels, interior with 11 sections of Velcro for the attachment of any of the 17 included works of art, artists include David Halliday, Gary Nesbitt, Robert Kelly, Andrew Young and others. floor plan 22” x 28” x 24” Literature: Pilar Viladas, “Welcome to the Dollhouse” New York Times Magazine, October, 8, 2000; Michael Lobel, “Scale Models” ARTFORUM, October, 2010, pp. 256-260. $1,500-$2,500

167 detail

162

167

167 detail

163

168

168 Gary Patterson and Marion Barnes (American, Contemporary) “The Party” mixed media on canvas signed lower right, titled en verso. Framed. 48” x 36”, framed 58” x 45-1/2” Provenance: Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $3,000-$5,000

164

169 Nell Mabry (American/Louisiana, Contemporary) “You can do it” mixed media on canvas signed and titled en verso. Unframed. 40” x 30” Provenance: Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $1,000-$1,500

170 Alice Baber (American, 1928-1982) “The Piper of the Blue Ladder”, 1978 oil on canvas signed, dated and titled en verso. Framed. 38” x 64”, framed 39-5/8” x 65-1/4” Provenance: Frances Aronson Fine Art, Atlanta, Georgia. $2,000-$4,000 169

170

165

171 Lin Emery (American/Louisiana, b. 1926) “Sprout”, 2006 metal kinetic sculpture from a limited edition of 12, unsigned. h. 12” to 18”, l. 64” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $2,500-$4,000

171

171 detail

172 Jane Botsford Armstrong (American, 1921-2012) “Togetherness - Hippo Group” white Vermont marble the resting hippopotami on a rectangular black base. overall h. 9”, w. 16-1/4”, d. 14” $1,000-$1,500

172

166

173

173 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Imagined Landscape”, 1994 oil and oil stick on canvas signed and dated lower center right. Framed. 67” x 66”, framed 67-1/2” x 66-3/4” Provenance: Sotheby’s, New York, New York, March 10, 2009, lot 233; Jerry Melberg Gallery, Charlotte, North Carolina. $20,000-$40,000

167

174 Molly Stone (American, b. 1950) “Amor Semper Vivant” blown glass with Cohn-Stone Studio, California, black and white striped branch with two black birds, separate small clear nest and matte black egg with title, incised signature and dates at end of branch. h. 10-5/8”, w. 15”, d. 8-1/4” $1,200-$1,800

174

175 Flo Perkins (American/New Mexico, b. 1951) “Cactus Flower” blown glass with glass rods from the “Cactus” series, yellow blooms nestled within pale olive spines, all set within a tall vase with a Florentine design in black, orange, yellow, green and white. h. 24-3/4”, w. 11”, d. 11” $1,500-$2,500

175

168

176

176 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Mystic Series #40”, 1985 mixed media on canvas signed and dated lower right. Framed. 36” x 49-1/2”, framed 39” x 53-1/2” $20,000-$40,000

169

177 Toots Zynsky (American, b. 1951) “Rainbow Color Curved Bowl” filet-de-verre fused and thermo-fused colored glass threads marked “Z” at bottom. h. 4-5/8”, w. 16”, d. 4-1/4” $7,000-$10,000

177

170

178

178 Ashley Longshore (American/Louisiana, Contemporary) “Untitled, Champagne and Bubbles” acrylic and resin on gallery-wrapped canvas signed along lower left edge. 60” x 48” $8,000-$12,000

171

179

179 Linda Dumont (American/Texas, Contemporary) “Untitled Triptych”, 1982 acrylic on gallery-wrapped canvas one panel signed lower right, each signed, dated and inscribed en verso upper edge. each panel 54” x 34” $1,000-$1,500

172

173

S CULPTURE • G LASS • 3- D

180 Jose Luis Sanchez (Spanish, 1926-2018) “Untitled” polished bronze incised signature and marked “PA” along edge, on a black resin base. sculpture h. 5-1/8”, w 5-5/8”, d. 3”, base h. 1-1/8” $1,000-$1,500

180

181 Jose Luis Sanchez (Spanish, 1926-2018) “Untitled” polished bronze incised signature and numbered “61/62” along edge of one element, artist/foundry mark along bottom edge, on a black resin base. sculpture h. 5”, w. 6-1/2”, d. 4-3/4”, base h. 1-1/2” $1,000-$1,500

181

174

182 Donald Roller Wilson (American/Arkansas, b. 1938) “Untitled”, 1975 mixed media collage with wood pencil-signed and dated lower left. 11-3/4” x 10” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

182

175

183 Peter Saari (American/New York, b. 1951) “Untitled, Portal” casein on plaster board fitted for hanging. 86” x 92” x 3” Provenance: OK Harris Gallery, New York, New York; Private collection, New Orleans, Louisiana. $3,000-$5,000

176

177 183

184

184 David Giese (American, 20th/21st Century) “Putti Opening the Portal to Arcadia”, 1996 concrete, flotage, paint and mixed media from “The Villa Bitricci” series. 64” x 54” x 9” Provenance: OK Harris Gallery, New York, New York; Private collection, New Orleans, Louisiana. $1,000-$1,500

178

185 Jonathan Thomas (Canadian, 1946-2005) “Fragments”, 1999 seven mixed media sculptures each mounted on a metal presentation stand. h. 33” - 72”, each panel w. 5-1/2”, d. 2”, base 8” x 8” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,500-$2,500

185

179

186 Clemens Briels (Dutch, b. 1946) “A Jump for Joy”, 2002 acrylic on snowboard created for the 2002 Salt Lake City Winter Olympic Games, signed lower left, titled center. 57-1/2” x 11” $3,000-$5,000

186

180

187 Richard Newman (American, b. 1946) “Memories Worth Catching” painted stoneware signed at top. h. 5”, w. 12”, d. 10” Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $2,000-$4,000

187

188 A. R. (Ralf Winkler) Penck (German, 1939-2017) “Untitled” painted ceramic bowl signed along outer edge. dia. 15-1/2” $1,000-$1,500

188

181

189 Niso Maman (Israeli, b. 1957)

190 Victor Vasarely (French/Hungarian, 1906-1997)

“Untitled”, 1999

“Axo 99/Bidim-M”, 1988

cut and painted metal signed, dated, copyright-marked and numbered “1/8” at back of integral base. overall h. 81”, w. 26”, d. 26”

3D wooden multiple with acrylic unsigned, pencil-numbered lower right-facing edge “149/175”. Presented on a black cast metal stand. h. 27-1/2”, w. 13-3/4”, stand h. 36-1/4”, w. 15”

$1,500-$2,500 $3,000-$5,000

182

189

190

191

191 Stan Meyer (American, b. 1949) “Tri Waves”, 1999 3D woven roofing felt paper, painted with combination of buttermilk, dry pigments and metallic paint signed, titled and dated en verso. 61” x 48” x 5” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

183

192 Alessandro Mendini (Italian, 1931-2019) “Proust Fauteuil”, 1978 carved, painted and upholstered armchair produced by Cappellini, Milan, after the original design for the Palace of Diamanti, Ferrara, Italy, for the exhibition, “Incontri ravvicinati di architettura” (Intimate encounters of architecture). h. 43”, w. 40” Literature: Albrecht Bangert, Italian Furniture Design... (Munich: Bangert Publications, 1988) ill. p. 63; Gramigna Giuliana, Repertorio del Design Italiano 1950-2000 Per L’Arredamento Domestico (Milan: Allemandi, 2003), p. 261. $3,000-$5,000

192

192 detail

184

193

193 Roy Lichtenstein (American/New York, 1923-1997) “Dinner Plate”, 1966 six-piece transfer-printed porcelain service for one made by Jackson China for Durable Dish Co., each dish marked “Jackson China for Durable Dish Co.”, dated and signed “R. Lichtenstein”. diameter of plates 6” to 10-1/4”, height of teacup 2-1/2” $1,200-$1,800

193 detail

185

194 Richard Royal (American, b. 1952) “Untitled”, 1994 blown glass from the “Relationship” series, entwined elements in deep purple, incised signature and dated along edge. h. 31-3/4”, dia. 7-1/2” $700-$1,000

194

195 Richard Royal (American, b. 1952) “Untitled”, 1999 blown glass from the “Relationship” series, entwined elements in orange, green and purple, incised signature and dated along edge. h. 32-3/4”, dia. 7-1/2” $700-$1,000

195

186

196 Steve Tobin (American, b. 1957) “Cocoon” blown glass and wrought iron open-mouthed vessel in marbled shades of red, brown, lilac, blue and green, set within iron armature. overall h. 67-1/2”, dia. 12-1/2” $1,000-$1,500

196

187

197 Dale Chihuly (American, b. 1941) “Violet Seaform”, 1999 blown glass two-piece set in shades of deep to light violet with apple green lip, smaller element with engraved signature and “PP99” underneath, displayed on a lighted glass-inset brushed metal base fitted with an acrylic cover. small h. 1-7/8”, dia. 5”, large h. 8”, w. 13”, d. 11”, box h. 12”, w. 12”, d. 12” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Russell C. Klein, M.D. and Donna Guinn Klein. $2,500-$4,000

197

197 detail

188

198

198 Helder Batista (French, b. 1964) “Untitled”, 2019 fiber resin and found objects five variously colored toy cars suspended in an egg-shaped structure, incised signature and dated at bottom, with a certificate of authenticity from the artist. h. 4-3/4”, dia. 3-1/2” $1,000-$1,500

189

199 George Rodrigue (American/Louisiana, 1944-2013) “The Blue Dog Bug”

$30,000-$50,000

George Rodrigue began his nearly decade-long collaboration with the prestigious retailer in 1996, when he was commissioned to create the cover of their men’s catalogue; the single requirement being that the artist incorporate the retailer’s butterfly symbol into the image. The resulting painting, “Butterflies are Free” was such a resounding success, that Rodrigue returned in 1998 with “Hawaiian Blues”, and in 1999 with “The Millennium". 1999 was also the year that the artist painted three fiberglass cows as part of the citywide Chicago Cow Parade charity fundraiser.

The “Blue Dog Bug” by George Rodrigue is an exceptional, one-of-a-kind, hand-painted car, which was a special commission through exclusive retailer Neiman Marcus for their InCircle program.

Neiman Marcus established the InCircle program to reward the most loyal shoppers. The InCircle program has 20 tiers with a top tier of five million points. Over the years, the top rewards have included exclusive trips, experiences and cars.

According to Jacques Rodrigue, the artist’s son, “George Rodrigue rarely lent his artwork for objects and this makes the Blue Dog Bug extremely rare and unique. He and Neiman Marcus partnered on several national promotions during the 1990s and the Blue Dog Bug demonstrates the creativity that the two enjoyed while working together.”

In 2000, Neiman’s InCircle top tier program included the “Blue Dog Bug”. The present owners, intrigued by this work, instantly contacted the retailer in regards to their eligibility; it was the impetus not only for an impressive collection of works by Rodrigue, but also the beginning of a personal relationship with the artist.

Hand-painted 2001 Volkswagen New Beetle 612 miles 4-1984 2.0L SOHC Engine Manual Transmission Recent service records available on request. h. 60”, w. 68”, l. 161”

190

199

199 detail

191

200 Benjamin Moore (American, b. 1952) “Palla”, 1999 blown glass cobalt, incised signature, dated and copyright-marked at bottom. dia. 10-5/8” $600-$900

200

200 detail

192

201

201 detail

201 Benjamin Moore (American, b. 1952) “Palla”, 1999 blown glass selenium red, incised signature, dated and copyright-marked at bottom. dia. 11” $600-$900

193

202

202 Rick Beck (American, b. 1960) “Drill Bits”, 2003/4 cast glass group of three from the “Tools” series including “Amber”, “Green”, “Blue”, each with incised signature and dated along shaft, each with a custom-made iron display support. h. 59”, w. 6-1/4”, d. 6-1/8”; h. 57-1/8”, w. 7-1/2”, d. 6-1/2”; h. 56”, w. 6”, d. 6-1/2”, respectively $3,000-$5,000

194

203

203 Lin Emery (American/Louisiana, b. 1926) “Currents”, 1992 aluminum and painted aluminum kinetic sculpture approx. h. 22’, orbit 16’ Provenance: Daytona Beach International Airport, Daytona Beach, Florida. $30,000-$50,000

195

204 Dale Chihuly (American, b. 1941) “Ikebana” blown glass the large round Imperial Blue and gold vase holding a lobefooted Imperial Blue stem with two gold-flecked putti clinging to it and ending in a long, twisting speckled rose and gold leaf. h. 32-3/4”, w. 17-1/2” $1,000-$1,500

204

205 John Littleton (American, b. 1957) Kate Vogel (American, b. 1956) “Bagged Bag”, 1986 blown glass, translucent amber and lilac, incised signature, dated and numbered “12/210” at bottom. h. 14-1/2”, w. 9-1/4”, d. 10” $1,000-$1,500

205

196

206 Hivo Van Teal (Cuban/Florida, 20th Century) Lucite Sculpture comprised of two facing helixes, incised signature at front right of shaped self-base, with acrylic pedestal. h. 18”, w. 18”, overall h. with pedestal 63” $1,000-$1,500

206

206 detail

197

W ORKS ON P APER

207 Adolf Dehn (American, 1895-1968) “Consumption”, 1923 “Three Girls”, 1924 ink drawings on paper each signed and dated lower right. Matted, glazed and framed alike. 19” x 14” and 17” x 15”, respectively; framed 26-1/4” x 22” and 25-3/4” x 23-1/4” Provenance: Estate of Elaine Levy Proler, Houston, Texas. $1,000-$1,500

207

198

208 Milton Clark Avery (American/New York, 1885-1965) “Female Nude”, ca. 1946 flobrush pen on paper signed lower right, titled “Mirrored Nude” and dated on “Pembroke Gallery, Houston” label on frame backing. Matted, glazed and framed. 17” x 14”, framed 25” x 21-1/4” Provenance: Estate of Elaine Levy Proler, Houston, Texas. $2,000-$4,000

208

209 Milton Clark Avery (American/New York, 1885-1965) “Female Nude and Head Study”, ca. 1956 flobrush pen on paper signed lower right, titled “Head and Body” and dated on “Pembroke Gallery, Houston” label on frame backing. Matted, glazed and framed. 17” x 14”, framed 25” x 21” Provenance: Estate of Elaine Levy Proler, Houston, Texas. $2,000-$4,000

209

199

210 Giovanni Balderi (Italian, b. 1970) “Untitled”, 2010 graphite and watercolor on Arches paper pencil-signed and dated lower right, signed, dated, dedicated and inscribed en verso. Unframed. sheet 30-1/4” x 22-1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000-$1,500

210

211 Giovanni Balderi (Italian, b. 1970) “Untitled”, 2010 graphite and watercolor on Arches paper pencil-signed and dated lower right, signed, dated, dedicated and inscribed en verso. Unframed. sheet 30-1/2” x 22-1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000-$1,500

211

200

212

212 John G. F. von Wicht (American, 1888-1970) “Untitled” oil on paper signed lower right, verso with “Meredith Long & Company, Houston, Texas” label. Matted, glazed and framed. sight 25” x 31-1/2”, framed 34-1/2” x 41” Provenance: Meredith Long & Company, Houston, Texas; Estate of Elaine Levy Proler, Houston, Texas. $1,000-$1,500

201

213

213 John Hartman (Canadian, b. 1950) “The Miraculous Rain”, 1983 oil on rag board monogrammed “H”, titled and dated on frame backing and on “Gadatsy Gallery, Toronto” label. Presented in an acrylic float-mount frame. 37-1/2” x 57-1/2”, framed 41-1/4” x 61-1/2” Provenance: Gadatsy Gallery, Toronto, Canada; private collection. $5,000-$8,000 214 John Hartman (Canadian, b. 1950) “Woodland Interior”, 1981 pastel on gray paper initialed “H” lower left, signed, titled, dated and “Gadatsy Gallery, Toronto” label with artist, title and date en verso. Matted, glazed and framed. 31-1/4” x 22-1/2”, framed 37” x 29-1/4” Provenance: Gadatsy Gallery, Toronto, Canada; private collection. 214

$1,200-$1,800

202

215 Donald Baechler (American, b. 1956) “Stop Searching Forever...”, 1996 mixed media collage on canvas board label en verso with artist, date, material and noting piece was sold to benefit CRIA. Glazed and framed. 8” x 6”, framed 11-1/2” x 9-1/2” Provenance: Edrich Fine Arts, Huntington Station, New York. $1,000-$1,500

215

216 Bernard Meadows (British, 1915-2005) “Two Sculptural Studies of Armed Figures” gouache, ink wash and graphite on paper each monogrammed and dated at bottom left and right, respectively; frame backing with British Council exhibition labels, and “Gimpel Fils Gallery, London”. Each matted, glazed and framed. each sight 7-3/4” x 10-1/4”, framed 27-1/4” x 21-1/4” Provenance: Collection of Mrs. Bernard Meadows, London, U.K.; Gimpel Fils Gallery, London, U.K.; Private collection. Exhibited: “Sculpture Exhibition for Commonwealth Countries”, London, 1961/1963. “British Pavilion”, Venice Biennale, Venice 1964, (Likely) Gimpel Fils Gallery, London. $1,000-$1,500

216

203

217

204

217 Fernand Leger (French, 1881-1955) “Study for the Fireplace Mural at the Nelson Rockefeller Mansion, 810 Fifth Avenue, New York”, 1938 gouache and pencil on paper laid on cardboard unsigned, numbered “111” in pencil lower center, “Solomon & Co., New York” and “Lerner-Heller, New York” labels on frame backing. Framed. sheet 11” x 7-1/2”, framed 18-3/4” x 17-1/4” Provenance: Lerner-Heller Gallery, New York, New York; Christie’s, New York, New York, November 5, 1981, lot 426; Solomon and Company Fine Art, New York, New York; Estate of Elaine Levy Proler, Houston, Texas. $10,000-$15,000

Through Wally Harrison, architect of the Rockefeller Center, Fernand Leger was introduced to Nelson D. Rockefeller, when he and Henri Matisse were commissioned by the magnate in 1938 to paint two spacious fireplaces that Harrison had designed for the New York mansion on 5th Avenue. Leger’s goal was to create an “attractive arrangement of colors” that relate to the “animated landscapes” he exhibited at the Pierre Matisse Gallery in New York in 1937. In this body of work, Leger explores the interplay between organic forms derived from trees, aloe plants and seaweed with architectural elements innate to the post and lintel structure of the fireplace and rich paneling of the 14th floor livingroom. Leger executed several gouache and card studies for this mural-all slight variations of the study offered here. According to Rockefeller’s recollection, he created the work in situ: “I used to watch Leger in fascination as he painted and the details unfolded. After he finished, we liked it so much we persuaded him to do additional murals for the circular stairwell and hallways.” A few of the studies have sold at auction, most recently the 2015 sale at the Hotel des Ventes de Monte Carlo in Monaco, where three studies were prepared on one card. Three other well known studies are conserved at the Herbert F. Johnson Museum of Art at Cornell University, Ithaca, New York.

205

218

218 Kenny Scharf (American, b. 1958) “Untitled”, 1999 watercolor on paper signed lower left, dated lower right. Matted, glazed and framed. sight 6-3/4” x 4-5/6”, framed 15-1/4” x 12-1/4” Provenance: Animation and Fine Art Galleries, Inc., Carrboro, North Carolina; sold for the benefit of SITE Santa Fe. $3,000-$5,000

206

219 Charles Woodward Hutson (American/Louisiana, 1840-1936) “Sail Boat on Back Bay” and “Big Tree: Bright Leaves” two watercolors on paper each monogrammed lower right, and titled on lables en verso. each matted, glazed and framed. sights 8-1/2” x 11-1/2”; 9-1/2” x 7-1/2”, framed 17-1/4” x 21”; 21-1/2” x 17” $1,000-$1,500

219

207

220

220 George Rodrigue (American/Louisiana, 1944-2013) “Good Morning Sunshine” mixed media, silkscreen and acrylic on paper signed lower left. Matted, glazed and framed. sight 33” x 24-1/2”, framed 48-3/8” x 40-3/8” $10,000-$15,000

208

209

221 William Edward Joyce (American/Louisiana, b. 1957) “Illustration for George Shrinks", 1985 graphite on paper signed lower right. Matted, glazed and framed. sight 8” x 10-1/2”, framed 15-3/4” x 18-1/2” $1,000-$1,500

221

222 William Edward Joyce (American/Louisiana, b. 1957) “Illustration for Bentley and Egg", 2017 color pencil on paper signed and dated lower right. Matted, glazed and framed. sight 8” x 9-1/2”, framed 21” x 24” $1,000-$1,500

222

210

223

223 Dong Kingman, N.A. (American, 1911-2000) “Afternoon in the Park” watercolor on paper signed lower right. Matted, glazed and framed. sight 21” x 14”, framed 30” x 22” $1,200-$1,800

211

224 George Condo (American, b. 1957) “For Amanda...”, 1999 watercolor on paper pencil-signed, dated and inscribed “For Amanda Thanks for Surprising Me” along upper edge. Float-mounted, glazed and framed. sheet 16-3/8” x 15”, framed 24” x 22-1/2” Provenance: I.M. Chait Auctions, Los Angeles, California, April 25, 2004, lot 239. $3,000-$5,000

224

225 Donald Keith Sultan (American, b. 1951) “Eightballs”, 1997 ink on paper pencil-initialed, dated and titled along upper edge. Float-mounted, glazed and framed. sheet 6” x 8-1/2”, framed 13-1/4” x 16-1/8” Provenance: Daniel Cooney Fine Art, New York, New York; Edrich Fine Arts, Huntington Station, New York. $1,500-$2,500

225

212

226

226 Tom Wesselmann (American, 1931-2004) “Smoking Cigarette”, 1998 Liquitex and collage on paper pencil-signed and dated along lower edge. Matted, glazed and framed. sight 6” x 6”, framed 16” x 13-1/2” Provenance: C & L Fine Arts, Bohemia, New York; Private collection, New Orleans, Louisiana. $2,500-$4,000

213

214

227

227 Derek Boshier (British/American, b. 1937) “The Guardian”, 1987 linocut signed and dated lower right, numbered “1/15” lower left. Float-mounted, glazed and framed. 64” x 40-1/2”, framed 66-1/4” x 42-3/4” Provenance: Private collection, Houston, Texas. $3,000-$5,000

215

S OUTH A MERICAN

228

228 Feliciano Bejar (Mexican, 1920-2007) “Magiscope Cube”, 1968 enameled steel and cut glass h. 6-1/4”, w. 6-1/4”, d. 6” $2,000-$4,000

216

229 Eduardo Cardozo (Uruguayan, b. 1965) “A la Vista del Espectador”, 2005 mixed media on canvas signed lower right, verso with “Galeria Sur” label. Unframed. 34-1/4” x 63” Provenance: Galeria Sur, Uruguay; Private collection, Houston, Texas. $3,000-$5,000

229

217

230 Aurelino dos Santos (Brazilian, b. 1942) “Santa Barbara”, 1966 gouache on paper mounted on canvas signed and dated lower right, titled and dated en verso. Framed. 18” x 15”, framed 19” x 16” Provenance: Private collection, Houston, Texas. $1,000-$1,500

231 Calman Shemi (Argentinian, b. 1939) “Life in Nature” oil on canvas signed lower left, signed and titled en verso, a “Circle Fine Art” label en verso. Unframed. 31” x 39”, framed 34-3/4” x 42-3/4” 230

$1,200-$1,800

231

218

232

232 Romeo Tabuena (Filipino/Mexican, 1921-2015) “Village Women”, 1960 oil on masonite signed and dated lower left. Framed. 10” x 23”, framed 16-5/8” x 29-1/2” $3,000-$5,000

219

W ESTERN /T EXAS â&#x20AC;¢ 20 TH /21 ST C ENTURY

233

220

233 Granville Redmond (American/California, 1871-1935) “In the Moonlight” oil on canvas signed lower left. Framed. 16” x 22”, framed 24-1/2” x 30-1/2” Provenance: Bonhams, California, December 12, 1996, lot 3241. $20,000-$40,000

221

222

234 Olaf Wieghorst (American/California, 1899-1988) “Battle at Dawn” oil on canvas signed lower left. Framed. 28” x 38”, framed 33-1/2” x 43-1/2” $15,000-$25,000

234

223

235

235 Olaf Wieghorst (American/California, 1899-1988) “Strays” oil on canvas signed lower left. Framed. 16” x 20”, framed 26” x 30” $7,000-$10,000

224

236

236 Olaf Wieghorst (American/California, 1899-1988) “Cattle Drive” oil on canvas signed lower left. Framed. 28” x 38”, framed 33-1/2” x 43-1/2” $15,000-$25,000

225

237

237 Barnaby Fitzgerald (American/Texas, b. 1953) “Straw Hair”, 1995 oil on canvas signed and dated lower right, signed, titled and dated en verso, “Meredith Long & Company, Houston, TX” label en verso. Framed. 32” x 36”, framed 33-1/2” x 37-1/2” Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. $3,000-$5,000

226

238 James Drake (American/Texas, b. 1946) “Praetorian Guard”, 1985 conte crayon, pencil, charcoal and watercolor on paper signed and titled bottom center and right, verso with “Texas Gallery, Houston, TX” label. Float-mounted, glazed and framed. 40” x 69-3/4”, framed 43-1/2” x 73” Provenance: Texas Gallery, Houston, Texas; Private collection, Houston, Texas. $5,000-$8,000

238

227

239

239 James Drake (American/Texas, b. 1946) “The Raft of Medusa” mixed media Xerox and collage on paper no visible signature. Glazed and presented in a custom, integrated hand-forged metal frame. sight 26” x 38”, framed 30” x 42” Provenance: Private collection, Houston, Texas. $1,000-$1,500

228

240 Billy Hassell (American/Texas, b. 1956) “Fish Crow”, 1989 oil on canvas signed, titled and dated en verso. Gallery wood frame. 36” x 39”, framed 38” x 41-1/2” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $4,000-$7,000

240

241 Billy Hassell (American/Texas, b. 1956) “The Meteor”, 1990 oil on canvas signed and dated lower right, signed, dated and titled en verso. Thin wood gallery frame. 22” x 20”, framed 24” x 22” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,500-$2,500

241

229

242 Charles Schorre (American/Texas, 1925-1996) “Astroflora” mixed media on canvas signed lower left, titled en verso, with a further inscription, verso with “Meredith Long & Company, Houston, Texas” label. Unframed. 48” x 48” Provenance: Meredith Long & Company, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $2,000-$4,000

242

243 Charles Schorre (American/Texas, 1925-1996) “Springfling” oil on canvas signed lower right, titled on stretcher, verso with “Meredith Long & Company, Houston, Texas” label. Thin gallery frame. 13” x 20”, framed 14-1/4” x 21-1/4” Provenance: Meredith Long & Company, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500 243

230

244

244 Basilios Poulos (American/Texas, b. 1941) “Afion”, 1977 acrylic on canvas signed, titled and dated en verso stretcher. Thin gallery frame. 88” x 61”, 89” x 62” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $2,000-$4,000

231

245

245 Howard Sherman (American/Texas, Contemporary) “Braintrust”, 2006 mixed media on canvas signed, titled and dated en verso, verso with “McMurtrey Gallery, Houston, Texas” label. Unframed. 60” x 50” Provenance: McMurtrey Gallery, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $2,500-$4,000

232

246 Rev. Johnnie Swearingen (American/Texas, 1908-1993) “Apple Orchard”, 1977 oil on masonite monogrammed lower right, signed, dated and further inscribed en verso. Framed. 19” x 24”, framed 23” x 28” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

246

247 David Adickes (American/Texas, b. 1927) “Two Bicycles” oil on canvason wood panel signed lower right. Framed. 18-1/2” x 24”, framed 19” x 25” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

247

233

248 Scott Gentry (American/Texas, Contemporary) “Dancing Muse”, 2002 polished bronze signed, dated and numbered “2/20” at back of proper right shoulder, on a beveled black marble base. sculpture h. 12-1/2”, overall h. 15”, w. 12”, d. 5” $1,000-$1,500

248

249 Scott Gentry (American/Texas, Contemporary) “L’Homme Torso”, 2001 patinated bronze signed, dated and numbered “1/20” along back of proper right shoulder, on a shaped black marble base. sculpture h. 25-1/2”, overall h. 28”, w. 11-1/2”, d. 9-7/8” $1,000-$1,500

249

234

250 Craig Lesser (American/Texas, 1955-1989) “Peter Pan Shadow Boxing”, 1984 oil on canvas signed, titled and dated en verso, verso with “Meredith Long & Company, Houston, Texas” label. Unframed. 47” x 68” Provenance: Meredith Long & Company, Houston, Texas; Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

250

251 Craig Lesser (American/Texas, 1955-1989) “Untitled”, 1988 oil on canvas signed and dated lower right. Unframed. 37” x 46” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $1,000-$1,500

251

235

U NDER $1000

252 Pierre Chandelier (French, b. 1957) “Ours a Trompe”, 2004 oil on canvas signed mid-right, titled and dated en verso. Framed. 18-1/2” x 13”, framed 23-1/4” x 18” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $700-$1,000

252

253 David Adickes (American/Texas, b. 1927) “The Philosopher” oil on canvas over panel signed upper right. Framed. 24” x 18”, framed 30” x 23-1/2” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $800-$1,200

253

236

254 Kay Ritter (American, b. 1950) “Betty with Her Dog” papier-mache and mixed media sculpture h. 53”, w. 19”, d. 14-1/2” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $800-$1,200

254

237

255 James Coignard (French, 1925-2008) “Still Life”, 1961 oil on canvas signed lower right, dated, titled and inscribed on stretcher, stretcher with Sotheby’s and shipping labels. Framed. 18” x 24”, framed 18-3/4” x 24-3/4” Provenance: Sotheby’s, New York, New York, March 13, 2013, lot 58. $500-$800 256 Jameson Wells (American/New Mexico, Contemporary) “Composition #29”, 1989

255

oil and mixed media on paper laid down on wood panel signed, dated and with artist label en verso. 26” x 34” Provenance: Estate of Hurley Wayne Gray, Houston, Texas. $800-$1,200

256

238

257 Larry Rivers (American, 1923-2002) “Big B Signs Up”, 1976 color lithograph on Japon paper pencil-signed and dated lower right, numbered “H.C. 25/25” lower left, in paper portfolio. Unframed. sheet 20” x 20” $700-$1,000

257

258 Jose de Creeft (Spanish/New York, 1884-1982) “Growth Form”, 1932 ink and tempera signed and dated lower right, two “Meredith Long & Company, Houston, Texas” labels with artist, title and date en verso. Matted, glazed and framed. 14-3/4” x 11”, framed 21” x 17-1/2” Provenance: Meredith Long & Company, Houston, Texas; Estate of Elaine Levy Proler, Houston, Texas. $800-$1,200

258

239

260

259 Lesley Dill (American, b. 1950) “A Word Made Flesh”, 1994 lithograph and collage on paper pencil-signed and numbered “12/20” at lower left. Float-mounted, glazed and framed. sheet 30-1/2” x 22”, framed 35-1/4” x 26-1/4” $600-$900

259

260 Brian Blood (American/California, act. late 20th c./21st c.) “Weekend Work, Moored by Boatworks”, 2005 oil on panel initialed “B.B.” lower left and signed, titled, dated and artist’s card en verso. Framed. 9” x 12”, framed 14-1/2” x 17-1/2” Provenance: Estate of Louis Tenenbaum, Houston, Texas. $600-$900 261 Clyde Connell (American/Louisiana, 1901-1998) “Damp Evening, Lake Bistineau” mixed media with collage on canvas signed, titled and localized en verso. Unframed. 15” x 14” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $700-$1,000

240

261

262 Clyde Connell (American/Louisiana, 1901-1998) “Woods Alter - Lake Bistineau” ink on rice paper signed, titled and localized en verso. Glazed and framed. 17” x 13”, framed 20” x 15” Provenance: Estate of David V. Middleton, Jr., Shreveport, Louisiana. $500-$800

263 Vanessa Beecroft (Italian/American, b. 1969) “VB 08-36”, 2000 offset lithograph with foil stamp signed and numbered “8/300” on label en verso. Glazed and framed. sight 36” x 53-1/4”, framed 40-3/4” x 58” $800-$1,000

262

263

241

Artist Index Adickes, David 247, 253 Alferez, Enrique 84 Amedee, Wayne 104 Angres, Giora 130 Armstrong, Jane Botsford 172 Avery, Milton Clark 208, 209 Baber, Alice 170 Baechler, Donald 215 Balande, Gaston 22 Balderi, Giovanni 210, 211 Barnes, Marion 168 Baselitz, Georg 56 Basquiat, Jean-Michel 57 Batista, Helder 198 Beck, Rick 202 Beecroft, Vanessa 263 Bejar, Feliciano 228 Berthelsen, Johann 109 Blomdahl, Sonja 149, 150, 155, 157 Blood, Brian 260 Boshier, Derek 227 Briels, Clemens 186 Camus, Gustave 37 Canu, Yvonne 15A Cardozo, Eduardo 229 Carroll, Lewis 39 Castle, Philip 32 Chagall, Marc (after) 53 Chandelier, Pierre 252 Chihuly, Dale 197, 204 Coignard, James 255 Condo, George 224 Connell, Clyde 132, 144, 146, 147, 151, 261, 262 Cundin, Jose-Maria 86-88, 90, 91 Daens, Antoine 8 Dali, Salvador 39-41 de Creeft, Jose 258 Dehn, Adolf 207 Delfgaauw, Gerardus Johannes 2 Delmotte, Marcel 36 Dill, Lesley 259 Domergue, Jean-Gabriel 11 Donovan, John 103 dos Santos, Aurelino 230 Douillet-Chevoleau, Raymond 35 Drake, James 238, 239 Dumont, Linda 179 Dunbar, George Bauer 93 Dunlap, William Ralph ‘Bill’ 105, 106 Dureau, George Valentine 73 Dyf, Marcel 14 Emery, Lin 77, 171, 203 Fabien, Louis P. 26 Fazzino, Charles 59, 60 Fenton, John Nathaniel 116 Fitzgerald, Barnaby 237 Franceschini, J. 9 Friesz, Achille-Emile Othon 20 Futura 2000 121-124

Gagliardini, Julien Gustave 18 Garrido, Eduardo Leon 7 Gaudet, Mitchell 78 Genin, Lucien 21 Gentry, Scott 248, 249 Gergely, Imre 6 Gertjejansen, Doyle 99 Giese, David 184 Gilbert, Jan 152 Goodacre, Glenna 163 Gordine, Dora 10 Gordy, Robert 82, 83 Gorilla Girls Houston 131 Greacen, Edmund William 113 Guillaumin, Armand 19 Halliday, David 66 Haring, Keith 57 Hartman, John 213, 214 Hassell, Billy 240, 241 Heldner, Colette Pope 136 Hendricks, Edward Lee 119 Hensche, Henry 94, 95 Heytman, Willem 25, 28 Hogan, Patrick 118 Hood, Dorothy 101 Hunter, Clementine 137-140 Hutson, Charles Woodward 219 Joyce, William Edward 221, 222 Kahn, Wolf 114 Kane, Bob 58 Kingman, N.A., Dong 223 Kluge, Constantin 24 Knowles, Sabrina 143 Kohlmeyer, Ida Rittenberg 141, 148, 173, 176 Kosorukov, Valery 162 Koss, Gene 74 Kronberg, Louis 111 Kupferman, Lawrence Edward 125 Lebourg, Albert Marie 17 Leger, Fernand 217 Lejeune, Jacques Renard 13 Lellouche, Michele 33 Leonard, Herman 65 Lesser, Craig 250, 251 Levier, Charles 34 LeWitt, Sol 55 Lichtenstein, Roy 44, 45, 57, 61, 193 Littlejohn, John 205 Longshore, Ashley 178 Lundy, Anstis 159-161 Mabry, Nell 169 Magritte, Rene 42 Maman, Niso 189 Masson, George 16 Matos, John ‘CRASH’ 120 Max, Peter 63 McCloskey, William J. 108 Meadows, Bernard 216 Mendini, Alessandro 192

Artist Index Meyer, Stan 191 Millet, Clarence 69 Moore, Benjamin 200, 201 Mose, Tony 76 Mullen, Philip Edward 75 Nechita, Alexandra 166 Neiman, LeRoy 115 Nevelson, Louise 145 Newcomb, Mary Stratford 153 Newman, Richard 187 Ono, Yoko 57 Pages, Jules Eugene 110 Patterson, Gary 168 Pauwels, Henri Joseph 12 Payton, Martin 72 Penck, A. R. (Ralf Winkler) 188 Perkins, Flo 175 Picasso, Pablo (after) 48 Pierson, Jack 64 Pissarro, Georges Manzana 3 Pohlman, Jenny 143 Polandov, Khristo 23 Pontoy, Henri Jean 4, 5 Poulos, Basilios 244 Pramuk, Edmund 79 Rauschenberg, Robert 47 Redmond, Granville 233 Reed, David 46 Renoir, Pierre-Auguste 50 Rhead, Louis John 51 Ritter, Kay 254 Rivers, Larry 62, 257 Rockmore, Noel 85, 97 Rodrigue, George 68, 100, 199, 220 Rosenquist, James 54 Rouault, Georges (attributed to) 49 Roubinet, Maxime 15 Royal, Richard 194, 195 Ruffner, Ginny 158 Russell-Pool, Kari 165 Saari, Peter 183 Sanchez, Jose Luis 180, 181 Sandstrom, Sigrid 38 Sattler, Joseph 52 Saylors, Jo 164 Scharf, Kenny 218 Schorre, Charles 242, 243 Scott, John Tarrell 81, 92 Shemi, Calman 231 Sherman, Howard 245 Silverman, Arthur 71 Simbari, Nicola 27 Simmons, Laurie 167 Skilling, William 117 Slonem, Hunt 98, 128, 129 Smith, Ben 107 Solomon, Syd 80 Stewart, Allison 156 Stoddard, Alice Kent 133

Stone, Molly 174 Sudduth, Jimmy Lee 102 Sultan, Donald Keith 225 Swearingen, Rev. Johnnie 246 Tabuena, Romeo 232 Tannen, Robert ‘Bob’ 70 Thomas, Jonathan 185 Tobin, Steve 196 Tolliver, William 96 Turner, Helen Maria 135 van der Plas, Niek 29-31, 142 Van Teal, Hivo 206 Vasarely, Victor 190 Velarde, Pablita 154 Vogel, Kate 205 von Wicht, John G. F. 212 Vuillard, George 1 Walter, Martha 134 Warhol, Andy 43, 57 Warrens, Robert Joseph 89 Wells, Jameson 256 Wesselmann, Tom 226 Wiegand, Gustave Adolph 112 Wieghorst, Olaf 234-236 Wilson, Donald Roller 182 Woodward, William 67 Yeager, Ira 127 Zakanitch, Robert 126 Zynsky, Toots 177

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

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) 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 (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

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

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

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

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

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

Rev. 01/04/17

New Orleans Auction Galleries

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

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

Date: ______________________

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

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

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

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

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