Modern & Contemporary Art + Design | November 18, 2021

NOAG

MODERN & CONTEMPORARY ART + DESIGN November 18, 2021

MODERN & CONTEMPORARY ART + DESIGN November 18, 2021

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% Buyer’s Premium

Cover: Lot 133 | Inside Cover: Lot 72 | Cover Page: Lot 160 | Back Cover: Lot 73

Featured: The Collection of Laura E. Grannen New Orleans, Louisiana The Collection of Ronnie Brenner New Orleans, Louisiana The Collection of Ruth and Michael Burke Covington, Louisiana The Collection of Adam Lippes New York and Massachusetts

Exhibition: November 4 - 17, 2021 Monday - Friday | 9:00 a.m. - 5:00 p.m.

Saturday, November 13 | 11:00 a.m. - 3:00 p.m.

By Appointment

Lot Schedule:

Please note that times are approximate

Thursday, November 18, 2021 10:00 a.m. CDT

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Bidding: Telephone

Absentee

Live Online

Bidding is available by telephone, absentee and live online with LiveAuctioneers and Invaluable

Pictured: Lot 77 (detail)

A Letter from the Director of Fine Art For many parts of the country, autumn brings crisp air and a landscape suddenly painted with magnificent reds and yellows.

Even though seasonal changes are far less dramatic here in Southeast Louisiana, I still look forward to this time of year as the unbearable summer heat and humidity gives way to more pleasant sun-filled afternoons and cooler evenings.

This subtle shift in the weather always seems to improve everyone’s mood. The parks, streets and shops begin to come alive again as if everyone has awoken from a long summer slumber. For me, November is a month to savor before the whirlwind of the holiday season. The merrymaking of December always seems to end too fast as if in a hurry to usher in the New Year.

I have heard countless exclamations about wanting 2021 to end as soon as possible, but I feel that it is a futile to focus on the negatives.

I would rather reflect on the many trials and triumphs of the months that have passed.

Despite the challenges of COVID-19 and Hurricane Ida, we have worked tirelessly to continue to curate interesting and exciting sales for you. In April, we held our first Modern and Contemporary Art + Design Auction. The highly successful sale achieved record prices for many works offered, and I am pleased

to once again present unique selection of items with great beauty that delight and inspire contemplation. This auction, a sequel of sorts to the April sale, is even more eclectic as we have expanded our selections of fine art photography, jewelry and several other categories.

Featured in the auction is a collection of fine art photography f rom the Estate of Laura Grannen, a longtime gallerist at “A Gallery for Fine Photography” in New Orleans. Also of note is a selection of sculptural brooches once in the Collection of Margaret Ann Schon-Tilden, the authority on Modernist jewelry, from various American modern metalsmiths, including Armand Winfield and Daniel Macchiarini.

This auction celebrates artists and artisans who we thank for enlightening us and bringing us together through shared visual experiences. Regardless of the challenges we are all facing, let’s not forget to look for beauty in unexpected places.

Enjoy!

Jelena Restovic James Director of Fine Art

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James McConnell “Mac” Anderson (American/Mississippi, 1907-1998) “Shrimp Boat”, 1969 oil on board monogrammed and dated lower right.

Framed.

12” x 18”, framed 14” x 20” $1,200-$1,800

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

Artist mat and frame.

18-1/2” x 18”, framed 24-3/4” x 24-1/2” Provenance: Cole Pratt Gallery, New Orleans, Louisiana. $3,500-$5,000

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Charles Woodward Hutson

(American/Louisiana, 1840-1936) “The Pond”

mixed media on paper initialed lower right.

Matted, glazed and framed. sight 11-3/4” x 8-3/4”, framed 19-1/2” x 16” $1,500-$2,500

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Alberta Kinsey (American/Louisiana, 1875-1952)

“Still Life of Red and Pink Blooms” oil on canvas board signed lower right.

Framed.

16-1/2” x 20-1/2”, framed 18-1/2” x 22-1/2” $1,000-$1,500

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Clarence Millet (American/Louisiana, 1897-1959) “The Old Homestead” oil on canvas laid down on board signed lower left, remnant of old label en verso.

Framed.

15” x 18”, framed 19-1/2” x 22-1/2” $5,000-$8,000

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

Framed.

30” x 36-1/2”, framed 34” x 40-1/2” $6,000-$9,000

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Attributed to Charles Henry Reinike (American/Louisiana, 1906-1983) “Houma Sharecropper Cabin” oil on canvas board unsigned.

Framed.

12” x 18”, framed 15-1/2” x 21-1/2” $1,000-$1,500

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Clarence Millet (American/Louisiana, 1897-1959)

“Resting Beneath the Moss-Laden Oaks” oil on canvas board signed lower left.

Framed.

12” x 9”, framed 14-3/4” x 11-3/4” $2,000-$4,000

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Pattie Richardson East (American/Texas/Oklahoma, 1894-1994) “Country Fair”, ca. 1930 oil on canvas board signed lower right.

Framed.

19-1/2” x 23”, framed 22-1/2” x 28-1/2” $1,500-$2,500

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William M. (Bill) Berra (American/New Mexico, b. 1952) “St. Francis of Assisi” oil on canvas signed lower right, verso with “Nedra Matteucci Fine Art, Santa Fe, New Mexico” gallery label.

16” x 20”, framed 23-1/4” x 27” Provenance: Nedra Matteucci Fine Art, Santa Fe, New Mexico; Private collection. $1,000-$1,500

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Robert William Wood (American/Texas, 1889-1979) “Far Horizons” oil on canvas signed lower left, titled on reverse.

Framed.

25-1/2” x 30”, framed 36” x 41” $5,000-$8,000

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Michael Gibbons (American, b. 1943)

“Cow in a Water Meadow”, 2000 oil on board signed lower left, signed, dated, titled and copyright-marked en verso.

Framed.

10” x 12”, framed 16-3/4” x 18-3/4” $1,000-$1,500

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Jacob Collins (American, b. 1964)

“Standing Nude”, 1997 oil on canvas signed and dated lower right, with a “John Pence Gallery” label en verso.

Framed.

26” x 19”, framed 33-1/4” x 26-1/4” Provenance: Acquired from John Pence Gallery, San Francisco, California, 2000; Freeman’s Auctions, Philadelphia, Pennsylvania, Forbes Collection Sale, December 14, 2016; Private collection. $6,000-$9,000

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Mabel May Woodward (American/Rhode Island, 1877-1945) “Beach Umbrellas” watercolor on paper signed lower right.

Matted, glazed and framed. sight 9-1/2” x 12-1/2”, framed 16” x 19” $1,500-$2,500

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Vintage Pair of Gilt-Bronze Maison Charles “Lampes Corail” 1970s, France, with coral-form bodies raised on gilt-bronze plinth bases, both marked “Charles/Made in France”, fitted with gilt-metal shades and European electrification. h. 22-3/4”, w. 12-1/4”, d. 9-3/4” Provenance: Selected for a Malibu, California interior designed

by Nate Berkus. $1,200-$1,800

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Pair of Roman Thomas “Paley” Chests the three long drawers with patinated metal ring pulls, the fronts custom-covered in Old World Weavers “Paso” horsehair fabric, the cases with canted front corners and tapering feet. h. 37”, w. 36”, d. 17-1/2” Provenance: Selected for a Malibu, California interior designed by Nate Berkus. $1,500-$2,500

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Set of Eight McGuire Laced Rawhide Dining Chairs 20th century, the rattan frames having X-form stretchers, each chair with a removable linen cushion. h. 39-1/2” Provenance: Selected for a Malibu, California interior designed

by Nate Berkus. $1,200-$1,800

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Louviere + Vanessa

(American/ Louisiana, Contemporary) “Puppets of Grief”, 2013

Kozo paper, gold leaf and resin from “Oblivion Atlas” series, signed, titled and dated “1/4/2013” en verso.

Unframed.

21” x 14” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $1,000-$1,500

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Large Murano Glass Venini-Style Prism Chandelier third quarter 20th century, of spiral form with five rows of cascading shaped colorless prisms and four tiers of internal sockets, fourteen lights total, electrified. h. 42” with chain, dia. 18” $1,200-$1,800

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Pair of Contemporary Romweber Burlwood Vitrines each with a row of three beveled mirrors, above a pair of plate glass doors, and a pair of mirrored paneled doors below, an interior drawer bearing the Romweber label. h. 76”, w. 31-1/2”, d. 18” $1,000-$1,500

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Brass Three-Arm Adjustable Floor Lamp 1970s, in the style of Goffredo Reggiani, the arched tubular outswinging arms each ending in a globular brass shade with white-enameled interior, porcelain socket and small circular vents, stamped “Pat. no.

2.729,473” where each adjustable shade joins the arm, the vertical arms joined at the lower portion by an amorphous lucite disc, all raised on a circular base with rounded edge and operated with a separate brass floor switch. h. 68-1/2”, arms fully outswung w. 51”, d. 26” Provenance: Jon Vaccari, New Orleans, Louisiana; Collection of Allain Bush, New Orleans, Louisiana. $1,000-$1,500

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Charles and Ray Eames Lounge Chair 670 and Ottoman 671 ca. 1996, Herman Miller, molded cherry plywood, black leather upholstery and brushed and enameled aluminum and steel, both examples bearing a black strip Herman Miller label. chair h. 32-3/4”, w. 33”; ottoman h. 16-1/2”, w. 26-1/4”, d. 20-3/4” $1,800-$2,500

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Pair of Chrome and Faux Leather “Zermatt” Chairs 1970s, Vecta Group, Italy, the polished chrome frames wrapped in orange grained faux leather “slings”. h. 31-1/2”, w. 26” $1,000-$1,500

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Ellis Wilson

(American, Kentucky/New York, 1899-1977) “Mother and Daughters Headed to Market” oil on canvas signed lower left.

Framed.

14” x 11-1/4”, framed 15-5/8” x 12-5/8” Provenance: Private collection, Florida. $2,000-$4,000

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(American/New Orleans, 1903-1964)

(American/Louisiana, b. 1977)

Paul Ninas

Andrew LaMar Hopkins

“The Letter”, 1925

“Creole Woman in Ermine-Edged Blue Silk Robe”, 1996 “Veiled Creole Woman Holding Peacock Feather”, 1996

gouache on paper signed and dated lower left.

Float-mounted, matted and framed.

9” x 12-1/4”, framed 16-3/4” x 19-3/4”

pair of oils on board miniatures each signed and dated en verso.

With integral artist-made frames. overall former 5-7/8” x 5” and latter 4-1/2” x 4-7/8”

$1,500-$2,500 $1,500-$2,500

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William “Bill” Hemmerling (American/Louisiana, 1943-2009) “Sweet Olive” mixed media on wood crate slats signed and titled lower center.

47” x 17” $3,000-$5,000

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William Tolliver (American/Mississippi, 1951-2000) “The Harvest Trinity”, 1988 pastels on paper the first signed and dated lower right, the others monogrammed lower right, presented together in a shaped mat.

Matted, and accompanied by a frame without glass. overall with mat 32” x 40” $3,000-$5,000

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Noel Rockmore (American/Louisiana, 1928-1995)

“Willie Humphrey and Sweet Emma” oil on board from the “Preservation Hall Portraits” series, signed upper left.

Framed.

12” x 20”, framed 14” x 22” $2,000-$4,000

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Noel Rockmore (American/Louisiana, 1928-1995)

“Sister Gertrude Morgan, 1970 Jazz Fest, Gospel Tent” watercolor and ink on paper signed, dated and titled lower left, further inscribed lower right.

Float mounted, matted, glazed and framed. sheet 13-3/4” x 11”, framed 21” x 18” $1,000-$1,500

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Andrew Bascle (American/Louisiana, b. 1952) “Still Waters Run Deep”, 1981 painted wood oar and mixed media signed and dated at top of pole. h. 61”, w. 6-1/4”, d. 1-1/4” Provenance: Private collection, New Orleans, Louisiana. $800-$1,200

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Armand

Winfield Armand Winfield spent his career exploring the myriad possibilities of plastics in a variety of fields as diverse as art, architecture and medicine.

Upon the completion of his education, he initially worked in museums before co-founding Winfield Fine Art in Jewelry with his brother. Winfield began experimenting with the preservation of organic specimens, encasing insects and plants in clear acrylic. Inspired by the mid-century demand for whimsical and unusual jewelry, he soon joined with artists to create wearable works of art; small-scale paintings and sculptures carefully preserved in acrylic. The process developed by Winfield for this ensured that the integrity of the art was not corrupted in any way. Examples of this jewelry are conserved in the permanent collections of numerous institutions, including the Museum of Fine Arts, Boston; Museum of Design in Plastics at the Arts University Bournemouth, Poole, England; and Museum of Arts and Design, New York.

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Armand Winfield (American, 1919-2009) Brooch Winfield Fine Art in Jewelry 1945-47 oil on linen painting encased in acrylic and presented in a sterling frame

by Paul Lobel, artwork by Ruth Patsy Kline, signed on reverse “Original Oil Painting by Ruth Patsy / Winfield Pat. Pend.”.

2” x 1-3/4” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Form and Function: American Modernist Jewelry, 1940-1970, Marbeth Schon, 2008, illustrated p. 224. $700-$1,000

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Armand Winfield (American, 1919-2009) Brooch Winfield Fine Art in Jewelry 1945-47 paint, agate, feather, paper, and other materials encased in acrylic, artwork by Jeff Markel, signed and dated on reverse “Jeff 46”, inscribed on reverse “Designed by Jeff, Winfield, Pat. Pend.”.

3” x 2-3/4” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Modernist Jewelry, 1930-1960: The Wearable Art Movement, Marbeth Schon, 2004, illustrated p. 112. $700-$1,000

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Armand Winfield (American, 1919-2009) “Angel” Pendant Winfield Fine Art in Jewelry 1945-47 mica, paint and cloth encased in acrylic, ca. 1947, artwork by Ruth Patsy Kline, inscribed on reverse “angel by Ruth Patsy, Winfield Pat. Pend.”.

4” x 3-1/2” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Modernist Jewelry, 1930-1960: The Wearable Art Movement, Marbeth Schon, 2004, illustrated p. 112. $700-$1,000

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Armand Winfield (American, 1919-2009) Brooch Winfield Fine Art in Jewelry 1945-47 copper wire and silver foil encased in acrylic, artwork by Ray Jay Ashdown, ca. 1946, inscribed on reverse “Designed by Ray Jay Ashdown, Winfield Pat. Pend.”.

3-5/8” x 2-1/4” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Modernist Jewelry, 1930-1960: The Wearable Art Movement, Marbeth Schon, 2004, illustrated p. 112. $700-$1,000

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Armand Winfield (American, 1919-2009) Two Brooches Winfield Fine Art in Jewelry 1945-47 silkscreens encased in acrylic, artwork by David Vestal, both monogrammed and dated “47” in print, one printed on reverse “By David Vestal/Winfield Pat. Pend. ‘B’”; the other signed on reverse “Winfield Pat. Pend. ‘B’”.

1-1/2” x 2”; 2” x 2-1/2” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana. $700-$1,000

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Soichi Sunami (Japanese/New York, 1885-1971) “Martha Graham” gelatin silver print embossed lower right, stamped on the reverse.

Unframed.

9-1/2” x 6-5/8” Provenance: Private collection, New Orleans, Louisiana. $600-$900

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Soichi Sunami (Japanese/New York, 1885-1971) “Martha Graham” gelatin silver print embossed lower right, stamped on the reverse.

Unframed.

9-1/2” x 6-5/8” Provenance: Private collection, New Orleans, Louisiana. $600-$900

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Soichi Sunami (Japanese/New York, 1885-1971) “Troupe of Dancers” gelatin silver print embossed lower right, stamped on the reverse.

Unframed.

9-1/2” x 6-5/8” Provenance: Private collection, New Orleans, Louisiana. $600-$900

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Arnold Genthe (American, 1869-1942) “Isadora Duncan” gelatin silver print signed in print lower right.

Matted, glazed and framed.

8-1/2” x 5-1/2”, framed 23” x 20” Provenance: Private collection, New Orleans, Louisiana. $1,500-$2,500

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Bill Brandt (British, 1904-1983)

“Misty Evening in Sheffield”, 1930s gelatin silver print mounted, signed lower right on mount.

Unframed. image 13-1/2” x 11-1/2”, sheet 19-5/8” x 16” Provenance: Collection of Laura E. Grannen, New Orleans, Louisiana. $1,000-$1,500

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Alvin Langdon Coburn (American/British, 1882-1966) “After the Blizzard”, 1906 photogravure from the journal Camera Work XV, partially affixed to one corner of mount.

Unframed. image 6-1/2” x 8-1/2”, sheet 8-3/8” x 11-7/8” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $800-$1,200

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Frantisek Drtikol (Czech, 1883-1961) “Portfolio V” portfolio of three pigment prints and seven gelatin silver prints Prague: Odephil Editions for Prague House of Photography, 1996, each print with “Odephil Editions, Prague” blind stamp on the image, each with stamp and sequential numbering with edition “3/30” on the reverse of print mount; together with colophon page with list of plates and with edition number in ink; all prints archively processed and toned, presented in acid-free mat boards, and secured in a silkscreened linen clam-shell presentation box. each 11-1/4” x 9”, case 20-5/8” x 18-1/2” x 2” Provenance: Purchased directly from Suzanne Pastor of Odephil Editions, Prague, 1996; Private collection, New Orleans, Louisiana. $6,000-$9,000

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Georges Hugnet (French, 1906-1974)

“L’amour s’attrape/L’amour satrape”, 1961 collage monogrammed and dated lower right, verso with a photocopy of the “Galleria Schwarz, Milano” label.

Matted, glazed and framed. sight 12” x 10”, framed 21-1/4” x 17-1/4” Provenance: Galleria Schwarz, Milan, Italy; Swann Galleries, October 7, 1997, lot 324; Private collection, New Orleans, Louisiana. $2,000-$4,000

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Jan Saudek (Czech, b. 1935)

“Tiara/Marie #142”, 1990 hand-colored gelatin silver print signed lower right in image, inscribed along lower margin “Model print, #142 PULOVR 20 1 1990”, edges taped.

Float-mounted, matted, glazed and framed. sheet 15-5/8” x 11-3/4”, framed 24” x 18-3/4” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $1,000-$1,500

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(Czech, b. 1935)

(American, b. 1947)

Jan Saudek

Jock Sturges

“The Knife”, 1986

“Danielle, Oud Heusden, the Netherlands”, 1993

two hand-colored gelatin silver prints one signed lower right and marked “#223” en verso, the other marked “model print”, dated, marked 223 and inscribed “Edition of prints from this negative limited to 30 (thirty) prints.

This has Nr. 24 (twenty-four)” along margins”, each with taped edges.

Unframed. former 16” x 11-3/4”, latter 10-1/2” x 10-5/8”

gelatin silver print signed, dated, titled, numbered “2/40” and copyright-marked en verso, inscribed “A56” upper left and “JOS4470” lower right verso.

Unframed. sheet 16” x 20”

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

Provenance: Collection of Laura E. Grannen, New Orleans, Louisiana. $800-$1,200

$1,500-$2,500

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Duane Michals (American, b. 1932) “Harlequin”, 1992 gelatin silver print pencil-signed and numbered “28/100” en verso.

Matted, glazed and framed. sheet 11” x 14”, framed 17” x 21” $1,800-$2,400

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Deborah Kass (American, b. 1952)

“Baseball - Sandy Koufax”, 1996 screenprint on paper from “The Warhol Project” series.

Float-mounted, glazed and framed. sheet 42” x 36”, framed 46” x 40” $1,500-$2,500

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Pair of Contemporary Laura Kirar for McGuire Ebonized Rattan Lounge Chairs each having a loose cushion back and seat, the rattan frame with circular linked rings. h. 28”, w. 30-1/2”, d. 30” $1,000-$1,500

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Collection of Ten Bill Blass (American, 1922-2002) Couture Sketches 1980s, of assorted designs, each with fabric swatches and handwritten instructions to the seamstress charged with making the working sample, each presented in a carved, parcel-gilt and peint-en-blanc frame and glazed. each overall h. 17-3/4”, w. 14-3/4” Provenance: Collection of Ruth and Michael Burke, Covington, Louisiana. $1,200-$1,800 Ruth Burke worked closely with Bill Blass from 1980-1990 as his vendeuse, traveling the country with him and overseeing fashion events and sales at all of the leading stores. Her couture wardrobe was designed specifically for her by Mr. Blass.

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A. J. Bocchino (American/New York, b. 1974) “Silo”, 1997 copper sheets on wood dated and titled on label en verso.

21” x 21” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $500-$800

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Mitchell Gold + Bob Williams “Gabriel II” Tufted Leather Sofa ca. 2010, upholstered in “Midland Chocolate” leather, the subtly tufted back joined to track arms, the seat fitted with a pair of loose cushions, raised on ebonized block feet, labeled “Mitchell Gold + Bob Williams, Taylorsville, North Carolina”. h. 31-1/2”, w. 88”, d. 38” Provenance: Estates of Violeta Judell Van Ronzelen and Harold Benn Judell, New Orleans, Louisiana. $1,000-$1,500

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Patinated Bronze and Glass Cocktail Table Attributed to Christopher Chodoff 1980s, in the manner of Diego Giacometti, the glass top inset and raised on chevre feet joined by an X-form stretcher with a center knot, incised in script “Chodoff” under one stretcher. h. 18”, w. 48”, d. 36” Provenance: Private collection, Galveston, Texas. $1,800-$2,500

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Pair of Christopher Maier (American/Louisiana, 1955-2004) Side Tables 1991, in the Post-Modern taste, the rectangular tops supported on canted tapering square legs fitted with brass ferrules and casters, the giltwood surfaces weathered, both signed underneath “Christopher Maier 1991”. h. 19-3/4”, w. 22-1/2”, d. 16-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $800-$1,200

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Shelby Lee Adams (American, b. 1950)

“Lee Hall, Retired Coal Miner, Camp Branch, Kentucky” 1983 gelatin silver print signed and numbered “5/25” lower right, titled lower left.

Matted.

14” x 11”, matted 20” x 16” Provenance: Bassetti Fine Art Photographs, New Orleans, Louisiana; Collection of Laura Grannen, New Orleans, Louisiana. $1,000-$1,500 “My photography of this culture - my culture - has developed over the years from encounters to interconnection and has grown into long-term, loving relationships. I love the mountain people because of (and often in spite of) the influences of some of my own kin.”

Shelby Lee Adams, 2011 Salt & Truth A native of Appalachia, Adams was born in Kentucky and raised in the holler of Jackson’s Fork, where his family had lived for generations. His father had a position with a natural gas company and the family was a part of the region’s newly emerging middle class. Adams traveled across the country with his family, spending half the year in Kentucky and half the year in various cities. By the time he attended the Cleveland Institute of Art, he was acutely aware of the negative, one-dimensional stereotype of Appalachia and its people that was then so prevalent. This stereotype emphasized the (undeniable) poverty of the region to the detriment of virtually any other cultural aspects. In response, Adams began photographing his family and friends; he would take preliminary polaroids which he gave his subjects to examine, thus allowing for a level of collaboration rarely evident in such documentary images. Adams’ subjects, despite their seemingly hard-scrabble lives, gaze directly at the viewer with pride and dignity, resulting in haunting black and white images.

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George Tice (American, b. 1938)

“Leo A. Cooper, Hannibal, Missouri, 1984” gelatin silver print, mounted on board printed by the artist January 16, 1990, signed in pencil on mount en recto.

Matted.

11” x 14”, matted 16” x 20” Provenance: Collection of Laura Grannen, New Orleans, Louisiana.

Literature: George Tice, Hometowns, An American Pilgrimage (Boston: Little, Brown and Company, 1988), illustrated p. 111. $1,000-$1,500

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Emmet Gowin (American, b. 1941) “Untitled”, 1968 gelatin silver print from the portfolio Photographs: School of Dayton Art Institute, artist-mounted, signed en verso.

Unframed. image 5” x 6-1/4”, overall 13” x 10” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $2,000-$4,000

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Emmet Gowin (American, b. 1941)

“Baby with Wreath, Danville, Virginia”, 1967 gelatin silver print from the portfolio Photographs: School of Dayton Art Institute, artist-mounted, signed en verso, artist, title and date at lower left.

Unframed. image 4-1/2” x 5-1/2”, overall 13” x 10” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $2,000-$4,000

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David Halliday (American/Louisiana, b. 1958) “Italian Woods”, 2002 “White Stool”, 1992 two archival pigment prints former numbered “2/25” lower left, artist blind stamp lower right, signed and with personal inscription verso backing paper, latter pencil-signed, dated and with artist blind stamp lower right, marked “25” lower right.

Former matted, glazed and framed, latter unframed. former sight 9-3/4” x 7-3/4”, framed 21-1/2” x 17-3/4”; latter 10-1/2” x 10-1/4”

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Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $800-$1,200

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Keith Carter (American, b. 1948)

“Catahoula Hound”, 1990 gelatin silver print from the “Bones” series, signed, dated, titled and numbered “15/50” en verso.

Unframed. sheet 19-1/2” x 16” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $800-$1,200

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Jack Spencer (American, b. 1951)

“Happy Child, Como, Mississippi”, 1996 gelatin silver print signed lower right, numbered “6/50” lower left, signed, dated, titled and numbered en verso.

Unframed. sheet 20” x 24” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $1,500-$2,500

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Rick Olivier

(American/Louisiana/Contemporary) “Boy Playing Accordion”, 1997 “Irma Thomas”, 1997

62 two gelatin silver prints former from the “Zydeco Ballers” series, signed and dated lower right, inscribed “Thanks, Laura” lower left, latter from the “Jazz Roots” series, signed lower right, signed, titled and copyright-marked en verso.

Unframed. former 11” x 14”, latter 14” x 11” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $800-$1,200

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Debbie Fleming Caffery (American/Louisiana, b. 1948)

“Sunrise Fire, Louisiana” “Kennedy” “Kojack Burning Pine Needles” three gelatin silver prints 1984-1990, each edition of 25 (“Kennedy” 8/25; “Kojack Burnig Pine Needles” 4/25).

All matted, glazed and framed alike. sight 19-1/2” x 19-1/2”, framed 25-3/4” x 25-1/4” Provenance: Benteler-Morgan Galleries, Houston, Texas; Private collection, New Orleans, Louisiana. $1,500-$2,500

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Marion Post

Wolcott

Wolcott studied dance and early childhood education before accepting a job as a teacher in a small Massachusetts mill town. She had been exposed to progressive causes by her activist mother and was acutely aware of socio-economic issues; with this position she was to see first-hand the devastating poverty that had long existed and which the Great Depression only worsened. When the school closed, along with most every business in the town, she enrolled in the University of Vienna. While in Austria, she befriended the photographer Gertrude Fleischmann who, impressed by the younger woman’s photographs, encouraged Wolcott to pursue this art form. Wolcott worked as a free-lancer for numerous newspapers and journals including Life Magazine.

She eventually became photographer for the Philadelphia Evening Bulletin.

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From 1938-1942, Marion Post Wolcott produced over 9,000 photographs for the Farm Security Administration, documenting those most affected by the Depression – the poor, the manual laborers, the migrants – to assess the need for federal assistance. She was the first woman to hold a full-time position with the administration – her colleague Dorothea Lange had only been part-time during her association with the program. It was not a particularly easy job; she had to convince rightfully wary people to allow her access to their lives. Her demeanor, manner and innate sense of diplomacy worked in her favor, and she was often accepted where and when her colleagues were not. The sympathy with which she approached her subjects is apparent in her work, which ranged from the purely historical documentation of farms and buildings to the more personal depictions of children and families.

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Marion Post Wolcott

Marion Post Wolcott

“A Child of Migratory Packing House Workers Washing Her Doll, Belle Glade, Florida”, 1939

“Work Horses on a Farm, Security Administration Project, Scott’s Bluff, Nebraska, 1941”

gelatin silver print pencil-signed and inscribed en verso.

Unframed. sheet 11” x 14”

gelatin silver print signed in pencil lower right, printed by the artist in 1988, edition 2/10, signed, titled and dated in pencil en verso. sight 14” x 18-1/2”, sheet 16” x 20”, framed 22-1/4” x 26”

Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana.

Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana.

$800-$1,200

$800-$1,200

(American, 1910-1990)

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(American, 1910-1990)

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Marion Post Wolcott (American, 1910-1990)

“Snow Covered Barns”, 1940 gelatin silver print mounted on board pencil-inscribed with artist name on mat lower left, titled lower center and dated lower right.

Matted, glazed and framed. sight 8” x 10”, framed 22” x 21” Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana. $800-$1,200

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Marion Post Wolcott (American, 1910-1990)

“Main Street Blizzard”, 1940 gelatin silver print mounted on board pencil-inscribed with artist name on mat lower left, titled lower center and dated lower right.

Matted, glazed and framed. sight 13-1/4” x 17-1/4”, framed 21” x 27” Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana. $1,000-$1,500

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

Matted, glazed and framed. sight 11” x 15”, framed 18-1/4” x 21-1/4” Provenance: A Gallery of Fine Photography, New Orleans, Louisiana; Collection of Laura E. Grannen, New Orleans, Louisiana. $7,000-$10,000

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Fred McDarrah (American, 1926-2007)

“Robert Kennedy in Suffolk Street Tenement (Once Occupied by Senator Jacob Javits), May 8, 1967” gelatin silver print later printing, ink-signed lower right and titled lower left in margin, photocopy of back of photo en verso.

Matted, glazed and framed. sight 9-3/8” x 13”, framed 16-3/4” x 20-1/2” Provenance: Butterfield & Butterfield, San Francisco, California, Nov. 21, 1993, lot 1806; Private collection, New Orleans, Louisiana. $1,800-$2,500

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Fred McDarrah (American, 1926-2007)

“Martin Luther King, Jr., June 13, 1967” gelatin silver print later printing, ink-signed lower right and titled lower left in margin, artist label en verso photo, photocopy of back of photo en verso.

Matted, glazed and framed. sheet 14” x 11”, framed 22” x 18” Provenance: Butterfield & Butterfield, San Francisco, California, Nov. 21, 1993, lot 1806; Private collection, New Orleans, Louisiana. $1,800-$2,500

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Bobby Grossman (American, 20th Century)

“Andy Warhol Eating Cornflakes - Contact Sheet”, 1979 Lambda chromogenic print signed and copyright-marked lower center, from an edition of 50, this marked “AP”, signed, dated, titled and copyrightmarked on tape en verso.

Matted, glazed and framed. sight 10” x 11”, framed 17-1/4” x 17-1/4” Provenance: Private collection, New Orleans, Louisiana. $1,500-$2,500

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Pedro Friedeberg (Mexican, b. 1936) “Hand Chair” carved mahogany signed along edge of base. h. 34-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $7,000-$10,000

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Angel Botello

(Spanish/Puerto Rico, 1913-1986) “Girl With Starfish”, ca. 1975 hand-colored linocut on black Arches paper signed lower right, numbered “1/100” lower left, marked “RR” upper left, after the ca. 1975 oil painting.

Matted, glazed and framed. sight 20-1/2” x 16-1/2”, framed 29-3/4” x 25-1/4” $1,000-$1,500 Juan Botello, the artist’s son, has confirmed that each print of this edition was rendered in a different colorway, thus becoming a monotype.

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David Alfaro Siqueiros (Mexican, 1896-1974)

“Meditation”, “Vuelo” and “Tierra Roja” three color lithographs from the “Mexican Suite” series, each signed in pencil lower right, numbered “262/300” lower left.

All unframed. sheet 25-1/2” x 20”

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Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $2,000-$4,000

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Lucia Maya

(American/Mexican, b. 1953) “Corazones Afines”, 1986 portfolio of seven lithographs with hand-coloring on Arches paper each pencil-signed, titled and numbered “47/70” along lower margin, including “Relicario”, “Alfiletero”, “Sistole”, “Diastole”, “Vuelo Inesperado”, “Tercia de Munecas” and “Hilvanando la Vida”, published by Kyron Ediciones Limitades, Mexico, additionally numbered and signed by artist and publisher on colophon page.

Unframed and in original purple paper folder. five 14-3/8” x 18-3/4” and two 18-3/4” x 14-3/8” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $2,500-$4,000

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Carlos Merida (Mexican, 1891/95-1984)

“Nubes y Cristales (Clouds and Crystals), No. 9”, 1935 watercolor and ink on brown paper signed and dated lower center, inscribed “To Pete Pollock from His Friend” lower right, titled and numbered en verso and further titled on “DC Moore, New York” label on frame backing.

Matted, glazed and framed.

21” x 17”, framed 35-1/2” x 29-3/8” Provenance: Peter and Creilly Pollock, Chicago, Illinois; Private collection New Orleans, Louisiana. $15,000-$25,000

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Victor Vasarely (French/Hungarian, 1906-1997) “Cube”, ca. 1960 plexiglass signed and numbered “19/100” and inscribed “deposito” center one side, published by Galleria del Deposito. h. 7”, w. 7”, d. 7” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

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Eduardo Sanz (Spanish, 1928-2013)

“New York No. 14”, 1969 mixed media sculpture signed and titled at back along with a “Galeria Kreisler, Madrid” stamp. h. 12-1/4”, w. 12-1/4”, d. 6-1/2” Provenance: Galeria Kreisler, Madrid, Spain; Private collection, New Orleans, Louisiana. $1,000-$1,500

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Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Quinary Cube No. 1”, 1969 oil on canvas mounted on paperboard unsigned. h. 6”, w. 6”, d. 6” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

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Terry Weldon

(American/Louisiana, b. 1947)

“Study for the Stele Fragment #5”

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metal sculpture on canvas signed upper right.

Fitted for hanging.

23” x 23” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

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George Valentine Dureau (American/Louisiana, 1930-2014) “Gymnast Crouching”, 1987-1988 oil on canvas signed lower left, verso with “Arthur Roger Gallery, New Orleans, LA” exhibition label.

Unframed.

32” x 30” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,500-$2,500

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Tony Mose

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

Unframed.

40-1/2” x 42” $1,500-$2,500

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Noel Rockmore (American/Louisiana, 1928-1995) “Untitled”, 1964 oil on board signed and dated lower right.

Fitted for hanging.

20” x 40” Provenance: Collection of Allain Bush, New Orleans, Louisiana. $2,000-$4,000

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Sandra Russell Clark (American/Louisiana, b. 1949)

“Isola Bella, Italy: Garden Reflection Series”, ca. 1980 toned and hand-colored photograph Matted, glazed and framed. sight 39-1/2” x 26-1/4”, framed 49-3/4” x 36-3/4” $1,000-$1,500

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(American/Louisiana, b. 1958)

(American/Louisiana, b. 1958)

David Halliday

David Halliday

“Radishes”, 2000 “Finocchio and Bruco”

“Carrots, Entwined”, 2007 archival pigment print pencil-signed lower right, numbered “14/25” lower left.

Matted, glazed and framed.

14” x 18”, framed 26” x 28”

archival pigment print and toned gelatin silver print both from the “Box Series”, former pencil-signed, dated, titled, numbered “9/12” and copyright-marked on artist label en verso, latter pencil-numbered “1/25” lower left and with artist blind stamp lower right margin, pencil-signed, dated and titled en verso.

Each matted, glazed and framed. each sight 11” x 11”, framed 16-1/2” x 16-1/2”

Provenance: Collection of Allain Bush, New Orleans, Louisiana. $1,000-$1,500

Provenance: Collection of Allain Bush, New Orleans, Louisiana. $1,000-$1,500

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Dan Ostermiller (American, b. 1956)

“A Friend Indeed”, 1985 patinated bronze cast signature, dated, numbered “29/30” and copyrightmarked along back edge of one rabbit. h. 9-1/2”, w. 16-1/2”, d. 8-1/2” $1,500-$2,500

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Enrique Tabara (Ecuadorian, 1930-2021)

“Untitled, Composition with Insects”, 1996 pastel on handmade paper signed and dated lower left.

Float-mounted, glazed and framed.

29-5/8” x 22-1/2”, framed 36-1/2” x 29-1/2” Provenance: The Collection of Adam Lippes. $5,000-$8,000 This work was gifted to Adam Lippes by his mentor and friend, Oscar de la Renta.

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

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

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Interesting Mid-Century Modern Cherrywood and Specimen Marble Coffee Table having a white carrara marble top with five inlaid specimen marble stylized leaves, raised on splayed legs in the Danish Modern style. h. 17-1/2”, w. 43-1/4”, d. 17-3/4” Provenance: The Collection of Adam Lippes. $800-$1,200

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Mid-Century Modern Capiz Shell Chandelier in the manner of Verner Panton (Danish, 1926-1998), of lotus form, with numerous “blooming petals”, having a single inner socket. h. 32” including the rod, dia. 22” Provenance: The Collection of Adam Lippes. $800-$1,200

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Marianne Richter (Swedish, 1916-2010) Hand-Knotted Wool Rya Rug

Suite of Four Thonet Ebonized Oak Armchairs

20th century, high-pile carpet with star and wheel motif.

77” x 57” Provenance: The Collection of Adam Lippes. $800-$1,200

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first half 20th century, Josef Hoffmann for Thonet, each of barrel-back form, having leather seats and raised on square tapered legs ending in brass caps. h. 30-1/2”, w. 21-1/2”, d. 20” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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Miranda Lichtenstein (American, b. 1969) “Untitled”, 2005 chromogenic print on paper signed, dated and numbered “AP1” on “Elizabeth Dee Gallery” label en verso.

Framed. sight 10-1/4” x 13”, framed 11-1/2” x 14” Provenance: Elizabeth Dee gallery, New York, New York; The Collection of Adam Lippes. $800-$1,200

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Miranda Lichtenstein (American, b. 1969)

“Council Ring”, 2004 Chromogenic print signed, dated and numbered “1/5” on “Elizabeth Dee, New York, New York” gallery label en verso.

Framed.

40” x 50”, framed 41” x 51” Provenance: Elizabeth Dee Gallery, New York, New York; The Collection of Adam Lippes. $1,500-$2,500

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Pair of Mid-Century Modern Brass Table Lamps ca. 1950s, both with a plinth base having stepped square columns at one corner, the center column proceeding upward to a like horizontal arm with socket, fitted with black shades. overall h. 19-3/4”, base w. 7”, d. 7” Provenance: The Collection of Adam Lippes. $1,000-$1,500

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Christopher Bucklow (British, b. 1957) “Untitled” chromogenic print on paper laid down on plexiglass from the “Guest” series, marked “82410796” and numbered “147/450” on artist stamp en verso.

19-3/4” x 15-3/4” Provenance: The Collection of Adam Lippes. $1,500-$2,500

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Christopher Bucklow (British, b. 1957) “Untitled” chromogenic print on paper mounted on plexiglass from the “Guest” series, marked “804210796” and numbered “363/400” on artist stamp en verso.

19-3/4” x 15-3/4” Provenance: The Collection of Adam Lippes. $1,500-$2,500

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

19-3/4” x 15-3/4” Provenance: The Collection of Adam Lippes. $1,500-$2,500

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Thonet Bentwood Library Bench 20th century, with a padded back and seat, raised on bentwood legs, upholstered in original brown vinyl with nailhead trim to seat back. h. 31”, w. 71”, d. 23” Provenance: By repute, originally commissioned for a public library in Vienna, Austria; The Collection of Adam Lippes. $2,000-$4,000

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

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

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Will Cotton (American, b. 1965)

“Candy Cane”, 2002 watercolor and graphite on paper signed and dated lower right.

Framed.

9-3/4” x 7”, framed 12-3/4” x 9-3/4” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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Will Cotton (American, b. 1965)

“Candy Cane”, 2002 watercolor and graphite on paper signed and dated lower right.

Framed.

9-3/4” x 7”, framed 12-3/4” x 9-3/4” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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Will Cotton (American, b. 1965)

“Candy Cane”, 2002 watercolor and graphite on paper signed and dated lower right.

Framed.

9-3/4” x 7”, framed 12-3/4” x 9-3/4” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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Four Richard Mulligan Red “Grain Scoop” Bar Chairs each bearing a brass tag engraved “Richard Mulligan/2003 2004”. h. 34-1/2”, seat h. 28” Provenance: Selected for a Malibu, California interior designed by Nate Berkus. $1,000-$1,500

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Twelve Bernardaud, Limoges, “Collection Calder” Porcelain Dinner Plates French, in collaboration with the Calder Foundation, with red or black images of iconic Alexander Calder mobiles from the 1940s and 1950s, the back of each bearing the red “Calder” trademark, title, date and a description of the materials comprising the mobile, limited edition of 3000. dia. 10-1/2” Provenance: The Collection of Adam Lippes. $500-$800

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Alexander Calder (American, 1898-1976) “Flat World” lithograph in colors signed in pencil lower right, numbered “8/100” lower left.

Matted, glazed and framed. sight 28” x 42-3/4”, framed 33-3/4” x 48” $5,000-$8,000

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Barovier & Toso Blown Murano Glass Pendant Chandelier

Barovier & Toso Blown Murano Glass Pendant Chandelier

the beehive-form bowl blown in white pulegoso glass and fitted with three internal sockets, suspended by a metal rod with a spiral glass outer tube. h. 32”, dia. 11”

the inverted beehive-form shade in white pulegoso glass suspended by a brass rod and fitted with a single socket. h. 30”, dia. 8” Provenance: The Collection of Adam Lippes.

Provenance: The Collection of Adam Lippes. $1,500-$2,500 $2,500-$4,000

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Pair of Mid-Century Modern Armchairs each with a shaped padded back, joined by open arms and raised on slender square, tapered contiguous arms supports, terminating into tapered legs with brass caps. h. 31”, w. 22”, d. 20” Provenance: The Collection of Adam Lippes. $600-$900

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Philip Taaffe (American, b. 1955) “Untitled”, 2002 gouache and watercolor on paper signed and dated on reverse.

Float-mounted, glazed and framed. sheet 6-7/8” x 5”, framed 11” x 8-3/4” Provenance: The Collection of Adam Lippes. $800-$1,200

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Isca Greenfield-Sanders (American, b. 1978)

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

Glazed and framed.

22” x 22”, framed 23-3/4” x 23-3/4” Provenance: Goff & Rosenthal Gallery, New York, New York; The Collection of Adam Lippes. $3,000-$5,000

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French Mid-Century Steel and Tile Kidney-Form Cocktail Table the tiles enameled in an abstract design and glazed, the top steel-bound and raised on square legs ending in brass ferrules and casters, the outer top edge signed “Eve Tascal Nancy Fevrier 1973”. h. 14-3/4”, w. 59-1/4”, d. 33-1/4” Provenance: The Collection of Adam Lippes. $1,500-$2,500

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Steven Shores

(American/Texas, Contemporary) “Blue Sponge”, 2001 mixed media on panel signed, titled and dated on reverse, with “Denise Bibro Fine Art, New York, New York” label.

36” x 24” Provenance: Denise Bibro Fine Art, New York, New York; The Collection of Adam Lippes. $600-$900

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

Framed.

9-5/8” x 11-1/8”, framed 10-7/8” x 13-1/4” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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

Framed.

6-1/2” x 9”, framed 11” x 13” Provenance: The Collection of Adam Lippes. $2,000-$4,000

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Near Pair of Severin Hansen, Jr. (Danish, 1887-1964) Nesting Tables Denmark, ca. 1960s, for Haslev Møbelsnedkeri A/S, with rectangular tops and tapered legs, applied manufacturer’s label and Danish control tag to undersides. largest: h. 20-1/2”, w. 22-1/2”, d. 14-1/2”; smallest: h. 16-1/2”, w. 15”, d. 10-1/2” Provenance: Bernd Goeckler Antiques, Inc., New York, New York; The Collection of Adam Lippes. $1,200-$1,800

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Christoph Schmidberger (Austrian, b. 1974)

“Do I Know You From Somewhere”, 2004 oil and acrylic on mdf panel signed en verso, affixed with “Goff + Rosenthal, New York” gallery label and “Christie’s, New York, March 6, 2014” labels.

Framed.

14-1/5” x 18-1/4”, framed 15-3/4” x 19-3/4” Provenance: Goff & Rosenthal Gallery, New York, New York; Christie’s, New York, March 6, 2014, lot 207.The Collection of Adam Lippes. $2,000-$4,000

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Wesley Anderegg (American, Contemporary)

“Salt and Pepper”, 1997 “Empty-Headed Vase”, 1994 “Small Vase with Plate”, 1994 group of five painted ceramics each (except plate) signed and dated at bottom. respectively h. 6”, w. 3”, d. 2-1/2”; h. 14”, w. 9-1/4”, d. 7”; overall h.

5-1/2”, w. 7-1/4”, d. 4-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

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Mark Chatterley (American/Michigan, 20th Century) “Untitled”, ca. 2000 crater-glazed hand-formed and wheel thrown clay from the “Rider” series. h. 28-1/2”, w. 20”, d. 12” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana.

Artist has confirmed this is a part of his “Rider” series of sculptures. $700-$1,000

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Russian School (Fourth Quarter 20th Century) “Borzoi with a Green Ball” oil on canvas signed lower right, signed and dated “1993” en verso.

Framed.

21-3/4” x 27-1/2”, framed 22-1/2” x 28-1/2” $1,000-$1,500

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

Framed.

18” x 15”, framed 25” x 21-1/2” $3,000-$5,000

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Hazel Guggenheim King-Farlow McKinley (American, 1903-1995) “Street Scene”, 1955 watercolor on paper signed and dated lower right.

Matted, glazed and framed. sight 21” x 17-1/2”, framed 30” x 26” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $600-$900

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Irving Marantz (American/New York, 1912-1972) “Madonna of the Street” oil on canvas signed lower left, titled and signed en verso stretcher.

Framed.

43” x 16”, framed 47-1/2” x 20-3/8” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

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Byron (George Byron) Browne (American/New York, 1907-1961) “Self Portrait”, 1960 oil on canvas signed, dated, titled, and localized “N.Y.C.” en verso.

Framed.

26-1/2” x 20”, framed 32” x 26” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $7,000-$10,000

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Chaim Gross

(Austrian/New York, 1904-1991) “Standing Nude”, 1953 watercolor and graphite on paper signed, dated and with inscription lower right.

Unframed. sheet 18-3/4” x 12-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $500-$800

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Chaim Gross

(Austrian/New York, 1904-1991) “Young Mother/Maternity”, 1958 patinated bronze cast signature and dated along back of self-base, on a square marble base. sculpture h. 13-1/2”, w. 2-3/4”, d. 4”, overall h. 15” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $3,000-$5,000

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Chaim Gross

(Austrian/New York, 1904-1991) “Acrobats” patinated bronze cast signature along edge of self-base, on a conforming wooden base. sculpture h. 15-3/4”, w. 6-3/4”, d. 7-1/2”, overall h. 16-3/4” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,500-$2,500

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Robert Marc (American, 1943-1993)

“Untitled”, ca. 1975-1980 oil on canvas signed lower right, verso with “Forum Gallery, New York, NY” label.

Framed.

42-7/8” x 17-1/8”, framed 51-1/4” x 25-1/2” Provenance: Estate of the artist; Hotel Drouot Paris, November 17, 1987, lot 86; Forum Gallery, New York, New York; Barry Friedman Ltd., New York, New York; Sotheby’s New York, June 23, 2020, “Cubism and Beyond”, lot 8. $8,000-$12,000

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John Ferren

(American/New York, 1905-1970) “Untitled Abstract” oil on canvas signed lower right.

Framed.

17-1/2” x 22”, framed 24” x 28-1/4” $3,000-$5,000

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Karl Knaths (American, 1891-1971) “First Frost” oil on canvas signed lower right, inscribed with title on stretcher.

Unframed.

36” x 50-1/4” Provenance: Property of The College of New Rochelle, New York; Doyle, New York, August 20, 2020, lot 32. $5,000-$8,000

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Byron (George Byron) Browne (American/New York, 1907-1961) “King and Queen”, 1950 tempera, casein and ink on paper signed and dated lower right, “Meredith Long, Houston” gallery label on frame backing with title, date and medium.

Matted, glazed and framed.

26” x 20”, framed 33-1/8” x 27-3/4” Provenance: Meredith Long & Company, Houston, Texas; Private collection. $5,000-$8,000

143

134

Ron Gorchov (American, 1930-2020)

“Untitled: Abstract Composition”, 1960 oil, mixed media and graphite on linen signed and dated lower left.

Partially framed.

11-3/8” x 14-1/8”, framed 12” x 15” $1,000-$1,500

134

135

Sawasdi Tantisuk (Thai, 1925-2009)

“View Through the Temple Gates” oil on canvas signed lower right.

Framed.

20-1/2” x 29-1/2”, framed 27” x 35-1/4” Provenance: Private collection, New York, New York. $2,000-$4,000

135

144

136

136

137

(Hungarian/French, 1913-1999)

(American, 1891-1971)

Endre Rozsda

Karl Knaths

“Untitled”

“Studio Still Life”, 1951

oil on canvas signed lower right.

Framed.

12” x 35-1/2”, framed 12-3/4” x 36-5/8”

oil on canvas signed lower right, inscribed en verso stretcher “Karl Knaths-P. Town-1951”.

Period frame.

20-1/2” x 24”, framed 27” x 31”

Provenance: Heritage Auctions, Dallas, Texas, June 11, 2020, lot 28259; Private collection.

$5,000-$8,000

$5,000-$8,000

137

145

138

138

Robert Russell

(American/California, 20th/21st Century) “Round Midnight”, 1997 acrylic polymer on canvas signed, dated and titled en verso.

Framed.

44” x 52”, framed 45” x 53” $1,000-$1,500

139

Gustave Bolin (Swedish, 1920-1999) “Pommes”, 1959 oil on canvas signed and dated lower left, signed, dated and titled en verso.

Unframed.

15” x 18” Provenance: Galerie Renee Laporte, Antibes, France, 1965; Private collection, New Orleans, Louisiana. $800-$1,200

146

139

140

Valentina Pianca (Italian, 20th Century) “In Campo d’Oro” oil on canvas signed lower right, inscribed en verso with artist name, affixed with Venice XXXII Biennale, 1964 exhibition label.

Original frame.

43-1/2” x 35-1/2”, framed 44” x 36” Provenance: Venice XXXII Biennale, 1964; Private collection, New Orleans, Louisiana.

Exhibited: Venice XXXII Biennale Exhibition of International Art, Italian Pavilion, 1964, catalogue n.

LI/23. $1,000-$1,500

140

141

Marcel Alocco (French, b. 1937)

“Patchwork No. 40”, 1975 hand-painted fabric/mixed media titled and dated en verso.

Float mounted in shadowbox frame.

15-1/2” x 15-1/2”, framed 20” x 20” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

141

147

142

142

James Watson Twitty (American, 1911-1994) “Hydra”, 1973 acrylic on linen verso with “David B. Findlay Galleries, New York” label.

Thin, giltwood gallery frame.

72” x 60”, framed 74” x 62” Provenance: David B. Findlay Galleries, New York, New York. $1,000-$1,500

148

143 143

Jim Rabby

(American/Texas, 20th Century) “Harbor” oil on canvas signed lower left.

Framed.

24” x 48”, framed 31” x 55” $1,000-$1,500

144

Gastone Novelli (Italian, 1925-1968)

“Montagua Scoscesa”, 1965 patinated bronze cast signature along edge. h. 6”, w. 3-1/2”, d. 3-1/2” Provenance: Galleria Paolo Brozzi, Venice, Italy, 1966; Private collection, New Orleans, Louisiana.

144

$1,500-$2,500

149

145

George Bauer Dunbar (American/Louisiana, b. 1927) “Untitled” silver leaf on clay signed left edge.

Framed.

12” x 14”, framed 12-1/2” x 14-1/2” $5,000-$8,000

145

146

George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” gold leaf on red and black clay Framed.

13-7/8” x 12”, framed 14-3/4” x 12-3/4” $2,500-$4,000

146

150

147

Charles Fritchie (American/Louisiana, 1936-2013) “Nude”, 1998 patinated bronze haut-relief plaque cast signature and dated along proper right thigh. h. 18”, w. 6-1/2”, d. 3-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

147

148

Demond Matsuo (American/Louisiana, Contemporary) “Untitled”, 2008 mixed media on paper signed and dated lower right.

Matted, glazed and framed. sight 14” x 9-1/2”, framed 20-3/4” x 16-1/4” $1,000-$1,500

148

151

149

Enrique Alferez (Mexican/Louisiana, 1901-1999) “Study of a Reclining Nude” graphite on paper signed mid-left.

Matted and framed. sight 17-1/2” x 23-1/2”, framed 23” x 29” $1,000-$1,500

149

150

George Valentine Dureau (American/Louisiana, 1930-2014) “Pan” charcoal on paper signed lower center.

Matted, glazed and framed. sight 21-1/2” x 14”, framed 32” x 24-1/2” $1,000-$1,500

150

152

153

151

Emil James Bisttram (Romainian/New Mexico, 1895-1976) “Transcendental No. 5” graphite on paper signed lower right, a “Lockwood’s Midwestern Galleries/ Cincinnati, Ohio” label en verso.

Matted, glazed and framed. sight 7” x 5”, framed 22-3/4” x 18-3/4” Provenance: Lockwood’s Midwestern Galleries, Cincinnati, Ohio; Private collection. $1,000-$1,500

151

152

Oscar Bluemner (American, 1867-1938)

“Franklin St., Nutley, New Jersey” crayon on paper monogrammed lower left, titled along lower edge.

Float-mounted, matted, glazed and framed.

4” x 5-1/4”, framed 17-1/2” x 21-3/4” $800-$1,200

152

154

153

153

Eugenio Carmi (Italian, 1920-2016) “Domani”, 1980 acrylic on canvas signed and dated en verso.

Unframed.

23-3/4” x 23-1/2” Provenance: Galerie Lopes, Zurich, Switzerland, 1985; Private collection, New Orleans, Louisiana. $1,000-$1,500

155

154

154

Andre Masson (French, 1896-1987)

“Vegetable Crowd”, 1956 gouache on paper signed and dated upper left, verso with “Christie’s, October 22, 2020” sale label.

Matted, gazed and framed. sight 17-1/4” x 13-3/8”, framed 28-1/2” x 24-1/2” Provenance: Christie’s, Paris, “Art Moderne”, October 23, 2020, lot 267.

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

This work is listed in the Andre Masson archives under number CAM 536. $10,000-$15,000

156

157

155

155

George Bauer Dunbar (American/Louisiana, b. 1927) “Untitled: Surge Series” silver leaf on black clay incised signature lower left.

In an integral ebonized wood frame. overall 36” x 49” $15,000-$25,000

158

156

Arthur Silverman (American/New Orleans, 1923-2018) Brushed Metal Side Chairs near pair, the back of both chairs with two cut-out “Zs”, the interior of one example with a conjoined reverse “C” stretcher. h. 33”, w. 21-1/4” $2,000-$4,000

156

156

156

159

157

James Kennedy (Irish/American, b. 1962)

“The Middle Realm”, 2014 acrylic polymer on incised masonite monogrammed and dated en verso.

30” x 30” $1,000-$1,500

157

158

James Kennedy (Irish/American, b. 1962) “Icon”, 2014 acrylic and polymer on wood panel monogramed, dated and titled en verso.

Unframed.

35” x 24” $1,000-$1,500

158

160

Macchiarini

Creative Design & Gallery Macchiarini Creative Design and Gallery is the oldest jewelry studio in the United States. Located in San Francisco’s North Beach district, it was founded in 1948 by the Sonoma-born Peter Macchiarini, son of Italian immigrants who pioneered modernist metalwork design, creating avant-garde brooches, bracelets, rings out of wood, silver, gold, and other metals. Although Daniel Macchiarini took over his father’s studio and gallery, and currently runs it with his daughter Emma, he describes himself as a sculptor rather than a jeweler. His pieces are wearable works of art, fashioned out of various metals and stones into three-dimensional, layered ornaments.

(Lots 159-162)

159

159

Peter Macchiarini (American/California, 1909-2001) Brooch an abstract constructivist-inspired design in copper and silver “knife edge” bars, with circular bezel-set abalone shell, signed “Macchiarini”. l. 3-1/4”, h. 2”; 11.1 gr.

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

161

160

Daniel Macchiarini (American/California, b. 1954) Reversible Brooch late 20th century, sterling silver, brass, copper, onyx and bone, of large abstract form of rods and circle segments, with varying designs on either side, with an unusual side pin permitting it to be worn with either side showing, signed “Macchiarini”. l. 4-1/2”, w. 1”; 30.8 gr.

160

Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Marbeth Schon, Form & Function: American Modernist Jewelry, 1940-1970 (Atglen, Pennsylvania: Schiffer, 2008), p. 170. $1,200-$1,800

160 detail

161

Daniel Macchiarini (American/California, b. 1954) Cubist Guitar Brooch

late 20th century, in copper, silver and brass, with single pearl “sound hole” and flat onyx cabochon “tuner”, signed “Macchiarini”. l. 3-1/4”, w. 1-1/2”; 20.5 gr.

Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: Illustrated in Marbeth Schon, Modernist Jewelry, 1930-1960: The Wearable Art Movement (Atglen, Pennsylvania: Schiffer, 2004), p. 37. $700-$1,000

161

162

Daniel Macchiarini (American/California, b. 1954) “Eyebrows Monkey” 2008, Macchiarini Creative Design, San Francisco, the circular brooch in the form of a monkey masque in copper with brass eyebrows and muzzle and iron mane, with bone eyes and cabochon moonstone nose, signed “Macchiarini”. dia. 2”; 35.1 gr.

Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana. $700-$1,000

162 162

163

Ruth Roach (American/Iowa, 1913-1979) Brooch and Hat Pin

third quarter 20th century, sterling silver, rhomboid sculptural brooch centering a river stone which revolves on a central axis, the hat pin with a square cage, decorated with a stylized flower, open on one side revealing a stylized spider with large green cabochon body, signed “Roach”. brooch w. 1-7/8”; hat pin w. 1-1/2”, l. 6-1/2”; 47.7 gr. total Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

Literature: The brooch here is illustrated in Marbeth Schon, Modernist Jewelry, 1930-1960: The Wearable Art Movement (Atglen, Pennsylvania: Schiffer, 2004), p. 169, and notes that the river stone was one found by Roach’s young sons.

163

$700-$1,000

164

William F. (1939-1999) and Patsy S. Roach (1936-2004) Roach 2 Brooch fourth quarter 20th century, Minnesota, centering an oval, brilliant-cut amethyst and rounded triangular rutilated cabochon quartz terminals, joined by openwork “knife edge” navette scrolls, signed “Roach 2”. l. 4-3/8”, w. 1-1/2” Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

164

Literature: Illustrated in Marbeth Schon, Modernist Jewelry, 1930-1960: The Wearable Art Movement (Atglen, Pennsylvania: Schiffer, 2004), p. 248. $1,200-$1,800

165

Rey Urban(Swedish, 1929-2015) Two Sterling Silver Brooches 1970s, Denmark, for Age Fausting, Copenhagen, one a cluster of square-section rods, the other of interlocking curved “I”- and “U”-shaped panels, signed “Rey Urban / A. Fausting”. w. each 1-1/2”; 35.7 gr. total weight Provenance: Collection of Marbeth Schon; Private collection, New Orleans, Louisiana.

165

$700-$1,000

163

166

Oded Halahmy (American/New York, b. 1938) “Odyssey Study”, 1974 patinated bronze cast initials, dated and numbered “2/90” at back. h. 9-1/4”, w. 15”, d. 6-1/2” Provenance: Private collection, Nashville, Tennessee. $1,000-$1,500

166

166 detail

164

167

Alexander Archipenko (Ukrainian/New York, 1887-1964) “Statuette Geometrique” patinated bronze later casting post-1914, cast signature, inscribed “PARIS 1914” and numbered “12/25” along side.

On a green marble base. sculpture h. 27”, w. 6”, d. 5”, overall h. 28-1/4” Provenance: Millon & Associates, Paris, France through Matsart Auctioneers, Jerusalem, Israel, International Fine Art Sale, July 5, 2011, lot 104; Private collection. $15,000-$25,000

167

167 detail

165

168

Continental Patinated Bronze of “The Embrace” 20th century, cast signature “Marik” along back edge. h. 11”, w. 2-1/4”, d. 2-1/2” $1,000-$1,500 169

Mimmo Paladino (Italian, b. 1948)

“Vasi Alchemico”, 1994 three patinated bronze vessels each cast-signed and dated at bottom, two marked “Venture-Arts/Bologna” and numbered “2/3”, and one unmarked and numbered “1/2” at bottom, all with stoppers, now presented on a painted metal display table. sculptures h. 12”, dia. 7”, table h. 47-1/2”, w. 39-1/2”, d. 13-7/8” $12,000-$18,000 Accomplished in a myriad of media - including oils, stone, marble, bronze and wood, Paladino initially studied drawing and painting at the Liceo Artistico di Benevento. His first solo exhibition, at the young age of 21, was a resounding success with critics and catapulted him into the art world.

Along with such artists as Francesco Clemente and Enzo Cucchi (among others), he was one of the leaders of Transvanguardia, the Italian Neo-Expressionistic movement which emphasized the emotional and the validity of the figural. Paladino’s work alludes to mythology, classical civilization and symbolism, often reducing imagery to its very essence. His series “Vasi Alchemico”, of which the lot offered here is a part, by its very name references alchemy, the unachievable ancient discipline of turning base metal to gold. Each of the stoppered vessels in this series, rendered in an ebony-patinated bronze, has an idiosyncratic figural iconography that is indicative of the artist’s work.

168

169

169 detail 166

170

170

171

(American/New York, 1903-2000)

(American/Texas, b. 1946)

Anita Weschler

James Drake

“Untitled”

“City of Tells, Study No. 1”, 2004

painted cast resin in two parts, probably from the “Ecclesiastes” series, incised signature along lower edge of one figure, each on a wooden base. h. 23”, d. 11”, overall w. 50”

photograph with oil signed lower right.

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

Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana.

$2,000-$4,000 $2,000-$4,000

171

167

172

Krishna Reddy (Indian/New York, 1925-2018) “Demonstrators” resin with bronzed patina cast signature along back. h. 10-1/2”, w. 14-1/2”, d. 3-1/2” $1,000-$1,500

172

173

Rimi Yang

(Korean/Japanese/American, b. 1962) “Maiko”, 2009 oil on canvas signed and dated en verso.

Unframed.

72-1/2” x 48” Provenance: Stricoff Gallery, New York, New York; Private collection, New York, New York. $5,000-$8,000

173 168

174

Maurice Alvarado (American/Louisiana, b. 1958) “Untitled”, 2010 blown and hand-tooled glass incised signature and dated along edge. h. 18-1/2”, w. 4-1/2”, d. 4-1/2” $600-$900

174

175

Joseph Almyda (American, 1927-2011) “Garden: 12”, 1991 mixed media on canvas signed, dated and titled en verso, with “Harris Gallery, Houston, Texas” label.

Unframed.

72” x 53” Provenance: Harris Gallery, Houston, Texas; private collection. $1,000-$1,500

175

169

176

Lisa Di Stefano (American/Louisiana, b. 1959) “Untitled”, 2013 oil on gallery-wrapped canvas signed and dated en verso, from her “Louisiana Landscape” series.

48” x 48” $1,500-$2,500

176

177

Lisa Di Stefano (American/Louisiana, b. 1959) “Untitled” oil on gallery-wrapped canvas signed along edge, from her “Louisiana Landscape” series.

40” x 30” $1,500-$2,500

177 170

178

178

Amanda Talley

(American/Louisiana, Contemporary) “Untitled”, 2011 oil on panel signed and dated en verso.

36” x 48” $1,000-$1,500

171

179

179

Ann Hornback (American/Louisiana, b. 1945) “Untitled” mixed media relief on canvas signed lower right.

In a thin gallery frame.

18” x 36-1/2” x 2” Provenance: Private collection, New Orleans, Louisiana. $800-$1,200

180

Natalie Gaidry (American/Louisiana, b. 1961) “Untitled” oil on canvas signed lower right.

Unframed.

60” x 48” $1,000-$1,500

180

172

181

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Rebus”, 1988 painted and carved wood signed and dated at bottom. h. 13-1/4”, w. 3-1/2”, d. 1-7/8” $2,000-$4,000

181

182

Robert Gordy

(American/Louisiana, 1933-1986) “12 Boxes”, 1969 marker ink on paper signed lower left, verso with “Galerie Simonne Stern” label.

Glazed and framed. sight 21-1/2” x 23-1/2”, framed 22” x 24” Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Collection of Ronnie Brenner, New Orleans, Louisiana. $700-$1,000

182

173

183

174

183

Pair of Frank Gehry Bent and Laminated Maple “Hat Trick” Arm Chairs for Knoll International, both branded underneath: “Gehry/Knoll/Made in USA”, one dated 11/27/96, the other 01/28/00. h. 33-1/2”, w. 23-1/2”, d. 22-1/4” Provenance: Collection of Ruth and Michael Burke, Covington, Louisiana. $1,200-$1,800

175

184 184

Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008) “Live Oak Rice Cycle”, 1993 acrylic on masonite, a diptych signed, titled and dated on reverse.

Custom hardwood frame.

39” x 106”, framed 42” x 109” Provenance: Riviana Foods Inc., Houston, Texas corporate collection. $30,000-$50,000

176

177

185

185

Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008) “Rice Tracks: Triple View”, 2004 acrylic on masonite, a triptych signed, titled and dated along upper edge, central panel with “Arthur Roger Gallery, New Orleans, Louisiana” label. each panel 40” x 95”, overall 40” x 288” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Riviana Foods Inc., Houston, Texas corporate collection. $50,000-$80,000

178

179

eld 9-2009) nt

istopher klow

180

181

186

James Michalopoulos (American/Louisiana, b. 1951) “Thrice Back”, 1997 oil on canvas signed lower left, signed, dated and titled en verso.

Framed.

36” x 48”, framed 40” x 52” $3,000-$5,000

186

187

James Michalopoulos (American/Louisiana, b. 1951) “Stone to Sylvain”, 2002 oil on canvas signed lower left, signed, dated and titled en verso.

Framed.

39” x 31”, framed 44” x 36” $3,000-$5,000

187

182

183

188

Hunt Slonem (American/Louisiana, b. 1951)

“Hyacinth & Queen of Bavaria”, 1989 oil on canvas signed, dated and titled en verso.

Framed.

27-1/2” x 42”, framed 29” x 43-1/2” $3,000-$5,000

188

189

Hunt Slonem (American, b. 1951)

“Blue Chandelier”, 1994 oil on canvas signed, dated and titled en verso.

Framed.

44” x 52”, framed 48” x 57” $6,000-$9,000

189

184

185

190 detail

190

George Rodrigue (American/Louisiana, 1944-2013) “Suite of Six Blue Dog Chairs” red leather and aluminum with Blue Dog fabric appliques at back. h. 36-1/2” Provenance: Sold for the benefit of the Emeril Lagasse Foundation and the George Rodrigue Foundation at the Emeril Lagasse Carnivale du Vin 2010. $5,000-$8,000

186

190

187

191

191

George Rodrigue (American/Louisiana, 1944-2013) “Three in One Table” acrylic paint on aluminum signed on one side, three-sided table with blue, yellow and red dog, respectively. h. 29-1/4”, dia. 38” Provenance: Sold for the benefit of the Emeril Lagasse Foundation and the George Rodrigue Foundation at the Emeril Lagasse Carnivale du Vin 2010. $50,000-$80,000

188

191 detail

191 detail 189

192

John Christensen (American/Texas, b. 1954) “Humbaba” painted resin-modified gypsum on a wooden base. sculpture h. 41”, overall h. 48-1/2”, w. 21”, d. 11” $1,000-$1,500

192

193

William Crovello (American/New York, 1929-2021) “Snow Column” painted brass unsigned. h. 13-1/4”, w. 3”, d. 3”

193

Provenance: Private collection, New Orleans, Louisiana. $800-$1,200

193 detail

190

194

194

Charles Schorre (American/Texas, 1925-1996) “Source”, 1973 oil on canvas signed and dated lower left.

Unframed.

60-1/2” x 60” $3,000-$5,000

191

195

John Pavlicek (American, b. 1946) “Blue Ridge” collage and acrylic on canvas signed and titled en verso.

Framed.

36” x 30”, framed 42” x 36” $800-$1,200

195

196

Yuri Yuroz

(Armenian/California, b. 1956) “Lost in Each Other”, 1999 oil on board signed and dated lower right, titled, inscribed “to Juliann and Arturo” and with a marker drawing en verso backing paper.

Framed. sight 8” x 8”, framed 17” x 17” $1,000-$1,500

196

192

197

197

Ellsworth Kelly (American/New York, 1923-2015) “Cul de Sac”, 1983/4 lithograph on Arches paper pencil-signed and numbered “24/25” lower right, from an edition of 25 with 11 artist’s proofs, from the “Saint Martin” series.

Float-mounted, glazed and framed. sheet 42” x 56-1/2”, framed 49” x 58” $5,000-$8,000

193

198

Jules Olitski (American, 1922-2007)

“Crimson Orange With Blue”, 1970 screenprint in colors on wove paper from the “Graphic Suite Number Two”, from an edition of 150, pencil-signed and dated lower right.

Float-mounted, glazed and framed. sheet 34-1/2” x 25-1/2”, framed 38-1/2” x 29-1/4” Provenance: Private collection, New Orleans, Louisiana. $1,000-$1,500

198

199

Joan Miro (Spanish, 1893-1983)

“Plate 6”, from Le Lezard aux Plumes d’Or, 1971 color lithograph pencil-signed lower right and numbered “v/xx” lower left.

Matted, glazed and framed. sight 15-1/4” x 20-1/2”, framed 28” x 33-1/4” $1,500-$2,500

199

194

200

Sam Francis (American, 1923-1994)

“Monoprint No. 10”, 1963 color monoprint signed in pencil lower center, titled lower right, additional illegible numbers lower right.

In a plexiglass frame.

14-3/4” x 11”, framed 18” x 14” Provenance: Galerie Madoura, Vallauris, France; Private collection, New Orleans, Louisiana.

Exhibited: Vallauris, Galerie Madoura, “Sam Francis”, July 14-September 30, 1979, no. 13. $2,000-$4,000

200

201

Bernard Buffet (French, 1928-1999) “Les Jacinthes” lithograph in colors signed in pencil lower right, numbered “7/175” lower left.

Matted, glazed and framed. sight 27-1/4” x 20-3/4”, framed 40-3/4” x 30-3/4” $800-$1,200

201

195

202

Joan Mitchell (American, 1926-1992)

“Arbres (Black, Yellow and Blue)” color lithograph signed in pencil lower right, numbered “84/125” lower left.

Float-mounted, glazed and framed.

29-1/2” x 21-3/4”, framed 34” x 26-1/4” $5,000-$8,000

202

203

Jacques Hnizdovsky (Ukrainian/American, 1915-1985) “Cactus”, 1970 woodcut pencil-signed, dated, titled and numbered “83/150” lower center.

Unframed. sheet 18-1/2” x 17-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $600-$900

203

196

197

198

204 206

204

206

(American, b. 1950)

(American, 1911-2012)

Lesley Dill

Will Barnet

“Poem Body (The Soul Has Bandaged Moments)”, 1994

“Summer Idyll”

unique photolithograph with charcoal on paper a “Gracie Mansion Gallery/New York, New York” label en verso.

Matted, glazed and framed. sight 23” x 17-1/4”, framed 29” x 23”

lithograph in colors signed in pencil lower right, numbered “21/300” lower center, titled lower left.

Matted, glazed and framed. sight 30-1/2” x 38”, framed 39” x 50”

Provenance: Gracie Mansion Gallery, New York, New York; Private collection, New Orleans, Louisiana.

$1,000-$1,500

$600-$900 205

Carol Wax (American, b. 1953)

“Birds of Paradigm”, 1986 “Matryoshka” “Boots” three mezzotints on paper each pencil-signed, titled and numbered “31/35”, “20/50” and “1/52”, respectively.

Unframed. sheet 9” x 7-1/2”, 18-1/4” x 15-3/4” and 19-3/4” x 15-1/2”, respectively Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $700-$1,000

205

199

207

207

Alex Katz (American, b. 1927) “Alex” color lithograph signed and numbered “86/100” lower left.

Unframed. sheet 29-3/4” x 21” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $5,000-$8,000

200

208

Ken Price (American, 1935-2012)

“Lizard Cup (from Interior Series)”, 1971 screenprint in colors signed, dated, titled and numbered “5/75” along lower edge, published by Gemini G.E.L. Los Angeles and with publisher’s blindstamp lower right.

Matted, glazed and framed. sight 29-3/4” x 39-1/2”, framed 31” x 41” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

208

209

Reginald Holmes (Canadian, 1934-2004) “X”, 1969 serigraph in colors signed and dated lower right, numbered “73/98” lower left.

Matted, glazed and framed. sight 19” x 28”, framed 27” x 35” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

209

201

210

210

Yaacov Agam (Israeli, b. 1928) “Untitled” lithograph in colors signed lower right, numbered “28/36” lower left.

Matted, glazed and framed. sight 15-1/2” x 33-1/2”, framed 22-3/4” x 40-1/2” $1,000-$1,500

211

Carlos Cruz-Diez (Venezuelan, 1923-2019) “Couleur Additive”, 1970 silkscreen in colors pencil-signed and dated lower right, numbered “42/200” lower left, verso with “Redfern Gallery, London, UK” label.

Matted, glazed and framed. sight 26-1/2” x 26-1/2”, framed 34-1/2” x 34-1/2” Provenance: Redfern Gallery, London, England. $3,000-$5,000

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Roy Lichtenstein (American/New York, 1923-1997) “As I Opened Fire” three offset lithographs published by Stedelijk Museum, Amsterdam, pencil-signed lower right on one sheet, publisher’s stamp en verso.

Unframed. each sheet 25-1/2” x 21” $3,500-$5,000

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Jack Pierson (American, b. 1960)

“Untitled - Swimming”, 1995 chromogenic print on paper from the "All of a Sudden" series, pencil-initialed and numbered “13C/20” lower right en verso.

Matted, glazed and framed. sight 15-1/2” x 19-1/2”, framed 24” x 27-1/2” $2,000-$4,000

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Eric Fischl (American, b. 1948)

“Untitled - Beach”, 1991 chromogenic print on Kodak paper from the “St. Tropez” series, ink-signed and dated en verso.

Matted, glazed and framed. sheet 11” x 14”, framed 17” x 21” $800-$1,200

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George Holz (American, b. 1963) “Madonna”, 1983 chromogenic print signed, dated and titled en verso.

Unframed. sheet 20” x 16” Provenance: Collection of Laura Grannen, New Orleans, Louisiana. $2,000-$4,000

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Robert Glenn Ketchum (American, b. 1947) “Bald Eagle”, 1985 chromogenic print signed, titled, dated and numbered “5/27”en verso along with a “A Gallery for Fine Photography” label.

Matted, glazed and framed. sheet 16” x 20”, framed 24-1/2” x 29” Provenance: A Gallery for Fine Photography, New Orleans, Louisiana; Collection of Laura Grannen, New Orleans, Louisiana. $1,500-$2,500

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Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper Unframed. sheet 50-1/2” x 50” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $2,000-$4,000 Casey Williams’ photographs are large-scale abstractions that explore the delicate interaction between light and shadow, color and form. Many of his photos were taken along the miles of the Houston Ship Channel, of the Port of Houston.

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Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper pencil-signed and marked “04109”.

Unframed. sheet 48” x 48” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $2,000-$4,000

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Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper Unframed. sheet 50” x 49-1/2” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $2,000-$4,000

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Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper Unframed. sheet 52” x 52” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $2,000-$4,000

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Casey Williams (American/Texas, 1947-2013) “Untitled” chromogenic print on paper Unframed. sheet 49-1/2” x 49-1/2” Provenance: Deaccessioned from a Southern institution to benefit the acquisition collection fund. $2,000-$4,000

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Mario Villa (Nicaraguan/Louisiana, 1953-2021) Figural Console Table 1992, verdigris-patinated steel and glass, the rectangular glass top supported by a base of stylized trees, horses and figures with outstretched arms, signed and dated along one leg. base h. 35”, w. 56”, d. 16”; glass top w. 59-1/2”, d. 18” $1,200-$1,800

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

Unframed.

144” x 96” $6,000-$9,000

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David Harouni (American/Louisiana, b. 1962)

“Untitled - Evolution of the Horse and Carriage” suite of five collage and oils on burlap with rods for hanging. each 88” x 48” Provenance: Artist has confirmed this was a private commission, New Orleans, Louisiana. $3,000-$5,000

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Mario Villa (Nicaraguan/Louisiana, 1953-2021) Palm Frond Lamp 20th century, mixed metal, wrapped base, with triangular pierced copper shade. h. 29-1/2”, w. 10-1/4”, d. 10-1/4” $1,000-$1,500

226

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

20th century, mixed metal, cross stretcher to legs with busts and twisted brass elements, with a glass top. h. 21-1/2”, w. 52-1/4”, d. 35-7/8” $1,200-$1,800

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George Valentine Dureau (American/Louisiana, 1930-2014) “Study” black crayon on paper signed lower right.

Unframed.

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

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Two Mario Villa (Nicaraguan/Louisiana, 1953-2021) Chairs in the Neoclassical Style 2006 and 2007, mixed metal, one of lyre form, signed and dated “06” along back, the other signed and dated “07” along back, each with cream linen upholstery. former h. 37”, latter h. 34-1/2” $1,000-$1,500

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Mario Villa (Nicaraguan/Louisiana, 1953-2021) Nefertiti Coffee Table 20th century, mixed metal, cross stretcher to legs with busts and twisted brass elements, with a glass top. h. 18-1/4”, w. 45”, d. 24” $1,000-$1,500

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After Pablo Picasso (Spanish/French, 1881-1973) “Faun with Nude”, 1958 lithograph pencil-signed lower right, numbered “5/75” lower left.

Matted, glazed and framed. sight 16” x 18”, framed 23” x 25” $2,000-$4,000

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Pablo Picasso (Spanish/French, 1881-1973) “Losange a la Danse” Madoura ceramic tile stamped en verso “Poincon Original De Picasso” and inscribed “J. 162 91/500”.

5” x 5” $800-$1,200

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Henri Matisse (French, 1869-1954) “Isaia”, 1938 linocut stamped monogram and no. “12/25” lower right.

Matted, glazed and framed.

12-5/8” x 10-1/4”, framed 21-1/4” x 18-1/4” $3,000-$5,000

233

Georges Braque (French, 1882-1963)

“Nature Morte aux Huitres”, 1949 color woodcut signed in pencil lower right.

Unframed. sheet 11-1/2” x 14-1/2” $1,000-$1,500

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T. H. Robsjohn-Gibbings Faux Bamboo Cocktail Table

Pair of Edward Wormley for Dunbar Walnut and Burl Walnut Lamp Tables

the ovoid oak top over a conforming frieze, raised on stained maple legs turned to simulate bamboo. h. 21-1/2”, w. 67”, d. 37” $1,000-$1,500

ca. 1940, each fitted with a pair of pull-chain sockets and central turn-knob socket, two turned and tapered standards separated by a central banded walnut circular table, mounted to a tripodal metal base, bearing a metal tag reading “Dunbar, Berne, Indiana”. h. 51”, dia. 25” $1,500-$2,500

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Christofle Art Deco Silverplate Tea Set second quarter 20th century, Paris, including: a teapot, h. 5-1/2”, l. 8-1/2”; a coffeepot, h. 6-1/2”, l. 8”; a covered sugar bowl, h. 3-5/8”, w. 6”; a cream jug, h. 3-5/8”, l. 5-1/4”; and a tray, 20” x 12-3/4”; the hollowware with ovoid bodies, triangular spouts, squared rosewood handles and button finials, the tray of rounded rectangular form with arched, reeded handles. $1,000-$1,500

237

Pair of Jacques Adnet and Baccarat Table Lamps 1930-39, French, model 7706, each with a Baccarat crystal ball resting on a circular nickel-plated bronze base, fitted with white paper shades and European electrical wiring. overall h. 10-3/4” $4,000-$7,000

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Armin Landeck (American, 1905-1984)

“Roof Tops, 14th Street”, 1946 engraving unnumbered from an edition of 50, pencil-signed lower right.

Matted, glazed and framed. sight 9” x 14-3/4”, framed 16” x 21” $800-$1,200

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Gerald Leslie Brockhurst (British/New Jersey, 1890-1978) “Le Casaquin de Laine” etching on wove paper pencil-signed lower right and titled lower left, reversed “Brockhurst” upper right and lower left.

Unframed. sheet 11-1/4” x 8-1/2” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $600-$900

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Gerald Leslie Brockhurst (British/New Jersey, 1890-1978) “Basque Boy” “Aglaia”

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two etchings on wove paper both pencil-signed lower right margin and with reversed “Brockhurst” in plate, former titled “Cypriano (a Basque)” and marked “S 28698” lower right sheet, latter inscribed “Produce of England” en verso.

Both unframed. sheet 10-3/4” x 7-3/4” and 11-1/4” x 8-1/4”, respectively Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

241

Gerald Leslie Brockhurst (British/New Jersey, 1890-1978)

“Dorette (Portrait of Kathleen Woodward)”, 1932 etching on wove paper pencil-signed lower right, titled and marked “W 72” lower left, reversed “1932” and “Brockhurst” in plate, inscribed “Produce of England” en verso.

Unframed. sheet 14-1/2” x 11” Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $1,000-$1,500

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Whimsical Life-Size Sculpture of a Water-Bearer 20th century, painted composition, unsigned. h. 78", w. 25-1/2", d. 19" Provenance: Collection of Ronnie Brenner, New Orleans, Louisiana. $800-$1,200

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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%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

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

Susan D. Sarofim CEO

Jelena Restovic James Director of Fine Art

Michele Carolla Fine Art Specialist

Tessa Steinkamp Director of Auctions

lreys Bowman General Consignments

Charles C. Cage Silver Specialist & Office Manager

Burke Designer

AUCTIONEERS Tessa Steinkamp, #1265

Taylor Eichenwald, #1922

Michael DeGeorge, #177 4

CONSULTANTS

Taylor Eichenwald Assistant Director of Auctions

Greg S. Kowles General Consignments

Kim Lemon Director of Fine Jewelry

Thomas Halverson American Furniture Specialist

Grace Connors Manager of Online Auctions

Sarah Agnew Client Services & Administrative Assistant

ADMINISTRATION

Ellen McKenzie English & Continental Furniture

Denise Haik Office Administration

Ira Savoie Independent Certified Gemologist Appraiser

Gary Michael Gittelson Photographer

Christa Ougel Photographer & Graphic Designer Bettina Bausa Graphic Designer

OPERATIONS Cedric Roberts I Sean Ranson

Bennie Amos I Emmitt Kendrick, Jr. Gerald Hampton I Juanita Bazile Sol Carter I Theadrow Mark