Estates Auction: October 14-15, 2023

New Orleans Auction

October 14-15, 2023

of a lifetime collections

ESTATES

OCTOBER

Welcome to OCTOBER

Icould not be more thrilled to welcome you to our October Estates Auction, a sale that not only reflects the spirit of collecting, but also offers an exceptional and diverse selection of items—from chic, modern furniture to rare George Ohr pottery and stunning jewelry by David Webb and Cartier.

This diverse sale begins with the Estate of Thomas B. Lemann, a lifelong New Orleanian and prolific collector. Lemann’s collecting journey is quietly reminiscent of one of the greatest American collectors: Louisine Havemeyer, who approached collecting as a lifelong pursuit imbued with a higher purpose.

From his first trip to the Venice Biennale in the 1960s to his musings about emerging artists in the 1990s, Lemann’s travel diaries offer a fascinating glimpse into the world of a brilliant and thoughtful collector experiencing the world and interacting with many of the most renowned dealers and artists of the day.

Much like Havemeyer, Lemann’s meticulous records of his adventures in decades of travel diaries provide academiclike detail of what it was like to experience cities like Paris and London throughout the second half of the 20th century, including amusing anecdotes about interacting with countless characters along the way. We hope you enjoy reading selections from his Travel Diaries throughout the catalogue.

NOAG is honored to offer over 300 lots from the Lemann Estate, including works by Martin Holmgren, Kostas Klouvatos, Gino Mornadis, Pippin Drysdale and Stephen Cox, among many others.

Speaking of aesthetes, we are also delighted to welcome Timothy Corrigan, one of the world’s top interior designers and Architectural Digest ’s “today’s tastemaker,” to our gallery and as a guest editor for this catalogue. Read more about Timothy’s exciting collaboration in the words of NOAG’s CEO, Susan D. Sarofim, in the pages that follow. Our team sat down with Timothy to get his tips on decorating, collecting and buying at auction – as well as his favorite pieces from this sale.

Our October Estates Auction takes place on Saturday, Oct. 14, and Sunday, Oct. 15, beginning at 10 a.m.. Our gallery is open for exhibition October 2 - 13 9a.m. - 5p.m. with a Saturday preview on October 7 from 10a.m. - 3p.m.

Each auction presents a fresh and riveting opportunity for exploration. In that spirit and in the welcoming of a new, transformative season, we hope you will be inspired by the pages that follow.

See you at the auction,

Taylor Eichenwald

Assistant Director

“Museums have a history of their own, but how little is known of the making of private collections.”

– Louisine Havemeyer , Memoirs of a Collector

CREATIVE CONFLUENCE

THE NOAG EDIT with

Timothy Corrigan

The Interior World of Timothy Corrigan

A personal look at the preeminent designer and NOAG’s October catalogue guest editor

To spend time in a room designed by Timothy Corrigan is much like spending time with the internationally acclaimed interior designer himself. You are immediately stunned by grace and elegance… but in the same turn, eased by an enveloping warmth and unassuming comfort.

Timothy’s boldface name frequently falls on prestigious annual accountings of designing greats including Architectural Digest ’s AD100, the the Luxe Gold List, among many others. But I have the absolute pleasure of calling him my friend. We met out of a shared love of all things beautiful, and I cannot think of any better foundation for creating what I know will be a lifelong connection.

So as New Orleans Auction Galleries proudly and gratefully collaborated with Timothy for the October Estates Auction, I knew it was a chance for you to get to know him a bit beyond the polished press clips and awards.

While Timothy is arguably the end-all authority on home interiors, I can confidently say I am, at least for this purpose, the authority on Timothy. And what I want you to know is that it is true his boundless creativity is the brand that launched fabrics and fixtures and books and candles and rugs and more (please visit his website at Timothy-Corrigan.com). And to have a home designed by him is an aspiration held by countless around the world.

But, more important, what I also want you to know is that he is kind and loyal, both personally and professionally. And he designs with the intention of creating rooms that reflect the ethos of each client, not his own ego (which is all too rare in the world of interiors).

Quite simply, Timothy Corrigan, whether through design or by design, knows how to make you feel at home.

P.S. After a summer away, I’m looking forward to returning to NOAG for the October Estates Auction, Saturday, Oct. 14 and Sunday, Oct. 15. I’ll be on the auction floor and working the phones, so please stop by!

Photography: Simon Upton

Photography: Alex Bailhache

Susan D. Sarofim, CEO

A bout NOAG's October Guest Editor

Timothy Corrigan is one of the world’s leading interior designers. With offices in Los Angeles and Paris, his firm has completed projects in Europe, Asia, the Middle East and across the United States.

He has been named to virtually every top designer list including Architectural Digest ’s AD100, the Elle Decor A-List, Robb Report ’s Top 40 Designers in the World, the Luxe Gold List, 1stdibs 50, the Design Icon Award, ICAA Legacy Award, and the Pacific Design Center’s Star of Design. He is the only American honored by the French Heritage Society for his restoration of several national landmarks in France. The firm’s work has been featured in over 1,000 publications worldwide.

Corrigan has designed licensed collections for Perennials, Schumacher, Samuel & Sons, Fromental, Royal Limoges, THGParis, Kyle Bunting, and Dea Luxury Linens. He has two bestselling books, published by Rizzoli: An Invitation to Chateau du Grand-Lucé and The New Elegance: Stylish, Comfortable Rooms for Today. He is currently working on his third book.

Corrigan serves on the national board of trustees of the Institute of Classical Architecture & Art and the French Heritage Society.

Prior to forming his design firm in 1998, Timothy had a successful career in advertising, heading up Saatchi & Saatchi’s Bates Worldwide’s international operations.

Photography: Richard Powers

Tête-à-Tête Timothy Corrigan

If you were given a few minutes to chat with one of your design idols, what would you ask?

You are recognized for, among many things, your passion for incorporating auction finds into your work (which we love!). What does this approach bring to your designs?

I love sourcing furniture and art at auctions! It provides an opportunity to find unique, one-of-a-kind pieces that typically have age and patina, which just can't be achieved with new furniture. The wonderful thing about auction items is that they are examples of items that were popular at different periods throughout history, as opposed to new furniture which is just what is currently trending. Incorporating antiques in a space results in a layered and more complex look.

Can you share a pro tip or two for finding the perfect auction piece?

1) The more you look the more you learn, so I always advise people to spend time visiting auctions and looking at the catalogue either online or in hard copy. By spending this time, you start to see lots of similar items, which ultimately results in finding the special pieces that really stand out. 2) Look carefully at the dimensions because the images can be deceiving. 3) Always request a condition report.

What has been your favorite auction find and why?

My most favorite auction acquisition is a study that JacquesLouis David did for a monumental painting that is in the Louvre in Paris. David painted three different studies of the central figure in the painting trying to determine exactly what was the best way to depict the emotions of the man. It is an unfinished study and it sheds light into the way the artist actually created his final masterpiece.

Although auctions like ours are full of one-of-a-kind items, scouring sales is often about collecting. What things or categories would we find collected in your home?

I am an inveterate collector. Any object looks more interesting and has more impact when paired with other things in the same category. It allows you to notice the commonalities and differences between each piece. My specific collections include portraits, grand tour objects, paintings and drawings of architectural subjects and porcelain dinnerware.

are comfortable in the way you live and create rooms that don’t communicate “look but don’t touch,” guests and family will feel comfortable too.

Your designs are arguably timeless; however, the design industry is subject to ever-changing whims. What recent trend do you think is here to stay and what trend has passed its prime?

All design is on a pendulum, shifting from one style extreme to another. The clean, sleek mid-century look with its cool grey pallate is, thank heavens now out, and we are seeing a return to more classicism, warm colors, antiques, and more layered interiors.

You have recently unveiled some stunning product lines, including fabrics for Schumacher and bed and table linens with DEA. Can you give us a hint at what exciting venture we can expect from you next?

In the next year, I’ll be launching a new collection of trims for Samuel & Sons; wallpaper and fabrics for Schumacher; fabrics and rugs for Perennials; new linen designs for Dea Italy; and my third book, which will focus on my life and designing in France.

Last question: NOAG is so happy to have you visit New Orleans. Can you tell us what draws you to our beloved Crescent City?

I actually spent the first three years of my life in New Orleans when my father was a professor at Tulane. It is always a great pleasure to return to this beautiful city.

NOAG recently sat down with the award-winning designer to discuss all things interiors, collecting and more.

Photography: Gianna Franchellucci

Timothy Corrigan NOAG

Classical elegance and contemporary cool

An edit of some of Timothy's favorite pieces from our October Estates Auction

LOT 817

Pair of Edwardian Carved Wooden Urns in the Adam Taste

LOT 321 Pair of Iron and Leather Curule-Form Stools (one shown)

LOT 307 Tiffany-Retailed Portuguese Silver Desk Box

LOT 691 Palissy Ware Glazed Oval Plaque

Pair of Handsome French Gilt-Bronze-Mounted

LOT 593

Pair of Leather-Covered Fireside Lounge Chairs

LOT 533

Pair of Rare American Cast Iron Whippets on Plinths (one shown)

LOT 404

Raimonds Staprans (Latvian, b. 1926) "The Pear and the Can"

Photography: Lee Manning

Timothy Corrigan NOAGX The

tyle File S

Taking creative cues from a few of our favorite Timothy Corrigan designs, we sourced some fantastic art, furnishings and collectibles – or what we call #NOAGfinds – from the more than 824 lots in this catalogue for your own inspiration.

Photography: Simon Upton

LOT 28

Pablo Picasso (Spanish/French, 1881-1973) "Oiseau au Ver (A.R. 172)

LOT 314 Pablo Picasso (Spanish/French, 1881-1973) "Oiseau sur la Branche (A.R. 175)"

Lot 428 Pair of Modern Chrome and Granite-Top Gueridons

Lot 675

Pair of Empire-Style Creme Peinte Fauteuils (one shown)

Lot 204 Eli Karpel (American/ New York, 1916-1998) "Untitled"

LOT 33

Arman (American/French, 1928-2005) "Harpe de Couleurs", 1975

Ribbon shown throughout care of Timothy Corrigan for Schumacher

Be sure to follow Timothy on Instagram at @TimothyCorrigan for more of his signature “comfortable elegance” style and NOAG @NewOrleansAuction to see more sensational #NOAGfinds.

Timothy Corrigan NOAGX

Lot 641

Regence Giltwood Mirror in the Neoclassical Taste

Lot 659

Pair of Louis-Philippe Gilt-Bronze and Black Marble Candelabra (one shown)

Lot 739

Unusual Malachite-Clad Pyramid

Lot 662

Pair of Empire-Style Mahogany and Marble-Top Commodes

Lot 316 Bronze and Marble-Top Gueridon in the Neoclassical Taste

Lot 796 English Regency Tortoiseshell Tea Caddy

The Art World of Thomas B. Lemann

Photography © Tabitha Soren 2023.

Photography © Tabitha Soren 2023.

AN

The Mediterranean villa-style home of the late Thomas B. Lemann (19262023), designed by John Lawrence, then the Dean of Tulane Architecture School, was built by Lemann, its first and only owner, in Uptown New Orleans in 1966. In the decades to follow, the house would become the setting of Lemann’s eclectic, ever-growing collection of paintings and sculptures from places and artists from around the world.

Dating from the 1960s to the 2000s and placed upon tiled floors and pedestals, the sculptures represent various mediums, countries of origin and styles and reflect Lemann’s vast travels and art-inspired explorations around the world.

Inside, the home was filled with more sculptures, artwork and decorative objects. From bronzes that resemble puzzles and smooth-surfaced porphyry, to earthy, textured ceramics and brightly colored sculptures, each could’ve easily been used to teach lessons on the historical art movements of the mid to late 20th century.

Lemann’s love for the unexpected was especially evident in an intricately sculptured stack of books, complete with a stone-and-marble envelope that somehow appear soft and lightweight. It’s precisely in this sense of whimsy that Lemann found pleasure: collecting and displaying objects that evoke surprise and playfulness.

From the 1960s pieces he acquired during his first forays into collecting, sparked by his visit to the 32nd Venice Biennale, to the 21st-century earthenware of emerging artists, Lemann’s impressive collection spans a comprehensive and significant timeline of art.

NOAG is honored to present The Estate of Thomas B. Lemann.

Thomas B. Lemann, 1971

It was in 1964, during his first trip to the Venice Biennale–which has held its place among one of the world’s most prestigious cultural institutions–that Lemann’s fascination with and lifelong passion for collecting art began in earnest.

Over the years, during Lemann’s many visits to Venice, he established a rare and impressive collection that reflects his knowledgeable, eclectic interest in art.

Following his initial acquisitions at the Venice Biennale, Lemann immersed himself in the international art community, enthusiastically following the shifting trends and movements of the next half-century. The result is a diverse and richly interconnected collection.

From Scandinavian Modernists like Martin Holmgren, members of the post-war French

Regionalist movement of Ecole de Nice, Venetian spatialist Gino Moranadis, Australian ceramicist Pippin Drysdale and contemporary porphyry sculptures by Stephen Cox, Lemann’s impressive collection (which also includes Sèvres porcelain and faience pottery gifted to the New Orleans Museum of Art) spans a comprehensive and significant timeline.

Inspired by his travels across the world, Lemann also penned copious journal entries, capturing his experiences through his own lens and providing an invaluable snapshot of the places, people and experiences he encountered along the way.

Lemann’s keen and descriptive writing provides an intimate glimpse into this consummate collector’s journey, as he explored and learned about the world around him, quenched his thirst for knowledge and expanded his pursuit for collecting.

We have proudly published several of Lemann’s travel journal entries throughout this catalogue.

Thomas B. Lemann was an avid art enthusiast and collector from New Orleans.

THOMAS B. LEMANN (1926-2023)

Photography: Christa Ougel

Interior designer Edward Benesch and his wellknown affection for classic modern design, was a perfect fit for Lemann’s mid-century modern home. Benesch worked collaboratively with Lemann to maintain the balance between modernity and nature that was so important to the design of the property. The interiors of each room are unique, from the warmth of the library, which features builtin bookcases by Benesch, to the living room which overlooks a centuries-old oak in the side garden.

This singular garden was designed by California landscape architect Robert Royston. It was Royston who also sited the house so that the two massive oak trees on the property—one oak tree facing State Street, the other oak facing Garfield Street, would be seen to full advantage.

Photography: Christa Ougel

THE THOMAS B. LEMANN COLLECTION GREECE 1964

“Today we visited the three leading, if not the three only, art galleries in Athens and ended up with a sculpture by Clouvatos, a ceramic plaque by Valsomikis, and paintings by Sikeliotis, Papadakis, and Fassianos. The last named was exhibited at the art gallery of the Athens Hilton Hotel, where the artist himself put in an appearance, a 29-year-old originally from Corfu, who has lived three years in Paris and exhibited there. He specializes in Byzantine eyes.”

- Thomas B. Lemann Travel Journals Athens, July 1964

“Three Women and a Man”, ca. 1964 oil on panel signed lower left.

Framed. sight 19-1/4” x 27-3/4”, framed 20” x 28-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

1 Georgios Sikeliotis (Greek, 1917-1984)

2

Georgios Sikeliotis (Greek, 1917-1984)

“Couple in the Open Air”, ca. 1960

oil on paper signed lower left, verso with “The Elsie Perrin Williams Memorial Art Museum, London, Canada” and “The Art Gallery of Hamilton” labels, verso inscribed with artist name and address. Gallery frame.

sight 19-1/4” x 27-1/4”, framed 20-1/2” x 28-1/2”

Provenance: Purchased in Athens, Greece, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Probably exhibited at The Art Gallery of Hamilton, Ontario, Canada, December-January 1960, Contemporary Greek Painters

$2,000-$4,000

3

Georgios Sikeliotis (Greek, 1917-1984)

“Young Woman”, ca. 1964

oil on paper board signed lower left. Glazed and framed. 27” x 19-1/2”, framed 28-3/4” x 20-3/4”

Provenance: Purchased in Athens, Greece, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

Alekos Fassianos (Greek, 1935-2022)

“The Angel”, 1964 oil on canvas signed and dated upper right. Framed.

45-1/4” x 28”, framed 46” x 29”

Provenance: Purchased in Athens, Greece, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$8,000-$12,000

Born in Athens in 1935, Alekos Fassianos was a highly acclaimed contemporary artist and one of Greece’s most celebrated painters. Encouraged by his parents, Fassianos began to paint amidst the terrors of the Second World War and the Greek Civil War. He attended Athens School of Fine Art, and later Ecole Superieure des Beaux Arts in Paris. In Paris, he started to develop his very personal artistic style, one washed in a Mediterranean color palette, and rooted in the simplicity of Greek classical art. Fassianos would go on to expand his own distinctive artistic vocabulary, but his work began as a study of abstraction, and The Angel (1964) is an interesting example of this earlier work.

The angel figure is present but just barely visible behind a thick layer of warm, beige-hued paint, with intentional craquelure to further obscure the figure. The suggestion of a face can be seen in the top right corner, in a thick mixture of blue and white paint, and an eye is barely visible amidst the craquelure. Just beneath the feet are rippling blue lines, implying motion of either wind or water; nearly every one of Fassianos’ works are characterized by movement, emphasized by the curved lines of hair or clothing blowing in the wind. The blue lines at the bottom of the canvas here are the beginnings of this trademark of Fassianos’ style.

The canvas is largely devoid of the bright color palette that would become a distinct characteristic of Fassianos’ work; it is mostly washed in a warm, creamy beige color, suggestive of a light that bathes the figure. While the palette is not nearly as bright as might be expected, the pops of blue, yellow, and a brownish red - reminiscent of terracotta amphora vases from Ancient Greece - are still the elements that breathe life into the figure, imbuing him with a spiritual existence

Fassianos’ grandfather was a priest, and he spent much of his childhood in the Byzantine church where his grandfather worked, bringing him incense to burn and scripture to read. Fassianos admits to being magnetized by the Byzantine protagonists, stating “I was impressed by the holy horsemen with their halos and swords, which made flames and killed beasts....” Perhaps the angel figure is not related to the myth of Greekness, as so much of his work often is, but related to his personal myth: the quiet afternoons spent with his grandfather and the alluring Byzantine icons that galvanized him.

The Angel allows an insight into Fassianos’ early work, and the elements that would later characterize his mature artistic style. Though it is not a typical work by Fassianos, it is not difficult to connect it to his larger body of work and mature style. It is deeply personal, painted during a time when Fassianos was discovering his artistic vocabulary and just beginning to transform into an emblematic figure of 20th-century Greek art.

4

Provenance: Purchased in Athens, Greece, 1964;

$8,000-$12,000

5

Kostas Klouvatos (Greek, 1921-2007)

“Untitled”

patinated bronze sculpture on an integral metal base.

h. 65-3/4”, w. 10”, d. 10”

Estate of Thomas B. Lemann, New Orleans, Louisiana.

VENICE BIENNALE

“We spent the whole day today at the Biennale and really covered the waterfront, inspecting each of the 3,000 works of art there exhibited. It is indeed quite a show. This is the 32nd Biennale, which means they have been holding it since the year 1900, and it is easy to understand why it is the most famous exhibition of modern art in the world.

Although it requires a lot of walking around, it is still a better chance to see a cross section of contemporary art than you could find anywhere else, You would have to go to dozens of galleries in New York, Paris, London; Milan, and many more remote spots in the world, in order to see any-thing like the number of artists and nationalities exhibition here.”

–Thomas B. Lemann Travel Journals, Venice July 14, 1964

THE THOMAS B. LEMANN COLLECTION

Martin Holmgren sculpture at Venice Biennale, 1964; Photo by Thomas B. Lemann

6

Martin Holmgren (Swedish, 1921-1969)

“Monument over Gatuakrobat med hund (Monument to Street Acrobat with dog)”

patinated bronze cast signature along side edge of self-base, a “Bergman Cire Perdue” foundry mark along back.

h. 26-1/2”, w. 7-3/4”, d. 9-1/2”

Provenance: Venice, XXXII Biennale, Venice, Italy, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXII Biennale Exhibition of International Art, Swedish Pavilion, 1964, catalogue no. 13.

$1,500-$2,500

The work offered here is a small-scale version of Holmgren’s monumental 1968 bronze in the town square of Lund, Sweden.

7

Martin Holmgren (Swedish, 1921-1969)

“Landscape III”, 1963

patinated bronze cast monogram, dated and numbered “2/6” at proper left back, with “H. Bergman” foundry mark at proper right back, on an integral wood base.

h. 14-3/4”, w. 15-1/4”, d. 3-5/8”

Provenance: Venice, XXXII Biennale, Venice, Italy 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXII Biennale Exhibition of International Art, Swedish Pavilion, 1964, catalogue no. 22.

$1,000-$1,500

Provenance: Venice, XXXIII Biennale, Venice, Italy, 1966; Estate of Thomas B. Lemann, New Orleans, Louisiana.

The Finnish sculptor Kavijarvi was acclaimed for his largescale carved stone monuments and memorials that emerge aggressively from the landscape. Initially trained as a painter at the Finnish Academy of the Arts, it was the years he spent in Rome at the Accademia di Belle Arti that encouraged him to experiment with bronze. These early sculptures were in many ways a three-dimensional extension of his figural work. It was not until the 60s, inspired by classical architecture, that he began to explore abstract sculptures, revisiting the same forms over the course of his career.

Harry Kivijarvi (Finnish, 1931-2010)

“Stone”, 1966 black granite h. 16-1/2”, w. 15”, d. 9-1/2”

Exhibited: Venice, XXXIII Biennale Exhibition of International Art, Finnish Pavilion, 1966, catalogue no. 28. $1,000-$1,500

“Dado

Provenance: Venice, XXXIV Biennale Exhibition of International Art, 1968; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXIV Biennale Exhibition of International Art, 1968.

$1,500-$2,500

The Austrian post-war avant-garde sculptor Roland Goeschl studied at the Academy of Fine Arts in Vienna under Fritz Wotruba (1907-1975) and later worked in Wotruba’s studio as his primary assistant. Initially creating figural sculptures, Goeschl soon began deconstructing the figure into geometric forms, reconfiguring the elements into constructive sculptures. Following a brief time at the Royal College in London, Goeschl began to explore polychrome sculpture, adding the primary red, blue and yellow into his works. These sculptures require an active viewer, one who observes them from all sides and perspectives. Goeschl exhibited widely, most significantly at the Venice Biennale in 1968, from where the work presented here was acquired.

9 Roland Goeschl (Austrian, 1932-2016)

a Colori”

carved and painted wood titled at bottom. h. 9-3/4”, w. 9-1/4”, d. 9-1/2”

10

“Rocca”, 1968

weathered steel sculpture h. 9-3/4”, w. 35”, d. 10”

Provenance: Venice, XXXIV Biennale Exhibition of International Art, 1968; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXIV Biennale Exhibition of International Art, 1968.

$1,000-$1,500

11

“Sesamo”

bronze diptych cast signature and numbered “8/8” along proper right edge. h. 4-5/8”, open w. 6-5/8”, d. 1-1/8”

Provenance: Venice, XXXVI Biennale Exhibition of International Art, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXVI Biennale Exhibition of International Art, 1972.

$1,000-$1,500

Joaquin Roca Rey (Peruvian, 1923-2004)

Rubio Camin (Spanish, 1929-2007)

“Regent Women Dream Passions”, 1972

patinated bronze h. 30”, w. 31”, d. 19”

Provenance: Venice, XXXVI Biennale, Venice, Italy, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Venice, XXXVI Biennale exhibition of International Art, 1972

$1,000-$1,500

“Kivijarvi, the unpronounecable Finn whose black marble stone sits in our backyard pool, was at the Biennale in 1966 and is here again. I asked the sales girl if it was not unusual for somebody to make the Biennale twice, and she confirmed it is quite unusual though not unheard of. His prices too have gone up, but not astronomically.”

- Thomas B. Lemann Travel Journals, 1972

13 Harry Kivijarvi (Finnish, 1931-2010)

"Ucello (Bird)", 1970

carved black granite sculpture h. 71-1/2”, w. 12”, d. 11”

Provenance: “La Biennale di Venezia”, Esposizione Internazionale d’Arte, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$7,000-$10,000

The Finnish sculptor Kavijarvi was acclaimed for his large-scale carved stone monuments and memorials that emerge aggressively from the landscape. Initially trained as a painter at the Finnish Academy of the Arts, it was the years he spent in Rome at the Accademia di Belle Arti that encouraged him to experiment with bronze. These early sculptures were in many ways a three-dimensional extension of his figural work. It was not until the 60s, inspired by classical architecture, that he began to explore abstract sculptures, revisiting the same forms over the course of his career. In 1970, the same year the work offered here was created, he received the Pro-Finlandia medal.

Thymios Panourgias (Greek, 1931-2015)

Kurt Ostervig, Denmark, Teak Free-Standing Adjustable Bookcase/Room Divider

1960s, for KP Mobler, Denmark, the lower shelf with brass arm supports. h. 71”, w. 41”, d. 15-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana. $1,000-$1,500

WOLFGANG KUBACH & ANNA WILMSEN

Anna Wilmsen and Wolfgang Kubach met as students at the Academy of Fine Arts in Munich and soon formed a personal and professional relationship. They began collaborating in 1968 and had their first joint exhibition in 1978, two years after they embarked on their series of stone books. Utilizing granite, marble and other stones, carefully chosen for their veining and coloring, the duo have created everything from the small books offered here to monumental libraries such as the over 300 book collection held at the Bibliotheque Nationale de France. In 1989, they formed the Fondation Kubach-Wilmsen which supports a stone sculpture museum and garden in their beloved Bad Munster am Stein.

15

Wolfgang Kubach (German, 1936-2007)

Anna Wilmsen (German, 1937-2021)

“South African Stone Letter”

h. 5-3/4”, w. 11”, d. 1/2”

Provenance: Staempfli Gallery, New York , New York, 1986; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

16

Wolfgang Kubach (German, 1936-2007)

Anna Wilmsen (German, 1937-2021)

“Two Granite Books”

h. 2”, w. 5-1/2”, d. 4-1/8” and h. 3-3/4”, w. 7”, d. 5-1/2”

Provenance: Staempfli Gallery, New York, New York, 1986; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

17

Wolfgang Kubach (German, 1936-2007)

Anna Wilmsen (German, 1937-2021)

“Six Stone Books”

h. 1”, w. 6”, d. 4-1/2” to h. 2-1/2”, w. 5-1/4”, d. 3-3/4”

Provenance: Staempfli Gallery, New York, New York, 1986; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

"A book is held in the hand and read with the eyes. A stone book is held by the eyes and read by the hand."

- ANNA KUBACH-WILMSEN

Set of Three Hans J. Wegner “Wishbone” Chairs

1960s, model CH24, Carl Hansen & Son, Denmark, after the 1950 original, with oak frames and paper cord seats, one example retaining the original silver and black label. h. 28”, w. 21-1/2”, d. 21”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

19

1970s, serial number x13035. h. 44-1/4”, w. 50-3/4”, d. 19-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

19

20

Two Walnut Three-Legged “Mira” Stools, Attributed to George Nakashima

ca. 1950, possibly from the “Mira” series, both examples with curved spindle-set backs, triangular seats and splayed legs, the first a high stool with foot rest, h. 37”, w. 22”, d. 18-1/2”, and the second a similar, short stool, h. 27”, w. 19-1/2”, d. 18-1/4”, both unsigned.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Andreas Christensen, Denmark, Teak Upright Piano

THE THOMAS B. LEMANN COLLECTION

SOUTH OF FRANCE

ANTIBES

“An excellent new art gallery has been opened in Antibes since our last visit, the Galerie Laporte. The proprietress, Madame Laporte, is a lady of a certain age always complaining about the heat (it is not very hot actually) but with a good deal of taste. She lives in Paris six months of the year and has her gallery here during the six summer months. She has assembled quite an interesting stable of artists, most of whom follow her regime of spending half the year in this area and the winter time in Paris. We were particularly impressed with a chap named Bolin, a Swede by birth who is now 45 years old and has lived in Paris since he was one year old, so that actually he is French though racially he is Swedish. He has exhibited in New York and has a gallery connection there as well as in Paris. We visited his studio on Cap d’Antibes and saw one of his most recent works.”

- Thomas B. Lemann Travel Journals, Antibes August 1965

"Campagne Contre Jour, Antibes", 1965

oil on canvas signed and dated lower right, and signed, titled and dated en verso. Framed.

38-1/4” x 51”, framed 39” x 52”

Provenance: Galerie Renee Laporte, Antibes, France, 1965; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

“Untitled”, 1970

oil on canvas signed and dated lower right.

Framed.

34-3/4” x 45-3/4”, framed 35-1/2” x 46”

Provenance: Galerie Renee Laporte, Antibes, France, 1970; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

21

Gustave Bolin (Swedish, 1920-1999)

22 Gustave Bolin (Swedish, 1920-1999)

21

Andre Cottavoz (French, 1922-2012)

“Poivrons et Tomates”, 1967

oil on board signed lower right, and signed, titled and dated en verso.

Gallery frame.

9-1/2” x 16-1/4”, framed 10-1/2” x 17-1/4”

Provenance: Galerie Renee LaPorte, Antibes, France, 1967; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Andre Cottavoz was a “Sanzist” artist, a term used by its proponents to express their opposition to any labels. Favoring light above anything else, they made their debut in 1948 in Lyon, but it was the Ecole des Beaux Arts in Paris that became the movement’s leading supporter

Andre Cottavoz, inspired by Vincent Van Gogh, sculpted his paintings with a palette, layering, mixing and kneading the paints either with a tool or hand. It was ultimately Chaim Soutine that would have the most profound influence on the artist.

As with Soutine, Cottavoz’s dense paintings teeter on the edge of representation and abstraction. According to Carole Pinto Fine Art; “His seemingly chaotic brushstrokes create expressive pictorial surfaces that transform mundane subject matter into paintings that excite and provoke the eye.”

24

Henry Comby (French, 1928-2004)

“Untitled (No. 34)”

welded metal sculpture h. 13”, w. 7-3/4”, d. 6-1/2”

Provenance: La Boutique de l’Hotel Provencal, Antibes, France, August 1967; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

ST. TROPEZ

“St. Tropez is a fascinating town and there is absolutely nothing like it anywhere on the Riviera. It draws a varied clientele with a great deal of spirit...The art galleries are not extensive, but we did buy Alvy, a Lancelot Ney, and a Runacher.

”

25

Lancelot Ney (Hungarian, 1900-1965)

“Flowers”

oil on canvas signed lower left, inscribed on stretcher “St. Tropez”.

Framed.

21-1/2” x 17-1/2”, framed 22-3/4” x 19-1/4”

Provenance: Galerie Georges Barry, Saint-Tropez, France, 1963; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

-Thomas B. Lemann Travel Journal St.-Tropez, August 1963

“Couleur elle-meme”, 1975

pair of oils on canvas signed, titled and dated en verso. each 37-1/2” x 29-1/2”

Provenance: Acquired in Cagnes, France, 1975; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Hyang Mi R Lee (South Korean, 1948-2007)

27

Paolo Boni (Italian, 1926-2017)

“Glyphe”

travertine sculpture h. 28-1/2”, w. 16”, d. 10-1/4”

Provenance: Musee Grimaldi, Antibes, France, August, 1965; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

ANTIBES

“In the Grimaldi Museum at Antibes, which is undoubtedly one of the finest small museums you could find anywhere, there is an exhibit of Boni, an Italian sculptor who, like everybody else spends six months in Paris and lives in Vallauris during the summer. We got one of his works in travertine and had a chance to meet him and his family - his wife turns out to be from Cleveland, Ohio. Boni has exhibited in America and his works have been purchased by the Museum of Modern Art in New York and Boston Fine Arts Museum. Monsieur le Conservateur, curator of the Grimaldi Museum, age 76, is quite a powerful figure and personally arranges all the exhibitions. I attempted to take a picture of him but have not been successful so far.”

- Thomas B. Lemann Travel Journals Antibes, 1965

28

Pablo Picasso (Spanish/French, 1881-1973)

“Oiseau sur la Branche (A.R. 175)”

partially glazed earthenware stamped “Edition Picasso” and “Madoura/Plein Feu” and glazed inscribed “Editions Picasso” at bottom h. 1-3/4”, dia. 6-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

PARIS

1960s

“We completed our research in the field of modern Aubusson tapestries today, and ended up with two winners. As everyone knows, the French have been the world’s greatest tapestry makers for centuries, particularly in Aubusson which has been a tapestry center ever since the 15th century. After the 17th century the art of tapestry making declined, until it was revived in the late ‘30’s of this century, primarily by Lurcat. After the war a number of artists turned their hands to tapestry designing, and the results have been quite interesting. Modern French tapestries now hang in many museums and churches, and are also used as decorations on trans-Atlantic liners. We also invested in a couple of sculptures at another gallery, one by Metcalf, a 35 year old American living in Paris, and the other by Logo, a Yugoslav of about the same vintage.”

- Thomas B. Lemann Travel Journal Paris, August 1963

THE THOMAS B. LEMANN COLLECTION

29

Pinton Freres Hand-Woven Aubusson Tapestry “Soleil Vole”

with the Pinton manufactory label at back with title and inscribed “d’apres le carton de Saint Paul”. 43-1/2” x 55-1/2”

Provenance: Paris, 1963; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

30 Oto Logo (Serbian, 1931-2016)

“Untitled”, 1962

patinated bronze cast signature and dated along back edge of self-base. h. 7-3/4”, w. 11-1/2”, d. 2-3/4”

Provenance: Galerie Europe, Paris, France, August 27, 1963; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

31 James Metcalf (American, 1925-2012)

“Labyrinthe”, 1962

patinated bronze on a rectangular stone base. sculpture h. 16”, w. 23-1/2”, d. 4-3/4”; base h. 7”, w. 30”, d. 8”

Provenance: Galerie Europe, Paris, France, August 27, 1963; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

THE THOMAS B. LEMANN COLLECTION

SAINT-PAUL de VENCE

1960s - 1980s

É cole de Nice

École de Nice was a product of cultural and social change in postwar France, reflective of international shifts from nationalism to internationalism and cultural pluralism, from tradition to a culture of youth. Cote d’Azur labeled itself as a place of freedom, health, and youthfulness and young artists thrived on its shores. Nice became a creative center without rules or dogma, denouncing the material excesses of the bourgeoise and rejecting Paris as a center of visual arts.

Many critics tried to shape the identity of École de Nice, but it is in fact difficult to understand the movement as a whole since it is a conglomeration of many movements, such as Fluxus, Le Nouveau Realisme and Support, Surfaces. Gallerist Alexander de la Salle helped to institutionalize the movement with his major exhibition that took place in Venice, 1967. The cover of the 1967 exhibition catalogue paid a homage to Yves Klein iconic blue paintings. Some of the artists included in the exhibition are Marcel Alocco, Pierre Pinoncelli and Arman, all featured in our October auction and part of the Thomas Lemann collection.

De la Salle stated it was the first movement in France that has sustained itself outside of Paris. Decades later, in an interview with Laura Caprini for an exhibition 1960-2010, Fifty Years of School of Nice at the Retif Museum in Vence, Alexandre de la Salle defined the Nice School: “It’s a regional movement. They are from the sea, from the south, from the hills that tumble down to the Mediterranean. It is not a school in the literal sense because everyone has remained immutably frozen in himself! Their common thread is this belonging to a set of people who do not go to school but who meet and who have, nevertheless, a lot in common: the abandonment of the canvas for almost everyone, the accumulation of small objects that are used to do something else, a kinship with the new realism as well as an effervescence of words and writings.”

Before de la Salle’s major exhibition, the term “École de Nice” first appeared in print in August of 1960 in an article by Claude Riviere published in Combat, a Parisian journal. She was reporting on the artistic scene along the French Riviera. She noticed a group of artists in Nice that embodied the spirit of the Mediterranean region and posed a question “Why not an École de Nice?”.

The artists were Yves Klein, Martial Raysse, and Arman, amongst others. Yves Klein strived to liberate color from line, and broke down boundaries between painting, sculpture and performance art with his “Anthropometry”, a series of paintings using nude women as paint brushes. Arman, who had first emerged as a lyrical abstract painter, a dominant style in France, soon rejected the style and began making sculpture inspired by the concept of the readymade preoccupied with the consequences of mass production.

Arman described “École de Nice” as an embodiment of a spirit “without complexity”. In 1965, Marcel Alocco devoted an issue of his art and poetry journal Identites to the movement. He asked the artists to identify the school’s chief characteristics. Some called it an extension of “École de Klein”, and some saw it as open-ended: a tendency for “École de Nice” to see everything as possible art and to question art itself. Pinoncelli, a painter, performance artist and an iconoclastand once an assistant to Yves Klein - was a disciple of the Dada Movement and ultimately became most known for urinating in Marcel Duchamp’s urinal at the Centre Pompidou in 2006.

Although some would consider the end of the school in 1997, when Alexandre de la Salle mounted his last exhibition of the “École de Nice” artists, the region is still at crossroads of new developments in the visual arts.

32 Marcel Alocco (French, b. 1937)

“Brouillage Deterioration Vertical No. 13”, 1969

oil on canvas signed, titled and dated on stretcher.

Unframed.

23-1/2” x 28-3/4”

Provenance: Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France, August 1970; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

33 Arman (American/French, 1928-2005)

“Harpe de Couleurs”, 1975

screenprint in colors on plexiglass signed lower left, incised “Artcurial” and numbered “258/2500” along back edge, Edition Artcurial, Paris. h. 26-1/2”, w. 12-1/4”, d. 5-3/4”

Provenance: Artcurial, Paris, France, July 23, 1987; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

THE THOMAS B.

SAINT-PAUL de VENCE

Galerie Alexandre de la Salle

“...we went up to Vence which is a veritable gold mine of antique shops and there are also two good art galleries there. At one of them, which is run by a fellow named La Salle, who claims to be a descendant of the Cavalier de la Salle who explored Louisiana, we were fortunate enough to find an exhibition by the fabulous Pinoncelli. We bought one of his Hands and had the pleasure of meeting the great man himself, a bald-headed mustachioed individual of about 40 who told us he has hitchhiked all over America.”

- Thomas B. Lemann Travel Journals Saint-Paul-de-Vence, August, 1967

LEMANN COLLECTION

“Les Copulations d’un Chinois a Venice”, 1967

oil on canvas signed, titled and dated en verso. Integral frame.

58” x 45”, framed 59” x 46”

Provenance: Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France, August 1970; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

“No. 31”, 1966

oil and collage on canvas signed, titled and dated en verso. Artist frame.

10-5/8” x 9”, framed 11-1/2” x 9-1/2”

Provenance: Galerie Alexandre de la Salle, Saint-Paul-deVence, France, August 1967; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$600-$900

34

Pierre Pinoncelli (French, 1929-2021)

35

Pierre Pinoncelli (French, 1929-2021)

SAINT-PAUL de VENCE

Galerie Alexandre de la Salle

“At the LaSalle Gallery we found the Chevalier himself (a descendant of the Louisiana explorer) in good form. He was having a show of Chubac, and by coincidence the great Chubac himself was sitting right there in the gallery. Chubac lives in Aspremont, just behind Nice, and his fame has spread so little that we were able to afford one of his works a few years ago, of colored plastic, which sits in our dining room. Now the master has moved on to pieces of wood. Well, say what you will, I still like Chubac, his works are refreshing and unpretentious, and that’s exactly how the artist himself turned out to be. He is no spring chicken, he looks about 63.”

- Thomas B. Lemann Travel Journal Saint-Paul-de-Vence, August 1980

THE THOMAS B. LEMANN COLLECTION

“Untitled”

plexiglass and steel 78” x 12-1/4”

Provenance: Galerie de la Salle, Saint-Paul-de-Vence, France, 1975;

$2,000-$4,000

$800-$1,200

36

Albert Chubac (Swiss, 1925-2008)

Estate of Thomas B. Lemann, New Orleans, Louisiana.

37 Claude Belleudy (French, b. 1938)

“Transfiguration en Bleu”, 1968 mixed media sculpture signed and dated lower right. h. 28-1/2”, w. 8”, d. 5”

Provenance: Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France, October 13, 1978; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Akira Tanaka (Japanese, 1918-1982)

“Metro”

oil on canvas signed lower left, verso affixed with “Galerie Jacques Amans, Saint-Paul-De-Vence” label.

Framed.

18” x 21-3/4”, framed 19” x 22-3/4”

Provenance: Galerie Jacques Martin, Saint-Paul-de-Vence, France, 1962; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

39

“Untitled”

colored polymethyl methacrylate sculpture h. 50-3/4”, w.

Provenance: Galerie Alexandre de la Salle, Saint-Paul-deVence, France, August 1979; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Jean-Claude Farhi (French, 1940-2012)

6”, d. 6-1/4”

French Large and Rare Stamped Biot Olive Jar

probably 18th century, part ochre-glazed terracotta with seven stamps at the glazed neck and ten evenly placed small holes around the rim top where the original covers were secured.

h. 39-1/4”

$1,200-$1,800

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

41

French Large and Rare Stamped Biot Olive Jar

probably 18th century, part ochre-glazed terracotta with seven stamps at the glazed neck and ten evenly placed small holes around the rim top where the original covers were secured. h. 38-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

41

42

Two French Small Stamped Biot Olive Jars probably 18th century, both part ochre-glazed terracotta with two stamps at the glazed neck. h. 24” and 24-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

43

Spanish Provincial Elm Table

18th century, the rectangular top over two large drawers, both with circular flower-form carvings above a guilloche band, with paneled sides, raised on boldly turned and blocked legs ending in pad feet, with turned stretchers throughout. h. 32-1/2”, w. 63-1/2”, d. 23-1/2”

Provenance:

$1,400-$1,800

44

Ochre-Glazed Terracotta Footed Water Jug

now mounted as a lamp, with a ring-form handle and molded masque handles, the spout in the form of a mythological creature, covered in a brown-dripped ochre glaze, mounted with a pleated shade. h. 26-3/4”, dia. 19-1/2”

$700-$1,000 44

Estate of Thomas B. Lemann, New Orleans, Louisiana.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

45

French Provincial Oak Long, Narrow Trestle Table

18th century, the rectangular top above a narrow frieze set with long slide openings at both ends and centered with a small drawer, the round post legs resting on a long “H”-form stretcher over ball feet.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

h. 28-1/2”, w. 96”, d. 25-1/2”

46

Continental Provincial Oak Bench

19th century, raised on turned and block legs joined by low stretchers and resting on ball feet, now upholstered in apricot and cream bargello lampas in a molded frame.

h. 18”, w. 43”, d. 15-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

46

47

Four Unusual Paint-Decorated Altar Sticks

early 20th century, of traditional form, the pricket holders supported on polychrome, turned standards, raised on fluted column-form bases with cabriole feet.

h. 29”, dia. 6-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

48 Suite of Twelve Louis XVI-Style Polychrome Side Chairs

20th century, each with a padded and domed back within a molded frame, the padded seat raised on stop-fluted, tapered circular legs ending in bulbous toupie feet. h. 41”, w. 20”, d. 18”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

49 Provincial Directoire-Style Walnut Dining Table

19th century, French, with four leaves, the turned legs raised on brass casters.

h. 29", l. 46" with no leaves, l. 146" extended with the four present leaves, l. 180" fully extended, d. 61-1/4"

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

49 detail

" She has a directness in her art that is compelling, a seeming simplicity of statement about things complex. The naive flirts with the sophisticated, the surreal with the real in paintings of a world of heightened reality, abundant with colour. Their surfaces are immaculate, and a peaceful calm pervades all. Her art has a touch of the fairy tale."

- David Thomas, Former Director: Art Gallery of South Australia, Newcastle City Art Gallery, and Bendigo Art Gallery

50

Anne Marie Graham (Australian, b. 1925)

“Bush Triptych”, 1968

oil on masonite, three panels signed and dated on far right panel, verso with “Gallery Petit, London, U.K.” label and “Toorak Art Gallery” label. Framed. closed 24” x 18”, open 24” x 36-3/4”

Provenance: Gallery Petit, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

Anne Graham was born in Austria and emigrated to Melbourne, Australia at the brink of World War II. Her intricately painted, dreamlike works are reminiscent of the Northern Renaissance artists such as Bruegel the Elder and Hieronymus Bosch. In this work, she even employs the religious form of a triptych, widely used during the Middle Ages and Renaissance, an interesting use of medium for an almost poetic homage to the unique and varied Australian landscape. Her paintings of gardens and landscapes often explore relationships between humans and nature.

“Untitled Landscapes”

two oils on canvas one signed “Shannon” lower right. Both framed alike.

24” x 30”, framed 24-3/4” x 30-3/4”; 14” x 16”, framed 14-3/4” x 16-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

“Estaes le Gustan a mi Hermano Victor”, 1972 “Flores Para la Madrina”, 1972

two acrylic or oils on papier mache each signed, titled and dated en verso and with “Galeria Kreisler, Madrid, Spain” stamp. Fitted for hanging.

h. 17-1/2”, w. 18-3/4”, d. 5” and h. 16-1/2”, w. 18-1/2”, d. 4”, respectively

Provenance: Galeria Kreisler, Madrid, Spain; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Carrascal has been an acclaimed artistic director and set decorator in the Spanish film industry for over thirty years. He began his career by creating colorful papier-mache structures. This soon led to work in the theater and an eventual internship at La Scala, Milan where he caught the attention of a director who encouraged the young man to concentrate on film design. In addition to his theater and film work, he has exhibited across Spain and was the designer of the Spanish Pavilion at the Seville Expo ‘92.

51 Frances Shannon (American, 1928-2011)

52 Gabriel Carrascal (Spanish, 20th Century)

51

52

18th century, the doors opening to cubbyholes and a small door-front cubicle at one side, raised on a simple provincial stand. overall h. 56-1/2”, w. 48-1/4”, d. 15-3/4”; cabinet h. 24”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Spanish Provincial Pine Vargueno-Style Cabinet-on-Stand

“Untitled”, 1966

oil on canvas signed and dated lower left, and signed and dated en verso. Integral frame. overall 14” x 23”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

“New York, No. 14”, 1969 “Multiple”, 1969

two mixed media sculptures former signed and titled at back, latter with a “Galeria Kreisler/Madrid” label and stamp at back. h. 12-1/8”, w. 12-3/8”, d. 6-1/4” and h. 10”, w. 10”, d. 4”, respectively

Provenance: latter from Galeria Kreisler, Madrid, Spain, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Sanz was a member of the Antes del Arte group of Valencia which experimented with the possibilities of kinetic or op art. Encouraged by the tenets of this group, he commenced his popular series of assemblages incorporating glass and mirrors.

54 Josep Maria Garcia-Llort (Spanish, 1921-2003)

55 Eduardo Sanz (Spanish, 1928-2013)

“Partizione”, 1966

bronze

incised monogram and dated along edge of self-base, on an integral metal base.

h. 8-1/2”, w. 9-1/4”, d. 6-1/4”

Provenance: Staempfli Gallery, New York, New York, January 28, 1967; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

One of the most acclaimed Peruvian sculptors, Guzman attended the Escuela Nacional Superior Autonoma de Bellas Artes del Peru where he was awarded the gold medal for his class. It was during his time as a student that he began to create welded steel sculptures. Shortly after graduation he took part in the exhibition at the Instituto de Arte Contemporaneo, Lima, receiving the Andre Malreaux fellowship to study in France.

Guzman exhibited widely across France and took part in numerous Biennales including Paris in 1963, Venice in 1966, and Antwerp in 1969. While iron was his preferred material, he was equally adept at bronze, marble, ink and even - if only for one installation - string. In 2010, he received the Peruvian government’s highest honor of the Grand Cross.

56 Alberto Guzman (Peruvian, 1927-2017)

57

Eighteen Murano Glass Champagne Coupes, Possibly Salviati

hand-blown glass in a swirling pale gold design with conforming swirls of gold flecks, the bowl resting on a slightly flared stem.

h. 4-1/2”, dia. 4-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

58

Italian Baroque Carved, Painted and ParcelGilt Wooden Mirror

17th century and later, composed primarily of 17th-century architectural elements, the crest with a carved winged angel head, the surround composed of carved scrollwork and leaves.

h. 21-3/4”, w. 22-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

59

Patinated Steel and Glass-Top Rectangular Coffee Table

1970s, the glass top slightly raised above the frame.

h. 18”, w. 54”, d. 30”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

60

1970s, the low, button-tufted back faced with three loose cushions above three loose seat cushions, all down-filled, and raised on six small, square block “hidden” feet, upholstered in cream silk velvet.

h. 29”, w. 102-1/2”, d. 34-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,400-$1,800

61

1970s, the low, button-tufted back faced with three loose cushions above three loose seat cushions, all down-filled, and raised on six small, square block “hidden” feet, upholstered in cream silk velvet.

h. 29”, w. 102-1/2”, d. 34-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,400-$1,800

Long, Three-Cushion Velvet Sofa

Long, Three-Cushion Velvet Sofa

62

Near Pair of Provincial Oak and Cypress Floor Lamps

19th century, both incorporating a small, circular table and raised on curved or scrolled feet, with later cypress upper standards, now mounted with matching ecru paneled shades, electrified. each h. 59-3/4”, dia. 15-1/2” and 12”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

63

Italian Provincial Oak Table

19th century, the oval top raised on a turned urn-form standard resting on downward scrolled legs.

h. 25-1/2”, w. 36-1/4”, d. 27-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

64

Italian Provincial Fruitwood Cabinet

18th century and later, the single door with diamond inlay reflected above and below by figured veneers, the interior fitted with three shelves, the crown and base molded.

h. 78”, w. 21”, d. 11-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

Freeform Gold Collar Necklace

18k yellow gold, the necklace composed of articulated, tapered links, signed illegibly. widest w. 3/4”, l. 13-1/2”, total weight 52.8 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,500-$4,000

Pierre Fernandez Arman Limited Edition “Violin” Bracelet

18k yellow gold, the bracelet composed of violin-shaped links, stamped “ART CURIAL, ARMAN, 27/50”. w. 1/2”, l. 7-1/4”, total weight 34.0 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

67 Handmade Gold Necklace

18k yellow gold, the freeform links with a hammered texture. l. 17”, total weight 29.6 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Three Pairs of Gold Earclips

14k yellow gold, one with a domed center and the other two with raised patterns. dia. 1-1/8”, total weight 28.1 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

69 Cartier Diamond Necklace

18k yellow gold, the necklace composed of polished gold links, the three center links mounted with round brilliantcut diamonds weighing approximately 0.60 carats in total, stamped “750 968982”, “Cartier” in script, and a “C” in a circle followed by “Cartier 1939”. w. 1/2”, l. 15”, total weight 51.0 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$7,000-$10,000

70

Antique Diamond Ring

18k yellow gold, late 19th century, the ring mounted with mine-cut diamonds weighing approximately 3.59 carats in total. size 4, total weight 7.1 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,500-$4,000

71

Missiaglia Diamond Brooch

18k yellow gold, ca. 1950-1960, the leaf-form brooch mounted with round brilliant-cut diamonds weighing approximately 1.40 carats in total, stamped “750 MISSIAGLIA”. size 2-7/8” x 1-3/4”, total weight 16.9 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

72

18k yellow gold, the brooch in the form of a foliate spray, stamped “Van Cleef & Arpels 93902 750”. dia. 1-5/8”, total weight 22.9 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

Van Cleef & Arpels Brooch

73

Van Cleef & Arpels

Gold Bracelet

18k yellow gold, the eight-strand bracelet in a crossover design, one side in polished Florentine links and the other in textured Florentine links, stamped VCA 0750”, a Van Cleef stamp and “V.C.A. 10664 41 MI”, together with a Van Cleef & Arpels black suede envelope case. w. 1”, l. 6-1/2”, total weight 65.9 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

74

Vintage Mario Buccellati Leaf Brooch

18k yellow gold/sterling silver, the brooch in the form of a silver leaf accented by a gold stem, stamped “M. Buccellati Italy 925 151NiFXI”. size 2” x 2”, total weight 13.8 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

75

Mauboussin

Brooch and Two Pairs of Earrings

18k yellow gold, the brooch in a freeform design with ropetwist edges, stamped “Mauboussin Italy”, size 1-1/2” x 1”, together with a pair of ribbon-style earrings, l. 1”, and a pair of woven earrings, l. 1-1/4”. total weight 38.5 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

76

Ruby, Diamond and Cultured Pearl Choker

18k yellow gold, the five-strand choker composed of 4.004.50mm cultured pearls, finished with a clasp, mounted with an oval cabochon-cut ruby weighing 2.00 carats, accented by round brilliant-cut diamonds weighing approximately 1.35 carats in total, stamped “750” and with a star followed by “963 MI”. w. 3/4”, l. 13”, total weight 42.1 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

77

Garnet, Enamel and Seed Pearl Brooch

14k yellow gold, in the Victorian Revival style, the brooch mounted with an oval-cut garnet weighing approximately 14.00 carats, accented by blue enamel and white seed pearls. size 1-3/4” x 1-1/4”, total weight 15.9 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Antique Diamond and Enamel Pansy Pendant/Brooch

14k yellow gold, late 19th century, the pendant/brooch mounted with mine-cut diamonds weighing approximately 1.13 carats in total, with a retractable bail. size 1-1/4” x 1”, total weight 8.2 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

79 Antique Amethyst Brooch/Pendant

14k yellow gold, late 19th century, the brooch/pendant decorated with a flower motif and mounted with an oval-cut amethyst weighing approximately 35.10 carats. size 1-3/8” x 1-1/8”, total weight 20.6 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

80 Diamond Rope Pearl Necklace

18k white gold, the necklace composed of 8.50mm cultured white pearls with a good luster, finished with an 18k white gold clasp mounted with round-cut diamonds weighing approximately 0.12 carats in total. l. 62”, total weight 152.5 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Antique Sapphire and Pearl Pendant

14k yellow gold, mid-19th century, the pendant with scrolling and beaded edging, mounted with freshwater pearls and oval-cut sapphires weighing approximately 1.30 carats in total. l. 2-1/8”, total weight 17.6 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800 82 Long Gold Chain

18k yellow gold, the chain composed of sections of interlocking links alternating with gold bars. l. 41”, total weight 28.8 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Three Pairs of Gold Earclips

18k yellow gold, one with a pearl drop and stamped “ANF 18K”, l. 1-3/8”, one in the form of a knot, dia. 1”, and one designed as a hoop, l. 1”. total weight 45.8 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,800-$2,500

84 Gold Chain

14k yellow gold, the curb chain composed of polished gold links. w. 1/4”, l. 15-1/2”, total weight 19.8 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

85

Two Antique Brooches

the first example, 18k yellow gold, ca. 1860-1880, mounted with a coral branch intertwined in a knot-style brooch, size 2-1/8” x 1-3/4”, and the second example, 14k yellow gold, in a knot design with a floral motif, size 1-1/4” x 5/8”. total weight 28.7 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

86

Gold Mesh Choker

18k yellow gold, the choker composed of braided gold mesh. w. 3/4”, l. 11-1/2” to 13-1/2”, total weight 39.4 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,800-$2,500

Comor Pocket Watch with Watch Chain

the 18k yellow gold Comor pocket watch with an enamel floral-decorated back, l. 1-1/2”, suspended from a 14k yellow gold watch chain, l. 33”. total weight 60.4 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

88

Antique Illinois Watch Co. Pocket Watch

14k yellow gold, ca. 1887-1888, the watch with a floralengraved front lid mounted with a mine-cut diamond weighing approximately 0.04 carats, the case measuring approximately 36.00mm in diameter, the inside covers stamped “293572” and the works stamped “910766, Illinois Watch Co., Springfield, Safety Pinion”. total weight 54.5 grams

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

THE THOMAS B. LEMANN COLLECTION VENICE

& MILAN

1960s - 1970s

“Oggetto”

mixed media signed en verso, affixed with “Galleria D’Arte Del Naviglio, Milan, Italy” label. closed: 39” x 32”, open: 47” x 32”

Provenance: Galleria D’Arte del Naviglio, Milan, Italy, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Japanese visual artist Katsumi Nakai was one of the seven founding artists of the avant-garde group of abstract and informal art, Tekkeikai, active until the mid-1960s. In 1964, Nakai left Japan for Europe and ended up settling in Milan for the next several decades, returning to his home country in 1996. He was attracted to the “New Milanese School” and one of its most notable members, Luciano Fontana, fascinated by Fontana’s idea of Spatialism: the concept of time and space as a part of canvas. Nakai held his first solo exhibition at the Galleria del Cavallino in Venice in 1965, as well as multiple exhibitions at Galleria del Naviglio, Milan which is where this work was exhibited and acquired.

“Oggetto”, a prime example of the work he created in Italy, is a multi-colored wooden aperture which plays with pictorial surfaces, form, volume and exceeds the limits of the flat canvas. The painted, hinged planes take on sculptural dimensions, asking the audience to visually manipulate the work. Nakai’s work is a crossroads between Eastern and Western artistic traditions, calling to mind Japanese origami as well as the shaped canvases of Ellsworth Kelly and Frank Stella.

Guido Ballo, the Milanese art critic called Nakai’s works “Pictorial Object”, describing its existence between sculpture and two-dimensional paintings.

Katsumi Nakai (Japanese/act. Milan, Italy, 1927-2013)

90 Gino Morandis (Italian, 1915-1995)

“Imagine”, 1963

mixed media on masonite signed lower left, “Galleria d’Arte del Cavallino Venezia” and “Galleria della Biennale di Palermo” labels en verso.

8-7/8” x 9-3/8”

Provenance: Galleria d’Arte del Cavallino, Venice, Italy, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,400-$1,800

Together with Bacci, De Luigi and Tancredi, Morandis is one of the exponents of the Venetian Spatialist Movement. The movement was born in 1946, founded by Lucio Fontana in conjunction with Galleria Il Cavallino in Venice and Galleria Apollinaire in Milano, and promoted the idea of art as gesture or performance, rather than as the creation of an enduring physical work. Morandis met the highly influential gallery owner, patron and publisher Carlo Cardazzo, who suggested the addition of an “s” to the surname, to distinguish himself from Giorgio Morandi. Cardazzo, like Peggy Guggenheim, was passionate about contemporary art and so it was natural that “Carlo Cardazzo. A New Vision for Art” was mounted at the Guggenheim Museum in Venice, in 2009, an exhibition devoted exclusively to the archives of the art dealer. The work of Gino Morandis was part of this exhibition. As is evident from the example in our October auction, the Venetian artist was a colorist who developed a deeply personal language of pure fantastic abstraction. He participated in numerous and important national and international artistic events, including multiple Venice Biennales, starting with 1936 and ending in 1968.

THE THOMAS B. LEMANN COLLECTION

VENICE & MILAN

Canale Gallery

“At the Canale Gallery near the Academia we were unable to resist the plexiglass frolic by Baj, the whimsical Italian assembler, and a painting on wood by Huppi. We also took in the always interesting glass exhibit at the Fucian degli Angeli, and paid our customary visit to the Guggenheim, where they shifted a number of sculptures around...”

Alfonso Huppi (Swiss, b. 1935)

“Miracolo del Marangon”, 1965 oil on wood signed, titled, dated and localized “Venezia” en verso. 61-1/4” x 13”

Provenance: Galleria il Canale, Venice, Italy, 1965; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$5,000-$8,000

- Thomas B. Lemann Travel Journals Venice, July 1966

Morandini

“Tensione”

carved and painted wood a “Galleria D’Arte Del Naviglio/Milano” label at bottom. h. 23-5/8”, w. 8”, d. 4”

Provenance: Galleria D’Arte Del Naviglio, Milan, Italy, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Morandini has spent his long and successful career at the intersection of art and design. An academically trained artist - he attended the Accademia di Belle Arti di Brera in Milan - he has worked as an architect, furniture designer, sculptor, and has even produced a series for the porcelain manufacturer Rosenthal. His sculptural compositions are very geometric and methodical, primarily of acrylic or lacquered wood in stark black and white; it is Morandini’s belief that this allows the design to maintain its integrity. The work offered here is proof of the success of this approach. Seemingly simple elements have been carefully arranged to create a complex, compelling structure.

$1,000-$1,500

93

“Boules”, ca. 1976

four carved mixed wood sculptures two with incised signature and dated. dia. 9-1/2”; dia. 5-1/2”; h. 5”, dia. 4”; h. 6-1/2”, dia. 5”

Provenance: Galleria d’Arte del Naviglio, Milan, November 1976; Estate of Thomas B. Lemann, New Orleans, Louisiana

Pedano was an apprentice to a carpenter before moving to Milan at the age of seventeen, where he worked during the day and attended art classes at night. He soon opened his own studio, concentrating on interior design and decor, and he was responsible for the renovation of many local homes and institutions. His eponymous home decor store, the Pedano Shop, is still in business today. Pedano was especially lauded for his carved wood objets d’art, created using his distinctive technique of applying layers of wood which he called millefogle; he was to eventually patent this method. The highly polished spheres - or boules - offered here are a prime example of the success of this process.

$1,000-$1,500

Marcello

(Italian. b. 1940)

Pino Pedano (Italian, b. 1944)

THE THOMAS B. LEMANN COLLECTION GIMPEL FILS

“Gimpel’s also had some interesting sculpture by Dalwood, an Englishman so young and obscure that his prices are still reasonable and we got a good one of cast aluminum plus a small brass one.”

- Thomas B. Lemann Travel Journals London, 1972

94 Hubert Dalwood (British, 1924-1976)

“Ark”, 1960

stone encrusted cast aluminum on an integral steel support, from the edition of 8. h. 45”, w. 17”, d. 12-1/4”

Provenance: Gimpel Fils, London, England, 1974; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$7,000-$10,000

One of the leading figures of British sculpture until his untimely death at the age of 52, Dalwood took a somewhat circuitous path to art. He left school at 16 to work for an aviation company and served as an engineer in the Royal Navy during World War II. Upon his return to England, he attended Bath Academy of Art, receiving a travel scholarship to study in Italy. He had his first, highly lauded, exhibition in 1954 and the following year he was awarded the Gregory Fellowship at the University of Leeds. In 1962, he represented England at the Venice Biennale, receiving the 1st prize in sculpture. Dalwood created increasingly abstracted sculptures in a variety of materials - clay, stone, bronze, aluminum - and utilizing numerous techniques - casting, molding, carving. In 1979, a posthumous retrospective was held at Hayward Gallery, London.

Caroline White (British, 20th Century)

“Balance I”, 1981 oil on gessoed plywood signed and titled en verso.

57” x 27”

Provenance: Quinton Green Fine Art, London, U.K., August 27, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

96

Frank Beanland (British, b. 1936)

“Sand, Grey & Emerald”, 1973 oil on canvas signed, titled, dated and localized “Vence” en verso canvas. Partial frame.

38-1/2” x 51”

Provenance: Gimpel Fils Gallery, Ltd., London, England, July 1974; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Georgian-Style Mahogany Partner’s Desk

19th century and later, each side fitted with a lift-lid writing slope on the top, opening to an interior with cubbyholes, mounted to a pair of pedestals with four graduated drawers to one side and faux drawers as a cupboard on the other side, raised on plinth bases. h. 30-1/2”, w. 60”, d. 54”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

98

English Mahogany and Leather Library Ladder

late 19th century, the slightly graduated steps with parcel-gilt green leather having brass nailhead trim, the sides fitted on top with conforming brass edge guards. h. 52-1/2”, w. 12-1/4”-14”; rail d. 2-1/2”-3-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

99

English Mahogany Dual-Sided Library Ladder

second quarter 20th century, both sides with three steps rising to a combined shared top step. h. 38”, w. 16”, d. 30”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

“Poissons de Mer”

suite of ten etchings each matted, glazed and framed alike. sight 4” x 6-1/2”, framed 10-1/2”, x 13-1/2”

Provenance: Sotheby Parke Bernet and Company, London, England, July 12, 1979, lot 79; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500 100

100 Robert Flamen (Dutch, ca. 1620-1692)

Pair of Celadon Leather Club Chairs

1970s, each with a down-filled, padded back and conforming loose seat cushion.

h. 29-3/4”, w. 27-1/4”, d. 30-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana. $1,000-$1,500

102

Signed Mid-Century Modern Brass Floor Lamp

third quarter 20th century, after a design by Stewart Ross James (Canadian/American, 1912-2001), the square standard supported on a square base, raised on cylindrical feet, signed “Hansen New York” on the bottom, mounted with a twine shade. h. 58-1/2”, dia. 15-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

18th century, the liftable rectangular top with an inset baize surface, hinged and lifting to an adjustable easel back, raised on a turned brass-banded baluster standard with lifting mechanism, to four splayed legs, to brass caps and casters. h. 34”, w. 26”, d. 18-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

103 George III Mahogany Book Stand

SWITZERLAND

1970s - 1980s

“At the LaSalle Gallery we found the Chevalier himself (a descendant of the Louisiana explorer) in good form. He was having a show of Chubac, and by coincidence the great Chubac himself was sitting right there in the gallery. Chubac lives in Aspremont, just behind Nice, and his fame has spread so little that we were able to afford one of his works a few years ago, of colored plastic, which sits in our dining room. Now the master has moved on to pieces of wood. Well, say what you will, I still like Chubac, his works are refreshing and unpretentious, and that’s exactly how the artist himself turned out to be. He is no spring chicken, he looks about 63.”

104

Provenance: Galerie 63, Klosters, Switzerland, August 16, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$600-$900 104

- Thomas B. Lemann Travel Journal Saint-Paul-de-Vence, August 1980

THE THOMAS B. LEMANN COLLECTION

Annemie Fontana (Swiss, 1925-2002)

“Entfaltung II”, 1965 bronze h. 3-1/2”, w. 5”, d. 4-3/4”

105 Karl Gerstner (Swiss, 1930-2017)

“X AlgoRhythmus”

wood relief sculpture with mirror titled, stamped with artist name and numbered “93/250” en verso.

24” x 24"

Provenance: X Art Collection, Zurich, Switzerland, 1971; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Karl Gerstner, “An ode to the pioneer of typographic brilliance”, TypeRoom, July 2019; Lynn Gramwell, “Why the history of maths is also the history of art”, The Guardian, December 2017

$2,000-$4,000

Karl Gerstner was a theorist, graphic artist, painter, author, and co-founder of the international advertising agency “Gerstner + Kutter”, later “GGK”. He is also one of the proponents of a Modernist graphic design movement called Swiss Design, or the International Typographic Style. These artists and

designers sought to de-emphasize the individual expression, emphasizing rational planning, harmony neutrality and objectiveness, reflective of the Post-WWII scientific and technological age.

They looked to the artistic movements prevalent between 1914 and 1939, from Suprematism and Constructivism in Russia to the De Stijl in the Netherlands and Constructivisminspired work of the German Bauhaus movement. They drew inspiration from Russian post-revolution artists such as El Lissitzky who were redefining art for the socialist era, utilizing simplified geometric forms and bold typography and abstract painter Piet Mondrian’s paired down compositions of grid-like geometric forms and primary colors.

Gerstner was a researcher and innovator, establishing pictorial systems and studying color effects. In 1956 he created a movable palate with 196 hues in 28 groups with 7 squares each, experimenting with color and form. In his highly influential book Designing Programmes , first published in 1964, Gerstner laid out his design theory which essentially hinges on the designer’s ability to make informed choices based first on understanding the problem, then making “creative decisions” based on systematic approaches instead of instinct. Gerstner’s “Integral Typography” utilizing aesthetic typography as a communication aide of information and ideas has had a lasting influence in advertising and is still used today.

NELLY RUDIN

Nelly Rudin, a post-war Swiss artist, has been called a “mistress of reduction” and is one of the most important proponents of the second generation of “Zurich Concrete Art”. Like Gerstner, her works deal with the relationship between color and form and are reflective of her training in graphic design. Echoes of designs for brochures or packaging can be seen in her work from the late 1960’s. Her canvases seek symmetry and balance, are linear, and have a strong two-dimensional effect. Her later work, such as the two examples in our October auction, became more dynamic and less static; by painting over the edges of the canvas, Rudin creates an optical distortion, thus engaging the viewer on a more personal level.

106

Nelly Rudin (Swiss, 1928-2013)

“No. 345 Dreieck-Chassis”, 1982

oil on triangular canvas signed and titled en verso, affixed with “Galerie Lopes, Zurich, Switzerland” gallery label. 20-1/2” x 23-3/4”

Provenance: Galerie Lopes, Zurich, Switzerland, August 27, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

107

Nelly Rudin (Swiss, 1928-2013)

“No. 349 Dreieck-Chassis”, 1982

oil on triangular canvas signed and titled en verso, affixed with “Galerie Lopes, Zurich, Switzerland” gallery label. 20-1/2” x 23-3/4”

Provenance: Galerie Lopes, Zurich, Switzerland, August 27, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

108

Opy Zouni (Greek, 1941-2008)

“Petite Sculpture en Rouge”, 1984

painted wood and mirror signed and dated “ZOUNI 84”. h. 9-1/4”, w. 8-1/4”, d. 4-1/4”

Provenance: Peter Noser Galerie, Zurich, Switzerland, August 21, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

“When art starts to be codified and repetitive, it loses its spontaneity. In this form, art can no longer abide by the strict and specific laws of geometry. That is the constant conflict between “logos” (reason) - logic, and intuition - emotion. My methodical yet liberating approach to work completes my artistic expression. I work with coincidences, and luck, elements which nurture my imagination and lead me to new forms of expression, and ideas. I accept the element of luck, while also guiding it. In nature stratification changes and accumulates in an irregular manner and rhythm, symmetries get formed. The rhythm creates repetitions inexorably. Repetitions create symmetries. This is the process that I believe a researcher artist follows. So I discover, I stand by repetitions through shapes and then through color. Color can highlight symmetry in the design, or break it and even vanish it. I usually work with different colors while using the same tone to create a sense of balance and support in the design.”

- Opy Zouni

109

Andrea Cascella (Italian, 1920-1990)

“Untitled”, 1973

carved black marble in three interlocking parts. h. 4-1/2”, w. 7-1/2”, d. 4”

Provenance: Gimpel and Hanover Galerie, Zurich, Switzerland, August 1976; Estate of Thomas B.Lemann, New Orleans, Louisiana.

$1,500-$2,500

“Espace 3”, 1975

carved marble h. 12”, w. 12”, d. 6-1/2”

Provenance: Gimpel and Hanover Galerie, Zurich, Switzerland, 1976; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$5,000-$8,000

Honegger attended the Zurich School of Applied Arts and opened his own corporate design studio in 1938. A successful graphic designer, it wasn’t until he was in his 40s that he decided to concentrate solely on his art. He spent several years in New York, where he befriended the Abstract Expressionists. He also was exposed to the tenets of Concrete and Constructive art which emphasized the importance of art having a social purpose, of incorporating the industrial and urban design.

Shortly after moving to France, he began sculpting. His works of carved stone and marble are explorations of shape and form, composed of bisected or truncated geometric elements.

In 1990, he and his partner Sybil Albers founded Espace de l’Art Concrete in Mouans-Sartoux. Honegger was named a Chevalier, and later Commandeur, de l’Order des Arts et des Lettres and made a Chevalier de la Legion d’Honneur. In 2015 a retrospective of his work was held at the Centre Pompidou. 111

“Variation III”, 1978

bronze cast initialed, dated and numbered “3/6” along lower edge. h. 12”, w. 12-1/2”, d. 4”

Provenance: Andre Emmerich Gallery, New York and Gimpel & Hanover, Zurich, Switzerland, June 29, 1981; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Gottfried Honegger (Swiss, 1917-2016)

Raffael Benazzi (Swiss, b. 1933)

"Nothing is more concrete than a line, a color, a surface."

–Gottfried Honegger

ZURICH

“The Best Galleries are Gimpel’s, Bollag, Ziegler, Maeght, Huber, and Facchetti, several of which have bigger branches in London or Paris. Fachetti features the mad Greek painter Fassioanos, and we were immensely gratified to see that this chap, whose paintings we acquired back in Athens back in 1964 for about $150 per, now gets $3,000 to $5,000 for the same sized works. He is now 34 and seems to have made good, and while we did not buy his works for investment, they have proved to be as good as a glamor stock, at least so far. We ended up with……a whimsical mobile by the German Arnulf Hoffman, and a small bronze by the Italian Benazzi….”

“Mobile”

Provenance: Gimpel and Hanover Galerie, Zurich, Switzerland, June 1971; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

112 Arnulf Hoffmann (German, b. 1935)

painted metal kinetic sculpture h. 28-1/2”, w. 28-1/2”, d. 10-1/2”

- Thomas B. Lemann Travel Journals Zurich, June 19, 1971

113

Raffael Benazzi (Swiss, b. 1933)

“Untitled”, 1971

bronze sculpture

incised with interlocking “B” and “R”, dated and numbered “2/30” at lower front edge. h. 8-3/4”, w. 12”, d. 6-5/8”

Provenance: Gimpel and Hanover Galerie, Zurich, Switzerland, June 1971; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

114

Peter Hachler (Swiss, 1922-1999)

“Miniatur”

bronze stamped “H” at one end. h. 2-5/8”, w. 6”, d. 3-1/4”

Provenance: Galerie 63, Klosters, Switzerland, August 16, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

Hachler briefly attended architecture school before transferring to l’Ecole des Beaux-Arts; this early training was to prove crucial to his mature style. Originally working in a purely abstract manner, he soon saw the appeal of Constructivism and began to create monumental sculptures in such industrial materials as concrete, iron and steel. His works emphasize the manipulation of geometric forms, especially rhombic cubes, and even his small-scale works like the one offered here were meant to be viewed from all sides. From 1983-1987 he was the President of the Society of Swiss Painters, Sculptors and Architects.

“Serrure”, 1966

patinated bronze h. 49-1/4”, w. 18-1/4”, d. 10-1/2”

Provenance: Acquired at the 3e Salon International de Galeries-Pilotes, Lausanne, Switzerland in 1970, no. L16 (from the Moderna Galerija, Ljubljana); Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

One of Slovenia’s most influential artists of the mid-20th century, Trsar was a leading proponent of abstraction. While still at the Academy of Fine Arts, Ljubljana, he and his fellow students formed “Skupina 53”, the first Slovenian avant-garde art group, which included sculptors, painters and graphic artists. The recipient of a traditional academic education, it is not surprising that his earliest works were somewhat figural. He soon began to experiment with increasingly more stylized and abstracted elements. In 1958, he took part in the Venice Biennale with the Yugoslavian Pavilion. In 1995, he was named a full member of the Slovenian Academy of Science and Arts.

Drago Trsar (Slovenian, 1927-2023)

THE THOMAS B. LEMANN COLLECTION LOUISIANA / REGIONAL

“Untitled: Abstract Landscape”

watercolor and gouache signed lower left. Matted, glazed and framed. sight 13-1/2” x 15-1/2”, framed 25” x 26-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

117

“Chinese Flavors” mixed media unsigned, titled on stretcher. Framed. 24” x 30”, framed 25-1/2” x 31”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

116

Will Henry Stevens (American/Louisiana, 1881-1949)

Franklin Adams (American/Louisiana, 1933-2018)

118

Franklin Adams (American/Louisiana, 1933-2018)

“Untitled”, 1972

oil and mixed media on canvas signed and dated lower right. Framed.

36-1/2” x 36-1/2”, framed 37-1/2” x 37-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

119

Pat Trivigno (American/Louisiana, 1922-2013)

“Surging”, 1964

oil on board signed lower right. Period frame.

10-1/2” x 36”, framed 11-1/2” x 37”

Provenance: Jacques Seligmann Galleries, New York, New York, 1964; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

120

Arthur Silverman (American/Louisiana, 1923-2018)

“Monumental I, Study #1”, 1995 patinated steel titled on “Galerie Simonne Stern, New Orleans” label at bottom. h. 14-3/4”, w. 14-1/4”, d. 8”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

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

“Untitled”

acrylic on paper signed lower right, in a plexiglass shadowbox. h. 8-1/4”, w. 14-1/4”, d. 2-1/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

122

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

“Untitled”, 1976

gold and silver leaf on red clay signed lower right recto and verso, inscribed and dated “15-76” along side, on a thin integral black stand. h. 7-1/4”, w. 8-1/2”, d. 3”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

123

Arthur Silverman (American/Louisiana, 1923-2018)

“Maquette for Wall Sculpture 3”, 1994

“Untitled” table sculpture

painted steel and stainless steel latter with incised signature and dated, “Galerie Simonne Stern” label at back of maquette. h. 17”, w. 7”, d. 1/4” and h. 10”, w. 4”, d. 3”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

“Untitled”, 1989

mixed media sculpture incised signature and dated at bottom. h. 18-1/2”, w. 5-1/4”, d. 5-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

125

1940-2007)

“In the House”, 1995

painted aluminum sculpture titled and dated en verso. 33” x 18-1/2” x 2”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana, May 11, 1995; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Scott’s often abstracted colorful wood and metal sculptures are in public and private collections across New Orleans. A beloved instructor for four decades at Xavier University in New Orleans, his alma mater, he was an inspiration for generations of young artists. He received his masters from Michigan State University and was a 1992 recipient of the prestigious MacArthur Grant. In 2005, New Orleans Museum of Art held a retrospective of his work.

$4,000-$7,000

126

1940-2007)

“Second Line Dancing”

painted metal on a carved wood base.

h. 12”, w. 29-1/2”, d. 7-7/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

W. Steve Rucker (American/Louisiana, b. 1954)

John Tarrell Scott (American/Louisiana,

John Tarrell Scott (American/Louisiana,

127

Barbara Lovejoy (American, b. 1919)

“Trees IV”

patinated bronze sculpture in two interlocking parts. h. 20-1/4”, dia. 10”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

128

Susan Gisleson (American/Louisiana, Contemporary)

“Grace”

patinated bronze cast monogram and numbered “2/10” along edge. h. 17-1/2”, w. 6”, d. 5-1/2”

Provenance: Acquired from the artist in 2016; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Gisleson was awarded a Lemann Grant which afforded her the opportunity to create a six foot bronze sculpture, originally intended to be installed on the banks of Bayou St. John. Several maquettes were produced, of which the sculpture offered here is one, to be sold to raise funds for the project. Unfortunately, after the pedestal and site were vandalized, the project fell through. The sculpture is now housed at the Jimmy Club Sculpture Park.

$700-$1,000

129

Bill Binnings (American/Louisiana, b. 1949)

“Sleeping Child”, 1972

patinated bronze cast signature and dated upper left. h. 8”, w. 21”, d. 10”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

130

“Winged Victory”, 1988

patinated bronze signed, dated and numbered “17/50” along self-base. h. 8-5/8”, w. 2-1/2”, d. 2-1/8”

Provenance:

$800-$1,200

“Untitled”

Provenance:

$2,000-$4,000

130 131

A lifelong art instructor, Clemmer taught Drawing and Design at the School of Architecture, Tulane University for nearly thirty years. He then served as Chair of the Newcomb Art Department and was the first recipient of the Ford and Maxine Graham Chair in Fine Art.

As a young man, Clemmer studied with beloved New Orleans artists Paul Ninas, Xavier Gonzales and Enrique Alferez. He worked in a variety of styles and media, though from the 60s on there was an emphasis on line and geometry. He exhibited throughout his career. In 2021, a retrospective was held at the Historic New Orleans Collection.

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Estate of Thomas B. Lemann, New Orleans, Louisiana.

131 John Clemmer (American/Louisiana, 1921-2014)

cast stone relief triptych one panel with incised signature at back. each h. 17-1/2”, w. 24”, d. 2”

Estate of Thomas B. Lemann, New Orleans, Louisiana.

“Stele

$1,000-$1,500 132

“Quintera’s

Provenance:

$800-$1,200

133 Jeffrey Cook (American Louisiana, 1961-2009)

Chalkboard”, 1992 mixed media sculpture signed and dated en verso. h. 35”, w. 11”, d. 4”

Estate of Thomas B. Lemann, New Orleans, Louisiana.

132 Terry Weldon (American/Louisiana, b. 1947)

Fragment”, 1983 cast ceramic sculpture 47” x 56” x 1”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

134

“Untitled”, 1978

molded polyester resin on an integral carved wood base. h. 7-7/8”, w. 9”, d. 4-1/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: “In Perspective: Horse Sense”, Art & Antiques, March 2022, p. 30.; Campbell Robertson, “At 84. an Artist Tries Something New”, The New York Times, 28 March, 2016.

$1,000-$1,500

Despite serving on the faculty of Tulane University and the University of Southern Louisiana for decades, Kern was a bit of an enigmatic figure. For years, unbeknownst to most in the art community of New Orleans, he had been diligently working on his fantastical, often surrealist sculptures. It wasn’t until 2016, when he was in his mid-80s, that he agreed to an exhibition of his work to be held at the Ogden Museum of Southern Art. His smoothly surfaced, monochrome sculptures were created mostly of molded polyester resin finished with layers of lacquer. Kern utilized unusual and unexpected tools, such as dental implements and vegetable peelers. His slightly unsettling figures of animals, hybrids and distorted or truncated human figures reference mythologies, folk tales and the recesses of Kern’s creative mind, and were nearly universally lauded by collectors and critics alike.

135

“Aquatic Colonnade Maquette #7”, 1987 mixed media titled on “Arthur Roger Gallery/New Orleans” label en verso. Float-mounted in a black shadowbox frame. h. 12-3/4”, w. 17-3/8”, d. 3-1/4”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Arthur Edward Kern (American/Louisiana, b. 1931)

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

To have a fully conceived idea before I start a piece would seem wrong to me. I like to explore and be surprised by what I find along the way.

- Arthur Kern

“Horse Sense”, Art & Antiques

136

Lillian Florsheim (American, 1896-1988)

“Large Circles”

Lucite sculpture h. 23-1/2”, w. 19”, d. 6-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

137

Lillian Florsheim (American, 1896-1988)

“Untitled”

oil on canvas signed lower right. Framed.

14-1/2” x 10”, framed 20” x 16”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

L illian Florsheim

A native New Orleanian and long-time Chicago resident, Florsheim did not begin to study art until she was well into her 50s. Her earliest works were colorful abstract paintings, though she also experimented with vaguely figural sculpture. It was not until a fortuitous collaboration revealed the potential of plastics. She began to work with Lucite and plexiglass, creating increasingly complex sculptures of layered geometric forms. As with the lots offered here, she explored the myriad possibilities of the circle, preferring stark clear, white, or black. In 1970, she had an exhibition at the Museum of Contemporary Art in Chicago.

138

Lillian Florsheim (American, 1896-1988)

“Circle and Square Shape”, 1970

clear and black Lucite sculpture incised signature and dated at upper right top.

h. 7-1/2”, w. 7-1/2”, d. 4-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

139

Lillian Florsheim (American, 1896-1988)

“Untitled 1”

“Untitled 2”

two Lucite sculptures each on a black base.

h. 5”, w. 5”, d. 1-5/8”, base h. 1”, w. 5-3/4”, d. 3”; and h. 4-1/2”, w. 6-5/8”, d. 2-3/4”, base h. 1”, w. 7”, d. 3-5/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

140

Richard Johnson (American/Louisiana, b. 1942)

“Study for Chicago II”, 1988

acrylic, graphite and collage on board monogrammed and dated lower right, verso with “Galerie Simonne Stern, New Orleans, Louisiana” label. Framed.

7-7/8” x 11-3/4”, framed 9-1/2” x 13-1/2”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

141

Richard Johnson (American/Louisiana, b. 1942)

“Blue Rectangle”, 2002 “Street Dreams Series”, 1995

acrylic on masonite and acrylic on wood initialed and dated lower right, “Galerie Simonne Stern” label with artist, title and date en verso; signed, titled, dated, and “Galerie Simonne Stern” label with artist, title and date en verso. Latter framed, and former unframed. 12” x 12”, framed 14” x 14”; 15-1/4” x 13”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

142

Robert Joseph Warrens (American/Louisiana, b. 1933)

“Oasis I, From Garden of Brushes Series”, 1985 “Untitled”

two acrylics on masonite each initialed “R.W.” lower left, and former with “Gallerie Simonne Stern, New Orleans” label with artist, title and date. 7” x 21”, framed 8” x 22”; 18” x 28”, framed 19” x 29”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

143

Jacqueline Bishop (American/Louisiana, b. 1955)

“Flood Escape”, 1987

mixed media signed and dated lower right, a “Galerie Simonne Stern/New Orleans” label en verso. Integral artist-made frame. 5-1/8” x 7-1/8”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

144

Charles Arthur Turner (American/Texas, b. 1940)

“Sunshine Days”, 1968

“Olivia, F.R.”, 1968

two oils on canvas each signed, titled and dated en verso. Each framed.

12” x 12”, framed 12-3/4” x 12-3/4”; 14” x 15”, framed 14-3/4” x 15-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

The abstract expressionist painter Arthur Turner was born and raised in Houston, Texas. Turner studied art at the University of North Texas and Cranbrook Academy of Art. For over fifty years, he taught at The Museum of Fine Arts, Houston’s Glassell School of Art.

145

Scott P. Howard (American, Contemporary)

“Corot on Carondelet”

oil on canvas signed lower right, titled on a personal note from artist to Mr. Lemann. Unframed.

14” x 18”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

146

George Schmidt (American/Louisiana, b. 1944)

“San Giorgio Maggiore, Venice”, ca. 1991 oil on canvas signed lower right. Framed.

20” x 16”, framed 22-1/4” x 18-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

146

147

Sidonie Villere (American/Louisiana, b. 1976)

“Surrounded Series”, 2010

two stoneware and liquid gold leaf sculptures each with artist stamp. h. 12-1/2”, w. 4-1/2”, d. 4-1/4” and h. 12”, w. 4-1/2”, d. 3-3/4”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

147

148

Anita Cooke (American/Louisiana, Contemporary)

“Wave Rhythms II”, 2010

acrylic-painted fabric and threads affixed to wood panel signed and dated en verso. Unframed.

18” x 24”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

149

Norah Lovell (American/Louisiana, b. 1965)

“Venice: Lion”

“Venice: Griffin and Doge”

“Cornu: 3”

“Cornu: 4”

four gouaches on paper affixed to panels each signed and titled at back, one dated, each with “Callan Contemporary/New Orleans” gallery label at back. two 5” x 5” and two 8” x 8”

Provenance: Callan Contemporary, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

150

Cedric Errol Barron, Jr. (American/Louisiana, b. 1941)

“Portal”

“Waterland”

two watercolors each monogrammed lower margin, and labels with artist and titles en verso.

Matted, glazed and framed alike. each sight 7” x 9-1/2”, framed 16” x 19”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

151

Emery Ann Clark (American/Louisiana, b. 1950)

‘Wave Patterns #2”, 1982

watercolor and mixed media on paper signed and dated lower right. Glazed and framed. sight 31” x 39-1/2”, framed 33-1/4” x 41-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

152

Cedric Errol Barron, Jr. (American/Louisiana, b. 1941)

“Torcello Marker”

“Untitled Seascape”

two watercolors

each monogrammed lower right and former titled en verso. Matted, glazed and framed alike. sight 7” x 10-1/2”, 5-1/2” x 10-3/4”, framed 13” x 18”, 15-1/2” x 18-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

153

Ronna S. Harris (American, Contemporary)

“High Noon”, 1990

“Western Exposure”, 1990

two pastels on paper each signed lower right, and “Still-Zinsel Contemporary Fine Art, New Orleans” labels en verso. Matted, glazed and framed alike. sight 17” x 11-5/8”, 18-1/2” x 9”; framed 25” x 19”, 26-1/2” x 16-1/2”

Provenance: Still-Zinsel Contemporary Fine Art, New Orleans, Louisiana;Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

"....my paintings communicate a state of controlled chaos as I combine two divergent forces and approaches into my art: realism and abstract expressionism. My paintings confer an illusion of reality to something that’s not real."

–Ronna S. Harris

154

Gene Koss

b. 1947)

“Ridge Road Climb”, 1984

cast and etched glass incised signature, dated, titled and copyright-marked along lower edge, from the Ridge series. h. 8-3/4”, dia. 3”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

Koss started the art glass program at Tulane University, New Orleans, Louisiana and is presently Professor of Glass and the Maxine and Ford Graham Chair in Fine Art of the Newcomb Art Department. He has been the recipient of an award from the National Endowment for the Arts.

155

Nicole Charbonnet (American/Louisiana, b. 1966)

“Untitled”

“Untitled”

“Untitled”

three mixed media on paper each with “Arthur Roger Gallery, New Orleans” label with artist en verso. Glazed and framed alike.

7-1/2” x 5-1/2”, 6” x 4”, and 7-3/4” x 7-1/2”; f ramed 15-1/2” x 13-1/2”, 13-1/2” x 12-1/4”, and 15” x 15”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

156

Anita Cooke

“Untitled”

Contemporary)

acrylic-painted fabric, threads and mixed media on canvas initialed lower mid left.

Unframed. 40-1/2” x 30”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

(American/Louisiana,

(American/Louisiana,

157 Beatrice Hill (American/Louisiana, 1923-1998)

“Harp”

carved marble on a square stone base. h. 11”, w. 12”, d. 5”, base h. 2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Obituary, New Orleans Times-Picayune, December 30, 1998

$800-$1,200

158 Beatrice Hill (American/Louisiana, 1923-1998)

“Untitled I”, 1985

“Untitled II”

two carved marble sculptures former monogrammed “H” and dated at bottom of i ntegral slate base, latter on an integral natural stone base. h. 13-1/2”, w. 12”, d. 4” and h. 4-7/8”, w. 7-1/8”, d. 4-1/2”, respectively

New Jersey native and long-time Metairie, Louisiana resident, Beatrice Hill did not come to sculpting until later in life when she attended Xavier University, studying under the sculptor John T. Scott (1940-2007). Hill’s preferred medium was stone, specifically marble, and she created carefully composed geometric and abstract carved sculptures. 157

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Obituary, New Orleans Times-Picayune, December 30, 1998

$1,000-$1,500

159 Beatrice Hill (American/Louisiana, 1923-1998)

“Schubert”

carved white marble composed of five discs atop a rectangular base. h. 10-1/2”, w. 24”, d. 9”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Obituary, New Orleans TimesPicayune, December 30, 1998

$800-$1,200

"I think I was born a stone carver, but I didn’t realize it until I reached my 60s."

–Beatrice Hill

160

Sidonie Villere (American/Louisiana, b. 1976)

“Square Diptych”, 2008 gauze, acrylic, nails, gold leaf, concrete, oil, plaster and varnish on wood panel signed, dated and “Jonathan Ferrara Gallery, New Orleans” labels with artist and title en verso. Unframed.

24” x 24”

Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

161

Sidonie Villere (American/Louisiana, b. 1976)

“Interrupt”, 2014

fabric and mixed media triptych each signed and dated en verso. each h. 12-1/2”, w. 9-1/4”, d. 3-3/4”

Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

160

162

Brian Guidry (American/Louisiana, b. 1968)

“Marooned”, 2004

acrylic on board signed, titled, dated and “Jonathan Ferrara Gallery, New Orleans” label en verso. Unframed.

37” x 29”

Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Born in New Iberia, Brian Guidry studied art at the University of Louisiana at Lafayette and Pratt Institute. After living and working in New York City, Guidry returned to Louisiana, where he continues to paint and works as Curator of the Acadiana Center for the Arts in Lafayette, Louisiana.

163

Brian Guidry (American/Louisiana, b. 1968)

“Under the House”, 2009

acrylic on wood panel signed, titled and dated en verso. Unframed.

39” x 39”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

164

Larry Graeber (American/Texas, Contemporary)

“Visor” “Associate”

two carved and painted wood sculptures each titled at bottom. h. 20”, w. 10-1/2”, d. 8-1/4” and h. 23-1/4”, w. 9”, d. 12-1/2”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

165

Mac Ball (South Carolina/Louisiana, b. 1953)

“A Windy Day”, 2011

“Cypress Trees, Avery Island”, 2012

acrylic on canvas oil on canvas

each initialed lower right, and titled, dated and “Cole Pratt Gallery, New Orleans” labels with artist and title en verso. Framed alike.

each 14” x 18”, framed 14-1/2” x 18-1/2”

Provenance: Cole Pratt Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

The architect and artist Mac Ball was raised in Charleston and studied at the University of North Carolina, Chapel Hill and Yale School of Architecture. Ball lives in New Orleans where he became concerned about the coastal erosion and its impact on the environment. After Hurricane Katrina in 2005, his architectural firm Waggonner & Ball partnered with experts from the Netherlands to manage stormwater management in the urban areas. Ball’s interest and concerns about the environment are reflected in his paintings of Louisiana landscapes.

166

Cedric Errol Barron, Jr. (American/ Louisiana, b. 1941)

“Cameron”, 2005

“Oak Alley”, 2006

two gelatin silver prints each pencil-signed, monogrammed, titled and dated in lower margins. Matted, glazed and framed alike. each sight 20-1/2” x 20-1/2”, framed 27-1/4” x 27-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

167

“Seven Sisters Oak, Mandeville”, 2000 “Oak Grove, Grand Coteau”, 1998

gelatin silver print color photograph each signed, titled and dated lower margins. Each matted, glazed and framed alike. sight 13-/12” x 19”, 12-1/2” x 18-1/2”, each framed 21” x 26”

Provenance: LeMieux Galleries, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

168

“Redwood”, 2014

incised painted aluminum signed and dated lower right, and signed, titled, dated and “Callan Contemporary, New Orleans” label with artist, title and date. Unframed. 34” x 12”

Provenance: Callan Contemporary, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Bobby Wozniak (American/Louisiana, b. 1957)

Mitchell Lonas (American/Tennessee, b. 1970)

169

Lala Rascic (Bosnian/New Orleans, b. 1977)

“Untitled”

silkscreen on glass 20” x 33-1/8”

Provenance: Good Children Gallery, New Orleans, Louisiana, 2016; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Until recently, Rascic resided in New Orleans where she was an active member of the arts community. She presently splits her time between Sarajevo and Zagreb.

170

Doyle Gertjejansen (American/Louisiana, b. 1948)

“Failed Symmetry #5”, 1987

acrylic and cut paper collage signed and dated lower right. Matted, glazed and framed. 14-1/2” x 16-3/4”, framed 24” x 26”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

171

Vicki Bethel (American/Georgia, Contemporary)

“Far-Red”

“Pioneer Mosses”

two mixed media collages each signed lower right, and signed and titled, on abels en verso. Matted, glazed and framed alike. each 14” x 14”, framed 18-1/4” x 18-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

169

170

172

“Gray Swirl”, 2007 “Sphere” “Grass”

three c-prints on plexiglass unsigned. Unframed.

25-1/2” x 20-1/4”, 25” x 23-3/4” and 24” x 31-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,400-$1,800 172

173

c.)

“Untitled”, 2002

acrylic on canvas affixed to board signed, dated, “Cole Pratt Gallery, Ltd., New Orleans” label with artist en verso.

Unframed.

24” x 24”

Provenance: Cole Pratt Gallery, Ltd., New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

James Beaman earned a BFA and MFA from East Carolina University and is currently an Adjunct Faculty member at Louisiana State University. His work is about process as he creates multi-layered color field paintings.

James Beaman (American/Louisiana, 20th/21st

Sally Heller (American/Louisiana, b. 1956)

THE THOMAS B. LEMANN COLLECTION

CONTEMPORARY SCULPTURE

174 Barry Bailey (American/Louisiana, 1952-2021)

“Bed Wing”, 1989 weathered steel from the “Bed Post” series. h. 90”, w. 28”, d. 18”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

175 Morio Shinoda (Japanese, b. 1931)

“Suspended Face”

steel composed of three interlocking movable parts. h. 10-1/8”, w. 11”, d. 7-1/2”

Provenance: Acquired in 1969; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Morio Shinoda received his initial training in his native Japan before briefly studying with the American architect, designer and inventor R. Buckminster Fuller (1895-1983). Deftly combining various aspects of both Eastern and Western culture, Shinoda creates carefully composed metal and wire constructions which explore the concept of gravity, movement and - especially - the interplay of tension and compression. The work offered here is unexpectedly whimsical, with the partial face carefully hovering between the rod and feet supports. Shinoda represented Japan at the 1966 Venice Biennale, was the recipient of the 2000 International Sculpture Center’s Outstanding Sculpture Educator Award, and has exhibited widely, including at the Museum of Modern Art, New York and the Guggenheim, New York.

Molly Mason (American, Contemporary)

“Hybrid #2”

stainless steel and copper sculpture on a thin integral cast stone base. h. 77”, w. 16”, d. 12”

Provenance: Tilden-Foley Gallery, New Orleans, 1984; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Mason creates large-scale welded mixed metal outdoor sculptures, often employing an innovative technique that allows her to essentially apply permanent color onto the metal. She was a recipient of a Fulbright which afforded her the opportunity to study garden design and sculpture in Japan.

$2,000-$4,000

177

177

Hattakitkosol Somchai (Thai, 1934-2000)

Antoine Gabriel Berberi (Lebanese, b. 1944)

Prince Monyo Mihailescu-Nasturel (American/Contemporary, b. 1926)

“Plant Sculpture”, 1970; “Senteur de Geranium”, 1997; “Untitled”

group of three bronze and patinated bronze sculptures, including “Plant” on an integral gray marble base, numbered “86/1000” on label along side, h. 10-1/2”, w. 6-1/2”, d. 4-1/8”; “Senteur” with artist plaque at back of integral base, h. 7-1/2”, w. 13-1/8”, d. 4-1/4”; and “Naturel” with cast signature along edge of self-base, h. 8-5/8”, w. 8-1/2”, d. 4-1/4”.

Provenance: Berberi from the artist, Klayaat, Lebanon; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Djordje Aralica (Croatian, b. 1963)

“Pyramidal Hourglass”

patinated metal together with two mixed metal spheres by unknown artist.

h. 16”, w. 10-1/2”, d. 10-1/2”; dia. 15”, dia. 12”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

“Mahalia”

painted and welded steel h. 63”, w. 50”, d. 45”

Provenance: Acquired 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana

$2,000-$4,000

Payton’s welded steel assemblages are explorations of movement as inspired by music, specifically jazz. Combining found objects and industrial scrap, sometimes painted, other times left unfinished, he creates rhythmic sculptures that pulse with the energy of his native city.

179 Martin Payton (American, b. 1948)

Growing up in New Orleans, music is what I understand as art.

- Martin Payton

Giancarlo Caporicci (Italian, b. 1956)

“Untitled, Red”

painted steel sculpture h. 30”, w. 13”, d. 3-3/4”

Provenance: Portuondo, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Erwin Wurm (Austrian, b. 1954)

“Mondgesicht”, 1985

painted metal signed and dated at bottom. h. 9-1/2”, w. 5”, d. 7-1/2”

Provenance: Galerie Zellermayer, Berlin, Germany, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Berlin, Galerie Zellermayer, Erwin Wurm: Skulpturen, April 18-May 23, 1985, illustrated in the catalogue.

$1,500-$2,500

I don’t prototype or sketch beforehand. I just go to work on the materials. After a while, I enter a state where all background noise subsides. It’s at that point that something new comes into existence.

- Frans Muhren

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Frans Muhren (Dutch, b. 1949)

“Streamer Bull”

“Corporate Identity”

one bronze and one painted iron sculpture former h. 18-7/8”, w. 24”, d. 10”; latter h. 14-1/2”, w. 14”, d. 9-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

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Marcello Martin Burgos (Argentinian, b. 1971)

“Furious Demon”, 2020

polished bronze unsigned.

h. 10-1/4”, w. 11”, d. 12”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: “Marcelo Martin Burgos: Sculpture of the Golden Age”. LUXUO, March 20, 2023.

$800-$1,200

Burgos is known for his fantastical, wondrous menagerie of hybrid figures rendered in highly polished bronze.

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Marcello Martin Burgos (Argentinian, b. 1971)

“Polycephalous”, 2017

polished bronze unsigned, on an integral black stone base.

h. 21”, w. 40”, d. 17”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: “Marcelo Martin Burgos: Sculpture of the Golden Age”. LUXUO, March 20, 2023.

$2,000-$4,000

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Marcello Martin Burgos (Argentinian, b. 1971)

“Menschenfresser - Man-Eater”, 2017

polished bronze unsigned, on an integral black stone base.

h. 21”, w. 24”, d. 8”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: “Marcelo Martin Burgos: Sculpture of the Golden Age”. LUXUO, March 20, 2023.

$1,500-$2,500

"My aim is to elicit images and feelings that will take those who observe my art back to the most creative, awe inspiring and frightening time of their lives: the golden age of childhood."

- Marcello Martin Burgos

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Azoriano (Marco Ferreira) (Portuguese, Contemporary)

“Besterio Fantastico”, 2020

group of five painted pottery figures including “Godzilla”, Lizard Man” and “Reptile Man” among others, each signed and dated at bottom. from h. 7-5/8”, w.14”, d. 6-1/2” to h. 9-1/2”, w. 10-1/4”, d. 7-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

These colorful, fantastical hybrid figures are inspired by Portuguese folklore.

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Pedro Friedeberg (Mexican, b. 1936)

“Double Thumb Hand Chair”

carved giltwood signed at bottom. h. 6-1/4”, w. 4”, d. 3-3/4”

Provenance: Friedeberg Fine Art, Mexico City, Mexico; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Miguel Berrocal

Berrocal is known for his series of brass puzzle sculptures. Composed of numerous interlocking abstract pieces, they occasionally incorporate wearable jewelry, such as the ring of this lot.

Berrocal was one of the main exhibitors of the Spanish Pavilion of the XXXII Biennale Venezia in 1964. In 1968, he was named a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture.

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Miguel Berrocal (Spanish, 1933-2006)

“Mini-Christina”, 1970

nickel-plated brass sculpture in 23 parts, including a “B” ring, cast signature and numbered “2874” at back. h. 5-7/8”, w. 3”, d. 2-3/8”

Provenance: Centicore Arts International, Ann Arbor, Michigan, April 6, 1977; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Miguel Berrocal (Spanish, 1933-2006)

“Richelieu”, 1968-1975

brass sculpture composed of 60 elements, signed and numbered “481/2000” on sculptural join, accompanied by original booklet. h. 7-5/8”, w. 6”, d. 4-3/4”

Provenance: Centicore Arts, Ann Arbor, Michigan, April 6, 1977; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

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Alberto Guzman (Peruvian, 1927-2017)

“Untitled”

welded and white-painted steel on a silvered metal base, numbered “3” at bottom of base. h. 14-1/2”, w. 12”, d. 27”

Provenance: Galleria Il Capricorno, Venice, Italy, 1972; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

One of the most acclaimed Peruvian sculptors, Guzman attended the Escuela Nacional Superior Autonoma de Bellas Artes del Peru where he was awarded the gold medal for his class. It was during his time as a student that he began to create welded steel sculptures. Shortly after graduation he took part in the exhibition at the Instituto de Arte Contemporaneo, Lima, receiving the Andre Malreaux fellowship to study in France.

Guzman exhibited widely across France and took part in numerous Biennales including Paris in 1963, Venice in 1966, and Antwerp in 1969. While iron was his preferred material, he was equally adept at bronze, marble, ink and even - if only for one installation - string. In 2010, he received the Peruvian government’s highest honor of the Grand Cross.

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Marta Minujin (Argentinian, b. 1943)

“Roman Medallion Installation”, 1985

metal signed at back. 5-3/4” x 5-1/2”

Provenance: Gustavo Olivieri 20th Century, East Hampton, New York; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

A native of Buenos Aires, Minujin studied in France where her work was experimental, performative and installation based; it resulted in her receiving a Guggenheim Fellowship in 1966, which afforded her the opportunity to move to New York. Upon her return to Argentina in 1976, she created a series of sculptures inspired by ancient Greek and Roman art. While some of these works were cast in metal, as with the small plaque offered here, others were rendered in such unexpected and often transitory materials as cheese, cotton and bread. Minujin is still actively creating art at the age of 80.

“Alfil #2”

steel sculpture unsigned.

h. 23-1/2”, w. 10-1/4”, d. 10-1/4”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Trained as an architect, Beuvrin was on the faculty of Simon Bolivar University in Caracas until the political climate of Venezuela forced him to relocate to Spain. Setting up a studio in Barcelona, he began to concentrate on sculpture. Beuvrin’s architectural training is evident in his approach to his work: every sculpture begins as a detailed design - what he refers to as his “spatial drawings”. He then laser cuts sheets of metalsteel is his preferred material, but he has been known to use iron, bronze and even wood - assembling the parts into a 3-dimensional model.

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Provenance: Aparentment, Barcelona, Spain; Estate of Thomas B.

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Alejandro Vega Beuvrin (Argentinian, b. 1979)

193

Aparentment “Column Side Table”

metal and marble, designed by Joseph Vila Capdevila. h. 18-1/2”, w. 15”, d. 7-7/8”

Lemann, New Orleans, Louisiana.

Lyman Kipp (American, 1929-2014)

“Untitled”, 1968

carved and painted wood signed and dated at bottom. h. 4-5/8”, w. 6-1/2”, d. 5-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Kipp was an early proponent of the American Primary Structures movement of the 1960s, which had evolved from Russian Constructivism and its tenet of embracing the industrial and urban. After an influential and popular 1966 exhibition of Primary Structures, Kipp along with several other artists formed ConStruct, an artist-owned gallery.

A graduate of Pratt Institute, New York, Kipp’s earliest works were site-specific, and usually site-constructed, large-scale sculptures of welded steel. Soon dissatisfied with both the technique and the process, he began to use sheets of metal painted in bold, primary colors which could be fitted together and bolted. The resulting works were complex constructs of intersecting and bisecting geometric elements. Kipp often created small-scale maquettes of his sculptures. 195

Claire Steinert (American, 20th Century)

Sally Heller (American/Louisiana, b. 1956)

“Untitled”

“Untitled”, 2021

two Lucite and plexiglass sculptures

former h. 30-1/2”, w. 16-3/4”, d. 1”; latter signed and dated en verso, h. 9”, w. 11-1/4”, d. 1-1/8”.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Aaronel deRoy Gruber (American, 1918-2011)

“Anamorphic Lens” “Cube”

two acrylic and plexiglass sculptures former with incised signature and numbered 3/8 at edge of self-base. h. 17”, w. 6-1/2”, d. 5-1/2” and h. 5-1/4”, w. 5-1/2”, d. 5-1/2”, respectively

Provenance: Acquired in 1970; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Gruber attended the Carnegie Institute of Technology in Pittsburgh, Pennsylvania. One of the first proponents of using plexiglass as an artistic material, she convinced a local engineering company to allow her to set up a studio in their factory so she would have access to their machinery. Employing a process she created, Gruber pressed thin sheets of variously hued plexiglass into molds.

In 1968, she took part in the “Made in Plastic” exhibition at the Institute of Art in Flint, Michigan; it was the first show of its kind and its popularity with critics, scholars and collectors was immediate. When asked about her preferred material, Gruber said, “I like its transparency, the overlapping of colors forming other colors and the effect of contained light within...it is one thing by day and another thing by night.”

197 Jesselyn Zurik (American, 1916-2012)

“Like the Circles That You Find in the Windmills of Your Mind” “Rooster”

two carved, painted wood and found object sculptures former signed upper right and en verso, latter signed at base. former h. 54-1/2”, w. 11”, d. 3-3/4”; latter h. 15”, dia. 12”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

A native New Orleanian, Zurik graduated from Newcomb College, Tulane University. She worked for many years as a corporate illustrator and during World War II was a draftsperson for the Higgins Corporation. Zurik created complex sculptural assemblages composed of found objects and salvaged industrial materials.

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Norman Therrian (American, 1935-2007)

“Flora #1”, 1984

painted metal initialed and dated along edge of self-base h. 15”, w. 15”, d. 6-3/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Joel Perlman (American, b. 1943)

“Untitled”, 1982

patinated bronze cast monogram and dated at bottom. h. 18-3/4”, w. 8-1/4”, d. 4-1/2”

Provenance: Acquired in 1987; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

A New York-based constructivist sculptor, Perlman’s monumental outdoor sculptures are in private and public collections across the world including the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; University of Miami, Miami, Florida; and the Metropolitan Museum of Art, New York, New York. While his preferred material is welded steel, ideal for exposure to the elements, he also casts in other metals and materials, occasionally adding patination or powder-coating. Regardless of their size, his sculptures are explorations of geometric form.

“Untitled”, 1972

steel sculpture of interlocking parts initialed, dated, numbered “28/250” and copyright-marked under top element.

h. 10”, w. 7-3/8”, d. 2-1/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

While considered an abstract expressionist sculptor, di Suvero’s mature work reveals the clear influence of Constructivism; large-scale, site specific and often interactive in nature, utilizing salvaged industrial materials. His earlier sculptures included wood and found objects, but he soon concentrated on welded steel for his outdoor works, which often required the use of a crane for completion.

Di Suvero received a degree in philosophy from the University of California, Berkeley. He worked tirelessly as an activist and was arrested several times for his anti-war demonstrations, culminating in him moving to Europe for several years. He did not return to the United States until the end of the Vietnam War. While in Europe, di Suvero exhibited widely, and was the first living artist to have a solo exhibition at the Jardin des Tuileries, Paris. He was later named a Commandeur d’Ordre des Art et des Lettres by the French Ministry of Culture, quite an honor for a non-French person.

In 1976, a retrospective of his work was held at the Whitney Museum of American Art and in 2010. he was awarded the prestigious National Medal of Arts from the National Endowment of the Arts. A retrospective was recently held at Nasher Sculpture Center in Dallas of his sculptures, drawings and paintings.

“Untitled”, 1977

bronze incised signature, dated and numbered “1/7” along back edge, on an integral black stone base.

h. 8-5/8”, w. 11”, d. 7-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Mark di Suvero (American, b. 1933)

201 Anthony Padovano (American, b. 1933)

“Untitled”

patinated bronze cast signature along front edge of self-base, a Marinelli foundry, Florence inscription along side edge, on a stone base.

overall h. 14-3/4”, w. 17-1/4”, d. 10-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

“Kokeshi”, 1978

“Untitled #1”

“Untitled #2”

one black-patinated brass and two Portoro black marble sculptures former with incised signature, dated “1978” and numbered “2/10” along lower edge, latter two on a conforming base and an integral black base.

h. 6”, w. 3”, d. 3”; h. 2-3/4”, w. 6”, d. 3-1/8” and base h. 1-1/4”, w. 6-1/8”, d. 3-3/8”; h. 9”, w. 20-1/2”, d. 4-1/8”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

Crovello’s studies at the Rhode Island School of Design were interrupted by active military service which he spent in Korea and Japan. Upon his return to the United States, Crovello studied Japanese culture and history at Columbia University before returning to Japan where he was to remain for four years. In 1961, he moved to Spain and began to concentrate on sculpture. Many of his works reflect the influences of Japanese culture, including “Kokeshi” (a simple wooden peg Japanese doll ) offered here.

Abbott Pattison (American, 1916-1999)

203 William Crovello (American/New York, 1929-2021)

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Eli Karpel (American/New York, 1916-1998)

“Untitled”

bronze on an integral black columnar base. h. 7-3/4”, w. 8-3/8”, d. 3-5/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Eli Karpel (American/New York, 1916-1998)

“Untitled”

bronze sculpture incised signature and numbered “6/7” at back edge of self-base. h. 10-1/2”, w. 7”, d. 7”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

206

KAWS (Brian Donnelly) (American, b. 1974)

“Holiday Space Figure - Gold”

polyurethane stamped “KAWS Holiday Space” at bottom of one foot. h. 11-1/2”, w. 5-1/4”, d. 4-5/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

207

James Anthony Bearden (American, b. 1964)

“Gilded Barnacle Box #3”

24kt gold over steel 5” square

Provenance: Weinberg Modern, New York, New York; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Wifredo Lam (Cuban/French, 1902-1982)

“L’oiseau de Feu”, ca. 1970

brass

cast signature and numbered “392/500A” along lower element.

h. 10-1/4”, w. 5”, d. 3-1/2”

Provenance: Galerie Gmurzynska, Zug, Switzerland; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

209

Florence Chesade (French, b. 1960)

“Crab en Combat”, 2012-2013

patinated bronze cast signature at bottom.

h. 9-1/4”, w. 12”, d. 14”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

210

Pierre Martinon (French, b. 1949)

Gerard Brossard (French, b. 1950)

“Roche a Emporter”, 1988

“Untitled”, 1980

two hand-formed glazed and enameled stoneware sculptures, former h. 10-1/4”, w. 11-3/4”, d. 3”, latter with incised signature at bottom, h. 15”, w. 9”, d. 4”.

Provenance: Pierre Martinon from Aurelien Gendras, Saint-Ouen-sur-Seine, France; and Gerard Brossard from Renaud Regnier, Neuilly-en-Sancerre, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

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Delphine Brabant (French, b. 1964)

“Unity I”, 2020

patinated bronze cast monogram and numbered “3/8” along side. h. 24”, w. 8”, d. 4”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

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Bertrand Dorny (French, 1931-2015)

“Untitled”

iron sculpture h. 14-1/2”, w. 10-1/4”, d. 3-3/4”

Provenance: Storrer Gallery, Zurich, Switzerland, August 22, 1985; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

- Philippe Buil

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Philippe Buil (French, b. 1964)

“Menagerie”

group of five patinated bronze and steel sculptures of animals including “Ours”, “Picouette”, “Rhinoceros”, and two “Elephants”, all with incised signature and artist mark at bottom or at base. from h. 4-1/4”, w. 6-5/8”, d. 3-7/8” to h. 5-1/2”, w. 11”, d. 4”

Provenance: Philippe Buil Galerie Art Pluriel, Saint-Etienne, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

"The game of shadow and light, of the conscious and the unconscious are for me the bases of the encounter around a work. These metal laces are created by making bronze and steel weep drop by drop..."

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Simone Pheulpin (French, b. 1941)

“Untitled”

pleated fabric sculpture on a slate panel, an “Artcurial/Paris 2013” label en verso. 5-7/8” x 5-7/8”

Provenance: Simone Pheulpin, Paris 2012 Artcurial; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Amy Serafin, “After 40 years in craft, French textile artist Simone Pheulpin is finally making her point.”, Wallpaper*, September 2018.

$800-$1,200

A self-taught textile artist, Pheulpin was inspired by the raw, unbleached cotton fabric she used to line her children’s clothes. Utilizing fabric from a local manufacturer in her native Vosges, she carefully and painstakingly twists, folds and pleats the strips, holding them in place with hundreds of metal pins. The results are reminiscent of natural forms - shells, flora, the swirls of wood grain. Pheulpin was the recipient of the Grand Prix de la Creation de la Ville de Paris and her works are in the permanent collections of such institutions as the Victoria and Albert Museum, London and the Art Institute of Chicago.

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Parvine Curie (French, b. 1936)

"L’Enfant Abrite-Blanc”, 2021

white steel incised signature and numbered “10/300” at base. h. 5-3/8”, w. 4-3/4”, d. 5”

Provenance: Loft, Art Contemporain, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

If the fabric doesn’t want to go in the place that I’d like, I’ll do what it wants. It’s always the fabric that wins, it’s never me.

–Simone Pheulpin Wallpaper

“Marathonienne”

“Girouette Hiver”

two painted metal sculptures one kinetic and with incised signature and numbered “978/1000”, the other with incised signature, numbered “0688/1000” and marked “Ed. Loft”. h. 7”, w. 5”, d. 4-1/4” and h. 6-3/4”, w. 4-1/4”, d. 3”

Provenance: Loft Art Contemporain, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,400-$1,800

There is an acknowledged playfulness to Hiquily’s sculptures which belies the intense planning and designing that goes into each work. The thin sheets of metal which have been carefully manipulated by cutting and welding into biomorphic or abstracted figures are clever explorations of space, form, and by extension movement; many of his works are kinetic. The works offered here are from two of his most acclaimed series: “Grouette” which was conceived in Spain in 1963 and “Marathonienne” a small scale edition of the ninefoot sculpture from 1981. These reveal Hiquily at his most accomplished and the stylized, abstract geometric sculptures are still successfully indicative of the female form.

Born into an artistic family, Hiquily spent his youth working beside his father in the French Resistance during World War II and later served with distinction in Indochine. Upon his return to France, he attended l’Ecole des Beaux-Arts, Orleans and l’Ecole Nationale Superiere des Beaux-Arts in Paris. In 1959, after being the recipient of the Critic’s Prize at the Paris Biennial, he was invited to exhibit in New York. The exhibition was a resounding success; all the works sold including one to the Guggenheim.

Encouraged to stay in New York, Hiquily made the decision to return to France, where he remained for the rest of his life.

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Martine Demal (French, b. 1948)

“Vibrations No. 2”, 2006

“Small Vibration”, 2000

two patinated bronze and iron sculptures smaller with incised signature, numbered “3/8” and with a “Romain Barelier” foundry mark on base. h. 24”, w. 9-3/4”, d. 5-1/2” and h. 12-1/8”, w. 7-1/4”, d. 2-1/8”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Philippe Hiquily (French, 1925-2013)

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Yannick Bouillault (French, b. 1968)

“Sectionnement Rouge”

“Section C” “L’Imperieux”

three mixed metal sculptures each with artist monogram.

h. 10-1/4”, w. 7”, d. 6-1/2”; h. 5-1/2”, w. 2-3/8”, d. 2-1/2”; h. 11-1/4”, w. 8-1/2”, d. 9-1/2”, respectively

Provenance: Acquired from the artist, Romegoux, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

219

Jean Dubuffet (French, 1901-1985)

“4 La Valise” serigraph titled in plate. 10” x 6-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

220

Monica Guggisberg (Swiss, b. 1955) and Philip Baldwin (American, b. 1947) Venini Murano Glass “Trio Baritono”

2018, blown glass, in shades of aquamarine and scarlet, with small “Venini” label at side. h. 14”, w. 5-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Guggisberg and Baldwin have worked together for over forty years, having met while both were students at the Orrefors Glass School in Sweden. Since 1995, they have collaborated with Venini Glass.

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Ron Aloni (Israeli, b. 1950)

“Untitled”

blown glass and metal wire signature in wire at bottom. h. 13”, w. 11-1/2”, d. 11-1/2”

Provenance: Karl Kemp Antiques, New York, New York; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Basia Monka, “The Structure in Wires: Sitting Down with Ron Aloni”, Jerusalem Post, December 9, 2021.

$3,000-$5,000

Aloni’s biomorphic sculptures are created by carefully and painstakingly knotting thin metal rods into a desired shape into which hot glass is then blown, pushing and bulging between the metal netting. The resultant vaguely organic forms are somewhat Brutalist in style and are variously meant to be hung, strung, or mounted.

Aloni is a graduate of the Academy of Fine Arts, Nuremberg and the Slade School of Fine Arts, London. He lives and works in Tel Aviv.

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Chris Day (British, Contemporary)

“Strange Fruit”

handblown and sculpted glass with applied meta lh. 6-3/4”, w. 8”, d. 4-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: chrisdayglass.com; Chris Day, interview with Jabari Owens-Bailey, Museum of Glass, podcast transcription, May 16, 2023, museumofglass.org/frit-city-podcast/2023/5/16/ episode-a-two-way-conversation-with-chris-day.

$700-$1,000

Interested in art since he was a child, Day worked as a plumber for twenty years before enrolling in classes at Wolverhampton University where he eventually received a degree in Glass and Ceramics. Of Jamaican and British heritage, he explores the present and historical plight of black people in England through his biomorphic glass sculptures.

Often incorporating industrial materials, especially heating or electrical elements, which are twisted and knotted around the vessel, he pushes and pulls the partially encaged glass, forcing it to bulge and push against the constraints. The work offered here is from his “Strange Fruit” series, which references the song initially and most famously performed by Billie Holliday; “Southern trees bear strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the Southern breeze, Strange fruit hanging from the poplar tree”.

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Anthony Scala (British, b. 1978)

Hilary Crawford (Australian, Contemporary)

“Turbulence in Sargasso Green”

“There is Everything and Nothing”, 2011 two handblown and sculpted glass sculptures Crawford with incised signature, dated and titled along side. h. 7-1/2”, w. 6-1/2”, d. 5-1/2”; h. 9”, dia. 6-3/8”, respectively

Provenance: Hilary Crawford from Gallery 40NL, Doetinchem, Netherlands; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

"As a black glassblower...My main purpose is to engage the audience on issues that are hard to confront on many levels, using art to help overcome some of the traumas that haunt our collective past."

- Chris Day, 2020 Vessel Gallery, London

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Marie-Claude de Fouquieres (French, 20th Century)

Jacopo Foggini (Italian, b. 1966)

“Fractal Spehere”

“Jungle”

two resin sculptures former h. 5”, dia. 5”, latter h. 14”, dia. 7-1/2”

Provenance: Aaron Mapp, Miami, Florida; Jacopo Foggini, Milan, Italy; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

"My inspiration comes from cycles of nature that I associate with the glass-making process because to me the material is at its most alive when it’s hot and being transformed. The end result is solid and doesn’t move any longer, it is at the fragile time before disintegration and maintains a dynamic form and rich structures such as dry leaves, feathers or sea shells".

225

Nina Casson McGarva (British, b. 1990)

“The Way it Twists”

kiln-cast and sculpted glass h. 6-1/2”, w. 15-1/2”, d. 13-1/4”

Provenance: Vessel Gallery, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

McGarva received her training in glass-blowing at the Ecole Nationale du Verre in Yzeure, France. She later attended the Royal Danish Academy of Fine Arts, where she studied casting, fusing and etching. McGarva prefers the somewhat capricious technique of kiln-casting where the form is heated and then manually manipulated while still pliable by pulling, bending and stretching. The form is then returned to the kiln. As McGarva acknowledges, it is not always possible to anticipate the results once the piece is reheated and each glass sculpture is unique. Once cooled, the glass is often hand engraved.

–Nina Casson McGarva

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Nina Casson McGarva (British, b. 1990)

“Autumn Cherry”

kiln-cast and sculpted glass h. 15”, w. 17-1/2”, d. 11”

Provenance: Vessel Gallery, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Vessel Gallery, London, England, Formed From Instinct, June 24-August 27, 2020.

$800-$1,200

McGarva received her training in glass-blowing at the Ecole Nationale du Verre in Yzeuze, France. She later attended the Royal Danish Academy of Fine Arts, where she studied casting, fusing and etching. McGarva prefers the somewhat capricious technique of kiln-casting where the form is heated and then manually manipulated while still pliable by pulling, bending and stretching. The form is then returned to the kiln. As McGarva acknowledges, it is not always possible to anticipate the results once the piece is reheated and each glass sculpture is unique. Once cooled, the glass is often hand engraved.

227

Micheluzzi Murano Glass “Riccio” Honey Vase

2020, blown and cold-carved glass, incised signature and dated at bottom. h. 4-3/4”, dia. 5”

Provenance: Micheluzzi Glass, Murano, Italy; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

The Micheluzzi Company was formed in 2019 by sisters Elena and Margherita Micheluzzi whose father Massimo was a leading Venetian glass-blower. The “Riccio” or sea urchin vase offered here is one of the company’s most popular designs. It is formed of blown-glass which when cooled is carved to replicate the surface of the sea urchin shell.

“Olive Pulmonaria”, 2021

cire perdue cast green lead crystal with frosted glass insert incised signature and dated at bottom. h. 8”, dia. 10-1/2”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$4,000-$7,000

An internationally acknowledged master of the difficult and time-consuming cire perdue or lost wax glass casting technique, Jarman teaches classes and lectures across the United Kingdom. Her nature-inspired vessels are admired for their fluid design and structure.

228 Angela Jarman (British, b. 1971)

"All the ideas for my work originate from a lifelong interest I have in biology and the natural world. I look to all sources for inspiration - animal, vegetable and mineral; but the one common theme that unites all my thinking has at its core ideas to do with growth and reproduction, duplication, decay and transformation."

- Angela Jarman

229

Tobias Mohl (Danish, b. 1970)

“Black Twill Vessel”, 2021

blown glass with canework incised signature and dated at bottom. h. 18-1/2”, w. 12-1/4”, d. 4-7/8”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$4,000-$7,000

Mohl began his career as a glass-blower for a Danish firm before his proficiency earned him a position with famed glass artist Lino Tagliapietro. Mohl deftly combines Venetian glassblowing techniques with a decidedly Scandinavian aesthetic, resulting in seemingly effortless, elegant vessels of actual complex design and structure.

230

Tobias Mohl (Danish, b. 1970)

“Nest Bowl”, 2019

blown glass with canework incised signature and dated at bottom. h. 6-1/8”, dia. 6-1/2”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

I dream of creating light, resilient forms with an elaborate textile organization; where with simple effects I exploit the delicacy and transparency of the glass.

- Tobias Mohl

“Burnt Red Glassweaver Vessel”, 2017

blown glass with canework incised signature and dated at bottom. h. 17-3/4”, w. 14-5/8”, d. 5”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$4,000-$7,000

“Colour Saturation”, 2020

kiln-cast, polished and battuto cut optical glass shades of red and black. dia. 17-3/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

231 Tobias Mohl (Danish, b. 1970)

232 Colin Reid (British, b. 1953)

"A defining moment when I was studying glass was when I went out into the woods and fields with plaster and started casting what I found. The extraordinary forms in nature are still the basis for much of my work in glass."

- Colin Reid

233 Pippin Drysdale (Australian, b. 1943)

“Splendour at Black Rock I”, 2018/19

group of five painted porcelain vessels and sculptures all with artist stamp at bottom, including two open-topped vessels, h. 6-1/4”, dia. 5-1/2” and h. 10-3/8”, dia. 6-7/8”, and three sculptures, h. 3-1/2”, dia. 3-3/4”, h. 7-1/2”, dia. 7” and h. 8”, dia. 6-1/2”.

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

One could call Pippin Drysdale a landscape artist utilizing ceramics as a medium. Her works pulsate with intense colors, as rich and varied as the artist’s native Australian landscape and the forms are an assemblage of asymmetrical elements, echoing the geological features of Australia; her signature incisions mirror the linear patterns of the land and exposed rock strata.

“Splendor at Black Rock I” is a compilation of asymmetrical sculptures as well as vessels and serves as an interesting meditation on differences between ceramics as utilitarian objects versus purely sculptural. The vessels are colored in the lavish hues of the land on the exterior and glowing dome of the vast Australian skies in the interior.

“So much of my journey has all developed into a thematic of traces, traces of time, linear lines, shadows, color and big crops,” Pippin explained in an interview for Design Files, an Australian online design website. Glazes are applied in layers and once dried, Drysdale makes her careful, precise incisions. Later, they are filled with new color, carefully working one section at a time. “The lines take on their own journey,” she says, explaining the intricate network of rivulets for a single vessel surface can consume up to eight hours to complete. (Design Files, 2021). After each color is applied, the body is wiped off and color re-applied again, giving each piece subtle shading, marking each work as unique. The whole process can take several days to complete.

Pippin Drysdale’s work has been widely exhibited internationally, and was included in the 2017 Sotheby’s traveling exhibit “Treasures from Chatsworth”. The Duke and Duchess of Devonshire acquired three major installations for the “Chatsworth Collection”.

234

Kate Malone, MBE (British, b. 1959)

“Striped Spheres and Cubes”, 2020 pair of crystalline-glazed stoneware sculptures each signed and dated at bottom. each h. 12-3/4”, w. 6-1/2”, d. 6-1/2”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$4,000-$7,000

235

Kate Malone, MBE (British, b. 1959)

“A Magma Meteor Landscape”, 2019/2020

crystalline-glazed stoneware incised signature, dated and l ocalized “London” at bottom. h. 6-3/4”, w. 19”, d. 10-1/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Malone has stated that function and practicality are not a consideration in the creation of her vibrant works and that they are best perceived as decorative objects. Her distinct glazing technique incorporates crystals which are added to the glaze in strategic areas prior to firing. The innate nature of the crystals when heated results in unpredictable yet luminous and complex glazes. Malone is an acknowledged master of this technique, and she has spent years researching and perfecting it.

A 1986 graduate of the Royal Academy of Art, London, she was named a Member of the Order of the British Empire in 2019.

“Dahlia Vase”, 2021

thrown and carved porcelain clay artist’s cypher at bottom. h. 13-3/8”, dia. 9-5/8”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

Wicks creates elegantly shaped vessels with complex textural surfaces. He carefully and painstakingly cuts and shapes the surface, leaving the piece to air dry for several days before it is biscuit-fired and then glaze-fired.

"I have always been drawn to working with porcelain for its purity in colour, refinement in material qualities and the continuous yet enjoyable challenge of working with such a physically difficult material which shrinks, cracks, warps, twists, and generally can misbehave unexpectedly."

-

236 Andrew Wicks (British, b. 1973)

Andrew Wicks

THE THOMAS B. LEMANN COLLECTION

LONDON: Adrian Sassooon

Late 2000s

“The Tate’s collection of Turners is of course the gallery’s principle claim to fame, but they also have a pretty good sampling of Giacometti and David Smith, plus Caro, Chillida, and of all things a modern porphyry sculpture by one Stephen Cox (born 1946). The placard there says no porphyry was quarried for 1,000 years after A.D. 600. Can that be so? Then where did the great porphyry tombs of the Normans in Sicily come from?”

- Thomas B. Lemann Travel Journal London, August 1997

"I felt that in carving there was something more immediately primitive, immediately basic, in terms of language or sculpture."

- Stephen Cox Interview with Andrea Schlieker,

1985

237 Stephen Cox (British, b. 1946)

“Cruel Stones of St. Stephen”, 2007

hand-carved Egyptian porphyry 14 movable elements atop a hexagonal base. h. 6-1/4”, w. 18-1/2”, d. 13-3/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$5,000-$8,000

Cox's admiration, appreciation, and respect for the materials he uses is evident in the reverent manner in which he approaches his sculptural explorations of form. In his search for the most exceptional stone, he has accompanied geologists and archaeologists on expeditions across India, Italy and Egypt to seek out quarries and sources. He has worked in a variety of stones including marble, alabaster and granite, but his preferred material is porphyry.

Porphyry, in its most simplistic definition, is a generally deep red or green, white-flecked igneous hardstone. The exception to this is the rare purple Imperial Egyptian porphyry which was mined only at the Mons Porphyrtes quarries in Egypt, which is now a World Heritage Site. It was extremely popular with the ancient Romans and the Byzantine Empire - and can be seen in items as diverse as sarcophagi, altars, and water basins. Cox was given the unprecedented honor by the Egyptian Government to access the quarries, which had been closed since antiquity, as a part of his commission for the new Cairo Opera House.

Cox was elected to the Royal Academy in 2010 and was named a Senior Academician in 2022.

238

Stephen Cox (British, b. 1946)

“Jug”, 2019

hand-carved green porphyry

h. 7-3/4”, w. 7-3/4”, d. 4-3/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$1,000-$1,500

239

Stephen Cox (British, b. 1946)

“Amoebowls”, 2020

hand-carved green porphyry h. 4-1/8”, w. 9-3/8”, d. 6-5/8”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$1,000-$1,500

240

Stephen Cox (British, b. 1946)

“Blade”, 2003

hand-carved Egyptian porphyry h. 3-1/2”, w. 12”, d. 6-1/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$1,000-$1,500

241

Stephen Cox (British, b. 1946)

“Bowl”, 2020

hand-carved Egyptian porphyry with artist cypher at bottom. h. 3-1/4”, dia. 5-1/2”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$800-$1,200

242

Stephen Cox (British, b. 1946)

“Figure: He”, 2018

hand-carved Egyptian porphyry h. 26-3/8”, w. 6”, d. 9-1/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$3,000-$5,000

243

Stephen Cox (British, b. 1946)

“Bowl”, 2017

hand-carved Egyptian porphyry artist cypher at bottom. h. 4”, dia. 7-1/2”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$800-$1,200

244

Stephen Cox (British, b. 1946)

“Buddha”, 2018

hand-carved Egyptian porphyry h. 3”, w. 14”, d. 7-1/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$3,000-$5,000

243

244

“Two Bowls”, 2022

hand-carved Egyptian porphyry with artist cypher at bottom. each h. 3-1/2”, dia. 6-3/4”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$800-$1,200

“Lip Bowl”, 2021

hand-carved Egyptian porphyry with artist cypher at bottom. h. 3”, dia. 5-5/8”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Stephen Bann, The Sculpture of Stephen Cox, London: Lund Humphries Publishers for The Henry Moore Foundation, 1998; stephencox.com

$800-$1,200

245 Stephen Cox (British, b. 1946)

246 Stephen Cox (British, b. 1946)

Ben

“Cryptic Box V”, 2016

hand-carved Egyptian Imperial porphyry h. 3”, w. 3”, d. 3”

Provenance: Adrian Sassoon, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

For the highly polished carved stone box offered here, Gaskell has chosen Egyptian Imperial porphyry, one of the rarest stones which was quarried only from the Red Sea Hills of Egypt - at a location referred to by the ancient Romans as Mons Porphyrites. So historically significant is the stone, the area where it was found has been named a World Heritage site. Gaskell respectfully approaches his chosen material, carefully shaping and polishing the stone, creating a nearly invisible-to the-eye asymmetrical fissure along which it opens.

“Forme Breve”, 2012

solid optical glass h. 7-3/4”, w. 10”, d. 7-7/8”

Provenance: Erskine, Hall & Coe, Ltd., London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana

Literature: Bernard DeJonghe and Anthony Benjamin, Exhibition Catalogue, Erskine Hall & Coe, London, 3-25 September, 2014.

$4,000-$7,000

DeJonghe attended l’Ecole des Metiers d’Art, Paris before working in the workshop of ceramicist Emile Decour. By 1977 he had his own studio and kiln. Equally adept at ceramics and glass, DeJonghe has also worked closely with scientists and researchers at the Musee d’Histoire Naturelle, Paris, accompanying them on excursions across Egypt, Algeria and Chad. He was the recipient of the National Grand Prize of the Ministry of Culture in Paris amongst numerous other honors. The work offered here is composed of colorless, optical glass cast to form a hard surface which is then cut to create the desired texture.

Gaskell (British, b. 1955)

248 Bernard DeJonghe (French, b. 1942)

I would like to see natural hardstone carving recognized today as the fundamental and enduring medium of expression that it used to be in ancient times when our gods were of Nature, of the Sun, of fertility, of the Earth...

– Ben Gaskell

"The concept of my work “YO BI TSU GI” is rebirth. “YO BI TSU GI” is the traditional restoring technique for the ceramic Tea bowl. Traditionally, URUSHI lacquer was used as glue to join the damaged parts together and finished with a renewed charm. I join my glass parts together using molten glass to create an image of “KIMONO”. Finally I have reproduced my glass “YO BI TSU GI” as my own interpretation to emphasise [sic] and harmonise [sic] the Japanese sense of beauty."

–Yukito Nishinaka

249

Yukito Nishinaka (Japanese, b. 1964)

“Remi (Dawn)”, 2019

“Genesis”, 2020

two Yobitsugi Tea Bowls of glass, gold leaf a nd silver leaf latter marked “YN 0005” and former marked “YN0003” on labels at bottom. h. 3-1/4”, dia. 4-7/8” and h. 3-3/4”, dia 5”, respectively

Provenance: Erskine, Hall & Coe, London, U.K.; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Japanese Wonder exhibit, 14-31 July 2020, Katie Jones and Erskine, Hall & Coe, London.

$1,000-$1,500

250

Ritsue Mishima (Japanese, b. 1962)

“Minerale”, 2018

blown and hand-shaped glass h. 16”, dia. 13”

Provenance: Erskine, Hall & Coe, London, U.K; Estate of Thomas B. Lemann, New Orleans, Louisiana

$5,000-$8,000

Mishima’s colorless glass nature-inspired sculptures are evocative explorations of light and shadow, often incorporating aspects of their specific environment or setting. A native of Kyoto, she now splits her time between that city and Venice. She has exhibited widely, including the Venice Biennale in 2009. In 2022, she was the first Japanese artist to have a solo exhibition at the Galleria dell’Accademia in Venice.

251

Simon Kidd (Irish, b. 1993)

“Stratum”, 2020

three wood-fired, slip-cast stoneware sculptures cream, brown and steel gray.

h. 6”, w. 5-3/4”, d. 6-1/4”; h. 7-1/2”, w. 7-1/4”, d. 7”; h. 6”, w. 6”, d. 7”, respectively

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,800-$2,500

Kidd utilizes local materials - from crushed granite to wood ash - which are then added to the clay and/or the glazes. The result is a uniquely textured surface that varies from piece to piece.

252 Simon Kidd (Irish, b. 1993)

“Untitled”

wood-fired stoneware with granite inclusions h. 9-1/2”, w. 15”, d. 12”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

253

Simon Kidd (Irish, b. 1993)

“Extrusive”, 2020

slip-cast porcelain

h. 10-1/2”, w. 25”, d. 11”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

254

Simon Kidd (Irish, b. 1993)

“Stratum”, 2020

wood-fired stoneware with granite inclusions

h. 8”, w. 8”, d. 7-1/2”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

255

Tim Rowan (British, b. 1967)

“Box”, 2012

wood-fired native clay lidded box.

h. 7-3/4”, w. 8”, d. 7-3/4”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Exhibited: Classic and Contemporary Ceramics, Erskine, Hall & Coe, London, England, 20 February - 20 March, 2013.

$800-$1,200

256

Joanna Constantinidis (British, 1927-2000)

“Deep Bowl”

stoneware remnant of old label at bottom. h. 8”, dia. 7-3/4”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$600-$900

- Jacques Kaufmann

257

Jacques Kaufmann (French, b. 1954)

Kaufmann finds endless fascination in the possibilities of clay and the techniques and processes by which it can be manipulated. The work offered here is a part of his “Strata” series, which was inspired by the natural world and the possibilities of multi-layered ceramic landscapes. Kaufmann is currently the President of the International Academy of Ceramics. 257

“One Hand, Wheel, Opened”, 2018 clay h. 2”, dia. 4-1/4”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

258

Jacques Kaufmann (French, b. 1954)

“Strata, Cube, Explosion”, 2018 clay h. 4-1/2”, w. 5-1/4”, d. 5-1/2”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Finding inspiration in geology, Pre-Colombian art, and the local landscape, Henderson created expressive pottery pieces utilizing fragments of various types of clay - which he referred to as “fluxed earth”. He would carefully hand-build each vessel, adding layer upon layer of clay until the desired form was achieved.

259

Ewen Henderson (British, 1934-2000)

“Tea Bowl”, 1990s

mixed laminated clay h. 3-5/8”, widest dia. 5”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

"For me, the imaginary is originated in the material, in its qualities and in its poetical energy."

260

Ewen Henderson (British, 1934-2000)

“Tea Bowl”

stoneware h. 4-1/2”, widest dia. 7-3/4”

Provenance: Erskine, Hall & Coe, London, England; E state of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

261

Yasuhisa Kohyama (Japanese, b. 1936)

“Shigaraki Shizenyu Chawan”, 1979

earthenware initialed and with old label at bottom. h. 3-1/4”, dia. 5-1/2”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$600-$900

Well versed in the history of Japanese ceramics, Kohyama is credited with the revival of the ancient technique of “anagama”, or wood-firing, of which he is considered the leading master.

262

Zung-Lung Tsai (Taiwanese, b. 1974)

“Phototropism 2102”, 2021 ceramic h. 8-1/4”, w. 9-1/2”, d. 7-3/4”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$2,000-$4,000

263

Sarah Flynn (Irish, b. 1971)

“Camber Vessel”, 2018

pearlescent white-glazed ceramic with matte black interior, artist’s cypher above base. h. 9-1/4”, dia. 6”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

Flynn creates highly polished and glazed wheel-thrown vessels which have been manually manipulated to alternately bulge and dimple. The results are elegant works that revel in a sense of rhythmic movement.

264

Karen Bennicke (Danish, b. 1943)

“Multi X”

three glazed stoneware geometric sculptures each initialed at bottom.

h. 9-3/4” to h. 16”, approx. w. 8” to approx w. 9”, approx. d. 5-1/2” to approx. d. 6”

Provenance: Erskine, Hall & Coe, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

Bennicke employs an unusual, idiosyncratic technique of molding and hand-building the clay, eschewing the more traditional wheel throwing. Her works are complex, personal interpretations of the world around her the landscape, the city buildings, the urban waste-lands. As such, they appear reminiscent rather than recognizable to the viewer, requiring a degree of critical analyses.

265

Paul Schneider (American, Contemporary)

Helena Starcevic (American, Contemporary)

Aldo Londi (Italian, 1911-2003) for Bitossi

group of three ceramic pieces, including:

“Hexagonal Garden Stool”, glazed ceramic, h. 20”, w. 13-1/4”, d. 3”;

“Cube with Oval Aperture”, hand-textured ceramic, h. 3”, w. 5”, d. 3-3/4”; and “Rimini Blu Vase” glazed ceramic, signed at bottom, h. 6-1/4”, dia. 3-1/2”.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

264 265

266

Matthew Chambers (British, b. 1982)

“Eclipse Sand”, 2022

“Bud II”, 2022

“Twist Smooth Red”, 2022

“Twist Blue and Orange”, 2022

group of four oxide-glazed sand and stoneware sculptures from h. 7”, w. 7-1/4”, d. 4-1/2” to h. 11-1/2”, w. 11”, d. 7”

Provenance: Cavaliero Finn, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,500-$2,500

Chambers’ distinctive spiraling and twisting circular vessels begin as wheelthrown elements which are then embedded within each other. Unglazed and usually monochromatic, any colors are added to the clay before throwing and any oxides or stains are added before final construction.

266

267

Sharon Brill (American, Contemporary)

“Conch 32”, 2015

“Untitled 5”, 2016

“Hollows 2”

“Twist 3”, 2015

group of four thrown and manipulated porcelain sculptures from the “Hollows” series, each atop a painted and textured clay base. from approx. h. 11”, w. 8”, d. 7-1/4” to approx. h. 16-1/2”, w. 17”, d. 20”

Provenance: Artistics, Paris, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

Literature: Gunild Symes, ed., “Sharon Brill - Q & A”, X-Ray Magazine, Issue 56, 2013; sharonbrill.com.

$1,000-$1,500

Brill’s biomorphic sculptures curve and twist into themselves, forming crevices and shadows. They are evocative explorations of how we perceive shape and space; there is no beginning or end, no front or back.

268

Jo Taylor (American, 20th Century)

“Promenade I”

thrown and hand-ornamented ceramic vessel signed and dated in clay at interior bottom. h. 27”, dia. 7”

Provenance: Vessel Gallery, London, U.K.; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Taylor’s meticulously crafted ceramic sculptures are abundant with the palmettes, swirls and swags of classical and rococo architecture. Inspired by the etchings of Giovanni Battista Piranesi (Italian, 1720-1778), specifically his Diverse Manieri D’Adornare I Cammini, she creates lush works by wheel-throwing, hand-building and the application of decorative elements.

An instructor as well as an artist, Taylor has a Masters in pottery from Bath Spa University as well as a Graduate Certificate in education.

269

Jessica Hans (American/New Mexico, Contemporary) Rikenrob’s (French, Contemporary) Matt Devine (American, b. 1975)

group of three sculptures, including: “Untitled”, 2020, glazed porcelain, signed and dated at bottom, h. 13-3/4”, w. 12”, d. 7”; “HKWhite 2”, mixed media, with artist tag at back, h. 14”, w. 8”, d. 8”; and

“Studio Study 19-19”, white powder-coated steel, on an integral stone base, h. 8-1/2”, w. 15”, d. 12-1/2”.

Provenance: Joanne Artman Gallery, Laguna Beach,California; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

270

Tracy Nicholls (British, b. 1969)

“Ethereality #523” “Fragile Lace”, 2018

two glass, walnut and aluminum sculptures from the “Fragile Lace” series. h. 17-1/2”, w. 16-3/4”, d. 5-1/2” and h. 18-1/2”, w. 16-1/8” d. 6-1/8”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana

$1,000-$1,500

Nicholls works almost exclusively with opaque monochrome glass, utilizing the delicate kiln-form technique of heating various elements in the kiln and then shaping and manipulating them. The resultant, deceptively delicateseeming glass sculptures are explorations of light and shape, deftly alluding to the passing of time.

"I am fascinated by erosion - of solid forms disintegrating over time and the continuing transformation into absorbing lace like structures as they become ever more delicate and fragile."

- Tracy Nicholls

"My inspiration comes from many things that I absorb with all my senses: the changing light that creates different shades in the sand, water and vegetation, the unique textures and shapes of the reefs and shells, the sound and appearance of the waves that change by the day and hour, and the foam of the waves."

- Sharon Brill, X-Ray Magazine, 2013

Sidonie Villere (American/Louisiana, b. 1976)

“Bind”, 2013

two cotton cord-wrapped porcelain orbs one inscribed “2013” and one stamped “Sidonie Villere” at bottom aperture. each dia. 6”

Provenance: Jonathan Ferrara Gallery, New Orleans, Louisiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

These were a part of a series Villere created around the idea of comfort; the cords protectively wrap around the orbs as if offering protection.

$800-$1,200'

272

Gawaine Dart (American, 1929-2014)

Stephanie Lanter (American, b. 1975)

“Ceramic Box with Lid” “StateStateState”, 2020 two glazed ceramic pieces former initialed at bottom, latter composed of two separate elements. h. 15”, w. 8”, d. 8” and overall h. 17”, w. 8-1/4”, d. 8”, respectively

Provenance: Dart from Collected Detroit, Detroit, Michigan and Lanter from Cerbera Gallery, Kansas City, Missouri; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

273

Simone Leonelli (Australian, Contemporary)

Nicholas Arroyave-Portela (British, b. 1972)

“Ocean Vase, Tulip”, quartz-sand composition “Crumpled Form”, glazed ceramic

Together with a Casa Queta, Mexico Taloyote carved black marble bowl, “Crumpled Form” with artist cypher at bottom. h. 9-1/2”, dia. 7”; h. 15-1/4”, dia. 9”; h. 5” dia. 7-7/8”, respectively

Provenance: Arroyave-Portela from Vessel Gallery, London, England; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Sylvaine Perret (French, Contemporary)

“Black Rock”, 2018

glazed ceramic h. 6-1/2”, w. 9”, d. 8”

Provenance: Sylvaine Perret, Muret, France; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

275

Christoph Jakob (German, b. 1973)

“Untitled I”

“Untitled II”

two carved basalt sculptures h. 24-1/4”, w. 4-1/2”, d. 3-1/2” and h. 25-7/8”, w. 5-1/2”, d. 5-3/8”, respectively

Provenance: Christoph Jakob, Germany; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

A Frankfurt native, Jakob has an unusual approach to his abstract hardstone sculptures: he splits the stone instead of cutting it and then works from the resulting fragments. This, he believes, allows the material to retain its integrity. He then slowly grinds holes, fissures and open areas into the stone, working towards a polished sculpture that simultaneously reveals the heart of the stone and his artistic vision.

276

Sylvio Eisl (German, b. 1954) George Troyanov (Bulgarian, Contemporary)

“Blue I”

“Sapphire”

two carved and painted wood sculptures former with artist label at bottom. former h. 34-1/2”, latter h. 13”, w. 18”, d. 9”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

"Rococo (Marquis de Sade)", 2012

"Tree of Desire", 2017

"Pin-Up Girl", 2020

"Olloll", 2021

group of four carved and painted wood sculptures each signed at bottom, all on integral bases.

from h. 5-3/4”, w. 4-3/4”, d. 2-1/2” to h. 34”, w. 21-3/4”, d. 14-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

Gubin creates complex sculptures of painted carved wooden elements joined together to form vaguely identifiable constructs. Often incorporating found objects and drawing, his surrealist sculptures are 3-dimensional versions of his paintings and collages. The artist has stated that his art serves as an exploration of imagination and memory.

“Evergreens”, 2021

“Greenery”, 2021

“Untitled”

three carved andesite stone sculptures on integral beveled stone presentation bases. h. 10-1/8”, w. 8-7/8”, d. 3”; h. 10-7/8”, w. 10-1/4”, d. 2-3/8”; h. 10-1/8”, w. 12-5/8”, d. 2-7/8”

Provenance: Integrated Artists Gallery, Sofia, Bulgaria; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

277

Mikhail Gubin (Ukrainian/American, b. 1953)

278

Ognyan Chitakov (Bulgarian, Contemporary)

The stone material is alive and has a soul. I never ignore it and its gravity...

- Ognyan Chitakov

"Noah'a Ark", 2022, gabbro

"Lightning Bolts", 2022, black granite on marble

"Whirl", 2021, gabbro

"Black Star", 2022, basalt and granite

group of four carved stone sculptures three on stone bases. from h. 10”, w. 22-3/4”, d. 5” to h. 17-1/2”, w. 18-1/2”, d. 6-1/2”

Provenance: Integrated Artists Gallery, Sofia, Bulgaria; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

"Breaths of Air", 2022, granite "The Heart of the Mountain", 2020 "Interchange", 2022

"Parallel Universes", 2022

group of four carved stone sculptures “Untitled” on an integral stone base, “The Heart of the Mountain” of granite, and “Interchange” of gneiss and with integral stone base. from h. 9-1/2”, w. 18”, d. 11-1/2” to h. 30”, w. 8”, d. 8”

Provenance: Integrated Artists Gallery, Sofia, Bulgaria; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

279 Ognyan Chitakov (Bulgarian, Contemporary)

280 Ognyan Chitakov (Bulgarian, b. 1976)

281

Michael Rofka (German, b. 1964)

Romauld Wisniewski (Polish, b. 1963)

“Small Infinity”

“Liquidity”

two carved stone sculptures each with integral black marble base, former with incised monogram and numbered “22” along base. h. 9-1/2”, w. 6-1/2”, d. 4-7/8” and h. 9-1/2”, w. 6-1/2”, d. 2-1/2”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

282

Roland Gatin (American, b. 1968)

“Atom Heart Nike”, 2001

carved and laminated stone h. 9-3/4”, w. 14-1/2”, d. 11”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

283

Thomas Lendvai (American, b. 1976)

Richard Perry (British, b. 1960)

Silvia Lerin (American/London, b. 1975)

group of four geometric sculptures of various media, including: two “Untitled” works by Lendvai, former 2018, polyurethane, h. 7”, dia. 8”, and latter steel, h. 7”, dia. 7”; “Spacetime I”, 2019, bronze, artist monogram, numbered “1/6” and with “Pangolin Editions” foundry mark along side; and “Fold with Fissure”, 2012, iron, h. 12-1/2”, w. 14-1/2”, d. 4”.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

281

282

283

“Hive”

patinated steel h. 33-1/2”, w. 22-1/2”, d. 20”

Provenance: Pegboard Modern, Highland, Indiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

For almost two decades Bearden was the awardwinning Art Director for a Des Moines advertising agency. In 2007, he began to experiment with metal, specifically steel, creating roughly textured brutalist sculptures. The work offered here are from his natureinspired “Hive” series.

“Hive”

patinated steel incised initial at bottom. h. 20”, w. 13”, d. 9-1/4”

Provenance: Pegboard Modern, Highland, Indiana; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

285

James Anthony Bearden (American, b. 1964)

284 James Anthony Bearden (American, b. 1964)

284

286

David Kofton (American, Contemporary)

Andrei Balashov (Estonian, b. 1965)

Xavier Lavergne Ateliers, Paris, France

Grigori Gorgovenko (Russian, b. 1974)

Ben Kupferman (American, Contemporary)

group of five various and mixed metal sculptures, including: “Dung Beetle”, 2016, signed, dated and titled on self-base, h. 4-1/2”, w. 8-1/2”, d. 6-1/2”;

“Fish No. I”, bronze, incised signature interior of base, h. 4-3/8”, w. 4-1/2”, d. 2-1/2”;

“Sculpture Transmutation”, pewter, applied “XL” tag, with presentation stand, dia. 13”; “Shura”, bronze, cast initials at back, h. 6-1/2”, w. 4”, d. 3”; and

“Untitled”, patinated metal, incised signature at back, with inset malachite bead, h. 8-1/2”,

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

w. 6”, d. 4”.

286

287

Simon Gaiger (British, b. 1965)

“Occam’s Razor”, 2020

welded and painted metal sculpture

h. 20”, w. 24-1/4”, d. 12-1/2”

Provenance: Cavaliero Finn, Las Vegas, Nevada; Estate of Thomas B. Lemann, New Orleans, Louisiana

Geiger’s colorfully painted welded metal sculptures entice the viewer with their kinetic and/or movable and removable parts, encouraging physical interaction. Equally at ease with the abstract and the figural, his sculptures reveal a sense of energy and movement. Gaiger has been an elected member of the Royal British Society of Sculptors since 2008.

$800-$1,200

288

Simon Gaiger (British, b. 1965)

“Apotropaic Device”

painted and welded metal and found object sculpture

nine elements that fit on an iron rod.

h. 21-1/4”, w. 32”, d. 12”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

289

Luiz Campoy (Brazilian, b. 1956)

“Tortuosa”

“Untitled, Yellow”

two powder-coated steel sculptures former signed at back of self-base.

h. 23”, w. 19”, d. 7-3/4” and h. 18”, w. 17”, d. 14”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

290

Driaan Claassen (South African, Contemporary)

“Look to the Light”

“I am Worthy of Safety”, 2023

bronze and and enamel sculptures former with cast signature and numbered “1/12” at lower right, latter initialed and numbered “1/12” at self-base. h. 13-7/8”, w. 5-3/8”, d. 2” and h. 11-1/2”, dia. 8”, respectively

Provenance: Reticence Design, Cape Town, South Africa; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

291

Driaan Claassen (South African, Contemporary)

“I Have to do This” “Get Up or Give Up”

a stained wood sculpture and a red-enameled bronze sculpture h. 51-1/2”, dia. 10” and h. 22”, w. 4-3/4”, d. 4-3/4”

Provenance: Reticence Design, Capetown, South Africa; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

292

Richard Arfsten (American, Contemporary)

“Mandarin Magic, Marriage Icon”, 1995

“Celestial Helix”, 1994

“Political Weaseling”, 1993

“We Have Three Options”

group of four painted aluminum sculptures first three with cast signature, dated and copyright-marked at base, last with artist label on bottom.

h. 7-5/8”, w. 7”, d. 3-7/8”; h. 10-3/4”, w. 11-3/4”, d. 8”; h. 8-1/4”, w. 8”, d. 8”; h. 6-1/2”, w. 10”, d. 3-3/4”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,200-$1,800

293

Michael Eden (British, b. 1955)

"Imari IV", 2015

3D printed nylon composition with knob-topped lid.

h. 14”, w. 9-3/8”, d. 6-1/2”

Provenance: Adrian Sassoon, London, England, 2020; Estate of Thomas B. Lemann, New Orleans, Louisiana. New Orleans, Louisiana.

Literature: michaeleden.com

Exhbited: "Michael Eden - History Re-Printed", Holburne Museum, Bath, England

$1,000-$1,500

Eden delights in merging traditional forms and materials with new technological processes, to create works which would not previously have been possible. A trained potter, he pursued an MPhil at the Royal Academy of Art, London, where he began to experiment with the potential of 3D software, specifically rapid prototyping (RP).

Using digital data, he created his first Wedgwoodn’t Tureen - the work offered here is a part of a later series of such vessels. This tureen is an easily identifiable object, reminiscent of the works produced by the famed ceramic manufacturer and ardent proponent of the Industrial Revolution Josiah Wedgwood, but clearly created in a manner inconsistent with the known properties and possibilities of the 18th century.

294

Mimi Joung

(South Korean, Contemporary)

"Untitled: Orange Moon"

"Sunday Morning in Yellow", 2022

two glazed porcelain slip vessels

h. 5-7/8”, dia. 6-5/8” and h. 11-1/2”, dia. 6-1/2”, respectively

Provenance: Cavaliero Finn, London, U.K.; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

Joung employs an extremely unusual technique to create her glazed, brightly colored monochromatic vessels. Using a special tool, she applies porcelain slip to a block. Once the slip starts to set, she begins to coil and shape it into the desired form. Because of the nature of the material and the technique, each piece must be completed in one sitting. Inspired by literature, she has a word or phrase in mind as she lays down the slip.

A native of South Korea, Joung holds a masters in ceramics from the Royal College of Art in London, where she now resides. She

I focus on issues of “Displacement”, with objects addressing a wider discourse, beyond origin and usage, to reference human situations and experiences. I am a long way from home. I have become a commentator, observer and historian.

- Mimi Joung from artist’s website

“Autumnal Rights”, ca. 1981

“Baby Unger”, ca. 1980

two mixed media sculptures

h. 8-3/4”, w. 21-1/4”, d. 2-3/4” and h. 10-3/8”, w. 9-7/8”, d. 1-3/4”, respectively

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

“Vertical Wave 2”

bent poplar plywood, steel and polyeurethane h. 85-3/4”, w. 37”, d. 15”

Provenance: Denise Bibro Fine Art, New York, New York; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

295

Randy Ernst (American, Contemporary)

296

Susan Woods (American, Contemporary)

Provenance:

$1,800-$2,500

$1,400-$1,800

297

Suite of Four Biedermeier Fruitwood Tub Chairs

mid-19th century, each with a downswept, rounded crest above the padded back and sides, the cushioned seat raised on sabre legs.

h. 30”, w. 22”, d. 20”

Estate of Thomas B. Lemann, New Orleans, Louisiana.

298

Diminutive Pair of Italian Fruitwood Cabinets

18th century, in the neoclassical taste, each with a drawer above a cabinet door flanked by parcel-gilt pilasters, the interior with two shelves, raised on banded, tapered square cabriole legs.

h. 30”, w. 13-1/4”, d. 11-1/4”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

299

Pair of Handsome French Gilt-Bronze-Mounted Porphyry Tazzas

first half 19th century, the turned bowls mounted with gilt-bronze handles in the form of intertwined serpents, and supported on tapered bases.

h. 4-3/4”, w. 12-1/4”, d. 9”

Provenance: Hermann Historica, Germany

Acquired from the above on October 9, 2020; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$4,000-$7,000

300

John Challis, Michigan, Single Manual Hardwood Harpsichord

ca. 1970, sixty-one notes, the keys with Brazilian rosewood veneers, the top with pierced brass hinges, serial number “52.143”, signed in black ink script “John Chaliss/Detroit, Michigan”.

closed h. 33”, open h. 57-1/2”, w. 31-1/2”, l. 56”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$800-$1,200

"A very useful word that is new to my vocabulary is 'debrouillard' which is argot and means someone who is resourceful, knows how to get along, one can cut his way through red tape, etc. It is quite a c ompliment to call someone a debrouillard and they all appreciate it"

301

Hayne E. Rudolf (American, Contemporary)

“Mr. Tommy Lemann” mixed media sculpture h. 61”, w. 44”, d. 19”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$700-$1,000

-Tommy B. Lemann Travel Joural August 6, 1965, Juan-les-Pins

Chinese Hardwood Table Screen

the oval screen carved with a central puzzle ball set into a field of carved, pierced dragons, supported on a base with cabriole legs, decorated with three cabochon mounts, set into pierced brass bezels.

h. 14”, w. 15-1/2”, d. 2-1/2”

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$1,000-$1,500

303 Japanese Silver and Mixed Metal Incense Burner

Meiji period, late 19th century, the barrel-form body pierced and decorated with chrysanthemums, the fitted cover with ribbon-bow finial draping down the sides, the ends with two gilt and copper dragons and patinated mons and decoration, raised on a shaped stand with four legs with gilt foliage.

h. 10-1/4”, l. 5-1/2”; 38.94 t. oz.

Provenance: Sothebyís, New York, Style: Silver, Furniture, Ceramics, April 22, 2020, lot 292; Estate of Thomas B. Lemann, New Orleans, Louisiana.

$5,000-$8,000

304 Tiffany & Co. Sterling Silver Tray

the pattern introduced in 1936, this example third quarter 20th century, of oval form with molded rim and stirrup handles en suite, no monograms.

28” x 18”; 123.78 t. oz.

Provenance: Estate of Thomas B. Lemann, New Orleans, Louisiana.

$3,000-$5,000

302 303

305

Tiffany & Co. Sterling Silver Covered Vegetable Dish

the pattern introduced in 1902, New York, New York, of oval serpentine form, with molded rim, the conforming lid with detachable stirrup ring handle.

h. 5”, l. 11-3/4”, w. 9”; 46.12 t. oz.

$1,200-$1,800

306

Tiffany & Co. “Hampton” Sterling Silver Flatware Set

designed in 1934 by Charles Byron Blake (1880-1963), including a dozen nine-piece place settings, with an additional three place pieces and nine serving pieces, no monograms, presented in a fitted Pacific cloth-lined, zippered top, cream faux leather case.

119 pieces total plus case

159.41 total t. oz.

$4,000-$7,000

307

Tiffany-Retailed Portuguese Silver Desk Box

mid-20th century, by Topazio (Ferreira Marques & Irmao), Porto, for Tiffany & Co., first standard (.916) silver, of rectangular form with flat hinged lid, decorated in a richly textured, naturalistic tree bark pattern with samodorok-style underside. h. 1-3/8”, w. 7-1/2”, d. 3-3/4”; 18.54 t. oz.

$1,000-$1,500

308

Walter Von Nessen (1889-1943) & Harry Laylon (1911-1997)

a collection of Art Deco polished chromium metalware, second quarter 20th century, manufactured by the Chase Brass & Copper Co., Waterbury, Connecticut, including:

a “Coronet” pattern coffee urn, designed by Walter Von Nessen, spherical on a fluted stand, with bakelite handles, key and base, and glass knob finial, fitted with electric percolator (cord lacking), h. 12-1/4”, w. 10-1/2”, d. 10-1/4”;

a “Kent” pattern cream jug and covered sugar bowl, designer unrecorded but probably Harry Laylon, spherical with bakelite handle and finial, h. 3-1/4” & 4-1/2”, dia. 3-3/4”; and twelve cocktail cups, designed by Harry Laylon, hemispherical with shallow-domed foot ring, now fitted with glass liners, six with silvered rim, h. 2” (3-1/4” with liner), dia. 2-3/4”.

$1,000-$1,500

The American Art Deco metalware of the Chase Brass & Copper Co. were among the most successful, popular (and, ultimately, iconic) of the pre-war era, thanks in no small part to the talents of designers like Walter Von Nessen, Harry Laylon, Russell Wright, Lurelle Guild, Howard F. Reichenbach, Charles Arcularius and Rockwell Kent: all luminaries of Modern Design. Examples of the pieces in the present lot are represented in the Museum of Modern Art, the Philadelphia Museum of Art, the Brooklyn Museum, the Art Institute of Chicago and the Yale University Art Gallery; an example of each piece is conserved in the Dallas Museum of Art.

309

Georg Jensen Sterling Silver “Blossom” Demitasse Set

the pattern designed 1905-1908 by Georg Jensen (1866-1935), Copenhagen, each piece with the post-1945 oval pelleted Jensen mark, including:

a coffeepot, h. 7-1/4”, l. 7-1/2”;

a creamer, h. 2-1/4”, l. 5-1/4”;

a covered sugar bowl, h. 3-1/2”, dia. 3-3/8”;

a circular tray, 11” x 13-1/2”;

a sugar spoon, l. 4”; and

six demitasse spoons, l. 3-1/2”. 60.43 total t. oz. (including carved handles)

$4,000-$7,000

310

Hermes Chrome-Plated and Gilt-Brass Compendium Desk Clock

20th century, the design attributed to Paul Dupre-Lafon (1900-1971), the top set with a compass and the swivel sides set with a clock, barometer, calendar and thermometer, the dial signed “Hermes, Paris”.

h. 4”, w. 4-1/4”, d. 4-1/4”

$2,000-$4,000

311

the ten-light chandelier set with flower-decorated glass panels, ribbed and accented with frosting, supported on rods secured to an Art Deco flower-molded metal hemispherical canopy, the lower portion with metal dividers terminating in an Art Deco pendant finial. h.

$2,000-$4,000

312

1987-90, Springfield, Illinois, recast from the original mold in the “Sumac” design created by Frank Lloyd Wright in 1902, the later tiles recreated then verdigris-stained for the Historic Restoration led by the State of Illinois Historic Preservation Agency. h. 55”,

$2,000-$4,000

French Art Deco Molded Glass and Silvered Metal Chandelier

38”, dia. 35”

After Frank Lloyd Wright, Plaster Frieze Tile, the “DanaThomas House”

w. 24-1/2”

313

Pablo Picasso (Spanish/French, 1881-1973)

“Taureau (A.R. 177)”

partially glazed earthenware stamped and marked “D’apres Picasso/Edition Picasso/ Madoura...” at bottom. dia. 5-3/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,200-$1,800

314 Pablo Picasso (Spanish/French, 1881-1973)

“Oiseau au Ver (A.R. 172)”

partially glazed earthenware stamped “Edition Picasso” and “Madoura/Plein Feu” and glazed inscribed “Editions Picasso” at bottom. h. 1-1/2”, dia. 6-1/2”

$1,500-$2,500

315

Pair of Terracotta, Enameled Metal and Bronze Jardinieres on Stands

in the Art Deco taste, the trumpet-form terracotta planters decorated with incised rings, the tripod frames set with scrolled feet and pot supports, and the centers decorated with bronze parrots perched on medial braces. h. 71-3/4”, dia. 15-1/2”

$1,500-$2,500

313

314

316

Bronze and Marble-Top Gueridon in the Neoclassical Taste

20th century, the circular white marble top set within a bronze band and supported by four slightly curved legs ending in paw feet, the legs joined by outside X-form braces.

h. 28-1/2”, dia. 24”

$1,000-$1,500

316 317

317

Bronze and Glass Hexagonal Hall Lantern

first half 20th century, the bronze-framed lantern set with beveled glass panels and hung from scrolled bronze supports, the interior set with six bronze scrolled candle arms.

h. 31”, dia. 16”

$1,000-$1,500

318

Victorian Brass Birdcage

ca. 1900, the circular brass birdcage with a dome top and spherical finial terminating in a spire, supported on a brass stand with a central standard and tripod base with Art Nouveau scrolled feet.

h. 73-1/2”, dia. 25-1/2”

“Bird Communication”, 1999

oil on panel signed and dated lower right. Framed.

32” x 24”, framed 38” x 28”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$7,000-$10,000

“The Enigma Orchestra”, 2004-2005

oil on panel signed and dated lower right, en verso with “Arthur Roger Gallery, New Orleans, Louisiana” label.

Framed.

24” x 19”, framed 29-1/2” x 24”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$6,000-$9,000

319 Douglas Bourgeois (American/Louisiana, b. 1951)

320 Douglas Bourgeois (American/Louisiana, b. 1951)

20th century, each with a slung leather seat supported by a collapsible X-form base. h. 20”, w. 23”, d. 17”

$1,200-$1,800

$1,000-$1,500

$1,000-$1,500

321 Pair of Iron and Leather Curule-Form Stools

322 Zebra Hide Rug

75” x 142”

323 Zebra Hide Rug

75” x 113”

321

322

323

324

French Giltwood Stool in the Manner of Fournier

the padded, circular top raised on rope-carved legs joined by a knotted, X-form stretcher and ending in knotted feet.

h. 16”, dia. 25”

$1,500-$2,500

325

Contemporary Bronze and Glass-Top Cocktail Table

the circular top with a beveled edge and indentations, raised on a naturalistically rendered, two-tiered, six-pointed starform base ending in splayed toes.

h. 40”, dia. 23”

$1,000-$1,500

326

Pair of Continental Fruitwood Bergeres

each with a domed and padded back joined by rounded arms within a cornucopia-carved frame to the padded seat, raised on cabriole legs headed by foliate carving and ending in claw feet, upholstered in black and white retro-style fabric.

$1,200-$1,800

h. 34”, w. 34”, d. 20”

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Golden Glow”

Provenance: Luba Glade Collection, New Orleans, Louisiana.

$5,000-$8,000

oil on canvas signed lower right, and “The Glade Gallery, Toulouse St., New Orleans” label with artist and title en verso. 27-1/2” x 20-1/2”, framed 29” x 21-3/4”

328

Franz Kline (American, 1910-1962)

“Ballerina on Grey Horse”, 1941 oil on board signed and titled by the artist en verso, verso affixed with “Shapiro Auctions” and “Artists’ Canvas Panels” labels.

Framed.

16-1/8” x 20-1/8”, framed 22” x 26”

Provenance: Shapiro Auctions, Mamaroneck, New York, April 8, 2023, lot 104.

$4,000-$7,000

Franz Kline’s status as an iconic figure of Abstract Expressionism looms nearly as large as the abstract, black and white paintings for which he is known. But to regard his early work as a mere prelude to his “mature” style is to depreciate the extent of his accomplishments in late 20th-century art history. Ballerina on Grey Horse (1941) is a masterpiece of Kline’s early representational and figurative style and exemplifies the unifying factors of his early and later works: quick brushstrokes, simplified forms, a muted color palette, dynamic movements, and isolation and alienation as major themes.

Kline completed Ballerina on Grey Horse shortly after attending Heatherley’s Art School in London, where he met his future wife, the former ballerina Elizabeth Parsons, a principal subject of his art through 1946. She is depicted here, balancing on top of a horse, guided by a male figure on the left. The color palette is muted - only hints of blue and red are evident beside a medley of greys and whites - and the figures’ faces are hidden as they are pared down to their most rudimentary forms. The female figure is hunched over, looking downward. A sense of alienation permeates the canvas; she seems detached as the male figure and the horse engage with each other on the other side of the canvas. Just behind them, another figure watches on from a great distance on the outskirts of the ring. This sense of isolation would go on to be a trademark of Kline’s abstraction and was very much influenced by Parsons’ struggles with her mental health. Ballerina on Grey Horse is an early example of Kline grappling with these themes, specifically in relation to Parsons.

Further compounding the themes of isolation are the dynamic movements present in Ballerina on Grey Horse. The horse’s front leg and tail are reared, a snapshot of motion, while the male figure attempts to stop the horse from moving forward. The quick brushstrokes imply an animated scene, perhaps a forceful confrontation between the two. Conversely, the female figure is isolated from this confrontation, hardly engaging with the two, as the figure on the outskirts of the ring remains still, observing from afar, casting an ominous shadow on the scene.

This study of indifference and isolation would later inform Kline’s mature style of black abstractions cast against often white, empty backgrounds from which they can appear quite separated. These black abstractions are often in forceful conversation with each other, clashing as dynamically as their movements may suggest, similar to the male figure and the horse in Ballerina on Grey Horse. The transition to these forms of abstractions is more sophisticated than Kline simply casting the details of one of his sketches though a projector; this early work undeniably informs and underscores his later abstractions. It is a prime example of the beginnings of this transition, and a precursor to his iconic status in the Abstract Expressionist movement. In observing these trademarks of Kline’s work - simple forms, animated brushstrokes, dark and muted color palettes, themes of alienation - in Ballerina on Grey Horse, the fuller picture of Kline as an artist, and his complex transition to Abstract Expressionism, becomes clear.

329

Noel Rockmore (American/Louisiana, 1928-1995)

“Edmund ‘Doc’ Souchon”, 1963

oil on canvas

signed, dated and localized “N.O” upper right, titled lower right, and label identifying sitter en verso.

34” x 44”, framed 35-1/4” x 45-1/4”

Born into a prominent New Orleans family of doctors, Edmund Souchon pursued a career in medicine and as a jazz guitarist. He was a pivotal participant in the revitalization of the interest of traditional New Orleans Jazz. Souchon was an early member of the New Orleans Jazz Club which later transformed into the New Orleans Jazz Museum now at the U.S. Mint. The Souchon family were active members of the Mardi Gras organization of Rex and his daughter Dolly Ann became the Queen of Rex in 1950. Doc Souchon sang the vocals for the memorable version of “If Ever I Cease to Love” with Johnny Wiggs, Emile Christian, Raymond Burke and Paul Barbarin.

$1,000-$1,500

330

Noel Rockmore (American/Louisiana, 1928-1995)

“Two Musicians: Nathan “Jim” Robinson and Percy Humphrey”, 1964

oil on masonite

signed and dated upper left and E. L. Borenstein Collection worksheet en verso. Framed.

14” x 18”, framed 16-1/2” x 21-1/2”

Provenance: Previously in the Collection of E. Lorenz “Larry” Borenstein, New Orleans, Louisiana.

$1,200-$1,800

While working on his Preservation Hall portrait series, Noel Rockmore would draw and paint the musicians during their nightly performances.

331 Noel Rockmore (American/Louisiana, 1928-1995)

“The artist and his sister, Deborah, San Francisco”, 1969 oil on canvas signed, dated and localized mid left, and E. L. Borenstein inventory sheet en verso. Framed.

58” x 28”, framed 64” x 33-3/4”

Provenance: Previously in the Collection of E. Lorenz “Larry” Borenstein, New Orleans, Louisiana.

Literature: Illustrated in Martin, Shirley, Rich and Tee, Noel Rockmore & Shirley Marvin: Our Journey to the Discovery of Rockmore, The Golden Era of the French Quarter Foundation, 2013, p. 48.

$1,000-$1,500

332 Noel Rockmore (American/Louisiana, 1928-1995)

“St. Louis Cemetery”, 1964

oil on masonite signed and dated lower right, and “E. L. Borenstein” catalogue sheet with artist, title and date en verso. Framed.

18” x 24”, framed 24” x 30”

Provenance: Previously in the Collection of E. Lorenz “Larry” Borenstein, New Orleans, Louisiana.

$1,000-$1,500

When Noel Rockmore returned to New Orleans in 1963, he became part of the bohemian community of artists, writers, and photographers that centered in the French Quarter. In a newspaper interview with Patrick Kelly, Rockmore stated, “There is a reason to be in the Quarter. It relates to honest degeneracy. The cemeteries, the rooftops. That’s basically why I’m here and I think that’s why Tennessee Williams was attracted to the idea of here.”

“Boarded Up Window”

oil on canvas signed lower right, and “LeMieux Galleries, New Orleans” label en verso. Framed.

39-1/2” x 29-1/2”, 41” x 31”

Provenance: LeMieux Gallery, New Orleans, Louisiana.

$3,000-$5,000

the bent laminated rosewood frame fitted with black leather cushions, bearing the Hermann Miller tag and stamp dated “Nov. 21, 1977”. chair h. 31-1/2”, w. 33”, d. 30”; ottoman h. 16”, w. 26”, d. 21”

$2,000-$4,000

333 Shirley Rabe Masinter (American/Louisiana, b. 1932)

334 Vintage Herman Miller & Charles Eames Lounge Chair and Ottoman

333

334

335

Andy Warhol (American, 1928-1987)

“Oyster Stew”, 1969

screenprint in colors

signed in ink and numbered “112/250” en verso lower right, from the series “Campbell’s Soup II”. Unframed.

sheet 35” x 23”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Loyola Collects show at the Danna Center Art Gallery, Loyola University, New Orleans, Louisiana, October 4-24, 1976.

$7,000-$10,000

336

Art

second quarter 20th century, American, after a design by Walter Von Nessen (German/American, 1889-1943), attributed to Pattyn Products Co., Detroit, Michigan, the turned aluminum lamp inset with bakelite and brass.

h. 20-1/4”, dia. 7-3/4”

$1,000-$1,500

Examples of this iconic Machine Age lamp are included in the collection of the Metropolitan Museum of Art, New York, New York and The Brooklyn Museum of Art, Brooklyn, New York, among others.

Deco Spun Aluminu and Bakelite Lamp

337

Milo Baughman for Thayer Coggin Burlwood Low Console Table

1970s, in the Parsons taste. h. 25”, w. 91-1/4”, d. 16”

Provenance: Collection of Michael Plante, New Orleans, Louisiana.

$1,000-$1,500

338

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Three Graces”, 1956

oil on canvas board signed and dated lower right. Framed. 28-3/4” x 39-3/4”, framed 32” x 43”

Provenance: Luba Glade Collection, New Orleans, Louisiana.

$8,000-$12,000

339

Richard Allmand Blow (American, 1904-1983)

“Frogassini-VII”, 1959

Montici pietra dura plaque inlaid “M” cipher Montici mark lower left, inscribed en verso with title and date.

Framed.

13-1/2” x 13-1/2”, framed 16” x 16”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$3,000-$5,000

Richard Allmand Blow (American, 1904-1983)

“Celestial Bodies in the Round”, ca. 1970

Montici pietra dura marble plaque inlaid “M” cipher Montici mark lower right, verso with an exhibition label.

Framed.

dia. 19”, framed dia. 22”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$3,000-$5,000

340

339

340

“Green Serpent”, 1969

Montici pietra dura plaque inlaid “M” cipher Montici mark lower right, signed, dated and inscribed “Montici” en verso. Framed.

13” x 22”, framed 16-3/4” x 25-1/2”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$5,000-$8,000

“Untitled”, 1971

Montici pietra dura plaque inlaid “M” cipher Montici mark lower right, signed, dated and inscribed “Montici” en verso. Framed.

19” x 20-1/2”, framed 23” x 24-1/2”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$5,000-$8,000

342 Richard Allmand Blow (American, 1904-1983)

341 Richard Allmand Blow (American, 1904-1983)

341

342

343

Milton Clark Avery (American/New York, 1885-1965)

“Fish”, 1952

woodblock print

pencil-signed and dated lower right, numbered in pencil “23/100” lower left. Matted, glazed and framed. sight 3-3/4” x 9-3/4”, framed 11-3/4” x 17-1/4”

$1,500-$2,500

344

Pair of Chinese Export Porcelain Bottle Vases

now mounted as lamps, with a famille verte glaze, mounted on giltwood bases. h. 22”, dia. 8-1/4”

$1,000-$1,500

345 Francoise Gilot (French, 1921-2023)

“My Children in Brittany”

lithograph

pencil-signed and “epreuve d’artiste” lower margin. Matted, glazed and framed. sheet 30” x 22”, framed 40” x 32-1/2”

$1,000-$1,500

343

344

346

9’ 1” x 12’ 1”

$1,200-$1,800

347

Contemporary Asian Carved Teakwood and Root Coffee Table With Glass Top

of bowl form and comprised of shaped and segmented wooden blocks joined to form the walls and top, fitted with a deeply beveled plate-glass top. h. 18”, dia. 43-1/2”

$1,000-$1,500

348

Two Baker Upholstered Lounge Chairs

each with a cushioned and padded back and seat, and rounded outswept arms, above the skirted bottom, one with rotating action. h. 32”, w. 36”, d. 33”

$1,000-$1,500

Turkish Angora Oushak Carpet

“Untitled”

pen and ink on paper

“Meet Me by the River” series, signed lower right.

Float mounted, glazed and framed. sheet 22” x 58-1/2”, framed 28-1/2” x 65-1/2”

$4,000-$7,000

“Untitled”

pen and ink on paper

“Meet Me by the River” series, signed lower right.

Float mounted, glazed and framed. sheet 21-3/4” x 59”, framed 28-1/2” x 67”

$4,000-$7,000

349

Simon Gunning (American/Louisiana, b. 1956)

350 Simon Gunning (American/Louisiana, b. 1956)

349

350

351

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Portrait Study of Man”, 1962

“Portrait Study of Young Man”

“Portrait Study of a Young Woman”, 1962

three pencils on paper each signed and two dated lower right. Unframed.

each 12” x 9”

Provenance: Luba Glade Collection, New Orleans, Louisiana.

$1,000-$1,500

After graduating with an M.F.A. from Newcomb College, Tulane University, Ida Kohlmeyer taught drawing and painting classes at the college from 1956 to 1964. On a national level, her work started to gain attention, and she exhibited at the Ruth White Gallery in New York City and Henri Gallery in Washington, D.C. These three portrait studies were likely drawn as part of her classes.

352

Lynda Benglis (American, b. 1941)

Collection of Early Sketches: “Sunbathers at Pontchartrain Beach,” “Poor Animals (Sketch 1),” “Seals at Park,” and “Swimmers at Pontchartrain Beach,” 1962

ink on notebook paper signed and dated by the artist, lower right, and signed and titled en verso of mat.

Unframed. sheet 8-1/2” x 11”, mat 15” x 16-1/2” and 18” x 16-1/2”

Provenance: Luba Glade Collection, New Orleans, Louisiana.

$1,500-$2,500

Lynda Benglis was born in 1941 in Lake Charles, Louisiana, to a Greek American family. Throughout her childhood, she spent time on the waterways, preferring to exploring the bayous, canals and channels that lead to the Gulf of Mexico. She was deeply curious about waves, especially “little Gulf waves because that’s the first that [she] saw.” She also traveled to Greece with her grandmother through her early twenties, later describing these travels as important to her work: her grandmother strongly influenced her thoughts on feminism and culture. Benglis was first inspired to pursue a career as an artist in 1960 when she saw a Franz Kline painting at the then Isaac Delgado Museum, and that very same year, she began training under painter Ida Kohlmeyer at H. Sophie Newcomb Memorial College. As a student, she created many sketches like the collection here: scenes of people spending time on the water at Pontchartrain Beach, as well as studies of cypress trees, nutria, and the seals at Audubon Zoo.

Sketches like these, perhaps directed by Kohlmeyer, divulge Benglis’ reverence for her early childhood memories and her Greek and Louisianian roots. Though later in her career she would graduate on to elaborate sculpture, such as the brightly colored, poured latex sculptures, consciously referencing the “toxic oil slicks on the bayou,” those works are clearly still imbued with the same themes as her early drawings. This convergence of influences forms the complex legacy of Benglis’ work and her status as one of the most highly acclaimed female sculptors of her generation.

“All artists are in a kind of situation that patterns their early memories.”

- Lynda Benglis

353

Modernist Arhaus “Camden Collection” Leather Sofa

with a four-cushion back and seat, raised on an ebonized frame with short tapered legs and bearing the label, “Arhaus Bench Crafted Upholstery”.

h. 35”, w. 101”, d. 36”

$1,000-$1,500

354

Pair of David Edward Club Chairs

each of low profile form with a central tuft back, raised on tapered legs, labeled “David Edward”.

h. 35”, w. 29”, d. 27-1/2”

$1,200-$1,800

355

Lee Industries Three-Panel Leather Screen

the delineated panels decorated with brass nailheads, the back covered in suede.

h. 72”, w. 55-1/2” (fully extended)

$1,000-$1,500

Contemporary Brass and Acrylic Chandelier

the sixteen-light chandelier with a lozenge-form acrylic frame with brass joints, set with eight tubular brass socket holders on the top and the bottom, the holders on two levels.

h. 40-3/4”, w. 20-1/2”, d. 20-1/2”

$1,000-$1,500

357

McGuire Rattan and Cane Dining Set

20th century, the set including six rattan barrel-form chairs with caned backs and arms, the bases with corner brackets and stretchers, upholstered in celadon velvet fabric, h. 32-1/2”, w. 23-3/4”, d. 20-1/2”, and the rectangular table with a beveled glass top and a base composed of cane-wrapped bundles of rattan and matching stretchers, h. 29”, w. 84”, d. 43”, the chairs labeled “McGuire San Francisco” on the bottom.

$2,000-$4,000

“St. Louis St. (Antoine’s Famous Restaurant, Old Napoleon House), French Quarter ‘Old New Orleans’ (Paris of America)”

oil on canvas signed lower left, and signed and titled en verso. Framed.

25” x 30”, framed 26-1/2” x 32”

$1,200-$1,800

“Winter Landscape”

watercolor on paper signed lower right. Glazed and framed. sight 21-1/2” x 29”, framed 28” x 36”

$3,000-$5,000

358

Colette Pope Heldner (American/Louisiana, 1902-1990)

359 John Alexander (American/Texas, b. 1945)

360 Pat Trivigno (American/Louisiana, 1922-2013)

“Atchafalaya Swamp #1”, 1982 oil on canvas signed lower left, and “New Orleans Museum of Art” label with artist, title and date en verso.

16” x 18”, framed 19-1/4” x 21-1/4”

Exhibited: New Orleans Museum of Art, New Orleans, Louisiana.

$2,000-$4,000

361

Unusual Louisiana Sinker Cypress Farmhouse Table

the rectangular live-edge top embedded on one side with polished-down barnacles, the other long side with polished natural edges, raised above a plain frieze, on tapered square legs. h. 30-1/2”, w. 96”, d. 36”

$1,400-$1,800

360

361

362

George E. Ohr Footed Vase

ca. 1900, American, with ruffled rim and in-body twist, the dappled raspberry glaze with sponged-on indigo and ochre-glazed interior, with impressed “G. E. Ohr/Biloxi, Miss” underneath the foot.

h. 6-1/2”, dia. 4-3/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$6,000-$9,000

363

Rare George E. Ohr Unglazed “Face” Vase

ca. 1900, American, unglazed bisque earthenware, with an in-body face sporting a pencil mustache, incised underneath “G E Ohr” in script and bearing a paper label “GEM Antiques/1088 Madison Ave.”

h. 5-1/2”, dia. 5-1/2”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$6,000-$9,000

364

Pair of Contemporary Pottery Vases

now mounted as lamps, the ovoid bodies decorated with a dripped, yellow “lava” glaze on a sky-blue ground, raised on painted wooden bases, mounted with shades.

h. 33”, dia. 15-1/4”

$1,000-$1,500

365

Walter Inglis Anderson Shearwater Pottery Vase

ca. 1930, Ocean Springs, Mississippi, decorated with geese and cast with an alkaline blue glaze, stamped “Shearwater” and a dot in a full circle underneath.

h. 6”, dia. 6”

$1,000-$1,500

366

Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Adam”

pastel on paper

Matted, glazed and framed. sheet 11” x 8-1/2”, framed 16” x 13-1/2”

$2,000-$4,000

366

365

364

367

Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Coots”, ca. 1955-1965

watercolor and graphite on paper label with artist, title and date en verso. Matted, glazed and framed.

sheet 8-1/2” x 11”, framed 13-1/2” x 15-3/4”

$8,000-$12,000

368

Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Flock of Red-Headed Ducks”

watercolor and graphite on paper Matted, glazed and framed.

sheet 8-1/2” x 11”, framed 13-1/2” x 15-3/4”

$8,000-$12,000

369

Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Purple Gallinules”, ca. 1955-1965

watercolor and graphite on paper label with artist, title and date en verso. Matted, glazed and framed. sheet 8-1/2” x 11”, framed 13-1/2” x 15-3/4”

$8,000-$12,000

370

“Sunset, Mississippi Gulf Coast”, 1986 “Boating, Mississippi Gulf Coast”, 1986

two watercolors and ink each signed and dated lower right. Matted, glazed and framed alike. sight 5-3/4” x 2-3/4”, framed 10” x 7”

$1,000-$1,500

ca. 1999-2001, Ocean Springs, Mississippi, decorated with various local motifs, including fish, fishermen, and water lilies, each signed “WIA” (Walter Inglis Anderson) and “Nancy Grace”, with dates from 1999-2001.

dia. 9” to 11”

370 James McConnell “Mac” Anderson (American/Mississippi, 1907-1998)

371 Collection of Five Shearwater Pottery Plates

372 Simon Gunning (American/Louisiana, b. 1956)

“Untitled, Ships on the River”

oil on canvas

“Meet Me by the River” series, signed lower right.

Framed.

36” x 84”, framed 37-3/4” x 85-3/4”

$20,000-$40,000

“Untitled,

373 Simon Gunning (American/Louisiana, b. 1956)

Riverfront, New Orleans” oil on canvas

“Meet Me by the River” series, signed lower right.

Framed.

47-1/2” x 84”, framed 50” x 85-3/4”

$25,000-$40,000

373

374

Life-Sized

with carefully delineated scales, its mouth open in a menacing fashion, piped for water.

h. 28”, w. 27-1/2”, l. 112”

$5,000-$8,000

Southeast Asia, also known as a frog drum and named for the sound it makes when pounded by monsoon rains, this example with a central medallion on top, framed with concentric rings, and the traditional four raised frogs, the vasiform sides mounted with loop handles and decorated with concentric rings.

h. 18-1/2”, dia. 24”

$1,500-$2,500

Patinated Bronze Alligator-Form Fountain

375 Bronze Rain Drum

Bronze Rain Drum

Southeast Asia, also known as a frog drum and named for the sound it makes when pounded by monsoon rains, this example with a central medallion on top, framed with concentric rings, and the traditional four raised frogs, the vasiform sides mounted with loop handles and decorated with concentric rings.

h. 19”, dia. 24”

$1,500-$2,500

377

Rare Five-Piece Bronze Dining Set

mid-20th century, attributed to Walter Lamb for Brown Jordan, the set including a tubular bronze circular dining table, originally fitted with a wooden top, h. 28-1/2”, dia. 42”, and four chairs, now with some plastic braiding, h. 34-1/2”, w. 18”, d. 23-1/2”.

Lamb had been stationed in Honolulu during WWII and his prototype designs used salvage from battleships sunk during the attack on Pearl Harbor.

$4,000-$7,000

378

20th century, after a Mario Papperzini design, attributed to John Salterini, New York, in the “Amalfi” pattern, with a strapwork back and seat, the corners with ball finials, and X-form stretchers at the base.

h. 29-1/2”, w. 71-1/2”, d. 24-1/2”

$1,500-$2,500

20th century, attributed to John Salterini, New York, after a design by Mario Papperzini, in the “Amalfi” pattern, with strap iron woven seats and backs, the corners and arms with ball finials, with adjustable backs, and the seats with cushions.

h. 37-1/2”, w. 26”, d. 25”

378 Iron Sofa with Cushions

379 Pair of Wrought Iron Lounge Chairs

380 Wrought Iron Garden Dining Table and Chairs

20th century, attributed to Mario Papperzini for John Salterini, New York, in the “Amalfi” pattern, the set including six chairs with ball finials and strapwork backs and seats, the seats with cushions, h. 36”, w. 16-1/2”, d. 17-1/2”, and the matching glasstopped dining table with a pierced skirt and a stretcher base, h. 30”, w. 73-1/2”, d. 36-1/2”.

$1,500-$2,500

381

“Hepplewhite” Enameled Metal Side Table

20th/21st century, attributed to McKinnon and Harris, Richmond, Virginia, the circular table with a top pierced in concentric circles, on tapered legs with cross stretchers. h. 21-1/2”, dia. 15”

$1,000-$1,500

383

20th/21st century, Richmond, Virginia, the adjustable backs set with latticework, and the slatted seats set with cushions, on tapered legs.

h. 37” (adjustable), w. 30-1/4”, l. 83”

$4,000-$7,000

20th/21st century, Richmond, Virginia, the adjustable backs set with latticework, and the slatted seats set with cushions, on tapered legs.

h. 37” (adjustable), l. 83”, w. 30-1/4”

$4,000-$7,000

Pair of McKinnon and Harris “duVal” Enameled Metal Lounges

382

Pair of McKinnon and Harris “duVal” Enameled Metal Lounges

382

Pair of Minotti, Italy, “Blake-Soft” Swivel Armchairs

designed by Rodolfo Dordoni for Minotti, on chromed metal bases, the generous bodies upholstered in a soft, nubby offwhite and grey fabric, labeled “Minotti/Italy”. h. 34-1/2”, w. 36”, d. 34-1/2”

$1,500-$2,500

Pair of Brown Jordan “VU” Collection Brushed Steel Lounge Chairs and Matching Cocktail Table

20th century, after a design by Richard Frinier and labeled on the back, the lounge chairs set with tan cushions, h. 34-1/2”, w. 24”, d. 25”, and the cocktail table with a glass top, h. 16-1/2”, w. 25”, d. 25”.

$1,000-$1,500

384

385

386

Brown Jordan “VU” Collection Brushed Steel Dining Table and Armchairs

20th century, after a design by Richard Frinier, the circular glass-top dining table with matching tubular steel legs, h. 29”, dia. 49-1/2”, and the four chairs with cushions and labeled on the back, h. 34-1/2”, w. 24”, d. 25”.

$1,200-$1,800

fourth quarter 20th century, possibly Franco Luce, Murano, the sockets concealed by two tiers of handsomely molded glass leaves, lacking the lower glass cover bowl.

h. 24”, dia. 34”

$1,000-$1,500

388

in the mid-century modern style, each with an oblong beveled glass top with rounded corners, set on a base comprised of three elliptical lucite standards and mounted to a beveled, triangular lucite base.

h. 21”, w. 36”, d. 30”

$1,200-$1,800

387 Modern Brass and Crystal Chandelier

Pair of Contemporary Lucite and Plate-Glass Coffee Tables

389

Pair

late 1960s, for Knoll International, upholstered in the possibly original slub fabric, the removable seat cushion resting on the functioning rubber “Elasta Seat” support and raised on a chromed-steel rod base.

h. 30-1/4”, w. 36-1/2”, d. 25”

Provenance: Estate of Louis Henslie Faxon, Jr., Baton Rouge, Louisiana.

$3,000-$5,000

390

Pair

late 1960s, for Knoll International, upholstered in the possibly original slub fabric, the removable seat cushion resting on the functioning rubber “Elasta Seat” support and raised on a chromed-steel rod base, one seat retaining a partial Knoll International tag under the seat.

h. 30-1/4”, w. 36-1/2”, d. 25”

Provenance: Estate of Louis Henslie Faxon, Jr., Baton Rouge, Louisiana.

$3,000-$5,000

of Vintage Warren Platner Lounge Chairs

of Vintage Warren Platner Lounge Chairs

391

James Massena March (American, 1953-2021)

“End Result”

acrylic on gallery-wrapped canvas unsigned, titled on stretcher.

50-1/2” x 38”

$1,000-$1,500

392

James Massena March (American, 1953-2021)

“Stratascape”

acrylic on canvas signed on stretcher, artist label en verso. Framed.

48” x 48”, framed 49-1/2” x 49-1/2”

$1,000-$1,500

391 392

“Morning Fever”, 1970 oil on canvas signed, titled, dated and “Doyle, New York, May 2011” label en verso.

Framed.

44-1/2” x 54”, framed 46” x 55”

$5,000-$8,000

393 Pat Lipsky (American, b. 1941)

393

394

Pair of Hollywood Regency Gilt-Metal Barrel-Back Armchairs

in the mid-century style, with grooved gilt-metal frames, upholstered in bright retro-1960s-style fabric.

h. 28-1/2”, w. 26-3/4”, d. 26-3/4”

$1,500-$2,500

395

Pair of Contemporary Gilt-Metal and Granite-Top Occasional Tables

possibly French, in the mid-century modern style, each with a circular granite top raised on four scrolling supports with ringed capitals, joined by a circular stretcher and ending in upturned toes.

h. 27”, dia. 23”

$1,000-$1,500

396

396

Pair of Chinese Export Hu-Form Porcelain Vases

now mounted as lamps, the vases with a crackled celadon glaze, raised on giltwood bases.

h. 20-1/4”, dia. 8-1/2”

$1,200-$1,800

394

397

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Cluster 1-19”, 1975

oil on canvas signed and dated lower right, and “Dick Jemison Gallery, Birmingham” label with artist, title and date en verso. Framed.

43”

49-1/2”, framed 44” x 50-1/2”

Provenance: Dick Jemison Gallery, Birmingham, Alabama.

In 1975, the Birmingham Museum of Art organized “Ida Kohlmeyer - Painting & Sculpture” exhibition. The Dick Jemison Gallery in Birmingham had a series of solo exhibitions of Kohlmeyer’s work from 1975 to 1978.

$25,000-$40,000

x

397

“Untitled”, 1983-84

acrylic, canvas and plaster verso with “The Museum of Fine Arts, Houston” exhibition labels, January 26-April 7, 1985, with artist name, title, medium and size.

43” x 54” x 6-1/2”

Provenance: Watson/de Nagy & Company, Houston, Texas; Private collection, Houston, Texas.

Exhibited: The Museum of Fine Arts, Houston, January 26-April 7, 1985, “Fresh Paint: The Houston School”.

$5,000-$8,000

“Sabino Canyon #3”, 1981

oil on canvas titled and signed “Moses” en verso, affixed with a partial Watson/de Nagy & Company, Houston, Texas” label. Gallery frame.

42” x 66”, framed 43” x 67”

Provenance: Watson/de Nagy & Company, Houston, Texas; Private collection, Houston, Texas.

$2,000-$4,000

398 Robin Utterback (American, 1949-2007)

399 Forrest Lee Moses (American/New Mexico, 1934-2021)

398 399

400 Ralph Rosenborg (American, 1913-1992)

“American Landscape: Mountain Cliffs and River”, 1970

oil on canvas signed and dated lower left, and signed, titled, dated, artist label and stamps, and inscribed en verso.

Framed.

30” x 36”, framed 30-1/4” x 36-1/4”

$1,000-$1,500

401 Ralph Rosenborg (American, 1913-1992)

“Mountainside and White Lake”, 1963

oil on canvas signed and dated lower left, and signed, dated and artist label with title en verso.

Framed.

30” x 36”, framed 31-3/4” x 37-3/4”

$1,000-$1,500

402

Hans J. Wegner Oak CH25 Easy Chair

2006, Carl Hansen & Son, Denmark, after the original 1949 design, the oak frame with hand-woven paper cord covering the back and seat, paper-labeled underneath “Design by Architect/Hans J. Wegner/Carl Hansen web site/Production year 2006 Made in Denmark”.

h. 28-3/4”, w. 27-3/4”, d. 28-3/4”

Provenance: Private collection, New Orleans, Louisiana.

$1,400-$1,800

403 Hans Brattrud, Norway, “Scandia” Laminated Teak Lounge Chair

early 2000s, for Fjordfiesta, Norway, with satin chrome bolt base and legs, after the original designed in 1957.

h. 32”, w. 26”, d. 30”

Provenance: RAY20, New York, New York; Private collection New Orleans, Louisiana.

$1,000-$1,500

“The Pear and the Can”, 1973 oil on canvas signed and dated by the artist lower right, verso affixed with “Maxwell Galleries” label.

Framed.

47-1/2”

43-1/4”, framed 49” x 45”

Provenance: Maxwell Galleries, San Francisco, California, 1973; Gallery One, Toronto, Canada, 1997; Private collection, North Carolina.

$50,000-$80,000

404 Raimonds Staprans (Latvian, b. 1926)

x

404

405 Peter Tunney (American, b. 1961)

“Today is the Day”

acrylic and collage on canvas signed lower left, and signed and titled en verso.

Unframed. 60” x 48”

Provenance: Doyle, New York, lot 140, May 10, 2016.

$7,000-$10,000

405

“Untitled”, 1988

23k gold over wood, on a plinth base affixed with “New Orleans Museum of Art” exhibition label. h. 13”, w. 23”, d. 5”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

Exhibited: New Orleans Museum of Art, George Dunbar, Mining the Surface, November 15 1997-January 4, 1998.

$5,000-$8,000

407

“Untitled”, 1960

oil on board signed and dated lower left. Framed.

20” x 16”, framed 25” x 20-1/2”

$1,500-$2,500

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

Charles Bunnell (American, 1897-1968)

“The Black Series, #303-305”

three acrylic on canvas panels each signed and titled en verso. Unframed.

each 36” x 36”

$3,000-$5,000

408 Siri Berg (Swedish/New York, 1921-2020)

408

408

“Artists & Prostitutes”, 2005

hardcover book in clamshell box 698 pages, together with pamphlet of thumbnails of all images, published by Taschen in 2005, first edition 1662/2500, signed by the artist on title page.

book 20” x 14” x 3-1/4”; box 21-3/4” x 15-1/2” x 4-1/4”

$1,000-$1,500

Photographer and video artist David LaChapelle is well known for blending elements of Surrealism and Pop Art in his humorous, colorful, and sometimes controversial portraits of celebrities. The portraits are glittering spectacles, capturing familiar faces like Pamela Anderson and Tupac Shakur in strange and intimate settings with undisguised, often garish references to art history and religious iconography, peppered with social commentary. He frequently explores themes of impermanence, tackling subjects like mortality and fame. Artists & Prostitutes celebrates some of his most distinguished works, making it a grandiose tome that succinctly captures and distills LaChapelle’s career.

409 David LaChapelle (American, b. 1963)

410

410

Contemporary Bird’s Eye Maple and Ebonized Desk

attributed to Christopher Maier (New Orleans, 1956-2004), in the neo-Biedermeier taste, the oval top with a single drawer along one side and applied ebonized decor along the aprons, supported by turned and reverse-tapered ebonized legs, unsigned.

h. 29-1/2”, w. 70”, d. 32”

$1,000-$1,500

411

Attributed to Mario Villa (Nicaraguan/Louisiana, 1953-2021), Suite of Four Bronze and Steel Bar Stool Chairs

of neoclassical inspiration, each having a thick, curved steel back crest supported by an X-form splat, fitted with padded seats and raised on slender square steel legs, custom made, unsigned. each h. 48-1/2”, w. 15”, d. 16”

$1,800-$2,500

412 David Bates (American/Texas, b. 1952)

“Louisiana”, 2010

oil on canvas signed, titled and dated en verso, affixed with “Arthur Roger Gallery, New Orleans, Louisiana” label.

Framed.

14” x 11”, framed 16-1/2” x 13-1/2”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$6,000-$9,000

413 Robert Arthur Goodnough (American, 1917-2010)

“Grey on Grey”, 1973-74

acrylic on canvas signed, dated and titled en verso canvas, affixed with “Watson/de Nagy & Company, Houston, Texas” label. Gallery frame.

74” x 73-1/2”, framed 75-1/2” x 75”

Provenance: Watson/de Nagy & Company, Houston, Texas; Private collection, Houston, Texas.

$4,000-$7,000

Pair of Steel Campaign-Style Armchairs

mid-20th century, the arched backs and seats with wide woven spring steel meshing, raised on tubular legs and fitted with reversible cushions, non-folding. h. 45”, w. 27”, d. 27”

$1,200-$1,800

“Alianza 6”

bronze, wire and metal incised signature and numbered “4/12” at bottom of foot, on an integral black base. h. 76”, w. 68”, d. 13”

A native of Bogota, Colombia, Roberto Gutierrez has lived and worked in Arizona since 2000. His sculptures are explorations in motion and movement with blankfaced, well-muscled figures that climb walls, crawl into frames, or generally contort with acrobatic grace. Equally at ease with monumental forms and smallscale works, he has completed numerous public and private commissions, including several in his hometown of Bogota.

414

415 Roberto Gutierrez (Columbian/Arizona, b. 1952)

416

Roberto Gutierrez (Columbian/Arizona, b. 1952)

“Three Climbing Figures”

bronze each with incised signature, two numbered “1/50” and one marked “P/A3” at sole of feet, from the “Climbers” series, with applied strings for display. h. 17-1/2”, w. 14”, d. 7”; h. 14-1/2”, w. 8-3/4”, d. 10-1/4”; h. 13”, w. 7”, d. 10”

$1,000-$1,500

417

Dramatic Pair of French Art Deco-Style Chrome and Polished Wood Torchere Lamps

20th century, each with a flared, circular chrome shade supported by a tapered, chrome-banded, rosewood-stained maple standard mounted to a circular base, electrified. h. 75”, dia. 24”

Provenance: Estate of Jacob Manguno, New Orleans, Louisiana.

$1,200-$1,800

418

Pair of Donghia “Odeon” Burgundy Leather Lounge Chairs

on chromed steel backswept “runner” supports, both examples labeled “Donghia” underneath the seat. h. 39”, w. 25-1/4”, d. 34”

$1,400-$1,800

420

Pair of Contemporary Chrome and Onyx-Top Side Tables

each with a thick, square onyx top mounted to a square, tubular framed stand with a three-quarter stretcher around the base.

h. 28”, w. 14-1/2”, d. 14-1/2”

$1,000-$1,500

421

Modern Chrome and Plate-Glass Console Table

of Art Deco inspiration, the rectangular glass top above a pair of central, circular standards conjoined by a half-round standard on each end, mounted to a stepped platform base. h. 36”, w. 72”, d. 17”

$1,200-$1,800

419

Rosenthal Porcelain Figure of a Discus Thrower ca. 1930s, German, designed and marked by Ottmar Obermaier (German, 1883-1958), the lean and toned athlete preparing his throw, mounted on a stepped base inscribed “O. Obermaier 1931”, the bottom with the printed green mark used by Rosenthal in the 1930s.

h. 15-3/4”, w. 4-1/2”, d. 5”

$1,200-$1,800

422

Modern Chrome and Plate-Glass Console Table

of Art Deco inspiration, the rectangular glass top above a pair of central, circular standards conjoined by a half-round standard on each end, mounted to a stepped platform base.

h. 36”, w. 72”, d. 17”

$1,200-$1,800

423

Fayral (Pierre LeFaguays) (French, 1892-1962)

“Antiope”

green-patinated metal second quarter 20th century, unsigned, the Amazon warrior Antiope - the daughter of Ares, the god of war and sister to Hippolyte, queen of the Amazons - is shown in the midst of battle with raised spear, on an integral composition stone base.

h. 15-1/2”, w. 12-1/2”, d. 3-3/4”

$1,200-$1,800

424 Max Le Verrier (French, 1891-1973)

“Speerwerfer - Spearthrower”

patinated bronze and stone second quarter 20th century, carved signature along back of stone base.

h. 15-1/4”, w. 35”, d. 11-3/4”

$1,000-$1,500

Steinway & Sons Model D Ebonized Concert Grand Piano and Bench

1987, of traditional form and bearing the serial number 499297, accompanied by a lift-seat bench, h. 19”, w. 30”, d. 14”. piano h. 77” (with lid raised), w. 61-3/4”, l. 107-3/4”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

Notes: According to family tradition, Harvey Lavan “Van” Cliburn performed on this piano at a private event.

$30,000-$50,000

426 Herman Leonard (American, 1923-2010)

“Duke Ellington-Paris-1958”

gelatin silver print later printing, signed, titled, dated, and “1990” print date lower margin and editioned “HLE90.8.4” en verso.

Matted, glazed and framed. 14” x 11”, framed 19” x 17”

$1,500-$2,500

Art Deco inspiration,

$1,200-$1,800

an

circular

“Sharbat Gula, Afghan Girl, Pakistan (AFGRL-10001)”

Fuji Flex Crystal Archive print signed en verso, and label “From the Studio of Steve McCurry” with title, “06.14. 2016” date of printing, and serial no. “0.0510” en verso. Matted, glazed and framed. sheet 24” x 20”, framed 30-1/2” x 23-1/2”

$5,000-$8,000

427 Steve McCurry (American, b. 1950)

427

428

428 Pair of Modern Chrome and Granite-Top Gueridons

of

each with

inset

black granite top mounted within a chromebanded frame, mounted to three incurved and shaped legs joined by stretchers. h. 22”, dia. 18”

Peshawar Birds of Paradise Carpet

6’ 3” x 9’ 5”

$1,500-$2,500 430

Peshawar Birds of Paradise Runner

2’ 6” x 11’ 8”

$1,000-$1,500

431

Turkish Angora Oushak Carpet 8’ x 9’ 10”

$1,000-$1,500

SESSION SESSION II

SESSION

435 Beautiful Convertible Pomellato Diamond Necklace/ Bracelet

18k yellow gold, the heavy suite composed of a convertible necklace and bracelet set with circular pendant-style clasps mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total, stamped “POMELLATO 750” and with a star followed by “489 MI”, the set converting from a long necklace with two diamond pendant-style clasps, to a shorter necklace with one diamond pendant-style clasp and a bracelet with one diamond pendant-style clasp. overall long necklace l. 24-5/8”, separated necklace l. 16-3/4”, bracelet l. 7-7/8”, total weight 236.8 grams

$10,000-$15,000

436

David Webb Diamond and Ruby Horse Bracelet

18k yellow gold, the hinged bracelet in the form of a horse, the “mane” mounted with round brilliant-cut diamonds weighing approximately 0.42 carats in total and the eyes accented by cabochon-cut rubies weighing approximately 0.20 carats in total, stamped “WEBB 18K”. inside circumference 6”, total weight 38.6 grams

$20,000-$40,000

437

Pair of David Webb Gold Ear Clips

18k yellow gold, the hammered and polished gold ear clips in the form of a knot, stamped “WEBB 18K”. l. 1”, total weight 29.4 grams

$6,000-$9,000

438

Multi-Gemstone Necklace in the Bulgari Style

14k yellow gold, the necklace mounted with oval-cut amethysts, peridots and citrines weighing approximately 12.00 carats in total, stamped “585 14k MG”. w. 1/4”, l. 17-3/4”, total weight 48.0 grams

$2,500-$4,000

439

Diamond Band

18k yellow gold, the band mounted with oval-cut diamonds weighing approximately 1.00 carat in total. size 7, total weight 2.6 grams

$1,500-$2,500

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.65 carats in total. inside circumference 6-1/2”, total weight 6.2 grams

$1,200-$1,800

440 Diamond Bracelet

14k yellow gold, the inside/outside earrings mounted with round brilliant-cut diamonds weighing approximately 2.30 carats in total. dia. 1-3/4”, total weight 9.5 grams

$2,000-$4,000

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.25 carats in total. inside circumference 6-1/2”, total weight 4.2 grams

$1,000-$1,500

14k yellow gold, the necklace mounted with round brilliantcut diamonds weighing approximately 1.00 carat in total. adjustable l. 16” to 18”, total weight 1.8 grams

$1,200-$1,800

441

Pair of Diamond Hoop Earrings

442 Diamond Necklace

443 Diamond Bangle Bracelet

442

441

443

444

Diamond “Snake” Ring

18k yellow gold, the ring mounted with pear-cut and round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 7-1/4, total weight 1.8 grams

$1,000-$1,500

445 Diamond Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.30 carats in total. inside circumference 6-3/8”, total weight 5.4 grams

$1,200-$1,800

446 Diamond Pendant Necklace

14k yellow gold, the necklace with a fixed round brilliantcut diamond pendant weighing approximately 0.30 carats. adjustable l. 16” to 18”, total weight 1.8 grams

$1,000-$1,500

447

Diamond Ring

18k yellow gold, the ring mounted with a marquise-cut diamond weighing approximately 0.20 carats. size 7, total weight 2.6 grams

$1,000-$1,500

448

Sylvia Kontente Diamond Bangle Bracelet

18k yellow gold, the hinged bracelet mounted with round brilliant-cut diamonds weighing approximately 0.35 carats in total, stamped “Sylvia Kontente F8 Made in Italy 750”, and with an “SK” inside an oval. w. 5/16”, inside circumference 6-1/2”, total weight 32.9 grams

$1,500-$2,500

449

Pair of Kieselstein-Cord Ear Clips

18k yellow gold, the earrings stamped “B. Kieselstein Cord 1981 18K”. l. 3/4”, total weight 17.9 grams

$1,000-$1,500

450 Garnet Ring

22k yellow gold, the granulated ring with an open back and mounted with an oval cabochon-cut garnet weighing approximately 2.00 carats. size 7-3/4, total weight 12.5 grams

$1,000-$1,500

451

Three-Piece Garnet Suite

18k yellow gold, the suite including a larger pair of earrings mounted with oval cabochon-cut garnets weighing approximately 37.90 carats in total, l. 7/8” and a pair of earrings, l. 5/8”, with a matching pendant, l. 1-1/4”, mounted with oval cabochon-cut garnets weighing approximately 30.52 carats in total. total weight 36.5 grams

$1,200-$1,800

452

Pair of Amethyst and Diamond Earrings

14k yellow gold, the earrings mounted with oval-cut amethysts weighing approximately 4.20 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.26 carats in total. l. 7/8”, total weight 15.9 grams

$1,400-$1,800

453

Ruby and Diamond Ring

18k yellow gold, the ring mounted with an oval-cut treated ruby flanked by a row of baguette-cut treated rubies, weighing approximately 0.66 carats in total, accented by round brilliantcut diamonds weighing approximately 0.52 carats in total. size 7-1/4, total weight 9.5 grams

$1,400-$1,800

Intaglio Pendant Necklace

18k yellow gold, the necklace mounted with a fixed pendant, set with a glass intaglio of a double eagle. pendant l. 1-1/4”, necklace l. 17”, total weight 31.3 grams

$2,000-$4,000

$1,200-$1,800

$1,200-$1,800

18k yellow gold, the earrings and ring decorated with flowers and rope-twist accents, stamped with the Omega symbol, followed by “U.74 750”. ring size 8, earring dia. 1/2”, total weight 14.8 grams

22k yellow gold, the bracelet with granulated accents, stamped with the Omega symbol, followed by “0.45 K22”. l. 7-1/2”, total weight 18.5 grams

457

Pomellato

Carnelian and Gold Necklace

18k yellow gold, the necklace composed of carnelian and polished gold rings in sections, separated by gold chain links, stamped “Pomellato 750 469 MI”. l. 17”, total weight 205.0 grams

$7,000-$10,000

458

Pair of Natural Coral Ear Clips

14k yellow gold, the ear clips mounted with pear-shaped coral cabochons weighing approximately 26.00 carats in total. l. 1-1/2”, total weight 21.1 grams

$1,800-$2,500

459

Tiffany & Co. Coral Brooch and Pair of Coral and Diamond Earrings

18k yellow gold, the brooch with carved coral melons, stamped “18K ITALY TIFFANY”, size 1-7/8” x 2”, together with a pair of carved coral strawberry earrings mounted with round brilliant-cut diamonds weighing approximately 0.08 carats in total, l. 7/8”. total weight 44.9 grams

$2,500-$4,000

460

Tiffany & Co. Leaf Brooch

18k yellow gold, the gold brooch stamped “TIFFANY & CO. 750”, together with a Tiffany & Co. box. size 2” x 1-1/2”, total weight 13.1 grams

$1,500-$2,500

461

Tiffany & Co. Diamond and Enamel Shell Brooch

18k yellow gold, the brooch in the form of a shell, mounted with round brilliant-cut diamonds weighing approximately 0.20 carats in total, stamped “18K TIFFANY & CO.”. size 1-1/2” x 1-1/2”, total weight 18.7 grams

$1,500-$2,500

462

Sapphire and Diamond Band

18k yellow gold, the ring mounted with an oval cabochon-cut treated sapphire weighing approximately 1.50 carats, accented by round brilliant-cut diamonds weighing approximately 0.40 carats in total, stamped “750, Italy, 18K” and “DJG” inside an oval. size 6-3/4, total weight 11.5 grams

$1,400-$1,800

463

Pair of Sapphire Earrings

14k yellow gold, the earrings mounted with cabochon-cut sapphires weighing approximately 4.00 carats in total, stamped “RAAFTY 14K”. l. 1”, total weight 28.6 grams

$1,800-$2,500

464

Sapphire and Diamond Band

18k yellow gold, the band mounted with square-cut treated sapphires weighing approximately 0.50 carats in total and square-cut diamonds weighing approximately 0.60 carats in total. size 7, total weight 11.9 grams

$1,200-$1,800

462

463

464

465

Sapphire, Ruby and Enamel Ring

14k yellow gold, the ring mounted with a central roundcut treated sapphire weighing approximately 1.00 carat, surrounded by a halo of white and blue enamel, accented by round-cut treated rubies weighing approximately 0.40 carats in total. size 4-1/4, total weight 7.0 grams

$1,800-$2,500

466

Multi-Gemstone “En Tremblant” Butterfly Brooch

18k/14k yellow gold, the body and wings mounted with cat’seye chrysoberyl cabochons weighing approximately 8.50 carats in total, accented by oval- and round-cut sapphires weighing approximately 4.60 carats in total, oval- and roundcut rubies weighing approximately 1.80 carats in total and rose-cut diamonds weighing approximately 2.56 carats in total. size 1-3/4” x 2-3/4”, total weight 35.1 grams

$1,800-$2,500

467

Diamond and Sapphire Flower Ring

14k white gold, the ring mounted with round brilliantcut, pear-cut and baguette-cut diamonds weighing approximately 1.55 carats in total, accented by square-cut sapphires weighing approximately 0.69 carats in total. size 6-1/2, total weight 5.9 grams

$2,000-$4,000

468

Diamond Chain Link Necklace

14k white gold, the interlocking chain links mounted with round-cut diamonds weighing approximately 6.90 carats in total. w. 1/4”, l. 18”, total weight 26.9 grams

$4,000-$7,000

469

Diamond Bangle Bracelet

14k white gold, the bracelet mounted in the round with round brilliant-cut diamonds weighing approximately 4.00 carats in total. inside circumference 6-1/2”, total weight 9.1 grams

$4,500-$7,000

470

Pair of Diamond Stud Earrings

14k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 3.02 carats in total, approximate color G-H and clarity SI1-SI2. total weight 1.6 grams

$9,000-$12,000

471

Beautiful Diamond Lariat Necklace

14k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 7.50 carats in total. l. 18”, drop 2”, total weight 19.4 grams

$6,000-$9,000

472

Diamond Dangle Necklace

14k white gold, the necklace mounted with pear-cut and round brilliant-cut diamonds weighing approximately 5.70 carats in total. adjustable l. 14-1/2” to 17”, total weight 12.9 grams

$6,000-$9,000

473

Emerald and Diamond Flower Ring

14k white gold, the ring mounted with square-cut emeralds weighing approximately 1.50 carats in total and round brilliantcut diamonds weighing approximately 0.60 carats in total. size 6, total weight 8.5 grams

$2,000-$4,000

474

Emerald and Diamond Ring

18k white gold, the ring mounted with an oval cabochoncut emerald weighing approximately 3.00 carats, accented by rose-cut and round brilliant-cut diamonds weighing approximately 2.00 carats in total. size 6-1/2, total weight 7.7 grams

$3,500-$5,000

472

474

473

475 Diamond Pendant Necklace

14k white gold, the fixed pendant mounted with a heart-cut diamond weighing approximately 0.40 carats, suspended from an adjustable white gold chain, l. 16” to 18”. total weight 1.5 grams

$1,000-$1,500

475 476

476 Diamond and Ruby “Schnauzer” Dog Brooch

14k white gold, the brooch mounted with single-cut diamonds weighing approximately 0.50 carats in total, accented by a round cabochon-cut ruby for the eye weighing approximately 0.03 carats, and with a black enamel collar. size 1” x 3/4”, total weight 3.7 grams

$1,800-$2,500

477

Baroque Pearl Necklace

14k yellow gold, the necklace composed of graduated white baroque pearls with a good luster, separated by gold bead accents and finished with a gold toggle clasp. l. 18-1/2”, total weight 179.3 grams

$1,000-$1,500

478

Diamond and Pearl Necklace and Earrings Suite

18k yellow gold, the necklace composed of graduated white cultured pearls ranging in size from approximately 14.00mm to 16.80mm, finished with a gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.07 carats in total, l. 18”, together with a pair of earrings mounted with 14.80mm cultured white pearls accented by a round brilliantcut diamond weighing approximately 0.06 carats in total. total weight 138.7 grams

$2,000-$4,000

479

Rope Pearl Necklace

the necklace composed of 9.00mm white cultured pearls with a good luster. l. 70”, total weight 182.5 grams

$1,000-$1,500

480

Onyx and Diamond Necklace and Earring Set

18k rose gold, the necklace with a fixed pendant suspended from an 18k rose gold chain, adjustable l. 15” to 16”, together with a pair of matching earrings, l. 3/8”, the set mounted with round brilliant-cut diamonds weighing approximately 0.32 carats in total. total weight 6.7 grams

$1,400-$1,800

481

Malachite Quatrefoil Pendant Necklace

18k yellow gold, in the Van Cleef & Arpels style, the pendant suspended from an 18k yellow gold chain. pendant l. 1-1/8”, necklace l. 16”, total weight 7.4 grams

$1,000-$1,500

18k white/rose gold, in the Van Cleef & Arpels style, mounted with a mother-of-pearl center bordered by round brilliant-cut diamonds weighing approximately 0.22 carats in total. l. 7/16”, total weight 3.8 grams

$1,400-$1,800

18k rose/white gold, in the Van Cleef & Arpels style, the ring mounted with round brilliant-cut diamonds weighing approximately 0.84 carats in total. size 6-1/2, total weight 4.0 grams

$1,400-$1,800

482

Pair of Diamond and Mother-of-Pearl Quatrefoil Earrings

483 Diamond Between-the-Finger Ring

482

483

485

484

Diamond and Mother-of-Pearl Long Necklace

18k rose gold, in the Louis Vuitton style, the necklace mounted with fixed pendant stations set with mother-of-pearl and round brilliant-cut diamonds weighing approximately 0.80 carats in total. l. 25-1/2”, total weight 11.9 grams

$2,500-$4,000

485

Mother-of-Pearl Pendant Necklace

18k yellow gold, in the Louis Vuitton style, the necklace mounted with a fixed mother-of-pearl quatrefoil pendant with three dangling gold charms. necklace l. 16”, pendant l. 2”, total weight 4.4 grams

$1,000-$1,500

14k yellow gold, the earrings mounted with opal doublets accented by round brilliant-cut diamonds weighing approximately 0.75 carats in total. l. 1-1/4”, total weight 6.3 grams

$1,800-$2,500

14k yellow gold, the ring mounted with an oval-cut blue topaz weighing approximately 3.00 carats. size 7-1/4, total weight 9.5 grams

$1,000-$1,500

486

Pair of Opal and Diamond Earrings

487 Blue Topaz Ring

486 487

488

Opal and Diamond Pendant Necklace

14k yellow gold, the pendant mounted with a pear-cut faceted opal weighing approximately 10.90 carats, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total, l. 1”, suspended from an adjustable yellow gold chain, l. 16” to 18”. total weight 6.3 grams

$1,800-$2,500

489

Opal and Diamond Ring

14k yellow gold, the ring mounted with an oval-cut faceted opal with an excellent play-of-color, weighing approximately 10.54 carats, accented by round brilliant-cut diamonds weighing approximately 0.45 carats in total. size 7, total weight 5.7 grams

$1,800-$2,500

488

489

490 Diamond and Gold Bracelet

18k rose gold, the bracelet mounted with sections of baguettecut and round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 7”, total weight 17.4 grams

$3,000-$5,000

491

Enamel and Diamond Band

18k rose gold, the band mounted with round brilliant-cut diamonds weighing approximately 0.48 carats in total, accented by white enamel. size 6-1/2, total weight 4.1 grams

$1,200-$1,800

492

Agate Intaglio Ring

18k yellow gold, the ring mounted with an agate slab carved with a classical profile intaglio. size 7-1/4, total weight 11.8 grams

$1,400-$1,800

493

Unusual Carved Citrine and Diamond Ring

18k yellow gold, the ring mounted with a citrine carved in the form of a lion’s head, surrounded by a border of round brilliantcut diamonds weighing approximately 0.60 carats in total. size

8, total weight 23.8 grams

$7,000-$10,000

494 Gold Bracelet

14k yellow gold, the bracelet composed of polished square interlocking links. w. 3/8”, l. 7-1/2”, total weight 14.2 grams

$1,000-$1,500

495 Pink Topaz Ring

18k yellow gold, the ring mounted with baguette-cut pink topaz weighing approximately 1.60 carats in total, stamped “750 Brev 2209AL”. size 7, total weight 8.8 grams

$1,000-$1,500

493

494

Beautiful Diamond Necklace

14k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 30.00 carats in total, approximate color J-K-L and clarity VS1-SI1. l. 16”, total weight 32.0 grams

$30,000-$50,000

497

Diamond Tennis Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 12.80 carats in total. l. 7”, total weight 16.5 grams

$14,000-$18,000

498

Pair of Diamond Hoop Earrings

14k yellow gold, the inside/outside earrings mounted with round brilliant-cut diamonds weighing approximately 4.20 carats in total. dia. 1-1/4”, total weight 9.4 grams

$3,500-$5,000

14k yellow gold, the ring mounted with round brilliant-cut diamonds weighing approximately 3.60 carats in total. size 7, total weight 3.1 grams

$4,000-$7,000

499 Diamond Eternity Band

497

498

500

Diamond Necklace

14k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. adjustable l. 16” to 18”, total weight 2.7 grams

$1,400-$1,800

501

Diamond Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 2.00 carats in total. inside circumference 6-1/2”, total weight 6.1 grams

$1,800-$2,500

18k yellow gold, the earrings in the form of a leaf, mounted with rose-cut diamonds weighing approximately 3.20 carats in total. l. 3/4”, total weight 10.2 grams

$1,400-$1,800

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. inside circumference 6-1/2”, total weight 6.7 grams

$1,800-$2,500

502

Pair of Diamond Dangle Earrings

503

Diamond Bangle Bracelet

504

Diamond Pendant Necklace

18k yellow gold, the necklace mounted with a fixed baguettecut diamond pendant weighing approximately 0.50 carats in total. adjustable l. 16” to 18”, total weight 2.1 grams

$1,400-$1,800

505

Pair of Diamond Stud Earrings

14k yellow gold, the earrings mounted with baguette-cut diamonds weighing approximately 1.00 carat in total. l. 3/8”, total weight 1.4 grams

$2,000-$4,000

506 Diamond Ring

18k yellow gold, the ring mounted with round brilliant-cut and emerald-cut diamonds weighing approximately 0.52 carats in total. size 7, total weight 3.1 grams

$1,200-$1,800

507

Rare Colonial New York Silver Cann/Cream Pitcher

1766-1769, by William & Simeon Coley, of traditional baluster form with molded foot ring and acanthus-crested doublescroll handle, the threaded rim later gently re-shaped with a spout for use as a cream pitcher, marked on the underside “N. York” and “C/W.S” and monogrammed “P/A+N”. h. 5”, l. 5-1/4”, dia. 3-1/2”; 10.34 t. oz.

$2,500-$4,000

508

New York Coin Silver Wine Jug

mid-19th century, by William Forbes (1798-1888) for Ball, Black & Co., New York, New York, of ovoid form with tall, waisted neck and domed pedestal base, decorated with repousse trailing grapevines, with applied high, arched handle en suite. h. 16”, dia. 7”; 42.22 t. oz.

$1,200-$1,800

second quarter 20th century, by International Silver, Meriden, Connecticut, of circular form, the broad everted rim with foliate scroll edge and floral trophee banding, the detachable silverplate frog elaborately pierced and with pineapple finial, monogrammed on the interior bottom “TMM”. overall dia. 14”, h. 5-1/2”; 30.81 t. oz.

$1,000-$1,500

509

510

mid-20th century, Providence, Rhode Island, including a punch bowl of hemispherical form raised on a short pedestal foot, decorated with engraved flowers and acanthus scrolls, h. 11”, dia. 15-1/4”, and eight punch cups en suite, h. 2-1/2”, dia. 3-1/4”, monogrammed “BGS”.

166.19 total t. oz.

Provenance: Succession of Nina S. Hamrick, New Orleans, Louisiana.

$3,000-$5,000

509 Sterling Silver Flower Bowl

Gorham Sterling Silver Punch Set

511

Large Gorham Sterling Silver Center Vase

1918, Providence, Rhode Island, special order #1558, of tall ovoid form with arched panels decorated with repousse floral bouquets and swags separated by bellflowers on a hammered ground, with a waisted collar and raised on a domed foot decorated en suite.

h. 23-3/4”, dia. 8-1/4”; 91.05 t. oz.

$2,500-$4,000

512

Pair of Reed & Barton “Francis I” Sterling Silver Candelabra

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, each with a detachable five-light superstructure permitting their use as a pair of candlesticks.

h. 13-3/4”, w. 13-1/2”, base dia. 5”; weighted

Provenance: Succession of Nina S. Hamrick, New Orleans, Louisiana.

$1,800-$2,500

513

513

Reed & Barton “Francis I” Sterling Silver Tea Set

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, this set hand chased, monogrammed “H”, including:

a coffeepot, h. 10-3/4”, l. 10-1/4”;

a teapot, h. 8-1/4”, l. 10-1/2”;

a covered sugar bowl, h. 6-1/2”, w. 8”;

a cream jug, h. 5-3/4”, l. 5-3/4”; and

a waste bowl, h. 4-1/4”, w. 5-1/4”.

141.76 total t. oz.

Provenance: Succession of Nina S. Hamrick, New Orleans, Louisiana.

$3,000-$5,000

514

Reed & Barton “Francis I” Sterling Silver Tea Tray

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts.

30-1/2” x 22-1/2”; 154.02 t. oz.

30-1/2” x 22-1/2”; 154.02 t. oz.

30-1/2” x 22-1/2”; 154.02 t. oz.

Provenance: Succession of Nina S. Hamrick, New Orleans, Louisiana.

$4,500-$7,000

515

515

Pair of Reed & Barton “Francis I” Sterling Silver Candelabra

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, each with a detachable five-light superstructure permitting their use as a pair of candlesticks. h. 15-3/4”, w. 16”, base dia. 5”; weighted

$2,000-$4,000

516

Tiffany & Co. “Turkey” Sterling Silver Serving Pieces

contemporary, New York, New York, including: a stuffing spoon, l. 12-1/4”; a carving fork with stainless tines, l. 11-1/4”; a cranberry spoon, l. 7-1/8”; and two gravy ladles, l. 7-1/4”; complete with the original Tiffany felt storage pouches and boxes.

23.14 total t. oz. weighable silver

$1,000-$1,500

517

Good Mexican Sterling Silver Tea Set

third quarter 20th century, Mexico City, by Jose Marmolejo y Sanchez (1917-1994), including:

a teapot, h. 9-1/2”, l. 10”;

a coffeepot, h. 10”, l. 9-1/4”;

a kettle on stand, h. 15-1/2”, l. 8-1/2”;

a covered sugar bowl, h. 6-1/4”, l. 5-1/4”;

a cream jug, h. 5-3/4”, w. 5-3/4”;

a water pitcher, h. 11-3/4”, l. 8-1/2”; and

a tea tray, 27” x 17-1/2”;

the hollowware of square section urn form, with gooseneck spouts, conforming short pedestal feet and shallow-domed lids with toupie finials, the tray rectangular with rounded corners and stirrup handles, no monograms.

7 pieces total 316.43 total t. oz.

$3,000-$5,000

518

Semi-Antique Heriz Carpet

7’ 4” x 13’ 9”

$1,500-$2,500

519 Oushak Carpet

8’ 8” x 11’ $3,000-$5,000

518

520 Antique Azerbaijan Carpet

3’ 2” x 7’ 3”

$1,000-$1,500

521 Semi-Antique Khotan Carpet

6’ 7” x 13’ 11”

$2,000-$4,000

520

521

522

Semi-Antique Bakhtiari Carpet

11’ 1” x 15’ 10”

$1,000-$1,500

523

Semi-Antique Mahal Carpet

10’ 2” x 13’ 9”

$4,000-$7,000

524

Oushak Runner

5’ 11” x 15’ 6”

$2,000-$4,000

522

525 Oushak Carpet

11’ 10” x 14’ 10”

$5,000-$8,000

526

Semi-Antique Persian Heriz Carpet

8’ 2” x 11’

$1,800-$2,500

in the famille verte palette, decorated with women and children in a walled garden, under bamboo trees, raised on carved and pierced hardwood bases. h.

$1,000-$1,500

each of bow-back form with a nine-spindle back, scooped saddle seat, and raised on bulbous turned legs joined by stretchers, the underseats branded “The Seraph”. h. 42”, w. 27”, d. 16”

$1,200-$1,800

527

Suite of Eight Early American-Style Ebonized Windsor Armchairs

528

Pair of Chinese Porcelain Covered Ginger Jars

12”, dia. 6-3/4”

527

527

528

529

fourth quarter 19th century, decorated with panels of mandarin scenes alternating with panels of pink peonies and birds, the panels with scrollwork trim.

h. 5-1/2”, dia. 15”

$1,000-$1,500

530

Colonial

first half 20th century, American or English, the crest decorated with a displayed eagle grasping arrows, flanked by trailing laurel leaves, the cove-molded circular surround decorated with ribbon-bound reeds and spherules, the mirror plate with a cove-molded, ebonized liner.

h. 44”, w. 24-1/2”

$1,500-$2,500

530

second half 20th century, labeled “Stickley”, with a brass gallery and line-inlaid top, the front with two central drawers flanked by a cabinet to each side, raised on tapered legs with bellflower inlay.

h. 46-1/2”, w. 66”, d. 23”

$1,000-$1,500

Chinese Export Rose Medallion Porcelain Punch Bowl

Revival Giltwood Convex Mirror

531 American Hepplewhite-Style Mahogany Sideboard

532

Rare American Classical Mahogany Window Seat

first quarter 19th century, School of Duncan Phyfe, New York, with a padded seat and ends, the crest rails and front seat apron with carved crossed flame torches, raised on reeded klismos-form legs ending in brass toes with casters. h. 30”, w. 53-3/4”, d. 20”

Literature: Another example or possibly this example is illustrated in The Magazine Antiques, August 1948, p. 83, Beverly Wyatt, Inc., 535 Fifth Avenue, Pittsburgh, PA. This issue of The Magazine Antiques will accompany this lot.

$3,000-$5,000

A side chair with similar flame torch motifs is in the collection of the Metropolitan Museum of Art, New York.

533

Pair of Rare American Cast Iron Whippets on Plinths

second half 19th century, attributed to J. W. Fiske & Company, New York, the true pair of whippets recumbent and alert, their tails twirled in opposite directions, on rectangular cast iron plinths.

h. 24”, w. 14-1/2”, l. 53-1/4”

$5,000-$7,000

in the Victorian taste, the campana-form urns with egg-anddart rims, decorated with scrollwork sides and reeded bases fitted with handles, supported on pylon-form pedestals with panels of scrollwork.

h. 41-1/2”, dia. 19”

$1,000-$1,500

20th century, possibly Molla, the backs with pierced lozenges decorated with Italian medallions, and crests pierced with swagging, the arms with molded dolphins and the seat with pierced scrollwork.

h. 31”, w. 21-3/4”, d. 20”

$1,000-$1,500

534

Pair of Patinated Cast Iron Urns on Pedestals

535

Set of Eight Neoclassical-Style Aluminum Garden Armchairs

534

536

Suite of Nine Botanicals of Pressed Hydrangeas

2023, each initialed “SW” and dated lower right, in various shades of blues and creams.

All glazed and framed alike. each 17-1/2” x 13-1/2”

$1,200-$1,800

537

Seven-Piece Cast Aluminum Neoclassical Garden Set

20th century, Italian, possibly Molla, the set including a settee, h. 30”, w. 42-1/2”, d. 20-1/2”, four armchairs, h. 31”, w. 21-3/4”, d. 20”, and a pair of tables, h. 16”, w. 19-1/2”, d. 16”, the backs decorated with swag-pierced crest rails and lozenges decorated with pierced medallions, the arms with molded dolphin supports.

$1,000-$1,500

536

537

538

Pair of Patinated Metal Tree Tubs

in the neoclassical taste, each with cast pineapple finials at the top corners, the paneled sides with wreath-form mounts, raised on bun feet.

h. 22-1/2”, w. 16-1/2”, d. 16-1/2”

$1,000-$1,500

539

Pair of Patinated Metal Tree Tubs

in the neoclassical taste, each with cast pineapple finials at the top corners, the paneled sides with wreath-form mounts, raised on bun feet.

h. 22-1/2”, w. 16-1/2”, d. 16-1/2”

$1,000-$1,500

538

539

540

Corinne Castellanos Mellen (American/Louisiana, 1863-1909, act. New Orleans 1889-1894)

“Cabin by the Shore, Louisiana Bayou” oil on artist board signed lower right. Period frame.

12” x 16”, framed 18” x 21-1/2”

Literature: Mahe, John and Rosanne McCaffrey, eds., Encyclopaedia of New Orleans Artists, 1718-1918, The Historic New Orleans Collection, 1987, pp. 70 and 260.

$3,000-$5,000

Corinne Castellanos was born into a family of artists. Her father, John Joseph Castellanos, a doctor and professor at Charity Hospital, created anatomical drawings which he used in his lectures. Corinne Castellanos was an active member of the local artist community and exhibited with the Artists’ Association of New Orleans. Upon marrying Delos C. Mellen, the couple moved to New York City where she became a singer and writer.

Working in the tradition of Louisiana landscape painting of the late 19th century fostered by Richard Clague and William Henry Buck, Castellanos focused on life in the Louisiana bayous.

541 Sophie Gengembre Anderson (French/Ohio, 1823-1903)

“Mrs. John Carson Febiger, nee Anna Catherine Ryan (18241881)”, ca. 1849-53

oil on canvas signed mid left. Period frame.

40” x 31-1/2”, framed 52” x 42”

Literature: Listed and illustrated in Louisiana Portraits, ed. by Mrs. Thomas Bruns, The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 97.

$5,000-$8,000

Irish immigrant Christopher Ryan settled in Ohio in 1832 and married Mary Boyce, the sister of Federal Judge Henry Boyce of Rapides Parish, Louisiana, who was appointed by President Zachary Taylor. Their daughter Anna Catherine Ryan married John Carson Febiger of Pittsburgh in 1849. During the Civil War, Febiger served as an Admiral for the Union forces, and on May 5, 1865, participated in the naval battle with the Confederate ram CSS Albemarle off the coast of North Carolina. Admiral Febiger was commended for his “gallantry and skill” during the battle.

Born in Paris, France, Sophie Gengembre Anderson studied painting briefly in 1843 with Alexandre Joseph Steuben. Despite only having minimal formal training, Anderson became an accomplished portrait and genre painter. Looking to avoid the unrest following the French Revolution, the Gengembre family moved in 1849 to America and settled in Cincinnati. While living in Cincinnati, Anderson earned portrait commissions from prominent families in Ohio and Pennsylvania. The family then moved to Manchester, Pennsylvania, where Sophie married the British artist, Walter Anderson. By 1854, the couple had moved to England. Evidently, it was during her time in America that Anderson painted the portrait of “Anna Catherine Ryan Febiger.” The young bride was painted seated in an interior setting beside a table of books reflecting that she was well educated. Anderson signed the painting in the signatures of the middle book.

541

542

Louis Nicholas Adolphe Rinck (French, 1802-1895, act. New Orleans 1840-1871)

“General De Roi”, 1855 oil on canvas signed and dated lower left. Framed.

42” x 33”, framed 48” x 39”

Provenance: Descended in the family of the sitter.

Literature: Listed and illustrated in Louisiana Portraits, ed. by Mrs. Thomas Bruns, The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 281.

$7,000-$10,000

Born in Metz, France, Louis Nicholas Adolphe Rinck studied at the Berlin Academy and at the Ecole des Beaux-Arts in Paris. His training combined the refined draftsmanship of the French Neoclassical style of portraiture with the darker tonalities favored by German artists.

In December of 1840, Rinck traveled by ship to New Orleans where he advertised himself as an “ami de M. Vaudechamp” in The New Orleans Bee. During the early 1850s, Rinck and his wife Margarette owned a shop located on the first floor of the Pontalba Building in the French Quarter. Rinck remained in New Orleans for over 30 years and became renowned for his portraiture.

542

543

Turkish Angora Oushak Carpet

8’ 2” x 10’

$1,000-$1,500

544

Turkish Angora Oushak Carpet

9’ 1” x 11’ 9”

$1,200-$1,800

545

Turkish Angora Oushak Carpet

9’ 1” x 11’ 9”

$1,200-$1,800

543

544

545

546

Semi-Antique Heriz Carpet

8’ 4” x 11’ 9”

$4,000-$7,000

547

Turkish Angora Oushak Carpet

12’ 3” x 17’ 9”

$1,500-$2,500

546

548

Semi-Antique Heriz Runner

3’ 3” x 14’ 6”

$1,500-$2,500

549

Semi-Antique Sarouk Carpet

13’ 4” x 23’ 5”

$2,000-$4,000

548

549

550

Carved Marble Herm Figure of Spring

with a classical bust of a maiden, decorated with carved drapery and flowers of spring, on an ogee-carved, pylon-form base.

h. 71-/4”, w. 18”, d. 14-1/2”

$1,500-$2,500

551

Carved Marble Herm Figure of Summer

with a classical bust of a maiden, decorated with grapes in her hair and carved drapery, on an ogee-carved, pylon-form base.

h. 72-1/2”, w. 16-1/2”, d. 14”

$1,500-$2,500

552

Carved Marble Herm Figure of Autumn

with a classical bust of a maiden, decorated with drapery and sprays of wheat, commemorating the harvest, on an ogeecarved, pylon-form base.

h. 71-1/4”, w. 17-1/2”, d. 12”

$1,500-$2,500

20th century, molded to resemble bent vines supporting grapes and grape leaves, with triple arched backs, the seats molded to match the backs and arms.

h. 30-3/4”, w. 49-1/2”, d. 16-1/2”

$1,200-$1,800

the rims molded with rocaille work leaves and the main body fluted and molded with acanthus leaves, raised on fluted, circular bases.

h. 28-3/4”, dia. 23”

$1,500-$2,500

553

Pair of “Rustic” Cast Iron Benches in the Coalbrookdale Taste

554

Pair of Bronze Campana-Form Urns in the Neoclassical Taste

553

554

20th century, the seated mermaid supported on molded aquatic plants, holding one fish piped for water and another peeking out from among the plants at the base.

$1,000-$1,500

555

Bronze Fountain of a Putto Riding a Seahorse

with a patinated surface, the putto sitting astride the seahorse, which is piped for water.

h. 33”, w. 12”, d. 19-1/2”

$1,500-$2,500

first half 20th century, probably American, in the form of a mansard roof with a spire, the lower edge set with a stepped parapet, the lower edge lined with faceted Art Deco medallions.

h.

$1,200-$1,800

557

Large Handsome Art Deco Patinated Copper Architectural Finial

34-1/2”, w. 20”, d. 21”

555

556 Bronze “Mermaid” Fountain

h. 43”, w. 26-1/2”, d. 14-1/2”

557

556

the elaborate handles decorated with cherubs seated on molded leaves, shading lion’s heads grasping rings, the body with a basketweave neck and molded with swags of flowers and reeding, the ogee bases decorated with acanthus leaves.

h. 33-1/2”, w. 29-1/2”, d. 19”

$2,000-$4,000

fourth quarter 19th century, the backs with serpentine crests and decorated with an arcaded frame set with sprays of oak leaves and acorns, the sides molded to match, terminating in dog’s heads, with slat seats and skirts decorated with pierced ribbon-bound sprays of oak leaves.

h. 36-1/2”, w. 55-1/2”, d. 25-1/2”

$2,500-$4,000

558

Pair of Cherub-Molded Patinated Bronze Urns

559

Pair of Victorian Cast Iron Benches in the Coalbrookdale Manner

558

559

560

Henry Schouten (Belgian,

1864/7-1927)

“Turkeys”

oil on canvas signed lower left. Framed.

20” x 29”, framed 29” x 39”

$1,500-$2,500

561

American Rococo Revival Walnut and Marble-Top Sideboard

third quarter 19th century, probably Alexander Roux, New York, the arched crest with hanging fruit, above two graduated shelves supported by carved columns and pierced brackets, the base with a conforming white marble top above a row of three drawers over three framed and paneled doors.

h. 85-1/2”, w. 63”, d. 25-1/2”

$1,500-$2,500

560

562

Rococo Revival Brass and Bronze Gasolier

mid-19th century, Philadelphia, probably Archer and Warner, the upper standard with a flaring capital ornamented with flowers, over a fluted section, the main body set with six scrolled gas arms decorated with morning glories and banana leaves, terminating in vines set with frosted cut glass shades, the bottom with a coneform finial.

h. 42”, dia. 37-1/2”

$1,200-$1,800

563

American Rococo Revival Walnut and Marble-Top Center Table

third quarter 19th century, the shaped white marble top over a conforming frame with applied foliate carvings, raised on grape-carved cabriole legs joined by stretchers, centered by a carved fruit basket finial.

h. 30”, w. 39”, d. 28”

$1,000-$1,500

564

Handsome Carved Marble Figure of a Baby

mid-19th century, probably Italian, the crawling, draped baby leaning on a tufted Rococo Revival footstool, poised on a fur rug and clutching a rattle, on a carved base.

h. 24”, w. 27”, d. 15-1/2”

$1,500-$2,500

562

563

564

Rare and Important American Rococo Revival Rosewood Three-Piece Bedroom Suite

third quarter 19th century, attributed to the warerooms of Prudent Mallard, New Orleans, consisting of a half-tester bed with a complex tester frame and featuring carved moldings, and an integral floral-carved central cartouche, supported by turned-and-carved posts, the paneled headboard with a carved cartouche flanked by scrolled moldings, the rails and footboard adorned with scrolling leaf and foliate carvings, h. 122”, inside w. 64”, l. 83”, outside w. 74”, l. 93”, a matching double-door armoire with mirrored doors, h. 116”, w. 70”, d. 30”, and a marble-top washstand, h. 33”, w. 48”, d. 25”.

Provenance: This suite of furniture was once part of a larger set of bedroom furniture made for Duncan Farrar Kenner (1813-1887). Kenner was the owner of numerous sugar plantations and his family resided at Ashland Plantation in Darrow, Louisiana. He served as president of the Louisiana Sugar Planters Association. He also served several terms in the Louisiana House of Representatives and was a member of the state constitutional convention of 1845 and 1852. The city of Kenner, Louisiana (located outside New Orleans) was named after Minor Kenner, who was the brother of Duncan Kenner. The Kenner family bedroom suite is believed to have originally consisted of a pair of these half tester beds, a pair of armoires, a pair of dressing tables, a pair of washstands and a pair of dressers. The set was eventually split up among family members. Many of the other remaining pieces to this set are conserved in a private collection, New Orleans, Louisiana.

Literature: The companion armoire is illustrated in American Furniture of the 19th Century 1840-1880, by Eileen and Richard Dubrow, page 151.

$20,000-$40,000

565

566

566

American Rococo Revival Twelve-Arm Bronze and Brass Gasolier

mid-19th century, the fluted standard with ring-form mounts molded with flowers, supporting the brass body, decorated with pairs of cornucopia-form mounts framing the scrolled gas arms, decorated with bold, scroll-molded mounts accented with grapes, the lower body with grapes and a molded lower finial.

h. 53”, dia. 35”

$1,000-$1,500

567

Rare American Rococo Revival Rosewood and “Lemonwood” Armchair

third quarter 19th century, attributed to the warerooms of Prudent Mallard, New Orleans, the arched crest with a carved cartouche and moldings above a padded back and seat, raised on turned legs with alternating rosewood and “lemonwood” lobes.

h. 68”, w. 31”, d. 25”

$1,000-$1,500

This chair was found en suite with the mantel mirror and three window cornices. These pieces relate very closely to the suite of Mallard bedroom furniture in the Louisiana State Museum’s 1850 House, 523 St. Ann Street, New Orleans, Louisiana.

568

Rare Set of Three Rococo Revival Walnut and “Lemonwood” Window Cornices

third quarter 19th century, attributed to the warerooms of Prudent Mallard, New Orleans, each with a central cartouche above a cluster of flowers and sprays of various flowers flanked to each side.

h. 16”, w. 57”, d. 3”; h. 15”, w. 58”, d. 3”; h. 18”, w. 58”, d. 3”

$1,500-$2,500

569

Rare American Rococo Revival Walnut and “Lemonwood” Mantel Mirror

third quarter 19th century, attributed to the warerooms of Prudent Mallard, New Orleans, the central crest with an oval plaque, floral carvings and beaded surround, the deeply molded surround with carved and stippled panels separated by turned balls, the side edges with hanging clusters of flowers.

h. 81”, w. 67”

$1,500-$2,500

These cornices were found en suite with the mantel mirror and armchair attributed to Prudent Mallard.

This mirror was found en suite with the armchair and set of three window cornices attributed to Prudent Mallard.

568

570

American Rococo Revival Bronze, Brass and Glass Gasolier

mid-19th century, the four-light gasolier with a fluted standard decorated with molded leaves, flowers and grapes, supporting the brass body, the body with unusual mounts of cornucopias flanking each scrolled gas arm, the arms decorated with large, scrolled mounts accented with grapes, the bottom with a grape-molded finial and set with frosted Greek-key cut glass shades.

h. 49”, dia. 33”

$1,000-$1,500

571

Impressive American Rococo Revival Giltwood Overmantel Mirror

mid-19th century, the oval mirror with a pierced crest decorated with scrollwork, lily pads and flowers, the molded surround carved with cabochons, the lower corners supported with carved scrollwork, banana leaves and flower heads, set with a beveled mirror plate.

h. 83”, w. 62”

$1,200-$1,800

572

American Rococo Revival Rosewood and Marble-Top Center Table

third quarter 19th century, with its original conforming white marble-top above fruit- and foliate-carved aprons, the legs with fruit carvings at the knees and joined by stretchers with a central carved fruit basket.

h. 29-1/2”, w. 42”, d. 29”

, w. 42”, d. 29

h. 29-1/2”, w. 42”, d. 29”

Provenance: The Estate of Ambrose “Andy” Fusco, St. Joseph, Missouri.

$1,500-$2,500

“Psyche, Before the Throne of Venus”

oil on canvas board signed lower left, and exhibition label with artist and title en verso.

Glazed and framed.

15-1/2” x 31”, framed 21” x 36-3/4”

$6,000-$8,000

573

Robert Van Vorst Sewell (American, 1860-1924)

Rare American Renaissance Revival Two-Piece Bird’s Eye Maple and Walnut Bed Set

third quarter 19th century, possibly by Pottier & Stymus, New York, consisting of a high-back bed with an oval porcelain portrait plaque, flanked by carved floral swags in the crest above an inset bird’s eye maple panel, with gilt incising below, h. 103”, inside w. 59”, l. 79”, outside w. 69”, l. 85”, and a matching marble-top dressing bureau, h. 105”, w. 54”, d. 24”.

$8,000-$12,000

Provenance: The Estate of Ambrose “Andy” Fusco, St. Joseph, Missouri.

Handsome Bronze and Patinated Metal “Three Graces” Gasolier

mid-19th century, Philadelphia, attributed to Christian Cornelius, the five-light gasolier having a canopy with molded busts alternating with pierced bronze scrollwork mounts, the standard set with patinated metal figures of Ceres, holding wheat, Urania holding an orb and Calliope.

h. 58-1/2”, dia. 34”

$3,000-$5,000

576

American Renaissance Revival Inlaid, Bronze-Mounted and Marble-Top Parlor Cabinet

third quarter 19th century, attributed to E. W. Hutchings, New York, having an inset marble- top, the underside of the marble signed “Hutchings”, and a cast bronze molding around the perimeter of the deck, the front door and side panels inlaid.

h. 46”, w. 51”, d. 18”

$1,200-$1,800

577

American Renaissance Revival Inlaid, Bronze-Mounted and Marble-Top Parlor Cabinet

third quarter 19th century, attributed to E. W. Hutchings, New York, having an inset marble -top, the underside of the marble signed “E.W.H.”, and a cast bronze molding around the perimeter of the deck, the front door and side panels inlaid.

h. 46”, w. 51”, d. 18”

$1,200-$1,800

“Judith”, 1905

oil on canvas monogrammed and localized “NO (New Orleans)” lower left, signed, dated and localized en verso, after the ca. 1890 painting by Nathaniel Sichel (German, 1843-1907) which was widely exhibited and now in a private collection. In a period gessoed and giltwood frame. 26” x 20”, framed 37” x 31”

Provenance: Martha Ann and Ray Samuel Collection, New Orleans, Louisiana; sold in these galleries May 20, 2006, lot 85; Private collection, New Orleans, Louisiana.

Exhibited: A Keen Eye: Louisiana Art from the Martha Ann and Ray Samuel Collection, New Orleans Museum of Art, March 4-April 22, 2006.

Literature: Exhibition Catalogue, A Keen Eye: Louisiana Art from the Martha Ann and Ray Samuel Collection, New Orleans Museum of Art, March 4-April 22, 2006.

$3,000-$5,000

The embodiment of courage and determination, the Jewish Biblical heroine Judith has long been a popular subject for artists; she has been the inspiration for paintings by Caravaggio, Artemisia Gentileschi and Gustav Klimt, an installation by Judy Chicago, and an opera by Alexander Serov. The scene depicted here is the moment Judith, dressed in all her finery and with her maid behind her as support, prepares to enter the chamber of the Assyrian general Holofernes to behead this great enemy of her people.

578

Alexandre Alaux (French/Louisiana, 1851-1932)

578

third quarter 19th century, comprised of a high-back bedstead with a scroll-carved crest above a large circular burl panel, h. 88”, inside w. 60-1/2”, l. 79-1/2”, outside w. 66”, l. 82”, a matching drop-center marble-top dressing bureau, h. 123”, w. 60”, d. 26”, and a matching burl walnut bedside table, h. 35-1/2”, w. 20”, d. 20”.

$3,000-$5,000

Three-Piece American Renaissance Revival Burl Walnut and Marble-Top Bedroom Suite

579

579

oil on canvas unsigned, fourth quarter 20th century. In a giltwood frame.

first quarter 20th century, the twelve-light chandelier with a bold, turned standard decorated with putti heads on molded and incised scrollwork, set with two tiers of scrolled candle arms terminating in turned candle cups decorated with incised scrollwork and turned drip pans, formerly hung with prisms, the bottom with a molded cone-form finial. h. 46-1/4”, dia. 36-3/4”

$1,500-$2,500

580 After John Singer Sargent (American, 1856-1925)

“Portrait of Margaret Stuyvesant Rutherford White (Mrs. Henry White)”

90” x 55”, framed 99” x 69”

$2,000-$4,000

581

Gilt-Bronze Chandelier, Attributed to E. F. Caldwell, New York

580 581

American Neo-Renaissance Mahogany Bookcase/Vitrine

fourth quarter 19th century, attributed to R. J. Horner, New York, the front with a heavily carved frieze above a pair of doors flanked by figural “twisted tail mermaids” to each side, the shelves with grooved plate holders.

h. 64-1/2”, w. 54-1/2”, d. 16-1/2”

Provenance: The Estate of Ambrose “Andy” Fusco, St. Joseph, Missouri.

$3,000-$5,000

583

583

Rare Suite of Six Carved Oak Dining Chairs in the NeoRenaissance Taste

late 19th century, possibly by R. J. Horner, New York, consisting of two armchairs, h. 49”, w. 26”, d. 22”, and four side chairs, h. 45-1/2”, w. 21”, d. 20”, each with a tall, carved back crest featuring opposing winged griffins above a padded back and seat, raised on cabriole legs ending in carved paw feet.

Provenance: The Estate of Ambrose “Andy” Fusco, St. Joseph, Missouri.

$2,000-$4,000

584

American Carved Mahogany Dining Table

late 19th century, in the Neo-Renaissance taste, of circular form, the top with a leaf-carved edge and a wide, foliatecarved outer band, mounted to a turned and acanthus-carved pedestal with four outstretched legs ending in ball-and-claw feet, with one 19” leaf present. h. 29”, dia. 54-1/2”, ext. l. 74”

Provenance: The Estate of Ambrose “Andy” Fusco, St. Joseph, Missouri.

$1,500-$2,500

585

Partial Service of Cut, Gilt and Plated Stemware, Attributed to Moser

first half 20th century, Bohemian/Czech, the gilt-trimmed service cut with mauve-plated cabochons, the service including fifteen water goblets, h. 8-1/4”, dia. 4-1/4”, fifteen cocktail glasses, h. 6-1/4”, dia. 5”, sixteen finger bowls, h. 2”, dia. 4-1/2”, and fourteen finger bowl stands, dia. 6-1/2”, sixty total pieces.

$2,000-$4,000

586

American Aesthetic Movement Four-Arm Gasolier

fourth quarter 19th century, with four molded and decorated square, tubular brass rods joined by an ornamented brass ring and extending down to a larger circular ring and four outstretched arms, dressed with later cut glass shades, electrified.

h. 52”, dia. 36”

$1,000-$1,500

585 partial

587

American Bird’s eye Maple and Faux Bamboo Sidelock Tall Chest

late 19th century, the rectangular top with a spindled threequarter gallery and turreted corners, above a conforming case fitted with six drawers, all with carved “bamboo” banding and pulls, raised on turned feet on casters.

h. 61”, w. 34-1/2”, d. 21-1/2”

$2,000-$4,000

587

586

588

Imogen Cunningham (American, 1883-1976)

“North Coast Native”, 1934

gelatin silver print

later printing, pencil-signed and dated lower right mount, photographer’s label en verso with title and date. Float-mounted, matted, glazed and framed.

sight 9-3/4”, w. 7-1/2”, framed 16-1/2” x 14-1/4”

$1,000-$1,500

589

Bench-Made Ambrosia Maple Farm Table

the thick, four-board plank top mounted to a frame with shaped aprons and raised on tapered square legs. h. 30”, w. 40”, l. 90”

$1,800-$2,500

590

Carved and Pierced Water Buffalo Skull on Stand

the skull decorated with carved and pierced delicate scrollwork, and with removable horns, on a metal stand. overall h. 38-1/2”, w. 23-1/2”, d. 20”

$1,000-$1,500

588

589

590

“The Grand Tetons” oil on canvas signed lower right. Framed.

25” x 30”, framed 30-1/2” x 35-1/2”

$2,000-$4,000

591

the wing chairs of traditional form with tufted backs and seats, raised on square Marlborough legs, h. 41”, w. 33”, d. 31”, and the ottomans covered in the same brown leather with tufting and raised on square Marlborough legs, h. 16”, w. 25-1/2”, d. 18-1/2”.

$1,000-$1,500

591

Robert William Wood (American/Texas, 1889-1979)

592

Pair of Hancock and Moore Leather Wing Chairs and Matching Ottomans

593

Pair of Leather-Covered Fireside Lounge Chairs

both with scrolled arms and backs and integral seat cushions, raised on fluted, tapered square legs. h. 33”, w. 38”, d. 33”

$1,000-$1,500

594

Joseph Francis Kernan (American, 1878-1958)

“Hunter and His Dogs”

oil on canvas signed lower left. Framed. 36” x 30, framed 41” x 35”

$6,000-$9,000

Joseph Francis Kernan’s paintings illustrated magazine covers including The Saturday Evening Post, Outdoor Life, Collier’s, and The Country Gentleman. While playing professional baseball, Kernan graduated from Eric Pape School of Art in Boston. An outdoorsman, he favored outdoor scenes of fishing, hunting and dogs. In this painting, the hunter has selected two experienced hunting dogs, a litter of younger dogs in the kennel.

593

594

595

Ralph Lauren Leather and Short Velvet Covered Sofa

with three loose back cushions and seat cushions, all reversible, upholstered in olive green velvet, the sofa frame covered in light brown leather and bearing a metal tag, “LAUREN, Ralph Lauren”, trimmed with brass tacks and raised on tapered and faceted legs with brass cup casters.

h. 30”, w. 86”, d. 40”

$1,000-$1,500

596

Unusual American Arts and Crafts Copper and Slag Glass Pendant Light

first quarter 20th century, the upper crossbar decorated with medallions, the hexagonal lantern with a faceted copper “roof” and copper-framed sides set with caramel slag glass panels.

h. 45”, w. 20-1/2”, d. 9”

$1,000-$1,500

595

596

597

Pair of Roycroft Hammered Copper Candelabra

first quarter 20th century, East Aurora, New York, the twisted standards supporting candle branches secured with twisted wire, terminating in scrolls, retaining an old surface, the base with incised marks.

h. 20”, dia. 6”

$1,000-$1,500

598

William Woodward (American/Louisiana, 1859-1939)

“Water Wheel Mill”, 1925

oil on canvas board signed and dated lower left. Antique gilt frame. 24” x 18”, framed 34” x 28”

$4,000-$7,000

597

Ethel Hutson (American/Louisiana, 1872-1951)

“Red Coral Lilies”, 1940

oil on canvas board

initialed “E. H.” and dated lower right; exhibition label from “Southern States Art League, Fine Art Building, University of Georgia, Athens, GA” with artist and title en verso. Framed.

24” x 20”, framed 28-3/4” x 25-1/4”

$2,000-$4,000

Ethel Hutson’s father, Charles W. Hutson, a prominent artist, mentored and encouraged his daughter’s artistic career. Upon graduating from Newcomb College, she became one of the decorators that created pottery for sale through the college’s craft sales room.

Hutson worked professionally as an arts administrator including as secretary for Isaac Delgado Museum of Art (now NOMA) and secretary-treasurer for the Southern States Art League. The Southern States Art League was a coalition of regional art groups that promoted art in the South through traveling exhibitions.

599

599

600 Newcomb College Matte-Glaze Pottery Vase

ca. 1926, New Orleans, Louisiana, decorated with a carved band of jasmine and leaves on a blue ground, the base marked “NC” for Newcomb College, “M” for potter Joseph Meyer, the registration mark “PX99” for 1926, and an indistinct mark, probably by Rosa Graner (1904-1962).

h. 7”, dia. 3-1/4”

$1,000-$1,500

601 Newcomb College High-Glaze Pottery Vase

1901, decorated by Marie Odell Delavigne, New Orleans, Louisiana, decorated in the round with stylized silhouettes of trees against a blue sky, the base with underglaze blue “NC” for Newcomb College, “MD”, the artist’s mark and “C” the date.

$1,500-$2,500

h. 8”, dia. 5”

602

William “Bill” Hemmerling (American/Louisiana, 1943-2009)

“Seek, Ask, Knock”

oil on found wood signed lower right.

72” x 36”

$5,000-$8,000

603

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

“Still Life of Zinnias”

oil on board

monogrammed lower right, and “Altermann Galleries, Dallas, Houston and Santa Fe” label with artist and “Leanin’ Tree, Folk Art Gallery” label en verso.

Framed.

16” x 12”, framed 22” x 18”

$3,000-$5,000

602

604

Betty Anglin Smith (American/Charleston, b. 1946)

“Chilmark Pond”, 1996 oil on paper signed lower right, and signed, titled and dated en verso. Matted, glazed and framed.

9-1/2” x 9-1/2”, framed 21” x 20”

$1,500-$2,500

605

Billy Solitario (American, b. 1972)

“Grand Champ on Cat Island”, 2000 signed and dated lower right signed, titled and dated en verso canvas. Framed.

30” x 30”, framed 31-1/2” x 31”

$1,500-$2,500

606

Arthur Shilstone (American, b. 1922)

“Port of New Orleans”

oil on board signed lower right. Framed.

48” x 70”, framed 55” x 79”

$6,000-$9,000

607

Arts and Crafts “Jeweled” Pendant Light, in the Manner of Duffner & Kimberly, New York

first quarter 20th century, suspended from a pierced, scrolled strapwork “crown”, relating to known works by Duffner & Kimberly, the spherical leaded shade set with faceted colorless glass “jewels” punctuated with scattered, faceted emerald green glass “jewels”.

h. 21-1/2”, dia. 9-1/2”

$1,200-$1,800

608

Turkish Angora Oushak Runner

2’ 7” x 19’ 8”

$1,000-$1,500

609 Oushak Runner

5’ 4” x 12’ 3”

$1,500-$2,500

609

Serapi

Lavar Kerman

610

612

Antique Persian Tabriz Carpet

4’ 5” x 6’ 9”

$2,000-$4,000

613

Turkish Angora Oushak Carpet

9’ 6” x 12’

$1,200-$1,800

612

9’ x 12’

$1,500-$2,500

615

Turkish Silk Hereke

in the tree of life design.

$1,000-$1,500

616

$2,000-$4,000

614

Oushak Carpet

Carpet

3’ x 5’ 6”

Semi-Antique Silk Sarouk Carpet

4’ 4” x 6’ 8”

614

617

Elisee Maclet (French, 1881-1962)

“La Rue Mouffetard”, 1923

oil on wood panel signed and dated lower right, and titled and “Wally F. Galleries, N.Y.” label en verso.

Framed with artist and title plaque.

21-3/4” x 18”, framed 29” x 26”

$3,000-$5,000

618

Yvonne Canu (French, 1921-2008)

“Brittany Coast”

oil on canvas signed lower right.

Framed.

21” x 26”, framed 28” x 32”

Provenance: Leighton Fine Art, Marlow, UK; Private collection, Texas.

$7,000-$10,000

When in the mid-1950s Yvonne Canu encountered Georges Seurat’s Un Dimanche Apres-Midi a L’ile de la Grande Jatte, she was astounded, and it changed the trajectory of her career as an artist. Nearly half a century after Seurat’s early death, Canu decided to dedicate herself exclusively to Pointillism and adopted the technique for all her work. As a Neo-Impressionist, she further expanded upon the theories of Divisionism - the separation of each color into individual dots that interact optically to produce the illusion of more vibrant and luminous hues.

Though heavily influenced by Seurat, Canu’s works are distinctly modern. Her fearless technique utilized pure color and blocky brushstrokes to boldly capture the atmosphere of the seascapes and port scenes she is so well known for. In Brittany Coast, the patches of color blend together playfully to produce a representation of the waves moving and the sunlight shining, illustrating her creative freedom and confidence. Despite the whimsical nature of the work, there is also a high level of precision - each block of pigment is placed painstakingly in order to achieve the optical mixing that Canu never stopped pursuing. Her style is undeniably avantgarde and modern when the high intensity color, playful brushstrokes, and themes of fearlessness are considered, setting Canu apart from the Pointillists and Divisionists of the 19th century who galvanized her.

618

619

Niek van der Plas (Dutch, b. 1954)

“Beach Scene”

oil on wood panel signed lower right and en verso.

Framed.

18” x 30”, framed 25” x 36”

$2,000-$4,000

620

Moric Lajos Tallos (Hungarian, 1907-1973)

“Still Life with Irises”

oil on canvas signed upper left, en verso with a label inscribed with artist name.

Framed.

31-1/2” x 23-1/2”, framed 37” x 28”

$1,500-$2,500

619

620

621

French Bronze and Crystal Chandelier of Louis XIV Inspiration

20th century, the eight-light chandelier with a scrolled bronze frame decorated at the top with inset molded glass medallions, hung with swags of drops, the frame supporting scrolled arms set with foliate drip pans and candles, alternating with spire-form cut glass finials, the lower portion hung with more swags of drops, terminating in glass medallions, the interior with a molded glass finial.

h. 34”, dia. 25-1/2”

$1,500-$2,500

622

Contemporary Kingwood-Veneered Cabinet

the molded, rectangular cornice with gilt-bronze accents, above a conforming case fitted with two paneled doors over three short drawers, over two banks of two drawers, the whole with decorative stringing and veneers.

h. 87”, w. 55-1/4”, d. 20”

$1,000-$1,500

621

623

early 20th century, the shaped and bowed marble-top above a conforming bombe case fitted with three long drawers, all with bi-paneled floral and foliate inlays, raised on splayed legs ending in sabots.

h. 35-1/2”, w. 46”, d. 20-1/2”

$1,500-$2,500

624

20th century, each with a domed and padded back surmounted by a floral crest, joined to the padded seat by molded and padded arms, raised on cabriole legs headed by floral carving and ending in scrolled toes, upholstered in Brunschwig & Fils fabric.

h. 36-1/2”, w. 27”, d. 22”

$1,000-$1,500

Louis XV-Style Rosewood, Kingwood and Marble-Top Commode

Pair of Louis XV-Style Fruitwood Fauteuils

623

625

Handsome French Belle Epoque Gilt-Bronze and Crystal Chandelier

fourth quarter 19th century, possibly Baccarat, the eighteen-light chandelier having a standard set with a scrolled corona, hung with crystal swags and drops, over scrolled arms set with glass spear-point finials, hung with swags of drops, the leaf-molded arms set in two tiers and terminating in Baccarat-style molded glass drip pans and leaf-molded candle sockets, hung with swags of prismcut glass drops, the bottom with a faceted cut glass ball finial.

h. 42”, dia. 37”

Provenance: Royal Antiques, New Orleans, Louisiana; Private collection New Orleans, Louisiana.

$2,500-$4,000

626

French Belle Epoque Giltwood and Oil-on-Board Three-Panel Screen

fourth quarter 19th century, in the Louis XV taste, each panel divided into two parts with molded giltwood surrounds, carved with scrollwork and rocaille work and accented with flower heads, raised on short cabriole legs, the panels set with paintings of cherubs and courting couples in the style of Francois Boucher.

h. 58-3/4”, fully extended w. 51”

$1,200-$1,800

628

627

French-Style Carrara Marble Fireplace Mantel in the Rococo Taste

the serpentine mantel shelf carved with scroll-framed shells, framed with sprays of flowers, the vertical side panels mount at an angle on the corners and are decorated with carved leaves with sprays of flowers and leaf-carved corbels above the baseboard plinth.

h. 45-1/2”, w. 62”, d. 13-1/2”, inside h. 35”, w. 40-1/2”

$1,500-$2,500

628

French-Style Carrara Marble Fireplace Mantel in the Rococo Taste

the serpentine mantel shelf carved with scroll-framed shells, framed with sprays of flowers, the vertical side panels mount at an angle on the corners and are decorated with carved leaves with sprays of flowers and leaf-carved corbels above the baseboard plinth.

h. 45-1/2”, w. 62”, d. 13-1/2”, inside h. 35”, w. 40-1/2”

$1,500-$2,500

629

Venetian Giltwood Cushion Mirror

ca. 1900, in the neoclassical taste, the crest decorated with a ribbon-bound wreath of oak leaves, flanked by trailing leaves, atop the gadrooned surround, the side panels engraved with flowers and leaves, the corners ornamented with giltwood leaf and scroll carvings, the beveled mirror plate with a beaded liner.

h. 68-1/2”, w. 39-1/2”

$1,200-$1,800

630 French Belle Epoque Bronze Chandelier

ca. 1900, of Louis XV inspiration, the six-light chandelier with a rope-twist center standard, with cupids holding the arms and riding the leaf-molded frame, supporting scrolled arms terminating in leaf-molded shade holders, set with frosted glass floriform shades, the top with a patinated bronze spherule set with gilt-bronze fleurs-de-lis.

h. 35”, dia. 24”

$1,200-$1,800

629

631

Regence-Style Chinoiserie and Ebonized and Marble-Top Commode

the shaped, slightly bowed rectangular marble top above a bombe case fitted with two long drawers, both with a gilt scene in the chinoiserie taste, within an ormolu frame, the sides en suite, raised on splayed legs ending in sabots. h. 34”, w. 60”, d. 22-1/2”

$1,000-$1,500

632

French Belle Epoque Gilt-Bronze and Porcelain Figural Clock

fourth quarter 19th century, in the rococo taste, the porcelain urn-form case with a cobalt blue ground, set with a finial of birds nesting in a fruit basket, the sides with ram’s-head handles, mounted with signed Japy Freres works, the clock flanked by bronze putti with flowers and grapes, all supported on a richly decorated bronze base set with panels of putti and oval medallions and raised on molded bun feet. h. 19-1/4”, w. 12-3/4”, d. 5-1/4”

$1,000-$1,500

631

632

Louis XVI-Style Mahogany and Marble-Top Bouillotte Table

early 20th century, the circular Breche d’Alep marble top within a raised edge, above a conforming frieze fitted with two drawers and two pull-out slides, raised on paneled and tapered circular legs ending in brass caps. h. 27-1/2”, dia. 23-1/2”

$1,000-$1,500

20th century, the wreath-of-flowers crest set with floral swags accenting the oval painting of a couple in a garden, set into the upper tablet, framed below with trailing laurel branches, set with a beveled mirror plate lined with beading. h. 86”, w. 50-1/2”

$1,000-$1,500

633

634

French Giltwood Trumeau Mirror in the Neoclassical Taste

633

mid-19th century, each with a padded square back surmounted by a ribbon and beaded crest with flanking finials, joined by padded, downswept ribbed and beaded arms to the padded seat, raised on stop-fluted, tapered circular legs ending in toupie feet.

h. 37-1/2”, w. 24”, d. 22”

$1,800-$2,500

mid-19th century, each with a padded square back surmounted by a ribbon and beaded crest with flanking finials, joined by padded, downswept ribbed and beaded arms to the padded seat, raised on stop-fluted, tapered circular legs ending in toupie feet.

h. 37-1/2”, w. 24”, d. 22”

$1,800-$2,500

635

Pair of Louis XVI-Style Giltwood Fauteuils

636

Pair of Louis XVI-Style Giltwood Fauteuils

635

636

637

Handsome Napoleon III Bronze Dore et Patine Figural Clock

third quarter 19th century, mounted with a figure of Venus, with pearls in her hair, attended by cherubs, the clock dial with a bezel supporting swags of roses, the rounded case with basrelief plaques of frolicking putti, framing a central plaque of a wreath with a quiver and torch, the sides with berry vines.

h. 18-3/4”, w. 20”, d. 9”

$1,000-$1,500

638

French Belle Epoque Gilt-Bronze Chandelier

fourth quarter 19th century, in the Louis XV taste, the twentyone-light chandelier having a standard decorated with scrollwork, supporting female busts, swags of flowers and two tiers of frolicking patinated bronze putti, set with scrolling, leaf-molded arms terminating in leaf-molded sockets and matching drip pans on three levels.

h. 38”, dia. 33”

$5,000-$8,000

637

638

639

Pair of Louis XVI-Style Mahogany and Marble-Top Center Tables

20th century, each with a circular marble-top within a brass banding and above a conforming paneled frieze with applied ormolu garlands, raised on tapered square legs ending in peg feet. h. 31”, dia. 24”

$1,000-$1,500

640

French Bronze Figure of Pierre Corneille (French, 1606-1684)

third quarter 19th century, now mounted as a lamp, the playwright holding a sheaf of papers, a stack of books at his feet, “Corneille” incised on the base, now raised on a cove-molded and painted metal base, mounted with a shade. figure h. 19-1/2”, overall h. 34”, dia. 17”

$1,000-$1,500

641

Regence Giltwood Mirror in the Neoclassical Taste

first quarter 19th century, the scrollwork-lined crest decorated with a central urn and swags of flowers on a mirror plate ground, the side panels with Greek-key tops and bottoms, punctuated with carved medallions and leaves, the base with a cabochon and flower head supported by giltwood scrollwork. h. 73-1/2”, w. 42”

Provenance: Karla Katz Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,200-$1,800

642

20th century, comprised of a settee, h. 45-1/2”, w. 71”, d. 26-1/2”, a pair of fauteuils, h. 41”, w. 27”, d. 42”, and a side chair, h. 38”, w. 21”, d. 19”, all with shaped and padded, rectangular backs surmounted by a foliate shell-shield crest, the padded seats raised above a shaped floral-carved apron, on cabriole legs ending in scrolled toes on casters.

$1,200-$1,800

Louis XV-Style Four-Piece Giltwood Parlor Suite

Rare French Choisy Le Roi/H Boulenger et Cie Majolica Centerpiece

ca. 1900, after a design by Louis Carrier-Belleuse and inscribed by him on the lower outside edge of the central platform, the oblong ceterpiece with rounded ends, set with putti holding aloft bateau-form bowls molded with leaves, the sides decorated with pierced balustrades and molded leaves, the bottom with the intertwined initials of both Choisy and Boulenger and “France”. h. 11-1/2”, w. 37”, d. 13”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$1,000-$1,500

643

643

643 detail

643 detail

Paul Quinsac was an accomplished painter, trained in the 19th-century canon of the French Academy that privileged classically drawn figures executed in mythological and historical genre scenes over the avant-garde experimentation of the Romantics and later Impressionists.

He studied under Jean-Leon Gerome and regularly exhibited at the Salon, winning honorable mentions at the Salon of 1884 and the Universal Exposition of 1900, and a third class medal at the Universal Exposition of 1900. In 1901, Quinsac became a professor of art and drawing at the Ecole des Beaux-Arts in Bordeaux, and was awarded the prestigious Legion of Honor in 1908.

644

Paul Francois Quinsac (French, 1858-1932)

“La Sculpture”, 1896

oil on canvas signed and dated lower right, titled on “Michelle Rosenfeld, New York” gallery label en verso. Framed.

98-1/2” x 53”, framed 108-1/2” x 63”

Provenance: Michelle Rosenfeld Gallery, New York, New York; Sotheby’s New York, October 12, 1994, lot 175; Estate of Norma Crawford Myers, Dallas, Texas

$7,000-$10,000

This stunning allegory of sculpture was part of a larger commission/series Quinsac painted on the theme of the Arts. Two other allegories (Music and Painting) of the same scale, size and execution were also sold at Sotheby’s New York in 2015 and 1993, respectively.

644

644 detail

645

Exceptional, Monumental Gilt-Bronze and Crystal Chandelier

first half 20th century, Austrian, the thirty-light chandelier in the Baroque taste, possibly by Lobmeyr, the upper scrolled bronze frame set with sixteen candle branches terminating in reeded candle sockets set with sixteen wooden faux candles and turned prism rings, the frame hung with large cut and cabochon glass drops, four of the arms set with faceted glass cabochons framed in scrollwork and back-lit, the upper interior with five downlights in glass beaded shades, the lower portion concealing five additional internal lights.

h. 57”, dia. 38”

$3,000-$5,000

646

Pair of Louis XV-Style Polychrome Bergeres

20th century, each with a domed and molded cornice above a padded back, joined to the cushioned seat by padded outscrolled arms, raised on cabriole legs ending in scrolled toes.

h. 32”, w. 29”, d. 19”

$1,000-$1,500

645

647

Pair of Louis XIV-Style Giltwood and Marble-Top Console Tables

19th century, each with a shaped marble-top with a molded edge, above a pierced frieze centered by a musical torchere carving and with floral garland, raised on shaped, foliatecarved legs headed by a winged bird and joined by a stretcher featuring a stag being accosted by two hounds, ending in foliate toes.

h. 36”, w. 55”, d. 22-1/2”

$4,000-$7,000

648

Italian Giltwood and Marble-Top Console Table

20th century, in the rococo taste, the shaped and bowed marble-top with a molded edge, above a conforming frieze with a pierced shield-form apron, raised on shaped, scroll- and foliate-carved legs joined by a shell-centered stretcher and ending in ribbed toes.

h. 28”, w. 67”, d. 38”

$2,000-$4,000

647

648

649

Pair of Louis XV-Style Polychrome Fauteuils

20th century, the chinoiserie-upholstered fauteuils of generous proportions, each with a foliate shell-carved crest above the padded back, joined by padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes. h. 40”, w. 32”, d. 23”

$1,000-$1,500

650

French Giltwood and Fabric Firescreen in the Rococo Taste

fourth quarter 19th century, the scroll-carved, pierced crest and matching side finials decorating the molded surround with incised carving, raised on scroll-carved feet ending in square pads, the center set with a needlepoint basket of flowers. h. 50-1/2”, w. 30-3/4”, d. 12”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

649

651

“Dream of Spring”, KPM Porcelain Plaque

fourth quarter 19th century, after William-Adolphe Bouguereau (French, 1825-1905), the plaque decorated with Persephone, Goddess of Spring, attended by cherubs, preparing to crown her with spring flowers, in a handsome period giltwood frame decorated with pierced scrollwork and rocaille work. plaque h. 9-3/8”, w. 6-3/8”; overall h. 17-1/2”, w. 13-1/2”

$1,000-$1,500

652

Pair of Louis XVI-Style Polychrome Fauteuils

20th century, each with a domed and molded earred crest above a padded back, joined by like arms to the cushioned seat, raised on stop-fluted, circular legs headed by a floral black capital and ending in bulb feet. h. 38”, w. 25”, d. 20”

$1,000-$1,500

651

Large Gilt Composition Mirror in the Directoire Taste

the fan-form crest with beveled dividers decorated with gilt bellflower ovals and swags, the main body in three sections, with colonnette-form dividers, composite capitals and tapered standards decorated with acanthus leaves, set with beveled mirror plates.

h. 90”, w. 56-1/2”

$1,000-$1,500

653

Large Gilt Composition Mirror in the Directoire Taste

the fan-form crest with beveled dividers decorated with gilt bellflower ovals and swags, the main body in three sections, with colonnette-form dividers, composite capitals and tapered standards decorated with acanthus leaves, set with beveled mirror plates.

h. 90”, w. 56-1/2”

$1,000-$1,500

653

654

655

French, each with a carved, paneled crest above a padded, tapering back, joined by padded arms and ribbed uprights to the padded seat, raised on ring-turned circular legs ending in ball feet, now upholstered in mint-green silk cut velvet. h. 34”, w. 22-1/2”, d. 19”

Provenance: Petricia Thompson Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,000-$1,500

656

Exceptional Pair of French Barbedienne Gilt-Bronze and Onyx Candelabra

third quarter 19th century, in the Neo-Grec taste, each candelabrum with a central crane finial set amongst eight leaf-molded candle arms with fluted candle sockets and turned drip pans, set on a standard decorated with a caryatid, raised on a carved onyx base with scrolled feet molded with leaves and anthemia, the bases marked “Barbedienne Foundeur”, along with the Barbedienne Foundry stamp. h. 38-1/4”, dia. 14-1/2”

$1,500-$2,500

Pair of Gris Clair Peint Fauteuils in the Directoire Taste

657

Napoleon III Gilt-Bronze and Marble “Father Time” Mantel Clock

third quarter 19th century, “Father Time” with a scythe in one hand, the clock with a serpent-molded bezel, the dial indistinctly signed, except for “Lyon”, on a verde antique marble platform base with a mount in the form of a pair of swans supporting a shield, on engine-turned bun feet. h. 18-1/2”, w. 15”, d. 6”

$1,200-$1,800

658

Pair of Empire-Style Gilt-Metal and Marble-Top Occasional Tables

each with a circular marble-top within a ribbed banding, raised on three supports headed by griffin capitals, joined by X-form stretchers and ending in paw feet on circular pads. h. 27”, top dia. 12-1/2” h. 27”, dia. 14”

$1,000-$1,500

657

658

659

Pair of Louis-Philippe Gilt-Bronze and Black Marble Candelabra

mid-19th century, now mounted as lamps, the six-light candelabra with marble standards supporting leafmolded, scrolling gilt-bronze candle arms set with faceted cabochon-molded candle cups and matching drip pans, and the tripartite bronze bases decorated with bronze gargoyles, mounted with bouillotte-style black tole shades.

h. 17-3/4” (adjustable), shade dia. 20-1/2”

Provenance: Villa Melrose Antiques, Los Angeles, California.

$1,000-$1,500

660 Provincial Empire Fruitwood Commode

mid-19th century, the rectangular top above a conforming case fitted with a frieze drawer above three long, recessed drawers, all flanked to either side by a freestanding columnar upright, raised on torpedo feet.

h. 37-1/2”, w. 51”, d. 23”

$1,000-$1,500

659

661

Pair of French Restauration Bronze and Marble Garniture Urns

second quarter 19th century, the kylix-form urns with leafmolded handles and fluted bases, on verde antique marble plinths with leaf-molded bronze trim.

h. 15-1/2”, w. 11”, d. 8”

$1,000-$1,500

662

Pair of Empire-Style Mahogany and Marble-Top Commodes

19th century, each with a rectangular marble top above a conforming case fitted with a frieze drawer over three recessed, long drawers, flanked to either side by freestanding ormolu-mounted columns, raised on torpedo feet.

h. 33-1/2”, w. 31-1/2”, d. 21”

$1,500-$2,500

663

Maurice Guiraud-Riviere (French, 1881-1947)

“Racing Charioteer”

patinated bronze second quarter 20th century, cast signature along front edge of self-base.

h. 13”, w. 32”, d. 11”

$1,800-$2,500

661

662

663

664

Louis-Philippe Giltwood Mirror

second quarter 19th century, the mirror with rounded corners and a molded surround decorated with latticework, the mirror plate with a scrolled giltwood liner.

h. 60-1/2”, w. 34-1/2”

$1,200-$1,800

665

Empire Mahogany and Marble-Top Commode

mid-19th century, the rectangular marble-top above a conforming case fitted with a frieze drawer over three recessed, long drawers, flanked to either side by a shaped upright, raised on block feet.

h. 36”, w. 51-1/4”, d. 24”

$1,000-$1,500

664

666

Restauration Mahogany Settee

mid-19th century, the long, padded and rectangular back surmounted by a backswept crest, joined by scrolling arms to the cushioned seat, raised on splayed legs.

h. 35”, w. 71”, d. 24”

$1,000-$1,500

667

French Gilt-Bronze Chandelier in the Empire Style

20th century, the eight-light chandelier with a crown-form corona set with pierced leaves, the body supported on scrollmolded chains, leading to the leaf-molded and scrolled candle branches, supporting reeded drip pans and lotus-molded candle cups, set with beaded bobeches, the bottom with a cone-form finial.

h. 36”, dia. 27-1/2”

$1,500-$2,500

666 667

Pair of Unusual Louis-Philippe Gilt-Bronze and Marble Candelabra

second quarter 19th century, now mounted as lamps, each candelabrum with four leaf-molded candle branches set with fluted candle sockets with leaf-molded trim and drip pans, supported on an unusual hexagonal marble standard accented with vertical bronze reeding and Greek-key trim, raised on scrolled bronze feet supported on a marble tripartite base, and fitted with two additional bulb sockets, mounted with shades. h.

$1,200-$1,800

Louis-Philippe Giltwood Mirror

second quarter 19th century, the molded surround incised with leaves and vines, the mirror plate with a beaded liner. h.

$1,200-$1,800

668

37-1/2”, dia. 14”

669

49-1/4”, w. 31-1/2”

668

670

Pair of Louis Philippe-Style Giltwood Mirrors

late 20th century, the mirror with rounded corners and molded giltwood surrounds with an unusual incised edge.

h. 47-3/4”, w. 31-1/2”

$2,000-$4,000

671

Pair of French Belle Epoque Bronze and Marble Figural Candelabra

now mounted as lamps, each gilt-bronze standard with a pair of frolicking putti supporting three foliate-molded candle branches set with molded candle sockets and drip pans, raised on fluted, white-veined gray marble column-form bases with guilloche-molded gilt-bronze trim.

h. 25-1/2”, w. 4-3/4”, d. 4-3/4”

$1,000-$1,500

672

Pair of Louis XVI-Style Polychrome, Marble-Top and Bronze-Mounted Commodes

in the manner of Maison Jansen, each with a rectangular marble-top with turreted corners and a three-quarter pierced brass gallery, above a conforming case fitted with two short drawers over two long drawers, raised on tapered circular legs ending in toupie feet.

h. 36-1/2”, w. 48-1/2”, d. 20-1/2”

$7,000-$10,000

673

Suite of Eight Directoire-Style Polychrome Dining Chairs

made by Hickory Chair, “Mariette Himes Gomez, London Collection”, comprised of two armchairs and six side chairs, each with a paneled back and finialed sides, above an interlacing “X” and diamond back, the padded seat raised on fluted and tapered circular legs ending in lotus-carved bun feet.

h. 41”, w. 24”, d. 19”

$3,000-$5,000

672

674

Empire-Style Polychrome Window Seat

the cushioned seat flanked to either end by an outswept padded side with lion-head finials, raised on splayed legs with hair carving and ending in hairy-paw feet. h. 31”, w. 55”, d. 19”

$1,500-$2,500

675

Pair of Empire-Style Creme Peinte Fauteuils

each with a padded backswept back joined by downswept winged arms to the padded seat, raised on fluted and tapered circular legs ending in foliate-carved feet. h. 40”, w. 23”, d. 23”

$2,000-$4,000

each with a padded backswept back joined by downswept winged arms to the padded seat, raised on fluted and tapered circular legs ending in foliate-carved feet.

676

Pair of Empire-Style Creme Peinte Fauteuils

h. 40”, w. 23”, d. 23”

$2,000-$4,000

677 Oushak Runner

2’ x 10’ 5”

$1,000-$1,500

676

Turkish Angora Oushak Carpet

Turkish Angora Oushak Carpet

Semi-Antique Mahal Carpet

681

3’ 6” x 18’ 4”

$2,000-$4,000

682

12’ 1” x 15’

$2,500-$4,000

681

Antique Karajeh Runner

Turkish Angora Oushak Carpet

683

Terracotta Olive Jar in the Spanish Taste

the ovoid-form jar decorated with concentric, raised rings, the bottom with an opening for a tap. h. 39-1/2”, dia. 20”

$1,000-$1,500

684

Cast Iron Bull’s Head

in the manner of signs used by French boucheries, realistically modeled, with hardware for hanging. h. 19”, w. 19”, d. 14”

$1,000-$1,500

685

French Brass-Mounted Cast Iron and Marble-Top Baker’s Table

20th century, of traditional form, with a white marble-top, Gothic-style cast iron aprons and supported by a scrolled iron base with brass balls and fittings. h. 29-1/2”, w. 47-1/4”, d. 25-1/2”

$1,000-$1,500

683

684

685

686

Pair of French Gilt-Metal and Enamel Altar Sticks

first quarter 20th century, now mounted as lamps, in the Empire taste, the column-form candlesticks with green enamel fluting and molded acanthus leaves, on tripartite bases decorated with raised profiles on green enamel grounds, raised on leaf-molded and scrolled feet, mounted with shades.

h. 41-1/4”, dia. 23”

$1,000-$1,500

687

Provincial Louis XVI-Style Fruitwood Bureau

19th century, the rectangular top above a banded drop-front, opening to an inset leather writing surface, a central storage well and a variety of drawers and cubbyholes, over two short end drawers, over two long drawers, all banded, raised on tapered circular legs.

h. 42”, w. 44-1/2”, d. 22”

$1,000-$1,500

686

687

688

Majolica Cartel Clock, Attributed to Thomas-Victor Sergent

fourth quarter 19th century, Paris, in the Renaissance taste, the satyr-mask finial flanked by putti personifying autumn and spring, the works mounted with a gilt dial set with a cobaltenameled chapter ring, the lower sides with scroll-supported leopard heads flanking a pierced panel, the lower edge with a Bacchus head dressed in leopard skin. h. 29-1/2”, w. 19”, d. 7-3/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

688

689

Large Palissy Ware Glazed Deep Dish

fourth quarter 19th century, Portuguese, decorated with lizards and a snake, the edge decorated with a moth and stag beetles, on an amber-glazed ground, the back pierced for hanging, unmarked. h. 4”, dia. 16”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

690

689

Handsome Palissy Ware Glazed Pottery Plaque

fourth quarter 19th century, probably French, the center decorated with a slithering snake and a salamander, the edge decorated with a moth, salamander, a skink and a toad, on a green moss-molded ground, the back unmarked and pierced for hanging.

h. 3-1/2”, dia. 11”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

690

fourth quarter 19th century, Portuguese or French, a snake in the middle, framed by molded fish, the edges decorated with a toad, scallop shell, moth, centipede and dragonfly, the back unmarked and pierced for hanging.

h. 11-1/4”, w. 16-1/2”, d. 2-1/2”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,800-$2,500

fourth quarter 19th century, the oval dishes made by Alfred Renoleau and Francois Goras, one decorated with a central snake and a border of frogs, shells, fish and aquatic plants, and the other with a central fish and border of shells, fish, frogs and aquatic plants, each with back inscribed, “Rg” and hardware for hanging.

h. 10-3/4”, w. 16-1/4”, d. 3-1/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$2,000-$4,000

691

Palissy Ware Glazed Oval Plaque

692

Two French Palissy Ware Glazed Dishes

691

693

Exceptional Palissy Ware Glazed Charger

fourth quarter 19th century, Portuguese, possibly from the workshop of Francisco Gomes de Avelar, the charger decorated with a toad nestled into a ground of moss, with a slithering snake, salamanders and moths. dia. 18-3/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

694

Two Signed Palissy Ware Glazed Dishes

fourth quarter 19th century, Portuguese, the larger dish decorated with a snake, stag beetles, moths and centipedes on a moss ground, marked by Jose Francisco de Sousa, Caldas, Portugal, dia. 9-1/4”, and the smaller dish decorated with fish and mussels on a mossy ground, marked by Mafra & Sons, Caldas, Portugal, dia. 7-1/4”.

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,200-$1,800

693

694

Two

fourth quarter 19th century, Portuguese, each with dramatic molded salamander handles, the bodies decorated with molded lizards, stag beetles, moths, centipedes and frogs on a mossy ground. h. 13” to 14-1/2”, dia.

695

Similar Palissy Ware Glazed Ewers

6-3/4” to 7”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

695

696

Provincial Teakwood and Polychromed Farmhouse Table

20th century, the rectangular two-board top above a conforming frieze fitted to each end with a small drawer, raised on tapered legs.

h. 31”, w. 88”, d. 39”

Provenance: Brian L. Stringer Antiques, Houston, Texas; Private collection, Houston, Texas.

$1,400-$1,800

697

Pair of Minton-Spidell Louis XV-Style Oak Commodes

20th century, each with a rectangular top with rounded front corners and a projecting center section, above a conforming case fitted with three long drawers over a shaped and carved apron, raised on scrolled toes. h. 36”, w. 49-1/2”, d. 20-1/2”

$1,000-$1,500

696

698

Miniature French Louis XV-Style Commode

third quarter 19th century, with gilt-bronze escutcheons and sabots on the feet, the serpentine commode veneered in walnut parquetry work with rosewood crossbanding, and trimmed with ebonizing.

h. 11-1/2”, w. 14-3/4”, d. 9”

$1,000-$1,500

699

French Limoges Porcelain Fish Set

fourth quarter 19th century, the set including a fish platter, w. 9-1/2”, l. 23”, nine plates, dia. 9”, and a sauceboat on stand, h. 5-1/2”, w. 9-1/4”, d. 5-3/4”, each piece painted with gilttrimmed fish and aquatic plants, the blanks marked “D&C” in underglaze green, for Delinieres & Co.

$1,000-$1,500

700

French Fin-de-Siecle Bronze and Cut Glass Chandelier

ca. 1900, the seven-light chandelier with a column-form standard decorated with molded flowers and scrollwork, supporting the cone-form body decorated with scrolled mounts, set with a dome-form frosted cut glass shade, the body mounted with scrolled paw-footed supports mounted with bird heads and leaf-molded shade holders, with frosted floriform shades.

h. 49”, dia. 34”

$1,000-$1,500

701

Napoleon

III Satinwood and Rosewood Parlor Cabinet

mid-19th century, the shaped cornice above a superstructure fitted with a mirrored cabinet, flanked to either side by a smaller step-down cabinet, the top banded and with projecting corners, above a frieze fitted with a central drawer, opening to a push-back, inset-leather writing surface, flanked to either side by a small drawer, joined by a mirrored back and bulbous turned uprights to two lower shelves, the bottom one shaped, raised on block and toupie feet, the whole richly decorated with porcelain portrait and floral plaques, decorative banding and ormolu millwork. h. 58”, w. 49-1/2”, d. 20”

$1,000-$1,500

703

French Gilt-Bronze and Frosted Glass Chandelier in the Rococo Taste

20th century, the thirteen-light chandelier with a scrollmolded frame decorated with swags of flowers, supporting a lower bronze-framed bowl, set with frosted glass panels, the rim supporting scrolled candle arms terminating in leafmolded candle sockets and matching drip pans, the cut glass bowl decorated with gilt-bronze swags of flowers, the interior with one light socket.

h. 32”, dia. 29”

$1,200-$1,800

702 Emile Vernon (French, 1872-1919)

“Portrait of a Lady Arranging Pink Roses”, 1909

oil on canvas signed, dated and localized “Paris” lower left. In an attractive antique gessoed and giltwood frame.

36” x 26”, framed 48-1/2” x 38-1/2”

$9,000-$12,000

702 703

Restauration “Violon Coquille” Silver Flatware Set

1819-1838, Paris, by Leonard Chatenet and Jean-Baptiste Veyrier, including:

eight table forks, l. 8-1/4”; eight table spoons, l. 8-1/2”; seven teaspoons, l. 5-5/8”; and a large ladle, l. 13-3/4”; each piece monogrammed “EB”. 24 pieces total 65.87 total t. oz.

$1,400-$1,800

Leonard Chatenet (ca. 1780-1829) first registered his mark in 1807, around which time he married Agathe Elizabeth Toulon (1787-1841); she was the daughter of silversmith Jean Toulon (ca. 1755-1812), whose shop Chatenet assumed upon Toulon’s death. Similarly, Chatenet’s daughter Agathe Eleanore (18111896), married Jean-Baptiste Veyrier-Montagneres (18081899), who succeed Chatenet upon his death. That this set bears marks of both Chatenet and Veyrier (who used the same device - a caduceus) suggests it was made around 1829 or 30 at the twilight of the Bourbon Restauration and dawn of the July Monarchy.

705

Pair of Continental Bronze Argente Candelabra

third quarter 19th century, each with a Corinthian standard with acanthus calyx above a shell and scroll tripodal base on a conforming plinth, surmounted by a smaller standard and five scrolling arms, all terminating in a scalloped urn-form nozzle and drippan with detachable bobeche en suite (three bobeches lacking).

h. 24”, dia. 9-3/4”

$1,000-$1,500

706

German Silver Center Bowl

first quarter 20th century, .800 silver, of oval form with shaped rim, pierced and decorated with birds and floral swags on an acanthus scroll ground, the arched acanthus scroll handles crested with ho ho birds, all raised on a conforming foot en suite and fitted with a conforming colorless glass liner.

h. 10-1/4”, l. 20-1/2”, w. 12-1/2”; 69.95 t. oz. (excluding liner)

$1,000-$1,500

707

Viennese Silver-Mounted Onyx Desk Set

second quarter 20th century, by Brueder Frank for Moritz Oesterreicher, .800 silver, including:

a standish, 17” x 10-1/4”;

a paper knife, l. 11”;

an inkwell, h. 4”, w. 4”;

a water well, h. 4”, w. 4”;

a nib brush, h. 3”, w. 4”;

a paperweight, h. 2-1/4”, l. 6-5/8”;

a blotter, h. 3-1/2”, l. 6-5/8”;

an ashtray, h. 3-5/8”, l. 6-3/8”;

a candlestick, h. 9-7/8”, w. 5”; and

a table lamp, h. 14-1/2” (25-1/4” to finial), base w. 6-1/4”, shade dia. 15”;

each piece of a solid block of onyx, with solid bases and lids, all with well-chased applied silver acanthus scroll banding with putti faces, acanthus bud finials and button feet.

10 pieces total

$1,200-$1,800

708

German Novelty “Cockatoo” Sterling Silver Cocktail Shaker

contemporary, in the form of a realistically detailed cockatoo, the mouth a faux spout fitted with a chained acorn “stopper”, the head fitted with glass eyes and removing to reveal the detachable strainer.

h. 4-1/4”, l. 7-1/4”, w. 3”; 21.79 t. oz.

$3,500-$5,000

709

Pair of German Novelty “Combatant Cockerels” Sterling Silver Cocktail Shakers/Garnitures

contemporary, each in the form of a realistically detailed rooster, the mouths a faux spout fitted with a chained “stopper”, the heads fitted with glass eyes and removing to reveal the detachable strainer.

h. 7”, l. 7-1/2” and h. 7”, l. 7-1/4”; 62.08 total t. oz.

$9,000-$12,000 708

German Novelty “Elephant” Sterling Silver Cocktail Shaker

contemporary, in the form of a realistically detailed elephant, seated and trumpeting, the mouth a faux spout fitted with a chained banana “stopper”, the head fitted with glass eyes and removing to reveal the detachable strainer.

h. 10-3/4”, l. 8”, w. 5-1/4”; 47.53 t. oz.

$4,500-$7,000 711

Buccellati “Laura” Sterling Silver Flatware

contemporary, Italy, including eight five-piece place settings with an additional six teaspoons and nine serving pieces, no monograms.

55 pieces total 96.48 total t. oz.

$3,500-$5,000

712

Agra Serapi Runner

2’ 6” x 25’ 9” $1,000-$1,500

713

Silk Kashan Carpet

8’ 4” x 12’ 6”

Provenance: Estate of Mahin Forrest, Houston, Texas. $1,500-$2,500

713

714

Semi-Antique Mahal Carpet

715

Turkish Angora Oushak Carpet 10’ x 14’

714

716

Antique Sarouk Carpet

10’ x 15’ 8”

$2,000-$4,000

717

Turkish Angora Oushak Carpet

9’ 5” x 12’ 5”

$1,200-$1,800

718

Provincial Oak and Fruitwood Bench

20th century, the long, flat crest above a spindled gallery splat, centered by a patera-carved panel, joined by rounded arms to the wooden seat, raised on block legs joined by side stretchers. h. 35-1/2”, w. 77-1/2”, d. 15-1/2”

$1,200-$1,800

719

Provincial Oak and Fruitwood Bench

20th century, the long, flat crest above a spindled gallery splat, centered by a patera-carved panel, joined by rounded arms to the wooden seat, raised on block legs joined by side stretchers. h. 35-1/2”, w. 77-1/2”, d. 15-1/2”

$1,200-$1,800

the ovoid porcelain bases decorated with flowering vines with pale pink blossoms, on acrylic bases and mounted with shades.

h. 25”, dia. 13-1/2”

$1,000-$1,500

720

721

20th century, the service decorated with neoclassical figures painted en grisaille and raised on blown-glass gilt-spangled stems, the service including twelve water goblets, h. 8-3/4”, dia. 4-1/2”, thirteen champagne coupes, h. 7-1/2”, dia. 4-1/2”, fourteen wine goblets, h. 8”, dia. 3-1/2”, and fourteen dessert plates, dia. 8-1/2”, fifty-three total pieces.

720

Pair of Japanese Porcelain Lamps

Partial Service of Italian Enameled Venetian Stemware

722

Continental Oak Refectory Table

18th century, the long, narrow top banded and above a frieze with decorative relief carving, raised on turned and bulbous legs headed by scroll and foliate capitals joined by stretchers and ending in block feet.

h. 30”, d. 33-1/2”, l. 127”

$4,000-$7,000

723

Iberian Oak and Fruitwood Cabinet

19th century and later, the rectangular top above a dentillated and fan-carved frieze over two cupboard doors, each with a central raised panel featuring a heraldic emblem and bordered by applied intricately pierced metal bands, raised on a stand with a spindled gallery joined by turned uprights to the plinth base.

h. 58”, w. 40”, d. 17-1/2”

$2,000-$4,000

722

724

Pair of Continental Polychrome Console Tables

in the Iberian taste, each with a faux marbre demi-lune top raised on shaped, scrolling supports, joined by shaped stretchers and ending in scrolled toes.

h. 32”, w. 50-1/2”, d. 25-1/2”

$1,000-$1,500

725

Carved Oak “Virgin in Glory”

19th century, the Virgin Mary standing on clouds and borne aloft by carved angels, with the Christ Child standing on the globe, signifying that he is the savior of the world.

h. 27”, w. 8”, d. 7”

$1,000-$1,500

724

725

726

Pair of Continental Giltwood Pricket Candlesticks

early 20th century, now mounted as lamps, each with a tapered and fluted standard supported on scrolled tripod legs, mounted with shades, electrified.

h. 32”, dia. 14-1/2”

$1,000-$1,500

727

Unusual Neoclassical Giltwood and Colored Glass Mirror

first quarter 19th century, possibly Venetian, the crest with an urn of leaves and sprays of bellflowers, the cove-molded surround set with a cushioned mirror divided by beveled polychrome eglomise dividers accented with glass jewels, the base resting on Greek sphinxes.

h. 54-1/4”, w. 43-1/2”

$2,500-$4,000

726

727

728

728

Pair of Continental Baroque-Style Giltwood Stools

19th century, each with a padded square top raised on foliate scrolling legs, joined by a like, shell-centered X-form stretcher, and ending in foliate pad feet.

h. 19”, w. 19”, d. 19”

$2,500-$4,000

729

729

Pair of Italian Creme Peinte and Parcel-Gilt Armchairs

in the Grotto taste, the coquiform back joined by molded, exaggerated arms to the like seat, raised on dolphin-form legs ending in foliate-carved feet.

h. 45”, w. 25”, d. 23”

$2,000-$4,000

20th century, each with a shaped top above a conforming bombe case fitted with two drawers, raised on cabriole legs ending in Flemish toes.

h. 28”, w. 29”, d. 15”

$1,200-$1,800

730 731

18th century and later, the crests decorated with pairs of winged angel heads framed with sun rays, the oval mirrors set into rocaille carving on scrolled giltwood cartouches decorated with carved scrollwork and acanthus leaves. h. 17-1/2”, w. 19-1/2”

$1,200-$1,800

730

Pair of Continental Fruitwood Bombe Commodes

731

Pair of Unusual Baroque Giltwood and Silver-Gilt Mirrors

732

Italian Carved Wood, Composition and Metal Chandelier

20th century, the six-light chandelier having a standard decorated with a polychrome-painted and carved organ grinder monkey, scampering to the top of the carved body, set with scrolled candle arms with leaf-molded and parcel-gilt decorations, set with leaf-carved and painted candle sockets and drip pans. h. 35”, dia. 30”

$1,000-$1,500

733

Italian Elaborately Carved Giltwood Settee

mid-19th century, in the 18th-century French taste, the wreath and torchere crest above an elaborately foliate- and ribbonpierced panel, flanked to either side by downswept, padded and rounded sides, the cushioned seat raised on fluted and foliate-carved legs ending in ball feet, now upholstered in leafgreen strie silk velvet and accompanied by associated fringetrimmed embroidered ochre pillows. h. 37”, w. 51”, d. 26”

Provenance: Kevin Stone Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$1,200-$1,800 732

734

Unusual Italian Giltwood Mirror in the Baroque Taste

fourth quarter 19th century, the oval mirror plate with a bold surround decorated with pierced leaves and scrollwork, with an overhanging central leaf serving as the finial.

h. 43”, w. 37-1/2”

$1,000-$1,500

735

Monumental Inlaid Mahogany Triple-Pedestal Banquet Table

bench made, in the classical taste, comprised of three tops with inlaid borders and three circular, fluted bases with giltbronze trim.

h. 30”, w. 72”, l. 192”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$3,000-$5,000

734

735

735 detail

735 detail

Gilt-Bronze, Brass and Malachite Figure of a Horse-Drawn Sleigh

ca. 1900, Russian, the figure in Russian costume, seated in a horse-drawn sleigh, mounted on a malachite-clad plinth. h. 3-3/4”, w. 7”, d. 2-3/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,000-$1,500

737 Collection of Four Malachite Covered Boxes

20th century, Russian, the boxes displaying interesting variations in malachite grain patterns and colors, two of the boxes with brass bezels around the openings. h. 1-1/4” to 2”, w. 4-1/2” to 5”, d. 2-1/2” to 4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,200-$1,800

738

Malachite and Gilt-Bronze Tazza

20th century, Russian, in the classical taste, the center bowl with a central leaf-molded gilt-bronze medallion, supported on a tapered cone-form base with a square bottom plinth with beveled edges.

h. 7”, dia. 10-1/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$2,000-$4,000

736

739

Unusual Malachite-Clad Pyramid

20th century, Russian, of traditional form, clad in vigorously figured and colored malachite.

h. 10-1/2”, w. 11-3/4”

$1,000-$1,500

740

Italian Tole Mirror in the Neoclassical Taste

20th century, the ochre-ground mirror with terracotta-colored decoration, the crest set with an urn of flowers flanked by seated griffins, the pierced surround with corner floriform medallions and panels of pierced latticework.

h. 62”, w. 35-3/4”

$1,200-$1,800

739

740

741

Suite of Four Oak Side Chairs

each with a padded oval back within a frame, naturalistically carved to simulate logs, the padded seat within a like-carved apron and raised on like circular legs. h. 40”, w. 20”, d. 17-1/2”

$1,000-$1,500

742

Neoclassical-Style Gilt-Metal and Marble-Top Occasional Table

the canted, rectangular marble-top within a guillochemodeled band, raised on a twisted standard with three applied dolphin figures, to a circular base. h. 31”, w. 30”, d. 25”

$1,500-$2,500

741

742

743

743

Contemporary Bronze, Brass and Glass-Top Cocktail Table

the square glass top with canted corners and a beveled edge, and raised on four Flying Horse of Gansu figures, joined by double brass bands.

h. 16”, w. 37”, d. 37”

$1,500-$2,500

744

Handsome Bronze and Metal Planter in the Neapolitan Taste

20th century, designed after the antique, the flaring planter with a gadrooned rim, supported by monopodia crowned with winged female busts, on a stretcher base decorated with leafmolded baluster turnings and a central finial.

h. 31”, dia. 23”

$1,200-$1,800

745

Neoclassical Verdigris Bronze Stool

the rectangular, lattice-patterned seat with four ram’s-head corner accents, raised on a cross-over, curule-style base ending in hoof feet.

h. 18-1/2”, w. 22-1/2”, d. 17”

$1,000-$1,500

746

Pair of Italian Bronze “Grand Tour” Medici Vases

fourth quarter 19th century, the campana-form vases with egg-and-dart rims, the bodies decorated with classical figures, the lower portion with delicately molded acanthus leaves, set with reeded handles terminating in molded masques, on fluted bases.

h. 19”, dia. 14-1/2”

$2,000-$3,000

747

Grand Tour Patinated Bronze and Marble Figure of Marcus Aurelius

second half 19th century, Italian, after the ancient original, now at the Capitoline Museum, the equestrian statue mounted on a white marble base with carved shields on the front and back, and inscriptions incised on each side.

h. 23-1/2”, w. 6-1/4”, l. 12-1/2”

$2,000-$4,000

745

746

748

Italian Pietra Dura and Cast Iron Table

ca. 1900 and later, the top composed of black marble inlaid with a bird on a branch and a rope-twist border in various hardstones and abalone, now supported on a patinated metal base with legs in the form of winged angels terminating in paw feet, around a center medallion-decorated finial.

h. 31-1/2”, dia. 22”

$1,500-$2,500

749

Pair of Large Handsome Bronze Andirons in the Neoclassical Taste

fourth quarter 19th century, the primary standards in the form of Corinthian columns with flame finials, swags of fruit and leaf-molded trim, the architectonic bases with scrolls on one side and curved balustrades decorated with urns terminating in flame finials on the other side, formerly with an integral fender.

h. 39-1/4”, w. 17-3/4”, d. 12-3/4”

$1,000-$1,500

750

Pair of Wrought Iron Floor Lamps in the Baroque Taste

each with a twisted standard decorated with a pierced foliate ball, above a tripod base composed of tight scrollwork, electrified and mounted with pleated shades.

h. 63-1/2”, dia. 18”

$1,200-$1,800

750

748

749

751

Continental Carved Stone Figure of a Kneeling Female Nude

possibly representing the Ancient figure of Fertility. h. 29-1/2”, w. 16”, d. 8-1/4”

$1,000-$1,500

752

Pair of Terracotta Vessels

the ovoid-form vessels with scalloped trim around the necks, the shoulders with four lug handles. h. 32”, dia. 19”

$1,200-$1,800

751

753

Pair of Monumental Amphora-Form Olive Jars

20th century, possibly Mediterranean, the flaring necks decorated with ring turning, the ovoid vessels mounted with handles, the exterior with an oxidized surface. h. 48-3/4”, w. 22”

$1,800-$2,500

752

753

754

Pair of Patinated Metal Tree Tubs

of Asian inspiration, with tapered sides and ring pulls on the side strap mounts, raised on bun feet, the bases with drainage holes.

h. 20”, w. 20”, d. 20”

$1,000-$1,500

755

Labeled Brown Jordan “Florentine” Aluminum Garden Dining Set

20th century, after a design by Richard Frinier, the set including six chairs with woven metal backs and seats, set with scrolled arms and curule stretchers, h. 36”, w. 23”, d. 21-1/2”, and a matching glass-topped dining table with pierced corner brackets and cross stretchers, h. 29”, w. 60-1/2”, d. 37-1/2”.

$1,000-$1,500

756

Suite of Six Mid-Century Modern Directoire-Style Wrought Iron Patio Chairs

third quarter 20th century, probably French, each back centered by an X-form panel, the stiles joined to open arms curving around to extend to legs on pad feet, the legs joined by X-form stretchers, the dished seats of riveted woven iron strapping.

$1,000-$1,500

757

$1,000-$1,500

h. 39-1/2”, w. 18”, d. 16”

Turkish Angora Oushak Carpet

8’ x 10’ 1”

758

$1,200-$1,800

Oushak

758

761

Turkish Angora Oushak Carpet

9’ 4” x 12’

$1,200-$1,800

762

Semi-Antique Persian Tabriz Carpet

9’ 3” x 12’ 2”

$1,000-$1,500

761

762

763

Handsome Victorian Manorial Silverplate Venison Dish and Cover

second quarter 19th century, by Smith, Sissons & Co., Sheffield, of lobed oval form, with a well-and-tree platter above a hot water reservoir, with rocaille molded rim and robust acanthuscrested handles and feet, the conforming dome banded en suite and with acanthus-mounted addorsed scroll handle, engraved on the dome with the arms of Gist quartering Sellick and Plaiseway impaling Levett-Prinsep.

overall h. 14”, l. 26”, w. 19-1/4”

$1,000-$1,500

The arms here are those of William Gist (1802-1878) of Wormington Grove, the second son of Josiah Gist, formerly Sellick (1765-1834), High Sheriff of Gloucester, and Anne Plaiseway, and his wife Frances Levett-Prisep (1805-1871), daughter of Theophilus Levett (1765-1839), High Sheriff of Staffordshire and Frances Prinsep. The couple were married on July 14, 1836 in Wichnor, Staffordshire, and lived at Dixton House (now Dixton Manor) in Alderton parish, Tewkesbury, Gloucestershire. The 1861 and 1871 censuses record the Gists as prosperous members of the landed gentry with numerous servants and a family of tenant farmers. The couple had three sons: William Westenra Gist (1837-1878), Theophilus Gist (18401887) and Francis Gist (1841-1930), the latter two Captains in the 7th Hussars and 5th Dragoon Guards, respectively. William Gist and his wife Frances are buried in the churchyard of St. Margaret’s, Alstone.

763

763 detail

Victorian Silverplate Soup Tureen

third quarter 19th century, Sheffield, by Creswick & Co., of oval form with waisted collar, gadrooned rocaille rim with acanthus-mounted reeded handles and scroll feet, the fitted, domed lid banded and with ring handle en suite.

h. 11”, l. 15-1/2”, w. 12-1/2”

$1,000-$1,500

765

Victorian Silverplate Plateau

fourth quarter 19th century, of oval form, the lobed and waisted frame between oak leaf-and-branch and ovolo banding, fitted with a conforming mirrored plate and raised on four floral rococo scroll feet.

h. 4-1/2”, l. 19-3/4”, w. 15-3/4”

$1,000-$1,500

766

Edwardian Sterling Silver Salver

hallmarked London, 1906-1907, by Edward Barnard & Sons, in the early Georgian taste, of circular form with “Chippendale” rim, raised on four scroll feet.

dia. 22-1/2”; 139.21 t. oz.

Provenance: Succession of Nina S. Hamrick, New Orleans, Louisiana.

$3,500-$5,000

767

English Oak Chest

18th century, the rectangular top with a molded edge, above a conforming case fitted with four long drawers, each double paneled, raised on bracket feet.

h. 36-3/4”, w. 37”, d. 21-1/2”

$1,500-$2,500

768

Near Pair of Chinese Blue and White Porcelain Vases

the necks decorated with leaves and the bodies with intertwined dragons.

h. 17” and 17-1/2”, dia. 9”

$1,000-$1,500

769

Pair of Large Chinese Export Porcelain Vases

now mounted as lamps, the lobed bodies decorated with blue and white flowering trees, raised on giltwood bases.

h. 20-1/2”, dia. 16-1/4”

$1,200-$1,800

767 768

769

770

Chinese Export Porcelain Kangxi Ginger Jar

ca. 1662-1722, decorated with scholars and a walled garden, with a pierced and carved hardwood cover, with an old Christie’s label on the base.

h. 10-1/2”, dia. 7”

$1,000-$1,500

771

George III-Style Walnut and Fruitwood Chest

20th century, the rectangular top banded and with canted corners, featuring decorative pierced veneers, above a conforming case fitted with two short drawers over three long drawers, all with pierced veneers, raised on bracket feet.

h. 40-1/2”, w. 40”, d. 21-1/2”

$1,000-$1,500

772

Pair of Chinese Export Porcelain Ginger Jars

now mounted as lamps, decorated with blue and white birds and peonies, the shoulders mounted with foo dog lugs, raised on acrylic bases.

h. 22”, dia. 8-3/4”

$1,200-$1,800

770

771

772

773

now mounted as lamps, the necks decorated with leaves, the bodies painted with blue and white birds and flowers, mounted on giltwood bases.

h. 20”, dia. 6-1/4”

$1,000-$1,500

774

late 18th century, the face engraved “Page and Christian, Norwich”, the hood with a domed top and three turned finials, the case decorated with traditional Chinese themes, with a brass time and strike movement.

h. 97-1/2”, w. 20-1/2”, d. 10-1/2”

$2,000-$4,000

Pair of Chinese Export Porcelain Baluster Vases

George III Chinoiserie Tall Case Clock

773

775

Suite of Eight Ebonized and Burl Wood Dining Chairs

in the Italian Rococo taste, comprised of two armchairs, h. 44”, w. 28”, d. 24”, and six side chairs, h. 44”, w. 24”, d. 22”, each with a molded and domed crest above a baluster-form splat, joined by low, scrolling arms to the padded seat, raised on cabriole legs ending in scrolled toes.

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$1,000-$1,500

776

Pair of George III Mahogany Pedestal Cabinets

19th century, each with a square top with a slight breakfront, above a case fitted with a single cupboard door, inset with a recessed oval panel and opening to a shelved interior, one with slatted shelves, raised on a plinth base. h. 38-1/2”, w. 18”, d. 17”

$1,000-$1,500

20th century, the molded and dentillated cornice above a case fitted with four astragal-glazed doors, the lower section fitted with four drawers over paneled cupboards, all raised on a plinth base.

$2,000-$4,000

777

George III-Style Mahogany Breakfront

h. 96”, w. 94”, d. 21”

778

Parcel-Gilt Mahogany Mirror in the Chippendale Taste

20th century, the swan’s-neck pediment with a phoenix crest and gilt-trimmed scrolls, the surround with crossetted upper corners set with medallions, lined with carved giltwood trim and leaf-carved side drapes, the bottom with carved giltwood scrollwork.

h. 58”, w. 31-1/2”

$1,000-$1,500

779

Pair of George III Mahogany Games Tables

late 18th century, each with a hinged demi-lune top opening to a gaming interior, above a conforming frieze with decorative patera inlays, raised on tapered square legs headed by bellflower inlays.

h. 30-1/2”, w. 35-1/2”, d. 17-1/2”

$1,200-$1,800

778

779

780

Pair of Carved Giltwood Cornices in the Chippendale Taste

20th century, each carved with a central shell flanked by carved and pierced scrollwork and leaves.

h. 12-1/4”, w. 41”

$1,200-$1,800

781

Pair of Molded Plaster Brackets in the Gothic Taste

fourth quarter 19th century, English or French, the rectangular shelves supported by capitals molded with acanthus leaves and grapes, the shelves resting on a cove molding.

h. 13”, w. 13-3/4”, d. 13”

$1,000-$1,500

782

Pair of George III-Style Mahogany Stools

early 20th century, each with a padded, square top raised on cabriole legs headed by a shell carving and ending in ball-andclaw feet.

h. 15”, w. 24”, d. 24”

$1,000-$1,500

783

George III-Style Rosewood Partner’s Desk

the rectangular top with an inset leather writing surface and glass top, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with a paneled cabinet to one side and three short, graduated drawers to the other, raised on bracket feet.

h. 32”, w. 59”, d. 35-1/2”

$1,500-$2,500

784

Henry Schouten (Belgian, 1864/7-1927)

“Two Setters”

oil on wood panel signed lower right. Framed.

16” x 19-3/4”, framed 21” x 24-1/4”

$1,200-$1,800

785

Pair of Cast Iron Horse Heads

the animated horses with flowing manes, their ears alert and their mouths open.

h. 19”, w. 7-1/4”, d. 13-1/4”

$1,000-$1,500

783

784

785

786

Pair of George II-Style Mahogany Armchairs by Henry Samuel, London

fourth quarter 19th century, one stamped “H. Samuel” on the underside of the front seat rail, of generous proportions, each with a shaped, foliate-carved crest and a pierced and carved splat, the arms with lion’s heads and snakes, raised on cabriole legs ending in carved hairy ball and claw paw feet. h. 41”, w. 31”, d. 24”

Literature: Another pair is illustrated and discussed in Country Life, issue February 1, 1913, p. 168, titled “Shottesbrooke Park, Berks., The Seat of Mr. Guy O. Smith” and Inventory of the Property of Guy O. Smith at Shottesbrooke Park, 1928, Vol. 1 (“Drawing Room/ Pair of carved mahogany Chippendale pattern arm-chairs, decorated with lions’ heads and snakes on arms and with claw feet and needlework seats”); also, illustrated in Ralph Edwards’ The Dictionary of English Furniture, Vol. 1, London, 1953, p. 275, fig. 152. The pair in these references was sold at Sotheby’s, London, July 9, 2019, lot 7.

$3,000-$5,000

787

Unusual Green Japanned Wall Clock

ca. 1800, probably Dutch, the dial decorated with a red-ground Japanned crest and spandrels, the arched hood set with Corinthian pilasters, the case with scrolled hood supports and a serpentine base, decorated with greenground Japanning with raised mandarin figures. h. 48-3/4”, w. 13-1/2”, d. 8-1/4”

$1,000-$1,500

786

787

788

Large Chinese Export Famille Rose Porcelain Punch Bowl

fourth quarter 18th century, the panels with mandarin decoration, framed with gilt scrolled trim, on an orange and gilt “cracked ice” ground, the interior decorated with pink peonies and scattered flowers. h. 6-1/2”, dia. 15-3/4”

$1,000-$1,500

789

Pair of Chinese Export Famille Rose Garniture Vases

fourth quarter 18th century, decorated with panels of mandarin scenes on a “chicken skin” ground, accented with raised orange sprigging, the sides set with orange-trimmed gilt foo dog handles, on carved wooden stands. h. 11-1/2”, w. 4-1/2”, d. 3”

Provenance: Henry Stern Antiques, New Orleans, Louisiana.

$1,200-$1,800

788

789

790

British School (ca. 1800)

“Portrait of a Gentleman with Dog by His Side and Estate in the Distance”

oil on canvas unsigned.

Framed.

50” x 40”, framed 55” x 46”

$2,000-$4,000

791

Georgian Inlaid Mahogany Four-Drawer Chest

ca. 1800, the rectangular top with a line-inlaid border and reeded leading edge, above four long, graduated drawers with line-inlaid borders and brass handles, raised on splayed legs.

h. 42”, w. 40”, d. 20-1/2”

$1,200-$1,800

790

791

792

Late Regency Mahogany Breakfront

second quarter 19th century, the molded, inverted breakfront cornice above a conforming case fitted with two central astragal-glazed doors, flanked by two cupboard doors, each inset with two highly figured oval panels, the lower section fitted with four paneled cupboard doors, the outer two with oval panels, raised on a plinth base. h. 106”, w. 101”, d. 23-1/4”

$4,000-$7,000

19th century and later, the

$3,000-$5,000

793

George III-Style Red-Lacquered and Polychrome Chinoiserie Bookcase

rectangular dentillated cornice above two astragal-glazed doors, the lower section fitted with two drawers over two paneled cupboards, raised on bracket feet, the whole richly accented with gilt and polychrome chinoiserie designs.

h. 77”, w. 43”, d. 16”

793

794

Rare English George III Tortoiseshell Writing Slope

ca. 1800, veneered in segmented tortoiseshell, the cover with a monogrammed silver panel, and four corner silver studs, the interior with a felt-lined, hinged writing surface, a pair of inkpots and a pen tray. h. 3-1/2”, w. 14”, d. 10”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,800-$2,500

795

Meiji Tortoiseshell and Lacquer Jewelry Case

ca. 1868-1912, Japanese, the tortoiseshell-veneered case with a cover decorated with raised lacquer pheasants in prunus branches, the sides with inset scattered panels, the lower drawer with a brass handle and gilt decoration, raised on brass ball feet. h. 6-1/2”, w. 11-1/2”, d. 8-1/2”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,50

796

English Regency Tortoiseshell Tea Caddy

first quarter 19th century, the tortoiseshell-veneered caddy with a block front and a conforming hinged cover, concealing a pair of inner covers over the foil-lined interior, raised on wooden ball feet. h. 6-1/2”, w. 7-3/4”, d. 5”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,200-$1,800

797

English George III Tortoiseshell Tea Caddy

ca. 1800, the octagonal caddy veneered with vibrantly patterned tortoiseshell divided into panels, the hinged cover with a peaked “roof” and set with a ring-form knob, the facade with a metal escutcheon and an oval panel for monograms, the interior retaining most of its foil linings. h. 5”, w. 4-1/4”, d. 3-1/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,200-$1,800

798

Handsome English George III Green-Stained Tortoiseshell Jewelry Case

ca. 1800, veneered with segmented green-stained tortoiseshell, the top with a rectangular central medallion, raised on brass ball feet, the interior lined with pink satin. h. 3-1/4”, w. 10-1/4”, d. 7”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,800-$2,500

799

English William IV Tortoiseshell Tea Caddy

second quarter 19th century, the caddy veneered in segmented green-stained tortoiseshell, the hinged cover opening to reveal a two-compartment interior with tortoiseshell covers and remnants of foil lining, the facade with a molded brass escutcheon, raised on bun feet. h. 6-1/4”, w. 6-1/2”, d. 3-1/4”

Provenance: Collection of Howard and Ann Barnett, New Orleans, Louisiana.

$1,500-$2,500

Pair of Regency Rosewood Bookcases

second quarter 19th century, each with a molded, rectangular cornice above two astragal-glazed doors, flanked to either side by paneled uprights, the lower section fitted with a single, long drawer over two paneled cupboard doors, flanked en suite and raised on a plinth base.

h. 95”, w. 60”, d. 20”

$3,000-$5,000

801

Handsome Urn-Form Coal Grate in the Regency Taste

the steel grate mounted with scrolled brass handles, the front with a brass ram’s-head mount, the base with brass trim and a vented ash drawer.

h. 21-3/4”, w. 18-1/2”, d. 12”

$1,500-$2,500 801

802

802

Regency-Style Mahogany and Parcel-Gilt Dining Table

the rounded, rectangular top banded and supported by two pedestals, each with a foliate-carved columnar standard with a concave tripartite base to scrolling foliate gilt feet, with three 16” leaves.

h. 31”, w. 46-1/2”, l. 72”, ext. l. 120”

$2,500-$4,000

803

Pair of George III-Style Gris Peinte and Parcel-Gilt Armchairs

20th century, in the Adam taste, each with a padded shieldform back within a molded frame, joined to a cushioned seat by padded downswept arms, raised on fluted and tapered square legs ending in block feet.

h. 38”, w. 23”, d. 18-1/2”

$2,000-$4,000

804

Pair of George III-Style Gris Peinte and Parcel-Gilt Armchairs

20th century, in the Adam taste, each with a padded shield-form back within a molded frame, joined to a cushioned seat by padded downswept arms, raised on fluted and tapered square legs ending in block feet. h. 38”, w. 23”, d. 18-1/2”

$2,000-$4,000

805

Pair of Chinese Carved Marble Foo Dogs

with distinctive curly “manes”, the seated dogs poised on carved pedestals draped with “fabric” coverings. h. 28”, w. 11-1/2”, d. 13-3/4”

$1,000-$1,500

806

Pair of Chinese Export Porcelain Blue and White Vases

now mounted as lamps, each cylindrical vase decorated with painted lotus flowers and moths, the lower edge with a border of leaves, raised on wooden bases and mounted with shades.

h. 24-1/4”, w. 11”, d. 9”

$1,000-$1,500

807

Victorian-Style Mahogany Campaign Chest

late 20th century, in two sections, the rectangular top above a case fitted with two short drawers over three graduated long drawers, raised on toupie feet, the whole with traditional brass campaign hardware.

h. 44”, w. 39”, d. 19”

$2,500-$4,000

808

Chinese Export Kangxi Porcelain Warrior

ca. 1662-1722, decorated in the famille verte palette, seated on a tiger hide, labeled from the Ostasiatiska Museet in Sweden.

h. 8”, w. 3-3/4”, d. 2-1/4”

$1,500-$2,500

809

Pair of Chinese Glazed Pottery Foo Dogs

probably Republic period, the menacing foo dogs wearing collars with bells, seated on molded pedestals draped with “fabric” covers, in colorful turquoise, amber and chocolate brown glazes.

h. 22-1/2”, w. 9-1/4”, d. 15-1/2”

$1,000-$1,500

810

Anglo-Indian Bamboo and Seagrass Cabinet

fourth quarter 19th century, the patterned, rectangular cornice above a conforming case fitted with four glazed doors on two levels, all opening to a seagrass-lined interior and shelves, raised on splayed legs.

h. 77”, w. 35-1/2”, d. 14”

$1,000-$1,500

811

Suite of Eight Polychrome Faux Bamboo Armchairs

each with a domed crest above a padded back joined by patterned arms to the padded seat, raised on ring-turned, tapered circular legs joined by an H-form stretcher.

h. 36-1/2”, w. 23”, d. 21”

$1,000-$1,500

812

Chinese Famille Jaune Porcelain Yuhuchunping Vase

ca. 1875-1906, the pear-shaped vase with incised Guangxu reign marks on the bottom.

h. 12-1/2”, dia. 6”

$1,000-$1,500

813

Chinese Famille Jaune Porcelain Vase

ca. 1862-1874, the bottom inscribed with the character marks of Emperor Tongzhi.

h. 11-1/4”, dia. 5-1/2”

$1,000-$1,500

in the 12th-century style, depicting “One Hundred Children at Play”, ink and color on paper, framed in rosewood and matted with ecru floral silk, the reverse covered in a muted raised fabric.

h. 84”, panel w. 17-3/4”, overall w. 106-1/2”

$1,000-$1,500

815

the top with an inset glass panel and decorative banding, above an ogee-molded frieze, raised on rounded legs to inverted shaped toes, the whole richly decorated with gilt accents in the chinoiserie taste.

h. 17”, w. 48”, d. 48”

$1,200-$1,800

814

Chinese-Style Six-Panel Folding Floor Screen

Contemporary Chinoiserie Ebonized and Parcel-Gilt Cocktail Table

814

816

Chesterfield Leather Sofa

of traditional form, with a tufted back, seat and arms, upholstered in caramel leather.

h. 28”, w. 86”, d. 33”

$1,000-$1,500

817

Pair of Edwardian Carved Wooden Urns in the Adam Taste

first quarter 20th century, with cone-form finials and spiralreeded “covers”, the sides decorated with carved medallions framed with swags of bellflowers and carved water leaves, on square bases.

h. 31”

h. 31”, dia. 12-3/4”

$1,000-$1,500

818

Extensive Partial Service of Stevens & Williams “SWL15” Stemware

first quarter 20th century, English, the wheel-cut service including seventeen water goblets, h. 8-1/4”, dia. 3-1/2”, eighteen champagne coupes, h. 5-1/2”, dia. 3-1/2”, eighteen hock glasses, h. 6-1/4”, dia. 3”, seventeen liqueur glasses, h. 4-1/4”, dia. 1-1/2”, and eight finger bowls, h. 2-1/2”, dia. 5”.

78 pieces total

$1,000-$1,500

Edwardian Satinwood Console Table

early 20th century, the D-form top with a double-banded foliate edge and centered by a classical medallion issuing garlands, above a like-decorated and conforming frieze, joined to a lower shelf by tapered supports terminating in splayed legs, the whole richly decorated in the neoclassical style of Robert Adam.

h. 33”, w. 33-1/2”, d. 17”

$1,200-$1,800 819

820 Agra Serapi Runner

2’ 7” x 29’ 8”

$1,000-$1,500

821

Turkish Angora Oushak Carpet

8’ 10” x 11’ 10”

$1,200-$1,800

822

Peshawar Heriz Carpet

8’ 10” x 11’ 11”

$2,000-$4,000

823

Turkish Angora Oushak Carpet

8’ x 9’ 9”

$1,000-$1,500

824

Turkish Angora Oushak Carpet

9’ x 11’ 10”

$1,200-$1,800

822

ARTIST INDEX

(BY LOT NUMBER)

Adams, Franklin, 117, 118

Alaux, Alexandre, 578

Alexander, John, 359

Alocco, Marcel, 32

Aloni, Ron, 221

Anderson, James McConnell ‘Mac’, 370

Anderson, Sophie Gengembre, 541

Anderson, Walter Inglis, 366-369

Aralica, Djordje, 178

Arfsten, Richard, 292

Arman, 33

Arroyave-Portela, Nicholas, 273

Avery, Milton Clark, 343

Azoriano (Marco Ferreira), 186

Bailey, Barry, 174

Balashov, Andrei, 286

Baldwin, Philip, 220

Ball, Mac, 165

Barron, Cedric Errol, 150, 152, 166

Bates, David, 412

Beaman, James, 173

Beanland, Frank, 96

Bearden, James Anthony, 207, 284, 285

Belleudy, Claude, 37

Benazzi, Raffael, 111, 113

Benglis, Lynda, 352

Bennicke, Karen, 264

Berberi, Antoine Gabriel, 177

Berg, Siri, 408

Berrocal, Miguel, 188, 189

Bethel, Vicki, 171

Beuvrin, Alejandro Vega, 192

Binnings, Bill, 129

Bishop, Jacqueline, 143

Blow, Richard Allmand, 339-342

Bolin, Gustave, 21, 22

Boni, Paolo, 27

Bouillault, Yannick, 218

Bourgeois, Douglas, 319, 320

Brabant, Delphine, 211

Brill, Sharon, 267

British School, 790

Brossard, Gerard, 210

Buil, Philippe, 213

Bunnell, Charles, 407

Burgos, Marcello Martin, 183-185

Camin, Rubio, 10

Campoy, Luiz, 289

Canu, Yvonne, 618

Caporicci, Giancarlo, 180

Carrascal, Gabriel, 52

Cascella, Andrea, 109

Castellanos Mellen, Corinne, 540

Chambers, Matthew, 266 Charbonnet, Nicole, 155 Chesade, Florence, 209

Chitakov, Ognyan, 278-280 Chubac, Albert, 36

Claassen, Driaan, 290, 291

Clark, Emery Ann, 151

Clemmer, John, 131

Comby, Henry, 24

Constantinidis, Joanna, 256

Cook, Jeffrey, 133

Cooke, Anita, 148, 156

Cottavoz, Andre, 23

Cox, Stephen, 237-246

Crawford, Hilary, 223

Crovello, William, 203

Cunningham, Imogen, 588

Curie, Parvine, 215

Dalwood, Hubert, 94

Dart, Gawaine, 272

Day, Chris, 222 de Fouquieres, Marie-Claude, 224

DeJonghe, Bernard, 248 Demal, Martine, 217

Devine, Matt, 269 di Suvero, Mark, 200

Dorny, Bertrand, 212

Drysdale, Pippin, 233

Dubuffet, Jean, 219

Dunbar, George Bauer, 121, 122, 406

Eden, Michael, 293

Eisl, Sylvio, 276

Ernst, Randy, 295

Farhi, Jean-Claude, 39

Fassianos, Alekos, 4

Fayral (Pierre LeFaguays), 423

Flamen, Robert, 100

Florsheim, Lillian, 136-139

Flynn, Sarah, 263

Foggini, Jocopo, 224

Fontana, Annemie ,104

Friedeberg, Pedro, 187

Gaiger, Simon, 287, 288

Garcia-Llort, Josep Maria, 54

Gaskell, Ben, 247

Gatin, Roland, 282

Gerstner, Karl, 105 Gertjejansen, Doyle, 170

Gilot, Francoise, 345

Gisleson, Susan, 128

Goeschl, Roland, 9

Goodnough, Robert Arthur, 413 Gorgovenko, Grigori, 286

Graeber, Larry, 164

Graham, Anne Marie, 50

Gruber, Aaronel deRoy, 196

Gubin, Mikhail, 277

Guggisberg, Monica, 220

Guidry, Brian, 162, 163

Guiraud-Riviere, Maurice, 663

Gunning, Simon, 349, 350, 372, 373

Gutierrez, Roberto, 415, 416

Guzman, Alberto, 56, 190

Hachler, Peter, 114

Hans, Jessica, 269

Harris, Ronna S., 153

Heldner, Colette Pope, 358

Heller, Sally, 172, 195

Hemmerling, William ‘Bill’, 602

Henderson, Ewen, 259, 260

Hill, Beatrice, 157-159

Hiquily, Philippe, 216

Hoffmann, Arnulf, 112

Holmgren, Martin, 6, 7

Honegger, Gottfried, 110

Howard, Scott P., 145

Hunter, Clementine, 603

Huppi, Alfonso, 91

Hutson, Ethel, 599

Jakob, Christoph, 275

Jarman, Angela, 228

Johnson, Richard, 140, 141

Joung, Mimi, 294

Karpel, Eli, 204, 205

Kaufmann, Jacques, 257, 258

KAWS (Brian Donnelly), 206

Kern, Arthur Edward, 134

Kernan, Joseph Francis, 594

Kidd, Simon, 251-254

Kipp, Lyman, 194

Kivijarvi, Harry, 8, 13

Kline, Franz, 328

Klouvatos, Kostas, 5

Kofton, David, 286

Kohlmeyer, Ida Rittenberg, 135, 327, 338, 351, 397

Kohyama, Yasuhisa, 261

Koss, Gene, 154

Kubach, Wolfgang, 15-17

Kupferman, Ben, 286

LaChapelle, David, 409

Lam, Wifredo, 208

Lanter, Stephanie, 272

Lavergne, Xavier, 286

Laylon, Harry, 308

Le Verrier, Max, 424

Lee, Hyang Mi R, 26

Leonard, Herman, 426

Leonelli, Simone, 273

Lipsky, Pat, 393

Logo, Oto, 30

Lonas, Mitchell, 168

Londi, Aldo, 265

Lovejoy, Barbara, 127

Lovell, Norah, 149

Maclet, Elisee, 617

Malone, Kate, MBE 234, 235

March, James Massena, 391, 392

Martinon, Pierre, 210

Masinter, Shirley Rabe, 333

Mason, Molly, 176

McCurry, Steve, 427

McGarva, Nina Casson, 225, 226

Metcalf, James, 31

Mihailescu-Nasturel, Prince Monyo, 177

Minujin, Marta, 191

Mishima, Ritsue, 250

Mohl, Tobias, 229-231

Morandini, Marcello, 92

Morandis, Gino, 90

Moses, Forrest Lee, 399

Muhren, Frans, 182

Nakai, Katsumi 89

Ney, Lancelot, 25

Nicholls, Tracy, 270

Nishinaka, Yukito, 249

Ohr, George E., 362, 363

Padovano, Anthony, 201

Panourgias, Thymios, 12

Pattison, Abbott, 202

Payton, Martin, 179

Pedano, Pino, 93

Perlman, Joel, 199

Perret, Sylvaine, 274

Pheulpin, Simone, 214

Picasso, Pablo, 28, 313, 314

Pinoncelli, Pierre, 34, 35

Quinsac, Paul Francois, 644

Rascic, Lala, 169

Reid, Colin, 232

Rey, Joaquin Roca, 11

Rickenrob’s, 269

Rinck, Louis Nicholas Adolphe, 542

Rockmore, Noel, 329-332

Rofka, Michael, 281

Rosenborg, Ralph, 400, 401

Rowan, Tim, 255

Rucker, W. Steve, 124

Rudin, Nelly, 106, 107

Rudolf, Hayne E., 301

Sanz, Eduardo, 55

Sargent, John Singer (after), 580

Scala, Anthony, 223

Schmidt, George, 146

Schneider, Paul, 265

Schouten, Henry, 560, 784

Scott, John Tarrell, 125, 126

Sewell, Robert Van Vorst, 573

Shannon, Frances, 51

Shilstone, Arthur, 606

Shinoda, Morio, 175

Sikeliotis, Georgios, 1-3

Silverman, Arthur, 120, 123

Smith, Betty Anglin, 604

Solitario, Billy, 605

Somchai, Hattakitkosol, 177

Staprans, Raimonds, 404

Starcevic, Helena, 265

Steinert, Claire, 195

Stevens, Will Henry, 116

Tallos, Moric Lajos, 620

Tanaka, Akira, 38

Taylor, Jo, 268

Therrien, Norman, 198

Trivigno, Pat, 119, 360

Troyanov, George, 276

Trsar, Drago, 115

Tsai, Zung-Lung, 262

Tunney, Peter, 405

Turner, Charles Arthur, 144

Utterback, Robin, 398

van der Plas, Niek, 619

Vernon, Emile, 702

Villa, Mario, 130

Villere, Sidonie, 147, 160, 161, 271

Von Nessen, Walter, 308

Warhol, Andy, 335

Warrens, Robert Joseph, 142 Weldon, Terry, 132 White, Caroline, 95 Wicks, Andrew, 236 Wilmsen, Anna, 15-17 Wisniewski, Romauld, 281 Wood, Robert William, 591 Woods, Susan, 296

Woodward, William, 598

Wozniak, Bobby, 167 Wurm, Erwin, 181

Zouni, Opy, 108 Zurik, Jesselyn, 197

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

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

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

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

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

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

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

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

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

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

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

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

Conditions of Sale:

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

1. Introduction

(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction.

(b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG;

• The “Auctioneer ” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot;

• A “ Bidder ” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding);

• A “ Buyer ” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction;

• “ Buyer’s Premium” is defined in Section 4 below;

• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction;

• The “ Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction;

• The “ Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges;

• A “ Lot ” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below;

• The “ Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot;

• The “ Seller ” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot;

• The “ Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature on the bid form, paddle or online registration, 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.

(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).

(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, and for bids placed though online bidding partners LiveAuctioneers and Invaluable consisting of a 28% premium of the Hammer Price, up to and including a Hammer Price of $200,000; and 12% of the amount by which the Lot’s Hammer Price exceeds $200,000 (NO DISCOUNTS); 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.

(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.

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 / American Express #: ____________________________________________

Expiration Date: _____________ CVV #: __________ Billing Zip:

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 12% of the hammer price greater than $200,000 (no discounts). Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required):

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

Rev. Jan. 2023

Tessa Steinkamp Director of Auctions

Susan D. Sarofim CEO

Jelena Restovic James Director of Fine Art

Michele Carolla Fine Art Specialist

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Director of Fine Jewelry GIA Graduate Gemologist

Sean Ranson | Cedric Roberts Gerald Hampton | Emmitt Kendrick, Jr. Sol Carter | Juanita Bazile Theadrow Mark | Furnell Augustin, Jr. Will Williams, Jr. | Cassius Brown Zion Joseph

Denise Haik Office Administration

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

Ellen McKenzie English & Continental Furniture Thomas Halverson American Furniture

Charles C. Cage Silver Specialist & Office Manager

Taylor Eichenwald Assistant Director

Burke Designer

Christa Ougel Photographer & Graphic Designer

AUCTIONEERS ADMINISTRATION OPERATIONS CONSULTANTS

Grace Connors Manager of Online Auctions

Amelia Schussler Creative Director

Sylvia Burn Client Services & Office Administration

Sophie Curtis Client Services

PHOTOGRAPHY

John C. Jones General Consignments

Sophie Curtis Post-Sales Coordinator