A Deeper Dive: Special Collections - The Collection of Joseph Cicio

JOSEPH CICIO | AUCTION OCT 14

THE COLLECTION OF

JOSEPH CICIO FRIENDS**BEARING GIFTS A uniquely talented and visionary creative leader in the world of retail, Joseph Cicio's high-profile positions brought him into contact with leading celebrities of the day. He became close friends with figures such as Lady Nancy Slim Keith, Lauren Bacall, Audrey Hepburn, The Kissingers, and Joan Rivers, earning him a fascinating insight into the private lives of people who most can only read about and few were privileged to know intimately.

Doyle is honored to auction the Collection of Joseph Cicio on Wednesday, October 14, 2020.

This exceptional and extensive collection comprises furniture, decorations and artwork from his home in Litchfield county, Connecticut.

The collection was assembled over many years

by Mr. Cicio through purchases during his travels and gifts presented to Mr. Cicio by his many friends.

Born and raised in Brooklyn, New York, Mr. Cicio followed monastic studies at St. Paul's Abbey in Newton, New Jersey, and Western Priory, in Weston, Vermont, and graduated from the New York School of Interior Design in New York. With a keen eye for design and quality, Mr. Cicio pursued a career in fashion and became a successful and influential tastemaker at a number of America’s most prominent retailers. Mr. Cicio has been the Director of Visual Merchandising for the Lord & Taylor branch stores; the Corporate Senior Vice President for Creative Services and Product Development at R.H. Macy's in New York; the Chairman and CEO of I. Magnin in San Francisco, California; the President of Retail Development for Donna Karan, Inc.; the President of Retail Development for Sun International; the CEO of Mayors Jewelry; the CEO for Penhaligon's worldwide; the European Director for Erno Laszlo; and a consultant for numerous fashion and home furnishings brands worldwide.

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Published in 2018, Friends**Bearing Gifts is about these relationships and the unmatched experience of remembering each one through the beautiful objects they each gave to him.

Featuring stunning photography of Cicio's Connecticut home, which has been published several times, and individual essays on each friend and their gifts — the book deeply emphasizes the importance of relationships, and is a reflection on a life filled with friends, objects, and ultimately, exceptional memories.

For information on ordering “Friends**Bearing Gifts,” please visit PointedLeafPress.com Included in the upcoming auction on October 14 are a number of the special gifts profiled in the book.

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A COLLEC LESSON

CICIO

BY JOSEPH CICIO

An early and most cherished mentor taught me a very important lesson.

While I prepared for my very first trip to Europe, she took me aside and said, “You have a great talent with a gifted eye. Whenever you travel you must buy yourself one beautiful something — promise me you will do that.” Though at the time I was only 22 and she in her early seventies, she confidently confided in me that I would go on to have an amazing career. How could she know that of a young boy from Brooklyn recently out of a Benedictine priory?

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I ALWAYS LOVED AUCTIONS...

ESPECIALLY IF YOU HAVE A FRIEND AT YOUR SIDE TO SHARE IN THE FUN

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She was not done sharing her wisdom. "When you are near my age you will be living with a lifetime of beautiful acquisitions that you had gathered on your many trips to foreign lands," she said, "But it is not the things or the monetary value they might represent my young friend — it is the memories you will hold forever." Of my future collection she said, "Many possessions will be found while in the company of cherished friends. Some will be gifts from those that love you. But all will, with a single glance, bring back the joy of each experience." And here we are some fifty years later. How true and valuable that lesson was. I think perhaps I learned it all too well, as I have been collecting all my life.

Almost always when a guest entered my home, they focused on an object of interest and asked, "Where did you get that?" Of course, there is a story associated with each and every acquisition. So many that after years of encouragement, I finally compiled them in one place.

My first book, Friends**Bearing Gifts, was published by Pointed Leaf Press. In it, I highlight many of the objects that have graced my homes over the years as well as the cherished relationships they represent. My wish was to inspire readers to collect the way I did — joyfully acquiring beautiful things that keep safe my most treasured memories.

Can I ever look at the beautiful Metal Palm Trees in my living room without smiling as I remember how they came into my life? I was touring the French countryside one afternoon with a friend's daughter, who by the grace of God could speak French very well as I surely could not.

We walked into a tiny antique shop and I immediately fell head-over-heels for these two amazing antique trees that appeared right in front of me. I relied on my companion to figure out the cost. Her conversation with the shop

owner seemed to go on for hours as I waited impatiently, but finally they were mine. They have served as the showstopper in every home I lived in since.

I will never forget Bill Blass walking through my front door with a package under his arm saying brusquely, "Here this is for your home. If you don't like it I want it back." How could I not like a gift from my friend? But again, the real treasure is being able to look back fondly on that moment in time. I hold dear my memories of Betty (Lauren Bacall) during our early morning coffee and doughnut sessions at her apartment in the Dakota. She loved gossip, as do I. So we shared stories and laughs constantly. The small mementos she gave me over the years still bring a big smile to my face as I recall those get-togethers.

I always loved auctions. I loved being there and watching the person I was bidding against. It's an exciting experience, especially if you have a friend at your side to share the fun — or gloat over, in one particular instance. When a friend walked into my dining room for dinner one evening, my collection of uniquely-framed Intaglios stopped her in her tracks. "How did you get those? I was bidding on them and did not see you." With good reason, I told her, as I was bidding over the phone. I can picture the look on her face to this day.

Perhaps my favorite memory is of purchasing an amazing set of eight drawings Cocteau did of himself having a face lift. Though I had next to no money, I had to have it, so a dear friend at the time suggested I negotiate a payment schedule. It took me two years, but I finally brought Cocteau home! I love that my friend pushed me to go for it. She would say, "We only live once!" Every time I look at it I think of her and how nervous I was to make a big purchase.

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Opening Pages: Lot 110 Assembled Set of Eight Framed Seal Impressions. Estimate: $500-700 Lot 111 Assembled Set of Nine Framed Seal Impressions. Estimate: $600-900

Previous Pages: Lot 103 Pair of Neoclassical Faux-Grained and Parcel-Gilt Velvet-Upholstered Curule Stools.

Estimate: $2,000-3,000 Lot 129 Pair of Ormolu and Painted Wood Candlestick Lamps. Estimate: $200-300 Lot 131 School of Piat Joseph Sauvage, Mercury and Ceres: Two En Grisaille. Estimate: $5,000-7,000

Lot 148 Pair of Queen Anne Style Black Painted Wing Armchairs. Estimate: $300-500 Lot 149 Two Club Chairs, One with Ikat style salmon upholstery, the other with light yellow silk upholstery. Estimate: $300-500 Lot 151 Pair of George IV Style Wood Lamps with Yellow Shades. Provenance: Madeleine Castaing, Paris. Estimate: $600-800 Lot 152 Pair of French Provincial Style Faux-Marble and Stone Topped Side Cabinets.

Estimate: $2,500-3,500 Lot 153 Pair of Continental Plaster Busts, Possibly Summer and Fall; with a terracotta finish. Estimate: $1,500-2,500

Lot 133 Pair of George I Style Gilt-Gesso Mirror Sconces. Estimate: $600-800

Lot 155 Anglo-Indian Hardwood and Caned Settee. Provenance: Bill Blass. Estimate: $1,5002,500

Lot 134 Pair of Chinese Blue and White Celadon Ground Porcelain Vases. Estimate: $150-250

Lot 160 Tiger-Printed Fabric-Draped Upholstered Stool, With a group of tiger fabric and other cushions. Estimate: $300-500

Lot 135 William IV Mahogany Console.

Estimate: $2,000-3,000

Lot 162 Treen Urn, Height 29 inches.

Estimate: $250-350

Lot 136 Jacob de Wit (Dutch, 1695-1754), Allegory of Hunting, 1733. Estimate: $10,00020,000

Lot 163 Painted Cast-Metal Figure of a Tiger Height 8 3/4 inches. Estimate: $100-150

Lot 137 Terracotta Figure of a Putto, Late 19th century. Estimate: $500-700 Lot 138 Pair of Gilt-Metal Palm Trees, Height 97 inches. Provenance: By repute, Countess Mona von Bismarck, Villa Il Fortino, Capri. Estimate: $6,000-8,000 Lot 139 Upholstered Three-Cushion Sofa, Commissioned from Maison Jansen, Paris.

Estimate: $1,500-2,500 Lot 140 Upholstered Three-Cushion Sofa Commissioned from Maison Jansen, Paris.

Estimate: $1,500-2,500 Lot 141 Pair of Green Velvet-Upholstered Ottomans. Estimate: $1,000-1,500 Lot 142 Pair of Louis XVI Style Gilt-Metal and Kingwood Gueridons. Estimate: $2,500-3,500 Lot 143 Pair of Empire Style Tole-Peinte Columnar Lamps. Estimate: $300-500

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Lot 146 Machine-Made Custom Tiger Pattern Carpet. Estimate: $200-300

Lot 181 Karabagh Rug, Approximately 8 feet 11 inches x 4 feet 11 inches. Estimate: $250-350 Lot 207 Two Silver Wreaths. Estimate: $100150 Lot 262 Pair of Leather-Covered and Nailhead Stools with Interior Storage. Estimate: $400-600 Opposite Page: Lot 106 Striped Satin Imberline-Patterned Upholstered Bench. Estimate: $400-600 Lot 182 Set of Eight George III Style Painted and Parcel-Gilt Dining Chairs, Including Two Armchairs. Estimate: $1,200-1,800 Lot 183 Continental Oak Draw-Leaf Table.

Estimate: $2,000-3,000 Lot 185 George II Style Mahogany and Marble Top Console. Estimate: $2,000-3,000

Lot 144 Pair of Rubelli Leopard Velvet-Upholstered Slipper Chairs. Estimate: $1,500-2,500

Lot 191 Pair of Upholstered Single-Cushion Sofas. Estimate: $600-800

Lot 145 Louis XV Black Painted and Breche d’Alep Marble Table. Estimate: $1,200-1,800

Lot 192 Pair of Black Leather-Covered and Brass Nailhead Trunks. Estimate: $800-1,200

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Lot 194 Pair of Brass Candlestick Floor Lamps with Brass Mounted Pleated and Fringed Shades. Provenance: Slim and Leland Heyward, Hollywood, California. Estimate: $500-700 Lot 196 George III Mahogany Secretaire Bookcase Cabinet. Estimate: $1,000-1,500 Lot 197 English Transfer Decorated Pottery “Kaolin Ware” Chinese Pattern Part Dinner Service. Estimate: $300-400 Lot 202 Swedish Rococo Style Painted Cartel Clock. Estimate: $1,200-1,800 Lot 217 Continental Giltwood Architectural Element. Estimate: $150-250

Following Pages: Lot 347 Regency Style Mahogany Writing Table.

Estimate: $500-700 Lot 359 Continental Walnut Commode.

Estimate: $500-700 Lot 360 Louis XVI Style Giltwood Pier Mirror.

Estimate: $600-800 Lot 362 Russian Icon of the St. Nicholas the Wonderworker. Estimate: $800-1,200 Lot 363 Russian Silver, Cloisonné and Champlevé Enamel Icon of the Mother of God of Kazan, Ivan Tarabrov, Moscow, 1892.

Estimate: $1,200-1,800 Lot 365 Russian Icon of Christ Pantocrator; Together with a Greek Icon of St. Christopher and a Russian Silver Icon of the Kozel’shchansk Mother of God. Estimate: $500-700 Lot 368 Elizabethan Style Oak Tester Bedstead.

Estimate: $2,500-3,500 Lot 369 Neoclassical Style Black-Painted Bench (different upholstery). Estimate: $400-600 Lot 370 Painted Coat of Arms on Panel, 19th century. Estimate: $250-350 Lot 371 Pair of Neoclassical Style Painted Consoles. Estimate: $800-1,200

View the Catalog & Bid online at

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IT IS THE MEMORIES YOU WILL HOLD FOREVER 14

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My life has been blessed in so very many ways. As time went on, I learned another valuable lesson: we do not own these beautiful things forever. We are merely the caretakers of the objects that bring us joy; however, we will always keep the stories associated with them.

I have reached a new beginning in my life, and it's time for me to make new memories. I hope the objects I have collected bring as much joy and laughter to their new owners as they did to me. I often think how amazing it would be if our possessions could speak. What would Betty's silver cigarette box tell us? Who sat under Mona Bismarck's Palm Trees? Where did Bill Blass get that bird drawing? Most importantly, who will cherish these objects next?

Lot 119 Carved Wood Figure of a Dog, Height 20 inches.

Estimate: $200-300

Lot 146 Machine-Made Custom Tiger Pattern Carpet.

Estimate: $200-300 Lot 184 English School 18th Century, Portrait of a Woman in Black,

Oil on canvas, 49 1/2 x 40 inches. Estimate: $2,000-3,000

Lot 273 Zao Wou-Ki (1920-2013), Les Loups, Etching, 1950, Signed and inscribed epreuve d’artiste in pencil, Sheet 15 x 10 1/2 inches. Estimate: $4,000-6,000

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A world-traveler and lifelong student of non-Western arts and cultures, Portuguese artist José de Guimarães combines his passion for anthropology with a bold, bright style.

While de Guimarães’ work exhibits the influences of Matisse, CoBrA group artists and Alexander Calder, there is far more at play. As a student, de Guimarães traveled throughout Europe, studying the Old Master painters. Then, while stationed in Angola during a stint in the Portuguese military, he explored Africa in great depth. Studying many cultures and non-verbal practices across the vast continent, de Guimarães would go on to assemble a remarkable collection of African art – rivaling even the late assemblage artist Arman’s legendary collection. The artist’s collections of Asian and pre-Colombian art would also grow along with his desire to study and amass rare artifacts sourced from locales across the globe. Staunchly opposed to Colonialism in all its forms, de Guimarães has continued to travel and exhibit globally – building a public sculpture program in Mexico City and creating some of the first public art installations to be shown in Japan, in addition to countless exhibitions in major galleries and institutions.

Featured in The Collection of Joseph Cicio is a large-scale painting, “Jogador de Futebol,” from 1980. As vibrantly colorful and contemporary as the best of de Guimarães’ work, it seems fitting the artist would focus on the world’s most beloved international sport – soccer. One can only assume de Guimarães grew to love soccer even more than most native Portuguese as he traversed the globe, finding the sport to be something that connects our many nations in a way few other forms of communication can.

While at first glance “Jogador de Futebol” may read like a contemporized take on the early 20th Century Synchronist movement, the totemic figure is reminiscent of Toltec art – updated with high-key colors and a dash of Jasper Johns-esque Pop running across the top border.

It is this melding of all world cultures where de Guimarães is at his finest. The artist is a proponent of the Anthropophagia art movement, coined by 60s Brazilian artists Lygia Clark, Helio Oiticica and others; the term translates roughly to “cannibalism.” As grotesque as it sounds, the intent is to absorb and combine any and all of the world’s cultural forms – and in so doing, create new forms for a international art movement.

One can imagine de Guimarães consuming the world’s art history with his voracious appetite, and producing new works built on the past in his own unmistakable style.

Furthering the opportunity for discovery and discussion with his audience, José de Guimarães has endeavored to install ethnographic pieces amongst his own work – showing the many through-lines and noting the historical references. De Guimarães staged his paper sculptures within showcases of African art at the Museum of Angouleme in France in 1975.

More recently, he included pieces from his own collection alongside his paintings at the Museo Fundacao Oriente in Lisbon. These seemingly disparate works, all things considered, are often only truly divided by the marking of time, and little else. De Guimarães includes the full information of each artifact on view along with his own paintings, giving each object equal representation and standing.

Wishing to re-establish value to these remarkable cultures, José de Guimarães has created art from archaeology, borne of a lifelong desire to reassert value in the arts and practices oft-ignored by western society. Given that we can trace soccer as far back as 2500 BC, first emanating in Greece, China and Egypt, evolving into the international multi-billion dollar phenomenon it is today, “Jogador de Futebol” is a fine statement of de Guimarães’ unique ability to combine and contemporize the many cultures scattered across our expansive globe.

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Lot 174 Jose de Guimaraes (Portuguese, 1937-1998) Jogador de Futebol, 1980 Signed and dated 1980 Oil on canvas 71 x 55 1/4 inches (180.34 x 140.34 cm) Estimate $15,000-25,000

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risaille is the art of painting in shades of gray. Similarly, painting in shades of brown is called brunaille; and in shades of green, verdaille. Artists have worked in grisaille and its variants for centuries, both for its subtle elegance and as a technique to represent architecture and sculpture.

Although examples of painting in gray can be found both in manuscripts and stained glass from the high Middle Ages, grisaille enjoyed a sudden burst of popularity when it was embraced by major artists in the early 1300s. Foremost of these artists was Giotto di Bondone, whose grisaille trompe-l’oeil frescoes completed in the Scrovegni Chapel in Padua around 1305 offered a monumental example that was soon imitated by other artists throughout Italy. At roughly the same time, book illuminators in France were increasingly introducing grisaille elements into their work. In the 1320s the French master Jean Pucelle created an exquisite book of hours almost entirely in grisaille for no less a patron than the Queen of France herself.

This tiny prayer book, known as the Hours of Jeanne d’Evreux, is a miracle of rich detail and delicate execution. Its refined virtuosity brought a new aesthetic both to courtly art and to book illustration in general—one that emphasized the quality of the draftsmanship rather than the brilliance of the color.

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n the following century, artists working in Flanders used grisaille to depict both architecture and sculpture.

On folding altarpieces ­– triptychs and polyptychs – it became the convention to feature grisaille representations of sculpture in architectural settings on the outer panels, creating an illusion for viewers of standing outside the door of a Gothic church. Since altarpieces were normally kept closed, that subdued front was what lay worshippers normally saw.

However, on holidays and other festive occasions, the doors were opened to reveal the paradise of splendid color within.

to create movable wall panels, overdoors, and overmantels for private homes.

These were painted on canvas for easy installation, which also allowed them to be changed periodically or moved to other locations at will. The subjects of these panels were often light-hearted, featuring animals, children, or interesting objects such as musical instruments, gardening tools and hunting gear.

One important master of this new decorative style was the Dutch artist Jacob de Wit (1695-1754). Although he began his career as a painter of religious subjects, he soon developed a sideline in architectural decoration, mostly in grisaille.

Some of his paintings depicted moral allegories or Roman gods, but his favorite theme by far was adorable little children playing with grown-up accoutrements.

A classic example of this new style is de Wit’s Allegory of Hunting, signed and dated 1733, from the collection of Joseph Cicio. In this large wall panel we see four toddlers playing with what has been left at the end of a stag hunt: a hunting horn, bow, quiver, two eagerly watchful hunting dogs and the felled stag. Although the pride a patron might have taken in killing a stag is less commonly felt today than in the early 18th century, the charm of this imaginary episode is still irresistible.

In the sixteenth century, the contrast of grisaille and intense color was presented in a different way by Michelangelo on the ceiling of the Sistine Chapel. Here heroic figures in full color are shown seated amid illusionistic grisaille architecture and sculpture, which frame the central scenes from the Old Testament. Like Giotto’s trompe-l’oeil figures, the Sistine Ceiling’s elaborate program gave rise to numerous repetitions both in Italy and Northern Europe throughout the sixteenth and seventeenth centuries and well into the eighteenth century.

As grisaille was increasingly used for architectural decoration, artists began

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Lot 136 Jacob de Wit (Dutch, 1695-1754), Allegory of Hunting, 1733, Signed and dated, Oil on canvas, 52 1/2 x 40 5/8 inches Estimate: $10,000-20,000. The Collection of Joseph Cicio AUCTION OCTOBER 14, 2 0 2 0

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he last important master who specialized in grisaille painting was the Franco-Belgian artist Piat Joseph Sauvage (1744-1818). As he came of age in the era of Neoclassicism, it is not surprising that Sauvage’s paintings often depict antique subjects, portrayed as illusionistic sculptural reliefs. Venus, Apollo and other Greco-Roman figures make frequent appearances, as do mobs of little children reminiscent of Jacob de Wit’s. These paintings were immensely popular in the late 18th century and were emulated often. Two examples by one of Sauvage’s followers are Mercury and Ceres, wall panels probably from a larger mythological program. To fit these figures into elongated architectural spaces, the artist has cleverly posed them as halfrecumbent, not only solving his spatial problem but giving these handsome gods an added air of aristocratic relaxation.

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Lot 131 School of Piat Joseph Sauvage, Mercury and Ceres: Two, Oil on canvas, Each 29 1/4 x 48 inches, Unframed Estimate: $5,000-7,000. The Collection of Joseph Cicio.

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Lot 352 Follower of Piat Joseph Sauvage, Portrait of Napoleon Bonaparte as First Consul, Oil on canvas, 24 x 23 3/8 inches.

Estimate: $1,000-3,000. The Collection of Joseph Cicio.

Although Sauvage had worked for many princely patrons and even for the royal family, he supported the French Revolution and the subsequent rise of Napoleon Bonaparte. Sometime around 1800, he produced several trompe-l’oeil profile bust portraits of the young Napoleon as First Consul, painted in imitation of antique marble reliefs. These were an instant sensation, copied so often and so skillfully that it is often very difficult to say for certain which are by Sauvage and which are by others. A particularly fine version of Sauvage’s Napoleon portrait is featured in The Collection of Joseph Cicio. This is an exceptionally striking example, with Napoleon’s handsome profile painted in dark gray against a pale gray background. This portrait thus offers a surprising twist in the story of grisaille: rather than the delicacy and understatement that characterize so many works in this vein, what we see here is sheer drama. It is a harbinger of the Romantic Movement just beginning to dawn.

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s e v a F Joe’s N L IN E & B ID O ATA L O G C E H T V IE W

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Lot 310 Anglo-Indian School, Bird with Flowers, Watercolor on paper, Sight 9 5/8 x 14 inches. Provenance: Bill Blass.

Estimate: $100-200 Lot 285 Princess Grace of Monaco (1929-1982), Flowers, Color offset lithograph, signed and numbered 78/150, Sight of sheet 18 x 22 inches. Provenance: Gift of Princess Grace of Monaco. Estimate: $200-400

special is th s e k a m What ned by is that it’s sig ee times thr Grace Kelly

s i h t e v o l y l I tru ! k r o w d o o g feelLot 101

Attributed to Tim Kirk Macy’s Day Parade, 1991 Signed, Gouache on paper Sheet size 32 1/2 x 26 1/2 inches Estimate: $1,200-1,800

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nal o s r e p e Th of x o b e t t cigare tress iconic ac acall B Lauren Lot 204 Group of Silver Boxes.

Provenance: Gifted from Lauren Bacall.

Estimate: $500-700

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Lot 174

Jose de Guimaraes (Portuguese, 1937-1998), Jogador de Futebol, 1980, Signed and dated, Oil on canvas, 71 x 55 1/4 inches.

Estimate: $15,000-25,000

d one of n fi to l a u s It is unu this size his originals

Lot 171

Andy Warhol (American, 1928-1987), Dawn Mello, from the series Council of Fashion Designers of America, a portfolio of screenprints, 1985, Signed and dated, Ink on paper, 16 x 12 inches.

Provenance: Gifted to Joseph Cicio by Dawn Mello.

Estimate: $2,500-4,500

s r o t a r o c e Every D Item!

Dream Lot 138

Pair of Gilt-Metal Palm Trees, Height 97 inches.

Provenance: By repute, Countess Mona von Bismarck, Villa Il Fortino, Capri.

Estimate: $6,000-8,000

An ing w a r D l a n i Orig arhol

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Meet the Specialists Our team of Specialists welcome the opportunity to share their vast expertise and experience with you. They are available by telephone, email and even videochat to provide free auction estimates in all categories. Discover the value of your collection!

Peter Lang, SVP

Director, English & Continental Furniture & Decorative Arts 212-427-4141, ext 274 Peter.Lang@Doyle.com

Todd Sell, SVP

Appraiser, Silver, Furniture & Decorations 212-427-4141, ext 268 Todd.Sell@Doyle.com

Malcolm N. MacNeil, VP

Director, 19th & 20th Century Decorative Arts 212-427-4141, ext 218 Malcolm.Mac@Doyle.com

David A. Gallager, SVP

Executive Director, Furniture & Decorations / Director, American Furniture & Decorative Arts 212-427-4141, ext 271 David.Gallager@Doyle.com

Mark M. Topalian

Consultant Appraiser, Rugs, Carpets & Tapestries 212-427-4141, ext 244 Rugs@Doyle.com

Angelo Madrigale, SVP

Director, Paintings Director, Contemporary Art 212-427-4141, ext 249 Paintings@Doyle.com

Elaine Banks Stainton

Senior Specialist, Paintings & Drawings 212-427-4141, ext 249 Paintings@Doyle.com

Shani Toledano, VP

Associate Director, Paintings Director, Modern & Post-War Art 212-427-4141, ext 249 Paintings@Doyle.com

Milan Tessler

Cataloguer, Paintings 212-427-4141, ext 249 Paintings@Doyle.com

Cynthia L. Klein, SVP

Director, Prints & Multiples 212-427-4141, ext 246 Prints@Doyle.com

Alexis Gyateng

Cataloguer, Prints & Multiples 212-427-4141, ext 246 Prints@Doyle.com

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