The Dorian Bennett Collection - September 11, 12 & 13, 2020 Auction

Neal Auction presents

THE DORIAN M. BENNETT COLLECTION

featured in our

Important Fall Estates Auction September 11, 12 & 13, 2020

Neal Auction is pleased to present

PROPERTY FROM THE COLLECTION OF

DORIAN M. BENNETT Neal Auction Company is pleased to present property from the collection of noted New Orleans businessman, preservationist and aesthete Dorian M. Bennett.

Founder of the eponymous real estate firm now affiliated with Sotheby’s International Realty, Dorian Bennett has enjoyed a long and distinguished career, specializing in historic properties and featuring a clientele of luminaries. In fact, he is often referred to as “Real Estate Agent to the Stars.”

The award-winning restoration of his Faubourg Marigny office, 2340 Dauphine Street, speaks to Dorian’s preservation credentials, as does his personal residence, the Boutin House. Built in 1825 in ‘The Bend of Bourbon,’ the Creole cottage was once home to the son of Louisiana’s first American governor, William C. C. Claiborne.

Longtime patrons of the arts, Dorian and his beloved wife, Kell, amassed a beautifully curated collection of important fine art highlighting their interest in contemporary and southern artists.

Through close relationships and friendships, the Bennetts displayed a true passion for supporting artists, and with a keen eye, they selected works that embody the best of each one.

PROPERTY FROM THE COLLECTION OF DORIAN M. BENNETT

NEW ORLEANS

(continued) In their home, the contemporary art combined with significant historical southern paintings and art pottery to create a uniquely New Orleans interior. The resulting collection represents a diverse array of voices, artistic styles and media.

Active in civic affairs, Bennett has served on boards including the New Orleans Jazz & Heritage Festival, New Orleans Opera, Le Petit Theatre, Contemporary Arts Center and New Orleans Museum of Art. For more information, call 504-899-5329 or email clientservices@nealauction.com

Preview is available by appointment starting August 24, 2020.

Please visit nealauction.com to make an appointment

Photo Courtesy Sotheby’s International Realty

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1. Valery Kosorukov (Russian/New Orleans, b. 1937), “At the Barre�, 1998, oil on masonite, signed lower right, signed, dated, artist stamp and label with artist, title and date en verso, 9 in. x 12 in., framed. [$500/800]

Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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3. Ti‑Rock Moore (American/New Orleans, b. 1959), “I May Not Get There With You”, 2015, neon tubing with transformer, unsigned, 3 1/2 in. x 59 in., fastened with chord and two‑prong plug. [$1500/2500]

installations and sculpture. In “I May Not Get There With You” from 2015, Moore uses neon to highlight Martin Luther King, Jr.’s foreshadowing last passage from his “I’ve Been to the Mountaintop” speech, given on April 3, 1968, the night before his assassination in Memphis.

Note: For New Orleans artist Ti-Rock Moore, “a daughter of the South and the Civil Rights era, a child and still-denizen of the French Quarter and the arts, and a pioneer of LGBTQ rights who has never lived above the Mason-Dixon line, white privilege and the racism it engenders has always been a highly visible, salient, and uncomfortable reality.” As one of the first students at the New Orleans Center for Creative Arts (NOCCA) in the 1970s, Moore initially pursued dance as her medium, but she eventually detoured to dentistry before emerging in 2014 as a contemporary artist seeking to strike out against racism with protest and often controversial works. Moore renamed herself in homage to legendary French Quarter artist Noel Rockmore, adding “Ti,” short for “petit Rockmore” or “little Rockmore” in the Cajun style.

Ref.: “Ti-Rock Moore.” Jonathan Ferrara Gallery. www.jonathanferraragallery.com. Accessed July 29, 2020. MacCash, Doug. “Artist Ti-Rock Moore Strikes out against Racism with Provocative Works.” Times Picayune. Dec. 15, 2014. www.nola.com. Accessed July 30, 2020

Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Moore’s activism in the 1980s and 1990s indelibly informed her passion and intensity for exploring what is for many “the most recalcitrant of American vices: hatred based on race.” Her work today focuses on dismantling the structures that support racism through her evocative

“Well, I don’t know what will happen now. We’ve got some difficult days ahead. But it really doesn’t matter with me now, because I’ve been to the mountaintop. And I don’t mind. Like anybody, I would like to live a long life. Longevity has its place. But I’m not concerned about that now. I just want to do God’s will. And he’s allowed me to go up to the mountain. And I’ve looked over, and I’ve seen the Promised Land. I may not get there with you. But I want you to know tonight that we, as a people, will get to the Promised Land. So I’m happy tonight.

I’m not worried about anything. I’m not fearing any man. Mine eyes have seen the glory of the coming of the Lord.” - Martin Luther King, Jr.

4. Keith Sonnier (American/Louisiana, 1941‑2020), “Star of David”, neon and transformer, unsigned, 12 1/2 in. x 12 1/2 in., fastened with chord and two‑prong plug. [$2500/3500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Keith Sonnier was born in Mamou, Louisiana where he spent his childhood immersed in the rice fields and Cajun culture of Acadiana. After earning an undergraduate degree from the University of Southwestern Louisiana in Lafayette, Sonnier received an MFA from Rutgers University in 1966 and relocated to New York. He quickly became a fixture in the city’s countercultural art scene, as he worked alongside artists such as Lynda Benglis, Richard Tuttle, Eva Hesse and Richard Serra to radically influence the dialogue on contemporary sculpture through his use of common and industrial materials in a Postminimalist style.

Sonnier’s focus turned to neon light in 1968, and he was one of the first artists to integrate light into his practice. Using copper tubing as a template, Sonnier sketched lines, arches and curves that were ultimately realized in glass tubing enclosing neon gas. The linear aspect of the neon allowed Sonnier to draw in space with light and color, while the colored light interacted with the surrounding architecture - qualities seen in the work offered here.

Sonnier often cited his youth in the south Louisiana landscape as a major source of inspiration for his work. “I grew up in a rice-growing area, so it was flooded half the year. It was the light on the water, and the distance, and seeing the light in architecture from a distance reflected…It was my Turner experience.” For over five decades, Sonnier worked in the language of light having a monumental impact on contemporary art. He has been the subject of more than 150 solo exhibitions worldwide and has participated in numerous group exhibitions Ref.: “Biography.” Keith Sonnier. www.keithsonnier.net. Accessed July 30, 2020. “In Memoriam: Keith Sonnier (1941 – 2020): An Artist that Brought the Light of Louisiana to the World.” Ogden Museum of Southern Art. www. ogdenmuseum.org. Accessed July 30, 2020

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5. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Brancusi in Bilbao”, 2003, bronze, signed, titled and dated on self‑base, overall h. 23 3/4 in. [$1000/1500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

6. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “The Dangerous Cow”, 2006, painted plastic and wood, signed, titled, dated, inscribed “Folsom” and “Gallery Bienvenu” label with artist, title and date under self‑base, h. 9 1/2 in., w. 9 1/2 in., d. 6 in. [$2000/3000]

Provenance: Callan Contemporary, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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11. Clarence John Laughlin (American/Louisiana, 1905‑1985), “Elegy for the Old South (No.6) Woodlawn Plantation”, 1946 negative creation date, gelatin silver print mounted to board, signed, titled and dated lower margin, artist stamp, title, negative creation date and printing dates in artist’s hand en verso of mounting board, 10 3/4 in. x 13 1/2 in., framed. [$800/1200] Provenance: A Gallery for Fine Photography, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Ill.: Laughlin Clarence John. Ghosts Along the Mississippi. New York: John Scribner’s Sons, 1951, pl. 98.

12. Deborah Luster (American/Louisiana, b. 1951), “62 ‑ East Carroll Parish Prison Farm, Transylvania, LA, Kenny Smith, Sentence 18 Months, DOC #111222, DOB 7‑20‑59”, gelatin silver print on aluminum typed label with artist, title and edition number “2/25” on backing paper, 5 in. x 4 in., framed. [$700/1000]

Provenance: Arthur Roger Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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15. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Fat of the Land, Morgan City, (Cajun Fare)”, 1938, gelatin silver print, signed and dated lower left, 15 7/8 in. x 19 7/8 in., framed. [$1500/2500]

Provenance: A Gallery for Fine Photography, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

16. Yousuf Karsh (Armenian/ Canadian, 1908‑2002), “Tennessee Williams”, 1956 negative creation date, gelatin silver print, unsigned, 14 in. x 12 in., framed. [$1800/2500] Provenance: Faulkner Bookstore, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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18. Diane Arbus (American/New York, 1923‑1971), “Russian Midget Friends in a Living Room on 100th Street, NYC”, 1963 negative creation date, gelatin silver print, signed, titled, dated and numbered “29/75”, printed by Neil Selkirk, Diane Arbus and Doon Arbus stamps en verso, “A Gallery for Fine Photography, New Orleans” label on backing, 20 in. x 16 in., framed. [$10000/15000] Provenance: A Gallery for Fine Photography, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Diane Arbus was an American photographer best known for her intimate black-and-white portraits. Arbus often photographed people considered on the fringes of society at the time, including the mentally ill, transgender people and circus performers. “A photograph is a secret about a secret. The more it tells you the less you know,” she once mused. Arbus was raised in a wealthy family, enabling her to pursue artistic interests from an early age. She first saw the photographs of Mathew Brady, Paul Strand and Eugène Atget while visiting Alfred Stieglitz’s gallery with her husband in 1941. During the mid-1940s, the couple began a commercial photography venture that contributed to Vogue and Harper’s Bazaar. By the 1950s, Arbus began roaming the streets of New York with her camera, documenting the city through its residents. These images were later shown alongside those of Garry Winogrand and Lee Friedlander in The Museum of Modern Art’s exhibition “New Documents” of 1967. In the famous image offered here, Arbus captures not only a group of New York citizens, but also the intersectional and intangible community bonds formed amongst the individuals living life as little people and immigrants in the city.

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36. Benny Andrews (American/Georgia, 1930‑2006), “Chess”, 1964, oil on canvas, signed, titled and dated lower left, “The Charleston Renaissance Gallery, Charleston, SC” label on backing, sight 14 3/4 in. x 10 3/4 in., framed. [$5000/8000]

Provenance: The Charleston Renaissance Gallery, Charleston, SC; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Benny Andrews was born in 1930 to a mixed-race family in rural Georgia. After becoming the first member of his family to graduate from high school, he attended Fort Valley State College supported by a scholarship as he was not allowed to attend the University of Georgia due to the color of his skin. After serving as a military policeman in the Korean War, Andrews utilized the G.I. Bill to attend the School of the Art Institute of Chicago in 1954. For the first time, Andrews was able to enter an art museum and view original art, an experience that would inspire a lifetime of his own work.

After graduating in 1958, Andrews moved to New York, where he maintained a studio for the rest of his life. Despite limited connections to the city’s art world, he began to exhibit regularly at the Forum Gallery by 1962, where his first solo exhibition received favorable reviews in the New York Times. Within his first six years of residence in New York, Andrews became an established artist.

His work was accepted for exhibition in New York, Philadelphia, Detroit and Provincetown. During the 1960s, Andrews also became increasingly active with the Civil Rights Movement, protesting institutional racism on picket lines at the Metropolitan Museum of Art and the Whitney Museum of American Art and co-founding the Black Emergency Cultural Coalition in 1969, which demanded greater visibility for people of color in art museums and within the historical canon. Andrews developed a reputation as a socially minded artist dedicated to community activism and education.

“Chess” offered here is a powerful example of the canvases behind Andrews’ early success in New York, and it makes clear why his figurative works are among his most memorable subjects.

As Catherine Fox wrote of Andrews: “His art was stubbornly figurative when abstraction was boss, hot when art was cool. He bridled at being pigeonholed as a ‘black artist,’ lambasting critics for ‘not being able to see a black figure done by a black artist without automatically assuming that the work is propagandistic or politicizing.’ Whatever the color of his characters’ skins, his subject was the human spirit.”

Early in his career, Andrews developed a technique of roughly incorporating collaged fabric and paper into his paintings, and this “rough collage” became a stylistic hallmark of his work. He had clearly mastered this technique by the time he created “Chess” in 1964, as areas of the scene emerge from the canvas towards the viewer with a strong three-dimensional quality. The red chess pieces stand in stark contrast to the black and white board and loom in front of the figure almost as if on a surrealist landscape. Throughout his career Benny Andrews’s painting practice combined elements of figuration, abstraction and surrealism. His subject matter ranged from personal narrative and cultural history to political allegory.

Andrews’ work is the subject of an ongoing permanent collection exhibition at the Ogden Museum of Southern Art celebrating one of the South’s greatest voices in the visual arts, and the newly re-opened and expanded Museum of Modern Art in New York currently has on exhibit Andrews’ “No More Games” of 1971 from its permanent collection.

Ref.: Fox, Catherine. “Benny Andrews: 1930-2006: Native Georgian Illustrated America’s Soul.” The Atlanta Journal-Constitution. Nov. 12, 2006. Gruber, Richard J. American Icons: From Madison to Manhattan, the Art of Benny Andrews, 1948-1997. Jackson: University Press of Mississippi, 2005. Sims, Lowery Stokes. Benny Andrews: From Earth to Heaven and Back. New York: Michael Rosenfeld Gallery, 2013. “Overview” and “Gallery and Exhibitions.” Benny Andrews Estate. www.bennyandrews.com. Accessed July 26, 2020.

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40. Mel Bochner (American/Pennsylvania, b. 1940), “Irascible”, 2006, oil on velvet, signed, titled. dated and “Barbara Davis Gallery, Houston, TX” label with artist, title and date on stretcher, 35 3/4 in. x 45 1/4 in., framed. [$40000/60000]

Provenance: Barbara Davis Gallery, Houston, TX; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Mel Bochner is a conceptual artist best known for his works incorporating language, and he is widely acknowledged as a leading figure in the development of Conceptual Art in New York in the 1960s and 1970s. “Irascible,” like all of his text-based works, takes its name from the first word in the series. The following words or phrases are all synonyms, some immediately recognizable, while others more colloquial. In this important series of works, Bochner explores the intersection of linguistic and visual representation, with the individualized color scheme of each word or each letter within the series serving to further this investigation. “My feeling was that there were ways of extending, or re-inventing visual experience, but that it was very important that it remain visual,” Bochner has stated. “The viewer should enter the idea through a visual or phenomenological experience rather than simply reading it.”

Ref.: “Mel Bochner.” Maddox Gallery. www.maddoxgallery.com. Accessed Aug 1, 2020

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42. James Surls (American/Texas, b. 1943), “I Am in the House”, carved wood sculpture, unsigned, h. 77 in., w. 39 in., d. 18 in. [$8000/12000] Provenance: Carpenter + Hochman Gallery, Dallas, TX; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Artist James Surls has been creating and exhibiting his work nationally and internationally for five decades, and he is one of the most widely celebrated sculptors of the American West. His works have a distinctive modernist style that combines metal and wood in dynamic fashion. Primarily based on natural forms, his pieces often consist of needles or branches radiating from a core element, as evidenced by “I Am in the House” offered here, and symbolizing growth to the artist. Trees have long been at the center of Surls’ work, and many of his sculptures are influenced by the East Texas landscape where he was raised and spent many years. Surls’ evident mastery over his materials allows him to imbue his work with intriguing paradoxes that have evolved over the course of his career and continue to fascinate viewers.

Ref.: “James Surls.” Arthur Roger Gallery. www.arthurrogergallery.com. Accessed July 29, 2020.

43. Bradley Sabin (American/New Orleans, 20th c.), “Untitled (Bowl of Fruits and Vegetables)”, ceramic, unsigned, h. 13 1/2 in., dia. 21 in. [$2000/3000]

Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: An avid gardener and sculptor, Bradley Sabin earned a BFA from the School of the Art Institute of Chicago and an MFA from Louisiana State University. When discussing his work, he has said: “The inspiration for my ceramic sculpture is the natural world around me. I moved to Louisiana 15 years ago from Michigan and since that time have used my observations and love of gardening as my library of forms. I equate the care and time needed to have a healthy garden to human relationships that also require nurturing and protecting to flourish.” The lush ceramic bowl of fruit and vegetables offered here demonstrates Sabin’s masterful techniques in color and glaze as well as texture. The cloudy and muted color provides a timelessness and universality to the well-known forms of squash, peppers, asparagus and melon, while the textures of each clay vegetable or fruit have a tactility that implores touch. Sabin’s work has a unique ability to create new connections between nature and its observers – merging the exterior with the interior in a flawless interpretation of nature.

Ref.: “Bradley Sabin.” Callan Contemporary. www.callancontemporary.com. Accessed July 29, 2020

44. Clyde Connell (American/Louisiana, 1901‑1998), “NO 16”, 1991, wood, metal and mixed media, signed, initialed, titled and dated on reverse, h. 19 1/2 in., w. 5 in., d. 2 in. [$500/700]

Provenance: Arthur Roger Gallery, New York, NY; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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51. Group of Italian Architectural Plans and Motifs, “Villino Affende”, “Villino Levi”, “Ferramenti Ornamentali nella Città di Siena” and “Scuderia del Sig. Cav. Ermanno Curiel”, 1882, 4 lithographs on paper, from Ricordi di Architettura, sights 13 in. x 18 1/2 in. to 19 in. x 13 1/2 in., framed alike. (4 pcs.) [$1000/1500] Provenance: Acquired from an antique shop on the Piazza Santa Croce, Florence, Italy; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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53. Pierre‑Joseph Redouté (Belgian, 1759‑1840), “Allium Longispathum”, “Allium Foliosum”, “Asparagus Tenuifolius”, “Yucca Filamentosa”, “Canna Indica”, “Iris Monnier”, “Eucomis Rogia” and “Musa Paradisiaca”, c. 1805, hand‑colored stipple engravings, from Les Liliacees, each with “W. Grahm Arader III Galleries, King of Prussia, PA” label, 4 with information page on backing paper, 20 3/4 in. x 14 in., framed alike. (8 pcs.) [$3000/5000] Provenance: Arader Galleries, New York, NY; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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54. Will Henry Stevens (American/Louisiana, 1881‑1949), “Untitled (Fishing Boat)”, 1934, pastel on paper, signed and dated lower left, typed label “On Loan to Alexandria Museum of Art 1995‑96, from Blue Spiral 1, Asheville, N.C.” with artist on backing paper, 17 7/8 in. x 21 7/8 in., framed. [$3000/5000]

Provenance: Blue Spiral 1, Asheville, NC; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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55. Alvyk Boyd Cruise (American/New Orleans, 1909‑1988), “St. Louis Cathedral”, watercolor on paper, signed lower right, “Cohen’s Picture Store, Washington, D.C.” label in an envelope on backing paper, 14 in. x 11 in., framed. [$1000/1500]

Provenance: Neal Auction Company, Oct. 16, 1992, lot 137; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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62. Richmond Barthé (American/Mississippi, 1901‑1989), “Male Nude”, bronze, signed and incised “Modern Art Fdry NY” on self‑base, h. 9 1/4 in., w. 2 1/2 in., w. 2 1/2 in. [$6000/8000] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Harlem Renaissance sculptor Richmond Barthé was born and raised in Bay St. Louis, Mississippi. His Catholic upbringing and the scenic Gulf coast provided early inspiration for his childhood artistic pursuits. With only a middle school education, Barthé accepted a position as a houseboy in New Orleans at the age of fourteen, where he was supported in his art by both the family who employed him and his surrounding community. After Barthé donated two oil paintings to his church, the parish priest raised funds in 1924 for Barthé to enroll at the Art Institute in Chicago, one of only two art schools that accepted African American students at the time. Upon graduation from the Art Institute in 1929, Barthé moved to New York, where he established a studio in Harlem. Immersing himself in the cultural renaissance flourishing there, Barthé developed a reputation among scholars of the New Negro Movement, including Alain Locke, who became a passionate collector and promoter of his work, as well as Langston Hughes.

Barthé believed that if an artist considered how an object felt, rather than how it looked, then his hands could execute the sculpture with little interference from the conscious mind. As a homosexual African American man, Barthé maintained an openness to studying people of all races, creeds and demographics. Eager to understand the nature of societies and the people who function within them, Barthé sought to capture the spiritual essence of his subjects. He is best known for the allegorical and genre figures he executed during the 1930s and 1940s, subjects inspired by his Christian faith, interest in African lore, and fascination with theatre and dance. During these decades, Barthé was the only African American sculptor for whom the male nude was a focus. These important figures initially appear to fall within the tradition of realism, but their elongated and sometimes distorted forms lend an expressionist quality, as seen in the bronze offered here.

Ref.: “Barthé, Richmond (1901-1989).” The Johnson Collection. www.thejohnsoncollection.org.

Accessed July 27, 2020

63. John T. Scott (American/New Orleans, 1940‑2007), “Bunk Johnson’s Corner”, kinetic bronze, unsigned, titled on reverse, h. 13 in., w. 26 in., d. 36 1/2 in. [$1500/2500] Provenance: Arthur Roger Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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65. Douglas Bourgeois (American/Louisiana, b. 1951), “Untitled (Head & Moth)”, 1998, mixed media assemblage, artist, title, date, inscribed “(note inside) New Orleans” and “Bassetti Fine Art” label on backing paper, 9 3/4 in. x 6 in., shadow box frame. [$1000/1500] Provenance: Bassetti Fine Art, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

67. Leonard Flettrich (American/New Orleans, 1916‑1970), “Untitled (Flambeau)”, oil and mixed media on panel, signed lower left, 22 1/2 in. x 11 3/8 in., framed. [$800/1200]

Provenance: Gift of the artist’s wife; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Leonard Flettrich painted both representational and abstract works throughout his career, often combining elements of both styles. Parallels can be seen between the works of Flettrich and his contemporaries. He studied with Paul Ninas at the Arts and Crafts Club School of New Orleans and exhibited his paintings alongside John McCrady at the Downtown Gallery. Bonnie Crone wrote: “Art for Flettrich was a very personal thing – a medium to express emotion and truth.” He enjoyed a long and productive career in New Orleans, exhibiting both locally and nationally, while also teaching at the Arts and Crafts Club, the Tulane University School of Architecture, and the New Orleans Academy of Art. In the work offered here, Flettrich draws on the inspiration of Mardi Gras to capture a dramatic and abstracted scene of flambeau carriers at a night parade.

Ref.: Crone, Bonnie. “Around the Belt: A Notebook of New Orleans Happenings.” New Orleans.

Mar. 1971, pp. 4-8

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68. Leonard Flettrich (American/New Orleans, 1916‑1970), “Untitled (Floral Still Life)”, oil on canvas, signed lower right, 36 in. x 30 in., framed. [$1000/1500]

Provenance: Collection of Jacob Manguno, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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69. William Woodward (American/Louisiana, 1859‑1939), “Untitled (Creole Tomatoes)”, 1899, oil on canvas, initialed and dated lower left, signed, dated and “Charles G. Calder, Providence, R.I.” label on stretcher, 6 in. x 8 in., framed. [$2000/3000] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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70. Blake Boyd (American/Louisiana, b.

1970), “Bunny”, 2008, watercolor on paper, pencil‑signed lower right, “Arthur Roger Gallery, New Orleans” label with artist, title and date on backing paper, 13 in. x 10 1/2 in., framed. [$800/1200] Provenance: Arthur Roger Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

71. Doyle Gertjejansen (American/ Louisiana, b. 1948), “The Great Wave ‑ 5”, 2007, acrylic on gallery‑wrapped canvas, signed, titled, dated and inscribed en verso, 30 1/4 in. x 30 1/4 in., unframed. [$1500/2500]

Provenance: Arthur Roger Gallery, New Orleans, LA.; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Doyle Gertjejansen has been creating large scale mixed media abstractions for over four decades. He received an MFA from the University of Minnesota and has resided in New Orleans for most of his professional career while serving as professor and in numerous other capacities at the University of New Orleans.

Gertjejansen’s colorful works, such as “The Great Wave - 5” offered here, combine pictorial imagery, in this case Hokusai’s famous masterwork, with formal abstraction through a wide-ranging process of mark-making. For all of their dynamic feeling of improvisation, each canvas is a carefully created composition that seems to celebrate the formal art of painting.

Ref.: “Doyle Gertjejansen.” Callan Contemporary. www.callancontemporary.com.

Accessed July 29, 2020

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72. Jacqueline Bishop (American/New Orleans, b. 1955), “Metamorphosis”, 1987, mixed media on panel, pencil‑signed, titled and dated en verso, 4 1/2 in. x 6 1/2 in., shadow box frame hand‑painted by artist. [$1200/1800] Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: New Orleans artist Jacqueline Bishop’s body of work is a beautiful and thought-provoking visual exploration of the ecological and environmental challenges facing the world today. She once described her focus as: “My work explores the politicizing of nature, species extinction and eco-political injustice influenced by thirty years of traveling third world countries.” Bishop’s travels have led her all over the world as she examines the relationship humans have with their natural surroundings. Fauna, flora, changing landscapes, deforestation and the loss of intimacy with nature all provide her with motivation as she creates provocative paintings that connect with viewers long after their initial viewing. Bishop’s studies on philosophy, biodiversity and ecology are deeply felt themes that manifest themselves in often unexpected ways in her paintings and assemblages. In “Metamorphosis” offered here, the symbolism is undeniable with the central imagery of a human form melding with a butterfly, placing thoughts of death, rebirth and transformation at the forefront.

Ref.: “Jacqueline Bishop.” Arthur Roger Gallery. www.arthurrogergallery. com. Accessed July 28 ,2020. Fox-Smith, James. “Perspectives: Jacqueline Bishop.” Country Roads. July 25, 2017. www.countryroadsmagazine.com.

Accessed July 28, 2020. Kemp, John R. “Jacqueline Bishop.” 64 Parishes. www.64parishes.org. Accessed July 28, 2020.

73. Raine Bedsole (American/Louisiana, b. 1960), “Rilke’s Love Poetry”, mixed media on panel, signed lower right, 24 in. x 80 in., unframed. [$2500/3500] Provenance: Callan Contemporary, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: New Orleans-based artist Raine Bedsole is a prizewinner in the Florence Biennale and the recipient of a Joan Mitchell Foundation public sculpture grant. Born in Mobile, Alabama, Bedsole spent much of her childhood on a farm, and her early experiences inspired a lifelong interest in nature. Natural forms and textures inform much of her work, which often includes nautical imagery. Her famous boats harken back to several historical references: Egyptian barques that ferried souls into the afterlife; poignant Norse longboats; Native American canoes and life-saving rafts. The recurring motif has a lyrical poeticism and hints at a mysterious narrative, a feeling further heightened by the layers of paint, texture, fabric and found paper incorporated into her work. In “”Rilke’s Love Poetry” offered here, pages of poetry are layered into the background, blending material with myth and the power of natural form.

Ref.: “Biography.” Raine Bedsole. www.rainebedsole.com. Accessed July 28, 2020. “Raine Bedsole.” Callan Contemporary. www.callancontemporary.com. Accessed July 28, 2020. Speer, Richard. “Raine Bedsole: Gallery Bienvenu (New Orleans, LA).” www.richardspeer.com. Accessed July 28, 2020.

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74. Robert Hodge (American/Texas, b. 1979), “All My Sons”, 2014, mixed media on panel, signed and dated en verso, 39 in. x 27 in., framed. [$1000/1500]

Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Robert Hodge studied visual art at the Pratt Institute, Atlanta College of Art and the Skowhegan School of Painting and Sculpture before returning to his hometown of Houston, Texas where he currently lives and works. He is an interdisciplinary artist working in multiple media who has become a fixture in the city’s art scene and exhibited his work in numerous national and international institutions.

Hodge developed a signature “cut-out” technique, in which he prepares foraged and found papers for his paintings through a labor-intensive process in which he glues or sews countless layers together. He may then bury the papers or leave them exposed to the elements to achieve a more weathered aesthetic that best expresses the tactility of urban environments. The fused papers take on a sculptural presence with richly textured surfaces that Hodge can then precisely carve, initially using an X-Acto knife and then a laser cutter. Each cut reveals the intricate layers beneath through an overlying powerful message of “windows” of text.

“All My Sons” offered here was part of a series Hodge created for his first solo exhibition “Robert Hodge: Destroy and Rebuild” at the Contemporary Arts Museum Houston in 2014. The series features paintings which superimpose hip-hop references over prints of historical paintings and drawings, primarily images including a master and slave. Self-described as one of the artist’s favorites in the show, “All My Sons” pairs John Trumbull’s portrait of George Washington of 1780 with text from Nas’ “If I Ruled the World (Imagine That).” The Trumbull portrait also depicts the president’s slave and valet, Billy Lee. Hodge addressed this inclusion: “Billy Lee had a 30-year relationship with George Washington. They were really close. Movies never show you that side; it’s always black and white. But these relationships were complicated.” Because he also was thinking about the horrors of Hurricane Katrina when creating “All My Sons,” Hodge replaced Washington’s head with an image of George W. Bush.

“My work primarily consists of drawing, printmaking and mixed media collage that evokes culturally relevant themes and is informed by histories of West Africa, and political events of historical and cultural significance. My intention is to tell stories about our diverse culture; knowing this is critical to understanding why I appropriate and collage POP images together to create a new dialogue out of the commercial language that surrounds us in everyday life.” - Robert Hodge. Described in Artforum as “insistently uncompromising,” Hodge’s work utilizes irreverent irony to address concerns about race and equality while compelling his viewers to take a stand.

Ref.: Bryan-Wilson, Julia. “Openings: Robert Hodge.” Artforum. Mar. 2015. www.artforum.com.

Accessed July 27, 2020. Glentzer, Molly. “Robert Hodge’s ‘Destroy and Rebuild’ confronts European art with hip-hop culture.” Houston Chronicle. Oct. 10, 2014. www.houstonchronicle.com.

Accessed July 27, 2020

Exh.: “Robert Hodge: Destroy and Rebuild.” Contemporary Arts Museum Houston. Oct. 2014 Jan. 2015. Title is “All My Sons.”

75. Valery Kosorukov (Russian/New Orleans, b. 1937), “Guests, Nutcracker Ballet in the Bolshoi Theatre”, 1991, pastel on paper, signed and dated lower right, signed, titled, dated and inscribed en verso, 19 5/8 in. x 24 1/2 in., framed. [$700/1000].

Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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77. Ron Bechet (American/New Orleans, b. 1956), “Reconciliation”, 2006, charcoal on paper, unsigned, 63 1/2 in. x 72 in., framed. [$1500/2500] Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Exh.: “Lovely As A Tree”, Louisiana Art and Science Museum, Baton Rouge, LA, Aug. 6 to Nov. 27, 2016, and illustrated in accompanying catalogue, p. 10.

Note: New Orleans native Ron Bechet earned a BA from the University of New Orleans and MFA from Yale School of Art, returning to New Orleans in 1982 to teach and create art. He is a former longtime chairman of the art department and a current professor of art at Xavier University of Louisiana.

Bechet’s preferred medium is large-scale painting and drawing, and his work is often inspired by south Louisiana.

“His works explore the interstitial zone between ideas, such as reality and illusion; the boundary where both entities exist or are possible.” Trees are a common subject of Bechet’s work, and he has uncovered unlimited potential in their varied forms. The meaning often goes well beyond the surface with layers of double entendre, symbolism and anthropomorphic elements even in the more literal works such as “Reconciliation” offered here. As Elizabeth Chubbuck Weinstein writes, “For Bechet, the tree symbolizes human strike, endurance, and ultimately the hope of reconciliation.”

Bechet’s art encourages the viewer to look deeper for meaning through his deft handling of material and skillful renderings.

Ref.: McNulty, Ian. “Artist Profile: Ron Bechet.” My New Orleans. Apr. 18, 2007. www.myneworleans.com. Accessed July 26, 2020. “Ron Bechet Biography.” Ogden Museum of Southern Art. https://ogdenmuseum. org. Accessed July 26, 2020. Weinstein, Elizabeth Chubbuck. Lovely as a Tree. Baton Rouge, LA: Louisiana Art & Science Museum, 2016.

78. Valery Kosorukov (Russian/New Orleans, b. 1937), “Two Dryads”, pastel on paper, signed lower right, signed and titled en verso, 23 1/2 in. x 31 5/8 in., framed. [$600/800] Provenance: Acquired from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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80. Pedro Friedeberg (Italian/Mexico, b. 1936), “Candelabra”, gilt and carved wood, signed on underside, h. 16 1/2 in., w. 14 1/2 in., d. 6 in. [$2000/3000] Provenance: Collection of Donna Perret, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

92. Thomas Bruno (American/Louisiana, b. 1960), “Caribbean Dancer”, bronze, signed and numbered “5/10” on left leg, h. 19 1/2 in., w. 9 1/2 in., d. 5 in., marble base, overall h. 20 1/2 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Thomas Bruno is a native of New Orleans and third generation artist, who began training in his father’s workshop on Calhoun Street when only ten years old. He learned an appreciation for English and American antique furniture while gaining woodworking and fabrication skills.

Bruno received a BA from Louisiana State University and MA in English Literature from the University of New Orleans. He established his own workshop in 1987 where he focused primarily on furniture-making. Under the guidance of Kinsey Branham at the New Orleans Academy of Fine Arts, Bruno honed his skills in sculpture - a medium to which he has been almost exclusively devoted since 2000. He created his own foundry in 1996, located on Tchoupitoulas Street in New Orleans, where he casts bronze sculptures in limited editions of ten or less. Modeled from life when possible, Bruno’s figurative works combine a sense of movement and modernity with classical methods.

Ref.: “Bio.” Thomas Bruno. www.thomasbruno.com. Accessed July 27, 2020.

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93. Arthur Kern (American/Louisiana, b. 1931), “Mardi Gras Horse”, polyester resin, signed on underside, h. 8 3/4 in., w. 12 in., d. 4 1/8 in., wood base, overall h. 10 5/8 in. [$2000/3000] Provenance: Mario Villa Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

94. Luis Cruz Azaceta (Cuban/American, b. 1942), “Road to Ricovery[sic]”, 2010, mixed media, signed, titled and dated in shoe, h. 72 in., w. 11 1/4 in., d. 4 in. [$5000/8000] Provenance: Commissioned from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Luis Cruz Azaceta was born in Havana and escaped to the United States at the age of eighteen, settling in first New York and then New Orleans where he lives and works today. Azaceta has described his initial desire to create art as a need “to communicate [his] experiences as a Cuban in New York.” Themes in his work since the late 1970s address immigration, gun violence, oppression, displacement, social isolation and racial injustice through the lens of his own personal narrative.

Azaceta’s artistic style has evolved throughout the course of his career from abstraction to neo-expressionism to pop and back again, while the concept of confronting the reality and morality of the global condition takes center stage. The most symbolic subjects of his work, such as labyrinths, tormented figures, walls and balseros journeying through the turbulent ocean continue to be relevant to today’s issues of border politics and immigration.

Azaceta often combines media in unexpected ways that illicit an emotional response from his viewer, a technique which is perfectly showcased in the work offered here. A pair of hand-decorated shoes are positioned pointing in opposite directions on a board and placed across from each other on either side of a white line. The line, which in this context evokes the concept of a border or perhaps a solid white road line, acts to highlight the senseless separation of the pair and indicates that neither can transgress onto the other side. “Road to Ricovery[sic]” was created as part of a series of works by over eighty artists who incorporated TOMS shoes into pieces auctioned to benefit the Tropical Health Alliance Foundation. Participating artists included Gene Koss, Jacqueline Bishop, Raine Bedsole and Karoline Schleh, among many others.

Ref.: “Bio.” Luis Cruz Azaceta. www.luiscruzazaceta-art.com. Accessed Aug. 2, 2020. “Luis Cruz Azaceta.” George Adams Gallery. www.georgeadamsgallery.com. Accessed Aug. 2, 2020

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164. Newcomb College Art Pottery Vase, 1930, decorated by Henrietta Davidson Bailey, with relief carved pine cone motif, matte glaze with blue, green and purple underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. SR7, h. 13 in., dia. 5 3/4 in. [$6000/9000] Provenance: Jean Bragg Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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165. Dale Chihuly (American, b. 1941), “Untitled�, c. 2000, early glass Macchia series, signed, speckled, with red lip wrap, h. 8 in., w. 6 1/2 in., d. 6 in.; presented in a plexiglas case, h. 11 3/4 in., w. 10 1/2 in., d. 10 1/2 in. [$3000/5000]

Provenance: Arthur Roger Gallery, New Orleans, LA.; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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166. Large George Ohr Art Pottery Double‑Handled Vase, baluster form, with in‑body twist, cobalt glaze, green speckled glaze interior neck, cursive signature “G.E. Ohr”, h. 10 1/8 in., dia. 6 3/4 in. [$8000/12000] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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167. George Ohr Art Pottery Teapot, inverted lid, green glaze with speckles, mustard finish interior, stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 1/4 in., w. 5 in., d. 6 1/4 in. [$12000/18000]

172. George Ohr Art Pottery Cream Pitcher, ribbon handle, glossy black glaze, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 3/8 in., w. 2 1/2 in., d. 3 in. [$4000/6000]

Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

171. George Ohr Art Pottery Vase, corseted form, green and red speckled glaze, umber interior, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 7 3/4 in., dia. 3 1/2 in. [$4000/6000]

173. George Ohr Art Pottery Lidded Vessel, scalloped rim, umber glaze with black spattering, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 1/4 in., dia. 4 3/4 in. [$2000/3000] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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175. Newcomb College Art Pottery Vase, 1917, decorated by Sadie Irvine, with relief carved floral motif, matte glaze with glue, green and purple underglaze, base marked with Newcomb cipher, decorator’s mark, and reg. no. IP79, h. 7 1/8 in., dia. 3 3/4 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

176. Newcomb College Art Pottery Vase, 1917, decorated by Henrietta Davidson Bailey, with stylized iris band, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph F. Meyer’s decorator’s mark, potter’s mark, reg. no. JD53, h. 7 in., dia. 8 1/4 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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177. Newcomb College Art Pottery Vase, 1915, decorated by Anna Frances Simpson, with relief carved hollyhocks motif matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. HQ6, h. 8 3/4 in., dia. 4 3/4 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

178. Newcomb College Art Pottery Vase, decorated by Corinne Marie Chalaron, with incised floral motif, matte glaze with blue and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. MZ61, h. 7 3/4 in., dia. 3 1/2 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

179. Newcomb College Art Pottery Bowl, 1923, decorated by Anna Frances Simpson, with relief carved Japanese quince motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MX18, h. 3 1/8 in., dia. 8 7/8 in. [$1000/1500]

181. George Ohr Art Pottery Vase, squat form with tapered neck, gun‑metal glaze, with mustard interior finish, cursive signature “G.E. Ohr”, h. 4 1/2 in., dia. 4 1/4 in. [$1200/1800]

180. George Ohr Art Pottery Bisque Vessel, ruffled rim with crimped body, red and beige marbleized clays, cursive signature “G.E. Ohr”, h. 4 1/4 in., w. 4 3/4 in., d. 5 1/4 in. [$1200/1800]

182. George Ohr Art Pottery Mug, loop handle, bronze metallic glaze, with black spattering, cursive signature “G.E. Ohr”, h. 4 1/4 in., w. 2 3/4 in., d. 4 in. [$800/1200]

Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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184. Newcomb College Art Pottery Vase, 1920, decorated by Edith Barnes Hohn, with relief carved tulip motif, matte glaze with blue, green and purple underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. LA 66, h. 6 in., dia. 4 1/2 in. [$1000/1500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

185. Newcomb College Art Pottery Pitcher, 1925, decorated by Sadie Irvine, with relief carved floral band, matte glaze with blue, green and purple underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. OB69, h. 8 in., dia. 5 1/2 in. [$1200/1800] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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186. Newcomb College Art Pottery Vase, 1920, decorated by Sadie Irvine, with relief carved band of freesia, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. KS49, h. 5 in., dia. 5 1/4 in. [$1000/1500] Provenance: Jean Bragg Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

191A. George Ohr Art Pottery Vase, rolled rim, green, mustard and black speckled glaze, base stamped “G.E. Ohr/Biloxi, Miss.”, h. 6 in., dia. 4 1/2 in. [$1000/1500] Provenance: Antique store in Gulfport, MS; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

336. Louisiana Creole Cherrywood Armoire, early 19th c., ogee cornice, shaped apron, cabriole legs, later interior with belt of drawers, h. 81 1/4 in., w. 56 in., d. 19 7/8 in. [$4000/6000] Provenance: Acquired from Dee Mollenkopf, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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341. William Woodward (American/Louisiana, 1859‑1939), “Madame John’s Legacy”, 1914, Rafaelli crayon on board, signed and dated lower right, signed, titled and inscribed en verso, 14 3/4 in. x 20 in., framed. [$25000/35000] Provenance: Estate of Naomi Marshall; Tim Foley, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Through his paintings of New Orleans, William Woodward was intent on capturing the French Quarter in the late 19th and early 20th centuries, both its architecture and the vanishing customs of the Creole people who inhabited it. Woodward depicted street scenes with iconic structures such as “Madame John’s Legacy” offered here, as well as private homes and commercial buildings. His intent – to preserve a moment in time of a city that was constantly changing – yielded important works of art that capture much more than a period photograph by incorporating Woodward’s skillful handling of the vibrant medium with his sense of romance for New Orleans. This series of works, while not primarily an architectural record, laid the foundation for the local preservationist movement soon to follow in the French Quarter.

One of the few surviving 18th century building complexes in Louisiana and one of the best examples of French colonial architecture in North America, the original structure of Madame John’s Legacy managed to survive the 1794 fire in the French Quarter unscathed. There is some debate regarding the loss sustained in the prior 1788 fire. The owner, Manuel de Lanzos, instructed his American contractor, Robert Jones, to recycle as much brick and iron hardware as possible from his damaged house, suggesting that enough of it survived the fire to be included in the rebuilding. Whether entirely rebuilt in 1788 or a restoration of a previous structure, the house retained the French colonial style that prevailed before the disaster and is now designated an official National Historic Landmark. The house’s name was inspired by George Washington

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Cable’s 1874 short story “‘Tite Poulette,” in which the character Monsieur John bequeaths a Dumaine Street house to his mistress, known as Madame John. Though older parts of the French Quarter were once dotted with similar structures, today very few houses like Madame John’s Legacy remain.

Woodward, who often created several slightly varying works portraying the same scene, included a 1902 etching of Madame John’s Legacy in his book, French Quarter Etchings of Old New Orleans, published in 1938. The permanent collection of the Louisiana State Museum holds a larger painting of Madame John’s Legacy by Woodward, while one other depiction is known to be held in a private collection. Interestingly in the view offered here, Woodward forgoes the inclusion of the horse-drawn cart seen in the other views in favor of a vendor depicted in the open doorway of the lower level with additional varied figures along the walkway. This choice allowed the architecture of the famous building to take center stage in the more closely centered and carefully constructed composition.

Ref.: Bragg, Jean and Susan Saward. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, 2004. Hinkley, Robert. William Woodward: American Impressionist. New Orleans: MPress, 2009. Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938. Byrnes, James B. Early Views of the Vieux Carre. New Orleans: Isaac Delgado Museum of Art, 1965.

347. Clarence Millet (American/New Orleans, 1897‑1959), “Sculptor’s Holiday”, oil on canvas, signed lower right, “National Academy of Design 129th Annual Exhibition 1954” label with artist and title on stretcher, 28 in. x 22 in., period frame. [$7000/10000] Provenance: Neal Auction Company, June 7, 2003, lot 395; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Clarence Millet returned to New Orleans in 1924 after completing studies at the Art Students’ League in New York. His favored subject during this time was the distinctive buildings and street life of the French Quarter. Millet also taught night classes at the Arts and Crafts Club of New Orleans of which he was a founding member. In December of 1927, a number of members of the Arts and Crafts Club, including Millet, organized the New Orleans Art League. The organization held weekly meetings, organized annual exhibitions at the Delgado Museum of Art, opened studios and mounted traveling exhibitions of members’ work. The New Orleans Art League maintained their headquarters in the French Quarter at 630 Toulouse Street in the old Governor Claiborne house. The courtyard, depicted in the work offered here, with its exterior stairway and distinctive archways provided the inspiration for many artistic renderings by artists such as Millet, who maintained a studio in the building, and visitors alike. In this rare perspective on the famous architecture, Millet depicts the discarded tools and works in progress of an anonymous sculptor from the vantage point of the top of the staircase.

Ref.: Bonner, Judith. “New Orleans Art League.” 64 Parishes. www.64parishes.org. Accessed July 28, 2020.

353. John McCrady (American/ Mississippi, 1911‑1968), “Used Car Bargains”, c. 1938, oil on canvas board, unsigned, 22 in. x 20 in., framed with artist and title plaque; accompanied by a copy of the certificate of authenticity from Naomi Marshall.

(2 pcs.) [$10000/15000] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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361. Conrad Albrizio (American/ Louisiana, 1894‑1973), “Italian Landscape”, oil on canvas, unsigned, “Tilden‑Foley Gallery, New Orleans” label with artist and title on stretcher, 19 in. x 23 in., framed. [$1000/1500] Provenance: Tilden‑Foley Gallery, New Orleans; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

392. Attributed Richard LaBarre Goodwin (American/New York, 1840‑1910), “Untitled (Fish)”, oil on canvas, unsigned, inscribed “Painted by R. LaBarre Goodwin” en verso, 18 in. x 24 in., framed. [$800/1200] Provenance: Estate of W. E. Groves, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

362. Douglas Bourgeois (American/Louisiana, b. 1951), “Small Objects Series #37”, 1999, gouache on paper, signed and dated lower right, “Arthur Roger Gallery, New Orleans” label with artist, title and date on backing paper, 15 in. x 11 1/4 in., framed. [$1000/1500] Provenance: Arthur Roger Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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509. Provincial Louis XV‑Style Oak Buffet a Deux Corps, 18th c., upper case with arched molded cornice, botanical carved frieze and doors, shelf interior, three drawers, lower case with conforming doors, shaped apron, h. 95 1/2 in., w. 58 1/4 in., d. 27 in. [$1200/1800] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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762. KAWS (American, b. 1974), “KAWS X Jun Takahashi Undercover Bear Companion (Black)”, painted cast vinyl, stamped “UNDERCOVER ©KAWS..09 MEDICOM TOY 2009 CHINA” on underside, h. 6 in. [$800/1200] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

763. KAWS (American, b. 1974), “KAWS X Jun Takahashi Undercover Bear Companion (White)”, painted cast vinyl, stamped “UNDERCOVER ©KAWS..09 MEDICOM TOY 2009 CHINA” on underside, h. 6 in. [$800/1200]

Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

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824. Willie Birch (American/New Orleans, b. 1942), “For Sassy (Sarah Vaughn)”, 1992, papier‑mâché, mixed media and plexiglass, signed, titled and dated on right side, h. 25 5/8 in., w. 21 in., d. 12 5/8 in. [$1000/1500] Provenance: Arthur Roger Gallery, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Note: Willie Birch was born in New Orleans and grew up in the Magnolia housing projects of the city where his artistic talents were apparent early in life. Birch attended Southern University in New Orleans, studying under sculptor Jack Jordan. From 1962 to 1965, Birch served in the United States Air Force, allowing him to return to SUNO and complete his BA in painting under the G.I. Bill in 1969. Birch later enrolled under full scholarship at the Maryland Institute College of Art and received his MFA in 1973. Moving to New York in 1975, Birch developed friendships with a number of now prominent African American artists, including David Hammons, Faith Ringold and Dawoud Bey. In 1984, Birch was appointed adjunct professor at Touro College in the Bronx. That same year, he began using papier-mâché and created a series of sculptures that explored black identity and culture, inspired by African designs and the papier-mâché crucifix on view in St. Louis Cathedral in New Orleans during the 1984 World’s Fair. This work for the first time combined his fine art background with his interest in folk art. Birch states: “Some part of me is always searching for a metaphor, and paper became a metaphor to me for what is fragile and what is wasteful in this culture, and the idea of challenging what is considered precious.”

Throughout the mid-1990s and following a return to his hometown of New Orleans, Birch continued to create powerful papier-mâché sculptures of African American figures such as the one offered here.

Ref.: Lash, Miranda. „Willie Birch.“ 64 Parishes. www.64parishes.org. Accessed July 30, 2020. Rubin, David S., Leslie King-Hammond, et al. Celebrating Freedom: The Art of Willie Birch. New Orleans, LA: Hudson Hills Press, 2004. “Willie Birch: Looking Back 1978-2003.” Arthur Roger Gallery. www. arthurrogergallery.com. Accessed July 30, 2020

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1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.

2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.

School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”

B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.

C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.

D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.

E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.

In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if

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any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.

AUCTION BIDDING AND SALE 1.

The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2.

At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.

3.

Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.

4.

At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.

5.

No lots will be released before the end of the auction.

6.

If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7.

Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature.

Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.

8.

Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9.

Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.

10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.

11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.

14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.

16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction.

18.

Dealers must provide Neal Auction Company with proper documentation prior to bidding.

20.

Bids are required to be made in U.S. dollars.

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.

24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

1.

Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor.

ABSENTEE/TELEPHONE/ONLINE BIDS 1.

All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.

2.

All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3.

Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids.

In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.

4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5.

Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).

INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company.

Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot.

IMPORT/EXPORT

9.

Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

PAYMENT

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7.

In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8.

If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

1.

The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.

2.

The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders.

3.

In the event of any dispute, the Neal Auction Company sale record is conclusive.

4.

Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.

5.

Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate.

6.

Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.

7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8.

VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.

9.

Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.

PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles.

MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein.

The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.

All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein.

Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer.

In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein).

These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

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Neal Auction Company Neal Auction Company Neal Auction Company Neal Auction Company

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Auctioneers Appraisers Antiques Fine ArtArtArt Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine Art Auctioneers && Appraisers of of Antiques && Fine 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form

20/08M 15/06M 15/06M 16/08M 15/06M 16/08M 19/10M 15/06M

PLEASE REVIEW GUIDELINES FOR AOR BSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES F ABSENTEE & TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR BSENTEE && TELEPHONE BIDDING : : : : PLEASE REVIEW GUIDELINES FAOR ABSENTEE & TELEPHONE BIDDING 4

ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !

LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION !

LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !

LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction . )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE

! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS

!UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE . !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE

!

LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !

LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !

LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

)N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last First Last First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ : ??????????????????????? : ???????????????? #ITY ?????????????????????????????????????????????

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Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding.

Dealers must provide Neal Auction Company with proper documentation bidding.

Dealers must provide Neal Auction Company with proper documentation prior to prior bidding.

Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

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Method: Card Method: Check Card Method: Method: Card 7IRE 7IRE 7IRE7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD .UMBER #ALL &OR 0HONE "ID

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I Iunderstand that Neal Auction Company undertakes execution of absentee bids as aasconvenience clients and is not responsible inadvertent failI understand that Neal Auction Company undertakes the execution of absentee a convenience for clients and is not responsible for inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as aabids convenience for clients and is not responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids as convenience forfor clients and is not for inadvertent failI Iunderstand understand that Neal Auction Company undertakes the execution of absentee bids as aaconvenience convenience for clients and isresponsible not responsible for inadvertent failure understand that Neal Auction Company undertakes the execution ofabsentee absentee bids convenience for clients and is not responsible inadvertent failthat Neal Auction Company undertakes the execution of bids as aas for clients and is not responsible for inadvertent failure ure to execute or any in the execution Iread have read and agree to the “Conditions Sale� as stated in the catalogue. understand thatthat ure to execute bids, or for any error in the bids.

Iand have read and agree to the “Conditions Sale� in the catalogue.

I understand that or for any error in the of bids.

IIIhave read and agree toto the ofof Sale� asas stated instated the I understand to execute or for any error inexecution the execution of of bids.

I have read and agree to“Conditions the “Conditions of Sale� as stated incatalogue. the catalogue.

I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids.

I bids. have agree to the “Conditions of Sale� as of stated inas the catalogue.

I understand thatthat toure execute bids, orany forfor any error inexecution the execution ofof bids. have read and agree to the “Conditions ofof Sale� as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the “Conditions Sale� stated in the catalogue.

III understand that a aabuyer’s premium will be charged each lot purchased at 22% up to and including $200,000 plus 10% of hammer price greater than $200,000.

ForFor apremium buyer’s premium will be charged on lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000.

For buyer’s premium will be charged onon each loteach purchased at 25% 22% up toup and including $200,000 plus 10% of the price greater than $200,000.

For abuyer’s buyer’s premium will be charged on each lot purchased at25% 22% up toincluding and including $200,000 plus 10% of the hammer price greater than $200,000. aabuyer’s will be charged on each lot purchased at up to and $200,000 plus 10% of thethe hammer price greater than $200,000.

For buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% ofhammer the hammer price greater than $200,000.

For premium will be charged on each lot purchased at to and including $200,000 plus 15% of the hammer price greater than $200,000.

For purchase made by cash, check or wire transfer within 15 days of the auction, buyer’s premium shall be discounted of 22%.

No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyer’s premium be discounted 2.5% of this No exceptions. purchase made bymade cash, check orcheck wire transfer within 15 days of the auction, thethe buyer’s premium shall beshall discounted 2.5% ofthis this 22%.

No22%. exceptions. purchase made cash, check orwire wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 2.5% of this 22%.

No exceptions. purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3%2.5% of3% 25%.

No exceptions. purchase made byby cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% ofthis this 25%.

No exceptions. purchase made by cash, check or transfer within 15 days of the auction, the buyer’s premium shall be discounted of this 25%.

No exceptions.

Signature Required Signature Required Signature Required Signature Required

Date Date Date Date

Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Fax Form on or before Friday, 1/31/15 ForFor Internal Use Only: Approved _____________Registered ___________ Entered ____________ Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax or E-mail Form form on or on or before Friday,6/26/15 Thursday, 2/6/20 9/10/20 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 to to 504-617-6431 504-617-6431 oror bids@nealauction.com 504-617-9990

229 229 229 229

44

40. Mel Bochner (American/Pennsylvania, b. 1940), “Irascible”, 2006, oil on velvet, signed, titled. dated and “Barbara Davis Gallery, Houston, TX” label with artist, title and date on stretcher, 35 3/4 in. x 45 1/4 in., framed. [$40000/60000]

Provenance: Barbara Davis Gallery, Houston, TX.

Note: Mel Bochner is a conceptual artist best known for his works incorporating language, and he is widely acknowledged as a leading figure in the development of Conceptual Art in New York in the 1960s and 1970s. “Irascible,” like all of his text-based works, takes its name from the first word in the series. The following words or phrases are all synonyms, some immediately recognizable, while others more colloquial. In this important series of works, Bochner explores the intersection of linguistic and visual representation, with the individualized color scheme of each word or each letter within the series serving to further this investigation. “My feeling was that there were ways of extending, or re-inventing visual experience, but that it was very important that it remain visual,” Bochner has stated. “The viewer should enter the idea through a visual or phenomenological experience rather than simply reading it.”

Ref.: “Mel Bochner.” Maddox Gallery. www.maddoxgallery.com. Accessed Aug 1, 2020

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art

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