Fine Art Auction: April 27, 2019

New Orleans Auction galleries

FINE ART AUCTION: APRIL 27, 2019

Fine Art Auction

April 27, 2019

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504.566.1849 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium Pictured Left: Lot 86

Lot 78

Exhibition: April 15-26, 2019 Monday - Friday, 9:00 a.m. - 5:00 p.m.

Saturday, April 13, 10:00 a.m. - 3:00 p.m.

Evening Reception: Thursday, April 25, 2019, 5 - 7:00 p.m.

Lot Schedule: Please note that times are approximate

Saturday, April 27, 2019 Lots 1-243 10:00 - 11:00

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75

11:00 - 12:00

76

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149

12:00 -

1:00

150

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225

1:00

1:30

226

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243

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LETTER FROM THE DIRECTOR OF FINE ART

Ever since I was a high school student, I knew I wanted to work in an auction house. I am not even sure how the idea rooted itself, but I was adamant about this. As an exchange student, I spent a year in London studying at Christie’s Education.

London to me was a magical city, a sort of cultural Disney World. During my year there I explored every corner of almost every neighborhood and museum, but some of the fondest memories of my time there were of walking through Richmond Park on early spring mornings, the air crisp and heady with scents of fields and verdant woods waking after the cold winter months, flashes of deer running in the distance.

It is this London I loved the most: the ability to turn a corner and quiet your own thoughts in a garden or a park, away from the streets that were forever pulsating with noises of buses, taxis, tourists, and the city’s inhabitants going about their busy lives. This experience is much akin to looking at a beautifully executed landscape, be it one of the Seine river gently rolling through a French countryside by an Impressionist such as Albert Lebourg, or of a New England valley, executed in large plains of color by Wolf Kahn, or a rare view into Louisiana marshes and prairies by 20th-century master Elemore Morgan, Jr. I returned to London recently to attend the Global Auction Summit and I got to revisit some of my old stomping grounds, as well as explore new sights. One of the most memorable visits was to the Wallace Collection, a place I never had the chance to visit during my student days. With only two hours left before we had to head to the airport, my colleague Taylor and I frantically ran to the museum from our hotel, drenched by the persistent London drizzle. Walking into the large townhome, with its rather austere exterior

contrasting sharply with the lavish rooms, was much akin to my garden detours as a student: a sanctuary amidst an ordinary life.

We were lost in the gilded and crimson world of the house that was a home to five generations of one of Europe’s wealthiest families, the Marquesses of Hertford, who filled it with some of the finest examples of French and English 18th- and 19th-century fine and decorative arts and furniture. The experience was made even more fascinating by the fact that I felt almost an interloper, as the collection is a very personal one, amassed by various members of the family over a long period of time. The visit became a respite from the chaotic morning and the feeling stayed with me beyond the few hours I was there.

Returning home from a trip that is enriching can be at once both inspiring and frustrating. For me there is a long process of adjusting and then looking for ways to use the new knowledge for changes necessary in order to keep growing as a mother, wife, employee and colleague.

I hope that the following pages, filled with artwork representing many art movements, from Old Master prints to large-scale contemporary canvases, will provide you with an escape from everyday life.

See you at the auction,

Jelena James Director of Fine Art

LOT 130

Lot 72

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1 Circle of Bartolome Esteban Murillo (Spanish, 1617-1682) “Christ as Savior of the World” oil on canvas unsigned; accompanied by a letter from Frederick B. Anthon, restorer for the Los Angeles County Museum, dated 1962, attributing the work to Juan de Valdes-Leal for a donation to the Immaculate Heart School.

Framed.

41-3/8” x 31-1/2”, framed 51-3/4” x 44” Provenance: Frederick B. Anthon, restorer for the Los Angeles County Museum, Westside Studio, Los Angeles, California, 1962; Immaculate Heart School, Hollywood, California (donation); Market Street Antiques, North Long Beach, California, 1966; Edward and Mary Welch, Long Beach, California, thence by descent; Private collection, Chicago, Illinois. $7,000-$10,000

This fine portrait is more closely associated with the work of Bartolome Esteban Murillo than with his contemporary and close associate Juan de Valdes Leal, even though the influence of both is present. In 1962, Frederick Anthon, head conservator for the Los Angeles County Museum (LACMA), restored, cleaned and attributed this work to Valdes Leal in his letter of donation to the Immaculate Heart School without clarifying why. Was the attribution made prior to his handling of it? Was it stylistically different enough to support the hand of his colleague or one of their collective students?

Both Murillo and Valdes Leal were from Seville, a major 17th-century port with a bustling art scene that exposed the young artists to the Flemish and Venetian masters. Both artists apprenticed under the same family- Murillo with Juan del Castillo in Seville and Valdes Leal with his nephew Antonio in Cordoba. Both were instructed in the style of Zurbaran and Velazquez. Their works continued to overlap throughout their careers- they collaborated on and/or competed against each other for Church commissions and co-founded the Seville Academy of Fine Art with Franciso de Herrera el Mozo in 1656.

Though they drew upon the same corpus of work, stylistically they do differ. Valdes Leal focused on the lives of Saints and redefined the Dutch vanitas into somber, even macabre, Spanish Catholic martyr scenes with memento mori that advocated "finis gloriae mundi" (end of world glories). Valdes Leal's paintings are typically more Spanish with greater influence drawn from Zubaran’s dramatic lighting and the elongated tortuous bodies, redolent of El Greco. Furthermore, the focus is rarely on the psychology or the humanism of the subjects/saints, but rather their sacrifice/martyrdom for the greater good of Christendom.

While the saturation of the red robe and the extreme use of chiaroscuro and tenebrism (that spotlight the right side of Christ’s

face against a near featureless background in this painting) are characteristic of the lasting influence Zubaran had on Valdes Leal’s oeuvre, the soft luminosity and modelling of the face engenders a humanistic focus on Christ more indicative of Murillo, and the numerous depictions of “Christ, Savior of the World” (with the orb and raised hand), better known in Latin as “Salvator Mundi”, Murillo executed.

According to the Getty Provenance Index Search, twentytwo depictions of “Salvator Mundi” by “Murillo” were sold at auction between 1771 and 1839. This painting resembles the following descriptions: the 1771 sale by Skinner and Dyke of works from the collection of Charles Alexandre de Calonne (though no measurements were given); and, it resembles the lengthy description of the “Salvator Mundi” from the catalogue of Charles O’Neil, Esq. sold through Foster in 1834 (though the measurements do not match). The depiction of Christ in this lot is characteristic of Murillo’s depictions of Christ, notably “St. John the Baptist Pointing to Christ”, 1655, (conserved in the Art Institute of Chicago), and the study for that painting, “Head of Christ”, which sold at Sotheby’s, New York, January, 26, 2006, lot 299. See also “Christ Carrying the Cross”, (LAM) no. 575, in Diego Angulo Iniguez, Murillo (1982), of which a copy (from the Circle of Murillo) was sold through Humrich Fine Art. In each of these works Christ is distinctly portrayed with the same ovoid shaped head, prominent forehead, deep set round dark eyes and narrow aquiline nose that slightly hooks the tip/columella over the nostril. Murillo also employed similar oval formats in his paintings and similar sized canvases.

As these works clearly demonstrate, particularly the Humrich, this painting is from the circle of Murillo and belongs to same canon of Spanish Baroque art that Murillo and Valdes Leal created together in Seville.

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2 Italian School (Second Half 17th Century) “Last Supper” oil on canvas unsigned, stretcher with remnants of several labels, including two late 19th-/ early 20th-century German labels, one with “Innsbruck Hauptbahnhof”.

Framed.

27-1/4” x 37-1/4”, framed 31-3/4” x 41-3/8” $1,500-$2,500

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3 Circle of Hendrik van Balen (Flemish, 1575-1632) “Seven Works of Mercy/Feeding the Poor” oil on canvas unsigned, New York relining stencil en verso, three mid-20th-century labels on frame backing - one effaced, one with artist and title, and a “George Aram, Expert Restorer/Charleston, S.C.” card.

Framed.

23” x 31-1/2”, framed 31” x 39-1/4” $10,000-$15,000

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4 Attributed to Jan van Yperen Thomas (Flemish, 1617-1678) “The Drunken Silenus” oil on canvas unsigned.

Framed.

35” x 45-1/2”, framed 43-1/2” x 54” $6,000-$9,000

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5 Willem van de Velde the Younger (Dutch, 1633-1707) “Ship on the Breakers by a Rocky Coast”, 1666 oil on canvas faintly monogrammed and dated “1666” lower right.

Framed.

15-1/2” x 25”, framed 21-1/8” x 30-1/2” Provenance: Private collection, Germany/Florida, U.S.A. $30,000-$50,000

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6 Wouter Knijff (Dutch, 1607-1693) “Amsterdam, View of the Delft with the Oude Kerk in the Background”, ca. 1650 oil on wood panel monogrammed and dated “165_?” lower left center, old stencil and English label en verso.

Framed.

20-5/8” x 33”, framed 28” x 40-3/8” Provenance: Probably Paul Brandt, Amsterdam, May 20, 1980, lot 8; Private collection, Germany/Florida, U.S.A. $12,000-$18,000

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7 Italian School (Fourth Quarter 18th/First Quarter 19th Century) “Riverscape near Mountains with Washwomen and a Fisherman “ oil on canvas monogrammed “FL” lower left.

Framed.

31-3/8” x 47-1/4”, framed 35-1/4” x 51-1/4” Provenance: Private collection, Germany/Florida, U.S.A. $2,000-$4,000

8 Spanish School (18th Century) “Lady Nursing a Child” oil on canvas unsigned.

Framed.

30-1/2” x 25-1/2”, framed 37” x 32-1/4” $1,000-$1,500 8

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9 Albrecht Durer (German, 1471-1528) “Knight, Death and the Devil”, 1513 engraving on laid paper with “P” watermark monogrammed and dated in plate lower left.

Matted, glazed and framed. plate 9-3/4” x 7-1/2”, sheet 10-1/4” x 7-3/4”, framed 23-1/4” x 19-1/4” Provenance: Private collection, Germany/Florida, U.S.A. Literature: Hollstein, 74; Bartsch, 98; Meder, 74; Schoch Mende Scherbaum 69; Briquet, 8493-8494. $25,000-$40,000

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10 Rembrandt Harmenszoon van Rijn (Dutch, 1606-1669) “Windmill”, 1641 etching on laid paper with Strasbourg Lily watermark signed and dated lower right in plate.

Matted, glazed and framed. plate 5-3/4” x 8-1/4”, sheet 6-7/8” x 8-1/2”, framed 14” x 16” Provenance: Private collection, Germany/Florida, U.S.A. Literature: Hollstein, 233; Boon,160; Harris, 233 $20,000-$40,000

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11 two of two 11 one of two

12 two of three 12 one of three

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12 three of three

13 three of three

13 one of three 13 two of three

11 Hendrick Goltzius (Dutch, 1558-1617) “Titus Manlius”, pl. 8, from The Roman Heroes, ca. 1586 “Thalia”, pl. 10, from The Muses, ca. 1582 each copper engraving on laid paper each monogrammed in plate.

Each matted, glazed and framed. plates 14-5/8” x 9-1/4” and 9-3/4” x 6-3/8”, respectively. framed 20-3/4” x 16-1/2” and 16-1/4” x 13-1/4”, respectively $1,000-$1,500 12 Dutch School (17th/18th Century) Three Engravings/Etchings each on laid paper each signed and/or inscribed in plate including David Vinckboons (1576-1629), “Le Goute Espagnol”, engraving, 13” x 9-5/8”, Willem de Broen (17051748), “Holy Family with Zachariah, Elizabeth and John the Baptist”, engraving, 8-1/8” x 10-1/4”, and Nicolaes Berchem (1620-1683), “Shepherd Among Sheep and Cattle”, etching, 10” x 7-1/2”.

Each matted, glazed and framed. framed 12-5/8” x 15-5/8” to 18-1/2” x 15-1/2”

13 Dutch School (Mid-17th Century) Three Etchings each on laid paper including Adriaen van Ostade (1610-1685), “Peasant in Pointed Fur Cap”, ca. 1640, 2-3/4” x 2-3/8”; and Cornelis Bega (1620-1664), “Bar Maiden with Two Customers”, ca. 1660, and “Man Looking Through Window”, ca. 1650, 7-3/4” x 6-1/2” and 3-3/4” x 3-1/2”, respectively.

Each matted, glazed and framed. framed 11-5/8” x 9-3/4” to 15-1/2” x 13-1/2” $1,000-$1,500

$1,000-$1,500

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14 two of two

14 one of two

15 one of three

15 three of three 15 two of three

14 Claude Mellan (French, 1598-1688)

15 Hans Schaufelein (German, 1480-1540)

“Bust of Christ as Savior”, ca. 1652 “Christ as an Infant Surrounded by Cherubim”, ca.

1662

“Dancing Couple (IV)” from Wedding Dancers

each copper engraving on laid paper each signed and inscribed in plate.

Each unframed.

17-1/2” x 12-1/2” and 17-1/2” x 11-7/8”, respectively $1,000-$1,500

woodblock on laid paper with snake and shield watermark, Sammlung Linz stamp (Lugt, 2010) en verso, 9-5/8” x 7-5/8”; together with Adriaen van de Venne (Dutch, 1589-1662), “Spring”, copper engraving, signed in plate, 4-3/8” x 5-5/8”, and Jacob Jordaens (Dutch, 1593-1678), “Drunken Silenus”, etching laid down on card, signed in plate, 5-3/4” x 8-3/4”.

Each matted, glazed and framed. framed 10-1/8” x 12-1/4” to 15-1/2” x 12-1/2” Literature: Briquet,1014-5515

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$1,000-$1,500

16 Italian School (Fourth Quarter 16th/First Quarter 17th Century) Two Rare Prints including Antonio Tempesta (1555-1630), “Gideon Choosing His Soldiers”, from Battles of the Old Testament, ca. 1590-1610, etching, 28” x 12”; Paolo Farinati (1524-1606), “The Multiplication of Bread and Fish”, ca. 1603, aquaforte, 18-1/4” x 20-1/2”, each signed and inscribed in plate.

The first matted, glazed and framed; the second unframed. framed 19-1/2” x 35-1/2” 16 one of two

16 two of two

$1,000-$1,500

17 one of two

17 After Willem van Herp the Elder (Dutch, 1614-1677) “Flemish Collation”, ca. 1765 “Flemish Entertainment”, ca. 1764 each engraving and etching each engraved by Isaac Taylor the Elder, published by J. Boydell, London.

The first unframed, the second matted, glazed and framed. each 18-1/4” x 20-1/2”, framed example 26” x 28” $1,000-$1,500 17 two of two

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18 Continental Patinated Bronze of a Roman Military Leader on Horseback 20th century, on a black marble base. h. 25”, w. 23-1/2”, d. 11-1/2” $1,800-$2,500

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19 Italian Patinated Bronze of “Giuliano de Medici” first quarter 20th century, after the ca. 1526-34 marble

by Michelangelo (1475-1564) from the Medici Chapel, San Lorenzo, Florence, an “F. Barbedienne fondeur” inscription and a “Collas/Reduction Mecanique” mark along edge of self-base. h. 23-7/8”, w. 11-1/4”, d. 12” The height of this sculpture most closely corresponds to that of reduction no. 3 listed in the Barbedienne catalogue of 1886. $2,000-$4,000 19

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20 Italian Patinated Bronze of “The Dying Gaul” first quarter 20th century, now identified as a gladiator, incised signature “Marcelli Rinaldi” and localized “Roma” along back edge of self-base, on a conforming molded marble and bronze base, after the ancient Roman marble (itself a copy of a ca. 3rd century BCE Hellenistic sculpture) now conserved at the Capitoline Museum, Rome. h. 16”, w. 30”, d. 14” Reference: Haskell, Francis and Penny, Nicholas. Taste and the Antique - the Lure of Classical Sculpture, New Haven: Yale University Press, 1981, pp. 224-227. $1,500-$2,500

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21 Eugene Verboeckhoven (Belgian, 1798/99-1881) “View of a Farm with Sheep Grazing” oil on panel signed lower right.

Framed.

10-1/2” x 16-1/2”, framed 14-1/2” x 21-1/4” Provenance: Morton’s Auction Exchange, New Orleans Museum of Art Deaccession Auction, Dec. 12, 1981, lot 266; Private collection, New Orleans, Louisiana. $6,000-$9,000 22 Louis Derickx (Belgian, 1835-1895) “Off to Market”, 1861 oil on canvas signed and dated lower left, stenciled “5616” on stretcher.

Framed.

34” x 49-1/2”, framed 48” x 62”

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$7,000-$10,000

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23 Jean-Baptiste de Roy (Belgian, 1759-1839) “Courtship on the Range” oil on wood panel signed lower left.

Framed.

20-1/4” x 28-1/4”, framed 27-3/8” x 35-1/4” Provenance: Private collection, Germany/Florida, U.S.A. $2,000-$4,000 24 Henry Schouten (Belgian, 1857-1927) “At a Gallop” oil on canvas signed lower left.

Framed.

32-1/8” x 47-1/4”, framed 46-1/2” x 62-1/4”

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$2,500-$3,500

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25 Henry Schouten (Belgian, 1857-1927) “Pausing to Rest” oil on canvas signed lower left.

Framed.

31” x 23-3/4”, framed 43-1/2” x 35-3/4” $2,000-$4,000

26 Vincent de Vos (Belgian, 1829-1875) “Hounds at Rest” oil on canvas signed lower right.

Framed.

25-1/4” x 31-1/4”, framed 33-3/4” x 38-3/4” $2,500-$4,000

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27 Johannes Hubertus Leonardus de Haas (Austrian/Dutch, 1832-1908) “Cows Resting”, 1870 oil on canvas signed and dated lower right.

Framed.

31-3/4” x 49-1/2”, framed 38-1/4” x 55-1/4” $6,000-$9,000 28 Willem Vester (Dutch, 1824-1871) “Dutch Landscape with Cattle” oil on canvas signed lower left.

Framed.

12” x 18”, framed 18” x 23” $2,000-$4,000 28

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29 Eugene Joseph Constant Pierre Petit (French, 1839-1933) “Duck Hunting in an Autumnal Landscape” oil on canvas signed lower right.

Framed.

15” x 18”, framed 22” x 28” $3,000-$5,000

30 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “Dutch Street Scene” oil on board signed lower right.

Framed.

18-1/2” x 14-1/2”, framed 25” x 21” $2,000-$4,000

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31 Frans van Leemputten (Belgian, 1850-1914) “Leading the Cows to Market, Antwerp” oil on canvas signed lower left.

Framed.

28-1/4” x 39-1/2”, framed 40-1/2” x 52” $3,000-$5,000 31

32 Johann Friedrich Voltz (German, 1817-1886) “The Shepherd’s Family” oil on canvas signed lower left.

Framed.

28-1/2” x 38-1/2”, framed 37” x 47” $4,000-$6,000

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33 Paul Henry Schouten (Belgian, 1860-1922) “Two Dogs on the Hunt” oil on canvas signed lower right.

Framed.

28-1/8” x 39-1/2”, framed 36” x 46-1/2” $2,000-$4,000

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34 Edouard Hostein (French, 1804-1889)

35 Henri Joseph Pieron (Belgian, 1856-1912)

“Vue de L’Erdre a Nantes”

“Souvenir des Ardennes”, 1880

oil on oval canvas signed lower center, and signed, titled and inscribed “BrestGeorges-Paris” on stretcher and with a “Maison DE Forge” supplier’s stamp en verso “Atelier Bre Clichy.no.7/DEFORGE/ M.D.DE COULEURS/Boulevard Montmartre 8”.

Antique giltwood and gesso frame.

25-3/4” x 29”, framed 31-1/8” x 34-1/8”

oil on canvas signed lower left, signed, dated, titled and localized en verso.

Framed.

31-1/2” x 42-3/8”, framed 44-1/2” x 54-5/8” $3,000-$5,000

$2,000-$4,000

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36 Jozef Israels (Dutch, 1824-1911) “Rabbi” oil on canvas signed lower left.

Framed.

15” x 12”, framed 22-3/4” x 19-1/2” $2,000-$4,000

37 Alfred J. Jansen (Dutch, 1859-1935) “Steamship with Double Funnel, Pulling into the Port of Antwerp” oil on canvas board signed, dated and localized lower right.

Framed.

24-3/4” x 40”, framed 32” x 48” $2,500-$4,000 36

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38 Studio of Sir Joshua Reynolds, P.R.A. (British, 1723-1792)

Exhibited: Dallas Museum of Fine Arts “Four Centuries of European Painting”, October 6, 1951-January 13, 1952, no.

21.

“Portrait of William, Lord Pulteney”, 1760s

Literature: Dallas Museum of Fine Arts Exhibition Catalogue “Four Centuries of European Painting”, October 6, 1951-January 13, 1952, illustrated no. 21; “Four Centuries of Painting in Museum’s Fair Exhibit”. Dallas Morning News.

September 21, 1951, p. II-7; Graves, Algernon and Cronin, William Vine. A History of the Works of Sir Joshua Reynolds, P.R.A. London: Henry Graves and Co., 1899, pp. 775 and 776.

oil on canvas unsigned, printed label with artist, sitter and provenance en verso.

Antique gilt-washed carved wood frame.

36” x 26-3/4”, framed 43” x 34-3/4” Provenance: M. Knoedler and Company, New York, New York; A prominent Garden District collection, New Orleans, Louisiana; thence by descent. $4,000-$7,000

The sitter of this portrait, William Pulteney, was from an illustrious political family and, before his untimely death from fever, there were expectations that he would surpass his relatives in position and glory. Before the age of 30, Pulteney had twice been a Member of Parliament, achieved the rank of Lieutenant-Colonel in the British Army, was named a Lord of the Bedchamber, and was the Aide de Camp to King George III. It is documented that the prodigious Sir Joshua Reynolds was commissioned to paint several portraits of the young man, including one where he is posed with his beloved hunting dog. A portrait of Pulteney by Reynolds is conserved at the Cincinnati Art Museum in Ohio.

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39 Franz Xaver Winterhalter (German, 1805-1873) “Italienerin mit Kind”, ca. 1836 oil on canvas signed and localized “Paris” lower left, an “F. G. Conzen/ Dusseldorf” framer’s label, stenciled “519” and “ChF”, and with several Christie’s labels en verso.

Framed.

31-1/2” x 25-1/2”, framed 42” x 37” Provenance: Private collection; Christie’s, New York, April 12, 2007, lot 117; Private collection.

Included in the online catalogue raisonne of the artist.

Literature: Rappaport, Helen.Queen Victoria: A Biographical Companion. Oxford: ABC-CLIO, 2003.; Wood, Christopher, Victorian Painters, Suffolk: Antique Collector’s Club, 1988, p.

583. $250,000-$350,000

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Born into a peasant farming family deep in the Black Forest region of Germany, Winterhalter’s prodigious natural artistic ability caught the attention of the village priest, who encouraged the young boy and helped him gain the patronage of a local baron. He began his official studies at a neighboring monastery; from there Winterhalter made his way to the Akademie der Bildenden Kunste Munich, where he studied under Peter von Cornelius and Joseph Stieler, eventually ending up in France.

Initially acclaimed for his meticulously composed grand historicizing scenes, which received much attention at the Paris Salon, Winterhalter soon began accepting portrait commissions. He was eventually named Court painter to King Louis Philippe of France, a position which accorded him great financial stability, if also the disdain of critics who deemed portraiture an inferior genre for the academically trained artist.

In 1842, Winterhalter made his first trip to England, where he painted Queen Victoria; from 1842-1873, he was to produce well over a hundred portraits of the British Royal family.

Winterhalter’s portraits are distinguished by their deft intermingling of artistic idealization with the easily identified features and personality of the specific sitter/s. Artifice and theatricality are allowed, but only inasmuch as they enhance the sitter’s perception of his or herself; it is as if Winterhalter has painted them on their best day.

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40 Leon Bazile Perrault (French, 1832-1908) “Enfant pres de La Source” oil on canvas signed lower right.

Framed.

40” x 26”, framed 45-3/8” x 31-1/2” $7,000-$10,000

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41 Jean Beraud (French, 1849-1936) “Les Escrimeuses” oil on wood panel signed lower left, remnants of old labels and Sotheby’s stickers en verso.

Framed.

15-3/4” x 12-1/2”, framed 21-3/4” x 18-1/2” Provenance: Sotheby’s, New York, April 23, 2004, lot 104.

Literature: Patrick Offenstadt, Jean Beraud, 1849-1935: The Belle Epoque, a Dream of Times Gone By, Catalogue Raisonne. (Paris: Wildenstein Institute, 1999), no. 425, ill. 300.

Meet the victor in black, Julie D’Aubigny, aka La Maupin, the famed 17th century opera singer, fencer and femmefatale seductress of men and women alike. She is reputed to have slain ten men and ravished sisters in a convent under the guise of a nun. Even in death, she turned heads, inspiring numerous portrayals centuries later. Bewitched, Beraud devoted at least four small paintings on panel to this redheaded vixen, rendered in the same dashing black velvet suit, her tresses crimped and well-coiffed, and a red heart affixed to the breast of her white chemise. In the other paintings, she makes a solo appearance, coyly standing or reclining on a sofa; each time with a sly seductive smile and a sword poised in hand. In this rare depiction, D’Aubigny is captured in action as she bows gracefully to her conquestperhaps 'Fanchon' Moreau, another soprano and favorite mistress of both D’Aubigny and the great Dauphin of France.

$50,000-$80,000

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42 Emil Barbarini (Austrian, 1855-1933) “Flower Market near Karlskirche” oil on wood panel faintly signed lower right, “Doyle, New York” labels en verso.

Framed.

10-1/4” x 15-5/8”, framed 13-3/4” x 18-7/8” Provenance: Doyle, New York, October 13, 1998, lot 6. $1,000-$1,500

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44 Attributed to Francois Boucher (French, 1703-1770) “Shepherd Girl” oil on canvas unsigned.

Unframed.

19” x 16” Provenance: Sotheby’s, New York, February 1-2, 2013, “Old Master and 19th Century European Paintings and Drawings, Including Property from the Estate of Giancarlo Baroni”, lot 477; Private collection, Mobile, Alabama. $3,000-$5,000

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43 Vicente Garcia de Paredes (Spanish, 1845-1903) “A Game of Chess” oil on canvas signed lower right, verso with a “Clarke’s Art Rooms, New York City” label.

Period frame.

10-3/4” x 14”, framed 21” x 24” Provenance: Christie’s, New York, Sept. 5, 2007, lot 59. $2,000-$4,000

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45 46

45 French School (Second Half 18th Century) “Garden Engagement” oil on panel backed by composite board unsigned.

Framed.

12-1/2” x 15-1/2”, framed 19” x 22-1/4” $1,200-$1,800 46 After Friedrich von Amerling (German, 1803-1887) “Die Morgenlanderin (‘Oriental Lady’)”, 1854 oil on wood panel monogrammed lower right.

Framed.

13” x 11”, framed 22-1/2” x 20-1/2” $2,000-$4,000 47 Ferdinando Cavalleri (Italian, 1794-1865) “Portrait of a Woman in a Bonnet”, 1842 oil on canvas signed and dated mid-right.

Framed.

36-1/4” x 29-1/4”, framed 40-1/2” x 33-3/4” $2,000-$4,000 47

33

48 Hans Zatzka (Austrian, 1859-1945) “Eintritt Verboten (Entry Forbidden)” oil on canvas signed lower left and signed, titled and inscribed en verso.

Framed.

27-1/4” x 18-3/4”, framed 34-1/2” x 26-1/2” $15,000-$25,000

48

49 Hans Zatzka (Austrian, 1859-1945) “A Tender Moment” oil on canvas signed lower right.

Framed.

24-1/2” x 12-1/2”, framed 30-3/4” x 19” $10,000-$15,000

49

34

50 Marcel Debut (French, 1865-1933) “Poesie des Mers” patinated bronze first quarter 20th century, the Nereid delicately perched atop a swirling wave, arms outstretched, cast signature along self-base, inscribed “France” at edge, artist plaque at front, on a conforming marble base. h. 43-1/2”, w. 16-1/2”, d. 14”, overall h. 45-1/2” $2,500-$4,000 51 After Emile Louis Picault (French, 1833-1915) “Reveil de la Nature” patinated bronze 20th century, cast signature at back, titled at front. h. 32-1/2”, w. 19-1/2”, d. 12” $2,000-$4,000 52 French Gilt Bronze of a Courting Couple 20th century, cast signature “P. Berthin” along edge of self-base. h. 28”, w. 12”, d. 12” $2,000-$4,000

50

51

52

35

53

53 Heywood Hardy (British, 1843-1933) “A Parting Glass” oil on canvas signed lower left, an old “Cooling Galleries/ Toronto” label on backing.

Framed.

20” x 30”, framed 27” x 36” Provenance: Cooling Galleries, Toronto, Canada; Private collection, Dearborn, Michigan; thence by descent. $8,000-$12,000

54 After Sir Thomas Lawrence (British, 1769-1830) “Portrait of George, Prince Regent, Later King George IV”, first quarter 19th century oil on canvas unsigned.

Presented in an elaborate gesso and giltwood frame.

46” x 32”, framed 58-1/2” x 44-1/2” $12,000-$18,000

54

36

55 Richard Buckner (British, 1812-1883) “Harvest Time” oil on canvas signed lower right.

Period frame.

29-1/2” x 43”, framed 41-1/2” x 55” $3,000-$5,000

55

56 Vincent Clare (British, 1855-1930) “Flowers and Bird Nest in a Hedgerow” oil on canvas signed lower right.

Period frame.

12” x 18”, framed 20-1/4” x 25-1/4” $1,000-$1,500

56

37

57 Attributed to Frederick William (Waters) Watts (British, 1800-1862) “Boaters on the Mill Pond” oil on canvas unsigned.

Unframed.

36” x 30” $1,500-$2,500

58 James Webb (British, 1825-1895) “A View of Givet, France”, 1877 oil on canvas signed and dated “77” lower left, verso with “Kurt E. Schon, Ltd., New Orleans, LA” label with artist name and title.

Framed and with artist plaque.

30” x 50”, framed 36” x 56” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $4,000-$7,000

57

58

38

59 John James Wilson (British, 1818-1875) “Boats Near Dover Coast” oil on canvas signed lower left.

Framed.

9-1/4” x 17-1/4”, framed 15-1/4” x 23-1/4” $1,000-$1,500

59

60 William Alfred Gibson (British, 1866-1931) “A Highland Burn” oil on canvas signed lower left.

Framed.

40” x 50”, framed 52” x 63” Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $3,000-$5,000

61 John Francis Murphy, N.A. (American, 1853-1921)

60

“Upland Cornfields, Harvest Time”, 1880 oil on canvas signed and dated lower left, a partial “Schweitzer Gallery/New York” label and an old auction lot label (#101) on stretcher.

Framed.

24-1/2” x 33-1/2”, framed 31-1/2” x 40-1/2” Provenance: Schweitzer Gallery, New York, New York; Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $2,000-$4,000 Schweitzer Gallery of New York specialized in fine American paintings and worked out of their Madison Avenue location between the years of 1960-1975.

61

39

62 Jean-Antoine Theodore Gudin (French, 1802-1880) “Rough Waters” oil on wood panel signed lower left, numerous old inventory and “Christie’s” labels en verso.

Period frame with artist plaque.

5-1/2” x 8-1/2”, framed 15” x 17-3/4” $1,000-$1,500 63 Daniel Ridgway Knight (American, 1839-1924) “The Island” oil on canvas signed lower left, titled and listed as #32 on old inventory label en verso, a Parisian customs stamp “Douane Centrale/PARIS” and a partial “Ridgway Knight Exhibition New York 1924” label en verso Framed.

18-1/8” x 21-5/8”, framed 22-3/4” x 26-1/4”

62

$10,000-$15,000

63

40

64

64 Frederick Goodall, R.A. (British, 1822-1904) “Eastern Scene with Shepherd Leading a Flock of Sheep” oil on canvas monogrammed lower left, a “Jay’s Fine Art Dealers/ Cambridge Gallery/Southport” and old exhibition labels en verso.

Framed.

8-1/2” x 21-1/8”, framed 12-1/4” x 25-1/4” Provenance: Possibly The Fine Art Society, New Bond Street, London; Jay’s Fine Art Dealers, Southport, England; Private collection. $2,000-$4,000

Goodall was an accomplished, popular, and financially successful artist - and already an associate of the prestigious Royal Academy - when he accompanied a group of friends to Egypt in 1858.

This trip was to have a profound influence on the artist.

The East, with its unique culture and sun-drenched landscapes infused in vibrant tones of golds and reds, was to dominate his work for the remainder of his life.

The Fine Art Society, New Bond Street, London, held a solo exhibition of Goodall’s Egyptian sketches and paintings in February of 1894. A painting with the same name as the one presented here was listed in the catalogue for that exhibition.

65 Theophile-Victor-Emile Lemmens (French, 1821-1867) “Cour de Ferme” oil on cradled panel signed lower right.

Framed.

15” x 22-3/8”, framed 20-3/4” x 28-1/4” $1,500-$2,500

64

41

66 Henry Barraud (British, 1811-1874) “Sit Up Sir: Ginger”, 1859 oil on canvas signed lower right.

Frame with two title and date plaques.

24” x 20-1/8”, framed 30” x 26-1/4” Provenance: Sotheby’s, New York, September 24, 2012, “Property from the Estate of Brooke Astor”, lot 636; Private collection, Mobile, Alabama. $3,000-$5,000

66

67 Jean Lefort (French, b. 1948) “Five St. Bernard Puppies” oil on canvas signed lower left.

Framed.

31” x 39”, framed 37” x 46” $2,000-$4,000

67

42

68 Harold Hitchcock (British, 1914-2009) “Capriccio”, 1970 watercolor on paper monogrammed and dated lower right.

Matted, glazed and framed. sight 29” x 38”, framed 38-1/2” x 47-1/2” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,200-$1,800

68

69 Harold Hitchcock (British, 1914-2009) “Forest Children”, 1970 watercolor on paper signed and dated “1970” lower left.

Glazed and framed. sight 18” x 23”, framed 26-1/2” x 31-1/2” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000-$1,500

69

43

70 John Henry Dolph (American, 1835-1903) “Mother with Her Kittens” oil on canvas signed lower left.

Framed.

14” x 20”, framed 24” x 30” $3,000-$5,000

70

71 Arthur Heyer (Hungarian, 1872-1931) “The New Plaything” oil on canvas signed lower right.

Framed.

23-3/4” x 31-5/8”, framed 29” x 36-1/2” $2,000-$4,000

71

44

72

72 Maurice Chabas (French, 1862-1947) “L’Elegante dans l’Atelier” oil on canvas signed lower right.

Framed.

25-3/4” x 31-7/8”, framed 36-1/4” x 42” $15,000-$25,000

45

73 Edouard Cortes (French, 1882-1969) “En Attendant La Pratique”, ca. 1920-1930 oil on panel signed lower left.

Gold leaf frame.

9-1/4” x 9-1/4”, framed 17-1/4” x 17-1/4” Provenance: Private collection, California; Roughton Galleries, Dallas, Texas; Private collection, Florida.

Literature: Nicole Verdier, Edouard Cortes, Catalogue Raisonne, Vol. I (Paris: Contexte, 2009), p.

234, no. 307. $8,000-$12,000

73

74 Joseph-Antoine Bouvard (French, 1840-1920) “Venetian Canal” oil on canvas signed lower left.

Framed.

32” x 18”, framed 38” x 24” $5,000-$8,000

46

74

75

75 Gaston La Touche (French, 1854-1913) “La Fete Joyeuse”, 1899 oil on canvas signed, localized and dated lower right “Gaston La Touche S: C 99”.

Framed.

43-3/4” x 32-1/8”, framed 47-1/4” x 39-3/8” Provenance: Paris, Lair Dubreuil, February 27, 1909, lot 26; Private collection, France.

Literature: Henri Frantz, The Gay Party, in “The Magazine of Art”, London, 1904, illustrated. $50,000-$80,000

47

76

76 Albert Lebourg (French, 1849-1928) “Bord de Seine a La Bouille” oil on canvas signed and localized lower left, with a partial label en verso.

Framed.

18-1/8” x 33-1/2”, framed 25-1/2” x 41-3/4” $18,000-$25,000

48

77 Gustave Loiseau (French, 1865-1935) “Pont Marie, Paris” oil on cradled wood panel signed lower left, verso with a hand-inscribed label.

Framed.

14-3/4” x 21-5/8”, framed 23-3/8” x 30” Provenance: Collection of Jacques Francais and Lynne Charnay Francais. $18,000-$25,000

77

49

78

78 Edward Henry Potthast (American, 1857-1927) “Bathers in the Surf”, ca. 1910-1927 oil on wood panel signed lower left, verso with mid-20th-century “Closson Galleries, Cincinnati” label, exhibition label and inventory numbers.

Framed.

11-1/4” x 15-1/4”, framed 19-5/8” x 23-5/8” Provenance: Closson Galleries, Cincinnati, Ohio; Private collection.

Literature: To be included in the forthcoming catalogue raisonne on Edward Potthast being compiled by Mary Ran. $20,000-$40,000

50

79

79 Edward Henry Potthast (American, 1857-1927) “Canoeing”, ca. 1923 oil on artist board signed lower right.

Framed.

11” x 14”, framed 16-1/2” x 19-3/8” Literature: To be included in the forthcoming catalogue raisonne on Edward Potthast being compiled by Mary Ran. $15,000-$25,000

51

80

80 Hugues Claude Pissarro (French, b. 1935) “Vue de Port a Caen” oil on canvas signed lower left and en verso; accompanied by a copy of a “Certificate of Authenticity” issued by Katia Pissarro, December 1, 1992.

Framed.

19-3/4” x 24”, framed 28-1/4” x 32-3/8” $10,000-$15,000

52

53

81 Henry Malfroy-Sauvigny (French, 1895-1944) “Environs de Toulon” oil on canvas signed and titled lower left.

Framed.

21-1/2” x 31-3/4”, framed 28-1/2” x 38-1/2” $3,000-$5,000

81

82 Maximilien Luce (French, 1858-1941) “Le Trieux, Rochers dans La Mer”, ca. 1915 oil on wood panel signed lower right, a “Marc Ottavi” label on frame backing.

Framed.

8-1/2” x 10-3/4”, framed 16-3/4” x 18-5/8” Provenance: Studio of the artist; by descent to his son Frederic Luce (1896-1974), Paris, France; Expertise Ottavi, Paris, France; Private collection.

Literature: Jean-Bouin Luce and Denise Bazetoux.

Maximilien Luce: Catalogue de l’oeuvre peint, volume III. Paris: Editions JBL, 1986, no. 939, p. 209. $4,000-$7,000

82

54

83

83 Louis Hayet (French, 1864-1940) “Le Petit Pont Traversant la Riviere”, ca. 1888 oil on board stamped with signature lower left.

Framed.

14-3/4” x 18-1/8”, framed 20-1/4” x 23-5/8” $4,000-$7,000

84

84 Felix Pissarro II (French, 1917-1984) “Light in the Forest”, 1963 oil on board signed and dated lower left.

Framed.

25-3/4” x 19-5/8”, framed 32-1/4” x 26-1/2” $6,000-$9,000

56

85

85 Pierre Bittar (French, b. 1934) “Spring: Wooded Landscape” oil on canvas signed lower left, printed artist’s biography en verso.

Framed.

26” x 32”, framed 32-3/4” x 39” $1,400-$1,800

57

58

86

86 Jean-Pierre Cassigneul (French, b. 1935) “Maison dans Le Parc” oil on canvas signed lower left.

Framed.

51” x 38”, framed Provenance: Wally Findlay Galleries, Paris, 1982; Private collection, Beverly Hills, Los Angeles; Doyle, New York, November 1, 2016, lot 39. $30,000-$50,000

59

87 Constantin Kluge (Russian/French, 1912-2003) “Boulevard Saint Germain, Paris” oil on canvas signed lower right.

Framed.

29” x 36”, framed 37-1/2” x 45-1/8” $6,000-$9,000

87

88 Joan Mayor (American, 20th Century) “Nude, Reclining” oil on canvas signed lower right.

Framed.

19-3/4” x 23-7/8”, framed 27-1/4” x 31” $2,000-$4,000

88

60

89 Harriet Whitney Frishmuth (American, 1880-1980) “Desha”, 1927 patinated bronze cast signature, dated, copyright marked and with “Roman Bronze Works Inc., N.Y.” foundry inscription along edge of self-base, on a black marble plinth. overall h. 14-1/8”, w. 7”, d. 7-1/2” Provenance: Obrien’s Art Emporium, Scottsdale, Arizona; Estate of Jean and Jack Kelley, Tulsa, Oklahoma.

89

$6,000-$9,000 Frishmuth was born into an affluent Philadelphia family, which afforded her the opportunity to travel and study in Europe. An academically trained sculptor, she had - somewhat unusually - as thorough and complete an education as any male sculptor of the time; she attended classes in Paris with Auguste Rodin, studied with Jean Antoine Injalbert at the Academie Colarossi, and worked with Cuno von Uechtritz-Steinkirch at the Berlin Academy of Arts. Her first exhibition was a plaster bust at the Paris Salon of 1903. Upon her return to the U.S., she attended the Art Students League and took anatomy/dissection classes at the College of Physicians and Surgeons in New York. She began her sculptural career by producing small, decorative objects, which were well received and soon garnered her considerable attention. In 1912, she took part in an exhibition of women sculptors in New York; by the following year, she had her own studio. While the commissions she received were initially diverse in subject, Frishmuth preferred to create bronzes of idealized female nudes. Her most successful works were those that depicted the female figure as active and powerful, with sinuous, flowing lines and smooth surfaces.

The inspiration of the sculpture offered here was the Yugoslav-born dancer Desha Delteil (1899-1980). Delteil first posed for Frishmuth in 1916, when she was 19 years old. For Frishmuth, Delteil’s elegant, well-proportioned figure, combined with her ability to maintain difficult poses for a lengthy period of time, made the dancer an ideal model. The gracefully athletic young woman was to pose for nearly all of Frishmuth’s most successful and wellknown works.

Frishmuth was elected to the National Academy of Design, becoming a full Academician in 1929. Her papers are conserved at the Department of Special Collections, Syracuse University, Syracuse, New York.

References: Dreiss, Joseph G., “The Sculpture of Harriet Whitney Frishmuth and New York Dance”, The Courier, Volume xxix, 1994, pp. 29-40.; Proske, Beatrice Gilman, “Harriet Whitney Frishmuth: Lyric Sculptor”, Aristos - The Journal of Esthetics, Volume 2, No. 5, June 1984, pp. 1-5.

61

90 Rolf Armstrong (American, 1899-1960) “High Heels and Stockings: Female Nude” watercolor on paper signed lower right.

Glazed and framed.

14” x 11”, framed 17-3/4” x 15-5/8” $1,000-$1,500

90

91 Jacques “Lejeune” Renard (French, 1930-2003) “La Femme” oil on canvas signed lower right.

Framed.

31-3/4” x 24-3/4”, framed 39-1/2” x 32” $2,500-$3,500

91

62

92

92 Marie Laurencin (French, 1883-1956) “Deux Jeunes Femmes et Un Cheval”, 1930 watercolor and pencil on paper signed and dated lower right.

Matted, glazed and framed.

13-1/2” x 10”, framed 20-1/2” x 16-1/2” Provenance: Sotheby’s, New York, October 7, 2008, lot 36.

Exhibited: Durand-Ruel Gallery, New York, New York, 1931, no. 18.

Literature: Daniel Marchesseau. Marie Laurencin, 1883-1956: catalogue raisonne de l’oeuvre peint, II, p. 425. $20,000-$40,000

63

93

64

93 Andre Brasilier (French, b. 1929) “Chantal aux Tulipes Blanches”, 1966 oil on canvas signed lower mid-left, monogrammed, titled and dated en verso, frame backing with “Doyle, New York” labels.

Framed.

32” x 39-1/2”, framed 40” x 47-1/2” Provenance: David B. Findlay Galleries, New York, New York; Estate of Victoria Jemerin, New York; Doyle, New York, New York, May 5, 2010, lot 62. $10,000-$15,000

65

94 Pablo Picasso (Spanish/French, 1881-1973) “Vase au Decor Pastel (A.R. 190)”, 1953 terracotta vase with pastel decoration, base incised “Edition Picasso/102/200” and “Edition Picasso” and “Madoura Plein Feu”. h. 12-3/8”, w. 8-3/4” $6,000-$9,000

94

95 Pablo Picasso (Spanish/French, 1881-1973) “Taureau Grave (A.R. 32)”, 1947 earthenware ceramic plate partially engraved with colored engobe and glaze, base numbered “I107” and “127/200”, and stamped “Edition Picasso” and “Madoura Plein Feu”. l. 15-1/4”, w. 12-1/2” $5,000-$8,000

95

66

96 Joan Miro (Spanish, 1893-1983) “Passage de l’Egyptienne [Frontispiece]”, 1985 etching with aquatint numbered “e,a” lower left and signed lower right, signed en verso by Robert Dutrou.

Matted and glazed in a float-mount frame.

23-3/4” x 16-1/2”, framed 37-5/8” x 33” Provenance: Private collection of the printer, Robert Dutrou, France Literature: Jacques Dupin, Miro Graveur, vol.

4 (Paris: Daniel Lelong Editeur, 1984-2001), no. 1183. $5,000-$8,000

96

97 Hippolyte Petitjean (French, 1854-1929) “Nature Morte aux Fruits”, ca. 1880 oil on canvas laid on board signed with studio stamp lower left, a “NeffeDegandt/London”, “Galerie de l’Institut/Paris/ Centenaire Hippolyte Petitjean” and partial Parisian gallery labels en verso Framed.

10-1/4” x 16-1/8”, framed 15-3/4” x 21-5/8” Provenance: Neffe-Degandt Galleries, London; Artcurial Modern Art Sale, 30 January 2008, lot 210.

Exhibited: Galerie de l’Institut “Centenaire Hippolyte Petitjean”, Paris. $2,000-$4,000 97

67

98

68

98 Takanori Oguiss (Japanese/Paris, 1901-1986) “Coin de Paris, Rue de Meaux” oil on canvas signed and titled lower right, signed and titled en verso, stretcher inscribed “a lhadam(?) A. Dempster”, frame backing with Sotheby’s inventory labels.

Framed.

28-3/4” x 24”, framed 32-5/8” x 28” Provenance: Private collection, United States (acquired in France in the late 1960s), thence by descent; Private collection, United States, 1999; Sotheby’s, New York, May 8, 2008, lot 372; Private collection, New York.

To be included in the forthcoming catalogue raisonne being prepared by Les Amis Oguiss. $70,000-$100,000

69

99 Jean Issy de Botton (French/New York, 1898-1978) “Composition: Camping Circus”, 1950 oil on canvas board signed lower right, signed, titled, no. 535, and dated, and “Christie’s, 01-Mar-06, Sale 1627, Lot 64,” “Alexander Kahan, Fine Arts Ltd., New York” and “Nardin Galleries, New York” labels en verso.

Framed.

12” x 18”, framed 20-3/4” x 25-1/2” $1,500-$2,500 Provenance: Alexander Kahan, Fine Arts Ltd., New York, New York; Nardin Galleries, New York, New York; Christie's New York, 1 March 2006, lot 64.

99

100 Louis van der Pol (Dutch, b. 1954) “Couple in a Cafe” oil on wood panel signed lower right.

Framed.

29-5/8” x 40”, framed 39” x 49-1/4” $2,000-$4,000

100

101 Jules Rene Herve (French/American, 1887-1981) “Des Quais a la Seine” oil on canvas signed lower right and signed, monogrammed and titled en verso.

Framed.

15” x 18”, framed 19-1/2” x 22-1/2” $1,000-$1,500 101

70

102 Ekaterina Raevskaya (Russian, 19th Century) “Portrait of a Fashionable Gentleman”, 1854 watercolor on paper signed and dated in Cyrillic lower right.

Glazed and framed. sight 10-1/4” x 7-1/4”, framed 16-1/2” x 13-3/4” $2,000-$4,000

102

103 Ivan Nechaev (Russian, Second Quarter 19th Century) “Portrait of a Lady” watercolor and gouache on paper signed in Cyrillic mid-right.

Glazed and presented in a handsome, period frame. sight 8-1/4” x 6-5/8”, framed 15” x 13-1/4” Literature: V. Solovev, “Russkie Khudozhniki XVIII-XX Vekov”, Expert-Club, 2005, p. 222. $3,000-$5,000

103

71

104

104 Attributed to Karl Pavlovich Brullov (Russian, 1799-1852) “Portrait of a Man, Possibly Count Matvei Vielgorsky (1794-1866)”, 1838 oil on canvas signed and dated lower left in Latin characters “C. Burloff 1838”, verso with several partial labels on the stretcher.

Period frame.

28-1/2” x 23-1/4”, framed 34-1/2” x 29” Provenance: Daniil Yakovlevich Cherkes (1899-1971); acquired from the family of Daniil Cherkes in the 1980s by the present owner.

Accompanied by a written expertise from N. Yu. Sharlov of the State Research Institution for Restoration, Moscow, regarding the painting. $15,000-$25,000

72

73

105 Continental School, Probably Russian (Second/Third Quarter 19th Century) “Portrait of a Young Woman with a Headscarf” oil on canvas unsigned.

Framed.

17-1/4” x 13-1/2”, framed 23-1/2” x 20-1/2” $1,500-$2,500

105

106 Martin Jablonksi (Polish, 1801-ca. 1870) “Portrait of a Child with a Book”, 1839 oil on canvas signed with a monogram and dated.

Framed.

26-1/8” x 20-7/8”, framed 30-1/4” x 24-7/8” $3,000-$5,000

106

74

107 Ivan Bilibin (Russian, 1876-1942) “The Fox Hunter”, 1901 ink and watercolor on paper initialed and dated lower right.

Matted, glazed and framed. sight 10-5/8” x 8-3/8”, framed 19-1/2” x 17-3/8” $8,000-$12,000

107

108 Aleksei Ivanovich Korzukhin (Russian, 1835-1894) “In the Church” oil on board signed lower left.

Framed.

14-3/8” x 11”, framed 20-1/4” x 17-1/4” Provenance: Shapiro Auction, New York, April 16, 2011, lot 223. $4,000-$7,000

108

75

109

109 Andrei Petrovich Riabushkin (Russian, 1861-1904) “A Gift for the Czar (Peter the Great)” oil on canvas signed lower right.

Framed.

22-1/4” x 20”, framed 26” x 23-3/4” $5,000-$8,000

76

110

110 Adolf Baumgartner-Stoiloff (Austrian, 1850-1924) “Cossack Caravan” oil on canvas signed lower right.

Framed.

26” x 41-1/2”, framed 39” x 53-1/2” $5,000-$8,000

77

111 Studio of Yulievich Klever (Russian, 1850-1924) “Winter Evening”, 1889 oil on linen signed in Cyrillic and dated lower right.

Framed; together with a copy of the Sotheby’s sales catalogue.

29” x 22-1/2”, framed 38-1/2” x 32-1/4” Provenance: Sotheby’s, Olympia, London, November 30, 2006, lot 26. $7,000-$10,000

111

112 Yakov Ivanovich Brovar (Russian, 1864-1941) “Birch Trees After the Storm, A Study” oil on canvas signed in Cyrillic lower right.

Framed.

12-1/2” x 20-1/4”, framed 18” x 26” $3,000-$5,000

112

78

113

113 Alexander Dmitrievich Silin (Latvian, 1883-1942) “Portrait of Lilya Brik”, 1921 oil on canvas signed lower right in Latin, inscribed in Cyrillic and dated en verso “Alexander Silin/Portrait of Lilya Brik/1921/Riga”.

Framed.

39” x 30-3/4”, framed 42” x 34” Provenance: Private collection, New York, New York.

Accompanied by an expertise from T. S. Zelyukina of the State Tretyakov Gallery. $7,000-$10,000

Lilya Brik was a complex and somewhat inscrutable figure of early 20th century Russian avant-garde culture, noted for her intelligence and passion for the arts. Her wide social circle included Feodor Chaliapin, Boris Pasternak, Sergei Eisenstein, and Pablo Picasso. Born into a wealthy Jewish family, she and her sister, the writer Elsa Triolet, were celebrated beauties; their portraits were painted by such luminaries as David Burliuk, Fernand Leger, Henri Matisse and Marc Chagall, and Brik’s image was on many popular posters and magazine covers of the time. She acted in and eventually directed several early Soviet films. Married at age 20 to the writer Osip Brik, Brik later had a fiery and lengthy relationship (with her husband’s knowledge) with the melancholic poet Vladimir Mayakovsky, who dedicated much of his work to her. After her divorce from Brik, she married General Vitaly Primakov – he was eventually executed during the Moscow Trials. In 1938 she married for the third and final time to the writer Vasily Katanyan. In 1978, after suffering a debilitating illness, Brik decided to end her life – a fitting end to a woman determined to live life on her own terms.

79

114

114 Abraham Manievich (Ukrainian/American, 1881-1942) “Still Life with Flowers and Apple” oil on artist board signed lower right.

Framed.

26-3/8” x 19-1/2”, framed 34-3/4” x 28-1/4” Provenance: The family of the artist; Ben Rifkin, New York, New York; Steve Motyka, Central Falls, Rhode Island; Christie’s, New York, April 24, 2009, lot 310. $25,000-$40,000

80

115 Leonid Viktorovich Turzhansky (Russian, 1875-1945) “Monastery on a Lake” oil on board initialed lower left, signed and titled in Russian en verso.

Framed.

14-1/2” x 26”, framed 21” x 32-3/4” $5,000-$8,000 115

116 Alexandre Altmann (Russian/French, 1885-1950) “Paysage en bord de Riviere” oil on canvas signed lower left, partial framer’s label en verso stretcher.

Framed.

23-5/8” x 28-5/8”, framed 29” x 34” $7,000-$10,000

116

81

117

117 Grigory Gluckmann (Russian/American, 1898-1973) “At the Circus, Clown Spectators” oil on wood panel signed lower right.

Framed.

14” x 18”, framed 22” x 26-1/8” $15,000-$25,000

82

118 Serge Agababian Sedrac (Russian, 1878-1974) “Soir de Mars en Russie” oil on canvas signed with a monogram “S” lower right and “Sedrac” en verso canvas.

Framed.

15” x 18”, framed 21” x 25” $1,500-$2,500

118

119 Boris Ivanovich Pastoukhoff (Russian, 1894-1974) “Still Life of Lilacs” oil on canvas signed lower left.

Framed.

20” x 16”, framed 25” x 20-1/2” $1,500-$2,500

119

83

120

120 Gustav Klutsis (Latvian/Russian, 1895-1938) “Seated Nude”, 1919 oil on burlap signed and dated lower right, verso bearing the printed mark of the Krustpils (Latvia) sugar factory.

Framed.

37-3/4” x 26”, framed 38-3/4” x 26-3/4” Provenance: Family of the artist; Private collection, U.S.A. Accompanied by an expertise from T. S. Zelyukina of the State Tretyakov Gallery. $50,000-$80,000

84

121 Mikhail Turovsky (Russian/New York, b. 1933) “Mother and Child”, 1980 charcoal on paper signed and dated lower right.

Matted, glazed and framed. sight 23-3/4” x 17-1/2”, framed 35” x 29” $1,500-$2,500 122 Leopold Survage (Russian, 1879-1968) “La Danse”, 1939 watercolor and graphite on paper signed, dated and with an “Atelier Survage” stamp lower right; “Figaro” newspaper article dated “26 Mars 87” with mention of watercolor and label with title and date en verso.

Framed. sight 12-1/2” x 24-1/2”, framed 23-1/2” x 35-1/2” $5,000-$8,000 121

122

85

123 Andre Lanskoy (Russian/French, 1902-1976) “La Malade” oil on canvas signed with a monogram upper right.

Framed.

8-3/4” x 11-3/4”, framed 14-3/4” x 18-1/4” To be included in the forthcoming Catalogue Raisonne de l’Oeuvre d’Andre Lanskoy currently being prepared by the Comite Lanskoy. $5,000-$8,000

123

124 Yitzhak Frenkel-Frenel (Israeli/Ukrainian, 1899-1981) “Sacre-Coeur” oil on canvas signed lower right.

Framed.

36-1/4” x 28-3/4”, framed 43-1/2” x 35-1/4” $2,000-$4,000

124

86

125 Grisha Bruskin (Russian/New York, b. 1945) “Study 4”, 1990 gouache and ink on paper signed lower right, “Marlborough Gallery, New York” label with artist, title and date en verso.

Framed.

8-1/4” x 10-3/4”, framed 16” x 18-1/2” Provenance: Marlborough Gallery, New York; Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $4,000-$7,000 125

126 Grisha Bruskin (Russian/New York, b. 1945) “Untitled”, 1990 gouache and ink on paper signed upper right, “Marlborough Gallery, New York” label with artist and date en verso.

Framed.

7-3/4” x 7-3/4”, framed 14-1/2” x 14-1/2” Provenance: Marlborough Gallery, New York; Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $4,000-$7,000

126

87

127 Pyotr Belenok (Russian, 1938-1991) “Untitled”, 1986 mixed media and collage on paper signed and dated lower right.

Matted, glazed and framed.

20-3/4” x 18-3/4”, framed 31-3/4” x 30” $2,500-$4,000 128 James Miller (British, b. 1962) “Powering Through the Waves” oil on canvas signed lower left, titled and signed en verso stretcher.

Framed.

28” x 40”, framed 35-1/2” x 45-1/2” $4,000-$7,000 127

128

88

129

129 George Vuillard (French, b. 1956) “Greeting the Morning” oil on wood panel signed lower left.

Framed.

39” x 28”, framed 46” x 36” $5,000-$8,000

89

130 Niek van der Plas (Dutch, b. 1954) “Naples Beach” oil on wood panel signed lower right.

Framed.

27” x 38-1/2”, framed 34-1/2” x 46-1/2” $5,000-$8,000

130

131 Niek van der Plas (Dutch, b. 1954) “Cabildo, St. Louis Cathedral and Presbytere” oil on wood panel signed lower right, incised signature en verso.

Framed.

19” x 20”, framed 26” x 26-1/2” $2,000-$4,000

131

132 Niek van der Plas (Dutch, b. 1954) “Naples Beach, Florida” oil on wood panel signed lower right, titled en verso.

Framed.

28” x 21”, framed 35-1/2” x 28” $4,000-$7,000 132

90

133 Niek van der Plas (Dutch, b. 1954) “New Orleans Brass Band, Royal Street, French Quarter” oil on panel signed lower right, incised signature en verso.

Framed.

19” x 20”, framed 25-1/2” x 26-1/2” $2,000-$4,000

133

134 Niek van der Plas (Dutch, b. 1954) “Venice” oil on wood panel signed lower left.

Framed.

9-1/2” x 11-3/4”, framed 17-1/4” x 19-1/4” $1,000-$1,500

134

91

135 Willem Heytman (Dutch, b. 1950) “Sunny Day at the Beach” oil on wood panel signed lower right.

Framed.

24-1/2” x 30-1/2”, framed 31” x 37” $2,000-$4,000

135

136 Willem Heytman (Dutch, b. 1950) “Reims-Gueux Race, 1932” oil on canvas signed lower left, inscribed and initialed en verso.

Framed.

29-3/4” x 41-1/8”, framed 35” x 50” $3,000-$5,000

136

92

137 Henri Joseph Pauwels (Belgian, 1903-1983) “Picking Flowers” oil on canvas signed lower right.

Framed.

32” x 38”, framed 42” x 47-1/2” $1,400-$1,800

137

138 Henri Joseph Pauwels (Belgian, 1903-1983) “Tea in the Garden” oil on canvas signed lower right.

Framed.

32” x 40”, framed 41-3/4” x 49-3/4” $1,400-$1,800

138

139 Gino Martini (Italian, b. 1935) “Pensive Woman Beside Tree” oil on canvas signed lower left.

Framed.

30-1/4” x 24-1/4”, framed 36-5/8” x 30-3/4” $1,200-$1,800

139

93

140

94

140 Albert Bierstadt (German/American, 1830-1902) “Autumn Morning on the Banks of the Passaic River, New Jersey” oil on canvas signed lower left, titled on early 20th-century handwritten label on frame backing, “Darvish Collection Inc.” label also on frame backing.

Gesso and giltwood frame.

14” x 20”, framed 25” x 31” Provenance: (Probably) Estate of the artist’s brother, Edward Bierstadt (1824-1906), American Art Galleries, New York, New York, January 22-23, 1908, lot 230; (probably) Otto Gerdan (1852-1920), Gerdan Company, New York, New York; Private collection; Christie’s East, New York, New York, September 29, 1999, lot 25; The Darvish Collection, Inc., Naples, Florida; Private collection, North Carolina.

Exhibited: (Probably) American Art Galleries, New York, New York, January 22-23, 1908.

Literature: American Art Directory, vol. 6. (New York: American Federation of Arts/R.R. Bowker & Co., 1908), pp. iv, 98-100.

A landscape titled “Passaic River” that matches the medium and dimensions of this painting is listed in this text/directory under works offered at sale from the Estate of Edward Bierstadt, the artist’s brother. $70,000-$90,000

Albert Bierstadt, a native of Germany, who emigrated to the United States at a young age with his family, was the most famous and financially successful American Romantic landscape painter of his time. He exhibited annually at the National Academy of Design in New York, and was an advocate of the Hudson River School’s study of outdoor atmospheric lighting. In the 1860s and 1870s, his works earned the highest prices achieved by an American artist. U.S. Congress even allocated $20,000 for one of his paintings. His epic terrains, with dramatic and diffuse lighting, captivated the imagination of 19th-century collectors, because he depicted the rugged American mountains, coasts, frontiers and pastures through the rosy tinted lens of “romantic pantheism.”

For Bierstadt, the landscape was a sublime experience; it was a reflection of God’s creation, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. Though well known for his monumental scenes of the Rocky Mountains and Western frontier, Bierstadt also produced an impressive body of smaller, intimate landscapes of the northeastern United States, which equally attract collectors through their command of soft ethereal lighting. This plein-air study of the Passaic River is another vignette in the annals of this master narrative; it is a tour-de-force of luminist lighting, deftly conveyed through a cool autumn morning in which the mist subtly lifts from the water, and obfuscates all the brushstrokes like a veritable wash, blending the colors and tones into hazy forms that convey the reflective tranquility of their setting.

95

141

96

141 Thomas Moran (American, 1837-1926) “Windsor Castle, from the Thames”, 1883 oil on artist board signed and dated lower right, “Kennedy Galleries, New York” label and catalogue publication en verso.

Framed.

11-1/2” x 18-3/8”, framed 19-1/4” x 25” Provenance: Kennedy Galleries, New York, ca. 1963; Rudolph Wunderlich, New York; Private collection; Sotheby’s, New York, May 22,2002, lot 141; Private collection.

Exhibited: “Thomas Moran, 1837-1926”, The Picture Gallery, University of California, Riverside, April-June 1963; Kennedy Galleries, New York, 1966.

Literature: Illustrated in Kennedy Galleries 6:1 (1966), p. 52; Collector’s Choice, Center for the Arts, Vero Beach, Florida, 1989, p. 33.

To be included in the forthcoming catalogue raisonne of the artist’s work by Stephen L. Good and Phyllis Braff. $25,000-$40,000

97

142

142 Hermann Ottomar Herzog (German/American, 1832-1932) “Alpine Lake Landscape with Figures on a Village Road”, 1862 oil on canvas signed and dated lower right.

Framed.

25-1/4” x 37-1/2”, framed 37-1/2” x 49-3/4” $12,000-$18,000

98

143 Hermann Ottomar Herzog (German/American, 1832-1932) “Peasants in a Field, Manor House in the Background” oil on canvas signed lower left.

Framed.

15” x 24”, framed 22-1/2” x 31-1/2” $3,000-$5,000

143

144 Arthur Quartley (American, 1839-1886) “Pulling Onto Shore” oil on canvas signed lower right.

Antique cove-molded frame.

5-5/8” x 14-1/4”, framed 14-3/4” x 20-3/8” $2,000-$4,000

144

145 Francis Augustus Silva (American, 1835-1886) “Sailing Boat” oil on canvas board signed lower right, a “Seager Gallery, Elmsford, N.Y.” label en verso.

Framed.

7-3/4” x 14-3/4”, framed 10-1/2” x 17-1/2” $4,000-$7,000 Provenance: Seager Gallery, Elmsford, New York.

145

99

146 After Frederic Sackrider Remington (American, 1861-1909) “The Cheyenne”, 20th century patinated bronze cast signature and copyrighted along edge of selfbase, on a green marble base. h. 21-1/2”, w. 21”, d. 8-1/2” $1,200-$1,800 147 Frederic Sackrider Remington (American, 1861-1909) “The Caravan” oil on canvas signed lower left “Frederic Remington, from photograph”.

Framed.

15-1/2” x 25-1/2”, framed 20-3/4” x 30-1/2”

146

$30,000-$50,000

147

100

148

148 Henry Raschen (American, 1854-1937) “Indians in Camp” oil on canvas signed lower left.

Framed.

26-1/4” x 46-1/4”, framed 31-3/8” x 50-1/4” Provenance: Shannon’s Fine Art Auctioneers, October 26, 2017, lot 45; Shirley and Benjamin Flayderman Collection, Boston, Massachusetts; by descent to the present owners. $5,000-$8,000

101

149 Douglas Ricks (American/Idaho, 1954-2003) “When Winter Comes to the Tetons” oil on board signed lower left, verso with “Altermann & Morris Galleries” label.

Framed.

36” x 60”, framed 46” x 68-1/2” Provenance: Allermann + Morris Galleries, Santa Fe, New Mexico; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $2,000-$4,000

149

150 Douglas Ricks (American, Idaho, 1954-2003) “Blackfoot in the Woods”, 1982 gouache on paper signed and dated lower right, verso with “Connally & Altermann Art Gallery” and “Altermann Art Gallery” labels.

Glazed and framed.

20” x 30”, framed 25-1/2” x 36” Provenance: Connally & Altermann Art Gallery, Houston, Texas; Altermann Art Gallery; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500-$2,500 150

102

151 Lee Jamison (American/Texas, b. 1957) “A Rainy Day”, 1989 oil on masonite signed and dated lower center, titled en verso.

Framed.

40” x 60”, framed 48” x 67-3/4” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500-$2,500

151

152 Lee Jamison (American/Texas, b. 1957) “Morning Stroll”, 1989 oil on masonite signed and dated lower right, titled en verso.

Framed.

40” x 60”, framed 48” x 67-3/4” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,400-$1,800

152

103

153

154

153 Lee Jamison (American/Texas, b. 1957)

154 Lee Jamison (American/Texas, b. 1957)

“N.W. Slopes”, 1989

“Mountain Autumn”, 1988

oil on masonite signed and dated mid-left, titled en verso.

Framed.

47-1/2” x 71-1/2”, framed 58” x 80”

oil on masonite signed and dated lower right, verso with “Altermann & Morris Galleries” label.

Framed.

24” x 48”, framed 31-1/4” x 56-1/4”

Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $2,000-$4,000

Provenance: Altermann & Morris Galleries, Dallas, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000-$1,500

104

155

155 Valoy Eaton (American/Utah, b. 1938) “A Couple of Strays”, 1982 oil on board signed and dated lower left, signed, titled, dated and localized “Midway, Utah” en verso, with multiple “Altermann & Morris Galleries” labels en verso.

Framed.

30” x 48”, framed 40-1/2” x 58” Provenance: Altermann & Morris Galleries, Dallas, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $7,000-$10,000

105

156 Jerry Venditti (American/California, b. 1942) “Indian Blanket”, 1984 oil on canvas signed and dated lower right, verso with multiple “Altermann & Morris Galleries” labels.

Framed.

19” x 26”, framed 24” x 31-1/2” Provenance: Altermann & Morris Galleries, Dallas, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500-$2,500 156

157 Jack Terry (American/Texas, b. 1952) “Outfitter’s Hideaway”, 1997 oil on canvas signed lower right, signed, titled and dated en verso, a “Jackson-Kirkland Fine Arts” gallery label on stretcher.

Framed.

25” x 30”, framed 33-3/4” x 38-3/4” Provenance: Jackson-Kirkland Fine Arts, Santa Fe, New Mexico. $5,000-$8,000 157

106

158 James Robinson (American/Texas, 1944-2015) “Canyon Landscape” oil on board signed lower left, verso with “Altermann Art Gallery” label.

Framed.

18” x 24”, framed 28-1/2” x 35” Provenance: Altermann Art Gallery, New Mexico and Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000-$1,500

158

159 William Aiken Walker (American/South Carolina, 1839-1921) “Cotton Picker Holding a Pipe” oil on beveled artist board signed lower left, old inscription en verso.

Period gilt frame.

10-1/2” x 5-1/2”, framed 16-1/4” x 10-3/4” To be included in John Fowler’s upcoming catalogue raisonne of the artist. $3,000-$5,000 159

107

160 Marion Sims Souchon (American/New Orleans, 1870-1954) “Mardi Gras Parade” oil on board signed lower right, numbered “392” en verso.

Framed.

31” x 29”, framed 33” x 30-3/4” Provenance: Private collection, New Orleans, Louisiana. $4,000-$7,000 160

161 Alfred Huber Hutty (American/South Carolina, 1877-1954) “On the Cooper River, New Charleston, South Carolina” oil on board signed lower right and handwritten title en verso.

Framed.

8-1/4” x 10-1/2”, framed 17-3/4” x 19-3/4” $4,000-$6,000 A founding member of the New York Woodstock Art Colony and a leading member of the Charleston Renaissance, Alfred Hutty divided his time seasonally between the two cities. The distinctive culture and landscape of South Carolina’s Low Country inspired the artist. This charming painting depicts cypress trees lined along the shore of the Cooper River.

161

108

162 Newcomb College Art Pottery matte-glazed vase, 1923, decorated by Corinne Chalaron with flowering snowdrops in spandrels in blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter mark, registration no. “NQ13” and shape no. “90”. h. 6-1/4”, w. 3-1/2” $1,500-$2,500

162

163 Newcomb College Art Pottery matte-glazed vase, 1933, decorated by Henrietta Bailey with palm trees in blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, [faint] Jonathan Hunt’s potter mark, and registration no. “UP35”. h. 5-1/2”, w. 3-3/4” $2,000-$4,000

163

109

164 Walter Inglis Anderson (American/Mississippi, 1903-1965) “Young Birds” watercolor and graphite on paper unsigned and pencil-titled en verso, “Brown’s Fine Art & Framing, Jackson, MS” label with artist and title en verso.

Matted, glazed and framed.

8-1/2” x 11”, framed 17” x 19-1/2” Provenance: Tullius Brady, Brookhaven, Mississippi; thence by descent. $6,000-$9,000

164

165 Walter Inglis Anderson (American/Mississippi, 1903-1965) “Mallards Feeding” watercolor and graphite on paper unsigned, pencil-titled en verso; accompanied by a certificate from the Anderson family with title.

Matted, glazed and framed.

8-1/2” x 11”, framed 17” x 19-1/2” Provenance: Tullius Brady, Brookhaven, Mississippi; thence by descent. $7,000-$10,000

165

110

167 Walter Inglis Anderson (American/Mississippi, 1903-1965) “Crabs” watercolor and graphite on paper estate stamp lower right and pencil-titled en verso, “Eddie’s Frame Shop, Ocean Springs, MS” label en verso.

Matted, glazed and framed.

8-1/2” x 11”, framed 15-1/4” x 17-1/2” Provenance: Tullius Brady, Brookhaven, Mississippi; thence by descent. $7,000-$10,000

167

166 Walter Inglis Anderson (American/Mississippi, 1903-1965) “Red Head Design”” watercolor and graphite on paper Artist's Estate stamp lower right and penciltitled en verso, “Eddie’s Frame Shop, Ocean Springs, MS” label en verso.

Matted, glazed and framed.

8-1/2” x 11”, framed 14-1/2” x 17” Provenance: Tullius Brady, Brookhaven, Mississippi; thence by descent. $5,000-$8,000

166

111

168 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “The Wedding Party”, 1967 oil on canvas signed and dated mid-right “Jose Maria Cundin 1967”.

Framed.

39” x 31”, framed 40-1/2” x 32-1/2” Provenance: Galerie Simone Stern, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $10,000-$15,000

168

169 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Marques de Bradomin”, 1966 oil on canvas signed and dated mid-center “Jose Maria Cundin 1966”, verso with “Orleans Gallery, New Orleans, Louisiana” label.

Framed.

24” x 18”, framed 24-1/2” x 18-1/2” Provenance: Orleans Gallery, New Orleans, Louisiana ; Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $3,000-$5,000 169

112

170

170 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Rosita con Manolito el Verbenas”, 1969 oil on canvas signed and dated lower middle “Jose Maria Cundin 1969”, from the series “Pre-Mama”, titled, dated, signed and inscribed “New Orleans” on canvas verso.

Framed.

39” x 39”, framed 41” x 41” Provenance: Private collection, New Orleans, Louisiana; Purchased at these galleries, December 5, 2009, lot 1101. $10,000-$15,000

113

171 Sister Gertrude Morgan (Alabama/Louisiana, 1900-1980) “Jesus is My Air Plane” acrylic, graphite and ink on paper signed lower right and titled lower left.

Matted, glazed and framed.

5-3/4” x 11-1/2”, framed 12-1/2” x 18-3/4” $2,000-$4,000 171

172 Sister Gertrude Morgan (Alabama/Louisiana, 1900-1980) “Mary, Baby Jesus and Joseph: No Room at the Inn” acrylic and ink on board signed upper left and titled upper right.

Matted, glazed and framed.

7-1/2” x 12”, framed 17-3/4” x 21” $2,000-$4,000

172

173 William Tolliver (American/Mississippi, 1951-2000) “Untitled - Figures in Black and Gold” gold paint on paper signed lower right.

Matted, glazed and framed. sight 26-1/2” x 19”, framed 31-1/2” x 23-1/4” Provenance: Ahlers & Ogletree, Atlanta, Georgia, January 6, 2018, lot 267; Private collection. $1,500-$2,500

173 8 114

174 Noel Rockmore (American/Louisiana, 1928-1995) “Two Boys”, 1960 watercolor and ink on paper signed, dated and localized lower right.

Matted, glazed and framed. sight 23-3/4” x 14”, framed 34-3/4” x 20-3/4” Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,000-$1,500

174

175 Noel Rockmore (American/Louisiana, 1928-1995) “Porch Life, New Orleans”, 1959 watercolor and ink on paper signed, dated, localized “New Orleans” and inscribed “for Pat, 1960”.

Matted, glazed and framed. sight 21” x 25”, framed 31” x 34” Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,000-$1,500

175

115

176 Robert Gordy (American/Louisiana, 1933-1986) “Untitled #71” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21-1/4” x 21-1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,500-$2,500

176

177 Robert Gordy (American/Louisiana, 1933-1986) “Untitled #72” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21-1/4” x 21-1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,500-$2,500

177

178 Robert Gordy (American/Louisiana, 1933-1986) “Untitled #73” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21-1/4” x 21-1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,500-$2,500

116

178

180 Robert Gordy (American/Louisiana, 1933-1986) “Two Female Nudes on Stairs”, 1968 marker on paper signed and dated lower right.

Matted, glazed and framed.

22” x 16-1/2”, framed 26-1/2” x 21-1/4” $1,000-$1,500

179

179 Robert Gordy (American/Louisiana, 1933-1986) “Female Nudes”, 1968 marker on paper signed and dated lower right.

Matted, glazed and framed.

21” x 16”, framed 27” x 21” $1,000-$1,500

180

117

181 George Bauer Dunbar (American/Louisiana, b. 1927) “Daisy’s Butt” oil on red clay unsigned.

Framed.

11” x 11”, framed 12” x 12” $3,000-$5,000 182 George Bauer Dunbar (American/Louisiana, b. 1927) “Double Heart” oil and gold leaf on red clay signed lower right.

Glazed and framed.

14” x 19”, framed 22-1/2” x 26” $4,000-$7,000 183 George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” oil and gold leaf on red and black clay incised signature lower center and lower right.

Framed.

30” x 24”, framed 30-1/2” x 24-1/2” $8,000-$12,000

183

182 181

118

184 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 1992 gold leaf over red and black clay incised signature lower right, signed and inscribed “CDL92” en verso.

In an integral thin black presentation frame.

42” x 33”, framed 44” x 34-3/4” $15,000-$25,000

184

185 George Bauer Dunbar (American/Louisiana, b. 1927) “Heart” silver leaf and mixed media over black clay signed lower right.

Glazed and framed.

12-1/4” x 12-1/4”, framed 20-1/4” x 19-3/8” $3,500-$5,000

185

119

186

186 George Valentine Dureau (American/Louisiana, 1930-2014) “Broken Pediment”, 1995 oil on canvas signed, titled and dated en verso.

Unframed.

60-1/2” x 64” $7,000-$10,000

120

187 George Valentine Dureau (American/Louisiana, 1930-2014) “Self Portrait” and “Dexter”, 1972 two charcoals on paper each signed lower center, latter with “Circle Gallery, New Orleans” labels with title and date en verso.

Each matted, glazed and framed. sight 25-3/4” x 22” and 25-1/4” x 21-3/4”, framed 28-1/2” x 24-1/2” and 33” x 27-3/4” Provenance: Circle Gallery, New Orleans, Louisiana; Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,000-$1,500 188 Henry Casselli (American/Louisiana, b. 1946) “Bust of a Woman” patinated bronze incised signature and numbered “1/10” at back, on an integral carved wood plinth. sculpture h. 12-1/2”, overall h. 19”, w. 10”, d. 7-3/4” Provenance: Successions of Lois Chalona Hawkins and H. Lloyd Hawkins, Jr., New Orleans, Louisiana.

188

$5,000-$8,000

187 one of two

187 two of two

121

189 Zella Funck (American/Louisiana, 1917-2009) Three Scenes of Audubon Zoo, 1987: "Elephants and Rhinoceros" "Monkeys and Rhinoceros" "Zebras, Bears and Orangutans” each charcoal on paper one signed, dated and with “Zella” stamp lower right and one titled lower left.

Matted, glazed and framed alike. sights 37-3/4” x 45” and (2) 37-1/2” x 64-1/2”, framed 47-1/2” x 55” and (2) 47-1/2” x 74-1/2” $1,500-$2,500

189

122

190

190 Allison Stewart (American/Louisiana, b. 1941) “Green Trace”, 1996 acrylic and mixed media on canvas signed and titled en verso.

Unframed.

47-1/2” x 47-1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $3,500-$5,000

123

191

191 Zella Funck (American/Louisiana, 1917-2009) “Willow Weeps with Trembling Fingers into a River of Return”, “Pathway”, “Bridge of Gl...s River”, and “Willow Weeps for Me, Bend your Branches Down”, 1998 four watercolors and mixed media on paper each signed, titled and dated lower margin.

Glazed and framed alike. each 22” x 30”, framed 27-1/2” x 35” $1,500-$2,500 192 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997) “Untitled, Cluster Series”, 1975 mixed media on paper signed and dated lower right.

Framed. sight 12-7/8” x 12-7/8”, framed 21” x 21” $3,000-$5,000 192

124

193

193 Gene Koss (American/Louisiana, b. 1947) “Ridge Road Climb”, 1990 hand-formed glass with etching signed, dated, and inscribed “Wagon with Sculptures” at lower right. h. 13”, w. 15-3/4”, d. 3-1/4”

194

Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,500-$2,500 194 Hunt Slonem (American, b. 1951) “Javas 3”, 1991 oil on canvas signed, titled and dated en verso.

Framed.

23” x 17”, framed 29-1/4” x 23-1/4” $2,500-$4,000 195 Hunt Slonem (American, b. 1951) “Cockatoos” oil on canvas signed, titled and dated en verso.

Framed.

20” x 16”, framed 29-1/2” x 26-1/2” $2,000-$4,000 195

125

196

196 Hunt Slonem (American, b. 1951) “Indian Summer”, 1998 oil on canvas signed, titled and dated en verso.

Framed.

38” x 38”, framed 46” x 46” $4,000-$7,000 197 Hunt Slonem (American/Louisiana, b. 1951) “Ian”, 1972 oil on canvas signed, titled and dated en verso.

Unframed.

10” x 8” $1,500-$2,500

126

197

198

198 Hunt Slonem (American, b. 1951) “Quails”, 1985 oil on canvas signed, dated and a “David Barnett Gallery, Milwaukee, WI” label with artist, title and date en verso.

Framed.

28” x 40”, framed 37” x 48-1/2” Provenance: David Barnett Gallery, Milwaukee, Wisconsin; Private collection. $5,000-$8,000

127

199 Martin LaBorde (American/New Orleans, b. 1943) “Justice,...The Twinkle of Stars...and J.R.S.”, 1992 oil on canvas signed and dated lower right, signed, titled, dated and inscribed en verso.

Framed.

36” x 24”, framed 36-3/4” x 24-3/4” $1,000-$1,500

200 James Michalopoulos (American/Louisiana, b. 1951) “Green Litigus”, 1995 oil on canvas signed lower left, signed and dated en verso, titled on stretcher.

Thin gallery frame.

30” x 24”, framed 31” x 25” $4,000-$7,000

200

201 George Rodrigue (American/Louisiana, 1944-2013) “Pack of Oak Trees” acrylic on canvas signed lower right.

Framed.

30” x 40”, framed 38” x 48” Provenance: Private collection.

Exhibited: Rodrigue’s Louisiana, New Orleans Museum of Art, New Orleans, Louisiana, 2008; Rodrigue’s Heartland, Rodrigue Studio, New Orleans, Louisiana, 2018/19.

Literature: Rodrigue, George, Blue Dog Speaks, New York: Sterling Publishing, 2008, illus. p. 41. Sandra Choron and Harry Choron, Planet Dog, New York: Houghton Mifflin Company, 2005, p. 18; Bragg, Rick, “Art in America: An Artist and a Dog That Became a Cultural Icon”, The New York Times, September 16, 1998, pp. 76 and 77. $60,000-$90,000

199

128

201

"People who have seen a Blue Dog painting always remember it... They are really about life, about mankind searching for answers. The dog never changes position. He just stares at you. And you’re looking at him, looking for some answers, “Why are we here?” and he’s just looking back at you, wondering the same. The dog doesn’t know. You can see this longing in his eyes, this longing for love, answers... It’s not just a dog... but a dog trapped in that same uncertainty all people feel. And no matter how many landscapes the dog travels to, its expression never changes."

--George Rodrigue New York Times, September 16, 1998

The Blue Dog came into being when the artist was commissioned to complete a series of illustrations for a book on Cajun myths and lore. While working on the image to accompany the legend of the loup-garou - a were-dog who roams the swamps and forests of Louisiana - Rodrigue was inspired by the memory of his beloved dog Tiffany.

This energetic black and white terrier was transformed into the iconic blue-furred, yellow-eyed dog. Included in the monumental retrospective exhibition, Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond Katrina held at the New Orleans Museum of Art in 2008, the painting presented here deftly and effectively combines two of the artist’s most beloved themes - the Blue Dog and the lush Louisiana landscape.

Here, the enigmatic Blue Dog encompasses almost the entirety of the foreground, unflinchingly gazing directly at the viewer, flanked by two majestic oak trees.

129

202 Ashley Longshore (American/Louisiana, b. 1975) “Je ne sais pas” oil and chalk on wood panel with heavy resin signed “S A Longshore” lower right and titled upper center.

Unframed.

28” x 35” $3,000-$5,000 202

203 Armando Amaya (Mexican, b. 1935) “Mujer Flexionada Sonriendo”, 1988 carved black marble incised signature and dated at back, on an integral shaped black plinth. overall h. 19-1/4”, w. 18”, d. 15” Provenance: Pasquale Iannetti Art Galleries, Inc., San Francisco, California; Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $2,000-$4,000 A native of Mexico City, Amaya attended the Escuela Nacional de Pinture, Escultura y Grabado - later known as La Esmeralda - where he studied with Jose Luis Ruiz (1903-?) and Francesco Zuniga (1912-1998), eventually serving as the latter’s studio assistant for several years. In 1969, Amaya was named a professor of the school, a position he held for many years.

His sculptures, with their slightly abstracted solid limbs and exaggerated curves, are explorations of the dignity and power of the female form. Amaya’s artistic approach incorporates his strict academic training, his appreciation for the artifacts of his native region, and his respect for his subjects.

203

130

204 Romeo Tabuena (Filipino/Mexican, 1921-2015) “The Elder”, 1959 oil on paper board signed and dated lower right.

Framed.

26” x 20”, framed 31-1/2” x 25-1/2” Provenance: Purchased from the artist; thence by descent. $1,000-$1,500

204

205 Romeo Tabuena (Filipino/Mexican, 1921-2015) “The Village” oil on paper board signed lower left.

Framed.

20” x 26”, framed 20-3/4” x 26-1/2” Provenance: Purchased from the artist; thence by descent. $2,000-$4,000

205

206 Francis Bott (German, 1904-1988) “Composition (H. 1327).”, 1983 acrylic on canvas signed and dated lower left, and titled, inscribed and with Christie’s labels en verso.

Framed.

23-3/4” x 23-3/4”, framed 25-3/4” x 25-3/4” Provenance: Christie's London Sale of Works from the Franci Bott (1904-1998) Studio, November 16, 2006, lot 173. $2,500-$4,000

206

131

207 Esteban Vicente (Spanish/New York, 1903-2001) “Untitled: Collage” mixed media on paper signed lower left.

Matted, glazed and framed.

6-1/2” x 7-3/4”, framed 14” x 15-1/2” $1,000-$1,500

207

208 Robert Marc (American, 1943-1993) “Composition 68”, 1990 mixed media on canvas signed lower center, numbered on the reverse “H966”.

Framed.

8-5/8” x 12-1/4”, framed 24-1/2” x 27-3/4” Provenance: Collection of Barry Friedman.

Accompanied by a certificate of authenticity issued by Anne FromentinSangnier. $6,000-$9,000

208

132

209 Jean Lurcat (French, 1892-1966) “Homme Lisant au Cafe”, 1925 gouache, watercolor and pencil on paper signed and dated lower center.

Matted, glazed and framed. sight 12” x 10”, framed 20-1/2” x 18-3/4” Provenance: Sotheby’s, London, February 23, 1983, lot 436; Sotheby’s, London, March 19, 1997, lot 34; Sotheby’s, New York, October 7, 2008, lot 92.

Literature: Gerard Denizeau, Simone Lurcat, L’Oeuvre peint de Jean Lurcat, Catalogue Raisonne, Lausanne, 1998, no. 1925.54, illustrated p. 293. $5,000-$8,000

209

210 Georges Braque (French, 1882-1963) “Black Pitcher and Lemons”, 1956 etching and aquatint in colors signed in pencil lower right.

Matted, glazed and framed. sight 16-1/4” x 19-3/4”, framed 23-1/2” x 27-1/2” $1,000-$1,500

210

133

211 After Pablo Picasso (Spanish/French, 1881-1973) “Bouteille et Fleur (Fleur Dans une Boite de Fer)”, 1938 color lithograph pencil-signed and numbered “145/150” lower margin, titled and dated on “The Art Cellar Gallery, Banner Elk, NC” label en verso.

Matted, glazed and framed. sight 10-1/2” x 11-1/2”, framed 21” x 28” Provenance: The Art Cellar Gallery, Banner Elk, North Carolina. $1,000-$1,500

211

212 Richard Jolley (American, b. 1952) “Reclining Nude”, 1988 sculpted glass incised signature, dated and titled at bottom. h. 7”, w. 12-1/2”, d. 5” Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,200-$1,800 212

134

213

213 R. Kenton Nelson (American/California, b. 1954) “Park”, 1994 oil on masonite signed lower left.

Framed.

24-3/4” x 24-1/2”, framed 28” x 27” $6,000-$9,000

135

214 one of two

214 two of two

214 Loran Speck (American/California, 1943-2011) “Calla Lily” and “Study: Calla Lily” oil on masonite, and watercolor and graphite signed lower left and lower right, respectively, former with “Loran Speck Gallery, Carmel, CA” en verso.

Former framed and latter matted, glazed and framed.

16” x 12” and sight 14” x 11”, framed 24” x 20” and 27” x 23-1/4” Provenance: Loran Speck Gallery, Carmel, California; Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $2,000-$4,000

215 Loran Speck (American/California, 1943-2011) “Sudeley Castle, Study with Urn” oil on canvas signed lower left.

Framed.

36” x 24”, framed 44” x 32” Provenance: Loran Speck Gallery, Carmel, California; Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $6,000-$9,000 215

136

216

216 Andy Warhol (American, 1928-1987) “Mammy, from Myth’s Portfolio”, 1981 color screen print with diamond dust on Lenox Museum Board signed lower right and numbered “AP 20/30”, edition of 200 includes 30 Artist Proofs (AP).

Glazed and framed. sheet 38” x 38”, framed 41-1/2” x 41-1/2” Provenance: Private collection.

Literature: Feldman and Schellman, Andy Warhol Prints: A Catalogue Raisonne, 3rd ed. ( New York: D.A.P., 1997) no.

262, pp. 119-120. $20,000-$40,000

137

217 Nan Goldin (American, b. 1953) “David Armstrong at the Table, Coney Island”, 1998 Cibachrome print edition “1/15”, titled, dated and numbered on “Matthew Marks Gallery, New York, New York” label en verso.

25” x 37-1/2”, framed 28” x 40-3/4” Provenance: Matthew Marks Gallery, New York, New York; Private collection, New Orleans, Louisiana. $1,800-$2,500 217

218 David Bradley Armstrong (American, 1954-2014) “Tree Trunk, Tivoli”, 1998 Cibachrome print edition “2/7”, titled, dated and numbered on label en verso.

Glazed and framed. sight 36” x 25-3/4”, framed 37” x 27” Provenance: Matthew Marks Gallery, New York, New York; Private collection, New Orleans, Louisiana. $1,000-$1,500

218

219 David Bradley Armstrong (American, 1954-2014) “French Chris, Rue Andre Antoine, Paris”, 1980 gelatin silver print edition 1/5.

Glazed and framed.

24” x 20”, framed 30-1/2” x 25-1/2” Provenance: Matthew Marks Gallery, New York, New York; Private collection, New Orleans, Louisiana. $1,000-$1,500

219

138

220 one of three

220 two of three

220 three of three

220 Three Contemporary American Prints including John Angus Chamberlain (American/Florida, 1927-2011), “Welding”, 1927, color lithograph, pencilsigned, dated and numbered “P.P. 3” lower margin; James Rosenquist (American/Florida, 1933-2017), “Tallahassee and Florida”, 1982, color lithograph, pencil-signed and dated lower right and numbered “7/7 TP” lower left; and Hollis Sigler (American, 1948-2001), “There’s No Future in it”, 1984, color lithograph, pencil-signed and numbered “23/47” lower margin, titled lower center.

Each unframed. sheets 31-1/2” x 24”, 28-1/2” x 21-3/4” and 22” x 28-1/2” Provenance: Estate of Ida Kohlmeyer, New Orleans, Louisiana. $1,000-$1,500

221 Joan Mitchell (American, 1926-1992) “Composition in Gray” lithograph on Arches paper signed in pencil lower right, numbered “7/105” lower left.

Unframed.

30” x 22” $1,400-$1,800 221

139

222 Peter Max (American, b. 1937) “God Bless America II” mixed media and lithograph on paper signed lower right, label with artist and title en verso.

Matted, glazed and framed. sight 23” x 17”, framed 37-1/2” x 31-3/4” $1,500-$2,500

222

223 Wook-Kyung Choi (Korean, 1940-1985) “A Party on Saturday”, 1966 acrylic on board signed and dated lower right.

Framed.

16-1/8” x 21-7/8”, framed 17-3/4” x 23-1/2” Provenance: Estate of the artist.

Literature: Gallery Hyundai, Seoul, 1996, illustration plate #53. $3,000-$5,000

223

140

224 Pierre Doutreleau (French, b. 1938) “Joe Willie” oil on canvas signed lower right, verso with “Wally Findlay Galleries” label.

Framed and with artist plaque.

36” x 28”, framed 42” x 32” $3,000-$5,000

224

225 Romeo Tabuena (Filipino/Mexican, 1921-2015) “Flauta y Tambor (Flute and Drum)”, 1962 tempera on masonite signed and dated lower right, “Instituto Nacional de Bellas Artes, Museo Nacional de Arte Moderno” and “Galeria Central de Arte Moderno” labels with artist, title and date en verso.

Framed.

29-3/4” x 24”, framed 30-1/2” x 24-3/4” Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $2,000-$4,000

225

141

226

226 Mark Kostabi (American, b. 1960) “The Devil Hath Power to Assume a Pleasing Shape”, 1989 acrylic on canvas signed and dated lower left, signed, titled and dated en verso.

Framed.

54” x 48”, framed 57-3/4” x 51-1/2” Provenance: Private collection, New Orleans, Louisiana. $4,000-$6,000

142

227

227 Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008) “Linear Landscape”, 1997 acrylic on masonite monogramed lower right, signed, titled and dated en verso.

Unframed.

36” x 72” Provenance: Private collection, New Orleans, Louisiana. $30,000-$50,000

One of the South’s preeminent landscape painters, Elemore Morgan, Jr.’s depictions of his native Louisiana prairies and marshes have been widely exhibited both nationally and internationally.

With his gestural style employing bright colors, reminiscent of the French fauvists, he lovingly painted the expansive rural landscape with its massive ever-changing skies.It was during a childhood spent on his grandfather’s vast farm outside of Baton Rouge, that Elemore’s appreciation of nature was born and this would later become crucial in shaping his art. He was truly a plein-air artist, using a studio mainly to store the many-shaped panels and painting supplies. It is perhaps his generous spirit for which he is most remembered; when he wasn’t painting in the great outdoors, he was helping others with their artistic work and exhibits, as well as managing his father’s (Elemore Morgan, Sr.) photographic negatives and prints that were constantly in demand.

143

228 Wolf Kahn (German/New York, b. 1927) “Valley of the Connecticut River at Northfield, Massachusetts,” 1982 oil on canvas signed lower center, handwritten title, date, and “Meredith Long, Houston, Texas” label with artist and title en verso.

Framed.

53” x 74”, framed 54-1/2” x 75-1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $30,000-$50,000 I encountered Wolf Kahn’s paintings for the first time by total chance, while vacationing in Southwest New Hampshire.

One day, we took a day trip to Brattleboro, Vermont and in the historic Union train station, we happened upon an exhibition of his large-scale landscapes.

Both my husband and I stood in the middle of that quaint space, mesmerized by the swirling, sun-drenched colors and my mind, searching for familiarity and connections to art movements, was immediately drawing parallels with such great Abstract Expressionists as Willem de Kooning and Mark Rothko, though the colors and shapes were arranged in such a way that you recognized the New England landscape in every canvas, some dominated by barns and some without any human interference.

144

228

This particular vision of the landscape genre was to my eyes something entirely unique, teetering on the edge between abstraction and representation. One could say that Kahn’s work is a synthesis of his abstract training by Hans Hoffman, influences of Old Master painters Titian and Rembrandt, as well as the Post-Impressionism of Matisse.

In an interview given in 2014 for Hyperallergic, John Seed questions Kahn’s consistent devotion to representational art, although his lifelong connection has been to many abstract painters, both through his teachers and his wife, the artist Emily Mason, who herself was a daughter of the first generation Abstract Expressionist painter Alice Trumbull Waters. Wolf Kahn’s response was to quote his teacher/mentor Hans Hoffmann, “There is no such thing as representational painting and abstract painting: there is only intelligent painting and stupid painting.”

Wolf Kahn’s painting is most certainly intelligent, with the clever use of bands of expressive, vibrant color arranged in compositions that draw in the viewer, basking in the fields of light.

--Jelena James Director of Fine Art New Orleans Auction Galleries

145

229 Franklin Carmichael (Ontario/Canada, 1890-1945) “Port Coldwell, Lake Superior”, 1928 oil on board titled, dated “1928” and certified by hand by Ada L. Carmichael, and bearing Heffel Fine Art Auction House stamps.

Framed.

10” x 12”, framed 16” x 18” Provenance: Acquired directly from the estate of the artist

by John Goldie Breckenridge, Toronto; Estate of Mary Breckenridge; Heffel Fine Art Auction House, Toronto, Ontario, Canada, November 25, 2010, lot 122; Private collection, New Orleans, Louisiana.

Literature: Megan Bice, Light & Shadow: The Work of Franklin Carmichael, 1990, p. 48. $150,000-$250,000 Franklin Carmichael, a pioneering Canadian artist of the early 20th century, redefined the rugged Northwestern territories in a distinctly native and modern genre. Along with six other artists- A.Y. Jackson, Lawren Harris, Arthur Lismer, Frederick Varley, Frank Johnston and J. E. H. MacDonald, he formed the Group of Seven, an important brotherhood of Canadian landscape artists, who repudiated British and European models, seeking inspiration instead from outlier Scandinavian landscapes and popular North American theories concerning the spiritual (transcendentalism and theosophy). According to Harris, after painting in Europe “where everything was mellowed by time and human associations, [he] found it a problem to paint a country in outward appearance pretty much as it had been when Champlain passed through its thousands of rock islands three hundred years before.” The sheer expanse of the rugged bluffs, falls and uncharted waters coupled with the extremities in lighting, northern lights and temperature were foremost felt; the experience cathartic and sublime with fear on exalting par with awe- fear of being stranded on a frozen lake or tundra miles from civilization.

146

To truly capture that sensation was beyond representation as defined by the landscape traditions of the academies; Carmichael and the Group of Seven were avant-garde in their approach: they collapsed foreground and background. As seen here in this superb study of Port Coldwell, roiling skies and undulating hills, rendered through a tertiary and redactive palette, blur celestial and terrestrial boundaries, creating a hauntingly beautiful scene that is austere and yet disquieting in its arrested movement.

Port Coldwell was an epicenter for the Group of Seven, a wellspring of inspiration, much like Walden Pond was for their American cousins. Between 1920 and 1928, they frequented it often. Its remoteness spellbound them- a community of five homes centered around an ice house with no infrastructure or roads. The steep grade of the hills on the northern shore of Lake Superior made it impassable by rail. With much coercion from the artists, the conductor would slow the train to 25 mph so they could jump from the railcar. The painting offered exemplifies Carmichael’s daring leap to push compositional boundaries in search of an art emblematic of the Northern Canadian territories.

229

147

230 Jean-Paul Lemieux, CC, GOQ (Canadian, 1904-1990) “L’Apotre”, 1966 oil on canvas signed and dated lower right, titled and dated on “Montreal Museum of Fine Arts” loan/exhibition labels on stretchers.

Framed.

41-1/2” x 30-3/4”, framed 50” x 40-1/2” Provenance: Germain Gauthier, Quebec, acquired from the artist; thence by descent; Heffel Fine Art Auction, Vancouver, November 25, 2010, lot 39; Private collection, Florida.

Exhibited: Jean Paul Lemieux Retrospective Exhibition, 15 Sept - 11 Oct. 1967, Montreal Museum of Fine Arts; 18 Oct. - 22 Nov. 1967, Musee du Quebec; and 6 Dec. 1967 - 7 Jan. 1968, National Gallery of Canada, Ottawa.

Literature: Luc d’Iberville-Moreau, Jean Paul Lemieux: [Exposition: 15 Sept. - 11 Oct. 1967, Musee du Quebec, 18 Oct. - 22 Nov. 1967, La Galerie Nationale du Canada, 6 Dec. - 7 Jan. 1968] (Montreal: Le Musee, 1967) p. 80, #101 Guy Robert, Lemieux (Montreal: Stanke, 1975) p. 222. $300,000-$500,000

148

230

149

231

231 Vu Cao Dam (Vietnamese/French, 1908-2000) “Divinite”, 1973 oil on canvas signed and dated lower right, verso with “Wally Findlay Galleries” label.

Framed and with artist plaque.

29” x 23-1/2”, framed 37-1/2” x 33” Provenance: Wally Findlay Galleries, New York, New York. $30,000-$50,000

150

232

232 Terrell James (American/Texas, b. 1955) “Untitled Triptych” plaster and mixed media on board with integral wooden support notes with artist name and display directions en verso. each h. 74”, w. 14”, 26-1/2” and 26-1/2”, respectively Provenance: Private collection, Houston Texas. $3,000-$5,000

151

233

233 Thomas Downing (American, 1928-1985) “Antalaha”, 1972 acrylic on canvas signed, titled and dated “July 9-72” en verso.

Unframed.

83-1/2” x 151” Provenance: Estate of James Julius Killough III, Houston, Texas; Purchased from the artist by Mr. Killough in 1975, during the artist’s tenure at the University of Houston. $20,000-$40,000

152

As part of the Washington Color Painters group that exhibited together in 1965 at the Washington DC Gallery of Modern Art, Thomas Downing is known for his manipulation of acrylic paint on unprimed canvases.

His primary concern was color, arranging seemingly simple geometric shapes, in order to create intriguing optical color contrasts. Circles, according to Downing, were one of the most effective geometric shapes to hold color.

234

234 Thomas Downing (American, 1928-1985) “Quadrille” acrylic on canvas signed en verso.

Unframed.

56” x 56” Provenance: Estate of James Julius Killough III, Houston, Texas; Purchased from the artist by Mr. Killough in 1975, during the artist’s tenure at the University of Houston. $10,000-$15,000

153

235

236

235 Pedro Friedeberg (Mexican, b. 1937)

236 Pedro Friedeberg (Mexican, b. 1937)

“Hand Chair” and “Moon Fist”

“Sun Fist Left” and “Sun Fist Right”

pair of carved and gilt wood sculptures each signed at bottom. former h. 4-1/4”, w. 2-1/2”, d. 3” and latter h. 8-1/2”, w. 2-1/4”, d. 1-1/4”

pair of carved and gilt wood sculptures each signed at bottom. h. 8-1/4”, w. 3”, d. 1-1/4”

Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,000-$1,500

154

Provenance: Estate of Dr. Leona Bersadsky and Dr. Dorothy Bratsas, New Orleans, Louisiana. $1,000-$1,500

238 detail

238 Troy A. Dugas (American/Louisiana, b. 1970) “Don Antonio” cigar labels on cut paper Framed.

46” x 46”, framed 52” x 52” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $3,000-$5,000 238

Born in Rayne, Louisiana, Troy A. Dugas studied art at ULL and Pratt Institute. By using product labels for his meticulous compositions, Dugas provides both an intriguing aesthetic as well as reflections on our consumer society.

Through symmetry, artistic patterning and repetition, he transforms colorful cigar bands into works of art.

237 Troy A. Dugas (American/Louisiana, b. 1970) “Sun Ray Stub”, 2013 cigar labels on cut paper Framed.

46” x 46”, framed 52” x 52” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $3,000-$5,000

237

155

239

239 Charlotte Lewis (American/Louisiana, 1962-2011) “Untitled: Stars, Hearts, X’s and O’s” oil and mixed media on canvas signed lower right.

Framed.

36” x 60”, framed 37” x 61” $1,000-$1,500 240 Janeth Murray McKendrick (American, Contemporary) “Nightscape” mixed media on canvas and wood panel unsigned.

Unframed.

52-3/4” x 50-3/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,000-$1,500

240

156

241

241 Rimi Yang (American/Japanese, Contemporary) “Maya’s Room”, 2009 oil on canvas signed and dated en verso.

Unframed.

60” x 48” $4,000-$7,000

157

242 Rimi Yang (American/Japanese, Contemporary) “GB King”, 2010 oil on canvas signed and dated en verso.

Unframed.

72” x 48” $5,000-$8,000

242

158

243 Rimi Yang (American/Japanese, Contemporary) “GB Queen”, 2010 oil on canvas signed and dated en verso.

Unframed.

72” x 48” $5,000-$8,000

243

159

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

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

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision.

In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required

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

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

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

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

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

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

Rev. 01/04/17

LIST OF RECOMMENDED SHIPPERS Please note that New Orleans Auction Galleries does no packing or shipping. Our clients have successfully used the following drayage companies.

COMPANY

PHONE

EMAIL

Bayou Movers 504-228-3827 bayoumoversla@gmail.com Craters & Freighters 800-733-0310 nola@cratersandfreighters.com RB Shipping 404-524-9122 info@rbshippingllc.com The Box 504-568-0281 woodenbox@bellsouth.net N.O. Packaging & Shipping

504-885-4544

info@nolapackandship.com

Specialty Pack and Ship Co

504-304-3969

loufou@specialtypackandship.com

Pakmail 800-230-5229 pakmail493@yahoo.com Wintersteen Trucking 800-253-0617 wintersteentrucking@yahoo.com Kid Gloves 504-309-6894 tanya@lakidgloves.com UPS Store #4134 504-866-8664 store4134@theupsstore.com

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Claudia Kheel Fine Art

ADMINISTRATION Denise Haik Christa Ougel Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Photographer Graphic Designer Grace Connors Manager of Cakebread Auction

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson Theadrow Mark