Modern & Contemporary Art + Design Auction

A CURATED AUCTION OF MODERN & CONTEMPORARY PAINTINGS, SCULPTURE

04.22.23

INCLUDING:

RUFINO TAMAYO

PEDRO FRIEDEBERG

LIN EMERY

JACQUELINE HUMPHRIES

ACHILLE AND PIER GIACOMO CASTIGLIONI

DAVID BORGERDING

DALE CHIHULY

HERBERT FERBER

GEORG JENSEN

ANDY WARHOL

CHRISTIAN LIAIGRE

JAMINI ROY

WILLIAM MELTON HALSEY

HERB JACKSON

HAROLD BARLING TOWN

CHRISTINA CORDOVA

RICK BECK

WOLF KAHN

IDA RITTENBERG KOHLMEYER

MARLENE ROSE

CLAUDE VENARD

Last September, I saw an exhibit at the New Orleans Museum of Art that I still think about often. It featured paintings by Louise Bourgeois – highly personal works created after her immigration to the U.S. from her native France and before she gave up the medium completely. One painting in particular seemed to speak to me directly. Titled “Fish out of Water,” a self-portrait of the artist, depicted the anxiety, uncertainty and guilt she felt for leaving her family behind at the onset of World War II.

When my sister and I immigrated to the U.S. from what was then Yugoslavia due to war, I was nearly 16. While my 11-year-old sister adjusted quickly, I felt unmoored and tethered to my old life, struggling to find firm ground in this new place. What helped me during that lonely period was escaping into places of my own creation.

My school, a small, all-girls institution in the heart of the Garden District here in New Orleans, provided an idyllic environment for my imagination to blossom. From the arched window of a cozy, mansard classroom, I would gaze out at the rooftops of the houses across the street and daydream. I would think about all of the things I would paint in my favorite medium, watercolor, and transport myself to places I only saw in books and desperately wanted to visit: Florence, Rome and Paris. Walking home from school, I started to admire the deep, shaded porches and green shutters and catch a glimpse of decadent interiors and breathe in the sweet scent of olive trees and jasmine covering the fences. Soon, I understood why artists had flocked to New Orleans for centuries, seeking colors, stories and musings. In the art around me, and within the art from centuries past, I felt myself more grounded and more connected. I might be far from my old home, but with my hands and with my eyes, I could paint a new one.

Today, I feel fortunate to live and work within a community of creative, ever curious and enriching people, including my colleagues at New Orleans Auction Galleries. I’m delighted to share that our Modern and Contemporary Art + Design Auction includes many works by Louisiana artists, including both natives and ones who, like me, were captured by the vibrancy of this beautiful city.

Some artists, such as John T. Scott, explored the Afro-Caribbean influences in shaping the cultural identify of the city, and others, such as Ida Kohlmeyer, looked to the new movements emerging out of New York, London and Paris to give birth to the new, vibrant era of Southern Regionalism.

As you flip through this catalogue, I hope you will find yourself daydreaming and reflecting on those scenes that ground and connect you most.

Our Modern and Contemporary Art + Design Auction takes place April 22. I hope to see you there!

Happy browsing and bidding,

Jelena Restovic James Director of Fine Art

jelena@neworleansauction.com

504.566.1849

EXHIBITION: APRIL 10–21, 2023

MONDAY–FRIDAY 9:00 A.M.–5:00 P.M.

SATURDAY, APRIL 15

10:00 A.M.–3:00 P.M.

AUCTION: SATURDAY, APRIL 22, 2023 10:00 A.M.

BIDDING:

BIDDING IS AVAILABLE

IN-PERSON, BY TELEPHONE, ABSENTEE AND LIVE ONLINE.

Suite of Six Bentwood Armchairs

comprised of three vintage chairs, one labeled “Stendig”, and three contemporary chairs branded “Thonet”, all of mixed woods with cane seats and backs, the shaped arms wrapping around the backs.

Stendig chairs h. 32”, w. 20-1/4”, d. 17”; Thonet chairs h. 32-1/2”, w. 17”, d. 17”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$600-$900

2 Maximilien Luce (French, 1858-1941)

“Vue de Rollebiose”

oil on paper mounted on canvas verso with “Meredith Long & Company, Houston, Texas” gallery label.

Framed.

21-1/2” x 29-3/8”, framed 30” x 37”

Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas.

$15,000-$25,000

“The Killeries”, 1931 oil on board monogrammed lower right, verso affixed with “Walker’s Galleries, London, U.K.” and “The Oriel Gallery, Dublin, Ireland” labels. Framed.

13” x 16”, framed 17” x 20-1/2”

Provenance: Walker’s Galleries, London, U.K.; The Oriel Gallery, Dublin, Ireland; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,500-$2,500

4

“Encore”

chryselephantine sculpture first half 20th century, cast signature, titled and numbered “119/190” at lower right and right side, on an integral marble plinth with a remnant of an old mark lower left.

overall h. 16”, w. 19-1/4”, d. 3-1/4”

$3,000-$5,000

Letitia Marion Hamilton (Irish/British, 1878-1964)

Pierre le Faguays (French, 1892-1962)

John Koch (American/France, 1909-1978)

“View of Manhattan Over the Hudson Piers”, ca. 1930 oil on canvas initialed lower right. Framed.

53” x 60”, framed 57” x 64”

Provenance: Thomaston Place Auction Galleries, February 28, 2021, lot 3057; Private collection, Atlanta, Georgia.

$20,000-$40,000

The son of an artist, Wiggins began to paint at a young age and received his earliest art training from his father. He initially enrolled in the architectural drawing program at the Brooklyn Polytechnic Institute before attending the National Academy of Design where he studied painting under William Merritt Chase and Robert Henri. Well versed in both French and American Impressionism, he began a series of partially plein air paintings of snowy New York scenes. Employing a cool color palette of icy blues, white, creams and grays with dashes of bolder hues for dramatic effect, and using thick, painterly brushstrokes, he created atmospheric images immediately beloved by critics and collectors alike. Wiggins would revisit the same scenes, depicting them at different times of the day or under different weather conditions. Immensely popular in the years before and just after WWI, his works sold quickly. By the age of 20, he had a work in the permanent collection of the Metropolitan Museum of Art in New York City - the youngest person at the time to receive such an honor.

Wiggins received numerous awards, honors and accolades during his lifetime. He was a member of the National Academy of Design, the Old Lyme Art Colony and served as the President of the Connecticut Academy of Fine Arts. In 1937, he moved to Essex, Connecticut and opened his own art school.

6 Guy Carleton Wiggins, N.A. (American, 1883-1962)

“Columbus Circle, New York”, ca. 1915-1920

oil on canvas. signed lower left, verso affixed with “Godel & Co. Fine Art, New York, New York” label. Framed. 25-1/4” x 30-1/4”, framed 36” x 40-1/2”

Provenance: Godel & Co. Fine Art, New York, New York; Private collection, Houston, Texas.

$60,000-$90,000

7

“Cold Shadows”

oil on panel signed lower left, verso with “Manitou Galleries, Santa Fe, New Mexico” label. Framed.

12” x 18”, framed 15” x 21”

Provenance: Manitou Galleries, Santa Fe, New Mexico; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

8

Christian Liaigre at Holly Hunt Club Chair

in the Art Deco taste, with flared back and curved arms, the serpentine seat front below a conforming cushion, raised on tapering square wood feet, upholstered in off-white and pale blue velvet “ribbons” having a gingham effect, labeled beneath the cushion “Christian Liaigre at Holly Hunt”.

h.

$700-$1,000

Robert Striffolino (American/New Mexico, b. 1950)

31”, w. 27-1/2”, d. 29-1/2”

9

20th century, the top surface rosewoodbordered burl mahogany, the outer edge brasstrimmed, the calamander base with four sueded pigskin-lined drawers and tapering square legs ending in brass ferules.

$1,000-$1,500 10

the top fitted with two removable trays, lined in faux shagreen, the table frame with a parcel-gilt, molded edge, raised on square legs joined by a lower shelf.

h. 20”, h. without trays 18-1/2”, w. 40”, d. 29”

$1,000-$1,500

11

$1,200-$1,800

Calamander and Burl Mahogany Writing Desk

h. 30-1/4”, w. 59-1/4”, d. 29-1/2”

Unusual French Art Deco-Style Faux-Grained Macassar Ebony Coffee Table

overall

P. E. Guerin, New York, Gilt-Bronze “Ostrich Leg” Occasional Table

late 19th century, with an inset circular Carrara marble top, the foot stamped underneath “PEG 471”. h. 26-1/4”, dia. 15”

Bessie Potter Vonnoh (American, 1872-1955)

“The Dance”

patinated bronze after the 1908 model, cast signature and inscribed “Roman Bronze Works, N.Y.” along back of self-base. h. 12-1/2”, w. 10-1/2”, d. 5”

Provenance: Roman Bronze Works, New York, New York; Anderson-Gould Fine Arts, New York, New York; Private collection.

Literature: Bessie Potter Vonnoh, “Tears and Laughter Caught in Bronze”, The Delineator, Vol. 107, No. 4, October 1925, pp. 8,9,78,80,82.; Conner, Janis and Rosenkranz, Joel, Rediscoveries in American Sculpture: Studio Works, 1893-1939, Austin: University of Texas Press, 1989; Rubenstein, Charlotte Streifer, American Women Sculptors, Boston: G.K. Hall & Co., 1990.

$5,000-$8,000

Like all young things I was radical in art...what I wanted was to look for beauty in the every-day world, to catch the joy and swing of modern American life...I was equally determined to prove that as perfect a likeness and as much beauty could be produced in statuettes twelve inches in height...as could be had in life-size and colossal productions suitable for so few houses.

Bessie Potter Vonnoh

The Delineator, October 1925, p. 9

One of the most popular and acclaimed women sculptors of the early 20th century, Bessie Vonnoh was the recipient of virtually every major award and accolade available to a young artist: a bronze medal at the Paris Exposition of 1900, honorable mention at the Pan-American Exposition of 1901, the gold medal at the St. Louis Exposition of 1904, gold medal at the Louisiana Purchase Universal Exposition in 1904, the National Academy of Design’s Julia A. Shaw Memorial Prize in 1913, and the National Academy of Design’s Watrous gold medal in 1921. She was a member of the National Sculpture Society, the National Institute of Arts and Letters and the Old Lyme Art Association and had exhibitions of her work at the Corcoran Gallery of Art, Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum) and a solo show at the Art Institute of Chicago. Most significantly, in 1921 she was the first woman sculptor to be named an Academician of the National Academy of Design, making her and her husband, the American Impressionist painter and fellow Academician, Robert Vonnoh the first couple to be so honored.

A native of St. Louis, Vonnoh had a difficult childhood; her father died when she was two and shortly thereafter she fell seriously ill, spending nearly a decade as an invalid and only recovering after the doctors had given up. Attending the Chicago public schools , she was captivated by clay modeling in one of her art classes and she determined to become a sculptor. With her

mother’s blessing and encouragement, she met with the sculptor Loredo Taft, who had just returned from study in France and was an instructor at the Art Institute of Chicago. Taft invited Vonnoh to work in his studio on the weekends and eventually helped her obtain a place at the Art Institute. In 1892, Taft hired her as one of his assistants, a group of young women known as the “White Rabbits”, at the World’s Columbian Exhibition. While working at the Exhibition, Vonnoh received a personal commission to create a monumental allegorical figure of art for the Illinois State Building. The young sculptor was now well on her way to a successful career and two years later she opened her own studio in Chicago where she produced small portrait sculptures of her friends - known as “potterines”. With the money made by this, she and her mother were able to travel to France and Italy.

Upon her return to Chicago, Vonnoh embarked on a series of sculptures of women and children, which were to prove immensely popular with collectors and critics. These small works reveal an approach to the female form different from her earlier “potterines”; gone was the meticulous attention to the mutton sleeved dresses and fussy hairstyles of contemporary fashion. Instead, the deceptively simple composition of these works revel in a sense of refined movement, emphasizing suggestion over detail, with an intentionally “unfinished” quality to the drapery. The success of such an approach is evident in the work offered here “The Dance”, one of Vonnoh’s most popular models. The figure is caught mid-swirl, hands grasping the voluminous skirts - the movement is implied rather than shown, and Vonnoh has placed the burden of interpretation on the viewer.

Vonnoh exhibited extensively during her career, and while many of her models are numbered or inscribed to keep track of inventory, not all are and there were never any set editions. As with many of her contemporaries, she had her foundry, the Roman Bronze Works, produce works as they were commissioned.

13

“Madchenkopf”

bronze laster casting after 1913/4 model, cast signature, numbered “3/4”, and with a “Cire Perdure/AA Hebrard” foundry mark along back edge. h. 15”

$4,000-$7,000

14

“Au Cafe Terrasse”

oil on canvas signed lower left, verso with “Wally Findlay Galleries” label. Period frame.

13-3/4” x 10-1/2”, framed 22” x 18-3/4”

Provenance: Wally Findlay Galleries, New York, New York; Private collection, Baton Rouge, Louisiana.

$2,000-$4,000

Wilhelm Lehmbruck (German, 1881-1919)

Francois Gall (French, 1912-1987)

Claude Venard (French, 1913-1999)

“Still Life with Siphons” oil on canvas signed lower left, old stamps and inventory stickers en verso.

Framed.

21-3/4” x 18”, framed 29” x 25-1/2”

Provenance: Trosby Galleries, Palm Beach, Florida; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$5,000-$8,000

Works which are at first overly seductive should not be trusted. I do not mean by that that ugliness is the greatest of virtues but that a work should impose by its power, without the aid of pleasing artifice.

Claude Venard

A native of Paris, Venard attended the Ecole des Arts Appliques after eschewing lessons at the Ecole des Beaux-Arts after only two days. He joined with fellow students Pierre Tal-Coat and Andre Marchand to form “Forces Nouvelles”, though Venard soon found his artistic sensibilities at odds with the strictures of the group. Best described as a post-Cubist, Venard approached his paintings from the emotional, portraying the essence of the subject rather than adhering to the facts of its physicality. He favored a palette of bold, nearly raw color applied in heavy impasto, often with a knife, manipulating the thick layers of paint to create richly textured canvases. His preferred subjects were still-lifes and cityscapes, and the work offered here is an example of Venard at his most accomplished. Adored equally by critics, collectors and his fellow artists, Venard exhibited widely and consistently throughout his life and was a member of the Salon des Independents, Salon des Tuileries and was a founding member of the Salon de Mai.

Rufino Tamayo (Mexican, 1899-1991)

“Female Nude Study”, 1928

pencil drawing

pencil-signed, dated and inscribed “Para Arturo afectuosa mente, Tamayo 28” lower center, and exhibition labels from “Friends, Hofstra University, Hempstead, New York, 1968” en verso. Matted, glazed and framed. 12” x 10”, framed 22-1/2” x 20”

Provenance: B. Lewin Galleries, Palm Springs, California.

Exhibited: Hofstra University, Emily Lowe Gallery, “Line and Form - An exhibition of small sculptures and drawings, from the Friends of the Hofstra Museum of Fine Art,” October 28 - November 22, 1968.

$5,000-$8,000

Along with his famouse contemporaries, such as Diego Rivera, Tamayo brought international attention to the Mexican art scene during the second half of the 20th century. Unlike his contemporaries, though, Tamayo’s artwork was devoid of a political agenda. Instead, his figure paintings, prints and drawings celebrated “mexicanidad”, the essence of Mexican identity. While Diego Rivera and Frida Kahlo’s “Mexicanness” was part of their socio-political movement, exploring and glorifying the pre-Hispanic indigenous history and folkloric themes, Ruffino Tamayo shied away from their extreme patriotism, believing that art should be universal and not purely for glorification of a particular nation. According to the artist: “Art, like culture, is international. It’s the result of many parts to which we add our own tone.”

He looked to art movements that were developing in Europe, such as Cubism and Surrealism, combining these styles with Mexican themes. This innovative blend eventually made him the spokesman for his country’s art in the International art world.

In early 1921, Tamayo was appointed head of the Ethnographic Drawing Department of the National Museum of Anthropology, where he was to make ethnographic drawings that would serve artisans to copy designs of pre-Hispanic and popular art. Tamayo was also teaching drawing at various elementary schools in Mexico City, using the new, official Best Maugard Drawing Method, established by the Ministry of Public Education. The method proposed the use of seven elements extracted from preHispanic and popular Mexican art, which according to its author, Best Maugard, were the most recurring: the spiral, the circle, the half circle, the motif of the S, the wavy line, the zigzag line and the straight line. This method revolutionized drawing lessons and it enraged traditionalists. Visionary artists such as Tamayo fully embraced it.

Maugard’s influence is certainly evident in this drawing, where a human body is distilled into what appears to be an unbroken sum of varied lines and abstract shapes. It also is reminiscent of works by the European modernists such as Matisse and Picasso, with their ability to treat a complex subject matter such as a human form with deceiving simplicity.

17

“Le Baigneur”

“.... Au Bain”

ink and graphite

watercolor and ink

former signed lower right, and latter signed and titled lower left.

Each matted, glazed and framed. sight 5” x 4” and sheet 9” x 14-1/4”, framed 11-3/4” x 11” and 20-1/2” x 24-1/2”

$1,200-$1,800

18

“Orleans Alley, N.O. (Ruelle D’Orleans, Sud, Towards Jackson Square-Louisiana Arsenal-in 1907)”, 1935

etching on paper

pencil-signed and inscribed “1st Proof” in lower margin, and signed and dated in the plate lower right.

Accompanied by label with artist and title.

Unframed. sheet 15-1/4” x 11”

Literature: Illustrated in French Quarter Etchings of Old New Orleans by William Woodward, New Orleans: The Magnolia Press, 1938, plate 14.

$800-$1,200

The note by Woodward which accompanied the print stated, “This alley or ‘ruelle’, meaning small street, was cut through in 1831 and is sometimes called Pirates’ Alley, as allegedly Jean and Pierre Lafitte, the noted pirates who so greatly aided Andrew Jackson in winning the Battle of New Orleans, had a ‘rendezvous’ in the little street running between the St. Louis Cathedral and the Cabildo.”

Maximilien Luce (French, 1858-1941)

William Woodward (American/Louisiana, 1859-1939)

19

“Receptions (New Orleans)”, 1938 “Los Diplomaticos (Conferencia)”, 1942

two lithographs on paper each pencil-signed, titled, edition of 10 or 12, respectively, and printed by Geo. Miller lower margin. Printed in New York City by Master Printer, George C. Miller (1894-1965).

Each

glazed and

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Literature: Illustrated in Zigrosser, Carl, Caroline Durieux, 43 Lithographs & Drawings, Baton Rouge, Louisiana State University Press, 1949, plates 5 and 6.; and Cox, Richard, Caroline Durieux, Lithographs of the Thirties and Forties, Baton Rouge: Louisiana State University Press, 1977, pp. 34 and 55.

$1,000-$1,500

Caroline Wogan Durieux (American/Louisiana, 1896-1989)

matted,

framed. sheet 16” x 12” and 15-3/4” x 11-3/4”, framed 19” x 17” and 19-1/4” x 16-1/4”

Thomas Hart Benton (American, 1889-1975)

“The Hymn Singer: Burl Ives”, 1950

lithograph on paper pencil-signed lower right margin, and signed in plate lower right.

Twayne Publishers, Fath 74. Matted, glazed and framed. image 16” x 12-1/4”, framed 23-1/2” x 19-1/2”

$1,000-$1,500

Both Midwesterners, Thomas Hart Benton and Burl Ives became friends as they both focused on the American Scene of the 1930s and 1940s. Ives traveled the country collecting and performing folk songs while Benton created paintings and prints of American life.

21 Jackson Pollock (American, 1912-1956)

“Stacking Hay (formerly Harvest)”, ca. 1935

lithograph on paper pencil-signed and “Ed. 60” lower margin. Unframed.

image 9” x 13”, sheet 16” x 23”

$5,000-$8,000

In fall 1930 Jackson Pollock moved to New York and studied under American Regionalist artist Thomas Hart Benton at the Art Students League. Benton recognized Pollock’s talent and encouraged the young artist. The lithograph “Stacking Hay” reflects the influences of Benton on Pollock’s early work.

“Marie at the Window”

etching on wove paper signed in pencil with cypher and inscribed “Imp” lower right.

(Cortissoz/Clayton 230).

Matted, glazed and framed. sight 11-1/4” x 7-1/4”, framed 21-1/2” x 17”

Provenance: Craig F. Starr Associates, Inc., New York, New York.

$5,000-$8,000

23

Camille

“Eglise et ferme d’Eragny”, 1890

etching

signed and annotated in pencil lower right, titled and inscribed “2e etat No..” lower left.

(Delteil 96: II/VI).

Matted, glazed and framed. sight 7-1/2” x 10”, framed 17” x 19”

Provenance: Hill-Stone, New York, New York.

$5,000-$8,000 22

Childe Hassam (American, 1859-1935)

Pissarro (French, 1830-1903)

24

Hans Hofmann (German/American, 1880-1966)

“Untitled”, ca. 1930

India ink on paper signed lower left, a “Hans Hofmann Estate” stamp and “Andre Emmerich, New York, New York”, “Knoedler & Company, New York, New York” labels along with a “Newcomb Art Gallery, New Orleans, Louisiana” exhibition label en verso. Float-mounted, matted, glazed and framed. sheet 8-3/8” x 10-7/8”, framed 13-7/8” x 16-3/8”

Provenance: Estate of Hans Hofmann; Andre Emmerich, New York, New York; Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: “Drawn From New Orleans: TwentiethCentury Works From Private Collections”, Newcomb Art Gallery, Tulane University, New Orleans, Louisiana, April 24 - June 30, 2007.

$3,000-$5,000

Richard Diebenkorn (American, 1922-1993)

“The Artist’s Wife”, 1965

soft-ground etching initialed and dated lower right, numbered “8/25” lower left, inscribed “#24” lower center, a “Knoedler & Company, New York, New York” label en verso. Matted, glazed and framed. sight 14” x 10-5/8”, framed 20-5/8” x 16-3/8”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: “Richard Diebenkorn: Selected Prints”, Knoedler & Company, New York, New York, February 10 - March 8, 1994, #14.

$2,500-$4,000

27

Chester Lee Williams (American/North Carolina/Florida, 1944-2019)

“Profile”, 1996

bronze

cast signature and dated along back edge, on an integral columnar stone plinth. overall h. 16-1/2”, w. 4-1/4”, d. 2-5/8”

$1,000-$1,500

I hope that all of my life is in my art - my hopeful youth, my wiser middle-age, my identity as an American, and my undeniable affinity with African forms.

Chester Lee Williams

A native of North Carolina, Williams attended North Carolina Central University and the University of Michigan. He was an instructor at Voorhees College, North Carolina Central University and Florida A&M for almost 40 years. A scholar of African art and history, Williams referenced this in his sculptures, with their slightly abstracted but easily recognizable forms deftly modeled in bronze and wood.

26

Robert Gordy (American/Louisiana, 1933-1986)

“Seated Female Nude”, 1984 monotype pencil-signed and dated lower right margin. Matted, glazed and framed. sight 22-1/2” x 14-1/4”, framed 34” x 27”

$1,000-$1,500

Anastasia Pelias (American/Louisiana, b. 1959)

“Untitled”, 1989

oil, ink and charcoal on paper signed and dated lower right. Glazed and framed. sheet 42” x 29-1/2”, framed 48” x 34-1/2”

Literature: https://www.anastasiapelias.com/ $1,000-$1,500

29

Haku Maki (Maejima Tadaaki, Japanese, 1924-2000)

“Work 74-45”, 1974

intaglio woodblock print pencil-signed lower right, sequence identification lower center, numbered “25/155” lower left. Matted, glazed and framed.

sight 21-1/2” x 15-1/2”, framed 28” x 21-1/8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

30

Ben Shahn (American, 1898-1969)

Stefan Martin (American, 1936-1994)

“Futility” lithograph, stamped “Ben Shahn” twice, pencil-signed “Stefan Martin” lower right, titled and numbered “296/300” lower center. Matted, glazed and framed. sight 6” x 8-3/4”, framed 12-5/8” x 15-5/8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

“Horse and Rider”

lithograph in colors pencil-signed lower right, numbered “39/50” lower left.

Matted, glazed and framed. sight 24” x 19”, framed 31” x 25”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

“Maison de la Pensee Francaise”

color lithograph on Arches paper unsigned, pencil-inscribed “lithograph originale” lower right. Glazed and framed. sight 25-3/4” x 18-3/4”, framed 27-7/8” x 20-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

31 Marino Marini (Italian, 1901-1980)

32 Pablo Picasso (Spanish, 1881-1973)

Hans Arp (German/French, 1886-1966)

“Composition”

woodblock in colors

pencil-signed lower left, numbered “48/75” lower right. Matted, glazed and framed.

sight 11” x 7-1/2”, framed 20-1/4” x 13-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$800-$1,200

34 Georges Braque (French, 1882-1963)

“Oiseaux #178”, 1962

lithograph in colors

pencil-signed lower right, numbered “42/75” lower left. Matted, glazed and framed.

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

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,500-$2,500

35 Alberto Burri (Italian, 1915-1995)

“Combustione 4”, 1965

relief etching

pencil-signed and dated lower right, numbered “79/80” lower left.

Matted, glazed and framed.

sight 22-5/8” x 12-5/8”, framed 30-3/4” x 19-7/8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$2,000-$4,000

36 James Rosenquist (American, 1933-2017)

“Certificate”, 1962

etching

pencil-signed and dated lower right, marked “ea” lower left, for volume 5 of “International Avant-garde”, published by Galleria Schwarz, Milan.

Glazed and framed. plate 4-1/2” x 6”, framed 10” x 8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$700-$1,000

37

Yozo Hamaguchi (Japanese, 1909-2000)

“Grapes and Pear”, 1959 mezzotint

pencil-signed lower right, numbered “14/50” lower left, printed by Pace Editions, New York, New York. Matted, glazed and framed. sight 9-3/4” x 21-3/4”, framed 22” x 31-1/2”

Provenance: Marjorie Kauffman Graphics, Houston, Texas; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Literature: https://www.yamasa.com/musee/en/info/

$1,500-$2,500

Hamaguchi was the first Japanese artist to attempt and excel at the painstaking, time-consuming and difficult technique of mezzotint print-making, a decidedly Western medium that reached its height of popularity in the 17th and early 18th centuries. A native of Tokyo, Hamaguchi was born into a financially secure business family that included numerous artist and collectors. He initially enrolled in the Tokyo Art School (now Tokyo University of the Arts) to study sculpture before leaving for France where he studied various Western art techniques in Paris. At the encouragement of his friend the poet e.e. cummings, who gifted him the tools, he began to produce mezzotint prints. Hamaguchi’s compositions of fruits and vegetables, set front and center against a dark, velvety background, worked well with the tonality and texture inherent in the medium. Equally popular in Japan and Europe, he is considered the driving force behind the mid-century resurgence of the mezzotint. The recipient of numerous awards, honors and accolades, Hamaguchi was a member of the Salon d’Automne, the Japanese representative at the 1960 Venice Biennale, received the Grand Prize in printmaking at the Sao Paulo Biennial in 1957, and is one of the few artists to have a museum named in his honorthe Musee Hamaguchi Yozo in Tokyo.

Carol Summers (American/New York, 1925-2016)

“Stromboli Dark”, 1965

woodcut signed, dated and numbered “110/210” lower left. Float-mounted, matted, glazed and framed. sheet 21” x 29-1/4”, framed 30” x 37-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Loyola Collects Show at the Danna Center Art Gallery, Loyola University, New Orleans, Louisiana, October 4-24, 1976.

$500-$800

“Capriccio”

screenprint in colors

pencil-signed lower right, numbered “91/200” lower left.

Matted, glazed and framed. sight 21-1/2” x 16-1/4”, framed 30-3/8” x 24-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$2,000-$4,000

“Ubu aux Baleares”, 1971

lithograph in colors

pencil-signed lower right and edition number “67/120” lower left, and titled, dated and “Nahan Galleries, New Orleans” labels en verso. Printed by Mourlot, Paris. Published by Teriade, Paris.

Matted, glazed and framed. sheet 20” x 26”, framed 29” x 35-1/4”

Provenance: nahan Galleries, New Orleans, Louisiana.

Mourlot 766

$1,200-$1,800

39 Robert Motherwell (American, 1915-1991)

39

40 Joan Miro (Spanish, 1893-1983)

41 Sister Mary Corita Kent (American, 1918-1986)

“The Great Pumpkin”, 1964 silkscreen in colors pencil-signed and dated lower right, titled lower left, archive i.d. 64-32.

Matted, glazed and framed. 13-1/2” x 34-3/4”, framed 19-3/4” x 40-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Literature: Joanne Moorehead, “Corita Kent, the Pop Art Nun, The Guardian, April 22, 2018.; https://www.corita. org/

$700-$1,000

I admire people who march. I admire people who go to jail. I don’t have the guts to do that. So I do what I can.

Sister Mary Corita Kent

A popular graphic artist of the 60s and 70s associated with the pop art movement, Kent created colorful silkscreens that incorporated aspects of consumerism, religion and the popular culture of the world around her. A native of Iowa, she entered the order of the Immaculate Heart in Los Angeles at the age of 18, eventually becoming an instructor in the art department of the order’s associated college for women. Under the encouragement of her order, she attended the University of Southern California, earning her masters in Art History.

With bright, bold images and often a few carefully chosen words, she explored such social issues as poverty, racism, and hunger. Kent hoped that by employing the fairly inexpensive medium of silkscreen, her artistic social commentaries would be accessible to the widest group of people. Inspired by the works of Andy Warhol, who was an ardent admirer of hers, Kent began to move away from the strictly figural into a more abstract style. This was all to prove unpopular with the more conservative members of the Catholic community; Cardinal James Frances McIntyre once referred to her art as “weird and sinister”. After several years of pressure, Kent left the sisterhood in 1969.

42

Andy Warhol (American, 1928-1987)

“Oyster Stew”, 1969 screenprint in colors signed in ink and numbered “112/250” en verso lower right, from the series “Campbell’s Soup II”. Unframed. sheet 35” x 23”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Loyola Collects Show at the Danna Center Art Gallery, Loyola University, New Orleans, Louisiana, October 4-24, 1976.

$15,000-$25,000

“Untitled”

print on metal for the Knoedler & Company, New York, New York Exhibit of February 13-March 7, 1991, signed in plate along upper edge. In a thin gallery frame.

26” x 38-1/2”, framed 26-3/4” x 39-1/8”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Knoedler & Company, New York, New York.

$500-$800

“Soup and Sandwich”, 1975

screenprint in colors

pencil-signed and numbered “30/30” lower right. Glazed and framed. sight 25-1/2” x 33”, framed 26” x 34”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Loyola Collects Show at the Danna Center Art Gallery, Loyola University, New Orleans, Louisiana, October 4-24, 1976.

$500-$800

43 Jerry Wilkerson (American, 1943-2007)

44 Robert Rauschenberg (American, 1925-2008)

45 Salvador Dali (Spanish, 1904-1989)

“The Harbinger”, 1980 “The Messiah”, 1980

two color lithographs on Arches paper from the “New Jerusalem Suite”, each pencil-signed lower right, numbered “102/350” lower left, “Atelier Dumas/New York” blindstamp lower left corner, published and copyright-marked by Dalart NV and with their blindstamp lower right corner.

Unframed. each sheet 29” x 20-1/4”

$3,000-$5,000

46 Salvador Dali (Spanish, 1904-1989)

“Ivanhoe Suite”, 1977

four lithographs in color on Arches paper including “The Overseer”, “Rowena”, “King Richard” and “Wilfred of Ivanhoe”, each pencil-signed lower right and numbered “XXII/CL” lower left, each titled in pencil en verso, each with “Dalarte NV Copyright 1977” blind stamp lower left corner, together with a Certificate of Authenticity from Equitable Fine Art Ltd., New York, New York.

Unframed. each sheet 29-1/2” x 21-1/2”

$4,000-$7,000

Suite has been examined by Bruce Hochman of the Salvador Dali Gallery.

Aerin Lauder “The Washington” Bookcase

20th century, with gold-leaf metal frame and glass shelves, the lower front brass plaque-labeled “AERIN”. h. 84”, w. 42”, d. 14”

$1,500-$2,500

47

Aerin Lauder “The Laight” Circular End Table

20th century, gold-leaf wood, brass plaquelabeled “AERIN” underneath. h. 28-3/4”, dia. 39-1/4”

$1,200-$1,800

49

Aerin Lauder “The Washington” Bookcase

20th century, with gold-leaf metal frame and glass shelves, the lower front brass plaque-labeled “AERIN”. 84”, w. 42”, d. 14”

$1,500-$2,500

50

Three-Piece Collection of Orrefors Crystal

20th century, Swedish, including a bowl designed by Olle Alberius, called the “Residence” model, h. 4-3/4”, dia. 8”, and a pair of decanters designed by Sven Palmquist, h. 10-3/4”, w. 3-3/4”, d. 3-3/4”, each with an engraved signature.

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

The

second quarter 20th century, attributed to Gorham Mfg. Co., Providence, Rhode Island, silver plate, brass and copper, in the form of a World War I artillery eighteenpound shrapnel shell, the silver plate shell a cocktail shaker with copper band and brass straining cap and stopper, detaching from the brass case which is fitted inside with a vertical stand holding six shot glasses, marked (on the underside) “Fac-simile / Eighteen Pounder / Shrapnel Shell / Patent Applied For / In America and Foreign Countries”. overall height 22-1/4”, dia. 4”

$5,000-$7,000

Literature: Stephen Visakay, Vintage Bar Ware (Paducah, Kentucky: Collector Books, 1997), p. 112 (illustrated).

Simon Khachadourian, The Cocktail Shaker (London: Philip Wilson, 2000), pp. 22-23 (illustrated).

contemporary, each in the form of a nude female figure in profile.

l. 5-1/2”; 6.42 total t. oz.

$1,400-$1,800

“Eighteen Pounder” Cocktail Shaker

52 Set of Twelve Art Deco-Style Sterling Silver Swizzle Sticks

Tiffany & Co. Sterling Silver Cocktail Shaker

the pattern introduced in 1929, New York, New York, of slightly bulbous conical form, with short waisted spout with chained spout cap, squared strap handle and flatdomed cap with a finial mimicking the body shape. h. 9-1/2”, l. 6-1/4”, dia. 4-1/4”; 25.56 t. oz.

$1,000-$1,500

54

Georg Jensen “Pyramid” Sterling Silver Flatware Set

the pattern designed in 1926 by Harald Nielsen (18921977), Copenhagen, Denmark, including six nine-piece place settings (thee pieces lacking) with an additional twenty-nine place pieces and four serving pieces, no monograms.

84 pieces total

113.13 total t. oz. (weighable silver)

Detailed list of pieces available on request.

$5,000-$8,000

55

Georg Jensen “Cypress” Sterling Silver Flatware Set

the pattern designed in 1953 by Tias Eckhoff (1926-2016), Copenhagen, Denmark, including a dozen five-piece place settings (five pieces lacking) with an additional nineteen place pieces, no monograms, presented in a fitted, Pacific cloth-lined wooden case, 3-1/2” x 15-3/4” x 11-1/4”.

74 pieces (plus case)

63.24 total t. oz. (weighable silver)

Detailed list of pieces available on request.

$1,500-$2,500

Paloma Picasso (Spain, b. 1949) for Tiffany & Co.

four “Paloma Groove” sterling silver desk articles, including three photograph frames, 7-1/4” x 5-1/4”, and a bookmark, l. 5”, all with their original Tiffany blue felt pouch, the bookmark additionally with its box. 11.13 total t. oz.

$600-$900

57

Pair of Contemporary Brass, Faux Leather and Acrylic Table Lamps

American, probably John Richard, with brass-trimmed faux leather standards, raised on acrylic bases and mounted with shades. overall h. 27-3/4”, w. 16”, d. 8-1/4”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$1,000-$1,500

58

58 Rubelli “Kiki”-Covered Scroll-Arm Sofa With Two Cushions

20th century, Venetian fabric, the sofa with a tailored, pleated skirt.

h. 31-1/2”, w. 78-1/2”, d. 37”

$1,800-$2,500

59 Unusual Memphis-Style Laminate Console

1980s, with ivory top and back highlighting vibrant red, olive, white and blue layers. h. 26”, w. 48-1/2”, d. 15”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

“Repetition”

silkscreen in colors pencil-signed lower right, numbered “97/100” lower left. Unframed.

29-1/2” x 21-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

A native of Madrid, Feito was a founding member of the Spanish avante garde Grupo El Paso, which included such young artists as Rafael Canogar, Juana Frances and Antonio Saura.

Working in an abstract expressive style, Feito filled his canvases with bold swathes of thick layers of oil paint in a reduced palette of red, black, white, and ocher. His resulting series of silkscreens based on these geometric works proved extremely popular.

“Her Apple”, 1994-97 oil and wax on wood signed, dated and titled en verso, with a “Knoedler & Company, New York, New York” label.

20” x 16”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,000-$1,500

60 Michael David (American, b. 1954)

61 Luis Feito Lopez (Spanish, 1929-2021)

62

Caio Fonseca (American, b. 1959)

“Pietra Santa Painting”, 1996 gouache and ink on paper signed lower right, and signed, dated and titled en verso with a “Knoedler & Company, New York, New York” label.

Float-mounted, matted, glazed and framed. sheet 10” x 14”, framed 17-3/4” x 21-3/4”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$4,000-$7,000

Literature: Peter Elley, “Caio Fonseca”, BOMB No. 81 (FAll 2002), pp. 10-13.

Since the 1970s, Caio Fonseca has continuously created works in his Pietrasanta series, inspired by his yearly stays in the Italian town. Informed by the shapes and layers found in collage, these paintings are populated by contorted forms that meander across the canvas, undulating with an almost lyrical sense of movement. Fonseca has stressed how significant Pietrasanta itself is to his stylistic approach;

“It’s the kind of monastic almost scholastic experience that I need for my kind of work, because it’s not about hearing the world or getting inspiration from outside, but from considering the medium itself. It’s...very introspective.”

“Untitled #216”, 1992

mixed media on paper initialed and dated lower right, a “Knoedler & Company, New York, New York” label en verso. Float-mounted, glazed and framed. sheet 15-5/8” x 14”, framed 19-1/4” x 17-1/2”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$800-$1,200

64

(Guillaume Cornelis van Beverloo, Dutch/French, 1922-2010)

“Le Soleil Rouge”, 1963

color lithograph pencil-signed and dated lower right, titled and numbered “107/200” lower left. Matted, glazed and framed. sight 28-3/4” x 22-3/4”, framed 39” x 32-3/8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

63 Michael David (American, b. 1954)

Corneille

Whimsical Sculpture of “The Apple and the Worm”

20th century, mixed media, unsigned. h. 33”, w. 18”, d. 11”

$500-$800

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

“Synthesis Series”, 1987

mixed media on canvas signed and dated lower right, verso affixed with “Jerald Melberg Gallery, Charlotte, North Carolina” label.

Framed.

Provenance: Jerald Melberg Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$30,000-$50,000

29-7/8” x 41-3/4”, framed 32” x 44”

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

“Untitled”, 1992

carved and painted wood sculpture signed and dated at bottom, with a black rectangular display base.

sculpture h. 28-3/4”, w. 13-1/2”, d. 3-3/4”, base h. 9”, w. 10”, d. 6”

$10,000-$15,000

“Untitled”

The daughters of Jewish Polish immigrants, Rebecca and Joseph Rittenberg, both Mildred “Millie” Wohl and Ida Kohlmeyer, would pursue careers as painters. The Rittenberg family settled in New Orleans, owned a pawn shop, and moved to Rosa Park Boulevard in Uptown where they raised two sons and two daughters. Ida was the youngest, and tragically, both brothers died as young men. The sisters, Millie and Ida enrolled at Tulane University’s H. Sophie Newcomb Memorial College, which at that time was only available for women. After graduating, Millie had her first solo exhibition at the Sky Club in 1959, which was followed by a show at Naomi Marshall’s Downtown Gallery in 1961. Ida had her first exhibition at the New Orleans Museum of Art in 1957, and exhibited in New York City at the Ruth White Gallery in 1959, where she maintained a long-term relationship. Both sisters embraced abstract expressionism and actively participated in the Orleans Gallery located in the French Quarter. Founded in 1956 by a group of artists, the Orleans Gallery was non-profit, community oriented, and supported and promoted contemporary local artists. The sisters adopted their own distinct visual vocabulary where Ida’s paintings were grounded in fields of white, while Millie embraced darker black tonalities.

Mildred “Millie” Rittenberg Wohl (American/Louisiana, 1906-1977)

oil on canvas signed en verso. Period frame. 44” x 44”, framed 44-3/4” x 44-3/4” $1,800-$2,500

Mildred “Millie” Rittenberg Wohl (American/Louisiana, 1906-1977)

“Untitled, Black X” oil on masonite signed en verso. Period frame. 24” x 24”, framed 24-3/4” x 24-3/4” $1,000-$1,500

70

“Spirit Pole”, 1996

$700-$1,000

John Geldersma (American/Louisiana, b. 1942)

carved and painted wood signed and dated along side of base. h. 98, w. 9”, d. 9”

Nancy Graves (American, 1940-1995)

“Dead Reckoning II-21-89”, 1989

iron, aluminum, bronze with enamel and polychrome signed, dated and titled along bottom of central element.

h. 42”, w. 36”, d. 12”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$10,000-$15,000

Literature: Cathleen McGuigan, “Forms of Fantasy”, The New York Times, December 6, 1987, Section 6, p. 63.; Roberta Smith, “Obituary”, The New York Times, October 24, 1995, Section B, p. 8.

Color is another way to confound the eye

Nancy Graves

In the 80s Graves began a series of large colorful assemblages of welded bronze and found objects cast in bronze. It was a difficult, time-consuming and tedious process that required a vast work space and numerous assistants; the risk of failure was high. While she had a general composition in mind, she would spontaneously choose objects from a stockpile of random cast pieces. The resultant sculptures relied on the interplay of the intentionally “empty” space and the solidness of the bronze - the strategic addition of bright colors added a whimsical sense of exuberance to the pieces. While Graves would work within a theme, she never produced numbered editions, preferring each sculpture to be distinct.

blown

molded glass

$500-$800

“Pajaro”,

oil and acrylic on canvas signed and dated lower right, signed, titled and dated en verso, affixed with “B. Lewin Galleries, Palm Springs, California” label. Framed. 48” x 59”, framed 54” x 66”

Provenance: B. Lewin Galleries, Palm Springs, California; Private collection, New Orleans, Louisiana.

$1,500-$2,500

72 Richard Jolley (American, b. 1952)

Set of 25 Martini Glasses

and

stem of opaque lime green heads topped with opalescent blue balls, each stamped at bottom. h. 6-1/2”, dia. 4-1/2”

73 Vladimir Cora (Mexican, b. 1951)

1989

74

74

Poltrona Frau, Italy, Red Leather “Vanity Fair XC” Chair and Matching Ottoman

20th/21st century, in the Art Deco taste, after the original 1930 Renzo Frau design, the chair resting on parallel wooden “runners”, the arched back and arm front edges with leather-covered flat nail trim, the lower back bearing a gilt-metal plaque noting this example as No. 2971 of a limited edition, the later ottoman resting on swivel roller balls and bearing a gunmetal Poltrona Frau label underneath, the chair and ottoman covered and self-piped in Pelle Frau carmine red leather. chair h. 39-1/2”, w. 37-1/4”, d. 36”; ottoman h. 17-1/2”, w. 27”, d. 18-1/2”

$1,000-$1,500

75

Stefan Beltzig (German, b. 1944)

“Still Life 19: Budweiser Can and Cigarette”, 1979 “Still Life 19: To Go Food”, 1978

colored pencil and watercolor each signed and dated lower right. Matted, glazed and framed alike. sight 12” x 16-1/2”, framed 15” x 19-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

76 Robert Gordy (American/Louisiana, 1933-1986)

“Good & bad apples- studies for a political still life”, 1971 markers on paper signed, titled and dated lower margin, and “Galerie Simonne Stern, New Orleans” label with artist, title and date en verso.

Glazed and framed. 14” x 19-1/2”, framed 18-1/4” x 23-1/4”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana.Estate of Lin Emery, New Orleans, Louisiana.

$600-$900

77 Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

“La Bella Otezo”, 1999

watercolor and ink on paper signed, titled and dated lower margin. Matted, glazed and framed. 5-3/4” x 5-3/4”, framed 18” x 18”

Provenance: Private collection, Maryland.

$500-$800

76 77

“Heart”

gold leaf and acrylic on red clay signed lower center. Integral frame.

21” x 18-1/2”

$6,000-$9,000

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

79

Salvador Dali (Spanish, 1904-1989)

“Le Jugement”, 1978 “Joan of Arc”, 1977

two lithographs in color on Japon paper former from the International Edition of the “Triomphe de L’Amour” portfolio, each pencil-signed lower right and numbered “XCVI/C” lower left, each with blindstamp lower left corner, together with the expository page, title page and the red cloth-bound fold-over “Triomphe de L’Amour” portfolio. each sheet 29-1/8” x 21-3/8”

$1,000-$1,500

80

Barovier & Toso Murano Glass Table Lamp

20th century, Venetian, the gilt-spangled colorless glass campana urn-form lamp on an acrylic base and mounted with a shade. h. 25-1/4”, dia. 15-1/2”

$1,200-$1,800

81

Vintage Barovier & Toso Venetian Glass Flower Mirror

mid-20th century, in shades of rose and gold-flecked clear petals, all embellishing a silvered wood frame. h. 30”, w. 20”

$1,200-$1,800

82

Melanie Guernsey-Leppla (American, b. 1957)

Ten Wine Glasses, 1992

blown and hand-formed glass with etched signature and dated along upper rim. each h. 7-1/2”, dia. 3-1/2”

Provenance: Ariodante Gallery, New Orleans, Louisiana.

$500-$800

83

Joy Laville (British/Mexican, 1923-2018)

“Red Vase”, 1987

pastel on paper signed and dated lower right, and “Carmen Llewellyn, Paintings, Graphics, Sculpture, New Orleans” label with artist and title en verso. Matted, glazed and framed. 21” x 13-3/4”, framed 29-3/4” x 22-3/4”

Provenance: Carmen Llewellyn Gallery, New Orleans, Louisiana.

$3,000-$5,000

84

Large Lucite and Plate Glass Coffee Table of Sheraton inspiration, the top with a tempered and beveled plate glass inset into a straight frame and mounted to Sheraton-style molded legs. h. 20”, w. 48”, d. 48”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$1,000-$1,500

in puzzle form with movable elements, with a lucite lid. 13” x 13”, lid h. 5”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

86

Five American Soft Sculpture Stools

fabric and found items encased in plastic, three of cylindrical form and two cubes, each illegibly signed and numbered 1-8 out of a total edition of 150. cylinders h. 27”, dia. 13” and cubes 15” square

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

85 Contemporary Plaster Model of the Landmarks of Rome

87

Noah Saterstrom (American, Contemporary)

“Werewolf Goes on Holiday”

oil on canvas signed lower right. Unframed.

36” x 49”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

88

Terry Weldon (American/Louisiana, b. 1947)

“Stele Fragment Study”, 1976

paper construction mounted on canvas signed and dated upper right, signed and dated en verso, a “Galerie Simonne Stern, New Orleans, Louisiana”, label en verso.

In an integral lucite case. 28-1/2” x 18-1/2”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$700-$1,000

89 Matt Steadman (American/Mississippi, Contemporary)

“Pirogue with Rail Feet”

glazed ceramic label at bottom with artist, title, material, with a certificate of authentication from Cole Pratt Gallery. h. 5-1/2”, w. 34”, d. 8”

Provenance: Cole Pratt Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

90

Three Glazed Pottery Bowls

20th century, each with several small handles, each illegibly signed at bottom. two dia. 16-5/8”, one dia. 20-3/4”

$500-$800

91

Two American Art Pottery Floor Vases

cream ground with sage, blue and gray abstracted motif.

h. 24”, dia. 13” and h. 26-1/2”, dia. 14”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$600-$900

92

Sally Anderson (American, b. 1942)

“Guardian”, 2002

“Rolled A”, 2002

two mixed medias on aluminum each signed and dated at bottom. h. 5-1/2”, w. 21”, d. 12” and h. 5”, w. 30”, d. 10”

Provenance: Anderson Contemporary Art, Santa Fe, New Mexico; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

93

Alex Matisse (American/North Carolina, Contemporary)

“East Fork Vase”

glazed and etched pottery stamped “V-East Fork - 011”. h. 35”, dia. 22”

Provenance: East Fork Pottery, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

John Coleman Burroughs (American/California, 1913-1979)

“Indian Profile - Old Stetson” oil on canvas board signed lower right, and titled en verso. Framed.

24” x 20”, framed 32-1/4” x 28-1/4”

Provenance: The Estate of Camille & Raymond Hankamer, Houston, Texas.

$1,400-$1,800

95 Teresita Romero (Cochiti, 1894-1991)

Pottery Jar and Bowl

fired clay with black and white pigment the jar with applied snakes and black leaf decoration, signed on the underside in black pigment “Teresita Romero / Cochiti Pueblo”; the bowl with black raincloud and corn decoration, signed on the underside in pencil “Teresita Romero / Cochiti”.

jar h. 6-1/4”, dia. 6-3/4”; bowl h. 4”, dia. 7”

$1,500-$2,500

96

Southeast Asian Bronze Rain Drum

of traditional form with four applied frogs to top and a central star motif surrounded by concentric circles. h. 19”, dia. 25”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,000-$1,500

Rare Pair of Hugh Newell Jacobsen “Dominican Collection” Chaise Lounges and Occasional Tables fourth quarter 20th century, each executed in aluminum, the chaises with adjustable backs, the loose cushions supported by parallel bars, each of the tables with a stone top, the legs joined by high box stretchers, retaining their original painted bronze patina surface. chaise lounges: h. 33-1/2”, w. 31”, l. 74-1/2”; occasional tables: h. 17”, w. 22”, d. 22”; h. 12-1/2”, w. 26”, d. 26”

$2,000-$4,000

Hugh Newell Jacobsen’s architectural commissions included several institutions, amongst them renovations of the Smithsonian’s Renwick Gallery and Arts and Industries Building, and an addition to The Museum of Art at the University of Oklahoma. His celebrity clients included the Martha’s Vineyard home of Jacqueline Kennedy, Meryl Streep, and King Hussein and Queen Noor of Jordan. He designed furniture for several commissions. In the 1980s, he and his son Simon made these designs available on a limited production basis.

98

Cristina Cordova (American/Puerto Rico/North Carolina, b. 1976)

“Barquera”

ceramic h. 16”, w. 50”, d. 6-1/2”

Provenance: Purchased from the artist; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$4,000-$7,000

Literature: Joyce lovelace, “The Body Eloquent”, American Craft, February/March, 2012; https://www. cristinacordova.com.

I am driven by the primal act of imbuing an inanimate representation with a sense of presence, transforming it into the inspired repository of our deepest longings and aspirations. My goal is to have these compositions perform both as reflections of our shared humanity as well as question socio-cultural notions of gender, race, beauty and power.

Cristina Cordova

A native of Puerto Rico, Cordova now lives and works in North Carolina. She attended the University of Puerto Rico, initially studying structural engineering, and received her MA from New York State College of Ceramics at Alfred University. Her early engineering training was to prove helpful in her creation of largescale ceramic forms often composed of tens to hundreds of elements. These predominantly figural sculptures with their graceful poses and careful gestures were inspired by Cordova’s training as a dancer. With the frequent application of natural forms - flowers, beetles, shells - her works are visual explorations and often commentaries of society, culture and the environment. Her figures are appealing in a way that transcends conventional attractiveness and, despite their physical solidity and weight, they exhibit a nearly otherworldly quality.

“Horseshoe”

ceramic and silver paint h. 36”, w. 33”, d. 7-1/2”

Provenance: Hodges Taylor Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$8,000-$12,000

99

Cristina Cordova (American/Puerto Rico/North Carolina, b. 1976)

“Wall Pod”, 2001

glazed ceramic incised signature, dated, copyright-marked and inscribed at back. h. 12”, w. 7-1/2”, d. 6”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

Literature: http://aliceballard.com/

With her Wall Pod series, Ballard explores the natural world, fertility and the recesses of the imagination. Inspired by a nature walk during which she encountered the dried, empty brown pods clustered on a Royal Paulownia tree, the resulting works are organic earthenware vessels, vaguely heart-like in shape. Ballard frequently employs the terra sigillata technique rather than glaze; this results in softly textured surfaces which accentuate rather than obscure or cover the form beneath.

The wonderfully detailed work offered here is a part of her White Wall Pod series.

100

Alice R. Ballard (American/South Carolina, b. 1945)

101

Three Shadyside Pottery, New Orleans, Louisiana Vessels

one with crazed glazing and with lid. h. 10”, dia. 6”; h. 13”, dia. 8”; and h. 13-1/2”, dia. 10-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$600-$900

102

Collection of Six American Art Pottery Vessels

including two vases by Shadyside Pottery, New Orleans, Louisiana, each signed at bottom, and three unsigned metallic-glazed vessels, two with lids. h. 12-1/4”, dia. 12”; h. 8”, dia. 10”; h. 7-1/2”, dia. 6-1/2”; h. 7”, dia. 10-1/2”; and h. 4-1/2”, dia. 5-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.v

$700-$1,000

103

Jacqueline Humphries (American/Louisiana, b. 1965)

“Untitled #14”, 1993 oil on linen signed, titled and dated en verso, affixed with “Galerie Simonne Stern, New Orleans, Louisiana” gallery label. Unframed. 60” x 60”

Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$75,000-$125,000

Literature: Crecily Brown, “Jacqueline Humphries”, BOMB, No. 107 (Spring, 2009), pp 22-31.

103

What I’m after is a kind of psychological hook.

Jacqueline Humphries

The work offered here is from Humphries’ early period, shortly after the completion of her art training and two years before her significant solo exhibition at the newly-formed Greene Naftali Gallery in New York. Her dogged determination and persistence as a woman artist from the South working in New York in an abstract manner cannot be stressed enough; she was attending art school at a time when abstraction was moving away from the painterly and few women were working in the style.

The large-scale canvases she was creating at this time are carefully and intentionally composed works which simultaneously reference and toy with the tenets of Abstract-Expressionism. Here she has chosen a limited palette of creams, tans, browns in thickly applied layers to form a vertical composition that delicately nudges the viewer’s eye along the drips and droplets rendered in dense blacky ink.

Humphries’ large-scale lyrical canvases demand an active viewer; as the artist once stated about her work, “I like the unstable situation that depends on the light and the viewer both moving around.”

“Untitled”

metal and composition on an integral carved wood base. h. 21-1/2”, w. 9”, d. 10”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$500-$800

105 James

“Sans Titre”

1925-2008)

patinated bronze cast signature, numbered “2/8”, and with a “GUYOT” foundry stamp at back, on a carved wood presentation stand.

overall h. 11-1/4”, w. 7-3/4”, d. 3-1/2”

Provenance: Private collection, Baton Rouge, Louisiana.

$700-$1,000

104

Jeffrey Cook (American/Louisiana, 1961-2009)

Coignard (American/Louisiana,

106

Patinated Hammered Bronze and Buff Stone Console Table

20th century, the base with a pass-through knot stretcher in the Giacometti taste, one leg with an applied bronze disc impressed with a fleur-de-lis in an oval above “CHELI (?)”.

h. 35”, w. 35-1/2”, d. 11-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$700-$1,000

107

Suite of Twelve Russell Woodard “Pinecrest” Chairs

some of the wrought iron chairs with a “Carolina Forge” tag, each with a barrel back with vertical slats, mesh seat and shaped legs, painted black.

h. 32”, w. 24-1/4”, d. 22”

Carolina Forge was built in 1959 by the Woodard Company, run by brothers Russell, Joseph and Lyman Woodard.

$1,000-$1,500

106

108

Lin Emery (American/Louisiana, 1926-2021)

“The Banquet”

painted plaster incised signature along bottom edge. 14-1/2” x 20-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

New Orleans artist, Lin Emery became well known for her large-scale wind-powered kinetic sculptures that are inspired by the forces of nature. In the 1940s, she attended a series of colleges including Columbia University, Syracuse University, University of Mexico, Goodman School of Drama in Chicago, and University of Chicago and Sorbonne in Paris. By 1951, Emery settled in New Orleans, and began creating clay and plaster sculptures. Local and nationally based churches, commissioned her figurative plaster religious sculptures and metal crosses.

109

Lin Emery (American/Louisiana, 1926-2021)

“Cross”

copper sculpture h. 22”, w. 10-1/8”, d. 5”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000

“Toward Wahgouly”, 1998 colored pencil on Bristol board signed and dated lower right and artist label with title and date en verso. Plexiglass frame.

14” x 14”, framed 18” x 18”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

The Orleans Gallery was founded in 1956 by a group of young artists with the goal of supporting contemporary art in New Orleans. The gallery located at 537 Royal Street in the French Quarter, functioned as an artist cooperative and where artists could explore the tenants of abstract expressionism and modernism. The rotating exhibitions gave the artists exposure and the opportunity to sell their art. Additionally, the gallery would host exhibitions of artists of national and international acclaim. Among the talented group of artists who actively participated in the gallery were Lin Emery, John Clemmer, Jean Seidenberg, George Dunbar, Jimmy Lamantia, Robert Helmer, Millie Wohl and Ida Kohlmeyer. The artist owned gallery would prove to be a catalyst for the thriving gallery scene evident in New Orleans today.

110

“Pass Christian”, 1974 watercolor on paper signed, titled and dated en verso. Matted, glazed and framed. 12-1/4” x 20”, framed 24-1/2” x 30-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

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

111 James “Jimmy” R. Lamantia (American/Louisiana, 1923-2011)

Robert Helmer (American/Louisiana, 1922-1990)

“Horse Torso”, 1983

carved and painted wood signed and dated at belly, on an integral marble presentation stand. overall h. 15”, w. 15-1/2”, d. 4”

$800-$1,200

113

George Schmidt (American/Louisiana, b. 1944)

“Green Jockey: Racing Horse Series”, 2006

oil on canvas signed and dated lower left. Framed.

30” x 40”, framed 35” x 45”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$10,000-$15,000

Born and raised in New Orleans, George Schmidt embodies both an artist and jazz musician. A student of John Clemmer, Robert Heldner and Pat Trivigno, he studied art at Tulane University’s Architecture School and Newcomb College. Schmidt found inspiration in the history and culture of the city. In 2006, he focused his attention on the New Orleans Fair Ground Racecourse and horse racing. Always maintaining elements of realism, he used expressive brushwork in the painting “Green Jockey” to convey the momentum of the pending horse race.

“In the Studio”, 2003-2008 acrylic on canvas signed, dated, titled and localized “New Orleans” en verso. In a thin gallery frame.

72” x 72”, framed 73” x 73”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

Literature: Ledet, Michael, Jean Seidenberg, New Orleans: Silkmont and Count, 2009, illus. p. 120.

$10,000-$15,000

Jean Seidenberg (American/Louisiana, 1930-2022)

115

Saskia Ozols (American/New Orleans, Contemporary)

“Bottles and Shadow”

oil on canvas initialed lower left, and label with artist and title en verso.

Framed.

12” x 13”, framed 12-1/2” x 13-1/2”

Literature: https://www.saskiaozols.com/

$1,000-$1,500

116

Robert Helmer (American/Louisiana, 1922-1990)

“Untitled Abstraction”

oil and gold leaf on board signed mid lower right and “Circle Gallery, 1072 St. Charles Ave., New Orleans” label en verso.

Framed.

16” x 16”, framed 17” x 17”

Provenance: Circle Gallery, New Orleans, Louisiana; Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000 115

117

Robert Gordy (American/Louisiana, 1933-1986)

“Figures in a Landscape”

serigraph pencil-signed lower right and edition numbered “137/250” lower left.

Matted, glazed and framed. sight 10-3/4” x 38”, framed 19-1/2” x 45-3/4”

$700-$1,000

118

“Docked Pirogue, Louisiana Bayou”

graphite on rice paper signed lower left and “Rodrigue” labels en verso. Matted, glazed and framed. sight 8-1/2” x 11”, framed 18” x 21-1/2”

$3,000-$5,000

George Rodrigue (American/Louisiana, 1944-2013)

119

“Heavy Make-Up”

watercolor and gouache on paper signed lower right, titled on “Vincent Mann Gallery, New Orleans” label en verso. Glazed and framed. sight 6-1/2” x 4-1/2”, framed 16-1/4” x 14”

Provenance: Vincent Mann Gallery, New Orleans, Louisiana.

$800-$1,200

120

“Don Asmodeo”, 1970 oil and ink on board signed and titled lower right, and titled lower center. Framed.

9-1/2” x 7-1/2”, framed 18-1/2” x 16-1/2”

Provenance: Private collection, Maryland.

$1,000-$1,500

119

Henry Casselli (American/Louisiana, b. 1946)

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

“Malisa Bestiaga”, 1999 watercolor collage signed, titled and dated lower margin. Matted, glazed and framed. 10” x 8”, framed 21” x 19”

Provenance: Private collection, Maryland.

$800-$1,200

122

“Untitled”

gold leaf and mixed media signed lower left. Matted, glazed and framed. sight 6” x 4”, framed 18-1/2” x 16-1/4”

Provenance: Private collection, Maryland.

$700-$1,000

121

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

123

Christopher Maier (American/New Orleans, 1955-2004)

lacquered gold leaf rectangular side table with tapering legs. h. 21”, w. 35”, d. 23”

$1,000-$1,500

124

Collection of Three Wrought Iron Circular, Tripodal Side Tables

20th century, the first example a Dessin Fournir “Bijou” table with gilded base and mirrored top, h. 28-1/2”, dia. 11-1/2”, together with a bronze example, the top with a crimped edge, h. 23-1/2”, dia. 11-3/4”, and a diminutive, patinated example with a dished top, h. 26”, overall dia. 10-1/2”.

Provenance: Mohon-Imber Interiors, San Antonio, Texas; Private collection, Houston, Texas.

$800-$1,200

Pair of Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Table Lamps

1996, mixed metal, with copper shades, each signed and dated along base. each h. 20-1/4”, base 4” square, shade dia. 9-1/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$700-$1,000

126

Mario Villa (Nicaraguan/Louisiana, 1953-2021) Wall Lamp

in the form of an inverted cone of pierced copper, with mixed metal decorative elements. h. 15”, w. 12”, d. 10”

$500-$800

127

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

“Standing Male Nude”, 1992

pen and ink

signed, dated and localized “New Orleans” lower center. Glazed and artist-crafted metal frame. 37-3/4” x 24-3/4”, framed 38” x 25”

$1,000-$1,500

“Wood Study #2”

carved wood sculpture faint signature along base, on an integral black metal base.

overall h. 14-1/2”, w. 16-1/4”, d. 15”

$1,000-$1,500

“Cruzando el Sol”

bronze, glass and wood incised signature and numbered “1/50” at sole of foot. h. 28-1/2”, w. 22”, d. 11”

Literature: https://robertogutierrez.art/

$1,500-$2,500

“Untitled”, 1996

patinated steel on an integral black-painted steel base, incised signature and dated along one edge. h. 22-5/8”, w. 14-1/4”, d. 8-3/4”

$1,200-$1,800

128

Arthur Silverman (American/Louisiana, 1923-2018)

130 Roberto Gutierrez (Columbian/Arizona, b. 1952)

129 Arthur Silverman (American/Louisiana, 1923-2018)

“Mini-Scape”

131

Roberto Gutierrez (Columbian/Arizona, b. 1952)

bronze and wood h. 24”, w. 25”, d. 6”

$1,200-$1,800

132 William (Bill) Ludwig (American/Louisiana, 1935-2011)

“Torso”

patinated bronze h. 20”, w. 15”, d. 4-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

131

Clyde Connell

(American/Louisiana, 1901-1998)

“Small Wall Object, No. 6”, 1993

papier-mache and found metal objects signed, initialed “C.C.”, titled and dated en verso. 42” x 7” x 2”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

$1,500-$2,500

Minnie Clyde Dixon Connell was born into a prominent plantation family in northwest Louisiana at the turn of the century, where she witnessed the hardships faced by the African American community during the Jim Crow south. Through her involvement with the Home Missions Committee of the National Churches of Christ, she became active in civil rights causes. During her annual trips to New York City for committee meetings, she visited galleries and was introduced to contemporary art. While living year-round in a remote cabin on Lake Bistineau, Connell began to create sculptures using found materials combined with papier-mache, invoking the natural environment and her civil rights activities. In the 1980s, she was recognized by the New York art community and given a one-person exhibition at Clocktower Gallery and received the Adolph Gottlieb Foundation Award. In 1998, the state of Louisiana designated and awarded the sculptor Clyde Connell, a “legend.”

134 David Borgerding

(American/Louisiana, b. 1972)

“Untitled”, 2013

bronze

incised signature and dated along lower edge, on an integral black metal rectangular base. overall h. 21”, w. 48”, d. 8”

$4,000-$7,000

133

$1,000-$1,500

135 Vladimir Cora (Mexican, b. 1951)

“Torso Rojo”, 1998

acrylic on paper signed and dated lower right, signed, dated and with dedication en verso backing. Glazed, float-mounted and presented in a shadowbox frame.

overall 52” x 41”

Provenance: Adagio Galleries, Palm Springs, California; Private collection, New Orleans, Louisiana.

135

136

Jamini Roy (Indian, 1887-1972)

“Chowkidar” (Watchman)

tempera on paperboard signed lower right, verso with “Galerie Moderne, Brentano’s, New York”. Glazed and framed. 25” x 13-1/2”, framed 30” x 18”

Provenance: Galerie Moderne at Brentano’s, New York, New York; Collection of Gladys Freeman Cahn (19011964), New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

$7,000-$10,000

Born into a prosperous Bengali family, Jamini Roy was taught drawing and painting in the Classical Western style. Early in his career, he painted portraits, but soon realized that he needed to develop his own style, one that would draw inspiration and payed homage to his own culture. He was influenced by tribal and folk art, particularly Kalighat Pat (Kalighat painting), a linear style of painting utilizing bold, vibrant colors. He strived to capture the life of folk people, make art accessible to the wider audiences and to give Indian art its own identity.

Roy combined folk art, utilizing indigenous materials such as mill-made paper and vegetable-based pigments, with his European training, creating something new and spearheading Indian modern art movement. India’s Cultural Minister Chandresh Kumari Katoch described the artist: “Jamini Roy’s contribution in the growth and shaping of modern Indian art is well-established and enormously significant. His artworks have a particular appeal in the

popular imagination because of their strong, simple forms and vibrant colours...”

“The Watchman” is an embodiment of Roy’s style.

Chowkidar translates into the guardian of the public space or crossroads called the chowk. Chowkidars can perform duties that are often considered the most dehumanizing, such as serving the rich by standing at their gates. Figures of the Guardians can also be seen carved in stone reliefs on Hindu temples, as protectors of the edifices. Residents of Dev Mogra village revere “Devdarvaniya Chowkidar” who according to the folklore has been guarding their villages and the temple to Goddess Pandori Maata for centuries.

Jamini Roy’s “Chowkidar” is not treated as a lowly gate keeper or a guard, but as a revered figure, his large body dominating the frame, his almond eyes staring defiantly at the viewer.

Krishna Reddy (Indian/New York, 1925-2018)

“Untitled/’Demonstrators’ Single Figure”, 1968 bronze unsigned, on an integral wooden plinth. h. 15-1/2”, w. 5”, d. 4”

Provenance: Private collection, Baton Rouge, Louisiana. $700-$1,000

138 Gen Yamaguchi (Japanese, 1896-1976)

“Untitled Abstraction”

woodcut in colors pencil-signed lower left. Matted, glazed and framed. sight 23” x 16-1/2”, framed 29” x 22”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$500-$800

139 John Tarrell Scott (American/Louisiana, 1940-2007)

“Untitled Abstract”

watercolor on paper signed lower right. Matted, glazed and framed.

12” x 9”, framed 21” x 17”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$600-$900

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

“Column”

string drawing over gesso signed and dated “57” lower right. Framed.

24” x 19”, framed 27-1/2” x 22-1/2”

Provenance: Private collection, New Orleans, Louisiana.

$2,000-$4,000 139

Pedro Friedeberg (Mexican, b. 1936)

“Double-Butterfly Chair” painted and gilt wood signed under seat. h. 5-5/8”, w. 3-1/2”, d. 3-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$600-$900

142

Pedro Friedeberg (Mexican, b. 1936)

“Serenata Equinofebrifuga II, Pablo Torrealba, Mexico City, Mexico”, 2017

serigraph signed lower right, numbered “P.A. 5/18” lower left and titled in plate. Matted, glazed and framed. sight 23” x 23”, framed 31-1/2” x 31”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

Provenance:

$4,000-$7,000

143 Hunt Slonem (American/Louisiana, b. 1951)

“Blue Picol”, 1997

oil on wood panel signed, dated and titled en verso, a “Marcel Sitcoske Gallery” label en verso. Framed.

28” x 23”, framed 31” x 26-1/4”

Marcel Sitcoske Gallery, San Francisco, California.

Provenance:

$8,000-$12,000

144 Hunt Slonem (American/Louisiana, b. 1951)

“Orapendula 3 (Passerine Birds)”, 1991 oil on canvas signed, titled and dated en verso. Framed. 48” x 36”, framed 50” x 38”

Jean Bragg Gallery, New Orleans, Louisiana.

145

“Exchange”, 1994

oil on paper signed along lower right edge. Float mounted, glazed and framed. 41-1/4” x 29”, framed 55” x 43”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$700-$1,000

145

146

“Untitled: Abstraction”

oil and mixed media initialed “A.P.” lower center and artist’s resume affixed en verso. Matted, glazed and framed. sight 15” x 11”, framed 19” x 15”

Alex Pravich graduated from the Ukrainian State Academy of Art in 1978 and furthered his studies at the School of Visual Arts, New York, and Brooklyn College. Pravich works as free-lance illustrator and with United Scenic Artists in the film industry.

$500-$800

Jere Hardy Allen (American/Mississippi, b. 1944)

Alex Pravich (Ukrainian/New York, b. 1960)

“The Bed”, 1987 mixed media sculpture signed and dated at bottom. h. 6”, w. 13”, d. 3-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000

“Untitled”

blown and molded glass with found objects h. 13-1/2”, w. 7-1/8”, d. 7-1/8”

Mitchell Gaudet often combines his original hot glass castings with found objects and relics.

$500-$800

“Untitled, Embrace”, 1991 oil on paper signed and dated lower right. Float-mounted, glazed and framed. 30” x 22”, framed 42” x 33”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$700-$1,000

147 Barry Bailey (American/Louisiana, b. 1952)

148 Mitchell Gaudet (American/Louisiana, b. 1962)

149 Jere Hardy Allen (American/Mississippi, b. 1944)

“Pink Lady”

powder-coated steel construction on an integral support.

h. 108”, w. 32”, d. 11”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

150 Steven Martin (American/Louisiana, b. 1956)

“Mujer por la Calle (Woman on the Street)”, 1990

oil and acrylic on canvas signed and dated lower right, and signed, titled and dated en verso, affixed with “B. Lewin Galleries” label. Framed.

54” x 74”, framed 55” x 75-1/2”

Provenance: B. Lewin Galleries, Palm Springs, California; Private collection, New Orleans, Louisiana.

$2,000-$4,000

A refuge from Nazi Germany, Bernard Lewin amassed a renowned collection of modern Mexican art and eventually opened the Bernard Lewin Galleries in Beverly Hills and Palm Springs, California.

151

Vladimir Cora (Mexican, b. 1951)

152

Vladimir Cora (Mexican, b. 1951)

“Paisaje”, 1994

oil on canvas signed and dated lower left, signed, titled and dated en verso, affixed with “B. Lewin Galleries, Palm Springs, California” label.

Framed.

30” x 40”, framed 38” x 46”

Provenance: B. Lewin Galleries, Palm Springs, California; Private collection, New Orleans, Louisiana.

$1,000-$1,500

153

Mark Grote (American/Louisiana, Contemporary)

“Untitled #529”, 1980

mixed media sculpture of metal, wire, wax on an integral metal base, signed, dated and marked “529” on front of base.

h. 14”, w. 15”, d. 2-1/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$600-$900

154

154

Jere Hardy Allen (American/Mississippi, b. 1944)

“Woman with Bird” and “Portrait of a Young Woman”

two conte crayons on paper each signed and dated lower right. Both float-mounted, glazed and framed. each 30” x 22”, framed 42” x 33”; 43” x 34”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

155

Jere Hardy Allen (American/Mississippi, b. 1944)

“Woman and Lioness” and “Woman with Bird in Flight” mixed media on paper and conte crayon on paper former signed and dated “89” lower right, latter signed lower right.

Both float-mounted, glazed and framed. 30” x 22”, framed 40-1/2” x 32-1/2”; 41-1/2” x 33-1/2”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

“Red Head”

pastel and pencil on paper signed lower right, titled on “Vincent Mann Gallery, New Orleans” labels en verso. Matted, glazed and framed. 17-1/2” x 24-1/2”, framed 27” x 33-1/2”

Provenance: Vincent Mann Gallery, New Orleans, Louisiana.

$1,500-$2,500

“Back Wall”, ca. 1988

watercolor on paper signed lower left. Matted, glazed and framed. sight 17” x 23”, framed 27-1/2” x 33-1/4”

$1,400-$1,800

“Ballet Dancer”

graphite drawing pencil-signed lower left, and inscribed “to Nia with love, Henry” lower right. Matted, glazed and framed. sight 16” x 13”, framed 24-1/2” x 21”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

156

Henry Casselli (American/Louisiana, b. 1946)

158 Henry Casselli (American/Louisiana, b. 1946)

156

157

Henry Casselli (American/Louisiana, b. 1946)

159

“Mother and Child”, 1992

graphite drawing on paper signed and dated lower right. Matted, glazed and framed. sight 17” x 13”, framed 21” x 16-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$500-$800

159

160

“Standing Man”, 1965

charcoal on paper signed and dated lower right. Matted, glazed and framed. 23” x 10”, framed 27” x 13-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

Enrique Alferez (Mexican/Louisiana, 1901-1999)

George Valentine Dureau (American/Louisiana, 1930-2014)

161

“Untitled”, 1987

stainless steel sculpture signed and dated along edge. h. 10-1/8”, w. 3-1/2”, d. 2-1/8”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$500-$800

162

“Listening Box”

oil and gold leaf on wood signed lower right and titled en verso. Integral artist frame.

16” x 16”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

161

Arthur Silverman (American/Louisiana, 1923-2018)

Robert Helmer (American/Louisiana, 1922-1990)

163

Robert Helmer (American/Louisiana, 1922-1990)

“Silver Two”, 1971 oil and silver leaf on wood signed and dated mid left, and titled en verso. Integral artist frame. 24” x 24”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$700-$1,000

163

164

Lin Emery (American/Louisiana, 1926-2021)

“Quinte”, ca. 2012

aluminum kinetic sculpture unsigned. h. 37”, w. 15”, base dia. 12”

Provenance: Gift of the artist.

$7,000-$10,000

165

Vintage Acrylic Convex “Bubble” Mirror

1970s, presented in an aluminum frame. h. 36-1/2”, w. 36-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

166

Art Deco-Style Brushed Steel and Brass Floor Lamp

20th century, labeled by J. Robert Scott & Associates of Los Angeles and New York, the standard composed of clustered vertical elements supporting a flaring shade with brass trim, accented with brass spheres at the base of the shade and base of the standard. h. 72”, dia. 12-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$700-$1,000

167

Large Lucite and Satin-Polished Aluminum Coffee Table

1960s, with dual X-form bases, the rectangular lucite top with rounded corners, probably a custom design for Lin Emery’s acclaimed New Orleans home.

h. 15”, w. 66”, d. 44”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000

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Custom Metal and Paper Flower Floor Lamp

the large hand-made paper flower fitted with ribs for shaping, the brushed silver-tone metal standard topped with a circular serrated metal switch box above four large cut metal flower stems emanating from the hexagonal standard, on a circular, pierced cast iron base.

h. 72”, dia. 27-1/2”

$1,000-$1,500

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Ralfonso Gschwend (Swiss, b. 1959)

“Dance with the Wind”, 2009 stainless steel kinetic sculpture cut-out signature and date applied to side of self-base, after the 2007 monumental wind sculpture created for the Beijing Olympics and now conserved by the city of Beijing, China.

h. 18-5/8”, w. 7-3/4”, d. 7-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$5,000-$8,000

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Alvar Sunol (Spanish, b. 1935)

“The Four Seasons Vase”

silverplate with removable insert, stamped “ALVAR”, inscribed “enteri arte”, copyright-marked, dated 1984, inscribed “Perspective Et” and numbered “110/150” along lower edge.

h. 14-1/2”, dia. 9”

$800-$1,200

Remigio Valdes de Hoyos (Mexican, b. 1958)

“Sin Titulo”, 1985

engraving on paper pencil-signed, dated and edition numbered “16/60” lower margin.

Glazed and framed. sheet 25” x 19-1/2”, framed 30-1/2” x 24-3/4”

$500-$800

172 Francisco Toledo (American/Texas, 1940-2019)

“Chicken in Shoes on the Table”

lithograph

pencil-signed lower right and edition number “65/75” lower left.

Matted, glazed and framed. sight 25-1/2” x 38-3/4”, framed 31” x 44-1/4”

$1,000-$1,500

Francisco Toledo was widely regarded as one of Mexico’s most important contemporary artists of the 20th century. Born in the southern Mexican state of Oaxaca, his family were descendants of the Zapotecs, an indigenous pre-Columbian civilization. The fables, myths and folklore of the Zapotec culture became a continuous source of inspiration for the artist.

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Robert Rauschenberg (American, 1925-2008)

“Little Joe (Bones)”, 1975 handmade paper, fabric and bamboo stamped and inscribed lower left, from the Bones and Unions Series, in a lucite display case with stand. 23-1/2” x 29”, case h. 27-3/4”, w. 30”, d. 7-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Literature: Elizabeth Gollnich, “Unions: Robert Rauschenberg in Ahmedabad”, Post Notes on Art in a Global Context, Museum of Modern Art, September 5, 2017 (accessed https://post.moma.org/unions-robertrauschenberg-in-ahmedabad/).

$2,500-$4,000

In 1975 Rauschenberg spent a month working in Ahmebad, India, at an artistic community known as “The Retreat”. In conjunction with the nearby paper mill of the Gandhi Ashram (Sabarmati), he embarked on what would eventually become his “Bones” series, of which the assemblage offered here is a part. These works used paper, bamboo, and the local fabric called Khadi, a handwoven natural (primarily cotton, but occasionally with silk or wool) spun fabric initially espoused by Ghandhi and which was first made at the Ashram.

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Sam Gilliam, Jr. (Mississippi/Washington, D.C., 1933-2022)

“Untitled: Abstraction”, 1969

watercolor on folded and creased paper signed and dated lower right.

Matted, glazed and framed.

23-3/4” x 18”, framed 30-1/4” x 24”

Provenance: Fendrick Gallery, Georgetown, ca. 1975; Private collection, Baton Rouge, Louisiana.

Literature: “Sam Gilliam: Paintings, 1970-1975”, October 15 through November 8, 1975, Fendrick Gallery, Washington, D.C.

$15,000-$25,000

In 1973, 1974 and 1975, Fendrick Gallery in Washington, D.C. held solo exhibitions of Sam Gilliam’s paintings. Born in Tupelo, Mississippi, Gilliam earned an MA in painting from the University of Louisville in 1961 before moving to Washington, D.C., where, as a young African American artist, he experienced first-hand the Civil Rights Movement. In the work offered here “Untitled: Abstraction”, Gilliam experimented with applying the watercolor to folded and creased paper. His innovative ideas of removing the canvas from the stretcher, and thus challenging the traditional concept of the picture frame, appear to have crystallized in the late 1960s and early 1970s.

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Gunther Gerzso (Mexican, 1915-2000)

“Mujer de la Jungla”, 1974

lithograph in colors

pencil-signed and dated lower right, numbered “2/100” lower left.

Matted, glazed and framed. sight 28” x 21-1/2”, framed 35” x 28-3/4”

$1,000-$1,500

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Francisco Toledo (American/Texas, 1940-2019)

“Reflejo de Caballos”, 1984

lithograph on paper

pencil-signed, dated and numbered “6/25” lower left and “Enmarcado Por Kyron” label with artist and title en verso.

Glazed and framed. sheet 22-3/4” x 31-1/4”, framed 26” x 34-1/2”

$800-$1,200

“Tauro-Virgo”

Provenance: Los Angeles Modern Auctions, Los Angeles, California, July 8-18, 2021, lot 138.

$10,000-$15,000

Alejandro Obregon (Spanish/Colombian, 1920-1992)

acrylic on masonite signed lower right, and signed and titled en verso. Framed.

12-3/4” x 16-1/4”, framed 18-3/4” x 22”

178 Theo Tobiasse (Israeli/French, 1927-2012)

“Femme et sa Bague” lithograph pencil-signed and edition number “12/75” lower margin, and “Nahan Galleries, New Orleans” labels en verso.

Matted, glazed and framed. sight 29-1/2” x 21-1/2”, framed 44” x 36”

Provenance: Nahan Galleries, New Orleans, Louisiana.

$500-$800

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“Model for the World Trade Center Sculpture” paper and metal wire h. 9-1/2”, dia. 4-1/2”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000

Helen Escobedo (Mexican/American, 1934-2010)

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Helen Escobedo

(Mexican/American, 1934-2010)

Save: the Earth, the Planet, the Water, the Air” mixed media mounted within an open-fronted shadowbox frame. 28-1/2” x 18-1/2”

Provenance: From the artist; Estate of Lin Emery, New Orleans, Louisiana.

$700-$1,000

Born to a British mother and a Mexican father, Escobedo attended the prestigious Royal College of Art, London from 1951-1954, where she studied with Henry Moore, Jacob Epstein and Frank Dobson. Initially trained in figurative sculpture, she soon began to experiment in a more abstract style, much to the dismay of her former instructors. Eventually incorporating such unusual materials as paper, pvc, and fiberglass into her works alongside the more accepted and expected metals and woods, Escobedo created site-specific, often temporary, installations that explored issues of ecology and the environment.

“Clock”

carved and gilt-painted wood with inset mechanisms signed at bottom of one foot. h. 20”, w. 10-1/2”, d. 6”

Literature: Michael Bullock, “Pedro Friedeberg Interview”, Pin-Up, Fall/Winter 2015/2016; https://www. pedrofriedeberg.com/

$2,000-$4,000

I adore everything that is useless, frivolous and whimsical.

Pedro Friedeberg

Born in Florence to German-Jewish parents who fled to Mexico City when he was three, Friedeberg is a true artistic visionary, finding inspiration in virtually all aspects of art, philosophy, history and religion. He is acutely adept at combining various symbols, icons and images into a cohesive work of art, with a distinct and easily recognizable style. This melding of seemingly unrelated mythologies and histories would be disastrous in the hands of someone less sure, confidant and accomplished as Friedeberg.

Initially trained as an architect, Friedeberg never completed the course, finding the professors boring and the emphasis on structural symmetry limiting and tedious. Aspects of this early training, however, would be referenced in his work throughout his career. At the encouragement of one of his instructors and friends, Mathias Goeritz, he decided to

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concentrate on creating art. A fortuitous meeting with the Surrealist artist Remedios Varo led to his first exhibit at her Galeria Diana in 1960 when he was only 22. From there, as they say, the rest is history. He soon joined with Varo, Goeritz, Leonora Carrington, Gunther Gerzso and Alice Rahon, among others, to form “Los Hartos”, an artistic movement that stressed art for art’s sake and eschewed any political or social commentary in their work.

As Friedeberg once stated, “Too much is not enough,” and his drawings, paintings and prints reveal a nearly obsessive attention to detail and have virtually no empty space. With whimsy and humor he fills his sheets and canvases with architectural motifs, hybrid animals and repetitive geometric shapes that have widespread appeal and appreciation.

181 Pedro Friedeberg (Mexican, b. 1936)

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Pedro Friedeberg (Mexican, b. 1936)

“Hand Chairs”

two carved wood miniatures each signed at bottom.

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

$700-$1,000

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Pedro Friedeberg (Mexican, b. 1936)

“Hand Basket”

carved and gilt-painted wood signed at bottom, body composed of two cupped hands, supported on three feet.

h. 6”, dia. 8-1/4”

$2,000-$4,000

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Pedro Friedeberg (Mexican, b. 1936)

“Hand Clock”

carved and painted wood with clock mechanism signed in interior. h. 16-1/2”, w. 10”, d. 4-1/2”

$2,000-$4,000

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Pedro Friedeberg (Mexican, b. 1936)

“35 Manos (35 Hands)”

mixed media on paper signed and titled lower left. Matted, glazed and framed. 14-1/2” x 14-1/2”, framed 21-1/2” x 21-1/4”

$1,000-$1,500

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186 Pedro Friedeberg (Mexican, b. 1936)

“Hand Chair” carved wood signed at bottom. h. 6-3/4”, w. 3-1/2”, d. 4-1/2”

$800-$1,200

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Pedro Friedeberg (Mexican, b. 1936)

“Hand Chairs”

two carved wood miniatures each signed at bottom. h. 4-1/8”, w. 2-1/8”, d. 3” and h. 4-3/4” w. 2-3/4”, d. 3-1/2”

$700-$1,000

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Pair of Ched Berenguer-Topacio Klismos Chairs

late 20th century, Philippines, each executed in patinated wrought iron, with a gilded and curved tablet back, the seats retaining their woven cane covers, raised on dramatically flaring saber legs capped by a rosette. h. 33-1/4”, w. 20-1/2”, d. 23”

$1,500-$2,500

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After Pablo Picasso (Spanish/French, 1881-1973)

“156 Series, No. 30” (B.1885), 1970

etching

Estate stamp lower right, pencil-numbered “40/50” lower left and dated in plate upper left. Matted, glazed and framed. sight 6” x 3-1/2”, framed 17-1/4” x 12-3/4”

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After Pablo Picasso (Spanish/French, 1881-1973)

“Kinesias and His Family (Cinesias et Sa Famille)”, 1934 etching

illustration for Lysistrata by Aristophanes. Matted, glazed and framed. plate 8-1/4” x 5-1/2”, framed 19-1/2” x 17”

$1,000-$1,500

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Marie Cerminova (Toyen) (Czech/French, 1902-1980)

“Untitled, Surrealist Composition”, 1937

ink and watercolor on paper signed and dated lower left. Matted, glazed and framed. sight 8” x 5-1/2”, framed 16-1/2” x 13-1/2”

$1,500-$2,500

Literature: Iveta Jusova, ed., Czech Feminisms: Perspectives on Gender in East Central Europe, Bloomington: Indiana University Press, 2016; Dmitrieva, Marina, “Transcending Gender: Cross-Dressing as a Performative Practice of Women Artists of the AvantGarde”, Marianne Werefkin and the Women Artists in Her Circle, ed. Tanja Malycheva and Isabel Wunsche, The Netherlands: Brill, 2017, pp 123-133

One of the leading Czech Surrealists, little is know of Toyen’s childhood though it is believed she was from a working class family. Born Marie Cerminova, she worked briefly in a factory before leaving home permanently at 16 and entering the Academy of Art, Architecture and Design (UMPRUM) in Prague. It was at the Academy that she first became aware of the Czech avant garde and, along with several of her fellow students including Jindrich Styrsky formed the Devetsil, an artistic group that included painters, poets and writers and which stressed the connection between art and poetic expression . It was around this time that she adopted the gender neutral pseudonym she was to use for the remainder of her life.

Toyen frequently dressed in masculine clothing and often used masculine signifiers when speaking. Not surprisingly, much of her work explored gender norms and sexuality and while early in her career it was of an extremely erotic nature, it became less so over the years. Her work has often been referred to as lyrical or dreamlike, and reveals a deft melding of the real and unreal.

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Marie Cerminova (Toyen) (Czech/French, 1902-1980)

“Kolorovana Kresba”

ink and watercolor on paper signed lower right. Matted, glazed and framed. sight 11” x 8”, framed 19” x 16”

$1,500-$2,500

193 Ota Janecek (Czech, 1919-1996)

“Untitled, Nude”, 1965

“Untitled, Bust Portrait in Profile”, 1982

two ink, graphite and watercolors on paper Both float-mounted, glazed and framed. sight: former 10” x 8”, latter 8” x 9”, framed: former 15” x 13”, latter 13” x 13-1/2”

$1,000-$1,500

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Eugen Gabritschevsky (Russian/German, 1893-1979)

“Butterfly and Nudes”

gouache

initialed “E.G.” lower right, and “Cordier & Warren, Madison Ave., New York City” label and printed artist’s biography en verso. Matted, glazed and framed. sheet 8” x 11”, framed 15-3/4” x 19-1/4”

Provenance: Cordier & Warren, Madison Avenue, New York City.

$1,000-$1,500

Eugen Gabritschevsky was the son of a prominent Russian bacteriologist. Following in his father’s footsteps, Gabritschevsky earned a biology degree at Moscow University and furthered his research at Columbia University and in Paris at the Pasture institute. After a series of nervous breakdowns, he was diagnosed with schizophrenia in 1931 and spent the rest of his life confined to a psychiatric hospital. Unable to continue his scientific work, he put his creative energies into painting.

In 1950, the French artist Jean Dubuffet discovered Gabritschevsky’s work and identified him as part of the Art Brut movement. Dubuffet coined the term Art Brut to refer to artists who lacked academic training but had instinctive talent, and included psychiatric patients, prisoners, and children.

Gabritschevsky’s paintings were exhibited by the French gallerists Alphonse Chave and Daniel Cordier and at the American Folk Art Museum. In 1960, Cordier & Warren of New York City featured “One Hundred Drawings of Jean Dubuffet” as their inaugural exhibition. In addition, the gallery represented and exhibited Gabritschevsky’s artwork.

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Eugen Gabritschevsky (Russian/German, 1893-1979)

“Chick and Rooster”, 1943

gouache

initialed “E.G.” and dated lower left, and “Cordier & Warren, Madison Ave., New York City” label and printed artist’s biography en verso. Matted, glazed and framed. sheet 8” x 11”, framed 15-3/4” x 19-1/4”

Provenance: Cordier & Warren, Madison Avenue, New York City.

$1,000-$1,500

mid-20th century, ivory faux leather, brass, walnut and walnut-veneered bentwood, labeled underneath “KODAWOOD/Miami, Florida”.

h. 29-1/2”, w. 22-1/2”, d. 23”

$500-$800

designed in 1950s Denmark, both sides with two beaded drawers having brass bale pulls and small locking mechanisms, the left side with a glass-inset slide fitted with a cone pull, the oak drawer interiors with grooves to accommodate dividers, the desk finished all around and raised on chamfered square legs, labeled underneath “SNEDKERMESTER WILLY BECK KOBENHAVN”.

h. 28-3/4”, w. 65”, d. 31-1/2”

Provenance: Danske Snedker Mester Mobler, Copenhagen, Denmark; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,200-$1,800

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Pair of Seymour James Weiner for Kodawood “Clam Chairs”

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Unusual Ejner Larsen & Aksel Bender Madsen for Willy Beck Cuban Mahogany Desk

$800-$1,200

$1,000-$1,500

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Yoshitomo Nara (Japanese, b. 1959)

“Pup Cup”, 2003 plastic from an unnumbered edition, with original clear plastic box.

h. 8-3/4”, dia. 7-1/8”

Provenance: Collection of Catherine and Daniel Stetson, Baton Rouge, Louisiana.

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Takashi Murakami (Japanese, b. 1962)

“Oval Atop the Ball Cosmos”, 2000 polychromed plastic from the Peter Norton Family Christmas Collection, with mini-cd. h. 9-5/8” dia. 7”

Provenance: S & S Gallery and Archives; Private collection, Baton Rouge, Louisiana.

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Seven Gifts from the Peter Norton Christmas Collection including Yasumasa Morimura (Japanese, b. 1951), “Aimai-no-bi/ Ambiguous Beauty”, 1995, printed fan, fan open h. 11-1/2” x 19”, in a wooden box, 2-1/2” x 13”; Robert Lazzarini (American, b. 1965), “Teacup and Spoon”, 2003, porcelain and metal, teacup and saucer h. 3-1/2”, w. 6-1/4”, d. 6-1/2”, spoon h. 7/8”, l. 6”; Do Ho Suh (Korean, b. 1962), “Bowl”, 2004, molded glass, h. 6-3/4”, dia. 9”; Nina Katchadourian (American, b. 1968), “Pepper Shaker”, 2007, glass and mixed media, h. 3-5/8”, dia. 1-3/4”; Marc Swanson (American, b. 1969), “Sequined Antler”, 2009, mixed media, h. 3-5/8”, l. 8”, d. 6”; Escher GuneWardena Architecture, “Ikebana Kit”, 2012, porcelain and metal, three-piece set, as assembled h. 9-5/8”, w. 9-1/2”, d. 7-1/2”; and Ry Rocklen (American, b. 1978), “Trophy Modern Lamp”, 2013, resin, wood, and plastic, h. 10-3/4”, w. 9”, d. 6”, all with cards, expository leaflets, etc., all but “Teacup and Spoon”, “Bowl”, and “Pepper Shaker” with original shipping packaging.

Provenance: S & S Gallery and Archives; Private collection, Baton Rouge, Louisiana.

$800-$1,200

Victor Vasarely (French/Hungarian, 1906-1997)

“Tan-Ceti”

screenprint in colors

pencil-signed lower right, dated, titled and numbered “100/205” lower left.

Glazed and framed.

26” x 26”, framed 27” x 27”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

Exhibited: Loyola Collects Show at the Danna Center Art Gallery, Loyola University, New Orleans, Louisiana, October 4-24, 1976.

$600-$900

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Robert Gordy (American/Louisiana, 1933-1986)

“River Bathers”

color silkscreen

signed and inscribed “Color Trial Proof” lower margin.

Matted, glazed and framed. sight 28-1/2” x 34”, framed 35” x 40”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

“Les Voyants”, 1970

lithograph in colors

pencil-signed lower right, numbered “III/XV” lower left, from an edition of 75 with 15 Roman number prints. Matted, glazed and framed. sight

$4,000-$7,000

203 Joan Miro (Spanish, 1893-1983)

25” x 19”, framed 37-1/2” x 31-1/2”

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“Composition”, 1973

lithograph in colors

pencil-signed and dated lower right, numbered “114/150” lower left, for the opening of the Museum of Fine Arts, Houston, Texas, 1973. Matted, glazed and framed. sight 26” x 20-1/2”, framed 33-1/4”” x 27-1/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

“Composition”, 1973

lithograph in colors signed and dated in plate lower left, for the opening of the Museum of Fine Arts, Houston, Texas, 1973. Matted, glazed and framed. sight 28-1/2” x 20-1/2”, framed 34” x 25-3/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

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Paul Jenkins (American, 1923-2012)

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Paul Jenkins (American, 1923-2012)

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“Untitled”, 1973

lithograph in colors

pencil-signed lower right, numbered “63/150” lower left. In a lucite box-frame. 11-7/8” x 18-3/8”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

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“Living at the Movies”

lithograph in colors

artist proof, pencil-signed lower right and marked “AP” lower left. Matted, glazed and framed. sight 22-3/4” x 27-1/2”, framed 32-7/8” x 37-1/4”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$800-$1,200

Antoni Tapies (Spanish, 1923-2012)

Larry Rivers (American, 1923-2002)

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Dale Chihuly (American, b. 1941)

“Moroccan Macchia Pair”, 2003

blown glass

Portland Press, Seattle, Washington, two ruffled forms, each with exterior of opaque yellow and white to translucent pink, with thin red striations and lime green lip, interior mottled opaque to translucent pink, engraved signature and marked “PP03” at bottom of smaller form, certification “832.pp2m.03”. large h. 4”, dia. 10”; small h. 4”, dia. 7-1/2”

Provenance: Chihuly Gallery, Las Vegas, Nevada; Private collection, Houston, Texas.

$3,000-$5,000

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Dale Chihuly (American, b. 1941)

“Amethyst Persian”, 2005

blown glass

Portland Press, Seattle, Washington, undulating open form and a curving bulb-based stamen, of alternating stripes of opaque and translucent amethyst with lime green lip, bulb of opaque amethyst and black, stem of translucent amethyst and lime green with yellow lip, engraved signature and marked “PP05” at bottom of larger element, certification “1313.pp2p.05”. h. 10”, dia. 13-3/4”

Provenance: Chihuly Gallery, Las Vegas, Nevada; Private collection, Houston, Texas.

$5,000-$8,000

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Dale Chihuly (American, b. 1941)

“Philodendron Ikebana”, 2002

blown glass

Portland Press, Seattle, Washington, cobalt pear-shaped vase with gold-leaf overlay and blue and green textural jimmies, spotted yellow leaf with gold-leaf striations and cobalt-twisted black stem, engraved signature and marked “PP02” at bottom, certification “570.pp2i.02”. h. 11”, w. 10”, d. 6-1/2”

Provenance: Chihuly Gallery, Las Vegas, Nevada; Private collection, Houston, Texas.

$3,000-$5,000

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Dale Chihuly (American, b. 1941)

“Dakota Macchia”

blown glass

Portland Press, Seattle, Washington, ruffled form, exterior of mottled opaque cerulean and translucent pink with thin ocher striations, scattered yellow and green “droplets”, yellow lip, interior of mottled opaque to translucent pink, engraved signature and marked “PP08” at bottom, certification “609.pp1dm.08”. h. 8-1/2”, dia. 9-1/2”

Provenance: Chihuly Gallery, Las Vegas, Nevada; Private collection, Houston, Texas.

$3,000-$5,000

Bruce Davenport, Jr. (American/Louisiana, b. 1972)

“T.D.B.C. Presents The St. Thomas Projects”, 2013 pen and markers on paper signed, titled, dated and inscribed lower margin, and “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso.

Glazed and framed. 14” x 11”, framed 17” x 14”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Lin Emery, New Orleans, Louisiana.

$500-$800

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George Rodrigue (American/Louisiana, 1944-2013)

“Love Me Forever”, 2001

silkscreen signed lower left and inscribed “Artist Proof” lower right. Unframed. 20” x 27”

Literature: Listed and illustrated in George Rodrigue

Prints: A Catalogue Raisonne 1970-2007, New York: Abrams, 2007, p. 192.

$2,000-$4,000 212

Italian, decorated with borders of shrimp and crabs, the service including twelve dinner plates, dia. 10-1/2”, sixteen gumbo bowls, dia. 9”, and twelve salad/dessert plates, dia. 8-1/2”, the bottoms marked “Mignon Faget, New Orleans”.

$500-$800

215 Mary Klein (American/Tennessee, b. 1966)

“Three Pears” “Fruit and Vegetables”

oil and mixed media on boards each signed mid right. Integral frame and unframed, respectively. 15-1/4” x 23-3/4” and 22-3/4” x 16”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

A self-taught artist, Mary Klein started to create her assemblage paintings in her 20s. Using found objects, Klein creates charming vignettes that often incorporate her signature pear motif.

214 Mignon Faget Partial “Gumbo Tognana” Porcelain Dinner Service

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216

“Tea Time”, 1998

oil and mixed media on board signed and dated lower right. Integral frame. 27-1/4” x 24-1/4”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

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“Hurricane” “Way Down South”

two glazed pottery pieces former initialed along back, latter initialed along back and titled at bottom. h. 3-3/4”, w. 7-1/4”, d. 4” and h. 4-5/8”, w. 4-1/2”, d. 4-1/2”, respectively

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$500-$800

Mary Klein (American/Tennessee, b. 1966)

Steele (Olie Brice) Burden (American/Louisiana, 1900-1995)

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218

“Man at Table in the Garden”, ca. 1940s oil on paper monogrammed mid left and signed “Clemence” lower

Matted. 11-1/2”

$4,000-$7,000

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$500-$800

218 Clementine Hunter (American/Louisiana, 1886/87-1988)

right.

x 14-1/2”

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Lucianne Carmichael (American/Louisiana, 1931-2016)

“Untitled - Lemon Yellow” glazed pottery incised signature at bottom, produced by “A Studio in the Woods”. dia. 10-3/4”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

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Shearwater Pottery High-Glazed Tile and Two Plates glazed earthenware, including a “Horned Beetle” tile, and two plates after designs by Walter Inglis Anderson, including “Sunflowers”, 2000, inscribed “WIA/Kim Cannette” and dated at bottom, and “Biloxi”, 2000, inscribed “WIA/Nancy Grace” and dated at bottom, each with factory stamp on bottom. tile 6-1/2” square, plates dia. 8-3/4” and dia. 10-1/4”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

Literature: Stewart, Dod, Shearwater Pottery, Slidell: Bristol Publishing, 2005, illus. p. 269.

$500-$800

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Group of Twelve Shearwater Pottery Tiles

high-glazed earthenware, including “Beetle”, “Blue Jay”, “Boy Running”, “Frog”, “Fruit on Vine”, “Girl Running”, “Osprey with Fish”, two “Pitcher Plant”, “Bee”, “Duck”, and “Wood Lily”, each with factory stamp on bottom. 5-7/8” square to 6-1/2” square

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$600-$900

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Adele Anderson Lawton (American/Mississippi, b. 1951) for Shearwater Pottery “Coot Bird” Jiggered Plate

1976, glazed earthenware, designed by Walter Anderson and with impressed factory mark and incised “WIA/ adele/’76” at bottom. dia. 10-1/2”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$500-$800

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“Brulatour Courtyard, Royal Street”

watercolor signed lower left. Unframed.

10” x 8”

$1,000-$1,500

A graduate of Newcomb College, Corrina Luria joined the bohemian group of artists, writers and photographers who lived and worked in the French Quarter in the early and mid-20th century. Initially, Luria worked as a craftsman at Newcomb College, where she decorated pottery for sale in their display room. Watercolor became her preferred medium and she focused on the historic buildings of the old quarter. Today, the Brulatour House and Courtyard has been renovated and is part of The Historic New Orleans Collection.

224

“Boating, Mississippi Gulf Coast”, 1986

watercolor and ink signed and dated lower right. Matted, glazed and framed. sight 5-3/4” x 2-3/4”, framed 10” x 7”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$500-$800

Corinna Morgiana Luria (American/Louisiana, 1890-1975)

James McConnell “Mac” Anderson (American/Mississippi, 1907-1998)

Edwin Hingwan

(Trinidadian and Tobagonian, 1932-1975)

“Beach Scene at Sunset, Trinidad”, 1971

oil on canvas board signed and dated lower left. Glazed and framed.

Hingwan was born in Trinidad and attended Queen’s Royal College. Originally an engineering draughtsman for the oil industry, his career was cut short when he was partially paralyzed by a spinal cord injury. Turning to painting as a way to occupy his time, he utilized a specially-made apparatus that allowed him to hold and move a paint brush. He was to spend the rest of his life in a wheelchair.

Inspired by the local landscape and neighborhoods of his hometown, he painted scenes of beaches, palm trees, huts and sunrises in bright tones of oranges, reds and umbers.

He had his first exhibition in 1959 at the Trinidad Art Society.

225

11” x 14”, framed 13-5/8” x 16-1/2” $4,000-$7,000

225

mid-20th century, comprising a circular glass-top side table, h. 26”, dia. 30”, a club chair, h. 28-1/2”, a pair of barrel armchairs, h. 32-1/4”, and a settee, h. 28-1/4”, w. 50-3/4”, with loose ikat-style fabric-covered cushions,

$1,400-$1,800

226

McGuire, San Francisco, Five-Piece Rattan Furniture Group

the chairs and the settee brass plaque-labeled “McGuire/San Francisco” along with U. S. Patent numbers.

Provenance: Estate of Ida Gray Reeves Graham, Ruston, Louisiana.

“Walk in St. Francisville”, 1992

oil on canvas signed lower right and “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso. Framed.

47”

$3,000-$5,000

227 George Valentine Dureau (American/Louisiana, 1930-2014)

x 35”, framed 52” x 40”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

227

228 Auseklis Ozols (Latvian/Louisiana, b. 1941)

“Abita Springs, Louisiana”, 2009 oil on canvas signed and dated “MMIX” upper right. Framed.

28” x 22”, framed 33-1/2” x 27-1/2”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$1,500-$2,500

A self-proclaimed “romantic realist”, Auseklis Ozols favors painting plein air for his landscapes in order to personally connect with nature. Ozols was awarded a commission for a mural of the Louisiana landscape incorporating indigenous birds and animals for the entrance of the Governor’s Mansion in Baton Rouge.

Born in Strenci, Latvia, Ozols immigrated to America as a child with his family and pursued an artistic career at the University of Pennsylvania, Pennsylvania Academy of Fine Arts and earned a Master of Fine Arts from Temple University. Ozols moved to New Orleans, and in 1978 founded the New Orleans Academy of Fine Arts, where he emphasized the classical disciplines of drawing and composition and modeled the curriculum after his experiences at the Pennsylvania Academy of Fine Art.

229

Tony Green (American/Louisiana, b. 1954)

“Mississippi River, New Orleans”, 1994

“Evening over San Giorgio Maggiore, Venice”

two oils on wood each initialed lower right, and signed, titled and dated, and latter with artist’s stamp en verso. Framed alike.

each 8” x 10”, framed 13-1/2” x 15-1/2”

Provenance: Collection of Rosemary James, New Orleans, Louisiana.

$800-$1,200

230

Tony Couch (American, Contemporary)

“Shrimp Boat”

watercolor on Arches paper signed lower right. Matted, glazed and framed. sight 21-1/4” x 28-3/4”, framed 32-1/2” x 38-1/2”

$1,000-$1,500

231

Don Reggio (American/Louisiana, b. 1950)

“The ‘toe’ of Canal St., Ward 4, ca. 1890’s”

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

16” x 20”, framed 21-1/4” x 25-1/4”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

232

Don Reggio (American/Louisiana, b. 1950)

“Madame John’s Legacy, Dumaine Street”, 2004

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

14” x 18”, framed 17” x 21”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

231

233 Phil Sandusky (American/Louisiana, b. 1957)

“House on Top of F150 Truck”, Painting Katrina Series oil on canvas signed lower left, and “Cole Pratt Gallery, Ltd., New Orleans” label en verso. Framed.

15” x 30”, framed 17” x 32”

Provenance: Cole Pratt Gallery, New Orleans, Louisiana; Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

234 Rolland Harve Golden (American/Louisiana, 1931-2019)

“The Rusted Barrel”, 1965 watercolor on paper signed and dated lower right. Matted, glazed and framed. sight 28-3/4” x 20”, framed 42-3/4” x 32-5/8”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

“Sucre (Magazine Street)”, 2008

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

Framed.

16” x 20”, framed 17” x 21”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$500-$800

A native of Hungary, Gergo immigrated to the United States in 1957. Gergo lived in New Orleans for 45 years and joined the faculty at the New Orleans Academy of Fine Arts.

“St. Charles Avenue, New Orleans”

oil on canvas signed lower right and en verso. Framed.

18” x 24”, framed 22” x 27-1/2”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$1,000-$1,500

235 Katalin Gergo (Hungarian/Louisiana, d. 2016)

235

236

236 David Cotton (American/Louisiana, Contemporary)

“Streetcar, Canal Street”

oil on canvas signed lower right and en verso. Framed.

20” x 20”, 24” x 24”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$1,000-$1,500

After teaching for over 35 years in New Orleans public schools, David Cotton retired and focused his attention on painting. A graduate of Xavier University, Cotton paints the distinctive neighborhoods of New Orleans.

“Agorrile”, 1997

oil on canvas

initialed “M” lower right, and signed “Mitchell”, localized “New Orleans” and dated en verso. Framed.

28” x 22”, framed 29” x 22-3/4”

$2,000-$4,000

237 David Cotton (American/Louisiana, Contemporary)

238 James Michalopoulos (American/Louisiana, b. 1951)

237

“New Orleans House” oil on canvas signed lower left. Framed.

39” x 21”, framed 40” x 22”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$4,000-$7,000

239

“Yellow Fence”, 2010 oil on canvas signed and dated lower right. Framed.

20” x 16”, framed 24” x 20”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana. $1,000-$1,500

240 James Michalopoulos (American/Louisiana, b. 1951)

Diego Larguia (Argentinian/Louisiana, Contemporary)

241 Eugene Daymude, Sr. (American/Louisiana, 1925-1995)

“Spring Landscape”

oil on masonite signed lower right. Framed.

11” x 14”, framed 15” x 18”

Provenance: Jean Bragg Gallery, New Orleans, Louisiana.

$800-$1,200

242 Edward Rice (American/Georgia, b. 1953)

“Farm House”, 2004

oil on board signed and dated lower right and en verso. Framed.

14” x 16”, framed 20-1/2” x 22”

$700-$1,000 241

243 Dirk Staschke (American, b. 1971)

“Untitled”, ca. 1993

matte-glazed pottery vessel incised signature on bottom.

h. 10-1/2”, w. 6”, d. 5”

Provenance: Private collection, Birmingham, Alabama. According to the artist, this was an early work created while a student at the University of Montevallo, Montevallo, Alabama.

$800-$1,200

244 George Valentine Dureau (American/Louisiana, 1930-2014)

“Reclining Male Nude” mixed media on paper signed lower left. Matted, glazed and framed. sight 28-1/2” x 38-1/2”, framed 38” x 48”

$3,000-$5,000

245

“Untitled: Composition in Blue Dots”, 1989

“Untitled: Composition in Red Dots”, 1989

two watercolors on paper each pencil-signed and dated en verso. Glazed and framed alike.

10” x 12-3/4”, framed 12-1/4” x 15”

$3,000-$5,000

246

“Nudes”, 1966

oil and graphite on paper pencil-initialed and dated lower right, and “Arthur Roger Gallery, New Orleans” label with artist and title en verso. Matted, glazed and framed. 4” x 4-1/2”, framed 12-1/4” x 12-3/4”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

$700-$1,000

Jacqueline Humphries (American/Louisiana, b. 1965)

Robert Gordy (American/Louisiana, 1933-1986)

247 Robert Gordy (American/Louisiana, 1933-1986)

“Female Nude”

mixed media on paper

“Arthur Roger Gallery, New Orleans” label with artist and title en verso.

Matted, glazed and framed.

7” x 5”, framed 15-1/4” x 12-1/4”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

$800-$1,200

“Dancing Figure”

wire sculpture h. 63”, w. 33”, d. 11”

$500-$800

248 Steven Martin (American/Louisiana, b. 1956)

Cast Iron Sculpture of a Leaning Man in the Brutalist Style

20th century, unsigned, on an integral white pedestal. sculpture h. 43”, w. 23-1/2”, d. 16”; pedestal h. 17-1/2”, w. 14-1/4”, d. 14-1/4”

$1,000-$1,500

“Nocturne - Orangerie Staircase, Versailles,” 1913

photogravure from Camera Work, No. 42/43, Plate 13, April/July 1913

Matted, glazed and framed. sheet 6-3/4” x 8-1/2”, framed 18-1/4” x 14-1/4”

$1,200-$1,800

“The Dirigible”, 1910

photogravure from Camera Work , No. 36, Plate 8, October 1911

label en verso with artist name and title. Matted, glazed and framed. sight 6-1/2” x 6-1/2”, framed 18” x 14”

$1,200-$1,800

250 Edward Steichen (American, 1879-1973)

251 Alfred Stieglitz (American, 1864-1946)

250

252

Henri Cartier-Bresson (French, 1908-2004)

“Louisiana, 1947”

gelatin silver print later printing, ink-signed lower right and with artist’s blind stamp lower left margin. Matted, glazed and framed. sight 11” x 15”, framed 18-1/4” x 21-1/4”

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

$3,000-$5,000

In 1947, the French photographer Henri Cartier-Bresson made a cross-county journey by car through America, spending time in New Orleans. Cartier-Bresson advocated the “decisive moment” when a photographer instinctively waits to shoot the photograph. He combined the documentary style of photograph with his personal vision. Instead of focusing on the typical vistas of New Orleans, he captures in “Louisiana” a quiet moment of a woman seated behind her cast iron fenced porch with her dog.

“Larry”, ca. 1973

silver gelatin print

Matted, glazed and framed. sight 6-3/4” x 4-3/4”, framed 11-3/4” x 9-5/8”

Provenance: Private collection, New Orleans, Louisiana.

Literature: Vicki Goldberg, “Sally Mann’s Haunted South”, The New York Times, March 29, 2018; https://www. sallymann.com/.

$1,000-$1,500

Living in the South means being both nourished and wounded by the experience...Southerners live at the nexus between myth and reality where that peculiar amalgam of sorrow, humility, honor, loyalty, graciousness and renegade defiance plays out against a backdrop of profligate physical beauty.

Sally Mann

“Untitled: Female Nude”

gelatin silver print unsigned.

Matted, glazed and framed. sight 41-1/2” x 27-1/2”, framed 56” x 40-1/4”

Provenance: Acquired from the artist.

$800-$1,200

253 Sally Mann (American/Virginia, b. 1951)

254 Mario Villa (Nicaraguan/Louisiana, 1953-2021)

“Etienne de Bore Oak, New Orleans”, 2000

quadtone pigment print pencil-signed and dated lower right, titled lower left, with artist’s blind-stamp lower center, from the “Terra Incognito” series.

Matted, glazed and framed. sight 16-1/2” x 30-1/2”, framed 24-1/4” x 38”

Literature: https://richardsextonstudio.com/

$1,000-$1,500

“Languid Melody”, 2000 quadtone pigment print pencil-signed and dated lower right, titled lower left, with artist’s blind-stamp lower center.

Matted, glazed and framed. sight 16-1/2” x 30-1/2”, framed 24-1/4” x 38”

$1,000-$1,500

255 Richard Sexton (American/Louisiana, b. 1954)

256 Richard Sexton (American/Louisiana, b. 1954)

“Baptismal Candidates, Moon Lake, Mississippi”, 1995

gelatin silver print pencil-signed and numbered “20/30” lower margin, from the Native Soil series, an artist stamp with title and date en verso.

Matted, glazed and framed. image 14” x 14”, framed 27-1/2” x 27”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

Jack Spencer wrote about his work as a photographer; “I believe that all art work is portraiture and, in its most pristine and honest form, I believe it is self-portraitureÖ. The person creating is always reflected in the effect of the final creation”

“The Resurrection Flags, Como, Mississippi”

gelatin silver print pencil-signed and numbered “3/50” lower margin, a “Gallery of Southern Photographers, New Orleans, LA” label en verso.

Matted, glazed and framed. image 14” x 14”, framed 28” x 27”

Provenance: Gallery of Southern Photographers, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

Literature: https://www.jackspencer.com/

$800-$1,200

257 Jack Spencer (American, b. 1951)

258 Jack Spencer (American, b. 1951)

257

260

Nan Goldin (American, b. 1953)

“Clemens at Lunch at Le Cafe de Sade, Lacoste, France”, 1999 (printed 2001)

Chromogenic (C-print) signed, stamped and numbered en verso “Nan Goldin / Clemens at lunch at Cafe de Sade, / Lacoste, France, 1999 / Special Benefit Edition / for Whitechapel Art Gallery, / produced on occasion of / Nan Goldin: Devil’s Playground / 26 January - 31 March 2002 / Not for Resale / No. 323 of 500”.

Matted, glazed and framed. 14” x 11”, framed 19” x 14”

Provenance: Whitechapel Art Gallery, London, 2001.

Literature: Stephen Westfall, “Nan Goldin”, BOMB, Issue 37, Fall 1991; Sean O’Hagen, “Nan Goldin - Interview”, The Observer, March 22, 2014; Brooke McCord, “Your Ultimate Guide to Nan Goldin”, DAZED, january 2017. Emily Dinsdale, “Life Lessons We Can Take From Nan Goldin’s Seminal Photography”, DAZED, November, 2019.

$800-$1,200

Nowadays people forget how radical my work was when it first appeared. Nobody else was doing what I did.

Nan Goldin

One of the most accomplished photographers of her generation, Goldin documents those on the fringes of society, the marginalized communities of drag queens, AIDS sufferers, addicts, the abused and neglected. Most of her subjects are also her friends, the family she chose after running away from her own at the age of 15. With her stark, often unsettling images she explores societal norms and sexuality in a sympathetic manner.

259 Jack Spencer (American, b. 1951)

“Man with Fish, Como, Mississippi”, 1996

gelatin silver print pencil-signed and numbered “5/50” in lower margin, from the Native Soil series, a “Gallery of Southern Photographers, New Orleans, LA” label en verso. Matted, glazed and framed. image 14” x 14”, framed 28” x 27”

Provenance: Gallery of Southern Photographers, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$800-$1,200

tropical mahogany, with three drawers having angled self pulls, labeled and signed in script “Joseph Jeup 5/10”, stamped “No. 1479” and bearing the circular metal “D” label.

h. 30”, w. 72”, d. 18-1/4”

$700-$1,000

on chromed steel backswept “runner” supports, both examples labeled “Donghia” underneath the seat. h. 39”, w. 25-1/4”, d. 34”

$1,400-$1,800

261 Joseph Jeup for Donghia Legacy Collection “Essex” Console

262 Pair of Donghia “Odeon” Burgundy Leather Lounge Chairs

263

After

Provenance: Private collection, Baton Rouge, Louisiana.

$1,200-$1,800

Karel Appel (Dutch, 1921-2006)

“Big Mouse with Red Head”, 1977

pieced fabric applique signed and dated in ink lower right, with rods for display. 44” x 34-1/2”

263

264

William Melton Halsey (American, South Carolina, 1915-1999)

“Inscription”, 1979, amended 1994 incised oil on masonite signed, titled and dated en verso, affixed with “Eva Carter Gallery, Charleston, South Carolina” label. Integral artist frame.

31” x 13”, framed 32” x 13-1/2”

Provenance: Eva Carter Gallery, Charleston, South Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$5,000-$8,000

William Halsey was one of South Carolina’s foremost twentieth-century modernists, known for his vibrant paintings, collages and sculptures. Born and raised in Charleston, he received early instruction from Elizabeth O’Neill Verner, one of the leading artists of The Charleston Renaissance movement. He later trained at the University of South Carolina, but it was while attending the School of the Museum of Fine Arts, Boston that his style started to take shape. He was awarded The James William Paige Fellowship which afforded him to study abroad. Originally scheduled to travel to Europe with his new wife, the onset of World War II changed their plans and they headed for Mexico instead. In Mexico City, Halsey absorbed the culture, color and texture of the country and studied works by the great Mexican muralists such as Diego Rivera.

The couple eventually settled in Charleston, where they taught at the Gibbes Museum of Art, and later opened their own school. Although Halsey loved to travel and his abstract expressionist canvases were often influenced by the places he visited, Charleston and its decaying stucco buildings remained the central theme in his works. He experimented with various mediums, building his canvases with gesso, sand, marble dust, found objects, and fabric, immersing himself in the physical act of painting.

His works were exhibited at the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, and the Metropolitan Museum of Art, to note a few. The Halsey Institute of Contemporary Art at the College of Charleston was named in honor of William Halsey. 264

265

Herbert Joshua Ariss (Canadian, b. 1918)

“Children’s Games”, 1957

gouache on card signed and dated lower right, verso with “Ingram Gallery, Toronto, Canada” label and “Gallery of Ontario, Toronto, Canada” exhibition label. Glazed and framed. 30” x 30”, framed 37” x 37”

Provenance: Ingram Gallery, Toronto, Canada; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Exhibited: Gallery of Ontario, Toronto, Canada, “A Canadian Survey: selected works from the Collection of Imperial Oil Limited”, 1978.

$1,000-$1,500

Herb Jackson (American/North Carolina, b. 1945)

“Veronica’s Veil CCVI”, 2011 oil on canvas signed, titled and dated en verso canvas. Unframed.

60” x 48”

Provenance: Gift of the artist to Le Ball Masque fundraiser in association with The Art Cellar Gallery, Banner Elk, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$6,000-$9,000

This painting by Herb Jackson is part of the artist’s ongoing series Veronica’s Veils, of works of the same size and format. The name refers to the Christian relic of the veil of Saint Veronica, which was imprinted with the face of Jesus when he used it to wipe his face on the way to

his crucifixion. Jackson states that his paintings have nothing to do with Jesus but rather refer to Veronica’s luck of being at the right place at the right time. When one of his paintings come to life, he refers to that as his Veronica moment.

A North Carolina native, Jackson explores the mystical nature of painting. In a 2022 interview with Walter magazine, Jackson explained: “Where a painting comes from and how it comes together for me is still mystical and has been for 60 years.” In the interview, the artist speaks about his paintings almost as mysterious living organisms capable of a dialogue with the artist, challenging him as well as letting him know when it is time to put the palette knife down. To quote the artist: “To require that an image, be a bearer of content, that it must be recognizable is to suggest that there is no form to the unknowable. My journey through art confirms, for me at least, that it is not necessary to rob life of its mystery in order to understand it.”

Jackson’s work has now been collected by more than 100 museums, including London’s British Museum, shown in more than 150 solo exhibitions around the world and has won him North Carolina’s highest civilian honor.

267 Harold Shapinksy (American, New York, 1925-2004)

“Untitled”, 1947

“Untitled”, 1960

gouache, crayon and ink on paper mounted on board, signed and dated along lower edge.

gouache and ink on paper mounted on board, signed lower right.

Both with “Jerald Melberg, Charlotte, North Carolina” gallery labels en verso. former 3-3/4” x 5-1/8”, framed 8” x 9”; latter 5-1/2” x 8”, framed 9-1/2” x 12”

Provenance: Jerald Melberg Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

268 Marilee Hall (American/Tennessee, Contemporary)

“Bird With Nest”, “Bird Face”, “Egg I”, “Egg II”, “Egg III”

glazed and under-glazed ceramic each with incised signature at back.

h. 12”, w. 5”, d. 9” to h. 17”, w. 9-1/2”, d. 7-1/2”

Provenance: Purchased from the artist; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,500-$1,800

“Soclair Barn”, 2006 oil on canvas signed lower left, titled en verso, affixed with a “Jerald Melberg Gallery, Charlotte, North Carolina” label.

Gallery frame.

9” x 10”, framed 10” x 11”

Provenance: Jerald Melberg Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$7,000-$10,000

“Little New Jersey Barn Painting”, 2006 oil on canvas signed lower right, dated and titled en verso, affixed with a “Jerald Melberg Gallery, Charlotte, North Carolina” label.

Gallery frame.

10” x 10”, framed 11” x 11”

Provenance: Jerald Melberg Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$7,000-$10,000

270 Wolf Kahn (German/New York, 1927-2020)

269 Wolf Kahn (German/New York, 1927-2020)

“Travelers”, 2007 oil on panel signed, dated and titled en verso. Integral frame. overall 13-1/2” x 25-1/4”

Provenance: Christa Faut Gallery, Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

“Floral

28”

Provenance: Purchased directly from the artist; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

271 Scott Duce (American, b. 1956)

272 James P. Kerr (American/North Carolina, b. 1953)

Still Life in a Copper Vase” oil on canvas signed lower left. Framed.

x 22”, framed 34-3/4” x 28-3/4”

“Almocageme #2”, 1986

on

signed,

Framed.

34-1/2”

Provenance:

$1,500-$2,500

273 Joseph Cave (American, South Carolina, Portugal, b. 1936)

oil

linen

titled and dated en verso, affixed with an exhibition label.

x 48”, framed 39” x 50-3/4”

Adams Cave Fine Arts, Raleigh, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

273

274

Harold Barling Town (Canadian, 1924-1990)

“The Druid Stump”, 1957-1958 oil on masonite signed, titled and dated en verso, affixed with “Ingram Gallery, Toronto, Canada” label. Framed.

25” x 24”, framed 29” x 29”

Provenance: Ingram Gallery, Toronto, Canada; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: Moray, Gerta, Harold Town Life and Work, Toronto: Art Canada institute, 2014.

$7,000-$10,000

Painting is now a universal language; what in us is provincial will provide the color and the accent; the grammar, however, is part of the world.

Harold Town

As the poet and art critic Gary Michael Dault once mused about Town, “In order to think realistically about his art, you have to steer through his obsessive radioactive energy, his brilliant though sometimes hysterical writing, his memorable talk, his Byronic glamour, his defensiveness, and his Faustian belief in himself.” In other words, his truly larger-than-life personality could at times hinder the general perception of his art. Avantgarde, bon vivant, bohemian, man-about-town were

all phrases used to describe Harold Town, but so were ambitious, hard-working, inspired and determined. The breadth and depth of his prodigious talent - across myriad styles and media and over decades - was never in dispute.

Though he attended the Ontario College of Art, he felt unstimulated by his instructors and would instead spend hours studying the old masters, producing works in their style. He, like countless other young artists of the time, began his career in commercial illustration, before befriending a group of like-minded artists and forming “Painters Eleven”, which espoused Abstract Expressionism and was central to the movement gaining popularity in Canada. The group had their first joint exhibition in 1954 at Roberts Gallery, Toronto and Town soon realized a level of International acclaim no other Canadian artist had experienced.

The 1950s were considered the height of Town’s creativity and popularity, and the paintings he produced during this time are rendered in a color palette of acid greens and yellows, with slashes of vivid colors of red and orange, often juxtaposed with blocks or swathes of black all applied in a confident application of layers of dense pigment. While there is an ultimate composition in mind, Town allowed the accidental drips and blots to be incorporated into the finished work. The work offered here is a prime example of the artist at his most accomplished.

275

Richard Ritter (American/North Carolina, b. 1940)

“Floral Core Series #45”, 2007

blown and sand-blasted glass incised signature and inscribed “YGA3520097” at bottom.

h. 5-1/4”, w. 5”, d. 5”

Provenance: Founders Circle, Ltd., Charlotte, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$2,000-$4,000

276

Marlene Rose (American/Florida, b. 1967)

“Retro Circles”

cast glass and wrought iron with an iron presentation stand. glass h. 15”, w. 20”, d. 1-1/2”; stand h. 17-1/2”, w. 23”, d. 8”

Provenance: Purchased from the artist; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: https://marlenerose.com/

$3,000-$5,000

277

Victor Chiarizia (American, Contemporary)

“Three Vessels”

blown glass each with incised signature at bottom, from the Capri series. h. 37” to h. 40”, each dia. 4”

Provenance: Red Sky Gallery, Lake Forest Park, Washington; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: https://victorchiarizia.com/

$1,000-$1,500

278

Preston Singletary (American, b. 1963)

“Tlingit Hat”, 2010

blown glass with surface etching incised signature and dated at bottom. h. 7-3/4”, dia. 19-1/2”

Provenance: Holsten Galleries, Santa Fe, New Mexico; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: https://www.prestonsingletary.com/

$4,000-$7,000

“El Mero Mero Pedro Botero”, 1999 oil on canvas signed and dated upper left, signed and extensively inscribed en verso.

Framed.

58-1/2” x 58”

Provenance: Private collection, Maryland.

$6,000-$9,000

279

Jose-Maria Cundin (Spanish/Louisiana, b. 1938)

279

280

Richard Jolley (American, b. 1952)

“Tilted Bust”, 2011

blown and hot sculpted glass incised signature and dated along back of integral amber glass base, label at bottom. h. 9-1/2”, w. 7-3/4”, d. 5-3/8”

Provenance: The Art Cellar Gallery, Banner Elk, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$2,500-$4,000

“Bust I”

“Bust II”

cast glass incised signature along back of each. h. 11”, w. 10-1/2”, d. 6-1/2” and h. 17”, w. 12-1/2”, d. 9”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: http://www.deanallison.net/

$6,000-$9,000

Due to either the chemical composition of the glass, or the techniques employed by Allison, these busts have a color-shift effect; green to gray under natural light, they appear purple under direct or artificial light.

“Untitled”

cast and cut glass faint incised signature. h. 20”, w. 8-1/2”, d. 3”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: https://alexbernsteinglass.com/ $2,000-$4,000

281 Dean Allison (American/North Carolina, b. 1976)

282 Alex Gabriel Bernstein (American, b. 1972)

283

Rick Beck (American, b. 1960)

“Alligator”, 2017 cast glass with gold leaf incised signature and dated along one element, halfspheres removable. h. 8-1/2”, w. 41”, d. 7-1/2”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,500-$2,500

284

Rick Beck (American, b. 1960)

“Figure - Clear”, 2009

cast glass incised signature and dated along side, with a light stand wired for electricity. sculpture h. 33-1/2”, w. 12”, d. 5-1/2”; stand h. 44”, w. 24”, d. 28”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$3,000-$5,000

285

Martin Janecky (Czech, b. 1980)

“Figure”

hot sculpted glass incised signature along back.

h. 20-1/2”, w. 10”, d. 11”

Provenance: Blue Spiral I, Asheville, North Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

Literature: https://www.janecky-studio.com/en/martinjanecky-studio

$3,000-$5,000

286

Richard Jolley (American, b. 1952)

ìMale Nude Looking Upî, 1988

ìKneeling Female Nudeî, 1988

blown and hot sculpted glass from the Blue Line Series, each with incised signature, date and title at bottom.

h. 14-1/2”, w. 11-1/2”, d. 4” and h. 12-1/4”, w. 8-3/4”, d. 7”, respectively

$4,000-$7,000

287

Verellen Custom Pale Taupe Linen “Shelter” Sofa

with tall, upright arms and a single loose seat cushion, with two off-white linen back cushions and a taupe glazed-linen accent pillow.

h. 37-1/2”, w. 72”, d. 38-1/4”

Provenance: Estate of Julian Bott, Austin, Texas.

$1,000-$1,500

288

Verellen Custom Pale Taupe Linen “Shelter” Sofa

with tall, upright arms and a single loose seat cushion, with two off-white linen back cushions and a taupe glazed-linen accent pillow.

h. 37-1/2”, w. 72”, d. 38-1/4”

Provenance: Estate of Julian Bott, Austin, Texas.

$1,000-$1,500

289 Leonardo Nierman (Mexican, b. 1932)

“Prismatic Dream”

acrylic on board signed lower left, titled en verso. Integral frame. overall 48-1/2” x 72” $4,000-$7,000

289

“Alianza

bronze, wire and metal incised signature and numbered “4/12” at bottom of foot, on an integral black base. h.

$3,000-$5,000

290

A native of Bogota, Colombia, Roberto Gutierrez has lived and worked in Arizona since 2000. His sculptures are explorations in motion and movement with blankfaced, well-muscled figures that climb walls, crawl into frames, or generally contort with acrobatic grace. Equally at ease with monumental forms and small-scale works, he has completed numerous public and private commissions, including several in his hometown of Bogota.

290

Roberto Gutierrez (Columbian/Arizona, b. 1952)

6”

76”, w. 68”, d. 13”

291

291

“Three Climbing Figures”

bronze

each with incised signature, two numbered “1/50” and one marked “P/A3” at sole of feet, from the “Climbers” series, with applied strings for display. h. 17-1/2”, w. 14”, d. 7”; h. 14-1/2”, w. 8-3/4”, d. 10-1/4”; h. 13”, w. 7”, d. 10”

$1,500-$2,500

292

Pair

20th century, with telescopic standards set with adjustable lamp arms, mounted with ebonized wooden table tops, on cabriole legs, mounted with shades. h. 48” (adjustable), w. 17” (adjustable), d. 11-1/2”

Provenance: Estate of Norma Crawford Myers, Dallas, Texas.

$1,000-$1,500

Roberto Gutierrez (Columbian/Arizona, b. 1952)

of Bruno-Style Brass and Ebonized Wood Floor Lamps

293

William Lester (American/Texas, 1910-1991)

“Untitled”

gouache on paper signed on framer’s backing board. Float-mounted, glazed and framed. 22” x 29”, framed 24-3/4” x 32-1/4”

Provenance: Catherine and Daniel Stetson Collection, Baton Rouge, Louisiana.

$1,400-$1,800

294

Robert Carlson (American, 20th Century)

“Seated Man”

raku pottery bowl with cover and stand incised signature and two artist marks at bottom of bowl.

h. 16-1/2”, w. 7-1/2”, d. 7-1/2”

Provenance: Mary Martin Gallery, Charleston, South Carolina; Private collection of Libba and Mike Gaither, Charlotte, North Carolina.

$1,000-$1,500

295

“Untitled (D 492-2)”, 1992 oil on wood panel signed and dated en verso. Unframed.

42” x 48”

$800-$1,200

295

296

Bill Sofield for Baker Walnut and Gold Leaf “Valet” Cabinet

the interior fitted with adjustable shelves, the doors with satin and polished steel dual pull closure, the door fronts decorated with pale gold leaf, their interiors with gunmetal hooks and gunmetal-trimmed open lower shelves, the cabinet labeled at the lower rear “Bill Sofield for Baker” and the oval “Baker” label.

h. 64”, w. 48-1/2”, d. 21-1/4”

David Paul Lasry (American/New York, b. 1958)

Donghia “Eaton” Swivel Executive Office Chair

shallow-tufted on the back and seat, upholstered in a Donghia marled charcoal fabric, with a polished aluminum base with hooded rollers, labeled “Donghia” underneath the seat. h. 41”, w. 26-1/2”, d. 28”

$800-$1,200

298

Al Hirschfeld (American, 1903-2003)

“Jack Lemmon”

“Bob Hope”

“Carol Channing”

“David Copperfield”

four lithographs on paper from the Signature Series, each pencil-signed lower right, numbered “85/410” lower left and with subject’s signature lower center, each with Certificates of Authenticity for lithograph and for signature.

Unframed.

first three sheet 20” x 16”, last sheet 20” x 17”

Provenance: The Margo Feiden Galleries, Ltd., New York, New York; Private collection.

$2,000-$4,000

299 Danish Modern Rosewood Desk

mid-20th century, the rectangular top banded with one end dished, above a suspended bank of drawers to either side, one fitted with three graduated drawers, the other with a short drawer over a deep file drawer, the whole raised on tapering circular legs.

h. 29”, w. 98”, d. 41-1/2”

$2,000-$4,000

300 Large White Luxo Articulated Table Lamp

1960s, Norway, after the original Jac Jacobsen 1937 design, the shade interior with the blue oval “Portable Lamp” sticker.

h. 25-1/2”-40-1/2” fully raised, w. 31-1/2” lowered; base dia. 9-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

301

Postmodern Bob Trotman “Dancing Table”

1980s, the diminutive, striped, triangular top raised on wavy, striped legs, the top incised underneath “92” over “79”.

h. 26”, dia. 11-1/2”

$500-$800

302 Gyuri Hollosy (Hungarian/American, b. 1946)

“Figural Abstraction”, 1982 “Wrestlers”

two patinated bronzes former with incised signature, dated and copyrightmarked along back edge, on a rugged stone plinth. h. 8”, w. 11-1/2”, d. 10” and h. 6”, w. 11”, d. 7”

Provenance: Private collection, New Orleans, Louisiana.

$700-$1,000

301

302

303 Gyuri Hollosy (Hungarian/American, b. 1946)

“Abstracted Torso”

patinated bronze on a square white marble base. h. 27”, w. 28”, d. 21”

Provenance: Private collection, New Orleans, Louisiana.

$1,000-$1,500

304

304

Christian Liaigre Bench Sud

designed 1994, French, inspired by Giacometti, the hammered and patinated bronze base fitted with a pearl grey leather seat.

h. 18”, w. 47-1/4”, d. 16-1/2”

$4,000-$7,000

305

Christian Liaigre Bench Sud

designed 1994, French, inspired by Giacometti, the hammered and patinated bronze base fitted with a pearl grey leather seat.

h. 18”, w. 47-1/4”, d. 16-1/2”

$4,000-$7,000

“Red Poem Hands: I felt my life with both my hands, to see if it was there”, 1994

wood, thread and cloth from Emily Dickinson (American, 1830-1886), poem #351, an “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso. Glazed and framed. 36” x 12”, framed 43” x 19-1/4”

Literature: Julie Lasky, “A Brooklyn Artist Adjust to Making Art in Solitude”, The New York Times, April 2, 2020; https://www.lesleydill.net/; thryza Nichols Goodeve, “Words Have Wings that Fly From the Mouths of Others”, Exhibition Catalogue, Hunter Museum of American Art, 2009/2010.

$2,000-$4,000

In 1990, a fortuitous gift of a book of Emily Dickinson’s poetry was to have a profound effect on the trajectory of Lesley Dill’s art. Inspired by the reclusive poet’s lyrical and haunting phrasing, Dill soon began to incorporate snippets of the poetry into her mixed media works. The artist once stated that “As I turned the pages, phrases jumped off and flew down my throat like birds”. Employing such unexpected materials as fabric, paper, horsehair, thread and paper and utilizing techniques as varied as photo collage, assemblage and print-making she created a powerful series that explores language, meaning and spirituality.

“I took my power in my hand and went against the world”

blue cyanotype on paper from Emily Dickinson (American, 1830-1886), poem #540, unsigned. Glazed and framed. sheet 13-3/4” x 10-1/2”, framed 19” x 16”

$800-$1,200

306

Lesley Dill (American, b. 1950)

307 Lesley Dill (American, b. 1950)

308

Lesley Dill (American, b. 1950)

“The Soul has Bandaged Moments When Too Appalled to Stir”

“She Feels Some Ghastly Fright Come up and Stop to Look at Her”

mulberry paper, thread, and filaments from Emily Dickinson (American, 1830-1886), poem #360.

each h. 98”, w. 5”

$2,000-$4,000

309

Frank O. Gehry “Wiggle” Stool

ca. 1982, for vitra., corrugated cardboard edged with masonite, from the 1972 “Easy Edges” series, labeled “Design/Frank O. Gehry/vitra.”. h. 16”, w. 15-3/4”, d. 17”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$800-$1,200

“12 Fists”

blown and molded glass each with oxidized iron hook for display.

h. 16” to 17”, w. 5”, d. 2-1/2”

$1,000-$1,500

Born and raised in New Orleans, Mitchell Gaudet received his B.F.A. in ceramics from Louisiana State University and a M.F.A. in glass from Tulane University. In 1991 he founded Studio Inferno, a glass studio and artist space in the Bywater Neighborhood; in 2020 he relocated to Waveland, Mississippi.

Gaudet prefers casting hot glass into hand formed sand molds which allows him to make multiples of the same form, creating a striking visual statement.

“11 Fists”

blown and molded glass each with oxidized iron hook for display.

h. 16” to 17”, w. 5”, d. 2”-2-1/2”

$1,000-$1,500

310 Mitchell Gaudet (American/Louisiana, b. 1962)

311 Mitchell Gaudet (American/Louisiana, b. 1962)

310

311

ìSuspended Figure Maleî, 2007

ìSuspended Figure Femaleî, 2007

blown and hot-formed glass each set within a rectangular black shadowbox, each box with stamped signature and dated at back. woman h. 28”, w. 6”, d. 4-1/2”; man h. 30”, w. 7”, d. 3-5/8”; each box h. 36-1/2”, w. 11-1/8”, d. 4”

$5,000-$8,000

312 Richard Jolley (American, b. 1952)

312

“Untitled”,

five engravings each pencil-signed, numbered with various editions and titled in margins. All matted, glazed and framed. sights 7-3/4” x 10-1/2”; 12” x 14”, framed 13-1/2” x 16-1/4”; 17” x 19-1/4”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,200-$1,800

313

William Kitchens (American, b. 1951)

“Anima”, “Allies”, “Aniumus”, “Shaman”

313

313

313

314

Jere Hardy Allen (American/Mississippi, b. 1944)

“Portrait of a Woman in Profile” and “Portrait of a Young Woman”

charcoal on paper and mixed media on paper former signed mid left, latter signed and dated “90” mid right.

Both float-mounted, glazed and framed. 30” x 22”, framed 41” x 32”; 41” x 33”

Provenance: Carol Robinson Gallery, New Orleans, Louisiana; Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$1,000-$1,500

315

Drago Marin Cherina (Croatian/Austrian, b. 1949)

“Study of a Young Girl” patinated bronze cast signature and marked “AP” along proper left truncation, on an integral carved wood base. h. 14-3/4”, w. 13”, d. 10”

$600-$900

316

316

Elena Vasilantonaki (Greek, Contemporary)

“Zig-Zag Platter”

glazed earthenware mark at bottom.

h. 7”, w. 29-1/2”, d. 15-1/2”

Provenance: Collection of Dr. Nia Terezakis, New Orleans, Louisiana.

$500-$800

317

designed in 1967 by Achille and Pier Giacomo Castiglioni, black enamel shade, glass underplate, cylindrical marble base, underside of base stamped “FLOS/ SNOOPY/Design Registered/Made in Italy” and with an inventory label.

h. 16-1/2”, dia. 15”

$1,000-$1,500

Italian FLOS Snoopy Lamp

Herbert Ferber (American, 1906-1991)

“Warren I”, 1968 copper sculpture cast signature and dated along interior of one curve, on a black metal base. h. 21-1/2”, w. 18”, d. 18”, base h. 18-1/2”, w. 13”, d. 13”

Provenance: Knoedler & Company, New York, New York; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$10,000-$15,000

I think of my sculpture as consisting of forms, spaces, planes, biomorphic shapes, geometric shapes in relation to each other as if there was a kind of choreography taking place. At a certain moment, in any choreographed dance, there is a stop, a pause. Similarly, there is a pause in the sculpture. If your eye moves, the choreography, the dance, continues and as you move around such a piece of sculpture or in the ‘Environment’, the relationship of the parts changes optically. A kind of movement occurs.

Herbert Ferber ArtForum, April 1971

319

Gene Davis (American, 1920-1985)

“Blackwatch Series”, 1974

screenprint in colors

pencil-signed, dated and numbered “105/150” lower right, printed by Pace Editions, New York, New York. Glazed and framed.

71” x 44”, framed 72-1/2” x 45-1/4”

Provenance: Marjorie Kauffman Graphics, Houston, Texas; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,200-$1,800

320 Gene Davis (American, 1920-1985)

“Blackwatch Series”, 1974

screenprint in colors

pencil-signed, dated and numbered “105/150” lower right, printed by Pace Editions, New York, New York. Glazed and framed.

71” x 44”, framed 72-1/2” x 45-1/4”

Provenance: Marjorie Kauffman Graphics, Houston, Texas; Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$1,200-$1,800

319

321

Vintage Richard Sapper for Artemide Black “Tizio” Table Lamp

1970s, Italy, enameled aluminum, steel and molded plastic, with stamped signature underneath “Milano ARTEMIDE Modello Tizio/made in Italy Design R. Sapper”.

h. 25”, w. 29-1/2”, d. 4-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$500-$800

322

Pair of Vintage Kristian Vedel “MODUS” Lounge Chairs

1960s, Denmark, for Soren Willadsen, with rosewood frames, black leather seat cushions, arm rests and backs, the seat cushions resting on black vinyl screen, the rear seat rails stamped underneath “MODUS Design: Kristian Vedel/Made in Vejen, Danmark/Soren Willadsen”. h. 30-1/2”, w. 28-1/4”, d. 25” 30-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

323

Vintage Charles and Ray Eames for Herman Miller 671

Ottoman

1970-84, with dual-tufted black leather and rosewoodveneered plywood seat raised on a brushed, polished and enameled cast-aluminum base, bearing the charcoal-black strip Herman Miller label and Zeeland, Michigan paper patent label.

h. 17”, w. 26”, d. 20-1/2”

Provenance: Collection of Polly and Ed Renwick, New Orleans, Louisiana.

$600-$900

324

Jack Gates (American/Louisiana, b. 1946)

“Untitled”

carved wood and metal assemblage signed at bottom.

l. 120”

Provenance: Estate of Lin Emery, New Orleans, Louisiana.

$1,000-$1,500

325

Jack Gates (American/Louisiana, b. 1946)

“Box”

carved wood box with two hinged lids opening to interior storage, incised signature along one end.

h. 5-3/4”, w. 36”, d. 6-3/8”

$500-$800

$2,000-$4,000

326

David Borgerding (American/Louisiana, b. 1972)

“Chair/Rack”, 1998

carved maple and steel signed and dated under seat.

h. 81”, w. 12”, d. 26”

“Figures”

mixed media on paper initialed “C.C.” lower right.

Glazed and framed.

30” x 23”, framed 34” x 27”

$1,500-$2,500

327 Clyde Connell (American/Louisiana, 1901-1998)

327

mid-20th century, model 5461, figured tawi wood top tapering at each end over tapering mahogany supports with polished brass “shoes”, with three boxed 12” leaves, the box bearing a partial paper Dunbar shipping label, one end of the table metal tag-labeled underneath “Dunbar/Berne.Indiana”.

h. 29”, closed l. 84”, open l. 120”, d. 37”-39”

Provenance: Estate of Julian Bott, Austin, Texas.

$5,000-$8,000

“Middle America”, 1977 oil on gallery-wrapped canvas signed and dated lower right. 66” x 77”

$1,000-$1,500

328

Edward Wormley for Dunbar Extension Dining Table

328

329

Ulysses Marshall (American/Georgia, b. 1946)

330

330

Two-Piece Janus et Cie “Amalfi” Pattern Patio Group

contemporary, the frames labeled, comprised of a sofa and a cocktail table, based on a noted midcentury design by Mario Papperzini, executed in painted stainless steel and brass finials, the sofa with an adjustable back, shaped open arms and legs joined by paired X-stretcher, fitted with removable cushions with the maker’s label, h. 41”, w. 73”, d. 32”, and the table with a rectilinear glass top, the legs joined by shaped stretchers, h. 18”, w. 48”, d. 24”.

$1,500-$2,500

331 Three-Piece Janus et Cie “Amalfi” Pattern Seating Group

comprised of a pair of lounge chairs and an occasional table, labeled, the chairs base on an iconic mid-century design by Mario Papperzini for Salterini, the patio chairs with adjustable backs secured by chain, brass finials and stainless steel woven strapwork, fitted with cushions with the maker’s label, h. 37-3/4”, w. 26-1/2”, d. 33”, and the table with a circular glass top over a conforming frame, h. 22”, dia. 20”.

332

Donald Keith Sultan (American, b. 1951)

“Apples & Eggs”, 1999 serigraph in colors titled, signed and dated along left edge, numbered “58/90” lower right.

Float-mounted, glazed and framed. 36” x 36”, framed 45-1/4” x 45-1/4” , framed 45-1/4” x 45-1/4”

Provenance: Catherine and Daniel Stetson Collection, Baton Rouge, Louisiana.

$4,000-$7,000

This serigraph was commissioned in conjunction with the exhibition “Donald Sultan: In the Still Life Tradition” (March 31-June 3, 2001), by Polk Museum of Art in collaboration with Kemper Museum of Contemporary Art and Scottsdale Museum of Contemporary Art.

332

333

Donald Keith Sultan (American, b. 1951)

“Black and White”, Dec 2 2008

enamel, tar and spackle on tile over masonite signed, dated and titled en verso, with “Meredith Long & Company, Houston, Texas” label. Fitted for hanging. 48” x 48”

Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas.

$15,000-$25,000

334 Mario Villa (Nicaraguan/Louisiana, 1953-2021)

“Faces”, 1988

three glazed ceramic plates two signed and dated along bottom edge, the third unsigned. dia. 10-3/4”, dia. 11-1/2”, and dia. 12”

$1,000-$1,500

ARTIST INDEX

Alferez, Enrique 159

Allen, Jere Hardy 145, 149, 154, 155, 314

Allison, Dean 281

Anderson, James McConnell ‘Mac’ 224

Anderson, Sally 92

Ariss, Herbert Joshua 265

Arp, Hans 33

Bailey, Barry 147

Ballard, Alice R. 100

Beck, Rick 283, 284

Beltzig, Stefan 75

Benton, Thomas Hart 20

Bernstein, Alex Gabriel 282

Borgerding, David 134, 326

Braque, Georges 34

Burden, Steele (Olie Brice) 217

Burri, Alberto 35

Burroughs, John Coleman 94

Carlson, Robert 294

Carmichael, Lucianne 219

Cartier-Bresson, Henri 252

Casselli, Henry 119, 156, 157, 158

Cave, Joseph 273

Cerminova (Toyen), Marie 191, 192

Cherina, Drago Marin 315

Chiarizia, Victor 277

Chihuly, Dale 208-211

Clemmer, John 110

Coignard, James 105

Connell, Clyde 133, 327

Cook, Jeffrey 104

Cora, Vladimir 73, 135, 151, 152

Cordova, Cristina 98, 99

Corneille 64

Cotton, David 236, 237

Couch, Tony 230

Cundin, Jose-Maria 77, 120-122, 279

Dali, Salvador 45, 46, 79

Davenport, Jr., Bruce 212

David, Michael 60, 63

Davis, Gene 319, 320

Daymude, Sr., Eugene 241

Diebenkorn, Richard 25

Dill, Lesley 306-308

Duce, Scott 271

Dunbar, George Bauer 78, 140

Dureau, George Valentine 160, 227, 244

Durieux, Caroline Wogan 19

Emery, Lin 108, 109, 164

Escobedo, Helen 179, 180

Ferber, Herbert 318

Fonseca, Caio 62

Friedeberg, Pedro 141, 142, 181-187

Gabritschevsky, Eugen 194, 195

Gall, Francois 14

Gates, Jack 324, 325

Gaudet, Mitchell 148, 310, 311

Geldersma, John 70

Gergo, Katalin 235

Gerzso, Gunther 175

Gilliam, Jr., Sam 174

Golden, Rolland Harve 234

Goldin, Nan 260

Gordy, Robert 26, 76, 117, 202, 246, 247

Graves, Nancy 71

Green, Tony 229

Grote, Mark 153

Gschwend, Ralfonso 169

Guernsey-Leppla, Melanie 82

Gutierrez, Roberto 130, 131, 290, 291

Hall, Marilee 268

Halsey, William Melton 264

Hamaguchi, Yozo 37

Hamilton, Letitia Marion 3

Hassam, Childe 22

Helmer, Robert 112, 116, 162, 163

Hingwan, Edwin 225

Hirschfeld, Al 298

Hofmann, Hans 24

Hollosy, Gyuri 302, 303

Humphries, Jacqueline 103, 245

Hunter, Clementine 218

Jackson, Herb 266

Janecek, Ota 193

Janecky, Martin 285

Jenkins, Paul 204, 205

Jolley, Richard 72, 280, 286, 312

Kahn, Wolf 269, 270

Kent, Sister Mary Corita 41

Kerr, James P. 272

Kitchens, William 313

Klein, Mary 215, 216

Koch, John 5

Kohlmeyer, Ida Rittenberg 66, 67

Lamantia, James R. 111

Larguia, Diego 239

Lasry, David Paul 295

Laville, Joy 83

Lawton, Adele Anderson 222

le Faguays, Pierre 4

Lehmbruck, Wilhelm 13

Lester, William 293

Lopez, Luis Feito 61

Luce, Maximilien 2, 17

Ludwig, William (Bill) 132

Luria, Corinna Morgiana 223

Maier, Christopher 123

Maki, Haku 29

Mann, Sally 253

Marino, Marini 31

Marshall, Ulysses 329

Martin, Stefan 30

Martin, Steven 150, 248

Matisse, Alex 93

Michalopoulos, James 238, 240

Miro, Joan 40, 203

Motherwell, Robert 39

Murakami, Takashi 199

Nara, Yoshitomo 198

Nierman, Leonardo 289

Obregon, Alejandro 177

Ozols, Auseklis 228

Ozols, Saskia 115

Pelias, Anastasia 28

Picasso, Pablo 32

Picasso, Pablo (after) 189, 190

Pissarro, Camille 23

Pollock, Jackson 21

Pravich, Alex 146

Rauschenberg, Robert 44, 173

Reddy, Krishna 137

Reggio, Don 231, 232

Rice, Edward 242

Ritter, Richard 275

Rivers, Larry 207

Rodrigue, George 118, 213

Romero, Teresita 95

Rose, Marlene 276

Rosenquist, James 36

Roy, Jamini 136

Sandusky, Phil 233

Saterstrom, Noah 87

Schmidt, George 113

Scott, John Tarrell 139

Seidenberg, Jean 114

Sexton, Richard 255, 256

Shahn, Ben 30

Shapinsky, Harold 267

Silverman, Arthur 128, 129, 161

Singletary, Preston 278

Slonem, Hunt 143, 144

Spencer, Jack 257-259

Staschke, Dirk 243

Steadman, Matt 89

Steichen, Edward 250

Stieglitz, Alfred 251

Striffolino, Robert 7

Sultan, Donald Keith 332, 333

Summers, Carol 38

Sunol, Alvar 170

Tamayo, Rufino 16

Tapies, Antoni 206

Tobiasse, Theo 178

Toledo, Francisco 172, 176

ARTIST INDEX

Town, Harold Barling 274

Valdes de Hoyos, Remigio 171

Vasarely, Victor 201

Vasilantonaki, Elena 316

Venard, Claude 15

Villa, Mario 125-127, 254, 334

Warhol, Andy 42

Weldon, Terry 88

Wiggins, N.A., Guy Carleton 6

Wilkerson, Jerry 43

Williams, Chester Lee 27

Wohl, Mildred ‘Millie’ Rittenberg 68, 69

Woodward, William 18

Yamaguchi, Gen 138

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of / Follower of: In our qualified opinion, a work by a follower of the artist.

Circle of: In our qualified opinion, a work of the period of the artist and showing his or her influence.

Studio of: In our qualified opinion, a work possibly associated with the studio of the artist and showing his or her influence.

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

After: In our qualified opinion, a copy of a known work by the artist.

Signed: In our qualified opinion, has the signature which is that of the artist.

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale:

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

1. Introduction

(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction.

(b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG;

• The “Auctioneer ” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot;

• A “ Bidder ” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding);

• A “ Buyer ” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction;

• “ Buyer’s Premium” is defined in Section 4 below;

• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction;

• The “ Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction;

• The “ Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges;

• A “ Lot ” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below;

• The “ Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot;

• The “ Seller ” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot;

• The “ Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature 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.

(c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.

(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;

(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and

(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction

(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;

(ii) NOAG may require the production of bank or other financial references or any other additional information;

(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and

(v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).

(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion.

(c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

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

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.

(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.

(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.

(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction

(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price, and for bids placed though online bidding partners LiveAuctioneers and Invaluable consisting of a 28% premium of the Hammer Price, up to and including a Hammer Price of $200,000; and 12% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.

(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer.

(c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card.

(d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction.

(e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

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

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law):

(i) to charge outstanding amounts to the Buyer’s credit card;

(ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law);

(iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer;

(v) to cancel the sale;

(vi) to resell the property publicly or privately on such terms as we shall think fit;

(vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer;

(viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer;

(ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids;

(xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item

(xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

(h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright

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

6. Severability

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

7. Data Collection

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

8. Law and Jurisdiction

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

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM

Name (Please Print): ______________________________________________ Date: ______________________

Business Name: ______________________________________________________________________________

Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________

Address: _____________________________________________________

City: _____________________________________________ State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________

E-mail Address: _________________________________________________________________________________

Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call: $ $ $ $ $ $ $ $ $

VISA / MasterCard #: ____________________________________________

CVV #: _______________

Expiration Date: _____________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 12% of the hammer price greater than $200,000. Please note that effective January 1, 2023, there is no longer a discount for payments made by cash, check or wire transfer. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required):

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

Rev. 01/01/23