Mid-Century, Modern, & Contemporary Auction - October 23, 2025

Beginning Thursday, October 16

Saturday

AUCTION DAY

Thursday, October 23, 11 a.m.

LOTS 1-365

1. Egyptian Revival Figural Brass Tray, engraved, hammered, and molded brass over copper;, 1 1/8 in., 22 1/2 in., 36 1/2 in. [100 / 200]

2. Ria and Yiouri Augousti Shagreen and Brass Bowl, 1 3/4 x 8 1/2 in. (4.4 x 21.6 cm.) [100 / 150]

3. Patrick Meyer Studio Pewter Figural Candlesticks, stamped, taller: 10 1/8 in., w. 3 3/4 in., d. 2 1/8 in. [50 / 100]

4. Pair of American Bronze “Theta” Style Candlesticks, after Robert Riddle Jarvie (1865-1941), stamped “Historical Arts and Casting”, h. 13 3/4 in. [200 / 300]

Provenance: Freeman’s/Hindman, Nov. 18, 2019, lot 342

5. Japanese Cloisonne Vase Lamp, Meiji Era, polychrome enamel decoration; fantastic beasts design, converted to a lamp early 20th c., h. (to socket) 31 in., dia. 8 in. [300 / 500]

6. Donald Duck’s 60th Birthday Limited Edition Figure in Case, 1994, Walt Disney, edition 18/60, gold leaf on composite, plaque reads “In Celebration of Donald Duck’s 60th Birthday 1934-1994”, figure h. 20 in., in plexiglass case,, overall h. 25 in., w. 20 in., d. 20 in. [400 / 600]

group 1,

in

(10.2 x 15.2 x 8.3 cm.) [300 / 500]

14. Rudolph Carl “R.C.” Gorman, Navajo/New Mexico, 1931-2005, “Bead Maker - 1986”, “Ruins - 1983” and “Winter Lights - 2000”, pencil-signed, dated, one numbered “43/100” and 2 inscribed “A/P” lower edge, artist and “Houston” blind stamp lower edge of 2, other with artist and “W” blind stamp lower edge and “Gomes Gallery, Inc., Clayton, MO” label on backing paper, framed. (3 pcs.), “Winter Lights”: 24 x 32 in. (61 x 81.3 cm.), Frame: 32 5/8 x 40 3/8 x 1 in. (82.9 x 102.6 x 2.5 cm.)”Ruins”: 21 x 28 1/2 in. (53.3 x 72.4 cm.), Frame: 27 7/8 x 35 1/8 x 1 1/2 in. (70.8 x 89.2 x 3.8 cm.)”Bead Maker”: 25 1/4 x 34 1/8 in. (64.1 x 86.7 cm.), Frame: 29 1/4 x 38 1/8 x 3/4 in. (74.3 x 96.8 x 1.9 cm.) [300 / 500]

15. John Holyfield, American/North Carolina, b. 1969, “Blessing III” and “Reminisce”, each signed, titled, remarqued and numbered “R4/100” or “R125/195” lower edge, each signed in plate, each framed. (2 pcs.), Sights: 21 1/2 x 28 5/8 in. (54.6 x 72.7 cm.) and 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm.), Frames: 26 x 33 1/8 x 1 1/8 in. (66 x 84.1 x 2.9 cm.) and 28 3/4 x 40 3/4 x 1 1/4 in. (73 x 103.5 x 3.2 cm.) [150 / 250]

16. Paul Goodnight, American/Illinois, b. 1946, “Manscape”, pencil-signed, titled and numbered “1/180” lower margin, framed., Image: 24 x 30 in. (61 x 76.2 cm.), Frame: 29 x 34 1/4 x 1 1/2 in. (73.7 x 87 x 3.8 cm.)

[200 / 400]

17. Paul Goodnight, American/Illinois, b. 1946, “Magical Thunder”, pencil-signed, titled and numbered “35/235” lower margin, framed., Image: 30 x 39 in. (76.2 x 99.1 cm.), Frame: 35 x 44 1/4 x 1 3/4 in. (88.9 x 112.4 x 4.4 cm.)

[300 / 500]

18. Raymond Howell, American/California, 1927-2002, “Untitled: Ghostly Figures in an Urban Landscape”, 1959, signed and dated lower right, framed., 24 x 26 in. (61 x 66 cm.), Frame: 30 x 41 3/4 x 1 1/2 in. (76.2 x 106 x 3.8 cm.)

[1000 / 1500]

19. Raymond Howell American/California, 1927-2002, “Ella Fitzgerald”, 1995, signed and dated lower left, framed., 40 x 30 in. (101.6 x 76.2 cm.), Frame: 47 1/2 x 41 1/4 x 1 1/2 in. (120.7 x 104.8 x 3.8 cm.) [1500 / 2500]

20. Alvin Carl Hollingsworth, American/New York, 1928-2000, “Untitled: Fisherboy”, signed lower left, “Swann Auction Galleries” label on reverse of frame, framed., 30 x 14 in. (76.2 x 35.6 cm.), Frame: 35 x 18 3/4 x 1 1/8 in. (88.9 x 47.6 x 2.9 cm.) [1000 / 1500]

21. Leo Stein American, 1872-1947, “Landscape”, signed lower right, inscribed “78” and “14” en verso, unframed.Provenance: Stair Galleries, Hudson, NY, Nov. 19, 2016, lot 272., 18 1/8 x 21 5/8 in. (46 x 54.9 cm.), [400 / 600]

25. Carlos Loarca, Guatemalan/California, 1937-2021, “Elephant”, 1984, signed and dated lower right, framed., 23 x 35 in. (58.4 x 88.9 cm.), Frame: 30 3/4 x 42 3/4 x 2 in. (78.1 x 108.6 x 5.1 cm.) [250 / 350]

26. Heather Becker, American/Illinois, b. 1967, “Carriage”, 1997, signed and dated lower right, “Atrium Gallery, St. Louis, MO” label with artist, title and date on stretcher, unframed., 64 x 50 in. (162.6 x 127 cm.), [1200 / 1800]

27. Jerry Wilkerson, American/Texas, 1943-2007, “Pears”, 1997, signed, dated and “Atrium Gallery, St. Louis, MO” label with artist, title and date en verso, framed., 12 x 12 in. (30.5 x 30.5 cm.), Frame: 17 x 17 x 1 in. (43.2 x 43.2 x 2.5 cm.)

[800 / 1200]

28. Contemporary Wire Sculpture of a Portuguese Water Dog, unsigned., 28 1/4 x 18 x 34 in. (71.8 x 45.7 x 86.4 cm.), [1000 / 1500]

39. Christo Javacheff, Bulgarian/United States, 1935-2020, “The Gates Project for Central Park New York City XXIII”, 2004, pencil-signed lower left, signed and dated in plate lower left, printed publishers’ information “Kunstverlag Schumacher, D¸sseldorf and NYGSChristo and Jeanne-Claude” and distribution information with print date and title lower left edge, framed., Sheet: 27 3/4 x 34 1/2 in. (70.5 x 87.6 cm.), Frame: 29 x 35 3/4 x 2 1/4 in. (73.7 x 90.8 x 5.7 cm.)

[500 / 700]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue; Neal Auction, June 12, 2020, lot 237; Private Collection, CA.

40. Jules “Muck Rock” Muck, British/California, b. 1978, “Snoop Dogg”, 2020, pencil-signed and inscribed “AP” lower margin, framed. Image: 13 1/2 x 13 3/4 in. (34.3 x 34.9 cm.), Frame: 17 x 17 x 1 in. (43.2 x 43.2 x 2.5 cm.) [100 / 200]

Provenance: Neal Auction, Dec. 8, 2022, lot 189.

Note: Jules Muck is a graffiti and mural artist based in Venice, California. Born in Stoke-on-Trent, she began painting graffiti in Europe and Greece, taking her nickname from a pet name given by her grandmother. Muck was living and working in Manhattan in 1999 when Lady Pink found her painting a rooftop illegally and offered an apprenticeship. Pink’s tutelage proved transformative, allowing Muck to achieve success through painting murals and private commissions. In 2008, Muck drove across the country to California, eventually running out of gas in Venice, California, where she lived in her car and painted on the streets before becoming financially solvent.She is best known for her murals and graffiti work around Venice, often emphasizing use of the color green. In addition to murals in the Hotel Casa del Mar and other local businesses, her work has been exhibited in various local galleries, including LAB ART Los Angeles and the Pacific Design Center.

41. American School, 20th c., “Kaleidoscope Abstract”, 2003, illegibly signed and dated lower left and en verso, framed., 58 x 58 in. (147.3 x 147.3 cm.), Frame: 61 x 61 x 3 1/2 in. (154.9 x 154.9 x 8.9 cm.)

[200 / 400]

42. Frederick Prescott, American/New Mexico, b. 1949, “Bad Bad Dog”, 2000, signed, dated and numbered “AP 3/10” on back leg., 36 x 46 1/2 x 12 in. (91.4 x 118.1 x 30.5 cm.)

[400 / 600]

45. Art Glass Vase, 2005, signed B. Trenchard, floral design, h. 8 1/2 in., dia. 7 3/4 in. [100 / 200]

46. Three Art Glass Vases, ,two are signed, see photos, tallest 21 1/2 in., [150 / 250]

47. Four Art Glass Items, yellow bowl signed Redusart, two with illegible signatures on base, taller 4 3/4 in., w. 14 3/4 in., d. 13 1/2 in., tall flare rim bowl , h. 5 1/2 in. [150 / 250]

48. Vandermark-Merritt Jack-in-the-Pulpit Art Glass Vase, signed “Vandermark-Merritt” and numbered at base, TOGETHER WITH Vandermark Art Glass Flare Mouth Vase, 1977, signed, 2 pcs., h. 5 3/4 in., w. 8 1/4 in., d. 4 3/4 in. and h. 11 in., w. 8 1/2 in., d. 3 5/8 in. [150 / 250]

53. Nathan Yong for Folks Walnut “Two-Tier Primary” Desk, branded mark, gallery shelf with three drawers, over two long drawers, 37 3/4 x 47 1/4 x 31 in. (95.9 x 120 x 78.7 cm.), [700 / 1000]

54. Contemporary Black Leather Lounge Chair, 31 x 39 x 33 in. (78.7 x 99.1 x 83.8 cm.), [100 / 200]

55. Charles and Ray Eames for Herman Miller Lounge Chair and Ottoman, 2004, Herman Miller tags, black leather, walnut veneer shell, swivel base, 31 1/2 x 33 x 34 in. (80 x 83.8 x 86.4 cm.) [2000 / 3000]

56. Pair of Frank Gehry for Vitra “Wiggle” Stools, corrugated cardboard and Masonite, both with tags, 15 1/2 x 16 1/2 x 15 1/2 in. (39.4 x 41.9 x 39.4 cm.) [800 / 1200]

57. Edward Wormley-Style Marble

Top Side Table, molded marble top, 21 1/2 x 26 in. (54.6 x 66 cm.),

[300 / 500]

58. Mies van der Rohe-Style “MR” Tables, chrome and glass, 20 x 27 in. (50.8 x 68.6 cm.)

[100 / 200]

59. Pair of Mid-Century Leather Butterfly Chairs, welded iron frame with cognac leather covers, 34 x 30 x 30 in. (86.4 x 76.2 x 76.2 cm.

[200 / 300]

61. Peter Løvig Nielsen for Hedensted Møbelfabrik Mid-Century Modern Teak Dresser, original label on back; eight drawers, 36 1/2 x 60 x 19 in. (92.7 x 152.4 x 48.3 cm.) [800 / 1200]

65. Hans Eichenberger for Stendig “Omega” Table, c. 1965, trestle legs, teak veneer, 29 1/2 x 78 x 36 in. (74.9 x 198.1 x 91.4 cm.), [600 / 900]

66. Six Charles and Ray Eames for Herman Miller Aluminum Group Swivel Chairs, c. 1965, impressed mark, 1st generation, aluminum and Naugahyde, incl. 4 side and 2 with arms, model 680S (4), and model 686S (2), h. 33 1/2 in., w. 19 1/2 in. (arm w. 22 in.), d. 20 in. [1500 / 2500]

67. Kelly Wearstler Ruched Leather and Brass “Souffle” Ottoman, 2017, labeled, 18 x 20 1/2 x 20 1/2 in. (45.7 x 52.1 x 52.1 cm.) [700 / 1000]

68. Four Eero Saarinen for Knoll Executive Side Chairs, 2021, upholstered in Knoll Pearl Boucle, oak legsProvenance: Design Within Reach, 31 1/2 x 22 x 20 in. (80 x 55.9 x 50.8 cm.) [1000 / 1500]

69. Danish Modern Illums Bolighus Teak Mirror, with original Illums Bolighus store (Kobenhavn/ Copenhaven) stickers en verso, h. 29 1/2 in., w. 29 1/2 in., d. 1 1/8 in. [100 / 200]

70. Salvador Dali Spanish 1904-1989 La Suite Catalane, Six Ceramic Tiles, 1970s, by Erotas, NY, reproductions of the 1950s originals, each 8 in. x 8 in. [100 / 150]

72. Joan Miró, Spanish, 1893-1983, “Universitè de Genëve”, pencil-signed lower right, inscribed “H.C.” lower left, signed in plate, “Arches” watermark visible, printed by Mourlot, Paris, published by Edition Alpic, Genëve, framed., Sheet: 24 x 19 in. (61 x 48.3 cm.), Frame: 25 1/4 x 20 1/4 x 1 1/2 in. (64.1 x 51.4 x 3.8 cm.)

[700 / 1000]

71. Marcel Gromaire, French, 1892-1971, “Nude Figures”, 1921, signed and dated lower right, illegible stamps lower left corner, framed., 18 x 24 in. (45.7 x 61 cm.), Frame: 24 5/8 x 28 7/8 x 1 1/8 in. (62.5 x 73.3 x 2.9 cm.)

[200 / 300]

73. Pablo Picasso, Spanish, 1881-1973, “Suite 347”, 1970, first edition, etchers Aldo Crommelynck (Belgian, 1931-2008) and Piero Crommelynck (Belgian, 1934-2001), printed by Conzett & Huber, Zurich, Switzerland, published by Random House/Maecenas Press, New York, 2 hard-back oblong folios in linen hard-back gilt-stamped clam-shell outer cover; together with “Life”, vol. 65, no. 26, Dec. 27, 1968, special double issue on Picasso. (4 pcs.), Outer Folio: 17 3/5 x 12 1/2 x 3 1/4 in. (44.8 x 31.8 x 8.3 cm.) [300 / 500]

75. Roberto Matta, Chilean, 1911-2002, “Cose Fan Tutte (Planche 3)”, 1970, pencil-signed and numbered “72/100” lower margin, inscribed with artist en verso, “Arches” watermark, from “Cosi Fan Tutte”, printed and published by …ditions Georges Visat, Paris, France, printed label with artist on backing paper, framed., Sheet: 25 1/8 x 19 3/4 in. (63.8 x 50.2 cm.), Frame: 29 1/2 x 15 1/8 x 1 3/8 in. (74.9 x 38.4 x 3.5 cm.) [400 / 600]

74. Boris Izrailevich Anisfeld, Russian/United States, 18781973, “Crucifixion”, c. 1920s, signed lower left, unframed, 27 1/4 x 19 5/8 in. (69.2 x 49.8 cm.) [3000 / 5000]

Note: Neal Auction would like to thank Charles Chatfield-Taylor and Dr. Olga Sugrobova-Roth for their assistance in cataloguing and authenticating this lot.

76. Roberto Matta, Chilean, 1911-2002, “La Danse de la Mort (Planche 3)”, 1972, pencil-signed and numbered “55/100” lower margin, “N. Isen Purveyors of Fine Art Philadelphia, PA” certificate of authenticity on backing board, from “La Danse De La Mort”, printed by George Visat, Paris, France, published by Editions Borjesson, Malmˆ, Sweden, framed., Sheet: 26 x 19 3/4 in. (66 x 50.2 cm.), Frame: 35 1/2 x 29 1/2 x 1 1/4 in. (90.2 x 74.9 x 3.2 cm.) [400 / 600]

77. Ángel Botello, Spanish/Puerto Rico, 1913-1986, “El Ruido”, c. 1976, pencil-signed lower right, framed. Sheet: 25 5/8 x 21 1/8 in. (65.1 x 53.7 cm.), Frame: 30 5/8 x 21 x 1 in. (77.8 x 53.3 x 2.5 cm.) [400 / 600]

78. George Barbier, French, 1881-1932, “L’Escarputette”, 1923, “Sérénade”, 1923, “Au Polo”, 1923, “L’Ensie”, 1924, “Paestum”, 1924, “L’Avarice”, 1924, “La Colére”, 1924, “L.Hiver”, 1925, “Le Pritemps”, 1925, “L’Air”, 1925, “La Terre”, 1925, “L’Automne”, 1925, “L’Eau”, 1925, “L’Ètè”, 1925, 19231925, each signed or initialed and dated in plate, from “Falbalas et Fanfreluches, Almanach des Modes Prèsentes, Passèes et Futures”, published by Meynial, Paris, framed alike. (14 pcs.), Images: 6 1/8 x 4 1/8 in. (15.6 x 10.5 cm.), Frames: 14 x 11 1/2 x 3/4 in. (35.6 x 29.2 x 1.9 cm.) [500 / 700]

79. Aharone Bezalel, Afgan/Israel, 1926-2012, “Untitled: Figure with Inscribed Tablets”, 1969, initialed, dated and inscribed “I.X” on reverse, marble base., 24 3/4 x 7 1/2 x 3 3/8 in. (62.9 x 19.1 x 8.6 cm.), Overall: 25 1/2 in. (64.8 cm.) [600 / 800]

80. Yaacov Agam, Israeli, b. 1928, “Pointed Rhythms II”, pencil-signed and numbered “201/252” lower margin, framed., Sight: 10 1/4 x 11 5/8 in. (26 x 29.5 cm.), Frame: 17 1/2 x 18 3/4 x 1 1/4 in. (44.5 x 47.6 x 3.2 cm.) [200 / 400]

81. Alain Bonnefoit, French, b. 1937, “Nue Assise”, 1984, signed, dated and artist stamp lower right, framed., 17 3/4 x 13 3/4 in. (45.1 x 34.9 cm.), Frame: 27 3/4 x 23 5/8 x 1 in. (70.5 x 60 x 2.5 cm.) [200 / 300]

82. Alain Bonnefoit, French, b. 1937, “Nue Allongée”, 1989, signed, dated and artist stamp lower left, framed., Sight: 10 1/8 x 26 3/4 in. (25.7 x 67.9 cm.), Frame: 16 5/8 x 33 1/8 x 3/4 in. (42.2 x 84.1 x 1.9 cm.) [200 / 300]

83. Max Papart, French, 1911-1994, “14 Julliet à Paris”, 1958, signed and dated lower right, signed, titled and dated en verso, framed., 23 3/4 x 28 3/4 in. (60.3 x 73 cm.), Frame: 25 1/4 x 30 1/4 x 2 1/2 in. (64.1 x 76.8 x 6.4 cm.) [1000 / 1500]

84. Max Papart, French, 1911-1994, “Man of Venus”, 1983, pencil-signed and numbered “41/60” lower left, gallery label on backing paper, framed., Sheet: 59 3/8 x 38 3/8 in. (150.8 x 97.5 cm.), Frame: 69 3/4 x 47 1/2 x 2 1/4 in. (177.2 x 120.7 x 5.7 cm.) [300 / 500]

85. Drago Marin Predrag Cherina, Croatian/Australia, b. 1949, “Bust of a Young Girl”, signed on self-base, artist stamp on truncation, 7 x 5 x 4 in. (17.8 x 12.7 x 10.2 cm.), [100 / 200]

Provenance: Neal Auction, May 16, 2024, lot 97

89. Brassaï (Gyula Halász) Hungarian/France 1899-1984 “Madame Bijou”, negative creation date 1932, print date 1979, signed and inscribed “E.A.” lower margin, signed twice, titled, negative and print dates, localized, inscribed with “Ref:PP.384”, artist stamp, copyright credit and reproduction limitation stamps en verso, matted., Sheet: 15 1/2 x 11 1/2 in. (39.2 x 29.2 cm.), Matting: 20 x 16 in. (50.8 x 40.6 cm.) [700 / 1000]

88. Jacques Marly French 1885-1965 “No. 23”, signed lower left, framed.Provenance: MarchÈ Gallery, Paris., 31 3/8 x 23 1/2 in. (79.7 x 59.7 cm.), Frame: 32 3/4 x 25 x 1 1/4 in. (83.2 x 63.5 x 3.2 cm.) [400 / 600]

90. Antwan Horfee French b. 1983 “Everyone is Waiting for a Stack of Something”, 2022, signed en verso, “Nino Mier Gallery, Los Angeles, CA” label with artist, title and date on backing board, framed.Provenance: Nino Mier Gallery, Los Angeles, CA, 2022., 23 5/8 x 15 3/4 in. (60 x 40 cm.), Frame: 26 1/2 x 18 1/2 x 1 1/2 in. (67.3 x 47 x 3.8 cm.) [500 / 700]

91. Josefine Winding Danish 20th c.

“Geometric Form”, 2019, signed and dated on reverse., 17 1/4 x 11 1/4 x 3 1/4 in.

(43.8 x 28.6 x 8.3 cm.)

[400 / 600]

92. Lucas Samaras Greek/New York 1936-2024 “Ribbon”, 1972, pencil-signed, dated and numbered “89/150” lower margin, unframed, Sheet: 36 1/4 x 25 3/4 in. (92.1 x 65.4 cm.) [150 / 250]

Provenance: Neal Auction, July 18, 2024, lot 156.

95. After Alfonso Bini, Italian, d. 1985, “Baseball Glove”, signed and marked “Firenze” on underside from the workshop of Alfonso Bini Di Fratelli Bini, Florence, Italy.Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue; Neal Auction, June 12, 2020, lot 198; Private Collection, CA., 8 1/2 x 11 1/2 x 7 in. (21.6 x 29.2 x 17.8 cm.), [300 / 500]

96. Anton Henning, German, b. 1964, “Portrait of a Monster”, 1990, signed and titled lower right, “Vrej Baghoomian Gallery, New York, NY” label with artist, title and date on backing board, framed., 15 5/8 x 11 3/4 in. (39.7 x 29.8 cm.), Frame: 25 1/4 x 19 1/4 x 2 in. (64.1 x 48.9 x 5.1 cm.) [300 / 500]

97. Chris Dennis, British/Germany, b. 1974, “Eating Crow”, 2004, unsigned, artist card and 2 printed labels with title en verso, framed., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 17 1/8 x 21 1/8 x 1 3/4 in. (43.5 x 53.7 x 4.4 cm.) [300 / 500]

98. Australian School 20th c., “Large Burlwood Bowl”, signed “T. Reedman” and inscribed “Red Gum Burl” on reverse., 6 1/4 x 17 1/2 x 15 in. (15.9 x 44.5 x 38.1 cm.), [100 / 200]

99. Takeshi Hara, Japanese, b. 1942, “Abstract Composition”, pencil-signed, numbered “10/50” and inscribed lower margin, framed., Sight: 24 1/2 x 35 1/4 in. (62.2 x 89.5 cm.), Frame: 36 5/8 x 46 x 1 1/2 in. (93 x 116.8 x 3.8 cm.) [200 / 300]

101. Tsuyoshi (Go) Yayanagi, Japanese, b. 1933, “Terre....et Maintenant (h.)”, 1974, pencil-signed, titled, dated and numbered “39/50” lower margin, framed., Sheet: 28 3/4 x 20 3/8 in. (73 x 51.8 cm.), Frame: 38 x 28 1/2 x 2 in. (96.5 x 72.4 x 5.1 cm.) [200 / 300]

100. Toko Shinoda, Japanese, 1913-2021, “Nexus”, 1984, pencil-signed and titled lower left, numbered “9/30” lower right, framed., Sheet: 20 3/4 x 27 1/8 in. (52.7 x 68.9 cm.), Frame: 26 1/4 x 32 3/4 x 1 3/8 in. (66.7 x 83.2 x 3.5 cm.) [400 / 600]

102. Yoshitosi Mori, Japanese, 1898-1992, “Biwa Hoshi”, 1975, pencilsigned, dated, numbered “1/50” and red artist’s seal lower center, framed., Sheet: 26 1/4 x 19 1/4 in. (66.7 x 48.9 cm.), Frame: 35 1/4 x 28 1/4 x 1 1/2 in. (89.5 x 71.8 x 3.8 cm.) [150 / 250]

103. Yoshio Sekine, Japanese, 1922-1989, “F.A. 18 - B””, 1975, pencil-signed, titled, dated and numbered “23/30” lower margin, from “Abacus” series, framed., Sheet: 31 1/4 x 22 1/4 in. (79.4 x 56.5 cm.), Frame: 33 1/2 x 27 1/2 x 1 in. (85.1 x 69.9 x 2.5 cm.) [200 / 300]

105. Joichi Hoshi, Japanese, 1913-1979, “High Tree (Blue)”, 1975, pencil-signed, dated, titled in Japanese and numbered “96/99” lower margin, red artist’s seal lower right, “Reece Rumsy, Houston, TX” label on backing paper, framed., Sheet: 32 x 18 3/4 in. (81.3 x 47.6 cm.), Frame: 37 3/4 x 25 x 1 in. (95.9 x 63.5 x 2.5 cm.) [600 / 800]

104. Yoshio Sekine, Japanese, 1922-1989, “F.A. 18 - G”, 1975, pencil-signed, titled, dated and numbered “8/30” lower margin, from “Abacus” series, framed., Sheet: 31 1/4 x 22 1/4 in. (79.4 x 56.5 cm.), Frame: 33 1/2 x 27 1/2 x 1 in. (85.1 x 69.9 x 2.5 cm.) [200 / 300]

106. Joichi Hoshi, Japanese, 1913-1979, “Tree Scene (F)”, 1975, pencil-signed, dated, titled in Japanese and numbered “35/99” lower margin, red artist’s seal lower right, “Reece Rumsy, Houston, TX” label on backing paper, framed.I, Sheet: 14 1/2 x 31 1/2 in. (36.8 x 80 cm.), Frame: 21 1/2 x 38 1/8 x 1 1/2 in. (54.6 x 96.8 x 3.8 cm.) [600 / 800]

ll.: Hoshi, Joichi. Catalogue of All Tree Woodblock Prints 1970-1979. Japan: Kato Gallery, 1988, pl. 321.

108. Clifton Karhu, American/ Japan, 1927-2007, “Takayama II” and “Takayama IV”, 1964 and 1968, both pencil-signed, titled, dated and numbered “5/50” and “34/50” respectively lower margin, gallery label on backing board, framed together., Each: 8 x 10 1/4 in. (20.3 x 26 cm.), Frame: 25 1/2 x 16 3/4 x 1 in. (64.8 x 42.5 x 2.5 cm.)

[600 / 800]

109. Clifton Karhu, American/ Japan, 1927-2007, “Takayama I” and “Takayama II”, 1968, both pencil-signed, titled, dated and numbered “40/50” and “34/50” respectively lower margin, gallery label on backing board, framed together., Each: 8 x 10 1/4 in. (20.3 x 26 cm.), Frame: 25 1/2 x 1 6 3/4 x 1 in. (64.8 x 42.5 x 2.5 cm.)

[600 / 800]

107. Clifton Karhu American/Japan 1927-2007 “After the Rain”, 1976, pencil-signed, titled, dated and numbered “84/100” lower margin, gallery label on backing board, framed., 16 x 24 in. (40.6 x 61 cm.), Frame: 24 3/4 x 32 3/4 x 1 1/2 in. (62.9 x 83.2 x 3.8 cm.)

[300 / 500]

110. Clifton Karhu, American/Japan, 1927-2007, “Katsura Rikyu”, 1978, pencil-signed, titled, dated and numbered “50/100” lower margin, gallery label on backing board, framed., 6 3/4 x 23 1/2 in. (17.1 x 59.7 cm.), Frame: 15 x 31 5/8 x 1 in. (38.1 x 80.3 x 2.5 cm.)

[300 / 500]

111. Masahiko Tsubota, Japanese, 1947-2023, “Abstract Composition in Yellow and Blue Lines” and “Abstract Composition in Yellow, Green and Blue Lines”, 1975, each pencil-signed, dated and numbered “9/30” or “10/30” lower margin, each with “Reece Rumsey, Houston, TX” label on backing paper, framed alike. (2 pcs.), Sheets: 9 3/4 x 9 3/4 in. (24.8 x 24.8 cm.), Frames: 19 1/4 x 18 1/4 x 1 3/8 in. (48.9 x 46.4 x 3.5 cm.) [100 / 200]

113. Two Colin Pearson, “Winged” Vessels, c. 1990, glazed stoneware, impressed mark, h. 12 1/4 in., and 5 1/4 in. [400 / 600]

Provenance: Donna Schneier Fine Arts, NY; Phillips, NY, Aug. 2, 2023, lot 66.Literature: Contemporary British Studio Ceramics, exh. cat., Mint Museum of Craft & Design, New Haven, 2010, p. 118 for a similar example

114. Rick Dillingham Earthenware Vessel, 1978, broken and reassembled Raku-fired glazed earthenware, incised “Dillingham/June 78-16”, h. 9 1/2 in., on a bent wire stand, total h. 12 1/4 in.

[700 / 1000]

Provenance: Phillips, NY, Aug. 2, 2023, lot

48.Literature: “Exhibitions, American Craft, August/ September 1980, p. 64 for a similar example.

115. Five Elsa Peretti for Tiffany Black Glazed “Bone” Candlesticks, each marked “E. Peretti for Tiffany Made in Italy”, tallest 14 1/4 in. [700 / 1000]

119.

116. Two Continental Mid-Century Modern Ceramic Pitchers, incl. a French example c. 1960, with a quatrefoil mark, h. 14 in.; and a German example, c. 1950, incised “Handarbeit, Lienard”, h. 11 in. [600 / 900]

Provenance: Stair Galleries, Hudson, NY, Collection of Robert Altman, Manhattan, July 25, 2015, lots 68 and 69.

118. Joe Natale Studio Pottery Vase, with stamped mark, dia. 8 in. [200 / 300]

Provenance: Stair Galleries, Hudson, NY, Mar. 24, 2017, lot 83.

121. Korean Glazed Celadon Pot, 1960s, signed in character, 13 1/2 x 10 in. (34.3 x 25.4 cm.), [200 / 300]

Provenance: Grace David Antiques, Summerland, CA.

124. Two Contemporary Italian Ceramic Vases, artist signed (illegible), oval form, 11 x 10 1/2 x 8 1/4 in. (27.9 x 26.7 x 21 cm.), [200 / 300]

Provenance: Katie Koch Home, New Orleans.

125. Three Mid-Century Manciolli Art Pottery Canisters, Raymore Era, Italy; stamped, tallest h. 8 in., dia. 5 3/4 in. [100 / 200]

126. Metlox California “Mobile” Dinner Service, marked, incl. 9 dinner plates (dia. 10 1/2 in.), 7 bowls, 9 small plates (dia. 6 in.), 5 cups and saucers, 2 serving dishes with handles, a platter (dia. 12 3/4 in.), a sugar, a creamer, and a sauce boat. [600 / 900]

127. Six Decorative Diminutive Terracotta Heads, each signed on back with their respective names; “Zeus”, “ Apollo”, etc., tallest h. 4 in. [400 / 600]

130. Contemporary Extension Dining Table, 21st c., mahogany veneer, trestle base, with two leaves, h. 30 in., w. 84 in. (fully extended 108 in.), d. 40 in. [250 / 350]

131. Set of Six Contemporary Mahogany Dining Chairs, naugahyde upholstery, 41 x 19 1/2 x 23 in. (104.1 x 49.5 x 58.4 cm.) [150 / 250]

132. Contemporary Chest of Drawers, mahogany finish, three shaped drawers, blocked feet, h. 30 in.,

43

15 3/4 in., 30 x 43 x 15 3/4 in. (76.2 x

133. Chinese Black Lacquered Hardwood Low Table, 17 1/2 x 30 3/4 x 57 1/2 in. (44.5 x 78.1 x 146.1 cm.), [300 / 500]

134. Jugendstil Inlaid Oak Vitrine Cabinet, c. 1910, attributed to Bruno Paul, ebony-inlay, double-trapezoidal case, upper case with beveled glass doors, paneled lower case, conforming base, h. 62 in., w. 39 1/2 in., d. 26 in. [400 / 600]

135. Vintage Memphis-Style Enameled Metal and Chrome Table Lamp, Casella Lighting, San Francisco, swing arm, blue, yellow and red paint,, h. 19 in., w. 10 in. to 18 in.

[200 / 300]

136. Fontana Arte Floor Lamp, made in Italy, model 006, chrome, colored glass, h. 93 in.

[300 / 500]

137. Wolfgang Trumpel (German, 1903-1978), Mid-Century FourLight Ceiling Light, 1920s, Germany, brass, nickel plated brass, opaque glass,, h. 25 in., w. 14 in., d. 10 1/2 in.

[200 / 400]

141. Mario Villa-Style Patinated Metal and Copper Floor Lamp, pierced copper shade, 81 1/2 in. (207 cm.), [300 / 500]

142. Pia Guidetti Crippa for Lumi Chandelier, c. 1965, Lumi, Italy, labeled, chromed steel and steel cable, h. of light tubes 29 in., w. 17 in., adjustable hanging cable. [300 / 500]

Provenance: Katie Koch Home, New Orleans.

143. Space Age Modern Waterfall Lamp in Chrome and Teak, in the style of Robert Sonneman; with adjustable globes and smoked acrylic shades; foot pedal switch. [300 / 500]

144. Mid-Century Natural Quartz Lamp, organic freeform shape with single lightbulb inside, h. 8 1/2 in., w. 9 1/2 in., d. 8 1/2 in. [50 / 100]

147. Cenedese Scavo Murano Glass Vase, green glass with ribbed design, h. 10 in., dia. 8 in. [100 / 200]

148. Mid-Century Murano Art Glass Vase, h. 8 in. w. 2 1/8 in., d 2 1/8 in. [50 / 100]

149. Three Alvar Aalto for Iittala Blown Glass Vases, Finland, two retaining labels, tallest 10 in. [300 / 500]

Tapio Wirkkala for Iitalla “Chanterelle” Glass Vase, 1950s, signed, with cut decoration, together with a book showing a cover photo of a similar vase from the same series, 5 x 4 x 4 1/2 in.

(12.7 x 10.2 x 11.4 cm.)

[300 / 500]

161. Art Deco Style Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 3.19 cts.; mounted with 102 round brilliant cut diamonds, total wt. approx. 0.80 ct.; size 6.75; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer. [3000 / 5000]

162. Pair of Art Deco Style Platinum, Tanzanite and Diamond Dangle Earrings, mounted wit 4 rectangular cushion brilliant cut tanzanite, total wt. approx. 14.60 cts.; drops with 64 round brilliant cut diamonds, total wt. approx. 0.95 ct., F-G color, VS1-VS2 clarity; l. 1 1/2 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer. [4000 / 6000]

163. Platinum and Diamond Ring, center round cut diamond, wt. approx. 0.97 ct., J-K color, I1 clarity; ornate openwork mounting with numerous round diamonds, total wt. approx. 0.62 ct.; size 8; American Appraisal Report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.

[1800 / 2500]

164. Platinum, Emerald and Diamond “Toi et Moi” Ring, center octagonal step cut emerald, wt. approx. 2.25 cts.; mounted with 65 princess, baguette and round brilliant diamonds, total wt. approx. 0.32 cts.; size 6.75; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.

[2000 / 3000]

165. Betsy Neely, American/Louisiana, 20th c., “The Stand Pipe, Baton Rouge, LA”, 2023, signed, titled, dated and artist card en verso, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 11 1/2 x 9 1/2 x 1 1/4 in. (29.2 x 24.1 x 3.2 cm.) [100 / 150]

167. Caroline Wogan, Durieux American/Louisiana, 1896-1989, “Banc Parisien”, 1950, pencil-signed, titled and numbered “17/25” lower margin, pencil-inscribed “edition of 25” lower margin under mat, “BFK Rives” watermark at upper and lower left corners, framed., 22 1/8 x 15 1/4 in. (56.2 x 38.7 cm.), Frame: 28 5/8 x 21 7/8 x 1 1/2 in. (72.7 x 55.6 x 3.8 cm.) [400 / 600]

166. Len Kilgore, American/Louisiana, 20th c., “The Old Farmhouse”, signed lower right, framed., 14 7/8 x 22 1/2 in. (37.8 x 57.2 cm.), Frame: 24 5/8 x 32 1/8 x 1 in. (62.5 x 81.6 x 2.5 cm.) [300 / 500]

168. Caroline Wogan Durieux, American/Louisiana, 1896-1989, “Shadows”, pencil-signed, titled and numbered “2/20” lower margin, partial watermark upper right corner, gallery label on backing paper, framed., 13 x 10 in. (33 x 25.4 cm.), Frame: 23 1/2 x 19 5/8 x 1 in. (59.7 x 49.8 x 2.5 cm.) [300 / 500]

169. Caroline Wogan Durieux American/Louisiana 1896-1989 “Flowers in Mexico”, pencil-signed and titled lower margin, unframed., Sheet: 15 1/4 x 19 3/4 in. (38.7 x 50.2 cm.), [300 / 500]

170. Caroline Wogan Durieux American/Louisiana 1896-1989 “Bright Aquarium”, pencil-signed and titled lower margin, inscribed “artists proof” lower margin under frame rabbet, framed.Provenance: Neal Auction, June 24, 2022, lot 459., 16 x 19 7/8 in. (40.6 x 50.5 cm.), Frame: 18 3/4 x 23 x 1 in. (47.6 x 58.4 x 2.5 cm.) [400 / 600]

171. Lucianne Carmichael American/Louisiana 1931-2016 “Untitled - Lemon Yellow”, signed on underside, produced by “A Studio in the Woods”, Dia: 10 7/8 in. (27.6 cm.) [150 / 250]

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

172. Bobby Silverman American b. 1956 “Green Platter”, signed on reverse, acrylic stand. (2 pcs.), Dia.: 21 in. (53.3 cm.) [400 / 600]

173. Peter Shire, American/California, b. 1947, “

Arboles Locos Blanco”, 2000, unsigned; together with “L.A. to LA. Peter Shire” exhibition catalogue. (3 pcs.), 31 1/4 x 18 1/2 x 16 1/2 in.

(79.4 x 47 x 41.9 cm.)

[700 / 1000]

Provenance: Louisiana State University Student Union Art Gallery, Baton Rouge, LA, 2012.

Exh.: “Peter Shire: A World of Geometrics,” LSU Student Union Art Gallery, Baton Rouge, LA, 2012; “L.A. to LA. Peter Shire”, LSU Student Union Art Gallery, Baton Rouge, LA, Jan. 31 - Apr. 14, 2013.

174. Jack Faxon, American/Michigan, 1936-2020, “Abstract Composition”, 2012, signed lower right, monogrammed and dated on backing paper, framed., 22 x 17 3/4 in. (55.9 x 45.1 cm.), Frame: 30 x 24 x 1 in.

(76.2 x 61 x 2.5 cm.)

[200 / 300]

Provenance: The estate of prominent collector and Senator Jack Faxon, Birmingham, MI; DuMouchelles, Detroit, MI, July 18, 2024, lot 2220; Private Collection, Baton Rouge, LA.

175. Richard Taylor, American/Wisconsin, 20th c., “Tripod 6”, initialed on orange piece, wood stand. (2 pcs.), 20 1/8 x 21 x 13 1/2 in. (51.1 x 53.3 x 34.3 cm.), Overall Height: 24 3/4 in. (62.9 cm.)

[800 / 1200]

Provenance: Ann Connelly Fine Art, Baton Rouge, LA, 2022.

177. Steven Durow, American/Louisiana, 20th c., “Untitled (Bell Series)”, unsigned, gallery label inside glass, later white wood stand.Provenance: Brunner Gallery, Baton Rouge, LA, 2010., 36 1/8 x 28 x 26 in. (91.8 x 71.1 x 66 cm.), Overall with Stand: 44 x 24 x 21 in. (111.8 x 61 x 53.3 cm.) [600 / 800]

176. John Geldersma, American/Louisiana, b. 1942, “Painter’s Palette”, 1989, signed and dated en verso, “Gilley’s Gallery, Baton Rouge, LA” label on backing paper, framed. Provenance: Gilley’s Gallery, Baton Rouge, LA, 2006., 12 1/2 x 16 1/4 in. (31.8 x 41.3 cm.), Frame: 19 x 22 1/2 x 1 in. (48.3 x 57.2 x 2.5 cm.) [400 / 600]

178. Michael F. Daugherty, American/Louisiana, 1942-2001, “Untitled: The Flagpole”, unsigned., 31 1/2 x 17 1/4 x 12 1/2 in. (80 x 43.8 x 31.8 cm.), [300 / 500]

179. Phyllis Lear, American/Louisiana, 20th c,. “Yin Yang”, 1999, signed lower right, dated lower left, label with artist and title on backing board, framed., 8 x 6 in. (20.3 x 15.2 cm.), Frame: 15 3/8 x 11 3/8 x 1 1/2 in. (39.1 x 28.9 x 3.8 cm.) [150 / 250]

180. Howard Kanovitz, American/New York, 1929-2009, “Armistice Day”, 1975, pencil-signed and inscribed “A.P.” lower margin, published by George Goodstadt, Inc., New York, framed.Provenance: Thomaston Place Auction Galleries, Aug. 23-25, 2024, lot 3449., Image: 18 1/2 x 43 1/4 in. (47 x 109.9 cm.), Frame: 25 3/8 x 48 1/2 x NaN in. (64.5 x 123.2 x 1.9 cm.) [200 / 300]

181. Jeff Jackson & Loretta Eby (American/Georgia, 20th c.), “Abstract Composition”, signed by both artists on glass cup, marble base., 44 x 15 x 10 in. (111.8 x 38.1 x 25.4 cm.) [400 / 600]

182. Billie S. Bourgeois American/Louisiana 20th c. “First Pasture”, 1986, signed and dated lower left, signed, titled, dated and inscribed on reverse of mount, partial watercolor en verso, from “Primary Pasture Series”, framed., 11 1/8 x 14 3/4 in. (28.3 x 37.5 cm.), Frame: 17 1/4 x 21 1/4 x 1 1/8 in. (43.8 x 54 x 2.9 cm.) [200 / 300]

x 9 in. (29.2 x 22.9

5/8 x 16 1/8 x 3/4 in. (47.3 x 41 x 1.9 cm.) [200 / 300]

22 1/2 x 15 3/8 in.

x

1/8 x 1 1/8 in. (74 x 58.7 x 2.9 cm.) [1000 / 1500]

.Provenance: Neal Auction, Nov. 19, 2022, lot 660.

185. Jenny Authement American/ Louisiana 20th c. “Woman’s Virtue”, 1992, initialed and dated on reverse, from the “Life’s Epitaph” series.

Provenance: Acquired from the artist, 1997.Note: This work won the Nolan Edwards Memorial Award in the Lafayette International Art Competition, 1993., 17 x 7 7/8 x 8 in. (43.2 x 20 x 20.3 cm.), [700 / 1000]

186. Jenny Authement American/Louisiana 20th c. “Bliss”, 2008, unsigned., 17 x 9 1/2 x 3 1/4 in. (43.2 x 24.1 x 8.3 cm.), [100 / 150]

187. Brad Wreyford, American/Louisiana, 20th c., “Factory”, 2005, signed, titled and dated on reverse of frame, signed, titled and label with artist and title en verso, framed. Provenance: Acquired from the artist, 2008., 11 x 22 in. (27.9 x 55.9 cm.), Frame: 11 1/2 x 22 1/2 x 1 1/2 in. (29.2 x 57.2 x 3.8 cm.) [800 / 1200]

188. Brad Wreyford American/ Louisiana 20th c. “Paternal Instinct”, 2008, signed, titled, dated and inscribed on underside, signed and titled on wall hanging cleat.Provenance: Acquired from the artist, 2008., 39 3/8 x 17 1/2 x 5 1/2 in. (100 x 44.5 x 14 cm.), [600 / 800]

189. Brad Wreyford, American/Louisiana, 20th c., “Circles 1”, 2007, signed, titled and dated en verso, unframed., 23 3/4 x 23 3/4 in. (60.3 x 60.3 cm.) [600 / 800]

Exh.: “Above - Beyond - Below,” Bricks&Bombs Gallery, Baton Rouge, LA, July 29 - Aug. 5, 2011.

190. Brad Wreyford, American/Louisiana, 20th c., “Entry Form”, 2008, signed, titled and dated on underside., 12 3/4 x 4 3/8 x 5 in.

193. Clark Derbes, American/Louisiana, b. 1978, “Which Way Did I Go?”, 2005, unsigned, wooden stand. (2 pcs.), 50 x 57 1/2 x 2 in. (127 x 146.1 x 5.1 cm.), Overall Height: 54 in. (137.2 cm.) [800 / 1200]

Provenance: Baton Rouge International School Auction, Apr. 9, 2005, lot 3.

194. W. Steve Rucker, American/Louisiana, 1954-2022, “Storm Song Variation”, 2009, signed and dated on reverse.., 22 x 13 1/2 x 12 1/2 in. (55.9 x 34.3 x 31.8 cm.) [400 / 600]

Provenance: Acquired from the artist, 2009

195. W. Steve Rucker, American/Louisiana, 1954-2022, “Fish (Blue/Black Spots)”, 2004, signed and dated on underside, from the installation “Think Tank”, 12 x 8 3/4 x 8 in. (30.5 x 22.2 x 20.3 cm.) [200 / 300]

Provenance: Acquired from the artist, 2009.

Exh.: “Think Tank,” Arthur Roger Gallery, New Orleans, LA, Aug. 7Sept. 18, 2004.

196. W. Steve Rucker, American/Louisiana, 1954-2022, “Calla Lily”, 1989-90, signed, dated and gallery label under base., 14 5/8 x 9 3/4 x 9 1/4 in. (37.1 x 24.8 x 23.5 cm.) [200 / 300]

Provenance: Acquired from the artist, 2009.

197. Robert Lamb Carpenter, American/Louisiana, 20th c., “Mycenae VI”, signed lower right, titled lower left, label with artist and title on backing board, framed., 13 x 13 in. (33 x 33 cm.), Frame: 14 1/8 x 14 1/8 x 1 7/8 in. (35.9 x 35.9 x 4.8 cm.) [250 / 350]

Provenance: Baton Rouge Gallery Center for Contemporary Art, Baton Rouge, LA, 2015.

198. Debbie Kupinsky, American/ California, b. 1966, active Baton Rouge, LA, 1999-2002, “Life Guard”, 2000, unsigned., 18 1/2 x 5 1/2 x 5 1/2 in. (47 x 14 x 14 cm.)

[200 / 300]

199. Michael W. Howes, American/ Louisiana, 20th c,. “Untitled: Winged Beast”, unsigned. (2 pcs.), 12 x 13 1/2 x 12 in. (30.5 x 34.3 x 30.5 cm.), [100 / 150]

200. David Horton, American/Louisiana, 20th c., “Fruta d’Espaòa”, 1990, signed and dated lower right, titled lower left, unframed., 32 1/8 x 40 in. (81.6 x 101.6 cm.), [400 / 600]

201. Concetto Pozzati, Italian, 1935-2017, “In Posa (Pear in Chair)”, 1989, signed and numbered “719/1000” on reverse of pear.

Provenance: Studio Pozzan, Vicenza, Italy, 1994., 7 3/4 x 3 3/8 x 3 1/8 in. (19.7 x 8.6 x 7.9 cm.), [300 / 500]

202. Bradley M. Prescott, American/New Hampshire, 1922-2012, “Paddle Head”, initialed lower front edge, marble base., 29 x 6 1/4 x 1 1/4 in. (73.7 x 15.9 x 3.2 cm.), Overall: 30 x 6 x 5 3/4 in. (76.2 x 15.2 x 14.6 cm.) [300 / 500]

203. Luke Anowtalik, Inuit/ Canada, 1932-2006, “People”, c. 2000, unsigned., 6 3/4 x 10 1/2 x 6 in. (17.1 x 26.7 x 15.2 cm.), [700 / 1000]

204. Lynn Chadwick, British, 1914-2003, “Group of Standing Figures”, 1952, signed, dated and numbered “21/50” lower margin, “Gilley’s Gallery, Baton Rouge, LA” label on backing paper, “Van Gelder Zonen” watermark, framed., Sheet: 12 1/2 x 19 7/8 in. (31.8 x 50.5 cm.), Frame: 19 1/2 x 24 3/4 x 3/4 in. (49.5 x 62.9 x 1.9 cm.) [700 / 1000]

205. Blaine Whisenhunt, American/Arkansas, 20th c., “Double Torso”, 1997, unsigned, steel base.Provenance: Acquired from the artist, 1998., 16 x 8 1/2 x 8 1/2 in. (40.6 x 21.6 x 21.6 cm.), [700 / 1000]

207. Reginald Gee, American/Wisconsin, b. 1964, “Doppler Radar”, 1996, signed, titled and dated en verso, framed.Provenance: Gilley’s Gallery, Baton Rouge, LA, 2005., 12 x 17 in. (30.5 x 43.2 cm.), Frame: 20 1/4 x 25 1/8 x 1 1/4 in. (51.4 x 63.8 x 3.2 cm.) [200 / 300]

206. Aaron P. Hussey, American/ Louisiana, 20th c., “Couple”, 2008, unsigned.Provenance: Acquired from the artist’s ApH Studio, Baton Rouge, LA, 2009., 15 1/4 x 5 1/2 x 4 3/8 in. (38.7 x 14 x 11.1 cm.), [150 / 250]

208. Reginald Gee, American/Wisconsin, b. 1964, “U.S. Detention Center Transport, 2003”, signed and titled en verso, framed.Provenance: Gilley’s Gallery, Baton Rouge, LA, 2005., 12 x 17 in. (30.5 x 43.2 cm.), Frame: 20 1/4 x 25 1/8 x 1 1/4 in. (51.4 x 63.8 x 3.2 cm.) [200 / 300]

209. Reginald Gee, American/ Wisconsin, b. 1964, “Practicing Fencer”, 1996, signed, titled and dated en verso, framed.Provenance: Gilley’s Gallery, Baton Rouge, LA, 2005., 12 x 16 5/8 in. (30.5 x 42.2 cm.), Frame: 20 1/4 x 25 1/8 x 1 1/4 in. (51.4 x 63.8 x 3.2 cm.)

[200 / 300]

210. Nari Ward, Jamaican/New York, b. 1963, “Sugar Hill Smiles”, 2014, initialed and dated on underside, created for the “If You Build It” site specific project by No Longer Empty arts organization to raise money for Broadway Housing Communities Sugar Hill Development Site early education initiative., h. 2 in., dia. 3 3/8 in. (5.1 x 8.6 cm.) [150 / 250]

212. Ann Harding, American/Louisiana, 20th c., “Louisiana Landscape”, signed and titled on stretcher, framed., 26 x 30 in. (66 x 76.2 cm.), Frame: 26 1/2 x 30 5/8 x 1 3/8 in. (67.3 x 77.8 x 3.5 cm.) [1500 / 2500]

Note: Ann Harding received her BA from the University of Minnesota in 1966. In 1971, she earned her MFA on a full scholarship from the University of Cincinnati, where she taught for the next three years. Moving to Baton Rouge, she began teaching at Louisiana State University’s School of Art in 1973 and retired in 1993 as professor emeritus. She married artist Sidney Garret, who also was on the faculty and was director of the College of Art for ten of his twenty-five years there. During her time at LSU, Harding exhibited extensively in Baton Rouge, including a solo exhibition in 1983 at the West Baton Rouge Museum. She was frequently

211. Sean O’Meallie, American/ Louisiana/Colorado, b. 1955, “Irregular Colorful Balloon - Pink Polka Dots”, 2012, initialed and dated on reverse.Provenance: LeMieux Galleries, New Orleans, LA, 2012., 5 3/4 x 2 1/2 x 2 1/2 in. (14.6 x 6.4 x 6.4 cm.), [200 / 300]

213. Ann Harding, American/Louisiana, 20th c., “Watching the Dance”, signed lower right, unframed.65 1/2 x 66 1/2 in. (166.4 x 168.9 cm.) [2500 / 3500]

invited to participate in group exhibitions, notably “Louisiana Women in Contemporary Art,” shown at the Alexandria Museum of Art, Meadows Museum of Art in Shreveport, Tilden Foley Gallery in New Orleans and the Southern Illinois University Museum. She consistently won awards in her juried shows and became known for her colorful abstract works. In 1993, Harding moved with her husband to New York City, where she showed her work at the Reece Gallery, eventually settling in Easton, Pennsylvania. Ann Harding is listed in Who’s Who in American Art and Who’s Who in American Women.

214. Edward Pramuk, American/ Louisiana, b. 1936 “Summer Sky (Skylight)”, 2022, signed, dated and typed label with artist, title and date en verso, unframed., 32 1/4 x 28 1/4 in. (81.9 x 71.8 cm.)

[400 / 600]

215. Ross Jahnke, American/ Louisiana, b. 1963, “History of Flight”, 1998, signed and dated lower right, original artist frame. , 64 x 144 in. (162.6 x 365.8 cm.), Frame: 66 1/2 x 146 1/2 x 1 1/2 in. (168.9 x 372.1 x 3.8 cm.)

[1000 / 1500]

Provenance: Acquired from the artist.

Ref.: “Ross Jahnke Recent Prints: Aug. 29Sept. 21, 2025.” Baton Rouge Gallery Center for Contemporary Art. www.batonrougegallery.org. Accessed Oct. 3, 2025; “Creator Record: Jahnke, Ross.” Hilliard Art Museum. www. hilliardartmuseum.org. Accessed Oct. 3, 2025.

Note: Ross Jahnke earned a BFA in Studio Art from the University of Wisconsin-Milwaukee and an MFA in Studio Art from Louisiana State University. Born in Wisconsin, Jahnke currently serves as Professor of Art and Department Head at Nicholls State University. Jahnke has been an instructor at the Arrowmont School of Arts and Crafts and a visiting artist at Notre Dame University, Savannah College of Art & Design, and Clemson University. Jahnke’s work combines printmaking and painting with great success. He has said: “If a painting is like a symphony orchestra, then a print is like a string quartet. The music is no less complex or compelling, but it is made with more limited means and demands more from each of its component parts. I relish the challenge of printmaking where the visual and conceptual vocabulary is dictated by the process, and I need to problem-solve steps ahead to achieve an outcome.” In the monumental triptych offered here, Jahnke’s utilizes the grain of the wood as an added element of the composition - perfectly capturing the graphic impact and layered effect of printmaking through his use of more traditional media. The artist’s work has been included in numerous exhibitions nationwide.

216. Johanna Paas, American/Michigan, 20th c., active Baton Rouge, 1999-2001, “Parallels Punctuated by the Unexpected”, 2001, unsigned, unframed, 40 x 46 in. (101.6 x 116.8 cm.), [300 / 500]

Provenance: Acquired from the artist, 2001. Exh.: “Trace of Fate,” Foster Hall Gallery, Louisiana State University School of Art, Baton Rouge. LA, Apr. 9 - 13, 2001.

217. American School 20th c., “Abstract Figural Composition”, monogrammed., 11 1/4 x 3 1/4 x 4

1/2 in. (28.6 x 8.3 x 11.4 cm.)

[200 / 300]

Amedeo Fiorese, Italian, b.

“Geometric Pendant”, 1999, signed and dated lower center., 5 1/2 x 5 x 3 3/8 in. (14 x 12.7 x 8.6 cm.), [500

and two glasses. [150

228. Virginia Barnes, American/Alabama, 1895-1984, “Elderberry in Bud”, 1982, pencil-signed, titled, dated and inscribed lower right and lower margin; together with one woodblock aquagraph on paper, “Strathmore Aquarius” blind stamp lower left corner, unframed. (2 pcs.), Sheets: 19 1/2 x 26 3/4 in. (49.5 x 67.9 cm.) to 21 7/8 x 29 3/4 in. (55.6 x 75.6 cm.) [200 / 400]

Note: Virginia Barnes was born in Livingston, Alabama and spent most of her life in the state. She earned an undergraduate degree from Alabama College in 1939 and additionally attended Agnes Scott College, the School of the Art Institute of Chicago and Columbia University. In 1939, Barnes began her teaching career at Montevallo High School. Barnes returned to Alabama College (later renamed the University of Montevallo in 1969), to teach in the art department from 1942 to 1965. During her years of teaching, Barnes continued to further her own studies, including at the famed Provincetown school of artist Hans Hofmann. Hofmann’s abstract style and expressionistic use of color influenced hundreds of art students over the years, including Barnes, who spent the summers of 1950 and 1951 at his school.While Barnes’ training connected her to the New York art world, she was also deeply engaged with state and regional arts groups. Barnes was an active member of the Alabama Art League, an organization of artists from around the state who worked to establish the Montgomery Museum of Fine Arts in 1930. Barnes exhibited in the first show that the League hosted, and she continued to participate in it for the duration of her career. During her lifetime and posthumously, her works were exhibited and collected by museums around the nation and abroad. Early in her career, Barnes was known as a portraitist, but she is most celebrated today for her work with screen printing, woodcut and watercolor.

229. Virginia Barnes, American/ Alabama, 1895-1984, “Flowers in Basket” and “Untitled: Bouquet”, 1981, former pencil-signed, titled, dated, numbered “15/50” and inscribed lower margin, latter unsigned and inscribed “46” lower left corner, one with Strathmore Aquarius blind stamp, unframed. (2 pcs.)

“Flowers in Basket”: 18 3/4 x 26 3/4 in. (47.6 x 67.9 cm.), “Untitled: Bouquet”: 22 x 15 in. (55.9 x 38.1 cm.)

[300 / 500]

230. Virginia Barnes, American/Alabama, 1895-1984, “Forever Changing”, “Untitled: Blue Abstract” and “Untitled: Pink Abstract”, one pencil-signed, titled, dated 1974 and numbered “13/50” lower margin; together with one double-sided watercolor on paper, unsigned, each unframed. (4 pcs.), Sheets: 15 x 22 in. (38.1 x 55.9 cm.) to 21 x 27 in. (53.3 x 68.6 cm.)

[200 / 400]

231. Virginia Barnes, American/Alabama, 1895-1984, “Old Fashioned Dance”, 1982, pencil-signed, titled, dated and numbered “7/12” lower edge; together with one aquagraph of “Old Fashioned Dance”, one hand-enhanced print and one partial sketch on clear mylar, each unframed. (4 pcs.), Sheets: 17 x 22 in. (43.2 x 55.9 cm.) to 19 x 25 1/4 in. (48.3 x 64.1 cm.) [200 / 400]

232. Hazel Guggenheim McKinley, American/Louisiana, 1903-1995, “Potted Plant”, 1967, faintly signed and dated lower right, inscribed with artist en verso, handwritten label with artist, title and date on backing paper, framed.Provenance: Acquired from the artist, 1990., 20 1/4 x 24 1/2 in. (51.4 x 62.2 cm.), Frame: 30 x 33 1/4 x 1 in. (76.2 x 84.5 x 2.5 cm.)

[600 / 800]

233. Charles Whitfield Richards, American/Louisiana, 1906-1992, “New Orleans Street Scene”, signed lower right, “Fortier Gallery, New Orleans” label on stretcher, framed., 12 x 16 in. (30.5 x 40.6 cm.), Frame: 16 x 20 x 1 in. (40.6 x 50.8 x 2.5 cm.) [300 / 500]

235. Charles Whitfield Richards, American/Louisiana, 1906-1992, “Still Life”, 1980, signed upper right, signed, titled, dated and “Fortier Gallery, New Orleans” label on stretcher, unframed., 11 x 14 in. (27.9 x 35.6 cm.), [150 / 250]

234. Charles Whitfield Richards, American/Louisiana, 1906-1992, “Cabildo Alley”, 1980, signed lower right, signed, titled, dated and “Fortier Gallery, New Orleans” label on stretcher, gallery artist biography label en verso, framed., 15 x 20 in. (38.1 x 50.8 cm.), Frame: 22 1/4 x 26 1/4 x 1 1/2 in. (56.5 x 66.7 x 3.8 cm.) [400 / 600]

236. Charles Whitfield Richards, American/Louisiana, 1906-1992, “Pears”, 1980, signed lower left, signed, titled, dated and “Fortier Gallery, New Orleans” label on stretcher, framed., 12 x 16 in. (30.5 x 40.6 cm.), Frame: 15 x 19 x 1 1/2 in. (38.1 x 48.3 x 3.8 cm.) [200 / 300]

237. Charles Whitfield Richards, American/Louisiana, 1906-1992, “Recumbent Nude”, signed lower right, framed., 22 x 28 in. (55.9 x 71.1 cm.), Frame: 25 1/4 x 31 1/8 x 1 1/2 in. (64.1 x 79.1 x 3.8 cm.) [200 / 300]

238. Charles Whitfield Richards, American/ Louisiana, 1906-1992, “Farm Scene”, signed lower right, “Fortier Gallery, New Orleans” label on stretcher, framed., 22 x 28 in. (55.9 x 71.1 cm.), Frame: 24 1/8 x 30 1/8 x 1 in. (61.3 x 76.5 x 2.5 cm.)

[300 / 500]

239. Myra Gaudin, American/Louisiana, 1935-2021, “Oriental Floral”, 2003, signed lower center, titled and dated on stretcher, framed., 24 x 18 in. (61 x 45.7 cm.), Frame: 27 5/8 x 21 1/2 x 1 3/4 in. (70.2 x 54.6 x 4.4 cm.)

[400 / 600]

240. Xavier De Callatay Belgian/Louisiana 1932-1999 “Landscape, Abstract”, unsigned, “E.L. Borenstein Collection” label with artist and title en verso, “Ingres PMF (Italia)” watermark visible, double-sided frame., 17 x 24 1/2 in. (43.2 x 62.2 cm.), Frame: 29 1/2 x 35 1/4 x 1/2 in. (74.9 x 89.5 x 1.3 cm.)

[600 / 800]

241. Xavier De Callatay, Belgian/Louisiana, 1932-1999, “Three Fates”, 1959, signed and dated lower right, handwritten label with artist, title and “C/O Associated Artists 730 St. Peter St.” on backing board, framed., 21 1/4 x 27 1/4 in. (54 x 69.2 cm.), Frame: 27 5/8 x 33 3/4 x 1 1/2 in. (70.2 x 85.7 x 3.8 cm.)

[600 / 800]

242. Noel Rockmore, American/Louisiana, 1928-1995, “Woman, Cat and Vase with Geode”, 1967, signed and dated lower left, unframed., 42 5/8 x 48 1/4 x 1 in. (108.3 x 122.6 x 2.5 cm.) [600 / 800]

243. Noel Rockmore, American/Louisiana, 1928-1995, “Portrait of Harry Salpeter”, 1955, signed and dated upper left, label with artist, title, date and provenance on reverse of frame, framed., 16 x 12 in. (40.6 x 30.5 cm.), Frame: 21 5/8 x 17 5/8 x 1 1/2 in. (54.9 x 44.8 x 3.8 cm.) [600 / 800]

Provenance: Estate of Robert S. Lee, Sr., Philadelphia, PA; “American & European Paintings,” Freeman’s | Hindman, Philadelphia, PA, June 23, 2006, lot 390; Neal Auction, Sept. 30, 2006, lot 994; Private Collection, New Orleans, LA.

244. Mabelle “Maybelle” Richardson, Stamper American/Florida, 19071995, “Girl with Folded Legs”, 1950, pencilsigned, titled and dated lower margin, initialed and dated in plate, framed., Sheet: 10 x 6 1/2 in. (25.4 x 16.5 cm.), Frame: 21 5/8 x 16 1/4 x 3/4 in. (54.9 x 41.3 x 1.9 cm.)

[300 / 500]

245. Jim Gray, American/Tennessee, 1932-2019, “Sailboat in the Water”, 1968, signed and dated lower right, partial sketch en verso, framed. Provenance: Acquired directly from the artist., 11 7/8 x 9 in. (30.2 x 22.9 cm.), Frame: 18 3/4 x 15 3/4 x 3/4 in. (47.6 x 40 x 1.9 cm.) [200 / 300]

246. Don Wright, American/Louisiana, 1938-2007, “Live Oak with Cabin”, 1977, signed and dated lower left, framed., 7 5/8 x 11 3/8 in. (19.4 x 28.9 cm.),

8 3/4 x 12 3/8 x 1 in. (22.2 x 31.4 x 2.5 cm.) [300 / 500]

247. Don Wright, American/ Louisiana, 1938-2007, “Cabin in Landscape at Night”, 1974, pencilsigned and dated lower right, framed., 7 1/2 x 5 1/2 in. (19.1 x 14 cm.), Frame: 8 1/2 x 6 1/2 x 1 in. (21.6 x 16.5 x 2.5 cm.) [200 / 300]

Don Wright, American/Louisiana, 1938-2007, “Cabin and Live Oak”, 1977, signed and dated lower left, framed., 5 5/8 x 7 1/2 in. (14.3 x 19.1 cm.), Frame: 6 5/8 x 8 5/8 x 1 in. (16.8 x 21.9 x 2.5 cm.) [200 / 300]

Emmitt Thames, American/Mississippi, b. 1933, “Barn”, 1972, signed and dated lower right, framed., 8 x 14 in. (20.3 x 35.6 cm.),

13 3/8 x 18 7/8 x 1 1/4 in. (34 x 47.9 x 3.2 cm.) [300 / 500]

251. Emmitt Thames, American/Mississippi, b. 1933, “Coastal Home”, 1972, signed and dated lower left, “Gallery D’Art, Houma, LA” label on backing paper, framed., 8 x 14 in. (20.3 x 35.6 cm.), Frame: 13 3/8 x 18 7/8 x 1 1/4 in. (34 x 47.9 x 3.2 cm.) [300 / 500]

250. Emmitt Thames, American/ Mississippi, b. 1933, “Tree Stump in the Forest”, 1968, signed and dated lower right, framed., 20 x 25 3/8 in. (50.8 x 64.5 cm.), Frame: 30 1/2 x 34 1/2 x 1 1/2 in. (77.5 x 87.6 x 3.8 cm.)

[700 / 1000]

252. Bill Suttles, American/Georgia, 20th c., “Autumn Landscape”, pencil-signed lower right, framed., 11 x 14 in. (27.9 x 35.6 cm.), Frame: 15 x 18 1/8 x 3/4 in. (38.1 x 46 x 1.9 cm.) [200 / 300]

253. Tim Trapolin, American/Louisiana, b. 1945, “Un Amour Comme le Notre”, signed and titled lower edge, framed., 43 x 23 1/4 in. (109.2 x 59.1 cm.), Frame: 45 1/4 x 33 5/8 x 1 1/2 in. (114.9 x 85.4 x 3.8 cm.)

[500 / 700]

255. Mario Villa, Nicaraguan/ Louisiana, 1953-2021, “Le Fe”, 1992, pencil-signed, titled, dated and inscribed “A/P” lower margin, framed., Sheet: 38 x 26 in. (96.5 x 66 cm.), Frame: 42 x 31 1/4 x 1 1/4 in. (106.7 x 79.4 x 3.2 cm.)

[300 / 500]

256. Arthur Silverman, American/Louisiana, 1923-2018, “Untitled”, initialed and illegibly dated on reverse., 9 3/8 x 9 1/2 x 1 in. (23.8 x 24.1 x 2.5 cm.), [600 / 800]

257. John Ellwood Brown, Jr. American/Louisiana, d. 2012, “Pirate’s Alley”, 1978, signed and dated lower right, signed and titled en verso, unframed., 24 x 18 in. (61 x 45.7 cm.), [300 / 500]

254. JoAnn Greenberg, American/ Louisiana, 1928-2013, “Nudes Relaxing under Trees”, “Dancing Nudes by the Sea” and “Seated Nudes with Butterfly”, each signed twice, once underneath and once along rim, inscribed “6101”, 6095” and “6102” respectively. (3 pcs.), 5 3/4 x 8 1/4 x 8 1/4 in. (14.6 x 21 x 21 cm.), 6 x 7 1/8 x 7 1/8 in. (15.2 x 18.1 x 18.1 cm.) and 3 5/8 x 2 1/2 x 2 1/2 in. (9.2 x 6.4 x 6.4 cm.)

[600 / 900]

258. Clementine Hunter, American/Louisiana, 1886-1988, “Cotton Picking”, monogrammed mid-right, inscribed en verso, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 12 x 24 in. (30.5 x 61 cm.), Frame: 20 1/4 x 25 3/4 x 1 1/4 in. (51.4 x 65.4 x 3.2 cm.)

[4000 / 6000]

259. Clementine Hunter, American/Louisiana, 1886-1988, “Watermelon”, monogrammed lower right, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 12 x 16 in. (30.5 x 40.6 cm.), Frame: 15 3/4 x 19 3/4 x 1 in. (40 x 50.2 x 2.5 cm.)

[3000 / 5000]

Provenance: Neal Auction, Feb. 7, 2004, lot 798.

260. Clementine Hunter, American/Louisiana, 1886-1988, “Nativity Scene”, monogrammed lower right, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 16 x 24 in. (40.6 x 61 cm.), Frame: 18 1/2 x 26 5/8 x 1 1/4 in. (47 x 67.6 x 3.2 cm.)

[4000 / 6000]

Provenance: Neal Auction, Apr. 9, 2022, lot 208.

261. Sister Gertrude Morgan, American/Louisiana, 1900-1980, “Revelation”, signed center, titled lower right, “Casell Gallery, New Orleans” label on backing paper, framed; together with “Let’s Make A Record” album. (2 pcs.), 13 7/8 x 22 in. (35.2 x 55.9 cm.), Frame: 26 x 32 x 1 in. (66 x 81.3 x 2.5 cm.) [4000 / 6000]

262. Mose Tolliver, American/Alabama, 1920-2006, “George Washington”, signed lower right, unframed.Provenance: Acquired from the artist., 24 1/4 x 20 in. (61.6 x 50.8 cm.), [400 / 600]

264. Theresa Gloster, American/North Carolina, 20th c., “Saturday Night Bath”, signed lower right, titled lower left, original artist frame., 11 7/8 x 15 in. (30.2 x 38.1 cm.), Frame: 16 x 19 x 2 3/4 in. (40.6 x 48.3 x 7 cm.)

[150 / 250]

263. Mose Tolliver, American/ Alabama, 1925-2006, “Table with Birds”, signed., 14 3/4 x 48 1/4 x 20 1/16 in. (37.5 x 122.6 x 51 cm.), [300 / 500]

Provenance: Gasperi Gallery, New Orleans, LA.; Neal Auction, Mar. 14, 2024, lot 97; Private Collection, New York, NY.

265. Purvis Young, American/ Florida, 1943-2010, “Freedom Boats”, signed twice, upper right and mid-right, unframed., 30 x 12 in. (76.2 x 30.5 cm.)

[100 / 200]

Provenance: Neal Auction, July 18, 2024, lot 71.

266. Willie Willie, American/Louisiana, 20th c., “Watermelon Gal”, signed lower center, original artist frame., 19 x 19 in. (48.3 x 48.3 cm.), Frame: 24 3/4 x 24 3/4 x 1/2 in. (62.9 x 62.9 x 1.3 cm.) [250 / 350]

267. Willie White, American/Louisiana, 1908-2000, “Circles and Horses”, 1987, signed and dated en verso, gallery stamp on backing paper, framed., 22 x 28 in. (55.9 x 71.1 cm.), Frame: 24 x 30 1/4 x 1 3/4 in. (61 x 76.8 x 4.4 cm.) [400 / 600]

268. Herbert Singleton, American/Louisiana, 1945-2007, “Came Out of Her”, pencil-signed and numbered “294/350” lower margin, blind stamp lower left corner, gallery label on backing paper, framed, Sheet: 29 x 23 in. (73.7 x 58.4 cm.), Frame: 34 1/2 x 27 1/2 x 1 1/4 in. (87.6 x 69.9 x 3.2 cm.) [200 / 300]

269. Woodie Long, American/Alabama, 1942-2009, “Yellow Bicycles on Blue Background”, signed lower left, inscribed “#2164” en verso, unframed., 19 x 28 1/8 in. (48.3 x 71.4 cm.), [500 / 700]

270. Woodie Long, American/Alabama, 1942-2009, “Fishing”, 1990, signed and dated lower left, inscribed “#1799” en verso, unframed., 18 7/8 x 28 in. (47.9 x 71.1 cm.), [500 / 700]

271. Woodie Long, American/Alabama, 1942-2009, “Dancing Women”, 1992, signed and dated lower left, unframed., 51 x 35 1/2 in. (129.5 x 90.2 cm.), Overall: 58 1/2 x 35 1/2 x 6 3/4 in. (148.6 x 90.2 x 17.1 cm.)

[800 / 1200]

272. Woodie Long, American/ Alabama, 1942-2009, “Church Ladies”, 1992, signed and dated lower right, unframed., 12 1/2 x 26 3/8 in. (31.8 x 67 cm.)

[400 / 600]

274. William Tolliver, American/ Louisiana, 1951-2000, “Picking Cotton”, signed lower right, unframed., 18 x 24 in. (45.7 x 61 cm.)

[3000 / 5000]

273. William Tolliver, American/Louisiana, 1951-2000, “Banjo Player”, signed lower left, unframed., 40 x 30 in. (101.6 x 76.2 cm.),

[4000 / 6000]

275. William Tolliver American/ Louisiana 1951-2000 “Lady in Red Hat”, signed lower right, unframed., Image: 28 3/8 x 20 5/8 in. (72.1 x 52.4 cm.), Sheet: 30 1/4 x 22 5/8 in. (76.8 x 57.5 cm.)

[1000 / 1500]

276. Dale Pierrottie American/ Louisiana 20th c. “Black Clay Mask with Bousillage and Raffia”, unsigned., 16 x 10 1/4 x 5 in. (40.6 x 26 x 12.7 cm.), [700 / 1000]

277. John Gargano American/Louisiana 20th c. “Axe”, 2003, signed and dated., 22 x 11 x 4 1/2 in. (55.9 x 27.9 x 11.4 cm.), [300 / 500]

278. Cynthia Maria “Tina” Girouard American/Louisiana 1946-2020 “Dear Deer”, 1992, signed, titled, dated and localized “Haiti” en verso, from the “Lwa” series, unframed., 15 3/4 x 15 1/2 in. (40 x 39.4 cm.), [1000 / 1500]

279. Earl Hèbert, American/Louisiana, 1942-2006, “Cajun Rivera Gulf Breeze Cabins $12.00 Day”, 1996, signed and dated lower right and on reverse of frame, artist frame., 24 x 60 in. (61 x 152.4 cm.), Frame: 30 3/8 x 66 1/4 x 1 in. (77.2 x 168.3 x 2.5 cm.) [5000 / 7000]

Note: Before he was an artist, Earl Hèbert was a successful restaurateur and owner of Lafayette’s The Beef & Ale Steakhouse and (the now legendary) Judge Roy Beans Saloon. His artistic endeavors began in the 1970s as he taught himself to paint as a hobby. In the 1980s, an event changed his outlook on art entirely. Hèbert took a trip to France and encountered the works of Monet, Gaugin and Matisse. He was so inspired that he vowed to paint fifty works a year for the rest of his life, most of them inspired by Cajun folklore and daily life. By 1989, Hèbert was exhibiting his art in Jackson Square and working as a full-time artist. He was quickly recognized and acknowledged as an important chronicler of Louisiana culture. Hèbert took cues from the French masters he so admired, employing strong light and bright primary colors to create rambunctious and timeless compositions bursting with creativity and often humor.

280. Earl Hèbert, American/Louisiana, 1942-2006, “Clifton Chenier, Red Hot Louisiana Band”, 1997, signed and dated lower right, titled on frame, original artist frame.59 3/4 x 29 7/8 in. (151.8 x 75.9 cm.), Frame: 63 x 33 x 1 1/2 in. (160 x 83.8 x 3.8 cm.) [4000 / 6000]

Earl Hèbert, American/Louisiana, 1942-2006, “Family Crawfish Boil”, 1992, signed and dated lower right, framed., 48 x 48 in. (121.9 x 121.9 cm.), Frame: 50 3/4 x 50 3/4 x 1 1/2 in. (128.9 x 128.9 x 3.8 cm.) [3000 / 5000]

Note: Before he was an artist, Earl Hèbert was a successful restaurateur and owner of Lafayette’s The Beef & Ale Steakhouse and (the now legendary) Judge Roy Beans Saloon. His artistic endeavors began in the 1970s as he taught himself to paint as a hobby. In the 1980s, an event changed his outlook on art entirely. HÈbert took a trip to France and encountered the works of Monet, Gaugin and Matisse. He was so inspired that he vowed to paint fifty works a year for the rest of his life, most of them inspired by Cajun folklore and daily life. By 1989, Hèbert was exhibiting his art in Jackson Square and working as a fulltime artist. He was quickly recognized and acknowledged as an important chronicler of Louisiana culture. Hebert took cues from the French masters he so admired, employing strong light and bright primary colors to create rambunctious and timeless compositions bursting with creativity and often humor.

282. Michael Murphy, American/Louisiana, 1941-1986, “Woman in a Window” and “Waitress by Jukebox and Window”, 1971 or 1972, each signed, numbered “1/50” or”3/50” and dated lower margin, both framed. (2 pcs.), “Woman”: 14 3/4 x 16 3/4 in. (37.5 x 42.5 cm.), “Waitress”: 12 x 9 in. (30.5 x 22.9 cm.)Frames: 20 1/4 x 24 1/4 x 1 in. (51.4 x 61.6 x 2.5 cm.) and 20 1/4 x 16 1/4 x 3/4 in. (51.4 x 41.3 x 1.9 cm.) [100 / 200]

294. Clarence John Laughlin, American/Louisiana, 1905-1985, “Farewell to the Past #2 (Resurgence of the Shell)”, negative creation date 1940, unknown print date, unsigned, inscribed with title and “Photographed by Clarence John Laughlin The Historic New Orleans Collection” stamp en verso, inscribed with title on inside of mat, “Robert Miller Gallery, New York, NY” label with artist, title and date on reverse of mat, matted., Sheet: 13 5/8 x 10 3/8 in. (34.6 x 26.4 cm.), Frame: 22 x 18 in. (55.9 x 45.7 cm.) [800 / 1200]

296. Clarence John Laughlin, American/ Louisiana, 1905-1985, “The Enshadowed Pillars (#3), Belle Grove Plantation”, 1945, dated, inscribed, artist stamp and “Photographed by Clarence John Laughlin The Historic New Orleans Collection” stamp on reverse of mount, inscribed with date on inside of mat, “Robert Miller Gallery, New York, NY” label with artist, title and date on reverse of mat, matted, Sheet: 10 1/4 x 8 in. (26 x 20.3 cm.), Mat: 17 x 14 in. (43.2 x 35.6 cm.) [600 / 800]

Ill.: Laughlin, Clarence John. Ghosts Along the Mississippi. New York: John Scribner’s Sons, 1951, pl. 89.

295. Clarence John Laughlin, American/Louisiana, 1905-1985, “Sinister Shadows (#1)”, 1946, dated, inscribed, artist stamp and “Photographed by Clarence John Laughlin The Historic New Orleans Collection” stamp on reverse of mount, inscribed with date on inside of mat, “Robert Miller Gallery, New York, NY” label with artist, title and date on reverse of mat, matted, Sheet: 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm.), Mat: 14 x 17 in. (35.6 x 43.2 cm.) [600 / 800]

Ill.: Laughlin, Clarence John. Ghosts Along the Mississippi. New York: John Scribner’s Sons, 1951, pl. 32

297. Herman Leonard, American, 1923-2010, active New Orleans, 1992-2005, “Billie Holiday, NYC, 1949”, negative creation date 1949, later print, signed, titled and dated lower margin, inscribed”BLH03 12559” and “HL-24552” en verso, unframed. Sheet: 14 x 11 in. (35.6 x 27.9 cm.), [1000 / 1500]

Note: “Billie Holiday, NYC, 1949” presents “Lady Day” early in the post-war peak of jazz in New York where Herman Leonard had just one year earlier established his first photography studio in Greenwich Village. Reciprocating photographs in exchange for entry to a growing scene of jazz clubs, Leonard’s lens helped define how some of the century’s greatest performers were known and eventually mythologized. His photographs would be employed as covers on some 200-plus albums. This photograph graces the cover of Jazz, Giants and Journeys: The Photography of Herman Leonard, the monograph for his exhibition at the Ogden Museum of Southern Art in 2006, a year after Hurricane Katrina nearly destroyed his archives. Billie Holiday (1915-1959) sang about the human experience from love to profound injustice. In this photograph, Holiday’s smooth countenance and dramatic zigzags of smoke plumes are captured by Leonard’s quick eye in a dynamic layout. The silent soundtrack to this iconic photograph comes through in compelling shadow and gesture; Leonard captures the singer as storyteller, poised to finish the tale.

298. Herman Leonard, American 1923-2010, active New Orleans, 1992-2005, “Louis & Duke with Friends, Paris, 1960”, negative creation date 1960, later print, signed, titled, dated and numbered “15/50” lower margin, inscribed “DKE/LSA03 13190” and “HL-25776” en verso, unframed, 16 x 20 in. (40.6 x 50.8 cm.) [1000 / 1500]

Note: Quincy Jones once said, “When people think of jazz, their mental picture is likely one of Herman’s.” Beginning in New York City, Herman Leonard documented the post-war rise of American jazz music, then moving to Paris, and later landing in New Orleans. He photographed “Louis & Duke with Friends, Paris, 1960” while on the set of Paris Blues (directed by Martin Ritt), a film that showcased Parisians’ love for American jazz musicians. This charismatic image recreated as an archival pigment print invites the viewer to share in the revelry with jazz royalty Louis Armstrong (1901-1971) and Duke Ellington (1899-1974). Photographed from an intimate audience perspective, we see the arms of elegantly-gloved ladies, including those of Diahann Carroll, who portrayed Lillian in the film salute the musicians with glasses raised in a fabulous toast. Leonard’s photographs have been exhibited profusely and are included in the collection of the Smithsonian Institution, National Portrait Gallery, and National Museum of African American History, among others. Herman Leonard’s archives are held at the Ogden Museum of Southern Art in New Orleans, and his estate is represented by A Gallery for Fine Photography.

299. Marvin Scott American/New York b. 1945

“Marilyn’s Circus”, negative creation date 1955, later print date, signed lower right, signed, titled and negative creation date en verso, “New York Foundation for the Arts” label with artist and title and “The Darkroom, Sophie Wright Place, New Orleans” label on backing paper, framed; together with Associated Press photograph first published in the Kingsport Times-News of the April in Paris Ball held at New York’s Waldorf-Astoria in 1957, unsigned, 10 in. x 8 in., unframed. (2 pcs.), 14 x 11 in. (35.6 x 27.9 cm.), Frame: 21 x 17 x 1 1/2 in. (53.3 x 43.2 x 3.8 cm.)

[100 / 200]

300. Amy James, American/Louisiana, b. 1963, “Sisters”, pencil-signed lower right on matting, framed., Sheet: 16 x 19 7/8 in. (40.6 x 50.5 cm.), Frame: 24 1/8 x 24 1/8 x 1 in. (61.3 x 61.3 x 2.5 cm.)

[300 / 500]

301. Debbie Fleming Caffery American/Louisiana b. 1948 “Paris, November”, 1999, signed, titled, dated and numbered “1/25” en verso, framed., Sheet: 11 x 13 in. (27.9 x 33 cm.), Frame: 12 1/4 x 14 1/8 x 1 in. (31.1 x 35.9 x 2.5 cm.) [500 / 700]

Note: The subject of a recent exhibition at the New Orleans Museum of Art, Debbie Fleming Caffery is considered one of the predominant photographers from the American South and undoubtedly is one of its most decorated and widely exhibited. Caffery grew up along the Bayou Teche in southwest Louisiana where she continues to reside today. Inspired by Dorothea Lange and many of the artists working with the Federal Arts Project of the WPA during the Depression, Caffery is interested in telling stories through her photographs in an approach that is as artful as it is documentary. In addition to her portfolio of works highlighting the American South, she has completed compelling bodies of work featuring Mexico, France and the rest of the United States. Through her photography, Caffery explores the emotional relationships between people and places.

Ref.: “Debbie Fleming Caffery.” Octavia Art Gallery. www.octaviaartgallery.com. Accessed Oct. 1, 2025; “Debbie Fleming Caffery: In Light of Everything.” New Orleans Museum of Art. www.noma.org. Accessed Oct. 1, 2025.

302. Frank Relle, American/Louisiana, b. 1976, “Gouffre (Rodney, Mississippi)”, negative creation date 2016, print date 2024, signed, titled and dated lower margin, signed, titled, negative and print dates, “Edition 2” and inscribed en verso, from “Until The Water” series, framed., Sheet: 28 4/5 x 32 in. (73.2 x 81.3 cm.), Frame: 34 3/4 x 36 3/4 x 1 1/8 in. (88.3 x 93.3 x 2.9 cm.) [800 / 1200]

303. George Valentine Dureau, American/Louisiana, 1930-2014, “Glen Thompson”, 1982, signed lower right, titled and dated en verso, titled on backing board and backing paper, framed., Sheet: 10 x 8 in. (25.4 x 20.3 cm.), Frame: 17 1/2 x 17 1/8 x 1 1/8 in. (44.5 x 43.5 x 2.9 cm.) [300 / 500]

George Valentine Dureau, American/Louisiana, 1930-2014, “Atlas Crip”, signed lower right, titled lower left, signed and titled en verso, framed., Sheet: 20 x 16 in. (50.8 x 40.6 cm.), Frame: 23 x 23 x 1 1/4 in. (58.4 x 58.4 x 3.2 cm.) [400 / 600]

305. George Valentine Dureau, American/Louisiana, 1930-2014, “Roosevelt Singleton”, signed lower right, framed., Sheet: 20 x 16 in. (50.8 x 40.6 cm.), Frame: 23 x 23 x 1 1/8 in. (58.4 x 58.4 x 2.9 cm.) [400 / 600]

306. George Valentine Dureau, American/Louisiana, 1930-2014, “B.J. Robinson”, signed, titled and inscribed “first proof” lower right, signed and titled en verso, framed., Sheet: 20 x 16 in. (50.8 x 40.6 cm.), Frame: 23 x 23 x 1 1/4 in. (58.4 x 58.4 x 3.2 cm.) [400 / 600]

Steve Sweet, American/Louisiana, b. 1952, “Portrait of George Dureau”, 1982, signed and dated on heel of proper right foot, unframed., 45 x 16 1/2 in. (114.3 x 41.9 cm.) [2000 / 3000]

Exh.: Aron Hastings Gallery, New Orleans, LA, 1982; Davis McClain Gallery, Houston, TX, 1985; The Contemporary Arts Center, New Orleans, LA, 1993.

Note: Steve Sweet’s impressive body of work comprises an array of non-traditional media and often incorporates contemporary technology in innovative ways. For example, his collage portrait series from the 1980s was created using Xerox scans of his subjects’ body parts, reassembled in such ways that most exemplify their personalities and lives. Armed with access to a large Xerox machine, “Sweet’s artistic method involves placing his subjects (often human) on a photocopier and making piece meal reproductions of their bodies. He then enlarges, reduces, blurs, colors and otherwise alters and manipulates the copies before assembling them.” Roger Green notes in his 1983 Times Picayune article on the artist: “Sweet’s portrait of artist Jesse Poimboeuf includes several views of his head, assembled so as to suggest sequential movement. Poimboeuf, as it happens, is fascinated some would say possessed by the idea of movement, which is almost invariably the subject of his paintings and drawings.” For the portrait of George Dureau on offer here, the beloved local artist is depicted with neither prop nor clothing. Sweet retooled his proportions so the resulting image is that of Dureau as a nude little person, a clever homage to the subject matter Dureau himself was famous for portraying in his paintings and photographs. Sweet’s portraits are ingenious, challenging and even humorous at times. They capture the essence of their sitters and perfectly demonstrate the definition of good portraiture to create a facsimile of a person distilled in their most iconographic and eternal form. The artist was represented by Arthur Roger Gallery in New Orleans with three oneperson shows in the 1980s and 1990s.

Ref.: Green, Roger. “Flattened People: Portraits in Depth.” The Times Picayune. Jan. 21, 1983: pg. 12; Rive, David. “Steve Sweet.” Art Papers. May/June 1987.

309. Barbara Wasserman, American/Florida, b. 1934, active Mexico City, 1959-1977 “Child’s Journey”, signed lower right, handwritten label with artist and title, 2 typed labels one with artist and title and 2 “Jeanne Graham Rodriguez Arte de la Condesa/Marcos de Alumino, La Condesa, Mexico” labels on stretcher, framed., 39 3/8 x 29 1/2 in. (100 x 74.9 cm.), Frame: 39 3/4 x 29 7/8 x 1 1/2 in. (101 x 75.9 x 3.8 cm.) [1200 / 1800]

Tony Green, Italian/Louisiana, b. 1954, “Fairgrounds N.O.”, 2007, initialed lower right, titled, dated and artist stamp en verso, framed., 6 x 7 3/4 in. (15.2 x 19.7 cm.), Frame: 10 3/4 x 12 3/4 x 1 in. (27.3 x 32.4 x 2.5 cm.) [150 / 250]

310. Tony Green, Italian/Louisiana, b. 1954, “Cannaregio, Ve”, “Burano” and “Fondamenta Ormesini”, 2008 and 2009, each initialed lower right, each titled, dated and artist stamp en verso, framed. (3 pcs.), Oil: 7 1/8 x 9 1/2 in. (18.1 x 24.1 cm.), Frame: 9 1/8 x 11 1/2 x 1 1/8 in. (23.2 x 29.2 x 2.9 cm.)Watercolors: 5 3/4 x 7 5/8 in. (14.6 x 19.4 cm.), Frames: 10 7/8 x 12 3/4 x 1 in. (27.6 x 32.4 x 2.5 cm.) [300 / 500]

Baxter Knowlton, American/Arkansas, b. 1974, “Kathryn”, signed lower right, titled on stretcher, framed., 24 x 24 in. (61 x 61 cm.), Frame: 28 5/8 x 28 5/8 x 1 5/8 in. (72.7 x 72.7 x 4.1 cm.) [400 / 600]

313. Robert Rector, American/ Louisiana, b. 1946, “Untitled: Abstract Composition in Gray and Mauve”, 2005, signed and dated lower center, inscribed “RE4165” en verso, unframed., 45 x 32 in. (114.3 x 81.3 cm.), [400 / 600]

315. Robert Gordy, American/Louisiana, 1933-1986, “Portrait of a Woman”, unsigned, inscribed “RGED 178” en verso, framed., 7 1/8 x 5 1/2 in. (18.1 x 14 cm.), Frame: 18 1/4 x 15 3/10 x 3/4 in. (46.4 x 38.9 x 1.9 cm.) [300 / 500]

314. Steve Kline, American/Louisiana, 20th c., “Dancing Daze”, 1992, signature and date stamped on top of self-base.Provenance: Sylvia Schmidt Gallery, New Orleans, LA, 1993; Neal Auction, Jan. 27, 2019, lot 658., 24 x 31 1/2 x 20 in. (61 x 80 x 50.8 cm.), [700 / 1000]

Robert Gordy, American/Louisiana, 1933-1986, “Night in the

and “Day in the

1976, signed and dated lower right or upper left,

alike.

Provenance: Neal Auction, July 17, 2010, lot 349., Each: 15 3/4 x 20 in. (40 x 50.8 cm.), Frames: 28 1/2 x 21

317. Robert Gordy, American/Louisiana, 1933-1986, “Figures in an Orange Grove”, 1967, initialed and dated upper right, framed., 8 1/8 x 15 3/8 in. (20.6 x 39.1 cm.), Frame: 21 1/2 x 28 1/2 x 1 1/2 in. (54.6 x 72.4 x 3.8 cm.)

[600 / 800]

Provenance: Neal Auction, July 13, 2008, lot 1089.

318. Robert Gordy, American/Louisiana, 19331986, “Seven Figure Oval”, pencil-signed, numbered “IV/VI” and inscribed “For Richard” lower margin, unframed., Sheet: 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm.), [500 / 700]

Provenance: Estate of Richard Simmons (1948-2024); Orrill’s Auction, Sylmar, CA, July 25 to Aug. 5, 2025, lot 157; Private Collection

319. Robert Gordy, American/Louisiana, 1933-1986, “The Stairs”, 1968, unsigned, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date and “Kulicke Frames, Inc., New York, NY” label on backing paper, framed, 8 1/2 x 11 in. (21.6 x 27.9 cm.), Frame: 19 3/4 x 22 1/4 x 1 in. (50.2 x 56.5 x 2.5 cm.) [600 / 800]

Provenance: William Jenack Auctioneers Inc., Chester, NY, June 9, 2013, lot 320

320. Robert Joseph Warrens. American/Louisiana. b. 1933. “Studio Compatriots”, initialed lower right, titled en verso, framed. 22 3/8 x 30 in. (56.8 x 76.2 cm.), Frame: 29 x 37 x 1 1/2 in. (73.7 x 94 x 3.8 cm.) [400 / 600]

Note: “Warrens is the interpreter of the ridiculous and absurd that dwell among the commonplace and superfluous. He utilizes mundane material retaining the original form but presenting it in a new situation, more objectively, creating unexpected variants... banal objects and decorative clichÈs become vehicles of mystery or droll comedy.” ~ Robert M. DotyRobert Joseph Warrens’ fanciful body of work effortlessly unites familiar real-life imagery with fantasy. Warrens’ creations are often a reflection of his views on societal ills, autobiographical statements on art-making or powerful visual allegories condemning environmental pollution. Warrens utilizes attention-grabbing colors and compositions to visually stun viewers while imparting a satirical commentary on the lunacy of modern-day happenings.

Ref.: Doty, Robert M. Paintspitter: Paintings and Constructions by Robert Warren. New Orleans: New Orleans Museum of Art, 1990.

321. Robert Joseph Warrens, American/Louisiana, b. 1933, “The Menace of the Brushes”, initialed lower left, titled en verso, framed., 22 3/8 x 30 in. (56.8 x 76.2 cm.), Frame: 24 3/4 x 32 1/2 x 1 1/2 in. (62.9 x 82.6 x 3.8 cm.) [400 / 600]

Note: “Warrens is the interpreter of the ridiculous and absurd that dwell among the commonplace and superfluous. He utilizes mundane material retaining the original form but presenting it in a new situation, more objectively, creating unexpected variants... banal objects and decorative clichÈs become vehicles of mystery or droll comedy.” ~ Robert M. DotyRobert Joseph Warrens’ fanciful body of work effortlessly unites familiar real-life imagery with fantasy. Warrens’ creations are often a reflection of his views on societal ills, autobiographical statements on art-making or powerful visual allegories condemning environmental pollution. Warrens utilizes attention-grabbing colors and compositions to visually stun viewers while imparting a satirical commentary on the lunacy of modern-day happenings.

Ref.: Doty, Robert M. Paintspitter: Paintings and Constructions by Robert Warren. New Orleans: New Orleans Museum of Art, 1990.

322. Bunny Matthews, American/Louisiana, b. 1951, “Trying to Attract His Attention”, 1993, signed and dated lower right of left panel, signed, titled, dated and inscribed “(Left)” and “(Right)” on respective stretcher bars, unframed. (2 pcs.) Each: 20 x 16 in. (50.8 x 40.6 cm.), Overall: 20 x 32 in. (50.8 x 81.3 cm.) [1000 / 1500]

Note: Will Bunn “Bunny” Matthews III was a well-known and beloved cartoonist and writer whose signature characters, Vic and Nat’ly Broussard, became quintessential symbols of New Orleans. Born in Monroe, Matthews moved to Metairie at the age of three. He attended the University of New Orleans, although he had little formal art training. He began as a cartoonist in 1968 for alternative and weekly papers, and by 1982, he was regularly published in The Times-Picayune, where Vic and Nat’ly’s commentary on the local scene, on the city’s cultural and social issues, served as the basis for much humor and controversy in the nineteen years they appeared.Matthews was part of a circle of 1980s New Orleans artists, including George Febres, Douglas Bourgeois and Jacqueline Bishop, who favored highly detailed, recognizable renderings. A mural by Matthews appeared at the 1984 World’s Fair, and his works were regularly exhibited in galleries and museums. He also actively participated in the local music industry. In his cartoons and his paintings, Matthews was ascribed titles such as “provocateur” and “rebel.” His paintings retain the immediacy, humor and vibrancy of his cartoons while re-affirming these labels.

Ref.: MacCash, Doug. “Bunny Matthews, the Cartoonist Creator of Vic and Nat’ly, Dies at 70.” www.nola.com. Accessed Oct. 3, 2025.,

323. Bunny Matthews, American/Louisiana, b. 1951, “Anima Sola Jailbait”, 1992, signed and dated lower right, titled on stretcher bar, unframed., 20 x 16 in. (50.8 x 40.6 cm.), [600 / 800]

Note: Will Bunn “Bunny” Matthews III was a well-known and beloved cartoonist and writer whose signature characters, Vic and Nat’ly Broussard, became quintessential symbols of New Orleans. Born in Monroe, Matthews moved to Metairie at the age of three. He attended the University of New Orleans, although he had little formal art training. He began as a cartoonist in 1968 for alternative and weekly papers, and by 1982, he was regularly published in The TimesPicayune, where Vic and Nat’ly’s commentary on the local scene, on the city’s cultural and social issues, served as the basis for much humor and controversy in the nineteen years they appeared.Matthews was part of a circle of 1980s New Orleans artists, including George Febres, Douglas Bourgeois and Jacqueline Bishop, who favored highly detailed, recognizable renderings. A mural by Matthews appeared at the 1984 World’s Fair, and his works were regularly exhibited in galleries and museums. He also actively participated in the local music industry. In his cartoons and his paintings, Matthews was ascribed titles such as “provocateur” and “rebel.” His paintings retain the immediacy, humor and vibrancy of his cartoons while re-affirming these labels.

Ref.: MacCash, Doug. “Bunny Matthews, the Cartoonist Creator of Vic and Nat’ly, Dies at 70.” www.nola.com. Accessed Oct. 3, 2025.

324. Bunny Matthews, American/Louisiana, 1951-2021, “Electric Mermaid”, 2008, signed and dated lower left, titled on stretcher bar, unframed., 40 x 30 in. (101.6 x 76.2 cm.), [800 / 1200]

Note: Will Bunn “Bunny” Matthews III was a well-known and beloved cartoonist and writer whose signature characters, Vic and Nat’ly Broussard, became quintessential symbols of New Orleans. Born in Monroe, Matthews moved to Metairie at the age of three. He attended the University of New Orleans, although he had little formal art training. He began as a cartoonist in 1968 for alternative and weekly papers, and by 1982, he was regularly published in The TimesPicayune, where Vic and Nat’ly’s commentary on the local scene, on the city’s cultural and social issues, served as the basis for much humor and controversy in the nineteen years they appeared.Matthews was part of a circle of 1980s New Orleans artists, including George Febres, Douglas Bourgeois and Jacqueline Bishop, who favored highly detailed, recognizable renderings. A mural by Matthews appeared at the 1984 World’s Fair, and his works were regularly exhibited in galleries and museums. He also actively participated in the local music industry. In his cartoons and his paintings, Matthews was ascribed titles such as “provocateur” and “rebel.” His paintings retain the immediacy, humor and vibrancy of his cartoons while re-affirming these labels.

Ref.: MacCash, Doug. “Bunny Matthews, the Cartoonist Creator of Vic and Nat’ly, Dies at 70.” www.nola.com. Accessed Oct. 3, 2025.

325. Alan Flattmann, American/Louisiana, b. 1946, “Landscape with Barn and Cattle”, 1969, signed and dated lower left, framed., 16 x 22 in. (40.6 x 55.9 cm.), Frame: 22 1/4 x 28 1/4 x 1 1/4 in. (56.5 x 71.8 x 3.2 cm.) [1000 / 1500]

326. Kathleen Lemoine, American/Louisiana, b. 1943, “Dog with Hoop”, c. 2000s, signed, titled and inscribed en verso, framed., Sight: 24 1/4 x 19 1/2 in. (61.6 x 49.5 cm.), Frame: 25 3/4 x 20 x 2 1/8 in. (65.4 x 50.8 x 5.4 cm.)

[600 / 800]

Note: Neal Auction would like to thank Kathleen Lemoine for her assistance with cataloguing this lot.

Dennis Sipiorski, American/Louisiana, 20th c., “Zydeco Jesus”, signed lower right edge, titled twice and artist label with title on backing board, framed., 37 x 29 3/4 in. (94 x 75.6 cm.), Frame: 39 3/8 x 31 1/2 x 3/4 in. (100 x 80 x 1.9 cm.) [300 / 500]

331. Hunter Roth, American/Louisiana, 20th c., “Neffuso”, 2008, signed lower right, signed, titled, dated and artist label en verso, framed., 40 x 22 1/4 in. (101.6 x 56.5 cm.), Frame: 40 7/8 x 23 x 1 1/2 in. (103.8 x 58.4 x 3.8 cm.) [300 / 500]

The

Hunter Roth, American/Louisiana, 20th

BBQ”, 2007, signed lower right, signed, titled and

en verso, framed., 36 1/4 x 30 in. (92.1 x 76.2 cm.),

37 1/4 x 31 1/2 x 2 in. (94.6 x 80 x 5.1 cm.) [300 / 500]

332. Louis “Lou” De Angelo Sr., American/Louisiana, 1950-2021,

2005, signed lower right, signed and titled en verso, signed, titled and localized “B.R.” on

unframed., 48 x 48 in. (121.9 x 121.9 cm.) [500 / 700]

334. Michael Glenn Moore, American/ Louisiana, b. 1961, “Something Strangely Familiar”, 2002, signed lower left, signed, titled, dated, inscribed and artist label with title en verso, unframed., 36 x 36 in. (91.4 x 91.4 cm.), [500 / 700]

333. Dr. Herbert Simmons, Jr. American/ Louisiana, 20th c., “Collaboration of Color”, 1993, pencil-signed, titled and dated lower margin, pencil-signed and dated twice en verso, illegible blind stamp lower right corner, framed., 18 1/4 x 25 7/8 in. (46.4 x 65.7 cm.), Frame: 26 3/4 x 33 1/4 x 1 1/4 in. (67.9 x 84.5 x 3.2 cm.)

[400 / 600]

337. Michel Varisco, American/Louisiana, b. 1967, “Vestige”, 2005, unsigned. [1200 / 1800]

Note: A native New Orleanian, Michel Varisco received her BA from Loyola University and MFA from Tulane University with additional studies in France and Italy. She is a multimedia artist with a focus on assemblage, photography, video, site specific installation and sculpture. Varisco’s work centers on “the human relationship to nature through architecture, engineered and wild environments.” She celebrates nature while also highlighting sustainable and unsustainable practices. Varisco has said of her art: “I analyze the interconnectedness of issues as they face Louisiana, the United States and other lands (and waters) around the world.” Her work is exhibited and published internationally and included in public, private and corporate collections worldwide. Varisco has been an honoree of the New Orleans Museum of Art for “Love in the Garden” and is a founder and former Vice President of the New Orleans Photo Alliance.

Ref.: “Bio / Artist Statement.” Michel Varisco. www.michelvarisco.com. Accessed Oct. 3, 2025.Neal Auction would like to thank Michel Varisco for her assistance with cataloguing this lot.

338. Lamar Briggs, American/Louisiana, 1935-2015, “French Flowers”, signed and titled en verso, inscribed “LB 2233” on stretcher, unframed., 30 x 24 in. (76.2 x 61 cm.)

[2000 / 3000]

Provenance: Swann Galleries, NY, May 12, 2022, lot 435.

339. Dutch Kepler American/ Louisiana 1943-2024 “Betaille Retreat”, 2006, signed and dated lower left of left panel, signed, titled and dated on backing panel, unframed. , Each Panel: 20 x 16 in. (50.8 x 40.6 cm.), Overall: 20 x 32 in. (50.8 x 81.3 cm.) [1200 / 1800]

Note: Dutch Kepler was born in Kirksville, Missouri and grew up in Cape Cod. He earned a BA from North Texas State University, followed by an MFA from Florida State University. After college, he worked for two years in Dallas before accepting a position at the University of Southwestern Louisiana (later University of Louisiana at Lafayette) at the age of just twenty-three. While teaching as a Professor of Visual Arts there for thirty-four years, Kepler took part in one-person and group shows in Lafayette, Baton Rouge, New Orleans, Atlanta, Miami Beach, New York City, and Washington D.C. During his tenure, he was chosen as a distinguished professor by the U.S.L. Foundation and garnered numerous awards and achievements. He was an accomplished artist, jazz percussionist, and respected educator, shaping the minds of countless students. Kepler’s abstract canvases are best described as expressionist masterpieces filled with frenetic energy and extravagant color.

342. Eugene James Martin, American/District of Columbia, 19382005, active Lafayette, LA, 1996-2005 “Whiz Kid”, 2002, signed and dated lower center, titled on stretcher, label with artist, title and date en verso, framed., 30 x 24 in. (76.2 x 61 cm.), Frame: 32 3/4 x 26 3/4 x 3/4 in. (83.2 x 67.9 x 1.9 cm.) [3000 / 5000]

Note:”The creative act is very important to me. So, whether the works sells or whether it hangs, is really not that important to me. The creative actñwhat I mean by that is when you create something by pure motiveñit generates a kind of energy that goes out through the universe.”~ Eugene MartinEugene James Martin was born in Washington, D.C. in 1938. Four years later, his mother died, and Martin and his brother were separated during foster care. Though Martin eventually landed in a loving home, his time in a reform school filled with older boys sparked a life of introversion and isolation. After attending the Corcoran School of Art and Design in D.C., Martin dedicated his life to living and working as a full-time artist. He created a body of work clearly defined by stylistic periods, from black and white ink drawings to bright and colorful acrylic paintings and collages. Throughout these styles, Martin’s hand is distinct and present. A mixture of organic forms, geometric shapes, and even architectural worlds comprise Martin’s universe. Though often hinting at figures and familiar forms, Martin’s vivid abstractions are free from time and place.While spending most of his life in Washington D.C., Martin briefly lived in Chapel Hill, North Carolina, from 1990 to 1994, returned to Washington D.C., and in 1996 moved to Lafayette, Louisiana with his wife, Suzanne Fredericq, a biologist, whom he married in 1988.

Ref.: “About.” Eugene James Martin. www.eugenemartinart.com. Accessed Oct. 3, 2025; “Eugene Martin: The Creative Art.” www.lsumoa.org. Accessed Oct. 3, 2025

343. Troy Dugas, American/Louisiana, b. 1970, “Radial Form, Odd Moments #2”, 2009, signed, titled and dated en verso, unframed, dia. 29 3/4 in. (75.6 cm.)

[2500 / 3500]

Note: Contemporary artist Troy Dugas earned a BFA from the University of Louisiana and an MFA from Pratt Institute in New York. Starting with product labels purchased in unused bundles, he intricately cut and arranged the material onto flat surfaces (paper, canvas, or wood) to produce large-scale collages that appear woven. He has said of his early process: “I use repetition and pattern to distract from the original purpose of the label to sell a product. The artwork itself is the only product left to sell.” Dugas’ work can be found in the collections of the Frederick Wiesman Foundation in Los Angeles, New Orleans Museum of Art, and the West Collection in Pennsylvania. Dugas has received awards from the Pollack-Krasner Foundation, the Louisiana Division of the Arts, and completed a residency at the McColl Center for Art and Innovation in North Carolina. Over the last twenty-five years his work has progressed from meticulous label collages to mixed media acrylic collages and most recently to fiber-based artworks. Dugas is represented by Arthur Roger Gallery in New Orleans and lives and works in Lafayette, Louisiana. Ref.: “Troy Dugas.” www.troydugas.com. Accessed Oct. 3, 2025; “Troy Dugas.” Escape into Life. www.escapeintolife.com/artist-watch/troy-dugas. Accessed Oct. 3, 2025.

[800 / 1200]

345. Simon Gunning, American/Louisiana, b. 1956, “Reclining Nude II (recto)” and “Seated Nude (verso)”, 1990 and 1988, signed and dated lower right and lower center respectively, “Galerie Simonne Stern, Julia St., New Orleans” label on backing board, framed., 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm.), Frame: 30 3/8 x 38 x 1 in. (77.2 x 96.5 x 2.5 cm.) [1800 / 2500]

in. (62.9 x 124.5 x 1.9 cm.) [5000 /

347. Frank Fleming American/Alabama 1940-2018 “Eggs”, 2 signed. Provenance: Gift of the artist; thence by descent., 4 x 4 1/2 x 3 1/4 in. (10.2 x 11.4 x 8.3 cm.) to 3 x 4 1/2 x 3 in. (7.6 x 11.4 x 7.6 cm.), [700 / 1000]

348. Frank Fleming American/ Alabama 1940-2018 “Turtle”, unsigned.Provenance: Gift of the artist; thence by descent., 2 1/2 x 9 1/4 x 6 1/2 in. (6.4 x 23.5 x 16.5 cm.) [2500 / 3500]

349. Frank Fleming American/Alabama 1940-2018, “Hare and Dog Table”, signed on lower leg of one dog, twig-form and figural base with glass top, 24 x 48 1/4 x 26 1/2 in. (61 x 122.6 x 67.3 cm.) [15000 / 25000]

Note: Frank Fleming often attributed his becoming an artist to the hardships of growing up with a severe speech impediment. Struggling to form words, he stopped speaking in the first grade and did not resume until eleven years later, opting instead to use imagery as the main way of expressing himself. After years of intense speech and vocal therapy, he was able to attend Florence State University (now the University of North Alabama) but again felt himself to be an outsider.At the time, Abstract Expressionism was the focus of most academic art programs, and Fleming’s own views were at odds with his professors and peers over his need to ground his art in natural and figurative terms. Following his difficult days at university, he discovered the Funk Art Movement, and within it, the sculptures of Robert Arneson which introduced him to a new way of thinking and pointed him in the direction that eventually led to the formation of his own artistic voice. In contrast to the serious world of Abstract Expressionism, the Funk artists focused on absurdity and irony and the observation of these qualities in the natural world. Fleming took that spirit and combined it with his dark sense of humor and attention to detail and in so doing, created a uniquely surrealist way of looking at the world which prompted art critic Vanessa Gregory to describe his works as “whimsical and unnervingly Messianic.” His imaginative creations are as inventive as they are meticulously rendered. Ref.: Gregory, Vanessa. “The Fantastical World of Frank Fleming.” Garden and Gun. Feb/Mar 2014. www.gardenandgun.com. Accessed Sept. 30, 2025; “In Memorandum: Frank Fleming.” Birmingham Museum of Art. Mar. 25, 2018. artsbma.org. Accessed Sept. 30, 2025.

350. George Bauer Dunbar American/Louisiana 1927-2024 “Untitled: Surge Series”, signed lower right, framed., 15 4/5 x 24 in. (40.2 x 61 cm.), Frame: 16 7/8 x 25 x 2 in. (42.9 x 63.5 x 5.1 cm.) [8000 / 12000]

351. Josè-Maria Cundin Spanish/Louisiana b. 1938, “Untitled: Religious Figure”, 1986, signed and dated on painting, 33 x 22 x 17 in. (83.8 x 55.9 x 43.2 cm.).

[6000 / 8000]

Note: Born in Bilboa in the heart of Spain’s Basque Country in 1938, Cundin says he became a citizen of the world, but never lost the spirit and tragic romanticism of his homeland. He writes that being Basque means, “I see and face life as a mysterious and ancient existential commitment.” It is perhaps these same mysterious and romantic qualities evident in his work that has made Cundin’s pieces resonate so powerfully in his adopted home of Louisiana.Cundin first came to the United States in 1958 and established himself in New Orleans in 1964. He has since lived in Folsom, LA for many years. Over the course of his career, the artist has been featured in more than forty solo shows and participated in numerous collective exhibitions. His works have been featured in countless books, magazines and literary journals, and his paintings and sculptures are included in the permanent collections of public institutions and private collections worldwide.Cundin’s subject matter and style have transitioned regularly throughout his long career, with each new development evidencing the artist’s mastery of color and light. His early works are figurative, representational and focused on portraiture. Later, the artist shifted into his plastic art and abstract series, often revisiting and experimenting with his earlier concepts.

Ref.: Biguenet, John, ed. New Orleans Review. Vol. 9, No.1, Spring/Summer 1982, p. 48; “Folsom Blues and Yellows: Portraits, Self-Portraits and AntiPortraits by Jose-Maria Cundin.” The Advocate. Jan. 12, 2009. www.theadvocate.com. Accessed Oct. 1, 2025.

354. Hunt Slonem, American/Louisiana, b. 1951, “Narchiso”, 1988, signed, titled and dated en verso, typed label with artist and title on backing board, original artist frame., 22 1/2 x 18 1/4 in. (57.2 x 46.4 cm.), Frame: 25 1/2 x 21 1/2 x 2 3/8 in. (64.8 x 54.6 x 6 cm.)

[6000 / 8000]

352. Hunt Slonem, American/Louisiana, b. 1951, “Duet Bunnys”, 2019, signed, titled, dated and inscribed “EAÿ 19ÿ9” en verso, framed; accompanied by a copy of a certificate of authenticity from the artist. (2 pcs.)Exh.: “Hunt Slonem: A Retrospective,” Louisiana State Museum at the Cabildo, New Orleans, LA, Aug. 7 - Sept. 30, 2024 and illustrated in the accompanying catalogue, p. 179., 13 x 16 in. (33 x 40.6 cm.), Frame: 14 1/2 x 17 1/2 x 1 in. (36.8 x 44.5 x 2.5 cm.) [4000 / 6000]

353. Hunt Slonem, American/Louisiana, b. 1951, “Harold”, 2022, signed, titled, dated and inscribed “SH1414” en verso, framed., 12 x 10 in. (30.5 x 25.4 cm.), Frame: 15 1/4 x 13 3/8 x 1/2 in. (38.7 x 34 x 1.3 cm.)

[4000 / 6000]

357. Hunt Slonem, American/Louisiana, b. 1951, “Pocahontas Pillow”, 1980, signed, titled and dated en verso, “Larsen Auction” label on backing board, framed, 30 x 32 in. (76.2 x 81.3 cm.), Frame: 31 3/4 x 33 7/8 x 1 3/4 in. (80.6 x 86 x 4.4 cm.) [3000 / 5000]

Provenance: Larsen Auction, Scottsdale, AZ, Oct. 25, 2014, lot 151.

355. Hunt Slonem, American/Louisian, b. 1951, “St. Martin de Porres”, 1985, signed, titled and dated en verso, framed., 67 1/8 x 40 1/8 in. (170.5 x 101.9 cm.),

Frame: 67 3/4 x 40 5/8 x 1 1/2 in. (172.1 x 103.2 x 3.8 cm.)

[8000 / 12000]

356. Hunt Slonem, American/Louisiana, b. 1951, “Black Moor II”, 1977, signed and dated en verso, unframed., 25 1/2 x 31 1/2 in. (64.8 x 80 cm.)

[ellipse], [2500 / 3500]

358. Hunt Slonem, American/Louisiana, b. 1951, “Brazilian Cardinals”, 1988, signed, titled, dated and inscribed “22” en verso, unframed., 48 1/8 x 48 1/8 x 1 3/8 in. (122.2 x 122.2 x 3.5 cm.), [6000 / 8000]

359. George Rodrigue, American/Louisiana, 1944-2013, “Looking at Life through Rose-Colored Glasses”, 1993, signed lower right, numbered “45/100” lower left, framed, 21 x 16 in. (53.3 x 40.6 cm.), Frame: 27 1/4 x 23 1/4 x 1 in. (69.2 x 59.1 x 2.5 cm.) [1000 / 1500]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonnë 1970-2007. New York: Abrams, 2008, p. 96.

360. George Rodrigue, American/Louisiana, 1944-2013, “Union Station (Blue Dog for President)”, 1996, signed and numbered “45/150” lower right, artist stamp en verso, framed, 18 x 30 in. (45.7 x 76.2 cm.), Frame: 20 1/4 x 32 1/4 x 1 in. (51.4 x 81.9 x 2.5 cm.) [1200 / 1800]

Provenance: Galerie Blue Dog, Carmel-by the Sea, CA.Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonnë 1970-2007. New York: Abrams, 2008, p. 129.

361. Eugene “Eda” Wade, American/Louisiana, 1939-2021, “Magic and Music”, signed in plate lower right edge, unframed.Provenance: Acquired from the artist., 33 3/4 x 59 x 1 1/2 in. (85.7 x 149.9 x 3.8 cm.), [200 / 300]

362. Eugene “Eda” Wade, American/Louisiana, 1939-2021, “Homage to the Mask (Benin Family)”, 2016, signed and dated in plate lower right, artist label with title on stretcher, framed.Provenance: Acquired from the artist., 46 1/2 x 42 1/4 in. (118.1 x 107.3 cm.), Frame: 48 3/8 x 44 1/4 x 2 1/2 in. (122.9 x 112.4 x 6.4 cm.) [200 / 300]

363. Bruce “Dapper Bruce Lafitte” Davenport, Jr. American/Louisiana b. 1972, “St. Augustine High School Purple Knights Marching 100 New Orleans, LA”, 2025, signed upper left, signed, dated and inscribed lower right, titled lower center, signed and inscribed en verso, unframed., Sheet: 22 1/2 x 30 in. (57.2 x 76.2 cm.) [300 / 500]

364. Bruce “Dapper Bruce Lafitte” Davenport, Jr,. American/Louisiana, b. 1972, “T.D.B.C. Presents: Blessed with a Gift”, 2013, signed, dated and inscribed lower right, signed lower left, titled lower center, signed and inscribed en verso, unframed., 29 5/8 x 21 5/8 in. (75.2 x 54.9 cm.), [300 / 500]

365. Pamela Marquis, American/Louisiana, 20th c., “Hurricane”, 2015, “Margarita”, 2017, “Bloody Mary”, 2018, “Red Wine”, 2018, “Fried Chicken Leg”, 2018 and “Cohiba Maduro Cigar”, 2019, 4 signed lower center, one lower left, one lower right, each signed and dated en verso, unframed. (6 pcs.), 6 1/4 x 11 in. (15.9 x 27.9 cm.) to 14 1/4 x 6 1/4 in. (36.2 x 15.9 cm.)

[250 / 350]

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Director of Administration & Finance

Michelle LeBlanc Leckert, CAI

Client Services / Accounts Receivables

Rebekah Abernathy

Marketing & Social Media

Cameron McHarg

General Manager

Jason Leckert

Administrative Assistant

Claire Whitmore

GRAPHICS

Graphics Director / Catalogue Design

David Roberts

Photography

Gerard Lewis

Jorge Diaz

OPERATIONS

Operations Staff

Charlie Clay

Jerry Major

Graphics Staff

Stephanie Do Ouro

Amanda Torres

Thomas Dettman

Adam Trepagnier

Decorative Arts Inventory Management

Charlie Clay

AUCTIONEERS

Michelle LeBlanc Leckert #1514

Bettine Field Carroll #1874

Marc Fagan #1935

Marney Robinson #2155

Cameron McHarg #2184

John R. Neal (1940-2018), Founder

Marc Fagan Vice President Consignments

CONSIGNMENTS

Paintings, Prints & Photography, Sculpture

Marney Robinson; Sophie Hirabayashi; Casey Foote; Heather Munch

Books, Maps & Natural History Prints, Modern Furniture

Marc Fagan

Antique Furniture & Decorative Arts

Jason Leckert

Silver & Decorative Arts; Material Culture

Katherine Hovas

Jewelry & Couture

Cameron McHarg

Fine Art Inventory Manager, Wine & Spirits

Casey Foote

Consignments Administrator

Veronica Cross

AUCTION SERVICES

Trust & Estates Advisor

Henry G. McCall

Appraisals

Marc Fagan, Cameron McHarg

CATALOGUE CONSULTANTS

Asian Arts & Special Projects

Bettine Field Carroll

Decorative Arts & Victoriana

Ann M. Masson

Jewelry/GIA Graduate Gemologist

Stephen A. Moses