September 9th, 2017 - Collected in New Orleans by Neal Auction

Important Fall Estates Auction September 9 & 10, 2017 On Our Premises 4038 Magazine Street & 3923 Carondelet Street

Featuring: The Collection of the Sturm Family of St. Thomas and Trinidad, incl. Rare West Indies Furniture, Continental and English Decorative Arts, and Important Chinese Objects Fine Art and Sculpture from the Koch Collection, Metairie, LA The Collection of Michael Brown and Linda Green, New Orleans Property from the Collection of Renowned Mardi Gras Designer and Historian Henri Schindler, New Orleans Period Antique Furniture from an Esteemed Natchez, MS Collection Part II, Nineteenth Century American Furniture from the Estate of Antiquarian Jeff Mello, Sr., Gustine, CA Property from the Estate of Lynette Stilwell, New Orleans Part II, the Historic Collection of Gretchen & Alonzo Lansford, New Orleans And Property of Others

AUCTION SCHEDULE Saturday, September 9, 10 a.m., 4038 Magazine Street Sunday, September 10, 11 a.m., 3923 Carondelet Street EXHIBITION Both galleries beginning Monday, August 28, 10 a.m. to 5 p.m Special Saturday preview, September 2, 10 a.m. to 5 p.m. Please note that we will be closed Monday, September 4 in observance of Labor Day Evening Preview Reception, Thursday, September 7, 5 to 7 p.m.

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 • 504-899-5329

1-800-467-5329 • Fax: 504-897-3808 • www.nealauction.com

LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514, Carroll #2014, Fagan #1935

Collected in New Orleans The opening of the Orleans Gallery in 1956 was considered a significant event in terms of contemporary art in New Orleans. The gallery was non-profit and cooperative, offering community memberships and a place to give greater meaning to the art of New Orleans and the South. Following the closing of the Arts and Crafts Club in 1951, the artists of New Orleans were without a proper exhibition and community meeting space. During the seventeen years it operated, the Orleans Gallery fulfilled that need and expanded public awareness of contemporary art . The gallery presented outstanding exhibitions featuring artist-members and guest artists, including some with international reputations such as Henry Moore and Picasso. The seven founders: Robert Helmer, Shearly Grode, Lin Emery, Jack Hastings, George Dunbar, James Lamantia and Jean Seidenberg, created the first venue in New Orleans to devote itself entirely to contemporary art and inspired widespread interest among collectors which has only increased over subsequent years. By the end of 1960, the Orleans Gallery clearly had become the city’s main venue for contemporary art. The original number of artistmembers had more than doubled, and a knack for publicity kept gallery events and art highly visible in the city. The thirty-four artist-members of the Orleans Gallery, including renowned artists such as Ida Kohlmeyer, Jose Maria Cundin and George Dureau, laid the foundation for contemporary art in New Orleans, and demonstrated to the generations of artists who followed in their footsteps that there was a sophisticated collector base in the city willing to support an avant garde gallery. The Orleans Gallery’s successes prompted the opening of other art galleries in the city such as the Downtown Gallery, Glade Gallery, Circle Gallery, Bienville Gallery and later Galerie Simonne Stern in 1967 and Arthur Roger Gallery in 1978 to

promote the work of the city’s upcoming and established artists. Following the closing of the Orleans Gallery in 1973, the Contemporary Arts Center (CAC) was formed in 1976 as an artist-run, artist-driven community organization in the Warehouse District of New Orleans. The CAC continued the role of an artistic forum and space for new talent to develop in a multidisciplinary arts center and would act as a nucleus for a growing arts district in the surrounding neighborhood. By the 1984 World’s Fair in New Orleans, new galleries began to open along Julia Street, and today more than twenty-five galleries are located within the area. In 2003, the opening of the Ogden Museum of Southern Art on Camp Street opposite the CAC further solidified the Arts District as a focal point of contemporary art in the city. The success of the Orleans Gallery was all the more remarkable given the stylistic variation within the artist-members. Kohlmeyer was working within the language of abstract expressionism, while Helmer, Grode and Dunbar were incorporating widely different media with abstraction. Emery combined abstract sculpture and water to create fountains, and others alternated between realism and abstraction. The story told by the artwork of these artists and later contemporary artists in the city is one of perseverance and innovation. The paintings and sculptures offered here represent a unique group curated by local collectors from prominent galleries over the last five decades and provide a window into the rich and varied history of contemporary art in New Orleans and the surrounding areas.

Ref.: Orleans Gallery: The Founders New Orleans: The Historic New Orleans Collection, 1982. Barker, Claudia Ann. The Orleans Gallery and Art in New Orleans, 1945-1975. University of New Orleans Masters of Arts in History Thesis, 1981. 52

363. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Study: Girl with Flower”, 1956, oil on masonite, signed lower right, titled on reverse of frame, 48 in. x 29 1/4 in., original frame. $8000/12000

Note: Dissatisfied with what she called a “vapid, dilettante life,” Ida Kohlmeyer first joined the John McCrady Art School in 1947, and then began classes at Newcomb College under Pat Trivigno in 1950. Completing her Master’s Thesis in 1956, which included an introductory essay and a “Series of Paintings Concerning the Mood of Aloneness in Children,” Kohlmeyer worked directly from models, attempting to capture the particular mood of the children she was painting, particularly a sense of introspection.

turquoise and burnt orange colors are a clear precursor to Kohlmeyer’s later works.

As one of these early works, “Study: Girl with Flower” clearly indicates the path Kohlmeyer would follow from representational to abstraction, as well as the development of a specific palette that would remain in her oeuvre throughout her career. Kohlmeyer writes, “Color, as a factor, became increasingly more challenging. In the early pieces, I used restrained color, with limited palettes. I found as I continued, I could use intense colors without destroying the mood if I kept them low in value.” In the current lot, the intense

Ref.: Kohlmeyer, Ida. Introductory Essay for a Series of Paintings Concerning the Mood of Aloneness in Children. Tulane University Masters of Fine Arts Thesis, 1956. Engeran, Whitney J. “Reflections on Lyrical Power: A Kohlmeyer Study.” Ida Kohlmeyer: Thirty Years. Charlotte, NC: Mint Museum, 1983. Plante, Michael. Ida Kohlmeyer. New Orleans: Newcomb Art Gallery, 2004.

The stillness and contemplation of the young girl in this piece, particularly when surrounded by such a vibrant background, serves to highlight the mood that Kohlmeyer was trying to capture. This balance between figure and background, quietude and movement, and juxtaposition of color, are themes Kohlmeyer would continue to explore throughout her career.

Neal Auction Company would like to thank Jane Lowentritt for her assistance with this note.

Additional information at www.nealauction.com

365. Robert Helmer (American/New Orleans, 1922‑1990), “Horse”, 1974, markers on paper, signed and dated lower right, “Circle Gallery, St. Charles Ave., New Orleans” label en verso, 24 in. x 19 in., framed. $700/900

364. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Debris”, c. 1960, oil on canvas, signed lower right, titled and artist identified en verso, 40 in. x 36 in., original frame. $12000/18000 Provenance: Descended in the family of the artist. Note: By the 1960s, Marie Hull was painting in a fully developed Abstract Expressionist style as exemplified by the painting offered here, titled “Debris.” Hull’s work indicates a dynamic and complex palette. She employs dark, gestural brushstrokes in contrast to a diffusion of white and pink pigment. Fragments of vivid yellows, greens and blues emerge through the muted tones which dominate the canvas. The energy of the composition and the gestural and vibrant use of color make “Debris” an exceptional Abstract Expressionist canvas. The work relates to the important painting “Snow Hill,” which was featured in the groundbreaking exhibition and monograph on Hull at the Mississippi Museum of Art in September of 2015. The work offered here also has an exceptional provenance, having been in the artist’s private collection and descended through her family until being offered onto the market at this time.

366. Robert Helmer (American/New Orleans, 1922‑1990), “Sailboat”, oil and mixed media on board, signed lower right, 28 in. x 28 in., period frame. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

367. George Valentine Dureau (American/New Orleans, 1930‑2014), “Those Who Share Life”, 1991, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 51 in. x 40 1/2 in., framed. $4000/6000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

368. George Valentine Dureau (American/New Orleans, 1930‑2014), “Angel Playing a Flute”, 1992, charcoal and crayon on paper, signed and dated lower right, sight 24 in. x 20 in., framed. $700/1000

369. George Valentine Dureau (American/New Orleans, 1930‑2014), “Angel Playing a Trumpet”, 1992, charcoal and crayon on paper, signed and dated lower right, sight 24 in. x 20 in., framed. $700/1000

370. Jean Seidenberg (American/New Orleans, b. 1930), “Charlotte as Flora”, 1983, egg tempera on masonite, signed and dated lower left, signed, titled and dated en verso, 32 in. x 36 in., framed. $2000/3000 Ill.: Seidenberg, Jacob Jean. Paintings, Drawings, Sculpture: Jean Seidenberg, New Orleans: Silkmont and Count, 2009, pp. VII and 67. Note: In 1981, New Orleans artist Jean Seidenberg married Charlotte, a garden expert, author and naturalist. He painted a series of portraits of Charlotte that convey her love of flowers as well as their blossoming relationship. The work offered here, painted in 1983-84 and titled “Charlotte as Flora,” depicts his wife wearing a wreath of ivy and a floral embroidered blouse, standing next to a bouquet of brightly colored flowers. Described as a modern-day “Flora,” this arresting and vibrant composition is reproduced in the monograph on Jean Seidenberg published by the Louisiana Endowment for the Humanities and stands out among the well-known artist’s many sensitive portraits. Ref.: Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, p. 67. “Jean Seidenberg: A Brush with the Intimate”, Louisiana Cultural Vistas, Spring 2008, Vol. 19, No. 1, p. 10.

371. John T. Scott (American/New Orleans, 1940‑2007), “Border Crossing I”, 1985, painted bronze kinetic sculpture, unsigned, h. 14 in., w. 35 in., d. 2 1/2 in. $4000/6000 Provenance: Galerie Simone Stern, New Orleans, 1985; Koch Collection, Metairie, LA.

372. John T. Scott (American/New Orleans, 1940‑2007), “Just Two (Street Dancer), Diddlie Bow Series”, painted brass kinetic sculpture, h. 33 in., w. 10 1/2 in., d. 11 in. $4000/6000 Provenance: Galerie Simone Stern, New Orleans, 1985; Koch Collection, Metairie, LA. Note: Well-known artist and professor, John T. Scott was one of New Orleans’ greatest contemporary artists and an important figure in the art community. After attending Michigan State University for his graduate degree, Scott returned to New Orleans to join the faculty at Xavier University in 1965, where he taught for forty years.

373. George Bauer Dunbar (American/New Orleans, b. 1927), “Sailboats”, 1959, gouache and ink on paper, signed and dated lower right, 10 in. x 17 1/4 in., framed. $1000/2000

374. George Bauer Dunbar (American/New Orleans, b. 1927), “Bridge”, gold leaf on red clay, signed lower right, 23 3/4 in. x 33 in., framed. $7000/10000

During his career, Scott’s style of sculpture and the materials used varied; the most recognizable being his kinetic sculptures, which he began creating with the “Diddlie Bow” series in 1983. Often incorporating his African-American heritage into the symbolism behind his works, Scott found inspiration in the stories he heard about “traditional African hunters who used their hunting bows in musical absolutions following the killing of their prey.” The movement of the sculptures, which sway in the wind, resembles the rhythms throughout a piece of music, in addition to referencing the “diddley bow,” a one-stringed musical instrument affixed to a porch or wall, commonly found in the Mississippi Delta. Ref.: Powell, Richard J. Circle Dance: The Art of John T. Scott. New Orleans: New Orleans Museum of Art, 2005 Additional information at www.nealauction.com

375. George Bauer Dunbar (American/New Orleans, b. 1927), “Torso”, 1990, clay, mixed media and egg emulsion on board, signed and dated en verso, 23 in. x 23 in., framed. $7000/10000

376. George Bauer Dunbar (American/New Orleans, b. 1927), “Untitled (Three Figures)”, clay, mixed media and egg emulsion on board, signed upper and lower left and en verso, 22 in. x 29 in., period frame. $2500/3500 Provenance: Galerie Simonne Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

377. Lin Emery (American/New Orleans, b. 1926), “Flower Dance”, 1990, polished aluminum, signed on self‑base, h. 47 in., dia. 16 in., granite pedestal, overall h. 71 in. $25000/35000 Provenance: Arthur Roger Gallery, New Orleans, 1992; Koch Collection, Metairie, LA. Note: The narrative of Lin Emery’s work from the static to the animated is a compelling one. In 1949, a sojourn in Paris would mark the inauguration of Lin Emery, the sculptor. Inspired by her mentor, Ossip Zadkine and the Romanesque works in the Musée de l’homme, Emery would incorporate the aesthetics and ideologies of both into her early religious works. Back in her adopted home of New Orleans as a studio assistant to Enrique Alferez, she was approached by the Father Judge Mission Seminary to create a series of sculptures for their church in Virginia. The resulting works are elongated and elegant figures representing familiar religious characters. In 1952, Emery would attend the Sculpture Center in New York and learn how to weld and cast metal. There her main influence would be Seymour Lipton and his textured welded forms. With metal being her newfound medium of choice, Emery focused her efforts on making it move. Inspired by the small fortuitous incident of witnessing a drop of water hit a spoon and make it rock in her kitchen sink, Emery focused her efforts and engineering ingenuity into building moving water forms she dubbed “aquamobiles.” This would be her first foray into kinetic sculpture. In 1965, Emery began experimenting with magnets, which she would hide in both the individual elements of her works and in the hidden motorized base, the rotation of which would cause sporadic, undulating movements. While the “aquamobiles” and “magnetmobiles” were effective in their capacity to convey a certain vitality, they would prove too constraining in their reliance on electricity and pumps. It was her 1977 discovery and subsequent usage of ball bearings in her works that would transform the way her sculptures move, giving them a freedom and autonomy that was unattainable previously. With this new lightness in articulation, she took to the wind, which would prove her most reliable source of movement. In the lots offered here, an early “magnetmobile” dances hauntingly on a stand, and both a small and large-scale petal form sculpture spin and whirl in an unpredictable, yet elegant frenzy. Ref.: Palmedo, Philip F. Lin Emery. Manchester: Hudson Hills, 2011.

378. Lin Emery (American/New Orleans, b. 1926), “Petal Forms”, polished aluminum, signed on self‑base, h. 17 in. $3000/5000 Provenance: Koch Collection, Metairie, LA.

379. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Synthesis 92‑3”, 1992, oil and mixed media on canvas, signed and dated lower right, artist label with title and “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso, 42 in. x 60 in., framed. $30000/50000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA. 380. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Symbolic Pole I”, 1991, painted aluminum, signed and dated, h. 90 in., w. 36 in., d. 28 in. $18000/25000 Provenance: Arthur Roger Gallery, New Orleans. Note: Beginning in the late 1960s, Ida Kohlmeyer explored the extension of her pictorial compositions into three-dimensions. Taking several approaches in both small and large scale, the initial sculptures played with form and texture, almost always reflecting her contemporaneous paintings. By the mid1980s, Kohlmeyer was extracting shapes from her grid paintings and reassembling them into totemic forms that served as anthropomorphic representations within her complex visual language. As the sculptures developed, the scale increased and the works, created in fabricated steel or aluminum and then painted, became more elaborately volumetric, as seen in the monumental “Symbolic Pole I” of 1991 offered here. The brightly-colored shapes exist free of their constraining framework, alternately overlapping and isolating depending on the location of the viewer. Ref.: Ida Kohlmeyer: Recent Works. Morris Museum of Art, 1996. Plante, Michael. Ida Kohlmeyer – Systems of Color. New Orleans: Newcomb Art Gallery, 2004.

381. Paulette Tokar Whiteman (American/Louisiana, b. 1950), “Anticipation and Reflection”, 1983, acrylic and collage on canvas, signed, titled and dated en verso, 36 1/2 in. x 32 1/2 in., framed. $3000/5000.

382. Lin Emery (American/ New Orleans, b. 1926), “Leaf Play”, aluminum, magnets and motor, signed, painted stand, overall h. 42 1/2 in. $4000/6000

Provenance: Koch Collection, Metairie, LA.

Provenance: Joel Weinstock Collection, New Orleans, LA.

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383. Robert Gordy (American/Louisiana, 1933‑1986), “The Wall”, 1978, acrylic on canvas, signed, titled, dated and “New Orleans Museum of Art” label with artist and title en verso, 28 in. x 63 1/4 in., period frame. $3000/5000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

385. Richard A. Johnson (American/New Orleans, b. 1942), “Mint Ring (Study for Stereoscope)”, 1985, acrylic and mixed media on gesso board, unsigned, “Galerie Simonne Stern, New Orleans” label identifying artist, title and date en verso, 10 in. x 20 in., framed. $400/600 Provenance: Galerie Simonne Stern, New Orleans, 1986; Koch Collection, Metairie, LA.

384. Robert Gordy (American/Louisiana, 1933‑1986), “Woman in Water”, 1970, acrylic on canvas, initialed “R.G.” and dated lower right, signed, titled, dated and “Galerie Simonne Stern, New Orleans” label en verso, 22 1/2 in. x 21 1/2 in., period frame. $2000/3000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

386. Richard A. Johnson (American/New Orleans, b. 1942), “Abstract Form”, acrylic painted papier-mâché and laminated wood, unsigned, h. 14 1/2 in., w. 12 in., d. 6 in. $300/500

Provenance: Arthur Roger Gallery, Magazine St., New Orleans, 1985; Koch Collection, Metairie, LA.

387. Gene Koss (American/New Orleans, 20th c.), “Ridge Road Climb”, 1974, cast glass with color embellishment, signed, titled and dated, h. 11 in., w. 11 in., d. 2 in. $700/1000

388. Gene Koss (American/New Orleans, 20th c.), “Ridge Climb”, 1985, cast glass with color embellishment, signed, titled and dated, h. 14 1/4 in., w. 12 in., d. 4 in. $700/1000

Note: After obtaining his Master of Fine Arts degree at Tyler School of Art at Temple University, Gene Koss founded the well-known Tulane University glass program and brought the movement of glass art to New Orleans. Working with serial cast glass parts to enlarge scale and combining these elements with iron and neon, Koss has raised glass sculpture to the realm of public art, and he has had a profound impact on American artists working in both steel and glass media. In addition to his innovative techniques to transform his memories of the mechanized Wisconsin farm of his youth into foundry-based glass sculptures on a massive scale, Koss also combines glass and steel found objects to create stand alone, small-scale sculptures such as the ones offered here, which often serve as studies for his larger-scale works. Ref.: “Gene Koss.” Arthur Roger Gallery. www.arthurrogergallery.com. Accessed July 23, 2017.

389. Pat Trivigno (American/New Orleans, 1922‑2013), “Atchafalaya Swamp #3”, 1982, oil on canvas, signed lower left, “New Orleans Museum of Art” exhibition label with title and date en verso, 84 in. x 96 in., period frame. $3000/5000 390. Frank Hayden (American/Louisiana, 1934‑1988), “Group Carrying Corpse”, mixed media, signed on self‑base, label with artist and title on reverse of base, h. 31 in.; together with “Proposed Design for Tabernacle at St. Pius Church, Baton Rouge (never materialized)”, color pencil on illustration board, unsigned, handwritten label with title and printed label identifying artist en verso, 32 in. x 20 in., framed. (2 pcs.) $2000/3000

Provenance: Collection of the Louisiana Land Trust and Exploration Company, New Orleans. Exh.: “Pat Trivigno: The Search for Inner Form”, New Orleans Museum of Art, 1994 and illustrated in the accompanying catalogue, p. 30.

391. Jack Gates (American/Louisiana, b. 1946), “Paperclip Table”, mahogany and steel, unsigned, h. 16 1/2 in., w. 73 in., d. 23 in. $3000/5000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

392. Rick Brunner (American/ Louisiana, b. 1954), “Medieval Shield”, 1997, wood, metal, leather, rubber and pigment, signed, titled, dated, “Brunner Gallery” label and handwritten hanging instructions en verso, h. 74 in., w. 46 in., d. 5 in. $2500/3500

393. Rick Brunner (American/ Louisiana, b. 1954), “Bearing the Beauty”, 2002, wood, metal and pigment, signed, titled, dated and “Brunner Gallery” label en verso, h. 85 in., w. 32 in., d. 6 in. $2500/3500

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395. Fred Trenchard (American/New Orleans, b. 1941), “Bicycle Dream”, 1968, oil and mixed media on canvas, signed and dated upper left, titled, dated and inscribed en verso, 60 in. x 60 in., framed. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. 394. Peter Dean (German/American, 1934‑1993, act. New Orleans, 1970‑1991), “No Evil”, 1975, oil and mixed media on canvas, signed lower left, signed, titled, dated and inscribed “N.Y.C.” en verso, 36 in. x 30 in., period frame. $1200/1800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

396. Bill Barrell (British/American, b. 1932, act. Baton Rouge, 1982), “Coffee Klatch”, 1976, oil on canvas, signed and dated lower right, 57 in. x 75 3/4 in., period frame. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Note: In 1982, Bill Barrell was a visiting artist at the School of Art + Design, LSU.

397. Fred Trenchard (American/New Orleans, b. 1941), “Untitled: Girl in Limbo”, 1971, oil on canvas, unsigned, “Galerie Simonne Stern, Royal St., New Orleans” label with artist and date en verso, 48 in. x 48 in., period frame. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

398. Paulette Tokar Whiteman (American/Louisiana, b. 1950), “My House”, “A Lick”, and “724”, 1992, 3 acrylic, collage and mixed medias on paper, each signed, titled and dated lower margin, sights 7 1/4 in. x 7 1/4 in. to 9 1/2 in. x 7 1/2 in., framed alike. (3 pcs.) $1500/2500 Provenance: Sylvia Schmidt Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

399. Gail Paradise (American/ Louisiana, 1939‑2005), “Clear Female Torso”, cast glass and gold leaf on granite base, unsigned, overall h. 17 in. $500/800 Provenance: Carol Robinson Gallery, New Orleans, 1998; Koch Collection, Metairie, LA.

400. Gail Paradise (American/Louisiana, 1939‑2005), “Blue Female Torso”, cast glass on granite base, signed, overall h. 12 3/4 in. $500/800

401. Hunt Slonem (American, b. 1951), “Shiva”, 1982, oil on canvas, signed, titled and dated en verso, 60 in. x 72 in., unframed. $5000/8000

Provenance: Carol Robinson Gallery, New Orleans, 1998; Koch Collection, Metairie, LA.

402. Gail Paradise (American/ Louisiana, 1939‑2005), “Red Sun Face”, 1994, cast glass on granite base, initialed “G.P.” and dated, overall h. 9 in. $400/600 Provenance: Carol Robinson Gallery, New Orleans, 1999; Koch Collection, Metairie, LA.

403. José Torres‑Tama (Ecuadorian/New Orleans, b. 1961), “Louis Armstrong: In Memory of Satchmo”, 2004, pastel on paper, signed lower left, signed, titled, dated and inscribed en verso of backing board, 28 in. x 20 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

405. Douglas Bourgeois (American/Louisiana, b. 1951), “Sal Mineo”, 1982, mixed media and collage on board, signed and dated lower right, 7 3/4 in. x 10 in., framed. $800/1200

404. José Torres‑Tama (Ecuadorian/ New Orleans, b. 1961), “Rose Nicaud, Free Woman of Color”, 2004, pastel on paper, signed and dated lower left, 22 in. x 14 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

406. Edward Whiteman (American/Louisiana, b. 1938), “Toy Landscape”, 1969, mixed media on wood, initialed “E.W.” and dated upper right, signed, titled and dated en verso, 43 in. x 48 in., period frame. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Additional information at www.nealauction.com

407. Justin Forbes (American/New Orleans, b. 1967), “Long Beach”, 1995, oil on canvas, signed and dated lower left, signed, titled and dated en verso, 48 in. x 60 in., framed. $7000/10000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Ill.: Justin Forbes Art website, http://justinforbesweekly.com/pre‑2007 artwork. Note: Justin Forbes moved to New Orleans after studying art in New York and has said “I found that it reminded me of the freedom I enjoyed traveling around Europe, and gave me an opportunity to meet other young artists and collaborate with them in unimaginable ways. Our lives became the main subject of my art, and there was a seamless overlap between the two…” Autobiographical elements combine with imaginative landscapes in his works to create complicated and often intimate tableaux that are rich with elements of realism, exaggeration of perspective and a not-so-subtle surrealism. The canvas becomes a stage, where the viewer is left to provide their own interpretation of the drama. The interaction between the figures, some acknowledging the viewer and others not, the mysterious clues and the setting itself all become central to the narrative. In the work offered here, Forbes is at his best – merging elements of social unrest, violence and an idyllic summer day on the beach. Ref.: “Bio.” Justin Forbes Art. www.justinforbes.weebly.com. Accessed July 25, 2017.

408. Aaronel deRoy Gruber (American/ Pennsylvania, 1918‑2011), “Untitled: Tower in Pink, Orange, Blue and Gray”, Plexiglas, unsigned, h. 74 in., w. 23 in., d. 23 1/2 in., black Plexiglas base, overall h. 86 1/4 in. $5000/8000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

410. Fred Trenchard (American/New Orleans, b. 1941), “Chaotic Scene in Yellow” and “Chaotic Scene in Yellow with a Man and Cars”, 1971, 2 watercolors on paper, each signed and dated lower right, “Royal Wishing Gates Art Gallery, New Orleans” labels en verso, sheets 28 in. x 22 in., framed alike. (2 pcs.) $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

409. Aaronel deRoy Gruber (American/ Pennsylvania, 1918‑2011), “Untitled in Blues and Greens”, 1970, Plexiglas with black light, signed, dated and numbered “3/8”, h. 17 1/2 in., w. 16 in., d. 10 1/4 in. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

411. Gina Laguna (American/New Orleans, 20th c.), “Interlocking Rectangles”, welded steel, unsigned, h. 20 in., w. 25 in., d. 6 in. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

412. Scott de Montluzin (American/New Orleans, 20th c.), “Suspended White Cubes”, painted wood, signed, h. 51 in., w. 14 in., d 14 in. $500/700 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

413. George Rodrigue (American/Louisiana, 1944‑2013), “Mississippi Card Sharp”, 1978, oil on canvas, signed lower left, signed, titled, dated and artist stamps en verso, 24 in. x 36 in., framed. $25000/35000 Note: In this 1978 canvas, George Rodrigue combines several of his most memorable Cajun themes within a classic Louisiana landscape – horse racing and gambling. Titled “Mississippi Card Sharp,” most likely after the figure on the left in blue and black, the card sharp stands out among his Cajun counterparts, who are clad in glowing white against the dark foliage. The horse blends into the dark oak tree, perhaps the participant of a recent match race or claiming race, and the card game is most likely bourré, a trick-taking gambling card game common to Acadiana. As Rodrigue writes in The Cajuns of George Rodrigue of 1976, “The only thing that an outsider may be sure of is that he can bet with a Cajun on almost anything he wants. The typical place for most betting used to be in little country stores. Even today bourré games are going on in the back of these stores scattered throughout South Louisiana.” Ref.: Rodrigue. George. The Cajuns of George Rodrigue. Birmingham, AL: Oxmoor House, Inc., 1976.

414. George Rodrigue (American/Louisiana, 1944‑2013), “I Feel Good”, oil on canvas, signed lower left, 24 in. x 29 3/4 in., original frame. $30000/50000

416. Hunt Slonem (American/ Louisiana, b. 1951), “Two Parrots”, 2003, oil on board, signed, dated, inscribed and drawing of a toucan en verso, 9 1/4 in. x 7 1/4 in., antique frame. $1800/2500

417. Hunt Slonem (American/ Louisiana, b. 1951), “Yellow Bunny”, 2003, oil on board, signed, dated and inscribed en verso, 8 3/4 in. x 6 1/2 in., framed. $1800/2500 415. Hunt Slonem (American/Louisiana, b. 1951), “Gold Bunny”, 2015, oil on wood panel, signed and dated en verso, 20 in. x 16 in., framed. $2000/3000 Additional information at www.nealauction.com

418. Alexei E. Kazantsev (Russian/New Orleans, b. 1966), “Weeping Torso”, Carrara marble, initialed “A.K.” lower right, h. 32 in., w. 15 in., d. 8 in. $1200/1800 Provenance: Carol Robinson Gallery, New Orleans; Koch Collection, Metairie, LA.

419. Alexei E. Kazantsev (Russian/New Orleans, b. 1966), “Torso”, Carrara marble, initialed “A.K.” and inscribed “14”, h. 30 in., w. 9 in., d. 7 in. $1000/1500

420. Robert Gordy (American/ Louisiana, 1933‑1986), “Male Nude”, monotype on paper, unsigned, 30 in. x 22 1/2 in., framed. $1500/2500 Provenance: Arthur Roger Gallery, New Orleans, 1994; Koch Collection, Metairie, LA.

Provenance: Carol Robinson Gallery, New Orleans, 2000; Koch Collection, Metairie, LA. Exh.: “Alexei Kazantsev, Neoromanticism: New Work in Marble”, Carol Robinson Gallery, New Orleans, May 2000.

421. Jason DuMouchel (American/New Orleans, b. 1970), “Portrait of Blake”, 2001, signed and dated lower right, signed, titled and dated en verso, 24 in. x 24 in., framed. $700/900

422. Jason DuMouchel (American/ New Orleans, b. 1970), “You didn’t hear this from me, but...”, 2001, oil on canvas, signed, titled and dated en verso, 22 in. x. 22 in., framed. $700/900

423. Mary Louise Snowden (American, b. 1952), “Genesis: Sketch”, lithograph on paper, signed and numbered “89/1000” lower left, “Masterpiece, Laguna Beach, CA” labels with artist and title en verso, 9 1/2 in. x 12 in., framed. $300/500

424. David Harouni (Iranian/New Orleans, b. 1962), “The Red House by the Orchard”, oil on masonite, signed lower left, 16 in. x 12 in., framed. $1200/1800

426. Peter Dean (German/ American, 1934‑1993, act. New Orleans, 1970‑1991), “Catskill Eve”, 1978, acrylic on paper, signed lower right, signed, titled, dated, inscribed and “The Times Picayune, The World of Art” 1979 article on the artist en verso of backing board, 19 in. x 24 in., framed. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

425. Peter Dean (German/American, 1934‑1993, act. New Orleans, 1970‑1991), “Self‑Portrait”, 1977, watercolor and graphite on paper, signed and dated lower left, signed, dated and inscribed mid‑right, 12 1/2 in. x 9 1/2 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

429. Babette Beaullieu (American/ Louisiana, 20th c.), “La Femme”, carved and stained wood with painted rock, unsigned, h. 83 in., w. 9 in., d. 3 in. $1200/1800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

427. Denice Bizot (American/ New Orleans, 20th c.), “Nordic Chute”, 1999, found metal, signed and dated under base, h. 39 1/4 in., w. 28 in., d. 11 in., pedestal, overall h. 76 in. $800/1200

428. Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Standing Draped Woman”, graphite on paper, unsigned, 28 1/4 in. x 18 in., framed. $800/1200

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Provenance: Acquired from the artist; thence by descent in a New Orleans family.

431. Terry Weldon (American/New Orleans, b. 1947), “Disc”, 1988, enamel on metal, unsigned, 46 in. x 44 1/2 in. $3000/5000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

430. Joseph B. O’Sickey (American/Ohio, 1918‑2013), “Porch in Light Key with Climbing Rose”, 1987, oil on canvas, signed and dated lower right, “Kennedy Galleries, Inc., NYC” label with title en verso, 48 in. x 60 in., framed. $3000/5000 Provenance: Kennedy Galleries, Inc., New York.

432. Fletcher Benton (American/California, b. 1931), “Untitled #5”, 1989, varnished steel, signed and dated on inner curvature, h. 22 in., w. 51 1/2 in., d. 20 in., pedestal, overall h. 41 1/2 in. $7000/10000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Ill.: Lucie‑Smith, Edward. Fletcher Benton. New York: Harry N. Abrams,Inc., 1990, p. 288.

433. David Hockney (British, b. 1937), “Lithographic Water Made of Lines, Crayon and Two Blue Washes with Green Wash”, 1978‑1980, color lithograph in colors on TGL handmade paper, pencil‑signed and dated lower right, pencil‑numbered “67/85” lower left, published by Tyler Graphics Ltd., Mount Kisco, New York with blindstamp lower right, image 21 1/2 in. x 29 in., sheet 29 1/2 in. x 34 1/2 in., framed. $25000/35000

Note: Beginning his art career in San Francisco, Fletcher Benton was initially influenced by the Beatnik culture of the 1950s and 1960s. His early works in oil paint and kinetic sculpture included geometric themes that eventually transitioned to his mature works. By the late 1970s, Benton moved from kinetic to stationary sculptures made of metal, working in both large and small scale. Some of Benton’s most popular series, such as Folded Circles, Steel Watercolors, and the Alphabet Series, came out of his experimentation with metal sculptures. However, Benton often made stand-alone pieces as well. The current lot, although intentionally untitled by the artist, exhibits elements of Benton’s One Legged Tables Series, which modify the positive and negative space to create a complex interaction between the curved round pieces and the sharp, piercing linear forms. Ref.: Lucie-Smith, Edward. Fletcher Benton. New York: Harry N. Abrams, 1990. 435. Manuel Neri (American/California, b. 1930), “Passage, Maquette II”, 1996, bronze with patina, signed, dated and numbered “1/4” on self‑base, “Galerie Simonne Stern, New Orleans” label with artist and title under base, h. 24 in., w. 6 in., d. 8 in. $8000/12000 Provenance: Galerie Simonne Stern, New Orleans, 1998; Koch Collection, Metairie, LA.

434. Jim Dine (American, b. 1935), “White Robe on Black Paper”, 1977, lithograph on paper, pencil‑signed dated and numbered “29/100” lower, sheet 41 1/2 in. x 29 1/2 in., framed. $3000/5000

Note: While the human form is one that has been studied and executed by artists since the genesis of Western art, Manuel Neri’s take on figurative sculpture is intensely poignant. With a painter’s eye and aesthetic, he is able to incorporate those related characteristics into his three-dimensional works. As Hilton Kramer points out in his 1981 New York Times review of Neri’s solo show at the Cowles Gallery, “[w]hat distinguishes Mr. Neri’s art is the way he has combined the traditional nude figure with the interests of painting. While his conception of the figure tends to be classical, his painterly sensibility is decidedly Expressionist. There is thus an extraordinary tension - or, if you will, a dialectic - built into the very crux of his style. This gives the work a very individual dynamism, even if at times it also leaves us with the impression of something teetering on the brink of dissolution.” In the lot offered here, the sense of impending dissolution is nearly palpable. The fragile humanoid figure appears to be emerging from its surroundings, and Neri highlights the tension between animation and stagnation. The sculpture’s coarse surface and incomplete form is reminiscent of the rough brushstrokes of a quick painting sketch, while as a whole remaining remarkably complete and well balanced. Ref.: Kramer, Hilton. “Art: First Solo Show for Manuel Neri”. The New York Times. Feb. 27, 1981. www.nytimes.com. Accessed July 26, 2017. Additional information at www.nealauction.com

436. Don Nice (American, b. 1932), “Tootsie Pops”, 1974, color lithograph on paper, pencil‑signed, titled and numbered “14/50” lower margin, 22 1/2 in. x 34 in., framed. $700/1000

437. Timo Arturi Solin (Finnish/ Sweden, b. 1947), “Staende Kvinna (Standing Woman)”, patinated and polished bronze, signed and inscribed “3/4 E.A.” lower right (rear foot), h. 22 1/2 in., w. 21 in., d. 11 in. $4000/6000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. 438. Roy Lichtenstein (American, 1923‑1997), “Cathedral #5 (Rouen)”, 1969, lithograph in black and yellow on Special Arjomari, pencil‑signed, dated and inscribed “TPI” (Trial Proof I) lower margin, edition of 75, published by Gemini G.E.L., Los Angeles, Corlett 79, blind stamp lower right margin, printer’s ink stamp with pencil inscription “RL69‑29” en verso, artist label with title, date and printed artist biography on reverse of backing board, image 41 3/4 in. x 27 in., sheet 48 1/4 in. x 32 1/4 in., framed. $6000/8000

440. Pedro Friedeberg (Mexican, b. 1936), “Explicaciones de Casanova a Kafka: La vida intima de un cobarde”, 1973, lithograph, pencil‑signed, titled, dated and numbered “XLVI/L” lower margin, titled in plate upper mid‑right, 19 1/2 in. x 19 1/2 in., framed. $300/500

441. Archie Held (American/California, b. 1955), “Slim”, 1993, bronze and mixed media water sculpture, unsigned, h. 70 in., w. 31 in., d. 18 in. $8000/12000 Provenance: Weinstein Gallery, San Francisco, 1993; Koch Collection, Metairie, LA.

439. Pedro Friedeberg (Mexican, b. 1936), “Ya Conocimos a Diaghilev”, 1975, lithograph, pencil‑signed and numbered “108/175” lower margin, 23 1/2 in. x 23 3/4 in., framed. $300/500

Note: Archie Held has been sculpting out of his home base in Richmond, California since the 1970s. Held’s most oftchosen media are bronze and stainless steel, often with a water element involved. “Water is the basic common denominator we all share – water adds life.” His 1993 creation offered here, “Slim” showcases Held’s main sculptural preoccupations: simple elegant designs utilizing the permeance of metals with the addition of water to add vitality and complement the timelessness of his designs. In describing the inspiration for his works, “I am drawn to forms that embody the essence of growth and strength.” Ref: “Press.” Archie Held Studio. www.archieheld.com. Accessed July 21, 2017.

442. Alexander Calder (American, 1898‑1976) with Carlos Franqui (Cuban, 1921‑2010), “Lo Oscuro Invade”, 1975, color lithograph, pencil‑initialed “CA”, pencil‑signed “Carlo Franqui” and pencil‑numbered “48/500” lower margin, sight 25 3/4 in. x 36 3/4 in., framed. $700/1000

443. Lowell Nesbitt (American, 1933‑1993), “Spotted Lilly”, 1973, serigraph, pencil‑signed, dated and numbered “55/100” lower margin, sheet 34 in. x 31 1/2 in., unframed. $300/500

444. Robert Wick (American/Arizona, 20th c.), “Golden Head”, cast bronze on stone base, unsigned, h. 16 in., w. 14 in., d. 11 in., pedestal, overall h. 56 1/2 in. $2000/3000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

445. Milton Avery (American, 1885‑1965), “The Break”, 1956, ink and crayon on paper, signed and dated lower right, titled en verso “Donald Morris Gallery, Inc., Birmingham, MI”, “Pensler Galleries, Washington D.C.” and “DC Moore Gallery, New York” labels with artist, title and date en verso of backing board, 17 in. x 14 in., framed; accompanied by a copy of DC Moore Gallery invoice, 2000. $2000/3000 Provenance: Donald Morris Gallery, Inc., Birmingham, MI; Pensler Galleries, Washington, D.C.; DC Moore Gallery, New York.

446. Bruce Conner (American/ California, 1933‑2008), “Still Life”, 1963, ink on paper, signed, titled and dated on backing board, “Picasso Frames, Marina Del Rey, CA” and “Christie’s 11‑Jan‑11, Lot 11” labels en verso, 23 3/4 in. x 17 3/4 in., matted and framed; accompanied by copy of original Christie’s 2011 invoice. $3000/5000

Provenance: Property from the Collection of Dennis Hopper, Christie’s New York, Rockefeller Center, Jan. 11, 2011, lot 11.

447. American School, 20th c., “Twisted Figure”, bronze on stone base, inscribed “Fitch”, h. 10 1/4 in., w. 10 in., d. 7 in. $600/800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

449. Bertil Vallien (Swedish, b. 1938), “Journey 85‑23”, 1985, sand cast glass and mixed media, signed, titled and inscribed “Pilchuck”, h. 3 1/2 in., w. 21 in., d. 5 1/2 in. $3000/5000

448. Nils Obel (Danish/Maine, b. 1937), “Diver and Crab”, 1978, oil on canvas, signed lower right, signed, titled and dated en verso, 39 1/4 in. x 32 in., framed. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Note: Swedish artist Bertil Vallien is often credited as the artist who pioneered and perfected the method of sand casting glass. The method gives glass artists the ability to imbed objects and layer glass and colors in a unique way, with often very mysterious, atmospheric results. One of his most celebrated and recognized series are his boats, such as the one offered here “Journey 85-23”. When speaking of Vallien’s artwork, the Alliance for Contemporary Glass describes it thus, “His interiors glow. It isn’t the surface outward appearance but the interior behind the form, he puts a protective skin over his glass to enclose the light. There, encapsulated, it leads a life of its own and becomes a cosmos of mythical colors, fantastical forms and universal archetypes.” Vallien’s own words are more simple, “Glass eats light.” Ref.: “Bertil Vallien.” Alliance for Contemporary Glass. www.contemporaryglass.org. Accessed July 24, 2017.

Provenance: Arthur Roger Gallery, Magazine St., New Orleans, 1987; Koch Collection, Metairie, LA. Additional information at www.nealauction.com

450. Jim Bird (British/American, 1937‑2010), “Iberian Stone II”, 1990, acrylic on canvas, signed, titled and dated “90/May” en verso, 60 in. x 24 in., period frame. $1500/2500 Provenance: Galerie Simonnie Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

451. Jim Bird (British/American, 1937‑2010), “Imagination is Funny”, 1990, acrylic on canvas, signed, titled, and dated “90/May” en verso, 36 in. x 32 in., period frame. $1000/1500 Provenance: Galerie Simonne Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

452. Joe Sorci (American/Tennessee, b. 1956), “Untitled”, stone, signed on base, h. 14 in., w. 26 in., d. 17 in., pedestal, overall h. 51 in. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

453. Kirils Pantelejevs (Latvian/California, b. 1969), “The Thinker”, bronze on stone base, initialed “K.P.”, overall h. 24 in. $1000/1500 Provenance: Cobra Fine Art, San Francisco, 1993; Koch Collection, Metairie, LA.

454. Hayne E. Rudolph (American/Mississippi, late 20th c.), “John Lennon”, papier mâché and mixed media, signed “Hayne” in armpit, titled on left shoe, h. 40 1/4 in., w. 31 in., d. 21 in. $800/1200

455. Luis Colmenares (American/New Orleans, 20th c.), “Untitled: Geometric Forms”, 1993, surface embellished stainless steel, metal stand, signed “Luis” and dated on self‑base, h. 43 1/2 in., w. 24 in., d. 18 in., metal pedestal, overall h. 70 in. $800/1200

456. Mark T. Smith (American/Florida, b. 1968), “New Orleans Elephant”, 2009, graphite on paper, signed, monogrammed “M”, titled and dated lower left, 22 1/2 in. x 30 1/4 in., unframed; accompanied by book Mark T. Smith, 2006. $1500/2500 .

459. Mary Louise Snowden (American, b. 1952), “Cambrian Sea Fan”, bronze, signature and “PP 9/10” inscribed and “Snowden / Rodin / Eberhard / Marque de Fondeur” foundry stamp on naturalistic base, h. 35 in., w. 25 in., d. 25 in., granite base, overall h. 38 in. $3000/5000

457. Barbara Kirschner (American, 20th c.), “Split Reflections”, handmade paper, signed lower left, artist label and title en verso, 34 in. x 26 in., shadowbox frame. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

458. Joanna Zjawinska (Polish/California, b. 1950), “Bella and Hugo”, oil on canvas, signed lower left, 36 in. x 36 in., unframed. $1200/1800 Additional information at www.nealauction.com

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I understand that Neal Auction Company undertakes execution of absentee bids a convenience clients and is not responsible inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as for clients and is responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids asaas aconvenience convenience forfor clients and is not not responsible for inadvertent failure execute or any in execution bids. I have read and agree to â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated the catalogue. I understand that to to execute forfor any error thethe execution of of bids. I have read and agree to â&#x20AC;&#x153;Conditions thethe â&#x20AC;&#x153;Conditions of of Saleâ&#x20AC;? as as stated in in the catalogue. I understand toure execute bids, bids, orbids, fororany error inerror theinexecution of bids. I have read and agree to the of Saleâ&#x20AC;? as stated in the catalogue. I understand thatthat a buyerâ&#x20AC;&#x2122;s premium will be charged on each purchased at 22% to and including $200,000 plus 10% hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will charged oneach each lotlot purchased 22% upup to and and including $200,000 plus 10% of the hammer price greater than $200,000. For a abuyerâ&#x20AC;&#x2122;s premium will bebecharged on lot purchased atat25% up to including $200,000 plus 10% of of thethe hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of auction, buyerâ&#x20AC;&#x2122;s premium shall discounted 2.5% of this 22%. No exceptions. purchase made cash, check wire transfer within 15days days ofthe thethe auction, thethe buyerâ&#x20AC;&#x2122;s premium shall be be discounted 2.5% this 22%. exceptions. purchase made bybycash, check ororwire transfer within 15 of auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofof this 25%. NoNoexceptions.

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CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot. 3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same.

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We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased items by us is at the risk of the buyer. Final shipping arrangements and agreements are strictly between the buyer and the shipper.

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Unless other arrangements are made and confirmed in writing, all items must be removed within 15 days of the auction. On the first business day following that time period, items remaining in the gallery will be turned over to a storage facility. The buyer will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $50 per month per item. All items handled or stored will be at the buyer’s risk. Storage charges are accrued monthly and must be paid in full before items are released. We are not liable for any damage to items after the sale.

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