Arman ‘Nero’s Banquet’ 1984 burnt coffee table, cast in bronze 17 ¾ x 47 ¼ x 23 ½ inches 45 x 120 x 60 cms Provenance: Marisa del Re Gallery

Arman ‘Fried Chicken’ 1984 burnt lamp, cast in bronze 25 ½ x 37 ½ inches Provenance: Marisa del Re Gallery

Marie Laurencin’ Small drawing Signed front

Jean-Baptiste-Camille Corot(French, 1796-1875) Mlle. Léotine Desavary tenant une tourterelle signed 'COROT' (lower left) oil on canvas 23 1/2 x 14 7/8 in. (59.6 x 37.8 cm.) Painted in 1872 Provenance: Charles Desavary, Arras. Alfred Robaut, Paris. Galerie Durand-Ruel, Paris, 1904. M. Knoedler & Co., New York, 1912 Literature: A. Robaut, L'Oeuvre de Corot, Paris, 1965, vol. III, pp. 298-9, no. 2151 (illustrated). C. Bernheim de Villers, Corot: peintre de figures, Paris, 1930, no. 322 (illustrated). Notes: The model of this painting, Léotine, was the daughter of Corot's friend, the painter and photographer Charles Desavary, the first owner of this painting. The present work has been examined and authenticated by Martin Dieterle.

Salvador Dali 1904-1989 TRIUMP IF THE TOREADOR Signed Watercolor, pencil, AND OIL on card 19 ½ x 15 ¾ in (49.5 x 40cm) executed in 1968 Robert Descharnes has kindly confirmed the authenticity of this work. This work is an idea for a set design for the opera Carmen actIV

Paul Cézanne (1839 - 1906) FRENCH Pencil & Watercolor

Jean-Michel Basquiat (1960-1088) ‘Number 4’ signed ‘Jean-Michel Basquiat’ on the reverse acrylic, colored oil sticks and colored Xerox collage on canvas 65 ¾ x 54 in. (167 x 137.2 cm). Painted in 1981. Provenance: Gagosian Gallery, NY Marlborough Gallery, NY Literature: E. Navarro, Jean-Michel Basquiat, Paris 1996, p.52, pl. 4 (illustrated). In the early eighties a young Jean-Michel Basquiat stepped through the doors of establised Conceptualism and became the crowned prince of American Neo-Expressionism. Abandoning the traditionalgallery incubated styles of decades past, his work was born from and grew on the streets of New York where he himself was raised. This never-ending parallel between Jean-Michel Basquiat’s own personal development and that of his artistic expression isevident in Number 4, a work prduced at the beginning of his all too brief career. ‘Number 4’ has an undeniable vibrancy and fluidity that characterizes Jean-Michel ‘s work. Descending directly from the influence of artists like Jackson Pollock and Willem de Kooning, Basquiat’s painterly style incorporates a sense of immediacy with a highly refined schematic composition. The strong linear quality of the work pronounces Basquiat’s intent of relaying specific emotions and underlying meanings to the viewer. His line bounces in all directions across the surface of the canvas in an erratic manner much like the jumpy, unpredictable lines of a polygraph. With his use of language and symbol he strips down and then builds up his own identity and that of society’s. Jean-Michel’s experience as a graffiti artist (SAMO) in the late 1970s adds a certain street sense to Number 4. His use of Xerox collage becomes symbolic of the city and its inhabitants. Handbills, announcements, want adds and flyers flashed their individual messages in an unending procession down the streets and avenues of New York. Basquiat transported this familiar urban wall paper into the gallery and applied them periodically to his new walls of canvas.

Frank M. Boggs 1855-1926 “The Harbor at rouen” oil on canvas 15” x 22” signed and titled lower left ‘Frank Boggs Rouen’ Provenance: Sotheby’s LA, Nov. 13, 1972