Women in Art

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J ohn Mor a n Auc t ioneers - Women in Art - Tuesday, Octob er 2 3 , 201 8

Women in Art

Tuesday, October 23, 2018—4pm

w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3

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Front cover: Pg. 41 Lot 1047 Kathryn W. Leighton (1875 - 1952 Los Angeles, CA) “The Young Chief”

Back cover: Pg.36 Lot 1040 Mary Bradish Titcomb (1858 - 1927 Marblehead, MA) Monterey cypress coastal

Pg. 37 Lot 1042 Meda M. Gilchrist (1888 - 1953 Los Angeles, CA) Bird’s-eye view of a circus

Pg. 81 Lot 1102 Annette Hodges (20/21st Century Texas) “Market of Zimatlan”

This catalogue designed & printed in California, USA

Women in Art Sale 134 October 23, 2018—4pm 145 East Walnut Avenue, Monrovia CA 91016 Previews October 19-22: 12pm-4pm October 23: Doors open 12pm

Pg. 7 Lot 1007 Daisy Dunton Floral still life, 1929

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Fine Art Department Morgana Blackwelder Director morgana@johnmoran.com

Jeff Moran President jeff@johnmoran.com

David Trujillo Specialist david@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

A special thank you to Katherine Halligan for her essay contributions.

Pg. 102 Lot 1123 Karen Jossal "Money #18", 1979

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My fellow art lovers, While there are several galleries and museums worldwide that have launched their versions of “Women in Art” exhibitions to help address the gender disparity in artist visibility, to my knowledge it has only rarely been done in an auction setting.

The women that are represented in this catalogue each had their own struggles, whether it was to be married to another artist whom almost certainly overshadowed their own careers, being less prolific because of societal pressures to stay home and raise a family, or the treatment of their art as a “hobby”. Despite more women being enrolled in art school (6075% at the university level [Steinhauer]), they are less represented as fine artists in galleries, museums, and at auction.

Acknowledging “discovery and subsequent recognition is the lifeblood of the art world” (Gaudens, p. xii), I see this catalogue as a celebration of female artists, their struggles, and their passion, and my goal is to illuminate the works of underrepresented artists working from the 19th century through today. By giving these pieces an elevated platform, the quality of the works speak for themselves.

In the auction world, putting together any sale is always a labor of love. Part of you has to love what you sell, as creating a catalogue is no small task. Our job is to make it look easy to the outside world, but in truth, it is hard, time consuming, and takes an entire team of dedicated people to pull it all together. I am proud of this sale and am happy to see it come to fruition; I am also excited to see it grow and evolve in the coming years. My aspiration is that our next Women in Art catalogue will be even more diverse and have an emphasis on influential Post-War and Contemporary women artists such as Lee Krasner, Joan Mitchell, Marilyn Minter, and the Guerilla Girls, all of whom were massively influential in the progression of feminist and political art.

This catalogue was made possible by the support I received from the other specialists who asked every client, vetted and actively called all their sources to find special pieces; our clients who were excited by and supported my vision or who consigned to the sale; my mentor Katie Halligan for her amazing essay contributions that showcased some of these women; my colleague Kim Jarand for being the sounding board to help launch this idea; and the entire team at Moran’s who worked together in various capacities to make the idea a reality.

Warm wishes, Morgana Blackwelder Fine Art Director

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1001 Julia Ives Leonard (1847 - 1933 Santa Monica, CA) Still life with red flowers Oil on canvasboard Signed lower right: Julia Leonard 8” H x 10” W $700/900

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(1859 - 1944)

Alice B. Chittenden

1002 Alice B. Chittenden (1859 - 1944 San Francisco, CA) Still life with white flowers in a green vase Oil on canvas Signed lower right: A.B. Chittenden 25” H x 30” W $1,500/2,500

1003 Alice B. Chittenden (1859 - 1944 San Francisco, CA) Chrysanthemums in a glass vase Oil on canvas Signed lower right: Alice B. Chittenden 25.75” H x 17.75” W $1,200/1,800

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Alice B. Chittenden

1003

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(1855 - 1946)

Edith White 4

Edith White was one of the only professionally trained female artists working in Southern California by the time she established her studio in Los Angeles in 1882. Known best for her complex, realistic and academically formal compositions of roses, White was also a noted landscape, mission and portrait painter.

Born in Iowa, White and her Quaker family migrated to California via ox-drawn cart when she was four years old. They initially settled in a mining camp in the Sierra Nevadas in 1859 and remained in Nevada County or San Francisco until 1868. White studied art at Mills Seminary (now Mills College) and graduated in 1874. She continued her studies in San Francisco under Virgil Williams before moving to Pasadena in the early 1880s.

Except for a year studying at the Art Students League in New York from 1892-93, White was an active member of the Southern California arts community for decades. She exhibited widely, particularly in the 1890s, and, in 1896, was a founding member of the Pasadena Art Association.

White and her family were very close and deeply religious, and her parents encouraged her to focus on painting while discouraging her from marrying or starting a family. White and her parents were also active in the Theosophical Society, a 19th Century esoteric religious movement, and moved to Pont Loma about 1902 in order to live in the Theosophical community, Lomaland, that was lead by noted Theosophist Katherine Tingley. For 28 years, White taught painting at the Raja-Yoga School in the Lomaland settlement while producing her own work without commercial pressures (P. Trenton, “Independent Spirits: Women Painters of the American West,� 1890-1945, p. 44).

White returned to Northern California in 1930 and settled in Berkeley. She had a studio and also taught there until her death in 1946.

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1004 Edith White (1855 - 1946 Berkeley, CA) Still life with pink roses in a pink vase Oil on canvas laid to board Signed lower left: Edith White 12� H x 15� W

Edith White

$600/900

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1005 Edith White (1855 - 1946 Berkeley, CA) Atmospheric landscape Oil on board Signed lower left: Edith White 10.25” H x 17” W

Edith White

$600/900

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1006 Dora Gamble (1851 - 1933 Whittier, CA) Oranges on the branch, 1889 Oil on canvas laid to canvas Signed and dated lower left: Dora Gamble 16” H x 8” W $600/900

1007 Daisy Dunton Colburn (1875 - 1943 San Diego, CA) Floral still life, 1929 Oil on board Signed and dated lower right: M. Daisy Dunton Colburn 16.5” H x 20.5” W $400/600

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1008 Dorothy Visju Anderson (1874 - 1960 Los Angeles, CA) “Calla Lilies”, 1946 Oil on canvas Signed and dated lower left: Dorothy Visju Anderson, titled on an artist label affixed to the stretcher 30” H x 22” W $300/500

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1009 Helen Wood Riley (19th/20th Century American) Still life with dahlias and a glass bottle, 1900 Watercolor on paper under glass Signed and dated lower left: Helen Wood Riley Sight: 20” H x 12.5” W $300/500

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1010 Ellen Bowditch Thayer Fisher (1847 - 1911 Lanesboro, MA) “Fall Leaves and Acorns”, 1885 Watercolor on paper under glass Signed and dated lower right: E.T. Fisher, titled on a gallery label affixed verso Sight: 14.25” H x 10.5” W $800/1,200 Provenance: Beverly Sacks Fine Art, New York, NY. Exhibitions: Hudson River Museum, Yonkers, NY, “Paintbox Leaves: Autumnal Inspiration from Cole to Wyeth”, Paintbox, included into exhibit catalogue, p. 69.

1011 Eleanor Harrington (1904 - 1994 New York, NY) “Summer Fruit”, still life Oil on canvas Signed lower right: Eleanor Harrington, signed again verso, titled on an exhibition label affixed verso 12” H x 16” W $200/300 Exhibitions: California Art Club, Pasadena, CA, n.d.

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Mabel Alvarez

(1891 - 1985)

Mabel Alvarez was an innovative and well-known 20th century California painter who worked in a variety of mediums including oil, watercolor, works on paper and murals; and painted wide-ranging subjects including portraits, still lifes, and landscapes. Will South writes of the artist, “[She was] more adventurous than the Impressionist-oriented instruction that formed her and less radical than most emerging Modernist trends around her – but always sensitive, seductive, and searching” (reprinted on www.mabelalvarez.com from the book “Mabel Alvarez, A Retrospective,” Loyola Marymount University, 1999).

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Alvarez was born on the Island of Oahu in Hawaii in 1891. When she was 15 her family moved to Berkeley, California and then finally settled in Los Angeles three years later, in 1909. Alvarez exhibited artistic talent from a young age and was a star art student at Los Angeles High School. She had her first major mural commission in 1915 when she worked with her high school art teacher, James Edwin McBurney, on a Panama-California Exposition mural project that won a gold medal. That same year Alvarez enrolled in the School for Illustration and Painting and worked under artists and school co-founders William Cahill and John Hubbard Rich, whose teachings gave her strong foundations in French and American Impressionistic techniques, and exceptional skill in draftsmanship.

Alvarez constantly endeavored to have new experiences, and to investigate different artistic styles and mediums. At the same time that she would take commissions from prominent Los Angeles families to create cheerful paintings for children, Alvarez was also exploring the writings of Will Levington Comfort, a Los Angeles philosopher who championed meditation practices as a way to achieve harmony. From her experiences learning from Comfort and attending meetings at his spiritualist colony in the Hollywood Hills, Alvarez created a number of symbolic dream-like paintings beginning in about 1918.

In 1919 Alvarez became a pupil of important California Modernist Stanton MacDonald-Wright who had previously co-founded the avant-garde art movement of Synchromism with Morgan Russell. In 1922, Alvarez and fellow artists John Hubbard Rich, Henri de Kruif, Luvena and Edouard Vysekal, Donna Schuster, Roscoe Schrader, and Clarence Hinkle formed the “Group of Eight,” a group distinguishing themselves as having more modernist-leaning tendencies than the California Art Club’s singular focus on Impressionism. In 1927 she was exposed to the work of Morgan Russell and finally met the artist in 1931. The color-sense and rhythmic forms of Russell’s work were strong influences on, and fit well with, Alvarez’s innate tendencies to seek harmony and balance in her own works’ compositions, subjects and palettes.

Through the 1920s and 1930s, Alvarez was regularly and successfully exhibiting her work. Her 1923 “Self-Portrait” won the Women’s Federation Prize that year (and is the cover image of the 1995 book “Independent Spirits: Woman Painters of the American West, 1890-1945”).

After mourning both her father's death and a broken relationship in 1937, Alvarez spent a year in Hawaii and painted brightly colored portraits, figure studies, and still lifes. In 1941, the Los Angeles Museum mounted a one-woman show of her Hawaiian subjects. Explorations of color balance and harmony continued to be a singular focus of her work into the 1950s, particularly evident in paintings made on her travels to the Caribbean islands and Mexico.

Painting into her seventies, later works often depict religious and symbolic subjects. Alvarez died in a Los Angeles nursing home at age 94 in 1985.

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1012 Mabel Alvarez (1891 - 1985 Los Angeles, CA) Still life with fruit and bottle of wine Oil on masonite Signed lower right: Alvarez 18� H x 24� W

Mabel Alvarez

$3,000/5,000

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Mabel Alvarez

1013

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1014 1013 Mabel Alvarez (1891 - 1985 Los Angeles, CA) Two girls in shawls Oil on canvas Signed lower left: M. Alvarez 20” H x 24” W $3,000/5,000

1014 Mabel Alvarez (1891 - 1985 Los Angeles, CA) Two works: Female figures in landscapes Each: Watercolor on colored paper under Plexiglas The first: Signed lower right: M. Alvarez; the second: unsigned Image: The first: 8.5” H x 5” W; the second: 7.5” H x 8.5” W $400/600

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1015 Attributed to Mabel Alvarez (1891 - 1985 Los Angeles, CA) Fruit vendor and baby in a doorway Watercolor on paper under glass Unsigned Image: 8.25” H x 5.75” W

1016 Attributed to Mabel Alvarez (1891 - 1985 Los Angeles, CA) Tree in a landscape Oil on canvas laid to board Unsigned 4.75” H x 11.75” W $700/900

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Mabel Alvarez

$200/300

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Mabel Alvarez 14

1017 Mabel Alvarez (1891 - 1985 Los Angeles, CA) Eight illustrations with four poems by M. McBurney Ink on paper and watercolor on board One signed lower right: Mabel Alvarez The largest: 19.5” H x 13.5” W $1,000/2,000 Notes: The illustrations are based on the poems: “The Discontented Frog”, “My Funny Garden”, “April” and “The Winds”.

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1018 Louise Bulkley Dillingham (1896 - 1965 American) Floral still life Oil on canvas Signed lower right: L.B. Dillingham 22� H x 28� W $800/1,200

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1019 Marie Kirk (b. 1860 Pennsylvania) “Croquet”, three little girls playing outdoors Watercolor and ink on paperboard under glass Signature covered up lower right, titled and numbered in the margin lower left: 24 Sight: 9.5” H x 12.25” W $300/500

1020 Bertha Lum (1869 - 1954 San Francisco, CA) “Lotus Spirits”, Kuan Yin Raised line hand-colored woodcut on paper under glass Signed in graphite lower right: Bertha Lum Sight: 17.75” H x 10.5” W $1,000/2,000

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1021 Beatrice MacPherson (1898 - 1973 Tuscon, AZ) A collection of twelve items including: seven sketch books, one photo album, two baby books one printed copy of “Ararat Cockail” by the artist the artist’s fruitwood artist box with miscellaneous supplies, including pencils Artist box: 8.5” H x 12” W x 10” D. $800/1,200

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1022 Marion Coleman (1867 - 1950 Oakland, CA) “The Rose Garden” Oil on canvas Signed lower left: Marion Coleman, titled by repute 22” H x 36” W $2,000/3,000

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1023 Anna Louise Thorne (1866 - 1965 Toledo, OH) Doorway with flowers, 1926 Oil on canvasboard Signed, inscribed and dated lower right: Anna L. Thorne / Biskra 15.25” H x 12.5” W $500/700

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(1891 - 1970)

Nell Walker Warner 20

Nell Walker Warner was an active member of the Southern California plein air arts community from about the 1920s to the 1950s. Warner is known best for opulent floral still lifes, depictions of the Cape Ann, Massachusetts harbor, and varied and detailed California landscapes.

Warner was born in Nebraska and graduated from the Central College for Women in Lexington, Missouri in 1910. She taught briefly in Colorado Springs, Colorado before moving to Los Angeles where she furthered her studies at the Los Angeles School of Art and Design.

From 1916-18, Warner taught art classes at the Hollywood School for Girls and the Westlake School for Girls in Los Angeles and established a studio and home in La CaĂąada.

Beginning in the 1920s, Warner experienced tremendous professional growth and success.

She studied under local artists Nicolai Fechin, Fritz Werner and Paul Lauritz, spent time in Europe, and summered three times in Cape Ann, Massachusetts. Warner served as art curator of the Tuesday Afternoon Club and worked as an artist on backgrounds for titles of silent motion pictures. She was an active member of many arts clubs including the California Art Club, the Laguna Beach Art Association, and Women Painters of the West (serving as its president from 1946-48), and was exhibiting extensively, often winning awards for her work, throughout California.

After a divorce and later remarriage, Warner moved to Carmel in 1952 where she continued a successful career painting and exhibiting. She remained in Northern California until her death in 1970.

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Nell Walker Warner

1024 Nell Walker Warner (1891 - 1970 Carmel, CA) House in a mountain landscape Oil on canvas Signed lower right: Nell Walker Warner 36� H x 40� W $3,000/5,000

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1025 Nell Walker Warner (1891 - 1970 Carmel, CA) “Sunshine Follows the Rain”, atmospheric landscape Oil on canvas Signed lower right: Nell Walker Warner, titled on an artist’s label affixed verso 30” H x 36” W

Nell Walker Warner

$2,500/3,500

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Exhibitions: Artist’s Guild of America Inc., Carmel, CA, “Nell Walker Warner Exhibit”, July 1 - July 31, 1955.

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1026 Nell Walker Warner (1891 - 1970 Carmel, CA) River through a mountain landscape Oil on board Signed lower left: Nell Walker Warner 8� H x 10� W

Nell Walker Warner

$300/500

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Nell Walker Warner

1027 Nell Walker Warner (1891 - 1970 Carmel, CA) Floral still life Oil on canvas Signed lower left: Nell Walker Warner 26� H x 30� W

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$1,000/2,000

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Nell Walker Warner

1028 Nell Walker Warner (1891 - 1970 Carmel, CA) “New Hampshire Autumn” Oil on canvas Signed lower left: Nell Walker Warner, titled on the stretcher, titled again on an artist label affixed to the stretcher 26” H x 30” W $2,000/3,000

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1029 Louise Cunningham (1881 - 1983 Felton, CA) Sycamore landscape Oil on canvasboard Signed lower right: Louise Cunningham 24” H x 30” W

1030 Marie Boening Kendall (1885 - 1953 Torrance, CA) Landscape with sycamores Oil on canvas Signed lower left: Marie B. Kendall 12” H x 16” W

$300/500

$300/500

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1031 Esther Mabel Crawford (1872 - 1958 Los Angeles, CA) High Sierras lake, 1933 Oil on canvas Signed and dated lower left: Esther Crawford 24� H x 30� W $500/700

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1033

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1032 Mary DeNeale Morgan (1868 - 1948 Carmel, CA) Path through a California landscape Oil on board Signed lower left: M. DeNeale Morgan 14” H x 18” W

1033 Hazel Hummel (1890 - 1965 San Diego, CA) California coast with poppies and lupine Oil on board Signed lower left: Hazel Hummel 6” H x 8” W

$1,200/1,800

$200/300

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1034 Joane Cromwell (1895 - 1969 Laguna Beach, CA) “Portal to the Mountain”, path through a tree-lined landscape Oil on canvas Signed lower right: Joane Cromwell, signed again and titled verso 24.25” H x 30.25” W $3,000/5,000 Provenance: Gumps, San Francisco, CA.

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(1870 - 1954)

Marion Kavanagh Wachtel 30

Marion Kavanagh Wachtel was a principal member of the early 20th century California Plein Air Impressionist landscape painting movement who worked in watercolors and later also oil painting.

Wachtel was born into a third generation artistic family in Milwaukee, Wisconsin in 1873. Her mother, a leading late 19th century Milwaukee painter and teacher, and her great grandfather both attended the Royal Academy in London. Wachtel began studying painting with her mother and then later in Chicago under Henry Spread, perhaps at his eponymous school, Spread’s Art Academy. She continued her studies with a focus on portrait painting at the Art Institute of Chicago, working under John Vanderpoel, Pauline Doane, and Fredrick Freer; and was also a pupil of Richard Lorenz in Milwaukee and William Merritt Chase in New York.

Wachtel taught at the Art Institute of Chicago for several years while pursuing her career primarily as a portrait painter, though she painted other subjects as well. In 1903, she was commissioned by the Santa Fe Railway to paint scenes of the West in exchange for free passage to California. Wachtel readily accepted the commission and briefly landed in Northern California where she became a pupil of William Keith. The following year, Wachtel prepared to move to Southern California and Keith suggested she study there with Elmer Wachtel. The artists quickly fell in love and married in Chicago in 1904 before returning to California and settling in the Arroyo Seco of Pasadena. After her marriage, Wachtel dropped the ‘u’ in her surname, spelling it ‘Kavanagh’.

The Wachtels habitually painted together; Marion worked in watercolor while Elmer worked in oil. At this successful period of Wachtel’s career, she focused mainly on landscape painting though she periodically included figures in her compositions, and revisited portraiture and still life occasionally as well. The artistic couple exhaustively searched for fresh subject matter in remote, hard-to-reach areas of California, the broader Western United States and Mexico, via horseback and later by car.

Wachtel was a founding member of the Pasadena Society of Painters (1924) and the California Water Color Society, and was elected to the New York Watercolor Society in 1922.

Wachtel was nationally recognized and exhibited her paintings individually, in joint shows with her husband, and at group shows in various galleries specializing in watercolors or California Impressionism on both coasts. Between 1921 and 1926 she had regular exhibitions at the important early Los Angeles gallery Cannel and Chaffin.

Wachtel’s plein air landscapes painted in the Southern California, Southwest and Mexican regions have been popular with collectors for more than a century. Early works in watercolor reveal her mastery of that medium in their tight and meticulously detailed scenes. Into the 1920s and certainly after the death of her husband in 1929, Wachtel’s work became more spontaneous and loose as she expanded her mediums to include oil painting.

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1035 Marion Kavanagh Wachtel (1870 - 1954 Pasadena, CA) “Summer Afternoon”, path through a landscape Watercolor on paper under glass Signed lower left: Marion Kavanagh Wachtel and with the artist’s device, titled on a label affixed to the backing board Sight: 17.5” H x 29.25” W

Marion Kavanagh Wachtel

$20,000/25,000

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Marion Kavanagh Wachtel 32

1036 Marion Kavanagh Wachtel (1870 - 1954 Pasadena, CA) “Ojai Valley”, trees in a rolling hills landscape Watercolor on paper under glass Signed lower left: Marion Kavanagh Wachtel, titled on the backing board Sight: 11.5” H x 15.75” W $8,000/12,000 Notes: There is an unsigned work of a farmer with two draft horses verso. The verso image has uneven toning due to the backing cardboard.

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1037 Elsie Palmer Payne (1884 - 1971 Los Angeles, CA) “The Harbor” Watercolor on paper under Plexiglas Signed lower left: Elsie Palmer Payne, titled verso Sight: 17.25” H x 14” W $1,500/2,000 Exhibitions: The Irvine Museum, Irvine, CA, “The Good Life: California Watercolors, 1930-1950”, January 27 - May 16, 2009.

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1038 Marguerite Stuber Pearson (1898 - 1978 Rockport, MA) “Yacht Race, Rockport” Oil on canvasboard Signed lower right: M.S. Pearson, signed again and titled verso 8” H x 10” W $800/1,200

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1039 Anna A. Hills (1882 - 1930 Laguna Beach, CA) Eucalyptus coastal Oil on board Signed lower right: A.A. Hills 11.5” H x 8” W $2,000/3,000 .

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1040 Mary Bradish Titcomb (1858 - 1927 Marblehead, MA) Monterey cypress coastal Oil on canvas laid to board Signed lower right: M.B. Titcomb 15.5” H x 12” W $4,000/6,000

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1041 M. Louise ‘’Lee’’ Ramsden (1883 - 1970 Pittsfield, MA) “A Day at the Circus” Oil on canvasboard Signed lower left: Lee Ramsden, titled on a gallery label affixed verso 9” H x 12” W $700/900

1042 Meda M. Gilchrist (1888 - 1953 Los Angeles, CA) Bird's-eye view of a circus Oil on canvasboard Signed lower right: M. Glichrist 20” H x 24” W $1,000/2,000

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1043 Emilie Hall (20th Century Monrovia, CA) “Hills of Home”, landscape Oil on canvasboard Signed lower right: Emilie Hall, titled verso, signed and titled again on an artist’s label affixed verso 12” H x 16” W

1044 Susan Katherine Eubank Kelley (1879 - 1961 Berkeley, CA) Palm Springs mountains Oil on canvasboard Signed lower right: S.E. Kelley 15.75” H x 20” W $500/700

$300/500

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1045 Anni von Baldaugh (1881 - 1953 San Diego, CA) “Southwest in Spring”, desert landscape Oil on board Signed lower left: Anni Baldaugh, titled by repute 21” H x 23” W

1046 Blanche Dougan Cole (1869 - 1956 Los Angeles, CA) Atmospheric landscape Oil on board Signed lower left: Blanche D. Cole 17” H x 23.75” W

$1,500/2,500

$400/600

Provenance: K. Nathan Gallery, La Jolla, CA.

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(1875 - 1952)

Kathryn W. Leighton 40

Kathryn Leighton was a prolific painter of a variety of subjects including landscapes, still life and portraiture, but she is most celebrated for her large body of work depicting Native American peoples primarily from Midwestern and Southwestern tribes such as the present masterful example. Leighton produced approximately 700 formal portraits of Native American peoples that received international recognition during her lifetime and form a lasting, detailed record of the sitters and their tribes’ clothing, adornment and customs.

Leighton was born near Plainfield, New Hampshire and graduated from the Massachusetts Normal Art School in 1900. Soon after she was married to Edward Leighton who would go on to become a prominent lawyer. Edward was both financially and emotionally supportive of his wife’s artistic endeavors throughout their happy marriage. The couple moved to Los Angeles in 1910 and Leighton opened a studio in South Los Angeles while continuing her studies at the Stickney School of Art in Pasadena and with artist Jean Mannheim.

Leighton was active in the Los Angeles arts community and served as vice president of the California Art Club circa late 1910s. In this early period in Los Angeles, Leighton’s work was mainly focused on blooming deserts, floral still lifes and local landscapes. Around 1917, Leighton met important Western painter Charles Marion Russell at a party at Jack Wilkinson Smith’s Alhambra studio and the two became good friends. Russell encouraged Leighton to visit and paint Glacier National Park (which she did and produced a number of panoramic landscapes of the area) and later, in 1926, brought her back to Montana where he introduced her to members of the Blackfeet Indian tribe and officials of the Northern Pacific Railway.

Leighton began painting portraits of Native American Indians, often out of her Los Angeles studio, starting around 1918, and her talent and reputation were established at the time of her meeting with the Northern Pacific Railway officials. They commissioned her to paint portraits of Blackfeet elders as part of an exhibition and lecture series the railroad was financing as a way (from their perspective) to present and preserve a vanishing way of life. Leighton and her family spent a summer in Glacier National Park as guests of the railroad, and the railroad paid Blackfeet elders to serve as her models. By the end of that successful summer, the railroad purchased 20 portraits for “high prices” for their exhibition which further solidified Leighton’s reputation as an expert portrait painter; and the Blackfeet people adopted her and gave her the name “AnnaTar-Kee” (meaning “beautiful woman in spirit”) (P. Trenton, “Independent Spirits: Woman of the American West, 1890-1945”, 62).

Leighton continued to make annual painting trips to the Blackfeet tribe as well as other Midwestern and Southwestern tribes including Sioux, Cherokee, Pawnee, Osage, Hopi and Navajo. She even travelled as far afield as the Iroquois Nation. In each portrait, including the subject painting included in this sale, Leighton chronicled in great detail the leather clothing, bead and bone work, jewelry ornamentation, bonnets and headdresses, interior spaces, exterior dwellings, and especially the individual features of her sitters.

In the present portrait, a Plains Indian, likely a member of the Blackfeet tribe, sits in profile in an upholstered western armchair looking intently beyond the painting’s right border. Exceptionally fine contouring and modeling of the figure’s distinct facial features is heightened by Leighton’s side-view composition. The interior walls behind the figure are decorated with images of primitive figures reminiscent of ancient cave drawings, and a small Nez Perce cornhusk bag with geometric overlay adorns the wall, partially cropped out of the frame.

The figure is dressed in an elaborately decorated hide shirt and pants, and cradles a pipe in his right hand. A bone breastplate, bear claw necklace, turquoise-colored hair ties and a dramatic feather bonnet are all painted with exquisite detail and come together to create a powerful composition. This painting of a prominent member of a Plains Indian tribe is an exceptionally fine example of Leighton’s renowned series of Native American portraiture.

$18,000/22,000

October 23, 2018 - Women in Art

Kathryn W. Leighton

1047 Kathryn W. Leighton (1875 - 1952 Los Angeles, CA) “The Young Chief” Oil on canvas Signed lower left: Kathryn W. Leighton, titled by repute, indistinctly inscribed on a partial label affixed to the stretcher 44.25” H x 36” W

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1048 Kathryn W. Leighton (1875 - 1952 Los Angeles, CA) Chinatown street scene Oil on canvas laid to masonite Signed lower right: Kathryn W. Leighton 16” H x 20” W

Kathryn Leighton

$3,000/5,000

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1049 Margaret Tupper (1887 - 1979 San Angelo, TX) Woman with bird cages, 1964 Oil on masonite Signed and dated lower right: Margaret W. Tupper 60” H x 48” W $1,000/2,000 Provenance: Property from the Estate of Nancy Chandler.

1050 Octavia Sturgis (1855 - 1934 California) Don Quixote on horseback, 1886 Oil on panel Signed and dated lower right: O. Sturgis 17” H x 13.25” W $700/900

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1051 Marjorie Reed (1915 - 1996 Vallecito, CA) “Westward Ho”, covered wagon in a landscape Oil on canvasboard Signed lower left: Marjorie Reed, signed again and titled on a label affixed verso 8” H x 10” W $1,000/1,500 Literature: G. Fillmore, “All Aboard: The Life and Work of Marjorie Reed”, Schiffer Books, Atglen, PA, 2009, p. 132, illustrated.

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1053

1052 Cora Bernice Wright (1868 - 1948 Eureka, CA) River through redwoods Oil on canvas laid to board Signed lower left: Cora B. Wright 16” H x 12” W $300/500 1053 Martella Cone Lane (1875 - 1962 Whittier, CA) Redwood forest hillside with distant mountains Oil on board Signed lower left: M. Lane 18” H x 8” W $300/500 1054 Mary Chandler (b. 1834 American) Road through a redwood forest Oil on masonite Signed lower left: Mary Chandler 14” H x 11” W $300/500

1054 October 23, 2018 - Women in Art

45

1055 Caroline Rimmer (1851 - 1918 Massachusetts) “Where E’re She Walks”, standing figure with putti Patinated bronze Signed to base: C.H. Rimmer / 1902; stamped for foundry: Gorham Co. Founders OOW 8.75” H x 3” Dia. $1,000/1,500

46

1056 Jennie Augusta Brownscombe (1850 - 1936 Bayside, NY) Woman playing a guitar Watercolor and gouache on tan paper under glass Signed lower right: Jennie Brownscombe, inscribed in another hand verso Sight: 11.5� H x 8.5� W $800/1,200

October 23, 2018 - Women in Art

47

(1881 - 1957)

Antonia J. Greene 48

Antonia Greene was born in East Prussia, Germany in 1881 and immigrated with her family to New York when she was nine years old. She was married and had a son by 1919 and ten years later moved to Santa Barbara where she remained until her death in 1957.

Details of Greene’s biography and artistic education are scarce, but within a year of settling in Santa Barbara, Greene’s female portrait study titled “The Ethiopian” was shown at the 1930 grand opening of the Faulkner Memorial Art Gallery and hung alongside paintings by other noted local artists including Colin Campbell Cooper, Fernand Lungren, Edward Borein and John Marshall Gamble. She exhibited at least two other times at the Faulkner: in a 1931 summer exhibition, and included another female portrait titled “The Leghorn Hat” in a 1939 show. In 1940, Greene had a one-person show at the Montecito Country Club.

Greene’s known work consists almost entirely of portraits of women, though at least two depictions of her son are known as well as floral subjects and tabletop still lifes. Greene appears to have primary worked in the 1930s, perhaps in preparation for her 1940 exhibition.

1969

2019

$700/900

October 23, 2018 - Women in Art

Antonia J. Greene

1057 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) Self-portrait Oil on canvas laid to board Signed twice lower right: Antonia J. Greene, signed again and titled on a partial label affixed verso 20.25� H x 17� W

49

Antonia J. Greene 50

1058 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) “The Leghorn Hat” Oil on canvasboard Signed lower right: Antonia J. Greene, titled by repute 24” H x 18” W $1,000/2,000 Exhibitions: Faulkner Gallery, Santa Barbara, CA, 1939.

1969

2019

$400/600

October 23, 2018 - Women in Art

Antonia J. Greene

1059 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) Still life with fruit and candle, 1932 Oil on canvas laid to board Signed and dated lower right: Antonia J. Greene 18� H x 24� W

51

1060 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) Sitting girl holding a doll Oil on canvas Signed upper left: Antonia J. Greene 30” H x 24” W $600/900

1061 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) Lady in gold Oil on canvas Signed lower left: AJ Greene 20” H x 24” W

Antonia J. Greene

$700/900

52

1969

2019

1062 Antonia J. Greene (1881 - 1957 Santa Barbara, CA) Still life with calla lilies Oil on canvas laid to board Unsigned 24� H x 18� W

Antonia J. Greene

$300/500

October 23, 2018 - Women in Art

53

1063 Lillian Louisa Swann Saarinen (1912 - 1995 New York/Massachusetts) Woman playing accordion, circa 1939 Patinated bronze on wooden plinth Signed: Lilian Swann; signed for foundry: Roman Bronze Works Inc. Bronze: 14.5” H x 5.75” W x 4.25” D $700/900

54

1969

2019

1064 Ella M. Bedford (fl. 1882 - 1908 United Kingdom) Flower offering to school mistress, 1889 Oil on canvas laid to canvas Signed and dated lower left: Ella M. Bedford 29� H x 41� W $3,000/5,000

October 23, 2018 - Women in Art

55

1065 Esther Sutro (b. 1870 British) Scenes with draft horses (a group of three works) Oil on panel The first and second: Unsigned, the third: Signed, inscribed and dated lower right: E. Sutro / To Georgia Fry / 1894 Largest: 10.25� H x 13.75� W $1,000/1,500 Notes: The first with an unfinished scene with a flock of sheep verso.

56

1969

2019

1066

1067

1066 Ethel Marian Wickes (1872 - 1940 San Francisco, CA) Geese in a yard Watercolor on paper laid to board under glass Signed lower right: E.M. Wickes Sight: 9.75” H x 13.75” W $600/800

1067 Dorothea Schwarcz Greenbaum (1893 - 1986 New York/Massachusetts) Stonelain ceramic fish Glazed ceramic Signed to base: D.S. Greenbaum (c) 7.25” H x 10” W x 3” D $200/300

October 23, 2018 - Women in Art

57

1068 Alice Rahon (1904 - 1987 French/Mexican) “Boîte à Musique III (Music Box)”, 1945, surrealist composition Oil on canvas Signed lower right: Alice, signed again, titled and dated verso 10” H x 12” W $6,000/9,000

58

1969

2019

1069 Julia Thecla (1896 - 1973 Chicago, IL) “I Looked Into a Dream”, 1947, surreal image of a tightrope walker Gouache on panel Signed and dated lower right: Julia Thecla, titled on an exhibition label affixed verso 10” H x 7.5” W $1,000/2,000

October 23, 2018 - Women in Art

59

(1909 - 1977)

Gertude Abercrombie 60

Gertrude Abercrombie was born in Austin, Texas in 1909, the daughter of two traveling opera singers. Moving from Austin to Berlin to Aledo, Illinois, the Abercrombie family eventually settled down in the Hyde Park neighborhood of Chicago, where Gertrude would spend the rest of her life. Following her graduation from the University of Illinois in Urbana-Champaign, Abercrombie briefly studied art at the School of the Art Institute of Chicago and commercial art at the American Academy for Art. In 1931, she took a job as an illustrator at Mesirow department store, and in 1932, at the advice of her friend Tom Kempf, began to paint seriously.

Abercrombie's style, subject matter, and palette are often considered restrained compared to many of her contemporaries. In 1951, she said, "I am not interested in complicated things nor in the commonplace. I like to paint simple things that are a little strange." Indeed, her paintings are often composed of subdued palettes with minimal subjects and objects, including cats, jacks, playing cards, robin's eggs, doors, stairways, trees, and crescent moons. These objects were re-used often, rearranged in different dream-like compositions that echoed Abercrombie's own introspection, isolation, and reflection. While her paintings have visual connections to the works of Giorgio de Chirico and René Magritte, she did not describe her work in the same vein as European surrealism and can be considered a Midwestern regionalist with deep roots in Chicago and its arts community.

To that end, Abercrombie was the self-appointed "Queen of Chicago", and throughout her life she maintained an incredible friend circle of artists, writers, and musicians. Abercrombie often threw salons and parties for her friends, who included Dizzy Gillespie, James Purdy, and Karl Priebe, and her apartment in Hyde Park served as social flashpoint for the Chicago creative community. For her incredible body of work and influence on the Chicago fine art scene, Abercrombie was given a retrospective at the Hyde Park Art Center in 1977 shortly before her death in the same year. While her work was never forgotten, it has gained momentum in the past several years, and her first exhibition in New York since 1952 was recently held at KARMA from August to September 2018.

1969

2019

1070 Gertrude Abercrombie (1909 - 1977 Chicago, IL) Stairway and tree, 1946 Oil on board laid to board under glass Signed and dated lower right: Abercrombie 9� H x 11.5� W

Gertude Abercrombie

$5,000/7,000

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61

Gertude Abercrombie 62

1071 Gertrude Abercrombie (1909 - 1977 Chicago, IL) Siamese cat with blue ball, 1956 Oil on masonite under glass Signed and dated lower left: Abercrombie 10� H x 9.75� W $4,000/6,000 Provenance: Lovisco Gallery, New York, NY.

1969

2019

$3,000/5,000

October 23, 2018 - Women in Art

Gertude Abercrombie

1072 Gertrude Abercrombie (1909 - 1977 Chicago, IL) Snail shell, 1966 Oil on masonite under glass Initialed and dated lower right: GA 2� H x 2� W

63

1073

1074

1073 Virginia Berresford (1902 - 1995 Martha’s Vineyard, MA) “Fort at Antibes”, 1929 Oil on canvas Signed and dated lower left: Virginia Berresford, titled on a partial label affixed to the stretcher 13” H x 18” W $1,000/2,000

1074 Käthe Kollwitz (1867 - 1945 German) “March of the Weavers”, circa 1931, plate 4 (from the “Weaver’s Revolt” series) Etching on paper under glass Alexander von der Becke, Berlin, pub.; Otto Felsing, Berlin, printer Plate: 8.25” H x 11.5” W $600/900 Literature: Klipstein 32 Ia/IV.

64

1969

2019

1075 Claudia Mackenzie (1888 - 1976 Anaheim, CA) “Forest Pool”, redwoods by a pond Oil on canvas Signed lower right: Claudia Mackenzie, titled on an exhibition label affixed verso 34” H x 30” W $600/900 Exhibitions: Society for Sanity in Art, San Francisco, CA., n.d.

1076 Alice Haigh Dixon (1876 - 1956 Healdsburg, CA) Redwood forest path Oil on board Signed lower left: Alice Haigh Dixon 11.75” H x 6” W $500/700

1077 20th Century American School “Redwoods - Santa Cruz” Oil on canvas Signed lower right: M. Steitz, titled on the stretcher, inscribed in another hand on the frame verso 18” H x 24” W $300/500

1076

1075

1077

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65

(1875 - 1944)

Indiana Gyberson 1078 Indiana Gyberson (1875 - 1944 Brooklyn, NY) Polynesian beauty Oil on canvas laid to canvas Signed lower right: Indiana Gyberson 16” H x 12” W $1,000/1,500

66

1969

2019

1079 Indiana Gyberson (1875 - 1944 Brooklyn, NY) Woman with blanket on blue background Oil on board Signed lower right: Indiana Gyberson 16” H x 12” W

1080 Indiana Gyberson (1875 - 1944 Brooklyn, NY) Woman in a pink shroud Oil on canvas Signed lower right: Indiana Gyberson 16.25” H x 12” W

$1,000/1,500

$1,000/1,500

After studying at the Colarossi Academy and the Ecole des Beaux Arts, one of Giberson's figural paintings was exhibited in the salon of the indepednent Société Nationale des Beaux-Arts at the Champ-de-Mars in 1899. In that same year, the Gibersons returned to Manhattan, and Anna continued to paint, showing her first work with the Art Institute of Chicago in 1904. It was around this time that she took her mother's name, Indiana, although she would not change the "I" to "Y" in Gyberson until 1919. In 1918, Gyberson settled in Chicago and began the most prolific time in her career working at Tree Studios, a living space and workshop for American artists that fostered Pauline Palmer, Richard Florsheim, and Anna Lynch, among others. In 1920 and 1924 her paintings were included in the exibition catalogue for the Art Institute's "Chicago and Vicinity" exhibition, and she was a member of the Associaiton of Chicago Painters and Sculptors and the Chicago Galleries Assocition, where her paintings won prizes in 1926 and 1928.

Gyberson was known for her dark, exotic depictions of seminude women in fantastic costumes placed in carefully constructed interiors. Heavy shadows give a depth to her compositions, while bright highilghts on the face and torso of her subjects create a sense of isolation and contemplation that extend far beyond the male gaze. Gyberson's rough brushstrokes lend a dream-like quality to her paintings, imbuing her work with an ambiguity of power that shifts between subject and viewer. Like Gyberson herself, the paintings are a puzzle, and they ask the viewer to delve deeper than the typical female nude.

October 23, 2018 - Women in Art

Indiana Gyberson

While little is known about the life of Indiana Gyberson, her distinct style and sensual subject matter set her apart from many of her contemporaries at the turn of the century. Born Anna Giberson in 1875 Brooklyn, she was the daugher of Civil War surgeon Charles Giberson and his wife, Indiana. Charles died in 1879, leaving Indiana, Anna, and Anna's sister, Mabel, what must have been a sizable inheritance. In 1896, Anna studied with famed American Impressionist William Merrit Chase at his Shinnecock School of art, and in the following year, the widow and misses Giberson traveled to Paris, where Mabel studied music and Anna devoted herself to painting.

67

1081 Alice Mary (Beach) Winter (1877 - 1970 Gloucester, MA) Woman with red hair Oil on canvas Signed lower right: A.M. Beach 20” H x 16” W

1082 Frances Grimes (1869 - 1963 New York, NY) “Rebecca Riggs Crane”, 1912 Bronze Titled, dated, and signed to bottom: Rebecca Riggs Crane Modeled MCMXII by Frances Grimes 18” H x 9” W

$800/1,200

68

$300/500

1969

2019

1083 Katharine Calvin (b. 1875 American) Two girls holding a platter of fruit Oil on canvas Signed on the stretcher: K. Calvin 24� H x 20� W $1,000/2,000

October 23, 2018 - Women in Art

69

1084 Lilian Mackendrick (1906 - 1987 New York, NY) Hillside village scene Oil on canvas Signed upper right: Mackendrick, signed again and numbered verso: U-3-0 14” H x 12” W $300/500

1085 Helen Safford Smith (1871 - 1954 Balboa Island, CA) Balboa Island, Newport dock with figures, 1943 Watercolor on paper under glass Signed and dated lower left: Helen Smith Sight: 20” H x 26.75” W $1,000/2,000

70

1969

2019

1086 Helen Rousseau (1896 - 1992 Santa Barbara, CA) “View of Laguna Beach and Hotel”, 1930 Oil on board Unsigned, titled and dated on an exhibition label affixed verso 25.5” H x 29.75” W $4,000/6,000 Exhibitions: Oakland Art Gallery, Oakland, CA, 1932; Los Angeles County Museum of Art, Los Angeles, CA, 1942; Orange County Museum of Art, Newport Beach, CA, “Continuity and Change: Southern California’s Evolving Landscape”, July 7 - September 30, 2001.

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71

1087 Dorothy Sklar (1906 - 1996 Los Angeles, CA) “Barry Alley, Chavez Ravine”, 1949 Oil on canvas Signed and dated lower right: D. Sklar, titled on the stretcher 14” H x 17” W $1,000/1,500

72

1969

2019

1088 Ethel V. Ashton (1896 - 1975 Philadelphia, PA) Park scene with figures Oil on canvas Signed verso: E.V. Ashton 25.25” H x 30” W $2,000/4,000 Provenance: Woodmere Art Gallery, Philadelphia, PA.

October 23, 2018 - Women in Art

73

1089 Bianca Todd (1889 - 1952 American) Orchestra, 1937 Oil on canvas laid to canvas Signed and dated lower left: Bianca Todd 30” H x 24” W $1,000/1,500

74

1969

2019

1090 Donna Schuster (1883 - 1953 Los Angeles, CA) Woman with headscarf looking in a mirror Oil on canvas Signed lower left: Donna Schuster, signed again on the stretcher 24.25” H x 22” W $4,000/6,000

1091 Della Shull (1880 - 1930 American) Seated nude woman Oil on canvas Signed lower left: Della Shull, signed again verso 40” H x 30” W $800/1,200

October 23, 2018 - Women in Art

75

1092 Patricia Morison (1915 - 2018 Los Angeles, CA) African American figural group Oil on canvas Signed lower right: Morison 52” H x 40” W $1,000/1,500 Notes: The present work was executed by actress Patricia Morison, best known for playing femmes fatales on screen and stage in productions such as Cole Porter’s “Kiss Me, Kate”. While famous for her patrician beauty and Broadway successes, Morison was also a passionate painter of varied subjects. In recent years she turned her attention back to this early love, and the present work reveals the artist’s interest in capturing the emotions of her sitters in the painted medium.

76

1969

2019

1093

1094

1093 Mary Minnie Steinhauer (b. 1863 Eureka, CA) Road through a redwood forest Oil on canvas Signed lower right: M. Steinhauer 36” H x 21” W $300/500 1094 Jean V. Martin (1906 - 1986 San Diego, CA) “Redwood Splendor”, stream through a redwood forest Oil on canvasboard Signed lower right: Jean Martin, titled on a label affixed verso 16” H x 12” W $300/500 1095 Lilian Churchill (20th Century American) Path in a redwood forest Oil on canvas laid to board Signed lower right: Churchill, inscribed in another hand verso 23.5” H x 16” W $300/500

1095 October 23, 2018 - Women in Art

77

1096 Florence Sackett (1927 - * Philomath, OR) Three works: “Redwoods" Each: Oil on canvas Each: Signed lower right: F. Sackett, signed again, titled and numbered on the stretcher: the first: #1394; the second: #1406; the third: #1726 Each: 12” H x 9” W $400/700

1097 Harriet A. Mayland (1919 - 1992 Carmel, CA) “Redwood Road” Oil on canvas Signed lower right: H. Mayland, titled and inscribed on the frame plaque: Big Sur 24” H x 12” W $300/500

78

1969

1098 Florence Sackett (1927 - * Philomath, OR) Redwood forest Oil on canvas Signed lower left: F. Sackett 20” H x 24” W $200/400

2019

1099 Kathleen Crawford (20th Century American) Eleven works of flowers Each: Watercolor on board and paper Each signed: Kathleen Crawford, the works on board with signature, title, inscription and date verso Largest: 30� H x 20� W $1,000/1,500

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79

1100 Sara Kolb Danner (1894 - 1969 Santa Barbara, CA) Outdoor fruit stand with figures Watercolor on paper under glass Signed lower left: Sara Kolb Danner Sight: 14.5” H x 19” W $500/700

1101 Marcia Burtt (1941 - * California) Capistrano Mission, 1998 Oil on canvas Signed and dated verso: M. Burtt and with the copyright symbol 30” H x 15” W $400/600

80

1969

2019

1102 Annette Hodges (20/21st Century Texas) “Market of Zimatlan” Oil on canvas Signed lower left: Hodges and with the copyright symbol, signed again and titled verso 24” H x 36” W $1,500/2,500

October 23, 2018 - Women in Art

81

(1925 - 2005)

Jae Carmichael 82

Jae Carmichael is perhaps most familiar to the California art community as a modernistleaning artist working primarily in the mediums of oil and watercolor, but she was also a writer, an independent filmmaker, a sculptor, a photographer, a gallery and museum director and an educator.

Born in Hollywood in 1925, Carmichael studied at Mills College (1942-44), received a bachelor’s degree from University of Southern California (1951), a master’s in fine arts from what is now Claremont Graduate University (1955), and a doctorate in cinematography and art history also from USC (1972). In addition to her extensive institutional education, she studied under artists Francis de Erdely, Millard Sheets, Phil Dike, Dong Kingman, and William Gaw. Carmichael became a member of the California Watercolor Society in 1953 and exhibited annually with the group for decades. She was also an active member of the American Watercolor Society. In the 1960s, Carmichael served as director of the Wooden Horse Gallery in Laguna Beach; a gallery that exhibited noted Southern California modern artists such as Karl Benjamin, John McLaughlin and Sister Mary Corita Kent. In 1972 Carmichael became the founding director of the Pacific Asia Museum in Pasadena. During this period Carmichael also taught fine art classes at various local galleries and museums, Pasadena City College, and taught film and television classes at USC. Carmichael also served stints as director of the Pasadena Society of Artists and a director of the California Watercolor Society.

Endlessly exploring new mediums and technology, Carmichael was nominated for an Emmy Award in 1976 for a film titled “Heritage of Hope” that she made for the Los Angeles Unified School District. She was also involved more recently, in the early 1990s, in creating the Mountain View Memorial Gallery at Mountain View Cemetery and Mausoleum in Altadena. While involved with that gallery she curated shows, made a film titled “Arbor of Light”, commissioned by the Pasadena Cemetery Association, and initiated the installation of Memory Medallions on a selection of historic tombstones in the cemetery (smart phone enabled barcodes that link to short films on notable people buried there).

Carmichael was an active, important and avant-garde member of the Southern California arts community and regularly exhibited her painting, sculpture and photography nationally for over 60 years before her death in Pasadena in 2005.

1969

2019

$500/700 Provenance: The Estate of Jae Carmichael, Pasadena, CA.

October 23, 2018 - Women in Art

Jae Carmichael

1103 Jae Carmichael (1925 - 2005 Los Angeles, CA) Self-portrait, 1950 Oil on canvas Unsigned, dated verso: 4/29/50 30” H x 24” W

83

Jae Carmichael 84

1104 Jae Carmichael (1925 - 2005 Los Angeles, CA) “Sunburst”, still life with bananas Oil on canvas Signed lower right: Jae Carmichael, signed again verso, on the frame and on the stretcher, titled on a gum label affixed to the stretcher 24” H x 20” W $400/600

1969

2019

$800/1,200

October 23, 2018 - Women in Art

Jae Carmichael

1105 Jae Carmichael (1925 - 2005 Los Angeles, CA) “Long Beach”, 1950, pier scene with figures Watercolor on Arches paper Signed lower left: Jae Carmichael, dated and titled lower right: 1/7/50, signed again and with alternate date lower right: 1951 Sheet: 20” H x 28” W

85

1106 Jae Carmichael (1925 - 2005 Los Angeles, CA) “Singer Park” Watercolor on Arches paper under Plexiglas Signed lower left: Jae Carmichael, signed again and titled on the backing board Sight: 21.5” H x 29.75” W

Jae Carmichael

$300/500

86

1969

2019

1107 Jae Carmichael (1925 - 2005 Los Angeles, CA) “The City”, San Francisco with Golden Gate Bridge Watercolor on paper Signed lower left: Jae Carmichael, titled verso Sheet: 17” H x 22” W

Jae Carmichael

$600/800

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87

(20th Century)

Marilyn Hoeck Neal 88

1108 Marilyn Hoeck Neal (20th Century American) Santa Monica Pier Oil on canvas Signed lower left: Marilyn Hoeck Neal 24” H x 30” W $600/800

1969

2019

1110

1109 Marilyn Hoeck Neal (20th Century American) Still life with orange and apples, 1967 Oil on canvas Signed and dated lower right: M. Hoeck Neal 30” H x 36” W

1110 Marilyn Hoeck Neal (20th Century American) Still life with pink and yellow flowers Oil on canvas Signed on the strecher: Mrs. Neal 24” H x 36” W

$1,000/2,000

$600/800

October 23, 2018 - Women in Art

Marilyn Hoeck Neal

1109

89

1111 Bonnie Whittingham (1921 - 1997 California) Provincetown harbor scene, 1969 Oil on canvas Signed lower left: Whittingham, dated and numbered verso: 43B 24� H x 36� W $1,000/2,000

90

1969

2019

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91

(1948 - 2008)

Glenna Hartmann 92

Glenna Hartmann is a noted California artist who worked in a contemporary plein air realist style principally focused on creating California landscapes in the pastel medium. Hartmann was a founding member of the Santa Barbara-based Oak Group and was also an active member of other important art groups including the Pastel Society of America, the California Art Club and the Laguna Plein Air Painters Association.

Hartmann was born in Morristown, New Jersey and exhibited an early interest in painting and drawing. Following her scientific father’s path, Hartmann briefly studied mathematics and physics Wells College in Aurora, New York before shifting her focus to fine art and transferring to the Pennsylvania Academy of Fine Arts. There she was mentored by artists Arthur De Costa, Will Barnet, Dan Miller and Marshall Glasier and spent seven months studying abroad in Europe. She also attended mural painting school in San Miguel de Allende, Mexico. In 1975 Hartmann moved to California and settled in Carpinteria. In this new environment, Hartmann initially painted portraiture and animal subjects but soon permanently shifted focus to landscape painting.

In 1986, Hartmann and a group of friends started the Oak Group, a consortium of 25 shifting artists who exhibit throughout the year to benefit environmental organizations and preservation causes. Of particular importance to Hartmann was support of The Nature Conservancy’s successful Santa Cruz Island restoration project through an annual benefit art show. The Oak Group continues today and is nationally recognized for their efforts donating money and support to groups such as The Nature Conservancy, the Channel Islands National Park and the Land Trust for Santa Barbara County.

Hartmann actively exhibited in galleries, particularly at Montecito’s now-defunct Easton Gallery where she was represented for 18 years; and regularly participated in “paint-outs,” including a 1997 experience painting and staying in a Normandy chateau in France. Her pastels were widely and regularly featured in books and national fine art magazines.

Hartmann’s pastel and oil landscapes are a direct and emotional response to the beauty, diversity and quality of light of her favorite painting locations in the Santa Barbara environs, on Santa Cruz Island, at Rancho San Fernando Rey and even in Northern California and the Southwest.

1969

2019

1112 Glenna Hartmann (1948 - 2008 Santa Barbara, CA) “Vespers”, 1996 Pastel on paper under glass Signed lower left: Hartmann, signed again, titled and dated on the backing paper Sight: 17.75” H x 14” W $500/700

1113 Glenna Hartmann (1948 - 2008 Santa Barbara, CA) “Long Shadows, East Cloister”, 1998 Pastel on paper under glass Signed lower right: Hartmann, signed again, titled and dated on the backing paper verso Sight: 19.5” H x 15.5” W

Glenna Hartmann

$500/700

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93

1114 Susan Hertel (1930 - 1993 Cerrillos, NM) Interior with woman and dogs Oil on canvas Signed lower right: Susan Hertel 43.75� H x 52.25� W $6,000/9,000 Provenance: Estate of Millard Sheets.Thence by descent through the family.

94

1969

2019

1115 Nancy Glenn-Nieto (1944 - * American/Mexican) “The Dog”, 2018 Acrylic on canvas Signed lower right: Nancy Nieto 18” H x 24” W $600/800

October 23, 2018 - Women in Art

95

1116 Anya Fisher (1905 - 1992 Altadena, CA) “Nefertiti in L.A.” Oil on canvas Signed lower right: Anya Fisher 20” H x 24” W $300/500 Provenance: Sullivan Goss Gallery, Montecito, CA. Exhibitions: Sullivan Goss Gallery, Montecito, CA, “Face to Face: Selected American Portraits”, November 10, 2004 - January 12, 2005.

96

1969

2019

October 23, 2018 - Women in Art

97

(21st Century)

Mildred Kouzel 98

1117 Mildred Kouzel (1922 - 2016 Long Beach, CA) “Stretch” Patinated and painted bronze Signed: M. Kouzel (c) 78 22.5” H x 12.25” W x 6.75” D $1,000/1,500 Notes: Mildred Kouzel’s first career was in nursing: she was an army nurse during World War II, and only began taking formal art classes in the early 1960s. In 1972, at the age of 50, she graduated from CSU Long Beach with a Masters of Art Degree. Kouzel fell in love with jazz music during her time in New York in the 40s and 50s; inspired by the “spontaneous, inventive and improvisational” nature of the music, she would often sketch while at concerts even late into her career. Kouzel was also influenced by feminism, human relationships, the movement of the human body, ancient societies, and the environment, and worked in a variety of media, including painting, drawing, mixed media, woodwork, and bronze. Along with her contemporaries Martha Bartholomew, Marjorie Kerr, Fay, Colmar, and Virginia Spencer, Kouzel was also a founding member of the “Bloody Marys,” a feminist artist collective based in Fullerton, CA.

1969

2019

1118 Mildred Kouzel (1922 - 2016 Long Beach, CA) Study for “Stretch” Patinated and painted bronze Signed: Mildred Kouzel (c) 81 / The Art Foundry 15.5” H x 9” W x 5” D

Mildred Kouzel

$600/800

October 23, 2018 - Women in Art

99

1119 Juliette Steele (1909 - 1980 San Rafael, CA) “Remembrance of Things Past,” 1956, abstract Casein and tempera on masonite Signed and dated lower right: J. Steele, titled on an exhibition label affixed verso 20” H x 24” W $500/700 Provenance: Michael Kizhner Fine Art, Los Angeles, CA. Exhibitions: San Francisco Museum of Art, San Francisco, CA, “The 31st Annual Exhibition of Art: San Francisco Women Artists”, November 3 - November 25, 1956.

1120 Jacqueline Paul (20th Century American) Abstract Oil on canvas Signed lower left: J. Paul, signed again verso, indistinctly titled on a partial exhibition label affixed verso 47” H x 35.5” W $400/600

100

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2019

1121

1122

1121 Amrit Rau (20th Century American) “Just So”, 1989, abstract Mixed media on canvas Signed and dated lower left: A. Rau 36” H x 54” W $1,000/1,500

1122 Blair Tate (20th-21st century, New York, NY) A weaving Linen and cotton rope With stamped tag: To Pauline from Tom / Blair Tate 1979 38” H x 37.125” W (includes fringe) $600/900

October 23, 2018 - Women in Art

101

(20th Century)

Karen Jossal 102

1123 Karen Jossel (20th Century American) “Money #18”, 1979 Mixed media on two-dollar bills under Plexiglas Unsigned, titled and dated on a label affixed verso Sheet/image: 14.5” H x 23.75” W $400/600

1969

2019

1124 Karen Jossel (20th Century American) “Money #20”, 1980 Mixed media on two-dollar bills under Plexiglas Signed and dated lower right: K. Jossel, titled on a label affixed verso Sheet/image: 10” H x 18” W

Karen Jossal

$300/500

October 23, 2018 - Women in Art

103

Pg. 8 Lot 1012 Mabel Alvarez (1891 - 1985 Los Angeles, CA) Still life with fruit and bottle of wine

Artist Index

105

Artist

Lot

Artist

Lot

20th Century American School Abercrombie, Gertrude Alvarez, Attributed to Mabel Alvarez, Mabel Anderson, Dorothy Visju Ashton, Ethel V.

1077 1070, 1071, 1072 1015, 1016 1012, 1013, 1014, 1017 1008 1088

Lane, Martella Cone Leighton, Kathryn W. Leonard, Julia Ives

Lum, Bertha

1053 1047, 1048 1001 1020

Bedford, Ella M. Berresford, Virginia Brownscombe, Jennie Augusta Burtt, Marcia

1064 1073 1056 1101

Calvin, Katharine Carmichael, Jae Chandler, Mary Chittenden, Alice B. Churchill, Lilian Colburn, Daisy Dunton Cole, Blanche Dougan Coleman, Marion Crawford, Esther Mabel Crawford, Kathleen Cromwell, Joane Cunningham, Louise

1083 1103, 1104, 1105, 1106, 1107 1054 1002, 1003 1095 1007 1046 1022 1031 1099 1034 1029

Danner, Sara Kolb Dillingham, Louise Bulkley Dixon, Alice Haigh

1100 1018 1076

Fisher, Anya Fisher, Ellen Bowditch Thayer

1116 1010

Gamble, Dora 1006 Gilchrist, Meda M.

1042 Glenn-Nieto, Nancy 1115 Greenbaum, Dorothea Schwarcz 1067 Greene, Antonia J. 1057, 1058, 1059, 1060, 1061, 1062 Grimes, Frances 1082 Gyberson, Indiana

1078, 1079, 1080

106

Hall, Emilie Harrington, Eleanor Hartmann, Glenna Hertel, Susan Hills, Anna A. Hodges, Annette Hummel, Hazel

1043 1011 1112, 1113 1114 1039 1102 1033

Jossel, Karen

1123, 1124

Kelley, Susan Katherine Eubank Kendall, Marie Boening Kirk, Marie Kollwitz, Käthe Kouzel, Mildred

1044 1030 1019 1074 1117, 1118

Mackendrick, Lilian 1084 Mackenzie, Claudia 1075 MacPherson, Beatrice 1021 Martin, Jean V. 1094 Mary, Alice 1081 Mayland, Harriet A. 1097 Morgan, Mary DeNeale 1032 Morison, Patricia 1092 Neal, Marilyn Hoeck

1108, 1109, 1110

Paul, Jacqueline Payne, Elsie Palmer Pearson, Marguerite Stuber

1120 1037 1038

Rahon, Alice Ramsden, M. Louise “Lee” Rau, Amrit Reed, Marjorie Riley, Helen Wood Rimmer, Caroline Rousseau, Helen

1068 1041 1121 1051 1009 1055 1086

Saarinen, Lillian Louisa Swann Sackett, Florence Schuster, Donna Shull, Della Sklar, Dorothy Smith, Helen Safford Steele, Juliette Steinhauer, Mary Minnie Sturgis, Octavia Sutro, Esther

1063 1096, 1098 1090 1091 1087 1085 1119 1093 1050 1065

Tate, Blair Thecla, Julia Thorne, Anna Louise Titcomb, Mary Bradish Todd, Bianca Tupper, Margaret

1122 1069 1023 1040 1089 1049

von Baldaugh, Anni

1045

Wachtel, Marion Kavanagh 1035, 1036 Warner, Nell Walker 1024, 1025, 1026, 1027, 1028 White, Edith 1004, 1005 Whittingham, Bonnie 1111 Wickes, Ethel Marian 1066 Wright, Cora Bernice 1052

1969

2019

Condition Reports

107

1001 Visual: Generally good condition. Craquelure scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 17” H x 19” W x 2.25” D. 1002 Visual: Generally good condition. A 1.25” surface scratch with minor paint loss upper right. Blacklight: No evidence of restoration under blacklight.

Unframed.

1016 Visual: Generally good condition. Craquelure throughout. Blacklight: Touchup in the upper corners.

Frame: 9” H x 16” W x 1.5” D. 1017 Each: Generally good condition. Toning and staining to the paper or board.

Unframed.

1003 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 25” W x 2.5” D. 1004 Visual: Generally good condition. Blacklight: Touch-up scattered throughout the background, the largest two dime-sized spots upper right and left center.

Frame: 14” H x 17” W x 1” D. 1005 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 16.75” H x 23.5” W x 1.5” D. 1006 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up throughout, including on the oranges and the left and right edges.

Frame: 21.25” H x 13.25” W x 1.5” D. 1007 Visual: Generally good condition. Blacklight: Scattered touch-up along the upper edge.

Frame: 21” H x 25” W x 2” D. 1008 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Possible restoration scattered throughout under blacklight. Difficult to read under varnish.

Frame: 35.25” H x 27.25” W x 2.25” D. 1009 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 25.5” H x 18.25” W x 1.5” D. 1010 Generally good condition. Mounted to the recto mat with artist’s tape along the four edges and corners.

Board: 15” H x 11” W; frame: 20.5” H x 17.5” W x 1” D. 1011 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Tiny flecks of paint loss scattered throughout the fruit. Blacklight: Touch-up throughout, including in part of the signature.

Frame: 14.5” H x 18.5” W x 1.5” D. 1012 Visual: Generally good condition. Blacklight: Touch-up scattered throughout.

Frame: 27” H x 33” W x 1.5” D. 1013 Visual: Generally good condition. Craquelure throughout. Minor frame abrasion along the four edges. Blacklight: Small spots of touch-up in the girls’ chests and faces.

Frame: 27” H x 31” W x 3.5” D. 1014 Each: Generally good condition. Not examined out of the frame.

Frame: The first: 15.5” H x 12” W x 1” D; the second: 14.5” H x 15.5” W x 1” D.

108

1015 Generally good condition. Minor toning to the paper. Hinged to the recto mat with artist’s tape along the upper edge.

Sheet: 11.5” H x 8.75 W; frame: 14.5” H x 12” W x 1” D.

1969

1018 Visual: Generally good condition. A 6.5” light scuff mark lower left.

Blacklight: No evidence of restoration under blacklight.

Frame: 30” H x 36” W x 3” D. 1019 Generally good condition. Toning to the paperboard. The lower right corner is missing. Hinged to the back mat with artist’s tape in the upper corners.

Sheet: 10” H x 13” W; frame: 15.5” H x 18.25” W x .75” D. 1020 Generally good condition. Minor losses scattered throughout. Mounted to the recto mat with masking tape along the four edges.

Sheet: 18.5” H x 11” W; frame: 24.5” H x 17” W x 1” D. 1021 Each: Generally good condition with wear commensurate with age.

1022 Visual: Generally good condition. The canvas is torn at the tacking edge along the entire left edge. The canvas is loose and slightly rippled. Surface dirt and grime. Blacklight: A 2” x 1” area of touch-up lower center with corresponding patch verso. A 2.5” x 1.5” area of touch-up lower left with corresponding patch verso. A 1.25” x .75” area of touch-up left center with corresponding patch verso.

Frame: 29.5” H x 43.5” W x 2.25” D. 1023 Visual: Generally good condition. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 20.25” H x 17.25” W x 2” D. 1024 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky. Stretcher bar creases along the four edges.

Spots of paint loss upper right, lower center and lower right partially affecting the signature. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 45” W x 2.5” D. 1025 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 37” H x 43” W x 2” D. 1026 Visual: Generally good condition. Blacklight: Touch-up scattered throughout.

Frame: 14.5” H x 16.5” W x 2” D. 1027 Visual: Generally good condition. The canvas is slightly loose upper right.

Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 39” W x 2.25” D. 1028 Visual: Generally good condition. Craquelure and minor varnish discoloration throughout the sky. Artist’s pinholes in the upper corners.

Blacklight: No evidence of restoration under blacklight.

Frame: 36” H x 32” W x 2” D.

2019

1029 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 29” H x 35” W x 2.5” D. 1030 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 22” W x 2” D. 1031 Visual: Generally good condition. A small area of craquelure upper center. Minor surface dirt and grime. Blacklight: A 2” x 3.5” scattered area of touch-up right center.

Frame: 32” H x 38” W x 1.5” D. 1032 Visual: Generally good condition. Areas of craquelure lower right and lower center. Minor surface dirt and grime. Blacklight: Touch-up scattered throughout.

Frame: 19” H x 23” W x 1.25” D. 1033 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 9” H x 11” W x 1.5” D. 1034 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Blacklight: A few small spots of touch-up scattered throughout, the largest pea-sized.

Frame: 26.5” H x 32.5” W x 1.75” D. 1035 Generally good condition. Minor toning to the paper. Artist’s pinholes along the edges. The paper is loose, not mounted.

Sheet: 18” H x 30” W; frame: 27.5” H x 31.5” W x 1.5” D. 1036 Generally good condition. Minor toning to the paper. The paper is loose, not mounted.

Sheet: 12” H x 16” W; frame: 18” H x 22” W x 2” D. 1037 Generally good condition. Toning to the paper. Hinged to the recto mat with archival tape in the upper corners.

Sheet: 18” H x 15” W; frame: 27.5” H x 24.5” W x 1.5” D. 1038 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 14” H x 16” W x 2” D. 1039 Visual: Generally good condition. Blacklight: A small spot of touch-up in the center.

Frame: 16” H x 12.5” W x 2” D. 1040 Visual: Generally good condition. Craquelure throughout. Blacklight: Touch-up scattered throughout.

Frame: 21” H x 18” W x 2” D. 1041 Visual: Generally good condition. Blacklight: Small spots of touch-up scattered throughout.

Frame: 13” H x 16” W x 1.25” D. 1042 Visual: Generally good condition. Craquelure scattered throughout. A 6.5” scratch with minor paint loss lower right. A 2” scratch with minor paint loss lower center. Blacklight: No evidence of restoration under blacklight.

Frame: 28.5” H x 32.5” W x 1.5” D.

1043 Visual: Generally good condition. Two small white scuff marks left center, one with minor paint loss. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Some pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 19.5” H x 23.5” W x .75” D. 1044 Visual: Generally good condition. Fine craquelure scattered throughout. The canvasboard is pushed out in two spots along the lower edge by the frame brackets verso. Blacklight: A 5.5” scattered line of touch-up along the upper center edge.

Frame: 19.5” H x 23.5” W x 2” D. 1045 Visual: Generally good condition. Craquelure throughout the upper and lower portions of the painting. Minor surface dirt and grime.

Blacklight: Touch-up in the upper right corner.

Frame: 27” H x 29” W x 1.5” D. 1046 Visual: Generally good condition. Fine craquelure scattered throughout. An area of paint loss along the upper right edge.

Blacklight: Touch-up throughout the sky.

Frame: 23” H x 29.5” W x 1.5” D. 1047 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the background. Stretcher bar creases along the four edges. Paint shrinkage in some of the black pigments.

Blacklight: No evidence of restoration under blacklight.

Frame: 49” H x 41” W x 2” D. 1048 Visual: Generally good condition. Frame abrasion along the four edges. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 21” H x 25” W x 1.25” D. 1049 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 62” H x 50” W x 2” D. 1050 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: A 4” x 3” area of touch-up upper center. A few small spots of touch-up along the lower edge.

Frame: 24.5” H x 17.5” W x .5” D. 1051 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but appear to be in the hand of the artist.

Frame: 13” H x 15” W x 1.5” D. 1052 Visual: Generally good condition. Tiny flecks of paint loss and instability scattered throughout. Blacklight: Touch-up throughout the trees and foreground.

Frame: 19.5” H x 15.5” W x 2” D. 1053 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 9.5” W x 1.25” D. 1054 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 15.5” W x 2.5” D. 1055 Overall good condition with areas of residue throughout.

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109

1056 Generally good condition. Artist’s pinholes in the four corners.

Hinged to the recto mat with archival tape in the upper corners.

Tape remnants from a previous mounting remain along the four edges.

Sheet: 12.25” H x 9.25” W; frame: 23” H x 20” W x 2.5” D. 1057 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up throughout, including in the woman’s face and shoulder.

Frame: 23.5” H x 20.25” W x 2” D. 1058 Visual: Generally good condition. Small flecks of paint loss upper left and right center. Blacklight: Touch-up scattered throughout, concentrated mainly in the background and the woman’s face.

Frame: 26.5” H x 20.5” W x 1” D. 1059 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Touch-up scattered throughout, the largest a 3” x 2.25” scattered area right center.

Frame: 21.5” H x 27.5” W x 1.25” D. 1060 Visual: Generally good condition. Craquelure scattered throughout the girl’s dress. Stretcher bar creases along the four edges. Blacklight: Touch-up scattered throughout, including in the girl’s hands, face and dress.

Frame: 32.5” H x 26.5” W x 1.25” D.

1069 Generally good condition. Crazing throughout. Flecks of paint loss scattered throughout.

Frame: 15.5” H x 13” W x 2” D. 1070 Visual: Generally good condition. Craquleure throughout the water, stairs, door and red pigments. Blacklight: No evidence of restoration under blacklight.

Frame: 10.75” H x 13.5” W x 2.5” D. 1071 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 11.75” H x 11.5” W x 2.5” D. 1072 Visual: Generally good condition. Framed floating. Blacklight: No evidence of restoration under blacklight.

Frame: 11.5” H x 11.5” W x 1.75” D. 1073 Visual: Generally good condition. Small spots of paint loss lower right and left center. The canvas is slightly loose and rippled. Blacklight: Quartersized spots of touch-up left and right center.

Frame: 15.5” H x 20.5” W x 1.5” D. 1074 Generally good condition. Toning to the paper. Not examined out of the frame.

Frame: 18.25” H x 21” W x 1” D.

1061 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Blacklight: Touch-up scattered troughout the woman’s face.

Frame: 32” H x 28” W x 1.5” D.

1075 Visual: Generally good condition. Craquelure scattered throughout. An area of flaking, paint loss and instability lower left. Blacklight: No evidence of restoration under blacklight.

Frame: 42.5” H x 38.5” W x 2” D.

1062 Visual: Generally good condition. Small creases in the canvas in the lower right corner. A 1.5” light surface scratch lower left.

Varnish discoloration scattered throughout. Blacklight: Touch-up scattered throughout the background.

Frame: 26” H x 20” W x 1” D.

1076 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 8.5” W x 1.5” D.

1063 Overall good condition with darkening to bronze commensurate with age. Scuffs, scratches, and separation at joints of wood plinth commensurate with age.

1064 Visual: Generally good condition. Craquelure throughout. Minor surface dirt and grime. Blacklight: Touch-up scattered along the edges. Two small spots of touch-up right center. A 1.25” line of touch-up left center. difficult to read under varnish.

Frame: 40” H x 51.5” W x 4.5” D. 1065 Each: Visual: Generally good condition. The first and second with small holes and cracks in the panel. The third with paint loss left center and lower center. Blacklight: The first: Touch-up scattered throughout. The second and third: No evidence of restoration under blacklight.

Frame: Largest: 14” H x 17.25” W x 1.25” D. 1066 Generally good condition. Minor frame abrasion along the four edges. The paper is laid down, as stated.

Sheet: 10” H x 14” W; frame: 14.25” H x 18.25” W x 1.5” D. 1067 Overall good condition with minor inherent firing flaws.

1068 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 11” H x 13” W x 1.25” D.

110

1969

1077 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 32.5” H x 26.5” W x 2.5” D. 1078 Visual: Generally good condition. Craquelure throughout. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight.

Difficult to read under uneven varnish.

Frame: 26” H x 22” W x 2” D. 1079 Visual: Generally good condition. Small spots of paint loss along the upper right and lower center edges. Minor surface dirt and grime. Blacklight: A 1” x 5” scattered area of touch-up upper center. Other possible restoration scattered throughout. Difficult to read under uneven varnish.

Frame: 26” H x 22” W x 2” D. 1080 Visual: Generally good condition. Craquelure throughout. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight.

Difficult to read under uneven varnish.

Frame: 26” H x 21.75” W x 2” D. 1081 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Tiny flecks of paint loss scattered throughout the woman’s face. Minor surface dirt and grime. Blacklight: Touchup scattered throughout, including a pea-sized spot right center with corresponding patch verso.

Frame: 24.5” H x 20.5” W x 2” D.

2019

1082 Overall good condition with darkening to bronze commensurate with age. Glue residue verso.

1083 Visual: Generally good condition. Small spots of paint loss upper center and lower left. A small hole in the canvas in the girl’s arm right center. The canvas is slightly loose and rippled. Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 31” W x 3” D. 1084 Visual: Generally good condition. The painting appears to have been shortened on the left side. Blacklight: No evidence of restoration under blacklight.

Frame: 19” H x 17” W x 1.5” D. 1085 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 31.25” H x 37.25” W x 1.25” D. 1086 Visual: Generally good condition. Light surface scratches lower left, upper left and in the center. A .25” scratch with paint loss upper right. A black scuff mark lower right. Blacklight: Touch-up scattered throughout the lower center portion of the painting, the largest a 6” line along the edge.

Frame: 32” H x 36.75” W x 2” D. 1087 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar creases along the four edges. Blacklight: Touch-up along the right edge.

Frame: 20.5” H x 24” W x 2.25” D. 1088 Visual: Generally good condition. Craquelure throughout. A small area of paint loss left center. Blacklight: Touch-up throughout.

Unframed.

1089 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Blacklight: Touch-up scattered throughout, the largest a 4.5” x 2” scattered area lower center.

Apparent areas of restoration in the cellists upper center. Difficult to read under varnish.

Frame: 35.5” H x 29.5” W x 2” D. 1090 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar creases along the four edges. Blacklight: Small spots of touch-up scattered throughout.

Frame: 31” H x 29” W x 1.5” D. 1091 Visual: Generally good condition. Stretcher bar creases along the four edges. Blacklight: Touch-up throughout, including on the woman’s body and ear.

Frame: 43” H x 33” W x 2” D. 1092 Visual: Generally good condition. Craquelure scattered throughout.

Spots of paint loss upper right and lower right near the signature.

Blacklight: Apparent touch-up scattered throughout the faces and hair of the women. Difficult to read under varnish.

Frame: 58.25” H x 46.25” W x 2” D. 1093 Visual: Generally good condition. Stretcher bar creases along the four edges. Artist’s pinholes scattered along the edges. Blacklight: Touch-up scattered throughout, the largest an 8” x 1” area upper center.

Frame: 39.5” H x 25.75” W x 1.25” D.

1094 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 22.5” H x 18.5” W x 2” D. 1095 Visual: Generally good condition. Fine craquelure scattered throughout the brown pigments. Blacklight: No evidence of restoration under blacklight.

Frame: 26” H x 19” W x 1.75” D. 1096 Each: Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Each: Frame: 20.5” H x 17.5” W x 2.5” D. 1097 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 30.5” H x 18.5” W x 2.25” D. 1098 Visual: Generally good condition. Oxidation scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 27” W x 2.5” D. 1099 Each: Generally good condtion. Some works with minor damage to the corners. Three works covered with plastic. The work on paper with repairs to two tears along the right edge.

1100 Generally good condition. Minor toning to the paper. Glued to the recto mat along the right and lower edges.

Sheet: 15.25” H x 20” W; frame: 22.5” H x 27” W x 1.25” D. 1101 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 38” H x 23” W x 2.25” D. 1102 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 37” H x 49” W x 3.25” D. 1103 Visual: Generally good condition. Flaking and paint loss upper left, upper center and left center. A small area of instability lower left.

Blacklight: No evidence of restoration under blacklight.

Unframed.

1104 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Small flecks of paint loss upper center and upper right. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 31” H x 27” W x 2.25” D. 1105 Generally good condition. Toning to the paper. Tape from a previous mounting remains along the left, right and upper edges. Creases to the paper in the right corners. Artist’s pinholes upper center. The paper is loose, as stated.

Unframed.

1106 Generally good condition. Not examined out of the frame.

Frame: 28.5” H x 36.5” W x 1” D. 1107 Generally good condition. Toning to the paper. Artist’s pinholes and creases in three of the corners. Small holes in the paper upper center, left center and upper left. Tears in the paper along the upper center, upper right and lower left edges. Minor surface dirt and grime. The paper is loose, as stated.

Unframed.

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111

1108 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 25.5” H x 31.5” W x 2” D.

1122 Overall good condition, one thread shows wear. Some minor fading to the red thread commensurate with age and display.

1109 Visual: Generally good condition. Craquelure scattered throughout. A small spot of paint loss right center. The canvas is slightly loose in the upper right corner. Blacklight: No evidence of restoration under blacklight.

Frame: 38.5” H x 44.5” W x 2.5” D. 1110 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the upper and lower edges. Blacklight: No evidence of restoration under blacklight.

Frame: 28.5” H x 40.5” W x 2” D.

1123 Generally good condition. Framed floating and mounted to the back mat.

Not examined out of the frame.

Frame: 22” H x 30.5” W x 1.75” D. 1124 Generally good condition. Framed floating and mounted to the back mat.

Not examined out of the frame.

Frame: 17.25” H x 24.75” W x 1.75” D.

1111 Visual: Generally good condition. Craquelure throughout the sky. Minor frame abrasion along the four edges. A 1.25” scratch with minor paint loss right center. A few light surface scratches scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 32.5” H x 44.5” W x 3” D. 1112 Generally good condition. Not examined out of the frame.

Frame: 27” H x 23” W x 1.25” D. 1113 Generally good condition. Not examined out of the frame.

Frame: 28” H x 24” W x 1.5” D. 1114 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 45” H x 53.25” W x 1” D. 1115 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 30” W x 2.25” D. 1116 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 26” H x 30” W x 1.75” D. 1117 Overall good condition with minor scuffs, light scratches, and rubbed wear commensurate with age.

1118 Overall good condition with scattered light scuffs, scratches, and minor losses to paint commensurate with age.

1119 Visual: Generally good condition. Blacklight: A small spot of touch-up right center.

Frame: 29” H x 33” W x 1.5” D. 1120 Visual: Generally good condition. Minor wear in the four corners.

A few scuff marks scattered throughout. An 11” scratch with minor paint loss upper right. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Unframed.

1121 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Unframed.

112

1969

2019

20th Century Art + Design Tuesday, November 13, 2018

Sam Maloof (1916 - 2009 Alta Loma, CA) A spindle-back rocking chair, 1981 $15,000/25,000

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

Prints & Multiples

Tuesday, November 13, 2018

Robert Motherwell (1915-1991 American) Redness of Red, 1985 $18,000/22,000

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

Fine Jewelry, Timepieces & Luxury

Tuesday, December 11, 2018

A diamond ring, Granat Bros Circa 1950, platinum, 1.66 cts. $10,000/15,000

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

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116

1969

2019

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 2% buyer’s premium.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time.

The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day.

When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax.

Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third party shipper at the request, expense and risk of the buyer.

Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase

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price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, Pasadena Branch located at 300 E. Walnut Street, Pasadena, California 91101 or the Federal Court Central District located at 312 North Spring Street, Los Angeles, California, 90012-4793.

CREDIT CARDS, CONTINUED Credit card payments will not be accepted from buyers outside of the United States. Buyers outside of the United States are required to submit payment via wire transfer.

TAXES Applicable California sales tax applies.

CONTRACT Except as otherwise stated, John Moran Auctioneers (Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

PAYMENT The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States.

SHIPPING Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third party services, Moran's may apply an administration charge of 15% of that service fee.

BUYERS PREMIUM The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States.

CONDITION Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

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Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

Front cover: Pg. 41 Lot 1047 Kathryn W. Leighton (1875 - 1952 Los Angeles, CA) “The Young Chief”

Back cover: Pg.36 Lot 1040 Mary Bradish Titcomb (1858 - 1927 Marblehead, MA) Monterey cypress coastal

Pg. 37 Lot 1042 Meda M. Gilchrist (1888 - 1953 Los Angeles, CA) Bird’s-eye view of a circus

Pg. 81 Lot 1102 Annette Hodges (20/21st Century Texas) “Market of Zimatlan”

This catalogue designed & printed in California, USA

1969

J ohn Mor a n Auc t ioneers - Women in Art - Tuesday, Octob er 2 3 , 201 8

Women in Art

Tuesday, October 23, 2018—4pm

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