California & American Fine Art — November 18, 2025 | John Moran Auctioneers by johnmoranauctioneers

California & American Fine Art

Tuesday, November 18, 2025

AUCTIONEERS & APPRAISERS SINCE 1969

Tuesday, November 18, 2025 | 12pm PST

Sale 324

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Friday, November 14th: 12-4pm

Saturday, November 15th: 12-4pm

Monday, November 17th: 12-4pm

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Meet the Team

Katherine Halligan Head of Sale, Director, Fine Art k.halligan@johnmoran.com

Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

145 East Walnut Avenue, Monrovia CA 91016 Client Services

Mario Esquivel Office Manager m.esquivel@johnmoran.com

SINCE 1969 Previews:

Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com

Lori Kassabian Cataloguer, Fine Art l.kassabian@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

AUCTIONEERS & APPRAISERS

1

Ada Gilmore (1883-1955)

“A Promenade in Provincetown,” circa 1916

White-line woodcut in colors on sturdy wove paper

From the edition of unknown but presumably very small size

Signed in pencil along the lower edge of the block, at right: A Gilmore; signed again and titled in pencil on the brown paper tape used for hinging, verso

Image: 9” H x 10” W; Sheet: 10.375” H x 13.125” W (irreg.)

$3,000-5,000

Notes:

The only other impression of this woodcut that we have been able to locate was once in the Collection of Helen (d. 2025) and Napi (d. 2019) Van Dereck. Their impression was exhibited at the Provincetown Art Association and Museum in 2024, where it was titled “Gossip” and dated circa 1916.

James McNeill Whistler (1834-1903)

“Whistler with the White Lock,” 1876-79

Etching and drypoint on off-white laid paper without watermark

From the edition of unknown size, of which 34 are known

Unsigned, as issued

Plate: 4.625” H x 3.125” W; Sheet: 8.5” H x 6.5” W

$2,000-3,000

Literature: Kennedy 172; Glasgow 162i/i

Notes:

Inscribed in pencil with what is likely an early dealer (possibly Kennedy Galleries, New York, NY) inventory code, verso: a53364

Grant Wood (1892-1942)

“Fertility,” 1939

Lithograph on wove paper

From the edition of 250

Signed in pencil in the lower margin, at right: Grant Wood; George C. Miller, prntr.; Associated American Aritsts, New York, pub. Image: 8.875” H x 11.875” W; Sheet: 11.25” H x 14” W (approx.)

$3,000-5,000

Literature: Cole 15

Paul Landacre (1893-1963)

“California Hills & Other Wood Engravings by Paul Landacre from the Original Blocks,” 1931

Bound book including 14 full page, and one partial page, wood engravings

Edition: 124/500

Signed and numbered in ink on the colophon, below the small additional wood engraving: Paul Landacre; together with the title page, table of contents, colophon, and the introduction written by Arthur Millier; bound as issued in decorative paper-covered boards with the affixed title/image cover label; Harold Young, prntr., from Landacre’s original blocks; Bruce McCallister, Los Angeles, pub. Each Image: 6” H x 8” W (or opposite and/or smaller); Each Sheet: 12.5” H x 9.25” W

$1,200-1,800

Notes:

Among the 14 full-page images are views titled “Headland...Big Sur Coast,” “Indio Mountains,” “Physics Building...U.C.L.A.,” “Stadium... Berkeley,” “Hills and Sea...Malibu Coast,” “Old Ranch...Big Sur,” “Gray Back...San Bernardino Mountains,” “Monterey Hills,” and others.

According to the last paragraph of this book’s colophon page, “The artist and printer pray that he who may be tempted to mutilate this book will be reminded of those dark words of Saint Nicholas of Arrinstine [a mythical figure]” which, translated from the Latin version printed in the book, read as, “May he who mistreats [this book] die by death, be cooked in a pan, be struck by epilepsy and fevers, and be rotated and hanged. Amen.”

Armin Carl Hansen (1886-1957)

While Armin Carl Hansen is perhaps best known as contributions to California and American art history. Following the 1906 earthquake and fire that destroyed 1906 to 1908 under Carlos Grethe. After leaving Germany, Hansen first explored the etching medium. These

Following his artistic education, Hansen spent time maritime seascapes, and picturesque coastal villages. depth personal knowledge of sea vessels and the long theme of his paintings and prints.

Upon his return to San Francisco in the autumn of California Society of Etchers, where he served on their Association shows. Hansen exhibited six etchings in continued to exhibit his print and graphic works in

Hansen relocated his studio from San Francisco to colonies of Monterey and Carmel, as well as his preferred the California coast, Hansen considered many of the his friends, and vigilantly depicted their likenesses, hierarchical distinction between his painting and print compositional choices in another medium.

In total, Hansen self-identified in a 1939 letter that 1910 and 1939 (four of these works have never been making prints in 1939 was likely related to declining

as a painter, his graphic work in various print media is an important part of his artistic history. Hansen was formally trained in San Francisco at the California School of Design. destroyed the school, Hansen went on to study at the Stuttgart Academy in Germany from Germany, Hansen spent time in Paris and West Flanders, Belgium. In Belgium in 1910, earliest prints featured coastal views of Nieuport and Ostend.

time working as a crew member on North Sea trawlers while painting fishing scenes, villages. His interactions with the resilient and hardworking seafaring community, and the inworking life of a sailor gleaned from these experiences, became the central and career-

1912, Hansen quickly re-immersed himself in the local artistic community, joining the their Executive Board, and participating in exhibitions, including San Francisco Art in the 1915 Panama-Pacific International Exposition, and through the 1930s, he most of the major print shows in the US, regularly receiving awards and prizes.

the Monterey Peninsula in 1916, where he was in closer proximity to the vibrant artist preferred maritime subjects. Intimately familiar with the fishing industry along this part of the Italian and Portuguese men who worked on the boats and on the docks there as likenesses, as well as the specific vessels used in the area. Hansen did not appear to make a print mediums, and often a subject executed in one medium would share or inspire he produced 152 career prints consisting of 75 etchings and 77 drypoints between been identified). His print output also included two lithographs. His decision to cease declining print sales due to the aftermath of the Great Depression.

5

Armin Carl Hansen (1886-1957)

“Requiem,” 1924

Etching on Arches laid paper

Presumably from the edition of 75; only 9 of which were located by White Signed and titled in pencil in the lower margin: Armin Hansen; signed and dated “’24” in the plate at lower right Plate: 12.875” H x 14.875” W; Sheet: 16.375” H x 19.5” W

$1,500-2,500

Provenance: Estate, Grand Terrace, CA

Literature: White 70

Armin Carl Hansen (1886-1957)

“The Sardine Barge,” 1922 Etching on Arches laid paper

From the edition of unknown but presumably small size; only 26 impressions were located by White

Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and dated “’22” in the plate at lower left

Plate: 12.875” H x 14.75” W

$1,500-2,500

Provenance: Estate, Grand Terrace, CA

Literature: White 43

Armin Carl Hansen (1886-1957)

“Fathers and Sons,” circa 1926

Etching and aquatint on wove paper with a partial watermark, Arches (France)

From the edition of unknown but presumably small size; only 14 impressions were located by White

Signed and titled in pencil in the lower margin: Armin Hansen / imp.

Plate: 7.375” H x 9.75” W: Sheet: 9.125” H x 11.5” W

$1,000-1,500

Provenance: Estate, Grand Terrace, CA

Literature: White 93

Armin Carl Hansen (1886-1957)

“Unloading Fish,” 1922 Etching on wove paper

From the edition of unknown but presumably small size; only 13 impressions were located by White

Signed and titled in pencil in the lower margin: Armin Hansen; signed and dated “22” in the plate lower right

Plate: 6” H x 7.875” W; Sight: 6.5” H x 8.125” W

$800-1,200

Provenance: Estate, Grand Terrace, CA

Literature: White 53

Armin Carl Hansen (1886-1957)

“Snug Harbor,” 1928

Etching on wove paper

From the edition of less than 350

Signed and titled in pencil in the lower margin: Armin Hansen; signed and dated “’28” in the plate lower left Plate: 6” H x 8” W; Sight: 6.5” H x 8.25” W

$600-800

Provenance: Estate, Grand Terrace, CA

Literature: White 109 iii/iii

Armin Carl Hansen (1886-1957)

“Oakland Estuary,” 1920 Etching on wove paper

From the edition of unknown but presumably small size; only 10 impressions were located by White Signed and titled in pencil in the lower margin: Armin Hansen; initialed and dated “’20” in the plate at lower left Plate: 4.875” H x 6.875” W; Sight: 5.625” H x 7.375” W

$600-800

Provenance: Estate, Grand Terrace, CA

Literature: White 36

11

Armin Carl Hansen (1886-1957)

“The Helmsman,” 1922

Drypoint on off-white wove paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: Armin Hansen / imp.; signed and dated “22” in the plate lower left

Plate: 2.875” H x 3.875” W; Sight: 3.5” H x 4.5” W

$800-1,200

Provenance: Collection of Stan and Ginnie Eschner

Literature: White 54

Armin Carl Hansen (1886-1957)

“Fishermen Walking,” 1925 Etching on wove paper

From the edition of unknown but presumably small size; only 17 impressions were located by White

Signed and titled in pencil in the lower margin: Armin Hansen; initialed and dated “’25” in the plate lower right

Plate: 3.75” H x 3.75” W; Sight: 4.125” H x 4.125” W

$600-800

Provenance: Estate, Grand Terrace, CA

Literature: White 79

Armin Carl Hansen (1886-1957)

“Across the Harbor,” 1927 Etching on wove paper

From the edition of unknown but presumably small size; only 5 impressions were located by White Signed and titled in pencil in the lower margin: Armin Hansen / imp.; signed and dated “27” in the plate lower left

Plate: 4.75” H x 6.375” W; Sight: 5.25” H x 7.125” W

$600-800

Provenance: Estate, Grand Terrace, CA

Literature: White 96

Armin Carl Hansen (1886-1957)

“Boatyard, Monterey” Watercolor on paper

Signed lower left: Armin Hansen A.N.A.; titled on a label affixed to the frame’s backing paper Sheet: 10” H x 14.625” W

$6,000-8,000

Provenance:

Private collection, Los Angeles, CA

Sold: Bonhams, Los Angeles, CA, “California and Western Paintings and Sculpture,” April 6, 2011, Lot 1045

Private collection, Piedmont, CA, acquired from the above

Sold: Bonhams, Los Angeles, CA, “California & Western Art,” August 6, 2024, Lot 27

Private collection, Grand Terrace, CA, acquired from the above

Exhibited:

Monterey, CA, Monterey Peninsula Museum of Art, “Artists of the Monterey Peninsula, 1875-1935,” September 4-November 1, 1981

Notes:

This lot is accompanied by two books about Armin Carl Hansen.

Gottardo Piazzoni (1872-1945)

“Lake with Tree,” 1923 Oil on canvas laid to board

With the incised signature and date lower right: GPIAZZONI ‘23; with the incised signature “PIAZZ” again, lower left; dated again, titled, and numbered “276” in ink, all verso

6.25” H x 8.5” W

$2,000-3,000

Provenance: Private collection, Orinda, CA; by family descent

Phillips Frisbie Lewis (1892-1930)

“Old Pink House, Duncan Mills, California,” 1928 Oil on board

Signed lower right: Phillips F. Lewis; titled and dated in pencil verso, and again in ink on remnants of old brown paper affixed to the frame’s verso

8.625” H x 10.5” W

$1,000-1,500

17

Selden Connor Gile (1877-1947)

“Fence, Pole and Barns,” circa 1935 Oil on canvasboard

Unsigned; titled and dated on the exhibition label affixed to the frame’s backing paper Sight: 8.5” H x 11.5” W

$4,000-6,000

Provenance:

The estate of the artist Elizabeth C. Hall, Saratoga, CA, acquired from the above, March 10, 1955 Collection of Stan and Ginnie Eschner

Exhibited:

Walnut Creek, CA, Civic Arts Gallery, “A Feast for the Eyes: The Paintings of Selden Connor Gile: A Retrospective Exhibition,” June 9-July 10, 1983, no. 183

Notes:

There is a handwritten note affixed to the frame’s backing paper, dated November 20, 1982, and signed by artist Louis B. Siegriest, stating that, “in my opinion,” this work was painted by Selden Connor Gile. It measures 9” x 12” and is not signed.”

William Henry Clapp (1879-1954)

“The Golden Road,” 1942 Oil on Masonite

Signed and dated lower left: Clapp / 42; titled in ink, presumably in another hand, on the frame’s verso 15” H x 18” W

$1,500-2,500

Provenance: Collection of Stan and Ginnie Eschner

19

William Henry Clapp (1879-1954)

“Landscape”

Oil on Masonite

Unsigned; titled, inscribed “certified genuine” and signed “Lawrence Jeppson,” all in red ink, on a label affixed verso 10” H x 12” W

$1,000-1,500

Notes:

Lawrence Jeppson was the author of “William Henry Clapp, American Genius of Impressionism Rediscovered.”

August Gay (1890-1948)

Untitled (woods scene) Oil on board

Unsigned 5.75” H x 7.5” W

$1,500-2,000

Provenance: The Estate of August Gay

Claypoole-Freese Gallery, Pacific Grove, CA

Sold: Bonhams, San Francisco, CA, December 8, 2004, Lot 254

Exhibited:

Monterey, CA, Monterey Peninsula Museum of Art, “Wonderful Colors! The Paintings of August Francois Gay,” January 30-May 30, 1993 Moraga, CA, Hearst Art Gallery, Saint Mary’s College of California, “Wonderful Colors! The Paintings of August Francois Gay,” June 13-September 12, 1993

21

George Hausdorf (1894-1959)

Figures in a wooded landscape Oil on canvas

Signed lower right: George Hausdorf 14” H x 14.75” W

$800-1,200

Albert Thomas De Rome (1885-1959)

Albert Thomas De Rome was a California-born landscape scenes. Born in Cayucos, he trained at the Mark Hopkins Latimer. Early in his career, he worked as a political art, particularly landscapes. He often sketched alongside Widforss.

De Rome’s practice was deeply connected to the natural weather along the California coast, especially in the inviting viewers into quiet, contemplative landscapes.

A serious automobile accident in 1931 limited his ability selling his work or exhibiting as a professional, allowing “amateur” artist for the next three decades. During coastal California areas, often around 6” H x 8” W,

De Rome passed away in Carmel on July 31, 1959. and his lasting contribution to American landscape

Rome

landscape painter whose work captures the light and atmosphere of coastal and inland Hopkins Institute in San Francisco under Arthur Mathews, John Stanton, and Lorenzo political cartoonist for the “San Jose Mercury News” before turning his attention to fine alongside fellow artists, including William Keith, Percy Gray, Frank Moore, and Gunnar

natural world. He frequently painted en plein air, capturing the changing light and the Carmel and Monterey areas. His works emphasize the interplay of land, sea, and sky, landscapes.

ability to paint for a few years. After recovering, an insurance policy restricted him from allowing him to sell only one painting per month and participate in exhibitions as an During this period, he focused on small plein-air oils of the Monterey Peninsula and other W, similar to many works included in this auction.

1959. His paintings remain valued for their sensitive depiction of California’s coastal beauty landscape painting.

Albert Thomas De Rome (1885-1959)

Coastal landscape Oil on canvas

Signed lower right: A. De Rome

24” H x 18” W

$1,000-1,500

Provenance: Private collection, Orinda, CA; by family descent

23

Albert Thomas De Rome (1885-1959)

Two works:

“Monterey Dunes,” 1937 Oil on unstretched canvas

Signed lower left: A. De Rome; titled and dated in ink, verso: Dec 1937; annotated by various artists, verso 5.875” H x 7.875” W

“Morning Glow - Carmel,” 1938 Oil on unstretched canvas

Signed lower left: A. De Rome; titled and dated, verso: Jan 1938; annotated by another artist in ink, verso 6” H x 8” W

$800-1,200

Provenance: Private collection, Orinda, CA; by family descent

Albert Thomas De Rome (1885-1959)

A group of three watercolor coastal or shoreline landscapes and one ink and watercolor coastal landscape, each on paper; three works signed in ink, lower right: A. De Rome; one work unsigned 4 pieces

Sight of largest watercolor: 3.5” H x 4.5” W; Image of ink work: 4.375” H x 5.5” W; Sheet of ink work: 7.875” H x 11” W

$2,000-3,000

Provenance:

Private collection, Orinda, CA; by family descent

Albert Thomas De Rome (1885-1959)

“Pt Lobos from Duttons - Storm Gathering,” 1938

Oil on unstretched canvas

Signed lower left: A. De Rome; titled and dated in ink, verso: Feb 1938; inscribed and numbered in ink, possibly in another hand, verso: “747” / “A4” 6” H x 8” W

$600-800

Provenance:

Private collection, Orinda, CA; by family descent

Albert Thomas De Rome (1885-1959)

Four works:

“Mt Hamilton - from Los Gatos,” 1937; and three untitled and undated seascapes with clouds

Each: Oil on unstretched canvas

Each unsigned; one work is titled and dated in ink, verso: Nov 1937

Each: 6” H x 8” W

$1,000-1,500

Provenance:

Private collection, Orinda, CA; by family descent

Albert Thomas De Rome (1885-1959)

Two works:

“Cypress Pt Lobos,” 1935

Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated, verso: 1935; annotated by various artists, verso

6” H x 7.875” W

“February Sea Off Pt. Pinos Lighthouse,” 1957

Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated, verso: 1957; annotated by another artist, verso

6” H x 7.875” W

$800-1,200

Provenance:

Private collection, Orinda, CA; by family descent

William Constable Adam (1846-1931)

“Old Coast Road, Big Sur, CA,” circa 1920s Oil on canvas laid to a synthetic backing

Signed lower left: Wm Adam; titled and dated by repute 20” H x 25.75” W

$2,000-3,000

William Constable Adam (1846-1931)

“Coast Scene - 17 Mile Drive” Oil on canvas

Signed lower left: Wm Adam; titled in ink on a label affixed to the stretcher 18” H x 24” W

$1,000-1,500

Ferdinand Burgdorff (1881-1975)

“Whites Hill, San Anselmo, California,” 1953 Oil on Masonite

Signed and dated lower right: Ferdinand Burgdorff / 1953; titled by repute 34” H x 45” W

$3,000-5,000

Provenance: Gift of Frances M. Young, 1953

Theodore Wores (1859-1939)

“Rolling Hills, Los Gatos” Oil on canvas

Signed lower right: Theodore Wores; titled on a gallery label affixed to the frame’s backing board 12” H x 16” W

$3,000-5,000

Provenance:

Montgomery Gallery, San Francisco, CA

Sold: John Moran Auctioneers, Pasadena, CA, October 25, 2005, Lot 123 Olson Collection, Palm Desert, CA

Carl Sammons (1883-1968)

“Inverness - Marine[sic] County Calif.”. Oil on canvasboard

Signed lower right: Carl Sammons; titled in pencil verso 12” H x 16” W

$800-1,200

Orrin Augustine White (1883-1969)

Cypress trees along the Carmel coast Oil on canvas

Signed lower right: Orrin A. White

18” H x 24” W

$3,000-5,000

Provenance: Manhattan Galleries, Inc., Pasadena, CA

Private collection, Northern California

Sold: Bonhams, Los Angeles, CA, “California and Western Paintings and Sculpture,” April 24, 2018, Lot 28 Olson Collection, Palm Desert, CA

Ferdinand Burgdorff (1881-1975)

“Sand Dunes, Point Reyes,” 1952 Oil on Masonite

Signed and dated lower right: Ferdinand Burgdorff / 1952; titled by repute

36” H x 48” W

$3,000-5,000

Provenance: Gift of Frances M. Young, December 1952

Percy Gray (1869-1952)

Percy Gray was an American painter celebrated and trained in New York, Gray began his career to oil paints.

His work focused on the gentle beauty of Northern Influenced by English Romanticism and Tonalism, peaceful mood.

While modernist trends emerged around him, Gray He was active in the California art scene, exhibiting an idealized, timeless California: quiet, harmonious,

celebrated for his serene watercolor and oil landscapes of California. Born in San Francisco career as an illustrator before shifting to fine art, mainly watercolors, due to an allergy Northern California: rolling hills, oak trees, wildflowers, and misty coastal scenes. Tonalism, Gray’s paintings are known for their soft light, delicate brushwork, and

Gray remained committed to realism and emotional connection with nature. exhibiting widely and influencing the regional landscape tradition. Gray’s art captures harmonious, and lovingly observed.

Percy Gray (1869-1952)

California hillside landscape

Watercolor on paper laid to paper

Signed lower right: Percy Gray Image/Sheet: 13.75” H x 9.75” W; Support Sheet: 16” H x 11.375” W

$3,000-5,000

Provenance:

Guchemand Collection, Baltimore, MD

Private collection, acquired from the above by descent

Louis Edward Rea (1868-1927)

“Marin Hills, California, (Lucas Valley District),” 1927

Oil on canvas laid to board

Signed lower left: L.E. Rea ©; signed again, “Louis Edward Rea,” titled, and dated 1927 in ink, all on the frame’s backing paper; titled, dated, and inscribed on the frame’s backing paper; titled again, alternatively dated 1926, and numbered “#387” on a typed label affixed verso 10” H x 16” W

$1,000-1,500

Notes:

A photocopy of the verso label has been made and is affixed to the backing paper of the frame.

William Keith (1838-1911)

Waterfall at sunset

Oil on academy board

Signed lower left: W. Keith

11.125” H x 13.5” W

$4,000-6,000

William Keith (1838-1911)

Landscape with river Oil on board

Signed lower right: W. Keith

8.5” H x 13.25” W

$2,000-3,000

Thomas Hill (1829-1908)

Yosemite Valley Oil on canvas

Signed lower left: T. Hill

31.5” H x 26.5” W

$12,000-18,000

Provenance: Private collection, Denver, CO

Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” March 27, 2018, Lot 128

Thomas Hill (1829-1908)

Bridal Veil Falls, Yosemite Oil on canvasboard

Signed lower right: T. Hill. 20” H x 14” W

$10,000-15,000

Thaddeus Welch (1844-1919)

“San Geronimo Valley” Oil on canvas laid to board

Signed lower left: T. Welch; titled on a label affixed to the frame’s backing paper

23.5” H x 14” W

$1,000-1,500

Provenance:

Leanard Estate, Santa Barbara, CA

Private collection, Orinda, CA; by family descent

Edwin Deakin (1838-1923)

Mountain lake

Oil on canvas laid to canvas

Signed lower right: E Deakin

18” H x 14” W

$3,000-5,000

James Everett Stuart (1852-1941)

Men boating on a lake, 1909 Oil on canvas laid to waxed canvas

Signed, dated, and numbered lower left: J.E. Stuart / Dec. 17, 1909 / 1547 18” H x 30” W

$2,000-3,000

George Hetzel (1826-1899)

Fly fisherman in a verdant landscape

Oil on canvas

Signed lower left: G. Hetzel

12” H x 16” W

$2,000-3,000

William Alexander Coulter (1849-1936)

William Coulter was born in Glenarm, County Antrim, Copenhagen under Vilhelm Melbye. Coulter immigrated where he worked as an illustrator for the “San Francisco Coulter began painting ships in the busy San Francisco and early twentieth centuries following the city’s near the Irish coast and later exposure to the bustling subjects.

Coulter became one of the most prominent maritime sail and steam with remarkable precision. Many his talent for portraying vessels in action. His works, maritime history during a transformative era. Through the ships that once defined San Francisco’s horizon.

In 1935 Coulter held a one-man exhibition of a California.

Antrim, Ireland in 1849. He studied in Brussels, Paris under François Musin, and immigrated to the United States as a young man and settled in San Francisco Francisco Call” from 1896-1906. Drawn to the drama and beauty of the sea, Francisco Bay, capturing the city’s rise as a major port during the late nineteenth city’s explosive growth during and following the Gold Rush. His early experiences bustling maritime activity of California shaped his lifelong fascination with nautical maritime painters on the West Coast, producing works that chronicled the age of Many of his paintings were commissioned by ship captains and collectors who valued works, now held in museums and private collections, serve as an artistic record of Through his art, William Coulter preserved the spirit of the sea and the legacy of horizon.

hundred of his works in San Francisco. He died the following year in Sausalito,

45

William Alexander Coulter (1849-1936)

“Windjammers and other commercial sail in the San Francisco Bay” Oil on canvas

Signed lower right: W.A. Coulter; titled by repute

19.5” H x 28.75” W

$25,000-35,000

Provenance: Private collection, Los Olivos, CA

Notes:

As seen in the present and following works, Coulter’s paintings are prized for their technical accuracy, dynamic composition, and ability to convey the motion and atmosphere of the sea. “Windjammers and other commercial sail in San Francisco Bay” is a vessel-heavy view of the bay and the Golden Gate, prior to the bridge being erected and completed in 1937.

William Alexander Coulter (1849-1936)

Clipper ship on medium seas Oil on canvas laid to board as issued Signed lower right: W. A. Coulter 13.75” H x 11” W

$1,500-2,500

Provenance: Private collection, Los Olivos, CA

Mid-19th Century American School

Coastal view of a shipwreck on stormy seas Oil on canvas laid to canvas

Unsigned 24” H x 30.75” W

$1,200-1,800

Provenance: Private collection, Los Angeles, CA

Frederick Ferdinand Schafer (1839-1927)

“’Sailboats at Sunset,’ Near Golden Gate”

Oil on canvas laid to canvas

Signed lower right: F. Schafer; titled on the frame plaque 24” H x 16” W

$800-1,200

Provenance:

Cecilia Schieweck Paintings, Milwaukee, WI

Private collection, Orinda, CA; by family descent

James Everett Stuart (1852-1941)

“Marine Scene” (ship at sea)

Oil on canvas laid to linen

Signed lower left: Stuart; titled on a label affixed to the frame’ 30” H x 50” W

$2,500-3,500

Provenance: Montgomery Gallery, San Francisco, CA

Private collection, San Francisco, CA, acquired from the above

Sold: John Moran Auctioneers, Monrovia, CA, “California & American May 6, 2025, Lot 308

John Christopher Smith (1891-1943)

“The Port of Los Angeles” Oil on canvas

Signed lower left: J. Christopher Smith; titled by repute 24.25” H x 30” W

$2,500-3,500

Provenance:

Sold: Bonhams, Los Angeles, CA, December 8, 2004, Lot 366 Collection of Stan and Ginnie Eschner

Robert Swain Gifford (1840-1905)

Boats off the coast of a city, 1889

Oil on canvas laid to waxed canvas

Signed lower left: R Swain Gifford 89 12” H x 20” W

$1,000-1,500

Astley David Middleton Cooper (1856-1924)

Trees along a vast river landscape, 1915 Oil on canvas

Signed and dated lower right: A.D.M. Cooper. 1915. 9.75” H x 28” W

$800-1,200

Angel Espoy (1879-1963)

Lakeside landscape

Oil on canvas

Signed lower right: A. Espoy 20” H x 30” W

$4,000-6,000

Carl Jonnevold (1856-1955)

Sheepherder and flock walking through a California landscape Oil on canvasboard

Signed lower right: C. Jonnevold

5.875” H x 7.875” W

$500-700

Provenance: Private collection, Orinda, CA; by family descent

Svend Svendsen (1864-1945)

Houses along a canal, 1917 Oil on canvas

Signed lower right: Svend Svendsen; signed again in pencil on the stretcher; dated “1917” in ink, verso 22” H x 28” W

$800-1,200

Franklin C. Courter (1854-1947)

Portrait of Abraham Lincoln Oil on Masonite

Signed lower right: F.C. Courter 22.5” H x 19.5” W

$5,000-7,000

Alfred Jacob Miller (1810-1874) Blacksmith

Watercolor, ink, graphite, and touches of gouache on tan paper laid to foam board

Signed faintly with intertwined initials near the lower right cor ner: AJM

Sight: 6.25” H x 3.625” W

$1,000-2,000

Provenance: Private collection, Ohio

Arnold George Mountfort (1873-1942)

“Mrs. Emile A. Viault,” 1939 Oil on canvas

Signed and dated upper right: Arnold Mountfort / 1939; signed again, titled, and dated in pencil, all verso 24” H x 18” W

$1,500-2,000

Albert Bierstadt (1830-1902)

Two miniature portraits of a man and a woman

Each: Watercolor, gouache, and mixed media on wove paper

Each: Signed with stylized initials lower right: AB

Female sheett: 5” H x 4.25” W; Male sheet: 5” H x 3.625” W

$3,000-5,000

Provenance: Collection of Stan and Ginnie Eschner

Marion Kavanagh Wachtel (1870-1954)

Portrait of a Man, thought to be Elmer Wachtel

Watercolor on paper

Signed lower right: Marion Kavanagh

Image/Sheet: 14.5” H x 10.75” W

$1,000-2,000

Provenance:

Maxwell Galleries, San Francisco, CA

Sold: Bonhams & Butterfield, San Francisco, CA, June 9, 2002, Lot 8326

Collection of Stan and Ginnie Eschner

Theodore Wores (1859-1939)

“Lady in Kimono”

Oil on canvas laid to canvas

Signed lower right: Theodore Wores; titled on a label affixed to the frame’s verso 16.75” H x 11” W

$7,000-10,000

Provenance:

Brand Library & Art Center, Glendale, CA

Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” October 23, 2018, Lot 42

Norton Bush (1834-1894)

Castle Crags, Klamath Mountains, California, 1879 Oil on canvas

Signed with conjoined initials and dated lower right: NBush / 79 14” H x 24” W

$6,000-8,000

Frederick Schafer (1839-1927)

“The Three Sisters, Oregon” Oil on canvas

Signed lower right: F Schafer; titled verso 30” H x 50” W

$3,000-5,000

Melville Thomas Wire (1877-1966)

Oregon landscape, 1920

Oil on canvas

Signed and dated lower left: Melville T. Wire ‘20 12” H x 15” W

$600-800

Provenance: Collection of Michael Parsons, Portland, OR, owner and operator of Michael Parsons Fine Art Gallery

Sold: Mroczek Brothers Auctioneers & Associates, Renton, WA, “A Century of Northwest Art: The Estate of Michael Parsons,” April 20, 2023, Lot 11 Private collection, Glendora, CA

Melville Thomas Wire (1877-1966)

“Flowering Field” Oil on canvas

Signed lower left: Melville T. Wire; titled on a label affixed to the frame’s verso 14” H x 18” W

$800-1,200

Provenance:

Collection of Michael Parsons, Portland, OR, owner and operator of Michael Parsons Fine Art Gallery

Sold: Mroczek Brothers Auctioneers & Associates, Renton, WA, “Fine Western and Native Arts,” November 30, 2023, Lot 105 Private collection, Glendora, CA

Mary Amanda Lewis (1872-1953)

Wildflower landscape

Oil on canvas laid to board

With the incised signature lower right: Mary A. Lewis

10” H x 12” W

$1,000-1,500

Angel Espoy (1879-1963)

Cows grazing in a wildflower landscape Oil on canvas

Signed lower right: A. Espoy 20” H x 30” W

$5,000-7,000

Theodore Nicolai Lukits (1897-1992)

Eucalyptus in a vast California landscape, circa 1923

Pastel on thin light brown paper

Signed and inscribed lower left: “Lukits - ‘HC’ -”; inscribed and presumably titled and dated on a label affixed to the frame’s backing paper: “Hors Concours / N.C.[sic] / Taken all highest / honors & out of competition / 1923 / Tuluca[sic] Lake”

Sheet: 11.875” H x 15.875” W

$1,500-2,500

Jack Cassinetto (1944-2018)

“Blue Farm House” Oil on Masonite

Signed lower left: Jack Cassinetto; signed again, titled, dated, and inscribed, all verso: 1998 / “In Sonoma Near Petaluma” 13” H x 15.25” W

$700-900

Provenance:

Private collection, Orinda, CA; by family descent

Mian Situ (b. 1953)

“Back Bay” (Newport Beach), 1999 Oil on canvas

Signed lower left: Situ Mian; titled and dated “6-16 99” in pencil, verso 9” H x 12” W

$1,000-1,500

Ovanes Berberian (b. 1951)

“View to Pacific” Oil on canvas

Signed lower right: Ovanes Berberian; signed again and titled verso 30” H x 36” W

$3,000-5,000

Provenance:

Sold: Bonhams, Los Angeles, CA, “California and Western Paintings & Sculpture,” May 1, 2012, Lot 132 Collection of Stan and Ginnie Eschner

Frank William Cuprien (1871-1948)

“The Sunset Hour” Oil on canvas

Signed lower right: F.W. Cuprien; signed again and titled verso; inscribed “Lucilla McDaughey / 1915” in blue pencil, in another hand, verso 11.75” H x 18” W

$3,000-5,000

Mary DeNeale Morgan (1868-1948)

“Rocks & Surf” Oil on canvas

Signed lower right: M. DeNeale Morgan; titled in pencil on the upper stretcher 16” H x 18” W

$2,000-3,000

Provenance: Guchemand Collection, Baltimore, MD

Anna Althea Hills (1882-1930)

California coastal Oil on canvas

Signed lower right: AA Hills 10” H x 14” H

$3,000-5,000

Provenance: Collection of Stan and Ginnie Eschner

Notes: This painting is in a Mayen Olson, 2005 frame.

Claude Buck (1890-1974)

California seascape, 1935 Oil on panel

Signed and dated lower left: Claude Buck / 1935 19.125” H x 21.375” W

$700-1,000

Angel Espoy (1879-1963)

Crashing wave in a rocky coastal Oil on canvas

Signed lower left: A. Espoy 20” H x 24” W

$1,500-2,000

Angel (1879-1963)

Rocky Oil

Signed 24”

$1,000-1,500

Provenance:

Estate, Sold: March

Angel Espoy (1879-1963)

Rocky coastal Oil on canvas

Signed lower right: A. Espoy; with the artist’s black ink copyright stamp, verso 24” H x 36” W

$1,000-1,500

Provenance: Estate, Lansing, MI

Sold: John Moran Auctioneers, Pasadena, CA, California and American Art Auction, March 25, 2014, Lot 214

Marie Boening Kendall (1885-1953)

Crashing waves in a San Diego coastal view Oil on canvas

Signed lower left: Marie B. Kendall

20.25” H x 24” W

$1,500-2,000

Provenance:

Property from an important Private collection, Westlake Village, CA

Sold: John Moran Auctioneers, Pasadena, CA, “California and American Paintings,” October 21, 2008, Lot 42

Collection of Stan and Ginnie Eschner

Marie Boening Kendall (1885-1953)

Autumn landscape Oil on canvas

Signed lower left: Marie B. Kendall 16” H x 20” W

$800-1,200

Provenance: Collection of Stan and Ginnie Eschner

Notes: This painting is in a Mayen Olson, 2005 frame.

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Charles Arthur Fries (1854-1940)

“From the Park” (Balboa Park, San Diego) Oil on board

Signed lower right: C.A. Fries; titled and numbered “70” verso 16” H x 20” W

$6,000-8,000

Provenance:

Private collection, La Jolla, CA

Sold: Bonhams, Los Angeles, CA, “California and American Paintings & Sculpture,” November 23, 2009, Lot 113

Private collection, Los Angeles, CA, acquired from the above

Sold: Bonhams, Los Angeles, CA, “California Art,” August 2, 2022, Lot 92 Estate, Grand Terrace, CA

Charles Arthur Fries (1854-1940)

“In Balboa Park” Oil on board

Signed lower right: C.A. Fries; titled and numbered “#732” verso 20” H x 16” W

$3,000-5,000

Provenance: The artist

Clara Tibbals, San Diego, CA, neighbor of Charles and Addie Fries, gifted from the above, September 25, 1939

Private collection, acquired from the above by descent

Sold: Clars Auction Gallery, Oakland, CA, June 12, 2010, Lot 2206

Sold: Bonhams, Los Angeles, CA, “California Art,” August 3, 2021, Lot 105 Estate, Grand Terrace, CA

Literature:

B.F. Dixon, ed., “Too Late: The Picture and the Artist, A Tribute to the Dean, From the Archives of Artist Charles A. Fries and author Addie Davis Fries, His Wife,” San Diego, Don Diego’s Libreria, 1969, p. 79, no. 732

Charles Arthur Fries (1854-1940)

“Back Country” Oil on board

Signed lower left: C.A. Fries; titled by repute

6.25” H x 9” W

$1,500-2,500

Provenance: Sold: Bonhams, Los Angeles, CA, “California Art,” August 8, 2023, Lot 120 Estate, Grand Terrace, CA

Dana Bartlett (1882-1957)

Sunset landscape Oil on board

Signed lower right: Dana Bartlett 20” H x 24” W

$1,000-1,500

Maurice Braun (1877-1941)

San Diego backcountry landscape Oil on panel

Signed lower right: Maurice Braun

7.5” H x 9” W

$2,500-3,500

Provenance: Kanst Art Gallery, Los Angeles, CA Private collection, Ohio

Maurice Braun (1877-1941)

“San Diego Hills” Oil on canvas

Signed lower left: Maurice Braun; titled twice on the stretcher bar; titled again on a gallery label affixed to the frame’s backing board 16” H x 20” W

$4,000-6,000

Provenance:

Canyon Road Art Gallery, Santa Fe, NM

Sold: Christie’s, New York, NY, “American Watercolors, Drawings, Paintings, and Sculpture,” September 26, 1991, Lot 109 The Redfern Gallery, Laguna Beach, CA Olson Collection, Palm Desert, CA

Hanson Duvall Puthuff (1875-1972)

“Upland Meadow,” circa 1925 Oil on board

Signed lower right, partially obstructed by the frame: H. Puthuff; signed again and titled verso; titled again and dated on a gallery label affixed verso 12” H x 16” W

$3,000-5,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 13, 2001, Lot 55 Olson Collection, Palm Desert, CA

Hanson Duvall Puthuff (1875-1972)

Figures walking through a clearing Oil on canvas

Signed lower right: H Puthuff 14” H x 20” W

$4,000-6,000

Hanson Duvall Puthuff (1875-1972)

Trees in a rolling hills landscape Oil on canvas laid to canvas

Signed lower right: H. Puthuff 24” H x 32.5” H

$15,000-20,000

89

William Louis Otte (1871-1957)

“Lupine and Poppies at San Gorgonio Pass,” 1919 Oil on board

Signed, titled, and dated (twice) in pencil, verso: William Louis Otte, 1919 14” H x 19” W

$2,000-3,000

Provenance:

George Stern Fine Arts, West Hollywood, CA Collection of Stan and Ginnie Eschner

Cornelis Botke (1887-1954)

Farm in a rolling hills landscape Oil on board

Signed lower right: Cornelis Botke 16” H x 20” W

$2,000-3,000

91

Fred Grayson Sayre (1879-1939)

A mountainous California landscape with a flowing river Gouache with traces of graphite on thin paperboard

Signed lower right: F. Grayson Sayre

17.875” H x 7.375” W (irreg.)

$1,000-2,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Paintings,” October 22, 1996, Lot 46 Collection of Stan and Ginnie Eschner

Marion Kavanagh Wachtel (1870-1954)

A celebrated American Western landscape painter up in a family of artists that included her mother and studied at the School of the Art Institute of Chicago Wachtel taught at the Art Institute and in Chicago public fine artist of figural subjects, particularly portraits of

In 1903, Wachtel received a commission from the Santa the first time. She visited many sites along the way,

In San Francisco, Wachtel studied with William Keith for some months as a guest of the owner, Ellwood eucalyptus trees dotting the property, which would

After considering a move to Southern California that student, artist Elmer Wachtel. A romance quickly developed, married, Wachtel signed her paintings ‘Marion Kavanagh

The artist couple returned to Los Angeles and built they moved to the Arroyo Seco section of Pasadena. work focused on the California landscape.

Actively involved in the local artist community, Wachtel Museum of History, Science, and Art. She exhibited became an associate of the American Water Color 1921. She held memberships in other California and Elmer’s death in 1929 caused Marion to stop painting 1930s. After her husband’s death, Wachtel incorporated primarily in and around the foothills of the nearby San talent as an artist who depicted the unique American

Wachtel

painter in watercolor and oil of her era, Wachtel was born in Milwaukee, Wisconsin, and grew and a great-grandfather who was a member of the Royal Academy in London. Wachtel Chicago and in New York under William Merritt Chase. After finishing her artistic studies, public schools before returning to Milwaukee, where she developed a reputation as a of children.

Santa Fe Railroad to paint murals in the railroad’s ticket offices, which took her West for way, stopping to sketch in New Mexico and Arizona before reaching San Francisco.

Keith and also had an extended visit to Cooper Ranch in Santa Barbara, where she stayed Cooper. It was on this ranch that Wachtel first saw and began to paint the handsome would become one of her most frequent subjects for the remainder of her career.

that same 1903 year, Keith suggested she continue her art studies with his former developed, and the couple were married in Chicago the following year. After they Kavanagh Wachtel’ and also dropped the ‘u’ in the original spelling of ‘Kavanaugh.’

built a home and studio in the Mt. Washington Area. They lived there until 1921, when Pasadena. Elmer painted mostly in oil while Marion focused on watercolor, and both artists’

Wachtel was honored in the 1920s with two one-artist exhibitions at the Los Angeles exhibited coast to coast and was elected a member of the New York Water Color Club in 1911, Society in 1912, and was a founding member of the California Water Color Society in and Western artistsí societies as well.

painting for a time, but she resumed in 1931 and was again exhibiting regularly by the midincorporated oil painting into her practice and continued to produce landscape subjects San Gabriel Mountains. She died in Pasadena in 1954, celebrated and admired for her American West landscape in lyrical, sweeping rhythms and layers of rich tonal colors.

Marion Kavanagh Wachtel (1870-1954)

“Topanga Canyon”

Watercolor on paper

Signed lower right: Marion Kavanagh Wachtel; titled on a partial piece of brown paper tape affixed to the original stretcher; with an alternate title, “Evening in Spring,” on part of an old gallery label affixed to the original stretcher 18” H x 24” W

$6,000-8,000

Provenance: Cannell & Chaffin, Inc., Los Angeles, CA

Notes:

A round, printed, paper label affixed verso reads, “Accepted by the Jury / of the / California Water Color Society.”

Elmer Wachtel

(1864-1929)

Baltimore, Maryland-born, noted California plein air of 18, following his brother, who had married Guy Rose’s painting, Wachtel was a self-taught violinist and joined and later played in A.J. Stamm’s Philharmonic Orchestra.

By 1900, after struggling to make a living as a musician, studied briefly at the Art Students’ League in New criticism from William Merritt Chase. He also spent Wilkinson, and the American sculptor Gutzon Borglum,

Returning to Los Angeles, he continued his work as artist Marion Kavanagh, a skilled painter in her own artistic circles. Elmer exhibited widely with the California featured in major exhibitions across the state.

Wachtel was renowned for his luminous, atmospheric than adhering strictly to realism, Wachtel prioritized warmth of inland valleys or the soft, overcast tones of light, the shifting seasons, and the gentle rhythm

More than mere representations of place, Wachtel’s paintings offer a glimpse into a California that, even significant but historically poignant. Today, Wachtel

Nancy Dustin Wall Moure writes of the present work, who repeatedly used a shadowy, arboreal foreground Coast” obtains its depth from the alternating light in finish, when compared to the parallel, textured strokes painting.” (Moure, p. 61)

air artist Elmer Wachtel arrived in the San Gabriel area of Southern California at the age Rose’s sister and worked managing the Rose family ranch. Before turning his focus to joined the Philharmonic Orchestra conducted by Adolph Wilhartitz as their first violinist, Orchestra.

musician, Wachtel turned his focus to painting. Though he was largely self-taught, he York but did not like the formal teaching methodologies, and also privately received a year in London, where he worked alongside English illustrators Fred and Tom Borglum, and attended instruction at the Lambeth School.

as a violinist and painter and began teaching as well. In 1904, Wachtel married fellow own right. Together, they traveled, painted, and became active figures in the region’s California Art Club and the Laguna Beach Art Association, and his works were regularly

atmospheric landscapes that quietly celebrate the natural beauty of Southern California. Rather prioritized mood and feeling, using a harmonious, often muted palette to evoke the dusty of coastal mornings. His brushwork, loose yet deliberate, captured the fleeting effects rhythm of California’s hillsides and canyons.

Wachtel’s landscapes serve as meditations on the harmony between land and light. His even during his lifetime, was rapidly changing--making his work not only artistically Wachtel is regarded as one of the foundational voices of California plein air.

work, “The Barbizon love of sunlight and shadow pervaded the work of Elmer Wachel, foreground to frame a lighted, distant landscape. “In the Shadows of the Cliffs of San Juan and shade the painter describes on retreating ranges of hills. Uncharacteristically slick strokes that are identified with his mature style, this undated work seems to be an early

93

Elmer Wachtel (1864-1929)

“In the Shadow of the Cliffs - San Juan Coast,” circa 1898 Oil on canvas laid to Masonite Signed lower left: E. Wachtel; signed again with initials and titled in pencil, verso 19” H x 28” W

$30,000-50,000

Exhibited: Laguna Beach, CA, Laguna Art Museum, “Loners, Mavericks and Dreamers: Art in Los Angeles Prior to 1900,” November 26, 1993-February 20,1994

Literature: Nancy Dustin Wall Moure, “Loners, Mavericks & Dreamers: Art in Los Angeles Before 1900” (Laguna Art Museum, Laguna Beach, CA, 2004) p. 60, no. 31, illustrated and on the cover

Notes:

The painting is accompanied by one hard-bound and one softbound copy of Nancy Dustin Wall Moure’s “Loners, Mavericks & Dreamers: Art in Los Angeles Before 1900” (Laguna Art Museum, Laguna Beach, CA, 2004).

Elmer Wachtel (1864-1929)

Lake in the Eastern Sierras, 1924 Oil on canvas

Estate stamped with the artist’s device lower right: Wachtel; titled and dated on a label affixed to the frame’s backing board 18” H x 24.125” W

$10,000-15,000

Provenance: Collection of Stan and Ginnie Eschner

Notes: This painting is in a Richard Tobey frame.

Jack Wilkinson Smith (1873-1949)

“Sierra Landscape” Oil on canvas laid to Masonite

Signed lower right: Jack Wilkinson Smith; titled by repute 20” H x 24” W

$5,000-7,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 13, 2001, Lot 94

Olson Collection, Palm Desert, CA

Joe Duncan Gleason (1881-1959)

“High Sierras”

Oil on canvas laid to board

Signed lower right: Duncan Gleason; titled on the artist’s information/copyright label affixed to the verso; inscribed on that same label, in another hand, “Mt. Morrison 1200[sic] ft;” 12” H x 16” W

$1,500-2,000

Notes:

The following is inscribed on the verso of this work (beneath a layer of varnish or other shiny substance), “With my love for my dear husband I state: / This painting belongs to the Paul M. Baer estate / Signed Kathryn H Baer Jan. 25, 1973”

Signed lower right: Hull; titled by repute 40” H x 50” W

$4,000-6,000

Gregory Hull (b. 1950)

“Sierra Serenity” Oil on canvas

Gregory Hull (b. 1950)

“Owens Valley Meadow” Oil on canvas

Signed lower left: Hull; titled by repute 36” H x 48” W

$3,000-5,000

Edgar Alwin Payne (1883-1947)

From the sparkling waters of France and Italy and kissed deserts of the American Southwest, American one of the United States’ preeminent Impressionist

From the age of fourteen, Payne dreamed of being South and Midwest, painting murals and stage artists of his time, Payne became bored with the worked and lived as an artistic nomad, moving and, in 1912, marrying fellow artist Elise Philippa

In 1918, the couple settled in Laguna Beach, California, root there. Payne helped found the Laguna Beach home base in southern California, Payne ventured of the Sierra Nevada. Payne took on numerous

Commissions began to wane after the stock market his primary subject matter. He spent an excessive His love of the Sierra Nevada was unrivaled and 1942, Edgar Payne passed away in 1947, leaving

Edgar Payne’s works are included in the collections Museum of California Art, the Crocker Art Museum, Nevada is named in his honor.

and the snow-swept peaks of the Swiss Alps to the rolling hills of California and sunAmerican painter Edgar Alwin Payne captured it all on canvas in an illustrious career as Impressionist painters.

being an artist. Born in Missouri, in his late teens, Payne traveled through the American sets, before a minute stint at the Chicago Art Institute in 1907. Like many expressive the rigid structure of academic art institutions and became a self-taught artist. Payne between California and Chicago, taking commissions, working on large-scale murals, Philippa Palmer.

California, becoming an integral part of the burgeoning art community that was taking Beach Art Association in 1918 and became the organization’s first president. From his ventured out into the California mountains, painting striking scenes of the peaks and valleys commissions and exhibited throughout the Mid- and Western United States.

market crash of 1929, and from 1930 onwards, Payne made painting the Sierra Nevada excessive amount of time finding the perfect angle, the perfect lighting, to put onto canvas. and even produced a documentary film, “Sierra Journey.” Diagnosed with cancer in leaving behind an unrivaled legacy of American landscape painting.

collections of numerous institutions, including the Laguna Art Museum, the Pasadena Museum, Sacramento, and the Indianapolis Museum of Art. Paynes Lake in the Sierra

99

Edgar Alwin Payne (1883-1947)

“Mammoth Lake Country, Sierra” Oil on canvas laid to board Signed lower left (trimmed along the lower edge) and lower right: Edgar Payne; inscribed in pencil with the artist’s name and titled, verso; also inscribed in pencil by the artist’s widow, Elsie Palmer Payne, verso 9.75” H x 11.5” W

$7,000-9,000

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” November 12, 2024, Lot 99

100

Benjamin Chambers Brown (1865-1942)

“When Autumn Comes” (Bishop, CA) Oil on canvasboard

Signed lower left: Benjamin C. Brown.; titled and inscribed “For Louise / Painted by Benjamin C. Brown of Pasadena,” verso 11.75” H x 15.75” W

$4,000-6,000

101

Benjamin Chambers Brown (1865-1942)

“Mount Tamalpais and The Marshes” Oil on canvasboard

Signed lower right: Benjamin C. Brown; signed again, titled, and inscribed “Pasadena, CA” in pencil, verso; titled again on a gallery label affixed verso 16” H x 20” W

$4,000-6,000

Provenance:

George Stern Fine Arts, West Hollywood, CA Olson Collection, Palm Desert, CA

102

George Demont Otis (1879-1962)

“Mt. Shasta,” 1940 Oil on canvas

Signed lower right: Geo. Demont Otis; signed again, titled, and dated 1940 (Oct), all in ink, on a letter from the artist affixed to the frame’s backing paper; titled again on the frame plaque 30” H x 40” W

$2,500-3,500

Provenance:

Rodger Darron, San Rafael, CA, purchased from the artist,1954

Notes:

A portion of the letter appears to read as follows, “Painted in the Autumn of 1940 (Oct) in the section near McCloud Calif - Late afternoon after the first snow fall on Mt. Shasta - The proud climax of a 3 week painting trip around the Mt. making w.c.sketches - various types 8 in all.”

Donna Norine Schuster (1883-1953)

“Waterfall” (Yosemite) Oil on Masonite

Signed with estate stamp lower right: Donna Schuster; titled on a gallery label, verso 21.75” H x 18” W

$1,000-2,000

Provenance:

Redfern Gallery, Laguna Beach, CA

Sold: Abell Auctions, Commerce, CA, “Abell Presents Jewelry, Fine Art, and Important Estates,” March 15-16, 2025, Lot 212 Private collection, Glendora, CA

104

Gunnar Widforss (1879-1934)

“Ellery Lake and Spurs of Mt. Dana,” 1926

Watercolor on board

Signed and dated lower left: Widforss-1926-; titled in pencil, verso, and also with a black ink date stamp: Nov 18 1926

Image: 18.25” H x 14” W; Board: 18.5” H x 14.25” W

$10,000-12,000

Provenance: Private collection, Orinda, CA; by family descent

105

Gunnar Widforss (1879-1934)

“Rio Merced” (Yosemite), 1921 Watercolor on paper

Signed and dated lower left: Widforss -1921-; numbered “No. 20” in pencil, verso; titled in pencil, possibly in another hand, on the verso of the frame’s backing board Sheet: 13.5” H x 17” W

$7,000-9,000

106

Fred Grayson Sayre (1879-1939)

“The Old Prospector” Oil on canvas

Signed lower right: F. Grayson Sayre; signed again and titled in pencil on the stretcher bar

40.25” H x 50.25” W

$3,000-5,000

107

Fred Grayson Sayre (1879-1939)

“Arizona Trails” Oil on canvas

Signed lower right: F. Grayson Sayre; titled on the frame plaque

40.25” H x 50” W

$4,000-6,000

108

John Charles Haley (1905-1991)

“San Xavier, Arizona,” 1942 Gouache and watercolor on paper

Signed and dated lower left: “John Haley Feb 3 1942”; titled from a gallery label affixed to the frame’s backing paper Sight: 13.125” H x 19.25” W

$800-1,200

Provenance:

Estate of the artist

George Krevsky Gallery, San Francisco, CA

109 Will Sparks (1862-1937)

“Late Afternoon in New Mexico” Oil on board

Signed lower right: Will Sparks; signed again and titled in ink, verso: Will Sparks 7” H x 11” W

$1,000-1,500

Provenance: Private collection, Orinda, CA; by family descent

110

Paul Lauritz (1889-1975)

“Light in the Hills” Oil on panel

Signed lower left: Paul Lauritz; titled by repute 28” H x 40” W

$2,000-3,000

Provenance: Sold: Bonhams, Los Angeles, CA, “California & American,” December 12, 2005, Lot 264

111

Jean Mannheim (1863-1945)

“Wagon Wheel Gap, Colorado”

Oil on canvasboard

Signed lower left: J. Mannheim; titled and numbered “129” in ink, possibly in another hand, on a label affixed verso

12” H x 15.5” W

$800-1,200

Provenance: The artist

Harry Nelson Tillcock, acquired directly from the above, early 1940s

Private collection, acquired from the above by family descent

Sold: John Moran Auctioneers, Pasadena, CA, “California and American Paintings,”

June 24, 2008, Lot 124

Collection of Stan and Ginnie Eschner

112

Birger Sandzén (1871-1954)

“Snow and Sunshine - Rocky Mountain National Park,” 1923 Oil on canvas

Signed and dated lower left: Birger Sandzén / 1923; signed and dated again, and titled, all in pencil on the stretcher

20” H x 30” W

$30,000-50,000

Provenance:

Ephram Malm, Lindsborg, KS

Leonard Donohue, Chicago, IL, acquired from the above, circa 1925

Marie and Norval Donohue, acquired from the above by descent

Dale Donohue and Michael Rubino, acquired from the above by descent

Private collection, acquired from the above by descent

Notes:

The Sandzén card catalogue record for this painting is #793 in the 1923 section. This lot is accompanied by documentation material about the artwork from The Birger Sandzén Memorial Gallery, Lindsborg, KS.

113

Marion Kavanagh Wachtel (1870-1954)

“Desert Near Palm Springs” Oil on canvasboard

Signed lower right: Marion Kavanagh Wachtel; titled in pencil verso 16” H x 20” W

$7,000-9,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Paintings,” February 20, 2007, Lot 28

Olson Collection, Palm Desert, CA

114

Paul Lauritz (1889-1975)

California foothills and mountains Oil on canvas laid to board

Signed lower left: Paul Lauritz 12” H x 15” W

$800-1,200

Carl Sammons (1883-1968)

“Smoke Trees, Palm Springs, Calif.” Oil on canvasboard

Signed lower right: Carl Sammons; titled in pencil, verso 12” H x 16” W

$800-1,200

116

Signed lower left: Paul Grimm; signed again, titled, and inscribed, all verso: “-With Smoke Trees-”

24” H x 36” W

$2,000-3,000

Paul Grimm (1891-1974)

“San Gorgonio Pass” Oil on canvas

117

Joseph Frey (1892-1977)

Springtime in the desert near Palm Springs Oil on Masonite

Signed lower right: Joseph Frey 24” H x 30.25” W

$800-1,200

118

Paul Grimm (1891-1974)

Signed lower right: Paul Grimm; signed again and titled, verso 24” H x 36” W

$2,000-3,000

“Restful Retreat” Oil on canvas

Alfred James Dewey (1874-1958)

“Eucalyptus,” 1933 Oil on Masonite

Signed lower right: Alfred James Dewey; titled and dated on a label affixed verso 24” H x 20” W

$1,000-2,000

Provenance: The Collection of Mr. & Mrs. Alfred James Dewey

120

George Demont Otis (1879-1962)

“Sand Verbena” Oil on canvas

Signed lower right: Geo. Demont Otis; titled in pencil on the stretcher and again on a gallery label affixed verso; inscribed in orange pencil along the upper and lower stretchers: “Thou bloomest here a lonely thing / Morro Bay Beach”

20” H x 26” W

$4,000-6,000

Notes

The orange pencil inscription on the stretcher of this painting includes part of a line from a poem written by Ellen Tucker Emerson called “The Violet.” The full line reads, “Thou bloomest here a lonely thing in the clear autumn day.” Ellen Louisa Tucker met Ralph Waldo Emerson in December of 1827, and they married in September of 1829. Sadly, Ellen died of consumption less than two years later, at the age of 20, in February of 1831. “The Violet” was published posthumously in 1841.

Provenance: Del Monte Fine Art, Carmel, CA Olson Collection, Palm Desert, CA

121

Joseph Frey (1892-1977)

Landscape near Palm Springs Oil on Masonite

Signed lower right: Joseph Frey 24” H x 30” W

$800-1,200

Joseph Frey (1892-1977)

Landscape near Palm Springs with red-roof adobe house Oil on Masonite

Signed lower right: Joseph Frey 24” H x 30.125” W

$800-1,200

123

Charles Arthur Fries (1854-1940)

“Desert Mt. Home,” 1930 Oil on canvas

Signed lower right: C.A. Fries; titled and numbered “#583” in ink, verso 18” H x 24” W

$6,000-8,000

Provenance:

Dr. Rittenhouse, La Mesa, CA Estate, Grand Terrace, CA

Literature:

Harry B. Wagoner (1889-1950)

San Jacinto

Oil on canvas laid to Masonite

Signed lower right: H.B. Wagoner

12” H x 16” W

$3,000-5,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art,” February, 15, 2011, Lot 20

Collection of Stan and Ginnie Eschner

125

Carl Oscar Borg (1879-1947) Mountain landscape Oil on canvas

Signed lower right: Carl Oscar Borg; with the estate ink stamp, hand-numbered in black ink “4-198,” on the stretcher 9.5” H x 12” W

$1,000-1,500

Provenance:

The Estate of George David Sturges

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Art,” November 15, 2022, Lot 2112 Private collection, Glendora, CA

126

Fred Grayson Sayre (1879-1939)

“I Will Lift Mine Eyes Unto Oil on canvas

Signed lower left: F. Grayson Scovern” on the stretcher 38” H x 48” W

$3,000-5,000

Notes:

“L.G. Scovern,” carefully written may refer to either Louis Glanville Glanville Scovern Jr. (1915-2005), Los Angeles area of Southern

the Hills”

Grayson Sayre; inscribed “Coachella Valley - 48” and “L.G. bar, each possibly in another hand

written in pencil along the upper portion of the stretcher, Glanville Scovern (1880-1963), or to his son, Louis (1915-2005), both of whom lived for much of their lives in the Southern California.

127

Fred Grayson Sayre (1879-1939)

“Verbena Time on the Desert” Oil on canvas

Signed lower left: F. Grayson Sayre; signed again, titled, and with the artist’s Glendale address all written in blue pencil along the upper stretcher; signed and titled again on a paper label affixed to the upper stretcher 40” H x 50” W

$3,000-5,000

128

Jean Mannheim (1863-1945)

“San Dimas” Oil on Masonite

Signed lower left: J. Mannheim; titled verso; titled again on a gallery label affixed verso; a label with a printed number “355” affixed to the verso 12” H x 16” W

$800-1,200

Provenance:

Bowater Gallery, Los Angeles, CA

Sold: John Moran Auctioneers, Pasadena, CA, June 16, 1998, Lot 143

The Estate of George David Sturges, acquired from the above

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 15, 2022, Lot 2008

Private collection, Glendora, CA

129

Elmer Wachtel (1864-1929)

“In San Jacinto Valley” Oil on canvas

Signed and with the artist’s device lower left: Wachtel; titled in pencil on the upper stretcher; titled again in ink, in another hand, on the frame’s backing board 14” H x 18” W

$4,000-6,000

Provenance:

David and Sons Fine Arts, Laguna Beach, CA

The Estate of Ernest A. Bryant III, Santa Barbara, CA, acquired from the above, May 1986

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art Auction,” October 22, 2013, Lot 117

Private Collection, Bel Air, CA, acquired from the above

Sold: Bonhams, Los Angeles, CA, “California and Western Art,” March 17, 2020, Lot 120

Private collection, San Francisco, CA

Sold: Bonhams, Los Angeles, CA, “California Art,” November 21, 2022, Lot 170 Private collection, Glendora, CA, acquired from the above

Exhibited:

Santa Barbara, CA, Santa Barbara Museum of Art, “A Painter’s Paradise: Artists and the California Landscape,” November 1996-February 1997

130

Franz Arthur Bischoff (1864-1929)

Landscape with hills Oil on board

Signed lower right: Franz A. Bischoff 12.75” H x 19” W

$6,000-8,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “Art,” June 21, 2005, Lot 21 Olson Collection, Palm Desert, CA

131

George Demont Otis (1879-1962)

“When Evening Comes, Whitley Heights” (Los Angeles)

Oil on canvas

Signed lower right: Geo. Demont Otis; titled in pencil on the stretcher 24” H x 30” W

$6,000-8,000

Provenance:

Estate, Los Angeles, CA

Private collection, Chatsworth, CA

Notes:

Whitley Heights is an historic Los Angeles neighborhood located in central Hollywood Hills. It was developed by Hobart Johnstone Whitley in the early 20th Century, with most of the earliest Mediterranean-style homes built prior to the stock market crash. With its secluded hillside setting and proximity to studios, the neighborhood was popular among silent film stars and writers including Rudoph Valentino (whose house was later destroyed during the expansion of the Hollywood Freeway in the mid-1940s), Charlie Chaplin, Bette Davis, William Faulkner and F. Scott Fitzgerald.

Alson Skinner Clark (1876-1949)

The present painting is an atmospheric view of Bridge,” that span the Chicago River. The title “The smokestack emissions richly scented the neighborhood

The Art Institute of Chicago owns a closely related winter of 1905-06. Also titled “The Coffee House,” with the example offered here. He exhibited that (AIC) in 1906, and it won him the prestigious Martin painting by a Chicago artist. Critics at the time described the 20th century spirit.”

Clark received his earliest art training from prominent three years living and training in Europe, primarily returning to America in the summer of 1905, and like the styles of art to which he had been exposed, and scholar Deborah Epstein Solon, in her 2005 exhibition the Pasadena Museum of Art, describes as as Clark’s on his palette and point of view.” (p.15). As part of his interest in urban life in Paris to Chicago. Always him to paint in the lookout of the State Street Bridge. House,’ named for the coffee warehouses in the area the warehouse district - with smoke billowing from way across the blustery bridge. The Whistlerian muted broad and loose Impressionist brushwork is an accommodation

Alson Skinner Clark ultimately donated his award-winning in memory of his parents in 1915, after his mother Exposition in San Francisco. One might wonder if “The by Clark during that year as a poignant reworking associations, to one of American’s greatest museums.

downtown Chicago featuring one of the city’s iconic ironwork bridges, “State Street “The Coffee House” refers to the area’s concentration of coffee roasters whose neighborhood with the aroma of coffee.

related version of this same subject, which Clark painted a decade earlier, during the House,” it is slightly smaller (38” H x 30” W) and is rendered more vertically as compared that example, together with 56 of his other paintings, at the Art Institute of Chicago Martin B. Cahn Prize, which was an annual award designed to recognize the best described his award-winning canvas as a “modern painting...” and “A realistic work in prominent schools in Chicago and New York City. He and his newlywed wife then spent nearly in Paris. He began painting his first version of “The Coffee House” only a few months after like the 1915 version offered here, as well as many of his other early works, it reflects both and the sensibilities of his most influential teachers in America and abroad. They show what exhibition catalogue “An American Impressionist: The Art and Life of Alson Skinner Clark” for Clark’s “...modified form of Impressionim, [with] Whistler’s art exert[ing] an enduring influence of her discussion about his 1905-06 rendition of this subject, she writes, “...Clark transferred Always affable, he befriended one of the bridge tenders on the Chicago River, who allowed Bridge. From this vantage point, looking out across the bridge, Clark produced ‘The Coffee area that emitted a constant aroma. The scene is relatively bleak - a cold winter’s day in factories and a haze covering the frozen streets. Barely recognizable figures make their muted palette mirrors the overall sensibility. This amalgamation of Whistlerian tonalities and accommodation of two different sensibilities.” (p.36).

award-winning 1905-06 version of “The Coffee House” to the Art Institute of Chicago. He did so died unexpectedly that spring while he was preparing to participate in the Panama Pacific “The Coffee House” offered here, with its date of 1915, could have been undertaken of the version he had just donated (AIC accession # 1915.256), with its sentimental museums.

132

Alson Skinner Clark (1876-1949)

“The Coffee House” (View of the State Street Bridge, Chicago), 1915 Oil on canvas

Signed and dated lower left: Alson Clark ‘15; signed again in pencil on the verso of the frame; titled on an exhibition label affixed to the stretcher

34.75” H x 46” W

$20,000-30,000

Exhibited:

Los Angeles, CA, Foundation of Western Art, n.d.

Notes:

Inscribed “1951-7” in ink on both the stretcher and verso of the frame. A “Deaccessioned Sep [**] 1969” paper sticker affixed to the verso of the frame.

Julia M. Bracken Wendt (1871-1942)

“Birdlings” Patinated bronze plaque Signed in the casting: Julia Bracken Wendt

7.375” H x 7.375” W x 0.5” D

$1,000-2,000

Provenance: Private collection, San Marcos, CA

Mario Korbel (1882-1954)

“Nocturne,” 1920

Verdigris patinated bronze on polished stone plinth

Number 6 of unknown edition size

Signed, dated, and numbered in the casting: © MARIO KORBEL

Bronze: 23” H x 12.75” W x 6.5” D; Plinth: 4.625” H x 7” W x 6.75” D

$4,000-6,000

Provenance:

Mary and Stanley Wadsworth, Durango, CO

135

Charles Courtney Curran (1861-1942)

“Pink Laurel,” 1935 Oil on Masonite

Signed and dated lower right: Charles C. Curran NA / 1935; signed again, titled, and inscribed/initialed, all verso: Record No. / 258-19 / C.C.C. 16” H x 12” W

$5,000-7,000

136

Charles Arthur Fries (1854-1940)

“Roses in Basin,” circa 1925 Oil on canvas

Signed lower left: C.A. Fries; numbered and inscribed in ink, possibly in another hand, verso: #161 / Presented to Alice Frances King / Xmas 1925 / by her / Grandfather C.A. Fries”; titled in the literature reference 12” H x 15.5” W

$3,000-5,000

Provenance:

The artist

Alice Frances King, San Diego, CA, granddaughter of the artist, gifted from the above for her 1st birthday, 1925

Sold: Bonhams, Los Angeles, CA, “California Art,” Los Angeles, CA, November 23, 2011, Lot 15 Estate, Grand Terrace, CA

Literature:

Paul de Longpré (1855-1911)

Paul de Longpré was a renowned French-American he developed a passion for art at a young age, particularly artwork, and by his early twenties, he had become

In 1890, financial difficulties brought on by bank failures United States, where he settled in New York City. There, move to Los Angeles in 1899 that solidified his legacy. Hollywood, surrounded by extensive gardens that and a hub for art lovers and collectors.

De Longpré was particularly celebrated for his ability him the nickname “King of Flowers.” He worked primarily floral still lifes to a fine art form. His attention to detail his work highly sought after during his lifetime.

Although his fame peaked in the early 20th century, paintings were widely exhibited and reproduced in Today, his pieces are part of various museum collections,

painter best known for his exquisite and detailed floral still lifes. Born in Lyon, France, particularly for painting flowers. By the time he was 12, de Longpré began selling his a highly regarded artist in Paris, exhibiting his works at prestigious salons.

failures in his home country forced de Longpré to leave France and immigrate to the There, he quickly gained a reputation as a master of floral painting. However, it was his legacy. Attracted by the city’s climate and lush plant life, de Longpré built a home in became the subject of many of his paintings. His home became a tourist destination

ability to capture the delicate nuances of different flowers, particularly roses, which earned primarily with oil paint and watercolor, often creating vibrant compositions that elevated detail and skill in rendering the textures and colors of petals, leaves, and blooms made

century, de Longpré’s work continues to be admired for its technical precision and beauty. His in prints, further cementing his influence in both the art world and popular culture. collections, and his legacy remains tied to the early art scene in Southern California.

137

Paul de Longpré (1855-1911)

Red roses

Watercolor on paperboard

Signed and dated lower right: Paul de Longpré / 1895

Image/Paperboard: 8.75” H x 21.875” W

$3,000-5,000

138

Paul de Longpré (1855-1911)

Pansies

Watercolor on paper

Signed left of center: Paul de Longpré Image/Sheet: 10” H x 14” W

$2,000-3,000

Provenance:

Private collection, Porter Ranch, CA

Sold: John Moran Auctioneers, Pasadena, CA, “California and American Paintings Sale,” October 13, 2009, Lot 12

Private collection, Los Angeles, CA, acquired from the above

139

Dana Bartlett (1882-1957)

View of the Rialto Bridge, Venice Oil on Masonite

Signed lower right: Dana Bartlett

12.375” H x 16.25” W

$800-1,200

140

William Lamb Picknell (1853-1897)

Woman picking fruit in Pont Aven, 1877 Oil on canvas

Signed, inscribed, and dated lower right: Wm L. Picknell / Pont Aven / 1877

21.625” H x 28.5” W

$2,500-3,500

Notes:

There is a canvas stamp for Hardy-Alan, Paris, on the verso. Hardy-Alan was a well known English art supply store and manufacturer with a storefront in Paris and a factory in Vanves, just outside of Paris, from 1862-circa 1933. They supplied canvases, easels, and paints to artists including Vincent Van Gogh, John Singer Sargent, Auguste Renoir, Henri Matisse, and James McNeill Whistler.

141

Joseph Raphael (1869-1950)

“Country Houses” (Belgium) Oil on board laid to panel Signed lower left: Joe Raphael; titled on the frame plaque; titled again on a gallery label affixed to the frame’s backing board 27.625” H x 35.25” W

$20,000-30,000

Provenance: Maxwell Galleries, San Francisco, CA From a Private Collection near San Francisco

142

Colin Campbell Cooper (1856-1937)

“New York City: Manhattan Viewed in Early Morning Haze” Oil on paper laid to board, as issued Unsigned; titled on a label affixed to the frame’s verso 4.25” H x 7.25” W

$2,000-3,000

Provenance: Sullivan Goss Gallery, Santa Barbara, CA

143

Colin Campbell Cooper (1856-1937)

“St. Sulpice, Paris,” 1909 Oil on paper laid to board

Signed lower right: Colin Campbell Cooper; dated and inscribed lower left: Paris Oct. 25th/09; titled in ink, verso; signed and titled again in ink on an exhibition label affixed verso

4.5” H x 7” W

$2,000-3,000

Exhibited:

New York, NY, Salmagundi Club, “Thumb-box Exhibition,” n.d.

144

Henry Gasser (1909-1981)

“Bookstalls Paris”

Watercolor and ink on paper laid to artist’s board

Signed and inscribed lower right: H. Gasser / Paris; titled and numbered “#12” in red ink on a strip of old white tape stored in a clear sleeve on the frame’s backboard Image: 7.625” H x 22.5” W; Board: 8” H x 22.5” W

$800-1,200

Provenance:

The artist

Ruth Siminoff Sussman, a gift from the above Roger Siminoff, acquired from the above by descent Congregation Beth David, San Luis Obispo, CA, a gift from the above

145

Henry Gasser (1909-1981)

“Harbor Hill”

Watercolor and gouache on paper laid to board

Signed lower left: H. Gasser; signed again, titled, and inscribed with the artist’s address, all in pencil, verso 18” H x 23.625” W

$4,000-6,000

146

Henry Gasser (1909-1981)

“Country Hills”

Gouache and watercolor on paperboard mounted to Styrofoam backing

Signed lower right: H. Gasser; titled in ink, possibly in another hand, on the foamcore backing; alternatively titled “Country Hills - Yellow House” in ink on the frame’s verso 22” H x 27.875” W

$3,000-5,000

Provenance:

The artist

Ruth Siminoff Sussman, a gift from the above Roger Siminoff, acquired from the above by descent Congregation Beth David, San Luis Obispo, CA, a gift from the above

147

Henry Gasser (1909-1981)

“Winter Vista”

Watercolor on paper laid to board

Signed lower right: H. Gasser; titled in pencil on the board, verso Image: 20.25” H x 27.125” W; Sheet: 22.25” H x 29.125” W

$2,000-3,000

Provenance:

The artist

Ruth Siminoff Sussman, a gift from the above Roger Siminoff, acquired from the above by descent Congregation Beth David, San Luis Obispo, CA, a gift from the above

148

Emile Albert Gruppe (1896-1978)

“Morning, Gloucester Harbor” Oil on canvas

Signed lower right: Emile A. Gruppe; signed again and titled on the stretcher 25” H x 30” W

$3,000-5,000

Provenance:

Emile A. Gruppe Gallery, East Gloucester, Massachusetts

Private collection, acquired from the above, 1960

149

Emile Albert Gruppe (1896-1978)

“The Wood Cutter,” circa 1953 Oil on canvas

Signed lower right: Emile A. Gruppe; titled on the stretcher and again on part of an old exhibition label affixed to the stretcher 25” H x 30” W

$3,000-5,000

Provenance:

Emile A. Gruppe Gallery, East Gloucester, MA Private collection, acquired from the above, 1962

Exhibited: Salmagundi Club, New York, NY, “Summer Exhibition,” June 6-September 4, 1953 American Traditional Art Show 195[5?]

150

Robert Spencer (1879-1931)

Buildings and road through the Delaware River Valley, 1922 Oil on canvasboard

Signed and dated lower right: Robert Spencer ‘22 20” H x 24” W

$20,000-30,000

Provenance: Private collection, Atlantic City, NJ, by family descent

151

Cornelius David Krieghoff (1812-1872)

Winter scene with figures and horse-drawn sleigh, 1866

Oil on canvas laid to canvas

Signed and dated lower left: C. Krieghoff. ‘66. 9” H x 13” W

$20,000-30,000

Provenance:

Private Collection, North Carolina

Purchased by the grandmother of a previous owner, early to mid-20th century

Sold: Leland Little Auctions, Hillsborough, NC, “Important Summer Auction,” June 15, 2019, Lot 316

152

Paul Sample (1896-1974)

“N.E. Autumn,” 1954

Casein tempera on panel

Signed lower left: Paul Sample; signed again, dated, and inscribed in ink on a label affixed verso: “View from my pasture - done last year - autumn - Hope this little picture gives you continuous pleasure. / Paul Sample / Oct. 1954;” titled in ink on an artist’s label affixed verso 10.5” H x 13.5” W

$2,000-3,000

153

Stanislaus Pociecha Poray (1888-1948)

“Cabbage Patch” Oil on canvas

Signed lower right: Stan Poray; titled on a label affixed to the frame’s backing board 24” H x 20” W

$1,000-1,500

154

Leonard Ochtman (1854-1934)

Hay field with a distant house, 1896 Oil on canvas

Signed and dated lower left: Leonard Ochman / 1896 16” H x 22” W

$1,000-1,500

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 15, 2022, Lot 2060

Private collection, Glendora, CA

Lee Fritz Randolph (1880-1956)

“Haying Scene,” 1903

Oil on canvasboard

Signed lower left: L. Randolph; very faintly dated and partially indistinctly inscribed

“Study / Monterey 1903,” all in pencil, verso; titled and dated on a gallery label affixed verso

6.25” H x 8.5” W

$800-1,200

Provenance: William A. Karges Fine Art, Carmel, CA

156

Edmund Henry Wuerpel (1866-1958)

“Birch Grove,” 1926 Oil on canvasboard

Signed with monogram lower right; signed, titled, and dated verso: E. H. Wuerpel / Birch Grove / 1926

18” H x 24” W

$1,000-1,500

Provenance:

La Salle Gallery, Inc., San Francisco, CA, May 1995, Lot 498

157

Chauncey Foster Ryder (1868-1949)

Pastoral scene with figure and hay bales Oil on canvas

Signed lower right: Chauncey F. Ryder and again, more faintly, lower left 20” H x 24” W

$2,000-3,000

158

Francis McComas (1875-1938)

Livestock in a farm pasture

Graphite on green paper

Signed in pencil lower right: Francis McComas

Sight: 21” H x 29” W

$3,000-5,000

Provenance:

Private collection, Stockton, CA

Sold: Bonhams, Los Angeles, CA, “California Art,” April 20, 2021, Lot 96

Private collection, Los Angeles, CA, acquired from the above

159

Charles Rollo Peters (1862-1928)

“Adobe in the Moonlight” Oil on canvas

Signed lower left: Charles Rollo Peters 12” H x 15.5” W

$5,000-7,000

Provenance:

Scott Gallery, Orinda, CA

Private collection, Oregon, acquired from the above, late 1978

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art,” October 18-19, 2011, Lot 110

160

William Adam (1846-1931)

Possibly Carmel Mission near the garden Oil on canvas laid to board

Signed lower right: Wm Adam 14” H x 17” W

$700-1,000

Provenance: Private collection, Orinda, CA; by family descent

161

Albert Thomas De Rome (1885-1959)

“Carmel Mission,” 1940 Oil on canvasboard

Signed lower left: A. De Rome; titled and dated “1940” in ink, verso 12” H x 16” W

$1,000-1,500

Provenance: Private collection, Orinda, CA; by family descent

162

Albert Thomas De Rome (1885-1959)

“Old Engine and Cable House,” 1937 Oil on canvas

Signed lower right: A. De Rome; titled, dated, and inscribed “Nolte’s Landing at the mouth of Palo Colorado Canyon, about 10 miles below Carmel 1937 / Built about 1890 / Blown into the ocean Mar 1938,” verso 10” H x 14” W

$800-1,200

Provenance:

Private collection, Orinda, CA; by family descent

163

Albert Thomas De Rome (1885-1959)

Two works:

“Guadlupe [sic] Quicksilver / Mines Old Brick Store,” 1950 Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated, verso: Nov 50

6” H x 8” W

“Guadlupe [sic] Mines - Quicksilver / Boarding House Shaft House / Cinnabar Dump,” 1950 Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated, verso: Nov 50; annotated by another artist, verso

6” H x 8” W

$800-1,200

Provenance: Private collection, Orinda, CA; by family descent

164

Albert Thomas De Rome (1885-1959)

Two works:

“Mt. Elwell from near Long Lake, Near Blairsden, Plumas County,” 1918

Watercolor on paperboard

Signed lower left: A. De Rome; titled and dated, verso: 1918

7.75” H x 10.875” W

“Cabin Back of Saratoga Sumit [sic],” 1927

Watercolor on paperboard

Signed lower right: A. De Rome; titled and dated, verso: 1927; annotated by another artist, verso 8” H x 11.875” W

$800-1,200

Provenance: Private collection, Orinda, CA; by family descent

165

Albert Thomas De Rome (1885-1959)

Three works:

“Spring - Los Gatos,” 1945 Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated May 45 in ink, verso; annotated by various artists in ink and numbered “1063” in ink, in another hand, all verso 6” H x 7.875” W

“Blue & Gold - Los Gatos,” 1946 Oil on unstretched canvas

Signed lower left: A. De Rome; titled and dated Dec. 46 in ink, verso; annotated by various artists in ink, verso

5.875” H x 7.875” W

“Monterey Bay Spring,” 1940 Oil on unstretched canvas

Signed lower right: A. De Rome; titled and dated in ink, verso; annotated “A25” in ink, in another hand, verso 5.875” H x 7.875” W

$1,500-2,500

Provenance:

Private collection, Orinda, CA; by family descent

Albert Thomas De Rome (1885-1959)

Three works:

“Los Gatos Waterworn Slate / Picnic Ground”

Oil on unstretched canvas

Signed lower right: A. De Rome; titled verso

6” H x 8” W

“Berwicks / Carmel Valley,” 1943

Oil on unstretched canvas

Signed lower left: A. De Rome; titled and dated, verso: Dec 23 43; annotated by another artist, verso 6” H x 8” W

“Old Winery Nr [near] Los Gatos / Guadloupe [sic] Canyon / Autumn / T.J. Escover Ranch,” 1948

Oil on unstretched canvas

Signed lower left: A. De Rome; titled, inscribed and dated, verso: Nov 10 48 / Rt 3 * x 391 L.G.; annotated by various artists, verso 6” H x 8” W

$800-1,200

Provenance:

Private collection, Orinda, CA; by family descent

167

Ferdinand Burgdorff (1881-1975)

“House Exterior, Ross, California,” 1952 Oil on Masonite

Signed and dated lower left: Ferdinand Burgdorff / 1952; titled by repute 34” H x 44.75” W

$2,000-3,000

Provenance: Frances M. Young

168

Frank Harmon Myers (1899-1956)

“Path by the Sea” Oil on Masonite

Signed lower right: Frank H. Myers; signed again, titled, and numbered “759,” all verso; titled again on a gallery label affixed to the frame’s verso 22” H x 28” W

$2,000-3,000

Provenance: Trotter Galleries, Carmel, CA Guchemand Collection, Baltimore, MD

169

Albert F. Jacobson (1891-1967)

“Coastal Cypress” Oil on board

Signed lower right: A.F. Jacobson; titled in ink, in another hand, on a label strung to the frame’s hanging wire 18” H x 24” W

$800-1,200

170

George Joseph Koch (1885-1951)

“Pacific Grove bathers,” 1944 Oil on Masonite

Signed and dated lower left: George Koch 1944; titled on a string tag attached to the frame’s hanging wire 25” H x 30” W

$3,000-5,000

Provenance:

Sold: Shannon’s Fine Art Auctioneers, Greenwich, CT, May 6, 2004, Lot 46

171

Frank Harmon Myers (1899-1956)

“Picnic by the Sea” Oil on Masonite

Signed lower left: Frank Myers; signed again “Frank H. Myers,” titled, and numbered “#490,” all verso 11.5” H x 15.75” W

$800-1,200

Provenance: Guchemand Collection, Baltimore, MD

172

Frank Harmon Myers (1899-1956)

“The Bay at Evening” Oil on canvasboard

Signed lower left: Frank H. Myers; signed again, titled, and numbered “#638” on the frame’s backing board; titled again on a gallery label affixed to the same backing board 16” H x 20” W

$1,200-1,800

Provenance:

J. Franklin Fine Art, Camano Island, WA Guchemand Collection, Baltimore, MD

173

Elizabeth Strong (1855-1941)

Carmel coast Oil on canvas

Signed lower right: E. Strong 14” H x 18” W

$2,000-3,000

Provenance: Sold: Bonhams, San Francisco, CA, “Period Art & Design Including the Estate of John Traina,” November 18, 2012, Lot 4080

174

C. Myron Clark (1858-1925)

Ship at sea Oil on canvas

Signed lower left: C. Myron Clark

22.125” H x 34” W

$1,000-1,500

175

Louis Macouillard (1917-1987)

“Breaking Clouds - Off Sausalito,” 1963 Oil on Masonite

Signed lower right: L. Macouillard; titled in pencil verso; titled again and dated on a label affixed to the frame’s backing board 18” H x 24” W

$2,000-3,000

Provenance: Collection of Stan and Ginnie Eschner

176

Joe Duncan Gleason (1881-1959)

Clipper ship at sea

Oil with touches of graphite on board

Signed lower right: Duncan Gleason

13” H x 16.5” W

$1,000-1,500

Notes:

The following is inscribed on the frame’s backing paper, “With my love for my dear husband I state that: / This painting belongs to the Paul M. Baer estate / Signed: Kathryn H Baer Jan. 25, 1973”

177

Joe Duncan Gleason (1881-1959)

Two works:

“Crash Boats - Army Rescue Craft in Action”

Watercolor and graphite on paperboard

Signed lower right: Duncan Gleason; titled in ink on an artist’s label affixed to the frame’s backing paper

Image: 7.625” H x 9” W (approx.); Paperboard: 9.25” H x 10.75” W

“Vosper P.T.s in Action”

Watercolor and graphite on paperboard

Signed lower right: Duncan Gleason; titled in ink on an artist’s label affixed to the frame’s backing paper

Sight: 8.5” H x 10” W

$2,000-3,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, June 17, 2003, Lot 85 and 86 Collection of Stan and Ginnie Eschner

Notes:

“Crash Boats - Army Rescue Craft in Action” is in a Mayen Olson frame.

178

Robert Wood (1889-1979)

“Dana Point, Cal.,” 1944 Oil on canvas

Signed and dated lower left: Robert Wood / 44; titled and with the artist’s copyright ink stamp, verso 25” H x 30” W

$3,000-5,000

179

Signed lower right: Woodman; titled on a label affixed to the frame’s backing board 30” H x 30” W

$1,000-1,500

Patrick Woodman (b. 1948)

“Rocky Point” Oil on canvas

180

Meredith Brooks Abbott (b. 1938)

“Rincon Canyon, Carpinteria, California,” 1989 Oil on linen

Signed lower left: M.B. Abbott; titled, dated, and inscribed “Feb. 1989 / Haggerty’s,” all verso; titled again (twice) on labels affixed to the stretcher or frame’s verso 42” H x 54” W

$6,000-8,000

Provenance:

Arlington Gallery, Santa Barbara, CA

Private collection, Southern California Collection of Stan and Ginnie Eschner

181

Terry DeLapp (1934-2020)

“Flowers (Lompoc - October)” Oil on canvas

Signed with initial lower right: D; titled on the canvas overlap 24” H x 32” W

$2,000-3,000

Provenance: Estate of the artist Private collection, Studio City, CA

182

Daryl Millard

(b. 1964)

“Laguna Canyon,” 1996 Oil on canvas

Signed lower right: Daryl Millard; signed again, titled, dated, and inscribed “Winter 96,” all in pencil, verso 24” H x 20” W

$1,500-2,500

Gary Lang (b. 1960)

“April Morning, San Juan Capistrano” Oil on Masonite

Signed lower right: Gary Lang; signed again and titled, verso; a small preliminary graphite sketch on paper, initialed by the artist in the lower left corner, affixed verso 30” H x 36” W

$1,000-1,500

Exhibited:

Los Angeles, CA, Edenhurst Gallery and Morseburg Galleries, “1st Annual Spring Salon: Golden Impressions,” June 8-30, 2000 Pasadena, CA, Pasadena Museum of California Art, n.d., award winner

Notes:

The painting is in a Richard Tobey frame. The preliminary graphite sketch on paper, affixed to the verso of the Masonite, measures 3” H x 4” W.

184

Mabel Alvarez 1891-1985

“Seated Nude” (Mary Lou Rekov), circa 1945 Oil on canvasboard

Signed lower right: Alvarez; titled on two labels affixed verso 20” H x 16” W

$10,000-15,000

Provenance: Nancy Moure, Glendale, CA

Exhibited:

Los Angeles, CA, Michael Kizhner Fine Art, “California Impressionists Images of Women,” Autumn 1989 Pasadena, CA, Pasadena Heritage Blinn House Exhibit, “Early California Impressionist & Post Impressionist Paintings,” November 1-2, 1996

185

Conrad Buff (1886-1975)

Standing nude

Charcoal on paper, double sided Estate stamp-signed in black ink lower right: Conrad Buff; with the black ink estate stamp verso Sheet: 24.25” H x 14” W

$800-1,200

Notes:

An additional charcoal drawing of a standing nude is on the verso.

186

Ted De Grazia (1909-1982)

Four clowns, 1938

India ink on off-white paper

Signed and dated lower center: De Grazia / 1938

Sight: 10.75” H x 8.75” W

$600-800

Provenance: Estate of the artist

187

Ted De Grazia (1909-1982)

Drinking angels, 1955

Ink on beige paper

Signed, inscribed “Arizona USA,” and dated lower left: De Grazia / 1955

Sight: 8.25” H x 10.5” W

$700-1,000

Provenance: Estate of the artist

188

Ted De Grazia (1909-1982)

Madonna and child, 1968

Ink on off-white paper

Signed, inscribed “Arizona / USA,” and dated lower right: De Grazia / 1938 Sheet: 5.75” H x 4” W

$500-700

Provenance: Estate of the artist

189

Sueo Serisawa (1910-2004)

“Autumn Bouquet” Oil on canvas

Signed lower left: Serisawa; titled on a photo-copied gallery label affixed to the frame’s backing paper

16” H x 12” W

$2,000-3,000

Provenance:

Dalzell Hatfield Galleries, Los Angeles, CA, and New York, NY

Atherton Fine Art Gallery, Menlo Park, CA

190

Stanley Laurence Reckless (1892-1955)

“Meditation”

Oil on canvas

Signed lower right: S.Z. Reckless; titled in ink, in the hand of the artist, on an exhibition label affixed to the stretcher 32” H x 25.75” W

$5,000-7,000

Exhibited:

Sacramento, CA, California State Fair Art Gallery, n.d. Los Angeles, CA, Los Angeles Art Association Exhibition, n.d.

191

Laura Coombs Hills (1859-1952)

Lillies

Pastel on paper

Signed lower left: Laura Hills

Sight: 23.75” H x 17” W

$1,500-2,500

192

Sergei Bongart (1918-1985)

Still life with fruit and flowers, 1975 Oil on board

Signed and dated upper left: Sergei Bongart 1975

32” H x 40” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

193

Geza Kende (1889-1952)

Seated ballerina, 1950 Oil on canvas

Signed and dated lower right: Geza Kende / 1950 25” H x 30” W

$1,500-2,500

194

Rico Tomaso (1898-1985)

Portrait of a girl holding flowers and a parasol Oil on canvas

Signed lower right: Rico Tomaso; signed again verso 20” H x 16” W

$1,000-1,500

Mabel Alvarez (1891-1985)

“Three Boys Under Tree” Oil on board

Estate signed lower left: M. Alvarez; estate signed again, and titled in pencil, in another hand, all verso; with the black ink stamp reading, “By Maeel [sic] Alvarez No.... of the Al Kramer Collection / (Inventory and Photos at the Archives of American Art),” signed “Albert J. Kramer” and numbered “32” in blue ink in the sections of the stamp left blank for that purpose, verso; with an alternate title, “(Topaz Beach)” written on the frame’s verso 7.5” H x 10” W

$1,000-2,000

Provenance: Estate of the artist

Albert J. Kramer Collection, no. 32

Sold: John Moran Auctioneers, Pasadena, CA, “Oil Paintings and Watercolors,” February 12, 1991, Lot 94

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” May 6, 2025, Lot 155

Notes:

This lot is accompanied by a sales receipt dated February 12, 1991 from one of the auctions mentioned above.

Peter Adams (b. 1950)

Still life of a marble relief surrounded by ceramic and glass objects, 1974 Oil on Masonite

Signed and dated upper right: Peter S. Adams / 1974 © 23.75” H x 24” W

$1,000-1,500

Provenance:

Private collection, acquired directly from the artist By family descent

197

Millard Sheets (1907-1989)

“Michoacan,” 1974 Oil on canvas

Signed and dated lower right: Millard Sheets / 1974; signed and dated again, and titled, all on a label affixed to the frame’s backing board 20.5” H x 25” W

$7,000-10,000

Provenance:

Kennedy Galleries, New York, NY

Estate of Millard Sheets

Private collection, acquired from the above by descent

Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” October 23, 2018, Lot 73

198

Millard Sheets (1907-1989)

“Grazing Horses,” 1973

Watercolor on Arches paper

Signed and dated lower left: Millard Sheets / 1973; titled in pencil verso Image/Sheet: 15.25” H x 22.5” W

$3,000-5,000

Provenance: Collection of Stan and Ginnie Eschner

Notes:

A notation on the verso of the frame’s backing paper reads, “Passed on to Mom / from the Watrous estate / for her birthday 7-6-06 / with love, John & Greer.”

199

Milford Zornes (1908-2008)

“El Rio Usumacinta,” 1985 Watercolor on paper

Signed and dated lower left: Zornes 85; signed again, titled, and inscribed “This river is on the boundary between Mexico and Guatemala,” all in the hand of the artist, on the frame’s backing paper

Sight: 21.5” H x 29” W

$800-1,200

Provenance:

Private collection of a student of Zornes, acquired directly from the artist

200

Milford Zornes (1908-2008)

Market scene

Watercolor and traces of graphite on paper

Signed and dated indistinctly lower right: Zornes

Sight: 21.5” H x 29” W

$800-1,200

Provenance: Claremont Fine Arts, Claremont, CA

Private collection of a student of Zornes

201

Millard Sheets (1907-1989)

“My Host” (Portrait of Clement Hirsch’s horse), 1970 Oil on canvas

Signed and dated lower right: Millard Sheets / 1970; signed again in blue ink on a typed label with the date, title, and inscription affixed to the stretcher: “Painted in 1970 for Mr. Clement Hirsch from drawings and sketches made in 1967” 25” H x 30” W

$3,000-5,000

Notes:

Clement Hirsch was an American businessman and a prominent thoroughbred racehorse owner and breeder who co-founded Oak Tree Racing Association.

202

Walter Stuempfig (1914-1970)

Figures in a garden Oil on canvas

Signed lower left: Stuempfig 10.25” H x 15.25” W

$2,500-3,500

203

John William Hilton (1904-1983)

“Maui, Hawaii” Oil on board

Initialed and indistinctly dated lower right: JWH 2 - 19**; signed and titled in ink, verso: John W Hilton 8” H x 10” W

$1,000-1,500

204

Signed lower left: Lau Chun; numbered “79028” in pencil, possibly in another hand, verso 24” H x 36” W

$800-1,200

Lau Chun (b. 1942)

Hawaiian mountain landscape Oil on canvas

205

Bennett Bradbury (1914-1991)

“Thunder Tide” Oil on canvas

Signed lower right: Bennett Bradbury; signed again, titled, and inscribed “#T3,” all verso 30.25” H x 40.25” W

$1,500-2,000

206

Bennett Bradbury (1914-1991)

“Equinoctial” Oil on canvas

Signed lower right: Bennett Bradbury; signed again, titled, and inscribed “#393,” all verso 24” H x 34” W

$1,000-1,500

Exhibited: Oakland, CA, Oakland Art Gallery, n.d.

207

James A. Fetherolf (1925-1994)

“The Rushing Tide” Oil on canvas

Signed lower right: Fetherolf; titled on the stretcher bar; with the artist’s copyright ink stamp verso 20” H x 30” W

$2,000-3,000

208

Filastro Mottola (1915-2008)

“Rocky Coast” Oil on Masonite

Signed lower left: Mottola; signed again and a label affixed verso 24.25” H x 48.25” W

$1,500-2,000

and titled on

209

Alexander Dzigurski (1911-1995)

Crashing waves along the shoreline Oil on canvas

Signed lower right: A. Dzigurski; with the artist’s black ink copyright stamps, verso 24” H x 36” W

$2,000-3,000

210

Alexander Dzigurski (1911-1995)

Rocky seascape Oil on canvas

Signed lower right: A. Dzigurski; inscribed “#115-A” in pencil and with the artist’s black ink copyright stamp, all verso 16” H x 20” W

$1,000-1,500

211

Frank Handlen (1916-2023)

“The Eternal Sea” Oil on Masonite

Signed lower right: Handlen; titled on two labels affixed to the frame’s backing paper

44” H x 60” W

$1,500-2,500

Provenance:

Sold: Heritage Auctions, Annapolis, Maryland, “Maritime & Ship Models Signature Auction - Annapolis,” October 27, 2012, Lot 88306

212

Eyvind Earle (1916-2000)

“Morning Fog,” 1995

Oil on panel

Signed and dated along the lower edge, at right: © 1995 Eyvind Earle; dated again in the lower left corner: 2.3.95; dated again, titled, and numbered “496,” all verso; titled and dated yet again along the upper, unpainted edge of the panel (currently covered by a strip of black-painted wood trim related to the framing)

7.5” H x 12” W

$1,200-1,800

Notes:

This lot is sold together with a hardbound copy of Eyvind Earle, “The Complete Graphics of Eyvind Earle and Selected Poems, Drawings and Writings,” Volume Two (Santa Barbara: Haagen Printing, 2001).

213

Martin Mondrus (1925-2020)

Hillside houses

Oil on canvas

Signed lower center: Mondrus

24.25” H x 40” W

$1,000-1,500

214

Leo Politi (1908-1996)

“The City” (Los Angeles)

Tempera and gouache on paper laid to board

Signed twice, lower left and right: Leo Politi; titled and inscribed “landscape of poor section,” in pencil, verso

20” H x 26” W

$800-1,200

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “Studio Auction, Fine Art,”

July 30, 2016, Lot 121

Private collection, Los Angeles, CA, acquired from the above

Private collection, Chatsworth, CA

215

Signed lower right: K. Moore; titled by repute

$2,000-3,000

Karen Moore

(b. 20th century)

“Wondering Shades I” Oil on canvas

49.5” H x 40.5” W

216

Signed lower right: K. Moore; titled by repute

49.5” H x 40.5” W

$2,000-3,000

Karen Moore

(b. 20th century)

“Wondering Shades II” Oil on canvas

217

Meredith Brooks Abbott (b. 1938)

“Rancho San Fernando Rey,” 1987 Oil on canvas

Signed lower right: M.B. Abbott; titled, dated, and inscribed “San Marcos,” all verso; alternatively titled “Redrock Canyon” and dated 1988, on a label affixed to the frame’s verso 22” H x 28” W

$2,000-3,000

218

Richmond Irwin Kelsey (1905-1987)

“Thunder Heads” Oil on board

Signed lower left: Richard Irwin Kelsey; titled and inscribed “No 9,” verso 18” H x 21.75” W

$800-1,200

219

Karen Moore

(b. 20th century)

“A Silent Harvest” Oil on canvas

Signed lower right: K. Moore; inscribed “#KM3648101” in pencil, verso; titled by repute 36.5” H x 47.75” W

$2,000-3,000

220

Karen Moore

(b. 20th century)

“Whispering Fields” Oil on canvas

Signed lower right: K. Moore; inscribed #KM3648102” in pencil, verso; titled by repute 36.5” H x 47.5” W

$2,000-3,000

221

Marta Becket (1924-2017)

Café scene, 2004

Oil on canvas

Signed and dated lower left: Becket / 11-04

12” H x 24” W

$1,000-1,500

222

A large group of California Plein Air auction catalogs including the 1977 LACMA auction

Circa 1977-2019

Comprising:

Sotheby Parke Burnet, Los Angeles, CA, “An Auction of Property De-accessioned by the Los Angeles County Museum of Art to Benefit New Acquisitions,” November 7-9, 1977

Softcover book

Together with a large group of auction catalogues and pamphlets from Christie’s, Bonhams, Butterfields, and John Moran Auctioneers spanning the 1980s through the 2010s, most featuring collections of California, Western, or American Plein Air fine art

Three file boxes, approximately 200 pieces

LACMA: 9.25” H x 8.75” W x 0.5” D

$300-500

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SINCE 1969

Condition Reports

Overall good appearance. The colors fresh, and the margins presumably full, with artist pinholes along the extreme upper, left, and lower margin edges. A few very unobtrusive, stray flecks of burgundy pigment in the block as part of the artist’s working process. Two pinhead-sized stains, one in the left and one in the right margins, neither of which affects the block. Minor surface soiling in the margins and on the verso. Some of the magenta pigment (seemingly printed as a base below the beige pigment of the beach) either bleeding through to the verso, or offset from a different impression. Minor surface rubbing, verso. The sheet is hinged to the overmat with brown paper tape from the verso of the upper margin edge (and formerly also at the verso of the lower margin corners).

Framed under glass: 14.75” H x 14.625” W x 0.75” D

Overall generally good, original, untreated condition. With wide (possibly full) margins. Very pale lightstaining showing in the margins just outside the platemark. Surface soiling in the upper portion of the left margin. A soft diagonal handling mark in the lower right margin corner. Time staining in places along the extreme vertical margin edges where the old frame and backing board seem to have left those margin edges slightly more exposed from the verso. The sheet is hinged to the back mat from the verso of the upper margin corners with small brown paper hinges.

under glass: 9.75” H x 7.25” W x 0.5” D

Overall generally good appearance. With margins, however, the margins have been trimmed. The palest light-staining showing in the margins. The verso with pale backboard staining. Brown paper tape along the verso of the margin edges, with small remnants of white tape at the upper portions of the left and right margin edges. The work is taped to the overmat with white tape and double-sided sticky tape, from both the recto and verso.

under glass: 13.625” H x 16.375” W x 1.5” D

Overall generally good appearance. With full margins and the left, right, and lower edges deckled. Overmat and light-staining, and pale time staining. Two bands of old paper remnants, the largest 2” H x 0.25” W, along the center of the right margin edge. Soft handling marks and pale scattered foxmarks, primarily in the margins. Pencil notations in another hand in the right and lower margins. Surface soiling or old glue residue along the verso of the margin edges. The sheet is hinged to the back mat from the verso of the upper corners.

Framed under glass: 23.25” H x 24.25” W x 1.5” D

Overall good appearance. With wide margins and the right and lower edges deckled. The left margin edge trimmed approximately 0.5”. Pale mat staining and uneven, pale backboard staining on the verso. Very soft handling marks, some minor surface soiling, and occasional pale foxmarks scattered primarily in the margins and on the verso. Pencil notations in another hand in the lower margin corners. The sheet is hinged to the backmat from the verso of the upper corners.

Framed under glass: 20.75” H x 22” W x 1.5” D

Overall good appearance. A rich, luminous impression. With wide (possibly full) margins. An extremely pale line of light-staining showing along all sides in the outer margins. A pale old horizontal stain in the upper left margin corner. Several small numeric pencil notations, in other hands, in the lower margin corners. The sheet is hinged to the back mat from the verso of the upper margin corners.

Framed under glass: 18” H x 19.25” W x 0.75” D

Overall generally good appearance. With margins. Pale, pinhead-sized, occasional foxmarks scattered in the image and margins. A few small, soft, handling marks affecting the image and margins of the upper right corner. Not examined out of the frame.

Framed under glass: 16.25” H x 17.5” W x 1.25” D

Overall good appearance. The full sheets, bound as issued. Slight time staining and dust accumulation along the sheet edges, and normal offsetting of the ink from the blocks to only the versos of the adjoining sheets, all commensurate with age. Normal shelf wear to the edges of the decorative papercovered boards.

Book: 12.75” H x 9.75” W x 0.25” D

Overall good appearance. With margins. A rich impression with burr. Pale light-staining. Not examined out of the frame.

Framed under glass: 16.25” H x 17.5” W x 1.375” D

Overall good appearance. With margins. A good impression. Not examined out of the frame.

Framed under glass: 16.25” H x 17.125” W x 1.375” D

Framed

Overall good appearance. With margins. A good impression with rich burr on the drypoint. Not examined out of the frame.

Framed under glass: 11.375” H x 12.375” W x 1.5” D

Overall good appearance. With margins. Not examined out of the frame.

Framed under glass: 13.875” H x 13.375” W x 1.375” D

Overall good appearance. With margins. A good impression. Not examined out of the frame.

Framed under glass: 13” H x 14.25” W x 1.25” D

Overall good appearance. An unobtrusive speck of foxing or grime on the side of the boat in the upper left quadrant. Small areas of very minor tape residue in the upper sheet corners. Very small, occasional, edge tears scattered along the right edge. The sheet is hinged to the back mat from the verso of the upper sheet corners.

Framed under glass: 19.375” H x 23.75” W x 1.625” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

Visual: Overall good appearance. Varnish discoloration and grime.

Blacklight: No evidence of restoration.

Frame: 10.25” H x 12.25” W x 0.75” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 13.25” H x 16.25” W x 1.75” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 20.75” H x 23.75” W x 2.25” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 15.75” W x 1.75” D

Visual: Overall good appearance. Dust accumulation and grime.

Blacklight: No evidence of restoration.

Frame: 7.5” H x 9.25” W x 1.25” D

Visual: Overall generally good appearance. The surface of the canvas is slightly puckered. Two peasized (or smaller) pigment losses near the center of the left half, one in the tree trunk, and the other on the figure in pink to the left of the tree trunk. A few more smaller pigment losses scattered primarily along the right edge, but seem to only affect the topmost layer of pigment.

Blacklight: A 0.25” H x 0.5” W touch-up in the upper left corner.

Frame: 19” H x 19.75” W x 1.75” D

Visual: Overall good appearance. Varnish discoloration and slight grime. Occasional areas of paint shrinkage and/or craquelure in the bushes near the lower edge.

Blacklight: No evidence of restoration.

Frame: 28” H x 22” W x 2.25” D

Visual of each: Overall good appearance. Occasional flecks of grime. Artist pinholes at each of the four corners. Minor scattered edge wear. “Morning Glow - Carmel,” with very fine, unobtrusive craquelure scattered in the lower right quadrant, only visible in raking light. Small losses and freys at each of the four corners. Each canvas is unstretched, loose, and not matted.

Blacklight: No evidence of restoration.

Unframed

Each overall good appearance. The three watercolor works with pale light-staining. The ink and watercolor work with pale uneven toning and staining on the recto and verso; however, the verso is more significant compared to the recto. Minor surface soiling and soft occasional handling marks. A pinhole in the lower edge, at right. The verso sheet with a few pale specks of foxing. The three watercolor works are not examined out of the frame. The one work with ink and watercolor is unframed, loose, not matted.

Three works framed under glass: 10.75” H x 11.375” W x 1” D; one unframed

Visual: Overall good appearance. A few specks of pigment loss near the lower right corners. Very unobtrusive, fine craquelure in the rocky formation in the lower left, not affecting the signature, and only visible in raking light. Artist’s pinholes at each of the four corners. The verso with paper remnants at each of the four corners.

Blacklight: No evidence of restoration.

Unframed

Visual of each: Overall good appearance. Occasional specks of foxing. Minor edge wear and the extreme edges are trimmed slightly unevenly, presumably in the hand of the artist. Artist pinholes at each of the four corners. The titled work with a penny-sized area of surface soiling near the center of the lower edge, and an unobtrusive pinpoint-sized pigment loss near the upper left corner. Each canvas is unstretched, loose, and not matted.

Blacklight of each: No evidence of restoration.

Each unframed

Visual of each: Overall good appearance. Varnish discoloration and grime. A tack hole at the tip of each corner. In the case of “Cypress...” with an attendant rice-sized lack of pigment at those tips as part of the artist’s working process. Each canvas is unstretched, loose, and not matted.

Blacklight of each: No evidence of restoration.

Each unframed

Visual: Overall generally good appearance. Significant, but stable craquelure throughout. A few areas of minor wear to the pigment. The canvas with a newer stretcher and keys. As mentioned, the canvas is laid to a synthetic backing.

Blacklight: Areas of touch-up scattered throughout, primarily dime-sized or smaller, with the most extensive areas in the sky of the upper right quadrant, including a few quarter-sized (or smaller) areas and crack fill.

Frame: 28” H x 33.5” W x 3.5” D

Visual: Overall good appearance. A few scattered spots of old varnish, the largest pinhead-sized in the rocks of the lower left quadrant. Very minor scattered craquelure, one area with an attendant pinpointsized pigment loss in the center of the upper portion of the tree, as well as a few other scattered pinpointsized pigment losses primarily in the tree and in the sand along the lower edge.

Blacklight: No evidence of restoration.

Frame: 23.75” H x 29.75” W x 3” D

Visual: Overall good appearance. A 2.75” H x 0.5” W band of grime along the upper portion of the left edge, and another, smaller, just below it, as well as scattered tiny flecks of grime, primarily in the upper half.

Blacklight: No evidence of restoration.

Frame: 41” H x 51.75” W x 1.5” D

Visual: Overall good appearance. A few pinheadsized (or smaller) pigment losses primarily in the far mountains in the upper left quadrant. A minor pinhead-sized possible abrasion in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 22.25” W x 2.5” D

Visual: Overall good appearance. The work is taped to the overmat with brown paper tape along the verso of the canvasboard’s edges.

Blacklight: No evidence of restoration.

Framed under glass: 23.25” H x 28” W x 1.5” D

Visual: Overall good appearance. Slight varnish discoloration and fine scattered craquelure. Stretcher bar creases along the upper, left, and right edges.

Blacklight: A few pea-sized (or smaller) touch-ups in the lower right quadrant.

Frame: 26” H x 32” W x 2.5” D

Visual: Overall good appearance. Minor frame abrasion along the right portion of the upper edge. Scattered grime or old varnish, the largest a very faint 8” H x 0.5” W band in the upper left quadrant, two more thinner horizontal bands in the center of the right half, and a few pea-sized (or smaller) scattered along the upper edge.

Blacklight: No evidence of restoration.

Frame: 41” H x 53.25” W x 1.25” D

Overall good appearance. Pale light-staining. A pinpoint-sized area of grime in the lower left corner. As mentioned, the sheet is laid to paper. The work is hinged to the back mat in three places with white hinging tape from the verso of the support sheet’s upper edge.

Framed under glass: 20.75” H x 16.25” W x 1.5” D

Visual: Overall good appearance. A few very minor pinpoint-sized pigment losses scattered in the hills. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 16.25” H x 22.5” W x 1.75” D

Visual: Overall good appearance. A pea-sized area of craquelure in the right portion of the upper edge. A few minor imperfections in the board, including in the left portion of the upper edge and in the lower left quadrant just above the waterfall.

Blacklight: No evidence of restoration.

Frame: 17” H x 19” W x 3” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 13” H x 17.75” W x 2.5” D

Visual: Overall good appearance. Craquelure throughout and frame abrasion along the left, right, and upper edges.

Blacklight: No evidence of restoration.

Frame: 42.5” H x 37.5” W x 5” D

Visual: Overall good appearance. Dust accumulation and occasional specks of grime. A 0.375” H x 0.125” W area of pigment loss near the lower left corner. Very faint, thin, unobtrusive craquleure scattered occasionally in the lower right quadrant, only visible in raking light.

Blacklight: A pea-sized area of touch-up in the clouds near the upper edge, at center, and a few other flecks of touch-up occasionally scattered in the sky.

Frame: 26” H x 20.25” W x 3” D

Visual: Overall good appearance. Scattered craquelure and slight varnish discoloration.

Blacklight: Scattered small flecks of possible old touch-up, the largest approximately 0.25” H x 1” W.

Frame: 18.25” H x 28.25” W x 2.75” D

Visual: Overall generally good appearance. Grime and scattered craquelure throughout, the latter visible primarily in raking light. A small cluster of pinheadsized (or smaller) pigment losses near the lower edge, at right. Frame abrasion in places along the vertical edges. As mentioned, the canvas is laid to canvas.

Blacklight: A few dots and delicate lines of touch-up, the longest (by far) measuring approximately 6” H in the lower right quadrant, possibly attendant with a former stretcher bar crease or repair. Two touchups at the far right, near the tops of the foreground mountains, each approximately 0.25” H x 0.5” W (or opposite) and possibly attendant with old repairs. A narrow, 1.5” line of touch-up related to frame abrasion at the upper left corner.

Frame: 23.75” H x 20” W x 2.5” D

Visual: Dust accumulation, scattered grime and residue, fine scattered craquelure, flattened stretcher bar creases along each side, varnish discoloration, and minor darkening to the pigment, all commensurate with age. Small clusters of flecks of pigment loss and other specks of loss occasionally scattered throughout. Minor frame abrasion scattered in places along the extreme edges. As mentioned, the canvas has been laid to waxed canvas.

Blacklight: Occasional areas of touch-up throughout, the largest being a 0.375” H x 6” W scattered band near the lower edge, at left.

Frame: 23.25” H x 35.25” W x 2.5” D

Visual: Overall generally good appearance. Slight varnish discoloration primarily in the sky. Very fine crazing primarily in the darker pigments. A dimesized pressure mark with attendant minor pigment loss in the trees of the upper left quadrant. A 0.75” vertical abrasion with attendant scattered pigment loss to the left of center in the lower half. A 0.25” H x 1” W area with a thin zig-zag shaped surface scuff in the center of the right half, near the edge.

Blacklight: No evidence of restoration.

Frame: 17.75” H x 21.5” W x 2” D

Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, minor areas of scattered wear to the pigment, and a soft stretcher bar crease primarily along the center of the left edge. Two white scuff marks, one measuring 2.5” diagonally, in the sky near the center of the left edge, and the other measuring 1.5” horizontally along the upper edge, at right. Minor rippling to the canvas, possibly attendant with the canvas being slightly loose from the stretcher, and a few penny-sized (or smaller) pressure marks scattered in the lower left quadrant. Scattered frame abrasion in places along the extreme edges and corners, with a few small areas of attendant pigment loss.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 34.25” W x 2.5” D

Visual: Overall generally good appearance. Varnish discoloration and scattered grime. Two short lines of either grime or stray black pigment, each approximately 0.25” long, one near the center of the lower edge of the water, and the other at the tip of the lower right corner (not affecting the signature). The canvas is unevenly trimmed along both the left and right edges, however, this appears to be in the hand of the artist, with the pigment of the sky and clouds continuing onto the support board.

Blacklight: No evidence of restoration. Possible foxing and/or atmospheric effects on the adhesive affixing the canvas to the support board show up under blacklight, primarily near the outer edges.

18” H x 15” W x 1” D

Visual: Overall generally good appearance. Craquelure throughout with minor attendant pinhead-sized (or smaller) pigment losses. As mentioned, the canvas has been relined.

Blacklight: A small area of touch-up in two of the above-mentioned pigment losses, the largest in the sand of the lower right quadrant. Flecks of old touchup and crack-fill scattered throughout, primarily in the sky.

Frame: 25.5” H x 32” W x 1.5” D

Visual: Overall good appearance. Craquelure throughout. As mentioned, the canvas has been relined.

Blacklight: A thin, 12.5” H x 4” W, L-shaped band of touch-up extending vertically through the foreground boat and across the water of the lower right quadrant. A 1.5” H x 2.5” W area of touchup in the sky of the upper right quadrant, and two more, smaller, near the center of the sky. A thin 1.5” diagonal band of touch-up across the upper left corner, another thin 1” band of touch-up along the upper portion of the left edge, as well as a few other, pea-sized or smaller, touch-ups scattered in the outer edges.

Frame: 32.25” H x 25” W x 4.5” D

Frame:

Visual: Overall good appearance. Slight surface rubbing and grime. A 1” H x 1” W U-shaped hairline surface scuff near the center of the upper half, above the ship’s sails. Minor frame abrasion along each edge. As mentioned, the canvas has been relined.

Blacklight: Occasional scattered touch-ups, the largest measuring approximately 3” H x 9” W in the dark water at lower center. Another touch-up measuring approximately 1” H x 1” W in the sky at upper right, and an L-shaped touch-up measuring 0.25” H x 0.25” W in the lower portion of the sails.

Frame: 40” H x 60” W x 5” D

Visual: Overall good appearance. Soft stretcher bar creases along the left and right edges, primarily visible in raking light. Minor frame abrasion scattered along the upper portion of the right edge. A pinheadsized pigment loss in the water, to the left of center of the lower half.

Blacklight: No evidence of restoration.

Frame: 29.75” H x 35.75” W x 3” D

Visual: Overall generally good appearance. Minor varnish discoloration and specks of grime. Very fine and unobtrusive craquelure scattered throughout, primarily visible in raking light. Minor areas of rubbing/wear to the pigment scattered in places in the lower half of the work. As mentioned, the work has been relined.

Blacklight: A few areas of older touch-up, the largest measuring 3” H x 4” W in the sky of the upper right quadrant, and smaller bands scattered in places along the extreme edges. Newer touch-ups scattered in places in the sky and the corners, the largest area measuring 0.5” H x 1” W in the sky, however, most of them are pea-sized (or smaller).

Frame: 16.625” H x 24.5” W x 2.75” D

Visual: Dust accumulation, specks of grime, varnish discoloration, craquelure throughout, and soft stretcher bar creases along each side, all commensurate with age. A minor, unobtrusive, approximately rice-sized abrasion near the center of the lower edge.

Blacklight: Extensive touch-up in the right half of the work, the largest measuring 1.5” H x 11” W in the sky.

Frame: 18.125” H x 36” W x 3” D

Visual: Overall good appearance. A stretcher bar crease along the upper edge. Scattered foxing on the verso.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 35.25” W x 2.5” D

Visual: Overall good appearance. A minor 1” horizontal scattered surface scratch along the upper edge, at left. A speck of pigment loss near the lower left corner. Minor frame abrasion along the left edge.

Blacklight: No evidence of restoration.

Framed under glass: 11” H x 13” W x 2.25” D

Visual: Overall good appearance. Soft stretcher bar creases along each edge, primarily visible in raking light.

Blacklight: A few small specks of old touch-up scattered throughout.

Frame: 26.25” H x 32.25” W x 2” D

Visual: Overall good appearance. A 3” irregular hairline crack in the Masonite, on the figure’s shoulder, in the lower left quadrant.

Blacklight: Two pinhead-sized touch-ups on the figure’s shoulder in the lower left quadrant, near the hairline crack mentioned above.

Frame: 25” H x 21” W x 2” D

Overall good appearance. A soft and very unobtrusive, approximately 1” long, flattened handling crease in the background of the upper right quadrant, visible only in raking light. The sheet is laid down and sealed in its mat.

Framed under glass: 17.25” H x 14.75” W x 0.75” D

Each overall good/generally good appearance. Pale light-staining to the portion of the sheet exposed by the overmat window. Surface skinning, old paper, and glue remnants along the edges and corners, not affecting the image. The portrait of the man with soft handling marks in the outer edges and pale uneven toning on the sheet’s verso. Each sheet is trimmed unevenly, possibly in the hand of the artist. Each sheet is hinged to the back mat with fabric hinges from the verso of the upper sheet edge.

Each framed under glass: 12.625” H x 12” W x 1.125” D

Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, slight paint shrinkage and craquelure scattered in the dark pigment in the background of the upper half, and minor oxidation in some areas of the pigment, all commensurate with age. An unobtrusive, approximately pinhead-sized pigment loss at the top of the figure’s forehead. Minor frame abrasion scattered in places along the extreme lower and right edges. A numbered sticker affixed to the lower left corner.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 26.25” W x 2.25” D

Overall good appearance. A pinhead-sized foxmark on the figure’s right shoulder. A few faint, thin, surface scratches scattered on the right side of the figure’s coat, each 1.25” or smaller. A penny-sized area of surface skinning on the verso of the upper right sheet corner, slightly affecting the recto. A few very small edge tears and losses in the upper portion of the right edge. Two hinging remnants on the verso of the lower sheet edge. The sheet is hinged to the back mat from the verso of the upper sheet edge.

Framed under glass: 22.5” H x 18.625” W x 1.5” D

Visual: Overall good appearance. Fine craquelure scattered throughout. As mentioned, the canvas has been relined.

Blacklight: A 1.5” H x 4” W area of touch-up on and surrounding the signature in the lower right corner. Smaller flecks of touch-up scattered throughout, including in the woman’s hair and kimono, and along the upper edge.

Frame: 23.75” H x 18” W x 2.25” D

Visual: Overall generally good appearance. Very fine craquelure throughout. Three repaired tears, the largest L-shaped and measuring 2” H x 1.5” W in the center of the mountain range, and the other two approximately pea-sized to the right of center in the sky and in the branches of the leftmost tree in the upper left quadrant, each with related patches verso. A few areas of pigment loss scattered along the lower edge, the largest 0.125” H x 0.75” W just to the left of the signature. Frame abrasion along each edge with attendant bands of pigment losses, the longest 3.5” W along the left portion of the lower edge, not visible as framed.

Blacklight: A few areas of old touch-up, including in the repaired tears mentioned above, the largest 2.5” H x 2.5” W in the trees in the center of the work.

Frame: 18.25” H x 28.25” W x 2.5” D

Visual: Overall good appearance. Slight varnish discoloration and craquelure throughout. Stretcher bar creases along the upper and left edges.

Blacklight: A 2.75” H x 4.75” W touch-up in the clouds of the upper left quadrant, with a related patch verso, and a 2.5” H x 1.5” W touch-up in the upper left corner. Four areas of touch-up in the leftmost mountain peak, the largest 1” H x 1.25” W, and a few rice-sized or smaller touch-ups in the rightmost mountain peak. A quarter-sized touch-up in the grass of the lower right quadrant, and other small flecks of touch-up scattered in the greenery of the lower half. Long bands of touch-up scattered along the extreme lower edge.

Frame: 38.25” H x 58.25” W x 3.5” D

Visual: Overall good appearance. The canvas has been re-stretched over newer stretcher bars and keys.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 16.5” W x 2.25” D

Visual: Overall good appearance. Soft stretcher bar creases along each side and very fine, small, occasional areas of scattered craquelure. An unobtrusive, approximately pinhead-sized pigment loss near the center of the mountains in the background, primarily visible in raking light. The stretcher with newer keys.

Blacklight: A few 1” W areas of touch-up in the sky of the upper right quadrant, and other mostly pea-sized or rice-sized areas of touch-up scattered in the sky and along the right edge.

Frame: 19.75” H x 23.75” W x 1.75” D

Visual: Overall good appearance. Minor dust accumulation and specks of grime. Very unobtrusive small areas of fine craquelure scattered occasionally near the lower edge of the work, only visible in raking light. A 1” pressure mark to the pigment, presumably from the edge of the frame, along the lower portion of the extreme right edge. The board is slightly concaved.

Blacklight: A 0.75” H x 1” W area of touch-up at the center of the right edge. Two pea-sized areas of touch-up, one in the upper edge, at left, and the other in the upper portion of the right edge. A few flecks of touch-up scattered in the sky.

Frame: 14.125” H x 16.125” W x 1.5” D

Visual: Overall good appearance. Slight varnish discoloration. Stretcher bar creases along the upper and right edges, primarily visible in raking light. Very fine craquelure, primarily in the upper right quadrant, just above the trees.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 37” W x 3” D

Overall good appearance. A paper loss at the upper right sheet corner. The verso with two small areas of tape remnants at the center of the upper edge. The sheet is hinged to the overmat with two pieces of white paper tape from the verso of the upper sheet edge.

Framed under glass: 21.625” H x 25.625” W x 2.125” D

Visual: Overall good appearance. Minor varnish discoloration. A few faint surface scratches/scuffs, some with attendant pigment loss, occasionally scattered in the lower half.

Blacklight: No evidence of restoration.

Frame: 17.375” H x 19.875” W x 2” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 17.75” W x 2” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 38.5” H x 44.5” W x 2.75” D

Visual: Overall good appearance.

Blacklight: A few minor flecks of touch-up in the upper left quadrant and in the lower portion of the right edge.

Frame: 14.5” H x 20.75” W x 1.5” D

Visual: Varnish discoloration, specks of grime, and craquelure scattered throughout. Soft stretcher bar creases along each side. Minor scattered wear to some areas of the pigment, primarily in some places along the outer edges. The canvas is slightly loose from the stretcher.

Blacklight: A penny-sized touch-up at the center of the upper edge, and scattered flecks of touch-up in some of the rock formations.

Frame: 21.75” H x 23.75” W x 3” D

Visual: Overall good appearance. Fine crazing throughout. Soft stretcher bar creases along the left and right edges, primarily visible in raking light.

Blacklight: A thin 0.5” horizontal band of touch-up along the upper edge of the upper right corner.

Frame: 16.25” H x 20.25” W x 2.25” D

Visual: Overall generally good appearance. Varnish discoloration, grime, and paint shrinkage throughout.

Blacklight: No evidence of restoration.

Frame: 24.5” H x 26.75” W x 1.75” D

Visual: Overall good appearance. Slight grime and varnish discoloration. Stretcher bar creases along the upper, left, and right edges.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 29.25” W x 2.75” D

Visual: Dust accumulation, specks of grime, craquelure throughout, stretcher bar creases along each side, and varnish discoloration, all commensurate with age. A few specks of pigment loss, one at the center near the upper edge, and a few others in the rock formation in the lower right quadrant.

Blacklight: A 0.75” H x 1” W repaired tear and touchup near the center of the rock formation in the right half of the work, and with a related patch verso. Another irregular 1” H x 1” W area near the touch-up mentioned above, and other smaller areas of touchup scattered in the rock formation.

Frame: 28” H x 39.75” W x 3” D

Visual: Overall good appearance. A soft stretcher bar crease along the left edge, primarily visible in raking light. Scattered areas of fine craquelure, primarily in the thicker impasto.

Blacklight: A 0.5” H x 1” W touch-up in the sky of the upper left quadrant. Two touch-ups in the water of the lower left quadrant, the largest 0.75” H x 0.375” W. A few small pinhead-sized (or smaller) flecks of touch-up scattered in the sky of the upper right quadrant.

Frame: 26.25” H x 30.5” W x 3” D

Visual: Overall good appearance. A soft stretcher bar crease along the left edge, primarily visible in raking light. An approximately 6” H x 1.5” W area of fine craquelure along the upper portion of the left edge. Three pinpoint-sized abrasions with attendant pigment loss in the upper left corner and the center of the upper edge.

Blacklight: No evidence of restoration.

Frame: 22.75” H x 27.25” W x 3” D

Visual: Overall good appearance.

Blacklight: Flecks of touch-up scattered throughout, the largest pea-sized.

Frame: 23.5” H x 27.5” W x 3.25” D

Visual: Overall good appearance. Minor pigment losses along the extreme outer edges. A few small specks of grime in the upper portion of the left edge.

Blacklight: A few small scattered areas of touch-up, primarily in the sky of the upper half and the ground in the lower half.

Frame: 26.25” H x 22.25” W x 2.25” D

Visual: Overall good appearance.

Blacklight: A 1.25” H x 0.25” W diagonal band of touch-up in the bushes of the lower left quadrant.

Frame: 10.75” H x 13.5” W x 1.5” D

Visual: Overall good appearance. Varnish discoloration. A few 0.5” or smaller horizontal surface scratches spanning a 9.5” wide area along the right portion of the lower edge, just below but not affecting the signature.

Blacklight: A few 2” or smaller, thin bands of touchups scattered in the branches and the ground in the left half of the work.

Frame: 26.75” H x 22.75” W x 2” D

Visual: Overall good appearance.

Blacklight: A few scattered rice-sized (or smaller) touch-ups.

Frame: 11.75” H x 13.75” W x 2.25” D

Visual: Overall good appearance. Areas of craquelure, some of which are unstable and with attendant pigment losses, the largest 0.25” H x 0.5” W in the right portion of the lower edge. Stretcher bar creases along the left, right, and upper edges, primarily visible in raking light. With metal stretcher bar keys.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 28.75” W x 2.25” D

Visual: Overall good appearance. Slight varnish discoloration. The board is very slightly convex.

Blacklight: No evidence of restoration.

Frame: 16.375” H x 20.375” W x 2” D

Visual: Overall good appearance. Dust accumulation, minor varnish discoloration, fine occasional craquelure, and very soft stretcher bar creases along each side, all commensurate with age. A thin ricesized scratch in the lower right quadrant. An artist’s pinhole in the upper left corner.

Blacklight: A 0.75” H x 2” W area of touch-up along the upper edge, at right, and other pea-sized (or smaller) areas of touch-up scattered in the sky of the upper right quadrant. Scattered specks fluoresce under blacklight in the lower half; however, this appears to be grime.

Frame: 19” H x 25” W x 3” D

Visual: Overall good appearance. Craquelure throughout. Stretcher bar creases along each edge, primarily visible in raking light. As mentioned, the canvas has been relined.

Blacklight: Scattered flecks of touch-up primarily along upper left quadrant and the left and right edges, the largest approximately quarter-sized.

Frame: 32” H x 40” W x 1.75” D

Visual: Overall good appearance. A few pea-sized or smaller pigment losses that have been touched-up, scattered in the upper half. Slight frame abrasion and a few flecks of gold leaf transfer along the upper edge.

Blacklight: A 1.75” H x 0.375” W band of touch-up in the far mountain of the upper right quadrant, as well as other smaller touch-ups scattered in the mountains and sky in the upper half. Scattered touch-ups along the outer edges and corners, primarily in the upper half.

Frame: 21.75” H x 26.75” W x 2.25” D

Visual: Overall generally good appearance. Dust accumulation, grime, and varnish discoloration. A rice-sized surface scratch in the green pigment, inbetween the tree trunks in the lower left quadrant, and another fainter, more unobtrusive surface scratch in the green pigment of the rolling hills in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 20.125” H x 24.25” W x 3” D

Overall good appearance. Pale light-staining, primarily visible in the sky, and time staining along the extreme upper edge. Very fine, small areas of unobtrusive paint shrinkage/craquelure scattered in place along the extreme lower edge, primarily visible in raking light. Minor abrasion scattered along the extreme edges. The work is loose, not matted, and framed with the original handmade nails.

Framed under glass: 12” H x 20.625” W x 2.25” D

Overall generally good appearance.The sheet is toned both recto and verso. Attendant with a round paper label from the California Water Color Society, affixed verso, there is a 1.75” diameter lighter area in the sky at right. Occasional rice-sized surface abrasions with attendant pigment losses scattered near the lower left, lower, and lower right extreme edges. Most are concentrated near the artist’s signature, but in only one case do they affect any of the letters (that one case involves the “o” of the artist’s first name). The paper is wrapped around and tacked, in numerous places along the extreme sheet edges, to the back surface of the original stretcher. Attendant with this presentation, there are a few small paper losses or edge tears, each of which is confined to the wrapped/tacked outer edges of the sheet and therefore not visible on the recto as framed.

Framed under old, likely original, glass: 21” H x 26.75” W x 1.25” D

Visual: Overall good appearance. Minor varnish discoloration, primarily visible in the sky. A few peasized, rice-sized, or smaller areas of surface abrasion with attendant pigment loss, scattered singly or in small clusters in the sky of the upper left quadrant. As mentioned, the canvas is laid to Masonite.

Blacklight: A cluster of a few pea-sized (or smaller) areas of touch-up in the greenery, just below the tree branches in the upper left quadrant. A few small areas of older touch-up scattered at the center in the sky and near the mountainous area.

Frame: 27.25” H x 36.125” W x 4.5” D

Visual: Overall good appearance. An occasional fleck of grime.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 31.25” W x 3.25” D

Visual: Overall good appearance. Scattered areas of craquelure. Stretcher bar creases along each edge. Frame abrasion along the upper edge, with a few attendant pinhead-sized (or smaller) pigment losses. As mentioned, the canvas is laid to Masonite.

Blacklight: A 1.5” H x 1” W touch-up in the upper right corner. Two quarter-sized touch-ups in the area surrounding the tip of the tallest tree. Other occasional flecks of touch-up, primarily in the lower half. Scattered bands of touch-up along the outer edges.

Frame: 27.75” H x 31.5” W x 3” D

Visual: Overall good appearance. Dust accumulation and grime. The dimensions of the canvas are approximately 1/16 (0.0625)” smaller than the support board on each side, with the artist’s pigment extending onto the support board along each edge. The tip of the upper right corner of the canvas, as well as its lower edge, at left, have begun to lift away from the support board very slightly. This is not visible, however, as framed.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 20.75” W x 0.75” D

Visual: Overall good appearance.

Blacklight: No evidenced of restoration.

Frame: 46” H x 56” W x 2.75” D

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 53.5” W x 2.25” D

Visual: Overall good condition. As mentioned, the artist’s signature at lower left is partially truncated due to trimming along the work’s lower edge. Two unobtrusive pinhead-sized pigment losses: one near the top of the extreme right edge, and the other in the same area of the extreme left edge. Scattered wear in places along the outermost edges, primarily concentrated at the edges of the support board.

Blacklight: No evidence of restoration.

Frame: 19” H x 21” W x 3.25” D

100

Visual: Overall good appearance. Slight varnish discoloration. The canvasboard is slightly convex.

Blacklight: No evidence of restoration.

Frame: 15” H x 18.75” W x 1.5” D

101

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 24” H x 28” W x 3.25” D

102

Visual: Overall good appearance. Varnish discoloration showing primarily in the white pigment of the mountains. A pinhead-sized reverse pressure mark in the center of the upper edge, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 38.75” H x 49” W x 2.25” D

103

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 29” H x 25.25” W x 3” D

104

Overall good appearance. The board evenly toned throughout, both recto and verso, likely due to age. Occasional surface skinning and remains of old masking tape and brown paper in places along the verso edges.

Framed under glass: 24” H x 20” W x 0.5” D

105

Overall good appearance. Pale light-staining, primarily noticeable in the clouds. A few pale, very unobtrusive flecks of pale foxing scattered occasionally in the sky, primarily visible in raking light. The upper left and lower right corners with artist’s pinholes. The verso sheet with minor surface soiling and tape/glue residue scattered along the outer edges. The sheet is loose, not matted.

Framed under glass: 17.25” H x 20.75” W x 1.5” D

106

Visual: Overall generally good appearance. Slight varnish discoloration and craquelure. Stretcher bar creases along the left, right, and upper edges, primarily visible in raking light. The paint has been applied thinly in some areas, revealing specks of the underlying canvas, all of which appears to be part of the artist’s working method. Scattered pinhead-sized flecks of white grime along the lower portion of the left edge. A pinhole with attendant minor pigment loss at the center of the upper edge. There are five large fabric patches on the verso, seemingly placed to reinforce thinner areas of the canvas, but those areas do not appear to be touched-in on the recto.

Blacklight: No evidence of restoration.

Frame: 46.5” H x 56.75” W x 2.75” D

107

Visual: Overall good appearance. Occasional scattered pigment losses that have been touchedup, the largest pea-sized at the peak of the mountain near the center of the upper edge. Slight varnish discoloration and scattered specks of old varnish or grime scattered in the outer edges of the upper half

Blacklight: Pea-sized (or smaller) touch-ups in the pigment losses mentioned above.

Frame: 45” H x 54.75” W x 2.75” D

108

Overall good appearance. Not examined out of the frame.

Framed under Plexiglas: 22” H x 27.5” W x 1.25” D

109

Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, very fine craquelure, varnish discoloration, and minor darkening to the pigment, all commensurate with age. A pinhead-sized area of stray white pigment to the right of the yellow house.

Blacklight: No evidence of restoration.

Frame: 12.125” H x 16” W x 2.5” D

110

Visual: Overall good appearance. A 1.25” vertical abrasion with scattered attendant pigment losses. A few unobtrusive, diagonal hairline scuffs or scratches, the longest 0.75”, along the center of the upper edge.

Blacklight: No evidence of restoration.

Frame: 32” H x 44” W x 2.5” D

111

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 19.125” H x 23” W x 2” D

112

Visual: Overall good appearance. Newer stretcher bar keys.

Blacklight: No evidence of restoration.

Frame: 25.75” H x 35.75” W x 2.5” D

113

Visual: Overall good appearance. A few artist pinholes in each of the upper corners, some with attendant pigment loss.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 26.5” W x 1.75” D

114

Visual: Overall good appearance. Dust accumulation, varnish discoloration, and slight grime throughout. A very delicate, possible 0.125” horizontal surface scratch just above the foothills at center.

Blacklight: Certain pigments fluoresce in the sky and distant mountains, however, these appear to be in the hand of the artist.

Frame: 19.25” H x 22.125” W x 1.5” D

115

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 17.75” H x 21.75” W x 2.5” D

116

Visual: Overall generally good appearance. Minor varnish discoloration. A 0.125” H x 0.5” W area of pigment loss in one of the desert bushes in the lower right quadrant. A few areas of very fine paint shrinkage scattered in the darker pigments in the lower half of the work. A pinhole in the extreme upper edge, at right. The canvas is slightly rippled along the upper half of the work.

Blacklight: No evidence of restoration.

Frame: 29.375” H x 41.375” W x 1.5” D

117

Visual: Overall good appearance. Slight varnish discoloration visible in the white pigments of the upper half. Minor frame abrasion along the upper edge and upper left corner.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 36.75” W x 2.75” D

118

Visual: Overall good appearance. A few flecks of unobtrusive pigment loss scattered occasionally in the outer edges. The canvas is slightly rippled.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 41.5” W x 1.625” D

119

Visual: Overall good appearance. A few approximately 0.125” Dia. holes drilled into the Masonite in places along the outer edges, some with attendant pigment loss surrounding the holes.

Blacklight: No evidence of restoration.

Frame: 31” H x 27” W x 3” D

120

Visual: Overall good appearance. Stretcher bar creases along each edge, primarily visible in raking light. A 1” vertical abrasion with attendant pigment loss, possibly due to the frame, along the upper right corner edge. The stretcher with newer keys.

Blacklight: A few minor specks of touch-up in the sky of the upper right quadrant.

Frame: 27.75” H x 33.75” W x 3.5” D

121

Visual: Overall good appearance. Craquelure throughout, mostly stable, with a few areas of unstable craquelure, and an occasional attendant unobtrusive pinhead-sized (or smaller) pigment loss. Scattered pigment losses along the extreme outer edges, the largest pea-sized in the right portion of the lower edge.

Blacklight: A pea-sized touch-up in the second palm tree to the left of center of the work.

Frame: 30.75” H x 36.75” W x 2.25” D

122

Visual: Overall good appearance. Scattered areas of fine craquelure. A rice-sized abrasion closely surrounded by scattered minor pigment losses in the trees of the upper right quadrant. Scattered peasized (or smaller) pigment losses mostly affecting the topmost layer of pigment, primarily along the central portions of the upper and right extreme edges. A thin 0.75” vertical scuff along the lower portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 36.75” W x 2.5” D

123

Visual: Overall good appearance. Fine scattered craquelure and stretcher bar creases on each side. Occasional specks of grime scattered in places along the lower edge. Newer stretcher bars and keys.

Blacklight: A few specks of touch-up in the sky near the upper right corner.

Frame: 24.5” H x 30.5” W x 2.25” D

124

Visual: Overall good appearance. Very slight varnish discoloration. As mentioned, the canvas is laid to Masonite.

Blacklight: No evidence of restoration.

Frame: 15.375” H x 19.25” W x 2.25” D

125

Visual: Overall good appearance.

Blacklight: Two 1” bands of touch-up along the lower right corner edges and a few pea-sized touch-ups scattered along the extreme upper edge.

Frame: 17” H x 19.25” W x 3.125’’ D

126

Visual: Overall good appearance. Slight varnish discoloration, scattered craquelure, and specks of old varnish or grime scattered primarily in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 44.5” H x 54.75” W x 3” D

127

Visual: Overall generally good appearance. A 0.5” horizontal puncture near the upper edge of the mountain at the far right. Occasional scattered craquelure, dust accumulation and grime concentrated primarily near the outer edges.

Blacklight: No evidence of restoration.

Frame: 45” H x 55” W x 2.25” D

128

Visual: Overall good appearance. A few faint, unobtrusive, thin surface scuffs in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 19.75” H x 23.75” W x 2.5” D

129

Visual: Overall good appearance. Dust accumulation, a few specks of grime, and very fine, small, occasional areas of craquelure, all commensurate with age.

Blacklight: A few possible areas of small, old touchups scattered in the sky of the upper right quadrant.

Frame: 19.25” H x 23.25” W x 4” D

130

Visual: Overall good appearance. An occasional speck of surface grime, pinhead-sized (or smaller), primarily in the upper right quadrant. The board is very slightly convex.

Blacklight: A thin 2” H vertical band of touch-up in the center of the lower edge, and other pea-sized or smaller flecks of touch-up scattered primarily in the upper half.

Frame: 20.5” H x 26.5” W x 2.5” D

131

Visual: Overall good appearance. Craquelure throughout.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 34.75” W x 2.25” D

132

Visual: Overall generally good appearance. Varnish discoloration, dust accumulation, grime, and occasional scattered craquelure. An approximately dime-sized, stabilized, pigment loss in the sky at center, exposing beige underpaint. A narrow scratch extending diagonally 2.75” into the composition from the center of the extreme left edge, and another, 0.75” long, extending from the center of the extreme right edge. Narrow, irregular, branching lines of pigment loss exposing the underlying canvas in numerous places near the upper and lower extreme edges, as if formerly rolled or stretched to that point along those two edges. A nickel-sized stain in the extreme lower left corner.. Old tack holes (two near the upper left corner and two near the center of the right edge) and scattered frame abrasion along all four sides.

Blacklight: No evidence of restoration.

Frame: 38” H x 49” W x 1.75” D

133

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

134

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. With a pea-sized abrasion to figure’s back. Rubbed wear to figure’s head and shoulders. Chips to the plinth along front edge and each corner.

135

Visual: Overall good appearance. Occasional old frame abrasions or general wear in places along the extreme edges and corners. A few areas of delicate crazing, scattered primarily in the lower half.

Blacklight: The extreme lower left and right corners each with an approximately nickel-sized touch-up. A few rice-sized touch-ups confined to the edges of the upper left corner.

Framed: 23” H x 19” W x 2.75” D

136

Visual: Overall good appearance. Stretcher bar creases along each edge, primarily visible in raking light. A pinpoint-sized pigment loss in the background of the upper left quadrant, to the left of the top-most white flower.

Blacklight: A 0.75” vertical band of touch-up in the shadow at the center of the lower half. A couple of pinhead-sized touch-ups in the upper portion of the right edge, and the lower portion of the left edge. An occasional speck fluoresces under blacklight, possibly due to restoration.

Frame: 18” H x 21.5” W x 2.25” D

137

Overall good appearance. Several very small, delicate, surface abrasions (a few in the leaves with attendant pinpoint-sized pigment losses) visible primarily in the right half of the work in raking light. Dime-sized surface skinning at the tips of three of the paperboard’s four corners. Short ruled lines at the outermost corners, possibly by the artist, but more likely by the mat maker/framer. Backboard staining, surface skinning in places, and remains of old tape, all verso.

Framed under glass: 15.75” H x 29” W x 1.25” D

138

Overall good appearance. Pale light-staining, with an attendant very delicate line of slightly darker staining marking the window opening of a previous overmat. A few very unobtrusive flecks of foxing scattered in the right half of the work. The verso with remnants of old glue staining, brown paper tape along the edges, and two white rectangular pieces of hinging tape on the upper edge. The sheet is loose, not matted.

Framed under glass: 15.875” H x 20” W x 1.75” D

139

Visual: Overall good appearance. A few minor imperfections in the surface of the Masonite.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 22.25” W x 2” D

140

Visual: Overall good appearance. Fine craquelure and varnish discoloration. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 27” H x 33.5” W x 2.5” D

141

Visual: Overall generally good appearance. Very minor scattered craquelure, with an associated speck of loss to the right of center. Areas of the board are visible, intrinsic to the artist’s technique.

Blacklight: A few scattered areas of touch-up along the lower portion of the right edge, the longest 3” H, and a few more scattered touch-ups in the lower center oft the image, 0.5” H x 1” W (or smaller.) There is fluorescence along the edges, possibly in the artist’s hand or older restoration.

Frame: 37.5” H x 45” W x 4” D

142

Visual: Overall good appearance. Minor dust accumulation and surface grime.

Blacklight: Occasional specks of touch-up scattered in the lower half and near the upper right corner.

Frame: 7.25” H x 10.25” W x 1.75” D

143

Visual: Overall good appearance. Very fine, stable paint shrinkage scattered throughout. An unobtrusive pinpoint-sized pressure mark in the sky in the upper right quadrant. The work is hinged to the overmat with two pieces of hinging tape from the verso of the upper edge.

Blacklight: No evidence of restoration.

Framed without glazing: 10.625” H x 13.125” W x 1.125” D

144

Overall good appearance. The colors fresh. As mentioned, the sheet is laid to artist’s board.

Framed under glass: 13” H x 27.5” W x 2.25” D

145

Overall generally good appearance. Pale foxing throughout. Slight wear along the edges and corners, with a few parallel indentations in the paper and support board extending diagonally 1.5” (or less) into the image from the upper edge, and a few more, smaller, scattered in places primarily along the outer edges. A pea-sized abrasion at the center of the upper edge.

Framed under glass: 23.75” H x 29.75” W x 2.25” D

146

Overall good appearance. A thin 3” diagonal surface scratch near the upper left corner, primarily visible in raking light. The center of the work is slightly convex, possibly due to the paperboard no longer being fully mounted to the foamcore backing. The extreme edges of the paperboard are trimmed slightly unevenly, possibly in the hand of the artist. As mentioned, the paperboard is mounted to a foamcore backing.

Framed without glazing: 28” H x 34” W x 2.125” D

147

Overall generally good appearance. With margins. Pale light-staining. Occasional pale specks of foxing scattered in the image and margins. A 0.5” H x 3” W tear with an attendant crease at the center of the lower margin and a 1” vertical tear at the center of the upper margin, both not affecting the image. A 5” H x 0.5” W area of dark staining in the upper portion of the right margin edge. Other smaller areas of pale, occasional staining, and minor surface soiling, all in the margins and not affecting the image. A small paper loss at the tip of the upper right margin corner. A pinhead-sized hole at the center of the left margin and a few pinholes in the lower margin, at left. As mentioned, the sheet is laid to board. Additionally, the work is taped to the overmat with long pieces of white tape from the verso of the board edges.

Framed under glass: 28.25” H x 35.25” W x 1.5” D

148

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 26.25” H x 31.25” W x 2” D

149

Visual: Overall generally good appearance. Varnish discoloration, dust accumulation, and occasional craquelure and flecks of grime. A 1.25” vertical surface abrasion with partial pigment loss through the artist’s middle initial. Stretcher bar creases slowing slightly along all sides, but primarily along the upper edge. Frame abrasion in places along the outermost edges.

Blacklight: No evidence of restoration.

Frame: 28.5” H x 33.5” W x 1.5” D

150

Visual: Scattered areas of craquelure, some of which are unstable and with areas of pigment losses, the largest measuring 2” H x 0.75” W on the side of the house in the upper right quadrant, and others in (but not limited to) the sky in the upper center and the trees in the left half. The canvasboard is slightly concave.

Blacklight: No evidence of restoration.

Frame: 26” H x 30” W x 2.25” D

151

Visual: Overall good appearance. Stretcher bar creases with scattered stable craquelure showing in raking in light, primarily along the upper, left, and right edges.

Blacklight: A small, concentrated group of touch-ups between the two clumps of pines in the right half of the work, the largest of which is approximately 1” H x 0.75” W, attendant with the repair of an old vertical tear. An approximately 0.5” H x 1.75” W touch-up in the snowy foreground at the center of the lower edge. A few other touch-ups attendant with frame abrasion, primarily in places along the upper edge.

Frame: 11.5” H x 15.5” W x 1.5” D

152

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 13.25” H x 16.25” W x 1.75” D

153

Visual: Overall good appearance. Occasional craquelure in the upper left quadrant, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 30” H x 26” W x 2.5” D

154

Visual: Overall good appearance. Traces of adhesive and paper remnants from a former sticker in the lower right corner.

Blacklight: No evidence of restoration.

Framed under glass: 29.5” H x 35.5” W x 2.5” D

155

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 30.25” H x 14.25” W x 1.75” D

156

Visual: Overall good appearance. A pinhead-sized pigment loss in the tree branches near the right edge.

Blacklight: No evidence of restoration. Some scattered small specks of grime in the lower left quadrant showing only under blacklight.

Frame: 24.5” H x 30.375” W x 2” D

157

Visual: Overall good appearance. Very slight varnish discoloration.

Blacklight: No evidence of restoration.

Frame: 28” H x 32” W x 3” D

158

Overall good appearance. A few traces of very faint, unobtrusive specks of stray white pigment, presumably in the hand of the artist, and primarily visible in raking light. The sheet is sandwichmounted between the matboards.

Framed under glass: 28.75” H x 36.875” W x 1.75” D

159

Visual: Overall good appearance.

Blacklight: Touch-ups along each of the four corner edges. A 8” band of scattered touch-up along the upper edge.

Frame: 20.25” H x 24” W x 3” D

160

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 19” H x 22.75” W x 2.25” D

161

Visual: Overall good appearance. Scattered specks of grime primarily in the sky. A pea-sized pigment loss in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 20.75” W x 1.5” D

162

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 17” H x 21” W x 2.25” D

163

Visual of each: Overall good appearance. Varnish discoloration and grime. At least one tackhole at the tip of each corner. Each work with an attendant ricesized lack of pigment at the tips of a few of those tips as part of the artist’s working process. “...Boarding House Shaft House” with one additional tack hold near the center of the extreme right edge. Each canvas is unstretched, loose, and not matted.

Blacklight of each: No evidence of restoration.

Each unframed

164

Each overall good appearance. The paperboard toned and with slight surface soiling commensurate with age. “Cabin Back...” with a foxmark in the sky at upper left.

Each unframed

165

Visual of each: Overall good appearance. Occasional specks of grime and minor varnish discoloration. “Blue & Gold - Los Gatos,” with a rice-sized area of pigment loss in the sky, near the upper left corner. “Spring - Los Gatos,” with the upper edge trimmed slightly unevenly, presumably in the hand of the artist. Each canvas with artist’s pinholes at the four corners. Each canvas is unstretched, loose, and not matted.

Blacklight of each: No evidence of restoration.

Each unframed

166

Visual of each: Overall good appearance. Varnish discoloration and slight grime. A pinhole at the tip of each corner. Each canvas is unstretched, loose, and not matted.

Blacklight of each: No evidence of restoration.

Each unframed

167

Visual: Overall good appearance. A 0.5” H x 0.75” W area of old varnish or grime along the edge of one of the trees in the upper left quadrant. An occasional, unobtrusive speck of grime or faint scuff mark, the largest approximately 2”, primarily in the sky.

Blacklight: No evidence of restoration.

Frame: 41” H x 52” W x 1.75” D

168

Visual: Overall good appearance. A few specks of grime scattered occasionally in the lower half. A pinhead-sized abrasion with attendant pigment loss at the base of the tree in the lower left quadrant, and another area near the upper left corner.

Blacklight: Small, scattered bands of touch-up along the edges of the upper left quadrant, with additional flecks of touch-up in the sky within the same area.

Frame: 29.125” H x 35.125” W x 2.75” D

169

Visual: Overall good appearance. Dust accumulation, specks of grime, minor varnish discoloration, and very fine scattered paint shrinkage, all commensurate with age. A pinpoint-sized area of pigment loss near the lower portion of the left edge, and a fleck of pigment loss at the top of the tree near the upper edge, right of center. Minor surface wear to the blue pigment in the lower left corner.

Blacklight: A scattered 0.5” H x 3” W band of touchup along the upper edge, at left. A few pea-sized touch-ups scattered at the top of the tree in the upper left quadrant, and a few other similar-sized touch-ups scattered in the upper right quadrant.

Frame: 25.625” H x 31.625” W x 1.25” D

170

Visual: Overall good appearance. A cluster of chalklike specks of surface residue scattered across the rock formation below the bathers in the lower right quadrant. A rice-sized minor surface scratch in a rock formation, near the lower edge, at left.

Blacklight: Occasional old pea-sized (or smaller) touch-ups scattered throughout.

Frame: 33.75” H x 38.75” W x 2.5” D

171

Visual: Overall good appearance. A few occasional specks of grime. A pea-sized cluster of two very fine, scattered, unobtrusive surface scratches in the blue pigment in the sea of the upper left quadrant. The smallest fleck of unobtrusive pigment loss in the light blue pigment near the upper portion of the right edge.

Blacklight: No evidence of restoration.

Frame: 17.125” H x 21.25” W x 1.5” D

172

Visual: Overall good appearance. Specks of grime scattered throughout. A thin 1” diagonal surface scuff mark in the sky, near the upper center. Frame abrasion primarily along the center and lower portion of the right edge.

Blacklight: Touch-up in the surface scuff mark mentioned above.

Frame: 22” H x 26” W x 2” D

173

Visual: Overall good appearance. Slight varnish discoloration and scattered, fine craquelure, primarily in the upper half. Stretcher bar creases along the upper, left, and right edges. The canvas is very slightly puckered in the upper right quadrant.

Blacklight: A 0.75” H x 3.5” W touch-up in the sky of the upper right quadrant, near the horizon line.Two areas of touch-up in each of the upper corners, the largest 2” H x 2.5” W in the upper left corner.

Frame: 16.75” H x 21.25” W x 2.25” D

174

Visual: Overall good appearance. Slight varnish discoloration. Frame abrasion showing along the upper and right edges. Soft stretcher bar creases along the left, right, and upper edges. A dime-sized pressure mark in the lower left quadrant, primarily visible in raking light, and a very soft, pea-sized pressure mark in the upper portion of the left edge next to the stretcher bar crease with very minor attendant pigment loss scattered along a 0.5” H area of the crease.

Blacklight: No evidence of restoration.

Frame: 27.75” H x 39.75” W x 3.25” D

175

Visual: Overall good appearance. A pinhead-sized speck of grime in the sky near the center of the right half, to the right of the rightmost sailboat.

Blacklight: A few rice-sized or smaller flecks of touchup scattered primarily in the left half, mostly in the sky, but one in the water as well.

Frame: 24.5” H x 30.5” W x 3.25” D

176

Visual: Overall generally good appearance. Varnish discoloration and grime. Delicate craquelure and/ or crazing with occasional, attendant, rice-sized (or smaller) losses concentrated primarily in the darkblue pigments of the water. Two of these tiny losses, both approximately pinhead-size, affecting the “Gl” of the artist’s last name.

Blacklight: Some scattered touch-ups in the water, the largest being a scattered area, approximately 0.75” x 1” W, at lower center.

Frame: 18.25” H x 21.75” W x 1.75” D

177

Each overall good appearance. “Crash Boats - Army Rescue Craft in Action” with tape remnants on the verso edges. The work is tipped to the back mat from the verso of the upper corners. “Vosper P.T.s in Action” is sandwiched between two mats.

Each framed under glass: Largest: 15.375” H x 17” W x 2” D

178

Visual: Overall good appearance. Scattered craquelure, primarily along the upper edge. A 1.5” vertical surface scuff along the upper portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 31” H x 36” W x 2.75” D

179

Visual: Overall good appearance. Occasional flecks of grime.

Blacklight: No evidence of restoration.

Frame: 38.875” H x 39” W x 3.25” D

180

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 51.5” H x 63.5” W x 3” D

181

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 35.25” W x 2.5” D

182

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 31.25” H x 27.25” W x 2.25” D

183

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 40” H x 46” W x 2.5” D

184

Visual: Overall good appearance.

Blacklight: Two approximately 0.75” H x 0.25” W areas of touch-up. One to the right of center at the upper edge, and the other near the upper portion of the left edge.

Frame: 27” H x 23.25” W x 2.5” D

185

Overall generally good appearance. Pale light- and time staining, and pale scattered foxmarks. Handling marks and soft cockling throughout. A 1” diagonal tear extending into the figure’s head from the center of the upper edge, as well as a 0.125” edge tear and a few pinhead-sized losses and surface skinning in the left portion of the lower edge. The black ink from the estate stamp showing through from the verso. A rice-sized fleck of surface grime in the lower half of the left edge. A soft 4.5” diagonal crease across the lower left corner. The sheet is attached to the overmat with a long piece of hinging tape from the verso of the upper edge, and with two clear archival corners in the lower corners.

186

Overall good appearance. Not examined out of the frame.

Framed under glass: 19.5” H x 17.25” W x 1” D

187

Overall good appearance. A delicate tear or surface scratch extending vertically 0.25” from the lower edge, at left, not affecting the signature, date, or inscription. Not examined out of the frame.

Framed under glass: 16.75” H x 19” W x 1” D

188

Overall good appearance. A soft handling mark in the blank at lower left, visible only in raking light. The extreme tip of the lower left sheet corner either folded under or lost. The sheet is framed floating, tipped to the back mat in places from the verso of the upper sheet edge.

Framed under glass: 17” H x 15.25” W x 1” D

189

Visual: Overall good appearance. A few very unobtrusive flecks of pigment loss, revealing the underpaint, and scattered occasionally.

Blacklight: No evidence of restoration.

Frame: 20.125” H x 16.125” W x 1.625” D

190

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 38.25” H x 31.75” W x 1.5” D

191

Overall good appearance. Not examined out of the frame.

Framed under glass: 28.25” H x 21.75” W x 1” D

192

Visual: Overall good appearance. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 41.5” H x 49.5” W x 2.5” D

193

Visual: Overall good appearance. Fine craquelure scattered throughout. Occasional areas of unstable pigment with attendant specks of pigment loss, including a few scattered in the figure and the background. A touched-in 2” scattered scratch just below the figure’s knees. Minor frame abrasion with attendant pigment loss along the extreme right edge, primarily at center. A pea-sized area of grime near the lower left corner.

Blacklight: A 1” horizontal area of touch-up in the above-mentioned scratch.

Frame: 31.25” H x 36.25” W x 3” D

194

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 22.75” W x 3” D

195

Visual: Overall good appearance. Minor craquelure with an attendant pinhead-sized loss in the white pigment of the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 16.25” W x 2.25” D

196

Visual: Overall generally good appearance. Scattered areas of craquelure, primarily along the upper edge and the lower left quadrant. A few rice-sized (or smaller) abrasions with attendant pigment loss to the left of center in the table and on the marble relief in the upper right quadrant. Pinhead-sized specks of grime or old varnish scattered throughout. A few natural imperfections in the surface of the Masonite.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 32.5” W x 2.25” D

197

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 31.75” W x 3” D

198

Overall generally good appearance. The colors fresh. Deckled edges along three edges, probably slightly trimmed along the upper edge. Small pieces of clear tape in places at the center of the vertical edges and across the tips of the lower sheet corners. Masking tape residue across the tips of the upper sheet corners. An artist pinhole in each of the sheet corners. Remains of old glue or tape residue along all of the sheet edges, verso. The sheet is loose, currently secured to the back mat with four clear archival corners.

Framed under glass: 23.25” H x 30.75” W x 2.5” D

199

Overall good appearance. A couple of pale foxmarks in the lower left quadrant, above the signature. Not examined out of the frame.

Framed under glass: 31.5” H x 39.25” W x 1.75” D

200

Overall good appearance. An occasional pale scattered foxmark. Not examined out of the frame.

Framed under glass: 32.75” H x 40.75” W x 1.25” D

201

Visual: Overall good appearance. A few rice-sized (or smaller) pigment losses scattered primarily in the body of the horse.

Blacklight: A 0.5” H x 0.75” W touch-up in the tan portion of the ground in the lower left quadrant. Three rice-sized (or smaller) touch-ups in the body of the horse attendant with some of the pigment losses mentioned above.

Frame: 34.75” H x 40” W x 2.5” D

202

Visual: Overall generally good appearance. Stretcher bar creases along each side. Scattered areas of fine, stable craquelure. Specks of grime and slight rubbing to the pigment in areas. The upper left quadrant of the canvas is slightly loose from the stretcher.

Blacklight: No evidence of restoration.

Frame: 16.25” H x 21.25” W x 2.5” D

203

Visual: Overall good appearance. Specks of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 16.5” W x 1” D

204

Visual: Overall good appearance. A few areas of fine craquelure occasionally scattered. A slightly larger than pea-sized area of pigment loss and a pinheadsized area of unstable pigment near the center of the right edge. Minor frame abrasion scattered in places along the extreme edges.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 43.625” W x 2.5” D

205

Visual: Overall good appearance. Slight varnish discoloration. Fine, scattered craquelure, primarily along the upper edge. Minor specks of grime scattered primarily in the lower half.

Blacklight: No evidence of restoration.

Frame: 38.75” H x 49” W x 3” D

206

Visual: Overall generally good appearance. Fine scattered craquelure. A pressure mark and two reverse pressure marks, each approximately 2.5” H x 2.5” W in the upper half.

Blacklight: No evidence of restoration.

Frame: 31” H x 41” W x 3.25” D

207

Visual: Overall good appearance.

Blacklight: A few areas of touch-up scattered in the upper half, the largest 2” H x 2.75” W in the splashing wave near the center.

Frame: 27” H x 37” W x 2.5” D

208

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 33” H x 57” W x 2” D

209

Visual: Overall good appearance. A soft stretcher bar crease along the upper portion of the left edge. A few areas of fine craquelure scattered occasionally, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 35.75” H x 47.625” W x 4.25” D

210

Visual: Overall good appearance. Soft stretcher bar creases along each side. Very fine scattered areas of craquelure, primarily visible in raking light. A thin, unobtrusive 0.25” horizontal black scuff mark in the upper portion of the extreme right edge.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 28.75” W x 2.5” D

211

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 52.25” H x 68.25” W x 2” D

212

Visual: Overall good appearance. Very slight grime and occasional hairline surface scuffs visible only in raking light. An unobtrusive, 0.125” vertical hairline surface scratch near the lower left corner, not affecting the date.

Blacklight: No evidence of restoration.

Framed: 18” H x 22.5” W x 1.5” D

213

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 41.25” W x 3.25” D

214

Overall good appearance. A few flattened creases, the longest measuring 4”, extending in from each of the outer edges, attendant with the mounting of the sheet to the board. As mentioned, the sheet is laid to board.

Framed without glazing: 21.75” H x 27.75” W x 2.25” D

215

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

216

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

217

Visual: Overall good appearance. Slight varnish discoloration. Scattered fine craquelure.

Blacklight: A thin 1.5” horizontal band of touch-up in the foreground of the lower left quadrant. A few ricesized (or smaller) flecks of touch-up in the tree of the upper left quadrant.

Frame: 28.75” H x 34.75” W x 3” D

218

Visual: Overall good appearance. Slight varnish discoloration and two pinhead-sized specks of grime in the left portion of the upper edge.

Blacklight: No evidence of restoration.

Frame: 22.75” H x 26.25” W x 1.5” D

219

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

220

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

221

Visual: Overall good appearance. Scattered pale foxing on the verso.

Blacklight: A few 0.5” H x 1” W (or smaller) touchups in the two menu boards on the right and left sides. A few scattered flecks of touch-ups, primarily in the figures, the light of the overhead lamp, and the center of the lower edge.

Frame: 14.25” H x 26.25” W x 1.75” D

222

The LACMA sale catalogue with creasing and small tears to wrappers, bumping to spine and corners commensurate with age, as well as the interior pages with some inked marginalia and notations of prices realized. Each other with minor shelf wear and varying degrees of mostly minor handling wear.

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Director, Fine Art

President, Auctioneer

Associate Specialist, Fine Art

Department Administrator, Fine Art

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Vice President, Specialist

Director, Furniture and Decorative Arts

Senior Specialist, Furniture & Decorative Art

Post-War & Contemporary Design Specialist

Department Administrator, Furniture & Decorative Arts /Jewelry

Cataloguer, Furniture & Decorative Arts

Cataloguer, Silver, Western and American Indian

Director, Jewelry & Watches

Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Department Administrator, Trusts and Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

Manager, PR/Social Media

Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

FOUNDERS

Founder

Co-Founder

Katherine Halligan, AAA

Jeffrey J. Moran

Bobby Cullen

Jacob Baer

Anne Spink

Madison Ari

Lori Kassabian

Maranda Moran

Jen Kurtz

Angela Past

Matthew Grayson

Jessica Crosbie

Grant Stevens

Sally Andrew

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Mario Esquivel

Ella Fountain

Jamie Holthauser

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Wyatt Beserra

Chloe Daniels

John H. Moran (1942-2017)

Madeleine Moran

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 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. 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

Download Moran Mobile today at the App Store and Google Play!

These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT

Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION

(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. 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 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 in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.

(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates 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 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 backward at their 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. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. 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 within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(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 lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran 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 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 price paid for the lot.

(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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 made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) 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 for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.