Art + Design — September 29, 2026 | John Moran Auctioneers

Art + Design

Tuesday, September 29, 2026 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com

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Art + Design September 29, 2026 | 10am PST Sale 351 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

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Sunday, September 27th: 12-4pm Monday, September 28th: 12-4pm Tuesday, September 29th: Doors open 9am

Meet the Team Robert Cullen Co-Head of Sale Associate Specialist, Fine Art b.cullen@johnmoran.com

Matthew Grayson Co-Head of Sale Specialist, Post-War and Contemporary Design m.grayson@johnmoran.com

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

Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

2001

Corita (Sister Mary) Kent

(1918-1986) “Here, where an immense country lies about me,” 1973 Screenprint in colors on wove paper From the edition of unknown size Signed in pencil lower right: Corita; inscribed in pencil “73-11” verso Image/Sheet: 22 3/8 x 34 3/8 in. $600-800 Notes: The number 73-11 in pencil on the verso of this lot corresponds with the same archive number found on the Corita Kent website.

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2002

Corita (Sister Mary) Kent

(1918-1986) “King’s Dream,” one plate from “A Set Of Heroes And Sheroes,” 1968/69 Screenprint in colors on paper From the edition of unknown size Signed in ink lower right: Corita; inscribed “68-69-70” in pencil in the lower margin, at left Image: 22 3/8 x 11 3/4 in.; Sheet: 23 1/8 x 12 1/8 in. $600-800 Provenance: Corita Art Center, Los Angeles, CA Private collection, Pacific Palisades, from the above Notes: The number 69-70 in pencil on the verso of this lot corresponds with the same archive number found on the Corita Kent website.

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2003

Corita (Sister Mary) Kent

(1918-1986) Eleven plates from the “Moments” series, 1977 The set of eleven screenprints in colors on wove paper Each from the edition of 200 Each signed and inscribed “ed 200” in ink somewhere within the image or in the blank of the image: Corita; each with the corresponding catalog number in pencil, 77-1 through 77-11, verso; lacking the signed introductory page and the accompanying book of the same images shown in a smaller scale Image/Sheet of each: 16 1/8 x 11 1/2 in. $2,000-4,000 Notes: The numbers 77-1 through 77-11 in pencil on the verso of each work correspond with the same archive numbers found on the Corita Kent website.

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2004

Corita (Sister Mary) Kent

(1918-1986) “Why do you not think of him as the coming one...,” 1973 Screenprint in colors on wove paper From the edition of unknown size Signed in pencil lower right: Corita; inscribed in pencil “73-8” verso Image/Sheet: 22 1/4 x 34 1/2 in. $600-800 Notes: The number 73-8 in pencil on the verso of this lot corresponds with the archive number found on the Corita Kent website.

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2005

Corita (Sister Mary) Kent

(1918-1986) “And you should not let yourself be confused in your solitude...,” 1973 Screenprint in colors on wove paper From the edition of unknown size Signed in pencil lower right: Corita; inscribed in pencil “73-10” verso Image/Sheet: 22 3/8 x 34 3/8 in. $600-800 Notes: The number 73-10 in pencil on the verso of this lot correspond with the same archive number found on the Corita Kent website.

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2006

Corita (Sister Mary) Kent

(1918-1986) “Flowers Grow,” one plate from the “Moments” series, 1977 Screenprint in colors on wove paper From the second edition of 200 Signed and numbered in pencil lower right and lower left, respectively: Corita / ed II 200; inscribed in pencil “77-2,” verso Image/Sheet: 16 1/4 x 11 5/8 in. $200-300 Notes: The number 77-2 in pencil on the verso of this lot corresponds with the same archive number found on the Corita Kent website.

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2007

Charles and Ray Eames

(1907-1978 and 1912-1988) A lounge chair and ottoman for Herman Miller, 1978 Designed 1956 The chair with molded plywood and powder-coated and brushed aluminum frame, rubber shock mounts, and brown leather tufted upholstery, en suite with matching ottoman Each with Herman Miller tag and dated paper upholstery label applied to underside 2 pieces Chair height 30 1/4 in., width 33 1/4 in., depth 36 1/4 in.; ottoman height 17 1/2 in., width 26 in., depth 23 in. $2,000-4,000

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Isamu Noguchi (1904-1988)

Isamu Noguchi was a Japanese-American ar and industrial design. One of his standout ac both functional and beautifully sculptural. Hi delicate artistic form with practical purpose.

Noguchi began designing lamps in the 1950 pieces. His designs were marked by clean lin created during a visit to Japan in the mid-19 these lamps were inspired by traditional Jap design earned him worldwide recognition, a blurred the lines between functional art and

rtist and designer known for his wide-ranging talent in sculpture, architecture, chievements was in lighting design, creating floor and table lamps that were is lamps often combined materials like paper, wood, and metal, merging a

0s, working with the Herman Miller furniture company on a series of lighting nes, organic shapes, and innovative materials. The “Akari” light sculptures, 950s, are perhaps his most famous. Made from handmade paper and bamboo, panese lanterns but given a modern twist. Noguchi’s approach to light and and his lamps have since become icons of mid-century modern design. His work sculpture, influencing the visual language of the 20th century.

2008

Isamu Noguchi

(1904-1988) A Model UF5/33NW floor lamp, early 21st century Designed 1951 Manufactured in Japan by Ozeki & Co., Ltd., the single light lamp featuring a washi paper shade with bamboo ribbing, mounted to an enameled metal tripod frame, electrified Unmarked Height 77 in., diameter 21 in. $5,000-7,000 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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2009

Frank Gehry

(1929-2025) A pair of ‘Hat Trick’ chairs for Knoll, 1999 Conceived 1990 Constructed from interwoven ribbon-form wood and glue Each burn marked with date: Frank Gehry [script] / KNOLL / MADE IN USA / 01/28/99 2 pieces Height of each 33 3/4 in., width 23 1/4 in., depth 23 in. $700-900 Provenance: Estate, Pasadena, CA By family descent

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2010

Adrian Pearsall

(1925-2011) A ‘705-CW’ lounge chair for Craft Associates, 1960s Designed 1961 With sloping back upholstered in a tufted black boucle fabric, supported on modified V-form supports Unmarked Height 30 3/4 in., width 26 1/4 in., depth 37 1/2 in. $700-900

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2011

Eero Saarinen

(1910-1961) A ‘Tulip’ side table for Knoll Associates, late 20th century The circular wood top raised on an enameled steel base With applied factory label Height 20 1/2 in., diameter 16 in. $400-600

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2012

Tue Poulsen

(b. 1939) A tile-top square coffee table, late 20th century The glazed stoneware top set in a wood frame Marked to applied metal label: ILLUMS BOLIGHUS / KOBENHAVN Height 16 in., width 27 1/4 in., depth 27 1/4 in. $500-700

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2013

Fletcher Benton

(1931-2019) Construction, 1994 Steel Etched with date and signature twice, once in script: FLETCHER BENTON / Fletcher Benton Height of central element 16 1/2 in., width 14 3/8 in.; height framed 24 1/2 in., width 24 1/2 in., depth 5 1/2 in. $1,500-2,500

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2014

Betty Younger

(1932-2019) “Ibis” High-grade stainless steel, enamel, and gold-toned finish, articulated, on enameled metal plinth Titled and attributed to applied metal plaque Sculpture height 45 in., width 28 5/8 in., depth 6 in.; plinth height 32 3/4 in., width 28 1/2 in., depth 14 in. $2,000-3,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Studio,” January 25, 2021, Lot 2171 Private collection, acquired from the above

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2015

Betty Younger

(1932-2019) Untitled High-grade stainless and painted cold steel Marked to applied brass element: BY Height 27 1/2 in., width 20 in., depth 12 1/4 in. $1,000-1,500

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2016

Betty Younger

(1932-2019) Untitled High-grade stainless steel and brass on enameled metal cylinder plinth Unmarked Height 27 1/2 in., width 18 1/4 in., depth 15 1/4 in.; height of base 18 3/8 in., diameter 19 1/8 in. $1,000-1,500

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2017

Salvador Dalí

(1904-1989) “Vénus à la tête de rose,” 1981-82 Gilt-bronze and acrylic on gold-toned metal base with illumination, electrified Edition: 230/350 (aside from the E.A. edition of 35) Impressed under feet and to mounting brackets with edition and: © DALI 1981; impressed signature to upper left shoulder Height overall 17 1/8 in., width 9 3/4 in., depth 7 1/8 in.; height of figure 14 1/2 in. $2,000-3,000 Provenance: Julian Van Hauseman Private collection, Pacific Palisades, gifted from the above Literature: Robert and Nicolas Descharnes, “Dali: Le Dur et Le Mou. Sculptures & Objets” (Eccart, 2007), p. 259, another example illustrated

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2018

Leonardo Nierman

(1932-2023) Eagle Polished bronze on wood plinth Edition: VI/VI Signed and numbered in the casting: Nierman Height of bronze 19 1/2 in., width 9 3/4 in., depth 12 in.; height overall 23 1/2 in., width 10 1/2 in., depth 12 in. $800-1,200 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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2019

Lloyd Hamrol

(b. 1937) “Baby Uptown Rocker” maquette, 1985 Enameled metal on lacquered wood base Edition: 15/50 Etched signature and edition to metal plaque bearing date and title: Lloyd Hamrol Height 10 in., width 31 in., depth 6 1/8 in. $300-500

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2020

Polia & William Pillin

(1909-1992 & 1910-1985) Mid-20th century Three works: A Polia and William Pillin metallic glazed ceramic compote Incised to underside of foot: W + P / Pillin Height 3 1/8 in., diameter 7 7/8 in.

A Polia Pillin glazed ceramic cup Depicting a woman and large bird Signed to underside: Pillin Height 3 1/4 in., diameter 2 3/4 in.

A Polia Pillin glazed ceramic vase Depicting three women and a horse Signed to underside: Pillin Height 6 3/8 in., diameter 5 1/4 in.

3 pieces $400-600

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2021

Polia Pillin

(1909-1992) Two glazed ceramic vases, mid-20th century Each depicting three women with flowers Signed to underside: Pillin 2 pieces Height of taller 9 1/4 in., diameter 4 1/8 in.; height of smaller 8 1/4 in., diameter 3 1/2 in, irregular $400-600

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2022

Polia Pillin

(1909-1992) A rectangular glazed ceramic vase, mid-20th century Each side depicting a woman with a bird Signed to underside: Pillin Height 11 5/8 in., width 4 1/4 in., depth 3 3/4 in. $400-600

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2023

Mark Bennett

(b. 1956) “Home of Ward and June Cleaver,” 2001 Lithograph in brown on wove paper Nopal proof #2, aside from the edition of 20 (in blue) Signed with initials, dated, and inscribed “NP #2” in pencil in the lower right of the image: MB 2001; dated 10/24/85 as part of the image; El Nopal Press, Los Angeles, CA, prntr., with their ink stamp and pencil work number, N79MB01, verso Image: 32 3/8 x 48 in.; Sheet: 32 3/4 x 48 3/4 in. $800-1,200 Provenance: The Personal Collection of Jean Milant Notes: The edition of 20 is printed in blue ink and is of a smaller size.

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2024

Mark Bennett

(b. 1956) “Home of Dr. Frasier Crane,” 1998 Lithograph in blue on wove paper A Nopal proof, aside from the edition of 10 (there were also 5 artist’s proofs) Signed with initials, dated, and inscribed “Nopal Proof,” in pencil in the lower right of the image: MB 1998; dated 2/25/98 as part of the image; El Nopal Press, Los Angeles, CA, prntr., with their ink stamp and pencil work number, N70MB98, verso; Augen Gallery, Portland, OR, pub.

Image: 32 3/8 x 48 1/4 in.; Sheet: 32 7/8 x 48 5/8 in. $800-1,200 Provenance: The Personal Collection of Jean Milant

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2025

Mark Bennett

(b. 1956) “Home of Dr. Richard Kimble,” 1999 Lithograph in blue on wove paper A Nopal proof, aside from the edition of unknown size Signed with initials and inscribed “N.P.” in pencil in the lower right of the image: MB; dated 6-14-99 as part of the image; El Nopal Press, Los Angeles, CA, prntr., with their ink stamp and pencil work number, N73MB99, verso; Mark Moore Gallery, Los Angeles, CA, pub.

Image: 32 1/2 x 48 1/8 in.; Sheet: 33 x 48 5/8 in. $800-1,200 Provenance: The Personal Collection of Jean Milant

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2026

Shepard Fairey

(b. 1970) “Hope for Darfur,” 2007 Screenprint in colors on Speckletone cream paper An artist’s proof, aside from the numbered edition of 400 Signed, dated, and inscribed “AP” in pencil in the lower margin: Shepard Fairey 07; with an additional unidentified signature in pencil in the lower margin; Obey Giant, Los Angeles, CA, and Global Grassroots, pub.

Image: 23 x 11 1/8 in.; Sheet: 24 x 12 in. $500-700 Provenance: Julian Van Hauseman Private collection, Pacific Palisades, gifted from the above

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2027

Peter Max

(b. 1937) “Galaxy Lady,” 1972 Screenprint in colors on paper Edition: 177/300 Signed, dated, and numbered in pencil along the lower edge: Max 72; London Arts Group, London, England, pub. with their blindstamp and the artist’s lower left Image: 15 1/4 x 17 in.; Sight: 15 3/4 x 17 5/8 in. $800-1,200

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2028

Leroy Neiman

(1921-2012) “Havana Rhythm,” 2000 Screenprint in colors on wove paper Edition: 9/225 (there were also 45 artist’s proofs) Signed and numbered in pencil in the lower margin: Leroy Neiman; titled on a gallery label affixed to the frame’s backing paper Image: 30 x 33 in.; Sight: 32 x 34 1/2 in. $800-1,200 Provenance: Timothy Yarger Fine Art, Beverly Hills, CA

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2029

Victor Vasarely

(1906-1997) “London,” 1982 Screenprint in colors on paper Edition: XCIII/CL Signed in ink, and numbered in pencil, along the lower sheet edge: Vasarely; titled and dated by repute Sight: 27 1/2 x 27 1/2 in. $800-1,200

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Paul Frankl (1886-1958)

Paul Frankl made his mark as a designe designers experimenting with cork as a other pieces produced by Johnson Furn and early 1950s brought cork into a ran simpler, more organic forms.

er in American modernism. From the 1930s, he was among the early a furniture material, incorporating cork veneer into tables, cabinets and niture Company. His later collaboration with Johnson in the late 1940s nge of commercially produced furniture and reflected his move toward

2030

Paul Frankl

(1886-1958) A cork top dresser for Johnson Furniture Co., mid-20th century With nine drawers and white cork-wrapped top and sides, raised on gold-toned metal conical legs Factory burn mark to drawer interior Height 32 1/2 in., width 72 1/2 in., depth 22 in. $700-900 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2031

Paul Frankl

(1886-1958) A pair of cork top end tables for Johnson Furniture Co., mid-20th century Each with two drawers, raised on attenuated legs Factory burn marks to top drawer interiors 2 pieces Height of each 23 1/4 in., width 24 in., depth 25 1/4 in. $700-900 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2032

In the style of Adrian Pearsall

(1925-2011) A Modern three-seater sofa, late 20th century Later reupholstered in a pink cotton fabric, raised on a bentwood biomorphic frame Unmarked Height 26 1/4 in., width 107 in., depth 38 in. $1,000-2,000 Provenance: The Collection of Sybil Rosen and Robert Fisher

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Hans Wegner (1914-2007)

Hans J. Wegner was a Danish furniture Trained as a cabinetmaker before study masterful craftsmanship with organic ae chairs, many of which became iconic su

Wegner was born in 1914, in Tonder, D primarily in Denmark, collaborating with Johannes Hansen, and Fritz Hansen. He in many top museum collections includ London, the Vitra Design Museum in G

designer and a key figure in the Scandinavian Modern movement. ying at the Danish School of Arts and Crafts, Wegner combined esthetics and functional minimalism. Wegner designed more than 500 uch as the Wishbone Chair (CH24), the Papa Bear Chair (AP19).

Denmark, a town near Germany. Throughout his career, he worked h renowned manufacturers such as Carl Hansen & Son, PP Mobler, e passed away in 2007, in a suburb of Copenhagen. His designs are ding the Museum of Modern Art in New York, The Design Museum in Germany and the Danish Design Museum in Copenhagen.

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2033

Hans Wegner

(1914-2007) A Model AP16 lounge chair for A. P. Stolen, mid-20th century Designed 1951 Later reupholstered in a pink cotton fabric to seatback and seat cushion, with metal springs underneath seat Thrice stamped with factory marks to seat rail underside Height 32 1/2 in., width 27 1/2 in., depth 31 1/2 in. $1,000-1,500 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2034

An MM Moreddi teak and rattan coffee table

Mid-20th century The top with molded edges above a rattan undertier, raised on attenuated legs Factory burn mark to underside Height 17 1/4 in., width 55 in., depth 21 3/4 in. $400-600 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2035

Floris Fiedeldij

(1921-2004) A ‘Tivoli’ floor lamp for Arteta, mid-20th century Designed 1956 With articulated metal arm issuing an articulated single light with black powder-coated aluminum shade, electrified Unmarked Height of base 30 1/2 in., diameter 11 1/4 in.; length of arm with shade 58 in.; diameter of shade 10 1/4 in. $500-700

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2036

Peter Hvidt (1916-1986) & Orla Molgaard Nielsen (1907-1993)

Two ‘Ax’ chairs for Fritz Hansen, 1950s Comprising one armchair and one lounge chair, each laminated molded mixed plywood Lounge chair with applied label foil factory label, numbered: 0663; armchair with later burn mark: PROPERTY BRANDEIS UNIVERSITY 2 pieces Height of armchair 30 in., width 24 in., depth 27 1/2 in.; height of lounge chair 30 1/2 in., width 20 in., depth 27 in. $800-1,200

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2037

Joe Atkinson

(20th Century) A desk and chair set for Thonet, mid-20th century The desk with laminate top and single drawer front, the chair with black fabric upholstered seat cushion Factory label applied to drawer interior 2 pieces Height of desk 30 in., width 36 in., depth 18 in.; height of chair 31 in., width 19 in., depth 21 in. $400-600 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2038

Ritva Puotila

(b. 1935) A ‘Waves’ rug for Oy Finnrya Ab, third quarter 20th century Designed 1964 Unmarked 5 ft. 9 in. x 4 ft. 6 in. approximately $500-700 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2039

Reuben Nakian

(1897-1986) “Leda and the Swan” (larger), 1978 Patinated bronze Edition: 5/7 Signed in the casting: NAKIAN; impressed date, edition, and foundry mark: RENAISSANCE ART FDRY Height 9 3/4 in., width 14 5/8 in., depth 7 in. $1,000-1,500

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2040

Reuben Nakian

(1897-1986) “Leda and the Swan” (smaller), 1978 Patinated bronze Edition: 5/7 Signed in the casting: NAKIAN; impressed date, edition, and foundry mark: RENAISSANCE ART FDRY. Height 6 3/8 in., width 7 1/4 in., depth 4 3/4 in. $700-900

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2041

Leon Bronstein

(b. 1951) “We are the Champions,” 1982 Verdigris patinated bronze on metal base Edition: 1/9 Signed, dated, and numbered on the back of the right leg: Bronstein / © Height of bronze 39 1/2 in., width 29 1/4 in., depth 19 1/4 in.; height overall 40 1/2 in., width 35 1/2 in., depth 19 1/4 in. $1,500-2,500 Provenance: Private collection, San Diego, CA Notes: This lot is accompanied by a Certificate of Authenticity from the artist’s studio, signed by the artist, as well as a price sheet from his studio.

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2042

Mary Louise Snowden

(b. 1952) “Lightsurge” from the “Empire of Light” series, 2007 Patinated bronze on granite base Edition: 13/25 Signed and titled in the casting: M L Snowden; incised edition Height of bronze 39 3/4 in., width 23 1/4 in., depth 14 in.; height overall 43 3/4 in. $800-1,200 Provenance: Sold to benefit the charitable work of nonprofit Art & Creativity For Healing Inc. (Art4Healing) Notes: According to the artist’s website, https://www.mlsnowdenart.com/empire-of-light, “’Lightsurge’ coils on the spring of its own energy.

‘Lightsurge’ takes shape around Snowden’s intuition of a radiant wavelength that together with ‘Lightwave,’ expresses the substance of light almost as a rhythmic veil or sonic cloth. Evoking a small portion of a long train of light sweeping a cosmic trajectory, ‘Lightsurge’ comes into view as an enlargement of the ‘S’ structure of light. As one critic recently observed, ‘Here in these works, the sculptor has achieved the inexpressible essence of light captured in an eternal bronze moment.’”

Biographical materials about the artist accompany the lot. The paperwork mentions the edition as 15/25, however the bronze is marked 13/25. johnmoran.com

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2043

Ira Bruce Reines

(b. 1957) “Dream of Grace,” 2015 Cold-painted bronze on granite base Edition: 1/1 Signed and numbered in the casting: Ira Reines Height of bronze 35 1/4 in., width 23 1/4 in., depth 10 1/2 in.; height overall 39 1/2 in., width 23 1/4 in., depth 14 1/4 in. $800-1,200 Provenance: Sold to benefit the charitable work of nonprofit Art & Creativity For Healing Inc. (Art4Healing) Notes: According to the artist’s statement on this piece, “She rides the thermals of my imagination, in the mid-regions between earth and heaven; she is my dream, my dream of grace, neither tethered to the earth nor held by heaven, she is bound to no reality, she is beauty in flight, divinity reborn and more, she is my Dream of Grace.”

Born in New York, Ira Reines was a protege of important Art Deco artist Romain (Erté) de Tirtoff (1892-1990). In 1980, Erté and Reines collaborated on a project to translate Erté’s two-dimensional drawings and paintings into sculpture. The resulting collection of 70 bronze sculptures was exhibited worldwide.

Biographical materials about the artist are included with the lot.

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2044

Sir Jacob Epstein

(1880-1959) “Nude Study I (Marie Tracey),” 1943-45 Patinated bronze on associated wood base Unmarked Height of bronze 4 3/8 in., length 22 1/2 in., depth 10 1/8 in. $1,000-1,500

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2045

Jerome Kirk

(1923-2019) Eclipse kinetic sculpture, 1975 Aluminum and wire, articulated Signature and date incised on the bottom of the base: Kirk Height 12 3/4 in., width 8 in., depth 3 1/8 in., dimensions variable $1,000-1,500

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2046

John Chamberlain

(1927-2011) Untitled, 1979 Lithograph in colors on BFK Rives paper Edition: 19/36 Signed and numbered in pencil in the lower margin: J. Chamberlain; with the tan ink stamp “Topaz Editions, Inc. / Tampa, Florida” and pencil work number “TOPAZ 81 - C2,” all verso; Topaz Editions, Inc., Tampa FL, prntr; with three unidentified blindstamps, likely associated with the printer Image: 13 1/2 x 9 5/8 in.; Sheet: 21 x 15 1/4 in. $800-1,200

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2047

James Rosenquist

(1933-2017) “Time Stream Prix Nobel,” from “Hommage aux Prix Nobel” (The Nobel Prize Portfolio), 1975 Lithograph and screenprint in colors on white Arches cover paper Artist’s proof 20/25, aside from the edition of 100 Signed, titled, dated, and inscribed “20/25 AP” in pencil along the lower sheet edge: James Rosenquist 1975; Topaz Editions, Inc., Tampa, FL, prntr.; Prix á Nobel, Sweden, pub.

Image/Sheet: 30 x 22 1/4 in. $800-1,200 Provenance: Private collection, San Diego, CA Literature: Glenn 87 Notes: Accompanying this lot is an undated and unsigned certificate of authenticity from Chamberlain Art Galleries. johnmoran.com

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2048

Henry Moore

(1898-1986) “Four Mothers,” 1971-72 Etching on wove paper Edition: 25/100 Signed and numbered in pencil in the lower margin: Moore; Atelier Lacourière et Frélaut, Paris, prntr.; Christie’s Contemporary Art, London, pub., and with their blindstamp in the lower right margin corner Plate: 12 x 9 3/8 in.; Sheet: 17 7/8 x 14 3/8 in. $800-1,200 Provenance: Private collection, San Diego, CA Literature: Cramer/Grant/Mitchinson 186 Notes: This lot is accompanied by additional documentation about the artwork from Christie’s Contemporary Art.

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2049

Robert Motherwell

(1915-1991) “Untitled,” 1970 Screenprint in colors on Arches paper Edition: 236/250 (the total edition of 300 also included 50 impressions on Crisbrook handmade paper), printed 1971 Signed and numbered in pencil in the lower margin, at right: Motherwell; Maurel Studios, New York, NY, prntr.; International Rescue Committee, New York, NY, pub.

Image: 23 1/4 x 17 in.; Sheet: 25 3/4 x 19 7/8 in. $800-1,200 Literature: Belknap 38 Engberg & Banach 67 Notes: According Engberg & Banach, in addition to the total edition of 300 impressions printed on two types of paper (described above) which were published as a fund-raiser to benefit the work of the International Rescue Committee, New York, NY, in 1971, “Impressions of this print were subsequently included in a portfolio titled ‘Flight,’ distributed in 1985 by John W. Marland Fine Art, Bartlett, Illinois.

In addition to Motherwell, participating artists included Eugene Berman, Alexander Calder, Marc Chagall, Vieira da Silva, Adolph Gottlieb, Wifredo Lam, Jacques Lipchitz, André Masson, Joan Miró, Edouard Pignon, and Fritz Wotruba. The edition size of the [1985] portfolio is not known.” johnmoran.com

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2050

Charles and Ray Eames

(1907-1978 and 1912-1988) A set of eight DCM chairs for Herman Miller, 1984-1999 Designed 1946 Each with a molded plywood seat and backrest on a tubular chromed steel frame with rubber shock mounts and plastic glides One with black factory label applied to underside 8 pieces Height of each 30 1/8 in., width 19 1/2 in., depth 21 1/4 in. $1,000-2,000

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2051

Hans Wegner

(1914-2007) A set of six ‘Wishbone’ armchairs model CH 24 for Carl Hansen & Son, mid-20th century With Y-form backs and woven natural cord seats Four burn marked: Made in Denmark / By Carl Hansen & Son / Odense, Denmark; two with factory foil label and impressed: BB6 6 pieces Height of each 28 1/2 in., width 21 in., depth 21 in. $2,000-4,000

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2052

Hans Wegner

(1914-2007) A Model AT-312 teak dining table for Andreas Tuck, mid-20th century With two extension leaves at the ends, raised on attenuated legs Unmarked Height 28 1/2 in., width 65 in., depth 37 in.; width of each extension 18 1/2 in. $1,500-2,000

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2053

T. H. Robsjohn-Gibbings

(1905-1976) A lounge chair and ottoman model WWA-6, mid-20th century Each unmarked The chair with spindle back and rounded wood frame, the seatback and seat cushion upholstered in an ivory tufted fabric, with conforming ottoman 2 pieces Height of chair 33 in., width 26 1/4 in., depth 33 in. $1,500-2,000 Provenance: Collection of Stefan Lawrence, founder of Twentieth Gallery, Los Angeles, CA Notes: Stefan Lawrence was a Los Angeles–based gallerist and founder/director of the influential design and contemporary art space Twentieth Gallery. He established the gallery in the 1990s, initially focusing on mid-century modern design before evolving it into a leading venue for cutting-edge contemporary design and art, showcasing both established and emerging international talent. Under his vision, Twentieth became known for its seamless blending of art and functional design.

Lawrence played a significant role in shaping Los Angeles’s design scene and was internationally respected for more than two decades. The works offered in this auction come from his personal collection, including pieces acquired throughout his career as well as items given to him by friends, artists, and collectors.

Spanning photography, contemporary design, mid-century aesthetics, African design, and forward-thinking experimental work, the breadth of the collection reflects Lawrence’s wide-ranging interests and discerning eye. It stands as a testament to a singular taste that deeply influenced both his business and the creative community around him.

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2054

George Nelson

(1908-1986) A Platform bench for Herman Miller, mid-20th century Designed 1947 With slat top raised on two black painted U-form supports Unmarked Height 14 1/4 in., width 68 1/4 in., depth 18 5/8 in. $600-800 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2055

A Danish Modern teak credenza

Mid-20th century With shallow upper gallery above sliding cabinet doors opening to reveal a single shelf to the right and two sliding felt-lined drawers and a small glass shelf to the left, raised on attenuated legs Metal Danish Furniture Makers Control tag applied to underside Height 29 1/2 in, width 59 in., depth 17 3/4 in. $500-700 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2056

Rolf Rastad

(1916-1995) & Adolf Relling (1913-2006) A rosewood ‘Syklus’ sewing table for Rasmus Solberg, 1960s Designed 1962 With hinged top opening to reveal a leather interior and a rotating plastic tray with small compartments, raised on casters With foil label: 1 PRIZE / NORWEGIAN DESIGN / COMPETITION 1962 / DES RASTAD OG RELLING / PROD RASMUS SOLBERG Height 18 3/4 in., diameter 24 in. $400-600 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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Raimonds Staprans (1926-2026)

Raimonds Staprans’ work is celebrated between abstraction and representation clarity and intensity. His contributions ha painting movement. Throughout his car art and his literary works, which include marked by a relentless exploration of fo and artistic mastery.

for its bold use of color, geometric forms, and a unique interplay n, often depicting everyday objects and landscapes with a distinctive ave firmly established him as a significant figure in the Bay Area areer, Staprans has exhibited widely, earning acclaim for both his visual e several successful plays. His enduring impact on the art world is orm and color, making his pieces a testament to his innovative spirit

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2057

Raimonds Staprans

(1926-2026) Boats in a sunset harbor, 1958 Oil on canvas Signed and dated lower left: R. Staprans 58 20 x 24 in. $15,000-25,000 Provenance: Steven Stern Fine Art, Los Angeles, CA Notes: In the present work from 1958, Staprans experiments with bold, stacked compositional forms painted in rich brushwork and a sophisticated use of color relationships.

A sense of depth is created by the juxtaposition and distinct characteristics of each textural layer of objects which enhance the harmony of the composition that comes together in a compelling visual statement.

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Henrietta Berk (1919-1990)

The story of the career of Henrietta Berk is of trium become ignited.

Born in 1919 in Wichita, Kansas, Berk lived the life Abandoned by her father and left at an orphanage an independent identity, Berk turned to artmaking complete a college degree. She married Dr. Morris annoyance to her husband.

Berk could not resist panting. She began executing the press in 1957. She was urged by a friend to tak 1957 to 1961, often the oldest student in the class her artistic career forever. From her studies at CCA to the Bay Area Figurative Movement. Her particip Museum of California Art) gained some attention, artist.

Berk participated in numerous solo and group exh blurred the line between realism in landscape and art world. Her creative output only diminishing with she was near blind by the middle of the 1970s. Un out shapes and colors) until her death in 1990.

Henrietta Berk’s artistic achievements inspire, and h Deborah Solon commented, “Berk defied the odd complicated personal history-any one of these obs Berk was circumspect and self-effacing. Although g the personal freedom, joy, and creative delight she

The first major retrospective exhibition of the artist are featured in a number of institutional collections NY; San Francisco Museum of Modern Art, San Fra Museum, New York, NY; Whitney Museum of Ame

mph and creative explosion, one that proves that it is never too late for artistic genius to

of a traditional American woman in the middle of the 20th century. Until she didn’t. e by her mother, Berk’s early childhood is clouded and tragic. To heal her trauma and forge g during her time at the orphanage. Berk graduated from high school in 1936 but did not s Berk in 1939, living the life of an American housewife, her personal artmaking a mild

g small interior projects for neighbors in Oakland, California, receiving some recognition in ke art classes and enrolled on and off at CCAC (California College of Arts and Crafts) from sroom. She studied under Robert Diebenkorn in the summer of 1957, which would alter AC and visiting the surrounding contemporary art scene, Berk’s work would become linked pation in a group show, “Painted Flower,” at the Oakland Art Museum (now the Oakland but it was her solo exhibition at Lucien Labaudt Art Gallery that propelled her career as an

hibitions throughout the next decade, often being only woman artist represented. Berk figurative painting and the movement of abstract expressionism gripping the West Coast h her health. Diagnosed with diabetes in late 1960s, it steadily worsened her eyesight until nfettered by her lack of vision, Berk continued to paint (on large canvases so she could make

her work is coming into its own in American art history. As professor and art historian ds. She had every reason not to succeed. Age, gender, lack of full-time training, and a stacles could have derailed her career. But when she painted, all those hurdles evaporated. gratified by the critical recognition and grateful for the financial success, her true focus was e experienced through making her art.”

t’s work was held in 2021 at The Hilbert Museum in Orange, California, and her paintings s including: Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, ancisco, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Solomon R. Guggenheim erican Art, New York, NY.

2058

Henrietta Berk

(1919-1990) “October,” circa 1969-71 Oil on canvas Signed lower right: H. Berk; Carter Gallery inventory number “#1986,” verso; titled by the gallery 35 1/2 x 35 in. $8,000-12,000 Provenance: The artist Carter Gallery, Los Angeles, CA, no. 1986 Steven Stern Fine Art, Santa Monica, CA Exhibited: Los Angeles, CA, Carter Gallery, 1966 Orange, CA, The Hilbert Museum of California Art at Chapman University, “Henrietta Berk: In Living Color,” August 28, 2021-January 15, 2022 Literature: C. Johnson, “In Living Color: The Art and Life of Henrietta Berk,” Beverly Hills, CA, Cindy Johnson et al, “In Living Color: The Art and Life of Henrietta Berk,” (Beverly Hills, CA, 2020), plate 68, p. 131, illustrated

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2059

Robert Kaess

(1923-1991) “So Much Depends,” 1964 Oil on canvas Signed and dated lower right: R. Kaess | 64; titled on the canvas overlap 30 x 42 in. $500-700 Provenance: Private collection, Los Angeles, CA

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2060

Erle Loran

(1905-1999) Abstract, 1950 Oil on canvas Unsigned 24 1/8 x 36 1/4 in. $600-800 Provenance: Estate of the artist Carlson Gallery, Carmel, CA

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2061

Jack Zajac

(b. 1929) Abstract composition Oil on canvas Signed lower right: Zajac 38 x 50 in. $1,000-2,000 Provenance: The artist Private collection, Palos Verdes Estates, CA By family descent

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2062

Clare Ernst Struble

(1927-2003) “Winterset Re-Visited” Mixed media assemblage on panel Signed and titled in pencil lower left: Clare Ernst Struble; titled again on a typewritten label affixed verso 22 x 15 1/2 in. $600-800 Provenance: Sold: Bonhams, Los Angeles, CA, “Sunset Estate Auction,” September 21, 2008, Lot 7103

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2063

Clinton Adams

(1918-2002) “Western Landscape,” 1958 Polymer tempera and collage on Masonite Signed lower left: Clinton Adams; titled and dated “1958” on a gallery label affixed verso 24 x 30 in. $1,000-2,000 Provenance: Felix Landau Gallery, Los Angeles, CA Private collection, Los Angeles, CA

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2064

Gary Hall

(1937-2018) Untitled (Room interior), 1973 Oil on canvas Signed and dated verso: Gary Hall / 3-73 84 x 78 5/8 in. $1,000-2,000 Provenance: The artist Notes: Authorship was confirmed directly with the artist, who noted that he painted this work while at CalArts, and it was likely sold at his first show at Cynthia Chomsky’s Gallery in Beverly Hills.

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Dale Chihuly (b. 1941)

Dale Chihuly is an American artist who h studying in the United States and at the glassmaking that became central to his co-founded in 1971. His major series in each exploring a different way of workin series following his travels in Japan. Insp together blown-glass vessels, stems, lea arrangements, with the vessel and indiv

helped establish blown glass as a medium for contemporary art. After e Venini factory in Murano, he developed a collaborative approach to s work and to the development of the Pilchuck Glass School, which he nclude “Baskets,” “Seaforms,” “Macchia,” “Persians,” and “Venetians,” ng with glass, form and color. In 1989, Chihuly began the “Ikebana” pired by the Japanese tradition of flower arranging, the works bring aves and flowers. The tabletop “Ikebana” pieces are composed as vidual glass elements working together as a single work.

2065

Dale Chihuly

(b. 1941) “Ikebana Glass Vase,” 1999 Mottled glass cased with gold inclusions Signed and dated on the upper rim: Chihuly Height 33 in., diameter 16 in. $12,000-18,000 Provenance: Sold: Heritage Auctions, Dallas, TX, November 23, 2015, Lot 60104 Private collection, acquired from the above

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2066

A 19 Piece Art Glass Installation

Late 20th/early 21st century Unsigned Multi-colored glass mounted to a custom lacquered mahogany base with rubber-tipped metal rods Height overall with base 7 ft. 9 in., width 5 ft. 10 in., depth 3 ft. 8 in.; height of tallest reed 7 ft. 9 in.; height of shortest reed: 6 ft. 1 1/2 in. $7,000-9,000 Notes: This lot is accompanied by an assembly schematic, each reed numbered to interior corresponding to placement in the base.

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2067

Dale Chihuly

(b. 1941) “Ocean Macchia,” 2002 Glass in studio custom acrylic case Etched signature and number: Chihuly / PP02 Together with hardcover book: Hobbs, Robert (essay). “Chihuly alla Macchia.” Beaumont, TX: Art Museum of Southeast Texas, 1999 2 pieces Height of glass 9 3/8 in., width 8 5/8 in., depth 8 3/8 in.; height of case 14 in., width 12 5/8 in., depth 12 5/8 in. $2,000-4,000 Notes: This lot is accompanied by a printed sheet with information about the piece.

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2068

Dale Chihuly

(b. 1941) “Buttercup Yellow Persian with Red Lip Wrap,” 1996 Glass in studio custom acrylic case Etched with indistinct signature of the artist Together with three hardcover books: “Chihuly Gardens & Glass.” Seattle, WA: Portland Press, 2002 Oldknow, Tina (essay). “Chihuly Persians.” Seattle, WA: Portland Press, 1999 “Chihuly: Bellagio.” Seattle, WA: Portland Press, 1999 4 pieces Height of glass 11 1/4 in., width 10 1/4 in., depth 9 1/4 in.; height of case 14 in., width 12 5/8 in., depth 12 5/8 in. $3,000-5,000 Notes: This lot is accompanied by a printed sheet with information about the piece.

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2069

Janusz Walentynowicz

(b. 1956) “My Image,” 1990 Cast glass with applied pigment and mirror fragment Etched with signature and date to edge: J. Walentynowicz; and underside of base: J. Walentynowicz Height 36 1/4 in., width 15 3/4 in., depth 16 1/2 in. $2,000-3,000 Provenance: Heller Gallery, New York, NY Private collection, New Jersey, acquired from the above, 1991 Sold: Rago Auctions, Lambertville, NJ, “Contemporary Glass,” May 17, 2024, Lot 214 Private collection, acquired from the above

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2070

A pair of Phoenix Consolidated Glass ‘Dancing Nymphs’ chargers from the Martelé line Late 20th/early 21st century Each depicting dancing classical figures, raised on an Asian-style wood display stand Unmarked 2 pieces Height of each 2 3/8 in., diameter 17 3/4 in.; height of stands 15 in., width 13 3/4 in., depth 6 3/4 in. $800-1,200

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2071

Steven Weinberg

(b. 1954) Blue Cube, 2004 Cut and partially frosted glass Incised with signature and number to side: Weinberg 490501 Height 7 in., width 7 1/8 in., depth 7 1/8 in. $700-900 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2072

Toni Zuccheri (1937-2008)

A Murano glass Spacchi vase for Barovier & Toso, late 20th century Etched to underside: barovier / & toso / murano; with applied label: vetri / vm / murano / 007 Height 14 in., width 11 in., depth 10 1/4 in. $500-700 Provenance: The Collection of Sybil Rosen and Robert Fisher

2074

Edward Hald (1883-1980)

An Orrefors ‘Graal’ glass vase, mid-20th century Decorated with fish and seaweed Etched to underside: ORREFORS / Graal Nr.136E-4 / Edward Hald Height 6 1/2 in., diameter 4 5/8 in. $400-600

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2073

Luigi Onesto (b. 1935)

A large Murano cased glass perfume bottle, mid-20th century With stopper Incised to underside: L. Onesto Murano Italy Height overall 18 in., width 10 1/4 in., depth 3 1/2 in. $500-700 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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2075

Hunt Slonem

(b. 1951) “Tondo Totem,” 2020 Oil and metallic pigments on panel Signed, titled, dated, and inscribed, all verso: Hunt Slonem / 2020 / © / “CSR2116” 23 3/4 x 20 in. (oval) $6,000-8,000

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2076

Hunt Slonem

(b. 1951) “Blues Again,” 2019 Oil on panel Signed, titled, dated, and inscribed, all verso: Hunt Slonem / 2019 / © / “KFJ03142” 21 1/4 x 28 3/4 in. $6,000-8,000

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2077 Gade

(b. 1971) Two works: Chinese Communist Revolution political drawings Each: Ink drawings on pages of text Each signed in Tibetan and with the artist’s fingerprint in pigment, lower right Sheet of larger: 7 x 8 1/2 in.; Sheet of smaller: 7 x 4 3/4 in. $600-900 Provenance: The Grace Family Collection, St. Helena, California Notes: The text is from a publication dated 10/4/1949, the days following the Communist Revolution in China. A casual translation cites the text as addressing political and economic challenges faced by the revolutionary forces in various regions of China at the time.

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2078 Gade

(b. 1971) Skeleton and animals riding a tiger’s back Acrylic and metallic pigment on canvas Signed in Tibetan lower right 14 7/8 x 12 in. $800-1,200 Provenance: The artist The Grace Family Collection, St. Helena, California

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2079 Gade

(b. 1971) Modern thangka, 2009 Acrylic and metallic pigment on paper Signed in Tibetan, dated 2009, and with the artist’s fingerprint in pigment, lower right Sheet: 9 x 31 1/4 in. $800-1,200 Provenance: The artist The Grace Family Collection, St. Helena, California

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2080

Donald Roller Wilson

(b. 1938) “Cookie...(Having Come Straight From The Garden)...(Where She Had Become Far To [sic] Wet)...,” 1999 Oil on Masonite Signed and dated along the left edge: Donald Roller Wilson 1999/11; signed and dated again, and inscribed “Cookie,” all in ink on the artist’s label affixed to the frame’s backing board; artist’s “Remember” label affixed to the frame’s backing board; titled on a gallery label affixed to the frame’s backing board Sight: 10 1/2 x 8 1/2 in. $15,000-20,000 Provenance: John Berggruen Gallery, San Francisco, CA

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2081

Todd Murphy

(1962-2020) “Horse and Rider,” 1995 Pictocollage and oil on canvas with painted Plexiglas and screws Appears unsigned; titled and dated on the sales invoice 48 1/4 x 60 in. $3,000-5,000 Provenance: Commissioned through Haines Gallery, San Francisco, CA Private collection, acquired from the above, July 1995.

Notes: This lot is accompanied by the book T. Murphy, “Todd Murphy: Paintings, Drawings, Sculpture,” 1994, documentation material regarding the commission of the artwork, and a sales invoice dated July 14, 1995, from the gallery mentioned above.

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2082

Purvis Young

(1943-2010) A figure on horseback Paint on fabric Signed upper right: Young Sheet: 43 x 30 1/2 in. $1,500-2,000 Provenance: A.W. Massey Fine Art, Ft. Lauderdale, FL

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2083

Luigi Caccia Dominioni

(1913-2016) A ‘Toro’ armchair for Azucena, 1980s Designed 1973 for Monticello Country Club near Milan Red velvet upholstery and metal “handles,” raised on two front casters With applied metal tag: Azucena Height 33 in., width 48 in., depth 41 1/2 in. $800-1,200 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker Notes: Luigi Caccia Dominioni was a Milanese architect and designer who, in 1947, co-founded Azucena, a postwar Italian furniture manufacturer. The Toro chair, designed in 1973, reflects his approach through its sculptural form, projecting handles, and emphasis on comfort, movement, and structure.

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2084

Isabel Masson-Faure (b. 1940) & Richard Faure (20th Century)

A gilt metal and amethyst figural group as an illuminated fountain, late 20th century Depicting an eagle with mica overlay above a snake twisted between branches of gnarled vines, set with three lights and housing a fountain with motor, centered by an amethyst specimen, electrified Etched with signature: Richard Faure Height of lower element 35 in., width 22 1/2 in., depth 25 1/2 in.; height of eagle 30 in., width 46 1/4 in., depth 18 in.; height overall 52 1/2 in. $3,000-5,000 Notes: Isabel Masson-Faure & Richard Faure are French artists and designers whose work reflects a distinctive fusion of sculpture, craftsmanship, and decorative arts. Particularly active from the 1970s onward, the pair developed an expressive language through hand-worked brass, organic forms, stone, and light. Their unique creations, often conceived as sculptural works of art as much as functional objects, are distinguished by their exceptional craftsmanship, naturalistic inspiration, and singular character, embodying the experimental spirit of French design of the period.

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2085

Attributed to Isabel Masson-Faure (b. 1940) & Richard Faure (20th Century)

A sea anemone form amethyst and gilt metal coffee table, second half 20th century Gilt copper piping centered by an amethyst specimen, with single light nested between the metal elements and specimen, surmounted by an oval glass top Appears unmarked Height of base 17 1/4 in., width 48 in., depth 41 1/4 in.; height of glass 7/8 in., width 60 1/4 in., depth 46 in. $3,000-5,000 Notes: Isabel Masson-Faure & Richard Faure are French artists and designers whose work reflects a distinctive fusion of sculpture, craftsmanship, and decorative arts. Particularly active from the 1970s onward, the pair developed an expressive language through hand-worked brass, organic forms, stone, and light. Their unique creations, often conceived as sculptural works of art as much as functional objects, are distinguished by their exceptional craftsmanship, naturalistic inspiration, and singular character, embodying the experimental spirit of French design of the period.

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2086

Poul Henningsen (1894-1967)

A ‘PH Artichoke’ pendant light for Louis Poulsen, mid-20th century Designed 1958 With white powder-coated metal leaves diffusing a single light, electrified Unmarked Height overall 33 in., diameter 25 1/2 in. $2,000-4,000 Notes: The Louis Poulsen PH Artichoke Pendant Light was designed in 1958 by Poul Henningsen for the Langelinie Pavillonen restaurant in Copenhagen, where it still hangs today. PH Artichoke has a world-famous unique sculptural aesthetic, and is viewed internationally as an iconic design. The fixture displays 72 leaves, positioned to provide totally glare-free light from any angle. To ensure a high level of quality, much of the production process is still carried out by hand. When you hear the name Louis Poulsen, you think distinctive modern Danish lighting. From the classic icons of the 1920s to more recent pieces, all Louis Poulsen lighting is created based on a deep-felt respect for architecture, understanding the emotional effect of lighting and the belief that shadow is just as aesthetically important as light. All three aspects manifest themselves in the sculptural layering and comfortable, glare-free light of Louis Poulsen pendants, wall, table and floor lamps.

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2087

After Marcel Breuer (1902-1981)

A pair of armchairs after the ‘Wassily’ armchairs for Knoll, late 20th century Designed 1925 Each tubular chromed metal frame with black leather sling seat, back strapping, and armrest strapping Unmarked 2 pieces Height of each 28 3/4 in., width 31 in., depth 27 1/4 in. $600-800

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2088

Charles and Ray Eames (1907-1978 and 1912-1988)

A lounge chair and ottoman for Herman Miller, 1970-1984 Designed 1956 The chair with molded plywood and powder-coated and brushed aluminum frame, rubber shock mounts, and black leather tufted upholstery, en suite with matching ottoman The ottoman with Herman Miller tag applied to underside; paper upholstery label to seat underside detached and retained with the lot 2 pieces Chair height 32 1/4 in., width 33 1/2 in., depth 35 1/2 in.; ottoman height 17 1/2 in., width 25 3/4 in., depth 22 1/2 in. $2,000-4,000

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Roy Lichtenstein (1923-1997)

Roy Lichtenstein was an American Pop imagery of popular culture and comme a painted image and a three-dimension 1969 show his interest in translating the made sculptural pyramid models as we shape, depth and perspective could ch

artist known for his paintings, prints and sculptures based on the ercial art. In the late 1960s, he began working with the pyramid as both nal form. Works such as The Great Pyramid and Three Pyramids from e simple geometric shape from a flat image into physical space. He ell as paintings, using the three-dimensional forms to consider how hange between an object and its painted representation.

2089

Roy Lichtenstein

(1923-1997) “Pyramid” Screenprint in colors on lightweight board folded into a three-dimensional pyramid, in acrylic case Appears unmarked Height of pyramid 14 1/2 in., width 19 3/4 in., depth 19 3/4 in.; height of case 16 1/2 in., width 24 1/2 in., depth 16 1/2 in.; height of plinth 12 3/4 in., width 25 1/4 in., depth 25 1/4 in. $3,000-5,000 Literature: RLCR 1580; Bianchini 31; Corlett 62 Notes: The artist’s online catalogue raisonne [RLCR] states that “Lichtenstein completed this project after having begun painting the subject in 1968, but he remembers using this three-dimensional print as a prop in the studio, to help him decide the compositional relationship for at least one of his paintings (Lichtenstein, in conversation with Fine, August 11, 1993). According to the artist, impressions were inadvertently stacked together while the ink was still wet, so that only about 50–100 of the edition of 300 could actually be released (Lichtenstein, in conversation with Corlett, January 6, 1994). According to the printer, the diecutting may have been done by Visart Die Cutting.”

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2090

Helen Frankenthaler

(1928-2011) “Plaza Real,” 1987 Soft ground etching, etching, and aquatint in colors on BFK Rives paper Edition: 44/60 (there were also 12 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: Frankenthaler / ‘87; Polígrafa, Barcelona, Spain, prntr. and pub.

Plate: 20 x 26 1/2 in.; Sheet: 28 5/8 x 35 1/4 in. $5,000-7,000 Literature: Harrison 139

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2091

Helen Frankenthaler

(1928-2011) “Ramblas,” 1987-88 Lithograph, drypoint, and etching in colors on paper Edition: 62/75 (there were also 16 artist’s proofs, 14 trial proofs, and a few other proofs) Signed, dated, and numbered in pencil in the printed red lower portion of the sheet: Frankenthaler / ‘87-’88; Polígrafa, Barcelona, Spain, prntr. and pub.

Plate: 26 1/2 x 20 in.; Sheet: 34 1/2 x 27 in. $2,000-3,000 Literature: Harrison 141

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2092

Alex Katz

(b. 1927) “Large Birch” 2005 Linocut on Japanese paper Trial proof 2/4, aside from the edition of 25 Signed and inscribed “TP 2/4” in pencil in the lower margin: Alex Katz Image: 60 1/2 x 36 1/2 in.; Sheet: 63 x 38 1/2 in. $3,000-5,000 Provenance: A.W. Massey Fine Art, Ft. Lauderdale, FL

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2093

Ross Bleckner

(b. 1949) “Happiness for Instance III,” 1997 Screenprint in colors on paper Edition: 58/75 Signed and numbered in pencil in the lower right and lower left, respectively: Ross Bleckner; Lococo Fine Art Publishers, St. Louis, MO, pub.

Image/Sheet: 42 x 32 in. $1,200-1,800 Provenance: A.W. Massey Fine Art, Ft. Lauderdale, FL

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2094

Peter Milton

(1930-2026) “Interiors V: Water Music,” 1988 Etching and engraving on BFK Rives paper Edition: 27/175 Signed, titled, dated, and numbered in pencil in the lower margin: P Milton ‘88 Plate: 29 3/4 x 24 in.; Sheet: 38 1/2 x 29 5/8 in. $600-800 Provenance: Private collection, Tustin, CA Literature: Johnson / Milton 111

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2095

Peter Shelton

(b. 1951) “Books” water fountain, 1993 Cast bronze, copper tubing, subterranean water pump, electrified Appears unmarked Height of bronze 66 in., width 18 1/4 in., depth 18 1/4 in.; height with pump 4 1/2 in. $3,000-5,000 Provenance: The artist L.A. Louver, Venice, CA Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above, March 8, 1994 Exhibited: Venice, CA, L.A. Louver, Inc., “Peter Shelton,” 1993 Los Angeles, CA, Los Angeles County Museum of Art, “bottlesbonesandthingsgetwet,” March-May 1994 Notes: This lot is accompanied by a digital copy of the original purchase receipt from the abovementioned gallery.

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2096

Peter Shelton

(b. 1951) “Headegg” Cast iron Unmarked Height 10 1/2 in., diameter 7 7/8 in. $3,000-5,000 Provenance: The artist L.A. Louver, Venice, CA Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above, March 14, 1984 Exhibited: Venice, CA, L.A. Louver and Seattle, WA, Center of Contemporary Art, “Major Joints, Hangers and Squat by Peter Shelton,” March-April 1984 Notes: This lot is accompanied by a digital copy of the original purchase receipt from the abovementioned gallery.

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James W. Washington (1909-2000)

James W. Washington Jr. was an African the Seattle art community. He was born 1930s, he worked as an art instructor w exhibition of African American artists in

In 1944, Washington moved to the Pac Mark Tobey and became associated wit became especially well known for his st His artwork was deeply influenced by h between humanity and the natural worl and symbolic forms to express spiritual cultural landmark, preserving his legacy

n Jr.

n American painter and sculptor who became an important figure in n in Gloster, Mississippi, and began drawing as a teenager. During the with the Works Progress Administration and helped organize an n Mississippi.

cific Northwest, where he studied painting with the influential artist th the Northwest School. Although he continued to paint, Washington tone sculptures after a trip to Mexico inspired him to begin carving. his Christian faith, spirituality, nature, and ideas about the connection ld. Washington’s sculptures, like the present works, often used animals ideas. Washington’s home and studio in Seattle were designated a y as an important African American artist of the Pacific Northwest.

2097

James W. Washington Jr.

(1909-2000) “Recycle of Life to Raven Form,” 1974 Stone carving on an artist’s wood base Carved with initials and date on the underside: JWW / 1974; impressed with initials, twice dated, and titled to artist’s base Height overall 6 7/8 in., width 13 3/8 in., depth 7 1/2 in. $8,000-12,000 Provenance: The artist Private collection, Culver City, CA, acquired from the above

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2098

James W. Washington Jr.

(1909-2000) Eaglet, 1973 Stone carving Incised initials and date: JWW / 73 Height 2 3/8 in., width 4 1/4 in., depth 3 3/8 in. $4,000-6,000 Provenance: The artist Private collection, Culver City, CA, acquired from the above

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2099

Woods Davy

(b. 1949) Untitled Natural stones and metal armature on carved stone plinth Appears unmarked Height of sculpture 56 1/4 in., width 20 in., depth 23 in.; height of plinth 34 in., width 14 1/8 in., depth 14 1/8 in. $5,000-7,000 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

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2100

Stephen Stavast

(1945-2023) Still life of rocks, 1994 Oil on canvas Signed and dated lower right: Stavast / 1994 / © 50 x 60 in. $3,000-5,000

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Yrjö Edelmann (1941-2016)

Finnish artist Yrjö Edelmann is recognize representation and illusion. Best known and folded cardboard, Edelmann transf

Working in a meticulous photorealist sty remarkable precision, frequently promp compositions focus closely on these eve creases, and nuanced surface variations and remains a distinctive contribution to

ed for his strikingly realistic paintings that blur the line between n for his meticulous depictions of crumpled paper, wrapped packages, formed ordinary materials into subjects of quiet visual intrigue.

yle, Edelmann rendered texture, shadow, and surface detail with pting viewers to question what is real and what is painted. His eryday materials, filling the picture plane with carefully observed folds, s. Edelmann’s work is held in major Scandinavian museum collections o late 20th-century realism.

2101

Yrjö Edelmann

(1941-2016) Blue and pink paper with tape, 1981 Oil on canvas Signed and dated in pencil lower right: Y. Edelmann 81 47 1/2 x 55 1/4 in. $10,000-15,000 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA Notes: There are remnants of an indecipherable label affixed to the stretcher, possibly from the Lillian Heidenberg Gallery, New York, NY.

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2102

Yrjö Edelmann

(1941-2016) “Unaccomplished Parcel,” 1981 Oil on canvas Signed and dated in pencil lower right: Y. Edelmann 81; titled in ink and inscribed “#5” on the stretcher 47 1/2 x 39 1/2 in. $10,000-15,000 Provenance: Galería de Arte Mexicano, Mexico City, Mexico Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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2103

Lita Albuquerque

(b. 1946) “Solar Eclipse,” 1992 Lithograph in colors with gold leaf on Coventry Vellum Edition: 11/40 Signed, dated, and numbered in pencil in the lower margin: Lita Albuquerque ‘92; Cirrus Editions, Los Angeles, CA, prntr. and pub., with their blindstamp in the lower left margin corner Image: 15 3/4 x 48 in.; Sheet: 27 1/2 x 60 1/4 in. $800-1,200 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent Literature: Bruce Davis, “Made in L.A.: the Prints of Cirrus Editions” (Los Angeles, Museum Associates, Los Angeles County Museum of Art, 1995), p. 158

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2104

Squeak Carnwath

(b. 1947) “Happy Again,” 2003 Jacquard cotton tapestry Edition: 8/8 Signed, titled, dated, numbered, and printed to label on reverse: Squeak Carnwath / The Magnolia Tapestry Project, Woven in Belgium 6 ft 8 in. x 6 ft. 10 1/2 in. approximately $5,000-7,000 Provenance: Magnolia Editions, Oakland, CA Acquired by the current owner from the above, May 2005 Exhibited: Sausalito, CA, Edith Caldwell Gallery, 2006 Notes: This lot accompanied by the original receipt from Magnolia Editions.

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2105

Kim Dingle

(b. 1951) “Crazy’s Pig (girls with dog),” 1997 Oil on panel Signed and dated in pencil, verso: Kim Dingle / 19*7; titled and dated from a gallery label affixed verso 60 1/2 x 48 in. $4,000-6,000 Provenance: Blum & Poe, Santa Monica, CA Estate, Newport Beach, CA, from the above, July 21, 1997 Notes: This lot is accompanied by a sales invoice dated July 21, 1997, from the gallery mentioned above.

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2106

Kim Dingle

(b. 1951) Untitled (Girl with chair), 1999 Oil on linen Signed and dated verso: Kim Dingle / 1999 84 x 72 in. $4,000-6,000 Provenance: Sperone Westwater, New York, NY Estate, Newport Beach, CA, from the above Notes: This lot is accompanied by additional documentation material dated January 20, 2000, from the gallery mentioned above.

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2107

Viola Frey

(1933-2004) “Untitled (Nude, Brown Suit, Orange Ground),” 1987 Pastel on two sheets of paper Signed with initials in the lower right corner of the right-hand sheet: V.F.; titled and dated on the gallery label affixed to the frame’s backing board Each Image/Sheet: 44 x 30 in.; Overall 44 x 60 in. $4,000-6,000 Provenance: Rena Bransten Gallery, San Francisco, CA Private collection, acquired from the above, September 23, 2000 Notes: This lot is accompanied by a sales invoice dated September 23, 2000, from the gallery mentioned above.

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2108

Beatrice Wood

(1893-1998) “Table Talk,” 1991 Watercolor, colored pencil, and pencil on paper Signed, titled, and dated in pencil, lower right: Beato 1991 Sight: 13 1/4 x 19 3/4 in. $1,000-1,500 Provenance: Private collection, Los Angeles, CA Sold: Artemis Fine Arts, Louisville, CO, “Fine Antiques, Ancient & Pre-Columbian Art,” December 7, 2023, Lot 187

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2109

Marlene Rose

(b. 1967) Pillar Buddha, 2008 Sand-cast glass on ste With etched signature Height overall 5 ft. 4 1 $4,000-6,000

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eel base e and date to head verso: Marlene Rose 1/2 in., width 9 in., depth 9 in.

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2110

Malcolm Morley

(1931-2018) “Port Clyde,” 1989 Cold-painted bronze Edition: 1/6 Signed, dated, numbered, and with indistinct foundry mark in the casting: Malcolm Morley 89; titled by repute Height 24 1/4 in., width 10 3/4 in. depth 2 in. $1,500-2,500 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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2111

Pino Castagna

(1932-2017) Bamboo style sculpture Fabric and thread-wrapped PVC piping on an enameled metal base with natural stones Unmarked Height of base 31 in., diameter 36 1/2 in.; tallest pole 13 ft. 1 in. $1,500-2,500

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2112

Nagakura Kenichi

(1952-2018) “Embrace,” 2001 Woven madake bamboo ikebana sculpture Together with an ebonized bamboo vessel 2 pieces Height 11 1/2 in., width 17 in., depth 13 in. $1,500-2,500 Provenance: Tigerman Himmel, Chicago, IL Private collection, Santa Ana, CA, acquired from the above By family descent Notes: A copy of the sales invoice from the abovementioned gallery accompanies the lot.

“Embrace” is a woven sculpture by Nagakura Kenishi that combines bamboo’s roots and shoots, a reflection of both growth and shadow. Nagakura, known for merging tradition with abstraction, creates fluid forms inspired by the human body and nature. A dark bamboo vase is included that can be placed inside the sculpture for the display of flowers or sticks.

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2113

Matthew McCaslin

(b. 1957) Untitled (The Looker Commission) Mixed media including clocks, light fixtures, switches, and outlets Unmarked Assembled height 13 in., width 61 in., depth 89 in., dimensions variable $3,000-5,000 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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2114

Virginia Overton

(b. 1971) Untitled Mirrored acrylic Unmarked Height 4 1/2 in., width 49 1/4 in., depth 1/8 in. $2,000-3,000 Provenance: Private collection, Santa Monica, CA Notes: This lot is accompanied by a router bit and illustrated installation instructions.

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2115

Emile Norman

(1918-2009) Ram, 1990 An embroidered and appliquéd textile hanging featuring a dimensional ram’s head with movable snout and horns, with hand-embroidered signature and date 29 1/2 x 31 1/2 in.; dowels length 35 1/2 in. $2,000-3,000

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2116

Chris Roberts Antieau

(b. 1950) “Count Your Blessings,” circa 2006 Mixed media fabric panel with appliqué and embroidery Signed lower right; titled in the composition, with small découpage image of a hand with a needle to lower left side of frame, likely the artist’s device Sight 30 x 26 in. approximately $1,000-1,500

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2117

David Pryor Adickes

(1927-2025) “Musician and Friends,” 1988 Oil on panel Signed upper left: Adickes; signed, titled, dated, and numbered in black, all verso: Adickes 1988 / DA 26 48 x 48 in. $4,000-6,000

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2118

James Jarvaise

(1924-2015) “Man From Toledo,” 1963 Oil on canvas Signed and dated lower right: Jarvaise 63; titled in pencil on the stretcher 60 x 50 in. $3,000-5,000 Provenance: Felix Landau Gallery, Los Angeles, CA Lytton Collections Sold: Clarks Fine Art and Auctioneers, Tarzana, CA, December 15, 2002, Lot 215 Private collection, Los Angeles, CA

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Harold Frank (1917-1995)

Harold Frank was raised in the tenements stint in the army, he traveled to Paris to st Art Students League, the National Acade he was a colleague of Richard Diebenkor him included Matisse, Rouault, Picasso an Amsterdam and Aubonne, Switzerland, a

s of New York and exhibited a talent for drawing at an early age. After a tudy and returned to New York in the 1950s. He attended the New York emy of Design, Pratt Institute, Chouinard Art Institute and UCLA where rn, who had a lasting influence on his work. Other artists who influenced nd Willem de Kooning. He was shown internationally in London, Paris, as well as throughout the United States from the 1960s through the 1980s.

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2119

Harold Frank

(1917-1995) Portrait of a model Oil and acrylic on paper laid to a foam board Signed lower right: H. Frank Sheet: 28 x 22 in. $2,000-4,000 Provenance: Estate of the artist K. Nathan Gallery, San Diego, CA, acquired from the above Literature: Sandie Stern, “Harold Frank Abstract Expressionist 1921-1995,” (Montebello, CA, 2001) p. 78, no. ABNUDE 1306, illustrated Notes: This lot is accompanied by a copy of the book “Harold Frank Abstract Expressionist 1921-1995” mentioned above.

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Jack Levine (1915-2010)

Social realist painter and printmaker Ja depictions of urban life, politics, and h

Born in Boston, Levine trained at the B expressionistic brushwork with sharp s crowded city scenes, politicians, busin absurd situations, exposing greed, cor masters like Honoré Daumier and Geo psychologically charged, vividly colore provocative, cementing his reputation

ack Levine was renowned for his satirical, often darkly humorous human folly.

Boston Museum School, developing a style that combined robust, social commentary. His paintings and prints frequently portray nessmen, and everyday citizens caught in morally complex or rruption, and social pretension. Drawing inspiration from European orge Grosz, Levine blended realism with exaggeration to create ed works that remain both visually engaging and intellectually n as a key figure in 20th-century American figurative art.

2120

Jack Levine

(1915-2010) “All Girl Band,” 1972 Mixed media on Arches paper laid to board Signed lower left: J Levine; titled and dated from gallery labels affixed to the frame’s backing paper Sheet: 41 x 26 1/2 in. $3,000-5,000 Provenance: Kennedy Galleries, Inc., New York, NY Debra Force Fine Art, Inc., New York, NY George Krevsky Gallery, San Francisco, CA

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2121

Ruth Gikow

(1913-1982) “Time Passes,” 1979 Oil on canvas Signed lower left: Gikow; titled and dated “1979” on gallery labels affixed to the stretcher and frame’s verso 30 x 20 in. $1,200-1,800 Provenance: Kennedy Galleries, Inc., New York, NY George Krevsky Gallery, San Francisco, CA

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2122

2123

(1905-1999) “Passive Dependency,” 1944 Ink, watercolor, and gouache on paper Signed and dated in ink lower right: Loran ‘44; signed again and titled in pencil, verso 11 3/4 x 9 in.

(1893-1978) “Ballroom” Oil on canvas Signed lower left: Rattner; titled on the frame plaque 12 x 24 in.

Erle Loran

$600-800 Provenance: Estate of the artist

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Abraham Rattner

$700-900

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2124

Alex Becerra

(b. 1989) Figural composition Mixed media including collage, crayon, glitter, and ballpoint pen on paper with a printed dot pattern verso Unsigned Sheet: 11 x 8 1/2 in. $1,000-1,500 Provenance: Private collection, Santa Monica, CA

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2125

David Wojnarowicz

(1954-1992) Motorized Map Baby Doll from “Installation #3 (the Reagan Installation),” 1984 Collaged paper and acrylic on found articulated baby doll, electrified Appears unmarked Height 6 5/8 in., width 8 1/2 in., depth 3 1/2 in. $3,000-5,000 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker Notes: The present work is a component from David Wojnarowicz’s 1984 contribution to the exhibition “USA 51X,” a USA-themed show featuring installations by artists including Futura 2000, Judy Rifka and Rich Colicchio at 51X Gallery, New York, NY. As a participating artist Wojnarowicz was given a space in the gallery where he created “Installation #3 (the Reagan Installation).” The space featured walls of newspaper pages from the time period, with a central hanging portrait of President Ronald Reagan painted on glass. Dollar bills with painted flames and a plaster head hung throughout the newspapers while the floor was littered with an empty wine glass, a Molotov cocktail in a Night Train whiskey bottle featuring an image of The White House painted on its label and the present work, a motorized baby doll crawling over broken glass.

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2126

Rick Wolfryd

(b. 1953) “Handstand Man: Flower Child,” 2023 Photopolymer resin and beads Signed, titled, and inscribed in marker to the underside: Chroma aka Rick Wolfryd / Handstand Man: Flower Child.” / TP .0004 / 2023 / 3-D Smart Labs Height 20 in., width 7 1/2 in., depth 9 in. $800-1,200

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2127

Steven Heino

(20th Century) “Effigy” Mixed media including screenprint and offset lithograph in colors on board mounted to formed panel Edition: 47/100 Signed and numbered in ink on the lower left foot: Steven Heino 55 1/2 x 16 x 1 1/4 in. $500-700 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

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2128

2129

(1923-2014) “Statue Africaine,” 2000 Each: Ink, colored crayon, and pencil on heavy cardstock Each signed and dated in ink, verso: F Bruly / 28-11-2000; titled and inscribed in French, in ink along each edge with the same inscription: “Statue Africaine: pour moi, c’est la decouverte des vestiges de l’antique race-noire. Ici ‘Gba-Gba Meunê’ le roi-serpent.”; 49 pieces Each sheet: 6 3/4 x 5 1/2 in.

(1923-2014) Thirty-two figural co Each: Ink, colored cr Each signed and da ink, along each edg Each sheet: 7 7/8 x

Frédéric Bruly Bouabré

$1,000-2,000 Provenance: Estate of the artist 2 1 0 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

Frédéric Bruly Bo

$1,000-2,000 Provenance: Estate of the artist

ouabré

ompositions, 2010 rayon, and pencil on heavy cardstock ated in ink, verso: F Bruly / 21-9-2010; each with various inscriptions in French, in ge 5 1/2 in.

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2130

Linda Besemer (b. 1957) Target Acrylic on panel Unsigned 32 in. Dia. $800-1,200 Provenance: The artist Estate, Pasadena, CA Private collection, acquired from the above by descent

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2131

Jeffrey Simmons

(b. 1968) “Soteris,” 1997 Oil and alkyd on canvas Signed, titled, and dated in ink verso: Jeffrey Simmons 1997 40 x 34 7/8 in. $800-1,200 Provenance: Greg Kucera Gallery, Seattle, WA Estate, Pasadena, CA Private collection, acquired from the above by descent

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2132

Carter Potter

(b. 1961) “Untitled (for D.R.),” 1995 Film strips on wood stretcher Signed, titled, and dated in pencil on the stretcher: Carter Potter 1995 36 x 36 in. $600-800 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

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2133

Emil Bisttram

(1895-1976) An abstract landscape, 1968 Ink and ink wash on white paper mounted to board Signed and dated in ink lower right: Bistram ‘68 Image/Sheet: 17 1/8 x 14 1/8 in.; Mount: 23 1/8 x 19 7/8 in. $1,000-2,000 Notes: On occasion the artist signed his name with only one “t.”

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2134

Budd Hopkins

(1931-2011) Abstract with black, 1970 Acrylic on paper Signed and dated lower right (currently partly obscured by the overmat): Hopkins 70; signed and dated again on the frame’s backing board: Budd Hopkins / 70-10 Sight: 26 5/8 x 19 5/8 in. $1,000-1,500

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2135

Jason Martin

(b. 1970) “Purple Wave,” 1995 Oil on nylon Signed and dated on the nylon overlap, verso: Jason Martin March ‘95; titled on a gallery label affixed to the inside of the stretcher 19 x 19 in. $6,000-8,000 Provenance: LA Louver, Venice, CA

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2136

Marcia Roberts

(b. 1946) “Estrada,” 2000 Acrylic on canvas over panel Unsigned; titled and dated “2000” on a label affixed verso 52 1/8 x 68 in. $1,000-2,000 Provenance: Kiyo Higashi Gallery, Los Angeles, CA Estate, Newport Beach, CA, from the above, February 9, 2000 Exhibited: Costa Mesa, CA, Frank M. Doyle Arts Pavilion, Orange Coast College, “Distilled Essence: Selected Artwork from the Kiyo Higashi Gallery,” August 27- October 2, 2014 Notes: This lot is accompanied by a sales invoice dated February 9, 2000, from the gallery mentioned above, and other documentation materials.

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2137

Jerold Ieans

(b. 1970) Black ovals, 1995 Mixed media including oil and resin on panel Signed, titled partially indistinctly, and dated verso: Jerold Ieans / 1995 / “Black [***]” 20 x 20 in. $1,000-2,000

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2138

Phil Binaco

(b. 1952) Untitled abstract Encaustic on panel Signed and dated verso: © / P. Binaco / 2000, 12 7/8 in. Dia. $500-700 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

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2139

Jacqueline Dreager

(1941-2017) Abstract construction Manipulated sheet metal and acrylic painted wood slats Unmarked Height of left element 6 ft. 10 1/2 in., width 3 ft. 5 3/4 in., depth 4 in.; height of the right 6 ft. 11 1/2 in., width 3 ft. 8 in., depth 4 in. $600-800 Provenance: The artist Estate, Pasadena, CA Private collection, acquired from the above by descent

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2140

Harry Bertoia

(1915-1975) Three ‘Diamond’ chairs for Knoll, late 20th/early 21st century Designed 1952 Each with white powder-coated gridded wire body and bent wire frame Unmarked 3 pieces Height of each 30 1/4 in., width 33 1/4 in., depth 29 in. $800-1,200

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2141

Arne Hovmand-Olsen

(1919-1989) A set of six dining chairs for Mogens Kold, mid-20th century With spade-form seat back above a leather upholstered seat cushion, raised on attenuated legs Each with foil label to underside: DANISH FURNITUREMAKERS CONTROL 6 pieces Height of each 34 1/2 in., width 19 1/2 in., depth 20 in. $700-900 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2142

Ib Kofod-Larsen

(1921-2003) A Modern teak extension dining table, mid-20th century Circular at its smallest, with three extension leaves, raised on attenuated legs Unmarked Height 28 1/2 in., diameter 55 in., width of each extension 19 3/4 in. $1,000-1,500 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2143

Hans Wegner

(1914-2007) A model J16 rocking chair for FDB Mobler, mid-20th century Designed 1944 Inspired by Windsor and Shaker furniture styles, the black lacquered wood chair with spindle back and curvilinear armrests above a woven jute cording seat, the legs joined by bar stretchers and set on rockers Height 42 1/4 in., width 25 in., depth 32 in. $500-700 Provenance: John Toomey Gallery, Chicago, IL

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2144

Joan Miró

(1893-1983) “Mannequin Parade in Bahia,” 1969 Lithograph in colors on Arches paper Edition: 24/75 Signed and numbered in pencil in the lower margin, Miró, possibly in another hand; Maeght, Paris, France, prntr./pub.

Image: 47 1/8 x 31 5/8 in.; Sheet: 48 7/8 x 37 1/4 in. $10,000-15,000 Literature: Mourlot 628

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2145

Joan Miró

(1893-1983) “La Captive,” 1974 Etching and aquatint in colors with carborundrum on wove paper An hors commerce impression, aside from the edition of 50 Signed and inscribed “H.C.” in the lower right and left corners, respectively: Miró; Maeght, Paris, France, prntr. and pub.

Sight: 36 x 27 1/4 in. $10,000-15,000 Literature: Dupin 489

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2146

Joan Miró

(1893-1983) “Bethsabée,” 1972 Etching and aquatint in colors on Arches paper Edition: 47/50 Signed and numbered in pencil along lower margin: Miró; Morsang, Paris, France, prntr.; Maeght, Paris, France, pub.

Plate: 26 7/8 x 21 1/8 in.; Sheet: 36 x 24 3/4 in. $3,000-5,000 Literature: Dupin 556

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2147

Joan Miró

(1893-1983) “Peintures Murales,” 1961 Lithograph in colors on Arches paper Edition: 20/100, from the edition before text Signed and numbered in pencil (the latter possibly in another hand) in the lower margin; Galerie Maeght, Paris, France, prntr. and pub.

Image: 25 x 18 in. (approx.); Sheet: 30 x 21 1/8 in. $2,000-3,000 Literature: see Mourlot 295 (for the version with text) Notes: This lithograph, with added text, was used as the poster to advertise Miro’s exhibition, “Peintures, Murales, Miro,” which was held at Galerie Maeght in Paris during June and July of 1961.

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2148

After Joan Miró

(1893-1983) “Composition sur fond vert (Composition on Green),” 1950 Lithograph in colors on wove paper An hors commerce impression, aside from the edition of 400 Signed, dated “1952,” and inscribed “H.C.” in pencil in the lower margin: Miró Image: 13 3/4 x 18 1/2 in.; Sight: 17 5/8 x 21 1/2 in. $2,000-3,000 Literature: Maeght 1703

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2149

Marc Chagall

(1887-1985) “The Summer Evening,” 1968 Lithograph in colors on Arches paper Edition: 10/50 (there were also a few artist’s proofs) Signed and numbered in pencil in the lower margin Image: 23 5/8 x 16 1/2 in.; Sheet: 30 x 20 3/4 in. $7,000-9,000 Literature: Mourlot 545

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2150

Marc Chagall

(1887-1985) Plate 6 from “Psaumes de David,” 1980 Etching and aquatint in black and ochre on wove paper Edition: 20/40 (from the deluxe edition of 40 ‘hors-texte’, aside from the bound edition of 160) Signed and numbered in pencil in the lower margin: Marc Chagall; Gerald Cramer, Geneva, pub.

Plate: 8 1/4 x 5 3/4 in.; Sheet: 14 7/8 x 11 1/4 in. $1,000-2,000 Provenance: Private collection, San Diego, CA Literature: see Cramer books 108 johnmoran.com 235

2151

Georges Braque

(1882-1963) “Nature morte les Pommes,” one plate from “Si je mourais là-bas,” 1962 Woodcut in colors on wove paper Edition: 8/70 (the total edition was 180) Signed and numbered in pencil in the lower margin: G. Braque; Louis Broder, Paris, France, pub.

Image: 7 3/4 x 11 in.; Sight: 11 3/4 x 14 3/4 in. $800-1,200 Literature: see Vallier 181

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2152

Georges Braque

(1882-1963) Untitled, one plate from “Bibliographie des ouevres de René Char de 1928 à 1963,” 1964 Cardboard engraving on paper Edition: 33/50 (there were also 50 numbered in Roman numerals) With a signature, possibly by the artist, and numbering, both in pencil in the lower margin (according to the catalogue raisonne by Dora Vallier, this “cardboard engraving in black....was printed and signed while the book was on press. It did not appear until after Braque’s death”); Pierre-André Benoit, France, prntr.; Le Demi-Jour, Riibaute-les-Tavernes, France, pub.

Plate: 9 x 5 1/2 in.; Sheet: 9 7/8 x 6 3/8 in. $600-800 Literature: see Vallier 191

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2153

Mario Bellini

(b. 1935) A set of eight ‘CAB 413’ chairs for Cassina, late 20th century Designed 1977 Each Bordeaux leather and steel and plastic frame With factory mark in the plastic mold to underside and embossed in the leather: D-11 CASSINA 8 pieces Height of each 32 1/4 in., width 22 1/2 in.; depth 21 in. $4,000-6,000

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2154

Gae Aulenti

(1927-2012) A ‘Jumbo’ Arabescato marble coffee table for Knoll, third quarter 20th century Designed 1965 The square top raised on four double-cylinder supports Unmarked 5 pieces Height of each support 14 1/4 in., width 14 in., depth 5 5/8 in.; tabletop height 1 1/4 in., width 43 3/8 in., depth 43 3/8 in. $6,000-8,000 Notes: During her career, Aulenti contributed greatly to the post-war reconstruction of Italy, particularly in Milan, where she studied at the Polytechnic University of Milan. She interpreted the tenets of “neo-liberty” to honor the history of the city and the design of its buildings rather than simply replacing them with simplified Modern forms that clashed with the ornamentation of the past. She is, however, perhaps best known for her work transforming the Beaux Arts Gare d’Orsay railway station into the Musée d’Orsay.

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2155

Angelo Mangiarotti

(1921-2012) An ‘Eros’ marble console table for Gruppo Skipper, late 20th century; Milan Designed 1971 The shaped oval top raised on two conical supports Unmarked 3 pieces Height of each support 24 1/4 in., diameter 9 1/2 in.; tabletop height 1 1/8 in., width 39 1/2 in., depth 24 5/8 in. $4,000-6,000

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Janet Polizzi (b. 20th century)

Janet Polizzi was a prominent Los Ang with antiques and objects from differe and her work was featured in major de at Decorex USA in 1997, with the Los Look.” Made of wood with a gloss ven appearing to float just above the grou

geles interior designer known for combining contemporary furniture ent periods and cultures. Her studio was located on Melrose Place, esign publications. Polizzi’s “Flying Carpet” chaise was presented Angeles Design Group (LADG) representing the “California neer finish, its sculptural form suggests a carpet caught in motion, und.

2156

Janet Polizzi

(b. 20th century) A ‘Flying Carpet’ chaise lounge, circa 1997 With near-book matched exotic wood veneer Unmarked Height 22 1/4 in., width 72 1/2 in., depth 30 1/4 in. $1,200-1,800 Exhibited: Decorex USA, Chicago, IL, June 8-11, 1997 Notes: This lot is accompanied by a digital copy of the press release from Los Angeles Design Group regarding the trade exhibition mentioned above.

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2157

Jay Spectre

(1929-1992) An ‘Eclipse’ lounge chair, circa 1980s Later reupholstered with Loro Piana alpaca/cashmere blend fabric, on a bentwood and chromed metal frame With upholsterer’s fabric tag Height 37 in., width 26 in., depth 35 in. $1,000-2,000

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2158

In the manner of Jacques Adnet

(1900-1984) A Modern metal and leather armchair, mid-20th century The enameled steel frame with leather-wrapped armrests and leather sling back and seat Unmarked Height 29 in., width 25 3/4 in., depth 21 in. $500-700

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2159

Nathan Oliveira

(1928-2010) “Western Site XIV,” 1978 Monotype with hand coloring on wove paper Signed, titled, and dated in pencil in the lower margin: Oliveira 78 Image: 20 x 17 7/8 in.; Sheet: 26 x 22 3/8 in. $2,500-3,500 Provenance: Sold: Clars Auctions, Oakland, CA, February 19, 2026, Lot 3080

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2160

Nathan Oliveira

(1928-2010) Untitled figural, 1961 Watercolor on paper Signed and dated lower right: Oliveira 61 Sheet: 7 3/4 x 6 in. $2,000-3,000

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2161

Nathan Oliveira

(1928-2010) “Cat Man,” 1994 Drypoint and aquatint in colors on wove paper Edition: 11/35 Signed, dated, and numbered in pencil in the lower margin: N. Oliveira 94; titled in pencil, verso; Daria Sywulak with Crown Point Press, San Francisco, CA, prntr./pub. with their blindstamps in the lower right margin corner Plate: 30 x 23 3/4 in.; Sheet: 40 3/8 x 32 3/4 in. $1,000-2,000

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2162

Nathan Oliveira

(1928-2010) “Profile with Baboons,” 1994 Drypoint and aquatint in colors on wove paper Edition: 35/50 Signed, dated, and numbered in pencil in the lower margin: N. Oliveira 94; Daria Sywulak for Crown Point Press, prntr. and pub., with their blindstamps in the lower right margin corner Plate: 29 1/2 x 23 5/8 in.; Sheet: 40 x 32 5/8 in. $1,000-2,000

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2163

Nathan Oliveira

(1928-2010) “Figure II,” 2007 Sugar lift aquatint with drypoint in colors with gampi paper chine collé on wove paper Edition: 11/15 (there were also 10 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: N. Oliveira 07; Ianne Kjorlie, prntr.; Crown Point Press, San Francisco, CA, pub.; with the printer’s and publisher’s blindstamps in the lower right margin corner Plate: 18 x 14 in.; Sheet: 26 x 21 in. $1,000-2,000

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2164

Gregory Kondos

(1923-2021) “Rose Bud Farm” (Sacramento River),” 1986 Monotype in colors on Arches paper Signed, titled, and dated in pencil in the lower margin: G. Kondos 1986 Plate: 24 3/4 x 36 1/2 in.; Sheet: 29 1/2 x 41 3/4 in. $600-800

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2165

William Leslie

(active 20th/21st Century) “Lanterna” light sculpture Laminated paper and wood, electrified Unmarked Height 45 in., width 42 in., depth 24 in., approximately $2,000-3,000

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2166

Cedric Hartman (b. 1929)

Three brass ‘Swivel’ floor lamps, late 20th century The single-light lamps each with brass base issuing a rotating and extendable chromed metal tubular standard, electrified Each base with impressed factory marks and numbered: CEDRIC HARTMAN / [script signature] 3 pieces Lowest height of each 36 1/4 in., width 11 in., depth 13 1/2 in. $1,200-1,800

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2167

Angelo Mangiarotti (1921-2012)

A pair of ‘Lari’ table lamps for Karakter, late 20th century Designed 1978 The two-light lamps each with hand-blown glass shade and painted metal base, electrified Each appears unmarked 2 pieces Height of each overall 15 in., width 13 3/4 in., depth 6 7/8 in. $700-900 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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2168

A Modern brass and acrylic hanging fixture

Last quarter 20th century Unmarked The brass ceiling plate issuing four strands of alternating spheres and atomic-style forms Escutcheon diameter 14 1/4 in.; each strand length 79 in.; overall height 82 in. approximately $2,000-3,000 Provenance: Galerie Glustin, Paris Private collection, acquired from the above

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2169

Lino Sabattini (1925-2016)

A silvered metal floral candelabrum, circa 1960s With eight lights joined by a central ring Unmarked Height 33 in., diameter 14 3/4 in. $1,000-2,000

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Ed Freeman (b. 1942)

Fine Art and commercial photographer and seeking out and photographing seemingly edits the pictures to create unique comput focus to a seemingly mundane part of the architecture with subjects including comple homelessness in Los Angeles, surfing, and revival.

Before turning to photography full-time mi music industry, including performing as a fo including Carly Simon and Cher, working a more than 24 albums.

Freeman has been honored with extensive Europe, and is in permanent institutional a including “Desert Realty” (Los Angeles Tim photography was also the focus of Bruno G represented by Getty Images.

In Freeman’s introduction to his 2003 book driving down what seemed like every back tripod in the middle of the street and phot observe, and it is just not in my nature to le middle of town on a bright, sunny day and of back country road at dusk, under the da of mythical, pristine state, an architectural m distractions. That’s what I see, and what I w

d educator Ed Freeman has travelled extensively throughout California y ordinary architecture and landscapes. From these in situ shots, Freeman ter-enhanced images that create heightened imagery and bring hyper cityscape. A committed “Generalist,” Freeman’s work extends well beyond ex figural compositions, floral and cacti abstractions, heroic depictions of an early 1965 portfolio of portraits of figures from the 1960’s folk music

id-career, Freeman began professionally in a number of capacities in the olk guitarist and classic lutenist, writing arrangements for leading artists as a road manager on the last Beatles’ tour, and producing and arranging

e awards and press. His work was exhibited throughout the United States and and prominent private collections world-wide. Freeman published books mes Books, 2003) and “Desert Realty” (Chronicle Books, 2007). His Gmunder’s 2000 book of exotic nudes published in Germany. Freeman is

k “Desert Realty,” the artist writes of his architectural subjects, “I spent years k road in Southern California, searching for these buildings, setting up my tographing them just as I found them. But I am never content merely to eave well enough alone. I see an old crumbling, abandoned house in the d immediately imagine how beautiful it would be isolated on a lonely stretch arkening clouds of an approaching storm...I picture the house in some sort model of itself, its essence clearly visible, unobstructed by an incongruous want to communicate.”

2170

Ed Freeman

(b. 1942) “El Morocco Motel, Bakersfield, CA,” printed in 2026 Archival pigment print on Arches 88 archival paper Edition: 2/9 Signed and numbered in pencil in the lower margins: Ed Freeman; signed, numbered, and dated in pencil verso prior to mounting; titled by the artist Image/Sheet: 40 x 40 in.; Mount: 44 x 44 in. $3,000-5,000 Literature: Ed Freeman, “Desert Realty” (Los Angeles Times Books, Los Angeles, CA, 2003), another example illustrated

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2171

Ed Freeman

(b. 1942) “Shopping Mall, Bellflower, California,” printed in 2026 Archival pigment print on Arches 88 archival paper Edition: 1/9 Signed and numbered in pencil in the lower margins: Ed Freeman; signed, numbered, and dated in pencil verso prior to mounting; titled by the artist Image/Sheet: 40 x 32 in.; Mount: 42 x 34 in. $3,000-5,000

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Melanie Pullen (b. 1975)

Melanie Pullen is a self-taught fine-art phot large-scale photography targets society’s o own voyeurism by re-dressing deeply distu

Pullen is best known for her globally recog vintage LAPD and coroner files, she restag crews. By dressing grim, tragic subjects in h violence. This iconic body of work was prom of Style: 100 Years of Fashion Photography collection.

Winner of the D&AD Yellow Pencil Award, the Vancouver Art Gallery, Museo Jumex in has published three photography books, a The New York Times, T Magazine; Los Ang Magazine; W Magazine; Flaunt Magazine;

tographer whose work directly tackles media, gender, and violence. Her obsession with glamorizing the macabre, forcing viewers to question their urbing events as beautiful, cinematic scenes.

gnized series, High Fashion Crime Scenes. Pulling directly from authentic ged historical crime scenes with high-budget precision and large production high fashion, the series brilliantly challenges the media’s exploitation of minently featured in the J. Paul Getty Museum’s landmark exhibition Icons y, and the Getty subsequently acquired several pieces for its permanent

Pullen’s photography is held in prominent institutions worldwide, including n Mexico City, the Walker Art Center, the MOCA, and the Getty Museum. She and her work has been featured in a number of publications including: geles Times; Vogue; Esquire Magazine; ELLE; London’s Independent; Spin 1814 Magazine; Rolling Stone Magazine, Vanity Fair, etc.

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2172

Melanie Pullen

(b. 1975) “LA River,” from the “High Fashion Crime Scenes” series, 2003 C-Print on paper Edition: 1/10 Signed, dated and numbered with “©” verso, confirmed by the artist and based on a photograph affixed to the frame’s backing paper; titled by the artist and on the sales invoice Sight: 41 x 28 1/4 in. $2,000-4,000 Provenance: Ace Gallery, Los Angeles, CA Notes: This lot is accompanied by a photocopy of a sales invoice dated August 24, 2004, from the gallery mentioned above.

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2173

Melanie Pullen

(b. 1975) “Vegas,” from the “High Fashion Crime Scenes” series, 2003 C-Print in colors on paper Edition: 1/10 Signed, dated and numbered with © verso, confirmed by the artist and based on a photograph affixed to the frame’s backing paper; titled by the artist and on the sales invoice Sight: 28 3/4 x 43 in. $2,000-4,000 Provenance: Ace Gallery, Los Angeles, CA Notes: This lot is accompanied by a photocopy of a sales invoice dated August 24, 2004, from the gallery mentioned above.

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2174

Melanie Pullen

(b. 1975) “Anna and the Grass,” from the “High Fashion Crime Scenes” series, 2003 C-print in colors on paper Edition: 5/15 Signed, dated and numbered with “©” verso, confirmed by the artist and based on a photograph affixed to the frame’s backing paper; titled by the artist and on the sales invoice Sight: 19 1/2 x 29 3/4 in. $2,000-4,000

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2175

Ralf Kaspers

(b. 1957) “Tribute in Light III,” 2002 C-print in colors on paper face mounted to acrylic, as issued From the edition of unknown size Signed and dated in ink in the lower left of the image: R. Kaspers 02; titled on the artist’s website Image: 54 x 77 1/4 in.; Sheet: 70 1/2 x 93 1/4 in. $2,000-4,000

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2176

Ralf Kaspers

(b. 1957) “Reichstag - Berlin 96,” 2002 C-print in colors on paper face mounted to acrylic, as issued Edition: 1/7 Signed in ink in the lower right of the image: Ralf Kaspers; signed again, dated “20/03/2002,” numbered, and inscribed “Düsseldorf,” in ink, all on the artist’s label affixed verso; titled by repute Image: 58 1/2 x 58 1/2 in.; Sheet: 70 1/4 x 70 1/4 in. $1,500-2,500

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2177

Ralf Kaspers

(b. 1957) Untitled, grassy landscape, 2002 C-print in colors on paper face mounted to acrylic, as issued Edition: 3/7 Signed in ink in the lower right of the image: Ralf Kaspers; signed again, dated “20/03/2002,” numbered, and inscribed “Düsseldorf,” in ink, all on the artist’s label affixed verso; titled by repute 27 x 118 1/4 in. $1,500-2,500

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2178

Ralf Kaspers

(b. 1957) Untitled, abstract debris, 2002 C-print in colors on paper face mounted to acrylic, as issued Edition: 2/7 Signed in ink in the lower right of the image: Ralph Kaspers; signed again, dated “20/03/2002,” numbered, and inscribed “Düsseldorf,” in ink, all on the artist’s label affixed verso Image: 58 1/2 x 58 1/2 in.; Sheet: 70 1/4 x 70 1/4 in. $1,500-2,500

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2179

Tony Berlant

(1941-1998) “Shibui and Fugen (#37-2000),” 2000 Found metal collage with steel brads on panel Signed, titled, and numbered in black, all on the verso: Berlant; dated on a gallery label affixed verso 15 3/4 x 19 1/4 in. $2,000-4,000 Provenance: L.A. Louver Gallery, Venice, CA Peter Blake Gallery, Laguna Beach, CA Notes: This lot is accompanied by a sales invoice dated December 3, 2001, from Peter Blake Gallery.

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2180

Tony Berlant

(1941-1998) Untitled (Cube with map motif) Found metal collage with steel brads on wood Unmarked 8 1/8 in. cubed $2,000-3,000 Provenance: Private collection, Santa Fe, NM, acquired directly from the artist, circa 1970s Notes: This work features a rattle inside.

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2181

Richard Prince

(b. 1949) “Untitled (Drawing 628),” 1987 Ink on paper Signed with initials and dated lower right: RP 87; titled and alternatively dated “1991” on a label affixed to the frame’s backing board Sheet: 7 1/4 x 11 1/2 in. $3,000-5,000 Provenance: Stuart Regen Gallery, Los Angeles, CA Notes: Proceeds from the sale of this lot will go to benefit the International Society of Appraisers.

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Sam Francis (1923-1994)

Sam Francis was a leading figure in post-World War II Ame compositions not only reflect his artistic engagement with Asia. His style evolved significantly throughout his career, r Expressionism, his work transcends any single movement, around 1978, Francis’s work displayed a mature synthesis o

Born in 1923 in San Mateo, California, Francis was initially World War II, but in 1943 he was injured in a flight-training until 1947. During this four-year period of recovery, he pur returned to UC Berkeley, he decided to study art under the theories of color combination and the notion that artists sh picture plane.” This foundation was pivotal for Francis’s fut

After graduating from UC Berkeley in 1950 with a degree garde scene. European masters like Monet and Matisse sig works. This period marked the beginning of his signature s

Francis lived briefly in New York before returning to Califor except for a few years in Japan during the 1970s. In Japan Japanese art circles and Zen Buddhism. “Zen and Jungian series of alchemically-themed canvases, inspired by the Sw “sumi-e” (Japanese ink painting) and the concept of “ma” brushstrokes evoke a sense of boundless energy and tranq expression.

Despite facing health challenges, including a battle with ca passed away on November 4, 1994, leaving behind a rich his place as a major figure in 20th-century art. His works ar Pompidou in Paris, and the Tate Gallery in London. Sam Fr heights of international acclaim, his life and work exemplify invite viewers to experience the world through his unique enduring presence in the ever-evolving narrative of moder

erican art, known for his use of vibrant colors and expressive abstraction. His bold splashes and lyrical light and space but are also influenced by his American roots and extensive travels across Europe and reflecting both firsthand experiences and broader artistic trends. While often associated with Abstract embodying a profound synthesis of Eastern and Western aesthetics. By the late 1970s, particularly of his earlier influences and his unique artistic voice.

a pre-med student at the University of California, Berkeley. He enlisted in the Army Air Corps during g accident. Consequently, he developed spinal tuberculosis, which left him bedridden and in the hospital rsued art to reignite his passion and creativity during a particularly challenging time. When Francis he guidance of German modernist Hans Hofmann. Hofmann’s curriculum “emphasized the ‘push-pull’ hould abandon the last remnants of illusionism and fully embrace the inherent two-dimensionality of the ture career.

in art, Francis moved to Paris, France, where he absorbed European modernist influences and the avantgnificantly impacted him, and the luminosity and atmospheric lighting of Paris profoundly influenced his style, characterized by broad fields of vibrant colors, abstraction, and the interplay of light and space.

rnia, specifically Santa Monica, in 1962. He stayed in Santa Monica for a significant part of his later career, n, Francis explored the country, studied Eastern philosophy and aesthetics, and immersed himself in n psychology informed his later work. While undergoing Jungian analysis in the ‘70s, Francis painted a wiss psychologist’s interest in the subject. These dealt with dreams, death, and rebirth.” The influence of ” (the space between objects) became evident in his work. His use of negative space and the fluidity of quility, highlighting his ability to synthesize disparate cultural influences into a cohesive and unique artistic

ancer, Francis remained prolific, creating works that continued to evolve in complexity and depth. He legacy. His contributions to abstract art, particularly his innovative use of light and color, have cemented re held in major collections worldwide, including the Museum of Modern Art in New York, the Centre rancis’s artistic journey is a testament to the transformative power of art. From the trauma of war to the fy the resilience and creativity of the human spirit. His vibrant canvases, filled with dynamic color and form, vision. As we continue to explore and celebrate his contributions, Sam Francis’s art remains a vibrant and rn art.

2182

Sam Francis

(1923-1994) “Untitled (Composition),” circa 1957 Watercolor on paper Unsigned; indistinctly inscribed in pencil, verso, possibly in another hand (or hands); titled from the listing in the Sam Francis online catalogue raisonné Image/Sheet: 27 1/4 x 19 5/8 in. $6,000-8,000 Provenance: Sold: Sotheby’s New York, “Contemporary Art,” May 9, 1984, Lot 3 Sold: Sotheby’s New York, “Contemporary Art, Part II,” May 5, 1987, Lot 109 Selections from the Estate of Robert and Mary Macbeth Looker Literature: Registered with the Sam Francis Foundation as archive number SFF5.439. Francis Archive SF57-102, illustrated Notes: The Sam Francis Foundation online catalogue raisonne indicates that Francis created this work while in Paris. It also states that, “SFF5.439 has been associated with both the Gimpel Fils Gallery, Ltd. and Brook Street Gallery, London as being exhibited or owned by them at one time prior to May 1984.”

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2183

Ed Ruscha

(b. 1937) “US,” 1994 Mixographia in colors on thick handmade paper Edition: 70/75 (there were also 7 artist’s proofs and 7 hors commerce impressions) Signed, dated, and numbered in pencil in the lower corners: Ed Ruscha ‘94; Luis Remba for Mixografia Workshop, West Hollywood, CA, prntr./pub.

Image/Sheet: 23 1/4 x 32 1/8 in. $10,000-15,000 Provenance: Judith Slutzky / Nancy Sheffner Contemporary Art, Newport Beach, CA Private collection, acquired from the above, June 14, 1996 Exhibited: Minneapolis, MN, Walker Art Center (June 13-Sept. 5, 1999); Los Angeles, CA, County Museum of Art (June 6-Aug. 28, 2000); Tampa, FL, University of South Florida Contemporary Art Museum (Oct. 6-Jan. 5, 2001): “Edward Ruscha: Editions 1962-1999.”

Literature: Engberg 221

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2184 RETNA

(b. 1979) Untitled Acrylic, gold paint, and glitter on fabric Appears unsigned 115 x 55 in. (irreg.) $10,000-15,000 Provenance: Private collection, Venice, CA, acquired directly from the artist

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2185 RETNA

(b. 1979) Untitled Acrylic and glitter on fabric Appears unsigned 92 x 54 in. $10,000-15,000 Provenance: Private collection, Venice, CA, acquired directly from the artist

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Kehinde Wiley (b. 1977)

Kehinde Wiley is a world-renowned conte American mother and a Yoruba father fro enrolled him and his twin brother in art cl Russia, and at age 20, he spent time with and Wiley earned a BFA from the San Fra

While primarily a painter whose composit sub-genre for the artist. Subjects like the artistic traditions that have historically foc heroic postures are executed in a hyper r Black subjects and the canonical history o

In “Houdon Paul-Louis,” Wiley reimagine Houdon, replacing Houdon’s typical white zippered hoodie. The sculpture maintains subject by modernizing the identity and c traditional European art and questions wh past with the present and gives a contem to European figures.

emporary American artist who was born in Los Angeles to an African om Nigeria. He was interested in art from a young age, and his mother lasses in Los Angeles. By 12, Wiley had studied briefly at an art school in h his father and family in Nigeria. His art studies continued back in the US ancisco Art Institute in 1999 and an MFA from Yale University in 2001.

tions often reference the Old Masters, Wiley’s bronze busts are a powerful present work “Houdon Paul-Louis” insert African American subjects into cused on white and powerful figures. Wiley’s subjects posed in classical, realist sculpture style that creates a direct narrative link between modern of European art.

es an eighteenth-century bust by the French sculptor Jean-Antoine e female subject with a contemporary young Black man dressed in a s a Houdon-like classical pose and style while radically modernizing the clothing of the person being represented. By doing this, Wiley challenges ho is usually shown as important or powerful. The sculpture combines the mporary Black subject the same importance and dignity traditionally given

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2186

Kehinde Wiley

(b. 1977) “Houdon Paul-Louis,” 2010/2011 Patinated bronze on granite socle Edition: Artist Proof 1/2 (aside from the numbered edition of 3) Signed, dated, and numbered beneath the left shoulder: Kehinde Wiley © / 2012 Published by Kehinde Wiley Studio Inc. Height overall 34 1/2 in., width 26 in., depth 19 in. $60,000-80,000 Provenance: Roberts & Tilton, Culver, City, CA Private collection, Pacific Palisades, CA, acquired from the above, 2012 Notes: This sculpture is accompanied by an original Certificate of Authenticity signed by the artist and dated June 19, 2012.

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2187

Joe Goode

(b. 1937) “OWP 57 (Oil and Water Painting),” 2001 Oil on canvas stretched over panel Unsigned; titled in black ink verso; with the artist’s studio label affixed verso 32 3/8 x 36 1/4 in. $7,000-9,000 Provenance: Peter Blake Gallery, Laguna Beach, CA Estate, Newport Beach, from the above, December 3, 2001 Notes: A sales receipt dated December 3, 2001 accompanies this lot.

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2188

Joe Goode

(b. 1937) Untitled, 1978 Lithograph in colors with razor blade impression by artist on wove paper One of two artist’s proofs, aside from the edition of 30 Signed, dated, and inscribed “AP” in white pencil in the lower right and left sheet corners, respectively: J. Good 78; William Law III, prntr., Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner and their ink stamp and pencil work number, 250c-JG78, verso Image/Sheet: 28 x 40 in. $800-1,200 Provenance: The Personal Collection of Jean Milant Literature: Bruce Davis, “Made in L.A.: The Prints of Cirrus Editions,” (Los Angeles, CA, Los Angeles County Museum of Art, 1995) p. 248, another example illustrated

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2189

Joe Goode

(b. 1937) Untitled, 1978 Lithograph in colors with razor blade impression by artist on wove paper A trial proof, aside from the edition of 30 Signed, dated, and inscribed “TP” all in white pencil in the lower right and left sheet corners, respectively: J. Good ‘78; inscribed “trial proof” and “folded twice - printed screen side,” all in pencil, verso; Cirrus Editions, Los Angeles, CA, prntr. and pub., with their blindstamp in the lower left sheet corner and their ink stamp, verso Image/Sheet: 28 x 40 in. $800-1,200 Provenance: The Personal Collection of Jean Milant Literature: Bruce Davis, “Made in L.A.: The Prints of Cirrus Editions,” (Los Angeles, CA, Los Angeles County Museum of Art, 1995) p. 248, another example illustrated

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2190

Joan Miró

(1893-1983) “L’Adorateur du soleil,” 1969 Etching, aquatint and carborundrum in colors on Arches paper An hors commerce impression (aside from the edition of 75) Signed and inscribed “HC” in pencil near the lower right and left corners, respectively: Miró; Morsang, Paris, France, prntr.; Maeght, Paris, France, pub.

Image/Sheet: 41 5/8 x 26 3/4 in. $10,000-15,000 Literature: Dupin 483 Notes: There is an undated “Certificate of Authentication” issued by Hang-Ups Fundraising Art Auctions, Orange, CA, affixed to the frame’s backing paper

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2191

Joan Miró

(1893-1983) “Tir à l’Arc,” 1972 Etching, aquatint, and carborundrum in colors on Arches paper An hors commerce impression, aside from the edition of 50 Signed and inscribed “HC” in pencil in the lower margin: Miró; Morsang, Paris, France, prntr.; Maeght, Paris, France, pub.

Plate: 33 3/4 x 24 1/2 in.; Sheet: 41 3/8 x 29 1/2 in. $8,000-12,000 Literature: Dupin 554

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2192

Joan Miró

(1893-1983) “Pygmees Sous la Lune,” 1974 Etching and aquatint in colors on wove paper An hors commerce impression, aside from the edition of 50 Signed and inscribed “H.C.” in the lower margin: Miró; Maeght, Paris, France, prntr. and pub.

Plate: 21 1/8 x 26 3/4 in.; Sight: 26 x 30 1/2 in. $5,000-7,000 Literature: Dupin 562

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2193

Joan Miró

(1893-1983) Poster for the exhibition “Bronzes,” Hayward Gallery, London 1972 Lithograph printed in colors on wove paper Edition: 95/150, from the edition before lettering Signed and numbered in pencil in the lower margin: Arte Adrien Maeght, Paris, France, prntr.; Arts Council, London, England, pub.

Image: 31 x 23 1/4 in.; Sight: 33 1/2 x 23 1/2 in. $2,000-3,000 Literature: Mourlot 846

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2194

Joan Miró

(1893-1983) Poster for the exhibition “Peintures, gouaches, dessins,” 1972 Lithograph in colors on wove paper Edition: 117/150 Signed and numbered in pencil in the lower margin: Miró; Arte Adrien Maeght, Paris, France, prntr.; Galerie Maeght, Zurich, Switzerland, pub.

Sight of Image: 28 x 13 in.; Sheet: 30 3/8 x 14 7/8 $2,000-3,000 Literature: see Mourlot 841 (for the version with letting)

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2195

Joan Miró

(1893-1983) Poster for the exhibition “Miró,” Galerie Maeght, Paris, 1978 Lithograph in colors on wove paper Edition: 24/75, from the edition before lettering Signed and numbered in pencil in the lower margin: Miró; inscribed “Affiche avant lettre 169” in pencil, in another hand, verso; Maeght, Paris, France, pub.

Sight: 29 5/8 x 21 1/2 in. $1,000-1,500 Literature: Maeght 1171 Notes: This lot is accompanied by a certificate of authenticity issued by Original Print Collectors Group, Ltd., New York, NY.

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2196

Richard Deacon

(b. 1949) “Tomorrow, and tomorrow, and tomorrow (a),” 1999 Glazed ceramic Appears unmarked Height 6 ft. 1 in., width 29 in., depth 27 in. $10,000-12,000 Provenance: L.A. Louver Gallery Private collection, acquired from the above

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2197

Pablo Picasso

(1881-1973) “Chouette femme,” conceived 1951 White earthenware vase with black engobe and white glaze From the edition of 500 Painted on the underside: EDITION / PICASSO / MADOURA; impressed: MADOURA / PLEIN FEU / EDITION PICASSO Height 11 1/4 in., width 8 3/4 in., depth 6 in. $4,000-6,000 Provenance: Private collection, Irvine, CA By family descent Literature: Alan Ramie 119

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2198

Pablo Picasso

(1881-1973) “Tête de chèvre de profil,” conceived 1950 Glazed earthenware and engobe From the edition of 200 Impressed to underside: MADOURA PLEIN FEU / EMPREINTE ORIGINALE DE PICASSO / EDITION PICASSO Height 1 1/8 in., width 10 1/8 in., depth 9 3/4 in. $4,000-6,000 Literature: Alan Ramie 111

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Beatrice Wood (1893-1998)

Beatrice Wood lived to just nine days shy of to become an artist, she studied painting at outbreak of World War I, she returned to the York. There she became involved with Marc Man, an early expression of the Dada move gatherings included artists such as Man Ray was later known as the “Mama of Dada.”

Wood’s transition to ceramics began in 1930 not find a matching teapot. She enrolled in teapot took time to realize, Wood discovere luster techniques, initially producing dinnerw approach to luster glazing.

In 1947, Wood settled in Ojai, California, wh following the teachings of philosopher Jidd moved from functional ceramics toward dec art and entered galleries and museum colle central focus of her career.

This teapot brings together the elements of her to ceramics, while its multi-hued green-g The work was originally from Wood’s Ojai st held in a prominent Pasadena collection. Th of work that established her place in Americ

f her 105th birthday. Born to wealthy socialites who disapproved of her desire t the Académie Julian in Paris and acting at the Comédie-Française. With the e United States and began acting with a French repertory company in New cel Duchamp and Henry-Pierre Roché, with whom she helped create The Blind ement. Through her friendships with Walter and Louise Arensberg, whose y and Francis Picabia, Wood became part of New York’s avant-garde circle and

0, when she returned from Europe with a set of Persian luster plates but could a ceramics class at Hollywood High School to make one herself. Although the ed an interest in clay and the glazing process. She devoted herself to studying ware and utilitarian forms to support her studio while developing her own

here she established a home and studio while studying Theosophy and du Krishnamurti. In Ojai, she continued refining her luster glazes and gradually corative vessels. By the early 1970s, her work had gained recognition as fine ections. Although she also made drawings and paintings, ceramics became the

f Wood’s mature luster ceramics. Its form relates to the experience that first led gold surface reflects the luster techniques she developed in her Ojai studio. tudio, was first exhibited at the Gary Clark Gallery in Los Angeles, and was later he teapot connects Wood’s early encounter with Persian lusterware to the body can ceramic art.

2199

Beatrice Wood

(1893-1998) A lustre glazed earthenware ewer, 1989 With stopper, the body molded with figures to each side depicted with hands clasped together Signed and dated to underside: BEATO; numbered to foot rim: B 176 Height 13 1/4 in., width 14 in., depth 9 in. $1,000-2,000 Provenance: The artist’s studio, Ojai, CA Garth Clark Gallery, acquired from the above, 1990 From a prominent Pasadena collection, acquired from the above, 1990 Frank Lloyd Gallery, Los Angeles, CA, acquired from the above, 1998 Private collection, Palm Springs, CA, acquired from the above, 1998 Exhibited: Garth Clark Gallery, Los Angeles, CA, 1990

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2200

David James Gilhooly III

(1943-2013) “St. Christopher Frog” Glazed ceramic Unmarked Attributed and titled to gallery card affixed to underside, with number: A5807 Height 17 1/2 in., width 10 1/4 in., depth 11 3/4 in. $2,000-3,000 Provenance: Horwitch Newman Gallery, Scottsdale, AZ Private collection, acquired from the above, February 22, 1997 Notes: This lot is accompanied by the original purchase receipt from the abovementioned gallery.

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2201

Marcello Fantoni (1915-2011)

A glazed earthenware cubist sculpture, late 20th/early 21st century Signed to underside: [artist’s device] / Fantoni / Italy Height 18 in., width 6 1/2 in., depth 7 in. $1,200-1,800

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Harrison McIntosh (1914-2016)

A Harrison McIntosh stoneware expression is in studio in Claremont, CA, McIntosh threw a har appreciation for natural forms, spanning a care

Born In Vallejo, CA to artistically supportive pa class at University of Southern California under to Los Angeles, where he honed his craft unde 1948-1952. This time was meaningfully punctu led by his future wife Marguerite Wildenhain at champion and supporter, and her love of natur

Aside from Marguerite, McIntosh also drew a p Japanese potter Shoji Hamada toured the Unit demonstrating the mingei techniques and phil of his peers, McIntosh took to heart the “selfle process. McIntosh applied this approach, remo simplicity and subtle perfectionism to emerge.

By the mid-1950s, his ceramics had become sy grown into a design obsession marketed natio “House Beautiful” and “Art and Architecture” Nelson, and friend Sam Maloof. Locally, his wo venues as the Los Angeles County Fair, Califor Auditorium including the “California Living” sh

Throughout his career, his work has been show Louis Newman Galleries, and Frank Lloyd Galle including LACMA, the American Craft Museum

nstantly recognizable and timeless, although distinctly Southern Californian. From his rmonious aesthetic of clean lines and geometric symmetry together with an eer of over 60 years.

arents, the family later moved to Los Angeles, where Harrison took his first ceramics r instructor Glenn Lukens. After serving in the Army during World War II, he returned er Al King in 1947 and Richard Peterson at the Claremont Graduate School from uated by a Bernard Leach seminar at Mills College in 1950 and a summer workshop t Pond Farm in Guerneville, CA in 1953. Marguerite would prove to be his greatest re and design was a primary inspiration for his life’s work.

profound inspiration from Japanese mingei ceramics. In the early 1950s, treasured ted States accompanied by Bernard Leach and philosopher Soetsu Yanagi, losophies that date back to the Momoyama period (late 16th century). Like many essness” and “spontaneity” that Hamada espoused as core tenets to the mingei oving his ego and the intention of artfulness from his focus, allowing for an elegant .

ynonymous with the California aesthetic, which during the post-World War II era had onwide. His pottery vessels were featured in nationally distributed magazines such as alongside international designers like Isamu Noguchi, Peter Voulkos, George ork was staged in room vignettes that showcased the Modern aesthetic at such rnia Design Shows at the Pasadena Art Museum, and shows held at the Pan Pacific how held in 1957, curated in tandem by McIntosh and Maloof.

wn at Los Angeles institutions such as Bullocks Wilshire, Craft and Folk Art Museum, ery. Today, collections of his work can be found in museums around the world m in New York, the Museum of Fine Arts in Boston, and The Louvre in Paris.

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2202

Harrison McIntosh

(1914-2016) A glazed stoneware bowl, mid-20th century With brown and black glazes and carved lines Impressed with potter’s chop mark: HM; applied paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California; with artist’s applied paper label and inventory number: #66257 Height 3 in., diameter 5 1/2 in. $500-700

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2203

Norman Rockwell

(1894-1978) “Triple Self-Portrait” Lithograph in colors on Arches paper Edition: 39/200 Signed and numbered in pencil in the lower margin; Eleanor Ettinger Inc., New York, NY, prntr., with their blindstamp in the lower left margin corner; Curtis Publishing Company, Philadelphia, PA, pub.

Image: 26 x 20 in.; Sheet: 31 1/2 x 24 1/8 in. $5,000-7,000 Notes: Norman Rockwell painted “Triple Self-Portrait” as the cover design for the February 13, 1960 issue of “The Saturday Evening Post.”

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Tarmo Pasto (1906-1986)

Tarmo Pasto, a noted psychologist and art pro lifetime. Born in Estonia in 1906, Pasto immigra at Sacramento State College.

As an artist, Pasto’s paintings are known for the that understanding the psychological aspects o pieces reflect his dual fascination with the hum artists working in and around the Sacramento a such as Mel Ramos, Wayne Thiebaud, and Jac Museum, Sacramento, CA, which holds examp

In psychology, Pasto is best known for his role Ramirez. Ramirez was a self-taught Mexican art institutions. Pasto recognized the unique value attention. This advocacy not only highlighted t also emphasized the therapeutic and commun

In 1986, four years after a retrospective at the C has remained unseen by subsequent generatio psychology. His dual impact on these fields con demonstrates that the boundaries between dis

ofessor, was also a prolific painter who frequently exhibited his paintings during his ated to the United States, where he pursued his education and became a professor

eir expressionistic style, marked by bold colors and dramatic forms. Pasto believed of perception and mental states could deepen the artistic process. Many of his man psyche and visual expression. Furthermore, Pasto was a key figure in a circle of area during the post-war period. This loose coalition of artists, which includes figures ck Ogden, is known for exhibiting their work at institutions such as the Crocker Art ples of Pasto’s work in its permanent collection.

in discovering and promoting the work of the so-called “Outsider” artist Martin tist who created intricate and mesmerizing works while confined in mental health e of Ramirez’s art, advocating for its display and helping to bring it to the art world’s the creative potential of those considered “Outsiders” in traditional art circles but nicative potential of art for those experiencing mental illness.

Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that ons of viewers. Pasto’s legacy endures as an advocate for the intersection of art and ontinues to influence artists, psychologists, and educators alike, as his work sciplines can be both fluid and enriching.

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2204

Tarmo Pasto

(1906-1986) “Marin Sunset,” 1971 Oil on canvas Signed and dated lower right: Tarmo ‘71; titled on the stretcher 36 x 44 in. $2,000-4,000 Provenance: Estate of the artist

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2205

Tarmo Pasto

(1906-1986) “Mts with Sand Dunes,” 1974 Oil on canvas Signed and dated lower left: Tarmo Pasto 74; titled in pencil on the frame’s verso 32 x 46 in. $1,500-2,500 Provenance: Estate of the artist

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2206

Tarmo Pasto

(1906-1986) “Moonlit Sea,” 1965 Oil on canvas Signed and dated lower left: Tarmo Pasto ‘65; signed “T. Pasto,” titled, and inscribed with the artist’s address, all in pencil on the frame’s verso; inscribed “118-55” in black crayon on the stretcher 20 x 32 in. $1,000-1,500 Provenance: Estate of the artist

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2207

Jessica Warboys

(b. 1977) “Sea Painting, Malabo,” 2014 Pigment on unstretched canvas Unsigned 128 1/2 x 79 in. $2,000-3,000 Provenance: Galerie Gaudel de Stampa, Paris, France Private collection, Santa Monica, CA, from the above, 2014 Notes: A copy of the purchase invoice from Gaudel de Stampa, S.A.R.L., Paris, France, dated March 8, 2014, accompanies this lot.

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Edward Moulthrop (1916-2003)

Edward Moulthrop was an American ar woodturning as a contemporary art for large-scale wooden vessels, using the n Based in Atlanta, Moulthrop began wo his monumental vessels and innovative

rchitect and pioneering woodturner whose work helped establish rm. Trained as an architect, he brought an architectural approach to natural grain and form of the wood as an essential part of each piece. orking full-time as a woodturner in the 1970s and became known for e techniques.

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2208

Edward Moulthrop

(1916-2003) A turned cherry wood bowl, mid/late 20th century Incised signature and inscription to underside: MOULTHROP / WILD CHERRY; stamped with artist’s device Together with signed hardcover book: Wallace, Kevin. “Moulthrop: A Legacy in Wood.” Louisville, KY: Crescent Hill Books, 2007 Signed First Printing Signed by Philip and Matt Moulthrop, with gift inscription Height of bowl 6 in., diameter 10 in.; height of book 12 3/8 in., width 9 3/4 in., depth 7/8 in. $2,000-3,000

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2209

Philip Moulthrop

(b. 1947) A turned spalted red maple vessel, early 21st century Etched signature, number and date to underside: PCM / Philip Moulthrop / SPALTED RED MAPLE / Acer Rubrum / 710020 Height 14 in., diameter 15 3/4 in. $1,500-2,500 Provenance: Private collection, Las Vegas, NV

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2210

Gianfranco Angelino (1938-2010)

A patchwork wood bowl, 1990s Pine, yew, Tree of Heaven, larch root, and epoxy resin Signed to underside: G. Angelino Height 5 1/2 in., diameter 11 3/4 in. $800-1,200 Provenance: The Mano Gallery, New York Collection of Mimi Livingston, acquired from the above, 1994 Sold: Rago Auctions, Lambertville, NJ, “Craft Unlimited,” August 20, 2025, Lot 407 Private collection, acquired from the above

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2211

Johannes Michelsen (b. 1945) Two works:

“Geisha” African blackwood, lacquer Unmarked Height 15 3/8 in., diameter 15 3/4 in.

Untitled, 1989 Spalted maple burl, ebony Signed, dated, and numbered in ink to underside: Johannes Michelsen / ‘89 #H97 Height 10 1/8 in., diameter 9 3/8 in.

2 pieces $500-700 Provenance: “Geisha”: del Mano Gallery, Los Angeles, CA Untitled: Fordham University Craft Show Collection of Don Roy King Sold: Rago Auctions, Lambertville, NJ, “Craft Unlimited,” August 20, 2025, Lot 405 Private collection, acquired from the above This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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2212

Giles Gilson

(20th Century) Untitled, 1994 Carved wood, enamel, mixed media Etched with signature and date: GILSON / 8/94 Height 8 1/4 in., diameter 7 7/8 in. $700-900 Provenance: Private collection, Las Vegas, NV

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2213

Bud Tullis

(1938-2017) A sculpted walnut and metal music stand, circa 1990 The sheet music rest with adjustable height and vertically swiveling angle With burn marked signature: Bud Tullis; impressed: 0205 Height 81 1/4 in., width 26 in., depth 39 1/2 in., dimensions variable $2,000-3,000 Provenance: Sold: Billings Auctions, Los Angeles, CA, “Winter Modern Art & Design Auction,” December 11, 2021, Lot 238 Private collection, acquired from the above

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2214

An A. L. Swanson maple table and set of four chairs

2011-2012 Comprising a burlwood veneer table with foliate inlay top, and a set of four side chairs with associated seat cushions Table signed and dated to underside in ink: November 2011 / Helena, Montana / A L Swanson; each chair signed, dated, and inscribed: Handmade with pride for / [redacted] / January 2012 / A L Swanson 5 pieces Height of table 30 1/4 in., width 36 3/4 in., depth 36 3/4 in.; height of each chair 36 1/2 in., width 19 1/2 in., depth 23 1/2 in. $1,000-2,000 Notes: This lot is accompanied by an A. L. Swanson gallery postcard.

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2215

Randy Bader (20th Century)

A Contemporary rocking chair, footstool, and side table, late 20th/early 20th century Comprising a spindle-back rocking chair with matching footstool, each with upholstered cushion, and a glass-top trapezoidal side table Chair etched with signature and date: Randy Bader woodworking 4-6-1996; table also signed and dated: 3-3-2006; chair and footstool each with tag: Burger Quality Upholstery 3 pieces Height of chair 41 1/4 in., width 28 3/4 in., depth 46 1/4 in.; height of ottoman 12 1/4 in.; height of side table 24 1/4 in., width 29 in., depth 20 1/4 in. $1,000-1,500 Provenance: Side table acquired from the artist’s studio, 2005 Rocking chair and footstool acquired from the artist’s studio, 1996 Private collection Notes: This lot is accompanied by purchase receipts from the artist’s studio mentioned above.

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2216

Randy Bader (20th Century)

A Contemporary console table, 2006 With inset glass top and arched stretcher Etched with signature and date: Randy Bader / woodworking / 3-3-2006 Height 30 1/4 in., width 72 in., depth 14 1/4 in. $400-600

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2217

R. Kenton Nelson

(b. 1954) “A Service and Mrs. Grafton” Oil on Masonite Signed lower right: R. Kenton Nelson; titled by repute 37 1/2 x 37 1/2 in. $12,000-18,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist

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2218

R. Kenton Nelson

(b. 1954) “Great A, Mister B” Oil on canvas Signed lower left: R. Kenton Nelson; titled by repute 24 x 24 in. $8,000-12,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist

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2219

R. Kenton Nelson

(b. 1954) “The Scarlet Moving Van” Oil on Masonite Signed lower right: R. Kenton Nelson; titled on a label affixed to the frame’s backing paper 24 x 24 in. $8,000-12,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist

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2220

R. Kenton Nelson

(b. 1954) “The Breezeway Near Jim’s” Oil on Masonite Signed lower right: R.K. Nelson; titled by repute 12 x 12 in. $4,000-6,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist

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Jean Picart Le Doux (1902-1982)

Jean Picart Le Doux was a leading figure in in 1943, creating tapestry cartoons or ‘carto commissions by l’État, or the French State, m Gobelins. His most spectacular works were ‘France,’ and the Creuse Prefecture. Picart L Cartoon Painters) and later a professor at th

As a close associate of Jean Lurçat (1892–19 tapestry weaving traditions of Aubusson and return to the vibrant, flat storytelling of med full-scale design models filled with specific p density of the weave, rather than following o

This shift in process enabled weavers to mo precise instructions into tactile textures and introducing the use of a limited color palette shared new ideas contributed to making mo and scale of production, and thus more com

While Picart Le Doux’s design concepts mirr described as more distinctly decorative than stars, as well as the elements, nature motifs As featured in this surreal composition in a l a recurring motif for the artist during the firs bordering the cage-like structures illustrated

the mid-20th century revival of tapestry art, and began working in the field ons chiffrés’ for the ocean liner ‘La Marseillaise.’ He was given numerous mostly woven at Aubusson, with some produced at the Manufacture des created for the University of Caen, the Le Mans Theatre, the ocean liner Le Doux was a founding member of the A.P.C.T. (Association of Tapestry he École Nationale Supérieure des Arts Décoratifs.

966), Picart Le Doux shared various innovative ideas to modernize the d Gobelins. They were inspired to move away from 19th century realism to dieval tapestries. Innovations included producing numbered cartoons, or pre-assigned numbers and specialized symbols to guide the direction and overly complex, expensive, realistic oil-painted cartoons.

ore fully engage their creative skills and take a more active role in translating not merely act as passive ‘copiers’ of a realistic painting. In addition, e or ‘la gamme’ reduced the need for weeks of custom dyeing. These odern tapestries more economical and accessible by increasing the speed mmercially practical during a time of post-war recovery.

rored those of Lurçat, his sources of inspiration and themes have been n symbolic. His work juxtaposes celestial bodies such as the sun, moon, and such as wheat, vines, fish, and birds, everyday decorative objects, and text. limited color palette reminiscent of traditional ‘verdure’ tapestries, birds were st half of the 1950s, as were the small, dotted flames d in this and similar tapestry designs.

2221

Jean Picart Le Doux

(1902-1982) “Les Oiseàux s’envolent,” mid-20th century Woven wool tapestry Unknown edition, [likely] Atelier Berthaut, Aubusson, France Signed in the weave lower right: Jean Picart Ledoux; stitched label with faded ink script to reverse: Les Oiseaux s’envolent / __Jean Picart le Doux / dimens_H! / 2 m x 3 m. /2_arage/ tapisserie tisséé sur carton Original dans les atelier Berthaut Aubusson 6 ft. 7 in. x 9 ft. 6 in. approximately; rod length 10 ft. 4 in. $1,500-2,500

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2222

Jean Cocteau

(1889-1963) “Petit Faune joyeux sur bleu,” conceived 1961 Partially glazed white earthenware plate with colored engobe Edition: 23/50 Signed lower left: Jean Cocteau; marked and numbered on the underside: Edition originale de Jean Cocteau Atelier Madeline-Jolly Height 2 in., diameter 10 7/8 in. $2,500-3,500 Provenance: Private collection, Culver City, CA

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2223

Édouard Cazaux

(1889-1974) A glazed earthenware vase, mid-20th century Incised with swirling motifs, painted with three registers of deer on gold ground Signed to underside: CAZAUX Height 6 7/8 in., diameter 6 3/4 in. $1,200-1,800

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2224

Édouard Cazaux

(1889-1974) A glazed earthenware bowl, mid-20th century Incised with swirling motifs, painted with three registers of deer Signed to underside: CAZAUX Height 3 5/8 in., diameter 5 1/2 in. $1,000-1,500

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2225

A Longwy ‘Tropical Fantasy’ charger for Atelier Primavera Circa 1960s With factory stamp to underside 3.5” H x 15” Dia. $400-600 Provenance: Philip A. Jeffs, London, England The Collection of Sybil Rosen and Robert Fisher, acquired from the above, April 30, 2003 Notes: This lot is accompanied by a copy of an invoice from the abovementioned retailer.

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2226

Carl Radke

(b. 1950) A Favrile style glass table lamp, late 20th century With pulled feather design, issuing three arms and a single light, electrified Appears unmarked Height overall 16 7/8 in., diameter 8 7/8 in.; height of shade 6 in. $400-600

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2227

William Archibald Welden

(1900-1970) An ‘Empire’ chrome and Bakelite cocktail set for Revere, second quarter 20th century Designed 1938 Comprising a pitcher and six cups set on a tray with brass handles and chased central design Pitcher marked: Revere / ROME / N.Y. 8 pieces Height of pitcher 12 1/2 in., width 7 in., depth 3 1/8 in.; height of cups 2 3/8 in., diameter 2 3/4 in.; height of tray 1 3/4 in., width 15 in., depth 10 1/2 in. $800-1,200

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2228

Gaston Rischmann

(1907-1979) A pair of Art Deco silver-plated watch stands, mid-20th century Each in the form of a bird, on marble base One marked: Rischmann / FRANCE; the other: G Rischmann / FRANCE 2 pieces Height of each overall 7 in., width 2 1/2 in., depth 2 3/4 in. $800-1,200 Provenance: Sold: Abell Auction, Commerce, CA, March 1, 2020, Lot 1

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2229

George Hurrell

(1904-1992) “Johnny Weissmuller,” one plate from “Portfolio II,” 1930-1946 Gelatin silver print on Agfa Portriga Rapid Double Weight paper #118 Edition 53/190, printed 1979 Signed and numbered in the lower margin: Hurrell/; George Hurell with his dedicated associates; prntr.; Creative Art Images, Inc., Los Angeles, CA, pub.

Image: 23 1/2 x 19 5/8 in.; 24 3/8 x 20 in. $1,000-2,000 Literature: George Hurrell, The Book of Stars (Munich, 1991), another example illustrated The Portfolios of George Hurrell (Santa Monica, 1991), another example illustrated George Hurrell: Hollywood Glamour Portraits (Munich, 1993), p. 31, another example illustrated Notes: A printed sheet from the original portfolio which is being sold in this sale together with another Hurrell photograph from the same consignor notes: “I hereby acknowledge that each print referred to in this portfolio has been hand developed by me or printed under my personal direction. All burning, dodging, choice of paper and chemicals are to my specification. George Hurrell” 3 6 8 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

2230

George Hurrell

(1904-1992) “Dorothy Lamour,” one plate from “Portfolio II, 1930-1946” Gelatin silver print on Agfa Portriga Rapid Double Weight paper #118 Edition 53/190, printed 1979 Signed and numbered in the lower margin: Hurrell/; George Hurell with his dedicated associates; prntr.; Creative Art Images, Inc., Los Angeles, CA, pub.

Image: 23 1/2 x 19 1/2 in.; Sheet: 24 3/8 x 20 in. $1,000-2,000 Literature: George Hurrell, The Book of Stars (Munich, 1991), another example illustrated The Portfolios of George Hurrell (Santa Monica, 1991), another example illustrated Notes: A printed sheet from the original portfolio which is being sold in this sale together with another Hurrell photograph from the same consignor notes: “I hereby acknowledge that each print referred to in this portfolio has been hand developed by me or printed under my personal direction. All burning, dodging, choice of paper and chemicals are to my specification. George Hurrell”

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2231

George Hurrell

(1904-1992) “Jane Russell,” one plate from “Portfolio II,” 1930-1946 Gelatin silver print on Agfa Portriga Rapid Double Weight paper #118 Edition 53/190, printed 1979 Signed and numbered in the lower margin: Hurrell/; George Hurell with his dedicated associates; prntr.; Creative Art Images, Inc., Los Angeles, CA, pub.

Image: 19 3/8 x 23 1/2 in.; Sheet: 20 1/8 x 24 in. $1,000-2,000 Literature: George Hurrell, The Book of Stars (Munich, 1991), another example illustrated The Portfolios of George Hurrell (Santa Monica, 1991), another example illustrated Notes: Mylar sleeves and the portfolio box with assorted contents such as printed text sheets, including an unsigned and undated certificate of authenticity from the original portfolio (not necessarily complete) accompanies this lot.

One of the printed portfolio sheets states: “I hereby acknowledge that each print referred to in this portfolio has been hand developed by me or printed under my personal direction. All burning, dodging, choice of paper and chemicals are to my specification.

George Hurrell” 3 7 0 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

2232

George Hurrell

(1904-1992) “Douglas Fairbanks Jr,” one plate from “Portfolio II,” 1930-1946 Gelatin silver print on Agfa Portriga Rapid Double Weight paper #118 Edition 53/190, printed 1979 Signed and numbered in the lower margin: Hurrell/; George Hurell with his dedicated associates; prntr.; Creative Art Images, Inc., Los Angeles, CA, pub.

Image: 23 1/8 x 19 3/4 in.; Sheet: 24 1/8 x 20 1/8 in. $1,000-2,000 Literature: George Hurrell, The Book of Stars (Munich, 1991), another example illustrated The Portfolios of George Hurrell (Santa Monica, 1991), another example illustrated Notes: A printed sheet from the original portfolio which is being sold in this sale together with another Hurrell photograph from the same consignor notes: “I hereby acknowledge that each print referred to in this portfolio has been hand developed by me or printed under my personal direction. All burning, dodging, choice of paper and chemicals are to my specification. George Hurrell”

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2233

Joe Shere

(1917-2008) Jayne Mansfield and Sophia Loren, circa 1957 Gelatin silver print on paper From the edition of unknown size and date Signed in pencil verso: Joe Shere; inscribed in pencil in another hand “CSJ-027” verso Image: 9 1/2 x 10 in.; Sheet: 14 1/8 x 11 1/8 in. $1,200-1,800 Notes: This iconic 1957 photograph captures Italian actress Sophia Loren giving a sideways glance at American actress Jayne Mansfield at a welcoming dinner hosted by Paramount Pictures at Romanoff’s in Beverly Hills.

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2234

Jim Marshall

(1936-2010) Johnny Cash stepping off the bus at Folsom Prison, 1968 Gelatin silver print on paper From the edition of unknown size Signed, dated, and inscribed in pencil on the overmat directly below the image at lower right and lower left, respectively: Jim Marshall / 1968 / Johnny Cash Sight: 16 1/2 x 11 in. $700-900

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2235

Bob Gruen

(b. 1945) “Led Zeppelin, New York, 1973 (R-52),” 1973 Gelatin silver print on paper From the edition of unknown size; printed in 2004 Signed, titled, dated, and inscribed in ink in the lower margin: Bob Gruen ‘04 / NYC; inscribed, likely in another hand, “CBG-088” in pencil verso Image: 12 x 15 in.; Sheet: 16 1/8 x 20 in. $500-700

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2236

“Madonna - Sex”

1992 Hardcover book and CD Metsel, Steven (photography). “Sex.” Essay by Arthur C. Danto. New York: Warner Books, 1992 In collaboration with the Robert Mapplethorpe Foundation, the ring-bound book with metal boards, including a CD copy of Madonna’s “Erotica” album, sealed in original Mylar packaging Height 15 in., width 11 3/4 in., depth 3/4 in. $600-800

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2237

A Modern hammered sterling silver center bowl

Mid-20th century Impressed to underside: DEMATTEO / HAND HAMMERED / STERLING / 320 Height 5 1/2 in., width 10 1/4 in., depth 10 1/4 in.

25.8 oz. troy approximately $1,000-1,500

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2238

A Tiffany & Co. sterling silver floral design dish

Circa 2000 With impressed factory marks and: STERLING / 25208 / 925; personalized: A.G. / 26.8.2000 / MYKONOS Diameter 7 1/4 in.

7.9 oz. troy approximately $300-500

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2239

Betty Cooke

(1924-2024) A sterling silver necklace with scattered silver discs applied to various lengths of tubular silver beads, late 20th/21st century Stamped: Cooke / Sterling 37 in. approximately 23.1 grams $1,000-1,500

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2240

Yoko Takirai (20th Century)

A delicate geometric tubular sterling silver necklace, early 21st century Stamped to clasp for artist, for sterling and with marks for Florence, Italy 23 1/2 in. x 7/8 in.

19.6 grams $300-500

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Alexander Girard (1907-1993)

Alexander Girard, affectionately known as designer, and a textile designer born in N Girard refined his skills in both Florence a Detroit in 1937. Girard is widely known fo through his work for Herman Miller (1952 designs of George Nelson and Charles an

While Alexander Girard’s fabric designs w fabric collection with designs based on hi upholsteries and geometric drapery print century textile mill in Central Mexico, Tela “Mexicottons.” The excellent quality and fabrics which he used in many of his insta

s Sandro, was an architect, interior designer, furniture designer, industrial New York City. A graduate of the Royal School of Architecture in Rome, and New York. In 1932, he opened a studio in New York, later moving to or his contributions in the field of American textile design, most notably 2 to 1973), where as head of the Textiles division, he created fabrics for the nd Ray Eames.

were heavily influenced by his passion for folk art, he initially established a his architectural training, with his first fabric line consisting of plain ts with stripes, circles, and triangles. Girard worked with a 19th ares Uruapan, to develop his line of handwoven 100% cotton fabrics, d array of colors inspired Girard to create “Mexidots” and “Mexistripes” allation and upholstery projects.

2241

Alexander Girard

(1907-1993) A rolled length of ‘Palio’ furnishing fabric for Herman Miller Designed 1964 Screen print in green on linen, featuring zigzag banding With factory marks printed to selvage edges: S -1695 / “Palio” / Designed by Alexander Girard / Copyright 1964 / Herman Miller Inc. / [logo] Width 52 in., overall length 10 yds approximately; rolled diameter 3 3/4 in. approximately $700-900 Notes: Designed by Alexander Girard in 1964 while leading Herman Miller’s textile division, ‘Palio’ is a visual representation of the ‘Palio di Siena,’ a biannual horse race in Siena, Italy. The historic race features ten horses with their jockeys dressed in the vibrant colors of their ‘contrada’, or city ward. Girard’s fabric series ‘Palio’ features colors and motifs inspired by the various flags of Siena’s ‘contrade’.

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2242

Attributed to Alexander Girard

(1907-1993) A rolled length of ‘Mexicottons’-style striped furnishing fabric Possibly for Herman Miller, designed 1961, no. 1229 Woven lengthwise stripes of red and blue, likely cotton Unmarked Width 53 1/2 in., length 2 1/2 yds.; rolled diameter 2 3/4 in. approximately $500-700

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2243

Charles and Ray Eames (1907-1978 and 1912-1988)

An LCW molded plywood lounge chair, 1st generation transitional, late 1940s Designed 1946 The molded veneered plywood body with round rubber shock mounts to seatback and seat, raised on two U-form legs, the underside screws in 5-2-5 formation Unmarked Height 26 1/2 in., width 22 in., depth 25 in. $600-800 Provenance: The Collection of Sybil Rosen and Robert Fisher

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2244

George Nelson (1908-1986) & Robert Propst (1921-2000)

An ‘Action Office’ Series II desk for Herman Miller, 1968-1975 Series II designed 1968 The roll-top desk with locking walnut tambour opening to reveal a laminated wood writing surface with sliding plastic compartment drawers, raised on a chromed metal base Unmarked Height 46 1/2 in., width 54 in., depth 30 in. $1,200-1,800

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2245

Hans Wegner (1914-2007)

A CH30 dining chair for Carl Hansen & Son, mid-20th century Designed 1954 With molded seatback and seat, which is without cushion Unmarked Height 30 1/4 in., width 20 in., depth 18 1/2 in. $600-800

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2246

Hans Wegner (1914-2007)

A CH30 dining chair for Carl Hansen & Son, mid-20th century Designed 1954 With molded seatback and seat, which is without cushion Impressed: 88 Height 29 3/4 in., width 20 1/4 in., depth 19 in. $600-800

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2247

After George Nelson (1908-1986)

A bench after the ‘Slat Bench’ for Herman Miller, late 20th century Wood top with black enameled wood supports With applied label: Alphaville Design Height 14 1/2 in., width 72 1/4 in., depth 18 1/2 in. $400-600

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2248

Yu Youhan

(1943-2023) Untitled, 2012 Lithograph in colors on paper A bon à tirer impression, aside from the edition of unknown size Signed in Chinese characters, dated “2012,” and inscribed “BAT,” all in pencil in the lower margin; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner, and pencil work number, 674C-YY12, verso Image: 20 1/8 x 20 1/8 in.; Sheet: 26 x 26 in. $800-1,200 Provenance: The Personal Collection of Jean Milant

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2249

Yu Youhan

(1943-2023) Untitled, 2012 Lithograph in colors on paper A bon à tirer impression, aside from the edition of 50 Signed in Chinese characters, dated “2012,” and inscribed “BAT,” all in pencil in the lower margin; Cirrus Editions, Los Angeles, CA, pub. with their blindstamp in the lower left margin corner and pencil work number, 673C-YY12, verso Image: 20 x 20 in.; Sheet: 26 x 26 in. $800-1,200 Provenance: The Personal Collection of Jean Milant

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2250

James Coignard

(1925-2008) “Profile Blanc en Blocage S” Etching in colors with carborundum on handmade paper Edition: 15/75 Signed and numbered in pencil in the lower right and lower left, respectively: J. Coignard; titled, and with the work number “CJ104,” all in pencil verso; Transworld Art, New York, NY, pub., with their blindstamp in the lower left Sheet: 22 1/2 x 30 1/2 in. $400-600 Provenance: Private collection, Tustin, CA

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2251

Richard Anuszkiewicz

(1930-2020) “Manhattan,” 1969 Screenprint in colors on paper Edition: 64/200 Signed, dated, and numbered in pencil along the lower edge of the image, at right: Anuszkiewicz 1969; Masta, New York, NY, prntr.

Image: 33 1/8 x 23 1/4 in.; Sight: 35 x 25 in. $1,000-2,000 Provenance: Private collection, Las Vegas, NV Notes: This image, with the addition of text stating “Vote for New York,” was used in the 1969 reelection campaign for the mayor, John Lindsay.

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2252

Bernard Buffet

(1928-1999) “La Porte Saint-Martin,” from the “Paris” portfolio, 1962 Lithograph in colors on Rives wove paper An artist’s proof of 30, aside from the numbered edition of 150 Signed and inscribed “E.A.” in pencil in the lower margin: Bernard Buffet; Mourlot, Paris, France, prntr.; Alain Mazo and Co., Paris, France, pub.

Image: 21 3/8 x 26 7/8 in.; Sheet: 21 7/8 x 28 3/4 in. $1,000-1,500 Provenance: Ferdinand Roten Galleries, Baltimore, MD Literature: Mourlot 36

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2253

Joan Miró

(1893-1983) “Beats,” 1968 Lithograph in colors on BFK Rives paper An hors commerce impression (aside from the edition of 75), published in 1972 Signed and inscribed “HC” in pencil in the lower margin: Miró; Maeght, Paris, France, prntr./pub.

Sight: 24 1/4 x 24 1/4 in; Sheet: 26 1/8 x 25 in. $1,000-1,500 Literature: Mourlot 568 Note: According to Mourlot, this image was published in 1972 in an edition of 75 (presumably plus some HC impressions, as here) as part of a portfolio issued for the benefit the French Cardiological Foundation. The portfolio contained two lithographs by Miró (see also Mourlot 569), as well as prints by Calder, Palazuelo, Rebeyrolle, Riopelle, Steinberg, Tàpies, and Ubac. johnmoran.com 397

2254

Joan Miró

(1893-1983) Untitled, one plate from the “The Prints of Joan Miró” series, 1947 Etching and aquatint in colors on wove paper Edition: 59/100 (there was also an edition of 50 printed in black and hand-colored) Signed, dated, and numbered in pencil, in the lower margin: Miró / 1947; Atelier 17, New York, NY, prntr.; Curt Valentin, New York, NY, pub.

Plate: 5 x 8 in.; Sheet: 11 1/4 x 8 1/2 in. $1,000-1,500 Literature: Dupin 47; see Cramer books 13

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2255

Salvador Dalí (1904-1989) Two works:

“The Mock Turtle’s Story,” from the “Alice in Wonderland” suite, 1969 Photolithograph in colors on BFK Rives paper Edition: 81/100 Signed and numbered in pencil in the lower margin: Dalí; Maecenas Press, New York, NY, pub.

Image: 15 5/8 x 10 3/4 in.; Sheet: 22 3/4 x 17 7/8 in.

“Who Stole the Tarts?” from the “Alice in Wonderland” suite, 1969 Photolithograph in colors on BFK Rives paper Edition: 81/100 Signed and numbered in pencil in the lower margin: Dalí; Maecenas Press, New York, NY, pub.

Image: 15 5/8 x 10 3/4 in.; Sheet: 22 7/8 x 17 3/4 in. $1,500-2,000 Provenance: Salvador Dalí Gallery, San Juan Capistrano, CA Private collection, Las Vegas, NV Literature: Field 69-5, J and L johnmoran.com 399

2256

Salvador Dalí

(1904-1989) “Mures Sauvages” (Blackberries), one plate from “Fruits,” 1970 Photolithograph in colors with embossing on BFK Rives paper Edition: 200/200 Appears to bear signature and edition numbering in pencil, in another hand, in the lower margin Image: 22 3/8 x 14 5/8 in.; Sheet: 29 3/8 x 22 in. $800-1,200 Provenance: Private collection, Tustin, CA Literature: Michler/Lopsinger 428b Field 70-1b

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2257

Salvador Dalí

(1904-1989) “Angels of the Rebirth,” from the “Aliyah” portfolio, 1968 Lithograph in colors on paper Edition: 29/250 (aside from the lettered edition A/J-Y/J, the Tirage edition of 275, an unknown number of “épreuve d’artiste” impressions, and “several sets for author, artist, publisher”) Signed and numbered in pencil in the lower margin: Dalí; Shorewood Press, New York, NY, pub.

Image: 20 1/8 x 15 7/8 in.; Sight: 23 3/4 x 17 7/8 in. $600-800 Provenance: Private collection, Brentwood, CA By family descent Sold: John Moran Auctioneers, Monrovia, CA, “Art + Design,” March 24, 2025, Lot 22 Literature: Field 68-I P Michler Löpsinger 1208 Notes: Salvador Dalí, the renowned Spanish Surrealist, is celebrated for his eccentric imagination and striking visual language that extended far beyond painting into the realm of printmaking.

Throughout his prolific career, Dalí embraced printmaking as a way to explore and disseminate his surrealist visions to a broader audience, producing hundreds of technically sophisticated etchings, lithographs, and wood engravings. His prints often mirrored the dreamlike, symbolic world found in his paintings, drawing on themes of religion, mythology, and psychoanalysis. Dalí’s print work remains a significant part of his artistic legacy, blending fine craftsmanship with the bold, bizarre imagery that defined his unique vision.

Salvador Dali’s “Aliyah” suite of 25 color lithographs was commissioned in honor of the twentieth anniversary of the State of Israel’s independence in 1968. Israeli Prime Minister David Ben-Gurion, wrote in his letter of introduction to the portfolio, “The distinguished artist Salvador Dali has succeeded through the power of his great artistry in embodying in a number of prints the marvel of aliyah, which in a short time fashioned a renewed people, a renewed country, and a renewed as well as renewing State.”

Executed in Dalí’s iconic Surrealist style, the images illustrate the ancient story of Jewish exile and the struggle, resettlement and ultimate celebration of the Jewish people upon their return to the land of Israel. Originally executed in gouache, the paintings were unveiled at the Gallery of Modern Art (Huntington Hartford Museum) in New York on April 1, 1968, before being converted into limited lithographic editions.

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2258

Larry Bell

(b. 1939) “Fraction,” 1997 Acrylic, metallic pigment, and mixed media collage on paper Signed and dated in pencil lower right: L. Bell ‘97; titled by repute Sheet: 10 1/4 x 10 1/4 in. $800-1,200 Provenance: Private collection, Venice, CA

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2259

Ed Moses

(1926-2018) “Untitled (Y-Branco),” 1990 Acrylic and shellac on washi paper Signed with initials, titled, and dated in pencil lower right: EMZ / 4-90 Sheet: 35 x 25 in. $2,000-3,000 Provenance: L.A. Louver, Venice, CA Sold: Bonhams, Los Angeles, CA, “Made in California,” May 5, 2008, Lot 1112

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2260

Richard Diebenkorn

(1922-1993) “Card Game,” 1981 Softground etching on wove paper Edition: 4/35 (there were also 11 artist’s proofs) Initialed, dated, and numbered in pencil in the lower margin: RD81; Nancy Anello, prntr., together with Crown Point Press, Oakland, CA, pub., with each of their blindstamps in the lower right margin corner Plate: 11 x 13 in.; Sheet: 21 3/4 x 30 5/8 in. $1,000-2,000 Provenance: Sold: Bonhams, Los Angeles, CA, “Prints & Multiples,” June 17-26, 2025, Lot 8 Literature: Liguori 270 Notes: Nancy Anello worked at Crown Point Press from 1978 to 1981.This period aligns with her active years as a master printer, during which she produced notable works such as “Card Game” (1981), shown here, as well as “Blue Club” (1981), and “Combination” (1981), all in collaboration with Richard Diebenkorn.

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2261

Joe Tilson

(1928-2023) “Is This Che Guevara?,” 1969 Screenprint in colors with mixed media collage additions on paper Edition: 15/70 Signed, dated, and numbered in pencil, lower right: Joe Tilson 1969; Kelpra Studios Ltd., London, England, prntr.; Marlborough Fine Art Ltd., London, England, pub.

Image: 39 1/2 x 23 3/4 in.; Sheet: 40 x 27 in. $400-600 Provenance: Private collection, Tustin, CA johnmoran.com 407

2262

Sergio Dangelo

(1932-2022) “Nabis Forfait,” 1963 Oil on canvas Signed lower center: S. Dangelo; signed “Sergio Dangelo,” titled, and dated “1963,” all on the stretcher; signed and titled again in ink on a gallery label affixed to the stretcher 27 1/4 x 39 in. $2,000-3,000 Provenance: Galleria Levi, Milan, Italy

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2263

Sherman Nobleman

(1942-2015) “Palimpsest X (10),” 1995 Acrylic on steel Signed, titled, and dated verso: S. Nobelman / © 1995 45 1/4 x 57 1/4 in. $500-700 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

johnmoran.com 409

2264

Philip Argent

(b. 1962) “Space Debris,” 2000-2001 Acrylic on canvas Signed and dated in pencil, verso: Philip Argent / 2001; signed again, titled, and dated “2000-2001” in ink on the stretcher 50 1/8 x 70 1/8 in. $1,500-2,500 Provenance: James Kelly Contemporary, Santa Fe, NM Private collection, Las Vegas, NV

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2265

Robert Acuña

(b. 1967) “You’ve Changed,” 2003 Acrylic on canvas Signed, titled, and dated in ink verso: Robert Acuña / 2003 16 1/8 x 16 1/8 in. $200-400 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

johnmoran.com 411

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2266

Giuseppe Guerreschi

(1929-1985) “Uomini e struttura,” 1955 Oil and collage on canvas Signed and dated lower left: Guerreschi 955; titled in Italian and dated again verso; signed, titled, and dated again in ink on a partial exhibition label affixed verso 31 x 39 in. $2,500-3,500 Provenance: Private collection, Irvine, CA By family descent Exhibited: La Spezia, Italy, Provincial Tourist Board, “VII National Painting Exhibition,” n.d.

johnmoran.com 413

2267

Yoshiro Ikeda

(1947-2014) Teapot Glazed ceramic Signed to underside: YOSHIRO / IKEDA; inscribed indecipherably Height 23 3/4 in., width 12 1/4 in., depth 12 3/4 in. $700-900 Provenance: Gallery Eight, La Jolla, CA Private collection, Las Vegas, NV

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2268

Greg Riley

(20th/21st Century) Untitled vessel, 2007 Glazed ceramic Incised signature and date to underside: Greg Riley Height 15 1/2 in., width 14 1/2 in., depth 10 3/4 in. $500-700

johnmoran.com 415

2269

Clayton George Bailey

(1939-2020) “Atomizer” and “Atomic Bottle,” 1993 Bisque ceramic and paint Signed, inscribed and dated on the “Atomic Bottle”: NSECA / 93 / CLAYTON BAILEY; titled on each element Height of Atomizer 11 1/2 in., width 6 3/8 in., depth 5 1/4 in.; height of Atomic 11 1/4 in., diameter 5 7/8 in. $500-700 Notes: These works were made for an NSECA presentation where Clayton Bailey was being honored.

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2270

Eight Lagardo Tackett & Kenji Fujita style glazed ceramic fish plates

Second half 20th century With incised details, comprising five larger and three smaller in the style of similar plates designed

by Lagardo Tackett (1911-1984) & Kenji Fujita (1911-1992) during Kenji’s brief stint at Tackett Associates Each unmarked 8 pieces Height of each larger 1 1/2 in., width 10 7/8 in., depth 8 in.; smaller width 8 1/8 in., depth 6 1/4 in. approximately $400-600

johnmoran.com 417

2271

Joan Miró

(1893-1983) “Automme” Glazed earthenware dish Signed, inscribed, and titled in glaze to underside: miro [as artist’s stylized device] / TAURiNYA / (P.O) FRANCE Height 1 5/8 in., width 8 5/8 in., depth 7 3/8 in. $300-500

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2272

Robert Maxwell (b. 1932)

A glazed stoneware planter, late 20th century Incised signature to underside: R Maxwell; numbered: 119 Height 6 1/2 in., diameter 7 in. $400-600

johnmoran.com 419

David Bates (b. 1952)

David Bates is an important Texas Neo variety of painted and sculptural mediu with heavy impasto to add texture and traditional Folk Art. Flowers are a frequ for flower arranging, is an influence for Justin Spring writes that his flowers “ar painting. They are also among the mos well-loved pet.”

o-Expressionist realist figure and narrative artist who works in a wide ums. Whether in two or three dimensions, Bates builds his surfaces d movement to each work, and uses heavy outlining in a nod to uent motif for the artist. His mother, a former art student with a passion r “his exuberant flower still lifes...in a monograph of Bates’s work, re among the most hefty and energized in the history of American st playful; in many instances they seem to possess all the charm of a

2273

David Bates

(b. 1952) “Yellow Irises,” 1999 Oil on Masonite Signed lower right: Bates; signed “David Bates,” titled, and dated “1999,” all verso 48 x 24 in. $10,000-15,000 Provenance: John Berggruen Gallery, San Francisco, CA

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johnmoran.com 423

2274

René Genis

(1922-2004) “Bouquet Blanc et Coings” Oil on canvas Signed lower center: René Genis; signed and titled on the stretcher and signed again verso 36 1/4 x 28 3/4 in. $4,000-6,000 Provenance: David Findlay Galleries, New York, NY

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2275

Hughes Claude Pissarro

(b. 1935) “Bouquet à la fleur de la passion” Oil on canvas Signed lower left: Claude Pissarro; titled verso 15 1/4 x 18 1/4 in. $2,500-3,500

johnmoran.com 425

2276

Raymond Jennings Saunders

(1934-2025) Flowers, 1981 Mixed media including pencil on Strathmore 500 Bristol Board Stamped signature in red ink lower right: Saunders; dated in pencil “1.7.81” center left; inscribed in pencil “RS 99 -15” verso, near the Strathmore watermark, possibly in another hand Sheet: 29 x 23 1/8 in. $2,000-4,000 Provenance: Stephen Wirtz Gallery, San Francisco, CA Estate, Newport Beach, CA, from the above, October 13, 1999 Notes: This lot is accompanied by a sales invoice dated October 13, 1999, from the gallery mentioned above.

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2277

Tom McGrath

(b. 1978) “Monkey Bars,” 2006 Oil on panel Appears unsigned; titled and dated by repute 109 x 81 in. $10,000-15,000

johnmoran.com 427

2278

René Genis

(1922-2004) “Plage Pres de Ste. Rose (Ile de la Reunion)” Oil on canvas Signed lower left: René Genis; signed again and titled in ink on the stretcher 18 1/4 x 21 3/4 in. $3,000-5,000 Provenance: David Findlay Galleries, New York, NY

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2279

Sandy Ostrau

(20th/21st Century) “Mountain Pass” Oil on panel Signed lower left: Ostrau; signed “Sandy Ostrau” and titled verso 12 x 12 in. $500-700

johnmoran.com 429

2280

Sandy Ostrau

(20th/21st Century) “Hidden Coast,” 2019 Oil on panel Signed lower left: Ostrau; signed “Sandy Ostrau,” titled, and dated “2019,” all verso 12 x 12 in. $500-700

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2281

Sandy Ostrau

(20th/21st Century) “North Bay Colorfield,” 2018 Oil on panel Signed lower left: Ostrau; signed “Sandy Ostrau,” titled, and dated “2018,” all verso 12 x 12 in. $500-700

johnmoran.com 431

2282

Sunna Bohlen

(b. 1950) “Silent in the Forest #11,” 1997 Oil on canvas Signed lower right: Sunna; signed “Sunna Lee Bohlen,” titled, and dated “1997,” all on the stretcher 60 x 48 in. $1,000-1,500 Provenance: Private collection, San Diego, CA

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2283

August Mosca

(1909-2002) “Elevated Structure,” circa 1939 Oil on canvas Signed lower left: August Mosca; signed again and titled in ink on a gallery label affixed to the stretcher 23 x 30 in. $2,500-3,500 Provenance: ACA Galleries, New York, NY Robert Henry Adams Fine Art, Chicago, IL The Saperstein Collection, Oakland, CA

johnmoran.com 433

Helen Berggruen (b. 1945)

Helen Berggruen is a San Francisco-base balance, perception, and the subtle struc father was an art dealer, gallerist and colle form and intellectual inquiry, which later s College, earning a bachelor’s degree in 1 spent a summer together working in Alab Berggruen credited their friendship with f

ed painter and printmaker whose contemplative works explore themes of ctures underlying everyday life. Raised in a culturally engaged family - her ector Heinz Berggruen - she developed an early sensitivity to both visual shaped her distinctive artistic voice. Berggruen attended Sarah Lawrence 1967. There she was close friends with novelist Alice Walker, and they bama with a rural impoverished community. Through this connection, fostering in her a strong social conscious.

2284

Helen Berggruen

(b. 1945) “Gathering Clouds,” 2018 Oil on canvas Signed lower left: H Berggruen; signed again, titled, and dated “2018,” all verso; titled again on a label affixed to the stretcher 28 x 22 in. $700-1,000 Provenance: The artist George Krevsky Gallery, San Francisco, CA

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johnmoran.com 437

Gloria Stuart (1910-2010)

Gloria Stuart was born in Santa Monica, CA o actress, she also pursued other creative pass

Stuart graduated from Santa Monica High Sc husband, the sculptor Gordon Newell. Settlin community that included the photographer E Golden Bough Theater and wrote for a week

In 1932 Stuart returned to Los Angeles, wher shortly thereafter she signed a seven-year co total of 46 films from 1932 to 1946, starring a in 1946, Stuart moved away from the film wo role of her career, as the older “Rose Calvert

It was only after leaving Hollywood that Stua Galleries in New York. Following the great su Gallery du Jonelle (then de Poliolo Gallery) in numerous group shows.

Stuart was a consummate artist, and in addit husband of 44 years, Arthur Sheekman, Stua encouragement, she took up printing, bough talents into hand-printed artists’ books and b

Stuart’s work is in collections around the world, Library, the Victoria and Albert Museum, the Bi

She was a founding member of the Screen A antifascist organization.

on July 4, 1910. While Stuart is best known for her prolific career as Hollywood sions, including painting and printmaking.

chool, and attended the University of California, Berkeley, where she met her first ng in Carmel, California, in 1930, she and Mr. Newell joined a bohemian Edward Weston and the journalist Lincoln Steffens. Ms. Stuart acted at the kly newspaper.

re she had been offered a role at the prestigious Pasadena Playhouse, very ontract with Universal. Stuart enjoyed a successful acting career with roles in a alongside Boris Karloff, Dick Powell, and James Cagney among others. However, orld. She would later reemerge in the most widely known and critically acclaimed t” in James Cameron’s Titanic.

art taught herself to paint. In 1961 she had her first one-woman show, at Hammer uccess of that first exhibition of her work, Stuart had shows in Palm Springs at n 1967, and the Staircase Gallery in Beverly Hills. She also participated in

tion to painting, created serigraphs and decoupage. After the passing of her art renewed a friendship with the world-renowned printer, Ward Ritchie. At his ht a press, and through Imprenta Glorias, poured her considerable and original broadsides.

, including those of the Metropolitan Museum, the Getty Museum, the Morgan ibliothèque Nationale, and the Los Angeles County Museum of Art, among others.

Actors Guild and helped found the Hollywood Anti-Nazi League, an early

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2285

Gloria Stuart

(1910-2010) Watts Towers, circa 1960s Oil on canvas Signed lower left: G Stuart 24 x 50 1/2 in. $5,000-7,000 Notes: There is a similar painting titled “Watts Towers I,” 1961, depicting another view of the Watts Towers, which was exhibited at the Los Angeles County Museum of Art in 2013.

johnmoran.com 441

2286

Robert Deyber

(b. 1955) “The Sign of the Apocalypse,” circa 2009 Acrylic on canvas Signed lower left: Deyber; titled in ink “The Sign of the Apocalypse” on the upper edge of the lower stretcher bar and on a label affixed to the frame’s backing paper; inscribed on the frame’s backing paper “To my new friends / I don’t have to tell you how I feel / about this piece. We’ll see you soon! / You are both so special. / Best wishes always / BD 2009 36 x 36 in. $2,000-4,000 Provenance: Martin Lawrence Galleries, various locations

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2287

Benjamin Duke

(b. 1980) “Actant #1” Oil on canvas Unsigned; titled on a gallery label affixed to the stretcher 51 x 41 1/4 in. $1,000-1,500 Provenance: Ann Nathan Gallery, Chicago, IL

johnmoran.com 443

2288

Jeff Gillette

(b. 1959) “Dinlad,” 2006 Acrylic on canvas Signed, titled, and dated verso: Gillette 2006 20 x 36 in. $1,000-1,500 Provenance: Bert Green Fine Art, Los Angeles, CA Private collection, Culver City, CA, from the above, 2006 Notes: A copy of the purchase invoice dated, April 24, 2006, accompanies this lot.

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2289

Jeff Gillette

(b. 1959) “Ocean Pier,” 2006 Oil on canvas Signed and titled verso: Gillette 20 x 36 in. $800-1,200 Provenance: Bert Green Fine Art, Los Angeles, CA Private collection, Culver City, CA, from the above, 2006 Notes: A copy of the purchase invoice, dated April 24, 2006, accompanies this lot.

johnmoran.com 445

2290

Robert Watson

(1923-2004) “Old Wall,” 1986 Oil on canvas Signed and dated lower right: R. Watson 86; signed again and titled on the stretcher 16 x 12 in. $600-800

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2291

Robert Watson

(1923-2004) “The Return,” 1980 Oil on Masonite Signed and dated lower right: R. Watson 80; signed again and titled on the frame’s backing board 6 x 8 in. $500-700

johnmoran.com 447

2292

Edgar Ewing

(1913-2006) “Acropolis Series (20 Variations),” 1957 Oil on canvas Signed and dated lower right: Ewing / 1957; titled and dated on the artist’s label affixed to the frame’s backing board 24 x 69 3/4 in. $800-1,200

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johnmoran.com 449

2293

Minas Avetisyan

(1928-1975) “Gayane Ballet,” (preliminary sketch for scene decoration), 1974 Pastel on paper Unsigned; titled and dated on a certificate of authenticity Sight: 10 3/8 x 16 1/4 in. $4,000-6,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist’s family in Yerevan, Armenia, 2018 Notes: A certificate signed by Gayane Mamajanyan-Avetisyan and Narek Avetissian, dated September 5, 2018, accompanies the lot.

This lot has not been examined by the ‘Expert Centre of Cultural Values’ of the Republic of Armenia and we do not guarantee import of the lot into to the Republic of Armenia.

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2294

Minas Avetisyan

(1928-1975) “Gayane Ballet,” (preliminary sketch for scene decoration), 1974 Pastel on paper Unsigned; titled and dated on a certificate of authenticity Sight: 10 1/2 x 16 1/4 in. $4,000-6,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist’s family in Yerevan, Armenia, 2018 Notes: A certificate signed by Gayane Mamajanyan-Avetisyan and Narek Avetissian, dated September 5, 2018, accompanies the lot.

This lot has not been examined by the ‘Expert Centre of Cultural Values’ of the Republic of Armenia and we do not guarantee import of the lot into to the Republic of Armenia. johnmoran.com 451

2295

Minas Avetisyan

(1928-1975) “Sayat Nova,” circa 1960s Charcoal on paper Unsigned; titled and dated on a certificate of authenticity Sight: 10 1/2 x 16 1/8 in. $3,000-5,000 Provenance: Private collection, Pasadena, CA, acquired directly from the artist’s family in Yerevan, Armenia, 2018 Notes: A certificate signed by Gayane Mamajanyan-Avetisyan and Narek Avetissian, dated September 5, 2018, accompanies the lot.

This lot has not been examined by the ‘Expert Centre of Cultural Values’ of the Republic of Armenia and we do not guarantee import of the lot into to the Republic of Armenia.

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2296

Gabriel Godard

(1933-2023) “Chemain à Bouchemaine (Anjou),” 1963 Oil on canvas Signed and dated lower left: G. Godard 63; titled in green paint verso 13 1/8 x 21 7/8 in. $2,000-3,000 Provenance: Findlay Galleries, New York, NY

johnmoran.com 453

2297

Brock Klein

(20th Century) “Every Day’s A Holiday” (Diptych), 1986 Each: Mixed media including acrylic, ink, and paper collage on canvas Each signed and dated in pencil verso: Klein / 1986; titled on the left panel, verso Each panel: 60 x 36 in. $500-700 Provenance: Ruth Bachofner Gallery, Santa Monica, CA Estate, Pasadena, CA Private collection, acquired from the above by descent

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2298

Robert Acuña

(b. 1967) Untitled (gold smoke), 1998 Acrylic and gold pigment on panel Signed and dated verso: Robert Acuña ‘98 60 1/4 x 36 in. $400-600 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

johnmoran.com 455

2299

Clayton George Bailey

(1939-2020) “Whomper” Metal and found objects, electrified Titled on the bat element Height 31 in., width 24 in., depth 17 in. $2,000-3,000 Literature: Diana L. Daniels, “Clayton Bailey’s World of Wonders” (Crocker Art Museum, Sacramento, CA, 2011), illustrated

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2300

Arlie Regier

(1931-2014) Untitled, 1971 Steel Impressed to one side: AJR / 71 Height 45 3/4 in., width 12 1/2 in., depth 10 1/2 in. $1,000-1,500

johnmoran.com 457

2301

Steven Portigal

(b. 1952) Untitled, 1998 Ceramic and metal Impressed signature and date to underside of base: STEVEN PORTIGAL / JAN 98 Height 28 1/2 in., width 18 in., depth 10 in. $1,000-1,500 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

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2302

Robert Harrison

(b. 1953) “Green Energy House,” 2011 Waterjet cut glazed terracotta tiles, decals, gold luster on wood base Signed, dated, and titled to underside: HARRISON Height overall 15 in., width 13 7/8 in., depth 13 1/2 in. $800-1,200 Provenance: Sold: The Archie Bray Foundation, Helena, MT, “From the Center to the Edge: 60 Years of Creativity and Innovation at the Archie Bray Foundation,” June 23-25, 2001, Lot 35 Private collection, acquired from the above, July 2011 Notes: This lot is accompanied by a purchase receipt from the artist’s studio and a catalogue from the auction mentioned above.

johnmoran.com 459

2303

John Okulick

(b. 1947) “Hooked,” 2001 Walnut, fishing hooks and lures, foam Signed, dated, and titled in pencil verso: John Okulick Height 16 in., width 18 in., depth 3 in. $800-1,200 Provenance: Nancy Hoffman Gallery, New York, NY Private collection, acquired from the above, January 26, 2001 Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery.

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2304

Tuan Phan

(b. 1974) “Departure #5,” “Stupa #13,” and “Stupa #16” Glazed ceramic and mixed media Each titled and signed verso in felt ink: Tuan Phan 3 pieces Height of largest 20 1/4 in., width 5 3/4 in., depth 4 1/4 in.; height of smallest 18 in., width 4 3/4 in., depth 3 1/2 in. $700-900 Provenance: Koplin Del Rio Gallery, Inc., West Hollywood CA Private collection, “Departure #5” and “Stupa #13” acquired from the above, April 24, 2002, “Stupa #16” acquired from the above, June 11, 2002 Notes: This lot is accompanied by purchase receipts from the abovementioned gallery. johnmoran.com 461

2305

John Dillon Fillmore

(b. 1951) “Orientale,” 1986 Oil on canvas Signed with the artist’s stylized monogram, dated 1986, and ©, all lower right; titled on a label affixed to the stretcher 46 x 35 in. $1,500-2,500 Provenance: The artist Exhibited: Laguna Beach, CA, The Redfern Gallery, “John Fillmore Realism Redefined,” 2019 Literature: The Redfern Gallery, “John Fillmore Realism Redefined,” (Laguna Beach, CA, 2019), illustrated on the cover and p. 3 Notes: This lot is accompanied by a hardback copy of The Redfern Gallery, Laguna Beach, CA exhibition catalogue/book, “John Fillmore Realism Redefined,” mentioned above.

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johnmoran.com 463

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2306

John Dillon Fillmore

(b. 1951) “Symmetrical Arrangement in Red,” 1988 Watercolor and pencil on paper Signed with the artist’s stylized monograph and dated 1988 lower right; titled on a label affixed to the frame’s backing paper Image: 21 3/4 x 31 1/2 in.; Sheet: 25 1/2 x 36 3/4 (irreg.) $1,000-1,500 Provenance: The artist Exhibited: Laguna Beach, CA, The Redfern Gallery, “John Fillmore Realism Redefined,” 2019 Literature: The Redfern Gallery, “John Fillmore Realism Redefined,” (Laguna Beach, CA, 2019) p. 12, illustrated Notes: This lot is accompanied by a hardback copy of The Redfern Gallery, Laguna Beach, CA, exhibition catalogue/book, “John Fillmore Realism Redefined,” mentioned above.

johnmoran.com 465

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2307

John Dillon Fillmore

(b. 1951) “Gathering Lotus Flowers,” 1988 Watercolor and gouache on paper Signed with the artist’s stylized monogram and dated 1988 lower left; titled on a label affixed to the frame’s backing paper Image: 20 x 34 in.; Sheet: 25 1/4 x 37 3/4 in. $1,000-1,500 Provenance: The artist Exhibited: Laguna Beach, CA, The Redfern Gallery, “John Fillmore Realism Redefined,” 2019 Literature: The Redfern Gallery, “John Fillmore Realism Redefined” (Laguna Beach, CA, 2019) p. 13, illustrated Notes: This lot is accompanied by a hardback copy of The Redfern Gallery, Laguna Beach, CA, exhibition catalogue/book “John Fillmore Realism Redefined” mentioned above.

johnmoran.com 467

2308

Paul Wonner

(1920-2008) Nude woman, circa 1969 Mixed media including watercolor and pencil on paper Signed lower left: Paul Wonner; signed again (twice) and dated, all in pencil, verso 17 1/8 x 14 1/8 in. $2,000-3,000

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johnmoran.com 469

2309

Pino Daeni

(1939-2010) Seated woman in a hat, 1986 Oil, watercolor, and pencil on board Signed and dated lower left: Pino / Daeni / © 86 28 3/4 x 20 in. $2,000-3,000 Provenance: Knowles Gallery, La Jolla, CA

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2310

André Gisson

(1921-2003) Standing nude Oil on canvas Signed lower left: Gisson 24 x 20 in. $1,000-1,500

johnmoran.com 471

2311

Mingzhe (Michel) Huang

(b. 1948) Chinese scholar Oil on canvas Signed lower center: Michel Huang 30 x 30 in. $2,000-3,000

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2312

Carolyn Robles

(b. 1977) “Dr. Sanford Lyle (The Art Student),” 2013 Pastel on paper Signed and dated (diagonally) in the lower left corner: Robles 2013; titled on sales invoice Sight: 34 1/4 x 22 1/4 in. $700-900 Provenance: Robles Fine Art & Design, Huntington Beach, CA Estate, Newport Beach, CA, acquired from the above, July 2013 Literature: “The Pastel 100,” “Pastel Journal,” April 2014, pp. 48-49 (illustrated) Notes: This lot is accompanied by a sales invoice dated July 17, 2013, from the gallery mentioned above, as well as a photocopy of the journal article mentioned above. The journal article highlights the fact that Carolyn Robles was awarded 4th place (out of 100 international entries) for the pastel offered here in the 15th annual competition co-sponsored by “Pastel Journal” and Artist Network. johnmoran.com 473

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2313

Guy Buffet

(1943-2023) “Great Chefs of Paris,” 1984 Graphite and pastel on paper Signed and dated lower right: Guy Buffet © 84; titled in pencil, in another hand, on the frame’s backing paper Sight: 19 1/2 x 35 1/2 in. $800-1,200

johnmoran.com 475

2314

Charles Garabedian (1923-2016) and Brian Murphy (active 20th century)

Surrealist landscape, circa 1992 Watercolor, gouache, pencil, and ink on wove paper With overlapping signatures from both artist’s in pencil lower right: C. Garabedian / B. Murphy Image: 14 x 58 in.; Sheet: 15 7/8 x 61 in. $800-1,200 Provenance: The Personal Collection of Jean Milant Notes: This work is presumably a study for the lithograph titled “RIV,” 1992, published by Cirrus Editions. https://www.cirrusgallery.com/artists/charles-garabedian/featured-works?view=slider#2

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johnmoran.com 477

2315

Arik Levy (b. 1963)

A pair of ‘Giants’ glass candlesticks for Gaia & Gino, early 21st century Designed 2007 Stacked clear, blue, pink, and black glass cylinders, each with original factory formed box Each etched with factory marks 2 pieces Height of each 10 5/8 in., diameter 4 3/4 in.; height of each box 6 3/4 in., width 12 5/8 in., depth 7 1/8 in. $500-700

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2316

Arik Levy (b. 1963)

A pair of ‘Giants’ glass candlesticks for Gaia & Gino, early 21st century Designed 2007 Stacked clear glass cylinders, each with original factory formed box Each etched with factory marks and with applied label 2 pieces Height of each 10 5/8 in., diameter 4 3/4 in.; height of each box 6 3/4 in., width 12 5/8 in., depth 7 1/8 in. $500-700

johnmoran.com 479

2317

Constantin Boym (b. 1955) & Jaime Hayon (b. 1974) Early 21st century Two works:

Constantin Boym (b. 1955) A ‘Skyscraper’ vase for Gaia & Gino with original formed factory box Designed 2009 Etched with factory marks Height 12 3/4 in., width 3 in., depth 3 in.; height of box 5 1/8 in., width 15 in., depth 5 1/2 in.

Jaime Hayon (b. 1974) Six ‘Valencia’ votives for Gaia & Gino Designed 2010 Comprising a pair and a set of four, each with original formed factory box Each with factory label 6 pieces Height of taller 2 1/8 in; height of shorter 1 3/4 in.; height of each box 4 3/8 in., width 5 5/8 in., depth 5 1/4 in.

7 pieces total $400-600 4 8 0 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

2318

A pair of Marbro glass table lamps

Mid-20th century, possibly Archimede Seguso (1909-1999) The two-light lamps each on an acrylic base, with conical fabric and paper shade and glass ball finial, electrified Each numbered to factory label applied to standard: 6865 2 pieces Height of lamp base 37 3/4 in., diameter 8 1/8 in.; height of each glass 19 3/4 in.; height of shades 12 in., diameter 18 in. $600-800 Provenance: From the collection of Jaclyn Smith, Los Angeles, CA

johnmoran.com 481

2319

2320

A pair of brass ‘Swivel’ floor lamps, late 20th century The single-light lamps each with brass base issuing a rotating and extendable chromed metal tubular standard, electrified Each base with impressed factory marks and numbered: CEDRIC HARTMAN / [script signature] / 800350 2 pieces Lowest height of each 35 3/4 in., width 11 in., depth 21 in.

A set of six ‘Bu Designed 195 Each with a ro Four stamped: 6 pieces Height of each

Cedric Hartman (b. 1929)

$1,000-2,000

4 8 2 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

Erik Kirkega

$1,200-1,800

aard (1929-1986)

ullhorn’ dining chairs for Hong Stolefabrik, mid-20th century 55 ounded horseshoe back, with leather upholstered backrest and seat : 49 A

h 29 1/2 in., width 22 in., depth 21 in.

johnmoran.com 483

2321

A Contemporary sculptural dining table

Late 20th/early 21st century The tempered round glass top with frosted upper surface, raised on three semi-cylindrical metal panels, each with a brushed bronze-toned finish, sculpted by Greg Higgins (20th/21st Century) 4 pieces Height of each arc 28 in., width 32 1/2 in., depth 12 1/4 in.; height of glass 3/4 in., diameter 71 3/4 in. $800-1,200 Provenance: Mimi London, Inc., Los Angeles, CA Private collection, acquired from the above

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2322

A Fasem ‘Shell Big’ swivel armchair

Late 20th century With black leather to exterior and cream leather to seatback and seat, raised on a wood and metal base Unmarked Height 26 1/2 in., width 25 in., depth 25 1/2 in. $600-800

johnmoran.com 485

2323

William Katavolos (1924-2020)

A ‘Sling K Chair’ for Leathercraft, mid-20th century Designed 1950s Without head pillow, the brown leather sling seat on a black enameled metal frame raised on casters Unmarked Height 36 in., width 26 1/2 in., depth 23 1/2 in. $600-800

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2324

A pair of Modern teak and leather stools

Mid-20th century Each with leather-wrapped seat, raised on U-form supports joined by bar stretchers With applied paper factory labels to underside: S. BROWN CO. / SAN FRANCISCO 2 pieces Height of each 16 1/2 in., width 18 1/4 in., depth 15 in. $300-500 Provenance: The Collection of Sybil Rosen and Robert Fisher

johnmoran.com 487

2325

Roger Coster (active 20th Century)

A pair of Modern rush and wrought metal barstools, 1970s With fixed seats One with applied metal label: CREATION ROGER COSTER 2 pieces Height of each 36 1/2 in., width 20 1/2 in., depth 22 in. $400-600

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2326

A Wurlitzer jukebox model 1015 ‘The Bubbler’

Designed 1946 by Paul Fuller (1897-1951) With 24 playable selections for 78 rpm vinyl records, featuring upper bubble tubes and opposed color wheel tubes Metal label verso: Wurlitzer Multi-Selector Phonograph / Manufactured by The Randolph Wurlitzer Company / Model 1015; serial number on plaque and stamped to wood: 1033121 Height 59 in., width 32 1/2 in., depth 24 1/2 in. $3,000-5,000 Provenance: Sold: Red Baron’s Antiques, Atlanta, GA, “28th Auction,” April 6-7, 1991, Lot 177 Private collection, acquired from the above Notes: This lot is accompanied by the original purchase receipt from the abovementioned auction as well as the original operating manual.

johnmoran.com 489

2327

Kensuke Yamada

(b. 1979) “Separating Ways in One Stream” Glazed stoneware on associated laminated wood plinth Appears unmarked Height 34 1/4 in., width 18 1/2 in., depth 13 3/4 in.; height of plinth 33 1/8 in., width 20 in., depth 20 in. $2,000-3,000 Provenance: Archie Bray Foundation, Helena, MT Estate, Newport Beach, CA, from the above, June 25, 2011 Notes: This lot is accompanied by the original purchase receipt from the abovementioned gallery.

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2328

Salvador Teran

(1920-1974) Geometric figure, 1972 Glass mosaic Signed and dated lower right to applied glazed ceramic plaque: Salvador / 72 Sight of tiles 15 3/8 x 11 3/8 in. $1,000-2,000

johnmoran.com 491

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2329

Bjørn Wiinblad (1918-2006)

A tile-top coffee table, 1969 The blue on white glazed tiles depicting a bucolic scene of two ladies, set in a wood frame Signed and dated at lower left: Bjorn Wiinblad / -69 Height 19 in., width 29 1/2 in., depth 24 1/4 in. $500-700

johnmoran.com 493

2330

Margaret Bourke-White

(1904-1971) “A DC-4 Flying over New York City,” 1939 Gelatin silver print on paper Edition: 70/250, a later impression, printed 1997 Embossed signature in the lower margin, at right: Margaret Bourke-White; numbered in ink in the lower margin; stamped in tan ink on the verso: “Limited Edition Print Issued by: / Life Gallery of Photography/ in association with the / Estate of Margaret Bourke-White”; annotated with the title, date, and “Print made in the Time Life photo lab, 1997,” and “© Time Inc./All Rights Reserved,” all in pencil by an unknown hand along the verso of the margin edges; Time Life, New York, NY, prntr. and pub.

Image: 16 1/4 x 20 1/4 in.; Sheet: 20 1/4 x 24 1/8 in. $6,000-8,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “The Estate of Tammis Day,” October 3, 2017, Lot 1091

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johnmoran.com 495

2331

Ruth Bernhard

(1905-2006) “Classic Torso,” 1952 Gelatin silver print mounted to paperboard, as issued From the edition of unknown size; executed in 1952, likely printed later Signed in pencil on the paperboard mount at lower right: Ruth Bernhard; signed again, titled, and dated 1952 in pencil on the paperboard mount, verso Image/Sheet: 13 3/4 x 10 in.; Paperboard mount: 19 1/2 x 16 in. $1,500-2,500 Provenance: Private collection, Utah, acquired directly from the artist By family descent Notes: This work is accompanied by a letter from the artist to the original owners.

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2332

Ansel Adams

(1902-1984) “Pipes and Gauges, West Virginia,” plate 10 from “Portfolio V,” 1939 Gelatin silver print mounted to paperboard, as issued Edition: V-10 11/110, printed 1970 Signed and numbered in pencil on the lower mount: Ansel Adams; titled and numbered in ink in another hand, and with the portfolio stamp, all on the mount, verso; Parasol Press, Ltd., New York, NY, prntr.

Image/Sheet: 19 5/8 x 15 5/8 in.; Mount: 28 3/4 x 22 7/8 in. $1,000-1,500 Provenance: The Estate of Tammis Day, Sula, MT Sold: John Moran Auctioneers, Monrovia, CA, “The Estate of Tammis Day,” October 3, 2017, Lot 1092

johnmoran.com 497

2333

Marion Post Wolcott

(1910-1990) “Two Couples in a Juke Joint” (near Moore Haven, Florida), 1939 Gelatin silver print on paper Inscribed in pencil verso: “Young people in juke joint - bar table / in the vegetable section of the / Belle Glade area / 239 / 57094D / MPW 0007”; titled and dated on a gallery label affixed to the verso of the back mat Image: 13 5/8 x 10 3/8; Sheet: 14 x 11 1/8 in. $600-800 Provenance: The photographer Private collection, Pacific Palisades, CA Notes: A label affixed to the verso of the mat from the Norton Gallery & School of Art, West Palm Beach, FL notes that this piece was from the collection of the photographer.

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2334

Julian Wasser

(b. 1938) “Marcel Duchamp Playing Chess with a Nude [Eve Babitz],” 1963 Gelatin silver print on paper From the edition of unknown size and date Signed in pencil verso: J Wasser Image: 12 x 17 1/8 in.; Sheet: 17 1/8 x 22 1/8 in. $800-1,200 Provenance: Private collection, Pacific Palisades, CA, gifted directly from the artist

johnmoran.com 499

2335

Mark Laita

(b. 1960) “Polygamist with Wives / Pimp with Prostitutes,” diptych from the “Created Equal” series, 2003-2004 Archival pigment print on paper mounted to acrylic sheeting Edition: 9/20 Signed, titled, dated, numbered, artist’s stamp, and with “©” verso: Mark Laita / 2003/2004 Each image: 10 1/4 x 16 in.; Overall sheet: 24 3/4 x 36 3/4 in. $800-1,200 Provenance: Fahey/Klein Gallery, Los Angeles, CA

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2336

Mark Laita

(b. 1960) “Bikers / Altar Boys,” diptych from the “Created Equal” series, 2004-2005 Archival pigment print on paper mounted to acrylic sheeting Edition: 6/20 Signed, titled, dated, numbered, artist’s stamp, and with “©” verso: Mark Laita / 2004/2005 Each image: 10 1/4 x 16 in.; Overall sheet: 24 3/4 x 36 3/4 in. $800-1,200 Provenance: Fahey/Klein Gallery, Los Angeles, CA

johnmoran.com 501

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2337

Mary Ellen Mark

(1940-2015) “Walter and David Oliver, Twinsburg, Ohio,” 2001 Polaroid Signed, titled, and dated in pencil, all verso: Mary E Mark Sheet: 28 1/8 x 22 in. $700-900 Provenance: Fahey/Klein Gallery, Los Angeles, CA

johnmoran.com 503

2338 Li Lang

(b. 1969) “Father 1927.12.03-2010.08.27, Souvenir Picture Taken on September 18th, 1941,” 2010-2013 Archival pigment print with pencil writing on paper Edition: 1/1 Signed in Chinese, dated, and numbered in the lower right margin: 2013 Image: 42 x 41 1/2 in.; Sight: 43 x 42 in. $700-900 Provenance: The Grace Family Collection, St. Helena, California Exhibited: Hong Kong, Blindspot Gallery, “Ren Hang and Li lang: My Mum / My Father,” January 17 - February 25, 2015 Notes: Accompanying this lot is a small, unframed archival pigment print on paper, measuring 3 x 3 in. The image is a smaller version of a larger pigment print that was shown in the same exhibition as this lot. This small photo is from an unknown edition size, is signed in Chinese and “Li Lang” and dated “2014.08.08” all in pencil, verso. The upper right quadrant of this small image has wear and surface staining.

Also accompanying this lot is a certificate of authenticity from A Thousand Plateaus Art Space, Chengdu, China, signed by the artist and dated August 8, 2014.

This lot is a portrait of the artist’s father surrounded by inscriptions in pencil noting each date of his father’s life.

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johnmoran.com 505

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2339

Roi Partridge

(1888-1984) “Photogram,” circa 1940s Gelatin silver print on paper mounted to slick white paperboard From the edition of unknown size Signed and titled on the mount: Roi Partridge / Photogram Image/Sheet: 9 5/8 x 8 in.; Mount: 18 x 14 1/4 in. $1,000-1,500

johnmoran.com 507

2340

Jona Cerwinske

(20th/21st Century) “Blossoming,” 2019 Ink on canvas Signed and dated near the center of the right edge: Jona Cerwinske XIX; titled upper left 62 x 34 1/4 in. $3,000-5,000

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johnmoran.com 509

2341

Robert Walter Irwin

(1928-2023) Abstract composition, 1957 Ink on paper Signed and dated lower right: Irwin 57 Sheet: 12 x 19 1/4 in. $2,000-3,000

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2342

Lucretia Van Horn

(1882-1970) San Francisco Bay from Russian Hill, 1930 Pencil on paper Unsigned; estate stamped in blue ink and numbered “#812” in pencil, all verso; with the artist’s name and a date of 1930, both in ink in another hand on the frame’s backing paper Image/Sheet: 11 x 12 1/2 in. (irreg.) $2,000-3,000 Provenance: Collection of Claire Carleauro

johnmoran.com 511

2343 Jin Li

(b. 1958) Two seated figures Watercolor and ink on paper laid to foamboard Signed with Chinese characters in ink near the center of the right edge: Li; also with a red ink chopmark in the same area; inscribed with Chinese characters in ink along the upper edge Image/Sheet: 14 7/8 x 17 in. $1,000-1,500 Provenance: The artist The Grace Family Collection, St. Helena, California

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2344

Sekino Jun’ichiro

(1914-1988) “Shiroi niwatori (White Rooster),” 1956 Woodcut in colors on paper, watermark Jun. Sekino Edition: 83/100 Signed in white pigment and with the artist’s red ink chopmark in the lower right corner of the image: Jun. Sekino; numbered in pencil in the lower margin; with the artist’s signature also stamped in black ink in the lower margin Image: 25 x 19 in.; Sheet: 28 3/8 x 21 1/2 in. $1,000-1,500 Literature: Sekino Jun’ichiro, “Sekino Jun’ichiro hanga sakuhin shu,” (1994), no. 177, another example illustrated

johnmoran.com 513

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2345

Si Chen Yuan

(1911-1974) “Fleet” Oil on Masonite Signed upper right: S.C. Yuan; signed again and titled, verso 24 x 38 in. $3,000-5,000 Provenance: Private collection, Los Angeles, CA Steven Stern Fine Art, Santa Monica, CA

johnmoran.com 515

George Miyasaki (1935-2013)

George Miyasaki was an American painte San Francisco Bay Area art scene. Born in 1953 and studied at the California Colleg Diebenkorn and Nathan Oliveira.

Throughout his career, Miyasaki experime hard-edged forms, while continuing to ex shapes. Beginning in the late 1950s and e paintings and innovative prints noted for boundaries of composition, material struc

In 1964, Miyasaki joined the faculty of the His works have been exhibited and collec Metropolitan Museum of Art, and the Wh

er, printmaker and educator who became an important figure in the n Kalopa, Hawaii, to Japanese parents, Miyasaki moved to California in ge of Arts and Crafts, where he learned from influential artists Richard

ented with different styles, including Pop Art, geometric abstraction, and xplore color, balance, and the relationship between organic and geometric early 1960s Miyasaki began creating colorful Abstract Expressionist their dynamic brushwork and spontaneity. He continued to push cture, color and form in the subsequent decades of work.

e University of California, Berkeley, where he taught art for three decades. cted by major institutions, including the Museum of Modern Art, the hitney Museum of American Art.

2346

George Miyasaki

(1935-2013) Abstract, 1980 Mixed media including gouache and pastel on paper Signed and dated in pencil lower right: Miyasaki ‘80 Image/Sheet: 42 1/4 x 32 in. $1,500-2,500 Provenance: Sold: Hughes Auction, Sunland, CA, March 29, 2026, Lot 303

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2347

Danny Shain

(20th/21st Century) Abstract with yellow stripe, 1998 Acrylic and mixed media on canvas Signed and dated in ink verso: Danny Shain 98 24 x 21 3/4 in. $500-700 Provenance: Estate, Pasadena, CA Private collection, acquired from the above by descent

johnmoran.com 519

2348

Cole Weston

(1919-2023) “Surf and Headlands,” 1958 Dye transfer print in colors on paper mounted to board, as issued From the edition of unknown size Signed and dated in pencil on the mount, lower right: Cole Weston, 1958; titled on a frame plaque affixed to the verso of the frame’s glass backing Image/Sheet: 15 1/4 x 19 3/4 in. $700-900 Provenance: From a Private Colorado Collection

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2349

Uta Barth

(b. 1958) “Field #13,” 1996 Chromogenic print in colors on panel Edition: 1/8 Signed, dated, and numbered, all in ink, verso: Uta Barth 1996; titled on a label affixed verso 23 x 28 3/4 in. $1,000-1,500 Provenance: Rena Bransten Gallery, San Francisco, CA Private collection, acquired from the above, May 15, 1997 Notes: This lot is accompanied by a sales invoice dated May 25, 1997, from the gallery mentioned above.

johnmoran.com 521

2350

Markus Bacher

(b. 1983) “Ula,” 2015 Acrylic on canvas Unsigned; titled and dated on a gallery label affixed to the stretcher 72 x 24 in. $2,000-3,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA Private collection, Santa Monica, CA 5 2 2 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

2351

Ralf Kaspers

(b. 1957) Man walking dog, 2002 C-print in colors on paper face mounted to acrylic, as issued Edition: 1/7 Signed in ink in the lower right of the image: Ralph Kaspers; signed again, dated “20/03/2002,” numbered, and inscribed “Düsseldorf,” in ink, all on the artist’s label affixed verso Image: 58 1/4 x 58 1/4 in.; Sheet: 70 1/4 x 70 1/4 in. $1,500-2,000

johnmoran.com 523

2352

Rodney Ripps

(b. 1950) “Pink Duchess,” 1980 Oil, wax, cloth, wood Signed and dated verso: Rodney Ripps © Height 57 1/2 in., width 60 in., depth 8 1/2 in. $1,000-1,500 Provenance: Sold: Bonhams, Los Angeles, CA, “Sunset Estate Auction - Fine Art,” May 21, 2006, Lot 7209 Private collection, Los Angeles, CA

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johnmoran.com 525

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2353

Lorraine Schneider

(1925-1972) “Primer (War is Not Healthy for Children and Other Living Things),” 1966 Etching in colors on wove paper Presumably from the edition of 100 (there was also a separate edition of 200) Initialed and titled in pencil in the lower margin: LS / Primer; inscribed “Lorraine / Schneider” in blue ink, likely by another hand, on white tape affixed to the sheet’s verso Plate: 2 1/4 x 1 7/8 in.; Sheet: 6 1/4 x 4 1/8 in. $3,000-5,000 Provenance: Valley Peace Center Auction, 1968

johnmoran.com 527

2354

Anni Albers

(1899-1994) Untitled (Line Involvement IV), one plate from the “Line Involvements” portfolio, 1964 Lithograph on wove paper, without watermark A bon à tirer impression, aside from the edition of 20 (there were also 3 artist’s proofs) Signed and inscribed “Bon à Tirer,” and “IV,” all in pencil along the lower sheet edge: Anni Albers; Ernest Rosenthal with Tamarind Lithography Workshop, Inc., Los Angeles, CA, prntr. and pub., with their blindstamps along the lower sheet edge, and the Tamarind pencil work number, 1117, verso Image/Sheet: 14 3/4 x 19 7/8 in. $2,000-3,000 Literature: Tamarind 1117 Marion L. Buzzard Anni Albers Prints and Drawings. Riverside, CA, 1980, p. 3, another example illustrated

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2355

Salomon Huerta

(b. 1965) Untitled (Back of Head on Orange Field), 2002 Lithograph in colors on paper Edition: 11/75 Initialed and numbered in pencil in the lower margin: H; Francesco X. Siqueiros at El Nopal Press, Los Angeles, CA, prntr.; The Prints and Drawings Council of LACMA, Los Angeles, CA, pub.

Image: 11 7/8 x 11 3/4 in.; Sheet: 17 1/4 x 16 7/8 $300-500 Notes: A file pertaining to the artist and his work, including the series that includes this lithograph, accompanies this lot.

According to LACMA’s description of this limited edition, six-color lithograph on their website, “This print is one of a series of ‘portraits’ (both painted and printed) of anonymous subjects seen form the back rather than the front, standing, sitting, or in bust format. In these rear-view ‘anti-portraits’ that draw on the bright palette of advertising and the conventions of pop art, Huerta rejects facial features in order to question the nature of portraiture, allowing the viewer an unexpected and ironic discretion of interpretation.” johnmoran.com 529

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Consign Today

California & American Art November 17, 2026

Consignment Deadline October 7, 2026 Auction Inquiries: info@johnmoran.com 5 3 0 A r t + D e s i g n l Tu e s d a y, S e p te mb e r 2 9 , 2 0 2 6

SINCE 1969

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Richard Serra (1938-2024) “Penn. Ship,” 1987

Price Realized: $50,000 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com 531

Condition Reports

2001 The full sheet. Vibrant colors. Faint time-staining along the extreme right sheet edge. There are assorted scattered extremely minor surface scuffs, only visible in raking light, primarily in the red. Pale offsetting, verso, from the ink, recto. The sheet is loose, not matted.

2007 One dome of silence later replaced. Ottoman with a 1 1/2 in. long repaired tear to leather. Each overall good condition with scuffs, scratches, nicks, and soiling commensurate with age. The leather with creasing, shallow cracking, and scuffing, with more concentrated wear to seat and seatback.

Unframed

2008 The shade with scattered breaks in the bamboo ribbing, creasing to paper, abrasions, small tears concentrated at lower areas, and dust accumulation.

Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2002 With full margins. The margin corners very slightly dog-eared. Pale mat or time staining and uneven toning on the verso. The sheet is loose, not matted.

Unframed 2003 The full sheets. Each with very pale light-staining as well as some time staining along the extreme sheet edges. Each with a thin band of damp staining along the upper sheet edge, and some of the sheets with a few additional scattered spots of damp staining along the lower sheet edge, the largest approximately 2 inches wide. Each sheet is loose, suspended between two panes of Plexiglas. Not examined out of the frames.

Each framed under double-sided Plexiglas: 16 1/8 x 11 1/2 x 1 1/4 in.

2004 The full sheet. Vibrant colors. Slight time staining along the extreme sheet edges. Pale offsetting, verso, from the ink, recto. Extremely minor surface soiling along the verso of the lower left edge. The sheet is loose, not matted.

Condition Reports

Unframed

534

2005 The full sheet. Vibrant colors. A faint 1-inch diagonal crease in the upper left corner. An unobtrusive 2-inch horizontal crease at the center of the extreme upper sheet edge, in the red. Pale offsetting, verso, from the ink, recto. The sheet is loose, not matted.

Unframed 2006 The full sheet. Vibrant colors. A 1/2 inch horizontal faint line at the center left, near the top of the orange pigment. A fairly unobtrusive roughly peasized pressure mark in the upper left (with a small piece of corresponding tape verso). A few patches of skinning in the upper part of the sheet, verso. The sheet is slightly curled inward along the upper and lower edges. The sheet is loose, not matted.

Unframed

2009 One with separation at three junctures including two at back of seatback and one underneath the seat, with black marks along edges of supports. The other with one very loose armrest, the other armrest possibly reattached, staining and surface grime to seat underside and supports, and near-separation to seatback verso supports. Each with scuffs, scratches, small nicks along edges, and general soiling commensurate with age.

2010 The upholstery with soiling, surface grime, dust accumulation, and one top of tufting button missing.

The wood supports with scuffs, scratches, and nicks commensurate with age.

2011 Overall good condition with minor soiling, yellowing to enamel, and scattered scuffs, scratches, and minor nicks commensurate with age. The wood top with a faint drink ring and other faint stains.

2012 Overall good condition with minor scuffs, scratches, and nicks at edges to wood commensurate with age.

2013 Overall good condition with inherent oxidation and mild dust accumulation commensurate with age.

With scattered scuffs and scratches to frame.

2014 With some craquelure lines to the gold toning. With shelf wear, dust accumulation, and scattered scuffs, scratches, nicks to edges, and minor soiling and oxidation commensurate with age.

2015 Top element loose from the base. With shelf and handling wear, scattered scuffs and scratches, and dust accumulation and surface grime commensurate with age. Several larger and deeper scratches scattered and a few shallow indentations at edges and corners. Loss to enamel at the juncture.

2016 Overall good condition with shelf and handling wear, scattered scuffs and scratches, and dust accumulation and surface grime commensurate with age. The cylinder with scattered losses to enamel and slight minor indentations, with scratches and scuffs concentrated to upper surface from contact with sculpture.

2024 With narrow margins. A 3/8 inch edge tear extending in from the right portion of the upper margin edge, just barely affecting the image. A few minor abrasions scattered occasionally along the margin edges and corners. The sheet is loose, not matted.

2017 When plugged in, the acrylic becomes illuminated.

Lacking electrical wire for illumination. Bronze overall good condition with minor shelf and handling wear and oxidation commensurate with age. The base with some pitting to gold toned finish. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

2025 With narrow margins. A few very minor and unobtrusive abrasions scattered occasionally along the margin edges and corners. The sheet is loose, not matted.

2019 Red car loose from its mounting. With shelf wear, scattered scuffs, scratches, and small nicks at edges commensurate with age.

2020 The vase and cup with crazing to the glaze. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2021 Each with crazing to the glaze. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2022 With crazing to the glaze. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2023 With narrow margins. Very minor unobtrusive abrasions scattered occasionally along the margin edges. A soft handling mark in the center of the right image edge, primarily visible in raking light.

Tiny unobtrusive pinholes scattered in places along the margin edges. Two areas of faint surface soiling, approximately pea-sized, on the verso of the right sheet edge. The sheet is loose, not matted.

Unframed

Unframed 2026 With full margins. A few 1 inch (or smaller) horizontal and vertical surface scuffs in the black pigment of the right figure’s head, primarily visible in raking light.

A few very soft creases along the extreme edges of the upper and lower margins, the largest measuring 2 inches wide. A few soft handling marks scattered primarily in the lower margin. The margin corners slightly dog-eared. A very soft horizontal crease across the width of the sheet in the upper 1/3rd, showing only on the verso. The sheet is loose, not matted.

Unframed 2027 With margins. Some of the colors may be slightly attenuated. There is mat staining showing along the window opening of the overmat and the paper appears mildly toned. Not examined out of the frame.

Framed under glass: 21 5/8 x 23 x 1 in.

2028 With margins. No condition issues to report. Not examined out of the frame.

Framed under Plexiglas: 43 1/2 x 46 x 1 1/4 in.

2029 No condition issues to report. Not examined out of the frame.

Framed under Plexiglas: 34 5/8 x 34 5/8 x 1 3/4 in.

2030 The top with losses to enamel. Fading to finish of drawer fronts. With scuffs, scratches, nicks, and soiling throughout commensurate with age.

Condition Reports

2018 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The base with scratches and wear at mounting juncture and along edges and corners.

Unframed

535

2031 Each with scuffs, scratches, nicks, and indentations commensurate with age. Each top overall good condition. Drawers with some touch-ups at fronts and edges, and soiling to interiors. One with a 2 in. long deeper scratch at one side.

2032 One side of support with a slight separation at one juncture. Heavy fading to the upholstery, with soiling and dust accumulation. The frame with scuffs, scratches, wear to finish, and nicks at edges commensurate with age.

2033 Heavy fading to the upholstery, with soiling and dust accumulation. The frame with scuffs, scratches, wear to finish, and nicks at edges commensurate with age.

A few scattered stains to the wood. Oxidation/rust to springs.

2034 The top with scattered stains. Overall good condition with scattered scuffs, scratches, nicks, and rubbed wear/fading to finish commensurate with age.

2035 Denting to shade at edges. With scattered scuffs, scratches, and small nicks at edges commensurate with age. The shade with more scuffs and scratches.

Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

2036 Each overall good condition with soiling, scuffs, scratches, nicks, and indentations at edges commensurate with age. Rubbed wear to finish at edges.

536

2037 The tabletop with spotting/losses in the laminate.

Each with scuffs, scratches, nicks, and soiling commensurate with age. Soiling to drawer interior.

Some staining to Oxidation/rust to hardware.

Upholstery with some soiling and dust accumulation.

2038 Overall good condition with wear to pile, stiffening to backing, and minor soiling throughout commensurate with age. With a 4 x 4 in of more distressed pile.

2039 Some wear and losses to patina at edge where edition is impressed. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

2040 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Rubbed wear to patina throughout.

2041 Overall good condition with mild handling wear commensurate with age. The base with oxidation and scuffs and scratches.

2042 With wear to patina, concentrated to upper half.

With dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age.

2043 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

2044 Bronze overall good condition with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age.

Rubbed wear and loss to patina at elbows and heels.

Later mounted to an associated wood backing, not clear if meant to be wall-mounted, with wear to lacquer, soiling, scuffs, and small losses at edges and mounting junctures.

2045 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

2046 With full margins and deckled edges. The colors fresh. A few scatttered vertical or horizontal soft handling creases in the margins, the longest approximately 2 inches, none of which affect the image. The sheet is loose, not matted.

Unframed 2047 The full sheet with deckled edges. The paper has some toning and the colors are attenuated. Framed floating, hinged to the back mat in places from the verso of the sheet’s edges. Not examined out of the frame.

Framed under glass: 37 1/4 x 29 1/4 x 1 1/2 in.

2048 With full margins and deckled edges. Very pale lightstaining. Very soft cockling and a few soft handling marks scattered along the margin edges. The sheet is framed floating, tipped to the back mat from the verso of the margin corners. Not examined out of the frame.

2057 Visual: Craquelure throughout, including an area of unstable craquelure with a few attendant pea-sized (or smaller) pigment losses in the orange pigment of the upper right quadrant.

Framed under glass: 24 1/4 x 20 1/8 x 1 3/8 in.

Frame: 27 5/8 x 31 5/8 x 2 in.

2049 With full margins. The sheet is hinged in places to the back mat from the verso of the sheet’s margins.

Examined out of the frame but unable to access verso.

2058 Visual: Stable craquelure scattered throughout.

Framed under glass: 35 x 29 1/4 x 1 1/2 in.

Frame: 41 1/4 x 41 1/4 x 1 3/4 in.

2050 Each with scuffs, scratches, soiling, and small nicks at edges commensurate with age. Some with soiling and heavier surface grime to tubular supports. Most with staining to seat or seatback.

2059 Visual: Craquelure in places throughout, with a more noticeable band in the lower left quadrant. Minor stretcher bar creases in places along the upper and lower edges. Surface dust commensurate with age.

2051 One with crest rail detaching from one support. Each with scuffs, scratches, some scattered stains, rubbed wear to cording, rubbed wear to wood finished concentrated to armrests, and some general soiling commensurate with age.

Blacklight: No evidence of restoration.

2053 Each overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. Upholstery in good condition with a dime-sized faint stain to seat and a 3” x 1.5” stain to ottoman.

2054 Slightly shaken, with loose junctures at supports and a crack in one juncture. With scuffs, scratches, nicks, indentations, and some soiling commensurate with age.

2055 The back with some long deeper scratches. The top with soiling and an 11 x 4 in. area of ring stains.

Overall with scuffs, scratches, and scattered very minor nicks at edges commensurate with age.

2056 With scuffs, scratches, soiling, minor nicks at edges, and fading to wood finish commensurate with age.

The leather in good condition, with oxidation/rust to rods.

Blacklight: Crack-fill throughout the large orange rectangle in the upper half.

Frame: 31 1/4 x 43 x 2 in.

2060 Visual: There is an almond-sized piece of brown paper stuck to the surface near the center-right of the upper edge. There are scattered slight abrasions in places along the extreme outer edges.

Blacklight: No evidence of restoration.

Unframed 2061 Visual: There is a pea-sized tear in the green pigment of the lower right quadrant. Surface grime throughout.

Blacklight: No evidence of restoration.

Frame: 42 1/2 x 54 1/2 x 3 1/2 in.

2062 Slight grime. Some of the assemblage materials with wear and fraying, presumably inherent in the creation process.

Framed under glass: 23 x 16 1/4 x 2 1/2 in.

2063 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 25 x 31 x 2 1/4 in.

Condition Reports

2052 The tabletop with a few areas of staining to the finish, the largest measuring 4 x 3 in. With scattered minor scuffs, scratches, and nicks at edges commensurate with age.

Blacklight: No evidence of restoration.

537

2064 Visual: Minor scattered surface scuffs throughout and small spots of splattered grime primarily in the lower left quadrant. A 4 x 4 inch area of craquelure in the green square of the lower right quadrant.

Blacklight: No evidence of restoration.

Unframed 2065 Overall good condition with minimal shelf and handling wear commensurate with age.

2066 Each reed with scattered scuffs and scratches, most with chips to the base. Inquire for additional condition photos at info@johnmoran.com.

2067 Glass overall good condition with minimal handling wear commensurate with age. The case with shelf wear and scuffs and scratches. Mounting putty residue to base of case and underside of glass.

2068 Glass overall good condition with minimal handling wear commensurate with age. The case with shelf wear and scuffs and scratches.

Condition Reports

2069 Missing ends of fingers. With shelf wear, soiling, dust accumulation, and scattered minor scuffs and scratches commensurate with age.

538

2075 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 29 x 25 1/4 x 3 in. (oval) 2076 Visual: Occasional tiny specks of surface grime, the largest approximately pinhead-sized, in the lower portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 27 3/4 x 35 1/4 x 3 in.

2077 Flattened creases scattered throughout the larger and a few soft handling marks or cockling along the outer sheet edges of the smaller. The smaller is slightly lifting off the backing board. Each sheet is framed floating, presumably mounted to an invisible backing board from the verso. Not examined out of the frames.

Each framed under Plexiglas; Frame of larger: 11 x 12 1/2 x 1 1/2 in.; Frame of smaller: 11 1/8 x 8 5/8 x 1 1/2 in.

2078 Visual: Two pinpoint-sized specks of grime in the left portion of the lower edge.

Blacklight: No evidence of restoration.

2070 Each overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age. The stand sin good condition with handling wear, each backing slightly loose at the mounting juncture.

Frame: 16 x 13 1/8 x 2 1/2 in.

2071 With scattered small chipped losses at edges and corners. Scratches and shelf wear, mostly apparent at the frosted side. With scuffs, scratches, and dust accumulation commensurate with age.

Framed under Plexiglas: 11 5/8 x 34 1/8 x 3/4 in.

2072 Overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age.

2073 With shelf wear and scattered scuffs and scratches commensurate with age.

2074 Overall good condition with shelf wear, scuffs, and light scratches commensurate with age.

2079 The full sheet with deckled edges. No condition issues to report. The sheet is framed floating, sandwiched between two pieces of Plexiglas.

2080 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 20 x 18 x 3 1/2 in.

2081 A 2 inch diagonal scratch with attendant pigment loss in the upper left corner of the painted Plexiglas.

Other minor scuffs, scratches, and grime on the painted Plexiglas.

Framed under painted Plexiglas: 49 1/4 x 61 x 2 14 in.

Blacklight: There is no evidence of restoration.

Framed under Plexiglas: 50 x 36 3/4 x 2 1/2 in.

2083 Possibly lacking the upper handles. Otherwise overall good condition with minor wear commensurate with age. Some soiling and dust accumulation to underside. Upholstery in good condition with minor dust accumulation.

2084 Losses to the gilding throughout revealing the base metal. Scattered scuffs, scratches, nicks, indentations, dust accumulation, soiling, and handling wear commensurate with age. Lights and fountain untested, working functions unknown. Moran’s does not guarantee the working condition of the motor, fountain components, or electrical elements of this piece.

2085 With losses to gilding throughout, revealing the base metal. With dust accumulation, soiling, rubbed wear, scuffs, scratches, and oxidation commensurate with age. Working condition of light unknown. Moran’s does not guarantee the working condition of this item.

2086 With heavy surface grime throughout upper surfaces.

Needs a cleaning. Otherwise good condition with minor scuffs and scratches commensurate with age.

Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2087 Each with soiling, dust accumulation, pitting to chromed finish, and handling wear commensurate with age. The leather good condition with scattered scuffs and scratches, concentrated to seats.

2088 Each overall good condition with scuffs, scratches, nicks, and soiling commensurate with age. The leather with creasing, shallow cracking, and scuffing, with more concentrated wear and small pockmarks to seat.

2089 Underside of pyramid not inspected due to it being firmly affixed to the base. With bumping to corners, one side with two 3 in. long creases from indentation and two other sides with a single 3 in. long similar crease. Edges with some rubbed wear, one edge with small creases along it. Scratches to the acrylic case and plinth.

2090 Full margins with deckled edges. Vibrant colors. A rice sized stray spot of probable printer’s ink verso, not affecting recto. Hinged to the back mat with tape in places along the verso of the upper margin edge.

Framed under glass: 32 3/4 x 38 x 2 in.

2091 The full sheet with deckled edges (the “margins” are printed red). The colors appear to be somewhat attenuated, although there is also slight bloom on the inside of the glass. Numerous fairly unobtrusive rectangular stains (approximately 1 x 2 1/2 inches each) in places throughout the red border of the work attendant with the hinges verso. There is a soft and unobtrusive 3 inch crease extending horizontally from the uppermost portion of the left sheet edge, visible primarily in raking light. The outer portion of the sheet edges are very slightly cockled. The sheet is framed floating, hinged in numerous places to an unseen board which is subsequently affixed to the back mat. Not examined out of the frame.

Framed under glass: 38 7/8 x 31 3/8 x 2 1/2 in.

2092 Occasional pea-sized spots of surface skinning in places along the upper margin, and soft handling marks scattered along the margins. The sheet is framed floating, presumably hinged to the back mat in places from the verso of the margin corners and edges. Not examined out of the frame.

Framed under Plexiglas: 68 3/4 x 44 x 2 1/4 in.

2093 The full sheet. No condition issues to report. The sheet is hinged to the back mat along the verso of the upper edge, not affecting the recto. The interior of the Plexiglas appears to have some dust accumulation. Not examined out of the frame.

Framed under Plexiglas: 47 1/4 x 37 x 2 1/4 in.

2094 The full sheet with wide margins and deckle. A rich impression. Faint paper toning, primarily in the upper margin. There is a 1/2 x 1/16 inch strip of light brown discoloration surrounded by an area of scattered light foxmarks, all in the margin near the lower left corner, not affecting the image. There are areas of scattered very faint and unobtrusive dirt in the margins, predominantly along the very outer edge of the upper margin, not affecting the image. There are areas of dirt and/or stray pigment verso, not affecting recto. The sheet is loose.

Unframed

Condition Reports

2082 Visual: The fabric is slightly cockled. The fabric is slightly frayed in places on the vertical edges where it was cut. Not examined out of the frame.

539

2095 Currently crated in a Crozier crate and ready for shipping. With verdigris, rust, and oxidation from use.

With scattered scuffs, scratches, and general wear from use. The pump not tested, working condition unknown. Moran’s does not guarantee the working condition of this item.

2103 Full margins with deckled edges. Slight time staining along the deckled edges. Slight paper cockling. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.

Height crated 80 1/4 in., width 29 1/2 in., depth 29 1/2 in.

2104 Overall good condition with dust accumulation and light wear commensurate with age. With stitch applied fabric sleeves to top and bottom edges for display, and with one copper rod inserted. Minor smudges and light surface soiling to fabric sleeves.

2096 Lacking hanging hardware. With inherent rust and scattered scuffs and scratches.

2097 Overall good condition with minor shelf and handling wear commensurate with age. Some staining to underside of stone from a substance previously used for mounting the stone to wood base.

2098 Overall good condition with minor shelf and handling wear and minor soiling commensurate with age.

2099 With small losses to rim of bottommost stone. With soiling, weathering, scuffs and scratches, and minor handling wear commensurate with age. Plinth in similar condition with some soiling.

2100 Visual: There are two rice-sized scuffs in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 50 3/4 x 60 3/4 x 1 3/4 in.

Condition Reports

2101 Visual: An approximately 1 1/2 x 1 1/2 inch V-shaped tear with an abrasion in the lower center. A 1/4 x 1 1/2 inch light surface abrasion at the very outer horizontal edge in the upper right corner. Some minor scattered surface soiling.

Blacklight: No evidence of restoration.

Unframed 2102 Visual: A 4 1/2 x 1/4 inch band of pigment loss along the upper portion of the extreme right edge. A 1/2 inch scuff in the left portion of the extreme upper edge. Stretcher bar creases along the lower edge.

The canvas is very slightly puckered in the upper corners.

Blacklight: No evidence of restoration.

Unframed 540

Framed under Plexiglas: 31 x 63 3/4 x 2 1/2 in.

2105 Visual: No condition issues to report Blacklight: No evidence of restoration.

Unframed 2106 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Unframed 2107 A soft, 2-inch diagonal crease in the lower edge of the right-hand sheet, just to the left of (but not affecting) the artist’s initials. Artist pinholes in each sheet corner. The two sheets are framed together.

Each sheet is framed floating, presumably hinged to the linen-covered back mat from the verso sheet corners. Not examined out of the frame.

Framed together under Plexiglas: 48 3/8 x 64 3/8 x 3 in.

2108 No condition issues to report. Not examined out of the frame.

Framed under Plexiglas: 23 5/8 x 31 1/8 x 2 1/2 in.

2109 Overall good condition with inherent oxidation to metal and minor dust accumulation commensurate with age. The 13 in. head removeable for transport.

2110 Wall-mounting holes verso, inherent. Overall good condition with minor shelf wear and handling wear commensurate with age. Scattered areas of surface grime, scuffs, or smudges. The front with a 5 in. long area of red splotches, possibly inherent.

2112 Overall good condition with shelf wear and dust accumulation commensurate with age.

2113 Bulbs replaced. With dust accumulation, surface grime, scuffs, scratches, oxidation, and general wear inherent in the materials. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2114 With a small abrasion at one corner. With scuffs, scratches, and handling wear commensurate with age.

2115 Overall good condition with dust accumulation and minor creasing commensurate with age. With integral sleeves top and bottom with wooden dowels inserted for hanging.

2116 Overall good condition with very minor dust accumulation commensurate with age. A couple of loose threads at edges. Not examined out of frame.

Framed under glass: 34 5/8 x 29 7/8 x 2 3/4 in.

2117 Visual: There is a web of extremely faint, nonobtrusive horizontal panel cracking in places, visible in raking light. A 1/8 x 3/4 inch horizontal panel crack with paint loss along the lower left edge, and another similar at the very lower left corner. Surface dust.

Blacklight: The work is hard to read under UV. There may be small areas of touch-up in places, particularly surrounding the outstretched hand of the figure in blue on the right side and in the ladies’ necks on the left side. However, these areas of fluorescence may be due to the type of pigments the artist used.

Frame: 55 7/8 x 55 7/8 x 2 1/2 in.

2118 Visual: There is a spot of craquelure measuring 1/2 x 3 inches near the man’s jaw/neck on the right. There are a few scattered horizontal surface abrasions near the center of the left edge, the largest is about 1/8 x 3/4 inch. There is a broken, hairline, faint, approximately 3 inch surface abrasion near the center of the right edge. There is an extremely faint, horizontal, hairline, surface abrasion traversing the lower third of the painting. Surface dust.

Blacklight: No evidence of restoration.

Frame: 60 3/4 x 50 3/4 x 1 1/4 in.

2119 Visual: Dust accumulation and occasional specks of grime. A very unobtrusive, approximately pinpointsized pigment loss near the center of the lower edge.

Blacklight: No evidence of restoration.

Frame: 36 5/8 x 30 3/4 x 3 in.

2120 A few artist pinholes in the upper sheet corners.

Occasional smudges in the hand of the artist near the sheet edges. As mentioned, the sheet is laid to board. Not examined out of the frame.

Framed under glass: 43 1/2 x 29 1/4 x 1 1/2 in.

2121 Visual: A very unobtrusive reverse pressure mark, attendant with a small foreign object on the reverse, in the extreme upper edge, at left.

Blacklight: No evidence of restoration.

Frame: 37 1/2 x 27 3/4 x 1 1/2 in.

2122 There is a slight diagonal cockle in the lower right corner. Brown tape remnants at the center of each edge, verso, not affecting the recto. A few very pale, scattered fox-marks visible and faint paper toning, all verso, and not affecting the recto. The sheet is loose, not matted.

Unframed 2123 Visual: Scattered areas of craquelure. Slight varnish discoloration and minor grime.

Blacklight: A few scattered areas of touch-up, the largest measuring 2 1/2 x 2 inches in the upper right quadrant, with related repair patches, verso.

Frame: 17 3/4 x 29 3/4 x 2 3/4 in.

Condition Reports

2111 The base with some soiling. Overall with minor handling wear and scuffs and scratches commensurate with age. A few rods with staining.

Minor fraying/rubbed wear to the wrapping.

541

2124 No condition issues to report.

Framed under glass: 13 x 10 7/8 x 2 1/4 in.

2125 With shelf wear and fading to map commensurate with age. Losses to map on baby’s behind. Wear and pigment loss on fingers, palms, knees and toes. Working condition unknown. Moran’s does not guarantee the working condition of the found material constituted in this work.

2126 Overall good condition commensurate with age.

Minor scattered areas of loss to beadwork.

2127 Scattered surface grime throughout. The board is slightly lifting off the panel along the edges.

Unframed 2128 Light scuffing, abrasions, and folding to the corners of each card commensurate with age and handling.

Slight transfer of crayon to the verso of each card.

Each sheet is loose, not matted.

Each unframed 2129 Light scuffing, abrasions, and folding to the corners of each card commensurate with age and handling.

Slight transfer of crayon to the verso of each card.

Each sheet is loose, not matted.

Condition Reports

Each unframed

542

2130 Visual: There is faint craquelure along the outer edges of the panel within the white ground layer that is showing. There are minor separation cracks in places along the bottom edge of the perimeter of the impasto where the paint edges meet the abovementioned ground layer, all at the outer edges of the panel (the paint appears stable). Some dust accumulation.

2131 Visual: There are a few white, hairline scratches within the middle black concentric circle (surrounded by red and green on either side) however these appear to be part of the artist’s process rather than damage.

Blacklight: No evidence of restoration.

Unframed 2132 No condition issues to report.

Unframed 2133 There are three faint 1 inch hairline scratches on the left side of the circle and two diagonal faint 1 inch hairline scratches in the center of the horizontal black stripe. An unobtrusive 1 inch vertical hairline crease in the lower left corner visible in raking light. The paper has some toning with a darker line of mat staining under the mat that fades into a visible, but mild and unobtrusive, mat stain along the window opening of the overmat. The sheet has been adhered to a back mat and then sandwiched in between the back mat and overmat in places with adhesive.

Framed under glass: 24 1/8 x 20 7/8 x 1 1 /4 in.

2134 A few small (1 1/2 x 1/4 inches or less) and unobtrusive areas of scattered pinhead-sized (or smaller) pigment losses, likely due to the careful removal by the artist of strips of masking material utilized as part of his working process. Some very soft ripples in the paper visible primarily in raking light. Not examined out of the frame.

Framed under glass: 32 1/2 x 25 3/4 x 1 1/4 in.

2135 Visual: Occasional very minor, unobtrusive, scattered specks of grime.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Unframed

Unframed 2136 Visual: A very faint, thin, 6-inch, vertical, surface scuff in the lower right quadrant.

Blacklight: No evidence of restoration.

Unframed

Unframed 2138 Scattered surface scuffs and fingerprints, primarily along the outer edges.

Unframed 2139 Overall good condition with minor dust accumulation and scattered minor scuffs and scratches commensurate with age.

2140 Each with scuffs, scratches, oxidation, and surface grime commensurate with age. The supports with cracks in the paint, concentrated to legs and areas that join with the seat.

2141 Each overall good condition with scuffs, scratches, nicks, and fading to finish commensurate with age. Leather in good condition with normal wear.

Scattered stains in the wood, with darkening to wood at seatback versos.

2142 With wear to finish, scratches, scuffs, nicks, and minor indentations commensurate with age. The tabletop with some scattered staining.

2143 Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. The cording in good condition with dust accumulation and minor soiling. The frame with rubbed losses to black paint along armrests.

2144 With margins (particularly wide at left and right), and the colors good. Numerous handling marks and short creases in the upper and lower right corners of the sheet, primarily confined to the margin corners and adjoining portion of the margins flanking the margin corners, however, some of these features also slightly affect two narrow sections of the image itself at right (3/4 x 11 inches along at the upper right; 2 1/4 x 15 1/2 inches along the lower right). A 3/8 inch edge tear extends vertically from the lower margin edge (backed with clear tape), not affecting the image. Pale old mat staining and some areas of slight surface rubbing in the margins (including near the pencil signature and numbering). Old backboard staining, and a narrow, scattered, horizontal line of small stains (roughly 1/8 x 5 inches overall), verso, none of which affects the recto. Additionally, a former owner has written the title and reference information for this lithograph on the verso of the upper margin (not affecting the recto).

Framed under glass: 58 x 42 x 1 1/2 in.

2145 Presumably the full sheet. Extremely pale lightstaining. A few soft handling marks scattered primarily in the sheet edges, some of which are very slightly affecting the upper image edge. An occasional pale foxmark in the left and lower sheet edges. The sheet is sandwiched within the matting but does not appear to be fully mounted.

Framed under glass: 48 x 39 x 2 1/4 in.

2146 With full margins and deckled edges (the center portion of the extreme upper margin edge with it’s deckle trimmed very slightly). The colors are attenuated. There is a 2 1/2 inch hairline surface abrasion along the lower center margin near the edge of the window opening of the overmat. There is mat staining in the margins, hidden by a newer mat, when framed. Unable to view verso due to hinge placement. The sheet is hinged in places along the outer edge of the margin’s verso.

Framed under glass: 43 x 33 1/2 x 1 1/2 in.

2147 Full margins with deckled edges. Pale light-staining and the colors attenuated. A short handling mark in the background at upper right, visible mostly in raking light. An unobtrusive, nickel-sized pale stain in the background near the center of the lower edge.

Pale backboard staining, along with some slight surface skinning from old hinge removal along the upper margin edge, all verso. The sheet is hinged to the overmat from the verso of the upper margin edge.

Condition Reports

2137 A few spots of dripped grime scattered throughout.

Minor scattered surface scratches and scuffs.

Framed 42 x 33 x 1 1/2 in.

543

2148 Pale light-staining. A very pale pinhead-sized white surface stain in the center of the lower margin. An occasional soft and unobtrusive handling mark in margins. The sheet is sandwiched within the matting, but does not appear to be completely laid down to the back mat.

2153 Heavy wear to leather with staining/darkening to areas, scattered scuffs, scratches, rubbed wear and cracking at edges and corners, and soiling commensurate with age and heavy use. Some small losses at legs, armrest terminals, and crest rail corners, with scattered seam tears.

Framed under glass: 31 5/8 x 35 5/8 x 1 3/4 in.

2154 Yellowing to upper surfaces and side of tabletop.

With scuffs, scratches, and handling wear commensurate with age.

2149 Full margins with deckled edges. Occasional very minor handling marks in the margins, visible primarily in raking light. A series of small (approximately ricesized), soft, edge creases along the upper portion of the extreme left margin edge. The sheet is framed floating, hinged to the linen-covered back mat with white linen tape from the verso of the upper margin corners.

Framed under glass: 36 1/2 x 27 1/4 x 1 1/2 in.

2150 With wide margins and deckled edges. Pale lightstaining. Very soft cockling and an occasional soft handling mark along the margin edges. An occasional pale foxmark scattered in the margins.

With a pencil notation “b. 7” on the verso of the lower right margin corner. The sheet is loose, secured to the overmat with two paper archival corners.

Framed under glass: 20 x 17 x 2 in.

2151 With margins. Pale light-staining and the colors slightly attenuated. Not examined out of the frame.

Condition Reports

Framed under glass: 21 1/2 x 24 1/2 x 1 3/4 in.

544

2152 With wide margins. Light-staining and pale time staining. A 1 1/2 x 1/2 inch area of uneven toning with the surface and edge of the paper slightly uneven, possibly due to hinging tape, in the lower left margin corner. The extreme left margin edge uneven along its uppermost section as well as its lower left margin corner. The sheet is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame.

Framed under glass: 15 1/4 x 11 5/8 x 2 1/4 in.

2155 Repaired break to one support with attendant small in-filled losses along the seam. Overall with scuffs, scratches, and handling wear commensurate with age.

2156 With fading to finish and some craquelure to the lacquer throughout. The edges with more wear to the lacquer and veneer, with some losses. A 7 x 5 in. area of bubbling to veneer at underside at middle.

With scuffs, scratches, and minor indentations commensurate with age.

2157 The right armrest separated from the metal tubular support, with some separation at joints of rear stretcher wood beam. With fading to wood finish, scuffs, scratches, and nicks commensurate with age.

2158 The leather with soiling, staining, stiffening, and stretched from use. Small losses to enameling, with attendant oxidation to frame. With scuffs, scratches, minor nicks, and soiling commensurate with age.

2159 With full margins and deckled edges. The upper sheet edge torn slightly unevenly, presumably as issued. A few soft, unobtrusive, handling marks scattered in the margins. Soft flattened creases approximately 1 inch wide in the upper right and lower left margin corners. Two soft, unobtrusive pinhead-sized abrasions in the lower margin. The sheet is framed floating, hinged to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 28 1/2 x 24 1/2 x 1 5/8 in.

2160 Pale light-staining. Very soft cockling along the sheet edges. The sheet is framed floating, presumably tipped to the back mat from the verso of the upper left and right, and lower left sheet corners. Not examined out of the frame.

Framed under Plexiglas: 12 3/4 x 9 7/8 x 1 1/4 in.

Unframed

2167 Each with shelf and handling wear and scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

2168 The acrylic ornaments with nicks, scuffs, scratches, and yellowing. The escutcheon with shelf and handling wear commensurate with age.

2162 With full margins and deckled edges. Minor paper cockling. The sheet is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame.

2169 With scattered areas of wear and small losses to the silvering, concentrated at underside and flower petals. With scuffs, scratches, and minor oxidation commensurate with age. Soiling and wax residue to nozzles.

Framed under Plexiglas: 43 x 35 3/8 x 1 3/4 in.

2170

2163 Full margins with deckled edges. A soft, unobtrusive, handling mark in the center of the left margin. The sheet is framed floating, hinged to an invisible board in places from the verso of the margin corners and edges, with that board subsequently affixed to the back mat. Not examined out of the frame.

2171 2172 No condition issues to report. Not examined out of the frame.

Framed under glass: 30 1/4 x 25 x 1 3/4 in.

Framed under Plexiglas: 50 3/4 x 38 x 3 in.

2164 With full margins and deckled edges. Pale lightstaining primarily around the plate edges from a previous overmat window. A few soft handling marks and minor surface stains scattered occasionally in the margins. A few rice-sized (or smaller) surface stains on the verso of the left portion of the lower margin and lower left corner of the platemark, very slightly showing through to the recto. The lower right margin corner slightly dog-eared. A few faint stray pencil marks on the verso. Five pieces of old hinging tape in places along the upper margin edge. The sheet is loose, currently secured to a back mat with four paper corners.

2173 No condition issues to report. Not examined out of the frame.

Unframed

2175 With margins. Two 1 x 1/4 inch areas of the paper lifting off the acrylic in the lower portion of the left margin edge. Surface scuffs, scratches, and fingerprints throughout the surface of the acrylic, the longest scuff measuring 39 inches wide along the upper image edge, all primarily visible in raking light.

2165 The top and upper surfaces with flecks of staining, the largest measuring about the size of a dime.

Otherwise overall good condition with shelf and handling wear and dust accumulation commensurate with age.

2166 Two with a slight lean. Each with oxidation, scuffs, scratches, and minor soiling commensurate with age.

Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Framed under Plexiglas: 38 1/4 x 52 3/4 x 2 in.

2174 The color of this print appears to be considerably altered (light-stained or faded due to sun damage), except around the edges near the window opening of the overmat, where the color appears to be more vivid. Not examined out of the frame.

Framed under Plexiglas: 26 7/8 x 37 1/8 x 3 in.

Unframed

Condition Reports

2161 With full margins and deckled edges. An extremely soft 4 inch crease across the upper right margin corner, only visible in raking light. A few pale and unobtrusive tiny surface stains or specks of grime scattered occasionally in the margins. A few soft unobtrusive handling marks scattered occasionally throughout and visible primarily in raking light. The sheet is loose, currently secured to a back mat with four paper corners.

545

2176 With margins. Minor unobtrusive surface scratches, scuffs, and fingerprints scattered throughout the acrylic, primarily visible in raking light.

Unframed 2177 The acrylic overlay contains some scattered grime.

Unframed 2178 With margins. Minor unobtrusive surface scratches, scuffs, and fingerprints scattered throughout the acrylic, primarily visible in raking light.

Unframed 2179 No condition issues to report.

Unframed 2180 With inherent oxidation and losses to enameled sections of the metal pieces. With minor shelf and handling wear commensurate with age.

2181 Pale light-staining. Specks of grime scattered primarily in the lower half. The sheet is framed floating, presumably tipped to the back mat from the verso of the sheet corners. Not examined out of the frame.

Condition Reports

Framed under glass: 9 3/4 x 15 1/4 x 1 in.

2182 The colors appear to be significantly attenuated throughout, except along the extreme left and lower sheet edges where the work has been protected from exposure to light. Two parallel vertical creases, each approximately 6 inches, along the upper portion of the extreme left sheet edge, mostly attendant with the deckle or parallel to it. An unobtrusive, skillfully repaired edge tear extending 5/8 inch vertically from the lower sheet edge, primarily visible verso. An unobtrusive, 1/2 x 1/8 inch crease, likely with an attendant minute repaired tear, all of which is confined to the tip of the lower left sheet edge, again visible primarily verso.

Pale old mat staining and surface soiling, verso. Two narrow bands of very minor surface skinning (each approximately 2 1/2 inches long) along the center of the left sheet edge, verso. Another band of similar surface skinning along the verso of the upper sheet edge, likely from prior hinging. The sheet is hinged to the back mat with two small pieces of white linen tape from the verso of the upper sheet edge.

Framed under Plexiglas: 35 x 27 1/4 x 1 1/2 in.

546

2183 The full sheet. An extremely unobtrusive, 1/4 inch, horizontal, stray pencil(?) mark near the lower edge of the lower right quadrant (possibly as issued), visible only in raking light. A few minute flecks of stray yellow pigment, also near the lower edge of the lower right quadrant, presumably inherent in the printing process. The thick sheet of handmade paper is framed floating, tipped to the back mat in various places from the sheet’s verso.

Framed under glass: 29 1/2 x 38 1/4 x 1 1/2 in.

2184 Visual: The 36-inch vertical tear in the lower center existed in the fabric prior to the artist painting on it and is intrinsic to the creation of the work. The fabric is creased and wrinkled in places, and with two 1-inch vertical tears along the upper edge, also all likely as issued. The upper edge is curled from rolling. The verso appears dirty and with blue tape in places.

Blacklight: No evidence of restoration but was unable to view thoroughly with blacklight.

Unstretched and unframed as issued 2185 Visual: There is a small tear measuring 1/2 inch in the upper left corner, intrinsic to the creation of the work.

Curling to the upper edge with light rolling marks in places. With creases and wrinkles along the edges.

Blacklight: No evidence of restoration but was unable to view thoroughly with blacklight.

Unstretched and unframed as issued 2186 Overall good condition with mild dust accumulation and with an area of discoloration measuring 11 in. long approximately around the inner collar.

2187 Visual: There is a 3-inch horizontal hairline surface scratch in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 33 1/2 x 37 1/4 x 2 1/4 in.

2188 The full sheet with deckled edges. With the usual central vertical crease. The sheet is loose, not matted.

Unframed

Unframed 2190 The full sheet with deckled edges. Occasional small (roughly pea-sized or smaller) and generally unobtrusive pale brown stains or pale foxmarks scattered in a few places around the outermost edges of the image and/or sheet edges, the largest areas being a cluster in the upper 5 inches of the left sheet edge, and again in the upper 2 inches of the right sheet edge. Another one of these areas of pale staining partially affects the pencil signature in the lower right corner of the image. A 1 inch wide horizontal loss to just the deckle of the upper right sheet corner. Other small areas of pale staining, minor surface soiling, or ink offsetting, verso. The sheet is hinged to the back mat in two places with white linen tape from the verso of the upper sheet edge.

Framed under glass: 53 1/2 x 39 x 1 3/4 in.

2191 Full margins with deckled edges. The colors good. A pea-sized foxmark in the blank of the upper left quadrant. A few other, pale and very unobtrusive, pinhead-sized foxmarks scattered within the blank of the plate. An unobtrusive, quarter-sized area of extremely pale surface soiling or a trace of stray printer’s ink in the blank to the left of center. A few short handling marks in the blank of the upper third, visible primarily in raking light. A thin line of extremely pale mat staining showing very slightly in the margins. The sheet is hinged to the back mat in two places from the verso of the upper margin edge (and there is very slight surface skinning along the verso of this same edge from the removal of previous hinges).

Framed under glass: 33 x 25 x 1 3/4 in.

2194 With margins and two deckled edges. Pale lightstaining. The colors attenuated. The sheet is possibly trimmed along the upper and left margin edges. A pinpoint-sized foxmark on the verso of the lower half, not showing on the recto. The sheet is hinged to the overmat in places along the upper and lower margin edges.

Framed under Plexiglas: 38 3/4 x 22 x 2 in.

2195 With margins. The colors attenuated. Light- and overmat staining. A few pale foxmarks or surface stains along the lower margin edge and the verso.

The sheet is sandwiched within the matting along the upper edge, and appears to be hinged to the overmat from the verso of the upper margin edge.

Framed under Plexiglas: 43 1/4 x 35 1/4 x 1 1/2 in.

2196 Currently crated in a Propack crate and ready for shipping. Overall good condition, not inspected out of crate.

Height crated 87 in., width 41 in., depth 38 1/4 in.

2197 Areas of restoration at the rear conical element, with restoration and possible previous repaired break.

Some paint loss to the repair. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2198 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2199 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to juncture of stopper and foot rim.

Framed under glass: 40 1/2 x 44 1/2 x 2 1/2 in.

2200 One of the smaller green figures was broken and repaired. Small chips and abrasions along edge of base and corners. With shelf wear, scattered minor scuffs and scratches, and firing flaws commensurate with age.

2193 With margins. Pale light-staining. Two extremely soft and unobtrusive handling marks in the lower margin, primarily visible under raking light. The sheet is sandwiched within the matting, but does not appear to be fully mounted.

2201 The base with a dime-sized chipped loss to rim. With shelf wear, soiling, dust accumulation, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to the glaze throughout, with attendant oxidation.

2192 With margins. Slight cockling throughout the image.

The sheet is sandwiched within the matting, but does not appear to be fully mounted.

Condition Reports

2189 The full sheet with deckled edges. With the usual central vertical crease. The sheet is loose, not matted.

Framed under Plexiglas: 48 7/8 x 38 7/8 x 2 1/4 in.

547

2202 Overall good condition with minimal shelf and handling wear commensurate with age.

2203 With full margins and deckled edges. Uneven lightstaining and backboard staining. Old tape residue and staining all along the verso of the upper margin edge and lower margin corners. The sheet is hinged to the overmat with linen tape along the verso of the upper margin edge and lower margin corners.

Framed under glass: 40 x 33 1/2 x 1 1/4 in.

2204 Visual: Faint stretcher bar creases with an occasional corresponding light hairline crack. A few minor hairline cracks in the upper right corner. Slight surface grime.

Blacklight: No evidence of restoration.

Frame: 40 1/4 x 48 1/4 x 1 1/4 in.

2205 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 37 x 50 3/4 x 1 3/4 in.

2206 Visual: Minor scattered craquelure. A rice-sized pigment loss near the center of the right side with a few other pinhead-sized losses scattered mainly on the right side. A 3 1/2 inch horizontal hairline surface scratch in the upper right corner. An old, discolored varnish layer and surface dust.

Blacklight: No evidence of restoration.

Condition Reports

Frame: 28 x 40 x 2 in.

548

2207 Visual: Assorted creases, fraying canvas, and bleeding pigments as consistent with materials and the artist’s practice. In each corner of the verso there is an approximate 2 x 7 inch strip of masking tape, with directional notations.

Blacklight: No evidence of restoration but was unable to view thoroughly with blacklight.

Unstretched and unframed as issued

2208 With a 4 1/2 in. long vertical split in the wood as well as a 2 in. split near the knot. With shelf wear and scattered minor scuffs and scratches commensurate with age. The book overall good condition with shelf wear and rubbed wear to wrappers and bumping to edges and corners.

2209 Overall good condition with shelf wear and scattered scuffs and scratches commensurate with age.

2210 Overall good condition with minor shelf wear, scuffs, and scratches commensurate with age.

2211 Each with shelf wear and scattered minor scuffs and scratches. ‘Geisha’ with some small scattered nicks in the lacquer, with deeper scratches to underside.

2212 Overall good condition with minor shelf and handling wear and dust accumulation commensurate with age.

2213 There is a crack where the sheet music portion connects to the base. With scattered scuffs, scratches, and nicks, concentrated along edges commensurate with age.

2214 Each overall good condition with minimal wear and scattered minor scuffs and scratches and tiny nicks at edges commensurate with age. The table with protective faux leather cover.

2215 Each with scattered scuffs, scratches, small minor nicks at edges, and mild fading to finish commensurate with age. Chair armrests with fading to finish and a 3 in. x 1 1/2 in. sticker ghost at end of left armrest, the crest rail with two small deeper indentations at left corner proper. Some surface grime to edges to side table at glass edge juncture.

Upholstery in good condition.

2216 Overall good condition with very minor scuffs and scratches commensurate with age.

2217 Visual: Light surface grime. Damp stains visible on the frame’s backing paper, not affecting the Masonite on recto or verso.

Blacklight: No evidence of restoration.

Frame: 41 x 41 x 2 in.

Blacklight: No evidence of restoration.

Frame: 26 3/8 x 26 1/4 x 1 1/4 in.

2219 Visual: Small specks of splattered grime scattered primarily in the left half.

Blacklight: No evidence of restoration.

Frame: 27 5/8 x 27 3/4 x 1 1/2 in.

2220 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 16 x 16 x 1 1/2 in.

2221 Fading to front. Some scattered marks and smudges to each side, with small grey adhesive marks to lower border edge on reverse. Top quarter front with additional dust and light surface soiling. A few scattered pulled threads, and a few breaks to slit stitching at lower border. Scattered minor areas of shallow insect grazing to each side. Overall good condition with dust accumulation and wear commensurate with age. Unlined, with stitch-applied woven braid to top edge and loops for hanging with metal display rod.

2222 Overall good condition with minor shelf and handling wear commensurate with age. Three small scuffs to underside.

2223 Older chipped losses to foot rim, possibly inherent.

With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2224 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2225 Wall-hanging hardware verso. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2226 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

Mounting putty residue to underside. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

2227 Each overall good condition with shelf wear, scuffs and scratches, and pitting to the chrome finish commensurate with age. The tray with heavy scratches to underside.

2228 Chipped losses to corners and edges of marble. Each with scuffs, scratches, minor tarnishing, and minor soiling commensurate with age.

2229 With margins. Some very minor paper cockling in the sheet. There is an unobtrusive, rice-sized spot of uncertain origin along the extreme edge of the image’s lower right corner (possibly a touch-up or perhaps a flaw in the negative). There are remnants of two old white tape hinges along the verso of the upper margin, not affecting the recto. The sheet is currently secured to the back mat with four clear archival corners.

Framed under Plexiglas: 33 x 28 3/4 x 1 1/4 in.

2230 With margins. There is extremely minor paper cockling to the sheet. The sheet is currently secured to the back mat with four clear archival corners.

Framed under Plexiglas: 33 x 28 3/4 x 1 1/2 in.

2231 With margins. There is minor paper cockling, most visible at the vertical edges. A mostly unobtrusive handling crease in the upper center of the image with unobtrusive, lesser handling marks nearby and in the lower right. An extremely faint 1/4 x 1/8 inch mark (possible dirty fingerprint) within center of the lower margin. The sheet is currently secured to the back mat with four clear archival corners.

Framed under Plexiglas: 29 x 32 3/4 x 1 1/2 in.

2232 With margins. There is extremely minor paper cockling along the upper edge, not affecting the image. The sheet is currently secured to the back mat with four clear archival corners.

Framed under Plexiglas: 33 1/4 x 28 3/4 x 1 1/4 in.

Condition Reports

2218 Visual: A soft 1 inch horizontal surface scuff on the tip of the middle finger of the figure’s glove. An occasional unobtrusive tiny surface scuff and a few scattered spots of grime, the largest rice-sized in the cloud in the upper right corner.

549

2233 With margins. No condition issues to report.

Framed under Plexiglas: 23 1/4 in x 19 1/4 in x 1 1/4 in.

2234 A few unobtrusive pinhead-sized (and smaller) touchups scattered in places, presumably done by the artist. Not examined out of the frame.

Framed under glass: 25 1/2 x21 1/4 x 1 1/2 in.

2235 With margins. There is a slight cockle to the sheet.

There is a 3-inch vertical handling mark along the left margin edge, not affecting the image.

Framed under Plexiglas: 22 3/4 x 28 3/4 x 1 5/8 in.

2236 Overall good condition, sealed in wrapper. Creasing and bumping to wrapper. Interior not inspected.

2237 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age.

2238 Overall good condition with shelf wear and scattered scuffs and scratches commensurate with age.

2239 Overall good condition with light tarnishing and scattered light scratches commensurate with age and use.

Condition Reports

2240 Overall good condition with light tarnishing and light scratches commensurate with age and use. With original retail ‘Alternatives’ gallery case.

550

2241 The yardage has a seam part way through the roll: length from cut edge to seam: 5 1/2 yards approximately and length from the seam to end of the roll 4 1/2 yds approximately. With designer’s notes and numbers in ink near seam: ‘2 367 = 1806 - 4-4- Room 304’. A few scattered faint stains to selvedge edges, with larger faint watermark stains to area around cut edge. With irregular cut edge to one short end. Overall good condition with dust accumulation and minor creasing commensurate with age and storage.

2242 With raw edge to one short end. Scattered minor frays and flaws to selvedges. A few scattered minor smudges and faint marks near roll end. Overall good condition with dust accumulation and creasing commensurate with age and storage. Minor wear to cardboard roller ends.

2243 Seat back of chair not attached, needs repair. Each shock mount stiff and hardened, with some separation at the rear two shock mounts from seat.

Heavy wear to finish, with an 8 in. x 5 in. area of staining to seat. With scattered scuffs, scratches, nicks, and soiling commensurate with age.

2244 Possibly lacking a support component. The roll-top with a deeper 14 in. long scratch. Wear and pitting to chrome finish to supports. The case with a 4 in. long chipped loss at the back. With scattered scuffs, scratches, nicks, and soiling commensurate with age.

Lacking key.

2245 Seat lacking seat cushion, with nicks and small chips at edges and holes from upholstery tacking. Overall with scuffs, scratches, nicks, indentations, soiling, and fading to finish throughout commensurate with age.

2246 With scattered scuffs, scratches, stains, and minor nicks at edges commensurate with age. Wear to wood finish throughout.

2247 With scuffs, scratches, and nicks and indentations at edges commensurate with age. Abrasions at corners.

2248 With full margins and deckled edges. Two very soft, unobtrusive handling marks in the lower margin. The sheet is loose, not matted.

Unframed 2249 With full margins and deckled edges. A soft handling mark in the center of the lower margin. The sheet is loose, not matted.

Unframed 2250 The full sheet with deckled edges. An ever-so-slight cockle to the paper, likely as issued. Scattered, minor dirt verso, not affecting recto. The sheet is loose, not matted.

Unframed

Framed under glass: 36 1/4 x 26 1/4 x 1 1/2 in.

2252 With margins and the right and lower edges deckled.

Pale light- and back board staining. The colors slightly attenuated. Two tiny horizontal edge tears, 1/4 inch (or smaller) extending in from the right margin edge, not affecting the image. A few soft handling marks in the lower image edge, showing only on the verso. Old tape remnants and paper skinning in places along the verso of the lower margin edge and corners, and the upper margin corners. The sheet is hinged to the overmat with a long piece of hinging tape all along the verso of the upper margin edge.

Framed under glass: 30 1/2 x 35 3/4 x 2 in.

2253 Full margins. The colors slightly attenuated. Variously sized areas of very delicate rubbing to the surface of the white paper scattered in places throughout (including an approximately 1/2 inch wide continuous band extending between the upper and lower margin edges, just to the left of the sheet’s right margin edge), all of which are primarily visible in raking light. The remains of pale old light-staining visible only when the sheet is backlit. A very narrow line of old adhesive remains along the verso of the lower margin edge. The sheet is hinged to the back mat in four places from the verso of the margin edges (two at the upper and two at the lower). Due to the manner in which the sheet is hinged at both the upper and the lower margin edges, it was not possible for us to see the verso of the sheet.

Framed under glass: 38 1/4 x 38 1/4 x 2 in.

2254 With full margins and deckled edges. Pale light-, time, and overmat staining. Minor pale pinheadsized (or smaller) surface staining scattered in the margins, some of which are slightly affecting the signature. A 4 1/2 inch vertical indentation in the lower margin, at left, not affecting the image and primarily showing on the verso. The sheet is taped to the overmat with hinging tape along the verso of the upper margin edge and the upper portions of the left and right margin edges.

Framed under glass: 16 1/2 x 14 1/4 x 1 3/8 in.

2255 Each with margins and two deckled edges. (The image and sheet dimensions are slightly wider than that listed in the Field catalogue, but Field identifies that there are size variations.) Occasional scattered handling marks in the margins. Some of the margin corners slightly dog-eared. The surface of the margin corners and upper margin edge slightly uneven.

Old hinging tape remnants on the verso of the lower margin corners. Each sheet is framed floating, hinged to an invisible backing board in places from the verso of the upper, left, and right margin edges.

Each framed under glass: 30 5/8 x 25 5/8 x 2 3/4 in.

2256 Full margins with deckled edges. There is a multibranched, flattened series of horizontal creases extending 10 1/2 inches from the upper portion of the right margin edge (affecting the image). Another flattened crease starts from the lower portion of the left margin edge and extends horizontally 9 1/2 inches (also affecting the image). Traces of old lightstaining, visible mainly in the margins. The remains of old adhesive along the verso of the upper margin edge. Other scattered creases and stains, both recto and verso, along with other lesser defects. The sheet is loose, not matted.

Unframed 2257 With margins. Pale light-staining. Not examined out of the frame.

Framed under Plexiglas: 33 1/2 x 26 1/2 x 1 1/2 in.

2258 No condition issues to report. The sheet is framed floating, hinged to the back mat in places from the verso of the sheet edges. Not examined out of the frame.

Framed under glass: 13 3/8 x 13 3/8 x 1 1/4 in.

2259 Cockling to the paper as issued due to the technique and thinness of the paper. Handling marks and wrinkles as expected, again due to paper choice. The sheet is hinged to the back mat in places along the perimeter of the sheet’s verso. The lower left corner is no longer attached to the hinge.

Framed under Plexiglas: 41 1/4 x 31 1/2 x 1 1/2 in.

Condition Reports

2251 With margins and vibrant colors. No condition issues to report. Not examined out of the frame.

551

2260 Full margins with deckled edges. Slight time-staining along the extreme margin edges. An occasional very minor and unobtrusive handling mark in the upper margin, visible only in raking light. The sheet is hinged to the back mat in several places at the verso of the upper margin.

Framed under Plexiglas: 23 1/2 x 32 1/8 x 1 in.

2261 With margins. Very pale light-staining and pale time staining along the left margin edge. A 3/4 inch long thin surface abrasion with possible minor paper loss, and a few small scattered areas of surface skinning and handling marks all along the left margin. Very slight wear in the extreme tips of the upper left and lower left margin corners. Wear including creasing and paper losses to the collaged elements, and a small edge abrasion in the right portion of the upper margin edge attendant with the paperclip element, all presumably in the hand of the artist. The sheet is framed floating, presumably hinged to the back mat from the verso of the upper margin corners. Not examined out of the frame.

Framed under Plexiglas: 52 x 37 x 3 1/2 in.

2262 Visual: Varnish discoloration and grime. Scattered spots of possible mold slightly showing through from the verso.

Blacklight: No evidence of touch-ups. There is a repair patch on the verso of the lower right quadrant, however, it does not correspond to any touch-ups on the recto.

Condition Reports

Frame: 35 x 47 x 2 1/4 in.

552

2263 Visual: Several areas of flaking and lifting paint, primarily in the upper right quadrant and also the center of the image.

Blacklight: No evidence of restoration.

Unframed 2264 Visual: Very faint, unobtrusive surface scuffs showing occasionally in the black pigments of the upper and lower edge.

Blacklight: No evidence of restoration.

Unframed

2265 Visual: No condition issues to report Blacklight: No evidence of restoration.

Unframed 2266 Visual: A pea-sized pigment loss that has been touched up in the center near the upper edge, and a few other rice-sized (or smaller) pigment losses scattered occasionally in places throughout. A few small areas of minor craquelure scattered primarily in the lower half. Stretcher bar creases along each edge, primarily visible in raking light.

Blacklight: A quarter sized touch-up in the pea-sized pigment loss mentioned above in the center near the upper edge.

Frame: 32 1/4 x 40 1/4 x 1 1/2 in.

2267 The lid with a chipped loss at the top. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2268 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2269 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2270 One previously broken in half and repaired, another with a 1 in. repaired break at rim, another with a 2 in. crack issuing from rim, and another with a dime-sized chipped loss with in-filling at rim, all pertaining to the larger plates. Each with shelf wear and scattered scuffs and scratches, with inherent firing flaws commensurate with age.

2271 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

2272 Overall good condition with shelf wear and minor scuffs and scratches commensurate with age.

Blacklight: No evidence of restoration.

Frame: 50 3/8 x 26 1/4 x 3 1/2 in.

2274 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 44 x 36 1/4 x 3 in.

2275 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 22 x 25 x 3 in.

2276 Condition: Some broad rippling related to a combination of the materials used and the hinging.

Hinge marks are visible recto. The sheet is framed floating, hinged to the back mat in places around the perimeter of the sheet’s verso.

Framed under Plexiglas: 32 1/4 x 26 1/4 x 1 3/4 in.

2277 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Unframed 2278 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 23 3/4 x 27 1/4 in.

2279 Visual: A few 2 inch (or smaller) abrasions in the upper half that have carved through the layers of pigment.

The pigment is slightly soft and pliable in certain areas due to thick application.

2280 Visual: A few 1 inch (or smaller) abrasions in the upper half that have carved through the layers of pigment.

The pigment is slightly soft and pliable in certain areas due to thick application. Soft thumb-sized spots of surface grime along the upper edge.

Blacklight: No evidence of restoration.

Frame: 13 x 13 x 1 1/2 in.

2281 A few pea-sized (or smaller) abrasions in the upper half that have carved through the layers of pigment.

The pigment is slightly soft and pliable in certain areas due to thick application.

Blacklight: No evidence of restoration.

Frame: 13 1/4 x 13 1/4 x 1 1/2 in.

2282 Visual: A rice-sized possible pigment loss in the orange pigment in the upper right quadrant.

Occasional small faint surface scuffs scattered in the lower half.

Blacklight: No evidence of restoration.

Unframed 2283 Visual: Scattered areas of craquelure. Stretcher bar creases along each edge, primarily visible in raking light. The canvas is slightly puckered in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 30 x 37 x 2 1/2 in.

2284 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 30 1/4 x 24 x 1 5/8 in.

2285 Visual: Very slight varnish discoloration. A few tiny unobtrusive specks of grime in the sky, in the center of the upper half.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 13 1/4 x 13 1/4 x 1 1/2 in.

Frame: 25 3/4 x 52 1/4 x 1 3/4 in.

Condition Reports

2273 Visual: Two vertical surface scratches, the longest measuring 1 inch, in the black pigment of the curved lower portion of the balcony in the lower left quadrant.

553

2286 Visual: Surface dust throughout.

Blacklight: Scattered spots of pea-sized mold or grime.

Frame: 45 3/4 x 45 3/4 x 2 1/2 in.

2287 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 52 5/8 x 42 7/8 x 2 1/2 in.

2288 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Unframed 2289 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Unframed 2290 Visual: An occasional unobtrusive speck of grime.

Blacklight: No evidence of restoration.

Frame: 24 3/8 x 20 1/2 x 2 in.

2291 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Condition Reports

Frame: 16 1/4 x 18 1/4 x 2 1/2 in.

2292 Visual: A pea-sized abrasion in the lower right corner, beneath the signature. A pressure mark with a 1/8 inch hairline vertical tear upper right. A pea-sized reverse pressure mark with a tear and abrasion near the center of the left edge. A 1/4 x 1/2 inch tear with abrasion along the lower edge, left. The canvas is slack. Surface grime.

Blacklight: No evidence of restoration.

Frame: 25 x 70 3/4 x 1.5 in.

2293 Possible pale light-staining. Not examined out of the frame.

Framed under glass: 26 x 32 x 1 in.

554

2294 Possible pale light-staining. A few unobtrusive flattened creases, the largest measuring approximately 2 inches wide, and a few very soft handling marks, all scattered primarily in the right sight edge. Not examined out of the frame.

Framed under glass: 26 x 32 x 1 in.

2295 Possible pale light-staining. Very soft handling marks throughout. A 1/2 inch area of tiny edge abrasions or minor tears in the lower portion of the right sheet edge. A 1/4 in diagonal crease across the lower left sight corner. Artist’s pinholes in the upper and lower right corners. Not examined out of the frame.

Framed under glass: 22 x 30 x 1 in.

2296 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 18 1/2 x 27 1/4 x 2 1/2 in.

2297 Visual: Minor flattened creases and surface skinning in the paper elements, inherent in the creation process.

Blacklight: No evidence of restoration.

Each unframed 2298 Visual: Within the green-gold section on the right there are a number of scattered areas of probable vertical surface abrasion. An occasional rice-sized (and smaller) spot of wear along the extreme outer edges. Dust accumulation.

Blacklight: No evidence of restoration.

Unframed 2299 Overall good condition with shelf and handling wear, scuffs and scratches, inherent flaws, and oxidation to some components commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2300 Overall good condition with scattered minor scuffs and scratches, minor handling wear, and inherent oxidation throughout commensurate with age.

2302 Overall good condition with minimal shelf and handling wear commensurate with age.

2303 Overall good condition with minor shelf and handling wear commensurate with age.

2304 Each overall good condition with minor shelf and handling wear commensurate with age.

2305 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 47 1/2 x 36 5/8 x 3 1/4 in.

2306 A few pea-sized (or smaller) spots of stray watercolor in the margins, and a pinhole at the tip of each margin corner, all of which are part of the artist’s working process. The sheet is taped to the overmat with white linen tape in five places from the verso of the upper margin edge, together with the upper portion of both the left and right margin edges.

Framed under glass: 33 x 43 x 1 1/4 in.

2307 A soft handling mark near the center of the lower sheet edge. A few minor vertical edge tears, the longest measuring 1 inch in the right portion of the lower sheet edge. The sheet’s original binding holes remain along the extreme lower sheet edge, none of which affect the painted image. A 1 x 1 1/2 inch pale surface stain on the verso of the upper sheet edge.

The sheet is hinged to the overmat in two places from the verso of the upper sheet edge.

Framed under glass: 29 x 43 x 2 in.

2308 Artist tack holes in each corner, almost invisible recto.

Stray pigments verso, not affecting the recto. The sheet is hinged to the back mat with white paper tape in two places from the verso of the upper sheet edge (the tape on the verso of the right side is beginning to detach).

Frame: 28 1/2 x 25 1/2 x 2 in.

2309 Visual: Scattered specks of grime primarily in the lower half. A 1 1/2 x 3/4 inch irregular area of loss to the surface of the board in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 34 1/2 x 26 x 3 1/2 in.

2310 Visual: Scattered areas of fine craquelure, some of which are unstable with attendant pea-sized (or smaller) pigment losses; the largest of these are near the center of the right edge, and in the lower right quadrant to the right of the figure’s hip. Two 4-inch (or shorter) thin, vertical, parallel, surface scratches with a few small flecks of attendant pigment loss in the background to the left of the figure’s waist. Other softer and smaller possible surface scratches scattered in places, primarily in the background of the left half. Soft stretcher bar creases along each edge, primarily visible in raking light. A very soft pea-sized reverse pressure mark in the background of the upper right quadrant, showing primarily on the verso.

Blacklight: No evidence of restoration.

Frame: 32 3/4 x 28 1/2 x 3 1/2 in.

2311 Visual: A 2 x 2 inch circular area of craquelure in the lower right quadrant, primarily visible in raking light.

A pinpoint-sized pigment loss in the lower right quadrant, just below the object in the figure’s hand.

A few very tiny, unobtrusive specks of possible stray pigment scattered occasionally in the lower half.

Blacklight: No evidence of restoration.

Frame: 32 3/4 x 32 3/4 x 1 3/4 in.

2312 No condition issues to report. Not examined out of the frame.

Framed under glass: 36 3/4 x 24 3/4 x 1 1/4 in.

2313 No condition issues to report. Not examined out of the frame.

Framed under Plexiglas: 28 3/4 x 44 3/4 x 2 in.

2314 Minor surface grime, staining, and minor paper skinning along the sheet edges and in places on the verso. A pinhead-sized paper loss in the upper sheet edge, left of center. Artist’s pinholes in the upper sheet corners. Soft paper cockling throughout. The sheet is loose, not matted.

Condition Reports

2301 Overall good condition with minor shelf and handling wear commensurate with age.

Unframed 555

2315 Each overall good condition with mild shelf wear and scattered minor scuffs and scratches commensurate with age. The boxes with shelf wear and rubbed wear.

2324 Each with scuffs, scratches, soiling, and minor nicks at edges commensurate with age. Leather in good condition, one with loss to underside netting.

2316 Each overall good condition with mild shelf wear and scattered minor scuffs and scratches commensurate with age. The boxes with shelf wear and rubbed wear.

2325 Please note that these are not swiveling chairs. With staining, discoloration, and general wear to the woven rush. Oxidation to footrest. Dust accumulation and rubbed wear commensurate with use.

2317 Each votive with wax residue to interior. Each overall good condition with mild shelf wear and scattered minor scuffs and scratches commensurate with age.

The boxes with shelf wear and rubbed wear.

2318 Each not inspected unmounted from the acrylic base.

Each with shelf and handling wear, and scattered scuffs and scratches commensurate with age. One shade with a large indentation and attendant tear in the fabric. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2319 One with slightly askew standard and subsequent lean, as well as a bend in the front of the brass shade/ reflector. Each with oxidation, scuffs, scratches, and minor soiling commensurate with age. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

2320 Each with scuffs, scratches, fading and wear to wood finish, and scattered small nicks commensurate with age. Leather with scratches and scuffs, creasing and rubbed wear at edges, and one with a rice-sized tear to the seat. Some legs with later rubber stoppers to feet.

Condition Reports

2321 Each piece overall good condition with scattered scuffs and scratches.

556

2322 Nicks, surface tears, and scuffs to black leather exterior. The cream with minor scuffs and scratches and minor soiling commensurate with age.

2323 With scuffs, scratches, nicks, and abrasions commensurate with age. The frame with scattered losses to enameling, with attendant oxidation. The leather with scattered scuffs, some staining verso, and rubbed wear at armrests.

2326 With scuffs, scratches, fading, and dust accumulation commensurate with age. Includes key. Working condition of each constituent component unknown.

Moran’s does not guarantee the working condition of musical instruments or equipment.

2327 One hand with chipped losses to glaze of fingertips.

Otherwise overall good condition. The plinth with minor scattered scuffs and scratches, with minor nicks at corners and edges.

2328 Overall good condition with minor shelf and handling wear commensurate with age.

Framed: 31 3/4 in., width 17 7/8 in., depth 1 1/4 in.

2329 Overall good condition with very minor scuffs and scratches commensurate with age.

2330 With wide margins. The margin corners are very slightly dog-eared. The sheet is loose, secured to the back mat with for clear archival corners.

Framed under glass: 25 3/4 x 28 x 1 1/4 in.

2331 Minor surface scuffs scattered occasionally throughout, primarily visible under raking light. The work is hinged to the overmat with hinging tape along the verso of the paperboard mount.

Framed under glass: 21 3/8 x 16 3/4 x 1 1/2 in.

2332 Minor scuffs and very fine scratches throughout the sheet, only visible in raking light. The sheet is slightly lifting off the mount, primarily along the edges of the right half. As mentioned, the photograph is mounted to paperboard, as issued.

Framed under glass: 31 7/8 x 26 1/2 x 1 3/4 in.

2333 With margins. Very slight silvering in the lower left corner, approximately 1/2 x 1 inch overall. There are two very faint, unobtrusive, dark scuffs or grime, approximately 1/8 x 3/4 inches, in the upper left quadrant of the image, only visible under raking light, and a few other much smaller spots of a similar nature scattered in a few places.

There is one pinpoint-sized unobtrusive divot only visible in raking light in the lower left of the image.

The corners are very slightly dog-eared, with a small indent at the edge of the upper right margin corner.

Very faint time staining verso. The sheet is secured to the back mat with black corners at the top and handmade archival corners at the bottom.

2339 There are scattered pinhead-sized (and smaller) extremely unobtrusive marks or dents that can only be seen in a low-level raking light. The edges of the photograph’s mount have minor wear and timestaining. The photograph’s mount is secured to a back mat with 4 clear plastic archival corners.

Unframed

Blacklight: No evidence of restoration.

2334 With margins. A few handling creases in the margins, including a 2-inch crease in the lower left corner and two smaller creases on the right side. A few pinheadsized specks of soiling scattered in the margins, none of which are affecting the image. The sheet is loose.

Frame: 63 1/4 x 35 5/8 x 2 1/2 in.

2335 With margins. Faint time-staining along the edges. As noted, the sheet is mounted to what appears to be a thick sheet of acrylic with a smooth white back.

Framed under Plexiglas: 32 3/4 x 44 1/2 x 1 1/2 2336 With margins. Faint time-staining along the outer edges of the sheet (under the overmat). As noted, the sheet is mounted to what appears to be a thick sheet of acrylic with a smooth white back.

Framed under Plexiglas: 32 3/4 x 44 1/2 x 1 1/2 2337 With narrow margins, presumably as issued. Very slight indications of silvering around the outermost portion of the printed section. The sheet is framed floating, skillfully attached to the back mat in various places from the verso of the upper third of the sheet.

Framed under Plexiglas: 34 x 30 1/4 x 1 1/4 in.

2338 With margins. No condition issues to report. Not examined out of the frame.

Framed under Plexiglas: 49 3/4 x 49 3/4 x 2 in.

2340 Visual: A 2 x 1/2 inch area of very faint possible grime or stray pigment in the right of center, and a 1/2 inch triangular area of stray pigment in the lower right corner.

2341 Light-staining and soft handling marks scattered throughout. Quarter-sized surface stains in each sheet corner showing through from the verso. The sheet is framed floating, hinged to the glass backing from the verso corners. Not examined out of the frame.

Framed under double-sided glass: 17 7/8 x 25 1/4 x 1 in.

2342 Creasing, occasional surface soiling, and pale foxing throughout. A 1 x 3 inch irregular paper loss at the upper right sheet corner. A few edge tears and abrasions scattered along the sheet edges, primarily along the right sheet edge, with the largest measuring 3/4 inch, extending downwards from the center of the upper sheet edge. The lower sheet corners creased and dog-eared. Other minor defects.

The sheet is hinged to the overmat with two pieces of hinging tape from the verso of the upper sheet edge.

Framed under Plexiglas: 17 1/2 x 19 x 1 in.

2343 Two unobtrusive pinhead-sized losses in the upper left corner and a smaller area near the upper right corner. The sheet is framed floating, laid to foamboard, as mentioned, and subsequently mounted to the back mat.

Framed under glass: 20 1/4 x 22 1/4 x 1 in.

Condition Reports

Unframed

Framed under Plexiglas: 21 1/4 x 17 1/4 x 1 1/8 in.

557

2344 With wide (possibly full) margins. Pale light-staining.

Backboard staining slightly affecting the recto. Some small tape stains and other minor surface soiling in places along both the recto and verso margin edges, not affecting the image. Occasional minor rice-sized indentations scattered in the image and margins.

Soft handling marks scattered primarily in the margins. The sheet is loose within the matting.

Framed under glass: 34 1/4 x 28 1/4 x 2 1/2 in.

2345 Visual: Occasional scattered fine craquelure. A few unobtrusive pinhead-sized (or smaller) pigment losses scattered in places along the extreme upper edge.

Blacklight: Some pigments in the thicker areas of impasto fluoresce under blacklight, but this does not appear to be due to restoration.

Frame: 25 7/8 x 39 7/8 x 1 1/4 in.

2346 No condition issues to report. The sheet is framed floating, presumably hinged to the back mat from the verso of the sheet corners. Not examined out of the frame.

Framed under Plexiglas: 50 1/8 x 39 1/4 x 1 3/4 in.

2347 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Unframed 2348 No condition issues to report. Not examined out of the frame.

Condition Reports

Framed under double-sided glass: 23 1/4 x 27 1/4 x 1 1/4 in.

558

2349 Minor wear and grime along the extreme outer edges. An occasional very soft, unobtrusive, surface scuff scattered in places throughout, primarily visible in raking light.

Unframed 2350 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

Frame: 73 3/4 x 25 1/2 x 2 in.

2351 With margins. Minor unobtrusive surface scratches, scuffs, and fingerprints scattered throughout the acrylic, primarily visible in raking light.

Unframed 2352 A 6 in. long split to the wood verso, with a 2 x 2 in. of peeled back layer of the wood. With dust accumulation, minor soiling, handling wear, and scattered minor scuffs and scratches to frame commensurate with age.

2353 With wide margins. Mat staining showing along the window opening of the overmat. The paper is somewhat toned and the colors may be slightly attenuated. There are a few stains in the lower margin, verso, however, the recto in these sections is unavailable to examine if affected. A few pinheadsized spots of light, scattered foxing, verso, not affecting visible recto. The sheet has been taped to the overmat with thick plastic tape, possibly electrical tape. The “backing board” is a sheet of glass with a newspaper article about the artist glued to it. This glass is cleanly snapped into two pieces.

Framed under glass: 9 1/2 x 8 3/4 x 1 1/2 in.

2354 The full sheet with deckled edges. A pinhole in the center of the right sheet edge. The sheet is framed floating, presumably tipped all along the verso of the upper sheet edge.

Framed under glass: 19 1/2 x 24 1/2 x 1 in.

2355 Full margins with deckled edges and the colors rich.

No condition issues to note. The sheet is framed floating and appears to be either tipped or hinged in places from the verso of the margin corners to the back mat. Not examined out of the frame.

Framed under Plexiglas: 20 3/4 x 20 1/4 x 2 in.

559

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

Co-Head of Sale, Associate Specialist, Fine Art Co-Head of Sale, Specialist, Post-War & Contemporary Design President, Auctioneer Director, Fine Art Director, Native American Art Director, Furniture and Decorative Arts Senior Specialist, Furniture & Decorative Art Associate Specialist, Fine Art Senior Cataloguer, Fine Art Cataloguer, Fine Art

Cataloguer, Fine Art Department Administrator, Fine Art Department Administrator, Furniture & Decorative Arts /Jewelry Cataloguer, Furniture & Decorative Arts Cataloguer, Silver Jewelry & Decorative Art

Robert Cullen Matthew Grayson Jeffrey J. Moran Katherine Halligan, AAA Kim Jarand Jen Kurtz Angela Past Madison Ari Anne Spink Lori Kassabian Christine Weir Jacob Baer Jessica Crosbie Grant Stevens Sally Andrew

Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Vice President, Director Trusts & Estates Director, Appraisals Associate Appraiser Business Development Specialist

CLIENT SERVICES

HR Manager

Client Services Finance Administrator

Accounts Receivable / Customer Service

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 Media & Website Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Founder Co-Founder

Morgana Blackwelder, ISA AM Maranda Moran Mariam Whitten, ISA AM Shannon Dailey Julia Kelley Mario Esquivel Ella Fountain Jamie Holthauser Tiffany Hansen

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

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Conditions of Sale 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.

Conditions of Sale Cont’d (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.

SINCE 1969

AUCTIONEERS & APPRAISERS

johnmoran.com · info@johnmoran.com · (626) 793-1833