Issuu

California & American Art Tuesday, November 17, 2026 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com

California & American Art November 17, 2026 | 12pm PDT Sale 355 145 East Walnut Avenue, Monrovia CA 91016

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

Previews:

Friday, November 13th, 12pm – 4pm Saturday, November 14th, 10am – 2pm Monday, November 16th, 12pm – 4pm Tuesday, November 17th: Doors open 10am

Meet the Team Katherine Halligan Head of Sale Director, Fine Art k.halligan@johnmoran.com Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

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

Ella Fountain Client Services e.fountain@johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Jack Wilkinson Smith

(1873-1949) “Early Moon” Oil on paperboard Signed lower right: Jack W. Smith; signed again, titled, and numbered in pencil on a gum label affixed verso: #368; faintly titled again in pencil, verso 12 x 16 in. $4,000-6,000 Provenance: Property from the Estate of a Resident of Artist Alley, Champion Place, Alhambra, CA, prior to the 1960s, acquired directly from the artist Sold: John Moran Auctioneers, Pasadena, CA, “European & Modern Art and California & American Fine Art Auction,” October 16, 2012, Lot 1033 Notes: Various pencil sketches (including an automobile), verso.

johnmoran.com

Theodore Wores

(1859-1939) “Seascape” Oil on paperboard Signed lower left: Theodore Wores.; titled on a typed label affixed to the frame’s backing board and again on a gallery’s string tag attached to the frame’s wire 9 1/4 x 12 1/4 in. $1,000-2,000 Provenance: Estate of DeWitt C. McCall III, owner of DeRu’s Fine Arts, Laguna Beach, CA

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Paul Dougherty

(1877-1947) Crashing waves along a rocky coast Oil on canvas Signed lower left: Paul Dougherty 24 x 36 in. $3,000-5,000

johnmoran.com

Paul Dougherty

(1877-1947) Seascape Oil on canvas Signed lower right: Dougherty 2 3/4 x 3 1/8 in. $800-1,200 Provenance: Private collection, Los Angeles, CA By family descent

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

Granville Redmond (1871-1935)

Born in Philadelphia in 1871, Granville Redm childhood bout of Scarlet Fever left him pro the Deaf from 1879 to 1890 where he learne Redmond to Paris, where he attended the A painting “Matin d’hiver” being exhibited at

Redmond returned to California in 1898, an across both Northern and Southern Californ coastal scenes and the California landscape lush countryside brought him great renown. blossoming on rolling hills that he could sca

Granville Redmond’s work can be found in m the Laguna Art Museum, and the Crocker A

mond spent his formative years growing up in San Jose, California. A ofoundly deaf by age three, and Redmond attended the California School for ed how to paint and draw. His early excellence in his artistic studies led Academie Julian on an academic scholarship. His success in Paris led to his the Paris Salon in 1895.

nd married Carrie Ann Jean one year later. The couple lived in various cities nia. By 1905, Redmond had become well-known for his paintings of both e. His ability to capture the transient effects of atmosphere and light upon . Yet Redmond remains best known for his paintings of California poppies arcely paint enough of to meet public demand.

many public collections, including the Los Angeles County Museum of Art, Art Museum.

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Granville Redmond

(1871-1935) “Study for ‘Resounding Surf’,” 1918 Oil on thick paperboard Signed and dated lower right: Granville Redmond / 1918; signed and dated again and inscribed “Study / - Not for Sale -,” verso 10 5/8 x 13 7/8 in. $15,000-25,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA Notes: The present work is the in-situ study for the larger oil painting “Resounding Surf” measuring 22 1/4 x 30 in. The spontaneity and confidence of brushwork, the bold palette as well as the scattered grains of sand that embedded in the wet oil paint in the lower right quadrant reinforce that Redmond was working directly on the beach en plein air when this work was executed in 1918.

johnmoran.com

Duncan Gleason

(1881-1959) “Setting the Balloo [sic] Jib on board ‘Vagabond Lady’” Oil on Masonite Signed lower right: Duncan Gleason; titled in ink on an artist’s label affixed verso 12 x 16 in. $4,000-6,000 Notes: A balloon jib is a large, triangular sail made of light canvas or fabric used on yachts specifically during light-wind conditions.

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

William Ritschel

(1864-1949) “Return of the Fishing Fleet” Gouache and watercolor on paper mounted to paperboard Signed lower right: W. Ritschel; titled by repute 26 1/2 x 34 3/4 in. $2,000-3,000 Provenance: Sold: Butterfield and Butterfield California, June 13, 1993, Lot 781 From the Collection of Robert A. Day

johnmoran.com

Franz Arthur Bischoff (1864-1929)

When Franz Bischoff made his first visit to C New York, Ohio and Michigan, heralded as roses on ceramic vessels.

California left a deep and resolute impressio Pasadena, Bischoff transitioned from cerami of subjects including farms, wharves, village California landscapes, seascapes and floral s Post-Impressionist movements in his subjec

California in 1900, he was already a successful and admired china decorator in the ‘King of the Rose Painters’ for his exceptionally fine depictions of blooming

on on Bischoff and he returned to the state permanently in 1906. Settling in ics to easel painting and travelled extensively, inspired to paint a wide variety es and figures at work along with perhaps his most celebrated subjects: still lifes. Bischoff was an exceptional colorist who straddled Impressionist and cts, palette and work en plein air.

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Franz Arthur Bischoff

(1864-1929) “Drying the Nets - San Pedro” Oil on canvas laid to board Signed lower right: FA Bischoff; titled from a label affixed to the frame’s backing board; with an alternate title, “Drying,” on a gallery label affixed verso Canvas: 6 3/4 x 9 3/4 in.; Board: 7 x 10 in. $3,000-5,000 Provenance: Redfern Gallery, Laguna Beach, CA Private Collection, Dyer, NV Sold: John Moran Auctioneers, Altadena, CA, “California & American Fine Art,” October 20, 2015, Lot 1 Private collection, San Diego, CA, from the above Notes: Framed in a Mayen Olson, 2006 frame.

johnmoran.com

Irving Manoir

(1891-1982) “Newport Fish Cannery” Oil on canvas Signed lower right: Manoir; signed “Irving Manoir” and inscribed with reproduction rights verso; titled on a partial label affixed to the stretcher; inscribed “Painted at Newport Harbor” in pencil on the stretcher 24 1/4 x 28 1/4 in. $1,000-1,500

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

Elmer Wachtel (1864-1929)

Baltimore, Maryland-born, noted California ple the age of 18, following his brother, who had m turning his focus to painting, Wachtel was a se Wilhartitz as their first violinist, and later played

By 1900, after struggling to make a living as a m he studied briefly at the Art Students’ League i received criticism from William Merritt Chase. H and Tom Wilkinson, and the American sculptor

Returning to Los Angeles, he continued his wo fellow artist Marion Kavanagh, a skilled painter region’s artistic circles. Elmer exhibited widely w were regularly featured in major exhibitions acr

Wachtel was renowned for his luminous, atmos Rather than adhering strictly to realism, Wachte the dusty warmth of inland valleys or the soft, o the fleeting effects of light, the shifting seasons

More than mere representations of place, Wac paintings offer a glimpse into a California that, significant but historically poignant. Today, Wa

ein air artist Elmer Wachtel arrived in the San Gabriel area of Southern California at married Guy Rose’s sister and worked managing the Rose family ranch. Before elf-taught violinist and joined the Philharmonic Orchestra conducted by Adolph d in A.J. Stamm’s Philharmonic Orchestra.

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

ork as a violinist and painter and began teaching as well. In 1904, Wachtel married r in her own right. Together, they traveled, painted, and became active figures in the with the California Art Club and the Laguna Beach Art Association, and his works ross the state.

spheric landscapes that quietly celebrate the natural beauty of Southern California. el prioritized mood and feeling, using a harmonious, often muted palette to evoke overcast tones of coastal mornings. His brushwork—loose yet deliberate—captured s, and the gentle rhythm of California’s hillsides and canyons.

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

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Elmer Wachtel

(1864-1929) California coastal Oil on canvas mounted to board laid to cardboard Signed with the artist’s device by his wife, Marion Kavanaugh Wachtel, at the lower left: Wachtel; inscribed in ink on the verso of the carboard backing, “Sketch Painted by Elmer Wachtel / Signed by Marion Kavanagh Wachtel” (partially obscured by a line of very old adhesive and remains of brown paper) 16 x 20 in. $10,000-15,000 Provenance: Private collection, Altadena, CA, likely acquired directly from the artist’s wife, circa 1929 By family descent

johnmoran.com

Mischa Askenazy

(1888-1961) Lake and mountain landscape Oil on canvas Signed lower right: M. Askenazy; with the artist’s estate ink stamp hand-numbered “55” on the stretcher 22 x 30 in. $1,500-2,500 Provenance: The estate of the artist Vintage Bank Antiques, Petaluma, CA Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” May 7, 2024, Lot 39 Private collection, Beverly Hills, CA

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

George Kennedy Brandriff

(1890-1936) “Spring” Oil on canvas stretched over panel Signed lower right: Geo. K. Brandriff; titled “(3) Spring.” in ink on a label affixed verso 13 1/2 x 16 1/2 in. $1,500-2,500

johnmoran.com

Peter Nielsen

(1873-1965) Barn with rolling hills in the distance Oil on canvas Signed lower right: Peter Nielsen 25 1/4 x 30 in. $2,000-3,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Peter Nielsen

(1873-1965) Eucalyptus grove in the foothills (Pasadena), circa prior to 1943 Oil on canvas laid to artist’s board Signed lower right: Peter Nielsen 14 x 18 in. $1,000-2,000 Notes: Inscribed and dated on the birthday wishes inscription, in another hand, on the frame’s backing paper “Pasadena d. 4. Maj [May] 1943,” which likely links this landscape to the Pasadena environs and time period.

johnmoran.com

Hanson Duvall Puthuff

(1875-1972) “Flintridge” Oil on canvas laid to canvas Signed lower left: H. Puthuff; titled by repute 30 1/2 x 45 3/8 in. $20,000-30,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

Benjamin Chambers Brown

(1865-1942) California hillside landscape Oil on canvasboard Signed lower right: Benjamin C. Brown 12 x 16 in. $2,000-3,000 Provenance: William A. Karges Fine Art, Carmel, CA Private collection, Sherman Oaks, CA

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

William Lees Judson

(1842-1928) San Gabriel Foothills autumn landscape, circa 1920 Oil on canvas laid to canvas Signed lower left: W.L. Judson 15 x 25 1/8 in. $1,000-2,000 Exhibited: Los Angeles, CA, Museum of History, Science and Art, Second Annual “Painters and Sculptors of Southern California Exhibition,” April 7 - May 15, 1921

johnmoran.com

Ovanes Berberian

(b. 1951) “Afternoon Near Sun Valley Idaho,” 2023 Oil on canvas Signed lower right: Ovanes Berberian; signed again and titled verso; dated by repute 30 x 40 in. $4,000-6,000 Provenance: The artist Private collection, Hawaii

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Ovanes Berberian

(b. 1951) Moonrise, 2023 Oil on canvas Signed lower left: Ovanes Berberian; signed again and titled in black verso; dated by repute 30 x 40 in. $3,000-5,000 Provenance: The artist Private collection, Hawaii

johnmoran.com

Ovanes Berberian

(b. 1951) “Carpinteria Hills,” 2022 Oil on canvasboard Signed lower right: Ovanes Berberian; signed again and titled, verso; dated by repute 12 x 16 in. $2,000-3,000 Provenance: The artist Private collection, Hawaii

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Oscar Vincent Galgiani

(1903-1994) “Topaz Lake, Late Afternoon.” 1934 Oil on canvas Signed and dated lower left: Galgiani. 34; titled in pencil on the stretcher 20 x 26 in. $1,000-2,000 Provenance: George Stern Fine Arts, West Hollywood, CA

johnmoran.com

William Dorsey

(1942-2019) Trees in a landscape Oil on canvas Signed lower right: Wm. Dorsey 24 x 30 in. $2,000-3,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

David Chapple

(b. 1947) “Nature’s Garden” (Central Coast) Oil on canvasboard Signed lower right: David Chapple; titled verso 20 x 24 in. $1,500-2,500

johnmoran.com

John Marshall Gamble (1863-1957)

John Marshall Gamble is best known for his vib Morristown, New Jersey, Gamble’s father work Francisco-Panama City route. In the late 1870s a permanent move to California in 1883, when

Gamble trained at the San Francisco School of Académie Julian in Paris, where he studied und refined his technique and developed a deep a exposure to both American and European art t California plein air style.

After finishing his training, Gamble returned to adopted city for the rest of his career, except fo his devastating loss, Gamble had initially decid in Santa Barbara en route, where he witnessed permanently, where he restarted his career, exp increasingly vibrant palette.

In Santa Barbara, Gamble became a key figure and was an active member of the California Im Barbara School of the Arts and was a color con

Today, Gamble is best known for flower-focuse Central California coast. Although celebrated f flowers at all. I didn’t even think of them as flow they designed themselves across the field.” (Sa

brant depictions of California’s wildflowers and coastal landscapes. Born in 1863 in ked for the Pacific Mail Steamship Company, which carried U.S. mail via the San s, Gamble’s family moved to Auckland, New Zealand, for a few years before making n the artist was 20.

f Design under Virgil Williams and Emil Carlsen and later at the prestigious der Jean-Paul Laurens and Jean-Joseph Benjamin-Constant. In Paris, Gamble appreciation for Impressionism, particularly the work of Claude Monet. His early traditions gave him a unique perspective that would later influence his distinctive

o San Francisco, where he opened a studio. It’s likely he would have remained in his or the catastrophic 1906 earthquake and fire, in which his studio burned. Following ded to join his friend and fellow artist Elmer Wachtel in Los Angeles, but stopped d the wildflower bloom for the first time. Gamble opted to stay in Santa Barbara ploring the local landscape, coast, and mountains as subject and turning to an

e in the region’s art scene, serving as president of the Santa Barbara Art Association, mpressionist movement. He also taught and was President of the Board of the Santa nsultant for the Santa Barbara Board of Architectural Review for twenty-five years.

ed landscapes, especially the vivid poppy fields and lupine-covered hillsides of the for his wildflower field subjects, he once commented, “I never painted them as wers while I was painting. They were just color patches to me. I simply liked the way anta Barbara News Press, April 3, 1956)

John Marshall Gamble

(1863-1957) “Wild Lilac & Prickly Phlox” Oil on canvas Signed lower left: John M. Gamble; signed again, titled, and inscribed “Santa Barbara, CAL.” all verso 16 x 20 in. $12,000-18,000 Provenance: R.E. Kimball, Piedmont, CA

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Franz Arthur Bischoff

(1864-1929) Trees along the Carmel Coast Oil on canvas Signed lower left: F.A. Bischoff 22 x 30 in. $25,000-35,000 Provenance: Richard Vesely Sold: Bonhams, Los Angeles, CA, “California Art,” August 3, 2021, Lot 35 Private collection, California, from the above

johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Elmer Wachtel

(1864-1929) “In the Shadow of the Cliffs - San Juan Coast,” circa 1898 Oil on canvas laid to Masonite Signed lower left: E. Wachtel; signed again with initials and titled in pencil, verso 19 x 28 in. $20,000-30,000 Exhibited: Laguna Beach, CA, Laguna Art Museum, “Loners, Mavericks and Dreamers: Art in Los Angeles Prior to 1900,” November 26, 1993-February 20,1994 Literature: Nancy Dustin Wall Moure, “Loners, Mavericks & Dreamers: Art in Los Angeles Before 1900” (Laguna Art Museum, Laguna Beach, CA, 2004) p. 60, no. 31, illustrated and on the cover Notes: The painting is accompanied by one hard-bound and one softbound copy of Nancy Dustin Wall Moure’s “Loners, Mavericks & Dreamers: Art in Los Angeles Before 1900” (Laguna Art Museum, Laguna Beach, CA, 2004). Nancy Dustin Wall Moure writes of the present work, “The Barbizon love of sunlight and shadow pervaded the work of Elmer Wachel, who repeatedly used a shadowy, arboreal foreground to frame a lighted, distant landscape. “In the Shadows of the Cliffs of San Juan Coast” obtains its depth from the alternating light and shade the painter describes on retreating ranges of hills. Uncharacteristically slick in finish, when compared to the parallel, textured strokes that are identified with his mature style, this undated work seems to be an early painting.” (Moure, p. 61)

johnmoran.com

Henry Lavender Adolphus Culmer

(1854-1914) “Cypress and the Sea,” 1892 Oil on canvas Signed and dated lower right: H.L.A. Culmer 1892; titled by repute 24 x 40 in. $8,000-12,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

Nellie Augusta Knopf

(1875-1962) “The Island Ledge, Maine Coast,” 1916 Oil on canvas Signed and dated lower right: N.A. Knopf 1916; signed “Nellie A. Knopf,” titled, and inscribed with the artist’s Chicago address, all in pencil on the stretcher 27 x 30 in. $3,000-5,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Peter Schmauss

(1868-1938) Houseboat Oil on board Signed lower right: Schmauss 20 3/8 x 24 1/4 in. $1,500-2,500 Provenance: The Collection of Sybil Rosen and Robert Fisher Notes: Various biographic materials about the artist accompany this lot.

johnmoran.com

Edgar Alwin Payne (1883-1947)

From the sparkling waters of France and Italy a sun-kissed deserts of the American Southwest, career as one of the United States’ preeminent

Born in Missouri, Payne dreamed of becoming American South and Midwest, painting murals many expressive artists of his time, Payne beca self-taught artist. Payne worked and lived as an working on large-scale murals, and, in 1912, m

In 1918, the couple settled in Laguna Beach, C taking root there. Payne helped found the Lag From his home base in Southern California, Pa peaks and valleys of the Sierra Nevada and oth Mid- and Western United States.

Commissions began to wane after the stock m Nevadas his primary subject matter. He spent a on canvas. His love of the Sierra Nevada was u with cancer in 1942, Edgar Payne passed away

Edgar Payne’s works are included in the collect Museum, Sacramento, and the Indianapolis Mu

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

g an artist from the age of fourteen. In his late teens, he traveled throughout the s and stage sets, before briefly studying at the Chicago Art Institute in 1907. Like ame bored with the rigid structure of academic art institutions and became a n artistic nomad, moving between California and Chicago, taking commissions, marrying fellow artist Elsie Philippa Palmer.

California, becoming an integral part of the burgeoning art community that was guna Beach Art Association in 1918 and became the organization’s first president. ayne ventured out into the California mountains, painting striking scenes of the her ranges. Payne took on numerous commissions and exhibited throughout the

market crash of 1929, and from 1930 onwards, Payne made painting the Sierra an excessive amount of time finding the perfect angle, the perfect lighting, to put unrivaled and even produced a documentary film, “Sierra Journey.” Diagnosed y in 1947, leaving behind a legacy of American landscape painting.

tions of numerous institutions, including the Laguna Art Museum, the Crocker Art useum of Art. Payne Lake in the Sierra Nevada is named in his honor.

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Edgar Alwin Payne

(1883-1947) “Adriatic Fishing Boats” Oil on linen laid to canvas Signed lower right: Edgar / Payne; titled on the frame plaque 24 1/8 x 28 1/8 in. $25,000-35,000 Provenance: Sold: Butterfield & Butterfield, Los Angeles, CA, December 13, 1994, Lot 964 Private collection, Naples, FL, acquired from the above

johnmoran.com

Anthony Thieme

(1888-1954) Red sails Oil on Masonite Signed lower right: Thieme 20 x 24 in. $3,000-5,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Christopher Blossom

(b. 1956) “Red Star Packet Birmingham” Oil on canvas Signed lower right: Christopher Blossom; titled on the frame plaque 24 x 30 in. $10,000-15,000

johnmoran.com

George Thompson Pritchard

(1878-1962) View of the River Thames with a ship and the Tower Bridge Oil on canvas Signed lower right: G. Thompson Pritchard 25 x 30 in. $800-1,200

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Barse Miller

(1904-1973) A sailing ship at sea Oil on canvas Signed lower right: Barse Miller; signed again verso 34 x 36 in. $5,000-7,000

johnmoran.com

Emile Albert Gruppé

(1896-1978) “Gloucester” Oil on canvas Signed lower right: Emile A. Gruppé; titled on the stretcher 24 x 20 in. $1,000-2,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Otis Pierce Cook Jr.

(1900-1980) New England dock Oil on canvasboard Signed lower left: Otis Cook 12 x 16 in. $1,000-1,500

johnmoran.com

Colin Campbell Coope (1856-1937)

Colin Campbell Cooper was a prominent America Born in Philadelphia, Cooper studied at the Penns by the French Impressionists. His early works reflec during a time when skyscrapers and urbanization w

Cooper earned acclaim for his vibrant depictions o among the first American painters to capture the v interplay between sunlight and steel. These painti the modern urban experience. Cooper’s work ofte early 20th-century life.

Cooper travelled widely and also painted landscap California, and elsewhere. His versatility and dedic reputation as a key figure in American Impressioni the early 1900s and remains celebrated for blendi

In summer 1915, Cooper made his only known trip year, Cooper and his artist-wife Emma Lampert Co participated in the Panama-Pacific International Ex Connecticut, Rhode Island, and Massachusetts, in permanently in Santa Barbara.

Of the period around 1915 to 1920, William H. Ge American artists in seeking out the more traditiona which he had become associated, concentrating o have received further motivation from America’s e West Coast and Beyond: Colin Campbell Cooper

an Impressionist painter best known for his architectural cityscapes and urban scenes. sylvania Academy of the Fine Arts and later in Europe, where he was deeply influenced ect his fascination with light, atmosphere, and the bustling life of modern cities, especially were reshaping the American landscape.

of American and European cities, particularly New York, Chicago, and Paris. He was vertical grandeur of skyscrapers using Impressionist techniques, skillfully portraying the ings not only celebrated technological progress but also brought an artistic sensitivity to en featured crowds, horse-drawn carriages, and iconic buildings, offering a snapshot of

pes, portraits, and travel scenes from Asia, the Middle East, the American South, cation to capturing beauty in both natural and man-made environments cemented his ism. As an educator and exhibitor, he contributed to the development of American art in ing traditional Impressionist methods with a uniquely American subject matter.

p to Martha’s Vineyard, where he painted the present work in Edgartown. Later that ooper spent an enjoyable winter of 1915-16 in Southern California, where they both xposition. Between 1918 and 1919, Cooper spent time working and exhibiting in ncluding on Nantucket. After Emma’s death from tuberculosis in 1920, Cooper settled

erdts writes, “Cooper appears to have been joining Hassam and a good many other al aspects of American life, almost in contradistinction to the architectural ‘newness’ with on the ‘old’ American rather than the modern, a nationalistic preference that could only entry into World War I” (William H. Gerdts and Deborah Epstein Solon, “East Coast / - American Impressionist,” Laguna Art Museum, Laguna, CA, p. 62).

Colin Campbell Cooper

(1856-1937) “Edgartown Harbor - Edgartown, MA,” 1915 Oil on canvas laid to board Signed and dated lower left: Colin Campbell Cooper 1915; titled on the frame plaque; alternatively titled “At Edgartown, Martha’s” as well as “View of Edgartown” 29 1/4 x 36 1/4 in. $20,000-30,000 Provenance: Sold: Sotheby’s, New York, NY, March 15, 1995, Lot 113 From the Collection of Robert A. Day Notes: The present painting’s charming view of the seaside homes, docks, and boats on Edgartown’s historic harbor is presented in a pure Impressionist palette. The jewel-toned blue hues of the calm harbor are reflected in the bright sky, and Cooper’s steadfast interest in architecture, whether older and traditional like these homes, or cutting-edge city skyscrapers, is on display.

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Daisy Marguerite Hughes

(1882-1968) “New England Village” Oil on canvas Signed lower right: D.M. Hughes; signed “Hughes, Daisy” in pencil on the stretcher, possibly in another hand; titled and inscribed “L.A. Museum” verso 23 3/4 x 28 3/4 in. $2,000-3,000

johnmoran.com

Charles Edwin Lewis Green

(1844-1915) “Newlyn, England (near Penzance),” circa 1890 Oil on canvas Signed lower right: C.E.L. Green; titled on the stretcher 10 x 14 in. $800-1,200 Provenance: “MYD/14” is inscribed three times on the verso, possibly by a former owner Notes: According to information about C.E.L. Green provided by staff from the West Cornwall Art Archive, Cornwall, England, in 2005, “For one full year in 1889-90 [the artist] lived and painted in West Cornwall. During that year he worked on his painting, ‘A Newlyn Fish Auction’ and others that he finished when he returned to Boston in the fall of 1890. On 16 February 1891, his promoter, J Eastman Chase opened a major show of the paints[sic] Green had completed based on his time in Newlyn. His biographers[sic] comment was: ‘The Newlyn experience sharpened all his developing senses and provided a focus for his art. It was the single most important experience of his career.’ Green’s Newlyn works include: ‘Arrival of the Fishing Boats, Penzance’; ‘Going to a Fish Auction’; ‘Coming from the Sale, Penzance’; ‘Street in Newlyn’; ‘Low Tide, Newlyn’; ‘The Cliff at Newlyn’; ‘Road to the Sea’; ‘Newlyn’; ‘Farmhouse in Newlyn’. Exhibition record: Boston Art Club, Philadelphia Museum of Art, and numerous others in USA & Canada. No British exhibitions known.”

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

George Macrum

(1878-1970) “Hillside House” Oil on panel Unsigned; with “The Estate of / George Herbert Macrum / The Peggy and Harold Samuels Collection” ink stamp, verso; titled from the gallery label affixed verso 10 5/8 x 8 5/8 in. $800-1,200 Provenance: The artist’s estate Peggy and Harold Samuels Collection, from the above Goldfield Galleries, Los Angeles, CA

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

George Ames Aldrich

(1872-1941) “Cottage at Montreuil-Sur-Mer (Normandy)” Oil on canvas Signed lower left and lower right: G. Ames Aldrich; titled on a gallery label affixed to the frame’s backing board 16 x 20 in. $1,500-2,500 Provenance: Goldfield Galleries, Los Angeles, CA

johnmoran.com

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Charles Rollo Peters

(1862-1928) Casa Alvarado Adobe, Monterey, CA Oil on canvas Signed lower left: Charles Rollo Peters 18 1/8 x 28 3/8 in. $8,000-12,000

johnmoran.com

Armin Hansen (1886-1957)

Armin Hansen was an American artist renowned fo Europe and along California’s Monterey coast. Co artist. Born in San Francisco, Hansen was formally earthquake and fire that destroyed the school, Ha Carlos Grethe. After leaving Germany, Hansen spe absorbed influences from Impressionism and Expr

Following his artistic education, Hansen spent tim maritime seascapes, and picturesque coastal villag depth personal knowledge of sea vessels and the long theme of his paintings and prints, deeply info

Upon his return to San Francisco in the autumn of California Society of Etchers where he served on t Association shows. Hansen relocated his studio fro to the vibrant artist colonies of Monterey and Carm

Though rooted in realism, Hansen’s work embrace He also played a key role in California’s art scene, establish the region as a major center for America

Hansen first painted the rodeo in Salinas in 1913 a “It was subject matter that Hansen knew well, as h drawings for his own rodeo paintings” (Scott Shiel returned to rodeo subjects and included them in 1 about another rodeo subject Scott Shields says, “F tense muscle of the horse and through the post of

or his powerful depictions of the sea and the lives of fishermen working in Northern ompositions featuring the California Rodeo in Salinas are an important sub-genre for the trained in San Francisco at the California School of Design. Following the 1906 ansen went on to study at the Stuttgart Academy in Germany from 1906 to 1908 under ent time in Paris and West Flanders, Belgium. During this early training in Europe, he ressionism.

me working as a crew member on North Sea trawlers while painting fishing scenes, ges. His interactions with the resilient and hardworking seafaring community, and the inworking life of a sailor gleaned from these experiences, became the central and careerorming his art.

f 1912, Hansen quickly re-immersed himself in the local artistic community, joining the their Executive Board, and participating in exhibitions, including San Francisco Art om San Francisco to the Monterey Peninsula in 1916, where he was in closer proximity mel.

es modernist elements, blending structure and expression to elevate everyday moments. co-founding the Carmel Art Association and mentoring many younger artists, helping to an art in the early 20th century.

and showed rodeo subjects in a show at the Schussler Brothers Galleries that same year. he had joined his father at such events and had fond memories of watching him make lds, “Armin Hansen: The Artful Voyage,” 2015, p. 77). By 1930, Hansen had actively 1930 exhibitions at Stendahl Galleries and the Hotel Del Monte Art Gallery. In writing For Hansen, it was the action that appealed, and he communicated it through every of the rider with his flying neckerchief and tan chaps” (Shields, p. 191).

Armin Hansen

(1886-1957) Cowboys and bucking horse at the California Rodeo, Salinas, California Oil on canvasboard Signed lower center: Armin Hansen N.A. 16 x 20 in. $100,000-150,000 Provenance: Private collection, San Francisco, CA By two-generational family descent

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com

Charles L.A. Smith

(1871-1937) Mission San Juan Capistrano, 1927 Oil on canvas Signed and dated lower left: Chas. L.A. Smith. 1927. 30 1/8 x 40 1/8 in. $2,000-3,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Edwin Deakin

(1838-1923) Study for “San Gabriel Valley from near the Mission,” 1897 Oil on canvas Signed, titled, and inscribed verso: Edwin Deakin / “Out-door walk”; dated and inscribed lower right: “Valley of San Gabriel / Apr. 2, 1897” 12 x 18 in. $2,000-3,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 15, 2022, Lot 2006

johnmoran.com

Edwin Deakin

(1838-1923) Lake Tahoe scene, 1875 Oil on canvas laid to panel Signed and dated lower right: Edwin Deakin / 75 17 1/4 x 25 in. $3,000-5,000 Provenance: Sold: Brunk Auctions, Asheville, NC, “An American Panorama: North, South, East And West,” May 9, 2024, Lot 681

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Harry Cassie Best

(1863-1936) California coastal with figures and distant lighthouse, 1892 Oil on canvas laid to canvas Signed and dated lower right: H.C. Best. 92 29 3/4 x 49 3/4 in. $2,000-3,000

johnmoran.com

Harvey Otis Young

(1840-1901) “Misty Autumn Morning” Oil on canvas Signed lower right: Harvey Young; titled by repute 14 1/8 x 24 in. $800-1,200 Provenance: Sold: Christie’s, New York, NY, “House Sale,” March 7-8, 2006, Lot 1

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Charles Wilson Knapp

(1823-1900) Bucolic scene of cows by a pond in a mountain setting Oil on canvas laid to canvas Signed lower left: C.W. Knapp 18 x 31 1/2 in. $1,500-2,500

johnmoran.com

James Everett Stuart

(1852-1941) “Mt. Tamalpais, Cal.,” 1929 Oil on panel Signed, dated, and numbered lower left: J. E. Stuart / May 21, 1929 / 3546; signed, dated, and numbered, all again, and titled “Mt. Tamalpais, Cal.,” all in black on the verso 20 x 30 in. $2,000-3,000

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Charles Dormon Robinson

(1847-1933) California hills and ocean, possibly Santa Barbara Oil on canvas laid to canvas Signed lower left with conjoined letters: CD Robinson; inscribed faintly and indistinctly in pencil on the stretcher 12 x 16 1/4 in. $1,000-1,500

johnmoran.com

Raymond Dabb Yelland

(1848-1900) “River Walk,” 1892 Oil on canvas Signed and dated lower right: Raymond Dabb / 1892; signed and dated again, and titled and inscribed, all in ink on the stretcher 10 x 14 in. $2,000-3,000 Notes: In addition to the signature, title, and date, the stretcher is also inscribed in ink: “Address care: J. R. Brevoort / Studio 34 Association Building / Cor. 4th Ave [**] St. NY.” The name J.R. Brevoort in the inscription likely refers to the American landscape painter James Renwick Brevoort (1832-1918).

C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

William Hart

(1823-1894) “Summer’s Day” Oil on canvas Signed lower right: Wm. Hart.; titled from a gallery label affixed to the frame’s verso 12 x 20 in. $4,000-6,000 Provenance: K.J. Flint, circa 1930 Questroyal Fine Art, New York, NY Sold: Christie’s Los Angeles, CA, “California, Western and American Paintings, Drawings and Sculpture,” June 19, 2002, Lot 8 Goldfield Galleries, Los Angeles, CA

johnmoran.com

Fannie Eliza Duvall

(1861-1934) Still life with pink roses Oil on canvas Signed lower right: F.E. Duvall 16 1/4 x 20 in. $1,500-2,000 Provenance: Alex Fraser Galleries, Vancouver, B.C., Canada Sold: John Moran Auctioneers, Pasadena, CA, April 23, 2013, Lot 75

1 0 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Thomas Hill

(1829-1908) Portrait of a lady Oil on canvas laid to Masonite Signed in the black background, just below the figure’s right shoulder: T. Hill Oval: 26 1/4 x 21 in. $5,000-7,000 Provenance: Private collection, New York, NY Maxwell Galleries, San Francisco, CA Property from a Bay Area Collector Notes: A copy of a sales receipt from Maxwell Galleries dated January 1, 1995, accompanies this lot.

johnmoran.com 101

Thomas Hill

(1829-1908) Canyon landscape, likely the Grand Canyon Oil on paper laid to panel Signed lower right: T. Hill 21 x 14 in. $6,000-8,000 Provenance: Private collection of relatives of the artist Albert DeRome, Orinda, CA By family descent

1 0 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 103

1 0 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Edgar Alwin Payne

(1883-1947) “The Miner Peaks at Iceberg Lake” Oil on canvas laid to canvas Signed lower right: Edgar Payne; titled in another hand verso, possibly duplicating a verso inscription prior to lining 20 1/8 x 24 in. $20,000-30,000 Provenance: Private collection Sold: Butterfield & Butterfield, Los Angeles, CA, March 7, 1993, Lot 139 Maxwell Galleries, San Francisco, CA Private collection, from the above, 1999

johnmoran.com 105

Edgar Alwin Payne

(1883-1947) “Lake Sabrina, Inyo County” Oil on canvas Signed lower left: Edgar Payne; titled and numbered in pencil “No. 358,” verso 12 x 16 in. $10,000-15,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA

1 0 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 107

Edgar Alwin Payne

(1883-1947) “Sierra Mountains” Oil on canvasboard Bears signature lower right; titled on a gallery label affixed verso Sight: 7 x 9 in.; Frame: 11 1/4 x 13 in. $4,000-6,000 Provenance: Estate of the artist Edward Goldfield, acquired from the artist’s widow, 1961 Goldfield Galleries, Los Angeles, CA

1 0 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Fitch Fulton

(1879-1955) “Mountain Landscape” Oil on canvas laid to artist’s board Signed lower right: Fitch Fulton; titled on the gallery label 14 x 18 in. $1,000-2,000 Provenance: George Stern Fine Arts, West Hollywood, CA

johnmoran.com 109

1 1 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Orrin A. White

(1883-1969) A snow-covered Sierra cabin Oil on canvas Signed lower right: Orrin A. White; initialed and inscribed “OW #3” in pencil on the stretcher 26 x 32 in. $5,000-7,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA

johnmoran.com 111

Orrin A. White

(1883-1969) Lake in the High Sierras Oil on canvas Signed lower left: Orrin A. White 18 x 14 in. $2,000-3,000 Provenance: Estate of the artist Private collection, Sherman Oaks, CA

1 1 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Orrin A. White

(1883-1969) Trees in a mountain landscape Oil on Masonite Signed lower right: Orrin A. White 14 x 20 in. $2,000-3,000 Notes: Inscribed in pencil on the verso in a later hand, possibly that of a former owner: MY/14

johnmoran.com 113

1 1 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Paul Grimm

(1891-1974) Sierra mountains diptych Oil on canvas laid to board Each element signed lower left or lower right: Paul Grimm Sight of each: 19 3/4 x 15 1/2 in. $4,000-6,000

johnmoran.com 115

Marion Kavanagh Wac (1876-1954)

A celebrated American Western landscape painte and grew up in a family of artists that included her Wachtel studied at the School of the Art Institute o studies, Wachtel taught at the Art Institute and in reputation as a fine artist of figural subjects, partic

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

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

After considering a move to Southern California th student, artist Elmer Wachtel. A romance quickly d married, Wachtel signed her paintings ‘Marion Ka

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

Actively involved in the local artist community, Wa Museum of History, Science and Art. She exhibited became an associate of the American Water Colo 1921. She held memberships in other California an

Elmer’s death in 1929 caused Marion to stop pain 1930s. After her husband’s death, Wachtel incorpo primarily in and around the foothills of the nearby talent as an artist who depicted the unique Americ

chtel

er in watercolor and oil, Marion Kavanagh Wachtel was born in Milwaukee, Wisconsin r mother and a great grandfather who was a member of the Royal Academy in London. of Chicago and in New York under William Merritt Chase. After finishing her artistic Chicago public schools, before returning to Milwaukee where she developed a cularly portraits of children.

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

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

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

ilt a home and studio in the Mt. Washington Area. They lived there until 1921 when they Elmer painted mostly in oil while Marion focused on watercolor, and both artist’s work

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

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

Marion Kavanagh Wachtel

(1876-1954) “Azure Lake, Sierra Nevada” Oil on canvas Signed lower left: Marion Kavanagh Wachtel; titled in pencil on the stretcher 24 x 32 in. $20,000-30,000 Provenance: Private collection, Altadena, CA, likely acquired directly from the artist, circa 1929 By family descent

1 2 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 121

Elmer Wachtel

(1864-1929) A landscape with trees and shadows Oil on canvas Signed lower right: E. Wachtel; inscribed “1115” in pencil on the stretcher 12 1/4 x 18 1/4 in. $3,000-5,000

Hanson Duvall Puthuff

(1875-1972) “Sunlit Hills,” 1914 Oil on canvas mounted to artist’s board Signed lower left: H. Puthuff; signed again, “Hanson Puthuff,” titled, and dated “Dec 1914,” all in ink, verso 8 1/8 x 11 in. $2,000-3,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” March 22, 2016, Lot 5 Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” May 9, 2023, Lot 97 Sold: Heritage Auctions, Dallas, TX, “Art of the West,” March 26, 2026, Lot 46057

1 2 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

George Gardner Symons

(1863-1930) “Misty November Day” Oil on canvas laid to canvas Signed lower right: Gardner Symons; signed again in black on the frame’s verso and titled in pencil on the stretcher 25 x 30 in. $3,000-5,000 Provenance: From a private east coast collection

johnmoran.com 123

Robert Bartholomew Harshe

(1879-1938) “Sunrise Over Skyline near Portola” (triptych), 1910 Oil on canvas mounted to paperboard in three parts Rightmost panel signed and dated lower right: Robert Harshe / 1910; titled by repute Each: 25 x 29 in.; Overall: 25 x 87 in. $3,000-5,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 24,1995, Lot 103A From the Collection of Robert A. Day

1 2 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 125

1 2 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Victor Higgins

(1884-1949) An abstract landscape Oil on board Signed lower right: Victor Higgins 7 x 10 in. $2,000-3,000

johnmoran.com 127

Paul Grimm

(1891-1974) Eucalyptus landscape Oil on board Signed lower left: Paul Grimm; signed again verso 9 x 12 in. $1,000-1,500

1 2 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Maurice Braun

(1877-1941) Path through a California landscape Oil on board Signed lower right: Maurice Braun 6 1/4 x 9 1/4 in. $2,000-3,000 Provenance: Private collection, Sherman Oaks, CA

johnmoran.com 129

Jessie Arms Botke (1883-1971)

Born in Chicago, Jessie Arms Botke studied at New York. There she worked for Herter Looms bird artist on a significant mural commission fo Chicago and married Dutch American artist Co commissions for high profile companies and in

In 1920, the couple moved to California and p quickly became associated with the vibrant art Arts and Crafts movement, she began to incor compositions. She also painted landscapes, pa

t the Art Institute of Chicago and spent some time in Europe before moving to s under Albert Herter and became a specialist in tapestry cartoons. She was a lead or Herter Looms at the St. Francis Hotel in San Francisco. Botke returned to ornelis Botke. The couple had a successful partnership working on mural nstitutions including University of Chicago and the Kellogg Company.

purchased a ten-acre ranch in Wheeler Canyon near Santa Paula, California. Botke t communities of Carmel and later Los Angeles. Influenced by Asian Art and the rporate gold and silver leaf in intricate backgrounds of her bird and foliage-focused articularly of her local environs, like the present work.

1 3 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Jessie Arms Botke

(1883-1971) House in a verdant landscape Oil on canvas mounted to paperboard Signed lower right: Jessie Arms Botke 12 x 16 in. $2,000-3,000 Provenance: Private collection, Los Angeles, CA By family descent

johnmoran.com 133

Jessie Arms Botke

(1883-1971) “Black Peacocks” Oil and gold paint on Masonite Signed lower right: Jessie Arms Botke; titled on a small piece of brown paper affixed verso 32 x 26 in. $50,000-70,000 Provenance: William Karges Fine Art, Los Angeles, CA The Saperstein Collection, Oakland, CA

1 3 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 137

1 3 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Maurice Picaud (Pico)

(1900-1977) “La Dance,” Folies Bergere Facade, 1924 Gilt gesso and wood panel From the edition of unknown size Image 19 7/8 x 19 3/8 in. $1,500-2,500 Provenance: The Collection of Sybil Rosen and Robert Fisher Notes: This “Pico Plaque” relief is a smaller version of the decorative panel Picaud (“Pico” pseudonymously) created for the facade of the Folies Bergère in Paris in 1926. The famed Russian dancer Lila Nikolska (19041955) posed for the design.

johnmoran.com 139

Karoly Fülöp

(1893-1963) Six figural tiles Glazed ceramic bas-relief Incised with signature to lower right panel at lower right: K. FULOP Sight of each 8 5/8 x 4 5/8 in. $1,000-1,500 Provenance: The Collection of Sybil Rosen and Robert Fisher

1 4 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 141

Karoly Fülöp

(1893-1963) “Enchantment” Oil on board Signed lower left: Karoly Fülöp; titled on a gallery label affixed verso 46 x 32 1/2 in. $3,000-5,000 Provenance: Los Angeles Fine Art Gallery, Los Angeles, CA Sold: Bonhams, Los Angeles, CA, “Modern, Contemporary/Made in California Art,” May 22, 2007, Lot 342

1 4 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Karoly Fülöp

(1893-1963) “Music” Glazed ceramic bas-relief Incised with signature at upper right: K. FULOP; titled in pencil, verso; with alternative title “Concert” on a typed label affixed verso Sight 26 3/4 x 20 3/4 in. $2,000-3,000

johnmoran.com 143

Bessie Onahotema Potter Vonnoh

(1872-1955) “Woman in Dress” or “In Grecian Draperies,” modeled 1912-13, cast 1914 Patinated bronze on marble plinth Signed in the casting: Bessie Potter Vonnoh; further marked: ROMAN BRONZE WORKS INC. N.Y. Bronze 15 7/8 x 8 3/8 x 6 3/8 in.; plinth 1 7/8 x 9 1/8 x 7 7/8 in. $12,000-18,000

1 4 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Bessie Onahotema Potter Vonnoh

(1872-1955) “Butterflies,” modeled circa 1911 Patinated bronze on marble plinth Signed in the casting: Bessie Potter Vonnoh; further marked: ROMAN BRONZE WORKS NY Bronze 13 1/2 x 6 3/8 x 6 3/4 in.; plinth 1 3/4 x 6 1/4 x 6 1/2 in. $12,000-18,000

johnmoran.com 145

1 4 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Jessie Arms Botke

(1883-1971) “The Challenge,” 1928 Oil on canvas laid to canvas Signed and dated lower right: Jesse Arms Botke / 1928 52 1/4 x 54 1/8 in. $30,000-50,000 Provenance: Grand Central Galleries, New York, NY Private collection, Connecticut Sold: Bonhams, Los Angeles, CA, “California and Western Paintings and Sculpture,” April 11, 2017, Lot 56 Private collection, Beverly Hills, CA Exhibited: Paris, France, Paris Salon, 1934

johnmoran.com 147

Jessie Arms Botke

(1883-1971) “Cranes” Oil on canvas mounted to Masonite Signed lower right: Jessie Arms Botke; stamped in black ink on the Masonite’s verso: “Copyright Strictly Reserved by / Catalda Fine Arts, Inc. / New York City;” titled and with [Print no.] “6267” both inscribed in ink on a gallery / publisher label affixed to the frame’s backing paper; the number 6267 also written once on the Masonite’s verso; alternatively titled “Manchurian Cranes” in another hand on two xeroxed newspaper announcements affixed to the Masonite’s verso 25 x 30 in. $12,000-18,000 Provenance: Catalda Fine Arts, Inc., New York, NY Biltmore Hotel, Los Angeles, CA A.R. Cutter, purchased from the above, 1951 Violet E. Girod, Salem, OR Notes: Catalda Fine Arts produced and wholesaled color lithographs, offset prints, and decorative reproductions of classical, vintage, and contemporary artworks for the home decor market during the 1940s through the 1960s, but they also offered the original works that they were creating prints from like the present painting.

1 4 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 149

Paul de Longpré (1855-1911)

Paul de Longpré was a renowned French-Ame France, he developed a passion for art at a you began selling his artwork, and by his early twen prestigious salons.

In 1890, financial difficulties brought on by ban to the United States, where he settled in New Y However, it was his move to Los Angeles in 189 Longpré built a home in Hollywood, surrounde home became a tourist destination and a hub

De Longpré was particularly celebrated for his which earned him the nickname “King of Flow compositions that elevated floral still lifes to a fi petals, leaves, and blooms made his work high

Although his fame peaked in the early 20th cen beauty. His paintings were widely exhibited an popular culture. Today, his pieces are part of va Southern California.

erican painter best known for his exquisite and detailed floral still lifes. Born in Lyon, ung age, particularly for painting flowers. By the time he was 12, de Longpré nties, he had become a highly regarded artist in Paris, exhibiting his works at

nk failures in his home country forced de Longpré to leave France and immigrate York City. There, he quickly gained a reputation as a master of floral painting. 899 that solidified his legacy. Attracted by the city’s climate and lush plant life, de ed by extensive gardens that became the subject of many of his paintings. His for art lovers and collectors.

ability to capture the delicate nuances of different flowers, particularly roses, wers.” He worked primarily with oil paint and watercolor, often creating vibrant fine art form. His attention to detail and skill in rendering the textures and colors of hly sought after during his lifetime.

ntury, de Longpré’s work continues to be admired for its technical precision and nd reproduced in prints, further cementing his influence in both the art world and arious museum collections, and his legacy remains tied to the early art scene in

Paul de Longpré

(1855-1911) “Orchids (Cattleya Gigas),” 1899 Watercolor and pencil on paper mounted to paperboard Signed, dated, and inscribed lower center: Paul de Longpre / .1899 Los Angeles.; titled and inscribed “No 8,” both in pencil, verso 23 x 15 in. $10,000-15,000 Provenance: Sold: Bonhams, Los Angeles, CA, August 5, 2014, lot 40

1 5 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Paul de Longpré

(1855-1911) Red roses, 1895 Watercolor on paperboard Signed and dated lower right: Paul de Longpré / 1895 Image/Paperboard: 8 3/4 x 21 7/8 in. $2,000-3,000

johnmoran.com 153

Frank Vincent DuMond

(1865-1951) “Blossoms, Central Park” Oil on canvas Unsigned; titled and identified on a gallery label affixed to the stretcher 28 1/4 x 19 3/4 in. $1,000-2,000 Provenance: M. R. Schweitzer Gallery, New York, NY

1 5 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 155

1 5 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Arthur Wesley Dow

(1857-1922) “Marsh Creek,” circa 1905-14 Woodcut in colors on laid Japan paper tipped to a larger sheet of cardstock, as issued Signed in pencil along the lower left edge of the image: Arthur Wesley Dow; signed again, titled, and dated “1914” in ink on the verso of the original cardstock support sheet, together with the artist’s West 120th Street, New York City black ink stamp; with the same information written again in ink on a scrap of old brown paper affixed to the frame’s black backing paper Image: 4 1/4 x 7 in.; Sheet: 5 1/8 x 7 3/4 in.; Support sheet: 7 1/2 x 10 3/4 in. $5,000-7,000 Provenance: Aarun Gallery, Pasadena, CA Literature: see Nancy E. Green, “Arthur Wesley Dow and His Influence,” catalogue for the exhibition at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, Aug.-Oct. 1990; and other venues through Sept. 1991. pp. 23, 171. see Nancy E. Green and Jessie J. Poesch, “Arthur Wesley Dow and American Arts & Crafts,” catalogue for the exhibition at The Iris and B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, July-Sept., 1999; Terra Museum of American Art, Chicago, IL, Oct. 1999-Jan. 2000; and Blanden Memorial Art Museum, Ford Dodge, IA, JulyOct. 2000. pp. 17, 171. Notes: Of the few other examples of this color woodcut that we have been able to locate, a different example at auction was catalogued as circa 1905, and The Metropolitan Museum in New York City lists their impression as circa 1907. Each of those impressions is listed with a “circa” date, whereas our impression is dated 1914 by the artist.

johnmoran.com 159

Gifford Beal

(1879-1956) “Figures on the Beach, Man in Stripes” Watercolor, ink, and pencil on laid paper Signed lower center: G. Beal; titled in pencil, verso 9 1/2 x 12 3/4 in. $1,000-1,500 Provenance: Estate of the artist Kraushaar Galleries, New York, NY The Collection of Sybil Rosen and Robert Fisher, from the above, 1989 Notes: The artist’s wife, Maud Beal, is identified as the figure holding the umbrella, and the man reclining in blue and white stripes is Harrison Cady, a close friend of the artist.

1 6 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Claude Buck

(1890-1974) A woman in blue Oil on panel Appears unsigned; inscription verso related to pigments used 9 3/8 x 10 3/4 in. $800-1,200 Provenance: Private collection, Bakersfield, CA Notes: Framed in a Mayan Olson, 2005 frame.

johnmoran.com 161

Saul Berman

(1899-1975) “Mother and the News” Oil on canvas Signed lower left: Saul Berman; titled on a partial label affixed to the frame’s verso 42 1/4 x 33 1/4 in. $3,000-5,000 Provenance: Sold: Wright, Chicago, IL, May 14, 2002, Lot 224 The Collection of Sybil Rosen and Robert Fisher

1 6 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Saul Kovner

(1904-1981) “Cup of Tea” Oil on canvas Signed and dated indistinctly lower left: Saul /**; signed again verso: Saul; signed again and titled on the stretcher; titled and inscribed with the artist’s full name on the frame’s verso, in another hand 41 x 30 in. $4,000-6,000 Provenance: Sotheby’s Arcade, New York, NY, “American 19th and 20th Century Paintings, Drawings and Sculpture,” June 23, 1987, Lot 362 The Midtown Gallery, New York, NY The Collection of Sybil Rosen and Robert Fisher Exhibited: New York, NY, The Midtown Gallery, 1933, illustrated on the cover of the exhibition catalogue johnmoran.com 165

Waldo Peirce

(1884-1970) “Alzira’s Easter Bonnet,” 1941 Oil on canvas Signed with conjoined initials and dated lower right: WP / 41; signed “W Peirce,” titled, and dated again (twice), all in paint, verso 24 x 20 in. $1,000-1,500 Provenance: Estate of the artist Sandra B. Lepore Inc., Newburyport, MA The Collection of Sybil Rosen and Robert Fisher, from the above, 1988 Literature: Margit Varga, “Waldo Peirce,” (The Hyperion Press, New York), 1941, p. 31, illustrated Notes: The sitter is the artist’s third wife. 1 6 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Joseph Raskin

(1897-1981) “Portrait of a Seated Woman” Oil on canvas Signed lower left: Joe Raskin; titled on a label affixed to the frame’s backing board 30 x 24 3/4 in. $800-1,200 Provenance: The Collection of Sybil Rosen and Robert Fisher

johnmoran.com 167

Azadia Catherine Herman Newman Mamoulian

(1902-1999) “Girl in Red Chair” Oil on canvas laid to canvas Signed lower left: Azadia; titled on a label affixed to the frame’s verso 28 x 23 3/4 in. $800-1,200 Provenance: The Collection of Sybil Rosen and Robert Fisher

1 6 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Douglass Ewell Parshall

(1899-1990) “Figural Arrangement” or “Girl & Sofa” Oil on panel Signed lower right: Douglass Parshall; signed again, titled “Figure Arrangement,” and inscribed, “Santa Barbara Cal.,” all on an old piece of paper affixed verso; with an alternative title, “Girl & Sofa” and number “E35” apparently in the artist’s hand, verso 16 x 20 in. $1,500-2,500 Provenance: Maureen Murphy Fine Arts, Montecito, CA The Collection of Sybil Rosen and Robert Fisher, from the above, 1990 Exhibited: Santa Barbara, CA, Santa Barbara Historical Museum, “Guiding Lights: Teachers at the Santa Barbara School of the Arts 1920-1938,” August 27, 2009-January 31, 2010 Notes: A small paper gum sticker affixed to the verso of this work is inscribed in what appears to be the artist’s hand: “CL. RT. VAR / ‘63.” This may be an abbreviation for “Cleaned, restored, varnished, 1963,” either by the artist himself, or at his request.

johnmoran.com 169

Robert Brackman

(1898-1980) “Floral Still Life” Oil on canvas Signed lower right: Robert Brackman; titled on a label affixed to the frame’s verso 28 1/8 x 22 1/8 in. $1,000-1,500 Provenance: The Collection of Sybil Rosen and Robert Fisher

1 7 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

John Hubbard Rich

(1876-1954) Still life with fruit Oil on canvas laid to canvas Signed lower right: John Hubbard Rich 25 1/4 x 25 1/4 in. $2,000-3,000 Provenance: Sold: Bonhams, Los Angeles, CA, June 12, 1996, Lot 1099 From the Collection of Robert A. Day

johnmoran.com 171

1 7 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Morgan Russell

(1886-1953) “Still Life with Pomegranate” Oil on canvas laid to canvas Signed lower left: Morgan Russell; titled on a gallery label affixed to the frame’s verso 21 1/2 x 18 1/4 in. $3,000-5,000 Provenance: Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA

johnmoran.com 173

Ben Abril

(1923-1995) “Rosslyn Hotel” Oil on canvas Signed lower left: Ben Abril; inscribed “5th Street Looking West from Wall Street to the Rosslyn Hotel - Los Angeles” in black on the canvas overlap 26 x 34 in. $3,000-5,000 Provenance: The Estate of Ben Abril

1 7 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Ben Abril

(1923-1995) “Los Angeles Times Building,” circa 1981 Oil on canvas Signed lower right: Ben Abril; inscribed “2nd E - Spring Street / Los Angeles Times Building Built in 1934 - 1935 Architect Gordon-Kaufmann - Painting Circa 1981” in black on the canvas overlap 30 x 40 in. $3,000-5,000 Provenance: The Estate of Ben Abril

johnmoran.com 175

100

Karoly Fülöp

(1893-1963) Background for “Spirit of the Sea,” 1936 Oil, metallic paint, and ink on board Signed lower left: K Fülöp; dated on a note affixed verso 24 x 21 1/2 in. $2,000-3,000 Notes: According to a note affixed verso, “This is a background for statue, ‘Spirit of the Sea,’ and to be placed behind it 6 inches above pedestal, bottom of frame.”

1 7 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 177

101

Karoly Fülöp

(1893-1963) “Knights” Glazed ceramic bas-relief Incised with signature at lower right: K. FULOP Image 25 3/4 x 20 3/4 in.; sight 26 x 21 1/4 in. $2,000-3,000

1 7 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

102

Karoly Fülöp

(1893-1963) “Mission Angels” Glazed porcelain Incised signature at lower right: K. FULOP 15 x 14 3/4 x 5 1/2 in. $1,000-1,500

johnmoran.com 179

103

Phil Dike

(1906-1990) Portrait of a woman on the beach Oil on canvas Signed lower right: Phil Dike 40 x 30 in. $2,000-3,000 Provenance: The artist Private collection, Palos Verdes Estates, CA Private collection, by family descent

1 8 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

104

Paul Lewis Clemens

(1911-1992) “Nude in the Studio,” circa early 1960s Oil on masonite Unsigned; titled and dated by repute 24 3/8 x 18 3/8 in. $2,000-3,000 Provenance: A letter of authentication from the artist’s daughter, Stephanie Clemens, dated April 6, 2005, accompanies this lot.

johnmoran.com 181

105

Phil Paradise

(1905-1997) Nude seated on a chair, circa 1940-41 Oil on canvas Signed lower right: Phil Paradise; dated by the artist 20 x 12 in. $2,000-3,000 Provenance: The Collection of Sybil Rosen and Robert Fisher Notes: According to a 1991 letter from the artist retained by the estate, this painting was one of several he painted on a commission for an unidentified motion picture. The model was a professional musician and his assignment was to paint in an academic style and in daylight. The artist dated the painting circa 1940-41 in the letter.

1 8 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

106

Lawton Parker

(1868-1954) “The Quiet Pool” Oil on canvas laid to canvas Signed lower right: Lawton Parker; titled on gallery labels affixed to the frame’s verso 25 1/2 x 24 1/4 in. $10,000-15,000 Provenance: Goldfield Galleries, Los Angeles, CA David Ramus Fine Art, Atlanta, GA The Goldfield Collection, Los Angeles, CA.

johnmoran.com 183

107

Lawton Parker

(1868-1954) Nude in repose Pencil on faux vellum Signed in pencil lower right: Lawton Parker Image/Sheet: 7 1/2 x 9 3/8 in. $1,000-2,000

1 8 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

108

Béla Kádár

(1877-1956) Woman; Mother and child (double-sided) Watercolor and ink on paper Signed lower right, recto: Kádár / Béla Sight: 21 x 14 1/2 in. $1,000-1,500 Provenance: Idea Contact, Budapest, Hungary The Collection of Sybil Rosen and Robert Fisher, from the above, 1991 Notes: There is an ink drawing of a mother and child on the verso.

johnmoran.com 185

109

Edmund William Greacen

(1876-1949) “Nude Study” Oil on canvas mounted to artist’s board Signed lower right: Edmund Greacen; signed again and titled in ink on an exhibition label affixed verso 10 x 8 in. $3,000-5,000 Provenance: Sold: Bonhams, New York, NY, American Paintings, May 24, 2006, Lot 1060 Exhibited: New York, NY, Salmagundi Club, “Thumb-box Exhibition,” circa 1910

1 8 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

110

Jean Mannheim

(1863-1945) Seated nude woman holding a mirror after a bath Oil on canvas Signed upper left: Mannheim 36 x 28 3/4 in. $4,000-6,000

johnmoran.com 187

111

Albert W. Wein

(1915-1991) “Pygmalion and Galatea,” conceived/modeled 1979, cast 1987 Patinated bronze on green marble plinth Edition: 2/12 (1-3 were the only numbers cast during artist’s lifetime) Signed, twice dated, and numbered in the casting: WEIN Sc 79 / © 87; impressed foundry mark: TX [conjoined, Tallix Foundry, Beacon, NY] Bronze 24 x 11 1/2 x 8 3/8 in.; plinth 2 1/8 x 9 7/8 x 6 1/2 in. $2,000-3,000 Provenance: Child’s Gallery, Boston, MA The Collection of Sybil Rosen and Robert Fisher, acquired from the above, 2003

1 8 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

112

Edward Berge

(1876-1924) “Poppy” Patinated bronze Signed in the casting: E BERGE; foundry mark: ALEXIS Rudier / Fondeur Paris 23 1/4 x 9 x 7 in. $800-1,200

johnmoran.com 189

113

Franz Arthur Bischoff

(1864-1929) “Lights and Shadows,” 1920 Oil on canvas Signed lower right: Franz A. Bischoff; titled in pencil on the stretcher, signed, titled again, and dated in ink “Franz. Bischoff C.A. 1920” all on the stretcher 20 x 24 in. $10,000-15,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA

1 9 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

114

Jean Mannheim

(1863-1945) “Eucalyptus in Evening” Oil on canvas Signed lower left: J. Mannheim; titled and numbered “154” in ink on a label affixed to the stretcher 20 x 24 in. $4,000-6,000

johnmoran.com 191

115

Ferdinand Kaufmann

(1864-1942) “Eucalyptus in Spring” Oil on canvas Signed lower right: F. Kaufmann; titled in pencil on the stretcher 30 x 24 1/8 in. $1,000-1,500 Provenance: Sold: Sotheby’s New York, Arcade, Lot 148, March 17, 1988 Private collection, Oklahoma By family descent

1 9 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

116

John Frost

(1890-1937) Trees and green fields, 1927 Oil on board laid to cardboard Signed and dated lower right: John Frost. 1927. 13 1/2 x 16 in. $5,000-7,000

johnmoran.com 193

117

Granville Redmond

(1871-1935) “Twilight Lagoon,” 1910 Oil on canvas Signed and dated lower left: Granville Redmond / 1910; alternatively titled and inscribed in black “Lagoon at Twilight / #747” and inscribed “21” in pencil, all on the stretcher, possibly in another hand 8 x 10 in. $6,000-8,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA

1 9 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

118

Percy Gray

(1869-1952) “Northern California Autumn Oaks” Watercolor on paperboard Signed lower left: Percy Gray; titled in pencil on the frame’s verso 16 x 19 3/4 in. $4,000-6,000

johnmoran.com 195

119

Percy Gray

(1869-1952) “Bend in the River (Country Stream)” Watercolor and pencil on paper Signed lower right: Percy Gray; titled on a typed label affixed to the frame’s paper backing 12 1/8 x 16 1/8 in. $3,000-5,000 Provenance: Sold: Butterfield & Butterfield, Los Angeles, CA, June 13, 1993, Lot 755

1 9 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

120

Percy Gray

(1869-1952) A Landscape with Eucalyptus and a house in the distance Watercolor on paperboard Signed lower left: Percy Gray 5 3/4 x 7 3/4 in. $1,000-1,500 Provenance: The Collection of Sybil Rosen and Robert Fisher

johnmoran.com 197

121

Ransome Gillet Holdredge

(1836-1899) “Sunlit Green Valley, Cal.” Oil on canvas laid to canvas Signed lower left: R G Holdredge; titled in pencil verso 29 3/4 x 50 1/4 in. $2,000-3,000

1 9 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

122

Julian Walbridge Rix

(1850-1903) “Early Autumn” Oil on canvas laid to canvas Signed lower right: Julian Rix; titled on the frame plaque 17 x 21 in. $1,500-2,000

johnmoran.com 199

Theodore Wores (1859-1939)

Theodore Wores was an important post-Go diversity of subject matter that included Asia Southwest, and depictions of his native Nor studies at age 12 and was a one of the first it opened in 1874, where he studied under Academy in Munich. While in Europe, he pa Duveneck and William Merritt Chase.

Returning to San Francisco in 1881, Wores s 1880s and the late 1890s, Wores spent exte three years, London, New York and Boston. soon developed a unique style marked by b aesthetics, particularly the emphasis on simp

Wores’s time in Japan had a profound effec East with exoticism, Wores approached his s respectful portrayals of everyday life. After r growing art scene in California and his art m Art Association and the Art Society of Japan abroad and was a vocal contributor to cross California landscape and environs.

Between 1901 and 1903, Wores traveled to natural beauty. Like his Japanese subjects, t peoples.

Wores was a unique art practitioner to come sensitivity and vivid portrayal of Eastern and mishandled. Wores’s artistic legacy sensitive

old Rush expansion period California painter. He painted prolifically and in an, particularly Japan, South Seas, focusing on Hawaii, the American rthern California. Born in San Francisco in 1859, Wores began his formal artistic students to enroll in the newly formed San Francisco School of Design when Virgil Williams. After a year there, Wores continued his training at the Royal ainted with other American expats including James McNeill Whistler, Frank

sought fresh subjects in the city’s Chinatown neighborhood. Between the midended periods travelling abroad including two trips to Japan, the first lasting . The artist’s early work reflected European academic influences, but Wores bold colors and keen attention to cultural detail, deeply inspired by Japanese plicity and nature.

ct on his artistic vision. Unlike many Western artists of the era who portrayed the subjects with respect and authenticity, and his paintings show intimate and returning to the US in 1898, Wores became an active member of the memberships included the Bohemian Club, Salmagundi Club, San Francisco n. In his work and through his associations, Wores shared his experiences s-cultural artistic exchange. In this period, he also began to further explore the

o Hawaii and Samoa, where he continued to find inspiration in local cultures and the South Pacific works reflect a deep appreciation for island life and its

e out of California in this period, and his work stands out for its cultural d Western subjects at a time when such “exotic” themes could often be ely bridges continents and culture.

2 0 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

123

Theodore Wores

(1859-1939) “Hollyhock Garden” Oil on panel Signed lower right: Theodore Wores; titled by repute 14 x 18 in. $6,000-8,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, February 20, 2007, Lot 60 Orr’s Gallery, San Diego, CA From the Collection of Robert A. Day

johnmoran.com 203

124

Joseph Raphael

(1869-1950) “The Blacksmith,” 1896 Oil on canvas Signed and dated lower left: Jos. M. Raphael / 96; signed “JM Raphael,” alternatively titled “Horseshoer.” and inscribed indistinctly, all verso; titled on an exhibition label affixed verso 34 x 26 in. $8,000-12,000 Provenance: Mrs. Daniel A. Ryan Exhibited: San Francisco, CA, The M.H. de Young Memorial Museum, “Horse Show: Horses in Art from Ancient Times to the Present Day,” November 19, 1932 - January 1, 1933

2 0 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 205

125

John Bond Francisco

(1863-1931) View of San Francisco harbor Oil on canvas laid to canvas Signed lower left: J. Bond Francisco 22 x 28 in. $5,000-7,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 16, 2021, Lot 4083

2 0 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

126

Henry Nappenbach

(1862-1931) “Chinatown Alley,” circa 1900 Oil on canvas Unsigned; titled and dated in another hand on a gallery label affixed to the stretcher 20 x 15 3/4 in. $1,000-2,000 Provenance: John Howell - Books, San Francisco, CA

johnmoran.com 207

2 0 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

127

Arthur Burdett Frost

(1851-1928) “English Snipe Shooting” (an alternate version), circa 1895 Gouache and watercolor on paperboard en grisaille Signed lower right: A.B. Frost.; inscribed “Sniper,” verso, with framing notes in another hand verso 18 1/8 x 26 1/8 in. $25,000-35,000 Notes: A.B. Frost was an influential American illustrator, painter, and cartoonist who became a leading figure during the Golden Age of American Illustration. Born in Philadelphia, Pennsylvania, Frost began his career working in wood engraving and lithography before gaining recognition in 1874 for illustrating the humorous book “Out of the Hurly-Burly” by Charles Heber Clark. He later studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins and worked for major publishers and magazines, including “Harper’s” and “Life.” Frost illustrated more than 90 books, including works by Lewis Carroll, Mark Twain, and Joel Chandler Harris. He became especially famous for his illustrations of Br’er Rabbit in the Uncle Remus stories, as well as humorous drawings of everyday life and detailed and accurate hunting scenes like the present work. His innovative use of sequential images to portray movement and action helped influence the development of modern comic strips. This original gouache appears to be an alternate version of one of A.B. Frost’s most popular chromolithographs “English Snipe Shooting” from his “Shooting Pictures” folio published by Charles Scribner’s Sons, New York, NY in 1895-1896. In the widely circulated chromolithograph, the dogs are in a different position, and the hunter is aiming his gun at a bird who is at the very right edge of the image.

johnmoran.com 209

128

Guy Rose

(1867-1925) “Grouse” Oil on canvas laid to canvas Unsigned 20 1/4 x 14 1/4 in. $2,000-4,000 Provenance: Fargo Fenton Rose, the artist’s nephew San Diego Art Institute, San Diego, CA, gift from above Parke Bernet, March 1979 Gary Breitweiser, Studio 2, Santa Barbara, CA Notes: A letter dated November 17, 1979, from the San Diego Art Institute, discussing the provenance of this painting, accompanies the lot. 2 1 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

129

Theodore Wores

(1859-1939) “Yokohama,” 1886 Watercolor on paper Signed, titled, and dated lower right: Theodore Wores / 1886 Sheet: 9 3/8 x 14 in. $1,000-2,000 Provenance: Goldfield Galleries, Los Angeles, CA

johnmoran.com 211

130

Ross Turner

(1847-1915) “Bermuda,” 1891 Watercolor and gouache on paper mounted to paperboard Signed, titled, and dated lower left: Ross Turner Bermuda - 91 Sheet: 21 1/2 x 29 7/8 in.; Mount: 22 x 30 1/8 in. $7,000-9,000

2 1 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 213

Martin Lewis (1881-1962)

Martin Lewis was born in Castlemaine, Vi working as a merchant seaman and deve 1900 and settled in New York City in 1909 introduced him to the rich tradition of pri printmaker, even teaching etching to his f two years studying its art and landscapes sensitivity to composition, atmosphere an York street scenes, his wider body of work their surroundings.

ictoria, Australia. Lewis left home as a teenager and travelled widely, eloping his skills as a draughtsman. He emigrated to the United States in 09, initially working as a commercial artist. A visit to Britain in 1910 intmaking, and he subsequently became a highly accomplished friend Edward Hopper. Lewis also travelled to Japan in 1920, spending s. This experience influenced his artistic approach, particularly his nd the effects of light. Although he is best known for his dramatic New k demonstrates a keen interest in the relationship between people and

2 1 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

131

Martin Lewis

(1881-1962) “Oncoming Storm,” 1927 Oil on canvas laid to canvas Unsigned 25 1/4 x 30 1/2 in. $15,000-25,000 Provenance: Sold: Christie’s, New York, NY, “Important American and European Paintings and Drawings from a Distinguished Private Collection,” June 5, 1997, Lot 78 Sold: Butterfield and Butterfield, Los Angeles, CA, “American and California Paintings & Sculpture,” June 25, 1998, Lot 5131 The Collection of Sybil Rosen and Robert Fisher, from the above Notes: A photocopy of a letter dated October 9, 1980 from Patricia Lewis, daughter-in-law of the artist, attesting to the authenticity of this work, accompanies this lot. “Oncoming Storm” from 1927 presents the artist’s broader interest in everyday life, human activity and the character of particular places. Lewis’s placement of the beach-filled figures as they emerge quickly out of the ocean, the contrast between solid forms and open space, and the dramatic and stormy light and shadow lend atmosphere and urgency to the scene.

johnmoran.com 217

Norwood MacGilvary (1874-1950)

Norwood Hodge MacGilvary was an American Thailand). He was the son of missionaries, and biographical accounts, he traveled extensively fourteen years of age, he moved to the United

MacGilvary continued his education at Davidso graduating, he studied art and philosophy at th training at the Mark Hopkins Institute in San Fr continue to refine his technique. In Paris, he stu 1906 he worked under the American painter M

After returning to the United States in 1906, M for publications including “Harper’s,” “Pictorial

MacGilvary worked in several artistic genres, in included realistic representations of the natural unconventional subjects. Because of the comb his work, he was often described as an artist-ph

MacGilvary exhibited at the 1915 Pan-America Area. From 1921 to 1943, he was a painting in body of work including the present painting.

n painter, illustrator, and art educator born in Bangkok, Siam (now Bangkok, his early life exposed him to travel and different cultures. According to during his childhood, including journeys through China. At approximately d States and attended a private school in Virginia.

on College in North Carolina, graduating in 1896 as the class valedictorian. After he University of California, Berkeley, from 1896 to 1897, and continued his artistic rancisco from 1897 to 1898. MacGilvary traveled to Europe to study painting and udied under Jean-Paul Laurens at the Académie Julian, and between 1904 and Myron Barlow in Étaples, France. While in France he exhibited at the Paris Salon.

MacGilvary pursued a professional career as a magazine illustrator, producing work al Review,” and “Cosmopolitan.”

ncluding landscapes, genre, portraits, figure studies, and etchings. His paintings al world, while some of his other works explored more imaginative or bination of representational painting and more surrealistic imagery associated with hilosopher.

an Exposition in San Francisco and spent an extended period working in the Bay nstructor at the Carnegie Institute in Pittsburgh, while continuing to create his own

132

Norwood MacGilvary

(1874-1950) “Home” Oil on Masonite Signed and with the artist’s fingerprint lower left: Norwood MacGilvary; signed again and titled faintly, verso; signed and titled again and with the artist’s Pittsburgh, PA address on a label affixed verso 25 x 30 in. $2,000-3,000 Provenance: Uno Langmann Limited Fine Arts, Vancouver, British Columbia, Canada The Collection of Sybil Rosen and Robert Fisher, from the above, 1995 Notes: The Depression-era composition “Home” is a striking and moving example of MacGilvary’s work during his time living in the Pittsburgh area. Set against dramatic hillside bluffs flanking one of Pittsburgh’s famous rivers, a family of four is captured in a moment of daily life. Except that life has been reduced to living in a small caravan parked in a rocky field with a pile of discarded refuse nearby. The father reads the newspaper in the shade while the mother hangs laundry and siblings play together on the caravan steps. A nod to Pittsburgh’s history of steel manufacturing can be seen in the nearby industrial chimney stacks and factory buildings near the river’s edge. “Home” becomes a nuanced and abstracted concept in MacGilvary’s painting, one that embodies the hardship yet tenacity of Americans in their post-crash period life.

2 2 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 221

133

Ben Abril

(1923-1995) “Los Angeles Public Library” Oil on canvas Signed lower right: Ben Abril; titled and inscribed “Built 1926 - 6th E. Hope St.,” on the canvas overlap 32 x 39 1/2 in. $3,000-5,000 Provenance: The Estate of Ben Abril

2 2 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

134

Ben Abril

(1923-1995) “Chinatown” Oil on canvas Signed lower left: Ben Abril; titled and inscribed “Los Angeles corner of Ord and Broadway,” on the canvas overlap 30 1/4 x 36 in. $3,000-5,000 Provenance: The Estate of Ben Abril

johnmoran.com 223

2 2 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

135

Marie DuBarry

(1897-1990) “Afternoon Stroll” (Figures on a street, possibly Chinatown) Oil on canvas Signed lower right: Marie DuBarry; titled on a gallery label affixed to the stretcher 14 1/4 x 17 1/2 in. $800-1,200 Provenance: Estate of the artist Redfern Gallery, Laguna Beach, CA Notes: Framed in a Mayen Olson, 2006 frame.

johnmoran.com 225

136

Francis De Erdely

(1904-1959) “Roofs of New York,” 1940 Watercolor and gouache on paper mounted to paperboard Signed, dated, and inscribed lower right: de erdély / MCMXXXX / New York; titled by repute Sight: 19 1/4 x 27 1/4 in. $1,500-2,500 Provenance: Private collection, Los Angeles, CA Exhibited: San Francisco, CA, M.H. de Young Memorial Museum, no date

2 2 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

137

Edmund Greacen

(1876-1949) “New York Skyline,” circa 1920s Oil on canvas mounted to artist’s board Signed lower right: Edmund Greacen; signed again, titled, and inscribed “#109,” all verso; signed and inscribed by Nan Greason, daughter of the artist, verso: “This was painted by my father, Edmund Greacen N.A. / between 1920 and 1930 / -Nan Greacen N.A.-” 16 x 12 in. $3,000-5,000 Provenance: Goldfield Galleries, Los Angeles, CA

johnmoran.com 227

138

Guy Carleton Wiggins

(1883-1962) “Fifth Ave. in Winter” Gouache and traces of pencil on paperboard Signed lower right: Guy Wiggens N.A.; signed again and titled in ink, verso 15 3/4 x 13 in. $6,000-8,000 Provenance: David Dike Fine Art, Dallas, TX Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA By family descent to the present owners Notes: This lot is accompanied by a printed letter of authentication from Noel Wiggins, dated October 7, 2026.

2 2 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 229

139

Thomas Hart Benton

(1889-1975) “The Meeting,” 1941 Lithograph on wove paper From the edition of 250 Signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, NY, pub., with their original publication/information label stored in a protective sleeve attached to the frame’s backing board. Image: 8 7/8 x 11 1/2 in.; Sheet: 11 x 13 1/2 in. $1,000-1,500 LIterature: Fath 47

2 3 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

140

Paul Landacre

(1893-1963) “Three Kids and a Horse,” 1941 Wood engraving on Japan paper Edition: 10/100 (third (final) state; there were only a few proofs in the first and second states) Signed, titled, and numbered in pencil in the lower margin: Paul Landacre Image: 7 5/8 x 10 1/8 in.; Sheet: 10 5/8 x 14 5/8 in. $1,500-2,500 Literature: Wein 246 iii/iii Notes: According to Wein, the setting for this wood engraving is the concrete channel of the Los Angeles River beneath the Glendale-Hyperion Bridge. A photograph the bridge in the artist’s files “may have been a source of inspiration as no plein air sketches are known.”

johnmoran.com 231

Maurice Hall Haycock (1900-1988)

Dr. Maurice Hall Haycock was a distinguished g musician, explorer, historian, archeologist, edu

He was born in Wolfville, Nova Scotia and lived Wolfville with a Bachelor of Science and receiv doctorate in Economic Geology from Princeton in 1931 and worked there until retirement in 19

Considered a self-taught artist, Haycock began Beginning in 1945, he participated extensively

geologist and mineralogist and a prominent Canadian painter, photographer, ucator and arts community leader.

d most of his life in Ottawa, Ontario. Haycock graduated from Acadia University, ved a Master of Arts degree in Geology from Acadia University in 1926 and a n University in 1931. He joined the Department of Mines and Resources of Canada 965.

n to paint in watercolors and pastels in 1935 and transitioned to oils in 1944. y in art exhibitions, and his work is in the collections of a number of museums.

141

Maurice Hall Haycock

(1900-1988) “Concentrator at the Candego Mine, Gaspe North” (Quebec), 1953 Oil on panel Signed and dated lower right: M Haycock / 53; titled, dated again “Ap / 53,” and inscribed in pencil partially indistinctly “Candego - Mill & New ** Bin - Entrance to **,” verso 11 x 14 in. $600-800 Provenance: Zwicker’s Gallery, Halifax, Nova Scotia, Canada The Collection of Sybil Rosen and Robert Fisher Exhibited: Odeon Theater, no location, May 1953

2 3 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

142

Maurice Hall Haycock

(1900-1988) “Old Mine, Cobalt, Ont,” 1956 Oil on panel Signed and dated lower left: M Haycock / 56; titled, dated and indistinctly inscribed in pencil, “October, 1956 [indistinct],” verso; inscribed and numbered in another hand “ONT 56-28,” verso 11 x 14 in. $600-800 Provenance: Zwicker’s Gallery, Halifax, Nova Scotia, Canada The Collection of Sybil Rosen and Robert Fisher

johnmoran.com 235

2 3 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

143

Harry Sternberg

(1904-2002) “Slope Mine,” 1936 Lithograph on paper From the edition of unknown size Signed and titled in pencil in the lower margin: H Sternberg; with the artist’s monogram and date printed as part of the image, lower right Image: 15 x 12 in.; Sight: 16 x 12 3/4 in. $800-1,200

johnmoran.com 237

144

Gerald Leslie Brockhurst

(1890-1978) “Adolescence” (Kathleen Nancy Woodward), 1932 Etching on wove paper From the total edition of at least 90 in all seven states Signed and inscribed in pencil in the lower margin: G.L. Brockhurst / “The Property of the artist. G.L.B.” Plate: 14 1/4 x 10 1/2 in.; Sheet: 17 7/8 x 13 3/8 in. $3,000-5,000 Provenance: The artist’s collection, as inscribed Armand du Vannes, Los Angeles, CA The Collection of Sybil Rosen and Robert Fisher, from the above, 1973 Literature: Fletcher 75 Notes: Arguably Brockhurst’s most famous etching, the model for this image was Kathleen Woodward, the woman who would soon become the artist’s second wife. Brockhurst fell in love with her shortly after she began modeling for him in 1929. Ten years later, he divorced his first wife in order to marry her.

2 4 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 241

Constantin Alajalov (1900-1987)

Russian-American artist and illustrator Const career in art before leaving Russia following established himself as a successful illustrator where his distinctive style combined humor, artwork often portrays fashionable society, c during the twentieth century with sharp obs

tantin Alajalov was born in Rostov-on-Don, Russia. He initially pursued a g the Russian Revolution, and immigrated to the United States, where he r. Alajalov became particularly famous for his covers for “The New Yorker,” , elegance, vibrant colors, and detailed depictions of everyday life. His city life, and amusing social situations, capturing the spirit of American culture servation and satire.

2 4 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

145

Constantin Alajalov

(1900-1987) “Depression in the Thirties,” cover art for “The New Yorker” magazine, March 11, 1939 Gouache on board Signed lower right: Alajalov; titled as well as inscribed “New Yorker cover, Mar. 11, 1939” on a piece of old backing paper affixed to the frame’s current backing paper Sight: 12 3/8 x 8 7/8 in. $6,000-8,000 Provenance: Litwin Gallery Inc., Wichita, KS Thomas McCormick Works of Art, Chicago, IL The Collection of Sybil Rosen and Robert Fisher, from the above, 1993 Literature: “The New Yorker,” March 11, 1939 issue, cover illustration

johnmoran.com 245

Byron Randall (1918-1999)

Emmy Lou Packard (1914-1998) was an Ame to promote social justice and workers’ rights his assistant on projects including the Pan A approach to public art. Packard created mur agriculture, and struggles for equality. She b highlight important social and political issue

Packard married her second husband artist time of their move, Mendocino was a lumbe Victorian home from 1882. Packard quickly b in efforts to save the town from commercial community and ran an art gallery and guest

erican artist, muralist, printmaker, and political activist known for using her art s. She was closely associated with Mexican muralist Diego Rivera, working as American Unity mural in San Francisco (1940-1941) and learning from his urals, woodcuts, and other works that often depicted working-class people, believed art should be accessible to everyone and used her talents to es.

Byron Randall in 1959, and the couple moved to Mendocino in 1960. At the er town with a number of historic homes including Packard and Randall’s became involved in historic preservation movements and was a local leader l development. The couple were active in the creation of the Mendocino artist t house from 1959 to 1968.

146

Byron Randall

(1918-1999) “Emmy Lou” (Portrait of Emmy Lou Packard), 1960 Oil on canvas Signed, dated, and inscribed lower right: Byron Randall / Mdcno ‘60; signed again, titled, and inscribed “Mendocino, Calif.,” all possibly in another hand verso 88 x 32 1/2 in. $2,000-3,000 Provenance: Papillon Gallery, Los Angeles, CA The Collection of Sybil Rosen and Robert Fisher Notes: Randall’s large-scale 1960 portrait of his new wife “Emmy Lou” is executed with dramatic outlining, intense color and emotion indicative of the artist’s best works. Packard is presented casually seated with her left foot resting on her right knee. Her striking features are enhanced by strategic black line work and the modernist use of color throughout juxtaposes the representational figure against an abstracted, expressionist background.

2 4 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 249

147

William Meyerowitz

(1887-1981) “The Red Settee,” 1922 Oil and pencil on canvas laid to canvas Signed and dated lower right: William Meyerowitz 22 34 3/8 x 27 1/8 in. $1,000-1,500 Provenance: David H. Hall Fine Works of Art & Appraisals, Dover, MA The Collection of Sybil Rosen and Robert Fisher, from the above, 2003 Notes: According to a label affixed to the backing board, this lot may have the alternative title of “Minna at / Foley [sic] Cove / 1922 / (William’s sister).” The reference to “Foley” Cove is likely a misspelling of Folly Cove, a scenic spot on Cape Anne, MA near Gloucester and Rockport.

2 5 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

148

Harold Weston

(1894-1972) “The Purple Hat,” 1931-1932 Oil on canvas Signed upper right: Weston; dated “1931-1932” verso 28 1/2 x 23 1/2 in. $2,000-3,000 Provenance: Platt Fine Art Inc., Chicago, IL The Collection of Sybil Rosen and Robert Fisher, from the above, 2003 Exhibited: New York, NY, “Whitney Museum Biennial,” November 22, 1932 - January 5, 1933, no. 109, illustrated in the exhibition catalogue Literature: Rebecca Foster et al, “Wild Exuberance: Harold Weston’s Adirondack Art,” (Syracuse University Press, Syracuse, 2005), p. 68, illustrated johnmoran.com 251

149

Robert Brackman

(1898-1980) “In a Morning Light (No. 3)” Oil on canvas Signed upper right: Brackman; signed again, titled, and inscribed in black: “’In a Morning Light’ #3 / Robert Brackman / Noank, Conn,” all verso 28 x 36 in. $3,000-5,000 Provenance: Grand Central Art Galleries, New York, NY Cincinnati Art Galleries, Cincinnati, OH The Collection of Sybil Rosen and Robert Fisher, from the above, 1989

2 5 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

150

Robert Brackman

(1898-1980) “Nudes” Pastel on paper Signed lower right: Brackman; titled by the gallery Sight: 38 x 32 in. $1,000-1,500 Provenance: Cincinnati Art Galleries, Cincinnati, OH The Collection of Sybil Rosen and Robert Fisher, from the above, 1990

johnmoran.com 253

151

Attributed to McClelland Barclay

(1891-1943) “Woman in the Red Dress,” circa 1940 Oil on canvas laid to canvas Appears unsigned; titled and dated on a label affixed to the frame’s backing board 43 1/4 x 32 1/4 in. $2,000-3,000 Provenance: Papillon Gallery, Los Angeles, CA

2 5 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

152

George Chann

(1913-1995) The artist painting a nude model Oil on canvas Signed lower left: Geo. Chann 16 x 12 in. $2,000-3,000

johnmoran.com 255

153

Robert Philipp

(1895-1981) “Half Draped Bather” Oil on canvas Signed lower right: Philipp; signed again, “Robert Philipp,” and titled, both verso 30 1/4 x 24 in. $1,200-1,800 Provenance: The Collection of Sybil Rosen and Robert Fisher

2 5 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

154

Geza Kende

(1889-1952) Nude on a bed, 1949 Oil on canvas Signed and dated lower left: Geza Kende / 1949 34 x 26 in. $3,000-5,000 Provenance: K. Nathan Gallery, La Jolla, CA Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” March 27, 2018, Lot 73 From the Collection of Robert A. Day

johnmoran.com 257

155

Everett Shinn

(1876 -1953) Reclining nude, 1904 Pastel on paper laid to paperboard Signed and dated lower left: E Shinn 1904 Image/Sheet: 8 7/8 x 14 1/8 in.; Paperboard: 10 1/4 x 15 1/2 in. $3,000-5,000 Provenance: Estate of the artist James Graham & Sons, New York, N.Y. Tilden-Foley Gallery, New Orleans, LA Goldfield Galleries, Los Angeles, CA Exhibited: San Francisco, CA, George Krevsky Gallery, “Ash-can School Show,” March-May 1999

2 5 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

156

Everett Shinn

(1876-1953) Reclining nude, 1929 Pastel on green paperboard Signed and dated lower right: Everett Shinn / 1929 Sight: 10 5/8 x 14 5/8 in.; Paperboard: 11 1/4 x 15 3/8 in. $3,000-5,000

johnmoran.com 259

157

Arthur B. Davies

(1862-1928) “Cornucopia,” circa 1910 Oil on canvas laid to canvas Indistinct signature lower right; titled and dated on a gallery label on the frame’s verso; alternatively titled “Nudes with Fruit” on other gallery and exhibition labels 28 x 23 in. $4,000-6,000 Provenance: The artist Collection of Dr. Trasko [?], Rockland County, NY ACA American Master’s Gallery, Los Angeles, CA Spanierman Gallery, New York, NY Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA Exhibited: Claremont, CA; Pomona College, Pomona College Gallery, n.d. New York, NY, Grand Central Art Galleries, “Impressionism and Post Impressionism: Transformations in the Modern American Mode 1885-1945,” March 29-May 14, 1988 2 6 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

158

Colin Campbell Cooper

(1856-1937) “Market Place, Tunisia,” 1914 Pastel on paper laid to cardstock Signed and dated (faintly) in red, lower left: Colin Campbell Cooper 1914; titled and dated on a gallery label affixed to the frame’s backing paper Image/Sheet: 10 5/8 x 8 5/8 in.; Sight: 10 x 8 in. $1,000-2,000 Provenance: The artist’s estate William E. Baum, from the above in 1948 William Baum Galleries, Sellersville, PA Goldfield Galleries, Los Angeles, CA Alan and Betty Goldfield, Westlake Village, CA

johnmoran.com 261

159

Mary Louise Fairchild Low

(1858-1946) Portrait of a young girl wearing a locket, 1929 Oil on canvas Signed and dated lower left: Mary Fairchild Low 1929 15 x 12 in. $800-1,200

2 6 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

160

Harvey Thomas Dunn

(1884-1952) “Portrait of Louise Dunn,” 1934 Pencil on paper Signed and dated lower right: Dunn / 1934 Sight: 10 1/2 x 8 in.; Sheet: 11 1/2 x 8 7/8 in. $1,000-1,500

johnmoran.com 263

161

Attributed to George Benjamin Luks

(1867-1933) “Little Girl in Top Hat,” circa 1920 Oil on canvas Unsigned; inscribed in black paint in another hand “Geo Luks / Per W.D. Luks,” verso, and titled in pencil, possibly in another hand, on the stretcher 20 1/8 x 16 1/8 in. $10,000-15,000 Provenance: The artist Will Luks, the artist’s brother Caroline Luks, the artist’s niece Dr. Milton Luria Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA Exhibited: New York, NY, A.C.A. Gallery, “Retrospective Exhibition”, traveling exhibition, 1967 Montclair, NJ, Montclair Museum, n.d. Trenton, NJ, Trenton Museum, n.d. New York, NY, Owen Gallery, “George Luks: An Artistic Legacy”, October 25-December 17, 1997 San Francisco, CA, George Krevsky Gallery, “Ash-Can School Show”, March-May, 1999

2 6 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 265

162

George Chann

(1913-1995) “Red Girl” Oil on canvas Signed upper left: Geo. Chann; titled in pencil on the stretcher 24 x 20 in. $800-1,200 Notes: The present work was likely painted in the mid-20th Century when George Chann was living in Los Angeles. He had a popular studio at the Farmers Market where he would paint portraits of people and their children.

2 6 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

163

George Chann

(1913-1995) Grazing sheep with stormy skies Oil on canvas Signed lower right: Geo. Chann 24 x 30 in. $1,000-1,500

johnmoran.com 267

164

Adam Emory Albright

(1862-1957) “Make Believe Time” Oil on canvas laid to canvas Signed lower right: A.E. Albright; titled on a gallery label affixed to the frame’s backing board 25 1/4 x 35 in. $12,000-18,000 Provenance: Goldfield Galleries, Los Angeles, CA

Notes: Adam Emory Albright was an academic painter of note, celebrated for subjects of children, and was an early graduate of the Institute of Chicago. In the present work, the dramatic narrative and lighting depict a composition of intergenerational play, w children enraptured by a grandfather-figure as he creates a shadow dog with finger puppets against a red wall.

2 7 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

165

Everett Shinn

(1876-1953) “The Old Clown,” 1945 Oil on board Signed and dated lower left: E Shinn 45; titled from a gallery label affixed verso Sight: 10 x 8 in. $4,000-6,000 Provenance: Goldfield Galleries, Los Angeles, CA

Art with two

johnmoran.com 271

2 7 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

166

Everett Shinn

(1876-1953) Nine images of clowns and other performers, circa 1940 Each: Pastel or pencil and watercolor on paper Each appears unsigned; titled from various gallery labels affixed to the frames’ backing boards Sight of each: 10 1/2 x 8 1/2 in. $3,000-5,000 Provenance: Possibly Ex. Coll. Worcester Art Museum, Worcester, MA (see “Other Notes” and the labels and notations on the verso of some of the frames) Possibly Graham Gallery, New York, NY, via Victor Spark (again see verso of frames) Victor Spark, New York, NY Maxwell Galleries, San Francisco, CA Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA Exhibited: Greensboro, NC, Weatherspoon Art Callery, The University of North Carolina at Greensboro, “Weatherspoon Annual Exhibition: Art on Paper 1977,” although this possibly included only “The Fat Clown” from this larger group. Listed on the exhibition label as a loan from Victor Spark of New York City. Literature: E. DeShazo, “Everett Shinn, 1876-1953: A Figure in His Time,” Crown Publishers, 1974, pp.168-9 (illustrated). In addition to its descriptive title and its medium, this drawing is listed as “circa 1940. Private Collection.” Notes: The labels affixed to the backboards of the various frames list the following titles: “Fat Clown,” “Big Nose Clown,” Seated Clown,” “Costume Ball,” “Troubador” [sic], “Clown with Feathered Cap,” “Clown with Monkey on His Knee,” “Gay Clown,” and “Kneeling Clown with Monkey.” A printed label with Victor Spark’s personal New York City address on the backing board to one of these frames is simply inscribed “Worcester Art Museum” in blue ink. Victor David Spark (1891-1991) was a prominent New York City-based private art dealer and appraiser who specialized in Old Master paintings as well as 19th and early 20th century American art. His company records (dating from the 1930s until the 1970s) were eventually acquired by the Smithsonian’s Archives of American Art. These records include decades of correspondence with, among other clients and colleagues, the Worcester Art Museum, Worcester, MA. Most of these letters focus on individual works of art, however, several of them, starting in 1948, include discussions between Mr. Spark and the museum’s director about helping them deaccession a group of “...paintings and other objects in this collection which, because of duplication or other reasons, are not likely to be used for exhibition purposes.” (Nov. 5, 1948)

johnmoran.com 273

167

Louis Frederick Berneker

(1876-1937) Nymphs dancing in a forest Oil on canvas laid to canvas Signed lower left: Louis F. Berneker 30 1/4 x 42 12 in. $2,500-3,500

2 7 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 275

Daniel Ridgway Knigh (1839-1924)

American ex-pat painter Daniel Ridgway Kn of peasants and rural life. Idyllic portraits ren settings, authentic costume and narrative-fo rural life of French peasant women as they w

Knight was born in Philadelphia, Pennsylvan 1861. He continued his arts education in Pa During the American Civil War, Knight return back to France, where he spent most of the

night spent most of his career in France, painting realistic and romantic views ndered in soft light, like the present, painting feature beautiful, verdant ocused compositions that capture the beauty and everyday activities of the work, rest, and gather together.

nia and enrolled at the Pennsylvania Academy of the Fine Arts from 1858 to aris where he studied under artists Charles Gleyre and Alexandre Cabanel. ned to Philadelphia and served in the Union Army. In 1871, Knight moved e rest of his life developing his artistic career.

2 7 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

168

Daniel Ridgway Knight

(1839-1924) “A Trysting Place” Oil on canvas laid to canvas Signed and inscribed lower left: Ridgway Knight / Paris; titled by repute 22 x 18 in. $20,000-30,000 Provenance: Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, “Painting Sale,” June 11, 1987, Lot 2615 The Collection of Sybil Rosen and Robert Fisher Notes: “A Trysting Place” is a lovely example of the type of compositional motif Knight is celebrated for and features a young woman in traditional dress and clogs as she pauses on a rural footbridge that crosses a small, green river. In her right hand the figure holds a sheaf of wildflowers by her side and places her left hand on the handrail, gestures that reinforce the notion that a private meeting with a beau is about to take place.

johnmoran.com 279

169

Edwin Deakin

(1838-1923) “Light in the Window,” 1889 Oil on canvas Signed and dated lower right: Edwin Deakin / 1899.; signed again, titled, and dated verso 36 x 24 in. $4,000-6,000 Provenance: Mrs. Frederick J. Bancroft, Denver, CO, purchased in San Francisco, CA, circa 1890 Mary McLean Bancroft, daughter of the above Caroline Bancroft, from the above, James L. and Kathleen D. Jansen, Atlanta, GA, from the above Notes: According to the provenance inscriptions verso, the present work depicts a side entrance to the Musée de Cluny, Paris. The building is an architectural “millefeuille” that combines ancient Roman structures, a 15th-century Gothic mansion, a portion of which is depicted in the present work, and modern extensions.

2 8 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 281

170

Joseph Raphael

(1869-1950) Riverine landscape Oil on canvasboard Signed lower left: Jos. Raphael 16 x 20 in. $2,000-3,000

2 8 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

171

Henry Mosler

(1841-1920) “Le Havre,” 1914 Oil on panel Signed and dated lower left: Henry Mosler / 1914; titled and numbered in blue china crayon, possibly in another hand, verso: Havre, France / 11.; titled and numbered again in ink on an old paper gum label affixed to the verso of the panel: No. 11. / Le Havre / France 7 1/4 x 10 5/8 in. $800-1,200

johnmoran.com 283

172

Clarence Keiser Hinkle

(1880-1960) “Luxembourg Gardens,” 1912 Oil on canvasboard Signed and dated lower right: C.K. Hinkle / 12; signed again and titled in pencil on the verso; estate stamped in black ink, verso 10 1/2 x 13 7/8 in. $2,000-3,000 Provenance: Goldfield Galleries, Los Angeles, CA

2 8 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

173

Clarence Keiser Hinkle

(1880-1960) “Along the Balustrade, Luxembourg Gardens, Paris,” 1906 Oil on canvasboard Signed and indistinctly dated lower right: C.K. Hinkle / **; signed again, titled, and dated in ink on the verso: “Along the Balistrade [sic], Luxembourg Gardens, Paris / 1906 [amended 1904] / by C K Hinkle;” estate stamped (possibly twice) in the upper right corner, verso 10 1/2 x 13 3/4 in. $2,000-3,000 Provenance: Goldfield Galleries, Los Angeles, CA Notes: This painting is being sold in a Richard Tobey frame.

johnmoran.com 285

William Henry Singer J (1868-1943)

American painter and art patron, William He family. His father was successful in the minin Singer initially pursued an accounting educa practice. In 1895, Singer married Hagerstow supportive spouse went to Monhegan Island painting privately with Martin Borgord, a No enrolling at the Académie Julian for a few m and Willard Metcalf was an early American i

Singer and his wife left France and moved t was located. The couple also began spendi picturesque village of Olden on the Nordfjo

Singer’s work often focused on landscapes, tones, and an emphasis on atmosphere rath American sensibilities with European techniq European art circles. He exhibited widely an

In addition to his career as a painter, Singer Netherlands and Norway. Together, they sup After his death, Anna founded the Singer La showcasing modern and contemporary art.

enry Singer Jr. was born in Pittsburgh, Pennsylvania, into a wealthy industrial ng industry and owned the successful Singer-Nimick and Co. iron works. ation and a career working for his family, before focusing on his artistic wn, PA resident, Anna Brugh, and in the summer of 1900, Singer and his d in Maine where Singer began painting full time. Singer had first studied orwegian expat living in Pittsburgh, and later he continued his studies in Paris months. In France he became deeply influenced by French Impressionism, influence.

to Laren, Holland, outside of Amsterdam, where a regional school of artists ing summers on the west coast of Norway and ultimately settled near the ord, north of Bergen.

harbor scenes, and everyday life, characterized by soft brushwork, muted her than fine detail. Over time, Singer developed a style that blended iques, earning him recognition among both American expatriates and nd was a member of many major arts organizations in Europe and the US.

played a significant role as a patron of the arts, particularly in the pported local artists and helped establish an artistic community in the region. aren museum in his honor, which remains an important cultural institution

174

William Henry Singer Jr.

(1868-1943) “A Happy Day,” 1925 Oil on canvas Signed lower right: W. H. Singer Jr; titled in pencil in English and titled in Norwegian, dated “1925” and numbered in black “39,” all on the stretcher 41 1/2 x 39 1/4 in. $4,000-6,000 Provenance: Anna Brugh Singer, wife of the artist Jacob Dooijewaard, Netherlands, from the above Willem Dooijewaard, Netherlands, brother of the above, by descent Private estate, California Exhibited: Muskegon, MI, Hackley Art Gallery, “Paintings by William H. Singer Jr. Water Colors by Nile J. Behncke,” May 1930, no. 14 Notes: This work is accompanied by a photographic Certificate of Authenticity signed by Willem Dooijewaard and dated June 25, 1976. An brochure from the abovementioned gallery exhibition also accompanies this lot.

2 8 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 289

175

William Henry Singer Jr.

(1868-1943) “The Salmon River in Spring” Oil on canvas Signed lower right: W.H. Singer Jr.; titled in ink on a label affixed to the stretcher, and on the accompanying certificate of authenticity 40 x 41 1/2 in. $4,000-6,000 Provenance: Anna Brugh Singer, wife of the artist Jacob Dooijewaard, Netherlands, from the above Willem Dooijewaard, Netherlands, brother of the above, by descent Private estate, California Notes: This work is accompanied by a photographic certificate of authenticity signed by Willem Dooijewaard and dated June 25, 1976.

2 9 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

176

Alexis Jean Fournier

(1865-1948) Landscape with figures boating on a lake, possibly Minnesota, 1890 Oil on canvas Signed and dated lower left: Alex. Fournier. 1890 28 x 50 in. $3,000-5,000

johnmoran.com 291

177

William Weaver Armstrong

(1862-1906) A Native American encampment along a river, 1884 Oil on canvas laid to canvas Signed and dated lower right: W.W. Armstrong 1884 30 1/4 x 50 1/4 in. $3,000-5,000

2 9 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

178

Ernest Lawson

(1873-1939) Forest landscape Oil on canvas laid to canvas Signed lower left: E. Lawson 20 x 16 in. $4,000-6,000

johnmoran.com 293

2 9 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

179

Hugh Bolton Jones

(1848-1927) “Springtime” Oil on canvas laid to canvas Signed lower right: H. Bolton Jones; titled on gallery labels affixed to the frame’s backing board 30 1/4 x 36 1/4 in. $3,000-5,000 Provenance: Schillay and Rehs, New York, NY Goldfield Galleries, Los Angeles, CA

johnmoran.com 295

Albert Bierstadt (1830-1902)

Albert Bierstadt was one of the most famou grandiose, panoramic vistas of the American Western landscape, which fed directly into t Bierstadt’s drive to find fresh subjects to pai landscapes like the present work capture th and soft, luminous skies characteristic of the atmospheric perspective, and a serene, dep reverence for the everyday natural beauty.

Bierstadt’s popularity waned in his later year was not as idealized as Bierstadt’s paintings, Impressionism. In recent decades, however, Bierstadt’s work has been renewed.

us and successful late 19th-century Romanticism painters, famed for his n West. While his work focused largely on the varied and dramatic American the American population’s imagination and interest in Manifest Destiny, int extended throughout New England and also to Europe. New England he pastoral charm of the eastern seaboard’s rolling hills, tranquil meadows, e Hudson River School. Through his signature use of warm golden tones, populated setting, Bierstadt showcased his versatility and a deep, nostalgic

rs, as more accessible transcontinental railroad travel revealed a West that s, and as public taste moved away from Realism and Romanticism toward , an appreciation for the exacting style and compositional artistry of

180

Albert Bierstadt

(1830-1902) “New England Landscape” Oil on canvas laid to canvas Signed with conjoined letters, lower right: ABierstadt; titled from accompanying documents 14 x 22 in. $30,000-50,000 Provenance: Goldfield Galleries, Los Angeles, CA Notes: This work will be included in the database for the forthcoming Albert Bierstadt Catalogue Raisonné Project being compiled by Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project.

3 0 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 301

181

Hermann Herzog

(1832-1932) A mountainous landscape with a turquoise lake Oil on canvas Signed lower right: H. Herzog; inscribed indistinctly in pencil on the stretcher 14 1/8 x 20 1/8 in. $3,000-5,000

3 0 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

182

Franklin DeHaven

(1856-1934) Figures and dog in a nocturne Oil on canvas laid to canvas Signed lower right: DeHaven N.A. 32 x 40 in. $3,000-5,000 Exhibited: New York, NY, Brown and Bigelow, “Seventeenth Annual Exhibition,” n.d.

johnmoran.com 303

183

Worthington Thomas Whittredge

(1820-1910) Figures on a beach with a pier in the distance Oil on canvas laid to board Signed lower left: W. Whittredge 14 1/8 x 21 1/4 in. $20,000-30,000

3 0 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

184

John Francis Murphy

(1853-1921) “Autumn Afternoon,” 1912 Oil on canvas over panel Signed and dated lower left: J. Francis Murphy. 1912; titled and dated, again, in pencil with the artist’s black monogram ink stamp, all verso 24 x 36 in. $3,000-5,000 Provenance: Mr. and Mrs. C.H. Matthiessen, Jr. By family descent

johnmoran.com 305

185

George Inness

(1825-1894) Trees in a landscape Oil on canvas laid to Masonite Signed lower right: G. Inness 8 1/2 x 12 1/2 in. $4,000-6,000

3 0 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

186

Lawton Parker

(1868-1954) A lakeside landscape Oil on canvas mounted to artist’s board Signed lower right: Lawton Parker 12 x 16 in. $1,000-1,500

johnmoran.com 307

187

Dubois Fenelon Hasbrouck

(1860-1934) House in a lakeside landscape, 1887 Oil on canvas Signed and dated lower right: D.F. Hasbrouck - Sep - 1887 16 x 24 in. $2,000-3,000

3 0 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

188

Jules Eugène Pages

(1867-1946) Figures along a riverbank Oil on board Bears signature lower right; with a pencil sketch of a female head and an indistinct inscription or title, possibly “Summer Light,” both verso 12 x 16 1/2 in. $1,500-2,500 Provenance: K. Nathan Gallery, La Jolla, CA

johnmoran.com 309

189

William Henry Singer Jr.

(1868-1943) “Corner In My Garden,” 1914 Oil on canvas Signed and dated lower right: W.H. Singer Jr. / 1914; signed again, titled, and inscribed “No. 3,” all verso 39 1/2 x 41 1/2 in. $3,000-5,000 Provenance: Estate of the artist Private Estate, California, from the above Notes: The present work likely depicts the artist’s residence in Norway, De Wilde Zwanen, a favorite subject of the artist.

3 1 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

190

William Henry Singer Jr.

(1868-1943) “Early October,” 1887 Oil on canvas Signed lower left: W.H. Singer Jr.; signed again, titled, and dated “87” in blue pencil on the stretcher 31 3/4 x 33 3/4 in. $3,000-5,000 Provenance: Estate of the artist Private Estate, California, from the above Notes: There is a label affixed to this painting’s stretcher from the Amsterdam-based art gallery, Frans Buffa & Zonen. This may have been exhibited or sold sometime between the work’s creation in 1887 and the gallery’s closure in 1951.

johnmoran.com 311

191

Gianni L. Cilfone

(1908-1992) “Autumn,” 1935 Oil on canvas Signed and dated lower left: Gianni L. Cilfone; titled on an exhibition label affixed to the frame’s verso 26 1/4 x 30 in. $1,000-1,500 Exhibited: Chicago, IL, Chicago Galleries Association, Chicago, IL, “Association of Chicago Painters and Sculptors Exhibition,” n.d.

3 1 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

192

Gianni L. Cilfone (1908-1992)

A stream through a forest clearing on a sunny winter day, 1933 Oil on canvas Signed and dated lower right: G.L. Cilfone / 1933 20 x 24 in. $800-1,200

johnmoran.com 313

193

Gustave Cimiotti Jr.

(1875-1969) “Winter in Vermont” Oil on board Signed lower left: Cimiotti; titled on a gallery label affixed verso 8 1/2 x 10 3/4 in. $800-1,200 Provenance: Goldfield Galleries, Los Angeles, CA

3 1 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

194

Alta West Salisbury

(1879-1933) “Winter Hush,” 1923 Oil on canvas laid to canvas Signed and dated lower right: Alta West Salisbury - 23; titled on a gallery label affixed to the frame’s verso 24 1/4 x 28 in. $600-800 Provenance: Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA

johnmoran.com 315

195

Edmund Greacen

(1876 -1949) “Woodland Stream” Oil on canvas laid to canvas Signed lower right: Edmund Greacen; titled on a gallery label affixed to the frame’s backing board 23 3/4 x 28 3/4 in. $6,000-8,000 Provenance: Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA

3 1 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

196

Edmund Greacen

(1876-1949) “Winter Retreat” Oil on canvas laid to canvas Bears signature lower right; titled on a label affixed to the frame’s backing board 12 1/4 x 16 in. $2,500-3,500 Provenance: Goldfield Galleries, Los Angeles, CA The Edward Goldfield Collection, Los Angeles, CA

johnmoran.com 317

197

Svend Svendsen

(1864-1945) “A Riverside Path,” 1898 Oil on canvas Signed and dated lower left: Svend Svendsen 1898; titled on two labels affixed to the stretcher 30 1/2 x 40 in. $2,500-3,500 Provenance: Mr. and Mrs. C.H. Matthiessen, Jr. By family descent Exhibited: Pasadena, CA, The Pasadena Art Museum, circa 1954

3 1 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

198

Eugene Mabus Frandzen

(1893-1972) Early winter, New England Oil on canvas Signed lower right: Eugene M. / Frandzen; signed again and inscribed with the artist’s address in pencil, all on the frame’s verso 30 x 36 in. $2,000-3,000 Notes: A note affixed to the frame’s verso suggests this piece may have been used in a book by Frandzen under the popular “How To...” series by Walter Foster entitled “Outdoor Sketching, Indoor Painting.”

johnmoran.com 319

199

Edward Joseph Holslag

(1870-1924) Winter river scene, 1917 Oil on board Signed and dated lower right: Edward J. Holslag. 1917 15 1/4 x 17 3/4 in. $800-1,200 Provenance: The verso of the board shows three names, each hand-written by the same person (one above the other), possibly listing former owners: Mr. Z. C. Wilkinson[?] / Russell Words[?] / Lee Plaza[?]. Additonally, “MYD/14” is inscribed four times on the verso, also by a later hand (possibly a former owner)

3 2 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

200

John Whorf

(1903-1959) “Birch Winter Morning” Watercolor on paper Signed lower right: John Whorf; titled in pencil verso, and on a gallery label affixed to the frame’s backing paper 22 1/2 x 30 1/2 in. $1,000-2,000 Provenance: Milch Galleries, New York, NY The Collection of Sybil Rosen and Robert Fisher

johnmoran.com 321

201

John Whorf

(1903-1959) “Outer Ledges” Watercolor on Arches Aquarelle paper Signed lower left: John Whorf; titled in pencil verso, and on the frame’s backing board 22 x 30 in. $1,000-2,000 Provenance: The Collection of Sybil Rosen and Robert Fisher

3 2 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

202

Horatio Nelson Poole

(1884-1949) “Mendocino Cliffs” Oil on canvas laid to canvas Signed lower right: Nelson / Poole; titled on a gallery label affixed to the frame’s backing board 26 x 32 in. $3,000-5,000 Provenance: Vandeuren Galleries, West Hollywood, CA Sold: Clars Auction Gallery, Oakland, CA, September 8, 2007, Lot 6371 Sold: Abell Auctions, Los Angeles, CA, “Quarterly Fine Art Auction,” March 6, 2022, Lot 404 George Stern Fine Arts, Palm Desert, CA

johnmoran.com 323

203

Paul Lauritz

(1889-1975) “Storm Lashed Coast,” circa 1956 Oil on canvas laid to canvas Signed lower left: Paul Lauritz; titled on an exhibition label secured to the frame’s backing paper in a plastic sleeve; alternatively titled “Coastal Harmony” by repute 30 x 40 in. $2,500-3,500 Provenance: Sold: Christie’s, Los Angeles, CA, October 28, 1999, Lot 148 From the Collection of Robert A. Day Exhibited: San Francisco, CA, M.H. de Young Memorial Museum, “17th Annual Exhibition - Society of Western Artists,” October 24-November 25, 1956 Santa Cruz, CA, n.d., awarded first prize Oakland, CA, Oakland Museum, n.d., awarded a silver medal 3 2 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

204

Robert Wood

(1889-1979) “Sunlit Sea,” 1952 Oil on canvas Signed and dated lower right: -Robert Wood- / ‘52; titled and with the artist’s copyright ink stamp verso 24 1/4 x 32 in. $2,000-3,000 Provenance: Sold: Jackson’s Auctioneers, Cedar Falls, IA, “Amer & Euro Fine Art and Antiques,” June 14, 2006, Lot 151 Sold: John Moran Auctioneers, Pasadena, CA, “California and American Paintings,” February 20, 2007, Lot 65

johnmoran.com 325

205

Alex Dzigurski

(1911-1995) Crashing waves Oil on canvas Signed lower right: A. Dzigurski; with the artist’s copyright ink stamp verso 22 x 30 in. $2,000-3,000

3 2 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

206

Ray Swanson

(1937-2004) A rocky coastal view Oil on canvas Signed lower right: Ray Swanson 24 x 36 1/4 in. $1,200-1,800

johnmoran.com 327

207

Bennett Bradbury

(1914-1991) “Vernal Equinox” Oil on canvas Incised signature lower right: Bennett Bradbury; signed and titled in black ink, and alternatively titled in pencil “Blue Wave,” all on the stretcher; with the artist’s copyright ink stamp verso 30 x 59 3/4 in. $800-1,200

3 2 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

208

Bennett Bradbury

(1914-1991) “Thunder Tide” Oil on canvas Signed lower right: Bennett Bradbury; signed again, titled, and inscribed “#T3,” all verso 30 1/4 x 40 1/4 in. $800-1,200

johnmoran.com 329

209

John Comer

(b. 1948) “Shelter Cove and San Diego from Pt. Loma,” 1999 Oil on canvas mounted to artist’s panel Signed lower left: J Comer; signed again, “John Comer,” titled, and dated “1999,” all verso 20 x 30 in. $1,500-2,000 Provenance: George Stern Fine Arts, Hollywood, CA

3 3 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

210

John Comer

(b. 1948) “Waves in the Morning” Oil on canvas over panel Signed lower right: J Comer; signed again “John Comer ©” and titled, all in ink on the verso of the panel 12 x 18 in. $800-1,200

johnmoran.com 331

Tarmo Pasto (1906-1986)

Tarmo Pasto, a noted psychologist and art p during his lifetime. Born in Estonia in 1906, became a professor at Sacramento State Co

As an artist, Pasto’s paintings are known for believed that understanding the psychologi process. Many of his pieces reflect his dual f was a key figure in a circle of artists working coalition of artists, which includes figures su their work at institutions such as the Crocker permanent collection.

In psychology, Pasto is best known for his ro Martin Ramirez. Ramirez was a self-taught M mental health institutions. Pasto recognized to bring it to the art world’s attention. This a “Outsiders” in traditional art circles but also experiencing mental illness.

In 1986, four years after a retrospective at th work that has remained unseen by subsequ intersection of art and psychology. His dual educators alike, as his work demonstrates th

professor, was also a prolific painter who frequently exhibited his paintings Pasto immigrated to the United States, where he pursued his education and ollege.

their expressionistic style, marked by bold colors and dramatic forms. Pasto ical aspects of perception and mental states could deepen the artistic fascination with the human psyche and visual expression. Furthermore, Pasto g in and around the Sacramento area during the post-war period. This loose uch as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting r Art Museum, Sacramento, CA, which holds examples of Pasto’s work in its

ole in discovering and promoting the work of the so-called “Outsider” artist Mexican artist who created intricate and mesmerizing works while confined in d the unique value of Ramirez’s art, advocating for its display and helping advocacy not only highlighted the creative potential of those considered o emphasized the therapeutic and communicative potential of art for those

he Crocker Art Museum, Tarmo Pasto died and left behind a large body of uent generations of viewers. Pasto’s legacy endures as an advocate for the impact on these fields continues to influence artists, psychologists, and hat the boundaries between disciplines can be both fluid and enriching.

211

Tarmo Pasto

(1906-1986) “The Wave” Oil on canvas Signed lower center: Tarmo Pasto; titled and inscribed in pencil “#27” on the stretcher 36 x 44 in. $2,000-4,000 Provenance: Estate of the artist Notes: This work is sold in a frame handmade and painted by the artist.

3 3 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

212

Tarmo Pasto

(1906-1986) “Wonders of Nature,” 1971 Oil on canvas Signed and dated lower center: Tarmo Pasto 71; titled in pencil on the stretcher 39 x 50 1/2 in. $2,000-4,000 Provenance: Estate of the artist Notes: This work is sold in a frame handmade and painted by the artist.

johnmoran.com 335

213

Conrad Buff

(1886-1975) Butte landscape Oil on board Estate stamped signature lower right; estate stamp with signature by Mary Elizabeth Buff, verso 24 x 36 in. $3,000-5,000 Provenance: Estate of the artist

3 3 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

214

Conrad Buff

(1886-1975) A river in a western landscape Oil on paperboard Estate stamped signature lower right; estate stamp with signature by Mary Elizabeth Buff and numbered in black ink “M.M.56,” verso 24 x 30 in. $2,500-3,500 Provenance: Estate of the artist Martin Medak, from the above, no. M.M.56

johnmoran.com 337

215

Conrad Buff

(1886-1975) “Eastern Sierras” Oil on board Estate stamped signature lower right; estate stamp with signature by Mary Elizabeth Buff, verso; titled on a gallery label affixed verso 12 1/4 x 18 in. $800-1,200 Provenance: Estate of the artist George Stern Fine Arts, West Hollywood, CA, no. CB190B Private collection, Bakersfield, CA

3 3 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

216

Clyde Forsythe

(1885-1962) “Sunlit Pines” Oil on board Signed lower left: Clyde Forsythe; signed again, titled, and numbered “68” in black paint or ink, all verso 16 x 12 in. $3,000-4,000 Provenance: Estate of DeWitt C. McCall III, owner of DeRu’s Fine Arts, Laguna Beach, CA

johnmoran.com 339

217

Orrin A. White

(1883-1969) A Big Tujunga Canyon landscape Oil on canvas Signed lower right: Orrin A. White 18 1/4 x 24 in. $1,000-2,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Studio Fine Art,” June 23, 2019, Lot 2109 Private collection, Burbank, CA, from the above Notes: The work is being sold in a Mayen Olson frame.

3 4 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

218

Jack Wilkinson Smith

(1873-1949) “Owens Valley” Oil on canvasboard Signed lower left: Jack Wilkinson Smith 16 x 20 in. $3,000-4,000 Provenance: Estate of DeWitt C. McCall III, owner of DeRu’s Fine Arts, Laguna Beach, CA Exhibited: Los Angeles Museum of History, Science and Art, Los Angeles, CA, n.d.

johnmoran.com 341

219

Harry B. Wagoner

(1889-1950) “A Desert Spring, Palm Springs, California” Oil on canvas Signed lower left: H B Wagoner; titled in pencil on the stretcher 18 x 26 in. $3,000-5,000

3 4 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

220

Harry B. Wagoner

(1889-1950) Atmospheric desert landscape Oil on canvas mounted to Masonite Signed lower left: HB Wagoner 10 x 14 in. $1,500-2,500 Provenance: Sold: Clars Auction Gallery, Oakland, CA, September 9-10, 2006, Lot 6201

johnmoran.com 343

221

George Demont Otis

(1879-1962) “Mojave, Desert Homestead” Oil on canvas Signed lower right: Geo. Demont Otis; titled on a label affixed to the frame’s backing board 24 x 30 in. $4,000-6,000 Provenance: The artist Private collection, by family descent Exhibited: Sacramento, CA, State Capitol Building, on long term exhibit and loan, September 15, 1998-May 15, 2026 Notes: This lot is accompanied by a letter from the California Legislature dated May 19, 2026, regarding the display of the painting in the State Capitol building. 3 4 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

222

Paul Grimm

(1891-1974) “From Flowers to Snow” Oil on canvasboard Signed lower right: Paul Grimm; signed again and titled in black verso 16 x 20 in. $1,500-2,500

johnmoran.com 345

223

Paul Grimm

(1891-1974) “Stately Palm Tree near Palm Springs, California,” 1965 Oil on canvasboard Signed lower left: Paul Grimm; signed again, titled, and dated “1965,” all verso 16 x 20 in. $1,500-2,500

3 4 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

224

Paul Grimm

(1891-1974) Desert cliffsides Oil on board Signed lower left: Paul Grimm 9 x 12 in. $800-1,200 Provenance: Private collection, Sherman Oaks, CA

johnmoran.com 347

225

Robert Sudlow

(1920-2010) “Winter Bird,” 1975 Oil on canvas Signed and dated lower left: Sudlow / 1975; signed “Robert Sudlow” and dated again, and titled, all in ink on the stretcher 35 7/8 x 29 1/4 in. $2,000-3,000

3 4 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

226

Robert Sudlow

(1920-2010) “Clarkia and Poppies,” 1976 Oil on canvas Signed and dated lower left: Sudlow 1976; signed “Robert Sudlow” and dated again, and titled, all in ink on the stretcher 13 1/2 x 13 in. $700-900

johnmoran.com 349

Eyvind Earle (1916-2000)

Unique, inspiring, and influential, Eyvind Ea artistic career, Earle has made his mark on e and work done for Walt Disney Animation re

Eyvind Earle was born into a creative family. known artist. Often overbearing and deman pages of a book or make a painting every d show of artwork at the age of 14 in France. States, painting watercolors and writing in a

In the late 1930s Earle began taking on com publications. He also began producing Chri (making over 800 individual designs). After t a background painter at the Walt Disney Stu who made him the production designer and

After almost 16 years working in animation, his life Earle produced paintings, scratchboa luminous style derived from working multipl He melded American Regionalist, Medieval mysterious, scenes of nature. He was award Disney Legend in 2015.

“For 70 years, I’ve painted paintings, and I’m nature. Wherever I turn and look, there I see

arle remains one of the most popular of American artists. In an astonishing everything from fine art, to animation, to greeting cards. His original paintings emain some of the most sought-after pieces by collectors.

. His mother was a concert pianist, and his father, Ferdinand Earle, a wellnding, when Earle was only 10 his father gave him a choice: either read 50 day. Earle took the up the challenge, and did both, exhibiting his first solo In 1937, fleeing abuse from his father, Earle bicycled across the United a diary as he went. He exhibited those watercolors in New York City in 1938.

mmercial work, designing magazine covers for AT&T and architectural istmas cards, something he would continue to create for the rest of his life taking odd jobs and exhibiting work in the 1940s, Earle landed a position as udios. Earle’s unique modernist style gained the admiration of Walt Disney, d color stylist for the masterpiece “Sleeping Beauty,” released in 1959.

Earle returned to his distinctive style of landscape painting. Until the end of ards, drawings, and screenprints, of which this lot is curated from. Earle’s le applications of color over dark, often black, shapes of underpainting. l, and midcentury abstraction to create images of intriguing, and often ded the Windsor McCay Lifetime Achievement Award in 1998 and became a

m constantly and everlastingly overwhelmed at the stupendous infinity of e creation. Art is creating...Art is the search for truth.” -- Eyvin Earle

227

Eyvind Earle

(1916-2000) A tree and rolling hills landscape, 1969 Oil on Masonite Signed and dated lower right: Eyvind Earle 1969 24 x 48 in. $15,000-20,000

3 5 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 353

R. Kenton Nelson (b. 1954)

R. Kenton Nelson is a contemporary Americ Southern California. His work blends nostalg Regionalism, and inspiration from WPA-era

The Mexican artist and muralist Roberto Mo artist’s early work. One of the first artists to b Revolution, Montenegro was a contempora University, Long Beach, and the Otis Colleg spent nearly two decades as a graphic desig and bold compositions.

Nelson’s paintings are characterized by their objects each with their own unique balance Regionalists and Mexican muralists, while al describes his approach as “idolizing the ord

Throughout his career, Nelson has exhibited renowned venues including Peter Mendenh New York, and Galerie Nikolaus Ruzicska in

Still actively painting in Southern California, viewers into a world of refined beauty and t

can painter renowned for his stylized depictions of mid-century life in gia with narrative realism, drawing from American Scene painting, mural artists.

ontenegro, Nelson’s great-uncle, in particular, had a profound impact on the be involved in the Mexican muralist movement following the Mexican ary of Diego Rivera and Frida Kahlo. Nelson studied at California State ge of Art and Design. Before transitioning to fine art in the 1990s, Nelson gner and illustrator, experiences that continue to inform his precise line work

ir idealized portrayals of everyday Americana figures, architecture, and e of light and shadow. His style evokes the aesthetics of 1930s American lso reflecting the influence of advertising and cinema from the 1950s. He dinary” aiming to present the world as he envisions it.

d extensively both in the United States and internationally, with shows at hall Gallery, the Pasadena Museum of California Art, Gerald Peters Gallery in Austria.

, Nelson remains dedicated to his craft, producing paintings that invite timeless elegance.

228

R. Kenton Nelson

(b. 1954) Colorado Street Bridge Oil on canvas Signed lower right: R. Kenton Nelson 24 x 24 in. $8,000-12,000

3 5 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 357

229

Emil J. Kosa Jr.

(1903-1968) “I Was In Love” Oil on board Signed lower right: Emil J. Kosa Jr.; signed again and titled, verso 24 x 36 in. $2,500-3,500

3 5 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

230

Emil J. Kosa Jr.

(1903-1968) “Glow of Gold” Oil on canvas laid to canvas Signed lower right: Emil J. Kosa Jr; signed again in ink and titled in pencil on the stretcher 24 1/8 x 36 1/8 in. $2,000-3,000 Provenance: Spanierman Gallery LLC, New York, NY The Saperstein Collection, Oakland, CA

johnmoran.com 359

231

Conrad Buff

(1886-1975) “Mesa and Dry River” Oil on panel Estate stamped signature lower right; estate stamp with signature by Mary Elizabeth Buff, verso; titled on a gallery label affixed verso 16 x 24 in. $1,500-2,500 Provenance: Estate of the artist George Stern Fine Arts, Palm Desert, CA, no. CB486

3 6 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

232

Conrad Buff

(1886-1975) “Rainbow Mesas” Oil on Masonite Estate stamped signature lower right; estate stamp with signature by Mary Elizabeth Buff, verso; titled on a gallery label affixed verso 15 1/4 x 23 1/4 in. $1,500-2,500 Provenance: Estate of the artist George Stern Fine Arts, Palm Desert, CA, no. CB155

johnmoran.com 361

233

Charles Wysocki

(1929-2002) “Maine Coast Village” Oil on canvas Signed lower right: © Charles Wysocki; titled on the artist’s label taped to the frame’s verso 16 x 20 in. $7,000-10,000 Notes: “Presented to PCH from JBH / Summer 1970 (from nut tree)” is inscribed in pencil, in another hand, on the stretcher.

3 6 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

234

Streeter Blair

(1888-1966) “Harvey Lemburh,” 1950 Oil on canvas Signed, titled, and dated lower left: Blair ‘50 10 x 8 in. $600-800 Provenance: Camille Blair, the artist’s widow Exhibited: Los Angeles, CA, Los Angeles County Museum of Art, Art Rental Gallery, loaned by Camille Blair on November 24, 1966, and marked “Not for Sale or Rent”

johnmoran.com 363

235

Camille Blair

(1894-1977) Trading Post scene, 1976 Oil on canvas Signed lower right: Camille Blair; signed again and dated “76” in pencil, verso; inscribed in another hand in pencil on the stretcher: “Camille’s last painting / Attested by Suzette Wigley” 18 x 24 in. $1,000-1,500

3 6 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

236

Gordon Coutts

(1868-1937) “The Camel Driver” Oil on canvas Signed lower left: Gordon Coutts; tilted in another hand in ink on the frame’s backing paper Sight: 37 x 30 in. $3,000-5,000 Exhibited: Palm Springs, CA, Desert Art Center, Inc., October 1965 Provenance: Sold: Butterfield and Butterfield, June 17, 1999, lot 1257 Sold: Bonhams California, April 11, 2005, lot 196

johnmoran.com 365

237

Eugene Higgins

(1874-1958) “The Covered Wagon” Oil on canvas laid to canvas Signed lower right: Eugene Higgins; titled on exhibition labels affixed to the stretcher 35 1/4 x 42 in. $3,000-5,000 Provenance: Grand Central Art Galleries, New York, NY Mr. & Mrs. William Preston Harrison Exhibited: Chicago, IL, The Art Institute of Chicago, “American Paintings and Sculpture 39th Annual Exhibition,” October 28-December 12, 1926, No. 105 Los Angeles, CA, Los Angeles Museum of History, Science and Art, n.d. Los Angeles, CA, The Los Angeles County Museum of Art, n.d. 3 6 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

238

Eugene Higgins

(1874-1958) “Figures on the Beach” Oil on canvas Signed lower left: Eugene Higgens; titled on a gallery label affixed to the stretcher 30 1/8 x 40 1/8 in. $600-800 Provenance: Goldfield Galleries, Los Angeles, CA

johnmoran.com 367

239

John Dillon Fillmore

(b. 1951) “Quiet Time,” 1988 Watercolor on paper Signed with the artist’s stylized monogram and dated 1988 lower left; inscribed “#8” in pencil in the lower left unpainted margin; titled from the exhibition catalog Image: 35 x 35 in.; Sheet: 39 x 38 1/2 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. 15, illustrated

3 6 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

240

John Dillon Fillmore

(b. 1951) “Blue Ginger,” 1988 Watercolor on paper Signed with the artist’s stylized monogram and dated 1988 lower left; inscribed “#7” in pencil in the lower left unpainted margin; titled on a gallery label affixed to the frame’s backing paper Sheet: 23 1/2 x 38 1/4 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), no date, p. 8, illustrated Notes: This lot is accompanied by The Redfern Gallery, Laguna Beach, CA book “John Fillmore Realism Redefined.” johnmoran.com 369

241

Mischa Askenazy (1888-1961) Self portrait Oil on canvas Unsigned 32 1/4 x 28 in. $800-1,200

3 7 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

242

Meredith Brooks Abbott

(b. 1938) “The Gift” Oil on linen Signed lower right: M.B. Abbott; titled on a gallery label affixed to the stretcher 37 x 24 in. $3,000-5,000 Provenance: Arlington Gallery, Santa Barbara, CA

johnmoran.com 371

243

Meredith Brooks Abbott

(b. 1938) Wicker rocker, 1974 Oil on canvas laid to board Signed and dated lower right: Abbott 74 Sight: 35 1/2 x 23 1/2 in. $3,000-5,000

3 7 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

244

Meredith Brooks Abbott

(b. 1938) “Thirteen Persimmons,” 1990 Oil on canvas Signed lower left: M.B. Abbott; titled and dated “Nov. 1990” in pencil on the stretcher 16 x 20 in. $800-1,200 Provenance: Private collection, Bakersfield, CA Exhibited: Bakersfield, CA, Bakersfield Museum of Art, “Meredith Brooks Abbott Exhibition,” October 6-December 27, 2005

johnmoran.com 373

245

Tarmo Pasto

(1906-1986) “Still Life / Chianti” Oil on canvas Signed lower right: Tarmo Pasto; titled on the stretcher and the frame’s verso, numbered “3049” on the stretcher and frame’s verso, and with the artist’s name and address on the frame’s verso 26 x 28 1/2 in. $1,500-2,500 Provenance: Estate of the artist Notes: This work is sold in a frame handmade and painted by the artist.

3 7 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

246

Sergei Bongart

(1918-1985) Still life with a vase of roses Oil on canvas Signed upper left: Sergei Bongart 32 x 36 in. $1,000-1,500 Provenance: The Estate of Sergei Bongart

johnmoran.com 375

247

Terry DeLapp

(1934-2020) “Yellow Buttons” and “Bougainvillea” (two floral still lifes) Each: Acrylic on canvas Each: Signed with initial lower right: D; titled on the canvas overlap Each: 20 x 16 in. $1,500-2,500 Provenance: The artist Aerena Galleries, Napa, CA Private collection

3 7 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 377

248

Randall Lake

(b. 1947) Still life with books, a claret jug, and a tankard on a table, 1980 Oil on canvas Signed and dated upper left: Lake. 80.; with the artist’s red ink copyright stamp on the stretcher 24 x 30 in. $2,000-3,000 Provenance: Challis Galleries, Laguna Beach, CA Donald Read, acquired from above, 1980 Mrs. Donald Read Inherited from above, 2024

3 7 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

249

Ralph Soh

(1925-1993) “Tang Figures with Ginger Jar” Oil on board Signed lower left: Ralph Soh; titled on a gallery label affixed to the frame; alternatively titled “Tang Animals with Ginger Jar” on another label also affixed to the frame 24 x 36 in. $800-1,200 Provenance: Goldfield Galleries, Los Angeles, CA

johnmoran.com 379

3 8 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

250

Emil J. Kosa Jr.

(1903-1968) “Reading in the Park” Watercolor on paper Signed lower left: Emil Kosa Jr.; signed again, titled, and inscribed with various numerical notations, verso Sheet: 22 1/4 x 30 in. $4,000-6,000

johnmoran.com 381

251

Paul Lauritz

(1889-1975) Autumn trees Watercolor on paper Signed lower left: Paul Lauritz RSA Sight: 19 1/2 x 27 1/2 in. $800-1,200

3 8 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

252

George Gibson

(1904-2001) “Fisherman’s Rocks,” circa 1950 Watercolor on paper Signed lower right: Gibson; signed again, titled, and inscribed with the artist’s address on the frame’s backing board; titled again and inscribed “#7” on the frame’s verso Sheet: 22 1/2 x 30 1/2 in. $1,000-2,000 Provenance: Steven Stern Fine Arts, Santa Monica, CA Exhibited: Los Angeles, CA, Municipal Art Commission, 1950, prize winner

johnmoran.com 383

253

Phil Dike

(1906-1990) Figures in a coastal town with a ship and mountains in the distance Watercolor on paper Signed lower right: Phil Dike 15 x 21 1/2 in. $1,000-2,000 Provenance: The artist Private collection, Palos Verdes Estates, CA By family descent

3 8 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

254

Jake Lee

(1915-1991) A view of a fruit market (possibly San Francisco) Watercolor on paper Signed lower center: Jake Lee Sheet: 10 x 14 in. $800-1,200

johnmoran.com 385

255

Jake Lee

(1915-1991) Tugboat in San Francisco Bay Watercolor on paper Signed lower right: Jake Lee Sight: 12 1/2 x 18 3/4 in. $800-1,200

3 8 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

256

Jade Fon

(1911-1983) San Francisco marina with Golden Gate Bridge Watercolor on paper Signed lower left: Jade Fon A.W.S. Sight: 13 3/4 x 19 1/2 in. $700-900

johnmoran.com 387

257

Jade Fon

(1911-1983) Monterey Bay scene Watercolor on paper Signed lower right: Jade Fon A.W.S.; titled on a gallery label affixed to the frame’s backing paper Sight: 21 x 28 1/2 in. $800-1,200 Provenance: George Stern Fine Arts, West Hollywood, CA

3 8 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

258

Jade Fon

(1911-1983) Red trumpet vine with hummingbird and bees Watercolor on paper Signed lower right: Jade Fon A.W.S Sight: 13 1/2 x 19 1/2 in. $700-900

johnmoran.com 389

259

Millard Owen Sheets

(1907-1989) “Lei Day - Diamond Head, Honolulu,” 1965 Watercolor on Arches Aquarelle paper Signed in pencil lower left: Millard Sheets; signed again, dated and titled in blue ink “Lei Day Diamond Head - Honolu [sic] / Millard Sheets / 1965” 22 x 30 1/4 in. $2,500-3,500 Provenance: Private collection, Sherman Oaks, CA

3 9 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

260

Millard Owen Sheets

(1907-1989) “Island of Hawaii” Watercolor on Arches Aquarelle paper Signed and titled in pencil lower right: Millard Sheets 22 1/2 x 30 1/8 in. $2,000-3,000 Provenance: The artist Private collection, Palos Verdes Estates, CA By family descent

johnmoran.com 391

261

Milford Zornes

(1908-2008) “Torrey Pines,” 1967 Watercolor on paper Signed and dated lower left: Zornes 67, titled in pencil on the inner-mat lower left, and again with the artist’s address, on the verso of the back mat. Sight: 22 1/4 x 28 3/8 in. $1,000-2,000 Provenance: The artist Private collection, Palos Verdes Estates, CA By family descent

3 9 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

262

Milford Zornes

(1908-2008) Farmhouse, 1947 Watercolor on paper Signed and dated lower right: Milford Zornes / Jan 3. 1947 Sight: 19 1/2 x 23 1/2 in. $700-900

johnmoran.com 393

263

264

(1908-2008) Two-story house, 1948 Watercolor on paper Signed and dated lower right: Milford Zornes / Jan 18, 1948 Sight: 21 1/4 x 14 1/4 in.

(1907-1989) “Austria,” 1963 Watercolor on paper Signed and dated lower right: Mill Image/Sheet: 22 x 30 in.

Milford Zornes

$600-800

Millard Owen Sheets

$3,000-5,000

Provenance: Sold: John Moran Auctioneers, Mo

3 9 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

lard Sheets 1963; titled by repute

onrovia, CA, “California and American Fine Art,” May 9, 2023, Lot 54

johnmoran.com 395

3 9 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

265

Millard Owen Sheets

(1907-1989) “Beach Road to Kamakura Japan,” 1955 Watercolor on Aches Aquarelle paper Signed, titled, and dated in pencil, all verso: Millard Sheets / 1955 22 x 30 in. $1,500-2,500 Provenance: The artist Dalzell Hatfield Galleries, Los Angeles, CA Private collection, Palos Verdes Estates, CA Private collection, by family descent

johnmoran.com 397

266

Lionel Walden

(1861-1933) Shoreline of Teahupo’o, Tahiti Oil on canvasboard Signed lower left: Lionel Walden; with ink inscriptions, verso 10 x 14 in. $2,000-4,000 Provenance: Private collection, Laguna Beach, CA, 1920s Private collection, Laguna Beach, CA, acquired from the above, 1980s Notes: The verso with an artist-drawn ink sketch of the island of Tahiti, with various notations reading: “Walden EstateFaobe,” “Sketch Made Here-Teahupo,” “Papeete,” “Jenie Gray’s,” and “Wilder’s.” Teahupo’o is located on the southwest coast of Tahiti, in the Southern Pacific Ocean. This area is known for having powerful and large surf off its shore, and has many surfing competitions held there, and more recently the 2024 Olympic surf competition. 3 9 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

267

Clyde Aspevig

(b. 1951) “St. Lucia” Oil on canvas mounted to gatorboard Signed lower left: C. Aspevig; titled in ink and with the artist’s studio ink stamp, both verso 14 x 11 in. $2,000-3,000 Provenance: Sold: Heritage Auctions, Dallas, TX, “Art of the West / American Art, September 7, 2019, Lot: 68175 Sold: Bradford’s Auction Gallery, Sun City, AZ, “Wild West Art Auction,” November 9, 2025, Lot 7270

johnmoran.com 399

268

Si Chen Yuan

(1911-1974) “Pier #2, Monterey Wharf” Oil on canvas Signed at the center of the right side: S.C. Yuan; titled on a gallery label affixed to the frame’s backing board 24 x 48 in. $6,000-8,000 Provenance: William A. Karges Fine Art, Carmel, CA

4 0 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 401

269

Ken Auster

(1949-2016) “Laguna Dusk,” 1997-98 Oil on canvas Incised signature and date lower right: Auster 97; titled and dated 1998 on the artist’s label affixed to the frame’s backing paper 11 1/4 x 17 3/4 in. $800-1,200 Provenance: Private collection, Bakersfield, CA

4 0 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

270

Filastro Mottola

(1915-2008) “View of Hotel Laguna from the Aegean Restaurant” Oil on masonite Signed lower right: Mottola; signed again “© Filastro Mottola” and titled verso 12 x 10 in. $1,500-2,500 Provenance: Sold: Bonhams, Los Angeles, “California and Western Paintings and Sculpture,” August 6, 2019, Lot 139 Private collection, Bakersfield, CA

johnmoran.com 403

271

Filastro Mottola

(1915-2008) Fisherman’s Wharf, Monterey Oil on Masonite Signed lower left: Mottola 24 x 48 in. $2,500-3,500 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 21, 2014, Lot 72 From the Collection of Robert A. Day

4 0 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

272

Roger Kuntz

(1926-1975) “Harbor Sunrise,” 1973 Oil on canvas Signed lower right: Kuntz; titled and numbered in black “109” and dated in pencil all on the stretcher 30 1/4 x 40 in. $3,000-5,000 Provenance: Challis Galleries in Laguna Beach, CA Donald Read, acquired from above, 1975 Mrs. Donald Read Inherited from above, 2024

johnmoran.com 405

273

Roger Kuntz

(1926-1975) “Rio Cuale” Oil on canvas Signed lower left: Kuntz; titled in black on the stretcher 30 x 40 in. $3,000-5,000

4 0 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 407

274

Philip Reisman

(1904-1992) “Sunset Harbor,” 1962 Oil on Masonite Signed lower right: Philip Reisman; signed again, titled, dated “1962,” and inscribed “#461,” all verso 16 x 24 in. $1,000-1,500 Provenance: Sidney Wolff Paintings, Drawings and Prints, Perry, NY The Collection of Sybil Rosen and Robert Fisher, from the above, 1989

4 0 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

275

Frederick McDuff

(1931-2011) Figures on the beach with tents Oil on board Signed lower right: McDuff 14 x 21 1/2 in. $2,000-3,000 Provenance: Wally Findlay Galleries, Chicago, Palm Beach, New York, Paris

johnmoran.com 409

Dennis M. Doheny (b. 1956)

Contemporary Santa Barbara-based landsca detailed depictions of the natural world. Bo developed an early passion for art and the o taught, his style reflects a mastery of classica Impressionists, with a modern sensitivity to l American West, particularly the California co

Early in his career, Doheny worked as a com commercial background is evident in the tec resonance in the artist’s use of light, shadow inviting viewers to experience the sublime b for the environment, often emphasizing gra landscape painting in a contemporary art w

Over the years, Dennis Doheny has received Museum Prize” at the 2016 California Art Cl of the American West exhibition; the Freder & Western Heritage Museum’s Prix de West West.” His paintings are held in both public realist landscape painters.

ape painter Dennis Doheny is renowned for his luminous and meticulously orn and raised in Los Angeles as a third-generation Californian, Doheny outdoors, which deeply influenced his artistic vision. Though largely selfal techniques reminiscent of the Hudson River School and early California light and atmosphere. His paintings often feature dramatic vistas of the oastline, the Sierra Nevada mountains, and desert landscapes.

mmercial artist before turning to fine art full time in the mid-1990s, and this chnical precision of his work. Doheny’s paintings also have emotional w, and texture that brings a sense of realism and serenity to his landscapes, beauty of untouched nature. Each composition reflects a deep reverence andeur and tranquility over human presence. His dedication to traditional world dominated by abstraction and conceptualism sets him apart.

d numerous accolades, including prestigious awards such as “The Irvine lub’s 105th Annual Gold Medal Exhibition and the Autry Museum’s Masters ric Remington Award for “exceptional artistic merit” at the National Cowboy t; and the Inaugural Purchase Prize at the Eiteljorg Museum’s “Quest for the c and private collections, and he continues to influence a new generation of

4 1 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

276

Dennis M. Doheny

(b. 1956) By the river’s edge, 2003 Oil on canvas Signed and dated lower left: Dennis M. Doheny 2003 40 x 50 in. $5,000-7,000 Provenance: From the Collection of Robert A. Day

johnmoran.com 413

277

Ann Lofquist

(b. 1964) “East from Auburn II,” 2000 Oil on canvas Signed with initials and dated lower left: AL 00; signed “Anne Lofquist,” titled, and dated “2000,” in blue ink on the frame’s backing board 30 1/4 x 75 1/4 in. $3,000-5,000

4 1 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

278

Ann Lofquist

(b. 1964) “Golden Days,” 1999 Oil on canvas Signed with initials and dated lower left: AL 99; signed “Anne Lofquist,” titled, and dated “1999,” all verso, and again on a piece of foam-core affixed to the stretcher 30 x 68 in. $3,000-5,000 Provenance: Hackett Freedman Gallery, San Francisco, CA

johnmoran.com 415

279

Ann Lofquist

(b. 1964) “West Branch II,” 1999 Oil on canvas Signed with initials and dated lower right: AL 99; signed “Anne Lofquist,” titled, and dated “1999,” all verso, and again on a piece of foam-core affixed to the stretcher 25 x 72 in. $3,000-5,000 Provenance: Hackett Freedman Gallery, San Francisco, CA

4 1 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 417

280

Richard Schloss

(b. 1953) Pine grove, 1988 Oil on canvas Signed and dated lower right: R Schloss 1988; signed and dated again, “Richard Schloss,” and inscribed “368 Right” (in a circle), all in pencil, verso 32 x 43 in. $1,000-1,500 Provenance: Sold: Abell Auctions, Los Angeles, CA, “Art from the Pebble Beach Company Collection,” May 9, 2024, Lot 162

4 1 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

281

Martha Saudek

(1923-2015) “Storm Over the Superstitions,” 1991 Oil on canvas Signed lower left: M. Saudek; Signed and dated in pencil “Martha Saudek © 1991” and titled in pencil on the stretcher 30 x 40 in. $800-1,200

johnmoran.com 419

282

Gary Lang

(b. 1960) “Back Country, La Costa,” 1996 Oil on canvasboard Signed lower right: G. Lang; signed again, Gary Lang, titled, dated “1996,” and inscribed “For Ed Goldfield,” all in ink, verso 9 x 12 in. $4,000-6,000 Provenance: The Edward Goldfield Collection, Los Angeles, CA

4 2 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 421

4 2 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

283

Peter Ellenshaw

(1913-2007) “County Kerry, Ireland,” 1980 Oil on canvas Signed and dated lower left: Peter Ellenshaw 80; with the artist’s copyright ink stamp, including a stamped “1710,” also inscribed in green ink, “#1710 ©,” all verso; titled by repute 30 1/4 x 48 1/4 in. $5,000-7,000

johnmoran.com 423

284

Roy Bailey

(1933-2002) “Sunset” Oil on canvas Signed lower right: Bailey; titled on a tag affixed to the frame, and with the artist’s Nantucket, MA studio ink stamp on the stretcher 15 x 17 in. $1,000-1,500

4 2 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

285

Roy Bailey

(1933-2002) A red barn in a wheatfield, 1960 Oil on canvas Signed and dated lower right: Bailey ‘60; inscribed “U.S. 22 #1” in black ink on the stretcher and “Conte #23 Scoop” in pencil on a piece of masking tape affixed to the stretcher 32 1/8 x 22 1/8 in. $1,000-1,500 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA johnmoran.com 425

286

Roy Bailey

(1933-2002) “Dory” Oil on canvas Signed lower right: Bailey; titled and inscribed “Dory / 70.32” in ink on the stretcher 18 1/8 x 24 in. $1,000-1,500 Provenance: Hammer Galleries, New York, NY Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

4 2 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

johnmoran.com 427

4 2 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

287

Ballard Hadman

(1908-1968) “Rescue by Risk,” 1943 Oil on canvas Signed and dated center right edge: Ballard / Hadman /43; titled on a typewritten label affixed to the verso of the frame; and inscribed in pencil “Seattle Art Museum - May 10 - June 10, 1944” on the frame’s verso 33 x 38 1/8 in. $1,000-1,500 Exhibited: Seattle Art Museum, Seattle, WA, “Alaska Paintings by Ballard Hadman,” May 10- June 4 (or 10th), 1944 Notes: A packet of information about the artist accompanies this lot. The artist Ballard Hadman (born Virginia Ballard, in Laramie, WY) studied at the Corcoran Institute in Washington and the Art Student’s League in New York, taught at the Pasadena Community Institute, and is the author of “As the Sailor Loves the Sea.” In 1937, after the collapse of her first marriage, she traveled to the Ketchikan, Alaska area from Pasadena, CA to visit her two brothers. There she fell in love with a fisherman and with rural Alaska. Hadman remarried, had two children, and devoted her time to painting fishing ships and other Alaskan scenes. During her lifetime her work was shown at the Metropolitan Museum of Art, the Fifty-seventh Street Gallery, Seattle Art Museum, and the Pasadena Art Institute.

johnmoran.com 429

288

George Kennedy Brandriff

(1890-1936) “We Labor” (Sells-Floto Circus) Oil on canvas Signed lower right: Geo. K. Brandriff; signed again and titled verso 30 1/4 x 40 in. $5,000-7,000 Provenance: William Karges Fine Art, Santa Monica, CA

4 3 0 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

289

James Reynolds

(1896-1996) “Washington Crossing the Delaware” Oil on paper Appears unsigned; titled as part of the image lower right Sight: 23 3/4 x 33 1/2 in. $1,500-2,500 Provenance: Fox Studios auction, 1970s Private collection, Glendale, CA, from the above

johnmoran.com 431

290

Ira Yeager

(1938-2022) “Cheetah” Oil on canvas Signed lower right: Ira Yeager; titled on a gallery label affixed verso 23 1/2 x 29 1/2 in. $2,000-3,000 Provenance: Zachary Waller Gallery, Los Angeles, CA

4 3 2 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

291

Julius Moessel

(1871-1957) Monkeys and a cockatoo Mixed media, including gouache, on paper Signed lower left: Moessel Sight: 25 x 21 1/4 in. $800-1,200 Provenance: Sold: John Moran Acutioneers, Pasadena, CA, “California and American Paintings,” June 19, 2007, Lot 165

johnmoran.com 433

292

Edgar Alwin Payne

(1883-1947) “Edgar Alwin Payne and His Work,” 1926 Hardcover book Anderson, Antony and Fred S. Hogue. “Edgar Alwin Payne and His Work.” Los Angeles, CA: Stendahl Art Galleries, 1926 Edition 445 of unknown size Bound in green cloth with embossed spine and gilt-stamped front board Signed and inscribed by the artist on the frontispiece: To Fern with my sincere regard and admiration / Edgar Alwin Payne 9 1/4 x 6 1/4 x 12 in. $500-700 Provenance: The artist Gifted to a friend “Fern” Private collection, California, by descent Private collection, Bakersfield, CA

4 3 4 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

293

William Wendt

(1865-1946) “William Wendt and His Work,” 1926 Hardcover book Anderson, Antony et. al. “William Wendt and His Work.” Los Angeles, CA: Stendahl Art Galleries, 1926 Bound in green cloth with embossed spine and gilt-stamped front board Signed and inscribed by artist on lower frontispiece: To Mr. and Mrs. [undeciphered] Stevens - with best wishes for health and happiness. Sincerely, William Wendt 9 1/4 x 6 5/8 x 3/4 in. $500-700 Provenance: Alan S. Bamberger, San Francisco, CA Private collection, Bakersfield, CA, acquired from the above, February 25, 1992 Notes: This lot is accompanied by the original hand-written receipt from the bookseller mentioned above. johnmoran.com 435

294

Guy Rose

(1967-1925) “Guy Rose: A Biographical Sketch and Appreciation,” 1922 Hardcover book Stendahl, Earl L. “Guy Rose: A Biographical Sketch and Appreciation.” Los Angeles, CA: Stendahl Galleries/Ackerman Press, 1922 Bound in paper-wrapped boards with gilt-stamped front 9 1/8 x 6 1/2 x 5/8 in. $500-700 Provenance: Private collection, Bakersfield, CA

4 3 6 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

295

Elmer Wachtel

(1864-1929) “Elmer Wachtel: A Brief Biography,” 1930 Hardcover book Anderson, Antony. “Elmer Wachtel: A Brief Biography.” Los Angeles, CA: Carl A. Bundy Quill & Press, 1930 Bound in buckram with gilt-stamped front 9 3/8 x 7 7/8 x 1/2 in. $500-700 Provenance: Private collection, Bakersfield, CA

johnmoran.com 437

Consign Today

Modern & Contemporary Art + Design December 8, 2026

Consignment Deadline November 7, 2026 Auction Inquiries: info@johnmoran.com 4 3 8 C al i fo r ni a & Am e r ic a n Ar t l Tu e sd ay, Nov e mb e r 1 7 , 2 0 2 6

Is your collection

protected?

Do you need a formal appraisal for insurance scheduling, estate tax filing, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs. • USPAP Compliant • Quick Turnaround

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

Frederick Judd Waugh (1861-1940), “Smuggler’s Cove”

Price Realized: $50,800

johnmoran.com 439

Condition Reports

1 Visual: Grime and varnish discoloration throughout. The paperboard appears to be unprimed, and as a result, it has darkened. Pressure from the framing points, verso, has caused attendant surface cracking in place along all four edges of the recto.

5 Visual: There is sand embedded in places on the right side of painting, as issued.

Blacklight: A semi-circular 1/8 inch wide line of touch-up outlining the moon with a pea-sized touchup nearby. Short lines and spots (approximately peasized or smaller) of scattered touch-up, concentrated mainly in the ocean. A 3/4 x 1/2 inch repair near the center of the upper edge, likely related to the framing points mentioned above.

Frame: 15 x 18 x 2 in.

Frame: 14 1/2 x 18 3/4 x 1 1/2 in.

Frame: 17 3/4 x 21 1/2 x 1 3/4 in.

2 Visual: A dime-sized touch-up in the upper left corner of the sky is slightly visible in raking light. A very narrow, 1 1/4 inch long, horizontal scratch/ gouge in the surface of the paperboard near the left edge of the sky, primarily visible in raking light (appears to be inherent in the original paperboard and does not fluoresce under blacklight). A small portion of the work’s extreme upper edge seems to be partially stuck to the felt lining of the frame’s fillet.

7 A 1 x 1 1/2 inch portion of the lower left corner reattached and touched-up. Possible other areas of touch-up, although difficult to confirm. Some scattered unobtrusive foxing, primarily in the lower right quadrant. A few rice-sized (or smaller) paper losses and/or very short edge tears (1/2 inch or less) in places along the extreme sheet edges, some of which are attendant with small, reinforced areas on the paperboard’s verso. An unobtrusive, 1 3/4 inch, delicate, hairline, surface scratch near the center of the right edge. The extreme tips of the corners slightly dog-eared. As mentioned, the sheet is mounted to paperboard, most likely by the artist. The work is loose, simply set within its built-up matboard surrounding, and then further secured by the slight overlap of its linen-covered overmat.

Blacklight: Two pea-sized touch-ups at the center of the sky. Some other touch-ups, both larger and smaller, near the outer edges of the work. The largest of these measures 1/2 x 1 1/4 inches in the lower right corner of the beach, and 5/8 x 1 1/8 inches in the upper left corner of the sky (attendant with the area already mentioned in the visual description).

Condition Reports

Frame: 16 1/4 x 19 1/14 x 1 1/2 in. 3 Visual: Scattered areas of craquelure. Stretcher bar creases along each edge. A thin 2 1/2 inch vertical surface scratch along the upper portion of the right edge. A 2 inch band of scattered rice-sized paint losses in the sky of the upper left quadrant near the horizon line, and a few more scattered occasionally in the sky. Foxing on the verso. Blacklight: A 3 x 1/2 inch touch-up in the band of paint loss in the upper left quadrant mentioned above, as well as in the other scattered areas of paint loss in the sky. Frame: 27 1/4 x 39 1/4 x 2 in. 4 Visual: Very minor grime. Blacklight: No evidence of touch-up. Frame: 4 1/2 x 5 x 1 in. 442

Blacklight: There are a few scattered rice-sized (and smaller) scattered touch-ups.

6 Visual: No condition issues to report. Blacklight: Small flecks of possible touch-up scattered throughout.

Framed under glass: 42 1/4 x 50 3/4 x 1 3/4 in. 8 Visual: Surface grime and varnish discoloration. Blacklight: No evidence of restoration. Frame: 13 x 16 x 2 3/4 in 9 Visual: Slight grime and possible slight varnish discoloration. Craquelure throughout. A few scattered spots of frame abrasion or grime showing in places along the upper and right edges. Blacklight: A pinhead-sized touch-up on the figure above the boat in the center. Frame: 32 1/4 x 36 1/4 x 2 3/4 in.

Blacklight: The scuffed or abraded areas mentioned above fluoresce under blacklight, however, there is no evidence of restoration. Uneven varnish application. Frame: 21 3/4 x 25 3/4 x 1 3/4 in. 11 Visual: Stretcher bar creases along each edge, primarily visible in raking light. The canvas is slightly slack and rippling in the upper left and lower right corners.

15 Visual: The canvas is glue lined. Blacklight: Lines, dots, and dashes of scattered touch-up in the upper left corner and scattered in places throughout the green foreground. Frame: 40 x 50 x 4 in. 16 Visual: Very slight varnish discoloration. Blacklight: A pea-sized touch-up in the center of the mountain in the upper left quadrant, and a few scattered flecks of touch-up in the sky along the upper edge. Frame: 16 1/4 x 20 1/4 x 1 3/4 in. 17 Visual: Craquelure throughout and with stretcher bar cracks. The canvas is glue lined.

Blacklight: No evidence of restoration.

Blacklight: Considerable touch-up with large areas in the sky, lower left corner, lower edge, and right side, and with additional scattered lines and spots throughout. The signature has been enhanced.

Frame: 31 1/8 x 38 7/8 x 2 3/4 in.

Frame: 22 1/2 x32 1/2 x 3 in.

12 Visual: No condition issues to note.

18 Visual: A soft stretcher bar crease along the upper edge, primarily visible in raking light.

Blacklight: No evidence of restoration. There is an odd fluorescence in the sky, but this seems to be the pigment used as opposed to touch-up. Frame: 18 7/8 x 21 7/8 x 1 3/4 in. 13 Visual: Slight varnish discoloration and grime. Craquelure throughout. Stretcher bar creases along each edge. Blacklight: Large scattered areas of possible crack-fill throughout.

Blacklight: No evidence of restoration. Frame: 37 x 47 x 2 3/4 in. 19 Visual: No condition issues to note. Blacklight: No evidence of restoration. Frame: 37 x 46 1/2 x 2 in.

Frame: 29 3/4 x 34 3/4 x 2 1/4 in.

20 Visual: Very minor surface grime, concentrated in the cloud at the center of the sky.

14 Visual: No condition issues to report.

Blacklight: Certain pigments fluoresce under blacklight, presumed to be in the hand of the artist.

Blacklight: No evidence of restoration.

Frame: 17 1/2 x 21 1/4 x 2 1/4 in.

Frame: 20 1/4 x 24 1/4 x 1 3/4 in.

Condition Reports

10 Visual: Slight surface grime and varnish discoloration. A narrow, 3 inch long, diagonal surface scuff in the sky to the right of center, visible primarily in raking light. A hairline-width, 2 1/4 inch long, section of the canvas inadvertently cut (yet still attached at each end) along the extreme upper edge of the canvas, most likely by the hand of the artist or his wife, and not visible when framed. Numerous pinhead-sized frame abrasions scattered along the extreme edges of the canvas. The cardboard backing appears to be thoroughly affixed to verso of the canvas board.

443

21 Visual: Faint, scattered, craquelure. Blacklight: A pea-sized spot of touch-up in the bluish-purple hill on the right side. Scattered mostly pinpoint-sized dots of touch-up primarily the bright green. Some of these dots are concentrated, likely covering thin surface abrasions. The largest is approximately 2 inches. Frame: 20 1/8 x 26 x 2 in. 22 Visual: A rice-sized paint loss with a small area of attendant lifting paint and with a few pinhead-sized paint losses, all along the center of the left side. Another pea-sized paint loss in the upper right corner, just above the tree. Some surface soiling. Blacklight: No evidence of restoration. Frame: 32 1/4 x 38 1/8 x 2 1/4 in. 23 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 27 1/2 x 31 1/2 x 1 3/4 in. 24 Visual: A moderate amount of surface soiling. Extremely faint, fine craquelure in places. Blacklight: Scattered approximately dime-sized (and smaller) touches that fluoresce under blacklight, however these are likely by the hand of the artist who seems to have added them after the varnish, rather than touch-up.

Condition Reports

Frame: 26 x 22 1/8 x 2 1/2 in.

444

25 Visual: Faint, fine craquelure throughout. Unobtrusive stretcher bar cracks visible along the upper edge, center, and left edge. Blacklight: Very hard to read under blacklight. Possible areas of touch-up include in the clouds and along the right side. Possible discolored varnish layer. Frame: 30 x 38 x 3 1/2 in.

26 Visual: Minor varnish discoloration, primarily visible in the sky. A few pea-sized, rice-sized, or smaller areas of surface abrasion with attendant pigment loss, scattered singly or in small clusters in the sky of the upper left quadrant. As mentioned, the canvas is laid to Masonite. Blacklight: A cluster of a few pea-sized (or smaller) areas of touch-up in the greenery, just below the tree branches in the upper left quadrant. A few small areas of older touch-up scattered at the center in the sky and near the mountainous area. Frame: 27 1/4 x 36 1/8 x 4 1/2 in. 27 Visual: Slight varnish discoloration, occasional flecks of grime, and scattered very delicate craquelure. A few pinhead-sized paint losses, visible primarily under blacklight. Slight stretcher bar creases showing in raking light. The canvas has been strip lined and has newer keys. Blacklight: Occasional scattered dots and short delicate lines of touch-up, with some possibly slightly larger areas scattered within the large rocky outcropping in the composition’s middle ground. There may be some other small older touch-ups, but these are difficult to read due to old possibly uneven cleaning or varnish. Frame: 35 x 51 x 4 1/2 in. 28 Visual: Varnish discoloration and grime. Craquelure throughout with two attendant pinhead-sized (or smaller) paint losses in the upper left quadrant. Blacklight: Two 3 x 1 inch vertical bands of scattered touch-up in the sky in the upper right quadrant, a few quarter-sized (or smaller) touch-ups scattered in places in the sky and near the center of the right edge. Unframed 29 Visual: Scattered unobtrusive crazing in places. There is some slight abrasion or wear within the signature. Frame abrasion visible along the right edge. Gold paint from the frame visible on the right edge. Blacklight: The edges are touched-up with bands approximately 1/4 inch wide, and the corners are further touched-up. There are some pea-sized (and smaller) scattered touch-ups in places and one 2 x 1/4 inch touch-up along the center of the left side. Frame: 29 1/2 x 33 3/8 x 2 1/2 in.

30 Visual: Slight varnish discoloration and minor grime. Scattered areas of fine craquelure. The canvas is gluelined.

35 Visual: Dust accumulation and occasional craquelure.

Blacklight: A 2 1/2 x 1/4 inch touch-up as well as a few small flecks of touch-up in the sky of the upper right quadrant. Small flecks of touch-up in the white and orange sail. A few scattered bands of touch-up along the lower edge, the largest 1/2 x 4 inches in the lower left corner as well as a pea-sized touch-up just above it. A thin rice-sized touch-up near the upper left corner.

Frame: 30 x 26 x 3 in.

31 Visual: Varnish discoloration and grime. Two 1/4 x 3/4 inch (or smaller) paint losses along the center of the of upper edge as well as wear and paint loss in the extreme upper right corner. Blacklight: No evidence of restoration. Frame: 26 3/4 x 31 x 2 1/4 in. 32 Visual: Two extremely faint, hairline, diagonal surface scuffs in the lower right quadrant, the largest is about 1 1/4 inches long. Blacklight: There are a few areas that fluoresce under blacklight but these may be stray varnish or a certain pigment the artist used. Frame: 30 1/2 x 36 1/8 x 3 in. 33 Visual: Slight varnish discoloration and grime. Scattered areas of craquelure throughout. Blacklight: No evidence of restoration. Frame: 29 3/4 x 34 3/4 x 2 in. 34 Visual: Craquelure throughout and stretcher bar creases at each edge. Heavy surface grime and discolored varnish. There is varnish bloom in the lower left quadrant. Blacklight: There is a grouping of pea-sized (and smaller) spots of fluorescence near the center of the left side that could be touch-up but are likely due to a liquid splashed on the surface. There is a possible area of touch-up (approx. 3 x 3/4 inch) along the center of the left edge that could be obscured by the thick, old varnish layer (it does not fluoresce) or this could be a cloud done in the hand of the artist.

36 Visual: Dust accumulation and a few scattered spots of grime. Blacklight: No evidence of restoration. Frame: 19 1/4 x 23 1/4 x 1 1/2 in. 37 Visual: Scattered areas of craquelure. As mentioned, the canvas is laid to board. Small scattered areas of the canvas lifting from the board to which it is laid, primarily visible in raking light. Blacklight: Scattered areas of touch-up, the largest measuring 3/4 x 1/2 inch, primarily in the outer edges and corners. A 1/4 x 3/4 inch area of touch-up surrounding the head of the leftmost figure in the lower left quadrant, as well as a few pea-sized (or smaller) touch-ups scattered throughout. Frame: 40 1/4 x 47 1/4 x 4 1/2 in. 38 Visual: Slight varnish discoloration. Blacklight: A 3 x 1/4 inch band of touch-up in the greenery of the upper right quadrant. A pea-sized touch up in the right portion of the extreme lower edge, just below but not affecting the signature. Frame: 31 1/4 x 36 1/4 x 2 in. 39 Visual: Surface grime, varnish discoloration, and stretcher bar creases. Several tiny paint losses revealing the underlying canvas, including a rice-sized area (possibly with an attendant small split) in the sky above the chimney of the house at the right, a pinhead-sized area in the middle ground of the lower left quadrant, and other approximately rice-sized paint losses scattered in places along the extreme upper and lower edges. The tacking edges are brittle and frayed. Blacklight: A 1/2 x 1/8 inch touch-up at the lower left corner of the roof on the house at the right. Frame: 16 x 19 3/4 x 2 in.

Condition Reports

Frame: 34 x 38 x 4 1/2 in.

Blacklight: No evidence of restoration.

Frame: 43 1/4 x 45 x 2 1/2 in. 445

40 Visual: Slight grime throughout. Blacklight: No evidence of restoration. Frame: 16 1/4 x 14 1/2 x 1 3/4 in. 41 Visual: Craquelure throughout with stretcher bar cracks around the edges. There is a pinhead-sized crater on the surface of the painting in the upper left quadrant, near the upper edge. This spot appears as if it should be touched-up (no raw canvas, or puncture, and has paint), but it does not fluoresce under blacklight. Blacklight: No evidence of restoration visible, however there is an old, thick varnish layer that could mask touch-up if there is any. The area around the signature on the lower right appears to have been slightly cleaned. Frame: 25 x 29 x 3 1/2 in. 42 Visual: Craquelure throughout. A 2 x 4 inch patch lower center, verso. Blacklight: A 4 x 2 inch area of touch-up along the center of the lower edge, another large area of touch up in the lower left corner, to the left of, and around, the signature, but not affecting it, a 1 1/2 x 3/4 inch spot of touch-up in the house, on the left side, and a 1 x 1/2 inch area of touch-up in the tree, upper center left, as well as a few smaller scattered areas of touch up. Frame: 24 3/4 x 35 1/8 x 2 in. 43 Visual: No condition issues to report. The signature is partially covered by the frame.

Condition Reports

Blacklight: No evidence of touch-up.

446

Frame: 22 1/4 x 26 1/4 x 2 1/4 in. 44 Visual: Craquelure throughout, most visible in the sky. There are few thin incised lines that appear to have been made while the painting was still wet. Surface grime with an extremely discolored old varnish layer. Blacklight: No evidence of restoration. Frame: 37 1/2 x 47 1/2 x 2 1/2 in.

45 Visual: Slight varnish discoloration and grime. Scattered areas of fine craquelure, primarily in the upper half. Soft stretcher bar creases along each edge. A pinhead-sized paint loss in the upper portion of the right edge. Blacklight: No evidence of restoration. Frame: 15 1/4 x 21 1/2 x 2 in. 46 Visual: Varnish discoloration and grime. Craquelure throughout. An occasional scattered pinhead-sized (or smaller) paint loss along the extreme lower edge. Scattered frame abrasion along each edge. As mentioned, the canvas is laid to panel. Blacklight: A few quarter-sized (or smaller) touch-ups primarily in the center of the lake and the trees in the right half. A few scattered bands of touch-up along the extreme outer edges, the longest measuring 1/4 x 7 inches along the center of the lower edge. A quarter-sized touch-up in the lower left corner and another (smaller) in the upper right corner. Frame: 25 x 33 x 2 1/2 in. 47 Visual: Slight varnish discoloration and grime. Craquelure throughout. The canvas is glue-lined Blacklight: A 3 x 4 inch area of touch-up in the sky in the upper right quadrant. Two thin 3 inch (or smaller) horizontal bands of touch-up in the sky near the horizon in the lower left quadrant, and another along the extreme left edge. Other pea-sized (or smaller) flecks of touch-up scattered primarily in the sky, and a few in the mountains. Frame: 34 1/2 x 55 1/8 x 2 3/4 in. 48 Visual: Paint softening resulting in pigment migration and pooling (appears similar to heavy craquelure). Craquelure throughout and crazing in areas. Surface grime and varnish discoloration. Possible damp stains at the lower corners, verso, not affecting recto. Blacklight: A repaired hole upper center, measuring 1/2 x 1 1/2 inch, with repair showing on the verso. An irregularly shaped 3 x 11 1/2 inch area of touchup in the sky upper right, with a 3 x 5 inch area of touch up just to the left it. A 3/4 x 3 inch area of touch-up along the center of the lower edge. A few other smaller touch-ups in places. Frame: 19 1/2 x 29 1/2 x 3 in.

Blacklight: Crack-fill throughout. A few scattered pea-sized (or smaller) touch-ups in the lower half, the largest in the water in the lower right quadrant. Frame: 22 1/2 x 36 1/2 x 2 in. 50 Visual: A vertical hairline panel crack from the upper to lower edge, just left of center, with a few lesser vertical cracks on either side of the main crack. A peasized paint loss in the center, on the right-most tree. A series of surface scuffs just to the right of center, the largest measuring 1 x 1/4 inch, with other pea-sized (and smaller) scattered scuffs in places, particularly in the lower left corner, some of which affect the signature and date. Extremely discolored varnish with grime. Blacklight: A possible pea-sized touch-up along the extreme lower right edge and another thin, irregular, possible line along the center of the lower edge. Frame: 26 1/2 x 36 1/2 x 2 1/4 in. 51 Visual: Craquelure visible in the sky. Frame abrasion and canvas wear along the edges. The canvas is waxlined. Blacklight: A 1/4 x 8 inch uneven band of touchup along the extreme upper edge and another approximately 1/2 x 2 1/2 inch uneven band of touchup along the center of the extreme lower edge. A few other scattered dots and dashes of touch-up. Frame: 18 1/2 x 22 1/4 x 1 1/4 in. 52 Visual: Dust accumulation, surface grime, and occasional delicate lines of craquelure. The stretcher has newer keys. The signature is partially obscured by the frame.

53 Visual: Craquelure throughout. Surface soiling. Touches of gold paint at the extreme outer edges (from frame touch-ups). Foxmarks verso. Blacklight: Almost the entire blue area of the sky (along the upper edge) has been touched-up and there are smaller dabs of touch-up in other parts of the sky. Frame: 20 x 28 1/2 x 3 1/2 in. 54 Visual: Craquelure, crazing, and stretcher bar creases (with some cracking in places). A pea-sized abrasion in the lower left. Light frame abrasion in places. Surface grime. Blacklight: A probable horizontal 3 inch hairline touchup. Uneven, discolored varnish. Frame: 19 1/2 x 23 1/2 x 2 1/2 in. 55 Visual: The paint in the shadow of her face and hand has a slightly mottled texture. A very fine craquelure throughout, primarily visible in raking light. Minor frame abrasion, primarily along the left edge. As mentioned, the canvas is laid to Masonite. This artwork is adhered within its frame by unknown means. Blacklight: The areas of shadow on the right side of the sitter’s face and hand have considerable touchup. This extends into her forehead, the back of her hand toward her wrist, and along the shadowed fingers beside her cheek. It appears as if there are two layers to this touch-up, one newer and one older. The overall area measures approximately 10 1/2 x 3 1/2 inches. There is a smaller area of older and newer touch-up along the left side of her face, jawline, and in the background behind her neck. Other scattered lines, dots, and small areas of touch-up, most, but not all, along the oval edges of the frame. Frame: 32 x 26 3/4 x 2 1/2 in.

Blacklight: The varnish layer has been unevenly cleaned.

56 Visual: Surface grime. Laid to panel.

Frame: 13 x 17 1/2 x 2 in.

Blacklight: Unframed

Condition Reports

49 Visual: Craquelure throughout and stretcher bar creases along each edge. The canvas is wax-lined.

447

57 Visual: Scattered craquelure throughout. Stretcher bar creases along each edge. Soft frame abrasion with an occasional attendant pinhead-sized paint loss along the upper edge. A rice-sized paint loss in the lower portion of the extreme right edge. The canvas is glue-lined.

63 Visual: Dust accumulation and grime throughout, including a roughly pea-sized area of more concentrated grime in the sky at upper left. A few pinhead-sized paint losses, including one in the middle of the mountains at left and one in the lower foliage of the trees at right.

Blacklight: No evidence of touch-up.

Blacklight: A pea-sized touch-up in the lower portion of the single tree at center.

Frame: 30 3/4 x 34 1/2 x 3 3/4 in. 58 Visual: No condition issues to report. Blacklight: Three approximate 1/8 x 1/2 inch lines of touch-up along the center of the upper edge. A 1 1/4 x 1/4 inch touch-up in the extreme upper right corner with small accompanying spot nearby. There are also a few scattered approximate rice-sized dabs of touchup in places. Frame: 19 3/4 x 23 3/4 x 2 in. 59 Visual: Some very minor grime. Blacklight: No evidence of restoration. Frame: 11 1/4 x 13 x 1 in. 60 Visual: Slight varnish discoloration. The board is possibly trimmed along the right edge. Blacklight: A 1-inch thick scattered band of possible touch-up along each edge. Frame: 21 1/2 x 25 1/2 x 1 1/2 in.

Condition Reports

61 Visual: Scattered, extremely faint craquelure. Blacklight: A 1 1 /2 x 1/2 inch area of touch-up along the center-left of the lower edge. A broken 3-inch diagonal hairline area of touch-up in the lower left corner. Other lightly scattered mostly pinpoint-sized (with one or two pea-sized) spots of touch-up. Frame: 32 1/4 x 38 1/4 x 2 in. 62 Visual: Very slight varnish discoloration. Blacklight: Pinpoint-sized flecks of touch-up scattered in the lower left quadrant, and a pea-sized touch-up in the extreme lower left corner. The pigment in the trees fluoresces under blacklight, though this does not appear to be due to restoration. Frame: 21 3/4 x 17 3/4 x 2 1/4 in. 448

Frame: 22 x 26 x 1 1/2 in. 64 Visual: Slight varnish discoloration. The canvas is slightly cockled, primarily in the left element. Stretcher bar creases along the upper edge of each element. As mentioned, the canvas is laid to board. Blacklight: No evidence of touch-up. Framed together: 28 1/4 x 41 x 2 1/2 in. 65 Visual: Frame abrasion along the edges, particularly the right side. There are a few spots of paint loss along the extreme upper right corner one, along the upper edge, is about 1/4 x 2 inches and the other, along the right side, is about 3 x 1/4 inches. Blacklight: A 5 x 1 1/2 inch area of touch-up in the lower left quadrant, within the water. A 1 x 3/4 inch spot of touch-up with a few accompanying pea-sized (and smaller) spots of touch-up in the upper right corner. Other areas that fluoresce are the ground layer showing through. Frame: 33 x 40 1/2 x 3 in. 66 Visual: Faint craquelure throughout with a few spots of crazing near the center of the upper edge, within the trees. Blacklight: No evidence of restoration. Frame: 17 7/8 x 23 7/8 x 2 in. 67 Visual: Craquelure throughout, primarily in the upper half. The canvas is glue-lined. Blacklight: Three bands of touch-up, the largest 1/2 x 3 inches, along the right portion of the extreme upper edge. A few thin scattered bands of crack-fill to the right of center in the sky. Frame: 31 3/4 x 36 3/4 x 3 1/2 in.

Blacklight: A thin 1/2 inch horizontal band of touchup along the center of the upper edge. Possible scattered touch-up in the trees, difficult to read under heavy varnish application. Frame: 12 3/4 x 15 1/2 x 2 in. 69 Visual of each: Laid to board with some areas showing an uneven surface. Some light surface soiling. Blacklight of each: Scattered lines, dots, and other areas of touch-up (the largest, in the sky of the central panel, is a horizontal strip across the canvas measuring 2 inches high in places). Other areas are difficult to read under blacklight, but there may be additional larger areas of touch-up. Frame of each: 30 1/2 x 34 1/2 x 1 in. (irreg.) 70 Visual: Slight varnish discoloration and grime. Blacklight: No evidence of restoration. Frame: 8 x 11 x 3/4 in. 71 Visual: No condition issues to report. Blacklight: The signature, lower left, has been enhanced. Three possible pea-sized (or smaller) touch-ups near the center of the left edge. A pinhead-sized touch-up in the sky near the tip of the upper left corner. Frame: 17 x 20 x 1 1/2 in. 72 Visual: Very slight varnish discoloration. Blacklight: No evidence of restoration. Frame: 12 x 15 x 2 in. 73 Visual: Dust accumulation and grime throughout. Blacklight: Difficult to read due to uneven old varnish. Possible touch-up (or perhaps in-painting to an unfinished area) in the upper right corner, measuring approximately 2 x 2 inches. Frame: 14 1/2 x 18 1/4 x 1 3/4 in.

74 Visual: Crazing in the areas of the gold paint. A 1/4 inch wide strip of frame abrasion visible along the left edge. Some slightly uneven, unobtrusive looking spots within the gold in the upper left that may indicate touch-up, visible in raking light. A very fine unobtrusive craquelure throughout with nearly unseen pinpoint-sized paint losses scattered in places, especially within the feathers near the center. A peasized area of discoloration lower left corner. Blacklight: Very hard to read under blacklight. There are two pinhead to rice-sized spots of brown touchup in the upper peacock, just above the neck of the lower peacock. It is possible that there are some areas of touch-up within the neck of the upper peacock, with other likely areas elsewhere. A few scattered pea-sized spots of possible mildew in the lower left corner. Frame: 42 x 36 x 3 in. 75 Overall good condition with mild dust accumulation. Framed 25 x 24 5/8 x 1 3/8 in. 76 Each with crazing and mild dust accumulation, not examined out of frame. Framed 28 1/2 x 27 1/2 x 1 3/4 in. 77 Visual: Crazing throughout the purple paint of the background and other smaller areas occasionally throughout. Blacklight: No evidence of restoration. Frame: 53 1/2 x 40 x 3 in. 78 With a rice-sized chipped loss at lower middle edge. With minor rubbed wear to higher points, concentrated at lower third. Not examined out of frame. Framed 33 1/4 x 27 1/2 x 2 in. 79 The bronze is loose from its base/plinth. Overall good condition with rubbed wear and loss to patina at high points, with minor shelf and handling wear commensurate with age. 80 Overall good condition with minor shelf and handling wear commensurate with age. One corner of plinth with a chipped loss.

Condition Reports

68 Visual: Slight varnish discoloration and grime.

449

81 Visual: Craquelure throughout. Along the center of the right edge there is an area measuring about 5 x 1 inches that contains a cluster of losses and an unstable surface, the largest loss measures about 1 x 1 1/2 inches. There are additional smaller losses above this area, on the right edge. There is a 1/4 x 1/8 inch loss in the upper rightmost tree’s edge. There are other scattered, rice and pea-sized (and smaller) losses in the sky and elsewhere. The edge of the original canvas is visible along the left side, particularly in the upper left corner. The canvas is glue-lined. Blacklight: There is a 2 1/2 x 6 inch repair with touch-up in the center of the upper left quadrant with smaller spots to the right of it. The areas on the right edge with paint loss (mentioned above) also have dots and dashes of touch-up, generally 1/2 x 3/4 inches (and smaller). The extreme upper edge and upper left and right corners are touchedup. The center of the left side has several pea-sized (and smaller) spots of touch-up, and an irregular 2-inch repair (approx.) along the center of the left edge. Other smaller scattered spots of touch-up. It is possible that part of the signature has been enhanced. Frame: 54 1/4 x 56 1/8 x 2 1/4 in. 82 Visual: An occasional small area of very fine craquelure or minor crazing. An unobtrusive peasized paint loss in the extreme upper right corner. As mentioned, the canvas is mounted to Masonite (likely by the artist). Blacklight: A pea-sized touch-up in the water to the left of the bending crane’s neck.

Condition Reports

Frame: 32 1/2 x 37 3/4 x 2 3/4 in.

450

83 Some light-staining and pigment attenuation showing in the portion of the paper exposed through the window opening of the overmat. Tack marks along the edges, not affecting the image. As mentioned, the paper is mounted to paperboard, presumably by the artist. Framed under Plexiglas: 29 3/8 x 21 3/4 x 1 3/4 in.

84 Several very small, delicate, surface abrasions (a few in the leaves with attendant pinpoint-sized pigment losses) visible primarily in the right half of the work in raking light. Dime-sized surface skinning at the tips of three of the paperboard’s four corners. Short ruled lines at the outermost corners, possibly by the artist, but more likely by the mat maker/framer. Backboard staining, surface skinning in places, and remains of old tape, all verso. Framed under glass: 15 3/4 x 29 x 1 1/4 in. 85 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 34 5/8 x 24 3/4 x 3 in. 86 No condition issues to report. As mentioned, the laid Japan paper is tipped in three places along the verso of just the upper margin to a larger sheet of cardstock for support, as issued. That sheet of cardstock was subsequently hinged to a newer overmat with white linen tape from the verso of its upper sheet corners. Framed under glass: 11 x 14 x 1 in. 87 Slight paper toning. A few faint, scattered, pinheadsized foxmarks. A faint mat stain, under the current mat. The paper is watermarked, but it is partially indistinct (possibly Aurelian, Auretian, or Duretian). The sheet is hinged to the backmat with linen tape in two places from the verso’s upper edge. Framed under glass: 16 1/4 x 19 1/4 x 1 1/2 in. 88 Visual: Two pinpoint-sized craters in the upper right quadrant, just to the left of the tree. Surface grime. Blacklight: A 1/2 x 1/2 inch area of touch-up to the left of the figure’s head with a few rice-sized touchups nearby and one or two scattered elsewhere. A thick varnish layer. Frame: 14 1/2 x 15 1/2 x 2 in.

Blacklight: A few scattered 2 x 2 inch (or smaller) touch-ups in the background of the upper right quadrant. A quarter-sized touch-up in the figure’s left shoe. A few other pea-sized (or smaller) touch-ups scattered occasionally throughout. Frame: 50 1/4 x 41 x 2 1/2 in. 90 Faint craquelure throughout with light stretcher bar creases along the upper edge. A cluster of rice-sized paint losses along the upper left corner. A 1 1/4 inch tear with paint loss in the lower left corner. Surface grime and a discolored varnish layer. Mold growth verso. Blacklight: No evidence of restoration. Frame: 48 x 38 x 2 1/2 in. 91 Image: An approximately 2 inch area of horizontal craquelure, mainly within the red area at the top of her hat. Here the paint is starting to cup and flake and has a rice-sized paint loss with a few attendant pinhead (and smaller) losses. Fine crazing in the black of her dress, her hair, and her hat.

94 Visual: Slight varnish discoloration, grime, and delicate craquelure scattered throughout. In raking light, the surface of the underlying panel in the lower right corner appears to be significantly distressed, and it is likely that the various touch-ups (some of which are discernable in standard light) are related. A very delicate line of horizontal frame abrasion near the upper right corner. Blacklight: There appears to be a combination of both older and newer touch-ups scattered throughout the painting, ranging in size from dots, dashes, and small areas, to significantly larger, more heavily restored sections of the composition. Many of the latter sections are within the figure, including parts of her face. The same is true of a broad portion of both the upper left and lower right corners of the panel (partially affecting the “l” of the artist’s first name). Frame: 22 x 26 x 1 in. 95 Visual: No condition issues to report. Blacklight: A 3/4 x 1/4 inch touch-up just above the tulip on the right, and a few pea-sized (and smaller) scattered touch-ups in other places. Frame: 38 x 31 3/4 x 3 in. 96 Visual: Scattered areas of fine craquelure. Stretcher bar creases along each edge, primarily visible in raking light. The canvas is wax-lined.

92 Visual: Minor grime.

Blacklight: Two 1/2 x 4 inch parallel bands of touchup along the center of the upper edge, as well as a few small flecks of touch-up to the right of that. Thin scattered bands of touch-up along the extreme upper edge including along the upper right corner edges. A few pea-sized (or smaller) touch-ups in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 35 x 35 x 2 1/2 in.

Blacklight: A dime-sized spot of touch-up near the upper portion of the right edge. Frame: 28 1/4 x 24 5/8 x 2 in.

Frame: 36 x 31 x 1 1/2 in. 93 Visual: Slight varnish discoloration and grime. Craquelure throughout. The canvas is wax-lined. Blacklight: Two 1 1/2 x 1 1/2 inch (or smaller) touchups in the background at the upper right quadrant. A few pea-sized (or smaller) touch-ups in the quilt to the right of the figure’s right elbow. Other occasional rice-sized touch-ups. Frame: 34 3/4 x 30 1/4 x 3 in.

Condition Reports

89 Visual: Slight varnish discoloration and minor grime. Craquelure throughout. Stretcher bar creases along each edge, primarily visible in raking light. A thin 5-inch band of possible frame abrasion along the lower portion of the right edge. A few very soft, unobtrusive, surface scuffs scattered in the lower left quadrant, the largest approximately 2 inches.

451

97 Visual: Heavier craquelure throughout. Several scattered small paint losses, including a 1/8 x 1/2 inch horizontal paint loss just under and to the left of the signature, and another smaller, but similar, in the lower right, just under the orange plate. Other losses with touch-up visible in places, including three spots near the upper right edge above the green jar (largest is 1/4 x 1 inch) and likely the upper left corner, as well as other places. Frame abrasion in places along the extreme outer edges. A very thick adhesive on the verso of the liner canvas. Foxmarks on the frame’s backing board. Blacklight: Three rice-sized spots of touch-up visible in the upper left quadrant, in the background adjacent to the yellow fabric. A heavy varnish covers other areas of obvious touch-up mentioned above. Frame: 28 1/4 x 24 5/8 x 2 in. 98 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 34 3/4 x 42 1/2 x 2 1/2 in. 99 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 37 3/4 x 47 1/2 x 2 1/2 in.

Condition Reports

100 Visual: An thin, unobtrusive, 3/4 inch surface scratch in the lower left quadrant.

452

103 Visual: Scattered areas of unstable craquelure throughout with attendant paint loss and lifting. The surface appears to be unvarnished. Blacklight: Large areas of possible touch-up scattered throughout. Frame: 39 x 27 x 3 1/2 in. 104 Visual: Scattered surface grime. Three possible ricesized (and smaller) spots of paint loss (now touchedup) on the blank wall to the left of the sitter’s face. Blacklight: There appear to be some small lines, dots, and dashes of touch-up in the sitter’s cheek, neck, and hair (most pea-sized and smaller). possible other areas of touch-up but is hard to fully determine due to old varnish layer. Frame: 33 5/8 x 26 x 2 1/2 in. 105 Visual: A few scattered areas of fine craquelure. Occasional minor specks of surface grime. Blacklight: A few pea-sized (or smaller) flecks of touch-up along the upper portion of the left edge. Frame: 27 x 19 x 2 3/4 in. 106 Visual: Slight varnish discoloration and very minor grime. The canvas is glue-lined. Blacklight: No evidence of touch-up, but difficult to read under heavy varnish application.

Blacklight: No evidence of restoration.

Frame: 33 x 28 1/2 x 3 1/4 in.

Frame: 35 x 32 1/2 x 3 in.

107 Light-staining, uneven toning throughout, and old adhesive staining along the outer edges. A few pinhead-sized spots of possible surface skinning or grime scattered primarily in the left half. A 2-inch diagonal crease across the lower left sheet corner. Occasional scattered 1/4-inch (or smaller) edge tears in places along the outer sheet edges. The sheet is hinged to the back mat from the verso of the upper corners and also tipped to the back mat from the verso of each corner.

101 With a 1 x 3/8 in. chipped loss at lower right. With minor rubbed wear to higher points. Not examined out of frame. Framed 33 x 28 x 2 in. 102 Sold as-is. With large repaired crack verso, restoration, and paint touch-ups throughout. With shelf wear, areas of crazing to the glaze, and dust accumulation commensurate with age.

Framed under glass: 20 1/4 x 22 1/8 x 2 in.

Verso: The paper is heavily toned, with an irregular band of dark discoloration along the entire lower portion of the sheet (ranging from 4 inches to 7 inches high). Two flattened creases (the largest is 1 1/4 inches) are visible along the center of the left edge. Repairs to lower corners visible. Old paper hinges visible in the upper corners. Foxmarks and insect debris visible in places on the mat. Framed under double-sided Plexiglas: 33 3/4 x 25 3/4 x 2 in. 109 Visual: Minor grime. The board is slightly concave. Blacklight: Two pea-sized touch-ups in the center of the extreme left and right edges. Two rice-sized touch-ups in the background to the right of the figure’s lower half. Frame: 17 x 15 x 2 3/4 in. 110 Visual: Slight varnish discoloration. Craquelure throughout. Stretcher bar creases along each edge. Two vertical repaired tears in the right of center, near the figure’s hand and over the mirror, the largest measuring 7 inches long with a related partial patch verso. A rice-sized pressure mark with attendant minor paint loss in the lower right quadrant on the ground. Blacklight: Two vertical touch-ups in the repaired tears mentioned above. The mirror fluoresces under blacklight, unsure if due to restoration. Other possible touch-ups along the outer edges difficult to read under heavy varnish application. Frame: 40 1/2 x 33 x 2 1/2 in. 111 Overall good condition with very minor handling wear and dust accumulation commensurate with age. 112 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

113 Visual: Faint craquelure. Blacklight: Touch-up in the upper left corner (much of the blue, visible with the naked eye), and small dashes, dots, and spots of touch-up in the upper right corner. Frame: 27 5/8 x 31 1/2 x 2 1/2 in. 114 Visual: Deep in places, but unobtrusive, craquelure throughout. Stretcher bar creases with cracks in places. The canvas is slack and undulating in areas. A pinhead-sized area of loss in the lower right, in an area where the canvas is slack and the craquelure is deep. A pea-sized area of surface soiling or abrasion on the extreme outer edge of the lower right side. Blacklight: No evidence of restoration. Frame: 23 1/8 x 27 1/8 x 2 in. 115 Visual: The canvas is somewhat slack, with a large pressure mark at the upper center. Craquelure throughout. Surface grime. Blacklight: No evidence of restoration. Frame: 35 1/2 x 30 3/4 x 2 in. 116 Visual: Surface grime. Affixed to cardboard. Blacklight: A likely stripe of touch-up across the entire lower edge measuring at most 1/2 inch high, not affecting the signature. Another area of probable touch up along the upper left edge, near the corner measuring about 1/8 x 1 1/2 inch. Frame: 18 x 21 x 2 in. 117 Visual: No condition issues to report. Blacklight: There are a very few pinhead-sized spots of touch up in scattered places (two at the lower edge of the moon). There may be a few additional pea-sized spots of touch-up in the trees and possibly a dime-sized spot of touch-up in the center-right, near the upper edge, however these are hard to discern under blacklight. Frame: 14 3/4 x 16 5/8 x 2 1/4 in.

Condition Reports

108 Recto: The paper is heavily toned and the pigment may have some attenuation. There are tears through the lower right and left corners. There are a few small creases in the corners and some slight rippling along the upper edge, presumably related to framing. A few foxmarks on the matting. Not examined out of the frame.

453

118 Pale light-staining. An occasional pale foxmark in the sky. Slightly sticky residue along each edge. Wear and soft abrasions along the edges and corners. The paperboard is loose within the frame.

123 Visual: The panel is bowed convexly and the frame has been constructed to accommodate that fact.

Framed under Plexiglas: 23 1/4 x 27 1/2 x 2 1/4 in.

Frame: 22 x 25 3/4 x 3 1/4 in.

119 Probable minor light-staining and pigment attenuation. A few minor foxmarks verso, not affecting recto.

124 Visual: Faint craquelure and faint stretcher bar cracks on the left and right sides. A 1 inch diagonal surface abrasion with a rice-sized pressure mark near the center of the lower edge.

Framed under glass: 21 1/4 x 25 3/8 x 1 in. 120 The paperboard has a series of light vertical ripples in the upper layer both recto and verso. Toning to the recto of the paperboard. The paperboard is taped (with scotch-tape) to the overmat in four places from the paperboard’s verso. Framed under glass: 9 1/2 x 11 1/2 x 1 1/4 in. 121 Visual: Craquelure throughout. Varnish discoloration with a few streaks of dripped grime or old varnish, the longest measuring 14 inches, all in the right half. A 3 inch horizontal thin band of grime in the upper left corner. Very soft frame abrasion along each edge with a few pinhead-sized (or smaller) paint losses scattered in places along the lower edge. The canvas is glue-lined.

Condition Reports

Blacklight: A 7 x 9 inch block of touch-up in the upper left quadrant, surrounded by a 12 x 20 inch L-shaped touch-up that is approximately 2 inches thick, and another 5 x 5 inch triangular touch-up just below that. Other smaller areas of touch-up scattered primarily in the left half.

454

Blacklight: No evidence of restoration.

Blacklight: Hard to read due to thick, uneven varnish layer. While some fluorescence could be due to raw canvas showing through, there could also be possible touch-up in places including in the neck of the horse (approx. 3 x 3 inches), the horse’s jaw and the background under the belly of the horse (1 x 2 inches, each), an area at the center left, covering stretcher bar cracks (6 x 2 inches), outlines around figures, and scattered spots and lines elsewhere. Frame: 38 x 29 7/8 x 2 in. 125 Visual: Craquelure throughout. Stretcher bar creases along each edge. The canvas is glue-lined. Blacklight: A few scattered areas of touch-up throughout, primarily in the sky, the largest measuring 2 1/2 x 2 1/4 inches in the upper left quadrant. Frame: 29 1/2 x 35 1/2 x 3 in. 126 Visual: Slight varnish discoloration. Stretcher bar creases along each edge. Craquelure throughout.

Frame: 40 1/4 x 60 1/4 x 4 1/4 in.

Blacklight: No evidence of restoration.

122 Visual: Slight varnish discoloration and grime. Craquelure throughout. The canvas is wax-lined.

Frame: 24 x 20 x 2 1/4 in.

Blacklight: A few approximately 1 1/2 x 1 1/2 inch (or smaller) touch-ups, two of which are in the center and the center of the right half; another two are along the left edge, one is along the lower edge, and one is in the lower right corner. Frame: 29 x 32 1/2 x 5 in.

127 The very outer corners are worn and dog eared with some paper losses, especially the lower left. Light wear at the extreme outer edges. A faint 1-inch hairline stain with a nearby pinhead-sized stain in the upper left portion of the sky. A faint pea-sized stain along the upper right edge. Old mat staining along the outer edges (not visible under the current mat). Framed under Plexiglas: 29 1/2 x 37 1/4 x 1 1/4 in.

Blacklight: There is a 1/2 x 1 inch spot of touch-up above the flower, a 3 x 1/2 inch area of touch-up along the upper left corner edge, and a 1/2 x 3/4 inch area of touch-up along the upper right corner edge. A few other, scattered, pea-sized (and smaller) spots scattered in places.

133 Visual: A few small areas of fine craqueure. Blacklight: No evidence of restoration. Frame: 38 1/2 x 45 3/4 x 3 3/4 in. 134 Visual: Slight varnish discoloration in a few spots of dripped varnish in the sky at the upper left quadrant.

Frame: 22 3/4 x 16 1/2 x 3 in.

Blacklight: No evidence of restoration.

129 Two rice-sized paper losses along the lower portion of the left sheet edge. Pale scattered foxing showing through from the verso. An unobtrusive, soft, pinhead-sized abrasion at the center of the upper sheet edge. The sheet is hinged to the back mat in two places along the verso of the upper sheet edge.

Frame: 37 3/4 x 43 3/4 x 3 3/4 in.

Framed under Plexiglas: 18 x 22 1/2 x 2 in. 130 Some toning to the paper. Unobtrusive, pinheadsized foxmarks, flyspecks, or grime scattered in places within the sky, mainly in the upper left, near the edge. Artist tack-marks in the corners and edges. It is unclear if the mount was done by the artist or at a later date. The mount has backboard staining, not affecting the image. Framed under glass: 33 3/4 x 41 1/2 x 4 in.

135 Visual: A linear 1/2 x 1/4 inch “+” shaped touch-up slightly visible in the tree where its foliage abuts the slanted roofline of the large building at the right (with a vertical line of attendant scattered minute touch-ups into the foliage above and a pinheadsized paint loss in the purple paint below). Blacklight: In addition to the area mentioned above, there are tiny specks, dabs, or short, very delicate lines of touch-up scattered occasionally in the outer portions of the work, primarily in the left quarter of the image, within the distant mountain and the street. There are also some scattered pinhead-size paint losses (revealing the gesso layer) in the creamcolored sky that show almost exclusively under blacklight. Occasional touched-up frame abrasions in places along the extreme edges.

131 Visual: Stabilized craquelure, particularly visible in the sky. A thin horizontal line of touch-up is visible to the naked eye in the center of the right side, measuring 1/8 x 6 1/2 inches. The canvas is waxlned.

Frame: 19 x 22 x 2 1/2 in.

Blacklight: In addition to the area mentioned above, there is a linear backward C-shaped area of touch-up near the center of the lower edge measuring 1 1/2 x 3 1/4 inches overall. Other scattered lines, dots, and small areas of occasional touch-up, particularly on the vertical edges. Other areas that fluoresce, but uncertain if it is touch-up or original pigment or ground showing through.

Framed under glass: 29 x 36 1/2 x 2 in.

Frame: 33 x 38 1/4 x 2 1/2 in.

138 Mild, unobtrusive toning to the paperboard. A pinhead-sized stray spot of black ink in the upper left corner, likely as issued. There is some very minor wear to the extreme outer edges of the paperboard, obscured by the frame. Minor skinning in places to the verso of the paperboard only, not affecting the recto. Time staining visible verso, not affecting recto.

132 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 34 x 39 x 3 in.

136 Visual: As mentioned, the sheet has been mounted to paperboard, although it is unclear if it was done by the hand of the artist

137 Visual: Minor grime. Blacklight: No evidence of restoration. Frame: 19 1/4 x 15 1/4 x 2 1/4 in.

Framed under glass: 20 7/8 x 18 x 1 1/2 in.

Condition Reports

128 Visual: Craquelure throughout with stretcher bar cracks. Surface grime. The canvas is wax-lined.

455

139 With margins. Scattered pinpoint foxing throughout the recto and verso. The sheet is taped to the overmat with brown paper tape along the verso of the margin edges. Framed under glass: 16 3/4 x 20 3/4 x 1/2 in. 140 With full margins. Very pale light-staining showing in the portion of the paper exposed through the window opening of the mat. A very soft 3 1/4 inch horizontal crease in the right portion of the lower margin, below (but not affecting) the signature, visible primarily in raking light. One very soft line of creasing in each vertical margin attendant with the window opening of the overmat, again visible primarily in raking light (and not showing as currently matted). A few minor foxmarks in the lower right margin corner. The tip of the lower left margin corner slightly dog eared. The sheet is hinged to the overmat across the tips of the upper margin corners. Framed under glass: 15 3/4 x 17 3/4 x 1 1/4 in.

145 No condition issues to report. The work is sealed in its mat. Framed under glass: 21 5/8 x 17 5/8 x 1 in. 146 Visual: Scattered areas of craquelure throughout. Minor grime.

Blacklight: No evidence of restoration.

Frame: 15 x 18 x 2 in.

Frame: 89 x 33 1/2 x 2 in.

142 Visual: Two approximately pinhead-sized specks of grime in the sky, one near each of the upper corners of the panel.

147 Visual: The canvas is glue-lined.

Frame: 15 x 18 x 2 in.

Condition Reports

Framed under glass: 23 x 18 x 1 3/4 in.

141 Visual: No condition issues to report.

Blacklight: No evidence of restoration.

456

144 Full margins, deckled along the lower margin edge. A rich, luminous impression, with even the most nuanced highlights printing clearly. Slight mat staining showing in the margins and on the verso. Two small squares of brown paper tape from former hinging in the upper margin corners, now overlaid with the current white linen hinges of roughly the same size. A 1/2 in. diagonal crease across the extreme tip of the lower left margin corner. Two parallel diagonal pencil marks across the lower right margin corner (possibly in the hand of the artist). One extremely unobtrusive, pinpoint-sized foxmark, verso. The sheet is hinged to the back mat with white linen hinges from the upper margin corners.

143 Light- and overmat staining. Soft cockling throughout the image. A rice-sized abrasion in the left of center of the upper margin, in the extreme upper sight edge. Not examined out of the frame. Framed without glazing: 22 3/4 x 19 3/8 x 1 in.

Blacklight: Spots of touch-up predominately in the upper half, and mainly along the outer edges; the largest area is 6 1/2 x 1/2 inches, along the upper portion of the left edge. A 1/2 x 3/4 inch touch-up in the upper right corner, and a 1 1/4 x 1/2 inch touch-up along the center of the upper edge. Other touch-ups consisting of thin lines of dots and dashes scattered in places. Frame: 43 x 35 7/8 x 3 in. 148 Visual: No condition issues to report. Blacklight: There are possible small touch-ups in the hat, but it is likely the fluorescence is due to the pigments the artist used. Frame: 20 x 27 5/8 x 2 1/2 in.

149 Visual: Some surface grime. The canvas does not sit in the frame well.

154 Visual: Slight varnish discoloration. Scattered areas of fine craquelure.

Blacklight: No evidence of restoration. The varnish layer is unevenly applied.

Blacklight: No evidence of restoration. Frame: 44 1/2 x 36 1/2 x 2 3/4 in.

150 There is a 1/8 inch stain along the upper edge, at left. There is a 1 1/2 inch slice in the paper along the upper edge, at right, near the corner, presumably done by the artist. There is also a tiny sliver of the back mat visible just above this area. Foxmarks on the frame’s backing board. Not examined out of the frame.

155 Visual: A few thin 1 inch wide air bubbles in the paper from being laid down, concentrated along the left sheet edge, primarily visible in raking light. An unobtrusive pinpoint-sized abrasion in the right portion of the upper sheet edge, and in the extreme upper left sheet corner. The sheet is laid to paperboard, which is hinged to the overmat along the verso of the upper edge.

Framed under glass: 44 1/2 x 38 1/2 x 2 1/2 in.

Framed under glass: 16 x 21 1/4 x 1 1/4 in.

151 Visual: Slight varnish discoloration and grime. Craquelure throughout. An unobtrusive pinpoint-sized paint loss on the figure’s right shoulder. The canvas is glue-lined.

156 No condition issues to report. The green paperboard is laid to a larger sheet of cardstock which is attached to the overmat with two pieces of blue tape from the verso of its upper and lower edges.

Blacklight: A tapered band of touch-up along the entire width of the lower edge, the thickest part measuring 4 inches high in the right portion. A 4 x 2 inch touch-up on the figure’s lower hand, and other smaller areas scattered in places throughout, including on the figure’s dress, fan, face, and arms. A 1/2 x 8 inch band of touch-up to the right of center along the extreme upper edge. Two 5 x 5-inch (or smaller) areas of possible touch-up in the background in the upper left corner.

Framed under glass: 18 1/2 x 22 1/2 x 1 in. 157 Visual: A few scattered, hairline surface abrasions. Frame abrasions around the extreme outer edges. Surface grime. Sections of the painting, particularly in the center, appear to be overcleaned. The canvas is wax-lined.

Blacklight: No evidence of restoration.

Blacklight: There is an irregularly shaped area of touch-up in the lower right quadrant measuring approximately 5 x 4 inches overall. A dime-sized area of touch up at the center of the left edge, and other possible, smaller spots of touch-up nearby. A thick varnish layer may obscure other areas of restoration. The lower left corner of the varnish layer appears to have been slightly cleaned.

Frame: 18 3/4 x 14 3/4 x 1 3/4 in.

Frame: 35 3/4 x 30 3/4 x 3 in.

153 Visual: Slight varnish discoloration and grime. Craquelure throughout. Stretcher bar creases along each edge, primarily visible in raking light. Blacklight: An occasional rice-sized fleck of touch-up scattered on the figure’s shawl.

158 As mentioned, the paper is laid to a cardstock support. Remains of old tape and adhesive from old tape in places along the verso of the cardstock support’s upper and lower edges. The work is hinged to the overmat with white linen tape from the verso of the cardstock support’s upper edge.

Frame: 38 1/4 x 33 1/2 x 5 in.

Framed under glass: 16 1/4 x 14 1/4 x 3/4 in.

Frame: 48 3/4 x 38 x 1 1/2 in. 152 Visual: No condition issues to report.

Condition Reports

Frame: 35 3/4 x 43 1/2 x 2 in.

457

159 Visual: Dust accumulation, grime, and scattered craquelure. Minor frame abrasion visible in places along all but the lower edge. Blacklight: Certain paints fluoresce in the figure’s cheeks and lips, however, these appear to be in the hand of the artist. A narrow diagonal 3 inch line of possible touch-up in the background to the right of the figure’s head. Possible other areas of touch-up, difficult to read under heavy varnish. Frame: 21 x 18 1/2 x 3 in. 160 Light- and mat staining. The sheet is taped to the overmat with a total of three very old glassine hinges (one of which has partially detached) from the verso of the upper and lower sheet edges. Framed under glass: 15 x 11 3/4 x 1/2 in. 161 Visual: Craquelure throughout, and with stretcher bar cracks in places. There are areas on the face (jaw line, under the sitter’s right eye), the largest is about 2 1/2 x 2 1/2 inches, where there is paint crawling and pooling, likely due to heat exposure. Minor frame abrasion along the four edges. An old, discolored varnish layer and surface grime, with a few scattered pinhead-sized unknown white spots (possible mold) on the surface. Blacklight: Appears to have a few pinhead-sized spots of touch up in the face and a quarter-sized spot of touch-up along the lower right edge. Other areas of touch-up may be present under the thick varnish layer.

Condition Reports

Frame: 26 1/4 x 22 1/8 x 3 in.

458

162 Visual: A rice-sized abrasion in the upper right quadrant. Stretcher bar creases visible at the upper and lower edges. Scattered fine craquelure. A few hairline surface abrasions in the lower right corner. A 6 x 1/4 inch unobtrusive stain of unknown origin along the lower portion of the extreme right edge. Possible pinhead-sized spots of mold at the upper center, verso Blacklight: There may be some slight touch-up in the lower right corner at the hairline surface abrasions. Frame: 29 x 25 x 1 3/4 in.

163 Visual: Four areas of touch-up visible to the naked eye covering paint loss in the upper right quadrant, the largest is about the size of a quarter. A pea-sized puncture with paint loss in the lower left corner. A few scattered rice-sized (and smaller) spots of paint loss and flaking paint in the lower half of the picture. Surface grime. Scattered faint cracking. Blacklight: Areas of touch-up mentioned above with other probable smaller spots. Horizontal lines of possible older touch-up in the upper left quadrant (the largest is about 1/8 x 4 1/2 inches), however these areas could have been as issued. Frame: 31 3/4 x 37 3/4 x 4 1/2 in. 164 Visual: A 1 1/2 inch diagonal surface scuff in the background near the upper right corner. Very soft frame abrasion along the right edge. The canvas is wax-lined. Blacklight: A few possible areas of touch-up, the largest 2 x 3 inches in the child’s shadow in the lower right quadrant, and a few smaller flecks of possible touch-up scattered in places in the lower half, difficult to read under uneven varnish application. Frame: 40 x 50 x 6 in. 165 Visual: Scattered small spots and flecks of grime. Blacklight: No evidence of restoration. Difficult to read under heavy varnish. Frame: 16 3/4 x 14 3/4 x 2 1/4 in. 166 Each with overall toning to the sheet. “The Fat Clown” with a 4 inch crease extending diagonally from the right sight edge, across the blank background, into the waist of the figure. “Big Nose Clown” with a 1-inch diagonal crease in the blank sheet at left, not affecting the figure. Possible other minor defects. Each of the nine examples not examined out of the frame. Each framed under glass: 17 x 14 1/2 x 1 in. 167 Visual: Slight varnish discoloration and grime. Craquelure throughout. The canvas is wax-lined. Blacklight: No evidence of touch-up, although difficult to read under heavy varnish application. Frame: 39 x 50 3/4 x 4 in.

168 Visual: Scattered craquelure, primarily in the green pigments. The canvas is wax-lined.

172 Visual: Minor grime. A pea-sized paint loss in the lower portion of the right edge, near the corner.

Blacklight: A 2 x 4 inch area of fine crack-fill in the water in the lower left quadrant. A 1 1/2 x 2 inch area of a few scattered flecks and dashes of touch-up in the center of the sky.

Blacklight: No evidence of restoration.

169 Visual: A pea-sized pressure mark in the upper right corner. Faint, unobtrusive scattered craquelure and faint stretcher bar creases and cracks also in places. Frame abrasion visible along the upper left edge. An old, discolored varnish layer. Blacklight: There is likely touch-up in the upper right corner at the above-mentioned pressure mark and also a few rice-sized spots just above it, there may also be other areas not seen due to varnish layer. Other, scattered vertical hairline areas that fluoresce (see center of the right side for an example) but it is unclear if these are touch-ups or uneven varnish application. Frame: 42 x 30 1/4 x 2 1/2 in. 170 Visual: Minor surface grime. Damp staining throughout the verso. Blacklight: Certain pigments fluoresce under blacklight, though this does not appear to be due to restoration. Frame: 22 3/4 x 26 1/2 x 2 1/4 in. 171 Visual: A rice-sized gouge in the surface of the panel near the center of the left edge, with its deepest portion touched-in, likely by the artist. Another, even smaller, gouge, approximately pinhead-sized, also touched-in, at the center of the upper edge. Scattered minute and unobtrusive inclusions in the paint, possibly sand, visible primarily in raking light. Blacklight: A scattered area of touch-ups, measuring approximately 1 x 3/4 inch overall, extending up into the water from the center of the lower edge. The smaller pinhead-sized gouge in the surface of the panel (described above) also touched-up. Frame: 13 1/2 x 16 1/2 x 2 3/4 in.

173 Visual: Dust accumulation, grime, and slight varnish discoloration. Various later notations and small stickers, verso. Blacklight: No evidence of restoration. Frame: 19 1/2 x 23 x 3 1/4 in. 174 Visual: No condition issues to report. Blacklight: There are three vertical lines of touchup starting at the upper edge and extending to the trees: One is in the center of the painting, and measures approximately 1/8 x 9 inches, one is in the center of the left quadrant, and measures approximately 1/8 x 7 inches, and one is in the center of the right quadrant, and measures approximately 1/8 x 7 inches. There are also a handful of scattered pea-sized (and smaller) touchups, mostly along the edges of the canvas, in the sky. Frame: 48 1/2 x 46 1/2 x 2 1/2 in. 175 Visual: Slight varnish discoloration and grime. Blacklight: A 2 inch wide band of touch-up all along the lower edge, and thinner scattered bands of touch-up occasionally along the upper edge. A few scattered rice-sized specks of touch-up in the sky. Frame: 47 x 49 x 4 1/2 in. 176 Visual: Slight varnish discoloration and grime. Craquelure throughout. The canvas is slightly slack. With metal stretcher bar keys. Blacklight: A few scattered pea-sized (or smaller) touch-ups primarily in the sky in the upper left quadrant. Frame: 32 3/4 x 54 3/4 x 2 1/2 in.

Condition Reports

Frame: 31 x 27 x 4 in.

Frame: 19 1/2 x 22 1/2 x 3 in.

459

177 Visual: A nearly horizontal hairline abrasion in the center of the left side, with a few other similar (but smaller and fainter) lines scattered in places. Faint craquelure throughout. There are stretcher bar marks (possible staining from the wood) visible along the sky in the upper right and along the right edge. Some of the touch-up is visible to the naked eye. The canvas is wax lined. Blacklight: Much of the right quadrant (the sky) appears touched-up. There are other scattered areas, spots, dots, lines, and dashes of scattered touch-up throughout. Frame: 41 x 61 x 4 in. 178 Visual: Varnish discoloration and grime. Craquelure throughout. The canvas is glue-lined. Blacklight: No evidence of touch-up, though difficult to read under heavy varnish application. Frame: 24 x 20 x 2 in. 179 Visual: Slight varnish discoloration and grime. Craquelure scattered throughout. The canvas is waxlined. Blacklight: A 2 1/2 x 1/2 inch band of touch-up in the upper left quadrant, and pea-sized (or smaller) flecks of touch-up scattered throughout the sky. Frame: 44 3/4 x 50 x 3 1/2 in.

Condition Reports

180 Visual: Craquelure throughout. A series of small surface scuffs (each a bit smaller than pea-sized) near the center of the lower edge. A linear arcshaped surface scuff approx. 3/4 inch in the upper left quadrant. A yellowed varnish layer with an unobtrusive bloom showing in places in raking light. The canvas is wax-lined. Blacklight: There are scattered lines, dots, and dashes of touch-up throughout (not extensive) with most dots being pea-sized (and smaller) and lines that tend to be a hairline-thin web covering the visible, mostly diagonal, craquelure in the sky. Other possible older and larger touch-ups along the lower edge (about 1/4 x 1 inch) and elsewhere, however this hard to discern due to the thick, discolored varnish layer. Frame: 21 x 29 x 2 1/2 in.

181 Visual: Very fine craquelure, mainly visible in the mountains. A faint stretcher bar crease on the right side. Some surface grime. A 1/2 x 1 1/4 inch patch verso. Blacklight: A 1/8 x 1 1/2 inch touch-up near the center-right upper edge (with corresponding patch verso, noted above). A 3/4 x 3/4 inch upside-down L-shaped touch up in the upper right corner. Some dots and dashes of touch up scattered in places, mainly in the mountains. Frame: 19 1/2 x 25 1/2 x 3 in. 182 Visual: Slight varnish discoloration and minor grime. Scattered craquelure primarily in the upper half. The canvas is glue-lined. Blacklight: A 2 x 2 inch touch-up in the upper right quadrant. A 2 1/2 x 5 inch area of crack-fill in the white pigment at the center of the upper edge. Scattered flecks of touch-up in the lower right quadrant. Frame: 37 x 45 1/4 x 3 in. 183 Visual: Craquelure throughout. Traces of old stretcher bar creases and cracks visible in places along the edges. A few visible paint losses, some with touchup, in the upper left corner, the largest measuring 3 1/4 x 1/2 inch. A series of scattered, thin, horizontal ridges of buckled paint, predominately along the center of the upper portion (in the blue) of the sky, mostly measuring about 1-inch (and smaller). Unobtrusive, scattered surface scuffs, mainly in the center of the picture, visible in raking light. Scattered paint losses along the extreme outer edges where the canvas was cut, most of which are obscured by the frame. Surface grime. As mentioned above, the canvas has been laid to board (an old flakeboard or Masonite-like material). Blacklight: Areas of touch-up covering losses in the upper left corner, as mentioned above. Other areas of probable touch-up in the sky, all seemingly in the upper 1/3 of the picture, the largest is about 7 x 2 inches. Frame: 21 5/8 x 28 5/8 x 2 1/2 in. 184 Visual: Varnish discoloration and grime, with a few spots of dripped grime in the left half. Scattered areas of craquelure. Blacklight: A pea-sized touch-up in the log at the base of the left tree. Frame: 29 x 41 x 3 in.

460

Blacklight: Scattered flecks of touch-up scattered throughout, the largest measuring 1 x 1/2 inch in the lower left quadrant. A thin scattered band of touch-up along the upper and left edges. Frame: 16 1/4 x 20 3/4 x 3 in. 186 Visual: Slight varnish discoloration and minor grime. The board is slightly convex. A 3 inch scratch on the verso of the board, not affecting the recto. Blacklight: No evidence of restoration. Frame: 23 1/4 x 19 1/2 x 2 3/4 in. 187 Visual: Scattered areas of craquelure. Two thin 1 nch (or smaller) diagonal surface scratches along the left portion of the upper edge, one with attendant small flecks of paint loss. An extremely soft, unobtrusive 2 x 2 inch pressure mark in the center, primarily visible raking light. Blacklight: Certain pigments fluoresce under blacklight, although this does not appear to be due to restoration. Frame: 22 x 30 x 3 3/4 in. 188 Visual: Slight grime and scattered craquelure throughout. Several pinhead (or smaller) paint losses in the sky of the upper right quadrant, and another of the same size beside the right hand of the seated figure, all attendant with the craquelure just mentioned. Blacklight: No evidence of restoration. Frame: 18 x 22 1/2 x 1 3/4 in. 189 Visual: Scattered areas of fine craquelure, primarily in the upper half. Blacklight: No evidence of restoration. Frame: 50 1/2 x 52 1/2 x 3 in.

190 Visual: Small scattered areas of fine craquelure. Blacklight: No evidence of restoration. Frame: 39 1/2 x 41 1/2 x 3 1/2 in. 191 Visual: Craquelure throughout with stretcher bar creases and cracks, most visible in the sky. Surface grime. Blacklight: No evidence of restoration. Frame: 31 x 34 3/4 x 2 in. 192 Visual: Craquelure throughout and with stretcher bar cracks around the edges. In the lower left corner there is a thin, s-shaped abrasion (overall approx. 2 inches high) with a few scattered pinpoint-sized paint losses and a pinhead-sized puncture. Surface grime and considerable discoloration. Blacklight: No evidence of restoration. Frame: 25 1/4 x 29 1/4 x 2 in. 193 Visual: Minor grime. Blacklight: No evidence of restoration. Frame: 15 1/4 x 17 1/4 x 2 1/2 in. 194 Visual: Slight varnish discoloration. Scattered areas of craquelure. The canvas is wax-lined. Blacklight: A 1 x 1 1/2 inch touch-up at the center of the lower edge. Frame: 33 1/4 x 37 1/4 x 4 in. 195 Visual: Slight varnish discoloration. A few minor scattered areas of craquelure. A very unobtrusive pinhead-sized paint loss in the lower left quadrant. The canvas is glue-lined. Blacklight: A pinhead-sized touch-up in the water at the left of center. Frame: 34 1/4 x 39 1/2 x 5 in.

Condition Reports

185 Visual: Slight varnish discoloration and grime, commensurate with age. Scattered areas of fine craquelure, primarily in the upper right quadrant. As mentioned, the canvas has been laid to Masonite.

461

196 Visual: Traces of very fine craquelure. The signature appears to have been slightly affected by the wax lining (pigment has bled). The canvas is wax-lined. Blacklight: No evidence of touch-up. Frame: 18 x 22 x 2 1/2 in. 197 Visual: Craquelure throughout. Stretcher bar creases along each edge. Two pinhead-sized (or smaller) paint losses near the lower left corner. Blacklight: A 1/4 x 6 inch band of possible touch-up along the lower edge of the boat in the lower left quadrant, and a few scattered pea-sized flecks of possible touch-up in the water near the pathway, to the right of center. Frame: 36 x 46 x 2 in. 198 Visual: No condition issues to report. Blacklight: Areas fluoresce under blacklight but this is likely due to the artist’s choice of paints, rather than touch-up.

Condition Reports

Frame: 35 1/4 x 40 5/8 x 2 1/2 in.

462

199 Visual: Dust accumulation and significant grime throughout. Scattered craquelure, occasionally with attendant pea-sized (or smaller) paint losses, such as near the upper right corner. The hint of an old 3 inch crease stretching diagonally across the upper right corner, visible primarily in raking light, and possibly inherent in the original board as selected by the artist. A possibly unrelated drip of old paint extending 3 1/2 inches horizontally from the center of the left edge, visible primarily under blacklight. The artist’s painting style for this work reveals numerous areas of a gray gesso layer scattered throughout. Staining and wear to the upper corners of the board. The painting is possibly unvarnished. Blacklight: No evidence of restoration. Frame: 22 1/2 x 25 x 1 in. 200 A pinhole visible along the lower portion of the left edge, near the corner. There is a slight cockle to the paper in the upper right corner. Hinged to the overmat with white tape from the verso of the upper and vertical edges. An old strip of brown paper tape is still affixed to the verso of the upper edge. Framed under glass: 33 x 40 1/2 x 1 1/2 in.

201 A pinhole visible in the upper right corner. The sheet is loose within the frame. Framed under glass: 32 x 39 1/2 x 2 in. 202 Visual: Scattered areas of fine craquelure. The canvas is glue-lined. Blacklight: A 7 x 2 1/2 inch area of scattered flecks of touch-up along the lower portion of the left edge. A few scattered 1 x 1 1/2 inch (or smaller) touch-ups scattered in the sky. A few rice-sized flecks of touchup in the water in the lower left quadrant. Frame: 33 1/2 x 39 3/4 x 2 1/2 in. 203 Visual: Scattered unobtrusive areas of fine craquelure primarily along the lower edge. Scattered minor frame abrasion showing along the left portion of the lower edge. The canvas is wax-lined. Blacklight: Scattered areas of touch-up throughout, the largest approximately 2 x 4 inches in the crashing waves of the upper right quadrant. Smaller flecks, specks, and dashes of touch-up and crack-fill, primarily in the upper half. Frame: 41 1/2 x 51 1/2 x 4 1/2 in. 204 Visual: Varnish discoloration and grime, including a 5 inch band of pinhead-sized specks of grime along the right portion of the upper edge. Scattered areas of craquelure throughout. Soft stretcher bar creases along each edge, primarily visible in raking light. Blacklight: Two parallel 14 x 3/4 inch bands of touchup in the lower left quadrant, and two parallel 1/4 x 3 inch (or smaller) bands of touch-up in the sky in the upper right quadrant, near the right edge. Frame: 28 1/2 x 36 3/4 x 2 1/2 in. 205 Visual: Faint, unobtrusive craquelure. Faint stretcher bar creases including sections of cracks in places. Minor surface soiling. Blacklight: No evidence of restoration. Frame: 26 1/2 x 34 3/8 x 1 3/4 in.

Blacklight: Two possible 1/4 inch horizontal hairline touch-ups in the sky in the upper right quadrant. Frame: 33 1/2 x 45 1/4 x 3 in. 207 Visual: Scattered pea-sized (and smaller, mostly pinpoint-sized) paint losses in the lower left within the dark rocks. Faint craquelure, Blacklight: Scattered throughout there are areas where some of the white pigments fluoresce. This is possibly not touch-up, but rather the type of pigments used. Frame: 40 x 69 3/4 x 3 in. 208 Visual: Slight varnish discoloration. Fine, scattered craquelure, primarily along the upper edge. Minor specks of grime scattered primarily in the lower half. Blacklight: No evidence of restoration. Frame: 38 3/4 x 49 x 3 in. 209 Visual: No condition issues to report.

212 Visual: Unobtrusive craquelure. Pea-sized (and smaller) paint losses in the upper left quadrant, above the mountains, and another area of flaking paint along the center of the left edge. Blacklight: Large areas of fluorescence in places, especially the center orange mountainside, however it is likely these were done by the artist after an initial varnish layer. Frame: 44 x 55 1/2 x 2 3/4 in. 213 Visual: A 3 1/2 x 5 inch square of touch-up in the center of the painting visible to the naked eye, as well as other smaller scattered dabs, all in the sky. Pin-head sized flecks of paint loss scattered in places. Crazing in scattered areas. Some light hairline scattered surface abrasions. Surface grime. Blacklight: An additional 3 x 2 1/2 inch area of touch-up within and just below the central touch-up mentioned above. Other scattered pea-sized touch-ups. Frame: 32 x 43 1/2 x 1 1/2 in. 214 Visual: Some minor scattered pinhead surface abrasions/paint losses.

Blacklight: No evidence of restoration.

Blacklight: A few scattered touch-ups in places, including along the upper and lower edges and in the foreground rock on the right side.

Frame: 27 3/4 x 38 1/2 x 2 1/4 in.

Frame: 26 1/2 x 32 1/2 x 1 in.

210 Visual: One very unobtrusive, 1 1/4 inch long, vertical, hairline drip of grime through the tops of the waves to the right of center, plus a few other pinpoint-sized specks of scattered grime elsewhere.

215 Visual: Fine crazing scattered throughout, primarily in the lower half and the darker pigments.

Blacklight: Some of the paints fluoresce under blacklight, however this does not appear to be due to restoration. Frame: 17 1/4 x 23 1/4 x 1 1/2 in. 211 Visual: Faint scattered craquelure, with minor, faint crazing in places within the brown paint. An area of scattered pinpoint-sized scuffs measuring 1 x 1 inch overall in the lower left corner. Varnish discoloration. Blacklight: No evidence of restoration. Frame: 42 1/2 x 50 3/4 x 1 1/2 in.

Blacklight: A few scattered touch-ups in the sky, the largest measuring 1 1/2 x 3 1/2 inches at the center of the upper edge. Frame: 19 x 24 3/4 x 2 1/4 in. 216 Visual: Slight grime. A relatively unobtrusive, small, deep divot(approximately nailhead-sized), inherent in the original board, in one of the upper branches of the tree farthest to the right. A much smaller (approximately pinhead-sized) pressure mark in the upper portion of the extreme left edge Blacklight: A dot of touch-up to the tiny pressure mark near the extreme left edge just described. Possible small touch-ups in the sky of the upper left and upper right corners

Condition Reports

206 Visual: Frame abrasion visible along the right edge. Discolored varnish layer.

Frame: 21 1/2 x 17 1/2 x 2 in. 463

217 Visual: Craquelure throughout the upper left quadrant, and faint craquelure throughout. There is a damp stain verso measuring approximately 18 x 12 inches, seemingly not affecting the recto. Blacklight: No evidence of restoration. Some areas of florescence but likely due to the pigments used by the artist. Frame: 23 x 29 x 2 in. 218 Visual: No condition issues noticed. Blacklight: A few spots of possible touch-up in the cloud and the orange of the tree, the largest is 3 x 1 inches. Frame: 24 1/2 x 28 1/4 x 2 in. 219 Visual: A pinpoint-sized loss with attendant rice-sized light abrasion in the upper center, above the large cloud, and a rice-sized abrasion in the upper left quadrant, just above and to the right of the mountain peak. A faint stretcher bar crease on each vertical side, visible mainly in raking light. Surface grime. Blacklight: No evidence of restoration. Frame: 24 x 32 x 1 1/2 in. 220 Visual: A rice-sized paint loss along the extreme lower edge, at right, and another of the same size along the extreme upper edge, at left. A small series of pinhead-sized specks of the frame’s gold leaf has transferred to the extreme lower edge, at left. None of these tiny edge features show when the work is in its frame. Blacklight: No evidence of restoration.

Condition Reports

Frame: 17 1/4 x 21 1/4 x 1 1/4 in. 221 Visual: Slight varnish discoloration. Blacklight: No evidence of restoration. Frame: 28 3/4 x 34 3/4 x 2 1/2 in.

222 Visual: No issues to report. Blacklight: There are pea-sized (and smaller, mostly rice-sized) dabs of touch-up in the sky, mostly along the outer edges. There are other larger areas of touch-up: a 1/2 x 4 inch spot of tan pigment lower center; pea-sized (give or take) dabs in the white highlights in the mountains; 3 x 1 inch purple/ brown shadows at the center of the right edge, with a similar, but smaller area, just below; and smaller purple dabs in the mountains. It is unclear if some of this was done by the artist at a later date or if this was added by another hand. Frame: 21 3/4 x 25 3/4 x 2 1/4 in. 223 Visual: A 1/4 x 1/2 inch repair to the lower left corner of the canvasboard, not affecting the signature. Two unobtrusive, very narrow, vertical lines of paint loss, each showing only slightly along the upper portion of the extreme left edge (one measuring 1 1/8 inches long and the other 1/4 inches long). Blacklight: Touch-up attendant with the repaired corner mentioned above. Frame: 20 1/2 x 24 1/2 x 1 1/2 in. 224 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 15 1/2 x 18 1/2 x 2 in. 225 Visual: No condition issues to report other than dust accumulation verso. Blacklight: No evidence of restoration. Frame: 37 1/4 x 30 1/2 x 2 1/2 in. 226 Visual: Slight grime. Blacklight: No evidence of restoration. Frame: 14 1/4 x 13 5/8 x 1 1/2 in. 227 Visual: Surface grime and faint frame abrasion at the extreme outer edges. Blacklight: 1/4 x 1/2 inch of touch-up just to the left of the signature. A few scattered 1/4 x 1/4 inch (and smaller) touch-ups in the lower left quadrant. Frame: 31 1/2 x 55 1/2 x 2 1/2 in.

464

228 Visual: No condition issues to report.

233 Visual: No condition issues to report.

Blacklight: No evidence of restoration. Scattered spots of grime throughout showing only under blacklight.

Blacklight: No evidence of restoration.

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

234 Visual: Grime and scattered craquelure throughout, some of which is slightly unstable. A few rice-sized paint losses concentrated near the outer edges, some to the gesso layer, and at least one (pea-sized) revealing the canvas layer (in the upper left corner). Some pinpoint-sized specks of (possibly unrelated) paint scattered occasionally throughout. Stretcher bar creases and cracks, including through the figure’s forehead. Scattered frame abrasions along the extreme edges.

Blacklight: An area of probable touch-up along the upper left edge approximately 1 x 4 inches overall. Other areas of touch-up possible but it is difficult to read under a thick varnish layer. Frame: 30 1/2 x 42 1/2 x 3 in. 230 Visual: Surface grime. The canvas is glue-lined. Blacklight: A 1 1/4 x 2 inch spot of touch-up at the center of the lower edge and 1 x 1/3 inch touch-up along the center of the left edge. Frame: 33 7/8 x 45 1/2 x 2 3/4 in. 231 Visual: Very minor grime. A thin, unobtrusive 1-inch vertical band of paint loss along the upper portion of the extreme left edge. Blacklight: A 1 1/2 x 2 inch touch-up in the left portion of the sky, a few scattered bands of touchup along the upper edge, the largest measuring 1/2 x 2 1/2 inches, and a few other scattered pea-sized or smaller flecks of touch-up in the sky, as well as a rice-sized touch-up in the light purple pigment of the lower left quadrant. Frame: 23 1/2 x 31 1/2 x 2 3/4 in. 232 Visual: Scattered areas of craquelure, with a 2 x 4 1/2 inch area of unstable craquelure and slight lifting in the purple pigment at the right of center. Blacklight: A few 1 1/2 x 1 inch (or smaller) touch-ups in the right of center. A few dime-sized (or smaller) touch-ups in the sky at the upper left quadrant. An occasional fleck of touch-up scattered in places throughout. Frame: 23 x 31 x 3 in.

Blacklight: No evidence of restoration. Frame: 13 x 11 x 1 1/2 in. 235 Visual: Minor grime. The canvas is very slightly slack. Foxing throughout the verso. With plastic stretcher bar keys. Blacklight: No evidence of restoration. Frame: 22 1/4 x 28 1/4 x 2 in. 236 Visual: Frame abrasion visible on the left side. Surface grime with pinhead-sized scattered flecks of white paint on the figure’s face. The surface is uneven in places. Blacklight: A dime-sized area of touch-up in the background, near the figure’s sleeve, left of center, lower edge. Possible areas of touch-up on the figure’s face. Other areas of possible touch-up may be obscured by the varnish layer. Frame: 40 x 33 1/2 x 1 1/2 in. 237 Visual: Heavy, but seemingly stable, craquelure throughout. In the upper right and within the areas of the figures there are scattered rice-sized surface scuffs, likely limited to the varnish layer. Scattered pea-sized (and smaller) wear and losses along the extreme outer edges. The canvas is wax-lined. Blacklight: A 1 1/2 x 2 inch spot of touch-up with attendant smaller spots of touch-up in the cloud in the upper center, and another pea-sized spot of touch-up to the left. The abrasions mentioned above fluoresce. There is a very thick varnish layer that may obscure other areas of touch-up.

Condition Reports

229 Visual: Surface soiling. There appears to be a dimesized spot of touch-up in the upper left corner.

Frame: 22 1/2 x 26 1/2 x 2 1/2 in.

Frame: 41 x 47 5/8 x 3 in. 465

238 Visual: There is a 1 inch vertical tear in the canvas in the lower left corner along the left edge. A few peasized (and smaller) losses at the center of the upper edge. A 1 1/2 x 1/8 inch canvas and paint loss in the extreme lower right corner. Craquelure throughout. Frame abrasion along the edges. Surface grime.

242 Visual: Slight stretcher bar crease showing along the upper edge.

Blacklight: A pea-sized spot of touch-up in the center of the sky and a possible touch-up in the woman’s shoulder (approx. 1/4 x 1/2 inch). Other possible touch-ups, although difficult to read under the thick, discolored varnish layer.

243 Visual: As mentioned, the canvas is laid to board. Otherwise, no condition issues to report.

Frame: 42 1/2 x 52 x 4 1/2 in. 239 Scattered stray pigment and/or surface scuffs and grime in the outer sheet edges and verso, not affecting the painted area. A 1/4-inch horizontal edge tear extending in from the center of the right sheet edge. Foxing throughout, showing primarily in the unpainted margins and the verso. A soft 2-inch crease across the upper left sheet corner. Artist pinholes in each sheet corner. Four pieces of linentape remnants in places along the verso of the upper sheet edge. The sheet is trimmed slightly unevenly, presumably in the hand of the artist. The sheet is loose, not matted. Unframed 240 Pale scattered foxmarks near the edges of the unpainted margins and verso. The sheet is taped to the overmat in places along the verso of the upper, left, and right sheet edges. The sheet is trimmed slightly unevenly along the lower edge. A pencil restoration note on the verso. Artist pinholes in each sheet corner.

Condition Reports

Framed under Plexiglas: 27 5/8 x 44 5/8 x 1 1/2 in.

466

241 Visual: Craquelure and paint losses throughout, primarily on the figure’s face. A 3 inch horizontal tear in the center of the lower half, and another, smaller, along the left portion of the upper edge, as well as a few other smaller areas where the canvas is very thin and almost torn. Minor grime. The canvas is slightly slack and very slightly sagging along the lower edge. Blacklight: A 1 x 1 inch touch-up in the center of the figure’s hair and another below his right ear. Frame: 37 1/4 x 33 1/4 x 2 3/4 in.

Blacklight: No evidence of restoration. Frame: 46 1/2 x 34 x 3 in.

Blacklight: Certain pigments fluoresce under blacklight, though this does not appear to be due to restoration. Frame: 43 x 31 x 2 1/2 in. 244 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 21 1/2 x 25 1/2 x 2 in. 245 Visual: Surface grime. Blacklight: Some of the yellows fluoresce (table edge in lower left and right, spots in a lemon, the eggs) but it is possible that these were additions made by the artist post varnish layer as opposed to touch-up. There are other sections that are more difficult to read under blacklight due to an old, uneven, varnish layer, including a brownish area on the hills through the window, as well as along the center of the canvas’ left edge, and a small spot at the center of the canvas’ lower edge. Frame: 32 x 34 3/8 x 1 1/2 in. 246 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 32 3/4 x 36 3/4 x 1 3/4 in. 247 Visual: No condition issues to report. Blacklight: No evidence of restoration. Each, frame: 22 x 18 x 1 in.

Blacklight: No evidence of restoration. Frame: 30 1/2 x 36 1/2 x 2 1/4 in. 249 Visual: No condition issues to report. Blacklight: Some small, scattered touch-ups, particularly in the leg of the dragon that is part of the vase, however this may be as issued, added by the artist at a later date. Frame: 37 x 49 x 2 1/2 inches

255 No condition issues to report. Not examined out of the frame. Framed under glass: 20 x 26 x 3/4 in. 256 Pale light-staining, with an uneven area of toning in the upper right quadrant. Not examined out of the frame. Framed under glass: 20 x 25 5/8 x 1 1/4 in. 257 No condition issues to report. Not examined out of the frame.

250 Pale toning on recto and verso. Old tape remnants and staining in places along the verso sheet edges. The sheet is hinged to the overmat in three places along the verso of the upper sheet edge.

Framed under Plexiglas: 31 x 38 7/8 x 2 in.

Framed under glass: 32 1/2 x 40 1/2 x 1 1/2 in.

Framed under glass: 20 x 25 3/4 x 1 1/4 in.

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

259 Vivid colors. Time staining, mainly on the right edge, covered by the mat. From the verso, it appears as if the piece was removed from a brown paperboard backing board - remnants and skinning visible, not affecting recto. The sheet is toned verso. The sheet is hinged to the overmat from the verso of the upper edge with clear packing tape.

Framed under glass: 32 3/4 x 40 1/2 x 2 in. 252 Light-staining, backboard staining, and uneven toning. A few scattered foxmarks grime, and traces of pencil on the verso. The sheet is taped to the overmat along each edge. Framed under glass: 32 3/4 x 40 x 2 1/4 in. 253 Vibrant color. Scattered pea-sized (and smaller) foxmarks visible mainly in the sky (and on the overmat). Foxmarks on the sheet’s verso (and throughout the framing materials). Hinged to the back mat (unable to view hinges due to adhesion of the overmat and back mat along the upper edges; the sheet is unaffected). Framed under glass: 23 1/4 x 30 1/4 x 1 1/2 in. 254 Faint mat staining along the window opening of the overmat. Signature faded. Toning to the sheet, verso. Minor surface skinning in places along the sheet edges, verso, where old hinging material was removed, not affecting recto. Hinged to the overmat with one long piece of white tape along the verso of the upper edge. Framed under glass: 16 3/4 x 21 1/4 x 1 in.

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

Framed under museum glass: 32 x 40 x 2 in. 260 Some paper toning. Some of the colors may be slightly attenuated. Faint, unobtrusive, scattered foxmarks. Time staining along the outermost edges. The sheet is hinged to the back mat from the verso of the upper edge with two pieces of linen tape. Framed under glass: 30 1/4 x 37 3/4 x 2 in. 261 A few unobtrusive fox-marks in the upper right quadrant, in the sky. Faint pencil measurement lines along the upper and right edge, at the mat line, presumably made by the artist upon framing. Minor rippling of the mat and the inner-mat, particularly on the left side. The sheet is sandwiched (and glued) between the back mat and the overmat (including a hand-painted inner-mat), making it inaccessible. Framed under glass: 32 1/2 x 38 1/2 x 2 1/2 in.

Condition Reports

248 Visual: No condition issues to report.

467

262 No condition issues to report. Not examined out of the frame. Framed under glass: 28 x 32 x 2 in. 263 Pale light-staining. Not examined out of the frame. Framed under glass: 29 x 21 1/4 x 1 in. 264 Old tape remnants and residue on the verso and along the verso of the sheet edges. The sheet is hinged to the overmat with brown paper tape along the upper, left, and right sheet edges. Framed under Plexiglas: 31 3/4 x 39 3/4 x 1 in. 265 Pale light- and time staining. Minor surface grime. A 3/4 x 1/8 inch paper loss in the upper portion of the extreme right sheet edge. The lower sheet corners slightly dog-eared. Uneven toning and thumb sized surface soiling on the verso, as well as old tape remnants and staining along the verso of the lower sheet edge. The sheet is loose within the frame. Framed under glass: 30 1/2 x 38 1/2 x 2 3/4 in. 266 Visual: A few spots of extremely fine and unobtrusive craquelure. Surface grime. Slight wear to the extreme outer edges. The artist’s tack mark along the center of the upper edge. Blacklight: No evidence of restoration. Unframed

Condition Reports

267 Visual: Some slight, scattered, frame abrasion in places along the extreme outer right and lower edges.

468

269 Visual: A few rice-sized (and smaller) scattered areas of light abrasion along the extreme lower edge. Surface dust. Blacklight: No evidence of restoration. Frame: 13 3/8 x 19 7/8 x 2 in. 270 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 19 5/8 x 17 1/2 x 1 1/2 in. 271 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 29 1/2 x 52 3/4 x 2 1/2 in. 272 Visual: Surface dust. Blacklight: No evidence of restoration. Frame: 36 x 45 7/8 x 2 1/4 in. 273 Visual: Some scattered minor surface soiling. A note on the backing board states it was cleaned and varnished, possibly in 1988. Blacklight: Somewhat difficult to read under UV. There are areas that present unevenly under blacklight (scattered places in the sky, and one 3 x 3 area of white palette-knife application in the center of the painting). These areas may be due to restoration or the pigments used by the artist, as issued. Frame: 37 1/2 x 47 1/2 x 3 in.

Blacklight: No evidence of restoration.

274 Visual: Slight varnish discoloration and minor grime.

Frame: 20 1/2 x 17 3/8 x 2 in.

Blacklight: No evidence of restoration.

268 Visual: A stretcher bar crease with a light crack in the upper left corner.

Frame: 23 1/2 x 31 1/2 x 2 in.

Blacklight: Several areas of touchup scattered in the sky - the largest is in the upper left corner, measuring approximately 2 1/2 x 3 1/2 inches, with smaller spots nearby. Frame: 25 x 49 x 1 1/2 in.

275 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 20 x 27 5/8 x 2 1/2 in.

Blacklight: No evidence of restoration. Frame: 51 x 60 3/4 x 4 3/4 in. 277 Visual: A 2 x 2-inch circular area of fine craquelure in the left portion of the lower edge. A very unobtrusive pinhead-sized pigment loss in the snow just below the trunk of the tallest tree in the left of center.

283 Visual: A soft reverse pressure mark along the stretcher bar edges in the upper right corner, with two more pronounced pinhead-sized pressure marks, all primarily visible in raking light. Blacklight: No evidence of restoration. Frame: 38 1/2 x 56 1/2 x 3 3/4 in. 284 Visual: Dust accumulation and soiling.

Blacklight: No evidence of restoration.

Frame: 30 3/4 x 75 3/4 x 2 in.

Frame: 22 1/2 x 24 1/4 x 2 1/2 in.

278 Visual: No condition issues to report.

285 Visual: A few faint diagonal cracks in each upper corner visible in raking light. Light surface grime.

Blacklight: No evidence of restoration. Frame: 34 1/2 x 72 1/2 x 2 in. 279 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 29 3/4 x 76 3/4 x 2 1/4 in. 280 Visual: An occasional unobtrusive pinpoint-sized speck of surface grime scattered primarily in the sky. Blacklight: No evidence of restoration. Frame: 40 1/2 x 51 1/2 x 2 1/2 in. 281 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 42 x 51 1/2 x 3 inches 282 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 16 1/4 x 19 x 1 3/4 in.

Blacklight: Pea-sized (and smaller) scattered mold spots. Frame: 34 5/8 x 24 5/8 x 1 1/2 in. 286 Visual: No condition issues to report. Blacklight: A few spots fluoresce but these appear to be the ground layer showing through thinner areas of paint application (as issued). Frame: 25 7/8 x 31 7/8 x 2 1/4 in. 287 Visual: Craquelure throughout with some deeper cracks within the boats that are ever-so-slightly beginning to cup. A few spots of frame abrasion visible along the extreme outer edges. Stretcher bar creases with some cracking in places, especially along the center of the left edge. A discolored varnish layer with grime. Blacklight: There are several 1/4 to 1 inch older looking, thin lines of possible touch-up in the upper right corner, along with a larger, horizontal stripe of touch-up measuring 4 x 3/4 inches in the very extreme upper right corner. There is another area that fluoresces along the lower left edge but it is unclear if this is touch-up or a specific orange paint used by the artist. One of the articles included in the packet of information mentioned above notes that the artist felt some of her paintings needed touch-up prior to an exhibition, so perhaps this was done in her hand. Frame: 39 1/4 x 44 1/4 x 2 1/2 in.

Condition Reports

276 Visual: No condition issues to report.

469

288 Visual: Slight varnish discoloration and grime. Minor crazing in the dark strip of paint to the left of center along the extreme upper edge. Blacklight: No evidence of restoration. Frame: 38 1/4 x 48 1/4 x 3 in. 289 Visual: A 5 inch tear across the upper right sheet corner, and two others, smaller, across the upper left corner and near the lower left corner. Scattered creases throughout, the largest measuring approximately 3 inches in the background of the upper left quadrant. Occasional scattered scratches and surface abrasions. A 1 inch edge tear extending horizontally from the lower portion of the right edge. Grime throughout (appears to be primarily on the inside of the glass). Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 25 x 34 3/4 x 1 3/4 in. 290 Visual: Slight grime. A stretcher bar crease along the upper edge. Occasional scattered areas of craquelure. Scattered rice-sized paint losses and areas of unstable paint along the extreme edges. Blacklight: A thin 9 inch horizontal band of touch-up to the right of center along the upper stretch bar crease already mentioned. Spots of grime or foxing fluoresce under blacklight. A heavy layer of varnish has been applied. Frame: 24 5/8 x 30 1/2 x 1 3/4 in. 291 No condition issues to report. Not examined out of the frame.

Condition Reports

Framed under glass: 30 1/4 x 26 1/2 x 1 1/2 in.

470

292 The cloth binding worn and separated from the book pages. With soiling and handling creases concentrated mainly on the first few pages. Graphite scribbles on the inside back cover and on various pages throughout. Missing the jacket. 293 Overall good condition with minor shelf wear and mild bumping to corners. Edges deckled, one page with two shallow tears.

294 Dust jacket with losses to edges and soiling/staining. The publisher’s page and the following page with a 2 1/2 in. long bit of adhesive remnants. Tanning to end papers. With shelf wear and bumping to spine ends and corners. 295 Dust jacket with losses to edges and soiling. With shelf wear and bumping to spine ends and corners.

471

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Director, Fine Art Katherine Halligan, AAA President, Auctioneer Jeffrey J. Moran Senior Specialist, Furniture & Decorative Art Angela Past Director, Native American Art Kim Jarand Director, Furniture and Decorative Arts Jen Kurtz Specialist, Post-War & Contemporary Design Matthew Grayson Specialist, Fine Art Robert Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Cataloguer, Fine Art Christine Weir Department Administrator, Fine Art Jacob Baer Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver Jewelry & Decorative Art Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Vice President, Director Trusts & Estates Maranda Moran Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Business Development Specialist Julia Kelley

CLIENT SERVICES

HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Accounts Receivable / Customer Service Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Manager, PR/Social Media Media & Website Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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

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.

johnmoran.com · info@johnmoran.com · (626) 793-1833

California & American Fine Art — November 17, 2026 | John Moran Auctioneers