California & American Fine Art

Tuesday, May 6, 2025

SINCE 1969

AUCTIONEERS & APPRAISERS

This is an interactive catalogue. Click on any item description or hyperlink for more information. May 6, 2025 | 12pm PDT

Friday, May 2nd: 12pm-4pm Saturday, May 3rd: 12pm-4pm

Special Open House/Preview Party Event Saturday, May 3rd: 4pm-6pm (by RSVP)

Monday, May 5th: 12pm-4pm Tuesday, May 6: Doors open 10am

Anne Spink

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

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

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

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

Esquivel

SINCE 1969

Frances Hammell Gearhart (1869-1958)

‘’Little Sierra Lake,” circa 1930

Woodcut in colors on Japanese paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: Frances H Gearhart Image: 8” H x 4.5” W; Sight: 8.625” H x 5.125” W

$2,000-3,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

Frances Hammell Gearhart (1869-1958)

“Old Oak,” circa 1930

Woodcut in colors on Japanese paper

From the edition of unknown size

Signed and numbered in pencil in the lower margin: Frances H Gearhart / “50” Image: 5” H x 4” W; Sight: 5.5” H x 4.5” W

$1,000-1,500

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

3

Frances Hammell Gearhart (1869-1958) and May Gearhart (1872-1951) ‘’In the Garden,’’ from the portfolio “Let’s Play,” circa 1920

Linocut in colors on Japanese paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: The Gearharts

Image: 7.875’’ H x 6.875’’ W; Sight: 8.5” H x 7.375” W

$2,000-3,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

Notes:

This work is also sometimes titled “I’m a Wind in the Garden.” This lot is sold together with a copy of the facsimile publication: Victoria Dailey and Susan Futterman, ed., “Let’s Play by The Gearharts” (San Francisco: The Book Club of California, 2009), illus. p. 17 (note: lacking the additional loose reproduction of the image “The Lost Balloon” originally included in the 1,000 copies of this book).

Frances Hammell Gearhart (1869-1958)

‘’Eucalyptus,’’ circa 1920

Linocut in colors on Japanese paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: Frances H Gearhart Image: 11.25” H x 9” W; Sight: 11.875” H x 9.5” W

$3,000-5,000

Provenance: The Collection of David and Holly Davis, Pasadena, CA

Frances Hammell Gearhart (1869-1958)

“Head of Bay,” circa 1930

Woodcut in colors on Japanese paper

From the edition of about 50, including color variants

Signed and titled in pencil in the lower margin: Frances H Gearhart

Image: 5.625” H x 4.125” W; Sight: 6” H x 4.375” W

$1,500-2,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

Notes:

The image is also known as “Head of Bay (On Morro Bay, California).”

Pedro Joseph de Lemos (1882-1954)

“Sheltering Trees”

Woodcut in colors on Japanese paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: Pedro J de Lemos Image: 9.25” H x 8.75” W; Sheet: 11.875” H x 9.625” W

$1,500-2,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “Painting Auction,” June 15, 1999

The Collection of David and Holly Davis, Pasadena, CA

Notes:

This lot is accompanied by a copy of a sales invoice dated June 15, 1999 from the auction mentioned above.

It should be noted that the delicate printer’s crease within the image area of this impression was not significant enough to keep the artist from wholeheartedly approving this example by both signing and titling it by hand in the lower margin.

7

Pedro Joseph de Lemos (1882-1954)

‘’Top O’ the Hill,’’ 1934

Woodcut in colors on Japanese paper

From the edition of unknown size

Signed, titled, and dated in pencil in the lower margin: Pedro J de Lemos / 1934 Image: 8.5’’ H x 12’’ W; Sight: 9.175” H x 12.625” W

$1,500-2,000

Provenance:

Trotter Galleries, Carmel, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, October 9, 1996

Exhibited:

New York, NY, American Federation of Arts, n.d., no. 35

Notes:

This lot is accompanied by a sales receipt dated October 9, 1996 from the gallery mentioned above, and other documentation materials related to the print.

Armin

Carl Hansen

(1886-1957)

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

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

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

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

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

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

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

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

the Monterey Peninsula in 1916, where he was in closer proximity to the vibrant artist preferred maritime subjects. Intimately familiar with the fishing industry along this part of the Italian and Portuguese men who worked on the boats and on the docks there as likenesses, as well as the specific vessels used in the area. Hansen did not appear to make a print mediums, and often a subject executed in one medium would share or inspire

he produced 152 career prints consisting of 75 etchings and 77 drypoints between been identified). His print output also included two lithographs. His decision to cease declining print sales due to the aftermath of the Great Depression.

Armin Carl Hansen (1886-1957)

“Monterey Cypress,” 1928 Etching on cream wove paper

From White’s “original edition” of unknown size (White has located only 6 impression from this edition) Signed, titled, and indistinctly inscribed in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 28

Plate: 6.25” H x 8.125” W; Sight: 7.25” H x 9” W

$700-1,000

Provenance: Guchemand Collection, Baltimore, MD Private Collection, acquired from the above by descent

Literature: White 102

Armin Carl Hansen (1886-1957)

“The Pier End,” 1925 Etching on beige paper

From the edition of likely small size (White indicates that only 5 impressions have been located)

Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 25

Plate: 6” H x 7.875” W; Sight: 6.375” H x 8.25” W

$700-1,000

Provenance: Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Literature: White 81

Armin Carl Hansen (1886-1957)

“Fisher Boats,” 1923

Etching on off-white paper

From the edition of likely small size (White indicates that only 10 impressions have been located)

Signed and titled in pencil in the lower margin: Armin Hansen / imp.; with the printed signature and date in the plate at lower left: 23

Plate: 5” H x 5.875” W; Sight: 5.5” H x 6.5” W

$700-1,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

Literature: White 60

11

Armin Carl Hansen (1886-1957)

“Snug Harbor,” 1928

Etching on off-white paper

From the edition of less than 350 in the third (final) state (White indicates that only 26 impressions have been located in this final state)

Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 28

Plate: 6” H x 7.75” W; Sight: 6.875” H x 8.875” W

$700-1,000

Provenance:

Craig Flinner Gallery, Baltimore, MD

The Collection of David and Holly Davis, Pasadena, CA

Literature: White 109 iii/iii

John Steuart Curry (1897-1946)

“The Missed Leap,” 1934 Lithograph on wove paper Edition: 31/100

Signed, titled, dated, and numbered in pencil in the lower margin: John Steuart Curry; Associated American Artists, New York, NY, pub.

Image: 16.875” H x 9.75” W; Sheet: 19.625” H x 12.125” W

$800-1,200

Literature: Cole 23

Arthur George Murphy (1906-1991)

“Bridge Worker No. 6,” 1935

Lithograph on paper

Signed and titled in ink in the lower margin: Arthur G. Murphy Image: 14” H x 10.875” W; Sight: 15” H x 11.125” W

$500-700

John Hovannes (1900-1973)

American sculptor John Hovannes was born in emigrating to the US. Hovannes continued extensive Albert Atkins (1924-25), at the Copley Society in with John Flanagan in 1928. During this period, Ellerhusen and Leo Friedlander. Hovannes was Hovannes was a versatile practitioner and worked and plaster casting, and clay modeling. He explored and movement in grouped figural formations of Hovannes exhibited widely and he regularly won competition (1942). His work was included in important the Chicago Art Institute (1942-43), the Metropolitan American Art, New York World’s Fair (1939), and

In addition to working as a fine art sculptor, Hovannes

Izmir (Smyrna), Turkey and received a BA from Armenian College in 1919 prior to extensive artistic studies in the US, at the Rhode Island School of Design under in Boston with John Wilson (1925-27) and at the Beaux-Arts Institute of Design period, between 1923 and 1936, he also worked in the studios of sculptors Ulric made a Guggenheim Fellow for his “creative work in sculpture” on May 1, 1940.

worked in a variety of sculptural mediums including carved stone and wood, metal explored many themes in his work, but primarily focused on the interrelationships of sensitive depictions of the everyday lives of working people.

won awards including the Eugene Meyer Award (1941) and the Wings for Victory important exhibitions such as the Pennsylvania Academy of Fine Arts (1942-46), Metropolitan Museum of Art, the National Academy of Design, the Whitney Museum of and the Robinson Gallery, where he had a one-man show.

Hovannes also taught for decades at the Art Students’ League and Cooper Union.

John Hovannes (1900-1973)

“The Cotton Pickers,” 1935

Patinated bronze on a wood base on a painted wood plinth

Signed and dated in the casting: John Hovannes; titled by repute

Bronze: 47.25” H x 39” W x 6” D; With base: 52” H x 8.75” D; Plinth: 24” H x 39.75” W x 14.25” D

$3,000-5,000

Provenance: Barbara Guggenheim - Associates, Inc., New York, NY Private Collection, acquired from the above, January 12, 1990

Notes: This lot is accompanied by a copy of the purchase receipt.

Wayman Elbridge Adams (1883-1959)

Wayman Adams was primarily a New York-based technique where he applied layers of wet paint of working as a “lightening artist” resulted in spontaneous whether they were prominent figures including or street kids like the present portrait of a smiling

Painting in the style of William Merritt Chase, who with whom he travelled with to Spain in 1912, Adams’ maintained studies in Indianapolis (near where extensively, particularly to warmer climates escaping Angeles and San Francisco, and spent the final

York-based portrait artist who worked in an “alla prima” or “at the first attempt” painting paint on still-wet paint, in a single sitting of typically three to four hours. This practice spontaneous and expressive portraits that captured the personality of his sitters, Presidents Warren Hoover, Calvin Coolidge or Herbert Hoover, wealthy patrons smiling rosy-cheeked young Wallace Pulsifer.

who Adams had accompanied on a study trip to Italy in 1910, and Robert Henri, Adams’ work was very popular in his day. At the height of his career, the artist he was originally from), New York and Philadelphia. Adams also travelled escaping the Midwest and Northeastern winters, including to New Orleans, Los ten years of his life in Austin, Texas.

Wayman Elbridge Adams (1883-1959)

“Wallace Pulsifer” Oil on canvas

Signed upper left: Wayman Adams; titled on a gallery label affixed to the frame’s verso 20” H x 16” W

$2,000-3,000

Provenance:

Painters & Sculptors Gallery Association, Grand Central Terminal, New York, NY

Eckert Fine Art, Washington Depot, CT Private Collection, acquired from the above, February 1989 Private Estate, Los Angeles, CA

Lenard Kester (1917-1997)

“East Side Tenements,” 1938 Oil on canvas

Signed and dated lower right: Lenard Kester ‘38; titled on a gallery label affixed to the frame’s backing board

30” H x 24” W

$3,000-5,000

Provenance: Goldfield Galleries, Los Angeles, CA

Paul Sample (1896-1974)

“East River”

Watercolor and gouache on wove paper

Signed lower right: Paul Sample; titled and numbered, possibly in another hand, verso: “#128”

Image: 12.5” H x 19.25” W; Sheet: 13.5” H x 20.5” W (irreg.)

$6,000-8,000

Henry Gasser (1909-1981)

“Winter Vista”

Watercolor on paper laid to board

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

$3,000-5,000

Provenance:

The artist

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

19

Henry Gasser (1909-1981)

“Winter Scene”

Oil on paperboard laid to cardboard

Signed lower right: H. Gasser; titled on an exhibition label affixed verso; with alternate titles “Country House #2” and “Yellow House” on the frame’s backing paper and backing board 22.25” H x 28.25” W

$3,000-5,000

Provenance:

The artist

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

Exhibited: Livingston, NJ, National Council of Jewish Women-Essex County Section, “Focus on Art,” n.d.

Jerry Bywaters (1906-1989)

Farm houses in the foothills

Watercolor on paper

Signed lower right: Jerry Bywaters 12” H x 16.25” W

$3,000-5,000

Nellie Evelyn Ziegler (1874-1948)

“#3 Atlantic Ave, Nantucket” Oil on canvas board

Signed lower right: Nellie E. Ziegler; titled verso, and again on the verso of the frame 12” H x 16” W

$2,000-3,000

Frederick Mulhaupt (1871-1938)

Frederick John Mulhaupt was an American painter coastal scenes of Gloucester, Massachusetts. A key rendering of light, atmosphere, texture, and intimate

Born in Rockport, Missouri, modest circumstances at the Art Institute of Chicago, where he gained a development took him to Paris in the late 1890s, where like Claude Monet. This period in Paris expanded his which would become hallmarks of his later work.

Mulhaupt eventually settled in Gloucester, Massachusetts, harbor scenes, and rugged coastline of this New England the place with dynamic brushstrokes and luminous the dramatic interplay between sea and sky. Mulhaupt distinctive quality of light along the coast.

What set Mulhaupt apart from many of his contemporaries light and atmosphere. His paintings have a structural strong sense of place while highlighting the beauty

Mulhaupt was highly regarded during his lifetime. and the Salmagundi Club, and his work was exhibited connection to the American landscape and his ability

While the coastal environs of Gloucester were frequent seasonal views of New England’s natural beauty. The foreground, framing a peaceful river winding through and shadow evoke a sense of seasonal transition, likely earthy tones create a vivid atmosphere, reflecting

painter best known for his vibrant depictions of New England landscapes, particularly the key figure in American Impressionism, Mulhaupt’s work is distinguished by its skillful intimate connection to the natural world.

shaped Mulhaupt’s early life, but his talent for art became evident early on. He studied strong foundation in traditional artistic techniques. His pursuit of further artistic where he absorbed the influences of French Impressionism and the works of masters his technical skills and broadened his appreciation for the effects of light and color,

Massachusetts, a place that became his primary source of inspiration. The fishing industry, England town captivated him, and he painted them repeatedly, capturing the spirit of luminous color palettes. His works often depict fishermen at work, boats in the harbor, and Mulhaupt had an extraordinary ability to capture the changing moods of the sea and the

contemporaries was his ability to blend the realist tradition with the Impressionist focus on structural solidity and clarity. This fusion of technique and emotion allowed him to evoke a beauty of everyday scenes.

He was a member of various art societies, including the National Academy of Design exhibited widely across the United States. His paintings remain a testament to his deep ability to translate that connection into works of lasting beauty.

frequent subjects for the artist, Mulhaupt also spent considerable time inland painting The present work captures a tranquil New England landscape with tall birch trees in the through a sunlit valley. The soft, rolling hills in the distance and the delicate interplay of light likely early spring or late autumn. Mulhaupt’s Impressionistic brushstrokes and warm, his mastery in portraying the beauty and fleeting moods of nature.

Frederick Mulhaupt (1871-1938)

New England river landscape

Oil on canvas

Signed lower left: Mulhaupt

36” H x 36” W

$10,000-15,000

John William Bentley (1880-1951)

Landscape with apple blossoms, likely Catskills Oil on canvas

Signed lower right: John W Bentley 24.25” H x 32” W

$2,000-3,000

Provenance: Private collection, Los Angeles, CA

24

Edward Charles Volkert (1871-1935)

“Summer Morning,” 1916 Oil on panel

Signed lower right: Ed C. Volkert; titled, dated, and inscribed in pencil, verso: “June 1916 - 11 - F / Summer Morning”

8.125” H x 11.125” W

$2,000-3,000

Notes:

The number and letter appearing after the date in the artist’s inscription on the verso of this panel refers to Volkert’s “Cattle-log.” He is known to have created a log of watercolor miniatures of most of his paintings. The original logs were eventually donated by the artist’s family to the Smithsonian’s Archives of American Art in Washington, D.C.

Newell Convers Wyeth (1882-1945)

Massachusetts-born Wyeth was one of America’s foremost pursue art from a young age, and initially studied at Mechanics began taking instruction in illustration from George Loftus Noyes Pennsylvania to continue his studies with Howard Pyle at the

Wyeth received his first significant commission as an illustrator of “The Saturday Evening Post.” Another “Post” commission experience working with professional cowboys. Wyeth quickly visual sense of the written word for readers. He successfully Island,” “Robin Hood,” “Robinson Crusoe” and “The Last influences.

As Wyeth’s career progressed, he enjoyed the financial and illustration art to be a source of frustration. When Wyeth made Despite the limitations of working in the realm of commercial time and is celebrated today.

Illustrating the novel “Westward Ho!” was one of a number 1855 by Charles Kingsley, a Church of England priest, professor, era that follows the adventures of Sir Amyas Leigh through

The story is set initially in the North Devon port town of Bide local beauty Rose Salterne, before following Francis Drake of Torridge” by her many admirers. In Wyeth’s romantic narrative She holds a letter from Leigh in her left hand while absently woman by placing her in a red dress, and doubly frames her of the cottage and the inclusion of six pigeons that mingle

While Rose goes on to have her own tragic adventures after coast of Venezuela, and where he finds new true love with and her brother Frank have been burnt at the stake during Armada. While fighting at sea, he is permanently blinded by

Written in the typically flowery language of the Victorian period, into a variety of entertainment mediums including a silent film

Wyeth

early 20th Century illustrators and found early success in the field. He was encouraged by his mother to Mechanics Art School and Massachusetts Norman Art School before focusing his attention on illustration. He Noyes and Charles W. Reed at the Eric Pape School of Art, and then in 1902, Wyeth moved to the artist’s eponymous School of Art. Wyeth would eventually settle permanently in Chadds Ford.

illustrator the following year, when an image of a bucking bronco was picked to be the February 21, 1903 cover commission the following year to illustrate a Western story led the artist to travel to Colorado to gain first-hand quickly established himself as an in-demand illustrator, known for exacting draftsmanship that captured a successfully fulfilled numerous assignments for America’s leading periodical and book publishers, including “Treasure of the Mohicans,” and considered his subjects and style to be entirely American, free from European

and commercial successes that came with his illustration commissions, but found the subordinated position of made attempts later in his career at painting in a more modern style, these subjects were not received well. commercial art, Wyeth’s position as a preeminent American illustrator and visual storyteller was unmatched in his

number of commissions Wyeth received from Charles Schriber’s Sons publisher in New York. Originally written in professor, historian, author, poet and social reformer, “Westward Ho!” is an historic novel set in the Elizabethan general themes of English victory over Spain.

Bideford, located on the estuary of the River Torridge, where Leigh pledges his love — unreciprocated — to on an adventurous journey at sea. Rose, the subject of the present work, is known in the story as the “Rose narrative view, Rose leans against an open upper cottage window gazing into the distance, lost in thought. absently sniffing a posey of roses in her right. Wyeth enhances the lovely rosy cheeks of the beautiful young her in the window and her fetching bonnet. The composition is completed with quaint architectural details charmingly on the slate roof beneath Rose’s window.

after eloping with a Spaniard, Leigh’s travels take him to the Caribbean where he searches for gold along the an indigenous woman named Ayacanora. During his return journey to England, Leigh discovers that Rose the Spanish Inquisition. Leigh vows revenge on all Spaniards and joins England’s fight against the Spanish by a freak bolt of lightning, ending his maritime career.

period, “Westward Ho!” is widely considered Kingsley’s most dynamic and exciting novel, and was adapted film in 1919, a BBC radio show in 1925 and, more recently, as an animated children’s film in 1988.

25

Newell Convers Wyeth (1882-1945)

“Rose of Torridge,” circa 1920 Oil on canvas

Signed upper left: N.C. Wyeth; inscribed “© Charles Scribner’s Sons” lower left; signed and inscribed “NCWyeth / Needham, Mass” in ink, and with the title, publication date, and “Facing Page 55,” all typed on a “Scribner’s Magazine” label affixed verso 40.5” H x 30” W

$100,000-200,000

Provenance: The artist

Charles Scribner’s Sons, New York, NY

Literature: Charles Kingsley, “Westward Ho!” (New York: Charles Scribner’s Sons, 1946) opposite p. 24, illustrated

Notes:

This lot is sold together with a copy of Charles Kingsley, “Westward Ho!” In this later edition of the Scribner’s-published book, first copyrighted in 1920, this image appears in color opposite page 24.

Helena Dunlap (1876-1955)

Floral still life Oil on canvas

Signed lower left: H Dunlap

26” H x 26” W

$5,000-7,000

Provenance: Michael Johnson Fine Arts, Fallbrook, CA

Emil Carlsen (1853-1932)

Emil Carlsen was a Danish-American artist known French Impressionists, Carlsen brought a refined, Self-taught and technically skilled, he gained early composition. Later, his landscapes echoed the with emotional depth.

Carlsen also taught at top art schools, including and mentored many younger artists, becoming captivate viewers with their balance and elegance.

known for his luminous still lifes and serene landscapes. Influenced by Dutch masters and refined, meditative quality to American painting.

early acclaim for still lifes that showcased delicate light, subtle textures, and careful same quiet beauty—calm seascapes, misty harbors, and soft natural scenes rendered

including the Pennsylvania Academy of the Fine Arts and the National Academy of Design, becoming a key figure in American Impressionism. His still lifes and landscapes continue to elegance.

Emil Carlsen (1853-1932)

“Still Life with Black Jug,” 1931 Oil on panel

Signed and dated lower left: Emil Carlsen 1931; titled on the frame plaque 15” H x 15” W

$15,000-25,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 12, 1996, Lot 1034

From a Private Collection near San Francisco

Henry McFee (1886-1953)

“Things on a Table” Oil on canvas

Signed lower right: McFee; titled on various labels affixed to the frame’s backing board and frame 30” H x 24” W

$4,000-6,000

Provenance: The Collection of Millard and Mary Sheets

Exhibited: Pomona, CA, Los Angeles County Fair, “Art Exhibition,” 1948 Washington, D.C., Corcoran Gallery of Art, “Twenty First Corcoran Biennial,” March 30-May 8, 1949

Edith White (1855-1946)

Pink roses still life, 1897

Oil on canvas laid to board

Signed and dated lower right: Edith White / 1897

Sight: 13.625” H x 19.625” W

$700-900

Paul de Longpré (1855-1911)

Harbor view with birds and a garland of flowers

Oil on canvas laid to canvas

Signed lower left: Paul de Longpré

19.5” H x 14.75” W

$5,000-7,000

Notes:

Harbor view with birds and a garland of flowers is an exquisite example of the detail de Longpré was able to achieve in his paintings. The flowers’ intricate attributes, from their layered petals to the subtle shades of green in the leaves, contrasts beautifully with the soft pastel background, which depicts a peaceful riverside view framed by distant trees and architecture. Birds with vivid plumage perch within the composition, adding dynamic movement and energy, while a delicate dragonfly hovers nearby, reinforcing the painting’s theme of life and serenity in nature. The overall effect is one of harmony, with de Longpré’s characteristic elegance and attention to the fine details of both flora and fauna.

Paul de Longpré (1855-1911)

Harbor view with birds and insects and a garland of flowers

Oil on canvas laid to canvas

Faintly signed lower right

19.5” H x 14.5” W

$5,000-7,000

Notes:

This particular painting is a masterful example of the craftsmanship de Longpré was able to obtain. The composition centers around a circular frame of delicate white blossoms with lush green leaves, framing a serene landscape that includes calm waters, sailboats, and a distant horizon. The addition of two birds and a butterfly within this space highlights his skill at incorporating elements of wildlife, enhancing the scene’s natural beauty. De Longpré’s use of soft, harmonious colors and intricate textures creates a sense of tranquility, seamlessly blending floral still life with landscape and wildlife in a refined, ornamental style.

Paul Grimm (1891-1974)

“Protection,” circa 1928

Oil on canvas

Signed lower right: Paul Grimm; signed again and with the artist’s copyright stamp, verso; titled and numbered “#741” on the stretcher bar; dated on the exhibition label affixed to the frame’s backing paper

25” H x 30” W

$2,000-3,000

Provenance:

Collection of the Misses Carrie and Hannah Stern

Exhibited:

San Jose, CA, San Jose Museum of Art, “The Not-So-Still-Life: A Century of California Painting and Sculpture,” November 22, 2003-February 15, 2004

Pasadena, CA, Pasadena Museum of California Art, “The Not-So-Still-Life: A Century of California Painting and Sculpture,” March 6-June 27, 2004

Literature:

William H. Gerdts, Susan Landauer, and Patricia Trenton, “The-Not-So-Still-Life: A Century of California Painting and Sculpture” (Berkeley and Los Angeles, CA: University of California Press, 2003) p. 44, fig. 39, illustrated

Notes:

This lot is accompanied by a copy of the book “The Not-So-Still-Life: A Century of California Painting and Sculpture.”

William Gerdts writes of the present work: “In this painting, in which the beautifully coiffed and gowned doll, leaning against ornamented pillows on a sofa, seems to be protecting the two stuffed dogs, the artist has imposed an intriguing spatial conundrum: Is the furniture miniaturized as if for a doll’s house, or are the doll, animals, and sofa almost life size? The second interpretation seems more likely, given the interior setting and the painting on the rear wall. Before he moved to Palm Springs, Grimm lived in Hollywood for twelve years, supporting himself with design and advertising work as well as by painting backdrops for movie studios. The theatricality of this painting may reflect his occupations at the time.” (pp. 40, 45)

Charles Walter Stetson (1858-1911)

“Under the Eucalyptus,” 1896 Oil on canvas

With the artist’s monogram and date lower left: 1896; signed, titled, dated again, and inscribed, all verso: Ch. Walt. Stetson / “Pasadena, Cal” 10.25” H x 8.25” W

$1,000-2,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, June 11, 1991, Lot 94

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, June 11, 1994

Notes:

This lot is accompanied by a copy of a sales receipt from the auction mentioned above, and other documentation materials related to the painting.

Alfred Jacob Miller (1810-1874)

Blacksmith

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

Signed faintly with intertwined initials near the lower right cor ner: AJM Sight: 6.25” H x 3.625” W

$2,000-3,000

Provenance: Private collection, Ohio

Beniamino Benvenuto Bufano (1898-1970)

“The Philosopher”

Glazed ceramic Appears unmarked

14.75” H x 12.75” W x 6” D

$1,500-2,500

Provenance: From a Private Collection near San Francisco

John O’Shea (1876-1956)

“Roger,” circa 1929

Watercolor and graphite on Arches paper

Signed lower right: O’Shea; titled and inscribed with a number “29” in a circle, both in pencil on the verso; dated on a section of a prior frame’s backing board affixed to the current frame’s backing paper

Image/Sheet: 10.5” H x 16.125” W

$1,000-1,500

Provenance:

Josh Hardy Galleries, Carmel, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Exhibited: Oakland, CA, Oakland Museum, 1933

37

Arthur Putnam (1873-1930)

“The Lovers, Nuzzling Pumas,” 1904 Patinated bronze

Signed, dated, and numbered in the casting: A Putnam / 04; © AP / 1906; foundry mark: Roman Bronze Works N.Y. 8” H x 18.875” W x 7.25” D

$3,000-5,000

Provenance: From a Private Collection near San Francisco

Literature: Julie Helen Heyneman, “Arthur Putnam: Sculptor” (Johnck & Seeger, San Francisco, California, 1932) p. 73, another example illustrated

Paul de Longpré

(1855-1911)

Paul de Longpré was a renowned French-American France, he developed a passion for art at a young selling his artwork, and by his early twenties, he salons.

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

De Longpré was particularly celebrated for his ability earned him the nickname “King of Flowers.” He that elevated floral still lifes to a fine art form. His and blooms made his work highly sought after

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

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

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

ability to capture the delicate nuances of different flowers, particularly roses, which He worked primarily with oil paint and watercolor, often creating vibrant compositions His attention to detail and skill in rendering the textures and colors of petals, leaves, during his lifetime.

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

38

Paul de Longpré (1855-1911)

“Spring, No. 5,” 1896

Watercolor on wove paper

Signed and dated lower right: Paul de Longpré / 1896; titled in the “California Art” literature reference and materials accompanying the lot; titled in ink in another hand on a gum label affixed to the frame’s backing paper Sheet: 24.5” H x 17.25” W

$6,000-8,000

Provenance:

The Dutilh Estate

Alice Kite, aunt, acquired from the above, 1920

Robert N. Troutman, acquired from the above, 1951

The Collection of David and Holly Davis, Pasadena, CA

Literature:

Nancy Dustin Wall Moure, “California Art: 450 Years of Painting & Other Media” (Los Angeles: Dustin Publications, 1998) p. 137, fig. 11-4

Notes:

In the book, “California Art: 450 Years of Painting & Other Media,” Nancy Moure writes, “Artistically, he has incredible control of transparent watercolor, which was just then gaining respect as a fine-art medium. An example is ‘Spring, No. 5’ of 1896 (fig. 11-4). Typical of his style, transparent washes with subtle shading give shape to petals and body to a vase, and they imply a background. Stronger but selectively employed opaque colors delineate or suggest the smallest details of flowers down to individual petals, stamens, and thorns” (p. 137).

Paul de Longpré (1855-1911)

Floral spray Oil on canvas laid to paperboard

Signed lower left: Paul de Longpré 21.25” H x 9.125” W

$2,500-3,500

Paul de Longpré (1855-1911)

Pansies

Watercolor on paper

Signed left of center: Paul de Longpré

Image/Sheet: 10” H x 14” W

$3,000-5,000

Provenance:

Private Collection, Porter Ranch, CA

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

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

Xavier Martinez (1869-1943)

“Notre Dame de Paris / Quay [sic] Saint Bernard,” 1900 Oil on canvas laid to canvas

Inscribed and with the artist’s stylized monogram at lower right: Paris. XM [in a circle]; signed, monogrammed again, titled, and dated, all in ink on the frame’s backing board: Notre Dame de Paris / Quay [sic] Saint Bernard / JTM [in a circle] 1900 / J.T. Martinez; partially titled again on the frame plaque as well as on an exhibition label affixed to the verso of the frame’s backing board: Notre Dame de Paris

8.5” H x 10.5” W

$2,500-3,500

Provenance:

From a Private Collection near San Francisco Mr. & Mrs. James Roberts, Piedmont, CA

Exhibited: Oakland, CA, Oakland Art Museum, “Treasures of East Bay Collections,” November 1962

Arthur Grover Rider (1886-1975)

‘’Balancing the Sail’’ Watercolor and traces of graphite on thin paperboard

Signed lower right: A.G. Rider; titled by repute 8” H x 10” W

$3,000-5,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 4, 1992, Lot 154

The Collection of David and Holly Davis, Pasadena, CA

James Everett Stuart (1852-1941)

Marine Scene (ship at sea)

Oil on canvas laid to linen

Signed lower left: Stuart 30” H x 50” W

$4,000-6,000

Provenance: Montgomery Gallery, San Francisco, CA

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

Ralph Earl DeCamp (1858-1936)

“Waterfall in Dearborn Canyon, Lewis & Clark Co., Montana” Oil on canvas

With a partial signature lower right; titled in graphite on the original frame, verso 24” H x 10” W

$2,500-3,500

Provenance: Private collection, Oregon

45

Ralph Earl DeCamp (1858-1936)

Road through a mountainous Montana landscape Oil on canvas

Signed lower right: R.E. DECAMP 24” H x 10” W

$2,000-3,000

Provenance: Private collection, Oregon

Peter Winthrop Sheffers (1893-1949)

“Gates of the Canyon” (Oregon) Oil on Canvas

Signed lower left: Sheffers; titled and inscribed on the artist’s label affixed to the verso of the stretcher: “Sucker Creek Canyon near Jordan Valley, Ore.”

30” H x 40” W

$3,000-5,000

Albert Bierstadt (1830-1902)

Albert Bierstadt was one of the most famous and and dramatic American Western landscape, which Destiny. Bierstadt’s interest in finding fresh new England and the continent where he produced

Beginning in 1853, Bierstadt took an extended Switzerland and Italy, with fellow artists Worthington Sanford Gifford and William Stanley Haseltine. oils, on this trip that featured various spots in the touristic subjects in favor of romantic and panoramic

Bierstadt visited Switzerland a few more times throughout Jungfrau region, and again in 1884. The present snow-capped Alpine peaks.

Bierstadt’s popularity waned in his later years, as idealized as Bierstadt’s paintings, and as public decades, however, an appreciation for the exacting

and successful late 19th-century Romanticism painters. His work focused on the varied which fed directly into the American population’s imagination and interest in Manifest subjects to paint also extended to Europe, and he regularly made painting trips to produced landscapes of both Northern and Southern Europe, including Switzerland. four-year trip abroad and spent time travelling to locations such as Germany, Worthington Whittredge, who he had met during his initial time studying in Düsseldorf, and He is known to have completed a number of plein air sketches, and later finished the Swiss Alps, including Lucerne and Visp. Bierstadt typically forwent more obviously panoramic compositions that captured picturesque and naturalistic settings.

throughout his career, including a two-year trip in 1867 where he spent time in the present Visp landscape comes from one of these trips and highlights the area’s distinctive

as more accessible transcontinental railroad travel revealed a West that was not as taste moved away from Realism and Romanticism toward Impressionism. In recent exacting style and compositional artistry of Bierstadt’s work has been renewed.

Albert Bierstadt (1830-1902)

“The Alps from Visp” (Switzerland) Oil on paper laid to panel

Signed with conjoined letters, lower right: ABierstadt; titled on a gallery label affixed verso 14” H x 19” W

$25,000-35,000

Provenance:

Private Collection, Washington, D.C. Stanford Fine Art, Nashville, TN

Private Collection, acquired from the above Sold: Christie’s, New York, NY, “American Art,” February 26, 2014, Lot 41 Questroyal Fine Art, New York, NY

Private Collection, Los Angeles, CA, acquired from the above, May 2, 2014

Notes:

This work is 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. This lot is sold together with the purchase invoice dated May 2, 2014.

48

Julian Walbridge Rix (1850-1903)

“La Barranca Honda, Carmel Valley, Monterey,” 1877

Oil on canvas laid to waxed canvas

Signed and dated lower right: J.W. Rix / 77; titled, possibly in another older hand, on the verso of the original frame 24” H x 50” W

$25,000-35,000

Provenance:

Harmsen Museum of Art, Golden, CO

Sold: Christie’s, Los Angeles, CA, “California, Western and American Paintings, Drawings and Sculpture,” April 27, 2005, Lot 35

The Robert A. Day Jr. Collection, Los Angeles, CA, from the above Private Collection, acquired from the above by descent

Literature:

Scott A. Shields, “Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907” (University of California Press, Berkeley 2006) p. 259, illustrated

Exhibited:

San Francisco, CA, San Francisco Art Association, “Fourteenth Exhibition,” March 5-April 12, 1879, no. 27

San Francisco, CA, Mechanics’ Institute, “Fourteenth Industrial Exhibition,” August 5-September 13, 1879, no. 38

Denver, CO, Rosenstock Arts, “Masters of Western Landscape,” May 8-30, 1981, no. 21

Denver, CO, Colorado Historical Society, “The Colorado Heritage Center,” n.d.

Kansas City, MO, Smith Kramer, Inc., “The West in American Art: From the Bill and Dorothy Harmsen Collection of Western Americana,” n.d.

Sacramento, CA, Crocker Art Museum, “Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907,” February 17-May 21, 2006

Laguna Beach, CA, Laguna Art Museum, “Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907,” June 9-October 1, 2006

Santa Barbara, CA, Santa Barbara Museum of Art, “Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907,” October 21, 2006-January 21, 2007

Monterey, CA, Monterey Museum of Art, “Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907,” February 3-April 29, 2007

Notes:

Important 19th Century Barbizon California artist Julian Rix produced some of his finest paintings on the Monterey Peninsula in the 1870s and 1880s, including the subject painting “La Barranca Honda, Carmel Valley” from 1877. Scott Shields writes of the coastal and inland valley Monterey and Carmel scenes from this period, “Rix’s favorite times of day were noon and twilight” (S. Shields, “Artists at Continent’s End,” p. 259).

This picturesque and sweeping view of the Carmel Valley is an exceptional example of the artist’s work. Painted at day’s end, golden sunset hues illuminate craggy rockfaces in atmospheric light as the Carmel River’s gently meandering curves lead the eye through the striking valley. The painting showcases the artist’s sensitive, poetic observation and focus on fidelity to nature as well as his remarkable skill as a draughtsman and at creating complex compositional scenes.

William Hart (1823-1894)

Rocky coastal

Oil on canvas laid to canvas

Signed lower right: Wm. Hart

7.375” H x 10.375” W

$1,000-1,500

Provenance: Estate, Arizona

Frederick Schafer (1839-1927)

“On Russian River, California” Oil on canvas laid to canvas

Signed lower right: F. Schafer; titled on the original verso canvas

30” H x 50” W

$4,000-6,000

51

William Keith (1838-1911)

Cows grazing in a forest Oil on board

Signed lower right: W. Keith

7.125” H x 9.125” W

$800-1,200

Provenance: Mr. F. Hansen, The Potter, (possibly) Scotland, see verso inscription

William Keith (1838-1911)

Two figures in a landscape Oil on panel

Faintly signed lower left: W. Keith

5.25” H x 8” W

$800-1,200

Percy Gray (1869-1952)

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

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

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

celebrated for his serene watercolor and oil landscapes of California. Born in San Francisco career as an illustrator before shifting to fine art, mainly watercolors, due to an allergy

Northern California--rolling hills, oak trees, wildflowers, and misty coastal scenes. Tonalism, Gray’s paintings are known for their soft light, delicate brushwork, and

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

Percy Gray (1869-1952)

“Trees and Wildflowers” (Coastal live oaks and wildflowers), 1923

Watercolor on thick paper

Signed and dated lower left: Percy Gray 1923; titled on the frame plaque 20” H x 27.875” W

$20,000-30,000

Provenance:

From a Private Collection near San Francisco

Percy Gray (1869-1952)

“California Wildflowers,” 1926 Watercolor on paper

Signed and dated lower right: Percy Gray 1926; titled on the frame plaque Image/Sheet: 10.75” H x 14.75” W

$8,000-12,000

Provenance:

From a Private Collection near San Francisco Sold: Butterfields, San Francisco and Los Angeles, CA, June 12, 1996, Lot 1079

Langdon Smith (1870-1959)

“Pasadena,” 1909

Oil on canvas laid to board

Signed, titled, and dated lower right: Langdon Smith / ‘09

9.5” H x 14” W

$1,500-2,500

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

Angel Espoy (1879-1963) California poppy fields Oil on canvas

Signed lower right: A. Espoy

30” H x 40” W

$6,000-8,000

Angel Espoy (1879-1963)

“California Poppies,” circa 1935 Oil on canvas

Signed lower right: A. Espoy; titled and dated on the frame plaque 20” H x 30” W

$2,000-3,000

Marion Kavanagh Wachtel (1870-1954)

Eucalyptus in a Southern California landscape

Watercolor on paper

Signed and with the artist’s device lower right: Marion Kavanagh Wachtel Image: 16” H x 19.75” W; Sheet: 16.25” H x 20” W

$10,000-15,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

59

Marion Kavanagh Wachtel (1870-1954)

“San Antonio Canyon” Oil on canvas laid to artist’s board Signed lower left: Marion Kavanagh Wachtel; titled in pencil, verso 10” H x 12” W

$1,500-2,500

Provenance:

The Redfern Gallery, Laguna Beach, CA Guchemand Collection, Baltimore, MD Private Collection, acquired from the above by descent

Elmer Wachtel

(1864-1929)

Baltimore, Maryland-born noted California plein age of 18 following his brother who had married focus to painting, Wachtel was a self-taught violinist first violinist and later played in A.J. Stamm’s Philharmonic

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

Returning to Los Angeles, he continued his work fellow artist Marion Kavanagh, a skilled painter region’s artistic circles. Elmer exhibited widely with regularly featured in major exhibitions across the

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

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

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

musician, Wachtel turned his focus to painting. Though he was largely self-taught, he 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 Gutzon Borglum and attended instruction at the Lambeth School.

work as a violinist and painter, and began teaching as well. In 1904, Wachtel married 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 were the state.

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

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

Elmer Wachtel (1864-1929)

Santa Anita Canyon Oil on canvas Unsigned 10” H x 12” W

$6,000-8,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Elmer Wachtel (1864-1929)

San Gabriel mountain landscape Oil on canvas laid to board

Signed lower right: E. Wachtel. 4.75” H x 6.5” W

$2,000-3,000

Provenance: Private collection, Oregon

John Frost (1890-1937)

“Sycamores” Oil on board

Signed indistinctly lower 17” H x 22” W

$20,000-30,000

Provenance: Mrs. E.B. Hendricksen, Los A Prominent Pasadena Collector Private Collection, acquired

Los Angeles, CA

Collector acquired from the above by descent

right: John Frost; titled and numbered “1655” in blue pigment, verso

63

John Bond Francisco (1863-1931)

Sycamore tree in a canyon

Oil on board

Signed lower right: J. Bond Francisco

12” H x 16” W

$2,000-3,000

Provenance:

The Redfern Gallery, Laguna Beach, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, October 14, 1990

Notes:

This lot is accompanied by a sales invoice dated October 14, 1990 from the gallery mentioned above.

William Thomas McDermitt (1884-1961)

William Thomas McDermitt’s works are rare to come California landscape, from mountains to desert. He graduated from Pomona High School and Pomona Art Students’ League in New York.

In the 1920s, McDermitt taught at Washington 1930s, where he continued to teach at the Los Yukon Exposition in Seattle (1909), at the Spokane Artists Guild (1938), and at the Golden Gate International

McDermitt

come to market, but he was a skilled painter who focused on the local Southern

McDermitt was born in Percy, Illinois but came with his family to California as a child. Pomona College, and then continued his artistic studies at the Pratt Institute and the State College in Pullman, Washington but had returned to Los Angeles by the early Angeles Businessmen’s Art Club. He exhibited regularly including at the AlaskaSpokane Art Festival (1928), at Los Angeles’s Biltmore Salon (1937-39), at the San Gabriel International Exposition in San Francisco (1940).

William Thomas McDermitt (1884-1961)

Mountain landscape, 1936 Oil on canvas

Signed and dated lower right: W. T. McDermitt 1936 26” H x 30” W

$3,000-5,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Marion Kavanagh Wachtel (1870-1954)

“Sierras Near Lone Pine” Oil on canvas laid to artist’s board

Signed lower right: Marion Kavanagh Wachtel; signed again and titled in pencil, verso Canvas: 16” H x 14.25” W; Board: 16.5” H x 14.75” W

$7,000-9,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Elmer Wachtel (1864-1929)

“Owens Valley”

Oil on canvas

Signed, and with the artist’s device, in the hand of the artist’s wife, lower left: Wachtel; titled in pencil and inscribed in ink, in the hand of the artist’s wife, all verso: “Sketch by Elmer Wachtel / Signed by Marion K. Wachtel”

17.5” H x 13.5” W

$5,000-7,000

Provenance:

A Prominent Pasadena Collector Private Collection, acquired from the above by descent

67

Edgar Alwin Payne (1883-1947)

“Mystery Hills, Near Santa Ana, Orange Co., Calif.,” 1921-22 Oil on canvas

Signed lower left: Edgar Payne; signed again, titled, and numbered “403” in ink on a label affixed verso; numbered “219-7” in another hand verso; titled and inscribed with the artist’s name on a gum label affixed to the stretcher; dated by repute

16” H x 20” W

$10,000-15,000

Provenance:

Cannell & Chaffin, Los Angeles, CA

Albert Eisner Jr. Collection, Chicago, IL, circa at least the 1940s Private Collection, acquired from the above by descent

Notes:

This lot is accompanied by the following books: Rena Neumann Coen, “The Paynes Edgar & Elsie: American Artists” (Laguna Beach, CA: DeRu’s Fine Art, 1988)

Jean Stern, “Elsie Palmer Payne (1884-1971)” (Beverly Hills, CA: Petersen Galleries, 1990)

Susan Landauer, “California Impressionists” (Irvine, CA: The Irvine Museum, 1996)

Edgar Alwin Payne (1883-1947)

‘’Trabuco Hills” (near San Juan Capistrano), circa 1921 Oil on board

Signed lower right: Edgar Payne; inscribed with the artist’s name and titled in pencil possibly in another hand; titled again on a label affixed to the frame’s backing paper

12” H x 16” W

$8,000-12,000

Provenance:

The artist

Thad Lowe, Jr., son of Prof. Thadius Lowe, a Civil War balloonist whom Mount Lowe is named after, acquired directly from the above

Ruth Lowe Benjamin, acquired from the above

Private Collection, Pasadena, CA

Sold: John Moran Auctioneers, Pasadena, CA, February 7, 1989, Lot 123

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 7, 1989

Notes:

This lot is accompanied by a copy of a sales receipt dated February 7, 1989 from the auction mentioned above.

69

Jack Wilkinson Smith (1873-1949)

“High Sierra Runoff,” 1921 Oil on canvas

Signed and dated lower right: Jack Wilkinson Smith 1921; titled by repute 24.25” H x 18” W

$5,000-7,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, July 31, 1991, Lot 2074

The Robert A. Day Jr. Collection, Los Angeles, CA, acquired from the above Private Collection, Southern California, acquired from the above by descent

Alfred R. Mitchell (1888-1972)

“In the Sierras” Oil on board

Signed lower left: Alfred R. Mitchell; signed again and titled in pencil, verso 8” H x 10” W

$800-1,200

Provenance:

Guchemand Collection, Baltimore, MD Private Collection, acquired from the above by descent

Arthur Hill Gilbert (1894-1970)

California oaks landscape Oil on canvas

Signed lower left: Arthur Hill Gilbert 16” H x 20” W

$4,000-6,000

Provenance: Guchemand Collection, Baltimore, Private Collection, acquired from

Gilbert Baltimore, MD from the above by descent

Arthur Hill Gilbert (1894-1970)

“Mesa Oaks” Oil on canvasboard

Signed lower right: Arthur Hill Gilbert; signed again and titled, both possibly in another hand, verso 10” H x 14” W

$2,500-3,500

Provenance:

Trotter Galleries, Carmel, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

73

Arthur Hill Gilbert (1894-1970)

California landscape Oil on canvas laid to board

Signed lower left: Arthur Hill Gilbert ANA 9” H x 12” W

$1,500-2,500

Provenance: Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Exhibited:

Santa Clara, CA, University of Santa Clara, de Saisset Art Gallery, “California Scenes by Arthur Hill Gilbert, A.N.A. The Distinguished Painter: An Exhibit of 40 Oil Paintings,” November 29, 1958-January 15, 1959

Notes:

Affixed to the frame’s backing board is a brochure for the de Saisset Art Gallery exhibition with a foreword by artist Abel G. Warshawsky.

Percy Gray (1869-1952)

California hillside landscape

Watercolor on paper laid to paper

Signed lower right: Percy Gray

Image/Sheet: 13.75” H x 9.75” W; Support Sheet: 16” H x 11.375” W

$3,000-5,000

Provenance: Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Percy Gray (1869-1952)

House on a hill surrounded by oaks, 1907

Watercolor on paper

Signed and dated lower right: Percy Gray 1907

Sight: 9.125’’ H x 13.375’’ W

$3,000-5,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

James Swinnerton (1875-1974)

“Eucalyptus Trees, Near Palo Alto” Oil on canvasboard

With the incised signature lower right: Swinnerton; signed again and titled in pencil on a paper remnant affixed to the frame’s backing board; titled again on two gallery labels also affixed to the frame’s backing board 16” H x 12” W

$800-1,200

Provenance: The Estate of DeWitt C. McCall III, Owner of DeRu’s Fine Arts, Laguna Beach, CA

Henry Joseph Breuer (1860-1932)

Distant farm nestled in a rolling hills landscape, Oil on canvas laid to Masonite

Signed and dated lower right: H.J. Breuer. 1902. 30” H x 42” W

$2,000-3,000

Provenance: Private collection, Colorado

Leonard Lester (1870-1952)

“Montecito, California” Oil on canvas

Signed and faintly titled lower left: Leonard Lester

17.25” H x 23” W

$1,000-1,500

Arthur Hill Gilbert (1894-1970)

California green hills

Oil on canvas laid to board

Signed lower right: Arthur Hill Gilbert ANA 9” H x 12” W

$1,500-2,500

Provenance: Kerwin Galleries, Burlingame, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Arthur Hill Gilbert (1894-1970)

“Nature’s Hope” Oil on canvasboard

With the incised signature lower right: Arthur Hill Gilbert; titled in ink in another hand, verso; alternatively titled “Spring Meadow” on a gallery label affixed to the frame’s backing board 9” H x 12” W

$1,500-2,500

Provenance:

Sold: Bonhams & Butterfield, Los Angeles and San Francisco, CA, August 8, 2005, Lot 172

Josh Hardy Galleries, Carmel, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

81

Selden Connor Gile (1877-1947)

‘’Marin Dairy,’’ Belvedere - Tiburon / San Francisco Bay in the distance, circa 1923

Oil on canvas laid to waxed canvas

Unsigned; titled on gallery labels affixed to the frame’s backing board, inscribed in another hand, verso 15.25” H x 18.5” W

$4,000-6,000

Provenance:

Maxwell Galleries, San Francisco, CA Trotter Galleries, Pacific Grove, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 21, 1992

Exhibited:

Walnut Creek, CA, Civic Arts Gallery, “A Feast for the Eyes: The Paintings of Selden Connor Gile,” July 9-10, 1983, no. 67 Sacramento, CA, Crocker Art Museum, “Modernism,” December 1990

Literature: Nancy Boas, “The Society of Six” (San Francisco, CA: Bedford Arts, 1988) p. 70, illustrated

Notes:

This lot is accompanied by a sales receipt from Trotter Galleries, Pacific Grove, CA, dated February 21, 1992.

Selden Connor Gile (1877-1947)

“Marin Hills with Cattle” Oil on board

Unsigned; titled on a gallery label affixed to the frame’s backing board

7.5” H x 9” W

$2,000-3,000

Provenance:

Trotter Galleries, Pacific Grove, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, November 30, 1989

Notes:

This lot is accompanied by a sales invoice dated November 30, 1989 from the gallery mentioned above, and other documentation materials related to the painting.

Joseph Raphael (1869-1950)

“Country Houses” (Belgium) Oil on board laid to panel Signed lower left: Joe Raphael; titled on the frame plaque 27.625” H x 35.25” W

$30,000-50,000

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

84

Selden Connor Gile (1877-1947)

“The Red Boxcar,” 1917 Oil on board

Signed and dated in pencil, verso: S. Gile 1917; titled on a gallery label affixed verso 11” H x 15” W

$8,000-12,000

Provenance:

The Collection of Louis Siegriest Trotter Galleries, Carmel, CA

From a Private Collection near San Francisco

Exhibited: Oakland, CA, The Oakland Museum, 1973

Maurice Logan (1886-1977)

“Fish Boats,” 1926 Oil on canvas

Signed lower left: Maurice Logan / A.N.A.; dated on the upper stretcher, signed again and titled on the lower stretcher

20” H x 24” W

$6,000-8,000

Provenance:

David & Sons Fine Art, Inc., Laguna Beach, CA

From a Private Collection near San Francisco

Armin Carl Hansen (1886-1957)

Armin Hansen was an American artist renowned Northern Europe and along California’s Monterey he absorbed influences from Impressionism and informed his art.

Settling in Monterey, Hansen became known for dramatic light, and a deep empathy for the working was able to embody the spirit of a rugged, ocean-bound

Though rooted in realism, Hansen’s work embraced moments. He also played a key role in California’s artists, helping to establish the region as a major

Featuring a strong narrative, “The Belated Boat” warmly in coats and caps, and have their hands white capped seas. The figures lean into the wind crash against the nearby lighthouse. Hansen paints waves, wet reflections on the wooden dock and

renowned for his powerful depictions of the sea and the lives of fishermen working in Monterey coast. Born in San Francisco, Hansen trained early in his career in Europe, where and Expressionism, and worked aboard fishing boats--experiences that deeply for his dynamic portrayals of maritime labor. His paintings feature bold brushwork, working men of the Pacific. He captured not just the scenes of their everyday lives, but ocean-bound existence.

embraced modernist elements, blending structure and expression to elevate everyday California’s art scene, co-founding the Carmel Art Association and mentoring many younger major center for American art in the early 20th century.

Boat” focuses on four sailors as they wait for a ship on the docks. The figures are dressed hands stuffed in their pockets to protect them from the cold winds blowing off the rough wind slightly and their gaze is toward the returning boats visible beyond the waves that paints the scene in waning daylight, but contrasts the shadowy figures with the white and periodic punches of red and orange hues that enliven and add drama to the scene.

86

Armin Carl Hansen (1886-1957)

“The Belated Boat” Oil on board

Signed lower left: Armin C. Hansen; signed again, titled, numbered “No 12,” and inscribed “Belgium,” all verso 28” H x 33” W

$60,000-80,000

Provenance:

From a Private Collection near San Francisco

Notes:

An unfinished painting of a sailboat in rough seas, in the hand of the artist, is on the verso.

William Ritschel (1864-1949)

“Monterey” Watercolor on paper

Signed and titled lower left: Wm Ritschel; inscribed in pencil verso, “To my friend / C.D. Chaffin” 10.125” H x 14.375” W

$1,000-1,500

Peter Winthrop Sheffers (1893-1949)

“Surf at Point Lobos, Oil on canvas

Signed lower right: 28” H x 36” W

$1,500-2,500

Provenance: The Collection of Michael Sold: Mroczek Brothers

Sheffers

Lobos, Monterey Peninsula, California”

Sheffers; titled on an artist’s label affixed to the stretcher

Michael Parsons, owner of Michael Parsons Fine Art Gallery, Portland, OR Brothers Auctioneers & Associates, Renton, WA, “A Century of Northwest Art: The Estate of Michael Parsons,” April 4, 2023, Lot 35

Mary DeNeale Morgan

(1868-1948)

Coastal cypress

Oil on canvas laid to board

Signed lower right: M. DeNeale Morgan

9.25” H x 13.75” W

$3,000-5,000

Provenance:

Carmel Art Association, Carmel, CA

Private Collection, Sacramento, CA

Sold: John Moran Auctioneers, Pasadena, CA, “Fine Art Auction,” March 24, 2015, Lot 16

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 24, 2015

Notes:

This lot is accompanied by a sales invoice dated March 24, 2015 from the auction mentioned above.

90

Arthur Hill Gilbert (1894-1970)

“The Beach, 17 Mile Drive” Oil on canvasboard

Signed lower right: Arthur Hill Gilbert; titled on an older typed label affixed verso 9” H x 12” W

$2,000-3,000

Provenance:

K. Nathan Gallery, La Jolla, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Arthur Hill Gilbert (1894-1970)

California coastal view Oil on canvas

Signed lower left: Arthur Hill Gilbert ANA 10.75” H x 13.75” W

$1,800-2,400

Provenance: Guchemand Collection, Baltimore, MD Private Collection, acquired from the above by descent

Alexander Dzigurski (1911-1995)

“Gale” Oil on canvas

Signed lower right: A. Dzigurski; titled in ink on a receipt and certificate accompanying the lot; with the artist’s copyright ink stamps verso 30” H x 40” W

$3,000-5,000

Provenance:

The artist’s studio

Private Collection, CA, acquired from the above

Notes:

This lot is accompanied by a copy of the receipt and the original certificate, signed in ink by the artist, and both dated October 14, 1995.

Alexander Dzigurski (1911-1995)

“Big Sur Coast” Oil on canvas

Signed lower right: A. Dzigurski; numbered “56585” and with the artist’s copyright ink stamp, all verso; titled on a label affixed to the frame’s backing board 24” H x 36” W

$1,000-1,500

Paul Grimm (1891-1974)

“Harbor Activity,” 1965 Oil on canvasboard

Signed lower right: Paul Grimm; signed again, titled, dated, and inscribed verso: “To Tillie / From Paul Grimm - Aug. 65”; titled again on a label affixed verso 16” H x 20” W

$2,000-3,000

Provenance:

The artist

Sold: Bonhams, San Francisco, CA, “Period Art & Design,” August 25, 2013, Lot 3088

Sold: Clars Auction Gallery, Oakland, CA, October 11-13, 2014, Lot 2188

The Estate of Patricia Johnson, Los Angeles, CA

Private Collection, Los Angeles, CA

Notes:

This painting is framed in a Richard Tobey frame.

95

Ferdinand Kaufmann (1864-1942)

Harbor scene with boats

Oil on canvas laid to Masonite

Signed lower right: F. Kaufmann

11.5” H x 15.5” W

$800-1,200

Provenance: Private collection, Southern California

Edgar Alwin Payne (1883-1947)

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

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

Edgar and Elsie Payne made frequent trips to Europe, including Concarneau. As an impressionist painter architecture provided inspiration for the Paynes. the most beautiful areas in the world.

In 1918 the couple settled in Laguna Beach, California, root there. Payne helped found the Laguna Beach home base in Southern California, Payne ventured valleys of the Sierra Nevada and other ranges. Western United States.

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

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

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

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

Europe, painting in and around Venice, Italy and in the harbors of Brittany, France, painter concerned with capturing light, the clear waters, red sails, and Mediterranean Paynes. Payne’s exquisite French and Italian paintings capture the light and energy of one of

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

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

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

Edgar Alwin Payne (1883-1947)

“The Orange Sail (Concarneau, France)” Oil on canvas

Signed lower right: Edgar Payne; signed again, titled, and numbered “3,” all verso 29” H x 29” W

$30,000-50,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 13, 1993, Lot 807

The Robert A. Day Jr. Collection, Los Angeles, CA, acquired from the above Private Collection, acquired from the above by descent

Edgar Alwin Payne (1883-1947)

“Inner Harbor (Concarneau, France)” Oil on canvas

Signed lower left: Edgar Payne; titled verso 19” H x 23” W

$20,000-30,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 15, 1994, Lot 4696

From a Private Collection near San Francisco

Hernando Gonzallo Villa (1881-1952)

Spanish man and woman near a church Oil on board

Signed lower right: Hernando G. Villa 40” H x 30” W

$4,000-6,000

Provenance: John A. Williams, Westmoreland, CA

Exhibited: Westmoreland, CA, “Hernando G. Villa Art Exhibit,” n.d.

Hernando Gonzallo Villa (1881-1952)

Spanish women with fans

Mixed media on thin cream paper laid to white paper laid to board

Signed lower right: Hernando G. Villa

Image/Sheet: 23.625” H x 18.625” W

$2,500-3,500

100

Edgar Malin Craven (1891-1960)

Cuernavaca, 1927

Oil on canvas laid to board

Signed and dated lower left: Edgar Malin Craven 1927

18.5” H x 22.5” W

$800-1,200

Provenance: Private collection, Southern California

101

Emil J. Kosa Jr. (1903-1968)

“Ship #2”

Watercolor and graphite on paper

Signed in pencil lower right: E.J. Kosa Jr.; titled, inscribed and numbered “6 / #40” in pencil, verso

Image: 17” H x 20.75” W; Sheet: 18” H x 22.5” (irreg.)

$2,000-3,000

102

Hernando Gonzallo Villa (1881-1952)

Harbor village with townspeople, 1943 Oil on canvasboard

Signed and dated lower right: Hernando Villa 43 18” H x 24” W

$2,500-3,500

103

Hernando Gonzallo Villa (1881-1952)

Clipper ship at sea Oil on canvas

Signed lower right: Hernando G. Villa 30” H x 44” W

$2,000-3,000

Provenance: John A. Williams, Westmoreland, CA

Exhibited: Westmoreland, CA, “Hernando G. Villa Art Exhibit,” n.d.

104

Edgar Alwin Payne (1883-1947)

“Fishing Boats” (France)

Oil on canvas

Unsigned; partially signed in ink, possibly in another hand, on remnants of a gum label affixed to the frame; titled in pencil on the stretcher

16” H x 20” W

$15,000-25,000

Provenance:

Albert Eisner Jr. Collection, Chicago, IL, circa at least the 1940s Private Collection, acquired from the above by descent

105

Edgar Alwin Payne (1883-1947)

“Anchorage (Breton Tuna Boats)” Oil on canvas

Signed lower left: Edgar Payne; titled verso 20” H x 24” W

$20,000-30,000

Provenance:

From a Private Collection near San Francisco

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 15, 1994, Lot 4695

106

Edgar Alwin Payne (1883-1947)

‘’Tuna Boats,’’ Brittany, France, circa 1934 Oil on canvas laid to waxed canvas

Signed lower right: Edgar Payne; titled and inscribed with the artist’s name, all in another hand, verso 20” H x 24” W

$15,000-20,000

Provenance: The artist

Karl Albert, acquired from the above Two Feather Gallery, Santa Fe, NM, acquired from the above The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, May 5, 1993

Notes:

This lot is accompanied by documentation materials related to the painting, dated May 5, 1993, from the gallery mentioned above.

107

Paul Dougherty (1877-1947)

“Sea and Clouds” Oil on board

Signed and titled in ink, verso: Dougherty; estate stamped lower right: Paul Dougherty; estate stamp-signed again and inscribed presumably in another hand in orange pencil, all verso: “C6702”

7.5” H x 9.5” W

$1,000-1,500

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 15, 2005, Lot 170

108

Paul Dougherty (1877-1947)

Crashing waves

Oil on canvas laid to board

Signed verso: Dougherty; estate stamp-signed lower left: Paul Dougherty; estate stamped again verso

7.5” H x 9.5” W

$1,000-1,500

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 15, 2005, Lot 170A

109

Frank William Cuprien (1871-1948)

Coastal rock

Oil on canvas laid to board

Signed lower right: F.W. Cuprien

5.75” H x 8” W

$2,500-3,500

Provenance:

Hauk Fine Arts, Pacific Grove, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

110

Joe Duncan Gleason (1881-1959)

“At White’s Point” (San Pedro) Oil on board

Signed lower right: Duncan Gleason; titled in pencil, verso 9.75” H x 12.125” W

$2,000-3,000

Provenance:

The Gleason Studios, Los Angeles, CA The Estate of DeWitt C. McCall III, Owner of DeRu’s Fine Arts, Laguna Beach, CA

111

Maurice Braun (1877-1941)

“The Pacific” Oil on canvas

Signed lower left: Maurice Braun; titled on the stretcher; titled again on a gallery label affixed to the frame’s backing board

20” H x 24” W

$15,000-25,000

Provenance:

The artist

Charlotte Braun, daughter of the artist, acquired from the above by descent Trotter Galleries, Carmel, CA, acquired from the above Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

112

Hanson Duvall Puthuff (1875-1972)

“Surging Shallows”

Oil on canvas laid to canvas

Signed lower right: H. Puthuff; signed again and titled in another hand, verso 24” H x 30” W

$15,000-25,000

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 3, 2019, Lot 7

The Robert A. Day Jr. Collection, Los Angeles, CA, acquired from the above Private Collection, acquired from the above by descent

113

Meda Gilchrist (1888-1953)

“Summer at Del Rey Beach” Oil on canvas

Signed lower right: M. Gilchrist; titled on the upper stretcher bar, verso 20” H x 16” W

$2,500-3,500

114

Clarence Hinkle (1880-1960)

Modernist landscape with figures Oil on Masonite

Signed lower left: Hinkle 24” H x 30” W

$2,000-3,000

William Wendt (1865-1946)

There is something deeply meditative in William Wendt’s paintings, after spending time in it. His work isn’t just about capturing feel less like views from a distance and more like moments palette, and even the way his compositions hold space all sugge

William Wendt was born in Germany on February 20, 1865, worked as a commercial staff artist. It was during his spare feathery touch but evolve overtime, particularly after relocating and complex compositions.

Though often grouped with movements like French or California of his own. Wendt was largely self-taught, and it shows — in comes from learning through doing. The paint sits confidently greens, tempered blues — seem pulled from the air and soil grounded: a vision shaped by observation, consistency, and

Painting trips with his friend and fellow artist George Gardner sculptress Julia Bracken in 1906, the couple moved permanently co-founded the California Art Club in 1911 and served as the the same year he built his Laguna Beach studio, and became

In 1926, William Wendt was given his first solo exhibition at work from the early 1920s. Critics praised Wendt’s paintings managed to evoke a quiet permanence in a rapidly changing reflections on Wendt’s work. “He builds the forms of his pictures criticism from any source. Yet Wendt would tell you that composition stands in relation to life, he must see the world creation, a thing that his strength lay not just in technique, but in the deeply

Like many California artists, Wendt sought fresh, naturalistic Capistrano and San Luis Obispo landscapes included in this warm, rich colors and using the effects of light and shadow wrote in her review of Wendt’s 1931 retrospective at the Stendhal be no prophet, but he is a revealer. He points out anew the paintings emphasize the juxtaposition between the immortality larger than himself — a recognition of nature not just as subject

paintings, it’s a quiet intensity — not in the way of spectacle, but in the way a landscape settles into you capturing trees, hills, and light; it’s about forming a relationship with a place. Wendt’s California scenes, in particular, of divine connection. He wasn’t trying to impress with grandeur, he was paying attention. His brushwork, suggest someone who believed the natural world could teach you something if you looked.

1865, far from the Pacific Coast. After immigrating to the United States, he settled in Chicago, where he time that he began to develop his style of easel painting in his spare time that began with a gentler, relocating to California, to feature broad, bold brushstrokes and naturalistic earth tones in increasingly balanced

California Impressionism, or labeled part of the so-called “Eucalyptus School,” Wendt was carving out a lane in the best possible way. His paintings have a structural honesty to them, a kind of unpolished clarity that confidently on the surface, building forms that feel weighty and real. His color choices — earthy ochres, sagey soil themselves. What he created wasn’t a romanticized fantasy of the West, but something slower and more and a kind of quiet devotion.

Gardner Symons to the West Coast and Europe cemented his love of painting En Plein Air. After marrying permanently to Southern California where they were active in the Laguna art colony and in Los Angeles. Wendt the second (1911-14) and fourth (1917-1918) President. He was elected to the National Academy in 1912, became affectionately known as “the Dean of Southern California Artists.”

at the Stendhal Gallery in Los Angeles — a pivotal moment in his career that offered a sweeping view of his paintings for their structural clarity and emotional restraint, noting how his scenes of rolling hills and oak groves changing world. Among the critics, Arthur Millier of the ‘Los Angeles Times’ offered one of the most resonant pictures with an almost faultless sense for composition,” Millier wrote. “On this side of his art, he is beyond composition is a matter of instinct. A man who can compose so surely and strongly has to know where he thing of inevitable laws and definite structures.” Millier’s words capture something essential about Wendt: deeply held worldview that shaped his work.

naturalistic subject matter in hard-to-reach mountainous and rural places along the West Coast, such as the San Juan this auction. He sought fidelity with nature, and endeavored to paint the landscape exactly how it was, in shadow that he witnessed first-hand. Wendt’s work was also deeply philosophical. As art critic Sonia Wolfson Stendhal Gallery, “In Wendt’s pictures may be traced the spirit of godliness ingrained in mankind. He may the beauty of scenes dimmed by familiarity…” Influenced by theosophical beliefs, many of Wendt’s major immortality of the landscape and the mortality of its creator. His art suggests a quiet reverence for something subject matter, but as spiritual presence.

115

William Wendt (1865-1946)

“Under the Sycamores” (Hot Springs near San Juan Capistrano Mission), 1923 Oil on canvas

Signed and dated lower right: William Wendt 1923; titled twice and inscribed on the upper stretcher: “San Juan Capistrano”; titled again in ink, presumably in another hand, on a label affixed to the lower stretcher 25” H x 30” W

$30,000-50,000

Provenance:

A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Exhibited:

Los Angeles, CA, Stendahl Art Galleries, “William Wendt and His Work,” April 15-May 15, 1926, no. 19

Literature:

“Wendt Canvases,” Illustrated Daily News, April 25, 1926, p. 50, illustrated Antony Anderson, Fred Hogue, Alma May Cook, and Arthur Millier, “William Wendt and His Work” (Los Angeles: Stendahl Art Galleries, 1926) p. 19, no. 19 South Coast News, October 18, 1929, illustrated

John Alan Walker, “Documents on the Life and Art of William Wendt (18651946), “California’s Painter Laureate of the Paysage Moralisé” (Big Pine: John Alan Walker, Bookseller, 1992) p. 196, no. 740

116

William Wendt (1865-1946)

“Sheltered Oaks” (San Luis Obispo), 1925 Oil on canvas

Signed and dated lower right: William Wendt 1925; titled on the stretcher 25” H x 30” W

$30,000-50,000

Provenance:

A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Exhibited:

Los Angeles, CA, Stendahl Art Galleries, “William Wendt and His Work,” April 15-May 15, 1926, no. 13

Literature:

“Wendt Canvases,” Illustrated Daily News, April 25, 1926, p. 50, illustrated Beverly Hills Citizen, May 6, 1926, p. 35, illustrated Antony Anderson, Fred Hogue, Alma May Cook, and Arthur Millier, “William Wendt and His Work” (Los Angeles: Stendahl Art Galleries, 1926) p. 35, no. 13

John Alan Walker, “Documents on the Life and Art of William Wendt (1865-1946), “California’s Painter Laureate of the Paysage Moralisé” (Big Pine: John Alan Walker, Bookseller, 1992) p. 184, no. 609

117

Charles Arthur Fries (1854-1940)

“Early Morn in the Laguna Mts.” Oil on canvas

Signed lower right: C.A. Fries; titled and numbered “#1066” in ink, and inscribed “Frances” in pencil, all verso 10” H x 12” W

$1,500-2,500

Provenance: Mr. Glen, Balboa Park, California

Literature:

Ben F. Dixon, ed., “Too Late: The Picture and the Artist, A Tribute to the Dean, from the Archives of Artist Charles A. Fries, and Author Addie Davies Fries, His W if,” (San Diego, Don Diego’s Libreria, 1969) p. 88, no. 1066

118

Carl Oscar Borg (1879-1947)

“Southern California Mountains” Watercolor with traces of graphite on paper

Signed lower left: Carl Oscar Borg; titled on a gallery label affixed to the frame’s backing board Sheet: 15.5” H x 21.875” W

$2,000-3,000

Provenance: Maxwell Galleries, San Francisco, CA

119

Maurice Braun (1877-1941)

Southern California landscape Oil on board

Signed lower right: Maurice Braun

6.125” H x 9.25” W

$3,000-5,000

Provenance: The Redfern Gallery, Laguna Beach, CA Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Maurice Braun (1877-1941)

Eucalyptus landscape Oil on board

Signed lower left: Maurice Braun 8” H x 10” W

$3,000-5,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 2, 1987, Lot 18

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 2, 1987

Notes:

This lot is accompanied by a sales receipt dated February 2, 1987 from the auction mentioned above.

121

Benjamin Chambers Brown (1865-1942)

“Sunny Canyon” Oil on Masonite

Signed lower right: Benjamin C. Brown; inscribed lower left: “To Miss Mary Black”; titled by repute 12” H x 16” W

$3,000-5,000

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

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 31, 1990

Notes:

This lot is accompanied by a sales invoice dated March 31, 1990 from the gallery mentioned above.

Hanson Duvall Puthuff (1875-1972)

Stream through a California landscape Oil on canvas laid to artist’s board

Signed lower right: H. Puthuff; numbered “#3930” and inscribed indistinctly in pencil, verso 12” H x 15.75” W

$2,000-3,000

Provenance:

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

123

Maurice Braun (1877-1941)

“California Vista” Oil on canvas laid to board Signed lower left: Maurice Braun; titled on the frame plaque 34” H x 34” W

$30,000-50,000

Provenance:

Private Collection, Southern California Sold: Bonhams, Los Angeles, CA, “California and Western Paintings & Sculpture,” August 5, 2014, Lot 75

The Robert A. Day Jr. Collection, Los Angeles, CA, acquired from the above Private Collection, Southern California, acquired from the above by descent

Exhibited: Laguna, CA, Laguna Art Museum, “Early Artists in Laguna Beach: The Impressionists,” September 23-November 5, 1986

124

Maurice Braun (1877-1941)

Southern California landscape Oil on canvas

Signed lower right: Maurice Braun 16.25” H x 20” W

$7,000-9,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

Maurice Braun (1877-1941)

Eucalyptus landscape

Oil on canvasboard

Signed lower right: Maurice Braun 7” H x 9.125” W

$5,000-7,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

126

Anna Althea Hills (1882-1930)

Oak trees in a landscape, 1919 Oil on canvas laid to board

Signed and dated lower right: A.A. Hills / 1919 10” H x 14” W

$2,000-3,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, June 12, 1990, Lot 25

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, June 12, 1990

Notes:

This lot is accompanied by a sales receipt dated June 12, 1990 from the auction mentioned above.

Mabel Alvarez (1891-1985)

“Laguna Hills” Oil on board

Estate signed lower right: M. Alvarez; with artist’s name and title in ink, in another hand, verso; with the black ink stamp reading, “By Maeel [sic] Alvarez No.... of the Al Kramer Collection / Inventory and Photos at the Archives of American Art,” signed “Albert J. Kramer” and numbered “38” in the sections of the stamp left blank for that purpose, verso

10.125” H x 13.75” W

$2,000-3,000

Provenance: Estate of the artist

Albert J. Kramer Collection, no. 38

Sold: John Moran Auctioneers, Pasadena, CA, June 12, 1990, Lot 80B

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, June 12, 1990

Notes:

This lot is accompanied by a copy of a sales receipt dated June 12, 1990 from the auction mentioned above.

128

Maurice Braun (1877-1941)

“California Landscape” Oil on canvas

Signed lower right: Maurice Braun; titled on the stretcher 20” H x 30” W

$7,000-9,000

129

Maurice Braun (1877-1941)

Tree in a California landscape Oil on canvas

Signed lower right: Maurice Braun 12” H x 18” W

$4,000-6,000

130

Maurice Braun (1877-1941)

California landscape with oak trees Oil on board

Signed lower left: Maurice Braun 9” H x 12” W

$2,500-3,500

Provenance: The Collection of David and Holly Davis, Pasadena, CA

131

Alfred R. Mitchell (1888-1972)

“Autumn Desert”

Oil on board

Signed lower left: Alfred R. Mitchell; signed again, titled, and inscribed “San Diego Cal,” all in pencil on the verso; titled again on labels affixed to the verso of the frame

8’’ H x 10’’ W

$2,000-3,000

Provenance:

Orr’s Gallery, San Diego, CA

Maxwell Galleries, San Francisco, CA

William Karges Fine Art, Carmel, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 14, 1997

Notes:

This lot is accompanied by a copy of the March 14, 1997 sales invoice from William Karges Fine Art, Carmel, CA.

132

Paul Grimm (1891-1974)

“Garden in the Desert” Oil on Masonite

Signed lower left: Paul Grimm; signed again and titled verso 16” H x 20” W

$2,000-3,000

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” April 9, 2019, Lot 28

The Robert A. Day Jr. Collection, Los Angeles, CA, acquired from the above Private Collection, Southern California, acquired from the above by descent

Sam Hyde Harris (1889-1977)

“Wayward Trail” Oil on canvas

Signed lower left: Sam Hyde / Harris; titled on the stretcher bar 24” H x 30” W

$2,500-3,500

Provenance: California P.E.O. Home, Alhambra, CA

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” November 23, 2015, Lot 88 Private Collection, Los Angeles, CA, acquired from the above

Notes:

A brass plaque affixed to the stretcher bar reads: “ ‘Wayward Trail’ by Sam Hyde Harris / Presented in Memory of Zella Zee Dodge, Chapter N / By her daughter, Marion Dodge Harris, Chapter AX, 1972.” This painting is framed in a Richard Tobey frame.

134

Sam Hyde Harris (1889-1977)

“Tree Shadow Landscape,” circa 1940 Oil on canvas laid to Masonite

Signed lower left: Sam Hyde Harris; titled on a gallery label affixed to the frame, verso 22” H x 28” W

$1,000-1,500

Provenance: Medicine Man Gallery, Tucson, AZ

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

135 Agnes Pelton (1881-1961)

“Airport Road, Late Spring,” 1946 Oil on canvas

Signed and dated lower right: Agnes Pelton / ‘46; signed again, titled, and inscribed in pencil on the upper stretcher bar: “blue gilia in bloom / Cathedral City - California”; titled again in pencil on the artist’s label affixed to the stretcher

20” H x 28” W

$4,000-6,000

Provenance:

Private collection, Cathedral City, CA, acquired directly from the artist Acquired by the present owner by family descent

Notes:

The present owner’s grandparents lived near Agnes Pelton in Cathedral City, CA. They would drive Pelton out to the desert to paint and pick her up later that day. This work, as well as the two other Pelton landscapes in this auction, were bought directly from the artist and have remained in the family’s collection to the present day.

136

Agnes Pelton (1881-1961)

“Desert Willow, Verbena and Primroses,” circa 1940 Oil on canvas

Signed on the upper stretcher, verso: Agnes Pelton; titled on the upper stretcher, and inscribed on the frame’s backing paper, both in another hand: “Bought by Willard and Mary Price. ‘Front not signed because Agnes didn’t like it, so she didn’t finish it. Mary bought it anyway’ “ 22” H x 28” W

$4,000-6,000

Provenance:

Private collection, Cathedral City, CA, acquired directly from the artist Acquired by the present owner by family descent

Notes:

Agnes Pelton (1881-1961)

“Canyon Smoke Tree, Blooming,” circa 1942 Oil on canvasboard

Signed lower right: Agnes Pelton; signed again, titled and inscribed in pencil, verso: “Agnes Pelton Cathedral City Calif.” Further inscribed in pencil on the verso in another hand, “Bought in 1942” 14” H x 18” W

$3,000-5,000

Provenance:

Private collection, Cathedral City, CA, acquired directly from the artist

Acquired by the present owner by family descent

Notes:

138

Percy Gray (1869-1952)

“Mountains at Sunset”

Watercolor with traces of graphite on wove paper

Signed lower right: Percy Gray; titled in red pencil, verso

Image/Sheet: 16” H x 20” W

$3,000-5,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, October 21, 1997, Lot 5077

139

Hanson Duvall Puthuff (1875-1972)

“Eucalyptus Landscape with House” Oil on paper

Signed and inscribed in pencil lower right: “For Mrs. A.S. Cowie / with compliments of Hanson Puthuff”; titled on a gallery label affixed to the frame’s backing paper Image: 7.75” H x 5.625” W; Sheet: 9.75” H x 8.25” W

$1,000-2,000

Provenance:

Cowie Galleries, Los Angeles, CA

Trotter Galleries, Pacific Grove, CA

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 6, 1993

Notes:

This lot is accompanied by a sales receipt dated March 6, 1993 from the gallery mentioned above.

According to the gallery label, this work was originally from the guest book of Cowie Galleries, Los Angeles, CA.

140

John Marshall Gamble (1863-1957)

Path in a California landscape Oil on canvas

Signed lower left: John M. Gamble

18.25” H x 20.25” W

$3,000-5,000

Provenance:

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Marion Kavanagh Wachtel (1870-1954)

A celebrated American Western landscape painter in a family of artists that included her mother and a at the School of the Art Institute of Chicago and in at the Art Institute and in Chicago public schools, before subjects, particularly portraits of children.

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

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

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

The artist couple returned to Los Angles and built a moved to the Arroyo Seco section of Pasadena. Elmer focused on the California landscape.

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

Wachtel

in watercolor and oil of her era, Wachtel was born in Milwaukee, Wisconsin and grew up great grandfather who was a member of the Royal Academy in London. Wachtel studied New York under William Merritt Chase. After finishing her artistic studies, Wachtel taught before returning to Milwaukee where she developed a reputation as a fine artist of figural

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

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

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

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

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

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

141

Marion Kavanagh Wachtel (1870-1954)

“Sycamores and Oak Beside a Stream,” 1944

Oil on canvas

Signed and dated lower right: Marion Kavanagh Wachtel. 1944; titled on a label affixed to the frame’s backing board

30” H x 40” W

$20,000-30,000

Provenance:

The Robert A. Day Jr. Collection, Los Angeles, CA

Private Collection, Southern California, acquired from the above by descent

142

Elmer Wachtel (1864-1929)

Wooded landscape with stream Oil on canvas laid to board

Signed lower left: Wachtel 13.5” H x 17.5” W

$5,000-7,000

Provenance: A Prominent Pasadena Collector Private Collection, acquired from the above by descent

143

Jean Mannheim (1863-1945)

“Over the Hills” Oil on canvas laid to waxed canvas

Signed lower left: J. Mannheim; titled in ink on a label affixed to the verso of the frame 28” H x 36” W

$3,000-5,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 13, 1990, Lot 14

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 13, 1990

Exhibited:

Los Angeles, CA, The Friday Morning Club, January 1915

Los Angeles, CA, The Ebell Club, March 1926

Literature:

Richard W. Reitzell, “From a Versatile Brush: The Life and Art of Jean Mannheim” (Arroyo Publishing, Moorpark, CA, 2011) pp. 234, 239

Notes:

This lot is accompanied by a sales receipt dated February 13,1990 from the auction mentioned above.

144

Jean Mannheim (1863-1945)

“Home in the Hills” Oil on canvasboard

Signed lower left: J. Mannheim; titled in pencil and indistinctly inscribed in ink, all verso 12.125” H x 15.5” W

$1,500-2,500

Provenance:

Redfern Gallery, Laguna Beach, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

145

Jean Mannheim (1863-1945)

“Altadena” Oil on Masonite

Initialed lower left: J.M.; titled and numbered “4-H” in ink, presumably in another hand, on a label with the artist’s biography affixed to the frame’s backing paper

12” H x 16” W

$1,000-1,500

Provenance:

The Hipp Gallery, Pasadena, CA

Doug Grove, acquired from the above, September 9, 1974

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 4, 1996

Notes:

This lot is accompanied by a copy of a sales invoice dated September 9, 1974 from the gallery mentioned above, and other documentation materials related to the painting.

146

Ada Belle Champlin (1875-1950)

“Gray Day in the Arroyo, Pasadena” Oil on board

Signed and titled, verso: Ada Belle Champlin 11” H x 14” W

$1,000-2,000

Provenance:

The Collection of David and Holly Davis, Pasadena, CA

147

Charles Walter Stetson (1858-1911)

“From My Window After Rain, Pasadena” Oil on canvas

Signed and inscribed lower left: Ch. Walt Stetson / “Pasadena, Cali”; titled and numbered “14” verso; titled on various labels affixed to the frame’s backing board 20” H x 24” W

$3,000-4,000

Provenance:

Loaned by the Aaron Gallery, Providence, RI

Sold: Christie’s, New York, NY, “19th and 20th C American Watercolours, Drawings, Paintings and Sculpture,” September 30, 1988, Lot 165 Orr’s Gallery, San Diego, CA

The Collection of David and Holly Davis, Pasadena, CA

Exhibited:

Rome, Italy, International Exhibition (“Belle Arti”), 1905, no. 271 Lawerence, KS, Spencer Museum of Art, “Charles Walter Stetson: Color and Fantasy,” August 22-October 3, 1982, no. 15 Providence, RI, Rhode Island of Design, Museum of Art, n.d.

Notes:

This lot is accompanied by a photographic negative from Orr’s Gallery, San Diego, CA.

148

Charles Walter Stetson

(1858-1911)

‘’From My Window,” 1889

Watercolor and ink on paper

Signed lower right: Ch. Walt. Stetson; titled, dated, and inscribed in ink along the lower edge, at left: “From My Window / Pasadena Calf. 25 Oct. 1889;” titled and dated again on a typed gallery label affixed to a section of brown paper formerly covering the verso of the frame

Sight: 8.5’’ H x 10.625’’ W

$500-700

Provenance:

T. Gilbert Brouillette Paintings, Falmouth, MA

The Collection of David and Holly Davis, Pasadena, CA

Notes:

A Christmas sticker superimposed on the already-mentioned brown paper label is inscribed, “To Dorothy / & Johnny / From Gilbert / 1966.”

149

Orrin A. White (1883-1969)

California landscape with a view through trees Oil on canvas

Signed lower right: Orrin A. White

20” H x 24” W

$4,000-6,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, “California Paintings,” July 13, 1989, Lot 2506

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, July 28, 1989

Notes:

This lot is accompanied by a copy of a sales invoice dated July 28, 1989 from the auction mentioned above.

150

Orrin A. White (1883-1969)

“Near Topanga” Oil on canvas

Signed lower right: Orrin A. White; titled on a label affixed to the frame’s backing board 20” H x 24” W

$2,000-3,000

Provenance: From the Estate of DeWitt C. McCall III, Owner of DeRu’s Fine Arts, Bellflower / Laguna Beach, CA

Exhibited: Huntington Beach, CA, Huntington Beach Art Center, “California Impressionism,” May 2-July 4, 2015

151

Emil J. Kosa Jr. (1903-1968)

“The Old, Old Mill, South Limit of Old Irvine Ranch,” 1936 Oil on canvas

Signed, titled and dated in pencil on the upper portion of the stretcher: Emil J. Kosa Jr. / 1936

30” H x 40” W

$4,000-6,000

152

Ralph Love (1907-1992)

Pergola in a forest interior Oil on Masonite

Signed lower right: Love 20” H x 26” W

$800-1,200

153

Paul Grimm (1891-1974)

“Fertile Growths”

Oil on canvasboard

Signed lower right: Paul Grimm; signed again and titled, verso 24” H x 20” W

$1,500-2,500

Provenance:

K. Nathan Gallery, La Jolla, CA

Guchemand Collection, Baltimore, MD

Private Collection, acquired from the above by descent

Notes: This painting is framed in a Mayen Olson, 2002 frame.

154

Mabel Alvarez (1891-1985)

“Hawaiian Fields” Oil on board

Estate signed lower right: M. Alvarez; with the black ink stamp reading, “By Maeel [sic] Alvarez No.... of the Al Kramer Collection / Inventory and Photos at the Archives of American Art,” signed “Albert J. Kramer” and numbered “43” in the sections of the stamp left blank for that purpose; titled in pencil, verso 10’’ H x 13.75’’ W

$2,000-3,000

Provenance:

Estate of the artist

Albert J. Kramer Collection, no. 43

The Collection of David and Holly Davis, Pasadena, CA

155

Mabel Alvarez (1891-1985)

“Three Boys Under Tree” Oil on board

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

$1,000-2,000

Provenance:

Estate of the artist

Albert J. Kramer Collection, no. 32

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

The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 12, 1991

Notes:

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

156

Demetrios Jameson (1919-1996)

“Entomologists with Mullin,” 1960

Oil on canvas

Signed lower left: Demetrios; signed again, Demetrios Jameson, and dated (numerous times in each case) on the verso of the stretcher, the frame, the frame’s backing board, and on one of the exhibition labels affixed verso; the artist’s device (comprised of his initials and the date) in the upper left corner of the canvas, verso

54” H x 41” W

$2,000-3,000

Exhibited:

Portland, OR, “Artists of Oregon, Paintings and Sculpture,” 1960

“Art Across America. An Exhibition of 50 Contemporary American Paintings and Wall-Hung Constructions,” 1967, no. 801

Helen Rousseau (1896-1992)

Portrait of a girl in pink Oil on canvas

Signed lower left: H. Rousseau

32.125” H x 24.25” W

$800-1,200

Provenance: Private Collection, Sacramento, California

158

Nell Walker Warner (1891-1970)

Floral still life in a blue vase Oil on canvas

Signed lower left: Nell Walker Warner 34” H x 40” W

$2,500-3,500

Provenance: Private Collection, Sacramento, California

159

Nell Walker Warner (1891-1970)

Floral still life in golden shades

Oil on canvas

Signed lower right: Nell Walker Warner

26” H x 30” W

$1,200-1,800

160

Sergei Bongart (1918-1985)

“Lilac and Apple Blossoms” Oil on Masonite

Signed lower left: Sergei Bongart; titled on an artist’s typed label affixed to the frame’s verso

34” H x 40” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

161

Sergei Bongart (1918-1985)

Floral still life with chair Oil on board

Signed upper right: Sergei Bongart

39.5” H x 29” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

162 Sergei Bongart (1918-1985)

Figure in a top hat walking along a street, 1961 Oil on Masonite

Signed and dated upper right: Sergei Bongart 1961; signed and dated again, and inscribed “L.A.,” all in black pigment on the verso; also indistinctly inscribed in white chalk on the verso and inscribed “#35” on the verso of the frame, both possibly in another hand 30” H x 40” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

163

David Halbach (1931-2022)

“Wertheim Plus Six,” 2005

Watercolor on thick Arches paper

Signed, dated, and inscribed lower left: David Halbach CA / © ‘05; titled on the frame plaque Image/Sheet: 23” H x 30.5” W

$2,000-3,000

164

Pál Fried (1893-1976)

“On the Champs-Élysée” Oil on canvas

Signed lower left: Fried Pál; signed again, titled and numbered “4148” on the stretcher, the artist’s reproduction rights stamp verso 30” H x 24” W

$1,500-2,000

165

Armin Carl Hansen (1886-1957)

“Nude on the Beach” Oil on canvas panel

Signed lower right: Armin Hansen N.A.; titled by repute 12” H x 16” W

$4,000-6,000

Provenance:

Sold: Butterfield & Butterfield, San Francisco, CA, December 13, 1994, Lot 1043A Artists Guild of America, Carmel-by-the-Sea, CA

Oliver’s Mission Art & Curio Store, Monterey, CA From a Private Collection near San Francisco

Literature: Scott Shields, “Armin Hansen: The Artful Voyage” (Portland, OR, 2015) p. 109, c.f.

166

Richard Schmid (1934-2021)

“Nude,” 1976 Oil on Masonite

Signed lower right: Schmid; signed again, titled, dated, and numbered “#985,” all verso 16” H x 12” W

$5,000-7,000

167

Mary Louise Snowden (b. 1952)

“Cataclasis Active Energy Fragment” from “Cataclasis Study” in the “Terrestrial Forum,” 2000

Cold-painted bronze Edition: 15/50

Signed, dated, numbered, and inscribed in the casting: My last work of 1999 / Built through the days / 23 December 28 / M. L. Snowden / January 1, 2000; foundry mark: Marque de Fondeur / Snowden / Rodin / Eberhard 33” H x 42” W x 58” D

$3,000-5,000

Provenance:

Property of a private institution, Southern California

168

Mary Louise Snowden (b. 1952)

“Cataclasis Latent Energy Fragment” from “Cataclasis Study” in the “Terrestrial Forum” Cold-painted bronze Edition: 15/50

Signed and numbered in the casting: M. L. Snowden; foundry mark: Marque de Fondeur / Snowden / Rodin / Eberhard

27” H x 38” W x 39” D

$3,000-5,000

Provenance: Property of a private institution, Southern California

169

Mary Louise Snowden (b. 1952)

“Cataclasis Emerging Energy Fragment” from “Cataclasis Study” in the “Terrestrial Forum” Cold-painted bronze Edition: 15/50

Signed and numbered in the casting: M. L. Snowden; foundry mark: Marque de Fondeur / Snowden / Rodin / Eberhard

29” H x 36” W x 36” W

$3,000-5,000

Provenance: Property of a private institution, Southern California

170

Phil Dike (1906-1990)

Acrobats under the circus big top, circa 1928 Oil on canvas laid to waxed canvas

Signed lower right: Phil Dike; dated by repute 20” H x 24” W

$2,000-3,000

Provenance: The artist

The Collection of Gene Crain, purchased from the above Private Collection, acquired from the above

171

Pierre Sicard (1900-1980)

Signed lower left: Pierre Sicard; titled on two labels affixed to the verso of the frame and the backing board

23.5” H x 32” W

$3,000-4,000

Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

“Miracle Mile” Oil on canvas

172

Richard Kollorsz (1900-1983)

“Hollywood and Vine,” 1947 Oil on board

Signed and dated lower left: R. Kollorsz / 47; titled on a gallery label affixed verso and again on the frame plaque 22” H x 29.5” W

$3,000-5,000

Provenance: William A. Karges Fine Art, Beverly Hills and Santa Monica, CA

Ben Abril (1923-1995)

The romance of old California and nostalgia for Ben Abril. Old LA is caught in a time capsule in city between the Golden Age of Hollywood and the old again.

Born in 1923 in Los Angeles, Abril served in World (where he learned painting under Arthur Beaumont), painting. Abril was eclectic in his schooling and architectural rendering at Chouinard Art Institute artist on the side, Abril mainly worked as a cartographer and exhibitions in the mid-1950s and early 1960s prompted actor and art collector Vincent Price to including a series for the US Navy and a gift for

Abril passed away in La Canada Flintridge in 1995 Scene Painters, Abril’s work was described as such

“There are, nevertheless, few artists among the and manage to convey this exuberance to the observer sunlit slums, or suburbs, he makes swift bold statements injudicious compositions.”

Classic cars, old houses, skyscrapers, vistas of urban

Ben Abril’s work is held in many prestigious institutions, Museum in Seattle, the Navy History and Heritage Orange, California. Archival materials of the artist Angeles Public Library.

a lost past of high-rises and vintage Los Angeles coalesce around the work of artist each Abril work, frozen in time in dazzling brushwork and vibrant colors. Capturing a and the end of the midcentury, Abril’s work sees the passing of the old, the new, and World War II in the Air Force. After a short stint at the Glendale School of Allied Arts Beaumont), Abril worked as a clerk in a post office at night so he could spend his days training, studying landscape painting at the Art Center School of Design, Institute (now Cal Arts), and watercolor classes at Otis Art Institute. While an accomplished cartographer and draftsman for the County of Los Angeles. A series of artistic projects 1960s cemented Abril’s reputation as an outstanding painter: an exhibition in 1964 to buy out his whole studio. Abril received several high-profile commissions, Pope John Paul II.

1995 after complications from cancer. A stand-out from many of the other California such in an exhibition at the Cowie Wilshire Galleries in Los Angeles:

many southern California scene painters who so obviously enjoy their profession observer as does Abril. Whether his subject is taken from the rolling hills, beaches, statements in pure blazing colors that emphasize his enthusiasm as well as his oftenurban and rural Califor nia spring to life in the work of Ben Abril.

institutions, including the Los Angeles County Museum of Art (LACMA), the Frye Art Heritage Command in Washington D.C., and the Hilbert Museum of California Art in artist are held in the Natural History Museum of Los Angeles County and the Los

173

Ben Abril (1923-1995)

“Los Angeles California, First Fire House and City Hall, Circa 1936” Oil on canvas

Signed lower left: Ben Abril; inscribed lower right: “First Fire Station in Los Angeles Built in 1884”; titled on the stretcher, signed again and inscribed, verso 30” H x 40” W

$3,000-5,000

Notes:

The artist’s inscription on the verso, reads: “501 N. Los Angeles Street, is the location of / the first Fire House in Los Angeles built in 1884 / by the firm of “Boring and Haas” located / next door was the Pico Garnier building / built in 1890. In the background is the City Hall and Federal Building. / Artist Ben Abril / Painted in oils on location”

174

Ben Abril (1923-1995)

“Pacific Electric Subway Bore, 1939” Oil on canvas

Signed lower left: Ben Abril; titled on the stretcher; inscribed verso 20” H x 24” W

$1,000-1,500

Notes:

The inscription on the verso, reads: “The ‘Bierney’ streetcars built / in 1928 for Pacific Electric / Passenger Service were known / as the 700 Series. After leaving / the subway terminal building in / Los Angeles, these cars entered / this tunnel and came out as first / street en route to Glendale / California ending at North Brand Boulevard.”

175

Sergei Bongart (1918-1985)

Draped shawls on a fence, 1978 Oil on canvas

Signed and dated lower right: Sergei Bongart / 1978; signed again and inscribed with the artist’s Santa Monica address and phone number on the frame’s backing board 36” H x 46” W

$1,000-1,500

Provenance:

The Estate of Sergei Bongart

176

Sergei Bongart (1918-1985)

Porch with a red coat draped on railing Oil on board

Unsigned

32.5” H x 36.5” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

William Dorsey (1942-2019)

Path through a California landscape

Oil on Masonite

Signed lower left: Wm Dorsey

Oval: 20” H x 16” W

$800-1,200

178

Ben Abril (1923-1995)

“Arboretum Lagoon at Lucky Baldwin’s” Oil on canvas

Signed lower right: Ben Abril; titled and inscribed on the stretcher: “Home of Tarzan Movies w/ Johnny Weismiller & Maureen O’Sullivan” 20” H x 24” W

$1,000-1,500

179

Ben Abril (1923-1995)

“House with Yellow Awnings, Rockledge Point, Laguna Beach” Oil on canvas

Signed lower right: Ben Abril; titled on the stretcher 19” H x 32” W

$1,500-2,000

180

Terry Delapp (1934-2020)

“House and Barn - Madera” Acrylic on canvas

Initialed lower right: D; titled on the canvas overlap, verso 24” H x 32” W

$3,000-5,000

Provenance:

The artist Private Collection, Los Angeles, CA, acquired from the above

Tarmo Pasto (1906-1986)

Tarmo Pasto, a noted psychologist and art paintings during his lifetime. Though he is patients, the so-called Outsider artist, Martin around the Sacramento area during the post-war as Mel Ramos, Wayne Thiebaud, and Jack Crocker Art Museum, Sacramento, CA, which

In 1986, four years after a retrospective at body of work that has largely remained unseen

art professor, was also a prolific painter who frequently exhibited his is perhaps best known for bringing attention to the work of one of his Martin Ramirez, Pasto was a key figure in a circle of artists working in and post-war period. This loose coalition of artists, which includes figures such Jack Ogden, is known for exhibiting their work at institutions such as the which holds examples of Pasto’s work in its permanent collection.

at the Crocker Art Museum, Tarmo Pasto died and left behind a large unseen by subsequent generations of viewers.

181

Tarmo Pasto (1906-1986)

Mountain range, 1970 Oil on canvas

Signed and dated lower right: Tarmo Pasto 1970; signed again and inscribed with the artist’s address on the upper portion of the frame, verso 24” H x 34” W

$1,500-2,500

Bob Ross (1942-1995)

Bob Ross, the beloved American painter and demeanor, and the serene landscapes he painting while serving in the U.S. Air Force. landscapes that later became defining elements painting full-time and eventually trained under adopted and popularized.

In 1983, Ross launched “The Joy of Painting,” cultural icon. Each episode featured Ross “happy little trees,” “almighty mountains,” and positive affirmations made the show not viewers of all ages and artistic abilities.

Though Ross passed away in 1995 at the rediscovery and streaming platforms, “The inspiration in his tranquil approach to art. that everyone could be creative and that mistakes education is profound, and his teachings continue the joy of painting.

and television host, is best remembered for his soothing voice, gentle brought to life on his canvas. Born in Daytona Beach, FL, Ross discovered Force. Stationed in Alaska, he encountered the snow-covered, mountainous elements of his artistic style. After retiring from the military, he pursued under artist Bill Alexander, whose “Wet-on-Wet” oil painting technique Ross

Painting,” a public television show that aired for over a decade, making him a completing an entire landscape painting in real time, often featuring mountains,” and “fluffy clouds.” His gentle encouragement, soft-spoken commentary, not just a painting tutorial, but a calming and therapeutic experience for age of 52, his legacy continues to flourish. Thanks to the inter net “The Joy of Painting” has reached new generations who find comfort and Bob Ross’s influence goes beyond technique; he championed the idea mistakes were simply “happy accidents.” His impact on pop culture and art continue to encourage countless people to pick up a brush and discover

182

Bob Ross (1942-1995)

Lake in a mountain landscape, circa 1989

Oil on canvas

Signed lower left: Ross; with the hologram authentication seal, verso 16” H x 12” W

$10,000-15,000

Notes:

The lot is accompanied by a certificate of authenticity signed by Annette Kowalski, Founder, Bob Ross Incorporated, dated October 25, 2024, watermarked with a number that matches both the hologram seals on the certificate and on the verso of the painting.

183

John Comer (b. 1948)

“Dolores,” 2011

Oil on canvas backed with artist’s panel

Signed lower left: J Comer; signed again, titled, dated, and with the artist’s copyright, all verso

30” H x 40” W

$4,000-6,000

Provenance: Private collection, Southern California

184

John Comer (b. 1948)

“Foggy Morning, California Street,” 2000

Oil on canvas backed with artist’s panel

Signed lower left: J Comer; signed again, titled, dated, and with the artist’s copyright, all verso 36” H x 40” W

$4,000-6,000

Provenance:

Waterhouse Gallery, Santa Barbara, CA Private collection, Southern California

185

Charles Muench (b. 1966)

Sun dappled house, 2003 Oil on canvas

16” H x 20” W

$1,000-1,500

186

Signed lower left: Calvin Liang 16” H x 20” W

$1,500-2,000

Provenance: Private collection, Los Angeles, CA

Calvin Liang (b. 1960)

Newport Beach Oil on canvas

187

John Comer (b. 1948)

“Tide Pool, La Jolla” Oil on canvas backed with artist’s panel Signed lower left: J Comer; signed again, titled, and with the artist’s copyright, all verso 24” H x 36” W

$3,000-5,000

Provenance: Private collection, Southern California

188

John Comer

(b. 1948)

“Incoming Tide,” 2001 Oil on canvas backed with artist’s panel

Signed lower right: J Comer; signed again, titled, and with the artist’s copyright, all verso; dated by repute 18.25” H x 24” W

$1,200-1,800

Provenance: Private collection, Southern California

189

John Comer (b. 1948)

Study for “Native Land 2” Oil on canvas backed with artist’s panel

Unsigned 16” H x 24” W

$3,000-5,000

Provenance:

Private collection, Southern California, acquired directly from the artist

190

John Comer (b. 1948)

“Waves in the Morning” Oil on canvas backed with artist’s panel

Signed lower right: J Comer; signed again, titled, and with the artist’s copyright, all verso 12” H x 18” W

$800-1,200

Provenance: Private collection, Southern California

191

Ben Abril (1923-1995)

“Newport — Balboa Pier” Oil on canvas

Signed lower right: Ben Abril; titled and inscribed on the stretcher: “CW 7941” 24” H x 36” W

$2,000-3,000

Notes:

This lot is accompanied by a signed and inscribed copy of Ben Abril’s book, “Images of a Golden Era: Paintings of Historical California,” and a photo of Ben Abril with this painting, stored within an envelope which is taped to the inside of the book’s back cover.

192

Signed verso: Karen Moore; titled by repute

50.25” H x 50.25” W

$2,000-3,000

Karen Moore (20th Century)

“Sage River” Oil on canvas

193

Signed verso: Karen Moore; titled by repute

50.25” H x 50.25” W

$2,000-3,000

Karen Moore (20th Century)

“Strawberry Fields” Oil on canvas

194

Sergei Bongart (1918-1985)

Home with figures along a path Oil on canvas

Unsigned

36” H x 40” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

195

Sergei Bongart (1918-1985)

Interior, looking into a bedroom Oil on canvas

Signed and dated upper left: Sergei Bongart / 1976

30” H x 24” W

$1,000-2,000

Provenance: The Estate of Sergei Bongart

Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation?

• USPAP Compliant • Quick Turnaround art - jewelry - decorative objects - furnishings and more

Moran’s team of USPAP compliant appraisers is here to meet your needs. Is your collection protected?

SINCE 1969

Condition Reports

Overall good appearance. With margins and the colors good. A few flecks of stray printer’s ink in the left margin. Not examined out of the frame.

Framed under glass: 20” H x 16.5” W x 0.75” D

Overall good condition. With margins and the colors good. Not examined out of the frame.

Framed under glass: 18.125” H x 16.625” W x 1” D

Overall good condition. With margins and the colors good. Not examined out of the frame.

Framed under glass: 15.75 H x 14.5 W x 1” D

Overall good condition. With margins and the colors good. Not examined out of the frame.

Framed under glass: 26.5” H x 23.625” W x 1” D

Overall good condition. With margins and the colors good. Not examined out of the frame.

Framed under glass: 8.5” H x 6.5” W x 1” D

Overall good condition. The sheet with full margins and the colors good. A very delicate and unobtrusive, 4” diagonal printer’s crease at center, visible primarily on the verso. The sheet is hinged to the overmat with white linen tape along the verso of the upper margin edge.

Framed under glass: 16.75” H x 16” W x 0.75” D

Overall good appearance. With margins and the colors fresh. Some scattered soft creasing in the upper margin, not affecting the image. A rice-size thinned area (or tiny hole) confined to both the upper left and upper right margin corners, only partially visible as currently matted. The outer margins of the sheet are sandwich-mounted within the mat.

Framed under glass: 16.5” H x 20” W x 1” D

Overall good appearance. With margins. Two very unobtrusive, pinhead-sized, uninked areas in the darker rocks above the lower plate edge, possibly due to insects. A minute foxmark on the platemark at right. Not examined out of the frame.

Framed under glass: 14.75” H x 15.25” W x 1.125” D

Overall good appearance. With margins. Lightstaining showing in the area exposed through the window opening of the overmat. Not examined out of the frame.

Framed under glass: 12.5” H x 14.5” W x 1” D

Overall good appearance. With margins. A good impression. A 2.25” printer’s crease showing slightly in the upper portion of the right margin, not affecting the image. Not examined out of the frame.

Framed under glass: 11.25” H x 12.25” W x 1” D

Overall good appearance. A rich impression with a delicate veil of platetone on a sheet with wide margins. Not examined out of the frame.

Framed under glass: 13.5” H x 15.75” W x 0.75” D

With margins. Minor handling creases. A few 3” H x 0.125” W (or smaller) areas of surface abrasion/ skinning to the image, with attendant paper thinning, primarily in the lower right quadrant of the image, and a few other scattered areas in the lower margin, at left, with an attendant band of white tape affixed verso to support the thinned areas. A pea-sized area of surface abrasion/skinning slightly affecting the signature. A 3” diagonal tear in the upper portion of the right edge, with an attendant band of white tape affixed to the verso. Pale light-staining along the outer margin edges, just outside of the image, presumably attendant with a previous overmat window. Pale foxmarks and a few areas of grime scattered throughout the margins and a few on the verso. Two thin bands of pale staining in places along the lower portion of the right margin edge. The margin edges trimmed unevenly and a 0.5” horizontal area of insect damage along the extreme lower margin edge, at left. Two small square brown paper remnants at the upper margin corners, and remnants along the verso of the upper margin edge and corners. The sheet is loose, not matted.

Unframed

Overall good appearance. With margins. The ink of the signature and title has slightly attenuated to a dark brown pigment. A pale, very unobtrusive foxmark in the lower right margin corner. Not examined out of the frame.

Framed under Plexiglas: 24.375” H x 20.375” W x 2” D

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

Visual: Overall good appearance. Minor dust accumulation. Fine craquelure throughout. Soft stretcher bar creases at the left, right, and upper edges, primarily visible in raking light.

Blacklight: No evidence of restoration. Varnish has been applied unevenly.

Frame: 26” H x 22” W x 3.5” D

Visual: Dust accumulation, grime, and minor varnish discoloration commensurate with age. Rippling to the canvas throughout. Occasional, small areas of craquelure scattered in the outer edges, and with some areas of unstable pigment. A few pinheadsized (or smaller) older pigment losses scattered in the outer edges and corners.

Blacklight: No evidence of restoration. Difficult to read under the heavy varnish application.

Frame: 39.25” H x 33.25” W x 3.25” D

Overall generally good appearance. Light-staining throughout. The extreme right sheet edge trimmed slightly unevenly, possibly in the hand of the artist. Bands of paper tape along the edges of the sheet, on the recto and verso, seemingly not affecting the image. The sheet is hinged to the back mat with two pieces of hinging tape from the verso of the upper sheet edge.

Framed under Plexiglas: 22.5” H x 28.625” W x 2” D

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

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

Visual: Overall good appearance. The work is slightly convex. As mentioned, the paperboard is laid to cardboard.

Blacklight: No evidence of restoration.

Frame: 28” H x 34.25” W x 2.25” D

20

Overall good appearance. Four rice-sized surface abrasions at the lower edge, attendant with the framing.

Framed under glass: 20.25” H x 24.25” W x 1.5” D

21

Visual: Overall good appearance. A pinhead-sized pigment loss in the foliage of the tree at right. A rice-sized abrasion with attendant pigment loss in the extreme upper edge, at right. The lower left and upper right corners of the canvas board very slightly dog-eared.

Blacklight: No evidence of restoration.

Frame: 17” H x 21” W x 2” D

22

Visual: Overall good appearance. Very fine and unobtrusive craquelure scattered in the lower half of the work, primarily concentrated in the blue pigment of the river. A faint stretcher bar crease primarily along the lower portion of the stretcher bar. Newer stretcher bar keys at each corner.

Blacklight: An approximately 1” W vertical band of touch-up all along the left edge. Four other thin 7.5” H x 0.25” W vertical bands of touch-up in the foliage and sky near the upper left quadrant. A dime-sized touch-up in the extreme lower edge, to the right of the signature.

Frame: 43” H x 43” W x 4.5” D

Visual: Overall generally good appearance. Dust accumulation, grime, and minor craquelure throughout, all commensurate with age. An unobtrusive, approximately dime-sized pressure mark with an attendant 0.625” horizontal line of cracked pigment at the center of the upper edge. The lower canvas edge with its tacking edge removed and subsequently striplined, and the upper, left, and right canvas edges with duct tape encasing the tacking edges. The original stretcher with newer keys.

Blacklight: Small touch-ups, rice-sized or smaller, primarily scattered in the upper half of the work.

Frame: 30.5” H x 38.5” W x 2.25” D

Visual: Overall good appearance. Scattered stable craquelure and grime throughout, some of the latter of which (near the lower left corner) shows only under blacklight. Very small areas of grime in places along the extreme upper edge of the panel.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 16.5” W x 1.75” D

Visual: Overall good appearance. The canvas slightly loose, with attendant soft ripples at the top edge. Scattered areas of stable, delicate craquelure concentrated primarily in the off-white pigments. A 0.25” H x 0.25” W discolored area near the lower edge of the canvas, left of center, with related brown paper tape, verso. A scattered line of unobtrusive, pinhead-size pigment losses in the tailfeathers of the pigeon in the lower right corner. A short curving line as well as a few specks of grime to the right of center, near the lower edge of the canvas.

Blacklight: No evidence of restoration except possibly in the 0.25” H x 0.25” W area mentioned above.

Frame: 41.5” H x 31” W x 1.5” D

Visual: Overall generally good appearance. Craquelure throughout. An irregularity in the canvas threads along the right edge.

Blacklight: Scattered quarter-sized (or smaller) areas of touch-up, primarily in the outer edges.

Frame: 34.5” H x 34.5” W x 3” D

Visual: Overall good appearance. Very fine craquelure scattered throughout. A hairline, delicate, very unobtrusive, crescent-shaped surface scuff in the background and above the black jug, primarily visible in raking light.

Blacklight: Two approximately 1.5” thin, diagonal touch-ups in the lower right quadrant.

Frame: 23.5” H x 23.5” W x 2” D

Visual: Overall good appearance. Dust accumulation and grime commensurate with age. Some scattered areas of oxidation to the pigment in the background, primarily in the upper half of the work. Small, minor areas of frame abrasion scattered along the extreme upper and right edges. The stretcher with newer keys.

Blacklight: No evidence of restoration. A thick and uneven layer of varnish has been applied.

Frame: 39.375” H x 33.625” W x 2.5” D

Visual: Overall good appearance. Scattered craquelure. As mentioned, the canvas is laid to board. Not examined out of the frame.

Blacklight: Certain pigments in the shadows of the table and the flowers fluoresce under blacklight, possibly due to restoration.

Framed under glass: 23.75” H x 29.75” W x 1.25” D

Visual: Overall generally good appearance. Occasional areas of fine craquelure scattered primarily in the center of the work, minor varnish discoloration, and occasional specks of grime, all commensurate with age. A few unobtrusive pinpointsized (or smaller) pigment losses scattered in the leaves and white flowers. A possible faint surface scratch along the extreme lower edge, at center. As mentioned, the canvas has been relined.

Blacklight: A 2” H x 1” W area of touch-up in the upper right corner. Touch-up along the extreme edges, and other small areas of touch-up scattered throughout.

Frame: 22.5” H x 17.5” W x 2.5” D

Visual: Overall generally good appearance. Specks of grime and very fine craquelure scattered throughout, with a few pinpoint-sized (or smaller) areas of unobtrusive pigment loss scattered in the flowers and leaves, all commensurate with age. As mentioned, the canvas has been relined.

Blacklight: Two approximately 0.75” bands of touch-up along the lower and upper edges, at left. Other smaller areas of touch-up scattered primarily throughout the outer edges and occasionally in the center of the work.

Frame: 22.5” H x 17.5” W x 2.5” D

Visual: Overall good appearance. Very fine craquelure in the upper left quadrant. Scattered pinhead-sized (or smaller) pigment losses in places, primarily along the upper edge.

Blacklight: A 2” H x 0.75” W touch-up at the center of the left edge and a few other smaller areas of touchup in the upper left quadrant.

Frame: 31.5” H x 36.75” W x 4” D

Visual: Overall good appearance. Soft, stable craquelure, primarily on the skin and hair of the figure. Minor frame abrasion along each extreme edge, currently covered by the frame.

Blacklight: Certain pigments throughout the figure’s skin fluoresce under blacklight, but this appears to be due to the uneven varnish application.

Frame: 16.25” H x 14.25” W x 2.75” D

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

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

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt applied to underside.

Overall good appearance. The sheet with a deckled edge along the top, and the other edges very slightly unevenly trimmed. Very minor surface soiling in the deckle of the upper sheet edge. Slight traces of old paper and glue remnants at the verso of the upper sheet edge. The sheet is hinged to the back mat in two places from the verso of the sheet’s upper half.

Framed under Plexiglas: 16” H x 22” W x 3.25” D

Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered pea-sized rubbed losses to patination at haunches an shoulders. Scattered areas of verdigris to haunches and back.

Overall good appearance. Pale light-staining to the sheet exposed by the overmat window. Staining at each of the four corners. Small, scattered areas of glue residue at each of the extreme edges of the four corners and at the center of the lower sheet edge. Artist’s pinholes along the right edge. The verso sheet with surface skinning scattered throughout, not affecting the recto. The sheet is hinged to the overmat with two small pieces and one long piece of hinging tape from the verso of the upper sheet edge.

Framed under Plexiglas: 34.25” H x 27.25” W x 1.375” D

Visual: Overall good appearance. Fine paint shrinkage (primarily scattered in the flowers), specks of occasional grime, and minor darkening, all commensurate with age. A small area of lifting near the upper right corner. Frame abrasion along the extreme edges, with attendant pinhead-sized (or smaller) areas of pigment loss, and ink numbering from the frame has slightly transferred to the extreme left edge, none of which is visible as framed.

Blacklight: Small, occasional areas of touch-up scattered in the flowers and leaves.

Framed under Plexiglas: 27” H x 15” W x 3” D

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

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

Visual: Overall generally good appearance. Very minor, stable crazing throughout. Slight wear to the edges. The upper and right tacking edges have been removed. As mentioned, the canvas has been relined.

Blacklight: A few scattered pea-sized (or smaller) touch-ups, primarily in the sky.

Frame: 15.25” H x 17” W x 2.5” D

Overall generally good appearance. Pale lightstaining. A minor 3” vertical crease with an attendant tear in the sail of the upper left quadrant, and another 1.25” vertical area on the lower edge, at left. An abrasion at the extreme upper right corner. The paperboard trimmed slightly unevenly along the left edge, presumably in the hand of the artist. The verso with scattered, pale staining, and four rectangular paper remnants on the upper and lower edges. The work is loose, secured to the back mat with spacers.

Framed under Plexiglas: 16.5” H x 18.5” W x 1.25” D

Visual: Overall good appearance. Slight surface rubbing and grime. Minor frame abrasion along the extreme right edge.

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

Frame: 40” H x 60” W x 5” D

Visual: Dust accumulation, grime, and varnish discoloration, all commensurate with age. Paint shrinkage scattered in the lower half of the work. The canvas is slightly loose from the stretcher and bowed in the middle.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 15.625” W x 2” D

Visual: Overall good appearance. Specks of grime and varnish discoloration commensurate with age.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 14.75” W x 1.25” D

Visual: Overall good appearance. A very unobtrusive, pinhead-sized surface abrasion in the varnish layer near the lower right corner. Two pinhead-sized specks of grime near the lower edge, at left. Three very unobtrusive, pinpoint-sized uninked specks in the lower edge to the right of the signature, most likely in the hand of the artist.

Blacklight: No evidence of restoration. An uneven varnish application has been applied.

Frame: 38” H x 47” W x 3” D

Visual: Overall good appearance. A delicate, 0.25” H, scattered scratch with attendant pigment loss in the lower portion near the left edge. Some very minor surface accretions such as stray paint brush hairs, and general wear to the extreme sheet edges, all visible only in raking light. As mentioned, the paper is laid to panel.

Blacklight: Scattered small spots and delicate lines of touch-up concentrated primarily near the outer edges and corners, generally pea-sized or smaller, and often attendant with prior frame abrasions. Two of these areas are in the sky at upper center. There are also two very delicate, scattered, touched-in hairlines in the sky, one of which extends horizontally almost all the way from the left to the right edge. The other, which is roughly parallel to the one just described, is broken into two 1-1.5” long lines.

Frame: 23.5” H x 28.5” W x 3” D

Visual: Overall good appearance. Fine craquelure throughout. An unobtrusive pinpoint-sized speck of grime adhered to the surface in the upper right quadrant. As mentioned, the canvas has been relined.

Blacklight: Crack-fill throughout, primarily in the sky. A 3” H x 1” W touch-up in the sky of the upper left quadrant, and a few pea-sized (or smaller) touch-ups scattered along the upper edge.

Frame: 36.5” H x 62.5” W x 5” D

Visual: Overall generally good appearance. Slight grime and varnish discoloration. Fine craquelure throughout and an area of unstable craquelure with an attendant pea-sized pigment loss in the rock of the lower left quadrant. As mentioned, the canvas has been relined.

Blacklight: Two horizontal bands of touch-up, the longest 3” W, in the horizon of the lower left quadrant. A 0.75” H x 0.75” W touch-up in the sky along the left edge, and other smaller touch-ups primarily scattered throughout the sky.

Frame: 16” H x 19” W x 3.5” D

Visual: Overall good appearance. Paint shrinkage scattered throughout the sky in the upper left quadrant. An unobtrusive 0.75” area of bubbling near the lower left corner, and other occasional pea-sized (or smaller) areas of bubbling in the sky, all presumably attendant with when the canvas was laid down. A 1” minor surface scratch in the green pigment, with attendant pigment loss near the lower left corner. Minor frame abrasion scattered in places along the extreme edges. As mentioned, the canvas has been relined.

Blacklight: Two areas of touch-up in the left-most tree of the upper right quadrant, one 3” H x 2” W and one 2” H x 3” W. A 5” jagged touch-up in the lower left quadrant. Areas of older touch-up, one being a 2” H x 1” W scattered touch-up to the right of the tree in the lower left quadrant and a 2” diagonal touch-up in the upper left corner.

Frame: 40.75” H x 60.75” W x 3.5” D

Visual: Overall good appearance. A penny-sized reverse pressure mark with attendant craquelure near the lower left corner. Slight frame abrasion and wear to each corner, not visible as framed.

Blacklight: No evidence of restoration. A heavy varnish application has been applied.

Frame: 15.5” H x 17.5” W x 3.5” D

Visual: Overall generally good appearance. Slight grime and varnish discoloration commensurate with age. Minor frame abrasion primarily along the left of the lower edge.

Blacklight: A 1” H x 0.75” W scattered area of touchup in the tree in the upper left quadrant, and another pea-sized area of touch-up in the lower portion of the extreme right edge.

Frame: 10.5” H x 13.5” W x 3.5” D

Overall good condition. The colors fresh. The sheet slightly unevenly trimmed along the upper edge, including two superficial, horizontal incisions at the extreme upper edge of the sheet (one measuring 8,” and the other measuring 4”), neither of which affects the image. Minor backboard staining, verso. The sheet is loose, not matted.

Framed under Plexiglas: 28.5” H x 36” W x 2” D

Overall good appearance. Pale light-staining. Backboard staining, presumably attendant with a previous backing board. Remnants of hinging tape at the verso of the upper edge. The sheet is loose, not matted.

Framed under Plexiglas: 16” H x 20” W x 2” D

Visual: Overall good appearance. Occasional specks of grime and minor varnish discoloration. A pinheadsized pigment loss in the mountains of the upper left quadrant.

Blacklight: A 3” H x 0.5” W area of touch-up at the center of the left edge, and a pea-sized touch-up near the center of the right edge.

Frame: 21” H x 26” W x 3” D

Visual: Overall generally good appearance. Slight varnish discoloration scattered primarily in the sky. Soft craquelure, primarily in the upper half, mostly visible in raking light. A 1” H x 0.5” W area of pigment loss and a small area of unstable, lifted pigment in the center near the upper edge. A few other unobtrusive pigment losses, mostly pinheadsized (or smaller) scattered in places in the sky and along the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 46.5” W x 2.75” D

Visual: Dust accumulation, grime, scattered areas of craquelure, soft stretcher bar creases along each side, and minor varnish discoloration in the sky, all commensurate with age. A few rice-sized (or smaller) pigment losses scattered in the left half of the work.

Blacklight: Small clusters of touch-ups in the tree of the upper right quadrant and other smaller touch-ups scattered in the work.

Frame: 26.875” H x 37” W x 3” D

Overall good appearance. Old mat staining confined to the narrow margins and to the verso of the sheet. The sheet is hinged to the overmat with linen tape at the verso of the upper sheet corners.

Framed under Plexiglas: 30” H x 33.5” W x 1.75” D

Overall good appearance. Slight varnish discoloration. Varnish oxidation primarily in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 16.75” W x 2.25” D

Visual: Overall good appearance. Slight grime and varnish discoloration. Very fine craquelure throughout.

Blacklight: A 1.5” H x 0.5” W scattered area of touchup in the upper right quadrant.

Frame: 15.5” H x 17.5” W x 2.25” D

Visual: Overall good appearance. As mentioned, the canvas is laid to board.

Blacklight: A few pinhead-sized touch-ups scattered in the sky of the upper right quadrant.

Frame: 7.75” H x 9.375” W x 1.625” D

Visual: Overall good appearance. Slight frame abrasion, partially affecting the signature. The signature is partially obstructed by the current frame.

Blacklight: No evidence of restoration.

Frame: 22” H x 26.25” W x 2.5” D

Visual: Overall good appearance. Dust accumulation and grime commensurate with age. Unobtrusive, minor craquelure scattered in the lower right quadrant, primarily visible in raking light. A small area of frame abrasion in the upper portion of the extreme left edge.

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

Frame: 20.25” H x 24.25” W x 2.25” D

Visual: Overall good appearance. Minor dust accumulation, grime, and slight varnish discoloration. Scattered soft craquelure, primarily visible in raking light. The canvas has been restretched.

Blacklight: A 1.5” H x 1.5” W touch-up near the center of the right edge, with an attendant patch, verso. An 8.5” band of touch-up along the extreme upper edge, at right, and other occasional, smaller, scattered touch-ups.

Frame: 32.75” H x 36.75” W x 3” D

Visual: Overall generally good appearance. Slight grime and varnish discoloration. Very minor wear to the canvas lower edge. As mentioned, the canvas is laid to artist’s board.

Blacklight: Two touch-ups along the extreme upper edge, the largest 1.5” W at right of center, and the other in the upper left corner. A few scattered touchups, dime-sized (or smaller,) scattered in the sky and the lower half of the work.

Frame: 22.5” H x 20.75” W x 1.5” D

Visual: Overall generally good appearance. Varnish discoloration and grime. Soft frame abrasion, not visible as framed. A couple of irregular threads in the canvas running horizontally in the upper right quadrant. As mentioned, the canvas has been laid to board.

Blacklight: No evidence of restoration.

Frame: 22” H x 18” W x 2.5” D

Visual: Overall generally good appearance. Dust accumulation, grime, and stable craquelure throughout, all commensurate with age.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 26” W x 3” D

Visual: Overall good appearance. Two small areas of old surface wear in the upper portion of the right edge. Slight dust accumulation apparent in the dark pigments of the foreground.

Blacklight: Two small areas of touch-up in the upper portion of the right edge attendant with the old surface wear already described, the largest approximately 0.75” H x 0.25” W. Several pinhead-sized touch-ups near the top of the extreme left edge.

Frame: 16.5” H x 20.5” W x 2” D

Visual: Overall good appearance. Scattered craquelure. A stretcher bar crease along the upper edge.

Blacklight: 1” H x 1” W touch-ups in the upper corners and the lower left corner. A pea-sized touchup in the snow in the lower left quadrants and other, smaller, scattered touch-ups throughout the left half.

Frame: 32.25” H x 26.25” W x 3” D

Visual: Overall good appearance.

Blacklight: A pea-sized touch-up in the leftmost tree of the upper left quadrant, and another, smaller touch-up in the sky to the right of center.

Frame: 11” H x 13” W x 1.25” D

Visual: Overall good appearance. Slight grime and varnish discoloration. A 2” diagonal crease with attendant craquelure to the right of center at the upper edge.

Blacklight: No evidence of restoration. A ricesized area of possibly old varnish fluoresces under blacklight to the left of the extreme upper edge.

Frame: 21.5” H x 21.75” W x 2” D

Visual: Overall good appearance.

Blacklight: A 0.375” H x 0.5” W area of touch-up near the edge of the upper left quadrant, and a few smaller scattered flecks of touch-up primarily in the outer edges.

Frame: 16.25” H x 20.25” W x 1.75” D

Visual: Overall good appearance. Slight grime and varnish discoloration. As mentioned, the canvas is laid to board.

Blacklight: No evidence of restoration.

Frame: 14” H x 17.125” W x 1.5” D

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

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

Overall good appearance. The work is currently sealed in its mat.

Framed under glass: 19.25” H x 13” W x 1” D

Visual: Overall good appearance. Very fine, small, scattered areas of craquelure, primarily in the upper half, and some areas of unstable pigment with a few flecks of unobtrusive pigment loss. Minor frame abrasion scattered in places along the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 18.25” W x 3” D

Visual: Overall generally good appearance. An approximately quarter-sized, irregular, pressure mark in the sky near the upper left corner, and two additional, smaller, pressure marks of the same type also in the sky but near the center of the left edge. As mentioned, the canvas is laid to Masonite.

Blacklight: An approximately 6” H x 10” W touch-up in the sky at center. Scattered areas of fluorescence throughout the landscape portion of the image, possibly due to pigment or an uneven varnish layer.

Frame: 35” H x 46.5” W x 1.75” D

Visual: Varnish discoloration. Paint shrinkage and craquelure throughout the sky, with attendant ricesized (or smaller) pigment losses primarily in the outer edges, and areas of unstable craquelure at the center of the right edge. The canvas slightly loose from the stretcher.

Blacklight: A few scattered pea-sized (or smaller) touch-ups, primarily in the center trees.

Frame: 20.25” H x 26.25” W x 3” D

Visual: Overall good appearance. A few very minor scattered specks of grime and slight varnish discoloration. As mentioned, the canvas is laid to board. A large portion of the upper and lower edges of the canvas have lifted away from the board.

Blacklight: No evidence of restoration.

Frame: 14.25” H x 17.25” W x 2.5” D

Visual: Overall good appearance. Minor varnish discoloration showing in the clouds.

Blacklight: Scattered areas of touch-up, the largest 0.5” H x 1.5” W, primarily along the extreme upper and right edges.

Frame: 13.5” H x 16.5” W x 2.25” D

Visual: Overall generally good appearance. Dust accumulation, grime, and fine craquelure scattered throughout, all commensurate with age. Some areas of unstable pigment with a few attendant pinheadsized (or smaller) pigment losses scattered in the outer edges, and one area of loss in the second tree. A 0.75” H x 3” W band of possible wear to the pigment at the center of the upper edge. Minor frame abrasion along the edges. The stretcher bars have been replaced and reinforced. As mentioned, the canvas has been relined.

Blacklight: A 1” H x 0.5” W touch-up in the rightmost tree and a few smaller touch-ups scattered in the trees. A small cluster of touch-ups, the largest peasized, in the upper edge, at left, and a rice-sized touch-up near the center of the lower edge.

Frame: 24” H x 27.125” W x 2.75” D

Visual: Overall good appearance. Some scattered specks of grime in the lower half.

Blacklight: A 0.5” H x 0.75” W area of touch-up in the upper right quadrant, and a few other pinheadsized (or smaller) occasional touch-ups scattered throughout.

Frame: 13” H x 14.75” W x 1.5” D

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

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

Frame: 37.5” H x 45” W x 4” D

Visual: Overall good appearance. A 1” faint surface abrasion on the right-side wheel of the boxcar, primarily visible in raking light. A few flecks of unobtrusive pigment loss scattered in places along the lower edge, at right. Artist pinholes at each corner.

Blacklight: A few pinhead-sized (or smaller) touchups scattered in the foreground.

Frame: 18.25” H x 22.25” W x 3” D

Visual: Overall good appearance. Fine craquelure scattered throughout.

Blacklight: Pinhead-sized touch-ups at each of the four corners, presumably attendant with touching in the artist’s pinholes. A few pea-sized (or smaller) touch-ups scattered near the lower edge.

Frame: 30.25” H x 34.25” W x 3.5” D

Visual: Overall good appearance. An unobtrusive pinhead-sized pigment loss in the sky, just above the figure in the ochre-colored jacket, and another near the the lower right corner. Occasional artist’s pinholes scattered in places along the edges. Areas of surface skinning to the verso, not affecting the recto.

Blacklight: No evidence of restoration.

Frame: 39.25” H x 44.5” W x 2” D

Overall good appearance. The sheet trimmed slightly unevenly along all but the left edge. Pale time and mat staining near the sheet edges and on the verso. The sheet is taped to the overmat with old masking tape in one place at the center of the right edge as well as along the upper sheet edge, both verso.

Framed under glass: 17.5” H x 21.5” W x 1” D

Visual: Overall generally good appearance. Craquelure throughout and stretcher bar creases along the four sides. A 1” H x 2” W area with a few, unobtrusive pinhead-sized (or smaller) pigment losses near the center of the rock formation in the lower right quadrant, and a pinhead-sized and two smaller flecks of pigment loss near the lower edge, at left. The canvas has been restretched and the stretcher has new keys.

Blacklight: A few quarter-sized (or smaller) touch-ups scattered in the lower half.

Frame: 35.125” H x 43.125” W x 2.25” D

Visual: Overall good appearance. Some irregularities in the canvas threads, primarily visible in raking light. As mentioned, the canvas has been laid to board.

Blacklight: Two small areas of touch-up, the largest measuring 0.375” H x 0.5” W, in the sky of the upper right quadrant.

Frame: 13.75” H x 18.5” W x 1.75” D

Visual: Overall good appearance. An unobtrusive 0.125” circular abrasion at the left of the upper edge.

Blacklight: Scattered flecks of touch-up throughout (the largest 0.5” H x 0.75” W, near the upper portion of the right edge), and more densely concentrated flecks of touch-up in the mountains.

Frame: 13.5” H x 16.5” W x 2.5” D

Visual: Overall good appearance. A few areas (peasized or smaller) of discolored varnish in the clouds. Very faint stretcher bar creases along the left and right edges, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 16.5” H x 18.5” W x 2.5” D

Visual: Overall good appearance. An unobtrusive 1.5” horizontal line of craquelure near the upper right corner. Occasional flecks of scattered, unobtrusive pigment, possibly in the hand of the artist or stray house paint.

Blacklight: No evidence of restoration.

Frame: 39.25” H x 49.25” W x 3” D

Visual: Overall good appearance. Occasional, fine areas of craquelure scattered in the waves. A minor, small stretcher bar crease at the center of the left edge.

Blacklight: No evidence of restoration.

Frame: 35.75” H x 47.75” W x 4” D

Visual: Overall good appearance. A few flecks of unobtrusive pigment loss scattered occasionally in the sky. Minor frame abrasion in the extreme upper left corner.

Blacklight: Two pea-sized touch-ups near the center of the upper edge.

Frame: 22.625” H x 26.625” W x 2” D

Visual: Overall good appearance. Slight surface soiling and grime. Occasional scattered craquelure, sometimes with attendant pinhead-sized, unobtrusive, pigment losses. Frame abrasion with attendant pigment losses in a few places at the extreme edges of the left and lower edges. As mentioned, the canvas is laid to Masonite.

Blacklight: Scattered touch-ups, generally quartersized or smaller, primarily in the sky of the upper left quadrant.

Frame: 16” H x 20” W x 1.5” D

Visual: Overall good appearance. Fine craquelure throughout, with a few unobtrusive, attendant ricesized (or smaller) pigment losses, one in the water beneath the center boat in the lower right quadrant, and two more in the green pigment of the upper right quadrant. Very soft stretcher bar creases in the upper and right edges, primarily visible in raking light.

Blacklight: Scattered touch-ups, dime-sized or smaller, primarily in the upper half.

Frame: 43” H x 42” W x 7” D

Visual: Overall good appearance. A few flecks of scattered grime. The slightest, very unobtrusive 2” thin line of craquelure along the upper edge, at left, primarily visible in raking light. Minor frame abrasion in places along the upper edge, at right.

Blacklight: Small, scattered touch-ups in the sky, the largest measuring 1.5” H, and a few smaller areas of touch-up in the boat’s sail.

Frame: 26.75” H x 30.625” W x 3” D

Visual: Overall generally good appearance. Dust accumulation, specks of grime, and minor varnish discoloration, all commensurate with age. A 2.25” surface scratch to the left of the woman’s necklace, in her veil. A 0.5” H x 0.375” W area of pigment loss, with an attendant visible touch-up with dark pigment, near the center of the man’s hat in the lower left quadrant. A few pinhead-sized (or smaller) abrasions to the surface pigment near the center of the lower edge. Various pinhead-sized holes in the board, presumably the natural surface of the board.

Blacklight: Areas of touch-up in the above mentioned loss in the man’s hat and the abrasions near the center of the lower edge. Small pea-sized (or smaller) touch-ups in the woman’s eyes and mouth.

Frame: 49.125” H x 39.25” W x 3” D

Overall generally good appearance. The sheet with surface soiling and minor rubbing, primarily concentrated near the outer edges. Some scattered small and unobtrusive paper losses, rice-sized or smaller, due to insect damage, some of which are touched-in with graphite. Occasional skillfully repaired tears, creases, or made-up paper losses in places at the sheet edges. The longest tear approximately 3” into the architectural background at upper left, and the largest made-up paper loss approximately 1” H x 0.375” W, affecting a small area of the fan in the lower portion of the right edge. As mentioned, the sheet is laid to paper which is laid to board.

Framed under glass: 33.5” H x 27.5” W x 2” D

100

Visual: Overall good appearance. Dust accumulation and grime commensurate with age. Small, scattered, unobtrusive areas of craquelure, primarily visible in raking light. A very unobtrusive fleck of pigment loss in the green pigment of the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 22.625” H x 26.625” W x 2.25” D

101

Overall good appearance. With margins. Slight cockling, primarily along the edges, attendant with the materials used. Time-staining along the sheet edges. Remnants of glue scattered along the recto and verso sheet edges, not affecting the image. Artist pinholes along the edges. The sheet is tipped to the back mat in places from the verso of the upper sheet edge.

Framed under Plexiglas: 23.5” H x 27.7” W x 2” D

102

Visual: Overall generally good appearance. Surface grime and slight varnish discoloration. A cluster of very small, irregular, surface abrasions with attendant tiny pigment losses, all within an approximately 1” H x 1” W area near the top of the tallest tree at upper left.

Blacklight: No evidence of restoration.

Frame: 23” H x 29” W x 1.5” D

103

Visual: Dust accumulation, specks of grime, minor varnish discoloration, and very unobtrusive, fine, scattered craquelure, all commensurate with age. A 10” surface scuff that extends diagonally across the whole left corner. A 10” horizontal surface scuff in the back two masts of the ships in the upper right quadrant. A sideways ‘V’-shaped visible repair just below the last mast of the ship. A 7” vertical line of visible touch-up in the sky, to the left of the front of the ship, in the upper left quadrant. An unobtrusive, pinhead-sized pigment loss near the center of the upper edge.

Blacklight: An upside-down ‘L’-shaped touch-up that extends along the whole work, and a few quartersized touch-ups near the lower left corner, all in the left half of the work, and some touch-ups mentioned with attendant patches verso. A sideways ‘V-shaped’ touch-up mentioned above, and other smaller touchups near the last mast of the ship and in the lower right quadrant, all with attendant patches verso.

Frame: 35.5” H x 49.5” W x 4” D

104

Visual: Overall good appearance. Very fine areas of scattered craquelure.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 26.5” W x 2.5” D

105

Visual: Overall good appearance. A few flecks of grime. A stretcher bar crease along the upper edge. Very fine, occasional, unobtrusive areas of scattered craquelure, primarily visible in raking light. An approximately pinhead-sized pigment loss at the center of the extreme left edge.

Blacklight: No evidence of restoration.

Frame: 27.625” H x 31.625” W x 3” D

106

Visual: Overall generally good appearance. Craquelure throughout and stretcher bar creases along each side. The canvas has been reduced in size along the left and upper edges when restretched. As mentioned, the canvas has been relined.

Blacklight: Occasional flecks of touch-up in the sky of the upper right quadrant and a few scattered areas along the extreme edges. A heavy application of varnish has been applied.

Frame: 28.25” H x 32.25” W x 3” D

107

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 14.5” W x 2” D

108

Visual: Overall good condition. As mentioned, the canvas is laid to board.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 14.5” W x 2” D

109

Visual: Overall good appearance. As mentioned, the canvas is laid to board, and the board is very slightly concave.

Blacklight: No evidence of restoration.

Frame: 10” H x 12” W x 1.75” D

110

Visual: Overall good appearance. Slight frame abrasion scattered in places along the extreme upper edge. A 0.5” H x 0.75” W area of very minor craquelure in the lower left quadrant.

Blacklight: A few scattered small areas of touch-up, primarily in the sky.

Frame: 15.75” H x 18” W x 1.75” D

111

Visual: Overall good appearance. Fine, scattered craquelure, primarily in the lower half of the work. Two very slight, unobtrusive specks of pigment loss in the sky of the upper left quadrant, primarily visible in raking light.

Blacklight: A few pinhead-sized or smaller areas of touch-up scattered near the center of the work and the upper portion of the left and right edges.

Frame: 27.5” H x 31.625” W x 2.25” D

112

Overall good appearance. Fine craquelure scattered throughout. The tacking edges have been removed and, as mentioned, the canvas has been relined.

Blacklight: Two thin vertical bands of touch-up, one 3” and the other 1.5”, along the upper portion of the left and right extreme edges, respectively. Occasional rice-sized (or smaller) touch-ups scattered primarily in the upper half.

Frame: 29.25” H x 35” W x 3” D

113

Visual: Overall good appearance. Occasional scattered craquelure. A stretcher bar crease showing very faintly along the left edge.

Blacklight: A few rice-sized touch-ups in the extreme lower left corner and a pinhead-sized touch-up near the center of the extreme upper edge.

Frame: 26” H x 22” W x 2” D

114

Visual: Overall generally good appearance. Grime and areas of paint shrinkage scattered throughout. Two pinpoint-sized pigment losses in the light blue pigment of the upper right quadrant. A pinheadsized abrasion to the right of the figure on the far left. A cluster of the thin varnish layer peeling near the center of the work, and other flecks of the layer peeling near the upper edge.

Blacklight: No evidence of restoration.

Frame: 30.875” H x 37” W x 2.25” D

115

Visual: Overall generally good appearance. Dust accumulation, grime, craquelure throughout, soft stretcher bar creases along each side, and minor varnish discoloration, all commensurate with age. Two pinholes with attendant pigment loss along the upper edge, near the upper left corner. Several specks of oxidation to the varnish layer scattered near the center of the work.

Blacklight: No evidence of restoration.

Frame: 30” H x 35” W x 2.25” D

Visual: Overall generally good appearance. Dust accumulation, specks of grime, craquelure throughout, soft stretcher bar creases along the left and upper edges, and minor varnish discoloration, all commensurate with age. A pinhead-sized pigment loss at the extreme lower edge, just below the signature.

Blacklight: No evidence of restoration.

Frame: 30” H x 35” W x 2.5” D

117

Visual: Overall generally good appearance. Slight varnish discoloration. Two approximately 3” H x 3” W pressure marks, one at the left of center and the other in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 15.5” W x 2.75” D

118

Overall good appearance. Pale light-staining. Two very pale, unobtrusive specks of foxing in the upper left quadrant, one in the sky and the other in the mountain range. A 1.625” diagonal crease in the upper left corner. Minor surface soiling along the edges and corners of the sheet, verso. The sheet is attached to the overmat with three pieces of hinging tape from the verso of the upper sheet edge, at center, and from the verso of the lower sheet corners.

Framed under glass: 24.5” H x 30.5” W x 2.5” D

119

Visual: Overall generally good appearance. Grime and varnish discoloration. Very fine areas of craquelure, only visible in raking light. A 1.25” H x 0.25” W area of pigment loss in the extreme left edge, as well as slight frame abrasion along the extreme left and right edges, all covered by the frame.

Blacklight: A pea-sized touch-up near the bottom of the rightmost tree, in the lower right quadrant. Scattered flecks of grime fluoresce under blacklight.

Frame: 12.75” H x 15.75” W x 2.5” D

120

Visual: Overall good appearance. Scattered frame abrasion, primarily along the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 11.5” H x 13.625” W x 1.25” D

121

Visual: Overall good appearance.

Blacklight: A 1” band of scattered pinpoint-sized touch-ups at the center of the extreme upper edge.

Frame: 18” H x 22” W x 2.125” D

122

Visual: Overall good appearance. A pea-sized pigment loss in the lower left corner.

Blacklight: A pea-sized touch-up attendant with the above-mentioned pigment loss.

Frame: 17.5” H x 21.5” W x 1.75” D

123

Visual: Overall good appearance. Fine, scattered craquelure throughout. Minor frame abrasion along the extreme upper edge. As mentioned, the canvas is laid to board.

Blacklight: Dime-sized (or smaller) areas of pigment fluoresce under blacklight, possibly older touch-up, scattered in the sky of the upper left quadrant.

Frame: 42.75” H x 42.75” W x 4” D

124

Visual: Overall generally good appearance. Slight varnish discoloration and occasional specks of grime. Craquelure throughout, including a 1” area of unstable craquelure with a few attendant pigment losses exposing the underpaint, the largest peasized, to the right of center. Stretcher bar creases along the left and upper edges. The canvas is very slightly rippled in the lower left corner.

Blacklight: Scattered horizontal 1” (or smaller) bands of touch-up, primarily on the hills in the left half.

Frame: 20.75” H x 24.75” W x 3” D

125

Visual: Overall good appearance. Slight grime and varnish discoloration.

Blacklight: No evidence of restoration.

Frame: 12.75” H x 14.5” W x 2” D

Visual: Overall good appearance. Grime and varnish discoloration. As mentioned, the canvas is laid to board, and it is slightly bubbling in places, mostly visible in raking light.

Blacklight: No evidence of restoration. Some pigments in the clouds fluoresce under blacklight, but these appear to be in the hand of the artist.

Frame: 13” H x 17” W x 2.25” D

127

Visual: Overall generally good appearance. Fine paint shrinkage throughout. Two rice-sized pigment losses in the sky of the upper right quadrant, and other very minor, occasional scattered pinheadsized (or smaller) pigment losses throughout. A 2” diagonal crease in the board near the upper left corner.

Blacklight: A 2” diagonal band of touch-up in the upper left quadrant, attendant to the crease mentioned above. A dime-sized touch-up in the sky near the extreme right edge, and other scattered rice-sized (or smaller) touch-ups, primarily in the sky.

Frame: 15.125” H x 19.125” W x 2.25” D

128

Visual: Overall good appearance. A 1.5” diagonal slight pressure mark (with attendant pinhead-sized minor pigment loss) in the sky near the upper right corner, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 27” H x 37” W x 2” D

129

Visual: Overall good appearance. Craquelure primarily in the sky. A stretcher bar crease along the upper edge. Slight frame abrasion visible on the left and upper edges. An artist’s pinhole in the extreme lower left corner.

Blacklight: A dime-sized touch-up at the top of the trees on the left, another two dime-sized touch-ups in the sky of the upper right quadrant, and other scattered pinhead-sized (or smaller) touch-ups, primarily in the sky.

Frame: 16” H x 22.25” W x 2.25” D

130

Visual: Overall good appearance. Slight grime and varnish discoloration.

Blacklight: A few scattered pinhead-sized specks of touch-up in the sky of the upper left quadrant.

Frame: 12” H x 15” W x 1.25” D

131

Visual: Overall good appearance: Slight varnish discoloration, dust accumulation, and some unobtrusive, tiny flecks of scattered grime showing mostly in the sky. Areas of unpainted board, in the artist’s hand, showing predominately along the right edge.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 17.5” W x 3” D

132

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 27.5” W x 3.25” D

133

Visual: Overall good appearance. A pinhead-sized pigment loss in the bush of the upper left quadrant. A pea-sized area of grime in the upper portion of the extreme right edge.

Blacklight: No evidence of restoration.

Frame: 32” H x 38” W x 3” D

134

Visual: Overall good appearance. Specks of grime. A small, 0.75” H x 0.25” W upside down ‘Y-shaped’ area of pigment loss of the just top layer, exposing the light blue underlayer, at the center of the left edge. A 0.125” H x 1” W band with a few small, very unobtrusive areas of craquelure at the center of the lower edge, mostly visible in raking light. A small area of frame abrasion at the left of the upper edge.

Blacklight: Small, scattered areas of touch-up in places along the left and upper edges.

Frame: 29.625” H x 35.625” W x 1.5” D

135

Visual: Overall good appearance. Specks of grime. Very soft, occasional areas of craquelure scattered primarily in the upper half. Two very thin 3” or smaller scuff marks of dirt in the upper left quadrant. A very thin, unobtrusive 0.5” horizontal line of frame abrasion in the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 23.25” H x 31.25” W x 2” D

136

Visual: Overall good appearance. An occasional very unobtrusive, pinpoint-size pigment loss and/or speck of grime, primarily near the outer edges. A series of soft stretcher bar creases along the upper and lower edges.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 32.5” W x 2.5” D

137

Visual: Overall good appearance. A few very unobtrusive specks of grime in the lower foreground.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 26.5” W x 1” D

138

Overall generally good appearance. Toning throughout. Bands of brown paper tape along each of the verso sheet edges, and three remnants of white hinging tape on the verso of the upper sheet edge and corners. The work is hinged to the overmat with two pieces of hinging tape from the verso of the upper sheet edge.

Framed under glass: 28.25” H x 32.375” W x 2.5” D

139

Visual: Overall good appearance. The margins with minor toning, small, pale areas of staining and minor surface skinning in the lower portion of the right margin, a 0.5” vertical tear in the lower margin edge, at left, a few soft handling marks, and the binding holes still intact along the left margin edge, all not affecting the image. The verso sheet with two areas of surface skinning, one along the upper portion of the left edge, and the other along the upper edge with attendant glue remnants, slightly showing on the recto, and oil staining at the center of the work, commensurate with the materials used. The sheet is hinged to the overmat with two small rectangular pieces of white hinging tape from the verso of the upper edge.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 15.25” H x 13.125” W x 2” D

140

Visual: Overall good appearance. Slight grime and varnish discoloration. Fine craquelure throughout. Soft stretcher bar creases along the left and right sides, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 28.5” W x 2.75” D

141

Visual: Overall good appearance. Very delicate, stable crazing scattered throughout, primarily in the darker pigments. Stretcher bar creases showing very slightly along the upper and lower edges. The canvas has newer stretcher bars and keys.

Blacklight: A small touch-up in the extreme upper left corner measuring approximately 0.5” H x 1” W. Slight fluorescence scattered along the extreme edges. A very minor pinhead-sized area fluoresces near the center of the left edge. An approximately 6” diagonal, narrow line near the center of the left edge fluoresces lighter under blacklight, with associated verso stain. This does not appear to be touch-up.

Frame: 40” H x 49.5” W x 2” D

142

Visual: Overall good appearance. Varnish discoloration and grime showing primarily in the sky and upper left corner. As mentioned, the canvas is laid to board.

Blacklight: No evidence of restoration. Uneven varnish application throughout, including little to no varnish along the outer edges where previously covered by the frame.

Frame: 18” H x 22” W x 1.5” D

143

Visual: Overall generally good appearance. Grime, varnish discoloration, and minor stretcher bar creases along each side, all commensurate with age. Occasional, unobtrusive, fine areas of scattered craquelure. Some areas of minor, unstable pigment with attendant specks of pigment loss scattered primarily in the lower left quadrant. As mentioned, the canvas has been relined. The stretcher with newer stretcher keys.

Blacklight: A 12” H x 5” W upside down ‘L-shaped’ touch-up in the upper left corner, and a few flecks of touch-up in the clouds at the center, near the upper edge.

Frame: 32.75” H x 40.5” W x 2.5” D

Visual: Overall good appearance. A few unobtrusive scattered pinhead-sized (or smaller) pigment losses.

Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight.

Frame: 20.75” H x 23.5” W x 2.75” D

145

Visual: Overall good appearance. Grime and fine areas of scattered paint shrinkage. Minor frame abrasion and small, stray, gold leaf from the frame, all in places along the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 20” H x 24” W x 2” D

146

Visual: Overall good appearance. The smallest, unobtrusive vertical line of craquelure to the left of the lower edge.

Blacklight: No evidence of restoration. Scattered specks of grime fluoresce under blacklight.

Frame: 20.125” H x 23.125” W x 2” D

147

Visual: Overall generally good appearance. Grime and craquelure scattered in the clouds and the lower portion of the work. A few flecks of unobtrusive pigment loss above the signature. A minor, approximately 6” vertical, scattered surface scratch along the lower portion of the left edge, and touch-in.

Blacklight: A 1” H x 1” W touch-up near the center of the rightmost cloud, two dime-sized touch-ups respectively in the upper corners, scattered pinheadsized touch-ups along the scratch mentioned above, and other smaller touch-ups scattered in the tree and along the edges.

Frame: 27.25” H x 31.25” W x 3.5” D

148

Overall good appearance. Not examined out of the frame.

Framed under glass: 17.5” H x 19.5” W x 0.75” D

149

Visual: Overall good appearance. Very minor varnish discoloration. Fine craquelure scattered in the white pigment of the clouds that are along the central part of the work. A pea-sized area of grime near the upper let corner. A few thin, minor scratches, the largest measuring 1” vertically, all scattered near the base of the rightmost tree, not affecting the signature.

Blacklight: No evidence of restoration.

Frame: 25.625” H x 29.5” W x 2.5” D

150

Visual: Overall good appearance. An unobtrusive pinpoint-sized pigment loss near the upper edge, at right, and a few flecks of minor pigment loss scattered at the peaks of the mountains and in the lower right quadrant.

Blacklight: Two pinhead-sized touch-ups near the center of the upper edge, two 0.5” touch-ups near the peaks of the central mountain, and a 0.25” H x 0.5” W touch-up in the light green pigmented hill in the lower left quadrant.

Frame: 28.5” H x 32.5” W x 2.75” D

151

Visual: Overall good appearance. Small, scattered, unobtrusive areas of paint shrinkage, primarily in the darker pigments. An unobtrusive pea-sized pressure mark with an attendant 5” diagonal surface scuff near the lower left corner.

Blacklight: No evidence of restoration.

Frame: 38” H x 47.375” W x 3” D

152

Visual: Overall good appearance. A very unobtrusive speck of pigment loss to the left of the signature.

Blacklight: No evidence of restoration.

Frame: 22.625” H x 28.625” W x 1.25” D

153

Visual: Overall good appearance. The canvasboard is very slightly concave.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 27” W x 2” D

154

Visual: Overall good appearance. A slightly indented line extending 3” horizontally from the upper portion of the left edge, visible primarily in raking light.

Blacklight: A narrow line of touch-up attendant with the indented line mentioned above. Some other smaller touch-ups, generally rice-sized or smaller, scattered near the outer edges.

Frame: 15” H x 18.5” W x 1.25” D

155

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

Blacklight: No evidence of restoration.

Frame: 13.75” H x 16.25” W x 2.25” D

156

Visual: Overall good appearance. Dust accumulation and scattered unobtrusive flecks of grime, primarily in the lower half. A few unobtrusive, slight surface scuffs near the outer edges, generally 1” or less.

Blacklight: No evidence of restoration.

Frame: 57” H x 43.5” W x 2” D

157

Visual: Overall good appearance. Soft stretcher bar creases, primarily in the upper, left, and right edges.

Blacklight: No evidence of restoration.

Frame: 39.75” H x 32” W x 2.5” D

158

Visual: Overall good appearance. Minor dust accumulation. An unobtrusive pinpoint-sized pigment loss at the center of the upper edge.

Blacklight: No evidence of restoration.

Frame: 45.5” H x 51.5” W x 3” D

159

Visual: Minor dust accumulation. Stretcher bar creases, primarily on the left, right, and upper edges. A 1” H x 0.5” W pressure mark near the center of the left edge, and a smaller one at the center of the extreme right edge, primarily visible in raking light. A pinhead-sized pigment loss near the center of the upper edge, and a few more pinpoint-sized pigment losses scattered in the lower left quadrant.

Blacklight: A 2.5” H x 2” W touch-up in the lower portion of the right edge, and other smaller scattered touch-ups in the outer edges. The darker pigments in the shadows along the perimeter of the table fluoresce in places under blacklight.

Frame: 33.25” H x 37” W x 2.75” D

160

Visual: Overall good appearance. Two very minor, unobtrusive, rice-sized (or smaller) abrasions with attendant pigment loss at the lower right edge.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 47.5” W x 3” D

161

Visual: Overall good appearance. Minor frame abrasion, primarily in the upper left corner, and two rice-sized abrasions with attendant pigment loss along the extreme upper edge. A few minor specks of grime scattered primarily in the upper left and lower right quadrants.

Blacklight: No evidence of restoration.

Framed: 40.25” H x 30.5” W x 0.75” D

162

Visual: Overall good appearance. An unobtrusive, rice-sized pigment loss with an attendant surface scratch near the center of the left edge. A few other, even smaller, unobtrusive, pinhead-sized nicks in the pigment surface, including one in the forest-green pigment near the center of the right edge, and a few concentrated in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 38” H x 48” W x 2” D

163

Overall good condition. The sheet with deckled edges and the colors good. Staple holes along each sheet edge, presumably in the hand of the artist. The sheet is hinged to the overmat with various long strips of masking tape from the verso of the upper sheet edge.

Framed under glass: 35.75” H x 43.5” W x 3.5” D

164

Visual: Overall generally good appearance. Very fine craquelure and soft stretcher bar creases in places on the left and right edges, all primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 39.5” H x 33.5” W x 4.25” D

165

Visual: Overall good appearance.

Blacklight: Some areas of darker pigment fluoresce under blacklight, but likely not due to restoration.

Frame: 18.5” H x 22.5” W x 2.5” D

166

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 18.5” W x 2.25” D

167

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

168

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

169

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

170

Visual: Overall generally good appearance. Various small areas of unstable pigment, with attendant flaking and pigment loss, concentrated primarily in the upper half of the work, the largest approximately dime-sized near the center of that upper portion. A few very minor, small areas of craquelure scattered in the outer edges, primarily visible in raking light. A pea-sized, unobtrusive pressure mark in the brown pigment of the lower left quadrant. The canvas has been relined, as mentioned above, and the stretcher has newer keys.

Blacklight: A pea-sized touch-up on the top of the last elephant in the lower left quadrant, and a few other rice-sized (or smaller) areas of touch-up scattered in the outer edges.

Frame: 29” H x 33” W x 2” D

171

Visual: Overall good appearance. Specks of grime. An approximately pinhead-sized, unobtrusive pigment loss in the darker pigment of the lower left quadrant. An unobtrusive artist’s pinhole near the upper left corner.

Blacklight: No evidence of restoration. The varnish has been unevenly applied.

Frame: 32.75” H x 41” W x 3” D

172

Visual: Overall good appearance.

Blacklight: Scattered pea-sized (or smaller) spots of touch-up, with two areas of touch-up in the background towards the upper edge, the largest measuring 3” H x 13” W in the upper left quadrant.

Frame: 29.25” H x 37” W x 2” D

173

Visual: Overall good appearance. Minor varnish discoloration concentrated in the clouds. Minor craquelure in the upper corners and a soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 36” H x 46” W x 3.5” D

174

Visual: Overall good appearance. Minor craquelure scattered throughout the sky.

Blacklight: No evidence of restoration.

Frame: 28” H x 32” W x 3” D

175

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 44.75” H x 54.75” W x 3.75” D

176

Visual: Overall good appearance. Artist tack holes at each of the corners of the board.

Blacklight: No evidence of restoration.

Framed under glass: 41” H x 45” W x 2” D

177

Visual: Overall good appearance. A thin and unobtrusive 1.5” diagonal surface scuff in the light green pigment near the right edge of the lower right quadrant. Very minor, unobtrusive, scattered frame abrasion in places along the extreme lower edge.

Blacklight: A touch-up in the above-mentioned 1.5” diagonal surface scuff.

Frame: 23” H x 19” W x 1.5” D

178

Visual: Overall good appearance. Several very small areas of minute paint shrinkage in the dark green pigment of the two trees in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 31.375” W x 3” D

179

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 28.375” H x 41.25” W x 3.5” D

180

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26.375” H x 34.375” W x 1.75” D

181

Visual: Overall good appearance. Minor dust accumulation and occasional specks of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 31” H x 41” W x 2.5” D

182

Visual: Overall good appearance. A pinhead-sized area of grime in the sky of the upper left quadrant and another, thin, 0.75” line of grime in the extreme upper right corner. Slight surface soiling showing mostly at the edges of the upper half. Very minor paint shrinkage in the foreground along the lower edge.

Blacklight: No evidence of restoration.

Unframed

183

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 40” H x 49.75” W x 2.5” D

184

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 42.75” H x 46.75” W x 1.75” D

185

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 19” H x 23” W x 2.5” D

186

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23.75” H x 27.75” W x 1.5” D

187

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

188

Visual: Overall good appearance. A pinhead-sized area of grime in the sky of the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 24.25” H x 30.5” W x 2.25” D

189

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 29.5” W x 1.25” D

190

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 23.25” W x 2.75” D

191

Visual: Overall good appearance. Very minor and occasional craquelure scattered in the clouds of the upper right quadrant, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 32.625” H x 44.625” W x 3.5” D

192

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

193

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

194

Visual: Overall good appearance. Two artist pinholes along the lower portion of the left edge.

Blacklight: No evidence of restoration.

Unframed

195

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Director, Fine Art

President, Auctioneer

Associate Specialist, Fine Art

Department Administrator, Fine Art

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Vice President, Specialist

Specialist / Department Manager, Furniture and Decorative Arts

Senior Specialist, Fur niture & Decorative Art

Post-War & Contemporary Design Specialist

Cataloguer, Furniture & Decorative Arts

Cataloguer, Silver, Western and American Indian

Director, Jewelry & Watches

Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Department Administrator, Trusts and Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

Manager, PR/Social Media

Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

FOUNDERS

Founder

Co-Founder

Katherine Halligan, AAA

Jeffrey J. Moran

Bobby Cullen

Ian Anderson

Jacob Baer

Anne Spink

Madison Ari

Lori Kassabian

Maranda Moran

Jen Kurtz

Angela Past

Matthew Grayson

Grant Stevens

Sally Andrew

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Robert Robles

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

John H. Moran (1942-2017)

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

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

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer.

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

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

AUCTION HOUSE AS AGENT

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

BEFORE THE AUCTION

(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

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

(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

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

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

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

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

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

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

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

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

(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.

(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS

(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.