California Living—March 11, 2025 | John Moran Auctioneers
March 11, 2025—12pm
1001
Benjamin Chambers Brown (1865-1942)
“Pasadena High Bridge”
Lithograph in dark brown ink on laid grey paper
From the edition of unknown size
Signed, titled, and inscribed in pencil in the lower margin: Benjamin C. Brown / “INV. ET. IMP.” / “Original Lithograph”
Image: 9.625” H x 13.125” W; Sight: 10.625” H x 13.75” W
$300-500
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, October 19, 1999, Lot 220
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above
1002
John Cotton (1868-1931)
“Pasadena Bridge,” circa 1924
Etching on cream wove paper
From the edition of unknown size
Signed in pencil underneath the platemark, at right: J Cotton; with the printed signature and title in the plate at lower left; with a pencil annotation in the lower margin: “Easter
Greeting / 1930”
Plate: 2.125” H x 4.625” W; Sight: 6.875” H x 5.625” W
$200-300
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1003
Benjamin Chambers Brown (1865-1942)
“The Hill Road”
Drypoint on wove paper
From the edition of unknown size
Signed, titled, and inscribed in pencil in the lower margin: Benjamin C. Brown / “Dry Point”; with the artist’s black ink stamp on a label affixed to the frame’s backing paper Plate: 9” H x 7” W; Sight: 9.5” H x 7.5” W
$300-500
Armin Carl Hansen (1886-1957)
While Armin Carl Hansen is perhaps best known as a painter, California and American art history. Hansen was formally and fire that destroyed the school, Hasen went on to study Germany, Hansen spent time in Paris and West Flanders, featured coastal views of Nieuport and Ostend.
Following his artistic education, Hansen spent time working and picturesque coastal villages. His interactions with the vessels and the working life of a sailor gleaned from these
Upon his return to San Francisco in the autumn of 1912, of Etchers where he served on their Executive Board, and etchings in the 1915 Panama-Pacific International Exposition, major print shows in the US, regularly receiving awards
Hansen relocated his studio from San Francisco to the Monterey and Carmel, as well as his preferred maritime Hansen considered many of the Italian and Portuguese their likenesses, as well as the specific vessels used in the mediums, and often a subject executed in one medium
In total, Hansen self-identified in a 1939 letter that he produced (four of these works have never been identified). His print related to declining print sales due to the aftermath of
The following extraordinarily large group of Hansen’s etchings varied maritime compositions that celebrate the daily and wrecks are depicted with the fidelity of the subject into his [print] scenes. Even his tiniest drypoints...encapsula into his compositions through the rich chiaroscuro of closely Pasadena Museum of California Art, Portland, OR, 2015,
painter, his graphic work in various print mediums is an important part of his artistic contributions to formally trained in San Francisco at the California School of Design and, following the 1906 earthquake study at the Stuttgart Academy in Germany from 1906 to 1908 under Carlos Grethe. After leaving Flanders, Belgium. In Belgium in 1910, Hansen first explored the etching medium. These earliest prints
working as a crew member on North Sea trawlers while painting fishing scenes, maritime seascapes, the resilient and hardworking seafaring community, and the in-depth personal knowledge of sea these experiences, became the central and career-long theme of his paintings and prints.
1912, Hansen quickly re-immersed himself in the local artistic community, joining the California Society and participated in exhibitions including San Francisco Art Association shows. Hansen exhibited six Exposition, and through the 1930s, he continued to exhibit his print and graphic works in most of the awards and prizes.
Monterey Peninsula in 1916, where he was in closer proximity to the vibrant artist colonies of maritime subjects. Intimately familiar with the fishing industry along this part of the California coast, Portuguese men who worked on the boats and on the docks there as his friends, and vigilantly depicted the area. Hansen did not appear to make a hierarchical distinction between his painting and print medium would share or inspire compositional choices in another medium.
produced 152 career prints consisting of 75 etchings and 77 drypoints between 1910 and 1939 print output also included two lithographs. His decision to cease making prints in 1939 was likely of the Great Depression.
etchings and drypoints from The Collection of David and Holly Davis, Pasadena, CA, presents lives of these Monterey fishermen. Stormy seas, raingear-clad men, docks, rigging, working boats, subject and rendered in exquisite detail. Hansen “had an extraordinary ability to put a large slice of life drypoints...encapsulated epic narratives...Hansen created drama by carefully organizing forms and pulling viewers closely massed and deeply bitten lines” (Scott A. Shields PhD, “Armin Hansen: The Artful Voyage,” 2015, p. 72).
1004
Armin Carl Hansen (1886-1957)
“The Sardine Barge (State II),” 1922 Etching on cream laid paper, watermark Arches From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower right: 22; a pencil notation in another hand in the lower margin edge, at left: “gold medal - 1923International Print Exhibition - Los Angeles” Plate: 12.875” H x 14.625” W; Sight: 13.75” H x 15.5” W
$1,000-1,500
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Literature: White 43
1005
Armin Carl Hansen (1886-1957)
“Lifeboat Out,” 1936 Etching on cream wove paper From the edition of unknown size
With the printed signature and date in the plate at lower right: Armin Hansen 36 Plate: 5.875” H x 7.875” W; Sight: 6.25” H x 8.25” W
$800-1,200
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 134
1006
Armin Carl Hansen (1886-1957)
‘’Fisher Boats,” 1923
Etching on wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 23
Plate: 5” H x 5.875” W; Sight: 5.375” H x 6.375” W
$700-900
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Literature: White 60
1007
Armin Carl Hansen (1886-1957) “Storm,” 1922
Drypoint on white wove paper From the edition of unknown size
Signed in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 22
Plate: 2.5” H x 3.5” W; Sight: 3.125” H x 4.125” W
$700-900
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 46
1008
Armin Carl Hansen (1886-1957)
“Stand By,” 1933
Drypoint on white wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the faintly printed initials and date in the plate at lower right: A.H. / 33
Plate: 3” H x 5” W; Sight: 3.5” H x 5.5” W
$700-900
Provenance:
Trotter Galleries, Carmel, CA
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 130
1009
Armin Carl Hansen (1886-1957)
‘’Men of the Sea,” 1937 Etching on cream wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower right: 37 Plate: 6.875” H x 5” W; Sight: 7.25” H x 5.375” W
$700-900
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 141
1010
Armin Carl Hansen (1886-1957)
“Men at Rigging,” circa 1924 Etching on wove paper Edition: 30/50 (the first and only issued from the original copper plate, except for two posthumous impressions made for the estate; presumably not issued publicly) Unsigned; numbered on a label affixed to the frame’s backing paper; David Kelso, prntr.; Monterey Peninsula Museum of Art Association, Monterey, CA, pub. Plate: 7.875” H x 10” W; Sight: 9” H x 11” W
$600-800
Provenance:
Monterey Peninsula Museum of Art Association, Monterey, CA The Collection of David and Holly Davis, Pasadena, CA
Literature: White 73
Notes:
According to a label affixed to the frame’s backing paper, “this edition is limited to fifty numbered prints, and has been produced by Master Printer David Kelso in conjunction with the Monterey Peninsula Museum of Art Association, in celebration of the opening of the Jane and Justin wing at La Mirada.”
1011
Armin Carl Hansen (1886-1957)
“Fishermen Walking,” 1925 Etching on cream wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed initials and date in the plate at lower right: A.H. / 25
Plate: 3.75” H x 3.75” W; Sight: 4.625” H x 4.625” W
$700-900
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Literature: White 79
1012
Armin Carl Hansen (1886-1957)
“The Pier End,” 1925 Etching on cream wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 25; with the title stamped on a gallery label affixed to the frame’s backing paper
Plate: 6” H x 8” W; Sight: 6.5” H x 8.5” W
$600-800
Provenance:
Vickery, Atkins & Torrey, San Francisco, CA
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 81
1013
Armin Carl Hansen (1886-1957)
“Requiem,” 1924
Etching on cream wove paper Possibly from an edition of 75
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower right: 24
Plate: 12.875” H x 14.875” W; Sight: 13.625” H x 15” W
$700-900
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 70
Notes:
According to a label affixed to the frame’s backing paper, “this edition is limited to fifty numbered prints, and has been produced by Master Printer David Kelso in conjunction with the Monterey Peninsula Museum of Art Association, in celebration of the opening of the Jane and Justin wing at La Mirada.”
1014
Armin Carl Hansen (1886-1957)
“Across the Harbor,” 1927
Etching and drypoint on wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower right: 27
Plate: 4.75” H x 6.375” W; Sight: 5.25” H x 6.875” W
$600-800
Provenance:
Trotter Galleries, Pacific Grove, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, September 20, 1993
Literature: White 96
1015
Armin Carl Hansen (1886-1957)
“Morning,” 1926 Etching on cream wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 26
Plate: 4.75” H x 6.375” W; Sight: 6” H x 7.5” W
$600-800
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 87
1016
Armin Carl Hansen (1886-1957)
“The Helmsman,” 1922
Drypoint on white wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date in the plate at lower left: 22
Plate: 2.875” H x 3.875” W; Sight: 3.625” H x 4.625” W
$600-800
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 54
1017
Armin Carl Hansen (1886-1957)
“Shipyard No. II,” 1916 Etching on wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date printed in reverse in the plate at lower right: 16
Plate: 4.5” H x 6.25” W; Sight: 5.5” H x 7.25” W
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 25
1018
Armin Carl Hansen (1886-1957)
“Monterey Fisherman,” 1922
Drypoint in brown ink on cream wove paper From the edition of unknown size
Signed and titled in pencil in the lower margin: Armin Hansen; with the printed signature and date, at the center of the lower plate edge: 22
Plate: 2.5” H x 3.5” W”; Sight: 2.75” H x 3.875” W
$400-600
Provenance:
Abigail Furey: Fine Prints and Drawings, Brighton, MA
The Collection of David and Holly Davis, Pasadena, CA
Literature: White 22
1019
Armin Carl Hansen (1886-1957)
“The Landing Party,” 1928 Conte crayon on cream-colored paper
Signed lower right: Armin Hansen; titled and dated on a gallery label affixed to the frame’s backing paper Sheet: 8.5” H x 12” W
$1,000-1,500
Provenance:
Trotter Galleries, Carmel, CA
Sold: John Moran Auctioneers, Pasadena, CA, February 16, 1999, Lot 187 The Collection of David and Holly Davis, Pasadena, CA
1020
Armin Carl Hansen (1886-1957)
“Del Monte Guest Ranch,” 1937
Watercolor, ink, and traces of graphite on paper
Signed and dated in ink lower right: Armin Hansen / 37 Sight: 5.5” H x 2.375” W
$600-800
Provenance:
Sold: Butterfield & Butterfield, San Francisco, CA, “Fine American, European & Contemporary Paintings and Sculptures,” November 9, 1989, Lot 3814
Ronnie Carr, Capitola, CA, acquired from the above
Sold: John Moran Auctioneers, Pasadena, CA, February 16, 1999, Lot 3
The Collection of David and Holly Davis, Pasadena, CA
1021
After Paul Whitman (1897-1950)
“Bal Masque,” invitation cover, circa 1935
Screenprint on cream-colored paper
From the edition of unknown size
Appears unsigned; Carmel Art Association, Carmel, CA, pub. Sight: 7.5” H x 5” W
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
The work in this lot is the cover of an invitation to the Second Annual Bal Masque at the Hotel Del Monte, Monterey, CA, held on September 21, 1935. The absurd image of a clown sitting on a charging pig while holding aloft a prone green-haired nude woman with his right hand was said to have inspired John Steinbeck to adopt an image of a flying pig he called “Pigasus” as his personal symbol. The same motif was incorporated into a series of commissioned murals collaboratively painted by Paul Whitman and Armin Carl Hansen in 1939 for the Del Monte Hotel Taproom.
1022
A Tournament of Roses sterling silver trophy
1929
Marked to underside: Charles H Kelley / Jewelers Since 1896 / Sterling Loaded / 111; engraved: Pasadena Tournament of Roses / New Year’s Day 1929 / Third Prize-Class Business Firms and Manufacturers / Gift of Tournament of Roses Association / Awarded Los Angeles Steamship Company
The weighted hand-hammered sterling trophy vase, with shaped flared rim 12” H x 5.5” Dia.
$800-1,200
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1023
A group of Tournament of Roses and Pasadena historical ephemera 20th/21st century
The expansive collection including but not limited to approximately 100 Tournament of Roses programs and reviews dating from the 1910s into the 2010s, 4 hardcover books on the history of the Tournament of Roses, an illustrated souvenir book of historic Pasadena landmarks, various scrapbook photographs and postcards of Pasadena historic landmarks, 2 souvenir cups, 2 souvenir ashtrays, and other bits of related ephemera
$700-900
Provenance: The Collection of David and Holly Davis, Pasadena, CA
A group of Pasadena historical memorabilia
20th century
Comprising five books on Pasadena history and five framed pieces including:
Michelson, Maureen R.; Michael R. Dressler (editors). “Pasadena: One Hundred Years.” Pasadena: New Sage Press, 1985
Signed Limited First Edition: 62/100
Signed by the editors to edition page 11.375” H x 15” W x 2” D
Chapin, Lon F. “Thirty Years in Pasadena: With an Historical Sketch of Previous Eras, Volume I.” Southwest Publishing Company, Inc., 1929
With gift inscription from the author to the Mt. Wilson Hotel 9.25” H x 6.75” W x 2.25” D
Wood, J. W. “Pasadena, California: Historical and Personal, A Complete History of the Organization of the Indiana Colony.” J. W. Wood, 1917
Two copies
Each: 9.375” H x 6.625” W x 1.125” D
Reid, Hiram A. “History of Pasadena.” Pasadena: Pasadena Historical Company, Publishers, 1895
9.5” H x 7” W x 1.625” D
John Cotton (1868-1931)
“Pasadena Bridge,” circa 1924
Etching on cream wove paper
From the edition of unknown size
Signed in pencil in the lower margin, at right: J Cotton; with the printed title in the image at lower left Plate: 2.125” H x 4.625” W; Sight: 2.5” H x 5” W
Norma Louise Diddle (1901-1973)
“Colorado Street Bridge, Pasadena, Calif.,” 1922
Watercolor on paper
Inscribed with the artist’s name, titled, and dated, all in ink and in another hand on a piece of paper affixed to the frame’s backing paper: Norma L. Diddle
Sight: 6.875” H x 5.25” W
Great Mt. Lowe Railway Incline
A black and white photograph, and brochure sheet detailing the Great Mt. Lowe Railway Incline, framed together
Unsigned
Image/Sheet of photograph: 7.875” H x 4.625” W; Sight of brochure: 9.75” H x 6.75” W
A postcard of “Maryland Hotel from an Elevation, Pasadena, Cal.,” and a ticket of the “First Annual Ball Tournament of Roses, January 1, 1913, Hotel Maryland,” specially framed together
Unmarked
Postcard: 3.375” H x 5.375” W; Ticket: 5.625” H x 2.75” W
A stereoptic card of the North Ford of the Arroyo Seco
Faintly marked on the left and right sides of the card; with the printed title and inscription along the lower edge of the stereoptic image
Stereoptic image: 3.125” H x 6” W; Card: 3.5” H x 7” W
10 pieces total
$1,000-1,500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1025
A group of Ruth St. Denis ephemera
Early 20th century
Comprising a poster for the Bolshoi Ballet screen-printed in colors, an offset lithograph of Ruth St. Denis depicted in an advertisement for Adams Chewing Gum, a newspaper cutout from The Pittsburg Dispatch dated Sunday, September 3, 1911, the article titled “How Ruth St. Denis Nearly ‘Went Broke’,” and a postcard with a colorized black and white photograph of Ruth St. Denis, 4 pieces
Largest: 22.5” H x 16.5” W; Postcard: 5.375” H x 3.375” W
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1026
A collection of Pasadena Rose Bowl tickets 1921-2018
Comprising approximately ninety original tickets to the Rose Bowl football game, with some duplicate years, including from 1921, 1925, 1926, 1928, 1929, 1930-1996, 1999, 2002, 2003, 2007, 2017, & 2018, all housed in sleeves within a binder, together with a hardcover book:
Samuelsen, Rube. “The Rose Bowl Game.” Garden City: Doubleday & Company, Inc., 1951 First Edition, signed and inscribed by the author Binder: 11.75” H x 10.75” W x 2.25” D
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1027
A collection of 1984 Los Angeles Olympics merchandise and ephemera 1984
The collection including but not limited to various enameled commemorative pins, a commemorative medal housed in original felt box, a pair of official Olympic Bushnell binoculars, a novelty Olympic hat with secret flap message, an official Olympic vinyl handbag, six staple-bound copies of “Olympic Record: The Official Daily Start Lists and Results,” the souvenir program, the program for opening ceremonies, the “Official Olympic Guide to Los Angeles,” copies of Los Angeles Times newspapers, photographs, parking passes, staff meal vouchers, an identification card for David M. Davis, and other bits of related ephemera
$600-800
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1028
L. Frank Baum (1856-1919)
A group of “Oz” hardcover books, 1904-1944
Most a later edition or printing, illustrated by John R. Neill (1877-1943)
Nineteen works:
“The Land of OZ.” Chicago: The Reilly & Lee Co., 1904
“The Road to Oz.” Chicago: The Reilly & Lee Co., 1909
“Dorothy and the Wizard in Oz.” Chicago: The Reilly & Lee Co., 1908
2 copies
“The Emerald City of Oz.” Chicago: The Reilly & Lee Co., 1910
“The Patchwork Girl of Oz.” Chicago: The Reilly & Lee Co., 1913 2 copies
“Tik-Tok of Oz.” Chicago: The Reilly & Lee Co., 1914 2 copies
“The Scarecrow of Oz.” Chicago: The Reilly & Lee Co., 1915
“Rinkitink in Oz.” Chicago: The Reilly & Lee Co., 1916
“The Lost Princess of Oz.” Chicago: The Reilly & Lee Co., 1917
“The Tin Woodman of Oz.” Chicago: The Reilly & Lee Co., 1918 2 copies
“The Magic of Oz.” Chicago: The Reilly & Lee Co., 1919
“Glinda of Oz.” Chicago: The Reilly & Lee Co., 1920 First Edition
“Ojo in Oz.” Chicago: The Reilly & Lee Co., 1933
Thompson, Ruth Plumly. “The Wishing Horse of Oz.” The Reilly & Lee Co., 1935
Copelman, Evelyn, illustrator. “The New Wizard of Oz.” New York: The Bobbs-Merrill Company, 1944
19 pieces total Tallest: 9.5” H x 7.25” W
$800-1,200
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1029
Jean de Brunhoff (1899-1937)
A group of “Babar” hardcover books, 1931-1952 Eighteen works:
“Histoire de Babar le petit éléphant.” Paris: Editions du Jardin des Modes, 1931 First Edition
“The Story of Babar the little elephant.” New York: Harrison Smith and Robert Haas, 1933 First American Edition
“The Story of Babar the little elephant.” London: Methuen & Co. Ltd, 1934 First UK Edition
“Le Voyage de Babar.” Paris: Editions du Jardin des Modes, 1932 First Edition
Milne, A. A., introduction. “The Travels of Babar.” New York: Harrison Smith and Robert Haas, 1934 First American Edition
Milne, A. A., introduction. “Babar’s Travels.” London: Methuen & Co. Ltd, 1935 First UK Edition
“Le Roi Babar.” Paris: Editions du Jardin des Modes, 1933 First Edition
“Babar the King.” New York: Harrison Smith and Robert Haas, 1935 First American Edition 2 copies
“Les Vacances de Zéphir.” Paris: Hachette, 1936 First Edition
“Zephir’s Holidays.” New York: Random House, 1937 First American Edition
“Babar en Famille.” Paris: Hachette, 1938 First Edition
“Babar and His Children.” New York: Random House, 1938 First American Edition
“Babar at Home.” London: Methuen & Co. Ltd, 1938 First UK Edition
“Babar and Father Christmas.” New York: Random House, 1940 First American Edition
“Babar and Father Christmas.” London: Methuen & Co. Ltd, 1940 First UK Edition
“Babar et le Père Noël.” New York: Random House, 1941
Together with: de Brunhoff, Laurent. “Babar’s Visit to Bird Island.” New York: Random House, 1958 First American Edition
18 pieces total Each: 14.625” H x 10.75” W x 0.5” D approximately
$2,000-3,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1030
Jean de Brunhoff (1899-1937)
A group of “Babar” hardcover books, 1934-1995 Twelve works:
Milne, A. A., introduction. “The Story of Babar.” New York: Random House, 1934 First American Edition in smaller format
“Babar the King.” New York: Random House, 1935 First American Edition in smaller format
“ABC of Babar.” New York: Random House, 1936 First American Edition
“Babars ABC.” Copenhagen: Thorkild Becks Forlag, n.d. First Danish Edition
From the “Les Album Roses” series:
“L’Enfance de Babar.” Paris: Hachette, 1951
“Babar et la Vielle Dame.” Paris: Hachette, 1951
“Babar en Ballon.” Paris: Hachette, 1952
“Vive le Roi Babar.” Paris: Hachette, 1952
de Brunhoff, Jean and Laurent. “Babar Aux Sports d’Hiver.” Paris, Hachette, 1952
“Babar et le Crocodile.” Paris: Hachette, 1953
de Brunhoff, Jean and Laurent. “Babar Esquiador.” Barcelona: Aym·, S. A. Editora, 1965 First Spanish Edition.
Together with a 1995 Babar calendar by Graphique de France
12 pieces
Each: 8.5” H x 6.75” W x 0.5” D approximately
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1031
Johnny Gruelle (1880-1938)
A group of “Raggedy Ann” books, 1917-1944
Sixteen works:
“My Very Own Fairy Stories.” New York: P. F. Volland Company, 1917 First Edition
“Raggedy Andy Stories.” Chicago: M. A. Donohue & Company, 1920
“Orphant Annie Story Book.” Indianapolis: The Bobbs-Merrill Company, 1921
“The Magical Land of Noom.” New York: P. F. Volland Company, 1922
“Raggedy Ann and Andy and the Camel with the Wrinkled Knees.” New York: P. F. Volland Company, 1924 First Edition
“Raggedy Ann’s Wishing Pebble.” New York: P. F. Volland Company, 1925 First Edition
“The Paper Dragon: A Raggedy Ann Adventure.” New York: P. F. Volland Company, 1926
Second Edition, in original box
“Raggedy Ann’s Magical Wishes.” New York: P. F. Volland Company, 1928
First Edition, in original box
“Marcella: A Raggedy Ann Story.” New York: P. F. Volland Company, 1929 First Edition, in original box
“Raggedy Ann in the Deep Deep Woods.” New York: P. F. Volland Company, 1930 First Edition, in original box
Woodin, Will, music. “Raggedy Ann’s Sunny Songs.” New York: Miller Music, Inc., 1930
“Raggedy Ann in Cookie Land.” New York: The P. F. Volland Company, 1931 First Edition
“Raggedy Ann’s Lucky Pennies.” Chicago: M. A. Donohue & Company, 1932
“Raggedy Ann in the Golden Meadow.” Racine: Whitman Publishing Company, 1935
“Raggedy Ann in the Magic Book.” New York: Johnny Gruelle Company, 1939 First Edition
“Raggedy Ann and the Laughing Brook and Raggedy Ann Helps Grandpa Hoppergrass.”
Sandusky: The American Crayon Company, 1944
Staple-bound quarto comic/coloring book
16 pieces
Tallest: 13” H x 10” W x 0.75” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1032
A. A. Milne (1882-1956)
“Now We Are Six,” 1927
Hardcover book in original box
Milne, A. A. “Now We Are Six.” Illustrated by Ernest H. Shepard. London: Methuen & Co. Ltd., 1927
Signed Limited Edition
Signed by Milne and Shepard at title page
The blue calf-leather soft boards with gilt-stamped pictorial spine and front, gilt page edges, and glassine wrapper, housed in original cardboard box
In box: 7.75” H x 5.375” W x 0.75” D
$1,000-2,000
Provenance:
Jo Ann Reisler, Ltd., Vienna, Virginia
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, October 5, 1993
Notes: This lot is accompanied by a purchase receipt.
A. A. Milne (1882-1956)
A group of First Edition and signed hardcover books, 1925-1967 Twenty works:
Le Mair, H. Willebeek, illustrator. “A Gallery of Children.” Philadelphia: David McKay Company, 1925 First American Edition, inscribed by the author
Le Mair, H. Willebeek, illustrator. “A Gallery of Children.” London: Stanley Paul & Co., Ltd., 1925
First Edition, signed by the author
Shepard, Ernest H., illustrator. “The King’s Breakfast.” Music by H. Fraser-Simson. London: Methuen & Co., Ltd., 1925 First Edition
2 copies
Shepard, Ernest H., illustrator. “Fun & Fantasy: A Book of Drawings.” Introduction by A. A. Milne. London: Methuen & Co., Ltd., 1927
Signed Limited Edition: 147/150
Signed by the illustrator to edition page
“The Secret and Other Stories.” New York: The Fountain Press, 1929
Signed Limited First Edition: 583/742
Signed by the author to half-title page
Shepard, Ernest H., illustrator. “ The Christopher Robin Story Book.” London: Methuen & Co., Ltd., 1929
Signed First Edition
Signed by the Author to title page
“By Way of Introduction.” New York: E. P. Dutton & Co., Inc., 1929
Signed Limited First American Edition: 85/166
Signed by the author to edition page
Shepard, Ernest H., illustrator. “The Hums of Pooh.” Music by H. Fraser-Simson. London: Methuen & Co., Ltd., 1929 First Edition
Shepard, Ernest H., illustrator. “The Christopher Robin Birthday Book.” London: Methuen & Co. Ltd., 1930 First Edition
Shepard, Ernest H., illustrator. “When I Was Very Young.” New York: The Fountain Press, 1930
Signed Limited First Edition: 518/842
Signed by the author to colophon
“Miss Elizabeth Bennet.” London: Chatto & Windus, 1936 First Edition, inscribed by Milne’s wife Dorothy (Daphne)
Sewell, Helen, illustrator. “The Magic Hill.” New York: Grosset & Dunlap, 1937 First Edition thus
Watson, A. H., illustrator. “A Gallery of Children.” London: George G. Harrap & Co. Ltd., 1939 First Edition illustrated thus
Shepard, Ernest H., illustrator. “Year In, Year Out.” New York: E. P. Dutton, 1952 First Edition
Shepard, Ernest H., illustrator. “Year In, Year Out.” London: Methuen & Co., Ltd., 1952 First UK Edition
“Prince Rabbit and The Princess Who Could Not Laugh.” Toronto and Montreal: McClelland & Stewart Limited, 1966 First Canadian Edition
Diodorov, B. and G. Kalinoviskiy, illustrators. “ Winnie-the-Pooh and The House at Pooh Corner.” New York: E. P. Dutton, 1967 First Russian language Edition
Together with: Struther, Jan. “Sycamore Square and Other Verses.” Illustrated by Ernest H. Shepard. London: Methuen & Co., Ltd., 1932 First Edition
Burnett, Frances Hodgson. “The Secret Garden.” Illustrated by Ernest H. Shepard. London: The Reprint Society, 1956 First Edition illustrated thus
20 pieces Tallest: 13” H x 10.25” W x 0.75” D
$700-900
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1034
A. A. Milne (1882-1956)
“Toad of Toad Hall,” 1929 Hardcover book
Milne, A. A. “Toad of Toad Hall: A Play from Kenneth Grahame’s ‘The Wind in the Willows’.” Illustrated by Ernest H. Shepard. London: Methuen & Co. Ltd., 19329
Signed Limited Edition: 55/200
Signed by Milne and Grahame to edition page
The octavo with boards bound in quarter blue cloth, pages uncut with deckled edges 9.125” H x 7.5” W x 1” D
$400-600
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1035
A. A. Milne (1882-1956)
“The House at Pooh Corner,” 1928
Hardcover book
Milne, A. A. “The House at Pooh Corner.” Illustrated by Ernest H. Shepard. London: Methuen & Co. Ltd., 1928
Signed Limited Edition: 224/350
Signed by Milne and Shepard at edition page
The octavo with boards bound in quarter blue cloth and paper, deckled page edges, and containing the first appearance of the character “Tigger” in what would be Milne’s final Pooh book 9” H x 7.375” W x 1” D
$600-800
Provenance:
Aleph-Bet Book, Inc., Valley Cottage, New York
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, December 21, 1993
Notes:
This lot is accompanied by a purchase receipt.
1036
A. A. Milne (1882-1956)
“The Christopher Robin Verses,” 1932
Hardcover book
Milne, A. A. “The Christopher Robin Verses.” Illustrated by Ernest H. Shepard. London: Methuen & Co. Ltd., 1932
First Edition thus collected
Inscribed by Milne to first free end paper recto
The octavo with powder blue cloth-bound boards gilt-stamped to front and spine and blue upper page edges, containing “When We Were Very Young” and “Now We Are Six”
8.25” H x 6.125” W x 1.125” D
$500-700
Provenance:
Marjorie James Rare Books
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 27, 1996
Notes:
This lot is accompanied by a purchase receipt.
Milne’s inscription is a riff on Othello’s soliloquy in Act 5, Scene 2, wherein he states his intention to murder—yet continue to love—his wife Desdemona on suspicion of her infidelity. Milne’s version here reads:
“It is the Cause, my sole excuse for taking toll of charitable purses —
The Cause: and not the verses.”
July 1939
1037
Leo Politi (1908-1996)
Two illustrated children’s hardcover books about Los Angeles, 1964-1967
Each with watercolor gift inscription to a friend of the author Three works:
Politi, Leo. “Bunker Hill Los Angeles: Reminiscences of Bygone Days.” Palm Desert: Desert-Southwest, Inc, Publishers, 1964
Politi, Leo. “The Poinsettia.” Palm Desert: Best-West Publications, 1967
Together with: Stalcup, Ann. “Leo Politi: Artist of the Angels.” New York: Silver Moon Press, 2004
3 pieces
Largest: 12.5” H x 9.5” W x 0.625” D
$200-300
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1038
N. C. Wyeth (1882-1945)
A group of children’s books illustrated by N. C. Wyeth, 1911-1930
Ten works:
Stevenson, Robert Louis. “Treasure Island.” New York: Charles Scribner’s Sons, 1911
Verne, Jules. “The Mysterious Island.” New York: Charles Scribner’s Sons, 1918
Malory, Sir Thomas. “The Boy’s King Arthur.” Edited by Sidney Lanier. New York: Charles Scribner’s Sons, 1919 and 1924
2 copies
Porter, Jane. “The Scottish Chiefs.” New York: Charles Scribner’s Sons, 1921
Bulfinch, Thomas. “Legends of Charlemagne.” New York: Cosmopolitan Book Company, 1924
Stevenson, Robert Louis. “David Balfour.” New York: Charles Scribner’s Sons, 1924
Verne, Jules. “Michael Strogoff: The Courier of the Czar.” New York: Charles Scribner’s Sons, 1927 Later edition in original box
Boyd, James. “Drums.” New York: Charles Scribner’s Sons, 1928
Rollins, Philip Ashton. “Jinglebob.” New York: Charles Scribner’s Sons, 1930
10 pieces
Largest: 9.875” H x 7.75” W x 1.5” D
$800-1,200
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1039
A group of miniature children’s hardcover books 1916-1935 Seven works:
From the “All About” series: Gruelle, John B., illustrator. “All About Little Red Riding Hood.” New York: Cupples & Leon Company, 1916
Gruelle, John B., illustrator. “All About Hansel and Grethel.” New York: Cupples & Leon Company, 1917
Gruelle, John B., illustrator. “All About the Little Small Red Hen.” New York: Cupples & Leon Company, 1917
Gruelle, John B., illustrator. “All About Little Black Sambo.” New York: Cupples & Leon Company, 1917
From the “Wee Books for Wee Folks” series: Duffield, Kenneth Graham. “The Four Little Pigs That Didn’t Have Any Mother.” Philadelphia: Henry Altemus Company, 1919
“The Little Small Red Hen.” Philadelphia: Henry Altemus Company, 1924
Almond, Linda Stevens. “Peter Rabbit and the Little Boy.” Illustrated by John B. Gruelle. New York: The Platt & Munk Co. Inc., 1935
7 pieces
Each: 5.75” H x 4.5” W x 0.65” D approximately
$300-400
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1040
A group of children’s Christmas books
1889-1949
Eleven Works:
Nast, Thomas (illustrator). “Santa Claus & His Works.” New York: McLoughlin Brothers, 1889
Nast, Thomas. “Christmas Drawings for the Human Race.” New York: Harper & Brothers, 1890 First Edition
Kaiser, August (illustrator). “Is There a Santa Claus.” Minneapolis: Buckbee-Brehm Co., 1927
Bailey, Temple. “So This Is Christmas! and Other Christmas Stories.” Philadelphia: The Penn Publishing, 1931 In original box
GhÈon, Henri. “ Saint Nicholas.” Illustrated by Elisabeth Ivanovsky. London: Sheed & Ward, 1936 First Edition
Moore, Clement C. “The Night Before Christmas.” Illustrated by Elizabeth Tedder. Racine: Whitman Publishing Company, 1938
Williams, Ursula Moray. “The Good Little Christmas Tree.” London: George G. Harrap & Co., Ltd., 1943 First Edition
Moore, Clement Clark. “The Night Before Christmas.” Illustrated by Meg Wohlberg. New York: Crown Publishers, 1944
Moore, Clement Clark. “The Night Before Christmas.” Illustrated by Fran Foley. Chicago: Rand McNally & Co., 1949 First Edition illustrated thus
L’Engle, Madeleine. Signed and Saroyan, Collier Press, First Edition Miller, Arthur. Collier Press, First Edition
Faulkner, Random First Printing
Joyce, James. Dodd, Mead First Edition
group of First Edition children’s hardcover books 1905-1990 works:
Culbertson, Anne Virginia. “At the Big House.” Illustrated by E. Warde Blaisdell. Indianapolis: The Bobbs-Merrill Company, 1905 “New” Edition
Thompson, Ruth Plumley. “The Princess of Cozytown.” Illustrated by Janet Laura Chicago: P. F. Volland Company, 1922
Upton. “The Gnomobile: A Gnice Gnew Gnarrative With Gnonsense, But Gnothing Gnaughty.” Illustrated by John O’Hara Cosgrave II. New York: Farrar & 1936
Edition
Maugham, W. Somerset. “Princess September and the Nightingale.” Illustrated by C. Jones. London: Oxford University Press, 1939 Edition thus
Pearl S. “Stories for Little Children.” Illustrated by Wed Yap. New York: The Day Company, 1940
Edition
Mary and Conrad. “Big Tree.” New York: The Viking Press, 1946 Edition
Mary and Conrad. “The Apple and the Arrow.” Boston: Houghton Mifflin Company, 1951 Edition, signed and inscribed by both authors
Bradbury, Ray. “Switch on the Night.” Illustrated by Madeleine Gekiere. New York: Pantheon Books, Inc., 1955
Edition
Mary and Conrad. “Hah-Nee of the Cliff Dwellers.” Boston: Houghton Mifflin Company, 1956 Edition
Madeleine. “A Wrinkle in Time.” New York: Farrar, Straus and Giroux, 1962 and inscribed by the author, Fiftieth Printing
William. “Me.” Illustrated by Murray Tinkelman. New York: The CrowellPress, 1963
Edition
Arthur. “Jane’s Blanket.” Illustrated by Al Parker. New York: The CrowellPress, 1963
Edition of “Modern Masters” series
William. “The Wishing Tree.” Illustrated by Don Bolognese. New York: House, 1964
Printing of First Edition: 223/500
James. “The Cat and the Devil.” Illustrated by Richard Erdoes. New York: Mead & Company, Inc., 1964 Edition thus
Hillerman, Tony. “The Boy Who Made Dragonfly.” Illustrated by Lazlo Kubinyi. New York: Harper & Row, Publishers, Inc., 1972 First Edition
Saroyan, William. “The Tooth and My Father.” Illustrated by Suzanne Verrier. Garden City: Doubleday & Company, Inc., 1974
First Edition, Signed by the author
Thomas, Dylan. “A Child’s Christmas in Wales.” Illustrated by Edward Ardizzone. London: J. M. Dent & Sons Limited, 1978 First Edition thus
Fritz, Jean. “The Man Who Loved Books.” Illustrated by Trina Schart Hyman. New York: G. P. Putnam’s Sons, 1981 First Edition, First Impression
Kesey, Ken. “Little Tricker the Squirrel Meets Big Double the Bear.” Illustrated by Barry Moser. New York: Viking Penguin, 1990
First Edition thus
Together with: Peat, Fern Bisel, illustrator. “Mother Goose: Akron: The Saalfield Publishing Company, 1933 Later Edition
20 pieces
Largest: 12.125” H x 9.75” W
$300-500
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1043
Two children’s calendars and a mobile Early/mid-20th century
Five works:
Milne, A. A. “The Pooh Calendar.” Illustrated by Ernest H. Shepard. London: Methuen & Co. Ltd., 1930
10.375” H x 7.75” W
Milne, A. A. “The Very Young Calendar.” Illustrated by Ernest H. Shepard. New York: E. P. Dutton & Co. Inc., 1930 10.25” H x 8.125” W
A Winnie-the-Pooh punch-out mobile from E. P. Dutton & company, Inc., housed in original postage from the publisher 14.5” H x 11.5” W
Together with two staple-bound books: de Brunhoff, Jean, “The Story of Babar the Little Elephant.” Racine: Whitman Publishing Company, 1933
13” H x 9.5” W
de Brunhoff, Jean, “The Story of Babar in the Forest.” Racine: Whitman Publishing Company, 1933
13” H x 9.5” W
5 pieces
$200-300
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1044
Zane Grey (1872-1939)
A group of First Edition and signed hardcover books, 1911-1985
Fourteen works:
“Tales of Fishes.” New York: Harper & Brothers Publishers, 1919 First Edition
“Tales of Lonely Trails.” New York: Harper & Brothers Publishers, 1922 First Edition
“Tales of Southern Rivers.” New York: Harper & Brothers Publishers, 1924
Comprising one First Edition, signed and inscribed by the author, and another First Edition 2 copies
“Tales of Fishing Virgin Seas.” Illustrated by Smith, Lillian Wilhelm. New York: Harper & Brothers Publishers, 1925
First Edition, signed and inscribed by the author
“Tales of the Angler’s Eldorado New Zealand.” New York: Harper & Brothers Publishers, 1926 First Edition, signed and inscribed by the author
“Tales of Swordfish and Tuna.” New York: Harper & Brothers Publishers, 1927 First Edition
“Tales of Fresh-Water Fishing.” New York: Harper & Brothers Publishers, 1928 First Edition, signed by the author
“Zane Grey: The Man and His Work, an Autobiographical Sketch, Critical Appreciations & Bibliography.” New York: Harper & Brothers Publishers, 1928
Leather Edition
“Don: The Story of a Lion Dog.” New York: Harper & Brothers Publishers, 1928 Second Edition, signed by the author
“Tales of Tahitian Waters.” New York: Harper & Brothers Publishers, 1931 First Edition
Zern, Ed, editor. “Zane Grey’s Adventures in Fishing.” New York: Harper & Brothers Publishers, 1952 First Edition
Grey, Loren. “Zane Grey: A Photographic Odyssey.” Dallas: Taylor Publishing Company, 1985
Together with: Walton, Izaak. “The Compleat Angler.” Illustrated by James Thorpe. New York: Hodder & Stoughton, 1911
Unknown edition
14 pieces total Tallest: 11.25” H x 9” W
$400-600
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1045
Charles Frederick Holder (1851-1915)
A group of First Edition hardcover books about angling, 1904-1910 Five works:
“They Boy Anglers: Their Adventures in the Gulf of Mexico, California, the Pacific and Atlantic Oceans, and the Lakes and Streams of Canada.” New York: D. Appleton and Company, 1904
“The Log of a Sea Angler.” Boston: Houghton Mifflin and Company, 1906
“Big Game at Sea.” New York: The Outing Publishing Company, 1908
Jordan, David Starr, contributor. “Fish Stories: Alleged and Experienced With a Little History Natural and Unnatural.” New York: Henry Holt and Company, 1909
“The Channel Islands of California: A Book for the Angler, Sportsman, and Tourist.” Chicago: A. C. McClurg & Co., 1910
5 pieces
Largest: 8.375” H x 6” W x 1.75” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1046
Cormac McCarthy (1933-2023)
Three First Edition hardcover books, 1994-2006
Three works:
“The Crossing.” New York: Alfred A. Knopf, 1994
“No Country for Old Men.” New York: Alfred A. Knopf, 2005
“The Road.” New York: Alfred A. Knopf, 2006
3 pieces
Tallest: 9.5” H x 6” W x 1.125” D
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by a purchase receipt for “The Crossing,” dated July 1, 1994, and “No Country for Old Men,” dated August 17, 2005.
1047
John McPhee (b. 1931)
A group of Signed, First, and Limited Edition hardcover books, 1973-1993 Thirteen works:
“The Deltoid Pumpkin Seed.” New York: Farrar Straus Giroux, 1973
“Pieces of the Frame.” New York: Farrar Straus Giroux, 1975
Signed First Edition
“The Survival of the Bark Canoe.” New York: Farrar Straus Giroux, 1975
Inscribed and Signed by the author
“Annals of the Former World.” New York: Farrar Straus Giroux, 1981
Signed limited Edition: 234/450
“La Place de la Concorde Suisse.” New York: Farrar Straus Giroux, 1984
Signed Limited Edition: 167/200
“Rising From the Plains.” New York: Farrar Straus Giroux, 1986
Signed First Edition
“The Control of Nature.” New York: Farrar Straus Giroux, 1989
Signed First Edition
“Looking for a Ship.” New York: Farrar Straus Giroux, 1990
Signed First Edition
“Assembling California.” New York: Farrar Straus Giroux, 1993
Signed First Edition
“Oranges.” London: Heinemann, 1967 Unsigned
Howarth, William L. “The John McPhee Reader.” New York: Farrar Straus Giroux, 1976 Softcover, Unsigned
“Coming Into the Country.” New York: Farrar Straus Giroux, 1977 Softcover Uncorrected Page Proof, Unsigned
“Coming Into the Country.” New York: Farrar Straus Giroux, 1977
Second Printing, Unsigned
13 pieces
Largest: 8.875” H x 6” W x 2” D
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1048
Louise Saunders (b. 19th century) and Maxfield Parrish (1870-1966) “The Knave of Hearts,” 1925 Saunders, Louise. “The Knave of Hearts.” Illustrated by Maxfield Parrish. New York: Charles Scribner’s Sons, 1925 First Edition, inscribed by Saunders to half-title page 14.125” H x 11.75” W x 0.75” D
$500-700
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1049
John Steinbeck (1902-1968)
A group of Viking Press First Edition hardcover books, 1947-1958; New York Six works:
“Tortilla Flat,” 1947 First Illustrated Editon
“A Russian Journal,” 1948
“The Log from the Sea of Cortez,” 1951
2 copies
“Sweet Thursday,” 1954
“Once There Was a War,” 1958
8 pieces total
Smallest: 8.625” H x 6” W x 1.125” D; Largest: 9.75” H x 7” W x 1.125” D
$2,000-3,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1050
A group of Modern fiction First Edition hardcover books 1940-1990 Eight works:
Still, James. “River of Earth.” New York: The Viking Press, 1940 First Edition
Still, James. “On Troublesome Creek.” New York: The Viking Press, 1941 First Edition
Golding, William. “Lord of the Flies.” London: Faber and Faber Ltd., 1954 First Edition, Twelfth Printing
McCarthy, Mary. “Memories of a Catholic Schoolgirl.” New York: Harcourt, Brace and Company, 1957 First Edition
Crichton, Michael. “Eaters of the Dead.” New York: Alfred A. Knopf, 1976 First Edition
Still, James. “Pattern of a Man & Other Stories.” Lexington: Gnomon Press, 1976 First Edition thus
Bellow, Saul. “The Dean’s December.” New York: Harper & Row, Publishers, Inc., 1982 Second Edition
Updike, John. “Rabbit at Rest.” New York: Alfred A. Knopf, 1990 First Edition
8 pieces
Largest: 8.25” H x 5.75” W x 1.625” D
$200-300
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1051
A group of Modern fiction signed hardcover books
Thirteen works:
Meggs, Brown. “Saturday Games.” New York: Random House, 1974
Signed First Edition
Rice, Anne. “The Feast of All Saints.” New York: Simon and Schuster, 1979
Signed First Edition
Boyle, T. Coraghessan. “Water Music.” Little, Boston: Brown and Company and The Atlantic Monthly Press, 1981
Signed First Edition
Alexander, Diane. “Playhouse.” Foreward by Raymond Burr. Los Angeles: Dorleac-MacLeish, 1984
Signed First Edition
M·rquez, Gabriel Garc”a. “Love in the Time of Cholera.” New York: Alfred A. Knopf, 1988
Signed Limited Edition: 79/350
Ondaatje, Michael. “The English Patient.” New York: Alfred A. Knopf, 1992
Signed and Inscribed First Edition
Rice, Anne. “The Tale of the Body Thief.” New York: Alfred A. Knopf, 1992
Signed First Edition
Guterson, David. “Snow Falling on Cedars.” New York: Harcourt Brace & Company, 1994
Signed First Edition
Berendt, John. “Midnight in the Garden of Good and Evil: A Savannah Story.” New York: Random House, Inc., 1994
Signed Later Edition/Printing
Maguire, Gregory. “Wicked.” Illustrated by Douglas Smith. New York: Regan Books, 1995
Signed First Edition
See, Lisa. “On Gold Mountain.” New York: St. Martin’s Press, 1995
Signed First Edition
McCourt, Frank. “Tis: A Memoir.” New York: Scribner, 1999
Signed First Edition
Together with:
Maguire, Gregory. “Mirror Mirror.” New York: Regan Books, 2003 First Edition
13 pieces
Largest: 10” H x 6.75” W x 1.75” D
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by purchase receipts for some of the items offered in this lot, each from various US booksellers, most acquired in the 1990s.
1052
A Christo catalogue raisonné and MOCA LA art book Two works:
Schellmann, Jorg, and Josephine Benecke, editors. “Christo: Prints and Objects, 1963-1987: A Catalogue Raisonné.” New York: Edition Schellmann, 1988
Signed by the artist: Christo 9.75” H x 8.5” W x 0.75” D
Clark, Erica, et al. “A History for the Future: The Museum of Contemporary Art, Los Angeles, 1979-2000.”
Glendale: Sam Francis Foundation, 2022
From the Limited Edition of 1,000 12.375” H x 9.5” W x 1.75” D
2 pieces
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1053
Percy Gray (1869-1952) California oak, 1939
Watercolor with traces of graphite on paper
Signed with initials lower left: P.G.; signed, inscribed and dated “Dear Mrs. Hall - / Sept. 14, 1939. / Thank you for your check and a happy evening on the 13th / Sincerely Percy Gray” in the upper and lower margins
Image: 3.75” H x 5” W; Sheet: 5.5” H x 6.375” W
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1054
Percy Gray (1869-1952)
“Eucalyptus Landscape,” 1939
Watercolor on cardstock
Signed verso, at the conclusion of a letter written in ink by the artist: Percy Gray; dated at the center of the upper ruled border: “Nov. 9, 1939”; the letter starting in the lower ruled border and continuing to the verso; titled on a gallery label affixed to the verso of the frame
Image: 3.5” H x 5” W; Sheet: 5.5” H x 6.25” W
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
The letter from the artist reads: “Dear Mrs. Hall. It is a long / time after receiving those interesting / [verso] clippings regarding the exhibition’s / of prize winning paintings, [so] I’m / thanking you and enjoyed reading / the articles. I do hope you are / enjoying your visit with your [son]. / Saw Clara Belle yesterday, she called / on [me] at 2117 Hyde San Francisco. / We enjoy living here and have / a very nice apartment. I am looking / forward to our [pleasant] little / class together if you expect to / go at it again when you return. / Leone joins me in sending / very best regards. / Sincerely yours Percy Gray”
1055
Sydney Janis Yard (1855-1909)
Rising mist in a valley with oak trees and a cottage Watercolor with traces of graphite on paper
Signed lower right: Sydney J. Yard
Sight: 11.75” H x 17.75” W
$500-700
Provenance: J. Schot Antiques & Collectibles, Soquel, CA.
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, n.d.
1056
Sydney Janis Yard (1855-1909)
Marsh landscape, 1896
Watercolor on paper
Signed and dated lower right: Sydney J. Yard 96
Sight: 8.625” H x 12.5” W
$500-700
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1057
William Posey Silva (1859-1948)
“End of Carmel Bay” Oil on canvas laid to canvas
Unsigned; illegibly titled and numbered “1486” verso, titled and numbered again on the estate label signed by the artist’s son, Abbott Silva, affixed to the frame’s backing board
8” H x 10” W
$1,000-1,500
Provenance:
The North Point Gallery, San Francisco, CA
Kennedy Galleries, New York, NY
Trotter Galleries, Pacific Grove, CA
The Collection of David and Holly Davis, Pasadena, CA
1058
Randall Sexton (1958-2023)
“San Pablo North View,” 1997 Oil on canvas laid to artist’s panel
Signed and dated lower right: R. Sexton ‘97; titled on a gallery label affixed to the frame’s backing paper
14.25” H x 16” W
$400-600
Provenance:
John Pence Gallery, San Francisco, CA
The Collection of David and Holly Davis, Pasadena, CA
1059
A Grueby Pardee glazed pottery tile
Early 20th century; Boston, MA
Stamped verso: Grueby / [illegible] / Boston / [partial central lotus flower logo]
The polychrome ceramic tile depicting a garden fountain amidst manicured hedges, decorated in cuerda seca matte glazes
Sight: 3.625” H x 3.625” W
$500-700
Provenance:
JMW Gallery, Boston, MA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 7, 2004
Notes:
This lot is accompanied by a purchase receipt.
1060
A J. B. Owens ceramic tile landscape triptych
Early 20th century; Zanesville, OH
Each tile twice impressed verso: OWENS
The glazed stoneware tiles, each coming together to depict a landscape with a dirt road following the banks of a stream and a farmhouse in the distance of the left panel
Each sight: 11.5” H x 8.375” W
$2,000-3,000
Provenance: JMW Gallery, Boston, MA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 11, 2004
Notes:
This lot is accompanied by a purchase receipt.
1061
An Arts & Crafts pottery boudoir lamp Mid/late 20th century Possibly Van Briggle, the single-light lamp with blue-glazed ceramic body on a wood base, surmounted by original hand-stitched parchment shade depicting cattle and flowers in a desert landscape, electrified Overall: 13.5” H x 7” Dia.
$400-600
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1062
Ernest Batchelder (1875-1957)
Two Batchelder Tile Co. tiles, early 20th century; Pasadena, CA
The Arts & Crafts glazed ceramic tiles, each depicting a vase/jardinière issuing flowers within a stylized border
2 pieces
Each sight: 5.375” H x 5.375” W
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1063
Three pairs of Arts & Crafts pottery bookends
Early/mid-20th century
One pair stamped to underside: Batchelder / Los Angeles; another pair marked for Rookwood and: XXIX [1929] / 2446; one of the other pair with sticker: Vasekraft Fulper [1911-1917]
The ceramic bookends, comprising a pair of Batchelder figural bookends with dark green glaze (each: 4.75” H x 4.25” W x 5” D), a pair of Rookwood pink glazed figural bookends (each: 5.5” H x 4.625” W x 4.5” D), and a pair of Fulper book-for m bookends (each: 5” H x 4.875” W x 3” D), 6 pieces
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1064
A group of Arts & Crafts pottery bookends
Early/mid-20th century
Two pairs marked for Rookwood, one pair further marked: XXIV [1924] / 2275; other pair further marked: XLVI [1946] / 2836; single stamped: Batchelder / Los Angeles; and incised: 48336; the Fulpers unmarked
The glazed ceramic bookends, comprising a pair of Rookwood bird-form bookends (each: 5.25” H x 5.5” W x 3.5” D), a pair of Rookwood lotus flower bookends (each: 3.75” H x 5.75” W x 3.375” D), a pair of Fulper book-form bookends (each: 5” H x 4.875” W x 3” D), and a single Batchelder figural bookend (4.875” H x 3.75” W x 4.125” D), 7 pieces
$400-600
Provenance:
McCartney’s Antiques, Port Angeles, WA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, September 25, 1994
Notes:
This lot is accompanied by a purchase receipt.
1065
A group of Arts & Crafts art pottery vessels
Early 20th century
Three marked for Rookwood and variously marked: IV [1904] / XXV [1925] / XXI [1921]
Comprising three Rookwood bud vases and a Marblehead Pottery low bowl/vessel, 4 pieces
Tallest: 6.125” H x 3.125” Dia.; Shortest: 1.625” H x 3.5” Dia.
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by a purchase receipt from an unknown seller, dated September 29, 1991.
1066
A group of Arts & Crafts art pottery vessels
Early 20th century
Two marked for Rookwood, one further marked: XLVI [1946] / 6833; the other further marked: XXII [1922] / 2023; one stamped: Weller; one marked: Winfield Pasadena / 81-78; last marked 397.7.11 / S.E.S / R.B.
The glazed ceramic table items, comprising a Rookwood vase, a Rookwood smaller box planter, a Winfield vase, a Weller frog figure table item, and a Saturday Evening Girls dish with landscape band to interior rim, 5 pieces Tallest: 6.625” H x 4.125” Dia.; Smallest: 1.625” H x 3.75” Dia.
$200-400
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1067
A group of Arts & Crafts art pottery vases
Early 20th century
Two marked for Rookwood; one further marked: XX [1920] / 900D / V / EM; another further marked: XXIII [1923] / 63 / VT; the last signed: Axline
The glazed ceramic vases, comprising a Rookwood vase with vellum glaze by Elizabeth McDermott, another Rookwood vase by Vera Tischler (1900-1989), and a Weller Pottery Co. vase by Ruth Axline, 3 pieces
Largest: 7” H x 3.875” Dia.; Smallest: 4.375” H x 3.5” Dia.
$500-700
Provenance: McCartney’s Antiques, Port Angeles, WA and Lifetime Antiques, Ltd., Santa Rosa, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 8, 1990, and December 10, 1989, respectively
Notes:
This lot is accompanied by two purchase receipts.
1068
A group of Weller pottery vases
Early 20th century; Fultonham, OH
Three stamped to underside: Weller
Comprising five glazed ceramic vases, each decorated with polychrome floral motifs, 5 pieces
Largest: 8.5” H x 6.125” Dia.; Shortest: 6.125” H x 6.375” Dia.
$300-400
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1069
Ernest A. Batchelder (1875-1957)
A group of pottery tableware items, mid-20th century; Pasadena, CA
All but one marked: E A Batchelder; two further marked: Kinneloa Kiln; each variously numbered; the associated marked: Winfield / Pasadena / 230
The duotone glazed ceramic wares, comprising 2 serving trays, 2 squared vases, 2 squared vases with flared rim and incised wavy line accents, 1 lidded ginger jar, and 1 rounded vessel, together with an associated Winfield Pottery serving tray
9 pieces
Widest tray: 1.75” H x 13.5” Dia.; Smallest vessel: 4.125” H x 3.625” W x 3.625” D
$300-400
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1070
A group of Contemporary art pottery vessels
Late 20th century
Two marked: B Saito / 84; one marked: Adams / 1986; another marked: SVD / 85; the last marked illegibly
Comprising two polychrome art ceramic vessels by Beverly Saito including a vase with paw track marks and mounted points and feathers, and a lidded footed trinket box with sgraffito details, the lid bound by string; a frog-form-mounted vase by Nancy Adams (b. 1970), a stylized lidded box, and a Southwest-style bud vase with geometric fine-line sgraffito motifs, 5 pieces
Largest: 6.625” H x 6.375” Dia.; Smallest: 3.625” H x 2.875” W x 2.875” D
$400-600
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1071
David Ruddell (b. 1954)
“Grey Boat,” 1999 Oil, graphite, and shellac on fir wood
Signed twice, titled, dated, and inscribed in ink, all verso: David Ruddell / 1999 / “Framed Green Board”
Overall (with frame): 19.5” H x 20.5” W x 4” D
$500-700
Provenance:
Braunstein/Quay Gallery, San Francisco, CA
The Collection of David and Holly Davis, Pasadena, CA
1072
An L. & J.G. Stickley sideboard, No. 735
Early 20th century; Fayetteville, NY
Unmarked
The fumed quarter-sawn oak sideboard with hammered copper hinges, pulls, and hardware, featuring four middle drawers centering opposed locking cabinets above a long lower drawer, surmounted by a plate storage rack 46” H x 56.25” W x 22.75” D
$1,000-2,000
Provenance: Buddy’s, Hollywood, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, July 16, 1992
Literature: Stephen Gray, ed., “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 193, fig. 735
Notes:
This lot is accompanied by a purchase receipt.
1073
A pair of Limbert’s oak side chairs
Early 20th century
Each unmarked
The wood chairs with spindle backs and inset black leather upholstered seat cushions, 2 pieces
Each: 39” H x 18” W x 20.5” D
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by a purchase receipt from an unknown seller, dated December 12, 1994.
1074
A Limbert’s oak window seat, no. 243 1/2
Early 20th century; Michigan
With burn mark to underside: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland
The wood bench with open squares to sides, above and below the seat, with associated embroidered cotton fabric cushion
24” H x 24.5” W x 18” D
$400-600
Provenance:
The Arts & Crafts Emporium, Los Angeles, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired form the above, November 28, 1992
Literature:
Stephen Gray, ed., “Charles P. Limbert Company: Cabinet Makers” (New York, NY: Turn of the Century Editions, 1990), pg. 109, fig. 243 1/2
Notes:
This lot is accompanied by a purchase receipt.
1075
An Arts & Crafts book trough
Early 20th century
Unmarked
The carved wood desktop book trough of keyed mortise and tenon construction, with opposed open handles
9.5” H x 17” W x 9” D
$200-300
Provenance:
Lifetime Arts & Crafts Gallery, Los Angeles, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, September 25, 1994
Notes:
This lot is accompanied by a purchase receipt.
1076
An Arts & Crafts cutout trestle table
Early 20th century
Unmarked
The Limbert’s-style wood table with shaped legs joined by a medial stretcher surmounted by a rounded rectangular tabletop
29.25” H x 45” W x 24” D
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1077
Charles Walter Stetson (1858-1911)
View of Santa Barbara, 1892 Gouache on tan paper
Signed with the artist’s monogram, inscribed, and dated lower right: “CWS Sta. Barbara / Feb. 23 1892” Sight: 6.375’’ H x 8.125” W
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1078
Charles Walter Stetson (1859-1911)
‘’Father and Son on a Forest Path,” 1876 Oil on canvas laid to canvas
Signed and dated at the center of the lower edge: 1876 Ch. Walt. Stetson; titled by repute
14” H x 16” W
$1,000-1,500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1079
Howard Russell Butler (1856-1934)
Three works:
“California Twilight”
Pastel with traces of graphite on paper
Appears unsigned; titled on a gallery label affixed to the frame’s backing paper; with the artist’s label signed in ink by the artist’s son, Howard Russell Butler Jr., affixed to the frame’s backing paper
Sight: 6” H x 9” W
“Cattle Grazing”
Pastel with traces of graphite on paper
Appears unsigned; titled on a gallery label affixed to the frame’s backing paper; with the artist’s label signed in ink by the artist’s son, Howard Russell Butler Jr., affixed to the frame’s backing paper
Sight: 6” H x 9” W
“Desert Twilight”
Pastel with traces of graphite on paper
Appears unsigned; titled on a gallery label affixed to the frame’s backing paper; with the artist’s label signed in ink by the artist’s son, Howard Russell Butler Jr., affixed to the frame’s backing paper
Sight: 6” H x 9” W
$800-1,200
Provenance:
Howard Russell Butler Jr., the artist’s son, New York, NY Monterey Gallery, San Francisco, CA, acquired from the above
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, October 26, 1990
1080
Frank Montague Moore (1877-1967)
Eucalyptus landscape at dusk Oil on board
Signed lower right: F.M. Moore 13” H x 17” W
$1,000-1,500
Provenance:
Biage & Bonney Quattrocchi, Fine Art & Antiques, Santa Rosa, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 6, 1994
1081
Attributed to Hanson Duvall Puthuff (1875-1972)
View of Malibu mountains and View of Yosemite (a double-sided work) Oil on board
Unsigned 12” H x 16” W
$1,000-1,500
Provenance: Masterpiece Gallery, Carmel, CA
The Collection of David and Holly Davis, Pasadena, CA
1082
George Gardner Symons (1861-1930)
Path in a California landscape Oil on panel
Initialed lower right: G.S.; with the artist’s estate stamp in ink, verso 6.25” H x 8.75” W
$1,000-1,500
Provenance: The Estate of the Artist
Sold: Butterfield & Butterfield, San Francisco, CA, February, 13, 1991, Lot 2096
The Collection of David and Holly Davis, Pasadena, CA
1083
George Gardner Symons (1861-1930)
“Landscape with Stream,” 1919 Oil on panel
Signed in the lower edge, left of center: Gardner Symons; signed again, dated, and inscribed indistinctly in pencil, verso: “ To my dear friend [Mrs.] Emily Clark / in ***/ together / Gardner Symons / Xmas 1919”; titled on a gallery label affixed to the frame’s backing paper
10.75” H x 14” W
$1,000-1,500
Provenance:
Trotter Galleries, Pacific Grove, CA
The Collection of David and Holly Davis, Pasadena, CA
1084
Jean Mannheim (1863-1945)
California landscape Oil on Masonite
Signed lower left: J. Mannheim 11.8125” H x 15.5” W
$800-1,200
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1085
Hernando Gonzallo Villa (1881-1952) Two Works:
Sailboat off the coast, 1947
Charcoal and graphite on paper
Signed and dated lower right: Hernando G. Villa / 6/47
Sight: 4.5” H x 6.75” W
Rocky coast, 1947
Charcoal and graphite on paper
Signed and dated lower left: Hernando G. Villa / 5/47
Sight: 6.75” H x 4.625” W
$400-600
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1086
Charles Reiffel (1862-1942)
Two houses in a landscape
Crayon and colored pencil on paper
Signed lower right: Charles Reiffel
Image/Sheet: 9.375” H x 9.875” W
$800-1,200
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, February 11, 1997, Lot 74
The Collection of David and Holly Davis, Pasadena, CA
1087
Maurice Braun (1877-1941)
Southern California landscape with distant mountains
Colored pencil and crayon on cream paper
Signed in pencil lower right: Maurice Braun
Sight: 8.25” W x 10.75” H
$700-900
Provenance: Trotter Galleries, Pacific Grove, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, September 20, 1993
1088
Mabel Alvarez (1891-1985)
Still life flowers in a vase
Watercolor on paper
Signed in pencil lower right: Alvarez
Sight: 11.5” H x 8.5” W
$800-1,200
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, March 31, 1992, Lot 6 The Collection of David and Holly Davis, Pasadena, CA, acquired from the above
1089
An Art & Crafts copper table lamp
Early 20th century
Unmarked
The four-light lamp in the manner of Dirk van Erp, with hammered copper bulbous base and copper and mica shade, electrified Overall: 20.5” H x 19” Dia.
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1090
A Dirk van Erp hammered copper table lamp base
Circa 1915-1977; San Francisco, CA
Base signed: Dirk van Erp / San Francisco [open-box mark]
The Arts & Crafts single-light lamp with a bulbous copper base issuing three arms surmounted by an associated copper and mica domed shade, electrified
Overall: 11” H x 9.75” Dia.
$2,000-3,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1091
A Roycroft copper table lamp Circa 1909-1920; East Aurora, NY
Marked to base with Roycroft Orb The hammered copper single-light lamp with flared circular base, surmounted by a copper and mica shade, electrified Overall: 14.5” H x 9.75” Dia.
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1092
Four pairs of Arts & Crafts metal bookends
Early 20th century
One pair marked with Roycroft orb; another pair marked: Old Mission / San Francisco / [centering mission building logo]; another pair marked: [arm & hammer logo] made by hand / 10; iron unmarked
Comprising a pair of Roycroft hammered copper bookends, two pairs of Mission Kopper Kraft hammered copper bookends, and a pair of polychrome cast iron bookends, 8 pieces
Largest: 5.5” H x 6” W x 4” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
This lot is accompanied by a copy of a purchase receipt from an unknown seller, dated September 29, 1991.
1093
Two Arts & Crafts picture frames
Early 20th century
Comprising a giltwood frame with soft scrolled motifs, and another wood frame with easel back and copper alloy sheet overlay depicting floral motifs, 2 pieces
Easel sight: 5.5” H x 3.375” W; Giltwood sight: 6.5” H x 8.5” W
$200-300
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1094
A Spanish-style floor lamp and mica shade 20th century
Unmarked
The two-light lamp with polychrome and wrought-iron twisted standard mounted with foliate-form gilt-metal accents and set on a marble base, surmounted by a possibly later hexagonal mica shade, electrified
Overall: 66” H x 21.5” W x 19” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1095
A Carl Radke art glass boudoir lamp 1983
Etched to underside: Carl Radke / Phoenix Studio / 83; shade etched at rim: Carl Radke / 83 The single-light lamp with iridescent glass mushroom shade decorated with murrini cane accents, mounted to a conforming base, electrified
Overall: 18” H x 8.25” Dia.
$300-500
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1096
An RCA “The Solitaire” model 54B5 tube radio 1947
Dial marked: RCA Victor; serial number to paper inset: B 001747; marked to interior: KC 1947 / B274 / 94186-504
The four-tube personal portable radio with 6-channel AM tuning dial, volume dial, and on/off switch under the rubber handle, housed in a gold-plated metal case with marbled Catalin cabinet housed in original felt bag, electrified 7” H x 4.5” W x 3.25” D
$300-400
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1097
A Chinese Chippendale-style giltwood mirror
Late 19th century; England
The rectangular plate mounted in an openwork chinoiserie decorated frame, featuring scrollwork, foliate motifs, two opposed Ho Ho birds, and an architectural cornice
56.25” H x 38.25” W x 5” D
$1,000-2,000
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1098
A group of polychrome wood fishing lures Early 20th century
The painted carved wood fish-figure lures depicting various species, each mounted with metal fins, 25 pieces
Longest: 8.375” L; Shortest: 3” L
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1099
A group of polychrome wood fish lures
Early 20th century
The painted carved wood fish-figure lures depicting various species, each mounted with metal fins, one with articulated body, 11 pieces
Longest: 30.125” L; Shortest: 6.875” L
$600-800
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1100
A group of Britains Ltd. lead toys
Mid-20th century; England
Some horses marked in the casting: Property of Britains Ltd. / Made in England / Copyright
The assorted group of painted cast lead toys, some with articulated features, comprising various military figures from the British Royal Guard, the United States army, the Scottish military, horse-mounted figures, cannons, and artillery machines, 105 pieces, approximately Largest: 2” H x 5.75” W x 2.75” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1101
A group of polychrome wood and metal model ships Early 20th century
Sailboat marked: J. Chein & Co. / Made in U.S.A.; another marked: Peter
Comprising a painted metal sailboat with canvas sails, a riverboat, a rowboat, a speedboat, a steam boat, and two model vessels, 7 pieces
Largest: 5.5” H x 27.75” W x 7.75” D
$500-700
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1102
A group of polychrome wood model ships
Early 20th century
One with sticker: Craigcraft Toy / Made in USA; another with sticker: STC
Comprising a houseboat with dock, an aircraft carrier, a steamboat, a battleship, a barge, and another boat, some with string or metal component accents, 7 pieces
Largest: 8.25” H x 24” W x 7” D
$300-500
Provenance: The Collection of David and Holly Davis, Pasadena, CA
1103
Two chinoiserie koi fish garden ornaments 20th century
Each unmarked
Comprising two brass fish figures, each propped up on front fins, 2 pieces Taller: 20.5” H x 42.5” W x 14.25” D; Shorter: 19.5” H x 40” W x 11.5” D
$500-700
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1104
A Papuan polychrome wood spirit mask 20th century; Sepik River region, Papua New Guinea
The painted carved wood mask with border woven from fibrous plant material, mounted with cowrie shells, bone nostril adornments, and cassowary feathers, housed in a custom Plexiglas case
Mask overall: 31” H x 15.5” W x 4” D, approximately; Case: 35.25” H x 20” W x 5.75” D
$300-400
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Notes:
Exporting this item out of the US may require additional export permits.
1105
Two Japanese hibachis
Late Meiji Era (1868-1912)
Each stamped with faint characters to underside
The carved wood hibachis with copper lining, each adorned with inlaid mother of pearl and gilt-painted decorations, comprising one larger with floral motifs and one smaller with floral and avian motifs, 2 pieces Larger: 7.75” H x 11” Dia.; Smaller: 6.375” H x 7.5” Dia.
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
1106
A Japanese ikebana bamboo basket 20th century
Unmarked
The handled basket with ten staves of bamboo bound by fibrous material
19.5” H x 11.25” W x 8.75” D
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Paul Jacoulet (1902-1960)
Paul Jacoulet was born in Paris in 1902 to a French father, Jacoulet’s father took a job as a language tutor in Tokyo. education while also learning languages and painting Japanese culture and was versed in traditional customs, style ballads, and literature.
The World War I period was difficult for the artist’s family his painting studies and fostering an interest in collecting resolved to completely focus on artistic endeavors.
By about 1930, Jacoulet regularly visited the Marianas, also visited his mother and her new Japanese physician make sketches and also befriended brothers Joseph and his life.
The following year, in 1931, Jacoulet moved to Akasaka the craft. Quickly establishing himself as a printmaker, following year. The late 1930s were dynamic for the artist. composition, Jacoulet’s work was featured in the magazine
In 1944, escaping an escalation of fighting during World American occupying forces in Japan discovered his work to receive worldwide attention and participated in group
Distinguishing himself from many shin hanga publishers, work. He was meticulous about the wood, ink, and paper crushed pearl, and powdered metals. Jacoulet was also works from the Rainbow Series were sold by subscription,
father, Frédéric, who worked as an educator, and a Basque mother, Jeanne. Soon after his birth, Tokyo. Jacoulet and his mother joined his father in Japan in 1906 where he received an academic and receiving lessons in music and voice. Jacoulet was also tutored in many aspects of local customs, art forms, and fashion (often wearing kimonos) including language, calligraphy, samisen, gidayu
family and at about age 20, Jacoulet went to work for the French Embassy in Tokyo, while continuing collecting ukiyo-e prints. After his house survived the devastating 1923 Tokyo earthquake, Jacoulet
Marianas, Carolines, and other islands in the South Pacific, where he sketched and collected butterflies. He physician husband who were living in Seoul (his father had died in the early 1920s). There he continued to and Louis Rah who returned with him to Japan and worked as assistants to Jacoulet for the rest of
Akasaka and began a working relationship with woodblock printmaker Shizuya Fujikake who taught him Jacoulet founded the Jacoulet Institute of Prints in 1933 and published his own designs by the artist. While producing a number of important woodblock print subjects, mostly figural in magazine “Ukiyo-e Geijutsu” and he had important one-person shows in Tokyo and Honolulu.
World War II, Jacoulet moved permanently to the Karuizawa region. Despite the turmoil of war, work and were enthusiastic collectors. After the armistice and through the 1950s, Jacoulet continued group and one-person shows in locations including Paris, New York, and Helsinki.
publishers, Jacoulet credited his carvers and printers by including their names on and in the margins of his paper used to create his prints, and was innovative in his use of exotic materials including mica, also exacting in his inspection of impressions, discarding anything that was not excellent. Some early subscription, but the vast majority of Jacoulet’s works were self-published.
1107
Paul Jacoulet (1902-1960)
“Le Mandarin aux Lunettes. Mandchoukuo,” 1950
Woodcut in colors with silver highlights on handmade mulberry paper, watermark artist initials
Edition: 83/350 (of which fewer than 100 were printed in this edition)
Signed in pencil above the artist’s red ink mandarin duck stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; stamp-numbered 83/350 in red ink on the verso; with the black ink stamp of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, in the lower portion of the right margin
Image: 15.375” H x 11.625” W; Sheet: 18.5” H x 14.25” W
$600-800
Provenance:
Shogun Gallery, Washington, DC
The Collection of David and Holly Davis, Pasadena, CA
Note:
According to Richard Miles, “...Jacoulet’s numbering system was eccentric at best....Existence of an edition does not mean that the edition was printed in full, and in most cases many fewer were pulled. It was Jacoulet’s practice to print only what he expected to sell, or had already sold, to subscribers....In addition, he tried not to duplicate numbers, and largely succeeded. Therefore, [in a hypothetical example], although a print stamped 290/350 is known to exist, there are fewer than 100 actual impressions with the edition of 350 stamp, because 200 of the earlier numbers were used up in the edition of 150 and 250. Even the edition of 150, of which number 150/150 is known, may have existed in fewer impressions, because Jacoulet started printing some editions of 250 before completing the first printing.”
1108
Paul Jacoulet (1902-1960)
‘’Daikoku, Dieu de la Richesse Personnifié par une Courtisane du Shimabara. Kyoto, Japan,” 1952
Woodcut in colors with gold, silver, and bronze metallics, pink and green pearl on handmade mulberry paper with the artist’s watermark
Edition: One of fewer than 350 total impressions
Signed in pencil above the artist’s red ink coin in the image near the center of the left edge: Paul Jacoulet; the title printed in the lower margin, at right; the stamp-number missing from the verso; with the black ink stamp of the carver, Kentaro Maeda, and the printer, Yoshizo Onodera, in the lower portion of the right margin; with an indistinct red ink collector’s stamp (presumably) in the lower margin edge, at left, verso Image: 15.5” H x 11.875” W; Sheet: 18.75” H x 14” W
$600-800
Provenance: Shogun Gallery, Washington, D.C. The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 123
Notes: This lot is accompanied by an old frame backing from the above mentioned gallery.
1109
Paul Jacoulet (1902-1960)
“Le Nid. Coree,” 1941
Woodcut in colors on handmade mulberry paper, watermark the artist’s initials Edition: 64/150
Signed in pencil above the artist’s red ink sparrow stamp in the image near the center of the right edge: Paul Jacoulet; the title printed in the lower margin, at right; stamp numbered 64/150 in red ink; with the black ink stamp of the carver, Kentaro Maeda, in the lower portion of the right margin
Image: 15.5” H x 11.875” W; Sheet: 18.5” H x 14.5” W
$600-800
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 80
1110
Paul Jacoulet (1902-1960)
‘’Le Tabouret de Porcelaine. Mandchuokuo,” 1936
Woodcut in colors with mica, ground jade powder, and a combination of silver and bronze powder on handmade mulberry paper, watermark the artist’s initials Edition: 252/350 (of which fewer than 200 were printed in this edition)
Signed in pencil above the artist’s red ink good luck hammer stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; stamp-numbered 252/350 in red ink on the verso; with the black ink stamp of the carver, Kentaro Maeda, in the lower portion of the right margin; lacking the black ink stamp of the printer, Hoshino
$500-700
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 38
1111
Paul Jacoulet (1902-1960)
‘’Le Marie. Seoul, Corée’’ Woodcut in colors with metallic highlights on handmade mulberry paper
From the total edition of fewer than 370 impressions
Signed in pencil above the artist’s red ink owl stamp in the image at lower right: Paul Jacoulet; the title printed in the lower margin, at right; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Yoshizo Onoderaa, in the lower portion of the right margin
Image: 15.375” H x 11.75” W; Sight: 16.25” H x 12.75” W
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 110
1112
Paul Jacoulet (1902-1960)
‘’Nuit de Neige. Corée,” 1939
Woodcut in colors on handmade mulberry paper, watermark artist initials Edition: 142/250
Signed in pencil above the artist’s red ink boat stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; stamp-numbered in red ink on the verso of the lower edge, at left; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Fusakichi Ogawa, in the lower portion of the right margin
Image: 15.375” H x 11.75” W; Sight: 16.375” H x 12.625” W
$300-500
Provenance: The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 57
1113
Paul Jacoulet (1902-1960)
‘’Ebisu, Dieu du Bonheur Personnifié par une Courtisane du Shimabara. Kyoto, Japon”
Woodcut in colors with metallic and powdered pearl highlights on handmade mulberry paper
Edition: An artist’s proof aside from the edition of fewer than 300 impressions
Signed in pencil above the artist’s red ink coin stamp in the image at right: Paul Jacoulet; the title printed in the lower margin, at right; the artist’s proof information from an old gallery label; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Yoshizo Onodera, in the lower portion of the right margin
Image: 15.375’’ H x 11.75’’ W; Sight: 16.365” H x 12.625” W
$300-500
Provenance:
Shogun Gallery, Washington, DC
The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 122
Notes:
This lot is accompanied by a previous frame’s backing board, to which the above-mentioned gallery label is affixed.
1114
Paul Jacoulet (1902-1960)
“Les Vieux Manuscripts. Corée-Séoul,” 1948
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 160 total impressions
Signed in pencil above the artist’s red ink Ivy stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Honda Uchikawa, printer
Image: 15.375” H x 12” W; Sight: 16.75” H x 13.125” W
$300-500
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
Literature: Miles 99
1115
Paul Jacoulet (1902-1960)
“Jeu Princier. Mongol,” 1956
Woodcut in colors with metallic highlights on handmade mulberry paper, watermark the artists initials Edition: One of fewer than 60 impressions printed from an intended edition of 350
Signed in pencil above the artist’s red ink peony stamp in the image near the center of the right edge: Paul Jacoulet; the title printed in the lower margin, at right; with the red ink elaborate PJ stamp on the verso of the lower right margin corner; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Tetsunosuke Honda, in the lower portion of the right margin
Image: 15.375” H x 11.75” W; Sheet 17.25” H x 13.625” W
$600-800
Literature: Miles 147
1116
Paul Jacoulet (1902-1960)
“Les Deux Adversaires. Corée” (Gauche) and (Droite),” 1950
Two woodcuts in colors on paper framed together
Each from the edition of fewer than 350
Signed in pencil above the artist’s red arrow stamp in the image at lower left and right, respectively: Paul Jacoulet
Sight of each: 15.375” H x 11.875” W
$700-900
Literature: Miles 111 and 112
Notes:
According to Richard Miles, this “...highly symbolic pair reveal Jacoulet’s feelings toward the North Koreans. In his public dedication to President Truman, the artist expressed ‘gratitude for aid given so promptly on behalf of free Korea against being overrun by Communist forces.’ “
1117
Paul Jacoulet (1902-1960)
“Le Chemin a L’Eglise, Chamorros de Guam,” 1939
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 200 total impressions
Signed in pencil above the artist’s red ink boat stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Honda Uchikawa or Onodera, printer
Image: 15.5” H x 11.875” W; Sight: 15.875” H x 12.125” W
$400-600
Literature: Miles 55
1118
Paul Jacoulet (1902-1960)
“Fleurs des Iles de Lointaines. Mers de Sud,” 1940 Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 250 total impressions
Signed in pencil above the artist’s red ink butterfly stamp in the image at right: Paul Jacoulet; the title printed in the lower margin, at left; with the black ink stamp of the carver, Kentaro Maeda, in the lower portion of the left margin
Image: 11.5” H x 15.375” W; Sheet: 12” H x 16” W
$400-600
Literature: Miles 65
1119
Paul Jacoulet (1902-1960)
“La Tresseuse de Paniers. Remoue, Yap,” 1948
Woodcut in colors on handmade mulberry paper
From the total edition of fewer than 300 impressions
Signed in pencil above the artist’ red peach stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; according to Miles, carved by Kentaro Maeda, and printed by either Tetsunosuke Honda or Shunosuke Fujii, although none of these black ink stamps showing as currently matted and framed
Image: 15.25” H x 11.75” W; Sight: 16” H x 11.875” W
$400-600
Literature: Miles 101
1120
Paul Jacoulet (1902-1960)
“Sur le Sable. Rhull, Yap,” 1937 Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 225 total impressions
Signed in pencil above the artist’s red ink “good luck hammer” stamp in the lower right corner of the image: Paul Jacoulet; the title printed in the lower margin, at left; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Tetsunosuke Honda, in the lower portion of the left margin
Sight: 11.875” H x 16” W
$400-600
Literature: Miles 44
1121
Paul Jacoulet (1902-1960)
“Fleurs du Soir. Truck-Toloas,” 1941
Woodcut in colors and powdered silver on handmade mulberry paper
Edition: One of fewer than 200 total impressions
Appears unsigned; the title printed in the lower margin; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Fusakichi Ogawa, in the lower portion of the right margin
Image: 15.375” H x 11.625” W: Sight: 15.5” H x 12” D
$300-500
Provenance:
Floating World Gallery, Chicago, IL
Literature: Miles 76
Notes:
This lot is accompanied by a sales invoice from the above-mentioned gallery.
1122
Paul Jacoulet (1902-1960)
Le Génie Sans Noms. Corée,” 1953
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 145 total impressions
Signed in pencil above the artist’s red ink peony stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Onodera, printer
Image: 15.5” H x 11.75” W; Sight: 15.75” H x 12” W
$300-500
Literature: Miles 127
1123
Paul Jacoulet (1902-1960)
“Dans la Nature. Angur,” 1949
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 275 total impressions
Signed in pencil above the artist’s red ink owl stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; with the black ink stamps of Kentaro Maeda, carver; and Fusakichi Ogawa, printer, in the lower portion of the left margin Image: 11.75” H x 15.5” W; Sight: 12” H x 15.625” W
$300-500
Literature: Miles 103
1124
Paul Jacoulet (1902-1960)
“Calme. Truck,” 1941
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 200 total impressions
Signed in pencil above the artist’s red ink butterfly stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; with the black ink stamps of both Kentaro Maeda, carver and Matashiro Uchikawa, printer, in the lower portion of the left margin
Image: 11.875” H x 15.5” W; Sight: 12” H x 16.125” W
$300-500
Literature: Miles 74
1125
Paul Jacoulet (1902-1960)
“Une Belle de Palaos,” 1935
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 350 total impressions
Signed in pencil above the artist’s red ink Mandarin duck stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Tetsunosuke Honda or Fusakichi Ogawa, printer
Sight: 15.5” H x 11.625” W
$300-500
Literature: Miles 30
1126
Paul Jacoulet (1902-1960)
“Coucher de Soleil a Menado. Celebes,” 1938
Woodcut in colors on handmade mulberry paper
Edition: one of fewer than 250 total impressions
Signed in pencil above the artist’s red ink tea jar stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; with most of the black ink stamp of both the carver, Kentaro Maeda, showing in the lower portion of the right margin
Image: 15.375” H x 11.625” W; Sight: 16” H x 11.875” W
$300-500
Literature: Miles 53
1127
Paul Jacoulet (1902-1960)
“Fleurs Violettes, Tomil, Yap”
Woodcut in colors on handmade mulberry paper
Edition: One of fewer than 225 total impressions
Signed in pencil above the artist’s red ink good luck hammer stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Fusakichi Ogawa, printer
Sight: 15.25” H x 11.25” W
$300-500
Literature: Miles 41
1128
Paul Jacoulet (1902-1960)
“La Chenille Verte. Corée,” 1936
Woodcut in colors on handmade mulberry paper
From the total edition of fewer than 350 impressions
Signed in pencil above the artist’s red ink good luck hammer stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Shunosuke Fujii, in the lower portion of the right margin
Image: 15.375” H x 11.625” W; Sight: 15.625” H x 12” W
$200-300
Literature: Miles 40
1129
Peter Walker
(b. 1946)
Elephants and a circus performer, 1977
Colored pencil, crayon, and metallic pigment on paper
Signed and dated in pencil, in the image, lower right: Peter Walker 77
Image: 15” H x 41.25” W; Sight: 29.375” H x 41.25” W
$300-500
1130
Peter Walker (b. 1946)
“Carson and Barnes Circus,” 1977
Colored pencil, crayon, and metallic pigment on paper, watermark BFK Rives
Signed and dated in the image, lower right: Peter Walker / 77 Image: 15” H x 41.25” W; Sight: 29.25” H x 41.25” W
$300-500
1131
Peter Walker (b. 1946)
“Circus Suite I,” 1981
The complete suite including three lithographs in colors on wove paper Edition: AP 12/25 (one of 25 artist’s proofs; there was also the edition of 275 signed and numbered impressions) Each of the lithographs signed, dated, and numbered in pencil in the lower right and left corners of the image, respectively: Peter Walker 81; loose; sold together with the typed information sheet with the artist’s photocopied signature; and the suite’s original wove paper folder, printed on the inside with the colophon, and on the outside with the suite’s title; the edition number faintly inscribed in pencil on the folder’s outside corners, possibly in another hand; Atelier Ettinger Inc., prntr. and pub., with their blindstamp on each of the lithographs
Image/Sheet of each: 15.5” H x 40.75” W
$400-600
1132
A French pre-war brass fireman helmet
Late 19th/early 20th century; Coulommiers, France
Badge reads: Sapeurs / Pompiers / De Coullommiers
The brass helmet with central fin and front and rear visors, featuring a brass badge bearing foliate motifs centering a shield and castle, the interior with leather webbing and chinstrap
7.25” H x 7.5” W x 10.5” D
$400-600
1133
A German pre-war fireman helmet
Early 20th century
Badge reads: Gott Zur / Ehr, Dem Nachstem / Zur Wehr
The metal and leather helmet with brass trim, central fin, and front and rear visors, featuring a gilt-metal badge bearing Masonic symbols including the all-seeing eye and handshake, the interior with leather webbing and chinstrap
8” H x 7.5” W x 10.5” D
$400-600
1134
Two vintage firemen helmets
Early/mid-20th century
The English helmet gilt-stamped to leather interior: Helmets Ltd. / Wheathamptstead / Herts - - England / 2320; further marked on sticker: 7 / 57; New York stenciled: Property F.D.N.Y.; further marked: USGOVN’T PROPERTY O.O.D.
Comprising an English leather-wrapped helmet with front and rear visors, bearing a painted shield emblem, the interior with leather webbing, and an FDNY painted metal helmet with canvas cord webbing to interior, 2 pieces
English: 9.75” H x 11.25” W x 15” D; New York: 6.25” H x 11.875” W x 13.125” D
$600-800
1135
A Cairns & Brothers fireman helmet
Circa 1930
Badge reads; Rockton / RFD; interior with metal tag: Cairns & Brother / New York / Mfrs of Firemens Equipment & Supplies
The metal and black leather helmet with front and rear visors, featuring a leather badge, the interior with cotton canvas and felt liner and neck guard
6.625” H x 11” W x 14.5” D
$400-600
1136
A Cairns & Brothers fireman helmet
Early/mid-20th century Badge reads: Chief / RPFD
The metal and white leather helmet with front and rear visors, featuring a leather badge and gilt-metal eagle accent, the interior with cotton felt and leather lining
8.5” H x 10.5” W x 14.25” D
$400-600
1137
A Cairns & Brothers fireman helmet
Early/mid-20th century Badge reads: Asst Chief / Peekskill
The metal and white leather helmet with front and rear visors, featuring a leather badge and gilt-metal eagle accent, the interior with cotton canvas lining 9” H x 11” W x 14” D
$400-600
1138
A Cairns & Brothers fireman helmet
Mid-20th century
Badge reads faintly: SRT CAPT / 7 / MFD
The metal and red leather helmet with front and rear visors, featuring a leather badge, the interior with cotton and vinyl webbing and neck guard
7.25” H x 11” W x 14.25” D
$400-600
1139
A Shand Mason model fire engine Circa 1860; Thorganby, York, England
Inscribed to side: Banbury Fire Service; further marked: Shand Mason & Co. Engineers, London; marked to brass tank: WP / 80
The enameled metal and wood model fire truck with water pumper, featuring a brass boiler, rails, side lamp, and accent components, with hoses mounted to each side, housed in a Lucite case, 2 pieces
Engine: 13.75” H x 22.5” W x 10.75” D; Case: 15.75” H x 12.5” W x 25.5” D
$2,000-3,000
1140
A Pratt and Letchworth cast iron hook and ladder toy
Late 19th century
Unmarked
The polychrome enameled cast iron toy with rear figure, four mounted ladders, a bell mounted to underside, and two articulated galloping horse figures
8.75” H x 24.5” W x 6” D
$400-600
An Ives cast iron horse-drawn fire pumper toy
Late 19th/early 20th century
With Sotheby’s New York tag, Sale 7580
The polychrome enameled cast iron toy with driver figure, rear figure, and articulated galloping horses
9.25” H x 24.5” W x 6.75” D
$400-600
1142
An Ives “Phoenix” cast iron horse-drawn fire patrol toy
Late 19th/early 20th century
Marked to carriage: Fire Patrol; marked to reigns rigging: Phoenix
The polychrome enameled cast iron toy with driver, eight firemen figures, and two articulated galloping horses
7.75” H x 21.25” W x 5” D
$500-700
1143
A Gama tinplate firefighter and fire escape toy
Early 20th century; Germany
Unmarked
The enameled tinplate toy with windup mechanism and folding ladder
Stored: 8.75” H x 10.5” W x 4.5” D
$300-500
1144
A Clark Ship Model Co. cast iron fire pump toy
Early 20th century
Marked in the casting to each side: Friendship [handshake] 1774
Modeled after 19th century side cylinder manual pumpers, the enameled cast iron toy with articulated levers mounted on four wheels
8.75” H x 14” W x 4.75” D
$300-500
1145
A vintage wrought iron fire pumper toy
Early 20th century
Unmarked
The painted wrought iron toy with swiveling front axel and side mounted hoses
7.75” H x 13” W x 5.5” D
$400-600
1146
A vintage hook and ladder fire truck toy
Early/mid-20th century
Marked: Lake Mohegan Fire District Engine No. 1 / L.M.F.D.
The red painted wood and metal toy with mounted ladders, spotlights, ropes, hoses, and other accessories, together with four additional associated ladders
Truck: 7.5” H x 22.75” W x 7.25” D; Longest ladder: 23” L
$300-500
1147
A Hubley cast iron fire pumper toy
Early 20th century; Lancaster, PA
Marked on each tire: Hubley Mgf. Co. / Balloon 34 x 5 Cord; with Sotheby’s New York tag, Sale 7333
The red and silver enameled cast iron toy with driver figure and bell to underside, set on four wheels with rubber tires
6.375” H x 11.25” W x 4” D
$300-500
1148
A Marx “Siren Sparkling” fire engine toy
Early 20th century
Marked to each side: Siren Sparkling / Fire Engine / Fire Dept.; marked in the casting to underside: Patented March 15, 1927 / No. 1,621,266
The painted pressed steel toy with friction drive and four plastic tires
5” H x 9.25” W x 4.25” D
$300-500
1150
A vintage wrought iron fire truck toy
Mid-20th century
With later hand-drawn markings
The possibly assembled painted wrought iron model of a Chevrolet fire engine with mounted side ladders, hoses, and other accessories, raised on plastic wheels
7” H x 19.25” W x 5.75” D
$400-600
1149
A Hubley cast iron fire pumper toy
Early 20th century; Lancaster, PA
Marked on each tire: Hubley Mgf. Co. / Balloon 34 x 5 Cord
The red and silver enameled cast iron toy with driver and rear rider figures, set on four wheels with rubber tires
7.25” H x 12.375” W x 3.75” D
$300-500
Granville Redmond (1871-1935)
Granville Redmond was an American painter celebrated March 9, 1871, in Philadelphia, Pennsylvania, Redmond’s contracting scarlet fever. Most likely, this change prompted couple of years later, on January 2, 1879, Granville Redmond discovered his artistic talent under the guidance of Theophilus lessons, recognized Redmond’s potential, and encouraged the Deaf and Blind. In 1893, Redmond enrolled at the Mathews and Amedee Joullin. He later continued his studies European Impressionism.
Upon returning to California, Redmond established himself colors and unique light of the California landscape, earning Times, even wrote in 1931 that Redmond was “unrivaled combined with his deep connection to nature, set him subjects was the California poppy, which he portrayed the rolling meadows of the San Gabriel Valley, often accompanied highlights.” His depictions of poppy fields in bloom became
Although Redmond’s poppies were widely popular, he became a companion to him, offering him a sanctuary Throughout his career, Redmond’s paintings often depicted nature. His depictions of rolling hills, expansive fields, and landscape. Through his art, Redmond invited observers and beauty in the quiet corners of the world. For Redmond, communion with the essence of nature and connection
Apart from his artistic pursuits, Redmond was also an accomplished Chaplin admired the “natural expressiveness of a deaf develop certain techniques that Chaplin would later use supported Redmond’s painting career by offering him Redmond paint. Chaplin also collected Redmond’s paintings, film, “City Lights.” Redmond’s expressive performances silent films. Beyond their professional collaboration, Redmond
Throughout his career, Redmond’s work was exhibited Design and the California Palace of the Legion of Honor. emotional resonance. Granville Redmond passed away enthusiasts alike. To quote Charlie Chaplin about the true the riot of color in those flowers,” he continued, “...Sometimes capacity for happiness in which we others are lacking.”
celebrated for his breathtaking landscapes and thoughtful depictions of California rural scenes. Born on Redmond’s early life was marked by adversity when, at the age of two, he lost his hearing and speech after prompted Redmond’s family to move from Pennsylvania to San Jose, California in 1974, where just a Redmond would start receiving his education at the Berkeley School for the Deaf and Blind. Here, he Theophilus Hope d’Estrella, his first art teacher who gave him continuous drawing and pantomime encouraged him to pursue art professionally. In 1890, Redmond graduated from the Berkley School for California School of Design in San Francisco, where he studied under notable artists such as Arthur studies at the Académie Julian in Paris, where he honed his skills and absorbed the influences of
himself as a leading figure in the state’s burgeoning art scene. His works often captured the vibrant earning him critical acclaim and commercial success. Arthur Miller, an art critic for the Los Angeles “unrivaled in the realistic depictions of California’s landscape.” Redmond’s mastery of color and form, apart as a luminary of the California Impressionist movement. One of Redmond’s most iconic in countless paintings with sensitivity and reverence. Redmond’s poppies “accented his renditions of accompanied by purple lupines. Sometimes they complemented a coastal scene with bursts of yellow became emblematic of California’s natural beauty and garnered widespread admiration.
he preferred to paint scenes of solitude, because it permeated both his life and his art. Solitude where he could immerse himself fully in his artistic pursuits and commune with the natural world. depicted tranquil landscapes devoid of human presence, emphasizing the serene beauty of untouched and secluded valleys conveyed a sense of peaceful seclusion, such as the present Monterey observers to join him in moments of contemplation and introspection, encouraging them to find solace Redmond, the idea of solitude was not merely the absence of human presence in his art, but rather a connection to something greater than oneself.
accomplished actor and had a strong working relationship and friendship with Charlie Chaplin. person using American Sign Language,” which led Chaplin to ask Redmond to collaborate and use in his silent films. Charlie Chaplin was thoroughly impressed by Redmond’s skills, and he an empty studio on the movie lot, where Chaplin would visit during his breaks and quietly watch paintings, and sponsored him in silent acting roles, including the role as the sculptor in the 1931 silent performances and ability to convey emotion through gesture and expression made him a natural fit for Chaplin’s Redmond and Chaplin shared respect and admiration for each other’s talent and work.
in prestigious galleries and museums across the United States, including the National Academy of Honor. His legacy continues to endure, with his paintings celebrated for their timeless beauty and away on May 24, 1935, leaving behind a rich artistic legacy that inspires generations of artists and true essence of Granville Redmond and his work, Chaplin states, “Look at the gladness in that sky, “...Sometimes I think that the silence in which he lives has developed in him some sense, some great lacking.”
1151
Granville Redmond (1871-1935)
Along the Path (Near Monterey), 1908
Oil on canvas
Signed and dated lower left: Granville Redmond 1908 28” H x 44” W
$15,000-20,000
1152
Sydney Janis Yard (1855-1909)
California landscape with oaks
Watercolor on paper
Signed lower left: Sydney J. Yard.; inscribed in pencil on the frame’s backing board, possibly in another hand: “No 576 / Marin Co Hills” 7” H x 9.5” W
$500-700
Provenance:
Kerwin Galleries, Burlingame, CA
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1153
James Elwood Webb (1884-1940)
Tree in Landscape, 1934
Oil on canvas laid to board
Signed and dated lower right: James Webb ‘34
15.5” H x 20” W
$600-800
1154
Frank Montague Moore (1877-1967)
Oak tree in a California Landscape Oil on Masonite
Signed lower left: F.M. Moore
25.75” H x 20.25” W
$800-1,200
1155
Mary DeNeale Morgan (1868-1948)
“The Old Stockley Adobe, Monterey, California” Watercolor and graphite on paper
Signed in pencil lower left: M. DeNeale Morgan; titled in ink, in another hand, on the frame’s backing paper
Sight: 6.75” H x 8.5” W
$500-700
Provenance:
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1156
Xavier Martinez (1869-1943)
Mission with figures
Oil on canvas laid to board
With the artist’s red circular monogram by hand, lower right: XM; inscribed in ink, possibly in another hand: “Artist / Xavier Martinez / Bohemian Club / Port + Taylor / San Francisco / Calif.”
8.375” H x 10.5” W
$2,000-3,000
Notes:
A partial Bohemian Club label with the artist’s name written in ink, possibly in another hand, affixed to the verso of the frame.
1157
Signed lower right: Woodman; signed again and titled on the canvas overlap, verso 18” H x 24” W
$700-900
Patrick Woodman (b. 1948)
“Mt. Diablo” Oil on canvas
1159
Carl Sammons (1883-1968)
1158
Carl Sammons (1883-1968)
“Tioga Lake, High Sierra” Oil on canvasboard
Signed lower right: Carl Sammons; titled in pencil, verso; signed and titled again, possibly in another hand, on a previous frame’s backing paper, cut out and affixed to the frame’s backing board 12” H x 16” W
$1,000-1,500
“June Lake, High Sierra” Oil on canvasboard
Signed lower right: C. Sammons; titled on the frame’s backing board 6.25” H x 8.125” W
$700-900
1160
Carl Sammons (1883-1968)
Mountain landscape
Pastel on artist board laid to board
Signed lower right: C. Sammons
Sight: 10.625” H x 27” W; Board: 11.125” H x 28” W
$1,500-2,000
Provenance: J. Franklin Fine Art, Camano Island, WA
Exhibited: Los Olivos, CA, Wildling Art Museum, “Members Collect III,” January 16-March 30, 2008
1161
Jules Dahlager (1884-1952)
Alaskan landscape, 1926
Oil on board
Signed and dated lower right: Jules / 1926
Sight: 9.75” H x 7.75” W
$500-700
Provenance: Private collection, acquired in Cordova, Alaska, January 17, 2012
1162
A Chelsea “Commander” maritime clock
Early 20th century
Dial marked: George E. Butler / San Francisco / Chelsea; stamped to wood underside: 134423; further marked with applied maintenance sticker
The single-movement ship’s clock with silver-toned brass glazed dial bearing applied Arabic numerals, housed in a red brass case
9.25” H x 10.125” W x 3.75” D
$800-1,200
1163
An Erhard & Sohne smoking set
Early 20th century
Each unmarked
The Jugendstil brass and wood veneer inlay set with foliate motifs, comprising a cigarette cup, a match holder, and an ash receptacle depicting musician figures in procession, set on a tray with opposed handles, 4 pieces
Largest receptacle: 8” H x 9” W x 6.5” D; Tray: 1” H x 12.875” W x 11.375” D
$400-600
1164
An Art Nouveau marquetry tray-top tea table
Early 20th century
Stenciled to underside: 119 3
The detachable shaped square tray top featuring marquetry inlaid radiating dandelion leaves and flowerhead motifs, with opposed open heart-shaped bronze handles, over a storage area raised on four legs joined by an undershelf
Overall: 32” H x 22” W x 22” D
$500-800
1165
A pair of Jugendstil relief plaques
Late 19th/early 20th century; Germany
Each marked: Musterschutz; further marked: 7196 / 7197
Possibly designed by Wilhelm Elster Jr. (1869-1916), each cast metal figural plaque with cold painted highlights and depicting the arts of music and painting, 2 pieces
Each: 28.25” H x 12.75” W x 0.5” D
$800-1,200
1166
A pair of WMF Jugendstil pewter vases
Early 20th century
Each marked for WMF
The vases with open bottoms and opposed handles, each featuring opposed maiden figures in high relief surrounded by flowers, 2 pieces
Each: 14.5” H x 7.75” W x 6.25” D
$800-1,200
1167
A Quezal glass mushroom table lamp
Early 20th century
Marked to shade rim interior: Quezal
The green iridescent glass pulled feather shade with white interior, set on an Art Nouveau patinated metal base with foliate motifs, electrified
Overall: 19.75” H x 13.25” Dia.
$2,000-3,000
1168
An iridescent gold art glass table lamp
Early 20th Century
Appears unmarked
The likely Steuben gold Aurene glass vase-form issuing two lights and raised on a carved wooden base, with a metal overlaid mica shade 25.75” H x 11.5” Dia.
$300-500
1169
A Buffalo Studios twelve-light lily table lamp
Late 20th century
Impressed to underside: Buffalo Studios / Pasadena CA; further impressed: 247, shaded unsigned
The patinated bronze Tiffany-style lamp with lily pad base issuing twelve curved stems, each ending in floriform iridescent glass shades, electrified
20.5” H x 16” W x 15” D
$1,500-2,500
1170
A Handel harp floor lamp Early 20th century; Meriden, Connecticut Shade signed: Handel 7176 / RG [possibly Designed 1924, the single-light patinated “chipped” glass shade depicting reverse-painted 56.75” H x 14” W x 10” D
$800-1,200
Literature: cf. Hibel, Carole Goldman; John Hibel; John Fontaine Publishers, 1999), pg. 235
Connecticut [possibly Robert Godwin] patinated metal lamp, featuring an articulated acid-etched reverse-painted roses on a yellow ground, electrified
John Fontaine, “The Handel Lamps Book,” (Pittsfield:
1171
A Handel maple leaf table lamp
Early 20th century; Meriden, Connecticut Shade impressed: Handel Lamps Pat’d No. 979664; shade signed: HANDEL 6428 1/2; base stamped: HANDEL Designed circa 1917, the domed “Teroma” glass shade with a lower border of vines and maple leaves, raised on a three-light patinated metal biomorphic base, electrified Overall: 24” H x 18” W; Shade height: 8” H
$1,500-2,500
Literature: The shade is represented: Hibel, Carole Goldman; John Hibel; John Fontaine, “The Handel Lamps Book,” (Pittsfield: Fontaine Publishers, 1999), pg. 96
1172
A Handel patinated metal bamboo lamp base with later shade
The base early 20th century; Meriden, Connecticut
Base with cloth tag to underside: Handel Lamps; shade unmarked
Base designed 1921, the three-light patinated metal lamp with bamboo-form standard, with associated glass shade reverse-painted with parrots in a forest, with an associated composition parrot finial, electrified
Overall: 27” H x 17.75” Dia.; Shade height: 7.75” H
$500-700
1173
A Handel palm tree sunset desk lamp
Early 20th century; Meriden, Connecticut
Marked to shade: HANDEL
The single-light Art Nouveau lamp with patinated bronze tripod base ornamented with ram’s heads and garland motifs, below an articulated cantilevered arm issuing a slag glass shade with patinated metal overlay depicting palm trees, electrified
Overall: 17.75” H x 13” W x 7.75” D, dimensions variable
$600-800
1174
Charles D. Robinson (1847-1933)
“Yosemite Valley, from Artist’s Point,” 1886
Oil on canvas laid to waxed canvas
Signed and dated lower right: C.D. Robinson 1886, titled on the frame plaque 20” H x 32” W
$800-1,200
Provenance:
Sold: Sotheby Parke Bernet, Los Angeles, CA, “Fine 19th & 20th Century Paintings,” June 28-29, 1982, Lot 339
Notes:
This lot is accompanied by the original sales invoice from the above-mentioned auction.
1175
Heinie Hartwig (b. 1937)
“A View of Bridal Veil Falls” Oil on Masonite
With the incised signature lower right: Heinie Hartwig; titled verso 18” H x 24” W
$1,500-2,000
1176
Late 19th century American School
Mt. Shasta landscape
Oil on canvas laid to canvas
Signed lower right: Weber 22” H x 36” W
$600-800
1177
Peter Winthrop Sheffers (1893-1949)
“Castle Crags” (near Dunsmuir, California) Oil on canvas
Signed lower right: Sheffers; titled on a label affixed to the stretcher bar 25” H x 30” W
$1,000-1,500
1178
William Posey Silva (1859-1948)
“Middle West” Oil on canvas
Unsigned; titled and inscribed “M-W-9-A / 1263” verso; titled “Lake in the Midwest” and numbered again on the estate label signed by the artist’s son, Abbott Silva, affixed to a previous frame’s backing board
6” H x 8” W
$600-800
1179
Randall Vernon Davey (1887-1964)
Signed lower left: Randall Davey 18” H x 20” W
$800-1,200
Birch trees in winter Oil on Masonite
1180
Young Sun Park (1910-1994)
Winter Landscape Oil on canvas
Signed lower right: Y.S. Park; signed again and inscribed in Korean characters, verso 13” H x 18” W
$1,500-2,000
1181
William Adam (1846-1931)
“Path in the Pacific Grove,” circa 1920 Oil on canvas laid to artist’s board
Signed lower left: Wm. Adam; titled and dated on a gallery label affixed to the frame’s backing board
12” H x 13.875” W
$600-800
1182
Frank Montague Moore (1877-1967)
Blooming wildflowers in a coastal scene Oil on Masonite
Signed lower right: F.M. Moore; numbered “5815,” possibly in another hand, verso 23.5” H x 30” W
$1,000-1,500
1183
William Posey Silva (1859-1948)
California coastal Oil on canvas laid to board
Signed lower left: William Silva
9” H x 12” W
$700-1,000
Provenance:
Hauk Fine Arts Gallery on the Alley, Pacific Grove, CA
Purnell Gallery, Baltimore, MD
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1184
Jessie Arms Botke (1883-1971)
California coastal Watercolor on paper tipped to a board mount, as issued
Signed in pencil on the board mount, at right: Jessie Arms Botke
5” H x 6.75” W
$400-600
Provenance:
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1185
Hernando Villa (1881-1952)
Coastal scene with trees, 1943
Oil on canvas
Signed and dated lower right: Hernando Villa 43 22.5” H x 18.5” W
$1,000-1,500
1186
Carl Sammons (1883-1968)
“Carmel by the Sea” Oil on canvasboard
Signed lower right: Carl Sammons; titled in pencil, verso 12” H x 16” W
$1,500-2,000
1187
Carl Sammons (1883-1968)
Oil on canvasboard
Signed lower right: Carl Sammons; titled and inscribed in ink, verso: “Santa Barbara, CA” 11.875” H x 16” W
$1,200-1,800
“Bird Refuge”
1188
Carl Sammons (1883-1968)
“Carmel by the Sea” Oil on canvasboard
Signed lower right: Carl Sammons; titled in pencil, verso 12” H x 16” W
$1,000-1,500
Provenance: Artist’s Palette and Gallery, Carmel, CA
1189
Alfred Wands (1904-1998)
“Point Lobos” Oil on canvasboard
Signed lower right: Alfred Wands; titled by repute
20” H x 24” W
$500-700
1190
Jules François Pages (1833-1910)
Beach along a seashore Oil on canvas
Signed lower right: Jules F. Pages
14” H x 24” W
$1,500-2,000
1191
Signed lower right: Alfred R. Mitchell
24” H x 30” W
$5,000-7,000
Alfred R. Mitchell (1888-1972)
Laguna sunset Oil on canvas
1192
Alexander Dzigurski (1911-1995)
“Capri, Italy,” 1950
Oil on canvas
Signed, titled, and dated lower right: A. Dzigurski 1950 36” H x 50.25” W
$5,000-7,000
1193
Alexander Dzigurski (1911-1995)
Signed lower right: A. Dzigurski; titled by repute 24” H x 36” W
$1,000-1,500
“Big Sur Sunset” Oil on canvas
1194
Alexander Dzigurski (1911-1995)
Rough seas and clouds
Oil on canvas laid to canvas
Signed lower right: A. Dzigurski
24.25” H x 30.25” W
$1,000-1,500
1195
Robert Wood (1889-1979)
“March Wind,” 1953 Oil on canvas
Signed and dated lower right: Robert Wood / 53; titled and with the artist’s copyright black ink stamp, verso 24” H x 36” W
$1,500-2,000
Provenance:
Private Collection, Davis, CA
Sold: John Moran Auctioneers, Pasadena, CA, “American and Western,” October 21, 2014, Lot 75
1196
Alfred Richard Mitchell (1888-1972)
“The Spunky at Rock Hall, Maryland” Oil on board
Signed lower left: Alfred R. Mitchell; titled in pencil, verso 16” H x 20” W
$2,000-3,000
Provenance: Walter Robinson
Sold: Butterfield & Butterfield, San Francisco and Los Angeles, CA, “Selected California Paintings,” October 12, 1989, Sale 2124P, Lot 3353
Notes:
The pencil inscription on the verso, reads, “To Mariana - from Fred and Dorothea / with love and best wishes.” “Fred and Dorothea” in the inscription, verso, refers to the artist and his wife, Dorothea Webster Mitchell (1894-1985).
1197
Antonio Pietro Martino (1922-1988)
“After the storm, Percé, Canada” Oil on canvas
Signed lower right: Antonio P. Martino; signed again, titled, and inscribed with the artist’s address in ink on the upper portion of the stretcher 15” H x 30” W
$800-1,200
1198
Anna Katharine Skeele (1896-1963)
Portrait of a young sailor Oil on canvasboard
Signed lower right: A.K. Skeele
20” H x 15.5” W
$1,000-2,000
1199
Crayon and charcoal on tan paper
Signed and dated lower right: Hernando G. Villa / 9/1/12
25” H x 17” W
$700-900
Hernando Gonzallo Villa (1881-1952)
Sailor with pipe, 1912
Hernando Gonzallo Villa (1881-1952)
Harbor scene with figures and dog, 1928
Colored pencil, pastel, and gouache on paper
Signed and dated lower left: Hernando G. Villa / 9-28
Sight: 12” H x 19.5” W
$600-800
1201
Cornelis Botke (1887-1954)
“Topa Topa Mountain” (Ojai), 1927 Oil on canvas laid to board
Signed and initialed lower right: C. Botke / C.B.; titled in ink, in another hand, verso: titled again and dated from a gallery label affixed verso
6.5” H x 8” W
$800-1,200
Provenance:
Trotter Galleries, Carmel, CA
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1202
Joseph Greenbaum (1864-1940)
California vista
Oil on canvas laid to board
Signed lower right: Joseph Greenbaum
8” H x 10.5” W
$700-900
Provenance:
Private Collection, acquired in 1971
Del Mar Galleries, Aptos, CA
Guchemand Collection, Baltimore, MD, from the above
Private Collection, acquired from the above by descent
1203
Hans Kegler (20th century)
Hillside and clouds
Oil on canvas laid to panel
Signed lower right: H. Kegler
9” H x 12” W
$200-400
1204
Oliver Milburn (1883-1932)
“Lilies + Reflections,” circa 1932 Oil on canvas
Signed lower right: Oliver Milburn; signed again and titled verso 25” H x 30” W
$1,200-1,800
Provenance:
Sold: Dallas Auction Gallery, Dallas, TX, “Fine & Decorative Art Auction,” July, 28, 2021, Lot 116
Exhibited:
Los Angeles, CA, Los Angeles Museum, Exposition Park, “13th Annual Painting and Sculpture Exhibit,” 1932
1205
Charles Arthur Fries (1854-1940)
Stream pool Oil on canvas
Signed lower right: C.A. Fries 9.125” H x 11.125” W
$1,000-1,500
1206
Signed lower right: Woodman; titled from a gallery label affixed to the frame’s backing board
12” H x 16” W
$700-900
Patrick Woodman (b. 1948)
“Eucalyptus Trees” Oil on canvas
1207
Emil J. Kosa Jr. (1903-1968)
“Hills of Malibu,” 1938 Oil on canvas laid to waxed canvas
Signed lower left: Emil J Kosa Jr.; signed again, titled, and dated in ink on the upper portion of the stretcher: 1938 24” H x 34” W
$2,000-3,000
Provenance:
Sold: Butterfield & Butterfield, San Francisco and Los Angeles, CA, June 15, 1989, Lot 3871
1208
Paul Lauritz (1889-1975)
Barn in a farm landscape Oil on canvasboard
Signed lower left: Paul Lauritz 20” H x 25” W
$1,000-2,000
1209
Cornelis Botke (1887-1954)
Cypress
Pencil on tan paper
Signed lower right: Cornelis Botke
Sight: 16.25” H x 23.25” W
$500-700
Provenance:
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
Notes:
An old photograph of this tree, or a very similar one, is affixed to the frame’s backing paper.
1210
Paul Conner (1881-1968)
“Mission San Juan Capistrano” Oil on canvasboard
Signed lower left: Paul Conner; titled in ink on a label affixed verso 12” H x 15.25” W
$800-1,200
1211
Elsie Palmer Payne (1884-1971)
Brittany market scene
Gouache on paper
Signed lower right: Elsie Palmer Payne
Image/Sheet: 11.625” H x 13.875” W
$1,000-1,500
Gouache and watercolor on paper
Signed lower right: F. Hopkinson Smith
Sight: 28” H x 19” W
$1,000-1,500
Provenance: Sold: Bonhams, Los Angeles, CA, “California Art,” April 12, 2022, Lot 54
Francis Hopkinson Smith (1838-1915)
Chartres Cathedral from across the L’Eure River
1213
Signed lower right: Carl Sammons 24” H x 30.125” W
$2,000-3,000
Carl Sammons (1883-1968)
Desert Landscape Oil on canvas
1214
Paul Grimm (1891-1974)
“Desert Dunes” Oil on canvasboard
Signed lower right: Paul Grimm; titled in pencil, verso 12” H x 16” W
$1,000-1,500
1215
Sam Hyde Harris (1889-1977)
“Winter Splendor” Oil on canvasboard
Signed lower left: Sam Hyde Harris; with the artist’s estate ink stamp, and titled (twice), all verso
12” H x 16” W
$800-1,200
Provenance:
Estate of the artist
Marion Dodge Harris, acquired from the above
Private Collection, acquired from the above, July 11, 1981
Trotter Galleries, Pacific Grove, CA
The Ackley Galleries, Palm Springs, CA, acquired from the above Stewart Galleries, Palm Springs, CA
Verrier’s Antiques & Art Depot, Aptos, CA, acquired from the above Ron Carr, La Selva Beach, CA, acquired from the above
Guchemand Collection, Baltimore, MD, acquired from the above Private Collection, acquired from the above by descent
1216
Ada Belle Champlin (1875-1950)
Desert landscape Oil on Masonite
Signed lower left: Ada Belle Champlin 20” H x 24” W
$700-900
Provenance:
Estate of Edan Hughes, San Francisco, CA
Sold: Clars Auction Gallery, Oakland, CA, October 14, 2017, Lot 650
1217
Joseph Sacks (1887-1973)
“The Lumber Shed” Oil on canvas
Signed lower left: Joseph Sacks; with the artist’s estate stamp and registration number “CF1” in black ink, twice, on the verso and the stretcher bar; titled by repute 26” H x 30” W
$1,500-2,000
Provenance: Estate of the artist Janet Fleisher Gallery, Philadelphia, PA
1218
Emil J. Kosa Jr. (1903-1968)
Ranch scene with cows, 1932
Watercolor and graphite on paper
Signed and dated lower left: E.J. Kosa Jr. / 1932
Image/Sheet: 14.125” H x 21.25” W
$1,000-1,500
1219
Ralph Hulett (1915-1974)
Signed lower right: Ralph Hulett; titled and inscribed “#779” verso 20” H x 30” W
$1,000-2,000
“Bunker Hill Castle” Oil on canvas
1220
Donna Schuster (1883-1953)
“Village on a Hill” Oil on canvas laid to canvas
Signed lower right: Donna Schuster; titled by repute 21” H x 27” W
$1,000-2,000
Provenance:
Sold: Butterfield & Butterfield, San Francisco and Lost Angeles, CA, February 7, 1990, Lot 1121
1221
Raymond Boynton (1883-1951)
“Grass Valley,” 1945 Oil on board
Signed and dated lower left: Ray Boynton 1945; titled in ink, verso 20” H x 16” W
$700-900
1222
Mabel Alvarez (1891-1985)
Figures sitting on steps Oil on canvas
Signed lower left: Alvarez 10” H x 8” W
$1,000-1,500
1223
John Hubbard Rich (1876-1954)
Portrait of a girl with vase Oil on canvas laid to board
Signed upper right: John Hubbard Rich 13.125” H x 11” W
$300-500
1224
Constantine Cherkas (1919-2011)
Men carrying a log Oil on canvas
Signed lower left: Constantine 20” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
1225
Ralph Hulett (1915-1974)
Coastal scene Oil on canvas
Signed lower right: Ralph Hulett 24” H x 48” W
$2,000-3,000
Hulett
1226
Ray Swanson (1937-2004)
“Hong Kong Fisherman,” 1992 Watercolor on illustration board
Environmentalist and entrepreneur Rhoda May Founding Mother of Malibu,” formed the Marblehead the Malibu Movie Colony, where she built homes prospecting for oil, Rindge discovered the red clays teamed up with master ceramicist Rufus Keeler Although the factory burned down in 1931 and Potteries’ lasting footprint as an iconic regional
Described as “Hispano-Moresque,” the company patterns. Their tiles can be found adorning such Angeles City Hall, and the Mayan Theater. Perhaps showcased in the Peacock and Neptune Fountains
After the fire destroyed the factory, all unscathed acquired by the Franciscan Friars, who named it and the friars used some of the tiles for restoration. to private collectors. By repute, the tiles on offer
Potteries tiles
Knight Rindge (1864-1941), also known as the “Queen of Malibu” or “The Marblehead Land Company in 1921. She was the first to develop the area, founding homes for movies stars such as Big Crosby and Mary Pickford. While unsuccessfully clays that lined the rolling hillsides were desirable for ceramics. So, in 1926, she
Keeler (1885-1934) to found Malibu Potteries, the first business on the Malibu coast. and the company folded the following year, those six short years cemented Malibu design aesthetic that is highly sought after and widely copied to this day.
company took inspiration from Egyptian, Mayan, and Arabesque imagery and geometric such LA landmarks as the Adamson House in Malibu, the Roosevelt Hotel, Los Perhaps the most recognizable and vibrant examples of their signature style are Fountains at the Adamson House.
unscathed stock was moved to Rindge’s nearby home. Upon her passing, the home was it the Serra Retreat. The retreat was damaged in the 1970 Malibu Canyon wildfire, restoration. But the remaining tiles, which were thankfully spared from damage, were sold offer in this sale come from this original unsold vintage stock at the Serra Retreat.
Malibu
1228
A collection of Malibu Potteries tiles 1926-1931
Six incised to underside: DN4
The group of matching polychrome glazed ceramic tiles, each depicting a diamond motif in blue, rust red, and brown on a light green ground, 21 pieces
Each: 5.75” 10” W x 1” D
$700-900
1229
A collection of Malibu Potteries tiles 1926-1931
Eight incised to underside: DN5
The group of matching polychrome glazed ceramic tiles, each depicting a floral motif in blue, green, and orange on an ochre ground, 31 pieces
Each: 6.875” H x 4” W x 1” D
$600-800
1230
A collection of Malibu Potteries tiles
1926-1931
One crate marked: American Encaustic Tiling Co. Ltd. / West Coast Plant / Los Angeles, Calif.; two tiles incised: AN15; another tile incised: N22
The glazed ceramic tiles, comprising 3 tiles leftover from the design of the Mayan Theater in Los Angeles, 6 polychrome glazed tiles, 7 terracotta tiles with blue glaze medallions, and 4 pillow glazed tiles, all housed in 2 wood crates from American Encaustic Co., 22 pieces
Each crate: 7.25” H x 28.5” W x 16” D approx.; Largest tile: 9.75” H x 9.75” W x 1” D; Smallest tile: 1.875” H x 1.875” W x 0.625” D
$400-600
1231
A collection of Malibu Potteries tiles 1926-1931
Two stamped to underside: Malibu; seventeen incised to underside: DM2; crate marked: Malibu Potteries / Owned and Operated by Marblehead Land Co. / [illegible]
The group of matching polychrome glazed ceramic tiles, each depicting a floral medallion centering two floral expressions in green, red, tan, and ochre on a brown ground with blue border, housed in a wood crate from Malibu Potteries, 22 pieces
Each tile: 7” H x 12.75” W x 1.125” D; Crate: 9.5” H x 20” W x 16” D
$800-1,200
1232
A Rookwood Pottery vase by Harriet Elizabeth Wilcox 1918
Marked for Rookwood; further marked: XVII / 938C / P; signed: HEW [Harriet Elizabeth Wilcox (1869-1943)]
The ceramic vase with green and white glazed lily pad motifs on a blue ground
8.375” H x 5.25” Dia.
$400-600
1233
A George S. Hunt paneled wood screen
Early/mid-20th century; Pasadena, CA
Each panel with metal tag to underside: Geo. S. Hunt / Hand Made Furniture / Pasadena California
The four-panel screen, each with iron hinges and aluminum feet
Each panel: 72.25” H x 20” W x 1.25” D; Stored: 4.875” D
$500-800
1234
A Spanish Revival oak and tile dining set Circa 1920s
Each featuring inset vibrantly glazed ceramic tiles, comprising a trestle table (30” H x 84.25” W x 36” D) with two extension leaves (Each: 18” L), six side chairs with associated cotton upholstered seat cushions (Each: 38.25” H x 21.25” W x 21” D), and a small trestle server with quatrefoil wrought iron and arched support/stretcher (34” H x 44.25” W x 16.5” D), 10 pieces
$3,000-5,000
1235
A Spanish Colonial redwood hutch Late 19th century; California
The carved wood hutch upper console with two shelves and scalloped trimming, the lower console featuring double retablo inset doors centering carved grape motifs in relief, revealing two inner shelves, with wrought iron hinges, escutcheon, and latch locks
Overall: 99” H x 60” W x 20.5” D
$2,000-4,000
1236
A Conley Safety folding bed revolving back camera
1907
Marked: Conley; further marked to brass lens case: Conley Safety
The 120mm film camera with hinged door revealing the wood and brass apparatus, with leather bellows, housed in a leather-wrapped wood handled case
Stored: 9.25” H x 9” W x 4” D; Open: 13” D
$400-600
1237
Palace of Fine Arts, Panama-Pacific International Exposition, San Francisco, CA, circa 1915
Photogravure on paper
Unsigned; numbered in the image at the lower left corner: 433
Image: 7.5” H x 8.75” W; Sheet: 8” H x 9.25” W
$200-400
Provenance:
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
Signed and inscribed in pencil in the lower margin: George Elbert Burr / “Del. et Imp.”; titled, dated, numbered, and inscribed in ink on a label affixed on the frame’s backing paper, in another hand: “[No. 7] 1918 Christmas Card” Plate: 2.5” H x 2.875” W; Sight: 4.5” H x 4.75” W
$600-800
Provenance:
Stephen V. O’Meara, Inc., 19th & 20th Century American Art, Scottsdale, Arizona, “Study of Pines”
Sold: Butterfield & Butterfield, Los Angeles, CA, February 1992
Private Collection, acquired from the above by the present owner
Literature: Seeber 21
Notes:
In Burr’s artistic practice, “Del. et Imp.” indicates that an etching was both drawn onto the plate and printed directly by the artist.
1242
George Elbert Burr (1859-1939)
Two works:
“In Estes Park, Colo.,” 1929 Etching on wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: George Elbert Burr Plate: 9.875” H x 7.75” W; Sight: 11.375” H x 9” W
Sold: Butterfield & Butterfield, Los Angeles, CA, February 1992
Acquired by the present owner from the above
Literature: Seeber 232 and 296
1243
Julian Walbridge Rix (1850-1903)
“Trinity Peaks”
Etching on cream-colored paper
From the edition of unknown size
Signed in the plate at lower left: Julian Rix
Plate: 7.875” H x 12.125” W; Sight: 8.5” H x 12.75” W
$400-600
Provenance:
Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
1244
Birger Sandzen (1871-1954)
“Blue Valley Farm,” 1929
Linocut on paper
From the edition of 100
Signed and titled in pencil in the lower margin: Birger Sandzen, initialed in the plate “B S-n” lower right
Image: 9” H x 11.875” W; Sight: 9.5” H x 12.25” W
$500-700
1245
Edward Biberman 1904-1986
“Pieta”
Lithograph on paper Edition: 25/30
Signed, titled, and numbered in pencil in the lower margin: Edward Biberman; Lynton Richards Kistler, Los Angeles, CA, prntr., and with their pencil chopmark in the lower margin, at left Image: 11.875” H x 8.5” W; Sight: 12.25” H x 8.875” W
$300-500
Provenance: Tobey B. Moss, Los Angeles, CA
William Merritt Chase (1849-1916)
“Court Jester”
Etching on wove paper
From the edition of unknown size
With the printed signature in the plate at lower left: W.M. Chase Image: 5.875” H x 3.5” W; Plate: 6.625” H x 4.5” W; Sight of sheet: 7” H x 5” W
$200-300
Provenance: Guchemand Collection, Baltimore, MD
Private Collection, acquired from the above by descent
Literature: Pisano 3
1247
Rockwell Kent (1882-1971)
“Newfoundland,” 1910
Pen and ink on paperboard
With the artist’s black ink estate stamp in the lower margin, at right; titled and dated from a label affixed to the frame’s backing board.
Image: 7.875” H x 5.625” W; Paperboard: 12125” H x 9.125” W
$300-500
Provenance: Larcada Gallery, New York, NY
1248
A pair of patinated bronze crane garden ornaments 20th century
Each unmarked
Comprising two crane figures, one depicted stretching upwards, the other depicting preening its feathers, 2 pieces
Taller: 49.5” H x 14” W x 10.5” D; Shorter: 36.5” H x 12” W x 12” D
$400-600
1250
Two African carved wood stools 19th/20th century
The round stools, each with incised details, comprising one stool with four bent legs above a round base and another with ten tapered legs, 2 pieces
Larger: 10.5” H x 15” W x 13.5” D; Smaller: 7” H x 11.25” Dia.
$300-500
1249
Two Papuan carved wood figures 19th/20th century; Papua New Guinea Comprising one polychrome carved wood figure with fibrous skirt and wrist adornments, and another figure depicted bearing his teeth, 2 pieces Taller: 31.25” H x 8.25” W x 8.75” D; Shorter: 27.5” H x 5.75” W x 6.25” D
$600-900
1251
Signed lower left: Chidlaw 20” H x 13” W
$800-1,200
Patricia Chidlaw (b. 1952)
M&M cafe Oil on canvas
1252
Martin Facey
(b. 1948)
“Horse,” 1982
Acrylic on paper
With the incised signature, title, and date at the lower edge: Facey 1/22 - 9/23/82
Image/Sheet: 28” H x 21.75” W
$500-700
Provenance:
Ivory/Kimpton Gallery, San Francisco, CA
Tortue Gallery, Santa Monica, CA
1253
Richard Lindner (1901-1978)
“Washington Holiday,” from “An American Portrait, Volume II: Not Songs of Loyalty Alone,” 1975
Lithograph in colors on Japan nacre paper
Edition XXVII/L (there were also 175 in Arabic numerals)
Signed and numbered in pencil in the lower margin: R Lindner; together with the Arches paper folder with printed text; Transworld Art, New York, pub., with their blindstamp in the lower left margin corner of the Japan nacre sheet
Image: 21.75” H x 16.5” W; Sheet: 25.5” H x 19.625” W
$400-600
1254
Jaime Makinde (b. 1959)
Untitled, 1999
Gouache and pastel on paper
Signed and dated lower right: J. Makinde / 1999
Sight: 19.375” H x 23” W
$400-600
1255
Pablo Picasso (1881-1973)
“Pour Roby,” from Robert J. Godet, “L’Age de Soleil,” 1950
Heliogravure on cream paper
Presumably from the total edition of at least 1114 With the signature and title printed in the plate; Robert J. Godet, Paris, author and publisher Plate: 9” H x 7” W; Sight: 13.5” H x 10.375” W
$500-700
Literature: cf. Bloch 680; cf. Cramer books 57
Notes:
There is an unsigned and undated, typed and embossed, information label / certificate of authenticity issued by the Societe de Verification de la Nouvelle Gravure Internationale of New York and Paris in conjunction with The Collector’s Guild Ltd., New York affixed to the frame’s backing paper.
Picasso originally drew this image in ink as a gift for his friend, the author Robert Godet, who was also known as Roby. He later tranferred the exact image, including the signature and dedication, most likely via a technique such as heliogravure, onto a metal plate so that Roby could include the image in his 1950 book, “L’Age de Soleil.” Mechanically transfered from the unique ink drawing to the printing plate, the image, signature, and dedication all print as mirror images of the initial drawing on paper. Furthermore, since Picasso eventually gave Roby the metal plate along with his permission to print further editions of it, it is impossible to say exactly how many impressions of this image have been printed and reprinted over the years. The original signed and dedicated ink drawing, initially from Robert J. Godet’s personal collection, was sold by Christie’s Paris on October 18, 2018.
1256
After Joan Miro (1893-1983)
Untitled for “John Miro und Katalonien,” 1970
Lithograph in colors on wove paper
Edition: Presumably from the later edition of 8,750 printed in a smaller scale than the original edition (all of which were larger scale and were hand-numbered and also either signed or initialled by hand)
The artist’s signature printed in the stone at lower right; Poligrafa, Barcelona, prntr.; L’Orangerie, Cologne, pub.
Sight:13” H x 20.625” W
$500-700
Literature:
cf. Mourlot 667; cf. Cramer books 131
Notes:
There is an unsigned and undated, typed and embossed, information label / certificate of authenticity issued by the Societe de Verification de la Nouvelle Gravure Internationale of New York and Paris in conjunction with The Collector’s Guild Ltd., New York affixed to the frame’s backing board. On this, the work is titled “Star Scene.”
1257
Henry Walter Klein (1919-1987)
A Modern sideboard for Bramin, mid-20th century; Denmark
With sticker applied verso: Bramin / Made in Denmark / Danish Furnituremakers Control; stamped to underside of top drawer: 4987
The rosewood sideboard with opposed sliding cabinet doors, each revealing a single adjustable shelf, centering four drawers, each with a recessed pull, raised on four attenuated legs
31.75” H x 89” W x 17.75” D
$1,500-2,500
1258
A Modern stone and metal coffee table
Late 20th/early 21st century
The oval stone top inlaid with Japanese style medallions, raised in a painted metal bamboo-form frame
Overall: 18.25” H x 54.5” W x 30.5” D
$700-900
1259
Elsa & Nordahl Solheim (1922-2012 and 1919-2014)
A “Pirate” lounge chair for Rybo Rykken & Co., mid-20th century; Norway
Unmarked
The chair with chromed metal cantilevered frame, canvas sling, and orange leather upholstered seat and seatback cushions
27.25” H x 24.75” W x 30” D
$300-500
Karen Moore (20th century)
Karen Moore began her artist practice, painting Barbara, CA. Later in life, in 1990s, she enrolled the arts and art history. The most significant academic Cezanne, Claude Monet, and John Constable. another California female artist that pulled inspiration
Karen Moore’s work has been exhibited in galleries Colorado. She is currently based in Southern California.
painting the valleys of Ojai and landscapes surrounding her as she grew up in Santa
enrolled in the California State Academy of Fine Arts, where she began her studies of academic year for her was spent abroad in Europe, studying masters such as Paul Back in the United States, she became fond of the works of Henrietta Berk, inspiration from her surrounding scenaries.
galleries throughout California, New Mexico, Arizona, Wyoming, Washington, and California.
1260
Karen Moore (20th century)
“Valley of Ochre (California Inland Escapes)” Oil on canvas
Unsigned; titled by repute
50.5” H x 50.5” W
$1,500-2,000
Provenance: The artist’s studio
Private collection, Los Angeles, CA, acquired from the above
1261
Sergei Bongart (1918-1985)
Desert landscape with figures, 1976 Oil on Masonite
Signed and dated upper left: Sergei Bongart 1976 26” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
1262
Sergei Bongart (1918-1985)
Landscape in blues
Watercolor on paper Appears unsigned Sight: 18.75” H x 20.25” W
$600-800
Provenance: The Estate of Sergei Bongart
1263
Sonia Gold
(b. 1959)
“Save Our Oceans IV”
Acrylic, including metallic gold, on canvas panel
Signed and titled, verso: Sonia Gold; initialed “S.L.” in the lower portion of the right edge, visible only under blacklight
24” H x 30” W
$800-1,200
1264
Karin Jurick (1961-2021)
“Truckin’ “ Oil on board
Signed lower left: K. Jurick; titled from a magazine article; with an alternative title “Lickety Split” from a gallery label affixed to the frame’s backing paper 8” H x 10” W
$700-900
Provenance: Morris & Whiteside Galleries, Hilton Head Island, SC
Sold: Charleston Art Auction, Charleston, SC, November 6, 2010, Lot 40
Notes:
This lot is accompanied by the October 2010 issue of Southwest Art Magazine, page 84.
1265
Patricia LeGrande (1941-2024)
Portrait of a woman
Oil on canvas
Signed lower left: P.D. LeGrande 36” H x 30” W
$500-700
Provenance: The Estate of Sergei Bongart
1266
Donald “Putt” Putman (1926-2007)
Lady in white
Acrylic on canvasboard
Signed lower left: Putt 18” H x 24” W
$400-600
Provenance: Estate of the artist
1267
Donald “Putt” Putman (1926-2007)
Blonde girl on a couch Oil on canvasboard
Signed lower right: Putt 20” H x 16” W
$300-500
Provenance: Estate of the artist
1269
Heinie Hartwig (b. 1937)
“Light and Shadow” Oil on Masonite
Signed lower right: Heinie Hartwig; titled verso 30” H x 24” W
Signed and dated lower left: Hernando G. Villa / 8-48
18” H x 13.5” W
$800-1,200
1272
Sergei Bongart (1918-1985)
Floral still life with fruit and paint brushes Oil on canvas
Signed and indistinctly inscribed lower right: Sergei Bongart; signed again (twice), on the stretcher bar, and on the canvas, both verso
36” H x 40” W
$600-800
Provenance: The Estate of Sergei Bongart
1273
Patricia LeGrande (1941-2024)
Still life with florals and apples Oil on canvas
Signed upper left: P.D. LeGrande 30” H x 40” W
$600-800
Provenance: The Estate of Sergei Bongart
1274
Paul Saltarelli (1955-2019)
“Oleanders (1888),” after Vincent Van Gogh, 1998
Miniature oil on board
With the artist’s signature, title, dates of the miniature and the original work, and inscribed in ink, all on the frame’s backing paper: Paul Saltarelli / 1888 / 1998/ “after Vincent Van Gogh” 2.375” H x 2.75” W
$200-300
1275
Paul Saltarelli (1955-2019)
“Irises (1889),” after Vincent Van Gogh, 1998 Miniature oil on board
With the artist’s signature, title, dates of the miniature and the original work, and inscribed in ink, all on the frame’s backing paper: Paul Saltarelli / 1998 / “after Vincent Van Gogh, 1889” 2.5” H x 3.25” W
$400-600
Notes:
Paul Saltarelli’s miniature reproduction pays homage to Vincent van Gogh’s iconic “Irises” (1889), a celebrated work housed at the J. Paul Getty Museum in Los Angeles, CA. Van Gogh painted the original during his stay at the Saint-Paul-de-Mausole asylum in Saint-Rémy, France, capturing the flora of the hospital’s garden. The Getty Museum is currently showcasing, “UltraViolet: New Light on Van Gogh’s Irises,” an exhibition that delves through the perspective of modern conservation science and showcases “...how the artist’s understanding of light and color informed his painting practice, and how conservators and scientists working together can harness the power of light with analytical tools that uncover the artist’s materials and working methods, and how light has irrevocably changed some of the colors in ‘Irises.’” Furthermore, this exhibit offers fresh insights into Van Gogh’s creative process and the enduring allure of his botanical masterpiece.
1276
Paul Saltarelli (1955-2019)
“Self Portrait (1889),” after Vincent Van Gogh, 1998 Miniature oil on board
With the artist’s signature, title, dates of the miniature and the original work, and inscribed in ink, all on the frame’s backing paper: Paul Saltarelli / 1889 / “after Vincent Van Gogh - 1998”
2” H x 1.75” W
$400-600
1277
Paul Saltarelli (1955-2019)
“Moulin De La Galette (1888),” after Vincent Van Gogh, 1998 Miniature oil on board
With the artist’s signature, title, dates of the miniature and the original work, and inscribed in ink, all on the frame’s backing paper: Paul Saltarelli / 1888 / 1998/ “after Vincent Van Gogh” 2” H x 1.75” W
$200-300
Modern & Contemporary Fine Art
June 17, 2025
Magdalena Abakanowicz
“Atoris,” 2005
Price Realized: $82,550
Consignment and Auction Inquiries: fineart@johnmoran.com Consign Today
SINCE 1969
Condition Reports
1001
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 22.375” H x 25.375” W x 1” D
1002
Overall generally good condition. With wide margins. Toning throughout, and the platemark with slightly darker staining. A thin 2.5” band of residue, presumably on the verso, showing through on the recto sheet along the lower margin edge, at center. Not examined out of the frame.
Framed under glass: 13.75” H x 12.5” W x 0.75” D
1003
Overall generally good condition. With margins. A good impression with velvety burr. Pale foxing scattered throughout the plate and margins, however mostly prominent in the margin edges. Not examined out of the frame.
Framed under glass: 17.5” H x 15.5” W x 1.125” D
1004
Margins with deckled edges. Toning throughout. Overmat staining, attendant with the edges of the mat window. Pale foxing throughout the plate and margins, primarily concentrated in the upper left quadrant. An approximately pinhead-sized area of insect damage in the upper margin, right of center. The sheet is hinged to the back mat from the verso of the upper margin edge.
Framed under glass: 21.25” H x 23.25” W x 1.25” D
1005
Overall good condition. With margins. Very pale light-staining. A few, tiny, pale, unobtrusive foxmarks scattered in both the plate and margins. Presumably the work in this lot is hinged similarly to lot 1004, the sheet hinged to the back mat from the verso of the upper margin edge. Not examined out of the frame.
Framed under Plexiglas: 17.75” H x 19.25” W x 1.5” D
1006
Overall generally good condition. With margins. A veil of plate toning. Toning throughout. Not examined out of the frame.
Framed under Plexiglas: 12.25” H x 13.25” W x 1.125” D
1007
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 12.125” H x 13” W x 1.125” D
1008
Overall good condition. With margins. A rich impression with velvety burr. Not examined out of the frame.
Framed under glass: 10.375” H x 12.375” W x 1.125” D
1009
Overall generally good condition. With margins. Pale light-staining. Time staining along the margin edges. A very pale, unobtrusive, pinpoint-sized foxmark in the lower half of the plate. Not examined out of the frame.
Framed under Plexiglas: 14.875” H x 12.375” W x 1.125” D
1010
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 16” H x 18” W x 1.125” D
1011
Overall good condition. With margins. Pale lightstaining. Two pale, tiny flecks of foxing in the lower portion of the plate. Not examined out of the frame.
Framed under glass: 11.75” H x 11.75” W x 1.25” D
1012
Overall good condition. With margins. Very pale light-staining. Not examined out of the frame.
Framed under Plexiglas: 14.5” H x 16.5” W x 1.125” D
1013
Overall good condition. With margins. A pinpointsized foxmark on the lower edge of the platemark, at right, and a few other, very pale, unobtrusive specks of foxing scattered in the upper and lower margin edges. Not examined out of the frame.
Framed under glass: 22.375” H x 24.375” W x 1.25” D
1014
Overall good condition. With margins. A rich impression with velvety burr. Toning throughout. Not examined out of the frame.
1015
Overall good condition. With margins. A pale pinpoint-sized foxmark in the upper portion of the plate, and a few tiny foxmarks confined to the margins. Not examined out of the frame.
Framed under Plexiglas: 16.75” H x 18” W x 1.25” D
1016
Overall good condition. With margins. A rich impression with velvety burr. Not examined out of the frame.
Framed under glass: 11” H x 12.25” W x 1.125” D
1017
Overall good condition. With margins. Pale timestaining along the outer margin edges. Not examined out of the frame.
Framed under glass: 16.25” H x 17.25” W x 1.5” D
1018
Overall good condition. With margins. Very pale time staining along the margin edges. Not examined out of the frame.
Framed under glass: 9.75” H x 10.75” W x 1.25” D
1019
Overall generally good condition. Time staining along the extreme sheet edges. A 0.5” horizontal tear in the lower portion of the left edge, and with an attendant repair patch, verso. A few tiny, unobtrusive, pale foxmarks scattered primarily in the lower half. Occasional, minor handling marks scattered primarily in the outer edges, mostly visible in raking light. The sheet is hinged to the overmat with a long piece of hinging tape from the verso of the upper sheet edge.
Framed under Plexiglas: 15.625” H x 19” W x 1” D
1020
Overall good condition. The colors good. Not examined out of the frame.
Framed under glass: 10.875” H x 7.625” W x 1.25” D
1021
Toning throughout, and thin, scattered lines of staining primarily in the upper half of the sheet. Rice-sized (or smaller) areas of reverse staining scattered in the upper and lower edges and corners. A horizontal 5” tear along the center, two 2” tears along the female’s body, and other smaller tears near the center. A pea-sized area of insect damage near the upper left corner. Not examined out of the frame.
Framed under glass: 13.5” H x 11” W x 1.25” D 1022
Overall good condition with tarnishing and light scratches commensurate with age.
1023
Each overall good condition with varying degrees of shelf and handling wear commensurate with age. Some papers with creasing, folding, or soiling.
1024
Each book overall good condition with shelf wear commensurate with age. ‘Hundred’ with fading to clamshell box exterior. Older books with cracked hinges, some separating, one with spine cloth detaching, each with fading to boards, soiling, and marginalia, bookplates, and/or stamped ex-libris notes to first end papers. As well, with bumping to spine ends, corners, and edges and tanning to page edges. The etching, watercolor, photograph, and stereoptic card with pale light-staining. The framed postcard and ticket with very minor wear to the edges of the sheet, commensurate with age and use.
Each framed under glass: Smallest: 8.875” H x 7.25” W x 0.875” D; Largest: 9.25” H x 12.75” W x 1” D
1025
Each overall good condition with minor wear to edges and bumping tom corners. The newspaper cutout with losses at edged, unobtrusive to text or images.
1026
Each overall good condition commensurate with age. Some tickets with stubs removed. Older tickets with more wear, creasing, or soiling. Book lacking dust jacket and with fading to spine and bumping/ shelf wear to spine ends, edges, and corners.
1027
Each overall good condition with varying degrees of shelf and handling wear commensurate with age. the bag with tanning/yellowing and soiling to interior. Some papers with creasing, folding, or soiling.
1028
Each overall fair to good condition with typical signs of shelf wear, soiling, scuffing, scratches, and wear from handling commensurate with age. Issues include, but are not limited to: creasing/wrinkling with minor losses to cloth boards concentrated to spines and spine ends, sun fading and darkening/ soiling, scuffs/wear to pictorial pastedowns, some with loose hinge or minor cracked hinge, some with personalized marks to end papers or ex-libris page. The ‘New Wizard’ with crayon markings to front end papers.
1029
Each overall good condition with scattered scuffs, scratches, soiling, shelf wear, and bumping to corners and edges commensurate with age. Some with small chipped losses at edges and corners of boards and cloth spines. ‘Le Roi’ with bookplate to first fixed end paper. One copy of ‘Babar the King’ with crayon inscription to first free end paper verso. ‘PËre’ with inked inscription to first free end paper recto. The Methuen ‘Father Christmas’ with losses and a few tears to dust jacket throughout. Most with previous bookseller’s penciled notes to second free end paper at upper corner.
1030
Each overall good condition with shelf wear, bumping to spines, edges, and corners, scuffing and scratches to boards, and soiling commensurate with age. Each dust jacket with soiling and wear/creasing at spine ends and corners.
1031
Each overall good condition with shelf wear, fading to boards and jackets, and bumping to spines, corners, and edges. Coloring book with 3/4 separation to wrappers, the first page loose. ‘Camel’ with corner trimmed at half-title page. ‘Noom’ lacking original box. ‘Magical Wishes’ with tear and loss to one corner of original box top; other boxes with a few tears to tops. ‘Andy Stories’ with 2” long loss to dust jacket at upper right corner.
1032
Overall good condition with shelf wear and minor bumping at spine ends and corners commensurate with age. Box top with foxing and a 2” long area of one corner with tears and tape ghosts from attempted repair, two other corners torn.
1033
Each overall good condition with shelf wear, bumping to spine ends, edges, and corners, fading o boards and dust jackets, and minor soiling commensurate with age. One ‘Gallery’ lacking dust jacket, the other with losses and tears to jacket at edges, spine, and corners. ‘Very Young’ with bookplate to first fixed endpaper.
1034
Overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. Page edges with some cockling. Bookplate to first fixed endpaper. Jacket with some soiling from rubbed wear, the upper spine end with minimal but present losses.
1035
Overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. Page edges with some cockling. Jacket spine with tanning to upper half and a portion of lower spine end. Slight fading to jacket overall, with minor soiling at edges.
1036
Overall good condition with shelf wear and bumping to spine ends and corners commensurate with age. Foxing to page edges and throughout pages. Slight fading to spine. Front hinge with a 1” tear to bottom edge.
1037
Each overall good condition with shelf wear and minor bumping to corners and spine ends commensurate with age.
1038
Each overall good condition with shelf wear, scuffs and scratches to boards, fading to cloth, soiling, and bumping at spine ends, edges, and corners commensurate with age. A few with hinges starting or cracking. ‘David’ and ‘Mysterious’ with dust jackets present, one with tanning to spine and each with wear and creasing at edges and spine ends. ‘Jinglebob’ with lengthy inked inscription from previous owner at first free endpaper verso and half-title page, with subsequent offsetting to title page, publisher’s page, and dedication page. ‘Charlemagne’ with bookplate to first fixed endpaper. Box with a few tears.
1039
Each overall good condition with shelf wear, soiling to dust jackets, and general wear and bumping at spines, edges, and corners commensurate with age. ‘Black’ and ‘Red Riding Hood’ each lacking dust jackets. ‘Red Hen’ with loss to jacket at spine. A few with inked personalization to end papers.
1040
Each with shelf wear and bumping to corners, edges, and spines commensurate with age. Some with gift inscriptions. The ‘Santa’ Nast with moisture staining/ foxing to boards, bookplate to first fixed endpaper, and hinges cracking. The accordion fold with taped repairs. ‘Is There’ with soiling to exterior and moisture staining at edges.
1041
Each overall good condition with shelf wear, bumping to edges, corners, and spine ends, and fading/rubbed wear to boards commensurate with age. ‘Indian’ with bowing to boards, a gift inscription to first free end paper, and separation at upper hinge of half-title page. Most with gift inscription, previous owner’s bookplate, or otherwise personalization to end papers.
1042
Each overall fair to good condition with typical signs of shelf wear, soiling, scuffing, scratches, and wear from handling commensurate with age. Issues include, but are not limited to: varying degrees of bumping to corners and spine ends, sun fading and darkening/soiling, and chipped losses to dust jackets at edges. Some with personalized marks to end papers or previous dealer’s penciled notes. ‘September’ with foxing to pages.
1043
Each overall good condition with shelf wear and rubbed wear to edges and corners commensurate with age. The original postage with tears. Most with minor soiling and scuffs.
1044
Each overall good condition with shelf wear, bumping to edges, corners, and spine ends, and fading or darkening to boards commensurate with age. Some lacking dust jacket, others with wear, fading, soiling, and scattered small chipped losses at edges of dust jacket. ‘New Zealand’ with splitting to half of front hinge. ‘Tahitian’ with foxing to boards. ‘Don’ with some separation of hinges at frontis and page 9. A few with ex-libris signatures to front end papers or previous bookseller’s penciled notes.
1045
Each overall good condition with shelf wear, fading and/or darkening to cloth boards, bumping to spine ends and corners, and tanning to pages edges commensurate with age. ‘Big Game’ with bookplate to first fixed endpaper, ex-libris inked signature to second free end paper, and a tipped in newspaper clipping with attendant offsetting. ‘Boy Anglers’ with taped repairs at front and rear hinges. A few scattered small stains to boards.
1046
Each overall good condition with minor shelf wear commensurate with age. The dust jackets with minor wear and very minor bumping at spine ends. ‘Crossing’ dust jacket with creasing at front and spine, as well as a protective Mylar overjacket.
1047
Each overall good condition with minor shelf wear and very mild bumping at corners and spine ends commensurate with age. ‘Oranges’ with more wear to dust jacket.
1048
Overall good condition with shelf wear, darkening to boards, scattered scuffs and scratches, and bumping to corners, spine ends, and edges commensurate with age. Tanning to page edges.
1049
Each overall good condition with shelf wear, mild bumping to edges and corners, and dust accumulation commensurate with age. Each dust jacket with some fading, scuffs and scratches, and wear at spine ends and upper edges, ‘Russian’ and ‘Cortez’ with small chipped losses to those areas. Each with protective Mylar covers.
1050
Each overall good condition with shelf wear, minor bumping to corners and spine ends, and wear to dust jackets at edges commensurate with age. Three with fading to dust jackets. ‘Memories’ with losses, fading, and tanning to dust jacket, bookplate to first fixed end paper, and inked date to first free endpaper. ‘Rabbit’ with loss to front right corner board and dust jacket.
1051
Each overall good condition with mild shelf wear commensurate with age. Dust jackets in good condition. ‘Playhouse’ dust jacket with more wear.
1052
Each overall good condition with minor shelf wear commensurate with age.
1053
Overall generally good condition. Artist’s pencil double margins to create a painted area and mat. A pea-sized paint smudge in the lower right margin, presumably in the hand of the artist. Minor toning and soiling in the margin areas. A few spots of errant ink in the margins. 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: 11” H x 11.75” W x 1.5” D
1054
Overall generally good condition. Two diagonal creases in the upper portion of the ruled border, the longest of which extends all the way across the sheet, just affecting the tip of the upper left image corner. Two pale foxmarks in the sky of the upper right quadrant, and two more in the blank upper right corner of the sheet. Pale, old, damp staining with attendant smudging to the upper 1/3rd of the artist’s ink inscription, verso. Old tape residue at the center of the upper and lower sheet edges, verso. The work is loose, taped to a narrow spacer bar from the verso of the upper sheet edge.
Framed under double-sided Plexiglas: 11” H x 12” W x 2” D
1055
Overall good condition. Not examined out of the frame.
Framed under glass: 25” H x 31” W x 2” D
1056
Overall good condition. Two very unobtrusive, pinpoint-sized abrasions near the extreme upper left corner. A 0.5” thin, faint, diagonal line of possible stray black pigment in the sky of the upper right quadrant. Not examined out of the frame.
Framed under glass: 17.25” H x 21” W x 1.5” D
1057
Visual: Overall generally good condition. Very minor rippling, mostly visible in raking light.
Blacklight: Pea-sized (or smaller) touch-ups scattered in the upper half, primarily along the edges.
Frame: 14.5” H x 16.5” W x 2” D
1058
Visual: Overall good condition. The signature and date are partially obstructed by the frame. Not examined out of the frame.
Blacklight: No evidence of restoration.
Frame: 21.25” H x 23” W x 2” D
1059
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
Framed: 9.75” H x 9.75” W x 1.375” D
1060
Overall good condition with minor shelf wear, dust accumulation, and inherent firing flaws commensurate with age. The frame in good condition with very minor wear.
Framed: 17.5” H x 33” W x 1.375” D
1061
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Fading to shade decorations. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1062
Overall good condition with shelf wear, scattered scuffs, soiling, dust accumulation, and inherent firing flaws commensurate with age. Neither examined out of frame.
Each framed: 11.375” H x 11.375” W x 1.5” D
1063
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Batchelders each with a few rice-sized chipped losses.
1064
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
1065
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
1066
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. SEG with a pea-sized chipped loss to rim. The Weller with craquelure to the glaze throughout.
1067
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
1068
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
1069
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Associated tray with a 3” long vertical crack from edge and craquelure to glaze throughout.
1070
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Adams with a rice-sized chipped loss to underside of upper rim. Each Saito with craquelure to the glaze throughout.
1071
Overall good condition. Very, occasional tiny scuffs to the grey pigment on the boat. The frame with tiny scuffs and scratches.
Frame: 19.5” H x 20.5” W x 4” D
1072
Likely refinished, at which time the original mark was removed. Overall good condition with scattered scuffs, scratches, small nicks, and indentations commensurate with age. Oxidation and rubbed wear to copper hardware. Includes two keys.
1073
Each overall good condition with scattered scuffs, scratches, minor nicks, and indentations commensurate with age. The upholstery with scattered scratches.
1074
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The seat with several lightened stains. Edges with a few abrasions, including one to side measuring 0.75” diameter and an older chipped loss to upper edge of other side, measuring 0.75” long. Cushion with dust accumulation, fading to fabric and general wear from use.
1075
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Scattered older chipped losses at edges and one to mortise end.
1076
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. One long edge of tabletop with scuffing and paint transfer.
1077
Overall good condition. Not examined out of the frame.
Framed under glass: 14.5” H x 16.5” W x 0.75” D
1078
Visual: Overall good condition. Slight craquelure, specks of grime, and minor varnish discoloration throughout, all commensurate with age. Occasional pinhead-sized (or smaller) pigment losses, primarily along the extreme edges. As mentioned, the canvas has been relined.
Blacklight: Scattered areas of touch-up throughout, concentrated in the sky and the edges of the work.
Frame: 18” H x 20.25” W x 2” D
1079
Each: Overall good condition.
Each: Framed under glass: 13.25” H x 16” W x 1” D
1080
Visual: Overall good condition. Scattered wear along the edges with a few areas of attendant pigment loss in places, the largest rice-sized.
Blacklight: Scattered bands of touch-up along the edges of the upper half of the work. A few scattered touch-ups, the largest penny-sized, concentrated at the center.
Frame: 18” H x 22” W x 3” D
1081
Visual:
Recto: Overall good condition. A 0.75” diagonal scuff at the lower portion of the largest tree.
Verso: Overall good condition. A few, very minor, unobtrusive, scattered specks of grime.
Blacklight:
Recto: A few spots fluoresce along the upper left edge. Does not appear to be touch-up.
Verso: No evidence of restoration.
Frame: 15” H x 19” W x 2.5” D
1082
Visual: Overall generally good condition. Scattered, horizontal, thin bands of craquelure along the upper half.
Blacklight: Two thin, horizontal bands of touch-up along the upper half.
Frame: 12.5” H x 15” W x 1.5” D
1083
Visual: Overall good condition. Occasional specks of grime. A thin, unobtrusive 0.5” horizontal scuff with attendant pigment loss, to the right of center at the extreme lower edge.
Blacklight: A 0.5” H x 1” W touch-up at the center of the upper edge.
Frame: 17.25” H x 20.5” W x 2.5” D
1084
Visual: Overall generally good condition. Three areas of unstable craquelure with attended pigment losses in the clouds of the upper right quadrant, the largest approximately 0.25” H x 0.625” W.
Blacklight: A 1.5” H x 2.5” W area of touch-up in the clouds, near the center and a few penny-sized areas of touch-up along the upper edge.
Frame: 19.5” H x 23” W x 1.75” D
1085
Each: Overall good condition. Very pale lightstaining. Sailboat off the coast, with a few, tiny, pale foxmarks. Not examined out of the frames.
Each: Framed under glass: 11.75” H x 13.875” W x 1.125” D
1086
Overall good condition. Very minor pale foxing, confined to the upper right corner. Two 0.25” vertical creases at the center of the upper and lower edges, mostly visible in raking light. The sheet is tipped to the back mat at each corner and in places along the edges, all verso. The back mat is hinged to the overmat from the verso of the upper edge.
Framed under glass: 20” H x 20” W x 1.25” D
1087
Overall good condition. Pale light-staining throughout, and time staining along the edges. A very faint, unobtrusive vertical crease on the left side, mostly visible in raking light. Very slight handling marks scattered mostly in the outer edges. Not examined out of the frame.
Framed under glass: 16” H x 18” W x 1.5” D
1088
Overall good condition. Very pale light-staining. The sheet is sandwich-mounted between the mats.
Framed under glass: 21.5” H x 18.5” W x 1.5” D
1089
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Shade with a slight lean. Some flaking to mica, Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1090
Overall good condition with oxidation, scattered scuffs and scratches, rubbed wear, and flaking to mica sheets commensurate with age. Patina on shade is worn. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1091
Overall good condition with scattered scuffs, scratches, dust accumulation, and oxidation commensurate with age. One side of harp slightly bent out of original shape. The base with a 2” diameter stain. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1092
Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One pair with possibly intentional bend to upper edge.
1093
Each overall good condition with minor rubbed wear and oxidation to metal components commensurate with age.
Easel framed: 13.375” H x 8.25” W x 1” D
Giltwood framed: 9.75” H x 11” W x 0.75” D
1094
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Rubbed losses to polychrome and gilding throughout. Shade in good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1095
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1096
Overall good condition with scattered scuffs and scratches commensurate with age. Scattered small areas of rubbed losses to gold finish, revealing base metal, concentrated at edges. Bag with some soiling and dust accumulation. Working condition unknown. Moran’s does not guarantee the working condition of this item.
1097
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. One bird with small break at end of its beak, retained with the lot. Gilding refreshed.
1098
Each overall good condition with scuffs, scratches, nicks, indentations, soiling, rubbed wear and losses to paint, and oxidation to metal components commensurate with age.
1099
Each overall good condition with scuffs, scratches, nicks, indentations, soiling, rubbed wear and losses to paint, and oxidation to metal components commensurate with age. The largest with two carved names at underside.
1100
Each with scuffs, scratches, and loss to paint commensurate with age and use. Some with missing appendages or components.
1101
Each with scuffs, scratches, nicks, indentations, soiling, dust accumulation, rubbed wear, and losses to paint commensurate with age. Some components loose or absent.
1102
Each with scuffs, scratches, nicks, indentations, soiling, dust accumulation, rubbed wear, and losses to paint commensurate with age. Some components loose or absent.
1103
Each with scuffs, scratches, oxidation, heavy verdigris, and soiling throughout commensurate with age and outdoor use.
1104
Overall good condition with scattered minor scuffs and scratches, soiling, and rubbed wear commensurate with age. A few mounted shells missing. Fraying and discoloration to some feathers. Not inspected out of case.
1105
Each overall good condition with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with oxidation to copper inserts and darkening to wood. Rubbed losses to gilding. Larger with losses to mother of pear inlay.
1106
Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Small moisture stain to bottom interior and underside.
1107
Overall good condition. With wide (possibly full) margins all around, deckled on three sides. Pale mat staining in the margins and on the reverse. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. The sheet is hinged to the overmat with linen tape from the verso of the upper margin edge.
Framed under Plexiglas: 22.75” H x 19.5” W x 0.75” D
1108
Overall good condition. With margins and deckled edges. The colors good. The right margin edge slightly trimmed. Time-staining along both the recto and verso margin edges, attendant with the mat window of the over mat. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. The sheet is hinged to the over mat with a long piece of hinging tape from the verso of the upper margin edge.
Framed under Plexiglas: 23” H x 19.5” W x 1” D
1109
Margins with deckled edges. Light-staining throughout and the colors attenuated. A few, tiny, pale foxmarks scattered in the image. Time-staining along both the recto and verso margin edges, attendant with the mat window of the over mat. The usual rectangular notch out of the lower right margin corner for alignment of the various colored blocks. The sheet is hinged to the over mat with a long piece of hinging tape from the verso of the upper margin edge.
Framed under Plexiglas: 23” H x 19.5” W x 1” D
1110
Overall good condition. With wide (possibly full) margins all around, deckled on three sides. Pale mat staining in the margins and on the reverse. The colors attenuated. A pinhole near the lower left margin corner. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. Hinged to the overmat with linen tape from the verso of the upper margin edge.
Framed under Plexiglas: 22.75” H x 19.5” W x 0.75” D
1111
Overall good condition. With margins and the colors good. Not examined out of the frame.
Framed under Plexiglas: 23” H x 19.5” W x 1” D
1112
Overall good condtion. With full margins, deckled on three sides. Mat staining in the margins and on the reverse. The usual rectangular notch out of the lower right margin corner for the alignmnet of the various colored blocks. The sheet is hinged to the overmat with linen tape along the verso of the upper margin edge.
Framed under Plexiglas: 22.75” H x 19.5” W x 1” D
1114
Overall good condition. With margins. The colors slightly attenuated. Not examined out of the frame.
Framed under Plexiglas: 23” H x 20” W x 1” D
1115
Overall good condition. With margins. Several very soft vertical creases in the upper portion of the sky, visible primarily in raking light. Remains of old glue at the verso of the margin corners. Hinged to the back mat from the upper margin corners.
Framed under glass: 23” H x 19” W x 1” D
1116
Each overall good condition. Not examined out of the frame.
Framed together under Plexiglas: 21” H x 32” W x 1” D
1117
The colors attenuated. Narrow margins visible. Lightstaining throughout, with areas of uneven staining. The paper of the right figure’s face apparently madeup and the lines retouched. Occasional, pale specks of foxing and small areas of damp staining in both the image and margins. Other areas of the image retouched. Other minor defects are present. Not examined out of the frame.
Framed under Plexiglas: 21.25” H x 17.5” W x 1.5” D
1119
Overall generally good condition. A delicate and unobtrusive, 1.75” long, stray pencil mark extending horizontally into the sky from the upper portion of the left margin. Some soft horizontal creasing partially visible in the upper and lower margins, including through the lower portion of the printed title. Not examined out of the frame.
Framed under glass: 25” H x 21” W x 1” D
1120
Overall generally good condition. Small margins showing on three sides; there is currently no margin showing at top. Some stray paper fibers or dust adhered to the surface in the blank at upper left. As presently mounted, only the first portion of the printed title is showing in the lower margin. Not examined out of the frame.
Framed under Plexiglas: 21” H x 25” W x 1” D
1121
Overall good condition. Not examined out of the frame.
Framed under glass: 22” H x 18” W x 1.25” D
1122
The colors slightly attenuated. With small margins showing. Not examined out of the frame.
Framed under glass: 24.75” H x 20.25” W x 1.125” D
1123
1118
Overall generally good condition. The sheet with small margins on three sides; trimmed along the upper edge, thereby removing the upper margin as well as an approximately 0.125” wide section along the uppermost portion of the image. Several pale and very unobtrusive, rice-sized stains and tiny foxmarks in the sky at upper left. Time staining, minute paper losses and some soft creasing, all confined to the extreme left, right, and lower margin edges. the sheet is hinged to the back mat in places from the verso of the upper sheet edge.
Framed under glass:
The colors slightly attenuated. With narrow margins showing on all sides. An approximately rice-sized as well as a pinhead-sized area of residue and staining in the green leaves near the left edge. A 1.5” thin, diagonal scratch in the pink background of the image, just underneath the figure’s left hand. Scattered areas of either touch-ups to the paper or residue in the pink background along the upper and left edges of the image, mostly at center. Occasional, minor handling creases scattered in both the image and margins. Not examined out of the frame.
Framed under Plexiglas: 18.875” H x 23.125” W x 2” D
1124
Overall generally good condition. With narrow margins showing at the left and right, and thread margins showing top and bottom. Pale lightstaining and the colors somewhat attenuated. Very unobtrusive pale staining showing in places, primarily in the left half of the image. Minor handling creases scattered in both the image and margins, primarily in the lower left quadrant. A small, unobtrusive tear in the upper portion of the left margin. A very tiny, unobtrusive pinhole in the extreme upper left corner of the image. Not examined out of the frame.
Framed under glass: 19.5” H x 23.75” W x 1.125” D
1125
The colors somewhat attenuated. A small margin with the printed title showing along the lower edge; a thread margin visible at right; no margins visible along the other two sides as presently framed. An approximately quarter-sized, pale stain in the sky and foliage at upper center. A 2.5” long vertical abrasion, with attendant small, filled, paper losses, in the sky to the left of center. A few rice-sized, slight, surface abrasions in the foliage of the lower left corner. A pinhead-sized paper loss at the center of the extreme right edge of the image. Not examined out of the frame.
Framed under glass: 22.5” H x 19” W x 1.25” D
1126
Overall generally good condition. A small margin with the printed title showing along the lower edge; a 0.25” margin showing at right and the Maeda ink stamp only partially visible; no margins visible along the other two sides as currently framed. The paper toned and the colors somewhat attenuated. Not examined out of the frame.
Framed under Plexiglas: 22.5” H x 19” W x 1” D
1127
The colors very attenuated, as is common with this image. A small margin showing along the lower edge; the second portion of the printed title not visible as presently framed; no margins visible along the other three sides as presently framed. Not examined out of the frame.
Framed under glass: 18.75” H x 14.75” W x 2” D
1128
Overall generally good condition. Pale light- and time showing in the image, particularly just inside the left as well as the lower edges. The colors somewhat attenuated. Not examined out of the frame.
Framed under glass: 24” H x 19.75” W x 1” D
1129
Pale light-staining, primarily showing in the margins. Two tiny foxmarks, one in the upper left quadrant, and another in the lower right. Minor handling marks scattered throughout the margins. Not examined out of the frame.
Framed under Plexiglas: 31” H x 42.5” W x 1.5” D
1130
Overall good condition. Pale light-staining. A few, pale, small foxmarks, areas of staining, and minor handling marks scattered throughout the margins. Not examined out of the frame.
Framed under Plexiglas: 30.75” H x 42.5” W x 1.5” D
1131
Overall very good condition. The full sheets with deckled edges and the colors fresh. The suite’s original wove paper folder with very minor surface soiling, occasional grime, and a few soft handling marks, all of which are concentrated primarily at the folder’s outer edges.
All sheets loose in original folder measuring 15.625” H x 43.75” W x 0.125” D
1132
Overall good condition with scuffs, scratches, nicks, indentations, oxidation, and soiling commensurate with age and use. Leather components with ageing, stiffness, and cracking.
1133
Overall good condition with scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Oxidation to metal components. Interior with handwriting and applied sticker to front visor. A few instances of scratches with attendant paint loss. Chinstrap with a tear to one side. Leather components with ageing, stiffness, and cracking.
1134
Each with scattered scuffs and scratches commensurate with age. New York with soiling, paint losses, and attendant oxidation. As well, chinstrap with losses.
1135
With scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Oxidation to metal components. Rear visor bent. Scattered rubbed losses.
1136
With scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Oxidation to metal components. Lacking Cairns tag to interior.
1137
With scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Oxidation to metal components. Scattered paint losses. Personalized to interior “John L. Silleck.”
1138
With scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Oxidation to metal components. Interior with remnants of padding, tears to fabric, and lacking chinstrap. Exterior with some tears in the leather, disintegration and degradation to materials.
1139
Overall good condition with scattered scuffs and scratches commensurate with age. Metal rims separating on larger rear wheels. Some white scuffs to wood portions. Minor oxidation to metal components.
1140
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Lacking front figure. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1141
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1142
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1143
Windup mechanism not functional. With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Some elements slightly bent. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1144
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Each wheel slightly bent out of axel. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1145
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Front axel not mounted. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1146
With scattered scuffs, scratches, nicks, indentations, soiling, and dust accumulation commensurate with age. Possibly other missing or replaced components. Scattered small losses to the paint throughout. Windshield frame loose. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1147
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Each wheel slightly bent out of axel and tires loosely or unmounted. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1148
Friction drive not functional. With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. On tire unmounted. Moran’s does not guarantee the working condition of toys.
1149
With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Each wheel slightly bent out of axel. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1150
This item possibly assembled and repainted. With scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Possibly other missing or replaced components. Scattered losses to the paint throughout as well as oxidation/rust. Working condition unknown. Moran’s does not guarantee the working condition of toys.
1151
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38” H x 54” W x 3” D
1152
Overall good condition. The paper very slightly toned throughout. Not examined out of the frame.
Framed under glass: 11.5” H x 14.25” W x 1.5” D
1153
Visual: Overall good condition. A 2.5” band of minor puckering to the canvas at the lower right corner, affecting the signature and date. A rice-sized dent at the base of the right-most branch of the tree, and another rice-sized dent with attendant pigment loss near the center of the right edge. Minor frame abrasion scattered in places along the left edge.
Blacklight: A rice-sized area of touch-up at the above mentioned dent in the branch of the tree.
Frame: 19” H x 23.5” W x 2” D
1154
Visual: Overall good condition. Very fine scattered areas of craquelure throughout, mostly visible in raking light. Two pinhead-sized pigment losses at the lower left edge.
Blacklight: Scattered areas of touch-up in the upper half, the largest measuring 3” H x 5” W.
Frame: 30.5” H x 25” W x 2.25” D
1155
Overall good condition. The paper slightly cockled. A 1.25” horizontal crease at the center of the upper edge, primarily visible in raking light. Occasional very minor foxing. Not examined out of the frame.
Framed under Plexiglas: 13.75” H x 15” W x 1.5” D
1156
Visual: Overall generally good condition. Grime and varnish discoloration commensurate with age. A 1.5” horizontal abrasion with attendant lifting of the canvas at the left of the upper extreme edge. The board ever-so-slightly rippled, possibly attendant with old damp staining, verso.
Blacklight: Scattered pea-sized (or smaller) touch-ups throughout the sky.
Frame: 13.5” H x 15.5” W x 2” D
1157
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 23” H x 29” W x 3” D
1158
Visual: Overall good condition.
Blacklight: A few, scattered specks of touch-up in the trees near the left edge, the largest pea-sized.
Frame: 16” H x 20” W x 2” D
1159
Visual: Overall good condition. Very slight varnish discoloration
Blacklight: A few flecks of varnish/pigment loss near the peak of the highest mountain.
Frame: 9.5” H x 11.5” W x 2” D
1160
Overall good condition.
Framed under glass: 18.25” H x 34.25” W x 2.25” D
1161
Visual: Overall good condition. Dust accumulation and craquelure commensurate with age. An approximately dime-sized cluster of pinhead-sized (or smaller) areas of pigment loss, possibly attendant with an area of unstable craquelure near the center of the left edge. Minor frame abrasion along the extreme upper edge.
Blacklight: No evidence of restoration.
Frame: 11.5” H x 9.5” W x 1.25” D
1162
Overall good condition with scattered minor scuffs and scratches and oxidation/patination to metal commensurate with age. A few faint scratches to dial, concentrated to winding area. Underside with some carved personalized inscriptions. Lacking winding key.
1163
Each with scuffs, scratches, indentations, dust accumulation, soiling, and oxidation to metal components commensurate with age. All but tray with some losses to wood veneer.
1164
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The marquetry top with a pea-sized loss, shrinkage cracks, and oxidation to handles, as well as some minor soiling and dust accumulation.
1165
Each overall good condition with scattered scuffs, scratches, oxidation, and rubbed wear commensurate with age. Each with scattered losses to the paint.
1166
Each with tarnishing/oxidation, scattered scuffs and scratches, and minor indentations commensurate with age. Lacking glass inserts.
1167
The base with scattered scuffs and oxidation. The shade with scattered scuffs and scratches and two pea-sized chipped losses to rim. Shade mount slightly wobbly. Rust to base underside. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1168
Overall good condition, shade with some shallow dents, flaking, and discoloration. Base and vase slightly lopsided. The wooden base with scattered chips, cracks and a 1.125” section of loss with some fill. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1169
Overall good condition with scattered scuffs and scratches and oxidation/darkening to bronze commensurate with age. Each shade with some rubbed wear at mounting juncture. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1170
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze components commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1171
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze components commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1172
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze components commensurate with age. Metal interlocking ring of shade possibly removed and some updated hardware replaced. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1173
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze and metal components commensurate with age. Slag glass panels slightly loose, but mounted securely. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
1174
Visual: Dust accumulation, grime, and minor varnish discoloration, all commensurate with age. Craquelure with attendant flecks of pigment loss throughout. Three reverse pressure marks with attendant craquelure and the largest with a 0.75” horizontal band of pigment loss, all in the lower right quadrant. As mentioned, the canvas has been relined.
Blacklight: Small areas of old touch-up scattered in the sky and parts of the mountain range. A thick application of varnish has been applied.
Frame: 25” H x 37” W x 3” D
1175
Visual: Overall good condition. Very slightly discolored varnish.
Blacklight: No evidence of restoration.
Framed: 25” H x 31” W x 2” D
1176
Visual: Craquelure throughout with a few very minor pinhead-sized or smaller attendant pigment losses. A few scattered surface scratches in the lower right quadrant, the largest 0.75” long. As mentioned, the canvas has been relined.
Blacklight: Crackfill and areas of touch-up throughout, difficult to read under a heavy application of varnish.
Frame: 31” H x 45” W x 4.5” D
1177
Visual: Overall good condition. Very minor craquelure, primarily in the white pigment of the mountains. A very faint unobtrusive 0.75” vertical scuff mark in the upper portion of the extreme left edge. A pinhead-sized pigment loss to the left of center of the lower edge. A few minor specks of possible grime, the largest pinhead-sized, in the lower right quadrant.
Blacklight: Pigments fluoresce and uneven varnish under blacklight, but apparently no evidence of restoration.
Frame: 34” H x 39” W x 3.25” D
1178
Visual: Overall generally good condition. Dust accumulation, grime, and varnish discoloration throughout, all commensurate with age.
Blacklight: No evidence of restoration.
Unframed
1179
Visual: Overall good condition. Very minor craquelure primarily in the thicker impasto. Slight frame abrasion with an attendant 1.5” band of pigment loss near the right corner of the upper edge. Occasional scattered surface scratches in the lower half. Pea-sized or smaller areas of grime scattered in the lower right corner.
Blacklight: No evidence of restoration.
Frame: 23.5” H x 25.75” W x 2” D
1180
Visual: Overall good condition. Fine craquelure throughout, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 22.5” H x 27.5” W x 2.5” D
1181
Visual: Overall good condition. Minor specks of grime scattered throughout.
Blacklight: Two very small, scattered touch-ups in the clouds of the upper left quadrant, and again near the upper right corner, all rice-sized or smaller.
Frame: 15.25” H x 17” W x 1.5” D
1182
Visual: Overall good condition. A 1.25” area of abrasion with attendant pigment loss in the lower right corner, not affecting the signature. A pinpointsized abrasion with attendant pigment loss in the upper right corner. Very minor, unobtrusive, scattered surface scuffing in the upper portion of the right edge.
Blacklight: No evidence of restoration.
Frame: 33” H x 39” W x 2” D
1183
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 14.25” H x 17.25” W x 2” D
1184
Overall good condition. Very pale time-staining along the left and right sheet edges. The left edge trimmed slightly unevenly, presumably in the hand of the artist. The sheet is framed floating and, as mentioned, is tipped to a board mount in various places at the verso of the sheet edges by the artist. Not examined out of the frame.
Framed under glass: 14.5” H x 15.5” W x 1.75” D
1185
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 25.25” H x 21.5” W x 1.5” D
1186
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 21.5” W x 3” D
1187
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 19” H x 23” W x 2.5” D
1188
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 16” H x 20” W x 2” D
1189
Visual: Overall good condition. A 0.25” abrasion in the background mountains, left of center. Two very unobtrusive pinhead-sized pigment losses, one near the lower portion of the left edge, and the other in the extreme lower edge at left.
Blacklight: A dime-sized touch-up on the abrasion mentioned above, and two pinhead-sized touch-ups a few inches below, in the water.
Frame: 27.5” H x 31.5” W x 3.25” D
1190
Visual: Stable craquelure throughout. A 3” horizontal repaired split in the canvas in the sky of the upper left quadrant.
Blacklight: Material used to repair the abovementioned split in the canvas fluoresces under blacklight.
Frame: 18” H x 28” W x 1.75” D
1191
Visual: Overall good condition. Scattered soft and unobtrusive craquelure. Stretcher bar creasing showing primarily along the upper edge.
Blacklight: No evidence of restoration. Occasional uneven varnish application at the outermost edges.
Frame: 32.5” H x 38” W x 2.75” D
1192
Visual: Overall good condition. Craquelure throughout. Soft stretcher bar creases along the edges, mostly visible in raking light. Very minor puckering to the canvas at the lower right corner, primarily visible in raking light.
Blacklight: No evidence of restoration.
Frame: 47” H x 61” W x 4.25” D
1193
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 35.25” H x 47.25” W x 3.25” D
1194
Visual: Overall good condition. Stretcher bar creasing along the right edge, primarily visible in raking light. Faint craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: An irregular T-shaped touch-up, approximately 7” H x 14” W, attendant with an old repair, in the upper left quadrant. A 2.75” vertical touch-up near the center of the right edge.
Frame: 31.5” H x 37.25” W x 3” D
1195
Visual: Overall good condition. Minor stretcher bar creases, mostly visible in raking light. A few very tiny and unobtrusive foxmarks, a couple in the upper right quadrant, and a few very faint flecks in the sky above the rocks in the upper left quadrant.
Blacklight: An area of possible touch-up in the white pigment of the waves to the right of center near the lower edge.
Frame: 35.5” H x 48” W x 4” D
1196
Visual: Overall good condition. A few unobtrusive, pinhead flecks of grime to the right of the dock.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 1.5” D
1197
Visual: Overall good condition. Occasional, very fine craquelure scattered primarily in the lower half of the work. Soft stretcher bar creases along the upper and lower edges. A few flecks of very unobtrusive pigment loss near the center of the upper edge.
Blacklight: A 1.25” H x 0.25” W area of touch-up on the extreme upper edge, at right, and two pea-sized areas of touch-up near the right edge, at center.
Frame: 19.5” H x 34.5” W x 2” D
1198
Visual: Overall good condition. Scattered areas of minor craquelure. A 6” horizontal surface scuff across the lower torso of the figure. A pinheadsized pigment loss in the figure’s right lapel. The canvasboard is slightly concaved. A pinpoint-sized puncture in the center of the upper edge. The upper and lower edges of the board are unevenly cut. The verso with evidence of damp staining.
Blacklight: No evidence of restoration.
Frame: 28.5” H x 24.5” W x 2.5” D
1199
Overall good condition. Scattered areas of minor creasing along the outer edges. A pinhead-sized foxmark near the upper left corner. Artist’s pinholes in places along the edges. Not examined out of the frame.
Framed under glass: 35.5” H x 29.5” W x 2.25” D
1200
Overall good condition. Pale staining throughout. A 2.5” diagonal crease with possible tearing at the lower left, affecting the first name in the signature. An occasional unobtrusive pinpoint-sized abrasion, primarily near the lower portion of the right edge. Not examined out of the frame.
Framed under glass: 24.25” H x 28” W x 2” D
1201
Visual: Overall good condition. Minor varnish discoloration. Scattered frame abrasion and edge wear along the four edges. A narrow vertical section along the canvas’ left edge has lifted off the board.
Blacklight: Minor, scattered flecks of touch-up along the edges, concentrated in the upper left.
Frame: 11.75” H x 13.25” W x 2” D
1202
Visual: Overall good condition. Specks of grime and minor varnish discoloration commensurate with age.
Blacklight: No evidence of restoration.
Frame: 12.125” H x 14.5” W x 1.375” D
1203
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 16” H x 19” W x 2” D
1204
Visual: Overall good condition. Two pinhead-sized foxmarks on the leaf in the lower left quadrant.
Blacklight: No evidence of restoration.
Frame: 30” H x 35.25” W x 3” D
1205
Visual: Overall good condition. A pinhead-sized pigment loss below the center of the right edge. A minor pinpoint-sized puncture with attendant pigment loss in the lower right corner, just above the signature.
Blacklight: No evidence of restoration.
Frame: 11” H x 13” W x 2” D
1206
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 18” H x 22” W x 2” D
1207
Visual: Overall good condition. Stable craquelure throughout, slight stretcher bar creases along each side, and minor dust accumulation, all commensurate with age. As mentioned, the work has been laid to waxed canvas.
Blacklight: A 0.25” H x 4” W area of touch-up along the extreme upper edge, at right, and a pea-sized area of touch-up near the center of the upper edge.
Frame: 29.25” H x 39.25” W x 2.5” D
1208
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24.5” H x 29.5” W x 2” D
1209
Overall good condition. Some scattered, minor, and very unobtrusive reverse foxing in places, concentrated primarily in the sky near the upper left sheet corner. Not examined out of the frame.
Framed under glass: 24.75” H x 31.75” W x 1.5” D
1210
Visual: Overall good condition. A rice-sized pigment loss on the bench in the lower right quadrant. Very minor, unobtrusive, pea-sized area of craquelure at the center of the upper edge, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 21.25” W x 1.5” D
1211
Overall generally good condition. The white pigment used on the nuns’ cornettes and the top of the drums with areas of fine and slightly unstable craquelure with attendant flecks of pigment loss. There are also occasionally other areas of very fine craquelure scattered throughout. A 1” horizontal tear at the center of the left edge, and a 0.5” tear in the light green foliage near the upper edge, at right. Abrasion with small areas of attendant pigment loss and some areas of paper loss at the extreme edges and corners. Three very small indentations to the sheet in the lower left quadrant. The sheet is mounted to a board mount.
Framed under glass: 22” H x 24” W x 2.5” D
1212
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 29.5” H x 20.5” W x 2” D
1213
Visual: Overall good condition.
Blacklight: A few scattered touch-ups in the sky, the largest approximately dime-sized.
Frame: 32” H x 38” W x 3” D
1214
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 14.5” H x 18.5” W x 1.5” D
1215
Visual: Overall good condition. A few scattered specks of grime. The board is slightly concaved.
Blacklight: No evidence of restoration.
Frame: 8.5” H x 22.5’ W x 1.75” D
1216
Visual: Overall good condition. Very tiny specks of grime scattered primarily in the upper half. A few minor pigment losses in places near the right edge, the largest pinhead-sized. Two 1.25” diagonal parallel surface scuffs, and a very faint 2” diagonal surface scuff with a rice-sized area of pigment loss, all in the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 25” H x 29” W x 3” D
1217
Visual: Overall good condition. The corners of the canvas are slightly puckered. Two pinhead-sized pigment losses in the lower left quadrant, at the base of the leftmost tree. Brown paper tape along the canvas edges, presumably to protect the tacking edges.
Blacklight: Scattered areas of touch-up, concentrated primarily in the lower right quadrant and in the left portion of the upper edge.
Frame: 35.25” H x 39” W x 3.25” D
1218
Overall good condition. The sheet edges trimmed slightly unevenly, presumably in the hand of the artist. Pale backboard staining, verso, not showing through to the recto. The sheet is loose, not matted.
Framed under glass: 22.25” H x 31.25” W x 1.75” D
1219
Visual: Overall good condition. Very minor craquelure throughout.
Blacklight: No evidence of restoration.
Frame: 28.75” x 38.75” W x 3” D
1220
Visual: Overall good condition. Dust accumulation and dirt scattered primarily in the upper half of the work. Craquelure throughout, and with some areas of unstable craquelure with attendant pea-sized (or smaller) pigment losses scattered in the right half of the work. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 29.25” H x 35.25” W x 3.5” D
1221
Visual: Overall generally good condition. Dust accumulation and specks of grime commensurate with age. A 1” horizontal surface scratch on the telephone pole in the upper right quadrant. Occasional, small indentations to the board, some with attendant pigment loss, scattered in the outer edges. Minor frame abrasion along the extreme edges.
Blacklight: A 2” H x 0.5” W area of touch-up in the lower left corner, and other dime-sized (or smaller) areas of touch-up scattered along the outer edges, and in the trees.
Frame: 25.25” H x 21.25” W x 1.75” D
1222
Visual: Overall generally good condition. A reverse pressure mark with attendant craquelure around the head of the boy. A minor, unobtrusive 2” horizontal surface scuff to the left of the boy’s head. A peasized area of old varnish above the signature.
Blacklight: No evidence of restoration.
Frame: 14.5” H x 12.5” W x 2” D
1223
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 19.5” H x 17.25” W x 1.5” D
1224
Visual: Overall good condition. With unobtrusive specks of either grime or mildew scattered primarily along the right edge, and a small vertical band on the right most figure. A rice-sized pigment loss near the center of the left edge, and another, smaller, near the upper right corner.
Blacklight: No evidence of restoration.
Frame: 28.25” H x 38.25” W x 3” D
1225
Visual: Overall good condition. Very minor scattered craquelure primarily in the thicker impasto. A peasized pressure mark in the upper right corner, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 55.5” W x 3” D
1226
Overall good condition. Very minor abrasion in the tip of the lower left corner
Framed under glass: 30” H x 36” W x 2” D
1227
Overall good condition. Not examined out of the frame.
Framed under glass: 13” H x 16” W x 1.5” D
1228
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Most with a few older chipped losses.
1229
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Most with a few older chipped losses.
1230
Each overall good condition with shelf wear, scattered minor scuffs, dust accumulation and mild soiling, and inherent firing flaws commensurate with age. One polychrome tile with a large chipped loss to one corner. Others with older smaller chipped losses.
1231
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Most with a few older chipped losses.
1232
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With crazing to glaze throughout. Mounting putty residue to underside rim.
1233
Overall good condition with scuffs, scratches, nicks, indentations, and dust accumulation commensurate with age. Scattered evidence of inactive insect grazing and attendant losses.
1234
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One with rear legs loose, not affixed or mounted to seat. Oxidation to iron components. Each chair with loose seatback, a few with more noticeable gaps in the two wood panels comprising the seat. Each tile with inherent firing flaws and varying degrees of craquelure. Cushion upholstery overall good condition with rubbed wear, minor soiling, and scattered small stains.
1235
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to metal components. Interior of lower console with some soiling and staining. Uneven wear to wood finish and smaller older losses throughout.
1236
With scuffs, scratches, handling and shelf wear, dust accumulation, and minor soiling commensurate with age. Staining to bellows with a few possible light leak holes at corners. Does not include film holder. Lens condition unknown. Working condition unknown. Moran’s does not guarantee the working condition of this item.
1237
Overall good condition. With margins. The sheet is mounted to the back mat.
Framed under glass: 12.75” H x 14.75” W x 2” D
1238
Overall good condition. A very faint and unobtrusive 3” diagonal area of residue in the tree above the figure. A 1” surface abrasion on the rightmost tree trunk. Minor surface scratches scattered throughout, mostly visible in raking light. Not examined out of the frame.
Framed under glass: 9.5” H x 49.5” W x 1.25” D
1239
Each overall good condition. With margins. “Carmel Mission” with a pale, pinhead-sized foxmark in the plate near the center of the upper edge. Each not examined out of the frame.
Each framed under glass: Largest: 19.75” H x 17” W x 1” D
1240
Each with margins. “Brook in Winter” in overall good condition. With a few pale tiny flecks of foxing confined to the margins. “Winter Morning” in overall generally good condition. Light-staining throughout. A few pale specks of foxing scattered in both the plate and margins. Each not examined out of the frame.
Each framed under glass: Largest: 22” H x 18” W x 1.25” D; Smallest: 18.5” H x 20.5” W x 1.375” D
1241
Each overall good condition. With margins. “Old Pine” with soft, occasional handling marks scattered in the outer margins. “Study of Pines” with a pale, pinhead-sized foxmark near the lower right margin corner, and other, very unobtrusive, pale flecks of foxing scattered primarily in the margins. Not examined out of the frame.
Each framed under glass: Largest: 22.5” H x 19” W x 1.25” D; Smallest: 14” H x 14.25” W x 1” D
1242
Each overall good condition. With margins. “Old Pine Near Timberline,” with a few tiny, pale foxmarks confined to the margins, not affecting the image. Not examined out of the frames.
Each framed under glass: Largest: 19.25” H x 16.75” W x 1.25” D
1243
Overall good condition. With margins. A pinheadsized foxmark in the sky, to the left of the tree in the upper right quadrant. A few tiny, unobtrusive flecks of either abrasion or insect damage in the plate scattered near the lower left corner and near the center of the right edge. Not examined out of the frame.
Framed under glass: 15.5” H x 19.75” W x 1.125” D
1244
Overall good condition. With margins. Pale mat staining visible along the window opening of the overmat. Not examined out of the frame.
Framed under glass: 17.25” H x 21” W x 0.75” D
1245
Overall good condition. With margins. Very pale light-staining. A few, tiny, pale foxmarks scattered primarily in the margins and a few in the upper portion of the image. No examined out of the frame.
Framed under Plexiglas: 17.25” H x 13.25” W x 1.5” D
1246
Overall good condition. With margins. A rich impression with plate tone. Not examined out of the frame.
Framed under glass: 15.5” H x 13.75” W x 2” D
1247
Overall good condition. With margins. The image enhanced with several small series of scratches in the hand of the artist. Dust accumulation and assorted minor staining in the margins, not affecting the image. Hinged to the back mat from the verso of the upper margin corners.
Framed under glass: 14.5” H x 11.75” W x 1.5” D
1248
Each overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Soiling and dust accumulation from outdoor use.
1249
Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, darkening, and soiling commensurate with age. The polychrome with rubbed wear and losses to paint as well as fraying to fibrous accents. The other with evidence of older insect grazing. Each with multiple vertical splits/ cracks throughout.
1250
Each with scuffs, scratches, nicks, indentations, older chipped losses, soiling, and darkening to wood commensurate with age.
1251
Visual: Overall good condition. Two unobtrusive flecks of stray pigment near the center of the upper edge, possibly in the hand of the artist.
Blacklight: No evidence of restoration.
Frame: 22.25” H x 15.25” W x 2” D
1252
Overall good condition. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.
Framed under glass: 31” H x 25” W x 1.75” D
1253
Overall good condition. With full margins and the colors fresh.
Unframed; Original paper folder: 26.25” H x 20” W
1254
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 27” H x 30.5” W
1255
Overall good condition. Pale light-staining. Not examined out of the frame.
Framed under glass: 15” H x 12” W X 1.5” D
1256
Overall generally good condition. The sheet lightand time stained. A pale, pea-sized foxmark upper center. Not examined out of the frame.
Framed under glass: 18.5” H x 24.5” W x 1” D
1257
Overall good condition with scattered minor scuffs, scratches, and minor nicks commensurate with age. Tabletop with more scratches, minor soiling, and a few faint ring stains. The drawer interiors with soiling/ staining. Legs with small nicks.
1258
Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. A few scattered spots of paint loss to frame. More concentrated scratches to tabletop and undershelf.
1259
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Some pitting to chrome finish throughout. Canvas stretched from use, the seat with scattered small stains. Leather upholstery with rubbed wear, darkening, soiling, and creasing.
1260
Visual: Overall good condition. A 2.5” diagonal area of very fine craquelure and an approximately quartersized area of fine and unobtrusive craquelure along the upper edge, at left.
Blacklight: No evidence of restoration.
Unframed
1261
Visual: Overall good condition. Two tiny pigment losses in the upper portion of the right edge, the largest pinhead-sized. A pea-sized dent in the upper edge to the right, presumably a defect in the Masonite which was painted over in the hand of the artist.
Blacklight: No evidence of restoration.
Frame: 27.25” H x 31.25” W x 2.25” D
1262
Overall good condition. The sheet with very slight cockling in the center, mostly visible in raking light. Not examined out of the frame.
Framed under glass: 29.5” H x 38” W x 2.5” D
1263
Visual: Overall good condition. Very minor grime and slight varnish discoloration. A pea-sized pigment loss at the center of the extreme right edge. A few pinhead-sized pigment losses in the left portion of the lower edge. A fleck of stray black pigment at the center of the upper edge.
Blacklight: No evidence of restoration. As mentioned above, initials “S.L.” in the lower portion of the right edge.
Unframed, tacked to a box panel, presumably by the artist: 24” H x 30” W x 1.5” D
1264
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 13.5” H x 15.5” W x 1.25” D
1265
Visual: Overall good condition. Occasional areas of minor pigment loss, one at the top edge of the figure’s head, the others in places near the lower edge, the largest pinhead-sized.
Blacklight: No evidence of restoration. A small area of scattered specks of foxing/grime near the figure’s left arm fluoresces under blacklight.
Unframed
1266
Visual: Overall good condition. A few scattered specks of grime concentrated in the skirt of the figure. An area of wear to the pigment in the lower right corner. Minor abrasions to the tips of each corner.
Blacklight: No evidence of restoration.
Unframed
1267
Visual: Overall good condition. The canvasboard is very slightly concave, primarily in the lower half.
Blacklight: No evidence of restoration. A few specks of old scattered foxing or mildew flouresce under blacklight.
Frame: 25.5” H x 21.5” W x 2.5” D
1268
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.75” H x 24.75” W x 3.25” D
1269
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 35” H x 29” W x 1.25” D
1270
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
1271
Visual: Overall good condition. As mentioned, the canvas is laid to panel.
Blacklight: No evidence of restoration.
Frame: 23.5” H x 19” W x 2” D
1272
Visual: Overall good condition. Some unobtrusive specks of either grime or mildew scattered primarily along the right edge. A pea-sized abrasion with scattered flecks of attendant pigment loss in the upper portion of the extreme right edge.
Blacklight: No evidence of restoration.
Unframed
1273
Visual: Overall good condition. A dime-sized pressure mark in the rightmost apple near the lower portion of the right edge.
Blacklight: A dime-sized touch-up attendant with the pressure mark mentioned above.
Frame: 30.5” H x 40.5” W x 1.75” D
1274
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 2.625” H x 3” W x 0.25” D
1275
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 3” H x 3.75” W x 0.375” D
1276
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 2.375” H x 2.125” W x 0.25” D
1277
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 2.375” H x 2.125” W x 0.375” D
John Moran Auctioneers, Inc
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John H. Moran (1942-2017)
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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.
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Conditions of Sale
These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.
(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.
AFTER THE AUCTION
(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.
Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
(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.
