Contemporary Chinese Art—Online: A Selection from the Gerry & Leslie Jones Collection

A Selection from the Gerry & Leslie Jones Collection

Wednesday, October 15, 2025

SINCE 1969

m.ari@johnmoran.com

Gerry and Leslie Jones with artist Chang Jin

A Selection from the Gerry & Leslie Jones Collection

John Moran Auctioneers is proud to present a landmark auction of Contemporary Chinese Art: A Selection from the Gerry & Leslie Jones Collection, taking place on Wednesday, October 15, 2025 at 4:00 PM Pacific Time. This deeply personal and historically rich assemblage of late 20th century Chinese art was acquired during a pivotal era of cultural reopening in the 1980s.

Gerry Jones, an acclaimed Arizona based architect and World War II veteran, first encountered China in 1945 as a young Marine. Decades later, during a teaching visit in the 1980s, he and his wife Leslie reconnected with the country through its emerging art scene, gaining rare official permission to collect directly from artists. At a time when China’s domestic art market was still undeveloped and many modern practices remained underground, the Joneses formed lasting relationships with artists whose work defied both political restriction and material scarcity.

“Our visits were both eye-opening and life changing,” recalled the Joneses. “We encountered artists of tremendous vision—many of them women—whose creativity and determination inspired us deeply.”

Spanning works from the 1960s through the 1990s, the collection is a powerful testament to artistic perseverance and cultural resilience. With nearly 200 pieces, it includes a rich array of mediums such as watercolor, ink wash, oil, fabric collage, and mixed media, and features artists Jiang Guofang, Dou Peigao, Xu Jiang, An Bin, Xu Yanzhou, He Daqiao, and Pan Shixun.

“These works were part of our home as we grew up,” one of their children reflected. “They weren’t just art on the walls—they shaped our imagination and connected us to another world.”

This auction marks not only a unique opportunity for collectors, but also a celebration of cross-cultural dialogue, personal discovery, and the enduring power of art. As the family notes, “We see this auction not as an ending, but as a continuation. These works will go out into the world and begin new chapters in new homes.”

Pictured left: Gerry and Leslie Jones with artist Jiang Guofang

Wang Xia (b. 1936)

One of several women artists prominently represented abilities while still a student at Qingdao Girls’ High People’s Liberation Army, an experience that provided went on to study at the Central Academy of Fine the National Museum of Art. Wang subsequently extensively both domestically and internationally.

represented in the Jones Collection, Wang Xia gained recognition for her artistic High School. At the age of 13, she joined an acting troupe associated with the provided five years of training not only in performance but also in visual arts. She Fine Arts, graduating in 1961; her graduation painting was acquired directly by subsequently taught at numerous institutions across China and has exhibited and lectured internationally.

3001

Wang Xia (b. 1936)

“Delicate” Oil on canvas

Signed lower right: Wang Xia; titled by repute

18.75” H x 15.5” W

$2,000-3,000

3002

Wang Xia (b. 1936)

“Red Symmetric”

Oil on laid Japanese paper backed to Japanese laid paper

Stamped with the artist’s red ink chopmark, lower right; titled by repute Image/Sheet: 18” H x 15” W’ Support Sheet: 19.25” H x 16.25” W

$2,000-3,000

Fu Shangyuan (b. 1933)

Born in Beijing in 1933, Fu Shangyuan graduated upended by the Cultural Revolution (1966-1976)

Fu later had a long career in the School of Architecture to paint exquisite flowers and bouquets in watercolor many years of hardship. Her works can be found

graduated from the Central Academy of Fine Arts in Beijing in 1953, but her career was (1966-1976) and the suspension of schools and education during that period. Nonetheless, Architecture in Beijing, as well as teaching high school students, and she continued watercolor throughout her career, insisting on finding beauty in her work despite her found in the monumental “Women Who Dared Art Collection.”

3003

Fu Shangyuan (b. 1933)

“Yellow Roses Under the Sun,” 1983

Watercolor on wove paper

With Chinese characters in red ink as well as a red ink chopmark, presumably the artist’s name, in the lower left corner; with Chinese characters and dated 83.6 in red ink on the verso; titled by repute

Image/Sheet: 15” H x 13.125” W

$600-800

3004

Fu Shangyuan (b. 1933)

“In Front of Window in Autumn”

Watercolor on paper

Stamped with a reddish-brown ink chopmark, presumably the artist’s name, lower right; titled on a label, in another hand, on the frame’s backing paper

Sight: 23” H x 19.25” W

$800-1,200

3005

“White Roses,” 1989 Oil on canvas

Signed and inscribed in Chinese lower left; titled and dated by repute 20” H x 24.25” W

$700-900

Fu Shangyuan (b. 1933)

3006

Fu Shangyuan (b. 1933)

“Bright Colored Roses”

Watercolor on paper

Signed in Chinese in brown ink and stamped with a red ink chopmark lower right; inscribed in Chinese characters in ink and pencil, verso; titled by repute Image/Sheet: 16.125” H x 20.875” W

$700-900

3007

Fu Shangyuan (b. 1933)

“Tranquil Sunny Autumn”

Watercolor on paper

Signed in Chinese in brown ink and stamped with a red ink chopmark, lower right; inscribed in Chinese characters in ink and pencil, possibly in another hand, verso; titled by repute

Image/Sheet: 21.5” H x 15.5” W

$700-900

3008

Fu Shangyuan (b. 1933)

“In May”

Watercolor on paper

Stamped with a brown ink chopmark, presumably the artist’s name, lower right; titled in black ink, in another hand, on a label affixed to the frame’s backing paper

Sight: 23” H x 19.25” W

$300-500

3009

Fu Shangyuan (b. 1933)

“Wild Flowers Beside Forest”

Watercolor on paper

Inscribed with Chinese characters in red ink as well as a red ink chopmark, presumably the artist’s name, in the lower left corner; titled by repute

Sight: 23” H x 30” W

$300-500

3010

Kang De (20th century)

“In Madame Zhou’s Room,” 1990 Oil on canvas

Signed in Chinese and dated 1990·8, lower left; titled by repute 31.5” H x 39.5” W

$600-800

3011

Kang De (20th century)

“Family Heirloom,” 1990 Oil on canvas

Signed in Chinese and English, and dated lower right: Kang De / 1990.10; inscribed in Chinese characters verso; titled by repute 24” H x 19.75” W

$300-500

He Daqiao (b. 1961)

He Daqiao is another leading Chinese realist painter People’s Liberation Army in 1976 and graduated Excellence at the Sixth National Exhibition in Beijing; Exhibition, winning it again in 1992. That same

Like many of his generation, He was trained in Andrew Wyeth and the Northern European Renaissance, experience of Chinese people and the textures classical realist portrait of a young Chinese girl on which artists like He sought to position Chinese quintessentially Chinese, while also demonstrating iconography.

painter represented in the collection. Born in 1961 in Harbin, He entered the graduated from its Fine Arts Department in 1981. In 1984, his work won the Prize of Beijing; in 1987, he received the Prize of Excellence at the First China Oil Painting year, he left his post in the military to pursue a career as a professional artist.

a heavily politicized Soviet Realism, yet he found inspiration in artists such as Renaissance, who offered a model for using realism to depict and elevate the textures of everyday life. This approach is evident in works such as “Girl with Rabbit,” a in traditional dress holding a small animal. In works like these, we see the scale Chinese modern painting internationally: presenting imagery that is, in one sense, demonstrating his mastery as a painter and his full knowledge of Western art history and

3012

He Daqiao (b. 1961)

“Girl with Rabbit,” 1986 Oil on canvas

Signed in Chinese and dated 86, lower left; titled in ink, in another hand, on a label affixed to the frame’s backing paper

24” H x 20” W

$3,000-5,000

Xu Yanzhou (b. 1961)

Among the many fine examples of Chinese realism Xu graduated from the Central Academy of Fine other organizations, quickly became known as a receiving his MFA from Tulane University while youngest visiting professor in Canada when he Colorado, Beijing, and New York. Xu’s work was Cezanne’ and Other Works: Selections from the Museum in Pasadena in 1991, and he held a major Museum in 2008.

realism in the collection is the work of Xu Yanzhou. Born in the port city of Qingdao, Fine Arts and, establishing himself within the Chinese National Society of Artists and a master of rural realism. He subsequently taught and studied internationally, also teaching at Tulane and Newcomb Art College in New Orleans. He was the taught at the University of Regina, and he currently divides his time between was included in the groundbreaking exhibition “’ I Don’t Want to Play Cards with the ‘New Wave’ and ‘Avant-Garde’ Art of the Eighties” at the Pacific Asia Art major solo exhibition, “Writing the Mind,” at the University of Hong Kong Art

3013

Xu Yanzhou (b. 1961)

“Combing” Oil on canvas

Signed in Chinese characters, as well as in English, verso: “Yan Zhou Xu;” with the artist’s name, “Xu Yan Zhou,” and titled, both in another hand, on a label affixed to the stretcher; also inscribed “Central Academy / of Fine Art / Beijing, China” and with other Chinese characters on the verso 28” H x 30” W

$6,000-8,000

Notes:

The present work is in fact among his original graduation works, typifying both his subsequent style as well as the rigorous demands placed on Chinese painters at the Central Academy, requiring that the demonstrate mastery of anatomy, hands in active, difficult positions, temperature in the form of heat rising from the barrel, motion in the form of the chickens, and light as it is reflected from the figure’s mirror and the ladle in the lower right corner.

Guan Weixing (b. 1940)

Guan Weixing, an internationally renowned watercolor where he gained special admission to the oil painting and vice president of the China Watercolor Association. years and has exhibited widely across Asia, North

Leslie Worth, former president of the British Royal beautiful. Each painting is a lyric poem.” Indeed, composition, tone, and technique rarely seen.

watercolor artist, was born in Shenyang and studied at the Lu Xun Art Institute, painting department. He has served as director of the China Fine Arts Association Association. Guan worked with Ambleside Arts Gallery in North Carolina for twenty North America, and Europe.

Royal Watercolor Society, described Guan’s work: “Mr. Guan’s works are fresh and Indeed, the works from this collection demonstrate a level of refinement in

3014

Guan Weixing (b. 1940)

“Chinese Muslim,” 1987 Oil on canvas

Signed in Chinese and dated 87, lower right; titled by repute 22” H x 15” W

$600-800

3015

Guan Weixing (b. 1940)

“Having Bathed,” 1989

Watercolor on paper

Signed in Chinese and dated 89-8, lower right; titled in Chinese and inscribed “No.1” in pencil, verso Sheet: 20” H x 14.125” W

$600-800

3016

Guan Weixing (b. 1940)

“Mei Ling,” 1990

Watercolor on paper

Signed in Chinese and dated 1990, lower right; titled by repute Sheet: 20.5” H x 14.75” W

$600-800

3017

Guan Weixing (b. 1940)

“Fresh Flowers and Fruit,” 1990

Watercolor on paper

Signed in Chinese and dated 1990, lower right; titled by repute

Image/Sheet: 19.375” H x 14.5” W

$600-800

3018

Guan Weixing (b. 1940)

“Courtyard Entry,” 1990

Watercolor on paper

Signed in Chinese and dated 1990, lower right; titled by repute Sheet: 20.25” H x 14.5” W

$600-800

3019

“Within the Wall” Oil on canvas

Signed in Chinese in black ink on the stretcher, possibly in another hand; titled by repute 24” H x 28.5” W

$600-800

Si Zijie (b. 1956)

3020

Qu Baiping (b. 1945)

“The Earring,” 1990 Oil on linen

Signed in Chinese and dated 90, lower right; titled by repute 21” H x 25.875” W

$500-700

3021

Zhang Keng

(b. 1948)

“Oriental Madonna”

Watercolor, gouache, and ink on laid Japanese paper laid to paper

Signed in Chinese in black ink, lower right; titled by repute

Image/Sheet: 26” H x 26” W; Thick support sheet: 29.25” H x 28.875” W

$600-800

3022

Zhang Keng (b. 1948)

“Before Marriage,” 1990

Pastel on paper

Signed in Chinese and dated 90.5 in the lower left corner; titled by repute Sight: 25.25” H x 17.375” W

$600-800

3023

Zhang Keng (b. 1948)

“After Marriage,” 1990

Pastel on paper

Signed and dated lower right: Zhang .Kan[sic] / 90.3; titled by repute

Sight: 20.5” H x 26.5” W

$600-800

3024

Zhang Keng (b. 1948)

“Girl in Red” Oil on canvas

Signed in Chinese lower left; titled on a label affixed verso 22.75” H x 16.5” W

$500-700

3025

Zhang Keng (b. 1948)

“Family Finery,” 1990 Oil on canvas

Signed in English and Chinese, and dated, all upper right: Ken[sic] 90; inscribed in Chinese in ink along the stretcher; titled by repute 20” H x 24” W

$500-700

3026

Zhang Keng

(b. 1948)

“Girl Smiling”

Watercolor on paper mounted to a paper support sheet with a brown and gold fabric border

Unsigned; titled by repute

Image/Sheet: 9.875” H x 14” W; Support sheet with fabric border: 14.375” H x 19.25” W

$400-600

3027

Zhang Keng (b. 1948)

“Woman Carrying Baskets”

Watercolor on paper mounted to a paper support sheet with a mint-colored fabric border

Unsigned; titled by repute

Image/Sheet: 10” H x 14.5” W; Support sheet with fabric border: 14.375” H x 19.625” W

$400-600

3028

“Childhood Home,” 1987 Oil on canvas

Signed in Chinese and dated 87.60, lower left; titled by repute

18” H x 21.75” W

$500-700

Zhang Keng (b. 1948)

Pan Shixun (b. 1934)

Pan Shixun is another important artist who used groups with new levels of sensitivity and empathy. graduated from the Central Academy of Fine Arts masters of oil painting in China. He later became Western art into the official curriculum.

Beginning in the 1960s, Pan made regular trips These journeys became the foundation of much also about conveying the beauty and touching

In 2019, the Central Academy of Fine Arts Art Museum Toughness, Taking the Truth as a Teacher - Pan educator and a champion of direct observation

used his Chinese academic realist training to imbue depictions of China’s minority empathy. Born in Jilin in 1934 and a member of the Manchu ethnic group, Pan Arts in Beijing in 1960, where he studied under Wu Zuoren, one of the early became a professor at the Academy, where he played a pivotal role in introducing

trips to Tibet, often staying in remote areas to observe and sketch rural Tibetan life. much of his art. As he noted, “Truth is not only about the trueness in paintings, but things in life.”

Museum honored Pan with a major career retrospective, “Seeking Truth through Shixun’s Sketches and Oil Paintings,” which highlighted his legacy as both an observation from life.

3029

Pan Shixun (b. 1934)

“Spring Plowing and Feeding the Cattle,” 1989 Oil on canvas

Signed in English and Chinese, and dated, lower right: Pan 1989; signed again and titled in Chinese, and also dated again, all verso 38” H x 65” W

$3,000-5,000

Xu Jiang (b. 1955)

Born in Fujian in 1955, Xu Jiang graduated from went on to study at the Hochschule für Bildende Artists Association and the Zhejiang Artists’ Association, Academy of Art. Xu has exhibited extensively in (2019), the State Russian Museum in St. Petersburg Kunstsammlungen in Dresden, Germany (2012), 10th Venice Biennale of Architecture (2006) and

from the Oil Painting Department of the China National Academy of Art in 1982 and Bildende Künste in Hamburg, Germany. He is currently Vice Chairman of both the China Association, and serves as Director, Professor, and Doctoral Advisor at the China in China and internationally, with solo presentations at the Shandong Art Museum Petersburg (2019), the Shanghai Minsheng Art Museum (2018), and the Staatliche (2012), among others. His work has also been included in major platforms such as the and the Chengdu Biennial (2005).

3030

Xu Jiang (b. 1955)

“Samurai”

Oil on four attached canvases

Initialed lower right of the second canvas: X.J.; titled by repute; the verso of each canvas numbered from 1-4 and with an arrow indicating orientation for display

Each canvas: 39.25” H x 15.75” W; Overall: 39.25” H x 63.25” W

$8,000-12,000

Notes:

Xu is a prolific and influential painter and teacher, with an acute sense of history, symbolism, and narrative. The present work is a particularly rare early example, epic in scale, in which the artist explores color, movement, form, and abstraction to create a vibrant evocation of an ancient aspect of Asian culture: the warrior spirit embodied by the samurai.

Zhang Li (b.

1958)

Zhang Li is another prominent realist painter represented Liberation Army at the age of 18, serving as an of the People’s Liberation Army in 1983. Zhang paintings are held in the permanent collection including the Artist’s Excellence Award in China Portrait Competition.

represented in the Jones Collection. Born in Beijing in 1958, he joined the People’s officer while also studying painting. He graduated from the Fine Art Department Zhang is well known for his exquisite figurative works, particularly portraiture. His of the Chinese National Gallery, and he has received numerous accolades, China and the Grand Prize in the American Society of Portrait Artists’ International

3031

Zhang Li (b. 1958)

“Wind & Snow of Chang Bai Mountain” Oil on joined canvas

Unsigned; titled in pencil, in another hand, on a tag strung to the frame’s hanging wire

40.5” H x 83” W

$3,000-5,000

Notes:

The present work is exceptionally rare within the artist’s career: a large-scale, multi-figure battle scene depicting the everyday heroics of the Eighth Route Army during an engagement with the Japanese Imperial Army in 1943. The Eighth Route Army, known for operating in remote areas of Northeast China, then largely under Japanese control, was also notable for the number of women in its ranks, as reflected here in the upper right with Zhang’s depiction of a female soldier tending to the wounded. Such canvases were vital to the reimagining of contemporary art in China, redirecting realism away from the idealized forms of propaganda and toward the gritty realities of history, realities that, in many cases, proved all the more heroic.

Dou Peigao (b. 1943)

The painting in this lot is an ode to the famed “Long the Red Army of the Communist Party of China, the Kuomintang (KMT or Chinese Nationalist Party) a desperate effort to escape annihilation by Chiang western China, moving west and then north toward

The painting depicts the army crossing meadowlands 20,000 reached Yenan, in the northern bend of Long March became a defining episode in the party’s central figure in the decades to come.

“Long March” that took place in 1934-1935, undertaken by 120,000 soldiers of China, who were the forerunners of the People’s Liberation Army, to evade pursuit by Party) forces. Lasting 370 days and covering more than 6,000 miles, the march was Chiang Kai-shek’s troops. The route traversed some of the most difficult terrain of toward Shaanxi.

meadowlands and swamps on the high plateaus. Of the original force, only about the Yellow River, where Mao Zedong consolidated his leadership of the PLA. The history of the Communist Party of China and cemented Mao’s prestige as the

3032

Dou Peigao (b. 1943)

“The Long March,” 1987 Oil on joined canvas

Signed in Chinese and dated 1987, lower right; signed again and inscribed in Chinese characters verso; titled by repute 16” H x 79.5” W

$20,000-30,000

Hang Faji (b. 1946)

Hang Faji is best known in China today as an experimental contemporary ink painting as well as in solo exhibitions, (2015). His works have also been exhibited at the Phoenix Art Museum.

The works presented here offer a much broader Hang nearly drowned as a child when his family showed a keen interest in arts and crafts, and his late 1970s and early 1980s. Using whatever scraps landmarks such as the Three Gorges and the Summer favorite poet, Li Bai, composing by moonlight. their vitality and craftsmanship were readily recognized

The collection also includes a wide range of works portraits from the 1960s, to works that engage peasant life, and the veneration of elders. In these, Some works address specific traumas of the 20th mourning, surrounded by human skulls, referring foreshadow Hang’s later dedication to ink and experimentation, seem to probe themes that are nearly cosmic in

experimental ink painter, with his works featured in numerous surveys of exhibitions, including “Ink Wash & Dissipation” at the Today Art Museum in Beijing the Chinese National Art Museum, the Jiangsu Art Museum, and twice at the

broader perspective on Hang’s career and the scope of his creativity. Born into poverty, family considered the burden of raising another child too great. From an early age, he his ingenuity is especially evident in the fabric and paste collages he created in the scraps of fabric were available, he crafted poetic images of rural life, iconic Chinese Summer Palace, simple boating scenes, and even imaginative depictions of his Many of these works were widely published in China at the time, suggesting that recognized by his peers.

works in different media, from some of Hang’s earliest student pieces, still lifes, and with common themes of the era: maternal love, the dignity and hardship of these, Hang explored the expressive possibilities of ink painting and expressionism. 20th century, such as “Crying in Silence” (1985), an image of a nude woman in referring to the notorious Japanese occupation and “Rape of Nanjing” in 1937. Others experimentation, particularly his philosophical and abstract compositions, which in scope.

3033

Hang Faji (b. 1946)

“Crying in Silence/China’s Sorrow,” 1985 Ink and gouache on paper laid to paper Signed in Chinese and dated 1985.10 in black ink, upper left; with a red ink collaged chopmark lower left; titled on a tag tied to the frame’s hanging wire Image/Sheet: 40” H x 57.75” W; Sight of support sheet: 40.5” H x 58” W

$400-600

Exhibited: Phoenix, AZ, Phoenix Art Museum, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004 - April 17, 2005 Phoenix, AZ, Phoenix Art Museum, “Phoenix Rising,” 2016

Literature:

Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 10, illustrated

Notes:

The Phoenix Art Museum exhibition catalogue describes this painting as “This image of a kneeling woman whose body is formed of skulls against a background of more skulls recalls the Rape of Nanjing in 1937.”

3034

Hang Faji

(b. 1946)

“The Dove,” 1978

Fabric collage on paper

Signed in Chinese and dated 78 in pencil, lower right; variously inscribed with Chinese characters, and dated “78,” as well as “1991·2·26,” in pencil or ink, all verso; titled by repute

Sheet: 10.875” H x 7.625” W

$100-200

3035

Hang Faji (b. 1946)

“Summer Palace,” 1981

Fabric collage on light green paper mounted to dark green paper

Signed in Chinese and dated 1981 in ink lower right; titled in pencil on a label strung to the frame’s hanging wire, and titled again in blue ink on the frame’s backing paper, both in another hand

Sheet: 15.25” H x 10.375” W

$100-200

Literature:

“Pictorial of the People’s Liberation Army,” No. 6 (1982).

3036

Hang Faji (b. 1946)

“Village Fair,” 1980

Fabric collage on paper

Signed in Chinese and dated 1980.8. in black ink, lower right; titled by repute

Sight: 11.75” H x 9.25” W

$100-200

3037

Hang Faji (b. 1946)

“Li Bai Composing a Poem in the Moonlight,” 1976

Fabric collage on paper

Signed in Chinese and dated 1976·12· in black ink, near the center; titled in pencil on a label, in another hand, and on the frame’s backing paper

Sight: 14.125” H x 10.125” W

$100-200

Exhibited:

Phoenix Art Museum, Phoenix, AZ, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004-April 17, 2005

Literature:

“People’s Daily,” “Battlefield,” No. 2 (1980)

Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 14, illustrated

3038

Hang Faji (b. 1946)

“Source of Oriental Culture,” 1983

Fabric and paper collage on paper

Signed in Chinese and dated 1983·1 in ink lower right; stamped with a variety of five red ink chopmarks lower left; titled by repute

Sight: 20.75” H x 13.5” W

$200-300

3040

Hang Faji (b. 1946)

“Raining,” 1977

Fabric collage on paper

Signed in Chinese and dated 1977·8 in black ink, lower right; titled by repute

Sight: 14” H x 8.625” W

$100-200

Literature: “China Reconstructs,” No. 5 (1980)

3039

Hang Faji (b. 1946)

“Small Bridge Over Stream in Autumn,” 1982

Fabric collage on paper

Signed in Chinese and dated 1982·11 in ink, lower right; inscribed in Chinese in black ink and numbered “472” in red ink, all possibly in the hand of the artist, verso; titled by repute Sheet: 21.5” H x 15.375” W

$200-300

Li Qiang (b. 1965)

Born in Nanjing in 1965, Li Qiang is a graduate was a winner of the prestigious Liu Haisu Scholarship, among the four modernizers of Chinese painting.

Li is currently a professional painter at the Nanjing are in the collection of the Jiangsu Art Museum collection, he often employs the difficult and painstaking and exquisitely rendered images of peasant and

graduate of the Nanjing University of the Arts, where he specialized in Chinese painting. Li Scholarship, named for the prominent Chinese modern artist and educator, considered painting.

Nanjing Painting Institute and a member of the China Artists Association. His works Museum and the China Art Museum in Beijing. As with the works in the present painstaking tradition of “gongbi” (“tidy” or “meticulous” brush) in his whimsical and rural life.

3041

Li Qiang (b. 1965)

“Grinding”

Watercolor and ink on fabric with a printed paper border, all laid to paper, as issued

Signed in Chinese in black ink and with a red ink chopmark near the center of the right edge; titled by repute Sheet: 12.25” H x 15.875” W; Support sheet (with printed paper border): 21.75” H x 25.375” W

$3,000-5,000

3042

Li Qiang (b. 1965)

“It’s Not Corn”

Watercolor, gouache, and ink on fabric with a printed paper border, all laid to paper, as issued

Signed and inscribed in Chinese in black ink and with a red ink chopmark, all near the center of the left edge; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sheet: 12.25” H x 16” W; Sight (with printed paper border): 17.5” H x 21.25” W

$600-800

Exhibited:

Phoenix Art Museum, Phoenix, AZ, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004-April 17, 2005

Literature:

Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 32, illustrated

3043

Li Qiang (b. 1965)

“Stenciling Silk”

Ink on fabric with a printed paper border, all laid to paper, as issued Signed and inscribed in Chinese in black ink and a chopmark in red ink, both at upper right; titled in pencil on a string tag attached to the framing wire Sheet: 12.25” H x 16” W; Sight of support sheet: 17.25” H x 20.5” W

$600-800

3044

Li Qiang (b. 1965)

“Pagodas”

Ink on fabric with a printed paper border, all laid to paper, as issued Signed in Chinese in black ink and a chopmark in red ink, both at the center of the right edge; titled in pencil on a string tag attached to the framing wire Image: 12.625” H x 15.5” W; Sight: 17.625” H x 20.125” W

$600-800

3045

Chang Jin (b. 1951)

“Zhejiang Residence” Ink on rice paper

Signed in Chinese in black ink and with a red ink chopmark near the center of the left edge; with another red ink chopmark, lower right; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 26.5” H x 26.25” W

$2,000-3,000

3046

Chang Jin (b. 1951)

“Odalisque”

Ink, watercolor, metallic pigment, and traces of graphite on rice paper Signed in Chinese in black ink and with a red ink chopmark, both lower right; with another red ink chopmark, lower left; titled in pencil, in another hand, on a label strung to the frame’s hanging wire Sight: 25.75” H x 26” W

$2,000-3,000

Exhibited: Phoenix, AZ, Phoenix Art Museum, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004-April 17, 2005

Literature:

Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 33, illustrated

Jiang Guofang (b. 1951)

Jiang Guofang is one of the most well-regarded peasant family in the Jiangxi countryside in 1951, Beijing in 1978, one of China’s two most prestigious of his contemporaries, Jiang was trained in a Soviet-informed to extricate realism from this highly politicized tradition culture that stood outside of the vagaries and traumas of spiritual and cultural refinement. This began and other court figures. Even the present nude,

well-regarded and sought-after realist figure painters working in China today. Born into a 1951, Jiang graduated with distinction from the Central Academy of Fine Arts in prestigious art academies, and was immediately appointed to the faculty. Like many Soviet-informed Socialist Realist tradition, and in his own painting practice, sought tradition by focusing instead on subjects that suggested aspects of Chinese traumas of history, subjects that suggested beauty, elegance, and a long history with subject matter drawn from imperial history, including empresses, emperors, nude, titled “Kneeling Buddha,” suggests a spirituality inherent to the figure itself.

3047

Jiang Guofang (b. 1951)

“Kneeling Buddha,” 1989

Oil on canvas

Signed in Chinese and dated 89 [character] 9 [character] lower right; signed again and inscribed in Chinese characters in ink, verso; titled by repute

39.5” H x 39.75” W

$50,000-70,000

3048

Jiang Tao (20th century)

Reclining nude, 1989

Oil on canvas

Signed in Chinese and dated 1989, upper left 21.5” H x 30.75” W

$700-900

3049

Wang Xin (b. 1957)

“Girl in Flowered Shawl,” 1987 Oil on canvas

Signed in Chinese and dated 87. / 5., lower left; titled by repute 32” H x 27.5” W

$2,000-3,000

3050

Lu Juding (b. 1940)

“Girl in Blue,” 1988 Oil on canvas

Inscribed in Chinese and dated 1988.11.17, verso; titled on a label affixed to the stretcher bar 28.75” H x 23.75” W

$3,000-5,000

Notes:

Some of the artists in the Jones Collection were trained by, and found employment with, the People’s Liberation Army and were, in fact, the creators of some of the better-known mass-market propaganda posters. Lu Juding is one such example. He trained at the Anhui Art Academy until 1961 and continued his studies in the Oil Painting Department of the Central Academy of Fine Arts. He joined the Rail Police in 1973 and, in 1975, created the well-known poster Study Well and Grasp the Theory of the Dictatorship of the Proletariat.

Lu continued to paint in his spare time, and the present work represents his personal practice. It demonstrates his skill as a portraitist and his facility in rendering contrasting fabric patterns, as seen in the woman’s dress.

3051

Kun (b. 1958)

“Tibetan Mother,” 1988 Oil on canvas

Signed and dated lower right: Wang Kun / 1988.12; titled in black ink, in another hand, on a label affixed to the frame’s verso 20.25” H x 29.25” W

$500-700

Wang

3052

Zhu Sunxian (20th century)

“Passing the Bridge,” 1989

Watercolor and pastel on crumpled-style Japanese paper

With Chinese characters and an ink stamp, presumably the artist’s name, and dated 89, all in red ink in the lower right corner; with Chinese characters, the artist’s name, Zhu Sun Xian [sic], and dated 1989, all in black ink, verso, some possibly in another hand; titled by repute

30.5” H x 20.5” W

$500-700

Hua Yiyu (1922-2005)

Hua Yiyu was the oldest artist in the collection. and ink painting at the age of six and eventually Department. Political and personal circumstances though in the 1950s she sometimes painted while began to focus on architecture, despite discouragement element of everyday life and Chinese history.

She seldom painted for many years until 1979, countryside. From then on, in her 60s and into executed watercolors. These works are intimate landscape in situ, and perhaps also reflecting her go unrecognized.

Hua’s works are now held in the permanent collection at institutions including the Architecture Department and the Architecture Department of Central China Association, the Beijing Watercolor Painting Association, and her influence extensive, including Liu Fenglan,

Born in 1922 into an official family in Beijing, she began training in calligraphy eventually graduated from what was then the Beijing Fine Arts School’s Oil Painting circumstances made it difficult for Hua to maintain her painting career for many years, while taking her six children to the countryside. It was during this period that she discouragement from friends and colleagues, asserting that architecture was an essential when she was invited to contribute to an exhibition that would travel to the her 70s, she returned to her preferred subject matter in exquisite, elegantly intimate in scale, suggesting the practical aspects of observing architecture and her enduring hesitancy as an artist, having been told for years that her works might collection of the China National Art Gallery. She served as a professor and lecturer Department of Beijing University, the Architecture Department of Tsinghua University, China Technical University. She was a member of the China National Art Association, and numerous other professional associations. Her students were many Fenglan, also prominent in the collection.

3053

Hua Yiyu (1922-2005)

“Sea of Wisdom Temple”

Watercolor and traces of graphite on paper

Signed in Chinese lower left; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 18.25” H x 14” W

$1,000-1,500

3054

Hua Yiyu (1922-2005)

“Juyong Pass,” 1973

Watercolor on paper

Signed in Chinese and dated 1973, lower left; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 14.25” H x 21.5” W

$1,500-2,000

3055

Hua Yiyu (1922-2005)

“Xiantong Temple at Wutai Mountain,” 1975

Watercolor with traces of graphite on paper

Signed in Chinese and dated 1975, lower left; titled by repute Sight: 17.125” H x 14.125” W

$1,000-1,500

3056

Hua Yiyu (1922-2005)

“Rainy Scene in Dalian,” 1976

Watercolor on paper

Signed in Chinese and dated 1976, lower right; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 15” H x 21” W

$1,000-1,500

Exhibited:

Phoenix, AZ, Phoenix Art Museum, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004-April 17, 2005

Literature:

Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 24, illustrated

3057

Hua Yiyu (1922-2005)

“Wumen Bridge” (Humen Bridge), 1979

Watercolor on paper

Signed in Chinese and dated 1979, in black ink, and with the red ink collaged chopmark, all in the lower right corner; titled in pencil, in another hand, on a string tag attached to the frame’s hanging wire

Sight: 15” H x 20.75” W

$1,000-1,500

3058

Hua Yiyu (1922-2005)

“Cloud Dispelling Hall”

Watercolor on paper

With a red ink collaged chopmark, presumably the artist’s name, and inscribed in Chinese in black ink, all lower left; titled in pencil, in another hand, on a string tag attached to the frame’s hanging wire

Sight: 13.25” H x 18.5” W

$1,000-1,500

3059

Hua Yiyu (1922-2005)

“Dragon King Temple,” 1982

Watercolor on paper

Signed in Chinese and dated 1982, lower left; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 21.75” H x 17” W

$1,000-1,500

3060

Hua Yiyu (1922-2005)

“Wooden Tower in Yingxian County,” 1983

Watercolor on paper

Signed in Chinese and dated 1983, both in reddish-brown ink in the lower right quadrant; titled by repute Sight: 18.75” H x 13.75” W

$1,000-1,500

3061

Hua Yiyu (1922-2005)

“Village of Tibet,” 1983 Watercolor on paper Signed in Chinese and dated 1983, lower left; titled by repute Sight: 14.25” H x 20.25” W

$1,000-1,500

3062

Hua Yiyu (1922-2005)

“Tower of the Fragrance of Buddha,” 1986

Watercolor on paper

Signed in Chinese lower left; inscribed in Chinese characters in ink on the verso and on a piece of cardstock scotch-taped to the verso; titled and dated by repute Sheet: 15.375” H x 21.25” W

$1,500-2,000

3063

Hua Yiyu (1922-2005)

“Lijiang River,” 1986 Watercolor on paper

Signed in Chinese lower left; titled and dated by repute Sheet: 13.5” H x 17.75” W

$1,500-2,000

3064

Hua Yiyu (1922-2005)

“Residence in South China,” 1989

Watercolor with traces of graphite on paper

Signed and inscribed in Chinese lower right; inscribed in Chinese characters, presumably in the hand of the artist, verso; titled and dated by repute Image/Sheet: 15.25” H x 16” W

$1,500-2,000

3065

Hua Yiyu (1922-2005)

“Early Spring,” 1990

Watercolor on paper

Signed in Chinese and dated 1990, lower right; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 14” H x 20.75” W

$1,000-1,500

3066

Hua Yiyu (1922-2005)

“Memorial Gate,” 1990

Watercolor on paper

Signed in Chinese and dated 1990, lower right; titled by repute Sight: 15.125” H x 21.125” W

$1,000-1,500

3067

Hua Yiyu (1922-2005)

“Memorial Gate,” 1990

Watercolor and traces of graphite on paper

Signed in Chinese and dated 1990, lower left; titled by repute

Sheet: 15.5” H x 21.25” W

$1,500-2,000

3068

Hua Yiyu (1922-2005)

“Forbidden City,” 1991

Watercolor on paper

Signed with the artist’s name in Chinese characters, and dated 1991, all in green ink in the lower left corner; titled by repute 20.5” H x 15.125” W

$1,500-2,000

Liu Fenglan (b. 1944)

Another prominent female artist in the collection Her education was disrupted by the Cultural lecturer in art at Tsinghua University. Like her architecture and rural life, themes that imbue

collection and a student of Hua Yiyu, Liu studied art at Beijing Normal University. Cultural Revolution (1966-76), but she later resumed her career and served as a her mentor, Liu’s works reveal an enduring affinity for traditional Chinese imbue her paintings with a sense of timelessness.

3069

Liu Fenglan (b. 1944)

“Dahua Temple in Kunming,” 1986

Watercolor on wove paper with a white paper-tape margin added all around, presumably as issued Chinese characters in brown ink at lower right, possibly including the artist’s name; numbered 3 and with Chinese characters as well as the artist’s name in English: Liu Fang Lan, all in blue ink on the verso, possibly in another hand; titled by repute Image/Sheet: 14.125” H x 19” W; Overall:14.625” H x 19.5” W

$1,000-1,500

3070

Liu Fenglan (b. 1944)

“End of a Bridge by Li Jiang River,” 1988

Watercolor on paper

Signed in Chinese lower right; inscribed in Chinese characters in pencil, possibly in another hand, verso; titled by repute Sheet: 15.375” H x 21.125” W

$1,000-1,500

3071

Liu Fenglan (b. 1944)

“Cherry Dale in Western Mt,” 1988

Watercolor on paper

Signed in Chinese and dated 1988.6, both in red ink, lower right; inscribed in Chinese characters and the artist’s name in blue ink, possibly in another hand, verso; titled by repute Sheet: 17.5” H x 12.5” W

$1,000-1,500

3072

Liu Fenglan (b. 1944)

“Early Snow in Beijing Suburb,” 1988

Watercolor on paper

Signed in Chinese and dated 1988.9., lower right; titled by repute

Sight: 14” H x 20” W

$300-500

3073

Liu Fenglan (b. 1944)

“Lao Jie,” 1988

Watercolor on paper

Signed in Chinese and dated 1988.10 in brownish-red ink, lower right; titled by repute

Sheet: 16.5” H x 14” W

$1,000-1,500

3074

Liu Fenglan (b. 1944)

“Setting up Shop,” 1990

Watercolor with touches of graphite on wove paper

Signed in Chinese characters and dated 1990.8, both in black ink in the lower left corner; numbered 4 and inscribed in Chinese characters, and with a price sticker, all in blue ink on the sheet’s verso, possibly in another hand; titled by repute

Image/Sheet: 20.375” H x 14.75” W

$1,000-1,500

3075

Liu Fenglan (b. 1944)

“Tibetan Herder,” 1989

Watercolor on wove paper

Signed in Chinese characters and dated 1989.12, both in blue ink in the lower right corner; numbered 24 and inscribed in Chinese characters, both in blue ink on the sheet’s verso, possibly in another hand; titled by repute

Image/Sheet: 17.375” H x 12.5” W

$1,000-1,500

3076

Liu Fenglan (b. 1944)

“Waiting,” 1990

Watercolor with touches of graphite on wove paper

Signed in Chinese characters and dated and 1990.8, both in brown ink in the lower right corner; numbered 8 and inscribed in Chinese characters, and with a price sticker, all in blue ink on the sheet’s verso, possibly in another hand; titled by repute

Image/Sheet: 14.75” H x 20.625” W

$1,000-1,500

3077

Liu Fenglan (b. 1944)

“Alone,” 1990

Watercolor with touches of graphite on wove paper

Signed in Chinese characters and dated 1990.7, both in brown ink in the lower left corner; numbered 15 and inscribed in Chinese characters, both in blue ink on the sheet’s verso, possibly in another hand; titled by repute

Image/Sheet: 14.75” H x 20.5” W

$1,000-1,500

3078

Liu Fenglan (b. 1944)

“The Village,” 1990

Watercolor on paper

Signed in Chinese and dated 1990.8. in black ink, lower left; inscribed in Chinese characters in blue ink, possibly in another hand, verso Image/Sheet: 14.75” H x 19” W

$1,000-1,500

3079

Guo De An (b. 1930)

“The Emperor’s Poison,” 1984

Watercolor and gouache on paper

Signed in Chinese and dated 1984 in black ink, lower right; titled by repute Sight: 15” H x 20.75” W

$400-600

3080

Guo De An (b. 1930)

“Buddha”

Mixed media on paper

Signed and inscribed in Chinese characters in black ink, lower right; titled by repute

Sight: 30.5” H x 16.875” W

$500-700

3081

Guo De An (b. 1930)

“Summer Palace,” 1987

Mixed media on paper

Signed in Chinese, dated 1987, and inscribed in Chinese characters, all lower left; titled on a label affixed to the frame’s glass, lower left

Sight: 21” H x 15” W

$400-600

Guo De An (b. 1930)

“Amazing Winding Valley”

Mixed media on paper with a printed paper border, all backed with laid Japanese paper, as issued

Signed in Chinese in black ink and with a red ink chopmark, along the lower portion of the left edge; with various Chinese inscriptions in pencil and ink, possibly in the hand of the artist, all on the verso of the laid Japanese backing; titled by repute

Overall: 20.25” H x 22” W

$300-500

3083

Guo De An (b. 1930)

“Kunming Lake in Summer Palace,” 1978

Watercolor and ink on paper

Signed in Chinese and dated 1978·8·11 in brownish-red ink, lower right; titled by repute

Image/Sheet: 20.25” H x 14.75” W

$300-500

Notes:

On the verso is what seems to be an initial sketch for a different subject matter.

Additionally, accompanied by a thick support sheet, now detached from the watercolor, and the verso of the support sheet bears several inscriptions in Chinese characters, possibly in the artist’s hand.

3084

Guo De An (b. 1930)

“Prairie Fire - Yuan Ming Yuan,” 1979

Mixed media on paper

Signed in Chinese, dated 1979, inscribed with Chinese characters, all in red ink together with a red ink chopmark, lower left; titled by repute Sight: 21” H x 30.25” W

$500-700

3085

Guo De An (b. 1930)

“Rarely Confused,” 1985

Watercolor, ink, and mixed media on paper

Signed and inscribed in Chinese characters and dated 1985, lower left; titled on two labels, one on the lower left corner of the frame’s glass, and the other affixed to the frame’s backing paper; inscribed “#77” and “9039,” in another hand on the frame’s backing paper

Sight: 20.5” H x 15” W

$400-600

3086

Bao Zhen (b. 1960)

“Against the Spirits,” 1990 Oil on canvas

Signed in Chinese and dated 90, lower right; signed again in Chinese, in pencil, verso; titled by repute

31.5” H x 25.5” W

$700-900

Wang Naizhuang (b.

1929)

Born in Hangzhou, Wang Naizhuang comes from founders of the Xiling Seal Art Society in Hangzhou, Wang showed an interest in art, first studying sketching

He entered the Shanghai Art Training Institute in pursued further training at the newly renamed Central Beihong and Wu Zuoren. Wang went on to serve

In recent years, his work has been featured in “The National Museum of China,” an exhibition at the represented. His earliest works reflect his engagement nudes. Over time, his focus shifted to Buddhist influences; his works feature exquisitely layered

Wang’s works are held in the permanent collections China’s National Museum.

from a distinguished scholarly family. His grandfather, Wang Fuan, was one of the Hangzhou, a renowned engraving association in Chinese history. From an early age, sketching and Western painting before gravitating toward ink painting.

in 1947, graduated from the National Beiping Art Institute in 1949, and later Central Academy of Fine Arts, where he studied under modern masters Xu serve as a professor at the Institute of Architecture at Tsinghua University.

“The Historical Expression of Chinese Art: Calligraphy and Painting from the the National Museum of Australia, where he was one of only three artists engagement with Western art, particularly in subject matter such as classical female themes and imagery. Throughout his career, his mastery lies in merging these layered ink washes that evoke the atmospheric qualities of the Impressionist masters.

collections of the Metropolitan Museum of Art in New York, the Brooklyn Museum, and

3087

Wang Naizhuang (b. 1929)

“Introspection in Quiet” Gouache and ink on paper

Stamped with three red ink chopmarks, and inscribed in Chinese characters in black ink, all along the left and right edges; titled by repute

Sight: 18.25” H x 16.5” W

$700-900

3088

Wang Naizhuang (b. 1929)

“Buddha”

Ink wash and mixed media on paper backed with laid Japanese paper

Various red ink chopmarks and Chinese inscriptions along the left and right edges, presumably at least one with the artist’s name; inscribed with Chinese characters in pencil, possibly in the hand of the artist, on the verso of the lower edge, at right, of the laid Japanese paper; titled by repute

Image/Sheet: 18.625” H x 16.75” W; Overall: 23.5” H x 19.5” W

$700-900

3089

Wang Naizhuang (b. 1929)

“High Prestige Over the Universe”

Ink, watercolor, and flecks of gold leaf on paper laid to paper

Stamped with two red ink chopmarks, presumably at least one of which is the artist’s name, and inscribed in Chinese in black ink along the upper and right edges; titled in pencil on a label strung to the frame’s hanging wire, and again in ink on a label affixed to the frame’s backing paper, all in another hand

Sheet: 20.75” H x 14” W

$700-900

Wang Naizhuang (b. 1929)

“Nude”

Gouache and ink on paper laid to paper

Inscribed in Chinese characters in black ink in the upper half of the work; stamped with red ink chopmarks in both the upper portion of the left edge and the lower right corner; titled by repute Sheet: 22.125” H x 26.5” W

$700-900

3091

Wang Naizhuang (b. 1929)

“Setting Sun”

Ink wash in colors on paper mounted to a light blue silk border

Stamped with a small red ink chopmark, presumably the artist’s name lower left; inscribed in Chinese characters along the left edge; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Image/Sheet: 16.75” H x 20.75” W; Sight (with silk borders): 18” H x 22” W

$700-900

3092

Wang Naizhuang (b. 1929)

“Moon Night”

Watercolor, Ink wash, and ink on laid Japanese paper laid to paper with a light blue fabric boarder Signed in Chinese in black ink and with a red ink chopmark at the center of the left edge; titled by repute Image/Sheet: 17.25” H x 20.875” W; Overall: 22.75” H x 26.75” W

$700-900

3093

Ching Xiaosun (20th century)

“Suzhou Rainstorm,” 1989

Watercolor and pastel on paper

With Chinese characters, presumably the artist’s name, and dated 89.5, both lower left; with additional Chinese characters and the artist’s name, Ching Xiao Sun, all written in graphite, presumably in another hand, verso; titled by repute

Sheet: 20” H x 28.75” W

$500-700

3094

Shi Yifang (b. 1944)

“North Gate,” 1989

Watercolor on paper

Signed possibly in Chinese and dated 89·4, lower right; inscribed in Chinese characters in ink, possibly in the hand of the artist, on the verso of the thick support sheet; titled by repute

Image/Sheet: 14.125” H x 17.25” W; Support sheet: 15.5” H x 21.5” W

$300-500

3095

Bei Xu Min (20th century)

“Suzhou in the Winter,” 1990 Watercolor and mixed media on paper With Chinese characters, presumably the artist’s name, and dated 90.1, both in the lower left corner; titled by repute Sight: 24” H x 27” W

$400-600

3096

Bei Xu Min

(20th century)

“Early Fall”

Watercolor on paper

Stamped with a red ink chopmark, presumably the artist’s name, lower left; titled by repute

Sight: 14.75” H x 12” W

$300-500

3097

Li Taihuan (b. 1955)

“River in Autumn,” 1993 Oil on canvas

Chinese characters written in ballpoint ink, verso, possibly the artist’s name; inscribed with the artist’s name in another hand on the stretcher; titled by repute 25.75” H x 31.75” W

$500-700

3098

Zhang Kerang

(b. 1937)

“Goodnight,” 1989

Watercolor on paper

Stamped with a red ink chopmark, presumably the artist’s name, and dated 1989., lower right; titled by repute Sheet: 15” H x 20.75” W

$600-800

3099

Zhang Kerang (b. 1937)

Horse in a field of wildflowers, 1990

Watercolor on paper

Stamped with a red ink chopmark, presumably the artist’s name, and dated 1990, lower right; titled by repute

Sight: 14.5” H x 20.25” W

$600-800

3100

Zhang Kerang (b. 1937)

“Red Towel,” 1990

Watercolor and ink on paper

Stamped with a red ink chopmark, presumably the artist’s name, and dated 1990., lower right; titled by repute

Sheet: 20.75” H x 15” W

$600-800

3101

Zhang Kerang (b. 1937)

“River City,” 1990

Watercolor on paper

Stamped with a red ink chopmark, presumably the artist’s name, and dated 1990., lower right; titled by repute Sheet: 15” H x 20.75” W

$600-800

3102

Zhang Chongqing (b. 1931)

“Sailboats,” 1988

Oil on canvas

Signed in Chinese and dated 1988·2, lower left; dated again and inscribed in Chinese characters, verso 24” H x 28.75” W

$1,500-2,000

Notes:

Born in 1931 in Qingdao, Zhang Chongqing studied at the Central Academy of Art, graduating in 1953, and later became a professor at the Beijing Central Academy of Drama. He was a member of the Chinese Oil Painting Society and the Art & Literature Committee of the Chinese Oil Painting Professors’ Association. His works are held in the collection of the National Art Museum of China. Zhang exhibited extensively throughout China in the 1980s and 1990s and received numerous national awards, including the Excellent Work Prize at the Sixth National Art Exhibition in both 1984 and 1994.

3103

Yuan Long (b. 1936)

“Reflection”

Watercolor with gouache enhancements and traces of graphite on paper

Signed in Chinese and dated 1989.2., lower right; titled by repute Sight: 27.75” H x 22” W

$700-900

3104

Yuan Long (b. 1936)

“Waiting,” 1990

Watercolor on paper

Signed in Chinese and dated 1990.0 in black ink, and a red ink chopmark, presumably including the artist’s name, all in the lower right corner; titled by repute 26.75” H x 20” W

$700-900

3105

Yuan Long (b. 1936)

“Water Alley,” 1990

Watercolor on wove paper

Signed in Chinese and dated 1990·7 in black ink, and with a red ink chopmark, all lower left; titled by repute

Image/Sheet: 24.875” H x 20.25” W

$700-900

3106

“Sampan Sail,” 1989 Watercolor on paper

Signed in Chinese and dated 1989.19, lower right; titled by repute Sight: 16.5” H x 23.25” W

$700-900

Yuan Long (b. 1936)

3107

Yu Kewei (b. 1941)

“Dusk”

Ink and ink wash on laid Japanese paper backed with thinner Japanese paper

Signed in Chinese in black ink, and with two red ink chopmarks along the center of the right edge; titled by repute

Image/Sheet: 26.125” H x 40.375” W; Support Sheet: 26.75” H x 40.875” W

$500-700

3108

Yu Kewei

(b. 1941)

“From Above”

Ink and ink wash on laid Japanese paper backed with thinner Japanese paper Signed in Chinese in black ink, and with two red ink chopmarks along the lower portion of the right edge; titled by repute

Image/Sheet: 25.5” H x 25.625” W; Support Sheet: 26” H x 26.125” W

$400-600

3109

Yu Kewei (b. 1941)

“October Wind”

Ink, ink wash, and watercolor on laid Japanese paper backed with thinner Japanese paper Signed in Chinese in black ink, and with two red ink chopmarks along the lower portion of the right edge; titled by repute Image/Sheet: 26.125” H x 40.375” W; Support Sheet: 26.75” H x 41” W

$500-700

3110

Yu Kewei (b. 1941)

“Dappled Fall”

Watercolor and ink on paper

Inscribed in Chinese in black ink, and with two red ink chopmarks, along the left edge; titled by repute Sight: 25.5” H x 25.25” W

$400-600

3111

Yu Kewei (b. 1941)

“Back Door,” 1988 Oil on canvas

Signed in Chinese and dated 1988, lower right; titled by repute 20.875” H x 18” W

$400-600

Signed in Chinese and dated 1990/10, lower right; titled by repute 18” H x 20.875” W

$400-600

Yu Kewei (b. 1941)

“Upriver,” 1990 Oil on canvas

3113

Chen Shihe (b. 1950)

“River to Heaven” Oil on canvas

Appears unsigned; titled by repute; inscribed verso: AME, presumably in another hand

26” H x 32” W

$2,000-3,000

3114

“Unloading the Boat” Oil on canvas

Unsigned; titled by repute 24 x 32 in.

$2,000-3,000

Chen Shihe (b. 1950)

3115

Chen Shihe (b. 1950) “Small Lane” Oil on canvas Unsigned; titled by repute 50” H x 42” W

$1,000-1,500

Shen Fan (b. 1952)

Born in 1952 in Shanghai, Shen Fan studied decade career defies easy categorization. While garde practice, Shen’s work is rooted in Eastern painting” of his Western contemporaries but work is an extremely rare early example, employing composition of dynamic abstraction.

fine art at the Department of the Shanghai Light Industry Institute. His fourWhile many of his peers pursued Western styles of experimentation and avantEastern philosophy, guiding him toward abstraction that may resemble the “action but is executed through methodical, almost meditative practices. The present employing the ancient “oracle bone” style of calligraphy to create a mesmerizing

3116

Shen Fan (b. 1952)

“Sunfire”

Acrylic on paper laid to paper

With the artist’s red ink chopmark, lower right; titled on a label affixed to the frame’s glass, lower right Image/Sheet: 30” H x 36” W

$1,500-2,000

Notes:

Shen’s works are held in the permanent collections of the Huashan Art Museum, the National Art Museum of China, the Shanghai Art Museum, the M+ Museum in Hong Kong, and the Mingyuan Museum of Contemporary Art. He has exhibited extensively across Asia and internationally, including a recent solo show at the Powerlong Art Museum in Shanghai in 2020.

Zhou Hongzhi (b. 1954)

Trained at the Central Academy of Fine Arts Tsinghua University, a position that afforded here reflect a pivotal shift in Chinese contemporary for collective experience, countering decades deliberately ambiguous, haunting, and provocative, stated, “I hope that my paintings will stimulate feelings go beyond his work to touch other

in Beijing, Zhou Hongzhi later taught in the Architecture Department at him the time and freedom to pursue his studio practice. The works featured contemporary art: an inward turn, transforming personal experience into metaphors decades of top-down, idealized, propaganda-laden visual culture. Zhou’s works are provocative, allowing multiple interpretations to unfold simultaneously. He has stimulate visitors to draw their own conclusions. I believe the artist should make his people’s lives.”

3117

Zhou Hongzhi

(b. 1954)

“Birth is Death,” 1990

Oil on canvas over artist’s panel

Signed in Chinese and dated 1990.11, lower left; titled by repute 47.125” H x 47.25” W

$700-900

3118

Zhou Hongzhi (b. 1954)

“Yin Yang,” 1990

Oil on canvas over artist’s panel

Signed in Chinese and dated 1990.9, lower left; titled by repute 47.25” H x 47.25” W

$700-900

Notes:

According to the artist, “These paintings are not related to stories. They have no special meaning. I wanted to express some strong subconscious thoughts through these paintings. I used the sun, the moon, the composed god of death, innocent or panic-stricken babies, men and women who have no way to go, and the symbol yin-yang. This symbol is a sign of an ancient Chinese philosophy school. It describes how seemingly opposite or contrary forces may actually be complementary, interconnected, and the duality symbolized by yin and yang in life and the natural world.”

3119

Zhou Hongzhi (b. 1954)

“Afraid,” 1989 Oil on canvas

Signed in Chinese and dated 1989.7, lower right; titled by repute

30” H x 24” W

$600-800

3120

Zhou Hongzhi (b. 1954)

“Buddha” Oil on canvas

Signed in Chinese, in pencil, on the canvas overlap; titled by repute 39” H x 27” W

$600-800

3121

Signed in Chinese and dated 1989.9, lower right; titled by repute 24” H x 30.25” W

$600-800

Zhou Hongzhi (b. 1954)

“Attack on China” Oil on canvas

An Bin (b. 1962)

Born in 1962, An Bin graduated from the Zhejiang where he later taught in the Department of

Education. He is well-known for his work across acrylic, and paper-cutting. His woodcuts in particular his work are held in the permanent collection

His facility in moving between and combining whether in the form of a simple and elegantly people, or in the ancient symbology found in President of the Printmakers’ Association of

Zhejiang Academy of Fine Arts in 1984 (now the China Academy of Art, or CAA), Printmaking and currently serves as a Professor in the CAA School of Continuing across various media, including mixed media, as well as engraving, watercolor, ink, particular have been published and exhibited internationally, and examples of collection of the Art Institute of Chicago.

combining media can be seen in the poetic and metaphorical works presented here, elegantly executed nude study, in the poignant and symbolic portraits of Chinese in Phoenix. In addition to his roles at the CAA, An has also served as Vice Zhejiang and as Director of the Zhejiang Association of Oil Painters.

3122

An Bin (b. 1962) “Phoenix”

Gouache and touches of ink on paper

Signed and with a red ink chopmark (partially obscured by the overmat), presumably the artist’s name, both in the lower right corner: An Bin; with numerous Chinese characters throughout the composition; titled by repute

Sight: 35” H x 25” W

$8,000-12,000

3123

An Bin (b. 1962)

“Resting,” 1987

Woodcut in colors on wove paper

Edition: An artist’s proof aside from the edition of unknown size

Signed, inscribed “A/P,” and inscribed in Chinese, all in pencil in the lower margin: An Bin 87; titled on a label affixed to the glass

Image: 15.75” H x 20” W; Sight: 17” H x 21” W

$1,000-1,500

3124

An Bin (b. 1962)

“Southerner”

Gouache on green/beige, ice dyed-type Japanese paper laid to heavier paper, as issued Signed in ink and with the artist’s red ink chopmark in the lower right corner: An Bin; titled by repute 34.875” H x 24.625” W

$7,000-10,000

3125

An Bin (b. 1962)

“Ancient One”

Gouache and watercolor on Fabriano paper

Signed lower right: An Bin; titled by repute

Image/Sheet: 27.5” H x 19.5” W

$4,000-6,000

Cheng Yuan (b. 1952)

A native of Beijing, Cheng Yuan studied at the Cheng and his family endured tremendous hardships and the family was dispersed to work units and prospects for the future I had dreamed of seemed

The works in this collection demonstrate Cheng’s Buddhist faith. Studies of hands and feet serve reflect on his personal journey. His works on

the Central Academy of Fine Arts and later became a professor of fine arts. hardships during the Cultural Revolution. His father took his own life in 1968, and assigned to hard labor in different provinces. The artist has said, “The seemed dark, but my ideal was still to be a respected man.”

Cheng’s skill as a painter and artist, often hinting at or explicitly referencing his serve as metaphors for the passage of time, while slightly surreal compositions paper and rice paper reveal the subtlety and meticulousness of his craft.

3126

Cheng Yuan (b. 1952)

“In the Hand of Buddha,” 1990 Oil on canvas

Signed in Chinese and English, and dated, all lower left: Cheng Yuan 1990; titled on a tag strung to the frame’s hanging wire

49.25” H x 86.75” W

$700-900

Exhibited:

Phoenix Art Museum, Phoenix, AZ, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995,” September 25, 2004-April 17, 2005

Literature: Janet Baker and Gerry Jones, “Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995” (Phoenix Art Museum, Phoenix, AZ, 2004) p. 16, illustrated

Notes:

In the Phoenix Art Museum exhibition catalogue, the painting in this lot is described as “The hand of a Buddha sculpture is juxtaposed with the figure of a young peasant boy as a visual reminder of the Buddha’s all-embracing compassion for every person. The boy is also symbolic of all Chinese people.”

3127

Cheng Yuan (b. 1952)

“Toward the Light,” 1990

Oil on canvas

Signed in Chinese and English, and dated, all lower right: Cheng Yuan 1990; titled in pencil on a gallery tag strung to the frame’s hanging wire 67” H x 47” W

$600-800

3128

Cheng Yuan (b. 1952)

“Blue Face,” 1989

Oil on canvas backed with artist’s panel

Signed in Chinese and English, and dated, lower left: Cheng Yuan 1989; titled by repute 47.5” H x 47.5” W

$600-800

Cheng Yuan (b. 1952)

“Childhood,” 1988

Oil on canvas

Signed in Chinese and English, and dated, all lower left: Cheng Yuan 1988; titled by repute

48” H x 36” W

$600-800

3130

“Son with Candles,” 1990 Oil

Signed in Chinese and English, and dated, lower left: Cheng Yuan / Feb. 1990; titled by repute 49.25” H x 86.75” W

$700-900

Cheng Yuan (b. 1952)

on canvas

3131

Cheng Yuan (b. 1952)

“Hands & Feet,” 1989 Oil on canvas

Signed in both Chinese and English, and dated, all in the lower right corner: Cheng Yuan / 1989.4; titled on a string tag attached to the frame’s hanging wire 48” H x 36” W

$600-800

3132

Cheng Yuan (b. 1952)

“Hawk,” 1989

Oil on canvas over artist’s panel

Signed in Chinese and English, and dated lower left: Cheng Yuan / 1989.1; titled by repute 47” H x 47.25” W

$600-800

Signed in Chinese and English, and dated, all lower right: Cheng Yuan / 1984

27” H x 48” W

$500-700

3133

Cheng Yuan (b. 1952)

Girl with owls, 1984

Oil on panel

3134

Cheng Yuan (b. 1952)

“Hanging Fish & Laundry” Oil on panel

Signed in Chinese in pencil, verso; titled by repute

23.5” H x 35.5” W x 0.875” D

$400-600

Liu Li (20th century)

“Fu Dog,” 1985

Watercolor on paper

Signed, dated, and inscribed in Chinese lower right: Li Liu 1985; titled by repute

Image/Sheet: 19” H x 12.75” W

$800-1,200

Zhang Quan (b. 1942)

Zhang Quan is best known as a painter of Buddhist rendered in richly layered ink or tempera. Buddhism death of his son at the age of 21.

Trained at the Anhui Provincial Art Institute, producing official portraits and idealized heroic more personal subjects.

Buddhist themes and expressive depictions of village and landscape life, often Buddhism became especially central to his work and life following the untimely Zhang began his career in the government’s propaganda department, heroic images. Only after the end of the Cultural Revolution was he free to pursue

3136

Zhang Quan (b. 1942)

“Goddess of Mercy”

A scroll painting with watercolor and ink on laid Japanese paper mounted to a paper scroll with a mint-colored fabric border

Signed in black ink and with one red ink chopmark along the center of the right edge; titled by repute

Image/Sheet: 53.5” H x 26.5” W; Overall: 83.625” H x 31.5” W (approx.)

$1,000-1,500

3137

Zhang Quan (b. 1942)

“Near Nirvana”

Watercolor and ink on laid Japanese paper mounted to a paper scroll with a light blue fabric border

Signed in gold ink and with one red ink chopmark along the center of the left edge; titled by repute

Image/Sheet: 53.375” H x 26.5” W; Overall: 84.375” H x 31.375” W (approx.)

$1,000-1,500

3138

Zhang Quan (b. 1942)

“Lohan”

A scroll painting with watercolor and ink on laid Japanese paper mounted to a paper scroll with a mint-colored fabric border

Signed in black ink and with one red ink chopmark along the center of the right edge; another red ink chopmark upper left; titled by repute

Image/Sheet: 53.5” H x 26.75” W; Overall: 82.5” H x 31.625” W (approx.)

$1,000-1,500

3139

Zhang Quan (b. 1942)

“Classic Elegance - 2nd in Series”

A scroll painting with watercolor and ink on laid Japanese paper mounted to a paper scroll Signed in gold ink along the lower portion of the right edge, and one red ink chopmark on a piece of white laid Japanese paper located in the same area; titled by repute Image/Sheet: 37.5” H x 34.875” W; Overall: 84” H x 38.875” W (approx.)

$600-800

3140

Zhang Quan (b. 1942)

“Dream of Dunhuang” Gouache on paper

Signed in Chinese at the center of the right edge; titled by repute Sight: 25.5” H x 25.5” W

$600-800

3141

Zhang Quan (b. 1942)

“Autumn (Two of Four Seasons)” Ink and watercolor on laid Japanese paper backed to a thinner sheet of Japanese laid paper Signed in black ink, with one red ink chopmark, and presumably the artist’s device, all along the center of the left edge; titled by repute Sheet: 26.5” H x 26.625” W

$600-800

Tang

Guo (b.

1955)

Nanjing-based artist Tang Guo is recognized works, often poetic in tone, are meticulously typically on handmade paper he produces himself

After spending two years in the countryside later at the prestigious Central Academy of Fine Literati Group, a circle of artists committed to emphasis on calligraphy’s connections to cosmology was also deeply influential, offering a direct

These influences are especially evident in Tang’s compositions depicting scholars in their studios serving their masters. At times, facial details expression during that era.

Tang has been represented by the renowned collections of the Los Angeles County Museum He has had solo exhibitions at the Shanghai most recently, the Hanshan Art Museum in

Suzhou

recognized for his distinctive innovations in the traditional arts of ink and calligraphy. His meticulously executed and range from metaphorical interiors to fully abstract compositions, himself following ancient methods.

during the Cultural Revolution, Tang studied at the Nanjing Arts Academy and Fine Arts in Beijing from 1986 to 1989. He was an early member of the New to reimagining traditional aesthetics, techniques, and subjects, with particular cosmology and philosophy. The rediscovery of the Buddhist caves at Dunhuang link to the styles and techniques of Tang Dynasty (618-906 AD) artists.

Tang’s early works, including those in the Jones collection: dynamic, pared-down studios or contemplating nature, as well as female musicians and attendants are omitted, perhaps a subtle commentary on the restrictions of personal renowned gallery ShanghART since the mid-1990s. His works are held in the permanent Museum of Art and the Pacific Asia Museum at the University of Southern California. Art Museum, the Zhu Qizhan Art Museum, the Macau Lotus Art Museum, and, Suzhou (2023).

3142

Tang Guo (b. 1955)

“Scholar”

Ink, watercolor, and flecks of metal leaf on paper

Stamped with a red ink chopmark, presumably the artist’s name, near the center; inscribed in Chinese from the upper edge down the center of the image; titled in pencil, in another hand, on a label strung to the frame’s hanging wire

Sight: 12.5” H x 12.5” W

$500-700

3143

Tang Guo (b. 1955)

“Dragon Well Tea”

Watercolor and ink on paper

Signed in Chinese in black ink and with the red ink chopmark along the lower portion of the right edge; titled by repute

Image/Sheet: 7.75” H x 9.75” W; Support Sheet: 15.25” H x 21.25” W

$500-700

3144

Tang Guo (b. 1955)

“Plum Blossoms”

Watercolor, ink, and flecks of metal leaf on paper

With Chinese characters in black ink, as well as chopmarks in red ink, in three separate places (center of the right edge, lower right corner, and lower portion of the left edge), some of which presumably includes the artist’s name; titled in pencil in another hand on a string tag attached to the frame’s hanging wire

Sight: 12 5” H x 12.5” W

$500-700

3145

Tang Guo (b. 1955)

“Family Life”

Ink in colors with traces of metallic pigment on paper

Stamped with various red ink chopmarks, presumably the artist’s name, and inscribed in Chinese characters, near the lower left and right; titled by repute

Sight: 12.5” H x 12.5” W

$800-1,200

3146

Yang Jinsong (b. 1955)

“Three Tabetian’s [sic] People” Etching in brown-black ink on laid paper Edition: 8/20

Signed, titled, numbered, and inscribed in Chinese in pencil in the lower margin: Yang Jinsong Plate: 9.5” H x 11.125” W; Sheet: 13.5” H x 19.5” W

$500-700

3147

Yang Jinsong (b. 1955)

“Cat and Lady”

Etching on paper

Edition: 1/20

Signed, titled, and numbered, and inscribed in Chinese, all in pencil in the lower margin: Yang Jinsong

Plate: 9.75” H x 9.5” W; Sight: 11” H x 10.5” W

$500-700

Yang Jinsong (b. 1955)

“To Ulan Bator”

Etching on thick wove paper

Edition: 20/20

Signed and presumably titled in Chinese, and numbered, all in pencil, in the lower margin

Plate: 8.875” H x 6.5” W; Sheet: 16” H x 13.5” W

$500-700

3149

Yang Jinsong (b. 1955)

“Water Town”

Etching on wove paper

Edition: 8/20

Signed, titled, numbered, and indistinctly inscribed in pencil in the lower margin: Yang Jinsong Plate: 6.25” H x 7.5” W; Sheet: 13.5” H x 17.75” W

$500-700

3150

Yang Jinsong (b. 1955)

“Farmland,” 1988

Etching and aquatint in reddish-brown ink on wove paper Edition: 6/20

With Chinese characters, presumably including the artist’s signature, titled, dated 88, numbered, and inscribed “Intaglio,” all in pencil in the lower margin

Plate: 14.25” H x 14.5” W; Sheet: 21.125” H x 27” W

$600-800

3151

Han Likun (b. 1938)

“Ancient Artist”

Watercolor and ink on paper

Appears unsigned; titled by repute Sight: 24” H x 25” W

$500-700

3152

Han Likun

(b. 1938)

“Those Who Came Before,” 1990

Ink wash on laid Japanese paper laid to thinner Japanese laid paper

Signed in English, dated, and inscribed with Chinese characters in ink along the lower edge, at right: Han Likun 1990.

Image/Sheet: 25.875” H x 39.625” W; Support Sheet: 26.25” H x 39.875” W

$800-1,200

Hang Faji (b. 1946)

Hang Faji is best known in China today as an contemporary ink painting as well as in solo Beijing (2015). His works have also been exhibited at the Phoenix Art Museum.

The works presented here offer a much broader poverty, Hang nearly drowned as a child when early age, he showed a keen interest in arts he created in the late 1970s and early 1980s. rural life, iconic Chinese landmarks such as the imaginative depictions of his favorite poet, Li China at the time, suggesting that their vitality

The collection also includes a wide range of and portraits from the 1960s, to works that engage of peasant life, and the veneration of elders. expressionism. Some works address specific a nude woman in mourning, surrounded by Nanjing” in 1937. Others foreshadow Hang’s abstract compositions, which seem to probe

an experimental ink painter, with his works featured in numerous surveys of exhibitions, including “Ink Wash & Dissipation” at the Today Art Museum in exhibited at the Chinese National Art Museum, the Jiangsu Art Museum, and twice

broader perspective on Hang’s career and the scope of his creativity. Born into when his family considered the burden of raising another child too great. From an and crafts, and his ingenuity is especially evident in the fabric and paste collages 1980s. Using whatever scraps of fabric were available, he crafted poetic images of the Three Gorges and the Summer Palace, simple boating scenes, and even Li Bai, composing by moonlight. Many of these works were widely published in vitality and craftsmanship were readily recognized by his peers.

works in different media, from some of Hang’s earliest student pieces, still lifes, engage with common themes of the era: maternal love, the dignity and hardship elders. In these, Hang explored the expressive possibilities of ink painting and specific traumas of the 20th century, such as “Crying in Silence” (1985), an image of human skulls, referring to the notorious Japanese occupation and “Rape of Hang’s later dedication to ink and experimentation, particularly his philosophical and probe themes that are nearly cosmic in scope.

3153

Hang Faji (b. 1946)

“Meridian #1,” 1988

Ink, watercolor, and paper collage on paper

Signed in Chinese and dated 1988·1 in black ink, and with a red ink chopmark, all near the center of the right edge; titled in black ink, in another hand, on a label affixed to the frame’s backing board

Sight: 35.125” H x 37.5” W

$300-500

3154

Hang Faji (b. 1946)

“Style”

Ink wash on paper

Stamped with a red ink chopmark, presumably the artist’s name, and inscribed in ink in Chinese characters, at the center of the left edge; titled by repute

Sight: 17.5” H x 13.125” W

$200-300

3155

Hang Faji (b. 1946)

“Solitude at the End of the Century,” 1988 Ink and paper collage on paper

Signed in Chinese and dated 1988.9 in black ink, and with a red ink collaged chopmark, all in the lower center; inscribed “884” in a circle in red ink, presumably in another hand, lower right; titled by repute Sheet: 39.375” H x 40.5” W

$400-600

3156

Hang Faji (b. 1946)

“Weeding in the Early Morning,” 1983

Gouache and ink on paper

Signed and/or inscribed in black ink and with two red ink chopmarks, some of which are presumably the artist’s name, all in Chinese along the left edge: Hang Faji; dated 1983 in the lower right corner; titled by repute Sight: 28” H x 28” W

$200-300

3157

Hang Faji (b. 1946)

“Family Planning”

Colored ink on paper

Stamped with three red ink chopmarks, at least one presumably with the artist’s name, two along the lower portion of the left edge, and the other in the upper portion of the right edge; inscribed in Chinese characters along the left edge; titled by repute

Sight: 21.5” H x 15.25” W

$200-300

3158

Hang Faji (b. 1946)

“Poultry Farmer,” 1986

Ink on paper

Signed in Chinese and dated 1986·5·9, lower right; titled by repute

Sight: 17” H x 15” W

$200-300

3159

Hang Faji (b. 1946)

“Portrait of an Old Uyghur,” 1986

Ink on paper

Signed in Chinese and dated 1986·9·7 in ink lower right; titled by repute Sight: 17” H x 15” W

$200-300

3160

Hang Faji (b. 1946)

“Cao Xueqin,” 1982

Fabric collage on paper mounted to light blue paper

Signed in Chinese and dated 1982·1 in black ink, and with a red ink chopmark, all near the center of the left edge

Sheet: 10.75” H x 14.625” W

$100-200

Notes:

Cao Xueqin was the author of the famous Qing Dynasty (1644-1911) novel titled “A Dream of Red Mansions.”

3161

Hang Faji (b. 1946)

“Morning Frost,” 1983

Gouache on paper

Signed in Chinese and dated 1983.10 in black ink, and stamped with a red ink chopmark, at the center of the right edge; titled on a label affixed to the frame’s backing paper

Sight: 27.25” H x 26.75” W

$300-500

3162

Hang Faji (b. 1946)

“Hengshan Mountain in the Morning,” 1978

Fabric collage on paper mounted to light green paper

Signed in Chinese and dated 1978·3· in black ink, lower right; titled by repute

Sheet: 10.375” H x 14” W

$100-200

3163

Wang Xuan (b. 1943)

“Emperor’s Yellow” Watercolor on paper

Signed in Chinese in brown ink, lower right; inscribed with Chinese characters in black ink on the verso, presumably in the hand of the artist; titled by repute

Image/Sheet: 13.875” H x 18” W

$500-700

“Old Barn,” 1990

Watercolor on paper

Signed in Chinese and dated 90 lower right; inscribed in Chinese characters in pencil along the lower edge of the thick support sheet that the work is hinged to, possibly in the hand of the artist; titled by repute

Image/Sheet: 13.625” H x 18.125” W; Support sheet: 15.625” H x 21.5” W

$500-700

Wang Xuan (b. 1943)

3165

Wang Xuan (b. 1943)

“Laundry,” 1990

Watercolor on paper

Signed in Chinese, lower right; titled and dated by repute

Image/Sheet: 13.875” H x 17.625” W

$500-700

3166

Wang Xuan (b. 1943)

“Outlanders”

Watercolor on paper

Signed in Chinese, lower left; titled by repute

Image/Sheet: 14” H x 18” W

$500-700

3167

Cao Daqing (b. 1944)

“Late October”

Watercolor on paper

Signed and inscribed in Chinese in dark purple ink, and with a red ink chopmark, all lower left; titled by repute

Image/Sheet: 25” H x 17.5” W

$200-300

3168

Cao Daqing (b. 1944)

“River Way”

Watercolor on paper

Unsigned; inscribed with the artist’s name in pencil, in another hand, along the upper edge, at right; titled by repute; with a second painted subject, signed and inscribed in Chinese in black ink, and with a red ink chopmark on the verso

Image/Sheet: 17” H x 25” W

$200-300

Notes:

On the verso of “River Way” is another watercolor by the artist; the subject matter is of two figures walking into a building surrounded by a fall landscape. This work, as mentioned above, is signed and inscribed in Chinese, and with a red ink chopmark, lower right.

3169

Cao Daqing (b. 1944)

“Foul Weather”

Watercolor on paper

Signed and inscribed in Chinese in black ink, and with a red ink chopmark, all lower left; titled on a label affixed to the frame’s glass

Sight: 24.5” H x 34.5” W

$300-500

3170

Cao Daqing

(b. 1944)

“Memorial Gate”

Watercolor on paper

Signed and inscribed in Chinese in black ink, and with a red ink chopmark, all lower right; titled on a label affixed to the frame’s glass

Sight: 16.75” H x 24.5” W

$200-300

3171

Cao Daqing (b. 1944)

“Backyard”

Watercolor on paper

Signed and inscribed in Chinese in dark brown ink, and with a red ink chopmark, all lower right; titled by repute

Image/Sheet: 32.75” H x 25” W

$200-300

3172

Cao Daqing (b. 1944)

“Noon”

Watercolor on paper

Signed and inscribed in Chinese in black ink, and with a red ink chopmark, all lower left; titled by repute

Image/Sheet: 17” H x 24.75” W

$150-200

3173

Cao Jianfeng (1932-2010)

“Summer Palace,” 1961

Etching on paper Edition: 56/60

Signed, titled, and inscribed in Chinese, and dated 1961, all in pencil in the lower margin Plate: 10.5” Dia.; Sight: 15.5” H x 15.25” W

$100-200

3174

Wang Lan (b. 1953)

“Vibration,” 1988

Woodcut in colors on thick Japanese paper Edition: 5/8

Signed and presumably titled in Chinese characters, dated 1988, and numbered, all in pencil in the lower margin; titled by repute

Image: 15.625” H x 18.5” W; Sheet: 21” H x 23.5” W

$400-600

3175

Kang Shoushan (b. 1947)

“Tower of the Fragrance of Buddha”

Ink and ink wash on laid Japanese paper

Various inscriptions in Chinese characters, possibly with the artist’s signature along the upper portion of the left edge; two red ink chopmarks, one at the center of the left edge, the other in the lower right corner; titled by repute Sheet: 32.75” H x 16.375” W

$500-700

3176

Chang Ran (b. 1950)

“Orchid”

Ink on laid Japanese paper

Various inscriptions in Chinese characters, possibly with the artist’s signature along the left edge; three red ink chopmarks, two near the lower left corner, and the other at the center of the right edge; titled by repute Sheet: 53.875” H x 13.25” W

$2,000-3,000

3177

Chang Ran (b. 1950)

“A Kind of Cucumber”

Ink on laid Japanese paper

Various inscriptions in Chinese characters, possibly with the artist’s signature along the right edge; four red ink chopmarks, three near the lower corners, and the other in the upper portion of the left edge; titled by repute Sheet: 53.875” H x 13.25” W

$2,000-3,000

3178

Chang Ran (b. 1950)

“Spring”

Ink and ink wash on laid Japanese paper laid to thinner laid Japanese paper

Signed in black ink and with a red ink chopmark upper center; two other red ink chopmarks upper and lower left; titled by repute Sheet: 53.875” H x 13.25” W

$2,000-3,000

3179

Chang Ran (b. 1950)

“Woman in Autumn”

Ink on paper laid to paper, as issued

Inscribed in Chinese characters, in ink, along the left edge, possibly with the artist’s signature, and stamped with three red ink chopmarks, one in the upper right and two in the lower left; titled by repute Sheet: 31” H x 18.75” W

$800-1,200

3180

Fang Shaowu (b. 1935)

Mountains and Trees

Ink on paper

Inscribed in Chinese characters in ink, possibly with the artist’s signature in the upper right quadrant; stamped with three red ink chopmarks in the lower left corner and the upper right quadrant

Sight: 26.5” H x 17.5” W

$2,000-3,000

3181

Fang Shaowu (b. 1935)

“Small Village by the Mountain”

Watercolor and ink on laid Japanese paper

Various inscriptions in Chinese, possibly with the artist’s signature in black ink, and with a red ink chopmark, all along the upper portion of the right edge; two other red ink chopmarks along the lower portion of the left edge

Image/Sheet: 26.75” H x 26.75” W

$2,000-3,000

3182

Fang Shaowu (b. 1935)

“Blossoms & Bamboo (white)”

Ink and gouache with flecks of copper leaf on paper

Inscribed in Chinese characters and with red ink chopmarks, presumably some of which is the artist’s name, along the right edge and in the lower left corner; titled by repute; with the artist’s name and an alternate title, “Bamboo One,” both written in another hand, on a label affixed to the frame’s backing paper

Sight: 25.25” H x 16.375” W

$1,500-2,500

Fang Shaowu (b. 1935)

“Blossoms & Bamboo (yellow)”

Ink and gouache with flecks of copper leaf on paper

Inscribed in Chinese characters and with red ink chopmarks, presumably some of which is the artist’s name, along the right edge and in the lower left corner; titled in ink on a label, in another hand, on the frame’s backing paper

Sight: 25.5” H x 17” W

$1,500-2,500

3184

Shen Huizhu (20th century)

“Spring”

Watercolor on paper

Unsigned; stamped with the artist’s red ink chopmark, lower right; titled on a label affixed to the frame’s glass, lower left

Sight: 20.75” H x 21.5” W

$600-800

3185

Shen Huizhu (20th century)

“Forever”

Watercolor on paper

Unsigned; stamped with the artist’s red ink chopmark, lower left; titled by repute Sheet: 15.125” H x 21.125” W

$600-800

3186

Cui Reizhen (20th century)

“Apple Blossoms with Two Birds”

A scroll painting with watercolor and ink on laid Japanese paper mounted to a paper scroll with a mint and light blue-colored fabric border

Signed in black ink and with one red ink chopmark along the lower portion of the left edge; titled by repute

Image/Sheet: 26.5” H x 16.875” W; Overall: 62.5” H x 20.5” W (approx.)

$500-700

Zhu Jiefu (b. 1931)

“Grapes & Birds”

Watercolor and ink on laid Japanese paper backed to another sheet of Japanese laid paper

Inscribed in black ink, possibly with the artist’s signature, and with two red ink chopmarks, lower right; another red ink chopmark, lower left; titled by repute

Sheet: 26.75” H x 25.75” W

$300-500

3188

Xu Shan (b. 1946)

“Deer in Fall”

Ink on rice paper

Inscribed in Chinese in black ink, and with a red ink chopmark, presumably the artist’s name, along the left edge; another red ink chopmark in the upper right corner; titled by repute

Sight: 15.5” H x 19.5” W

$300-500

Consign Today

Modern & Contemporary Fine Art

December 10, 2025

Magdalena Abakanowicz “Atoris,” 2005

Price Realized: $82,550

Consignment and Auction Inquiries: fineart@johnmoran.com

SINCE 1969

&

Condition Reports

3001

Visual: Overall good appearance. A few areas of unstable pigment in the background of the upper right quadrant, with some attendant areas of pigment loss, the largest measuring 0.25” H x 1” W. The tacks protruding in numerous places along the tacking edge.

Blacklight: No evidence of restoration.

Unframed

3002

Overall good appearance. Very fine, unobtrusive, occasional areas of craquelure in the red pigment of the flowers. As mentioned, the sheet has been backed with laid Japanese paper. The sheet is loose, not matted.

Unframed

3003

Overall good appearance. With a tissue paper wrapper tipped to the verso of the sheet in four places. The sheet is loose, not matted.

Unframed

3004

Overall good appearance. A small, very unobtrusive surface loss in the extreme upper left corner. Not examined out of the frame.

Framed under glass: 29.375” H x 25.625” W x 1.25” D

3005

Visual: Overall good appearance. Fine scattered craquelure, primarily in the upper half.

Blacklight: No evidence of restoration.

Unframed

3006

Overall good appearance. Artist pinholes in the upper corners. The sheet is loose, not matted.

Unframed

3007

Overall good appearance. Minor handling marks showing primarily on the verso, A flattened crease extending 1” horizontally into the image from the upper portion of the left sheet edge. A long sheet of tissue paper is glued to the verso of the right edge and folded over as a protective sheet. The sheet is loose, not matted.

Unframed

3008

Overall good appearance. A soft diagonal crease in the lower left corner, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 29.25” H x 25.5” W x 1.5” D

3009

Overall good appearance. Not examined out of the frame.

Framed under glass: 29.5” H x 36.5” W x 1.5” D

3010

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 33” H x 40.625” W x 1.75” D

3011

Overall generally good appearance. A soft 2.5” W pressure mark in the background of the upper right quadrant with a few faint, scattered lines of vertical surface scuffing originating at the pressure mark.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 21” W x 2” D

3012

Visual: Overall good appearance. A dime-sized reverse pressure mark near the center of the upper edge. A few, mostly pinhead-sized areas of presumably old pigment losses, skillfully touched-in, scattered in the background of the lower left quadrant. A very unobtrusive speck of pigment loss at the center of the figure’s headscarf. A thin, minor scratch in the lower right corner. Occasional, minor frame abrasion scattered in places along the extreme lower edge, at right.

Blacklight: Scattered area of touch-up in the places mentioned above.

Frame: 30” H x 25.625” W x 1.625” D

3013

Visual: Overall good appearance. Stable craquelure in the figure’s mirror in the lower right quadrant. Dust accumulation and occasional small spots of grime.

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

Frame: 29.5” H x 31” W x 1.75” D

3014

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 23” H x 16.125” W x 1.625” D

3015

Overall good appearance. Artist pinholes at the upper sheet corners. The sheet is loose, not matted.

Unframed

3016

Overall good appearance. A very soft, diagonal, thin crease in the lower right sheet corner. A long sheet of tissue paper is tipped to the verso at each corner and folded over as a protective sheet. The work is loose, not matted.

Unframed

3017

Overall good appearance. The verso sheet with a pale pinpoint-sized area of foxing near the upper portion of the left edge, not visible on the recto. The sheet is loose, not matted.

Unframed

3018

Overall good appearance. A long sheet of tissue paper is tipped to the verso at each corner and folded over as a protective sheet. The work is loose, not matted.

Unframed

3019

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3020

Visual: Overall good appearance. A 0.75” H vertical abrasion with an attendant pea-sized pigment loss in the upper left quadrant, as well as a few rice-sized (or smaller) pigment losses scattered on the figure’s head. Minor wear primarily in places along the upper and left edges, with attendant pigment losses, the largest a 1” band along the right portion of the extreme upper edge.

Blacklight: No evidence of restoration.

Unframed

3021

Overall good appearance. Diagonal creasing to the upper sheet corners. Artist pinholes at each corner. Loss to the backing paper at the lower sheet corners, verso, attendant with prior tipping. The sheet is tipped to a thick support sheet from the verso of the upper sheet corners.

Unframed

3022

Overall good appearance. Not examined out of the frame.

Framed under glass: 32” H x 24” W x 1.25” D

3023

Overall good appearance. Two delicate and very unobtrusive, diagonal, surface scratches in the upper left corner, each approximately 1” long, possibly in the hand of the artist. Not examined out of the frame.

Framed under glass: 27.5” H x 33.5” W x 1.5” D

3024

Visual: Overall good appearance. Minor dust accumulation. Stretcher bar creases along the upper, left, and right sides. Fine scattered craquelure primarily in the upper half. Two 0.25” (or smaller) abrasions with attendant pigment losses along the left portion of the lower edge.

Blacklight: No evidence of restoration.

Frame: 23.75” H x 17.625” W x 2” D

3025

Visual: Overall good appearance. Frame abrasion with a few attendant pea-sized (or smaller) pigment losses along each side, but mostly concentrated in the lower left corner.

Blacklight: No evidence of restoration.

Unframed

3026

Overall good appearance. A minor 1” H x 0.125” W scattered band of surface skinning at the center of the upper edge of the support sheet, not affecting the image. The work is loose, not matted.

Unframed

3027

Overall good appearance. A thin, scattered 1” horizontal line of staining along the upper edge, at right, of the fabric border. The work is loose, not matted.

Unframed

3028

Visual: Overall good appearance. Fine craquelure primarily in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 19” H x 22.625” W x 2” D

3029

Visual: Overall good appearance. An unobtrusive pinheadsized pigment loss in the corner of the eye of the second bull from the left.

Blacklight: No evidence of restoration.

Frame: 41” H x 68.25” W x 2.75” D

3030

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3031

Visual: Overall good appearance. Scattered, fine craquelure, primarily in the upper right quadrant. A vertical seam attendant with the joining of two pieces of canvas down the length of the work to the right of center and an area of unstable craquelure in the center of the seam. A soft, scattered 11” vertical surface scuff along the left portion of the upper edge.

Blacklight: No evidence of restoration.

Frame: 43.25” H x 85.5” W x 2.5” D

3032

Visual: Overall good appearance. An occasional very minor, fine crease in the upper half, primarily visible in raking light. The seam joining the two pieces of canvas runs horizontally between the vertical edges, near the lower edge, well below the figures.

Blacklight: No evidence of restoration.

Frame: 80.75” H x 17.25” W x 1.75” D

3033

Overall good appearance. A pinhead-sized paper loss and minor lifting of the work from the sheet it is laid to in the upper left corner. Soft cockling and mostly flattened creases throughout, as well as a vertical crease running down the length of the sheet across the figures head in the left half of the work. A vertical surface crease in the paper running along both the right and left sides of the work, each about 1” in from the edges of the sheet. Not examined out of the frame.

Framed under Plexiglas: 42.25” H x 60” W x 1.75” D

3034

Overall good appearance. Minor surface soiling. A pinpoint-sized foxmark in the upper edge, at left. Handling marks, mostly minor, scattered in the outer edges and corners, and the upper right sheet corner is dog-eared. Artist’s pinholes at the upper sheet corners. Dark-colored paper remnants on the verso of each corner. The sheet is loose, not matted.

Unframed

3035

Overall good appearance. Minor scattered creasing and some occasional wear to the outer edges of the work. The upper left corner sightly dog-eared. The work is framed floating, tipped to the back mat from the verso sheet edges and corners. Not examined out of the frame.

Framed under glass: 20.5” H x 15.625” W x 1.625” D

3036

Overall good appearance. Not examined out of the frame.

Framed under glass: 17.625” H x 15” W x 0.875” D

3037

Overall good appearance. Scattered glue residue and minor surface soiling. Not examined out of the frame.

Framed under glass: 19.75” H x 15.875” W x 0.875” D

3038

Overall good appearance. Artist’s pinholes in the upper corners. Scattered handling and folding creases, in the hand of the artist and inherent to the creative process. Not examined out of the frame.

Framed under glass: 26.875” H x 19.5” W x 1.625” D

3039

Overall generally good appearance. Minor surface soiling. Scattered edge and corner tears, the largest measuring 1” vertically, at the center of the lower sheet edge. Creasing scattered throughout the edges and corners. Surface skinning at each of the sheet corners, as well as artist pinholes. Bands of paper and glue remnants scattered along the verso sheet edges and corners. The work is loose, not matted.

Unframed

3040

Overall good appearance. Very minor, scattered, surface soiling in the blank of the work. Not examined out of the frame.

Framed under glass: 20” H x 14.375” W x 0.875” D

3041

Overall good appearance. A few very pale foxmarks, primarily in the upper left quadrant of the fabric. Minor handling marks and creasing in the fabric. As mentioned, the fabric is laid to paper. The work is loose, not matted.

Unframed

3042

Overall good appearance. Not examined out of the frame.

Framed under glass: 19.25” H x 22.75” W x 1.375” D

3043

Overall good appearance. The colors fresh. A very unobtrusive, approximately 13” horizontal thread pull (which appears to have been skillfully touched-in) across the draped fabric and long table behind the figures. Not examined out of the frame.

Framed under glass: 19” H x 22.5” W x 1.5” D

3044

Overall good appearance. The colors fresh. A very unobtrusive, 12.625” vertical thread pull through the pagoda at left. Not examined out of the frame.

Framed under glass: 19.25” H x 21.75” W x 1.25” D

3045

Overall good appearance. Not examined out of the frame.

Framed under glass: 33.75” H x 33.25” W x 1.5” D

3046

Overall good appearance. A few very soft handling marks scattered in the upper half of the work, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 33.375” H x 32.75” W x 1.625” D

3047

Visual: Overall good appearance. A 3.5” diameter area of fine craquelure in the background of the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 42.25” H x 42.5” W x 2.75” D

3048

Visual: Overall good appearance. Dust accumulation. A few horizontal surface scuffs and scratches scattered in the lower half, the longest 10” W in the lower left quadrant below the figure’s legs. Minor wear along the extreme outer edges with a few unobtrusive pinhead-sized or smaller pigment losses.

Blacklight: No evidence of restoration. A few areas fluoresce under blacklight though these appear to be in the hand of the artist.

Unframed

3049

Visual: Overall good appearance. A thin 3” horizontal scattered scratch along the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 33” H x 38.875” W x 1.875” D

3050

Overall generally good appearance. A quarter-sized pressure mark in the upper portion of the extreme left edge and another, smaller, a few inches below it.

Frame: 30” H x 25” W x 1.75” D

3051

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 21.75” H x 30.25” W x 2.75” D

3052

Overall good appearance. The entire sheet was intentionally crumpled and flattened back out as part of the artist’s working technique. Two unobtrusive, rice-sized unpainted specks in the lower left quadrant, presumably inherent in the artist’s working method. Some very soft creasing along the upper sheet edge and upper sheet corners, primarily visible verso. The sheet is loose, not matted.

Unframed

3053

Overall good appearance. An artist’s pinhole in the lower left corner. Not examined out of the frame.

Framed under glass: 25.75” H x 21.625” W x 1.25” D

3054

Overall good appearance. Not examined out of the frame.

Framed under glass: 22” H x 29” W x 1.25” D

3055

Overall good appearance. Not examined out of the frame.

Framed under glass: 24.5” H x 21.5” W x 1.125” D

3056

Overall good appearance. A 1” thin, vertical stain in the upper right corner. A pinhead-sized foxmark near the center of the upper edge. Not examined out of the frame.

Framed under glass: 22.375” H x 28.25” W x 1” D

3057

Overall good appearance. Not examined out of the frame.

Framed under glass: 22.5” H x 28.25” W x 1.25” D

3058

Overall good appearance. Not examined out of the frame.

Framed under glass: 21.25” H x 25.75” W x 1.25” D

3059

Overall good appearance. A faint and unobtrusive, 0.75” diagonal hairline area of staining along the upper edge, at left. Not examined out of the frame.

Framed under glass: 29.375” H x 24.375” W x 1.25” D

3060

Overall good appearance. Not examined out of the frame.

Framed under glass: 26.25” H x 21” W x 1.25” D

3061

Overall good appearance. Not examined out of the frame.

Framed under glass: 21.875” H x 27.875” W x 1.125” D

3062

Overall good appearance. A pinhead-sized area of surface skinning in verso of the upper left corner where previously tipped. A long sheet of tissue paper is glued to the verso of the lower edge of the support sheet and folded over as a protective sheet. The sheet is tipped to a cardstock support sheet from the verso of the upper right corner.

Unframed

3063

Overall good appearance. Minor handling marks primarily in the upper half. Artist pinholes. A 1.5” H x 1.5” W piece of tissue-thin paper adhered to the verso of the lower left corner, and another small piece of cardstock paper with a red ink inscription in Chinese characters scotch-taped to the verso of the lower right corner. The sheet is tipped to a cardstock support sheet from the verso of the upper corners.

Unframed

3064

Overall good appearance. Surface skinning on the verso of the upper right sheet corner, attendant with prior tipping. A long sheet of tissue paper is glued to the verso near the upper edge of the support sheet and folded over as a protective sheet. The sheet is tipped to a thick support sheet from the verso of the upper left corner and upper center.

Unframed

3065

Overall good appearance. Not examined out of the frame.

Framed under glass: 22” H x 27.75” W x 1.5” D

3066

Overall good appearance. Not examined out of the frame.

Framed under glass: 22.25” H x 28.25” W x 1.25” D

3067

Overall good appearance. The sheet with deckled edges. A soft diagonal crease in the lower left corner. The sheet is tipped from the verso of the upper sheet edge and the lower right corner; however, the verso of the lower left corner is no longer tipped, and with attendant glue residue. The support sheet with minor surface soiling, handling marks, and scattered edge wear. A long sheet of tissue paper is glued to the verso of the support sheet from the upper edge, and folded over as a protective sheet.

Unframed

3068

Overall good appearance. The sheet is tipped to a support sheet with tiny tubes of scotch tape at the verso of the each of the sheet corners. A 0.25” band of very slight surface skinning along the verso of the left sheet edge. The work is loose, not matted.

Unframed

3069

Overall good appearance. As mentioned, the sheet has a white paper-tape margin added all around, presumably as issued. The sheet is loose, not matted.

Unframed

3070

Overall good appearance. A border of white tape along the verso edges. The sheet is loose, not matted.

Unframed

3071

Overall good appearance. A 0.25” white painted border along each edge. A 2” horizontal indentation in the center of the upper edge, showing primarily from the verso. Paper remnants adhered to the verso of the upper edge. The sheet is loose, not matted.

Unframed

3072

Overall good appearance. Not examined out of the frame.

Framed under glass: 20.25” H x 26.375” W x 1.5” D

3073

Overall good appearance. Two small areas of old tape and paper remnants on the verso of the lower corners. The sheet is tipped to a cardstock support sheet from the verso of the upper edge. The work is loose, not matted.

Unframed

3074

Overall good appearance. Two quarter-sized areas of minor surface skinning at the verso of the upper sheet edge, likely from removal of old tape or hinges. The sheet is loose, not matted.

Unframed

3075

Overall good appearance. Very slight surface soiling or stray paint along the right edge, most likely in the hand of the artist. A 0.125” horizontal band of additional paper adhered along the sheet’s extreme upper edge, verso, presumably related to its original removal from a pad of blank watercolor paper, or its later removal, after painted, from a display album or mount. The sheet is loose, not matted.

Unframed

3076

Overall good appearance. Three quarter-sized areas of minor surface skinning at the verso of the upper sheet edge, likely from removal of old tape or hinges. The sheet is loose, not matted.

Unframed

3077

Overall good appearance. A 0.125” horizontal band of additional paper adhered along the sheet’s extreme upper edge, verso, presumably related to its original removal from a pad of blank watercolor paper, or its later removal, after painted, from a display album or mount. The sheet is loose, not matted.

Unframed

3078

Overall good appearance. Surface skinning along the verso of the upper edge, presumably attendant with previous hinging/tipping. The sheet is loose, not matted.

Unframed

3079

Overall good appearance. Not examined out of the frame.

Framed under glass: 21.25” H x 27” W x 1.25” D

3080

Overall good appearance. Not examined out of the frame.

Framed under glass: 36.75” H x 23” W x 1.25” D

3081

Overall good appearance. Minor pigment shrinkage scattered at the center of the work. Not examined out of the frame.

Framed under glass: 27.25” H x 21.25” W x 1.5” D

3082

Overall good appearance. With occasional areas of minor surface soiling scattered in the printed paper border and on the verso of the laid Japanese paper. Minor handling marks only showing on the verso. The work is loose, not matted.

Unframed

3083

Overall good appearance. A very thin, pale, approximately 1” horizontal line of staining along the upper edge, at left. The verso sheet with scattered surface skinning, tape, and paper remnants, all scattered along the verso sheet edges and corners. The sheet is loose, not matted.

Unframed

3084

Overall good appearance. A minor 2” vertical flattened handling crease in the sky, near the center of the upper edge. Not examined out of the frame.

Framed under glass: 27.25” H x 36.25” W x 1.25” D

3085

Overall good appearance. Not examined out of the frame.

Framed under glass: 27” H x 21.5” W x 1.5” D

3086

Visual: Overall good appearance. Minor crazing primarily in the darker pigments of the left half.

Blacklight: No evidence of restoration.

Unframed

3087

Overall good appearance. Not examined out of the frame.

Framed under glass: 24.5” H x 22.5” W x 1.5” D

3088

Overall good appearance. As mentioned, the sheet is backed with laid Japanese paper. The laid Japanese paper with occasional, minor handling marks in the outer edge, not affecting the image. A long sheet of tissue paper is tipped in places on the verso and folded over as a protective sheet. The work is loose, not matted.

Unframed

3089

Overall good appearance. As mentioned, the sheet is laid to paper. The work is framed floating, affixed to a silk back mat from the verso. Not examined out of the frame.

Framed under glass: 31.25” H x 18.625” W x 1.375” D

3090

Overall good appearance. Flattened creases in various places throughout, presumably from being laid down. Not examined out of the frame.

Framed under glass: 29.25” H x 22.75” W x 1.5” D

3091

Overall good appearance. An unobtrusive pinhead-sized area of dust residue sandwiched between the work and the glass, near the center of the lower edge. Not examined out of the frame.

Framed under glass: 24.125” H x 28.125” W x 1.625” D

3092

Overall good appearance. A few handling creases scattered along the verso of the upper and lower edges and are primarily visible from the verso. As mentioned, the sheet is laid to paper. The sheet is loose, not matted.

Unframed

3093

Overall good appearance. The corners very slightly dogeared. Some stray pigment, verso. The sheet is loose, not matted.

Unframed

3094

Overall good appearance. The extreme upper edge, slightly trimmed unevenly, possibly in the hand of the artist. The sheet is tipped to a thick support sheet from the verso of the sheet corners, although the verso of the lower right corner has come untipped. The work is loose, not matted.

Unframed

3095

Overall good appearance. A few slight handling marks visible in raking light. Not examined out of the frame.

Framed under glass: 31” H x 33.5” W x 1.25” D

3096

Overall good appearance. Not examined out of the frame.

Framed under glass: 20.875” H x 18.125” W x 1.5” D

3097

Visual: Overall good appearance. Dust accumulation and slight surface grime.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 32.5” W x 2” D

3098

Overall good appearance. The sheet is loose, not matted.

Unframed

3099

Overall good appearance. A few flecks of pale foxing near the upper left corner. A scattered, pale, rectangular area of staining, presumably attendant with tape used on the verso, now appearing on the recto. Not examined out of the frame.

Framed under glass: 20.25” H x 26” W x 1.375” D

3100

Overall good appearance. A few pale foxmarks showing through primarily from the verso of the sky in the upper left quadrant. The upper and lower right corners slightly dogeared. The sheet is loose, not matted.

Unframed

3101

Overall good appearance. A soft diagonal 5” crease in the lower left corner, extending along the lower edge. A very minor handling mark in the lower right quadrant. The sheet is loose, not matted.

Unframed

3102

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3103

Overall good appearance. Very fine, unobtrusive craquelure in some of the orange leaves in the lower quadrants. Not examined out of the frame.

Framed under glass: 34.375” H x 28.625” W x 1.5” D

3104

Overall good appearance. Occasional small skinned patches in places along the verso of the upper sheet edge. The sheet is loose, not matted.

Unframed

3105

Overall generally good appearance. Pale light-staining. Time staining along the left edge. Three pale foxmarks in the upper portion of the left edge, and two, less than 1” thin lines of staining at the center of the upper edge. A 0.125” vertical edge tear in the upper edge, at right, and the upper right corner is slightly dog-eared. Handling marks scattered along the outer edges and corners. Rectangular bands of surface skinning along the verso of the upper edge. A small white rectangular sticker affixed to the verso, lower right. A long sheet of tissue paper is taped to the verso from the upper edge and folded over as a protective sheet. The sheet is loose, not matted.

Unframed

3106

Overall good appearance. A few creases in the left half of the upper edge, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 22.5” H x 29” W x 1.75” D

3107

Overall good appearance. Occasional, minor handling marks scattered in the outer edges and corners of the image. The thin support sheet with creasing, small tears, and losses scattered along the edges and corners, not affecting the image. The sheet is curled along the left and right edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3108

Overall good appearance. Occasional soft handling marks scattered in the outer edges and corners of the image. The thin support sheet with creasing, small tears, and losses scattered along the edges and corners, not affecting the image. The sheet is curled along the left and right edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3109

Overall good appearance. Occasional, minor handling marks scattered in the outer edges and corners of the image. A few unobtrusive, flattened creases in the blanks of the image, primarily visible in raking light. The thin support sheet with creasing, small tears, and losses scattered along the edges and corners, not affecting the image. The sheet is curled along the left and right edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3110

Overall good appearance. Not examined out of the frame.

Framed under glass: 31.75” H x 31.75” W x 1” D

3111

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3112

Visual: Overall good appearance. A few small areas of light-blue pigment loss, revealing the dark blue underpaint, scattered across the sky.

Blacklight: No evidence of restoration.

Unframed

3113

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3114

Visual: Overall good appearance. Flecks of grime scattered near the center of the right edge. Scattered areas of occasional paint shrinkage. Minor wear scattered along the extreme right edge.

Blacklight: No evidence of restoration.

Unframed

3115

Visual: Overall good appearance. Areas of wear to the pigment scattered throughout, primarily concentrated in the lower left quadrant and scattered along the edges of the canvas overlap. A 0.25” H x 1” W area of abrasion, with attendant pigment loss at the center of the right edge, and scattered abrasion along the extreme edges. A few small areas of very unobtrusive craquelure in the sky of the upper right quadrant.

Blacklight: No evidence of restoration.

Unframed

3116

Overall good appearance. The work is framed floating, affixed to the back mat. Not examined out of the frame.

Framed under glass: 36.25” H x 42.25” W x 1.5” D

3117

Visual: Overall generally good appearance. Scattered peasized (or smaller) pigment losses and specks of possible stray pigment in the upper half, primarily in the hair of the two woman figures.

Blacklight: No evidence of restoration.

Unframed

3118

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

3119

Visual: Overall good appearance. Splattered drops of grime, primarily in places along the outer edges and the upper right corner. A 0.25” H x 0.5” W area of fibrous residue adhered to the surface in the center of the lower edge, on the lowest figure’s hand.

Blacklight: No evidence of restoration.

Unframed

3120

Visual: Overall good appearance.

Blacklight: No evidence of restoration

Unframed

3121

Visual: Overall generally good appearance. Splattered grime primarily in the lower right quadrant. Various surface scratches with attendant pigment loss, primarily in the upper half, the longest 5.5,” as well as large areas of possible abrasion or missing varnish along the left edge. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Unframed

3122

Overall good appearance. Occasional scattered and unobtrusive short creases throughout, presumably inherent in the artist’s working process and visible primarily in raking light. A pea-sized area of craquelure within the orange pigment of the circular element at lower left. Not examined out of the frame.

Framed under glass: 42.25” H x 32” W x 1.5” D

3123

Overall good appearance. With margins. A very soft 1” horizontal crease in the negative space making up the figure’s arm in the lower left corner, and a few more, softer, in the left margin that are primarily visible in raking light. Not examined out of the frame.

Framed under glass: 22.75” H x 26.75” W x 1.75” D

3124

Overall good appearance. One very soft horizontal crease extending between the vertical sheet edges, including through the figure’s mouth, visible primarily in raking light. A few scattered, unobtrusive irregularities in the Japanese paper layer, such as short tears, creases, and small areas of clumped paper, all presumably part of the artist’s creative process while joining the two types of paper together. Occasional minor craquelure in some of the thicker impasto. A 1.5” diagonal crease with an attendant horizontal tear and pea-sized pigment loss at the lower right corner, close to but not affecting the artist’s red ink chopmark. A few other, smaller, edge tears scattered in a few places at the extreme sheet edges. Minor surface soiling and soft handling marks showing primarily on the verso of the support sheet. The work is loose, not matted.

Unframed

3125

Overall good appearance. The sheet with deckled edges. Artist pinholes at each of the sheet corners. The two smallest specks of unobtrusive pigment loss near the center of the left edge. A long sheet of tissue paper is taped multiple times to the verso of the upper edge and folded over as a protective measure. The work is loose, not matted.

Unframed

3126

Visual: Overall good appearance. A stretcher bar crease along the upper edge, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 51” H x 88.75” W x 2.5” D

3127

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 69” H x 49” W x 2.5” D

3128

Visual: Overall good appearance. Minor wear and pinpoint-sized pigment losses to the areas of raised pigment scattered throughout.

Blacklight: No evidence of restoration.

Frame: 49.25” H x 49” W x 2.5” D

3129

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 49.75” H x 37.75” W x 2.25” D

3130

Visual: Overall good appearance. Crazing in the red pigment of the figure’s clothes.

Blacklight: No evidence of restoration.

Frame: 51” H x 88.5” W x 2.5” D

3131

Visual: Overall generally good appearance. A reverse pressure mark of at least 1” H x 1” W at the center of both the right and the lower extreme edges, attendant with two of the stretcher’s plastic clips, visible primarily in raking light. A 1” vertical surface abrasion in the background of the upper right quadrant. Scattered flecks of pale grime confined primarily to the background of the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 50” H x 38” W x 1.5” D

3132

Visual: Overall good appearance. Two 1” areas of minor crazing in the bright red pigment of the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 49.25” H x 49” W x 2.25” D

3133

Visual: Overall good appearance. Possible old frame abrasion with attendant pigment loss scattered occasionally along the right edge.

Blacklight: No evidence of restoration.

Unframed

3134

Visual: Overall good appearance. A few very small areas of pigment/surface loss primarily scattered along the outer edges.

3135

Overall good appearance. A small crease near the center of the upper edge, only seen from the verso. The sheet is loose, not matted.

Unframed

3136

Overall good appearance. An irregular-shaped loss, measuring 0.875” H x 1” W near the lower left corner of the sheet. Possible artist’s pinholes scattered along each of the sheet edges. Minor surface soiling both in the image and the printed paper border. Minor handling marks are primarily visible on the border; however, a few scattered in the sheet, and correspond with curling along the upper and lower edges, attendant with it being stored rolled. The work with wooden dowels at each end of the work to store it rolled.

Unframed

3137

Overall good appearance. A few, possible artist’s pinholes scattered along the upper and right sheet edges. Minor handling marks are primarily visible on the border; however, some scattered in the image, and correspond with curling along the upper and lower edges, attendant with it being stored rolled. The work with wooden dowels at each end of the work to store it rolled.

Unframed

3138

Overall good appearance. Three possible artist pinholes: two at the center along the left and right edges, respectively, and one near the upper right corner. Minor surface soiling both in the image and the printed paper border. Minor handling marks are primarily visible on the border and correspond with curling along the upper and lower edges, attendant with it being stored rolled. The work with wooden dowels at each end of the work to store it rolled.

Unframed

3139

Overall good appearance. Possible artist’s pinholes scattered along each of the sheet edges. Minor surface soiling both in the image and the printed paper border. Handling marks are primarily visible on the border; however, a few scattered in the sheet, and correspond with curling along the upper and lower edges, attendant with it being stored rolled. The work with wooden dowels at each end of the work to store it rolled.

Unframed

3140

Overall good appearance. Areas of creasing, the longest 6”, primarily in the sight corners. Not examined out of the frame.

Framed under glass: 33” H x 33” W x 1.5” D

3141

Overall good/generally good appearance. Minor surface soiling scattered along the sheet edges. A very pale pinhead-sized stain in the blank, near the lower left corner. A 0.5” horizontal edge tear at the center of the left edge. Minor handling marks and occasional flattened creases in the outer edges and corners. Presumably, the artist’s pinholes scattered along each sheet edge; however, as mentioned, the sheet is laid to a thinner Japanese laid paper. The sheet is loose, not matted.

Unframed

3142

Overall good appearance. Not examined out of the frame.

Framed under glass: 18.25” H x 18.25” W x 1.375” D

3143

Overall good appearance. The sheet is tipped to a support sheet from the verso of the upper and lower left sheet corners; the verso of the upper and lower right sheet corners were also previously tipped to the support sheet but are now unstuck. The work is loose, not matted.

Unframed

3144

Overall good appearance. Not examined out of the frame.

Framed under glass: 18.25” H x 18.25” W x 1.25” D

3145

Overall good appearance. Not examined out of the frame.

Framed under glass: 18.25” H x 18.25” W x 1.375” D

3146

Overall good appearance. Full margins with deckled edges. A few pinpoint-sized foxmarks on the verso, slightly appearing on the recto, in the left and right margins. Handling marks scattered in the margins, not affecting the image. Minor cockling along the left and right margin edges. The sheet is loose, not matted.

Unframed

3147

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

Framed under glass: 16.125” H x 15.75” W x 1.5” D

3148

Overall generally good appearance. Presumably the full margins with deckled edges. Pale foxing throughout the recto and verso. Minor surface soiling in the outer margins. A few minor handling creases scattered along the right margin edge. The sheet is loose, not matted.

Unframed

3149

Overall good appearance. With wide margins. Soft, occasional handling marks scattered in the margins. The extreme lower edge with scattered, very minor surface skinning. The sheet is loose, not matted.

Unframed

3150

Overall good appearance. With wide margins. Soft handling marks scattered primarily in the margins and on the verso. A large, pencil letter “C” in the upper left margin corner. Some very faint and unobtrusive, stray, printer’s ink near the upper margin edge. The sheet is loose, not matted.

Unframed

3151

Overall good appearance. Not examined out of the frame.

Framed under glass: 31” H x 31.75” W x 1.75” D

3152

Overall good appearance. An approximately 1” curved tear (but not on the thin support sheet), along the center of the left edge. A 0.5” horizontal area of abrasion with attendant lifting of the sheet surface, in the black pigment near the upper right corner of the sheet. The upper left corner of the sheet is slightly peeling away from the thin support sheet. The thin support sheet with creasing, small tears (some extending slightly into the image), and losses scattered along its edges and corners, not affecting the image. A few pale foxmarks scattered on the verso of the thin support sheet. The sheet is curled along the left and right edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3153

Overall good appearance. Soft handling marks scattered throughout. Not examined out of the frame.

Framed under glass: 41.125” H x 43.75” W x 1.5” D

3154

Overall good appearance. Not examined out of the frame.

Framed under glass: 25” H x 20.25” W x 1.125” D

3155

Handling marks and creases throughout. Artist pinholes, pea-sized (or smaller) abrasions with attendant paper loss, edge tears (0.5” or smaller), all in the outer edges. A few dime-sized areas of surface skimming, primarily in the upper left quadrant. The corners dogeared with a small area of loss to the upper right corner. Other minor defects. The sheet is framed floating, hinged to the back mat from the verso of the outer edges.

Framed without glazing: 46.5” H x 47.25” W x 1.25” D

3156

Overall generally good condition. Slight cockling showing primarily along the right edge in raking light and likely attendant with the materials used. Two very soft horizontal creases extending most of the way across the upper portion of the sheet, only slightly affecting the forehead of the taller figure at right. A series of short vertical creases in the upper portion of the sheet, primarily in the background. Not examined out of the frame.

Framed under glass: 37” H x 35.25” W x 1.25” D

3157

Overall good appearance. Small, minor handling creases scattered in the blank, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 28.25” H x 22.25” W x 1.5” D

3158

Overall good appearance. A pale pinpoint-sized foxmark in the blank and to the right of the figure’s face. Very minor, small handling marks scattered in the blank of the sheet, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 24” H x 22” W x 1.5” D

3159

Overall good appearance. Not examined out of the frame.

Framed under glass: 24” H x 22” W x 1.5” D

3160

Overall generally good appearance. Creases scattered throughout the work, the most prominent areas being a vertical crease extending through the center of the work, and into the upper left corner. Small scattered areas of minor surface soiling. The light blue support sheet with creases, tears, wear, and small losses along the edges and corners, with one tear slightly extending into the work, near the center of the left edge. The sheet is framed floating, affixed to the back mat. Not examined out of the frame.

Framed under glass: 16.125” H x 20” W x 1.375” D

3161

Overall good appearance. Not examined out of the frame.

Framed under glass: 33.5” H x 33” W x 1.5” D

3162

Overall good appearance. Some minor handling creases in the outer edges and corners. Scattered edge wear and a few paper losses to the extreme sheet edges and corners of the light green support sheet. The sheet is framed floating, affixed to the back mat.

Framed under glass: 15.75” H x 19.375” W x 1.375” D

3163

Overall good appearance. The verso sheet with glue residue at each of the four corners. The sheet is loose, not matted.

Unframed

3164

Overall good appearance. A pale band of time staining along the upper sheet edge. The sheet is hinged to a thick support sheet with two pieces of tape from the verso of the upper sheet corners. Minor wear along the edges and corners of the support sheet. The work is loose, not matted.

Unframed

3165

Overall good appearance. Very pale light-staining. The sheet is tipped to a support sheet from the verso of the upper and lower right sheet corners; the verso of the upper and lower left sheet corners have come untipped. The work is loose, not matted.

Unframed

3166

Overall good appearance. The sheet is tipped to a thick support sheet from the verso of the sheet corners, although the verso of the lower right corner has come untipped. The work is loose, not matted.

Unframed

3167

3168

Overall good appearance. The sheet is loose, not matted.

Unframed

3169

Overall good appearance. Not examined out of the frame.

Framed under glass: 31.25” H x 41.25” W x 1.25” D

3170

Overall good appearance. A few small and very pale foxmarks scattered in the lower half of the work. Not examined out of the frame.

Framed under glass: 23” H x 30.75” W x 1.375” D

3171

Overall good appearance. Very pale time staining along the extreme upper edge. Two less than 1” vertical edge tears, one at the center of the upper sheet edge and the other at the center of the lower sheet edge. The upper and lower left sheet corners are dog-eared. Artist pinholes at the upper sheet corners. Small paper remnants adhered to the upper sheet corners, and uneven toning, all verso. The sheet is loose, not matted.

Unframed

3172

Overall good appearance. The right edge is slightly curled. The verso with small paper remnants in the upper corners and a few very pale foxmarks in the lower half of the sheet, none of which affect the recto. The sheet is loose, not matted.

Unframed

3173

Overall good appearance. With margins. A few soft, small, handling marks scattered occasionally in the upper margin, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 17.25” H x 16.875” W x 1.5” D

3174

Overall good appearance. With wide margins. A few unobtrusive, approximately rice-sized, slight surface abrasions in the background above the central roofline, visible primarily in raking light. A pinhead-sized pressure mark in the blank of the upper left quadrant. Some extremely pale, dappled staining in the upper margin, not affecting the image. A flattened vertical crease through each of the vertical margins, one inch from their wide outer edges, where formerly folded under for display. The sheet is loose, not matted.

Unframed

3175

Overall generally good appearance. Minor surface soiling. Very occasional, pale, unobtrusive specks of foxing. Minor edge and corner wear. Handling marks scattered in the outer edges. The sheet is curled along the upper and lower edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3176

Overall good appearance. Minor surface soiling. Scattered edge and corner wear, as well as, minor handling marks. The sheet is curled along the upper and lower edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3177

Overall good appearance. Small, very minor, occasional flattened creases scattered in the outer edges. The sheet is curled along the upper and lower edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3178

Overall good appearance. Very minor surface soiling. Occasional edge wear. A few handling creases scattered in the outer edges and corners. Small, unobtrusive areas of the top sheet slightly peeling away from the support sheet, only in the corners and edges. The sheet is loose, not matted.

Unframed

3179

Overall good appearance. A soft horizontal crease going across the sheet in the lower half. Minor flattened creases throughout due to the paper being laid down. Artist pinholes in each corner. The lower right corner slightly dog-eared. Handling marks showing primarily on the verso. A 1” H x 1” W (or smaller) paper loss to the lower corners of the support sheet, only visible on the verso. The sheet is loose, not matted.

Unframed

3180

Overall good appearance. Minor 2” (or smaller) creases scattered primarily in the outer edges. Not examined out of the frame.

Framed under glass: 33.25” H x 24.25” W x 1.5” D

3181

Overall good appearance. Minor surface soiling. A few very pale, specks of foxing scattered in the right half of the work. Two very small edge tears, both in the lower portion of the extreme left edge. Handling creases scattered in the outer edges and corners. The sheet is curled along the upper and lower edges, attendant with it being stored rolled. The sheet is loose, not matted.

Unframed

3182

Overall generally good appearance. A generally unobtrusive, narrow, horizontal crease extending across the sheet’s lower portion, skillfully touched-in in places, not affecting the red chopmark in the lower left corner. An approximately 3.5” diagonal crease across the background of the upper right corner, partially affecting the two uppermost characters of the inscription. Not examined out of the frame.

Framed under glass: 31.5” H x 23” W x 1” D

3183

Overall good appearance. Two approximately pinholesized tears in the paper, just above the black pigment, near the upper left corner. A few very soft handling marks scattered occasionally in the outer edges and corners. Not examined out of the frame.

Framed under glass: 32” H x 23.25” W x 1” D

3184

Overall good appearance. A few very pale, unobtrusive foxmarks scattered in the blank near the lower right corner, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 27” H x 27.75” W x 1.5” D

3185

Overall good appearance. Pale bands of time staining along the left and right sheet edges. A very pale, splattertype stain near the center of the lower edge, primarily visible in raking light. A minor 2” diagonal crease running near the upper right corner, and the lower left corner is slightly dog-eared. Very small and soft handling marks scattered near the lower edge. The sheet is loose, not matted.

Unframed

3186

Overall good appearance. Minor handling marks are primarily visible on the border; however, a few scattered in the sheet, and correspond with curling along the upper and lower edges, attendant with it being stored rolled. Minor surface soiling scattered on the verso of the scroll. The work with wooden dowels at each end of the work to store it rolled.

Unframed

3187

Minor surface soiling and handling creases scattered throughout. A repaired diagonal tear of approximately 21.5”, extending from near the lower left edge through the image, and to the center of the right edge. An additional repaired diagonal tear of approximately 1” along the upper left edge, with a small area of the sheet lifting from the support, with attendant patching, verso. A few smaller scattered edge tears. The sheet is loose, not matted.

Unframed

3188

Overall good appearance. A few very minor foxmarks in the upper right and left corners. Not examined out of the frame.

Framed under glass: 21.25” H x 25.25” W x 1.75” D

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Director, Fine Art

President, Auctioneer

Vice President, Specialist, Silver, Western & American Indian Art

Director,, Furniture and Decorative Arts

Senior Specialist, Furniture & Decorative Art

Associate Specialist, Fine Art

Specialist, Post-War & Contemporary Design

Department Administrator, Fine Art

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Furniture & Decorative Arts

Cataloguer, Silver, Luxury and Decorative Arts

Director, Jewelry & Watches

Senior Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Department Administrator, Trusts and Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

Manager, PR/Social Media

Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

Photographer

FOUNDERS

Founder

Co-Founder

Katherine Halligan, AAA

Jeffrey J. Moran

Maranda Moran

Jen Kurtz

Angela Past

Bobby Cullen

Matthew Grayson

Jacob Baer

Anne Spink

Madison Ari

Lori Kassabian

Grant Stevens

Sally Andrew

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Wyatt Beserra

John H. Moran (1942-2017)

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

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

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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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.