Post-War & Contemporary Art + Design — November 9, 2021 | John Moran Auctioneers

Post-War & Contemporary Art + Design Tuesday, November 9, 2021

SINCE 1969

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

Post-War & Contemporary Art + Desi Tuesday, November 9, 2021—11:30am Sale 201 (Session 2) 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, November 5th: 12-4pm Saturday, November 6th: 12-4pm Sunday, November 7th: By Appointment Monday, November 8th: 12-4pm

Meet the Team Morgana Blackwelder Co-Head of Sale, Fine Art Director, Senior Vice President morgana@johnmoran.com

John Simon Taylor Co-Head of Sale, 20th Century Design Special jsimon@johnmoran.com

Bobby Cullen Senior Fine Art Cataloguer, Junior Fine Art Specialist bobby@johnmoran.com Shannon Dailey Decorative Art Cataloguer shannon@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

ign

list

2001

Doyle Lane

(1925-2002, American) Blue seed pot Glazed ceramic Signed: Lane 2.75” H x 2.75” Dia. $800-1,200

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2002

Doyle Lane

(1925-2002, American) Brown seed pot Glazed ceramic Signed: Lane 2.25” H x 2.375” Dia. $500-700

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2003

Otto And Vivika Heino

(1915-2009 and 1910-1995, American) Two volcanic glaze weed vases Glazed stoneware Each signed: Vivika + Otto Larger: 4” H x 6” Dia.; Smaller: 3.25” H x 4.5” Dia. $600-800

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2004

Sofu Teshigahara

(1900-1979, Japanese) “Moon Light,” circa 1962 Ink on Japanese paper laid to Japanese paper under Plexiglas Signed with the artist’s red chop mark lower right Sheet: 23.25” H x 35.25” W $2,000-3,000 Notes: This work is titled “Composizione 50” and dated 1962 on a label affixed to the verso of the frame. However, the image itself is created from the traditional Japanese characters for “moon” and “light.” Additionally, the Japanese calligraphy affixed to the verso of the frame, when read vertically as intended, says the same thing.

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2005

Hisao Domoto

(1928-2013, Japanese) Untitled Ink on wove paper under glass Signed lower right: Domoto Sheet: 14.625” H x 23.875” W $2,000-3,000 Provenance: Galerie Stadler, Paris, France

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2006

A Phillip and Kelvin LaVerne acid-etched “Romanesque” cocktail table

Circa 1960s Raised etched signature The coffee table in bronze with acid-etched and enameled pewter with figural motif top raised on four straight legs with serpentine elements 17” H x 60” W x 23.5” D $4,000-6,000

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2007

Dan Levenson

(b. 1972, American) “Alois Irminger,” 2015 Oil on treated linen Appears unsigned; titled and dated on gallery label affixed verso; a German, round, ink stamp verso 66.25” H x 93.75” W $3,000-5,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection, acquired from the above

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2008

Dan Levenson

(b. 1972, American) “Klaus Hangartner,” 2015 Oil on prepared linen Appears unsigned; titled and with a round, a German, round, ink stamp verso; dated on a gallery label attached to the stretcher 33” H x 23.5” W $1,500-2,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection, acquired from the above

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2009

Dan Levenson

(b. 1972, American) “Franz Schleuss,” 2015 Oil on treated linen Appears unsigned; titled verso and also titled and dated on a gallery label attached to the stretcher; a German, round, ink stamp verso 33” H x 23.5” W $1,500-2,500 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection, acquired from the above

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2010

Yngve Holen

(b. 1982, German) “It’s your Prada dress and you have a little ...u always look at it. Shit, that’s my Prada dress. So I fix that,” 2015 Plastic, fabric, and steel Appears unsigned 69.75” H x 73” W x 14.25” D $12,000-18,000 Provenance: Private Collection, New York, NY Holen’s oeuvre explores industrial objects and materials in unusual contexts and scales. Despite the intentional absence of handcraftsmanship or a visible human element, his sculptures frequently evoke the body, often in relation to technology. The present example has a bewildering title alluding to the female form and yet it is utterly incongruous with the curious, sizable metal segment presented before the viewer. In addition to his artmaking practice, Holen founded a magazine, ETOPS (an acronym for “Extended-range Twin-engine Operational Performance Standards”). The second installation of the publication featured extensive interviews with plastic surgeons and porn professionals in Los Angeles, Las Vegas and Monaco. His peculiar title is in fact derived from one such dialogue. Shiny, sleek and divorced from function, the object is both mysterious and formally compelling. Resident in Berlin, Holen exhibits his work widely.

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2011

Markus Amm

(b. 1969, German) Untitled, 2006 Slate, wood, aluminum, canvas, and photogram on pedestal Unsigned 63” H x 46” W x 14.5” D $2,000-3,000 Provenance: David Kordansky Gallery, Los Angeles, California The Blake Byrne Collection, acquired from the above

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2012

A Hans Jørgensen Wegner Papa Bear chair and ottoman, for A.P. Stolen

Designed 1951-1953, model AP19; Denmark The Danish mid-century modern chair upholstered in original green tweed, the wide wingback chair issuing dual triangular arms terminating in teak armrests above a rectangular seat with drop-in cushion, raised on tapering circular teak legs, together with a matching dual-handled ottoman, 2 pieces Chair: 39” H x 36” W x 37” D; Ottoman: 16.5” H x 27.75” W x 16.5” D $6,000-8,000 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2013

A Hans Jørgensen Wegner Papa Bear chair, for A.P. Stolen

Designed 1951-1953, model AP19; Denmark The Danish mid-century modern chair upholstered in original green tweed, the wide wingback chair issuing dual triangular arms terminating in teak armrests above a rectangular seat with drop-in cushion, raised on tapering circular teak legs Chair: 39” H x 36” W x 37” D $5,000-7,000 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2014

D.E. May

(b. 1952, American) “Endes,” 2013 Found papers and materials, cardboard, plaster of Paris, acrylic, watercolor, ink, and graphite Initialed, dated, and inscribed verso: DM 13 / INV. DM-13-08-613 / 9-1 3.5” H x 3.75” W x 1” D $500-700 Provenance: PDX Contemporary Art, Portland, OR The Blake Byrne Collection, acquired from the above

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2015

D.E. May

(b. 1952, American) “Untitled,” 2006 Mixed media on board and panel under Plexiglas Initialed and dated along the lower edge: DM 5.75” H x 4” W $500-700 Provenance: PDX Contemporary Art, Portland, OR The Blake Byrne Collection, acquired from the above

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2016

2017

(b. 1952, American) “230,” 1992 Mixed media drawing on cardboard housed in a carboard box with cellophane tape, numerous cancelled vintage postage stamps, plus typed recipient and return mailing labels affixed recto and verso Signed via the typed return label affixed to box verso; titled faintly in pencil on the box verso; dated by repute Drawing: 6” H x 5.375” W; Box: 6.25” H x 6.75” W x .5” D

(b. 1956, American) Untitled, 1989 Mixed media assemblage Unsigned 6.25” H x 18” W x 12.5” D

D.E. May

$500-700 Provenance: Jamison Thomas Gallery, Portland, OR The Blake Byrne Collection, acquired from the above

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Cameron Shaw

$600-800

Provenance: Richard Heller Gallery, Santa Monica The Blake Byrne Collection, acquired from the ab

a, CA bove

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2018

Two Martin Borenstein modern articulating daybeds/sofas

Mid-20th Century; Denmark Each Danish mid-century modern daybed with wood frame featuring a hinged front bar used to lower or raise the seat for sitting versus napping, with reupholstered cream wool cushions raised on straight legs with brass trimmed feet, 2 pieces Larger: 28.5” H x 75.75” W x 31.5” D; Smaller: 28” H x 51” W x 32” D approximately $3,000-4,000

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2019

2020

(1918-2015, American) Bowl Electroplated enamel on copper Unsigned 4.125” H x 6.75” Dia.

(1918-2015, American) Two enamel plaques Electroplated enamel on metal mount Each signed verso; one numbered: 51 Larger plaque: 12.5” H x 9.25” W; Sm

June Schwarcz

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June Schwarcz

$4,000-6,000

$3,000-5,000

Notes: This lot is accompanied by copies of a gallery label and a newspaper article discussing the artist.

Provenance: Sale: The Egg and the Ey

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Notes: This lot is accompanied by a c well as copies of various related ephe

ted to wood 13; one numbered: 397 maller plaque: 10.125” H x 8” W

ye, Los Angeles, CA, July 29, 1970

copy of the receipt of sale from The Egg and the Eye, dated July 29, 1970, as emera including two personal correspondences and a newspaper article.

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2021

A Barrois for Vallauris modern sun burst mosaic coffee table

Mid-20th Century Signed in the tile: Barrois The French mid-century modern coffee table with a triangular top decorated with an abstract sun burst motif tile mosaic, raised on three tapered wood legs 15.5” H x 37” W x 36” D $1,000-2,000

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2022

Anne-Laure Sacriste

(b. 1970, French) “Le loup,” 2004 Oil on canvas Signed twice and dated verso: Sacriste 39.25” H x 45.25” W $1,500-2,000 Provenance: Art Concept, Paris, France The Blake Byrne Collection, acquired from the above

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2023

Peter Rogers

(b. 1933, American) Figures in an abstract landscape, 19 Oil on canvas under glass Initialed and dated lower right: PR Sight: 32” H x 34” W $1,000-1,500

Provenance: The Estate of Jane Reis Neil Peter Jampolis, Los Angeles, C

2025

Peter Rogers

(b. 1933, American) Two figures on horseback leaping th Oil on canvas Initialed and dated lower right: PWR 53.75” H x 65.75” W $2,500-3,500

Provenance: The Estate of Jane Reis Los Angeles, CA

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973

sman and CA

hrough the air, 1991

R

sman and Neil Peter Jampolis,

2024

Peter Rogers

(b. 1933, American) “The Fall,” 1980 Oil on canvas Initialed and dated lower left: RWP; titled by repute 80” H x 56” W $2,500-3,500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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2026

David Wynne

(1926-2014, English) “Sleeping Girl,” 1963 Patinated bronze Edition 8/12; singed in casting; numbered by repute 7” H x 30.5” W x 13” D $8,000-12,000 Provenance: Arthur Tooth & Sons Ltd, London, by descent through family

2027

Attributed to Orion Martin

(b. 1988, American) “Shorb St.,” 2015 Clear and colored glass and lead Appears unsigned 50.25” H x 34.5” W x .5” D $4,000-6,000

Provenance: Private Collection, N 34

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2028

A Joaquim Tenreiro modern jacaranda wood desk

Circa 1964 The Brazilian mid-century modern jacaranda wood desk with a rectangular top over two drawers flanked by a step-down writing surface, supported by two slab-style side panels with a stretcher back panel 29.5” H x 57” W x 27.5” D $4,000-5,000

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2029

Laurent Davidson

(20th-21st Century, American) Blue and gold, 2002 Aluminum and steel Signed and dated with impressed artist’s cipher 12” H x 48” W x 30” D approximately, dimensions variable $1,200-1,800

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2030

Yaacov Agam

(b. 1928, Israeli) “Good Times” Agamograph in colors under Plexiglas Edition 81/99; signed lower right: Agam, titled on the frame’s back board Image: 12.75” H x 15.5” W; Sight: 13.5” H x 15.75” W $1,500-2,500

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2031

Robert Russell

(b. 1971, American) “Mike Kelley,” 2012 Oil on gesso board Unsigned; titled and dated by repute 11” H x 14” W $800-1,200 Provenance: Helene Bailly Gallery, Paris, France The Blake Byrne Collection, acquired from the above

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2032

Robert Russell

(b. 1971, American) “Paul McCarthy,” 2012 Oil on gesso board Signed and dated verso: Russell; titled by repute 11” H x 14” W $800-1,200 Provenance: Helene Bailly Gallery, Paris, France The Blake Byrne Collection, acquired from the above

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2033

Jim Isermann

(b. 1955, American) “Untitled (0709),” 2009 Colored pencil on graph paper under glass Signed lower left: Jim Isermann; titled and dated lower right 18” H x 24” W $800-1,200 Provenance: Galerie Praz-Delavallade, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2034

Jim Isermann

(b. 1955, American) “Untitled (0309),” 2009 Colored pencil on graph paper under glass Signed lower left: Jim Isermann; titled and dated lower right 18” H x 24” W $800-1,200 Provenance: Galerie Praz-Delavallade, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2035

Victor Vasarely

(1906-1997, Hungarian) “Joie,” 1972 or later Mixed media on pink paper affixed to artist’s board under glass Signed and indistinctly dated lower center: Vasarely; titled on a label affixed to the backing board 8.25” H x 10.75” W $3,000-5,000 Provenance: The Artist Vasarely Center, New York, NY Private Collection, New York. NY Antal Fine Art, Los Angeles, CA Los Angeles Modern Auctions, Los Angeles, CA, Modern Art & Design, March 5, 2017, Lot 360 The Blake Byrne Collection, acquired from above

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2036

Lino Tagliapietra

(b. 1934, Italian) Incalmo vase, Murano, Italy, 1982 Glass Edition 79/100; signed, numbered, and dated to base; with original retail label to side 9” H x 12” Dia. $800-1,200

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2037

Kelly Akashi

(b. 1983 American) “Peaking,” 2017 Blown glass Unsigned 10” H x 10” W x 24.25” D $2,000-3,000 Provenance: Francois Ghebaly, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2038

Katie Grinnan

(b. 1970, American) “Untitled” (diptych), 2001 Collage and multi-media on two pieces of wove paper Each: signed and dated in pencil on the support sheet verso: Katie Grinnan One: 12.25” H x 10.25” W (irreg.); Other: 15” H x 15” W (irreg.) $800-1,200 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2039

Bruce Helander

(b. 1947, American) “Texas Tycoon,” 1995 Paper collage under Plexiglas Signed center left: Bruce Helander; titled and dated on the artist’s studio stamped mat board showing verso Sight: 17.5” H x 13” W $500-700 Provenance: The Artist The Blake Byrne Collection, received as a birthday gift from the above

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2040

Bruce Helander

(b. 1947, American) “Pivota Provinces,” 1988 Paper collage under Plexiglas Signed lower right: Bruce Helander; titled and dated on gallery labels affixed verso Sight: 13.25” H x 10.25” W $500-700 Provenance: Shippee Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2041

Bruce Helander

(b. 1947, American) “Daydream,” 1989 Paper collage under Plexiglas Signed lower right: Bruce Helander; titled and dated on a gallery label affixed verso Sight: 19” H x 13.25” W $500-700 Provenance: Carlo Lamagna Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2042

Bruce Helander

(b. 1946, American) “Magic Machines, #2,” 2002 Paper collage on board under Plexiglas Signed and dated lower left: Bruce Helander; titled on a gallery label affixed verso Sight: 10.75” H x 7” W $500-700 Provenance: Helander Gallery, West Palm Beach, FL The Blake Byrne Collection, acquired from the above

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2043

Ry Rocklen

(b. 1978, American) “KNOCK KNOCK,” 2014 Ceramic Unsigned 72” H x 28” W x 1” D $3,000-5,000 Provenance: Galerie Praz-Delavallade, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2044

Cameron Shaw

(b. 1956. American) Untitled (vitrine with derby), 1996 Mixed media assemblage Edition 1/3; appears unsigned 78.5” H x 24.75” W x 20.75” D $800-1,200 Provenance: Louis Stern Fine Arts, West Hollywood, CA Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above Exhibitions: West Hollywood, CA, Louis Stern Fine Arts, “Imaginary Realities: Surrealism Then and Now,” September 19 - November 12, 1996

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2045

Sean Mellyn

(b. 1965, American) “No Title (Black Bulb),” 2002 Oil on canvas over board plus rubber cord attached to wooden spool verso Signed, titled, and dated verso: Sean Mellyn 24” H x 18” W $800-1,200 Provenance: Roberts & Tilton, Culver City, CA The Blake Bryne Collection, acquired from the above

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2046

Norbert Kricke

(1922-1984, German) Untitled (line work), 1983 Ink on paper under glass Signed and dated in pencil lower right: Kricke / 25. 4. 83 25.5” H x 19.75” W $2,000-3,000

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2047

Florian Pumhosl

(b. 1971, Austrian) “Ebene G (1),” 2003 Photogram on Bergger Baryta paper, mounted on Alucobond under glass Appears unsigned; titled and dated on a label affixed to the frame verso 11.75” H x 15.75” W $1,000-2,000 Provenance: Galerie Daniel Buchholz, Cologne, Germany The Blake Byrne Collection, acquired from the above

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2048

Florian Pumhosl

(b. 1971, Austrian) Untitled, 2005 Acrylic reverse-painted glass under Plexiglas Unsigned; titled and dated by repute 18” H x 11.75” W $1,000-2,000 Provenance: Galerie Daniel Buchholz, Cologne, Germany The Blake Byrne Collection, acquired from the above

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2049

Stephen Aldahl

(b. 1981, American) “New Realization: Twirl (Red and Black),” 2017 Oil and enamel on canvas Signed, titled, and dated verso: ALDAHL 66” H x 44” W $5,000-7,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2050

Jon Pylypchuk

(b. 1972, Canadian/American) Untitled, 2014 Enamel and spray paint on canvas over panel Signed, dated, numbered and inscribed verso: JMP.2014.0013 / “For delia Brown with love” 24” H x 24” W $1,000-2,000 Provenance: Paddle8 Auctions, New York, NY Private Collection, Pasadena, CA, purchased from the above Notes: A purchase receipt from Paddle8 accompanies this lot.

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2051

Laurent Davidson

(20th-21st Century, American) Red and black, circa 2000 Metal wire and plastic Unsigned 20” H x 16” W x 14” D approximately, dimensions variable $1,200-1,800

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2052 Dirk Bell

(b. 1969, German) “Ohne Titel” [Untitled], 2005 Mixed media on panel Signed, dated, and numbered verso: DB559; titled on a gallery label affixed verso 53.25” H x 42” W $3,000-5,000 Provenance: Jorn Botnagel and Yvonne Quirmbach, Cologne, Germany The Blake Byrne Collection, acquired from the above

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2053

Julian Hoeber

(b. 1974, American) “Tomato,” 2003 Gouache and graphite on paper under Plexiglas Appears unsigned; titled and dated on gallery labels affixed to the frame verso Sight: 8” H x 5.75” W $400-600 Provenance: Essor Gallery, London, England Blum & Poe, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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2054

Julian Hoeber

(b. 1974, American) “Mouth,” 2003 Gouache and graphite on paper under Plexiglas Appears unsigned; titled and dated on gallery labels affixed to the frame verso Sight: 8” H x 6” W $400-600 Provenance: Essor Gallery, London, England Blum & Poe, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2055

Anthony Pearson

(b. 1969, American) “Untitled (tablet),” 2010 Cast bronze relief with cobalt patina Signed and dated in black ink to verso: AP / 2010 8.375” H x 5.5” W x 1.25” H $1,000-2,000 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2056

Frank Gehry

(b. 1929, Canadian-American) Untitled, 2005 Bronze Edition 74/200; signed and numbered to underside 9.625” H x 4” W x 4” D $2,000-3,000 Provenance: The Frostig Collection, Pasadena, CA Notes: This edition, resembling a stacked helix, was produced exclusively for The Frostig Collection in Pasadena, California. The collection helps to support the Frostig School, a non-profit education center for children with learning differences.

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2057

Attributed to Louise B. Nevelson (1899-1988, American) Untitled Wood and black paint Unsigned 85” H x 10” W x 8” D $10,000-15,000 Provenance: The Metz Family, Lafayette Hill, PA Notes: This wood sculpture was found in a basement in Chestnut Hill, Pennsylvania, in 1985. In 2017, the owner contacted Nevelson’s granddaughter, Maria Nevelson, who then came to see it in person. Nevelson felt the work was by her grandmother, and suggested the piece be professionally restored and sent to auction.

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2058

Steve Hurd

(b. 1956, American) “Untitled (Outburst series) 1,” 2004 Oil on canvas Signed and dated verso: Steve Hurd; titled and numbered on gallery label affixed to the stretcher: StH06 18 54.25” H x 51” W $2,000-3,000 Provenance: Rosamund Felsen Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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2059

Jim Shaw

(b. 1952, American) “Cake (Blake),” 2011 Oil on digital ink jet print and acrylic and ink on two wood panels Signed: Jim Shaw; dated and inscribed “Blake” in pencil on the verso of the smaller panel; titled by repute Larger: 37.5” H x 37.5” W; Smaller: 22” H x 10” W $20,000-30,000 Provenance: Patrick Painter, Inc. Los Angeles, California The Blake Byrne Collection acquired from the above Literature: https://whitehotmagazine.com/articles/ white-rectangles-devil-in-details/2296 Shaw’s versatile oeuvre includes drawings, sculptures, prints, and photographs that often blur traditional categorization. He derives influence from Pop Art, Neo-Expressionism, and Surrealism while likewise dismantling traditional notions of high and low art by incorporating outsider influences. Cake (Blake) is one of several in his series of men in a seemingly tortured mental state and set against an abstract background.

It is a dual painting moment with a second canvas (identical to the blank shape found in the larger canvas) depicting cake icing in grayscale color. When asked to describe how his fascination with the subconscious informs his artwork, Shaw explains: “I’ve figured out that the core of dream logic is that it’s an occult way of telling you something by not just lecturing you directly, but by showing you in a satirical way or a symbolic way with things that are formally similar but not exactly the same.”

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2060

Jim Shaw

(b. 1952, American) “Pencil Mustach[sic],” 1979-2012 Airbrush and pencil on paper under Plexiglas Signed, titled and dated verso: Jim Shaw 14” H x 10.75” W $3,000-5,000 Provenance: Phillips de Pury & Company, London The Blake Byrne Collection, acquired from the above

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2061

Jim Shaw

(b. 1952, American) “Dream Object (Eric Martin had a newsstand with rare underground comics and a purple cardboard face mask of Spiro Agnew pinned up in plastic bags. Chris Burden listened to KLSX),” 2001 The pair of watercolors on cut paper displayed in Ziploc-type plastic bag as issued Each watercolor: Unsigned Each watercolor: 9” H x 6” W approximately; Plastic bag: 10.25” H x 13” W $3,000-5,000 Provenance: Metro Pictures, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2062

Jim Shaw

(b. 1952, American) “Dream Drawing, (I found a series of religious greeting cards..), 1997, two pieces Each: Gouache and pencil on paper folded to form a greeting card with the artist’s text inside; the Jesus card with holes cut for eyes, mouth, and in the hair for use as a mask Each: Signed and dated in pencil verso Jesus card: 11” H x 7.5” W; Cross/twig card: 8” H x 3.75” W $2,000-4,000 Provenance: Patrick Painter, Inc., Los Angeles, CA The Blake Byrne Collection acquired from the above

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lege" Apple-1 personal c er The "Chaffey Colleg Apple-1 personal comp er The "Chaffey Colleg Apple-1 personal comp I wonder what it w er The "Chaffey Colleg be A part o Apple-1 personal comp er The "Chaffey Colleg Apple-1 personal comp er The "Chaffey Colleg 80

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The “Chaffey College” Apple-1 personal computer The year 2021 marks the 45th birthday for Apple. The worldís largest technology company is currently valued in the trillion-dollar range, and it all began with two Steveís, one garage, and Apple Computer 1, more commonly referred to as Apple-1. The company was created in 1976 when electronic engineer Steve Wozniak (b. 1950) teamed up with marketing guru and industrial designer Steve Jobs (1955-2011). John Moran Auctioneers is thrilled to give tech lovers the opportunity to own one of the few remaining Apple-1 Computers.

200 Apple-1 computers were designed by Steve Wozniak and assembled and tested by Steve Jobs, Patti Jobs (his sister), and Daniel Kottke in the Jobs’ home. 175 of them were sold for $666.66, a figure that catered to Wozniakís love of repeating numbers. 50 of the 175 computers were sold to Paul Terrell, owner of ByteShop in Mountain View, California. When Jobs delivered the 50 Magazine boxes each containing an Apple-1 kit, Paul Terrell was not happy.

He anticipated 50 all-in-one units that could simply be plugged in by the consumer, an unheard-of concept at the time. Jobs defended his delivery by pointing out that each box included all necessary elements to compose the machine and further convinced Terrell that ByteShop could make a profit by selling keyboards, monitors, and power supplies within their store as an opportunity to upsell the product.

The wooden case that houses this computer is made from Koa wood. In the 1970s, Koa wood was abundant and easily accessible, especially on the west coast because it was native to Hawaii, but due to cattle grazing and extensive logging, the Koa tree is now considered much rarer and more expensive. There are only six known examples of the Koa wood case in existence, and this unit is one of them.

The Apple-1 Computer on offer has only had two owners.

It was originally purchased by an electronics professor at Chaffey College in Rancho Cucamonga, CA, who then sold it to his student in 1977.

This Apple-1 has recently undergone an extensive authentication, restoration, and evaluation process by one of the foremost experts in the field, who inspected all components and generated a full condition report for the Apple-1.

The lot is accompanied by a bound copy of the professional authentication and condition report and a proof of life DVD. This computer will be included in the official registry of Apple-1 computers by the name “Chaffey College Apple-1.”

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2063

The “Chaffey College” Apple-1 personal computer

1976-1977, Palo Alto, CA Comprising the original Apple-1 “NTI” motherboard [marked: Apple Computer 1 / Palo Alto , CA Copyright 1976] with original blue Sprague 39D capacitors, original power regulators, rare original “Circle D” ceramic .01 capacitors, and an Apple Cassette Adapter (ACI) in an original ByteShop Apple-1 koa wood case with Datanetics Keyboard Rev D [keyboard dated: Sept 21 1976], Apple -1 connecting cable, and power supply, partnered with a 1986 Panasonic video monitor [model no. TR-930U; serial no.

KA6320206; dated: MAY 1986]; accompanied by a period Xerox copy of the Apple-1 Basic Manual, the Apple-1 Operations Guide, an original MOS 6502 programming manual, and two Apple-1 software cassette tapes with period hand-written index card with memory locations for the Apple-1 loading software; further accompanied by three original video, power, and cassette interface cables, 16 pieces Computer: 4.25” H x 15.75” W x 17.5” D; Monitor: 8.5” H x 8.75” W x 9.75” D $400,000-600,000 Provenance: Private Collection, Alta Loma, CA Purchased from the above by present owner in 1977

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2064

A pair of Hans Jørgensen Wegner lounge chairs, for Getama

Mid-20th Century, model GE-290; Denmark Each marked: Getama / Gedsted / Denmark / Design: Hans J. Wegner Each Danish mid-century modern chair with an oak frame with sculpted paddle arms flanking original wool upholstered seat and back, 2 pieces Each: 28” H x 29.5” W x 31” D $2,000-3,000

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2065

A Danish modern teak dining table

Circa 1950s; Denmark The mid-century modern solid teak dining table with round top raised on four slightly tapered legs, with two leaves and segmented leather table cover, 7 pieces 29” H x 47” Dia. $1,200-1,800 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, January 3, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated January 3, 1959.

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2066

Ariana Papdemetropoulos

(b. 1990, American) “Archaic Revival,” 2016 Oil on canvas Signed, titled, and dated verso: Ariand Papademetropoulos 84” H x 60” W $12,000-18,000 Provenance: Ariana Papademetropoulos Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2067

Hannah Plotke

(b. 1988, American) “Bowls,” 2016 Mixed media on canvas board and plaster on wooden stretcher Appears unsigned; titled and dated by repute 12” H x 9” W approximately $2,000-4,000 Provenance: Café Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2068

Friedrich Kunath

(b. 1974, German) “Thinking about You (Flower),” 2017 Oil on canvas Signed and dated verso: Friedrich Kunath; titled upper center 30” H x 24” W $8,000-10,000 Provenance: Blum & Poe Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2069

Tess Bilhartz

(20th-21st Century, American) “The Greenhouse,” 2016 Oil and pigment on panel Signed, titled, and dated verso: Tess Bilhartz 45” H x 36” W $2,000-4,000 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2070

Glen Rubsamen

(b. 1959, American) “Pebble in the Sky,” 2004 Acrylic on linen Signed, titled, and dated verso: Glen Rubsamen 47.25” W x 31.5” W $3,000-5,000 Provenance: Meyer Riegger Galerie, Karlsruhe, Germany The Blake Byrne Collection, acquired from the above

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2071

2072

(b. 1960, American) “No Cake Today,” 1990 Mixed media Unsigned 10” H x 16” W x 16” D

(b. 1960, American) “3 to 1,” 1990 Velvet over wood with caning Unsigned Each element: 19.25” H x 19

Rita McBride

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Rita McBride

$1,000-2,000

$600-800

Provenance: Margo Leavin Gallery, West Hollywood, CA The Blake Byrne Collection, acquired from the above

Provenance: The artist The Blake Byrne Collection, a

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g

9.25” W x 2” D

acquired from the above

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2073

Rita McBride

(b. 1960, American) “Mae West Mexico,” 2009-2010 Wool tapestry Edition 1/4; unsigned 97” H x 75” W $4,000-6,000 Provenance: Alexander & Bonin, New York, NY The Blake Byrne Collection, acquired from the above

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2074

Rita McBride

(b. 1960, American) “White Elephant (Mini),” 2005 Copper and steel Edition of 5; unsigned 7.75” H x 23” W x 10” D $3,000-4,000 Provenance: Mai 36 Galerie, Zurich, Switzerland The Blake Byrne Collection, acquired from the above

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2075

Rita McBride

(b. 1960, American) “Attics and Old Rooms Panel (cream),” 2001 Mixed media porcelain enamel on steel Edition 1/3; signed, dated, and numbered verso 36” H x 72” W x 1” D $1,500-2,500 Provenance: Alexander & Bonin, New York, NY The Blake Byrne Collection, acquired from the above

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2076

Rita McBride

(b. 1960, American) “Spiral,” 2006 Color ink jet print on paper under Plexiglas Appears unsigned; titled and dated on a gallery label affixed to the frame verso Sight: 51.5” H x 23.5” W $1,000-2,000 Provenance: Annemarie Verna Galerie, Zurich, Switzerland The Blake Byrne Collection, acquired from the above

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2077

Rita McBride

(b. 1960, American) “JAP.EM.Template,” 2006 Bronze and steel Unsigned 47.75” H x 13” W x 12”D $7,000-9,000 Provenance: Verna & Mai 36 Project, Z¸rich, Switzerland The Blake Byrne Collection, acquired from above

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2078

2079

Mid-20th Century; Denmark With label to underside: Furniture makers / Danish / control The Danish mid-century modern extendable dining table with rectangular top raised on four tapered legs joined by stretchers, with two leaves, 3 pieces 28” H x 68” W x 35.25” D

Circa 1960-1969; D Each variously mar Each Danish mid-c raised on four tape Each side chair: 37

A Kofod-Larsen modern rosewood dining table, for Farrup

$1,200-1,800

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Six Niels Otto M

$1,500-2,000

Møller “Lis” dining chairs, for Koefoeds Hornslet

Denmark rked with Danish control marks and for Koefoeds Hornslet century modern rosewood chair with a narrow ladder back over black vinyl upholstered seats ering legs joined by stretchers, comprising four side chairs and two arm chairs, 6 pieces 7.5” H x 18.5” W x 18” D; Each arm chair: 37.5” H x 22” W x 20” D

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2080

2081

(1926-2011, French) Three women dancing on a dock, 1983 Oil on panel Signed, dated, and inscribed lower right: Ravello / Tahiti; inscribed verso: No 1817 29” H x 19.75” W

(1926-2011, French) Passionate couple, 1982 Oil on panel Signed, dated, and inscribed lower right: Ravel 39” H x 24.5” W

Francois Ravello

$1,500-2,000

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Francois Ravello

$3,000-5,000

llo / Tahiti

2082

Francois Ravello

(1926-2011, French) Sitting nude, 1983 Oil on panel Signed, dated, and inscribed lower right: Ravello / Tahiti; inscribed verso: No 1855 32” H x 25.5” W $2,000-3,000

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2083

Leon Bronstein

(b. 1951, Israeli) “Central Forward” Patinated bronze on steal base Edition 1/8; signed in the casting 14” H x 74” W x 18” D $4,000-6,000 Notes: This form was made in two sizes, this being the medium (and smallest) size.

Leo Bronstein is known for distorted bronze figures engaged in sport. In “Central Forward,” he depicts the moment of inevitability, as the athlete makes contact with the ball. The long, lean lines of the player are lengthened and exaggerated, lending the feeling of promise that cannot be avoided as the ball’s destination can be non-other than the winning goal. His sculpture style is in direct contrast to his rather severe early education and life. His studies led him to become an engineer and watchmaker in Moldavia. However, it was not until his move to Israel that his artistic drive would alter his life path and allow him to embrace these early childhood fantasies and bring them to life.

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2084

Note from Jacqueline Kennedy Onassis to author Dilys Evans Written on Jacqueline Kennedy Onassis letterhead Ink on paper under glass in a double-sided frame Sheet: 4” H x 5.75” W $500-700

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2085

Miguel Covarrubias

(1904-1957, Mexican) “As Mr. Van Vechten gooses a gold fish” Ink on paper under glass Signed and titled lower right: Miguel 16” H x 11.5” W $4,000-6,000 Other Notes: Pencil notations on the back of this frame help suggest a general date for this piece: Los Angeles / 3/3/32 / .49 / H J Kennedy.

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2086

Walt Disney Studios - Striker Art

(20th Century, American) “We warned him not to cross the picket line...,” circa 1941 Ink on nylon over paper Appears unsigned and undated 17.75” H x 21” W $1,500-2,000

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2087

Peter Arno

(1904-1968, American) “She’s on eighth of a beat off,”1939 Ink, watercolor, and gouache on paper laid down to paperboard, as issued, under glass Signed lower left: Peter Arno; titled and dated 7/1/39 in pencil in the upper margin; inscribed and annotated on the verso in what appears to be a combination of the artist’s and other hands with details such as an alternate title, “One would think she’d be subject to a series of nasty colds,” proposed issues for publication, “July 4 or World’s Fair,” and with the ink stamp of “The New Yorker” magazine’s editorial department Sheet: 20.25” H x 15” W $1,200-1,800

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209 Steve

(b. 1956 “Oslo 8 Oil on c Signed, 64” H x

$2,000-

Provena The Bla

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Hurd

6, American) 8-22-04,” 2006 canvas , titled, and dated verso: Steve Hurd x 95” W

-3,000

ance: Rosamund Felsen Gallery, Los Angeles, CA ake Byrne Collection, acquired from the above

2088

George Stoll

(b. 1954, Maryland) “Untitled (christmas lights, double-blue moire),” 2004 Silk organza and thread in white wood shadow box Unsigned 48.25” H x 40.25” W $3,000-5,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

2089

An Illum Wikkelsø modern teak sofa

Circa 1960s, model no. 50-4; Denmark The Danish mid-century modern four-seat sofa with a solid teak frame and original blue tweed upholstery raised on six tapered cylindrical legs 27.5” H x 106” W x 29” D $2,000-3,000

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2091

2092

(b.1970, American) “The Gift,” 2004 Oil on linen Initialed lower left: dR; titled and dated by repute 18” H x 18” W

(b. 1978, American) “Three Pieces Crossing,” 2002 Black walnut Signed and dated: W.C. / ‘02 26” H x 35” W x 3.25” D

Edward del Rosario

Will Clift

$1,500-2,500

$1,000-2,000

Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

Provenance: Gerald Peters Gallery, Sant The Blake Byrne Collection, acquired fro

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ta Fe, NM om the above

2093

Rigo Schmidt

(b. 1974, German) “O. T. (Teleskop) [Untitled (Telescope)],” 2006 Oil and acrylic on canvas Signed, titled and dated verso: Rigo Schmidt 11.5” H x 9.25” W $700-900 Provenance: Chung King Project, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2094

An electrified robot sculpture Circa 1976 Metal, plastic, and electric lights Unsigned 89” H x 37” W x 14.5” D $3,000-5,000 Provenance: Sale: Narco Records & Tapes, Hollywood, CA, September 10, 1976

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2095

Annie Lapin

(b. 1978, American) “Caver,” 2005 Oil and enamel on canvas Signed and dated twice on the stretcher and verso 48” H x 60” W $2,000-3,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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2096

Thomas Fougeirol

(b. 1965, French) “Untitled,” 2017 Mixed media on canvas Signed and dated verso: Thomas Fougeirol; titled on a gallery label affixed verso 64” H x 51” W $7,000-9,000 Provenance: Praz-Delavallade Galerie, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2097

Marc Maet

(b. 1955, Belgian) “Sterrennacht [sic]” [Starry Night], 1989 Acrylic, pigment, and fiberglass on canvas Signed, titled, and dated verso: Marc Maet 78.75” H x 78.75” W $2,000-3,000 Provenance: Jack Shainman Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2098

A Danish modern extendable teak tea cart

Circa 1950s; Denmark In the style of Hans Jørgensen Wegner, the mid-century modern teak cart with rectangular sliding top over a removable under tray raised on four slightly tapered legs with casters 23.25” H x 29.5” W x 20.25” D $400-600 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2099

A Hans Jørgensen Wegner modern teak sewing table

Circa 1950s, model AT-33; Denmark With burn mark: Fabrikat Andr Tuck / Arkitekt Hans J. Wegner / Denmark / Made in Denmark The teak and oak table with rectangular top and drop-leaf sides over a single drawer with divided compartments atop a pull-out inset cane basket and undershelf, raised on four slightly tapered pole legs 23.75” H x 26.25” W x 23” D $800-1,200 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, January 3, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated January 3, 1959.

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2100

Erika Rothenberg

(b. 1950, American) îSome People’s Rules: Tony’s Rule,” 2001 Acrylic on wood panel Signed and dated verso: Erika Rothenberg; titled on a gallery label affixed verso 11” H x 14” W $400-600 Provenance: Rosamund Felsen Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

2101

Steve Hurd

(b. 1956, American) “Early Frost Cake,” 1994 Oil on canvas Signed and dated verso: Steve Hurd; title numbered on gallery label affixed verso: 73.25” H x 53.5” W $2,000-3,000

Provenance: Jack Tilton Gallery, New York The Blake Byrne Collection, acquired from

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ed and HUS0050

k, NY m the above

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2102

Lawrence Weiner

(b. 1942, American) “Inside of & Outside of Itself,” 2006 Enamel on nickel-plated brass Edition 58/99; signed, titled, and dated verso 2.75” H x 11” W $1,000-1,500 Provenance: Galerie Thaddeus Ropac, Salzburg, Austria The Blake Byrne Collection, acquired from the above Notes: This lot is accompanied by a hand-numbered justification card and a personalized holiday card from Galerie Thaddeus Ropac.

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2103

Alex Mueller

(21st Century, German) “Fur alle wird’s gebracht (Something will be brought for everyone),” 2007 Silver spoons and ink Appears unsigned Dimensions variable $1,000-2,000 Provenance: Galerie Vera Gliem, Koln, Germany The Blake Byrne Collection, acquired from the above

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2104

Martin Kippenberger

(1953-1997, German) “80 Unique Books” (for “Parkett” no. 19), 1989 Photo-offset booklet on paper inserted in the photo-offset “Parkett” magazine; Z¸rich and New York: Parkett Publishers, 1989 Folio overall: 10” H x 8.25” W x .75” D $1,000-2,000 Provenance: Parkett Art Editions, New York, NY The Blake Byrne Collection, acquired from the above

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2105

Rick Wolfryd

(b. 1953, American) After KAWS “Passing Through (Brown)” 2007, 2021 Vinyl and beads Signed and dated: Rick Wolfryd / TP / 2021 / .0003; Further marked: KAWS / ..07 / Medicom Toy / 2007 / Made in China 11.375” H x 5.75” W x 7.125” D $1,000-1,500

2

R

(b A Vi Si m 8.

$1

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2106

Rick Wolfryd

(b. 1953, American) After KAWS “Companion - Open Edition (Grey)” 2018, 2021 Vinyl and beads Signed and dated: Rick Wolfryd / T.P. / 2021 / .0008; Further marked: KAWS / ..18 / Open Edition / Medicom Toy / China 14.625” H x 6.5” W x 4” D $1,000-1,500

2107

Rick Wolfryd

b. 1953, American) After KAWS “Resting Place (Black)” 2013, 2021 inyl and beads igned and dated: Rick Wolfryd / T.P. / 2021 / N.001; Further marked: KAWS / ..13 / Medicom Toy / 2013 / China .5” H x 7.25” W x 10” D

1,000-1,500

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2108

2109

(b. 1969, Dutch/American) “Sexy Bitch,” 2006 Fabric collage over wood stretcher Signed and dated on the stretcher bar: L. Schnitger; titled by repute 58” H x 42” W

(b. 1946, American) “St. Jerome for Chinati,” 2006 Watercolor, colored pencil and Signed and dated in pencil in th 30” H x 22.5” W

$2,500-3,500

$4,000-6,000

Provenance: The Blake Byrne Collection

Provenance: Sold: Phillips de Pu Lot 00052 The Blake Byrne Collection, acq

Lara Schnitger

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Billy Sullivan

silver paint on Arches paper under Plexiglas he lower right corner, titled by repute

ury & Company, New York, NY, March 13, 2006,

quired from the above

2110

Duda Bebek

(b. 1986, Swedish) “Mira,” 2017 Acrylic on canvas Signed, titled, and dated verso: Duda 27.5” H x 22.5” W $6,000-8,000 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2111

A Danish modern rosewood credenza

Mid-20th Century; Denmark In the style of Niels Otto Møller, the mid-century modern credenza with two tambour sliding door panels revealing adjustable shelves and two felt-lined interior drawers, centering four drawers with sculpted notched handles, raised on four slightly tapered legs 31.5” H x 80” W x 19” D $3,000-4,000

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2112

Dan McCarthy

(b. 1962, American) “Duck Sauce,” 1993 Oil on canvas Signed, titled, and dated verso: Dan McCarty 16” H x 14.25” W $600-800 Provenance: Anton Kern Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2113

Kim Jones

(b. 1944, American) “Untitled,” 2006 Ink, acrylic, and ballpoint pen on paper Signed and dated verso: Kim Jones 17.25” H x 11” W $800-1,200 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection, acquired from the above

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2115

Margherita Manzelli

(b. 1968, Italian) Untitled (one work in five Watercolor on five sheet Appears unsigned, the w Overall: 7.5” Each sheet $4,000-6,000

Provenance: Studio Gue Private Collection, Pasad

Notes: A commercial inv

2114

Lutz Braun

(b. 1976, German) “Nina Final,” 2005 Oil on a reappropriated piece of particle board Signed and titled verso: Lutz Braun; dated by repute Overall: 47.25” H x 23.75” W x .75” D $1,500-2,000

Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the abov

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e parts), 2001 ts of Arches paper under glass watermark for Arches paper lower left t: 7.5” H x 5.5” W; Overall: 7.5” H x 30” W

enzani, Milan, Italy dena, CA, purchased from the above February 12, 2002

voice from Studio Guenzani accompanies this lot.

e

ve

2116

Andre Thomkins

(1930-1985, Swiss) ‘Untitled,” 1982 “Lackskin” technique on paper under Plexiglas Signed and dated at the lower center of the image: Andre Thomkins Image: 6.5” H x 6.5” W; Sight: 9” H x 8.5” W $1,000-1,500 Provenance: Galerie Hauser & Wirth, Zurich, Switzerland The Blake Bryne Collection, acquired from the above Notes: According to Galerie Hauser & Wirth, Thomkins used the “lackskin” technique to create “... otherwordly and amorphous forms by floating a coat of lacquer paint on the surface of water, before blowing, dripping, pulling and stirring the liquid.”

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2117

Marvin Gaye “Monster” Chetwynd

(b. 1973, English) “Medusa,” 2018 Wood, cardboard, paper, latex, paint, and metal Appears unsigned 98.125” H x 33.125” W x 38.25” D $10,000-15,000 Provenance: Sadie Coles HQ, London, England The Blake Byrne Collection, acquired from the above Born Alalia Chetwynd, the artist is known by several unlikely monikers: Spartacus, Monster and Marvin Gaye Chetwynd. Her work frequently merges performance, installation, and video with painting and sculpture. Monster Chetwynd’s oeuvre centers on reprising culturally significant myths, legends, and traditions. In the present example, she examines the ancient story of Medusa, a beautiful woman transformed into a serpent-haired demon as divine retribution. Perhaps her keen interest in reimagining this tale of woman-turned-monster is connected to her chosen namesake.

Interestingly, while the figure stands over 8 feet tall, Monster Chetwynd’s “Medusa” is menacing only in its scale. In keeping with a reoccurring theme in her oeuvre, Monster invites the viewer to reconsider typical portrayals of the subject in favor of recasting the legend anew for a presentday audience. Her version of Medusa includes the infamous snake hair but lacks the frightening grimace traditionally associated with her depiction in western art. As if popping out of an abstracted jack-in-the-box, hand-crank and all, Chetwynd’s Medusa also possesses an unexpected element of whimsy. The myth of Medusa has origins in ancient Greece but is most famously recounted in Ovid’s “Metamorphoses,” a seminal text by the Roman poet written in the early first century CE. In 2012, Monster Chetwynd was nominated for the prestigious Turner Prize. She exhibits widely and internationally and Chetwynd’s work is held in institutions inclusive of the Tate in London.

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2118

A contemporary free-form acrylic sculpture Second-half 20th Century Unsigned The yellow-tinted acrylic sculpture with a square form base surmounted by an organic form 8.5” H x 9.125” W x 8” D $800-1,200

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2119

Jeni Spota

(b. 1982, American) “Dream Casting,” 2009 Bronze with silver nitrate patina Edition 3/10; signed and numbered verso with copyright symbol 12” H x 14” W x 1” D $1,800-2,200 Provenance: Kathryn Brennan Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

2120

Mark Lere

(b. 1950, Am “Vapor,” 198 Steel Unsigned 31.5” H x 22 $700-900

Provenance: The Blake By

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merican) 87

2” W x 17.5” D

: Margo Leavin Gallery, West Hollywood, CA yrne Collection, acquired from the above

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2121

Mark di Suvero

(b. 1933, American) Untitled, 1972 Torch-cut steel Edition 143/250; signed, dated, and numbered: MdS [copyright symbol] / II / 1972 9.75” H x 8” W x 2.25” D $3,000-5,000 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Notes: This sculpture is able to be assembled in a variety of forms.

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2122

Pavel Tchelitchew

(1898-1957, Russian/American) Jesus visiting souls in Purgatory Oil on sturdy wove paper under Plexiglas Signed lower right: P. Tchelitchew Image/Sheet: 27.5” H x 37” W $20,000-30,000 Pavel Tchelitchew (1898-1957) was a Russian born American artist whose most notable work, “Hideand-Seek” is part of the permanent collection in the Museum of Modern Art in New York City. He was well-traveled and spent time in the Odessa, Berlin, and Paris before moving to New York City with his then new, but ultimately long-time partner, poet Charles Henri Ford. Tchelitchew was associated with several movements including Neo-Romanticism, Surrealism, Futurism, and Constructivism but his artistic career also encompassed ballet, set design and costume design.

Regardless of the movement, Tchelitchew’s work tends to find its roots in Surrealism and hover in a ghostly dream state. Those attributes are seen clearly in this example, “Jesus visiting souls in Purgatory.”

Although Tchelitchew is not known as a printmaker, there is a monotype-like appearance to his handling of the thinned-down oil paint in certain areas such as the figures at left, the staircase and so on.

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2123

A Danish modern teak credenza

Circa 1950s; Denmark Likely by Axel Christiansen Odder, the mid-century modern teak credenza with four sliding door panels revealing interior shelves and drawers, two drawers felt lined 36 H x 82.5” W x 20.625” D $1,000-2,000 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, January 3, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated January 3, 1959.

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2124

A contemporary figural wall sculpture

Third-quarter 20th Century Wood marked: MB2 The mixed media assemblage constructed of found materials, consisting of a reclaimed lumber structure enclosing eighteen plaster bandage faces or “masks” concealed under a woven superstructure of cotton twine and rope 48” H x 44” W x 6” D approximately $3,000-4,000

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2125

Jessica Williams

(b. 1983, American) “Hotel Mirage,” 2015 Oil on linen Signed and dated verso: Jessica Williams; signed again and titled on the stretcher 24” H x 18” W $3,000-5,000 Provenance: Jessica Williams Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2126

Jessica Williams

(b. 1983, American) “When It’s All Too Late,” 2016 Oil on canvas Signed twice and dated verso: Jessica Williams; titled by repute 30” H x 24” W $3,000-5,000 Provenance: Jessica Williams Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2127

Jessica Williams

(b. 1983, American) “Fire at the Orsini 2,” 2016 Oil on canvas Signed and dated verso: Jessica Williams; titled by repute 60” H x 48” W $6,000-8,000 Provenance: Jessica Williams Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2128

Jessica Williams

(b. 1983, American) “Night Club No. 2,” 2016 Oil on linen Signed twice verso: Jessica Williams; titled and dated on the crossbar verso 24” H x 30” W $3,000-5,000 Provenance: Jessica Williams Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2129

George Stoll

(b. 1954, American) “Untitled Sponge Painting (Yellow),” 1998 Burned balsa wood and alkyd paint Appears to be signed behind later-added metal backing on verso 4.75” H x 8.75” W x 2.25” D $1,000-1,500 Provenance: Thomas Healy Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2130

George Stoll

(b. 1954, American) “White/Teal,” 1998 Colored pencil on tracing paper under Plexiglas Signed lower left: George Stoll; titled lower center and dated lower right, respectively: March 23, 1998 18” H x 18” W (approximately) $600-800 Provenance: The Blake Byrne Collection

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2131 Joe Biel

(b. 1966, American) “Promenade,” 2005 Graphite on paper under Plexiglas Appears unsigned; titled and dated on a gallery label affixed verso Image/Sheet: 51” H x 134” W $1,000-2,000 Provenance: Gagosian Gallery, Beverly Hills, CA The Blake Byrne Collection, acquired from the above

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2132

Brandon Drew Holmes

(b. 1985, American) “Topsy Turvy,” 2016 Graphite on paper in an acrylic box frame Appears unsigned, titled recto; inscribed verso: “Customers have complained Addy’s hair is too difficult / Addy was made for white girls” 11” H x 8.5” W $3,000-5,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2133

Stephen Alda

(b. 1981, Americ “New Realizatio Oil and enamel Signed, titled, a 66” H x 44” W $5,000-7,000

Provenance: Caf Private Collectio 1 6 8 Po s t war & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, Nov e mb e r 9, 2021

2134

Brandon Drew Holmes

(b. 1985, American) “Choose a Baby to Hug and Love,” 2016 Graphite on paper in an acrylic box frame Appears unsigned, dated by repute; titled verso 11” H x 8.5” W $3,000-5,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

ahl

can) on: Psycho House,” 2017 on canvas and dated verso: Aldahl

fÈ Society Alberto Cuadros, Los Angeles, CA on, New York, NY, acquired from the above w w w. j o h n m o r a n . c o m 1 6 9

2135 Paul P.

(b. 1977, Canadian) Untitled, 2010 Ink on blue paper under Plexiglas Appears unsigned, dated by repute 6” H x 4” W $2,000-3,000 Provenance: The Blake Byrne Collection

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2136 Paul P.

(b. 1977, Canadian) “Untitled (Smoking Boy),” 2006 Drypoint and chine collÈ on paper under Plexiglas Edition 2/5; signed and dated verso: Paul P. Sheet: 7.75” H x 10” W $1,000-1,500 Provenance: Marc Selwyn Fine Art, Beverly Hills, CA The Blake Byrne Collection, acquired from the above

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2137

A Móveis Cimo modern rosewood dining table

Circa 1955 With maker’s label for MÛveis Cimo S.A. The Brazilian mid-century modern extendable dining table with rectangular top raised on trestlestyle base with central stretcher 29” H x 62.75” W x 41” D $3,000-5,000

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2138

A Willy Rizzo-style modern chrome and glass dining table with chairs

Mid-20th Century In the style of Willy Rizzo, the circular dining table with a glass top raised on a tubular chrome frame comprised of multiple bars radiating outward, centering a mounted removable brass and chrome champagne bucket, accompanied by eight conformingly designed tubular chrome chairs with red upholstered seats and backs, 9 pieces Table: 31.5” H x 75” Dia.; Each chair: 30.25” H x 19” W x 22” D $5,000-7,000

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2139

Hannah Plotke

(b. 1988, American) “Nose,” 2016 Oil on artist’s board and plaster on wooden panel Appears unsigned; titled and dated by repute 12” H x 9” W $2,000-4,000 Provenance: Café Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2140

Hannah Plotke

(b. 1988, American) “Lady,” 2016 Mixed media on canvas board and plaster on wooden stretcher Appears unsigned; titled and dated by repute 12” H x 9 “ W approximately $2,000-4,000 Provenance: Café Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2141

2142

(b. 1988, American) “Beach Ball,” 2016 Mixed media on canvas board and plaster on wooden stretcher Appears unsigned; titled and dated by repute 12” H x 9” W approximately

(b. 1974, Austrian) “Untitled,” 2006 Colored pencil on paper under glass Signed and dated lower right: Christoph Schmidgerger / April 23” H x 25.5” W

Hannah Plotke

Christoph Schmidberger

$2,000-4,000

$2,000-3,000

Provenance: Café Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

Provenance: Goff + Rosenthal, New York, New York The Blake Byrne Collection, acquired from the above

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l 2006

2143

Alex Mueller

(Active 21st Century, German) “Die Absolute Wirklichkeit (The Absolute Reality),” 2006 Metal, wood, and velvet Unsigned 15” H x 16.5” W x 2” D $800-1,200 Provenance: Galerie Vera Gliem, Koln, Germany The Blake Byrne Collection, acquired from the above

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2144

A Peter Hvidt modern teak cabinet

Circa 1950s; Denmark Stamped to verso: Made in Denmak / John Stuart Inc. / Sole distributors for United States and Mexico The Danish mid-century modern teak cabinet with box joint construction, featuring four sliding door panels with carved tab handles enclosing two horizontal compartments, each with one interior shelf, raised on four straight pole legs 37” H x 35.5” W x 18.75” D $1,500-2,500 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2145

A Danish modern teak cabinet

Circa 1950s; Denmark The mid-century modern teak cabinet with two sliding glass doors enclosing three shelves, raised on four tapered legs 57” H x 39.5” W x 12.5” D $800-1,200 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2146

Three Peter Hvidt and Orla Mølgaard-Nielsen modular teak bookcases

Circa 1950s; Denmark Each Danish mid-century modern teak bookcase with box joint construction, comprising two with partitioned shelves of various heights raised on four straight pole legs, with a conformingly designed modular addition without legs, 3 pieces Each bookcase: 37” H x 35.5” W x 10.75” D; Additional module: 30” H x 35.5” W x 10.75” D $1,500-2,500 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2

An

(b.

“M Oi Sig 72

$6

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2148

Andres Lutz (b. 1968, Swiss) and Anders Guggisberg (b. 1966, Swiss) “The Bonecarver,” 2004 Enamel and ink on color illustration under Plexiglas Signed by both artists and titled and dated on the gallery label affixed to frame verso: A. Lutz / A. Guggisburg 9” H x 6.5” W $500-700 Provenance: Anna Helwing Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

2147

ndy Woll

. 1984, American) Mt. Wilson (Science Fiction XIV),” 2017 il on canvas gned, titled, and dated verso: Andy Woll 2” H x 54” W

6,000-8,000

ovenance: Night Gallery, Los Angeles, CA ivate Collection, New York, NY, acquired from the above w w w. j o h n m o r a n . c o m 1 8 5

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2149

Andres Lutz (b. 1968, Swiss) and Anders Guggisberg (b. 1966, Swiss) “The Old World,” 2004 Enamel and ink on color illustration under Plexiglas Signed by both artists and titled and dated on the gallery label affixed to frame verso: A. Lutz / A. Guggisburg 3.5” H x 5” W $500-700 Provenance: Anna Helwing Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2150

Brian Fahlstrom

(b. 1978, American) “The Advancement of Here,” 2005 Oil on canvas Signed, titled and dated verso: Brian Fahlstrom; signed, titled and dated again on the stretcher 24.75” H x 34” W $2,000-4,000

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2151

Jean Helion

(1904-1987, French) Still life with pumpkin, 1952 Colored pencil, ink, and gouache on paper under Plexiglas Signed and dated at the center right: Helion / 2 Dec 52; initialed, inscribed, and dated again at lower left: to Dilys affectionately 22 Dec 52 / H. Sight: 11.5” H x 9.25” W (irregular) $1,000-1,500

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2152

A pair of Hans Jørgensen Wegner lounge chairs, for Getama

1955, model GE-240; Denmark Each marked: Getama / Gedsted / Denmark / Design: Hans J. Wegner Each Danish mid-century modern chair with a teak and oak frame with sculpted arms flanking “Jupiter beige” wool upholstered seat and back, 2 pieces Each: 31.5” H x 27” W x 30” D $2,000-3,000 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2153

Cornelius Quabeck

(b. 1974, German) “Discourse Drawing VII (Star Wars forks),” 2006 Pencil and watercolor on paper under glass Initialed and dated lower right: C.Q.; numbered on the frame’s backing board; titled on a gallery label affixed to the frame’s backing board Sheet: 11.5” H x 8.25” W $600-800 Provenance: Galerie Martin Van Zomeren, Amsterdam, Netherlands The Blake Byrne Collection, acquired from the above 1 9 2 Po s t war & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, Nov e mb e r 9, 2021

2154

Justin John Greene

(b. 1984, American) “Reflection,” 2017 Oil on canvas Signed and dated verso: Justin John Greene; titled on a gallery label affixed verso 41” H x 27” W $4,000-6,000 Provenance: Jessica Silverman Gallery, San Francisco, CA Private Collection, New York, NY, acquired from the above

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2155

Diego Groisman

(20th-21st Century, Argentinian) “Tori’s Duet,” 2017 Watercolor on paper Signed lower right: Diego; titled by repute; signed again and dated verso 14.25” H x 18” W $2,000-4,000 Provenance: 0.0 L.A. Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2156

Theo Mercier

(b. 1984, French) “Nowhere Body (Cross),” 2015 Mixed media Unsigned 85” H x 39.25” W x 8” D $2,000-3,000 Provenance: The artist The Blake Byrne Collection, acquired from the above w w w. j o h n m o r a n . c o m 1 9 5

2157

Kandis Williams

(b. 1985, American) “Sublime in Rupture: Madonna is a Superficial Form,” 2016 Ink, iron on transfers, concrete, and pen on canvas Unsigned, titled by repute 60” H x 39” W $5,000-7,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2158

Pablo Carrillo

(20th/21st Century, American) “Untitled (Pink Nude),” 2016 Acrylic on canvas Unsigned 48” H x 35.75” W $2,000-4,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2159

Hamishi Farah

(b. 1991, Australian) “Aleeyah or Repatriation for Hypervisibility,” 2016 Acrylic on canvas Signed and dated verso: Hamishi; titled on a gallery label affixed verso 70.5” H x 46.75” W $2,000-4,000 Provenance: Chateau Shatto, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2160

Markus Selg

(b. 1974, German) “Wir sind nicht immer gleich bei Sinnen,” 2002 Oil on linen Signed, titled and dated verso: Markus Selg 78.75” H x 70.75” W $2,000-3,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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2161

Eight Erik Kirkegaard modern teak side chairs, for Hong Stolefabrik

Mid-20th Century; Denmark Each Danish mid-century modern teak side chair with sculpted, curved back and arms over a fabric upholstered seat and raised on four straight legs, 8 pieces Each: 28.875” H x 23.25” W x 20” D $2,000-2,500 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, January 3, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated January 3, 1959.

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2162

A Kurt Østervig modern teak coffee table, for Jason Møbler

Circa 1950s; Denmark With burned mark to verso [partially illegible]: Made in Denmark / Jason Møbler / Design by Kurt Østervig The Danish mid-century modern coffee table with rectangular hinged-top raised on four tapered pole legs with sliding extension Closed: 17.25” H x 49” W x 22” D; Extended: 16.5” H x 98.25” W x 22” D $800-1,200 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, January 3, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated January 3, 1959.

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2163

Oskar D’Amico

(1923-2003, Italian) Mother and child Oil on canvas Signed lower right: Oskar D’Amico 48” H x 30” W $2,000-3,000

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2164

Iva Gueorguieva

(b. 1974, Bulgarian/American) “Old Knight,” 2015 Etching, soapground, drypoint, and aquatint on fabric and epoxy with hand-painting on welded steel frame with steel panels Signed and dated to underside: I.G. / 2015 20.5” H x 10” W x 11” D $4,000-6,000 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2165

Morgan Mandalay

(b. 1985, American) “The Expulsion Version 2,” 2016 Oil on canvas Signed, titled and dated verso: M. Mandalay 40” H x 32” W $3,000-5,000 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2166

Thaddeus Strode

(b. 1964, American) “Portrait of Inside the Buddha,” 2013 Mixed media on canvas Signed, titled and dated verso: Thaddeus Strode 10” H x 8” W $2,000-3,000 Provenance: C. Nichols Project, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2167

Anatoly Poutilin

(b. 1946, French/Russian) “Atelier d’Artiste,” 1983-1984 Oil on canvas Signed, titled, dated, and inscribed in French and Cyrillic verso 63.5” H x 51” W $800-1,200 Provenance: Galerie Basmadjian, Washington D.C. The Blake Byrne Collection, acquired from the above

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2168

Peter Max

(b. 1937 New York, NY) “God Bless America” Acrylic and mixed media on paper Signed lower right: Max; stamped with title, signature, and number verso: 80076 24” H x 18” W $1,500-2,500 Notes: Stamp verso states: This Peter Max art work entitled “God Bless America” is a variation color combination and brushstroke from his original artworks of the same title on paper. #80067, Peter Max copyright stamp, #118296.0430.

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2169

Two Peter Hvidt and Orla Mølgaard-Nielsen side tables, for France and Sons

Circa 1950s; Denmark Each Danish mid-century modern teak side table with a triangular-form top over a conformingly shaped lower woven cane shelf raised overall on four slightly tapered pole legs, 2 pieces Each: 23” H x 28” W x 20.5” D $600-800 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2170

A set of Hans Jørgensen Wegner modern teak nesting tables

Circa 1950s; Denmark Smaller with burn mark: Fabrikat Andr Tuck / Arkitekt Hans J Wegner / Made in Denmark The Danish mid-century modern teak nesting tables with rectangular top raised on four tapered pole legs joined by stretchers, 3 pieces Larger: 19” H x 20.5” W x13.375” D; Smaller: 17.625” H x 15.75” W x 11.625” D $300-500 Provenance: Sale: Anton Dam Moderne Danske Mobler, Copenhagen, Denmark, October 10, 1959 Acquired from the above by present owner Notes: This lot is accompanied by a receipt of sale from Anton Dam Moderne Danske Mobler, Copenhagen, dated October 10, 1959.

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2171

Parker Ito

(b. 1986, American) “Capitol Records Shit Toots (white tulip),” 2016 Inkjet print, acrylic, toner, and gloss varnish on canvas Signed and dated verso: Parker Ito; titled on a gallery label affixed to the stretcher 64” H x 46” W $5,000-7,000 Provenance: Chateau Shatto, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2172

Vittorio Brodmann

(b. 1987, Swiss) “Borrowed Time,” 2018 Acrylic, oil, and charcoal on canvas Signed and dated verso: Vittorio Brodmann; titled by repute 47” H x 63” W $2,000-4,000 Provenance: Fitzpatrick Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2173

Marisa Takal

(b. 1991, American) “Asiram Lakat Cool Story, Hansel I’m Gay,” 2017 Oil on canvas Signed, titled, and dated verso 60.25” H x 54” W x 1.5” D $8,000-10,000 Provenance: Night Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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2174

Annie Lapin

(b. 1978, American) “Older Boys,” 2007 Casein and oil on panel Unsigned; titled and numbered on gallery label affixed verso: AL07 6 60” H x 54” W $2,000-3,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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2176

Jason Meadows

(b. 1972, American) “AK Gothic,” 2008 Welded metal, stained woo metal, and Plexiglass Appears unsigned; various identification letters in pen 114” H x 51” W x 46” D $5,000-7,000

Provenance: Marc Foxx Ga The Blake Byrne Collection

2175

Berend Strik (b. 1960, Dutch) and David Hammons (b. 1943, American)

îDecipher Artist’s Mind: (Lucky Charm) And the Adjustment Factor (Studio Door David Hammons) [sic],î 2014 A hinged, double-sided, C-print on Tyvek with stitched fabric elements and an applied, typed excerpts from an interview with David Hammons Signed, titled, dated and variously inscribed verso: Berend Strik 23.5” H x 35.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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od, wood laminate on board, found

sly inscribed with numbers and ncil and black ink

allery, Los Angeles, CA n, acquired from above

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2177

Laurent Davidson

(20th-21st Century, American) “Shuffle Runner”, 2000 Aluminum and steel Signed and dated with impressed artist’s cipher; titled by repute 17” H x 40” W x 46” D approximately, dimensions variable $1,200-1,800

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2178

Gonzalo Cienfuegos

(b. 1949, Chilean) “Henry de Gondy,” 1983 Watercolor and ink on paper under glass Signed and dated lower right: g. cienfuegos 14” H x 10.5” W $2,000-3,000

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2179

Martin Skauen

(b. 1975, Norwegian) “Scent of a Woman (Teresa),” 2006 Pencil on paper under glass Signed, dated and inscribed in pencil along the lower edge: M. Skauen / “Medusa;” titled on a gallery label affixed to the backing board 21.75” H x 16.75” W $600-900 Provenance: Laura Bartlett Gallery, London, England Mihai Nicodim Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above Notes: The name “Medusa” written on the sheet appears to be in the artist’s hand, however, the work has been listed as here throughout its exhibition and sales history.

This drawing was used as the cover image for Martin Skauen’s “As Soon As This Body...,” Cederteg Publishing, 2008.

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2181

Javier Perez

(b. 1968, Spanis “Otras Formas d Watercolor on s Signed and date the artist’s board 27.5” H x 19.75 $1,000-1,500

Provenance: Cla The Blake Byrne

2180

Hoon Kwak

(b. 1941, Korean) “Chi,” 1985 Mixed media on laminated rice paper Signed lower right: Hoon Kwak; titled in 54” H x 27.5” W $1,500-2,000

Exhibitions: The 2nd International Conte December 10-14, 1987, Los Angeles, CA

Literature: Sun Art Gallery, ART LA87, De illustrated.

Notes: The catalogue from the ART LA87

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sh) de Vida en Desarrollo XIV,” 2007 sturdy paper attached to matboard attached to artist’s board ed lower right: Javier Perez; signed again on a label affixed to d verso 5” W

audine Papillon Galerie, Paris, France e Collection, acquired from the above

the exhibition catalogue

emporary Art Fair, Los Angeles Convention Fair, A

ecember 10-14, 1987, exhibition catalogue, figure 1,

7 exhibition accompanies the lot.

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2182

Anne-Laure Sacriste

(b. 1970, French) “Souche Bleue,” 2008 Watercolor on paper laid to panel Unsigned 51” H x 63.75” W $4,000-6,000 Provenance: Chung King Project, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2183

Frederique Loutz

(b. 1974, French) “Untitled,” 2005 Ink and gouache on paper Signed and dated lower right: Frederique Loutz Sheet: 12.75” H x 9.75” $300-500 Provenance: Claudine Papillon Galerie, Paris, France The Blake Byrne Collection, acquired from the above

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2184

Purvis Young

(1943-2010, American) Five works Each: Ink and marker on paper Each signed upper right: Young Sheet of each: 11” H x 8.5” W $800-1,200

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2185

2186

(b. 1968, Washington) “God Beams,” 2006 Oil and graphite on canvas over panel Signed, titled, and dated verso: Kelly McLane 66” H x 78” W

(b. 1973, “Cavern Watercol Appears Image/Sh

Kelly McLane

Violet H

$1,000-1,500

$1,500-2

Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

Provenan The Blak

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6

Hopkins

, American) With Bats,” 2006 lor and ink on paper under Plexiglas unsigned; titled and numbered on a gallery label affixed verso: VH 06/004 heet: 60” H x 102.75” W

2,000

nce: David Kordansky Gallery, Los Angeles, CA ke Byrne Collection, acquired from the above

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2187

Hannelore Baron

(1926-1987, American) “Untitled (Collage #C80042),” 1980 Collage on linen under glass Signed and dated verso: Hannelore Baron 13” H x 12” W $1,000-2,000 Provenance: Gallery Schlesinger, New York, NY The Blake Byrne Collection, acquired from the above Exhibitions: Gallery Schlesinger, New York, NY, “Hannelore Baron: Bird Imagery,” October 1983

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2188

Dario Robleto

(b. 1972, American) “Our 60’s Radical Forgot To Stay Suspicious,” 2003-2004 Mixed media Unsigned, titled by repute 25.25” H x 21.25” W x 2” D $3,000-5,000 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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2189

2190

(b. 1971, Canadian) “In the Begining [sic],” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean; titled lower center and again verso 12” H x 8.5” W

(b. 1971, Canadian) “Around the Cotton,” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean 12” H x 8.5” W

Jason McLean

Jason McLean

$600-800

$600-800

Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

Provenance: Richard Heller Gallery, Santa The Blake Byrne Collection, acquired fro

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n; titled verso

a Monica, CA om the above

2191

Jason McLean

(b. 1971, Canadian) “Mr. Mojo Rising and Jason,” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean; titled verso 12” H x 8.5” W $600-800 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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2192

Jimmy Baker

(b. 1980, American) “Study for Matt,” 2007 Acrylic screenprint and graphite on paper under Plexiglas Signed, titled and dated verso: Jimmy Baker Sheet: 13” H x 10” W $700-900 Provenance: Roberts & Tilton Gallery, Culver City, CA The Blake Byrne Collection, acquired from the above

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2193

Jimmy Baker

(b. 1980, American) “Study for Brandon,” 2007 Acrylic screenprint and graphite on paper under Plexiglas Signed, titled and dated verso: Jimmy Baker Sheet: 13” H x 10” W $700-900 Provenance: Roberts & Tilton Gallery, Culver City, CA The Blake Byrne Collection, acquired from the above

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Consign Today

Post-War & Contemporary Art + Design Spring 2022

Duilio (Dubè) Barnabé (1914-1961, Italian) Man seated with pipe

Price Realized: $31,250 Consignment and Auction Inquiries: fineart@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 2 3 4 Po s t war & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, Nov e mb e r 9, 2021

Consign Today

Fine Jewelry & Timepieces December 2021

An Indian diamond and blue enamel necklace

Price Realized: $9,100

Consignment and Auction Inquiries: mollie@johnmoran.com

bid in person - a bsentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 2 3 5

Condition Reports

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2001 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.

2002 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A small chip in glaze at rim. No evidence of repairs or restorations under blacklight.

2003 Each overall good condition with minor scuffs and inherent firing flaws commensurate with age. The larger with scattered areas of rubbed wear/chipping to glaze at rim. No evidence of repairs or restorations under blacklight.

2004 Generally good condition. The presentation of this drawing laid to another sheet of paper and with the addition of pencil-thin decorative and red borders all around may have been part of the artist’s original vision, or could have been done shortly thereafter by another hand. Pale backboard staining verso. The sheet is loose, not matted.

Frame: 23.5” H x 35.5” W x 1” D 2005 Generally good condition. Very pale staining lower center appears to be a result of the artist’s own actions. A very pale foxmark at the upper edge. A .25” horizontal tear at the left edge, not affecting the image. Taped to the overmat with paper tape from the tips of the four corners verso.

Condition Reports

Frame: 20.5” H x 28.25” W x .5” D

238

2006 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age.

2007 Visual: Generally good condition. Cracks and losses are inherent in the artist’s process.

Blacklight: No evidence of restoration under blacklight.

Unframed

2008 Visual: Generally good condition. Cracks and losses throughout. These appear to be part of the artist’s process.

Blacklight: No evidence of restoration under blacklight.

Unframed 2009 Visual: Generally good condition. Cracks and losses throughout. These appear to be part of the artist’s process.

Blacklight: No evidence of restoration under blacklight.

Unframed 2010 Overall good condition with dust accumulation commensurate with age.

2011 Overall good condition with dust accumulation and scuffs commensurate with age. Slate with inherent surface-reaching fractures and abrasions. Pedestal base with scattered scuffs and scratches.

With base: 75” H x 46” W x 14.5” D 2012 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear and scratching to legs, rubbed wear with fading to the teak armrests. Original tweed upholstery with minimal signs of soiling and minor spots of staining.

With possible updates to dust cover on underside of chair.

2013 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear and scratching to legs, rubbed wear with fading to the teak armrests. Original tweed upholstery with minimal signs of soiling and minor spots of staining.

With possible updates to dust cover on underside of chair.

2014 Generally good condition.

Unframed

2015 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 13” H x 11” W x 3” D

2016 Generally good condition. Minor surface dirt and grime.

Unframed 2017 Overall good condition with dust accumulation commensurate with age.

2021 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Tile with inherent firing flaws and localized areas of rubbed wear to surface.

2022 Visual: Generally good condition. Light scuff marks in the upper right corner, the largest measuring 1”. Two quarter-sized divots in the lower left corner and one in the extreme lower right.

Blacklight: No evidence of restoration under blacklight.

Unframed 2023 Visual: Generally good condition. Paint shrinkage scattered throughout. The canvas is loose throughout. Not examined out of the frame.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 43” W x 1.5” D

2019 Overall good condition with minor scuffs, dust accumulation, and oxidation to iron commensurate with age.

2020 Each overall good condition with scattered minor scuffs and scratches commensurate with age. The smaller plaque detached from wood backing, needs remounting. Each wood mount with scattered scratches and wear.

Larger overall: 13.5” H x 10” W Smaller overall: 12.25” H x 14.25” W

2024 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 81.25” H x 57.25” W 2025 Visual: Generally good condition. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 67.25” H x 55.25” W 2026 Overall good condition with minor scuffs and oxidation to bronze with verdigris commensurate with age.

2027 Overall good condition with minor scuffs, light scratches, and dust accumulation commensurate with age.

Condition Reports

2018 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Wood with localized areas of fading, heavier on the arms, and scattered nicks with prior restaining/restorations.

Previously reupholstered. Upholstery with sun fading, staining to cushion verso from contact with wood, and scattered spots of soiling.

239

2028 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some surfaces have been previously restored. Scattered areas of uneven coloration to finish. Lacking original metal tag to verso right corner seen on similar examples, but there are filled holes and refinishing/ fading to the area indicating the tag was once present.

2029 Overall good condition with scattered scuffs and light scratches commensurate with age.

2030 Generally in good condition. Not examined out of the frame.

Frame: 22.5” H x 24.75” W x 1.25” D 2031 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2035 Visual: Generally good condition. Slight surface skinning in places at the edges of the artist’s board, verso, from previous mounting Blacklight: An approximately 1” x 4” area of touchup lower right.

Frame: 20” H x 23” W x .75” D

2036 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

No evidence of restoration or hairlines under illumination. Adhesive felt pads to underside.

2037 Overall good condition with dust accumulation, scuffs, and light scratches commensurate with age. Scattered inherent imperfections in the glass.

No evidence of restoration or hairlines under illumination.

2038 Generally good condition. Pieces of double-sided hinging tape in places around the sheet edges verso.

Each sheet is loose, not mounted.

Unframed

Condition Reports

2032 Visual: Generally good condition.

240

Blacklight: No evidence of restoration under blacklight.

2039 Generally good condition. Not examined out of the frame.

Unframed

Frame: 27” H x 22.5” W x 1” D

2033 Generally good condition. A very soft handling crease near the upper edge. Framed floating and hinged to the back mat. Not examine out of the frame.

Frame: 18.75” H x 24.75” W x 1” D 2034 Generally good condition. Scattered, very unobtrusive foxing. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 19” H x 24.75” W x 1” D

2040 Generally good condition. Not examined out of the frame.

Frame: 23.5” H x 20” W x 1” D 2041 Generally good condition. Not examined out of the frame.

Frame: 27.5” H x 22” W x 1” D

2042 Generally good condition. Not examined out of the frame.

Frame: 12” H x 8.5” W x 1.25” D

2049 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2044 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age. One glass panel with crack to lower corner. With Louis Stern Fine Arts label to underside.

2045 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2046 Generally good condition. A short and unobtrusive diagonal crease at the tip of the top left corner.

Unobtrusive small areas of slight surface skinning scattered along the extreme sheet edges, the largest approximately 1” x .25”. The sheet is framed floating and hinged to the back mat.

Frame: 27.75” H x 22” W x 1” D 2047 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 15” H x 19” x 1.5” D

2050 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2051 Overall good condition with scattered scuffs, light scratches, and areas of bending/indentation to plastic sheets commensurate with age.

2052 Visual: Generally good condition. Vertical edges of the panel have been rough cut inherent in the artists’ process. Surface dirt and grime throughout. An 8” vertical crack in the top layer of the panel.

Blacklight: No evidence of restoration under blacklight.

Unframed 2053 Generally good condition. Not examined out of the frame.

Frame: 19.5” H x 18” W x .5” D 2054 Generally good condition. Not examined out of the frame.

2048 Visual: Generally very good condition.

Frame: 19.5” H x 18” W x .5” D

Blacklight: No evidence of restoration under blacklight.

2055 Overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age.

Frame: 18.5” H x 11.75” W x 1.5” D

2056 Overall good condition with minor scuffs and dust accumulation commensurate with age.

Condition Reports

2043 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

241

2057 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Has been restored and also features scattered previous repairs. Dust accumulation, fading, and areas of chipping to black paint. Localized areas of blue undercoating showing through chips in black paint.

Scattered chipped losses to wood, largest area 1.25”.

Tips of cones with light indentation/flattening and wear.

2058 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2059 Visual: Generally good condition. Minor surface dirt and grime on the verso of the smaller panel.

Blacklight: No evidence of restoration under blacklight.

Overall: Larger: 37.5” H x 37.5” W x 2.75” D; Smaller: 22” H x 10” W x 1” D 2060 Generally good condition. An unobtrusive, horizontal, .5” tear, skillfully backed, near the bottom of the right sheet edge. Framed floating and mounted to the back mat.

Condition Reports

Frame: 16.5” H x 13.5” W x 1.5” D

242

2063 Condition upon request. John Moran Auctioneers does not guarantee the continued working condition of electronic devices.

2064 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Original upholstery with fading, dark stripes to verso of back cushions, and light soiling commensurate with age and use. Heavier scuffs and scratches to feet.

2065 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Table is slightly wobbly, does not sit level. Top with scattered moisture rings and areas of uneven finish with fading/darkening from use. Heavier wear and scratches to feet.

Extended: 29” H x 86” W x 47” D 2066 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 85.5” H x 61.5” W x 3” D

2067 Generally good condition. Craquelure appears to be part of the artist’s original intention. Surface dirt and grime.

2061 Generally good condition. The watercolors with very minor surface soiling showing verso. The plastic bag with scattered handling creases throughout. All parts loose and unmounted.

Unframed

Unframed

Blacklight: No evidence of restoration under blacklight.

2062 Each: Generally good condition. Very minor surface dirt at the edges from handling as greeting cards.

Loose and unmounted.

Unframed

Each: Unframed

2068 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2070 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2071 Overall good condition with dust accumulation commensurate with age. Cake with scattered areas of chipped losses to raised and applied elements.

Acrylic cover with scuffs and scratches.

2072 Each element overall good condition with dust accumulation commensurate with age. Velvet with wear and fading inherent to the time of manufacture.

2073 Overall good condition with dust accumulation commensurate with age. No evidence of fading or dye migration.

2074 Overall good condition with minor scuffs, scratches, and oxidation commensurate with age.

2075 Generally good condition.

Unframed

2078 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Table slightly wobbly with legs loose. Heavier scratches to verso of leaves.

Extended: 28” H x 96” W x 35.25” D 2079 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with bumpers to the feet. Some possibly refinished, varying shades of wood. Each arm chair with fading and rubbed wear to arms. Heavier scuffs and scratches to legs.

2080 Visual: Generally good condition. Surface dirt, grime and varnish discoloration. Three unobtrusive, pinhead-size flecks of paint loss upper center.

Blacklight: No evidence of restoration under blacklight.

Frame: 30.5” H x 22” W x 2”D 2081 Visual: Surface dirt, grime and varnish discoloration.

Occasional, unobtrusive, pinhead-size scattered throughout. One irregularly shaped surface scratch upper left, measuring approximately 1.5”. Two areas of pigment loss with related damage to the wood panel, one in the woman’s upper arm at left and another in her fingers, the largest approximately .75” x .25”. A .75” line of paint loss in the lower right corner partially affecting the date. Various other small and mostly unobtrusive surface cracks and pinheadsize holes near the outermost edges. Glued to the backing board verso.

Blacklight: No evidence of restoration under blacklight.

Frame: 42” H x 27” W x 1” D

2076 Generally good condition. Not examined out of the frame.

Frame: 53” H x 25” W x 2” D 2077 Overall good condition with minor scuffs and darkening/ oxidation to bronze commensurate with age.

Condition Reports

2069 Visual: Generally good condition.

243

2082 Visual: Generally good condition. Surface dirt, grime and varnish discoloration. Very occasional pinheadsize paint losses scattered throughout. A faint and unobtrusive, 1” long, horizontal, surface scratch upper left. A .25” x .25” area of paint loss at the top right corner. Two short surface cracks, upper left edge measuring .125” and center right edge measuring .25.” Various other small and mostly unobtrusive surface cracks and pinhead-size holes near the outermost edges. Several small areas of instability in the surface of the wood, verso, not affecting the recto.

Blacklight: No evidence of restoration under blacklight.

2083 Overall good condition with minor scuffs, localized areas of light scratches, dust accumulation, and oxidation to bronze commensurate with age.

With base: 16.125” H x 74” W x 18” D 2084 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Double-sided frame: 11” H x 12.75” W x 1” D

2085 Generally good condition. The paper toned and with uneven reverse staining and foxing in places. A soft diagonal crease across the lower left margin corner.

Affixed to a support sheet at the margin corners verso.

Condition Reports

Frame: 18.75” H x 14.75” W x .5”

244

2086 Generally good condition. Surface dirt and grime. A pea-sized brown stain in the lower right corner and slight damp staining in the lower left corner, none of which affect the image area.

Frame (lacking glass): 19” H x 22” W x 1.25” D 2087 Generally good condition. Slight surface soiling and staining in the margins and verso.

Frame: 24.75” H x 19” W x .75” D

2088 Generally good condition. Tape residue along outside lower right corner.

Frame: 48.25” H x 40.25” W x 3.5” D 2089 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Heavier scratches and indentations to legs. A minor scuff of white paint on the front seat rail. Four legs with bumpers to feet. Original upholstery with light soiling, staining, and fading.

2090 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2091 Visual: Generally good condition. A 2.5” delicate surface scuff near the lower right corner, and a 3” soft, reverse pressure mark near the lower edge, each visible only in raking light.

Blacklight: No evidence of restoration under blacklight.

Unframed 2092 Overall good condition with scattered minor scuffs and scratches commensurate with age. An area at base with inherent imperfections visible in the wood with an apparent repaired crack that has been reinforced or filled, fluoresces under blacklight.

2093 Visual: Generally good condition. The canvas is very slightly rippled in the lower right corner.

Blacklight: No evidence of restoration under blacklight.

Frame: 12.5” H x 10.25” W x 1.25” D

2094 Overall fair to good condition with scuffs, scratches, indentations, and dust accumulation commensurate with age. Various plastic and metal components with indentations and cracks. Scattered areas of lifting or loosening to joined/applied elements. Various lights non-operational. Wiring should be checked by a qualified electrician prior to use.

2100 Visual: Generally good condition. Minor surface grime.

2095 Visual: Generally good condition.

2101 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed

2096 Visual: Generally good condition. It appears that a very small percentage of the fragmented mirror, plastic, green glass and so on, as originally applied by the artist, may have fallen off over time.

2102 Overall good condition with minor scuffs and scratches commensurate with age. Includes original box, accompanied by adhesive mounting bracket for hanging.

Unframed 2097 Visual: Generally good condition. Cracking to the paint extending from the edges, concentrated in the lower left. Largest hair-line crack is 9.5” L. Blacklight: No evidence of restoration under blacklight.

Unframed 2098 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier scuffs and scratches to legs.

2099 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier scratches and scuffs to legs. Moisture rings to top.

Scattered areas of minor white scuffs throughout.

Unframed

2103 Overall good condition with dust accumulation, tarnishing, and inherent light scratches to silver commensurate with age.

2104 Overall good condition with wear commensurate with age. Magazine: front cover with two perpendicular vertical creases running length of cover, corners and spine with rubbed wear, and wrap-around band with scattered creasing and dark scuffs. Booklet: cover with a small carrot-shaped wrinkle/crease at outer edge of front cover, back cover with small spot of residue and black scuff.

2105 Overall good condition with shelf wear commensurate with age. Minor scattered areas of loss to beadwork.

2106 Overall good condition with shelf wear commensurate with age.

2107 Overall good condition with shelf wear commensurate with age.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

245

2108 Generally good condition.

Unframed 2109 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

2114 Visual: Generally good condition. The pseudo-wood surface appears to have been lightly abraded throughout as part of the artist’s process prior to applying the paint. A 1.5 x .75” surface loss at the lower right corner also appears to be as issued.

Blacklight: No evidence of restoration under blacklight.

Unframed

Frame: 34” H x 27” W x 1.5” D 2110 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

2115 Generally good condition. Each sheet of paper with deckled edges. Artist’s pinholes in the four corners of each sheet. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 11.5” H x 34” W x 1.5” D

Unframed

2111 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Has been refinished. Heavier wear and scratches to legs, localized area of heavier scratches to varnish on top right.

2112 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Unframed

246

2113 Generally good condition. A pinhole in each corner appear to be in the artist’s own hand. The sheet is loose and unmounted.

Unframed

2116 Generally good condition. Not examined out of the frame.

Frame: 18.25” H x 17” W x 1.5” D 2117 Overall good condition with dust accumulation commensurate with age. Scattered scuffs and scratches to painted wood base element.

2118 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Scattered minor chips to edges and surface abrasions.

2119 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

Mounted for wall hanging.

2120 Overall good condition with scattered scuffs and oxidation commensurate with age.

2121 Overall good condition with scattered scuffs and oxidation to metal commensurate with age.

Frame: 31.25” H x 40.5” W x 1” D 2123 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Minor moisture ring to top. Two sliding door panels with a 1” round area of abrasion with loss to finish. Heavier wear and scratches to the feet.

2124 Overall good condition with dust accumulation commensurate with age. Flaking to plaster bandages scattered throughout. Wood with inherent imperfections, weathering, splits, chips, and wear to surface dating to the time of manufacture. Some joined wood elements loose. Mounted for wall hanging.

2125 Visual: Generally good condition.

2128 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2129 Overall good condition with scattered scuffs and dust accumulation commensurate with age.

2130 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 20.25” H x 20.25” W x .75” D 2131 Generally good condition. The full sheet with deckled edges. Three pinholes, presumably by the artist’s own hand, in the top sheet edge. One very unobtrusive, .25” tear in the deckle of the right edge. A delicate, brown, 1.25” drip-stain near the lower edge at right.

Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 54.25” H x 136.75” W x 2.25” D

Blacklight: No evidence of restoration under blacklight.

2132 Generally good condition. The paper is loose, not mounted.

Unframed

Frame: 11” H x 8.5” W x 1.25” D

2126 Visual: Generally good condition.

2133 Visual: Generally good condition. An unobtrusive .75” horizontal tear at lower center.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed

2127 Visual: Generally good condition.

2134 Generally good condition. The paper is loose, not mounted.

Blacklight: No evidence of restoration under blacklight.

Unframed

Frame: 11” H x 8.5” W x 1.25” D

Condition Reports

2122 Generally good condition. Some scattered short and unobtrusive handling creases or soft rippling near the sheet edges. A short diagonal crease across the lower left sheet corner. Four punctures near the top left sheet corner, the largest approximately pea-sized.

The sheet slightly unevenly trimmed along the upper portion of the right edge. Scattered dirt and grime recto and verso. The large sheet tipped down to the back mat in two places near the upper corners.

247

2135 Generally good condition. Framed floating and hinged to the back mat in all four sheet corners.

2143 Overall good condition with dust accumulation and small areas of fraying to the trim commensurate with age.

Frame: 9.5” H x 7.25” W x .75” D 2136 Generally good condition. Framed floating and hinged to the back mat.

Frame: 15.5” H x 18” W x 1.25” D

2137 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Top surface has been professionally restored. Heavier wear and scratches to feet.

Extended: 29” H x 90.25” W x 41” D 2138 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Chrome with scattered areas of oxidation and pitting throughout. Upholstery with minor signs of use and fading.

2139 Generally good condition. Surface dirt and grime.

Unframed

2144 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One shelf lacking dowels, not properly inserted. Heavier wear and scratches to the legs.

2145 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear, scuffs, and indentations to legs. Left glass panel is stiff, difficult to slide.

2146 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One bookcase with heavier scratches to top and minor moisture ring. One bookcase with indentation to rear right top corner. Additional module with adhesive felt pads to underside.

2147 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2140 Generally good condition. Stray drips of paint appear to be by the hand of the artist. Surface dirt and grime.

Condition Reports

Unframed

248

2141 Generally good condition. Surface dirt and grime.

Unframed 2142 Generally good condition. Two pale and very unobtrusive stains, one in the shirtsleeve at right and one near the sitter’s knee, the largest approximately .75” x .25.” Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 26.25” H x 28.75” W x 1.25” D

2148 Generally good condition. An unobtrusive, tiny tear near the top of the right sheet edge. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 18” H x 15.5” W x 1.75” D 2149 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 13” H x 14” W x 1.75” D

Blacklight: No evidence of restoration under blacklight.

Unframed

2151 Generally good condition. A 5.75” x 3.375” rectangular section of the paper cut away at center, appears to be part of the artist’s vision. Not examined out of the frame.

Frame: 24” H x 21.5” W x 1.5” D 2152 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Arms with fading and rubbed wear. Heavier scuffs and scratches to the legs. Upholstery with light fading.

2153 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 14.75” H x 11.25” W x 1.25” D

2154 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2155 Generally good condition. The sheet is loose and unmounted.

Unframed

2156 Overall good condition with dust accumulation, scuffs, scratches, inherent firing flaws, and inherent imperfections in wood commensurate with age.

2157 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2158 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2159 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2160 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2161 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with reupholstered seat in polychrome geometric motif fabric, noted on receipt has having previously been upholstered with black leather. Each with varying degrees of fading and rubbed wear to arms.

One with a .25” nick to side of arm. One with a visible repaired split/shrinkage crack to one leg. Each with possible repairs of modern reinforcements, fluoresce under blacklight.

2162 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Areas of minor chipped/split losses along apron edge. Top and extended surface with areas of fading, scuffs, and moisture rings.

Condition Reports

2150 Visual: Generally good condition. A 1” scratch with paint loss lower left.

249

2163 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 49.5” H x 31.5” W x 2” D

2164 Overall good condition with dust accumulation commensurate with age. One corner with a 1” hole, likely inherent to the time of manufacture.

2165 Visual: Generally good condition. Crazing in the red pigments of the flowers. Areas of paint shrinkage upper center and upper right.

Blacklight: No evidence of restoration under blacklight.

Unframed

2166 Visual: Generally good condition. Cracquelure showing mostly at center.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Unframed

250

2169 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with scattered areas of fading and moisture rings to top. Each with minor losses/ to cane weaving.

One wobbles slightly. One with a localized area of scattered indentations to top’s corner.

2170 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Top of largest table with areas of fading, light moisture rings, and subtle warping with one corner lifting off of the frame.

2171 Visual: Generally good condition Blacklight: No evidence of restoration under blacklight.

Unframed 2172 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

2167 Visual: Generally good condition.

2173 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 66” H x 53.5” W x 1.75” D

Unframed

2168 Visual: Generally good condition. Paper bulges slightly along the upper and lower edges. Taped to the overmat along the upper and at the center of the lower sheet edges, verso.

2174 Visual: Generally good condition.

Frame: 37.5” H x 31.5” W x 1.5” D

Unframed

Blacklight: No evidence of restoration under blacklight.

2175 Generally good condition.

Unframed

2176 Overall good condition with dust accumulation, scuffs, and scratches commensurate with age. Rust to iron bars inherent to the time of manufacture.

2183 Generally good condition. Slight time staining. Soft rippling of the thin paper as a result of the artist’s choice of media and affixing of the sheet in all corners, verso, to matboard.

2177 Overall good condition with scattered scuffs and light scratches commensurate with age.

Unframed

2178 Generally good condition. Not examined out of the frame.

2184 Each: Generally good condition. Some pieces with soiling to the paper and some damage along the edges. The papers are loose, not mounted.

Unframed

Frame: 20.25” H x 16.25” W x .5” D

Frame: 19” H x 24” W x 1.25” D 2180 Generally good condition. The left and right edges are deckled. The edges with some loss and damage scattered throughout, most notably a few tears to the paper along the lower left edge, the longest 2”.

A 1.75” tear to the paper along the upper folded edge in the center. Rolling creases along the paper throughout.

2181 Generally good condition. The sequence of mounting materials appears to be in the artist’s own hand, as evidenced by his additional signature on the verso of the artist’s board. One stray, delicate line of ink measuring .25” at the upper right. The tip of the top right sheet corner very slightly curled.

2185 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 2186 Visual: Generally good condition. Handling creases throughout. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 66.5” H x 109.5” W x 2.5” D 2187 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 21” H x 20.25” W x 1.25” D

2188 Generally good condition. The frame is covered in rust but this appears to be a part of the artist’s vision.

Unframed: Overall 31.5” H x 21.5” W x .75” D 2182 Generally good condition.

Unframed

2189 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

Unframed

Condition Reports

2179 Generally good condition. Occasional scattered foxing and pale staining outside the image, the largest approximately dime-sized. Framed floating and mounted to the back mat. Not examined out of the frame.

251

2190 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

Unframed 2191 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

Unframed 2192 Generally good condition. Framed floating and hinged to the back mat.

Frame: 16.25” H x 13.25” W x 2” D 2193 Generally good condition. Framed floating and hinged to the back mat.

Condition Reports

Frame: 16.25” H x 13.25” W x 2” D

252

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Co-Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Co-Head of Sale, 20th Century Design Specialist John Simon Taylor Fine Art Cataloguer Anne Spink Fine Art Administrator Angela Bryant Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Furniture & Decorative Arts Cataloguer Shannon Dailey Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Western, American Indian Specialist Maranda Moran Jewelry Director Mollie Burns Keith, G.J.G

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Consignment Coordinator

Julia Hamilton Operations Coordinator

Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Jacob Baer

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Allison Allyn

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. 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's 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 below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated 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's 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 backwards at his 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. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 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 the United States must submit payment via wire transfer. 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's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (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 lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's 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's 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. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 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, 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 above 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's in the same condition as when sold. Moran's 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's 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 Moran's nor the consignor or our 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 or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an 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) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (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's for this auction is and shall remain at all times the property of Moran's. Moran's 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 conditions, Moran's 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 we deem necessary or appropriate. If Moran's 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's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted 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. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Donald Sultan (b. 1951, American) “Black Lemon,” 1984

Price Realized: $15,000

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