Winter Modern & Contemporary Fine Art — March 1, 2022 | John Moran Auctioneers

Winter Modern & Contemporary Fine Art Tuesday, March 1, 2022 SINCE 1969

AUCTIONEERS & APPRAISERS

Winter Modern & Contemporary Fine Art Tuesday, March 1, 2022—12pm Sale 208 145 East Walnut Avenue, Monrovia CA 91016 Previews by appointment

Meet the Team Morgana Blackwelder Head of Sale Senior Vice President, Fine Art Director morgana@johnmoran.com Hayden Hunt Post-War & Contemporary Fine Art Specialist hayden@johnmoran.com

Bobby Cullen Junior Fine Art Specialist Senior Fine Art Cataloguer bobby@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

SINCE 1969

AUCTIONEERS & APPRAISERS

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Tom Hunter

(b. 1965, British) “Traveller Series IV (Indian Joe),” 1996-98 Cibachrome print on paper mounted to foam board under glass Edition: 2/12; Signed, titled, dated and numbered on a label affixed to the verso of the frame: T. Hunter Image/Sheet: 24” H x 20” W $800-1,200 Provenance: Jay Jopling, London, England Corporate Collection, Los Angeles, CA

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Tom Hunter

(b. 1965, British) “Traveller Series V,” 1996-98 Cibachrome print on paper mounted to foam board under glass Edition: 1/12; Signed, titled, dated and numbered on a label affixed to the verso of the frame: T. Hunter Image/Sheet: 24” H x 20” W $800-1,200 Provenance: Modern Collections, London, England Corporate Collection, Los Angeles, CA

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David Drebin

(b. 1970, Canadian) Los Angeles, 2008 Digital C-Print under Plexiglas Edition of 3; appears to be unsigned Sight: 40” H x 125” W $5,000-7,000 Provenance: Private Collection, California Notes: David Drebin is a Candian-born multidisciplinary artist who graduated from the Parsons School of Design in New York that is known for his large panoramic “dreamscapes.” These dramatic images capture cities or natural settings from perspectives that cause viewers to “lose themselves in a fascinating and experiential daydream.”

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Peter Fischli (b. 1952, Swiss)

David Weiss

(1946-2012, Swiss)

Peter Fischli (b. 1952) and David Weiss (1946-201 long period of artistic collaboration in 1979. The works are conceptual, their oeuvre also relates to The three photographs presented in this auction about one hundred photographs printed in color everyday objects, which have been stacked in se an imminent collapse. The photographs featured shortly after being photographed.

Fischli/Weiss served as the representatives of Sw galleries and museums around the world, includin

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12), often referred to as Fischli/Weiss, were a pair of Swiss artists who began their three-decade works they produced until Weiss’s death in 2012 defy easy classification. Though many of their o several twentieth century artistic movements such as Surrealism, Dada, and Pop Art. are from the “Equilibrium” series, which was produced between 1984 and 1987 and consists of r or black and white. The subject matter of these images is a series of sculptures, composed of eemingly impossible positions before being photographed at a moment immediately preceding d in this series are the only record of these sculptures’ existence, as they were disassembled

witzerland to the Venice Biennale in 1995 and have been the subject of numerous exhibitions at ng the Tate in London and the Guggenheim in New York.

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Peter Fischli (b. 1952, Swiss) and David Weiss (1946-2012, Swiss)

“As Far As It Goes,” 1986, from the “Equilibres” series Gelatin silver print on paper under Plexiglas From the edition of unknown but presumably small size; Signed and dated verso: Fischli / David Weiss Image/Sheet: 11.875” H x 15.875” W $8,000-12,000 Provenance: Margo Leavin Gallery, Los Angeles, CA Corporate Collection, Los Angeles, CA

Literature: Peter Fischli, David Weiss: “Equilibres.”

Koln: Walter Konig, 2006. Illustrated, n.p.

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Peter Fischli (b. 1952, Swiss) and David Weiss (1946-2012, Swiss)

“Chinese Character,” 1984, from the “Equilibres” series Gelatin silver print on paper under Plexiglas From the edition of unknown but presumably small size; Signed and dated verso: Fischli / David Weiss Image/Sheet: 11.875” H x 15.875” W $8,000-12,000 Provenance: Margo Leavin Gallery, Los Angeles, CA Corporate Collection, Los Angeles, CA Literature: Peter Fischli, David Weiss: “Equilibres.” Koln: Walter Konig, 2006. Illustrated, n.p.

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Peter Fischli (b. 1952, Swiss) and David (1946-2012, Swiss)

“Aplomb,” 1984, from the “Equilibres” series Gelatin silver print on paper under Plexiglas From the edition of unknown but presumably small size; Signed and dated verso: Fischli / David Weiss Image/Sheet: 11.875” H x 15.875” W $8,000-12,000 Provenance: Margo Leavin Gallery, Los Angeles, CA Corporate Collection, Los Angeles, CA Literature: Peter Fischli, David Weiss: “Equilibres.” Koln: Walter Konig, 2006. Illustrated, n.p.

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Oliver Boberg

(b. 1965, German) “Spielplatz,” 2000 C-print on paper on painted wood Edition 4/5; Unsigned; titled, dated and numbered on the gallery label affixed verso Image: 20” H x 31.5” W; Sheet/Wood: 29.5” H x 41” W $700-900 Provenance: Paul Morris Gallery, New York, NY

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Kirk Weddle

(b. 1959, American) David Grohl, Foo Fighters, 2018 Color photograph on acrylic panel Edition 2/5; Signed, dated and numbered in the lower right corner 40.25” H x 80.25” W $1,000-2,000 Provenance: Private Collection, California

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Antonio Grediaga Kieff

(b. 1936, Canadian/Spanish) “Jerga,” circa 1974 Polished bronze on marble base Edition 1/5; with the incised signature and number: Kieff 19” H x 18.5” W x7.5” D $5,000-7,000 Provenance: Klabal Gallery Inc., Minneapolis, MN Notes: Antonio Gregiada Kieff is a Spanish-born artist who has primarily lived and worked in Montreal, Quebec, Canada since 1969. Throughout his career, he has also lived and worked for periods of time in Spain, Japan, Italy, Israel, the United States, Taiwan, and Cuba.

Kieff’s artistic practice encompasses painting, graphic design, mural painting, printmaking, and jewelry, though he is perhaps most renowned for his table-top bronzes and monumental public sculptures. Although most of his works are abstract, Kieff has been influenced by a number of Modernist traditions that emerged during the twentieth century. w w w. j o h n m o r a n . c o m

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Bradford Stewart

(20th Century, American) “Malibu Seascape” Acrylic on canvas Signed verso: Bradford Stewart; titled by repute 36” H x 48” W $700-900 Provenance: Private Collection, Arizona

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Bradford Stewart

(20th Century, American) “Green Pearls” Acrylic on panel Signed verso: Bradford Stewart; titled by repute 48” H x 60” W $1,000-1,500 Provenance: Private Collection, Arizona

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Charles Fine

(b. 1951, American) Untitled, 1985-1986 Acrylic on canvas Signed and dated verso: Charles Fine 75” H x 55.5” W $2,000-3,000 Provenance: Corporate Collection, Los Angeles, CA

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Jeff Colson

(b. 1957, American) Untitled, 1991 Plaster, Bondo and upcycled wood Signed and dated verso: J. Colson 35.25” H x 35” W $1,000-1,500 Provenance: Corporate Collection, Los Angeles, CA

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Andrew Salgado

(b. 1982, Canadian) “Paul, from Carnivores II,” 2008 Oil on canvas Signed, titled and dated verso: Andrew Johann Salgado 48” H x 48” W $10,000-15,000 Provenance: Private Collection, California Notes: Born in Canada in 1982, Andrew Salgado pursued his artistic studies at the Chelsea of College of Art in the United Kingdom -- where he graduated with an MA in Fine Art in 2009.

He is best-known for his portraits executed in a style that, while representational, is often painterly and semi-abstract. Working across the surface of a canvas fervently, Salgado takes note of different planes of color across the sitter’s face and background before blending them together into “a sort of chaotically orchestrated puzzle.” Salgado has had over fifteen solo exhibitions internationally, including in London, New York, Toronto, and Basel, Switzerland.

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Jerry Brane

(b. 1946, American) “Oak,” 1982 Charcoal on paper under glass Unsigned; titled and dated on a gallery label affixed to the frame’s backboard Sheet: 28.25” H x 17.25” W $300-500 Provenance: Larry Gagosian Gallery, Los Angeles, CA Corporate Collection, Los Angeles, CA

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Jerry Brane

(b. 1946, American) “Torso,” 1982 Charcoal on paper under glass Unsigned; titled and dated on a gallery label affixed to the frame’s backboard Sheet: 28.25” H x 17.25” W $300-500 Provenance: Larry Gagosian Gallery, Los Angeles, CA Corporate Collection, Los Angeles, CA

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Joan Miro

(1893-1983, Spanish) “Poster for the Exhibition ‘Peintures sur Papier, Dessins’,” 1971 Color lithograph on wove paper, watermark Arches, under glass Edition: 59/150; Signed in pencil lower right: Miro; numbered in pencil lower left; printed and published by Maeght, Paris Image/Sheet: 33.5” H x 22.75” W $1,500-2,000 Provenance: Private Collection, California Literature: M. 737 Notes: There was also a separate edition of unknown size printed with the exhibition text

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Vija Celmins

(b. 1938, Latvian/American) “Untitled (Desert),” 1971 Color lithograph on paper, watermark Arches, under Plexiglas Edition: Artist’s Proof (one of 12; the edition was 65); Signed, dated and inscribed in pencil in the lower margin: V. Celmins; Ed Hamilton, prntr.; Cirrus Editions, Ltd., Los Angeles, pub.

Image: 21” H x 27.625” W; Sheet: 22.5” H x 29” W $30,000-50,000 Provenance: Sold: Museum of Contemporary Art, “MOCA Art Auction ‘90,” Los Angeles, CA Private Collection, California Exhibitions: “MOCArtAuction ‘88,” Museum of Contemporary Art, Los Angeles, CA “MOCA Art Auction ‘90,” The Museum of Contemporary Art, Los Angeles, CA Literature: Rippner p. 49 Notes: Artist Vija Celmins (b. 1938, Latvian/American) immigrated to the United States in the 1940s before pursuing arts education in Indiana and at Yale University.

In 1962, Celmins moved to Los Angeles to pursue a master’s degree at UCLA, a period during which her work morphed into the diligently rendered portrayals of naturally occurring phenomenon that she is known for. Celmins resided in the Los Angeles area until 1981 before moving to New York where she currently lives and works.

“Untitled (Desert)” dates to a period in Celmin’s career when she began exploring the possibilities of printmaking when it came to the depiction of natural objects.

This work in an Artist’s Proof which was previously featured in a fundraising auction for the Museum of Contemporary Art in Los Angeles in 1990. It is being offered for sale from a Private Collection for the first time in over 30 years.

Celmins has had over forty solo exhibitions and is included in more than 20 permanent museum collection, including the Metropolitan Museum of Art, the Centre Pompidou in Paris, and the Museum of Modern Art in New York.

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Robert Indiana

(1928-2018, American) “LOVE,” 1967 Color screenprint on smooth wove paper under glass Appears to be one of the 25 artist’s proofs apart from the pencil signed and numbered edition of 250, also with margins, on paper this size; the artist’s copyright stamp showing along the lower portion of the left margin edge: “(c) 1967 by Robert Indiana” Image: 34” H x 34” W; Sheet: 36” H x 36” W $3,000-4,000 Provenance: Private Collection, California Literature: Sheehan 39 Notes: According to Sheehan, there were also editions of 2,275 and 250 printed without margins on different types of paper measuring only 34” x 34.”

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Roy Lichtenstein

(1923-1997, American) “Two Paintings: Dagwood” from the “Paintings Series,” 1984 Color woodcut and lithograph on Arches 88 paper under Plexiglas Edition 53/60; Signed, dated and numbered in pencil in the lower margin, at right: Roy Lichtenstein; with the blindstamps of the printer/publisher Gemini G.E.L., Los Angeles, CA in the lower right margin corner and their copyright ink stamp verso Image: 50.75” H x 35.75” W; Sheet: 53.75” H x 38.875” W $40,000-50,000 Provenance: Private Collection, California Literature: Corlett, Mary Lee, and Ruth E. Fine. The Prints of Roy Lichtenstein: A Catalogue RaisonnÈ 1948-1997. New York and Washington, D.C.: Hudson Hills Press and the National Gallery of Art, 2002, p. 188, no. 207.

Ritchie, Charles. Gemini G.E.L. Online Catalogue RaisonnÈ. Washington, D.C.: National Gallery of Art, 2011, no. 31.82. http://www.nga.gov/gemini Notes: There were also 11 artist’s proofs.

Lichtenstein is considered one of the founding fathers of the Pop art movement that is characterized by artists extracting source material from popular culture. Pop art was branded as American painting, but Lichtenstein preferred it to be defined as industrial painting. The widely recognized artist interpreted the sleek style and graphic sensibilities of advertising and comic books and brought them onto his canvas.

The character “Dagwood” featured in this image originated during the 1930s in the comic strip, Blondie. Yet, while Lichtenstein uses Dagwood’s likeness in this image, it is appropriated within the context of other elements that we find featured throughout Lichtenstein’s oeuvre - like the white, yellow, and blue paint strokes that we see abstracted in the right side of the image.

Dagwood is a technically accomplished print from the “Painting” series, in which Lichtenstein blends the techniques of woodcut and lithography to create a masterly composed image that is readily apparent as his own. Lichtenstein’s unique style proved to be influential for a wide variety of artists, ranging from Richard Price and Jeff Koons to the painter Raymond Pettibon.

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Salvador DalÌ

(1904-1989, Spanish) “Hidden Faces.” New York: The Dial Press, 1944 Hardcover book Signed, illegibly dated, inscribed, and with the artist’s ink sketches on the front endpaper 8.25” H x 5.875” W x 1.5” D $3,000-5,000 Provenance: The artist Private Collection, Southern California, acquired directly from the artist while working together at Disney Studios, 1946 Thence by descent to the present owner Notes: Bruce Hochman O.S. has verified the authenticity of this piece.

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Lita Albuquerque (b. 1946, American)

In a career spanning over sixty years, Lita Albuqu be a “Californian artist.” Though she was born in during the 1970s.

Albuquerque’s return to California occurred in the of the most significant developments in California individuals living on the West Coast to respond t Art, Minimalism, and Color Field painting.

The Light and Space Movement is often characte materiality. Albuquerque tackles huge concepts l pigment. In these works, pigment has been appli results in a painting with a delicate but, more imp

Albuquerque’s work grapples with concepts of et big ideas call for a bigger canvas, which is why m there is an imprinting on the earth that correspon

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uerque has produced a body of work that defies many traditional ideas of what it means to n Santa Monica, Albuquerque grew up in Tunisia and Paris before resettling in Venice, CA

e years following the emergence of the Light and Space Movement, which was arguably one a’s artistic history. For many artists, the Light and Space Movement was an opportunity for to the aesthetic styles that began prevailing in New York City during the 1960s - namely, Pop

erized by works created with an attention to the relational aesthetic between light and like time and space and translates them into ephemeral works of art that often utilize pure ied to the surface of the panel without a binder like oil, acrylic, or resin. This technique portantly, a non-reflective and far more visceral surface than we see in traditional painting.

ternity, the infinite expansion of outer space, and humans in relation to the cosmos. Such many of her works are large-scale installations made within the natural landscape. As a result, ndingly creates visual maps that can be viewed from above.

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Lita Albuquerque

(b. 1946, American) Untitled or Auric Field or Lunar Flash Black and blue pigment on panel with 24k gold leaf on resin Unsigned 48î H x 48î W $30,000-50,000 Provenance: Acquired directly from the artist, Bergamont Station, 2003 Private Collection, Los Angeles, CA

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Lita Albuquerque

(b. 1946, American) Auric Field Solar Flash, 2008 Black and blue pigment on panel with 24k gold leaf on resin Signed, dated, and numbered verso: Lita Albuquerque 18” H x 18” W $10,000-15,000

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Lita Albuquerque

(b. 1946, American) Bow Sock, 3 Panels Black and blue pigment on panels Unsigned, titled by repute, each panel numbered with either roman numerals or arabic numbers for position and with hanging notes Each: 72” H x 20” W; Overall: 72” H x 60” W $5,000-7,000 Provenance: Acquired directly from the artist, Bergamont Station, 2003 Private Collection, Los Angeles, CA

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Lita Albuquerque

(b. 1946, American) Untitled (from Red Pigment Painting series) Black and red pigment on canvas Unsigned 58î H x 38î W $5,000-7,000 Provenance: Acquired directly from the artist, Bergamont Station, 2003 Private Collection, Los Angeles, CA

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Lita Albuquerque

(b. 1946, American) “Rock & Pigment Installation,” or “Mojave Desert,” 1978 Color photograph on paper laid to matboard under Plexiglas Signed and dated in pencil on the matboard, lower right Image/Sheet: 26.625” H x 39.375” W $800-1,200 Provenance: Janus Gallery, Los Angeles, CA (Collection of Pollock, Bloom, and Dekom, on label verso) Corporate Collection, Los Angeles, CA

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Channa Horwitz

(1932-2013, American) “4/7-4/6 - 5, moire,” 1987 Casein and gold leaf on mylar under glass Signed, dated, and numbered lower right: Channa Horowitz Image: 9.25” H x 9.25” W; Sheet: 16.25” H x 17” W $3,000-5,000 Provenance: Corporate Collection, Los Angeles, CA Notes: Channa Horwitz is a Los Angeles born artist who has lived and worked in the region for her entire life. Horwitz studied at the Art Center College of Design and Fine Art at Cal State Northridge in the early 1960s before receiving a BFA from the California Institute of Arts in Valencia, California in 1972. Horwitz studied alongside artists including John Baldessari and Allan Kaprow, who were pioneers in California’s Conceptual Art movements, before developing a style more closely aligned with West Coast Minimalism and the Light and Space Movement. Horwitz’s contributions to history and of these styles were only fully recognized in the year of her death, at age 80, when she was included in the 2013 Venice Biennale and at the Whitney Biennial in 2014.

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Roberto Gonz·lez Goyri

(1924-2007, Guatemalan) Man on a bucking horse, 1974 Acrylic on paper under glass Signed and dated lower right: Roberto Gonzalez Goyri Sight: 18.375” H x 13.875” W $5,000-7,000 Provenance: Private Collection, California Notes: Roberto Goyri (b. 1924) was a Guatemalan painter, sculptor, and muralist who completed his artistic studies at the Arts Students League and Sculpture Center in New York at the age of fourteen. After returning to Guatemala in 1952, Goyri became the director of the National School of Plastic Arts and exhibited his work in the United States, Spain, Ecuador, and Nicaragua. The Museum of Modern Art in New York City acquired his semi-abstract sculpture “The Wolf” (1951) in 1955, and the artist later became known for his images depicting Guatemalan history from the rise of the Mayan Empire to the present day. Goyri died in Guatemala City in 2007.

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Charles Arnoldi

(b. 1946, American) “Swamp,” 2000 Acrylic on six canvas-covered, joined, wood panels set at an angle Signed, titled, numbered, and dated verso: Arnoldi, 00.10 42.25” H x 31.75” W $25,000-35,000 Exhibitions: Skidmore Contemporary Art, Malibu, CA, ‘Charles Arnoldi, New Paintings,’ March 18 - April 29, 2000 Notes: The American artist Charles Arnoldi was born in Ohio in 1946 and pursued his artistic studies at Ventura College, the Art Center in Los Angeles, and the Chouinard Art Institute.

His works, often brightly colored, were composed either in paint on canvas (as in the present lot) or with wood pieces affixed to panel.

For much of his career, Arnoldi worked as an outsider within the context of the California art scene. Though his works are held in museum collections around the world, Arnoldi developed a unique style that remains antithetical to the dominant theme of minimalism that remains pervasive throughout the work of many artists working in California.

“Swamp,” painted in 2006, is executed in acrylic on six canvas-covered joined wood panels that make up a single image. The work is composed of contrasting planes of color punctuated by an abstract symbolism that remains present throughout much of his paintings. Fashioned together like the interlocking pieces of a puzzle, Arnoldi leaves the interpretation of his work up to the viewer.

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Shen Shaomin

(b. 1956, Chinese) “Handle with Care No. 19,” 2014 Oil on linen Signed, titled and dated, mostly in Chinese, verso.

36” H x 36” W $8,000-12,000 Provenance: Klein Sun Gallery, New York, NY Notes: Conceptual artist Shen Shaomin (b. 1950, Chinese) created an oil on linen series entitled “Handle with Care,” each depicting famous paintings shrouded in bubble wrap. Most of the paintings in the series are derived from works by Andy Warhol like “Handle with Care No. 19,” featuring Marilyn Monroe. The photorealist paintings are further adorned at the edges with Trojans Art branded packaging tape, one of the leading fine art packing and shipping companies in China.

When originally exhibited in 2015, the pieces were strategically placed on the floor and leaned against the wall as if installation had not yet taken place. The series by Shaomin calls into question the preciousness of art, concepts of artistic originality, and leaves viewers with an insatiable urge to uncover the familiar iconic imagery.

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Ariana Papademetropoulos

(b. 1990, American) “Archaic Revival,” 2016 Oil on canvas Signed, titled, and dated verso: Ariana 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 Notes: Ariana Papademetropoulos (b. 1990) is an American artist born in Pasadena who has developed a style marked by mystic symbolism. Papademetropoulos graduated from the Los Angeles County High School for the Arts before obtaining a degree from CalArts in 2012.

Papademetropoulos’s work often incorporates dreamlike imagery drawn a wide variety of sources. Often choosing to depict domestic spaces, Papademetropoulos imbeds elements of mystery and wonder within them.

The figurative painter, Noah Davis, gave Papademetropoulos her first big break when he included her work in a show he curated at Roberts Projects in Los Angeles in 2010. She has since been the subject of exhibitions at Vito Schnabel Gallery in New York, and at Jeffrey Deitch’s gallery in Los Angeles.

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Judith Supine

(b. 1978, American) “The Only Game in Town,” 2013 Paper collage and mixed media on plywood Signed, titled and dated in pencil on the verso: Judith Supine; variously inscribed in colored inks on the verso 48” H x 36” W $3,000-5,000 Provenance: Private Collection, California Notes: Judith Supine is the alter-ego of the Brooklyn-based street artist Brendan Fagan, who adopted his mother’s name as an alias for his works created for the street art scene. Since the mid-2000s, Supine has become known for an artistic practice defined by their surrealist collages which take elements of advertising imagery to create grotesque or monstrous imagery upon which the artist paints and coats in a glossy resin.

Works by Supine were hung from the Manhattan and Williamsburg Bridges in New York City in 2007 and 2009, and the artist remains known for the type of mixed-media collages featured in this sale.

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Cesar Izquierdo

(1937-2015, Guatemalan) Diptych: two figurative drawings,1973 Ink on cream paper mounted by the artist to a watercolor on taupe paper Signed and dated in the lower right corner of the taupe paper, which also serves to frame the cream sheet of paper: Izquierdo Overall: 16.25” H x 26” W $1,000-1,500 Provenance: Private Collection, California

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Sylvester Stallone

(b. 1946, American) Untitled, 1986 Acrylic and spray paint on canvas Signed and dated in the lower right corner: Stallone 48” H x 48” W $3,000-5,000 Provenance: Corporate Collection, Los Angeles, CA Notes: The acclaimed American actor, screenwriter, director, and producer Sylvester Stallone has also maintained a painting practice for nearly fifty years. His paintings are executed in a variety of styles that show influences ranging from the Post-Impressionist movement of the late nineteenth century to Street Art, and to the work made by Neo-Expressionists who worked in the East Village of New York in the 1980s. Stallone first began exhibiting his work in 2013, with a solo exhibition at the State Museum in St. Petersburg, Russia, followed later shows at the MusÈe d’Art Moderne et d’Art Contemporain in Nice, France and Osthaus Museum in Hagen, Germany.

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Saint Clair Cemin (b. 1951, Brazilian)

Saint Clair Cemin is a Brazilian-born artist known moved to Europe to escape the Fascist political p

After completing a three-year printmaking progra 1980s. Cemin initially made a living in the United sculpture in 1983. Though he worked in awarene to historical sculpture - using material such as bro

Saint Clair Cemin’s work is currently held by a num and the Eli Broad Family Foundation and Museum

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for creating sculptures in a wide variety of styles and mediums. In the early 1970s, Cemin policies of his home country as well as to pursue his artistic studies.

am at L’École Nationale Superieure des Beaux Arts, Cemin moved to New York in the early d States through carpentry and by renovating lofts, before shifting his artistic practice to ess of conceptual art, Cemin developed a manner of working that blends craft with references onze that have a long-established history within the realm of the Western art tradition.

mber of prominent collections, including the Whitney Museum of American Art in New York, m of Contemporary Art in Los Angeles.

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(b. 1951, Brazilian) Ten Minutes Elephant Bronze With the incised signature: Cemin 6” H x 7.75” W x 3.25” D

(b. 1951, Brazilian) “Ten Minutes Eleph Bronze Each: Edition 6/7; w New York Largest: 4.75” H x

Saint Clair Cemin

$1,000-1,500 Provenance: Corporate Collection, Los Angeles, CA

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Saint Clair Cemi

$800-1,200

Provenance: Corpo

in

hant (3)”

with the incised signature and number: Cemin; foundry mark: Empire Bronze Art Foundry, Inc., 7” W x 3.5” D

orate Collection, Los Angeles, CA

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Saint Clair Cemin

(b. 1951, Brazilian) “Tai Chi Penguin,” 1986 Bronze Edition 2/7; with inscribed initials, date, and number: SC 4.50” H x 5” W x 4” D $1,000-1,500 Provenance: Corporate Collection, Los Angeles, CA

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Saint Clair Cemin

(b. 1951, Brazilian) “Homage to Darwin,” 1986 Bronze Edition 2/7; with inscribed initials, date, and number: SC 5” H x 6.5” W x 2.5” D $1,000-1,500 Provenance: Corporate Collection, Los Angeles, CA

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Saint Clair Cemin

(b. 1951, Brazilian) “Soul,” 1987 Bronze Edition 5/7; with the incised signature, date, and number: Cemin 2.25” H x 8.5” W x 3.25” D $1,000-1,500 Provenance: Corporate Collection, Los Angeles, CA

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Gwynn Murrill

(b. 1942, American) Cougar, 1994 Bronze Edition 3/9; with inscribed signature, date, and number: G. Murrill 4.25” H x 10.75” W x 3” D $1,000-2,000 Provenance: Corporate Collection, Los Angeles, CA Notes: The American sculptor Gwynn Murrill (b. 1942) is known for her body of work depicting animals which have been cast in bronze, sculpted in clay, or carved from wood or stone. As a resident of California, Murrill takes inspiration from the natural world around her - though her imagination is an equally fruitful source of creativity. She explains: “My primary point of departure when beginning a new piece is the memory of a form that caught my attention; it could be a cat walking through the studio, a coyote jumping from the brushÖ To recreate this imagined form, I begin the sculptural process by reducing blocks of wood or foam to a more recognizable shape. The manifestation of the idea takes on a life of its own which I see through until the end, even if it ends up in a slightly different form from the original imagined one.”

Gwynn Murrill’s animal sculptures will be the subject of the exhibition, Gwynn Murrill: Animal Nature, scheduled to open at the Frederick R. Weisman Museum of Art in Malibu, CA from May 21 - July 31, 2022.

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Consign Today

Post-War & Contemporary Art + Design June 21, 2022 Donald Sultan (b. 1951, American) “Black Lemon,” 1984

Price Realized: 15,000.00

Consignment and Auction Inquiries: hayden@johnmoran.com SINCE 1969

bid in person - absentee - telephone - live online AUCTIONEERS & APPRAISERS 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 74

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Is your collection

protected?

Friedrich Kunath (b. 1974, German) “Thinking about You (Flower),” 2017, Price Realized: $17,500

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

Moran’s team of USPAP compliant appraisers is here to meet your needs.

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SINCE 1969

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Condition Reports

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

Frame: 30” H x 26” W X 1.75” D 2 Generally good condition. Not examined out of the frame.

Frame: 30” H x 26” W x 1.75” D 3 Generally good condition. Not examined out of the frame.

Frame: 42” H x 129” W x 3” D 4 Generally good condition. A pea-sized, partial surface split, subsequently reattached, near the center of the lower edge. Two separate, delicate, hair-line scratches near the lower edge, the longest 0.375.” A short and unobtrusive handling crease, visible only in a raking light, near the center of the left edge. Traces of a narrow line, with a sheen reminiscent of graphite, along the upper section of the extreme right edge. The upper half of the sheet lightly adhered to the backboard, not affecting the signatures or date, verso.

Frame: 14.5” H x 18.5” W x 1.5” D 5

Condition Reports

Generally good condition. A short, 0.25” vertical tear, right of center, at the upper sheet edge. Several very minor handling creases visible only in a raking light. Soft creasing at the very tips of the sheet corners and occasionally at the extreme sheet edges. The extreme sheet edges with pale, sepia toning and traces of metallic-type overtones. The upper half of the sheet lightly adhered to the backboard, not affecting the signatures or date, verso.

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Frame: 14.5” H x 18.5” W x 1.5” D

6 Fair to generally good condition. A very soft, 9.25” crease, of which a 1.25” portion is hard enough to have affected the paper fibers, running mostly vertically, left of center and, for the most part, visible mostly in a raking light. A 0.75” crease with attendant tiny edge tears at the upper sheet edge, left of center. Three thumb prints near the sheet edges, visible only in a raking light. Traces of irridescence with attendant discoloration and occasional very minor wear along the sheet edges.

The upper half of the sheet lightly adhered to the backboard, not affecting the signatures or date, verso.

Frame: 14.5” H x 18.5” W x 1.5” D 7 Generally good condition. An occasional, very slight surface scuff, visible only in a raking light, and confined primarily to the extreme margin edges.

Minor surface soiling and wear along the extreme edges of the paper/wood.

Unframed 8 Generally good condition.

Unframed 9 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

Scattered spots of surface imperfection in the bronze with slithyly different surface finish, possibly inherent to the time of manufacture.

With base: 22” H 10 Visual: Generally good condition. Occasional minor surface rubbing attendant with stretcher bar creases, visible only in a raking light. Two specks of stray white pigment, lower left and lower right edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 37.5” H x 49.5” W x 1.25” D

11 Visual: Generally good condition. A few unobtrusive and superficial pigment losses near the lower edge, the largest approximately pea-sized. A 1” horizontal surface abrasion near the center of the lower edge.

18 Generally good condition. The full sheet. Slight time staining showing along the extreme sheet edges.

Pale mat staining verso. The sheet is loose, not matted or hinged.

Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 24” W x 1” D

Unframed

19 Generally good condition. With full margins, deckled all around. Pale time staining showing mostly in the deckled edges. Framed floating and hinged to the back mat.

Blacklight: No evidence of restoration under blacklight.

Unframed 13 Generally good condition. Areas of loss and cracking that are intrinsic to the material and to the artist’s use of upcycled materials.

Frame: 23.25” H x 29.75” W x 1.5” D 20 Generally good condition. With full margins and the colors still strong. Scattered tiny surface losses in the upper half. Slight time staining at the margin edges and pale backboard staining verso. The sheet is loose, not mounted.

Frame: 36.75” H x 36.75” W x 1” D

Blacklight: No evidence of restoration under blacklight.

21 Generally good condition, the colors fresh and with full margins. Small areas of unobtrusive surface rubbing showing occasionally in the blank areas and margins, the largest approximately 1” x 0.5” in the upper portion, right of center. Two unobtrusive moisture marks, each approximately 1” diameter, near the center of the upper margin edge and showing only slightly, both recto and verso, in raking light. At least five slightly skinned areas from previous hinging at the verso of the upper and left vertical margins, the largest approximately 2.5” H x 1.5 “ W.

Unframed

Frame: 62” H x 46” W x 1.5” D

15 Lot Withdrawn

22 Overall fair to good condition with shelf wear and minor toning to paper commensurate with age. Dust jacket with water damage and heavier wear including tears, creases, and losses. Areas of paper transfer from dust jacket sticking to leather binding. Minor bending to corners. With French inscription to front endpaper.

Unframed 14 Visual: Slight surface soiling and scuffing showing mostly at the lower left. A 2” vertical split in the canvas, with corresponding patch verso, showing just above the lower edge, at right.

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

Frame: 31.25” H x 20” W x 1.25” D 17 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 31.25” H x 20” W x 1.25” D

23 Condition report upon request.

24 Condition report upon request.

Condition Reports

12 Visual: Generally good condition. A 0.25” x 0.5” double v-shaped area of paint lifting in the upper right corner. Very minor paint loss and chipping to extreme edges, mainly concentrated along the lower edge.

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25 Condition report upon request.

26 Condition report upon request.

27 The colors attenuated. Not examined out of the frame.

Frame: 38.25” H x 48.25” W x 1.5” D 28 Generally good condition. The palest light staining throughout.

Frame: 25” H x 25.5” W x 2” D

33 Visual: Generally good condition. Scattered short creases and surface inconsistencies in the various collaged papers. These appear to be part of the artist’s original vision.

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

Frame: 50” x 37.5” W x 2.5” D 34 Generally good condition. Pale light staining. The cream paper set into the opening of the taupe paper with masking tape along the reverse of the sheet edges; atttendant staining from the masking tape showing through very slightly to the recto of the taupe paper.

Frame: 17” H x 26.75” W x 1.5” D

29 Generally good condition. A small, 0.125” stain near the lower right edge. Not examined out of the frame.

Frame: 26” H x 19.75” W x 0.375” D 30 Visual: Generally good condition. Occasional unobtrusive spots of scattered surface grime. A small, pea-sized, rubbed area near the center of the right edge.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight. The occasional tiny spots of surface grime sometimes fluoresce under blacklight.

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

Condition Reports

Frame: 43” H x 32.5” W x 2.5” D at left / 3.5” D at right

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35 Visual: Generally good condition. A very unobtrusive 0.25” line of paint loss along the extreme upper edge, at right.

31 Visual: Generally good condition. Minor dust accumulation commensurate with age.

Blacklight: No evidence of restoration under blacklight.

Unframed 32 Visual: Generally good condition.

Blacklight: A dime-sized spot of touch-up at the center of the extreme upper edge.

Frame: 85.5” H x 61.5” W x 3” D

Frame: 49.25” H x 49.25” W x 2” D

37 Each overall good condition with minor scuffs and oxidation to bronze commensurate with age.

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

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

40 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With verdigris patination. Adhesive felt pads to underside.

Condition Reports

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

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Post-War & Contemporary Fine Art Specialist Hayden Hunt Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Anne Spink Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Jewelry Director Mollie Burns Keith, G.J.G 20th Century Design Specialist John Simon Taylor Silver Jewelry Cataloguer Sally Andrew Furniture & Decorative Arts Cataloguer Shannon Dailey

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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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