Modern & Contemporary Fine Art — June 13, 2023 | John Moran Auctioneers

Tuesday, May 9, 2023

Modern & Contemporary Fine Art

6.13.2023 SINCE 1969 NC A U C T I O N E SEI R S E &1 9 6A9P P R A I S E R S AUCTIONEERS & APPRAISERS

Modern & Contemporary Fine Art

6.13.2023 Sale 247 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, June 9th Saturday, June 10th Monday, June 12th 12pm-4pm Daily, or by appointment Tuesday, June 13th: Doors open 10am

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Meet the Team Jenny Wilson Co-Head of Sale Fine Art Director jennifer@johnmoran.com

Hayden Hunt Co-Head of Sale Post-War & Contemporary Fine Art Specialist hayden@johnmoran.com

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Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

1

James Rizzi

(1950-2011) “Adam’s Rib,” 1986 3D construction relief screenprint in colors Artist’s Proof aside from the edition of 175 Signed, titled, and dated in pencil in the lower margin: Rizzi Image/Sheet: 4.625” H x 6.125” W $1,000-1,500

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KAWS X OriginalFake

“Yellow Companion Skeleton,” 2007 Screenprint in colors on cardboard with metal fasteners, all together in the original white and yellow envelope From the edition of unknown size Unsigned Skeleton: 39.5” H x 38” W (irreg.) $1,000-1,500 Notes: Produced by Original Fake, Tokyo, Japan

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Robert Longo

(b. 1953) “Talking Heads,” 1986 Lithograph on paper Edition: 50/85 Signed, dated, and numbered in pencil along the lower edge: Robert Longo and with an unidentified blindstamp in the upper left corner Image/Sheet: 30.25” H x 22.125” W $1,000-1,500

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Yaacov Agam

(b.1928) Composition Screenprint in colors on paper Edition: 41/99 Signed and numbered in ink along the lower margin: Agam; titled by repute Image: 16” H x 20.75” W; Sight: 17.25” H x 23” W $1,000-1,500

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Yaacov Agam

(b. 1928) Untitled Agamograph in colors Signed lower right: Agam Image: 13” H x 15.5” W; Sheet: 14.125” H x 16.375” W $1,000-2,000

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Richard Anuszkiewicz

(1930-2020) Untitled from the “Peach Portfolio,” 1972 Screenprint in colors on paper Edition: 89/150 Signed and numbered in pencil in the lower margin: Anuszkiewicz; with the artist’s blindstamp lower left margin Sight: 39.25” H x 28.75” W $800-1,200

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Josef Albers (1888-1976)

Josef Albers’s “Homage to the Square” series is a print in the series features a series of squares arran exploration of optical illusion, color theory, and the process that involved layering colors on top of eac considered one of his most significant contribution

Related artists include Anni Albers, Carmen Herrer Frank Stella.

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collection of screenprints created by the German-American artist between 1962 and 1976. Each nged within one another, with each square a different color. The series is characterized by its e relationship between form and space. The prints were created using a meticulous printing ch other to achieve a precise and uniform appearance. Albers’s “Homage to the Square” series is ns to the art world, as well as one of the most influential works of abstract art of the 20th century.

ra, Ellsworth Kelly, Agnes Martin, Piet Mondrian, Kenneth Noland, Ad Reinhardt, Bridget Riley, and

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Josef Albers

(1888-1976) One plate from “Homage to the Square,” 1964 Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125 Initialed and dated in pencil lower right: A; numbered in pencil lower left Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W $3,000-5,000

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Josef Albers

(1888-1976) One plate from “Homage to the Square,” 1964 Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125 Initialed and dated in pencil lower right: A; numbered in pencil lower left Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W $3,000-5,000

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Josef Albers

(1888-1976) One plate from “Homage to the Square,” 1964 Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125 Initialed and dated in pencil lower right: A; numbered in pencil lower left Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W $3,000-5,000

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Josef Albers

(1888-1976) One plate from “Homage to the Square,” 1964 Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125 Initialed and dated in pencil lower right: A; numbered in pencil lower left Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W $3,000-5,000

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Barry McGee

(b. 1966) Untitled, 2006 Screenprint in colors on a large brown paper envelope Edition: 4/30 Signed, dated, numbered, and with the artist’s device, all verso Image/Sheet: 10.125” H x 13.125” W $1,000-2,000 Provenance: Headlands Center for the Arts, Marin County, CA. Park Life Gallery, San Francisco, CA Private Collection, San Francisco, CA Notes: This lot is accompanied by a copy of a sales invoice and receipt from Park Life, San Francisco, CA, dated July 6, 2009.

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Joan Brown (1938-1990)

Joan Brown (1938-1990) was a prominent America introspective artworks, Brown played a significant of personal identity and social issues made her a h

Joan Brown was born on February 13, 1938, in San interest in art. Brown’s artistic talent was evident fr Francisco Art Institute) in 1955. There, she studied a significant role in shaping her artistic vision.

In the late 1950s and early 1960s, Brown began to gradually transitioned into a more figurative style. history. Brown’s work often featured bold and expr

During the 1960s, Brown became associated with and Elmer Bischoff. The movement emphasized a period often depicted herself, her family, and ever as she explored themes of identity, femininity, and

In the 1970s, Brown’s artistic style evolved further. made significant contributions to the field of printm exploration of printmaking techniques allowed her

In 1972 Brown began training with Hall of Fame sw her paintings. Sava, a highly regarded swim coach quickly gained a reputation for his ability to conne swimmers have achieved remarkable success, with coaching methods have produced athletes who ha Games and World Championships.

One of the printmaking techniques that Joan Brow narrative elements that were characteristic of her p lithographic surface, resulting in vibrant and dynam

Related artists include John Altoon, Robert Arneso Lobdell, Bruce McGaw, John McLaughlin, Manuel Staprans, James Weeks, William T Wiley, Emerson

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an figurative painter associated with the Bay Area Figurative Movement. Known for her vibrant and role in the revival of figurative painting in the 1960s and 1970s. Her distinctive style and exploration highly respected and influential artist.

n Francisco, California. Growing up in the vibrant art scene of the Bay Area, she developed an early rom a young age, and she enrolled in the California School of Fine Arts (now known as the San d under prominent artists such as Elmer Bischoff, Richard Diebenkorn, and Clyfford Still, who played

o gain recognition for her works. Her early paintings were influenced by abstract expressionism but She drew inspiration from a variety of sources, including personal experiences, mythology, and art ressive brushstrokes, with vibrant colors that captured the vitality and energy of her subjects.

the Bay Area Figurative Movement’s group of artists that included Richard Diebenkorn, David Park, return to figuration after the dominance of abstract expressionism. Brown’s artworks from this ryday objects. Her introspective and autobiographical approach to art resonated with many viewers, d the human experience.

She incorporated elements of pop art and experimented with collage and mixed media, and also making throughout her artistic career. While she is primarily known for her paintings, Brown’s r to expand her creative practice and experiment with new forms of expression.

wimming coach Charlie Sava, who became a life-long friend and mentor, and a frequent subject of h known for his expertise and dedication to the sport, began working with young swimmers and ect with athletes and create a positive training environment. Under Sava’s guidance, many of his h numerous national and international champions emerging from his coaching programs. His ave represented their countries in prestigious swimming competitions, including the Olympic

wn frequently utilized was lithography. Brown’s lithographs retained the same expressive quality and paintings. She skillfully translated her bold brushwork, gestural lines, and rich colors onto the mic prints.

on, Elmer Bischoff, William Theophilus Brown, Roy Dean De Forest, Richard Diebenkorn, Frank Neri, Nathan Oliveira, David Park, Roland Petersen, John Saccaro, Hassel Smith, Raimonds n Woelffer, and Paul Wonner.

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Joan Brown

(1938-1990) “Charlie Sava,” 1974 From the edition of unknown size Lithograph on paper Signed and dated in pencil lower left: Joan Brown Image/Sheet: 30.125” H x 22.25” W $1,000-1,500

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Edward Ruscha

(b. 1937) “Hollywood In The Rain,” from “Hollywood Collects,” 1970 Offset lithograph on paper Edition: 80/220 Signed and numbered in pencil along the lower margin: Ed Ruscha; with the title, date, and copyright of the original 1969 lithograph printed in b at right; Otis Art Institute, Los Angeles, CA, pub.

Image: 8.125” H x 32.75” W; Sheet: 10.5” H x 35.125” W $3,000-5,000

Notes: Ed Ruscha’s depictions of the “Hollywood” sign remain one of the most recognizable images in the artist’s oeuvre. This particular image w by the Otis College of Art and Design art gallery for its “Hollywood Collects” exhibition held in 1970.

Described by the Los Angeles Times as “an exhibition of 20th Century art culled from the living rooms of leading Hollywood personalities,” “Hol Pablo Picasso, Salvador Dali, Jean Dubuffet, Pierre Bonnard, and Pierre Auguste Renoir that were contemporaneously valued at over $10 million, Andrews, Kirk Douglas, Gregory Peck, and Dennis Hopper.

Other impressions of this print are held in the collections of the Fine Art Museums of San Francisco and the Harry Ransom Center at the Universit

Related artists include John Anthony Baldessari, Robert Barry, Larry Bell, Billy Al Bengston, Mel Bochner, Robert Cottingham, Jim Dine, Charles G Indiana, Jasper Johns, Alex Katz, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Ed Moses, Bruce Nauman, Claes Oldenburg, Richard Pettitbone, L Rosenquist, Kenny Scharf, Frank Stella, Wayne Thiebaud, Lawrence Weiner, and Tom Wesselmann.

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black ink directly below the image,

was commissioned and published

llywood Collects” featured works by , lent by celebrities including Julie

ty of Texas.

Gaines, David Hockney, Robert Larry Rivers, Kay Rosen, James

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Miles Davis

(1926-1991) “New York By Night” Screenprint in colors on Stonehenge paper Edition: 145/300 With the estate stamped signature in the lower right margin: Miles; numbered in pencil, with two blindstamp, and with the artist’s red chopmark, along the lower margin; with the estate ink stamp verso: The Estate of Miles Davis, 1998; Atelier GF, Toronto, Canada, prntr.; Bag One Arts Inc., New York, NY, pub.

Image: 34.25” H x 24.25” W; Sheet: 42” H x 30” W $1,500-2,000 Notes: Accompanying this lot is a certificate of authenticity from the publisher, Bag One Arts Inc., New York, NY. The certificate is signed by the director, Lynne Clifford in ink. This sheet states that “Each print is signed in the plate and embossed with Miles’ signature and red chop mark. The characters on the chop were selected by Miles Davis and translate ‘Blues King; Dancing Spirit.’”

Additionally, aside from the edition of 300, there are 25 artist proofs, six printer proofs, and five Hors Commerce.

The screenprint in this lot was used as the cover art for the box set of recordings by the Miles Davis Quintet, which was released in 2006 by the Concord Music Group.

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15

Josh (SHAG) Agle

(b. 1962) “Shag’s Zodiac,” 2003 12 Screenprints in colors in a black folio box Edition: 96/200 Each signed and numbered in pencil in the lower margin: SHAG Each image: 12.125” H x 14.125” W; Each sheet: 14.5” H x 16.125” W $1,000-1,500 Notes: This lot is accompanied by a Certificate of Authenticity, signed

by Josh (SHAG) Agle. This certificate also details that there are only 30 Artist proofs and ten printer proofs.

Josh Agle born on August 31, 1962, known professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style that captures the essence of mid-century modernism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has become an icon in the world of modern art.

Growing up in Southern California, SHAG developed a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His artistic journey began during his childhood, where he would spend countless hours drawing and immersing himself in the visual culture of the time. These early experiences would later shape his artistic vision and inspire his signature style.

In the late 1980s, SHAG attended the California State University, Fullerton, where he studied both illustration and fine art. His studies allowed him to refine his skills and experiment with different mediums, including painting, printmaking, and sculpture. During this time, he also started exhibiting his work in local galleries and art shows, slowly gaining recognition for his unique approach to art.

It was in the early 1990s that SHAG began to establish his distinct

style, drawing inspiration from Palm Springs culture, mid-century modern design, Tiki culture, cocktail lounges, and vintage advertising.

He created a universe of characters, often depicted in glamorous and whimsical settings, exuding an air of sophistication and mystery. With his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic world that feels simultaneously nostalgic and contemporary.

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After Jack Youngman

(1926-2020) “The 50th Year, The New School,” 1969 Screenprint in colors on paper From the edition of unknown size Unsigned; HKL Ltd., New York, NY, prntr.

Sight: 34.25” H x 24.25” W $800-1,200

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Ernest Trova

(1927-2009) “Script Picture Number 34” Ink on the verso of a cream-colored lithographic exhibition poster on paper Signed lower right: Trova; titled by repute Image of recto: 24.25” H x 19.5” W; Sheet of recto: 27.75” H x 23” W; Image of verso: 22.5” H x 19.5” W; Sheet of verso: 27.5” H x 23” W $2,000-3,000 Provenance: Hanson Galleries, Los Angeles, CA Private Collection, Los Angeles, CA, acquired from the above in October 1989

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Mary (Sister) Corita Kent

(1918-1986) “Thoreau,” 1971 Screenprint in colors on white lightweight wove paper From the edition of unknown size Signed in green ink lower right: Corita Image/Sheet: 20.25” H x 13.75” W $1,000-2,000

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Mary (Sister) Corita Kent

(1918-1986) Four plates from: “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti,” 1965 Four screenprints in colors on wove paper Edition: 7/275 Each signed in ink along the lower edge, at center: Sister Mary Kent; loose, as issued, presented together within the protective section of the original book with red cloth-covered boards; Immaculate Heart College Press, Los Angeles, CA, pub.

Each image/sheet: 17.125” H x 13.5” W $1,500-2,500 Notes: This is not the complete set of eight screenprints. This set comprises only four screenprints, which include: “Each of Us is the Only Person,” “Have Confidence,” “Perhaps That is His Purpose,” and “I am Sinning Still.” However, the set of four is still together inside the original special edition book “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti.” Corita Kent created these screenprints for Sister Marier Fluerette’s essay included in the special edition book.

According to the description page in the original red portfolio book, “Designed and hand-set in Bembo type by Saul & Lillian Marks 275 copies printed on specially made Curtis all-rag paper at the Plantin Press for the Immaculate Heart College Press with a suite of eight original serigraphs on 3M Art Fabric by Sister Mary Corita, I.H.M. Binding by the Schuberth Bookbindery, San Francisco... This is number 7.” w w w. j o h n m o r a n . c o m

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Sam Francis

(1923-1994) “Untitled - SF 297,” 1987 Lithograph and screenprint in colors on paper Edition: 4/50 Signed and numbered in pencil along the lower edge: Sam Francis; titled and dated on a label affixed to the frame’s backing Image/Sheet: 37” H x 28.5” W $3,000-5,000 Provenance: Jonathan Art Foundation, Los Angeles, CA Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is to acquire and exhibit outstanding artworks which focus primarily on Southern California artists and history, and to maintain such works and books as a resource for use by scholars.

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John Baldessari

(1931-2020) “Visionaire 64 Art, Green Edition” 2014 The complete set of 10 screenprints with embossed color interventions on thick wove paper Edition: 467/500 Each: Unsigned; the set numbered in black ink on the recto of the portfolio case; the set of 10 loose prints sold together with the original interleaving sheets and title page on machine-made vellum, and the black cloth-covered portfolio box with embossed lettering, numbering, and green design; Visionaire, New York, NY, pub.

Each Image/Sheet: 18” H x 12” W $2,000-4,000 Notes: The Green edition features Gisele Bündchen, Maurizio Cattelan, Drake, Julianne Moore, Scarlett Johansson, Bill Cunningham & Antonio Lopez, Neil Patrick Harris, John Waters, Lionel Messi, and Yoko Ono.

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Alexander Calder

(1898-1976) “Sun with Planets,” 1973 Lithograph in colors on paper, watermark Arches Edition: E.A., aside from the edition of 125 Signed and numbered in pencil lower right and left, respectively: Calder; partial watermark in the upper right corner; Maeght, Paris, France, pub.

Image/Sheet: 20.375” H x 28” W $3,000-5,000 Provenance: Sold: Swann Galleries, New York, NY, “Contemporary Art,” May 12, 2022, Lot 149 Private Collection, Southern California, acquired from the above

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Alexander Calder

(1898-1976) “La Vague (The Wave),” 1971 Lithograph in colors on paper Edition: 91/100 Signed and numbered in pencil at the lower right and left, respectively: Calder Image/Sheet: 29.875” H x 22.5” W $2,500-3,500

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Alexander Calder

(1898-1976) “Spiral Nebula,” circa 1970 Lithograph in colors on wove paper Edition: 94/100 Signed and numbered in pencil at the lower right and left, respectively: Calder Image/Sheet: 29.5” H x 43.25” W $1,000-2,000

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Alexander Calder

(1898-1976) “Sun and Flags,” 1972 Lithograph in colors on paper Edition: E.A. aside from the edition of 125 Signed and inscribed in pencil along the lower edge: Calder Image/Sheet: 25.5” H x 19.5” W $1,500-2,000

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Alexander Calder

(1899-1976) “Lo Oscuro Invade,” 1970 Lithograph in colors on Arches paper Edition: 322/500 Initialed in pencil at the lower right: CA; signed by the poet and numbered in pencil lower left: Carlos Franqui Image/Sheet: 28.25” H x 40.5” W $1,500-2,500

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Peter Max

(b.1937) “JFK - Four Portraits,” 1989 Screenprint in colors on paper Edition: 62/495 Signed and numbered in the lower margin: Max Image/Sheet: 40” H x 32” W $1,000-1,500

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Peter Max

(b.1937) “Liberty Head II,” 2006 Mixed media with acrylic paint and color lithography on paper Signed lower right: Max Sight: 9.5” H x 7.5” W $2,000-3,000

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Damien Hirst

(b. 1965) “Circle Spin Painting” Acrylic on paper With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 20.5” Dia. $3,000-5,000 Notes: This lot was created at Damien Hirst’s spin workshop.

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Damien Hirst

(b. 1965) “Skull Spin Painting,” 2009 Acrylic on paper With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 28” H x 19.75” W (irreg.) $3,000-5,000 Notes: This lot was created at Damien Hirst’s spin workshop.

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Damien Hirst

(b. 1965) “Gold Tears,” 2012 Color inkjet with glaze and foilblock on Hahnemuhle photo rag ultra smooth 305gsm paper Edition: 3/55 Signed and numbered in the lower margin: Damien Hirst; Paul Stolper and Other Criteria, London, England, pub.

Image: 27.25” H x 21.75” W; Sheet: 34” H x 28” W $7,000-9,000 Notes: Aside from the edition of 55, there is also a set of 10 artist proofs.

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Bernard Buffet

(1928-1999) “Clown Violoncelliste,” 1969 Lithograph in colors on paper Edition: 112/120 Signed and numbered in pencil in the lower margin: Bernard Buffet Image: 27” H x 18.5” W; Sheet: 28.375” H x 20.125” W $800-1,200

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Georges Braque

(1882-1963) “Oiseau Vert Sur Fond Brun,” from “Si Je Mourais La-bas,” 1962 Woodcut in colors on Japon paper Edition: 43/70 Signed and numbered in charcoal along the lower edge: G. Braque; Fequet and Baudier, Paris, France, prntr., Louis Broder, Paris, France, pub.

Image/Sheet: 19” H x 15.5” W $1,000-2,000 Provenance: Sotheby Parke Bernet, New York, NY, Lot 207 Literature: cf. Vallier 181 Notes: A yellow lot sticker from Sotheby Parke Bernet is affixed on the frame’s cardboard backing, with lot number 207. As well as a green inscription of the lot number, verso: LA 207

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Georges Braque

(1882-1963) “L’Oiseau bleu,” (Invitation exposition Louis Broder pour le livre de Braque), circa 1960 Etching and aquatint in blue on paper, watermark BFK Rives Edition: V/X Signed and numbered in the lower margin: G. Braque; Atelier Crommelynck, Paris, pub.

Plate: 7.625” H x 15.375” W; Sheet: 13” H x 19.875” W $3,000-5,000 Provenance: Sotheby Parke Bernet , New York, NY, Lot 206 Notes: A white sticker from Sotheby’s Parke-Bernet is affixed on the frame’s cardboard backing and a green inscription of the lot number: LA 206.

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Georges Braque

(1882-1963) “L’Oiseaux Noirs,” 1958 Lithograph in colors on paper Edition: 15/200 Signed in the plate lower right: G Braque; signed again and numbered in pencil along the lower margin: G Braque; with the Maeght, Paris, pub., blindstamp in the lower left margin Image:13.75” H x 19” W; Sheet: 15.75” H x 21.75” W $2,500-3,500 Provenance: Europex Auctions Literature: Vallier 294

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Marc Chagall (1887-1985) Two works:

Plate 5 from “La Feerie et le Royaume,” 1972 Lithograph in colors on Arches paper Edition: 40/180 Signed and numbered in pencil along the lower margin: Marc Chagall Image/Sheet: 11.875” H x 8.5” W Plate 3 from “La Feerie et le Royaume,” 1972 Lithograph in colors on Arches paper Edition: 82/180 Signed and numbered in pencil along the lower margin: Marc Chagall Image/Sheet: 11.875” H x 8.5” W

$1,500-2,500

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Marc Chagall

(1887-1985) “Couple sur Fond Noir II,” 1973 Lithograph in colors on Japon nacre paper Edition: 38/50 Signed and numbered in pencil in the lower margin: Marc Chagall; Maeght, Paris, pub.

Image: 13” H x 10” W; Sheet: 21.75” H x 16.75” W $2,500-3,500 Literature: Mourlot 707a

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Marc Chagall

(1887-1985) “Un Jardin Perdu,” 1969 Lithograph in colors on wove paper Edition: IV/XXV artist’s proof, aside from the edition of 50 Signed and numbered in pencil along the lower margin: Marc Chagall Image: 23.75” H x 15.75” W; Sheet: 30” H x 21.5” W $6,000-8,000 Literature: Mourlot 592

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Joan Miró

(1893-1983) “Homenatge a Joan Prats” 1972 Lithograph in colors on wove paper Edition: 120/150 Signed and numbered in pencil in the lower right and left sheet corners, respectively: Miró; Poligrafa, Barcelona, prntr; Berggruen, Paris, pub.

Image/Sheet: 29.5” H x 22.75” W $2,500-3,500 Literature: Mourlot 852 Notes: This lot is sold together with a “Notice of Registration” issued by Paintings of the World Inc. (no location listed), certifying that the work is a “signed lithograph” by the artist.

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Joan Miró

(1893-1983) “The Taciturn Majorcan,” 1969 Lithograph in colors on wove paper, watermark BFK Rives Edition: 10/75 Signed and numbered in pencil at the lower right and left corners, respectively: Miró; Maeght, Paris, pub.

Image/Sheet: 33.375” H x 23.75” W $3,000-5,000 Literature: Mourlot 595

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Joan Miró

(1893-1983) “La Sorciere,” 1969 Etching and aquatint in colors with carborundum on Arches paper Edition: 17/75 Signed and numbered in pencil along the lower edge: Miró; Maeght, Paris, France, pub.

Plate: 39” H x 23.5” W; Sheet: 41.5” H x 27.75” W $12,000-18,000 Provenance: Russeck Gallery, Palm Beach, FL Literature: Dupin 519

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Joan Miró

1893-1983 “Centennaire de l’Imprimerie Mourlot,” 1953 Lithograph in colors on wove paper, watermark Arches One of 30 artist’s proofs aside from the numbered edition of 75 Signed in pencil, lower right: Miró; inscribed in pencil, lower left: e.a. [epreuve d’artiste]; Mourlot, Paris, prntr./pub.

Image/Sheet: 19.875” H x 25.875” W” $15,000-25,000 Literature: Mourlot 190 Provenance: Russeck Gallery, San Francisco, CA Private Collector, San Francisco, CA, acquired from the above

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Joan Miró

(1893-1983) “La Meneuse de Lune,” 1975 Lithograph in colors on Arches paper Edition: 15/30 Signed in pencil lower right: Miró; numbered lower left; Maeght Editeur, Paris, France, pub., Paris, France Image: 89” H x 42.5” W; Sight: 91.5” H x 47.75” W $30,000-50,000 Literature: Mourlot 1029 Other Notes: In “La Meneuse de Lune,” Miró explores his distinctive artistic style and combines it with a mystical theme often associated with the moon, creating a captivating and dreamlike composition. The print showcases a fantastical scene that invites viewers into a world of imagination and whimsy.

The central focus of the print is the Moon’s Leader herself, depicted in Miró’s signature abstract manner. The figure of the Moon’s Leader is often represented as a female figure with flowing lines and organic shapes, merging human and celestial characteristics. Miró’s use of curvilinear forms and playful shapes conveys a sense of movement and energy, as if the Moon’s Leader is dancing or leading a mystical ritual.

The moon itself plays a prominent role in the composition, occupying a significant portion of the print. Miró captures the essence of the moon with circular and crescent shapes, sometimes filled with intricate patterns or textures. The moon’s presence imbues the artwork with an ethereal quality, evoking a sense of mystery, tranquility, and magic.

Miró’s use of bold colors adds vibrancy and intensity to “La Meneuse de Lune.” He employs a rich palette of blues, oranges, reds, and greens, creating a harmonious interplay of hues. The juxtaposition of warm and cool colors enhances the dreamlike quality of the artwork, evoking emotions and a sense of wonder.

Through “La Meneuse de Lune,” Joan Miró invites viewers to explore their own imaginative realms and engage with the magical world he has created. The print serves as a larger-than-life visual poem, inviting contemplation, and encouraging viewers to embrace the whimsical and surreal aspects of life.

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Friedenreich Hundertwasser

(1928-2000) “Look at it on a Rainy Day (Regentag Portfolio),” 1970-72 10 Screenprints in colors with metallic embossing on various papers Edition: 2044/3000 Signed and numbered in blue pencil on the inside lid of the original wooden portfolio case: Hundertwasser; each image signed again with the embossed gold signature, and the ink-stamped edition number 02044[sic], in either the lower or left margin; six of the images with the Schoeller Stern blindstamp, and one with the Schoeller Parole blindstamp, in the lower right margin corner, the three images on colored papers without blindstamps; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz, prntr.; Ars Viva, Zürich, Switzerland, pub.; loose as issued; together with original, hinged, black wooden box with color-embossed cover embellished with miniature images and list of plates Sheet for nine images: 16” H x 23” W; Sheet for image #5: 18.75” H x 26.25” W $8,000-12,000 Notes: This lot is sold together with the original, custom-fitted, cardboard outer packaging box with the artist’s name and edition number written in ink at one end.

Literature: Koschatzky 44-53

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Joseph Beuys

(1921-1986) “Initiation Gauloise,” 1974 Lithograph in colors on wove paper Edition: 47/185 Signed, titled, dated, and numbered in pencil lower right: Joseph Beuys and with artist’s rubber stamp addition; Matthieu Studio, Zürich/Dielsdorf, Germany, prntr.; Edition Schellmann & Klüser, Munich, Germany, pub.

Image/Sheet: 21.625” H x 30” W $800-1,200

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Kathe Kollwitz

(1867-1945) “Deutschlands Kinder Hungert (Germany’s Children are Starving),” 1923 Lithograph on on wove paper Signed in pencil near the lower edge, at center; Plate: 17” H x 11.5” W; Sheet: 19.75” H x 14.75” W $1,000-2,000 Provenance: Sold: Bonhams, New York, NY, “Modern & Contemporary Prints & Multiples,” November 17, 2015, Lot 13 Literature: Klipstein 190 Knesebeck 202 Notes: This lot is accompanied and sold together by a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and other related materials.

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Kathe Kollwitz

(1867-1945) “Losbruch (Outbreak),” from “Bauernkrieg (Peasants’ War),” 1902 Etching, aquatint, and softground on paper , in brown ink From the edition of unknown size Signed in pencil in the lower margin, at left: Kathe Kollwitz Plate: 19.75” H x 23.125” W; Sheet: 23.5” H x 27” W $1,000-2,000 Provenance: Sold: Galerie Bassenge, Berlin, Germany, “Modern Art Part I,” May 28, 2011, Lot 08149 Literature: Klipstein 66 VIII (of XI) Knesebeck 70 VIIIb (of XII) Notes: This lot is sold together with a sales invoice from Galerie Bassenge, Berlin, Germany, dated May 30, 2011. As well as the catalog entry of this lot from Galerie Bassenge, and other related materials.

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Kathe Kollwitz

(1867-1945) “Selbsbildnis (Self-portrait),” 1919 Lithograph on Japon paper From the edition of unknown size Signed and dated in pencil lower margin, at right: Kathe Kollwitz; numbered in pencil in the lower edge, at center: 2878 Image: 13.375” H x 11.125” W; Sheet: 24.25” H x 17.25” W $1,500-2,500 Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, “American & European Prints,” April 21, 1999, 1887 Literature: Klipstein 133 Knesebeck 143 Notes: This lot is accompanied by a sales invoice from Butterfield & Butterfield, San Francisco, CA, on April 30, 1999, and other related material for this lot.

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Kathe Kollwitz

(1867-1945) “Die Pfluger (The Plowman),” from “Bauernkrieg Series (Peasants’ War),” 1906 Etching, drypoint, and soft ground in brown ink on laid paper From the edition of unknown size Signed in pencil in the lower right margin: Kathe Kollwitz Plate: 12.5” H x 18” W; Sheet: 17.5” H x 24” W $2,000-4,000 Provenance: Sold: Bonhams & Butterfields, San Francisco, CA, “Prints,” October 26, 2010, Lot 89 Literature: Klipstein 94 Knesebeck 99 VII (of XIII) Notes: This lot is sold together with a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and a printed copy of catalog raisonne by Alexandra von dem Knesebeck (99).

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Kathe Kollwitz

(1867-1945) “Brustbild einer Arbeiterfrau mit blauem Tuchor (Working Woman with Blue Shawl),” 1903 Lithograph in colors on thick wove paper From the edition of unknown size Signed in pencil in the lower margin, at right: Kathe Kollwitz Image: 13.875” H x 9.5” W; Sheet: 19.25” H x 14.375” W $3,000-5,000 Provenance: Sold: Bonhams, London, England, “Prints Featuring Andy Warhol and the Rise of Pop,” November 19, 2013, Lot 16 Literature: Klipstein 68 Knesebeck 75 Notes: This lot is accompanied by a sales invoice from Bonhams, London, England, dated November 19, 2013, and other related materials for this lot.

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Marino Marini

(1901-1980) “Idea del Cavaliere,” 1971 Lithograph in colors on Arches paper Edition: 44/50 Signed and numbered in pencil in the lower margin: Marino; Mourlot, Paris, prntr.; Societe Internationale d’Art XXe Siecle, Paris, pub.

Image: 21.25” H x 16” W; Sheet: 27.25” H x 20” W $1,000-2,000 Provenance: Catchpenny Gallery, Santa Monica, CA Literature: Guastalla 103

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Leonard Tsuguharu Foujita

(1886-1968) “Nu Assis,” from “Femmes,” 1930 Etching and aquatint in colors on paper Edition: 1/100 Signed and numbered in pencil in the lower margin: Foujita Plate: 23” H x 15.375” W; Sheet: 26.75” H x 18.625” W $800-1,200

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Yoshitomo Nara

(b. 1959) “Banging the Drum,” 2020 Offset lithograph in colors on wove paper From the edition of unknown size Unsigned; Dallas Contemporary, Texas, pub.

Image/Sheet: 27” H x 17” W $800-1,200

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Yoshitomo Nara

(b. 1959) “Real One,” 2019 Offset lithograph in colors on #80 Classic Linen Solar White Cover Unsigned Sheet: 15” H x 17” W $800-1,200

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Mayumi Oda

(b. 1941) “Rainbow” from “Goddesses,” 1976 Woodcut in colors on handmade paper Edition: 56/75 Signed, dated, and numbered in pencil in the lower margin: Mayumi Oda Image: 29.75” H x 22.75” W $1,500-2,500

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Yayoi Kusama

(b. 1929) “Pumpkin” (yellow); and “Pumpkin” (red), 2016 Each painted lacquer resin Each marked on bottom: © Yayoi Kusama 2 pieces Each: 4” H x 3.25” Dia. $800-1,200

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Salvador Dali

(1904-1989) “Bird of Paradise” from “Hawaii-California Suite,” 1973 Lithograph in colors on paper Edition: 217/300 Signed and numbered in pencil in the lower margin: Dali Sight: 24.5” H x 17” W $800-1,200 Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.

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Pablo Picasso

(1881-1973) “La Danse du Berger,” 1959 Lithograph on paper From the edition of unknown size With the printed signature and date upper left: Picasso Sight: 22.5” H x 16.5” W $800-1,200

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Pablo Picasso

(1881-1973) “Le Viol, IV,” Plate 29 from “La Suite Vollard,” 1933 Etching and drypoint on Montval paper, watermark Vollard From the edition of 260, aside from the edition of 50 with wider margins Signed in pencil lower right margin: Picasso Plate: 17.875 x 11” W; Sheet: 13.5” H x 17.75” W $4,000-6,000 Literature: Bloch 181

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Pablo Picasso

(1881-1973) “Tete d’ Homme Barbu,” 1966 Lithograph on paper, watermark Arches Edition: 17/100 Signed and numbered in pencil in the lower margin: Picasso Image: 15.25” H x 10.75” W; Sheet: 22.375” H x 15.125” W $4,000-6,000

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Henri Matisse

(1869-1954) “Figure devant tapa africain,” 1929 Lithograph on Japan imperial paper Edition: 35/50 Signed and numbered in pencil in the lower right margin: Henri Matisse Image: 21.25” H x 17.25” W; Sheet: 25.5” H x 19.625” W $4,000-6,000 Provenance: Mekler Gallery, Los Angeles, CA Property of an Estate, Beverly Hills, CA, acquired from the above Literature: Duthuit 515 “Picasso, Matisse, and Giacometti: A Graphic View of the Human Form,” Fresno Arts Center, March 15 - April 28, 1983, and The Art Museum of Santa Cruz County, May 15 - June 26, 1983, fig 35, illustrated.

Notes: A copy of the 1983 exhibition booklet accompanies this lot.

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Henri Matisse

(1869-1954) “Formes,” Plate IX from “Jazz,” 1947 Pochoir in colors on Arches From the folded edition of 250 (there was also an unfolded, portfolio edition of 100) Unsigned, as issued; Edmond Vairel, Paris, France, prntr.; Teriade for Editions Verve, Paris, France, pub.

Sheet: 16.5” H x 25.5” W $5,000-7,000 Literature: cf. Duthuit 22

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Pierre-Auguste Renoir

(1841-1919) “Portrait of Rosita Mauri,” circa 1876 Charcoal on paper Usigned; titled and dated on a label affixed to the verso of the back mat Image/Sheet: 18.875” H x 12” W $18,000-22,000 Provenance: Paul Rosenberg & Co., New York, NY The Estate of Mrs. Henry B. Hyde, acquired from the above Acquired from the above by the family of the late owner, June 1973 Sold: Christie’s, New York, NY, “Impressionist Modern,” September 21, 2010, Lot 28

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Claude Pissarro

(b. 1935) “Jardine de Monte-Carlo,” 1993 Pastel on paper Signed lower left: H. Claude Pissarro; titled and dated on a label affixed to the frame’s wiring Image/Sheet: 8.75” H x 10.75” W $1,500-2,500

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Francisco De Goya

(1746-1828) “Fiero Monstruo,” Plate 81 from “The Disasters of the War,” 1959 Drypoint and etching on Arches paper Unsigned; with the Calcografia Nacional embossed stamp lower left Plate: 7” H x 8.5” W; Sheet: 10” H x 13” W $1,000-2,000 Literature: Harris 201

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Rufino Tamayo

(1899-1991) “Femme en Mauve,” from “Mujer en Lila” [Woman in Lilac] ,” 1969 Lithograph in colors on BFK Rives paper Edition: 91/150 Signed and numbered in pencil in the lower margin: R. Tamayo; Touchstone Publishers, New York, NY, pub.

Image: 27” H x 20.75” W; Sheet: 30” H x 22.5” W $1,500-2,500 Provenance: Catchpenny, Santa Monica, CA Literature: Turner 113

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Pedro Friedeberg

(b. 1936) “Perros” Screenprint in colors on canvas Edition: IX/XII Signed and numbered in the lower margin at the right and left, respectively: Pedro Friedeberg; titled by repute Image/Canvas: 46.75” H x 46.875” W $1,000-2,000

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w w w. j o h n m oran.com 85 Works from the collection of the late Howard and Barbara Wise

Howard Wise (1903-1989)

Howard Wise (1903-1989) was an important American art patron and gallerist who left an indelible mark on the American art scene.

After beginning his career as an industrialist, Wise sold off his family business to pursue his interests in the arts. He opened his first gallery in his hometown of Cleveland, Ohio in 1957, where he exhibited works by prominent contemporary European artists that proved to be unpopular with his Midwestern audience. In 1960, Wise made the decision to relocate his business to New York City and opened his gallery on 57th Street to great acclaim. Over the next several decades, the Howard Wise Gallery became a hub for the international avant-garde art scene.

Milton Resnick, Ernest Briggs, John Grillo, Edward Dugmore, Lee Krasner, and Piero Dorazio all had exhibitions at the gallery during its early years, but it was Wise’s growing interest in technology, computers, sound, and video that cemented his historical role in the art world. Wise foresaw the future of art as being intersected with technology, and Wise supported its use as a tool for artists to use in the creative process.

In 1964, Wise organized a survey of Kinetic Art titled “On the Move,” featuring works by Yaacov Agam, Julio Le Parc, and Vassilakis Takis among other notable contemporary artists. This exhibition was followed by a number of other pivotal exhibitions, including “TV as a Creative Medium” -- the first-ever gallery exhibition devoted to video art as an art form, featuring works by Earl Reiback, Thomas Tadlock, and Nam June Paik.

Barbara Wise (1929-2011), Howard’s second wife, played a huge part in the gallery’s success, as she helped cultivate the growing social scene at the gallery and was a strong advocate for many actors and artists throughout her life. Although the gallery was a for-profit business, Howard and Barbara Wise ran the gallery more as a museum exhibition space than as a business and wanted it to be used as an experimental showcase. After the gallery closed in 1971, the Wises established a foundation known as the Electronic Arts Intermix (EAI), which provided assistance to artists and organizations working within the emerging video art movement.

In 2013, an exhibition at Moeller Fine Art in New York City paid tribute to the legacy of the Howard Wise by featuring works by Group Zero, as well as kinetic and video artists he championed, including Billy Apple, Christo, Carlos Cruz-Diez, Piero Dorazio, Edward Dugmore, Heinz Mack, Charlotte Moorman, Nam June Paik, Otto Piene, George Rickey, Peter Sedgley, Eric Siegel, and Takis.

John Moran Auctioneers is pleased to bring works from the collection of the late Howard and Barbara Wise to auction for the very first time.

SINCE 1969

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Ernest Briggs

(1923-1984) Untitled (#222), 1959 Oil on Canvas Signed and dated verso; dated again and titled on a gallery label affixed verso 50” H x 34.5” W $25,000-30,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Exhibited: Cleveland, OH, Howard Wise Gallery, “Group Show: Briggs, Dugmore, Grillo, Krasner, McNeil, Mitchell, Pace, Resnick,” October 4-29, 1959

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Ivan Picelj

(1924-2011) “Mithos I,” 1960 Oil on canvas Signed in the lower edge, at center: Picelj; signed again on the stretcher, verso: Picelj Ivan; titled and dated on a label affixed to the stretcher, verso 41.25” H x 31.5” W $3,000-5,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Ivan Picelj

(1924-2011) “Kyan,” 1965 Metal, wood and paint Signed, titled, and dated, verso: Picelj Ivan; also with the artist’s name, title and date on a typed label affixed verso 27.5” H x 27.5” W x 2” D $10,000-15,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Laszlo Moholy-Nagy

(1896-1962) Untitled, circa 1923 Collage with mixed media on grayish paper Signed and dated in pencil by Sibyl Moholy-Nagy, the artist’s widow, at the lower left corner: Moholy-Nagy 10.25” H x 15” W $10,000-15,000 Provenance: Sibyl Moholy-Nagy, the artist’s widow Collection of Howard and Barbara Wise, New York, NY, acquired as a gift from Claudia and Hattula Mohloy-Nagy, daughters of Laszlo and his wife Sibyl, upon the death of their mother in 1971 David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Notes: According to our communications with one of Moholy-Nagy’s daughters, the 1923 date added to this lot together with the signature, by the artist’s widow, may only be approximate.

The authenticity of this work has been confirmed by Hattula Moholy-Nagy. Howard Wise had presented an exhibition of Moholy-Nagy works in his New York gallery in 1970. Moholy-Nagy’s daughters, Hattula and Claudia were very grateful for Wise’s support when their mother, Sibyl, died in January, 1971, and gave him this collage, which they found among the works on paper in Sibyl’s apartment. This work is believed to be an experimental work that Moholy put aside. The lower, clustered elements are from one of his linoleum cuts of c. 1922-1925.

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Charmion Von Wiegan (1896-1983)

Born on October 10, 1896, in Chicago, Illinois, Cha development of abstract art and the promotion of

Charmion’s life journey was marked by a deep exp developed a keen interest in literature and the arts journalist, working for several publications includin artists, writers, and intellectuals, which allowed her

In the late 1920s, Charmion’s passion for art took a would greatly influence her artistic journey. She be spiritual dimensions in art. This encounter marked expression.

Painted in 1960, “The Lotuses” dates to a period i artistic landscape. She moved away from strict geo reflected the broader artistic movements of the tim new approaches to the expressive potential of colo

In addition to her artistic pursuits, Charmion von W solo and group shows, gaining recognition for her she was regarded as an important figure bridging t

Works by Charmion von Wiegand can be found in Museum of Fine Arts Boston, and the Smithsonian

Related artists include: Ilya Bolotowsky, Nassos Da Joseph Meierhans, Piet Mondrian, Irene Rice Perei

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armion von Wiegand was an American artist and journalist who played a significant role in the spiritual philosophies in the 20th century.

ploration of art, metaphysics, and the human condition. In her early years, Charmion von Wiegand s. She studied journalism at Columbia University in New York City and began her career as a ng the New York American and the New York World. During this time, she interviewed numerous r to immerse herself in the vibrant cultural scene of the 1920s and 1930s.

a new direction when she encountered the works of Piet Mondrian, a Dutch abstract artist who ecame deeply inspired by Mondrian’s use of geometric forms, primary colors, and his exploration of a turning point in Charmion’s life, leading her to embrace abstract art as her own creative

in the artist’s career when Charmion von Wiegand found herself immersed in a rapidly changing ometric abstraction and began incorporating more organic and fluid forms into her work. This shift me, such as Abstract Expressionism and the Color Field movement, with Charmion embracing these or and gesture in her paintings.

Wiegand remained an active participant in the art community. She continued to exhibit her work in unique style and philosophical approach. Her contributions to the art world were celebrated, and the gap between the abstract art movement and spiritual exploration.

the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the n American Art Museum.

aphnis, Burgoyne A. Diller, Werner Drewes, John Ferren, John Wesley Greene, Raymond Jonson, ira, Harvey Quaytman, Hilla Rebay, Charles Green Shaw, Esphyr Slobodkina, and Jean Xceron.

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Charmion Von Wiegand

(1896-1983) “The Lotuses,” 1960 Oil on canvas Unsigned; titled and dated on a gallery label affixed verso 60” H x 12” W $30,000-50,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Exhibited: Springfield, MA, Museum of Fine Art, “Three American Purists: Mason, Miles, Von Weigand,” May 11-July 12, 1975

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Nam June Paik

(1932-2006) “TV with Sea-Bird,” 1975 Oil on canvas Signed lower right: Paik; signed again, titled, dated, and inscribed verso: for Howard and Barbara / Happy New Year / 76 20” H x 24” W $3,000-5,000 Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Panayiotis “Takis” Vas (1925-2019)

Panayiotis Vassilakis born in 1925, known professio fields of kinetic art and sculpture. Throughout his c science, and technology. His innovative works, cha international art scene.

Growing up in Athens, Takis developed a deep fas engineering at the University of Athens before mo “Takis” as his artistic identity.

In the 1950s and 1960s, Takis began creating his p materials, but it was his use of magnetism that bec movement and interaction between the objects an

Takis’ sculptures, often referred to as “Signals,” co works demonstrated a harmonious integration of t into the energy of the universe and create a bridge

Takis gained international recognition for his innov worldwide. He participated in significant art movem such as Jean Tinguely, Yves Klein, and Alexander C

Takis’ influence on the art world extended beyond served as a platform for interdisciplinary collaborat today, promoting artistic innovation and education

Throughout his long and prolific career, Takis recei His artworks can be found in major museum collec the Centre Pompidou in Paris. Takis passed away o on the field of kinetic art.

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ssilakis

onally as “Takis”, was a prominent Greek artist known for his groundbreaking contributions to the career, Takis challenged conventional artistic practices and explored the relationship between art, aracterized by their use of magnetism and motion, established him as a leading figure in the

scination with science and technology from a young age. He pursued studies in physics and oving to Paris in the early 1950s to pursue a career in art. It was there that he adopted the name

pioneering works of art that combined art with scientific principles. He experimented with various came his signature. Takis incorporated magnets and electromagnets into his sculptures, allowing for nd their environment.

onsisted of suspended objects, metal rods, and wires activated by magnetic forces. The resulting technology and art, inviting viewers to engage with the invisible forces at play. His art aimed to tap e between the material and the immaterial.

vative approach to art, and his works were exhibited in prestigious galleries and museums ments, including Nouveau RÉalisme and the Kinetic Art movement, alongside renowned artists Calder.

d his own creations. He founded the “Research Center of the Arts and Sciences” in 1986, which tions and exploration of the relationship between art and science. The center continues to operate n.

ived numerous accolades and honors, including the International Prize at the 1964 Venice Biennale. ctions, including the Museum of Modern Art (MoMA) in New York, the Tate Modern in London, and on August 9, 2019, in Athens, leaving behind a legacy of artistic innovation and a profound impact

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Panayiotis “Takis” Vassilakis

(1925-2019) “Signal,” circa 1967-1971 Steel and found objects, electrified Signed and inscribed in marker to the underside: Takis 113” H x 10” W x 10.125” D $15,000-20,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Works from the collection of the late Howard and Barbara Wise

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Works from the collection of the late Howard and Barbara Wise

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Panayiotis “Takis” Vassilakis

(1925-2019) “Red Signal,” circa 1967-1971 Steel and found objects, electrified No. 26 Signed, titled, numbered, and inscribed in marker to the underside: Takis 73” H x 7” Dia. $12,000-18,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Panayiotis “Takis” Vassilakis

(1925-2019) “Blue Signal,” 1968 Steel and found objects, electrified No. 24 Signed, titled, dated, numbered, and inscribed in marker to the underside: Takis 72.25” H x 7” Dia. $12,000-16,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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Works from the collection of the late Howard and Barbara Wise

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Works from the collection of the late Howard and Barbara Wise

77

Panayiotis “Takis” Vassilakis

(1925-2019) “Purple Dial,” also known as “The Purple Subway Drive,” circa 1969 Steel and found objects, electrified No. 9 Unsigned; titled by repute; hand-numbered in marker on tape affixed to the underside 30” H x 9” W x 12” D $6,000-8,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Exhibitions: New York, Howard Wise Gallery, “Art: Whirring and Quivering Aplenty,” February 1969 Literature: Glueck, Grace. “Art: Whirring and Quivering Aplenty.” The New York Times, February 8, 1969.

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78

Peter Hujar

(1934-1987) “Barbara Backstage in Ruth Ruth at the Pyramid” Gelatin silver print on paper Signed, titled, and inscribed, verso: Peter / For Barbara, From Peter Image: 16.5” H x 12.5” W; Sheet: 20” H x 16” W $4,000-6,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Note: Previous to this work coming to auction, the Peter Hujar Archive only knew of 2 of these images to be in existence. This piece now makes 3.

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Arnold Newman (1919-2006)

Three Works Portrait of the Wise Family Gelatin silver print on photographic paper laid to mat board From the edition of unknown size and date Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner Image/Sheet: 6.375” H x 9.75” W; Original paper wrapper: 17.125” H x 14.125” W Portrait of Howard Wise Gelatin silver print on photographic paper laid to mat board From the edition of unknown size and date Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner Image/Sheet: 9.375” H 7.875” W; Original paper wrapper: 17.25” H x 14.25” W Portrait of Howard Wise Gelatin silver print on photographic paper laid to mat board From the edition of unknown size and date Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner Image/Sheet: 9.75” H x 7.625” W; Original paper wrapper: 17.25” H x 14.25” W 3 pieces $800-1,200

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80

Joel Peter Witkin

(b. 1939) Photo proof contact sheet Gelatin silver print on paper Unsigned Image/Sheet: 11” H x 10” W $800-1,200 Provenance: Private Collection, California, acquired from the artist Private Collection, Los Angeles, CA, acquired from the above

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Joel Peter Witkin

(b. 1939) “Woman in a Wheelchair,” 1977 Gelatin silver print on paper Signed, titled, and dated in pencil, verso: © Joel Peter Witkin Image/Sheet: 14.125” H x 11” W $1,500-2,500 Provenance: Private Collection, California, acquired from the artist Private Collection, Los Angeles, CA, acquired from the above

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82

Imogen Cunningham

(1883-1976) “Rock at Big Sur,” 1964 Gelatin silver print on paper laid to mat board, as issued From the edition of unknown size Signed and dated in pencil on the mat board, directly below the image: Imogen Cunningham; dated again and titled on the artist’s studio label affixed to the verso of the mat board; the Strathmore brand mat board with the manufacturer’s blindstamp in the lower left corner Image/Sheet: 11.25” H x 10.75” W; Original mat board support: 20” H x 15” W $1,000-2,000 Provenance: The artist Private collection, gift from the artist Estate of the above, by descent to the present owner Notes: According to the present owner, this photograph was gifted by the artist to her late husband. The latter apparently carried Cunningham down a rocky slope at Big Sur in the 1960s so that she could shoot this image. Additionally, there is a xmall S. F. M. A. (presumably San Francisco Museum of Art) paper label affixed to the verso of the mat board that includes a hand-written number 5-65-5 under the “Reg. No.” heading. w w w. j o h n m o r a n . c o m 1 1 7

83

Judy Dater

(b. 1941) “Imogen and Twinka at Yosemite,” 1974 Gelatin silver print on paper laid to mat board, as issued From the edition of unknown size Signed and dated in pencil on the mat board, directly below the image, at right: Judy Dater; the artist’s black ink copyright stamp on the verso of the mat board Image/Sheet: 9.375” H x 7.375” W $2,000-3,000

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84

Herb Ritts

(1952-2002) “Richard Gere,” 1982 Gelatin silver print on paper Edition: Artist Proof Appears unsigned; titled, dated, and inscribed in pencil verso: To John / “Merry Christmas” / Hawaii ‘82 / ... you are with me / as we are together - / today 12/25/82; with the artist’s copyright ink stamp verso Image: 13.75” H x 9.25” W; Sheet: 14” H x 19.5” W $5,000-7,000 Provenance: The Artist Private Collection, Washington D.C., a gift from the above

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85

Peter Fischli (b. 1952) and David Weiss (b. 1946)

Untitled (“The Way Things Go”), 1985-1987 Chromogenic print on paper Edition: 4/12 Signed and numbered in ink verso: F. + W.; titled and dated on a label affixed verso Image/Sheet: 9.75” H x 13.875” W $6,000-8,000 Provenance: Galerie D’art Art & Public, Geneva, Switzerland

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86

Helen Levitt

(1918-2009) “New York 1980 (spider girl),” 1980 Chromogenic print on paper Signed, titled, and dated on a label affixed verso Image: 9.625” H x 14.25” W; Sheet: 14.25” H x 17.875” W $5,000-7,000 Provenance: Galerie Anne De Villepoix, Paris, France

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87

Massimo Vitali

(b. 1944) “Knokke (from A Portfolio of Landscapes and Figures),” triptych, 2006 Offset lithographs in colors on paper Figures at a beach Edition: 10/20; each respectively numbered: 41, 42, 43 Each: With artist’s studio stamp, edition, and numbered verso Each: 33.8” H x 27.5” W $2,000-4,000

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88

Eliot Porter

(1901-1990 American) “Portfolio II: Iceland,” twelve plates, 1972 The set of 12 dye-transfer photographs mounted to mat board, as issued Edition 62/110, of which only 100 were intended for sale Each photographs’ mat board mount with Porter’s “Portfolio II: Iceland” black ink stamp, together with the plate [1-12] and set number [62] hand-written in red ink, verso. Printed in 1972, the series was published by the artist, Santa Fe, NM, in 1975 Image/Sheet: 10.5” H x 8” W (or opposite); Artist board support: 20” H x 15” W (or opposite) $6,000-8,000 Notes: This lot is comprised of the set of 12 individually framed photographs.

It does not include the signed and numbered colophon page or the blue clothcovered portfolio case in which the works were originally issued.

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89

Slim Aarons

(1916-2006) “Poolside Gossip,” 1970 C-print on paper Edition: 56/150 With the embossed estate-stamped signature and numbered in ink in the lower margin; with the Getty Images Archive blindstamp in the lower margin, at right; Getty Images Gallery, Los Angles, CA, pub.

Image: 38” H x 56.375” W; Sheet: 40” H x 60” W $8,000-12,000 Literature: Aarons, Once Upon a Time, pp. 116-117 Notes: This lot is accompanied and sold together with a certificate of authenticity, with the artist’s printed signature, the stamped date, April 13, 2023, and an information sheet from, Gettyimage Gallery.

According to the information sheet from Gettyimages Gallery, this photograph depicts a desert house in Palm Springs designed by Richard Neutra for Edgar Kaufman. Lita Baron approaches on the right Neida Linsk, wife of art dealer Joseph Linsk who is talking to a friend, Helen Dzo Dzo.

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Josh (SHAG) Agle (b. 1962)

Josh Agle born on August 31, 1962, known profes that captures the essence of mid-century moderni become an icon in the world of modern art.

Growing up in Southern California, SHAG develop artistic journey began during his childhood, where These early experiences would later shape his artis

In the late 1980s, SHAG attended the California St refine his skills and experiment with different medi work in local galleries and art shows, slowly gainin

It was in the early 1990s that SHAG began to esta Tiki culture, cocktail lounges, and vintage advertis exuding an air of sophistication and mystery. With world that feels simultaneously nostalgic and cont

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ssionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style ism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has

ped a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His e he would spend countless hours drawing and immersing himself in the visual culture of the time. stic vision and inspire his signature style.

tate University, Fullerton, where he studied both illustration and fine art. His studies allowed him to iums, including painting, printmaking, and sculpture. During this time, he also started exhibiting his ng recognition for his unique approach to art.

ablish his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, sing. He created a universe of characters, often depicted in glamorous and whimsical settings, h his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic temporary.

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Josh (SHAG) Agle

(b. 1962) “L.A. Modern (Day),” 2005 Acrylic and vinyl paint on panel Signed lower left: SHAG; signed again, titled, and dated verso: Josh Agle / SHAG 37” H x 48” W $5,000-7,000

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91

Josh (SHAG) Agle

(b. 1962) “The Bird Watcher,” 2005 Acrylic and vinyl paint on panel Signed lower right: SHAG 24” H x 48” W $5,000-7,000

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92

Josh (SHAG) Agle

(b. 1962) “Venus” Acrylic and vinyl paint on panel Signed lower right: SHAG 12” H x 9.375” W $2,500-3,500

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93

Romero Britto

(b. 1963) “Star,” 1997 Mixed media on paperboard Signed lower right: Romero Britto; Signed again twice, titled, dated, and with the artist’s device, verso Image/Sheet: 27” H x 20” W $2,000-4,000

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94

Romero Britto

(b. 1963) Abstract portrait Mixed media on paperboard Signed lower right: R. Britto Image/Sheet: 27.125” H x 20.125” W $2,000-4,000

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95

Romero Britto

(b.1937) “Memory,” 2018 Acrylic, glitter, and ink on canvas Signed lower right: R. Britto; titled and dated on a label affixed verso 20” H x 20” W $2,000-4,000

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96

Peter Max

(b.1937) “Better World,” 2002 Acrylic on canvas Signed lower right: Max; signed again, inscribed 4 Richard love Max 2009, and with a small drawing of a face, all in ink, verso; the artist’s 2002 copyright ink stamp and number 80464, verso 40” H x 30” W $3,000-5,000 Notes: This lot is sold together with an undated certificate of authenticity issued and hand-signed by N. Isen, Philadelphia, PA. Provenance: Private Collection, Long Beach, CA Private Collection, by descent from the above w w w. j o h n m o r a n . c o m 1 4 1

97

Peter Max

(b.1937) “Faciliti-Link Flowers,” 1998 Mixed media and acrylic in colors on paper Signed lower left: Max; titled in ink, dated, and w Image/Sheet: 24.125” H x 18” W $5,000-7,000

Notes: On the verso of this lot is an ink copyrigh This Peter Max Art Work Entitled / Faciliti-Link: ‘F (and brushstrokes) from his original artworks of t

98

Peter Max

(b.1937) “Umbrella Man,” 2005 Mixed media and acrylic in colors on paper mounted to foamboard, in a mount with portions designed by the artist Signed upper right: Max; dated by repute Image/Sheet: 32.75” H x 24.375” W; Colored inner mount: 36.5” H x 28” W $5,000-7,000

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with the copyright ink stamp, all verso

ht stamp that reads: “ © Peter Max 1998 / Flowers’ / is a variation color combination the same title on paper.”

99

Peter Max

(b.1937) “Statue of Liberty,” 2018 Acrylic and paint From the edition of unknown size Signed: Max; signed again, dated, and numbered in pen: © Peter Max 2018 / 395780; engraved number: 828968 17” H x 9.5” W x 4.5” D $4,000-6,000

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100

Margaret Keane

(1927-2022) Face, 1969 Oil on canvas Signed and dated upper right: © MDH Keane 24” H x 18” W $5,000-7,000 Provenance: Zantman Art Galleries circa 1970 Beatrice Sharon Winkel (formerly Beatrice Sharon Cuthbertson) By descent to current owner, Newport Beach, CA, 2002 Others Notes: Peggy Doris Hawkins born in 1927, professionally and widely known as Margaret Keane, was an American artist known for her distinctive paintings featuring subjects with large, expressive eyes. Her unique style and prolific body of work garnered both popular acclaim and commercial success, but her journey as an artist was not without challenges and controversy.

Keane was born in Nashville, Tennessee, and displayed artistic talent from a young age. She honed her skills through formal art education and began her career as a freelance artist, creating illustrations and portraits. In the 1950s, she married Walter Keane, a fellow artist, and they embarked on a journey together that would significantly impact Margaret’s artistic trajectory.

In the early years of their marriage, the Keane couple moved to San Francisco, where Margaret’s art caught the attention of art enthusiasts and collectors. Her distinct style, characterized by subjects with large, haunting eyes, resonated with many viewers and gained a considerable following. However, it was the subsequent events that would shape Margaret’s career and personal life in profound ways.

In a controversial turn of events, it was revealed that Walter Keane had been fraudulently claiming credit for Margaret’s artwork. He had been promoting himself as the artist behind the “Keane paintings,” which had gained widespread popularity. Margaret’s actual role as the true creator of the iconic artworks had been hidden from the public eye for years.

The revelation led to a highly publicized legal battle and a court-ordered “paint-off” to determine the true artist. In 1986, Margaret took to the stand and produced a painting in front of the court, proving beyond a doubt that she was the genuine talent behind the famous Keane paintings.

The exposure of the truth marked a turning point in Margaret’s life. She reclaimed her artistic identity and embarked on a journey of personal and creative liberation, and Keane’s work began to receive proper recognition, and her unique style found new appreciation among art collectors and enthusiasts.

Margaret Keane’s paintings, with their distinctive eyes and emotive qualities, continue to captivate audiences around the world. Her artwork has been exhibited in galleries and museums, and her influence on popular culture can be seen in films, books, and other artistic mediums. Keane died on June 26, 2022 at the age of 94.

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Margaret Keane

(1927-2022) “Girl with Hibiscus” Oil on canvas Signed lower left: © MDH Keane; titled in pencil on a label affixed to the frame’s foam backing 18” H x 12” W $3,000-5,000 Provenance: Zantman Art Galleries, Carmel, CA, circa 1970 Beatrice Sharon Winkel (formerly Beatrice Sharon Cuthbertson) By descent to current owner, Newport Beach, CA, 2002

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102

Margaret Keane

(1927-2022) Portrait of a young boy and girl Oil on canvas Signed lower right: Keane 22” H x 14” W $3,000-5,000

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103

Margaret Keane

(1927-2022) Boy in a blue shirt Oil on canvas Signed lower right: Keane 8” H x 22” W $3,000-5,000

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104

Itzchak Tarkay

(1935-2012) Contemplative female Acrylic on canvas Signed lower right: Tarkay 28” H x 23” W $2,000-4,000

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Henri Hecht Maik (1922-1993)

Henri Maik, born on March 27, 1922, in Paris, was painter rather than a naÏf painter. Maik’s artworks p birds, and jungle creatures. His paintings created a

In addition to painting, Maik showcased his talents limited-edition fine jewelry, and authored and illus

Maik’s artistic career was preceded by his involvem captured and imprisoned. After his release, he wo pursued acting in theater and French films before exhibition in Paris.

Throughout his career, Maik held successful exhibi des Arts. He received critical acclaim for his work e de la Culture d’Argenteuil. Maik’s paintings were f artworks can be found in notable collections such and the MusÉe d’Art Naif de l’Ile-de-France in Vicq

Related artists include Jean Dufy, Marcel Dyf, Pal F Rousseau, and Claude Venard.

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an artist known for his paradoxical and dreamlike paintings. He identified himself as a Primitive portrayed familiar yet strange landscapes filled with vibrant colors, simple flowers, exotic trees, rare a sense of harmony and invited viewers to join the community of creatures depicted.

s in various other artistic fields. He designed tapestries in collaboration with Aubusson, created strated popular children’s books.

ment in the French Navy during World War II, where he served as a medical corpsman and was later orked as a lumberman in Normandy until the Liberation of France. Upon returning to Paris, Maik turning to painting in 1956. His artistic breakthrough came in 1960 when he had his first solo

itions in prestigious venues such as the MusÉe de l’Art Moderne in Paris and the CitÉ Internationale exhibited at various galleries and museums, including the Abbey of Salins-les-Bains and the Maison featured in renowned art salons, including the Salon d’Automne and the Salon de Bollène, and his as the National Museum of Budapest, the Center of Contemporary and Experimental Art in Israel, q.

Fried, Andre Hambourg, Michel Henry, Jean Jamsen, Constantin Kluge, Charles Levier, Henri

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105

Henri Hecht Maik

(1922-1993) Wildlife in a flourishing landscape, 1977 Oil on canvas Signed and dated lower right: Maik 18” H x 22” W $5,000-7,000

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106

Henri Hecht Maik

(1922-1993) A lounging cheetah, 1980 Oil on canvas Signed and dated lower right: Maik Sight: 9” H x 12.75” W $3,000-5,000

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107

Henri Hecht Maik

(1922-1993) A lion surrounded by flowers, 1980 Oil on canvas Signed and dated lower left: Maik; signed again verso 9.5” H x 13” W $3,000-5,000

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108

Henri Hecht Maik

(1922-1993) A lion and tiger, 1977 Oil on canvas Signed and dated lower right: Maik 9” H x 11.5” W $2,000-3,000

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109

Jean Jules Louis Cavailles

(1901-1977) “Les Petroliers a Lavera” Oil on canvas Signed lower right: Cavailles; signed again and titled in red verso; titled again in blue pencil on the stretcher: No. 6, Lei Petroliers Lavera 36.25” H x 23.5” W $5,000-7,000 Provenance: Sold: Butterfields, San Francisco, CA, “Modern, Contemporary & Latin American Art,” Thursday, October 23, 1997, Lot 05079 Property of a Rancho Mirage Collection, acquired from the above

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Andre Lhote (1885-1962)

André Lhote (1885-1962) was a French painter, scu 20th century. He was associated with various artist own artistic practice, as he also had a profound infl

Born on July 5, 1885, in Bordeaux, France, Lhote i led him to abandon his studies and move to Paris under various notable artists, including Eugène Ca

During his early years in Paris, Lhote was exposed experimented with different styles and techniques his work. Lhote’s style evolved further when he enc synthesize the structural elements of Cubism with of Volume.”

In addition to his own artistic pursuits, Lhote becam 1922, where he taught numerous students, includi on the importance of composition, structure, and f Lhote’s teachings were not limited to his academy Landscape Painting” (1927) and “Figure Painting”

Throughout his career, Lhote participated in variou showcased in major galleries and museums, includ Lhote passed away on January 24, 1962, in Paris, l

Related artists include Maurice de Vlaminck, Raou Pissarro, Paul Signac, Maurice Utrilo, and Louis Val

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ulptor, and art theorist who played a significant role in the development of modern art in the early tic movements, including Cubism, Fauvism, and Purism. Lhote’s contributions extended beyond his fluence as an art teacher and writer.

initially pursued an academic education in philosophy and literature. However, his passion for art in 1902 to pursue a career as an artist. He enrolled in the École des Beaux-Arts and began studying arrière and Fernand Cormon.

to the vibrant art scene and the revolutionary ideas that were transforming the art world. He s, embracing the vibrant color palette of Fauvism while also incorporating elements of Cubism into countered the principles of Cézanne’s art, which had a lasting impact on his approach. He sought to a more formal and classical sense of composition, resulting in a unique style that he called “Cubism

me a highly influential art teacher. He opened his own academy, the Académie Montparnasse, in ing many who would go on to become significant artists in their own right. Lhote’s teaching focused form, emphasizing the need to balance creativity with a solid foundation in artistic principles. y but also extended to his writings on art theory. He published several books, including “Treatise on ” (1932), which outlined his ideas on artistic principles and techniques.

us art exhibitions and received recognition for his contributions to the art world. His works were ding the Salon d’Automne, Salon des Indépendants, and the Musée d’Art Moderne in Paris. André leaving behind a rich artistic legacy.

ul Dufy, Marcel Dyf, Gustave Loiseau, Maximilien Luce, Henri Manguin, Jean Metzinger, Camille ltat.

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Andre Lhote

(1885-1962) “Portrait de Femme” Oil on canvas Signed lower right: A. Lhote; titled on the frame plaque 18” H x 15” W $15,000-25,000 Provenance: Reyn Gallery, New York, NY Sold: Sotheby’s, New York, NY, February 21, 1985, lot 99 Private Collection, Los Angeles, CA, acquired from the above

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111

Henri (Bournet Didonna) Didonet

(b. 1932) “O Krishna,” 1988 Oil on canvas Signed lower right: Didonna; titled, dated, and inscribed on the stretcher: Paris 39.5” H x 39.5” W $2,000-3,000

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113

Maurice Louis Savin

(1894-1973) “Le Quai aux Fleurs,” 1958 Oil on canvas Signed lower right: Savin; signed again, titled, and dated verso 28.5” H x 23.5” W $1,000-1,500 Exhibited: Musee Galliera, Paris, France, “Les Peintres Temoins De Leur Temps: Les Parisiennes,” 1958

112

Jean-Pierre Yvaral

(1934-2002) Untitled Acrylic on artist board Signed at the center of the lower edge: Yvaral Sight: 15.75” H x 15.75” W $3,000-5,000

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114

Abbas Moayeri

(1939-2020) Abstract seated figure Ink, gouache, and gold on paper Signed, dated, and inscribed in ink lower left: Abbas Moayeri / Paris Image: 21.5” H x 15.25” W; Sheet: 25.625” H x 19.75” W $1,000-2,000

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115

Abbas Moayeri

(1939-2020) Woman with a fawn, 1984 Ink, gouache, and gold on paper Signed, dated, and inscribed lower right: Abbas Moayeri / Paris Image: 20.5” H x 15.25” W; Sheet: 25.625” H x 19.75” W $1,000-2,000

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116

Gabriel Godard

(b. 1933) Abstract, 1958 Oil on board Signed and dated lower right: G. Godard; inscribed in various other hands verso 14” H x 10.75” W $800-1,200

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Jacques Lipchitz

(1891-1973) “Melancholia,” 1971 Patinated bronze Edition: 0/0 (Artist’s Proof) Signed and numbered to base: J. Lipchitz; further marked for the artist’s foundry: Fonderia Luigi Tomassi, Pietrasanta 15.75” H x 13.25” W x 15.5” D $15,000-20,000 Provenance: Acquired directly from the artist 1971, Private Collection, Santa Barbara, CA

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118

Frédéric Bruly Bouabré

(1923-2014) Embracing figures, 2007 Ink, colored crayon, and pencil on card Each: Signed and dated verso: 25-6-2007; each inscribed in French in ink along the edges with the same inscription, except on each card one-word changes along the lower edge, at left to represent the nationality of the figures: La Maturite ici, une divine / tache de Peinture figures l’embrassade / d’un charitable couple Jamaicain [interchangeable nationality] / art divin releve sur orange jaunie par 24 pieces Each Image/Sheet: 7.5” H x 6” W $4,000-6,000

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Frédéric Bruly Bouabré

1923-2014 Figure in a suit, 2009 Ink, colored crayon, and pencil on card Each: Signed and dated verso: 11-6-2009; each inscribed in French in ink along the edges with the same inscription, except on each card one-word changes along the lower edge, at left to represent the nationality of the figures: Arte de publicite pris sur emballlage De papier biscuit / M’inspira ici, l’idee d’un chari / table millionaire offrant des biscuits aux / enfants tanzaniens 40 pieces Each: 6.75” H x 5” W $3,000-5,000

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120

Yankel Ginzburg

(b. 1945) “Haifa Harbor,” 1971 Oil on canvas Signed and dated lower right: Yankel Ginzburg; signed again and titled verso 24” H x 20” W $800-1,200

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121

Giuseppe Gambino

(1928-1997) “Natura Morta con Violino,” 1959 Oil on canvas Signed, dated, and inscribed lower right: Gambino / Venezia; signed and dated again, titled and inscribed verso: To Mr. and Mrs. Montgomery - Venice - Nov. 1959 27” H x 39” W $1,500-2,000

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122

Bruno Romeda

(1933-2017) Untitled #13 (Circle Sculpture), 1986 Bronze Signed and dated to the base: Romeda / 86; titled by repute 46” H x 44” W x 10” D $12,000-18,000 Provenance: Kouros Gallery, New York Private Collection, Southern California

123

Lucio Pozzi

(b. 1935) “Long Interference,” 1971 Acrylic on cotton Signed, titled, and dated verso: Pozzi 7” H x 119.25” W $800-1,200 Provenance: Judith Selkowitz Art Advisory, New York, NY Private Collection, Southern California

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124

Ulrikk Dufossé

(Active 20th century) Untitled Hand-woven mesh wire 103” H x 13” Dia. approx. $3,000-5,000

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125

Gunter Umberg

(b. 1942) Untitled, 1988 Pigment, dammer, and poliment on aluminum Signed verso: G Umberg 13.875” H x 14.25” W x 1” D $4,000-6,000 Provenance: Gilbert Brownstone & Cie, Paris, France Private Collection, Southern California

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126

Tolla Inbar

(b. 1958) “Circle of Life,” 2000 Patinated bronze Edition: 12/12 Signed, dated, and numbered in the casting: Tolla / ‘00; titled by repute 36” H x 33” W x 7.5” D $5,000-7,000

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127

Francisco Farreras

(1934-2017) Abstract, 1965 Mixed media and collage on panel Signed, dated, and inscribed verso: F. Farreras / N.Y. 60” H x 70” W $2,000-4,000 Provenance: Albert White Galleries, Toronto, Canada The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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128

Fernando Garcia Ponce

(1933-1987) “Autorretrato,” 1966 Oil on canvas Unsigned; titled on gallery labels affixed verso 47.25” H x 39.5” W $2,000-3,000 Provenance: Galeria Juan Martin, Mexico City, Mexico Exhibited: Museo de Arte Moderno, Mexico City, Mexico, n.d.

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129

Enrique “Sebastian” Carbajal

(b. 1947) Abstract (compacto), 1988 Enameled iron Signed and dated on the recto center: Sebastian / © 1988 17.5” H x 42” W x 14.5” L $6,000-8,000 Provenance: Rettig y Martinez Gallery, Santa Fe The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Notes: The artist’s full name is Enrique Carbajal Gonz·lez Santiv·n, but his working name is “Sebastian.”

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130

Carlos Merida

(1891-1984) Untitled, 1971 Acrylic on Amate paper Signed and dated lower left: Carlos Merida Image/Sheet: 23.125” H x 15.5” W $8,000-12,000 Notes: This lot is accompanied by a certificate of authenticity signed by Alma Merida.

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131

Alexander Morales Nunes

(b. 1973) “Salto I Jump,” 2007 Acrylic on canvas Signed and dated along the lower right edge: Morales; titled on a label affixed to the frame’s backing paper 58” H x 47” W $1,000-2,000 Provenance: The Artist Private Collection, a gift from the above Sold: MOLAA, Long Beach, CA, “Auction Exhibition 07: Contemporary Latin American Art,” July 19, 2020, Lot 139 Private Collection, Los Angeles, CA, acquired from the above

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132

Massoud Arabshahi

(1935-2019) Abstract, 1986 Mixed media on paper Signed and dated in orange in the lower margin, at left: Massoud Arabshahi Image: 22” H x 17” W; Sheet: 24” H x 19.25” W $3,000-5,000

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133

Aharon Kahana

(1905-1967) Abstract, 1962 Oil on canvas Signed and dated lower right: Kahana; signed and dated again verso 32” H x 40” W $1,500-2,500

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134

Yumiko Kayukawa

(b. 1970) “Shadow,” 2006 Acrylic and ink on canvas Signed in Japanese and dated lower right; titled in pencil on the overlap of the canvas, verso 26” H x 48” W $800-1,200

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135

George Joji Miyasaki

(1935-2013) Abstract, 1960 Oil and collage on canvas Signed lower right: Miyasaki; signed again and dated verso 46” H x 46” W $4,000-6,000

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136

George Joji Miyasaki

(1935-2013) “Foggy,” 1969 Oil on canvas Signed and dated lower right: Miyasaki; signed and dated again and titled verso 36.25” H x 27.25” W $2,000-4,000

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137

John Gillen

(b. 20th century) “Preaching to the Converted,” 1987 Wood, joint compound and acrylic Signed, titled, and dated in pen on the verso: John Gillen / 1987; further inscribed: wood, plaster, acrylic 65.5” H x 12” W x 6.5” L $800-1,200 Provenance: Burnett Miller Gallery, Los Angeles Private Collection, Southern California, acquired from the above

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138

John Gillen

(b. 20th century) “False Idol (BM-JG #10),” 1987 Wood, joint compound and acrylic Signed, titled, and dated in pen on the verso: John Gillen / 1987; further inscribed: wood, plaster, acrylic 65.5” H x 11.5” W x 7” L $800-1,200 Provenance: Burnett Miller Gallery, Los Angeles Private Collection, Southern California, acquired from the above

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139

John Charles Haley

(1905-1991) Untitled abstract Oil on canvas Signed lower left: Haley 59.75” H x 49.75” W $2,000-4,000

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140

John Charles Haley

(1905-1991) Abstract Oil on canvas Signed lower left: Haley 50” H x 60” W $1,500-2,500

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141

Mary Lovelace O’Neal

(b. 1942) “Art While Silver” from the “Lampblack Series,” circa 1974 Mixed media on paper Unsigned; titled in pencil verso Image: 15.5” H x 21.75” W; Sheet: 18” H x 24” W $6,000-8,000 Notes: A check written to Mary Lovelace O’Neal for this artwork is affixed to the backing board, dated July 8, 1974

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Alice Baber (1928-1982)

Alice Baber, who was born in Charleston, Illinois in Gallery’s Sixth Annual Exhibition of New York artist shown alongside Grace Hartigan, Louise Nevelson featured in this exhibition have been recognized a 1982 ñ has long been overlooked by museums an

Painted in 1976, “The Sound of the Summer Herm contemporaneous article for “Art in America,” Al B

“Her paintings are romantic and lyrics - but they a overall structures. Transparent spectrum color is ap are generally more transparent in their centers, wh into rather casual clusters that seem almost accide handling, and which floods the entire work with a

Baber was diagnosed with cancer in the late 1970s numerous public collections, including the Metrop of Art. Today, she is recognized as an important fig innovative style.

Alice Baber’s work has been exhibited alongside m

Mary Abbott, William Baziotes, Norman Bluhm, Lo Sam Gilliam, Michael Goldberg, Adolph Gottlieb, de Kooning, Lee Krasner, Morris Louis, Joan Mitch Park, Ray Parker, Betty Parsons, Jackson Pollock, R Woodsey Thomas, Bob Thompson, Jack Tworkov,

Select Museum Collections: Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY San Francisco Museum of Modern Art, San Francis Santa Barbara Museum of Art, Santa Barbara, CA Solomon R Guggenheim Museum, New York, NY Whitney Museum of American Art, New York, NY

For additional information on the historical contex Denver Art Museum in conjunction with Yale Unive

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n 1928, began exhibiting her work in New York City in 1957 when she was included in the Stable ts. Baber, as one of the approximately twenty women included on the Annual’s extensive roster, was n, Lee Krasner, Mary Abbott, Joan Mitchell, and Elaine de Kooning. While many of the male artists as key figures of the Abstract Expressionist movement, Baber ñ who died at the age of fifty-four in nd the art market at large.

mit” dates to a period in the artist’s career when her works became more minimal. In a Brunelle wrote the following about Baber’s work:

are also reductive and systematic; she regulates the component elements in each work but not the pplied over a luminous white ground, to form irregular elliptical shapes of roughly similar size. They hich gives them an effect of buoyancy. They tend to draw together, with considerable overlapping, ental or naive... [E]ach painting is experienced as a single phenomenon largely because of the paint pulse of unified feeling.”

s and continued to paint until her death on February 2, 1982, in New York City. Her work is held in politan Museum of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum gure in the development of abstract art in the United States and is celebrated for her unique and

many key members of the Abstract Expressionist movement, including (but not limited to):

ouise Bourgeoise, Friedel Dzubas, Perle Fine, Sam Francis, Helen Frankenthaler, Dorothy Gillespie, Grace Hartigan, Hans Hofmann, Paul Jenkins, Ray Johnson, Franz Kline, Elaine de Kooning, Willem hell, Robert Motherwell, Robert Natkin, Louise Nevelson, Kenneth Noland, Jules Olitski, Charlotte Richard Pousette-Dart, Ad Reinhardt, Milton Resnick, David Smith, Theodoros Stamos, Alma Esteban Vicente

sco, CA

xt of this painting, please see Joan Marter, Women of Abstract Expressionism, published by the ersity

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142

Alice Baber

(1928-1982) “The Sound of the Summer Hermit” and “The Key of Sound and Light,” 1976 Oil on canvas Signed lower left: Baber; signed again, titled, and dated on the stretcher 72” H x 102” W $50,000-70,000 Provenance: Property of an Important New York Corporate Collection

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143

Alice Baber

(1928-1982) “Light Ladder,” 1966 Oil on canvas Signed lower right: Baber 31.5” H x 39” W $20,000-30,000 Provenance: Private Collection, New York, NY Sold: Sotheby’s, New York, NY, “Contemporary Art Online,” March 7, 2019, Lot 455 Private Collection, California, acquired from the above Alice Baber, who was born in Charleston, Illinois in 1928, began exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s Sixth Annual Exhibition of New York artists. Baber, as one of the approximately twenty women included on the Annual’s extensive roster, was shown alongside Grace Hartigan, Louise Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, and Elaine de Kooning. While many of the male artists featured in this exhibition have been recognized as key figures of the Abstract Expressionist movement, Baber – who died at the age of fifty-four in 1982 – has long been overlooked by museums and the art market at large.

Throughout her career, Baber experimented with different mediums, including oil paint, watercolor, and printmaking. Her paintings often featured organic forms, flowing lines, and translucent layers of color, creating a sense of depth and movement. She was particularly fascinated by the interplay of light and color, and this became a central theme in her artistic exploration.

Baber’s art evolved over time, and by the 1960s, she had fully embraced abstraction. “Light Ladder,” painted in 1966, is executed in Baber’s signature style which involved pouring diluted paint onto the canvas and manipulating it with brushes and other tools. This technique allowed her to create luminous, ethereal compositions that seemed to radiate with inner light. In this work, she employed a restrained color palette, favoring subtle tones and delicate hues. Through her use of color, Baber conveyed a sense of tranquility and harmony, inviting viewers to engage with the contemplative qualities of her art.

Baber was diagnosed with cancer in the late 1970s and continued to paint until her death on February 2, 1982, in New York City. Her work is held in numerous public collections, including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum of Art. Today, she is recognized as an important figure in the development of abstract art in the United States and is celebrated for her unique and innovative style.

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144

Henrietta Berk

(1919-1990) “Moraga No. 1” Oil on canvas Signed lower right: H. Berk; titled verso 30” H x 30” W $7,000-9,000

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A postmodern steel sculpture

Circa 1990s-2000s Appears unsigned Welded steel in two parts with embedded found objects Element one: 84” H x 9.5” W x 16” L; Element two: 86.5” H x 13” W x 69” L $1,000-1,500

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146

Hans Burkhardt

(1904-1994) “Lovers on the Bridge” Oil on linen canvas Signed and dated lower left: H. Burkhardt; titled on a gallery label affixed verso 32” H x 42” W $10,000-15,000 Provenance: Lorraine Gallery, Encino, CA

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147

Hans Burkhardt

(1904-1994) “Aasgaardstrand,” 1968 Oil on linen canvas Signed and dated lower center: H. Burkhardt; titled on a gallery label affixed verso 32” H x 42” W $10,000-15,000 Provenance: Lorraine Gallery, Encino, CA

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148

Hans Burkhardt

(1904-1994) ‘Spring in the Canyon,” 1970 Oil on linen canvas Signed and dated lower right: H. Burkhardt; titled on a gallery label affixed verso, along with alternate title on label affixed to the stretcher: “Blue Canyon” 32” H x 42” W $10,000-15,000 Provenance: Lorraine Gallery, Encino, CA

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149

Hans Burkhardt

(1904-1994) “Journey to the Unknown,” 1969 Oil on canvas Signed and dated lower right: H. Burkhardt; titled on a label affixed to the stretcher 16” H x 20” W $3,000-5,000 Provenance: Gift to Jill Chanin, June 9, 2000

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150

David Oliver Green, Jr.

(1908-2000) “Dual Monument” Cast aluminum on wood base Paper label to the underside: David Green / “Dual Monument” / Cast Aluminum 18” H x 6” W x 4” D $1,200-1,800

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151

Jan de Swart

(1908-1987) “Architectural Sculpture,” 20th century Rosewood and cast polymer resin Appears unmarked; titled by repute 25” H x 11.5” W x 8.25” D $2,500-3,500

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152

Catherine Lee

(b. 1950) “Dakota,” 1987 Patinated bronze Signed, dated, and titled in pen verso: Cath Lee / 1987 / DAKOTA; inscribed in pen: 2 / 2 / TOP 8” H x 9.375” W x 2.5” D $1,000-1,500 Provenance: Maloney Fine Art, Los Angeles, CA Private Collection, Southern California

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153

James Grant

(1924-1997) Untitled, multi-color abstract Oil on canvas Signed verso: Grant 36” H x 48” W $800-1,200

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154

Harold Christopher Davies

(1891-1976) “Inverness Series #43,” 1971 Acrylic on canvas Signed, titled, and dated verso: H.C. Davies 40” H x 50” W $3,000-5,000 Provenance: Sold: Bonhams, San Francisco, CA, “Modern, Contemporary & Latin American Art,” November 6, 2005, Lot 170 Private Collection, CA, acquired from the above by the current owner Property of a Rancho Mirage Collection

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Karl Benjamin (1925-2012)

Karl Benjamin, born on December 29, 1925, was a Southern California. He is best known for his vibra work garnered critical acclaim and cemented his p

Born in Chicago, Illinois, Benjamin showed an earl degree in biology. However, his passion for art led

Following his graduation, Benjamin moved to Sou 1960s, the art scene in Los Angeles was dominate path. Inspired by artists like Piet Mondrian and Wa precise compositions.

Benjamin’s FS series, which stands for “Free Style, works. In these paintings, Benjamin explored a loo create dynamic and lyrical compositions. The FS se beyond.

Throughout his career, Benjamin’s artwork was exh collections, including the Los Angeles County Mus

Related artists include Josef Albers, Peter Alexand Lundeberg, John McLaughlin, Leon Polk Smith, an

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an American abstract artist who played a significant role in the development of abstract art in ant, geometric paintings that combined color, form, and composition in unique ways. Benjamin’s place as a prominent figure in the abstract art movement.

ly interest and aptitude for art. He attended Northwestern University, where he initially pursued a d him to switch his focus, and he graduated with a Bachelor of Fine Arts in 1949.

uthern California, where he became part of the vibrant art scene in Los Angeles. In the 1950s and ed by the influence of abstract expressionism. However, Benjamin’s artistic vision took a different assily Kandinsky, he developed his own style, characterized by geometric shapes, vibrant colors, and

,” was created in the 1950s and 1960s and marked a departure from his earlier more structured oser and more improvisational approach to composition, using vibrant colors and irregular shapes to eries is considered a significant contribution to the development of abstract art in California and

hibited extensively, both nationally and internationally. His paintings can be found in prestigious seum of Art, the Whitney Museum of American Art, and the Museum of Modern Art in New York.

der, Billy Al Bengston, Mary Corse, Lorser Feitelson, Frederick Hammersley, Ellsworth Kelly, Helen nd Frank Stella.

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155

Karl Benjamin

(1925-2012) “FS #8,” 1962 Acrylic on canvas Signed and dated lower left: KB; titled in Sharpie on the stretcher, possibly in the hand of the artist; titled again on a gallery label affixed to the stretcher 50” H x 40” W $20,000-30,000 Provenance: Property from the Estate of Tevis and Jean Jacobs, San Francisco, CA Hollis Galleries, New York, NY, 1965 Esther Robles Gallery, Los Angeles, CA Property from a Distinguished Palm Springs Estate Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Beth Benjamin and Louis Stern Fine Art, West Hollywood, CA.

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156

Gary Apotheker

(1946-2011) Light sculpture Resin, acrylic, and lightbulbs, electrified Unsigned 22” H x 25” W x 4.5” D $1,500-2,500 Provenance: Purchased from the artist by the ART LOVERS CLUB, Oakland, CA, May 12, 1972 Studio 111, Cathedral City, CA Property of a Rancho Mirage Collection, acquired from the above

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157

David Smith

(Active 20th Century) “Dinner is Served,” 1998 Acrylic on canvas Signed lower left: D.R. Smith; signed again and dated verso: © D.R. Smith; titled on an artist label affixed to the stretcher 36” H x 48” W $800-1,200

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158

David Smith

(Active 20th Century) Abstract, 1999 Oil on canvas Signed lower left: D.R. Smith; signed again and dated verso: © D.R. Smith 48” H x 36” W $800-1,200

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159

Matt Glavin

(b. 1926) “Dimosys I B From RE,” 1967 Mixed media on paper Signed, titled, and dated in pencil lower right: Matt Glavin; signed, titled, and dated again and inscribed in pen verso: 1709 Chestnut St / Beverly, Calif. 94702 / 526 0277 Sight: 29.625” H x 29.625” W $800-1,200

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160

Shirley Goldfarb

(1925-1980) Untitled Oil on canvas Signed on the stretcher: Shirley Goldfarb; with a Sam Francis Estate stamp verso 8.75” H x 6.25” W $1,500-2,500 Provenance: The Sam Francis Estate, 2001, #SFC-340 Private Collection, CA, acquired from the above

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161

David Schirm

(b. 1945) “Reaching for Edges,” 1976 Mixed media on canvas Signed and dated in ink on the canvas, verso; titled on stretcher bar verso 67.75” H x 39.5” W $1,000-2,000

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162

Don Eldon Sorensen

(1927-1994) Untitled, 1984 Mixed media on canvas Signed, dated, and numbered in pencil verso: Don Sorensen / #984 57.125” H x 96” W $1,500-2,500 Provenance: Sold: Los Angeles Modern Auction, Van Nuys, CA, “Online Only,” May 10, 2020, Lot 17 Private Collection, CA, acquired from the above by the current owner Property of a Rancho Mirage Collection

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163

Peter Ambrose

(b. 1953) Untitled (Hips), 1988 Cast iron and steel Unsigned 101” H x 15” W x 20” L $800-1,200 Provenance: Rosa Esma, New York, NY Private Collection, Southern California

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164

Mose Tolliver

(1925-2006) A pair of abstract blue and red watermelons Each: Acrylic on artist board Each: Signed along the lower edge: Mose T Each: 16” H x 17” W $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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165

Mose Tolliver

(1925-2006) A pair of abstract blue and purple watermelons Each: Acrylic on artist board Each: Signed along the lower edge: Mose T Each: 16” H x 17” W $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

166

Mose Tolliver

(1925-2006) A pair of abstract watermelons Each: Acrylic on artist board Each: Signed lower left: Mose T Smallest: 15” H x 16.75” W; Largest: 16” H x 17” W $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh w w w. j o h n m o r a n . c o m 2 4 5

167

Purvis Young

(1943-2010) Untitled Mixed media on cloth Signed upper right: Young 56” H x 28” W $1,000-2,000 Provenance: Sold: Bonhams, San Francisco, CA, “Modern, Contemporary & Latin American Art,” November 6, 2005, Lot 124 Private Collection, CA, acquired from the above by the current owner Property of a Rancho Mirage Collection

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168

Rona Pondick

(b. 1952) Self-Portrait, 1984-85 Bronze Signed and dated on the interior: RP / 1985; further marked for the foundry 23” H x 14” W x 12” L $2,000-3,000 Provenance: Zabriske, New York Exhibition (TBC), Summer of 1987, Zabriske, New York

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169

James Pinkney Havard

(1937-2020) “Long Bay” Mixed media on paper Signed and dated in pencil along the lower right edge: Havard; titled in pencil upper edge, at left Image/Sheet: 40” H x 32.25” W $1,500-2,500 Provenance: Jan Turner Gallery, Los Angeles, CA Property of a Rancho Mirage Collection

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170

Jeffrey Downs

(20th century) “Trinity,” 1998 Mixed media on canvas Signed along the lower right edge: Downs; signed again, dated, and inscribed verso: A.F.T.L.O.M.S 60” H x 48” W $800-1,200

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Susan Moss (b. 1944)

Susan Moss (b. 1944) was born in Chicago, Illinois

After teaching Art at Cerro Cosa College, she ente her own Art Studio in 1971 and began showing he Art Center with Martha Alf, Gloria Kisch, Gwen Mu

Moss’s first exhibition in New York took place in 19 Earthslide drawings sold out, except for one paint and Richard Hecht who died of starvation and Typ British troops. The series was shown in 1979 at Lon was a sensation, garnering reviews in Arts magazin

In 1980 San Francisco Museum of Modern Art gav showing, renting, and selling her Art. That year she switched her painting medium to oil in 1980 but c now numer over 500, including five Museums: LAC Museum at the University of Nevada. Recent show

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s and graduated from the University of Nevada with Honors in Art and Psychology.

ered the Otis Art Institute in the field of Painting and Printmaking for three years. Moss established er large spray paintings in 1973 at Gallery 707 on La Cienega and a group show at the Brand Library urrell, Diana Hobson, and Virginia Gray, establishing life-long friendships with these women artists.

977 at the David Findlay Gallery on Madison Avenue. The show of early Rhoplex paintings and early ting. This was followed by the “Black Forest” series which she painted for her Grandparents, Edith phus in the Concentration Camp Bergen-Belsen just two weeks before the camp was liberated by nny Gans Gallery in Nicholas Wilder’s gallery space when he decamped for New York. The show ne by David S. Rubin, and was collected by the esteemed collector Robert A. Rowan

ve her a show in their new Artist’s Gallery in Fort Mason, the start of a 31- year relationship of e also had a show of 30 crayon drawings at Albright-Knox Gallery in Buffalo, New York. Moss continued her Earthslide drawings. Moss has now 50 painting years under her belt, her Collectors CMA, Skirball, Laguna Art Museum, Buck Collection of California Art at UC Irvine, and the Lilley ws include galleries in Florida and Tuscany, Italy.

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171

Susan Moss

(b. 1944) “Aqua Peace,” 1994-2007 Oil on linen Signed, titled, dated, and inscribed verso: Susan Moss / For Bett Moss / War and Peace 72.25” H x 60.25” W $2,000-4,000

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172

Susan Moss

(b. 1944) “Blood Orange Peace (Study),” 2011 Oil on paper Signed, titled, and dated in pencil along the lower margin: Susan Moss Image: 29.25” H x 42” W; Sheet: 38.25” H x 50” W $1,000-2,000

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173

Susan Moss

(b. 1944) “Tsunami Peace (Study),” 2011 Oil on paper Signed, titled, and dated in pencil along the lower margin: Susan Moss Image: 40” H x 30.5” W; Sheet: 50” H x 38” W $1,000-2,000

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174

Susan Moss

(b. 1944) “Flame Pond Peace (For Japan),” 2011 Oil on paper Signed, titled, and dated in pencil along the lower margin: Susan Moss Image: 39” H x 28.25” W; Sheet: 50” H x 38” W $1,000-2,000

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175

Burgoyne Diller

(1906-1965) Abstract geometric, 1950 Gouache on paper Signed and dated lower right: diller Image/Sheet: 14” H x 8.375” W $1,200-1,800

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177

Dorothy Hood

(1919-2000) “The Eyeball” Ink on paper Signed in ink lower left: D. Hood; titled by repute Sight: 25.75” H x 19.875” W $3,000-5,000

176

Eric Orr

(1939-1998) “MU-9,” 1982 Lead, gold leaf, and mixed media on linen laid to panel Unsigned; titled and dated on a gallery label affixed verso 30” H x 24” W $3,000-5,000 Provenance: Neil G. Ovsey Gallery, Los Angeles, CA

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178

Peter Alexander

(1939-2020) “Mola,” from “Catalina Series 10,” 1984 Mixed media on velvet Signed, titled, dated, and inscribed in pen to verso: Technical Production by Cat’s Paw, Clytie Alexander, and Susan Lawrence.

47” H x 51” W $3,000-5,000

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179

Peter Alexander

(1939-2020) “Sleeper,” from “Catalina Series 12,” 1984 Mixed media on velvet Signed, titled, dated, and inscribed in pen to verso: Technical Production by Cat’s Paw, Clytie Alexander, and Susan Lawrence.

46.5” H X 51” W $3,000-5,000

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180

A postmodern steel and cement sculpture 1991 Signed and dated: DVE / 91 Oxidized steel on a cement base 85” H x 58” W x 15” L $800-1,200

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181

Gerald Jackson

(b. 1936) Untitled abstract, 1964 Oil on canvas Signed, titled, and dated verso: Gerald Jackson 49” H x 57.25” W $1,000-1,500 Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

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182

Raymond Pettibon

(b. 1957) Untitled (Well, I said), 2015 Collage, ink, watercolor, pen and graphite on paper Signed and dated verso: Raymond Pettibone 26.125” H x 39.875” W $20,000-30,000 Provenance: Courtesy of the artist, Regen Projects, Los Angeles, CA, and David Zwirner, New York, NY Sold: Sotheby’s, New York, NY, May 15, 2015, Lot 435 Private Collection, Los Angeles, CA, acquired from the above

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183

Bradford J. Salamon

(b. 1963) “The Letter,” 2016 Oil on canvas Signed lower right: Bradford; signed again, titled, dated, and inscribed verso: Bradford. J. Salamon / Monrovia, CA / Studio 30” H x 45” W $5,000-7,000 Exhibited: Hilbert Museum of California Art, Orange, CA

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184

Grace Hartigan

(1922-2008) Abstract portrait Mixed media on paper Signed lower right: Hartigan Image/Sheet: 11.25” H x 8.625” W $2,000-3,000

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185

Francois Gall

(1912-1987) Woman at her bureau Oil on canvas Signed lower left: F. gall 14” H x 10.5” W $2,000-3,000 Provenance: Private Collection, Colorado

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186

Style of Joan Brown

(1938-1990) Portrait of a woman Acrylic on thick paper Unsigned Image/Sheet: 28” H x 22.125” W $800-1,200

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187

Lola Erhart

(b. 1989) “N II,” 2014 Oil on canvas Unsigned; titled and dated on a label affixed to the stretcher 51” H x 51” W $800-1,200 Provenance: Courtesy of the artist and Sofia Zermoglio Sold: MOLAA, “MOLAA At Twenty Gala,” Los Angeles, CA, July 19, 2020, Lot 20 Private Collection, Los Angeles, CA, acquired from the above

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188

Philip Stein

(1919-2009) Portrait of a nude woman Oil on Masonite Signed lower right: Stein 42” H x 32” W $1,000-2,000

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189

Artis Lane

(b. 1927) “Release,” 1982 Patinated bronze Edition: AP (artist proof) Signed to the base: Artis Lane 26” H x 21” W x 18” D $3,000-5,000

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190

191

(b. 1948) Grauman’s Chinese theater, 1999 Oil on artist board Signed and dated lower right: R. Forbes Sight: 35.75” H x 31.75” W

(1918-1991) Jungle scenes with animals Oil on artist board Signed lower left: Dusso © 23” H x 71” W

Robert Forbes

$1,000-2,000

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Leon D’Usseau Jr.

$800-1,200

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192

Vaclav Vytlacil

(1892-1984) “Wood Interior,” 1946 Oil and tempera on board Signed and dated lower right: Vaclav Vytlacil; signed again, titled, dated, and numbered on artist label verso: Sparkill No. 4 35” H x 46” W $6,000-8,000 Provenance: Feigl Gallery, New York, NY Montclair Art Museum, Montclair, NY (Museum purchase: Blanche R. Pleasants Fund, 1948.72) Sold: Christie’s, New York, February 4, 2020, Lot 146 Private Collection, California, acquired from the above

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193

Dan Lutz

(1906-1978) “Minstrel Band” Oil on canvas Signed lower right: Dan Lutz; titled on a gallery label affixed verso 17.75” H x 36” W $1,000-1,500 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA Private Collection, Los Angeles, CA Exhibited: M.H. de Young Memorial Museum, San Francisco, CA, n.d.

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194

Fred Yates

(1922-2008) “Movie Stars Never Grow Old” Oil on Masonite Signed lower right: Fred Yates; signed again, titled, numbered, and inscribed verso: 2 / Fowey - Cornwall 36” H x 32.25” W $1,000-2,000

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195

Fred Yates

(1922-2008) Ladies at tea-time Oil on Masonite Signed lower left: Fred Yates 48” H x 44” W $1,000-2,000

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196

Fred Yates

(1922-2008) “By A Waterfall” Oil on Masonite Signed lower right: Fred Yates; titled upper right 37” H x 47” W $1,000-2,000

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197

Damian Elwes

(b. 1960) “At the Black Bass,” 1990 Oil on canvas Signed, titled, and dated verso: Damian Elwes 54” H x 50” W $3,000-5,000

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198

Greg Parma Smith

(b. 1983) Untitled, 2005 Oil on canvas Signed and dated in ink verso: G.P. Smith 36” H x 36” W $2,000-3,000

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199

Michael Bedard

(b. 1949) “Spider” Oil on canvas Signed lower right: Michael Bedard; titled by repute 51.25” H x 51.75” W $2,000-3,000 Provenance: The Artist Private Collection, gift from the above Private Collection, CA, acquired from the above Notes: This image was used by the band Severance for the cover of their 1976 self-titled album.

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200

Michael Bedard

(b. 1949) Three-star general Oil on canvas Signed lower right: Michael Bedard 24” H x 18” W $1,500-2,500 Provenance: The Artist Private Collection, gift from the above Private Collection, CA, acquired from the above

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201

Rick Wolfryd

(b. 1953) “X Man,” 2022 Photopolymer resin and beads Signed, titled, and inscribed in marker to the underside: Rick Wolfryd / T.P. / 0017 / H4H / X Man 15” H x 7.5” W x 10.25” D $800-1,200

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202

Rick Wolfryd

(b. 1953) “Open Mind-Open Heart,” 2022, after Keith Haring Black and white screenprint on board with glass bead application Edition: 1/10 Signed, titled, dated, and numbered verso: Chroma aka Rick Wolfryd 35.75” H x 26” W x .25” D $1,000-2,000 Notes: This work is number one from the edition of 10, each of which is a unique variant.

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203

Richard Milani

(b. 1952) “Round Trip #13299,” 1988 Two panels: Acrylic on fiberglass screen with aluminum framing Each: Signed and dated along the stretcher bar: Richard Milani; titled by repute Smallest panel: 28.25” H x 65.5” W; Largest panel: 48” H x 66” W $800-1,200 Provenance: Margo Leavin Gallery, Los Angeles, CA Private Collection, Southern California

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204

Robert Dowd

(1936-1996) Ulysses S. Grant 50 dollar bill Oil on canvas Signed lower right: Dowd; signed again and dated in pencil, verso 42” H x 58” W $3,000-5,000

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205

Robert Dowd

(1936-1996) 2 cent James A. McNeill Whistler stamp, 1968 Oil on canvas Signed lower right: Dowd; signed again and dated in pencil, verso 61” H x 54.5” W $3,000-5,000

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206

Robert Dowd

(1936-1996) United States 6-cent stamp, 1968 Oil on canvas Signed lower right: Dowd; signed again twice and dated in pencil, verso 56” H x 48” W $2,000-3,000

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207

Tarmo Pasto

(1906-1986) “The Sky Looks Down” Oil on canvas Signed lower right: Tarmo Pasto; titled in pen on the stretcher; titled again on a label affixed verso 50” H x 56” W $2,000-3,000 Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 282 written on the stretcher, twice, and again on two adhesive stickers affixed to the frame, verso.

Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s work in its permanent collection.

In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers. John Moran Auctioneers is pleased to offer this work for sale for the very first time. w w w. j o h n m o r a n . c o m 2 9 1

208

209

(b. 1966) “The Inevitability of Gradualness,” 2010 Oil on artist board Signed lower right: Scott Musgrove; titled on the frame plaque 32” H x 22” W

(1915-2020) Untitled, 1985 Stain and graphite on pape Signed and dated lower rig to the frame’s backing boar 40” H x 59.5” W

Scott Musgrove

$2,000-4,000 Provenance: Private Collection Collection of the Sequoyah School, Pasadena, CA, gift from the above

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James Brown

$3,000-5,000

Provenance: Maloney Fine A Private Collection, Southern

er ght: James Brown; dated again on a gallery label affixed rd

Art, Los Angeles, CA n California

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210

Elizabeth Nungeray

(Active 20th Century) “Bush Bean” Oil on canvas Appears unsigned; titled on a label affixed verso 25” H x 34” W $1,000-2,000

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Consign Today Art + Design August 29, 2023 Alice Baber “Axe in the Grove,” 1966

Price Realized: $275,000 Consignment and Auction Inquiries: fineart@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 2 9 6 M o der n & C o n t e m p o r a r y F in e A rt l Tu e sd ay, J u n e 1 3 , 2 0 2 3

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Joan Savo “Untitled #2,” 1959

Price Realized: $28,125

SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 2 9 7

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Condition Reports

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1 Overall good condition. Frame floating and mounted to the back mat.

Framed under Plexiglas: 12” H x 13.25” W x 1.5” D 2 Overall good condition. Scattered and unobtrusive scratches, primarily visible in raking light.

Unframed 3 Overall good condition. The full sheet with deckled edges. Two specks of pale foxing in the extreme upper left corner. Frame floating and mounted to the back mat.

Framed under Plexiglas: 38.125” H x 29.625” W x 1.625” D

4 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 25.25” H x 31” W x 1.25” D 5 Overall good condition. A pea-sized area of grime in the upper left edge of the image. Very minor and unobtrusive surface scratches, primarily visible in raking light. The sheet is loose not mounted.

Frame: 21.75” H x 25.25” W x 1.25” D 6 Overall good condition. Not examined out of the frame.

Condition Reports

Framed under glass: 40.75” H x 30.25” W x 2” D

300

7 Overall very good condition. With full margins. The usual slight offsetting showing verso, all commensurate with age. A 2” long horizontal hairline stain in the upper left corner of the verso of the folded sheet. Framed floating, hinged to the back mat at the verso of the folded sheet with two tiny linen hinges.

Framed under Plexiglas: 19.25” H x 15.5” W x 0.75” D

8 Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5” D 9 Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5” D 10 Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5” D 11 Overall good condition. The full sheet. Framed floating and mounted to the back mat with four pieces of archival tape.

Framed under Plexiglas: 13” H x 16” W x 1.5” D 12 Overall good condition. Full sheet with deckled edges. Pea-sized or smaller areas of pale staining scattered primarily throughout the main figure’s face and in the swimming figures in the background.

Pinhead-sized or smaller areas of occasional grime scattered throughout.

Unframed but mounted to a back mat.

13 Overall fair condition. The sheet is trimmed down along the upper and lower edge from the original full sheet of 23” H x 35” W. A speck of unobtrusive grime near the upper right margin edge. The sheet, is loose not mounted.

Framed under glass: 11” H x 35.75 W x 1” D 14 Overall good condition. With wide margins. Hinged to the back mat with two pieces of tape along the upper edge, verso.

Framed under glass: 44.25” H x 32.125” W x 1” D

15 Each overall good condition. With margins. The colors fresh. Loose as issued. The original black folio box with metallic silver embossing in good condition.

21 Overall good condition. The contents are loose, as issued. The original black cloth-covered portfolio box also in good condition.

Black folio box: 15” H x 16.575” W x 0.75” D

Black portfolio box: 18.75” H x 12.75” W x 1.875” D

16 Overall good condition. A 0.5” vertical crease in the upper left section of the yellow pigment. Specks of occasional grime scattered throughout. Not examined out of the frame.

22 Overall good condition. The full sheet and the colors fresh. A large “L” shaped, dark stain in the blue sphere. Evidence of previous hinging along the upper and lower margins, verso.

Framed under glass: 33.25” H x 25.25” W x 0.75” D

Unframed

17 Overall good condition. Full margins. Very minor toning to the sheet. A pea-sized area of extremely pale staining along the upper right margin edge.

A 1” horizontal tear along the left edge, at center.

Scattered handling creases throughout the margin edges. The verso with flecks of scattered and stray black ink in the right margin edge. Unobtrusive surface scratches scattered in the image, primarily visible in raking light. Hinged to the back mat with white linen tape along the upper sheet edge, verso.

23 Overall good condition. The full sheet. Minor handling creases scattered primarily throughout the outer edges. Specks of occasional and unobtrusive grime commensurate with age. Hinged to the overmat with clear tape along all four edges.

18 Overall good condition. The colors slightly attenuated near the lower edge. The sheet is tipped to a speckled cream-colored paper support sheet at the verso of the lower sheet corners.

Framed under glass: 28.625” H x 22.625” W x 2” D 19 Note that this lot is lacking four screenprints from the original set of eight. Each of the four screenprints are in overall good condition. The full sheet, loose, as issued. The pages of the book with occasional soft creasing and handling marks, primarily at the outer edges and corners, and the original red fabric covering of the book’s outer boards slightly discolored and/or worn, all commensurate with age and use.

Four loose screenprints housed within the book measuring:17.5” H x 14” W x 0.25” D 20 Overall good condition. A 2.5” horizontal crease along the upper edge, at left. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 49” H x 40.5” W x 1.5” D

24 Overall generally good condition. The full sheet with deckled edges along two sides. Slight toning throughout. A few very small scattered spots and specks of gold pigment, the largest approximately pea-sized, in the red and black near the center of the upper edge. A rice-sized reverse pressure mark in the red at upper right. An unobtrusive faint reverse stain, approximately 1.25” H x 0.5” W, in the blank at the lower right. Remnants of black adhesive tape on verso in eight spots.

Framed under glass: 34” H x 48” W x 1.5” D 25 Overall fair to good condition. This sheet has been trimmed from the original full sheet of 28.25” H x 41.375” W, along the left edge, deckled edges are still apparent on the right and bottom edges. The sheet with minor toning, and 0.5” stripes of light staining around the upper, lower, and right margins of the sheet. Two vertical bands of light staining along the left edge of the sheet stretching the full width of the sheet, each measuring approximately 1.5” in width. The sheet it loose, not mounted.

Frame: 35” H x 44.25” W x 1.5” D 26 Overall good condition. Minor toning throughout the sheet. Framed floating and mounted to the back mat.

Framed under glass: 36.25” H x 30.25” W x 1.5” D

Condition Reports

Framed under glass: 37” H x 32” W x 2” D

Framed under Plexiglas: 36.875” H x 29.625” W x 1.5” D

301

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

Framed under Plexiglas: 55” H x 47” W x 1.5” D 28 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 23.5” H x 21.5” W x 2” D

Framed under glass: 24.875” H x 30.625” W x 1.25” D

29 Overall good condition. Artist pinholes along the outer edges from the spinning process used by the artist. Framed floating and mounted to the back mat with clear tape, verso.

35 Overall good condition. Full margins with deckled edges. Extremely pale matt staining on the verso.

Two 0.50” horizontal areas of surface skinning from old tape residue, verso. The sheet is loose, and secured to the back mat with clear archival corners.

Framed under glass: 25.75” H x 25.75” W x 1” D

Framed under glass: 18.625” H x 25.375” W x 1.5” D

30 Overall good condition. Artist pinholes along the outer edges from the spinning process used by the artist. Framed floating and mounted to the back mat with clear tape on the outer edges of the verso.

36 Each overall good condition. Full sheet with deckled edges. The second with minor toning, primarily throughout the outer edges. The upper left and right extreme corners are slightly and unobtrusively dogeared. Hinged to the back mat with two pieces of archival tape along the upper edge, verso.

Framed under glass: 31” H x 29” W x 0.75” D 31 Overall good condition. With full margins. Framed floating and mounted to the back mat.

Frame: 37” H x 31” W x 2” D 32 Overall good condition. With margins. Very minor handling creases in the upper and left margin edges, primarily visible in raking light. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 34.125” H x 25.625” W x 1.625” D

Condition Reports

34 Overall good condition. The sheet retains its wide, possibly full margins. Toning throughout the recto and verso, and mat burn along all four extreme margin edges. Artist pinholes at each of the four extreme margin corners. A speck of grime in the upper right margin edge, not affecting the image.

Hinged to the overmat in multiple places from the edges of the verso with tape.

33 Overall good condition. Full sheet with deckled edges. Two small pieces of old brown tape affixed to the upper left and right corners, verso. The sheet is loose, and secured to the back mat with clear archival corners.

Framed under glass: 25.25” H x 20.625” W x 1.5” D

Framed under glass: 21” H x 17.75” W x 1.5” D 37 Overall good condition. Full margins with deckled edges. Three small areas of remnants of old hinging along the upper margin edge, verso. The sheet is loose not mounted.

Framed under glass: 26.625” H x 23.25” H x 1.375” D 38 Overall good condition. Full margins with deckled edges. Pale mat staining throughout the margins, and the colors slightly attenuated. Mounted to the back mat.

Framed under glass: 39.5” H x 29.75” W x 2” D 39 Overall good condition. The full sheet. A very soft, horizontal, approximately 1.5” long handling crease near the lower left corner, showing mostly on the verso. Three unobtrusive, pea-sized areas of offwhite pigment near the outer edges, verso, showing only on the verso. Small remains of old glassine hinges in places on the verso. The paper slightly toned, commensurate with age. The sheet is loose, secured to the back mat with clear, archival corners.

Framed under glass: 42.5” H x 32.5” W x 1.5” D

302

Framed under glass: 38.75” H x 29.25” W x 1.375” D 41 Overall good condition. The full sheet with deckled edges. Minor toning to the sheet, primarily throughout the outer margin edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 62” H x 46.25” W x 4” D 42 Overall good condition. The full sheet with deckled edges. A soft and very unobtrusive handling crease at left, visible only in raking light. Framed floating and hinged to the back mat at the verso of the sheet corners and in one place at the verso of the left and right sheet edges.

Framed under Plexiglas: 30” H x 36” W x 1” D 43 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 92.25” H x 48.5” W x 1.5” D 44 Overall good condition. The colors fresh. At least nine of the images with full margins. Image #2, on blue paper, with a few very minor handling creases at the margin edges. Images #3 and #4 with some scattered and unobtrusive pinpoint-sized foxing showing slightly in the margins and on the verso. Image #3 with two small patches of blue printer’s ink offset on the verso. Image #5, on smooth black paper, with scattered pinhead-sized slight surface abrasions in the margins, visible mostly in raking light (this same condition showing on some of the other examples we have seen of this particular image). Image #7 with some scattered pale stains at the verso of the upper and lower left margin corners, some of which shows through to the recto very slightly and unobtrusively in the upper left margin corner. Loose as issued. The original hinged black wooden portfolio box with color-embossed cover embellished with miniature images and list of plates in good condition.

Wooden portfolio box: 21.5” H x 28.5” W x 2” D

45 Overall good condition. With full margins. Framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 32” H x 40” W x 1.5” D 46 Overall good condition. With full margins. Minor toning to the sheet and mat burn along all four margin edges. Specks of pale foxing and minor handling creases scattered primarily throughout the outer edges. Hinged to the back mat with white linen tape in two places at the verso of the upper margin edge and secured with clear archival corners at each of the lower corners.

Framed under glass: 27.75” H x 23.75” W x 1.625” D 47 Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pea-sized or smaller areas of foxing and reverse staining scattered throughout the margin edges. Hinged to the back mat in two places of the upper margin edge, verso, and secured with clear archival corners at each of the four margin corners.

Framed under Plexiglas: 34.625” H x 36.625” W x 1.25” D 48 Overall good condition. With full margins. A good impression. Specks of grime and unobtrusive foxing scattered throughout the outer margin edges. Minor handling creases and rippling along the outer margin edges. The lower right corner slightly dog-eared.

Hinged to the back mat with white linen tape in two places along the verso of the upper edge.

Framed under Plexiglas: 28” H x 25.625” W x 1” D 49 Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pinhead-sized or smaller areas of foxing throughout the margin edges. Scattered handling creases scattered throughout the outer margin edges, primarily in the corners, the largest measuring 1.25” diagonally along the lower right corner. An unobtrusive pinhead-sized area of paper loss at the tip of the lower right corner. Hinged to the back mat with white archival tape in three places at the verso of the upper margin edge and secured with clear archival corners at each of the lower corners.

Framed under Plexiglas: 27.25” H x 32” W x 1” D

Condition Reports

40 Overall good condition. The full sheet and the colors fresh. An unobtrusive soft handling crease near the upper edge, at right, visible only in raking light. The sheet is framed floating, hinged to the back mat in various places around the verso of the sheet edges.

303

50 Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pinhead-sized or smaller areas of foxing scattered throughout the margin edges and verso. Old tape remnants from previous hinging along the upper edge, verso. Hinged to the back mat from the verso of the upper margin corners with white archival tape.

Condition Reports

Framed under Plexiglas: 30.24” H x 24.625” W x 1” D

304

55 Overall good condition. With margins. Minor toning throughout the sheet. A 1.375” H x 10.25” W area of pale staining along the lower edge, at left, and a 1” H x 2.75” W of pale staining in the upper edge, right of center. Handling creases scattered throughout, the largest measuring 7” along the figure’s chest, mostly visible in raking light. A 0.5” horizontal tear in the lower edge, at left. Hinged to the back mat with clear archival corners.

Unframed

51 Overall good condition. Full sheet with deckled edges. Minor toning to the sheet margins and mat burn along the four sides. A 1” horizontal area of surface skinning from old hinging tape. The sheet is hinged to the overmat with white archival tape in two places from the upper edge, verso.

56 Each overall good condition. Both include original foam core packaging and box.

Unframed

Framed under glass: 28.5” H x 22.5” W x 1.25” D

52 With full margins. Toning throughout and pea-sized or smaller foxmarks scattered throughout the margin edges. The colors attenuated. Handling creases scattered throughout, the largest measuring 7.5” diagonally in the upper left quadrant of the image and partially running through the figure’s upper chest.

Two pale stains on the figure’s body, the largest measuring 2.625” H x 5.625” W and along the right-side of the figure’s chest. Two areas of brown residue in the upper left and right margin corners, the largest measuring 2” H x 1” W. A 0.375” vertical tear in the upper edge, at right. An artist pinhole in the platemark of the upper edge, at center. The sheet is loose, and secured with four clear archival corners to the back mat.

58 Overall good condition. Minor toning throughout.

Not examined out of the frame.

Unframed

60 Overall good condition. The sheet retains its wide, possibly full margins, with deckled edges. Toning to the recto and verso, and mat burn along all four extreme margin edges. Very minor handling creases scattered throughout the margin edges. 1” H x 1” W pale staining along the left and right margin edges, from the white hinging tape verso. Hinged to the overmat with various pieces of tape along the edges, verso.

53 Overall good condition. The full sheet. A pinheadsized unobtrusive crease along the left edge, at center.

Unframed 54 Overall good condition.

Unframed

57 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 23.25” W x 1.5” D 59 Overall good condition. Full margins with deckled edges. Minor toning and pale mat staining and specks of foxing throughout the margins. Two small pieces of old hinging tape along the upper edge, verso. The sheet is loose and secured with four clear archival corners.

Framed under Plexiglas: 23.5” H x 27.5” W x 1.25” D

Framed under glass: 33” H x 28” W x 2.25” D

61 Overall good condition. Full margins. Slight toning throughout. An occasional pale and very unobtrusive, pinhead-size foxmark. Scattered minor handling creases, and slight rippling at the margin edges, mostly visible in raking light. Hinged to the back mat along the verso of the upper margin edge.

68 Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure scattered throughout. Stretcher bar creases along all four edges.

Framed under glass: 35” H x 29” W x 2” D

Frame: 30.75” H x 36” W x 1.625” D

62 Overall very good condition. With full margins deckled all around, and the usual central vertical crease. The colors fresh. Minor time staining along the extreme margin edges. Framed floating and hinged to the back mat.

69 Visual: Specks of occasional grime commensurate with age. Scattered craquelure in the white circle and square.

63 Overall good condition. Minor toning and pale mat staining throughout. Pinhead-sized or smaller extremely pale foxmarks scattered throughout the outer edges. A 0.75” vertical tear in the upper edge, at right. A line of thin pale staining along the left edge, most likely from the matting underneath. The sheet is completely mounted to the back mat.

Framed under glass: 24.75” H x 20.75” W x 1.5” D 64 Overall good condition. The sheet with deckled edges. Artist pinholes at each of the four corners.

Framed floating and mounted to the back mat.

Framed under glass: 23.75” H x 25.25” W x 2.5” D 65 Overall good condition. Toning to the paper. Hinged to the recto mat with archival tape in the upper corners.

Matted but unframed 66 Overall good condition. The full sheet with deckled edges. Minor toning throughout the verso and pale mat staining to the margin edges. Flecks of extremely pale foxing throughout the four margin edges. The sheet is hinged to the overmat with white linen tape along each of the four sheet edges, verso.

67 Overall good condition. The work is loose, not mounted Unframed

Blacklight: A dime-sized area of touch-up near the right edge, at center.

Frame: 42” H x 32.125” W x 1.25” D 70 Visual: Overall good condition. Dust accumulation and grime. Several very unobtrusive, rice-sized or smaller, areas of paint loss in the orange-painted wood. One of which is near the upper left corner, and the other shows as a delicate, scattered, horizontal series near the center of the right edge. Occasional slight scuffs or tiny chips at the extreme outer edges of the orange-painted wood, commensurate with age.

Blacklight: No evidence of restoration.

Unframed 71 Overall good condition. Very slightly uneven toning along the right sheet edge, visible mostly in raking light. A 0.25” skillfully backed tear near the bottom of the extreme right edge. Framed floating and hinged to the back mat in places at the verso of the sheet edges.

Framed under glass: 19” H x 23.25” W x 1” D 72 Condition: A detailed conservation report from Kamila Korbela of L.A. Art Labs is available upon request.

Frame: 61” H x 13.5” W x 2” D 73 Visual: Overall good condition. Dust accumulation commensurate with age. An area of paint shrinkage left center. Small areas of paint loss right center. An area of instability lower center. Stretcher bar creases along the left and right edges.

Blacklight: No evidence of restoration.

Condition Reports

Framed under Plexiglas: 27.5” H x 36.75” W x 2.25” D

Blacklight: No evidence of blacklight:

Unframed 305

74 Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches, and wear. The wood and Masonite base with a 2” chip to corner. The cord with heavy wear and losses to plastic housing, does not appear to be operational. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

79 Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. Minor handling creases throughout the paper wrapper. The first with the mat board slightly bent along the lower edge, at center.

Mounted to the mat board as issued.

75 Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

80 Handling creases and rippling scattered throughout, primarily along the outer edges. Various 0.5” or smaller tears along the edges. Various surface scratches scattered throughout. Various handwritten notes, most likely from the hand of the artist. Each of the extreme corners are slightly dog-eared. Surface skinning and a dime-sized piece of old brown hinging tape along the upper edge, at right, verso.

The sheet is loose, not matted.

76 Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear. Does not appear to be operational. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

77 Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear, the largest paint chip approximately 2.25” H x 1.75” W. Several chipped areas touched-up with newer paint. Possibly with missing screws of various sizes. The electrical cord with exposed wires and cracking to the plastic housing. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

306

78 Overall good condition. With wide margins. Specks of occasional grime in the margin edges, commensurate with age. Minor and unobtrusive surface scratches scattered throughout the image.

Minor rippling along the upper and lower margin edges. Hinged to the back mat with two pieces of white linen tape along the upper edge, verso.

Framed under Plexiglas: 23.25” H x 19.25” W x 1.25” D

Unframed

Unframed 81 Overall good condition. Minor handling marks and rippling throughout the sheet, primarily along the outer edges. All four extreme corners are slightly dog-eared. The sheet is loose, not matted.

Unframed 82 Overall good condition. Minor surface soiling edge wear and soiling, together with toning throughout, all to the mat board support, and commensurate with age.

Framed under glass: 23.5” H x 18.25” W x 1” D 83 Overall good condition. An occasional small piece of clear tape in places along the edges of the mat board, verso. The work is loose, not hinged to the decorative mat.

Framed under glass:16.25” H x 14.25” W x 1” D 84 Overall good condition. The sheet with at least 0.25” margins on all sides. Very minor surface scratches and handling creases, the largest measuring 2” horizontally along the lower edge, at right, affecting both the image and margin, primarily visible in raking light. The sheet is loose, not mounted.

Unframed

Framed under glass: 18.25” H x 22.25” W x 1” D

86 Overall good condition. Mounted to the backmat and hinged to the overmat with multiple pieces of linen tape along the upper and lower edges, verso of the back mat.

Framed under glass: 16.75” H x 20.75” W x 1” D 87 Each: Overall good condition.

88 Overall good condition. Very slight time staining around the extreme edges of the original mat board supports, commensurate with age. Remains of old, dry, masking tape residue around the edges of the original mat board supports, verso Each framed under glass: 20.5 x 15.25 x 1” D 89 Overall good condition. Very minor creasing along the upper and lower margin edges, primarily visible in raking light. The sheet is loose, not matted.

93 Overall good condition. Areas of fine paint shrinkage scattered throughout the black acrylic outlining.

Framed floating and hinged to the back mat with white archival tape in two places along the upper edge, verso.

Framed under glass: 34.25” H x 27” W x 1” D 94 Overall good condition. Hinged to the back mat with white archival tape in two places from the upper edge, verso.

Framed under Plexiglas: 36” H x 28.75” W 1.625” D 95 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.625” H x 30.625” W x 1.25” D 96 Visual: Overall good condition. An occasional tiny frame abrasion at the extreme edges.

Blacklight: No evidence of restoration.

Frame: 48.5” H x 39” W x 3” D

Unframed

97 Overall good condition. Minor frame abrasion along the left and right edges, with attendant flecks of unobtrusive pigment loss. The sheet is mounted to the back mat with tape at each of the corners, verso.

90 Visual: Overall good condition.

Framed under Plexiglas: 38.5” H x 32.5” W x 1.125” D

Blacklight: No evidence of restoration.

98 Overall good condition. The sheet is mounted to foamboard.

Frame: 38.625” H x 55.625” W x 2” D 91 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.625” H x 55.625” W x 2” D 92 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 19.375” H x 17” W x 2” D

Framed under Plexiglas: 47.25” H x 38.5” W x 1.5” D 99 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Three pin-sized losses to paint verso. Adhesive rubber feet to underside.

100 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A 1.75” horizontal unobtrusive surface scuff along the bridge of the figure’s nose.

Blacklight: No evidence of restoration.

Condition Reports

85 Overall good condition. The upper and lower right extreme corners are slightly creased. Hinged to the overmat with two pieces of clear tape along the upper edge, verso.

Frame: 31” H x 25” W x 1” D 307

101 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 25” H x 19” W x 1” D 102 Visual: Overall good condition. Occasional specks of grime commensurate with age. A pea-sized reverse pressure mark with attendant pigment loss, on the young girl’s pink cuff. A 1” stray black pigment near the lower left edge. Rubbing to the pigment in the lower right corner of where the signature is. Frame abrasion along the upper edge.

Frame: 16.625” H x 18.5” W x 2” D 109 Visual: Overall good condition. Specks of grime commensurate with age. Stretcher bar creases along each of the four sides. A 2” horizontal mark along the lower edge, at left, and a 1” horizontal mark along the lower edge, at right. Very minor frame abrasion along the four extreme edges.

Blacklight: No evidence of restoration.

Frame: 46” H x 33” W x 3.5” D

Frame: 29.75” H x 21.75” W x 3.5” D

110 Visual: Overall good condition. Minor dust accumulation and specks of grime commensurate with age. A 0.75” scuff mark lower left. A tiny fleck of pigment loss lower right.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 29.5” W x 2.5” D

Blacklight: No evidence of restoration.

Frame: 26.75” H x 23.75” W x 2” D

Blacklight: No evidence of restoration.

111 Visual: Overall good condition. Specks of grime commensurate with age. A pinhead-sized pressure mark near the upper right edge. Three areas of scattered black scuffs, the largest measuring 16” horizontally along the lower edge.

Frame: 39.5” H x 33.5” W x 3.5” D

Blacklight: No evidence of restoration.

105 Visual: Overall good condition.

Frame: 47.5” H x 47.5” W x 2” D

104 Visual: Overall good condition. Minor frame abrasion along the upper and lower edges.

Blacklight: No evidence of restoration.

Condition Reports

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

103 Visual: Overall good condition. A stretcher bar crease along the upper edge, primarily visible in raking light. An unobtrusive pea-sized reverse pressure mark on the left side of the figure’s hair.

308

108 Visual: Overall good condition. Occasional specks of grime commensurate with age.

Frame: 26” H x 29.375” W x 3” D 106 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 20.75” W x 2” D 107 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame” 17.25” H x 20.75” W x 2.5” D

112 Overall good condition. An unobtrusive speck of grime at lower center. It is unclear whether the very thin paper overmat, 2” W on each side, affixed beyond the sight size as listed, is in the hand of the artist or was done by a framer at a later date.

Frame: 20” H x 20” W x 1” D 113 Visual: Overall good condition. Occasional specks of grime commensurate with age. Frame abrasion along the upper and lower edges. A pinhead-sized reverse pressure mark near the lower edge, at right.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 31.5” W x 2.5” D

Unframed 115 Overall good condition. With wide margins. Toning throughout the paper. Scattered handling creases throughout, the largest measuring 5” vertically along the upper left margin edge. A dime-sized pale stain along the lower margin edge, at center. The tips of the upper and lower right extreme corners are very slightly dog-eared. Small and unobtrusive tears at the lower left edge and the lower edge, at center.

121 Visual: Overall good condition. Dust accumulation, dirt, and specks of grime commensurate with age.

Blacklight: Apparently no evidence of restoration.

Frame: 28.25” H x 40.25” W x 1.5” D 122 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

123 Visual: Overall good condition. Pinhead-sized or smaller areas of grime commensurate with age. A dime-sized pressure mark near the upper center, primarily visible in raking light. Scattered black surface scuffs.

Blacklight: No evidence of restoration.

Unframed

Unframed

116 Visual: Overall good condition. Minor dust accumulation commensurate with age.

124 Overall good condition commensurate with age.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 18.25” W x 1.75” D 117 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

125 Overall good condition. A pinhead-sized area of pigment loss in the upper edge, right of center.

Minor and unobtrusive surface scratches scattered throughout, primarily visible in a raking light. A dimesized area of gathered black pigment near the upper left edge. Very minor abrasion along the upper and lower edges.

Unframed

118 Each: Overall good condition. Slight handling marks, commensurate with age and material.

126 Overall good condition with scattered minor scuffs to the patinated finish commensurate with age.

Unframed

127 Overall good condition. Dust accumulation commensurate with age. A 1” horizontal tear in the lower right edge. Pea-sized black dots along the edges and center, from the nails along the stretcher, verso. Soft surface scratches scattered throughout the outer edges.

119 Each: Overall good condition. Slight handling marks, commensurate with age and material.

Unframed 120 Visual: Overall good condition. Dust accumulation and grime commensurate with age. A 1” x .5” area of paint loss and instability in the center. The canvas is bowed out upper center.

Blacklight: No evidence of restoration.

Frame: 27” H x 31” W x 2.25” D

Frame: 60.75” H x 70.75” x 1.25” D

Condition Reports

114 Overall good condition. With wide margins. Toning throughout the paper. Scattered handling creases throughout, primarily in the lower left and upper right corner, and the largest measuring 3.5” diagonally in the lower left corner. Scattered peasized or smaller foxmarks, primarily along the outer edges. A pinhead-sized pinhole along the right edge, at center.

309

128 Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure in the lower right quadrant, upper left corner, and the man’s right cheek. Spots of paint loss in the man’s hair, beard, and right cheek. Paint shrinkage and areas of instability in the man’s hair, beard, and mustache.

Blacklight: A 1.5” x 2.25” area of restoration upper left.

Frame: 38” H x 45.5” W x 2” D 134 Visual: Overall good condition.

129 Overall good condition with scattered scuffs and light scratches commensurate with age. Asa well, there are several knicks to the enamel finish along the edges throughout.

Blacklight: No evidence of restoration.

Unframed 131 Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 59.5” H x 48.5” W x 1.25” D

Condition Reports

Blacklight: No evidence of restoration.

Frame: 48” H x 40.25” W x 1.25” D

130 Overall good condition. Specks of occasional grime commensurate with age. Pea-sized or smaller areas of foxing and minor handling creases scattered throughout. Scattered dime-sized or smaller pieces of old black tape and white tissue paper adhered to the verso. A 1” diagonal line of stray red pigment along the right edge, at center. The sheet is loose, not mounted.

310

133 Visual: Overall good condition. Dust accumulation commensurate with age. Very fine paint shrinkage scattered in the impasto. A dime-sized pressure mark near the lower edge, right of center. Pea-sized areas of brown paper-like residue on the surface of the canvas, scattered in the center.

132 Overall good condition. Scattered handling creases, primarily in the outer margin edges. Old tape residue along the extreme upper edge. Pale staining throughout the center of the verso, not affecting the recto. Three pieces of white linen tape, verso.

Framed under Plexiglas: 35.75” H x 30.75” W x 2.25” D

Unframed 135 Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Stretcher bar creases along the left and right side. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 47.25” H x 47.25” W x 1.5” D 136 Visual: Overall good condition. Craquelure scattered throughout. A small area of varnish discoloration right of center.

Blacklight: No evidence of restoration.

Frame: 37” H x 28” W x 1.5” D 137 Overall good condition with minor scattered scuffs, scratches, and indentations to the painted wood surface commensurate with age. One area of loss to the wood on the verso, radiating from the hanging hole, approximately 0.5” in length 138 Overall good condition with minor scattered scuffs, scratches, and indentations to the painted wood surface commensurate with age. One area of loss to the wood on the verso, radiating from the hanging hole, approximately 0.75” in length. As well, there is one significant white scuff approximately 1.5” in length on the lower third of the recto.

Blacklight: No evidence of restoration.

Frame: 60.5” H x 50.5” W x 1.375” D 140 Visual: Overall good condition. A 0.75” vertical area of pigment loss near the center, at left. Unobtrusive and soft scattered surface scratches, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 50.5” H x 60.75” W x 1.375” D 141 Overall good condition. Toning to the paper. The right edge of the paper is perforated. Mounted to the recto mat with masking tape along four edges of the verso.

Frame: 20.75” H x 26.75” W x 1.5” D 142 Condition report available upon request.

147 Visual: Overall good condition. Minor crazing scattered through some of the lighter pigments. A small area of paint loss and instability in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 33” H x 43” W x 1.25” D 148 Visual: Overall good condition. Minor dust accumulation in some of the impasto and grime commensurate with age. Dust accumulation in some of the impasto. A small line of craquelure lower center.

Blacklight: No evidence of restoration.

Frame: 33” H x 43” W x 1.5” D 149 Visual: Overall good condition. Scattered flecks of pigment loss throughout.

Blacklight: No evidence of restoration.

143 Condition report available upon request.

Frame: 17.25” H x 21.25” W x 2.25” D

144 Visual: Overall good condition. Minor dust accumulation, dirt, and grime commensurate with age.

150 Overall good condition with minor scuffs and darkening/oxidation to aluminum commensurate with age. One of the cast towers is loose at the mount and moves left to right on the dowel. Light scuffing and scratching to the wood base.

Blacklight: Apparently no evidence of restoration.

Difficult to read under uneven varnish.

Frame: 31.25” H x 31.25” W x 1.5” D 145 Overall good condition with oxidation and corrosion commensurate with age and weathering.

146 Visual: Overall good condition. Minor dust accumulation in some of the impasto.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 42.5” W x 1.5” D

151 Overall good condition with scattered scuffs, scratches, nicks and dust accumulation commensurate with age.

152 Overall good condition with minor scuffs, scratches, and darkening/oxidation to bronze commensurate with age. Velcro pads and mounting putty adhered to interior verso.

Condition Reports

139 Visual: Overall good condition.

311

153 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure throughout. Stretcher bar creases along each of the four sides. Scattered pinhead-sized or smaller areas of pigment loss, primarily in the impasto.

Blacklight: A 8” H x 3” W area of touch-up near the left edge, at center, and with an attendant patch verso.

Frame: 36.75” H x 48.75” W x 1.625” D 154 Visual: Overall good condition. Specks of dirt and grime commensurate with age. A pea-sized pressure mark near the upper edge, at center. A stretcher bar crease along the left edge.

Blacklight: No evidence of restoration.

Frame: 45.375” H x 55.625” W x 2.25” D 155 Visual: Overall good condition. Occasional specks of grime commensurate with age. Craquelure scattered throughout. Fine paint shrinkage scattered primarily throughout the outer edges. Stretcher bar crease along the lower edge. An 11” soft and unobtrusive surface scratch along the upper edge, at center. A pinhead-sized reverse pressure mark in the lower edge, at center, from a nail protruding from the verso.

Blacklight: No evidence of restoration.

Frame: 51” H x 43” W x 1.625” D

Condition Reports

156 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Moran’s does not guarantee the working condition of electronic items.

312

157 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 158 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

159 Overall good condition. Approximately 1.5” H x 0.5” W area of surface skinning in each of the four corners. Specks of scattered foxing, primarily throughout the outer edges. Artist thumbtacks at each corner. Two dime-sized areas of pale staining in the upper left and right corners. Not examined out of the frame.

Framed under glass: 30.25” H x 30.25” W x 0.75” D 160 Condition: Overall good condition. Paint shrinkage scattered throughout. Lines of craquelure in the center.

Blacklight: No evidence of restoration.

Frame: 9.75” H x 7.25” W x 1.25” D 161 Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Minor stretcher bar creases along the four sides, primarily visible in raking light. Old glue residue scattered throughout the collaged pieces.

Blacklight: No evidence of restoration.

Frame: 68.125” H x 40.25” W x 1.75” D 162 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Unframed 163 Overall good condition with oxidation and corrosion commensurate with age and weathering.

164 Visual of each: Overall good condition. Specks of occasional grime commensurate with age. Minor and unobtrusive surface scratches, with flecks of pigment loss scattered throughout. A hole in the upper edge, at center, from a nail, verso. The first with a rice-sized yellow residue adhered to the surface near the upper edge, right of center. The second with the board cracking along the upper edge.

Blacklight of each: No evidence of restoration.

Unframed

Blacklight of each: No evidence of restoration.

Unframed 166 Visual of each: Overall good condition. Specks of occasional grime commensurate with age. Minor and unobtrusive surface scratches scattered throughout.

A hole in the upper edge, at center, from a nail, verso. The smallest with old paper and tape residue scattered throughout the outer edges.

Blacklight of each: No evidence of restoration.

Unframed 167 Visual: Overall good condition. The cloth is not uniform and there are areas where it has been cut on the sides, in the hand of the artist, and intended for the look of the work.

Blacklight: The lower edge, at left of the cloth, fluoresces when viewed under blacklight, measuring approximately 7” H x 5” W. Framed under Plexiglas: 61” H x 31.75” W x 2” D 168 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered areas of rust throughout. Green felt applied to the underside.

169 Overall good condition. A 0.25” unobtrusive tear in the lower edge, at right. Artist pinholes at the upper left and right corners. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 51.375” H x 43.625” W x 2.5” D

171 Visual: Overall good condition. Dust accumulation commensurate with age. Craquelure scattered throughout.

Blacklight: No evidence of restoration.

Unframed 172 Overall good condition. With margins. Specks of stray pigment scattered in the margin edges.

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

Framed under Plexiglas: 40.125” H x 52.125” W x 2.” D 173 Overall good condition. With margins. Specks of stray pigment scattered in the margin edges.

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

Framed under Plexiglas: 52.125” H x 40.125” W x 2” D 174 Overall good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 52.125” H x 40.125” W x 2” D 175 Overall good condition. Minor toning throughout the sheet. An 8.375” horizontal crease with attendant and extremely pale staining along the center, slightly affecting the image. Two pea-sized pressure marks along the center of the image, at right. A 1.75” vertical pale stain along the upper right edge.

Handling marks and rippling, primarily throughout the outer edges and corners, the largest measuring 2.25” vertically along the lower right corner. The sheet is loose, not mounted.

Unframed

Blacklight: No evidence of restoration.

176 Visual: Overall good condition. Surface dirt and grime commensurate with age. Scuff marks scattered throughout, the largest a 6” line upper left and a 5.5” line right center. A very small indentation in the canvas upper left.

Unframed

Blacklight: No evidence of restoration.

170 Visual: Overall good condition.

Frame: 30” H x 24” W x 1.5” D

Condition Reports

165 Visual of each: Overall good condition. Specks of occasional grime commensurate with age. A hole in the upper edge, at center, from a nail, verso. Minor surface scratches scattered throughout, the largest measuring 5” diagonally in the second work, near the upper left edge.

313

177 Overall good condition. Very minor toning to the paper. Specks of unobtrusive foxing scattered in the lower quadrant. Handling creases scattered throughout. A dime-sized area of pale staining in the lower right corner. Not examined out of the frame.

Framed under glass: 31.75” H x 25.5” W x 1.375” D 178 Overall good condition commensurate with age. The verso with very faint soiling/flood lines, likely from moisture.

179 Overall good condition commensurate with age. The verso with a 2” soiling spot, likely from moisture, and two small spots of stray dye in the lower corners.

180 Overall fair to good condition with oxidation/ corrosion to steel and dust accumulation commensurate with age and weathering from outdoor installation.

181 Visual: Dust accumulation and specks of occasional grime commensurate with age. Three holes in the canvas in the outer edges, the largest measuring 2” H x 9.25” W along the upper edge, at right. A 1.25” vertical surface scratch with attendant and unobtrusive pigment loss.

Blacklight: Two areas of restoration in the center, the largest measuring 2” H x 5” W with an attendant patch verso, left of center.

Frame: 49.75” H x 58” W x 1.5” D 182 Overall very good condition. Artist’s pinholes in the corners. Some handling creases throughout, likely intrinsic to the creation of the artwork.

Condition Reports

Framed under glass: 21.5” H x 22.25” W x 1.75” D 185 Visual: Overall good condition. A small line of craquelure right center. Two spots of white paint in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 18” W x 2” D 186 Visual: Overall good condition. Minor toning to the paper, primarily along the outer edges. Handling creases scattered throughout, mostly visible in raking light. Pea-sized or smaller foxmarks scattered throughout the verso. Artist pinholes at each of the four corners. The sheet is loose, not mounted.

Blacklight: No evidence of restoration.

Framed under glass: 29” H x 23” W x 0.75” D 187 Visual: Overall good condition. Minor dirt and specks of grime scattered along the outer edges, commensurate with age. A pea-sized area of unobtrusive pigment loss in the blue pigment, right of center.

Blacklight: No evidence of restoration.

Unframed

183 Visual: Overall good condition.

188 Visual: Overall good condition. A pea-sized area of unobtrusive pigment loss in the upper left corner.

Two pinhead-sized holes from old nails along the upper edge.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 31.25” H x 46.25” W x 2” D

Frame: 43.25” H x 33.625” W x 1.375” D

Framed under Plexiglas: 28.75” H x 42.75” W x 2” D

314

184 Overall good condition. Minor handling creases, mostly visible in raking light, and primarily scattered along the outer edges. A 0.25” horizontal tear in the upper left edge. Hinged to the overmat with two long pieces of white linen tape along the upper and lower edges, verso.

190 Visual: Overall good condition. Not examined out of the frame.

195 Visual: Overall good condition. Dust accumulation commensurate with age. Paint shrinkage scattered primarily throughout the impasto. Frame abrasion along the left edge. The left edge with cracking and pieces of the Masonite broken off. Flecks of unobtrusive pigment loss scattered throughout the impasto.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 46.25” H x 42.25” W x 1.5” D

Frame: 51.25” H x 47.5” W x 1.125” D

191 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 24.25” H x 72.25” W x 2.5” D 192 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 36.75” H x 47.75” W x 2” D 193 Visual: Dust accumulation and grime commensurate with age. Craquelure throughout. A 1.75” H x 1” W area of paint loss in the trombone and a small spot of paint loss upper left. The canvas is loose and bowed out across the center.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 45.25” W x 2.5” D 194 Visual: Overall good condition. Dust accumulation, dirt, and specks of grime commensurate with age.

Pinhead-sized or smaller areas of pigment loss in the lower center.

196 Visual: Overall good condition. Dust accumulation commensurate with age. Frame abrasion with attendant specks of pigment loss along the upper edge. Scattered flecks of unobtrusive pigment loss in the impasto.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 52” W x 1.5” D 197 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 198 Visual: Overall good condition. Scattered areas of fine craquelure primarily throughout the outer edges.

Surface abrasion with attendant flecks of unobtrusive pigment loss in the upper left and lower left and right extreme corners.

Blacklight: No evidence or restoration.

Unframed

Blacklight: No evidence of restoration.

199 Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. Various surface scuffs scattered throughout the outer edges, the largest measuring 9” upper left.

Frame: 40.25” H x 37” W x 1.75” D

Blacklight: No evidence of restoration.

Unframed 200 Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 18.75” W x 1.625” D

Condition Reports

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

315

201 Overall good condition commensurate with age.

Minor scattered areas of loss to beadwork.

202 Overall good condition commensurate with age.

203 Overall good condition.

Unframed 204 Visual: Overall good condition. Occasional specks of grime commensurate with age. The border of the canvas wrapped in duct tape, not affecting the painting.

Blacklight: No evidence of restoration.

Unframed 205 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 206 Visual: Overall good condition. Occasional specks of grime commensurate with age. Two 1” vertical surface scuffs along the upper left edge.

Blacklight: No evidence of restoration.

Unframed

Condition Reports

207 Visual: Overall good condition. Dust accumulation commensurate with age. Craquelure showing mostly at the corners. Several small and unobtrusive touches of paint appear to have accidentally transferred onto the canvas along the right edge when the artist painted the wood frame.

316

Blacklight: No evidence of restoration.

Frame: 58” H x 64” W x 1” D 208 Visual: Overall good condition. Craquelure and crazing throughout. A few small areas of varnish discoloration scattered throughout the horse.

Blacklight: Apparently no evidence of restoration.

Difficult to read under uneven varnish.

Frame: 39.25” H x 29.25” W x 1” D

209 Overall good condition. A 1” horizontal tear in the upper left edge and a 0.25” vertical tear in the lower edge, right of center. Handling creases scattered primarily throughout the outer edges. Three artist pinholes along the upper edge. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 69” H x 49” W x 1.75” D 210 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 37.25” W x 1.25” D

317

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Co-Head of Sale, Fine Art Director Jenny Wilson Co-Head of Sale, Post-War & Contemporary Fine Art Specialist Hayden Hunt Senior Vice President

Morgana Blackwelder, AAA

Fine Art Department Administrator Operations Coordinator Furniture & Decorative Arts Department Administrator

Ian Anderson Alek Ellis

Silver, Western and American Indian Cataloguer

Sally Andrew

Vice President, Furniture & Decorative Arts Director Vice President, Silver, Western, and American Indian Specialist Post-War & Contemporary Design Specialist Junior Specialist / Senior Fine Art Cataloguer Fine Art Cataloguer Fine Art Cataloguer Senior Furniture & Decorative Arts Cataloguer Furniture & Decorative Arts Cataloguer Jewelry Director

Roland Rynkiewicz Maranda Moran Matthew Grayson

Bobby Cullen Anne Spink Madison Ari Shannon Dailey Sarah Beaver Mollie Burns Keith, G.J.G

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

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

Maha Darwish Consignment Coordinator

Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Joseph Corcoran Jacob Baer Art Handler

MARKETING

Advertising & Marketing Director, Art Design Brenda Smith Graphic Designer

PHOTOGRAPHY

Photographer Photographer Photographer

Nathan Martinez PR Manager/Social Media Brian Olivas

Keith Berson Madison Torres Michael Mizerowski

TRUSTS & ESTATES

Appraisals Director Mariam Whitten, ISA AM Department Administrator Melissa Brownell

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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