California & American Fine Art — November 14, 2023 | John Moran Auctioneers

11.14.23—12pm

SINCE 1969

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

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11.14.23—12pm Sale 260 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

Previews:

Friday, November 10th: 12-4pm Saturday, November 11th: 12-4pm Monday, November 13th: 12-4pm Tuesday, November 14th: Doors open 10am Or by appointment

Meet the Team Jenny Wilson Head of Sale, Director, Fine Art jennifer@johnmoran.com Clark Silva Fine Art Cataloguer clark@johnmoran.com

Client Services Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

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Ray Roberts

(b. 1954) “California Mountains” Oil on canvas laid to panel Signed lower left: Roberts; signed again and titled verso 10” H x 12” W $1,000-1,500 Provenance: K. Nathan Gallery, La Jolla, CA

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Ray Roberts

(b. 1954) “Altadena” Oil on canvas laid to panel Signed lower right: Roberts; titled verso 10” H x 12” W $1,000-1,500

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Ray Roberts

(b. 1954) “Laguna Beach, California” Oil on canvas laid to board Signed lower right: Ray Roberts; signed again and titled verso 12” H x 16” W $1,500-2,000 Provenance: K. Nathan Gallery, La Jolla, CA Notes: A Laguna Beach Plein Air Invitational ink stamp is on the verso.

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Michael Situ

(b. 1956) “Evening Beach” Oil on canvas panel Signed lower right: Michael Situ; signed again and titled in black permanent marker 12” H x 16” W $1,500-2,500

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David Chapple

(b. 1947) Landscape with wildflowers and trees along the coast Oil on canvas Signed lower left: David Chapple 22” H x 28” W $3,000-5,000

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David Chapple

(b. 1947) Path through a landscape with trees and bushes Oil on canvas Signed lower left: David Chapple 18” H x 24” W $1,500-2,500 Provenance: LeKae Galleries of Fine Art, Palm Desert, CA

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Junn Roca

(b. 1948) Lancaster poppies Oil on canvas Signed lower right: Junn Roca 22” H x 28” W $2,500-3,500

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Charles Payzant

(1898-1980) House by a creek Watercolor on thick wove paper Signed lower right: Charles Payzant Image/Sheet: 22” H x 28” W $1,000-2,000

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George Demont Otis

(1879-1962) Mountain landscape with houses Oil on canvas Signed lower right: Geo. Demont Otis 24” H x 30” W $4,000-6,000

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George Demont Otis

(1879-1962) “Morro Bay, California” Oil on canvas Signed lower right: Geo. Demont Otis 20” H x 26” W $2,500-3,500 Provenance: Sold: Sotheby’s, New York, NY, “American Paintings, Drawings, and Sculptures,” September 14, 1995, Lot 134 Notes: There is an inscription on the canvas, verso, that states, “Property of Mrs. Isabelle Bright.”

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George Demont Otis

(1879-1962) “Bolinas Bay” Oil on canvas Signed lower right: Geo. Demont Otis; titled verso 24” H x 30” W $3,000-5,000

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Alfred R. Mitchell

(1888-1972) “Afternoon on the Lake” Oil on board Signed lower right: Alfred R. Mitchell; signed again, titled, and inscribed verso: San Diego, Cal. 16” H x 20” W $6,000-8,000

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Alfred R. Mitchell

(1888-1972) House in California Landscape Oil inset to Arts & Crafts box lid Signed lower left of image: Alfred R. Mitchell Image: 6.25” H x 10.5” W; Box: 5” H x 15” W x 11” D $1,000-2,000

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Arthur Hill Gilbert, ANA

(1894-1970) “Santa Barbara Mission,” 1924 Oil on canvas laid to linen Signed lower right: Arthur Hill Gilbert; titled on various gallery labels affixed to the frame, verso 30” H x 24” W $6,000-8,000 Provenance: Adamson-Duvannes Galleries, Los Angeles, CA Trotter Galleries, Carmel, CA Exhibited: Irvine, CA, The Irvine Museum, “Romance of the Bells,” June 21-October 14, 1995 Notes: This lot is accompanied by a photocopy of an Ebell Club newsletter from 1924 discussing Arthur Gilbert’s work and exhibition at the Ebell Club, specifically mentioning this painting.

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Arthur Hill Gilbert, ANA

(1894-1970) “Marine - Carmel Highlands,” 1935 Oil on canvas laid to canvas Signed and inscribed lower right: Arthur Hill Gilbert / ANA; titled and dated by a photograph of the original verso canvas affixed to the frame’s backing paper 25” H x 30” W $6,000-8,000 Provenance: Trotter Galleries, Carmel, CA

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George Joseph Koch

(1885-1951) “Monterey Green” Oil on panel Signed lower right: G. Koch; titled on a label affixed verso 20” H x 24” W $1,000-1,500 Provenance: Sold: Christie’s, Los Angeles, CA, “California, Western & American Paintings,” April 29, 1999, Lot 40

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William Ritschel

(1864-1949) “A Stiff North Wester” Oil on canvas Signed lower left: W. Ritschel; signed again, titled, inscribed, and monogrammed verso: Monterey Coast; signed again in pencil on the stretcher 30” H x 40” W $6,000-8,000

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William Ritschel

(1864-1949) “Curling Wave” Oil on canvas laid to canvas Signed lower right: William Ritschel; titled in ink on a partial label affixed to the left corner of the stretcher 25” H x 30” W $5,000-7,000

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Percy Gray

(1869-1952) Along the Monterey coastline, 1928 Watercolor on paper laid to board Signed and dated lower left: Percy Gray 14” H x 20” W $5,000-7,000

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Jack Wilkinson Smith

(1873-1949) Coastal eddy with large rocks and crashing waves Oil on canvas Signed lower left: Jack Wilkinson Smith 24” H x 30” W $10,000-15,000

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Jack Wilkinson Smith

(1873-1949) “California Coast” Oil on canvas Signed lower left: Jack Wilkinson Smith; titled in pencil on the stretcher 20” H x 24” W $6,000-8,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art Auction,” October 20, 2015, Lot 85 Private Collection, Rancho Palos Verde, CA, acquired from the above

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Franz Arthur Bischoff

(1864-1929) Rocky coast Oil on canvas Signed lower right: Franz A. Bischoff 13” H x 18.125” W $5,000-7,000 Notes: Affixed to the canvas, verso, is a partial label that says, “Blanchard Hall,” which was a well-known music, art, and exhibition hall in Los Angeles, CA. Franz Bischoff established a studio in the Blanchard building and was a part of the Annual Gold Medal Juried Exhibition from the 1st annual to the 17th annual (with a one-year hiatus during the 11th annual exhibition) that was held at Blanchard Hall.

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Angel Espoy

(1879-1963) Wave crashing against a rocky shoreline Oil on canvas Signed lower right: A. Espoy 20” H x 30” W $2,000-3,000

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Angel Espoy

(1879-1963) Landscape with wildflower meadow Oil on canvas Signed lower right: A. Espoy 30” H x 40” W $3,000-5,000

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Angel Espoy

(1879-1963) Figures in a eucalyptus and wildflower landscape Oil on canvas Signed lower right: A. Espoy 17” H x 21” W $2,000-3,000 Notes: This lot was inventoried in the Smithsonian Inventory of American Paintings, #IAP9F460019 as indicated by a tag tied to the frame wire.

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Franz Arthur Bischoff

(1864-1929) “Blooming Trees” Oil on canvas laid to Masonite Signed lower right: Franz A. Bischoff; titled on a gallery label affixed, verso 6.875” H x 10” W $3,000-5,000 Provenance: The Redfern Gallery, Laguna Beach, CA

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Benjamin Chambers Brown

(1865-1942) “Eucalyptus Road” Oil on canvas Signed and inscribed lower left: Benjamin C. Brown/ California; titled on a label affixed to the stretcher 24” H x 18” W $8,000-12,000

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Benjamin Chambers Brown

(1865-1942) Flower orchard along a path Oil on board Signed lower right: Benjamin Chambers Brown 16” H x 20” W $2,000-4,000

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Benjamin Chambers Brown

(1865-1942) Flower field in front of rolling hills Oil on canvas Signed lower right: Benjamin C. Brown 14.25” H x 18.25” W $2,000-4,000 Provenance: Private Collection, San Marino, CA

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Benjamin Chambers Brown

(1865-1942) “Pool Behind the Dunes” Oil on canvas Signed and titled on the stretcher, possibly in another hand: Benjamin Brown 18” H x 24” W $2,000-4,000 Provenance: Private Collection, San Marino, CA

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Alexis Podchernikoff

(1912-1987) “Eucalyptus” Oil on canvas Signed lower right: Podchernikoff; titled in ink on a label affixed to the stretcher 28” H x 22.25” W $1,200-1,800

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Orrin A. White

(1883-1969) “Stream,” circa 1920 Oil on canvas Signed lower left: Orrin A. White; titled and dated on an exhibition label affixed to the stretcher 27.75” H x 33.75” W $4,000-6,000 Exhibited: Thousand Oaks, CA, Conejo Valley Art Museum, “California Horizons: Romantic Landscapes of the 1920’s,” April 21-June 3, 1979

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Orrin A. White

(1883-1969) Trees in autumn near a stream Oil on canvasboard Signed lower left: Orrin A. White 18” H x 24” W $3,000-5,000

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Rinaldo Cuneo

(1877-1939) Landscape with hills and farmhouses, 1916 Oil on canvas Signed and dated lower left: Rinaldo Cuneo 20” H x 24.5” W $2,000-3,000

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Norman Stiles Chamberlain

(1887-1961) “Springtime,” 1926 Oil on board Indistinctly and faintly signed at the lower right corner; Signed and dated as part of a dedication, verso, that reads: To Miss Maria Madden / from the Norman Chamberlain’s[sic] / In appreciation of her kindness to John / May 27th 1926; titled and inscribed on a label affixed to the frame’s backing paper: near Pasadena 12” H x 16” W $1,000-2,000 Provenance: Trotter Galleries, Carmel, CA

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Angel Espoy

(1879-1963) “Landscape” Oil on canvas Signed lower right: A. Espoy; titled on the frame plaque 20” H x 30” W $2,500-3,500 Notes: A label is affixed to the lower edge of the frame, verso, with a typed inscription that reads: This painting, a pastoral scene with cows crazing, by / A. Espoy, Belongs to Louis A. Christopher, Jr.; Given / to him by his father with the understanding that I, Mitzi / Mee Christopher, should have the use & possession of it / as long as I live. The label is also signed by Mitzi Mee Christopher, the witness signature, Ethel D. Mallerstrom, and dated 9/22/78, all in black ink.

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Paul Lauritz

(1889-1975) “California Hills, at Malibu” Oil on canvas Signed lower right: Paul Lauritz; titled in ink on the stretcher 25” H x 34.25” W $3,000-5,000

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William Posey Silva

(1859-1948) “The Golden Hills of California” Oil on canvas laid to board Signed lower left: William Silva; signed again and titled in pencil, verso 16” H x 20” W $3,000-5,000 Provenance: Sold: Sotheby’s, New York, NY, “American Paintings, Drawings & Sculpture,” October 10, 2007, Lot 248

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Lillie May Nicholson

(1884-1964) “California Hills at Reservoir” Oil on board Signed verso: L.M. Nicholson; titled on gallery label on the frame’s backing board 10.5” H x 14” W $3,000-5,000 Provenance: Montgomery Gallery, San Francisco, CA Notes: There is a painting verso titled, “French Children at Etaples”

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Marion Kavanagh Wachtel

(1876-1954) “Landscape” Oil on canvas Signed lower left: Marion Kavanagh Wachtel; titled in pencil on the verso of the frame and again on a paper label affixed to the stretcher 24” H x 28” W $8,000-12,000

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Hanson Duvall Puthuff

(1875-1972) “Sociable Solitude,” circa 1930 Oil on canvas Signed lower right: H. Puthuff; titled on a gallery label affixed to the frame’s foamboard backing 24” H x 30” W $10,000-15,000 Provenance: Adamson-Duvannes Galleries, Los Angeles, CA Notes: This lot is accompanied by a sheet with Puthuff’s address, biography, and awards. The logo of Adamson-Duvannes Galleries is inscribed on the stretcher.

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(1875-1972) “Foreground and Mountains” Oil on canvas laid to board Signed lower left: H. Puthuff; titled on a label affixed verso 12” H x 16” W

(1886-1933) “At the Foot of California Mountains Near Santa Cal.” Oil on canvas Signed lower left: A.M. Podchernikoff; titled on 26” H x 46” W

Hanson Duvall Puthuff

$3,000-5,000

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Alexis Matthew Podchernikoff

$3,000-5,000

a Barbara stretcher

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Sam Hyde Harris

(1889-1977) “Mountain Retreat” Oil on canvas Signed with the estate stamp lower right: Sam Hyde Harris; signed and titled on the stretcher, possibly in another hand; with the estate ink stamp signed by Maureen St. Gaudens, verso 25” H x 30” W $4,000-6,000 Provenance: Sold: Bonhams, Los Angeles, CA, “California and Western Art,” March 17, 2020, Lot 124

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Harry Raymond Henry

(1882-1974) “Dawn of the Mountains” Oil on canvas Signed lower left: H. Raymond Henry; titled in pen on the upper portion of the stretcher 20” H x 24” W $2,000-3,000

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Francis John McComas

(1875 - 1938) Mountain reflections Oil on panel Signed in pencil, verso: Francis McComas 6” H x 8.5” W $3,000-5,000 Provenance: Schussler Bros. Art Dealers San Francisco, CA Born in Tasmania in 1875, Francis John McComas was just 15 when he enrolled as an art student at Sydney Technical College. At 23, he made his way to San Francisco, via Hawaii and Samoa, by working as a merchant seaman. In San Francisco, he studied with Arthur Mathews at the Mark Hopkins Institute (now the San Francisco Art Institute).

Not long after that, McComas traveled to Paris to study at the Academie Julian, and so began a life full of both domestic and international travel during which he established a broad range of important artistic and social connections that would serve him well.

McComas loved to travel, study, and even exhibit abroad, however, he always eventually returned to his homes in the San Francisco / Monterey / Carmel area of California, which is where he died in 1938 at the age of 63.

McComas is today best known for his Tonalist-style renditions of Northern California and Southwestern land- and seascapes executed in either watercolor or oil, such as the small but very striking work offered here. His artistry was acknowledged quite early by a gallerist in California. Vickery’s in San Francisco hosted a solo exhibition of his works in 1902, at which point he was not yet 30. A decade later, together with Arthur Putnam and Mary Foote, McComas was one of only three California artists invited to participate in the pivotal 1913 Armory show in New York City. Two years later, while also serving as a jury member, he was awarded a bronze medal for one of his ten entries at the PanamaPacific International Exposition in San Francisco. McComas eventually expanded his skills to include mural-sized pieces, many of which he painted on commission for the homes of his wealthy friends. This may have helped him to get noticed by Cecil B. DeMille, who hired him in 1923 to design the sets for his epic film, “The Ten Commandments.”

It is rather ironic that someone who seems to have become such a jet-setter (even meeting both Diego Rivera and Jose Clemente Orozco in Mexico in the 1930s), could have left his artistic mark with works as serene as this view of distant mountains painted on a small wood panel. Francis McComas’s Tonalist paintings “...emphasized simplicity and stillness with visually meditative imagery. [His] practice of minimizing compositions down to the simplest formal elements anticipated early abstraction by a decade.

McComas…blurs Post-Impressionist and modernist styles in a way that is unique to this region.” (Karen Crews Hendon, Curator, in the introduction to her museum’s exhibition, “Monterey Modernism at the Monterey Museum of Art,” April 6 - June 17, 2012)

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Maurice Del Mue

(1875-1955) “Mt. Tamalpais from Greenbrae, Marin County,” 1918 Oil on board Signed and dated lower right: M. Del Mue; titled verso 10” H x 14” W $2,000-3,000 Notes: A biography of the artist is taped to the frame’s backing board.

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Maurice Braun

(1877-1941) “April Sunshine” Oil on canvas Signed lower left: Maurice Braun; titled on the stretcher 16” H x 20” W $6,000-8,000 Provenance: Maxwell Galleries, San Francisco, CA

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Maurice Braun

(1877-1941) “Morning Sun, San Diego Bay” Oil on canvas laid to waxed canvas Signed lower left: Maurice Braun; titled on a gallery label affixed to frame’s backing board 24.25” H x 28.25” W $20,000-30,000 Exhibited: Los Angeles, CA, California Art Club, “The California Art Club Traveling Exhibition” Irvine, CA, The Irvine Museum, “Abundance of Color,” March 22-August 23, 2008

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Aaron Kilpatrick

(1872-1953) “Old Pier, Morro Bay” Oil on canvas Signed lower left: Aaron Kilpatrick; titled on label affixed to stretcher; inscribed verso: 32 20” H x 24” W $3,000-5,000 Provenance: George Stern Fine Arts, West Hollywood, CA Collection of Kevin & Diane Stewart, Palm Springs, CA

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Gunnar Widforss

(1879-1934) “Ark in the Oakland Estuary” Watercolor on paperboard Unsigned 16” H x 20” W $7,000-9,000 Provenance: Bingham Gallery, San Jose, CA Private Collection, Woodside, CA, 1985, acquired from the above Sold: Bonhams, Los Angeles & San Francisco, CA, “California and Western Paintings and Sculpture,” November 21, 2011, Lot 53 Edward D. Storm, Cupertino, CA Trotter Galleries, Carmel, CA Literature: Peterson 616 Notes: This work is recorded and illustrated in the online catalogue raisonné of Gunnar Widforss’ work by Alan Petersen as catalogue entry #616. Inscribed on the verso: This is a genuine watercolor / left unsigned and unfinished / by the artist Gunner Widforss / Daniel McDade / administrator / Subscribed and Sworn to before me a / Notary S G Stephens for County of Coconino / State of Arizona this 23rd day of September / 1936. / S G Stephens / Notary Public

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Kathryn Woodman Leighton

(1875-1952) “Laguna Bay from Arch Beach” Oil on canvas laid to canvas Signed lower left: Kathryn W. Leighton 36” H x 28” W $3,000-5,000 Notes: Kathryn Woodman Leighton painted the same scene of “Laguna Bay from Arch Beach,” in multiple ways and with subtle changes in perspective, palette, and size of the canvas.

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Joe Duncan Gleason

(1881-1959) “The Beautiful Bay of Avalon” Oil on canvasboard Signed lower right: Duncan Gleason; titled on an artist’s label affixed verso 9” H x 12” W $12,000-18,000 Notes: Affixed to the verso is a poem by Jennie H. Giddings: “Sometimes emerald, sometimes blue; But always calling, calling youBeautiful Bay of Avalon.

It ripples and rolls, on its pebbly shore It dimples, and sparkles, and calls once moreBeautiful Bay of Avalon.

Oh the emerald and the blue; Oh this beckoning and calling youWho can resist, and who wants to?

Beautiful Bay of Avalon”

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Maurice Braun

(1877-1941) “Sailing Along” Oil on canvas Signed lower right: Maurice Braun; titled on the stretcher 20” H x 30” W $10,000-15,000 Provenance: Frank Leonard Gallery, Los Angeles, CA Private Collection, acquired from the above

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Maurice Braun

(1877-1941) “San Diego Harbor,” 1941 Oil on canvas Signed lower right: Maurice Braun; titled on an auction label affixed to the stretcher; dated on a note housed in a sleeve affixed to the frame’s foamboard backing 20” H x 24” W $5,000-7,000 Provenance: Sold: Sharon Boccelli & Company, “American & European paintings, W.C., Prints and Sculpture,” March 26, 1994, Lot 60 Notes: There is a note that has a typed inscription that states, “This is one of the last paintings made by Maurice Braun before his death, November 7th., 1941. We feel that it has the sumtotal of those qualities of painting which he developed through some forty years of painting.” Below the typed inscription are ink signatures by Hagel and Ernest Braun, and dated Sept. 9th, 1943, affixed verso.

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Armin Hansen

(1886-1957) “Making Port” Oil on canvasboard Signed lower right: Armin Hansen N.A.; signed again, titled, and inscribed Monterey Cal, all in pencil on the frame’s cardboard backing 12” H x 16” W $15,000-20,000 Notes: The painting is in a Mayen Olson frame.

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Anthony Thieme

(1888-1954) “In Harbor” Oil on canvas laid to board Signed lower right: A. Thieme; titled in ink on a partial label and with the artist’s ink stamp, both verso 11.5” H x 16” W $2,000-3,000

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58

Edgar Alwin Payne

(1883-1947) “The Water Front, Sottomarina, Italy” Oil on canvas Signed lower left: Edgar Payne, titled verso 29” H x 29” W $30,000-50,000 From the sparkling waters of France and Italy and the snow-swept peaks of the Swiss Alps to the rolling hills of California and sunkissed desserts of the American Southwest, American painter Edgar Alwine Payne captured it all on canvas in an illustrious career as one of the United States’ preeminent Impressionist painters.

From the age of fourteen Payne dreamed of being an artist. Born in Missouri, in his late teens Payne traveled through the American South and Midwest painting murals and stage sets, before a minute stint at the Chicago Art Institute in 1907. Like many expressive artists of his time, Payne became bored with the rigid structure of academic art institutions and became a self-taught artist. Payne worked and lived as an artistic nomad, moving between California and Chicago, taking commissions, working on large-scale murals, and, in 1912, marrying fellow artist Elise Phillippa Palmer.

In 1918 the couple settled in Laguna Beach, California, becoming an integral part of the burgeoning art community that was taking root there. Payne helped found the Laguna Beach Art Association in 1918, and became the organization’s first president. From his home base in southern California, Payne ventured out into the California mountains, painting striking scenes of the peaks and valleys of the Sierra Nevada. Payne took on numerous commissions and exhibited throughout the Mid- and Western United States. city with food and other goods, and in the case of Chioggia, wine. The many shallowdraft boats depicted in Payne’s Italian works transported wine from Sottomarina to Venice proper. Payne’s exquisite Italian paintings capture the light and energy of one of the most beautiful cities in the world.

Commissions began to wane after the stock market crash of 1929, and from 1930 onwards Payne made painting the Sierra Nevada’s his primary subject matter. He spent an excessive amount of time finding the perfect angle, the perfect lighting, to put to canvas.

His love of the Sierra Nevada was unrivaled, and even produced a documentary film, “Sierra Journey.” Diagnosed with cancer in 1942, Edgar Payne passed away in 1947, leaving behind an unrivaled legacy of American landscape painting.

Edgar Payne’s works are included in the collections of numerous institutions including the Laguna Art Museum, the Pasadena Museum of California Art, the Crocker Art Museum, Sacramento, and the Indianapolis Museum of Art. Paynes Lake in the Sierra Nevada is named in his honor.

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59

Colin Campbell Cooper

(1856-1937) A boat moored near a bridge Oil on canvas Signed lower right: Colin Campbell Cooper; with the artist’s collection logo and signature ink stamped on the stretcher 18” H x 22” W $5,000-7,000

82

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60

Colin Campbell Cooper

(1856-1937) “Valley of the Arno (Italy)” Oil on board Signed lower left: Colin Campbell Cooper; titled in ink on various label affixed verso 18” H x 22” W $4,000-6,000 Exhibited: San Diego, CA, Fine Arts Gallery of San Diego, “Seventh Annual Southern California Art Exhibition,” 1933 Notes: Two unidentified labels are affixed to the verso.

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61

Alexander Dzigurski

(1911-1995) “Venezia,” circa 1963 Oil on canvas Signed and titled in the lower edge: A. Dzigurski; with the artist’s copyright ink stamp verso; dated on a label affixed to the frame, verso 22” H x 30” W $1,500-2,500

84

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62

Peter Ellenshaw

(1913-2007) Sailing ship with cloudy skies, 1959 Oil on canvas Signed and dated lower left: Peter Ellenshaw 24” H x 36” W $4,000-6,000

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85

63

Peter Ellenshaw

(1913-2007) “Monets Garden,” 1983 Acrylic on canvas Signed and dated lower left: Peter Ellenshaw; titled twice on gallery labels affixed to the frame’s foamboard backing 36” H x 63” W $10,000-15,000 Provenance: Hammer Galleries, New York, NY

86

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James P. Regimbal

(b. 1949) “Tripped Up II,” 1987 Patinated bronze on a wood plinth Edition: 25/50 Signed, titled, and numbered in the casting; titled and attributed on metal plague 15.5” H x 13.5” W x 7.75” D $700-900

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64

Peter Ellenshaw

(1913-2007) “Lough Nafooey, Benbeg Mountain, Mayo,” 1989 Acrylic on canvas Signed and dated lower left: Peter Ellenshaw; titled on a label affixed to the frame, verso 42” H x 72” W $10,000-15,000

88

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65

Granville Redmond

(1871-1935) “After the Rain,” 1908 Oil on board Signed and dated lower left: G. Redmond; titled on a label affixed verso 5” H x 7.5” W $8,000-10,000 Provenance: Kanst Art Gallery, Los Angeles, CA

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89

90

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66

Granville Redmond

(1871-1935) Landscape with eucalyptus groves Oil on canvas laid to board Signed lower left: Granville Redmond 11” H x 14” W $12,000-18,000 Provenance: Laguna Fine Arts, Laguna Beach, CA

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67

Granville Redmond

(1871-1935) “Dusk,” circa 1915 Oil on canvas laid to board Signed lower left: Granville Redmond; titled and dated on gallery labels affixed to the backing of the frame 14” H x 20” W $10,000-15,000 Provenance: Mildred Albronda Trotter Galleries, Carmel, CA Exhibitions: Oakland, CA, The Oakland Museum, December 3, 1988- January 29, 1989

92

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68

Raymond Dabb Yelland

(1848-1900) “Mendocino Coast” Oil on Masonite Signed lower right: R. D. Yelland; titled on a label affixed verso 28” H x 48” W $20,000-30,000 Provenance: Jason Schoen, Westlake Village, CA Exhibited: Laguna Beach, CA, Laguna Beach Museum of Art, “Southern California Artists: 1890-1949,” July 10-August 28, 1979 Oakland, CA, The Oakland Museum, loaned in 1988

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69

Roger Edward Kuntz

(1926-1975) “Laguna Main Beach, Hotel & Old Houses” Oil on canvas Signed lower right: Kuntz; titled in pencil on the stretcher 41” H x 46” W $5,000-7,000

96

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98

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70

Edgar Alwin Payne

(1883-1947) “Surf at Laguna” Oil on canvas laid to waxed canvas Signed lower left: Edgar Payne; titled in ink on Elise Palmer Payne’s business card affixed to the frame’s foamboard backing; and with an alternate title, “Rugged Shore,” written in pen on the upper stretcher bar 28” H x 32” W $30,000-50,000 Provenance: Trotter Galleries, Pacific Grove, CA In addition to the alternate title already mentioned, #440 is written in the same hand on the upper stretcher bar, verso.

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99

71

Edgar Alwin Payne

(1883-1947) “High Sierra Lake Scene” Oil on canvas laid to waxed canvas Signed lower right: Edgar Payne; titled on a gallery label affixed to the back of the frame 12.25” H x 15” W $10,000-15,000 Provenance: Trotter Galleries, Carmel, CA

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72

Edgar Alwin Payne

(1883-1947) “Snow Lake, Sierras” Oil on board Signed; titled on the frame plaque; titled again on a label affixed, verso 12” H x 16” W $10,000-15,000

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73

Paul Grimm

(1891-1974) “High Sierras, California” Oil on canvas panel Signed lower left: Paul Grimm; signed again, titled, and inscribed, verso: Left - Palisades Glacier / over 14000 feet / - From Big Pine 16” H x 20” W $2,000-4,000

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74

Paul Grimm

(1891-1974) “Sunkissed Snow” Oil on canvas Signed lower right: Paul Grimm; signed again, titled, and inscribed, verso: High Sierras 28” H x 36” W $5,000-7,000

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75

John Whorf

(1903-1959) House in a snowy landscape, 1920 Watercolor on paper laid to board Signed and dated lower right: John Whorf Image/Sheet: 16.25” H x 21.5” W $1,200-1,600

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76

George Ames Aldrich

(1872-1941) “Mid-Winter” Oil on canvas Signed lower right: G. Ames Aldrich; titled on the stretcher 25” H x 30” W $3,000-5,000

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77

William Ritschel

(1864-1949) Bavarian hunter Oil on canvas laid to canvas Signed lower right: Will Ritschel 45” H x 30” W $3,000-5,000 Provenance: Private Collection, Los Angeles, CA Sold: John Moran Auctioneers, Pasadena, CA, “California & American Art Auction,” April 17, 2012, Lot 1037

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Henry Martin Gasser

(1909-1981) “View from Kelvin’s Window” Watercolor on paper laid to paper Signed lower left: H. Gasser; signed again and titled in pen, possibly in another hand, verso Image/Sheet: 19.625” H x 24.625” W $3,000-5,000

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79

Wilfrid Mills

(1912-1988) “Angels Flight” Oil on canvas Signed lower right: W. Mills; titled in ink on the stretcher 24” H x 30” W $2,000-3,000

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80

Max Kuehne

(1880-1968) Window-view of the beach Oil on canvasboard Signed lower right: Kuehne 18” H x 14” W $2,000-4,000

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81

Jack Laycox

(1921-1984) “Subway Riders at 55th Street (Mulligans Grill)” Watercolor on paper Signed lower right: © Jack Laycox; signed again, titled, and with the artist’s copyright information, verso Image/Sheet: 15” H x 22.25” W $2,000-3,000 Provenance: Michael Johnson Fine Arts, Fallbrook, CA

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82

Alson Skinner Clark

(1876-1949) “Watertown, New York” Oil on canvas Signed very faintly at the lower right: A.S. Clark; titled on a gallery label affixed to the frame, verso 16” H x 20” W $4,000-6,000 Provenance: Vaughan-Goodman Fine Paintings, Jackson, MS

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John Ross Key

(1837-1920) “World’s Columbian Exposition, Chicago, 1892” Oil on artist board Signed lower left: John R Key; titled on a gallery label, as well as on a catalogue page, both affixed to the frame’s cardboard backing 13.5” H x 21” W $4,000-6,000 Provenance: David David, Inc., Philadelphia, PA Sold: Christie’s, New York, NY, “American Paintings from the Collection of Mrs. George Arden, Part 1,” May 22, 1991, Lot 119

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84

Hugh Bolton Jones

(1848-1927) Stone house with woman and birds, 1878 Oil on canvas laid to canvas Signed and dated lower left: H. Bolton Jones 20” H x 36” W $3,000-5,000

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85

Charlotte Buell Coman

(1833-1924) Houses in a tonal blue landscape Oil on canvas laid to panel Signed lower left: C.B. Coman 33” H x 27” W $2,000-3,000

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86

Nell Gertrude Walker Warner

(1891-1970) “Wash Day at Griffith’s,” circa 1930 Oil on canvas Signed lower right: Nell Walker Warner; titled and dated on a collection label affixed to the stretcher 16” H x 20” W $2,000-3,000 Provenance: The Hilbert Collection, Newport Beach, CA

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87

Eyvind Earle

(1916-2000) “Tree Trunk,” 1970 Oil on Masonite Signed, dated, and inscribed in the lower edge, at center: Eyvind Earle / 139 24” H x 30” W $6,000-8,000 Unique, inspiring, and influential, Eyvind Earle remains one of the most popular of American artists. In an astonishing artistic career, Earle has made his mark on everything from fine art, to animation, to greeting cards. His original paintings and work done for Walt Disney Animation remain some of the most sought-after pieces by collectors.

Eyvind Earle was born into a creative family. His mother was a concert pianist, and his father, Ferdinand Earle, a well-known artist.

Often overbearing and demanding, when Earle was only 10 his father gave him a choice — either read 50 pages of a book or make a painting every day. Earle took the up the challenge, and did both, exhibiting his first solo show of artwork at the age of 14 in France. In 1937, fleeing abuse from his father, Earle bicycled across the United States, painting watercolors and writing in a diary as he went. He exhibited those watercolors in New York City in 1938.

In the late 1930s Earle began taking on commercial work, designing magazine covers for AT&T and architectural publications.

He also began producing Christmas cards, something he would continue to create for the rest of his life (making over 800 individual designs). After taking odd jobs and exhibiting work in the 1940s, Earle landed a position as a background painter at the Walt Disney Studios. Earle’s unique modernist style gained the admiration of Walt Disney, who made him the production designer and color stylist for the masterpiece “Sleeping Beauty,” released in 1959.

After almost 16 years working in animation, Earle returned

to his distinctive style of landscape painting. Until the end of his life Earle produced paintings, scratchboards, drawings, and screenprints, of which this lot is curated from. Earle’s luminous style derived from working multiple applications of color over dark, often black, shapes of underpainting. He melded American Regionalist, Medieval, and midcentury abstraction to create images of intriguing, and often mysterious, scenes of nature. He was awarded the Windsor McCay Lifetime Achievement Award in 1998 and became a Disney Legend in 2015.

“For 70 years, I’ve painted paintings, and I’m constantly and everlastingly overwhelmed at the stupendous infinity of nature.

Wherever I turn and look, there I see creation. Art is creating... Art is the search for truth.” — Eyvin Earle

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William Alexander Gaw

(1891-1973) “Cyprus Trees,” 1941 Oil on canvas Signed lower left: Wm. A. Gaw; titled and dated on a gallery label affixed to the stretcher 16” H x 20” W $1,000-2,000 Provenance: Maxwell Galleries, San Francisco, CA

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90

(1903-1968) “The Green House, Bunker Hill” Watercolor on paper Signed lower right: Emil Kosa Jr.; titled on gallery label affixed to the frame’s backing paper 9” H x 12” W

(1903-1068) Abstract figures in a lan Watercolor on paper Signed lower left: Emil K the lower edge, verso, p Image/Sheet: 22.375” H

Emil Kosa Jr.

$2,000-3,000

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Emil Kosa Jr.

$2,000-3,000

ndscape

Kosa Jr.; inscribed in black marker at possibly in another hand: 3710A H x 30.625” W

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91

Gil Dellinger

(b. 1942) Train on an autumn day Acrylic on canvas laid to foamboard Unsigned 9” H x 12” W $1,000-2,000

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92

Ben Abril

(1923-1995) Angels Flight Railway Oil on canvas Signed lower left: Ben Abril 30” H x 48” W $6,000-8,000 The romance of old California and nostalgia for a lost past of high-rises and vintage Los Angeles coalesce around the work of artist Ben Abril. Old LA is caught in a time capsule in each Abril work, frozen in time in dazzling brushwork and vibrant colors. Capturing a city between the Golden Age of Hollywood and the end of the midcentury, Abril’s work sees the passing of the old, the new, and the old again.

Born in 1923 in Los Angeles, Abril served in World War II in the air force. After a short stint at the Glendale School of Allied Arts (where we learned painting under Arthur Beaumont), Abril worked as a clerk in a post office at night so he could spend his days painting.† Abril was eclectic in his schooling and training, studying landscape painting at the Art Center School of Design, architectural rendering at Chouinard Art Institute (now Cal Arts) and watercolor classes at Otis Art Institute. While an accomplished artist on the side, Abril mainly worked as a cartographer and draftsman for the County of Los Angeles. A series of artistic projects and exhibitions in the mid-1950s and early 1960s cemented Abril’s reputation as an outstanding painter: an exhibition in 1964 prompted actor and art collector Vincent Price to buy out his whole studio. Abril received several high-profile commissions, included a series for the US Navy and a gift for Pope John Paul II. Abril passed away in La Canada Flintridge in 1995 after complications from cancer. A stand-out from many of the other California Scene Painters, Abril’s work was described as such in an exhibition at the Cowie Wilshire Galleries in Los Angeles:

“There

are, nevertheless, few artists among the many southern California scene painters who so obviously enjoy their profession and also manage to convey this exuberance to the observer as does Abril. Whether his subject is taken from the rolling hills, beaches, sunlit slums, or suburbs, he makes swift bold statements in pure blazing colors that emphasize his enthusiasm as well as his often injudicious compositions.” Classic cars, old houses, skyscrapers, vistas of urban and rural, images of California do not spring to life as much as the work of Ben Abril.

This lot depicts one of the most iconic views of old Los Angeles, the famous Angel’s Flight elevated rail. The original funicular railway opened in 1901 and operated until 1969, when it was closed for redevelopment.

Moved and reopened in the 1990s, Angel’s Flight has been operating (off and on) ever since, whisking travelers up from 3rd Street to the Bunker Hill neighborhoods. Angels Flight was added to the†National Register of Historic Places on October 13, 2000.

Ben Abril’s work is held in many prestigious institutions, including the Los Angeles County Museum of Art (LACMA), the Frye Art Museum in Seattle, the Navy History and Heritage Command in Washington D.C., and the Hilbert Museum of California Art in Orange, California. Archival materials of the artist are held in the Natural History Museum of Los Angeles County and the Los Angeles Public Library.

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93

Ben Abril

(1923-1995) “The Demise of the Yellow Car,” 1961 Oil on canvas Signed lower right: Ben Abril; titled, dated, and inscribed on the stretcher: San Pedro 1961 / Los Angeles Railway System 18” H x 36” W $2,000-3,000

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94

Ben Abril

(1923-1995) “Overland” Oil on canvas Signed lower right: Ben Abril; titled on the stretcher 30” H x 36” W $2,500-3,500

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95

Ben Abril

(1923-1995) Houses and cars on Bunker Hill Oil on canvas Signed lower right: Ben Abril 29.5” H x 47.5” W $3,000-5,000 The historic neighborhood of Bunker Hill in Los Angeles began in 1867 with the purchase of land plots by two entrepreneurial developers, French-Canadian immigrant Prudent Beaudry and Stephen Mott. Providing excellent views of the Los Angeles Basin and Los Angeles River, the pair believed the plots would make the perfect location for houses for the elite of Los Angeles. Elegant Queen Anne and Eastlake-styles mansions began to sprout up in the neighborhood, providing the wealthy of Los Angeles a residential escape from the bustle of the city below. But the urban boom of the city after World War I (1914-1918) forced residents to move to other locales (notably Beverly Hills and Pasadena), and the neighborhood collapsed into ruin. The mansions of the wealthy, now boarding houses and slums, were torn down and the land redeveloped in the 1950s and 1960s.

This painting of some of the mansions of Bunker Hill by Ben Abril captures the last days of the historic district.

The vibrant colors and electric, energetic strokes of Abril’s brushwork belies the crumbling on the mansions.

Impressionist application of paint on the main house alludes to the stain and rot of the wooden frame and paneling. Abril was attracted to the old, rundown, and forgotten in his time, and this excellent work displays that affinity; the senescent, the decrepit, squatting in the California sunshine.

Ben Abril’s work is held in many prestigious institutions, including the Los Angeles County Museum of Art (LACMA), the Frye Art Museum in Seattle, the Navy History and Heritage Command in Washington D.C., and the Hilbert Museum of California Art in Orange, California. Archival materials of the artist are held in the Natural History Museum of Los Angeles County and the Los Angeles Public Library.

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Oscar Van Young

(1906-1991) “Pacific Palisades” Oil on board Signed lower right: Van Young; signed again and titled, verso 21.75” H x 28” W $1,500-2,500 Notes: This lot is also inscribed, verso: O.V.Y.#68.

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97

Cyrus Afsary

(b. 1940) Arches of Mission San Juan Capistrano Oil on canvas Signed lower right: Cyrus Asfary 30” H x 54” W $3,000-5,000

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98

Caesar Hernandez

(1909-1996) “First & Broadway Street, Downtown, Los Angeles” Watercolor on paper Signed near the lower edge, at right: Caesar Hernandez; titled on a gallery label affixed to the frame’s backing board Image/Sheet: 21” H x 28.5” W $2,000-3,000 Provenance: Kelley Gallery, Pasadena, CA Notes: On the verso sheet of, “First & Broadway Street, Downtown, Los Angeles,” is another watercolor of a boat out of the water and being worked on.

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99

Emil Kosa Jr.

(1903-1968) “On the Fringe” Watercolor on paper, blindstamp Arches Signed lower right: Emil J Kosa Jr; signed again and titled in pencil, verso Image/Sheet: 22” H x 30” W $5,000-7,000

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100

LeRoy Neiman

(1921-2012) “Vigilant,” 1987 Patinated bronze on a plinth Signed and dated in the casting: LeRoy Neiman 15.5” H x 15.5” W x 7.25” D $1,200-1,800

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101

Mischa Askenazy

(1888-1961) Lights in the city at night Oil on canvas laid to foamboard Signed lower right: M. Askenazy; with the estate ink stamp inscription with an accompanied number in pen, verso: This painting is number 64 from / the estate of Mischa Askenazy 31.5” H x 25” W $6,000-8,000

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102

Ben Foster

(1852-1926) “October in the Litchfield Hills” Oil on canvas Signed lower left: Ben Foster; titled and inscribed in ink on a label, possibly in another hand, affixed to the stretcher: Painted by Ben Foster 30” H x 36” W $3,000-5,000 Provenance: Butterfield & Butterfield, San Francisco, CA, November 11, 1992 Sold: Sotheby’s, New York, NY, “American Paintings, Drawings and Sculpture,” September 23, 1993, Lot 191 Notes: An ink stamp from Anthony Thieme, Boston, MA, on the lower portion of the frame.

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103

William McKendree Snyder

(1848-1930) Fall landscape with trees Oil on canvas Signed lower right: W.M. Snyder 22” H x 36” W $2,000-3,000

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104

William Hart

(1823-1894) “Autumn In Kent Valley,” 1880 Oil on panel Signed and dated lower right: Wm Hart; titled on an exhibition label affixed to the frame, verso 15” H x 12.5” W $3,000-5,000 Provenance: Gill’s Art Rooms, Boston, MA Private Collection, Los Angeles, CA, acquired from the above Exhibited: Los Angeles, CA, Los Angeles County Museum of Art, “American Paintings in L.A. Collections,” May 7-June 30, 1974

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105

Thomas Hill

(1829-1908) Deer in a landscape, 1872 Oil on canvas Signed and dated lower left: T. Hill; inscribed in ink, possibly in another hand, on a label affixed to the frame, verso: Cambridge 36” H x 29” W $10,000-15,000

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106

Ransome Gillet Holdredge

(1836-1899) “Along the Creek,” 1891 Oil on canvas laid to synthetic fabric Signed and dated lower left: R.G. Holdredge 36” H x 22” W $2,000-3,000 Provenance: Sold: Bonhams & Butterfields, San Francisco, CA, “California and American Paintings and Sculpture,” December 8, 2004, Lot 206

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107

Fremont F. Ellis

(1897-1985) “Plowing the Field” Oil on board Signed lower right: Fremont F. Ellis; titled on a gallery label affixed to the frame’s backing board Sight: 9.25” H x 13.5” W $3,000-5,000 Provenance: Fenn Galleries, Santa Fe, NM Notes: A postcard showing a framed image of a church and newspaper article are affixed to the frame’s backing board.

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108

Julian (Robert Julian) Onderdonk (1882-1922) “October Afternoon,” circa 1905 Oil on canvas Signed lower left: Julian Onderdonk 16” H x 24” W $10,000-15,000 Notes: This work is included in an addendum to the online catalogue raisonne “Julian Onderdonk A Catalogue Raisonne,” by Harry Halff

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109

William Slaughter

(1923-2003) “Shady Stream” Oil on canvas Signed lower right: W.A. Slaughter 30” H x 40” W $10,000-15,000 Provenance: Simic New Renaissance Galleries, Carmel, CA Notes: This lot is accompanied by a gallery invoice from Simic New Renaissance Galleries, Carmel, CA, dated March 27, 1996.

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110

William Slaughter

(1923-2003) “Oaks and Vistas” Oil on canvas Signed lower right: W.C. Slaughter 24” H x 36” W $7,000-9,000 Notes: This lot is accompanied by a gallery invoice from Simic New Renaissance Galleries, Carmel, CA 1996.

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111

Lawton Parker

(1868-1954) Spring garden Pastel on paper Signed lower right: Lawton Parker 14” H x 10” W $2,000-3,000

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112

Thomas Addison Richards

(1820-1900) Lakeside landscape with boaters Oil on canvas laid to canvas Signed lower left: T.A Richards 14.5” H x 20.5” W $4,000-6,000

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113

William Louis Sonntag Sr.

(1822-1900) “Landscape with Fisherman” Oil on canvas laid to canvas Titled and attributed via two exhibition labels affixed to the stretcher and frame, verso 12” H x 20” W $2,000-3,000 Exhibited: Los Angeles, CA, Los Angeles County Museum of Art, “American Paintings in L. A. Collections,” May 7-June 30, 1974

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114

19th Century American School

Figures near a water mill in a mountainous landscape Oil on canvas laid to waxed canvas Unsigned 25” H x 31” W $1,000-1,500

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115

William Trost Richards

(1833-1905) Waves crashing at sunset Oil on canvas Signed lower right: Wm. T. Richards 20.25” H x 24.25” W $10,000-15,000 Provenance: Newman Galleries, Philadelphia, PA

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116

John Fery

(1859-1934) Ducks in a pond Oil on board Signed lower right: J. Fery 8” H x 12.25” W $4,000-6,000

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117

Robert Wood

(1889-1979) “So. West Wind” Oil on canvas Signed lower left: Robert Wood; titled and with the artist’s name and copyright ink stamp verso 20” H x 24.25” W $2,000-3,000

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118

Donald Teague

(1897-1991) “Greenwich” Watercolor on paper laid to paperboard Signed, titled, and inscribed at the lower edge: Donald Teague / N.A. Image/Sheet: 19.25” H x 24” W $2,000-3,000

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119

Emile Albert Gruppe

(1896-1978) A boat near the rocky coast Oil on canvas Signed lower right: Emile Albert Gruppe 18” H x 30.5” W $5,000-7,000 Provenance: Butterfield & Butterfield, San Francisco, CA, “American and California Paintings and Sculpture,” December 12, 1995, Lot 4859

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120

Frederick Waugh

(1861-1940) “Surf & Spindrift” Oil on canvas Signed lower left: Waugh; signed again and titled, verso 28” H x 38” W $7,000-9,000 Notes: Remnants of the frame’s old old backing paper along the upper portion of the stretcher, verso, has a notation in black permanent marker, presumably in another hand, which reads: Grand Central Galleries.

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121

James Gale Tyler

(1855-1931) Marine ships sailing Oil on canvas Signed and dated lower left: James G. Tyler 37” H x 32” W $3,000-5,000 Provenance: Regal Gallery, New York, NY

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122

Edna Reindel

(1894-1990) “Angel of the Cincinnati,” 1936 Oil on canvas Signed and dated lower right: Edna Reindel; signed again, titled, and dated in ink, possibly in another hand, on the upper portion of the stretcher 36” H x 28” W $6,000-8,000 Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, “American and California Paintings & Sculpture,” June 15, 1995, Lot 04098 Notes: There is an alternate title, “Republicans Are Not Always Ungrateful,” that was used at the Butterfield & Butterfield, San Francisco, CA, sale.

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123

Rex Brandt

(1914-2000) “Pavilion & Regatta,” 1988 Watercolor and gouache on wove paper, watermark Arches Signed, titled, and dated left of center: Rex Brandt N.A.; numbered in pencil and with the artist’s ink stamp in the lower right corner, verso Sheet: 22.25” H x 29” W $3,000-5,000

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124

Anthony Thieme

(1888-1954) “In the Morning, Rockport Wharf” Oil on canvasboard Signed lower left: A. Thieme; titled verso 12” H x 16” W $2,000-3,000

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125

Harold von Schmidt

(1893-1982) “Pitching and bucking into the seas, she made good weather of it,” circa 1931 Oil on canvas Signed along the lower right edge: Harold von Schmidt; titled and annotated on the verso of the canvas and stretcher, presumably in another hand, including: Part #V / [illegible] #13, and with other instructions; with a series of black ink stamps on the verso of the stretcher: Property of Cosmopolitan Magazine / Blue Print and Hold / 120 Screen / Rush, the first of which is annotated and dated by hand: No 3171 / 5/19/31 30” H x 40” W $1,500-2,000 Provenance: “Cosmopolitan Magazine,” New York, NY No. 3171, March 31, 1931

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126

Charles Warren Eaton

(1857-1937) “St. Mary’s Lake, Glacier Park” Oil on canvas Signed lower right: Chas Warren Eaton; titled in ink, possibly in another hand, on a label affixed to the lower stretcher 20” H x 24” W $2,000-4,000

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127

Emil Kosa Jr.

(1903-1968) “Sparkling Taxco,” circa 1950 Watercolor on paper Signed lower left: Emil Kosa Jr.; titled and inscribed in black marker, in another hand, and on the frame’s cardboard backing Sheet: 22” H x 30” W $2,000-4,000 Literature: McClelland 38 According to Gordon T. McClelland, during the 1950s Kosa concentrated on creating works with watercolor and “produced some of this finest aquarelle paintings he would ever create.” During this time too he rarely used watercolor paper smaller than 22” H x 30” W. “Sparkling Taxco,” was painted on location, therefore it “has a spontaneous feel,” this is due to Kosa finding more time to travel in the 1950s. As stated in the book, “this painting could be considered a definitive California style watercolor,” and Kosa exhibited a creative style of using “broad sweeping brush strokes,” and “creatively used the white of the paper to define shapes and work as color.”

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128

Gerald Cassidy

(1879—1934) Church in New Mexico Oil on canvas Signed lower right: Gerald Cassidy; inscribed faintly and indistinctly, verso 18” H x 20.25” W $25,000-35,000

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129

Charles Percy Austin

(1883-1948) “Indian Canyon - Palm Desert,” 1921 Oil on canvas laid to canvas Signed and dated lower left: Charles P. Austin 30” H x 36” W $2,500-3,000 Provenance: Sold: Bonhams & Butterfields, Los Angeles, CA, “California and American Paintings and Sculpture,” December 8, 2004, Lot 351

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130

Frank Montague Moore

(1877-1967) “Desert Dunes in Flower” Oil on Masonite Signed lower right: F.M. Moore; signed again and titled, verso 24” H x 34” W $1,500-2,000

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131

Paul Grimm

(1891-1974) “Desert Encelias” Oil on canvas Signed lower right: Paul Grimm; signed again, titled, and inscribed, verso: Palm Springs 24” H x 30” W $3,000-4,000

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132

Fred Grayson Sayre

(1879-1939) “Coachella Valley” Oil on canvas Signed lower left: F. Grayson Sayre; numbered [16] on a small label affixed lower right; titled and numbered in ink on a label affixed to the stretcher 20” H x 24” W $2,000-4,000

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133

Dana Bartlett

(1882-1957) “Desert Springtime” Oil on canvas Signed lower right: Dana Bartlett; titled and inscribed in ink on the stretcher: Palo Verdes Trees, Near Hope, Arizona 24” H x 34” W $3,000-5,000

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134

James Swinnerton

(1875-1974) Desert scene Oil on canvas Signed and with the artist’s device lower right: Swinnerton 29” H x 35” W $4,000-6,000

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135

136

(1875-1946) “Moonrise,” 1934 Gouache on mat board Signed and dated lower right: Nvorczk; titled on a label affixed verso Image/Board: 5.25” H x 5.25” W

(1879-1934) “Bright Angel Trail - Gra Watercolor on paper Unsigned; titled on the Image/Sheet: 17” H x 2

Maynard Dixon

Gunnar Widforss

$3,000-5,000

$5,000-7,000

Nvorczk is a pen name that Maynard Dixon used between 1917-1934. As Modern art and artistic thought began to take root in the United States, artists like Dixon began to incorporate, or at least experiment with, the new art trend. While never fully embracing Modernism, Dixon completed about 60 small works, combining vivid, surrealist color palettes and subject matter. Adopting the pen name “Nvorczk” to complete the works and not confuse patrons and collectors, it is believed that these works may be some of the most personal of Dixon’s career, as they may have been conduits for him to work through troubling periods of his life. Fifty of these works were exhibited for the first time in the exhibition “Maynard Dixon’s Nvorczk” that ran from October 9, 2008 to March 15, 2009, at the Medicine Man Gallery in Tucson, Arizona.

Provenance: Trotter Gal

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Literature: Peterson 420

Notes: A Notary Public as inscribed on the vers unsigned by him / Danie

and Canyon: Inner Canyon,” circa 1930

frame plaque 20.75” W

lleries, Carmel, CA

0

State of Kansas ink stamp with signature on the verso. As well so: This is a genuine / Gunnar Widforss / left unfinished and / el McDade / administer of Estate / Aug 9th, 1937

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137

Robert Wood

(1889-1979) “Mt. San Jacinto” Oil on canvas Signed lower right: Robert Wood; titled and inscribed: near Palm Springs, Calif., verso 24” H x 36” W $3,000-5,000

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138

Tarmo Pasto

(1906-1986) “Voices of Silence” Oil on canvas Signed lower center: Tarmo Pasto; titled in pencil on the back of the frame 46.5” H x 72” W $2,000-3,000 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, and 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.

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139

Attributed to Arthur Hill Gilbert, ANA (1894-1970) “High Desert” Oil on canvas Unsigned 26” H x 34” W $3,000-5,000

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140

Robert A. Daughters

(1929-2013) “Aspens” Oil on canvas Signed lower right: R. Daughters; titled on a label affixed verso 14” H x 10” W $5,000-7,000 Notes: Inscribed in pencil on the stretcher: Dr. R. Paltenghi / APR 1993

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141

Conrad Buff

(1886-1975) Butte landscape Oil on board Estate signed lower right: Conrad Buff; with the artist’s estate ink stamp signed by Mary Elizabeth Buff, verso 24” H x 36” W $3,000-5,000

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142

John Coleman Burroughs

(1913-1979) “Amigos,” 1937 Mixed media on flocked paper laid to board Signed, titled, and dated on the hand-painted matboard: John Coleman Burroughs 26.5” H x 20” W $3,000-4,000

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143

Grace Carpenter Hudson

(1865-1937) A Pomo girl, 1923 Oil on canvas Signed and dated lower left: © G. Hudson; signed again, numbered, and inscribed verso: G. Hudson / 578 / Ukiah Cal 17” H x 14” W $12,000-18,000 Exhibited: Ukiah, CA, Parducci Winery, “The Painter Lady,” October 1977 Notes: Grace Carpenter Hudson was well-known for her numbered series of more than 684 portraits of the local Pomo natives. The painting in this lot is a part of this particular series, with assigned number 578.

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144

John Stuart Curry

(1897-1946) “John Brown,” 1939 Lithograph on off-white wove paper From the edition of 250 Signed in pencil in the lower margin, at right: John Stuart Curry; George C. Miller, prntr.; Associated American Artists, New York, NY, pub.

Image: 14.625” H x 10.875” W; Sheet: 18.625” H x 13.25” W $3,000-5,000 Literature: Cole 34 Notes: This lithograph is based on “Tragic Prelude,” Curry’s mural for the Kansas state capitol building, which bears the similar passionate and forceful representation of abolitionist John Brown.

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145

Thomas Hart Benton

(1889-1975) “Gateside Conversation,” 1946 Lithograph on paper From the edition of 250 Singed in pencil in the lower margin, at right: Benton; titled and dated on a gallery label affixed to the frame’s backing board; Associated American Artists, New York, NY, pub.

Image: 9.75” H x 13.875” W; Sight: 10.5” H x 14.5” W $1,000-2,000 Provenance: The Owings Gallery, Santa Fe, NM Literature: Fath 69

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146

Cecil Crosley Bell

(1906-1970) “The Day’s Gossip” Oil on Masonite Signed near the center of the lower edge: C Bell 18.25” H x 22” W $1,000-2,000 Provenance: Sold: Sotheby’s, New York, NY, “American Paintings, Drawings and Sculpture,” March 25, 1997, Lot 286 Notes: While Cecil Crosley Bell is not as well-known today as his mentor, John Sloan, it is worth noting that a work

by Bell, entitled “Disorderly Conduct,” was one of approximately 200 works by various artists in a competition and exhibition at the Museum of Modern Art, New York, April 15-May 7, 1940. Amidst those hundreds of artworks, Bell’s entry was one of only 20 to win a $50 prize (the top prizes, $100 each, went to five of the other entries). In December of 1973, only a few years after he died, the Museum of the City of New York mounted a retrospective of Bell’s painted renditions of New York City life from the 1930s to the 1960s.

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147

John George Brown

(1831-1913) “In the Hands of the Enemy,” circa 1901 Oil on canvas laid to waxed canvas Signed lower left: copyright J.G. Brown N.A.; titled in pencil on the stretcher 25” H x 20” W $10,000-15,000 Provenance: Private Collection, California Private Collection, by descent, 1993 Private Collection, by descent, 2014 Sotheby’s, New York, NY, “American Art,” May 19, 2021, Lot 42

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148

Walter Ufer

(1876-1936) Portrait of a bearded man, 1911 Oil on canvas Signed and dated lower right: W. Ufer 21” H x 17” W $3,000-5,000

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149

Walt Kuhn

(1877-1949) “Dressing Room,” circa 1926 Oil on canvas laid to Masonite Signed lower right: Walt Kuhn 18.25” H x 13” W $7,000-9,000

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150

Walt Kuhn

(1877-1949) “Sleeping Acrobat,” 1944 Oil on canvas laid to waxed canvas Signed and dated lower right: Walter Kuhn 19” H x 17” W $8,000-12,000

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151

Lee Fritz Randolph

(1880-1956) Seated nude Oil on canvas Signed lower right: Randolph 54” H x 38” W $5,000-7,000

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152

Elsie Palmer Payne

(1884-1971) “Roma” Oil on canvas laid to canvas Signed lower right: Elsie Palmer Payne; titled on the frame’s backing board 23” H x 28” W $2,000-3,000

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153

Henry Cornelius Balink

(1882-1963) The artist’s wife and daughter in Dutch clothing Oil on canvas Signed upper left: Henry C. Balink 24.25” H x 21.25” W $3,000-5,000

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154

James Montgomery Flagg

(1877-1960) High tea social Watercolor and ink on paper Signed lower right: James Montgomery Flagg Image/Sheet: 23.75” H x 22.25” W $2,000-3,000

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155

James Montgomery Flagg

(1877-1960) The forgiveness Watercolor and ink on paper Signed lower right: James Montgomery Flagg Image/Sheet: 18” H x 23.5” W $1,200-1,800

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156

Walter Gay

(1856-1937) “Quietude an Interior Scene with Young Woman Reading,” 1882 Watercolor on paper Signed and dated on the black side table along the right edge, at lower center: Walter Gay Image/Sheet: 16.25” H x 21.75” W $2,000-3,000 Provenance: Sold: Bonhams Skinner, Marlborough, MA, “Fine American and European Paintings,” November 5, 1993, Lot 140

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157

F. Luis Mora

(1874-1940) “Happy Dreams,” 1899 Oil on canvas Signed, dated, and inscribed lower right: F. Luis Mora / June 28 [sic]; titled on the frame plaque 36” H x 56” W $10,000-15,000

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158

Alice B. Chittenden

(1859-1944) Children playing at the beach Oil on canvas Signed lower right: A.B. Cittenden 12” H x 14” W $5,000-7,000

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159

Alice B. Chittenden

(1859-1944) Still life of flowers in a blue vase Oil on canvas laid to board Signed lower left: Alice B. Cittenden 24” H x 20” W $1,500-2,000

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160

Glenna Goodacre

(1939-2020) “Le Bain” Patinated bronze on wood base Edition 9/25 Signed and numbered in the casting: G. Goodacre 21” H x 7” W x 5” D; With base: 23.25” H x 9” W x 9” D $2,000-3,000

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161

Pal Fried

(1893-1976) “Maxine” Oil on canvas Signed lower right: Fried Pal; titled and with the artist’s copyright stamp, verso 24.5” H x 32.25” W $2,000-3,000

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162

Paul de Longpre

(1855-1911) Still life of flowers in a basket, 1897 Watercolor on paper Signed and dated lower left: Paul de Longpre Image/Sheet: 15” H x 22” W $4,000-6,000

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163

Gifford Beal

(1879-1956) “Ballroom” Oil on paperboard Signed lower right: Gifford Beal; titled on a gallery label affixed verso 30” H x 22” W $2,000-3,000 Provenance: Kraushaar Galleries, New York, NY Sold: Sotheby’s, New York, NY, “Arcase Paintings,” March 25, 1997, Lot 202

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164

Fannie Eliza Duvall

(1861-1934) Still life of roses Oil on canvas Signed lower right: F.E. Duvall 14.25” H x 24” W $2,000-3,000

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165

Julius Moessel

(1871-1957) Still life with Chinese objects and textiles Oil on canvas Signed lower left: Moessel 28.5” H x 32.75” W $1,000-2,000 Notes: There is an inscription with the artist’s address on the verso.

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166

William Acheff

(b. 1947) “Apples and Silver Gilt Ewer” Oil on canvas Signed lower right: Wm Acheff; titled on stretcher 24” H x 18” W $3,000-5,000

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Consign Today

California & American Art May 2024

William Wendt “So Lone a Lake (Malibou Lake, CA),” 1940

Price Realized: $53,125

Consignment and Auction Inquiries: fineart@johnmoran.com 2 2 4 C al i for nia a n d Am e r ic a n Fin e A rt l Tu e sd ay, Nov e mb e r 1 4 , 2023

SINCE 1969

AUCTIONEERS & APPRAISERS

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Edgar Alwin Payne “Sierra Trails Temple Crags”

Price Realized:$62,500 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 2 2 5

2 2 6 C al i fo forr ni nia a a n d Am e r ic a n Fin e A rt l Tu e sd ay, Nov e mb e r 1 4 , 2023

Condition Reports

w w w. j o h n m o r a n . c o m 2 2 7

1 Visual: Overall good condition. Slight dust accumulation and grime commensurate with age.

Blacklight: Small spots of touch-up throughout, with the largest measuring 0.75” H x 1.75” W in the center.

8 Overall good condition. Scattered pinhead-sized or smaller areas of foxing on both the recto and verso.

Old brown tape remnants in two places on the verso of the upper sheet edge. The sheet is hinged to the overmat with three pieces of white hinging tape from the verso of the upper sheet edge.

Frame: 16.75” H x 18.75” W x 1.25” D

Framed under Plexiglas: 32.75” H x 38.75” W x 2” D

2 Visual: Overall good condition. Very minor dust accumulation and varnish discoloration commensurate with age.

9 Visual: Overall good condition. Slight dust accumulation, grime, and craquelure throughout, all commensurate with age.

Blacklight: Small areas of touch-up throughout, the largest measuring 0.75” H x 1.5” W beneath the house in the lower right quadrant. A heavy application of varnish applied.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 18.75” W x 1.25” D 3 Visual: Overall good condition. A pinhead-sized spot of grime under the rocks of the lower left quadrant.

A few traces of gold transfer from the frame to the surface in the upper edge, at right.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 18.75” W x 1.25” D

Blacklight: No evidence of restoration.

Frame: 24.75” H x 31” W x 2” D 11 Visual: Overall good condition.

Blacklight: A few scattered pea-sized or smaller areas of touch-up in the lower right corner and towards the middle of the upper edge.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 36.5” W x 2” D

Frame: 19” H x 23” W x 1.5” D

12 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 32.75” H x 38.75” W x 2.25” D

Condition Reports

10 Visual: Overall good condition. A small area of very fine craquelure in the green pigment of the upper right quadrant.

4 Visual: Overall good condition.

5 Visual: Overall good condition.

6 Visual: Overall good condition.

Blacklight: Occasional scattered pinhead-sized spots of touch-up throughout the lower half.

Frame: 29” H x 34.75” W x 1.75” D 7 Visual: Overall good condition.

Blacklight: No evidence of restoration. Uneven varnish application throughout the sky.

Frame: 28.5” H x 34.5” W x 2” D

228

Frame: 28.5” H x 34.5” W x 2” D

Blacklight: A pinhead-sized area of touch-up near the ducks in the lower right quadrant.

Frame: 24.25” H x 28.25” W x 2.25” D 13 Visual: Overall good condition. The painting and box with scattered small chips and scuffs commensurate with age and handling.

Blacklight: Touch-ups to the box lid around the painted image.

14 Visual: Overall good condition. Scattered areas of very fine craquelure throughout, primarily showing in the upper half of the work in the sky.

19 Overall good condition. The colors good. The board is taped to the overmat by pieces of white tape along each edge.

Blacklight: A few spots of touch-up near the trees of the upper left quadrant. Lines of crack-fill in the upper right quadrant.

Framed under glass: 26.25” H x 32.25” W x 1.75” D

15 Visual: Overall good condition. A few small areas of fine craquelure showing in the upper left and right quadrants. A rice-sized spot of pigment loss in the clouds of the upper right quadrant. The canvas has been relined.

Blacklight: Scattered areas of pea-sized or smaller spots and strokes of touch-ups throughout. Some pigments fluoresce under blacklight.

Frame: 30” H x 34.75” W x 1.75” D 16 Visual: Overall good condition.

Blacklight: Overall good condition. Two pea-sized touch-ups in the water at left. Some pigments fluoresce under blacklight.

Frame: 29” H x 35” W x 2.5” D 21 Visual: Overall good condition. Dust accumulation, specks of occasional grime, craquelure, and stretcher bar creases along each side. A 0.50” area of unstable craquelure and horizontal pressure marks in the upper quadrant, at center.

Blacklight: A 1” H x 1.25” W area of rice-sized or smaller scattered touch-ups in the cliffs of the upper and lower right quadrants.

Blacklight: No evidence of restoration.

Frame: 29.25” H x 33.25” W x 2.75” D

22 Visual: Overall good condition. Varnish discoloration throughout. Fine and stable craquelure showing primarily in the upper half, throughout the sky. A soft stretcher bar crease showing in the upper half of the right edge. Two pinhead-sized holes in the upper left and right corners.

17 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure throughout, heavier areas primarily in the sky of the upper left and right quadrants.

Minor abrasion along the extreme edges, the most apparent area measuring 0.75” with attendant pigment loss in the lower edge, left of center.

Frame: 26.75” H x 30.75” W x 2” D

Blacklight: Areas of touch-up primarily showing in the upper half of the piece throughout the sky and water.

Blacklight: No evidence of restoration.

Frame: 19.75” H x 25.25” W x 2.5” D

Unframed

23 Visual: Overall good condition.

18 Visual: Overall good condition. Fine craquelure throughout. A pinhead-sized spot of pigment loss near the edge of the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 25” H x 35” W x 2.5” D

Blacklight: Occasional scattered areas of touch-up throughout, showing primarily along the edges, with the largest measuring 1.5” H x 5” W, above the waves of the upper right quadrant.

24 Visual: Overall good condition. An approximately 1.5” H x 0.125” W scattered line of pigment loss near the upper edge, to the left of center.

Frame: 30.25” H x 35.25” W x 3” D

Blacklight: An approximately 1” H x 4.5” W area of touch-up at the extreme upper edge, to the left of center.

Condition Reports

Frame: 40” H x 34” W x 3” D

20 Visual: Overall good condition. Scattered craquelure and occasional specks of grime commensurate with age. An unobtrusive, rice-sized pigment loss in one of the distant waves near the center. A few flecks of stray white pigment in the left edge, at center.

Frame: 38” H x 48” W x 3” D 229

Condition Reports 230

25 Visual: Varnish discoloration throughout. A pinheadsized hole near the left edge of the upper left quadrant. A pinhead-sized spot of pigment loss directly next to the signature in the lower right corner.

31 Visual: Overall good condition. Craquelure scattered throughout. Stretcher bar creases along the four sides. Very minor frame abrasion in the upper right corner.

Blacklight: No evidence of restoration.

Blacklight: Areas of touch-up throughout.

Frame: 26” H x 30” W x 3” D

Frame: 35.75” H x 29.5” W x 2.25” D

26 Visual: Overall good condition. Occasional specks of grime commensurate with age. Fine craquelure primarily in the right half of the work.

Blacklight: No evidence of restoration.

32 Visual: Overall good condition. Dust accumulation, grime, varnish discoloration, and soft stretcher bar crease along the upper edge, all commensurate with age. Fine craquelure primarily in the sky of the upper left and right quadrants.

Frame: 13.25” H x 16.25” W x 2.25” D

Blacklight: No evidence of restoration.

27 Visual: Overall good condition. Fine craquelure throughout.

Frame: 37.75” H x 43” W x 4.5” D 33 Visual: Overall good condition.

Blacklight: A quarter-sized spot of touch-up in the foliage of the trees in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 31.75” H x 25.75” W x 1.75” D

Frame: 31.5” H x 25.5” W x 2.25” D

28 Visual: Overall good condition. Slight dust accumulation and grime commensurate with age.

Fine craquelure showing primarily in the sky and in some areas of the light green pigments.

34 Visual: Overall good condition. A rice-sized puncture to the canvas near the signature in the lower left quadrant.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 1.5” D

Frame: 27.75” H x 31.5” W x 2.25” D

29 Visual: Overall good condition. Scattered areas of fine craquelure throughout, with more prominent areas of craquelure in the sky.

35 Visual: Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: Occasional and scattered pinhead-size areas of touch-up throughout, primarily located in the background.

Frame: 17.5” H x 22.75” W x 2” D 30 Visual: Overall good condition. Dust accumulation and scattered areas of craquelure commensurate with age. An unobtrusive, small, L-shaped repaired tear or old pressure mark near the lower left corner.

Occasional frame abrasions at the extreme edges.

Blacklight: No evidence of restoration.

Unframed

Blacklight: Occasional scattered dots of touch-up, pea-sized or smaller. An approximately 0.375” Dia. touch-up in the landscape, left of center.

Frame: 17.5” H x 21.5” W x 1” D

Blacklight: No evidence of restoration. Occasional specks of grime or mildew fluoresce under blacklight, primarily scattered in the upper half of the work.

Frame: 26.5” H x 36.5” W x 2.5” D 37 Visual: Overall good condition. Scattered and small areas of frame abrasion at each of the extreme edges.

A quarter-sized area of white pigment by the painted fence in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 44.25” W x 3” D 38 Visual: Overall generally good condition. Frame abrasion along the extreme edges, and a pea-sized area of possible repair to the canvas in the upper edge, right of center. A 9.25” vertical band of the exposed canvas laid to board along the left edge. A pinhead-sized area of unobtrusive pigment loss near the upper edge, right of center. A 3.25” H x 0.5” W surface scuff of pale orange pigment near the lower edge of the lower left quadrant.

Blacklight: The above-mentioned 3.25” H x 0.5” W surface scuff fluoresces under blacklight.

Frame: 22” H x 26” W x 2” D 39 Visual: Overall good condition. Very slight dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 17.75” W x 1.5” D 40 Visual: Overall good condition. Slight craquelure near the lower edge at left.

Blacklight: No evidence of restoration.

Frame: 28.5” H x 32.5” W x 2” D

41 Visual: Overall good condition. Scattered and small areas of fine craquelure throughout.

Blacklight: No evidence of restoration.

Frame: 32.75” H x 38.75” W x 3” D 42 Visual: Overall good condition. Slight dust accumulation, grime, and varnish discoloration commensurate with age. A pinhead-sized spot of pigment loss near the center of the image.

Blacklight: No evidence of restoration.

Frame: 17.125” H x 21.125” W x 2.75” D 43 Visual: Overall good condition. Fine craquelure throughout, showing primarily in the sky and mountains in the background. A stretcher bar crease showing in parts along the upper edge.

Blacklight: Occasional scattered spots and strokes of touch-ups, primarily located throughout the upper half.

Frame: 33.25” H x 53.25” W x 2.75” D 44 Visual: Overall good condition.

Blacklight: A few small areas of touch-up in the lower left quadrant, the largest measuring 1” H x 3” W in the lower left corner.

Frame: 29.5” H x 34.5” W x 2.5” D 45 Visual: Overall generally good condition. A 1” H x 2” W area of unstable craquelure with attendant pinhead-sized pigment losses. A 3” Dia. pressure mark and a quarter-sized reverse pressure mark, both in the tree branches of the lower left quadrant.

Scattered pinhead-sized or smaller areas of pale old varnish discoloration adhered to the surface in the upper right quadrant. Scattered pinpoint-sized foxing throughout the verso of the canvas.

Blacklight: No evidence of restoration.

Frame: 25” H x 29” W x 1” D 46 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 7.75” H x 10.25” W x 0.75” D

Condition Reports

36 Visual: Overall generally good condition. Soft stretcher bar creases primarily showing along the left edge. Occasional and small areas of scattered craquelure, with an area of unstable craquelure, with flecks of attendant pigment loss, in the lower right quadrant. Paint shrinkage to the white pigment used on the clouds.

231

47 Visual: Overall good condition. A small area of fine craquelure at the base of the tree in the lower right quadrant.

Blacklight: No evidence of restoration.

Blacklight: Pea-sized or smaller areas of touch-up throughout the foliage of the tree on the left and the bushes on the right.

Frame: 16.75” H x 20.75” W x 2” D

Frame: 13.75” H x 15.5” W x 1.125” D

48 Visual: Overall good condition. Slight dust accumulation and specks of grime commensurate with age.

54 Visual: Overall good condition. Occasional specks of grime up in the clouds of the upper right quadrant.

Very fine craquelure with some areas of unstable craquelure with attendant flecks of pigment loss.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 2.25” D 49 Visual: Overall good condition. Slight dust accumulation, grime, and fine craquelure throughout, primarily in the upper half, all commensurate with age. A rice-sized area of pigment loss in the purple pigment near the right edge of the upper right quadrant. The canvas has been relined.

Blacklight: Very sparse, scattered pinhead-sized spots of touch-ups throughout the upper right quadrant.

Condition Reports

Frame: 31.25” H x 35.25” W x 2” D

232

53 Visual: Overall good condition.

Blacklight: A 5.5” H x 8” W area of scattered touchups near the upper edge, at right, and a 4.5” H x 5” W area of scattered touch-ups directly above the boat’s left sail. Other pea-sized or smaller spots of touch-up scattered occasionally in the sky, mostly in the outer edges.

Frame: 32.5” H x 42.5” W x 4” D 55 Visual: Overall good condition.

Blacklight: Areas of touch-up throughout, with the largest measuring approximately 2” H x 3” W in the upper right corner.

50 Visual: Overall good condition. Faint craquelure showing primarily throughout the sky. Faint stretcher bar crease along the upper edge, at right. A shallow and unobtrusive 0.5” surface scratch in the lower left corner to the right of the signature.

Frame: 28.25” H x 32.25” W x 3” D

Blacklight: A few pinhead-sized areas of touch-up in the left half. A 1.25” H x 1.5” W square in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 30.5” W x 2” D

57 Visual: Overall generally good condition. Fine craquelure scattered in the upper left and right quadrants. A pea-sized indentation towards the center of the right edge with attendant pigment loss.

A few pinhead-sized flecks of dark pigment in the lower half, in the water. A pea-sized residue adhered to the surface towards the center of the upper edge. A small area of shallow surface scuffing with attendant pigment loss in the lower right corner.

51 Overall good condition. Pale light staining. A pinhead-sized spot of pigment loss in the upper left quadrant, near the left edge. The board is taped to the overmat with pieces of white tape along each edge.

Framed under Plexiglas: 31” H x 25” W x 1.25” D 52 Visual: Overall good condition. Scattered fine craquelure. The canvas has been relined.

Blacklight: No evidence of restoration.

Frame: 40” H x 32” W x 2.5” D

56 Visual: Overall good condition. A few unobtrusive artist tack holes in places around the extreme edges of the canvas board visible only when unframed.

Frame: 19” H x 23” W x 2.5” D

Blacklight: No evidence of restoration.

Frame: 16.75” H x 21.25” W x 1.75” D

58 Visual: Overall good condition. Very slight dust accumulation, grime, and varnish discoloration commensurate with age. Small areas of very fine craquelure showing primarily in the sky of the upper right quadrant.

64 Visual: Overall good condition.

Blacklight: Lines of crack-fill in the upper right quadrant. A few scattered pinhead-sized spots of touch-up throughout.

65 Visual: Overall good condition. Slight varnish discoloration, grime, and occasional craquelure, showing mostly in the sky and upper clouds, all commensurate with age.

59 Visual: Overall good condition. A few scattered pinhead-sized areas of pigment loss throughout. A soft surface scratch extending from the right edge, at center and slightly into the image.

Blacklight: No evidence of restoration.

Unframed 60 Visual: Overall good condition.

Blacklight: Occasional scattered, spots of touch-ups throughout under heavy varnish.

Frame: 22.5” H x 26.25” W x 2.25” D 61 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 38.5” W x 2.25” D 62 Visual: Overall good condition. A faint, approximately 1” horizontal hairline surface scratch near the upper left corner. Scattered delicate frame abrasions in places along the extreme edges.

Blacklight: Occasional rice- to pea-sized spots of touch-up primarily near the upper and left edges. An approximately 1” x 0.75” scattered area of touchup near the upper left corner. A delicate 7” hairline vertical surface scratch in the upper right quadrant.

Frame: 32.5” H x 44.5” W x 2.5” D 63 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 43.5” H x 70.5” W x 3” D

Frame: 50” H x 80” W x 5” D

Blacklight: No evidence of restoration.

11.5” H x 14” W x 1.75” D 66 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20” H x 23” W x 4” D 67 Visual: Overall good condition.

Blacklight: Scattered pinhead-sized areas of touch-up in the upper half, with two approximate 1” lines of touch-up in the lower left and right quadrants.

Frame: 21” H x 26.25” W x 2.5” D 68 Visual: Overall good condition. Frame abrasion showing slightly in places, primarily at the extreme upper edge.

Blacklight: Occasional areas of touch-up, rice-sized or smaller, throughout. An additional small touchup, 1” H x 0.375” W, to the right of the background sailboat’s masts.

Frame: 33.5” H x 53.5” W x 2” D 69 Visual: Overall good condition. Several very small areas of paint shrinkage, approximately quarter-sized, in the lower left quadrant. An unobtrusive, pea-sized surface abrasion with attendant pigment loss in the extreme lower edge, at left.

Visual: No evidence of restoration.

Frame: 45.5” H x 51” W x 2” D

Condition Reports

Frame: 36.25” H x 36.25” W x 2.5” D

Blacklight: No evidence of restoration.

233

70 Visual: Overall good condition. Slight varnish discoloration, occasional grime, and scattered craquelure, all commensurate with age. The canvas is laid to waxed canvas, and has been reduced on all four sides.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 40” W x 2.5” D

Blacklight: A few pinhead-sized spots of touch-up in the water near the river bank of the lower left quadrant.

71 Visual: Overall good condition. Flecks of stray white pigment scattered throughout.

Frame: 31.5” H x 36.5” W x 2” D

Blacklight: Small areas of touchups throughout, primarily along the mountain peaks and in the lower right corner.

Frame: 19” H x 21.75” W x 2” D

Blacklight: No evidence of restoration.

Frame: 17.5” H x 21.5” W x 3” D

Frame: 54.5” H x 39” W x 3” D

73 Visual: Overall good condition. Specks of grime scattered primarily in the sky and two small bands of surface dirt directly above the mountains, at center.

78 Overall good condition. Scattered lines of brown staining showing primarily at left, the longest measuring 6” H near the lower left edge. Brown tape along the verso of each sheet edge. The sheet is hinged to the overmat with linen tape in two places on the verso of the upper sheet edge.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 31.5” W x 4” D 74 Visual: Overall good condition. A few flecks of pigment loss near the upper edge, the largest being a pinhead-sized spot of pigment loss in the mountain closest to the right edge of the upper right quadrant.

Condition Reports

77 Visual: Overall good condition. Stable craquelure scattered throughout. Soft and faint old stretcher bar creases slightly appearing, primarily in a raking light.

The canvas has been relined with tacking edges removed, as well as new stretcher bar keys.

Blacklight: Areas of touch-up throughout, primarily in the outer edges. The largest areas measuring approximately 11.5” vertically along the left edge, at center, a 3” H x 4” W area near the upper edge of the upper left quadrant, and a 4” H x 5” W area of touch-up near the lower edge of the lower left quadrant.

72 Visual: Overall good condition. A small 0.25” H x 0.5” W area of pigment loss in the lower left corner.

A few pinhead-sized spots of surface loss in the extreme lower left and upper right corners.

234

76 Visual: Overall good condition. Varnish discoloration and an area of fine craquelure in the lower half of the water, at center. A 0.25” H x 0.5” W area of pigment loss in the water near the riverbank, of the lower left quadrant. A pea-sized area of pigment loss near the upper edge, left of center.

Framed under glass: 28” H x 33” W x 1.75” D 79 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 28.5” H x 33.75” W x 3” D

Frame: 34.5” H x 42.5” W x 2” D

80 Visual: Overall good condition. A small and unobtrusive area of pigment loss in the extreme upper right corner.

75 Overall good condition. The paper is laid down as described. The work’s deckled edges are trimmed away in all but one small section of the lower edge, at left. Dust accumulation commensurate with age.

Unframed

Blacklight: No evidence of restoration.

Frame: 20.75” H x 16.75” W x 1.25” D

Framed under Plexiglas: 23.75” H x 30.75” W x 1.5” D 82 Visual: Scattered craquelure and grime commensurate with age. Stretcher bar creases primarily along the upper edge. Frame abrasion showing primarily along the extreme left and lower edges.

86 Visual: Overall good condition.

Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight.

Frame: 22.5” H x 26.5” W x 2” D

Blacklight: A few very short and delicate lines of touch-up, primarily in the sky, some of which may be attendant with tiny repairs to the canvas. A 1” diagonal line of touch-up in one of the brick-colored building facades near the left edge.

87 Visual: Overall good condition. Frame abrasion along the extreme edges of each side, not visible under framing. Very soft scuffs and grime showing primarily in the lighter pigments of the background in the upper half. A few unobtrusive, shallow, hairline surface scratches, the largest measuring 5” H in the upper right quadrant towards the center of the piece.

A 0.5” area of surface loss in the extreme lower left corner. Occasional, unobtrusive pinhead-sized spots of stray white pigment throughout.

Frame: 16” H x 20” W x 3” D

Blacklight: No evidence of restoration.

83 Visual: Overall good condition. Minor frame abrasion along the lower right edge, with attendant flecks of unobtrusive pigment loss. An unobtrusive fleck of pigment loss near the left edge, at center. A 0.75” horizontal soft scratch to the pigment along the upper edge, left of center.

Frame: 33” H x 39” W x 1.25” D

Blacklight: Areas of touch-up throughout, the largest measuring 14” along the path at the center of the work.

Frame: 19.25” H x 26.625” W x 1.5” D 84 Overall good condition. Very fine craquelure commensurate with age. The canvas has been relined.

Blacklight: Areas of touch-ups throughout, the largest area measuring 0.5” wide along the left side of the upper edge and down the right edge.

Frame: 45” H x 29” W x 2.25” D

88 Visual: Overall good condition. Minor dust accumulation commensurate with age. A 1.25” semicrescent surface scratch and a pea-sized pigment loss near the right edge of the upper right quadrant. Artist pinholes in the upper left and right corners.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 27.5” W x 2.5” D 89 Overall good condition. The colors fresh. Four pieces of brown tape affixed to the verso of the sheet edges.

The sheet is hinged to the overmat in three places by white linen tape affixed to the verso of the upper sheet edge.

Framed under Plexiglas: 16.5” H x 19.75” W x 1.5” D

Blacklight: Small and scattered areas of touch-up, the largest two areas being a 1.5” H x 2.5” W touchup near the upper left edge, and a 2” H x 1.75” W touch-up along the lower left edge.

90 Overall good condition. The colors fresh. A soft 0.5” diagonal tear in the extreme lower edge, at left, and with some small and very soft indentations along the extreme lower edge from previous framing nails showing primarily on the verso. Soft cockling along the upper and lower sheet edges. Two pieces of brown tape remnants on the verso of the upper and lower edges. The sheet is loose, not matted.

Frame: 40” H x 34” W x 3” D

Framed under glass: 28.25” H x 36.25” W x 2.25” D

85 Visual: Overall good condition.

Condition Reports

81 Overall good condition. The full sheet with deckled edges. The colors good. A faint 9” vertical handling crease in the lower right quadrant. The sheet is hinged to the overmat in three places with white tape affixed to the verso of the upper sheet edge.

235

91 Visual: Overall good condition. Very minor and scattered frame abrasion along the left, upper, and lower edges, with attendant small flecks of silver leaf transfer on the work.

Blacklight: No evidence of restoration.

Frame: 16.25” H x 19.25” W x 1.25” D 92 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 49.5” W x 1.5” D 93 Visual: Overall good condition.

Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight.

Frame: 26.75” H x 44.75” W x 2.5” D 94 Visual: Overall good condition. Faint stretcher bar creases showing at the upper edge and in the upper portion of the left edge. A few flecks of grime showing in the sky of the upper left quadrant.

Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight.

Frame: 31.75” H x 37.75” W x 2” D 95 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Condition Reports

Frame: 31” H x 49” W x 1.5” D

236

96 Visual: Scattered craquelure, some of which is unstable, with attendant occasional paint losses, peasized or smaller.

Blacklight: Scattered touch-ups throughout, the largest approximately 2.75” H x 4.5” W in the lower left quadrant.

Frame: 30” H x 36” W x 2” D

97 Visual: Overall good condition. Very slight dust accumulation commensurate with age.

Blacklight: Occasional small spots of touch-up, showing primarily in the clouds.

Frame: 48.5” H x 62” W x 3.5” D 98 Overall good condition. The extreme edges slightly and unevenly trimmed, the most prominent being the lower extreme edge. Pale specks of occasional foxing mostly in the upper left quadrant. The sheet is hinged to the overmat with three pieces of white tape on the verso of the upper edge.

Framed under glass: 30” H x 39” W x 2” D 99 Overall good condition. Scattered pale spots of diluted pigment, presumably in the hand of the artist. Two 2.5” H x 0.5” W areas of masking tape in the upper portion of the left and right edges in the hand of the artist. The sheet is hinged to the back mat in three places by linen tape along the upper edge, and an archival cleat strip at the center of the lower edge.

Framed under Plexiglas: 33.75” H x 41” W x 2.5” D 100 Overall good condition with scuffs, scratches, dust accumulation, and darkening/oxidation to bronze commensurate with age.

101 Visual: Overall good condition. Dust accumulation and craquelure throughout commensurate with age.

Blacklight: Scattered areas of craquelure primarily in the outer edges. A 1” H x 0.75” W diagonal area of touch-up in the lower left corner. A 3” H x 4.5” W area of scattered and occasional 1” thin bands to rice-sized touch-ups in the upper right quadrant.

Frame: 39” H x 33” W x 4” D 102 Visual: Overall good condition. A soft stretcher bar crease along the left edge, with an attendant area of small pigment loss in the upper left quadrant.

Very occasional flecks of pigment loss in the sky of the upper right quadrant. The canvas is loose on its stretcher, with attendant puckering to the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 34.5” H x 40.5” W x 2” D

Blacklight: A 0.5” H x 1.25” W area with small spots of touch-up in the upper right quadrant.

109 Visual: Overall good condition. A soft vertical stretcher bar crease down the center, mostly visible in a raking light. Very fine craquelure scattered in the green pigment of the two trees in the upper left and right quadrants.

Frame: 31.5” H x 45.5” W x 4” D

Blacklight: No evidence of restoration.

104 Visual: Overall good condition. Frame abrasion showing slightly along the left edge.

Frame: 41” H x 50” W x 4.5” D

Blacklight: Some crack-fill primarily in the left half of the image. Occasional scattered pea-sized areas of touch-up. The largest area measuring approximately 2” long, arched, narrow line of touch-up in the bank at lower right.

Frame: 26” H x 24” W x 3” D 105 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A pinhead-sized area of pigment loss along the lower edge, at center. The canvas is slightly puckered along the lower edge.

Blacklight: Areas of touch-up throughout, primarily concentrated in the tree in the foreground.

Frame: 36.5” H x 39.75” W x 4.5” D 106 Visual: Overall good condition. As mentioned, the canvas is laid to synthetic fabric. Dust accumulation and varnish discoloration commensurate with age.

110 Visual: Overall good condition. Fine craquelure in the darker pigments used for the foliage of the trees.

A pinhead-sized fleck of stray light pigment in the upper left quadrant in the cloud above the large tree.

Blacklight: No evidence of restoration.

Frame: 32” H x 44.25” W x 2.5” D 111 Overall good condition. The sheet is hinged to the back mat with four pieces of hinging tape on the verso of the upper sheet edge and the lower left and right edges.

Framed under glass: 19.25” H x 15.25” W x 1.25” D 112 Visual: Overall good condition. A 0.5” repaired tear near the corner of the upper left edge.

Blacklight: No evidence of restoration.

Blacklight: Scattered areas of touch-up showing mostly in the sky and water, the largest three each measuring approximately 1.75” H x 3.5” W, with the one in the lower half with a related patch showing verso.

Frame: 44.5” H x 30.5” W x 5” D

Frame: 19.75” H x 25.25” W x 2.25” D

107 Visual: Overall good condition.

113 Visual: Overall generally good condition. Scattered delicate craquelure throughout. The canvas is relined.

Blacklight: No evidence of restoration.

Frame: 16” H x 20” W x 1.75” D 108 Visual: Overall good condition. Soft stretcher bar creases along all four sides. Very slight varnish discoloration.

Blacklight: Scattered and small areas of touchup showing primarily in the sky, the largest approximately 0.25” H x 0.5” W. Frame: 23” H x 31” W x 2.25” D

Blacklight: The largest area measuring approximately 1.5” Dia. in the lower right corner. Other pinheadsized or smaller areas of touch-up scattered primarily in the sky and lower right corners.

Frame: 18.5” H x 26.5” W x 2” D

Condition Reports

103 Visual: Overall good condition. Very fine craquelure throughout.

237

114 Visual: Overall generally good condition. Faint stretcher bar creases along each of the four sides, and craquelure throughout, all commensurate with age. Very minor frame abrasion in the extreme upper edge, at left. Three stray small black pigment marks near the lower left corner.

Blacklight: Areas of touch-up throughout, the largest measuring approximately 7” H x 8” W in the upper left quadrant.

Frame: 23.25” H x 36” W x 2.25” D

115 Visual: Overall good condition. Minor spots of grime scattered throughout. Faint stretcher bar creases showing primarily at the upper and left edges.

120 Visual: Overall good condition. Soft stretcher bar creases along each side, all commensurate with age.

Very fine craquelure primarily scattered in the darker brown pigment of the rocks on the shore, in the lower left and right quadrants. The canvas has been restretched.

Frame: 26.75” H x 30.5” W x 2.25” D 116 Visual: Overall generally good condition. Scattered areas of frame abrasion with attendant specks of pigment loss along the upper edge.

Blacklight: No evidence of restoration.

Frame: 15.5” H x 19.5” W x 3.5” D 117 Visual: Overall good condition. Very fine craquelure in the lower left quadrant, in the rocks and foreground. Scattered foxing verso.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 30.5” W x 3” D

Condition Reports

Blacklight: No evidence of restoration.

Frame: 31” H x 37” W x 3” D

Blacklight: A few spots of touch-up in the lower left quadrant in the water, and a 0.25” H x 1.25” W area of touch-up above the signature.

238

119 Visual: Dust accumulation, grime, varnish discoloration, and areas of fine craquelure to the white pigment, all commensurate with age. A 0.5” H x 0.75” W area of surface loss in the upper right corner. A 0.5” H x 0.125” puncture in the canvas with attendant pigment loss. Rice-sized and smaller areas of pigment loss in the upper left quadrant near the left edge.

118 Occasional specks of foxing, primarily scattered at center. Two areas of surface scratches, one measuring 3.75” along the construction crane in the upper right quadrant, and a 1.75” horizontal area to the right of the smaller boat in the lower right quadrant. Uneven trimming along the left extreme sheet edge. Old brown glue and mat residue, with occasional skinning at the sheet edges. The sheet is laid to paperboard.

Framed under glass: 26” H x 30” W x 3” D

Blacklight: No evidence of restoration.

Frame: 35” H x 45” W x 3.5” D 121 Visual: Overall good condition. Slight dust accumulation, grime, and varnish discoloration commensurate with age.

Blacklight: No evidence of resotration.

Frame: 41.5” H x 36.5” W x 2.25” D 122 Visual: Overall good condition. A few pinhead-sized spots of yellow pigment in the upper left corner.

Blacklight: Areas of touch-up throughout, with the largest area measuring 4” H x 3.5” W to the right of the angel. With a heavy application of varnish.

Frame: 41” H x 33” W x 2.25” D 123 Overall good condition. The full sheet with deckled edges. The sheet is slightly cockled. Very occasional flecks of foxing in the upper and lower left quadrants. A soft 3.5” diagonal crease in the lower right corner. Two artist pinholes in the upper left and right corners. A stray pencil mark, verso. The sheet is hinged to the overmat with three pieces of white tape on the verso of the upper sheet edge.

Framed under Plexiglas: 26.5” H x 34.5” W x 1.5” D

Blacklight: A few pea-sized areas of touch-up along the upper edge. An area of overpaint measuring approximately 4” H x 7” W in the lower right quadrant.

Frame: 15.5” H x 19.5” W x 1.5” D 125 Visual: Overall good condition. Scattered areas of stable craquelure. Stretcher bar creases along all four sides.

Blacklight: No evidence of restoration.

Frame: 35” H x 45” W x 1.5” D 126 Visual: Stable craquelure throughout, stretcher bar creases along all four sides, slight rippling along the upper edge of the canvas, scattered areas of wear to the pigment, with attendant pinhead-sized or smaller areas of pigment loss, all commensurate with age.

Frame abrasion along each of the extreme edges, except the extreme lower edge. A 2” horizontal area of residue adhered to the surface, above the trees, and near the upper right edge.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 32.25” W x 3” D 127 Overall good condition. The full sheet and the colors good. Very pale light staining. The sheet is hinged to the overmat with long pieces of brown tape along the verso of the sheet edges.

Framed under glass: 31.75” H x 39.75” W x 1” D 128 Visual: Overall good condition. Craquelure throughout. Stretcher bar creases showing along the upper edge at left, the upper left edge, and along the right edge.

Blacklight: Rice-sized spots and strokes of touchups and lines of crack-fill throughout, primarily concentrated in the center.

Frame: 24.75” H x 26.75” W x 1.25” D

129 Visual: Overall generally good condition. Scattered areas of craquelure throughout. A pea-sized and pinhead-sized area of pigment loss near the left edge of the upper left quadrant. A pea-sized area of pigment loss in the rock formation in the lower right quadrant. Three pinhead-sized indentations in the upper and lower extreme edge, at center. A thin indentation to the pigment along the extreme right edge. The canvas has been relined and the tacking edges have been removed.

Blacklight: Scattered areas of touch-up, the most prominent areas being a dime-sized touch-up in the rock formation background of the lower right quadrant, and a pea-sized area of touch-up on the side of the mountain in the upper left quadrant.

Unframed 130 Visual: Overall good condition. Dust accumulation and grime, showing mostly in the upper corners. An unobtrusive, 1” vertical surface scratch in the sky at upper center. A .05” long very faint, stray, blue pencil line in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 39.5” W x 2” D 131 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 37.5” W x 2.5” D 132 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 25” H x 29” W x 2” D 133 Visual: Overall good condition. A few small areas of very fine, unobtrusive craquelure in sections of the clouds of the upper half.

Blacklight: No evidence of restoration.

Frame: 30.25” H x 35” W x 2.25” D

Condition Reports

124 Visual: Overall good condition.

239

134 Visual: Overall good condition. A 1.75” H x 5” W band of paint discoloration where the signature appears in the lower right corner, possibly in the hand of the artist. A pea-sized reverse pressure mark attendant with a nail from the stretcher bar, in the lower edge, at center.

139 Visual: Overall good condition. A faint 0.5” H x 0.75” W area of pigment loss in the sky and near the upper edge, at center. Scattered specks of grime in the upper right quadrant.

Blacklight: No evidence of restoration. An uneven application of varnish has been applied.

Frame: 32.5” H x 37.5” W x 2” D

Frame: 37.5” H x 43.5” W x 3.5” D 135 Overall good condition. The board is hinged to the back mat with two pieces of tape affixed to the verso of the board.

Framed under glass: 12” H x 11.5” W x 1” D 136 Overall good condition. Slight toning to the paper. A soft crease along the upper edge of the sheet.

Hinged to the overmat in two places by pieces of linen tape affixed to the verso of the upper sheet edge.

Framed under Plexiglas: 28.5” H x 32” W x 1.5” D 137 Visual: Overall good condition. Minor dust accumulation, grime, and varnish discoloration commensurate with age. Stretcher bar creases along the upper edge, and the upper portions of the left and right edges. The canvas has been strip-lined and the tacking edges have been and replaced.

Blacklight: Scattered touch-ups throughout, with the largest area measuring 1.25” H x 1.5” W in the bushes, of the lower left quadrant.

Condition Reports

Unframed

240

138 Visual: Overall good condition. Slight dust accumulation and grime commensurate with age. A rice-sized area of stray white pigment in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 53.5” H x 79” W x 2” D

Blacklight: No evidence of restoration.

140 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23.25” H x 19.5” W x 3” D 141 Visual: Overall good condition. Small flecks of stray orange pigment towards the middle of the upper edge between the two buttes. A 1” H x 0.25” W line of residue adhered to the surface towards the center between the two buttes. A pinhead-sized fleck of residue adhered to the surface in the upper left quadrant to the left of the butte.

Blacklight: A 0.5” H x 1.25” area of touch-up in the lower right quadrant, near the center of the lower edge.

Frame: 26.25” H x 38.25” W x 1” D 142 Overall good condition. The board is taped to the overmat along each edge, verso.

Framed under glass: 31.5” H x 27” W x 2.25” D 143 Visual: Overall good condition. A speck of unobtrusive pigment loss in the extreme upper right corner. Minor frame abrasion along the left edge.

Blacklight: No evidence of restoration.

Frame: 22.375” H x 19.5” W x 3” D 144 Overall good condition. Full margins with deckled edges. Several very soft horizontal handling creases near the upper margin edge, not affecting the image, and visible mostly in raking light. The longest approximately 2” W. Two small old paper hinges at the upper margin corners. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under glass: 23” H x 17.25” W x 1.5” D

Framed under Plexiglas: 18.75” H x 22.25” W x 1.5” D 146 Visual: Overall good condition. An approximately 3” vertical faint scuff mark near the lower left edge. Two pinhead-sized spots of pigment loss in the lower right quadrant near the red boots and near the edge of the lower left quadrant.

Blacklight: Two 0.75” round spots of touch-up in the boots of the female figure on the left.

Frame: 24.5” H x 28.5” W x 3” D 147 Visual: Overall good condition. Very minor dust accumulation commensurate with age.

Blacklight: A 1.5” vertical area of touch-up between the shoes of the central figure.

Frame: 31” H x 26” W x 2” D 148 Visual: Overall good condition. Two pea-sized reverse pressure marks near the figure’s beard in the upper left quadrant with related patches on the verso. Wear and splitting of the canvas along the extreme edges of the canvas, where wrapped around the stretchers.

Blacklight: Two spots of touch-up to the left of the figure’s eyes, the largest measuring 0.5” H x 1” W. Frame: 27” H x 23.25” W x 2.75” D 149 Overall good condition. Areas of fine craquelure scattered throughout and one area of unstable craquelure with an attendant pea-sized area of pigment loss in the red pigment above the figure’s head of the upper left quadrant. Scattered and occasional flecks of pigment loss in the upper left and right quadrants. A pea-sized slight indentation with attendant flecks of pigment loss in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 28” H x 22.5” W x 2.25” D

150 Visual: Stable craquelure throughout, with some areas in the upper left and right quadrants with heavier craquelure. Flecks of pigment loss scattered throughout, primarily in the figure’s face. Peasized areas of old pigment loss with overpainting, attendant with touch-ups during the restoration process. Soft creases in the canvas, the largest measuring 15” diagonally in the lower right quadrant. The canvas is bowed primarily in the lower right quadrant. The canvas has been relined.

Blacklight: Various old and new touch-ups throughout. The most prominent areas being a 3” H x 4” W touch-up around the figure’s mouth, and a 4” H x 5.5” W touch-up on the figure’s chest, and in the lower right quadrant.

Frame: 25” H x 23” W x 2.5” D 151 Visual: Shallow surface scratches along the left edge.

Frame abrasion along each edge. Pinhead-sized surface loss in the hair of the figure. Occasional pinhead-sized spots of stray light pigment in the upper right quadrant, showing near the figure’s head.

A rice-sized puncture in the lower left quadrant.

Pinhead-sized spot of surface loss to the left of the figure’s head.

Blacklight: Areas of old and new touch-ups throughout, with attendant repairs appearing on the verso.

Frame: 58.5” H x 42.5” W x 2.5” D 152 Visual: Overall good condition. The canvas has been relined.

Blacklight: A few dime-sized and smaller spots of touch-up in the background.

Frame: 30” H x 25.5” W x 2.25” D 153 Visual: Overall generally good condition. A 0.5” horizontal tear near the bottom of the young girl’s dress. A few rice-sized flecks of red pigment near the lower edge, primarily covered by the frame.

Blacklight: Certain pigments in the cheeks and lips of the figures fluoresce under blacklight, however, these appear to be in the hand of the artist. Slightly uneven varnish application in places.

Frame: 32.25” H x 29” W x 2” D

Condition Reports

145 Overall good condition. Slight rippling to the paper at the center of the left and right edges.

241

154 Overall good condition. Scattered and small clusters of pale discoloration in the upper and lower right quadrants. A pea-sized area of paper loss near the lower right corner. The right extreme edge is slightly unevenly trimmed. The verso of the sheet with occasional specks of foxing and overall toning from the use of cardboard as a backing board. The sheet is taped to the overmat from the verso of the sheet edges.

Framed under glass: 29.5” H x 28.5” W x 1” D

Condition Reports

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

Frame: 11.75” H x 13.75” W x 1.75” D 159 Visual: Overall good condition.

155 The colors fresh. A 1.5” tear in the sheet near the right edge of the curtains of the lower right quadrant.

Scattered and minor handling creases and soft surface scratches. A small area of foxing in the background wall in the upper left quadrant. The verso sheet edges with old glue residue attendant with previous tape used. The sheet is hinged to the overmat with white tape in four places on the verso of each edge.

Blacklight: No evidence of restoration.

Framed under glass: 26” H x 32” W x 1.25” D

Blacklight: No evidence of restoration.

156 Overall generally good condition. Pale light and time staining. Four tears along the upper edge, mostly concentrated near the center, the largest measuring 1.5” H. A crease along the extreme upper edge, primarily showing at right. The sheet is trimmed along each of the extreme edges, showing mostly along the left extreme edge, possibly in the hand of the artist. Dime-sized or smaller areas of old glue staining along the extreme upper and lower edges and corners. Artist’s pinholes along each of the extreme edges. Hinged to the back mat with three pieces of masking tape on the verso of the upper sheet edge.

Frame: 32” H x 38” W x 2.25” D

Framed under glass: 28” H x 34” W x 1.5” D

242

158 Visual: Overall good condition. Very fine and stable craquelure throughout.

157 Visual: Overall good condition. Slight dust accumulation, specks of grime, varnish discoloration commensurate with age. Very soft stretcher bar creases showing primarily in the upper edge, at left, and the upper right edge.

Blacklight: Occasional areas of possibly older touchup throughout, showing primarily in the clouds.

Frame: 40.75” H x 61” W x 2” D

Frame: 23.75” H x 20” W x 1.5” D 160 Overall good condition. Some soiling and with slight oxidation, commensurate with the medium and age.

161 Visual: Overall good condition.

162 Overall good condition. The colors good. A 0.5” H x 5” W area of pale staining at the lower left edge of the sheet. Two pinhead-sized specks of grime in the background of the upper right quadrant. The sheet is hinged to the back mat with two pieces of archival tape from to the verso of the upper sheet corners.

Framed under Plexiglas: 24” H x 30.75” W x 2” D 163 Visual: Overall good condition. Occasional and scattered areas of very fine craquelure throughout.

Blacklight: Areas of touch-up showing throughout the upper half of the piece.

Framed under glass: 36.75” H x 28.5” W x 1.75” D 164 Visual: Overall good condition.

Blacklight: Scattered small spots and strokes of touch-up throughout, with the largest measuring 1.5” H x 0.5” W in the lower rose in the lower left quadrant.

Frame: 21” H x 30.75” W x 2.5” D

165 Visual: Overall good condition. Dust accumulation and grime commensurate with age. A pinhead-sized area of black pigment near the upper edge of the painted red textile in the upper right quadrant.

Blacklight: Occasional small strokes and spots of touch-up throughout.

Unframed 166 Visual: Overall good condition. Slight dust accumulation and grime commensurate with age.

Frame abrasion along the upper edge, at right. Two pinhead-sized areas of stray white pigment in the extreme lower left corner.

Blacklight: No evidence of restoration.

Condition Reports

Frame: 31.75” H x 25.5” W x 2.5” D

243

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Head of Sale, Director, Fine Art Jenny Wilson Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Vice President, Silver, Western, and American Indian Art Specialist Maranda Moran Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art

Ian Anderson

Associate Specialist, Fine Art Eire Hoke

Senior Specialist, Furniture & Decorative Arts `` Post-War & Contemporary Design Specialist Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts Silver, Western and American Indian Cataloguer

Angela Past Matthew Grayson

Lori Kassabian Alek Ellis Sally Andrew

Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art Clark Silva Grant Stevens Cataloguer, Furniture & Decorative Arts Director, Jewelry & Watches Tom Burstein Peggy Gottlieb Senior Specialist, Jewelry & Watches Department Administrator, Jewelry & Watches Nikita Mehta Regional Representative, Arizona Deborah Davis

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 Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Nathan Martinez PR Manager/Social Media Brenda Smith Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres Photographer Matthew Mizerowski Photography Assistant Jacob Baer

TRUSTS & ESTATES

Director, Appraisals Mariam Whitten, ISA AM Administrator, Appraisals Shannon Dailey Administrator, Trusts & Estates 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 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

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

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

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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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) The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Bidsquare platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3.5% 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 card payments made directly to Moran are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction.

The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased 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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