Modern + Contemporary Fine Art—November 21, 2023 | John Moran Auctioneers

Modern + Contemporary Fine Art 11.21.23—12pm SINCE 1969

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

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Modern + Contemporary Fine Art 11.21.23—12pm

Sale 262 145 East Walnut Avenue, Monrovia CA 91016

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Meet the Team

Jennifer Wilson Head of Sale, Director, Fine Art jennifer@johnmoran.com Anne Spink Fine Art Cataloguer anne@johnmoran.com

Client Services Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

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Marc Chagall

(1887-1985) “Maternite au Centaur,” 1957 Lithograph in colors on wove paper, watermark Arches Edition: 10/90 Signed and numbered in pencil: Marc Chagall; Editions Maeght, Paris, pub.

Image: 9.25” H x 9.5” W; Sheet: 14.875” H x 13.375” W $2,000-4,000 Literature: Mourlot 195

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Marc Chagall

(1887-1985) “Bouquet a la Main,” 1957 Lithograph on wove paper Edition: 27/90 Signed and numbered in pencil in the lower margin: Marc Chagall; Mourlot, Paris, prntr.; Editions Maeght, Paris, pub.

Image: 9.5” H x 6.875” W; Sheet: 14.5” H x 11.25” W $1,500-2,500 Literature: Mourlot 207; cf. Cramer books 34

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Marc Chagall

(1887-1985) “L’Accordeoniste,” 1957 Lithograph in colors on wove paper Edition: 11/90 Signed and numbered in pencil in the lower margin: Marc Chagall; Mourlot, Paris, prntr.; Editions Maeght, Paris, pub.

Image: 9.75” H x 15.75” W; Sheet: 14.875” H x 19.875” W $1,500-2,500 Literature: Mourlot 204

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Marc Chagall

(1887-1985) “Le Coq rouge,” 1957 Lithograph in colors on wove paper Edition: 81/90 (there was also an unsigned book edition of 6000) Signed and numbered in pencil in the lower margin: Marc Chagall; Mourlot, Paris, prntr.; Editions Maeght, Paris, pub.

Image: 10” H x 14.5” W; Sheet: 14.75” H x 19” W $3,000-5,000 Literature: Mourlot 203; Cramer books 34 Other Notes: “Le Coq rouge” is for the book, “Chagall,” by Jacques Lassaigne and published by Maeght, Paris, in 1957.

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Joan Miro

(1893-1983) “L’Egyptienne,” 1977 Etching and aquatint in colors on cream wove paper Edition: 14/50 Signed and numbered in pencil in the lower margin: Miro; Morsang, Paris, prntr., Maeght, Paris, pub.

Sight: 52” H x 35” W $15,000-25,000 Provenance: Bowles/Hopkins Gallery, San Francisco, CA Literature: Dupin 970

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Joan Miro

(1893-1983) “Trace sur la Paroi V,” 1967 Etching and aquatint in colors with carborundum on Mandeure rag paper Edition: 55/75 Signed and numbered in pencil in the lower margin: Miro; Maeght, Paris, France, prntr. and pub.

Plate: 23” H x 36.25” W; Sheet: 29” H x 41” W $7,000-9,000 Provenance: Harcourts Gallery, San Francisco, CA Literature: Dupin 444

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Joan Miro

(1893-1983) “Ma de Proverbis” from the “Ma de Proverbis” suite,” 1970 Lithograph on cream wove paper Edition: 35/75 Signed and numbered in pencil in the lower margin: Miro; Maeght, Paris, prntr.; Poligrafa, Barcelona, pub.

Sight: 21.5” H x 29.5” W $1,500-2,500 Provenance: Sold: Swann Auction Galleries, New York, NY, “19th & 20th Century Prints & Drawings,” September 24, 2009, Lot 565 Literature: Mourlot 674 Other Notes: This lot is accompanied by a copy of the invoice from the above-mentioned auction.

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Joan

(1893 “The Litho Editi Signe Miro Imag

$1,50

Litera

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n Miro

3-1983) e Taciturn Majorcan,” 1969 ograph in colors on wove paper, watermark BFK Rives ion: 10/75 ed and numbered in pencil at the lower right and left corners, respectively: o; Maeght, Paris, pub. ge/Sheet: 33.375” H x 23.75” W

00-2,500

ature: Mourlot 595

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Joan Miro

(1893-1983) “Trace sur l’eau,” 1963 The book with one original lithograph in colors on wove paper as its wrap-around cover Together with the title and justification pages, color reproductions of the artist’s watercolors printed on Marais onion skin paper either tipped down to support sheets or bound-in From the unsigned and unnumbered edition of 900 (there was also a deluxe edition of 100) The full sheets, bound, as issued; Maeght Editeur, Paris, pub.

Overall: 11.5” H x 14” W x 0.5” D $1,000-2,000 Literature: Cramer books 82 Other Notes: The dust jacket is an original lithograph on Rives wove paper. The image covers the front, back, spine and the four folded flaps. The title page is preceded by two semi-translucent vellum sheets printed with design elements derived from the cover image.

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Georges Braque

(1882-1963) Untitled, from “L’Ordre des O iseaux,,” 1962 Etching and aquatint in colors on wove paper, watermark Au vent d’Arles Edition: 63/75 Signed and numbered in pencil in the lower margin: G. Braque; Aldo Crommelynck, Paris, prntr.; Au vent d’Arles, Paris, pub.

Plate: 11.75” H x 14.25” W; Sheet: 16.5” H x 20.5” W $800-1,200 Literature: cf. Vallier 182

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Pablo Picasso

(1881-1973) “Quatre Femmes nues et Tete sculptee” from “La Suite Vollard,” 1934 Etching on Montval laid paper, watermark Vollard From the edition of 260 (there was also an edition of 50 with wider margins) Unsigned; with the Marina Picasso purple ink stamp on the verso of the lower left margin corner; Ambroise Vollard, Paris, pub.

Plate: 8.75” H x 12.25” W; Sheet: 13.5” H x 17.75” W $10,000-15,000 Provenance: Erica Meyerovich Gallery, San Francisco, CA, 1986 Literature: Bloch 219; Geiser/Baer 424

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Pablo Picasso

(1881-1973) “Losange au masque,” 1956 Red earthenware tile with black and white slip Edition: 35/350 Numbered and inscribed, verso: J.172; with the Madoura Plein Feu and Edition Picasso stamps, verso 15.75” H x 8” W x 1.5” D $4,000-6,000 Literature: A. Ramie 345

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Pablo Picasso

(1881-1973) “Visage d’homme,” 1966 Red earthenware tile with black slip Edition: 384/500 Numbered and inscribed J. 148, verso; with the Empreinte Originale de Picasso and Madoura Plein Feu stamps, verso 6.5” H x 4” W x 0.5” D $2,000-3,000 Literature: A. Ramie 539

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Pablo Picasso

(1881-1973) “Little Sun,” 1968 Red earthenware tile with black slip Edition 62/200 Numbered and inscribed J. 245, verso; with the Empreinte Originale de Picasso and Madoura Plein Feu stamps, verso 4” H x 6” W x 0.5” D $2,000-3,000 Literature: A. Ramie 345

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Pablo Picasso

(1881-1973) “Trois nus debout, a droit esquisses de tetes,” 1927 Etching on ivory wove paper From the total edition of 340 Unsigned; Louis Fort, Paris, prntr.; Ambroise Vollard, pub.

Plate: 7.75” H x 10.75” W; Sight: 9” H x 12.5” W $800-1,000 Provenance: Erica Meyerovich Gallery, San Francisco, CA, January 1986 Literature: cf. Bloch 82-94 cf. Baer/Geiser 123-134 cf. Cramer books 20 Other Notes: In 1927, Picasso was commissioned by the French art dealer and publisher Ambroise Vollard to create this etching, and 12 others, as an illustration for 19th century author Honore de Balzac’s short story, “Le Chef-d’oeuvre inconnu” (“The Unknown Masterpiece”). Vollard eventually published 340 copies of this livre d’artist in 1931.

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Francoise Gilot

(1921-2023) “Sand Roses” Lithograph in colors on paper Edition: 27/100 Signed, titled, and numbered in pencil in the lower margin: Francoise GilotImage Image: 17.875” H x 22.375” W; Sheet: 21” H x 25.125” W $1,000-2,000

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Bernard Villemot

(1911-1989) “Negrita. Le rhum,” 1974 Lithograph in colors on paper Signed in the stone: Villemot; Bedos & Cie., Paris, prntr.

Image: 56” H x 87.5” W; Sight: 61.2” H x 91.2” W $1,000-2,000 Literature: Villemot 253

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Bernard Villemot

(1911-1989) “Perrier c’est fou...”

Lithograph in colors on paper Signed in the stone: Villemot Sight: 64” H x 46” W $800-1,200

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Bernard Villemot

(1911-1989) “Perrier c’est Fou,” 1976 Lithograph in colors on paper Signed in the stone: Villemot; Saint Martin, Asnieres, prntr.

Sight: 66.25” H x 44.5” W $800-1,200 Literature: Bon Salle, 394; Publicité, p. 201; PAI-LXV, 528

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Bernard Villemot

(1911-1989) “Orangina Light” Giclee in colors on paper Signed in the stone: Villemot Sight: 61.25” H x 22.25” W $800-1,200 Literature: cf. Villemot 117v

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Kathe Kollwitz

(1867-1945) “The Prisoners,” plate 7 from the “Peasants War” series, 1908 Etching and drypoint on paper From the edition of unknown size; printed later, circa 1931 Unsigned; with the A.v.d. Becke Muenchen-22 blindstamp in the lower right corner of the platemark; Alexander von der Becke, Berlin, Germany, pub.

Plate: 12.875” H x 16.75” W; Sheet: 18.875” H x 23.625” W $1,500-2,500 Provenance: Ferdinand Roten Galleries, Baltimore, MD Literature: Klipstein 98, Knesebeck 102 Other Notes: According to labels affixed to the frame’s backing paper, this image is a restrike.

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Kathe Kollwitz

(1867-1945) “Aufruhr [Uprising],” 1899 Etching, drypoint and aquatint on wove paper From the edition of unknown size; printed later circa 1946 Unsigned; with the A.v.d. Becke Muenchen-22 blindstamp in the lower right corner of the platemark; Alexander von der Becke, Berlin, Germany, pub.

Plate: 11.5” H x 12.5” W; Sheet: 14.125” H x 17” W $1,000-2,000 Literature: Klipstein 44, Knesebeck 46

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Victor Vasarely

(1906-1997) “Katolar,” 1973 Screenprint in colors on paper Edition: 134/150 Signed and numbered in pencil in the lower margin: Victor Vasarely Image: 18.875” H x 18.875” W; Sight: 20.875” H x 20.875” W $800-1,200

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Victor Vasarely

(1906 -1997) “Quadrature X” Screenprint in colors on violet paper Edition: 34/100 Signed and numbered in pencil in the lower margin: Vasarely; Atelier Arcay, Paris, prntr.

Sight: 25.5” H x 25.5” W $700-900

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Yaacov Agam

(b. 1928) “Vertical Midnight,” 1960 Screenprint in colors on paper Edition: A.P 3/27 (there was also a regular edition of 150) Signed and numbered in pencil in the lower margin: Agam Image: 19.75” H x 17.25” W; Sight: 21” H x 19” W $800-1,000

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Howard Hodgkin (1923-2017)

Four works by Howard Hodgkin in this auction pro artist. The time span of the works, 1979-2002, hap activities and his diverse commissions for everythin designs for professional dance companies -- Hodg

According to Hodgkin’s partner, Antony Peattie, “P prints made his own work available to a wider pub to the lonely solitude of painting studio.” Scholar to bring out the desired colours and textures....Ho Hodgkin employed an enormous variety of printm carborundum and hand-coloring. His method of la result was a painterly fusion of rich printed colour

Over time, the scale and technical intricacy of Hod What remained consistent through it all, however, abstract compositions which he famously describe stemming from memories and responses to peopl Matisse, Hockney, and Ellsworth Kelly. Luckily, unli word choices often help to make his abstract imag

An impression of “Thinking Aloud in the Museum related soft-ground etchings recalling a visit (or vis visitors, and others during which the artist was alo and aquatint with hand-coloring entitled “The Hos Filling up with Flowers,” is also in this auction. It a and England throughout the worst of the AIDS ep series of images, each with an equally lengthy and story about a group of friends who learn that one Yorker” magazine in November of 1986.

In early 2011, art historian Leah Ollman interviewe portraits, and still lifes that rarely describe space a sensual diary of his travels and relationships, the v she says, “Historians haven’t always known where 1990s, his work appeared in two nearly simultaneo figurative painting.....” Under the circumstances, H irritated a lot of people who’d rather I was one thin a waste of breath and a waste of ink.”

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ovide a wonderful opportunity to consider the printmaking skills and interests of this British-born ppens to fall neatly in the middle of the 50 years during which -- in addition to his ongoing painting ng from books and periodicals (see our print entitled “Books for the Paris Review”), to the set gkin created an impressive 189 different prints.

Prints mattered to Howard all his working life. He collected them avidly.....He delighted in the way blic and revelled in its technical challenges, as collaboration with printers offered him an alternative Richard Morphet wrote, “With a deep understanding of the sophisticated techniques required odgkin’s printmaking methods were incredibly ambitious, spontaneous and hugely experimental. making techniques, from lithography, to screen-printing, to intaglio works with additional ayering three or even four different printmaking techniques gave new potential to the medium. The with the more immediate and luminous hand-colouring.”

dgkin’s prints tended to increase, and he occasionally switched master printers and publishers. was an ongoing interest in lush colors, broad, dynamic lines and marks, and the creation of mostly ed as “representational pictures of emotional situations.” His subjects were often very personal, le, places, literature, and admiration for artistic predecessors or peers such as Vuillard, Degas, ike some of his contemporaries, Hodgkin tended to title his paintings and prints; his descriptive ges more accessible than they would otherwise be.

of Modern Art,” is the earliest of his prints in our auction. It is one image from a series of four sits) to that museum during different times of day, sometimes seemingly in the galleries with other one with just the museum’s artworks and the daylight from nearby windows. The 1990 color etching spital Room was Choked with Flowers, Everybody Likes Flowers, Surplus Flowers, the Room was a poignant reminder of the fact that Hodgkin was a gay man who lived and worked in New York pidemic. Like the 1979 print just mentioned, this colorful intaglio was also made as one in a related d telling title. In this case, Hodgkin made the five-print series after reading Susan Sontag’s short of them has contracted AIDS. Her essay, “The Way We Live Now,” was first published in “The New

ed Howard Hodgkin for a “Los Angeles Times” article. She wrote, “Hodgkin paints landscapes, and form literally but instead evoke corresponding emotional conditions. His works constitute a views he’s savored, the blossoms and sunsets, shifting weather and changing seasons.” Additionally, to situate Hodgkin beneath the chapter headings of 20th century art. At one point in the early ous exhibitions, one tracing postwar British abstractions and the other surveying 20th century British Hodgkin’s own words are perhaps the most helpful. “People want to categorize me. It’s always ng or the other. Because all painting is essentially abstract, arguing about such definitions is usually

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Howard Hodgkin

(1923-2017) “Thinking Aloud in the Museum of Modern Art,” 1979 Soft-ground etching on yellowish-gray Hodgkinson handmade paper Edition: 65/100 Signed, dated, and numbered in red pencil in the lower edge, at center: Hodgkin; Ken Farley and John Hutcheson, Petersburg Studios, New York, prntr.; Petersburg Press, New York, pub.

Image/Sheet: 30.5” H x 40.5” W $3,000-5,000 Literature: Tate Gallery 23

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Howard Hodgkin

(1932-2017) “The Hospital Room was Choked with Flowers,” 1990 Lift-ground etching in colors with hand-coloring on laid paper, watermark Fabriano Edition: 44/50 Initialed and numbered in pencil in the lower edge, at center:: HH; Jack Shirreff at the 107 Workshop, Wiltshire, England, prntr.; Karsten Schubert, London, England, pub.

Image/Sheet: 11.625” H x 25.25” W $1,200-1,800 Literature: cf. Heenk p. 217 Other Notes: The full title of this print is “The Hospital Room was Choked with Flowers, Everybody Likes Flowers, Surplus Flowers, the Room was Filling up with Flowers.”

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Howard Hodgkin

(1932-2017) “Books for the Paris Review,” 1997-99 Lift-ground etching, aquatint and carborundum, with hand-coloring on handmade paper Edition 48/80 Initialed, dated, and numbered in pencil at the lower edge: HH; Jack Shirreff at the 107 Workshop, Wiltshire, England, prntr.; Paris Review, New York, pub.

Image/Sheet: 14.5” H x 16.25” W $1,200-1,800 Literature: Heenk 100

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Howard Hodgkin

(1932-2017) “Away,” 2000 Sugar lift-ground etching, aquatint, and hand-coloring in Turner’s yellow, cadmium red, and green acrylic on hand-made paper Edition: 35/50 Initialed, dated, and numbered in pencil in the lower edge: HH; Jack Shirreff, Andrew Smith, and Claire Wait, at 107 Workshop, Wiltshire, England, prntr. Alan Cristea Gallery, London, England, pub.

Image/Sheet: 9.5” H x 11.125” W $800-1,200 Other Notes: According to the artist’s website, “Away” is on 100% cotton paper from Two Rivers paper mill, Watchet, Somerset, England, and handmade by Jim Patterson. In addition, “Away” was hand-colored by Jack Shirreff.

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Lill Tschudi

(1911-2004) “Zwielicht” Linocut in colors on Japan nacre paper Edition: 4/50 Signed, numbered, and inscribed in white pencil along the lower edge of the image: Lill Tschudi / Handdruck; titled and inscribed in pencil in the lower margin: auch Muster Image: 13.5” H x 15.5” W; Sheet: 14.625” H x 18” W $2,000-3,000 Provenance: Sold: Christie’s, London, England, “Old Master, Decorative, Modern & Contemporary Prints including an Important Private Collection

by Lill Tschudi,” December 5, 2012, Lot 279

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Francis Bacon

(1909-1992) “Figure at a Washbasin,” 1978 Etching and aquatint in colors on wove paper, watermark Arches Edition: A trial proof, aside from the edition of 100 Signed in pencil in the lower margin, at right: Francis Bacon; inscribed in pencil in the lower margin, at left: essai; Editions de la Difference, Paris, France, pub.

Plate: 18.75” H x 14.5” W; Sheet: 26” H x 19.75” W $8,000-12,000 Provenance: Sold: Swann Auction Galleries, New York, NY, “American Art/Contemporary Art,” June 4, 2009, Lot 164 Private Collection, Los Angeles, CA, purchased from the above

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Corita (Sister Mary) Kent

(1918-1986) “Queen of Apostles,” 1956 Screeprint in colors on paper Signed and indistinctly inscribed in pencil in the lower margin, at right: Sister Mary Corita Image: 21.5” H x 15.5” W; Sight: 22.75” H x 17.25” W $700-900

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Robert Rauschenberg

(1925-2008) “L.A. Uncovered #2,” 1998 Screenprint in colors on wove paper Edition: Apparently aside from the numbered edition of 60 Signed and dated in pencil lower left: Rauschenberg; Gemini G.E.L, Los Angeles, CA, pub.

Image/Sheet: 24.125” H x 20.5” W $2,000-3,000

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Alexander Calder

(1898-1976) “Tempete,” 1970 Lithograph in colors on wove paper Edition: 74/80 Signed and dated in pencil lower right: Calder; numbered in pencil left of center Image/Sheet: 29.5” H x 43.375” W $2,000-3,000

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Alexander Calder

(1898-1976) “Pyramid Rouge,” circa 1970 Lithograph in colors on wove paper Edition: 71/75 Signed and numbered in pencil near the lower corners, respectively: Calder; titled in pencil, verso Image/Sheet: 15” H x 20.25” W $2,000-4,000 Provenance: Noel Baza Fine Art, San Diego, CA

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Alexander Calder

(1898-1976) “Theatre du Soleil” Lithograph in colors on cream wove paper Edition: 100/125 Signed and numbered in pencil near the lower edge: Calder; titled in pencil verso Image: 19.25” H x 19” W; Sheet: 27.375” H x 22” W $2,000-4,000

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Alexander Calder

(1898-1976) “La Vague (The Wave),” 1971 Lithograph in colors on paper Edition: 91/100 Signed and numbered in pencil in the lower right and left corners, respectively: Calder Image/Sheet: 29.875” H x 22.5” W $1,500-2,500

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Four plates from “Derriere le Miroir” Four Works:

Alexander Calder (1898-1976) “Derriére le Miroir, No. 69-70,” 1954 Lithograph in colors on paper Unsigned Alexander Calder (1898-1976) “Derriere le Miroir, No.190,” 1971 Lithograph in colors on paper Unsigned Joan Miro (1893-1983) “Derriere le Miroir, No. 203,” 1973 Lithograph in colors on paper Unsigned Marc Chagall (1887-1985) “Derriere le Miror, No. 225,” 1977 Lithograph in colors on paper Unsigned Sheet of each: 15” H x 22” W approx. $800-1,200

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Alexander Calder

(1898-1976) Untitled, circa 1961 Gouache and ink on paper Unsigned Image/Sheet: 8.25” H x 10.625” W $7,000-9,000 Provenance: The Artist Calcott Clapp (Calder’s neighbor), gifted from the above Christopher Clapp, Woodbury, CT, by descent Private Collection, Hamden, CT, acquired from the above, 2022 Other Notes: This work is registered in the archives of the Calder Foundation, New York, NY, under the application number: A29895.

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Alexander Calder

(1898-1976) Untitled, 1968 Ink on paperboard Initialed and dated lower right: C.A. 12” H x 15” W $6,000-8,000 Provenance: Private Collection, Wisconsin Sold: Christie’s, New York, NY, November 14, 1986, Lot 288 Private Collection, CA 1986, acquired from the above The Collection of Cindy Tietze-Hodosh and Stuart Hodosh, Malibu, CA This work is registered in the archives of the Calder Foundation, New York, under application number A09609.

Other Notes: The name Mathias Goeritz is inscribed in blue ink verso. Goeritz was a prominent architect and painter known to have collaborated with Calder. However, no known documentation confirms this work to have ever been included in his personal collection.

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Alexander Calder

(1898-1976) Moon and Sun, circa 1960 Wool and canvas Unsigned 39” H x 73” W $5,000-7,000 Provenance: The Artist Calcott Clapp, circa 1960, gifted from the above Through descent in the family to Christopher Clapp, Woodbury, CT Private Collection, Hamden, CT, 2022, by descent from the above This work is registered in the archives of the Calder Foundation, New York, NY, under the application number: A02304.

Other Notes: Alexander Calder drew the design of this rug on the canvas lining and his neighbor, Calcott Clapp hooked the wool to complete the piece.

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(1898-1976) Untitled, circa 1961 Gouache and ink on paper Unsigned 10.625” H x 8.25” W

(1898-1976) Untitled (Portrait of Andi Sc Felt-tip ink on paper Unsigned 13.5” H x 18” W

Alexander Calder

Alexander Calder

$4,000-6,000

$3,000-5,000

Provenance: The Artist Calcott Clapp, circa 1960, gifted from the above Christopher Clapp, Woodbury, CT, by descent from the above Private Collection, Hamden, CT, 2022, by descent from the above

Provenance: The Artist Polly Clapp, Connecticut, 1 Christopher Clapp, Woodb Private Collection, Hamden

This work is registered in the archives of the Calder Foundation, New York, NY, under the application number: A29896.

This work is registered in th

Other Notes: Mary Rower w friend of Alexander Calder,

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chiltz, Mary Rower, and Polly Clapp), circa 1974

1974, gifted from the above bury, CT, 1979, by descent from the above n, CT, 2022, by descent from the above

he archives of the Calder Foundation, New York, NY under the application number: A02309.

was Alexander Calder’s daughter, Andi Schiltz was an architect, member of the Bauhaus, and , and Polly Clapp was Calder’s neighbor and was gifted this work by the artist in 1974.

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Alexander Calder

(1898-1976) Untitled (Sketch of a Stabile), 1966 Ink on paper Unsigned 6.375” H x 5.125” W $3,000-5,000 Provenance: The Artist Calcott and Polly Clapp, Connecticut, 1966, gifted from the above Christopher Clapp, Woodbury, CT, 1979, by descent from the above Private Collection, Hamden, CT, 2022, by descent from the above Exhibited: Palm Desert, CA, Heather James Fine Art, “Calder,” Nov. 27, 2015-May 30, 2016 Literature: Heather James Fine Art “Calder,” 2015, exhibition catalogue on p. 66 (color detail) and p. 88 (full color) Other Notes: This sketch relates to the 72-foot-tall outdoor sculpture, “L’Homme” (or its alternate title “Trois disques”) which Calder did as a commission for the 1967 World’s Fair in Montreal, Quebec. In the early 1990s, this second largest of the artist’s stabiles was moved to its current location in Parc Jean-Drapeau, Montreal, Quebec.

Affixed to the frame’s backing board is a wedding announcement of Mr. Pietro Salvatore Nivola and Ms. Virginia Davis.

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A Postcard from Sandy Calder, 1963

A postcard addressed and written to Christopher Clapp, Alexander Calder’s neighbor for many years in Connecticut. With French postal stamps. Design from the Lincoln Art Series.

4.75” H x 6.25” W $500-700 Provenance: From the Estate of Christopher Clapp

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Wayne Thiebaud

(1920-2021) “Valley Farm,” 1993 Aquatint with soft ground etching, drypoint and spit bite aquatint on paper Edition: T.P.C (there was also the edition of 35 plus 10 artist proofs) Signed, dated, and numbered .in pencil in the lower margin: Thiebaud; Lawrence Hamlin, prntr.; Crown Point Press, San Francisco, pub.

Plate: 22” H 22” H x 16” W; Sheet: 30” H x 23” W $5,000-7,000 Provenance: Crown Point Press, San Francisco, CA Other Notes: This lot is accompanied by an information sheet and a sales invoice from Crown Point Press, San Francisco, CA, and dated May 2, 2002. As well as a photocopy of an article from TIME magazine, July 16, 2001, that references the work.

This work is alternatively known as “Night Farm.”

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Wayne Thiebaud

(1920-2023) “River and Farms,” 2002 Color direct gravure with drypoint on paper Edition: 19/40 (there was also an edition of 10 artist proofs and 5 trial proofs) Signed and dated in pencil in the lower margin: Thiebaud; with the printer and publisher blindstamps in the lower margin, at right; Dena Schuckit, prntr.; Crown Point Press, San Francisco, pub.

Image: 9” H x 11.75” W; Sheet: 18.25” H x 20” W $1,500-2,500 Provenance: Crown Point Press, San Francisco, CA Other Notes: This lot is accompanied by a sales invoice and information sheet from Crown Point Press, San Francisco, CA, and dated November 1, 2002.

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Wayne Thiebaud

(1920-2021) “Invisible Cities,” 1999 Hardcover book Edition: 358/400 Signed by Thiebaud in pencil on verso of half-title Calvino, Italo (author); William Weaver (translator); Wayne Thiebaud (illustrator).

“Invisible Cities.” San Francisco: Arion Press, 1999 The folio bound in aluminum case with five U-post rings and locking pin, featuring 12 drawings by Thiebaud of sites and artifacts printed on transparent mylar sheets 14.25” H x 13.25” W x 1.75” D $1,000-1,500 Other Notes: This lot is accompanied by a tri-fold pamphlet from the publisher with details about the author, translator, and artist, as well as edition and printing notes.

Additionally accompanied by a newspaper clipping from The New York Times “Italo for Beginners” by Jonathan Lethem, dated November 20, 2005.

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Sam Francis

(1923-1994) Untitled (SF90-403), 1990 Acrylic on paper Signed and dated in pencil, verso: Sam Francis; with a pencil notation on the verso of the paper, possibly in another hand: SAE 4422 SF 90 22.25” H x 11” W $12,000-16,000 Provenance: The artist Philip and Paula Kirkeby, acquired from the above, 1990 Private Collection, San Rafael, CA, by descent from the above Exhibited: San Rafael, CA, Smith Andersen North, “Sam Francis: The Spirit of the Shadow: Paintings and Etchings,” June 25-July 29, 2009 This work is listed in the Sam Francis online catalogue raisonee under ‘Works on Paper’ as (SF90-403).

Other Notes: According to the current owner, Sam Francis created this artwork while at the Kirkeby family’s boat house (Inverness Boat House) in Point Reyes Station, CA. Annotated in pencil, verso: SAE-4422 SF90. The SAE in the annotation stands for Smith Anderson Editions, a printing press located in Palo Alto, CA. Smith Anderson Editions was owned and operated by Paula Kirkeby alongside Kirkeby’s art gallery, Smith Anderson Gallery, which was also located in Palo Alto, CA, and was known for exhibiting artists such as Sam Francis, Ed Moses, Nathan Oliveira, Frank Lobdell, Bruce Conner, and others. The Smith Anderson Gallery operated from 1969 until Kirkeby’s death in 2016.

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Sam Francis

(1923-1994) Untitled (SF90-404),199 Acrylic on paper Signed and dated in pencil, verso: Sam Francis; with a pencil notation on the verso of the paper, possibly in another hand: SAE 4432 SF 90 7.75” H x 10” W $6,000-8,000 Provenance: The artist Philip and Paula Kirkeby, acquired from the above,1990 Private Collection, San Rafael, CA, by descent from the above Exhibited: San Rafael, CA, Smith Andersen North, “Sam Francis: The Spirit of the Shadow: Paintings and Etchings,” June 25-July 29, 2009 This work is listed in the Sam Francis online catalogue raisonee under ‘Works on Paper’ as s (SF90-404) Other Notes: According to the current owner, Sam Francis created this artwork while at the Kirkeby family’s boat house in Point Reyes, CA. Annotated in pencil, verso: SAE-4422 SF90. The SAE in the annotation stands for Smith Anderson Editions, a printing press located in Palo Alto, CA. Smith Anderson Editions was owned and operated by Paula Kirkeby alongside Kirkeby’s art gallery, Smith Anderson Gallery, which was also located in Palo Alto, CA, and was known for exhibiting artists such as Sam Francis, Ed Moses, Nathan Oliveira, Frank Lobdell, Bruce Conner, and others.

The Smith Anderson Gallery operated from 1969 until Kirkeby’s death in 2016.

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Sam Francis

(1923-1994) “Fragrant Breath,” 1982 Lithograph on Arches 88 paper Edition: 15/22 (there was also an edition of 10 artist’s proofs, 2 bon a tirer impressions, and 1 color trial proof) Signed and numbered in pencil at the lower right and left, respectively: Sam Francis; Gemini G.E.L, Los Angeles, CA, pub.; Serge Lozingot and Chris Sukimoto, prntr.; with the publisher’s blindstamp in the lower right corner Image/Sheet: 60” H x 50” W $4,000-6,000 Literature: Lembark 258 Other Notes: According to the catalogue raisonne, this image was drawn with water tusche directly on the plates, and it has two runs from two aluminum plates, the first being black, and the second silver-black.

This lithograph was not only printed by Serge Lozingot and Chris Sukimoto, but also processed and proofed by Serge Lozingot and James Reid, at Gemini G.E.L., Los Angeles, CA. In addition, the proofing period was from April to August 28, 1982. Following was the printing period from August 28, 1982 - July 13, 1983, and the plate was canceled in June 1989.

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Sam Francis

(1923-1994) “Self-portrait,” 1982 Etching on thick wove paper Edition: 11/20 Signed and numbered in pencil in the lower margin corners: Sam Francis; titled and dated by repute; with the blindstamps of 3EP Ltd., Palo Alto, CA, and IK, publisher and printer, respectively, in the lower margin corners Plate: 4” H x 2” W; Sheet: 14.75” H x 11.25” W $500-700 Provenance: Private Collection, CA Other Notes: This etching is annotated in pencil, verso: SP-72-VI. The 3EP, Ltd. blindstamp on this print is an abbreviation for “Three Equal Partners, Ltd.,” the print publishing business founded by Moo (Mary Margaret) Anderson, Joseph Goldyne, and Paula Kirkeby in Palo Alto, CA. It operated from 1978 until 1984.

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Sam Richardson

(1934-2013) “Snow Drift: 4 Poles,” 1975 Mixed media and painted acrylic Signed, dated, and titled to verso 15” H x 15” W x 1.125” D $1,500-2,500

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Nathan Oliveira

(1928-2010) “Head with Lights,” 1996 Oil and galkyd on canvas Signed and dated lower edge, at center: Oliveira; titled on gallery label tucked into stretcher 20” H x 16” W $4,000-6,000 Provenance: Marsha Mateyka Gallery, Washington, D.C.

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Nathan Oliveira

(1928-2010) Each: Untitled, 1961 Each: Watercolor on paper, blindstamp Grumbacher The left signed and dated upper left: Oliveira; the right signed and dated lower right: Oliveira Each: 22.5” H x 30.5” W $3,000-5,000

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Nathan Oliveira

(1928-2010) Standing figure, 1973 Watercolor on paper Signed and dated in pencil lower right: Oliveira Image/Sheet: 39.75” H x 25.75” W $3,000-5,000

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Joan Savo

(1918-1992) Untitled, abstract composition Oil on Masonite Unsigned 22.5” H x 27” W $2,000-4,000 Provenance: Winfield Gallery, Carmel, CA Other Notes: An announcement card for a Joan Salvo exhibition of figurative works at Victor Fisher Galleries is taped to the frame’s backing paper.

Other Notes: Post War California artist, Joan Savo was active in the San Francisco North Beach area in the 1950’s, and later on the Monterey Peninsula.

Solo Exhibitions: California Palace of the Legion of Honor, 1964.

Selected Group Exhibitions: “79th Annual Painting Exhibition of the San Francisco Art Association” at the San Francisco Museum of Art, 1960 “Fifth Winter Invitational,” California Palace of The Legion of Honor, SanFrancisco, 1964 Public Collections: Santa Barbara Museum of Art; Walnut Creek Civic Arts Center; Kaiser Center, Oakland; Oakland Museum; Monterey Peninsula Museum of Art; City of Viborg, Denmark.

Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980” 76

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Joan Savo

(1918-1992) Untitled, abstract composition, 1962 Oil on Masonite Signed and dated upper right: Savo 24.25” H x 23” W $2,000-4,000 Other Notes: This lot is accompanied by a color transparency of the painting as well as copies of personal letters written by Joan Savo.

Other Notes: Post War California artist, Joan Savo was active in the San Francisco North Beach area in the 1950’s, and later on the Monterey Peninsula.

Solo Exhibitions: California Palace of the Legion of Honor, 1964.

Selected Group Exhibitions: “79th Annual Painting Exhibition of the San Francisco Art Association” at the San Francisco Museum of Art, 1960 “Fifth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1964 Public Collections: Santa Barbara Museum of Art; Walnut Creek Civic Arts Center; Kaiser Center, Oakland; Oakland Museum; Monterey Peninsula Museum of Art; City of Viborg, Denmark.

Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980”

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Joan Savo

(1918-1992) Untitled, abstract composition, 1960 Oil on board Signed and dated lower right: Savo 31” H x 48.5” W $2,000-4,000 Provenance: Claypool Freese Gallery, Pacific Grove, CA Winfield Gallery, Carmel, CA Other Notes: A signed letter from Claypool Freese Gallery discusses their involvement with Joan Savo’s career and offer to assist collectors in purchasing her work in the secondary market.

This lot is accompanied by a color transparency of the painting as well as copies of personal letters written by Joan Savo.

Other Notes: Post War California artist, Joan Savo was active in the San Francisco North Beach area in the 1950’s, and later on the Monterey Peninsula.

Solo Exhibitions: California Palace of the Legion of Honor, 1964.

Selected Group Exhibitions: “79th Annual Painting Exhibition of the San Francisco Art Association” at the San Francisco Museum of Art, 1960 “Fifth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1964 Public Collections: Santa Barbara Museum of Art; Walnut Creek Civic Arts Center; Kaiser Center, Oakland; Oakland Museum; Monterey Peninsula Museum of Art; City of Viborg, Denmark.

Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980” 78

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Peter Voulkos (1924-2002)

Groundbreaking ceramicist Peter Voulkos left an i approach to clay and ceramics challenged traditio

Peter (born Panagiotis Harry Voulkos) was born on Voulkos was drafted by the US military, serving as College (now Montana State University) through f discovered ceramics. Ceramics quickly became Vo trucks. Voulkos’s creative output during his time a developed masterful techniques in ceramics, crea through high-end stores. But it was by an invitatio

In the summer of 1953 Peter Voulkos was invited met with pioneering figures in the burgeoning Ab to rubbing shoulders with other artists of the mov Angeles County Art Institute (now Otis) and there fellow faculty. Voulkos worked in ever larger sizes bouts with the more conservative administrators, Peter Voulkos helped deconstruct hierarchies in th away in 2002.

The piece in this sale, “Alegria,” was produced w sculptures, which began in 1986. This collaboratio ceramic sculptures. Voulkos selected some of his thrown clay forms stacked on top of each other, to for “Alegria” were produced in 2002. The cerami as anagama firing. Then a mold was made by the produce the edition of bronze sculptures. There a proof.

The work of Peter Voulkos is held in many prestig York, the Smithsonian Institution, Washington D.C

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indelible mark on the work of contemporary art, revolutionizing ceramics and crafts. His innovative onal boundaries of art and craft, paving the way for new ways of making and understanding art.

n January 29, 1924, in Bozeman, Montana to Greek immigrant parents. His early In his early 20’s s an airplane gunner in World War II (1939-1941). After the war Voulkos attended Montana State funds provided by the G.I Bill and studied art, specifically printmaking and painting, but soon Voulkos’s passion, and would source his clay by whatever means, including taking it from the tires of at Montana State College consisted of traditional, though highly skilled, utilitarian ceramics. Voulkos ating earthenware pottery and ceramic dinnerware, winning numerous awards and selling his art on to teach in North Carolina that would change the trajectory of Voulkos’ art career.

by Karen Karnes to teach at Black Mountain college near Asheville, North Carolina. There Voulkos bstract Expressionist movement like Robert Rauschenberg. A visit to New York City soon after led vement such as Willem de Kooning and Franz Kline. In 1954 Voulkos was invited to teach at the Los e furthered his experimentation with form and size in ceramic-making, much to the chagrin of his of clay forms, developing techniques of hacking, slashing, and glazing his pieces. After frequent he left to teach at UC Berkely in 1959. Hailed as an influential teacher and a boundary defying artist, he worlds of arts and crafts and pioneer ceramics as more than “decorative arts.” He would pass

with Peter Voulkos worked with Piero Mussi, the owner of Artworks foundry, in making bronze on between the two artists resulted in a series of bronze cast editions of some of Voulkos’ previous late ceramic forms, known as “stacks” due to them being created from larger-to-smaller hand o be cast in the bronze medium. Both the original ceramic sculpture and the bronze editions ic sculpture of “Alegria” was made first, out of a stoneware clay, and fired by a process known e Artworks foundry, and in turn that mold was used for the process known as lost-wax casting to are five cast bronzes pieces and one artist proof in the “Alegria” edition, of which this lot is the

gious collections, including the Museum of Modern Art and the Metropolitan Museum of Art, New C., the Philadelphia Museum of Art, and the Palm Springs Art Museum, among others.

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Peter Voulkos

(1924-2002) “Alegria,” 2000 Cast bronze Signed and dated in the casting near the bottom: Voulkos 50” H x 28” Dia $60,000-80,000 Provenance: Frank Lloyd Gallery, Santa Monica, California Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson, acquired from the above Other Notes: This lot is accompanied by the client’s own photographs of the work. Also included in this lot is an authentication sheet from Voulkos & Co. with a photograph and slide of the work, signed by Peter Voulkos, as well as a signed letter from Sam Jornlin indicating the authentication paperwork should transfer to new owners, the invoice from Frank Lloyd Galleries for the sale of the piece in 2001, and an exhibition pamphlet signed by Peter Voulkos.

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Henrietta Berk (1919-1990)

The story of the career of Henrietta Berk is of trium ignited. Born in 1919 in Wichita, Kansas, Berk live Abandoned by her father and left at an orphanag independent identity, Berk turned to artmaking d a college degree. She married Dr. Morris Berk in 1 husband.

Berk could not resist panting. She began executin press in 1957. She was urged by a friend to take a 1961, often the oldest student in the classroom. S forever. From her studies at CCAC and visiting the Movement. Her participation in a group show, Pa attention, but it was her solo exhibition at Lucien group exhibitions throughout the next decade, of painting and the movement of abstract expressio

Her creative output only diminished with her heal blind by the middle of the 1970s. Unfettered by h colors) until her death in 1990.

The work “Aspen Trees,” demonstrates Berk’s cla section of the landscape composition. Bold, satur “With rich, thick color often applied with the expr of the turning of the earth, the life forces of natur own expressive, vivid color application, separating

Henrietta Berk’s artistic achievements inspire, and Solon proclaims, “Berk defied the odds. She had history-any one of these obstacles could have der effacing. Although gratified by the critical recogn delight she experienced through making her art.” exhibition at The Hilbert Museum in Orange, Cali Berk.

Berk’s work is in many prestigious private collectio California, and the Hilbert Museum of California A Theophilus Brown, Elmer Bischoff, Wayne Thieba

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mph and creative explosion, one that proves that it is never too late for artistic genius to become ed the life of a traditional American woman in the middle of the 20th century. Until she didn’t. ge by her mother, Berk’s early childhood is clouded and tragic. To heal her trauma and forge an during her time at the orphanage. Berk graduated from high school in 1936 but did not complete 1939, living the life of an American housewife, her personal artmaking a mild annoyance to her

ng small interior projects for neighbors in Oakland, California, receiving some recognition in the art classes and enrolled on and off at CCAC (California College of Arts and Crafts) from 1957 to She studied under Richard Diebenkorn in the summer of 1957, which would alter her artistic career e surrounding contemporary art scene, Berk’s work would become linked to the Bay Area Figurative ainted Flower, at the Oakland Art Museum (now the Oakland Museum of California Art) gained some Labaudt Art Gallery that propelled her career as an artist. Berk participated in numerous solo and ften the only woman on the roster. Berk blurred the line between realism in landscape and figurative onism gripping the West Coast art world.

lth. Diagnosed with diabetes in the late 1960s, it steadily worsened her eyesight until she was nearly her lack of vision, Berk continued to paint (on large canvases so she could make out shapes and

assic techniques. The painting is developed through broad, thick applications of paint, building each rated colors emanate from the canvas, recalling art critic Miriam Dungan Cross’s review from 1959: ressive energy of Van Gogh, [Berk] transmits her sensitive vision of landscapes....There is something re in her landscapes....” The trees, ferry, and lines of the sky and horizon are all created within their g each area by both color and technique, coalescing into a unified, energetic piece.

d her work is coming into its own in American art history. As professor and art historian Deborah every reason not to succeed. Age, gender, lack of full-time training, and a complicated personal railed her career. But when she painted, all those hurdles evaporated. Berk was circumspect and selfnition and grateful for the financial success, her true focus was the personal freedom, joy, and creative ” Henrietta Berk’s life work is experiencing a rediscovery, and was the center of a retrospective ifornia, in 2021 in conjunction with the publishing of In Living Color: The Art and Life of Henrietta

ons and is part of the collections of institutions such as the Crocker Art Museum in Sacramento, Art in Orange, California. Related artists include Richard Diebenkorn, Paul Wonner, William aud, Gregory Kondos, Roland Peterson, and Raimonds Staprans.

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Henrietta Berk

(1919-1990) “Aspen Trees,” circa 1969 Oil on canvas Signed lower right: H Berk; titled on gallery labels affixed to the frame’s backing board 20” H x 20” W $6,000-8,000 Provenance: The Carter Gallery, Los Angeles, CA Collection of Mary Beedle Literature: Cindy Johnson, “In Living Color: The Art and Life of Henrietta Berk,” 2020, GF Books, Hawthorne, CA, page 130, plate 67, full color reproduction.

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Michael Goldberg (1924-2008)

“Spannocchia 1,” 1989 Oil and chalk on cardstock paper Signed in pencil lower right: Goldberg; titled, dated, and numbered in pencil lower left Sheet: 11.75” H x 11” W “Spannocchia 2,” 1989 Oil and chalk on cardstock paper Signed in pencil lower right: Goldberg; titled, dated, and numbered in pencil lower left Sheet: 11.75” H x 11” W “Spannocchia 3,” 1989 Oil and chalk on cardstock paper Signed in pencil lower right: Goldberg; titled, dated, and numbered in pencil lower left Sheet: 11.75” H x 11” W 3 pieces $7,000-10,000 Provenance: Private Collection, Southern Germany, by descent to the previous owner Sold: Karl & Faber Kunstauktionen, Munich, Germany, “Contemporary Art | Part II,” December 5, 2019, Lot 1011 Private Collection, California, acquired from the above Sold: Palm Beach Modern Auctions, Lake Worth Beach, FL, “Modern + Contemporary Art & Design,” May 20, 2023, Lots 706-708 Other Notes: A series of textured, colorful, and abstract compositions recalling the artist’s summer trips to Tuscany, Italy.

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Shazia Sikander

(b. 1969) Untitled, 1997 Gouache on onion paper Signed and dated lower right: Sikander Image/Sheet: 24” H x 18.5” W $3,000-5,000

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Robert Indiana

(1928-2018) “Marilyn” from “The American Dream Portfolio,” 1997 Screenprint in colors on paper Edition: 297/395 Signed and numbered in pencil in the lower margin corner: Robert Indiana; Marko Fine Arts Contemporary Atelier, El Segundo, CA, pub.

Image: 14” H x 14” W; Sheet: 16” H x 16” W $1,000-2,000

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Andy Warhol

(1928-1987) “After the Party,” 1979 Screenprint in colors on white wove paper Edition: 637/1000 Signed and numbered in pencil at the lower right: Andy Warhol; Rupert Jasen Smith, New York, pub. and with the blindstamp lower left; Grosset and Dunlap, Inc., New York, pub.

Sight: 20.875” H x 29.875” W $15,000-20,000 Literature: Feldman & Schellmann II.183

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Elliot Roberts: The Maestro of Musical Legends In the world of rock and roll, few figures cast a longer shadow than the legendary Elliot Roberts. Known for his keen eye and unwavering dedication to the artists he managed, he left an indelible mark on the music industry. Elliot Roberts, born Elliot Rabinowitz on February 25, 1943, in the Bronx, embarked on a remarkable journey that saw him transform the careers of some of the most iconic musical stars in history.

Roberts’ ascent in the entertainment industry was a journey of passion and tenacity. In his early 20s, he began his career at the mail room of the William Morris Agency in New York. It was here that he crossed paths with a young and ambitious David Geffen, a meeting that would change the course of music history. Roberts was no stranger to the stage either; he managed a rock band called “Robert’s Rules of Order” during this time. In 1967, he made a pivotal decision that would define his legacy - he changed his legal name to Elliot Roberts.

While climbing the ranks in the bustling entertainment scene, Roberts found himself in a recording studio in Los Angeles in 1967. Little did he know that this day would become the stuff of legend. It was here that he crossed paths with Neil Young, a fateful encounter that would mark the beginning of a five-decade partnership, and a lifelong friendship. Roberts became not only Young’s manager but his advocate, adviser, and even his comic foil, navigating the tumultuous waters of the music business with his close friend.

With his sharp eye for talent and an unwavering commitment to his artists, Roberts, along with David Geffen, became pivotal figures in the singer-songwriter scene of Southern California during the late 1960s and early ‘70s. This period witnessed the rise of Joni Mitchell, an artist with a growing catalog of innovative songs but no recording deal. Roberts, having witnessed her brilliance at the Cafe Au Go Go in Greenwich Village, was captivated. He boldly approached her after the show, stating, “I’m a young manager, and I’d kill to work with you.” And just like that, he became her manager, and David Geffen became her booking agent.

In 1971, Roberts and Geffen co-founded Asylum Records, a record label that would become synonymous with iconic artists. Many artists on the label’s early roster, including the Eagles and Jackson Browne, were managed by their company, Geffen-Roberts. Their influence and acumen in the industry were unparalleled, helping secure deals and managing the careers of artists like David Crosby and Stephen Stills, as well as adding Neil Young to the fold.

Roberts was not just a manager; he was a fierce advocate for his clients. He knew how to protect their music, even in the face of corporate upheaval. In the mid-1990s, he secured a $25 million deal for Neil Young amidst the uncertainty following a regime change at Warner Communications. His dedication to his artists was unparalleled.

Elliot Roberts continued to shape the landscape of music, representing luminaries like Tom Petty, Devo, the Cars, Tracy Chapman, and Bob Dylan throughout the 1970s and 1980s. His company, Lookout Management, continued to thrive, representing contemporary artists like Spiritualized, Mazzy Star, and Devendra Banhart.

However, his bond with Neil Young remained unbroken, a testament to their deep friendship and professional partnership.

Elliot Roberts’ life was not just a chronicle of management and music, but a celebration of artistic passion and enduring friendship. His legacy as a pivotal figure in the history of rock and roll is etched in the annals of time.

His unparalleled dedication and unwavering support for the artists he represented, coupled with his sharp business acumen, forever changed the course of music history. With the passing of Elliot Roberts, the world lost a legendary figure, but his impact on the music industry and the hearts of those he touched will resonate for generations to come.

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Shepard Fairey

(b. 1970) “Neil Young (Red),” 2010 Stencil impression and collage in colors on canvas Signed and dated lower right: Shepard Fairey; titled on a gallery label affixed verso 44” H x 53” W $15,000-20,000 Provenance: Deitch Projects, New York, NY, May 2010 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Obey Eye,” 2009 Screenprint in colors, collage, and hand-painted (HPM) on wood Edition: 2/2 HPM Signed, dated, and numbered in pencil in the lower edge: Shepard Fairey; signed, dated, and numbered in pencil again, all verso 24” H x 18” W $8,000-12,000 Provenance: Subliminal Projects, Los Angeles, CA, October 2009 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Fiend Rocker,” 2007 Screenprint, collage, and hand-painted (HBM) on paper Edition: 1/2 HPM Signed near the center of the right edge: Shepard Fairey Image/Sheet: 44” H x 29.75” W $5,000-7,000 Provenance: Mary Karnowsky Gallery, Los Angeles, CA, 2009 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Palace of Power,” 2016 Screenprint in colors, mixed media college, and hand-painting (HPM) on paper Edition: AP HPM (aside from the edition of 10 handpainted multiples (HPM)) Signed, dated, and inscribed [AP HPM] in pencil in the lower margin edge: Shepard Fairey Image: 26” H x 36” W; Sheet: 30” H x 40” W $4,000-6,000 Provenance: Silverlake Conservatory of Music Benefit Dinner and Auction, Los Angeles, November 2016 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Support Our Troops Study,” 2015 Screenprint in colors, collage, and stencil on paper Signed and dated lower right: Shepard Fairey 15; dated again and titled on a gallery label affixed to the frame’s backing paper Image/Sheet: 18” H x 21.25” W $4,000-6,000 Provenance: Jacob Lewis Gallery, New York, NY, September 2015 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Israel Palestine,” 2009 Screenprint in colors on wood Edition: 2/2 Signed, dated, and numbered in pencil along the lower edge: Shepard Fairey; signed, dated, and numbered in pencil again, all verso Sight: 24” H x 18” W $3,000-4,000 Provenance: Subliminal Projects, Los Angeles, CA, October 2009 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Occupy Protester,” 2012 Screenprint in colors on speckled cream paper Edition: 201/250, from a total edition of 450 Signed, dated and numbered in pencil in the lower margin: Shepard Fairey; also signed in pencil in the lower margin: Sarah; OBEY GIANT, Los Angeles, pub.

Image: 22.75” H x 16.75” W; Sight: 23.375” H x 17.125” W $3,000-5,000 Provenance: Selections from The Elliot Roberts Estate Other Notes: Depicted in this image is Occupy Wall Street protester Sarah Mason, who has also signed the screenprint.

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Shepard Fairey

(b. 1970) “Wage Peace,” 2005 Screenprint in colors and gold on paper Edition: 7/10 Signed, dated, and numbered in the lower edge: Shepard Fairey; Modern Multiples, Los Angeles, CA, pub., with the poodle blindstamp Image/Sheet: 40” H x 28” W $1,000-2,000 Provenance: Merry Karnowsky Gallery, September 2009 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Global Warming,” 2010 Screenprint in colors, collage, and hand-painted (HPM) on wood Edition: 2/2 HPM Signed, dated, and numbered in pencil in the lower edge: Shepard Fairey; signed, dated, and numbered in pencil again, all verso 23.5” H x 18” W $2,000-4,000 Provenance: Obey Giant Art, Inc., Los Angeles, CA, March 2010 Selections from The Elliot Roberts Estate, acquired from the above

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Shepard Fairey

(b. 1970) “Operation Oil Freedom”, 2007 Screenprint in black and gold on paper Edition: HC 5/12 Signed and dated lower right: Shepard Fairey; numbered lower left; Modern Multiples, Los Angeles, CA, pub., with the poodle blindstamp Image: 41.25” H x 31.75” W; Sheet: 44.5” H x 31.5” W $400-600 Provenance: Santa Monica Auctions, Santa Monica, CA, May 2009 Selections from The Elliot Roberts Estate, acquired from the above Other Notes: This lot is accompanied by a signed certificate of authenticity from Modern Multiples.

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Shepard Fairey

(b. 1970) “Paint it Black,” 2014 Screenprint in colors, collage, and hand-painted (HPM) on wood Edition: 1/6 HPM Signed, dated, and numbered in pencil in the lower edge: Shepard Fairey; signed, dated, and numbered in pencil again, all verso 24” H x 18” W $1,500-2,500 Provenance: Selections from The Elliot Roberts Estate

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Shepard Fairey

(b. 1970) “C’Mon Everybody,” 2012 Screenprint in colors, mixed media collage, and hand-painting (HPM) on paper Edition: 7/10 HPM [hand-painted multiples] Signed and dated in pencil lower right: Shepard Fairey; numbered in pencil lower left Image/Sheet:41.5” h x 41.5” W $1,000-1,500 Provenance: Selections from The Elliot Roberts Estate

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Ravi Zupa

(b. 1977) “I Got Pig Iron” Collaged screenprints in colors, acrylic, graphite, color pencil, India ink, block printing, and mixed media on paper mounted to canvas With two of the artist’s ink-stamped monograms lower right 24” H x 18” W $1,000-1,500 Provenance: Selections from The Elliot Roberts Estate

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Paul Insect

(b. 1971) Untitled, abstract figure, 2001 Screenprint in colors with acrylic and marker on black paper Signed and dated in white pencil along the upper left edge: P. Insect Sheet: 27.5” H x 19.75” W $2,500-3,500 Provenance: Selections from The Elliot Roberts Estate

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Paul Insect

(b. 1971) “Dunce Boy (blue)”, 2007 Screenprint on paper Edition: 18/50 Signed, dated, and numbered in the lower edge Sight: 29.5” H x 20” W $500-700 Provenance: Selections from The Elliot Roberts Estate

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Paul Insect

(b. 1971) “Happy Dreams,” 2009 Screenprint in colors on paper Edition: 7/25 Signed, dated, and numbered in the lower margin: Paul Insect; with printer and publisher blindstamps in the lower margin, at left: P.O.W Printworks, prntr.

Sight: 31” H x 22” W $400-600 Provenance: Pictures on Walls, London, circa 2009 Selections from The Elliot Roberts Estate, acquired from the above

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Xavier “Blek le Rat” Prou

(b. 1952) “Classical with Violin,” 2008 Screenprint in colors on paper Edition: 17/18 Signed and numbered in the lower margin: Blek le Rat; With poodle Modern Multiple blindstamp and Subliminal Projects blindstamp Image: 50” H x 29.25” W $1,000-2,000 Provenance: Selections from The Elliot Roberts Estate

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Shen Jingdong

(b. 1965) “Soldier”, 2008 Enameled wood Edition: Artist Proof (AP) Signed to figure verso 16” H x 5” W x 3.25” D $500-700 Provenance: Selections from The Elliot Roberts Estate

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Takashi Murakami

(b. 1962) “Infinity,” 2009 Screenprint in colors and glitter on paper Edition: 5/30 Signed, dated, and numbered in pencil in the lower margin, at right Image: 33.5 x 26.25” W; Sheet: 37.5” H x 30.25” W $600-800 Provenance: Gagosian Gallery, New York, NY, January 2010 Selections from The Elliot Roberts Estate, acquired from the above

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Charles Uzzell (Pure Evil) Edwards

(b. 1968) “Consumimur Igni In Girum Imus Nocte” Spray paint on newsprint paper Edition: 15/100 Signed and numbered in the lower edge: Pure Evil Sight: 34” H x 26.25” W $400-600 Provenance: Selections from The Elliot Roberts Estate

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Devendra Banhart

(b. 1981) Untitled, red abstract Watercolor and gouache on paper Unsigned 19” H x 25” W $800-1,200 Provenance: The Artist Selections from The Elliot Roberts Estate, acquired from the above

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Devendra Banhart

(b. 1981) Untitled, broken arrow Ink on wove paper, watermark Somerset Signed, inscribed, and with additional designs, all in ink on the verso: Para Bonnie, Joel, Aran, Bill, Ethan, Matt, Gio & Elliot / love above all, / Devendra Sheet: 16” H x 19.5” W $800-1,200 Provenance: The Artist Selections from The Elliot Roberts Estate, acquired from the above Other Notes: There is an additional drawing, done in the same reddish-brown ink, on the verso of the frame’s cardboard backing.

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88

Josh Agle (aka SHAG)

(b. 1962) “Green Lagoon,” 2020 Screenprint in colors on paper Edition: 51/200 Signed, titled, and dated in pencil in the lower margin: SHAG Image: 30.75” H x 55” W; Sight: 34.25” H x 58.5” W $1,000-2,000 Other Notes: This lot is accompanied by a certificate of authenticity signed by the artist. Framed and matted by the Shag Store, Palm Spring, CA. Josh Agle, born on August 31, 1962, known professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style that captures the essence of mid-century modernism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has become an icon in the world of modern art.

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

In the late 1980s, SHAG attended the California State University, Fullerton, where he studied both illustration and fine art. His studies allowed him to refine his skills and experiment with different mediums, including painting, printmaking, and sculpture.

During this time, he also started exhibiting his work in local galleries and art shows, slowly gaining recognition for his unique approach to art.

It was in the early 1990s that SHAG began to establish his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, Tiki culture, cocktail lounges, and vintage advertising. He created a universe of characters, often depicted in glamorous and whimsical settings, exuding an air of sophistication and mystery. With his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic world that feels simultaneously nostalgic and contemporary.

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Josh Agle (aka SHAG)

(b. 1962) “Silver Years,” 2013 Screenprint in colors on paper Edition: 71/200 (there was also 30 artist proofs and 3 printer proofs) Signed and numbered in pencil in the lower margin: SHAG 19.5” H x 55.5” W; Sight: 23.5” H x 59.5” W $1,000-2,000 Other Notes: This lot is accompanied by a certificate of authenticity signed by the artist. Framed and matted by the Shag Store, Palm Spring, CA.

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Josh Agle (aka SHAG)

(b. 1962) “On a Sunday Morning,” 2018 Screenprint in colors on paper Edition: 101/200 Signed and numbered in pencil in the lower margin: SHAG Image: 20.75” H x 56.25” W; Sight: 24.25” H x 59.5” W $1,000-2,000 Other Notes: Framed and matted by the Shag Store, Palm Spring, CA.

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Josh Agle (aka SHAG)

(b. 1962) “The Odd Bird,” 2019 Screenprint in colors on paper Edition: 16/200 Signed, titled, and numbered in pencil in the lower margin: Shag Image: 15.5” H x 34” W; Sheet: 19” H x 17” W $1,000-2,000 Other Notes: This lot is accompanied by a certificate of authenticity signed by the artist. Framed and matted by the Shag Store, Palm Spring, CA.

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Peter Max

(b.1937) “Angel Clouds on Blends #412,” 2009 Mixed media on paper Signed lower right: Max; titled and dated on a label affixed to the frame’s backing board Image/Sheet: 10” H x 8” W $800-1,200

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James Rizzi

(b. 1950) “Sidewalk Cafe,” 1987 Screenprint in colors on paper and three-dimensional collage Edition: 3/175 Signed, titled, dated, and numbered in pencil in the lower margin: James Rizzi Image: 8.5” H x 12” W x 0.25” D; Sheet: 11.25 x 15” W $1,000-2,000

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Alexandra Nechita

(b. 1985) “Just a Flower,” 1996 Oil on canvas Signed and dated lower right: Alexandra Nechita ©; titled verso; titled again on a gallery label affixed to the frame’s backing paper 36” H x 24” W $5,000-7,000 Provenance: Dyansen Gallery, Los Angeles, CA

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Yannis Gaitis

(1923-1984) Untitled, 1971 Acrylic on board Signed and dated lower right: Graitis 19.685” H x 26.75” W $6,000-8,000

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Serge Spritzer

(1951-2012) Untitled Mixed media on paper Appears unsigned 95.5” H x 70.5” W $1,000-2,000 Exhibited: The Hague, Netherlands, Gemeentemuseum Den Haag, “Serge Spritzer: Index 1972-1992,” December 19, 1992-February 2, 1993 Other Notes: There is a label affixed to the frame verso, from the Gemeentemuseum Den Haag that states it’s from the Serge Spritzer exhibition and with the handwritten name of the lender, Bernett Miller.

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Shiko Munakata

(1903-1975) “Hawk Woman,” 1958 Woodcut on Japan paper Edition: 25/200 Signed in pencil in Japanese and English, dated, and numbered, with the artist’s red ink stamp in the lower margin, at right: Munakata Image: 16” H x 12.25” W; Sheet: 20.5” H x 15.5” W $2,000-3,000 Provenance: The Estate of Amy Conger

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Wucius Wong

(b. 1936) “Landscape,” 1963 Watercolor and ink on Japanese paper laid to board, as issued Signed in ink and with a series of Chinese characters along the left edge: Wong; titled in pencil on the verso of the support board, possibly in the hand of the artist, and titled again on a gallery label affixed to the verso of the frame’s backing paper Image/Sheet: 16.125” H x 37.5” W $6,000-8,000 Provenance: Willard Gallery, New York, NY

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Sawasdi Tantisuk

(1925-2009) Untitled, circa 1975 Oil on canvas Signed lower left: X. Tantisuk 20” H x 23.5” W $1,500-2,500 Other Notes: A biographical label on the artist in German is affixed, verso.

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Kumari Nahappan

(b. 1953) “Icon Series #01-04,” 1996 Acrylic on canvas Signed, titled, and dated verso: Kumari Nahappan 38.5” H x 48” W $1,000-2,000 Provenance: Wetterling Gallery, Stockholm, Sweden Sold: Bukowskis, Stockholm, Sweden, “Passion for Colour,” September 12, 2021, Lot 10

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Mohan Samant

(1924-2004) “Sotheby’s Suspense” Mixed media on canvas Signed in the upper left quadrant; titled on a label affixed to the stretcher 48” H x 20” W $1,000-2,000

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Rene Portocarrero

(1912-1985) Head of Jaqueline, 1954 Gouache on paper Signed and dated lower left: Portocarrero Image/Sheet: 18” H x 13.5” W $5,000-7,000 Other Notes: This work has a resemblance to Pablo Picasso’s “Head of Jaqueline.”

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Andre Lhote (1885-1962)

A painter, sculptor, theoretician of cubism, acclaimed in 1885 in Bordeaux, France, Lhote had an early intro studio, just at the age of thirteen. With over a 10-yea Ecole des Beaux-Arts in his hometown, Bordeaux, Fr

After his time at Ecole des Beaux-Arts, in 1906, he m Gauguin, Peter Paul Rubens, Paul Cezanne, Eugene shortly started to submit works to various places like man exhibition at the Galerie Druet, in 1910. He the associated with Cubism and Orphism, and in 1912 a Salon de la Section d’Or, at the Galerie de la Boetie,

Lhote was deeply enthralled with the revolutionary a various perspectives to depict objects. However, Lho style’s framework. Specifically, Lhote did not fully agr with a more pragmatic style, and not as abstract. He opposed to the still-life or “natural-morte” on which art of ‘transition’ which was the “transcription into vis reach the “radical abstraction” that many other cubi was Lhote’s way of visual unity through modest abstr

Lhote was not just a fantastic artist, but also an intelle comprehensive manner. Lhote was importantly know journal ‘Nouvelle Revue Francaise,’ where he author ‘Academie Notre-Dame des Champs’ from 1918 to academy in Montparnasse. His art academy had a th next generation of artists. He would go on to lecture deeply understand and retain its cultural and artistic where he would welcome his friends and artists like M death on January 24, 1962.

Andre Lhote was featured and celebrated in many a 1955 Grand Prix de Peinture, the UNESCO commiss Sculptors, and in a widely known retrospective in the influence in the visual culture of the time but also thr educator and his contribution as a theoretician of the Gallery, London, England, Musee des Beaux-Arts, Bo CA, and Museum of Modern Art, Chicago, IL.

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d critic, and art teacher are a few of many ways to describe the prominent French artist, Andre Lhote. Born oduction to his own artistic capabilities when he learned wood carving at a local carpenter’s furniture ar apprenticeship in decorative arts and wood carving, he enrolled in decorative sculpture courses at the rance, between 1898 and 1904. While at school, Lhote took up painting during his spare time.

moved into his own studio in Paris and committed himself fully to painting. Lhote was influenced by Paul e Delacroix, and Fauve artists, which would guide his initial artistic style. During his first year in Paris, Lhote e the ‘Salon d’Automne’ and ‘Salon des Artistes Independants.’ Leading, Andre Lhote to hold his first oneen joined the ‘Section d’Or’ (‘Gold Section’) group, which was an artist, poet, and critics collective in Paris alongside artists, Duchamp, Picabia, and Villon, Lhote’s paintings were exhibited in the group exhibition, , from October 10-30, 1912.

avant-garde style of Cubism and his work started to truly reflect the geometric shapes and planes with ote had such an erudite nature, which would lead him to be equally supportive and critical of the artistic ree with Analytical Cubism, his works in comparison were seen as “modernity discreet” and he came in e did however, incorporate French Cubism into his landscape paintings and “scenes of everyday life, as h the other members of the group concentrated their work,” (Hanina Fine Art). Andre Lhote excelled at the sual media of the optical phenomena by means of which certain shapes are captured.” Lhote never did ist artists like Picasso, Braque, and Leger were well known for. He was often seen by critics as timid, but it raction that made his works unique.

lectual individual who had a vast amount of cultural knowledge and loved to pursue new topics in such a wn for his “strove to integrate the revolution Cubist within the academic tradition.” He co-founded the art red scholarly articles on art theory, mostly about Cubism and landscape paintings. He later taught at the 1920 and taught at other Paris art schools. This would lead Andree Lhote in 1922 to open his own art heoretical approach to art and his studies would have an impression on a widespread audience and the e throughout France, other parts of Europe, Egypt, and Brazil. Lhote would travel around the world to knowledge. Later in life, he moved to places throughout France, specifically Mirmande and the Gordes, Marc Chagall, to appreciate these Provence towns. Andre Lhote painted, studied, and wrote, up until his

art spaces, like the “Le Cubisme,” exhibition at the Musee Nationale d’Moderne, in 1953, awarded the sion for Sculpture appointed Lhote as President of the International Association of Painter, Engravers, and e 1958 Musee Nationale d’Art Moderne. Lhote was a talented French artist who not only had a strong rough the information that he processed through a didactic nature. He was recognized widely as a great e Cubist framework. Andre Lhote is represented in various museums of modern arts including the Tate ordeaux, France, Musee d’Art Moderne de la Ville, Paris, France, Museum of Modern Art, Los Angeles,

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103

Andre Lhote

(1885-1962) “La Fenetre a Meneaux,” 1959 Oil on canvas Signed and dated upper right: A. Lhote; titled on the stretcher 28.75” H x 36.25” W $20,000-30,000 Provenance: Hammer Galleries, New York, NY, 1966 Pomeroy Gallery (later Hoover Gallery), purchased from the above Private collection, acquired from the above, 1979 Exhibited: Paris, France, Maison de la Pensee Francaise, “André Lhote,” 1961, No. 27 Paris, Frace, Salon d’Automne, “Hommage à André Lhote,” 1963 New York, NY, Hammer Galleries, “André Lhote,” 1966

Other Notes: This work has been authenticated by Dominique Bermann Martin, beneficiary of the Andre Lhote Foundation.

This lot is accompanied by a gallery invoice and signed insurance statement from Hoover Gallery, 1979

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104

Jean Henri Souverbie

(1891-1981) “Maternite (Mother and Child)” Oil on canvas Signed lower right: Souverbie 32” H x 25.75” W $15,000-20,000 Provenance: Charles Rolle Trust Palm Springs Art Museum, gifted from the above

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106

Alain Bonnefoit

(b. 1937) “Ni oui ni non,” circa 1970 Oil on canvas Signed lower left: A. Bonnefoit; titled and dated on the stretcher 28” H x 36” W $1,200-1,800

105

Charles Levier

(1920-2003) Abstracted street with figures Oil on canvas Signed lower right: Levier 22” H x 30.25” W $1,800-2,200

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107

FrÉdÉric Bruly Bouabre

(1923-2014) “La Rencontre des Amants Hommes des Races de Couleurs,” 2010 Ink, colored crayon, and pencil on heavy cardstock Each: signed and dated in ink, verso: Bouabre / 11-12-2010; inscribed in French in ink along the edges with the same inscription, except on each card two words change to represent the color of the figures: A Rencontre des amants: ici / homme de race [interchangeable color] / et femme de race [interchangeable color] (29 pieces) Each: 7.75” H x 5.25” W $3,000-5,000

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108

Frederic Bruly Bouabre

(1923-2014) “Connaissance du Monde,” 2003-2006 Ink, colored crayon, and pencil on card Each: signed and dated in ink, verso: Bouabre / 18-8-2006; inscribed in ink along each of the edges (40 pieces) Each: 7.75” H x 5.25” W $3,000-5,000

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109

Frederic Bruly Bouabre

(1923-2014) “Guie Guie: Les Yeux des Hommes Zerepkapka observe devant sa case la beaute d’une femmes,” 2006 Ink, colored crayon, and pencil on card Each: signed and dated in ink, verso: Bouabre / 16-8-2006; inscribed in French in ink along the edges with the same inscription, except on each card two words change along the lower edge, at left to represent the nationality of the figure: Nepke-Guie-Guie-Guie- [interchangeable Nationality] / o-la zerekapk o-Ligon / A [interchangeable nationality] les yeux des hommes courtisent / zerekapk a la solidanaise / noire de beaute (49 pieces) Each: 7.5” H x 6” W $4,000-6,000

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110

Salvador Dali

(1904-1989) “Deux Danseurs,” 1949 Pen, india ink, and sepia ink on laid paper Signed and dated in India ink directly under the image, lower right: Dali; signed again and inscribed in sepia ink in the lower half of the sheet: Para la Princesa Marta / I el Archiduque Francisco Jose / con la afeccion sincera de su amigo / Salvador Dali; with the Salvador Dali Archives LTD. and number ink stamp, verso 12.25” H x 9.25” W $8,000-12,000 Other Notes: This lot is accompanied by a certificate of authenticity signed in ink by Nicholas and Oliver Dechanes and dated January 10, 2015.

According to the certificate, this scene in this work depicts two dancers and is dedicated to Princess Marta and Archduke Francisco Jose.

Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.

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111

Salvador Dali

(1904-1989) “Cavalier Triomphant,” 1946 Ink on paper Signed and dated in ink and signed again in red pencil lower right: Salvador Dali / Dali; signed and dated again, and inscribed in the upper right quadrant: Bonjour!; titled twice on two labels affixed to the frame’s backing board 10” H x 13.125” W $8,000-12,000 Provenance: Perls Gallery, New York, NY The Jacobs Family Collection, New York, NY Other Notes: This lot is accompanied by a signed certificate of authenticity from Nicolas and Oliver Descharnes.

Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.

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112

Georg Eisler

(1928-1998) “Yardbird Suite,” 1994 Oil on canvas Signed and dated upper right: Eisler; signed and dated again, and titled on the stretcher; titled and dated again on a label affixed to the stretcher 23.5” H x 31.5” W $1,500-2,000

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113

Aart Lamberts

(1947-2015) Untitled Bronze Unsigned Object: 11.325” H x 4.125” W x 4.25” D; plinth: 3.325” H x 4.25” W x 5.5” D $800-1,200

115

Aart Lamberts

(1947-2015) Jumper Cold-painted bronze on stone plinth Unsigned Object: 11.625” H x 4.625” W x 4.5” D; plinth: 6” H x 3.325” W x 4.25” D $700-900

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114

Aart Lamberts

(1947-2015) “The Painter” Bronze Unsigned Object: 16.25” H x 8.5” W x 6” D; plinth: 1.25” H x 10.75” W x 8” D $800-1,200

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116

Ivan Picelj

(1924-2011) “Surface LVII,” 1964 Metal and mixed media on board Signed, titled, and dated verso: Picelj; signed again, titled, and dated on a gallery label affixed verso Overall: 23.625” H x 23.625” W x 2” D $6,000-8,000 Provenance: Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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117

Napoleon Abueva

(b. 1952) Abstract, 1968 Carved marble Etched signature and date to bottom: Abueva / ‘68 21” H x 9.125” W x 9.325” D $6,000-8,000

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118

Augustus John

(1878-1961) Sketch of a woman Charcoal and Conte crayon on paper laid to board Signed lower right: John 11.75” H x 10” W $800-1,200 Other Notes: A letter from Augustus John is affixed to the frame’s backing paper.

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119

Roy Adzak

(1927-1987) “Venus Positive-Negative” Wood and painted plaster relief Marked on frame verso and again to felt backing: Adzak 67 / ED A4 39.5” H x 39.5” W x 4.625” D $4,000-6,000

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120

Roy Adzak

(1927-1987) Untitled, 1965 Oil on canvas on a recessed plaster relief Signed and dated, verso: Adzak 10.75” H x 8.75” W $1,000-2,000

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Lynn Chadwick (1914-2003)

Although never formally trained, Lynn Russel Chad Henry Moore, Jacob Epstein, and Reg Butler, by d Prior to his artistic endeavors, Chadwick attended in pursuing art. His tutor, ever practical, suggested he received and ultimately became instrumental in

When Chadwick was 27, he volunteered to join the ended when Chadwick became fascinated with scu balsa wood, copper, brass and wire. At least 60 mo sculptures.

These iconic sculptures were made by welding fram Astonishingly, Chadwick was never known to draft his creation; welding the steel into formed shapes In 1956, at the age of 42, he became the youngest Giacometti. Still today, he remains the youngest sc

“Maquette II Walking Woman” is a perfect exampl with the billowing skirts - presumably blowing in th revisited many times, invites a sense of mystery tha

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dwick (1914-2003) became internationally renowned in the fifties, alongside Kenneth Armitage, developing his own unique approach to constructing anthropomorphic sculptures. the Merchant Taylors’ School for Boys in Northwood, London and had expressed an early interest d architecture as a more pragmatic option. This architectural training was the only artistic education n how he approached his chosen medium.

e Fleet Air Arm of the Royal Navy and served as a pilot during WWII. It was shortly after the war ulpture. His first artistic obsession began with creating mobiles, constructed out of materials like obiles were created between 1947 and 1952. This process eventually led him to creating his iron

mes of iron rods and filling them with “stolit”, which is comprised of plaster and iron compound. his works. Instead, he used his brief architectural background to influence how he embarked upon he referred to as “skeletons” and allowing the forms to interact with the space around them. t sculptor ever to win the International Sculpture Prize in Venice, beating the reclaimed Alberto culptor to win the honor.

le of Chadwick’s signature aesthetic. The unique, sharp angles of the female figure, juxtaposed he wind - captures the power and grace of the form. This reoccurring motif of Chadwick’s, which he at beckons the every(wo)man.

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121

Lynn Chadwick

(1914-2003) Maquette II Walking Woman, 1983 Patinated bronze Edition: 3/9 Signed and numbered under cloak: [C in a triangle] / C6 12” H x 6.75” W x 8.25” D $45,000-55,000 Provenance: Erica Meyerovich Gallery, San Francisco, CA, December 24, 1987

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122

Lynn Chadwick

(1914-2003) Maquette IX Walking Woman in Wind, 1986 Bronze Edition: 3/9 Signed and numbered under cloak: Chadwick / C44S / [B in a circle] 8.75” H x 6.5” W x 6.5” D $25,000-30,000 Provenance: Erica Meyerovich Gallery, San Francisco, CA, December 24, 1987

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123

Ronald Searle (1920-2011) Two works:

Soldier, 1972 Pen, ink, and watercolor on paper, watermark Arches Unsigned; inscribed “K.” in ink directly to the right of the figure’s foot; dated in ink verso “Man with the Cloak,” 1973 Pen, ink, and pastel on laid colored paper Unsigned; inscribed “K.” in ink directly to the right of the figure’s foot; titled and dated in ink, verso Each sheet: 11” H x 8.875” W $1,000-2,000

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124

Ronald Searle (1920-2011) Two works:

Untitled, 1980 Pen, ink, and watercolor on paper Unsigned; inscribed “K.” in ink directly to the right of the figure’s foot; dated in ink, verso “Shamen Masks,” 1971 Pen, ink, and watercolor on paper Unsigned; inscribed “K.” in ink directly underneath the image, at right; titled and dated in ink, verso Each sheet: 11” H x 8.5” W $1,000-2,000

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125

Ronald Searle (1920-2011) Two works:

“N.Y. Couetz,” 1971 Pen, ink, and watercolor on paper Signed and titled in ink lower left: Ronald Searle; inscribed “K.” in ink lower right; dated in ink, verso Sheet: 11” H x 8.375” W Untitled, 1972 Pen, ink, and watercolor on light brown-colored laid paper Unsigned; inscribed “K.” in ink directly to the right of the figure’s foot; dated in ink, verso Sheet: 11” H x 8.5” W $1,000-2,000

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126

Ronald Searle (1920-2011) Two works:

Figures at a gazebo, 1982 Pen, ink, and pastel on paper Unsigned; inscribed “K.” in ink directly to the figure on the far right’s foot; dated in ink, verso “The Expectation,” 1973 Pen, ink, and pastel on blue-colored laid paper Unsigned; inscribed “K.” in ink directly to the right of the figure; titled and dated in ink, verso Each sheet: 8.5” H x 11” W $1,000-2,000

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127

128

(b. 1943) “C’mon! Won’t You Just Put These on for a Few Minutes?,” 1984 Ink on paper Signed and dated in ink lower right: © R. Crumb Image: 8” H x 9” W (approx.); Sheet: 8.625” H x 11” W $3,000-5,000

(1924-2006) “Koala Bear,” 1957 Mixed media on paperboard Signed and dated near the lo twice in ink on the frame’s car label affixed to the frame’s ca 20” H x 29.75” W

Provenance: Spellman Gallery, New York, NY

$1,500-2,000

Robert Crumb

Thomas Hodgson

Provenance: The George Wa

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d laid to paperboard ower edge, at center: Thomas Hodgson; titled rdboard backing; titled again in ink on a gallery ardboard backing

addington Galleries, Montreal, QC, Canada

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129

Roberto Sguazzi

(b. 1965) “Guardian of the Stranded Whales,” 1999 Mixed media in an acrylic case Signed and dated to one side; titled and additionally marked to paper under object: Icaro / [ sic] / Traveller By Night Overall: 9.325” H x 5.75” W x 5.75” D $800-1,200

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130

Robert Vickery

(1926-2011) “Trapped Bird” Tempera on Masonite Signed lower left: Robert Vickery; titled in pencil, verso; titled again on a gallery label affixed to the frame, verso 16” H x 12” W $5,000-7,000 Provenance: Midtown Galleries, New York, NY

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131

Adele Plotkin

(1931-2013) Untitled, 1958 Oil on canvas Signed and dated lower left: Plotkin 27.5” H x 21.75” W $700-900

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132

Adele Plotkin

(1931-2013) Untitled abstract, circa 1958 Oil on canvas Signed and indistinctly dated lower right: Plotkin 39.5” H x 37.5” W $700-900

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133

Elwyn “Wynn” Chamberlain

(1927-2014) “Stones on Stones” Oil on board Signed lower right: Chamberlin; titled on a gallery label and two other places, all verso 18” H x 11” W $3,000-5,000 Provenance: The Gallery, Inc., Norwalk, OH

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134

Frederick Kann

(1884-1965) “Abstraction #712” Mixed media on cardstock mounted to matboard Signed in ink lower right: F. Kann; titled twice on the frame’s cardboard backing 12.5” H x 8.5” W $1,000-2,000

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135

Jim Morphe

(b. 1948) “Icarus Figure Oil, acrylic, ch Signed lower 46” H x 30” W $700-900

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esis

e in White,” 1990 harcoal, and collage on panel right: Morphesis; titled and dated on a label affixed verso W

136

James Renner

(b. 20th century) “The Skeptic,” 1999 Wood, metal, and leather Signed and dated to underside 12” H x 13.5 “ W x 7.5” D $1,000-1,500 Other Notes: This lot is accompanied by a bifold gallery show pamphlet for James Renner “Articulations: Sculpture & Drawings” September 10-October 16, 1999 at SOMA Gallery in La Jolla, CA, featuring a photo of this sculpture.

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137

Jesse Greenberg

(b. 1982) “Purple Pox Cell,” 2014 Urethane plastic, pigment, ABS plastic pellets, and aluminum frame Unsigned; titled and dated by repute 35.75” H x 22 W $600-800 Provenance: Derek Eller Gallery, Los Angeles, CA Other Notes: A metalic French cleat is affixed with screws and epoxy to the verso for hanging purposes.

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138

Jesse Greenberg

(b. 1982) “Flora Cell 2,” 2014 Urethane plastic, pigment, ABS plastic pellets, and aluminum frame Unsigned; titled and dated on the gallery website listed as part of provenance 35.5” H x 22” W $600-800 Provenance: Derek Eller Gallery, Los Angeles, CA Other Notes: A metalic French cleat is affixed with screws and epoxy to the verso for hanging purposes.

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139

Ernest Posey

(1937-2007) Geometric shapes on marbled background, 1971 Acrylic on canvas Signed and dated lower left: Posey 37.25” H x 37.25” W $1,000-2,000

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140

Michael Tetherow

(1942-2007) Untitled, 1975 Acrylic on canvas Signed, dated, and numbered verso: Tetherow / #6; dated and numbered again on a gallery label affixed to the stretcher 31.5” H x 20.75” W $600-800 Provenance: Daniel Weinberg Gallery, San Francisco, CA

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141

Keith Haring

(1958-1990) “Angel,” 1987 Mixed media and collage on textured, sturdy, beige paper Signed, dated ‘88, and inscribed “For Ollie” in pencil along the lower portion of the right edge: K. Haring; signed again and with a copyright symbol, dated Nov 7 ‘87, and inscribed “For Juan R,” all in pencil on the verso; titled from the most recent document in a group that accompanies this work Image: 22.5” H x 26.5” W; Sheet: 24” H x 28” W $20,000-30,000 Provenance: Oliver John Martin, Los Angeles, CA, purchased directly from the artist, 1988, (see pencil inscription mentioned above, “For Ollie”) Journey House, a Non-Profit Organization, Pasadena, CA, acquired from the above, early 2019 Property from a Private Collection, Duarte, CA, gifted from above, late 2019 Other Notes: This lot is accompanied by a “Certification, Release and Indemnity Agreement” between the Estate of Keith Haring, New York, NY, and a previous owner, dated July 2, 1998. There is also a certificate from the Estate of Keith Haring, dated August 18, 1998, with Identification number: 081898A14. The language of the document states the following: “It is the opinion of the Estate at this time that the Work is the work of Keith Haring.” Lastly, there is an insurance document prepared by a Santa Monica, CA appraiser, dated January 2, 2020.

Other Notes: Keith Haring, born in 1958, developed his uniquely animated artistic style from an early fascination with cartoon art from the likes of Walt Disney, Charles Schultz and Dr. Seuss. His own father, Allen Haring, was a hobby cartoonist apart from his career in engineering. The two would spend hours drawing together during Haring’s formative years.

In 1978, Haring moved to New York City and connected with other emerging artists such as Jean-Michel Basquiat and Andy Warhol, who greatly influenced his work throughout the duration of his career. With no gallery representation initially, Haring created his works as Street Art in the subways and streets of New York City. He then began making stand-alone works and would have his first solo exhibition by 1981.

Working in a variety of mediums, in 1989 Haring debuted a series of paintings with gouache, ink, and collage photographs by photographer Herb Ritts. “Angel” appears to predate the series, dated 1987 and stands as a predecessor and one of the first examples of Keith’s collages with photographs. The photograph in this particular work is by Steven Arnold, cut from his “Epiphanies Series,” Arnold’s photographs portrayed angels, high priests, harlequins, and other ornately costumed characters, meticulously arranged in highly imaginative settings, and Haring, expanded on this photograph with his own imaginative twist. Overall the work is both striking in subject matter and in size; the figures in the work are much more detailed and lifelike than Haring’s more iconic two-dimensional figures, but ultimately the detail and imagery of the piece brings forth the gravitas of the AIDS crisis present during Haring’s time in New York City. Even more haunting, it would be the following year, in 1988, that Keith Haring himself would be diagnosed with AIDS, marking this piece as a precursor to a major turning point in the artist’s life.

“Angel,” originally dedicated to Juan R. in 1987, was then rededicated to Ollie, likely Oliver John Martin, an acquaintance of Haring’s, who purchased the piece from the artist while visiting his studio in 1988.

A Certification, Release and Indemnity Agreement from 1998, completed by Ollie’s father, John Martin confirms its origins, paired with a Certificate from the Keith Haring Estate from later that same year.

Over the years, this work has been known by a series of different titles. In the July 1998 document, Certification, Release and Indemnity Agreement, it was “The Black Man’s Dream.” In the August 1998 certificate from the Keith Haring Estate, it was “Untitled.” In a January 2020 appraisal, it was “Angel.”

In 1990, three years after the creation of “Angel,” Keith Haring passed away from AIDS-related complications. He was 31 years old.

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142

Ernest Briggs

(1923-1984) Untitled (#222), 1959 Oil on Canvas Signed and dated verso; dated again and titled on a gallery label affixed verso 50” H x 34.5” W $8,000-12,000 Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above Exhibited: Cleveland, OH, Howard Wise Gallery, “Group Show: Briggs, Dugmore, Grillo, Krasner, McNeil, Mitchell, Pace, Resnick,” October 4-29, 1959

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Robert Irwin (b. 1928)

Born in 1928 in Long Beach, California, Robert Irw returning to Los Angeles to study art. Irwin spent t Jepson Art Institute in 1951, and the Chouinard Ar work during the late 1950s was deeply influenced and sculpture. Becoming more interested in perce essences, defined by his mid and late 1960s dot an the confines of the limitations of painting.

During this period of intense experimentation, Irwi Light and Space movement (which included artists the influence of physical space and physical partici influenced by the ambient and environmental light pieces focused on a sensory experience and the ro was a “discs” series produced between 1965 and 1 appear to float or recede into space.

In time Irwin’s works became what he called his “si been. These works would transcend the traditional large outdoor areas. For those installations, Irwin a art’s response to the light and environment. One o Angeles, completed in 1997 in conjunction with th

This lot is one of Irwin’s late 1950s abstract paintin shape and color. Irwin exhibited widely throughout This painting, dated 1956, comes from the artist’s l installations.

Robert Irwin passed away October of 2023. He wa collections, including Centre Georges Pompidou, P of Contemporary Art, Los Angeles; the Museum of Minneapolis; Hirshhorn Museum and Sculpture Ga Madrid, Spain; the Museum of Modern Art, New Y the Whitney Museum of American Art, New York.

“To be an artist is not a matter of making paintings our perceptions.” - Robert Irwin

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win served in the U.S. Army in the aftermath of World War II (1941-1945) from 1946 to 1947 before time at numerous art schools in California, including the Otis Art Institute from 1948 to 1950, the rt Institute (now CalArts) from 1952 to 1954, teaching at Chouinard from 1957-1958. Irwin’s by the dominating Abstract Expressionist school, with Irwin working predominately in painting eption and its influence on viewers, Irwin began to completely deconstruct his paintings to their nd line paintings. By 1970 Irwin abandoned both his studio and painting, wanting to break out of

in came to the forefront of the California-based “Light and Space” movement. The artists of the s such as James Turrell and Doug Wheeler) did not share a singular aesthetic vision, but a belief in ipation of the audience. A uniquely Californian art movement, the artists of Light and Space were t and atmosphere of southern California: sun, sand, blue skies, water, and cars. Irwin’s installation ole of the artist in guiding the viewer’s perception of the work. One of these early notable works 1969, in which his installation and manipulation of light and paint made the painted aluminum discs

ite-conditioned” works—more-immersive experiences for the viewer than his previous works had l boundaries of gallery spaces and take over urban areas, whole museums, parks, gardens, and attempted to draw the viewer’s attention to the site in which his work was made and then to the of his most famous, and relevant to California, is the sculptural garden at the Getty Museum in Los he opening of the new museum.

ngs and showcases his belief in pairing down painting into its most basic form, that of juxtaposing t this period, usually in partnership with the AbEx (Abstract Expressionist) champions Ferus Gallery. later painting period, before abandoning painting for sculpture, and eventually, his large-scale

as the inaugural artist of the MacArthur Genius award in 1984. His work is included in numerous Paris; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Museum f Contemporary Art, Chicago; Museum of Contemporary Art San Diego; the Walker Art Center, arden, Smithsonian Institution, Washington, D.C.; Museo Nacional Centro de Arte Reina Sofia, York; the Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; and

s or objects at all. What we are really dealing with is our state of consciousness and the shape of

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143

Robert Irwin

(b. 1928) “Afterall,” 1956 Oil on Masonite Signed and dated lower right: Irwin; titled on an exhibition label affixed to the stretcher 26” H x 26” W $20,000-30,000 Exhibited: Los Angeles, CA, Landau Gallery, “Fourth Outdoor All City Art Festival,” 1957

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144

Marcelo Bonevardi

(1929-1994) Untitled, 1961 Oil on canvas Signed and dated lower right: Bonevardi; signed again, verso: M. Bonevardi 45” H x 32” W $1,000-2,000 Provenance: From the Estate of Merton Simpson Sold: Quinn’s Auction Galleries, Falls Church, Virginia, “September Fine and Decorative Arts Auction,” September 24, 2022, Lot 140

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145

James D. Brooks

(1906-1992) Untitled, abstraction Acrylic on canvas Signed lower right: J. Brooks 24” H x 24” W $5,000-7,000 Provenance: Arthur T. Kalaher Fine Art Gallery, Southampton, NY Sold: Trinity International Auctions & Appraisals, Avon, CT, “Fine Art Auction,” March 23, 2023, Lot 90

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146

Albert Contreras

(b. 1933) “No.3,” 1965 Oil on canvas Signed, titled, and dated on the stretcher: Albert Contreras 35” H x 35” W $1,000-2,000

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147

James Hayward

(b. 1943) Dark blue/cobalt abstract Oil on canvas laid to panel Unsigned 58” H x 48” W $2,000-4,000

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148

James Hayward

(b. 1943) “Athenian,” 1985 Oil on canvas over panel in three joined sections Signed indistinctly, titled, and dated in ink on the verso of one panel 27” H x 63” W $2,000-3,000

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149

Peter Grondquist

(b. 1979) Gilded tanks, planes, and helicopters, 2015 LED lights and mixed media, electrified Initialed and dated on the verso of the frame’s upper edge: PG + 15; initialed again on the underside of the frame’s lower edge 48” Dia. x 3.25” D $4,000-6,000

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150

Harry Tsuchidana

(b. 1932) “Backstage with Yellow Line,” 1994-96 Acrylic on canvas Signed and dated lower left: Tsuchidana; titled on a label affixed to the stretcher 24” H x 28” W $1,000-2,000 Other Notes: “Backstage with Yellow Line,” was purchased from an estate that was friends with Harry Tsuchidana, and had acquired the piece directly from the artist’s studio.

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151

Gil Bruvel

(b. 1959) “Inner Dialogue,” 1995 Oil on board Signed and dated lower right: G. Bruvel 15.25” H x 15.25” W $2,000-3,000 Provenance: Lahaina Galleries, Newport Beach, CA, April 26, 2004

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152

Alex Schaefer

(b. 1969) “Low Res Dollar,” 2013 Oil on canvas Signed lower right: A. Schaefer; signed again, titled, and dated on the stretcher 7.75” H x 18” W $1,000-1,500

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153

John Nelson Battenberg

(1931-2012) “Aviator,” 1969 Patinated bronze on acrylic and wood base Signed and dated: Battenberg / 69 Overall: 17” H x 7.5” W x 12” D; object: 11.75” H x 6.325” W x 8.75” D $800-1,200 Provenance: John Moran Auctioneers, Winter Contemporary Auction, Lot 1033, Feb. 23, 2021

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154

Laurent Proneur

(b. 1969) Blue meat Oil on canvas Signed lower right: Laurent Proneur 77” H x 52” W $3,000-5,000

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155

Laurent Proneur

(b. 1969) Two abstract figures Oil on canvas Signed lower left: Laurent Proneur 61” H x 37” W $3,000-5,000

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156

Syd Solomon

(1917-2004) “Double Conch,” 1958 Tempera on Masonite Signed lower left: Syd Solomon; signed again, titled, and dated verso 23” H x 43” W $6,000-8,000

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157

Bill Mosley

(20th century) “Metropolis,” 1996 Pastel on sanded pastel paper Signed, dated, and numbered in pencil in the lower edge: Bill Mosley; signed, titled, and dated again in ink, and possibly in another hand on the frame’s backing board Image/Sheet: 35” H x 9” W (irreg.) $800-1,200 Provenance: Pratt Gallery, San Diego, CA Exhibited: Solana Beach, CA, Susan Street Fine Art, “One Man Exhibition,” 1996 Other Notes: An exhibition history of works by the artist from 1996 to 2001 is affixed to the frame’s backing board.

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158

Jeffery Laudenslager

(b. 1946) Untitled, 1995 Steel and glass set on wood base Signed and dated to base: Laudenslager / Sabeck / Today 95; Pierced to metal: The fabric of my soul is woven with threads of light; painted to glass: I feel the rhythms of the universe inside me Overall: 61.5” H x 16.25” W x 16.25” D $600-800

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159

Gwyneth Johnstone

(1914-2010) Farm scene with chickens Oil on Masonite Initialed lower left: GJ 26” H x 31” W $2,500-3,500 Provenance: Portal Gallery, London, England

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160

Tarmo Pasto

(1906-1986) “Golcando I” Oil on canvas Signed in the lower edge, right of center: Tarmo Pasto; titled on the stretcher 42” H x 60” W $2,000-3,000 Other Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s work in its permanent collection.

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

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161

Bill Brauer

(1939-2019) Girl in a striped tank top, 1997 Oil on panel Signed and dated along the lower portion of the left edge: Bill Brauer 14.5” H x 12.5” W $1,000-2,000

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162

Don Williams

(b. 1941) “Night Scene with Fire Hydrant,” 1989 Pastel on paper Signed and dated lower right: Don Williams; titled on a gallery label affixed to the frame’s backing paper Sight: 36.5” H x 29” W $2,000-3,000 Provenance: Olga Dollar Gallery, San Francisco, CA

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163

Jacqueline Lavenu

(20th century) Abstract landscape, 1973 Oil on canvas Signed and dated lower right: Lavenu; signed again, dated Mai 73, and inscribed No. 8, all verso 35.5” H x 35.5” W $500-700

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164

Dario Campanile

(b. 1948) “Sotto il Girasole,” 2002 Oil on canvas Signed lower right: Campanile; signed again, titled, and dated verso 36” H x 30” W $3,000-5,000 Provenance: Lahaina Galleries, Newport Beach, October 30, 2002

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165

Dario Campanile

(b. 1948) “Gluttony,” 2007 Oil on canvas Signed lower right: Campanile; signed again, titled, and dated verso 12” H x 40” W $2,000-3,000 Provenance: Lahaina Galleries, Newport Beach, CA, December 9, 2007

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166

American Realist School

(Mid 20th century) The Lounger Oil on polyester resin and synthetic hair on upholstered chair Unmarked 42.5” H x 52” W x 50” D approximately $3,000-5,000

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167

American Realist School

(Mid 20th century) The Thinker Oil on polyester resin and synthetic hair Unmarked 34” H x 32” W x 42” D approximately $3,000-5,000

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168

Jose Garcia

(20th century) Untitled Oil on canvas Unsigned 41.5” H x 41.5” W $1,000-2,000

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169

Sair Garcia

(b. 1975) Untitled, 2002 Oil on canvas Signed lower left: Sair Garcia 32.25” H x 30” W $3,000-5,000

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171

Oscar Danilo Vargas

(b. 1966) “Recorrido IV,” 2003 Oil on canvas Signed and dated twice, and titled, all verso: Vargas 39” H x 47.5” W $1,000-2,000

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170

Sair Garcia

(b. 1975) “Territorio Nuestro” Oil on canvas Signed and titled verso: Sair Garcia 40.5” H x 78” W $3,000-5,000

172

Oscar Danilo Vargas

(b. 1966) “Recorrido I,” 2003 Oil, graphite, and charcoal on canvas Signed and dated twice, and titled, all verso: Vargas Sight: 34.75” H x 42.75” W $1,000-2,000

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173

Pedro Ruiz

(b. 1957) Fireflies surrounding a tree Oil on beige handmade paper Signed in pencil lower right: Ruiz Sheet: 30.5” H x 20.75” W $800-1,200

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174

Miguel Angel Rojas

(b. 1946) Untitled Punctured dollar bill on handmade paper Appears unsigned 17” H x 25” W $5,000-7,000

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175

Nicolas Consuegra

(b. 1976) “Algunos DaÒados, Otros Funcionan,” 2011 Painted wood, plexiglass, and mirrored plastic Each attributed, titled, and dated to metal plaque verso; one further marked: No DE REGISTRO 08; other further marked: No DE REGISTRO 01 2 pieces Larger: 20.75” H x 26.75” W x 18.25” D; smaller:13.25” H x 14.25” W x 13.5” D $3,000-5,000

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176

Jesus Bautista Moroles

(1950-2015) “Spirit Las Mesas,” 1985 Granite Unsigned 23.25” H x 9.5” W x 8.5” D $5,000-6,000

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179

Rick Wolfryd

(b. 1953) “Wonder.Horse (Caro Photopolymer resin an From the edition of 10 Marked to inside of re 27” H x 21” W x 7” D $1,000-1,500 Other Notes: This lot Authenticity from the

177

Rick Wolfryd

(b. 1953) “Universal Man. Mini,” 2023 Photopolymer resin and beads From the edition of AP Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / Universal Man Series” / Unique AP 2023 / Ernesto Dimensions variable: 31” H x 12.5” W x 7” D $1,500-2,000 Other Notes: This lot is accompanied by a Certificate of Authenticity from the artist’s studio dated: September 9, 2022.

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ousel Series),” 2023 nd beads 00 ear leg: C 23 0007 D

is accompanied by a Certificate of artist’s studio dated August 29, 2023

178

Rick Wolfryd

(b. 1953) “Grande Missing Link,” 2023 Photopolymer resin and beads From the edition of 100 Signed, titled, and dated on underside of foot: Chroma aka Rick Wolfryd / T.P. 0002 2023 / IDODORO 27.75” H x 15” W x 8.5” D $1,200-1,800 Other Notes: This lot is accompanied by a Certificate of Authenticity from the artist’s studio dated August 23, 2023.

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180

Bradford Stewart

(20th century) Black and red abstract Acrylic on panel Signed verso: Bradford Stewart 72” H x 109” W $2,000-3,000

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181

Bradford Stewart (20th century) Red abstract Acrylic on canvas Unsigned 60” H x 48” W $700-900

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182

Bradford Stewart

(20th century) Yellow abstract Acrylic on canvas Signed verso: Bradford Stewart 49.75” H x 62” W $700-900

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183

Bradford Stewart

(20th century) Gold abstract Acrylic on canvas Signed verso: Bradford Stewart 48” H x 24” W $800-1,200

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184

Helen Allois

(20th century) “Moon Hunters,” 2019 Oil on canvas Signed and dated with the artist’s device along the left edge, at center: Allois; signed and dated again, titled, and with the artist’s red ink stamp, all verso 36” H x 24” W $2,000-3,000 This piece is accompanied by a Certificate of Authenticity from the artist’s studio, signed and dated 09/15/2023 by Helen Allois, and with the red ink studio stamp.

In addition, there is a copy of the artist’s CV.

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185

Helen Allois

(20th century) “Marquise de Fontenay,” 2019 Oil on panel Signed, titled, and dated with the artist’s device lower right: Allois; signed and dated again with the artist’s device, verso 28” H x 22” W $2,000-3,000 This piece is accompanied by a Certificate of Authenticity from the artist’s studio, signed and dated 03/17/2022 by Helen Allois, and with the red ink studio stamp. In addition, there is a copy of the artist’s CV, and a write-up about the artwork, written by the artist.

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186

Susan Moss

(b. 1944) “Thaw,” from “Eco Series,” 2013 Oil and oil crayon on canvas Signed, titled, and dated, all verso: Susan Moss 49.5” H x 48” W $1,500-2,500

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187

Bernadette Jiyong Frank

(b. 1964) “Spaces in Between (Moss Green) #2,” 2014 Oil and acrylic on panel Signed and dated twice, and titled verso: Bernadette Jiyong Frank 36” H x 36” W $1,500-2,500

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188

Babak Emanuel

(b. 1966) “Tracing Realm I,” 2011 Graphite pencil drawings, oil, and pigment on archival paper laid to canvas Signed and dated in pencil, verso: Baback Emanuel 40” H x 28” W $1,500-2,500

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189

Babak Emanuel

(b. 1966) “Tracing Realm II,” 2012 Graphite pencil drawings, oil, and pigment on archival paper laid to canvas Signed and dated in pencil, verso: Babak Emanuel 40” H x 28” W $1,500-2,500

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190

Ian Michael

(b. 1985) Untitled, two figures Acrylic and enamel on paper Signed lower right: Ian Michael Image/Sheet: 30.5” H x 22” W $1,000-2,000

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191

Kayla Shelton

(20th century) Two works: “Untitled I,” 2017 and “Divine Feminine: Johanna Jankers of the African Choir, 1891,” circa 2017 Each: Digital collage laid to panel Each: Unsigned Each: 20” H x 20” W $1,000-2,000 Exhibited: Los Angeles, CA, Fellowship of Contemporary Art (FOCA), “Magician: The Black Body and Portraiture,” February 1, 2020 - March 28, 2020, no. 8 and no. 10 (illustrated)

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Aaron Fowler (b. 1988)

Aaron Fowler was the 2019 recipient of the Seattl career Black artist and comes with $10,000 and a

Blending structural qualities of American history p friendship. The artist himself is depicted in the ce artist’s friends. But, rather than an Old Testament named Amerocco, featuring a collaborative sneak replicate the concrete-mirror faÁade of a storefro

Fowler and Yannis wanted to fuse together the tra represented his hometown of St. Louis while Yann was a sort of Babouche Force 1 that retained the of the painting is decorated with these creations a

“Amerocco” sees a familiar Black object (the Air F could be. It’s not just the shoe, “Amerocco” is als exploitative. It’s cultural appropriation and reappr

- Jas Keimig, “Currently Hanging: Aaron Fowler’s

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le Art Museum’s 2019 Gwendolyn Knight | Jacob Lawrence Prize, which is awarded to one earlysolo exhibition at the museum.

painting with religious iconography, “Amerocco,” is an ode to Fowler’s shoe store dream and enter of the piece, as a stand-in for Jesus washing the feet of his disciples, which are based off the or a Renaissance setting, the foot-washing occurs within a shoe store of Fowler’s dreams, also ker designed by himself and a close friend, Yannis. The spectacular mirror border is even meant to ont.

aditional shoes from both of their respective cultures: Fowler thought Nike Air Force 1s best nis chose the babouche, a leather pointy-toed slip-on from his country of origin, Morocco. The result recognizable front half of the Nike shoe, but the back half of the Moroccan slipper. The background as if they are on display, though the sneakers don’t currently exist for mass consumption (yet).

Force 1s) transformed into something that extends beyond our understanding of what the shoe is or so a vision of Blackness that fuses, melds, and transforms cultures in ways that feel collaborative, not ropriation done right.

s “Amerocco” at Seattle Art Museum, The Stranger, January 29, 2020.

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192

Aaron Fowler

(b. 1988) “Amerocco,” circa 2019 Mixed media installation, in five parts Unsigned 245.5” W x 96” H $18,000-25,000 Exhibited: Seattle, WA, Seattle Art Museum, “Aaron Fowler: Into Existence,” Dec 13, 2019 - June 28, 2020.

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193

Aaron Fowler

(b. 1988) “Debo Free” Mixed media installation, in three parts Unsigned 140” H x 83” W $18,000-25,000 Exhibited: Seattle, WA, Seattle Art Museum, “Aaron Fowler: Into Existence,” December 13, 2019 - June 28, 2020 Other Notes: Aaron Fowler was the 2019 recipient of the Seattle Art Museum’s 2019 Gwendolyn Knight | Jacob Lawrence Prize, which is awarded to one earlycareer Black artist and comes with $10,000 and a solo exhibition at the museum.

This two-sided medallion titled “Debo Free” is inspired by an incarcerated friend of Fowler’s, who is free on one side and jailed on the other.

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194

Arifien Nief

(b. 1955) “It’s a Sin to Tell a Lie” 1997 Oil on canvas Signed and dated lower left: Nief; dated again and titled on a gallery label affixed to the frame, verso 27.5” H x 23.75” W $2,500-3,500 Provenance: Galeri Santi, Jakarta, Indonesia

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195

Arifien Nief

(b. 1955) “Pesta,” 1996 Oil on canvas Signed and dated lower left: Nief; dated again and titled on a gallery label affixed to the frame, verso 19.75” H x 18” W $1,500-2,500 Provenance: Galeri Santi, Jakarta, Indonesia

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196

Edgar Louis Ewing

(1913-2006) “Priest of Varlaam” Oil on canvas Signed lower right: Ewing 31.5” H x 27.5” W $700-900 Exhibited: Esther Bear Gallery, Santa Barbara, CA, circa 1967

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197

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

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198

Mona Kuhn

(b. 1969) “Paysage No.1,” 2011 Gelatin silver print on paper Edition: 3/8 (there was also an edition of 2 artist proofs) Signed, titled, dated, and numbered in pencil on a sheet of paper housed in a plastic sleeve affixed to the frame’s backing board 38” H x 72” W $1,500-2,000 Provenance: M+B, Los Angeles, CA Other Notes: On the above-mentioned gallery, M + B, Los Angeles, CA, the label states that this piece is signed, titled, dated, and numbered, all on the verso of the sheet.

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199

Mona Kuhn

(b. 1969) “Paysage No.7,” 2011 Gelatin silver print on paper Edition: 3/8 (There was also an edition of 2 artist proofs) Signed, titled, dated, and numbered in pencil on a sheet of paper housed in a plastic sleeve affixed to the frame’s backing board 38” H x 72” W $1,500-2,000 Provenance: M+B, Los Angeles, CA Other Notes: The above-mentioned M+B label states that the piece is signed, titled, dated, and numbered on the verso of the sheet.

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20th Century Photography: The Emergence of Modernism 12.6.2023—10am PST

Edward Weston “Prologue to a Sad Spring,” 1920 Palladium print on paper hinged to a thin board mount $60,000-80,000

Consignment and Auction Inquiries: marandam@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS bid in person - absentee - telephone - live online 145145 East East Walnut Walnut Ave, Ave, Monrovia, Monrovia,CA CA91016 91016| www.johnmoran.com | www.johnmoran.com ·· info@johnmoran.com info@johnmoran.com ·· (626) (626) 793-1833 793-1833 2 6 4 M oder n & C o n t e m p o r a r y F in e A rt l Tu e sd ay, Nov e mb e r l 2 1, 2023

The Collection Of Frederick W. Davis: An American Abroad

Including selections from the Estate of Amy Conger

12.6.2023—12pm PST Brett Weston (1911-1993) “Dad,” 1940

Consignment and Auction Inquiries: marandam@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS bid in person - absentee - telephone - live online 145 145 East East Walnut Walnut Ave, Ave,Monrovia, Monrovia,CA CA91016 91016| |www.johnmoran.com www.johnmoran.com · info@johnmoran.com info@johnmoran.com · · (626) (626)793-1833 793-1833 w w w. j o h n m o r a n . c o m 2 6 5

Latin American Art + Design 12.7.2023—12pm PST

Fernando Botero (1932-2023) Couple dancing, 1980 Watercolor on paper laid to linen on board, 65.5” H x 42.75” W $150,000-200,000

Consignment and Auction Inquiries: marandam@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS bid in person - absentee - telephone - live online 145145 East East Walnut Walnut Ave, Ave, Monrovia, Monrovia,CA CA91016 91016| www.johnmoran.com | www.johnmoran.com ·· info@johnmoran.com info@johnmoran.com ·· (626) (626) 793-1833 793-1833 2 6 6 M oder n & C o n t e m p o r a r y F in e A rt l Tu e sd ay, Nov e mb e r l 2 1, 2023

Condition Reports

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1 Overall good condition. With margins, deckled left and lower edges. The colors fresh. The sheet is framed floating. Not examined out of the frame.

Framed under glass: 25” H x 23.25” W x 1.75” D 2 Overall good condition. Full margins with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 24.5” H x 21.5” W x 2” D 3 Overall good condition. Full margins, deckled along the right and lower edges. A few very pale pea-sized and smaller spots of foxing near the left edge of the upper left quadrant. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 25” H x 29.75” W x 2” D 4 Overall good condition. Full margins, deckeld along the right and lower margin edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 25” H x 29” W x 2” D 5 Overall good condition. With margins. Pale paper toning showing primarily along the window opening of the mat. Not examined out of the frame.

Condition Reports

Framed under Plexiglas: 68” H x 48.5” W x 2.25” D

268

6 Overall good condition. The colors fresh. The full sheet with deckled edges. Pale light and mat staining. Occasional small fox marks in the margins.

Slight rippling to the sheet edges. Hinged to the backmat in two places by white tape affixed to the verso of the upper sheet edge.

Framed under Plexiglas: 35” H x 45” W x 2” D 7 Overall good condition. With margins. A soft 10” vertical handling crease towards the left margin edge, visible primarily in raking light. Occasional short handling creases concentrated primarily near the margin edges, some of which relate to the hinging, verso. A soft 4” vertical crease in the lower left corner. Not examined out of the frame.

Framed under Plexiglas: 29” H x 37” W x 1.25” D

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

Framed under glass: 38.75” H x 29.25” W x 1.375” D 9 Overall very good condition. The colors fresh. Some very pale time staining at the extreme sheet edges.

The work is protected by a clear mylar wrapper of more recent date.

10 Full margins with deckled edges. A 2.5” long V-shaped diagonal tear with attendant crumpling of the paper near the center of the upper margin, just into the platemark. Soft, short handling creases throughout. Light staining showing in the margins.

Remains of old masking tape along the upper margin edge and the lower margin corners, all verso. The sheet is loose and not matted.

Unframed 11 Overall good condition. Full margins with deckled edges. Very pale light staining showing in the margins. A few scattered pinhead-sized specks of grime in the margins. Hinged to the overmat with two pieces of linen tape from the verso of the upper margin edge.

Framed under Plexiglas: 22.25” H x 25” W x 1.25” D 12 Overall good condition. Minor shelf wear, dust, and occasional minor surface scuffs commensurate with age. The tile has detached from the acrylic frame, with related silicone adhesive, verso. Scattered minor scratches to acrylic frame.

Frame: 22” H x 13.5” W x 1.625” D 13 Overall good condition. Minor shelf wear and occasional minor surface scuffs commensurate with age. Mounted to an acrylic frame with silicone adhesive. Scattered minor scratches to acrylic frame.

Not examined out of the frame.

Frame: 10” H x 7.5” W x 1.s5” D

Frame: 10” H x 10” W x 1.25” D 15 Overall good condition. With margins. Very light toning in the margins along the window opening of the mat. Not examined out of the frame.

Framed under Plexiglas: 21” H x 23.75” W x 1.75” D 16 Overall good condition. Full margins with deckled edges. Pale time staining along the extreme margin edges. Traces of printer’s ink in the outer margin edges. The sheet is loose, not matted.

Framed under glass: 22.5” H x 26.75” W x 2” D

17 Overall good condition. With margins. The colors fresh. Small handling creases throughout. An unobtrusive vertical crease through the center.

Occasional specks of grime showing in the margins.

Unexamined out of the frame.

Framed under Plexiglas: 70” H x 102” x 1.75” D 18 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 79” H x 58.25” W x 1.5” D 19 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 77.5” H x 55.25” W x 1.5” D 20 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 73.256” H x 33” W x 1.5” D 21 Overall good condition. Full margins with deckled edges. Pale mat staining and a few tiny foxmarks in the margins. Time staining along the extreme margin edges, verso. A pinhole as well as an approximately 0.5” H x 1.5” W area of surface skinning in the lower left margin corner, verso. Hinged to the overmat with various types of tape at the verso of the upper margin edge.

Framed under glass: 24.75” H x 28.5” W x 1” D

22 Overall good condition. With margins. Tape and tape residue the along verso of the margin edges. Hinged to the overmat with various types of tape at the upper margin edge Framed under glass: 19.75” H x 20” W x 1.75” D 23 Overall good condition. With margins. Pale light staining throughout. Not examined out of the frame.

Framed under Plexiglas: 29.75” H x 29.75” W 24 Overall good condition. With margins. The colors fresh. Not examined out of the frame.

Framed under glass: 34” H x 34” W x 1.75” D 25 Overall good condition. With margins. The colors fresh. A pinhead-sized stray mark towards the center of the left margin. Not examined out of the frame.

Framed under Plexiglas: 29.5” H x 27” W x 1.5” D 26 Overall good condition. The colors fresh. The full sheet with deckled edges. The sheet is framed floating. Not examined out of the frame.

Framed under glass: 37” H x 47” W x 2” D 27 Overall good condition. The full sheet and the colors fresh. Slight rippling to the upper and lower edges commensurate with medium. Framed floating, hinged to the backmat in places at the verso of the upper, left and right sheet edges.

Framed under Plexiglas: 13.75” H x 27.5” W x 1.5” D 28 Overall good condition. The full sheet. Framed floating, mounted to foam board which is mounted to the back mat.

Framed under Plexiglas: 23” H x 23.75” W x 2” D 29 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 15.25” H x 17.25” W x 2” D

Condition Reports

14 Overall good condition. Minor shelf wear and occasional minor surface scuffs commensurate with age. Mounted to an acrylic frame with silicone adhesive. Scattered minor scratches to acrylic frame.

Not examined out of the frame.

269

30 Overall good condition. The sheet is hinged to the overmat with white tape in three places along the verso of the upper sheet edge.

Framed under Plexiglas: 19.5” H x 21” W x 1.5” D 31 Overall good condition. With full margins and deckled edges. A few very minor handling creases throughout. A pinhole in the upper right margin corner. Minor surface soiling with few small fox marks.

Some stray printers ink in the margin, not affecting the image. The sheet is hinged to the overmat with linen tape from the verso of the upper margin edge.

Framed under Plexiglas: 29” H x 23.5” W x 1.75” D 32 Overall good condition. With margins. Pale light staining. A few areas of pale foxing scattered in the margins. Residue from old tape in places at the upper margin edge. Not examined out of the frame.

Framed under glass: 26.75” H x 21” W x 1.25” D

33 Overall good condition. With deckled edges and the colors fresh. Framed floating, hinged to the back mat in three places approximately 2” from the upper sheet edge, verso.

Framed under Plexiglas: 31.75” H x 28.25” W x 1.75” D 34 Overall good condition. The colors good. The full sheet with deckled edges. A 3” W pale band of staining along the upper sheet edge, verso. The sheet is framed floating and secured in between two pieces of glass.

Condition Reports

Framed under glass: 36.5” H x 50.5” W x 2.25” D

270

35 Overall good condition. The colors fresh. With deckled edges. The sheet is hinged to a support board in two places by pieces of white tape affixed to the verso of the upper sheet edge. The sheet is framed floating.

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

Framed under Plexiglas: 36.875” H x 29.625” W x 1.5” D 38 Overall good condition. The colors fresh. Each with a vertical fold down the middle commensurate with inclusion in magazine as issued. Pale toning on Calder with red triangles and Chagall sheets. Some with printed text on the verso. Each sheet is loose and not matted. Two sheets are sandwiched in a flat Plexiglas frame.

Framed in Plexiglas:15.25” H x 23.75” W x 0.25” D 39 Overall good condition. Slight toning to the paper. A soft horizontal and vertical fold through the center of the work, commensurate with the sheet having ben folded into fours. The sheet is loose and not matted.

Unframed 40 Visual: Generally good condition. Minor toning to the board inherent to the support which is nonarchival. A series of minor creases lower right corner measuring 1.5” and 1”. Hinged to the back mat with artist’s tape along the left edge.

Framed under glass: 18” H x 21” W x 1.5” D 41 Overall good condition with pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 7” x 4” area of loss to the pile, a 4” long hole, and a 3” long hole. Overall soiling and localized fraying to edges.

36 Overall generally good condition. Light stained and soft handling creases throughout. The sheet is loose and not matted.

42 Overall good condition. Toning and staining to the paper. Rippling to the edges commensurate with material. A quarter-sized splash of orange pigment in the lower right quadrant, possibly in the hand of the artist. A soft vertical and horizontal crease in the sheet commensurate with having been folded in fours. Occasional, scattered stray marks of black pigment, possibly in the hand of the artist. A pinhead-sized spot of dark red pigment in the upper right quadrant to the lower left of the orange circle.

The sheet is loose and not matted.

Unframed

Unframed

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

Framed under glass: 19.25” H x 23.75” W x 1” D 44 Overall good condition. There are three pinpricks at the upper center, and eight scattered pinpricks in the lower half of the sheet. The sheet was folded at some point with a visible crease below the center. There are light scattered stains in various areas of the sheet.

Framed under glass: 11.5” H x 10.25” W x 1” D 45 Toning and staining to the postcard. The lower 1/4 of the postcard is torn away, with attendant skinning to the design. The lower right and upper left corners torn away. Small scratches and crease commensurate with age and use. The postcard is loose and not matted.

Unframed

50 Overall good condition. A 0.375” diagonal crease across the tip of the upper right corner. A soft and unobtrusive 2.5” diagonal crease across the lower right corner, visible only on the verso. Remains of old white paper hinges and attendant surface skinning at the sheet corners and in one place at the center of the left sheet edge, all verso. The sheet is loose, not matted.

Unframed 51 Overall good condition. The full sheet. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 65” H x 54.25” W x 2.5” D 52 Overall good condition. A short and soft handling crease at the center of the extreme right margin edge. The sheet is loose, not matted.

Unframed 53 Overall good condition, housed in a cardboard box with foam protection.

46 Overall good condition. With margins and deckled edges. A foxmark in the deckle of the extreme lower margin edge. The sheet is affixed to the backmat with white tape at the verso of the margin corners. The backmat is mounted to the backing board.

54 Visual: Overall good condition.

Framed under Plexiglas: 36” H x 29” W x 1.5” D

55 Each overall good condition. Time staining along the extreme edges and rippling throughout, primarily along the outer edges of each sheet. The left work with a soft 3” horizontal handling crease near the face in the upper left quadrant. Remnants of old linen tape along the verso of each sheet edge. The right work with a 0.5” horizontal tear in the lower left edge.

A soft 7” diagonal crease in the upper right corner, attendant with a previous fold, and a 2.5” horizontal soft handling crease near the signature in the lower right quadrant. Each sheet is hinged to the backmat in two places with Beva hinging tape on the verso of the upper sheet edge.

47 Overall good condition. The colors fresh. With margins and deckled edges. The sheet is framed floating. Not examined out of the frame.

Framed under Plexiglas: 21.5” H x 23.25” W x 2” D 48 Overall good condition with wear commensurate with age. The rings and locking pin with some rubbed wear and scrapes from locking/unlocking. Pages are clean with minor soiling near ends. Dust accumulation concentrated near ring binding area.

49 Overall good condition. Remains of old white paper hinges in six places at the verso of the sheet edges.

The sheet is loose, not matted.

Unframed

Blacklight: No evidence of restoration.

Frame: 21” H x 17” W x 2.25” D

Each framed under Plexiglas: 33” H x 25” W x 1.5” D

Condition Reports

43 Staining and soling to the sheet. Moderate foxing throughout, primarily in the lower half. A few handling creases in the lower half towards the lower edge, the largest measuring 5” wide through the right figure’s foot. The sheet is hinged to the back mat in two places by pieces of tape affixed to the verso of the upper sheet corners. The sheet is framed floating.

271

56 Overall good condition. The colors fresh. Small handling creases and rippling throughout commensurate with medium. A 1.5” horizontal tear near the center of the left edge. Hinged to the back mat in multiple places in the upper third of the work with Bova adhesive. Instructions on removing hinging is inscribed in pencil on the back mat. The sheet is framed floating.

Framed under glass: 43” H x 28” W x 1.25” D 57 Visual: Overall good condition. A few scattered pinhead-sized spots of grime. A 2” H x 3” area of very fine stable craquelure in the white pigment impasto near the center.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 1.75” D 58 Visual: Overall good condition. A pea-sized spot of pigment loss in the upper left quadrant, near the upper edge.

64 Overall good condition. The colors fresh. A rice sized spot of residue on the upper portion of the left corner. The sheet is affixed to the backmat in two places on the upper edge and one on the lower edge.

Framed under Plexiglas: 22.75” H x 22.5” W x 1” D 65 The colors fresh. A vertical, hairline, 1” H surface scuff in the black background near the lower right corner, visible only in raking light. The sheet is laid down and sealed in the mat.

Framed under glass: 26.75” H x 35.5” W x 1.5” D 66 Overall good condition.

Frame: 25.25” H x 24” W x 1.25” D

Frame: 45.25” H x 54.75” x 3” D

59 Visual: Overall good condition. Very slight dust accumulation commensurate with age. Occasional small areas of very fine craquelure in the black pigments throughout the center.

67 Overall good condition. A pinhead-sized hole in the upper right corner. Not examined out of the Plexiglas.

Frame: 30.75” H x 49” W x 1.5” D 60 Overall good condition. Slight dust accumulation commensurate with age.

Condition Reports

Framed under Plexiglas: 28.5” H x 22.75” W x 1.5” D

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

272

63 Overall good condition. A few pinhead-sized spots of red pigment near the center. The sheet is hinged to the back mat in two places by 0.25” H x 0.25” squares of adhesive in the extreme upper left and right corners. The sheet is framed floating.

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

Framed under Plexiglas: 25.5” H x 19.5” W x 2.5” D 68 Overall good condition. A 1.5” tear into the image from the lower edge, at left. Framed floating and mounted to the back mat from the verso of the sheet corners. Not examined out of the frame.

Framed under Plexiglas: 48” H x 34” W x 2.25” D

Blacklight: No evidence of restoration.

69 Overall good condition. The full sheet with deckled edges. Framed floating and hinged to the back mat.

Not examined out of the frame.

Frame: 23” H x 23” W x 2.25” D

Framed under Plexiglas: 34.25” H x 44.25” W x 2” D

62 Each overall good condition. Four artist pinholes in each corner on each of the three pieces. Each sheet is affixed to the backmat by pieces of tape in three places.

70 Overall good condition. The full sheet with deckeld edges. Framed floating and hinged to the back mat.

Not examined out of the frame.

Framed under Plexiglas: 20” H x 19.5” W x 1.25” D

Framed under Plexiglas: 26” H x 22.5” W x 2.25” D

71 Overall good condition. Not examined out of the Plexiglas.

80 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 25.25” H x 19.25” W x 2.5” D

Framed under Plexiglas: 38.25” H x 28.75” W x 1.75” D

72 Overall good condition. With margins and the colors fresh. The sheet is sealed within the mat.

81 Overall good condition. The colors fresh. A 1.5” diagonal crease in the upper left corner. Not examined out of the frame.

Framed under Plexiglas: 34.25” H x 25.25” W x 2” D

73 Overall good condition. With deckled edges. The colors fresh. The sheet is framed floating and affixed to the backmat in each corner. Not examined out of the frame.

82 Overall good condition. Full margins with deckled edges. The sheet is affixed to the backmat in the four corners. The sheet is framed floating. Not examined out of the frame.

Framed under Plexiglas: 47.5” H x 34” W x 1.5” D

Framed under Plexiglas: 62.75” H x 42.5” W x 1.5” D

74 Overall good condition. The colors fresh. Not examined out of the Plexiglas.

83 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. More localized areas of scratching to verso including back of the head, shoulders, and coattail, with attendant rice-shaped chipped loss to left shoulder.

Framed under Plexiglas: 25.25” H x 19.25” W x 2.5” D 75 Overall good condition. With margins and deckled edges. The colors fresh. The sheet is framed floating.

Not examined out of the frame.

Framed under Plexiglas: 50.25” H x 37.25” W x 1” D

84 Overall good condition. With full margins and the colors fresh. Occasional areas of very slight surface skinning in places at the verso of the margin edges from previous hinging. Framed floating and hinged to the back mat.

76 Overall good condition. Not examined out of the Plexiglas.

Framed under Plexiglas: 40.5” H x 33.25” W x 1.5” D

Frame: 24.75” H x 18.75” W x 1.25” D

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

77 Overall good condition. The full sheet with deckled edges. Framed floating and hinged to the back mat at the verso of the sheet corners. Not examined out of the frame.

Framed under Plexiglas: 46.25” h x 46.25” W x 2” D 78 Overall good condition.

Frame: 25.5” H x 19.5” W x 1.5” D

Framed under Plexiglas: 43” H x 35” W x 1.5” D 86 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 23.25” H x 29.25” W x 1.5” D

79 Overall good condition. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

87 Overall good condition. An approximately 2” H x 0.75” W area of scattered, extremely pale surface staining in the lower right quadrant. The sheet is loose, not mounted.

Framed under Plexiglas: 31” H x 23” W x 2” D

Framed under Plexiglas: 18” H x 22” W x 1” D

Condition Reports

Framed under Plexiglas: 31.25” H x 25.25” W x 1.5” D

273

89 Overall good condition. With margins. The colors fresh. Not examined out of the frame.

96 Overall good condition. Handling creases scattered throughout. A 3.625” H x 1.5” W tear in the lower edge, at left. The extreme left edge slightly trimmed unevenly, possibly in the hand of the artist. A peasized paper loss in the upper right extreme corner.

A few small and unobtrusive tears to the extreme edges. Artist’s pinholes at each of the corners. The sheet is framed floating and hinged to the back mat.

Not examined out of the frame.

Framed under Plexiglas: 30.5” H x 66.5” W

Framed under glass: 100” H x 75.5” W x 3.5” D

90 Overall good condition. With margins. The colors fresh. Not examined out of the frame.

97 Overall good condition. With full margins and deckled edges. An approximate 0.75” thick stripe of old adhesive along the verso of the upper sheet edge. The sheet is hinged to the overmat by four pieces of white tape along the verso of the upper sheet edge.

88 Overall good condition. With margins. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 41.25” H x 65.5” W x 2.25” D

Framed under Plexiglas: 66.5” H x 31” W x 2.25” D 91 Overall good condition. With margins. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 25.75” H x 44” W x 2.25” D 92 Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 23.25” H x 25.25” W x 2.25” D 93 Overall good condition. With wide margins. A small and unobtrusive foxmark in the lower right margin corner. The sheet is affixed to the backboard with white archival tape along all of the margin edges.

Framed under glass: 15.75” H x 19.25” W x 1.5” D

Condition Reports

94 Visual: Overall good condition. A soft 1” horizontal surface scratch near the upper edge of the upper right quadrant.

274

Blacklight: No evidence of restoration.

Frame: 43.25” H x 31.5” W x 3.5” D 95 Visual: Overall good condition. Dime-sized or smaller areas of surface abrasion with attendant pigment loss along each of the extreme edges and corners. A 0.25” cut into the board near the upper right edge.

Slight warping to the board in the lower right corner.

Blacklight: No evidence of restoration.

Unframed

Framed under glass: 24.5” H x 20” W x 0.75” D 98 Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. Slight time staining showing mostly along the outer edges of the support board.

Framed under glass: 17.5” H x 39.25” W x 1.5” D 99 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 21” H x 25” W x 1.25” D 100 Visual: Overall good condition. A pinhead-sized spot of stray black pigment near the left edge of the upper left quadrant. A few soft and small reversepressure marks scattered throughout. The recto of the frame is painted and is considered part of the work.

Blacklight: Two areas of touch-up with attendant repairs, with the largest measuring 0.5” H x 5” W near the center.

Frame: 38.75” H x 48.5” W x 1.75” D

Blacklight: No evidence of restoration.

Frame: 50” H x 22” W x 2” D 102 Handling creases and folds commensurate with age and being rolled. Areas of scattered and small paper loss to the extreme edges, the most prominent area in the upper right edge. Uneven staining throughout and rectangular remnants of older tape along the sheet edges, all verso.

Framed under glass: 22” H x 15.75” W x 2” D 103 Visual: Overall good condition.

Blacklight: A pea-sized spot of touch-up near the center of the upper edge in the light brown pigment.

Frame: 40” H x 46” W x 2” D 104 Visual: Overall generally good condition. Craquelure throughout. A shallow 9.5” vertical surface scratch with attendant flecks of pigment loss near the left edge of the lower left quadrant. A rice-sized spot of pigment loss on the knuckles of the mother in the lower right quadrant. Three rice-sized stray spots of blue pigment on the mother’s chest. A 1.25” repaired tear in the canvas with an attendant patch, verso.

Blacklight: Possible spots of older touch-ups scattered throughout. A heavy application of varnish.

Frame: 40.75” H x 35.75” W x 1.75” D 105 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 32” H x 39.75” W x 2” D

106 Visual: Overall good condition. A few soft surface scratches near the lower edge, the longest measuring 4” W in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 40” H x 47.25” W x 2.25” D 107 Overall good condition. Light scuffing, abrasion, and folding to the corners of each card commensurate with handling. Slight levels of transfer from the crayon to the verso of each card.

Unframed 108 Overall good condition. Light scuffing, abrasion, and folding to the corners of each card commensurate with handling. Slight transfer of crayon to verso of each card.

109 Overall good condition. Light scuffing, abrasion, and folding to the corners of each card commensurate with handling. Slight transfer of crayon to verso of each card.

Unframed 110 The sheet with deckled edges. Pale light staining, surface soiling, and scattered areas of foxing, all commensurate with age. A 0.75” crease in the lower right corner. Small tears, soft creases, a 0.25” W area of surface skinning, and old tape remnants along the left sheet edge. The sheet is affixed to the back mat with tape from the center of the verso sheet.

Framed under glass: 24.5” H x 20.5” W x 2.25” D 111 Overall good condition. Pale time staining along the extreme sheet edges. Small paper losses along the lower sheet edge, at right. A soft 1.5” diagonal crease in the lower left corner and a 0.75” diagonal crease in the lower right corner. Smaller handling creases and smudges to the surface, commensurate with age. The sheet is taped to the back mat in four places on the verso of the sheet edges.

Framed under glass: 18.75” H x 24.75” W x 1.5” D

Condition Reports

101 Fine to heavy craquelure and paint shrinkage throughout, with areas of unstable craquelure in the upper left and right quadrants. Shallow surface scratches and abrasion, some with attendant pigment loss, scattered throughout. Small areas of scattered pigment loss, the largest area in the lower half.

275

112 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.25” H x 38.25” W x 2.5” D 113 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The plinth with scattered small chips and fleabites to corners and edges. Mounting putty to mounting juncture.

114 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The plinth with two small chips to edge underside.

115 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The plinth with scattered small chips to corners and edges. Mounting putty to mounting juncture.

116 Overall good condition. Surface scuffs commensurate with age. Scattered spots of oxidation throughout, some areas of heavier oxidation resulting in darkening of the metal. Three missing concaved and semicircular metal pieces, mostly near the left section of the work.

Unframed

Condition Reports

117 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. A few corners with bumped wear and one rice-sized chip.

Felt applied to underside.

276

118 Pale light staining throughout. The sheet appears to have been previously torn into several pieces throughout the sheet, and then laid to the backing board, except for one triangular piece of paper loss in the lower half, at center.

Framed under glass: 18.5” H x 16.5” W x 2.25” D 119 Overall good condition with scattered scuffs, scratches, nicks, minor soiling, and indentations commensurate with age.

120 Visual: Overall good condition. A few thin and unobtrusive surface scratches in the upper left quadrant, the largest measuring 3.5” diagonally with attendant flecks of pigment loss near the left of center. A few pinhead-sized areas of pigment loss in the green pigment of the recessed relief. A soft pinhead-sized pressure mark near the left edge of the upper left quadrant, mostly visible in a raking light.

Blacklight: No evidence of restoration.

Frame: 11” H x 9” W x 1” D 121 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

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

123 Each overall good condition. The sheets are loose and not matted.

Each unframed 124 Each overall good condition. The colors good. The “Shamen Masks,” with a 0.5” diagonal crease in the upper left and right corners. The sheets are loss and not matted.

Each unframed 125 Each overall good condition. “N.Y. Couetz,” with the extreme upper edge slightly trimmed. The untitled piece with small handling creases scattered on the extreme left edge. A pea-sized area of smudged stray ink to the left of the figure’s left foot. The sheets are loose and not matted.

Each unframed 126 Each overall good condition. “The Expectation” with an artist pinhole in the upper right corner. The sheet with figures at a gazebo with time staining along the extreme upper edge and scattered handling creases.

The sheets are loose and not matted.

Each unframed

127 Overall good condition. Handling creases scattered primarily in the outer edges, the largest measuring 2.5” H along the extreme upper right edge. The upper and lower right extreme corners slightly dogeared. The sheet is hinged to the back mat with white hinging tape in two places from the recto of the upper sheet edge.

133 Visual: Overall good condition. A pinhead-sized spot of surface abrasion with attendant pigment loss in the upper edge, at center.

Framed under glass: 12” H x 14.75” W x 1” D

Frame: 25” H x 18” W x 1.5” D

128 Overall good condition. Very pale light staining. A 5” indentation attendant with the previous trimming of the paperboard, along the lower edge, at center.

A pale area of staining in the lower right quadrant, possibly attendant to the artist’s creative process.

The sheet is framed floating and mounted to the back mat.

134 Pale light staining throughout. Mat burn along the opening of the mat window edges. A 1” H x 0.5” W area of residue from old adhesive in the upper left edge. An approximately rice-sized surface abrasion in the black triangle near the lower edge, at center. Scattered pinhead-sized scuffs in the brown triangular shape near the center.

Framed under glass: 23” H x 33.75” W x 1.5” D

Framed without glazing: 18.5” H x 15.25” W x 1.75” D

130 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 24.5” H x 20.5” W x 2.75” D 131 Visual: Overall good condition. An approximately 0.375” H x 0.125” W area of pigment loss in the upper left quadrant. Fine and scattered craquelure.

Blacklight: No evidence of restoration.

Frame: 28” H x 22” W x 1” D 132 Visual: Overall good condition. The first number of the date lower right has the pigment slightly smudged. A soft stretcher bar crease along the lower left edge. Fine and small areas of craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 38.25” W x 1.25” D

135 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 47.75” H x 31.75” W x 2.75” D 136 Overall good condition with scattered minor scratches, scuffs, and small nicks commensurate with age.

137 Overall good condition. A 1” diagonal line of surface scuffing near the center of the left edge. Occasional delicate scratches, scuffs, and ruptured air bubbles showing verso, commensurate with manufacture and materials used. A screw/metal washer pair is missing at the lower left corner of the aluminum frame.

Overall: 35.75” H x 22 W x 0.75” D

138 Scattered air bubbles and ruptured air bubbles throughout, commensurate with the materials and techniques used. One screw/metal washer pair is missing from the lower right corner of the aluminum frame.

Overall: 35.5” H x 22” W x 0.75” D

Condition Reports

129 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. The acrylic case with a few scattered minor scratches. Shelf wear to underside of case.

Blacklight: Areas of touch-up scattered throughout, the largest measuring 0.5” H x 0.75” W to the left of the large central rock, in the lower left quadrant.

277

139 Visual: Overall good condition. Small surface abrasions along each edge with attendant pigment loss. A few flecks of stray white pigment scattered throughout.

Blacklight: No evidence of restoration.

Unframed 140 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 141 Overall generally good condition. The full sheet with deckled edges. There is overall toning to the recto and verso of the sheet and well as occasional surface soiling and generally pale foxing. Two approximately 1.25” H x 0.5” W pale stains at the center of the upper and lower sheet edges, in each case extending just into the nearby section of the work’s orange border. The work is loose, not mounted.

Unframed 142 Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure scattered throughout. Stretcher bar creases along all four edges.

Blacklight: No evidence of blacklight: Frame: 30.75” H x 36” W x 1.625” D

Condition Reports

143 Visual: Overall good condition. A few pea- to pinhead-sized spots of grime in the lower left and right corners. Some slight surface abrasion and scuffing in the upper left, lower left, and lower right corners.

278

Blacklight: No evidence of restoration.

Frame: 26.75” H x 26.75” W x 1.5” D

144 Visual: Overall good condition. Scattered scuffs and scratches with some areas of attendant pigment loss, primarily in the lower left and right quadrants.

A 5” diagonal crease in the canvas in the lower left quadrant. A dime-sized area of unstable pigment and lifting in the darker pigment used for the black inner rectangle, near the left edge, at center.

Blacklight: Areas of touch-up scattered throughout the center, the largest being a 5.5” x 0.5” W diagonal line of touch-up near the dark purple rectangular border of the upper left quadrant.

Frame: 46.25” H x 33.25” W x 1.25” D 145 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame:28.5” H x 28.5” W x 2” D 146 Visual: Overall generally good condition. Soft surface scuffs scattered throughout.

Blacklight: A 1.5” H x 2” W area of touch-up near the center, attendant with a repair, verso. Small old and new areas of touch-up throughout, primarily along the outer edges.

Frame: 36.25” H x 36.25” W x 1.5” D 147 Visual: Overall good condition. Occasional tips of the pointed paint forms are snapped.

Blacklight: No evidence of restoration.

Unframed 148 Visual: Overall generally good condition. A pea-sized pigment loss exposing the gray-glue underlayer near the center of the left edge of the pale gray section.

Pea-sized pigment losses exposing the gesso underlayer of at least four of the corners of the three joined sections.

Blacklight: No evidence of restoration.

Overall: 27” H x 63” W x 2” D

150 Visual: Overall good condition. A few stray pinheadsized spots of black pigment scattered throughout.

Blacklight: Areas of touch-up and overpaint primarily along each edge.

Frame: 24.75” H x 28.75” W x 1.25” D 151 Visual: Overall good condition. A 4” horizontal surface scuff along the upper left edge.

Blacklight: No evidence of restoration.

Frame: 21.75” H x 21.75” W x 1.75” D 152 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12.25” H x 22.25” W x 1.75” D 153 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The acrylic and wood bases with some scratching and shelf wear, concentrated at edges and mounting juncture.

156 Visual: Overall good condition. Occasional and very fine craquelure in the white pigment throughout.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 41.75” W x 1.5” D 157 Overall good condition. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 48” H x 21.5” W x 1.5” D 158 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The base with heavy oxidation/rust. Wood base with scattered scuffs, scratches, and flecks of staining, possibly from metal oxidation.

159 Visual: Overall good condition.

Blacklight: A few small spots of touch-ups near the lower right corner.

Frame: 30.75” H x 35.75” W x 1.75” D 160 Visual: Overall good condition. A few pinhead-sized spots of pale and old varnish in the upper right quadrant. A pea-sized area of pigment loss in the extreme upper left corner.

Blacklight: No evidence of restoration.

154 Visual: Overall good condition. Scattered scuffs with attendant pigment loss along the upper edge.

Frame: 75.5” H x 49.5” W x 2.5” D

Blacklight: Scattered small areas of touch-up along the upper edge.

161 Visual: Overall good condition.

Unframed

Blacklight: No evidence of restoration.

Frame: 16.25” H x 14.25” W x 2” D

155 Visual: Overall good condition. A pinhead-sized puncture through the canvas in the upper left quadrant.

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

Blacklight: No evidence of restoration.

Framed under glass: 45.5” H x 37.5” W x 2” D

Unframed

Condition Reports

149 Overall good condition with scattered scuffs, surface scratches, and dust commensurate with age. Some of the interior objects with lifting and small flaked losses to gold paint. Wiring should be checked by a qualified electrician prior to use.

279

163 Visual: Overall good condition. Soft stretcher bar creases showing along each of the four sides.

Blacklight: No evidence of restoration.

Frame: 37.25” H x 37.25” W x 2.25” D 164 Visual: Overall good condition. Occasional pinheadsized spots of stray white pigment scattered throughout the background. A 0.5” area of frame abrasion in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 42” H x 36” W x 3” D 165 Visual: Overall good condition. A pinhead-sized spot of stray orange pigment near the upper edge, at center, and a pinhead-sized spot of stray black pigment on the piece of cheese to the far left.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 50.25” W x 3” D 166 Overall good condition with wear, dust accumulation, soiling, and minor scuffs commensurate with age.

Issues include but not limited to: left leg with 6” crack through the thigh and one 7” crack running up thigh. 3” crack to torso. Left foot with tape ghost.

Right hand finger cracked. A few scattered small cracks and scuff marks to right leg. The chair in overall good condition with fading and rubbed wear to the upholstery and scratching to the legs.

Condition Reports

167 Overall good condition with wear, dust accumulation, light soiling, and minor scuffs commensurate with age. One hand with 1.5” graphite mark.

280

169 Visual: Overall good condition. A few scattered peasized or smaller reverse pressure marks in the lower left quadrant.

Blacklight: no evidence of restoration.

Frame: 35” H x 32.5” W x 1.75” D 170 Visual: Overall good condition. A soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 40.5” x 79.5” W x 1.5” D 171 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 41” H x 49” W x 1.25” D 172 Visual: Overall good condition.Two pinhead-sized spots of stray white pigment near the left edge of the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 44.5” W x 1.5” D 173 Overall good condition. The full sheet with deckled edges. Small rectangular areas of reverse staining along the sheet edges and corners, attendant with the hinging tape used, verso. The softest handling creases along the lower edge. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 36” H x 26” W x 1.5” D

168 Visual: A 7” horizontal scuff mark with attendant pigment loss in the upper left quadrant. A 6” H x 5” W area of stray pinhead-sized spots of white pigment in the lower left quadrant.

174 Overall good condition. The sheet is woven to the backmat. Not examined out of the frame.

Blacklight: No evidence of restoration.

175 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with scattered flaked or chipped paint losses to corners and edges and some bumping wear. Each with minor soiling and small smudges to front.

Frame: 41.25” H x 41.25” W x 1” D

Framed under Plexiglas: 19” H x 27” W x 1.5” D

177 Overall good condition commensurate with age.

Possibly with minor scattered areas of loss to beadwork.

178 Overall good condition commensurate with age.

Possibly with minor scattered areas of loss to beadwork.

183 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 184 Visual: Very fine and stable craquelure. Two rice-sized areas of surface abrasion with attendant pigment loss near the lower edge of the lower left quadrant.

A soft 1” horizontal surface scratch near the lower edge, at left.

Blacklight: No evidence of restoration.

179 Overall good condition commensurate with age.

Possibly with minor scattered areas of loss to beadwork.

Frame: 37.5” H x 25.75” W x 2.75” D

180 Visual: Overall good condition. A 2” H x 0.5” W area of surface loss in the lower right corner. An approximately 1” surface abrasion with surface loss in the lower left corner. Two pea-sized surface abrasions with surface loss in the upper left corner.

A rice-sized puncture into the panel towards the center. Scattered scuffs and shallow surface scratches throughout. A pea-sized spot of pigment loss in the upper left quadrant towards the upper edge.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Unframed 181 Visual: Overall good condition. Slight dust accumulation and grime throughout. A pea-sized spot of surface loss in the lower left quadrant.

Shallow surface scratches and abrasions throughout.

Occasional lines of white pigment in the upper right and lower left quadrants. Occasional abrasions along the edges commensurate with handling.

185 Visual: Overall good condition.

Frame: 32.5” H x 26.25” W x 1.75” D 186 Visual: Overall good condition. A pinhead-sized speck of unrelated white pigment to the left of center, and a pea-sized area of a different unrelated yellow pigment near the center of the lower edge.

Slight abrasion at the extreme edges, primarily in the lower right corner.

Blacklight: No evidence of restoration. A few scattered specks of slightly-sticky grime fluoresce under blacklight in the lower right quadrant.

Unframed

Blacklight: No evidence of restoration.

187 Visual: Overall good condition. A shallow 4” horizontal surface scratch with attendant flecks of pigment loss near the right edge of the lower right quadrants. A few small indentation to the surface in the left half of the work, primarily visible in a raking light.

Unframed

Blacklight: No evidence of restoration.

182 Visual: Overall good condition. A 0.5” W spot of pigment loss near the upper edge, at right.

Unframed

Blacklight: No evidence of restoration.

Unframed

188 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 42.5” H x 30.5” W x 2.75” D

Condition Reports

176 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. The top with lichen and all-over soiling and weathering from outdoor storage.

281

189 Visual: Overall good condition.

196 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 29.75” W x 2.5” D

Frame: 39.5” H x 35.25” W x 2.25” D

190 Overall good condition. The full sheet with deckled edges. Artist pinholes at each of the sheet corners.

The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

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

Framed under Plexiglas: 34.5” H x 26.25” W x 2.25” D

198 Overall good condition. Not examined of the frame.

191 Each with pea-sized or smaller areas of surface loss at each corner. Soft surface scratches scattered throughout. “Untitled I,” with surface abrasion at the lower left edge. A small area of residue transfer from another source in the upper left corner.

Framed under Plexigkas:: 39.25” H x 73” W x 2” D

Each unframed 192 Condition issues are commensurate with the material and creative process in the making of the work. This lot is in five sections, each approximately 8’ H x 4’ W. It is missing the long, horizontal, upper “Amerocco” mirrored piece.

Unframed 193 Condition issues are commensurate with the material and creative process in the making of the work.

Unframed 194 Visual: Overall good condition.

Condition Reports

Blacklight: No evidence of restoration.

282

Frame: 39.75” H x 35.75” W 195 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.75” H x 29.75” W x 2.75” D

199 Overall good condition. Not examined of the frame.

Framed under Plexiglas: 39.25” H x 73” W x 2” D

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

Price Realized: $28,125

SINCE 1969

AUCTIONEERS & APPRAISERS

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Head of Sale, Vice President, Silver, Western, and American Indian Art Specialist Maranda Moran Director, Fine Art Jenny Wilson Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art

Ian Anderson Senior Specialist, Furniture & Decorative Arts `` Angela Past Post-War & Contemporary Design Specialist Matthew Grayson Department Administrator, Fine Art

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

Lori Kassabian Alek Ellis Sally Andrew

Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art Clark Silva Cataloguer, Furniture & Decorative Arts Grant Stevens Director, Jewelry & Watches Tom Burstein Department Administrator, Jewelry & Watches Nikita Mehta

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Appraisals Mariam Whitten, ISA AM Administrator, Appraisals Shannon Dailey Administrator, Trusts & Estates Melissa Brownell

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

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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