Latin American Art + Design by johnmoranauctioneers

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A AU UC CT T II O ON NE EE ER RS S & & A AP PP PR RA A II S SE ER RS S

12.7.2023

Est. 1969

55 Years

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12.7.2023—12pm PST Sale 267 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Previews:

Friday, December 1st: 12pm-4pm Saturday, December 2nd: 12pm-4pm Saturday, December 2nd: 5pm-8pm (Anniversary Preview Party) Sunday, December 3rd: 12pm-4pm Monday, December 4th: 12pm-4pm Tuesday, December 5th: Doors open 10am Wednesday, December 6th: Doors open 9am Thursday, December 7th: Doors open 9am Or by appointment

Meet the Team

Maranda Moran Head of Sale, Vice President marandam@johnmoran.com Anne Spink Fine Art Cataloguer anne@johnmoran.com

Grant Stevens Decorative Art Cataloguer grant@johnmoran.com

Client Services Ella Fountain Client Services ella@johnmoran.com

S S II N NC CE E 1 19 96 69 9

A AU UC CT T II O ON NE EE ER RS S & & A AP PP PR RA A II S SE ER RS S

Est. 1969

55 Years

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2001

Eduardo Chillida

(1924-2002) “Continuation II,” 1966 Etching and aquatint on chine collé Edition: 44/50 Signed and numbered in pencil in the lower margin: Chillida; Maeght, Paris, France, pub. Plate: 7” H x 9.375” W; Sheet: 8.5” H x 10.375” W $400-600 Notes: The full sheet size for “Continuation II,” 1966, is 17.7” H x 22.4” W. This lot is accompanied by a certificate of authenticity from Ro Gallery, Long Island City, NY, signed in ink by the director Robert Rogal and dated May 11, 2007. In addition, there is a printed sheet of a previous email exchange with Museo Chillida-Leku, confirming the title of the piece.

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2002

Hugo Crosthwaite

(b. 1971) “Woman with Black Gloves,” 2005 Graphite on paper Signed and dated in pencil at the lower right: H. Crosthwaite Sight: 5.625” H x 6.25” W $800-1,200

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2003

Hugo Crosthwaite

(b. 1971) “Abarrotes Fresa - Tijuana Cityscape #3,” 2003 Graphite on paper Signed and dated in pencil at the lower right: H. Crosthwaite Sight: 7.75” H x 7.75” W $800-1,200

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2004

David Alfaro Siqueiros (1896-1974) Four works:

“Canto General #2,” from the “Canto General Series” Lithograph on paper, watermark B.F.K Rives Edition: 185/200 Signed and numbered in pencil at the lower edge: Siqueiros Image/Sheet: 23.625” H x 41” W “Canto General #5,” from the “Canto General Series” Lithograph on paper, watermark B.F.K Rives Edition: 185/200 Signed in blue pencil lower right: Siqueiros; numbered in pencil lower left Image/Sheet: 23.625” H x 41” W “Canto General #6,” from the “Canto General Series” Lithograph on paper, watermark B.F.K Rives Edition: 185/200 Signed and numbered in pencil at the lower edge: Siqueiros Image/Sheet: 23.625” H x 41” W “Canto General #8,” from the “Canto General Series” Lithograph on paper, watermark B.F.K Rives Edition: 185/200 Signed in blue pencil lower right: Siqueiros; numbered in pencil lower left Image/Sheet: 23.625” H x 41” W $1,000-2,000

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2005

David Alfaro Siquieros

(1896-1974) “Prison Fantasies: Portfolio I,” 1972 The complete set of six lithographs in colors on Japan paper Edition: XV/LXX Each signed and numbered in pencil at the lower margin: DA Siqueiros; the lithographs loose, as issued, and with the printed title page and numbered justification page, together in the original yellow portfolio with the printed title; Penn Atelier Graphics, New York, NY, pub. Each sheet: 22.5” H x 15” W (approx.) $700-900 Provenance: Masters Gallery, Denver, CO Notes: According to the title insert in the original yellow portfolio, there are 250 copies on Arches paper numbered 1-250 and 70 copies on Japan paper numbered I-LXX.

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2006

David Alfaro Siqueiros

(1896-1974) “Prison Fantasies: Portfolio II” 1972 The complete set of six lithographs in colors on Japan paper Edition: XV/LXX Each signed and numbered in pencil at the lower margin: DA Siqueiros; the lithographs loose, as issued, and with the printed title page and numbered justification page, together in the original red portfolio with the printed title; Penn Atelier Graphics, New York, NY, pub. Each sheet: 22.5” H x 15” W (approx.) $700-900 Provenance: Masters Gallery, Denver, CO Notes: According to the title insert in the original red portfolio, there are 250 copies on Arches paper numbered 1-250 and 70 copies on Japan paper numbered I-LXX.

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2007

Armando Amaya

(b. 1935) Nude woman, 1977 Carved marble on wood plinth Incised signature and date: Amaya Overall: 20” H x 7” W x 6.5” D $1,500-2,500

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2008

After Francisco Zúñiga

(1912-1998) Woman standing, 1971 Patinated bronze on marble plinth Edition: 8/12 Signed, dated, and numbered to base: VIII/XII / Zúñiga / 1971 14.75” H x 5” W x 5” D $800-1,200

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2009

Rodolfo Morales

(1925-2001) Candy-striped man Mixed media collage on paper Signed on a piece of paper in pen, lower right: Rodolfo Morales Sight: 13.5” H x 19.5” W $1,000-2,000

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2010

Rodolfo Morales

(1925-2001) The bride Mixed media collage on paper Signed on a piece of paper in pen, lower right: Rodolfo Morales Sight: 20” H x 14” W $1,000-2,000

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2011

Rodolfo Morales

(1925-2001) Guelaguetza Mixed media collage on paper Signed on a piece of paper in pen, lower right: Rodolfo Morales Sight: 20” H x 14” W $1,000-2,000 Notes: There is a tin-making shop called, Tirso Cuevas, located in Oaxaca, Mexico. There is an impression of the name of the shop on the side of the frame, verso.

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2012

Irma Garcia Blanco

(b. 1959) Floral muñeca figure Ceramic With incised signature verso: Irma G. Blanco; sticker affixed to the underside: Made in Mexico 20” H x 9.25” W x 6.25” D $300-500

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2013

Francisco Toledo

(1940-2019) “Penned Cows (Stockyards),” circa 1970 Lithograph in colors on wove paper, watermark Arches Edition: LXVI/LXXV Signed and numbered in pencil in the lower margin: Toledo Image: 20.375” H x 15.5” W; Sheet: 25.875” H x 19” W $1,000-1,500 Notes: A numbered notation in pencil at the extreme lower edge, at center: 101-13-66.

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2014

Rufino Tamayo

(1899-1991) “Cabeza en ocre [Head in Ochre],” 1976 Etching in colors on Guarro paper Edition: 62/75 Signed and numbered in black crayon in the lower right and left corners, respectively: R Tamayo; Ediciones Poligrafa, Barcelona, pub. Image/Sheet: 29” H x 22” W $2,000-4,000 Literature: Pereda 200

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2015

Carlos Estevez

(b. 1969) “El Hombre es un Proyecto de Dios,” 2001 Mixed media on black paper Signed, titled, dated, and inscribed in white pencil in the lower margin: Carlos Estevez / La Habana Image/Sheet: 44.5” H x 30” W $5,000-7,000

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2016

Laura Gilpin

(1891-1979) “The Rear Elevation of the Temple of the Jaguars and the Lower Temple of the Jaguars,” 1946 Silver gelatin print mounted to a board mount Signed, dated, and inscribed in pencil on the mount: Laura Gilpin / For Agnes Sims / with best wishes for a Merry Christmas Image/Sheet: 13.125” H x 10” W; Mount: 20” H x 16” W $2,000-3,000 Notes: This lot is accompanied by a collection of newspaper clippings and book a about the work and artist.

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2017

Felipe Castañeda

(b. 1933) Seated woman with calla lilies, 1995 Marble Etched signature and date to side of base: F. Castaneda 16.25” H x 15.5” W x 8.25” D $4,000-6,000

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2018

Felipe Castañeda

(b. 1933) Reclined man with calla lilies, 1996 Marble Signed and dated to front of base: F. Castaneda 13.75” H x 29.75” W x 8.25” D $4,000-6,000

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2019

Francisco Toledo

(1940-2019) “La Muerte del Aguador,” 2004 Etching and drypoint on wove paper Edition: 1/20 Signed and numbered in pencil in the lower margin: Toledo Plate: 6.5” H x 38.75” W; Sight: 8.5” H x 41.25” W $2,000-4,000

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2020

Francisco Toledo

(1940-2019) “Lo Que el Viento a Juarez,” 1984 Etching in colors on wove paper Edition: 18/50 Plate: 18.625” H x 14.25” W; Sheet: 22.625” H x 15.125” W $1,500-2,500

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2021

Francisco Toledo

(1940-2019) “Juarez Fishing in the Orbit of the Skull,” 1988 Etching on wove paper Edition: 33/40 Signed and numbered in pencil in the lower margin: Toledo Plate: 10.75” H x 13.75” W; Sheet: 18” H x 24.75” W $1,200-1,800 Provenance: Latin American Masters, Beverly Hills, CA

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2022

Rufino Tamayo

(1899-1991) “Adam” and “Eve” from the “Tamayo 90 Anniversario Suite,” 1989-90 Each lithographs in colors on paper Two works: Edition of each: 27/110 Each signed and numbered in the lower margin: Tamayo; with printer, publisher, and artist blindstamps in the lower margin; Kyron, Mexico City, prntr.; B/M Ediciones y Arte, Mexico City, pub. Image of each: 26” H x 20” W; Sheet of each: 40.25” H x 29.75” W $3,000-5,000 Literature: Pereda 349, 350

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2023

Rufino Tamayo

(1899-1991) “Niña,” 1981 Mixografia in colors on paper Edition: 74/100 Signed and numbered in pencil in the lower corners of the image: R. Tamayo; Taller de Grafica Mexicana, Mexico City, prntr. Image: 36.25” H x 27.5” W; Sheet: 39” H x 30” W $2,500-3,500 Literature: Pereda 288

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2024

Fernando Botero

(1932-2023) Couple dancing, 1980 Watercolor on paper laid to linen on board Signed and dated lower right: Botero; signed again, verso 65.5” H x 42.75” W $150,000-200,000 Provenance: Galerie Claude Bernard, Paris, France Literature: M.V. Llosa, “Botero,” Edition De La L’Autre, fig. 57, illustrated

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2025

Fernando Botero

(1932-2023) Nude figure reclining, 2002 Watercolor on paper mounted to archival board Signed and dated lower right: Botero 31” H x 41” W $100,000-150,000 Provenance: SPORE label affixed verso, #2002BOF07

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2026

Sergio Bustamante

(b. 1949) Fish boy Painted ceramic set on wood base Edition: 44/100 Signed and numbered to neck Figure: 30.5” H x 23” W x 27” D; plinth: 5” H x 26” W x 30” D $800-1,200

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2027

Sergio Bustamante

(b. 1949) Bird man Painted ceramic Edition: 21/25 Signed and numbered to neck 49.5” H x 16.5” W x 32” D $2,000-4,000 Provenance: Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico Private collection, acquired from the above March 17, 1988 Notes: This lot is accompanied by a purchase receipt from Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico, dated March 17, 1988. Additionally accompanied by a certificate of authenticity from the artist, signed by the artist and dated September 21, 1992, as well as a letter regarding previous damage to the piece. Also accompanied by an additional purchase receipt, possibly for a replacement piece, from El Arte en la Artesania de Jalisco, Mexico, dated September 24, 1992.

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2028

Gustavo Montoya

(1905-2003) “Girl on a Chair” Oil on canvas Signed lower right: Gustavo Montoya; titled on a certificate of authenticity 24” H x 18” W $8,000-12,000 Notes: This lot is accompanied by a certificate of authenticity from the Wolfryd Collection, and signed by Rick Wolfryd and Blanca Montoya.

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2029

Gustavo Montoya

(1905-2003) Untitled, Portrait of a boy Oil on panel Signed lower right: Gustavo Montoya 20.5” H x 17” W $8,000-12,000 Provenance: Galeria Central de Arte Moderno, Misrachi, Mexico City B. Lewin Gallery, Beverly Hills, CA Los Angeles County Museum of Art, Los Angeles, CA

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2030

2031

(1898-1996) Young girl in a pink dress Oil on canvas Signed lower right: A Labios 23.5” H x 17.75” W

(1898-1996) Pair of portraits of children Oil on canvas Each signed lower right: Labio Each: 25.75” H x 18” W

Agapito Labios

$500-700

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Agapito Labios

$600-800

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2032

Alfredo Ramos Martínez

(1871-1946) Portrait of a young lady, circa 1915 Pastel on paper Signed right center: Ramos Martínez Sight: 16.5” H x 13” W $5,000-7,000 Provenance: Sold: Clars Auction Gallery, Oakland, CA, “Fine Art & Antique Auction,” September 19, 2015, Lot 6187 Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martínez Research Project.

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2033

A sterling silver Matl Nuestra Senora de La Asuncion de Tonaya

Matilde Poulat and Ricardo Salas (d. 1960 and d. 2006) Circa 1960-2006; Mexico City, Mexico Stamped verso: Matl / Mexico / 925 / Salas / YOD-PAT / 0502 / [Eagle 129]; further inscribed in script: Matl Designed by Matilde Poulat for Matl, under the directorship of Ricardo Salas, in sterling silver set with amethyst, turquoise, and coral and raised on a cloche base 8.25” H x 5.625” W x 2.75” D 275.3 grams gross $1,000-2,000

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2034

A large Matl Nuestra Senora de La Asuncion de Tonaya

Matilde Poulat (c. 1900-d. 1960) Mid-20th century; Mexico City, Mexico Etched script signature verso: Matl / Mexico A large elaborate brass and copper santos figure on a cloche base, with set coral, turquoise and clear cut stone accents 21” H x 12.5” W x 7” D $6,000-9,000 w w w. j o h n m o r a n . c o m

2035

Alfredo Ramos Martínez

(1871-1946) “Madonna India,” circa 1932 Oil on canvas laid to board Signed lower left: Ramos Martínez 23.5” H x 21.25” W $60,000-80,000 Provenance: Estate of the artist Collection of María Martínez Bolster, by descent Louis Stern Fine Arts, West Hollywood, CA Private Collection, Southern California Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of paintings and frescoes, to be published by the Alfredo Ramos Martínez Research Project.

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2036

Alfredo Ramos Martínez

(1871-1946) “Procession of Nuns,” circa 1934 Tempera and conté crayon on toned paper Signed lower right: Ramos Martínez; titled and dated on a gallery label affixed to the frame’s backing board Image/Sheet: 21” H x 26” W $16,000-22,000 Provenance: Estate of the artist Collection of Maria Martínez Bolster, by descent Private Collection, Southern California Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonne of works on paper, to be published by the Alfredo Ramos Martínez Research Project under number LSFA14763.

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2037

A large gilt bronze monstrance

19th century Appears unmarked The dore liturgical vessel, possibly Latin American, comprised of an elaborate top solar or sunburst section adorned with applied saints and symbolic figures and animals, surrounded by grape vine tendrils and surmounted by a crown with bells and a cross, with a round central receptacle, all mounted atop an elaborate repoussé and stamped base, with further stamped motifs to stem 27” H x 12.5” W x 7.75” D $1,000-1,500 Notes: A monstrance is a liturgical vessel used in the Roman Catholic, Old Catholic and Anglican churches to display the consecrated Eucharistic host, during Eucharistic adoration or Benediction of the Blessed Sacrament. Created in the medieval period for the public display of relics, a monstrance is now usually limited to use as a vessel for hosts. The word monstrance comes from the Latin word “monstrare,” meaning “to show,” and is associated with the English word demonstrate, meaning “to show clearly.” In Latin, the monstrance is known as an ostensorium, from ostendere, also “to show.”

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2038

A Latin American silver monstrance

19th century Appears unmarked The two-piece gilt-washed silver liturgical vessel comprised of a top solar or sunburst section with a central receptacle with circular glass inserts, one piece with a beveled edge, all mounted atop a hammered and repoussé silver base, with further stamped motifs to stem 15” H x 8.5” W x 6.375” Dia. 42.2 gross oz. troy approximately $800-1,200

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2039

Diego Rivera

(1886-1957) “Las Banistas de Tehuantepec,” 1925 Charcoal and pastel on beige paper laid to board Signed upper left: Diego Rivera; signed again, dated, and inscribed at the lower left: Para Ana / Diego 25; titled on a museum label affixed to the frame’s backing board 19” H x 24.875” W $25,000-35,000 Provenance: From the Collection of Louis Constantiner Weyhe Gallery, New York, NY The Collection of Rafael Coronel The Collection of Ruth Rivera, the artist’s daughter Exhibited: Mexico City, Mexico, “Diego Rivera: 50 Anos de su Labor Artistica”, Museo Nacional de Artes Plasticas, AugustDecember, 1949 Literature: “Diego Rivera, Catalogo general de obra de caballete, Mexico City, Instituto Nacional de Bellas Artes, 1989, p. 72, no. 511 (illus.).

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2040

Diego Rivera

(1886-1957) “Peon,” 1923 Pencil on tan paper Signed and dated lower left: D. Rivera Image/Sheet: 11.25” H x 7.75” W $5,000-7,000 Provenance: The Artist Alma Lavenson (photographer), Mexico City, April 1926, acquired from the above Through descent from the above, to the present owner Notes: Alma Lavenson purchased this drawing for her personal collection at the same time she pursued the purchase of a large oil on canvas by Rivera for her father through Albert Bender to donate to Mills College Art Museum’s permanent collection. The work, Diego Rivera’s “Mother and Child,” 1926, is still one of the greatest works in the collection and one of the first works by Rivera to join an American Museum. In her notes on March 28th, Lavenson writes, “Some day when I have lots of time, I’ll tell you all the wrong information and wild goose chases we have met with in our pursuit of Rivera. We have now discovered a lady in the Public Library who’s a friend of his and who told us he hasn’t been out of town at all, and gave us a letter to him which we are to present next Wednesday.” On April 1st, at the Mancera Hotel, Lavenson writes, “At last we have finally met Rivera. We called upon him early this morning at his home, armed with the letter from the young lady at the Library.... We weren’t at all sure how an Artist Temperament feels toward Tourists so soon after breakfast. In spite of the early hour, he had already gone out when we arrived, but his very beautiful wife (if that’s what she is) received us in a purple brocade dressing gown and slippers, and showed us his pictures, promising he would return very soon. He had only about five oil paintings, as most of his time is being devoted to murals, and though our baskets seem to be most elastic in their capacity, I don’t believe that I could get a mural in. There was one oil painting that I liked a great deal but I was uncertain about the price, so I thought I’d better consult the authorities at home first. There were several others that were very interesting but for one reason or another didn’t seem just appropriate for... father to donate to Mills! At any rate, I got two sketches for him to give instead... one large crayon one which is perfectly beautiful, and a smaller pen and ink, showing a typical.. village scene. They may not be just what Mr. [Albert] Bender [a San Francisco Collector] wanted but, I felt safer about them, and he can always order the other painting if he wants. We were so enthusiastic about the sketches that we each got a small one for ourselves. Mine is a pencil sketch of the head of a peon...a perfectly lovely thing that I adore.” Excerpted from: Susan Ehrens, “Alma Lavenson Photographs,” 1990, pgs. 83, 85, 86

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2041

18th Century Spanish Colonial School Saint Louis (Louis IX) Oil on canvas laid to waxed canvas Appears unsigned 41” H x 30” W $5,000-7,000 Provenance: Sold: Leland Little, Hillsborough, NC, “Session VI: Fine & Decorative Arts,” March 11, 2016, Lot 264 Notes: This lot is accompanied by a printout with previous lot details of this piece from the sale at Leland Little.

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2042

18th Century Spanish Colonial School “Santa Rosa de Lima with the Infant Christ” Oil on waxed canvas Appears unsigned 50” H x 34” W $8,000-12,000 Provenance: The Collection of Antonio Roig-Ferre, Puerto Rico Sold: Jacksons International Auctions, “World Treasures, Important Russian, European, Asian & American Works,” November 17-18, 2015, Lot 486 Exhibited: San Francisco, CA, University of San Francisco, “Sacramental Light,” January 22-April 22, 2007 Literature: Images of Devotion in Spanish Colonial America, Exhibition Catalogue, National Printing & Packing, Denver, CO, p.10. Notes: This lot is accompanied by an overview sheet and sales invoice from the Jacksons International Auctions sale as well as the Live Auctioneers listing.

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2043

18th Century Cuzco School

“Portrait of Santiago Matamoros” Oil on canvas laid to canvas Appears unsigned; titled by repute 52” H x 39” W $8,000-12,000

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2044

A Mexican folk art church model

19th century Unmarked The carved soft wood model, possibly cactus, with two bell towers, each surmounted by a cross 32.25” H x 12” W x 9” D $3,000-5,000

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2045

2046

Jesus bound Oil on canvas laid to canvas Unsigned 42.25” H x 32.5” W

Jesus bound Oil on canvas la Unsigned 47” H x 20.75”

Spanish Colonial School

$600-800

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Spanish Colon

$600-800

nial School

aid to cardboard W

2047

19th century Spanish School

Male saint holding Infant Jesus Oil on canvas laid to waxed canvas Unsigned 25” H x 19.25” W $1,000-1,500 Notes: The stalk of blossoming flowers in this work may represent lilies, in which case the saint is most likely Joseph.

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2048

A pair of Spanish Colonial silver figurative candlesticks

19th century Each appears unmarked The silver candlesticks with domed bases and featuring mirrored figures coiled by a snake, 2 pieces Each: 13.5” H x 4.5” Dia. approximately 59.1 oz. troy approximately $4,000-6,000

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2049

A pair of Spanish Colonial silver candlesticks

18th century Each appears unmarked The silver candlesticks with chased and appliqué flourishes to bobèche and base apron, raised on three ball in claw feet, 2 pieces Each: 12” H x 5” Dia. 45.2 oz. troy approximately $2,000-3,000

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2050

Late 18th Century Spanish Colonial Folk Art Style “Our Lady of Peace and Good Travels” Oil on canvas laid to canvas Unsigned 29” H x 24” W $2,000-3,000

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2051

Spanish Colonial School

Archangel Uriel, circa 1700 Oil on canvas laid to canvas Appears unsigned 43” H x 32” W $5,000-7,000 Provenance: The Estate of former U.S. Ambassador, Findley Burns Jr.

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2052

A Spanish Colonial silver chandelier

19th century Appears unmarked The four-light chandelier/censer converted to electricity with faux candles, featuring all-over cast and repoussé foliate motifs, electrified 41” H x 22” Dia. 179 gross oz. troy approximately $4,000-6,000

2053

A Spanish

Late 18th/e Appears un The wood t polychrome wood, with 16.5” H x 3

$3,000-5,00

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2054

A Mexican carved wood chest of drawers

Early 19th century The chest with wrought iron hardware and hinged top opening to reveal a carved two-headed bird centering two similar birds amidst a foliate scene, above a drop-front with brass locking mechanism revealing five drawers, four with foliate carved fronts, all raised on four later added/replaced bun feet 13.5” H x 18.5” W x 11” D $1,000-1,500

h Colonial tooled leather trunk

early 19th century nmarked trunk with hinged barrel lid and three sides wrapped in ed tooled leather and the back of carved and polychromed iron hardware, lock latch, and opposed handles 33” W x 16.5” D

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2055

A pair of Spanish Colonial pricket stick lamps

18th century Each appears unmarked The wrought iron pricket sticks converted to electricity as two-light lamps with three scrolled feet and twisted poles, surmounted by two gilt-painted paper lamp shades, electrified, 2 pieces Each stick: 35” H x 14” W x 12.5” D; each shade: 9.325” H x 18.25” Dia. $1,800-2,200

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2056

A Continental flat strap silver and set stone crown

Late 18th/early 19th century Appears unmarked Comprising a four-strap sterling silver crown set with red, blue, and clear glass with alternating panels and floral spring ornaments 12” H x 10.5” Dia. approximately 45.9 gross oz. troy approximately $1,000-1,500

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2057

A group of carved wood santos bultos figures

18th/19th century Each appears unmarked Comprising five polychrome carved and painted wood devotional bultos figures, including a standing figure of St. Michael the Archangel, a Franciscan figure, a blue-robed saint with a crown, a figure with crucifix staff and ornate painted robes, and a yellow-robed figure atop a green sphere, 5 pieces Largest: 20” H x 6.625” W x 4” D; Smallest: 12.5” H x 5.25” W x 3.5” D $500-700 Provenance: Private Collection, Southern California

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2058

Three santos figures

19th/20th century or earlier Each appears unmarked Three polychrome painted plaster, clay, and wood upright dressed santos figures with glass eyes including a “Virgen de la Purisima Concepción” figure with blue silk robe and goldwashed removable metal halo, standing atop the world, as well as a bearded robed figure with an associated crook, and a large santos figure of painted wood with a compressed straw torso, with added shirt, robes and embroidered silk stole, [possibly St Ignatius of Loyola], 3 pieces Largest: 28” H x 10.5” W x 8.5” D; Smallest: 22.5” H x 6.5” W x 6.5” D approximately $700-900 Provenance: Private Collection, Southern California

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2059

A silver-metal crown of thorns

19th century Appears unmarked Comprised of an openwork barbed circlet, with three repoussé spiked medallions attached to a repoussé silver-metal band, likely a santos ornament 7” H x 12” W x 6.5” Dia. approximately $600-800

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2060

A carved wood santos figure

18th century Appears unmarked A polychrome carved and painted wood figure with a cloak and possibly holding a small scroll [possibly St. Paul] 28.5” H x 10” W x 10” D $400-600

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2061

Three carved wood santos figures

18th/19th century Each appears unmarked Three polychrome carved and painted wooden santos figures in various poses, including a travelling figure with a dog, confronting a protective angel proclaiming: Eres en Peste / Patrono Vous [likely warning he has sickness or plague], all on a pedestal, as well as an articulated mounted armed Conquistador-style figure trampling a similar articulated figure underfoot, and a second articulated mounted Conquistador-style figure with drawn sword, with a painted “A” to horse’s flank, 3 pieces Largest: 22” H x 8” W x 16.75” D; Smallest: 18.5” H x 7” W x 15” D approximately $500-700 Provenance: Private Collection, Southern California

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2062

Three carved wood santos figures

18th/19th century Each appears unmarked Three polychrome carved and painted wooden santos figures in various poses, including a seated moveable figure with glass eyes, a partial torso of a bearded figure with glass eyes, and a tall robed figure, 3 pieces Largest: 32.5” H x 11” W x 9” D; Smallest: 10.5” H x 6.75” W x 10” D approximately $400-600 Provenance: Private Collection, Southern California

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2063

An embellished “Traje de Luces” matador set

Early/mid-20th century The “suit of light” chaquetilla jacket and pants in brown and black fabric embroidered with sequins and reflective metal thread, with bullion fringe and beaded embellishments, 2 pieces Jacket: 16.75” H (center back); 17” W (inner shoulders); sleeves: 23” L approximately; trousers: 14” W (waist); 33” H (side leg); inseam: 18” H $500-800 Notes: With inked inscription to front lining: “Para mi amigo / José Yarato [?] / Amerille [?] / (Castilnova) [?] / Tomás Richardo / “El Pichi” “

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2064

A Spanish Colonial silver charger

Late 18th century The silver charger with scalloped edge and deeply recessed plateau 2.5” H x 14.75” Dia. 34.7 oz. troy approximately $1,500-2,000

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2065

A Spanish Colonial silver charger

Late 18th century Variously stamped and incised, possibly monogramed for previous owner 14.5” Dia. 33.4 oz. troy approximately $1,500-2,000

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2066

A Spanish Colonial silver mug

19th century or earlier; South American Possibly monogrammed to two sides: B The sixteen-sided mug with cast scrolled handle, applied and chased rim and base trim, and incised floral motifs 5.125” H x 5.875” W x 4.125” Dia. 16 oz. troy approximately $400-600

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2067

A Latin American silver yerba mate tea vessel

19th Century Appears unmarked The silver tea set with chased and repoussé sylvan designs, scrolled acanthus, and mask motifs to cup and footed tazza raised on hoof feet, the stem decorated with griffins and foxes, the cup with applied squirrels and a conformingly designed straw/spoon, 2 pieces Stand: 10” H x 9” Dia.; straw: 8” L 33.9 oz. troy approximately $600-800

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2068

Six South American silver yerba mate straws

Early 20th century Each appears unmarked The hollow-bodied spoons with perforated ends with chased and applied foliate motifs, 6 pieces Each: 7.5” L 3.1 oz. troy approximately $200-400

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2069

A group of straw appliqué devotional crosses Four works:

A Paula Rodriguez straw applique cross, circa 1999 Signed and dated in pencil verso; further marked: Santa Fe, New Mexico In black painted wood with straw images of various saints 18” H x 12” W x 0.5” D A Mel Rivera straw applique cross, circa 1995 Signed and dated in pencil verso; further marked: Santa Fe, New Mexico In red painted wood with straw images of the Nativity, as well as of hummingbirds and flowers 18” H x 13” W x 0.75” D A Charlie Sanchez Jr. straw applique “Tree of Life” cross, circa 1997 Signed, titled, and dated in ink verso; further marked: Tomé, New Mexico In polychrome carved and painted wood with straw applique floral motifs 18.125” H x 13.25” W A Miranda Lopez straw applique cross, late 20th century Signed in ink verso In painted black wood with straw applique star motifs 10” H x 5.5” W x 0.75” D 4 pieces $800-1,200 Provenance: The Estate of Eleanor Koffler

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2070

A group of contemporary retablos Five works:

Nicholas Herrera (b. 1964, New Mexico) “La Divina Potera,” 20th/21st century, New Mexico Signed and titled recto: La Divina Potera / Nicholas H; further signed and inscribed verso With figure in red holding sheep, with cactus garland and black bird 10.5” H x 5.875” W Nicholas Herrera (b. 1964, New Mexico) Untitled, 20th/21st century, New Mexico Signed verso: Nicholas Herrera; further inscribed verso With kneeling figure in black with large mustache and bow, arrows and cross 13” H x 11.25” W Gustavo Victor Goler (b. 20th century, New Mexico) “Santo Nino de Atocha,” 1997 Polychrome retablo on carved panel Signed, titled, and dated verso: Talpa / ‘97 12.375” H x 9” W Diego Lopez (b. 20th century) “San Francisco,” 1996 Polychrome retablo on carved panel Signed, titled, and dated verso: Diego Lopez / San Francisco / ‘96 19” H x 8.625” W Cruz Lopez (b. 20th century) “Pieta,” 2000 Polychrome retablo on carved panel Signed, titled, and dated verso: Cruz Lopez / Pieta / 2000 16.625” H x 8.375” W 5 pieces $600-800 Provenance: The Estate of Eleanor Koffler

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2071

A California mission silver censer

Late 18th/19th century Inscribed: La Pusima [sic] Consepsion; further stamped with hallmark: M; further stamped with indecipherable hallmarks The footed censer with molded and chased floral and foliate motifs featuring and openwork top of scrolled acanthus motif 8.325” H x 4.325” Dia. 19 oz. troy approximately $5,000-7,000

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2072

Felipe Castañeda

(b. 1933) Seated woman, 1994 Patinated bronze Edition: 1/7 Signed, numbered, and dated to top of base: F. Castañeda I/VII; further marked to base verso: Fundicion / Carlos Rojas A / Mexico 95 25” H x 17.5” W x 16” D $5,000-7,000

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2073

Luis Ortiz Monasterio

(1906-1990) “Mujer con Nino y Alcatraces,” 1950 Patinated bronze on wood base Edition: 4/5 Signed, dated, and numbered to the base: Monasterio / 50 13.375” H x 4.75” W x 3” D; with base: 15” H x 4.75” W x 4.25” D $3,000-5,000 Provenance: Antonio Carrillo Flores, Mexico City, Mexico Sold: Sotheby’s, New York, NY, “Latin American Art,” November 25, 1997, Lot 198 Notes: This lot is accompanied by a receipt of sale from Sotheby’s dated November 25, 1997 as well as a photograph and large format negative.

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2074

Milford Zornes

(1908-2008) “Cathedral de Mexico,” 1956 Watercolor on thick paper Signed and dated lower right: Milford Zornes; inscribed indistinctly in ink, verso; titled on the frame’s cardboard backing, possibly in another hand Image/Sheet: 22.125” H x 31” W $400-600

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2075

Carlos Merida

(1891-1984) Untitled, 1971 Acrylic on Amate paper Signed and dated lower left: Carlos Merida Sheet: 23.125” H x 15.5” W $4,000-6,000 Notes: This lot is accompanied by a certificate of authenticity signed by Alma Merida.

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2076

Pedro Friedeberg

(b. 1936) Untitled Polychrome-painted and hand-carved wood Signed faintly in one of the black and white circles in the horizontal center section, at left: Pedro Friedeberg 19.25” H x 19.25” W $6,000-8,000

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2077

Rufino Tamayo

(1899-1991) “Estela,” 1977 Mixografia in colors on paper Edition: 82/100 Signed and numbered in white pencil in the lower corners: R Tamayo; Taller de Gráfica Popular, Mexico City, prntr. Image/Sheet: 29.25” H x 22.5” W $2,500-3,500 Literature: Pereda 239

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2078

Rufino Tamayo

(1899-1991) “Sandia #1,” / “Pastque #1,” / “Watermelon #1,” 1969 Lithograph in colors on paper Edition: H.C Signed and numbered in the upper margin; Desjobert, Paris, prntr.; Touchstone, New York, pub. Image: 20.5” H x 27.5” W; Sheet: 22.5” H x 29.875” W $2,000-4,000 Provenance: Touchstone, New York, NY, publishers Bernard Sternthal, Los Angeles, CA Current owner, Los Angeles, CA Literature: Pereda 118

Notes: This print was purchased from Bernard Sternthal, who was an art dealer in Los Angeles, CA. Sternthal said he purchased the work directly from the publishers, who explained that the signature was upside down as an error. As the print is labeled H.C. it was a publishers print and Tamayo may have been given the work upside down, hence the signature being upside down on the print. As this print was not from the edition of 250, the upside down signature is unique to this work from the publishers. w w w. j o h n m o r a n . c o m 1 0 9

2079

Rufino Tamayo

(1899-1991) “Pasteque #2” from the “Mujeres” series, 1969 Lithograph in colors on wove paper Edition: 59/150 Signed and numbered in pencil in the lower margin: R. Tamayo; Atelier Desjobert, Paris, prntr.; Touchstone Publishers, New York, pub. Image: 27.375” H x 20.875” W; Sight 28.5” H x 22” W $1,500-2,500 Literature: Pereda 119 Notes: Pereda indicates that the alternate titles for this work are “Sandia #2” and “Watermelon #2.”

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2080

A Mexican abalone inlaid toucan pitcher

Mid-20th century Stamped to underside: Hecho en Mexico The silver-toned metal pitcher inlaid with abalone and wood with a hinged lid and carved wood handle 12” H x 10.625” W x 5” D $300-500

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2081

A Los Castillo silver-plated toucan pitcher

Circa 1939-1962; Taxco, Mexico Stamped: Los Castillo Taxco / Plateado / Hecho En Mexico / TA-01 / 315 The toucan form pitcher featuring inlaid greenstone accents to eyes and handle 12” H x 11.25” W x 4.5” D $500-700 Provenance: Neiman Marcus Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson, acquired from the above circa 1985 Notes: This lot is accompanied by a receipt for unsuccessful attempted repair on the left eye from Neiman Marcus, dated June 12, 2004.

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2082

A group of Los Castillo silver-plated table items

Mid-late 20th century; Taxco, Mexico One stamped: 8 / Hecho A Mano / Los Castillo Taxco / Plateado / 151; one marked: Plateado / Emilia Castillo / Mexico M.B. / TO-85; one marked: [indecipherable] / Los Castillo / 5 / TA-01 Comprising a silver-plated creamer (6” H x 2.75” Dia.) and lidded sugar (5” H x 3.125” Dia.), each with mounted hummingbird of mosaic shell, and a lidded creamer (3.625” H x 3.875” W x 3” D) with applied bee figure, leaf-form ornament, and handle inlaid with green hardstone, 3 pieces $400-600 Provenance: Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson

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2083

Roberto Montenegro

(1885-1968) “Dialogue Between Ghosts” Oil on canvas Signed faintly lower left: Montenegro; titled on the stretcher 27” H x 31” W $8,000-12,000

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2084

Jose Maria de Servin

(1917-1983) Untitled, abstract, 1968 Oil on canvas Signed and dated along the lower edge, at center: Jose Maria de Servin 39” H x 31” W $1,000-1,500

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2086

Fermin Gonzalez Rios

(b. 20th century) La Historia Del Arbol del Viento Kieri [Story of the Wind Tree/Kieri], circa 2000 Yarn on plywood Signed, titled, and with inscription in ink verso A Huichol yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, adhered to plywood 32” H x 48” W x 1” D $800-1,200

2085

Fermin Gonzalez Rios

(b. 20th century) Praying to the Spirits, circa 2000 Yarn on plywood Signed in ink verso A Huichol yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, adhered to plywood 48” H x 48” W x 1.25” D $800-1,200

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2087

A group of Matl Mexican silver jewelry

Matilde Poulat (c. 1900-d. 1960) Circa 1934-1950; Mexico City, Mexico Each marked in etched script: Matl / Mexico / 925; brooch further marked: [Eagle 129] Two works designed by Matilde Poulat for Matl comprising a sterling silver brooch with filigree overlay, openwork scrolls set with coral, turquoise, and amethyst, and with three dangles (2” H x 1.5” W) as well as a sterling silver oval ring with cluster set coral and central amethyst cabochon (ring size: 5.5), 2 pieces 20.7 grams gross $400-600

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2088

A pair of Matl silver earrings

Matilde Poulat (c. 1900-d. 1960) Circa 1934-1948; Mexico City, Mexico Each marked: Matl / Hecho en Mexico / 925 Designed by Matilde Poulat, comprising a pair of sterling silver screw back bird motif earrings with set turquoise and coral Each: 1.25” H x 1.5” W 18.3 grams gross $400-600

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2089

A William Spratling Mexican silver bracelet

William Spratling (1900-1967) Circa 1933-1939, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Taxco / 980 A coiled link bracelet 7.5” L x 0.75” H 64.9 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2090

A pair of William Spratling Mexican silver bracelets

William Spratling (1900-1967) Circa 1933-1939, First Design Period; Taxco, Mexico Each stamped for William Spratling; further stamped: Taxco / 980 Comprising two chunky sterling silver link bracelets with stylized cross and circle links 2 pieces Larger: 7.375” L x 0.875” H; smaller: 7” L x 0.875” H 180.5 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 36, fig. 2-36. This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 43, fig. III-30.

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2091

Fermin Gonzalez Rios

(b. 20th century) The Blue Deer Kauyumari, circa 2015 Yarn on plywood Signed, titled, and with inscription in ink verso A Huichol yarn painting worked in polychrome yarn depicting a central eagle figure with multiple deer figures, with plants and various symbols, adhered to plywood 23.75” H x 23.625” W x 0.25” D $400-600

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2092

Guadalupe Gonzalez Rios

(1923-2003) Pilgrimage to Wiri-Kuta, late 20th/early 21st century Yarn on plywood Signed in ink verso A Huichol yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, on a green background and adhered to plywood 23.75” H x 23.625” W x 0.25” D $400-600

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2093

A Héctor Aguilar Mexican silver cuff bracelet

Héctor Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA / Taxco / 940 A chunky sterling silver cuff bracelet with braided overlay motif and rope edging 6.75” total inner C x 1.125” H, with a 1.25” gap 111.1 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2094

A Héctor Aguilar Mexican silver cuff bracelet

Héctor Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA / Taxco / 940 A sterling silver cuff with weave pattern and ball terminals 7.5” total inner C x 1.25” H, with a 1.125” gap 52.0 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2095

Christobal Gonzalez

(b. 20th century) The Wind Tree/Kieri, late 20th century Yarn on plywood Signed and with inscription in ink verso A Huichol yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, adhered to plywood 23.75” H x 23.625” W x 0.25” D $400-600

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2096

Pedro Friedeberg

(b. 1936) “El Infierno son los Otres” Giclee in colors on paper Edition: X/XII Signed and numbered in pencil, with the artist’s authentication ink stamp in the lower margin: Pedro Friedeberg; signed again, titled, dated, and inscribed, all printed in the image near the lower edge, at left Sight: 28” H x 27” W $700-900 Provenance: Bernardini Art Gallery, San Pedro Garza Garcia, Mexico

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2097

A Héctor Aguilar sterling silver chess set

Héctor Aguilar (1905-1986) Circa 1948-1962; Taxco, Mexico Each king stamped for Héctor Aguilar; further marked: .940 / Taxco Mexico; further marked: [Eagle 9] The silver and vermeil silver chess set, 32 pieces Each king: 4.875” H; each pawn: 2” H 78.6 gross oz. troy approximately $4,000-6,000

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2098

A Hilario Alejos Madrigal pottery biznaga pot

Late 20th century; Michoacán, Mexico Appears unsigned The green glazed ceramic pot of barrel cactus form raised by three feet and surmounted by a cactus finial lid centered by flowers 22” H x 16.75” Dia. $400-600

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2099

Jose Enrique Guerrero

(1905-1986) “The Cathedral of Medellin, Colombia” Oil on board Signed lower right: Jose Enrique Guerrero; titled in pencil, verso 15” H x 18” W $500-700

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2100

A William Spratling “Disco” sterling silver water pitcher

William Spratling (1900-1967) Circa 1962-1964, Third Design Period; Taxco, Mexico Stamped for William Spratling and sterling; Further stamped: [Eagle 30] The water pitcher with circle dots motif to rim 7.5” H x 9” W x 5.5” D 25.4 oz. troy approximately $1,000-1,500

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2101

Four William Spratling “Disco” sterling silver goblets

William Spratling (1900-1967) Circa 1966-1967, Third Design Period; Taxco, Mexico Stamped for William Spratling and sterling; two further stamped: [Eagle 63] Each goblet a slight variation on the Second Design Period julep cups with parallel horizontal lines and three applied circles Each: 3.5” H x 3.125” Dia. 21.5 oz. troy approximately $800-1,200

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2102

A William Spratling sterling silver serving tray William Spratling (1900-1967) Circa 1940-1945, First Design Period; Taxco, Mexico Stamped for William Spratling and for silver The plain hammered silver track with rolled rim 1.5” H x 17.5” W x 14.75” D 63.7 oz. troy approximately $1,000-1,500

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2103

A William Spratling sterling silver salad serving set

William Spratling (1900-1967) Circa 1944-1946, First Design Period; Taxco, Mexico One marked for Spratling and: Taxco / 925; other marked: Spratling Silver The assembled set comprising a serving spoon (9.5”) and a serving fork (9.625”), each with feathered motif to handles, 2 pieces 7.5 oz. troy approximately $400-600

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2104

Sair Garcia

(b. 1975) Untitled from the series “Sleeping,” 2009 Oil on canvas Signed, dated, and inscribed verso: Sair Garcia 29” H x 40.5” W $3,000-5,000

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2105

Two William Spratling silver and gold flatware utensils

William Spratling (1900-1967) Circa 1965-1967, Third Design Period; Taxco, Mexico Each stamped for William Spratling; further stamped: [Eagle 63] Comprising a fork and spoon, each with applied pattern of gold diamonds and dots to front and back, 2 pieces Each: 7.25” L 4.4 oz. troy approximately $400-600

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2106

Three William Spratling “Disco” sterling silver flatware utensils

William Spratling (1900-1967) Circa 1965-1967, Third Design Period; Taxco, Mexico Each stamped for William Spratling and sterling with WS script marks; further stamped: [Eagle 63] Comprising a large spoon (7.25”) and a conformingly designed child’s set of fork and spoon (each: 5.75”), 3 pieces 4.9 oz. troy approximately $400-600

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2107

Two William Spratling “Disco” sterling silver spoons

William Spratling (1900-1967) Circa 1962-1965, Third Design Period; Taxco, Mexico Each stamped for William Spratling and sterling; further stamped: [Eagle 30] One spoon with silver applied discs, one with gold applied discs, 2 pieces Each: 7.325” L 4.7 oz. troy approximately $300-500 Notes: The Gold Disco spoon was the most expensive flatware pattern available from Spratling and available only by special order.

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2108

Victor Salmones

(1937-1989) Leaning figure Patinated bronze on acrylic base Illegible edition number Signed in the casting: V. Salmones 10.875” H x 9.5” W x 7.75” D $400-600

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2109

Victor Salmones

(1937-1989) Man balancing on a ball Patinated bronze on stone base Signed and impressed in the casting: C:47 / V. Salmones / 7:10 11.5” H x 12.5” W x 6” D $400-600

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2110

A William Spratling “River of Life” silver cuff bracelet

William Spratling (1900-1967) Circa 1944-1946, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Made in Mexico / Silver Designed as incised silver waves with applied narrow Aztec rings 6.625” total inner C x 1.375” H. with a 1.125” gap 87.2 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2111

A William Spratling “River of Life” silver cuff bracelet

William Spratling (1900-1967) Circa 1940-1944, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Made in Mexico / Spratling Silver Designed as incised silver waves with roped Aztec rings 7.25” total inner C x 2” H, with a 1.25” gap 153.6 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2112

A William Spratling sterling silver headband

William Spratling (1900-1967) Circa 1933-1938, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: 980 / Taxco Comprising a sterling repoussé headband with braid design 12.75” L x 1” W; with 5” opening 68.7 grams $500-700 Provenance: The Phyllis M. Goddard Collection

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2113

A William Spratling silver cuff bracelet

William Spratling (1900-1967) Circa 1940-1944; First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Silver A chased sterling “Cholula” design cuff with silver balls at terminal edges 6.75” total inner C x 1.125” H, including a 1” gap 79.0 grams $500-700 Provenance: The Phyllis M. Goddard Collection

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2114

Y A William Spratling 18k gold and ebony necklace

William Spratling (1900-1967) Circa 1951-1967, Third Design Period; Taxco, Mexico Stamped WS for William Spratling; further stamped: 18k Designed with narrow graduated ebony and 18k gold spines suspended from a strand of 18k gold beads 15.5” L x 3.5” H 23.0 grams gross $4,000-6,000 Literature: A similar design illustrated: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973) 178, plate 108. This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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2115

Victor Salmones

(1937-1989) Cheering crowd plaque Patinated bronze Edition: 4/11 Signed in the casting: Victor Salmones 8.25” H x 8.625” W x 2” D $200-300

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2116

Eduardo Vega

(b. 1938) Charger and vase Ceramic Each with incised signature to front: E. Vega; each signed again to underside Charger: 17.75” Dia. x 2.25” D; Vase: 22.125” H x 4” Dia. $600-800

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2117

Victor Salmones

(1937-1989) Male and female busts Patinated bronze on granite pedestal Edition 4/10 Signed and editioned in the casting: 1.08 / V. Salmones Each bust: 27.5” H x 7” W x 5.75” D approx.; pedestal: 38.25” H x 19” W x 9.625” D $1,500-2,500

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2118

Francisco Zúñiga

(1912-1998) Seated nude, 1964 Pencil and pastel on paper Signed and dated lower left: Zúñiga Sheet: 18” H x 24” W $2,500-3,500 Provenance: Catchpenny Gallery, Santa Monica, CA

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2119

Francisco Zúñiga

(1912-1998) “Juchitecas Platicondo,” 1985 Lithograph in colors on wove paper Edition: 15/150 Signed, dated, and numbered in pencil at the lower left: Zúñiga; American Ateliers, New York, prntr.; Brewster Editions, New York, pub. Image/Sheet: 22.5” H x 29.5” W $700-900

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2120

A Fred Davis silver and amethyst bracelet

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD for Fred Davis; further stamped: Made in Mexico / Silver Designed as a stylized wing link bracelet tipped with amethyst cabochons 7.25” L x 1.875” H 86.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2121

A group of Fred Davis Mexican silver and amethyst jewelry

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD for Fred Davis; further variously stamped: Fred Davis / Sterling / Mexico / Silver / Made in Mexico Four works comprising a necklace of alternating rectangular set cut amethyst and sterling silver panel links (15.5” L x 0.75” H) together with a matching sterling silver and amethyst link bracelet (8.375” L x 0.75” H), a wide rectangular silver and carved amethyst link bracelet (7.5” L x 1.125” H), and a pair of set amethyst screw back earrings (each: 0.875” H), 5 pieces 236.9 grams gross $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2122

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD; further variously stamped: Silver / Mexico / Made in Mexico / Sterling Four works comprising stylized silver brooches of various motifs with set amethysts including a rectangular Art Deco-style brooch (0.875” H x 1.5 W), a bow motif brooch (1.5” H x 3.125” W), a silver swirl brooch with large amethyst cabochon (1.5” H x 2.125” W), and a small angel pin (1.375” H x 1.125” W), 4 pieces 69.8 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2123

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Circa pre-1948; Mexico City, Mexico Each stamped: FD: further stamped: Silver / Made in Mexico A group comprising two stylized silver and carved amethyst floral sprig brooches (larger: 3” H x 4.25” W; smaller: 2.75” H x 3.75” W), as well as a vermeil silver floral sprig brooch set with a large amethyst cabochon (2.125” H x 3” W), 3 pieces 107.7 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2124

Sergio Bustamante

(b. 1949) Egg and toucans Painted ceramic Signed under a toucan 22.5” H x 16” W x 18” D $300-500 Provenance: Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico Private collection, acquired from the above March 17, 1988 Notes: This lot is accompanied by a purchase receipt from Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico, dated March 17, 1988. Additionally accompanied by a receipt of restoration from Sergio Bustamante Restorations, Los Angeles, CA, dated May 2, 1990.

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2126

Sergio Bustamante

(b. 1949) Two boys riding a fish Painted ceramic set on wood plinth Edition: 10/50 Signed and numbered to one side Figure: 32.75” H x 14.5” W x 31.5” D; plinth: 5” H x 17.625” W x 20.625” D $400-600

2125

Sergio Bustamante

(b. 1949) Snail no. 4 with toucans Painted ceramic Signed to side of shell 20” H x 23” W x 17” D $300-500 Provenance: Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico Private collection, acquired from the above March 17, 1988 Notes: This lot is accompanied by a purchase receipt from Galeria de Arte y Artesanias de Puerto Vallarta, Jalisco, Mexico, dated March 17, 1988.

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2127

Donald “Putt” Putnam (1926-2007) Senorita Acrylic on canvas Signed lower left: Putt 30” H x 24” W $500-700

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2128

Donald “Putt” Putnam

(1926-2007) Woman in bed Acrylic on illustration board Signed lower right: Putt 24” H x 36” W $500-700

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2129

A group of Fred Davis Mexican silver and amethyst jewelry

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD for Fred Davis; further stamped: Silver / Made in Mexico / Mexico Four works comprising a silver openwork cross-form link bracelet with central set amethyst cabochons (7.5” L x 1” H) together with a matching brooch (1.125” Dia.), as well as a silver double-row chain link bracelet with small set amethysts and a large cabochon amethyst decorative clasp (7.5” L x 1.125” H), and a chunky silver link bracelet with large carved set amethyst and dimpled silver ball links (7.5” L x 1.25” H), 4 pieces 205.0 grams gross $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 85, plate 64.

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2130

A group of Fred Davis Mexican silver bracelets

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD for Fred Davis: further stamped; Silver / Mexico / Eagle 22 Four works comprising a wide openwork hinged link bangle with a stylized deer motif (6.75” inner C x 1.75” H) as well as three silver link bracelets of various geometric motifs (Largest: 7.25” L x 1.125” H; Smallest: 7” L x 0.75” H), 4 pieces 210.3 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 27, fig. II-9.

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2131

A group of Fred Davis Mexican silver bracelets

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD for Fred Davis; further stamped: 925 / Silver / Made in Mexico / Mexico Six works comprising two sterling silver chevron link bracelets (each: 7.5” L x 1.125” H), three chunky sterling silver cable link bracelets (Largest: 8” L; Smallest: 7.5” L), and a sterling silver ID bracelet with double chain links (8.75” L x 0.625” H), 6 pieces 411.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern HandWrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 27, fig. II-9.

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2132

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD; further stamped: Silver / Made in Mexico / Sterling Comprising two stylized flower motif brooches set with carved amethyst flowers (Larger: 3” H x 3.5” W; smaller: 2.5” H x 3.25” W), and a stylized floral and foliate repoussé silver brooch (2.5” H x 3.5” W), 3 pieces 87.0 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2133

Tony Cacalano

(b. 1936) “The Couple,” 1994 Acrylic on canvas Signed lower right: Cacalano; signed again, titled, dated, and with the artist’s copyright ink stamp, all verso 16” H x 20” W $500-700

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2134

Alvar Sunol

(b. 1935) “Ensemble,” 1977 Lithograph in colors on paper Edition: 61/260 Signed and numbered in graphite at the lower corners of the image: Alvar; titled on a certificate of authenticity affixed to the frame’s backing board Image/Sheet: 21” H x 27.25” W $500-700 Notes: A certificate of authenticity is affixed to the frame’s backing board.

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2135

A William Spratling Mexican silver cuff bracelet

William Spratling (1900-1967) Circa 1940-1944, First Design Period; Taxco, Mexico Stamped for Wiliam Spratling; further stamped: Made in Mexico / Silver Comprising an incised silver crossover cuff bracelet with silver eyelet edges and scrolled wire terminals 6.5” total inner C x 2” H, with a 1.25” gap 112.4 grams $700-900 Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 36, fig. 2-38 and 59, fig. 2-172.

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2136

A William Spratling Mexican silver link bracelet

William Spratling (1900-1967) Circa 1939, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Taxco / 980 Comprising a sterling silver incised link and silver ball “Vindobonensis” style bracelet 7.25” L x 1” H 113.3 grams $400-600 Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 43, fig. III-30.

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2137

A group of William Spratling silver, copper and amethyst jewelry

William Spratling (1900-1967) Circa 1933-1938 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; further stamped: Made in Mexico / Silver / Taxco / 980 Three works including a four-wire cuff bracelet with silver and copper herringbone accents and stamped terminals (7.25” total inner C x 1.25” H, with a 1.5” gap), a silver and copper link bracelet (7” L x 1” H) and a silver ring with set amethyst and silver ball accents (ring size: 6), 3 pieces 174.2 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietz-Hodosh and Stuart Hodosh Literature: Bracelet designs illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 49, fig. 2-105; 2-108.

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2138

A group of William Spratling silver and amethyst jewelry

William Spratling (1900-1967) Circa 1933-1939, 1940-1946 and 1949-1956; First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; further variously stamped for: Taxco / 980 / Made in Mexico / Silver / Mexico Eight works comprising a silver chain necklace with silver balls and long squared links (28.25” L), a long chunky silver anchor chain link necklace (40.5” L), three silver rings, including a three ball “Vindobonensis” ring (size: 6), a ridged silver band ring (size: 7.25), and a silver “crowned pyramid” ring with rolled fringe edges (size: 6.5), as well as a chunky silver ring with a large set amethyst cabochon and copper accents (size: 8), and two silver brooches in figural and abstract motifs (Larger: 1.5” H; smaller: 1.25” H), 8 pieces 282.4 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One ring illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 42, fig. 2-69.

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2139

A group of William Spratling Mexican silver jewelry

William Spratling (1900-1967) Circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; further variously stamped: Made in Mexico / Silver Four works including a sculpted oval silver chain link bracelet (7.5” L x 1” H), a three-row silver brick link bracelet (7.5” L x 0.75” H), and an abstract silver “cushion” and ball link bracelet (7.25” L x 1” H) with a pair of matching screw back earrings (each: 1” H), 5 pieces 271.9 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh One bracelet design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 43, fig. III-30.

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2140

A set of William Spratling silver and amethyst jewelry

William Spratling (1900-1967) Circa 1944-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Spratling Silver Comprising a sterling silver and carved amethyst floral brooch and a pair of matching silver screw back earrings, 3 pieces Brooch: 2” H x 1” W; Each earring: 1.125” H 36.7 grams gross $300-500 Provenance: The Phyllis M. Goddard Collection Literature: Illustrated in Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 43, fig. 2-75.

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2141

Sergio Bustamante

(b. 1949) Hanging Monkey Sheet copper and brass Edition: 14/100 Signed and numbered in marker under the left armpit: Bustamante 57” H x 16.5” W x 16” D $1,000-2,000

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2142

Sergio Bustamante

(b. 1949) Hanging Monkey, circa 1980s Papier-mâché, paint, and metal chain Edition: 26/100 Signed and numbered to the right side torso: Sergio Bustamante 51” H x 18” W x 25” D $600-800

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2143

Francisco Zúñiga

(1912-1998) “Cuban Woman on Chair,” 1964 Graphite on paper Signed upper right: Zúñiga; titled and dated on label affixed to the frame’s backing paper Image/Sheet: 38” H x 24” W $3,000-5,000

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2144

Francisco Zúñiga

(1912-1998) “Desnudo Reclinado,” 1973 Black chalk and pastel on paper Signed and dated lower right: Zúñiga; titled and dated on labels affixed to the frame’s backing board Sight: 18.25” H x 25.625” W $1,500-2,500 Provenance: Nedra Matteucci Galleries, Santa Fe, NM, June 2003 Exhibited: San Antonio, TX, “Private Treasures, Public View,” San Antonio Museum Association, 1985, n.n. Notes: This lot is accompanied by a certificate of authenticity signed by the artist. Old backing board pieces with gallery labels are housed in sleeves affixed to the frame’s backing board.

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2145

After Francisco Zúñiga

(1912-1998) Standing woman, 1975 Cold-painted bronze on marble plinth Signed and dated in the casting: Zúñiga / 1975 24.75” H x 7.5” W x 7.5” D $800-1,200

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2146

After Francisco Zúñiga

(1912-1998) “Mujer Desnuda Sentada,” 1975 Cold-painted bronze on marble plinth Edition: 4/7 Signed, numbered, and dated in the casting: Zúñiga / 75 / IV/VII 13.75” H x 14.25” W x 14.25” D $800-1,200

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2147

After Francisco Zúñiga

(1912-1998) Desnudo, 1974 Patinated bronze on marble plinth Signed and dated to verso: Zúñiga / 1974 10.75” H x 12” W x 12” D $800-1,200

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2148

After Francisco Zúñiga

(1912-1998) Mujer Sentada Patinated bronze on marble plinth Signed in the casting verso: Zúñiga 8.5” H x 10” W x 10” D $700-900

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2149

Carlos Merida

(1891/95 - 1984) “Los Musicos,” from the portfolio “Images de Guatemala,” 1927 Pochoir in colors on paper Signed and dated in pencil in the image: Carlos Merida; Ducros et Colas and Daniel Jacoment Workshops, prntr.; Quatre Chemins, Paris, pub. Sheet: 8.625” H x 12.25” W $400-600 Provenance: Private Collection, Berkeley, CA

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2150

An Antonio Pineda Mexican sterling silver and amethyst bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Hecho en Mexico / Silver / 970 / ZZ750 An architectural hinged bangle bracelet with cabochon amethyst closure 6” inner C x 1.25” H 82.5 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: A similar design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 139, plate 167.

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2151

An Antonio Pineda Mexican silver bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Eagle 17; further stamped: Hecho en Mexico / 970 / Silver / ZZ578 A sterling silver link bracelet comprised of curved, flared architectural links 6.5” L x 1” H 71.9 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2152

An Antonio Pineda Mexican silver bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; further stamped: JVL Taxco / 970 / [Eagle 208] Comprising a chunky sterling silver hinged link bracelet with alternating thumbnail motif links 7” L x 0.975” H 126.9 grams $500-700 Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 125, plate 146B.

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2153

An Antonio Pineda Mexican silver and aquamarine bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; further stamped: 970 / Taxco / JVL Taxco / Sterling / [indistinct eagle] Comprising a link bracelet, with each square link featuring a set faceted aquamarine to one corner 6.75” L x 0.75” H 112.8 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2154

An Antonio Pineda silver and amethyst bracelet

Antonio Pineda (1919-2009) Circa 1948-1953; Taxco, Mexico Stamped: Silver by Tono / Taxco A silver bracelet with teardrop and silver ball links set with amethysts 8” L x 1.25” H 97.6 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2155

An Antonio Pineda Mexican silver bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Eagle 17; further stamped: Hecho en Mexico / 970 Comprising a narrow hinged link sterling silver bracelet with alternating ridged links 6.0” L x 0.375” W 50.0 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2156

Two Mexican Mata Ortiz pottery vessels Two works:

Héctor Ortega (b. 20th century) A blackware “melon” jar, late 20th/early 21st century Signed to underside: Héctor Ortega The jar with burnished black slip glaze with a tapering spiral form 10.125” H x 10.25” Dia. Reuben Lucero (b. 20th century) A blackware pot, late 20th/early 21st century Signed to underside: R Lucero The globular pot with a polished finish 11.5” H x 12.125” Dia. 2 pieces $300-500 Provenance: Private Collection, Southern California

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2157

Two Mexican Mata Ortiz blackware pottery vessels Two works:

Mariano Quezada (b. 20th century) A carved low bowl, late 20th/early 21st century Incised to underside: Mariano Quezada The bowl with allover concentric incised geometric designs 5” H x 14.75” Dia. Cesar Buyarini (b. 20th century) A large pottery olla, late 20th/early 21st century Incised to underside: Cesar Buyarini The globular olla with avian, reptilian, and banded geometric motifs 11.325” H x 12” Dia. 2 pieces $300-500 Provenance: Private Collection, Southern California

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2158

Emmanuel Maldonado (b. 1952; Nicaragua)

An openwork pottery vessel, late 20th/early 21st century Incised to underside: San Juan de Oriente Nicaragua / Emmanuel Maldonado The pot with alternating “woven” red, black, and cream geometric designs 7” H x 10” Dia. $200-400 Provenance: Private Collection, Southern California

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2159

Naty Ortiz and Cesar Nuñez (b. 20th century; Mata Ortiz, Mexico)

A polychrome pottery jar, early 21st century Signed to underside: Naty D. Ortiz / Cesar D. Nuñez The jar with all-over painted geometric motif and banded feather motif rim on black ground 9” H x 6.75” Dia. $200-300

2160

A Casa Grande turtle jar

Late 19th century Appears unmarked The pot with high relief turtle head and opposed tail with four protrusions for legs, decorated in three-color kiva step and geometric motifs 5.5” H x 9” W x 6.5” D $200-400 Provenance: Private Collection, Southern California

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2161

Paul Anton Schmitt (1893-1983) Three works:

Mother and daughter weaving Woodcut in colors with hand coloring on paper Signed in pencil lower right: Paul A. Schmitt Image/Sheet: 10.5” H x 8.75” W Street-view of a church, 1934 Woodcut in colors with hand coloring on paper Signed and dated in ink in the lower margin, at right: Paul A. Schmitt Image: 8.875” H x 12.5” W; Sheet: 10” H x 13” W “In Old Mexico” Woodcut in colors with hand coloring on paper Signed and dated in ink on the back mat, at right: Paul A. Schmitt Image/Sheet: 9.5” H x 12.75” W $500-700 Provenance: The Artist Albert Bender, acquired from the above Alma Lavenson, circa 1935, acquired from the above Private Collection, by descent from the above

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2162

A group of Antonio Pineda Mexican silver jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Eagle 17; further stamped: Silver / Hecho en Mexico / 970 Two works comprising a sterling silver necklace with rectangular concave links (17” L x 0.625” H) and a chunky sterling silver bracelet with square deeply concave links (7.25” L x 0.875” H), 2 pieces 248.0 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 127, plate 149.

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2163

An Antonio Pineda Mexican silver necklace

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; further stamped: Made in Mexico / Silver / [Partial] YY44_[D?] A collar necklace comprising of graduating raised edge wave links 14” L x 1.25” H 144.1 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2164

An Antonio Pineda Mexican silver necklace

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 121; further stamped: Taxco / Mexico / 970 / CM A collar necklace comprised of graduating tapered and ridged chevron links 15.25” L x 1.375” H 166.1 grams $1,000-1,500

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2165

A group of Antonio Pineda Mexican silver and onyx jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Eagle 17; further variously stamped: Hecho en Mexico / Silver / 970 / Sterling / Mexico / [Design number] Three works comprising a sterling silver collar necklace of curved wave links set with round onyx (YY439; 15” L x 0.75” H), together with a matching chunky bracelet of larger wave links (ZZ515; 7.25” L x 1.5” H), and a pair of matching earclips (each: 1.25” H), 4 pieces 265.3 grams gross $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2168

A group of Anto

2166

An Antonio Pineda silver and onyx link bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: [Eagle 17] / Hecho en Mexico / 970 A sterling silver bracelet with abstract stylized horseshoe links set with round onyx stones 6.5” L x 0.75” H 69.8 grams gross

Antonio Pineda (19 Circa 1953 or later; Each with crown ma Hecho en Mexico / Three works compr sterling silver conca with a toggle clasp 275.9 grams gross $1,200-1,800

Provenance: The C

$600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2167

A group of Antonio Pineda Mexican silver and onyx jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Eagle 3; Eagle 17; further variously stamped: Taxco / Mexico / JCG / Hecho en Mexico / 970; one earring stamped: Mota Tasco Three works comprising a sterling silver and curved set onyx link bracelet (7.25” L x 0.875” H) as well as a sterling silver and horse-bit motif link bracelet with set round onyx (7.375” L x 0.75” H) and a pair of matching earclips (each: 0.875” H), 4 pieces 156.2 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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onio Pineda Mexico silver and set stone bracelets

919-2009) ; Taxco, Mexico ark for Antonio Pineda; further variously stamped: [Eagle 17; indistinct Eagle]; 970 / / Silver / Design number rising a sterling silver and set curved onyx link bracelet (No. ZZ767; 7” L x 0.875” H), a ave ridged link hinged bracelet (7” L x 0.75” H), and a chunky oval chain link bracelet p set with tiger’s eye cabochons (9” L x 1” H), 3 pieces

Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2169

Attributed to Carlos Vargas

(b. 20th century) Spanish mission-style church with distant city, 1998 Oil on canvas Signed and dated along the lower right edge: Carlos 48” H x 60” W $800-1,200

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2170

Armando Morales

(1927-2011) “Despedida,” 1980 Lithograph in colors on paper, watermark Arches Edition: 74/75 Signed, dated, and numbered in pencil at the lower edge: Morales; titled on a gallery label affixed to the frame’s backing board Image/Sheet: 22.5” H x 30” W $800-1,200 Provenance: Latin American Masters, Beverly Hills, CA

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2172

Victor Salmones

(1937-1989) Male and female hanging torsos Patinated bronze Each signed: Salmones; female marked: T-17-V; male marked: T-16-V Male: 31” H x 17” W x 5.325” D; female: 30” H x 15.5” W x 6.25” D $2,000-4,000

2171

A Mexican silver and amethyst brooch

Mid-20th century Stamped: Mexico / Silver A repoussé backed silver portrait brooch with incised details and set amethyst and coral accents 3.875” H x 2.75” W 42.8 grams gross $400-600

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2173

2174

(b. 1956) “Silla y Mesa de Servicio,” 2008 Tempera on L-shaped board Signed, titled, and dated at the lower edge: Marianela; titled and dated again on two exhibition labels affixed to the frame’s backing board 4.25” H x 4.5” W

(1938-2007) “Plowing in Mexico,” 1965 Oil on Masonite Signed lower right: McGrath 15” H x 30” W

Marianela De la Hoz

$600-800 Exhibited: Santa Monica, CA, Lora Schlesinger Fine Art, “Winter Group Show,” 2009-2010 San Diego, CA, Noel-Baza Fine Art, “New Paintings and Assemblage by Marianela de la Hoz,” 2010 Notes: This lot is sold together by a certificate of authenticity signed and dated May 14, 2010.

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W. Clarence McGrath

$800-1,200

Provenance: Desert Southwest Art Gallery, Palm Desert, CA, The Gerald and Georgia Brommer Collection, Studio City, CA Sold: John Moran Auctioneers, Monrovia, CA, “California & A 2017, Lot 42

1965 A American Fine Art,” March 21,

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2175

Victor Salmones

(1937-1989) Man swinging a little girl Patinated bronze on stone base Edition: 5/10 Signed and numbered in the casting: N 21 / V. Salmones / 5/10 16.5” H x 17.5” W x 18” D $400-600

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2176

Victor Salmones

(1937-1989) Seated figure giving thumbs-up Patinated bronze on stone base Signed in the casting: Salmonez [sic] 13” H x 13.5” W x 11” D $400-600

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2177

A group of Antonio Pineda Mexican silver and amethyst jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda / Eagle 17; further variously stamped: Hecho en Mexico / Silver / 970 / Sterling / Made in Mexico / [Design number] Three works comprising a sterling silver bow brooch suspending trumpet-style silver drops tipped with amethyst (No. PR527; 4.25” H x 2.375” W), a stylized bird brooch with clear set stone eye (2.5” H x 2.5” W), as well as an amethyst bar-set sterling silver ring (ring size: 4.75), 3 pieces 101.0 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2178

Two Antonio Pineda Mexican silver bracelets

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Eagle 17; each variously stamped: Hecho en Mexico / 970 / [Design number] Comprising a sterling silver stylized curved link bracelet (No. ZZ616; 7” L x 0.75” H) and a sterling silver domed cuff bracelet (No. ZZ803; 6.25” total inner C x 0.875” H, with a 0.875” gap), 2 pieces 175.6 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2179

A group of Mexican silver and amethyst jewelry

Circa late 20th century Two stamped: RTA / Hecho en Mexico / Mexico / DF / Silver; further variously stamped: 925 / 970 / [design number]; earrings stamped: RA / Sterling / 925 / Mexico Comprising a sterling silver necklace with narrow matchstick links tipped with cut amethyst (No.35C; 17” L x 1.625” H), together with a similar matchstick design hinged link bracelet with amethyst tips (No. 48 PY; 7” L x 1.625” H), and pair of silver and amethyst earrings (Each: 1.375” H), 4 pieces 371.7 grams gross $800-1,200

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2180

After Francisco Zúñiga

(1912-1998) Seated woman, 1987 Patinated bronze on marble plinth Signed and dated in the casting verso: Zúñiga / 1987 12.5” H x 14” W x 14” D $800-1,200

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2181

Jorge Luis Cuevas

(b. 1922) Seated woman, 1987 Patinated bronze on marble plinth Edition: 7/9 Signed, numbered, and dated: Cuevas / T/VII/IX 15.25” H x 9.75” W x 9.75” D $700-900 Notes: Jorge Luis Cuevas was a studio assistant to Francisco Zúñiga.

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2182

Leonardo Nierman

(1932-2023) Abstract bridge, 1960 Oil on canvas Signed and dated lower right: Nierman 9.75” H x 11.75” W $600-800 Provenance: Margo Leavin Gallery, West Hollywood, CA

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2183

Oscar Danilo Vargas

(b. 1966) “En casa [indistinct],” 2006 Oil and charcoal on waxed canvas Signed, titled, and dated, verso: Vargas 55.5” H x 37.5” W $1,000-2,000

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2184

Pablo O’Higgins (1904-1983) Two works:

“Labriego,” 1950 Lithograph on paper Edition: 4/18 Signed, dated, and numbered in graphite in the lower margin: Pablo O’Higgins; titled on a gallery label affixed to the verso of the overmat; Taller de Grafica Popular, Mexico City, Mexico, pub. Image: 21.375” H x 12.625” W; Sheet: 25.625” H x 19” W “El Viejo,” circa 1952 Lithograph on paper Edition: 12/60 Signed, numbered, and inscribed in graphite in the lower margin: For / Miriam and Victor / con un Fuerte abrazo / de Pablo y Maria; titled on a gallery label affixed to the verso of the overmat; Taller de Grafica Popular, Mexico City, Mexico, pub. Image: 17.5” H x 13.375” W; Sheet: 21.625” H x 17.75” W $600-800 Provenance: Davidson Galleries, Seattle, WA

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2185

Pablo O’Higgins (1904-1983) Two works:

“Brick Layer, Valley of Mexico,” 1946 Lithograph on paper From the edition of 200 Signed, dated, and inscribed in graphite in the lower margin: Pablo O’Higgins / For Ruby / a salvo de / Mexico, Pablo; titled on a gallery label affixed to the back mat; Taller de Grafica Popular, Mexico City, Mexico, and Associated American Artist’s, New York, NY, pub. Image: 14” H x 11.125” W; Sheet: 17.5” H x 15.125” W “Electrizion,” 1953 Lithograph on paper Edition: 33/50 Signed, dated, and numbered in graphite in the lower margin: Pablo O’Higgins; titled on a gallery label affixed from the verso of the overmat; Taller de Grafica Popular, Mexico City, Mexico, pub. Image: 17.75” H x 13” W; Sheet: 26.125” H x 19.875” W $600-800

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2186

Sergio Bustamante

(b. 1949) Partridge on a swing Copper and mixed metals Edition: 11/100 Signed and numbered to shoulder feather 2 pieces 37” H x 19” W x 13” D $400-600

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2187

Pedro Friedeberg

(b. 1936) “Teoremas de Spinoza” Giclee in colors on paper Edition: 15/50 Signed and numbered in blue pencil and with the artist’s authentication ink stamp in the lower margin: Pedro Friedeberg Sight: 30.75” H x 22.75” W $700-900 Provenance: Bernardini Art Gallery, San Pedro Garza Garcia, Mexico

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2188

Pedro Friedeberg

(b. 1936) “Traductor de Laberintos” Screenprint in colors on paper Edition: XV/L Signed and numbered in pencil with the artist’s authentication ink stamp in the lower margin: Pedro Friedeberg Sight: 24” H x 24” W $700-900 Provenance: Bernardini Art Gallery, San Pedro Garza Garcia, Mexico

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2189

A set of Margot de Taxco Mexican silver jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / 5195 Comprising a sterling silver necklace with hammered silver detail, and a matching openwork sterling silver cuff bracelet, 2 pieces Necklace: 16” L x 1.25” H; cuff: 6.625” total inner C x 1.875” H, with a 0.875” gap 118.7 grams $600-800

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2190

A set of Margot de Taxco AM/PM jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / Eagle 16 / [Design number] Comprising a sterling silver Roman numeral link necklace (15.5” L x 0.75” H) and a sterling silver AM/PM link bracelet with hourglass charm (7.25” L x 2.25” H), 2 pieces 127.2 grams $800-1,200

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2191

A group of Margo de Taxco silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Four works designed by Margot Van Voorhies comprising a sterling silver and brown, white, and black enamel “Shadow Box” square link necklace (No. 5461; 14.75” L x 0.625” H), together with a matching bracelet (6.5” L x 0.625” H) and a pair of matching earrings (each: 0.625” H), as well as a white and brown enamel “Flanges in Square” link necklace (No. 5633; 15.5” H x 0.625” H), 5 pieces 194.5 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: The square design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 136, pl. VII-5.

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2192

A group of Margot de Taxco “Serpent” sterling silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / Eagle 16 / 5554 Designed by Margot Van Voorhies, comprising a sterling silver and green enamel snake head bolo tie with snake motif tips (1.625” Dia., tie: 35” L), an articulated snake bracelet (6.25” inner C x 1.5” H), a pair of green enamel coiled snake motif earclips (each: 1.75” H x 1” W), and a flexible sterling silver and enamel link ring (ring size: 7.5), 5 pieces 116.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietz-Hodosh and Stuart Hodosh Literature: Bolo illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 139, pl. VIII-9.

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2193

A group of Margot de Taxco silver jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Five works designed by Margot Van Voorhies comprising a sterling silver hinged crossover cuff bracelet (No. 5410; 6.5” inner C x 1.25” H), two matching sterling silver foliate link necklaces (No. 5120; 14.5” L and 15.5” L), with one pair of matching screw back earrings (each: 1.5” H), and a pair of similar style silver earrings (No. 5291; each: 1.25” H), 7 pieces 203.1 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2194

A group of Margot de Taxco sterling silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Designed by Margot Van Voorhies, comprising a “Leaf and Scroll” silver and blue enamel link necklace (No. 5389; 17” L) and matching link bracelet (7” L), a “Folk Art Doves” bird silver and blue enamel link bracelet (No. 5868; 7.75” L) with matching pin (0.625” H x 1.75” W), a “Circle tied Bow” ribbon motif brooch in silver and blue mosaic enamel (No. 5689; 1.5” H x 2.375” W) with a matching pair of earclips (each: 1” H), and a pair of “Fanciful Pendants” silver and blue enamel earclips (No. 5701: each: 1.375” H), 9 pieces 204.2 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Three designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 13, pl. Ack-4; 16, pl. 2; 64, pl. II-1.

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2195

A group of Margot de Taxco Mexican silver bracelets

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Circa 1955-1978; Taxco, Mexico (enamel) Designed by Margot Van Voorhies Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Four works designed by Margot Van Voorhies, comprising a sterling silver repoussé “Shell” cuff bracelet with scrolled terminals (No. 5192; 6.875” total inner C x 1.175” H, with a 1” gap), as well as a smooth rounded tapered sterling silver hinged crossover bangle (No. 5491; 6.125” inner C x 1.375” H) and two further ornate incised silver hinged crossover bangles (Nos. 5635, and 5410; largest: 6.75” inner C x 4.0” H), 4 pieces 297.2 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Shell cuff illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 107, pl. VI-21.

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2197

2198

(1934-2017) “Gato Macho,” circa 1990 Etching on paper Edition: A printer’s proof aside from the edition of unknown size Signed and inscribed PP in pencil in the lower margin: Cuevas Plate: 9.5” H x 5.625” W; Sheet: 23.5” H x 16” W

(1934-2017) “Van Gogh’s Criminal Obsession,” from th Lithograph in colors on thin wove paper Edition: XIV/XXV Signed and dated in pencil near the lowe pencil near the lower edge, at center. Image/Sheet: 22” H x 30” W

Jose Luis Cuevas

$400-600

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Jose Luis Cuevas

$400-600

he portfolio “Crime by Cuevas,” 1968

er edge, at right: Cuevas; numbered in

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2200

Victor Gutierrez

(b. 1950) Seated woman, 1987 Patinated bronze Edition: 7/10 Signed, dated, and numbered in the casting: Victor Gutierrez / VII-X / 87 32” H x 27” W x 15.25” D $2,000-4,000

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2201

Francisco Zúñiga

(1912-1998) “El Canasto,” 1981 Lithograph in colors on paper Edition 43/135 Signed, dated, and numbered in pencil, lower left: Zúñiga; titled in ink on a gallery label affixed to the frame’s backing paper; Mourlot Atelier, Paris, France, prntr., with their blindstamp in the lower right corner; Brewster Editions, New York, NY, pub. Image/Sheet: 30” H x 22.5” W $700-900 Provenance: Harcourts Gallery, San Francisco, CA Literature: Brewster 62

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2202

Eduardo Talledos

(b. 1981) Table with birds, butterfly and moth, 2020 Pencil on wove paper, watermark Fabriano Signed and dated at the lower right: Talledos Sheet: 28” H x 19.75” W $300-500

2 3 2 L at i n A me r i c a n Ar t + D e sig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

2203

Manuel Lepe

(1936-1984) Children playing outside a church Mixed media on paper Signed lower right: Lepe Sight: 27.5” H x 21.5” W $300-500

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2204

Jose Mijares Fernandez

(1921-2004) Village near a river, 2000 Oil on canvas Signed and dated lower right: Mijares 23.5” H x 29.25” W $2,000-4,000

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2205

Humberto Peraza

(1925-2016) Thrashing bull Gilt-bronze on marble stand Signed in the casting: H Peraza; further marked to plaque: Escultor Peraza 11.25” H x 9” W x 5.125” D $600-800

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2206

2207

20th century; Oaxaca, Mexico Signed to underside: Florenciano Melcor HDZ / Oaxaca, Mexico The brightly painted carved wood lion figure with fibrous unbraided rope hair 17.5” H x 13.5” W x 17.5” D

20th century Four signed: Marciano Ramirez Cruz / San Martin Tilca signed: Bardo [?] Ramirez / San Martin Tilcajete Comprising a jaguar, a recumbent jaguar, a bull, and a red branch/ pitchfork, together with a spotted rabbit s Largest: 12” H x 31” W x 7.5” D

A Mexican alebrije lion figure

$300-500

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A group of Marciano Ramirez Cruz alebrijes fig

$300-500

gures

ajete / Ocatlan Oaxaca Mexico; one

a horned goat/devil on a bench holding a signed in a different hand, 5 pieces

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2208

Rick Wolfryd

(b. 1953) “Flush,” 2022 Photopolymer resin and beads Signed, titled, and dated to underside: CHROMA aka Rick Wolfryd / TP .0001 / 3-D SMART LABS 14.75” H x 7.625” W x 10.625” D $800-1,200

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2209

Rick Wolfryd

(b. 1953) “Pinocchio (Feather in Cap),” 2022 Photopolymer resin and beads Signed, titled, and dated on the underside of the base: CHROMA aka Rick Wolfryd / TP .0001 / 3-D SMART LABS / ELIZA 20.5” H x 9” W x 9” D $800-1,200

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2210

A Héctor Aguilar copper cream and sugar set

Héctor Aguilar (1905-1986) Circa 1948-1962; Taxco, Mexico Each marked for Héctor Aguilar and Taxco, Mexico Comprising one creamer with ebonized wood handle and a sugar with opposed lug handles, 2 pieces Creamer: 4.125” H x 4.875” W x 3.75” D; sugar: 3.625” H x 5.875” W x 3.5” D $200-300

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2211

A Platería Victoria copper coffee service

Ana María Nuñez de Brilanti (1910-1999) Mid-20th century; Taxco, Mexico Stamped: Victoria / Mexico / Taxco / Copper / 482 Comprising a round tray (13.25” Dia.), a coffee pot (8” H x 7.5” W x 6.25” D), a sugar (4” H x 3.25” Dia.), and a creamer (4” H x 5.5” W x 3.75” D), each with an applied silver band and a shaped tray, 4 pieces $400-600

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2212

Y A Mexican sterling silver and rosewood salad set

Mid-20th century Each marked: Sterling / A / Mexico; further marked: [Eagle 23] Comprising a serving fork and spoon, 2 pieces Each: 12.75” L approximately $200-300 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

2214

A Juventino Lopez Reyes sterling silver coffee service

Juventino Lopez Reyes (b. 1915) Mid-20th century; Mexico Two stamped for Juventino Lopez Reyes and: Made in Mexico / [Eagle 9] / 13 Comprising a coffee pot (6.625” H x 7” W x 3.5” Dia.), a lidded creamer (5.125” H x 5.25” W x 3.325” Dia.), and a lidded sugar bowl (4.25” H x 5.5” W x 3.75” Dia., 3 pieces 41.8 oz. troy approximately $700-900

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2213

A group of Mexican silver serving utensils

Mid-20th century Serving set marked: A. Ceron/ Hecho en Mexico D.F. / 0.925; two marked for Sanborns sterling; one marked: FAV / Mexico / LEYO / 925 Comprising an A. Ceron salad serving set (each: 10.625”) and a Sanborns fork and spoon set (8.5” and 6.5”) with an associated larger spoon (8.75”) in the same pattern from another maker, 5 pieces 17.6 oz. troy approximately $400-600

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2215

Pedro Friedeberg

(b. 1936) “Ciudad de un millón con 25 huevos duros” Screenprint in colors on paper Edition: XXXII/L Signed and numbered in pencil in the lower margin: Pedro Friedeberg; with the artist’s authentication ink stamp in the lower margin, at left Image: 27” H x 26.75” W; Sheet: 29.25” H x 29.25” W $800-1,200

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2216

Pedro Friedeberg

(b. 1936) “La Nariz de Cleopatra” Screenprint in colors on paper in artist’s frame Edition: XLVII/L Signed and numbered in pencil in the lower margin: Pedro Friedeberg; with the artist’s authentication stamp in the lower margin, at left Image: 19” H x 19” W; Sight: 21” H x 21” W $800-1,200

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2217

An Antonio Pineda Mexican silver chain bracelet

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 58; further stamped: Hecho en Mexico / 970 Comprising a chunky cable link charm bracelet with set greenstone toggle clasp, lacking charms 9” L x 1” H 108.8 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2218

An Antonio Pineda Lascaux-motif silver belt buckle

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Eagle 17; further stamped: Silver / Hecho en Mexico / 970 / PZ150 A rectangular belt buckle set featuring a relief of a Lascaux-inspired hunting scene, 3 pieces Buckle: 2.75” H x 5.875” W 229.4 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2219

A group of William Spratling silver belt buckles

William Spratling (1900-1967) Circa 1933-1938 and 1944-1946, First Design Period, Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Taxco / 980 / Made in Mexico / Sterling Comprising four sterling belt buckles with various incised and applied geometric designs, 4 pieces Largest: 2” H x 1.875” W 111.6 grams $300-500 Provenance: The Phyllis M. Goddard Collection Literature: One design illustrated in Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 42, fig. 2-68. Two designs illustrated in Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th ed. (Atglen, PA: Schiffer, 2007), 35, fig. III-7.

2221

A group of Antonio Pineda silver and onyx belt buckles

Antonio Pineda (1919-2009) Circa 1953-1979; 1962-1963; Taxco, Mexico Each marked with crown for Antonio Pineda, and for Mexico; further variously marked: Sterling / 925 / 970 / [Eagle 58] / [Eagle 17] / Los Castillo / Soc / Coop / SCL / Sec2 / [Design number] Four works: A group of four sterling silver buckles including with one with inlaid black abstract design (1” H x 2” W), a buckle with lattice work design and onyx stones (No. PZ195; 1.125” H x 2.5” W), a heavy silver buckle (No. PZ127; 1.625” H x 2.25” W), a smaller heavy silver buckle with wave design ends (No. PZ121; 1.25” H x 2” W), 4 pieces 194.1 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2220

Two Héctor Aguilar silver belt buckles

Héctor Aguilar (1905-1986) Circa 1940-1945 and 1948-1962; Taxco, Mexico Each stamped: HA [conjoined]; further variously stamped: 940 / Taxco / Made in Mexico / Sterling Comprising two sterling silver buckles including a single buckle with incised geometric edge (1.375” H x 1.875” W), and a double-sided buckle with central clasp hook (1.125” H x 4” W), 3 pieces 92.4 grams $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2222

Pedro Friedeberg

(b.1936) “Cats of All Nations: Unite!” Giclee in colors on paper Edition: 64/120 Signed and numbered in pencil in the lower margin: Pedro Friedeberg; titled in the image in the lower right quadrant; with an unidentified blindstamp in the lower portion of the left margin Image: 18” H x 19.5” W; Sheet: 20.5” H x 20.5” W $800-1,200

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2223

Gustavo Rivera

(b. 1940) “Piece #142” Mixed media on paper Signed in both the lower right and upper left corners: G. Rivera; titled on label affixed to the backing of the frame Image/Sheet: 22” H x 29” W $700-900

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2224

A William Spratling silver bow brooch

William Spratling (1900-1967) Circa 1940-1944, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Made in Mexico / Sterling Comprising a large ribbon motif “Wavy Bow” brooch with floral accents 4” H x 6.25” W 66.9 grams gross $500-700 Literature: this design illustrated: Penny C. Morrill et al., “William Spratling and the Mexican Silver Renaissance: Maestros de Plata” (New York: Harry N Abrams, Inc., in association with the San Antonio Museum of Art, 2002) 122, figs. 170 and 171.

2 5 2 L at i n A me r i c a n Ar t + D e sig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

2225

A group of Héctor Aguilar sterling silver brooches

Héctor Aguilar (1905-1986) Circa 1940-1945; 1948-62; 1955-1962; Taxco, Mexico Each stamped: HA / 940 / Taxco; further variously stamped: Mexico / [Eagle 9] Four works comprising a sterling silver brooch with interlocking scrolled V motif and silver ball accents (1.75” H x 2.5” W), a narrow figure-eight ribbon motif brooch with ball accents (1.25” H x 3.5” W), a large silver abstract spiral brooch (2.5” H x 2.625” W), and a scrolled interlaced quatrefoil brooch (2” Dia.), 4 pieces 98.2 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2226

A group of Antonio Pineda mixed-metal and hardstone jewelry

Antonio Pineda (1919-2009) Circa 1953 and later; Taxco, Mexico Each with crown mark for Antonio Pineda; further variously stamped: [Eagle 17] / 970 / 925 / Silver / Hecho en Mexico / Mexico Five works comprising a pair of silver and azurmalachite inlay cufflinks (1.25” H) and a similar style tie clip (1.5” H), a pair of onyx inlay cufflinks (1.25” H), a pair of malachite cufflinks (1” H) and a pair of sterling silver and brass cufflinks with hardstone inlay (1.375” H), 9 pieces $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2 5 4 L at i n A me r i c a n Ar t + D e sig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

2227

A group of Antonio Pineda Mexican silver and gemstone jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; further variously stamped: Hecho en Mexico / 970 / [Eagle 17] / [indistinct eagle] Three works in sterling silver comprising a pair of faceted blue stone curved cufflinks (each: 0.875” H), a pair of contra luz opal and onyx cufflinks (each: 0.75” H), and a pair of tiger’s eye earclips (0.875” H), 6 pieces 56.7 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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2228

A South American woven wool panel

Mid/late 20th century Woven in red, green, and dark blue wool in an all-over pattern of serrated diamonds in a tapestry-style weave 89” H x 21.5” W $200-300

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2229

Two Mexican silver bracelets

Mid-20th century One stamped: Metales / Taxco / Mexico / TD-34 / 925 Comprising a large chunky hinged silver cuff bangle with geometric lapis stone inlay (6.5” inner C x 1.75” H) and a sterling silver hinged bracelet with chipped lapis panels and applied mixed metal figurative and abstract motifs (6.75” L x 1.25” H), 2 pieces 316.1 grams gross $300-500

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2230

Two Mexican silver and amethyst bracelets

Mid-20th century Variously marked: JC [conjoined] / Taxco / 980; [partial] Hecho___ / Guadal / Alpaca Comprising a five-link sterling bracelet with applied geometric motifs, each link with a central set amethyst (6” L x 1.75” H), together with a six-link silver and amethyst bracelet with stacked ball motif (7.375” L x 1” H), 2 pieces 187.5 grams gross $300-500 Notes: The hallmark of the first bracelet has in the past been wrongly associated with Jorge Chato Castillo.

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2231

A group of Mexican silver bracelets

Mid-20th century Each marked for Mexico, for silver and for maker; further variously marked: 925 / Sterling / [Eagle 17] / Handmade / Taxco / TH-65 Comprising four works including a Los Ballesteros shadowbox style sterling link bracelet with figural overlay motifs (6.75” L x 1” H), a Cena four link silver bracelet with foliate and filigree overlay with set green stones (7.25” L x 1.25” H), a JJ sterling silver bracelet with heavy stylized foliate motif links (7.5” L x 1” H), and an RHC sterling silver bracelet with ornate filigree links alternating with silver ball cluster links (7.5” L x 1.25” H), 4 pieces 241.9 grams gross $400-600

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2232

Two silver sautoir necklaces

Mid-20th century One stamped to clasp: Mexico / 925 / TC-60 Comprising a Mexican sterling silver necklace with silver ball and twisted rectangular beads (25” L) and a Mexican-style silver-toned metal and inset onyx bead necklace with alternating silver ball and cylinder beads (34” L), 2 pieces 274.0 grams gross $300-500

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2233

A group of Mexican silver bracelets

Mid/late 20th century Each stamped for silver and for Mexico; further variously stamped: JN JACOBO / 925 / Taxco / [Eagle 3] / 0.925 / [two trees cipher] / TS-30 Comprising a silver link bracelet with large amethyst cabochons (8.5” L x 1.5” H), a silver bracelet with small disc links each set with green stones (7” L x 0.625” H), a sterling silver and set onyx openwork link bracelet (6.5” L x 0.875” H), and a JN Jacobo (Jacopo) silver link bracelet with stylized owl motif links (7” L x 0.625” H), 4 pieces 193.8 grams gross $500-700

2 6 2 L at i n A me r i c a n Ar t + D e sig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

2234

A group of Mexican silver and mixed metal jewelry Two works:

A William Spratling silver brooch William Spratling (1900-1967) Circa 1940-1944, First Design Period; Taxco, Mexico Stamped for Willliam Spratling; further stamped: Made in Mexico / Silver A round silver brooch with central applied serpent motif 2.25” Dia. An Antonio Pineda mixed metal belt buckle Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; further stamped: Sterling / Mexico / Silver / 970 / [Eagle 17] / PZ180 A sterling silver, copper and brass box frame pin belt buckle with abstract design 1.125” H x 3.25” W 2 pieces 71.0 grams gross $300-500

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2235

A group of Mexican silver jewelry Mid/late 20th century Three works:

A sterling silver chain link belt with backed repoussé floral buckle and petal and ball links Stamped: AM [in triangle] / Sterling / 925 / GUAD / Mex__ / R. _[S?] 30.5” L x 2” H A Doris silver floral brooch with inset stone Stamped: Doris / Silver / Corpus Artisans / Mexico 3.5” H x 2.375” W A sterling silver pointed swirl crossover hinged cuff bracelet with silver ball accents Stamped: TA-164 / Mexico / 925 6.75” inner C x 3.625” H 3 pieces 179.8 grams gross $300-500

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Upcoming Consigment Opportunities Made In Mexico 1.30.2024 Latin American Art + Design 4.23.2024 Consignment and Auction Inquiries: marandam@johnmoran.com 2 6 6 L at i n A m e r ic a n Ar t + D e s ig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

S S II N NC CE E 1 19 96 69 9

A AU UC CT T II O ON NE EE ER RS S & & A AP PP PR RA A II S SE ER RS S

Est. 1969

55 Years

Is your collection

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

Arnold Belkin “ ‘Patzcuaro’ / (Del Ballet Tarasco ‘Los Pescadores,’)” 1951

Price Realized: $9,375 S S II N NC CE E 1 19 96 69 9

A AU UC CT T II O ON NE EE ER RS S & & A AP PP PR RA A II S SE ER RS S

Est. 1969

Years w w w. j o h n m o r a n . c o m 2 6 7

2 6 8 L at i n A me m e r iicc a n Ar t + D e sig s ig n l Th u rsd ay, De c e mb e r 7 , 2 0 2 3

Condition Reports

w w w. j o h n m o r a n . c o m 2 6 9

2001 A good impression. The margin edges slightly trimmed. The sheet is framed floating and hinged to the back mat. Framed under glass: 10.5” H x 13” W x 2.25” D 2002 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 9” H x 9.75” W x 1.25” D 2003 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 11.25” H x 11.25” W x 1.25” D 2004 Each the full sheet with deckled edges. Three sheets are loose, with heavy handling creases throughout the sheets, not matted. One sheet is framed floating and hinged to the back mat Three unframed One framed under Plexiglas: 28.75” H x 46.25” W x 1.5” D 2005 Each of the sheets in overall very good condition. The full sheet with deckled edges. The height of the images vary slightly, each just being off 0.25” H, reflective in the artist’s work. Pale time staining to the upper edge of the title insert. The yellow portfolio with slight surface soiling.

Condition Reports

Unframed

270

2006 Each of the sheets in overall very good condition. The full sheet with deckled edges. Each of the sheets in overall very good condition. The height of the images vary slightly, each just being off 0.25” H, reflective in the artist’s work. Minor toning to the verso of the title page. The six lithographs are all loose within the original portfolio, as issued. The red portfolio with slight surface soiling. Unframed 2007 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Small scratches to right shoulder and elbow.

2008 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Marble in good condition with bumping and fleabites to corners and edges. 2009 Overall good condition. Framed under glass: 17.25” H x 23.25” W x 1.25” D 2010 Overall good condition. A few specks of foxing in the upper portion of the work. Framed under glass: 23.25” H x 17.25” W x 1.25” D

2011 Overall good condition. Framed under glass: 23.25” H x 17.25” W x 1.25” D 2012 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few applied flowers with fleabites or tiny chipped losses. One applied flower with 1/3 chipped loss on figure verso. 2013 Overall generally good condition. With margins, deckled edges along the left and lower edges. Light staining showing mostly in the margins. Pale time staining at the extreme lower margin edge. Soft handling creases scattered in the outer margin edges. not affecting the image Backboard staining throughout the verso sheet, most likely from a previous cardboard backing. Seven small areas of reverse staining at the margin edges, each approximately 1.5” long, attendant with remnants of old tape at the verso of the margin edges. The sheet is loose, not matted. Unframed 2014 Overall good condition. Slight time staining at the extreme sheet edges. The sheet is framed floating, hinged to a matboard in numerous places at the verso of the sheet edges, and that matboard is mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 34” H x 26.5” W x 1.5” D

Framed under Plexiglas: 51.75” H x 37.25” W x 1.5” D 2016 Overall good condition. Slight toning to the mount, with three spots of staining touched with white pigment in the upper, lower, and left mount margins. Framed under glass: 20.75” H x 16.75” W x 1” D 2017 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Two shallow pea-sized chips to top of base. Felt feet applied to underside. 2018 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Pea-sized bumped abrasion to back shoulder. 2019 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 20.5” H x 53” W x 1.25” D 2020 Overall good condition. The colors fresh. With margins and deckled edges. The sheet is framed floating and tipped to a support board from each sheet corner. Framed under Plexiglas: 31.5” H x 23.5” W x 1” D 2021 Overall good condition. A good impression. With margins and deckled edges. The sheet is mounted to the backmat in each corner. Framed under Plexiglas: 24.25” H x 31” W x 1.5” D 2022 Each overall good condition. The colors fresh. With full margins and deckled edges. Each sheet framed floating. Not examined out of the frame. Each framed under Plexiglas: 45.25” H x 65” W x 2” D

2023 Overall good condition. With full margins. Framed floating, mounted to the back mat. Not examined out of the frame. Framed under glass: 49.5” H x 39” W x 5” D 2024 Overall good condition. Paper tacked along all four edges to linen on board. Edges of paper are slightly uneven. Very slight toning Framed under Plexiglas: 73” H x 50” W x 2.75” D 2025 Overall good condition. Paper mounted to archival board as stated. Very slight toning throughout, with a slight mat burn in the lower left corner. Frame: 43” H x 53” W x 2” D 2026 Overall good condition with shelf wear, scattered scratches and scuffs, and inherent firing flaws commensurate with age. A 1” chip and 2.5” long scratch to backs of legs. Large areas of chipped paint losses to underside. Scattered soiling and dust accumulation. The plinth in overall good condition with scattered scuffs, scratches, nicks, indentations, and small chipped losses to paint. 2027 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Some feathers with cracking/lifting to the paint. Minor soiling and dust accumulation. 2028 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 38.5” H x 32.5” W x 4” D 2029 Visual: Overall good condition. A few specks of pigment loss in the extreme upper right and lower left corners. Blacklight: A 1.5” H x 4.5” W area of touch-up in the lower right quadrant, and a few spots of touch-up in the clothing of the figure. Frame: 36.25” H x 32.5” W x 2.25” D

Condition Reports

2015 Overall good condition. A soft 6” handling crease in the upper right edge. The sheet is framed floating, tipped to the back mat at the verso of the sheet corners. Not examined out of the frame.

271

2030 Visual: Fine craquelure throughout. Occasional small pigment losses, approximately 0.25” each, concentrated primarily in the background of the upper left and lower right quadrants. Stretcher bar creases along all four sides and the canvas slightly loose. The signature surrounded at the top by a faint, cloudy white streak. Blacklight: A few horizontal lines of scattered touchups in the lower portion of the image, to the left and right of the figure’s ankles. Scattered tiny flecks of grime fluoresce on the figure’s left shoulder and chest. Frame: 23.25” H x 18” W x 2” D 2031 Visual of each: Overall generally good condition. Portrait of boy with frame abrasion along the left edge, occasional pinhead-sized spots of grime and pigment loss scattered throughout, and rippling to the canvas in the upper half. Portrait of girl with occasional spots of grime and discoloration. Blacklight of each: Portrait of boy with a few spots of touch-up in the lower right quadrant, near the right edge. Portrait of girl with spots of touch-ups commensurate with repairs appearing verso towards the left and right edges. Frame of each: 32.25” H x 24” W x 3” D 2032 Overall good condition. Not examined out of the frame. Framed under glass: 24.5” H x 22” W x 1.75” D

Condition Reports

2033 Overall good condition with tarnishing and light scratches commensurate with age. Stones with light abrasions and surface reaching fractures. Figure sits slightly crooked on base.

272

2034 Overall good condition with dust accumulation, light oxidation and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Minor distortion to base edge, slightly out of round. 2035 Visual: Overall good condition. Blacklight: Small spots of touch-ups throughout the face and hands of the figure. Frame: 30” H x 27.5” W x 1.5” D

2036 Overall good condition. Very pale time staining. Taped to the overmat in five places with scotch tape from the verso of the sheet edges. Framed under Plexiglas: 28.5” H x 34.5” W x 0.75” D 2037 Overall good condition with dust accumulation, oxidation, and scratches commensurate with age and use. Central receptacle lacking glass discs. Scattered minor dents to base. Scattered slight distortions to added sunburst elements. Lacking one bell to crown motif. Break to top of cross, piece retained. 2038 Overall good condition with dust accumulation, tarnishing and scratches commensurate with age and use. Slight distortion to rays near stem and to scattered rays near top. Glass rounds slightly soiled. Tests for sterling. 2039 Overall good condition. The sheet is toned throughout from the board to which it is laid. It is also slightly light-stained. An unobtrusive, delicate surface scuff extending upwards approximately 8” from the center of the lower sheet edge just into the drawn area, visible primarily in raking light. Occasional tiny nicks or pinhead-sized holes in places at the extreme edges and corners of the paper, commensurate with age and handling. Framed under Plexiglas: 24.75” H x 30.5” W x 2” D 2040 Overall good condition. A slight crease with toning to the upper left corner. Two small spots of discoloration in the upper right corner. A very slight handling crease in the lower right corner. Hinged in the upper and lower right and left corners to back mat. Frame: 21.25” H x 17” W x .75” D 2041 Visual: Dust accumulation, grime, and varnish discoloration commensurate with age. A hairline canvas split runs from the upper to lower edge in the left half. Significant wear in the lower left and right quadrants. Slight rippling and creasing to the canvas commensurate with stretching and relining of the canvas. Frame abrasion along the upper edge, at right. Uneven and rough surface texture in the upper right quadrant. Blacklight: Large areas of touch-ups throughout, primarily in the outer edges. Frame: 52” H x 41” W x 4” D

Blacklight: Areas of spots and strokes of touch-ups throughout, the largest area measuring 3.25” H x 1.25” W in the dress of the standing figure. Frame: 57.5” H x 42” W x 1.75” D 2043 Visual: Overall generally good condition. As mentioned, the canvas is laid to canvas. Unobtrusive craquelure and paint shrinkage throughout. Blacklight: Small touch-ups throughout, including in the face of the saint. Frame: 60” H x 48” W x 4” D 2044 Overall fair condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. All-over soiling and evidence of inactive wood worm. One of the crosses is detached from its mounting. With wire for wall hanging to verso. 2045 Visual: Stretcher bar creases showing along the left and right edges. A few areas of very fine stable craquelure throughout. Shallow surface scratches and scuff marks throughout, primarily concentrated in the lower left and right quadrants, and the largest measuring 12” in the lower right quadrant. A few stray flecks of orange and blue housepaint in the left half. A pinhead-sized puncture to the canvas near the left edge, at center. Scattered small spots of surface loss attendant with gold paint spots on the fabric detaching from the work. The canvas has been relined. Blacklight: No evidence of restoration. Frame: 47.75” H x 37.75” W x 2” D

2046 Visual: Dust accumulation, grime, and varnish discoloration commensurate with age. The canvas is bubbling from older adhesive. Horizontal creases throughout, commensurate with canvas having been previously rolled, and with attendant pigment loss on creases. Small surface scratches throughout, with an 8.5” vertical scratch near the left edge, at center. A 1.25” H x 0.5” repaired tear in the canvas in the upper left quadrant, to the left of Jesus’s head. Rippling to the canvas along the upper left edge. The canvas has been relined. Blacklight: No evidence of restoration. Frame: 52.5” H x 26.25” W x 1.5” D 2047 Scattered craquelure throughout with areas of pigment loss, primarily near the outer edges and corners of the canvas. An approximately 3” narrow horizontal line of pigment loss in the blank to the right of the flowering stalk. Varnish discoloration and grime throughout. Blacklight: No evidence of restoration. Frame: 37” H x 31.5” W x 2.5” D 2048 Each overall good condition with tarnishing, indentations, and scratches commensurate with age. Each with a lean, small dents and components slightly bent askew. One bobèche is loose and leaning. 2049 Each overall good condition with tarnishing, indentations, and scratches commensurate with age. One with separation/crack in the bobèche. Each with additional separation at the juncture of the applied apron at the base. Each with a slight lean, scattered dents, and other imperfections. 2050 Visual: Overall good condition. Dust accumulation, grime, and varnish discoloration commensurate with age. A 1.5” vertical line of surface abrasion with commensurate pigment loss in the lower right quadrant, to the right of the figure’s dress. A 2” vertical hairline shallow surface scratch in the lower left quadrant, to the left of the figure’s dress. Small, shallow, unobtrusive surface scratches throughout, commensurate with age and handling. The canvas has been relined. Blacklight: Touch-ups throughout, with the largest area measuring approximately 13” H x 2.5” W along the right edge, concentrated on the green curtain. Unframed

Condition Reports

2042 Visual: Overall good condition. Dust accumulation, grime, varnish discoloration, and fine craquelure throughout, all commensurate with age. Touch-ups and repairs of the canvas are visible throughout without blacklight, showing primarily along the edges and in the darker pigment of the woman’s costume.

273

2051 Visual: Dust accumulation, minor varnish discoloration, and fine craquelure throughout, all commensurate with age. The canvas has been relined. Blacklight: Small strokes and lines of touch-ups throughout, mostly concentrated in the face and outlines of the figure’s clothing. Framed: 45” H x 33.5” W x 1.5” D 2052 Overall good condition with tarnishing, scuffs, scratches, and indentations commensurate with age. Arms and bobèches are loose or tilted slightly, one bobèche with a significant dent. Weight includes non-sterling components. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. Fraying and wear to the cord. 2053 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Leather worn and stiff, with rubbed wear to the polychrome and scattered losses, concentrated at front right and left side edges. Iron hardware with heavy oxidation. Felt pads applied to underside.

Condition Reports

2054 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, chips, indentations, and separation at joints commensurate with age. Hinge hardware slightly loose, not firmly mounted, with oxidation. Wood more worn around hinges, edges, and corners. Drop front with 5” x 0.5” restoration to wood near upper edge. As well, a 2” cut-out to one side panel of the wood.

274

2055 Each overall good condition with scattered scuffs, scratches, and oxidation, and scattered minor degradation to the metal commensurate with age. Each with a slight lean. Each shade with scattered creases/near-tears, indentations, and soiling. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 2056 Overall good condition with tarnishing and light scratches commensurate with age and use. Stones with scattered abrasions. Some elements loose or slightly distorted. Tests for sterling.

2057 Each overall fair to good condition with dust accumulation, wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Wear to painted surface with areas of chipping/flaking and stains throughout. Moveable figures slightly unsteady on bases. St. Michael with a detached headpiece (retained) and lacking wings. 2058 Each overall fair to good condition with dust accumulation, wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Extensive wear to painted surfaces with areas of chipping/ flaking and stains throughout. Bearded figure with loss to one right finger and taped repair to another and lacking item from the left hand. Various fabrics with scattered small holes and minor tears, with the largest figures clothing with scattered insect holes and loss and damage to silk stole. Largest figure with hanging hook verso. 2059 Overall good condition with tarnishing and light scratches commensurate with age and use. Does not test for sterling. 2060 Overall fair to good condition with dust accumulation, wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Wear to painted surfaces with areas of chipping/flaking and stains throughout. Two larger shrinkage cracks to side front, radiating from neck. Figure slightly unsteady on base. 2061 Each overall fair to good condition with dust accumulation, wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Heavy wear to painted surfaces with areas of chipping/ flaking and stains throughout. Articulated/moveable figures slightly unsteady. Larger mounted figure’s horse with repaired break to one front leg and loss to mane at neck. 2062 Each overall fair to good condition with dust accumulation, wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Wear to painted surface with areas of chipping/flaking and stains throughout. Partial torso lacking arm, and with extensive cracking to paint overall. Largest with heavy wear to polychrome finish, with deeper scratches, gouges, and indentations, and with removable head.

2064 Overall good condition with tarnishing and light scratches commensurate with age. Scattered pin sized pitting and deeper scratches concentrated to underside. 2065 Overall fair to good condition with tarnishing and scratches commensurate with age. Scattered indentations, scuffs, mold seams, and imperfections. Two more significant scratches/dents to the rim. 2066 Overall good condition with tarnishing, scratches, indentations, and imperfections commensurate with age. Some denting to rim and base. Tests for sterling. 2067 Overall good condition with tarnishing, soiling, and scratches commensurate with age. Scattered minor dents and bending to tazza rim. With a slight lean to the stem. 2068 Each overall good condition with tarnishing and light scratches commensurate with age. These utensils have not been tested for functionality. 2069 Each overall good condition with scattered scuffs and scratches commensurate with age and use. 2070 Visual of each: Good condition. Occasional very minor surface scuffs, wear, and dust accumulation commensurate with age. Blacklight of each: No evidence of restoration under blacklight. Each unframed 2071 Overall good condition with heavy tarnishing and scattered scratches and indentations commensurate with age. More concentrated dents to rim. The interior with degradation to the material from use.

2072 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. With 1.75” scratch to upper back. 2073 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The wood base with minor scratching as well as museum putty or possibly wax to the underside. 2074 Overall good condition. A 1” diagonal crease in the lower left corner. A less than 0.5” tear in the lower right corner. Slightly uneven trimming to the extreme edges, possibly in the hand of the artist. Various pieces of old and new brown tape remnants along each of the edges and specks of occasional foxing, all verso. The sheet is loose, not matted. Framed under glass: 30” H x 39” W x 2.25” D 2075 Overall good condition. Pea-sized or smaller areas of foxing, scattered areas of surface soiling, and soft handling creases scattered throughout. A 1” diagonal line of stray red pigment near the center of the right edge. Scattered dime-sized or smaller pieces of old black tape and white tissue paper adhered to the verso. The sheet is loose, not matted. Unframed 2076 Overall generally good condition. Certain areas with the fingers on the hands broken off, primarily the hands in the upper and left edges. Scattered scratches and dust accumulation commensurate with age. Unframed 2077 Overall good condition. The colors fresh. The full sheet with deckled edges. The sheet is tipped to the backmat at the verso of the sheet corners. Not examined out of the frame. Framed under Plexiglas: 43” H x 35.5” W x 2” D 2078 Overall good condition. A very good impression with rich colors. Very pale time staining. An 11” horizontal soft handling crease along the upper margin edge, at right, not affecting the image. A 1” vertical soft fold in the upper left edge, not affecting the image. The sheet is framed floating, mounted to a matboard with tape at the verso of the margin corners, and that matboard is mounted to a backmat.

Condition Reports

2063 Each overall fair to good well-worn condition with soiling, stains, and wear commensurate with age and repeated use. A few areas of loose seam stitching. A few scattered loose embellishment threads, with minor loss to beads/sequins. Tears and loss to top of sleeves, with stitched repairs to top of sleeves. Staining to front panels and to fabric lining. Pants with heavier wear to cuffs, buttons lacking in places and evidence of alterations with stitch holes and repairs to interior.

Framed under glass: 35.25” H x 42.5” W x 2” D 275

2079 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 34” H x 27.5” W x 1.5” D 2080 Overall good condition with tarnishing and light scratches commensurate with age. About five wood inlay panels are loose to the top of the lid. A few scattered fleabite chips to shell inlay. Lid handle slightly bent. 2081 Overall good condition with tarnishing and light scratches commensurate with age. Missing greenstone inlay on left eye piece. With 1” loss of plating to front waist revealing the base metal. Scattered pitting to the plate with attendant oxidation. Possible repairing to greenstone inlay on bottom of handle as well as scattered small chips and flea bites to the stones. 2082 Each overall good condition with tarnishing and light scratches commensurate with age. 2083 Visual: Very fine craquelure scattered primarily throughout the outer edges. A 0.75” x 0.25” W area of pigment loss near the lower edge, at left, and a few flecks of pigment loss in the lower right quadrant. The canvas is rippled throughout, attendant with the canvas being slightly loose from the stretcher. Blacklight: No evidence of restoration. Frame: 32.5” H x 36.5” W x 1.5” D 2084 Visual: Overall good condition. Blacklight: No evidence of restoration.

Condition Reports

Frame: 41” H x 32.5” W x 2” D

276

2085 Overall good condition with dust accumulation and wear to edges commensurate with age. A few loose threads, primarily near edges. 2086 Overall good condition with dust accumulation and wear to edges and corners commensurate with age. A few loose threads, primarily near edges. 2087 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures.

2088 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. 2089 Overall good condition with light tarnishing and scratches commensurate with age and use. 2090 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2091 Overall good condition with dust accumulation and wear to edges and corners commensurate with age. A few loose threads, primarily near edges. 2092 Overall good condition with dust accumulation and wear to edges and corners commensurate with age. A few loose threads, primarily near edges. An area of light soiling to top edge. 2093 Overall good condition with light tarnishing and scratches commensurate with age and use. Minor dents to terminals. 2094 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered dents to terminal balls. 2095 Overall good condition with dust accumulation and wear to edges and corners commensurate with age. A few loose threads, primarily near edges. 2096 Overall good condition. Not examined out of the frame. Framed under glass: 29.25” H x 28.5” W x 1” D 2097 Each overall good condition with tarnishing and light scratches commensurate with age. Each with felt to underside. Weight includes non-sterling components. 2098 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Repair to one leaf at the top of finial. With about six pea-sized chipped losses to applied nodes on the cactus ribs. Felt applied to feet. Crazing to the glaze and more concentrated scratching to the glaze of the lid at the juncture.

2099 Visual: Overall good condition. Fine and stable craquelure throughout. Two pea-sized areas of grime in the upper right quadrant.

2109 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

Blacklight: Scattered areas of touch-up in the sky of the upper left quadrant, the largest area measuring 5” along the upper portion of the left extreme edge.

With base: 13.75” H x 12.5” W x 7” D

2100 Overall good condition with tarnishing and light scratches commensurate with age. More concentrated scratches to interior rim. 2101 Each overall good condition with tarnishing and light scratches commensurate with age. One with two gaps in the welding of the circles. This is a near-set as two goblets have more weight and are not marked with the eagle export mark and the other two are thinner sterling and marked with export mark. 2102 Overall good condition with tarnishing and all-over scratches commensurate with age. 2103 Each overall good condition with tarnishing, scratches, and indentations commensurate with age. 2104 Visual: Overall good condition. Frame abrasion along the upper left edge. Blacklight: No evidence of restoration. Frame: 28.75” H x 40.5” W x 1.25” D 2105 Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes non-sterling components. 2106 Each overall good condition with tarnishing and light scratches commensurate with age. 2107 Each overall good condition with tarnishing and scratches commensurate with age. Weight includes non-sterling components. 2108 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. With base: 13” H x 9.5” W x 7.75” D

2111 Overall good condition with light tarnishing and scratches commensurate with age and use. 2112 Overall good condition with light tarnishing and scratches commensurate with age and use. 2113 Overall good condition with light tarnishing and scratches commensurate with age and use. 2114 Overall good condition with light tarnishing and faint scratches commensurate with age and use. 2115 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. 2116 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with inherent, typical crazing to the glaze. Issues and repairs include, but are not limited to: the charger with a 3” hairline to the lower left between 6 and 7 o’clock; the vase with a professional restoration to the upper neck and rim. 2117 Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age. One with pea-sized dent in “neck,” possibly inherent in the casting. Each slightly loose form its mounting. The pedestal in overall good condition with scattered minor scuffs and scratches. 2118 Overall good condition. A small 0.75” horizontal handling crease in the upper left quadrant. A small area of pale time staining along the extreme left edge. Framed under glass: 24.25” H x 30.25” W x 1.75” D 2119 Overall good condition. The sheet is framed floating. Not examined out of the frame.

Condition Reports

Frame: 21.25” H x 24.5” W x 2” D

2110 Overall good condition with light tarnishing and scratches commensurate with age and use.

Framed under glass: 33.5” H x 40.25” W x 1.25” D 277

2120 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions and minor chips. Amethysts with natural eye-visible inclusions and surface-reaching fractures. 2121 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions, surface-reaching fractures and scattered minor chips to edges. One stone on small bracelet with hairline fracture. 2122 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Deco-style brooch stone with scattered subtle fleabites to cut edges. 2123 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Smaller floral sprig brooch with minor subtle chip to top of left carved stone bud. A minor dent to one leaf of second silver brooch.

Condition Reports

2124 Overall good condition with shelf wear, scattered scratches and scuffs, and inherent firing flaws commensurate with age. This piece has been professionally restored and as per the provided records, including restoration to three top birds. Verso with 5” long and 0.5” diameter scuffs. Scattered minor soiling and dust accumulation. Underside with flaking to the paint, mounting putty, and felt applied.

278

2125 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Four birds are loose, with lifting to paint around their mounting, one with chipped losses to mounting area. Faint 1.25” scuff to top of shell. Localized areas of soiling and all-over dust accumulation. The underside with chipped paint losses, mounting putty, and felt applied.

2126 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With all-over surface grime and dust accumulation. Broken segment of the tail fin. Chipped paint losses near underside. As well, the underside with degradation from applied mounting putty and paper remnants. The plinth in overall good condition with scattered scuffs, scratches, nicks, indentations, and small chipped losses to paint. 2127 Visual: Overall good condition. Blacklight: No evidence of restoration. Unframed 2128 Visual: Overall good condition. A 2.5” H x 3” W area of scattered pinhead-sized black pigment spots near the lower edge in the lower left quadrant. Blacklight: No evidence of restoration. Frame: 34” H x 46” W x 1.75” D 2129 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Chunky bracelet with a few scattered fleabites to a few stones. 2130 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2131 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2132 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. 2133 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 20.5” H x 24.5” W x 1.5” D

2134 Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

2144 Overall good condition. Very slight rippling to the sheet. The sheet is sandwich mounted inside the mat.

Framed under glass: 29.75” H x 35.75” W x 2.25” D

Framed under glass: 27” H x 34.25” W x 1.5” D

2135 Overall good condition with light tarnishing and scratches commensurate with age and use.

2145 Overall good condition with scuffs and very mild darkening/oxidation to bronze commensurate with age. With a 1” long scuff to figure shoulder. Marble in good condition with felt applied to underside.

2137 Each in overall good condition with light tarnishing, oxidation and scratches commensurate with age and use. Scattered stones with abrasions. The amethyst with eye-visible inclusions and surface-reaching fractures. 2138 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethyst with eye-visible inclusions and surface-reaching fractures. 2139 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2140 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethyst with abrasions, eye-visible inclusions and surface-reaching fractures. A small chip to the top of the flower. 2141 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One significant dent with a mar to the finish measuring approximately 2.5” on the verso right shoulder. 2142 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. 2143 Scattered handling creases throughout. Artist pinholes in the sheet corners. Various small tears and losses at the extreme sheet edges. Remains of old glue from prior matting at the sheet corners. The sheet is displayed via two corner mounts affixed to the overmat at the upper sheet corners, and two clear archival corners affixed to the backmat at the lower sheet corners.

2146 Overall good condition with scuffs and very minor darkening/oxidation to bronze commensurate with age. The marble in good condition with scattered fleabites to front edge and pea-sized shallow chip. Felt applied to underside. 2147 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Minor rubbed wear to patination to top of head. Marble in good condition with felt feet applied to underside. 2148 Overall good condition with scuffs and very minor darkening/oxidation to bronze commensurate with age. Marble in good condition with mild bumping to corners and felt feet applied to underside. 2149 Overall generally good condition. With margins. Uneven toning to the sheet throughout the recto and verso. Pale mat staining in the margins, attendant with previous overmatting. A pea-sized abrasion and 0.5” horizontal tear near the upper right corner. Old tape remnants along the upper and lower sheet edges, verso. The sheet is loose, not matted. Unframed 2150 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethyst with light abrasions, eye-visible inclusions and surface-reaching fractures. 2151 Overall good condition with light tarnishing and scratches commensurate with age and use. 2152 Overall good condition with light tarnishing and scratches commensurate with age and use.

Condition Reports

2136 Overall good condition with light tarnishing and scratches commensurate with age and use.

Framed under glass: 49” H x 34” W x 2” D 279

2153 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. One stone with a few tiny indistinct fleabites to cut edges. 2154 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. 2155 Overall good condition with light tarnishing and scratches commensurate with age and use. 2156 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with small retailer’s sticker to underside. One with a 2” crack from the rim, as well as minor unobtrusive smudges to the finish. 2157 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The olla with 1” area of adhesive paper to the interior rim. 2158 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

2159 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghosts and residue to underside.

280

2160 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few small chipped losses to head and tail. Overall scattered tiny hairline cracks to the glaze and rubbed wear to the polychrome. 2161 Each overall good condition. Two of the sheets with old glue residue at each of the sheet corners, verso. One sheet tipped to the back mat from the upper left and right sheet corners, verso. Two sheets are loose, not matted. Each unframed 2162 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

2163 Overall good condition with light tarnishing and scratches commensurate with age and use. 2164 Overall good condition with light tarnishing and scratches commensurate with age and use. 2165 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Necklace and earrings with a few scattered fleabites. Bracelet with scattered minor chips, heavier scratches and minor nicks to edges. 2166 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with minor abrasions and a few fleabites to edges. Clasp slightly stiff. 2167 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions, a few subtle minor chips and fleabites to edges. 2168 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and a few fleabites to edges. 2169 Visual: Overall good condition. A small area of craquelure in a cloud at the left edge. Blacklight: No evidence of restoration. Unframed 2170 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: 27.5” H x 35.5” W x 2” D 2171 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. 2172 Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age.

Blacklight: No evidence of restoration. Framed under glass: 8.75” H x 9.25” W x 1.125” D 2174 Visual: Overall good condition. A pinhead-sized spot of light pigment near the middle of the lower edge.

2181 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Mild rubbed wear to the patination at edges. Marble in good condition with sticker residue to one side and felt feet applied to underside. 2182 Visual: Overall good condition. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 17.25” W x 2” D

Frame: 38.25” H x 23” W x 2” D

2183 Visual: Overall good condition.

2175 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. With base: 18.25” H x 17.5” W x 18” D 2176 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. With base: 15.25” H x 13.5” W x 11” D 2177 Each in overall good condition with tarnishing and light scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures and visible inclusions. One trumpet drop slightly bent. 2178 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Cuff with a minor oval dent and scattered nicks to silver. 2179 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Scattered minor chips to some stones. Bracelet with two replacement stones. 2180 Overall good condition with scuffs and mild darkening/oxidation to bronze commensurate with age. Marble in good condition with mild bumping to corners and felt feet applied to underside.

Blacklight: No evidence of restoration. Frame: 56.25” H x 38.5” W x 2” D 2184 Each overall good condition. Full margins with deckled edges. The first with pale time staining to the extreme margin edges. Very small and soft handling creases and edge tears to the lower right and lower margin edges. The sheets are hinged to the back mat with white hinging tape from the verso of the upper margin edge and secured with four paper archival corners. The second with very soft handling creases scattered in the outer margins. The sheet is loose and secured to the back mat with three paper archival corners. Each unframed 2185 Each overall good condition. Full margins with deckled edges. The first with a small tear in the extreme upper margin edge, at right. The second with time staining to the extreme upper and lower margin edges. The sheets are loose and secured to the back mat with four paper archival corners. Each unframed 2186 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Very minor soiling. 2187 Overall good condition. Not examined out of the frame. Framed under glass: 32” H x 24” W x 1” D

Condition Reports

2173 Visual: Overall good condition. The piece is framed floating and affixed to the frame’s backing board.

281

2188 Overall good condition. Scattered and small areas of surface scuffs and scratches to the sheet, with attendant areas of abrasion. Not examined out of the frame. Framed without glazing: 25.25” H x 25.25” W x 1” D 2189 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2190 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2191 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered enamel panels with abrasions and a few areas of minor crazing. Necklace with variation to white enamel on two links. Bracelet with one area of loss to white enamel, retained. 2192 Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Each with scattered enamel panels with abrasions and minor losses. Minor abrasions to scattered scales to the bolo snake head and tail tips. Light wear to cord. 2193 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Crossover cuff with a few scattered minor dents and a slightly loose hinge.

Condition Reports

2194 Each in overall good condition with light tarnishing and scratches commensurate with age and use. A few scattered enamel panels with abrasions, minor losses and crazing/minor fractures, mainly to necklace and bird bracelet. Pendant earring with loss to one panel.

282

2195 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Large crossover bangle slightly distorted from repeated use, with minor distortion to scroll ends. 2197 Overall good condition. With full margins and deckled edges. An occasional very soft handling crease. The sheet is framed floating and hinged to the back mat. Not examined out of the frame. Framed under glass: 36.75” H x 26.5” W x 1.25” D

2198 Overall good condition. The full sheet with deckled edges. Framed floating, mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 24.25” H x 32.25” W x 0.5” D 2200 Overall good condition with minor scuffs and verdigris oxidation to bronze commensurate with age. With scattered areas of small surface chipping to finish. 2201 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: 43.25” H x 35.5” W x 1.75” D 2202 Overall generally good condition. The upper and lower sheet edges deckled. Two soft handling creases, one approximately 3” long, extending from left of center at the upper sheet down into the blank, and another, 1” long and curved, in the blank to the left of center, both primarily visible in raking light. An approximately 1” vertical crease in the lower portion of the extreme left sheet edge. Soft creasing at the tip of the upper right sheet corner. The sheet is loose, not matted. Unframed 2203 Overall good condition. Not examined out of the frame. Framed under glass: 29” H x 23.25” W x 1” D 2204 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 38.5 x 44.25” W x 2” D 2205 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Rubbed wear to the gilt and dust accumulation/soiling. Marble in good condition with upper component loose and swiveling about 30 degrees from lower component.

2207 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The bench back splat is loose. A repair to the monster’s arm. A possible repair to blue jaguar’s legs and some loss to the paint on the tip of the tail. 2208 Overall good condition commensurate with age. Minor scattered areas of loss to beadwork, concentrated to juncture of figure and toilet. 2209 Overall good condition commensurate with age. Minor scattered areas of loss to beadwork. 2210 Each overall good condition with tarnishing and light scratches commensurate with age. 2211 Overall good condition with tarnishing and light scratches commensurate with age. Deeper scuff to inside rim of tray. Scattered mild localized areas of staining. 2212 Overall good condition with tarnishing and light scratches commensurate with age. One tine of fork slightly bent at the end. The wood in good condition with scattered minor scratches. 2213 Each overall good condition with tarnishing and scratches commensurate with age. The associated spoon with a break and attempted repair to handle. 2214 Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes non-sterling insulator components. 2215 Overall good condition. With margins. A 4” H soft handling crease in the lower portion of the left margin. The sheet is loose and not matted. Unframed

2216 Overall good condition. With margins. Not examined out of the frame. Framed under Plexiglas: 26.375” H x 26.375” W x 1.75” D 2217 Overall good condition with light tarnishing and scratches commensurate with age and use. Lacking charms. 2218 Overall good condition with light tarnishing and scratches commensurate with age and use. With two attachment clip hooks. 2219 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2220 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2221 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Lattice buckle has large chip to one onyx stone. 2222 Overall good condition. With margins. The sheet is loose, not matted. Unframed 2223 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 25.25” H x 32.5” W x 1.5” D 2224 Overall good condition with light tarnishing and scratches commensurate with age and use. Minor crimps to ribbon end points. 2225 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 2226 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One malachite cuff link with missing swivel tab.

Condition Reports

2206 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Rubbed wear to end of tail, underside, and near ends of paws.

283

2227 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 2228 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of scattered small spots/marks. Each short end with areas of breaks and losses to warp threads, with attendant loosening of weave. A small hole near one long side, 0.25” x 0.25.” 2229 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. First cuff with hairline fractures to a couple of stone panels. First cuff tests for sterling. 2230 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Scattered stones with abrasions and a few with fleabites. A few stones slightly loose in settings. 2231 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Cena bracelet with slightly loose hinge to one link. JJ bracelet lacking chain guard.

Condition Reports

2232 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Scattered fleabites to some stone edges.

284

2233 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Jacobo bracelet with detached chain guard. 2234 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. 2235 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Slight distortion to brooch. Belt links with scattered minor dents. Belt chain connector loops with scattered minor crimps.

285

Condition Reports

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 Ian Anderson Associate Specialist, Fine Art 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

Director, Jewelry & Watches Department Administrator, Jewelry & Watches

Tom Burstein Nikita Mehta

Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art Clark Silva Cataloguer, Furniture & Decorative Arts Grant Stevens

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

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

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 PR Manager/Social Media Graphic Designer

Nathan Martínez Brenda Smith 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.

A special holiday preview for: S S II N NC CE E 11 99 66 99

AU UC CT T II O A ON NE EE ER RS S & & A A PP PP RR A A II SS EE RR SS

55 Years

Est. S S II N NC CE E 1 19 96 69 9 1969 AUCTIONEERS & APPRAISERS

AUCTIONEERS & APPRAISERS

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