Modern + Contemporary Fine Art—June 11, 2024 | John Moran Auctioneers

Modern + Contemporary June 11, 2024

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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Modern + Contemporary Tuesday, June 11, 2024—12pm Sale 281 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

Previews:

Friday, June 7th: 12-4pm Saturday, June 8th: 12-4pm Monday, June 10th: 12-4pm Tuesday, June 11th: Doors open 10am

Meet the Team

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

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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Joan Miró

(1893-1983) Exhibition Poster “Les Essencies de la Terra” Lithograph in colors on cartridge paper Edition: 191/200 (aside from the numbered edition of 140 on wove paper) Monogrammed and numbered in pencil in the lower margin corners; Poligrafa, Barcelona, pub.

Image: 25.5” H x 20” W; Sheet: 29.75” H x 22.75” W $1,000-2,000 Literature: Mourlot 625

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After Joan Miró

(1893-1983) “Oiseau devant le soleil,” 1961 Lithograph in colors on wove paper Edition: 159/300 With the artist’s signature and numbered in white ink in the lower right and left corners, respectively: Miró Image/Sheet: 33” H x 14.375” W $1,000-1,500 Literature: Maeght 1722

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Joan Miró

(1893-1983) Plate 14 from the “Album 19” portfolio, 1961 Lithograph in colors on Rives paper Edition: HC Initialed and numbered in pencil in the lower image: M; Maeght, Paris, prntr./pub.

Image/Sheet: 26” H x 20” W $1,000-2,000 Provenance: Timothy Yarger Fine Art, Beverly Hills, CA Literature: Mourlot 325; c.f Cramer books 70 Notes: This lot is accompanied by sales receipts from Timothy Yarger Fine Art, as well as an invitation from the gallery for an opening reception.

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Joan Miró

(1893-1983) “Le Journal,” 1972 Lithograph in colors on Arches paper Edition: 35/50 Signed and numbered in pencil in the lower margin: Miró; Maeght, Paris, pub.

Image: 25” H x 19.375” W; Sheet: 29.25” H x 20.75” W $3,000-5,000 Provenance: Property from the Estate of Richard Roundtree Literature: Mourlot 836

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Joan Miró

(1893-1983) One Plate from “Miró a l’Encre,” 1972 Lithograph on Arches paper Edition: 2/15 Signed and numbered in pencil in the lower margin: Miró; Mourlot, prntr.; Universite de Geneve, pub.

Image: 14” H x 10” W; Sheet: 21.75” H x 17.125” W $1,000-1,500 Provenance: Property from the Estate of Richard Roundtree Literature: c.f. Cramer books 161

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Salvador Dali

(1904-1989) “Oedipus and Sphinx” from the “Mythologie” suite, 1963-65 Color heliogravure and drypoint on Japon nacre Edition: XLII/C (there were also 150 on Arches and XX on Japanese paper) Signed and numbered in pencil in the lower margin: Dali; Manuel Robbe, Paris, prntr.; Pierre Argillet, Paris, pub.

Plate: 19.25” H x 15.5” W; Sheet: 30” H x 22.5” W $1,000-1,500 Provenance: Windsor Fine Art, New Orleans, LA Property from the Estate of Richard Roundtree, acquired from the above, July 30, 2021 Literature: cf. Michler and Lopsinger 116-131 Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.

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Marc Chagall

(1887-1985) “Double Portrait au Chevalet,” 1976 Lithograph in colors on Arches paper Edition: 29/50 Signed and numbered in pencil in the lower margin: Marc Chagall Image: 13.25” H x 10.25” W; Sheet: 22” H x 17” W $3,000-5,000 Literature: Mourlot 835

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After Marc Chagall

(1887-1985) “The Blue Bird,” by Charles Sorlier, 1968 Lithograph in colors on Arches paper Edition: XLV/L (one of 50 artist’s proofs, aside from the edition of 200) Signed, numbered, and inscribed in pencil in the lower margin: Marc Chagall; Mourlot, Paris, prntr.; Maeght Editeur, Paris, pub.

Image: 23” H x 17” W; Sheet: 28” H x 20.5” W $8,000-12,000 Literature: Charles Solier 41 Notes: Marc Chagall authorized Charles Sorlier to use his 1954 gouache, “L’Oiseau Bleu,” as the model for the 1968 color lithograph offered here. Sorlier was careful to capture Chagall’s 1954 signature and date in the stone at the lower left, and then credits himself as the lithographer in the stone at lower right.

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Mary Cassatt

(1844-1926) “The Caress,” circa 1891 Drypoint on thick Japanese paper Signed faintly in pencil in the lower margin, at right: Mary Cassatt Plate: 7.75” H x 5.75” W; Sheet: 14.5” H x 10.875” W $5,000-7,000 Provenance: Gustav von Rath (1888-1961) (Lugt 2772) Literature: Breeskin 140

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Bernard Buffet

(1928-1999) Flowers, 1954 Lithograph in colors on wove paper Edition: 58/200 Signed and numbered in pencil in the lower margin: Bernard Buffet; L’Oeuvre Gravee, Paris/Zurich, pub., and with their blindstamp in the lower margin, at left Image: 20” H x 15” W; Sight; 21.25” H (irreg.) x 15.875” W $700-900 Literature: Mourlot 4

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Pablo Picasso

(1881-1973) “Sala Gaspar, Barcelona,” 1961 Lithograph in colors on thick wove paper Edition: 50/50 Signed and numbered in pencil in the lower margin: Picasso; Sala Gaspar, Barcelona, pub.

Image approx: 9” H x 7.25” W; Sheet: 18” H x 14” W $1,000-1,500 Literature: Bloch 1018; Mourlot 338; cf. Cramer books 110-1 Notes: There was also an unsigned and unnumbered smaller format edition of 1000.

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Pablo Picasso

(1881-1973) Poster for Exposition Vallauris, 1952 Linoleum cut on green wove paper Edition: One of 450 from a total edition of 1400 Signed in pencil, lower right: Picasso; Imprimerie Arnéra, Vallauris, prntr.; Morulot, Paris, pub.

Image: 23.5” H x 15.625” W; Sheet: 27.5” H x 19.75” W $1,000-2,000 Provenance: Sold: Swann Auction, New York, NY, “19th & 20th Century Prints & Drawings Featuring Property from the Ismar Littmann Family Collection,” Mar 5, 2019, Lot 428 Literature: Bloch 1257; Czwiklitzer 11

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Pablo Picasso

(1881-1973) “La Petite Bacchanale,” 1959-1961 Linocut in colors on Arches paper An unnumbered impression aside from the edition of 50 Signed and inscribed, partly illegibly, “pour [possibly Luis],” in pencil in the lower margin: Picasso Image: 8.625” H x 10.375” W; Sheet: 17.625” H x 24.625” W $6,000-8,000 Literature: Bloch 1020; Geiser/Baer 1250

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Pablo Picasso

(1881-1973) “Jacqueline au chevalet,” 1956 Partial glaze and engobe on earthenware ceramic Edition: 146/200 Stamped and numbered to underside: Madoura Plein Feu / Empreinte Originale de Picasso / F.219 16.5” Dia. $20,000-30,000 Literature: Alain Ramie 333

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Pablo Picasso

(1881-1973) “The Acrobats,” circa 1905 India ink on tan wove paper laid to paper Signed in pencil lower left: Picasso; titled and dated on a gallery address card; with a pencil number 1743 written inside the Galerie Kahnweiler oval ink stamp, and a partly illegible pencil notation, all verso Sheet: 9.25” H x 12.25” W $10,000-15,000 Provenance: Provenance: The Artist Daniel-Henry Kahnweiler, acquired from the above, circa 1912 Galerie Kahnweiler, Paris, France, no. 1743 Galerie Martin du Louvre, Paris, France Mekler Gallery, Inc, Los Angeles, CA Estate, Beverly Hills, CA, acquired from the above, circa 1975 Notes: This lot is accompanied by a photograph of the work with a typed certificate of authenticity statement signed in ink in 1972 by Daniel-Henry Kahnweiler on its verso. German-born Kahnweiler (1884-1979) was one of the most influential art collectors, dealers, and Parisian gallery owners of the 20th century. Starting from about the time of this drawing, he became one Picasso’s (as well as peers such as George Braques and Fernand Leger) earliest supporters. This lot also includes a large gallery address card with the title, date, and price written in ink, apparently by a subsequent Parisian gallery owner, John-Paul Bogart.

This work may have darkened somewhat over time due to exposure to light and/or former methods of storage and/or framing, however, it is also worth noting that there are similar India ink drawings from this time period done on paper of comparable size which is classified as “thin tan wove paper.”

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Zao Wou-Ki

(1920-2013) “Jardin la Nuit,” 1954 Lithograph in colors on wove paper Edition: 60/96 Signed in Chinese and Pinyin, dated, and numbered in pencil at the lower margin; E. et J. Desjobert, Paris, prntr.; Klipstein & Co., Bern, pub.

Image: 17.25” H x 22.5” W; Sheet: 20” H x 25.75” W $3,000-5,000

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Roy Lichtenstein

(1923-1997) “Modern Head #5” from the “Modern Head” series, 1970 Embossed graphite with Strathmore die-cut paper overlay Edition: 75/100 (there were also 7 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL70-244 Sheet: 28” H x 19.5” W $10,000-15,000 Provenance: Gemini G.E.L., Los Angeles, CA The Marmor Family Collection, acquired from the above, November 2, 1969 Literature: Corlett 95; Gemini 246; NGA Gemini CR 31.27; RLCR 1887 Notes: Roy Lichtenstein’s “Modern Head” series, created in the 1970s, stands as a critical dismantling of the history of Modern Art. This series represents a shift in Lichtenstein’s approach, moving away from massproduced imagery towards the appropriation of stylistic conventions and specific works of Modern masters, including Picasso, Monet, Matisse, and Mondrian.

As a transitional figure between modernism and postmodernism, Lichtenstein recreated versions of Impressionist, Cubist, Art Deco, and German Expressionist works in his signature comic style. Despite the parody inherent in his work, Lichtenstein expressed admiration for the artists he referenced, stating, “The things I have apparently parodied I actually admire.”

The inspiration for the “Modern Head” series came from Alexei von Jawlensky’s Constructivist portrait heads exhibited in the 1968 Pasadena Art Museum’s Serial Imagery exhibition. Lichtenstein adopted Expressionist motifs from Jawlensky’s work, infusing them with his own Pop aesthetic to create original compositions.

The “Modern Head” series challenges Modern Art by presenting fine art portraits in the style of massproduced comic illustrations. Drawing on Constructivist and Machine Art methods of depicting human figures with an industrial machine quality, Lichtenstein employed machine printing techniques such as dots and flat colors to create figures reminiscent of media images.

Each work in the “Modern Head” series was produced using a distinct commercial printing process, including woodcut, lithography, line-cut, embossing, and die-cut paper overlay. The portfolio combines Art Deco and Cubist traditions of flat and curvilinear geometric planes with Lichtenstein’s characteristic bright, rich colors and schematic forms. These methods, along with dotted areas and regularized stripes, signify the tone and texture of printed material.

The work is mounted in its original white lacquered aluminum frame with wood stretcher support and with the Gemini G.E.L. black ink stamp on the verso of the wood support.

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Roy Lichtenstein

(1923-1997) “Crak!” poster for Castelli Gallery exhibition, circa 1964 Offset lithograph in colors on wove paper Unsigned; Poster Originals Ltd., Hollywood, CA, prntr./pub.

Image: 18.5” H x 27” W; Sheet: 21” H x 28.5” W $2,000-3,000 Provenance: The Marmor Family Collection Literature: Corlett II2.C

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Robert Rauschenberg

(1925-2008) “Back Out” from “Suite of Nine Prints,” 1979 Offset lithograph in colors on wove paper Edition: 37/100 Signed, dated, and numbered in pencil at the lower edge: Rauschenberg; Styria Studio, New York, NY, prntr., with their blindstamp in the lower edge, right of center; Multiples, Inc., New York, NY, pub.

Image/Sheet: 30.5” H x 23” W $1,000-1,500

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Sam Francis

(1923-1994) Untitled, from the “Papierski Portfolio”, 1992 Lithograph in colors on paper An artist’s proof aside from the edition of 50 Signed in pencil and inscribed “AP” along the lower edge of the image; Editions Daniel Papierski, Paris, pub.

Sight: 21.625” H x 29.625” W $1,500-2,500 Literature: Lembark addendum SF-355

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Ken Price

(1935-2012) “Frog Cup,” 1971 Screenprint in colors on paper Edition: Artist Print IV, , aside from the edition of 71 Signed, dated, and numbered in the lower edge, at center: Price; Gemini G.E.L, Los Angeles, prntr./pub., with blindstamps lower image, at center Image/Sheet: 39.75” H x 29.875” W $1,000-2,000 Literature: Gemini 626

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(1935-2012) Van, 1981 Lithograph in colors on paper Edition: 30/35 Signed, dated, and numbered in pencil in the lower margin: Price Image: 12” H x 7.25” W; Sight: 12.5” H x 7.75” W

(b. 1952) “All Washed Up,” 2002 Oil on linen Initialed and dated lower right: CA; si inscribed, verso: Chester Arnold 18” H x 22” W

Ken Price

$800-1,200

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Chester Arnold

$1,500-2,500

Notes: Inscribed verso: another wave the prizes / and following that a / wor the chance of tides / all things will pas

igned again, titled, and

will rise / to wash away rld remembered. / I’m ss

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Chester Arnold

(b. 1952) “Till + Tweed, Slaw + Speed,” 1995 Oil on linen Initialed and dated lower right: CA; titled on the lower edge, at center 18” H x 24” W $1,000-2,000

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Chester Arnold

(b. 1952) “Moon of Separation,” 1995 Oil on canvas Initialed and dated lower right: CA 20” H x 24” W $1,000-2,000 Provenance: Elizabeth Leach Gallery, Portland, Oregon

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(1911-1960) Portrait of Clifton Webb Oil on canvas Unsigned 18” H x 14” W

(1928-2010) “Douro Valley VII,” 1997 Monotype with hand-colorin Signed, dated, and inscribed edge: N. Oliveira; Tamarind pub., and with their blindsta Image/Sheet 22.25” H x 30”

Attributed to David Park

$3,000-5,000

Nathan Oliveira

$800-1,200

Provenance: Marsha Mateyk Sold: Bonhams, Los Angeles September 27, 2022, Lot 19

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ng on wove paper d “VII” in pencil at the lower sheet Institute, Albuquerque, NM, prntr./ amp lower left ”W

ka Gallery, Washington, D.C. s, CA, “Prints & Multiples,” 92

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Nathan Oliveira

(1928-2010) Figure, 2001 Watercolor on paper Signed and dated lower right: Oliveira 14” H x 17” W $1,000-2,000

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Nathan Oliveira

(1928-2010) “Imi Study #2,” 1990 Oil on canvas Signed and dated lower right: Oliveira; titled on a gallery label affixed to the frame 16” H x 20” W $3,000-5,000 Provenance: Marsha Mateyka Gallery, Washington, D.C. Private Collection, Warrenton, VA Sold: Brunk Auctions, Asheville, NC, “Modern to Contemporary Auction,” April 21, 2023, Lot 189

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Wayne Thiebaud

(1920-2021) “Rooster,” from “The Physiology Of Taste,” 1994 Lithograph in colors on wove paper Edition: P.P. 1/5 (one of five printer’s proofs aside from the edition of 20) Signed, dated, numbered, and inscribed in pencil in the lower margin: Thiebaud; Trillium Graphics, Brisbane, CA, prntr.; Arion Press, San Francisco, pub.

Image: 12.25” H x 9” W; Sheet: 20” H x 16” W $3,000-5,000 Provenance: Grabhorn Institute, San Francisco, CA

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Gregory Kondos (1923-2021)

Gregory Kondos, a luminary of American landscape pain splendor. Born in 1923 in Lynn, Massachusetts, Kondos

With roots tracing back to his Greek heritage, Kondos’s World War II, his passion for painting flourished during h Sacramento, where he immersed himself in the vibrant N

Kondos’s oeuvre is defined by his adept use of color and resonance. His distinctive style blends elements of impr place and atmosphere. Influenced by artists like Maynar language celebrated for its intuitive and uninhibited tec co-founded the Artists Cooperative Gallery, a pioneerin

Known primarily for his evocative landscapes, Kondos a understanding of color and form. His abstract composit willingness to push artistic boundaries. Despite being le ability to convey complex emotions and ideas through c

Throughout his career, Kondos maintained a rich exhibit group exhibitions such as the American Academy of Art Park, where he found inspiration during summer months

Beyond his artistic achievements, Kondos made signific students to explore the boundless possibilities of painti

Honored with numerous awards, including those from th and educator resonates deeply within and beyond the a beauty and wonder of the world.

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nting, has left an enduring mark on the history of art with his captivating interpretations of nature’s embarked on a journey marked by unwavering dedication and boundless creativity.

artistic sensibilities were nurtured from a young age. After serving in the United States Army during his studies at the Art Center College of Design in Los Angeles and later at California State University, Northern California art scene.

d light, breathing life into his landscapes and imbuing them with dynamism and emotional ressionism and post-impressionism, transcending mere representation to evoke profound senses of rd Dixon, Willem de Kooning, Paul Cézanne, and Paul Gauguin, Kondos developed a unique visual chnique, often likened by his friend Wayne Thiebaud to “a kind of brush dancing.” Together, they ng showcase for aspiring artists in northern California.

also ventured into abstract painting with a distinctive approach that showcased his profound tions featured bold, gestural brushstrokes and vibrant color harmonies, revealing his versatility and ess recognized than his landscapes, Kondos’s abstract works underscored his innovative spirit and canvas.

tion history, including solo shows in Sacramento and San Francisco, and participation in prestigious ts and Letters in New York in 1993. He also served as an artist-in-residence at Yosemite National s.

cant contributions as an educator at California State University, Sacramento, inspiring countless ing.

he Winter Invitationals at the California Palace of the Legion of Honor, Kondos’s legacy as an artist art world. His enduring impact stands as a testament to art’s transformative power in illuminating the

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Gregory Kondos

(1923-2021) Abstract in blues, 1961 Oil on canvas Signed and dated lower left: G. Kondos 16” H x 20” W $6,000-8,000

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Henrietta Berk (1919-1990)

The story of the career of Henrietta Berk is of triumph an ignited. Born in 1919 in Wichita, Kansas, Berk lived the by her father and left at an orphanage by her mother, B Berk turned to artmaking during her time at the orphan Dr. Morris Berk in 1939, living the life of an American ho

Berk could not resist painting. She began executing sma in 1957. She was urged by a friend to take art classes an the oldest student in the classroom. She studied under her studies at CCAC and visiting the surrounding contem participation in a group show, “Painted Flower,” at the O her solo exhibition at Lucien Labaudt Art Gallery that pr the next decade, often the only woman on the roster. B abstract expressionism gripping the West Coast art wor

Her creative output only diminishing with her health. Di by the middle of the 1970s. Unfettered by her lack of vi death in 1990.

Henrietta Berk’s artistic achievements inspire, and her w proclaims, “Berk defied the odds. She had every reason of these obstacles could have derailed her career. But w gratified by the critical recognition and grateful for the fi through making her art.” Henrietta Berk’s life works are in Orange, California, in 2021.

nd creative explosion, one that proves that it is never too late for an artistic genius to become life of a traditional American woman in the middle of the 20th century. Until she didn’t. Abandoned Berk’s early childhood is clouded and tragic. To heal her trauma and forge an independent identity, nage. Berk graduated from high school in 1936 but did not complete a college degree. She married ousewife, her personal artmaking a mild annoyance to her husband.

all interior projects for neighbors in Oakland, California, receiving some recognition in the press nd enrolled on and off at CCAC (California College of Arts and Crafts) from 1957 to 1961, often Robert Diebenkorn in the summer of 1957, which would alter her artistic career forever. From mporary art scene, Berk’s work would become linked to the Bay Area Figurative Movement. Her Oakland Art Museum (now the Oakland Museum of California Art) gained some attention, but it was ropelled her career as an artist. Berk participated in numerous solo and group exhibitions throughout Berk blurred the line between realism in landscape and figurative painting and the movement of rld.

iagnosed with diabetes in the later 1960s, it steadily worsened her eyesight until she was near blind ision, Berk continued to paint (on large canvases so she could make out shapes and colors) until her

work is coming into its own in American art history. As professor and art historian Deborah Solon n not to succeed. Age, gender, lack of full-time training, and a complicated personal history-any one when she painted, all those hurdles evaporated. Berk was circumspect and self-effacing. Although financial success, her true focus was the personal freedom, joy, and creative delight she experienced experiencing a rediscovery and were the center of a retrospective exhibition at The Hilbert Museum

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Henrietta Berk

(1919-1990) “Sand Pile,” circa 1967 Oil on canvas Signed lower right: H. Berk; titled on a gallery label affixed to the frame, verso 36” H x 36” W $5,000-7,000 Provenance: The Carter Gallery, Los Angeles, CA Steven Stern Fine Arts, Los Angeles, CA Literature: Cindy Johnson, “In Living Color: The Art and Life of Henrietta Berk” (Beverly Hills, CA, Cool Titles, 2020), 82, p. 26.

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

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Henrietta Berk

(1919-1990) “Evening Sky (Sonoma Valley),” circa 1965-68 Oil on canvas Signed lower right: H. Berk; titled by repute 30” H x 30” W $6,000-8,000 Notes: Select Museum Collections: Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY San Francisco Museum of Modern Art, San Francisco, CA Santa Barbara Museum of Art, Santa Barbara, CA Solomon R Guggenheim Museum, New York, NY Whitney Museum of American Art, New York, NY

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Raimonds Staprans (b. 1926)

Raimonds Staprans, born in Latvia in 1926, is a distingu immigrating to the United States in 1947, Staprans beg artists Alexander Archipenko and Mark Tobey. He later where influential figures like Hans Hofmann and Karl Ka

Staprans’ work is celebrated for its bold use of color, ge everyday objects and landscapes with distinctive clarity Throughout his career, Staprans has exhibited widely, e enduring impact on the art world is marked by a relentl mastery.

The works offered in this sale, “Blue Skies, Red Paint” a features two paint cans on a minimalist surface with a v Can and Orange” showcases an orange and a can agai brushwork and attention to light and shadow. Both piec soft, muted gray at the bottom to a vibrant orange at th object and enhances the harmony of the composition. between the smooth, organic surface of the orange and visual statements.

uished painter and playwright known for his vibrant and meticulously structured works. After gan his formal art education at the University of Washington, where he studied under the renowned moved to the San Francisco Bay Area to continue his studies at the University of California, Berkeley, asten further shaped his artistic vision.

eometric forms, and unique interplay between abstraction and representation. He often depicts y and intensity, establishing himself as a significant figure in the Bay Area painting movement. earning acclaim for both his visual art and his literary works, which include several successful plays. His less exploration of form and color, making his pieces a testament to his innovative spirit and artistic

and “A Can and Orange,” exemplify Staprans’ profound visual elements. “Blue Skies, Red Paint” vivid orange background, using bold colors and clean lines to create a powerful visual statement. “A inst a background transitioning from muted gray to vibrant orange, highlighting Staprans’ precise ces invite viewers to appreciate the interplay of color and form. The backgrounds transition from a he top, creating a sense of depth. This juxtaposition emphasizes the distinct characteristics of each Staprans’ precise brushwork and keen attention to light and shadow highlight the textural differences d the sleek, metallic surface of the can. These elements transform everyday scenes into compelling

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Raimonds Staprans

(b. 1926) “Blue Skies, Red Paint,” 1994 Oil on canvas Signed and dated lower right: Staprans; titled verso 42” H x 48” W $100,000-200,000 Provenance: Mendenhall Gallery, Pasadena, CA Exhibited: Pasadena, California, Mendenhall Gallery, “Raimonds Staprans,” January 13-February 8, 1996, illus Notes: This lot includes a copy of the sales invoice issued by the abovementioned gallery on December 29, 1995. It also includes the gallery’s exhibition brochure with an illustration of this painting and an essay written by Paul J Karlstrom. At the time, Karlstrom was the West Coast Regional Director of the Smithsonian Institution’s Archives of American Art, and editor of “On the Edge of America: California Modernist Art 1900-1950” published later that year. Karlstrom went on to write “Raimonds Staprans: Art of Tranquility and Turbulence” in 2006 for the University of Washington Press. “Blue Skies, Red Paint” appears as plate 46 on page 12 of that more recent publication.

Raimond Staprans, born in Latvia in 1926, immigrated to the United States in 1947. He studied art at the University of Washington under Alexander Archipenko and Mark Tobey before moving to the San Francisco Bay Area to study at the University of California, Berkeley. His professors, Hans Hofmann and Karl Karsten, proved influential to the young artist’s working methods which helped Staprans become an iconic figure in the Bay Area painting movement.

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Raimonds Staprans

(b. 1926) “A Can and Orange,” 1996 Oil on canvas Signed and dated lower right: Staprans; titled verso 17.75” H x 21” W $20,000-40,000 Exhibited: Pasadena, CA, Mendenhall Gallery, “Raimonds Staprans,” January 11-February 10, 1997.

Literature: Paul J. Karlstrom and Peter Mendenhall, “Raimonds Staprans,” (Pasadena: Mendenhall Gallery, 1997), illustrated (n.p.).

Notes: This lot is sold together with a copy of the abovementioned exhibition catalogue, inscribed in ink on the title page, “For Greg with appreciation, R. Staprans / 1/11/[1997].”

Raimond Staprans, born in Latvia in 1926, immigrated to the United States in 1947. He studied art at the University of Washington under Alexander Archipenko and Mark Tobey before moving to the San Francisco Bay Area to study at the University of California, Berkeley.

His professors, Hans Hofmann and Karl Karsten, proved influential to the young artist’s working methods which helped Staprans become an iconic figure in the Bay Area painting movement.

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James Weeks

(1922-1998) “Concord River Seen from a Bridge” Acrylic on canvas Initialed lower left: JW; titled on two labels affixed, verso 66.5” H x 54.5” W $4,000-6,000 Provenance: Hirschl & Adler Galleries, New York, NY CIGNA Museum and Art Collection, acquired from the above, 1982 Sotheby’s, New York, NY, “Contemporary Discoveries”, September 2023, Lot 523 Private Collector, Los Angeles, CA, acquired from the above Blacklight: No evidence of restoration.

Frame: 67.5” H x 55.5” W x 2” D

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Ynez Johnston (1920-2019)

Ynez Johnston was an American artist celebrated for he personal symbolism. Born in Berkeley, California, Johnst unique visual language and imaginative creations.

Johnston’s early education at the University of California modernist movements. She was inspired by modernist a distinctive style characterized by detailed, dreamlike im Her work is recognized for its elaborate compositions, fe to otherworldly realms.

Throughout her career, Johnston was not confined to on paintings, in particular, gained acclaim for their intricate Johnston incorporated diverse cultural motifs and icono Nepalese art, weaving together a global tapestry of visu

“Conquest of Everest” is an exemplary piece that demo a palette dominated by cool blues and earth tones, inte of lines and shapes suggests a journey or exploration, e viewers to embark on their own imaginative expedition

It is no surprise that Ynez Johnston’s art garnered signifi featured in prestigious institutions such as the Museum of Modern Art. She received numerous awards and fello community at the time, and well into modern-day, even

Johnston’s artistic journey is one of exploration, innovat fantastical worlds shaped by her unique vision and artist

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er intricate and fantastical works that blended elements of modernism with ancient mythologies and ton’s artistic career spanned over seven decades, leaving an indelible mark on the art world with her

a, Berkeley, during the 1940s, provided a solid foundation in art and exposure to the burgeoning artists of her time such as Paul Klee, Joan Miró, and Max Ernst. But Johnston herself, developed a magery that often evoked the feel of ancient maps, illuminated manuscripts, and exotic landscapes. eaturing a mix of abstract forms, mythical figures, and architectural elements that transport viewers

ne medium; she demonstrated versatility across painting, printmaking, and sculpture. Her prints and e line work and rich textures. Influenced by her extensive travels in Europe, Asia, and Latin America, ographies into her art, mixing influences from Byzantine art, as well as Tibetan, Indian, Mexican and ual narratives.

onstrates Johnston’s distinctive blend of abstract modernism and intricate detail. Ynez Johnston uses erspersed with bursts of vibrant colors, to create a layered, textured effect. The complex network echoing the ambitious title. Johnston’s meticulous line work and thoughtful color application invite through this otherworldly terrain, capturing the essence of both conquest and discovery.

ficant attention and was exhibited widely in the United States and internationally. Her work has been of Modern Art in New York, the Los Angeles County Museum of Art, and the San Francisco Museum owships, including a Guggenheim Fellowship in 1952, which emphasized her importance in the art n after her passing in March of 2019.

tion, and profound imagination. Her work continues to captivate and inspire, offering a window into tic prowess.

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Ynez Johnston

(1920-2019) “Conquest of Everest,” 1966 Casein on canvas Signed lower right: Ynez Johnston; titled on the stretcher and on a gallery label affixed to the stretcher 30.25” H x 20.25” W $5,000-7,000 Provenance: Tortue Gallery, Santa Monica, CA Notes: This lot includes a copy of the book by Gerald Norland, “Ynez Johnston” (Miami Beach: Grassfield Press Inc., 1996).

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Peter Alexander

(1939-2020) “Hallelujah I,” 1988 Lithograph in colors on wove paper Edition: 23/50 Initialled, titled, dated and numbered in pencil in the lower margin: P. A. Image: 18” H x 20” W; Sheet: 22” H x 30” W $1,500-2,000

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Vasa Velizar Mihich

(b. 1933) Polychromatic pillar sculpture, 1990 Laminated cast acrylic Signed and dated: Vasa © 14.125” H x 5” W x 2.75” D $600-800

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Laddie John Dill

(b. 1943) Abstract wall sculpture, 1988 Glass over carved concrete and oxides on plywood Signed and dated verso: Laddie John Dill 32.5” H x 50.5” W x 7.75” D $1,000-2,000

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Edward Ruscha

(b. 1937) “Absolut,” 1988 Offset lithograph in colors on wove paper From the unnumbered edition of 200 Signed and dated in black ink along the upper edge of the image, at right: © Ed Ruscha; Absolute Americana Art Gallery, St. Augustine, FL, pub.

Image: 41.75” H x 30.5” W; Sheet: 45.25” H x 33.25” W $1,000-1,500

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Masami Teraoka (b. 1936)

A defining artist of the contemporary ukiyo-e style, Ma current events, all through the lens of evocative satire. old Teraoka survived the atomic bombing of the city th studying Aesthetics. After graduating in 1959, Terakoa graduating with a BFA and MFA by 1968. It was during cream, and other symbols of American pop culture wit

The 1970s and 1980s were a tumultuous period in the piquant. Teraoka’s pieces also increased in physical siz of large-scale collections of works, each series comme recently, the abuse and scandals of the Catholic church

Masami Teraoka continues to create new art projects fr continues to be exhibited nationally and internationall Japan.

asami Teraoka combines traditional Japanese woodblock printing with American pop culture and . Teraoka was born in Japan in 1936, in the city of Onomichi just outside of Hiroshima. At nine years hat ended World War II. Years later, Teraoka attended Kwansei Gakuin University in Kobe, Japan, a moved to the United States in 1961 to attend the Otis College of Art and Design in Los Angeles, g his time at Otis that Teraoka developed his signature blend of styles: incorporating McDonalds, ice th the “floating world” of ukiyo-e imagery.

e United States, socially, culturally, and politically, and Teraoka’s work moved to be more critical and ze, attesting to the importance of the subject matter being depicted. This period is marked by a series enting on a different social or political issue, such as the AIDS epidemic, globalization, and, more h.

rom his studio in Hawaii. His work is in numerous private and public institutions across the world and ly. This lot is from the New Wave Series, in which a Western tourist is washed up on the shores of

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Masami Teraoka

(b. 1936) “Rabbit Island Catfish” from the “New Waves Series,” 1992 Watercolor on wove paper Signed with the two artist’s monograms lower left; signed again, titled, and dated in pencil on the lower sheet edge, verso; titled and dated again on various gallery and exhibition labels affixed to the frame’s backing board Image/Sheet: 15” H x 22.25” W $20,000-30,000 Provenance: Pamela Auchincloss Gallery, New York, NY Catharine Clark Gallery, San Francisco, CA Exhibited: Washington, D.C., Arthur M. Sackler Gallery, Smithsonian Institution, “Paintings By Masami Teraoka,” June 30, 1996-January 1, 1997, no. 17, p.79 (illustrated) Literature: James T. Ulak, Alexandra Munroie, Masami Teroka, with Lynda Hess, “Paintings By Masami Teraoka,” (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution; New York, NY: In association with Weatherhill, 1996), p.79 (illustrated).

Notes: A preliminary sketch of this work in pencil, presumably in the hand of the artist, is on the verso sheet.

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Hong Viet Dung

(b. 1962) Girl with a basket Oil on canvas Signed and dated indistinctly lower right: Viet Dung 40” H x 40” W $5,000-7,000

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Alexander Calder

(1898-1976) Untitled (sketch of “Man” stabile), 1966 Ink on paper Unsigned 6.375” H x 5.125” W $1,500-2,000 Provenance: Calcott and Polly Clapp, CT, gift from the artist, 1966 Christopher Clapp, Woodbury, CT, by descent from the above, 1979 Private Collection, Hamden, CT, acquired from the above, 2022 Exhibited: Palm Desert, CA, Heather James Fine Art, “Calder,” November 27, 2015-May 30, 2016; Jackson Hole, WY, Heater James Fine Art, “Calder,” July 4-September 30, 2016 Literature: Heather James Fine Art, “Calder,” (Palm Desert: Heather James Fine Art, 2015), 88.

Notes: This work is registered in the archives of the Calder Foundation, New York, under the application number: A19038.

This sketch relates to the 72-foot-tall outdoor sculpture, “L’Homme” (or its alternate title “Trois disques”) which Calder did as a commission for the 1967 World’s Fair in Montreal, Quebec. In the early 1990s, this second largest of the artist’s stabiles was moved to its current location in Parc JeanDrapeau, Montreal, Quebec.

Affixed to the frame’s backing board is an engraved announcement for the marriage of Pietro Salvatore Nivola and Virginia Davis on the 9th of April, 1966.

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Shepard Fairey

(b. 1970) “Paint It Black Series,” 2016 The set of three screenprints in colors on Somerset paper Edition of each: 299/300 Each signed, dated, and numbered in pencil in the lower margin: Shepard Fairey; Poster Child Prints, Los Angeles, CA, prntr. / pub., with their blindstamp Image of each: 15.75” H x 12” W; Sheet of each: 18” H x 14” W $500-700 Notes: This set of three works, number 299/300, is sold together with a certificate of authenticity from Poster Child Prints, Los Angeles, CA.

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Shepard Fairey

(b. 1970) “Peace Series 2 (Doves),” 2015 The set of three screenprints in colors on Stonehenge paper Edition of each: artist’s proof (the edition was 250) Each signed, dated, and inscribed in pencil in the lower margin: Shepard Fairey; Poster Child Prints, Los Angeles, CA, prntr./pub., with their blindstamp Image of each: 15.75” H x 12” W; Sheet of each: 18” H x 14” W $500-700 Notes: This artist’s proof set of three screenprints is sold together with a certificate of authenticity from Poster Child Prints, Los Angeles, CA.

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KAWS, Barry (Twist) McGee, Margaret Kilgallen, Shepard Fairey, Ruby Rose Neri, Jared (Geso) Costa, Mr. Element, Spie One, Grey, and other Graffiti/Street artists

Created by San Francisco street artist, Jared (Geso) Costa (b. 1977) from 1995 through 1996. A tag book composed of three bound artist sketchbooks comprising mixed media, pen, pencil, colored pencil, felt-tip pen, tape, stickers, photo, and paper collage, containing over 100 pages of approximately 236 tags and original works by various street artists from San Francisco, Los Angeles, and New York.

6” H x 4.5” W x 3” D $15,000-25,000 Notes: This lot of tags and sketches by legendary artists represent an important aspect of the Graffiti/Street Art genre. Individual artists would carry these sketchbooks, containing doodles, plans, and drawings for projects, and collaborate with other area artists out in the field. Artists would sign, tag, or draw in each other’s books. As these sketchbooks filled with work, they were often referred to as “bibles.” A tag in a “bible” meant you were doing something meaningful in the streets, and your peers were acknowledging that. To have a tag in a “bible” was one thing; to have multiple tags meant you were going places.

Artists represented in this book include KAWS (b. 1974), Shepard (Sheppard) Fairey (b. 1970), Ruby Rose Neri (b. 1970), Margaret (Meta) Kilgallen (1967 - 2001), Jared (Geso) Costa (b. 1977), Barry (Twist) McGee (b. 1966), and various other street artists who, literally, made their mark in the Graffiti/Street Art scene. Many of these artists would be codified into the “Mission School” of Street Artists based in and around the Mission District of San Francisco. The “Mission School” was not characterized by traditional graffiti crews as one might associate with street art. Instead, it was an informal collective of artists sharing a common aesthetic, often collaborating on various projects. They engaged in street art activities, incorporating a blend of graffiti, muralism, and other expressions, united by camaraderie and a desire to push artistic boundaries.

While some may have seen KAWS’ tag books behind glass at the Brooklyn Museum in 2021, this tag book, owned and created by Jared (Geso) Costa (b. 1977) and comprising of approximately 236 tags, is a uniquely important object from the early Graffiti/Street Art movement to come to the auction block. This “bible” is a testament to a time when the American Graffiti and Street Art Movement was still in its infancy, and getting their art noticed meant running in a crew, running from the police, and putting their work in as many public spaces as possible.

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Alec Monopoly (b. 1986)

Alec Monopoly is a renowned street artist whose distin an early age, inspired by the vibrant urban landscape s art, Alec’s work seamlessly blends satire, social commen

Known for his iconic depiction of the Monopoly Man, A in modern society. Through his vibrant murals, playful in the relentless pursuit of success.

Alec Monopoly’s rise to prominence came through his g His distinctive style and irreverent humor quickly caugh galleries, and celebrities around the world.

Beyond his street art, Alec Monopoly’s portfolio extend work has been exhibited in prestigious galleries and mu In addition to his artistic endeavors, Alec Monopoly is a initiatives focused on education, homelessness, and en

With his unmistakable aesthetic and bold storytelling, A contemporary art scene.

nctive style has captivated audiences worldwide. Born in New York City, Alec’s passion for art began at surrounding him. Drawing influence from the worlds of pop culture, finance, and contemporary street ntary, and nostalgia.

Alec Monopoly uses this character as a vehicle to explore themes of wealth, greed, and consumerism nstallations, and striking canvases, he invites viewers to reflect on the complexities of capitalism and

guerilla-style street art, which first gained attention on the walls of Los Angeles and New York City. ht the eye of collectors and art enthusiasts alike, leading to collaborations with leading brands,

ds to sculpture, mixed media, and digital art, continually pushing the boundaries of his creativity. His useums, including Art Basel Miami, and the Museum of Contemporary Art Los Angeles. a passionate advocate for social causes, using his platform to raise awareness and support charitable nvironmental conservation.

Alec Monopoly continues to inspire and provoke audiences, leaving an indelible mark on the

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Alec Monopoly

(b. 1986) “The World is Yours” Mixed media on panel Signed at the lower edge: Alec Monopoly 48” H x 36” W $10,000-15,000

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Bryan Ida

(b. 1963) “Sunset Strip,” 2014 Acrylic and epoxy on panel Signed, dated, and titled, verso: Bryan Ida 44” H x 35.5” W $1,500-2,500 Exhibited: Los Angeles, CA, George Billis Gallery, “Remnants,” November 2014 Bakersfield, CA, Bakersfield Museum of Art, “Bryan Ida: Life of Change a Retrospective,” September 2023

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Dan Baldwin (b. 1972)

Known for a vibrant style that is recognizable across a design collaborations, contemporary British artist Dan colleagues as Banksy, Damien Hirst, and Sir Peter Blak

Baldwin combines rich, saturated colors alongside bri painterly, expressionistic strokes reflect his appreciatio more identifiable elements, often highly personal in n undergraduate degree in illustration from Kent Institu

“My work is always about life, harmony & balance but together, innocence with decay, symbolism and religio make the viewer think about their connections. It all li

The two canvases comprising the present lot, “Cherry art. Baldwin, however, intended that they be viewed a inspire a sense of safety and comfort. In one, we see m the date of my birth. The rooms are populated with sy Beetle in Cherry Blossom II also has very a personal m college and finding independence. At the same time barbed wire fence, a fire, rain clouds. And finally the c tragically short.”

The enduring power and popularity of this diptych wa he granted CCA Galleries in Surrey, England permissi Coriander Studio in Isleworth, England. The screenpri individually or as a pair, with the latter intended to mo the unique lot offered here.

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a range of media including painting, printmaking, ceramics, book and album covers, and clothing n Baldwin has exhibited and sold his works worldwide alongside such Young British Artist Movement ke.

ight, often neon ones to create energetic, intriguing visual tapestries and environments. Abstract, on for artists such as Jean-Michael Basquiat and Robert Rauschenberg, whereas his renditions of nature, can range from curious or ominous to playful and cartoonish, and may hark back to his 1995 ute of Art and Design in England.

t often explores the fine line between that and death. I love to contradict and put opposing factors on, nature and war..... I want to present elements that force a dialogue between all the elements and inks.”

y Blossom I” and “Cherry Blossom II,” are each worthy of standing on their own as finished works of as a diptych: “.... we see two rooms, two interiors, the kind of familiar domestic interiors that should my mantelpiece, the clock always set to 2.40, or twenty to three: 23 being my favourite number and ymbols of refuge; the bird returning to the nest, children climbing the stairs. The inclusion of the VW meaning; it was my first car and I restored it with my stepfather, it was also the means for getting to art these cosy rooms are invaded by a sense of time passing, the fragility of memory; a cracked vase, a cherry blossom, which in Japanese culture is a reminder that life is overwhelmingly beautiful, but also

as already verified in 2016 when, just one year after Dan Baldwin finished the paintings shown here, ion to publish them as a limited edition of 100 hand-signed, color screenprints on paper printed by inted versions were reduced in scale to approximately 34” H 31.5” W, and could be purchased either ost closely echo Baldwin’s original concept whereby the two paintings would be viewed side by side as

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Dan Baldwin

(b. 1972) “Cherry Blossom I,” and “Cherry Blossom II” (dipytch), 2015 Mixed media with collage on two canvases Each signed and dated in black marker on the stretcher bar, verso: Dan Baldwin; the first signed and dated again in ink along one of the wrapped vertical edges of the canvas, verso; the second inscribed “cold wind blows” in ink along the wrapped upper edge of the canvas, verso Each: 48” H x 43” W $7,000-9,000 Provenance: Lawrence Alkin Gallery, London, England

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Jim Morphesis

(b. 1948) “Quarter of Beef” Mixed media on paper Signed lower left: Morphesis; titled by repute 78” H x 51” W (irreg.) $2,000-3,000

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Senaka Senanayake

(b. 1951) “White Tigers,” 1966 Oil on canvas Signed and dated lower left: Senaka Senanayake; titled on an artist label affixed to the verso 25” H x 30” W $8,000-12,000

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Carlos Terres

(b. 1950) Musician Acrylic on canvas Signed upper right: Terres 31.5” H x 27.5” W $600-800 Notes: A University of Guadalajara label is affixed to the verso of the canvas.

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Gabriel Rivera

(b. 1967) Untitled Mixed media on paper Unsigned 36” H x 38” W $1,000-2,000

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Bruno Zupan

(b. 1939) Village street scene Oil and gold leaf on canvas Signed upper right: Zupan; signed again and numbered, verso: 2574 39.5” H x 39.5” W $2,000-3,000

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Steve Roden

(1964-2023) “Inscape,” 1997 Oil on canvas Signed, titled, and dated, verso: Steve Roden 28” H x 28” W $2,500-3,500 Provenance: Griffin Contemporary Exhibitions, Venice Beach, CA

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Jack Roger Hopkins

(1921-2006) Reclining figure in blue Oil on board Signed lower right: Jack R Hopkins 20” H x 29.5” W $1,000-1,500

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Ted Withers

(1896-1964) Pink ribbon Oil on Masonite Unsigned; inscribed verso: Painted by Ted Withers 30.5” H x 19.25” W $2,000-3,000 Notes: An inscription on the verso states: Authenticated by Paul Detlefsen and Clair Fry 7-18-73

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Robert Buckland-Nicks

(20th century) Forest Oil on canvas Signed lower right: Robert Buckland 11” H x 40” W $600-800

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Hunt Slonem

(b. 1951) “Merlin,” 2021 Oil and diamond dust on panel Signed, titled, dated, and with the artist’s copyright, verso: Hunt Slonem; inscribed with a work/inventory number, verso: TDO776 14” H x 11.125” W $5,000-7,000

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Hunt Slonem

(b. 1951) Untitled, 2016 Oil on panel Signed and dated, verso: Hunt Slonem; inscribed verso: CRK03411 10” H x 7.75” W $3,000-5,000

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63

(b. 1974) Untitled, 2007 Collage and mixed media on panel mounted to board, as issued Signed lower right: Marcel Dzama; signed again and dated, verso 7.75” H x 6” W; Mount: 13.75” H x 10.875” W

(b. 1962) “Emily, Alefa, Gloria Banda and Muy village, Malawi),” 2006 Pigment print in colors on paper Edition: 1/8 Signed, titled, dated, and numbered the verso, affixed to the frame’s back Image: 22” H x 33” W; Sheet: 25.25

Marcel Dzama

$700-900

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Guy Tillim

$700-900

yeso Makawa (Petros

d on a photograph of king board: Guy Tillim 5” H x 36” W

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Corita (Sister Mary) Kent

(1918-1986) “Very,” 1970 Screenprint in colors on paper From the edition of unknown size Signed in pencil lower right: Corita Image/Sheet: 23” H x 23” W $700-900

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Corita (Sister Mary) Kent

(1918-1986) “One Great Loaf,” 1965 Screenprint in colors on paper From the edition of unknown size Signed in ink in the lower margin, at right: Sister Mary Corita Sight: 16.75” H x 23” W $400-600 Notes: Corita Art Center lists this image as Archive ID 65-36

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Corita (Sister Mary) Kent

(1918-1986) “(a little),” 1970 Screenprint in colors on paper From the edition of unknown size Signed in pencil lower right: Corita Image/Sheet: 22.5” H x 22.5” W $500-700

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Ruth Armer

(1896-1977) “Surreal Landscape” Oil on canvas Signed lower right: Ruth Armer; titled, possibly in another hand, on the verso of the upper stretcher 20” H x 26” W $5,000-7,000

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Ruth Armer

(1896-1977) “Abstract” Oil on canvas Signed lower right: Ruth Armer; signed again and titled in ink on a small gummed label affixed to the center of the upper stretcher, verso.

22” H x 34” W $5,000-7,000 Notes: Attached to the stretcher of the work is a Jack London Square Art Festival exhibitor label as a well as a San Francisco Museum of Art Rental Gallery label. The former label is annotated “#310,” most likely an exhibitor identification number, which seems to have then been picked up later as an alternate title for the work on the museum’s art rental gallery label.

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69

Ruth Armer

(1896-1977) Architectural abstract Oil on canvas Signed lower right: Ruth Armer 28” H x 36.75” W $4,000-6,000

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70

71

(1912-1999) “Floating Forms,” 1964 Oil on Masonite Signed lower right: Ethel Greene; titled and dated on a label affixed to the stretcher 24” H x 36” W

(1922-1991) “Rooftop Mirage,” 1955 Oil on canvas Signed faintly lower right: two labels affixed to the fr 28” H x 51” W

Ethel Maud Greene

Joyce Treiman

$1,000-1,500

$1,000-1,500

Provenance: Jefferson Gallery, La Jolla, CA

Provenance: EJF Art Colle

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Treiman; titled and dated on rame’s backing paper

ection, La Jolla, CA

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72

Leah Rhinne Hamilton (1906-1960) Two works:

Figures by the shore Oil on canvas Signed lower right: Leah Hamilton 18” H x 22” W “Tony on the Fourth of July, Downievillor [sic]” Oil on canvas Signed lower right: Leah Hamilton; titled by an inscription and label affixed verso 18” H x 28” W $1,000-2,000 Exhibited: “Tony on the Fourth of July, Downievillor [sic],” San Francisco, CA, San Francisco Museum of Art, “S.F Bay Regional Art,” 1945; “Tony on the Fourth of July, Downievillor [sic],” New York, NY, Riverside Museum

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73

74

(1908-1989) “The Search,” 1952 Oil on Masonite Initialed and dated lower right: MM; signed verso 12” H x 15.75” W

(1923-2015) “Mimi in the Orient,” 1993 Monotype, watercolor, and collage Signed, titled, and dated in pencil edge, verso: Miriam Schapiro Sheet: 14.375” H x 29” W

Marion Messinger

$800-1,200 Exhibited: San Francisco, CA, San Francisco Museum of Art, December 15, 1989 - January 28, 1990

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Miriam Schapiro

$1,500-2,500

e on paper along the lower

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75

Miriam Schapiro

(1923-2015) “A Person for Paula,” 1993 Monotype on Arches paper and the silhouetted form cutout from its center Signed and titled in pencil on the lower edge of the full monotyped sheet, verso; inscribed in pencil on the verso of the cutout form: To Paula with love, Miriam, Jan. 13, 1993 Sheet of monotype: 30.25” H x 22.75” W; Cutout form: 22.5” H x 17.25” W $1,000-2,000 Provenance: Paula Kirkeby, Palo Alto, CA, acquired from the artist,1993 Private Collector, San Rafael, CA, by descent from the above

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76

Eliza Douglas (b. 1984) Untitled, 2018 Oil on canvas Unsigned 45” H x 35” W $2,000-3,000 Provenance: Overduin & Co., Los Angeles, CA

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77

John McKaughan, Jr.

(1927-2023) Young boy riding inverted horse Oil, gold leaf, and mixed media on canvas Signed verso: John McKaughan 47.5” H x 59.5” W $1,000-2,000

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78

John McKaughan, Jr.

(1927-2023) Boy with butterfly Oil, gold leaf, and mixed media on canvas Signed verso: John McKaughan 40” H x 36” W $1,000-2,000 Notes: This lot is accompanied by a photograph of the work mounted to toned paper in a plastic sleeve.

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79

Al Aronson

(20th century) “Cinque Terre,” 1977 Acrylic on canvas Signed and dated lower right: Aronson; titled on a label affixed to the stretcher 30” H x 26” W $1,200-1,800

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80

Constantin Georges Macris

(1917-1984) Untitled, 1955 Oil on canvas Signed in the extreme lower left corner: Macris; signed again and dated in ballpoint pen, both possibly in another hand, on the upper stretcher bar, verso; inscribed LACKI in purple pigment on the middle stretcher bar, verso 29” H x 24” W $1,500-2,500 Provenance: Galerie Pierre, Paris, France

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81

Shail Choyal

(b. 1945) Abstracted city view, 1975 Oil on canvas Signed and dated lower left: Shail 34” H x 45.5” W $800-1,200

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82

Walt Kuhn

(1877-1949) Sleeping acrobat, 1944 Oil on canvas laid to waxed canvas Signed and dated lower right: Walter Kuhn 19” H x 17” W $6,000-8,000

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83

Walt Kuhn

(1877-1949) Dressing room, circa 1926 Oil on canvas laid to Masonite Signed lower right: Walt Kuhn 18.25” H x 13” W $4,000-6,000

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Norman Rockwell (1894-1978)

Over the course of 70 years, Norman Rockwell produc among Rockwell’s achievements is his long-standing re American public and emblematic of both the great eve

The present work is an unsigned study for the 38” H x Library, New Rochelle, New York. The finished oil appe According to the artist, this was the first example of his depicts the power of children’s imagination, placing a characters about which they read surrounding them.

This lot is sold together with a vintage issue of the 193 grandfather of the current owner), by repute depicting

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ced more than 800 magazine covers and advertisements for over 150 companies. Most memorable elationship with “The Saturday Evening Post.” Read by millions, Rockwell’s art became iconic to the ents and the everyday life experiences of the twentieth century.

75” W oil painting, “The Land of Enchantment,” currently in the collection of the New Rochelle eared as a double-page spread in the December 22, 1934 edition of “The Saturday Evening Post.” s works to be reproduced in such a wide format for that publication. The whimsical composition young boy and girl in the foreground, each immersed in a book, with the fable and fairy tale

34 magazine described above. Additionally, there is a photograph of the original owner (greatg Charles E. Charlton and Norman Rockwell admiring an album.

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84

Norman Rockwell

(1894-1978) Study for “The Land of Enchantment,” circa 1934 Watercolor, ink, and graphite on paper laid to board Unsigned; titled in the lower portion of the image Image: 9” H x 19.25” W; Sheet: 15” H x 20.25” W $20,000-30,000 Provenance: Gifted by Norman Rockwell to fellow artist, Charles E. Charlton, Champion Place, Alhambra, CA. Private Collection, Arcadia, CA, by descent from the above

Charles E. Charlton and Norman Rockwell admiring an album

December 22, 1934 edition of “The Saturday Evening Post

George Hughes (1907-1990)

Born in New York City in 1907, George Hughes grew u skipping college to attend the Art Students League. A and expanded his skills as an artist.

After finishing his education, Hughes worked on freela turned from fashion illustration in magazines to autom painterly illustrations, Hughes worked on design indus returned to New York City soon after moving to Detro

In 1942, Saturday Evening Post art director Ken Stuart magazine. Hughes was then commissioned by the Pos national fame. The Saturday Evening Post continued t for The Saturday Evening Post, along with illustrations is one of the original paintings for the cover of The Sa scenes that reveal their stories the longer viewers look animated older woman telling a young lady secrets, b her leg while the three cardplayers in the next room st audience’s attention, but they stood out from the norm

Hughes’ paintings were so popular that his work trans WWII, Hughes continued to receive commissions into household name across the United States, turned to p

Hughes’ work can be compared to such luminary artist Wyeth, Kurt Ard, Maxfield Parrish, Saul Tepper, Joseph Stanley Arthurs, John Atherton, and McClelland Barcla

Hughes works can be found in prominent collections i and the National Portrait Gallery

up in the epicenter of twentieth century art and advertising. He stayed in the city until adulthood, After his time at the League, Hughes entered the National Academy of Design, were he developed

ance illustrations for popular magazines such as Vanity Fair and House and Garden. In 1936 Hughes mobiles, moving him away from New York and on to Detroit, the car capital of the US. Instead of strial drafts and worked steadily as a mechanical designer, though he began to loath the work. Hughes oit.

t discovered Hughes’ work, and hired the artist to design illustrations for pieces of fiction in the st to create a series of WWII portraits of American generals. The series was a hit and brought Hughes to commission Hughes for work, eventually including numerous covers. Hughes created 115 covers s for McCall’s, Woman’s Day, American Magazine, Reader’s Digest, and Good Housekeeping. This lot aturday Evening Post. Hughes’ work has been referred to as “sitcom” covers: humorous or comical k at them. Such as in this painting, 1951’s “Gossiping Neighbor,” a viewer at first glance may see an but upon closer examination the viewer see’s that the young woman is holding a set of cards close to train their necks to hear the interesting gossip. Hughes’ masterful illustrations not only caught the mal vignettes that graced the covers of the Post.

scended the rise of photography in magazine illustration. As illustrations in magazines waned after the 1970s, his last Post cover in 1971. When commissions for illustrations dried out, Hughes, a portraiture until his death in 1990.

ts such as Norman Rockwell, James Montgomery Flagg, Mead Schaeffer, Anton Otto Fischer, NC h Christian Leyendecker, Coles Phillips, Elbert McGran Jackson, Constantin Alajalov, Rolf Armstrong, ay,

in the U.S. and abroad including the National Museum of American Illustration, the British Museum,

85

George E. Hughes

(1907-1990) “Gossiping Neighbor,” 1951 Oil on Masonite Signed lower left: Hughes, titled by repute Sight: 25.5” H x 20” W $25,000-35,000 Literature: “The Saturday Evening Post,” May 12, 1951, cover illustration.

Cohn, Jan, “Covers of the Saturday Evening Post: Seventy Years of Outstanding Illustration from America’s Favorite Magazine,” (New York: Viking, 1995), 231.

Notes: This lot is sold together with a cover from one of the original May 12, 1951 issues of “The Saturday Evening Post” for which it was done.

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86

George E. Hughes

(1907-1990) “Don’t Block The Driveway,” 1953 Oil on Masonite Signed lower left: Hughes, titled by repute 31.5” H x 25.5” W $25,000-35,000 Literature: “The Saturday Evening Post,” December 12, 1953, cover illustration.

Cohn, Jan, “Covers of the Saturday Evening Post: Seventy Years of Outstanding Illustration from America’s Favorite Magazine,” (New York: Viking, 1995), 239 Notes: This lot is sold together with a cover from one of the original December 12, 1953 issues of “The Saturday Evening Post” for which it was done.

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87

Edwin Roscoe Shrader

(1878-1960) “Wade Stood Above the Fallen Foe,” 1906 Oil on canvas Initialed and dated lower right: R.S; titled by repute 30” H x 20” W $2,000-4,000 Notes: This work has previously identified and wrongly attributed to American illustrator Frank E. Schoonover, but is in fact a work by artist Edwin Roscoe Shrader. This work was created as an illustration by Shrader for the novel “King Spruce” by Horman Day, published in 1908.

A biography printout of artist Frank Schoonover is taped to the verso. There is also a pen inscription attributing the work to Schoonover on the lower left stretcher.

Inscribed faintly on verso: black and red / Book King Spruce

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88

Charles E. Charlton

(1866-1962) Study for the Silver Jubilee at St. Paul’s, 1950 Watercolor and ink on illustration board Signed and dated lower right: Charles Charlton Sight: 11.5” H x 18.75” W $1,000-1,500 Notes: Charles Charlton (1866-1962) was trained as a cinematographer and artist. While working in the early years of the film industry in Hollywood, CA, he was credited in Trooper 44 (1917), and a number of other films. During this time, Charton also maintained a parallel career and passion, working as a commercial artist. In this capacity, he collaborated with his friends and colleagues Norman Rockwell, Clyde (Vic) Forsythe, Sam Hyde Harris, among others, often visiting their studios at “Artist’s Alley” in Alhambra, CA.

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89

Jean-Claude Gaugy

(b. 1944) “Quelques Pommes Juteuses,” 2001 Oil on board Signed lower right: GauGy; signed again, titled, and dated, verso 42” H x 54” W $1,500-2,000

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90

Ron Zick

(1934-2024) Redhead in green and white shirt, 2006 Oil on canvas Signed and dated lower right: Zick 40” H x 30” W $2,000-3,000

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91

Ron Zick

(1934-2024) “Shall We Dance?,” 2006 Oil on canvas Signed and dated lower right: Zick; titled on stretcher 40” H x 30” W $2,000-3,000

92

Ryan Sluggett

(20th century) “Muddy Palette,” 2013 Mixed media on stretched fabric Signed and dated on the stretcher: Sluggett; titled on a galley label affixed to the stretcher 87” H x 67” W $2,000-4,000 Provenance: Richard Telles Fine Art, Los Angeles, CA 1 5 6 M o der n + C o n t e m p o r a r y l Tu e sd ay, J u n e 1 1 , 2 0 2 4

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93

Alexandra Nechita

(b. 1985) “The Orange Apple,” 1998 Acrylic on canvas Signed and dated lower left: Nechita; titled verso 24” H x 48” W $5,000-7,000

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94

Alexandra Nechita

(b. 1985) Untitled, 2009 Acrylic on canvas Signed lower left: Nechita 24” H x 48” W $5,000-7,000

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95

Alexandra Nechita

(b. 1985) Woman with Flowers, 2004 Acrylic on canvas Signed and dated lower left: Nechita; inscribed and signed again, verso 18” H x 14” W $3,000-5,000

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96

Alexandra Nechita

(b. 1985) “Let There Be Peace” Patinated bronze Edition: AP 15/18 Signed in the casting and numbered: Nechita 17.25” H x 8” W x 12.25” D $1,000-2,000

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97

Alexandra Nechita

(b. 1985) “The Beginning of Us” Patinated bronze Edition: 44/50 Signed in the casting, numbered, and marked: © Alexandra Nechita / 2000-2004 / g 17” H x 10” W x 8.5” D $1,000-2,000

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98

Dan Levenson

(b. 1972) “Klaus Hangartner,” 2015 Oil on prepared linen Appears unsigned; titled and with a German, round, ink stamp verso; titled again and dated on a gallery label affixed to the stretcher 33” H x 23.5” W $1,500-2,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection, acquired from the above Private Collection, Los Angeles, CA, acquired from the above Sold: John Moran Auctioneers, Monrovia, CA, “Postwar & Contemporary Art + Design,” November 9, 2021, Lot 2008 Private Collection, Los Angeles, CA, acquired from the above

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99

Rene Gruau

(1909-2004) “Le Masque Indiscret,” 1976 Oil on canvas Signed upper right and with the artist device: Gruau; signed again, titled, and dated, verso 50” H x 38” W $3,000-5,000 Provenance: Zarach Gallery, Grosvenor Square, London Private Collection, Toronto, Canada, acquired from the above Waddington’s, Toronto, Canada, “International Art,” November 27, 2007, Lot 252 Private Collection, Los Angeles, CA, acquired from the above

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100

Luis Feito López

(1929-2021) Untitled, 1970 Oil on canvas Signed upper left: Feito 21.5” H x 32” W $6,000-8,000 Provenance: Private Collection, Montreal, QC Sold: Waddington’s, Toronto, Canada, “Modern, PostWar and Contemporary Art,” November 24, 2022, Lot 35 Private Collection, Los Angeles, CA, acquired from above

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101

Jose Basso

(b. 1949) “Casa Azul” Oil on canvas Signed lower right: J. Basso; titled verso 29.5” H x 23.75” W $8,000-12,000 Provenance: Windsor Fine Art, New Orleans, LA Property from the Estate of Richard Roundtree, acquired from the above, July 16, 2022 Notes: This lot is sold together with a copy of the invoice for the abovementioned purchase and a certificate of authenticity prepared and dated by the same gallery on August 25, 2022.

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102

Ray Donarski

(1935-1996) “Beauregard II,” 1973 Acrylic on canvas Signed, titled, dated, and inscribed, verso: Ray Donarski / No 800 21” H x 21” W $800-1,200

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103

Fritz Schwaderer

(1901-1974) Abstracted landscape Oil on Masonite Signed lower right: Schwaderer 10” H x 12” W $800-1,200

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104

Vladimir Cora

(b. 1951) “Senorita Bajo la Lluvia,” 1985 Acrylic on canvas Signed and dated upper right: Vladimir Cora; signed again and titled, verso; titled and dated again in blue pen on a gallery label affixed to the stretcher 58.5” H x 47” W $2,000-3,000 Provenance: B. Lewin Galleries, Los Angeles, CA

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105

Rene Portocarrero

(1912-1985) Bust of a woman in a hat, 1954 Gouache on paper Signed and dated lower left: Portocarrero 18” H x 13.5” W $2,000-3,000 Notes: This work bears a resemblance to Pablo Picasso’s large color linocut of 1962, “Buste de femme au chapeau (Jacqueline)” (Bloch 1072; Baer 1318).

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106

Colette Pope Heldner

(1902-1990) “Rue de la Gaîté,” 1929-31 Oil on canvas Signed, dated, and inscribed lower left: Colette / Paris; signed, dated, and inscribed again, and titled, all verso 30” H x 24” W $8,000-12,000

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107

Francisco Farreras

(1934-2017) Abstract, 1965 Mixed media and colla Signed, dated, and ins 60” H x 70” W $1,500-2,500

Provenance: Albert W The Collection of Cind

age on panel scribed verso: F. Farreras / N.Y.

White Galleries, Toronto, Canada dy Tietze-Hodosh and Stuart Hodosh

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108

Tarmo Pasto

(1906-1986) Desert mountain vista, 1975 Oil on canvas Signed and dated lower right: Tarmo Pasto 30” H x 38” W $2,000-3,000 Private Collection, California Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum , Sacramento, CA, which holds examples of Pasto’s work in its permanent collection.

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

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109

Tarmo Pasto

(1906-1986) “Red Windswept Sky I,” 1972 Oil on canvas Signed and dated lower left: Tarmo Pasto; titled on the stretcher 24” H x 36” W $2,000-3,000 Private Collection, California Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the postwar period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum, Sacramento, CA, which holds examples of Pasto’s work in its permanent collection.

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

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110

Zhou Brothers

(b. 1952/1957) Untitled, 1995 Mixed media on canvas Signed and dated lower right: Zhou B.; signed and dated again, verso 48” H x 36” W $1,000-1,500

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111

Frederic Bruly Bouabre

(1923-2014) “Connaissance du Monde,” 2007-2008 Each: Ink, colored crayon, and pencil on heavy cardstock Each: Signed and dated in ink, verso: Bouabre; inscribed in ink along each sheet edge (39 pieces) Each Image/Sheet: 7.5” H x 6” W $2,000-4,000

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112

Frederic Bruly Bouabre

(1923-2014) “Serie: Pagne Traditionnel Beté Peint aux Couleurs Divines” Each: Ink, colored crayon, and pencil on heavy cardstock Each: signed and dated in ink, verso: Bouabre / 27-8-2009; inscribed in French in ink along each edge with the same inscription, except on each card one word changes at the lower edge to represent the nationality of the figure: Aux couleurs divines visage / de femme couronnee de plumes ici la “Libera” / l’art de l’habillement [interchangeable Nationality] / bana-groko: pagne traditionnel bete peint (51 pieces) Each Image/Sheet: 7.5” H x 6” W $3,000-5,000

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113

Zhou Brothers

(b. 1952/1957) Untitled, 1999 Mixed media on canvas Signed lower right: Zhou B., signed again and dated, verso 36” H x 35” W $800-1,200

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114

Andre Kertesz

(1894-1985) “Botticelli Sculpture in Glass on Windowsill,” 1978 Gelatin silver print on paper From the edition of unknown size; printed later Unsigned; dated in pencil at the lower edge, verso; titled on a gallery label affixed to the frame’s backing board Image: 6.625” H x 9.75” W; Sheet: 8” H x 10” W $800-1,200 Provenance: S.K. Josefsberg Studio, Portland, OR G. Ray Hawkins Gallery, Santa Monica, CA Notes: There is a handwritten notation in pencil on the verso of the sheet: AK0258.

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115

116

(1941-1998) Jimi Hendrix, 1967 Offset lithograph on paper Edition: 2/25; printed 1994 Signed, dated, and numbered in pencil, verso Image: 13.875” H x 20.25” W; Sheet: 23” H x 17” W

(1918-2006) “Igor Stravinsky, NYC, 1946” Gelatin silver print on paper From an edition of unknown size, pri Signed and titled in pencil in the low Sight: 14” H x 23” W; Image: 12” H

Linda McCartney

$4,000-6,000

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Arnold Newman

$6,000-8,000

inted later wer margin: Arnold Newman x 22.25” W

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117

Cole Weston

(1919-2003) “Think of Color as Form” portfolio, 1983-88 Each: Cibachrome prints in colors on paper laid to a board mount as issued Edition: 6/25 The complete portfolio of 10 cibachrome prints, each signed and dated in pencil on the mount, at right: Cole Weston; dated again, titled, and inscribed with the inventory number, in pencil, and with the artist’s copyright black ink stamps, all verso; with the original title page, signed again and numbered in black permanent marker at the lower edge; the title page and 10 works all loose and with the original interleaving sheets; together in the original linen-covered portfolio box Image/Sheet of each: 15.25” H x 19.5” W (or reverse); Mount of each: 22” H x 28” W $1,500-2,000

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118

Ruth Bernhard

(1905-2006) “Creation,” 1936 Gelatin silver print on paper mounted to a board mount Signed in pencil on the mount, at right: Ruth Bernhard; annotated in pencil on a label affixed to the frame’s backing paper: Dolls Head Image/Sheet: 7.5” H x 9.375” W; Mount: 11.75” H x 14” W $3,000-5,000 Literature: James Alinder, “Collecting Light: The Photographs of Ruth Bernhard” (Carmel, CA: Friends of Photography, 1979), plate 5.

Ginny Williams, “Ruth Bernhard: The Collection of Ginny Williams” (Denver, CO: Tallgrass Press, 1993), plate 11.

Margaretta K. Mitchell, “Ruth Bernhard: Between Art & Life” (San Francisco, CA: Chronicle Books, 2000), p. 69.

Notes: From the book, “Ruth Bernhard: Between Art & Life,” a memoir written in the first person with other voices used as a counterpoint to balance the single voice. Ruth Bernhard discussed that the 1936 image is the “first image she created after she met Edward Weston that represented her own vision, her birth as an artist.” Specifically, she says when in Los Angeles “I discovered the doll hospital that played an important role in my photographic life. It was there that I found and purchased the doll’s head without a body that eventually found its way into my photograph “Creation”. I came upon the doll hospital on Hollywood Boulevard when I looked in the window and saw a lot of body parts of dolls, hands, feet, and heads. I went inside and asked, “May I buy this head?” Bernhard continues, “The day after I found the doll’s head. I saw a wooden hand holding goldtipped Turkish cigarettes in a window. It appealed to me, so I bought it and took it home. The photograph of Silver Lake in Colorado that I had taken on the original trip west to Los Angeles fit behind the hand; the doll’s head rested quietly in the hand, and there it was, the first real photograph that I took after meeting Edward Weston. As with my still-life photographs, it took days to make. Although I call it “Creation,” it also has been called “The Doll’s Head”. Edward wanted to own the photograph, so I gave it to him. In return, he gave me a wonderful photo of seaweed that I loved.”

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119

Julius Shulman

(1910-2009) Grace Lewis Miller House exterior Silver gelatin print mounted to gatorboard Signed in white ink, lower left: Julius Shulman 15.75” H x 20” W $1,000-1,500

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120

Julius Shulman

(1910-2009) Grace Lewis Miller House interior Silver gelatin print mounted to gatorboard Signed in white ink, lower right: Julius Shulman 20” H x 15.75” W $1,000-1,500

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121

Julius Shulman

(1910-2009) Grace Lewis Miller House interior with couch Silver gelatin print mounted to gatorboard Signed in white ink, lower right: Julius Shulman 20” H x 15.75” W $1,000-1,500

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122

Philippe Halsman

(1906-1979) “In Voluptas Mors (Production),” 1951 Gelatin silver print on paper With the artist’s ink stamp, as well as, the artist’s estate and studio stamp, all verso; title, date, and number annotated in pencil, verso: #9 / PF60503 Image/Sheet: 14” H x 11” W $1,500-2,500

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123

Joel Peter Witkin

(b. 1939) “Cuisine of a Failed Romance,” 2003 Toned gelatin silver print on paper Edition: 1/10 Signed, titled, dated, and numbered in pencil, all verso Image: 11.625” H x 13.375” W; Sheet: 16” H x 19.75” W $4,000-6,000 Provenance: Ricco / Maresca Gallery, New York, NY

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124

Joel Peter Witkin

(b. 1939) “Humor and Fear, New Mexico” Toned gelatin silver print on paper Edition: 5/10 Signed, titled, numbered, and with the artist’s copyright in pencil, all verso Image: 15.5” H x 14.25” W (irreg.); Sheet: 19.5” H x 16” W $1,500-2,500

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125

Hans Namuth

(1915-1990) Jackson Pollock, circa 1952 Gelatin silver print on paper Edition: 9/50; printed circa 1981 Signed and numbered in ink in the lower margin: Hans Namuth; with the photographer’s seal in the lower margin, at left Image: 18.75” H x 18” W; Sight: 20.5” H x 18” W $5,000-7,000 Provenance: Sold: Swann Auctions, New York, NY, “Photographic Literature and Photographs,” May 15, 2003, Lot 452

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126

Lily Karedada

(b. 1937) “Wandjina (Four Fingers),” 1998 Acrylic on linen Unsigned; titled and dated by repute 48” H x 36” W $2,000-3,000 Provenance: Aboriginal Gallery of Dreaming’s, Melbourne, Australia, 1998 Richard Kelton Collection, Santa Moncia, CA, acquired from the above, 1999 Sold: Abell Auction, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 223

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127

Mary Dixon Nungarrayi

(b. 1960) “Witchetty Grub and Snake Dreaming,” 1990 Acrylic on canvas Signed verso: Mary Dixon; titled and dated by repute 60” H x 48” W $1,500-2,000 Provenance: Helen Loveridge, Outback Alive, Kuranda, Queensland, 1990 Richard Kelton Collection, Santa Monica, CA, acquired from the above, 1991 Queensland Pacific Asia Museum, Pasadena, 1994 Sold: Abell Auction, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 223

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128

Yinarrki Nangala

(b. 1961) “Jarntu Jukurrpa (Dog),” 1988 Acrylic on canvas Signed and titled verso: Yinarrki Nangala; dated by repute 46” H x 31” W (or reverse) $800-1,200 Provenance: Gaz Galleries, Los Angeles, CA, 1988 Richard Kelton Collection, Santa Monica, CA, acquired from the above, 1990 Sold: Abell Auctions, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 248 Exhibited: San Diego, CA, San Diego Museum of Man, “Awake to the Dreamtime: Australian Aboriginal Art,” February 19-May, 24, 1993.

Notes: There is hanging wire to either display the work horizontally or vertically.

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129

Enrique Galdos Rivas

(b. 1933) “Rostro,” 1963 Oil on canvas Signed and dated lower right: Galdos Rivas; signed and dated again, titled, and inscribed; Lima Peru, all verso 34.5” H x 48” W $3,000-5,000

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130

Enrique Galdos Rivas

(b. 1933) “Mochica,” 1963 Oil on canvas Signed and dated lower right: Galdos Rivas; signed again, titled, and inscribed: Lima - Peru, all verso 36” H x 60” W $3,000-5,000

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131

Enrique Galdos Rivas

(b. 1933) “Paisaje Surrealista,” 1964 Oil on canvas Signed and dated lower right: Galdos Rivas; titled, dated, and inscribed: Lima, all verso 33.75” H x 47.5” W $3,000-5,000 Notes: The work is wired to be hung vertically but the signature indicates the work is intended to be displayed horizontally.

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132

Mary Frank

(b. 1933) “Lover,” 2010 Patinated verdigris bronze Each appears unmarked 4 pieces Assembled: 21.25” H x 42” W x 35.5” D approx.; Largest segment: 21.25” H x 15” W x 17.5” D $4,000-6,000

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133

Robert Graham

(1938-2008) Untitled (M1) Cast copper bas-relief with black patina Edition: 6/8 Unsigned; with the stamped number and “MI” lower right 14.25” H x 14.25” W $1,000-1,500

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134

Robert Graham

(1938-2008) Untitled (LA-2) Cast copper bas-relief with black patina Edition: 7/8 Unsigned; with the stamped number and “LA-2” lower right 14.25” H x 14.25” W $1,000-1,500

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135

Robert Graham

(1938-2008) Untitled (TI-4) Cast copper bas-relief with black patina Edition: 8/8 Unsigned; stamped “TI 4” lower right corner; with the numbering incised, verso 14.25” H x 14.25” W $1,000-1,500

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136

Robert Graham

(1938-2008) Untitled (T1) Cast copper bas-relief with black patina Edition: 5/8 Unsigned; with the stamped number and “T1” lower right 14.25” H x 14.25” W $1,000-1,500

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137

Jacques Lipchitz

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

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138

Käthe Kollwitz

(1867-1945) “Der Abschied,” 1940/41 Patinated bronze on stone plinth Edition: 15/20, cast 1975 Signed and numbered in the casting: KK Overall: 8.125” H x 5” W x 5” D $7,000-9,000 Literature: Seeler 39

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139

Paige Bradley

(b. 1974) “Clarity,” 1996 Patinated bronze on black marble base Edition: 23/50 Signed and numbered in the casting: Paige Bradley; dated by repute Overall: 20” H x 10” Dia.; Figure: 18.5” H x 12.5” W x 4.5” D $1,500-2,000 Provenance: Windsor Fine Art, New Orleans, LA Property from the Estate of Richard Roundtree, acquired from the above, July 16, 2022 Notes: There was also an edition of 150.

This lot is sold together with a copy of the invoice for the abovementioned purchase and a certificate of authenticity prepared and dated by the same gallery on August 25, 2022.

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140

Lucile Driskell

(1924-2017) “Serpentine II” Patinated bronze rotating on a marble plinth Signed near base: LD Bronze: 22.75” H x 16.5” W x 13.75” D; Plinth: 5.125” cubed $1,500-2,500 Provenance: Environment Gallery, New York, NY Private collection, acquired from the above March 10, 1980 Notes: This lot is accompanied by a purchase receipt and a pamphlet from the gallery with a photograph of the piece.

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141

Michael Shacham

(b. 1938) “Internal Struggle” Polished and verdigris bronze on wood plinth Edition: 3/10 Signed and numbered: [artist’s cipher] / III/X; titled on the certificate of authenticity Bronze: 19.875” H x 8.75” W x 8.5” D; Plinth:3.875” H x 8.125” W x 7.875” D $1,200-1,800 Notes: This lot is accompanied by a certification of authenticity signed by the artist and dated February 17, 1978. Additionally accompanied by an artist’s biography.

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Agnes Pelton (1881-1961)

Art + Design August 13, 2024

$300,000-500,000

Flowering, 1929 Oil on canvas, 24” x 19”

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

Andy Warhol “After the Party,” 1979

Price Realized:$25,000 SINCE 1969

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Condition Reports

w w w. j o h n m o r a n . c o m 2 2 3

1 Overall generally good condition. Scattered handling creases in the left and right margin edges, the largest being a vertical 15” crease in the upper portion of the right margin edge. The palest and unobtrusive flecks of foxing scattered in the blank and margins.

The sheet is loose, not matted.

Unframed 2 Overall generally good condition. The full sheet. An occasional unobtrusive handling crease visible primarily in raking light. Mat staining and slight surface soiling, verso. Hinged to the overmat with one piece of white linen tape at the verso of the upper sheet edge.

Framed under glass: 37.5” H x 19.5” W x 1.5” D 3 Overall generally good condition. The full sheet with deckled edges. Pale toning to the sheet. The sheet is affixed to the backmat by pieces of tape approximately 1” from the sheet edge along each edge. The sheet is framed floating.

Framed under Plexiglas: 40” H x 34” W x 1” D 4 Uneven toning showing primarily in the margins. A rice-sized reverse foxmark in the lower margin, at left, not affecting the image. Surface skinning and old glue/paper residue from former mounting in the upper margin corners. A tiny loss at the extreme tip of the upper right margin corner. Remains of old hinges and hinging glue at the verso of the upper margin edge. The sheet is loose, secured to the back mat with clear archival corners.

Condition Reports

Framed under Plexiglas: 35.5” H x 28.5” W x 2” D

224

5 Overall good condition. With wide margins, deckled at right. Light-staining showing in the portion of the paper not covered by the mat. A few extremely pale, nickel-sized stains in the outer margins. Hinged to the overmat with two small pieces of linen tape at the verso of the upper margin edge.

Framed under glass: 26.25” H x 20.5” W x 1.25” D

6 Overall generally good condition. Full margins with deckled edges. A few flattened soft handling creases, one measuring 2” and another measuring approximately 2.5,” both in the lower left quadrant of the plate. Two flattened diagonal creases across the lower right margin corner, the larger of which measures 3,” both with attendant very pale and unobtrusive staining. The sheet is framed floating, mounted to the back mat along the verso of all of the margin edges.

Framed under Plexiglas: 36.5” H x 28.5” W x 1” D 7 Overall generally good condition. Full margins, deckled at right. Pale light-staining. Some small areas of surface skinning at the upper and lower margin edge, verso. The sheet is hinged to the overmat with linen tape at the verso of the upper margin edge.

Framed under glass: 33” H x 29.25” W x 2” D 8 Overall generally good condition. Pale light-staining.

Two pieces of old hinging tape and some small skinned patches at the verso of the margin edges from prior hinging. The work is hinged to the back mat in three places at the verso of the upper margin edge, and taped to the overmat at the verso of the lower margin edge.

Framed under glass: 38.5” H x 32.5” W x 1.5” D 9 Overall generally good condition. A very good impression with touches of burr, on a sheet with wide margins. Pale light-staining. An unobtrusive, pinhead-sized surface abrasion in the blank to the left of the child’s head. A few foxmarks showing primarily in the margins. A rice-sized pressure mark in the upper left margin corner, not affecting the plate.

Soft handling creases in the margins, primarily in the lower corners, not affecting plate. Surface skinning along the verso of the right margin edge. The sheet is hinged to the back mat in two places at the verso of the left margin edge.

Framed under glass: 16.75” H x 13.5” W x 1” D 10 Pale light-staining throughout, with a pale line of mat burn around each edge. An apparent 2” D stain in the lower margin, covered by a portion of the cut mat window. Staining along the upper left margin.

Slight rippling throughout. Not examined out of the frame.

Frame: 31.5” H x 25.5” W x 1.25” D

11 Overall good condition. Wide margins, deckled along the upper and lower edges. Scattered pale and unobtrusive foxing showing primarily in the margins. Slight time staining in the deckle of the extreme margin edges. Taped to the overmat with eight small pieces of linen tape at the verso of the margin edges.

17 Overall good condition. Some pale and very unobtrusive minor surface near the outer edge of the the lower right quadrant. The work is mounted to the backing stretcher, as issued.

Unframed

18 Overall generally good condition. With margins.

Occasional soft abrasions at the margin edges. A small 0.125” tear in the lower right margin edge. The sheet is loose, not matted.

Framed under Plexiglas: 29.75” H x 21.25” W x 1.25” D 13 Overall generally good condition. With full margins.

Pale light-staining. A small area of surface skinning in the lower left margin, verso. Pieces of old linen tape in two places at the verso of the upper margin edge.

The work is hinged to the overmat.

Framed under glass: 25.75” H x 29.75” W x 1.75” D 14 Overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Dime-sized area of surface rubbing to central, possibly inherent in original manufacture. Three fleabite chips to underside edge at bottom. Mild soiling and dust accumulation throughout.

15 As mentioned, the sheet is laid down. It may also be slightly toned (see note). An approximately 2” H x 0.375” W curving diagonal reverse stain in the lower left corner, not affecting the signature. The extreme tips of both the upper and lower left sheet corners are slightly worn.

Framed under Plexiglas: 20.5” H x 22.75” W x 1” D 16 Overall generally good condition. Full margins with deckled edges. Very pale staining on the outer margin edges, attendant with staining from the overmat. The work is dry mounted to the back mat.

Framed under glass: 27” H x 31.5” W x 1.5” D

Unframed 19 Overall good condition. The full sheet with deckled edges. The work is framed floating and hinged to the back mat from the verso of the upper sheet edge.

Framed under Plexiglas: 35” H x 28” W x 3.5” D 20 Overall good condition. Not examined out of the frame.

Framed under glass: 30.5” H x 38.5” W x 2” D 21 Overall good condition. Very pale time staining showing at the extreme sheet edges. Some scattered, soft, small handling creases showing primarily in the upper and lower right quadrants. The sheet is tipped to the backmat in each sheet corner and is framed floating.

Framed under Plexiglas: 50.5” H x 40.25” W x 1.5” D 22 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under glass: 21” H x 16.25” W x 1.25” D 23 Visual: Overall good condition. A few small black scuff marks in the left half above the bottle.

Blacklight: No evidence of restoration.

Frame: 20” H x 24” W x 2” D 24 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22” H x 26.25” W x 2” D

Condition Reports

12 The sheet’s green color attenuated. Pale foxing scattered throughout. Mat burn along each sheet edge. Soft creases towards the bottom of the sheet.

The sheet is hinged to the backmat in two places on the verso of the sheet about 1.5” from the upper edge.

Framed under Plexiglas: 28.25” H x 19.75” W x 1.5” D

225

25 Visual: Overall good condition. Light frame abrasion along the lower left edge. A small area of very fine craquelure in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 27” H x 31” W x 2” D 26 Visual: Overall generally good condition. Scattered areas of fine, stable craquelure, showing primarily in the upper left quadrant in the figure’s face and hair.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 40” H x 40” W x 2.25” D

Frame: 21.5” H x 17.25” W x 1.25” D

33 Visual: Overall good condition. A few small areas of very fine stable craquelure scattered throughout the light blue and darker pigments of the lower third of the work.

27 Overall good condition. The full sheet with deckled edges. Two spots of white material in the upper right quadrant. The sheet is framed floating, tipped to the back mat at the verso of the upper right corner, and secured to the back mat with three clear archival corners at the upper left and both lower corners.

Unframed 28 Overall good condition. Slight cockling to the outer edges. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner.

Blacklight: A 4” H x 3” W area of hairline crack-fill in the lower right quadrant. A dime-sized spot of touchup in the green pigment in the lower half, towards the center. A line of pinhead-sized spots of touchup along the extreme upper edge. A few rice-sized spots of touch-up in the upper right quadrant.

Frame: 33.75” H x 33.5” W x 1.25” D

29 Visual: Overall good condition.

34 Visual: Overall good condition. A few small areas of slight craquelure, one in the orange-red background at center, and one in the orange-red of the paint can at left. Slight stretcher bar creases along the upper and lower edges.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 17.5” H x 21.5” W x 2.5” D

Frame: 43.75” H x 39.75” W x 2” D

30 Overall good condition. Full margins and the colors fresh. Framed floating, hinged to the back mat. Not examined out of the frame.

35 Visual: Overall good condition.

Framed under Plexiglas: 28” H x 23.75” W x 1” D

Condition Reports

32 Visual: Overall good condition. Occasional clusters of mostly pinhead-sized or smaller areas of pigment loss along the upper edge and primarily in the upper right quadrant, the largest area being a 0.75” crescent-shaped loss near the upper portion of the right edge. A 3” vertical split in the pigment with a pinhead-sized pigment loss, attendant with the right-edge stretcher bar. Very fine and unobtrusive craquelure in the brown and blue pigment of the lower left quadrant.

Framed under glass: 23.75” H x 19.5” W x 1.25” D 31 Visual: Overall good condition. A very faint 5.5” crescent hairline split in the pigment in the upper right quadrant from the upper edge to the right edge.

Blacklight: A few very small dots (approximately pea-sized) or delicate lines (approximately 1” long) of touch-up in the orange background, primarily near the upper or outer edges. Occasional flecks of grime fluoresce under blacklight, however these appear to be in the hand of the artist.

Frame: 19” H x 22” W x 1.5” D

Blacklight: A 5.5” line of touchup along the above mentioned hairline split in the pigment.

36 Visual: Overall good condition. A few soft scuff marks ocassionaly showing along the outer edges.

Frame: 19.75” H x 23.75” W x 1.50” D

Blacklight: No evidence of restoration.

Frame: 67.5” H x 55.5” W x 2” D

226

Blacklight: No evidence of restoration.

Frame: 30.75” H x 20.75” W x 1.75” D 38 Overall good condition. With full margins and the colors fresh. A very soft and unobtrusive, 1” horizontal crease at the extreme edge of the lower margin. The tip of the lower left margin corner very slightly dog-eared. The sheet is framed floating, tipped to the back mat in various places at the verso of the margin edges.

Framed under Plexiglas: 24” H x 32” W x 1.5” D 39 Overall good condition with scattered shelf wear and minor scuffs and scratches commensurate with age.

40 Overall good condition with scattered minor scuffs and scratches. A few corners with possible rice-sized chips to the glass, with scattered fleabites at edges, possibly inherent to the material or process.

41 Overall good condition. Full margins and the colors good. Handling creases scattered throughout the margin edges, the more prominent area being along the upper margin edge. The work is slightly curled, attendant with the work being previously rolled. The sheet is loose, not matted.

44 Overall good condition. There are three pinholes at the upper center, and eight scattered pinholes in the lower half of the sheet. The sheet was folded at some point with a visible crease below the center. Pale scattered foxing and occasional unobtrusive stains in places.

Framed under glass: 11.5” H x 10.25” W x 1” D 45 Each overall very good condition. With full margins.

Each sheet is loose, not matted.

Each unframed 46 Each overall in very good condition. With full margins.

Each sheet is loose, not matted.

Each unframed 47 Overall generally good condition. The cover with scattered areas of surface scratches, abrasion along the extreme edges and corners, and wear to the pigment applied to the silver tape. The inside of the book with areas of abrasion along some of the sheet edges, surface scratches, wear, and the third sketchbook’s tape is detached from the two other sketchbooks. All issues commensurate with age, use, and handling.

48 Overall good condition.

Unframed

Unframed

42 Overall good condition. The full sheet with deckled edges. Two remnants of white hinging tape on the verso of the left and right sheet edges, at center. The sheet is framed floating and hinged to the back from the verso of the upper sheet edge.

49 Overall good condition. Minor surface scratches and scuffs to the epoxy scattered throughout.

Framed under Plexiglas: 22.5” H x 29.5” W x 1.5” D 43 Visual: Overall generally good condition. Stretcher bar creases showing primarily along the upper edge, and softly along the left and lower edges. A peasized pressure mark in the upper right quadrant, two pea-sized reverse pressure marks in the upper left quadrant near the upper left edge, with a few pinhead-sized pressure marks scattered throughout.

Occasional flecks of extraneous pigment in the upper left quadrant and lower right corner.

Blacklight: No evidence of restoration.

Unframed 50 Visual of each: Overall good condition.

Blacklight of each: No evidence of restoration.

Frame of each: 49” H x 45” W x 2.25” D 51 Overall good condition. The sheet is tipped to the backmat at the upper left and right corners and is framed floating. Not examined out of the frame.

Framed under Plexiglas: 84” H x 55.75” W x 3” D

Condition Reports

37 Visual: Overall good condition.

Unframed 227

52 Visual: Overall generally good condition. Occasional, scattered, small areas of fine, stable, craquelure throughout, with a small area of unstable craquelure in the orange pigment of the upper right quadrant, above the tiger. A line of soft, stable craquelure showing in places along the upper edge. A 0.5” H x 1.5” W area of pigment loss in the lower edge, at left, with scattered pea-sized or smaller spots of pigment loss scattered throughout the darker green pigments of the lower third of the work.

Blacklight: No evidence of restoration.

Frame: 28.5” H x 41.5” W x 1.75” D

Frame: 32” H x 20.5” W x 1” D 59 Visual: Overall generally good condition. Very fine, stable craquelure throughout. Occasional, scattered small areas of pinhead-sized spots of scuffing with attendant pigment loss throughout.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 11.5” H x 41.5” W x 1.25” D

Frame: 35.5” H x 31.5” W x 1.75” D

60 Visual: Overall good condition.

Framed under Plexiglas: 43.75” H x 55.25” W x 1” D 55 Visual: Overall good condition. Occasional unobtrusive, delicate, and short surface scuffs or craquelure, generally 1” (or less), primarily in areas of gold leaf.

Blacklight: No evidence of restoration.

Frame: 46.5” H x 46.5” W x 3.5” D 56 Visual: Overall good condition.

Condition Reports

Blacklight: Occasional pinhead-sized or smaller areas of touch-up in the central figure’s lips. Some pigment in the outer edges fluoresce under blacklight.

53 Visual: Overall good condition.

54 Overall good condition. Artist pinholes in the upper left and right corners. A rice-sized tear at the upper left edge of the sheet. The sheet is mounted to the backmat in four places about 2” from each sheet corner on the verso of the sheet. The sheet is framed floating.

228

58 Visual: Overall good condition. Areas of dirt and grime scattered primarily in the white pigment of the outer edges, commensurate with age.

Blacklight: No evidence of restoration.

Frame: 29.25” H x 29.25” W x 1.75” D 57 Visual: Overall generally good condition. Scattered pea-sized or smaller spots of mold or mildew through the left half of the work.

Blacklight: No evidence of restoration.

Frame: 20.5” H x 30.25” W x 2.25” D

Blacklight: No evidence of restoration.

Frame: 19.25” H x 16” W x 1” D 61 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 14” H x 12.5” W x 3.25” D 62 Visual: Overall good condition. An unobtrusive fleck of grime near the upper right corner of the panel; the varnish slightly uneven at the extreme corners of the panel, most likely attendant with the artist’s process.

Blacklight: No evidence of restoration.

Framed under glass: 19.25” H x 16.25” W x 0.75” D 63 Overall good condition. With margins. A 1” diagonal crease along the lower left margin corner. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 28” H x 39” W x 2” D

Framed under Plexiglas: 23.5” H x 23.5” W x 1.75” D 65 Overall generally good condition. Horizontal cockling throughout the left margin. A few tiny foxmarks at the lower margin edge. Not examined out of the frame.

Framed under Plexiglas: 17.25” H x 23.25” W x 1.5” D 66 Overall generally good condition. The full sheet and the colors good. Damp staining primarily in the lower half of the sheet. Backboard staining throughout the verso sheet. The sheet is loose, not matted.

71 Visual: Overall generally good condition. A soft stretcher bar crease down the center from the central vertical stretcher bar. Scattered areas of pea-sized or smaller pigment losses, the more prominent area being in the central part of the work. Very occasional and unobtrusive areas of very fine craquelure scattered in the darker pigments.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 52.5” W x 1” D 72 Each: Overall good condition. “Tony on the Fourth of July” with a few pea-sized to smaller spots of pigment loss at the center of the lower edge. Figures by the shore with a small area of very fine craquelure in the upper left corner and a soft 1” surface scratch towards the center in the figure’s hair.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 23” H x 23’ W x 1.25” D

Frame of largest: 24” H x 34” W x 1.75” D; Frame of smallest: 26” H x 29.75” W x 1.5” D

67 Visual: Overall good condition.

73 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 27.5” W x 1.75” D

Frame: 17” H x 21” W x 2.5” D

68 Visual: Very fine, soft, stable craquelure in the upper left quadrant. Very soft stretcher bar creases showing occasionally along the upper, left, and lower edges.

A pinhead-sized spot of white pigment in the dark pigment of the lower left quadrant.

74 Overall good condition. Small areas of surface skinning to the extreme edges of the collage pieces, primarily on the right side of the work. Soft and scattered surface scratches on the verso.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 35.5” W x 1.5” D 69 Visual: Overall generally good condition. Scattered areas of very fine, stable craquelure throughout.

Occasional, scattered pea- to pinhead-sized spots of pigment loss throughout.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 37.5” W x 1.5” D 70 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 37.25” H x 25” H x 2” D

Unframed 75 Overall good condition. The monotype is a full sheet with deckled edges. Handling creases scattered throughout, primarily in the outer edges. A 0.75” horizontal tear in the lower portion of the extreme right edge. A thin 0.625” scratch in the red pigment directly above the figure’s head. The cutout with handling creases throughout, the most prominent being along the figure’s neck. Pinpoint-sized areas of surface skinning scattered primarily in the lower portion of the figure, at center.

Unframed

Condition Reports

64 Overall generally good condition. The full sheet. Pale light-staining throughout. Damp staining along the upper and lower sheet edges. A small cluster of peasized or smaller areas of staining in the lower right sheet corner. The sheet is loose, not matted. Not examined out of the frame.

229

76 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 77 Visual: Overall good condition. Specks of grime scattered throughout. A 1” surface scratch in the orange pigment in the lower right quadrant.

Scattered areas of pigment loss in the orange pigment and gold leaf near the upper edge of the upper left quadrant, the largest being a dime-sized area in the upper left corner. Minor darkening of the varnish scattered in the inverted horse.

Blacklight: No evidence of restoration.

Unframed 78 Visual: Overall generally good condition. Occasional, scattered, quarter-sized or smaller spots of pigment loss throughout the metallic sections of the work.

Blacklight: No evidence of restoration.

Unframed 79 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Condition Reports

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

Frame: 25” H x 23” W x 2.5” D 83 Overall good condition. Areas of fine craquelure scattered throughout, and one area of unstable craquelure with an attendant pea-sized area of pigment loss in the red pigment above the figure’s head. Scattered and occasional flecks of pigment loss in the upper left and right quadrants. A peasized slight indentation with attendant flecks of pigment loss in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 28” H x 22.5” W x 2.25” D

80 Visual: Overall good condition. Dust accumulation and occasional grime commensurate with the thick impasto used by the artist. Possibly a few rice-sized or smaller pigment losses, difficult to confirm due to the artist’s working technique.

84 Overall good condition. The delicately squared and numbered graphite lines throughout the work are attendant with its use as a small-scale study for the 38” H x 75” W finished oil. Slight time-staining and surface soiling showing at the blank edges of the sheet are also attendant with the work’s use as a preparatory study. As previously mentioned, the work is laid to board.

Blacklight: No evidence of blacklight.

Unframed

Frame: 34” H x 29” W x 1.5” D

85 Visual: Overall good condition. A small cluster of pinhead-sized spots of pigment loss in the lower right corner, underneath the back leg of the chair.

Frame: 31.5” H x 27.75” W x 1.75” D

230

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

81 Visual: Overall good condition. Occasional, minor surface scuffs at the extreme right edge and in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 40.75” H x 52” W x 2” D

Blacklight: No evidence of restoration.

Frame: 33.75” H x 28” W x 2.25” D

Blacklight: Uneven varnish throughout. Occasional, scattered, pea-sized or smaller sized spots of touchup through the lower half, clustered in the hood of the car, the lawn to the left, and the figure’s clothing.

Frame: 37.25” H x 30.75” W x 2” D 87 Visual: Overall generally good condition. Soft stretcher bar creases showing along each edge.

A 0.75” H x 0.5” W area of surface abrasion with attendant pigment loss in the upper left quadrant, near the left edge in the coat of the leaning figure.

A 0.5” H x 0.25” W area of surface abrasion with attendant pigment loss in the upper right quadrant near the right edge in the soldier figure’s collar. Very fine, stable craquelure showing primarily in the dark pigments in the center. A pea-sized spot of a repaired canvas puncture with pinhead-sized holes through the canvas in the lower left quadrant towards the lower edge. A rice-sized spot of pigment loss towards the left side of the lower edge. Pigment loss in the lower right corner.

Blacklight: Spots of old and new touch-ups throughout, the largest an approximately 2” wide band going down the left edge of the work.

Unframed 88 Overall good condition. The colors fresh. The illustration board is affixed to the overmat in the outermost edges, beyond the drawn area.

Framed under glass: 19” H x 27” W x 0.75” D. 89 Visual: Overall good condition.

92 Visual: Overall good condition. A few pinhead-sized spots of stray pigment scattered in the blue fabric of the lower right quadrant.

Blacklight: No evidence of restoration.

Unframed 93 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 60” H x 36” W x 2.5” D 94 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 61.5” H x 37” W x 1.75” D 95 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 23.5” W x 2” D 96 Overall good condition with very minor scuffs and darkening/oxidation to bronze commensurate with age.

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

Blacklight: No evidence of restoration.

98 Visual: Overall good condition. Craquelure and pigment losses throughout, and appear to be part of the artist’s process.

Frame: 60” H x 48” W x 2.25” D

Blacklight: No evidence of restoration.

90 Visual: Overall good condition.

Unframed

Blacklight: No evidence of restoration.

Unframed 91 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

99 Visual: Overall generally good condition. Spots of pale grime throughout, with heavier showing in the white pigments of the mask. A rice-sized spot of pigment loss in the upper left quadrant towards the upper left edge. Scattered pea-sized or smaller spots of pigment loss in the lower left quadrant towards the lower edge, at left.

Blacklight: No evidence of restoration.

Condition Reports

86 Visual: Overall generally good condition.

Frame: 51” H x 39” W x 1.5” D 231

100 Visual: Dust accumulation and grime throughout.

Scattered areas of fine, stable craquelure throughout, showing primarily in the white pigment of the upper right quadrant. Occasional clusters of pinhead-sized spots of pigment loss scattered along the upper and left edges.

Blacklight: No evidence of restoration.

Frame: 33.25” H x 22.5” W x 2” D 101 Visual: Overall good condition. A minute speck of grime in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 32” H x 26” W x 2.5” D 102 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26” H x 26” W x 2.25” D 103 Visual: Overall good condition.

Blacklight: Occasional small areas of uneven varnish and overpaint throughout.

Frame: 37.5” H x 31.5” W x 3” D 107 Overall good condition. Dust accumulation commensurate with age. A 1” horizontal tear in the lower right edge. Pea-sized black dots along the edges and center, from staining by the nails along the stretcher, verso. Soft surface scratches scattered throughout the outer edges.

Frame: 60.75” H x 70.75” W x 1.25” D 108 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 109 Visual: Overall good condition. A few pinhead-sized spots of stray pigment in the center of the taller mountain peak.

Blacklight: No evidence of restoration.

Unframed

104 Visual: Overall good condition. Dust accumulation scattered throughout. Very minor damp staining in the lower right quadrant. Scattered areas of foxing, verso.

110 Visual: Overall good condition.

Unframed

Condition Reports

Blacklight: No evidence of restoration.

Frame: 17” H x 18.75” W x 1.75” D

Blacklight: No evidence of restoration.

232

106 Visual: Overall good condition. A soft stretcher bar crease along the upper edge. A few flecks of stray white pigment in the lower left quadrant.

105 Handling creases and folds commensurate with age and prior rolling. Areas of scattered, small paper losses to the extreme edges, the most prominent of which is in the upper portion of the right edge.

Uneven staining and remnants of older tape along the sheet edges, all verso.

Framed under glass: 22” H x 15.75” W x 2” D

Blacklight: No evidence of restoration.

Unframed 111 Each overall good condition. Light scuffing, abrasion, and folding to the sheet edges and corners commensurate with age and handling. Slight levels of transfer from the crayon to the verso of each card.

Pale staining scattered on the verso of each sheet, and some with very pale and occasional staining on the extreme sheet edges. Each sheet is loose, not matted.

Each unframed

Each unframed 113 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 114 Overall good condition. With margins. Very minor abrasions at the extreme tips of the margin corners.

The sheet is loose and secured to the back mat with four paper archival corners.

Framed under Plexiglas: 17.5” H x 19.5” W x 1” D 115 Overall good condition. With margins. Skinning along the lower and left edges. A 2” diagonal stain in the lower left margin. The sheet is hinged to the overmat in two places by pieces of tape across the upper left and right corners.

Framed without glazing: 27” H x 21” W x 1” D 116 Overall good condition. With margins. The sheet is sandwich mounted within the matt.

Framed under glass: 29” H x 34” W x 1” D 117 Overall good condition. The title page, 10 works, and interleaving sheets all together, loose, in the original linen-covered portfolio box Linen-covered portfolio box: 22.5” H x 28.25” W x 1.25” D 118 Overall good condition. As mentioned above, the sheet is mounted to a board mount.

Framed under glass: 16” H x 17.5” W x 1” D 119 Overall generally good condition. Small creases along each edge.

Unframed

120 Overall generally good condition. Small creases and dents along each edge.

Unframed 121 Overall generally good condition. Occasional small dents and creases along each edge, with a small area of scratches along the lower edge, at right.

Unframed 122 Overall good condition. Two pea-sized areas of glue residue with very minor, attendant surface skinning on the verso of the upper left and right corners.

The sheet is hinged to the overmat with two pieces of hinging tape from the verso of the upper sheet edge.

Framed under glass: 21.5” H x 18” W x 2” D 123 Overall good condition. The sheet is housed in four clear mounting triangles affixed to the backmat.

Framed under glass: 21.75” H x 23.5” W x 1” D 124 Overall good condition. The sheet is housed in four clear mounting triangles affixed to the backmat.

Framed under Plexiglas: 23.75” H x 22.75” W x 1” D 125 Overall good condition. With margins. The sheet is sandwich mounted within the matt.

Framed under glass: 30” H x 27.5” W x 1” D 126 Visual: Overall good condition. A 0.75” H mark of stray silver pigment in the yellow border of the extreme upper right edge.

Blacklight: No evidence of restoration.

Frame: 50” H x 38” W x 2” D 127 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 68.75” H x 50.75” W x 1.75” D

Condition Reports

112 Each overall good condition. Light scuffing, abrasion, and folding to the sheet edges and corners commensurate with age and handling. Slight levels of transfer from the crayon to the verso of each card.

Each sheet is loose, not matted.

233

128 Visual: Overall good condition.

Blacklight: No evidence of restoration.

134 Overall good condition with scattered surface scratches to the cast copper commensurate with age.

Frame: 48” H x 33.5” W x 2” D (or reverse)

Frame: 18.75” H x 18.75” W x 1.75” D

129 Visual: Overall generally good condition. A few lines of very soft, fine, stable craquelure in the upper right quadrant. Frame abrasions in places along each edge. A pinhead-sized drip of white pigment in the lower left quadrant, near the lower ledge. A few approximately 1” scuff marks at the extreme edges.

A faint stretcher bar crease showing occasionally along the upper edge.

135 Overall good condition with scattered surface scratches to the cast copper commensurate with age.

Blacklight: No evidence of restoration.

136 Overall good condition with scattered surface scratches to the cast copper commensurate with age.

Frame: 35” H x 48.5” W x 2” D

Frame: 18.75” H x 18.75” W x 1.75” D

130 Visual: Overall good condition. Dust accumulation commensurate with age. Scattered and minor surface scratches primarily in the upper right quadrant.

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

Blacklight: No evidence of restoration.

138 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Ricesized chip to one bottom corner of plinth, with felt applied to underside.

Frame: 37” H x 60” W x 2” D 131 Visual: Overall generally good condition. Fine, stable craquelure throughout. Faint stretcher bar creases along each edge. A rice-sized spot of pigment loss in the lower left quadrant, in the off-white pigment.

Some small spots of surface abrasion with minor attendant pigment losses in the black pigments of the upper right quadrant.

Blacklight: No evidence of restoration.

Condition Reports

Frame: 35” H x 48.5” W x 2” D

234

Frame: 18.75” H x 18.75” W x 1.75” D

132 Overall good condition with scattered scuffs, scratches, oxidation, and minor small indentations commensurate with and and outdoor storage. With two green stains to pelvis, the largest area measuring 2” diameter, a 4” long brown stain to inner left thigh proper, with other areas of spotting/irregular oxidation throughout, concentrated at legs. A 1.75” long area of rubbed wear to the patina, at verso of central piece, revealing polished bronze.

133 Overall good condition with scattered surface scratches to the cast copper commensurate with age.

Frame: 18.75” H x 18.75” W x 1.75” D

139 Overall good condition with occasional scuffs, scratches, and minor oxidation commensurate with age.

140 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Plinth in overall good condition.

141 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Plinth with possible moisture staining.

V

235

John Moran Auctioneers, Inc SPECIALISTS

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

Ian Anderson

Department Administrator, Fine Art

Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Fine Art Senior Specialist, Furniture & Decorative Art Post-War & Contemporary Design Specialist

Lori Kassabian

Anne Spink Madison Ari Clark Silva Angela Past Matthew Grayson

Department Administrator, Furniture & Decorative Arts Alek Ellis Cataloguer, Silver, Western & American Indian Art Sally Andrew

Cataloguer, Furniture & Decorative Arts

Grant Stevens

Director, Jewelry & Watches Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek, G.G.

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Consignment Manager Melissa Brownell

CLIENT SERVICES

Office/HR Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Jean Rapagna Consignment Coordinator

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

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Matthew Mizerowski Jacob Baer

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 These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. 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 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 in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility.

Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates 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 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 backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. 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 Invaluable 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% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran 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 lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran 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 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 the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(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 for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate.

Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures.

Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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