The Collection of Frederick W. Davis: An American Abroad — December 6, 2023 | John Moran Auctioneers

The Collection of Frederick W. Davis: An American Abroad Including selections from the Estate of Dr. Amy Conger

December 6, 2023

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

Est. 1969

55 Years

The Collection of Frederick W. Davis: An American Abroad Including selections from the Estate of Dr. Amy Conger

December 6, 2023—12pm PST Sale 259 145 East Walnut Avenue, Monrovia CA 91016

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

Est. 1969

55 Years

Frederick W. Davis Frederick Walter Davis was born in Gilman, Illinois in April 1878, eight years prior to Edward Weston’s birth in Highland Park, Illinois in March 1886. (1) Notably, these two men were born approximately one-hundred miles from each but would meet for the first time, years later, in post-revolution Mexico City.

According to various documents, Davis spent his entire childhood in the burg of Gilman, about ninety miles southwest of Chicago. He was the youngest of eleven children, and during his adolescence he seems to have developed a fascination with train travel, probably due to the two railroad lines that intersected in Gilman.

At the same time, it would have been hard for Davis not to be aware of the struggles of labor movements erupting in Chicago, memorialized by Upton Sinclair in 1906. Like the cardinal points on a compass, the tracks stretched due east, west, north, and south, and when it came time for Davis to jettison his small-town life, with all its tribulations and prejudices, he chose to head south at the age of 19. (2) Not surprisingly, his first job was on a train – selling newspapers, candy, guidebooks, maps, and souvenirs to rail passengers. As an employee of the Sonora News Company (recently founded by an American based in Mexico), Davis’s “hawking” route was the Southern Pacific Railway line that connected Nogales, Arizona, to Guadalajara, Mexico.(3) In 1899, at the age of twenty-one,(4) Davis relocated to Mexico City where he continued working for the fast-growing firm, now headquartered in an elegant, six-story building at Calle de Gante 4 in the heart of the bustling city. The large Sonora News Company store, which occupied the building’s ground floor, specialized in offering a wide array of merchandise to the tourist trade, and Davis made himself at home in rooms above the store. According to period advertisements, visitors could buy “linens with hand-drawn threadwork, colorful serapes, carved leather, feather cards, opals, filigree, guidebooks, carved canes, fans, souvenir spoons, mantillas, and rebozos.” For more prosperous travelers, there were “Old Master paintings; bronze, marble, and ivory objects; fine porcelain and crystal ware; jewels and medallions; Empire and Spanish furniture; tapestries, rugs, embroideries, shawls, and vestments; Toltec, Aztec, and Tarascan relics; and prints, books, and engravings.”(5) Realizing there was an ever-increasing demand for items superior to the usual tourist fare, Davis traveled throughout Mexico in search of talented regional artisans who were creating unique crafts of the highest caliber. His business acumen and genuine interest in Mexican culture and craftsmanship led to his rapid rise through the ranks of the Sonora News Company, and when the firm began opening additional retail shops in various locations, he was appointed treasurer. By the time he met Edward Weston in 1924, he was also managing the store’s clothing department, as well as a shop dedicated to Mexican paintings and crafts located in the historic Hotel Iturbide at Madero 17. Because of Davis’s efforts to locate and elevate the quality of these items, he was already well-known for his expertise and sagacity, so it was not unusual for American and European visitors to seek him out with questions about the authenticity, quality, rarity, and monetary value of objects they wished to acquire. Soon his clientele included multimillionaires Edward Doheny, Nelson Rockefeller and William Randolph Hearst, who often made purchases from Davis while their chauffeur-driven cars waited on the street.(6) Fred Davis would continue collecting and promoting the artists and crafts of Mexico for the rest of his life.

Around 1927 he hired Weston’s friend, Austrian-born Rene d’Harnoncourt, as his assistant, and for the next six years they would travel throughout Mexico on buying trips. Rene d’Harnoncourt would help Davis acquire and sell art objects, as well as organize displays in the Sonora News Company’s showrooms and assemble traveling exhibitions of Mexican paintings and crafts.(7) (This business relationship was the beginning of a lifelong friendship and a remarkable career for d’Harnoncourt, who would later become director of the Museum of Modern Art in New York City.) Another of Davis’s friends was former architect from Tulane, William Spratling, whose innovative jewelry designs were made into silver jewelry by artisans in nearby Taxco. Prior to Spratling’s revitalization of the Taxco silver trade, in the mid 1920’s much of the silver jewelry sold in Mexico was imported from Genoa, Italy. Recognizing another career opportunity for talented Mexican craftsmen, Davis began designing his own line of jewelry, training and employing local silversmiths. Often his designs featured cabochon amethysts, turquoise, and obsidian – all natural materials found in Mexico.(8)

Eventually Davis took over the management of the entire group of Sonora News Company stores, but around 1934 he left to join Sanborns, another retail operation founded in 1903 by two brothers from San Francisco.(9) This sudden departure and change of employers gave Davis the freedom to open a shop under his own name and devote all his time and attention to Mexican paintings, antiquities, and crafts for the next dozen years. Frederick Davis also used this time to purchase and renovate residences in Cuernavaca, which had survived destruction during the Revolution. All the while, he never lost his desire to continue acquiring the best examples of Mexican paintings and crafts (soon to be known as “folk art”) to fill his home. Distinguished visitors often visited the Davis home on Calle Amazonas for breakfast parties in his garden. The Davis guestbooks survive as a testament to wide variety of notable visitors, including private collectors and museum curators, entertainers, artists, authors, politicians, and academics – all who enjoyed his hospitality.(10) Davis leveraged his circle of friends into business collaborations with the most famous Mexican artists of the day, including Diego Rivera, Frida Kahlo, Jose Clemente Orozco, Rufino Tamayo, Miguel and Rosa Covarrubias, and other ex-pats such as Jean Charlot, George Biddle and Caroline Durieaux. Political pilgrim and artist Tina Modotti maintained a warm friendship with Davis, and along with Weston, found their way to Cuernavaca and Davis's circle of friends until Modotti’s 1930 abrupt deportation for political reasons.(11) In a major move, Sanborns was sold to Walgreen’s in 1946,(12) and Davis saw this event as an opportunity to retire at the age of sixty-eight. In 1951, Davis was instrumental in founding the Museo Nacional de Artes e Industrials Populares, a museum of Mexican folk art and antiquities located in the former Corpus Christi Church on Avenida Juarez opposite the Alameda.(13) After overseeing the early years of the fledgling museum, which presumably included numerous objects from his own collection, Davis’s friend Dr. Daniel Rubin de la Borbolla, a former director of Mexico’s Museo Nacional de Antropologia, took over that responsibility.(14) As the years passed, Davis became concerned about the fate of his collection, and he began looking for a way to preserve it for posterity. On August 12, 1957, the Latin American/English edition of Time magazine reported that the Mexican government had agreed to buy a large portion of Davis’s collection, with “the exception of his books, paintings by Orozco and Siqueiros and other contemporary art,” which Davis wanted to keep. According to the Time article, government experts were in the process of “tabulating each item to fix a price (estimated total: $40,000),”(15) and a new addition to the Museo Nacional de Artes e Industrials Populares would be built to house the collection. In September an article in Mexico/This Month made the official announcement: “The finest collection of Mexican folk art in existence has just found a permanent – and logical – home in the National Museum of Popular Arts. This is the famous Fred Davis collection, consisting of superb examples of some three hundred years of craftsmanship, carefully chosen through a lifetime of devoted study of the crafts.”(16) The solution to Davis’s problem came at the right time because soon after he entered his eighth decade his health began to decline precipitously.

In March 1960 a letter from Robert Charles Hill, then serving as the U.S. Ambassador to Mexico, conveyed his dismay upon learning that Fred Davis was unwell. Hill took this opportunity to express his appreciation that Davis’s extensive collection was now owned by the Mexican government.(17) In Ambassador Hill’s note, he especially lauded the exemplary role Davis had played as a representative of the United States:

Dear Fred; I have learned that you have not been well and I am sincerely sorry to hear this. We need you and your invaluable support in the daily job of propagating understanding and good relations between the United States and Mexico.

No one has done more for this great objective than you and I can attest from my experience during the past three years in Mexico to the fact that literally hundreds of cognizant people have spoken to me and to other Embassy officers in appreciation of your work and influence toward reviving the lost arts that made up the ancient cultures of this fascinating land.

The “Museo de Arte Popular” is striking testimony to your great contribution and there could be no finer gesture on the part of a citizen of the U.S.A. than through the gift to the Mexican government of your priceless collection of ecclesiastical vestments, artefacts and other examples of the early culture of Mexico.

I have often said that the most effective Ambassador of the U.S.A. is the American citizen abroad who so lives as to demand the regard and respect of the country in which he is a guest. You have fulfilled this role in a magnificent way. Mexico and its people have reason to and do possess deep regard, respect, and more – affection for you, and I might say further that your own country as well has reason to be most grateful to you.(18)

Fred Davis died of heart failure on March 7, 1961, just one month shy of his eighty-third birthday(19) and a little more than three years after Edward Weston’s demise from Parkinson’s disease on January 1, 1958.

About five years after Davis’s death, much of what remained in his estate (including eight of the photographs he had acquired from Weston) was carefully inventoried by his family, put into storage boxes and exported to California where they would remain, unseen, until 2023.

Today, we commonly place Fred Davis among his contemporaries as a silver designer, but he was so much more than that. Arguably the Davis’s legacy was as a collector of people: politicians, tradesmen, writers, mural painters, commoners, revolutionaries and government officials alike - and with these relationships he became a cultural ambassador who championed the revival of pre-Hispanic imagery and was a major force in elevating the creativity and quality of folk art in Mexico.

We would like to express our gratitude and thank Beth Gates Warren for her significant contributions to the research of Frederick W. Davis.

Amy Conger: A Life of Art, Advocacy, and Friendship Dr. Amy Conger was renowned as the foremost authority on the legendary photographer Edward Weston. According to photo-historian Beth Gates Warren, “Amy Conger was a scholar whose research and writing established a standard within the history of photography that all subsequent researchers and writers have struggled to match. She was tireless in her research, interviewing dozens of people, reading countless letters and newspaper articles, and summarizing her findings in essays and books that formed a firm foundation on which additional scholarship has since been based. Her book Edward Weston: Photographs from the Collection of the Center for Creative Photography, published more than thirty years ago, is still the most important reference on Weston.”

Education played a pivotal role in Amy’s life. She earned her MA in Art History from the University of Iowa and went on to achieve a Ph.D. in Art History from the University of New Mexico. Amy’s thirst for knowledge and her passion for teaching ed her to universities both in the United States and abroad.

She resided in both Chile and Italy, contributing her wisdom to students around the world.

In 1974, while teaching art history at the Universidade de Santiago de Compostela in Chile, Amy found herself arrested and detained as a political prisoner by the military regime of Augusto Pinochet.

Two weeks of starvation and torture couldn’t break her spirit, and through the efforts of the State Department, she was ultimately freed. Amy’s resilience led her to speak openly about the brutal Pinochet regime, sharing her traumatic experience in interviews with notable figures like Barbara Walters and Studs Terkel.

Amy’s legendary tenacity didn’t stop there. She channeled her energies into working with Amnesty International, advocating for countless prisoners of conscience worldwide. In 2000, her efforts bore fruit when she and her husband were flown to Taiwan to witness the inauguration of Annette Lu, a former political prisoner whom Amy had played a significant role in liberating, as Lu became the country’s Vice President.

Linoleum cut from Dr. Conger

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Amy Conger bookplate designed by Rockwell Kent

The heart of Amy’s extraordinary life, however, was her vast and diverse circle of friends. They hailed from every corner of the globe, reflecting a rich tapestry of cultures and backgrounds. From the owner of a moving company who found his passion for photography to the Zimbabwean rebel in exile, whose paths crossed with Amy during her time in Chicago in the ‘70s, her friends were as unique as they were unforgettable. Amy’s warmth, charm, tenacity, and diverse life experiences left an indelible mark on everyone she met.

Amy’s dedication extended beyond her social circles. She was an active, long-time member of the First Congregational Church, where she devoted her time to Project Food, an initiative providing weekly meals for the homeless. Additionally, she served as the church historian and on the Mission Board, leaving a lasting legacy of service beyond just her academic achievements, which were vast and exceptional. w w w. j o h n m o r a n . c o m

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A scrapbook page including images of Edward Weston, Tina Modotti, Monna Alfau

A scrapbook page including 12 images (each side of the scrapbook with 6 images); With three candid images that include: Edward Weston, Tina Modotti, Monna Alfau, Felipe Teixidor, Pepe, Manuel Hernandez Galvan, and Rafael Sala, from an unknown photographer; other various figures and landscape photos are included; Each image is mounted to the black scrapbook page Image/Sheet of Smallest: 2.5” H x 3.5” W (or reverse); Image/Sheet of Largest: 3.5” H x 5.5” W $800-1,200 Provenance: The Estate of Dr. Amy Conger Literature: Amy Conger, “Edward Weston in Mexico 1923-1926,” (Albuquerque, NM: University of New Mexico Press, 1983), fig. 16.

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Edward Weston

(1886-1958) “Plaza Tepotzotlán” [with people, horizontal], 1924 Gelatin silver print on paper Inscribed verso by Felipe Teixidor, “Tepotzotlan / La plaza del pueblo,” in India ink, and in blue ballpoint pen by Mona Teixidor, “Edward Weston.” The number 48 is written upper right verso in an unknown hand Image/Sheet: 3” H x 4” W $1,000-1,500 Provenance: The Artist Felipe and Mona Teixidor, acquired from the above The Estate of Dr. Amy Conger Literature: Conger 119/1924

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1003

Edward Weston

(1886-1958) “Chandler in Mexican Costume,” 1924 Gelatin silver print on paper Appears unsigned Image/Sheet: 3.875” H x 2.875” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger Literature: Conger 126/1924 Provenance: The Estate of Amy Conger

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Edward Weston

(1886-1958) “Monna Alfau Laughing,” 1924 Silver gelatin on paper Unsigned; printed later Image/Sheet: 4” H x 3” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger Literature: Amy Conger, “Edward Weston in Mexico 1923-1926,” San Francisco Museum of Modern Art, the University of New Mexico Press, Albuquerque, fig. 4.

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Edward Weston

(1886-1958) Enrique (Enrica) Jackson Palladium print on a thin board mount Signed in ink lower right: Weston Image: 6.625” H x 4.875” W; Mount: 13.75” H x 8.75” W $700-900 Provenance: The Estate of Dr. Amy Conger Notes: “Enrica Jackson (b. 1888) more or less replaced Rae Davis in Weston’s studio when she left to marry in 1916. Enrica and her sister Marie had come from Kansas to California in 1906 after the earthquake. Enrica soon obtained work as a retoucher in the Mojonnier Studio which was then located in the Auditorium Building in Los Angeles. Within a little while, Weston also obtained employment there as a cameraman and printer, according to Enrica. Like Rae Davis, Enrica also became a photographer. She did not recall exactly how long she worked in his studio, but there are portraits of her by him done in 1916 (Figs. 16/22-31) and 1919 (Fig. 19/8).” Conger diss. 190.

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Edward Weston

(1886-1958) Ristra, circa 1930 Gelatin silver print on paper From edition of unknown size; printed later, circa 1950 Unsigned Image/Sheet: 9.5” H x 5.125” W; Mount: 18” H x 14” W $800-1,200 Provenance: The Estate of Dr. Amy Conger Literature: Conger 24/1930 Notes: This photograph was taken for the book published by Anita Brenner “Idols Behind Alters” in 1929.

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Brett Weston

(1911-1993) “Dad,” 1940 Gelatin silver print on paper Unsigned; titled and inscribed in pencil, possibly in another hand, on the sheet, verso: by Dody / & one of kids Image/Sheet: 5.125” H x 4.125” W $400-600 Provenance: The Estate of Dr. Amy Conger

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1008

Kim Weston

(b. 1939) “EW Desk,” 2001 Gelatin silver print on paper mounted to a board mount Signed, titled, and dated in pencil on the mount and directly below the image: Kim Weston; inscribed to board verso: To Amy / all the best / Love K Image/Sheet: 9.75” H x 7.75” W; Mount: 16” H x 14” W $300-500 Provenance: The Estate of Dr. Amy Conger Notes: Edward Weston’s desk at Wildcat Hill.

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Imogen Cunningham

(1883-1976) “Magnolia Blossom (Tower of Jewels),” 1925 Estate print mounted to a board mount Unsigned; with the Imogen Cunningham Trust printers mark on the mount, lower right; titled and dated on the Imogen Cunningham Trust label affixed to the mount, verso Image/Sheet: 9.5” H x 7.25” W; Mount: 14.5” H x 11.5” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger

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Imogen Cunningham

(1883-1976) “Morris Graves in His Leek Garden,” 1973 Gelatin silver print on paper mounted to a board mount Signed and dated in pencil on the mount below the image, at left: Imogen Cunningham; titled and dated again on the artist’s label affixed to the mount, verso Image/Sheet: 9.75” H x 7.375” W; Mount: 14.5” H x 11.5” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger

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A group of vintage black and white portraits and collector cards

A large collection of nine Mexican, French, and American photographs, two postcards with glitter embellishments, and two actress cards; Each unsigned, some with inscriptions Largest: 13” H x 9.25” W; Smallest: 6.625” H x 4.25” W $400-600 Provenance: The Estate of Dr. Amy Conger

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Paul Strand

(1890-1976) “Woman and Baby, Hidalgo” from the “Mexican Portfolio,” 1933 Photogravure on paper Appears unsigned Sight: 5” H x 6.5” W $300-500 Provenance: The Estate of Dr. Amy Conger Notes: Paul Strand, born Nathaniel Paul Stransky in 1890, charted a revolutionary course for photography, propelling it into the realm of fine art alongside luminaries like Alfred Stieglitz and Edward Weston. At the tender age of 12, a camera gifted by his father ignited Strand’s lifelong affair with the lens.

Under the mentorship of Lewis Hine, Strand’s artistic sensibilities flourished. The transformative visit to the avant-garde 291 art gallery, a hub curated by Stieglitz and Edward Steichen, acted as a catalyst, urging him to elevate his photographic pursuit. His early masterpiece, “Wall Street” in 1915, echoed abstract elements that reverberated across artistic circles, notably influencing the unique urban vision of Edward Hopper.

Strand’s lens wasn’t merely a tool for capturing images but a conduit for social reform. Employing clandestine techniques using concealed lenses, his portraits stirred controversy and fascination alike. His fervent belief in the power of photography as a force for change culminated in his co-founding of the Photo League in 1936, a collective dedicated to harnessing visual artistry for societal causes.

A tempestuous era of political upheaval cast shadows on Strand’s work, leading to his exodus from the United States in 1949.

Settling in France, he embarked on an era of prolific creativity, capturing the essence of landscapes and cultures across continents, immortalizing moments in stills that spoke volumes.

Paul Strand’s legacy endures, a posthumous tribute to his groundbreaking vision etched in the annals of the International Photography Hall of Fame and Museum. His contributions transcend the mere visual, resonating as a testament to the potent intersection of art and societal transformation, forever shaping the essence of modern photography.

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Paul Strand

(1890-1976) “Cristo, Tlacochoaya, Oaxaca” from the “Mexican Portfolio,” 1933 Photogravure on paper Edition of 1000; printed later 1967 Appears unsigned; De Capo Press, Boston, MA, pub.

Sight: 10.25” H x 7.875” W $700-900 Provenance: The Estate of Dr. Amy Conger

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Beaumont Newhall

(1908-1993) “The Darkroom Window [of Edward Weston],” 1940 Silver gelatin on paper mounted to a board mount Unsigned; titled and dated from labels affixed to the mat board Image/Sheet: 8.875” H x 7” W; Mount: 10” H x 8” W $500-700 Provenance: Beaumont Newhall Collection, Santa Fe, NM The Estate of Dr. Amy Conger Literature: Edward Weston, “The Flame of Recognition,” ed. Nancy Newhall (Millerton, NY: Aperture, 2017), 67.

Notes: Beaumont Newhall, born on June 22, 1908, in Lynn, Massachusetts, emerged as a luminary figure in the world of photography, marking his legacy as a curator, art historian, writer, and photographer. His childhood fascination with photography, influenced by his mother’s darkroom work, seeded a lifelong passion. Despite his original interest in film and photography, Newhall pursued art history and museum studies at Harvard due to the absence of separate disciplines at the time.

His journey in the Museum of Modern Art (MoMA) began in 1935, where he started as a librarian and later curated the groundbreaking retrospective of photographic works in 1937. This landmark exhibition not only solidified photography’s place in the arts but also spawned his acclaimed work, “The History of Photography,” recognized as a fundamental text in photographic history.

Newhall’s tenure at MoMA continued until 1940 when he became the institution’s first photography curator. His contributions expanded the museum’s collection, beginning with the works of László Moholy-Nagy. World War II interrupted his career, leading him to serve as a photo-interpreter before returning to civilian life to train others.

Post-war, Newhall’s pivotal role extended to the George Eastman Museum, where he served as curator from 1948 to 1958 and later as director until 1971. During his tenure, he amassed an extensive photographic collection and fostered the growth of influential publications like Image.

Beyond his museum roles, Newhall’s commitment to education led him to teach photography’s history at various institutions, including the University of Rochester and the Salzburg Seminar in American Studies. His late career saw him as a professor at the University of New Mexico until his retirement.

Beaumont Newhall passed away on February 26, 1993, in Santa Fe, New Mexico, leaving behind a profound legacy in the world of photography. His contributions, including his seminal book and his dedicated curatorship, remain integral to the understanding and appreciation of the art form.

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Beaumont Newhall

(b.1901) “Still life - Wildcat Hill,” 1940-41 Gelatin silver print on paper mounted to a board mount Signed, titled, and dated in pencil on the mount and directly below the image: Beaumont Newhall; inscribed in pencil in lower right corner of the mount: For Amy - / In appreciation / and with affection / Beaumont Image: 9.25” H x 12.25” W; Sight: 15.75” H x 19.75” W $500-700 Provenance: The Estate of Dr. Amy Conger

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Amy Conger (1942-2023)

A large group of 41 black and white photographs by Amy Conger; 12 photographs are mounted to a board mount, signed, dated, and inscribed: Amy Conger / Spring 1965 Image/Sheet of Smallest: 7.625” H x 9.5” W; 13.5” H x 10.75” W $600-800 Provenance: The Estate of Dr. Amy Conger

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William Allen (active 20th century) Two works:

River scene, 1978 Gelatin silver print on paper mounted to a board mount Signed and dated in pencil on the mount, at right: William Allen Image/Sheet: 7.375” H x 5.75” W Desert landscape, 1978 Gelatin silver print on paper mounted to a board mount Signed and dated in pencil on the mount, at right: William Allen Image/Sheet: 6” H x 8” W $300-500 Provenance: The Estate of Dr. Amy Conger

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1019

(b. 1929) Plate 25, 26, and 27 from the series “Body Art: Sale Portrait / Arte Cuerpo: Autorretrato,” 1986-87 Each: Gelatin silver print on paper Three plates (25, 26, 27) and one contact sheet of the three plates (four works) Each: Unsigned Image/Sheet of one work: 8” H x 10” W; Sight of three works: 6.5” H x 8.625” W

(b. 1929) Plate 28, 29, 30, 31, and 32 from the series “Body Art: Sale Portrait / Arte Cuerpo: Au Each: Gelatin silver print on paper Four works Each: Unsigned Sight of smallest: 6.625” H x 8.75” W; Sight of largest: 9.125” H x 6.75” W

Eugenia Vargas

Eugenia Vargas

$700-900

$800-1,200

Provenance: The Estate of Dr. Amy Conger

Provenance: The Estate of Dr. Amy Conger

Literature: Amy Conger and Elena Ponniatowska, University Art Gallery, University of California, Riverside, “Companeras de Mexico, Women Photograph Women,” cover illustration and plate 25, 26, and 27.

Exhibited: Riverside, CA, University Art Gallery, University of California, Riverside, “Co

Notes: This lot is accompanied by the exhibition catalogue, “Companeras de Mexico, Women Photograph Women,” from the University Art Gallery, University of California, Riverside.

Literature: Amy Conger and Elena Ponniatowska, University Art Gallery, University of C Photograph Women,” plate 28, 29, 30.

Notes: This lot is accompanied by the exhibition catalogue, “Companeras de Mexico University of California, Riverside.

utorretrato,” 1986-87

1020

Eugenia Vargas

(b. 1949) Various plates from the series “Body Art: Self Portrait,” 1986-87 Each: Gelatin silver print on paper Five works Each: Unsigned Sight of largest: 7.125” H x 8.5” W $800-1,200

ompaneras de Mexico, Women Photograph Women,” 1990

Provenance: The Estate of Dr. Amy Conger

California, Riverside, “Companeras de Mexico, Women

Literature: Amy Conger and Elena Ponniatowska, University Art Gallery, University of California, Riverside, “Companeras de Mexico, Women Photograph Women,” plate 30.

o, Women Photograph Women,” from the University Art Gallery,

Notes: This lot is accompanied by the exhibition catalogue, “Companeras de Mexico, Women Photograph Women,” from the University Art Gallery, University of California, Riverside.

1021

Graciela Iturbide

(b. 1942) “La Veronica, Patrona de los Fotografos, Ecuador,” 1962 Gelatin silver print on paper Printer later, 1982 Signed in pencil lower right: Graciela Iturbide; signed again, dated, and inscribed verso: para Amy con [illegible], esta, la patrona de la fotographia Image: 14” H x 11” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger Notes: With an image of Amy Conger affixed verso.

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Graciela Iturbide

(b. 1942) “El Senor de los pajaros, Nayarit, Mexico,” 1984 Gelatin silver print on paper Unsigned Image/Sheet: 7” H x 10.25” W; Sight: 8.375 x 11.625 $500-700 Provenance: The Estate of Dr. Amy Conger Notes: This lot is sold together with a small color photograph of Amy Conger standing beside the present work. The color photograph is inscribed in black marker, verso: 2007? / in L.A., / Sta Monica / Bergamot Station / Rose Gallery

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1023

Mario Giacomelli

(1925-2000) “Scanno Boy,” 1963 Gelatin silver print on paper Signed in ink on the recto: Mario Giacomelli; signed, annotated in ink, ‘60019 Senigallia-an-Italia, Via Mastai, 24 - Tel. 071/60779’ and titled in ink verso Image/Sheet: 11.5” H x 14.75” W $2,000-3,000 Provenance: The Artist The Estate of Dr. Amy Conger

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Mario Giacomelli

(1925-2000) “Scanno,” 1993 Silver gelatin print on paper Signed in pen, the ink stamped title, and with the artist’s address ink stamp, all verso: Mario Giacomelli Image/Sheet: 11” H x 15.5” W $2,000-3,000 Provenance: The Artist The Estate of Dr. Amy Conger Notes: The photograph is inscribed to Amy Conger on the verso by the artist.

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1025

Mario Giacomelli

(1925-2000) “Scanno,” circa 1959 Gelatin silver print on paper Signed in ink and with the ink stamp title and artist’s copyright, all verso: Mario Giacomelli; inscribed in Italian in ink, verso Image/Sheet: 11.75” H x 15.25” W $2,000-3,000 Provenance: The Artist The Estate of Dr. Amy Conger

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1026

Mario Giacomelli

(1925-2000) Untitled, from the “Caroline Branson of Spoon River,” series, 1968-73 Gelatin silver print on paper Signed in red ink in the lower right corner of the image: Mario Giacomelli; there is a pale pencil notation at the upper right corner, verso: #4556 Image/Sheet: 4” H x 5.875” W $700-900 Provenance: The Artist The Estate of Dr. Amy Conger

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Mario Giacomelli

(1925-2000) “Metamorphosis of the Land, No. 10” from the “Good Earth Series,” 1974 Black and white photograph on Kodak paper Signed in ink lower left: Mario Giacomelli Image/Sheet: 4” H x 6” W $600-800 Provenance: The Artist The Estate of Dr. Amy Conger

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1028

Louis Clyde Stoumen

(1917-1991) “Door,” 1982 Silver gelatin print on paper Signed and dated in ink lower right: Lou Stoumen Image: 9” H x 6” W $300-500 Provenance: The Estate of Dr. Amy Conger

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Mariana Yampolsky

(1925-2002) Window Gelatin silver print on paper mounted to a board mount Signed in pencil on the mount, lower right: M. Yampolsky; inscribed in pencil, verso: With love for Amy / Mariana Image/Sheet: 6.25” H x 6.25” W; Mount: 14” H x 11” W $600-800 Provenance: The Artist The Estate of Dr. Amy Conger

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Scott Davis (20th century) Three works:

“The Eucalyptus by Which a Dead Man Once Lay, Carrizo Stage Station, Colorado Desert”, 2012 Black and white photographic print on paper Signed, titled, dated, and inscribed in pencil in the lower margin, at center: Scott Davis / 6:00 m at 7:42 p on 5:D Image: 6.25” H x 7.75” W; Sheet: 11.25” H x 14.125” D “Homage to Edward Weston and Mark Klett” Black and white photographic print on paper Signed, titled, and inscribed in pencil in the lower margin, at center: Scott Davis / 5:15 at 9:35p on 7:AG 16/16/32 Sight: 13.5” H x 17.5” W “Untitled, Fort Rosecrans” Black and white photographic print on paper Signed, titled, and inscribed in pencil in the lower margin, at center: Scott Davis / 5:00m at 9:52p on 5:0 17/17/34 Sight: 13.5” H x 17.5” W $600-800 Provenance: The Estate of Dr. Amy Conger

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1031

A group of black and white photographic prints

Including six prints by Raul Corrales, two bear the artist’s signature and are dated, 1980; three by Mario Garcia Toya; one by Mayra Martinez; one by an unknown artist, signed and titled verso: “Mask of Despair,” with the inscription: “to my very best friend Amy Conger” Largest: 14” H x 11” W; Smallest: 11.5” H x 8” W $500-700 Provenance: The Estate of Dr. Amy Conger

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1032

Michael A. Smith (1942-2018) Seven works:

A group of six landscapes and one portrait of a dog Each: Gelatin silver print on paper mounted to a board mount Six signed and variously dated either 1971, 1973, 1974, or 1975 in pencil and on the mount: Michael A. Smith; one appears unsigned Image/Sheet of six works: 7.625” H x 9.625” W (or reverse); Sight of one work: 9.75” H x 7.75” W $500-700 Provenance: The Estate of Dr. Amy Conger

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1033

Chris McCaw

(b. 1971) “Sunrise,” 2003 Platinum palladium print on paper Signed, titled, dated, and inscribed in pencil along the lower margin: Chris McCaw / 8/1/03 © #b © 45:00 Image: 7” H x 17” W; Sheet: 9.75” H x 20.25” W $300-500 Provenance: The Estate of Dr. Amy Conger

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1034

Wayne Lazorik (b. 1939)

A collection of 10 photographs and ephemera including two unmounted silver gelatin prints with inscriptions verso, four paper prints with inscriptions on the upper margin edge, and four silver gelatin prints mounted on two board mounts Largest: 11” H x 8.5” W; Smallest: 7” H x 7” W $500-700 Provenance: The artist The Estate of Dr. Amy Conger Notes: Pieces in this lot come in the original shipping box with the artist’s address label and artist statement.

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1035

A collection of art books from Amy Conger’s personal library

Comprising approximately 26 boxes containing: hardcover fiction, art and photography books, staplebound pamphlets, periodicals, and paperback and hardcover monographs on the works of Georgia O’Keeffe, Alfred Stieglitz, Aaron Siskind, Man Ray, Henri Cartier-Bresson, Ansel Adams, Frida Kahlo, John Baldessari, and many more, as well as a large selection of books showcasing female and Mexican photographers and artists, general books on photography, and late 19th century Japanese and American comics $1,000-1,500 Provenance: The Estate of Dr. Amy Conger

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1036

Herman Melville

(1819-1891) “Moby Dick or The Whale,” 1930 Hardcover volumes in aluminum slipcase Melville, Herman (author); Rockwell Kent (illustrator). “Moby Dick or The Whale.” Chicago: The Lakeside Press, 1930 From the Limited Edition of 1000 Three-volume quarto edition with title vignettes and woodcut illustrations, bound in black cloth stamped with silver foil, featuring uncut edges with black top edge 12” H x 4.5” W x 9” D $4,000-6,000 Provenance: The Estate of Dr. Amy Conger Notes: One of R. R. Donnelly and Son’s Lakeside Press “Four American Books” campaign, which was an effort to champion American literature while showcasing the company’s modern machinery and printing of high-quality illustrated books to rival European printers.

Rockwell Kent’s illustrations are still regarded as the definitive illustrations of this American classic.

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1037

A group of Joséph Conrad books Nine works:

“Youth: A Narrative.” Edinburgh and London: William Blackwood and Sons, 1902 From the edition of 3150 copies issued Hardcover, 8vo, First English Edition, First Printing, includes the first appearance in book form of the short novel “Heart of Darkness” as well as 32 pages of ads dated 10/2 at the end of the book “Nostromo: A Tale of the Seaboard.” London and New York: Harper & Brothers, 1904 Hardcover, 8vo, First Edition, First British Edition, First Printing, First State with page 187 numbered as 871 and final page correctly numbered “The Secret Agent: A Simple Tale.” New York and London: Harper & Brothers Publishers, 1907 Hardcover, 8vo, First American Edition with pictorial blue cloth “The Mirror of the Sea.” New York and London: Harper & Brothers Publishers, 1906 Hardcover, 8vo, First American Edition “The Arrow of Gold: A Story Between Two Notes.” London: T. Fisher Unwin, Ltd., 1919 Hardcover, 8vo, First English Edition and first revised edition “The Rover.” London: T. Fisher Unwin Ltd., 1923 Hardcover, 8vo, First British Edition, First Issue with “g” missing in “go” on p. 221 “Last Essays.” London & Toronto: J. M. Dent & Sons Ltd., 1926 Hardcover, 8vo, First Edition “Notes on Life & Letters.” London & Toronto: J. M. Dent & Sons Ltd., 1921 Hardcover, 8vo, First Edition, third issue with a corrected contents page Ford, Maddox. “Joséph Conrad: A Personal Remembrance.” London: Duckworth & Co., 1924 Hardcover, 8vo, First Edition 9 pieces Each: 8.25” H x 5.5” W x 1.5” D approximately $500-700 Provenance: The Estate of Dr. Amy Conger

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1038

Two Fred Davis guest books

Comprising two guest books from the homes of Frederick W. Davis in Cuernavaca and Mexico City, each memorializing Davis’s social circle with guests from around the globe and providing insight into the breadth and depth of his most important collection - his friends and colleagues, and featuring signatures, inscriptions, and drawings from guests including: Rosa Rolando, Miguel Covarrubias, Earl and Ethel Stendhal, Diego Rivera, Frida Kahlo, Jean Charlot, Jaqueline Breton, Dwight & Elizabeth Marrow, Edna Ferber, Dr. Atl, James E. Fraser, Alfred Zalce, Rene d’Haroncourt, Edith Head, Aldous Huxley, Marian Anderson, Sylvanus Griswold Morley, and many other notable individuals Volume One: Cuernavaca, 84 pages approximately, leather-bound and gilt-stamped with gilt edges Volume Two: Mexico City, 114 pages approximately, tooled leather-bound with gilt edges Larger: 8.125” H x 11” W x 0.875” D; smaller: 6.325” H x 9.25” W x 1” D $3,000-5,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: From 1928 to 1959, Fred Davis’ Cuernavaca home became a retreat where artists, writers, politicians, ex-pats, revolutionaries, diplomats, actors, and musicians all gathered for an intellectual exchange of ideas and collaborations.

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1039

A René d’Harnoncourt “Mexican Masters” framed needlepoint tapestry

Mid-20th century, Mexico A large pictorial needlework panel designed by René d’Harnoncourt for Fred Davis on the occasion of his birthday, worked in polychrome yarn and threads on a likely linen ground, with five pictorial panels inspired by classic designs from various sources Top panel: Los Monitos [the little monkeys]: With various musicians and people presenting food to a seated couple in the center.

Second panel: with various designs inspired by Pennsylvania Dutch motifs and traditional sampler figures including dogs, birds, plants and flowers, and also lions.

Third panel: Cuernavaca: with colorful view of Cuernavaca’s city buildings and city landmark, scenes with trees, birds, and various people and city life.

Fourth panel: A narrow panel with various traditional sampler motifs such as crowns, lions, birds, ornaments, with two dedications with initials: JMS within a heart and CD within a basket.

Fifth panel: The lowest panel displays various named figures within a classical arched colonnade including Davis, Rivera, Zapata, Max [likely Emperor Maximilian], Cortes, Borda, Morelos, and Plancarte.

Spanish text around the edge: “Si el dechado se perdiers. Como suele acontecer. Suplico al que se lo hallare. Me la sepa devolver.

Y si no sabe mi nombre. Aqui lo voy a poner. Mas si fuege de unas largas. Y de corto parecer. No olvide aquel mandamiento. Que-dice no hurtaras te cortaras. O te iras con barrabas.”

“If the sampler is lost. as usually happens.

I beseech him to find it.

Know how to return it to me And if you don’t know my name.

I’m going to put it here.

But if it was a long one you will not steal you will cut yourself Or you’ll go with Barrabas” 52.25” H x 32.5” W (on stretcher) $2,000-4,000 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above Notes: This lot accompanied by a pamphlet from the Metropolitan Museum of Art entitled: “Pennsylvania Arts And Crafts,” (New York: Metropolitan Museum of Art, 1949), as well as an artist’s folio with various sketches: Antique Designs II / Sketchbook / [signed] R d’Harnoncourt.

1040

A crewel-style embroidered pictorial textile

Mid-20th century; Mexico Possibly made or designed by René d’Harnoncourt, the bedspread or coverlet is worked in various shades of blue, black and red wool yarn in crewel work-style embroidery on a plain weave likely wool ground with various figural and floral motifs including birds large and small, figures on horseback, multiple flower stalks and sprigs, and with a large central motif of a perched eagle atop cactus, likely alluding to the Mexican coat of arms 91” H x 54” W (loom width) $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above Notes: A similar item lent by Fred Davis to the travelling exhibition: “Mexican Arts” of 19301931, beginning at the Metropolitan Museum of Art, New York, NY, New York from October 13-November 9 1930, and ending at the Pan-American Round Table, San Antonio, TX from August 12-September 2, 1931.

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1041

Line Vautrin

(1913-1997) “La Reconnaissance est la Mèmoire du Coeur,” circa 1950 Brass and enamel cigarette case with cork lining Reads “La reconnaissance est la Mèmoire du coeur,” which translates to “gratitude is the memory of the heart,” an adage credited to both Jean-Baptiste Massieu (1772-1846) and Hans Christian Andersen (1805-1875), and reportedly the d’Harnoncourt family motto 3.325” H x 5.25” W x 0.625” D $700-900 Provenance: The Artist René d’Harnoncourt, acquired from the above The Collection of Frederick W. Davis, gifted from the above Private Collection, Northern California, by descent from the above Notes: Line Vautrin’s box designs are a testament to her mastery of craftsmanship and innovative approach to functional art. Infused with a unique blend of mythology, symbolism, and avant-garde aesthetics, Vautrin’s boxes are miniature marvels that transcend traditional notions of utility. Employing her signature technique, dubbed ‘pellimorphoses’ (surfaces or forms in resin, charged with psychic powers) similar to her Talosel process, Vautrin intricately textured her surfaces by adding layers of resin complexity to each piece. These boxes, often adorned with intricate patterns, mythical motifs, and intricate detailing, became more than mere containers; they were exquisite objets d’art. Vautrin’s ability to seamlessly merge form and function elevated her box designs to iconic status, showcasing her artistic vision and leaving an indelible mark on the world of decorative arts.

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1042

Diego Rivera

(1886-1957) “Dos indios arando en un frutal,” 1935 Watercolor on handmade “rice” paper laid to board Signed and dated lower left: Diego Rivera Image/Sheet: 10.75” H x 15.25” W $30,000-50,000 Provenance: The Artist Central de Publicaciones, Mexico, acquired from the above Private American Collector, acquired from the above in 1935 The Estate of Dr. Amy Conger Notes: We wish to thank Professor Luis-MartÌn Lozano for his kind assistance in the research and cataloguing of this work by Diego Rivera.

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1043

Four Glander Ornamental Iron Works copper candelabra

Mid-20th century; Milwaukee, Wisconsin Each stamped: G [within a circle and under a hand] / Hand Wrought Each two-light hammered copper candelabrum with crimped bobèche, 4 pieces Each: 5.5” H x 7.75” W x 4” D $300-500 Provenance: The Estate of Dr. Amy Conger

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Two Spanish Colonial pewter trays

17th century Unmarked 2 pieces Larger: 1.75” H x 17.75” Dia.; smaller: 1.625” H x 14.625” Dia. $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1045

Miguel Covarrubias

(1904-1957) El mercado Gouache and watercolor on paper Signed lower left: Covarrubias Image/Sheet: 12.875” H x 10” W $20,000-30,000 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above José Miguel Covarrubias Duclaud, known as Miguel Covarrubias, was a Mexican artist born on November 22, 1904, in Mexico City. He began his artistic journey at 14, contributing caricatures and illustrations to Mexico’s Ministry of Public Education and Communications.

At 19, armed with talent and a grant, Covarrubias moved to New York City, quickly becoming a premier caricaturist for Vanity Fair. His artistic talents extended to designing for theater productions, including Caroline Dudley Reagan’s La Revue Negre.

Covarrubias created monumental murals, notably the Pageant of the Pacific for the Golden Gate International Exposition. These murals became cultural treasures, captivating audiences with vibrant depictions of cultures and landscapes.

His life intertwined with Rosa Rolando, leading to adventures across continents and friendships with icons like Diego Rivera and Frida Kahlo. His caricatures graced esteemed publications and theater productions, earning him acclaim and influencing fellow artists. Their exploration led to Bali, resulting in a book contributing to the 1930s Bali craze in New York. Returning to Mexico City, their home became a hub for global visitors and creative exchange.

Beyond art, Covarrubias taught and contributed to the preservation of Mexican dance. His life ended in 1957, leaving a lasting impact through his artwork and analysis of pre-Columbian art, notably the Olmec civilization, reshaping perceptions of Mesoamerican cultures. Through his art, writings, and anthropological studies, Covarrubias shared an enduring appreciation for diverse cultures, leaving an indelible imprint on art and anthropology.

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1046

Miguel Covarrubias

(1904-1957) Woman in a blue dress with fish Watercolor and gouache on paper Signed and inscribed in pencil lower right: Covarrubias / For Fred Sight: 10.75” H x 6.875” W $3,000-5,000 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above Notes: A black ink stamp from the Instituto Nacional de Antropologia e Historia, dated August 26, 1963, is stamped on the verso of the matboard.

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Rosa Covarrubias (nee Rolanda) (1895-1970) Floral still life Watercolor on paper Signed lower right: Rosa Rolanda Sight: 18” H x 13.5” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Rosa Rolanda, born Rosemonde Cowan in Azusa, California, was a multidisciplinary artist whose life intersected with the Mexican Revolution’s aftermath and modern artistic movements. Growing up with a Scottish father and Mexican mother, her artistic talents emerged early, spanning costume design, sculpture, and dance.

In 1916, she gained recognition as a Marion Morgan Dancer in New York City’s Broadway scene. Adopting the stage name Rosa Rolanda, she toured Europe with the Ziegfeld Follies, showcasing her dance skills.

Her life changed when she met Mexican painter Miguel Covarrubias in New York. They married in 1930 and settled in Mexico, where Rolanda deepened her studies in art and photography.

During her time in Paris in the 1920s, she was influenced by surrealistic photography after encounters with artists like Man Ray and Edward Weston. Her photography often focused on everyday life, especially women and children in rural areas.

By the 1930s, Rolanda began experimenting with photograms, creating abstract effects by manipulating light. Her notable piece, “Autorretrato” (Self-Portrait, c. 1930), combined everyday objects around a simple self-portrait.

Her artistic endeavors extended to painting, characterized by figures with distinct almondshaped eyes. While she painted portraits of friends like María Félix and Dolores del Río, her self-portraits stood out. “Autorretrato” (Self-Portrait, 1952) depicted her staring directly at the viewer amidst symbolic elements referencing her past as a dancer and hints of mortality.

Rolanda remained influential in Mexican art until her death in 1970, leaving a legacy that spans painting, photography, dance, and costume design. Her diverse artistic contributions cemented her place among the notable figures in the Mexican art scene.

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1048

Rosa Covarrubias (nee Rolanda)

(1895-1970) Girl in a white dress Watercolor and gouache on paper Signed and inscribed in pencil in the lower right corner: For Fred -- with / love from Rosa Cowan Sight: 13.75” H x 11.25” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1049

A pair of Sanborns sterling silver candlesticks

Mid-20th century; Mexico City, Mexico Each marked to underside: [Three owls] / Sanborns Mexico / Sterling The Spanish Colonial-style candlesticks with multiple lobed waists, 2 pieces Each: 13.75” H x 5” Dia. 56.9 oz. troy approximately $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1050

A Sanborns sterling silver punch bowl

Mid-20th century; Mexico City, Mexico Stamped to underside: [Three owls] / Sanborns Mexico / Sterling The hammered sterling footed punch bowl with scalloped edges 6.25” H x 15” Dia. 72.4 oz. troy approximately $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1051

A set of Mexican silver plates

Mid-20th century Each marked to underside: 925 / Tobias A / Sterling The plates with scalloped edges, each lobe featuring chased rose medallion motifs, comprising 8 salad plates (7.875” Dia.) and 8 dinner plates (8.875” Dia.), 16 pieces 125 oz. troy approximately $1,200-1,800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1052

A set of Continental roemer rummer wine goblets

Late 19th/early 20th century Each unmarked The glass cups, each featuring a dual cipher of Emperor Maximilian I and Empress Carlotta of Mexico etched to the sides with grape vine motif above a flared ribbed trunk with applied spotted prunts, 6 pieces Each: 4.875” H x 2.5” Dia. $1,000-2,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1053

A pair of Continental floral wall sconces

Late 19th century Each unmarked The sconces with hand-painted porcelain flowers and cut glass English ivy leaves mounted to gilt-bronze and metal vine-form branches, 2 pieces Each: 8.5” H x 14.5” W x 8” D $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1055

Four brass candlesticks

Early 20th century Each unmarked Two pairs of candlesticks similarly designed Larger pair: 19.5” H x 5.5” Dia.; smaller pair: 18.5” H x 5.75” Dia. $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1054

Two framed polychrome beaded samplers

Mid-20th century; Mexico Comprising two Mexican beadwork panels framed under glass, including a beadwork panel of a floral spray arrangement with various types of flowers on a white background, and a patchwork sampler panel featuring various floral, figural and geometric patterns worked in small beads of multiple colors and finishes, with a dog, horse, parrots, and a woman depicted at the lower right corner, 2 pieces The first: 8.625” H x 8.375” W (visual); the second: 11” H x 10.5” W (visual) $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The first panel with inscription to frame verso: Bordados A similar item lent by Fred Davis to the traveling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9 1930, and ending at the PanAmerican Round Table, San Antonio, Texas from August 12-September 2, 1931.

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1056

Valentin Vidaurreta

(1902-1955) “Cuernavaca,” 1931 Watercolor on paper Signed, titled, and dated lower right: Vidaurreta Image/Sheet: 21.5” H x 9” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: A black ink stamp from the Instituto Nacional de Antropologia e Historia, dated August 26, 1963, is stamped on the verso of the backing board.

“Valentin Vidaurreta engaged in a lifelong pursuit of beauty. His approach to everyday life was with the mind and eye of an artist. He depicted what he saw around him in hammered silver, paint, or carved stone and enhanced his surroundings as a sculptor, painter, restoration architect, and as a horticulturalist.” Penny C. Morrill Vidaurreta designed for Frederick Davis at Sanborn, Taller Borda, William Spratling, and hired and trained a young Antonio Pineda. His silver floral creations reflect his horticultural collection of orchids.

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Delfino Garcia

(1917-n.d.)

“Taxco,” 1937 Watercolor and gouache on paper Signed, titled, and dated lower left: Delfino Garcia Image/Sheet: 17.5” H x 13.75” W $1,000-2,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1058

A pair of Mexican sterling silver candle screens

Early/mid-20th century Each marked to underside: Sterling / Mexico / .925 Each with removeable screens featuring ornately repoussé and chased scrolled, foliate, and garland motifs, set on an urn form body with opposed foliate scroll handles, 4 pieces Each overall: 17” H x 6.75” W x 4.25” D 69.3 oz. troy approximately $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1059

A pair of silver candle screens

Early/mid-20th century One with handwritten cloth label: FD 144 Possibly a model for a Fred Davis design, the two silver candle screens with ornate repoussé floral and garland motifs above a handled and footed vase-form base with conforming repoussé motifs, 2 pieces Each: 8.75” H x 4.5” W x 2.75” D 12.6 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1 0 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1060

A Spanish Colonial trunk

Early 20th century Unmarked The leather-wrapped cedar wood trunk handpainted with scrolled foliate motifs on red ground featuring brass rivets, edges, hardware, and opposed handles 18” H x 36.5” W x 19.5” D $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1061

Rufino Tamayo

(1899-1991) Three figures on a log, 1932 Watercolor on wove paper, watermark Bond Champion Signed and dated on the red structure in the upper right quadrant: Tamayo Image/Sheet: 8.625” H x 13.375” W $15,000-20,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 0 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1062

Rufino Tamayo

(1899-1991) “Angel,” 1935 Woodcut on paper From the edition of unknown size Signed in ink in the lower margin, at right: R. Tamayo Image: 6” H x 5.25” W; Sight: 6.5” H x 5.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

1 1 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1063

Rufino Tamayo (1899-1991) Four works:

“No lloro, perro me acuerdo” Lithograph in colors on toned paper Unsigned; titled in the stone; inscribed in pencil lower right: X/ Image/Sheet: 16.75” H x 12.25” W “Viva el barro de ole olor” Lithograph in colors on toned paper Unsigned; titled in the stone; inscribed in pencil lower right: X/ Image/Sheet: 16.75” H x 12.25” W “No me despido...”

Lithograph in colors on toned paper Unsigned; titled in the stone; inscribed in pencil lower right: X/ Image/Sheet: 16.75” H x 12.25” W “Busca al caballero que me puso en ojo tricolor” Lithograph in colors on toned paper Unsigned; titled in the stone; inscribed in pencil lower right: X/ Image/Sheet: 16.75” H x 12.25” W $700-800 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1 1 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1064

Rufino Tamayo

(1899-1991) “Naturaleza Muerta,” 1952 Lithograph in colors on wove paper Edition: 85/100 Signed and numbered in pencil in the lower margin: R. Tamayo Image: 17.25” H x 21” W; Sheet: 19” H x 23” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Pereda 36

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1065

Rufino Tamayo (1899-1991) Three works:

“Merry Christmas,” 1951 Woodcut in colors on tissue paper Unsigned Image: 18.5” H x 13.5” W; Sheet: 19.75” H x 14.125” W “Joyeux Noel, Felix Ano, Merry Xmas,” circa 1964 Woodcut in colors on tissue paper Unsigned Image: 11.25” H x 9.5” W; Sheet: 19.75” H x 14.875” W “Navidad/Xmas/Noel” Woodcut in colors on tissue paper Unsigned Image: 8” H x 5” W; Sheet: 10.5” H x 8.25” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Rufino Tamayo issued a series of Christmas cards during the mid-20th century, creating woodcut designs and printing them on delicate tissue paper. These designs were then folded into squares and mailed to friends and family. The work “Merry Christmas” was designed for the jewelry company, Fred Leighton in 1951.

Mexican artist Rufino Tamayo was born in 1899. In 1917, Tamayo enrolled at the School of Fine Arts in Mexico City. After three years, unhappy with the classical art program, he taught himself through experimentation. He developed a keen interest in pre-Columbian art when he was a department head at the National Museum of Archaeology in Mexico City. In 1926, Tamayo relocated to New York, frequently making trips to his homeland of Mexico. Rufino Tamayo’s paintings show the influence of Abstract and Expressionist styles, and he was greatly influenced by Picasso and Georges Braque. As well as paintings, Rufino Tamayo also sculpted and developed his print-making techniques.

1 1 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1066

René d’Harnoncourt (1901-1968), “Domingos Mexicanos (Mexican Sundays),” circa late 1920s Eight works:

“Descano Dominical,” “La Tia Aurelia,” “La Tia Rosalia,” “Alma Y Corazon,” “La Orquesta de la Carpa,” “La Titeres,” and “Fin de Fiesta” from “Domingos Mexicanos” Seven original watercolors hinged to various colored paper Each: Unsigned; The seven original watercolors that are reproduced in “Domingos Mexicanos,” are all contained in a brown paper folder with the hand-written ink title, “Domingos Mexicanos” “Domingos Mexicanos (Mexican Sundays),” The paper folio book of 10 reproductions of watercolor tableaus on paper, mounted from the verso of the upper sheet edge on the original blue-colored paper in the book Edition: 105/300 With the printed title on a small sheet of red paper, affixed to the book cover, the original preface by Howard S. Phillips, and published by Frederick W. Davis, Mexico City, Mexico $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: In 1926 René d’Harnoncourt moved to Mexico, and the following year began working for Frederick Davis at his antiquities and folk art shop in Mexico City. Davis was among the first to collect, display, and sell the work of emerging Mexican artists such as Diego Rivera, José Clemente Orozco, and Rufino Tamayo. d’Harnoncourt assisted in buying and selling antiques and contemporary works and also organized displays and exhibits in the showroom.

In 1929 and 1930 d’Harnoncourt organized an exhibition of Mexican fine and applied arts at the Metropolitan Museum of Art in New York, which then traveled to other American cities. d’Harnoncourt left Davis’s shop in 1933 and moved to the United States. d’Harnoncourt served as Director of the Museum of Modern Art, New York, from 1949 to 1967.

1067

René d’Harnoncourt (1901-1968) Three works:

Drawings of Frederick W. Davis’s house in Cuernavaca, Mexico Each colored pencil on paper Each titled and signed in the lower edge: R. Harnoncourt Largest image: 10.5” H x 11” W; Each sight: 11.5” H x 14.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: in 1926 René d’Harnoncourt moved to Mexico, and the following year began working for Frederick Davis at his antiquities and folk art shop in Mexico City. Davis was among the first to collect, display, and sell the work of emerging Mexican artists such as Diego Rivera, José Clemente Orozco, and Rufino Tamayo. d’Harnoncourt assisted in buying and selling antiques and contemporary works and also organized displays and exhibits in the showroom.

In 1929 and 1930 d’Harnoncourt organized an exhibition of Mexican fine and applied arts at the Metropolitan Museum of Art in New York, which then traveled to other American cities. d’Harnoncourt left Davis’s shop in 1933 and moved to the United States. d’Harnoncourt served as Director of the Museum of Modern Art, New York, from 1949 to 1967.

1 1 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1069 1068

René d’Harnoncourt (1901-1968)

Eight sheets of multicolored paper with nineteen works tipped or affixed to the paper mounts with depictions of toys and artifacts, with the artist’s bookplate affixed to one sheet Each: Unsigned Largest sheet: 14.25” H x 11.5” W; Smallest sheet: 13.5” H x 9.75” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: in 1926 René d’Harnoncourt moved to Mexico, and the following year began working for Frederick Davis at his antiquities and folk art shop in Mexico City. Davis was among the first to collect, display, and sell the work of emerging Mexican artists such as Diego Rivera, José Clemente Orozco, and Rufino Tamayo.

D’Harnoncourt assisted in buying and selling antiques and contemporary works and also organized displays and exhibits in the showroom.

In 1929 and 1930 d’Harnoncourt organized an exhibition of Mexican fine and applied arts at the Metropolitan Museum of Art in New York, which then traveled to other American cities. D’Harnoncourt left Davis’s shop in 1933 and moved to the United States. D’Harnoncourt served as Director of the Museum of Modern Art, New York, from 1949 to 1967.

1 2 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

René d’Harnoncourt (1901-1968)

Three sheets of red paper with six works various depictions of daily life and religio Five unsigned; one signed and dated low Each sheet: 14.25” H x 11.375” W $700-900

Provenance: The Collection of Frederick Private Collection, Southern California, b

tipped to the paper mounts with ous imagery wer left: René d’Harnoncourt

W. Davis by descent from the above

1070

René d’Harnoncourt (1901-1968) Five works:

Four depictions of couples dancing; one image of St. John the Evangelist, each circa 1927 Each: of the four dancing images: ink, pencil and/or colored pencil on various papers or mat board; St. John the Evangelist: watercolor and gouache on paper Three of the dancing couples signed in pencil: René d’Harnoncourt, one unsigned; St John the Evangelist unsigned; three of the dancing couples also titled and/or dated Sheet of largest: 12” H x 10” W approx.; Sheet of smallest: 7” H x 5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1071

José Clemente Orozco

(1883-1949) Untitled, abstract Ink and gouache on paper Signed lower right: J.C. Orozco Sheet: 10.375” H x 14.125” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: José Clemente Orozco, born on November 23, 1883, in Zapotlán el Grande, Jalisco, Mexico, became a pivotal figure in the Mexican Mural Renaissance. Renowned for his politically charged murals, he, along with Diego Rivera and David Alfaro Siqueiros, defined this transformative movement. Orozco’s art delved into human suffering and the political struggles of peasants and workers, reflecting his deep commitment to social causes.

His journey into art commenced during his time in Mexico City in the 1890s, where he found inspiration in the works of the satirical illustrator José Guadalupe Posada. Despite losing his left hand at the age of 21 in a tragic accident, Orozco’s passion for art remained undeterred. He immersed himself in art education, studying at the Academy of San Carlos and engaging in the revolutionary movements of the time.

His artistic career spanned various locations, from Mexico City to Claremont, California, and New York City.

Orozco’s murals, such as those at the National Preparatory School and the Pomona College, reflected his profound commentary on war, societal upheaval, and human struggle. While his contemporaries celebrated the Mexican Revolution’s glory, Orozco depicted its darker aspects, emphasizing the toll it took on society.

His return to Mexico in 1934 marked the creation of significant masterpieces like ‘The Catharsis’ and the iconic frescoes at the Hospicio Cabañas in Guadalajara. Despite residing in Mexico City, Orozco’s legacy extended internationally through works like ‘The Epic of American Civilization’ at Dartmouth College, an expansive mural that encapsulated migration, cultural clashes, and spirituality.

Orozco’s dedication to art and social commentary persisted until his passing on September 7, 1949, leaving behind a legacy that continues to resonate through his thought-provoking murals and profound artistic expressions.

1 2 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1 2 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1072

José Clemente Orozco

(1883-1949) Untitled abstract figure Ink and gouache on paper Signed lower left: J.C. Orozco Sheet: 14” H x 11” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1073

José Clemente Orozco

(1883-1949) “Las Masas” 1935 Lithograph on paper Edition: 97/120 Signed and numbered in pencil in the lower margin Image: 13” H x 16.75” W; Sight: 14.25” H x 18.25” W $800-1,200 Provenance: The Estate of Dr. Amy Conger Literature: Hopkins 24 Notes: Hopkins states, “In one specific instance Orozco used a theme from a lithograph as the basis for a fresco panel. The lithograph ‘Las Masas’ (or ‘The Masses’), was later reproduced [in fresco] on the wall of the Gabino Ortiz library at Jiquilpan, Michoacan in 1940.”

1 2 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1074

José Clemente Orozco

(1883-1949) “Payaso con una Pelota,” 1944 Etching and drypoint on paper Edition: 49/75, from the posthumous edition printed in 1951 Unsigned; titled by repute; numbered in pencil in the lower margin, at right Plate: 10.75” H x 8.5” W; Sight: 11.5” H x 9.25” W $500-700 Provenance: The Estate of Dr. Amy Conger Notes: This work is sometimes known as “Payaso y mundo.” There was a lifetime edition of 80 printed in 1944. An ink notation on a label affixed to the frame’s backing paper incorrectly identifies the artist as David Alfaro Siquerios. It goes on to say, “Purchased by Jean Serobia about 1969 in DF from JCO’s widow at same time as JCO’s litho ‘M[indistinct]’.”

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1075

Two Fredrick W. Davis leather portfolios with copies of William Spratling sketches and a leather valise Mid-20th century Larger portfolio inscribed recto: Etchings / F.W. Davis; Smaller portfolio inscribed to plaque recto: F.W. Davis / AV. Madero 920 / Mexico D.F. and embossed to interior: Hand Tooled / Sanborns / Mexico; Suitcase with round metal insignia tag: Kessler Luggage / N.Y.C. / 11 and embossed to top: F.W. Davis / Ave. Madero 920 / Mexico D.F; Photocopies unsigned, some with location and identification inscriptions in pencil and Calpini optics company stamp, all verso

Comprising two tooled leather portfolios, each with decorative designs, the larger with leather ties and the smaller Sanborns with a brass zipper closure, together with 110 early xerography copies of William Spratling sketches, as well as a Kessler tan cowhide leather valise suitcase with brass hardware, rolled leather handle, and plaid woven lining, 3 pieces plus 110 copies Larger portfolio: 20.5” H x 14.5” W x 1” D; smaller: 14.5” H x 10.25” W x 0.75” D; suitcase: 13.5” H x 21” W x 6.5” D $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Sketches include landscapes, figural studies, layouts for greeting cards and ephemera, portraits of figures from Mexican Revolution, and architectural studies.

1 2 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1076

William Spratling

(1900-1967) “Maguey,” circa 1940 Lithograph on wove paper Edition: 38/60 (there is also a signed and numbered edition out of 35) Signed, numbered, and inscribed in pencil in the lower margin, at center: Spratling / For Fred / - mi amigo / Bill Image: 12” H x 8.5” W; Sheet: 16” H x 11.5” W $400-600 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above Notes: This lithograph was produced from William Spratling’s original drawing for his book, “Little Mexico,” which was published in 1932. This print’s alternate title is “Ajutchitlan.”

1 3 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1077

William Spratling

(1900-1967) Male figure Lithograph on paper Edition 60/60 Signed in pencil lower right; inscribed in pencil lower left: For Fred / con afecto / Bill Image: 6” H x 7.75” W; Sight: 9.25” H x 11.125” W $400-600 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above

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1078

Isidoro Ocampo

(1910-1983) “Autoretrato,” 1929 Etching on laid paper Edition: 2/10 Signed, titled, dated, and numbered in pencil in the lower margin: I. Ocampo Plate: 10.125” H x 8.5” W; Sheet” 12.125” H x 10” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 3 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1079

Isidoro Ocampo

(1910-1983) “El Judero,” 1930 Etching on laid paper Edition: 5/10 Signed, titled, dated, numbered, and inscribed in pencil in the lower margin: I. Ocampo / 04 Plate: 11.625” H x 6.75” W; Sheet: 15” H x 11.25 (approx.) $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1080

Isidoro Ocampo

(1910-1983) Man at the street corner, 1930 Etching on laid paper, watermark Ingres Edition: 4/50 Signed and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 10” H x 9.5” W; Sheet: 18.625” H x 12.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 3 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1081

Isidoro Ocampo

(1910-1983) A mother praying with child, 1929 Etching on paper Edition: 3/10 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo Plate: 10.25” H x 9.75” W; Sheet: 15” H x 11.125” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 3 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1082

Reynold Henry Weidenaar

(1915-1985) “Ten O’Clock in Taxco,” 1946 Etching and aquatint on paper Edition: An artist proof (#2) apart from an edition of unknown size Signed, titled, and inscribed in pencil in the lower margin: Reynold Weidenaar Image: 17” H x 13” W; Sheet: 19.75” H x 15.75” W $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Buckner 93

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1083

Reynold Henry Weidenaar

(1915-1985) “The Burro Station,” 1946 Etching and drypoint on paper From the edition of unknown size Signed and tilted in pencil in the lower margin; Reynold Weidenaar Plate: 17” H x 13” W; Sheet: 20.75” H x 15.75” W $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 3 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1084

Reynold Henry Weidenaar

(1915-1985) “Taxco Bluffs” Etching on laid cream paper From the edition of 75 Signed and titled in pencil in the lower margin: Reynold H. Weidenaar; titled again on a label affixed to the back mat; Alfred Fowler, Alexandria, VA, pub.

Plate: 9” H x 11” W; Sheet: 11.5” H x 13.25” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above w w w. j o h n m o r a n . c o m 1 3 9

1085

Reynold Henry Weidenaar

(1915-1985) “Demolition in the Plaza del Toro,” 1950 Mezzotint on wove paper From the edition of 121 Signed and titled in pencil in the lower margin: Reynold Weidenaar a.n.a; titled again on a label affixed to the back mat; Print Club Collectors’ Club, Alexandria, VA, pub.

Plate: 13” H x 9” W; Sheet: 17” H x 12” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 4 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1086

Reynold Henry Weidenaar

(1915-1985) “El Monstro de Paracuti,” 1945 Mezzotint on paper From the edition of 92 Signed and titled in pencil at the lower margin edge: Reynold H. Weidenaar; titled again on a label affixed to the back mat; Alfred Fowler, Alexandria, VA, pub.

Plate: 9” H x 7” W; Sheet: 11.125” H x 8.875” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Buckner 84 w w w. j o h n m o r a n . c o m 1 4 1

1 4 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1087

Three 20th Century American School works on paper Three works:

Reynold Henry Weidenaar (1915-1985) “Unloading the Dowry,” 1945 Etching on laid paper From the edition of 200 Signed and titled in pencil in the lower margin: Reynold H. Weidenaar; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

Thomas Willoughby Nason, N.A. (1889-1971) “The Hay Barn,” 1946 Line engraving on laid paper From the edition of 200 Signed and dated in pencil in the lower margin, at right: TW Nason; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

John Taylor Arms (1887-1953) “Stokesay Castle,” 1942 Etching on laid blue-toned paper From the edition of 200 Signed and dated in pencil in the lower margin, at right: John Taylor Arms; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/ folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Cedar Rapids, IA, pub.

Plate of the largest: 2.75” H x 3.25” W; Sheet of the largest: 5.125” H x 6.325” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Each accompanied by an informational paper insert from The Miniature Print Society.

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1088

Jean Charlot

(1898-1979) “Sunday Hat,” 1947 Lithograph on paper Edition: 28/95 Signed and numbered in pencil in the lower margin: Jean Charlot; Lynton R. Kistler, Los Angeles, CA, prntr.

Image: 13.5” H x 9.5” W; Sight: 14.25” H x 10.25” W $200-300 Provenance: The Estate of Dr. Amy Conger Literature: Morse 507

1 4 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1089

Jean Charlot

(1898-1979) “Konenehnemitia (First Steps), No.5,” from the portfolio “Mexihkanantli (Mexican Mother),” 1946 Lithograph in color on paper Signed in pencil in the lower portion of the left margin: Jean Charlot; signed again in the image, lower left; and with the printed number “5” in the upper margin, at right; El Taller de Gráfica Popular, Mexico City, Mexico, prntr.

Image: 7.375” H x 9” W; Sheet: 9.125” H x 11.125” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Morse 492

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1090

A set of Sanborns sterling silver goblets

Mid-20th century; Mexico City, Mexico Each marked: [Three owls] / Sanborns Mexico / Sterling The goblets with incised scrolled and avian motifs, 11 pieces Each: 5.25” H x 3.125” Dia. 93.6 oz. troy approximately $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 4 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1091

A pair of silver water pitchers

Mid-20th century Each with scratched silver testing mark The cylindrical pitchers with incised concentric circle designs, 2 pieces Each: 7.75” H x 4.5” W x 3.75” Dia. 35.4 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1092

A Spanish Colonial silver ewer

19th century or later The water pitcher with curved handle and folded spout, personalized 8.75” H x 9.5” W x 5.875” D 41.4 oz. troy approximately $300-500

Provenance: The Collection of Frederick W. Dav Private Collection, Southern California, by desce from the above

1093

A Mexican sterling silver pitcher

Mid-20th century Marked to underside: Sterling / Mexico / .925 The pitcher with flat hinged lid and riveted handle 7.25” H x 7.5” W x 5.75” D 27.45 oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 4 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

d pour

vis ent

1094

A Sanborns sterling silver ewer

Circa 1930s/40s; Mexico City, Mexico Marked to underside: [Three owls] / Sanborns Mexico / Sterling The footed water pitcher with lobed waist, scrolled handle, and interior ice catcher 12.325” H x 7.25” W x 5” D 39.44 oz. troy approximately $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1095

A group of Fred Davis and Sanborns sterling silver plates

Circa 1930s/40s Six marked: [Three owls] / Sanborns Mexico / Sterling; seven marked for Fred Davis Each plate of conforming scalloped and incised design in various sizes, 13 pieces Largest: 13.75” Dia.; smallest: 6.125” Dia. 147.3 oz. troy approximately $2,000-2,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 5 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1097

Four Christofle “Contours Filets Louis XV” silver-plated plates Mid-20th century Each marked for Christofle and further marked: 39 / 39941 The plates with scalloped and incised edges, 4 pieces Each: 10.5” Dia. $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

1096

A Spanish Colonial silver plate

Early 19th century Marked with assay mark for Madrid and further marked: LNC; additionally marked by retailer and family of previous ownership Possibly a model for a Fred Davis design, the silver plate with scalloped and incised edges 9.25” Dia. 15.9 oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1098

Enrique Echeverria

(1923-1972) Untitled (Chickens), 1957 Oil on canvas Signed and dated lower right: E. Echeverria 31.5” H x 35.5” W $4,000-6,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 5 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1099

Mary Gehr

(1910-1997) Untitled Abstract Oil on canvas Signed lower right: Mary Gehr 26” H x 50” W $600-800 Provenance: The Estate of Dr. Amy Conger

1 5 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1100

Alvaro Carrillo Gil

(1898-1974) Cityscape, 1955 Oil on canvas Signed and dated upper right: Dr. A.C.G 19.75” H x 23.5” W $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: An address label of the artist is affixed to the stretcher.

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1101

Vicente Rojo

(1932-2021) “Octavo Presagio: Casa el Hombre” Oil on canvas Signed and dated illegibly, lower left: Rojo; titled on the stretcher 50.5” H x 35.5” W $3,000-5,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1102

A Sanborns sterling silver bowl

Circa 1930s; Mexico City, Mexico Marked to underside: [Three owls] / Sanborns Mexico / Sterling The footed bowl with six lobes, each chased and incised floral medallions 5.625” H x 9.75” Dia. 33.4 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

1 5 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1103

A Sanborns sterling silver serving bowl

Circa 1930s; Mexico City, Mexico Marked to underside: [Three owls] / Sanborns Mexico / Sterling The urn-form bowl with opposed handles and chased and repoussé lid, mounted to a square chased foot 10.25” H x 12.125” W x 9.25” D 70.2 gross oz. troy approximately $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1104

A pair of silver handled mugs

Mid-20th century Each incised to underside: Mir da The cups with flared rim and foliate form handles, 2 pieces Each 5.25” H x 5.325” W x 4” Dia. 28.1 oz. troy approximately $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1106

A set of Mexican tin plates

Early 20th century Each appears unmarked The plates with incised petal rims comprising twelve chargers and eight smaller plates, 20 pieces Chargers: 11.75” Dia.; smaller plates: 7.75” Dia. $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1105

A Mexican sterling silver mug

Early/mid-20th century Marked to underside: Sterling / Mexico / 925 The mug with lug handle and rounded foot 4.75” H x 5.25” W x 3.75” Dia. 14.3 oz. troy approximately $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1107

A Colonial Revival codex

20th century or earlier A handmade text combining various elements from other sources into a modern revival tribute, with pages containing Aztec-inspired pictograms and Classical Nahuatl (in the Latin alphabet) transcriptions on 24 pages, all bound in a leather binder with toggle closures Overall: 11.5 H x 8.5” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1 6 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1108

20th Century Mexican School Panoramic View of New York

Oil on a tin retablo Unsigned; inscribed along the upper edge, at left: Vista Panoramica. Nueva Yor. 10.125” H x 14” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Exhibited: New York, NY, The Metropolitan Museum of Art, “Mexican Arts,” October 13-November 9, 1930, no. 371 Boston, MA, Museum of Fine Arts, “Mexican Arts,” November 25-December 16, 1930, no. 371 Pittsburgh, PA, Carnegie Institute, “Mexican Arts,” January 7-February 4, 1931, no. 371 Cleveland, OH, The Cleveland Museum of Art, “Mexican Arts,” February 18-March 11, 1931, no. 371 Washington, D.C., The Corcoran Gallery, “Mexican Arts,” April 1-22, 1931, no. 371 Milwaukee, WI, Milwaukee Art Institute, “Mexican Arts,” May 13-June 3, 1931, no. 371 Louisville, KY, The J.B. Speed Memorial Museum, “Mexican Arts,” June 24-July 15, 1931, no. 371 San Antonio, TX, Pan-American Round Table, “Mexican Arts,” August 12-September 2, 1931, no. 371 Notes: This retablo is illustrated in a newspaper clipping and accompanied by a caption that reads: “Masks, which might come from the Congo jungle, and porcelain figures of amusing sophistication are typical of the many contrasting moods represented in the exhibition of Mexican arts which opens today at Carnegie Institute. The lower picture shows a vision of New York by an Indian artist who never had seen an American city. He reasoned that because millionaires make most of their money from oil. Likewise, the bandstand must be prominent, for New York is a city of importance. He also decided the capitol in Washinton must be in New York as well as a railway, for all wealthy people ride on railways. He probably had been inspired by a picture of a ferry boat.”

This item was lent by Fred Davis to the traveling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9, 1930, and ending at the Pan-American Round Table, San Antonio, Texas from August 12-September 2, 1931.

The exhibition was the first large-scale significant public exhibition of Mexican art and was conceived by Ambassador Dwight W. Morrow and his wife, Elizabeth Cutter Morrow, who were deeply enthralled by Mexico’s popular arts, antiques, and crafts. The Morrows emphasized the importance of indigenous influences in Mexican art and, “...celebrated folkloric Mexico, as well as acted as patrons validating nativist art within Mexico,” (Foreign-Mexican Collaboration).

The idea of the exhibition from Dwight W. Morrow’s perspective was that a traveling exhibition would not only strengthen the United States-Mexico understanding and relationship but would also allow the public an opportunity to see and study the visual culture of indigenous influences on art from Mexico.

In 1927, while visiting Mexico, Elizabeth Morrow “...became a regular at outdoor markets and antique shops. Mexican artists and intellectuals guided her newfound interest, but she relied most upon her contact at Fred Davis’s shop, René d’Harnoncourt,” (Foreign-Mexican Collaboration). René d’Harnoncourt worked as a knowledgeable collector and client representative at Davis’s well-known shop and would be a key individual in not only the development but also a leader of this exhibition.

In 1929, Morrow presented the idea of the exhibition to Frederick Keppel, director of the Department of Fine Arts at the Carnegie Institute, Pittsburgh, PA, and to Robert DeForest, lawyer and president of the Metropolitan Museum of Art, New York, NY. After the initial approval, a proposal for the exhibition was created

by William Spratling. The Carnegie Institute would finance the project and the American Federation of Arts would carry out the planning and transportation.

Homer Saint-Gaudens, Director of the Department of Fine Arts at the Carnegie Institute, surveyed the field for months in Mexico and decided that René d’Harnoncourt would be the lead curator.

As he gathered the loan material, d’Harnoncourt structured his curatorial process to create an exhibition that would include “fine as well as folk art,” and only those crafts that were “truly Mexican,” meaning that their indigenous influences overshadowed those from Spain, Europe, and the United States, (ForeignMexican Collaboration). D’Harnoncourt was thus able to provide an impressive collection of items, including many works from the collection of his longtime friend, teacher, and owner of the ‘Davis Shop,’ Frederick W. Davis. Specifically, Davis lent to these categories in the exhibition: [Early Iron and Silver Works, Early and Contemporary Lacquered and painted Objects, Early and Contemporary Pottery, Early and Contemporary Textiles, Embroideries, and Beadwork, Early and Contemporary Costumes, Early Paintings, and Early and Contemporary Sculptures.] In addition, pieces from Diego Rivera, Julio Castellanos, Jean Charlot, David Alfaro Siqueiros, and Jose Clemente Orozco, were also a part of the exhibition. D’Harnoncourt’s design plan was to divide the exhibition into two sections “Fine” and “Applied” arts. He wrote a well-described explanation of the layout on the introduction page of the exhibition catalogue, further saying, “... the first by means of early and contemporary applied arts and early fine arts; and the second, by contemporary fine arts. The former represents the unconscious expression of national characteristics; the latter, their conscious expression.” (“Mexican Arts” Exhibition Catalogue).

On October 13, 1930, the exhibition opened at its primary venue, The Metropolitan Museum of Art in New York. It was a truly sensational opening and is considered a curatorial masterpiece. As the exhibition traveled to other museums across the country, it would attain with each new stop “record visitation and high praise,” (Foreign-Mexican Collaboration). Throughout the exhibition, many people were involved in supporting the understanding and appreciation of Mexican culture and the arts. René d’Harnoncourt would “readily admit his intellectual debt to his Mexican colleagues, above all to Doctor Atl,” and he ended his introduction in the exhibition catalogue by saying, “The aim of this exhibition is to present, within the limits of artistic production, a Mexican interpretation of Mexico.”

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1109

19th/20th Century Mexican School Four works:

A group of devotional retablo paintings with various figures in landscapes and in domestic settings, each with descriptive banners Each: Oil on tin Each: Appears unsigned The first: “Senor de Chalmita Te Dedico Este Retablo De Todo Corazon Por Salvado De Un Golpe Que Recivi De Un Golpe El Dia 8 de Mayo De 1819. Mario Nore” The second: “El Dia 3 De Mayo De 1849 Tocando Las Canpanas Del Templo De San Tamaria Del Valle de Vravo Melai Del Barandal i [X]nvocando Me SENOR No Me Paso Nada i Lede Dico Este Retablo Egratitu. Felipe Salas” The third: “Ma [Maria] Acencion Solis ce cayo de una caza, y al suceder tal desgracia, Ma [Maria] Dolores Ruis aclamo al Nino Salvador nidien dole la favoreciera, de que no ce matara y lo conciguio nues se incuentra sana por lo que en accion de gracias precenta este. acontecio el dia 3. de Octubre de 1894.”

The fourth: “_l 27 Febrero de 1820, Estando en la solea de su Casa Da Dolores Aguilar, y al pie de la escaleta __ hermano Da Maria Antoina. cayo un Rallo, el que la derribo entieria quednado casi muerta de el golpe y heridas y anbas do ____la vida por intercesian de esta Santisima Sra. a quien dedican este retablopara Eterna memoria. _” Largest: 10.125” H x 14.125’ W; Smallest: 7.125” H x 10.875” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The small tin retablos are ex-votos (“from a vow”) or devotional paintings that illustrate a story of a dangerous or tragic event that actually occurred, and which the person usually survived, thanks to the intercession of a sacred entity such as God, Mary, or a saint. The retablos are commissioned as a way of thanking the sacred entity for their protection, and depicts the protected person in the dangerous situation, as well as the sacred protector, with an inscribed explanation of the events, including the date and location. These ex-voto retablos may be deposited at a shrine as a votive offering, or kept at home.

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1110

19th/20th Century Mexican School A Mexican retablo of a young girl Oil on tin Unsigned 17” H x 12.5” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: A similar item lent by Fred Davis to the travelling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9 1930, and ending at the Pan-American Round Table, San Antonio, Texas from August 12-September 2, 1931.

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1111

Two Mexican retablos

19th/20th century One retablo of the Mother of God, and one retablo of a saint Oil on panel and one oil on canvas, each with 3-dimensional affixed decorative pieces Each unsigned Largest: 11” H x 8.25” W; Smallest: 9.5” H x 6.5” W; $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1112

A devotional Madonna santos figure

Late 19th/early 20th century, Mexico A painted ceramic and plaster Madonna figure, dressed in a gold brocade and green damask cloth mantle and black lace skirt, adorned with a removable gold-toned metal crown, various jewels and milagro charms, with articulated arms and legs, and all mounted to a later-added assembled stand of ornate repoussé gold-toned metal, 2 pieces 16.5” H x 8.5” W x 6” D approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1113

A group of Mexican silver and mixed metal santos devotional items

18th/19th century Each appears unmarked Seven works comprising two silver stick pin ornaments, each with set stones (larger: 10.5” H x 3.125” W; smaller: 6.5” H x 2” Dia.) as well as five decorative crown headpieces in gold-toned and silver-toned metal, in various styles and sizes (largest: 9.25” H x 7” Dia.; smallest: 1.75” H x 2.25” W), 7 pieces Stick pins: 96.8 grams gross $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1114

A large group of mixed metal Mexican milagro charms

Early/mid-20th century and earlier Comprising a large group of milagro votive charms in various shapes, sizes, and metals, including multiple figures, horses, donkeys, bulls, pigs, dogs, birds, and hearts, 57 pieces approximately Largest: 3.75” H x 2.625” W; smallest: 0.5” H x 0.875” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The milagros, or ex-votos are considered expressions of thanks for the intervention of saints, and come in all types of figures, including replicas of various parts of the body which have been healed by prayer, as well as all types of animals. The small charms are often attached to the robes of a Santos figure. “Years ago, when Mr. Davis had his shop in the Iturbide Hotel, a woman came with this very nice Santo (about fourteen teaches high), a San Antonio which had been in her house for so many years that it had become a neighborhood Saint. Now she needed money but would sell the precious figure only to someone who would appreciate it and cherish it as she had done. Mr. Davis bought the Santo and as long as he had his shop the former neighbors came to pin their ex-votos on it. One series which tells its own story consists of a heart, a little ring, a baby, and a house, all placed on it by one young man as his prayers were answered. During Mr. Davis’s last illness, at a time when he seemed to be recovering, friends added grateful ex-votos to this same household Santo.”

Reference: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973) 71-74, plates 34, 35.

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1115

A pair of Mexican carved wood monks

Early 20th century Each with carved marks: Miguel / Magaña / [illegible] / Mex. The robed monks with draped rosaries, one depicted with prayer hands, the other with arms folded Each: 23.75” H x 3.5” W x 3” D approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1116

A carved wood bead

Mid-20th century Comprising a long rosary bell-shaped wooden bead wood cross with applied m 56” L x 9” H $300-500

Provenance: The Collectio Private Collection, Southe the above

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1117

A black bead rosary belonging to Fred Davis Mid-20th century Central lozenge marked: M Comprising a small carved and plain wooden black bead rosary with silver-toned metal chains and a sterling silver metal cross 22” L x 5.75” H $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

rosary

y with ornately carved round and ds, a carved wood heart, and a metal figure

on of Frederick W. Davis ern California, by descent from

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1118

A group of silver devotional pendants

Late 18th century to early 20th century, Mexico Each appears unmarked Five works comprising two stamped and cast silver cross pendants, two stamped and cast silver crucifix pendants, and a large Yalalag ornate silver cross pendant with three cross-and-ball dangles, 5 pieces Largest: 6” H x 2.5” W; smallest: 3.25” H x 1.875” W 157.3 grams gross $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Largest item illustrated: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973) 104, plate 56. Similar designs illustrated: 19, plate 11.

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1119

A group of Spanish Colonial silver cross and crucifix pendants

Late 18th century to early/mid-20th century, Mexico Each appears unmarked Comprising five silver devotional cross and crucifix pendants in various sizes and styles, including the largest one of silvercovered wood with applied and stamped motifs, 5 pieces Largest: 4.5” H x 2.5” W; smallest: 2” H x 1” W 98.6 grams gross $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1120

A collection of Mexican silver metal matracas noisemakers

18th/19th century, Mexico Each appears unmarked Comprising fourteen works, most in silver-toned metal and vermeil, with fabric flowers and clusters of foil strip elements, all with slender or decorative handles and rotating ratchet elements, and depicting various animals and figures including dogs, birds, a peacock, horses, and a dancer, as well as decorative urns, and delicate pictorial scenes including hunting, battle, and multiple equestrian activities, 14 pieces Largest: 5” H x 2” W x 1.75” D; smallest: 2.25” H x 1.5” W x 0.5” D $1,500-2,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: “In Mr. Davis’s fabulous collection of folk art there is a group of silver matracas, rattles used during Holy Week when no bells ring. The imagination of the silversmith ran riot as he fashioned these little objects, fantastic with figures and flowers, buildings and animals, carved and decorated. A writer in 1844 tells us: ‘On Thursday before Good Friday no bells ring, no horses or carriages, everybody is on foot. The women in their finest clothes make pilgrimages to seven churches. Everyone carries a matraca of wood or bone surmounted by a wax figure or a bird, a baby, a nude Venus. The rich carry ornamented silver ones, and it is the custom to give them as presents on that day... all was quiet but the hum of the crowd and the crack of a thousand rattles that filled the air like a meadow full of grasshoppers.’”

Reference: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973) 74.

Similar items lent by Fred Davis to the travelling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9 1930, and ending at the Pan-American Round Table, San Antonio, Texas from August 12-September 2, 1931.

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1121

A collection of Mexican silver metal matracas noisemakers

18th/19th century, Mexico Appear unmarked Comprising fourteen works, most in silver-toned metal and vermeil, with fabric flowers and clusters of foil strip elements, all with slender handles and rotating ratchet elements, and depicting various animals and figures including dogs, birds and horses, as well as decorative vases and baskets, and delicate pictorial scenes including devotional prayer, hunting, bullfighting, and multiple equestrian activities, 14 pieces Largest: 4.5” H x 2.5” W x 1.75” D; smallest: 2.625” H x 2.25” W x 0.5” D $1,500-2,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1122

A group of twelve miniature cabinets

Late 19th/early 20th century Comprising two “seed pod” pedestal cabinets with doors and ten miniature dresser display cabinets, all with shelves, in various designs and styles, and each with a multitude of miniature tableware items in various materials including serving items, glasses and goblets, plates, cups, dishes, and other ornaments, 12 pieces Largest: 12.125” H x 10” W x 3” D; smallest: 3.5” H x 2” W x 0.75” D $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: One seed pod cabinet illustrated: Anita Brenner (editor), “The Arts: The Davis Collection,” in “Mexico / This Month,” 3, no. 9 (Sept. 1957): 23.

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1123

19th Century Mexican School

Portrait of a lady wearing gold jewelry in a white dress,1867 Oil on canvas Signed indistinctly, dated, and inscribed lower right: P.F. Monr[***] pinta / Mejico 43” H x 33” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1124

18th Century Spanish School

Portrait of a man in formal attire Oil on canvas laid to waxed canvas Unsigned 29” H x 21” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1125

18th Century Spanish School Portrait of a man Oil on canvas Unsigned 23.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: An illegible stamped inscription with possibly the artist’s, owner’s, or sitter’s name and address in Paris on the verso.

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1126

20th Century Continental School Two works:

Portrait of woman; Portrait of a man Each: Oil on panel Each: Appears unsigned Sight of each: 11.5” H x 9.5” W $400-600 Provenance: The Estate of Dr. Amy Conger

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1127

Two Mexican Spanish Colonial-style sterling silver goblets

Circa 1930s Each marked: Sterling / Mexico / 925 The goblets mounted to base with incised and repoussé geometric motifs, 2 pieces Each: 7.125” H x 4.325” Dia. 30.8 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1128

A Spanish Colonial silver mug 19th century or later Appears unmarked The mug with scrolled handle 4.25” H x 5.5” W x 4.25” D 11.3 oz. troy approximately $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1129

A Sanborns sterling silver footed bowl

Mid-20th century; Mexico City, Mexico Stamped to underside: [Three owls] / Sanborns Mexico / sterling / Made in Mexico The bowl with repoussé lobed design and raised on three molded silver feet with winged lion mask and paw feet 4.125” H x 6.75” Dia. 16.6 oz. troy approximately $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1131

Two Mexican silver serving dishes

Early/mid-20th century One marked [Three owls] / Sanborns Mexico / Sterling; the other with incised inscription to underside: Juana Le Dios Lenteno / José Ma Palacios The silver footed bowls with repoussé lobed dishes and incised floral motifs, with opposed high-relief floral handles, 2 pieces Larger: 2.5” H x 7” W x 5.5” D; smaller: 2” H x 6.325” W x 5.25” D 19.2 oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1130

Two Sanborns sterling silver braziers

Early/mid-20th century; Mexico City, Mexico Each marked to underside: [Three owls] / Sanborns Mexico / Sterling Comprising one with fluted ridged edges set on four ball feet and one with beveled edges and incised concentric lines, 2 pieces Larger: 4.25” H x 7.75” Dia.; smaller: 3.5” H x 7.625” Dia. 34.1 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1132

Cadwallader Lincoln Washburn

(1866-1965) Fred Davis’s garden in Cuernavaca Oil on canvas Signed lower right: Cadwallader Lincoln Washburn 25.5” H x 26” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above notes: Cadwallader Lincoln Washburn was known as “the silent artist” and was quoted as saying “deafness may sometimes be an inconvenience but never a handicap”. Primarily known for his mastery of “capturing the spirit of the subject” in his more than 900 drypoint etchings and numerous paintings, he had an incredibly varied life and career as not only an artist but a journalist and enthusiastic naturalist.

Washburn lost his hearing at age five and attended Gallaudet College in Washington, DC, an institution for the hearing impaired, where he earned a Bachelor of Arts degree in 1890. While he originally planned to study natural science and entomology, enlivening his essays with illustrations of spiders, bees, and caterpillars, he discovered a love for drawing at Gallaudet. He went on to study architecture at MIT, and even though he considered this choice a compromise, he won a First Award in Design. Still favoring a more artistic path, Washburn later studied art with William Merritt Chase in New York and traveled to Europe along with Chase and other students, studying with Albert Besnard in Paris and with Joaquín Sorolla in Madrid. During this trip, Washburn became interested in etchings, likely inspired by some of Whistler’s etchings seen in Venice, and through trial and error, taught himself and created his first drypoint etching in Paris in 1903. He exhibited regularly at the start of the twentieth century in both Europe and the USA. As he mastered the art of etching, he also became a war correspondent, along with his brother, for the “Chicago Daily News,” covering the Russian Japanese War of 1904-05. Washburn later traveled to Mexico in 1910 to study architecture and Mexican culture, and while there, covered the Madera Revolution in Mexico from 1910-12. After spending his winters in Mexico, Washburn moved to California, where he exhibited 50 prints at the Panama Pacific International Exposition in San Francisco in 1915, and won a gold medal.

By 1937, failing eyesight forced Washburn to give up etching. Undaunted, he returned to oils and produced some beautiful paintings, marked by a fluid, brushy technique and with an emphasis on light and atmosphere. Washburn married in 1943 and settled in Maine. He returned to studying insects, arguing for the intelligence and communication skills of spiders, bees, and caterpillars.

His essay entitled “The Mind of a Spider” became required reading in the 1940s in the Washington D.C. public schools! The last part of his life was spent in Maine, where he died on December 21, 1965 at age 99. “His incredibly varied experiences gave his work an authenticity and universality seldom matched by any modern artist. However great he was as an artist, and he was truly great, he remains most fascinating as a man.”

References: The Annex Galleries, Santa Rosa, CA Frank G Bowe, Jr. “The Incredible Story of Cadwallader Washburn,” “The Deaf American,” 23, no. 3 (1970): 3-5.

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1133

1134

(1866-1965) Still life with two fish and a pot Oil on canvas Signed lower right: Cadwallader Washburn 25” H x 30” W

(1866-1965) Still life with three vessels Oil on canvas Signed lower right: Cadwallader Washb 18.5” H x 22” W

Cadwallader Lincoln Washburn

Cadwallader Lincoln Washburn

$1,000-1,500

$400-600

Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

Provenance: The Collection of Frederic Private Collection, Southern California,

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burn

ck W. Davis , by descent from the above

1135

Cadwallader Lincoln Washburn

(1866-1965) Still life with three vessels Oil on canvas Signed lower right: Cadwallader Washburn 30” H x 25” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1136

Cadwallader Lincoln Washburn (1866-1965) Six works:

A group of four landscapes and two portraits Each: Etching on paper Each: Signed in pencil in the lower margin, at right: Cadwallader Lincoln Washburn; all but one titled in pencil in the lower margin, at left; three with red ink stamp with Chinese characters, lower right; church with bell towers inscribed lower margin, at left: To my friend Frederick W. Davis Sight of Largest: 12.5” H x 8.5” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

1 9 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1137

Cadwallader Lincoln Washburn (1866-1965) Three works:

“Stone Ranch, Bordo Garden” Etching on Japanese paper Signed and titled in pencil in the lower margin: Cadwallader Washburn Plate: 8” H x 12” W; Sheet: 10” H x 14.25” W “Veronica Gaonera” Etching on thin brown paper Signed and titled in pencil in the lower margin: Cadwallader Washburn; signed again in pencil on the overmat Plate: 6” H x 8” W; Sheet: 10.5” H x 10.25” W “Wood Notts, Norlands Series III” Etching and drypoint on Japanese paper Signed, titled, and inscribed in pencil in the lower margin: Cadwallader Washburn / First Impression, Initial State Plate: 8” H x 12” W; Sheet: 9.5” H x 13.5” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above w w w. j o h n m o r a n . c o m 1 9 9

1138

Alberta Kinsey

(1875-1952) Veranda with plants, 1929 Oil on canvas Signed and dated lower left: Alberta Kinsey 20” H x 18” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 0 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1139

A Spanish Colonial silver water pitcher

Mid-19th century Hallmarks for the Real Fábrica de Platería Martínez in Spain The pitcher featuring a scrolled handle with applied flowers to upper juncture and applied female mask to the lower 11” H x 6.5” W x 5.5” D 31.8 oz. troy approximately $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 0 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1140

A Spanish Colonial silver desk set

Early/mid-19th century Hallmarks for the Real Fábrica de Platería Martínez in Spain; further marked for Mexican chief assayer Cayetano Buitron (1823-1843): BTON The stand raised on four paw feet with affixed pull-drawer nib box surmounted by a bell and flanked by two unaffixed lidded cylindrical compartments, each adorned with lion masks and swagged chains, one with lead-lined inkwell and one sander featuring a six-pointed star motif, 4 pieces Overall: 4.5” H x 8.125” W x 5” D 31 gross oz. troy approximately $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1143

A Spanish Colonia

Early/mid-20th centu Marked for previous o The underplate with bowl with applied ma four hanging figures 3.875” H x 6.875” Di 13.2 oz. troy approxim $300-500

Provenance: The Col Private Collection, So the above

1141

A Spanish Colonial silver brazier

19th century or earlier Appears unmarked The dish footed with winged lion ball in claw feet below a raised scalloprimmed bowl with applied masks and figures and chain swags 4.325” H x 8.75” W x 5.625” D 19.6 oz. troy approximately $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 0 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

al silver brazier

ury owner and retailer scalloped edges beneath a raised ask elements, chased floral motifs and

ia. mately

llection of Frederick W. Davis outhern California, by descent from

1142

A Spanish Colonial silver brazier

19th century or earlier Appears unmarked The round plate with a chased and chiseled central bowl, applied winged masks, and a heart, anchor, and cross milagro charm 4” H x 8.125” Dia. 20.2 oz. troy approximately $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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2 0 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1144

A Spanish Colonial silver dish and cup

19th century or earlier Hallmarks for the Real Fábrica de Platería Martínez in Spain; with Madrid assay mark: [crown above] M; further marked: FCDA The silver tray with a reticulated detachable holder and blue glass insert Overall: 3.5” H x 7.5” Dia. 8.7 oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1145

A group of Mexican silver filigree orn

Early/mid-20th century Each appears unmarked Three works comprising a pair of filigree ste or Santos ornaments in a stylized butterfly floral, bird, and hand motifs (each: 3.25” H a single round filigree silver wire pendant o similar applied motifs (3.25” H x 3” W), and filigree wire pendant/ornament with floral a 3.75” W), 4 pieces 89.0 grams $600-800

Provenance: The Collection of Frederick W Private Collection, Southern California, by d

Literature: Similar designs lent by Fred Dav Davis and Greta Pack, “Mexican Jewelry” ( Press, 1973) 93, plate 49.

1146

Two pairs of silver and mixed metal filigree earrings

Early 20th century Each appears unmarked Two works comprising a pair of silver-toned metal “las media lunas” or halfmoon earrings with applied birds, set turquoise and multiple dangles including a pitcher (each: 3.25” H x 2.125” W), as well as a pair of copper/brass-toned metal round wire filigree earrings with twisted flat metal dangles (each: 2.5” H x 1.375” W), 4 pieces 38.3 grams gross $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 0 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

naments and earrings

erling silver wire earrings shape with applied silver H x 2.75” W), as well as or Santos ornament with d a large butterfly-shaped and hand motifs (4.5” H x

W. Davis descent from the above

vis and illustrated: Mary L. (Austin: University of Texas

1147

Two pairs of silver filigree earrings

Early/mid-20th century Appear unmarked Two works comprising a pair of silver-toned metal repoussé floral earrings (each 1.75” H x 1.5”W), and a pair of copper/brass-toned metal round wire filigree earrings with twisted flat metal dangles (each: 2.75” L x 1.5” W), 4 pieces 19.8 grams $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1148

Carlos Merida

(1891-1984) Abstract composition with a head and bird-like form, from “Motivos,” 1936 Woodcut in colors on paper Edition: 46/100 Signed and numbered in pencil in the lower margin: Carlos Merida; Ediciones arte Mexicano (EAM), Mexico City, pub.

Sight: 8” H x 6” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Merida was part of the Mexican muralist movement and the first artist to fuse European modern painting with Latin American themes. This print is from a folio entitled Motivos published

by Ediciones Arte Mexicano in 1936, when Merida was strongly influenced by European Surrealism. They reveal the imaginatively blended abstract and figurative elements that he preferred to narrative compositions. The prints have a lyrical quality that reflects his lifelong interest in music, dance, and rhythm. The portfolio also contains three letterpress poetic verses written by Nicolas Maquiavelo. -Metropolitan Museum of Art, NY NY

2 1 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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2 1 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1149

Carlos Merida (1891-1984) Twenty-one works:

Twenty-one plates from the “Trajes Regionales Mexicanos” portfolio, 1945 Each: screenprint in colors on wove paper Each: from the edition of 1000 Each with the artist’s name, image number, and individual title printed along the lower edge of the image: Carlos Merida; together with the original beige cloth-covered portfolio with printed design, title, and publisher on the front; Editorial Atlante, Mexico City, Mexico, pub.

Image of each: 12.5” H x 9.25” W; Sheet of loose: 17.5” H x 12.75” W, Sheet of framed: 16” H x 12” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1150

Cayo Guadalupe Zunzarren

(1873-1927) Still life of flowers Oil on canvas laid to canvas Signed lower right: C. G. Zunzarren 23.5” H x 35.25” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

2 1 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1151

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo Image: 9.25” H x 10” W; Sheet: 12.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: All eight of these works were held in a portfolio by Frederick Davis.

Jesús Escobedo Trejo (1918-1978) emerged as a pivotal figure in Mexico’s artistic landscape, renowned for his prowess in drawing and engraving. His artistic odyssey began in El Oro, México, but it was in the vibrant milieu of Mexico City where he honed his craft. Under the tutelage of luminaries like Gabriel Fernández Ledesma and Francisco Díaz de León at the Escuela de Pintura al Aire Libre and the Academy of San Carlos, respectively, Escobedo absorbed the essence of traditional and contemporary artistic techniques.

What distinguished Escobedo was not solely his artistic acumen but also his impassioned dedication to social causes. He became integral to movements like the Liga de Escritores y Artistas Revolucionaries and the Taller de Gráfica Popular, aligning his art with political and societal narratives. His participation in the 1938 Palacio de Bellas Artes collective exhibition, spearheaded by the Comité Nacional Femenino ProPago de la Deuda Petrolera, underscored his commitment to using art as a vehicle for social change.

Beyond gallery walls, Escobedo’s canvas extended to the pages of books. His collaborations ranged from illustrating for Mexico’s Secretariat of Public Education to partnerships with U.S. publishers, where his artistic ingenuity illuminated various literary works. Notably, his illustrations for the 1946 book “Lecturas Hispanoamericanas” resonated with audiences on both sides of the border, showcasing the universality of his artistic language.

Amidst his diverse portfolio, the pinnacle of Escobedo’s international recognition was the creation of eight lithographs capturing the essence of New York City, a project funded by the prestigious Guggenheim Fellowship in 1945.

Tragically, his artistic journey concluded prematurely at the age of 60, leaving behind a legacy that transcends his temporal existence. His final resting place in the San Nicolás Tolentino cemetery in Iztapalapa, Mexico City, stands as a silent homage to an artist whose brushstrokes spoke volumes about social consciousness and the enduring power of art to shape societies.

2 1 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1152

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed, dated, and inscribed in pencil in the lower margin, at right: Jesus Escobedo Image: 8.875” H x 12” W; Sheet: 12.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: In 1945, Jesus Escobedo received a two-year residential scholarship from the Guggenheim Foundation, where he spent time in New York and created a series of eight lithographs of subway, city, and train scenes. All eight of these works were held in a portfolio by Frederick Davis.

2 1 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1153

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo Image: 11” H x 10.25” W; Sheet: 10” H x 12.375” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1154

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo Image: 9.5” H x 10.625” W; Sheet: 12.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1155

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo Image: 8.5” H x 9.625” W; Sheet: 12.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 2 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1156

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed, dated, and inscribed in pencil in the lower margin, at right: Jesus Escobedo Image: 10” H x 11” W; Sheet: 12.625” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1157

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo Image: 9” H x 9.75” W; Sheet: 12.375” W x 18.75” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1158

Jesus Escobedo

(1918-1978) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed, dated, and inscribed in pencil in the lower margin, at right: Jesus Escobedo Image: 10.125” H x 11.75” W; Sheet: 12.25” H x 19.375” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 2 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1159

1160

(1918-1978) Couple waiting by the street corner Lithograph on paper Edition: 20/20 Signed and numbered in pencil in the lower margin, at right: Jesus Escobedo Image: 20.5” H x 11” W; Sheet: 20.5” H x 19.625” W

(1918-1978) Standing figure with marionettes, 1945 Lithograph on paper Edition: 3/20 Signed, dated, and numbered in pencil in th Image: 15.75” H x 10.75” W; Sheet: 25.625”

Jesus Escobedo

Jesus Escobedo

$700-900

$700-900

Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

Provenance: The Collection of Frederick W. Private Collection, Southern California, by d

2 2 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

he lower margin, at right: Jesus Escobedo ” H x 19.75” W

Davis descent from the above

1161

Jesus Escobedo

(1918-1978) Mother and children Lithograph on paper Edition: 14/15 Signed and numbered in the lower margin: Jesus Escobedo Image: 14.5” H x 12.5” W; Sight: 21” H x 16” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1162

Caroline Durieux

(1896-1989) “Take Me to Your Leader,” 1936 Oil on canvas Signed and dated lower right: Caroline Durieux 18” H x 14” W $3,000-5,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Titled in the original correspondence and inventory of Fredrick Davis’s estate ledger dated 1965.

Caroline Durieux: A Trailblazing Journey in Satirical Surrealism Born on June 28, 1896, in New Orleans, Louisiana, Caroline Durieux emerged as a significant figure in the art world, leaving an indelible mark on surrealist art and establishing a unique relationship with the art scene in Louisiana and Latin America. Her captivating works and groundbreaking contributions continue to captivate and inspire artists and art enthusiasts alike.

Caroline Durieux explored surrealism throughout her career and sought to unlock the mysteries of the unconscious mind and bring them to life on canvas. Her distinctive style, dreamlike imagery, and meticulous attention to detail led her to create thought-provoking and visually engaging compositions. Durieux’s work often conveyed a sense of whimsy, allowing viewers to glimpse into the intricate landscapes of her imagination. Carl Zigrosser, Keeper of Prints at the Philadelphia Museum of Art, wrote: “Durieux is master of her instrument. It is like an epigram delivered in a deadpan manner: the meaning sinks in casually; when all of a sudden, the full impact dawns on one, it haunts one for days. Her work has that haunting quality because its roots are deep, its vision profound.”

Durieux’s surrealist art often collided with her satirical sense of humor regarding the socioeconomic class from which she came. Her family often mocked her as being the “red sister” when compared to her well-to-do sibling. Durieux was never a confirmed member of the communist party, but her leftist leanings were evident in her work. She often made fun of the wealthy and their predilections by creating cartoonish caricature-like portraits of those around her.

One of the notable aspects of Durieux’s artistic career was her connection to fellow artist and collaborator William Spratling. After crossing paths with him during the 1920s in the Vieux Carre section of New Orleans, she introduced Spratling to another artistic contemporary, William Faulkner.

Durieux would follow in Spratling’s footsteps as he moved to Taxco Mexico and created a silver empire. She and her husband moved to Mexico City, where her husband continued the family business of importing textile goods from Latin America. Durieux and Spratling’s creative partnership and her experience living within the Mexican artistic community added depth and dimension to Durieux’s work as she exchanged ideas and influences with those around her. Spratling’s tendencies to forgo societal niceties in favor of genuine expression complemented Durieux’s reflexive need to create surrealist drawings and paintings.

Spratling’s relationship with local silver and antiques dealer Fred Davis would lead to Davis procuring one of Durieux’s early paintings, “Take Me To Your Leader.”

Davis collected Durieux’s work amongst other local artists and became a preeminent collector of Latin American silver and art from the early 20th century.

Durieux would also meet and collaborate with Diego Rivera and Frida Kahlo in Mexico. Rivera would go on to paint a portrait of Caroline Durieux. Durieux’s antagonistic views toward the upper echelons of society would continue to be evident in the art she produced in Mexico and later on in life as she returned to New Orleans.

After returning to Louisiana, Tulane University in New Orleans played a pivotal role in shaping Caroline Durieux’s artistic trajectory. She became an integral part of the university’s art scene as an instructor and a mentor. During the 1950s and ‘60s, she pioneered a new technique of exposing photographic prints to radioactive ink. This process enhanced the surrealist nature of her work.

Her presence enriched the artistic community, and her teachings inspired countless aspiring artists to explore their creative potential. Durieux’s involvement with Tulane University solidified her reputation as a trailblazer in the art world, setting an example for emerging female artists who sought to carve out their own space within the male-dominated realm of surrealism.

In the world of female surrealist art, Caroline Durieux stood out as a pioneering force. Her determination to navigate the challenges of a predominantly male artistic landscape made her a beacon of inspiration for women artists striving to establish themselves. Through her work and advocacy, she shattered glass ceilings and paved the way for future female artists to embrace critical surrealism and assert their creative voices.

Durieux’s iconic painting “Take Me to Your Leader,” which was acquired by Fred Davis, is an oil on canvas piece that exemplifies her unique blend of surrealism and social commentary. With its intricate details and imaginative elements, the painting invites viewers to contemplate the juxtaposition of the ordinary and the extraordinary. It also prompts reflections on the complex interplay between classist structures in the American South.

Caroline Durieux’s legacy is a testament to her unwavering commitment to pushing artistic boundaries and championing female surrealist art.

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2 2 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1163

Caroline Durieux

(1896-1989) Surrealist scene, 1934 Oil on canvas Signed and dated lower right: Caroline Durieux 20” H x 22” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1164

Caroline Durieux

(1896-1989) “Blind,” 1933 Etching and aquatint on paper Edition: 3/5 Signed, dated, and numbered in pencil in the lower margin: Caroline Durieux; titled in pencil in the lower margin edge, at right Plate: 8” H x 5.25” W; Sight: 12.5” H x 8.75” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 3 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1165

Caroline Durieux

(1896-1989) Untitled, two figures, 1928 Watercolor on paper Signed and dated lower right: Durieux Sheet: 14” H x 10” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1166

An 18K yellow gold Pre-Colombian-style pendant/brooc

Late 20th century Stamped: 18K Comprising an 18K yellow gold pendant brooch with a reproduc mask headdress motif 1.5” H x 1” W 8.4 grams $300-500 Provenance: The Estate of Dr. Amy Conger

1167

A Mexican silver brooch with carved greenstone

Mid-20th century Stamped: Silver / Mexico A Fred Davis-style round brooch with central set carved greenstone and silver dangles 2.5” H x 2.5” W 27.9 grams gross $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: This brooch likely inspired by a Yanhuitlan brooch found in the Museo Nacional de Antropologia in Mexico City, illustrated in: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973), 40, plate 19.

2 3 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

ch

ction

1168

A pair of carved Olmec-style stone mask ornaments

Early 20th century Each appears unmarked Comprising two large carved stone mask faces, one mask in carved obsidian (5.5” H x 4.5” W x 1.5” D), and one mask in smooth pale green/off-white opaque stone (5.25” H x 4.75” W x 2” D), 2 pieces $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1169

A group of silver and obsidian jewelry Three works:

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico A silver and stone set brooch Stamped FD / silver / Made in Mexico A silver brooch with central set carved obsidian mask 1.25” H x 2” W A sterling silver link bracelet Stamped: Sterling / Mexico An openwork sterling silver link bracelet with central carved set obsidian 7.25” L x 1.375” H A carved obsidian mask Unmarked 1.5” H x 1” W 3 pieces 65.0 grams gross $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Brooch illustrated: Mary L. Davis and Greta Pack, “Mexican Jewelry” (Austin: University of Texas Press, 1973) 161, plate 98.

2 3 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1170

A group of carved greenstone jewelry items

Mid-20th century Appears unmarked Comprising a pendant necklace with detached carved mask and large abstract greenstone beads on wire (24” L x 0.875” H), and three carved greenstone masks with holes, two with a key chain (largest: 2” H), 5 pieces $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1171

A large Fred Davis Modernist silver bangle

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD [for Fred Davis] Comprising a chunky silver asymmetrical concave bangle bracelet 9” inner C x 1.5” H 166.4 grams $1,000-2,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 3 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1172

A Fred Davis sterling silver cup

Frederick W Davis (1880-1961) Mid-20th century; Mexico City, Mexico Marked for Fred Davis to underside The cup with Pre-Columbian-style mask to one side 3.25” H x 2.75” W x 2.5” Dia. 5.6 oz. troy approximately $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1173

A Fred Davis-style Mexican silver and set amethyst link bracelet

Mid-20th century Stamped: Mexico / Silver / Mexico A chunky bracelet with openwork foliate motif links and rectangular set carved amethysts 6.5” L x 1.25” H 118.7 grams gross $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1174

A Fred Davis Mexican silver and set stone link bracelet

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD for Fred Davis: Further stamped: Sterling / Made in Mexico A chunky bracelet designed with alternating links of set cushion cabochon amethyst and greenstone panels 6.75” L x 1.375” H 90.4 grams gross $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 3 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1175

A Fred Davis Mexican sterling silver pendant/brooch

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Pendant stamped: Silver / Made in Mexico; chain stamped: Sterling Comprising a silver quatrefoil pendant/brooch with silver ball accents and a large central set cabochon amethyst, on an associated sterling silver chain, 2 pieces 20.25” L x 2.125” H 2” W 55.7 grams gross $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1176

Two Mexican silver bracelets with set amethysts

Mid-20th century Each stamped: Silver / Made in Mexico Two Fred Davis-style link bracelets, one with herringbone links and large cushion cabochon amethyst clasp (7.5” L x 1.125” H), and one with silver “caviar” floral motif links. each with central set small amethyst cabochon (6.25” L x 0.5” H), 2 pieces 84.3 grams gross $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1177

A carved wood diorama of San Pascual Bailon

Late 19th/early 20th century Appears unsigned The finely carved wood diorama set in a gilt metal oval frame, depicting San Pascual Bailon, the patron saint of cooks, kitchens, and shepherds 6.75” H x 5.375” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Brother Pascual, in the 17th century, at the Puebla de Los Angeles (City of the Angels), when tasked with kitchen assistance, danced with joy at the task but unfortunately knocked a shelf of spices into the cooking pot and was banned from further kitchen work. The visiting Archbishop so well regarded the meal made from the mess that the mole meal became the standard for Christmas meals in the centuries that followed.

2 4 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1178

A pictorial needlework sampler

Mid-20th century Initialed in design: PA / LF A large needlework cross stitch needlepoint and embroidered sampler worked in classic designs in polychrome threads in a variety of stitches on a plain weave ground, depicting multiple animals, figures and floral and geometric motifs, with the phrase “Tu a quina” to one side 30” H x 30.25” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: A similar earlier item lent by Fred Davis to the travelling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9 1930, and ending at the Pan-American Round Table, San Antonio, Texas from August 12-September 2, 1931.

2 4 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1179

An American blue and white woven coverlet

19th century A two-piece blue and white double cloth coverlet with fringed edges, woven in likely wool and cotton in an all-over geometric pattern in a simple combination of blocks, and with a central vertical seam and a rolled hem to top edge 85” H x 80” W approximately; fringe: 2.5” L $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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2 4 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1180

Fred Davis’s wood jewelry box

20th century Appears unmarked The three-drawer casket with dovetail joints and side locking mechanism on brass hinges 10.25” H x 12” W x 13.5” D $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1181

A Mexican lacquered wood “candy box” with needlework accessories

Early/mid-20th century Comprising a polychrome painted and lacquered wood casket box with city scenes, animals and other figural, floral, and geometric motifs, containing numerous thread keepers or bobbins in silver metal, carved bone, horn, and wood, in various shapes, sizes and motifs, several wrapped with thread, as well as a few small accessories, 200 pieces approximately Box: 4.25” H x 7.75” W x 4.875” D; largest keeper: 2.25” H x 2” W; smallest: 0.5” H x 0.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: A similar earlier item lent by Fred Davis to the travelling exhibition: “Mexican Arts” of 1930-1931, beginning at the Metropolitan Museum of Art, New York, New York from October 13-November 9 1930, and ending at the Pan-American Round Table, San Antonio, Texas from August 12-September 2, 1931.

2 4 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1182

A petit Spanish Colonial-style vargueño

Late 19th/early 20th century Appears unmarked The wood desk with chased and repoussé scrolled metal escutcheons, featuring a locking drop front lined in red damask fabric supported on pull-out arms, revealing thirteen drawers, one with columnar architectural front, above two long drawers, one with locking mechanism 17.25” H x 17.75” W x 17.25” D $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1183

A Spanish Revival portfolio stand

Early/mid-20th century Appears unmarked The wood veneer stand with hinged swinging panel 34.5” H x 29.75” W x 21.75” D $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1184

Julio Vila Prades

(1873-1930) “En el Mercado” Oil on canvas Signed faintly at the lower right: Julio Prades; titled on the stretcher 20.25” H x 31.375” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

2 4 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1185

Sydney Janis Yard

(1855-1909) Grazing cows near a grove Watercolor on paper Signed lower right: Sydney J. Yard Sight: 10.5” H x 13.75” W $300-500 Provenance: The Estate of Dr. Amy Conger

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2 5 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1186

Orrin A. White

(1883-1969) The rolling hills of California Oil on tin Signed lower right: Orrin A. White 16.25” H x 20.25” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1187

Boris Artzybasheff

(1899-1965) “The Last Trumpet,’’ 1937 Wood engraving on laid paper Edition: 61/200 Signed and titled in pencil in the lower margin: Boris Artzybasheff; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; tipped down to the wove paper presentation mat/folder at the tips of the upper margin corners; The Woodcut Society, Alexandria, VA, pub.

Image: 11.325” H x 8” W; Sheet: 14.75” H x 11.325” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 5 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1188

Maximilien Vox

(1894-1974) “O Mort, vieux capitaine, il est temps, levons l’ancre” from “Byblis: Miroir des Arts du Livre et de L’Estampe,” No. 12, Winter 1924 Woodcut on wove paper, watermark Arches From the edition of unknown size Signed in pencil in the lower margin, at right: Vox; with a pencil notation, possibly in another hand, in the lower margin edge, at left Image: 8” H x 6” W; Sheet: 11.125” H x 9” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1189

Irwin D. Hoffman

(1901-1989) “El Jibaro,” 1940 Etching on wove paper From the edition of 162 Signed and titled in pencil in the lower margin: Irwin D. Hoffman; Anderson-Lamb, prntr.; Associated American Aritsts, New York, pub.

Plate: 12” H x 9.875” W; Sheet: 15.25” H x 13.375” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: An alternate title for this etching is “El Jibaro, Puerto Rico.”

2 5 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1190

Irwin D. Hoffman

(1901-1989) “Mexican Folk Band,” 1936 Etching on wove paper From the edition of unknown size Signed and titled in pencil in the lower margin: Irwin D. Hoffman Plate: 8” H x 11” W; Sheet: 10.625” H x 12.625” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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2 5 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1191

Leopoldo Mendez (1902-1969) Three works:

“5 de Febrero de 1917” Woodcut on beige paper Signed in pencil in the lower margin, at right: Mendez Image: 6.375” H x 4.25” W; Sheet: 8.875” H x 5.375” W “18 de Marzo 1938” Woodcut on paper Signed in pencil in the lower margin, at right: Mendez Image:7.875” H x 9.125” W; Sheet: 12.875” H x 14.5” W Balloon ascension, 1929 Woodcut on thin paper Signed and dated in pencil in the lower margin, at right: Mendez Image: 6.875” H x 6” W; Sheet: 9.375” H x 9.125” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Leopoldo Méndez (June 30, 1902- February 8, 1969) was one of Mexico’s most important graphic artists and one of that country’s most important artists from the 20th century. Méndez’s work mostly focused on engraving for illustrations and other print work generally connected to his political and social activism. His most influential work was connected to organizations such as the Liga de Escritores y Artistas Revolucionarios and the Taller de Grafica Popular creating propaganda related to the ideals of the Mexican Revolution and against the rise of Fascism in the 1930s. Despite his importance in 20th-century artistic and political circles, Mendez was a relatively obscure figure during his life and remains so afterward. The reasons for this generally relate to the fact that he believed in working collaboratively and anonymously for the good of society rather than for monetary gain and because the socialist and communist themes of his work fell out of favor with later generations. Despite this, he has received some posthumous recognition with a Mexican scholarship considering him to be the successor to graphics artist José Guadalupe Posada.

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1192

Fernando Castro Pacheco

(1918-2013) Twenty-two political images, circa 1942 India ink and pencil on cream or tan wove papers Six of the images signed in either the lower left of lower right corner of the image, two of which are also dated: Castro; three of the other are each titled within the image; the remaining thirteen unsigned and without title or date Image of each: 9” H x 7.5” W approx.; Sheet of each: 13” H x 10” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 5 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1193

Frans Masereel (1889-1972) Two works:

Commuters at a train station from “The City,” 1925 Woodcut on toned wove paper Edition: H.C. Bears initials and inscribed in pencil in the lower margin: FM; Signed and dated in pencil in the lower sheet edge, possibly in another hand: Frans Masereel Image: 6.5” H x 4.75” W; Sheet: 11” H x 9” W Night scene with musicians from “The City,” 1925 Woodcut on wove paper Edition: 18/100 Bears initials and numbered in pencil in the lower margin; Signed and dated in pencil in the lower sheet edge, possibly in another hand: Frans Masereel Image: 6.375” H x 4.5” W; Sheet: 11” H x 8.625” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: “The City,” is a wordless novel by Frans Masereel published in 1925. The novel includes 100 captionless woodcut prints of what life in the big city looked like, by depicting people from different backgrounds and stages of life.

2 6 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1194

Morris Topchevsky (1899-1947) Two works:

“Medicine Man” Etching and drypoint on wove paper, watermark PM Signed and titled in pencil in the lower margin: M. Topchevsky Plate: 8.25” H x 5.5” W; Sheet: 11.25” H x 8” W “Maxwell St. Market, Chicago” Etching and drypoint on wove paper, watermark Umbria Italia Signed and titled in pencil in the lower margin: M. Topchevsky Plate: 9” H x 6” W; Sheet: 12.5” H x 9” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1195

GabrielFernández Ledesma

(1900-1983) “New York de Noche (Salida del Puerto)” from the portfolio “15 Grabados en Madera,” 1929 Woodcut on thick beige paper Signed in pencil in the lower margin, at right: Gab.Fernández Ledesma; with the letterpress title and date in the lower margin, at left Image: 11.375” H x 11” W; Sheet: 17.25” H x 13.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 6 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1196

Samuel L Margolies

(1897-1974) “Bridge to Babylon,” 1949 Etching and aquatint on wove paper From the edition of 250 Signed and titled in pencil in the lower margin: S.L Margolies; taped down at the tips of the upper margin corners to the original presentation mat/folder; together with the original information sheet and wove paper envelope; Miniature Print Society, Hicksville, NY, pub.

Plate: 2.625” H x 3” W; Sheet: 7” H x 7.875” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1197

Francisco Diaz de Leon

(1830-1896) “Pleasure Street,” 1930 Lithograph on laid paper Edition: 11/20 Signed and numbered in pencil in the lower margin: Diaz de Leon Image: 8.375” H x 6.125” W; Sheet: 12” H x 9.25” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 6 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1198

Grant Wood

(1892-1942) “Fertility,” 1939 Lithograph on wove paper From the edition of 250 Signed in pencil in the lower margin at right: Grant Wood; George C. Miller, prntr.; Associated American Aritsts, New York, pub.

Image: 8.875” H x 11.875” W; Sheet: 11.75 x 16” W $3,000-5,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Cole 15 Notes: This lot is offered in its original thin mat. w w w. j o h n m o r a n . c o m 2 6 5

1199

Thomas Hart Benton

1889-1975 “Missouri Farmyard,” 1936 Lithograph on wove paper From the edition of 250 Signed in pencil below the image, at right: Benton; Associated American Artists, New York, pub.

Image: 10.25” H x 16” W; Sheet: 14.25” H x 18.875” W $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Fath 10 Notes: In 1936, Thomas Hart Benton was commissioned to paint a mural series in the Missouri State Capitol building. The main theme of this mural was to represent the social history of Missouri. It took Benton six months to complete, and the image in this lot is part of this mural series.

A small label affixed to the lower left margin corner states the title as “Kansas Farmyard,” however, this print is most often known as “Missouri Farmyard.”

2 6 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1200

Paul Landacre

(1893-1963) “Laguna Cove,” 1941 Wood engraving on Japanese paper From the edition of 200 Signed and titled in pencil in the lower margin: Paul Landacre; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; Tipped down to the wove paper presentation mat/folder at the tips of the upper margin corners; The Woodcut Society, Kansas City, MO, pub.

Image: 5.25” H x 7.125” W; Sheet: 7.325” H x 10.75” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1201

Gene Kloss

(1903-1996) “Processional -Taos,” 1948 Drypoint and aquatint on cream wove paper From the edition of 250 Signed and titled in pencil in the lower margin: Gene Kloss; with “The Society of Print Connoisseurs” blindstamp in the lower margin, at left Plate: 10” H x 14” W; Sheet: 12.375” H x 16.375” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Kloss 431

2 6 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1202

John Stockton De Martelly

(1903-1979) “White Pastures,” 1939 Lithograph on paper From the edition of 250 Signed in pencil in the lower margin, at right: John S. de Martelly; Associated American Artists, New York, pub.

Image: 10” H x 13.5” W; Sight: 10.75” H x 14.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Zink 70 Notes: The artist’s friendship, working association (both were teachers at the Kansas City Art Institute during the 1930s and 40s), and admiration for the Regionalist style of Thomas Hart Benton is very evident in this lithograph.

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2 7 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1203

A Sanborns sterling silver coffee and tea service

Mid-20th century; Mexico City, Mexico Each marked: [three owls] / Sanborns Mexico / Sterling Comprising a hot water pot with a paw-footed chafing stand with handled chafer (overall: 14.5” H x 10.5” W x 7” D), a coffee pot with hinged lid (9.25” H x 10.75” W x 5.25” D), a teapot with hinged lid (8.25” H x 10.25” W x 5.25” D), a creamer (5.325” H x 6” W x 4” D), a covered sugar (5.5” H x 4.75” Dia.), and a waste bowl (4.75” H x 7.75” W x 4.75” D), 6 pieces 220.23 gross oz. troy approximately $3,000-5,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1204

A set of Sanborns sterling silver soup bowls

Circa 1930s; Mexico City, Mexico Each marked: [Three owls] / Sanborns Mexico / Sterling Comprising eight footed and lidded soup bowls with hammered interiors, incised linear design, and opposed handles, 8 pieces Each: 4” H x 6” W x 4.625” D 63.7 oz. troy approximately $1,000-1,500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 7 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1205

Two Sanborns sterling silver candle holders

Circa 1930s; Mexico City, Mexico One marked: [Three owls] / Sanborns Mexico / Sterling The bowled candle holders with thumb handles, 2 pieces Each: 3.5” H x 4.125” W x 3.875” D 14.8 gross oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1206

A Mexican sterling silver ladle

Mid-20th century Marked: Hecho en Mexico D. F. / F. Ramirez / 0.925 / Sterling The Jensen-style ladle with floral form handle accent 11” L 6.8 oz. troy approximately $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1207

A Mexican sterling silver ladle

Mid-20th century Marked: Hecho en Mexico D. F. / F. Ramirez / 0.925 / Sterling / [Eagle 1] The Jensen-style ladle with floral form handle accent 11” L 6.6 oz. troy approximately $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

2 7 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1208

A Frigast “Gazelle” sterling silver flatware service

Mid-20th century; Denmark Marked: Frigast Sterling Denmark Comprising 8 dinner knives (8.875”), 1 jelly knife (6”), 3 table spoons (8”), 9 place/oval soup spoons (7.25”), 7 teaspoons (6”), 8 dinner forks (7.75”), 8 salad forks (6.875”), 1 serving fork (9.625”), 1 punch ladle (7.25”), and 1 gravy ladle (7.25”), all housed in a feltlined wood case, 37 pieces Case: 4.125” H x 15.875” W x 11.75” D 59.26 oz. troy approximately $700-900 Provenance: The Estate of Dr. Amy Conger

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1209

Alfredo Zalce (1908-2003) Two works:

Figural scene, 1931 Lithograph on paper Signed and dated in ink in the lower margin, at right: Alfredo Zalce Image: 6.75” H x 8.25” W; Sheet: 9.625” H x 11.625” W Street salesman, 1942 Linocut on paper Signed and dated in pencil in the lower margin, at right: Alfredo Zalce Image: 4” H x 4.5” W; Sheet: 5.5” H x 8.25” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 7 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1210

Alfredo Zalce (1908-2003) Two works:

Boat builder Etching and aquatint in colors on wove paper Signed in pencil in the lower margin, at right: Alfredo Zalce Plate: 6.5” H x 10.5” W; Sheet: 11” H x 14.25” W Sea turtle Etching and aquatint in colors on wove paper Signed in pencil in the lower margin, at right: Alfredo Zalce Plate: 8” H x 9.75” W; Sheet: 11.25” H x 13.875” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above w w w. j o h n m o r a n . c o m 2 7 7

1211

Pablo Higgins

(1904-1983) “Ladrilleros [Brick Makers]” from the “Mexican People and Places Portfolio,” circa 1945 Lithograph on fruit crate paper Edition: AP Signed and numbered in pencil in the lower margin: Pablo Higgins; Taller de Grafica Popular with Associated American Artists (AAA), pub.

Image: 13.75” H x 11.25” W; Sight: 16.75” H x 14.5” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above Notes: “Mexican People and Places” was a portfolio published in 1946 by the Taller de Grafica Popular and presented by Associated American Artists, New York. It also included works by Raul Anguiano, Alberto Beltran, Angel Bracho, Fernando Castro Pacheco, Arturo Garcia Bustos, Leopoldo Mendez, Francisco Mora, Isidoro Ocampo and Alfredo Zalce.

2 7 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1212

Clare Leighton

(1898-1989) “Winnowers, Majorca,” 1939 Wood engraving on laid paper Edition: 68/200 Signed, titled, and numbered in pencil in the lower margin: Clare Leighton; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; the work is affixed to the original wove paper presentation mat/folder at the upper margin corners; The Woodcut Society, Kansas City, MO, pub.

Image: 6” H x 7.625” W; Sheet: 7.5” H x 11.25” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 8 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1213

Clare Leighton

(1898-1989) “The Net Menders,’’ 1933 Wood engraving on laid paper Edition: 136/200 Signed, titled, dated, and numbered in pencil in the lower margin: Clare Leighton; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; tipped to the original wove paper presentation mat/folder in three places at the upper margin edge; The Woodcut Society, Kansas City, MO, pub.

Image: 6.125” H x 7.625” W; Sheet: 9.25” H x 11” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1214

Clare Leighton

(1898-1989) “Clam Diggers,” 1946 Wood engraving on laid paper Edition: 55/250 Signed and numbered in pencil in the lower margin: Clare Leighton; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; Taped at the tips of the upper margin corners to the original wove paper presentation mat/folder; The Woodcut Society, Alexandria, VA, pub.

Image: 7” H x 7.75” W; Sheet: 10” H x 11.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 8 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1215

20th Century American School Prints Three works:

Clare Leighton, R.E., A.N.A. (1898-1989) “Gaspé Fisherman,” 1948 Wood engraving on laid paper From the edition of 200 Signed and titled in pencil in the lower margin: Clare Leighton; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Hicksville, NY, pub.

Margaret Ann Gaug (1909-1994) “Neptune’s Daughter” Etching on laid paper From the edition of 200 Signed and titled in pencil in the lower margin: Margaret Ann Gaug; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Cedar Rapids, IA, pub.

Alessandro Mastro-Valerio (1887-1953) “Arising,” 1942 Mezzotint on laid paper From the edition of 200 Signed and titled in pencil in the lower margin: Mastro-Valerio; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Kansas City, MO, pub.

Image of the largest: 3” H x 2.5” W; Sheet of the largest: 5” H x 3.75” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Each accompanied by an informational paper insert from The Miniature Print Society.

2 8 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1216

Two 20th Century American School wood engravings Two works:

Lynd Ward (1905-1985) “Undercliff,” 1948 Wood engraving on laid paper From the edition of 200 Signed and dated in pencil in the lower margin, at right: Lynd Ward; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped at the tips of the upper margin corners to the original wove paper presentation mat/folder; the Woodcut Society, Hicksville, NY, pub.

Image: 8” H x 6” W; Sheet: 12.5” H x 9.5” W Howard Simon (1902-1979) “Rhythms of Men in the Wilderness,” 1948 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at left: Howard Simon; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped to the original wove paper presentation mat/folder in two places at the upper margin edge; the Woodcut Society, Hicksville, NY, pub.

Image: 7” H x 7” W; Sheet: 10.5” H x 10” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 8 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1217

Two 20th Century American School woodcuts Two works:

Fritz Eichenberg (1901-1990) “Saint Christopher,” 1949 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Fritz Eichenberg; with the printed title, date, and edition information as part of the colophon on the verso of the original wove paper presentation mat/folder; taped at the tips of the upper margin corners to the presentation mat/folder; The Spiral Press, New York, NY / The Woodcut Society, Hicksville, NY, pub.

Image: 7.5” H x 5.25” W; Sheet: 12.25” H x 9” W Allen Lewis (1873-1957) “St. Francis Preaching to the Birds,” 1933 Woodcut in colors on wove paper presentation folder Edition: 147/200 Signed in pencil in the lower margin, at left: Allen Lewis; with the printed title, date, and edition information as part of the colophon on the verso of the presentation folder; The Woodcut Society Kansas City, MO, pub.

Image: 9.75” H x 7” W; Sheet as folded: 16” H x 12.75” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The Eichenberg is accompanied by an informational letter from Irvin Haas, director of The Woodcut Society, dated April, 1949. w w w. j o h n m o r a n . c o m 2 8 7

1218

Isidoro Ocampo (1910-1983) Two works:

Portrait of a boy, 1932 Etching on wove paper, watermark Fg. Head & Co. Edition: 1/10 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 9.5” H x 6.75” W; Sheet: 11.625” H x 9.25” W Untitled, portrait, 1929 Etching on laid paper Edition: 6/30 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 9.25” H x 7.125” W; Sheet: 12” H x 9.375” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 8 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1219

Isidoro Ocampo (1910-1983) Two works:

Figures sitting on a couch, 1929 Etching on laid paper Edition: 10/15 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 10.75” H x 9” W; Sheet: 14” H x 11.75” W Figure at the sink, 1931 Etching on wove paper Edition: 1/1 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 6.5” H x 4.75” W; Sheet: 7.75” H x 6.75” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Isidoro Ocampo was a Mexican artist during the Mexican Muralism era, best known for his graphic work.

Much of his career was dedicated to teaching, which kept his artistic output low, but he was also a founding member of the Taller de Grafica Popular and the Sociedad Mexicana de Grabadores as well as a member of the Liga de Escritores y Artistas Revolucionarios and the Salon de la Plastica Mexicana.

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1220

Isidoro Ocampo (1910-1983) Two works:

Busy street scene, 1930 Etching on laid paper Edition: 5/?

Signed, dated, and numbered partially in pencil in the lower margin: Isidoro Ocampo Plate: 9.75” H x 7.75” W; Sheet: 12.5” H x 9.375” W Rainy street scene, 1930 Etching on laid paper, watermark Ingres Edition: 5/50 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 10.875” H x 10.25” W; Sheet: 18.375” H x 12.375” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Isidoro Ocampo was a Mexican artist during the Mexican Muralism era, best known for his graphic work. Much of his career was dedicated to teaching, which kept his artistic output low, but he was also a founding member of the Taller de Grafica Popular and the Sociedad Mexicana de Grabadores as well as a member of the Liga de Escritores y Artistas Revolucionarios and the Salon de la Plastica Mexicana.

2 9 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1221

Isidoro Ocampo (1910-1983) Two works:

Military men on horseback, 1931 Etching on wove paper Edition 5/30 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo Market stall, 1931 Etching and aquatint on laid paper Edition: 4/30 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo Plate of largest: 9” H x 7.75” W; Sheet of largest: 11.625” H x 9” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1222

Isidoro Ocampo (1910-1983) Two works:

“En el Camion”, 1932 Etching on paper Edition: 1/30 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo; titled in pencil on the lower edge of the mat, at left Plate: 5.75” H x 4.25” W; Sheet: 6.875” H x 5.125” W Choir practice, 1930 Etching on laid paper, watermark Ingres Edition: 2/30 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo Plate: 10.375” H x 9.875” W; Sheet: 17.375” H x 12.5” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 9 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1223

Isidoro Ocampo (1910-1983) Two works:

Still life with guitar, 1931 Etching and drypoint on laid paper, watermark Handmade Edition: 1/50 Signed and numbered in pencil in the lower margin: I. Ocampo; signed again and dated in the plate Plate: 6” H x 4.5” W; Sheet: 11.5” H x 9” W Figures on a slide, 1931 Etching on laid paper, watermark F.J Head & Co. Edition: 2/10 Signed and numbered in pencil in the lower margin: Ocampo; signed again and dated in the plate upper right Plate: 8” H x 6” W; Sheet: 11.5” H x 9.125” W Plate of largest: 8” H x 6” W; Sheet of largest: 11.5” H x 9.125” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1224

Isidoro Ocampo (1910-1983) Two works:

Three figures in a bar, 1929 Etching and drypoint on laid paper, watermark Handmade Edition: 3/30 Signed, dated, and numbered in pencil in the lower margin: I. Ocampo Plate: 9.5” H x 6.875” W; Sheet: 11.5” H x 9” W “El Camotero,” 1931 Etching and drypoint on wove paper Edition: 21/30 Signed and dated in the plate; Signed, dated, and numbered in pencil in the lower margin: I. Ocampo; a pencil notation in the lower margin Plate: 7.25” H x 7.25” W; Sheet: 12.5” H x 9.75” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 9 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1225

Isidoro Ocampo (1910-1983) Two works:

Dining hall scene, 1931 Etching on thin laid paper Edition: 3/50 Signed, dated, and numbered in pencil in the lower margin: Isidoro Ocampo Plate: 9.5” H x 11” W; Sheet: 11.25” H x 14” W Choir practice, 1930 Etching on thin brown paper Edition: 6/30 Signed, dated, numbered, and inscribed in pencil in the lower margin: Isidoro Ocampo / Misa de Semana Santa / Punta Seca; dated again in pencil in the upper margin, at left Plate: 10.375” H x 10” W; Sheet” 19.625” H x 13.75” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Isidoro Ocampo was a Mexican artist during the Mexican Muralism era, best known for his graphic work. Much of his career was dedicated to teaching, which kept his artistic output low, but he was also a founding member of the Taller de Grafica Popular and the Sociedad Mexicana de Grabadores as well as a member of the Liga de Escritores y Artistas Revolucionarios and the Salon de la Plastica Mexicana. w w w. j o h n m o r a n . c o m 2 9 5

1226

Isidoro Ocampo (1910-1983) Three works:

“El Bibliotecario,” 1931 Woodcut on paper Singed and dated in pencil in the lower margin, at right: I. Ocampo; titled from a pencil notation in the lower margin edge, at left Image: 9.5” H x 6” W; Sheet: 13.75” H x 9.25” W People waiting, 1930 Woodcut on paper Signed and dated in pencil in the lower margin, at right: I. Ocampo Image: 8.75” H x 6.25” W; Sheet: 10.75” H x 8.375” W Men in tavern with glasses raised, 1930 Woodcut on paper Signed and dated in pencil in the lower margin, at right: I. Ocampo Image: 8.375” H x 8.5” W; Sheet: 11.375” H x 10.5” W Largest: Image: 9.5” H x 6” W; Sheet: 13.75” H x 9.25” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 9 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1227

A Fred Davis silver link necklace

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD / Silver / Mexico A narrow necklace with small silver disc links 16” L x 0.5” Dia. 56.9 grams $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1229

A pair of Sanborns sterling silver lidded boxes

Circa 1930s; Mexico City, Mexico Each marked: [Three owls] / Sanborns Mexico / Sterling The round lidded boxes with inset turquoise centering a chased flower, 2 pieces Each: 1.75” H x 3.325” Dia. 12.4 gross oz. troy approximately $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

2 9 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1228

A Fred Davis-style Mexican silver and amethyst link necklace Mid-20th century Stamped: Silver / Made in Mexico Comprising a silver “Caviar” trefoil leaf link necklace with set amethyst cabochons, with an extra link, 2 pieces 12.5” L x 0.5” H 58.7 grams gross $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1230

Three Mexican silver pocket cases

Mid-20th century Two marked: [Three owls] / Sanborns Mexico / Sterling; one monogrammed FWD; other monogrammed: Davis Comprising one Sanborns cigarette case with hinged lid, one sterling silver wallet with envelope closure, and one silver hinged wallet with elastic band, 3 pieces Largest: 0.625” H x 5.25” W x 3.25” D; smallest: 0.625” H x 3.5” W x 2.875” D 14.3 oz. troy approximately $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 0 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1231

A Fred Davis silver brooch with carved greenstone Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD / Silver / Mexico A rectangular silver brooch with floral motif frame-style border and central carved jadeite 2” H x 2.5” W 32.1 grams gross $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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3 0 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1232

Everardo Ramirez (1906-1992) Four works:

A group of two men at work, one group gathering scene, and a man under restraints with doctors around him Three linocuts on paper, with two on blue-colored tissue paper; and one lithograph on paper Two signed in pencil in the lower margin, at left, and two signed on the overmat, at either left or right: Everardo Ramirez Sheet of smallest: 12” H x 10” W; Sheet of largest: 12.875” H x 18.5” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Born into a peasant family, Everardo Ramirez grew up in Coyoacan, a village on the outskirts of Mexico City. At the age of sixteen, he began his study at the open-air school in Coyoacan under Alfredo Ramos Martinez. In 1928, he became the assistant of Gabriel Fernandez Ledesma at the open-air school Santiago Rebull. Ramirez began working in woodcut around 1930, and in 1933, he co-founded LEAR (Liga de Escritores y Artistas Revolucionarios) along with Leopoldo Mendez and Pablo O’Higgins. He joined el Taller de Grafica Popular (TGP) in 1937 and retained his membership (although he distanced himself from the workshop after the pricing dispute of 1940) until 1947. Ramirez also worked with other members of the TGP to make prints for posters addressing political and social issues. His preferred medium was woodcut but he also worked in linoleum and lithography. Ramirez exhibited at the Museum of Modern Art in 1948.

Ramirez was also involved in organizing an exhibition of children’s art in 1968, which coincided with the Mexico City Olympic Games.

Sources: El Taller de Grafica Popular: Vida Y Arte and Hecho A Mano

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1233

Everardo Ramirez (1906- 1992) Four works:

One work titled “Escuela Rural,” and three others depicting men at work Each: Linocut on paper; the titled image on orange tissue paper Three signed in pencil in the lower margin, at left, and one signed on the overmat, at right: Everardo Ramirez Sheet of smallest: 11.125” H x 8.625” W; Sheet of largest: 16.125” H x 12” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 0 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1234

Francisco Mora (1922-2002) Two works:

Women getting dressed, 1944 Lithograph on paper Signed and dated in pencil in the lower margin, at right: Mora Image: 11” H x 8.75” W; Sheet: 14.75” H x 11.25” W Market scene, 1944 Lithograph on paper Signed and dated in pencil in the lower margin, at right: Mora Image: 17” H x 13.5” W; Sheet: 25.25” H x 18.75” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above w w w. j o h n m o r a n . c o m 3 0 5

1235

Francisco Mora (1922-2002) Five works:

Figure walking by a town, 1947 Linocut on paper From the edition of unknown size Signed and dated in pencil in the lower margin, at right: Mora Image: 5.125” H x 5.5” W; Sheet: 8.375” H x 7.125” W Dancers, 1947 Linocut on paper From the edition of unknown size Signed and dated in pencil in the lower margin, at right: Mora Image: 4.125” H x 5.5” W; Sheet: 8.5” H x 7” W Walking figures, 1947 Linocut on paper From the edition of unknown size Signed and dated in pencil in the lower margin, at right: Mora Image: 5.125” H x 2.75” W; Sheet: 8.5” H x 7.125” W Ranchers with ox, 1947 Linocut on paper From the edition of unknown size Signed and dated in pencil in the lower margin, at right: Mora Image: 4.875” H x 4.5” W; 9.75” H x 6.625” W Man and woman, 1947 Linocut on paper From the edition of unknown size Signed and dated in pencil in the lower margin, at right: Mora Image: 6.25” H x 4.5” W; Sheet: 7.75” H x 6.75” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 0 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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3 0 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1236

Francisco Mora (1922-2002) Two works:

Untitled, 1945 Lithograph on wove paper Edition: 1/10 Signed, dated, and numbered in pencil in the lower margin: Mora Image: 10.25” H x 9.25” W; Sheet: 17.5” H x 11.75” W “La Gran Ciudad,” 1945 Lithograph on wove paper Edition: 4/15 Signed, dated, and numbered in pencil in the lower margin: Mora Image: 11.625” H x 8.25” W; Sheet: 19.75” H x 12.875” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1237

A set of framed bullfighting toreador painted miniatures

Late 19th century Two illegibly signed A framed set of twelve painted paper miniature roundels, each depicting various bullfighting scenes and figures, and each covered with glass and secured with brass-colored metal edges, all mounted to a wood plaque held in a copper and tin frame Each roundel: 1.5” Dia $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 1 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1238

Florence Arquin

(1900-1974) “Ammann’s Barn” Woodcut on thin paper From the edition of unknown size Signed, titled, and inscribed in pencil in the lower margin: Florence Arquin / To Fred Davis Image: 10” H x 13” W; Sheet: 12.5” H x 16.125” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Arquin was a consummate scholar of Mexican art and culture. Friends with Fred Davis, Diego Rivera and Frida Kahlo, and the artistic elite of Mexico, Arquin would compile a vast collection of photographic imagery that would become the cornerstone of Latin American studies throughout North America. Her extensive travels and own artistic pursuits culminated in a 1943 exhibition at the Benjamin Franklin Library. Diego Rivera praised Arquin’s “ardent work and exuberance of style,” explaining, “Florence Arquin sees with every pore of her skin. Her nerves absorb the vibration of color, the inflections of the forms, the quality of the earth, of the air, and of the light, for the purpose of synthesizing all of these in her painting”

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1239

Asa Cheffetz, N. A.

(1897-1965) “Reflection in Crystal,” 1946 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Asa Cheffetz; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; taped at the tips of the upper margin corners to the presentation mat/folder; The Woodcut Society, Alexandria, VA, pub.

Image: 7.625” H x 5.875” W; Sheet: 12.5” H x 10” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 1 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1240

Asa Cheffetz, N. A.

(1897-1965) “Down Montgomery Way (Vermont),” 1940 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Asa Cheffetz; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; tipped down to the presentation mat/folder at the tips of upper margin corners; The Woodcut Society, Kansas City, MO, pub.

Image: 4.25” H x 7.5” W; Sheet: 7.25” H x 9.75” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1241

Alessandro Mastro-Valerio

(1887-1953) “In the Space,” 1944 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Alessandro Mastro-Valerio; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped at the tips of the upper margin corners to the original wove paper presentation mat/folder; The Woodcut Society, Alexandria, VA, pub.

Image: 5.875” H x 7.5” W; Sheet: 9.25” H x 12.25” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 1 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1242

20th Century Mexican School Street scene with donkey Oil on board Signed indistinctly lower right Sight: 17.375” H x 11” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1243

Hermann Dudley Murphy

(1867-1945) “Mt. Monadnock in May,” 1936 Oil on board Signed and inscribed in ink, faintly, verso: H. Dudley Murphy / To my friend F. W. Davis 1936; titled on a label affixed, verso 12” H x 16” W $600-800 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above

3 1 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1244

Hermann Dudley Murphy

(1867-1945) Houses in a winter landscape Oil on board Signed lower right: H. Dudley Murphy; inscribed in ink, verso: To good Mr. Davis / in case the weather / should get hot! / H. Dudley Murphy Jan. 1933 12” H x 16” W $400-600 Provenance: The Artist The Collection of Frederick W. Davis, acquired from the above Private Collection, Southern California, by descent from the above

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1245

Elie Anatole Pavil

(1873-1948) Figures in a bar Oil on canvas Signed lower right: E.A. Pavil 25.5” H x 21.25” W $1,000-1,500 Provenance: The Estate of Dr. Amy Conger

3 1 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1246

Charles Kilgore

(1922-1949) Mexican market Oil on canvas Signed lower right: Charles Kilgore 16” H x 20” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

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1247

Gordon Coutts

(1868-1937) Moroccan scene Oil on panel Signed lower right: Gordon Coutts 11.5” H x 8.5” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above

3 2 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1248

Alson Skinner Clark

(1876-1949) “Linda la Union” Oil on board Signed faintly lower right: Alson Skinner Clark; signed again and titled on the frame’s backing paper: Alson Clark 7.5” H x 9.5” W $2,000-3,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1249

Nelly Littlehale Murphy

(1867-1941) Landscape with houses and trees Watercolor on paper Signed lower left: N. Littlehale Murphy 21” H x 14.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 2 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1250

Gonzalo Arguelles Bringas (1867-1941) Two works:

Mother and child in a landscape Watercolor on paper tipped to matboard Signed lower left: G. Arguelles B. Image/Sheet: 7.5” H x 10.875” W Scene of a village Watercolor on paper Signed lower right: G. Arguelles B. Sight: 8” H x 10.375” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above w w w. j o h n m o r a n . c o m 3 2 3

1251

An American “State Flowers”appliqué patchwork quilt

Mid-20th century With embroidered label verso: Mrs. E. Talbott / 1932 / Clinton, Ind. A quilted coverlet featuring forty-eight panes of appliqued and embroidered motifs of United States state flowers and trees, in off white/cream cotton with mint green borders and an alternating triangular border to edges, with all-over floral and diagonal quilting to coverlet 81” H x 72” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 2 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1252

James McNeill Whistler

(1834-1903) “Soupe a trois sous,” 1859 Etching in black ink laid Japan paper Edition: Only state; Glasgow lists a total of 56 known impressions With the printed signature in the plate at upper center: Whistler Plate: 5.625” H x 8.875” W; Sheet: 7.75” H x 10.5” W $600-800 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 2 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1253

James McNeill Whistler

(1834-1903) “Hurlingham,” 1879 Etching and drypoint in black ink on ivory laid paper Edition: Glasgow lists a total of 49 known impressions in all states Fourth (final) state, with the horizontal drypoint lines added to the building second from the left Signed with the printed butterfly in the plate at lower left Plate: 5.375” H x 7.875” W; Sight: 6.5” H x 8.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Kennedy 181 Glasgow 184

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1254

Katherine Cameron

(1874-1965) Butterfly on a blossoming flower Etching in brown ink on paper Signed in pencil in the lower margin, at left: K. Cameron Plate: 12.25” H x 4” W; Sight: 13” H x 5” W $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 2 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1255

Katherine Cameron

(1874-1965) Floral still life with butterflies Etching in brown ink on Japan paper Signed in pencil in the lower margin, at left: K Cameron; inscribed in pencil at the lower margin edge: KC 39 Plate: 14.75” H x 5.25” W; Sheet: 17.125” H x 7.25” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1256

Gustave Baumann

(1881-1971) “Cordova Plaza,” 1943 Woodcut in colors on buff wove paper in the original paper display folder, as issued From the edition of 200 Signed and titled in pencil in the lower margin: Gustave Baumann; Torch Press, Cedar Rapids, IA, prntr.; The Woodcut Society, Kansas City, MO, pub.; with a blue ink stamp from the Instituto Nacional de Antropologia e Historia and date [AGO 26 1963], stamped on the lower edge, at right, of the essay “Gustave Baumann and His Woodcuts, Cordova Plaza,” by George William Eggers, together with the original display folder Image: 7.875” H x 8” W; Sheet: 13.25” H x 11.5” W $1,500-2,000 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: This image is often called “Cordova Plaza (New Mexico).” An essay by George William Eggers is printed on the verso of the display-folder, as issued.

3 3 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1257

Walter Joséph Phillips

(1884-1963) ‘’Above Lake Louise,’’ 1945 Woodcut in colors on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: W.J. Phillips; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; taped at the tips of the upper margin corners to the original wove paper presentation mat/folder; The Woodcut Society, Alexandria, VA, pub.

Image: 7.5” H x 6.25” W; Sheet: 8.5” H x 7.25” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 3 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1258

James Dexter Havens

(1900-1960) “Shy Veery,” 1949 Woodcut in colors on laid paper From the edition of 200 Signed and dated in pencil in the lower margin, at right: James D. Havens; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; Spiral Press, prntr.; The Woodcut Society, New York, pub.; Together with the original wove paper envelope and tissue guard Image: 9.5” H x 8” W; Sheet: 12.75” H x 10.5” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1259

Helen Hyde

(1868-1919) “Cherry Blossom Rain,” 1905 Woodcut in colors on Japon paper Signed in pencil and with the artist’s red chopmark lower right: Helen Hyde; with the printed signature, date, and copyright lower left Image: 17” H x 9.75” W; Sight: 17.5” H x 10” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Born in the unassuming small village of Lima, New York, Helen Hyde would go on to live the life of a globetrotting artist. Hyde began art classes at the age of 12 when her family moved to California and graduated from the Wellesley School when her mother moved them to Philadelphia after the death of her father. Hyde once again returned to California, enrolling at the School of Design in San Francisco. After a year of study in New York City, Hyde embarked on a whirlwind tour of art schools in Europe. It was in Paris that Hyde was introduced to all things Japanese, and in 1899 she made the journey to Japan.

While in Japan, Hyde immersed herself in the culture, learning Japanese and traditional Japanese art practices, eventually pairing with woodblock carvers and printers. She worked with Shohiro Murate for almost eleven years. Hyde exhibited both nationally and internationally, and her work won honors in Japan and the United States, including the bronze medal for woodcut at the Panama-Pacific International Exposition in 1915 in San Diego. Hyde was also a member of the Chicago Society of Etchers, the Printmakers Society of California, the Chicago Society of Artists, and the Société de la Gravure en Couleur. She passed away in 1919.

Her work is included in the collections of many prestigious institutions, such as: the Metropolitan Museum of Art, New York, NY, Chicago Institute of Art, Chicago, IL, Fine Arts Museums of San Francisco, CA., etc.

3 3 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1260

Edgar Chahine

(1874-1947) Portrait of a woman, 1923 Etching on wove paper Signed in pencil in the lower margin, at left: Edgar Chahine; a pencil notation in the lower margin edge, at left Plate: 8.625” H x 6” W; Sheet: 11.125” H x 9.875” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 3 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1261

Arthur William Heintzelman (1881-1965) Two works:

“Study of Young Beethoven,” 1943 Drypoint on laid paper From the edition of 200 “Amish Elder,” 1949 Drypoint on laid paper From the edition of unknown size Each signed in pencil in the lower margin, at right: Arthur W Heintzelman; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which each is taped down at the tips of the upper margin corners; The Miniature Print Society, Hicksville, NY, pub.

Plate of the largest: 3” H x 2.5” W; Sheet of the largest: 9” H x 8” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Each is accompanied by an informational paper insert from The Miniature Print Society. w w w. j o h n m o r a n . c o m 3 3 7

1262

20th Century Mexican Portraiture

Portrait of a youth, 1945 Lithograph on paper Signed indistinctly and dated lower right Sight: 18.75” H x 13.75” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 3 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1263

20th Century Latin American School “La Mirada de Selva,” 1957 Woodcut on wove paper Unsigned; titled in pencil lower left Image/Sheet: 13.75” H x 10.75” W $200-300 Provenance: The Estate of Dr. Amy Conger

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1264

Lluïsa Vidal

(1876-1918) Portrait of a blonde girl Oil on canvas Signed lower right: Lluisa Vidal 21.25” H x 17.25” W $1,500-2,500 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above 3 4 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1265

Juan José Segura

(1901-1964) Dancer with band Oil on canvas laid to board Signed lower right: Juan José Segura 9” H x 12.25” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Northern California, by descent from the above w w w. j o h n m o r a n . c o m 3 4 1

1266

N. Flores

(20th century) Still life with fruit and a chicken Oil on canvas Signed lower right: N. Flores 22” H x 31” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 4 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1267

N. Flores

(20th century) Still life with coffee services Oil on canvas Signed lower right: N. Flores 22.25” H x 31.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1268

A hand embroidered paisley shawl

Late 19th/early 20th century A embroidered textile worked in polychrome silk and cotton threads on a black wool twill ground, with overall paisley and floral motifs around a central mandala 77” H x 74” W approximately $400-600 Provenance: The Estate of Dr. Amy Conger

3 4 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1270

A Swiss cylinder music box

Late 19th century Marked to controller knob: Swiss / JB [in a butterfly] / Patent / 303; marked to lock plate: FRIBO The 55-note, 6-air music box with hand crank, repeat/change lever, and stop/play switch, housed in an ebonized faux-wood veneered case with brass hardware, mother of pearl inlaid accents, and single drop cabinet door revealing six cylinders for different songs in their own slot 9.125” H x 16” W x 10” D $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Each cylinder is labeled in hand-written ink for the song it plays. Here is the list of songs, transcribed as written on the labels: 3 / Le Prophete / Fortunio / Il Trovatore 14 / Salathee / Don Giovanni / Fatiniza 25 / Rigoletto / Les Dragons de Villars / Le Petit Due 32 / Sylvia / Faust / Pizzicato 133 / La Mascotte / Serenade / Oiseau du Paradis 139 / Estudiantina / Les Forgerous / Marebe des Gardes

3 4 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1269

A pair of Continental brass mirrored wall sconces

19th century Each appears unmarked The gilt brass three-light sconces, each with openwork scrolled foliate motifs and highrelief Bacchus mask, flora-form bobèches, and inset beveled mirror, 2 pieces Each: 16” H x 10.75” W x 7” D $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1271

A framed daguerreotype portrait

19th century The ninth plate portrait depicting a young woman in a blue-tinted shawl with earrings, framed in embossed gilt metal preserver and set into a wood case bound with applied tooled leather Case: 2.875” H x 2.5” W x 0.625” D $700-900 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 4 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1272

Four framed daguerreotype portraits

19th century Comprising four ninth plate portraits, three depicting seated young women, one depicting a little girl, each framed in gold-toned metal preservers and set into a wood case bound with applied tooled leather Each case: 3.75” H x 3.25” W x 0.75” D approximately $200-400 Provenance: The Estate of Dr. Amy Conger

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1273

An H.C. White Company stereoscope with assorted cards

Circa 1900 Marked: The Perfecscope Trade Mark U.S.A.; further stamped: Exposition Universelle Internationale 1900 The metal stereoscope with japanned copper flash finish and foldable wood handle, accompanied by four boxes of stereo-optic cards from publishers Keystone View Company, Underwood & Underwood, Strohmeyer & Wyman, and others, filed in sections demarcated by hand-written labels: Parks, Americana, Europe, Oriental, Presidents, Portraits-Minor, Photographica, Lepers + Near East, Cuba/Caribbean, Photo-Influence, Humorous -HA!, Beautiful-No Mas, Pictorialism, and War Stereoscope: 8” H x 6.875” W x 12.5” D; each card: 3.5” H x 7” W approx. $400-600 Provenance: The Estate of Dr. Amy Conger

3 5 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1274

An Alexander Becker stereoscope viewer

Circa 1860 Marked to metal plaque: A. Becker’s Patent / Jas. [James] Lee N.Y. Manufacturer / April 7 1857 The stereoscope with double-sided viewing in a wood casket with hinged light window and side handles to advance the stereo cards 14.5” H x 9.325” W x 12” D $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1275

William Henry Jackson (1843-1942) Three works:

“Looking North from the Mouth of the Blue, Middle Park,” circa 1870 Albumen print on paper With the printed title and numbering along the lower sheet edge Each Image/Sheet: 4.25” H x 7” W “Grand Lake,” circa 1870 Albumen print on paper With the printed title and numbering along the lower sheet edge Each Image/Sheet: 4.25” H x 7” W “San Luis Valley and Lake, Sierra Blanca,” circa 1870 Albumen print on paper With the printed title and numbering along the lower sheet edge Each Image/Sheet: 4.25” H x 7” W $400-600 Provenance: The Estate of Dr. Amy Conger Notes: This lot is accompanied by a gallery invoice from Francis Frost.

3 5 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1276

A group of vintage vaquero portraits

Late 19th/early 20th century Silver gelatin prints mounted to thin board mount, each with Mexican photographic company marks including: Fotografia Daguerre/ Mexico, and F. Esperon /Mexico Unsigned; two with inscriptions, verso, and one with an inscription, recto Largest Image: 9.5” H x 7.625” W; Largest Mount: 13.5” H x 11” W $400-600 Provenance: The Estate of Dr. Amy Conger

3 5 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1277

Sumner W. Matteson (1867-1908)

A group of 116 photographs of landscapes, architecture, and daily life and festivals in late 19th/ early 20th century Mexico, and from the original negatives by Sumner W. Matteson. Most with inscriptions in Spanish and with Sumner W. Matteson’s ink stamp, verso Each Image/Sheet: 5” H x 6.875” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 5 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1278

A large group of Mexican Revolution photographs

105 photographs documenting the Mexican Revolution from Sabina Osuna, H.J. Gutierrez, and other various artists. Many photographs with the printed title, numbering, and copyright of the artist, and a few with the purple ink copyright stamp of the artist, Sabina Osuna Each: Image/Sheet: 5” H x 7” W (approx.) $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: This lot of photographs documenting the Mexican Revolution have some photographs with graphic content.

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1279

Charles Betts Waite (1861-1927) Twenty-seven works:

A group of various portraits, market scenes, and landscapes in Mexico Each: Photograph on paper Each: With the printed title, number, and copyright along the lower edge of the sheet; some sheets with the artist’s copyright ink stamp, verso Image/Sheet of Smallest: 4.25” H x 7.25” W (or reverse); Image/Sheet of Largest: 8” H x 5” W (or reverse) $200-300 Provenance: The Estate of Dr. Amy Conger

3 5 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1280

Henry Ravell (circa 1860-1930) Two works:

Young man with hat Gum bichromate photographic print Signed lower right: Ravell; inscribed lower right: Mex. Image/Sheet: 11” H x 9.125” W Young girl in doorway gum bichromate photographic print Signed lower left: Ravell; inscribed lower left: Mex. Image/Sheet: 12” H x 10” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 6 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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3 6 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1281

Henry Ravell (1864-1930) Three works:

A group of two landscapes and one portrait Each: Gum print photographic reproduction on paper Each: Hand signed in one of the lower corners: H. Ravell Sight of smallest: 13” H x 10.5” W; Sight of largest: 15.75” H x 13” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1282

Henry Ravell (1864-1930) Five works:

A group of five views of daily life in Mexico Each: Gum print photographic reproduction on paper Two with signatures in the image in the lower corners: H. Ravell Sight of smallest 12.5” H x 9.25” W; Sight of largest: 13.375” H x 8.125” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 6 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1283

Henry Ravell (1864-1930) Six works:

A group of four architectural views, one landscape, and one nautical Each: Gum print photographic reproduction on paper Four works hand-signed in one of the lower corners of the image: H. Ravell Sight of smallest 12.5” H x 9.75” W; Sight of largest: 14.5” H x 11” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1284

Two images of Marguerite Agniel

Photographic reproductions on thin board Unsigned; Inscribed in pen lower right on one image: For Mr. Frederick Davis/ My cooperation in the taking of some beautiful ...

Very sincerely Margarite Agniel Each: Image: 8.75” H x 6.5” W; Sheet: 11” H x 6.875” W $200-300 Provenance: Marguerite Agniel The Collection of Frederick W. Davis, acquired from the above.

Private Collection, Southern California, by descent from the above Notes: Marguerite Agniel was an early pioneer of health and wellness, promoting her yoga-like poses in the nude. She appeared in Vogue in 1926 and published a book: “The Art of the Body: Rhythmic Exercise for Health and Beauty,” with photographs of herself. Social historian Sarah Schrank comments that it made perfect sense at this stage of the development of yoga in America to combine nudism and yoga, as “both were exercises in healthful living; both were countercultural and bohemian; both highlighted the body; and both were sensual without being explicitly erotic.” Schrank, Sarah (2019). “Free and Natural: Nudity and the American Cult of the Body.” Philadelphia: University of Pennsylvania Press. pp. 176-177.

3 6 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1285

A group of inscribed artworks by guests of Fred Davis’s home

Comprising various personalized works from guests of Frederick Davis’ Cuernavaca home including: an ink and watercolor painting of Davis’ Cuernavaca retreat with the family pets by Jorge A. Murillo, an ink and watercolor painting by Matias Santoyo (1905-1975) dated 1931 as well as a pencil drawing, a signed croquis by costume designer Edith Head (1897-1981), a pencil portrait of William “Bill” Spratling, a bookplate reading “Ex Libris Frederick W. Davis,” a portrait of Davis at the right hand of a disgruntled God by [indecipherable] Duncan, and two more pencil drawings, 9 pieces Largest: 12.75” H x 9.75” W; Smallest: 6.5” H x 4.25” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 6 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1286

The Book, “Casa de Vsted, Cuernavaca” with Woodcuts of Fredrick Davis’s Cuernavaca home Eight works:

“Casa de Vsted, Cuernavaca,” 1924 Each: Woodcuts on paper tipped down to colored cardstock Each Sheet: Initialed and dated in the block: WSH; the introduction sheet with a printed inscription: Wishing you / a Merry Christmas / and / Happy New Year / Frederick W. Davis; the cardstock sheets saddle stitch bound with a decorative ribbon inside a paper cover with printed title: Casa de Vsted[sic] / Cuernavaca Each image/sheet: 7” H x 6” W; Each cardstock mount sheet: 9” H x 11.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: “Casa de Usted” was a bound book of wood engravings of Frederick Davis’ home in Mexico, given as Christmas gifts to his friends in 1924. Included in this lot is a letter from Percy Clifford to Frederick W. Davis. Percy Clifford founded the British (Football) Club in 1902 in Mexico. The letter details the gift of the set of wood engravings from Davis to him and how Davis no longer had a copy of the images. Clifford is returning the gift almost 25 years later “hoping it will assist in reviving old and pleasant memories.”

3 7 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1287

Dorothy Dennison (1808-1994) Nine works:

A group of images depicting Frederick Davis’s house in Cuernavaca, Mexico Each: Palladium print on paper tipped to thin brown and light beige board mount Each: Signed in pencil on the mount, at right: Dorothy Dennison Smallest Image/Sheet: 9.25” H x 7.25” W; Largest Image/Sheet: 9.5” H x 7.5” W; Smallest Mount: 14.125” H x 11.125” W; Largest Mount: 14.625” H x 11.5” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above 3 7 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1288

Kathe Kollwitz

(1867-1945) “At the Church Wall”, 1893 Etching and drypoint on wove paper From the edition of unknown size; printed posthumously Appears unsigned; with the Alexander von der Becke Munchen-22 blindstamp in the image, lower right Plate: 9.875” H x 5.25” W $300-500 Provenance: The Estate of Dr. Amy Conger Literature: Klipstein 19 Vlb w w w. j o h n m o r a n . c o m 3 7 3

1289

John Taylor Arms

(1887-1953) “Light and Shade, Taxco,” 1946 Etching in brown ink on cream laid paper, watermark Praga From an edition of 279 in this, the second state Signed and dated in pencil in the lower margin, at right: John Taylor Arms; inscribed in pencil in the lower margin, at left: II [Roman numerals] Plate: 10.5” H x 13.75” W; Sheet: 14.125” H x 16.75” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Fletcher 394

3 7 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1290

John Buckland Wright

(1897-1954) ‘’Forest Pool,’’ 1939 Wood engraving on laid paper Edition: 68/200 Signed and numbered in pencil in the lower margin: John Buckland Wright; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; the work is secured with three clear archival corners to the original wove paper presentation mat/folder; The Woodcut Society, Kansas City, MO, pub.; Together with the original wove paper envelope and tissue guard Image: 6” H x 7.75” W; Sheet: 8.875” H x 11.125” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: “Among many excellent wood engravers of our time, none, I venture to say, surpasses John Buckland Wright in the beauty and finish of his work in the kind of en-graving which he has chosen to practice: the minute and delicate white-line pattern on a black ground, of which Forest Pool is a favorable example. This composition is enlarged and elaborated in reverse, from a much smaller engraving which he did in 1936 as an illustration, to “LoveNight,” by Powys Mathers (Golden Cockerel Press). The new version, while retaining many features of the old one - the trees with great roots forcing their way upwards to the air, the big leaves, the pool with rings and reflections on its surface - is now much enriched with exquisite detail. Two women standing and kneeling replace very happily a single seated figure. Between and beneath the forest trees grow palms and tropical plants of varied and attractive forms, and the curved surface of the open forest glade is enriched with infinitely delicate stippling and hatching in white dots and lines.” Campbell Dodgson, 1939 w w w. j o h n m o r a n . c o m 3 7 5

1291

Felix Buhot

(1847-1898) “L’Hiver a Paris,” 1879 Etching with aquatint, drypoint, and roulette on cream wove paper An impression of the ninth (final) state Signed with the artist’s red owl ink stamp in the lower right corner of the image Plate: 9.25” H x 13.5” W; Sheet: 12.5” H x 17.5” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Bourcard/Goodfriend 128 ix/IX Notes: Sometimes known by the alternate title, “La Neige a Paris.” James Goodfriend, co-author of the catalogue raisonné for Buhot’s prints, describes this pieces as, “Possibly [the artist’s] best known print, not least because of the widespread dissemination of a published edition (in states iv and v) in the journal “L’Art”....Buhot’s image of the Place Breda (which no longer exists) is the perfect evocation of a particular day, time and place, an almost Proustian recapturing of the past....The marginal sketches, here limited to the left and bottom of the plate and both amusing and pitiful in turn, add to the perspective of the principal scene.”

3 7 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1292

Henri Amedee-Wetter

(1869-1929) “Deux nus féminins à la baignage,” 1923 Woodcut in colors on wove paper, watermark J.Perrigot Presumably from the edition of 30 Signed in pencil in the lower margin, at right: H. Amedee-Wetter; monogrammed in the block, lower left Image: 8.5” H x 6.5” W; Sheet: 11.25” H x 9” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1293

Jackson Lee Nesbitt

(1913-2008) “Watering Place,” 1939 Etching on paper From the edition of 250 Signed and titled in pencil in the lower margin: Jackson Lee Nesbitt; Associated American Artists, New York, pub., with their original information sheet affixed to the verso of the frame’s backing paper Image: 12” H x 9.5” W; Sight: 13” H x 10” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Nesbitt received some of his earliest training from Thomas Hart Benton, for painting, and John de Martelly, for printmaking, while a student at the Kansas City Art Institute during the mid-1930s.

3 7 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1294

Julius John Lankes

(1884-1960) “Southern Scene,” 1932 Woodcut on laid paper Edition: 127/200 Signed, titled, and numbered in pencil in the lower margin: JJ Lankes; With the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; tipped down to the original wove paper presentation mat/ folder at the tips of the upper margin corners; The Woodcut Society, Kansas City, MO, pub.

Image: 5.125” H x 7.25” W; Sheet: 7.325” H x 9.325” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1295

Stow Wengenroth

(1906-1978) “Cape Ann Willows,” 1947 Lithograph on paper From the edition of 272 Signed in pencil in the lower margin, at right: Stow Wengenroth; titled on a label affixed to the back mat; with the “Property Society of Print Connoisseurs” blindstamp in the lower margin, at left Image: 8.875” H x 13.625” W; Sheet: 11” H x 16” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Stuckey 164 Notes: According to a label affixed to the back mat, “...this lithograph by Stow Wengenroth, N.A., is presented in a limited edition exclusively for members of the society of print connoisseurs...”

3 8 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1296

Thomas Willoughby Nason

(1889-1971) “Upland Pastures,” 1934 Wood engraving on laid paper Edition: 126/200 Signed and numbered in pencil in the lower margin: TW Nason; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; affixed at the tips of the upper margin corners to the original wove paper presentation mat/folder; The Woodcut Society, Kansas City, MO, pub.

Image: 7.5” H x 3.5” W; Sheet: 6.625” H x 10.125” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The interior text by John Taylor Arms (1887-1953) reads: “Upland Pastures is one of the artist’s most personal and complete expressions. The luxuriousness and massed shade of foliage is here, the peace and grandeur of open spaces, and the sun-touched humanity of a distant farmhouse. Nason sees nature with beauty-seek-ing and beauty-finding eyes and, by his spiritual sensitiveness and great skill of hand in a difficult yet rewarding medium, he gives back to the world what he finds in it of loveliness, of dignity, and of repose.” w w w. j o h n m o r a n . c o m 3 8 1

3 8 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1297

Two 20th century wood engravings Two works:

Lionel Lindsay (1874-1961) “Pheasant and Wistaria[sic],” 1935 Wood engraving on laid paper Edition: 131/200 Signed and numbered in pencil in the lower margin: Lionel Lindsay / 200; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/ folder; tipped down to the original wove paper presentation mat/folder at the tips of the margin corners; The Woodcut Society Kansas City, MO, pub.

Image: 8.75” H x 5.125” W; Sheet: 11” H x 7.125” W Roderick Mead (1900-1971) “Bird of Prey,” 1950 Wood engraving on laid paper From the edition of 200 Signed and in pencil in the lower margin: Roderick Mead; with the printed title, date, and edition information as part of the colophon on the verso of the original wove paper presentation mat/ folder; taped down at the tips of the upper margin corners to the presentation mat/folder; The Spiral Press, New York, NY / The Woodcut Society Hicksville, NY, pub.

Image: 8” H x 10” W; Sheet: 11” H x 12.325” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1298

Four 20th Century American School Prints Four works:

Lionel Lindsay (1874-1961) “Doorway of Las Dueñas,” 1942 Etching on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Lionel Lindsay; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Cedar Rapids, IA, pub.

Lionel Lindsay (1874-1961) “El Potro,” 1944 Etching on laid paper From the edition of 200 Signed and editioned in pencil in the lower margin: Lionel Lindsay; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

Carl M. Schultheiss (1885-1961) “The Shepard” Line engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Carl M. Schultheiss; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Hicksville, NY, pub.

Stanley Anderson (1884-1966) “Hedge-Laying,” 1945 Line engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Stanley Anderson; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

Plate of the largest: 4.75” H x 3.75” W; Sheet of the largest: 7.5” H x 5.75” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Three are accompanied by an informational paper insert from The Miniature Print Society.

3 8 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1299

Eileen Alice Soper (1905-1990) Four Works:

“The Swing,” 1921 Etching on laid cream paper, watermark J.Whatman Signed in pencil in the lower margin, at right: E.A. Soper; titled in pencil on the over mat, lower left Plate: 5” H x 7” W; Sheet: 7.5” H x 10” W “The Three Wees,” 1918-1921 Etching on laid cream paper Signed in pencil in the lower margin, at right: E.A. Soper; titled in pencil on the overmat, lower left; with the rose blindstamp on the overmat, lower right Plate: 5” H x 4” W; Sheet: 9.25” H x 6” W “Kite Flying,” 1921 Etching on laid cream paper Signed in pencil in the lower margin, at right: E.A. Soper; titled in pencil on the over mat, lower left Plate: 3.875” H x 6” W; Sheet: 5.75” H x 9.25” “La Barriere Cassee,” 1921 Etching on laid cream paper, watermark England Signed in pencil in the lower margin, at right: E.A. Soper; titled in pencil on the over mat, lower left Plate: 5” H x 7” W; Sheet: 8.5” H x 10.75” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Literature: Beetles/Wootton 6 (La Barriere Cassee) Beetles/Wootton 5 (The Three Wees) Notes: “The Three Wees” was Eileen Alice Soper’s first etching, originally executed at the age of thirteen, but not issued until after her first major public exhibition. The model for this etching was a friend named Elaine who appears in a number of Eileen Soper’s etchings. The subject was derived from one of E. A. Soper’s earliest known drawings – a small pencil sketch of a little boy holding a candle, surprised by the appearance of an equally astonished elf; her father (the etcher George Soper) had painted Eileen’s portrait in watercolor surrounded by just such elves.

This etching was released as a direct result of her father’s, successful submission of two of her etchings to the Royal Academy of Arts summer exhibition in 1921. As soon as it became apparent that the etcher of these works was a girl of only sixteen Eileen Soper attracted considerable attention and her future success was assured.

“La Barriere Cassee” (“The Broken Gate”) is the most elaborate of Eileen Alice Soper’s early plates. It was the sheer vivacity of the young Eileen Soper’s etchings which gave them their instant appeal. The simple dexterity which she displays with the etched line in “La Barriere Cassee” is truly remarkable for a girl of only fifteen. - Campbell Fine Art Gallery

3 8 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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3 8 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1300

Eileen Alice Soper (1905-1990) Three works:

“Tiddlers,” 1921 Etching on cream laid paper Signed in pencil in the lower margin, at right: Eileen A. Soper; Titled in pencil on the overmat, lower left; with the dated rose blindstamp on the overmat, lower right Plate: 4” H x 6” W; Sheet: 6” H x 9.375” W “The Sands,” 1921 Etching on cream laid paper Signed in pencil in the lower margin, at right: Eileen A. Soper; Titled in pencil on the overmat, lower left; with the dated rose blindstamp on the overmat, lower right Plate: 5” H x 7.375” W; Sheet: 8” H x 9.375” H “The Giant Stride,” 1921 Signed in pencil in the lower margin, at right: Eileen A. Soper; Titled in pencil on the overmat, lower left; with the dated rose blindstamp on the overmat, lower right Plate: 4.25” H x 7.5” W; Sheet: 6” H x 9.25” W $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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3 9 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1301

Oliver Milburn (1883-1932) and Richard C. Gosline (20th century) Four works:

Oliver Milburn (1883-1932) “The Cathedral - Mexico City,” circa 1920 (two duplicates) Each: Etching, one on laid paper (3/90) and one wove paper, watermark Alexandra (4/90) Edition: 3/90 and 4/90 Each: Signed and numbered in pencil in the lower margin, at right: Oliver Milburn Plate: 6” H x 7.5” W; Sheet of largest: 10.5” H x 9.375” W (2 pieces) Oliver Milburn (1883-1932) Street corner in Mexico Etching on wove cream paper, watermark Made in U.S.A Edition: 2/90 Signed and numbered in pencil in the lower margin, at right: Oliver Milburn Plate: 5” H x 7” W; Sheet: 10.25” H x 9.25” W Richard Gosline (20th century) “Temple Quetzalkoatal,” 1932 Etching and drypoint on toned wove paper Signed, titled, and dated in pencil in the lower margin: Richard C. Gosline; titled in pencil again, verso Plate: 5.5” H x 7” W; Sheet: 8.625” H x 10.5” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1302

Three 20th Century American School Prints Three works:

Lyman Byxbe (1886-1980) “Aspen Grove” Drypoint on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Lyman Byxbe; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Kansas City, MO, pub.

Asa Chaffetz (1896-1965) “Summer Idyl” Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Asa Chaffetz; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Kansas City, MO, pub.

George Joséph Mess (1898-1962) “Snow Drifts” Aquatint on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: George Jo Mess; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Hicksville, NY, pub.

Plate of the largest: 4.75” H x 3.125” W; Sheet of the largest: 7.5” H x 6” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Each accompanied by an informational paper insert from The Miniature Print Society.

3 9 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1303

Three 20th Century American Prints Three works:

Ronau William Woiceske (1887-1953) “Magic Mantle,” 1944 Drypoint on laid paper From the edition of 200 Signed in pencil in the lower margin: R. W. Woiceske; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

Thomas Butts Jr. (active 1806-1808) “Man on a Drinking Horse” Engraving on laid paper From the edition of 200 Signed in the engraving in lower right: T Butts [sic] SC / 22 Jan 5. 1806; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is affixed with clear archival corners; The Miniature Print Society, Kansas City, MO, pub.

Gerry Peirce (1900-1968) “Arizona,” 1946 Etching on laid paper From the edition of 200 Signed and titled in pencil in the lower margin: Gerry Peirce; with the printed title and edition information as part of the colophon on the interior of the original wove paper presentation mat/folder into which the print is taped down at the tips of the upper margin corners; The Miniature Print Society, Alexandria, VA, pub.

Plate of the largest: 4” H x 2.875” W; Sheet of the largest: 8” H x 7.125” W $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: Two are accompanied by an informational paper insert from The Miniature Print Society.

3 9 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1304

Thomas Willoughby Nason (1889-1971) and Warren Mack (1896-1950) Two works:

Thomas Willoughby Nason (1889-1971) “Morning,” 1937 Wood engraving on laid paper Edition: 172/200 Signed and inscribed in pencil in the lower margin: TW Nason / Ed. 200; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; affixed at the tips of the upper margin corners to the presentation mat/folder; The Woodcut Society, Kansas City, MO, pub.

Image: 5” H x 8” W; Sheet: 9.25” H x 12” W Warren Mack (1896-1950) “Queen Anne’s Lace,” 1947 Wood engraving on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Warren Mack; with the printed title, date, and edition information as part of the colophon on the verso of the original presentation mat/folder; affixed to the wove paper presentation mat/folder at the right margin corners; The Woodcut Society, Alexandria, VA, pub.

Image: 7” H x 10” W; Sheet: 9.625” H x 12.625” W

$200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: The Mack accompanied by a small bi-fold informational pamphlet.

3 9 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1305

Kenneth Manning (20th century) Two works:

Landscape with figures in a boat, 1935 Monotype in colors on paper tipped to matboard Signed and dated in pencil on the platemark, at right: Kenneth Manning; with a pencil notation in the lower margin edge, at left Plate: 6.75” H x 9” H; Mount: 11.875” H x 14.125” W Mexican church courtyard with a figure on a bench, 1935 Monotype in colors on paper tipped to matboard Signed and dated in pencil on the platemark, at right: Kenneth Manning; with a pencil notation in the lower margin edge, at left Plate: 7” H x 9.25” W; Mount: 11.75” H x 14.125” W $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 9 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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4 0 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1306

Two Woodcuts by Hans Alexander Mueller and Ernest W. Watson Two works:

Hans Alexander Mueller (1888-1963) “Abandoned Farm,” 1947 Woodcut in colors on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Hans A. Mueller; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; tipped down to the original wove paper presentation mat/folder at the upper margin corners; The Woodcut Society, Alexandria, VA, pub.

Image: 6.125” H x 8” W; Sheet: 8.75” H x 11.125” W Ernest W. Watson (1884-1969) “Once Upon A Midnight Dreary,” 1943 Woodcut in colors on laid paper From the edition of 200 Signed in pencil in the lower margin, at right: Ernest W. Watson; with the printed title, date, and edition information as part of the colophon on the verso of the presentation mat/folder; tipped down to the original wove paper presentation mat/folder at the upper margin corners; The Woodcut Society / The Torch Press, Cedar Rapids, IA, pub.

Image: 6.325” H x 8.325” W; Sheet: 8.5” H x 10.75” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1307

Two Olympus OM-1 35mm cameras and assorted accessories

Circa 1970s Each marked: Olympus / OM-1; MADE IN JAPAN Comprising two Olympus SLR cameras (serial numbers 292355 and 441910) with various flashes and lenses including a 75-150mm, three light meters including a Weston Master II, and a film drying machine, sold together with a Mamiya-16 Automatic 16mm subminiature viewfinder camera and a Polaroid SX-70 Land Camera Model 3 with a pack of film, all housed in Dr. Amy Conger’s photo satchel, personalized with glitter puff paint Olympus: 3.325” H x 5.5” W x 2.25; satchel: 11” H x 14” W x 8” D approx. $300-500 Provenance: The Estate of Dr. Amy Conger Notes: This lot accompanied by two boxes of unphotographed miscellaneous items including camera parts, other associated items, and film.

4 0 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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4 0 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1308

A collection of Latin American embroidered huipiles

Mid/late 20th century Eleven hand-embroidered Mexican and Guatemalan traditional-style garments including ten “huipiles” or overblouses in various styles, colors and fabrics, all with multi-colored central and shoulder panels, in various motifs including birds, animals, flowers, figures, and geometric designs, as well as a pair of likely Huichol embroidered cotton pants with various cross-stitch designs including peacocks, roosters, butterflies, flowers, and a desert rat, 11 pieces Largest: 27” H x 42” W; smallest: 20” H x 25.5” W; pants: 26” H x 19.5” W at waist; approximately $500-700 Provenance: The Estate of Dr. Amy Conger Notes: A huipil (from the Nahuatl uipilli, meaning “blouse-dress”) is a form of traditional textile tunic or blouse worn by indigenous Mayan, Zapotec, and other women in central to southern Mexico, Guatemala, Belize, El Salvador, and western Honduras, in the northern part of Central America. Worn by women of both high and low social rank since well before the Spanish invasion, the huipil, once a characteristic item of Aztec clothing, remains the most common female indigenous garment still in use in these areas. The elaborate design and patterns of a traditional woman’s huipil may convey the wearer’s village, marital status, and personal beliefs.

Traditional huipiles, especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with woven designs, as well as additional embroidery, ribbons, and lace. Some huipiles are also made from commercial fabric. The garments are generally made from two or three woven panels joined with decorative stitching, then doubled over and a hole cut in the center panel for the neck (unless woven in during the weaving) and decorated with stitching or added trim. The sides are joined together with more decorative stitching, and allow openings for the arms. The length of the huipil can vary from a simple sleeveless top extending to the waist to a longer knee- or calf-length tunic.

References: lloom.blogspot.com/2011/07/huipil-tunic.html

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4 0 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1309

Paula Nicho Cumez

(b. 1955) “Mi Sueno,” 2005 Acrylic on canvas Signed and inscribed lower right: Paula Nicho C.; titled and dated near the lower edge, left of center; signed again and inscribed verso 18” H x 24” W $300-500 Provenance: The Estate of Dr. Amy Conger

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1310

A group of 1973 Chilean coup d’état posters Four works:

Guillermo Nunez (b. 1930) “Desarmelo y Botelo: Peligroso Juguete Movil para uso Antipopular” from the series “Mientras Haciamos mas Azul el Cielo,” 1970 Screenprint in colors on wove paper From the edition of unknown size Signed in pencil lower right: Guillermo Nunez; with the printed title lower left Sheet: 30.75” H x 30.125” W “On the Day Justice Conquers” Poster on paper From the edition of unknown size and date Unsigned; with the printed title Image/Sheet: 23” H x 16.5” W “Chile Sept. 11 - 1973” Screenprint on brown paper From the edition of unknown size Unsigned; inscribed in Spanish in ink with a dedication to Amy Conger, lower right Image/Sheet: 24” H x 18” W “Defendamos el cobre por Chile. Unidos. Produciendo mas. Rechacemos la agresion,” circa 1970-1973 Screenprint in colors on paper From the edition of unknown size Unsigned; with the printed title in the lower portion of the sheet Sheet: 32.5” H x 22.125” W $300-500 Provenance: The Estate of Dr. Amy Conger

4 0 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1311

A pair of Modern table lamps

Mid-20th century The shades with foiled paper label: Stiffel Each single-light lamp raised on three powder-coated brown legs, capped by a white top diffuser and paper shades with exterior woven pattern, 2 pieces Each with shade: 28” H x 18” Dia. $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 1 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1312

Elijah David Herschler

(b. 1940) Ribbon sculpture Chromed metal Appears unmarked Hung: 8” H x 39.5” W x 6” D $300-500 Provenance: The Artist The Estate of Dr. Amy Conger Notes: This lot is accompanied by three photocopied papers with a description of the artist’s vision and a list of exhibitions.

4 1 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1313

Elijah David Herschler

(b. 1940) Ribbon sculpture Chromed metal Signed illegibly to one end 40” H x 10” W x 7.5” D approximately $300-500 Provenance: The Artist The Estate of Dr. Amy Conger Notes: This lot is accompanied by an exhibition pamphlet titled “Ribbons in Space” from The Aspen Institute for Humanistic Studies. Additionally accompanied by three photocopied papers with a description of the artist’s vision and a list of exhibitions.

1314

Elijah David Herschler

(b. 1940) Free-standing ribbon sculptures Chromed metal Each signed and dated illegibly to base 2 pieces Larger: 37” H x 4” Dia.; smaller: 33.325” H x 4” Dia. $400-600 Provenance: The Artist The Estate of Dr. Amy Conger Notes: This lot is accompanied by a books on the artist’s works titled “Ribbons in Space 1967-77; David Elijah Herschler: A Personal View; Retrospective Exhibition” from the Palm Springs Desert Museum dated November 22, 1977. Additionally accompanied by three photocopied papers with a description of the artist’s vision and a list of exhibitions.

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1315

Dolores Guerrero-Cruz

(b. 1948) “Perro en mi Camma,” 1988 Screenprint in colors on paper Edition: 44/55 Signed, titled, and dated in pencil along the lower edge: Dolores Guerrero-Cruz; with the Publisher’s stamp in the lower right corner; Self Help Graphics, Los Angeles, CA, pub.

Sight: 24” H x 38” W $1,000-2,000 Provenance: The Estate of Dr. Amy Conger Exhibited: New York, NY, The Museum of Modern Art, “Committed to Print,” January 31-April 19, 1988

4 1 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1316

Umetaro Azechi

(1902-1999) “Stand on the Snow Gorge,” 1956 Woodcut in colors on paper Edition: 146/200 Signed and dated in English and Japanese, and numbered, all in pencil, in the lower margin: U. Azechi; International Graphic Arts Society, pub.

Image: 21.25” H x 13.75” W; Sight: 22.875” H x 15.625” W $300-500 Provenance: The Estate of Dr. Amy Conger

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1317

Kiyoshi Saito (1907-1997) Two works:

“Ston [sic] Garden Kyoto,” 1955 Woodcut in colors on paper Edition: 96/150 Unsigned; titled, dated, and numbered in pencil in the lower margin; with the artist’s red ink stamp in the image, lower right Image: 15” H x 20.75” W; Sight: 16” H x 21.75” W “Clay Image” Woodcut in colors on paper Edition: 4/200 Signed, titled, and numbered in pencil in the lower margin: Kiyoshi Saito; with Japanese characters in pencil in the lower left and right margins Image: 19.5” H x 12” W; Sight: 21” H x 13.25” W $600-800 Provenance: The Estate of Dr. Amy Conger

4 1 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1318

Margo Hoff

(1912-2008) “Edge of the Forest” Woodcut in colors on paper Edition: 60/200 Signed, titled, and numbered in pencil along the lower margin: Margo Hoff Image: 18” H x 9.5” W; Sight: 21” H x 14.625” W $500-700 Provenance: The Estate of Dr. Amy Conger

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1319

Judy Filed-Baker

(1936-2009) Robert Herschler retirement poster, 1991 Watercolor and ink on paper Signed in pencil and dated in ink with the artist’s device near the lower edge, at left: Filed Sight: 23” H x 18” W $200-400 Provenance: The Artist Robert Herschler, acquired from the above, 1991 The Estate of Dr. Amy Conger, acquired from the above Notes: This lot was designed as a retirement poster for Robert B. Herschler from the Alumni Association of the University of California at Riverside and the presentation certificate is affixed to the frame’s backing board.

4 1 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1320

A group of Mexican silver flatware items

Circa 1930s/40s Knives, spoons and scarf cinchers marked for Sanborns and for sterling; forks and serving utensil marked: Sterling / Diener Hermanos Mexico Comprising 5 butter spreaders (6”), 4 teaspoons (5.625”), 4 dinner forks (6.875”), 5 scarf cinchers (0.875” H x 0.75” Dia.), 1 serving utensil (10.75”), and 1 tea strainer (7.5”), 6 personalized, 20 pieces 22.9 gross oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 2 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1321

A group of silver salt and pepper table items

Circa 1930s Each shaker marked: [Three owls] / Sanborns Mexico / Sterling; scoops marked: Sterling Taxco Silver Buinto [Eagle 3] Comprising 25 Sanborns sterling silver salt and pepper shakers in various styles and sizes, 4 silver open salts with opposed clamshells, and 8 sterling silver salt scoops, 37 pieces Open salts: 2.25” H x 2.875” W x 1.125” D; scoops: 1.5” L Weighable sterling: 15.7 gross oz. troy approximately $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1322

A group of silver table items

20th century Creamer marked for Sanborns and for sterling; smallest bowl marked for Fred Davis; one marked for Crescent; pierced bowl with various hallmarks Comprising a Sanborns sterling silver creamer, an oval footed tray, three footed bowls, and one pierced tray, 6 pieces Largest: 1.875” H x 11.875” W x 7.625” D; smallest: 1.5” H x 5.325” W x 3.875” D Weighable sterling: 10.1 oz. troy approximately $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 2 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1324

Four silver desk set items

Early/mid-20th century Each appears unmarked Comprising two ink wells with lead inserts, one nib container with pierced top lid, and one sander with inner cove finely pierced in a star motif, 4 pieces Each: 4.125” H x 3” Dia. 34.5 gross oz. troy $200-400 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1323

A group of Sanborns sterling silver table items

Circa 1930s/40s; Mexico City, Mexico Each marked for Sanborn and for sterling Comprising a lidded butter dish, a divided vegetable serving dish, and four salad plates, 6 pieces Dish: 2.25” H x 13” W x 8.75” D; plates: 8” Dia.; butter: 2” H x 8” W x 4” D 69.6 oz. troy approximately $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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4 2 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1325

A group of silver table items

Circa 1930s/40s Stirrers marked: TG / 925 / Hecho en Mexico; six marked: [Three owls] / Sanborns Mexico / Sterling Comprising a Sanborns small pitcher with hinged lid, two Sanborns footed ashtrays, three Sanborns serving dishes, eight cocktail stirrers, and two footed bowls with opposed handles, 16 pieces Pitcher: 6.625” H x 4” W x 3.75” D; smallest: 1.25” H x 2.25” W x 2.25” D Weighable sterling: 27.8 oz. troy approximately $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1326

A group of Mexican silver figural brooches

Mid-20th century Each marked for silver; further variously marked: Made in Mexico / Mexico / Parra / 925 / [Eagle 34] / Sterling / Taxco / ARO Five silver brooches in various motifs including two bull fighters, each with a bull and cape (Larger: 2.5” H x 3” W), a large silver horse brooch (3” H x 2.75” W), a small sterling silver brooch of figures and a donkey (1” H x 1.125” W), and a diminutive sterling silver Parra brooch of a dog (0.5” H x 1.375” W), 5 pieces 74.5 grams $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 2 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1327

Two Mexican silver brooches with set stones

Mid-20th century Each appears unmarked Two Fred Davis-style bow brooches with set amethyst and turquoise Larger:1.25” H x 3.25” W; smaller: 0.75” H x 2” W 38.7 grams gross $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

1328

Two silver-toned metal cuff bracelets

Early/mid-20th century Each appears unmarked Comprising a silver toned metal cuff with rustic floral and fauna overlay motifs including a boar and donkey (6.75” total inner C x 1.75” H, with a 1” gap), and a Southwest-style silver metal and set stone watch cuff with various overlay motifs including arrows, thunderbird figures and sunface (7” total inner C x 0.875” H, with a 1.125” gap), 2 pieces 90.3 grams $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1329

A group of Miguel Martinez sterling silver hair pins

Miguel Garcia Martinez (20th century) Circa 1956; Taxco, Mexico Four stamped: Miguel / Mexico / 925; two further stamped: Sterling; two appear unmarked A selection of sterling silver hair pins with dangles of various designs and sizes including filigree dangles, bells, and small silver charms, 6 pieces Largest: 7” H [extended]; smallest: 3.5” H 51.1 grams $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 2 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1330

A group of Mexican silver earrings

Mid-20th century Two marked for Mexico and sterling; further variously marked: Miguel / 925 / Taxco; one partially marked: SPD; one pair unmarked Four pairs including a pair of Miguel Martinez flat disc screwback earrings (each: 0.875” H), a pair of silver crescent moon “Man in the Moon” motif earrings with crescent dangles (each: 3” H x 2” W), and two further pairs of round silver screw back earrings with dangles and/or hoops (larger: 2.25” H; smaller: 1.5” H), 8 pieces 72.1 grams $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1331

A group of six pairs of cufflinks worn by Fred Davis

Early/mid-20th century Three variously marked: Swank / S; three unmarked Comprised of six pairs in mixed metal, in various styles and shapes, each with set stones including obsidian, hardstone, mother of pearl and a pair featuring a set 1906 US copper coin, 12 pieces Largest: 1.125” Dia.; smallest: 0.5” H $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 3 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1332

A group of Mexican silver and hardstone key fobs

Mid-20th century Variously marked: Silver / Sterling / 925 / Mexico / AEM [conjoined] / [Eagle 23] Comprising six sterling silver double end key fobs, three with set amethyst ends and three with set obsidian ends, 6 pieces Largest: 2” H; smallest: 1.5” H 83.9 grams gross $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1333

A group of silver and turquoise fine link jewelry

Mid-20th century Each clasp marked: Sterling; earring stamped: Silver / Mexico Comprising two silver necklaces with diminutive silver and set turquoise floral rosette motifs, suspended by fine chains (larger: 18” L x 0.375” Dia.; smaller: 16” L x 0.25” Dia.), as well as a matching silver rosette link bracelet in two sections (3.25” L and 2” L x 0.25” Dia.), two further single silver rosette links (0.375” Dia and 0.25” Dia) as well as a single silver and turquoise earring (1.125” H), 7 pieces 31.7 grams gross $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 3 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1334

A set of Mexican silver and turquoise jewelry

Mid-20th century Variously stamped: Plata / 925 / Sterling / Mexico Five works comprising a sterling silver feather motif brooch with set turquoise and diamantés (3.25” H x 1.75” W), a sterling silver necklace with silver roses and set turquoise (16” L), together with a matching bracelet (5.75” L), as well as a silver ewer/pitcher motif brooch with set turquoise (2.5” H x 1.75” W) and a pair of silver pitcher motif pierced earrings (each: 1.5” H), 6 pieces 59.6 grams gross $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1335

A yellow glass bead necklace with teardrop glass drops

Mid-20th century Appears unmarked Comprising a long chunky necklace strand of yellow glass beads and seven yellow glass teardrop pendant bead dangles with ornate metal beadcaps 44” L x 1.75” H $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 3 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1336

A group of Mexican silver and turquoise jewelry

Mid-20th century Three stamped for silver and Mexico; bracelet further stamped: Rosi / Sterling / 0925 / [Eagle 19] Four works comprising a Rosi sterling silver chain link bracelet with various devotional, figural, animal and household silver charms (7.25” L), as well as three silver and turquoise cross pendants (Largest: 2.5” H; smallest: 2” H), 4 pieces 78.7 grams gross $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1337

A large group of Mexican silver and stone set jewelry items

Mid-20th century Four marked for Mexico and silver; further variously marked: Sterling / Taxco / 925 / Miguel Plata Paron / CCC / [Eagle 3] / Cuermor Comprising three silver brooches in various styles, including a flower basket brooch with set amethyst cabochons (2.375” H x 2.25” W), as well as a mother of pearl inlay leaf brooch 1.75” H) with a pair of matching screwback leaf earrings (each: 1.5” H), a pair of silver repoussé scallop motif pierced earrings with amethyst teardrop dangles (each: 1.875” H), and four silver floral and grape motif ornaments for hair combs (largest: 1” H x 3” W), 12 pieces 76.5 grams gross $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 3 6 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1338

A group of Mexican silver and amethyst accessories

Mid-20th century Two stamped: Silver / Mexico; one further stamped: AVS / 925; two unmarked Four works comprising three pairs of silver cuff links, each with set carved or cabochon amethysts including fish and mask motifs (largest: 1.125” H; smallest: 0.625” H), as well as a silver and carved amethyst clenched hand motif charm (1.375” H), 7 pieces 44.3 grams gross $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

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1339

A group of Pre-Colombian-style jewelry

Mid/late 20th century Variously stamped: Alva Studios / © / Alva Museum Replicas / Reproduction / Six works in gold-toned metal in various figural and animalistic motifs comprising two pendant brooches, three further brooches and a pair of pierced earrings, 7 pieces Brooches: largest: 3” H x 2.125” W; smallest: 1.75” H x 1.25” W; earrings: 0.875” H $200-300 Provenance: The Estate of Dr. Amy Conger

4 3 8 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1340

A group of Modernist-style jewelry

Mid/late 20th century Two variously marked: Anne Dick / [possibly] CER / Chile Six works comprising three necklaces including an Anne Dick brass-toned metal and verdigris link necklace (20”-25” L), a Chilean graduated silver necklace with set lapis links (17” L), and a silver-and gold-toned metal lapis pendant on an associated gold-toned metal chain (24” L x 1.25” H), as well as three Modernist pendants including a freeform brass and copper-toned leaf motif pendant (3.5” H x 1.75” W), a silver-toned metal freeform pendant with a large claw-set lapis (2” H x 1.75” W), and a freeform cross pendant (3” H x 2” W), 6 pieces $200-300 Provenance: The Estate of Dr. Amy Conger

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4 4 0 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1341

A group of Southwestern-style jewelry Eight works:

Ava Marie Coriz (1948-2011; Santo Domingo/Kewa Pueblo) A sterling silver inlaid Pueblo ‘hand’ pendant, late 20th/21st century Stamped verso: AMC / R / Sterling The Kewa hand-form pendant with inlaid turquoise, shell and coral on an associated sterling silver chain, 2 pieces Pendant: 3.25” H x 1.75” H; chain: 30” L A group of Southwestern-style jewelry Mid/late 20th century Four marked for sterling; two further marked for maker A large group comprising three Navajo/DinÈ sterling silver cuff bracelets, including one with eight set sugalite cabochons (6.875” total inner C x 1.375” H, with a 1” gap), a three-wire silver cuff with set turquoise (stamped: C; 7” total inner C x 1.25” H, with a 1.125” gap), and a sterling curved cuff with seven row-set turquoise cabochons (stamped: HC; 6.5” total inner C x 0.75” H, with a 1” gap), as well as a sterling silver Avanyu overlay brooch with turquoise eye (1” H x 3.25’ W), a stone-set cross pendant (2.5” H), a Zuni-style stone inlay ring in a floral motif (ring size: 5.75), and a single strand nugget turquoise necklace with added patinated copper howling coyote pendant, 7 pieces 9 pieces total 241.3 grams gross $200-300 Provenance: The Estate of Dr. Amy Conger

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1342

A group of jewelry

Mid/late 20th century Each appears unmarked A group of five necklaces including a pendant necklace with polished amethyst and bronze-colored beads and tabs, with a round face pendant (28” L), a necklace of orange and red glass beads with a bronze-colored cross pendant (27” L), a green hardstone bead collar necklace with graduated tabs (17” L x 2.75” H), as well as a single strand necklace of chunky stone beads in various shades of green and blue, and a single strand of blue/green glass beads (each: 25” L), 5 pieces $300-500 Provenance: The Estate of Dr. Amy Conger

4 4 2 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

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1343

A group of Modernist-style silver jewelry Five works:

Sergio Flores (b. 20th century) A sterling silver and stone-set necklace, circa 1998 Etched signature and date verso: Sergio Flores / ‘98 An elaborate three-section set stone pendant necklace with paper-clip link chain and added leather cord extender 22”- 26” L x 2.5” H A group of Modernist style silver jewelry Mid/late 20th century Two marked for maker and sterling Comprising a Sajen sterling silver and set-stone figural pendant/brooch with etched greenstone body (4.25” H x 1.25” W), a sterling silver round “moonface” pendant/brooch with removable associated Italian chain (stamped: G / 3; 22” L x 2” Dia.), a long polished stone fossil brooch (5” L), and a small silver-toned metal ring with silver ball accents (ring size: 7), 5 pieces 6 pieces total 187.0 grams gross $300-500 Provenance: The Estate of Dr. Amy Conger

4 4 4 The Collection of Frederick W. Davis: An American Abroad l Wednesday, December 6, 2023

1344

A group of Mexican jewelry Two works:

Armando Lozano Ramirez (b. 1950, Mexico) A Brutalist-style bronze metal necklace, late 20th century Stamped: LORENZO; further marked to ceramic tile verso: Tonala Mexico / ‘90 / Angel Santos A pendant necklace with bronze metal ‘bone’-shaped chain links suspending a metal-encased Tonala painted tile pendant with two fish dangles 26” L x 3.75” H A silver-toned metal milagro necklace, mid/late 20th century Appears unmarked Comprising an ornate pendant of various milagro charms and images suspended from an upturned crown motif, with multiple milagro dangles 24.5” L x 5.5” H 2 pieces

$300-500 Provenance: The Estate of Dr. Amy Conger w w w. j o h n m o r a n . c o m 4 4 5

4 4 6 20th Century Photography: The Emergence of Modernism l Wednesday, December 6, 2023

Condition Reports

w w w. j o h n m o r a n . c o m 4 4 7

1001 Overall generally good condition. Handling creases and slight abrasion along the extreme sheets edges. The black scrapbook page with tears and paper losses on the left and right edges. Two rectangular areas of surface skinning attendant with previous images mounted to the black scrapbook page. Each image is mounted to the black scrapbook page, and the scrapbook page is loose, not matted.

Unframed 1002 Overall good condition. A small and unobtrusive surface scrape along the extreme lower edge of the work, at right.

A speck of grime in the upper left corner, recto, and some additional scattered specks of grime on the verso.

Framed under glass: 11.25” H x 14.25” W x 1” D 1003 Overall good condition. Minor creasing to the four extreme corners. Tipped to the back mat from the verso of the upper sheet corners and along the lower sheet edge.

Framed under glass: 20.25: H x 16.25” W x 1” D 1004 Overall good condition. Old glue residue on the verso of each sheet edge, not affecting the recto. The sheet is hinged to the back mat in two places by pieces of linen tape from the verso of the upper sheet corners.

Framed under glass: 14.25” H x 11.25” W x 1.25” D 1005 Overall good condition. Very pale light staining to the image and the mount exposed through the opening of the mat. The extreme upper right corner is dog-eared. The mount is affixed to the back mat by four paper triangles at each corner.

Framed under glass: 20.25” H x 16.25” W x 1.25” D

Condition Reports

1006 Overall good condition. Small handling creases commensurate with age, primarily at the extreme upper and lower edges. The sheet is hinged to the back mat by two pieces of linen tape to the verso of the upper sheet corners.

448

Framed under glass: 20” H x 16” W x 1.5” D 1007 Overall good condition. Abrasion along the extreme sheet edges. A pinhead-sized hole in the lower potion of the left edge, with an attendant paper repair, verso. The sheet is loose and affixed to the back mat with four paper archival corners from each sheet corner.

Framed under Plexiglas: 11.25” H x 9.25” W x 1” D 1008

Overall good condition. Pale light staining and slight surface soiling to the mount. The image is peeling slightly from the board mount.

Unframed 1009 Overall good condition. The sheet is framed floating and mounted to a board mount. The board mounted is hinged to the back mat with hinging tape from the verso of the upper edge.

Framed under glass: 16.25” H x 12.75” W x 1” D 1010 Overall good condition. An unobtrusive, very narrow horizontal band of uneven surface at both the extreme lower left and right corners of the photograph, each approximately 1/16” H x 1” W, visible only in raking light.

Very pale light staining to the board mount through the window opening of the overmat. The board mount is hinged to a back mat in three places with linen tape affixed to the verso of its upper edge.

Framed under glass: 20.25” H x 16.25” W x 1” D 1011 Each: Overall generally good condition. One image with time staining along each extreme sheet edge. Mounts with varying degrees of soiling, staining, and handling creases commensurate with age.

Each: Unframed.

1012 Overall good condition. The image is slightly rippled in the center. Not examined out of the frame.

Framed under glass: 16.25” H x 14.25” W x 2” D 1013 Overall good condition. Not examined out of the frame.

Framed under glass: 16.25” H x 14.25” W x 1” D 1014 Overall good condition. The sheet is framed floating and mounted to a board mount, and the mount is loose, not matted.

Unframed 1015 Overall good condition. Some spots of discoloration on the mount along the right edge. Not examined out of the frame.

Framed under glass: 16.5” H x 20.25” W

Frame of largest under Plexiglas: 10.25” H x 13.25” W x 1” D 1017 Each overall good condition. The desert landscape with abrasion along the extreme edges. Each sheet is framed floating and mounted to the mount. Not examined out of the frame.

Each framed under glass: 15” H x 19” W x 1” D (or reverse) 1018 Each overall good condition. Not examined out of the frame.

Three works framed under glass: 16.5” H x 20.5” W x 1” D 1019 Each overall good condition. Not examined out of the frame.

Each framed under glass: 20.25” H x 16.25” W x 1” D 1020 Each: Overall good condition. Not examined out of the frame.

Four framed under glass: 20.25” H x 16.25” W x 1” D; One unframed.

1021 Overall good condition. A 0.75” Dia. smudge in the upper right corner, not affecting the image. Two rice-sized spots of discoloration in the lower margin. The sheet affixed to the back mat with four archival corners.

Framed under glass: 20” H x 16” W x 1.5” D 1022 Overall good condition. A very soft and unobtrusive ripple in the paper extending vertically through the entire sheet, to the right of center, visible primarily in raking light. Not examined out of the frame.

Framed under glass:16.25” H x 20.25”W x 0.75”D 1023 Overall good condition. Small 1” crack to the emulsion in the upper left corner. Tacked in the upper left, center, and right with paper tape.

Framed under glass: 16.25” H x 20” W x 1” H

1024 Overall good condition. Pale light staining. The sheet is hinged to the overmat in three places by pieces of archival tape from the upper sheet edge.

Framed under glass: 16.25” H x 20.25” W x 1” D 1025 Overall good condition. Blue hand coloring on the woman’s scalp and coat. Very soft and unobtrusive abrasion along the extreme edges. 1” H x 2” W areas of surface skinning at each sheet corner, verso. The sheet is hinged to the overmat with three pieces of hinging tape from the verso of the upper edge.

Framed under glass: 16.5” H x 20.5” W x 1” D 1026 Overall good condition. Occasional very delicate surface scratches in places at the upper corners, within of the black border, not affecting the image. The sheet is loose, attached to the back mat with clear archival corners.

Framed under glass: 14.25” H x 11.25” W x 0.75” D 1027 Overall good condition. Affixed to the overmat with clear plastic archival corners at each of the sheet corners.

Framed under glass: 20.5” H x 16.25” W x 1” D 1028 Overall good condition. Not examined out of the frame.

Frame: 18.25” H x 14.25” W 1029 Overall good condition. A small, unobtrusive cluster of foxing near the center of the right edge of the image and mount. The mount is held to the overmat at each corner by an archival mounting strip.

Framed under glass: 18.25” H x 14.25” W x 1.25” D 1030 Each: overall good condition. With wide margins. One sheet is framed floating and affixed to the back mat with old clear plastic along the extreme margin edges. Each not examined out of the frame.

Each: Framed under glass: 14.25” H x 18.25” W x 1” D 1031 Each: Overall generally good condition. Each image with various handling creases, small surface scratches, abrasions along the extreme sheet edges, and folds to the corners.

One with a 0.25” H x 0.5” W tear in the upper left margin edge. All but one sheet is loose, not matted.

Each: Unframed

Condition Reports

1016 Each overall good condition. Handling creases and minor abrasion to the extreme sheet edges to the sheets that are loose. Two photographs are framed under Plexiglas and the sheets are framed floating and mounted to the back mat. Twelve sheets are mounted to board mount. Twentynine sheets are loose, not matted. The two framed works are not examined out of the frame.

449

1032 Each: Overall good condition. Scattered areas of surface abrasion at the extreme sheet edges. Six are framed floating and mounted to the back mat. Each not examined out of the frame.

Frame of largest under glass: 20” H x 16” W x 1” D; Frame of smallest under glass: 15.5” H x 13.5” W x 1” D 1033 Overall good condition. Full margins with deckled edges.

The sheet is framed floating and affixed to the back mat with four clear archival corners. Not examined out of the frame.

Frame: 14.25” H x 24.25” W x .75” D 1034 Each: Overall good condition. The sheets are loose, not matted.

Each: Unframed 1035 Quantity is approximate. The contents of this lot are in used and worn condition, some annotated, dog-eared, or with applied notes. Lot sold in AS-IS condition. For all inquiries regarding content or condition, we invite you to view this lot in-person.

Condition Reports

1036 Each volume overall good condition with general shelf wear, rubbed wear to the boards, mild bumping to edges, corners, and spine ends, minor soiling, and scattered minor scratches commensurate with age. The aluminum slipcase with soiling, scratching, and scuffing. Each volume with sunning, minor soiling and spattered staining to spine.

Volume III with 1.5” area of repair to cloth and hinge at the bottom front edge of spine as well as a similar small repair to front top board corner. Offsetting from woodblock prints to previous page verso.

450

1037 Each overall fair to good condition with soiling to page edges and cloth, tanning to pages, fading to cloth and stamped titles, bumping to board edges and corners, and loose/cracking hinges commensurate with age. Some with chipping to spine ends and tanning to spines. Nostromo, Youth, and Arrow of Gold with more significant chipping and tears to spine ends and general shelf wear. Notes on Life with separation of cloth at spine edges. Some with small penciled notes to corners of end papers. Each either lacking dust jacket or not issued with dust jacket.

1038 Each overall good condition with shelf wear, rubbed wear and scattered scratches to the leather, bumping to corners with some fraying to leather, soiling to page edges, and toning to pages commensurate with age and use. Each with cracking to the binding and separation between some of the signature blocks.

1039

Overall good condition with dust accumulation and wear commensurate with age and use. Scattered fading to some colors. Slight darkening and scattered areas of minor staining to ground fabric. Scattered small areas of minor stitch losses to some images. Textile mounted to wooden stretcher; not examined off of stretcher.

Frame: 54.25” H x 34.75” W x 0.625” D 1040 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. A few scattered areas of minor loose stitching/threads, primarily to the border motifs. Scattered small single holes overall, largest: 0.5” L. A few scattered small spots. With hemmed short edges.

1041 Overall good condition with scuffs and darkening/ oxidation to brass commensurate with age. More concentrated wear and oxidation to edges and hinge area.

1042 Overall good condition. The sheet with occasional artist pinholes at the margin edges and corners. As described, the sheet is laid down to board.

Framed under glass: 20” H x 24” W x 1” D 1043 Each overall good condition with tarnishing and light scratches commensurate with age. Each with some residue and indentations to bobËches.

1044 Each overall fair to good condition with shelf wear, scuffs, indentations, scratches, and oxidation commensurate with age.

1045 Overall good condition. The sheet with deckled edges.

The lower left edge is slightly trimmed unevenly. Pale backboard staining and occasional specks of foxing on the verso of the sheet, attendant with previous backboards used. The verso of the sheet with a small area of old glue residue along the lower right edge and two small pieces of old brown hinging tape at the upper left and right corners.

The sheet is loose, not matted.

Unframed 1046 Overall good condition. Scattered and faint handling creases, primarily throughout the outer edges, the largest measuring 4” along the upper edge, at left. Three peasized or smaller extremely pale stains near the left edge, at center. The sheet is sealed in the mat.

Framed under glass: 18” H x 14” W x 1.5” D 1047 Overall good condition. A very soft 2.5” horizontal surface scratch in the background of the upper right quadrant.

Framed under glass: 22.75” H x 18.5” W x 1.25” D

1049 Each overall good condition with tarnishing and light scratches commensurate with age.

1050 Overall good condition with tarnishing and scratches commensurate with age.

1051 Each overall good condition with tarnishing and light scratches commensurate with age. A few salad plates with bending to rim of one lobe.

1052 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One with small fleabite chip to outside of rim.

1053 Overall good condition with scuffs, rubbed wear to the gilt, and darkening/oxidation to bronze and metal commensurate with age. Missing one smaller flower. One leaf detached and retained with the lot. The porcelain and leaves with scattered rubbed wear, fleabites, and a few small chips.

1054 Each in overall good condition with dust accumulation and wear commensurate with age and use. Textiles not examined out of frame.

Frames: the first: 17.5” H x 17.25” W x 1.5” D; the second: 13” H x 12.5” W x 0.875” D 1055 Each overall good condition with scuffs, scratches, scattered pitting, and darkening/oxidation to brass commensurate with age. One pair with more extensive tarnishing. Each with a slight lean and one with 1” crack to the middle, possibly inherent in casting.

1056 Overall generally good condition. Two approximately 2” H x 3” W areas of mold at the lower edge of the sheet, both recto and verso. The sheet is loose, not matted.

Framed under glass: 22.5” H x 10.25” W x 0.5” D 1057 Overall good condition. The sheet is affixed to the overmat with scotch tape in places from the verso of the vertical sheet edges and corners.

Framed under glass: 28.25” H x 24.25” W x 2.75” D 1058 Each overall good condition with tarnishing and scratches commensurate with age. Each screen with a very slight lean.

1059 Each overall good condition with tarnishing and light scratches commensurate with age. Each screen with a slight lean from bent mounting with possible restoration to mounts.

1060 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rubbed wear, soiling, and bubbling to the leather and painted decorations. Front edge of top leather curling slightly. Chipped losses to front left wood base. Lacking key.

1061 Overall good condition. A soft 5” diagonal handling crease along the lower right edge, mostly visible in a raking light.

The tip of the upper right corner is detached, attendant with the previous hinging. Artist pinholes at each of the four corners. A minute and unobtrusive edge nick in the lower portion of the extreme right edge. The verso sheet with very pale mat staining and attendant specks of occasional foxing. The upper left and right sheet corners are tipped to the back mat, and the lower left and right corners secured with two clear archival corners.

Framed under glass: 14.25” H x 18.5” W x 1.25” D 1062 Overall good condition. Not examined out of the frame.

Framed under glass: 11.25” H x 10.25” W x 1” D 1063 Each: Overall generally good condition. The two loose sheets with minor abrasions and tears along each edge and corner with artist pinholes in each corner. “viva el barro...” with a sketch of the figure of a man and old adhesive along the upper edge, verso. Two not examined out of their frames.

Two framed under glass: 17.75” H x 13.25” W x 0.75” D 1064 With margins. The colors attenuated. Time staining along each of the margin edges. Minor handling creases in the margins and slight cockling in the left margin. A 9” H x 4” W uneven band of damp staining in the upper left quadrant, verso, and with an attendant 2” H x 3” W area of damp staining to the recto sheet of the upper left quadrant, mostly showing in the margins and slightly affecting the image. A small 2” horizontal band of staining in the extreme lower margin, at left. Pale and uneven mat staining to the sheet, verso. Remnants of old hinging tape along the upper and lower margin edges, verso, and with attendant pale staining showing in the margins, recto. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under glass: 23.5” H x 27” W x 2” D 1065 Overall generally good condition. Each with the original horizontal and vertical folds to the sheet, attendant with the previous folding, as stated above. “Navidad” with light staining showing primarily in the printed image. “Merry Christmas” with scattered handling creases, areas of surface soiling, a 0.5” H x 0.75” W triangle tear in the upper right edge of the sheet, and folds in the upper and lower left corners. Each sheet is loose, not matted, with “Navidad/ Xmas/Noel” having a mat but not affixed or hinged.

Each: Unframed

Condition Reports

1048

451

1066 The original published paper folio book with watercolor reproductions with pale toning to the front and back cover sheets, the blue-colored sheets inside the paper folio book with time staining along the extreme edges of the sheet, areas of surface soiling throughout, handling creases, nicks, and small tears scattered throughout, all commensurate with age. As stated, the reproductions of the watercolor tableaus are mounted from the verso of the upper sheet edge to the original blue-colored paper in the book. The brown paper folder housing the sheets of paper with the hinged watercolors with surface soiling, scratching, creases, small nicks and tears, and minor toning throughout, all commensurate with age.

Unframed 1067 Overall good condition. Pale light staining throughout each, with a 0.5” darker band of staining from prior framing on the image with the terrace. Not examined out of the frame.

Each framed under glass: 12.75” H x 15.75” W x 0.75” D 1068 Each: Overall good condition. One image with a 2” and 0.75” diagonal folds in the lower right corner. One image with a 0.75” tear in the upper left edge. Each mount with various degrees of soiling and staining. Each sheet is loose and not matted.

Each: Unframed 1069 Each: Overall good condition. Slight staining and handling creases to the red construction paper mounts. Each sheet is loose and not matted.

Each: Unframed 1070 Each: Overall generally good condition. The various papers or matboards with scattered surface soiling, occasional small stains, and slight time staining recto and verso. The one unsigned, untitled, and undated dancing couple with various paper losses at the sheet edges. The sheets or matboards are loose, not mounted.

Condition Reports

Each: Unframed

452

1071 Pale light staining throughout. Pea-sized or smaller areas of surface skinning scattered throughout the outer edge, and larger areas scattered throughout the verso. Soft and scattered handling creases and the upper right corner slightly dog-eared. A small foxmark in the lower portion of the extreme left edge. Abrasion along the extreme edges.

Artist pinholes at each of the sheet corners and the upper and lower edges, at center. The extreme lower edge is unevenly trimmed, possibly in the hand of the artist. The sheet is loose, not matted.

Unframed

1072 Overall good condition. Pale light staining throughout and time staining scattered along the extreme lower edge. A fingerprint with blue pigment, verso. Abrasion along the extreme edges. Artist pinholes at each of the sheet corners and the upper and lower edges, at center. The sheet is loose, not matted.

Unframed 1073 Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 18” H x 23.5” W x 0.75” D 1074 Overall good condition. With margins. A rich, velvety impression. An unobtrusive, horizontal, 2” long printer’s crease, inherent in the manufacture, near the center of the lower edge.

Framed under glass: 18.25” H x 15” W x 0.5” D 1075 Each overall good condition. The large portfolio with slight wear to all corners and along spine, and with splitting of the spine in the lower section. Some splitting and loss to the leather tie straps. The smaller portfolio with flaking and small cracks to the leather, primarily along the spine and to all corners. The photocopies with various small tears, corner folds, and soft abrasions on each edge commensurate with age and handling. The suitcase with scratches, nicks, marks, and wear commensurate with age and heavy use. Heavier wear to corners and edges, with scattered areas of loose stitches to leather binding at edges. Loose strap to interior flap.

1076 Overall good condition. Full margins with deckled edges.

Soft handling creases scattered throughout. A few circular areas of damp staining in the lower margin, the largest area being dime-sized and slightly affecting the pencil inscription. The sheet is loose, not matted.

Unframed 1077 The sheet with wide margins. The sheet with a pinheadsized pressure mark in the lower left corner. Occasional scattered pinhead-sized spots of grime scattered throughout. Glue and tape remains in the margins and on the verso of the margin edges. Taped to the overmat from the verso of the margin edges.

Unframed 1078 Overall good condition. The full sheet with deckled edges.

Soft and scattered handling creases in the outer margin edges. A very small tear in the lower portion of the extreme right margin edge. The sheet is loose, not matted.

Unframed

Unframed 1080 Overall generally good condition. The full sheet with deckled edges. Time staining along the extreme margin edges. Scattered areas of surface soiling recto and verso. A 2.5” horizontal area of the extreme lower margin edge, at left, folded towards the verso. Handling creases scattered throughout, the largest measuring along the right margin edge. A dime-sized area of residue in the upper right margin corner, verso. The sheet is loose, not matted.

Unframed 1081 Overall generally good condition. With margins and a good impression. Surface soiling, a few scattered foxmarks, handling creases, all in the margins and commensurate with age. A circular 2.25” H x 2.625” W area of very pale reverse staining in the lower margin, at left. The sheet is loose, not matted.

Unframed 1082 Overall good condition. With full margins. Very pale light staining showing at the opening of the mat window. Brown paper tape along the extreme margin edges. The sheet is hinged to the backmat with linen tape at the upper margin corners.

Unframed 1083 Overall good condition. With full margins. Very pale light staining showing at the opening of the mat window. A few rice-sized and smaller spots of grime in the right margin.

Brown paper tape along the extreme margin edges. The sheet is hinged to the backmat in two places with linen tape at the margin edges.

Unframed 1084 Overall good condition. With margins. Two 2.5” diagonal creases in the lower left margin corner, not affecting the image. Brown paper tape along the recto of each of the extreme margin edges. The sheet is hinged to the back mat by two small pieces of white tape along the upper left and margin corners, recto.

Unframed 1085 Overall good condition. With margins. The sheet is hinged to the back mat with brown paper tape from the verso of the upper margin corners.

Unframed

1086 Overall good condition. Full margins and a good impression. Brown paper tape along each of the extreme margin edges. The paper is hinged to the back mat with two pieces of white tape at the upper left and right margin corners.

Unframed 1087 Each overall good condition. As stated, each is taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the image.

Each unframed 1088 Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 20.25” H x 16.25” W x 1” D 1089 The colors fresh. Scattered specks of foxing in the margins and on the verso.Two 0.5” areas of staining in the lower margin, at right, with one slightly affecting the image. A 3” diagonal crease along the edge of the upper margin, at left.

Two small paper losses, one in the lower left margin edge, and the second in the lower margin, left of center. Two small pieces of old tape remnants in the upper left and right margin corners. The sheet is loose, not matted.

Unframed 1090 Each overall good condition with tarnishing and light scratches commensurate with age.

1091 Each overall good condition with tarnishing and light scratches commensurate with age. Tested for sterling.

1092 Overall good condition with tarnishing and light scratches commensurate with age. Monogrammed “A” to each side.

1093 Overall good condition with tarnishing and light scratches commensurate with age.

1094 Overall good condition with tarnishing and light scratches commensurate with age. A few small dents to the base underside.

1095 Each overall good condition with tarnishing, indentations, and scratches commensurate with age.

1096 Overall good condition with tarnishing, indentations, and scratches commensurate with age.

Condition Reports

1079 Overall good condition. With margins. The extreme right margin edge slightly trimmed and the upper right margin corner is dog-eared. Very soft handling creases scattered in the lower margin. The sheet is loose, not matted.

453

Blacklight: No evidence of restoration.

1108 Visual: Overall generally good condition. Specks of grime, dirt, and slight darkening to the pigment, all commensurate with age. Abrasion along the extreme edges, primarily along the lower edge with pea-sized or smaller areas of residue adhered to the surface. Scattered areas of pigment loss in the upper half of the image, the largest approximately rice-sized near the upper left corner.

A pinhole in the upper edge, at center.

Frame: 34” H x 38” W x 2” D

Blacklight: No evidence of restoration.

1099 Visual: Overall good condition.

Unframed

1097 Each overall good condition with tarnishing, indentations, and light scratches commensurate with age. One plate with scattered pitting to the silver-plate.

1098 Visual: Overall good condition.

Blacklight: No evidence of restoration.

1109 Visual of each: Generally good condition with surface soiling and spots of grime commensurate with age and use. Each sheet of tin very slightly warped, two with a heavier crease to one corner. Each with holes to most corners and to center edges from prior mounting, with attendant scratches in those areas and occasionally in other scattered areas. The largest work of the group with an approximately dime-sized paint loss near the lower right corner.

Frame: 25” H x 21.25” W x 1.25” D

Blacklight of each: No evidence of restoration.

1101 Visual: Overall good condition. Occasional frame abrasion along each edge. Occasional, scattered areas of very fine stable craquelure throughout in the black pigments. A rice-sized puncture in the canvas in the lower left quadrant towards the center. A pea-sized spot of pigment loss in the upper right quadrant towards the center.

Each unframed

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 53” H x 37” W x 1.75” D

Frame: 20” H x 15.5” W x 2” D

1102 Overall good condition with tarnishing and light scratches commensurate with age.

1111 Visual of each: Overall good condition. Dust accumulation and varnish discoloration commensurate with age. Slight tarnish and wear to the three-dimensional pieces affixed to the work.

Blacklight: No evidence of restoration.

Frame: 27” H x 51” W x 1.25” D 1100 Visual: Overall good condition. A stretcher bar crease showing along the lower edge, at right.

Condition Reports

1103 Overall good condition with tarnishing and light scratches commensurate with age. Weight possibly includes nonsterling components.

454

1104 Each overall good condition with tarnishing and light scratches commensurate with age.

1105 Overall good condition with tarnishing and scratches commensurate with age.

1106 Each overall fair condition with all-over soiling, dust accumulation, heavy oxidation, scratches, and scuffs commensurate with age.

1107

1110 Visual: Specks of grime, varnish discoloration, wear to the pigment, scuffs, and scratches, primarily commensurate with age. The largest scuff, with attendant pigment loss, measuring 1” diagonally on the figure’s chin.

Blacklight of each: No evidence of restoration.

Frame of largest: 13.5” H x 11 W x 1” D 1112 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of light soiling to surfaces. Fabric with scattered minor stains and light creases. A couple of breaks and losses to fingers. A few minor chips to painted areas, such as hair and feet.

The crown with light oxidation and a few scattered minor scratches from use.

1113 Each overall good condition with tarnishing and scratches commensurate with age and use. A few with minor distortion to circular shape. One small crown with missing side section. First two test for sterling.

1115 Each overall good condition with scattered scratches, scuffs, soiling, dust accumulation, and indentations commensurate with age. One with two pea-sized indentations at shoulder and left side.

1116 Overall good condition with light tarnishing to metal, rubbed wear, and scratches commensurate with age and use. Bell shaped bead with minor chip loss.

1117 Overall good condition with light wear and scratches commensurate with age and use. Cross tests for sterling.

1118 Each in overall good condition tarnishing, light oxidation and scratches commensurate with age and use. Each tests for sterling.

1119 Each in overall good condition tarnishing, light oxidation and scratches commensurate with age and use. Each tests for sterling.

1120 Each in overall good condition with tarnishing and light scratches commensurate with age and use. Many with minor distortion to handles and to some pictorial elements. A few with minor breaks and minor loss to some elements. Large horse and foal matraca with break to handle, retained.

One matraca with detached urn element, retained. Dancer lacking base and ratchet mechanism. Not tested for silver content.

1121 Each in overall good condition with tarnishing and light scratches commensurate with age and use. Many with minor distortion to handles and to some pictorial elements.

A few with minor breaks and minor loss to some elements.

Not tested for silver content.

1122 Overall good condition with dust accumulation, scratches, and wear commensurate with age and use. Several with loose or missing items. Two cabinets lacking glass fronts.

Several cabinets with minor breaks and damage including loose or missing features such as moldings and legs.

1123 Visual: Overall generally good condition. Fine stable craquelure throughout. A stretcher bar crease along the lower edge, with some attendant pigment loss towards the middle of the lower edge. A pea-sized spot of pigment loss in the lower right corner. Faint frame abrasion showing along the lower left edge and the lower right edge.

Pinhead-sized spots of pigment loss scattered throughout.

Blacklight: Areas and spots of touch-ups throughout, the largest measuring 10” H x 10” W in the upper left corner.

Frame: 51.5” H x 42” W x 2.25” D

1124 Visual: Dust accumulation, dirt, varnish discoloration, darkening, craquelure throughout, areas of pea-sized or smaller areas of pigment loss scattered throughout, and wear to the pigment, all commensurate with age. Could benefit from a cleaning.

Blacklight: Scattered areas of dime-sized or smaller areas of touch-up in the outer edges. A very heavy application of varnish has been applied.

Frame: 35” H x 27” W x 3” D 1125 Visual: Fine to moderate stable craquelure throughout.

Stretcher bar creases along each edge showing primarily along the upper edge. A 0.25” H x 0.5” spot of surface loss in the lower left quadrant near the edge, in the armor of the figure. A 2” vertical split in the canvas in the upper right quadrant to the right of the figure’s head. Two pea-sized punctures in the canvas with attendant repair in the lower left quadrant in the figure’s collar and to the right of the figure’s hair. A repaired 3” vertical split in the canvas in the upper left quadrant to the left of the figure’s head. Frame abrasion showing in places along the lower edge and lower corners, with a few attendant pinhead-sized pigment losses.

Blacklight: Few scattered areas of touch-up with attendant repair, the largest measuring 5” H x 1.5” W to the left of the figure’s head.

Frame: 30” H x 25.5” W x 3.5” D 1126 Visual of each: Overall generally good condition. Scattered areas of discoloration and specks of grime commensurate with age. Fine craquelure scattered throughout, with some areas of unstable craquelure and wear to the pigment in the lower portion of the portrait of the man, and in the right side of the work in the portrait of the woman.

Blacklight of each: Specks of touch-up scattered primarily in the outer edges.

Frame of each: 20” H x 18” W x 2” D 1127 Each overall good condition with tarnishing and scratches commensurate with age. One with a slight lean and dent in the rim.

1128 Overall fair to good condition with tarnishing, scuffs, and scratches commensurate with age. Scattered indentations to the waist and rim.

1129 Overall good condition with tarnishing and scratches commensurate with age.

1130 Each overall good condition with tarnishing and light scratches commensurate with age. One with a slight lean.

1131 Overall good condition with tarnishing and light scratches commensurate with age.

Condition Reports

1114 Each in overall good condition with tarnishing, light wear, and scratches commensurate with age and use. Sun and cloud charm with a break to cloud, retained.

455

1132 Visual: Dust accumulation, dirt, specks of grime, varnish discoloration throughout, scattered areas of craquelure primarily in the lower left and right quadrants, frame abrasion along the edges, all commensurate with age.

Blacklight: Small and scattered areas of touch-up throughout. Difficult to read under heavy varnish.

Frame: 28.5” H x 30.5” W x 2” D 1133 Visual: Overall good condition. Soft stretcher bar creases along the left and upper edges, showing primarily in raking light. A pinhead-sized area of pigment loss above the larger fish’s head, and a rice-sized area of pigment loss near the lower edge, at center. A 0.75” surface scratch near the left edge, at center.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 34.5” W x 3.75” D 1134 Visual: Overall good condition. A few occasional scattered pinhead-sized spots of light pigment throughout.

Blacklight: No evidence of restoration.

Frame: 22” H x 25” W x 2.75” D 1135 Visual: Overall generally good condition. Shallow surface scratches and scuffs throughout. Some areas of very fine and unobtrusive stable craquelure throughout. Pinheadsized spots of grime throughout. A pea-sized surface abrasion with attendant pigment loss in the lower left quadrant near the left edge. A 5” diagonal surface scratch with spots of pigment loss in the upper right quadrant near the upper edge.

Blacklight: Heavy and uneven varnish.

Condition Reports

Frame: 32.75” H x 29” W x 3.25” D

456

1136 Each: Overall generally good condition. Pale light staining, few small handling creases, and occasional foxmarks scattered throughout. A shallow 2.5” diagonal scratch in the lower left corner of the portrait of the elderly man.

Each not examined out of the frame.

Each: Framed under glass: 20” H x 16” W x 1.25” D (or reverse)

1137 Each overall good condition. With margins. Soft handling creases, scattered and small areas of surface soiling, traces of printer’s ink, all primarily in the margins. Some of the margin corners slightly dog-eared. The margin edges are trimmed slightly unevenly, possibly in the hand of the artist. One of the etchings with pale staining at the upper margin corners attendant with the glue used to tip the sheet to the back mat. The matboards with toning and a few foxmarks scattered throughout. The etching on brown paper is laid to the back mat and two of the sheets are tipped to the back mat from the verso of the upper margin corners.

Each unframed 1138 Visual: A rice-sized spot of surface abrasion with attendant pigment loss near the right edge of the lower right quadrant.

Blacklight: A few pea-sized spots of touch-up scattered in the right half of the work.

Frame: 23.75” H x 21.75” W x 1.25” D 1139 Overall good condition with tarnishing and light scratches commensurate with age.

1140 Overall good condition with tarnishing and scratches commensurate with age. The lids and mounting junctures are tight and don’t open easily. The nib box drawer also sticks a bit. Weight includes non-silver components.

1141 Overall good condition with tarnishing, indentations, and scratches commensurate with age. The bowl has a slight lean.

1142 Overall good condition with tarnishing, indentations, and scratches commensurate with age. The bowl has a slight lean.

1143 Overall good condition with tarnishing and light scratches commensurate with age. Restoration to center and another to side interior of bowl. Bowl is loose from the mounting.

1144 Overall good condition with tarnishing, indentations, and scratches commensurate with age. The glass insert with pea-sized chip to rim.

1145 Each in overall good condition with tarnishing and scratches commensurate with age and use. Large pendant with slightly distorted loop wire. All test for sterling.

1146 Each in overall good condition with tarnishing and scratches commensurate with age and use. Minor distortion to some wire components. Unmatched stones with scattered abrasions and surface reaching fractures, as well as a few hairlines and repaired fractures.

1153 Overall good condition. Full margins with deckled edges.

Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

1147 Each in overall good condition with tarnishing and scratches commensurate with age and use. Minor distortion to some wire components.

1154 Overall good condition. Full margins with deckled edges.

A 2” crease at the lower margin edge, at right. A pinheadsized foxmark at the upper edge, verso. Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

Unframed 1149 Each: Overall generally good condition. With full margins.

Slight surface soiling and pale time staining recto and verso. Pale light staining on five of the plates. Plate 18 with remains of old glue and tape staining in the margin edges from previous matting. Plates 2 and 6 each with a small area of surface skinning in the lower margin edge.

Occasional small stains in the outer margin edges of a few of the plates, not affecting the images. Plates 1, 7, 11, and 16 framed. Lacking plates 14, 17, 19 and 20. Also lacking the letterpress brochure with the index of prints, introduction by Salvador Echeverria, and hand-signed and numbered justification page.

17 plates, loose, within original cloth-covered portfolio with string ties: 18.25” H x 13.25: W x 0.5” D 4 plates framed under glass: 17 x 13 x 1” D 1150 Visual: Overall good condition. Very fine and stable craquelure throughout the right half. The canvas has been relined.

Blacklight: No evidence of restoration.

Frame: 29.25” H x 40.75” W x 2” D 1151 Overall good condition. The full sheet with deckled edges.

A good impression. Traces of printer’s ink in the outer margin edges. The sheet is loose, not matted.

Unframed 1152 Overall good condition. Full margins with deckled edges.

The upper right margin corner slightly creased. A very small tear in the extreme upper margin edge, at center.

Traces of printer’s ink in the outer margin edges. The sheet is loose, not matted.

Unframed

Unframed 1155 Overall good condition. Full margins with deckled edges.

Two specks of foxing in the upper left margin corner. A 5” soft diagonal crease in the lower left margin corner. Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

Unframed 1156 Overall good condition. Full margins with deckled edges.

Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

Unframed 1157 Overall good condition. Full margins with deckled edges.

Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

Unframed 1158 Overall good condition. Full margins with deckled edges.

A very soft 5” vertical crease in the lower left margin corner. Traces of printer’s ink near the margin edges. The sheet is loose, not matted.

Unframed 1159 With margins. Uneven toning to the recto and verso.

Handling creases, pea-sized or smaller scattered areas of foxing, and a few small edge tears, all in the margins. The sheet is loose, not matted.

Unframed 1160 With margins. Toning throughout the recto and verso. Time staining along the extreme margins edges and areas of damp staining primarily in the lower margin edge, and the largest measuring 2.75” H x 4.5” W in the left margin corner. Small tears scattered throughout the extreme margin edges, primarily along the upper margin edge. The sheet is loose, not matted.

Unframed

Condition Reports

1148 Overall good condition. With margins. Pale mat staining showing in the margins. A pinhead-sized spot of grime and stray pigment in the upper left quadrant near the upper edge of the image. Old tape residue along the right margin edge. The work is taped to the overmat with two pieces of old tape from the verso of the upper and lower margin edges.

Unframed

457

1161 Overall good condition. Stray black marks in the lower left quadrant, possibly in the hand of the artist. Not examined out of the frame.

Framed under glass: 23.5” H x 18.25” W x 1.25” D 1162 Visual: Overall good condition.

Blacklight: A pea-sized area of touch-up on the top of the figure’s head in the upper left quadrant.

Frame: 23” H x 19.25” W x 2.25” D 1163 Visual: Overall good condition. A few small areas of craquelure scattered throughout. Old varnish along the artist’s signature lower right.

Blacklight: Small and scattered areas of touch-ups primarily in the outer edges, the largest area with dime-sized or smaller touch-ups in the lower right corner.

Frame: 26” H x 27” W x 1” D 1164 Overall good condition. The sheet with wide margins. Not examined out of the frame.

Framed under glass: 13.5” H x 9.5” W x 0.75” D 1165 Overall good condition. Very pale and scattered time staining along the extreme sheet edges. The sheet is tipped to the pink-colored back paper mount.

Unframed 1166 Overall good condition with light scratches and wear commensurate with age and use.

Condition Reports

1167 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions.

458

1170 Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fratures. Necklace with break to pendant, retained, and break to one corner of large element.

1171 Overall good condition with light tarnishing and scratches commensurate with age and use.

1172 Overall good condition with tarnishing and light scratches commensurate with age.

1173 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with scattered light abrasions, eye-visible inclusions and surface-reaching fractures. A few scattered minor chips to stone cut edges.

1174 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures, and a few scattered fleabites.

1175 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethyst with scattered abrasions, eye-visible inclusions and surfacereaching fractures.

1176 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with light abrasions, eye-visible inclusions and surfacereaching fractures. Caviar bracelet with partially detached link and scattered minor chips to cabochons.

1177 Overall good condition with oxidation and light tarnish to frame. Break to one thread strand element at top of arrangement. Carving not examined out of frame.

Frame: 8.75” H x 7.5” W x 1.125” D

1168 Each in overall good condition with dust accumulation, light soiling, light scratches, and wear commensurate with age and use. The stones with scattered minor abrasions and chips, and eye-visible inclusions and surface-reaching fractures. The obsidian with a repaired chip to one top corner. The pale stone with a few larger older chips verso, to each top corner and one to lower left corner. Each with drilled holes for hanging display.

1178 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of light fading to some colors. Ground fabric with slight darkening to face and scattered areas of faint staining/watermarks. A small hole to one corner, 0.375” H. A few scattered motifs with loose stitching, wear and minor loss to stitches, and with one corner seemingly unfinished. With dry cleaning tag to one corner.

1169 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

1179 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered wear and minor loss to weave/threads in areas, particularly near the top edge. Scattered areas of minor staining and discoloration throughout.

1181 Overall good condition with dust accumulation, light scratches and wear commensurate with age and use. Metal winders with light tarnishing/oxidation. Several winders with minor chips/losses to corners. Scattered chips and minor cracks to painted areas of box, primarily to edges and corners.

1182 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Old evidence of chips to bottom of drop front panel. 1.25” old chip to bottom of rear, as well with rear panel popping out a little bit near the bottom. Screw loose to one metal mount. Chip to top of column of inner central drawer.

1183 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Lacking one of the hinges.

More concentrated scratches at the legs and front panel.

As well, the front of swinging panel separating at left side and with small screw hole to right side.

1184 Visual: Overall generally good condition. Stable craquelure throughout. Very faint stretcher bar creases along the four sides. Areas of wear to the pigment, primarily in the lower left and right quadrants, and the largest area measuring 2” H x 3” W in the lower right quadrant. A pea-sized area of residue adhered to the surface near the upper edge, at center. Frame abrasion along the extreme edges, attendant with prior framing. Four skillful repairs in the upper half of the painting.

Blacklight: Small touch-ups scattered primarily in the outer edges, the largest measuring 1.25” H x 0.75” W near the upper left corner.

Unframed 1185 Overall good condition. Light staining throughout. Not examined out of the frame.

Framed under glass: 17.75” H x 20.5” W x 1.5” D 1186 Visual: Grime scattered primarily in the upper left quadrant, varnish discoloration, darkening, surface scratches and scuffs primarily in the outer edges, wear to the pigment, scattered pea-sized or smaller areas of pigment loss, and small and scattered nicks, all commensurate with age. The upper left corner is dented.

Blacklight: No evidence of restoration.

Unframed

1187 Overall good condition. With full margins, deckled along the right edge. As stated, the work is tipped down to the original wove paper presentation mat/folder at the tips of the upper margin corners, with attendant pale staining and offsetting to the margins and to the interior of the presentation mat/folder, not affecting the wood engraving.

The presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases.

Unframed 1188 Overall good condition. With full margins and deckled edges. Two small and soft handling creases in the upper margin edge. Very pale time staining along the extreme lower margin edge. The sheet is loose, not matted.

Unframed 1189 Overall good condition. Full margins with deckled edges.

A soft 4.5” diagonal handling crease and a small trace of printer’s ink, all in the lower margin, at left. Two small pieces of old tape at the upper margin corners. The sheet is loose, not matted.

Unframed 1190 Overall good condition. Full margins with deckled edges.

Very pale light staining. A few small spots of foxing, verso.

The sheet is hinged to the back mat with two pieces of white tape at the upper margin edge, recto.

Unframed 1191 Each: Overall good condition. With margins. Soft handling creases scattered in the margin edges. The second woodcut with slight surface soiling in the upper margin edge. Pale and uneven toning to the paper overmat. Two sheets with old tape remnants on the recto margin sheet corners. One sheet is loose, and not matted, and two of the sheets are hinged to a back mat.

Each: Unframed 1192 Each: Overall generally good condition. Slight surface soiling recto and verso. Occasional soft handling creases and minor stains in the margins of a few of the sheets. The outermost sheet corners sometimes dogeared and with occasional artist tackholes. Each with notations on the verso in another hand. Each of the sheets are loose, not matted.

Each: Unframed

Condition Reports

1180 One side of the locking mechanism wood is detached and retained with the lot. The top with three drilled holes, a numbered yellow mark “1177,” and more concentrated/ notable scratches. The backside with 3” crack in the wood.

Lacking key.

459

1193 Each: Overall good condition. With margins. The train station work with a 2” fold in the upper left margin corner, not affecting the image. The night scene with performers with a few specks of foxing in the upper portion of the left margin and time staining along the upper sheet edge. The sheets are loose, not matted.

Each: Unframed 1194 Each: Overall generally good condition. With margins. Pale light staining and slight surface soiling, primarily in the margins. “Medicine Man,” with a 1.25” fold in the extreme upper right edge, not affecting the image. The sheet is tipped to the back mat from the verso of the lower sheet corners. “Maxwell St. Market, Chicago,” with pieces of brown paper tape along each extreme margin edge and affixed to the back mat from the lower corners with the brown paper tape.

Unframed

Each: Unframed

1202 Overall good condition. With margins. Two pin-head sized specks, either uninked or from slight insect damage, near the center of the extreme upper edge of the image. Not examined out of the frame.

1195 Overall good condition. With full margins. Toning throughout the recto and verso. A few scattered and very soft handling creases in the lower margin. Very minor wear to the extreme sheet edges commensurate with age. The sheet is loose, not matted.

Unframed 1196 Overall good condition. A very good impression with full margins deckled along the left and lower edges. A 0.125” crease in the upper left margin edge near the piece of tape. As stated above, the work is taped down at the tips of the upper margin corners to the original presentation mat/folder Unframed 1197 Overall good condition. With margins. Slight surface soiling in the outer margins. A 1.5” vertical crease in the lower margin, at right. The sheet is tipped to the back mat with pieces of tape from the verso of each corner.

Condition Reports

Unframed 1198 Overall good condition. The full margins with deckled edges (very slightly uneven in the uppermost section of the left margin edge). The palest light staining showing in the margins. Slight toning to the verso of the margin edges.

Hinged to the back mat with two pieces of white paper tape at the upper margin corners.

Framed under glass: 14.75” H x 18.75” W x 0.5” D 1199 Overall good condition. With margins. Very pale light staining. The extreme left margin edge is trimmed slightly unevenly. A few specks of foxing near the upper margin edge, right of center. The sheet is hinged to the back mat from the recto of the upper margin corners.

Unframed 460

1200 Overall good condition. With full margins, deckled along the lower edge. As stated, the work is tipped down to the original wove paper presentation mat/folder at the upper margin corners. The presentation mat/folder with very pale time staining and occasional minor surface soiling, soft handling creases, and a 2” soft crease to interior of mat/folder in the upper left corner, not affecting the wood engraving.

Envelope: 16.25” H x 13.75” W 1201 Overall good condition. With margins. The sheet is hinged to the back mat by two pieces of brown paper tape from the upper margin corners, recto.

Unframed

Framed under glass: 14.75” H x 19” W x 0.5” D 1203 Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes nonsterling components including the wood insulators and wick of chafer.

1204 Each overall good condition with tarnishing and light scratches commensurate with age. Some lids are slightly bent around the rim and do not fit perfectly to the bowls.

1205 Each overall good condition with tarnishing and light scratches commensurate with age. Each with remnants of a hardened putty-like substance applied for mounting in the bowls.

1206 Overall good condition with tarnishing and light scratches commensurate with age.

1207 Overall good condition with tarnishing and light scratches commensurate with age.

1208 Each overall good condition with tarnishing and light scratches commensurate with age. The case in good condition with shelf wear, scuffs, and scratches. Weight does not include hollow-handled items.

1209 Each overall good condition. Pale light staining within the opening of the mat window. The lithograph with deckled edges. Scattered and soft creases throughout. Slight surface soiling primarily near the margin edges. The extreme upper right margin corner is dog-eared. Taped to the thin paper mat at the verso of the upper margin corners. The linocut with full margins and the right margin edge deckled. Taped the the thin paper mat at the upper margin corners.

1215 Each overall good condition. As stated, each is taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the image.

Unframed 1210 Each: Overall good condition. With margins. Pale light staining to the sheet with the boat builder, primarily in the margin edges. The sheet with the sea turtle with time staining along the extreme right margin edge. A pea-sized foxmark in the upper portion of the left margin edge. A soft 1” diagonal handling crease in the lower left margin corner. Each sheet is loose, not matted.

1216 Each overall good condition. Each with full margins. As stated, each is taped to the original wove paper presentation mat/folder at either the upper margin corners or upper margin edge. The original presentation mat/ folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engravings. The Simon with hard creases to interior of mat/folder at upper left and lower right corners as well as to the right edge.

Each: Unframed

Each unframed

1211 Overall good condition. Not examined out of the frame.

1217 Each overall good condition. The Eichenberg with full margins. As stated, the Eichenberg is taped at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/ folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving or the color woodcut. The Eichenberg with very soft crease to folder recto and offsetting from tape to interior of presentation mat/folder.

1212 Overall good condition. With full margins, deckled along the right and lower edges. As stated, the work is affixed to the original wove paper presentation mat/folder at the upper margin corners, with two attendant brown stains, not affecting the wood engraving. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving.

Unframed 1213 Overall good condition. With full margins, deckled along the right and lower edges. As stated, the work is tipped to the original wove paper presentation mat/folder in three places at the upper margin edge, and with attendant small brown stains in three places at the upper margin edge, not affecting image. Tissue guard with crease to lower edge at right corner. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving.

Unframed 1214 Overall good condition. With full margins, deckled along the right edge. As stated, the work is taped at the tips of the upper margin corners to the original wove paper presentation mat/folder. Very slight offsetting from the print to the paper presentation mat/folder into which it’s mounted. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving.

Unframed

Each unframed Each envelope: 16.25” H x 13.75” W 1218 Each overall good condition. Full margins with deckled edges. The sheet is tipped to the back mat from the verso of each margin sheet corner.

Each unframed 1219 Each overall good condition. Both with margins, and the larger etching with full margins and deckled edges. The larger etching with light staining throughout and soft handling creases scattered in the margin edges. The smaller etching with a pea-sized area of paper loss in the lower right margin corner and four pea-sized areas of old glue residue at each margin corner. The sheets are loose, not matted.

Unframed 1220 Each overall good condition. Full margins with deckled edges. Small traces of printer’s ink in the margins. The first etching with pale time staining along the extreme margin edges. Handling creases scattered in the outer margins, mostly prominent in the second etching. The second with small tears, dog-eared margin corners, and cockling to the margin edges, predominately in the lower margin. The sheets are loose, not matted.

Each unframed

Condition Reports

Framed under glass: 24.5” H x 21.5” W x 1” D

Each unframed

461

1221 Overall good condition. Market stall with occassional soft handling creases, pale staining and soling primarily in the lower sheet edge, with a 0.5” diagonal fold in the lower left corner. Military men on horseback with a few pea-sized and smaller spots of staining in the left and right margins.

The sheets are loose and not matted.

Unframed

1229 Each overall good condition with tarnishing and scratches commensurate with age. Weight includes non-sterling components.

Each: Unframed

1231 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Minor, discrete area of loss to one corner of carved stone.

Each: Unframed 1224 Each overall good condition. Each with pale soling and staining to the paper. “La Camotero” with a few scattered pinhead-sized fox marks in the margins.

1225 Each full margins with deckled edges. The first etching with a small tear at the left margin edge and soft handling creases scattered in the outer margin edges. The second etching with pale toning, handling creases throughout, and slightly affecting the image, small tears to the extreme margin edges, and traces of printer’s ink in the margins.

The sheets are loose, not matted.

Each unframed

Condition Reports

1228 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures.

1222 Each: Overall good condition. The titled etching with margins. A 5.5” diagonal crease in the upper left quadrant of the back mat. The sheet is tipped to the back mat from the verso of each sheet corner. The second etching with scattered areas of surface soiling, four pieces of old residue, and soft handling creases in the outer margins.

The sheet is loose, and not matted.

1223 Each overall generally good condition. Each with full margins and deckled edges. Each with pale staining and soling to the sheet. Still life with slight rippling to the paper commensurate with old adhesive residue on the verso in each corner of the sheet, as well as a pale fox mark in the upper margin, at right. Each sheet is loose and not matted.

462

1227 Overall good condition with light tarnishing and scratches commensurate with age and use.

1226 Each overall good condition. Each with pale staining and soiling throughout. “El Bibliotecario” with small handling creases throughout, with a 9” vertical crease in the left margin edge, not affecting the image, and old tape appearing through the sheet from the verso in the lower, left, and upper extreme margin edges. People waiting with the extreme lower right tip dog-eared, a 1.5” vertical fold in the upper left corner, not affecting the image, and two 4” W soft creases into the image from the upper left margin edge. Men in tavern with a few handling creases throughout, a 0.5” tear towards the center of the right margin edge, and a pea-sized spot of staining in the extreme lower right corner. Each sheet is loose and not matted.

Each: Unframed

1230 Each overall good condition with tarnishing and light scratches commensurate with age.

1232 Each: Overall generally good condition. The paper toned and with surface soiling, recto, and verso. Scattered and occasional specks of foxing and soft handling creases, to the lithograph. A 1” vertical tear in the upper margin, at right, and two small tears at the upper edge of the blue-colored back mat that the linocut is hinged to. Time staining to the edges of the blue-colored overmats. The lithograph is loose, not matted, with one linocut hinged to the back mat, and two hinged to the overmat.

Each: Unframed 1233 Each: Overall generally good condition. The paper toned and with surface soiling on the recto and verso. Scattered and occasional foxing and soft handling creases. One of the linocuts with the upper left and right margin corners dog-eared. Three works are loose and not matted, and the titled work is hinged to the overmat with various pieces of brown paper tape from the verso of the sheet edges.

Each: Unframed 1234 Each: Overall generally good condition. Women getting dressed with soft handling creases throughout, a 0.5” tear in the extreme upper right corner, and a 3” and 1.5” fold in the upper right corner. A dark grey band of staining along the extreme right margin edge, as issued. The market scene with soft handling creases throughout and a purple band of staining along the extreme upper margin edge, as issued.

Each: Unframed 1236 Each overall good condition. Full margins with deckled edges. Very soft handling creases scattered in the outer margin. The untitled etching with a few specks of foxing scattered in the margin edges. The sheets are loose, not matted.

Each unframed 1237 Overall good condition with dust accumulation and scratches commensurate with age. Several roundels with discoloration and staining, primarily to edges of image.

Cockling, creasing, and attendant paint loss to some images. Not examined out of frame.

Frame: 12” H x 10” W x 1.125” D 1238 Overall good condition. With margins. Very soft handling creases and very few specks of foxing scattered in the outer margins. The sheet is loose, not matted.

Unframed 1239 Overall good condition. With full margins. As stated, taped down to the original wove paper presentation mat/folder at the tips of the upper margin corners. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving.

Unframed 1240 Overall good condition. With full margins. As stated, the work is tipped down to the original wove paper presentation mat/folder at the tips of upper margin corners. The original presentation mat/folder with very pale time staining and and soft handling creases, not affecting the woodcut.

Unframed

1241 Overall good condition with full margins. As stated, the work is taped at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, primarily at the edges, not affecting the wood engraving.

Unframed 1242 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed under glass: 25” H x 18.75” W x 1.5” D 1243 Visual: Overall good condition. Fine and stable craquelure in the green pigment mostly throughout the center.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 19.75” W x 1.5” D 1244 Visual: Overall good condition. Occasional specks of grime, minor varnish discoloration, and scattered areas of fine craquelure, all commensurate with age.

Blacklight: No evidence of restoration.

Frame: 17” H x 21” W x 1.25” D 1245 Visual: Overall good condition. Very fine, unobtrusive stable craquelure showing primarily in the darker pigments of the lower half of the work. A few pinhead-sized puncture holes to the canvas along the left and right edges.

Blacklight: No evidence of restoration.

Frame: 32” H x 28” W x 2.5” D 1246 Overall generally good condition. Lifting to the canvas surface commensurate with abrasion to the board at the left and right edges. Small abrasions, scratches, and small pigment losses scattered primarily in the outer edges, commensurate with age and handling of unframed work, the largest measuring 1.5” in the lower center portion of the work.

Blacklight: A few scattered spots of touch-ups primarily throughout the lower half.

Unframed

Condition Reports

1235 Each: Overall good condition. Full margins and deckled edges, except figure with a town. Pale light staining showing on sheets affixed to mats in the window of the mat. Figure with a town with small handling creases throughout and the lower right corner slightly dog-eared. Dancers with a band of green dye on the lower margin edge, as issued, and with a few pale ink stains in the left margin. Walking figures with a few soft handling creases, the largest measuring 2.5” H in the left margin, a few pea-sized faint ink stains in the left margin, and a band of green dye on the lower margin edge, as issued. Ranchers with ox with a band of grey dye along the left edge. Three sheets are loose and not matted, two affixed to the back mat along the verso of the upper margin edge.

463

1247 Visual: Overall generally good condition. The canvas is slightly concave, attendant with being loose from the stretcher. A 4” diagonal streak of pink pigment in the upper left quadrant, and a pea-sized spot of stray blue pigment in the upper left corner. Scattered spots of grime and varnish discoloration commensurate with age, and could benefit from a cleaning.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 14” W x 1.75” D

1249 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under glass: 22.5” H x 16” W x 1.75” D

Paper display folder: 16” H x 13” W

1250 Overall good condition. Some soft rippling to the sheet, as well as areas of mold on the overmat and backboard of the frame containing the image of the mother and child in a landscape, not affecting the recto of the image. Each not examined out of the frame.

1257 Overall good condition. With full margins, deckled along the right edge, and the colors fresh. A 2” very soft vertical crease in the upper margin, just into the image at top, visible primarily in raking light. As stated, the work is taped at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases.

Frame: 12” H x 14.25” W x 2” D

Each framed under glass: Largest: 17.5” H x 14” W x 0.75” D 1251 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of staining and discoloration throughout, with few darker spots in places.

1252 Overall good condition. Full margins with deckled edges on two sides. A rich impression with good contrasts.

The paper with slight toning throughout. A few pale and unobtrusive foxmarks, primarily in the blank wall. Hinged to the back mat with brown paper hinges at the verso of the upper margin corners.

Framed under glass: 15” H x 20” W x 0.5” D

Condition Reports

Framed under glass: 21” H x 12” x 1” D 1256 Overall good condition. Full margins. The colors fresh.

Minor handling creases to the display folder, not affecting the woodcut. The George William Eggers essay with slight tears, abrasion, and rust transfer, all from the nails used to frame this work, and ever-so-slightly affecting the extreme right edge of the title page, but not affecting the woodcut.

The woodcut still tipped into its original printed paper display folder at the reverse of the upper margin corners, as issued.

1248 Overall good condition. Grime and discoloration commensurate with age.

464

1255 Overall good condition. With margins. Pale time staining to the extreme margin edges. Three creases running through the image and margins, one being a diagonal 5” crease along the upper left margin edge and into the image, and two parallel 6” creases running horizontally in the upper portion of the sheet. Occasional specks of foxing in the margin edges. The sheet is hinged to the overmat along the verso of the upper margin edge.

1253 Overall good condition. With margins. A cleanly wiped impression, still with rich burr on the drypoint. A very pale and unobtrusive foxmark in the sky. Not examined out of the frame.

Framed under glass: 15” H x 19.75” W x 0.5” D

Unframed 1258 Overall good condition. With full margins, deckled along the right and lower edges, and the colors fresh. The work is secured with three clear archival corners to the original wove paper presentation mat/folder. The original paper tape is also present, with some slight offsetting to the interior of presentation mat/folder. The presentation mat/ folder with very pale time staining and occasional minor surface soiling and soft handling creases. A 1.25” crease to the interior of the original mat/folder in the upper left corner, not affecting the woodcut.

Unframed 1259 Overall good condition. With margins. Pale light staining throughout. Not examined out of the frame.

Framed under glass: 23.75” H x 15.5” W x 1.25” D

1254 Overall good condition. With margins. A soft 4.5” horizontal crease through the center of the image and margins. Very pale time staining along the margin edges.

Not examined out of the frame.

1260 Overall generally good condition. Full margins and deckled edges. Time staining primarily along the extreme upper and right margin edges. A 2.5” soft handling crease in the lower right margin, not affecting the image. The sheet is loose, not matted.

Framed under glass: 18.5” H x 10.5” W x 0.75” D

Unframed

1261 Each overall good condition. With wide margins. As stated, each is taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the image. “Beethoven” with localized fingerprint smudges to the presentation mat at the verso of the left edge.

1267 Visual: Overall generally good condition. Fine and stable craquelure and minor varnish discoloration throughout. A few rice-sized or smaller areas of pigment loss scattered throughout. A 0.75” indentation in the canvas near the edge of the upper right quadrant. Frame abrasion showing along the left and lower edges.

Each unframed

Frame: 24.75” H x 33.75” W x 1.75” D

Framed under glass: 25.75” H x 19.75” W x 1.25” D 1263 Overall good condition. Full sheet with deckled edges.

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

Not examined out of the frame.

Framed under glass: 23” H x 19.5” W x 1” D 1264 Visual: Overall generally good condition. Stable craquelure scattered throughout and stretcher bar creases along the four sides. A pea-sized area of brown residue in the lower right corner. Frame abrasion with flecks of pigment loss along the extreme edges of the canvas.

Blacklight: Areas of new touch-up scattered throughout the figure, with a 1.5” H x 2.5” W area of touch-up with an attendant patch, verso, near the right edge, at center.

Areas of old touch-ups throughout the background.

Frame: 27” H x 23” W x 2.5” D 1265 Visual: Overall generally good condition. A pea-sized and smaller spot of pigment loss near the left edge, at center.

A few small areas of frame abrasion along the upper edge.

Minor varnish discoloration.

Blacklight: No evidence of restoration.

Frame: 10.5” H x 13.5” W x 1.25” D 1266 Visual: Overall generally good condition. A few pinheadsized areas of pigment loss scattered throughout. A ricesized spot of surface loss in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 33.75” W x 1.75” D

1268 Overall good condition with dust accumulation and wear commensurate with age and use. A few minor scattered loose stitches. Scattered small single holes overall, with a few larger holes to center with attendant loose embroidery stitches. Scattered small splits, tears and losses to edges overall, longest: 4.5” L along one edge. A few scattered small patched repairs/darning.

1269 Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. Some desilvering to mirror backings. Two arms with evidence of restoration. The bobËches slightly bent out of original straight orientations.

1270 Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Lacking key. Working condition unknown.

Moranís does not guarantee the working condition of musical instruments.

1271 Overall fair to good condition with wear commensurate with age. The front panel is detached at the hinge. Rubbed wear to the leather and bumping to corners.

1272 Each overall fair condition with wear commensurate with age. Two lacking the cover and with applied inscribed note to verso. Each with rubbed wear to the leather, scattered chipped losses or fraying to leather, and bumping to corners. One lacking glass.

1273 Overall good condition with scattered scuffs, scratches, soiling, dust accumulation, and oxidation commensurate with age. Cards with varying degrees of wear around edges, scratches, and scuffs, each with some cockling/ curvature to the shape. Some cards in plastic sleeves for storage.

Largest box: 4.75”H x 8” W x 11.75” D 1274 Overall good condition with scattered scuffs, scratches, nicks, dust accumulation, shrinkage cracks, indentations, and separation at joints commensurate with age. Knobs and slide magazine functioning. With a 3” crack to wood of one side. Both hinged top elements are loose from their joints, one with chip where a screw is driven in. There are a few detached wood pieces and a metal bracket retained with the lot. The bottom with a split in the wood. Lenses in good condition with possible minor scratches.

Condition Reports

1262 Overall good condition. Pale light staining throughout, showing primarily in the lower half. Small areas of grime in the left half. Small, soft handling creases throughout.

Blacklight: No evidence of restoration.

465

1275 Each: Overall good condition. Pale time staining along each extreme sheet edge. A few specks of foxing and scattered areas of abrasion along the extreme sheet edges. Each sheet is framed floating and affixed to the back mat with clear archival corners. Not examined out of the frame.

Framed under glass: 9.25” H x 25.25” W x 1” D

1276 Each: Overall good condition. One image with time staining along the extreme sheet edges. Mounts with some surface soiling, staining, and occasional small foxmarks.

Each: Unframed 1277 Each: Overall good condition. Very small abrasions, scuffing, and warping along the edges of each photograph commensurate with age and storage. Each photograph is loose, not matted.

Each: Unframed 1278 Each overall good condition with pale toning, minor handling creases, slight abrasion and wear along the extreme sheet edges, and scattered small tears and paper losses to a few sheets. The sheets are loose, not matted.

Each unframed 1279 Each overall good condition. Handling creases, small tears and abrasion to the extreme edges, some with pieces of paper loss to the corners, minor toning to the sheet, and surface scratches, all commensurate with age. 15 sheets are affixed to the back mat by four clear archival corners and 12 sheets are loose, not matted.

Condition Reports

Each unframed

466

1280 Each: Overall good condition. Girl in doorway with discoloration along the lower and upper edges, with discoloration around pinhead-sized holes in the upper left quadrant. Each sheet is affixed to the overmat in four places by pieces of brown tape at each sheet corner.

Each: Unframed

1282 Each with paper toned and surface soiling, recto and verso. Taped to the overmat with brown paper tape from the verso of the sheet corners.

Each: Unframed 1283 Each with paper toned and surface soiling, recto and verso. Five works taped to the overmat with brown paper tape from the verso of the sheet corners, the nautical work mounted to matboard.

Each: Unframed 1284 Staining and soiling to the recto and verso of the thin boards commensurate with age. A few scattered small foxmarks in the upper left and right of the image with the stone structure. A thumbprint in the lower margin and a few small creases in the upper left corner of the thin board with the inscription.

1285 Each work in overall good condition with varying degrees of toning. Each framed under glass in a homemade DIY manner with various backing materials, most held in place with black tape along the outer edges of the glass, with losses in places to the tape edging; two of the works in wood frames. One with cracked glass at the upper right corner secured with scotch tape.

1286 Overall good condition. Some image sheets with stray printer’s ink or offsetting from other image sheets in the margins. Each of the image sheets tipped down to the cardstock mounts from the verso of the upper margin edges. Time staining to the cardstock mounts with scattered small handling creases and folds on each image sheet, all commensurate with age.

1287 Each overall good condition. The sheet slightly toned and a few tiny surface losses at the extreme sheet edges. The mounts with scattered and very soft handling creases and some areas of surface soiling. The sheets are tipped to the back mat from the verso of the sheet corners.

Unframed 1288 Overall good condition. With margins and a good impression. Not examined out of the frame.

1281 Each: Paper toned and with surface soiling to the recto and verso. One landscape with surface nicks and scratches in the image. The portrait with a few tiny surface losses at the extreme sheet edges. Two taped to the overmat with brown paper tape from the verso of the sheet corners. The portrait with brown paper tape at the verso of the sheet corners.

Frame: 15.5” H x 10.625” W x 2” D

Each: Unframed

Unframed

1289 Overall good condition. With wide margins. Very pale light staining showing within the opening of the mat window.

Occasional pale and unobtrusive foxmarks. The sheet is hinged to the backmat with brown paper tape at the upper margin corners.

1290 Overall good condition with full margins. As stated, the work is secured with three clear archival corners to the original wove paper presentation mat/folder. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving. Two 1” dia. smudges to presentation mat at lower margins, one recto, one verso.

With one 2” soft crease to interior of mat/folder in the upper left corner.

Unframed 1291 The sheet is heavily light stained throughout the image. A pinhead-size spot of grime near the top of the right margin, not affecting the image. Old paper tape along the upper margin edge, verso. The sheet is loose, currently secured to the back mat with clear archival corners.

Framed under glass: 14.75” H x 19” W x 0.5” D 1292 Overall good condition. With full margins, deckled on two sides. Very pale toning to the recto and verso of the sheet.

A pea-sized pale foxmark in the right margin. Time staining showing at the extreme lower margin edge. The sheet is loose, not matted.

image. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engraving.

Unframed 1297 Each overall good condition. Each with full margins. The Lindsay with a glue stain in each of the upper margin corners. The Mead with a cut in the left margin. As stated, one work is tipped down at the upper margin corners, and the other is taped down at the upper margin corners to their original wove paper presentation mat/folders. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engravings.

Each unframed 1298 Each overall good condition. As stated, each is taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder. “Doorway” with horizontal crease to presentation folder recto, not affecting image.

The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the image.

Each unframed

Unframed 1293 Overall good condition. The paper slightly toned. Not examined out of the frame.

1294 Overall good condition with full margins. As stated, the work is tipped down to the original wove paper presentation mat/folder at the tips of the upper margin corners. The original presentation mat/folder with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the woodcut.

1299 Each overall good condition. Each with margins. “Three Wees,” “Kite Flying,” and “La Barriere Cassee” with deckled edges. Each with very pale light staining within the window opening of the mat. “The Swing” with a few pinhead-sized stray marks in the left, upper, and right margins. “La Barriere Cassee” with an unevenly trimmed lower edge and a pinhead-sized stray mark in the center of the upper margin.

“Kite Flying” with a pale foxmark in the right margin. Three of the works are hinged to their back mats with pieces of brown paper tape affixed to the verso of the upper margin edge, similar small pieces of tape are affixed to the verso of the right margin edge on “The Three Wees.”

Unframed

Each: Unframed

1295 Overall good condition. With margins. The sheet is hinged to the back mat with two pieces of brown paper tape from the recto of the upper margin corners.

Unframed 1296 Overall good condition. With full margins, deckled along the upper, lower, and left edge. As stated, affixed at the tips of the upper margin corners to the original wove paper presentation mat/folder, and with attendant very pale staining in the upper margin corners, not affecting the

1300 Each: Overall good condition. Each with margins and with very pale light staining showing within the window opening of the mat. “Tiddlers” with a rice-sized spot of grime in the lower right quadrant, near the right edge of the platemark.

“The Great Stride” with an unevenly trimmed or torn lower edge. Each sheet is hinged to the backmat with small pieces of brown paper tape in two places at the recto of the upper margin edge.

Each: Unframed

Condition Reports

Framed under glass: 18.5” H x 16” W x 1” D

467

1301 Each overall good condition. Full margins and deckled edges. Pale light staining, surface soiling, and a few minor handling creases throughout. The larger version of The Cathedral with scattered pinhead-sized foxmarks scattered throughout. Three sheets are loose and not matted, with “Templo Quetzalcoatl” taped to the overmat in four places by brown tape on the verso of the sheet.

Each: Unframed 1302 Each overall good condition. With full margins. As stated, each is taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the images.

Each unframed

1303 Each overall good condition. As stated, two are taped down at the tips of the upper margin corners to the original wove paper presentation mat/folder and the other is mounted with applied archival corners, with remnants of original mounting tape. The original presentation mat/ folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the image.

Each unframed 1304 Each overall good condition. Each with full margins. As stated, the Nason affixed at the upper margin corners to the original wove paper presentation mat/folder, and with attendant staining at the upper margin corners, not affecting image, and offsetting to interior of the presentation mat/folder. The Mack tipped in at the right margin corners. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the wood engravings.

Condition Reports

Each unframed

468

1305 Each: Overall good condition. The colors fresh. Some staining and soiling to the mounts and sheets. Each mount with an approximately 0.5” fold at the extreme upper left corner, not affecting the image.

Each unframed

1306 Each overall good condition. Each with full margins and the colors fresh. As stated, each work is tipped to the original wove paper presentation mat/folder at the upper margin corners. The original presentation mat/folders with very pale time staining and occasional minor surface soiling and soft handling creases, not affecting the woodcuts.

Each unframed 1307 Each overall fair to good condition with signs of wear commensurate with age and use. Each camera with scattered paint losses, bumps, scratches, and scuffs. One missing the ISO/ASA dial. This lot is sold AS-IS. Each untested and working condition unknown. Moranís does not guarantee the working condition of these items.

1308 Each in overall good condition with dust accumulation, light soiling, and wear to weave and stitching commensurate with age and use. A few with scattered small stains. Many with loose stitching to some seams, and a few scattered areas of loose or pulled embroidery threads.

1309 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 33.5” W x 1.25” D 1310 Each poster with creases scattered throughout, tears primarily along the sheet edges, paper losses, some with pale toning to the sheet, scattered areas of old tape remnants, wear to the sheets, and abrasion along the extreme sheet edges, all commensurate with age.

Each unframed 1311 Overall good condition with scattered scuffs, light scratches, and nicks commensurate with age. One shade with 5” area along edge of separation to the border.

The other with milder but similar issue to top edge. Each shade with scattered paint loss to woven elements. Each with a slight lean to the fixture. Wiring should be checked by a qualified electrician prior to use. Moranís does not guarantee the working condition of electronic equipment.

1312 Overall good condition with scattered minor scuffs and light scratches commensurate with age. One more pronounced scratch through the middle. Includes hanging/ mounting hardware.

1313 Overall good condition with scattered minor scuffs and light scratches commensurate with age. Scattered minor evidence of pitting to chrome finish. Includes hanging hardware.

1314 Overall good condition with scattered minor scuffs and light scratches commensurate with age.

1315 Overall good condition. Not examined out of the frame.

Framed under glass: 36.5” H x 50.5” W x 1” D 1316 Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 24” H x 17.75” W x 1” D 1317 Each: Overall good condition. “Clay Faces” with rippling along the left and right edges and a 2” L-shaped handling crease in the lower left quadrant near the lower edge of the image. “Ston Garden Kyoto” with rippling along the upper edge. Not examined out of the frame.

Largest framed under glass: 23” H x 29” W x 0.75” D 1318 Overall generally good condition. With margins. Toning to the paper throughout. A few specks of foxing scattered in the margin edges. Not examined out of the frame.

Framed under glass: 22.5” H x 15.75” W x 0.75” D 1319 Overall good condition. Not examined out of the frame.

Framed under glass: 28.75” H x 23.5” W x 1” D 1320 Each overall good condition with tarnishing and light scratches commensurate with age. The strainer with worn area/hole to center of bowl.

1321 Each overall good condition with tarnishing and scratches commensurate with age. Each shaker with scattered small dents. The open salts slightly bent out of their original shapes.

1322 Each overall good condition with tarnishing and light scratches commensurate with age. A few bowls with more significant tarnishing. The tray gallery slightly bent from indentations.

1323 Each overall good condition with tarnishing and scratches commensurate with age. Each plate with sticker/tape residue to undersides.

1324 Each overall good condition with tarnishing and light scratches commensurate with age. Each with some indentations around the rims at junctures. The one with inner lead lining dented around the rim. Weight includes non-silver components.

1325 Each overall good condition with tarnishing and scratches

commensurate with age.

1326 Each in overall good condition with tarnishing and scratches commensurate with age and use. Large horse brooch lacking fastening pin.

1327 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface-reaching fractures. The amethysts with eye-visible inclusions.

1328 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Watch cuff with two missing stones, and with distortion to general shape.

1329 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One hair pin with ring only, possibly lacking dangles/charms.

1330 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

1331 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use.

Scattered stones with abrasions. One of round pair with loose fastening bar and one with minor distortion to edge.

1332 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. The three small obsidian screw-on ends with stripped screw threads and so do not tighten. A few stones slightly loose in their settings.

A few minor chips to obsidian edges.

1333 Necklaces in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Bracelet as-is with broken link, needs repair. Single links are one of each size.

1334 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Leaf brooch with scattered missing diamantes.

1335 Overall good condition with light wear and scratches commensurate with age and use. Beads with a few scattered minor chips to ends. Beads and pendants are roughly strung together with green yarn. Some metal bead caps loose.

1336 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface-reaching fractures.

1337 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Two comb ornaments with breaks and losses to one end. One ornament attached to plastic comb. RepoussÈ earrings with a minor chip to one stone, and each earring with replacement pierced posts.

1338 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with scattered abrasions, eye-visible inclusions, and surfacereaching fractures.

1339 Each overall good condition with light rubbed wear, oxidation and scratches commensurate with age and use.

1340 Each overall good condition with light wear, oxidation, and scratches commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures. Chilean necklace tests for sterling.

1341 Each in overall good condition with light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1342 Each in overall good condition with light oxidation, scratches and wear commensurate with age and use.

Stones with scattered abrasions and surface reaching fractures. The amethysts with eye-visible inclusions. Collar necklace with a break and loss to ends of two graduated tabs.

1343 Each in overall good condition with light tarnishing, scratches and wear commensurate with age and use.

Stones with scattered abrasions and surface reaching fractures. Fossil brooch with neatly repaired break.

Condition Reports

1344 Each overall good condition with light wear, oxidation, and scratches commensurate with age and use. Lacking one dangle.

470

References (1) See Frederick Walter Davis, November 3, 1917, U.S. Passport Applications, 1795-1925, General Records of the Department of State, National Archives and Records Administration.

(2) Within the Davis family, it was generally believed that Fred Davis, who was homosexual, left for Mexico because of the prejudices he had encountered in his hometown.

(3) See Frederick Walter Davis, Certificate of Registration of American Citizen, June 18, 1912, U.S. Consular Registration Certificates, 19071918.

(4) “The Art Collector,” Time (Latin American/English edition), August 12, 1957, 28, MS 3009, Time Inc. Archive, The New-York Historical Society Library, New York, NY. (5) See advertisement for Sonora News Company, circa 1910, online at http://www.geographicus.com/P/RareMaps/sonoranewscompany.

(6) “The Art Collector,” Time, 28.

(7) The most important of these traveling exhibitions curated by Rene d’Harnoncourt was The Loan Exhibition of Mexican Arts that opened at the Metropolitan Museum of Art in November 1930. See “Fred Davis’s Shop, circa 1925-1957,” Box 2, Folder 19, Page 1, Series 4: Printed Material 1921-1979, Rene d’Harnoncourt papers, 1921-1983, Archives of American Art, Smithsonian Institution, Washington, DC. (8) See “O Tempora, O Mores! The old Latin reflection upon changing times….,” excerpt, The News [Mexico City], March 1, 1959, 10-A; April 9, 1961, 10-A, Frederick Walter Davis papers, John Moran Auctioneers, Monrovia, CA. (9) “Fred Davis’s Shop,” 1.

(10) Among the dozens of visitors who signed Davis’s Cuernavaca guestbook during the late 1920s/early 1930s were singer Marian Anderson, artist Jacqueline Lamba Breton, artist Jean Charlot, author John Dos Passos, British parliamentarian Winston Churchill, museum curator Henry Clifford, novelist Edna Ferber, artist Marsden Hartley, author Aldous Huxley, artist Frida Kahlo, writer Katherine Anne Porter, artist Diego Rivera, classical guitarist Andrés Segovia, artist Rufino Tamayo, and publisher Frances Toor.

(11) Albers, Shadows, Fire, Snow, 233.

(12) “Walgreen’s Goes South,” Time, June 24, 1946, http://content. time.com/time/magazine/article/0.9171.852890.00.html.

(13) See “The finest collection of Mexican folk art in existence….,” Mexico This Month III, no. 9 (1957): 23, 27, Frederick Walter Davis papers, John Moran Auctioneers, Monrovia, CA; Daniel F. Rubin de la Borbolla, “The National Museum of Folk Art and Industry, Mexico, D.F.,” Museum 15, no. 1 (1962): 38-49, https://unesco.org/ark/48223/ pf0000011455; Francisco Morales V., “Una colección histórica,” Reforma, January 12, 2022, http://www.reforma.com/una-coleccion-historica/ar2336198. Citations courtesy of Dr. Beatrice Oshika.

(14) Dr. Rubin de la Borbolla [1903-1990] was a highly respected archeologist, anthropologist, and humanist whose chief interest was protecting the legacy of the indigenous people of Mexico. See “The finest collection of Mexican folk art in existence….,” Mexico This Month.

(15) “The Art Collector,” Time, 28.

(16) “The finest collection of Mexican folk art in existence….,” Mexico This Month.

(17) It is not entirely clear what the final arrangements concerning Davis’s collection were. Although some sources indicate that the Mexican government paid him for the collection, other sources, e.g. Ambassador Hill’s letter, strongly suggest that he donated his collection to the government. Of course, it is possible that portions of Davis’s collection were purchased, while other portions were donated. In any case, when the Museo Nacional de Artes e Industrials Populares closed its doors in 1998, the contents of the museum, including Davis’s folk art and antiquities, became the property of the Acervo de Arte Indigena (Indigenous Art Collection), a branch of the Mexican government that loans portions of its vast holdings to a network of indigenous art museums throughout Mexico. See Morales V., “Una colección histórica.” Citation courtesy of Dr. Beatrice Oshika.

(18) Robert C. Hill to Fred Davis, March 9, 1960, Frederick Walter Davis papers, John Moran Auctioneers, Monrovia, CA. (19) See Frederick Walter Davis, died March 7, 1961, “Report of the Death of an American Citizen,” June 16, 1961, Department of State, Foreign Service, United States of America; “In Memoriam,” The News [Mexico City], April 9, 1961, 10-A.

Bid Now

Latin American Art + Design 12.7.2023 Fernando Botero (1932-2023) Couple dancing, 1980 Watercolor on paper laid to linen on board, 65.5” H x 42.75” W $150,000-200,000

Auction Inquiries: marandam@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS 471

John Moran Auctioneers, Inc SPECIALISTS

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

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

Lori Kassabian Alek Ellis Sally Andrew

Director, Jewelry & Watches Department Administrator, Jewelry & Watches

Tom Burstein Nikita Mehta

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

TRUSTS & ESTATES

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Morgana Blackwelder, ISA AM

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CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

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Consignment Coordinator

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Stephen Swan Maha Darwish Jean Rapagna Richard Corral Joe Miranda Joséph Corcoran Romero Corral

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PHOTOGRAPHY

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

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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.

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

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

Credit card payments made directly to Moran will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit card payments made directly to Moran are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction.

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

by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies

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SINCE 1969

AUCTIONEERS & APPRAISERS

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