John Moran Auctioneers | California & American Fine Art — November 3, 2019

California & American Fine Art Sale 149 November 3, 2019—12pm 145 East Walnut Avenue, Monrovia CA 91016 Previews October 31–November 2: 12pm-4pm November 3: Doors open 10am

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Millard Owen Sheets NA

(1907-1989 Gualala, CA) “Moua Puta Across Drake Bay,” $6,000-8,000

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Fine Art Department Morgana Blackwelder Director morgana@johnmoran.com Jeff Moran President jeff@johnmoran.com Bree Hughes Post-War and Contemporary Art Specialist bree@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

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Phil Latimer Dike NA

(1906-1990 Claremont, CA) “San Simeon - Big Sur #5” Watercolor on paper laid to board under Plexiglas Signed lower right: Phil Dike, signed again and titled verso, signed and titled again on the backing paper Sight: 20.75” H x 26.75” W $5,000-7,000

Phil Latimer Dike

Exhibitions: Galleria Beretich, Claremont, CA, Ferbruary 2 - 28, 1986.

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Phil Latimer Dike NA (1906-1990 Claremont, CA) “Balboa Pier” Oil on wood panel under glass Unsigned, titled verso Sight: 13” H x 19.5” W $10,000-15,000

Phil Latimer Dike

Provenance: Acquired directly from the artist when the present owner was a student of his.

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Phil Latimer Dike NA

(1906-1990 Claremont, CA) “Dockside, Morro Bay” Watercolor on Arches paper under Plexiglas Signed lower right: Phil Dike, signed again and titled verso Sheet: 22” H x 30” W

Phil Latimer Dike

$10,000-15,000

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Mabel Alvarez

(1891-1985 Los Angeles, CA) “Morning at the Shore,” 1966 Oil on canvas Signed lower right: M. Alvarez, titled and dated on a gallery label affixed to the backing board 30” H x 42” W $6,000-9,000 Provenance: Estate of the artist, Los Angeles, CA Adamson-Duvannes Galleries, Los Angeles, CA

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Millard Owen Sheets NA

(1907-1989 Gualala, CA) “Sea Operation,” 1949 Watercolor on Arches paper under Plexiglas Signed and dated lower left: Millard Sheets, titled verso Sight: 20.25” H x 28.5” W $4,000-6,000

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Richard Langtry Partington

(1868-1929 San Francisco, CA) “A Sentinel of the West,” 1906 Oil on canvas Signed and dated lower left: R.L. Partington, titled on the frame plaque 51.5” H x 42.5” W $4,000-6,000

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Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) “Surging Shallows” Oil on canvas Signed lower right: H. Puthuff, signed again and titled verso 24” H x 30” W $20,000-30,000

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(1925-1994 Camarillo, CA) “Rocky Shore” Oil on canvas Signed lower right: Fetherolf, titled on the stretcher 30” H x 48” W

(1883-1947 Hollywood, CA) “Laguna Seascape,” circa 1915 Oil on canvas laid to board Signed lower left: Edgar Payne, titled and dated on the frame plaque 16” H x 20” W

James Fetherolf

$6,000-8,000

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Edgar Alwin Payne

$7,000-9,000 Provenance: Vallejo Gallery, Newport Beach, CA

Roi Clarkson Colman

(1884-1945 Laguna Beach, CA) Coastal scene with crashing waves Oil on canvas laid to waxed canvas Signed lower left: Roi Clarkson Colman 28.5” H x 36.25” W $3,000-4,000

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Edgar Alwin Payne (1883-1947)

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Edgar Alwin Payne

(1883-1947 Hollywood, CA) Italian cargo boats Oil on canvas Signed lower right: Edgar Payne 16” H x 20” W $10,000-15,000

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(1870-1953 Springfield, MA) “A Wet Day - Gloucester” Oil on canvas laid to canvas Signed lower left: Harriet R. Lumis, titled on the stretcher 18” H x 20” W

(1907-1992 Escondido, CA) “Noyo Harbor,” Mendocino Oil on canvas Signed lower left: Love, signed again and titled on the stretcher, signed again and inscribed verso: Buddy & Ellen: “Bubbling with Enthusiasm. My Word Portrait of my Good Friend Buddy Fisher” 24.25” H x 36.25” W

Harriet Randall Lumis

$5,000-7,000

Ralph Love

$4,000-6,000

Provenance: Signature Galleries, Chicago, IL Goldfield Galleries, Los Angeles, CA

Provenance: Sold: Bonhams, Los Angeles, CA, April 6, 2011, Lot 1126

Exhibitions: Springfield Art Museum, Springfield, MO, “Harriet Randall Lumis: An American Impressionist,” December 4, 1977 - January 1, 1978.

Traveling Exhibition: Rahr-West Museum, Manitowoc, WI, January 15 February5, 1978; The Butler Institute of American Art, Youngstown, OH, March, 1978; The Connecticut Valley Historical Society, Springfield, MA, April 9 - May 21, 1978; Lyme Historical Society, Old Lyme, CT, June 11 - July 23, 1978.

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Paul Lauritz

(1889-1975 Glendale, CA) “Buena Vista Bridge, Los Angeles” Oil on canvas Signed lower left: Paul Lauritz, signed again and titled verso 20” H x 24” W $5,000-7,000 Provenance: Garzoli Gallery, San Rafael, CA Sold: Bonhams, Los Angeles, August 2, 2016, Lot 29

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Belmore Browne

(1880-1954 Ross, CA) “Castle Mountain” Oil on canvasboard Signed lower left: Belmore Brown, signed again and titled verso 12” H x 16” W $3,000-5,000

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Jack Wilkinson Smith

(1873-1949 Alhambra, CA) Trees in a mountain landscape Oil on canvasboard Signed lower left: Jack Wilkinson Smith 16” H x 20” W $5,000-7,000

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Robert Harrison

(b. 1948 San Antonio, TX) Texas hill country landscape with bluebonnets and cactus, 1976 Oil on canvas Signed and dated lower left: Robert Harrison / July 4, 1976 30� H x 40� W $4,000-6,000

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Maurice Braun

(1877-1941 San Diego, CA) “Mesa Grande,” circa 1930 Oil on canvas Signed lower left: Maurice Braun, titled on the stretcher 25.25” H x 30” W $20,000-25,000 Provenance: Trotter Galleries, Carmel, CA

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Charles L.A. Smith

(1871-1937 Los Angeles, CA) “California Sunset,” 1930 Oil on canvas Signed and dated lower left: Chas. L.A. Smith, titled by repute 39” H x 46” W $4,000-6,000

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Thomas Hill

(1829-1908 Raymond, CA) Mountain landscape with waterfall, lake and figures Oil on canvas Signed lower left: T. Hill 20” H x 14” W $7,000-9,000

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Thomas Hill

(1829-1908 San Francisco, CA) “Half Dome Mountain, Mirror Lake, Yosemite, Calif.,” 1867 Oil on canvas laid to canvas Signed and dated lower right: T. Hill, titled in another hand on a label affixed to the stretcher, with alternate title on exhibition label affixed verso: “Mirror Lake” 26” H x 42” W $30,000-40,000 Exhibitions: Los Angeles County Museum of Art, Los Angeles, CA, “American Paintings in Los Angeles Collections,” May 7 - June 30, 1974, No. ex.74.730.

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orn in Birmingham England in 1829, Hill emigrated to the United States at 15, settling in Taunton, Massachusetts. Finding an artistic home outside the world of industrial Midlands England and New England, Hill took solace and inspiration in rugged mountainous landscapes. Hill began his education in 1851 at the Pennsylvania Academy of Fine Arts and studied under its director, Peter Frederick Rothermel. Several Hudson River School painters were frequent companions on his painting trips to the White Mountains of New Hampshire, and the influence of their aesthetics, particularly grand idealized landscapes, are evident in Hillís work.

In 1856 Hill moved west to the burgeoning city of San Francisco, a bustling but altogether different place than the busy cities of the East Coast. Nine years later in 1865, he made his first journey to Yosemite, beginning a relationship with the valley that would last for the rest of his life and where he would make yearly sketching trips.

“Half Dome Mountain, Mirror Lake, Yosemite, Calif.” was executed just two years after Hill made his first trip to Yosemite in 1867. An early adopter of painting en plein air (to paint outdoors directly from the landscape), Hillsí love of the outdoors and natural world is particularly evident in this work. Replacing the presence of manótypical in Hudson River School-style vistasówith a family of deer, the work transports the viewer into an immersive communion with nature. The calm, mirrorlike lake in the foreground is cast in a deep shadow by the steep incline of the righthand peak, directing the eye inward to the mid-ground. There we begin to see the red hues of sunlight picked up by the yellow-green pine trees jutting up with warm-toned rolling gray peaks just beyond. Hints of jagged mountain tops in the background covered in a carpet of soft green grass are cooled by a shroud of mist echoing the streaks and puffs of the clouds in the upper sky.

Hill would return to the same valley again and again over his long career, creating a lasting body of work that celebrates the rugged nature of one of Americaís oldest National Parks. His earthy palettes of greens, browns, and warm grays record Yosemite as it was and, in many ways, still is; an earthly palace of reflection and closeness with nature where there is still craggy peaks, families of deer, and calm cool water.

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Raymond Dabb Yelland

(1848-1900 Oakland, CA) Yosemite Valley with figures and horses, 1881 Oil on canvas Signed and dated lower right: R. D. Yelland 16.25� H x 26.75� W $10,000-15,000

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Jules Tavernier

(1844-1889 San Francisco, CA) “Yosemite Valley - El Capitan and Half Dome” Oil on canvas Signed lower right: Jules Tavernier, titled on a gallery label affixed verso 12” H x 19.5” W $10,000-15,000 Provenance: Trotter Galleries, Carmel, CA Kerwin Galleries, Burlingame, CA

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Conrad Buff

(1886-1975 Laguna Hills, CA) Sierra Nevada range with snow Oil on canvas Estate signed lower right: Conrad Buff 18.5� H x 32� W $4,000-6,000 Notes: Estate stamp verso signed by Mary Elizabeth Buff.

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(1907-1989 Gualala, CA) “Christos - Good Friday,” 1983 Watercolor on Arches paper under glass Signed and dated lower right: Millard Sheets, signed and dated again, titled and inscribed on the backing board: Tzin Tzun Tsan (sic) Mexico Sight: 21.25” H x 29.25” W

(1907-1989 Gualala, CA) “Moua Puta Across Drake Bay,” 1979 Watercolor on Arches paper under glass Signed and dated lower left: Millard Sheets, titled and inscribed verso: Moorea, signed, dated and titled again on the backing board Sight: 21.25” H x 29.25” W

$5,000-7,000

$6,000-8,000

Millard Owen Sheets NA

Provenance: Fireside Gallery of Carmel, Carmel, CA

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Millard Owen Sheets NA

(1907-1989 Gualala, CA) Gypsy camp with figures and horses Watercolor on board under Plexiglas Signed lower right: Millard Sheets Sight: 21.5” H x 29.5” W $4,000-6,000

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Millard Owen Sheets NA

Millard Owen Sheets NA

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Alson Skinner Clark

(1876-1949 Pasadena, CA) Figures in front of a mission wall, 1920 Oil on canvas laid to masonite Signed, dated and inscribed lower left: Alson Clark - To my friends the Millicans 36� H x 46� W $15,000-20,000 Provenance: Raymond Burr Galleries, Beverly Hills, CA

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Mabel Alvarez

(1891-1985 Los Angeles, CA) “Taking the Air” Oil on masonite Signed lower right: Alvarez, titled on a label affixed verso 24” H x 36” W $4,000-6,000 Provenance: Estate of the artist, Los Angeles, CA

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Francis De Erdely

(1904-1959 Los Angeles, CA) Figural of standing nude, 1934 Oil on canvas laid to canvas Signed and dated upper right: erdely 54.25� H x 42.5� W $7,000-9,000

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Francis De Erdely

Maxfield Parrish

(1904-1959 Los Angeles, CA) Violin player, 1931 Oil on canvas Signed and dated in Roman Numerals lower right: erdily / MCMXXXI 35.5” H x 29.5” W $4,000-6,000

(1870-1966 Plainfield, NH) “Female Nude,” 1892 Pencil on paper under glass Signed and inscribed upper left: Parrish / men’s day life class, titled and dated on a gallery label affixed verso Sight: 23” H x 17” W $8,000-10,000 Provenance: Maxwell Galleries, San Francisco, CA

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(1903-1968 Los Angeles, CA) “The Old Old Mill,” 1936 Oil on canvas Signed, titled, dated and inscribed on the stretcher: Emil J. Kosa Jr. / South Limit of Old Irvine Ranch 30” H x 40” W

(1883-1969 Pasadena, CA) Santa Barbara mountains landscape Oil on canvas Signed lower left: Orrin A. White 20” H x 24” W

Emil J. Kosa Jr. NA

$7,000-9,000

Orrin A. White

$3,000-5,000

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Rex Brandt

(1914-2000 Corona Del Mar, CA) “Rain at Boulder Well,” 1964 Watercolor on paper under Plexiglas Signed, titled and dated lower left: Rex Brandt / 3-5-64 Sight: 17.5” H x 29.25” W $3,000-5,000

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William Wendt ANA (1865-1946)

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William Wendt ANA (1865-1946 Laguna Beach, CA) “Tahoma, The Eternal,” 1913 Oil on canvas laid to canvas Signed and dated lower left: William Wendt, titled by repute 39.75” H x 49.75” W $60,000-80,000 Provenance: Sold: Sotheby's, New York, May 24, 2001, Lot 164A Exhibitions: Art Institute of Chicago, Chicago, IL, “Chicago Artists Eighteenth Annual Exhibition,” February-March 1914, no. 321.

Notes: All proceeds from this painting will be donated to charity.

William Wendt, the founder of the California Art Club and affectionately known as “the Dean of Southern California Artists,” was born far from the Pacific Coast in Germany. After making his way to Chicago where he worked as a staff artist, he began to develop his breezy style of easel painting in his spare time that would evolve to include broad brushstrokes and naturalistic earth tones in his compositions. Painting trips with his friend and fellow artist George Gardner Symons to the West Coast and Europe cemented his love of painting en plein air. After marrying sculptress Julia Bracken in 1906, the couple chose Southern California to be their home. Like many California artists, Wendt would travel to hard to reach places along the West Coast, painting mountains from the Cascades down through the Sierra Nevadas.

The titular mountain Tahoma, or Mount Rainier as it is also known, is the tallest peak in the Cascade Mountain range. On a clear day the snow-capped peak can be seen in a hundred miles in any direction and remains an important landmark to the people of Washington.

Painted during one of the artist’s trips to the Cascades, Tahoma, The Eternal, bathes the mountain in a warm glow of light. The canvas is dominated by the mountain at its center, sculpted for the viewer by millennia of ice and wind. Blankets of snow cover the fore and midgrounds as well as the mountain with only scattered patches of green trees and grass asserting its presence.

The patchy clouds with a hint of a storm on the right of the canvas add a touch of uncertainty to an otherwise stoic scene. Wendt’s strong brushstrokes and majestic lighting hint that no matter the weather or the passage of time, the mountain will remain, steadfast.

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Harvey Dunn

(1884-1952 Tenafly, NJ) Portrait of a man in profile, 1934 Pencil on paper under glass Signed and dated lower right: Dunn Sight: 9.5” H x 7.5” W $3,000-5,000

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John N. Marchand

(1875-1921 Westport, CT) American Indian and frontiersman seated by a fire Oil en griselle on canvas Signed lower right: J.N. Marchand 19” H x 31” W $5,000-7,000

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John Marshall Gamble (1863-1957)

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John Marshall Gamble

(1863-1957 Santa Barbara, CA) “Wild Verbena, Near Palm Springs” Oil on canvas Signed lower left: John M. Gamble, signed again and titled verso 30” H x 40” W $50,000-70,000 Exhibitions: Santa Barabara Museum of Art, Santa Barbara, CA, 1938.

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Marion Kavanagh Wachtel

(1870-1954 Pasadena, CA) Southern California landscape Oil on canvas laid to board Signed lower left: Marion Kavanagh Wachtel and with the artist’s device 13.5” H x 18” W $7,000-9,000 Provenance: David and Sons Fine Arts, Laguna Beach, CA

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Marion Kavanagh Wachtel

(1870-1954 Pasadena, CA) “Sunset” Watercolor on paper under Plexiglas Signed lower left: Marion Kavanagh Wachtel, titled on an exhibition label affixed verso Sight: 23.5” H x 17.5” W $20,000-25,000 Exhibitions: The Irvine Museum, Irvine, CA, “All the Water That Will Ever Be, Is, Right Now,” September 13, 2008 - January 17, 2009; The Irvine Museum, Irvine, CA, “California Impressionism,” Tour 2012 - 2015.

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Marion Kavanagh Wachtel

(1870-1954 Pasadena, CA) “The Indian Shepard (Warner Ranch)” Watercolor on paper under glass Signed lower right: Marion Kavanagh Wachtel and with the artist’s device, titled on a gum label affixed to the inside of the backing board Sight: 17.5” H x 29.5” W $5,000-7,000

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Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) California landscape Oil on canvas laid to waxed canvas Signed lower left: H. Puthuff 28” H x 36” W $8,000-12,000 Provenance: David & Sons Fine Arts, Laguna Beach, CA

May 5, 2019 - 20th Century Art + Design

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Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) “Where Hill and Valley Meet” Oil on canvas Signed lower right: H. Puthuff, signed again and titled verso, the signature and title have been affected due to the painting being reduced in size 20” H x 24” W $10,000-15,000

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Ovanes Berberian

(b. 1951 American) Sunrise over a hillside landscape Oil on canvas Signed lower right: Ovanes Berberian 36� H x 48� W $4,000-6,000

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Granville Redmond

(1871-1935)

The wildflowers of California have captivated visitors to the state for well over a

century. Early travelers wrote letters home attempting to describe the overwhelming natural fireworks display, while artists set up easels realizing they could sell paintings to awestruck clients, and gallerists in New York, Chicago, and in the burgeoning Los Angeles art scene encouraged them, knowing sales would quickly follow. Indeed, even sailor lore from 19th Century California is punctuated with stories of navigators knowing their location off the coast of Los Angeles by reckoning the vivid springtime bounty in the Altadena hills 40 miles away.

Like so many others, Granville Redmond was drawn to the Southern California landscape, light and climate, and in 1898, settled in Los Angeles after extensive study at the California School of Design, and various art schools in Paris. Deafened by scarlet fever in early childhood, Redmond’s ability to channel, absorb and convey nature’s song in his canvases is what set him apart from other artists. Today, Redmond is widely accepted as California’s top early Impressionist, and is considered a master at capturing the native natural landscape phenomena. Even in his lifetime, despite frustration at being characterized as only a poppy painter, Redmond was celebrated for his faithful and resplendent depictions of the local flora. The present hillside view of blooming poppies and lupine is a masterwork by the artist, and showcases his ability to articulate each blossom in precise and painterly brushwork.

The oak trees and distant valley view enrich the composition. Redmond’s heightened sense of color and brushwork in his wildflower paintings was best summarized by the artist’s friend, collaborator and patron, Charlie Chaplin: “There’s such a wonderful joyousness about them all. Look at the gladness in that sky, the riot of color in those flowers. Sometimes I think that the silence in which he lives has developed in him some sense, some great capacity for happiness in which we others are lacking”.

Granville Redmond in his studio. Photograph courtesy of The Collection of Paula and Terry Trotter.

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Granville Redmond

(1871-1935 Los Angeles, CA) California landscape with poppies and lupine Oil on canvas Signed lower left: Granville Redmond 20.25� H x 25.25� W $150,000-200,000

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(1889-1975 Glendale, CA) “The Evening Hour, Sierra Madre, Cal.” Oil on canvas Signed lower left: Paul Laurtiz, titled verso 24.25” H x 30.25” W

(1877-1941 San Diego, CA) “The Farm in Autumn” Oil on canvas Signed lower right: Maurice Braun, titled on the stretcher 20” H x 24” W

$15,000-20,000

$7,000-9,000

Paul Lauritz

Maurice Braun

Provenance: George Stern Fine Arts, West Hollywood, CA California Paintings, Beverly Hills, CA

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Charles Reiffel

(1862-1942 San Diego, CA) “Sun Up” Oil on board Signed lower left: Charles Reiffel, signed again, titled and inscribed verso 17.75” H x 19.75” W $8,000-12,000 Notes: The inscription verso reads: With our love to Barbara, from Frankie & Charles, February 14, 1937, San Diego, California. May the sun rise gloriously for Barbara for many, many years.

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August Gay

(1890-1948 Carmel, CA) Monterey coastal view with houses Oil on board Signed lower right: Gay 12� H x 14� W $10,000-15,000 Provenance: The Estate of Hon. Andrew J. Salz, Honolulu, HI Notes: Double-sided with landscape and farm depicted verso.

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Francis De Erdely

(1904-1959 Los Angeles, CA) “Roofs of New York,” 1930 Tempera on paper laid to board under glass Signed, dated and inscribed lower right: de erdily / New York, titled on an exhibition label affixed to the backing board Sight: 19” H x 27” W $4,000-6,000 Exhibitions: M.H. de Young Memorial Museum, San Francisco, CA, n.d.

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George Demont Otis

(1879-1962 Kentfield, CA) “Desert Bloom,” 1926 Oil on canvas Signed lower right: Geo. Demont Otis, titled verso, titled again and dated on the stretcher 30” H x 40” W $5,000-7,000 Provenance: The artist estate, Grace VanTine Hartley, niece of George Demont Otis.

Gifted to Frank G. Hartley Special Needs Trust.

Del Monte Fine Art, Carmel, CA Notes: A letter from the George Demont Otis Estate pertaining to this painting is affixed verso.

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Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) Mountain landscape Oil on board Estate signed lower left: H Puthuff, estate signed again verso 12� H x 16� W $3,000-5,000 Notes: Estate stamp signed by Maureen St. Gaudens verso.

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Benjamin Chambers Brown (1865-1942)

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Benjamin Chambers Brown

(1865-1942 Pasadena, CA) House near Mt. Whitney Oil on canvas laid to canvas Signed and inscribed lower right: Benjamin C. Brown / California 40.5� H x 50� W $30,000-50,000

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Anna A. Hills

(1882-1930 Laguna Beach, CA) Sycamore trees in a landscape Oil on board laid to masonite Signed lower right: A.A. Hills 12” H x 16” W $4,000-6,000

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William Posey Silva

(1859-1948 Carmel, CA) “Road Thru Park - Sacramento” Oil canvasboard Signed lower right: William Silva, titled and numbered on an artist’s label affixed verso: No. 1585 12” H x 15” W $5,000-7,000 Provenance: Sold, Bonham’s, Los Angeles, CA, December 12, 2005, Lot 228 Kennedy Galleries, Inc., New York, NY

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Franz A. Bischoff

(1864-1929 Pasadena, CA) “Stock,” 1906 Watercolor on paper laid to paper under Plexiglas Signed and dated lower right: Franz A. Bischoff, titled on a gallery label affixed to the backing paper Sight: 19” H x 13.25” W $3,000-4,000 Provenance: Trotter Galleries, Carmel, CA Jean Stern Fine Paintings, Encino, CA

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Franz A. Bischoff

(1864-1929 Pasadena, CA) “Four Red and Lavender Roses” Watercolor on paper under Plexiglas Signed lower left: Franz A. Bischoff, titled on a gallery label affixed to the backing paper, inscribed in another hand verso Sight: 12.5” H x 18.25” W $3,000-4,000 Provenance: Trotter Galleries, Carmel, CA

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Arthur Grover Rider

(1886-1975 Pasadena, CA) Still life with flowers in a vase Oil on canvas Signed lower right: A.G. Rider 28.5� H x 27.25� W $15,000-20,000 Provenance: George Stern Fine Arts, Los Angeles, CA

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Sydney M. Laurence

(1865-1940 Anchorage, AK) Clipper ship on rough seas Oil on canvas Signed lower right: S.M. Laurence 20” H x 14” W $8,000-12,000

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Joseph Morris Raphael

(1869-1950 San Francisco, CA) “Fairy Tales” Oil on panel Signed lower right: Jos. Raphael, titled on a gallery label affixed verso 11” H x 14.25” W $3,000-5,000

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Eastman Johnson

(1824-1906 Nantucket Island, MA) Faust and Mephistopheles, 1855 Oil on canvas laid to canvas Initialed and dated upper left: E.J. 30” H x 25” W $15,000-20,000

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Franklin Harrison Miller (1843-1911 American) Potter in his studio Oil on panel Signed lower right: F. Miller 12.25� H x 16� W $2,500-3,500

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Bruce Crane

(1857-1937 New York, NY) Figures reaping hay Oil on canvas Signed lower right: Bruce Crane 24.25” H x 36” W $7,000-9,000

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William Langson Lathrop

(1859-1938 New Hope, PA) “Early Spring,” 1909 Oil on canvas Signed and dated lower right: WL Lathrop, signed again, titled and dated on the stretcher 22” H x 25” W $6,000-8,000

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Emile Albert Gruppe

(1896-1978 Gloucester, MA) “Vermont Hillside” Oil on canvas Signed lower right: Emile A. Gruppe, titled on the stretcher 30” H x 36” W $4,000-6,000 Provenance: Sold: Bonhams, Los Angeles, CA, August 2, 2016, Lot 104

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William Louis Sonntag

(1822-1900 New York, NY) Landscape with lake, 1854 Oil on canvas Signed and dated lower left: W.L. Sonntag 32” H x 48” W $6,000-8,000

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Sanford Robinson Gifford NA

(1823-1880 New York, NY) “Mountain Brook” Oil on canvas Signed lower left: S.R. Gifford, titled on the frame plaque 11” H x 15” W $30,000-40,000

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Arthur Fitzwilliam Tait NA

(1819-1905 Yonkers, NY) Herd of deer near a forest spring, 1884 Oil on canvas Signed, dated and inscribed lower right: A.F. Tait N.A. / N.Y. 20.25” H x 32.5” W $8,000-12,000

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70

Hermann Herzog

(1832-1932 Philadelphia, PA) Triptych with a buck in a landscape Oil on canvas Signed lower right panel: H. Herzog 38” H x 47.5” W $10,000-15,000

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1 Generally good condition. Minor toning to the paper. Artist's pinholes along the four edges. The paper is laid down, as stated.

Sheet: 22" H x 28" W; Frame: 30.5" H x 36.25" W x 1.75" D 2 Visual: Generally good condition. Board possibly reduced.

Blacklight: No evidence of restoration under blacklight.

Panel: 13.5" H x 20" W; Frame: 23" H x 29.5" W x 2" D 3 Generally good condition. Minor toning to the paper. Framed floating and mounted to the back mat.

Frame: 30" H x 38" W x 2" D 4 Visual: Generally good condition. A few areas of craquelure scattered throughout. Light stretcher bar creases along the four edges. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.75" H x 46.75" W x 2.75" D 5 Generally good condition. Minor toning to the paper. Mounted to the recto mat with clear tape along the four edges.

Sheet: 21.5" H x 29.25" W; Frame: 31" H x 39" W x 1.25" D 6 Visual: Generally good condition. Craquelure throughout. Paint shrinkage in some of the brown pigments of the tree. Minor surface dirt and grime.

Blacklight: Apparently no restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Difficult to read under varnish.

Frame: 66" H x 54" W x 8" D 7 Visual: Generally good condition. Craquelure scattered throughout. Frame abrasion along the four edges.

Blacklight: Small spots of touch-up scattered throughout the sky. Small areas of crack-fill in the water in the center. A scattered area of touch-up in the hills left center.

Frame: 29" H x 35" W x 2" D 8 Visual: Generally good condition.

Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 39" H x 57" W x 2.75" D 9 Visual: Generally good condition. Fine craquelure scattered throughout.

New stretcher bars.

Blacklight: Touch-up throughout, including a 3.5" x 6.5" scattered area right center and a 3.25" x .75" area in the center.

Frame: 35.25" H x 43.25" W x 2.5" D

Condition Reports

10 Visual: Generally good condition. Craquelure throughout.

Blacklight: Small spots of touch-up scattered throughout, the largest a peasized spot lower center.

Frame: 23.5" H x 27.5" W x 3" D

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11 Visual: Generally good condition. Craquelure throughout. Stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 21" H x 25" W x 2.25" D 12 Visual: Generally good condition. Fine craquelure scattered throughout.

Minor surface dirt and grime.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 28" H x 30" W x 2" D 13 Visual: Generally good condition. Craquelure scattered throughout.

Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 33.75" H x 45.75" W x 2.25" D

15 Visual: Generally good condition.

Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 17" H x 21" W x 2" D 16 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.5" H x 27.5" W x 3.25" D 17 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 37" H x 47" W x 2" D 18 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 32.25" H x 37" W x 2" D 19 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime.

Blacklight: A .5" x 2" area of touch-up upper right. A 1" line of touch-up upper center. Three small spots of touch-up right center, the largest dimesized.

Frame: 46.5" H x 53.25" W x 3" D 20 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 27" H x 21" W x 3" D 21 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up and crack-fill scattered throughout, concentrated mainly in the sky and mountains.

Frame: 32" H x 48" W x 3" D 22 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: Touch-up scattered throughout, including a 1.5" x 1.5" area upper center and a 1.5" x 2" scattered area and a 1.5" x 1.25" area in the center.

Frame: 22" H x 32.5" W x 2.75" D 23 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar creases along the four edges. A few spots of white paint splashes across the lower portion of the painting.

Blacklight: Touch-up scattered throughout the sky, including a 1.25" x 1.5" scattered area upper center and a 6.5" line along the upper right edge.

Small spots of touch-up in the reflection of the lake lower center.

Frame: 18.75" H x 26" W x 2.25" D 24 Visual: Generally good condition. The paint with minor, scattered bubbling.

Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout, concentrated mainly in the sky.

Frame: 24" H x 37.5" W x 1.5" D 25 Generally good condition. Minor toning to the paper. The paper is loose, not mounted.

Sheet: 22" H x 30" W; Frame: 31.5" H x 39.5" W x 2.5" D 26 Generally good condition. Some minor board and paint loss along the upper right edge.

Board: 22" H x 30" W; Frame: 28.5" H x 36" W x 2.25" D 27 Generally good condition. Artist's pinholes in the four corners. The paper is loose, not mounted.

Sheet: 22" H x 30" W; Frame: 32" H x 40" W x 2.25" D

14 Visual: Generally good condition. Craquelure scattered throughout. Varnish discoloration throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 29" H x 33" W x 3" D

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29 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 30" H x 42" W x 2.5" D 30 Visual: Generally good condition. A small area of canvas lifting from lining canvas upper left. Stretcher bar crease along the upper edge.

Blacklight: A 6" line of touch-up right center. Small spots of touch-up upper left and left center, the largest dime-sized. Other possible restoration scattered throughout. Difficult to read under varnish.

Frame: 65" H x 53" W x 4" D 31 Visual: Craquelure throughout. Stretcher bar creases along the four edges.

The canvas is slightly loose in the upper corners. A small spot of paint loss and instability upper left. A repair to a 2.5" tear in the canvas upper left.

Blacklight: A 3.25" x 3" area of touch-up lower right with corresponding patch verso. A quarter-sized spot of touch-up left center with corresponding patch verso. A 4" x 3" area of touch-up and restoration with corresponding patch verso and a 2.5" x 4" area of touch-up upper left. Small spots of touch-up scattered throughout.

Frame: 41.25" H x 35.5" W x 2.5" D 32 Generally good condition. Uneven toning to the paper. Spots of foxing scattered throughout. Artist's pinholes along the four edges. A very small tear in the paper upper left. Vertical handling creases scattered throughout.

Hinged to the recto mat with linen tape at the upper, left and right edges.

Sheet: 24" H x 18" W; Frame: 35" H x 29" W x 2" D 33 Visual: Generally good condition. A few spots of fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 37.5" H x 47.5" W x 2.25" D 34 Generally good condition. Minor toning to the paper. Hinged to the recto mat with artist's tape along the upper edge.

Sheet: 18" H x 30" W; Frame: 30.25" H x 41.5" W x 1.5" D 35 Visual: Generally good condition. Craquelure throughout.

Blacklight: A few small spots of touch-up scattered throughout the sky and mountains Frame: 28.25" H x 32.25" W x 1.75" D 36 Visual: Generally good condition. Craquelure scattered throughout.

Replaced stretchers.

Blacklight: No evidence of restoration under blacklight.

Frame: 52.5" H x 62.5" W x 3.5" D 37 Toning to the paper. Handling creases throughout. A spot of surface grime on the man's tie. A small hole in the paper lower center. Nicks and losses scattered along the edges. Tape remnants from a previous mounting remain upper center verso. The paper is loose, not mounted.

Sheet: 10" H x 8" W; Frame: 13.5" H x 11.5" W x 1.25" D 38 Visual: Craquelure scattered throughout. Stretcher bar creases along the four edges. A scattered line of paint loss across the American Indian's head.

With three small holes in the canvas along the upper edge and two small holes along the lower edge. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.5" H x 35.5" W x 1.5" D 39 Visual: Generally good condition. Fine craquelure scattered throughout. A dime-sized indentation in the canvas with minor paint loss lower left.

Blacklight: Small spots of touch-up right center and left center.

Frame: 36" H x 46" W x 3" D.

40 Visual: Generally good condition.

Blacklight: A 1.75" line and a few small spots of touch-up in the sky upper right.

Frame: 18.75" H x 23" W x 1.5" D 41 Generally good condition. Minor toning to the paper. Hinged to the recto mat with artist's tape in the upper corners.

Sheet: 24" H x 18" W; Frame: 36.25" H x 29.75" W x 2" D 42 Generally good condition. Toning to the paper. Minor frame abrasion along the edges. The paper is loose, not mounted.

Sheet: 18" H x 30" W; Frame: 21.75" H x 33.75" W x 1.25" D 43 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky. Stretcher bar creases along the four edges.

Blacklight: Touch-up and crack-fill scattered throughout the sky. A few spots of touch-up in the trees and bushes in the right portion of the painting.

Frame: 37.5" H x 45.5" W x 3" D 44 Visual: Generally good condition. Stretcher bar creases along the four edges. The painting has been reduced in size as stated.

Blacklight: No evidence of restoration under blacklight.

Frame: 30.25" H x 34.25" W x 2.5" D 45 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 39.5" H x 51.5" W x 1.25" D 46 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.75" H x 31.75" W x 2" D 47 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. New stretcher bars.

Blacklight: Touch-up throughout the sky, including along the entire upper edge. A 7" line of touch-up along the right center edge. Difficult to read under varnish.

Frame: 34.5" H x 40.5" W x 2.5" D 48 Visual: Generally good condition.

Blacklight: A few small spots of touch-up in the sky upper center.

Frame: 24" H x 26" W x 2" D 49 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: Small spots of touch-up scattered throughout the sky upper right and upper center. A pea-sized spot and a quarter-sized spot of touch-up lower right. A .75" line and two small spots of touch-up in the center.

Frame: 27" H x 31" W x 2.5" D 50 Visual: Generally good condition. Paint shrinkage scattered throughout.

Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.5" H x 19.5" W x 1.75" D 51 Generally good condition. The paper is laid down, as stated.

Sheet: 19.5" H x 27.5" W; Frame: 28.75" H x 36.75" W x 2" D 52 Visual: Generally good condition. Craquelure scattered throughout. Minor frame abrasion along the four edges.

Blacklight: Touch-up scattered throughout the sky.

Frame: 37.5" H x 47.5" W x 3" D 53 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up scattered throughout, concentrated mainly in the mountains.

Frame: 20" H x 24" W x 2" D

Sunday, November 3, 2019 - California & American Fine Art

Condition Reports

28 Visual: Generally good condition. Craquelure scattered throughout. Pindot holes in the canvas with paint loss upper right and upper center. Creases in the canvas with paint loss along the upper right edge. A few tiny flecks of paint loss scattered throughout. Spots of mold throughout. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 45" H x 55" W x 1.5" D

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54 Visual: Generally good condition. Craquelure throughout.

Blacklight: Crack-fill and touch-up scattered throughout the sky, mountains and trees on the left.

Frame: 50" H x 60" W x 3.25" D 55 Visual: Generally good condition.

Blacklight: Small spots of touch-up scattered throughout the sky upper left and upper center.

Frame: 17.5" H x 21.5" W x 2" D 56 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19" H x 22" W x 1.5" D 57 Generally good condition. Minor toning to the paper. The paper is laid down, as stated.

Sheet: 20" H x 13.75" W; Frame: 31" H x 26.5" W x 2" D 58 Generally good condition. Minor toning to the paper. Artist's pinholes along the upper and right edges. A small spot of paper loss in the upper left corner.

Two small holes in the paper along the left edge. Tape remnants from a previous mounting remain along the verso edges. Hinged to the recto mat with archival tape at the upper corners.

Sheet: 13.25" H x 19.5" W; Frame: 24" H x 29" W x 1.5" D

67 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Frame abrasion along the four edges.

Blacklight: Touch-up along the four edges. Touch-up scattered throughout the sky and lake.

Frame: 47" H x 63" W x 5.5" D 68 Visual: Generally good condition. Small scratches with minor paint loss upper left, upper center and lower left. Spots of instability lower center and lower right. Varnish discoloration throughout. The canvas is slightly loose.

Blacklight: No evidence of restoration under blacklight.

Frame: 25.5" H x 21.5" W x 3.25" D 69 Visual: Generally good condition. Craquelure throughout the sky.

Blacklight: A small spot of restoration to repair a hole in the canvas right center with corresponding patch verso. Difficult to read under varnish.

Frame: 30" H x 42" W x 3" D 70 Visual: Generally good condition. Craquelure throughout the sky.

Blacklight: A small spot of restoration to repair a hole in the canvas right center with corresponding patch verso. Difficult to read under varnish.

Frame: 30" H x 42" W x 3" D

59 Visual: Generally good condition. Craquelure throughout.

Blacklight: A dime-sized spot and a pea-sized spot of touch-up in the center with corresponding patches verso.

Frame: 36.25" H x 35" W x 3.5" D 60 Visual: Generally good condition. Craquelure scattered throughout. Minor frame abrasion along the four edges. Varnish discoloration throughout.

Blacklight: Touch-up throughout the sky. Touch-up scattered throughout the ship and sails.

Frame: 24.75" H x 18.75" W x 1.5" D 61 Visual: Generally good condition. Paint shrinkage scattered throughout. Frame abrasion along the four edges. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 16" H x 19" W x 1.25" D 62 Visual: Generally good condition. Craquelure throughout. Varnish discoloration throughout. A few small spots of paint loss lower left. Minor surface dirt and grime.

The tacking edges were removed when re-lined.

Blacklight: Possible older restoration scattered throughout. Difficult to read under heavy, uneven varnish.

Frame: 38" H x 33" W x 3" D 63 Visual: Generally good condition. Paint shrinkage scattered throughout. Frame abrasion along the four edges.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 18.25" H x 22" W x 2.25" D 64 Visual: Generally good condition. Craquelure throughout.

Blacklight: Crack-fill scattered throughout the trees. A small scattered area of touchup left center.

Frame: 32" H x 44" W x 3.5" D 65 Visual: Generally good condition. Fine craquelure scattered throughout. The canvas is slightly loose.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 32" H x 35" W x 3" D 66 Visual: Generally good condition. Stretcher bar crease along the upper edge.

Blacklight: A 2.75" x 3" scattered area of touch-up upper center with corresponding patch verso.

Frame: 35.5" H x 41.5" W x 1.75" D

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Prints & Multiples

November 19, 2019—12pm Andy Warhol (1928-1987, New York, NY) Kachina Dolls $40,000-60,000 Inquiries bree@johnmoran.com

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

20th Century Art + Design

Featuring selections from The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

November 19, 2019—2pm Inquiries marandam@johnmoran.com

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

20th Century Art + Design November 19, 2019—2pm` Julian Stanczak (1928-2017 Polish/American) Accompanying Warm Oil on canvas, 32" H x 32" W $30,000-50,000 Inquiries bree@johnmoran.com

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Fine Jewelry & Timepieces December 8, 2019

An Art Deco diamond and rock crystal brooch $30,000-50,000

Inquiries jewelry@johnmoran.com

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

Notes

Sunday, November 3, 2019 - California & American Fine Art

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John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Vice President, Fine Art Director Morgana Blackwelder Post War & Contemporary Fine Art Bree Hughes Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Estate Specialist John Simon Taylor Jewelry Director Mollie Burns Keith, G.G. Furniture, Decorative Arts & Jewelry Cataloguer Jardine Gates, GIA G.G

CLIENT SERVICES

Finance & Human Resources Director

Maha Darwish Client Services, Consignment Administration

Jean Rapagna Client Services Rose Ford

OPERATIONS

Business Director, Auctioneer Stephen Swan Special Projects Maranda Moran Property Manager Mike Hook Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

DIGITAL DESIGN

Advertising & Marketing Director, Art Design Nathan Martinez Photographer Mido Lee

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

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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 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% buyer’s premium.

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

Sunday, November 3, 2019 - California & American Fine Art

79

Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf.

The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 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 the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (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

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possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

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Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

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Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$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...................$1000 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 the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

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