Art + Design — February 27, 2024 | John Moran Auctioneers by johnmoranauctioneers

Art + Design 2.27.2024

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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Art + Design

2.27.2024—12pm Sale 271 145 East Walnut Avenue, Monrovia CA 91016

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

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Friday, February 23rd: 12-4pm Saturday, February 24th: 12-4pm Monday, February 26th: 12-4pm Tuesday, February 27th: Doors open 9am

Meet the Team Jenny Wilson Head of Sale Director, Fine Art jennifer@johnmoran.com Matthew Grayson Specialist, Post-War & Contemporary Design matthew@johnmoran.com Anne Spink Fine Art Cataloguer anne@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

Jamie Holthauser Client Services jamie@johnmoran.com

Bryan Ortega Client Services bryan@johnmoran.com

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

Corita (Sister Mary) Kent

(1918-1986) “Gravity, Commission - Ellwood Kieser,” 1973 Screenprint in colors on paper From the edition of 250 Signed and inscribed “ed 250” in ink lower right: Corita Image/Sheet: 19.25” H x 34” W $800-1,200

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Raymond Jennings Saunders

(b. 1934) “Poivron de Paris,” 1988 Offset lithograph with collage on paper From the edition of 100 With the red ink stamp of the artist’s last name, lower right: Saunders Sight: 19.25” H x 19.25” W $500-700

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Robert Indiana

(1928-2018) “Picasso” from “The American Dream Portfolio,” 1997 Screenprint in colors on paper Edition: 305/395 Signed and numbered in pencil in the lower margin: R Indiana; Marco Fine Arts Contemporary Atelier, El Segundo, CA, pub. Image: 17.5” H x 14” W; Sheet: 19” H x 16” W $800-1,200

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Donald Sultan

(b. 1951) “Dominoes # 19” from the “Dominoes Portfolio,” 1990 Aquatint on wove paper Edition: AP 8/10 (aside from an edition of 53) Initialed, titled, and dated in pencil along the left margin edge: D.S; inscribed and numbered [AP 8/10] in pencil in the lower right margin corner; Maurice Payne Studio, New York, NY, prntr., Parasol Press Ltd., New York, NY, pub. Image: 11.25” H x 7.75” W; Sheet: 21” H x 14.75” W $800-1,200 Provenance: Leslie Sacks Fine Art, Santa Monica, CA Los Angeles County Museum of Art (LACMA), Los Angeles, CA, by donation from above for benefit, 2002 Private Collection, Pasadena, CA, purchased from above

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Ed Moses

(1926-2018) Untitled, 1982 Etching and aquatint in blue and black on wove paper Edition: 3EP-1 Initialed and numbered in pencil at the lower margin edge: E.M.; with the Ikuru Kuwahara, prntr., and 3EP LTD, Palo Alto, CA, pub., blindstamps in the lower margin corners Plate: 11.625” H x 8.75” W; Sheet: 31.25” H x 22.25” W $500-700

Robert Rauschenberg

(1925-2008) “Why You Can’t Tell #2,” 1979 Screenprint in colors and collage on wove paper Edition: 82/100 Signed, dated, and numbered in pencil along the lower edge, at left: Rauschenberg; Styria Studio, Inc., New York, NY, prntr., and with their blindstamp; Multiples, Inc., New York, NY, pub. Image/Sheet: 30.5” H x 23.125” W $1,500-2,500 Provenance: Martin Lawrence Galleries, Various locations, USA

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Robert Rauschenberg

(1925-2008) “Currents” exhibition poster for Dayton’s Gallery 12, Minneapolis, 1970 Offset lithograph paper From the poster edition, only 100 of which were pencil signed Signed and dated in pencil lower right: Rauschenberg Image/Sheet: 35.25” H x 30.5” W $800-1,200 Provenance: Sold: Swann Auction Galleries, New York, NY, “Contemporary Art,” May 16, 2019, Lot 162 Literature: Foster 153 Notes: According to the Rauschenberg Foundation website, “’Currents” is comprised of four related groups of works that utilize the same imagery based on headlines, texts, and photographs found in both mainstream and counterculture U.S. newspapers, including: the “New York Times,” “Los Angeles Times,” and “Berkeley Barb,” among others. “Study for Currents” are the original collages that served as the source for the editioned prints in the series. “Features (from Currents)” and “Surface Series (from Currents)” are screenprints that were published by Dayton’s Gallery 12, Minneapolis, and Castelli Graphics, New York. All thirty-six original collages were reproduced in another editioned work, a fifty-four foot print also entitled “Currents.”” The lot offered here is the offset lithographic poster made to publicize the 1970 exhibition of these works.

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Andy Warhol

(1928-1987) “Lincoln Center Ticket,” 1967 Screenprint in colors on poster paper Presumably from the edition of 500 (there was also a signed and numbered edition of 200 on opaque acrylic) Appears unsigned; Lincoln Center for the Performing Arts for List Art Posters, New York, pub. Image/Sheet: 44.125” H x 24.25” W $400-600 Literature: cf. Feldman & Schellman II.19

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Andy Warhol

(1928-1987) “A Stocking Full of Good Wishes,” 1956 Offset lithograph on Japanese paper From an edition of unknown size, and aside from editions that are printed in different colors and hand painted With printed signature top right: Andy Warhol Sheet: 22” H x 9.25” W $2,000-4,000

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Andy Warhol

(1928-1987) Mao Screenprint in colors on wallpaper Bears signature and indistinct dedication in faint ballpoint pen along the lower sheet edge: Andy Warhol Sheet: 40” H x 29.625” W $8,000-12,000 Provenance: Property from the Michael Netter Collection, New York, Sold: Abell Auctions, Los Angeles, CA, “Abell Fine Art, Modern, and Vehicle Auction,” March 5, 2023, lot 224 Literature: c.f Feldman and Schellmann II.125A

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Frank Gehry (b.1929)

Four “Hat Trick” dining chairs and a “Faceoff” dining table for Knoll Studio, circa 2000 Each designed 1990 Each with burn marked signature and Knoll logo; chairs further marked with various dates of manufacture The maple bentwood dining set inspired by apple crates comprising four chairs, each featuring a curvilinear vertical slatted back joined by a stretcher and raised on modified X-form legs, and a dining table conformingly designed with a glass top 5 pieces Table: 28.325” H x 40” Dia.; Each chair: 33.325” H x 19.75” W x 21.75” D $1,500-2,000

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A turned wood vessel, late 20th, early 21st century Incised to underside: PM / Philip Moulthrop / Wild Cherry / Prunus serotina / 6940 7.25” H x 7” Dia.

Late 20th/early 21st century Each marked to underside: Conde House / 161018 / Advance International Inc. The Japanese wood chairs with brushed metal frame seat back above a seat with formed impression, sold cushions that form to seat impression, 6 pieces Each: 31.25” H x 22.75” W x 22” D

Philip Moulthrop (b. 1947)

$800-1,200

A set of Conde House armchairs

$1,200-1,800

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/ Made in Japan; further marked on sticker:

e, featuring curved arm rests and sculptural d with two sets of upholstered seat

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Lou Hodges (1937-2003)

A cantilever sofa for California Design Group, 1970s Appears unmarked The three-seater sofa with cantilevered oak wood frame with rounded edges joined by pegs and sling-form seat with woven heather brown textured upholstery 27.5” H x 84” W x 33” D $2,000-4,000

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A T.H. Robsjohn-Gibbings for Widdicomb modernist sideboard

Circa 1950s; Grand Rapids, MI With cloth tag to the top right drawer interior: Widdicomb / designed by T.H. Robsjohn-Gibbings; further marked with retailer’s metal label: Huffman-Boyle / Fine Furniture / HB Designed by T.H. Robsjohn-Gibbings (1905-1976) for Widdicomb Furniture Co., the sculptural maple wood sideboard with applied rounded projections to the front of each cabinet door which flank a concealed set of two drawers behind a hinged dropdown front; cabinet doors open to reveal adjustable shelving to the left and three additional interior drawers to the right, all set upon four tapered brass legs 31.5” H x 72” W x 21.75” D $1,500-2,500

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Philip Moulthrop (b. 1947)

A turned ash leaf maple wood bowl, late 20th/early 21st century Incised to underside: PM / Philip Moulthrop / Ash Leaf Maple / Acer Negundo / 6940 3.325” H x 6.625” Dia. $800-1,200 Notes: This lot is accompanied by a folded business card from the artist.

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Rene Megroz (b. 1942)

A turned wood vessel, 1991 Signed and dated to underside: Rene Megroz / 1991 4.325” H x 5.75” Dia. $400-600

Philip Moulthrop (b. 1947)

A turned wood vessel, late 20th/early 21st century Incised to underside: PM / Philip Moulthrop / Ash Leaf Maple / Acer Negundo / 628-090 5.25” H x 5.625” Dia. $700-900

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Hiro Yamagata

(b. 1948) “Tour De France,” 1983 Screenprint in colors on wove paper Edition: LXXV/LXXV Signed and numbered in pencil in the lower margin: H. Yamagata; with the Martin Lawrence Limited Editions, Inc, pub., blindstamp in the lower margin, at left; an unidentified blindstamp in the lower left margin corner; titled and dated on the frame plaque Image: 24” H x 31” W; Sight: 28.5” H x 35” W $500-700

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Vojtech Preissig

(1873-1944) “Blue Bird,” 1903 Etching and aquatint with handcoloring on wove paper laid to paperboard Signed, dated, and inscribed in pencil in the lower margin, at right: V. Preissig / Paris Plate: 19.625” H x 14.875” W; Sheet: 22.75” H x 17.25” W $2,500-3,500

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Joan Miró

(1893-1983) Plate 5 from the “Espriu - Miró” series, 1975 Aquatint, etching, and carborundum in colors on wove paper, watermark Sala Gaspar Edition: 38/50 Signed and numbered in pencil in the lower margin: Miró; J.J. Torralba, Barcelona, prntr.; Sala Gaspar, Barcelona, pub., and with their blindstamp Image/Sheet: 34” H x 27.5” W $6,000-8,000 Literature: Dupin 873; cf. Cramer books 197 Notes: This image, along with eight others, was created to accompany the book of poems by Salvador Espriu titled “Espriu - Miró.”

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Joan Miró

(1893-1983) “Ponts Suspendus,” 1964 Etching on wove paper From the edition of 100 Signed in pencil in the lower margin, at right: Miró Plate: 5.875” H x 4” W; Sheet: 15.125” H x 11.125” W $700-900 Notes: Joan Miró, a Spanish artist, is widely regarded as one of the pioneers of modern art. He embarked on a quest for non-objectivity that led him to explore various art styles, such as Fauvism, Surrealism, and Cubism and refused to confine himself to any particular style or medium. Miró’s artistic pursuits were geared towards breaking away from traditional norms in his paintings, ceramic works, bronze sculptures, and prints. A hallmark of Joan Miró’s paintings is the juxtaposition of imaginary objects, precisely rendered, with everyday objects. His prints were similarly experimental, challenging the conventions of art. While many of Miró’s works shared a common theme, he did not limit himself in his representation of images. Rather than creating art that completely abstracted reality, Miró’s works inspired non-representational art. Many artists have drawn inspiration from Joan Miró’s paintings. To witness a unique perspective on the world, explore the collection of abstract prints available for sale at Invaluable. w w w. j o h n m o r a n . c o m

Joan Miró

(1893-1983) “Trace sur l’eau,” 1963 The book with one original lithograph in colors on wove paper as its wrap-around cover together with the title and justification pages, color reproductions of the artist’s watercolors printed on Marais onion skin paper either tipped down to support sheets or bound-in From the unsigned and unnumbered edition of 900 (there was also a deluxe edition of 100) The full sheets, bound, as issued; Maeght Editeur, Paris, pub. Overall: 11.5” H x 14” W x 0.5” D $500-700 Literature: Cramer books 82 Notes: The dust jacket is an original lithograph on Rives wove paper. The image covers the front, back, spine and the four folded flaps. The title page is preceded by two semi-translucent vellum sheets printed with design elements derived from the cover image.

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Salvador Dali

(1904-1989) “Purgatorio, Canto 15” from “The Divine Comedy,” circa 1951-1964 Woodcut in colors on paper Signed in the block, lower image, at center; with blindstamp of editor J. Estrade lower margin, at right Plate: 10” H x 6.5” W; Sheet: 13” H x 10.25” W $600-800 Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot. A label with information on the work, as well as a quote from the Canto the work is illustrating, is taped to the frame’s backing board.

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Kathe Kollwitz

(1867-1945) “Aufruhr [Uprising],” 1899 Etching, drypoint and aquatint on wove paper From the edition of unknown size; printed later circa 1946 Unsigned; with the A.v.d. Becke Muenchen-22 blindstamp in the lower right corner of the platemark; Alexander von der Becke, Berlin, Germany, pub. Plate: 11.5” H x 12.5” W; Sheet: 14.125” H x 17” W $500-700 Literature: Klipstein 44; Knesebeck 46

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Marc Chagall

(1887-1985) “The Pair in a Tree” from the “Chagall Lithographie Volume III,” 1963 Lithograph on wove paper From the book edition (aside from the pencil signed and numbered edition of 40 on Arches paper and the deluxe book edition of 150) Unsigned; Mourlot, Paris, prntr.; Andre Sauret, Paris, pub. Image/Sheet: 12.625” H x 9.625” W $1,000-1,500

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Marc Chagall

(1887-1985) “Moses and the Tablets” from “The Story of Exodus,” 1966 Lithograph in colors on wove paper, watermark Arches From the edition of 250 on wove paper (there was also an edition of 20 artist proofs on Japanese paper) Unsigned Image: 18” H x 13” W; Sight: 19” H x 14” W $400-600 Provenance: Erica Meyerovich Gallery, San Francisco, CA, May 30, 1986 Literature: Mourlot 462; cf. Cramer books 64

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Marc Chagall

(1887-1985) “Miriam Took a Timbrell” from “The Story of Exodus,” 1966 Lithograph in colors on wove paper, watermark Arches From the edition of 250 on wove (there was also an edition of 20 artist proofs on Japanese paper) Unsigned Sight: 19” H x 14” W $400-600 Provenance: Erica Meyerovich Gallery, San Francisco, CA, May 30, 1986 Literature: Mourlot 454; cf. Cramer books 64

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(1882-1963) “Nature Morte Oblique,” circa 1950 Etching and aquatint in colors on paper Edition: 162/300 Signed and numbered in the lower margin: G Braque; Maeght, Paris, pub. Plate: 11.5” H x 11.25” W; Sight: 13” H x 12.75” W

(1888-1964) Street view with Watercolor and g Signed lower rig Sheet: 20” H x 2

After George Braque

$800-1,200 Provenance: Sold: Swann Auction Galleries, New York, “19th and 20th Century Prints and Drawings,” March 3, 2011, Lot 463 Literature: Maeght 1017 on p. 293 in Vallier

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Jean Dufy

$10,000-15,000

Sacre Coeur in the distance gouache on paper, watermark Arches ght: Jean Dufy 25.25” W

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Jean Dufy

(1888-1964) Horse riders in the park Watercolor and gouache on paper Signed lower right: Jean Dufy Sheet: 15” H x 19.5” W $6,000-8,000

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Jean Dufy

(1888-1964) View of Place de la Concorde and the Eiffel Tower Watercolor and gouache on paper Signed lower right: Jean Dufy Sheet: 12.625” H x 17.615” W $8,000-12,000

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Maurice Utrillo

(1883-1955) “Montmartre” Pastel with graphite and watercolor on paper laid to board Signed lower right: Maurice, Utrillo, V.; titled lower left; with an erased inscription or dedication near the center of the lower edge Image/Sheet: 10.75” H x 14” W $10,000-15,000 Provenance: Galerie Charpentier, Paris, France Christie’s Worldwide, Impressionist and Modern Paintings Department Wm. Findlay Gallery, Chicago, IL Exhibited: Paris, France, Galerie Charpentier, “Cent tableaux par Utrillo,” January 1959 Notes: There are old framing notations written in French on the verso of the board.

The late 19th and early 20th centuries Parisian art scene is intrinsically related to

Montmartre, an elevated neighborhood. Artists from across France congregated in this area of cafés, dance halls, and cramped bohemian studios to produce art that would break away from academic tradition and establish new frontiers. While many of the artists associated with Montmartre were immigrants, a few were homegrown. Maurice Utrillo (born Maurice Valadon), raised amidst the vibrant art scene of Paris, was practically born under the wings of Moulin Rouge. Following a trapeze injury, his mother, Suzanne Valadon, started modeling for artists such as Renoir, Toulouse-Lautrec, and others. As a model, she became interested in painting and started learning the craft under the tutelage of Edward Degas. Utrillo turned to painting as a means to cope with his propensity towards alcoholism, which was not an uncommon trait among artists in Bohemian Montmartre. By 1910, Utrillo’s landscape paintings of the city were receiving critical acclaim. He combined Post-Impressionism and Cubism techniques to reveal the labyrinthine streets of Montmartre. As his mental and physical health deteriorated, Utrillo created his paintings based on postcards brought to him by family members. Utrillo passed away in 1955.

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Elisee Maclet

(1881-1962) “Coin de Montmartre” Oil on canvas Signed lower left: E Maclet; titled on a label affixed to the stretcher 18” H x 21.5” W $1,000-1,500

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Elisee Maclet

(1881-1962) “Aux Vrais Moulins, a Sonnais,” 1913 Oil on panel Signed lower right: Maclet; titled and dated on frame plaque 24” H x 18” W $800-1,200

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Elisee Maclet

(1881-1962) Floral still life Oil on canvas laid to canvas Signed lower left: E. Maclet 21.75” H x 18.25” W $800-1,200

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Georg Jensen (1866-1935)

Two “Blossom” sterling silver table items, mid-20th century Each marked for Georg Jensen and for sterling Comprising a lidded and footed sugar bowl and a nut dish 2 pieces Bowl: 4.5” H x 4.125” Dia.; Dish: 1.125” H x 5.25” W x 3.875” D 10.6 oz. troy approximately $1,000-2,000

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Georg Jensen (1866-1935)

A group of sterling silver table items, mid-20th century Each marked for Georg Jensen and sterling; bird marked: Allan Scharff / 485 Comprising a tazza compote with grape motif 263A (5” H x 5” Dia.), an “Acorn” hammered silver goblet 532C (6.75” H x 3.125” Dia.), a small dish with chased grape vine motif 51B (3.625” Dia.), and a glass and sterling letter opener 485 designed by Allan Scharff (b. 1945) (2” H x 7.5” W x 1.5” D) 4 pieces 20 oz. troy approximately $1,000-1,500

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Georg Jensen (1866-1935)

A “Bernadotte” sterling silver flatware service, mid-20th century Each marked for Georg Jensen and for sterling Comprising 8 dinner forks (7.5”), 8 salad forks (7”), 2 cold cut serving forks (6”), 8 oval soup spoons (7.25”), 8 teaspoons (6.25”), 1 sugar spoon (3.875”), 1 sugar shovel (4”), 8 dinner knives (8.625”), 8 butter spreaders (6.5”), 1 master butter spreader (7.625”), 1 pie server (8.75”), 1 sauce ladle (7.125”), 2 serving spoons (9.5”) with 1 matching serving fork (9.5”), 2 individual salt cellars with red enamel interior (1.625”), and 2 salt spoons (2”) 62 pieces Weighable sterling: 93.2 oz. troy approximately $2,000-3,000

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A Tuttle “Onslow” sterling silver flatware service

1945-1953; Boston, MA Each marked for Tuttle and for sterling; date marked for the Truman administration (1945-1953) Comprising 12 forks (7.25”), 12 salad forks (6.125”), 12 oyster forks (5.75”), 12 cream soup spoons (6.625”), 24 teaspoons (5.75”), 12 dinner knives (8.75”), 12 individual butter spreaders (6.25”), 2 hollowhandled butter spreaders (5.75”), 1 sugar spoon (5.75”), 1 cold meat serving fork (8.75”), 1 berry spoon (8.625”), 1 gravy ladle (5.75”), 1 cream ladle (5.125”), and 1 sugar tongs (5.125”), 104 pieces Weighable sterling: 126.1 oz. troy approximately $1,500-2,000

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Louis W. Rice (1872-1933)

A group of Shadowardt silver-plated table items, mid-20th century Each marked: Apollo E.P.N.S / Made By Bernard Rice’s Sons Inc. / Shadowardt Comprising a gravy boat (2.75” H x 8.25” W x 3.5” D) with underplate (0.5” H x 8” W x 5” D), a covered entrÉe dish (3” H x 11.75” W x 10.25” D), a rounded serving dish (1” H x 14.125” W x 13.625” D), and a rectangular serving dish (0.625” H x 15” W x 11.325” D) 5 pieces $700-900

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Francis Bacon

(1909-1992) “Figure at a Washbasin,” 1978 Etching and aquatint in colors on wove paper, watermark Arches Edition: A trial proof, aside from the edition of 100 Signed in pencil in the lower margin, at right: Francis Bacon; inscribed in pencil in the lower margin, at left: essai; Editions de la Difference, Paris, France, pub. Plate: 18.75” H x 14.5” W; Sheet: 26” H x 19.75” W $5,000-7,000 Provenance: Sold: Swann Auction Galleries, New York, “American Art/ Contemporary Art,” June 4, 2009, Lot 164 Private Collection, Los Angeles, CA, acquired from the above

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Willem de Kooning

(1904-1997) “The Man and the Big Blonde,” 1982 Offset lithograph in colors on wove paper Edition: XXVI/CL (there was also a numbered edition of 50 and an edition of 15 artist proofs) Signed in the plate: de Kooning; numbered in Roman numerals in pencil in the image, lower left; with the Rainbow Art Foundation, Inc., New York, NY, pub., blindstamp in the lower margin, at left Image: 21” H x 27” W; Sheet (as displayed): 26.5” H x 33.50” W $4,000-6,000

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Larry Bell

(b. 1939) Untitled (Fractions diptych), 2006 Mixed media on sturdy wove paper Edition: 29/75 Signed, dated, and numbered in pencil near the center of the lower edge: L. Bell; unidentified blue ink stamped initials, and with a pencil work number LB-1-2001, both on the verso of the lower right margin corner Sheet: 22” H x 31.5” W $800-1,200

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Lita Albuquerque

(b. 1946) “Two / To,” circa 1988 Powdered hydraulic cycle press pigment, gold leaf and enamel pen on paper Unsigned; titled in pencil near the center of the plate; Smith Andersen Press, prntr. Plate: 14” H x 11” W; Sheet: 26.5” H x 20.25” W $800-1,200 Provenance: Collection of Paula Kirkeby, owner of Smith Anderson Gallery/ Smith Anderson Press, Palo Alto, CA By descent to current owner, San Rafael, CA

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George Herms (b. 1935) Two works:

“Star Eyes # Two,” 2008 Monotype with original stencils on tan wove paper, watermark Rives Image: 22” H x 14” W, Sheet: 30” H x 22.25” W Signed, titled, and dated in pencil in the lower sheet edge: G. Herms; with the publisher’s blindstamp lower left corner, Smith Andersen Editions, Palo Alto, CA, pub. “Oops # Two,” 2008 Monotype with original stencils on tan wove paper, watermark Rives Image: 26.5” H x 14” W, Sheet: 30” H x 22.25” W Signed, titled, and dated in pencil in the lower sheet edge: G. Herms; with the publisher’s blindstamp lower left corner, Smith Andersen Editions, Palo Alto, CA, pub. $1,000-2,000

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George Herms (b. 1935) Two works:

“Friend,” 2011 Monotype with original stencils on wove paper Image: 11.75” H x 8.875” W; Sheet: 30” H x 14” W Signed and dated in pencil lower edge, at right; titled in pencil lover edge, verso; with the publisher’s blindstamp lower left corner, Smith Andersen Editions, Palo Alto, CA, pub. “Took us by Surprise” Monotype with original stencils on tan wove paper, watermark Rives Image: 20” H x 14.5” W; Sheet: 29.875” H x 22.375” W Signed and titled in pencil in the lower edge; with the publisher’s blindstamp lower right corner, Smith Andersen Editions, Palo Alto, Ca, pub. $1,000-2,000

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Max Gimblett

(b. 1935) “Beyond the River,” 2021 Monotype and metal leaf on laid Japanese paper Signed, titled, and dated in pencil on the verso: Max Gimblett; with the artist’s, Katheryn Kain (printer), and Smith Andersen Editions (publisher) blindstamps in the lower sheet corners; with a pencil notation, verso, SAN-MG-04-2021 Image/Sheet: 38.25” H x 25” W $1,500-2,500

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Max Gimblett

(b. 1935) “Behold,” 2021 Acrylic, collage, and monotype on wove paper Signed, titled, and dated in pencil at the lower sheet edge: Max Gimblett; with the artist’s, Katheryn Kain (printer), and Smith Andersen Editions (publisher) blindstamps at the lower left and right corners Sheet: 24.375” H x 19” W $1,000-2,000 Notes: A pencil notion written, verso: SAN-MG-48-2021

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Max Gimblett

(b. 1935) “Holy Ganges,” 2021 Acylic paint with monotype and collage on wove paper, Signed, titled, and dated in pencil at the lower sheet edge: Max Gimblett; with the artist’s, Katheryn Kain (printer), and Smith Andersen Editions (publisher) blindstamps at the lower left and right corners Sheet: 30.75” H x 22.25” W $1,500-2,500 Notes: A pencil notion written, verso: SAN-MG-54-2021

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Max Gimblett

(b. 1935) “Gaia,” 2021 Monotype and stencil in colors on wove paper Signed, titled, and dated in pencil at the lower sheet edge: Max Gimblett; with the artist’s, Katheryn Kain (printer), and Smith Andersen Editions (publisher) blindstamps at the lower left and right corners Image: 12” H x 12” W; Sheet: 24.25” H x 18.75” W $700-900

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David Ligare

(b. 1945) “Sand Drawing #24,” 1973 Lithograph in silver-gray, silver, and black on paper Copyright proof, aside from the edition of unknown size Signed, titled, dated, and inscribed in pencil in the lower edge of the image: D. Ligare Image: 20.125” H x 15.125” W; Sheet: 30.125” H x 25” W $400-600

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Rick Wolfryd

(b. 1953) “Open Mind - Open Heart,” 2022 Black and white screenprint on board with glass bead application Edition: 3/10 Signed, titled, dated, numbered, and inscribed, verso: Chroma aka Rick Wolfryd / after Keith Haring 35.5” H x 26.25” W x 0.25” D $1,000-1,500 Notes: This work is number three from the edition of 10, each of which is a unique variant.

Rick Wolfryd

(b. 1953) “Open Mind - Open Heart,” 2022 Black and white screenprint on board with glass bead application Edition: 2/10 Signed, titled, dated, numbered, and inscribed, verso: Chroma aka Rick Wolfryd / after Keith Haring 35.5” H x 26.25” W x 0.25” D $1,000-1,500 Notes: This work is number two from the edition of 10, each of which is a unique variant.

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Therman Statom

(b. 1953) Ladder and house, 2000 Glass, pigment, thread, and particle board Appears unmarked 38.75” H x 17” W x 9.25” D $2,500-3,500

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After Carlo Scarpa (1906-1978)

A bi-color battuto vase for Venini, 2003; Venice, Italy Acid etched to underside: Venini / Carlo Scarpa / 2003/8 The Murano glass vase in red and green 4.25” H x 5.325” Dia. $500-800

Tobia Scarpa (b. 1935)

A battuto glass vase for Venini, 1997; Venice, Italy Acid etched to underside: Venini / 1997/13 The emerald green Murano glass vase with cylindrical body and funneled neck 11.75” H x 7.125” Dia. $700-900

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Two Venini inciso glass bottles

Mid-20th century; Venice, Italy Blue bottle with three-line acid-etched mark: Venini / Murano / Italia; green appears unmarked Each Murano glass bottle with stopper, 2 pieces Larger: 10.25” H x 3.5” Dia.; Smaller: 6.875” H x 4.25” W x 3.25” D $800-1,200

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Four Venini inciso glass decanters

1995-1999; Venice, Italy Each acid-etched to underside for Venini, preceding date marks ranging between 95-99 Each Murano glass decanter with conforming stopper, 4 pieces Largest: 10.5” H x 2.325” W x 2.25” D; Shortest: 5.25” H x 3.325” Dia. $600-900

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A Venini fasce orizzantale glass bottle

1990; Venice, Italy Acid etched to underside: Venini 90 The Murano glass bottle with horizontal blue and red bands surmounted by a conforming round stopper 17.75” H x 3.25” Dia. $500-700

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Sergio Costantini (b. 1956)

A Murano art glass vase for Artigianato Muranese from the “Picasso” collection, late 20th/early 21st century; Venice, Italy Acid etched to underside: Costantini S; sticker to side: 036 [in red] / Vetro Artistico ® Murano The vase with applied glass elements to depict a human head in the manner of Pablo Picasso 10.875” H x 8.5” W x 4.25” D $700-900

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Alfredo Barbini (1912-2007)

A black “scavo” glass torso, Late 20th century; Venice, Italy Acid-etched signature to side of base: A. Barbini The Murano cased glass sculpture in the form of a woman’s torso, set on a black glass base Overall: 9.75” H x 4.125” W x 3.625” D $500-800

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Fulvio Bianconi (1915-1996)

A “Donna” vase for Venini, 2003; Venice, Italy Acid etched to underside: Venini / 2003 / Fulvio Bianconi; sticker to side: Venini Murano / Made in Italy The clear iridescent Murano glass vase in the shape of a female figure, set on a two-tiered black acrylic base Vase: 16.5” H x 5.5” W x 5” D; Base: 2” H x 8” W x 8” D $800-1,200 Notes: This lot is accompanied by a U.S. Customs note from Mrs. Antonella Paron at Venini, with “information on techniques used and a short biography of the designer.”

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Miguel Ortiz Berrocal

(1933-2006) “Goliath,” 1972 Brass Edition: 1221/2000 Signed and numbered in the casting: Berrocal; foundry mark: G+S Reischauer; further marked: Orangerie Multiples Cologne; dated on foundry-printed paper disc label to underside with details about the production and casting 9.75” H x 5.75” W x 4.875” D $4,000-6,000

Eli Karpel

(1916-1988) “Eros and Psyche” High-polish bronze on wood rotating base Edition: 16/20 Signed in the casting: Karpel; titled by repute 5.875” H x 6.125” W x 4” D $600-800

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A modern metal and acrylic kinetic sculpture

20th Century Unsigned With polished brass fan-style kinetic blades mounted to a metal ring on a clear acrylic base 16.25” H x 14.75” W x 4.75” D $400-600

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Itzik Benshalom

(1945-2018) “First Love,” 1979 Polished bronze on wood pedestal Edition: 12/50 Incised signature, date, and number: [Star of David] / 79 © / P’3’K / I. Benshalom Figures: 28” H x 10.5” W x 6.875” D $2,500-3,500 Provenance: Papillon Gallery

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Victor Salmones

(1937-1989) Male and female busts Patinated bronze on granite pedestal Edition 4/10 Signed and numbered in the casting: 1.08 / V. Salmones Each bust: 27.5” H x 7” W x 5.75” D approx.; Pedestal: 38.25” H x 19” W x 9.625” D $800-1,200

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Sascha Brastoff

(1917-1993) Abstract sculpture Patinated metal Incised signature to side of base: Sascha 11.5” H x 11.75” W x 10.25” D $500-700

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Charles-Edouard “Le Corbusier” Jeanneret (1887-1965)

An LC3 Fauteuil Grand Confort sofa for Cassina, Circa 2000s Designed 1928 by Le Corbusier, Pierre Jeanneret (1896-1967), and Charlotte Perriand (1903-1999) With Cassina tag to underside; further marked with applied sticker to metal frame: Cassina The three-seater sofa with chrome-plated steel frame and foam cushions upholstered in black leather with cording 26.5” H x 94” W x 29” D $2,500-3,500

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Ludwig Mies Van Der Rohe (1886-1969)

A Barcelona chair and ottoman for Knoll Studio, 21st century Designed 1929 Each with Knoll label to underside of cushion Each with tufted black leather upholstery, black leather strapping with buckles, and chromeplated curved x-frame 2 pieces Chair: 30.5” H x 30.5” W x 32” D; Ottoman: 16.25” H x 24.75” W x 23.25” D $1,500-2,500

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Sam Francis

(1923-1994) “Fragrant Breath,” 1982 Lithograph on Arches 88 paper Edition: 15/22 (there was also an edition of 10 artist proofs) Signed and numbered in pencil at the lower right and left, respectively: Sam Francis; Serge Lozingot and Chris Sukimoto, prntr.; Gemini G.E.L, Los Angeles, pub., and with their blindstamp Image/Sheet: 60” H x 50” W $3,000-5,000 Literature: Lembark 258 Notes: According to the catalogue raisonne, this image was drawn with water tusche directly on the plates, and it has two runs from two aluminum plates, the first being black, and the second silver-black. This lithograph was not only printed by Serge Lozingot and Chris Sukimoto, but also processed and proofed by Serge Lozingot and James Reid, at Gemini G.E.L., Los Angeles, CA. The proofing period was from April to August 28, 1982. The printing period followed from August 28, 1982 - July 13, 1983. The aluminum plates were canceled in June of 1989.

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Sam Francis (1923-1994) Seven works:

“Self-Portrait (SF-01),” 1973 Lithograph on paper, watermark Arches Edition: A/P Signed and inscribed [A/P] in pencil at the lower edge: Sam Francis; The Litho Shop, Inc., Santa Monica, CA, pub. Sheet: 35.625” H x 25.375” W “Self-Portrait (SF-02),” 1973 Lithograph on paper, watermark BFK Rives Edition: A/P Signed and inscribed [A/P] in pencil at the lower margin edge: Sam Francis; The Litho Shop, Inc., Santa Monica, CA, pub. Image: 25.75” W x 19.5” W; Sheet: 29.375” H x 22.25” W “Self-Portrait (SF-03),” 1973 Lithograph on paper, watermark Arches Edition: A/P Signed and inscribed [A/P] in pencil at the lower edge: Sam Francis; The Litho Shop, Inc., Santa Monica, CA, pub. Sheet: 30.25” H x 22.5” W “Self-Portrait (SF-05),” 1973 Lithograph on paper, watermark BFK Rives Edition: A/P Signed and inscribed [A/P] in pencil at the lower edge: Sam Francis; The Litho Shop, Inc., Santa Monica, CA, pub. Sheet: 30” H x 22.25” W “Self-Portrait (SF-042),” 1974 Lithograph on paper, watermark Arches Edition: A/P Signed and inscribed [A/P] in pencil at the lower edge: Sam Francis; The Litho Shop, Inc., Santa Monica, CA, pub. Sheet: 30” H x 22.375” W “Self Portrait (SFE-304),” 1982 Etching on wove paper Edition: 14/20 (there was also an edition 10 artist proofs) Signed and numbered in pencil at the lower margin edge: Sam Francis; with the copyright, Ikuru Kuwaharam, prntr., and 3EP Ltd., Palo Alto, CA, pub., blindstamps at the corners of the lower margin Plate: 11.625” H x 8.5 “W; Sheet: 22.125” H x 15” W “Self-Portrait,” 1982 Etching on wove paper Edition: A/P Signed and inscribed [A/P] in pencil at the lower margin edge: Sam Francis; with the copyright, Ikuru Kuwahara, prntr., and 3EP Ltd., Palo Alto, CA, pub., blindstamps at the corners of the lower margin Plate: 13” H x 12” W; Sheet: 27.625” H x 21.5” W $1,500-2,500 Edition: Six works are marked Artist Proof and Two works are numbered 11/20 and 14/20. The Five Lithograph Self-Portraits were published by the Litho Shop, Santa Monica, CA. The three sugar-lift aquatints were published by 3EP Ltd., Palo Alto, CA, and printed by Ikuru Kuwahara

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Sandra Sunnyo Lee

(b. 1947) “Silence,” 1994 Mixed media on panel Signed, titled, dated, and inscribed, all verso: Sandra S Lee 54.5” H x 60” W $600-800

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Tamie Beldue

(20th/21st Century) “Veracity”, 2004 Ink wash on paper Signed in pencil in the lower margin, at right: Tamie Beldue Image: 33.5” H x 47.5” W; Sight 34.75” H x 48.25” W $800-1,200 Provenance: Sold: Hindman Auctions, Chicago, IL, “Collection of Howard and Judith Tullman Online Only”, March 8, 2019, Lot 63

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Matsumi Kanemitsu

(1922-1992) Untitled abstract, 1982 Oil on canvas Signed and dated on the wrapped lower canvas attached to stretcher: Kanemitsu 12” H x 10.25” W x 2.5” D $1,000-2,000 Notes: This lot is accompanied by an information sheet on the artist, an obituary newspaper clipping, and a booklet of the artist’s work.

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James Hayward

(b. 1943) “Athenian,” 1985 Oil on canvas over panel in three joined sections Signed, titled, and dated in ink on the verso of one panel 27” H x 63” W $1,500-2,500

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Maysha Mohamedi

(b. 1980) Untitled abstract Screenprint in colors on black paper Edition: 18/22 Signed, dated, and numbered at the lower edge: Mohamedi Image/Sheet: 24.5” H x 36.75” W $2,000-4,000

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Gordon Wagner

(1915-1987) “Quaternity (LA Series II, No. III),” 1966 Acrylic on canvas Signed, titled, and dated on the stretcher: Gordon Wagner 32” H x 30” W $800-1,200

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Rex Brandt

(1914-2000) “Brilliant Day,” 1963 Watercolor and mixed media on paper Signed, titled, and dated lower right: Rex Brandt Image/Sheet: 20” H x 26” W $1,500-2,000 Exhibited: Newport Beach, CA, Newport Art Museum, “Nineteenth Annual Newport Harbor Art Exhibit”

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John Battenberg

(1931-2012) “Spectre III,” 1965 Cast aluminum Appears unmarked 19.25” H x 37.25” W x 29” D $1,500-2,500

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A Contemporary geometric hanging mobile

Painted metal with round and freeform black painted panels Unmarked Dimensions variable: 36.5” H x 29” Dia. $800-1,200

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A Contemporary geometric hanging mobile Painted metal with round red painted panels Unmarked Dimensions variable: 19” H x 34” Dia. $500-700

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James Siena

(b. 1957) Untitled, 1999 India ink and grap Appears unsigned Sheet: 60” H x 40 $5,000-7,000

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phite on paper ed 0” W

Easton Pribble

(1917-2003) “City Circles,” 1952 Oil on linen Signed and dated lower left: Pribble; titled on the stretcher 28” H x 23.5” W $1,000-1,500 Provenance: The artist’s estate Munson-Williams-Proctor Arts Institute, Utica, NY, bequeathed by the above Caldwell Gallery Hudson, Hudson, NY, sold on behalf of the above, circa 2015 Notes: This lot is accompanied by a photocopy of an artist biography, as well as an installation view from late 2015 at Caldwell Gallery Hudson in Hudson, NY. Exhibited: This painting was part of the exhibition and sale of approximately 90 works from the group of 200 originally bequeathed by the artist’s estate to the Munson-Williams Proctor Arts Insitute in Utica, NY (where Pribble taught for 45 years). That selling exhibition was hosted by the Caldwell Gallery Hudson, Hudson, NY from September 12 to November 19, 2015.

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Henry Renzius

(1906-1974) Untitled, abstraction, 1956 Oil on canvasboard Signed and dated lower left: H. Renzius; signed and dated again in pencil, verso; dated on a gallery label affixed verso 18” H x 24” W $600-800 Provenance: Richard Norton Gallery, Chicago, IL

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Paul Goodnight

(b. 1946) “Aqua Scented City,” 1992 Screenprint in colors on wove paper Edition: 132/195 Signed, titled, dated, and numbered in pencil in the lower margin; with the Arabesque Studios, Boston, MA, prntr., and the Color Circle Art Publishing, Boston, MA, pub., blindstamps in the lower margin Image: 30” H x 40” W; Sheet: 36.5” H x 46” W $1,000-1,500

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Paul Goodnight

(b. 1946) “Brazilian Heartprints,” 1992 Screenprint in colors on wove paper Edition: LI/LXXV Signed, titled, dated, and numbered in pencil in the lower margin: Paul Goodnight; with the Arabesque Studios, Boston, MA, prntr., and the Color Circle Art Publishing, Boston, MA, pub., blindstamps in the lower margin Image: 27.5” H x 40” W; Sheet: 34” H x 46” W $1,000-1,500

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Andres Escartin

(b.1938) “Cerro del Sol,” circa 1969 Oil on canvas Signed lower left: Escartin; titled on a label affixed to the stretcher; dated from an inscription on the stretcher: Katona Art Gallery 25 - 9 - 69 28.75” H x 39.25” W $500-700 Notes: The Cerro del Sol (or Hill of the Sun) depicted in this painting is the plateau where the Alhambra palace complex began construction in 1238 AD. The Alhambra was a self-contained palace city used by the rulers of Moorish Spain until the Reconquista. The Spanish artist, Escartin, painted many views of the Alhambra and other towns in his distinct modernist style.

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Frédéric Bruly Bouabre

(1923-2014) “La Rencontre des Amants Hommes des Races de Couleurs,” 2010 Ink, colored crayon, and pencil on heavy cardstock Each: signed and dated in ink, verso: Bouabre / 11-12-2010; inscribed in French in ink along the edges with the same inscription, except on each card two words change to represent the color of the figures: A Rencontre des amants: ici / homme de race [interchangeable color] / et femme de race [interchangeable color] (29 pieces) Each: 7.75” H x 5.25” W $1,500-2,500

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Frédéric Bruly Bouabre

(1923-2014) “Guie Guie: Les Yeux des Hommes Zerepkapka observe devant sa case la beaute d’une femmes,” 2006 Ink, colored crayon, and pencil on card Each: signed and dated in ink, verso: Bouabre / 16-8-2006; inscribed in French in ink along the edges with the same inscription, except on each card two words change along the lower edge, at left to represent the nationality of the figure: Nepke-Guie-Guie-Guie- [interchangeable Nationality] / o-la zerekapk o-Ligon / A [interchangeable nationality] les yeux des hommes courtisent / zerekapk a la solidanaise / noire de beaute (49 pieces) Each: 7.5” H x 6” W $2,000-4,000

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Shrihadi Soedarsono

(1931-2022) Untitled, 1980 Oil on canvas Signed and dated lower right: Shrihadi; signed and dated again, verso 32” H x 23” W $8,000-12,000 Provenance: The Artist The Collection of Pina Hartono Sold: Hammer and Block, Boynton Beach, FL, “Eclectic Auction,” September 22, 2012, Lot 112 Private Collection, Miami, FL, acquired from the above Sold: Rago Arts and Auctions, Lambertville, NJ, “20|21 Art,” September 27, 2023, Lot 215

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Yuri Krockmaluk

(20th century) Harmony of the forest creatures Watercolor on paper Unsigned Image/Sheet: 22.75” H x 29.5” W $500-700

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Alfredo Barbini (1912-2007)

A block glass “Volcano” sculpture, circa 1950s; Venice, Italy Acid-etched signature to side of base: A. Barbini; sticker to side of base: Barbini / Murano The Murano glass sculpture with punctured red pockets 14.875” H x 7” W x 3.5” D $1,200-1,800

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Timo Sarpaneva (1926-2006)

A “Kukinto” vase for Venini, 1992; Venice, Italy Acid etched to underside: Venini / 92 / Sarpaneva The Murano glass vase with cylindrical body and handkerchief neck in vertical bands of red, green, and blue 10.325” H x 7.25” W x 7.25” D $600-900

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Fulvio Bianconi (1915-1996)

A fasce sommerso glass vase for Venini, 2001; Venice, Italy Acid etched to underside: Venini / Fulvio Bianconi / 2001/10; with sticker to side: Venini Murano / Made in Italy The vase with “orizzontale” bands of red, yellow, green, pink, and blue 12” H x 6.625” W x 6” D $800-1,200

Fulvio Bianconi (1915-1996)

A fasce sommerso glass vase for Venini, 1998; Venice, Italy Acid etched to underside: Venini / Fulvio Bianconi / 1998/4 The vase with “orizzontale” bands of blue, teal, yellow, and green 11” H x 6.25” W x 6” D $600-900

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Archimede Seguso (1909-1999)

A “Carnevale” glass vase, Late 20th century; Venice, Italy Signed to underside: Archimede Seguso / Murano The vase layered with red, green, and blue glass 10.75” H x 6.75” W x 3.875” D $700-900

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Fulvio Bianconi (1915-1996)

A “Ritagli” iridescent glass vase for Venini, 1992; Venice, Italy Acid etched to underside: Venini / Fulvio Bianconi / 1992/197; with sticker to side: Venini Murano / Made in Italy With layered emerald iridescent glass applied to blue vase 13.125” H x 8.625” Dia. $2,000-3,000

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100

Lino Sabattini (1925-2016)

A pair of candleholders, 1950s Each with S logo above: Sabattini / Italy; each with stamped signature: Lino Sabattini; each further stamped: Concavo / S/2 / Collezione Sabattini Bregnano Italy Each polished and plated metal candleholder with bulbous bobèche suspended on an adjustable bar for three heights, mounted to a concave half-cylinder screen 2 pieces Each: 12.625” H x 7.5” W x 4.5” D $600-800

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103

A set of Italian modern dining chairs

Mid-20th century Each with spurious vinyl tag to leg interior: Ico Parisi In the manner of Ezio Minotti (active 1950s/60s), Paolo Buffa (1903-1970), and Gio Ponti (1891-1979), the carved wood chairs with sculptural ladder back mounted with pointed finials, upholstered in a patterned mohair velvet fabric with foliate motif and brass rivets, raised on tapered curvilinear legs, 6 pieces Each: 53” H x 17.75” W x 18.5” D $2,000-4,000 Literature: “Mobili E Mobilieri D’Italia” (Chamber of Commerce for Industry and Agriculture of the Province of Milan, 1961) 13, 368

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101

A pair of Gio Ponti for M. Singer & Sons lounge chairs

Mid-20th century One with paper tag to underside: Sheraton Decorators Each floral upholstered chair with diagonal carved wood arms joined with brass hardware set atop four attenuated legs, 2 pieces Each: 29” H x 27” W x 29.5” D $2,000-4,000

102

Adrian Pearsall (1925-2011)

A Cloud Sofa for Craft Associates Inc., 1950s Appears unmarked The three-seater low wraparound sofa with wood and steel frame supporting foam cushions that have been re-upholstered in cream Donghia Silk Velvet, raised on four wood legs 24” H x 112” W x 32” D $4,000-6,000

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106

Al Aronson

(20th century) “Cinque Terre,” 1977 Acrylic on canvas Signed and dated lower right: Aronson; titled on a label affixed to the stretcher 30” H x 26” W $2,500-3,500

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105

Cliff Franklin Harmon

(b. 1923) “Interior #7,” 1949 Oil on Masonite Signed and dated lower right: Harmon 20” H x 15” W $2,000-3,000 Provenance: Addison Rowe Gallery, Santa Fe, NM Notes: This lot is accompanied by copies of photographs, the artist’s biography, and an essay from an exhibition of the artist at the Addison Rowe Gallery.

104

20th Century Abstract Expressionist School Untitled abstract Oil on canvas Signed indistinctly lower left 23” H x 26” W $1,000-2,000

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108

Isamu Noguchi (1904-1988)

A Model BB3-X3 Bamboo floor lamp for Akari, late 20th century Stamped to underside of base: Made in Japan; shade marked: I. Noguchi / [Akari logo] / Japan The single-light lamp with pull chain switch and bamboo-form rod with coiled string segment at the middle, mounted on a bulbous black painted metal base, surmounted by an updated square paper replacement shade purchased 2023 from the Noguchi Museum in Long Island City, New York, electrified Overall: 65.5” H x 18.325” W x 18.325” D; Shade open: 12” H $1,200-1,800

107

Charles and Ray Eames (1907-1978 and 1912-1988)

Four DCW molded plywood dining chairs for Herman Miller, early 21st century Designed 1946 Each marked to the underside with a metal plaque: Eames Office / Herman Miller The chairs with veneered molded plywood body with and rubber shock mounts Each: 28.75” H x 19.5” W x 21” D $1,200-1,800 Notes: This lot is accompanied by a copy of the CoA.

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109

Charles and Ray Eames (1907-1978 and 1912-1988)

An RAR Rocking Chair for Herman Miller, 1950s/60s Designed 1950 in conjunction with Zenith Plastics Appears unmarked The molded fiberglass armchair shell upholstered in stitched orange Naugahyde, connected by rubber shock absorbers to a steel frame with birch runners 27” H x 25” W x 27” D $1,000-1,500 Provenance: The private collection of Robert Andrew Swan Literature: John and Marylin Neuhart and Ray Eames, “The Work of the Office of Charles and Ray Eames” (Harry N. Abrams, 1989), 138 and 141 The Herman Miller Collection manufacturer’s catalog (1952), 94

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110

Alec Monopoly

(b. 1986) A portrait of Mr. Monopoly Acrylic, spray paint, music sheets, and mixed media with resin on canvas Signed lower right: Alec 48” H x 36” W $10,000-15,000

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111

Alec Monopoly

(b. 1986) A scene with Jack Nicholson, Twiggy, Mr. Monopoly, and Bob Dylan, 2011 Acrylic, spray paint, and collage with resin on canvas Signed lower left: Alec; signed again twice, dated, and inscribed, all verso: Alec / LA x NYC x London / Beverly Hills 90210 62” H x 96” W $20,000-30,000

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112

Alec Monopoly

(b. 1986) Jack Nicholson Acrylic on canvas Signed lower center in the collar: Alec 42” H x 36” W $4,000-6,000

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113

Keith Haring

(1958-1990) “The Paris Review,” 1989 Screenprint in colors on wove paper Edition: 34/200 (there was also an edition of 30 artist proofs) Signed, dated, numbered, and with the artist’s device, all in pencil, lower left: K. Haring Image/Sheet: 23.875” H x 32” W $3,000-5,000 Provenance: Martin Lawrence Gallery, Costa Mesa, CA Notes: This lot is accompanied by a signed Certificate of Tirage.

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114

Shepard Fairey

(b. 1970) “Dark Wave,” 2010 Screenprint, collage, and hand-painted (HPM) on paper Edition: 2/10 HPM Signed, dated, and numbered in pencil at the lower edge: Shepard Fairey; with the OBEY stamp lower right Image/Sheet: 35.25” H x 47.25” W $800-1,200 Provenance: Selections from The Elliot Roberts Estate Notes: According to Shepard Fairey, “Dark Wave” was first illustrated in 2010 “as a response to the BP spill in the Gulf of Mexico. In addition, he continues to say “I enjoy doing illustrations of water with its hypnotic ripples and reflections. There’s oil in this water, which mixes ok in an illustration, but not so well in real life. I want future generations to inhabit a livable planet.”

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Graffiti/Street Art Sketchbook The artist Jared (Geso) Costa (b. 1977) was out tagging a train today in the Oregon region where he now resides. The street artist compiled this amazing sketchbook featuring almost all of the most influential figures of the street art/graffiti movement of the 1980s through the 1990s. He spent the day much like he did in the 90s in San Francisco with friends Grey, Barry “Twist” McGee, Margaret “Meta” Kilgallen, and Ruby Rose Neri aka “Reminisce,” on their hometown turf. Later, these artists came to be known as the Mission School. The Mission School in San Francisco was not characterized by traditional graffiti crews as one might associate with street art. Instead, it was an informal collective of artists sharing a common aesthetic, often collaborating on various projects. They engaged in street art activities, incorporating a blend of graffiti, muralism, and other expressions, united by camaraderie and a desire to push artistic boundaries. Margaret (Meta) Kilgallen (1967 - 2001), a prominent figure in the Mission School, played a vital role in shaping the graffiti and street art movement of the 1980s and 1990s. Known for her distinctive artistic style characterized by bold, folk-inspired imagery and hand-painted lettering, Kilgallen left an indelible mark on the streets of San Francisco. Kilgallen’s work can be found in numerous pages of the sketchbook being offered in this sale. Similar things were happening at this time in Southern California, where a different type of graffiti was rewriting how we looked at art on the streets. Relocating to San Diego in 1996, Shepard Fairey was a brand-new artist on the street needing to make his mark again. He had his first feature film premiere in 1995, documenting his early rebellious art sticker and poster campaigns containing the command “OBEY,” and the ambiguous imagery of Andre the Giant.

“Geso,” (pronou headquarters. T street, be it in w special black ske

The Bible was le meaningful in th the Bible was on during this time have fun, skate,

This group of de Francisco Art Ins one of the most School. Meanwh people today re years old when

Young KAWS, a bubble lettering trains, buses, bi Brooklyn Museu “What Party.” T early street art, sketchbooks, an artist growing u

The film entitled, “Andre the Giant Has a Posse,” premiered at the New York Underground Film Festival in 1995 and went on to be screened just two years later in ‘97 at Sundance. Fairey and the creator/compiler of this sketchbook, Jared (Geso) Costa (b. 1977) crossed paths many times in the mid-1990s and beyond.

Likewise in 2021 there was a succ Kaws’ personal estimate of $30, total of $75,600

Geso was collecting tags, collages, and stickers from the best artists of the street at the time of Fairey’s departure from the East Coast for the Sun, Surf, Skate, and Street Art culture of Southern California. The two artists quickly crossed paths and became friends on one of Fairey’s trips to the Mecca of Tagging in California, San Francisco, and its renowned Mission School.

Not since 2021 again until now. Bible,” this piec 236 tags by vari including works

While these young artists were becoming friends, taunting the law, and creating crews to capture their artistic evolution, Jared (Geso) Costa blanketed his tag name

This sketchbook canon of art hist

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unced Guess-O) all over the San Francisco Police Department’s They were creating crews to capture their artistic evolution on the warehouses, boxcars, bridges, boarded up businesses, or in this very etchbook dubbed the Bible by Geso.

egendary. A tag in the Bible meant you were doing something he streets, and your peers were acknowledging that. To have a tag in ne thing; to have multiple tags meant you were going places. And e of the Bible’s creation, these young vandals were off to make art, , surf, and continue to develop their visual language.

edicated taggers hailing from the streets and the halls of the San stitute made their names known in the City and together created t influential artistic groups in the city of San Francisco—the Mission hile, a still very young man named Brian Donnely, the artist most ecognize as the international superstar artist KAWS, was only 22 he got his hands and his tag in Geso’s Bible.

and billboards to Museum Exhibitions, Art Fairs, Mid-Career Surveys, Gallery Shows, and even the Venice Biennale. Artists represented in this book include KAWS (b. 1974), Shepard (Sheppard) Fairey (b. 1970), Ruby Rose Neri (b. 1970), Margaret (Meta) Kilgallen (1967 - 2001), Jared (Geso) Costa (b. 1977), Barry (Twist) McGee (b. 1966), and various other street artists who made a mark in the 1980s through 1990s street art and graffiti scene. While some may have seen Kaws’ tag books behind exhibition glass at the Brooklyn Museum in 2021, this tag book comprising of approximately 236 tags is one of the most important artifacts from the early graffiti movement of the 1990s to ever hit the auction block. This sketchbook is a testament to a time where the American Graffiti and Street Art Movement was still in its infancy, and getting their art noticed meant running in a crew, running from the police, and putting their work in as many public spaces as possible. This incredibly rare Sketchbook from 1995-1996 will be offered at $30,000-50,000. Notes: For additional information or photos, please contact mari@johnmoran.com.

at the age of 22, was still living in Jersey City and developing his g tag style that he developed to get his name over the subways, illboards, and advertisements in New York City. Just in 2021, the um exhibited a survey of Kaws’ career spanning 25 years entitled The exhibition started before Kaws’ meteoric rise to fame with his tag books, and graffiti, including rarely seen graffiti drawings, nd notebooks that Kaws used as inspiration as a young graffiti/street up in Jersey City.

1, on the heels of the Brooklyn Museum’s major Kaws exhibition, cessful sale of Street Art which included an early tag book from collection, given to a friend and put up at auction in 2021 at an ,000-50,000. The work flew by its estimate and finished at the grand 0ó2 and a half times the low estimate on the work.

has a graffiti sketchbook from the mid-1990s come up for auction . In Jared (Geso) Costa’s Tag Book, or as he christened it, “The ce of street art history is comprised of 118 pages and approximately ious street artists from San Francisco, Los Angeles, and New York, by some of the most influential street artists to date.

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115

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

Created by San Francisco street artist, Jared (Geso) Costa (b. 1977) from 1995 through 1996, this mixed media, pen, pencil, colored pencil, felt-tip pen, tape, stickers, photo, and paper collage bound in an artist’s sketchbook comprised of three artist sketchbooks bound and taped together, containing over 100 pages of approximately 236 tags and original works by various street artists from San Francisco, Los Angeles, and New York. This tag book includes original works by, Barry (Twist) McGee (b. 1966), Margaret (Meta) Kilgallen (1967-2001), Shepard Fairey (b. 1970), Ruby Rose Neri (b. 1970), KAWS (b. 1974), Jared (Geso) Costa (b. 1977), Mr. (LMNT) Element (b. 20th century), Spie One (b. 20th century), Grey (b. 20th century), and other early street artists from NYC-based AOK crew to San Francisco’s PVC, and THR crews $30,000-50,000

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116

Aaron Fowler

(b. 1988) Figural portrait with pills Mixed media on garage doors Unsigned 170” H x 108” W $4,000-6,000

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117

Aaron Fowler

(b. 1988) “Lights Out” Mixed media installation on two joined pieces of particle board Appears unsigned; titled by repute 96” H x 96” W $5,000-7,000 Exhibited: Seattle, WA, Seattle Art Museum, “Aaron Fowler: Into Existence,” December 13, 2019-October 25, 2020 Notes: Aaron Fowler was the 2019 recipient of the Seattle Art Museum’s Gwendolyn Knight and Jacob Lawrence Prize. In addition to a monetary award, the prize also included the solo museum exhibition mentioned above.

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118

Eliza Douglas (b. 1984) Untitled, 2018 Oil on canvas Unsigned 45” H x 35” W $4,000-6,000 Provenance: Overduin & Co., Los Angeles, CA

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119

Ilya Schar

(b.1945) “The Mask” Collage of gemstones and gem sand on plywood panel Initialed with gem stones in the lower right corner: S I; titled by repute 24” H x 24” W $1,000-2,000 Notes: The semi-precious gem stones include amethyst, ametrine, beryl, citrine, garnet, peridot, rubellite, topaz, tourmaline, and white spinel.

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120

Alexander Kroll

(b. 1981) Valentine, 2015 Oil, acrylic, and enamel on panel Signed and dated verso: Alexander Kroll 12” H x 9” W $600-800 Notes: Inscribed on the verso: Dearest Malka / will you be / my Valentine? / will you be mine? / I love you. / This / is my valentine to / you. Can you / read [sic] it? / Love / A

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121

Alexander Kroll

(b. 1981) Untitled abstract, 2009 Oil and photograph on linen Signed and dated verso: AKroll 20” H x 14” W $800-1,200 Notes: Inscribed on the verso: For Charlie & Lisa [sic] / with love / & gratitude / always. / Love Alex

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122

Alexander Kroll

(b. 1981) Untitled abstract, 2013 Oil on linen laid to panel Signed and dated verso: Akroll 20” H x 14” W $800-1,200 Notes: Inscribed verso: Dewy Dapper

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123

Suong Yangchareon

(b. 1952) “Stormy Weather,” 1995 Acrylic on canvas Signed lower right: Yangchareon; Signed again, titled, and dated, verso 40” H x 60” W $3,000-5,000

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124

Suong Yangchareon

(b. 1952) “Untitled, Summer No. 11,” 1990 Oil on canvas Signed and dated lower right: Suong Yangchareon; signed twice and dated again, and titled, all verso 35” H x 50” W $3,000-5,000

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125

Paul Michel Dupuy

(1869-1949) Woman and children at the park Oil on canvas Signed and dated lower right: P.M. Dupuy; indistinctly inscribed in French at the upper portion of the stretcher, possibly in another hand 24” H x 32” W $2,000-3,000

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126

Rose Cabat (1914-2015)

A “Feelie” studio pottery onion vase, mid-20th century Incised to underside: CABAT The matte glazed and rounded vessel terminating in a diminutive flared neck 5.25” H x 5.325” Dia. $500-800

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127

Warren MacKenzie (1924-2018)

A faceted Shino glazed ceramic bowl, mid-20th century Appears unmarked The bowl crafted in the Japanese Mingei style, with white Shino glaze over a faceted body 3.75” H x 8.5” Dia. $300-500

128

Warren MacKenzie (1924-2018)

A Shino glazed ceramic pitcher and colander, mid-20th century Each with maker’s “M” cipher stamped to underside Each crafted in the Japanese Mingei style with Shino glaze, comprising a handled pitcher and a colander with pierced holes to bottom of bowl 2 pieces Pitcher: 10” H x 7.325” W x 6” D; Colander: 4.625” H x 13.875” Dia. $400-600

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129

Frederick Spratt

(1927-2008) “Orange Wall,” 1978 Acrylic lacquer, tooling, and Coricone on seven aluminum panels Incised with the signature, title, and date on the verso of the fourth panel: Spratt; each of the panels inscribed in black marker 1 of 7 - 7 of 7, respectively, along with markings to indicate up/down and left/right orientations, all verso 7 pieces 71” H x 262.5” W x 0.375” D $800-1,200 Provenance: Triton Museum of Art, Santa Clara, CA Exhibited: Santa Clara, CA, Triton Museum of Art, “Frederick Spratt: Trooping the Colors,” March 6 - June 6, 2004

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130

Doyle Lane

(1923-2002) Studio tile wall assemblage Glazed ceramic and plywood Appears unmarked The panel comprising 157 studio ceramic tiles, posthumously arranged and mounted to a plywood backing 36” H x 73.5” W x 2.5” D $15,000-25,000

Provenance: The estate of Edward H. Fickett Jeremy Sessions Petty at NOHO Modern, acquired from the above 2014 Private collection, Oregon, acquired from the above in 2017 Private collection, Florida, acquired circa 2020 Exhibited: Palm Springs, CA, Palm Springs Modernism Show, NOHO Modern, 2016 Los Angeles, CA, Los Angeles Modernism Show, May 13th-15th 2016

Louisville, KT, KMAC Contemporary Art Museum, “Sarah Crowner: Clay bodies: Moving Through Ceramics,” December 15, 2018-April 7, 2019 Notes: These tiles were originally purchased from the artist by architect Edward H. Fickett, who collaborated with Doyle Lane on similar wall assemblages during the 1950s/60s. The tiles were later acquired by Jeremy Sessions Petty at NOHO Modern and assembled as we have them now, in the manner of those panels originally assembled by Lane and Fickett, to honor the spirit of their friendship and collaboration.

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131

Doyle Lane (1923-2002)

A ceramic “Weed Pot,” circa 1962-1976 Incised signature to underside: LANE The diminutive ceramic pot with thick speckled blue glaze 1.625” H x 2.875” Dia. $4,000-6,000 Literature: cf. Ricky Swallow, “Doyle Lane Weed Pots,” (Los Angeles and New York: David Kordansky Gallery, 2022), 39

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132

Harrison McIntosh (1914-2016)

A glazed stoneware rimmed bowl, mid-20th Century Marked to the underside with potter’s stamp: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With an all-over green glaze and tree motif to interior 1.75” H x 9.325” Dia. $700-900

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133

Harrison McIntosh (1914-2016)

A glazed stoneware low bowl, mid-20th Century Marked to the underside with potter’s stamp: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With an all-over cerulean glaze and concentric circles motif to interior 1.75” H x 8.625” Dia. $700-900

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134

Hans Wegner (1914-2007)

AP-19 Papa Bear chair and ottoman for A.P. Stolen, 1953-1969; Denmark Designed 1951 Stamped in ink to underside of chair frame: 4; ottoman penciled to underside: PD 5180 A matched set from the original production run, with teak wood arms and legs and original light upholstery, the chair featuring a tufted back with weighted headrest, and the conforming ottoman with opposed handles 2 pieces Chair: 39.25” H x 35.5” W x 37.5” D; Ottoman: 16.25” H x 27.75” W x 16.25” D $7,000-9,000

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135

Finn Juhl (1912-1989)

Model 136 armchair for France & Sons, mid-20th century; Denmark With metal tag to underside: FF C France; no serial number present The chair with teak wood frame and sculpted curvilinear arm rests, each cushion with teal upholstery, the back swivel-mounted to arms and locked to rear stretcher 30.75” H x 31.25” W x 30” D $1,200-1,800

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136

Finn Juhl (1912-1989)

Model 138 armchair for France & Sons, mid-20th century; Denmark With metal tag to underside: FF C France / 6302778 The chair with teak wood frame, sculpted curvilinear arm rests, an articulated back with swiveling action mounted to arms, and orange upholstered cushions 30” H x 27” W x 29” D $1,200-1,800

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137

138

Model 109 armchair for France & Sons, mid-20th century; Denmark With metal tag to frame under seat cushions: FF C France / 6302653 The chair with teak wood frame, sculpted curvilinear arm rests, spring supported seat, and muted gold upholstered cushions 29.5” H x 25.75” W x 29.75” D

A sculptural three-seat sofa a Each with metal tag to frame chair further marked: 630293 The sofa with teak wood fram seat, and purple tweed upho supports 2 pieces Sofa: 33.25” H x 76.25” W x

Ole Wanscher (1903-1985)

$600-900

Grete Jalk (1920-2006)

$2,000-4,000

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and armchair for France & Sons, mid-20th century; Denmark e under seat cushions: FF C France; sofa further marked: 6202323; 34 me, curved slatted back, shaped armrests, spring-supported foam olstered cushions, the chair conformingly designed without spring 29.5” D; Chair: 31.5” H x 32.5” W x 29.5” D

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139

Tove and Edvard Kindt-Larsen (1906-1994 and 1901-1982)

A teak coffee table for France & Son, 1950s With metal tag to underside: FF C France / 5211457; further ink-stamped: 1563 The coffee table with lipped edges at ends and tapered legs 18.25” H x 59.25” W x 20.75” D $700-900

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140

Gerald Thurston (1914-2005)

A pair of Wishbone table lamps, mid-20th century Each appears unmarked Each lamp with gold-toned metal and walnut wood body set on a gold-toned metal tapered square base, surmounted by a later added cylindrical shade banded at the top with a faux wood accent 2 pieces Each with shade: 36” H x 14.5 Dia. $400-600

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141

Slim Aarons

(1916-2006) “Saint-Tropez Boucherie,” 1971 C-print in colors on paper From the edition of unknown size, printed later Unsigned 40” H x 58.5” W $3,000-5,000 Notes: This lot is accompanied by a Certificate of authenticity from Getty Images Gallery.

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142

Slim Aarons

(1916-2006) “Yacht Holiday,” 1967 C-print in colors on paper From the edition of unknown size, printed later Unsigned 39” H x 60” W $3,000-5,000

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143

Slim Aarons

(1916-2006) “Catherine Wilkie Sunbathing on Capri,” 1980 C-print in colors on paper From the edition of unknown size, printed later Unsigned 40” H x 26.5” W $1,500-2,500 Notes: This lot is accompanied by a Certificate of authenticity from Getty Images Gallery.

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146

Two R & Y

144

Bernhard Rohne (b. 1947)

An oval side table for Mastercraft, circa 1970s Appears unmarked The black lacquered wood table banded with acid-etched brass art by Bernhard Rohne, with glass top and undershelf and brass tubular supports, set on four brass ball feet 24.5” H x 32.25” W x 19.5” D $500-700

145

A Mastercraft burlwood and brass desk and chair

Mid-20th century Desk with cloth tag to drawer interior: Mastercraft Furniture Co. / Grand Rapids, Mich. Comprising a desk with burlwood veneer centering a leather top with gilt-stamped border above two drawers with brass-plated pulls, set on brass-plated bamboo form legs with A-frame stretchers, and a conforming chair with brass-plated metal frame and X-stretcher, wrapped with brown striped velvet upholstery, 2 pieces Desk: 29.76” H x 48” W x 23” D; Chair: 43.5” H x 22.75” W x 24.5” D $1,200-1,800

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Circa 1990s Each marked Each Art De in snakeskin Larger: 23.7 $700-900

Y Augousti snakeskin sides tables

d to underside: [logo] / R & Y Augousti / Paris eco Revival single-drawer wood side table of convex shape wrapped n, one with undershelf, 2 pieces 75” H x 20” W x 20” D; Smaller: 18.625” H x 16.75” W x 14.5” D

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147

Jeffery Downs

(20th century) “A Touch of Kohler,” 1999 Oil on canvas Signed lower right: Downs; signed again, dated, and inscribed verso: A.F.T.L.O.M.S. 30” H x 36” W $500-700

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148

Bryan Ida

(b. 1963) “Sepulveda Blvd,” 2011 Acrylic and epoxy on panel Signed, titled, and dated, verso: Bryan Ida 36” H x 36” W $1,500-2,500 Provenance: Hang Art, San Francisco, CA

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149

150

(1901-1981) “Subway - N.Y. City” Conte crayon, oil pastel, and pencil on paper Signed very faintly at the lower left: Edw. T. Deutsch; titled lower right; signed “E. T. Deutsch” and titled again “N. Y. Subway,” both possibly in another hand, verso Image/Sheet: 7.75 “ H x 9.5” W

(1927-2012) “Le Cafe de La Place, St. Paul de Ven Oil on canvas Signed upper right: Tobiasse; titled in “To Tom and Rita Cisco Théo Tobiass 23.5” H x 32.25” W

Edward T. Deutsch

$1,000-2,000

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Theo Tobiasse

$10,000-12,000

nce,” circa 1990

n the image at center; inscribed se X-90,” verso

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151

Hans Wegner (1914-2007)

GE 290A Lounge Chair for Getama, 1950s; Denmark Designed 1953 Burn marked to underside: Getama / Gedsted Denmark / Design Hans Wegner The oak wood chair with ladder back and paddle arms, reupholstered with periwinkle tufted cushions 36.75” H x 29.5” W x 36.5” D $400-600

153

Hans Wegner (1914-2007)

Four AP-38 Airport chairs for A. P. Stolen, 1960s Each appears unmarked Designed 1958 Each with polished steel frame upholstered in black leather 4 pieces Each: 31” H x 19.75” W x 22” D $800-1,200

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152

Hans Wegner (1914-2007)

Three CH 23 dining chairs, 1950s/60s century Designed 1950 Each burn marked to underside frame: Made in Denmark / Y Carl Hansen & Son / Odense Denmark; further burn marked: Designer Hans Wegner The oak wood chairs with curvilinear back rest and double-woven paper cord seats 3 pieces Each: 30” H x 20.75” W x 19.5” D $500-800

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154

Loredano Rosin (1936-1992)

A Calcedonia Murano glass raised bowl sculpture, late 20th century Etched signature to base: Loredano Rosin; etched inscription: Dr. Mary Hubbard The polychromatic sculptural pedestal surmounted by a bowl 25” H x 12.625” Dia. $1,000-1,500

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155

A Siemon & Salazar studio glass urchin vase

2018 Acid etched signature and date: Siemon & Salazar / 2018 Crafted by Caleb Siemon (b. 1975) and Carmen Salazar (b. 20th century) in their studio with murrini cane spines fused to clear glass 8.5” H x 8.5” Dia. $400-600

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156

A Venini fasce sommerso glass vase

Late 20th century; Venice, Italy Acid etched to underside: Venini / P. d. P.; with sticker to side: Venini Murano / Made in Italy After the original “orizzontale” design by Fulvio Bianconi (1915-1996) the heavy glass vase with “verticale” bands of red, green, and blue 13.325” H x 7.5” W x 4.75” D $700-900

157

After Gio Ponti (1891-1979)

A vase “A Canne” for Venini, 1991; Venice, Italy Acid etched to underside: Venini / 91; with sticker to side: Venini Murano / Made in Italy The Murano glass vase with alternating cobalt blue and emerald green stripes 9” H x 6.5” Dia. $600-900

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158

Fulvio Bianconi (1915-1996)

A pezzato glass vase for Venini, 1994; Venice, Italy Acid etched to underside: Venini / 94 / Fulvio Bianconi The Murano glass vase with patchwork panels of red, green, blue, and yellow 8.875” H x 6.325” Dia. $800-1,200

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159

A set of Salviati Murano glass stemware

Mid-20th century Each appears unmarked Each octagonal rimmed piece with applied teardrop trails of blue at corners, above a twisted knop imbued with gold flecks and a round foot, consisting a footed compote bowl (8.75” H x 9.75” Dia.), a pair of candleholders (12.625” H x 5.25” Dia.), and nine champagne flutes (8.25” H x 2.875” Dia.), 12 pieces $2,000-3,000

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160

Benjamin Hazard

(b. 1940) “My Day,” circa 1969 Charcoal on paper Signed lower right: Hazard; titled and dated on a label affixed to the frame’s backing paper Sight: 34” H x 26” W $1,000-2,000 Notes: An artist’s address label is housed in a plastic sleeve taped to the frame’s backing paper.

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161

Rafael Canogar

(b. 1935) “Composition with Hands,” 1975 Gouache and collage on paper Signed and dated in pencil, lower left: Canogar Image/Sheet: 20” H x 28.5” W $1,500-2,500

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162

163

(1927-2014) “Stones on Stones” Oil on board Signed lower right: Chamberlin; titled on a gallery label and two other places, all verso 18” H x 11” W

(1916-2000) “Gardner’s Ranch,” 199 Screenprint in colors on Edition: M 60/80 Signed and numbered i with Robert Bane Ltd. In Image: 30” H x 40” W, S

Elwyn “Wynn” Chamberlain

$700-900 Provenance: The Gallery, Inc., Norwalk, OH

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Eyvind Earle

$600-800

91 n heavy wove paper

in ink in the lower image edge: Eyvind Earle; Clearwater Studios, prntr., nc. ink stamp seal lower margin, at left Sheet: 37” H x 46” W

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164

Eyvind Earle

(1916-2000) “Green Pastures,” 1992 Screenprint in colors on wove paper Edition: M 43/75 Signed and numbered in ink in the lower edge: Eyvind Earle; Clearwater Studios, prntr., with Robert Bane Ltd. Inc. ink stamp seal lower margin, at left Image: 30” H x 40” W; Sheet: 36.5” H x 46” W $600-800

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165

Eyvind Earle

(1916-2000) “Fog Light,” 1990 Screenprint in colors on heavy wove paper Edition: HC 17/25 Signed and numbered in ink in the lower edge: Eyvind Earle; Clearwater Studios, prntr., with Robert Bane Ltd. Inc. ink stamp seal lower margin, at left Image: 40” H x 30” W, Sheet: 46.5” H x 36 “ W $600-800

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166

LeRoy Neiman

(1921-2012) “Red Corrida,” 1974 Screenprint in colors on paper Edition: 77/300 Signed and numbered in pencil at the lower margin edge: LeRoy Neiman Image: 18.5” H x 22.5” W $700-900

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167

Peter Max

(b.1937) “Umbrella Man I Ver. XIII #244,” 2016 Acrylic and mixed media on canvas Signed upper right: Max; with the artist’s copyright and date ink stamp, verso 12” H x 9” W $1,500-2,500 Provenance: Pitzer’s Fine Arts, Wimberley, TX

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168

Carl McKenzie

(1905-1998) Devil family with snake, 1985 Carved linden wood, metal, paint, and graphite Signed twice to underside: Carl McKenzie; dated by repute 20” H x 17” W x 6.5” D $1,500-2,500 Notes: This lot is accompanied by an essay written for a solo exhibition at Anton Gallery, Washington, D.C., October 1-29, 1983. Further accompanied by another essay for exhibition “Unto the Hills: Folk Art of- Eastern Kentucky” at Marsh Gallery, University of Richmond, VA, November 1-29, 1989.

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169

Carl McKenzie

(1905-1998) Statue of Liberty, 1987 Carved linden wood, paint, and graphite Signed and dated to underside: Carl McKenzie Dimensions variable: 18.5” H x 4.5” W x 5.5” D $600-800 Notes: This lot is accompanied by a photocopied essay written for a solo exhibition at Anton Gallery, Washington, D.C., October 1-29, 1983. Further accompanied by another photocopied essay for exhibition “Unto the Hills: Folk Art of- Eastern Kentucky” at Marsh Gallery, University of Richmond, VA, November 1-29, 1989.

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170

Carl McKenzie

(1905-1998) Topless server, 1988 Carved linden wood, paint, and graphite Signed and dated to underside: Carl McKenzie 18.25” H x 5” W x 4.875” D $600-800 Notes: This lot is accompanied by a photocopied essay written for a solo exhibition at Anton Gallery, Washington, D.C., October 1-29, 1983. Further accompanied by another photocopied essay for exhibition “Unto the Hills: Folk Art of- Eastern Kentucky” at Marsh Gallery, University of Richmond, VA, November 1-29, 1989.

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171

Carl McKenzie

(1905-1998) Dolly Parton cane Carved linden wood, paint, and graphite Incised signature to cane: Carl McKenzie Cane: 36.5” H x 3.625” W x 2.325” D; Base: 4.125” H x 3.75” W x 3.625” D $600-800 Notes: This lot is accompanied by a photocopied essay written for a solo exhibition at Anton Gallery, Washington, D.C., October 1-29, 1983. Further accompanied by another photocopied essay for exhibition “Unto the Hills: Folk Art of- Eastern Kentucky” at Marsh Gallery, University of Richmond, VA, November 1-29, 1989.

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172

Carl McKenzie

(1905-1998) Woman with umbrella and purse Carved linden wood and paint Signed to underside: Carl McKenzie Dimensions variable: 13.5” H x 4.875” W x 4.625” D $600-800 Notes: This lot is accompanied by a photocopied essay written for a solo exhibition at Anton Gallery, Washington, D.C., October 1-29, 1983. Further accompanied by another photocopied essay for exhibition “Unto the Hills: Folk Art of- Eastern Kentucky” at Marsh Gallery, University of Richmond, VA, November 1-29, 1989.

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173

Helen Allois

(b. 1969) “Charlotte’s Dream,” 2021 Graphite on paper Signed and dated in pencil near the lower edge, right of center: Allois; with the artist’s red ink studio stamp in the lower right quadrant and another stamp on the frame’s backing board; titled on a Certificate of authenticity Sheet: 13.5” H x 16.75” W $500-700 Notes: This piece is accompanied by a copy of a Certificate of authenticity from the artist’s studio, signed and dated 09/15/2023 by Helen Allois, and with the red ink studio stamp. In addition, there is a copy of the artist’s CV.

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174

Adele Plotkin

(1931-2013) Abstract in greens and blues Oil on canvas Unsigned 17” H x 23” W $700-900

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175

Adele Plotkin

(1931-2013) Untitled abstract, 1975 Oil on canvas Signed and dated lower left: Plotkin 26” H x 34” W $700-900

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176

Joan Savo

(1918-1992) Untitled, abstract composition, 1960 Oil on board Signed and dated lower right: Savo 31” H x 48.5” W $1,000-2,000 Provenance: Claypool Freese Gallery, Pacific Grove, CA Winfield Gallery, Carmel, CA Notes: A signed letter from Claypool Freese Gallery discusses their involvement with Joan Savo’s career and offer to assist collectors in purchasing her work in the secondary market. This lot is accompanied by a color transparency of the painting as well as copies of personal letters written by Joan Savo. Notes: Post War California artist, Joan Savo was active in the San Francisco North Beach area in the 1950’s, and later on the Monterey Peninsula.

Solo Exhibitions: California Palace of the Legion of Honor, 1964. Selected Group Exhibitions: “79th Annual Painting Exhibition of the San Francisco Art Association” at the San Francisco Museum of Art, 1960 “Fifth Winter Invitational,” California Palace of The Legion of Honor, San Francisco, 1964 Public Collections: Santa Barbara Museum of Art; Walnut Creek Civic Arts Center; Kaiser Center, Oakland; Oakland Museum; Monterey Peninsula Museum of Art; City of Viborg, Denmark. Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980” w w w. j o h n m o r a n . c o m 2 0 3

177

Miriam Schapiro

(1923 - 2015) “A Person for Paula,” 1993 Monotype on paper, watermark Arches and a paper cutout on wove paper Signed and titled in pencil on the lower edge of the monotype, verso; inscribed in pencil on the paper cutout: To Paula with love, Miriam, Jan. 13, 1993 Monotype: 30.25” H x 22.75” W; Cutout: 22.5” H x 17.25” W $2,000-4,000 Provenance: Provenance: Paula Kirkeby, Palo Alto, CA, acquired from the artist, 1993 Private Collector, San Rafael, CA, by descent from the above

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178

Miriam Schapiro

(1923-2015) “Mimi in the Orient,” 1993 Monotype, watercolor, and collage on paper Signed, titled, and dated in pencil along the lower edge, verso: Miriam Schapiro Image/Sheet: 14.375” H x 29” W $3,000-5,000

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Alice Baber (1928-1982)

Alice Baber, born in Charleston, Illinois in 1928, bega Sixth Annual Exhibition of New York artists. Baber, as alongside Grace Hartigan, Louise Nevelson, Lee Kras in this exhibition have been recognized as key figures long been overlooked by museums and the art marke

Throughout her career, Baber experimented with diffe organic forms, flowing lines, and translucent layers of of light and color, and this became a central theme in

Speaking of Baber’s work in the San Francisco Chroni

“Baber’s abstractions are made up of broad, lobular s harmonized oil colors, some full and intense, others v pianist”

“The musical analogy extends to the movement that and gliding in complex, swirling rhythms and counter fed by a hidden spring.”

Baber was diagnosed with cancer in the late 1970s an numerous public collections, including the Metropolit of Art. Today, she is recognized as an important figure innovative style.

Alice Baber’s work has been exhibited alongside man

Mary Abbott, William Baziotes, Norman Bluhm, Louis Sam Gilliam, Michael Goldberg, Adolph Gottlieb, Gra de Kooning, Lee Krasner, Morris Louis, Joan Mitchell, Park, Ray Parker, Betty Parsons, Jackson Pollock, Rich Woodsey Thomas, Bob Thompson, Jack Tworkov, Est

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an exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s one of the approximately twenty women included on the Annual’s extensive roster, was shown sner, Mary Abbott, Joan Mitchell, and Elaine de Kooning. While many of the male artists featured s of the Abstract Expressionist movement, Baber—who died at the age of fifty-four in 1982—has et at large.

erent mediums, including oil paint, watercolor, and printmaking. Her paintings often featured f color, creating a sense of depth and movement. She was particularly fascinated by the interplay n her artistic exploration.

icle in 1976, the art critic Thomas Albright noted:

shapes that resemble rounded beach stones. These become scaffolds for applications of richly vaporous and transparent, unified by a softness of surface that resembles the sensitive touch of a

these forms appear to undergo, sometimes crowded and compacted” but more often flowing r-rhythms, advancing and receding in depth like the currents and cross-currents in a pool of water

nd continued to paint until her death on February 2, 1982, in New York City. Her work is held in tan Museum of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum e in the development of abstract art in the United States and is celebrated for her unique and

ny key members of the Abstract Expressionist movement, including (but not limited to):

se Bourgeoise, Friedel Dzubas, Perle Fine, Sam Francis, Helen Frankenthaler, Dorothy Gillespie, ace Hartigan, Hans Hofmann, Paul Jenkins, Ray Johnson, Franz Kline, Elaine de Kooning, Willem , Robert Motherwell, Robert Natkin, Louise Nevelson, Kenneth Noland, Jules Olitski, Charlotte hard Pousette-Dart, Ad Reinhardt, Milton Resnick, David Smith, Theodoros Stamos, Alma teban Vicente

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179

Alice Baber

(1928-1982) “Buried Treasure of the Jaguar,” 1978 Watercolor on thick wove paper Signed and dated in pencil, lower right: © Baber; signed and dated again, titled, and inscribed Sacred Space Series in pencil on the verso of the upper sheet edge Image/Sheet: 30.25” H x 22.25” W $4,000-6,000 Notes: There is a very small pencil notation at the verso of the lower left sheet corner: 8-165 / 600.00. Select Museum Collections: Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY, San Francisco Museum of Modern Art, San Francisco, CA, Santa Barbara Museum of Art, Santa Barbara, CA

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180

Grace Hartigan

(1922-2008) “Menina After Velasquez,” 1990 Oil on canvas Signed, titled, and dated lower right: Hartigan 31” H x 43” W $4,000-6,000

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Esphyr Slobodkina (1908-2002)

Esphyr Slobodkina, was a Russian-Jewish-American a American art during their lifetime. After immigrating t York where she would later meet her first husband -- t

Slobodkina was known in the New York art world for a artistic fashions and conventions of her day. In 1936, S and exhibited at galleries and museums in New York. inaugural exhibition held in New York City in 1937. De showed her work alongside eventually became noted Burgoyne Diller, Carl Holty, Ibram Lassaw, Alice Trumb

“Purple Abstraction,” which is being offered for sale o concern with geometric planes and flattened pictoria which she became well known. The art historian Ilmar implied depth without the use of perspective that ma color scheme give the illusion of inventive depth that

Slobodkina remained an active member of the Ameri Greenberg early in his career, was featured in importa of This Century gallery in 1943. Slobodkina was deep Gottlieb while also entertaining Piet Mondrian at a di

In addition to her career as an abstract painter, Slobo appreciated Slobodkina’s artistic vision and visual dire continue to illustrate books for other writers until she has sold over 2 million copies. In addition to her pain

The work of Esphyr Slobodkina has been exhibited al Cavallon, Manierre Dawson, John Ferren, Suzy Freling Gertrude Greene, Hananiah Harari, Carl Holty, Harry H Reinhardt, Leon Polk Smith, Louis Stone, Albert Swind others.

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artist who was one of the few women to gain public recognition within the field of modern to the United States in 1928, Slobodkina enrolled at the National Academy of Design in New the painter Ilya Bolotowsky.

a resolute sense of independence which she expressed by continually eschewing the prevailing Slobodkina co-founded the American Abstract Artists, a group of professional artists who met . As a founding member, Slobodkina had the opportunity to show her work in the group’s espite the small audience for abstract art at this time, many of the artists that Slobodkina d artists: the roster included Josef Albers, Ilya Bolotowsky, Byron Browne, Werner Drewes, bull Mason, Mercedes Matter, George L.K. Morris, and Charles Green Shaw among many others.

on behalf of the Slobodkina Foundation, was created in 1939. The work shows the artist’s al space that would eventually develop into architecturally inspired, hard-edge paintings for r Eric Orav once noted about her work: “Even though Slobodkina works with flatness, there is an akes her unique. She simply does it with line. The areas of colors are flat, but her drawing and her t can only exist in painting.”

ican Abstract Artists for several decades. Her work, which was championed by Clement ant exhibitions at A.E. Gallatin’s Museum of Living Art in 1942, and at Peggy Guggenheim’s Art ply involved in New York City’s art scene, showing her work alongside Mark Rothko and Adolph inner party in her apartment.

odkina was a noted illustrator of children’s books. A noted author, Margaret Wise Brown, who ectness, recruited her to create illustrations for the book “The Little Fireman.” Slobodkina would started to write her own children’s books such as “Caps for Sale,” her best-known work which ntings and illustrations, Slobodkina is known for creating both sculptures and textile works.

longside artists such as Rosalind Bengelsdorf, Benjamin Benno, Charles Biederman, Giorgio ghuysen, Albert (A.E.) Gallatin, Fritz Glarner, Arshille Gorky, John Graham, Balcomb Greene, Holtzman, Charles Howard, Frederick Kann, Michael Loew, Betty Parsons, Irene Rice Pereira, Ad den, Vaclav Vytlacil, Charmion von Wiegand, Jean Xceron, and Wilfrid Zofbaum among many

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181

Esphyr Slobodkina

(1908-2002) “Purple Abstraction,” 1939 Oil on canvas laid to waxed canvas Signed lower right: Esphyr; titled and dated on various labels affixed to the frame’s plastic backboard and upper portion of the frame 20” H x 20.75” W $18,000-28,000 Provenance: Estate of the Artist Property of the Slobodkina Foundation, acquired from the above Exhibited: Sana Fe, NM, LewAllen Galleries, “Esphry Slobodkina: Crossing Borders,” May 26-June 17, 2023 Long Island University, NY, Hillwood Art Museum, “Ilya Bolotowsky and Esphyr Slobodkina: Advocates of Abstract Art,” September 8-November 22, 2008 New York, NY, D. Wigmore Fine Art, Inc., circa 2010 New York, NY, Sid Deutsch Gallery, date unknown

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182

Esphyr Slobodkina

(1908-2002) “Monochrome in Yellow,” 1950 Oil on gessoed Masonite Signed and dated lower right: Esphyr Slobodkina 14.5” H x 8” W $7,000-9,000 Provenance: Estate of the Artist Property of the Slobodkina Foundation, acquired from the above Exhibited: Santa Fe, NM, LewAllen Galleries, “The Many Worlds of Esphyr Slobodkina,” April 2-May 15, 2021

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183

Mernet Larsen

(b. 1940) “Handshake,” 2001 Acrylic, oil, and tracing paper on canvas Signed and dated verso: Mernet Larsen; dated again and titled on a gallery label affixed, verso 69” H x 36” W $15,000-20,000 Provenance: Various Small Fires, Los Angeles, CA w w w. j o h n m o r a n . c o m 2 2 1

184

Marta Becket

(1924-2017) Dancing cherubs, 1969 Oil on Masonite laid to Masonite Signed and dated in Roman numerals lower right: Marta Becket 36” H x 48” W $2,000-3,000

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185

Marta Becket

(1924-2017) Curtain call, 2001 Oil on canvas Signed and dated lower left: Becket 24” H x 18” W $1,000-1,500

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186

Krystyna Wojtyna-Drouet

(b. 1926) “Moon” Woven wool, hemp, and cotton tapestry with applied copper Numbered: 415 Stitched initials: KW; numbered, signed, and titled to cloth label verso: Krystyna Wojtyna-Drouet / Warszawa / W. Sanocka 4m44 / “KSIEZYC” / “DER MOND” / 152cm x 114cm 63.5” H x 42.5” W $1,000-2,000 Provenance: JL Hurschler Gallery, Pasadena, CA Private collection, acquired from the above

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187

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher Cast bronze 16.5” H x 4.125” Dia. $600-800

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188

David Cressey (1916-2013)

An Architectural Pottery planter, circa 1960s Appears unsigned The flame-glazed stoneware vessel with all-over earth toned glazing 7.625” H x 15” Dia. $1,200-1,800

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189

Evert Sodergren (1920-2013)

A wood cheese board/cutting board, mid-20th century Burn marked to applied wood plaque to underside: södergren The board with assembled rectilinear wood blocks of various shapes and sizes, the gaps between each filled by resin to achieve a smooth surface, with plastic feet to underside 14.5” L x 10” W x 1” D $400-600

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190

A Danish-style modern hanging light fixture

Mid-20th century Appears unmarked The single-light lamp with cylindrical semi-opaque shade/diffuser with brass settings centering bent walnut decorative elements in a spherical atomic shape 13.5” H x 23.5” Dia. $600-800

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191

A Danish modern console chest

Mid-20th century Appears unmarked The teak wood two-drawer chest with carved inset pulls and modified A-frame legs 26.75” H x 28.75” W x 15.25” D $400-600

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192

A Danish modern dining table

Mid-20th century Appears unmarked The teak wood table with opposed drop leaves on brass hinges Stored: 28.5” H x 61” W x 33.125”; Extended: 106” W $700-900

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193

I. Nyoman Gunarsa

(1944-2017) Balinese dancer Oil on canvas Signed lower right: Nyoman 37.5” H x 37.5” W $1,500-2,000

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194

Knox Martin

(1923-2022) “Mama Gallo” Mixed media on wove paper Signed lower left: Knox; signed again and titled in pencil, verso Sheet: 30.5” H x 44” W $2,000-3,000

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195

Hans Burkhardt

(1904-1994) “Aasgaardstrand,” 1968 Oil on linen canvas Signed and dated lower center: H. Burkhardt; titled on a gallery label affixed verso 32” H x 42” W $5,000-7,000 Provenance: Lorraine Gallery, Encino, CA

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196

Hans Burkhardt

(1904-1994) “Wilted Flowers,” 1969 Oil on canvas Signed and dated lower center: H. Burkhardt; titled by repute 42” H x 32” W $5,000-7,000

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197

Hans Burkhardt

(1904-1994) “Journey to the Unknown,” 1969 Oil on canvas Signed and dated lower right: H. Burkhardt; titled on a label affixed to the stretcher 16” H x 20” W $1,500-2,500 Provenance: Gift to Jill Chanin, June 9, 2000

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198

Stanton MacDonald-Wright

(1890-1973) Untitled, 1964 Mixed media on thick Japanese paper Signed, dated, and inscribed in pencil at the lower center: Stanton / Ginko-Kyoto; also indistinctly inscribed in pencil in the same area: [**/7] Image/Sheet: 25.375” H x 25.375” W $500-700

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199

Erling Torvits (1925-n.d.)

A rosewood veneered drop front secretary desk for Klim Møbelfabrik, 1960s; Denmark Appears unmarked The upper console with three shallow drawers above four more drawers and a locking drop front revealing sliding cabinet compartments and three inner drawers; the lower console with six drawers, all set on four tapered legs 47.5” H x 49” W x 19.25” D $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

201

A pair of Danish modern end tables

Mid-20th century Each appears unmarked Each table with single pull-out drawer revealing partitioned compartments, 2 pieces Each: 17” H x 24.75” W x 17.25” D $300-500

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200

Arne Wahl Iverson (1927-2016)

A Model 36 teak wood planter side table for Vinde Mobelfabrik, 1960s; Denmark Designed 1961 Stamped to bottom of one drawer: [Vinde Mobelfabrik logo] / Nr. 36 / Made in Denmark; further stamped to drawer interior: Danish Furnituremakers Control The three-drawer table with inset metal planter box above a slatted undershelf, set on four tapered legs 22” H x 38” W x 13” D $400-600

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202

Tadashi Sato

(1923-2005) Untitled, 1966 Oil on canvas With the incised signature and date lower right: Tadashi Sato 14” H x 24” W $5,000-7,000

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203

Tadashi Sato

(1923-2005) Untitled abstract greyscale, 1966 Oil on canvas Signed and dated lower right: Tadashi Sato 24” H x 16” W $5,000-7,000

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204

An Omann Jun Møbelfabrik bookcase and Model 3 cabinet

1960s; Denmark Bottom console with paper tag to interior: Omann Jun A/S / Model Nr. 3; further stamped to verso: Danish Furnituremakers Control; upper console with paper label instructions applied to verso The rosewood veneer teak wood bookshelf with brass hardware, comprising an upper console with two plate glass hinged doors revealing six shelves, above a lower console with two drawers and two hinged wood doors revealing an inner felt-lined drawer, 2 pieces Upper: 47.25” H x 47.25” W x 12” D; Lower: 27” H x 47.25” W x 17” D $1,000-1,500

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205

A Danish modern bookcase and cabinet

Mid-20th century Appears unmarked The teak wood bookshelf with brass hardware, comprising an upper console with two locking plate glass hinged doors revealing six shelves, above a lower console with two hinged wood doors revealing two shelves, 2 pieces Upper: 48.325” H x 43.25” W x 12” D; Lower: 26.75” H x 43.25” W x 16” D $1,000-1,500

206

A Danish modern coffee table

Mid-20th century Appears unmarked The teak wood table with two open ended slide out drawers with carved inset pulls, centering an open compartment 22” H x 60” W x 21.25” D $500-700

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207

Ken Figueredo

(1942-2010) Prickly pear cactus, 1999 Oil on canvas Signed lower right: Figueredo; signed again and dated verso 48” H x 60” W $400-600

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208

Tarmo Pasto

(1906-1986) “Seven Sunflowers,” 1973 Oil on canvas Signed and dated lower right: Tarmo Pasto; titled on a piece of brown paper affixed to the frame, verso 36” H x 30” W $800-1,200 Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his works. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s work in its permanent collection. In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers.

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209

Tarmo Pasto

(1906-1986) Sunset behind the hills Oil on canvas Signed near the center of the lower edge: Tarmo Pasto 42” H x 52” W $2,000-3,000 Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 257 written in ink on the stretcher, twice, verso. Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s work in its permanent collection. In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers.

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210

Ira Yeager

(1938-2022) Leopard at a watering pool, 1979 Oil on canvas Signed lower right: Ira Yeager; signed again, dated, and inscribed, verso: S.F. 66” H x 66” W $3,000-5,000

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211

John Wilson

(1922-2015) “Downtown Los Angeles,” circa 1952 Mixed media on sketching board Signed lower left: John Wilson; signed again and titled in ink on the board, verso; titled again on the artist’s label affixed to the frame’s backing board Sheet: 11” H x 15.75” W $3,000-5,000 Exhibited: Los Angeles, CA, Los Angeles County Museum, “1954 Annual Exhibition: Artists of Los Angeles and Vicinity,” May 4-June 27, 1954 Notes: According to the artist’s label affixed to the frame’s backing board, this work was presented to Mr. and Mrs. Gary Robin at their wedding in January 1955.

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212

Eero Saarinen (1910-1961)

Six No. 72 Executive side chairs for Knoll, 21st century Designed 1948 Each with Knoll tag to underside Each upholstered in brown Eames small dot jacquard fabric and set upon four chromed metal legs 8 pieces Each: 31.25” H x 22.75” W x 20.5” D $700-900

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214

Charles and Ray Eames (1907-1978 and 1912-1988)

Four Aluminum Group armchairs for Herman Miller, 21st century Designed 1958 Each with Herman Miller tag to underside Each with cast aluminum frame and arms and black leather sling-style upholstered seats, set on a five-legged base with casters 4 pieces Height variable: 34” H x 23” W x 21.5” D $1,000-2,000

213

Charles and Ray Eames (1907-1978 and 1912-1988)

Four Aluminum Group side chairs for Herman Miller, 21st century Designed 1958 Each with embossed Herman Miller logo to the frame Each with taupe leather sling-style upholstery, glossy “graphite” painted aluminum frame, and set upon five legs with metal feet 4 pieces Each: 33.25” H x 20” W x 23.5” D $1,000-2,000

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215

Kumari Nahappan

(b. 1953) “Icon Series #01-04,” 1996 Acrylic on canvas Signed, titled, and dated verso: Kumari Nahappan 38.5” H x 48” W $600-800 Provenance: Wetterling Gallery, Stockholm, Sweden Sold: Bukowskis, Stockholm, Sweden, “Passion for Colour,” September 12, 2021, Lot 10

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216

Roy Adzak

(1927-1987) Untitled, 1965 Oil on canvas on a recessed plaster relief Signed and dated, verso: Adzak 10.75” H x 8.75” W $600-800

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217

Roy Adzak

(1927-1987) “Venus Positive-Negative,” 1967 Wood and painted plaster relief Signed, dated, and inscribed along the edge of the frame, verso, and again to the felt backing: Adzak 67 / ED A4; titled by repute 39.5” H x 39.5” W x 4.625” D $2,000-4,000

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218

Kim Frohsin

(b. 1961) “The Fighter,” 1995 Acrylic on paper With the incised signature and date lower right: Frohsin Image/Sheet: 18” H x 16.75” W $400-600 Notes: An exhibition reception brochure is affixed to the frame’s backing board.

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219

Peter H. Breza

(b. 20th century) Assemblage, 2011 Mixed media and found materials Signed twice and dated to verso in felt pen: Peter H Breza / W 24.5” H x 23.625” W x 2.875” D $300-500

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220

A bronze figure of a skier

1992 Edition: 5/50 Signed illegibly, numbered, and dated in the casting: 1992; titled to giltwood plaque: Dropping In The hanging patinated bronze figure depicted in motion down a mountain, with removeable poles Figure: 12” H x 25” W x 6.5” D $400-600

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221

Valèrie “Val” Goutard

(1967-2016) “Window,” 2016 Cold-painted bronze Edition: 4/8 Incised signature, edition, and date to one side: Val / AFA 2016; Further marked with unknown cipher to front 26.75” H x 25.25” W x 15.5” D $600-800

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222

Kenneth Hassrick

(1921-2004) Untitled, 1965 Iron Signed and dated: Hassrick / 1965 68.25” H x 30” W x 18” D $1,500-2,000

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223

224

(1926-2011) “Trapped Bird” Tempera on Masonite Signed lower left: Robert Vickrey; titled in pencil, verso; titled again on a gallery label affixed to the frame, verso 16” H x 12” W

Two works:

Robert Vickrey

$3,000-5,000 Provenance: Midtown Galleries, New York, NY

Bill Brauer (b. 1939)

Kneeling nude female Pastel on paper Signed, dated, and inscribed in pencil in the lower ed Sight: 16.25” H x 22” W Sleeping nude female Pastel on paper Unsigned Image/Sheet: 13.75” H x 11.25” W $500-700

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dge, at left: Bill Brauer

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225

Bill Brauer (1939-2019) Eight works:

“Carnival Aerialist,” 1980 Etching and aquatint on paper Edition: 2/75 Signed, titled, dated, numbered, and inscribed in pencil at the lower margin edge: Bill Brauer / To Adrienne Love BB/80 Plate: 6.375” H x 3.875” W; Sight: 7.25” H x 4.5” W “Sphinx” Etching and aquatint in dark brown ink on paper Edition: 109/250 Signed, titled, and numbered in pencil at the lower margin edge: Bill Brauer; Associated American Artists, New York, NY, pub. Plate: 10” H x 9” W; Sight: 11” H x 9.125” W Untitled (Shadowy figure) Etching and aquatint on paper Edition: E.A. Signed, dated, numbered, and inscribed in pencil at the lower margin edge: Bill Brauer / To my lovely Adrienne BB/88 “Carnival, The Awakening” Etching and aquatint on paper Edition: 9/75 Signed, titled, and numbered in pencil at the lower margin edge: Bill Brauer Plate: 7” H x 4” W; Sight: 7.5” H x 4.5” W “Shadows,” 1985 Etching and aquatint on paper Edition: 12/100 Signed, titled, dated, numbered, and inscribed in pencil at the lower margin edge: Bill Brauer / For Adrienne Love always BB/85 Plate: 9” H x 7.5” W; Sight: 10” H x 8” W “Carnival Phantom” Etching and aquatint on paper Edition: 27/75 Signed, titled, and numbered in pencil at the lower margin edge: Bill Brauer Plate: 4” H x 6.5” W; Sight: 4.75” H x 7” W “Masquerade,” 1955 Linocut in brown ink on paper, watermark Strathmore Writing Edition: 25/30 Signed, titled, dated, and numbered in pencil at the lower margin edge: Bill Brauer Image: 9” H x 6.25” W; Sheet: 9.5” H x 7.375” W Untitled (Man writing out holiday greetings) Graphite on paper Signed in pencil lower right: Bill Brauer Sheet: 8.625” H x 5.625” W $600-800

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226

Rico Lebrun

(1900-1964) “Two Merging Shades Listening to Dante,” 1961 Black ink wash on wove paper, blindstamp Strathmore Signed, titled, and dated along the lower sheet edge: Lebrun Sight: 21” H x 27.5” W $500-700

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227

Souther Salazar

(b. 1978) Untitled, 2005 Colored pencil and ink Unsigned Sight: 9.625” H x 7.625” W $700-900 Exhibited: Santa Monica, CA, Santa Monica Museum of Art, “Incognito: Benefit Art Exhibition and Sale,” December 10, 2005 Notes: This lot is accompanied by a reference sheet from the exhibition stated above. The sheet is housed in a plastic sleeve affixed to the frame’s backing paper.

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228

Jesse Greenberg

(b. 1982) “Flora Cell 2,” 2014 Urethane plastic, pigment, ABS plastic pellets, and aluminum frame Unsigned; titled and dated on the gallery website listed as part of provenance 35.5” H x 22” W $200-400 Provenance: Derek Eller Gallery, Los Angeles, CA Private Collection, Los Angeles, CA, acquired from the above Notes: A metallic French cleat is affixed with screws and epoxy to the verso for hanging purposes.

229

Roy Lerner

(b. 1954) “Thinking Ahead,” 1994 Acrylic and glitter on canvas Signed and dated twice, and titled, all ver Roy Lerner 70” H x 50” W $1,000-2,000 2 6 6 A r t + D e s i g n l Tu e s d a y, F e b ru ary 2 7 , 2 0 2 4

rso:

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230

Joseph Bellacera

(1953-2023) Untitled from the “Portal Series” Mixed media on canvas mounted to canvas Signed faintly lower right: J. Bellacera Sight: 35.5” H x 30.5” W $800-1,200

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231

Joseph Bellacera

(1953-2023) Untitled from the “Portal Series” Mixed media on canvas mounted to canvas Signed lower right: J. Bellacera Sight: 35.5” H x 30.5” W $800-1,200

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232

Rick Wolfryd

(b. 1953) After KAWS “Passing Through,” 2023 Photopolymer resin and beads Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0023 2023 / ALFREDO 11.25” H x 6.5” W x 7.5” D $800-1,200 Notes: This lot is accompanied by a Certificate of authenticity from the artist’s studio.

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233

Rick Wolfryd

(b. 1953) “Care Bear,” 2023 Photopolymer resin and beads Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0018 2023 / SAUL 9.875” H x 9.25” W x 7” D $700-900 Notes: This lot is accompanied by a Certificate of authenticity from the artist’s studio.

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234

Rick Wolfryd

(b. 1953) After KAWS “Along the Way,” 2023 Photopolymer resin and beads Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0020 2023 Each: 9.5” H x 7.125” W x 5.75” D $800-1,200 Notes: This lot is accompanied by a Certificate of authenticity from the artist’s studio.

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235

Alejandro von Waberer O’Gorman

(b. 1941) “Portrait of Nina Zoss,” 1963 Mixed media on board Signed, titled, and dated along the lower edge: Alejandro von Waberer OG 28” H x 15” W $1,000-1,500

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236

John Whitmore

(b. 1948) Raven with child Mixed media on illustration board Unsigned; inscribed and dated, possibly in another hand, verso 20” H x 15” W $1,000-2,000 Notes: This lot is accompanied by a handwritten letter and photograph of the artist.

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237

Charles Searles

(1937-2004) Untitled, 1992 Assembled painted wood Signed and dated verso: Searles / 12/92; marked further with leveling notes 67.75” H x 60” W x 9.875” D $2,000-3,000

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238

Willy Weber

(1933-1998) “Travel With Me” Sculpted chrome sheet Signed on the verso in marker: Willy Weber [with accompanying Willy Weber sticker]; inscribed on the verso in marker: “Travel With Me” 29.5” H x 23.75” W x 3” D $800-1,200 Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

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239

Andy “Socrates” Marquez (b. 20th century)

An “Alexander the Great” bench, 2023 Signed and dated to verso: Socrates 2023 The cantilevered bench with wood carcass covered in riveted patchwork aluminum finish and painted and stained wood seat with geometric motif 34” H x 62.25” W x 43.5” D $1,500-2,500

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240

Napoleon Abueva

(1930-2018) Abstract, 1968 Carved marble Etched signature and date to bottom: Abueva / ‘68 21” H x 9.125” W x 9.325” D $3,000-5,000

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241

A Maurice Model figural perfume bottle

Circa 1930s; Verdun, France Marked faintly to underside: M Model / France The French Art Deco black molded glass bottle in the shape of an elephant with a stopper in the form of a mahout rider figure 6.625” H x 4.75” W x 2.325” D $300-500

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242

A Maurice Model figural perfume bottle

Circa 1930s; Verdun, France Marked to underside: M Model / France The French Art Deco black molded glass bottle in the shape of a woman draped in loose cloth and holding an urn overhead 9.25” H x 2.325” Dia. $400-600

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243

Rick Wolfryd

(b. 1953) “Care Bear,” 2023 Photopolymer resin and beads Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0019 2023 / SAUL 9.875” H x 9.25” W x 7” D $700-900 Notes: This lot is accompanied by a Certificate of authenticity from the artist’s studio.

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244

Rick Wolfryd

(b. 1953) After KAWS “Dissected Man,” 2023 Photopolymer resin and beads Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0041 2023 14.75” H x 6.625” W x 3.5” D $600-800 Notes: This lot is accompanied by a Certificate of authenticity from the artist’s studio

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245

246

(21st century) “Marquise de Fontenay,” 2019 Oil on panel Signed, titled, and dated with the artist’s device lower right: Allois; signed and dated again with the artist’s device, verso 28” H x 22” W

(20th century) Black and red abstract Acrylic on panel Signed verso: Bradford Stewart 72” H x 109” W

Helen Allois

$1,000-1,500 Notes: This piece is accompanied by a Certificate of authenticity from the artist’s studio, signed and dated 03/17/2022 by Helen Allois, and with the red ink studio stamp. In addition, there is a copy of the artist’s CV, and a write-up about the artwork, written by the artist.

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Bradford Stewart

$800-1,200

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247

Adrian Murphy

(20th Century) “Telespective CXXXIII,” 1972 Oil on canvas Signed, titled, and dated verso: Adrian Murphy 30” H x 40” W $1,500-2,000 Provenance: Kendall Art Gallery, Wellfleet, MA Howard Wise Gallery, New York, NY

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248

249

(1899-1993) “Stepped Waterfall (Dandan no taki),” 1969 Woodcut in colors on Japanese paper Edition: 13/80 Signed, titled in Japanese, dated, and numbered in pencil, all in the lower margin: Okiie Hashimoto; with the artist’s red seal in the lower left corner of the image; Japanese characters printed in red along the lower portion of the right margin Image: 23.5” H x 19.125” W; Sight: 24” H x 24” W

(b. 1945) “Natural Occurrence VIII,” 1989 Oil on two joined canvases Signed lower right: Masteller; signed again, titled and 28.25” H x 52.25” W

Okiie Hashimoto

$500-700

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Barry Masteller

$600-800

d dated, verso

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250

Okiie Hashimoto

(1899-1993) “Stone Garden No. 4, Ryoanji Temple B,” 1961 Woodcut in colors on Japanese paper Edition: A.P Signed, titled in Japanese, dated, and numbered, all in pencil in the lower margin: Okiie Hashimoto; with artist’s red seal printed in the image at the lower left, and embossed Japanese characters in the lower portion of the right margin Image: 15.5” H x 15.5” W; Sight: 16” H x 16” W $500-700

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251

Ansel Adams

(1902-1984) “Half Dome, Merced River, Winter,” 1938 Gelatin silver print on paper mounted to a board mount Edition: 1175 of S.E.Y. [Special Edition Yosemite], printed later Signed faintly in ink on the mount, at right: Ansel Adams; titled, numbered, and inscribed No. 5, all in ink in the corresponding blanks of the special edition Photographs of Yosemite black ink stamp on the verso of the mat board mount Image/Sheet: 7.75” H x 9.625” W; Mount: 12” H x 15.375” W $2,500-3,500

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252

Ansel Adams

(1902-1984) “Moon and Half Dome” Gelatin silver print on paper mounted to a board mount Edition: 1089 of S.E.Y. [Special Edition Yosemite], printed 1958-1972 Signed in pencil on the mount, at right: Ansel Adams; titled, numbered, and inscribed No. 12, all in ink in the corresponding blanks of the special edition Photographs of Yosemite black ink stamp on the verso of the mat board mount Image/Sheet: 9.75” H x 7.625” W; Mount: 15” H x 12” W $3,000-5,000

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253

Edward Weston

(1886-1958) “Sandstone Erosion, Point Lobos,” 1942 Gelatin silver print on paper mounted to board mount Initialed and dated in pencil on the mount, at right: EW; inscribed in pencil on the mount, verso: PL42-R-2 Image/Sheet: 7.625” H x 9.5” W; Mount: 14” H x 15.5” W $8,000-9,000 Provenance: Private Collection, Bel Air, CA Literature: Conger 1699/1942 Edward Weston, “My Camera on Point Lobos” (New York: Da Capo Press, 1950), cf. plate 13. David Brower, “Not Man Apart: Photographs of the Big Sur Coast” (San Francisco: Sierra Club, 1965), cf. 44. Beaumont Newhall, “Supreme Instants: The Photography of Edward Weston” (New York: New York Graphic Society, 1986), cf. cat. 192, and plate 102. Sarah M. Lowe and Dody Weston Thompson, “Edward Weston Life Work: Photographs from the collection of Judith G. Hochberg and Michael P. Mattis” (Revere, PA: Lodima Press, 2003), cf. plate 106. Susan Danly, Jonathan Spaulding, Jessica Todd Smith, and Jennifer A. Watts, “Edward Weston: A Legacy” (The Huntington Library, Art Collections, and Botanical Gardens; New York: Merrell, 2003), cf. fig. 13, plate 21. w w w. j o h n m o r a n . c o m 2 9 3

254

Edward Weston

(1886-1958) “Eroded Rock, Point Lobos,” 1930 Gelatin silver print on paper Signed, titled, dated, and inscribed in pencil on the sheet, verso: Edward Weston / 51R; with pencil notations along the lower edge of the back mat Image/Sheet: 6.625” H x 9.5” W $5,000-6,000 Provenance: Private Collection, Bel Air, CA Literature: Conger 634/1930 [Titled as: Eroded Rock No. 51] Edward Weston, “The Flame of Recognition,” ed. Nancy Newhall (Millerton, NY: Aperture, 2017), 40. Amy Conger, et al., “EW: 100óCentennial Essays in Honor of Edward Weston” (Carmel, CA: Friends of Photography, 1986), fig. 3. Amy Conger, “The Monterey Photographic Tradition: The Weston Years” (Monterey, CA: Monterey Peninsula Museum of Art, 1986), fig. 47. Beaumont Newhall, “Supreme Instants: The Photography of Edward Weston” (New York: New York Graphic Society, 1986), plate 91. Notes: “If there is symbolism in my work, it can only be in a very broad consideration of life, the seeing of parts, fragments, as universal symbols...” Edward Weston

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255

Edward Weston

(1886-1958) “Rock Erosion, Point Lobos,” 1938 Gelatin silver print on paper mounted to a board mount Initialed and dated in pencil on the mount, at right: EW; dated again and with a notation in pencil on the mount, verso: PL-R-21g Image/Sheet: 7.625” H x 9.625” W; Mount: 14.875” H x 15.625” W $4,000-5,000 Provenance: Private Collection, Bel Air, CA Literature: Conger 1365/1938 Edward Weston, “My Camera on Point Lobos” (New York: Da Capo Press, 1950), cf. plate 8. Beaumont Newhall, “Supreme Instants: The Photography of Edward Weston” (New York: New York Graphic Society, 1986), cf. cat. 175. Sarah M. Lowe and Dody Weston Thompson, “Edward Weston Life Work: Photographs from the collection of Judith G. Hochberg and Michael P. Mattis” (Revere, PA: Lodima Press, 2003), plate 99.

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256

Brett Weston

(1911-1993) Lake at dusk, 1968 Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later Signed and dated in pencil in the lower right corner of the mat board Image/Sheet: 15.125” H x 19” W; Mat board: 22” H x 25” W $2,000-4,000 Exhibited: Walnut Creek, CA, Bedford Gallery of the Lesher Center for the Arts, “Brett Weston 1950 - 1980 Land, Figure, and Abstract,” December 8, 2011 - February 19, 2012

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257

Brett Weston

(1911-1993) Botanical leaves, 1975 Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later Signed and dated in pencil in the lower right of the mat board Image/Sheet: 15.125” H x 19” W; Mat board: 22” H x 25” W $1,000-2,000

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258

Brett Weston

1911-1993 “Dunes, Baja,” 1968 Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later Signed and dated in pencil in the lower right of the mat board: Brett Weston Image/Sheet: 7.625” H x 9.625” W; Mat board: 13.25” H x 15” W $1,500-2,500

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259

Herb Ritts

(1952-2002) “James Miller,” 1999 Platinum palladium print on paper, watermark Arches Edition: 78/100 Signed, numbered, and dated in pencil in the lower edge, verso: Herb Ritts; with an unidentified blindstamp lower left, verso; inscribed in pencil in the lower edge, verso: Special Olympics / Platinum Press Image: 15” H x 12” W; Sheet: 20” W x 16” W $1,000-1,500 Notes: An envelope with close-up photographs of the work (recto and verso) is housed in a clear sleeve attached to the frame’s backing paper, as well as an information label which is housed in its own clear sleeve.

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260

Peter Basch

(1921-2004) Brigitte Bardot Gelatin silver print on paper From the edition of unknown size and date; printed later Signed and inscribed in white ink at the lower edge: Peter Basch / To Igor a Master of the Craft / with thanks / Brigitte Bardot - Spain / 1957-1987 Image: 13” H x 10” W; Sheet: 14” H x 11” W $400-600

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261

Richard Avedon

(1923-2004) “Vladimir Horowitz, Pianist, New Milford, Connecticut,” 1975 Gelatin silver print on paper Edition: 5/50 Signed ‘Avedon’ and numbered ‘5/50’ and neg. no ‘11’ in ink, with the ink stamp title, date, edition information, copyright credit, and reproduction limitation, all on the verso of the sheet Image/Sheet: 10” H x 8” W $2,000-4,000 Provenance: Private Collection, Bel Air, CA

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262

William Claxton

(1927-2008) “Ray Charles,” 1962 Gelatin silver print on paper From an edition of unknown size; printed later Unsigned; attributed, titled, and dated on the frame plaque Image: 20.25” H x 13.75” W; Sight: 21” H x 14.5” W $600-800

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263

Herb Greene

(b. 1942) “Janis Joplin,” 1966 Gelatin silver print on paper Edition: 10/50; printed later Signed and numbered in ink in the lower margin: H Greene Sight: 15.5” H x 14” W $800-1,200

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264

Sam Taylor-Johnson

(b. 1967) “Looking Out,” 2002 C-print on paper Edition: 163/200 Signed, titled, dated, and numbered in ink in the lower margin Image: 6.25” H x 22” W; Sight: 19.5” H x 23.5” W $500-700

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265

Peter Rostovsky

(b. 1970) “Man in Fog,” 2010 Oil on panel Unsigned 48.25” H x 64” W $2,000-3,000 Notes: This title and date were found on the artist’s website: https://www.peterrostovsky.com/fogpaintings-landscapes-for-another/u4ewdlfxoq2n51c2f9uytt7sih030r

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266

Lesley Dill

(b. 1950) “Beauty Crowds Me Till I Die,” 1997 Photogravure, hand stamping, stenciling, and thread on Gampi paper mounted on Arches cover paper Edition: 17/20 Signed, dated, and numbered in pencil in the lower left and right corners: Lesley Dill Image: 19.75 H x 15.25 W; Sheet: 28.25 H x 20.875 W $1,000-2,000 Provenance: Charles M. Young Fine Prints and Drawings, Portland, CT

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267

Jan Saudek

(b. 1935) “Milan, 1975” Sepia and toned gelatin silver print on paper From the edition of unknown size Signed in ink lower right: Jan Saudek Image: 12.625” H x 10.125” W; Sheet: 16” H x 12” W; ;Mat: 20” H x 16” W $500-700

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268

Andre Kertesz

(1894-1985) “Melancholic Tulip,” 1939 Gelatin silver print on paper From the edition of unknown size; printed later Signed and dated in pencil, verso: A Kertes; dated again and titled on a gallery label affixed to the frame’s backing board Image: 9.75” H x 7” W; Sheet: 9.875” H x 8” W $4,000-6,000 Provenance: S.K. Josefberg Studio, Portland, OR G. Ray Hawkins Gallery, Santa Monica, CA

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269

Andre Kertesz

(1894-1985) “Botticelli Sculpture in Glass on Windowsill,” 1978 Gelatin silver print on paper From the edition of unknown size; printed later Unsigned; dated in pencil at the lower edge, verso; titled on a gallery label affixed to the frame’s backing board Image: 6.625” H x 9.75” W; Sheet: 8” H x 10” W $1,500-2,000 Provenance: S.K. Josefsberg Studio, Portland, OR G. Ray Hawkins Gallery, Santa Monica, CA Notes: There is a handwritten notation in pencil on the verso of the sheet: AK0258.

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270

Andre Kertesz

(1894-1985) “The Concierge’s Dog, Paris,” 1926 Gelatin silver print on paper From the edition of unknown size; printed later Unsigned; with the artist’s ink stamp, verso Image: 9.625” H x 7.25” W; Sheet: 9.875” H x 8” W $1,500-2,000 Provenance: S.K. Josefsberg Studio, Portland, OR G. Ray Hawkins Gallery, Santa Monica, CA

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271

Rocky Schenck

(b. 1960) “London Hotel Room” Gelatin silver print on paper From the edition of unknown size and date Appears unsigned Sight: 15.5” H x 23” W $500-700 Provenance: S.K. Josefsberg Studio, Portland, OR

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272

Rocky Schenck

(b. 1960) “Lost,” 1999 Gelatin silver print on paper Edition: 1/10 Signed verso according to the gallery label affixed to the frame’s backing board Sight: 14.5” H x 23.25” W $500-700 Provenance: Paul Kopeikin Gallery, Los Angeles, CA

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273

Bruce Barnbaum

(b. 1943) “Dune Ridges at Sunrise, Death Valley,” 1976 Gelatin silver print on paper mounted to a board mount Signed and dated in pencil at the lower edge of the board mount: Barnbaum; the artist’s archival ink stamp with the negative number “45-1394A,” title, and year of the negative exposure, “1976/1980,” all in pencil on the verso Image/Sheet: 10.75” H x 13” W $400-600

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274

20th Century American School

Nine small photographs of the Macy’s Day Parade, circa 1950 Each: Gelatin silver print on paper Each: Unsigned Sight of each: 2.5” H x 2.25” W $300-500

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275

Horace Bristol

(1909-1997) “Shinto Shrine Melee,” 1946 Giclee print on paper Edition: AP; printed 2002 With the ink stamp signature and estate stamp with the executor’s signature, printing date, and edition, in pencil, all verso Image: 20” H x 30” W; Sheet: 23.5” H x 33.25” W $1,500-2,500

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Consign Today

Modern & Contemporary Fine Art 6.11.2024 Panayiotis “Takis” Vassilakis “Signal,” circa 1967-1971

Price Realized: $50,000 Consignment and Auction Inquiries: fineart@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 3 1 8 A r t + D e s i g n l Tu e s d a y, F e b ru ary 2 7 , 2 0 2 4

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

Alice Baber “Axe in the Grove,” 1966

Price Realized:$275,000 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 3 1 9

Condition Reports

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1 Overall generally good condition. Pale and uneven light staining throughout. Time staining along the extreme sheet edges. Scattered areas of pinheadsized or smaller areas of foxing, primarily visible in the upper left quadrant. Areas of surface soiling scattered in the outer edges. The verso sheet with uneven toning throughout. The sheet is loose, not matted. Framed under Plexiglas: 20” H x 34.5” W x 1.5” D 2 Overall good condition. A 1” soft handling crease near the lower portion of the left edge. Not examined of the frame. Framed under glass: 27” H x 27” W x 1” D 3 Overall good condition. With full margins. The sheet is framed floating and mounted to the back mat at the verso of each of the margin corners. Framed under glass: 24” H x 21” W x 2” D 4 Overall good condition. Full margins and deckled edges. A soft and small pressure mark at the lower margin edge, right of center. A soft handling crease in the lower portion of the left margin edge. The sheet is framed floating and tipped to the back mat from the verso of each margin corner. Framed under Plexiglas: 24.75” H x 18.75” W x 1.5” D

Condition Reports

5 Overall good condition. Full margins with deckled edges. A few pale pinpoint-sized or smaller areas of foxing scattered in the outer upper and lower margin edges. Soft cockling to the margin edges, attendant with the material and mounting process. The sheet is mounted to the back mat with tape from the margin corners and edges, verso.

322

Unframed 6 Overall good condition. The full sheet with deckled edges. The sheet slightly toned throughout. Framed floating, mounted to the back mat in numerous places at the verso of the sheet edges Framed under Plexiglas: 34.625” H x 27” W x 1.625” D

7 Overall good condition. The full sheet. A minor 1.5” diagonal crease in the upper right corner. The sheet is framed floating and mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 41” H x 36.5” W x 2” D 8 The sheet is cut along the lower edge, resulting in the loss of the copyright line. Pale light staining with the colors slightly attenuated. Pea-sized or smaller foxmarks scattered throughout but primarily showing in the outer edges, the blank, and the verso. A few unobtrusive surface scuffs, nicks, and handling creases showing primarily at the outer edges. The tip of the upper right corner is slightly dog-eared. The sheet is loose, not matted. Unframed 9 The sheet has been significantly trimmed width-wise by approximately 7.75” whereas the full sheet should have the dimensions of 22” H x 17” W. Light staining throughout the sheet and time staining along the extreme edges of the sheet. Traces of residue from old adhesive showing at the upper left and right corners from the verso of the sheet to the recto. Soft handling creases scattered primarily in the outer edges. A pinhead-sized tear in the extreme left edge, near center. Two small approximately 0.75” folds in the extreme lower right corner. The sheet is loose and held to the back mat by four clear mounting tabs. Framed under glass: 28.5” H x 16.5” W x 1.25” D 10 Soft rippling to the outer edges of the sheet along all four edges. Pale pink staining in the form of faint letters showing through along the upper sheet edge from extended contact with words written with black marker on the cardboard backboard. An approximately 3” H x 4” W pale stain showing through in the lower portion of the left sheet edge from extended contact with a piece of old packing tape affixed to the cardboard backboard. Backboard staining, verso. The sheet is loose, not matted. Framed under glass: 42” H x 31.25” W x 0.75” D

12 Overall good condition with scattered scuffs and scratches commensurate with age. Mounting putty residue to underside. 13 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each upholstered cushion in good condition with normal wear and some creasing from use. 14 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered soiling and staining to wood, the largest stain to verso measuring 2” x 1.5”. Upholstery in overall good condition with some all-over soiling and general wear commensurate with age and use and a few small pulled threads in the gutters.

19 Overall good condition. With margins. Very pale light staining along the margin edges. Not examined out of the frame. Framed under Plexiglas: 36” H x 42.25” W x 1.75” D 20 With margins. The sheet is toned throughout, with areas of uneven and darker toning to the margin edges. A pinhead-sized area of pale reverse staining in the lower margin, right of center. As previously stated, the sheet is laid to paperboard. The sheet is affixed to the overmat with tape along the verso of each sheet edge. Framed under glass: 28.25” H x 23.25” W x 1.25” D 21 Overall generally good condition. The full sheet with deckled edges. The paper lightly toned throughout, with a slightly darker 0.5” H x 3” W band of toning at the upper left, jujst Scattered and generally unobtrusive pinpoint-sized foxing concentrated primarily in the blank of the upper left quadrant. Minor remains of old hinges, verso, with attendant occasional very slight handling creases visible primarily in raking light. Framed floating, hinged to the back mat in various places at the verso of the sheet edges. Framed under Plexiglas: 44.75” H x 37.5” W x 1.25” D

15 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top and right-side cabinet door have been refinished/ restored. The left-side hinge in the central dropdown panel is bent and preventing the top drawer from fully opening.

22 Overall good condition. Full margins with deckled edges. Approximately 0.375” wide bands of time staining along each of the extreme margin edges. The sheet is hinged with white tape from the verso of the upper and lower margin edges.

16 Overall good condition with scattered scuffs and scratches commensurate with age. Mounting putty residue to underside and upper rim edge.

23 Overall very good condition. The colors fresh. Some very pale time staining at the extreme sheet edges. The work is protected by a clear mylar wrapper of more recent date.

17 Overall good condition with scattered scuffs and scratches commensurate with age. Mounting putty residue to underside. 18 Overall good condition with scattered scuffs and scratches commensurate with age. Mounting putty residue to underside.

Framed under Plexiglas: 28” x 24” W x 2.25” D

24 Overall generally good condition. Slight rippling through the sheet. Pale time staining and pale light staining showing in the margins. The sheet is framed floating. Framed under Plexiglas: 27” H x 24.25” W x 1.75” D

Condition Reports

11 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Some concentrated scuffs to legs of chairs and base of table. Scattered scuffs and scratches to chair seats. One chair with three vertical slats separated from seat back stretcher, with stretcher separated from main supports and possible attempted repair. One more chair with separation of a vertical slat. Glass overall good condition with scattered scratches.

323

25 Overall good condition. With margins. Tape and old tape residue along the verso of the margin edges. The sheet is hinged to the overmat with various types of tape at the upper margin edge Framed under glass: 19.75” H x 20” W x 1.75” D 26 Overall good condition. Pale backboard staining to the sheet, verso, attendant with the cardboard backing used. Framed under glass: 21.5” H x 18.75” W x 1” D 27 Overall good condition. With margins. Not examined out of the frame. Framed under Plexiglas: 30.5” H x 25.5” W x 2” D 28 Overall good condition. With margins. Not examined out of the frame. Framed under Plexiglas: 30.5” H x 25.5” W x 2” D 29 Overall good condition. With margins. Very Soft rippling throughout. Unobtrusive minor foxing in the margins. Not examined out of the frame. Framed under Plexiglas: 21” H x 21” W x 1.25” D 30 Overall good condition. Full sheet with deckled edges. Soft handling creases scattered throughout. Three dime-sized areas of pale glue residue at the left and right edge, verso. A dime-sized area of surface skinning in the upper sheet edge, at center. The sheet is hinged to the overmat with two pieces of white tape from the verso of the upper edge.

Condition Reports

Framed under glass: 28” H x 33” W x 3” D

324

31 Overall good condition. There is an approximate 0.5” wide band of white archival tape along each edge of the verso of the sheet. The sheet is hinged to the overmat in two places by pieces of white archival tape. Framed under glass: 20.25” H x 25” W x 2” D

32 Overall good condition. A pinpoint-sized foxmark on the sheet, verso. White tape along each of the sheet edges, verso. The sheet is hinged to the overmat with two pieces of white tape from the verso of the upper sheet edge. Framed under Plexiglas: 21” H x 25” W x 2” D 33 Overall good condition. Minor surface soiling. A ricesized area of white gouache on the flag at upper right, possibly in the hand of the artist. Artist tack holes in the four corners of the sheet. A short, 0.5” vertical edge tear in the lower left corner, not affecting the image. As mentioned, the sheet is laid to a thin backing board. Framed under glass: 21.75” H x 24.75” W x 2” D 34 Visual: Overall good condition. Slight dust accumulation and occasional flecks of grime. Blacklight: No evidence of restoration. Frame: 26” H x 30” W x 3” D 35 Visual: Overall good condition. Soft frame abrasion in the extreme upper left edge. Blacklight: No evidence of restoration. There is a thick application of varnish applied. Frame: 32” H x 26.25” W x 3” D 36 Visual: Overall good condition. Small areas of craquelure scattered throughout and some areas of unstable craquelure with attendant pinpoint-sized pigment losses, primarily in the lower left quadrant. The canvas has been relined. Blacklight: Dime-sized or smaller areas of touch-up scattered in the upper and lower left quadrants. Frame: 30” H x 26” W x 3” D 37 Each overall good condition with mild tarnishing and light scratches commensurate with age. 38 Each overall good condition with tarnishing and light scratches commensurate with age. 39 Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include mixed metal items.

41 Each overall fair to good condition with tarnishing, scuffs, and scratches commensurate with age. The two platters and underplate each with localized scuffed losses to silver plate, exposing base metal. 42 Overall good condition. With full margins and deckled edges. A few scattered, minor handling creases. A pinhole in the upper right margin corner. Slight surface soiling and foxing. Some stray printers ink in the margins, not affecting the image. The sheet is hinged to the overmat with linen tape from the verso of the upper margin edge. Framed under Plexiglas: 29” H x 23.5” W x 1.75” D 43 Overall good condition. The colors fresh. Presumably the full margins with deckled edges, with the left edge folded 1.25” under and the right edge folded 1” under. A soft crease extending from the left to right edges across the upper margin. The sheet is framed floating and mounted to the back mat. Framed under Plexiglas: 41” H x 48.25” x 1.5” D 44 Overall generally good condition. With full margins. Several short approximately 1” long handling creases, including in the blank at center, visible primarily in raking light. Slight backboard staining, verso. The sheet is loose, not matted. Unframed 45 Overall good condition. Slight soiling to the extreme edges of the sheet. The sheet is loose and not matted. Unframed

46 Overall generally good condition. “Star Eyes # Two” with a 5” vertical soft handling crease into the sheet from the upper right edge. A 5” soft horizontal handling crease in the lower right corner. An approximately 7” vertical soft handling crease in the upper left quadrant towards the upper left edge. A few occasional scattered soft handling creases throughout. “Oops # Two” with a 1.5” diagonal soft fold in the upper left corner and the extreme upper left corner dog-eared. A soft 0.5” horizontal soft handling crease towards the middle of the lower sheet edge. Each sheet is loose and not matted. Unframed 47 Overall generally good condition. The colors fresh with deckled edges on each. “Friend” with a 5” handling crease towards the middle of the upper edge and a width-long fold through the sheet towards the lower edge. Few occasional small soft handling creases throughout. “Took us by Surprise” with few occasional soft handling creases throughout. Each sheet is loose and not matted. Unframed 48 Overall generally good condition. The full sheet with deckled edges. Scattered soft handling creases concentrated primarily near the corners of the sheet and visible primarily in raking light. The longest handling crease measuring approximately 15.5 inches in the lower left corner. A few scattered and very unobtrusive pinhead-sized losses to the metal leaf. The sheet is loose, not matted. Unframed 49 Overall good condition. The full sheet with deckled edges. The sheet is loose, not matted. Unframed 50 Overall good condition. The full sheet with deckled edges. A quarter-sized area of unobtrusive pigment loss in the upper right quadrant of the quatrefoil. The sheet is loose, not matted. Unframed

Condition Reports

40 Each overall good condition with mild tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

325

51 Overall good condition. The full sheet with deckled edges. A few soft handling creases in the lower left corner. An approximate 7” vertical indentation to the sheet, directly above the image in the blank, possibly inherent with the natural paper construction. The sheet is loose, not matted. 52 Overall good condition. Full margins with deckled edges. Minor handling creases scattered near the margin edges, not affecting the image. The sheet is framed floating and hinged to the back mat from the verso of the four margin corners. The extreme margin corners are slightly dog-eared. Framed under glass: 35.25” H x 30.125” W x 1.375” D 53 Overall good condition commensurate with age. Minor scattered areas of loss to beadwork. Unframed 54 Overall good condition commensurate with age. Minor scattered areas of loss to beadwork. 55 Overall good condition with scattered scuffs and scratches, possibly inherent in the assembly. 56 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue.

Condition Reports

57 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue.

326

58 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with mounting wax residue to juncture of stopper and neck. One with sticker/felt ghost to underside, the other with felt applied to underside. 59 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with mounting wax to the juncture of the stopper, rendering two fused. Subsequently, the condition of these stoppers has not been inspected. As well, each with mounting wax residue and/or sticker ghost to underside.

60 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With mounting wax residue to underside and the juncture of the stopper. 61 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 62 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue. 63 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Acrylic base with scattered shelf wear and light scratches. Mounting wax residue to underside of vase as well as the top and underside of the base. 64 Overall good condition with scuffs and darkening/ oxidation to brass commensurate with age. The base with minor bumps to edges. 65 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The later added rotating base is detachable from underside. 66 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. The metal ring slightly loose on base. Possible resoldering where ring meets the base. 67 Each overall good condition with scattered minor scuffs and scratches commensurate with age. Each with areas of variation in the finish inherent in the welding/fusing process of the bronze pieces. Each with felt applied to undersides. Pedestal in overall good condition with scuffs and scratches. As well, a 3” long area of adhesive residue to top and 0.25” area to one corner where the vinyl layer is lifting from the wood. 68 Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age. One with pea-sized dent in “neck,” possibly inherent in the casting. Each slightly loose form its mounting. The pedestal in overall good condition with scattered minor scuffs and scratches.

69 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Felt applied to underside. The base with resin substance cracking and flaking off.

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

70 Overall good condition with scuffs, scratches, and indentations commensurate with age and use. The metal frame with scattered very minor pitting to chrome finish. Foam cushions have been somewhat worn out of original form from use, particularly the seats. The leather in overall good condition with some creasing and scattered minor scuffs and scratches.

76 Visual: Overall good condition.

72 Overall good condition. The full sheet. The sheet is framed floating and hinged to the back mat. Not examined out of the frame. Framed under glass: 65” H x 54.25” W x 2.5” D 73 Each overall generally good condition. Each with full margins or sheets and with deckled edges. Handling creases scattered throughout, some works with more than others. “Self-Portrait (SF-05)” with a diagonal crease through the whole sheet and on the left portion of the sheet, slightly affecting the image. A few soft handling creases scattered in the outer edges. “Self-Portrait (SF-042),” handling creases scattered throughout, with areas of heavier creasing in the upper sheet edge. “Self Portrait (SFE-304),” with small white pieces of tape remnants along the sheet edges, verso. Each sheet is loose, not matted. Each unframed

Blacklight: No evidence of restoration. Unframed 77 Visual: Overall generally good condition. A pea-sized pigment loss exposing the gray-glue underlayer near the center of the left edge of the pale gray section. Pea-sized pigment losses exposing the gesso underlayer of at least four of the corners of the three joined sections. Blacklight: No evidence of restoration. Overall: 27” H x 63” W x 2” D 78 Overall good condition. The full sheet with deckled edges. The sheet is loose, not matted. Unframed 79 Visual: Overall generally good condition. A 1” dia. soft pressure mark to the canvas in the upper left quadrant in the black band of pigment and a 1” dia. soft pressure mark into the canvas in the upper right quadrant to the right of the sphere. Occasional small areas of craquelure throughout, with a prominent 2” H x 1” W area towards the center of the right edge, with some unstable craquelure and pigment loss towards the upper portion. Blacklight: No evidence of restoration. Some of the orange pigment fluoresces under blacklight.

74 Visual: Overall generally good condition. Craquelure and occasional specks of grime scattered throughout. Small areas of brown paper residue adhered in a few places at the outermost edges, each area approximately nickel-sized or smaller. Occasional unobtrusive pigment losses, rice-sized or smaller, also near the outermost edges.

Frame: 36.25” H x 34.25” W x 1.25” D

Blacklight: No evidence of restoration.

Framed under glass: 29.5” H x 35.375” W x 1.625” D

Unframed

80 Overall good condition. Very minor and unobtrusive rippling throughout the center. A speck of pigment loss near the upper edge, at left. A possible 2.5” H paper repair along the lower right edge, near the corner. The sheet is mounted to the back mat.

Condition Reports

71 Each overall good condition with scattered minor scuffs and light scratches commensurate with age. Scattered minor pitting to the chrome finish of legs. The leather in good condition with very minor creasing.

Framed under Plexiglas: 48.75” H x 62” W x 2” D

327

81 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Scattered fleabite chips to paint at edges and one pea-sized chip. 82 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. 83 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Scattered areas of wear to the patina.

Frame: 34.75” H x 45.5” W x 2” D 90 Overall good condition. Light scuffing, abrasion, and folding to the corners of each card commensurate with handling. Slight levels of transfer from the crayon to the verso of each card. Unframed 91 Overall good condition. Light scuffing, abrasion, and folding to the corners of each card commensurate with handling. Slight transfer of crayon to verso of each card.

Framed under Plexiglas: 66.5” H x 46.5” W x 1.5” D

Unframed

85 Visual: Overall good condition. Fine stable craquelure throughout, showing primarily in the light yellow pigment squares. The painting appears to be attached to the stretcher, verso, via numerous pieces of brown paper tape. The frame is hand-painted.

92 Visual: Overall good condition. A soft stretcher bar crease showing primarily in the upper portion of the right edge. A soft central and vertical crease to the canvas.

Frame: 29.25” H x 24.25” W x 1.25” D

Condition Reports

Blacklight: No evidence of restoration.

84 Overall good condition. Artist pinholes at each of the four corners. The sheet is framed floating and mounted to the back mat. Not examined out of the framed.

Blacklight: No evidence of restoration.

328

89 Visual: Overall good condition.

Blacklight: No evidence of restoration. Frame: 40” H x 30.5” W x 3” D

86 Visual: Overall good condition. Very slight abrasion along the upper edge, at left.

93 Overall good condition. The sheet is framed floating. Not examined out of the frame. The frame is handpainted.

Blacklight: No evidence of restoration.

Framed under glass: 30.25” H x 37.75” W x 1” D

Frame: 19.25” H x 25.25” W x 1.75” D

94 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Felt feet applied to underside. Sticker starting to peel at one corner.

87 Overall good condition. With margins. The colors fresh. A soft 2” horizontal handling crease near the center of the image’s lower edge. The work is attached to the overmat in places with white linen tape from the verso of the margin edges. Framed under glass: 43.75” H x 53.25” W x 1.25” D 88 Overall good condition. With margins. The colors fresh. The work is attached to the overmat in places with white linen tape from the verso of the margin edges. Framed under glass: 41.25” H x 53.25” W x 1.25” D

95 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue. 96 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 97 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Mounting putty residue to underside.

99 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue. 100 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered minor wear to the chrome plating at junctures and corners. The interiors of cylinders with scattered scratches, concentrated at the mounting holes. Soiling and wax residue to bob bobèche ches. 101 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. More concentrated scratches to legs and one arm with 2.25” long scuff revealing unfinished wood. The upholstery in overall good condition with scattered loose and separated threads and general rubbed wear to the seat cushions. 102 Overall good condition with scattered scratches and scuffs to frame and legs commensurate with age. Updated upholstery in good condition with minor general wear to the velvet grain and minor creasing to seat cushion at front corners. 103 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age, concentrated to legs and seat backs. One chair with repaired crack to front leg. Upholstery overall good condition with rubbed wear to the fabric from use and some oxidation staining to areas around rivets. 104 Visual: Overall generally good condition. Fine stable craquelure showing primarily in the tan pigment at the center and brown pigments in the upper left quadrant. A 1.5” H x 1” W area of pigment loss in the brown pigment in the upper right quadrant. Blacklight: No evidence of restoration. Frame: 25.25” H x 28.25” W x 1.75” D

105 Visual: Overall generally good condition. Soft and unobtrusive frame abrasion down the left edge. A small area of pinhead-sized spots of pigment loss in the brown pigment of the lower right quadrant. Blacklight: No evidence of restoration. Frame: 21.5” H x 16.5” W x 1.5” D 106 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 31.5” H x 27.75” W x 1.75” D 107 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with varying degrees of rubbed wear and scattered scratches commensurate with age and use, more concentrated on the seats. 108 Overall good condition with scattered scuffs and scratches commensurate with age. Some soiling and more concentrated rubbed wear to rod, concentrated near upper portion. Shade is new in box, unboxed once for photography, with some creasing to the paper from storage/packaging. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 109 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Steel frame with oxidation to the metal. The runners with black scuffs and more concentrated wear to ends. The upholstery overall fair to good condition with general soiling and three splits in the stitched seams, each measuring 4-6” long as well as a split to underside of armrest area 1.5” long. 110 Overall good condition. Areas of pale staining to the music sheets scattered throughout. Scattered dimesized or smaller areas of texture and shallow pressure marks in the black pigment of the Mr. Monoply figure. Scattered surface scratches to the resin, primarily visible in a raking light. Unframed

Condition Reports

98 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue.

329

111 Visual: Overall generally good condition. Scattered areas of peeling and slight bubbling to the collage pieces. Two 1.5” horizontal tears to the canvas at the lower edge, and another 3” and 2” horizontal tears to the canvas on the left arm on the red jacket of the Bob Dylan figure to the far right. Soft stretcher bar creases along each of the sides. A small area of abrasion to the lower portion of the extreme right edge. Blacklight: No evidence of restoration. Unframed 112 Overall generally good condition. Soft scuff marks throughout, showing primarily in the lower right quadrant, with a 5” diagonal scuff mark through the figure’s forehead. Stretcher bar creases along each edge. Blacklight: No evidence of restoration. The green and orange pigments fluoresce under blacklight. Unframed 113 Overall good condition. The full sheet and the colors fresh. Very minor, unobtrusive dog-eared folds to the extreme upper and lower left corners. The sheet is framed floating and tipped to the backmat in each corner.

Condition Reports

Framed under Plexiglas: 34.75” H x 42.75” W x 1” D

330

117 Condition issues are commensurate with the material and creative process. Unframed 118 Visual: Overall good condition. Blacklight: No evidence of restoration. Unframed 119 Overall good condition. An unobtrusive, pea-sized surface abrasion with attendant loss of a bit of the gem sand in the figure’s jaw line, at left. Slight dust accumulation commensurate with the media used. Unframed / Overall: 24” H x 24” W x 0.625” D 120 Visual: Overall good condition. A 0.75” horizontal scratch into the panel towards the center of the extreme upper edge. Small scattered dots of grime primarily in the lower half. Blacklight: No evidence of restoration. Unframed 121 Visual: Overall good condition. Blacklight: No evidence of restoration. The orange pigment flouresces under blacklight.

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

Unframed

Framed under Plexiglas: 40.5” H x 52.5” W x 2.25” D

Blacklight: No evidence of restoration.

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

Unframed

116 Condition issues commensurate with material and creative process. Unframed

122 Visual: Overall good condition.

123 Visual: Overall good condition. A pinhead-sized spot of pigment loss in the upper left edge. Blacklight: No evidence of restoration. Frame: 41.25” H x 61.25” W x 2” D 124 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 36” H x 51” W x 2” D

125 Visual: Overall good condition. A soft stretcher bar crease along the center of the canvas, primarily visible in a raking light. The upper edge slightly rippled, most likely attendant with the canvas being slightly loose from the upper stretcher. A small and unobtrusive area of paint shrinkage in the green pigment at the upper left corner. The smallest ricesized area of surface abrasion near the lower edge, left of center.

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

Blacklight: Pea-sized or smaller areas of touch-up scattered in the lower right quadrant.

134 Each overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. Localized minor nicks and scratches to armrest terminals. Upholstery in overall good condition with light soiling to seat cushion, which is lacking piping and includes a stain to underside measuring 10.5” diameter. Foxing to canvas seat strapping as well as attendant foxing stains to upholstery at sides of chair and sides of armrests.

126 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Underside with applied felt and mounting putty residue. 127 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Interior with some crazing to the glaze. 128 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with crazing to the glaze. 129 Overall good condition. Panel 2 with a small number of rice-sized or smaller surface scrapes with attendant paint loss scattered horizontally across the center section. Panel 2 also with a pinhead-sized pressure mark near the center of the right edge. Panel 6 with a very unobtrusive 0.5” vertical pressure mark visible mostly in raking light. Panels 2, 3, 4, and 6 each with occasional pea-sized or smaller paint losses at or near the extreme edges or corners. Most panels with slight abrasions along the extreme edges, attendant with installation as abutting components. Seven pieces Unframed 130 Overall good condition. The wood with scattered scuffs, scratches, and nicks commensurate with age. Chipped loss to upper rightmost tile in upper right corner measuring 0.875” H x 0.325” W x 0.25” D. 131 Overall good condition with very mild shelf wear and inherent firing flaws commensurate with age.

135 Overall good condition with scattered light scuffs, scratches, and nicks commensurate with age, concentrated at legs and arm rests. Rear leg verso with 7” long vertical scratch. Upholstery overall good condition with general wear and light soiling. Front edge of seat cushion with 0.75” diameter area of degradation to fabric. Back cushion slightly loose from it/’s anchor to back stretcher with stripped locking screw. 136 Overall good condition with scattered light scuffs, scratches, and nicks commensurate with age, concentrated at legs and arm rests. Two 1” long scratches to front left leg. Upholstery overall good condition with mild general wear, fading, and light soiling. Seat upholstery with two pea-sized rubbed worn holes at the back from seat back swiveling action. 137 Overall good condition with scattered light scuffs, scratches, and nicks commensurate with age, concentrated at legs and arm rests. Upholstery overall good condition with very minor general wear and light soiling. 138 Each overall good condition with scattered light scuffs, scratches, and nicks commensurate with age, concentrated at legs. Upholstery overall good condition with very minor general wear, the sofa with one back cushion upholstery slightly pulled out of straight.

Condition Reports

Frame: 32” H x 40” W x 3.5” D

133 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

331

139 Overall good condition with scattered scuffs, scratches, nicks, and separation at joints commensurate with age. Localized scratches and nicks at legs and top, with two faint drink rings to top surface. One side of legs slightly loose from juncture with table top. 140 Each overall good condition with scattered minor scuffs and scratches commensurate with age. The gold-toned metal components with early signs of pitting to the finish. Each shade with mild soiling to rims, edges, and interior. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 141 Overall good condition. The sheet is mounted to the backboard and sandwiched between the Plexiglas and frame support. Framed under Plexiglas: 40” H x 58.5” W x 2” D 142 Overall good condition. The sheet is mounted to the backboard and sandwiched between the Plexiglas and frame support. Framed under Plexiglas: 39” H x 60” W x 2” D 143 Overall good condition. The sheet is mounted to the backboard and sandwiched between the Plexiglas and frame support. Framed under Plexiglas: 40” H x 26.5” W x 1.25” D

Condition Reports

144 Overall good condition with scattered scuffs, scratches, and indentations commensurate with age. Slight buckling at some ends of each etched brass band. More concentrated scuffs to upper surfaces. Minor scattered scratches to glass surfaces.

332

145 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The table top with scattered scratches and rubbed wear to the leather. As well, a 1” long scuff to the edge of right side. The chair with degradation to foam core of the seat cushion, which is caught by the dust cover underneath. Upholstery overall good condition with fading, even wear to the pile, and scattered staining, the largest measuring 1.25” Dia. at the seat cushion. Each with scattered pitting/ degradation losses to brass plating, revealing the base metal, particularly to chair legs and stretchers, with attendant oxidation. 146 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with wear to the snakeskin wrap, concentrated at edges, legs, and tops. Each top with scattered scuffing and and soiling. 147 Visual: Overall good condition. Blacklight: No evidence of restoration. Unframed 148 Overall good condition. Minor yellowing discoloration to the epoxy, attendant with the aging process. Soft and unobtrusive surface scuffs, scratches, and residue adhered to the epoxy surface and scattered throughout. Unframed

149 Overall good condition. Pale time staining to the sheet edges, both recto and verso. Slight surface skinning and attendant pigment losses in places along the sheet edges, all of which appear to be related to the prior removal of old tape, possibly by the artist himself. Two pieces of old cellophane tape at the verso of the left corner. The sheet is loose, not matted. Framed under glass: 13” H x 14.75” W x 1” D 150 Visual: Overall good condition. A few scattered pinhead-sized stray flecks of white pigment, primarily in the upper and lower right quadrants. Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight, however these appear to be in the hand of the artist. Frame: 29.25” H x 41” W x 3” D

151 Overall good condition with scattered light scuffs, scratches, and nicks commensurate with age, concentrated at legs and arm rests. Left arm rest with 1” diameter scratch and right arm rest with 2.25” long scratch. Upholstery overall good condition with two tuft buttons detached and retained with the lot.

160 Overall good condition. A 1.25” horizontal soft handling crease at the upper right edge. Slight rippling through the upper and left edge. The sheet is sandwiched in the mat.

152 Each overall good condition with scattered light scuffs, scratches, nicks commensurate with age, concentrated at legs and arm rests. Light soiling and localized scattered small stains concentrated at undersides of wood components. Paper cording overall good condition with scattered small stains and soiling. Undersides of cording with more concentrated soiling.

161 Overall good condition. The colors fresh. A few artist pinholes in the upper left and right sheet corners. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

154 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With a 2.5” long scratch to one side. 155 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 156 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue. 157 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue and label maker remnants. Sticker to side starting to peel on one corner. 158 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The underside with mounting wax residue. 159 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age, concentrated to bottom edges. Small imperfections to stems, possibly inherent in the crafting.

Framed under glass: 25.75” H x 35.75” W x 1.25” D 162 Visual: Overall good condition. A pinhead-sized spot of surface abrasion with attendant pigment loss in the upper edge, at center. Blacklight: Areas of touch-up scattered throughout, the largest measuring 0.5” H x 0.75” W to the left of the large central rock, in the lower left quadrant. Frame: 25” H x 18” W x 1.5” D 163 Overall good condition. The colors fresh. Some soft rippling and handling creases along the lower margin. A 1.25” H x 2” W stain at the edge of the lower margin, at right. A 1” diagonal crease in the lower left corner. A soft 4” crease in the lower right margin, not affecting the image. Skinning from previous hinging in two places on the verso of the upper sheet edge. The sheet is loose and not matted. Unframed 164 Overall good condition. The colors fresh. The extreme lower right corner tip slightly dog-eared. Pieces of old hinging tape in two places on the verso of the sheet. The sheet is loose and not matted. Unframed 165 Overall good condition. The colors fresh. Soft handling creases along the lower left margin. A very soft 1” diagonal fold at the extreme upper left corner. A soft abrasion at the extreme upper right corner. A 1.25” H x 0.25” W stain on the extreme lower left edge of the sheet. Residue in two places from old hinging on the verso of the upper sheet edge. The sheet is loose and not matted. Unframed

Condition Reports

153 Each overall good condition with scattered scratches, scuffs, and nicks to steel frame commensurate with age. Upholstery with scattered scratches and scuffs, mild soiling, and some creasing from use.

Framed under Plexiglas: 42.25” H x 34.25” W x 1” D

333

166 Overall good condition. Light staining to the margin edges. Not examined out of the frame. Framed under Plexiglas: 29.25” H x 32.25” W x 1.25” D 167 Visual: Overall good condition. The canvas is slightly loose from the upper portion of the stretcher. Three soft pinpoint-sized pressure marks in the upper right corner.

Frame: 27” H x 34.75” W x 1.5” D 176 Visual: Overall good condition. Occasional small areas of very fine craquelure in the black pigments throughout the center. Blacklight: No evidence of restoration.

Frame: 21.25” H x 18.25” W x 3” D

Frame: 30.75” H x 49” W x 1.5” D

168 Overall good condition with scattered scuffs, scratches, and inherent imperfections commensurate with age.

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

170 Overall good condition with scattered scuffs, scratches, and inherent imperfections commensurate with age. 171 Overall good condition with scattered scuffs, scratches, and inherent imperfections commensurate with age. 172 Overall good condition with scattered scuffs, scratches, and inherent imperfections commensurate with age. Right arm articulated.

Condition Reports

Blacklight: No evidence of restoration.

169 Overall good condition with scattered scuffs, scratches, and inherent imperfections commensurate with age. Arms articulated.

334

175 Visual: Overall good condition. Two rice-sized areas of surface abrasion with attendant pigment loss near the center of the left edge.

173 Overall good condition. The full sheet. The sheet with artist pinholes along each sheet edge with thread in between each pinhole. The sheet is framed floating and affixed to the back mat with four silver thumbtacks at each corner, all in the hand of the artist. Not examined out of the frame. Framed under Plexiglas: 17.5” H x 19.25” W x 3.25” D 174 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 18.75” H x 24.25” W x 1.25” D

Unframed 178 Overall good condition. Small areas of surface skinning to the extreme edges of the collage pieces, primarily on the right side of the work. Soft and scattered surface scratches on the verso. Unframed 179 Overall good condition. The full sheet with deckled edges and the colors fresh. Slight dust accumulation commensurate with age. An approximately dimesized paper irregularity in each of the upper sheet corners, attendant with hinges on the verso. The sheet is framed floating and hinged to the back mat at the verso of the upper sheet corners. Framed without glazing: 34.75” H x 27” W x 1” D 180 Visual: Overall good condition. Blacklight: No evidence of restoration. Unframed

Blacklight: Areas of primarily pea-sized spots of touch-up scattered throughout, mostly in the outer edges and corners. Frame: 27.5” H x 35.5” W x 4” D 182 Visual: Overall good condition. Slight grime commensurate with age. A tiny, 0.125” hairline abrasion at lower center. Two very unobtrusive, pinhead-sized abrasions near the center of the extreme right edge and another of the same type at the upper edge. . Blacklight: No evidence of restoration. Framed: 15.5” H x 9” W x 1.5” D 183 Visual: Overall generally good condition. The tracing paper used along the lower edge is slightly peeling from the surface. Blacklight: No evidence of restoration. Unframed 184 Visual: Overall good condition. Small areas of abrasion at the extreme upper and lower left corners. The painted black border of the back Masonite with a pea-sized area of pigment loss in the lower right corner. Blacklight: No evidence of restoration. Frame: 41” H x 53” W x 1.5” D 185 Visual: Overall good condition. Small and unobtrusive areas of scattered craquelure primarily in the lower left quadrant. Blacklight: No evidence of restoration. Some of the pigment near the female figure fluoresces under blacklight. Frame: 32” H x 26” W x 3” D

186 Overall good condition with scattered frayed or pulled threads. Possibly missing one copper piece. With webbing attached to top edge verso for hanging. 187 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age. 188 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With minor soiling and dust accumulation from age and use. 189 Overall good condition with scattered minor scuffs, scratches, and shelf wear commensurate with age, concentrated at edges and corners. 190 Overall good condition with scattered scuffs, scratches, dust accumulation, and oxidation to brass elements commensurate with age. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 191 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Top surface with localized areas of fading to the veneer finish, the largest measuring 7” long. Soiling to drawer interiors, likely from crayons. Felt feet applied to terminals of legs. 192 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With a 2.5” long chipped loss to top surface edge. One leaf with 1.25” chipped loss near the hinge. Other leaf with pea-sized chips to corners near the hinges, one with attendant 0.5” long crack. The underside with tape repair to brackets holding the leaf supports at one side. The top with localized areas of deeper scratches, scattered discoloration, staining, and small nicks. 193 Visual: Overall good condition. Very small, scattered, and unobtrusive areas of pigment loss to the extreme tips of the thicker application of pigment. Blacklight: No evidence of restoration. Frame: 54” H x 54” W x 1.5” D

Condition Reports

181 Visual: Overall good condition. Very fine craquelure in the dark brown pigment used in the right half of the work. The canvas with a soft ripple in the lower left corner, possibly attendant to the canvas being slightly loose from the stretcher. Two very small and unobtrusive pinpoint-sized flecks of pigment loss in the red pigment in the lower left quadrant.

335

194 Overall good condition. The full sheet with deckled edges. The sheet with scattered and soft handling creases. Artist pinholes at each of the four corners. The sheet is loose, not matted. Unframed 195 Visual: Overall good condition. Minor crazing scattered through some of the lighter pigments. A small area of paint loss and instability in the upper left corner.

202 Visual: Overall good condition. A 0.75” vertical soft black scuff in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 14.625” H x 24.625” W x 1” D

Frame: 33” H x 43” W x 1.25” D

203 Visual: Overall good condition. A quarter-sized pressure mark in the upper right quadrant. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 17.25” W x 1.5” D

Frame: 43” H x 33” W x 1.25” D

204 Each overall good condition with scattered scuffs, scratches, nicks, and indentations, commensurate with age. Upper console with mounting wax residue to top. Lower console missing two shelves, with more scattered scratches to top and a band of discoloration to the finish from storage.

Blacklight: No evidence of restoration. Frame: 17.25” H x 21.25” W x 2.25” D 198 Overall good condition. Pale light staining with the colors slightly attenuated. Pinhead-sized or smaller foxmarks scattered throughout. Minor handling creases scattered throughout, predominately along the edges and corners. A 4.5” diagonal crease near the upper left edge, slightly affecting the image. Three small binding holes along the left edge. The sheet is loose, not mounted.

Condition Reports

Blacklight: No evidence of restoration.

196 Visual: Overall good condition.

197 Visual: Overall good condition. Scattered flecks of pigment loss throughout.

336

201 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. More concentrated scattered scratches and mild staining/fading to top surfaces. One with two drink ring sized stains darkening the finish and a 2” long scratch. Minor soiling to drawer interiors.

Framed under glass: 27” H x 27” W x 1” D 199 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With a 0.5” chip to side of one of the drawers of upper compartment. More scattered scratches to top surface and fronts of drawers with attendant degradation to finish. 200 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Slight discoloration to top surface wood finish. Metal planter with soiling, moisture damage, and slight warping from use.

205 Each overall good condition with scattered scuffs, scratches, nicks, and indentations, commensurate with age. Upper console with more concentrated scratches and slight discoloration to finish. As well, a 7” long repair to top surface. Lower console with more scattered scratches to top and a band of discoloration to the finish from storage. Includes key. 206 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Localized area of darkening to finish of top surface the size of a drink ring. Minor soiling to drawer interiors. 207 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 51.125” H x 63.25” W x 1.375” D 208 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 42.25” H x 36.5” W x 1.5” D

Blacklight: No evidence of restoration. Frame: 49” H x 59” W x 2” D 210 Visual: Overall good condition. Scattered pea-sized or smaller areas of old darkened varnish. A small and unobtrusive line of craquelure in the upper right quadrant. Blacklight: No evidence of restoration. Unframed 211 Overall generally good condition. An approximately 0.5” diagonal fold at the upper and lower right corners. The board is hinged to the back mat in two places by pieces of archival tape affixed to the verso of the upper edge. Framed under glass: 18.5” H x 22” W x 1.25” D 212 Each overall good condition with scattered scuffs and scratches to the metal bases commensurate with age. Upholstery in overall good condition with minor wear throughout, one with pea-sized stain to seat back. Four with applied barcode sticker to underside “Walt Disney Company.” 213 Each overall good condition with minor scuffs, scratches, and oxidation to the metal frame commensurate with age and use. Upholstery in overall good condition with minor creasing to the leather. 214 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Upholstery in good condition with minor creasing and no rips, major scuffs, or tears on each.

215 Visual: Overall good condition. A pinhead-sized spot of stray black pigment near the left edge of the upper left quadrant. A few scattered soft and small reversepressure marks. The recto of the frame is painted and is considered part of the work. Blacklight: Two areas of touch-up with attendant repairs, the largest measuring 0.5” H x 5” W, near the center. Frame: 38.75” H x 48.5” W x 1.75” D 216 Visual: Overall good condition. A few thin and unobtrusive surface scratches in the upper left quadrant, the largest measuring 3.5” diagonally, with attendant flecks of pigment loss, near the left of center. A few pinhead-sized pigment losses in the green pigment of the recessed relief. A soft pinheadsized pressure mark near the upper portion of the left edge, mostly visible in a raking light. Blacklight: No evidence of restoration. Frame: 11” H x 9” W x 1” D 217 Overall good condition with scattered scuffs, scratches, nicks, minor soiling, and indentations commensurate with age. 218 Overall good condition. The sheet is framed floating and hinged to the back mat. Not examined out of the frame. Framed under Plexiglas: 22.25” H x 20.75” W x 2.25” D 219 Overall good condition with scattered scuffs, scratches, nicks, soiling, and dust accumulation commensurate with age and inherent in the found objects. 220 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Some scuffs to skis, one with break and repair in the middle and possible other repairs at the ends, both with felt and adhesive residue to undersides. Both poles slightly bent out of original shape. 221 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. This lot does not include the white plinth.

Condition Reports

209 Visual: Overall good condition. A few very unobtrusive hairline surface scuffs, the longest approximately 2.25” W, with attendant scattered flecks of pigment loss, at center. A rice-sized slight pressure mark near the upper right corner, visible only in raking light.

337

222 Overall good condition with minor scuffs, dust, and oxidation/rust commensurate with age. 223 Visual: Overall good condition.

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

Blacklight: No evidence of restoration.

Overall: 35.5” H x 22” W x 0.75” D

Frame: 24.5” H x 20.5” W x 2.75” D

229 Overall good condition. Very scattered and small unobtrusive areas of small pigment loss and craquelure, primarily in the thicker applications of pigment.

224 Each overall good condition. The verso of the Sleeping nude figure with pale and uneven staining, slight handling creases, various old tapes and tape remnants along some of the sheet edges, and artist pinholes in each of the four corners. The sheet is affixed to the overmat along the verso of the sheet edges with some of the tapes just mentioned. The Kneeling nude female not examined out of the frame. The Sleeping nude female is unframed; The Kneeling nude female is framed under glass: 23” H x 28.5” W x 1” D 225 The six etchings in overall good condition. With margins. Pale light staining primarily visible in the margin edges, and some etchings with areas of slightly uneven light staining. Each etching not examined out of the frame. The graphite work in overall good condition. Stray and soft graphite smudges and handling creases, commensurate with age. The sheet is framed floating and mounted to the back mat. Not examined out of the frame. The linocut with margins. Pale light staining and scattered handling creases throughout. Small areas of surface skinning and tears primarily in the outer edges. Two stray pieces of clear tape, verso, and the largest piece with a small attendant area of surface skinning. The sheet is loose, not matted.

Condition Reports

The largest framed under glass: 18.75” H x 14.75” W x 0.5” D

338

226 Overall good condition. Very soft rippling through the left half of the image. Not examined out of the frame. Framed under glass: 24” H x 29.75” W x 1” D 227 Overall good condition. The sheet is sealed in the mat. Framed under Plexiglas: 15” H x 13” W x 1” D

Frame: 72” H x 52” W x 3” D 230 Visual: Overall good condition. Two artist pinholes in the upper right corner. Blacklight: No evidence of restoration. Frame: 37.25” H x 32.25” W x 1.25” D 231 Visual: Overall good condition. The canvas is slightly coming loose along the upper right edge. Blacklight: No evidence of restoration. Some of the lighter-colored pigments fluoresce under blacklight, however, these appear to be in the hand of the artist. Frame: 37.25” H x 32” W x 1.75” D 232 Overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork. 233 Overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork. 234 Each overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork.

235 Visual: Overall good condition. Two pea-sized white patches to the board at the upper and center portions of the left edge. A 0.5” abrasion with attendant pigment loss at the center of the right edge. A few pinhead-sized spots of white pigment in the lower right quadrant. A pinhead-sized puncture into the board in the lower right quadrant in the signature. A 0.25” vertical cut into the board in the gray pigment of the lower right quadrants.

242 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With fleabites to juncture and some chipping to bottom of stopper. Mounting putty to underside.

Blacklight: Pea-sized or smaller spots of touch-up in the green pigments along the lower left, right, and lower edges.

244 Overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork.

236 Overall generally good condition. Occasional, scattered pinhead-sized spots of grime throughout, primarily showing in the lower edge. A pinheadsized spot of surface loss in the extreme upper right corner. Framed under Plexiglas: 237 Overall good condition with minor rubbed wear to corners of the wood, scattered minor scuffs, and dust accumulation. One panel unmounted. 238 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface grime throughout. Mounting bar welded to the verso. 239 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rubbed wear to the seat of the bench commensurate with use. 240 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. A few corners with bumped wear and one rice-sized chip. Felt applied to underside. 241 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The rider figure missing its head, with another conchoidal chip to stopper underside. Mounting putty to the juncture.

245 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 32.5” H x 26.25” W x 1.75” D 246 Visual: Overall good condition. A 2” H x 0.5” W area of surface loss in the lower right corner. An approximately 1” surface abrasion with pigment loss in the lower left corner. Three pea-sized pigment losses in the upper left quadrant. A rice-sized puncture into the panel towards the center. Scattered scuffs and shallow surface scratches throughout. Blacklight: No evidence of restoration. Unframed 247 Visual: Overall good condition. Soft stretcher bar creases along the left and upper edges. A few pinhead-sized pressure marks scattered along the outer edges. The canvas is slightly puckered in the four corners. A 1” H x 0.5” W area of stray gray pigment near the lower left edge. Blacklight: No evidence of restoration. Frame: 31.25” H x 41.5” W x 1.5” D 248 Overall good condition. With margins. Occasional soft handling creases throughout, primarily at the edges of the margins, the largest measuring approximately 4” in the center of the image. A 4” diagonal fold in the lower left corner, just affecting that corner of the image. Pale mat staining showing slightly in the outer margins along the edges of the mat window. Not examined out of the frame. Framed under glass: 33” H x 28” W x 2.5” D

Condition Reports

Frame: 34.75” H x 22.25” W x 2.75” D

243 Overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork.

339

249 Visual: Overall good condition. Very minor varnish discoloration. Blacklight: No evidence of restoration. Frame: 32” H x 56” W x 2.25” D 250 Overall good condition. With margins. Slight light and mat staining showing in the margins. Not examined out of the frame. Framed under glass: 26.75” H x 26.75” W x 1” D 251 Overall good condition. Pale light staining to the mount along the opening of the mat window. Pale time staining along the extreme edges of the mount. Scattered and small areas of surface skinning to the mount, attendant with the previous adhesive used from the verso of the overmat. Framed under glass: 17” H x 15.25” W x 0.75” D 252 Overall good condition. An approximate 0.75” vertical soft surface scuff at the beginning of the shadow cast on the Half Dome, at center. Pale light staining and time staining to the mount, and with darker areas of time staining along the left and right extreme mount edges, verso. Scattered and small areas of surface skinning to the mount, attendant with the previous adhesive used from the verso of the overmat. Framed under glass: 17.25” H x 15” W x 0.75” D

Condition Reports

253 Overall good condition. Pale light staining to the board mount. A small speck and 0.125” area of abrasion in the upper edge, at right, and with a possibly attendant stray line on the mount, above the abrasions. The mount is affixed to the back mat with three archival corners.

340

Framed under glass: 17.25” H x 21.25” W x 1.25” D 254 Overall good condition. Pale mat staining to the sheet, verso. The sheet is hinged to the back mat with hinging tape from the upper left and right sheet corners, verso. Framed under Plexiglas: 16.25” H x 20.25” W x 1” D

255 Overall good condition. Pale light staining to the mount. The mount is affixed to the back mat with four clear archival corners. Framed under Plexiglas: 16.25” H x 20” W x 1” D 256 Overall good condition. Two unobtrusive handling marks in the upper right and lower right corners, primarily visible in raking light. Framed under Plexiglas: 24.25” H x 28.25” W x 1.5” D 257 Overall good condition. A minute loss to the printed surface at the tip of the lower right corner of the image. The work is loose, and secured to the back mat with archival corners. Framed under Plexiglas: 24.25” H x 28.25” W x 1.5” D 258 Overall good condition. The full sheet. The mat board with minor time staining, primarily along the extreme edges, and two pinpoint-sized extremely pale foxmarks in the left edge, at center, and in the lower right edge, of the mat board. Framed floating and mounted to the back mat, as issued. Unframed 259 Overall good condition. With full margins and deckled edges. The sheet is loose and affixed to the back mat by four archival corners at each sheet corner. Framed under Plexiglas: 26.25” H x 23.25” W x 1” D 260 Overall good condition. With margins. A faint 5” horizontal surface scratch in the lower half of the image through the glass on the table and the figure’s feet, mostly visible in raking light. The sheet is loose, not matted. Unframed 261 Overall good condition. The sheet is affixed to the back mat with four clear archival corners. Framed under Plexiglas: 20.25” H x 16.25” W x 1.5” D

Framed under glass: 33” H x 28” W x 0.75” D 263 Overall good condition. The sheet is sandwich mounted in the mat. Framed under glass: 25.5” H x 23.5” W x 0.75” D 264 Overall good condition. With wide margins. Not examined out of the frame. Framed under Plexiglas: 23.75” H x 27.75” W x 1” D 265 Visual: Overall good condition. Scattered surface scratches, primarily along the edges of the lower left quadrant, and mostly visible in raking light. Blacklight: No evidence of restoration. Unframed 266 Overall good condition. Full margins with deckled edges. Cockling throughout and primarily to the margin edges, attendant with the paper and medium used. The sheet is laid to a wove support sheet and framed floating. According to a label on the frame’s backing board, the sheet is mounted to the backmat with Seal Inc. archival tissue. Not examined out of the frame. Framed under Plexiglas: 33.25” H x 25.25” W x 1.25” D 267 Overall good condition. Hinged to the back mat by two pieces of archival tape affixed to the verso of the sheet. Unframed 268 Overall good condition. A pea-sized smudge towards the center middle of the lower edge, and to the left of the wilting tulip bulb. Small, unobtrusive handling creases throughout, primarily visible in raking light. The sheet is loose and secured to the back mat by four archival corners. Framed under Plexiglas: 21” H x 17” W x 1.25” D

269 Overall good condition. With margins. The slightest abrasion at the extreme tips of the margin corners. The sheet is loose and secured to the back mat with four paper archival corners. Framed under Plexiglas: 17.5” H x 19.5” W x 1” D 270 Overall good condition. The sheet is hinged to the back mat in two places by pieces of archival tape affixed to the verso of the upper sheet edge. Framed under Plexiglas: 19” H x 16” W x 1.25” D 271 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 18.75” H x 26.25” W x 1.5” D 272 Overall good condition. Not examined out of the frame. Framed under glass: 19.75” H x 28.25” W x 1” D 273 Overall good condition. A few soft surface scratches scattered in the image, primarily at center. The sheet is framed floating and mounted to the board mount. Not examined out of the frame. Framed under Plexiglas: 16.5” H x 20.5” W x 1.5” D 274 Each overall good condition. Not examined out of the frame. Framed under Plexiglas: 15.75” H x 12.75” W x 1” D 275 Overall good condition. The sheet is hinged to the back mat in three places by pieces of white archival tape on the verso of the upper sheet edge. Framed under Plexiglas: 30.75” H x 40.25” W x 1.5” D

Condition Reports

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

341

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Head of Sale, Director, Fine Art Post-War & Contemporary Design Specialist Vice President, Silver, Western, and American Indian Art Specialist Associate Specialist, Fine Art Associate Specialist, Fine Art Senior Specialist, Furniture & Decorative Arts ``

Jeffrey J. Moran Jenny Wilson Matthew Grayson Maranda Moran Bobby Cullen

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

Ian Anderson Angela Past` Lori Kassabian Alek Ellis Sally Andrew

Director, Jewelry & Watches Department Administrator, Jewelry & Watches

Tom Burstein Nikita Mehta

Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Furniture & Decorative Arts

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Anne Spink Madison Ari Clark Silva Grant Stevens

Morgana Blackwelder, ISA AM

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

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

Vice President, Business Director, Auctioneer Finance & Human Resources Director Consignment Coordinator Warehouse Supervisor, Senior Art Handler Transport Supervisor, Senior Art Handler Art Handler Art Handler

MARKETING

Director, Advertising & Marketing PR Manager/Social Media Graphic Designer

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

FOUNDERS

Stephen Swan Maha Darwish Jean Rapagna Richard Corral Joe Miranda Joseph Corcoran Romero Corral

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Matthew Mizerowski Jacob Baer

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

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Bidsquare platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit card payments made directly to Moran are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies

available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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