Latin American Art + Design — July 14, 2026 | John Moran Auctioneers by johnmoranauctioneers

Latin American Art + Design Tuesday, July 14, 2026 SINCE 1969

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

Latin American Art + Design July 14, 2026 | 10am PDT Sale 345 145 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, July 10th: 12-4pm Saturday, July 11th: 12-4pm Monday, July 13th: 12-4pm Tuesday, July 14th: Doors open 9am

Meet the Team Madison Ari Head of Sale Associate Specialist, Fine Art m.ari@johnmoran.com Christine Weir Cataloguer, Fine Art c.weir@johnmoran.com

Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Sally Andrew Cataloguer, Silver Jewelry & Decorative Art s.andrew@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

Jesús Escobedo (1918-1978, Mexican)

Jesús Escobedo Trejo emerged as a pivotal figu engraving. His artistic odyssey began in El Oro, Under the tutelage of luminaries like Gabriel Fe and the Academy of San Carlos, respectively, E

What distinguished Escobedo was not solely hi integral to movements like the Liga de Escritore political and societal narratives. His participatio Comité Nacional Femenino Pro-Pago de la Deu change.

Beyond gallery walls, Escobedo’s canvas extend Secretariat of Public Education to partnerships Notably, his illustrations for the 1946 book “Lec showcasing the universality of his artistic langua

Amidst his diverse portfolio, the pinnacle of Esc essence of New York City, a project funded by t

Tragically, his artistic journey concluded premat existence. His final resting place in the San Nico artist whose brushstrokes spoke volumes about

ure in Mexico’s artistic landscape, renowned for his prowess in drawing and , Mexico, but it was in the vibrant milieu of Mexico City where he honed his craft. ernández Ledesma and Francisco Díaz de León at the Escuela de Pintura al Aire Libre Escobedo absorbed the essence of traditional and contemporary artistic techniques.

is artistic acumen but also his impassioned dedication to social causes. He became es y Artistas Revolucionarios and the Taller de Gráfica Popular, aligning his art with on in the 1938 Palacio de Bellas Artes collective exhibition, spearheaded by the uda Petrolera, underscored his commitment to using art as a vehicle for social

ded to the pages of books. His collaborations ranged from illustrating for Mexico’s with U.S. publishers, where his artistic ingenuity illuminated various literary works. cturas Hispanoamericanas” resonated with audiences on both sides of the border, age.

cobedo’s international recognition was the creation of eight lithographs capturing the the prestigious Guggenheim Fellowship in 1945.

turely at the age of 60, leaving behind a legacy that transcends his temporal olás Tolentino cemetery in Iztapalapa, Mexico City, stands as a silent homage to an t social consciousness and the enduring power of art to shape societies.

Jesús Escobedo

(1918-1978, Mexican) Untitled, from “New York Series,” 1946 Lithograph on paper From the edition of unknown size Signed, dated, and inscribed in pencil in the lower margin, at right: Jesus Escobedo / “New York - 1946” Image: 9” H x 9.75” W; Sheet: 12.5” H x 19” W $500-700

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David Alfaro Siqueiros

(1896-1974, Mexican) “Child Mother (Niña Madre),” 1956 Lithograph on paper Edition: E/E Signed and inscribed in pencil in the lower margin: DA Siqueiros Image: 30.25” H x 23” W; Sight: 31.5” H x 23” W $700-900

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Everardo Ramirez (1906-1992, Mexican)

Born into a peasant family, Everardo Ramirez gr he began his study at the open-air school in Co Fernandez Ledesma at the open-air school San founded LEAR (Liga de Escritores y Artistas Rev de Grafica Popular (TGP) in 1937 and retained dispute of 1940) until 1947. Ramirez also worke social issues. His preferred medium was woodc of Modern Art in 1948. Ramirez was also involv Mexico City Olympic Games.

Sources: El Taller de Grafica Popular: Vida Y Art

rew up in Coyoacán, a village on the outskirts of Mexico City. At the age of sixteen, oyoacán under Alfredo Ramos Martínez. In 1928, he became the assistant of Gabriel ntiago Rebull. Ramirez began working in woodcut around 1930, and in 1933, he covolucionarios) along with Leopoldo Mendez and Pablo O’Higgins. He joined el Taller his membership (although he distanced himself from the workshop after the pricing ed with other members of the TGP to make prints for posters addressing political and cut but he also worked in linoleum and lithography. Ramirez exhibited at the Museum ved in organizing an exhibition of children’s art in 1968, which coincided with the

te and Hecho A Mano

Everardo Ramirez

(1906-1992, Mexican) Untitled, plate 10 from “Vida en mi barriada,” 1948 Linocut on wove paper From the edition of 48 Signed and inscribed “10,” in pencil, in the lower margin: Everardo Ramirez; initialed in the plate as part of the image, upper left; inscribed “Ex. 11.1.10,” in pencil, in another hand, verso Image: 5.5” H x 4.25” W; Sheet: 15” H x 13” W $200-300

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Matilde Poulat & Ricardo Salas (d. 1960 & d. 2006, Mexican) for Matl

A Matl sterling silver ‘Nuestra Senora de La Asuncion de Tonaya’ Circa 1960-2006; Mexico City, Mexico Stamped verso: Matl / Mexico / 925 / Salas / [partial] YOD-PAT / 10501 / [Eagle 129]; further inscribed in script: Matl Designed by Matilde Poulat for Matl, under the directorship of Ricardo Salas, in sterling silver with set amethyst, turquoise, and coral and raised on a cloche base 6.25” H x 4” W x 2” Dia. 136.1 grams gross $1,000-1,500

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Gustavo Martinez (b. 20th Century, Mexican)

A Mexican sterling silver frame with set gemstones Mid/late 20th century; Mexico Stamped to stand: GM 0.925 / Hecho en Mexico / COY D. F. Sterling / Mexico / [coyote picto] The diminutive sterling silver frame in a Matl/Matilde Poulat-style with dove motifs, scrolled hammered wire work and set amethyst and turquoise stones 3.5” H x 2.375” W x 0.375” D; oval opening: 1.875” H x 1.375” W 35.2 grams gross $200-400

A Peruvian hammered sterling silver tray

Mid-20th century Impressed to underside: RLL / PL [indecipherable] / 925 / AMAND / Industria Peruana The round serving platter with a lobed rim 14.25” Dia. 35.5 oz. troy approximately $1,800-2,200

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A Sanborns sterling silver tray

Mid-20th century; Mexico City, Mexico Marked to underside: [Three owls] / Sanborns Mexico / Sterling In the Spanish Colonial style, with piecrust edge chased with bellflower motifs 1” H x 16” Dia. 39 oz. troy approximately $1,000-1,500

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Cuzco School

Our Lady of Guápulo Oil on canvas laid to canvas Appears unsigned 28” H x 20” W $500-700

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Late 19th/Early 20th Century Mexican Retablo

Madonna and Child Oil on carved panel Unsigned Image: 9.75” H x 7.5” W; Panel: 14.5” H x 11” W (irreg.) $300-500

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18th/19th Century Spanish Colonial Cuzco School Ángel Arcabucero Oil on canvas Unsigned 22” H x 15.25” W $400-600

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Juan José Segura

(1901-1964, Mexican) “El Último Emperador Azteca,” 1960 Oil on canvas Signed and dated lower left: Juan José / Segura / ‘60; signed and dated again, titled, and inscribed “Mexico,” all verso 20” H x 16” W $500-700

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Juan José Segura

(1901-1964, Mexican) “Sevillana,” 1951/1956 Oil on canvas Signed, titled, and dated upper left: Juan Jose / Segura / .56; signed again, titled, alternatively dated, and inscribed “Mexico / 1951,” all verso 12” H x 12” W $300-500

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A Spanish Colonial polychrome carved wood santo bulto

19th century With gilt and painted designs in the robe, surmounted by a gold-toned bronze crown and adorned with metal earrings 22.5” H x 16” W x 9.5” D $800-1,000

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A Spanish Colonial polychrome carved wood santo bulto 19th century The painted and giltwood figure with intricate designs to robe above a base with putti masks in relief 16” H x 9” W x 6.75” D $400-600

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A Spanish Colonial polychrome carved wood santo bulto 19th century Depicting Saint Anthony of Padua 16.5” H x 5.5” W x 5” D $300-500 Provenance: Private collection, San Diego, CA

A Spanish Colonial polychrome carved wood santo bulto 19th century Depicting Our Lady of Guadalupe 13.75” H x 7” W x 4” D $300-500 Provenance: Private collection, San Diego, CA

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A Spanish Colonial polychrome carved wood santo bulto 19th century Depicting San Vicente 15.25” H x 5.5” W x 5.125” D $300-500 Provenance: Private collection, San Diego, CA

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A Mexican Olinalá lacquered wood wedding chest

20th century; Guerrero, Mexico Inscribed in a cartouche at front: UN RECUERDO Lacquered wood with locking hinged lid, hand-painted floral elements and vignettes throughout, the largest scene at front depicting figures in a courtyard by a church, raised on a conforming and possibly later stand Chest: 13.5” H x 27.75” W x 13.5” D; Stand: 16.5” H x 29” W x 14.25” D; Overall: 30” H $800-1,200

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Six Mexican pottery churches

20th century Each unmarked Comprising two redware and four with red accents on white slip ground 6 pieces Tallest: 16.5” H x 8.5” W x 7.25” D; Shortest: 8.25” H x 6.25” W x 3.375” D $500-700

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A Central American folk art polychrome pottery church

20th century Inscribed to one side: M. H. M. The double-sided model with many figures, porticos, and two belltowers flanking a central crucifix to one side and an angel figure cresting the other 24.25” H x 16” W x 7” D $300-500

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A group of South American carved wood talismanic charms

20th century Two with applied Chilean coin: Republica de Chile / [eagle] The group of charms comprising two Brazilian Mano Figas depicting the thumb placed between the index and middle fingers as a gesture to ward off the evil eye of Satan, each mounted with decorative mixed metals, one embellished with lavender-toned semi-precious stones and a bracelet; three fists clenching barbells with gilt metal mounts, and one twisted cylindrical charm with silver mounts 6 pieces Largest: 8.25” L; Smallest: 5.25” L $400-600

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A Spanish Baroque-style fratino table and six side chairs

18th century and early 21st century Repurposed as a dining table, supported by lyre-form legs and feet joined by wrought-iron curvilinear X-form stretchers, married with six contemporary Spanish Colonial-style side chairs with leather seat cushion upholstery with tacking 7 pieces Table: 30.25” H x 83.25” W x 33.75” D; Each chair: 42.75” H x 22” W x 26.25” D $1,200-1,800

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Francisco Zúñiga (1912-1998, Mexican)

Artist Francisco Zúñiga received his first le Jose, Costa Rica. He became interested in Mexico City. There he studied during the prominent artists of Mexico’s rich artistic c

Celebrated for his explorations of primaril alabaster and bronze sculpture, oil and wa lithograph at age sixty and worked prolific

During the course of his career, Zúñiga’s 3 awards. In 1992, his body of work earned found in museums world-wide.

essons in sculpture in the workshop of his father, a religious sculptor in San n pre-Hispanic work at an early age, and in his twenties, he moved to 1930s at La Esmeralda Art Institute under the tutelage of some of the most culture. He would later teach there for over three decades.

ly the female form, Zúñiga worked in a variety of mediums including onyx, atercolor painting, drawing and lithography. Zúñiga created his first cally in the medium for the remainder of his life.

35 public sculptures, along with his other works, garnered international d the Premio Nacional, Mexico’s highest cultural award and his work can be

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Francisco Zúñiga

(1912-1998, Mexican) “Desnudo de Silvia” or “Portada,” 1968 Crayon, pastel, and graphite on paper Signed and dated lower right: Zga; titled and dated on a typewritten gallery label affixed to the frame’s verso Sheet: 19.75” H x 25.75” W $4,000-6,000 Provenance: Galería Tasende, Acapulco, Mexico Property from the Anni & Arthur Lipper III Collection, Del Mar, CA Notes: This work is listed as number 1554 in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C.

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Francisco Zúñiga

(1912-1998, Mexican) “Desnudo Recostado,” 1970 Sepia and black conte crayon on paper Signed and dated lower right: Zga / 1970; titled, dated, and inscribed in pencil, all verso: “pastel sepia / #143” Image/Sheet: 19.75” H x 25.75” W $2,000-3,000 Provenance: Galeria de Arte Mexicano, Mexico City, Mexico Private collection, San Diego, CA, acquired from the above, March 10, 1970 Notes: This work is listed as number 4346 in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. This lot is also accompanied by a certificate of authenticity dated March 10, 1970, from the gallery mentioned above.

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Francisco Zúñiga

(1912-1998, Mexican) “Desnudo Sentado,” 1970 Sepia conte crayon on white paper Signed and dated lower left: Zga / 1970; titled, dated, and inscribed in pencil, all verso: “Pastel sepia / #144” Image/Sheet: 25.5” H x 19.625” W $2,000-3,000 Provenance: Galeria de Arte Mexicano, Mexico City, Mexico Private collection, San Diego, CA, acquired from the above, March 10, 1970 Notes: This work is listed as number 1668 in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. This lot is also accompanied by a certificate of authenticity dated March 10, 1970, from the gallery mentioned above. 44

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Francisco Zúñiga

(1912-1998, Mexican) “Mujer con Rebozo,” 1970 Charcoal on paper Signed and dated lower right: Zga / 1970 Image/Sheet: 25.75” H x 19.75” W $1,000-1,500 Provenance: The artist Galeria 33, Mexico City, Mexico Private collection, San Diego, CA, acquired from the above, January 1970 Notes: This work is listed as number 4360B in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. This lot is accompanied by a certificate of authenticity on Galeria 33 letterhead, signed by the artist and dated January 1970, as well as a sales invoice dated January 31, 1970, from the same gallery. w w w. j o h n m o r a n . c o m

Francisco Zúñiga

(1912-1998, Mexican) “Mujer Yucateca” (Mujer de pie con las manos en la nuca), conceived 1964, cast 1968 Verdigris patinated bronze on black marble plinth Edition: V/VI Signed, dated, and numbered on the base: ZUNIGA / 1968 Bronze: 17.5” H x 9.5” W x 6” D; Overall: 19” H x 11” W x 9.5” D $8,000-12,000 Provenance: Art Collector’s Gallery, Mexico City, Mexico Private collection, San Diego, CA, acquired from the above Notes: This work is listed as number 421 in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. Accompanied by an undated Authenticity Certificate on Art Collector’s Gallery letterhead, signed by the artist, as well as four photographs of the piece.

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Francisco Zúñiga

(1912-1998, Mexican) Crouching Female, 1969 Patinated bronze on marble plinth Unnumbered Signed and dated on the back of the figure’s right hip: ZUNIGA / 1969; Weintraub Gallery label is affixed under the base Bronze: 6.5” H x 6” W x 5.375” D; Overall: 7.375” H x 6” W x 5.75” D $2,500-3,500 Provenance: Weintraub Gallery, New York, NY Private collection, San Diego, CA, acquired from the above, October 31, 1981 Notes: This lot is accompanied by a hand-written receipt from the abovementioned gallery.

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A group of ten Spanish Colonial-style cage doll santos

20th century Each painted carved wood, with inset glass eyes and articulated arms, most with pegs in the crown of the head 10 pieces Tallest: 39” H x 20.5” W x 11.25” D; Shortest: 20.75” H x 9.25” W x 6” D $3,000-5,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

Latin A me ric an A rt + De sig n l Tuesda y, July 14, 2026

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Mexican Sarapes

The sarape emerged from a blending of I Mexico’s culture of horsemanship. Worn b elements while serving as a visible expres horseback riding was largely associated w increasingly relied upon Indigenous, Mest legendary throughout northern Mexico. F powerful symbol of the new nation, and th a distinct Mexican identity, appearing pro

Commonly referred to as “Saltillo” sarape important textile-producing centers of no examples were woven throughout worksh Querétaro, San Luis Potosí, and Zacatecas gradually came to describe virtually any fi

Indigenous and Spanish traditions and became closely associated with by vaqueros, caballeros, and charros, it provided protection from the ssion of regional identity and craftsmanship. During the colonial period, with Spanish elites, but the demands of ranching and frontier life tizo, and mixed-heritage horsemen whose riding and roping skills became Following independence in 1821, the mounted horseman emerged as a he sarape became closely associated with Mexicanismo, the celebration of ominently in paintings, prints, and photographs of the nineteenth century.

es, the name derives from the city of Saltillo in Coahuila, one of the most orthern Mexico during the colonial and nineteenth centuries. In reality, many hops across northern and central Mexico, including San Miguel de Allende, s. Because Saltillo became synonymous with exceptional quality, the term finely woven sarape produced in the region.

A Mexican Late Classic Period Saltillo sarape

Circa 1840-1860 Woven in wool in two panels seamed down the middle, with multicolored vertical serrated columns and a concentric-style diamond to center, with narrow meandering and curvilinear border motifs 82.5” H x 53” W approximately $4,000-6,000

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N D t in e s c c r m

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A Mexican Late Classic Period Saltillo sarape

Circa 1840-1860 Woven in cream, vegetal yellow, and cochineal red hand-spun wool in two panels seamed down the middle, with a large serrated red diamond to center with elaborate complex ticked motifs, with red and grey ticking to the field, and with a red ticked motif border and striped bands to each end 78” H x 38.75” W approximately

$1,500-2,000

Notes: Dating to the Late Classic Period (ca. 1840-1860), this sarape represents the final stage of traditional Saltillo weaving before the introduction of imported European yarns and synthetic dyes n the decades that followed. Woven with a cotton warp and hand-spun wool weft, these textiles established the technical and artistic foundation from which later nineteenth-century Mexican sarapes evolved. The present example is dyed with cochineal, the natural red colorant derived from crushed ‘Dactylopius coccus’ insect cultivated in Mexico since the colonial period. Valued for its rich crimson tones and durability, cochineal remained the principal source of red dye until it was gradually replaced by synthetic aniline dyes after the 1860s. The restrained ivory ground, central diamond medallion, and limited palette are characteristic of the Late Classic Saltillo tradition.

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A Mexican Maximilian Period sarape

Circa 1862-1865 Woven in white and multicolored floss wool in two panels seamed down the middle, with a central floral diamond medallion and a floral border, the field with alternating grey and black ticking scattered throughout 83” H x 46” W approximately $3,000-5,000

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A rare Mexican Maximilian Period ‘manga’ cape

Circa 1862-1870 The finely woven purple floss wool circular cape with center back seam, a narrow contrast ivory wool border with blue, red, and pink multicolored floating elements, and a deep navy velvet collar held with two silver fox head clasps, the cape edges trimmed with finely twisted purple and cream wool yarn fringe Center front: 36.5” H; Center back: 39.5” H (excluding fringe); fringe: 4” H; 75.5” Dia. approximately $4,000-6,000 Notes: Unlike the more familiar rectangular sarape, the present work represents the rare manga form, a cape associated with Spanish and colonial equestrian dress. Woven with the fine imported pre-dyed yarns characteristic of the Maximilian Period, it features an uncommon deep purple field, likely produced using one of the newly developed synthetic aniline violet dyes introduced from Europe during the 1860s, bordered in ivory, with a blue velvet collar fitted with a double fox-head silver clasp and a heavy twisted purple and cream wool fringe. Purple has long been regarded as one of the rarest and most prestigious textile colors. Before the development of synthetic dyes, durable purple colorants were difficult to produce, and many natural purple dyes proved fugitive over time. The rarity of stable purple dyes contributed to the color’s long association with European royalty, giving rise to the term “royal purple.” The introduction of synthetic aniline violet dyes during the nineteenth century made brilliant purple hues more readily achievable while preserving their association with luxury and refinement.

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An early Mexican Chinaco sombrero

Circa 1865 Interior band stamped in gold: Bartley Hats [three crowns]; with multiple further oval dark stamps: [illegible] Almacen The beige fur felt low rounded crown hat with 5 1/2 inch flat brim, padded fabric double band and metal thread wrapped buttons, the edges with wide silver metal thread ribbon edging and braid accents, with interior leather sweat band and leather laces 5.5” H x 17.5” W x 18.75” H; Inner band: 22.25” C $2,000-3,000

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A Mexican black beaver fur Caballero sombrero

Circa 1865-85 The black fur felt flat crown hat with 4 1/2 inch flat brim and grosgrain ribbon band with bow, the edges with grosgrain trim, and with interior leather sweat band and later black satin lining 5” H x 15.75” W x 17” D; Inner band: 21.5” C $1,200-1,800

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An early Mexican sombrero

Circa 1860 The pale brown-toned wide brimmed round hat with a low tapered flat crown, likely woven of palm straw, with an added double plaited leather corded band covered with leather strips 3.5” H x 19.75” Dia.; Interior: 21.5” Dia. $1,000-1,500

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A Mexican Late Maximilian Period Bandera sarape

Circa 1870-1875 A Mexican flag Bandera-style sarape finely woven in orange-red, cream, and green floss wool with a central diamond medallion, an elaborate barbed border, and multicolored striped banding to each end 78” H x 42” W approximately $2,000-3,000 Notes: Following the fall of the Second Mexican Empire, Mexican weaving entered a new phase as changing economic conditions and renewed national identity shaped textile production. By the mid-1870s, imported European yarns had largely reverted back to domestically spun wool and cotton, and weavers developed the Bandera (flag) sarape, distinguished by bold horizontal bands of red, white, and green. While retaining the technical sophistication of Maximilian-period weaving, these textiles embraced a distinctly Mexican aesthetic and became one of the defining sarape styles of the late nineteenth century.

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A Mexican Late Maximilian Period Bandera sarape

Circa 1875-1880 A Mexican flag Bandera-style sarape finely woven in red, white, and green wool with a multicolored central diamond medallion and striped banded motifs to each end, and with elaborate knotted fringing 81” H x 37” W approximately $1,000-1,500

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A Mexican Post-Maximilian Period sarape

Circa 1875-1885 Finely woven in deep green and multicolored floss wool with a central delicately serrated aggregate-style diamond and multiple banded stripe motifs to each end 80” H x 40.5” W approximately $1,000-1,500

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A Mexican Post-Maximilian Period sarape

Circa 1875-1885 Woven in fine cream wool with an elaborate multicolored aggregate-style central diamond, scattered green ticking to the central field, and blue and multicolored striped banding to each end, with elaborate knotted fringing 77” H x 43.5” W approximately $800-1,200

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A Mexican Aggregate Period pictorial sarape of Santa Anna

Late 19th century Woven with wool weft on cotton warp in tones of blue, green, yellow, and red, in two panels seamed down the middle featuring a central medallion depicting Santa Ana, flanked by two large flowers on a multicolored geometric block patterned field with a floral garland border and striped banded ends with long fringing 78.5” H x 45.5” W approximately $2,000-3,000 Notes: This late nineteenth-century textile combines a finely executed tapestry weave with the uncommon depiction of General Antonio López de Santa Anna, shown standing with drawn sword at the center of the composition. While portrait sarapes are rarely encountered, examples depicting identifiable historical figures are particularly scarce and reflect the growing incorporation of patriotic and political imagery into Mexican weaving during the late nineteenth century. The central medallion is framed by a stepped geometric field woven in brightly colored aniline-dyed wool, bordered by striped end panels. The design is characteristic of the bold color combinations and geometric patterns found in Mexican textiles of the period.

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A Mexican Aggregate Period sarape

Late 19th century Woven with wool weft on a cotton warp, with multicolored vertical serrated columns and a concentricstyle diamond to center, with multicolored striped banding and and blanket stitch to ends 82.5” H x 56” W approximately $800-1,200 Notes: Aggregate sarapes represent a distinctive late nineteenth-century weaving style, generally dating from approximately 1875 to 1900. Produced after the Maximilian and Bandera periods, these textiles are characterized by densely repeated geometric motifs that create an all-over patterned field.

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An early Mexican Rainbow Saltillo sarape

Circa 1890 Finely woven in multicolored wool in two panels seamed down the middle, with multiple geometric and foliate ombré shaded banded stripe motifs 84” H x 39.5” W approximately $400-600 Notes: Produced during the late nineteenth century, this Rainbow sarape represents a style that developed following the introduction of aniline dyes into Mexican textile production. Recognized for its narrow horizontal bands woven in a wide range of vivid “rainbow” colors and its intricate weaving, the style reflects the expanded palette available to weavers by the 1880s and 1890s.

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A Mexican sarape

Circa 1920s Finely woven in blue, tan, brown and orange wool with four central floating diamonds, multiple banded motifs, striped ombré banding and elaborate knotted fringing to each end 80” H x 37.75” W approximately $700-900

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A Mexican Rainbow Saltillo sarape

Circa 1930s Finely woven in green, blue, brown and cream wool and silk with an elaborate central serrated concentric diamond with silver metal thread accents, multiple ombré shaded bands and contrast banded motifs, with knotted fringing to each end 80” H x 35.5” W approximately $300-500

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A Mexican Saltillo sarape

Circa 1880 Finely woven in multicolored wool with an elaborate aggregate-style central serrated diamond with silver metal thread accents, Mexican flag motifs, and with multiple geometric and foliate ombré shaded banded stripe motifs all on a variegated salt and pepper field 86.5” H x 43.5” W approximately $700-900

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A Mexican pictorial sarape

Circa 1930 Depicting a standing god-like figure smiting a second figure, while a coyote animal looks on, the textile woven in red, blue, grey, cream and multicolored wool, with yarn fringe to ends 84” H x 51.5” W approximately $700-900

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Francisco Toledo (1940-2019, Mexican)

Born in Juchitán, Oaxaca, in 1940, Francis As a young man, Francisco Toledo followe moved to Mexico, where he took up the t of Arts and Crafts. In 1959, after developin Mexico and the Fort Worth Art Center in T is the art of shamanism,” Christopher Goo into beasts and animals and may take on Mexico announced the death on Twitter, c our people.” While he preferred anonymi imagery gained him national acclaim. His he was supported by poet Octavio Paz an indigenous animals as symbols of Mexican

sco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. ed his father into the jungles of Oaxaca on wild animal hunts. Later, he trade of lithography from the engraving workshops at the local School ing his craft, Toledo exhibited his works at Antonio Souza’s gallery in Texas. These early years informed the artist he would become. “Toledo’s odwin of The Guardian wrote in 2000, “in which people are transformed human characteristics.” President Andrés Manuel López Obrador of calling Mr. Toledo “a true defender of nature, customs, and traditions of ity, his service to cultural preservation and the celebration of traditional first one-man show at 19 years set the stage for his travels to Paris, where nd the painter Rufino Tamayo. Toledo’s fascination with the metaphors of an history and mythology abounds in his art.

Francisco Toledo

(1940-2019, Mexican) “Skeleton Pushing Elephant,” 2011 Unique oil and watercolor with laser-cut collage on wove papers Edition: 6/9 Signed and numbered in pencil lower right: Toledo; Fomento Cultural Banamex, Mexico City, Mexico, pub. Image/Sheet: 15.25” H x 22.25” W $6,000-8,000 Provenance: Acquired by the present owner directly from the artist Literature: “Francisco Toledo: Obra 1990-2017,” Volume III, (Mexico City: Fomento Cultural Banamex, 2017), p. 325, this example illustrated Notes: The unique print “Skeleton Pushing Elephant” by Francisco Toledo exemplifies the artist’s fascination with animals, mortality, and surreal imagery. In this composition, a skeletal figure faces an elephant, straining to push the large form creating a scene that is both playful and symbolic. The contrast between the fragile skeleton and the massive animal evokes themes of life and death, strength and vulnerability, and the persistence of human effort in the face of overwhelming forces. Like much of Toledo’s work, the image draws on Mexican cultural traditions, including the symbolic use of skeletons and the parallel world of shadows, while blending reality and fantasy in a way that encourages multiple interpretations. The print reflects Toledo’s distinctive and experimental visual language, where animals and human-like figures become vehicles for exploring imagination, transformation, and the cycles of existence. Each of the nine laser-cut and painted examples from this composition have unique palettes. The present work’s skeleton is positioned differently from other examples from this edition, in order to enhance the shadow effect caused by the purple-grey tones of the under paper.

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Francisco Toledo

(1940-2019, Mexican) “Scorpion and Grasshopper,” 1997 Watercolor and ink on petate textured handmade paper Signed upper right: Toledo; titled and dated on a gallery label affixed to the frame’s backing board Image/Sheet: 11.75” H x 8.75” W $3,000-5,000 Provenance: The artist Private collection, Los Angeles, CA, from the above

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Francisco Toledo

(1940-2019, Mexican) “Maquette for Jaguar Conservation,” 2018 Mixed media collage with paint, mica mineral, and laser-cut paper on intervened photograph on paper Signed and inscribed in ink on the frame’s backing board: F. Toledo / 2018 / “Para Bill / Oax”; titled by repute Sight: 10.5” H x 8” W $2,000-3,000 Provenance: The artist Private collection, Los Angeles, CA, from the above

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A Spanish Revival fratino library table

Early/mid-20th century Supported on shaped legs and feet joined by a wrought-iron curvilinear X-form stretcher 28” H x 32” W x 20” D $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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A Pre-Columbian-style polychrome pottery copador Circa 600-900 CE or later; Central America Painted in four colors with Mayan figural motifs 6.5” H x 4.375” Dia. $700-900

A monumental Shipibo Conibo masato vessel

20th century; Peru With black on white serpentine geometric designs above a terracotta wash, used for fermenting cassava beer 20” H x 22.75” Dia. $700-900 Provenance: The Estate of Elaine Wynn

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Nicolás Ortiz Estrada (1959-2023, Mata Ortiz)

A polychrome pottery rabbit effigy vase, early 21st century Incised to underside: Nicolás Ortiz E With red and black checkered and geometric motifs on a marble cream slip ground 12” H x 6.5” W x 6.5” D $200-400

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Porfirio “Pilo” Mora (b. 1961, Mata Ortiz)

A polychrome pottery jar, 1981 Incised signature and date to underside: PILO MORA / 1/30/81 With red and black fish and geometric motifs on a marbled red/cream slip ground 6” H x 7.5” Dia. $100-200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA

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Francisco Toledo

(1940-2019, Mexican) “Cayman,” 1974 Patinated bronze Edition: IV/VII Signed and numbered a 3.625” H x 7.5” W x 2.5” $5,000-7,000

Provenance: The Martha Jackson Gal Richard Thomas, actor, L Acquired by the present

Literature: Teresa del Conde, “Fran Cándida Fernández de C

Notes: Francisco Toledo was ren Oaxaca. Rather than dep cayman, transforming th materials such as clay, br Through these works like dreamlike world where a

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at the underside of the head: Toledo ”D

llery, New York, NY Los Angeles, CA t owner from the above

ncisco Toledo” (Mexico: Secretaría de Educación Pública, 1981), pg. 111, illustrated Calderón, “Francisco Toledo: Obra 1970-1990,” Volume II (Mexico City: Fomento Cultural Banamex, 2016), pg. 63, illustrated

nowned for his imaginative animal sculptures, which drew inspiration from the natural world, Zapotec traditions, and the folklore of his native picting conventionally beautiful creatures, Toledo often focused on bats, iguanas, toads, insects, monkeys, and other animals like the present hem into expressive, fantastical beings that blurred the boundaries between traditional and artistic animal forms. His sculptures, created in ronze, wood, and stone, formed part of a larger “fantastic zoology” that explored themes of nature, mythology, transformation, and identity. e the cayman, whose belly could also be interpreted as a trap, Toledo celebrated Indigenous cultural heritage while inviting viewers into a animals embodied both the mysteries and vitality of life.

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Francisco Toledo

(1940-2019, Mexican) “Insectos,” 1999 Drypoint, etching, and aquatint on Hahnemühle paper Edition: 10/25 Signed and numbered in pencil in the lower margin: Toledo; Taller de Grabado Fernando Sandoval, Oaxaca, Mexico, prntr., with their blindstamp in the lower right margin corner Plate: 7.625” H x 23.875” W; Sheet: 15.375” H x 31.25” W $3,000-4,000 Provenance: Latin American Masters, Beverly Hills, CA

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A Spanish Colonial iron-clad wood chest

18th/19th century With wrought-iron partial latch lock, the hinged top opening to reveal a smaller inner compartment at one side 24.75” H x 55” W x 27.5” D $800-1,200

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Roberto Bañuelos (b. 20th century, Mata Ortiz)

A polychrome pottery jar, late 20th century Incised to underside: Roberto Bañuelos With red, black, and white fish motifs on a cream ground 7.25” H x 10.75” Dia. $200-400

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Roberto Bañuelos (b. 20th century, Mata Ortiz)

Two polychrome pottery jars, late 20th century Each incised: Roberto Bañuelos Each red and black on red speckled cream slip ground, comprising one effigy jar with frog mouth opening and sculpted eyes, and a jar decorated with lizard motifs 2 pieces Frog: 6” H x 7” Dia.; Lizard: 6.25” H x 8” Dia. $400-600

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Three Mata Ortiz blackware pottery reptile effigy jars Three works:

José Quezada (b. 1972) A blackware snake effigy jar, late 20th/early 21st century Incised to underside: Jose L Quezada The shoulder decorated with banded geometric motifs and a high-relief snake 7” H x 7.25” Dia. Jaime Quezada (b. 20th century) A blackware lizard effigy jar, late 20th/early 21st century Incised to underside: Jaime Quezada The shoulder with slip-painted fine-line motifs and a lizard in high relief 5.75” H x 7.625” W x 7” D Maria Luisa Talavera (b. 20th century) A blackware lizard effigy jar, late 20th/early 21st century Incised to underside: Ma Luisa Talavera The shoulder with a band of slip-painted figural and geometric motifs, surmounted by a sculpted lizard figure in high relief 4.875” H x 7.5” Dia. 3 pieces $500-700

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Three Mata Ortiz pottery reptile decorated jars Three works:

Celia López (b. 20th century) A polychrome pottery lizard effigy jar, late 20th century Incised to underside: Celia López With sculpted lizard in relief and black and red geometric motifs on a red slip ground 5.375” H x 7.625” Dia. Rito Talavera Quezada (b. 20th century) A snake effigy pottery jar, 1995 With incised signature and date: Rito Talavera With snake figure in relief above a marbled cream slip 6.375” H x 6.75” W x 6.375” D Eduardo Quintana Rodriguez (b. 20th century) A sgraffito pottery olla, late 20th century Incised signature to underside: Eduardo Quintana Ro With black geometric and snake motif on a marbled red/cream slip ground 7.5” H x 7.375” Dia. 3 pieces $300-500 1 0 6 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

Two Mata Ortiz pottery jars Two works:

Elsa Ledezma & Jorge Ponce (b. 20th century) A black on red pottery jar, late 20th century Incised to underside: ELSA LEDEZMA / Jorge Ponce With shaped rim above black alternating floral medallions and bands of feathers on red slip ground 5.625” H x 7.5” Dia. Efrain Lucero Jr. (b. 20th century) A red on black pottery olla, late 20th century Incised to underside: Efrain Lucero J With negative red swirling checker design on black burnished ground 6.375” H x 5.875” Dia. 2 pieces $100-200

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José Clemente Orozco (1883-1949, Mexican)

José Clemente Orozco stands as one of th helped shape alongside Diego Rivera and developed an early interest in art after mo a lasting impression. His formal training at synonymous with his name: monumental, Orozco’s art delved into human suffering a commitment to social causes.

A life-altering accident at age twenty-one career that spanned Mexico and the Unite California, Orozco created some of the m National Preparatory School in Mexico Cit dramatic compositions and profound mor the Mexican Revolution, Orozco confronte

the central figures of the Mexican Mural Renaissance, a movement he d David Alfaro Siqueiros. Born in 1883 in Zapotlán el Grande, Jalisco, he oving to Mexico City, where the engravings of José Guadalupe Posada left t the Academy of San Carlos refined a visual language that would become , expressionistic, and unflinching in its examination of human conflict. and the political struggles of peasants and workers, reflecting his deep

e cost him his left hand but did nothing to diminish his ambition. Over a ed States, including significant periods in New York and Claremont, most influential fresco cycles of the twentieth century. His murals for the ty and Pomona College remain defining achievements, marked by their ral urgency. Unlike many contemporaries who celebrated the heroism of ed its human cost, offering a sobering and deeply humanistic counterpoint.

José Clemente Orozco

(1883-1949, Mexican) “Nude,” 1946 Conte crayon on paper Signed and dated lower right: J.C. Orozco / 46; titled on a gallery label affixed to the frame’s backing paper Sheet: 18.75” H x 14.75” W $7,000-9,000 Provenance: Altermann Galleries and Auctioneers, Santa Fe, NM

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José Clemente Orozco

(1883-1949, Mexican) Untitled (figures) Watercolor and ink on paper Signed lower right: J.C. Orozco Sheet: 10” H x 13.5” W $3,000-5,000 Provenance: Private collection, Temecula, CA By family descent from a Mexican Art collector

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José Clemente Orozco

(1883-1949, Mexican) Untitled (two figures) Ink on paper Signed lower right: J.C. Orozco; inscribed indistinctly in pencil, verso Sheet: 9.875” H x 13.5” W $2,000-3,000 Provenance: Private collection, Temecula, CA By family descent from a Mexican Art collector Notes: This lot is accompanied by a copy of a report by conservator Jose Sol Rosales, stating that he had the opportunity to examine the work and, in his opinion, believes it to be by José Clemente Orozco. The copied report bears his signature and a printed date of October 29, 2019, in Mexico City. Also included is a copy of a photograph showing Jose Sol Rosales signing a reproduction of the image, accompanied by his signature and red ink stamp. Additional related documentation is included with the lot. w w w. j o h n m o r a n . c o m 1 1 3

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José Clemente Orozco

(1883-1949, Mexican) “Pulqueria (Echate la Otra),” circa 1928 Lithograph on paper laid to paperboard Edition: 83/100 Signed and numbered in pencil in the lower margin: J.C. Orozco Sight: 13” H x 16.5” W; Paperboard: 16.5” H x 21” W $1,000-1,500

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Eduardo Kingman (1913-1994, Ecuadorian)

Painter, muralist and sculptor Eduardo Kin in Quito and several other institutions in V the Escuela de Bellas Artes to teach and a

Kingman’s work was deeply influenced by means of advocating for human dignity an expressive figures with large, exaggerated career, he produced paintings, murals, an cultural identity.

ngman was born in Loja, Ecuador and studied at the Esceula de Bellas Artes Venezuela, Peru, Bolivia and the United States. Later Kingman returned to also served as the Director of the Museum of Colonial Art in Quito.

y the hardships faced by Indigenous communities, and he used art as a nd social change. Kingman developed a distinctive style characterized by d hands, earning him the nickname “The Painter of Hands.” Throughout his nd cultural projects that highlighted themes of labor, poverty, resilience, and

Eduardo Kingman

(1913-1994, Ecuadorian) Figure with sleeping child, 1972 Oil on canvas Signed and dated lower left: E. Kingman / 72 27.25” H x 23.75” W $6,000-8,000

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Eduardo Kingman

(1913-1994, Ecuadorian) A seated woman with her head down, 1972 Oil on canvas Signed and dated lower right: E. Kingman / 72 25.75” H x 35.25” W $5,000-7,000

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A Spanish Colonial Baroque-style carved hardwood buffet 19th century With wrought-iron hardware and six drawers flanked by cabinet doors opening to reveal a single shelf 34.5” H x 96.5” W x 25.75” D $800-1,200

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A Peruvian sterling silver tea service

Mid-20th century Each marked: 925 / INDUSTRIA / PERUANA; tray with inscribed dedication: PARA / DOCTOR LAVANE “SPUTNIK” SANSUM / DE / POLLY “BOWS” WHITEFORD / “UN RECUÉRDO CON AFFECTIONES” Comprising: Coffee pot (9.5” H x 10.25” W x 4.75” D) Teapot (8.75” H x 10.625” W x 5.75” D) Covered sugar bowl (6.125” H x 5.625” W x 4.125” D) Creamer (5.625” H x 6” W x 4.25” D) Tray (2.25” H x 26.5” W x 16.125” D) 5 pieces Total weight: 129.9 gross oz. troy approximately $6,000-8,000

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A pair of Sanborns Spanish Colonial-style sterling silver candelabra Mid-20th century; Mexico City, Mexico Each marked to underside: 3 [Three owls] / Sanborns Mexico / Sterling With lobed standards issuing three lights with scrolled arms 2 pieces Total weight: 109.9 gross oz. troy approximately Each: 12.75” H x 14.25” W x 5.625” D $2,000-3,000

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Anibal Arivalo (20th Century, Guatemalan)

A Mayan-style carved wood xibalba canoe, late 20th/early 21st century Unmarked Depicting seven figures in funerary canoe 8.75” H x 24.25” L x 4.25” W $400-600 Provenance: Fine Arts Gallery, Belize City, Belize Private Collection, acquired from the above, January 8, 2002 Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery, and an artist’s bio.

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A Mata Ortiz polychrome pottery turtle effigy jar

Mid/late 20th century Incised to underside: R Quezada With turtle head, arms, and tail sculpted in relief, decorated with red and black stepped and geometric motifs on a cream slip ground 7.5” H x 10.75” W x 8.25” D $200-400

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Lupe Soto (b. 20th Century, Mata Ortiz)

A large polychrome pottery olla, late 20th/early 21st century Incised to underside: LUPE SOTO With corrugation to neck above black on red lizard motifs within a checkered matrix 10.125” H x 13.75” Dia. $200-400

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Four Mata Ortiz polychrome pottery ollas Four works:

Roberto Bañuelos (b. 20th century) A white on red pottery olla, late 20th century Incised signature to underside: Roberto Bañuelos With fine-line design to rim above butterfly motifs to body 6” H x 6.625” Dia. Maribel Lopez (b. 20th century) A polychrome pottery olla, late 20th/early 21st century Signed to underside: MARIBEL LOPEZ With multicolor repeated fish motifs on a cream slip ground 6.25” H x 6” Dia. Luz Elva Gutierrez (b. 1969) A sgraffito polychrome pottery olla, late 20th/early 21st century Incised signature to underside: LUZ ELVA GUTIERREZ With incised and painted red and black owl and dot motifs on a cream slip ground 7.125” H x 7.5” Dia. A sgraffito polychrome pottery jar, late 20th century Unmarked With all over positive/negative bird motif 10.75” H x 8” Dia. 4 pieces $400-600

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Francisco Zúñiga

(1912-1998, Mexican) “Grupo de Mujeres Sentadas II,” 1976 Lithograph in colors on wove paper Edition: Artist’s Proof XI/XX (aside from the edition of 125) Signed, dated, and numbered “p.a. XI/XX” in pencil lower left: Zga; Kyron Press, Mexico City, Mexico, prntr. and pub., with their blindstamp lower right Image/Sheet: 25” H x 36” W $800-1,200 Literature: Zúñiga 259; Brewster 27

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Francisco Zúñiga

(1912-1998, Mexican) “Familia Indigena I,” 1976 Lithograph in colors on cream Arches paper Edition: 107/125 (there were also 20 artist’s proofs) Signed, dated, and numbered in pencil lower right: Zga 1976; Kyron Press, Mexico City, Mexico, prntr. with their blindstamp lower right; commissioned by The Graphic Arts Council of The Los Angeles County Museum of Art Sight: 24.25” H x 34.25” W $800-1,200 Literature: Zúñiga 258; Brewster 26 Notes: The printing documentation sheet from Kyron Press is affixed to the frame’s backing paper. w w w. j o h n m o r a n . c o m 1 3 3

Francisco Zúñiga

(1912-1998, Mexican) “Muchacha en una Silla,” 1982 Lithograph in colors on wove paper Edition: 71/135 (aside from 15 Artist’s Proofs) Signed, dated, and numbered in pencil upper left: Zga; with the printer’s blindstamp lower right and ink-stamped work order number, verso, lower right “FZ211-135”; Kyron Press, Mexico City, Mexico, prntr.; Brewster Editions, New York, New York, pub. Image/Sheet: 23.5” H x 17.5” W $500-700 Literature: Zúñiga 317; Brewster 85

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Oswaldo Guayasamín (1919-1999, Ecuadorian)

Oswaldo Guayasamín was an influential E suffering, social injustice, and the dignity o children to a poor family in Quito, Guayas Nacional de Bellas Artes against his father

Through his career Guayasamín develope dramatic hands, and intense emotional im often addressed poverty, oppression, war, political struggles, and personal experienc

Ecuadorian painter whose artistic practice focused on expressing human of marginalized people across Latin America. Born the eldest of ten samín was interested in art from a young age and enrolled in the Escuela r’s wishes. Later he also studied under José Clemente Orozco.

ed a distinctive expressionist style characterized by elongated forms, magery painted in bold color and expressive brushwork. The artist’s themes r, and human rights abuses and drew inspiration from Indigenous cultures, ces.

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Oswaldo Guayasamín

(1919-1999, Ecuadorian) “Cabeza de Nina Negra” Gouache on paper laid to board Signed lower right: Guayasamin; titled by repute 14.5” H x 19.625” W $8,000-12,000

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A Guatemalan trestle table

19th/early 20th century The ogee edge top raised on carved bird-form trestle legs, joined by a shaped box stretcher 32” H x 67.5” W x 31” D $800-1,200

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A Pre-Columbian Colima redware pottery olla

Circa 300-600 CE or later; Mexico Of flattened form with a broad shoulder and a short, flared neck 6.25” H x 12.5” Dia. $300-500

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Late 20th century One incised to underside: TITO ENRIQUEZ; the other signed and dated: Rodrigo Perez / 99 Comprising one by Tito Enriquez (b. 1950) and one by Rodrigo Perez (b. 1976), each with red and black feather and geometric motifs on a marbled red/cream slip ground 2 pieces Taller: 6.875” H x 6.75” Dia.; Shorter: 6.125” H x 6.5” Dia.

Two pol Each inc With bla 2 pieces 3.125” H

Two Mata Ortiz polychrome marbled pottery ollas

$200-400

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Felix O

$200-30

Ortiz Rodriguez (b. 1942, Mata Ortiz)

lychrome pottery bowls, circa 1980s cised: Felix Ortiz R ack and red Mimbres-style pictorial decorated interiors on cream slip ground s H x 10.875” Dia. and 2.75” H x 11.75” Dia.

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Miguel Ocampo

(1922-2015, Argentinian) “Brumas Y Precisiones 83/29,” 1983 Acrylic on canvas Signed and dated lower right: Ocampo 83; signed again, titled, and inscribed “VII 83,” all verso 51” H x 74” W $3,000-5,000 Provenance: Are Contemporáneo S.R.L., Buenos Aires, Argentina Private collection, San Diego, CA, acquired from the above, March 19, 1987 Notes: This lot is accompanied by a certificate of authenticity and sales receipt, each dated March 19, 1987 and signed by Jacques Martinez, from the gallery mentioned above.

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Esteban Lisa

(1895-1983, Spanish/Argentinian) Abstract, 1957 Oil on paper Signed and dated lower left: Lisa / 8-11-1957 Image/Sheet: 13.25” H x 8.25” W $1,000-1,500 Notes: The book “Esteban Lisa” (Museum Nacional de Bellas Artes, Buenos Aires, Argentina, 1999) accompanies the lot.

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Esteban Lisa

(1895-1983, Spanish/Argentinian) Abstract composition, 1975 Oil on paper Signed, dated, and indistinctly inscribed lower right: Lisa / 21/6/1975 Image/Sheet: 13.375” H x 8.625” W $800-1,200 Notes: The following books accompany the lot: “Esteban Lisa de Arturo al Di Tella (1944-1963)” (Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina, 2002) and “Esteban Lisa opera 1935/1963” (Galleria Torbandena, Trieste, Italy, 2011).

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Carlos Almaraz

(1941-1989, Mexican-American) “Echo Park Lake,” 1987 Oil on canvas Signed and dated lower left: Almaraz ‘87 5” H x 7.125” W $2,000-4,000 Provenance: Elsa Almaraz Sold: Clark’s Fine & Art Auctioneers Inc., Los Angeles, CA, May 14, 2011, Lot 10

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Vladimir Cora

(b. 1951, Mexican) Abstract composition, 1984 Oil on canvas Signed and dated lower left: Vladimir Cora 84 29” H x 26” W $1,000-1,500 Provenance: Estate, Newport Beach, CA

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Luis Garcia Guerrero

(1921-1996, Mexican) Abstract, 1961 Oil on canvas Signed and dated lower right: Garcia Guerrero / 1961; signed “G. Guerrero” and inscribed “98” in pencil, all on the stretcher 12” H x 9.875” W $800-1,200

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Leonardo Nierman

(1932-2023, Mexican) Abstract sculpture Polished bronze on wood plinth Edition: 2/6 Incised signature and edition: Nierman II/VI Bronze: 14.5” H x 19” W x 8.5” D; Overall: 17.75” H x 19” W x 10.75” D $1,000-1,500 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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Leonardo Nierman

(1932-2023, Mexican) “Tempest” Acrylic on Masonite Signed lower left: Nierman; titled verso 23.5” H x 31.5” W $1,000-1,500

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Leonardo Nierman

(1932-2023, Mexican) “Meteor” Acrylic on Masonite Signed lower left: Nierman; titled verso 31.5” H x 23.75” W $1,000-1,500

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(1932-2023, Mexican) “Moonlight,” 1963 Oil on Masonite Signed and dated lower left: Nierman 63; titled by repute 15.875” H x 23.75” W

(1932-2023, Mexican) Untitled abstract, 1969 Acrylic on Masonite Signed and dated lower right: Nierman 69 17.75” H x 48” W

Leonardo Nierman

$700-1,000

$2,000-3,000

Provenance: Sold: John McInnis Auctioneers, Amesbury, MA, January 3, 2025, Lot 161

Provenance: Private collection, San Diego, CA

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Roger Calero (b. 1969, Nicaraguan)

Three sgraffito pottery ollas, late 20th/early 21st century Two with incised signature and inscription: Handmade in Nicaragua / Roger Calero Each olla raised on a bespoke conforming pottery ring, two depicting figures and mythical beasts, one depicting parrots in a tree 3 pieces Each: 9.375” H x 8.5” Dia.; Each ring: 2.125” H x 5.625” Dia.; Each overall: 10.875” H $300-500

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Roger Calero (b. 1969, Nicaraguan)

Three sgraffito polychrome pottery ollas, late 20th/early 21st century Each with incised signature and inscription: Hecho en Nicaragua / Roger Calero Comprising one depicting a serpentine figure, another with three ancestral figures, and the smallest with geometric motifs 3 pieces Tallest: 8.625” H x 7.25” Dia.; Smallest with ring: 5.5” H x 4.125” Dia. $200-400

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Three Nicaraguan polychrome pottery ollas Three works:

Mario Norori (b. 1950) Two polychrome pottery ollas, late 20th century Each incised with signature and inscription: MARIO NORORI / HANDMADE BY NICOYA / SAN JUAN DE ORIENTE Comprising one with geometric motifs and one with repeated conjoined bird design 2 pieces Larger: 6.625” H x 7.375” Dia.; Smaller: 6.125” H x 5.5” Dia. Roger Calero (b. 1969) A polychrome sgraffito pottery olla, late 20th century With incised signature and inscription: Hecho en nicaragua / Róger Calero Decorated with a band of swirling motifs above ancestral imagery 6.625” H x 8.5” Dia. 3 pieces total $200-400

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Gustavo Montoya (1905-2003, Mexican)

Gustavo Montoya was born in Mexico Cit experience that deeply influenced his arti lived in Europe, where he expanded his a

Montoya was one of the most important a associated with the “Easel Painting” of th focused on portraying everyday Mexican communities, still lifes, and portraits. Mon traditional Mexican clothing, which celebr

ty and grew up experiencing the upheaval of the Mexican Revolution, an istic vision. Montoya studied at the historic Academy of San Carlos and later artistic training and developed his distinctive style.

artists of the “Escuela Mexicana de Pintura” (Mexican School Artists) and is he Mexican Neorealism of the 20th century. Throughout his career, he life, creating paintings of street scenes, markets, working-class ntoya became especially known for his images of children dressed in rated the country’s cultural heritage.

Gustavo Montoya

(1905-2003, Mexican) “Niña con Cochinito” from the series “Niños Mexicanos,” 1967 Oil on canvas Signed lower right: gustavo montoya 24” H x 18” W $6,000-8,000 Provenance: Art Collectors’ Gallery, Mexico City, Mexico Private collection, San Diego, CA Notes: This lot is accompanied by a certificate of authenticity signed by the artist, from the gallery mentioned above.

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100

Gustavo Montoya

(1905-2003, Mexican) “Niña con mandolina” from the series “Niños Mexicanos” Oil on canvas Signed lower right: gustavo montoya; titled by repute 22” H x 18” W $5,000-7,000 Provenance: Sold: Pasarel Ltd., Netanya, Israel, “Art Auction, Silver, Jewish Jewelry and Collectibles,” October 29, 2025, Lot 99 Literature: Juan Rulfo et al, “Montoya” (México. Litógrafos unidos S.A.) 1981, pp. 77-79 Elizondo Lara, “Lupina Summary. Mexican painters and painting” (México. Promotion of Mexican Art, year 4) July-August 1999, pp. 10-12, No. 40

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101

Gustavo Montoya

(1905-2003, Mexican) “Viejas con Niño,” 1970 Oil and collaged textile on canvas Signed lower right: gustavo montoya 28” H x 36” W $3,000-5,000 Provenance: Collection of Bernard Lewin, Palm Springs, CA B. Lewin Galleries, Palm Springs, CA Literature: “Montoya,” 1981, p. 222, No. 144, illustrated Notes: This work is accompanied by a certificate of authenticity signed by Bernard Lewin and dated October 1, 1985, as well as the book mentioned above, and other B. Lewin Galleries catalogues and postcards.

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102

Graziella Laffi (1923-2009, Peruvian)

A sterling silver footed bowl, mid/late 20th century Marked: Peru / G. Laffi / 925 The hammered silver serving bowl with an applied disk motif band to the rim and raised on six bird-form feet 62.4 oz. troy approximately 6.125” H x 13.375” Dia. $3,000-5,000

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103

A pair of Peruvian sterling silver candelabra

Mid-20th century Each marked: 925 / OPAISA The five-light candelabra each with two C-scroll arms and grape bunches at center 2 pieces Each: 5.375” H x 14.125” W x 11.5” D Total weight: 69.7 gross oz. troy approximately $3,000-5,000

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104

A pair of Mexican Olinalá folk art painted cabinets

20th century Each signed to front: Corona; one inscribed: Cita Ramelli; another inscribed, possibly reading: Idita Ramelli The red lacquered cabinets, each painted to exterior and interior with scenes of figures, donkeys hauling fruit and birds, and flowers, and other flora and fauna, featuring a single drawer with iron ring pulls above two locking cabinet doors revealing two shelves to each side, above a shaped apron 2 pieces Each: 45.75” H x 39.5” W x 22.75” D $3,000-5,000

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105

A Mexican banded sarape

Mid/late 20th century Woven in wool with a red ground and black and green striped banding, with cotton/linen knotted fringing 93.25” H x 54.75” W approximately (excluding fringe) $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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106

A Mexican textile

Mid/late 20th century A heavy textile woven in two pieces in black, grey, cream, and multicolored wool featuring a central Mexican coat-of-arms eagle and snake medallion with stepped and hooked motifs with birds to each side and striped banding to ends, seamed down the center 80” H x 62.5” W approximately (excluding fringe) $200-300

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107

Three Mexican sarapes

Mid/late 20th century Comprising two sarapes finely woven in multicolored wool, each with a central serrated diamond amid multiple ombre shaded colored bands, with elaborate knotted fringing to each end, as well as a larger cotton sarape with vibrant multicolored bands and knotted cotton fringe to each end 3 pieces Largest: 83” H x 58.75” W; Smallest: 58.5” H x 19” W approximately (excluding fringe) $100-200

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Rufino Tamayo (1899-1991, Mexican)

Rufino Tamayo is one of the central figure language that fused international avant-g Born in Oaxaca and trained in Mexico Cit of the Mexican muralists, instead pursuing universal emotional resonance.

Throughout his long career in Mexico, Ne from pre-Hispanic symbolism, folkloric tra one of his major technical innovations: mi 1970s. By embedding wet paper pulp into than 80 in total, that extended the expres

Tamayo’s art, whether on canvas or in prin spirit. Themes of music, companionship, c reaffirming his belief in art’s universal pow Prize at the 1958 Venice Biennale, and wit cultural institutions such as the Museo Tam

es of 20th-century Latin American art, celebrated for forging a modernist garde ideas with the cultural depth of his Oaxacan and Zapotec heritage. ty, Tamayo charted an independent course away from the overt politics g a highly personal style grounded in radiant color, distilled form, and a

ew York, and Paris, Tamayo developed a visual vocabulary that drew equally aditions, and European modernism. His interest in surface and texture led to ixografía, a printmaking process he developed with Luis Remba in the to inked plates, Tamayo achieved richly tactile, dimensional prints of more ssive language of his paintings into new material territory.

nt, is characterized by its lyrical abstraction, mythic imagery, and humanistic celestial forces, and Indigenous identity course through his work, wer. Over his lifetime he received numerous honors, including the UNESCO th his wife and collaborator, Olga Tamayo, helped establish important mayo in Mexico City.

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108

Rufino Tamayo

(1899-1991, Mexican) “Cabeza en la Ventana” (Head at the Window), 1984 Aquatint in colors on handmade Guarro paper Edition: 54/99 (there were also 15 artists proofs numbered in Roman numerals, and 15 hors commerce impressions) Signed and numbered in black pencil in the lower right and left corners, respectively: R Tamayo; Ediciones Polígrafa, Barcelona, Spain, prntr. and pub. Image/Sheet: 29.75” H x 21.875” W $2,000-3,000 Provenance: Latin American Masters, Beverly Hills, CA Literature: Pereda 317 Notes: This lot is accompanied by a certificate of authenticity, dated August 27, 1988, from the gallery mentioned above.

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109

Rufino Tamayo

(1899-1991, Mexican) “Cabeza en la Ventana” from the “16 Aguafuertes” series, 1976 Etching in colors on handmade Guarro paper Edition: P de a X/X (aside from the edition of 75) Signed and numbered in black pencil in the lower right and left corners, respectively: R. Tamayo; Ediciones Poligrafa, Barcelona, Spain, prntr. and pub. Image/Sheet: 29.25” H x 22” W $2,000-3,000 Provenance: Private collection, San Diego, CA Literature: Pereda 201

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110

Jesús Reyes (Chucho) Ferreira

(1882-1977, Mexican) Rooster Acrylic and gouache on tissue paper Signed lower right: J. Reyes Ferreira Sight: 29.25” H x 19” W $3,000-5,000

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111

Jesús Reyes (Chucho) Ferreira

(1882-1977, Mexican) Rooster Aniline pigments on tissue paper Signed lower center: J. Reyes Ferreira Sight: 29” H x 19” W $2,500-3,500

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112

Jesús Reyes (Chucho) Ferreira

(1882-1977, Mexican) “Christo,” 1963 Gouache on tissue paper Signed lower left: J. Reyes Ferreira; titled and dated on a typewritten gallery label affixed to the backing paper Sight: 28.5” H x 18.25” W $1,000-1,500 Provenance: Galerias Carlota, Tijuana, Mexico

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113

Jesús Reyes (Chucho) Ferreira

(1882-1977, Mexican) “Flores,” circa 1963 Tempera on tissue-thin Chinese paper Signed lower right: J. Reyes Ferreira; titled and dated on a typed label affixed to the frame’s backing paper Image/Sheet: 19.375” H x 29.25” W $1,500-2,000

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114

Sergio Hernandez

(b. 1957, Mexican) “Insects” Mixed media on stretched parchment Signed lower right: Hernandez; titled by repute 21.875” H x 21.875” W $3,000-5,000

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115

Hector Poleo

(1918-1989, Venezuelan) “Embrace” Oil on paperboard laid to panel Signed lower left: Poleo; titled by repute Image/Paperboard: 25.25” H x 19.875” W (irreg.); Panel: 25.875” H x 19.875” W $1,500-2,000

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116

Felipe Orlando

(1911-2001, Cuban) “Sonata,” 1956 Oil on burlap Signed lower left: Felipe Orlando; signed again, titled, and dated “1956” in black on the verso and on the stretcher; inscribed indistinctly in pencil on the stretcher 31” H x 37” W $1,500-2,500 Provenance: Galeria San Martin, Mexico City, Mexico

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117

José Maria de Servin

(1917-1983, Mexican) Harlequin guitarist Oil on canvas Signed lower right: Jose Ma. D’Servin 39.5” H x 31.5” W $2,000-3,000

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118

Patssi Valdez

(b. 1951, Mexican-American) “Black Vase,” 2002 Oil on canvas Signed lower left: Valdez; titled and dated “2002” in green pencil, verso 24” H x 20” W $2,500-3,500

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119

José Luis Cuevas

(1934-2017, Mexican) “Autorretrato Bailando” (Self Portrait Dancing), 1977 Watercolor and ink on textured paper Signed, titled, and dated in ink lower right: Cuevas / 77 / Roma 31.XII.1977 Image/Sheet: 7.375” H x 10.5” W $2,000-3,000 Provenance: Private collection, Los Angeles, CA

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120

José Luis Cuevas

(1934-2017, Mexican) “La Mascara,” from the “Homage to Quevedo” portfolio, 1969 Lithograph in colors with lithographed mylar collage on wove paper Edition: 67/100 Signed and numbered in white pencil in the lower sheet corners: Cuevas; Collectors Press, San Francisco, CA, pub. Image/Sheet: 30” H x 22.5” W $600-800 w w w. j o h n m o r a n . c o m 2 0 3

121

Four Mata Ortiz polychrome pottery jars Four works:

Julio Mora (b. 1971) A small pottery seed jar, late 20th century Incised to underside: Julio Mora With black and red checkered design to shoulder above a deer figure to underside, on a cream slip ground 2” H x 3.875” Dia. Ismael Florel (b. 20th century) A pottery wedding jar, late 20th century Incised to underside: ISMAEL FLOREL With red and black bands of fine-line and geometric motifs on a cream slip ground 6.375” H x 5.625” Dia. Nancy Heras de Martinez (b. 20th century) A squared pottery olla, late 20th century Incised to underside: Nancy Heras de Martinez With red and black alternating birds and lizards in friezes within a checkered and fine-line matrix, on a cream slip ground 7.125” H x 3.75” W x 3.75” D Juana Ledezma Veloz (b. 20th century) A pottery olla, late 20th century Incised to underside: JUANA LEDEZMA With red and black geometric motifs on a cream slip ground 5.375” H x 5.375” Dia. 4 pieces $200-400

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122

Three Mata Ortiz pottery ollas Three works:

Eduardo Quintana Rodriguez (b. 20th century) Each incised to underside: EDUARDO QUINTANA Ro Comprising one red cut to white depicting swirling parrot motifs below a black geometric collar, and another with red and black cut to cream depicting alternating hummingbirds and parrots 2 pieces Larger: 7.875” H x 6.625” Dia.; Smaller: 5.25” H x 5.5” Dia. Carmen De Baca (b. 20th century) A white on red pottery olla, late 20th/early 21st century Incised to underside: CARMEN .F. DE BACA With checkered and geometric motifs throughout 4.25” H x 4.5” Dia. 3 pieces total $200-400

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123

Three Mata Ortiz pottery jars Three works:

Socorro Reyes (b. 20th century) A blackware pottery jar, late 20th century Incised to underside: Socorro Reyes With oval form, shaped rim, and black on black geometric motifs 4.625” H x 6.25” W x 4” D Tomasa Mora (b. 20th century) A polychrome pottery olla, late 20th century Incised to underside: Tomasa Mora With corrugated shoulder above black and red banded feather motifs on a cream slip ground 5.75” H x 6” Dia. Octavia Silveira (b. 1977) A polychrome pottery olla, late 20th century Incised to underside: TAVO SILVEIRA With corrugated neck and shoulder above black and red banded geometric motifs 8.625” H x 6.375” Dia. 3 pieces $100-200

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124

Armando Amaya

(b. 1935, Mexican) Seated Woman, 1985 Carved black marble on wood plinth With incised signature and date: amaya Marble: 17” H x 18” W x 15” D; Overall: 18.75” H x 19.5” W x 15” D $2,000-4,000 Provenance: Private collection, San Diego, CA Provenance: Galería Tere Haas, Mexico City, Mexico Private collection, acquired from the above, January 27, 1985 Notes: This lot is accompanied by an Authenticity Certificate from the abovementioned gallery, dated and signed by the artist. The artist also sculpted a similar piece titled “Mujer Flexionada Sonriendo,” 1988. 2 0 8 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

125

Felipe Castañeda

(b. 1933, Mexican) “Mujer con Reboso,” 1982 Patinated bronze on wood plinth Edition: IV/XII Signed and dated on the underside: F. Castañeda / 1982 Bronze: 16.25” H x 8” W x 10.25” D; Plinth: 2” H x 9.125” W x 12.25” D $1,000-2,000 Provenance: Galería Tere Haas, Mexico City, Mexico Private collection, San Diego, CA, acquired from the above, December 4, 1984 Notes: This lot is accompanied by an Authenticity Certificate from the abovementioned gallery, dated and signed by the artist.

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126

Eduardo Rivera Montiel

(20th Century, Mexican) Familia, 1990 Verdigris patinated bronze on stone clad plinth Edition: I/VI Signed, dated, and numbered on the rear underside: E. Montiel / 90 Bronze: 66.25” H x 26” W x 8” D; Plinth: 12.25” H x 42.25” W x 24.25” D $2,000-4,000 Provenance: Private collection, San Diego, CA Notes: This lot is accompanied by a photograph possibly of the same piece in situ, a gallery brochure highlighting works by the artist, and a typed biography of the artist.

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127

Eduardo Rivera Montiel

(20th Century, Mexican) Familia, 1985 Verdigris patinated bronze on black marble plinth Edition: III/X Signed and numbered in the casting: E. Montiel Bronze: 18.5” H x 8.75” W x 4.375” D; Plinth: 1.75” H x 12.25” W x 8.25” D $800-1,200 Provenance: Galería Tere Haas, Mexico City, Mexico Private collection, San Diego, acquired from the above, January 27, 1986 Notes: This lot is accompanied by an Authenticity Certificate from the abovementioned gallery, dated and signed by the artist.

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128

A pair of Mexican carved wood doors

19th century Each with recessed carved decorative panels, one mounted with a wrought-iron floral medallion pull 2 pieces Larger: 86.5” H x 61” W x 4” D; Smaller: 85.5” H x 60” W x 5” D $1,200-1,800

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129

Victor Salmones

(1937-1989, Mexican) Girl Dancing Verdigris patinated bronze on subterranean concrete base Edition: 2/10 Signed and numbered in the casting: VICTOR SALMONES Bronze: 69.75” H x 54.5” W x 9” D; Overall: 88” H x 54.5” W x 15.75” D $2,000-3,000

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130

Victor Salmones

(1937-1989, Mexican) “Lineas” Verdigris patinated bronze Edition: 10/10 Signed and numbered in the casting: VICTOR SALMONES 44.75” H x 46” W x 15” D $1,500-2,500

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131

Luis Nishizawa Flores

(1918-2014, Mexican) Landscape with mountains and cows Watercolor on paper Signed and with the artist’s seal lower left: Nishizawa Sheet: 15” H x 23.375” W $2,000-3,000 Provenance: Private collection, Temecula, CA By family descent from a Mexican Art collector Notes: This lot is accompanied by a photo Certificate from Galeria, Arte De Coleccionistas, S.A., Mexico City, Mexico, signed by Joseph Raskob, President and dated March 3, 1978.

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132

Hugo Crosthwaite

(b. 1971, Mexican) “Asunción,” 1998 Oil, charcoal, and pencil on panel Signed and dated lower left: H. Crosthwaite / 1998; signed and dated again, and titled, verso 48” H x 48” W $1,500-2,500 Provenance: Galerie d’art internationale, Québec, Canada Private collection, San Diego, CA, acquired from the above

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133

Hugo Crosthwaite

(b. 1971, Mexican) “Mujer Columpiándose,” 1998 Graphite on glossy paper mounted to paper Signed and dated lower left: H. Crosthwaite. 1998; signed and dated again, and titled on the frame’s backing board, presumably in the hand of the artist Sight: 22.75” H x 17.875” W; Mount: 25.75” H x 19.75” D $1,000-2,000 Provenance: Private collection, San Diego, CA 2 2 2 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

134

Hugo Crosthwaite

(b. 1971, Mexican) Untitled, a woman holding fruit surrounded by figures, 2003 Graphite on paper Signed and dated lower right: H. Crosthwaite ‘03 Sight: 10” H x 8.125” W $800-1,200 Provenance: Private collection, San Diego, CA

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135

Francisco Toledo

(1940-2019, Mexican) “Auto Accident,” circa 1968-71 Drypoint, etching and roulette in black ink on paper An artist’s proof, aside from the edition of 20 Signed and inscribed “Prueba de artista” in pencil in the lower margin: Toledo; titled and dated on a typed gallery label affixed to the frame’s backing board Plate: 25” H x 19.375” W; Sight: 26.375” H x 20.375” W $2,500-3,500 Provenance: Latin American Masters, Beverly Hills, CA

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136

Francisco Toledo

(1940-2019, Mexican) “La Tortuga,” 1982 Aquatint, engraving, etching, and drypoint in colors on BFK Rives paper A Prueba de artista (Artist’s proof aside from the edition of 20) Signed in pencil in the lower margin, at left: Toledo Plate: 8” H x 12.5” W; Sight: 8.75” H x 13.5” W $1,500-2,500 Provenance: Latin American Masters, Beverly Hills, CA

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137

138

(1940-2019, Mexican) “Descanso” Watercolor and ink on paper Signed in pencil lower right: Toledo; titled by repute Sight: 7.75” H x 10.5” W

(1940-2019, Mexican) Woman with hats Lithograph in dark purple ink From the edition of unknown Signed in pencil in the lower Sheet: 20” H x 26” W

Francisco Toledo

$1,500-2,000

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Francisco Toledo

$800-1,200

k on wove paper n size and date margin, at right: Toledo; inscribed in pencil “#16” verso

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139

Francisco Toledo

(1940-2019, Mexican) “Venado Pariendo,” 1969 Lithograph in dark brown ink on wove paper Edition: 26/50 Signed, dated, and numbered in pencil in the lower margin: Toledo 1969; Atelier Clot, Bramsen & Brunholt, prtr. Image: 14” H x 18” W; Sheet: 17.125” H x 22.25” W $700-900

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140

Francisco Toledo

(1940-2019, Mexican) “Venados,” one plate from the “Chilam Balam” portfolio, 1975 Etching and aquatint in brown on BFK Rives paper Edition: J (from one of the lettered sets, apart from the numbered edition of 50) Signed and inscribed “J” in pencil in the lower margin; with an unidentified blindstamp near the lower left margin corner Plate: 8” H x 12.5” W; Sheet: 29.75” H x 22.25” W $700-900

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141

Francisco Toledo

(1940-2019, Mexican) “La Mujer Preñada” from the “Sahagun” portfolio, 1974 Etching in colors on wove paper An artist’s proof, aside from the edition of 100 Signed and inscribed in pencil in the lower margin: Toledo / P.A.; inscribed in pencil verso: AGV 60; Mario Reyes and Litoarte, Mexico City, Mexico, prntr.; Avril Grafica, Mexico City, Mexico, pub. Plate: 5.75” H x 5.75” W; Sheet: 11.125” H x 15” W $500-700

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142

143

20th century Each unmarked Comprising one four-color jar with geometric motifs and one red and black on cream slip with banded feather motifs 2 pieces Taller: 6.375” H x 6.375” Dia.; Shorter: 5.875” H x 7” Dia.

Mid-20th century One deeply incise Comprising one b black geometric m 3 pieces Largest: 8.375” H

Two Casas Grandes-style polychrome pottery jars

$100-200

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Three Casas Gr

$200-400

randes-style polychrome pottery ollas

y ed to underside: Manuel Olivas by Manuel Olivas (b. 1940, Mata Ortiz) and two others, each with red and motifs on a cream slip ground, one with corrugated neck

H x 8.375” Dia.; Olivas: 7” H x 8.25” Dia.; Smallest: 5” H x 6.125” Dia.

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144

Three Latin American pottery jars Three works:

Francisco Calero (b. 20th century, Nicaraguan) A sgraffito pottery olla, late 20th century Incised to underside: HAND MADE BY NICOYA / FRANCISCO CALERO / NICARAGUA With black and cream bands of geometric, stepped, and swirling motifs 4.625” H x 4.5” Dia. Juan Carlos Rodriguez (b. 20th century, Mata Ortiz) A sgraffito pottery olla, late 20th century Incised to underside: Juan C. / K Rodriguez With black carved to cream bands of geometric motifs and three bird figures 4.625” x 6.125” Dia. Roberto Bañuelos (b. 20th century, Mata Ortiz) A polychrome pottery jar, late 20th century Incised to underside: Roberto Bañuelos With red and black repeated rabbit design 4.875” H x 6.75” Dia. 3 pieces $300-500 2 3 4 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

145

Two Brazilian Marajoara-style sgraffito pottery jars

Late 20th century Each with incised signature: MARIVALDO; one dated: 96 Each incised with geometric designs, comprising one sculpted with two frogs in relief, the taller with green in-filling to incised motifs 2 pieces Taller: 10.375” H x 8.875” Dia.; Frog: 6.25” H x 8.625” Dia. $200-300

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Roberto Montenegro (1885-1968, Mexican)

Roberto Montenegro was one of the mos muralist, illustrator, printmaker, scenograp studied at the Academia de San Carlos be Symbolism, Art Nouveau, and the emergi of the first artists commissioned by José V de la vida (1922) is recognized as one of t mature style blends European modernism decorative sensibility and a deep engage

As both an innovator and cultural advocat lasting legacy through his paintings, mura

st versatile figures of early 20th-century Mexican art, working as a painter, pher, and early advocate for Mexican folk art. Born in Guadalajara, he efore spending more than a decade in Europe, where he absorbed ing avant-garde. Returning to Mexico after the Revolution, he became one Vasconcelos for the new cultural projects of the 1920s. His fresco El árbol the earliest works of the modern Mexican mural movement. Montenegro’s m with Mexican popular and pre-Hispanic motifs, reflecting both a ement with national identity.

te, Montenegro helped establish a distinctly Mexican modernism, leaving a als, illustrations, and efforts to elevate the country’s rich artistic heritage.

146

Roberto Montenegro

(1885-1968, Mexican) “Hora Única” Ink and pencil on cream paper Signed with conjoined initials lower left: RM; titled in pencil lower right Sight: 9.75” H x 7.5” W $700-1,000

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147

Roberto Montenegro

(1885-1968, Mexican) Untitled, circa 1940 Lithograph on wove paper Edition: 1/15 Signed and numbered in pencil, in the lower margin, at left: Rob. Montenegro Image: 9” H x 7.875” W; Sight: 10” H x 8.5” W $200-300

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Carlos Mérida

(1891-1984, Guatemalan)

Carlos Mérida is regarded as one of the key innova aesthetics with Indigenous visual traditions from G Quiché heritage, Mérida was exposed early to the a hearing condition ended his musical studies, an e

In 1910, after his first exhibition in Guatemala, Mér would shape his artistic trajectory. There he mingle languages of Cubism, Expressionism, and emergin through which Latin American artists might reinterp

Mérida returned briefly to Guatemala before reloc the Mexican muralist movement. While Rivera, Oro experimental path, blending geometric abstraction painting, printmaking, muralism, and design is mar both his musical origins and his commitment to syn

Over a career spanning seven decades, Mérida ex the United States, and became an influential teach Latin American form of modernism, one that hono remain essential touchstones in the study of 20th-c

ators of Latin American modernism, celebrated for merging European avant-garde Guatemala and Mexico. Born in Guatemala City to a family of mixed Spanish and Mayane cultural richness of his homeland. Initially trained as a musician, he turned to painting after early shift that would later inform the rhythmic quality of his visual work.

rida traveled to Paris, where he encountered the flourishing modernist movements that ed with figures such as Picasso, Mondrian, Diego Rivera, and Ángel Zárraga, absorbing the ng abstraction. This period crystallized his belief that modernism could serve as a framework pret their own cultural identities rather than simply imitate European models.

cating permanently to Mexico City in 1919, aligning himself with, but distinctly apart from ozco, and Siqueiros focused on monumental, narrative realism, Mérida carved a more n with Indigenous motifs drawn from Mayan and Mexican traditions. His work across rked by clarity of form, bold color, and a deep sense of rhythmic composition, reflecting nthesizing diverse cultural sources.

xhibited widely throughout the Americas and Europe, executed major murals in Mexico and her and theorist. Today, he is recognized as one of the first artists to articulate a distinctly ored Indigenous heritage while engaging fully with international art movements. His works century art in the Americas.

148

Carlos Mérida (1891-1984, Guatemalan)

“Trajes Regionales Mexicanos” portfolio, 1945 Edition: 57/1000 The complete set of 25 screenprints in colors on wove paper, together with the justification page signed and numbered in ink: Carlos Merida / no. 57; each of the screenprints with the artist’s name, plate number, and individual title printed as part of the image; together with the title pages, list of plates, and introductory text staple-bound as issued; the 25 plates loose, as issued; all contained within the original beige cloth-covered portfolio boards/wrapper with printed design, title, and publisher on the front; Editorial Atlante, Mexico City, Mexico, pub. Image of each: 12.5” H x 9.25” W.; Sheet of each: 17.5” H x 12.75” W $1,000-2,000

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149

Carlos Mérida

(1891-1984, Guatemalan) Untitled, plate 9 from the “Cielos Luminicos” portfolio, 1941 Screenprint in colors on wove paper Edition: 78/100 Signed and numbered in pencil in the lower margin: Carlos Mérida; also signed and dated as part of the image; printed “9” in white ink, verso; Taller de Ediciones Multiarte, Mexico City, prntr.; with an unidentified blindstamp in the lower left margin Image: 15” H x 11.75” W; Sheet: 30” H x 22.25” W $700-900

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150

Carlos Mérida

(1891-1984, Guatemalan) Untitled, plate 3 from the “Cielos Luminicos” portfolio, 1941 Screenprint in colors on wove paper Edition: 78/100 Signed and numbered in pencil in the lower margin: Carlos Mérida; also signed and dated as part of the image; printed “3” in white ink, verso; Taller de Ediciones Multiarte, Mexico City, prntr.; with an unidentified blindstamp in the lower left margin Image: 15” H x 11.75” W; Sheet: 30” H x 22.25” W $700-900

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151

152

(1909-1985, Mexican) Untitled (Man Carrying Boy’s Coffin), 1961 Lithograph on cream wove paper From the edition of unknown size (possibly from the edition of 25) Signed in pencil lower margin, at right: L. Arenal Image: 10.75” H x 9.625” W; Sheet: 12.25” H x 10” W

(b. 1948, Brazilian) Neighborhood block with figures, 1985 Mixed media in acrylic case Signed and dated lower right: Lima Building: 18.25” H x 36.25” W x 5.75” D; In case

Luis Arenal Bastar

$200-300

Hely Lima

$1,000-1,500

Provenance: Property from the Anni & Arthur Lipper III Collec

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e: 25.5” H x 44.5” W x 8.25” D

ction, Del Mar, CA

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153

Milton Becerra

(b. 1951, Venezuelan) Línea continua, Edición DS Arte Dos Gráficos, 2007 Mixed media including, mdf, cotton, nylon and stone Edition: 30/30 Signed and inscribed in white pencil lower right and numbered lower left: Milton Becerra 1113 18” H x 18” W x 2” D $500-700 Provenance: Private collection, Los Angeles, CA Notes: This lot is accompanied by the book “Analyse D’un Processus Dans Le Temps, Oeuvres de Milton Becerra.”

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154

Francisco Mora

(1922-2002, Mexican) “Saliendo de la Mina,” from the portfolio “Mexican Art - Mexican People and Places,” 1946 Lithograph on cream wove paper Edition: 16/75 Signed and numbered in pencil in the lower margin: -Mora-; Taller de Grafica Popular, Mexico City, Mexico, pub.; inscribed in another hand in pencil, verso: “Ex. 11.1.22” Image: 13.875” H x 11.25” W: Sheet: 17.625” H x 15.25” W $300-500

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155

Francisco Mora

(1922-2002, Mexican) Untitled (Woman with baby), 1944 Lithograph on paper Edition: 5/10 Signed, dated, and numbered in pencil in the lower margin: Mora / 1944 Image: 10.5” H x 9.5” W; Sheet: 15” H x 11” W $200-300

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156

Juan Soriano

(1920-2006, Mexican) “Ventana,” 1975 Lithograph in colors on paper Edition: XVII/XXX Signed, dated, and numbered in pencil lower right and left, respectively: J. Soriano 75; titled by repute Sheet: 25.625” H x 19.5” W $600-800

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157

Emilio Amero

(1901-1976, Mexican) “Fiesta,” 1950 Lithograph in colors on paper Trial proof II, aside from the edition of unknown size Signed, dated, and inscribed “Trial Proof II,” in pencil in the lower margin: E. Amero 1950 Image: 9.75” H x 12” W; Sight: 10.25” H x 12.5” W $400-600 Provenance: Private collection, Los Angeles, CA

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158

José Ortega

(1921-1990, Spanish) “La Donna,” circa 1967 Mixed technique intaglio in colors on cream wove paper Edition: 37/100 Signed and numbered in pencil in the lower right and left, respectively: Ortega Image/Sheet: 21.5” H x 29.75” W $300-500

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159

José Ortega

(1921-1990, Spanish) “Harvesters,” 1966 Etching and aquatint in colors on cream wove paper Edition: 76/100 Signed and numbered in pencil in the lower margin: Ortega Plate: 25.375” H x 19.5” W; Sight: 26.75” H x 20.75” W $300-500

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160

Graciela Rodo Boulanger

(b. 1935, Bolivian) “Sagittarius” from the “Zodiac” series Lithograph in colors on wove paper Edition: 186/200 Signed and numbered in pencil at the lower right and left corners, respectively: G. Rodo Boulanger; alternatively titled “Archer” Image/Sheet: 29.625” H x 21.875” W $400-600 Provenance: Private collection, San Diego, CA Notes: A certificate of authenticity from Chamberlin Art Galleries, Los Angeles, CA, accompanies this lot. w w w. j o h n m o r a n . c o m 2 5 7

161

Fernando Olivera

(b. 1962, Mexican) “Zapata,” 2000 Etching and aquatint in colors on wove paper A workshop proof aside from the edition of 30 Signed, titled, dated, and inscribed “P/T” in pencil along the lower margin: F. Olivera 2000; Taller de Grabado Fernando Sandoval, Oaxaca, Mexico, prntr., with their blindstamp (twice) in the lower right margin corner Plate: 19.625” H x 13” W; Sheet: 27.25” H x 20.5” W $600-800

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162

After Rufino Tamayo

(1899-1991, Mexican) “The Dancer” Lithograph on cream paper From the edition of unknown size and date Signed as part of the image lower left Image: 12.5” H x 11” W; Sight: 13.125” H x 11.125” W $300-500

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163

Two Mexican metal ashtrays Two works:

A Héctor Aguilar hammered copper footed bowl, circa 1939-1948; Taxco, Mexico Héctor Aguilar (1905-1986) Impressed to underside: HA [conjoined] / TAXCO / MEXICO 2.125” H x 6” Dia. A Los Castillo inlaid mixed metal plate, mid-20th century; Taxco, Mexico Impressed to underside: HANDWROUGHT / LOS CASTILLO / 36 Sterling silver, brass, and copper, depicting a hand, footprint, and bird figure centered by a swirling motif, the rim inlaid with azurmalachite 5.125” Dia. 2 pieces $300-500

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164

Three South American objects

19th/20th century One amulet impressed indistinctly Comprising two Afro-Brazilian Penca de Balangandan metal alloy amulets, and a leather-clad gourd and metal yerba maté vessel 3 pieces Maté: 4.25” H x 3.875” Dia.; Larger amulet: 6.25” H x 5” W x 3” D $150-250

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165

Two Mexican metal items

Late 19th/early 20th century Comprising a framed print on paper inscribed “El Sr. De Los Trabajos” under glass within a repoussé cut iron frame, and an engraved brass sample plate/sign depicting a Banco National Mexico Travelers Check, inscribed “Cheques de Viajero” 2 pieces Sight of print: 9.375” H x 6.5” W; Framed: 12.5” H x 9.75” W; Check: 4.75” H x 7.75” W $150-250

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166

A group of Mexican bar articles

Early/mid-20th century Tumbler impressed: MADE IN MEXICO / [indecipherable] TAXCO; one shot glass impressed: ALPACA Comprising a tumbler, two shot glasses, and an articulated fish-form bottle opener, each with inlay or overlay of mother of pearl, along with four mixed metal ashtrays, two with inlaid hardstone, one with applied Mexican coins 8 pieces Tumbler: 6” H x 2.875” Dia.; Largest ashtray: 1.25” H x 5” W x 4.75” D $200-400

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167

Pedro Friedeberg

(1936-2026, Mexican) Untitled (An Impassive Biplane) Printed paper and gold leaf on wood, rulers, and mixed media Signed towards front: Pedro Friedeberg Airways; inscribed on tail: Pedro Friedeberg Airways 9.5” H x 28” L x 18.75” W $2,000-4,000

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168

Pedro Friedeberg

(1936-2026, Mexican) “Monos musicales de día” (“Musical Monkeys by Day”) Screenprint in colors on paper in artist’s frame Edition: 61/86 Signed and numbered in pencil in the lower margin: Pedro Friedeberg Sight: 29.5” H x 26.25” W $600-800

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169

Pedro Friedeberg

(1936-2026, Mexican) “Changuitos de la Ciudad” (“City Monkeys”), circa 2018 Giclée in colors on paper in artist’s frame Edition: 35/42 Signed and numbered in silver ink in the lower corners: Pedro Friedeberg; with the artist’s black ink stamp lower left Sight: 15.5” H x 19.5” W $500-700

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170

Pedro Friedeberg

(1936-2026, Mexican) “Amazonas Odiosonas” Giclée in colors on paper in artist’s frame Edition: 12/24 Signed and numbered in pencil, and with the artist’s black ink stamp, all in the lower margin: Pedro Friedeberg Image: 26” H x 26” W; Sight: 27” H x 27” W $600-800

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171

Pedro Friedeberg

(1936-2026, Mexican) “Schloss Struwwelpeter,” 2016 Giclée in colors on paper in artist’s frame Edition: 35/50 Signed and numbered in ink in the lower right and left sheet corners: Pedro Friedeberg; signed again and dated “2016,” and with the artist’s stamp, all printed as part of the image in the lower corners Sight: 27” H x 29.25” W $600-800

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172

Pedro Friedeberg

(1936-2026, Mexican) “Loteria Canina” (“Dog Lottery”) Giclée in colors on paper in artist’s frame Edition: 6/80 Signed and numbered in pencil in the lower margin: Pedro Friedeberg Sight: 25” H x 25” W $600-800

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173

Pedro Friedeberg

(1936-2026, Mexican) “Almanaque o 365 Sueñitos Surrealistas” (“Almanac or 365 Surrealist Dreams”) Giclée in colors on paper in artist’s frame Edition: XXXIX/LXV Signed and numbered in Roman numerals in silver ink in the lower sheet corners: Pedro Friedeberg Sight: 28.5” H x 28.5” W $600-800

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174

Pedro Friedeberg

(1936-2026, Mexican) “Hagalo y Diviertase” (“Do It and Have Fun”) Giclée in colors on paper in artist’s frame Edition: 8/50 Signed and numbered in pencil, and with the artist’s black ink stamp, all in the lower margin: Pedro Friedeberg Image: 26.5” H x 26.5” W; Sight: 28.5” H x 28.5” W $600-800

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175

Pedro Friedeberg

(1936-2026, Mexican) “Teotihuacanización de Mesopotamia o Soles de Niniveh” Giclée in colors on paper in artist’s frame Edition: 10/120 Signed and numbered in pencil in the lower margin: Pedro Friedeberg Sight: 25.5” H x 25.75” W $600-800

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176

Pedro Friedeberg

(1936-2026, Mexican) “Cats of All Nations: Unite!” (Gatos), 2000 Giclée in colors on paper in artist’s frame Edition: 27/120 Signed and numbered in pencil along the lower margin: Pedro Friedeberg; with an unidentified blindstamp in the lower margin, at left Sight: 20” H x 20” W $600-800

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177

Pedro Friedeberg

(1936-2026, Mexican) “La Semana de Siete Días” (“The Week of Seven Days”), 1972 Lithograph in colors on Fabriano paper Edition: 14/50 Signed, titled, dated, and numbered in pencil in the lower margin: Pedro Friedeberg; signed and dated as part of the image, lower right Image: 19.625” H x 19.75” W: Sight: 21” H x 21.125” W $500-700 Provenance: Private collection, San Diego, CA

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178

Pedro Friedeberg

(1936-2026, Mexican) “Perros” (Dogs), 1994 Giclée in colors on paper in artist’s frame Edition: 37/120 Signed and numbered in pencil along the lower margin: Pedro Friedeberg; with an unidentified blindstamp in the lower margin, at left Sight: 23” H x 23” W $600-800

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179

Two Mexican Talavera pottery jars

Mid/late 20th century Smaller signed to underside: TALAVERA / VENEGAS / MEX; larger unmarked The enameled earthenware lidded jars each decorated with floral and foliate motifs, comprising one monumental and one smaller depicting two profile busts of ladies 2 pieces Monumental: 49” H x 24.75” Dia.; Smaller: 27.75” H x 16” Dia. $600-800

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180

Two Mexican Talavera pottery jars

20th century; Puebla, Mexico Each unmarked Comprising a large baluster-form jar with opposed scrunched ribbon handles, one side featuring a painted polychrome basket with fruits, the other side depicting two birds and floral motifs, and a smaller jar with banded Chinese-style blue foliate motifs centering polychrome flowers 2 pieces Larger: 19.5” H x 15” W x 12.5” D; Smaller: 10.375” H x 8.25” Dia. $200-300

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181

A Mexican tile-top drink table

20th century The enameled earthenware pottery tiles in a tetraptych depicting a central bird on a floral branch, set into a wrought iron stand raised on four scroll legs 19.25” H x 12.25” W x 12.25” D $200-400

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182

Four Mexican Talavera polychrome pottery vessels

Mid/late 20th century Two marked in underglaze: Puebla, Mex; one marked indistinctly for Guanajuato maker Each decorated with floral motifs, comprising: Serving dish (3.125” H x 12.875” W x 10.25” D) Round plate (1.125” H x 8.875” Dia.) Taller vase (10” H x 5.125” Dia.) Shorter vase (7.75” H x 5.25” Dia.) 4 pieces $300-500

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183

Juan Manuel de la Rosa

(1945-2021, Mexican) Untitled, 1998 Mixed media including charcoal, red pigment, and gold leaf on paper Signed and dated in pencil, and with the artist’s red ink monogram, all lower right: de la Rosa ‘98 Sheet: 48” Dia. $800-1,200 Provenance: Private collection, Los Angeles, CA

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184

Juan Manuel de la Rosa

(1945-2021, Mexican) “Luz del Altiplano,” 1998 Mixed media including wax and graphite on handmade paper Signed and dated in pencil, and with a red ink chopmark, all lower right: de la Rosa / 98; titled on a gallery label affixed to the frame’s backing board Sheet: 19.75” H x 13.25” W (irreg.) $500-700 Provenance: Galerie Rahn, Zurich, Switzerland Private collection, Los Angeles, CA

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185

Mati Russo

(Active 21st Century, American) Untitled (We Have to Stop), 2012 Acrylic and mixed media collage including bullets on canvas Signed and dated lower left: M Russo 12 48” H x 30” W $400-600 Provenance: Latino Art Museum, Pomona, CA

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186

José Manuel Fors

(b. 1956, Cuban) “Cartas de America,” 1999 Mixed media collage including gelatin silver print, paper, and twine on board Signed, titled, and dated in ink lower right: JM Fors 1999 45” H x 54” W $400-600 Provenance: Private collection, Santa Monica, CA

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187

After Fernando Botero

(1932-2023, Colombian) “Perdito,” 1984 Patinated bronze on granite plinth Edition: XXIX/L Signed, dated, and numbered in the casting: F. BOTERO; foundry impression: FONDERIA M ITALY Bronze: 11.5” H x 8.75” W x 6.25” D; Overall: 12.25” H $600-800

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188

After Fernando Botero

(1932-2023, Colombian) “El Toro,” 1992 Patinated bronze on granite plinth Edition: XXXVI/L Signed, dated, and numbered in the casting: F. BOTERO; foundry impression: FONDERIA M ITALY Bronze: 8” H x 12.625” W x 6.25” D; Overall: 9” H x 12.625” W x 7.5” D $600-800

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189

Emmy Lou Packard (1914-1998, American) Two works:

“Frida and Diego’s Living Room in Coyocan,” 1941 Gelatin silver print on paper Edition: 15/20 Signed, dated, and numbered in pencil in the lower margin: Emmy Lou Packard / 1941 Image: 7.625” H x 7.5” W (approx.); sight: 9.375” H x 7.5” W “Frida’s Dresser (I am Reflected in the Mirror),” 1941 Gelatin silver print on paper From the edition of unknown size Appears unsigned Sight: 9.25” H x 7.25” W $700-900 Provenance: Triton Museum of Art, Santa Clara, CA

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190

Hector Garcia Cobo

(1923-2012, Mexican) “La Jugada / The Move,” 1968 Gelatin silver print on paper From the edition of unknown size Presumably unsigned; titled and dated by repute Sight: 7.75” H x 9.875” W $400-600

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191

Hector Garcia Cobo

(1923-2012, Mexican) “La Bestia Curiosa,” 1972 Gelatin silver print on paper From the edition of unknown size Presumably unsigned; titled, dated, and stamped “07602” verso, by repute Sight: 7” H x 10” W $400-600 Provenance: Simon Lowinsky Gallery, New York, NY

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192

193

(1923-2012, Mexican) Che Guevara, La Havana, 1959 Gelatin silver print on paper From the edition of unknown size Presumably unsigned Sight: 7” H x 4.75” W

(b. 1946, Cuban) “La Habana,” from the “Esa ban Gelatin silver print on paper From the edition of unknown siz Signed, titled, and dated in pen Image: 8.375” H x 12.375” W; S

Hector Garcia Cobo

$400-600

José A. Figueroa

$300-500

Provenance: Private collection, Santa Monica

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ndera” series, 1976

ze ncil on the overmat, lower right and left, respectively: Figueroa / 1976 Sight: 8.875” H x 12.875” W

a, CA

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194

José A. Figueroa

(b. 1946, Cuban) “Hotel Nacional, La Habana,” from the “Havana Project,” 1995 Gelatin silver print on paper From the edition of unknown size Signed, titled, and dated in pencil on the overmat, lower right and left, respectively: Figueroa / 1995 Image: 8.375” H x 12.375” W; Sight: 8.75” H x 12.75” W $300-500 Provenance: Private collection, Santa Monica, CA

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195

José A. Figueroa

(b. 1946, Cuban) “Vedadao, La Habana,” from the “La Imagen” series, 1990 Gelatin silver print on paper From the edition of unknown size Signed, titled, and dated all in pencil on the overmat, lower right and left, respectively: Figueroa / 1990 Sight: 8.25” H x 12.375” W $300-500 Provenance: Private collection, Santa Monica, CA

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196

Alberto Korda

(1928-2001, Cuban) Untitled (Che Guevara and crowd) from the series “Fábrica de Nicaro,” circa 1960s Gelatin silver print on paper From the edition of unknown size and date (printed circa 1980) Signed and with the artist’s device in ink in the lower right margin: Alberto / Korda Image: 8.875” H x 13.25” W; Sight: 10.75” H x 14.25” W $300-500 Provenance: Private collection, Santa Monica, CA

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197

21st Century Photography School

“El Gato,” 2001 Photograph on paper Edition: 1/10 Signed indistinctly, titled, dated “2001,” and numbered in pencil, verso; inscribed “BSG326.1,” in pencil, presumably in another hand, verso Image: 17.75” H x 11.75” W; Sheet: 20” H x 16” W $300-500 Provenance: Private collection, Santa Monica, CA

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198

Juan Mariano Testera (20th/21st Century, Mexican)

“Dia de Muertos” folk art nicho cabinet, 1993 Signed, titled, and dated, with gift inscription: Para Ricardo y Ana / 2 de noviembre / JM TESTERA / OAX 93 The painted wood cabinet decorated with milagros, marbles, iron nails, and mixed media, the cabinet door opening to reveal a mirror verso and interior with six nichos 32” H x 24.75” W x 12.25” D $600-800 Provenance: The Grace Family Collection, St. Helena, California

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199

Marie Romero Cash (b. 1942, Hispanic)

A painted wood and chased tin cross, 1994 Signed and dated verso: Marie Romero (cash) / 9/94 Depicting a winged figure flanked by sunflowers above two cherubs and a sun, mounted with repoussé mixed metal accents 30.25” H x 23” W x 1” D $200-400 Notes: Marie Romero Cash (b. 1942, Hispanic) is a contemporary santera working in the Spanish Colonial tradition of Northern New Mexico. The daughter of Emilio and Senaida Romero, who helped revive the region’s traditional hammered-tin craft, she creates bultos, retablos, devotional crosses, and painted tinwork that draw upon traditional forms while incorporating original subjects. In 1997, she became the first woman commissioned to paint the Stations of the Cross for the Basilica of St. Francis of Assisi in Santa Fe. Cash has received multiple awards at the annual Spanish Market.

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200

Salvador Terán (1920-1974, Mexican)

A mosaic glass and brass box, mid-20th century Impressed to underside: SALVADOR / HECHO EN MEXICO / HANDWROUGHT / 428 Depicting a maiden hoisting a star 1.5” H x 10.25” W x 4.25” D $200-300

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201

Four Mexican Huichol beaded items

Mid/late 20th century Comprising two masks, a gourd rattle set in an acrylic stand, and a gourd votive bowl, each intricately decorated with beaded designs 4 pieces Larger mask: 11.5” H x 5.75” W x 3.375” D; Rattle: 10” L x 3.375” Dia.; Bowl: 3.375” H x 8” Dia. $200-400

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202

Israel Ruiz (21st Century, Hispanic)

Three acrylic and gouache on board crosses, 2023 Each signed and dated; two inscribed and dated verso: Wolfryd Collection Comprising one with Raiders and lowrider imagery, one depicting Virgin Mary motifs, and another with a sacred heart at center 3 pieces Each: 22.5” H x 15.5” W $400-600

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203

Fidel Solórzano

(20th Century, Mexican) Hummingbird with phonograph, 2023; Skull grapes, 2023; Cat got your skull, 2023 Each carved and painted composite board Each from the edition of unknown size Each signed and dated in Sharpie verso: Solórzano; also annotated in gold Sharpie verso: For Wolfyrd Collection 3 pieces Largest: 23.75” H x 24” W (irreg.); Smallest: 20.25” x 12” W (irreg.) $300-500

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204

Fidel Solórzano

(20th Century, Mexican) Day of the Dead deer, 2023; Moon, 2023; Octopus in a glass, 2023 Each carved and painted composite board Each from the edition of unknown size Each signed and dated in Sharpie verso: Solórzano; also annotated in gold Sharpie verso: For Wolfyrd Collection 3 pieces Overall of largest: 23.75” H x 24” W x 0.375” D (irreg.) $300-500

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205

Lèo Limón

(b. 1952, Mexican-American) “Madre Tierra-Padre Sol” (I & II, diptych), 1986 Each: Screenprint in colors on paper Edition: 9/53 Each: Signed, titled, dated, and inscribed “9/53 I” or “9/53 II,” all in pencil in the lower margin: Limon ‘86 Sight of each: 12.5” H x 37.25” W $800-1,200 Notes: Lèo Limón is a prominent Chicano artist, printmaker, muralist, and cultural activist from East Los Angeles whose work has played an important role in the development of the Chicano art movement since the 1970s. Known for his vibrant imagery inspired by Indigenous Mexican traditions, Aztec symbolism, and community life, Limón has collaborated with influential arts organizations such as Self Help Graphics & Art, Mechicano Art Center, and Plaza de la Raza. Often called the “Sun Artist of East L.A.,” he is also recognized for his iconic cat-face murals along the Los Angeles River and for his long-standing commitment to youth mentorship, public art, and cultural preservation. Through paintings, silkscreen prints, murals, and community projects, Limón has used art to celebrate Chicano identity, social justice, and the cultural heritage of Mexican Americans.

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206

207

(1922-1985, Mexican) Abstract dove Lithograph in colors on wove paper Edition: 85/100 Signed and numbered in colored pencil along the lower edge: Pedro Coronel Image/Sheet: 29.75” H x 22” W

(20th Century, American) Untitled triptych Each: Mixed media on wove paper Signed in pencil in the lower center of the second pencil in the lower right of the first sheet 3 pieces Smallest Image/Sheet: 22.25” H x 14.75” W; Larg

Pedro Coronel

$700-900

Angie K. Culasso

$400-600 Provenance: Latino Art Museum, Pomona, CA

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d sheet: Angie K. Culasso; signed “Angie” again in

gest Image/Sheet: 23” H x 15.25” W

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208

Caio Fonseca

(b. 1959) “Little Fifth,” 1999 Color aquatint and soft ground etching on wove paper Edition: 48/50 Signed, dated, and numbered in pencil in the lower margin: Caio 1999; titled on a typed gallery label affixed to frame’s verso; Paulson Bott Press, Berkeley, CA, pub., with their blindstamp in the lower margin, at right Sheet: 17.875” H x 21.375” D $500-700 Provenance: Latin American Masters, Beverly Hills, CA

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209

Enrique Chagoya

(b.1953, Mexican) “What Appropriation Has Given Me (Fritas y Dieguitos) / Lo Qué Apropriación Me ha Dado, del Mas Allá,” 1992 Screenprint in colors on paper From the edition of 100 Signed, dated, and numbered in pencil with an ink stamp by the artist, all in the lower margin: Enrique Chagoya ‘92 Image: 26.5” H x 21” W $500-700

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210

211

(b. 1953) Surrealist composition with human and animal figures, 1977 Lithograph on paper Edition: Artist proof Signed, dated, and inscribed in pencil in the lower margin: Richard Wolfryd 1977 / “To Don - Thanks for Everything” Image: 18.5” H x 15.5” W; Sheet: 20” H x 16.625” W

“El Dia de Los Muertos 20 Screenprint in colors on p Edition 73/80 Signed by each artist, dat Bojorquez; Self Help Grap Image: 22” H x 35.5” W; S

Rick Wolfryd

$300-500

Charles “Chaz” Bojorq

$200-400

Provenance: Tienda Colores, Los Ange The Carolyn J. Adrian Col Sold: John Moran Auction Private collection, Burban

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quez (b. 1949, American); and Omar Ramirez (20th/21st Century, American)

001: The Here and Now,” 2001 paper

ted, and numbered in pencil in the blank below the main image: Omar Ramirez / Chaz phics, Los Angeles, CA, pub., with their blindstamp near the lower left margin corner Sight: 25.125” H x 37.25” W

eles, CA llection, South Pasadena, CA, acquired from the above, 2005 neers, Monrovia, CA, “Made in Mexico,” August 23, 2022, Lot 16 nk, CA, from the above

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212

213

(1881-1973, Spanish) “Musée D’Art Moderne de la Ville de Paris / Salon De Mai / XIIIeme Salon Du 4 Au 30 Mai,” circa 1957 Lithographic poster From the edition of 600 Signed in the image lower right: Picasso; Mourlot, Paris, France, prntr. Sight: 29” H x 19” W

(20th Century, Mexican) “Oaxacan Tricycles” (Triptych), Photographs mounted to pane From the edition of unknown s One signed, titled, and dated i inscribed, and dated in ink vers Each: 16” H x 11” W

After Pablo Picasso

$400-600 Literature: Czwiklitzer 129

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Marcel Rius

$400-600

2022 el and coated in acrylic resin size in ink verso: Marcel Rius / “Oaxacan Tricycles” / 2022; two signed, so: Marcel Rius / Oaxaca 2022

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214

20th/21st Century Contemporary School

“Vogue 4” Acrylic on canvas Signed lower right: Bosco; signed again and titled verso 42” H x 54.5” W $400-600 Provenance: Latino Art Museum, Pomona, CA

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215

A Latin American carved wood jaguar head

20th century Unmarked Mounted to a framed velvet backing Head: 11.5” H x 11.5” W x 8.375” D; Framed: 24.25” H x 16.25” W x 8.25” D $200-400

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216

A Guatemalan polychrome carved wood jaguar dance mask

20th century With mirror panels set in the eyes, mounted with bundles of horsehair around mouth and eyebrows 15.5” H x 15.5” W x 12.5” D $200-400

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217

Manuel Jiménez Ramírez (1919-2005, Mexican)

A polychrome carved copal wood dog alebrije, mid/late 20th century; Oaxaca, Mexico Unmarked 7.75” H x 9.75” W x 3.25” D $400-600 Provenance: The artist Collection of Fred and Barbara Meiers, acquired from the above, circa 1950s Private collection, Los Angeles, CA

218

Manuel Jiménez Ramírez (1919-2005, Mexican)

A polychrome carved copal wood cow alebrije, mid/late 20th century; Oaxaca, Mexico Unmarked 8.25” H x 13” W x 3.625” D $400-600 Provenance: The artist Collection of Fred and Barbara Meiers, acquired from the above, circa 1950s Private collection, Los Angeles, CA

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219

Manuel Jiménez Ramírez (1919-2005, Mexican)

A polychrome carved copal wood sheep alebrije, mid/late 20th century; Oaxaca, Mexico Unmarked 8.5” H x 11.75” W x 3.625” D $400-600 Provenance: The artist Collection of Fred and Barbara Meiers, acquired from the above, circa 1950s Private collection, Los Angeles, CA

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220

Attributed to Manuel Jiménez Ramírez (1919-2005, Mexican)

A polychrome carved copal wood dog alebrije, mid/late 20th century; Oaxaca, Mexico Unmarked 7.375” H x 6.75” W x 3” D $300-500

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221

Manuel Jiménez Ramírez (1919-2005, Mexican)

A polychrome carved copal wood goat alebrije, mid/late 20th century; Oaxaca, Mexico Unmarked 5.875” H x 6.875” W x 2.375” D $300-500 Provenance: The artist Collection of Fred and Barbara Meiers, acquired from the above, circa 1950s Private collection, Los Angeles, CA

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222

Esaú Andrade

(b. 1963, Mexican) Child with sword and shield, 1994 Oil on canvas Signed and dated lower right: Esaú ‘94 46.125” H x 36.125” W $800-1,200

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223

Byron Gálvez

(1941-2009, Mexican) Figure juggling Mixed media on black paper Signed in white pencil lower right: Byron 25.75” H x 19.75” W $600-800

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224

Byron Gálvez

(1941-2009, Mexican) Watermelons Mixed media on dark green paper Signed lower right: Byron Image/Sheet: 17.75” H x 23.5” W $500-700

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225

Byron Gálvez

(1941-2009, Mexican) Abstract figural Mixed media on dark red paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.625” W $500-700

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226

Byron Gálvez

(1941-2009, Mexican) Untitled Mixed media on dark green paper Signed lower right: Byron Image: 23.75” H x 17.75” W; Sheet: 25.625” H x 19.625” W $500-700

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227

Byron Gálvez

(1941-2009, Mexican) Untitled abstract Mixed media on tan paper Signed lower right: Byron Image/Sheet: 19.25” H x 13.875” W $500-700

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228

229

“Jarra de boda” Signed in yarn to front; signed and titled in ink verso A framed Huichol yarn painting in polychrome yarn depicting a woman in a desert landscape with pottery Sight: 13.375” H x 10.375” W

Late 20th century; Guna Yal Comprising two vibrantly em depicting a pair of owls with 2 pieces Sight: Owls: 14” H x 18.25”

Juan Silva (b. 20th Century, Huichol)

$200-400

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Two Panamanian Guna m

$200-400

mola textiles

la, San Blas Islands, Panama mbroidered fabric panels with multilayered appliqué elements, one mola h a fish, and the other mola depicting two swimming fish, each framed

” W; Fish: 14.25” H x 16.75” W

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230

Martin de la Cruz Diaz (b. 20th century, Huichol/Wixárika)

“The Spirit of the Deer”, circa 1992 Signed and inscribed in ink verso A Wixárika (Huichol) yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, adhered to plywood Sight: 23.25” H x 23.25” W $500-700 Notes: With inscription verso: “Ese es una casa que es caligue y donde hacemos fiesta tamdien esta la cabeza del venado y tiene una flecha que es flecha estan los huicholes rezandole cu la cabeza del venado ahi esta una jicara cuando hacemos fiesta esa jicara asi es el constumbre de nosotros los huicholes” (That is a sacred house where we hold ceremonies; there is a deer head there, along with an arrow, and the Huichol people pray to the deer head. There is also a gourd bowl there - it is part of our Huichol custom to use that gourd when we hold a ceremony) 3 3 2 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

231

Rodolfo Diaz (b. 20th century, Huichol/Wixárika)

Late 20th century, Mexico With inscription in ink verso, denoting artist and subject A Wixárika (Huichol) yarn painting worked in bright polychrome yarn depicting a traditional healing ritual with multiple spiritual figures, animals, plants and symbols, framed under glass Sight: 15.625” H x 15.5” W $300-500 Notes: With inscription verso: “Ereste Cuadro vemos ala costumure de los Huicholes es llevarle a su ermano di funte año por año plumas curanderas y flechas casadoras echo por Rodolfo Diaz” (This painting by Rodolfo Diaz depicts the Huichol custom of bringing healing feathers and hunting arrows to a deceased brother, year after year).

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232

Guadalupe Gonzalez (b. 20th Century, Huichol/Wixárika)

Late 20th century, Mexico Signed and inscribed in pencil verso The Wixárika yarn painting worked in polychrome yarn depicting multiple spiritual figures, animals, plants and symbols, adhered to plywood 23.75” H x 23.625”W $300-500 Notes: With inscription verso: “Es la bela que le tentre san al dios sol Y las Hofrendas que le estan entregando al dios sol Y el pazzaro que les abisa cuando lla ba salir sel dios sol cuando biene camindado en la noche por ezenplo como a la una de la manana el pazzaro les platica lo que dise el dios sol” (It is the candle they hold up to the Sun God, and the offerings they present to him, along with the bird that warns them when the Sun God is about to rise - after he has been traveling through the night; for instance, around one in the morning, the bird tells them what the Sun God is saying).

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233

Manuel Jiménez Ramírez (1919-2005, Mexican) & Sons

A polychrome carved copal wood skunk alebrije, late 20th century; Oaxaca, Mexico Signed: AUTOR / MANUEL JIMENEZ / ANGELICO JIMENEZ / ISAIAS JIMENEZ Created with sons Angélico Jiménez Hernández (b. 1954, Mexican) and Isaías Jiménez Hernández (b. 1961, Mexican), the zorrillo (skunk) with fibrous tail, on a later acrylic plinth Without tail: 6.5” H x 10.5” W x 8.75” D; Acrylic: 0.875” H x 13” W x 6.125” D $300-500

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234

Gerardo Ramírez Morales (b. 1953, Mexican)

A polychrome carved cedar iguana alebrije, late 20th century; Oaxaca, Mexico Signed and inscribed: Gerardo Ramírez M / Arte Mexicano / Oaxaca _ Mexico 2.5” H x 21.25” W x 9.75” D $200-400

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235

Three Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico Each giraffe signed and inscribed: Coindo Melchor G / Oaxaca México. The vibrantly painted folk art figures, comprising two giraffes with fibrous tails and a cow 3 pieces Taller giraffe: 35.75” H x 12.5” W x 7.5” D approx.; Cow: 6.875” H x 13.5” W x 9.5” D $200-400

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236

Two Mexican polychrome wood giraffe alebrijes

Late 20th century; Oaxaca, Mexico One signed and inscribed: HECHO POR / JACOBO ANGELES OJEDA / SN. Martin Tilcajete / OCOTLAN OAXACA / 1998 / Mexico / INDIGENAS ZAPOTECOS; the other signed: JACOBO ANGELES Y ESPOSA Comprising two vibrantly painted folk art spirit figures, each with fibrous mane, one with fibrous tail 2 pieces Taller: 31.5” H x 17” W x 5.25” D; Shorter: 28” H x 26” W x 11.5” D, each approx. $200-400

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237

A Mexican polychrome wood alebrije figural group

Late 20th/early 21st century; Oaxaca, Mexico Twice signed and inscribed: Francisco Sosa Ojeda / San Martin Tilcajete / Mexico The vibrantly painted folk art spirit figures, comprising a donkey pulling a car and a devil figure riding Assembled: dimensions variable: 14” H x 28.5” L x 11.5” D; Donkey: 8.25” H x 12” W x 6.5” D $200-400

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238

Three Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico The pink signed and inscribed: Rodrigo. M. O; the skunk: JOSE LUIS SANTIAGO / ARRAZOLA; the green: Alfonso Fabian Mendoza / Sn Martin Tilcajete. Ocotlan. Oax / Av. Hidalgo #42 Comprising three vibrantly painted folk art spirit figures including a Zorrillo de Madera (skunk) 3 pieces Skunk: 6.125” H x 17.375” W x 5.75” D; Tallest: 9.5” H x 14.375” W x 4.5” D $200-400

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239

Four Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico Antlered signed: ELEAZAR / MORALES; taller giraffe inscribed: TRIBUS. MIXES [Noel and Neftalí Martínez Villanueva] / AYUTLA. OAXACA. MEXICO Comprising four vibrantly painted folk art spirit figures including two giraffe, one with fibrous mane and tail 4 pieces Taller giraffe: 15” H x 12” W x 3.5” D; Shortest with antlers: 8.125” H x 10” W x 10.5” D $200-400

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240

Four Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico Tallest signed and inscribed: Pedro Hernandez Cruz / Tilcajete / OAX MEX; squirrel: Delfino Gutiérrez M / Sn Martin Tilcajete / Oaxáca; seated: FRANCISCO MELCHOR / SAN MARTIN TILCAJETE / OAX MEX; group: Pedro Ramírez / Arrazola Xoxo / Oaxaca The vibrantly painted folk art figures, comprising two cats, a cat figural group, and a squirrel 4 pieces Largest cat with tail: 13.75” H x 10.75” W x 7” D; Group: 4.9875” H x 7.25” W x 3.625” D $200-400

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241

Four Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico One signed and inscribed: Pedro Ramírez / Arrazola Xoxo / Oaxaca; the wasp: Medardo Blas; the cricket: Delfino Gutiérrez M / Sn Martin Tilcajete / Oaxáca; another: PEPE SANTIAGO The vibrantly painted folk art figures, comprising a cricket, wasp, porcupine, and a reptile 4 pieces Wasp: 9.75” H x 12” W x 11” D; Porcupine: 6.25” H x 14.25” W x 8” D; Lizard: 2” H x 7.75” W x 4” D $200-400

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242

Six Mexican polychrome wood alebrijes

Late 20th/early 21st century; Oaxaca, Mexico Coyote signed and inscribed: Porfirio Sosa Gutierrez; winged horse: ROBERTA ANGELES; armadillo group signed and inscribed: Pedro Ramirez / Arrazola Xoxo / Oaxaca; rooster: Agustin Vasquez Aguilar / SN. Martin / Tilcajete. / Oaxaca; antlered incised: Inocencio Melchor; pink on black: Cornelio Ortega / OAXACA Comprising various vibrantly painted folk art spirit figures 6 pieces Armadillo group: 6.5” H x 12” W x 2.5” D; Smallest: 3.125” H x 2.375” W x 1.25” D $200-400

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243

Byron Gálvez

(1941-2009, Mexican) Watermelons Mixed media on black paper Signed lower left: Byron Image: 17.75” H x 23.75” W; Sheet: 19.625” H x 25.5” W $500-700

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244

Byron Gálvez

(1941-2009, Mexican) Untitled Mixed media on paper Signed lower right: Byron Image: 23.625” H x 17.75” W; Sheet: 25.625” H x 19.625” W $500-700

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245

Byron Gálvez

(1941-2009, Mexican) Abstract composition Mixed media on purple paper Signed lower right: Byron Image/Sheet: 18.625” H x 12.625” W $500-700

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246

Byron Gálvez

(1941-2009, Mexican) Abstract nude figure Mixed media on red paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.5” W $500-700

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247

Byron Gálvez

(1941-2009, Mexican) Abstract figural Mixed media on blue paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.625” W $500-700

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248

Manuel Lepe

(1936-1984, Mexican) People in a town square Mixed media on paper Signed lower right: Lepe. 27.5” H x 21.75” W $400-600

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249

Manuel Lepe

(1936-1984, Mexican) Hillside village near a river, 1966 Gouache and ink on paper Signed and dated in ink lower right: Lepe / ‘66 Image: 9” H x 12” W; Sight: 9.75” H x 12.75” W $300-500

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250

Xavier Cugat (1900-1990, Spanish-American) Three works:

Two figures Oil on canvasboard Signed lower right: X. / Cugat 10” H x 8” W Sleeping man in sombrero Oil on canvasboard Signed lower right: X. / Cugat 12” H x 14” W “Too Much Tequila” Oil on canvasboard Signed lower right: X. / Cugat; titled on a partial exhibition label affixed verso 8” H x 10” W 3 pieces $300-500 3 5 4 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

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251

Alfredo De Batuc

(b. 1950, Mexican) “Presence Over Threesome,” 1997 Acrylic on snack size flour tortilla with yarn bow Signed and dated lower right: De Batuc 97 6.5” Dia. (irreg.) $400-600 Provenance: Patricia Correia Gallery, Santa Monica, CA Private collection, Laguna Beach, CA

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252

Carlos Torres

(b. 1955, Colombian) “Wavegando,” 1996 Acrylic and mixed media including wire mesh on panel Signed, titled, dated, and inscribed verso: Carlos Torres / 96 / “San Diego” 47.25” H x 47.25” W $400-600 Provenance: Estate, Newport Beach, CA

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253

Victor Hugo Zayas

(b. 1961, Mexican-American) Untitled, 1989 Acrylic on canvas Appears unsigned; dated on a gallery label affixed to the frame’s backing board Sight: 69” H x 47.5” W $400-600 Provenance: Jan Turner Gallery, Los Angeles, CA Estate, Newport Beach, CA

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254

José Salazar

(1926-2006, Mexican) “Caminantes del Tiempo,” 1964 Oil on canvas Signed and dated lower right: J. Salazar / 64; signed again and titled in pencil on the stretcher 27.5” H x 19.5” W $300-500

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255

A Spanish Colonial Baroque-style mirror

18th/19th century The updated beveled mirror within a painted frame with parcel-gilt carved scroll and foliate elements 52.5” H x 73” W x 2.375” D $800-1,200

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256

Three Héctor Aguilar copper pots

Héctor Aguilar (1905-1986, Mexican) Circa 1939-1948; Taxco, Mexico Each impressed to underside: HA [conjoined] / TAXCO / MEXICO Comprising a teapot with wood handle, a coffee pot, and a water pitcher 3 pieces Tallest: 8.375” H x 8.125” W x 5.75” D; Shortest: 7.75” H x 7” W x 5” D $400-600

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257

A pair of Spanish Colonial-style sterling silver candlesticks as lamps

19th century with later elements Each unmarked, XRF tested for sterling Each weighted sterling candlestick with repoussé Baroque-style floral, bellflower, and scrolled motifs, converted into a single-light table lamp surmounted by a hide shade, electrified 2 pieces Each candlestick: 21” H x 8” W x 6.75”; Each shade: 12” H x 16” W x 16” D $1,000-1,500 Provenance: The artist Collection of Fred and Barbara Meiers, acquired from the above, circa 1950s Private collection, Los Angeles, CA

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258

A Mexican hammered sterling silver teapot

Mid-20th century; Mexico City, Mexico Impressed to underside: STERLING 925 / CODAN / MEXICO / [Eagle 7] With wood handle and lid finial 8.75” H x 8.75” W x 3.625” D 25.2 gross oz. troy approximately $1,000-1,500

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259

A Mexican Art Deco-style hammered sterling silver pitcher

Mid-20th century; Mexico City, Mexico Impressed to underside: STERLING 925 / CODAN / MEXICO / [Eagle 7] 8” H x 5.875” W x 3.375” D 27.4 oz. troy approximately $1,000-1,500

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260

A William Spratling sterling silver pitcher

William Spratling (1900-1967, American) Circa 1962-1964, Third Design Period; Taxco, Mexico With factory marks; further marked: [Eagle with indecipherable number] 5.375” H x 5.625” W x 4.5” D 12.4 oz. troy approximately $400-600

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261

A Héctor Aguilar sterling silver ashtray

Héctor Aguilar (1905-1986, Mexican) Circa 1940-1945; Taxco, Mexico Impressed to underside: TAXCO / HA [conjoined] / 925 2” H x 4.75” W x 4.5” D 3.8 oz. troy approximately $400-600

262

A José Anton sterling silver creamer

José Anton (20th Century, Mexican) Mid-20th century; Taxco, Mexico Impressed to underside: ANTON / STERLING / TAXCO With wood handle 4” H x 4.75” W x 3.625” D 7.8 gross oz. troy approximately $300-500

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263

Two Sanborns sterling silver serving spoons

Mid-20th century; Mexico City, Mexico Each impressed: [Three owls] / Sanborns Mexico / 925 / 3115 / [Eagle 1] One slotted 2 pieces 10.75” L and 10.375” L Total weight: 4 oz. troy approximately $200-300

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264

Three Mexican sterling silver and green stone jewelry items

Late 20th century Each variously stamped for maker, Mexico, and for Sterling: 925 / TE-13 / TM-153 / 950 Comprising a sterling silver collar link necklace with graduated set malachite links (17” L x 0.75” H) a narrow chain link bracelet with set malachite oval links (8.25” L), and a chunky modernist style openwork square link bracelet with set green stone cabochons, likely azurmalachite (7.25” L x 1” H) 3 pieces 166.3 grams gross $400-600

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265

A set of Tane sterling silver and vermeil jewelry

Late 20th century Each stamped: Tane / ME 32 / MEX / 925; earrings further stamped: C32 Two works comprising a sterling silver rope chain choker necklace with chunky graduated vermeil knot fixed link accents, with a pair of matching earrings 3 pieces 17” L x 0.5” H; Earrings: 0.875” H 66.4 grams gross $400-600

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266

A group of Tane sterling silver and vermeil jewelry

Late 20th century Five stamped: Tane; further variously stamped: MEX / 925 / ME 33 / ME 32 Comprising a sterling silver and vermeil starburst knotwork motif brooch of interlocking silver and gold tone ‘laces’ (1.75” Dia.), a sterling silver and vermeil chain link choker necklace with ‘S’ form links (17” L), as well as a modernist style round pendant brooch with tangled interlaced vermeil wire center, on a Tane sterling chain (19.5” L x 1.5” Dia.), and an associated silver ‘T’ bar charm on a Tane sterling chain (20” L) 6 pieces 127.4 grams gross $400-600

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267

A Mexican sterling silver Quetzalcoatl clapper bracelet

Late 20th century Stamped: Mexico / Nava / 925 The chunky hinged repoussé silver cuff wrap bracelet with elaborate two-headed Quetzalcoatl feathered serpent motif 7” inner C x 4.5” H 112.5 grams $200-400

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268

A Los Castillo silver-plated figural pitcher

Mid-20th century; Taxco, Mexico Marked to underside: Los Castillo / [cipher] / Plateado / Taxco B Mounted with a shell overlay cockatoo handle above a lobed body 8.375” H x 5.75” W x 4.375” D $800-1,200

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269

A Los Castillo silver-plated figural pitcher

Circa 1939-1962; Taxco, Mexico Impressed to underside: R / LOS CASTILLO TAXCO / TA-01 / PLATEADO Mounted with a green hardstone overlay parrot handle above a lobed body 10” H x 8” W x 5.875” D $800-1,200

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270

A Los Castillo silver-plated tray

Mid-20th century; Taxco, Mexico Impressed to underside: LOS CASTILLO TAXCO / PLATEADO / TA-01 / HECHO EN MEXICO / 108 With hardstone inlaid rim 0.875” H x 11” W x 7.75” D $300-500

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271

Antonio Pineda (1919-2009, Mexican)

A set of Mexican silver and aventurine jewelry Circa 1953-1980; Taxco, Mexico Clasp stamped with crown mark for Antonio Pineda; further stamped: Taxco / Mexico / CM / 970 [all in a triangle] / [Eagle 121] Comprising a sterling silver modernist style necklace with geometric links suspending aventurine beads, suspended from a chunky bar and bead chain, and with a pair of matching ear clips 3 pieces Necklace: 16.5” L x 1” H; earrings: 1” H 141.5 grams gross $1,500-2,000 Literature: A similar design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 140, plate 170.

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272

William Spratling (1900-1967, American)

A ‘River of Life’ sterling silver cuff bracelet Circa 1940-1946, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Made in Mexico / Silver Designed as incised silver waves with applied narrow Aztec rings 6.625” total inner C x 1.375” H, gap: 1” 88.4 grams $800-1,200 Literature: A similar design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 37, fig. III-13

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273

Héctor Aguilar (1905-1986, Mexican)

Three Mexican silver bracelets Circa 1940-1945, 1943- 1948, 1948-1962; Taxco, Mexico Each stamped: HA [conjoined]; further variously stamped: .940 / Taxco / Mexico / [Eagle 9] / Sterling / Made in Mexico Three works in sterling silver comprising a chunky incised silver link bracelet with stacked silver balls (6.5” L x 0.875” H), a bracelet with openwork circle links with silver ball edging (7” L x 1” H), and a diminutive chain bracelet with set turquoise-colored stones (7.25” L x 0.5” H) 3 pieces 151.2 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One similar design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 63, fig. I-107.

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274

Héctor Aguilar (1905-1986, Mexican)

A Mexican sterling silver link bracelet Circa 1940-1945; Taxco, Mexico Stamped: HA [conjoined] / 940 / Taxco A chunky sterling silver curved two-link oval hinged bracelet with various Aztec and geometric motif roundels, with pin clasp and chain 6.75” inner C x 1.375” H 109.2 grams $700-900 Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 29, fig. I-25.

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275

Héctor Aguilar (1905-1986, Mexican)

A Mexican sterling silver ‘Armadillo’ belt buckle Circa 1943-1948; Taxco, Mexico Stamped: HA / Sterling / Made [small letters] in Mexico A two-piece hook clasp belt buckle of graduated hammered sterling silver concave discs with rivet accents and ridged edges 2.75” H x 6.375” W 141.4 grams gross $400-600

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276

Margot Van Voorhies (aka Margot de Taxco, ca. 1896-1985, American)

A group of Mexican silver jewelry Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Six works in sterling silver comprising a “Furls and Circle” openwork scroll link necklace (No. 5306; 15.5” L x 0.75” H), with a matching link bracelet (7.5” L x 0.75” H) and a pair of earclips (Each: 0.75” H), as well as a long link necklace with elaborate scroll and ball links (No. 5270; 19.5” L x 0.75” H), a smaller scroll and ball link necklace (No. 5210; 14.75” L x 0.75” H), and a narrow dotted link bracelet with charm loops (No. 5672; 7.375” L x 0.5” H) 7 pieces 264.7 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Similar designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 68, pl. II-6; 110, pl. VI-26.

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277

A group of Mexican silver jewelry

Mid/late 20th century Variously marked for Mexico, Taxco, and sterling; further variously marked: 543 [design no.] / EAC / PA / [Eagle 3] / Beto / Alicia / TN-13 Five works in sterling silver comprising a silver bead necklace, a Spratling-style silver, mixed metal and shell dragonfly brooch, a silver tie clip, and two pairs of silver screwback earrings in swirl and dot motifs 7 pieces Necklace: 25.75” L; Brooch: 2” H x 2” W; Clip: 0.375” H x 1.25” W; Earrings: 1.125” H and 1” H 143.7 grams gross $600-800

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278

Margot Van Voorhies (aka Margot de Taxco, ca. 1896-1985, American)

A suite of Mexican silver jewelry Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Three works in sterling silver comprising a long link necklace or belt with scrolled heart motif links (No. 5241; 27” L x 0.875” H) together with a matching collar link necklace (No. 5107; 16.5” L x 0.875” H) and a cuff bracelet (No. 5308; 6.875” total inner C x 1.25” H, gap: 0.875”) 3 pieces 278.7 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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279

Margot Van Voorhies (aka Margot de Taxco, ca. 1896-1985, American)

A set of Mexican silver jewelry Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / 5348 [Design number] Comprising a ‘Silver Patterned Swirls’ sterling silver link necklace, with an additional small extension link, as well as a matching bracelet; the lengths variously connect to form a longer single necklace 3 pieces Necklace: 18” L x 1.625” H; Bracelet: 8.25” L x 1.625” H; Extra link: 2.75” L; All joined: 28.75” L 318.9 grams gross $600-800 Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 85, pl. IV-8.

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280

A Mexican silver chip inlay necklace

Late 20th century or later Stamped: Mexico / TO-01 / 925 A collar necklace with graduated links of chipped green stone channel inlay suspending a central stylized floral pendant with stylized blossom dangle 18.5” L x 4.25” H 112.5 grams gross $500-700

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281

Three Mexican silver jewelry items

Mid-20th century Each stamped: Silver / Mexico Comprising a chunky silver herringbone link choker necklace, together with a matching silver link bracelet, as well as a sculptural sterling silver oval brooch with a set blue stone cabochon and silver overlay curls 3 pieces Necklace:12.5” inner C x 0.75” H; Bracelet: 7” L x 0.75” H; Brooch: 1.25” H x 2.5” W 246.6 grams gross $300-500

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282

An assembled suite of Mexican silver jewelry

Mid/late 20th century Each variously marked for maker, Mexico, and for sterling: E.D.P. Taxco / JSE / A. Cazares / YM Four works in sterling silver comprising a hinged clapper wrap cuff bracelet, with a similar style wrap ring and two pairs of earrings, one pair with set green stone dangles 6 pieces Bracelet: 6” inner C x 3.75” H; Earrings: 2” H & 1.25” H; Ring size: 7, 1.125” H 86.7 grams gross $300-500

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283

A group of Mexican-style silver and set stone jewelry

Mid/late 20th century Four variously marked for sterling and three for Mexico; further variously marked: TE-20 / TB-88 / TH-01 / S [within a triangle] / JH Five works comprising a tapered sterling silver torque collar necklace, along with four silver cuffs including an XXXOOO openwork sterling silver cuff, a shaped sterling bangle with curved branched leaf motifs with set malachite, a modernist style sterling silver repoussé cuff, and a multiwire cuff with applied silver balls and stampwork to terminals 5 pieces Collar: 12” L x 0.75” H; Largest cuff: 7” total inner C x 1.25” H; Smallest cuff: 5.875” total inner C x 1” H 225.2 grams gross $300-500

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284

Four Mexican silver and hardstone brooches

Mid-20th century Two variously marked for sterling and for Mexico; one further marked MR [conjoined] A group of four silver brooches with carved green hardstone sleeping figures, three with decorative wire overlay edging 4 pieces Largest: 2.625” H x 2” W; Smallest: 1.5” H x 0.875” W 116.5 grams gross $200-400

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285

A Mexican silver and amethyst figurative brooch

Mid-20th century Stamped: Sterling / Lico / Mexico A sterling silver figural brooch featuring a masked bust in carved amethyst, with repoussé fruit basket and scarf headdress details 4.75” H x 2.5” W 45.2 grams gross $200-400

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286

A Mexican silver and amethyst floral brooch

Mid-20th century Stamped: Mexico / Silver A sterling silver brooch with incised leaves and a dimensional silver flower, and a flower with six set carved amethyst petals 3.5” H x 2.5” W 46.1 grams gross $200-400

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287

A Los Ballesteros Mexican silver ‘Armadillo’ belt buckle

Circa 1942-1980; Taxco, Mexico Stamped with stylized B for Los Ballesteros; further stamped: Talleres de Los Ballesteros / Taxco / Sterling / 925 / Hecho en Mexico Comprising a two-piece hook clasp belt buckle of graduated hammered sterling silver concave discs with rivet accents and ridged edges 2.875” H x 5.5” W 99.5 grams $300-500

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288

Seven Mexican silver and set stone bracelets Five works:

William Spratling (1900-1967, American) A Sucesores de William Spratling sterling silver link bracelet Circa 1980 or later Stamped with heritage mark for William Spratling; further variously stamped: Taxco / 925 / TS-24 A narrow link bracelet with incised flat bar links and flat hook clasp 7.75” L x 0.375” H Five Mexican style silver bracelets Mid/late 20th century Four marked for Mexico; three for sterling; further variously marked: Silver / TL-120 / Taxco / JEF / [Eagle 2] A group including three cuffs, each with applied silver wire and ball accents, one with row set blue stones and one with black stone cabochon, as well as an openwork hinged bangle with chipped mosaic inlay, and a narrow bangle with set green stone 7 pieces Largest: 7.25” total inner C x 1.5” H, gap: 1.25”; Smallest: 6.375” total inner C x 0.75” H, gap: 1” 165.8 grams gross $250-350

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289

290

Mid/late 20th century Two marked for Mexico; three marked for sterling A group comprising four silver rings with carved set black stone mask motifs and one stamped silver openwork ring with central diminutive gold tone mask motif with blue stone eyes 5 pieces Ring sizes: 7 (+, expandable) to 5.25 52.5 grams gross

Mid/late 20th century Each variously marked for Mex A group of rectangular narrow stone inlay including onyx, ma 8 pieces Largest: 7.25” inner C; Smalle 228.5 grams gross

Five Mexican silver and hardstone rings

$200-400

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Eight Mexican silver and s

$200-400

stone inlay bracelets

xico; six marked for sterling w silver bangles, each with hinged clasp, and each with various types of alachite, turquoise, and opal

est: 6.75” inner C

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291

A group of Mexican-style silver jewelry

Mid/late-20th century Eleven variously marked for sterling; ten marked for Mexico; one marked for Guatemala Comprising eleven brooches in various sizes and motifs, including hats, masks, landscapes, a carved greenstone mask, a squirrel, a concho, and a bird brooch, as well as two narrow Aztec/Maya style pendants, a chased silver hair barrette clip, a bookmark, and a letter opener 16 pieces Largest: 2.875” H x 2” W; Smallest: 1.5” H x 0.625” W; Barrette: 1.125” H x 3.75” W; Opener: 5” H x 0.75” W 198.9 grams gross $200-300

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292

Twelve Mexican-style silver pictorial brooches

Mid/late-20th century Eleven variously marked for sterling; nine marked for Mexico; eight variously marked for maker: JF [Jeronimo Fuentes] / EFS / HH / SU / JE / TC-105 / TG-24 / TR-142 Comprising twelve figural brooches in various sizes and motifs, most in sterling silver, including a sterling silver Snoopy articulated pendant/brooch, a seated figure beside a carved set green stone cactus, a multicolored enamel angelfish pin, two coyote brooches including one with set gemstones, two cat pins including one with chipped stone inlay, and various other motifs including a sculptural frog, a stylized alligator/airplane, an insect, an electrical plug, and a modernist-style sculptural flower brooch with central green stone Largest: 2.25” H x 3.875” W; Smallest: 1.25” H x 1.625” W 173.6 grams gross $200-400

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293

A group of Mexican silver items

Mid-20th century Most marked for maker and/or sterling; three marked for alpaca silver Comprising three Mexican silver overlay perfume bottles, lidded jar, basket, spoon, and a group of 31 cocktail picks, together with an alpaca silver match holder and three spoons 41 pieces Lidded jar: 4.5” H x 2.5” Dia.; Largest perfume: 3.25” H x 2” W x 1” D Total weighable silver: 54. oz. troy approximately $200-300

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Consign Today Jewelry & Watches August 25, 2026

Consignment Deadline July 15, 2026 Auction Inquiries: info@johnmoran.com 4 0 4 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

SINCE 1969

AUCTIONEERS & APPRAISERS

Is your collection

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

Roberto Montenegro, (1885-1968, Mexican) “Portrait of Olga Tamayo,”

Price Realized: $35,560.00 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 4 0 5

Condition Reports 4 0 6 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J u ly 1 4 , 2 0 2 6

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1001 1 Overall generally good appearance. With full margins and deckled edges. Light-staining. Soft creases and cockling scattered along the margin edges and corners. A few scattered thin vertical surface stains and scuffs, primarily in the lower margin, the longest measuring 7” H along the lower portion of the left margin edge, and another measuring 1.25” H down the center of the signature. A pinhole in the left portion of the lower margin edge. Blue pen and pencil notations on the verso of the margin edges. The sheet is loose, not matted. Unframed 2 Overall good appearance. With margins. Pale lightstaining. Not examined out of the frame. Framed under glass: 40.5” H x 31.75” W x 1.25” D 3 Overall good appearance. With margins. Lightstaining. Very pale scattered foxmarks in the margins. A soft, flattened 3” diagonal crease along the right edge of the upper right margin corner, and smaller minor flattened creases in the other three margin corners. A few pale rice-sized (or smaller) surface stains in the upper portion of the left margin edge and the upper right margin corner. 1” H x 1” W (or smaller) surface stains on the verso of each margin corner. The sheet is loose, secured to a back mat with three clear archival corners. Unframed

Condition Reports

4 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with light abrasions and surface reaching fractures. Figure slightly loose on base.

408

5 Overall good condition with tarnishing and light scratches commensurate with age. Stones with light abrasions and surface reaching fractures. Tests for sterling with XRF. The stand with discrete pin repair. 6 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 7 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Hardened adhesive residue to underside.

8 Visual: Craquelure throughout. Considerable surface grime with an old, thick varnish layer. As mentioned, the canvas has been relined. Blacklight: Scattered lines, dots, and small areas of touch-up within the faces. A very thick varnish layer may obscure more significant touch-up. Frame: 34.5” H x 26.5” H x 2” D 9 Visual: Overall generally good appearance. Pea-sized (or smaller) pigment losses scattered throughout, primarily in the legs and torso of the child. A 5” vertical crack in the panel along the lower portion of the left image edge. Wear along the edges of the image and the panel carvings, commensurate with age. Other lesser defects. Blacklight: A few small scattered flecks of touch-up in the right portions of the upper and lower carved portions of the panel, not affecting the painted area. Unframed 10 Visual: Craquelure throughout with attendant flecks of pigment loss along the outer edges, primarily along the right edge. Possible damp staining in the upper half. The canvas is slightly slack. Blacklight: A few pea-sized touch-ups, two in the figure’s hat and pants, and one in the background at the center of the left edge. Frame: 31” H x 24.75” W x 2.25” D 11 Visual: Overall good appearance. A few scattered rice-sized (or smaller) pigment losses in the background of the upper half, primarily in the upper left quadrant. Blacklight: A few pea-sized areas of possible touch-up in the hair of the figure, in the lower right quadrant. Frame: 29” H x 25.5” W x 3” D

Blacklight: A few pea-sized flecks of touch-up scattered along the edges of the lower left quadrant, and one along the center of the right edge. Frame: 18.75” H x 18.75” W x 2.5” D 13 One hand replaced/restored. Cracks in the gesso and wood throughout, one verso vertically measuring 5” long with attendant loose elements of robe. With repairs, scattered losses, rubbed wear, soiling, darkening, cracks, scuffs, scratches, nicks, and indentations commensurate with age. 14 With scattered losses, rubbed wear, soiling, darkening, cracks, scuffs, scratches, nicks, and indentations commensurate with age. 15 Missing hands. Head is loose. With scattered losses, flaking to the polychrome, rubbed wear, soiling, darkening, cracks, scuffs, scratches, nicks, and indentations commensurate with age. With inked markings to shoulder verso and underside. 16 Missing a handheld element. With scattered losses, flaking to the polychrome, rubbed wear, soiling, darkening, cracks, scuffs, scratches, nicks, and indentations commensurate with age. Inked marking to underside and verso near base. 17 Figure missing hands. With scattered losses, flaking to the polychrome, rubbed wear, soiling, darkening, cracks, scuffs, scratches, nicks, and indentations commensurate with age. 18 Chipped losses to painted decorations throughout, with more concentrated to the top and edges, with a large loss at top measuring 4” x 1”. The stand with more recent chipped losses along edges obtrusive to decorations. Overall good condition with scuffs, scratches, soiling, nicks, indentations, and older losses at edges and corners commensurate with age. Lacking key.

19 The shortest reassembled form multiple breaks. The tallest with repair to one tower, a 2” long vertical crack at base with attendant small losses, and losses to two tower accents, as well as scattered losses along edge of base and edges throughout. At least two other with similar small losses and repairs. One redware with losses to applied bead accents, some retained with the lot. Each with rubbed losses to slip decorations, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 20 Repair to base of crucifix and one church bell, possibly with other scattered small repairs or small losses. With rubbed losses to polychrome, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 21 Each overall good condition with scattered scuffs, indentations, scratches, and tarnishing or oxidation to metal components commensurate with age. One barbell missing previously mounted coin. The gilt metal with rubbed wear to the gilt. The barbell charms with more wear and slight separation at joints, one with a vertical pressure crack through the wood. 22 The tabletop off-set from supports, with heavy scratching, scuffs, indentations, nicks, and separation at joints commensurate with age. The supports with multiple vertical shrinkage cracks in the wood. Each chair with minor scuffs and scratches, the leather in good condition, one chair with staining to leather. 23 Overall generally good appearance. At the center of the extreme left edge there is a horizontal 0.25” tear with an associated handling crease measuring about 1.5” H x 3” W. Two approximate rice-sized stains in the lower left quadrant. Soft paper cockling throughout. Artist tack marks visible in each corner. Uneven backboard staining on the verso sheet. The sheet is loose in the frame, sandwiched against the glass. Framed under glass: 25.875” H x 31.75” W x 2” D

Condition Reports

12 Visual: Overall good appearance. Craquelure throughout with a few small flecks of pigment loss scattered in the lower half. Stretcher bar creases along each edge. A very soft 1” H x 1” W reverse pressure mark in the upper left corner over the signature.

409

24 Overall good appearance. There is a 0.25” H x 0.75” W area of slight surface skinning and another smaller than pea-sized spot in the lower left-quadrant. Slight paper toning, as well as some old mat staining in the outer sheet edges, the latter not showing as currently matted. Artist pinholes in each sheet corner. Old mat staining and an occasional pinpoint-sized foxmark, a 0.75” H x 0.25” W area of surface skinning near the center, and remains of adhesive from old tape in places along the sheet edges, all verso and not affecting the recto. The sheet hinged with archival hinge tape to the overmat from the verso of the upper sheet edge. Framed under glass: 27.75” H x 33.75” W x 1” D 25 Overall good appearance. A few pinpoint-sized extremely pale and unobtrusive foxmarks. Old mat staining showing along the window opening of the overmat. Pale toning and backboard staining, verso. Remains of old tape and dried adhesive, together with about six patches of attendant very slight surface skinning in places along the verso of the sheet edges. The sheet is hinged to the overmat with linen tape in places from the verso of the upper sheet edge. Framed under glass: 33.5” H x 27.625” W x 1.25” D 26 Overall generally good appearance. The sheet is somewhat toned throughout, both recto and verso, and with additional mat staining showing in the outer sheet edges. A few small flecks of surface staining in the blank along the right portion of the upper sheet edge. Artist pinholes in each sheet corner. Old tape remnants and attendant surface staining in places along the verso of the sheet edges and corners. The sheet is hinged to the back mat in two places from the verso of the upper sheet edge.

Condition Reports

Framed under glass: 30.25” H x 25.25” W x 1.75” D

410

27 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Minor soiling to top surface of marble base near the bronze edges. The base with a dime-sized shallow chipped loss at front corner. 28 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Faint spotting in the patination verso. Minor abrasions to corners of base.

29 The largest with an abrasion to top of head with attendant cracks. Each with wear to top of head. Each overall good condition with dust accumulation, scattered scuffs, scratches, nicks, and abrasions commensurate with age. 30 With dust accumulation and wear commensurate with age and use. Scattered small holes and areas of stitch loss overall, the largest: 4.5” L, with multiple areas of stitched repair and weave reinforcement to center and to edges. Small sections of ravelling to some edges, with attendant stitch losses. Scattered small areas of dye transfer. 31 With dust accumulation, creasing, and wear commensurate with age and use. Scattered faint stains and small spots, with some small dark marks to center. Scattered small holes and small areas of loose weave, primarily to the center, and to each long edge, with a few narrow areas of loss to each edge, largest: 5.5” L. Areas of loose weave and ravelling to short edges. Center seam with areas of minor loose stitching. With a stitched fabric pole sleeve to one short end. 32 With dust accumulation, creasing, and wear commensurate with age and use. Each side with scattered dark stains and small spots, with some small smudged marks to one end. Scattered small holes and small areas of loose weave, some with sympathetic stitched darned repairs. The central seam with a few areas of loose stitching, and with reinforcement and replacement stitching in places. The short ends with raveled raw edges. 33 Overall good condition with dust accumulation, light creasing, and wear commensurate with age and use. The left center front edge with eight woven slits, likely for fastening. A few scattered small holes, small areas of loose weave, and very shallow insect grazing in a few places. The purple wool with areas of color variation to each side. The exterior with a few faint patchy pale spots front and back, and a few areas of patchy fading. The collar with fading/ discoloration and small holes to the top along the crease. The fringe with scattered single and multiple losses, with some strands untwisted. The silver clasps are tarnished and one partially detached with loose stitching to one side.

35 With dust accumulation and wear commensurate with age and use. The crown lightly crushed with multiple creases and indentations, and heavy creasing with a small split to top front. The fur with a few areas of rubbed wear, impressed marks and scratches to exterior and to interior. Minor wear to ribbon edge trim. The likely 19th century later-added interior leather band with cracks, a wide break, and loose stitching, with areas of adhered repairs and possible restoration to band edge and to interior top of crown. The modern replacement lining is loose in one area. 36 Overall good condition with dust accumulation and wear commensurate with age and use. The hat with patchy applied brown varnish or stiffener overall. The crown with rubbed wear and scattered areas of darkening under the band, and the brim edges with rubbed loss of pigment staining in places. The hat band with multiple losses to leather covering, with stiffening and soiling to cordage overall, and with repaired break. 37 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Slight fading to side A. A few scattered faint spots, a line mark, and a few small stains. A couple of minor pulled threads. One selvage edge with a couple of tiny splits. 38 Overall good condition with dust accumulation, light creasing, and typical signs of wear commensurate with age and use. Slight patchy fading on each side to the green wool section. A few scattered spots and faint stains. Scattered very small holes and areas of wear to weave, many with sympathetic stitched darned repairs. Red wool section with slight dye transfer to edge. Knotted fringe with areas of breaks and with scattered losses. With a stitched fabric pole sleeve to one short end.

39 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight uneven fading to one side, with faint fade mark to center crease, a few scattered pale stains to one side of the diamond, a few small splits and a small hole, including a small ravelled split at one selvedge edge, with loose weft and sympathetic repair stitching, one short edge with areas of loose weave and ravelled threads, the largest area: 3.5” L, and each short edge with losses to original fringing. 40 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Side A with slight fading. A few scattered spots and faint stains overall. A couple of minor breaks to cotton fringe. 41 Overall good condition with dust accumulation and wear commensurate with age and use. The weaving is ruckled in places. Fringe with ravelling and losses to a few strands, and with overall darkening to strands. 42 Overall good condition with dust accumulation and wear commensurate with age and use. Very slight fading to Side A. A few scattered minor spots and faint stains, with light soiling to cream ends. Each side with some small patches of darker encrusted surface soiling. Multiple scattered small areas of thinning to weave and small holes. One selvage side with V-shaped loss to edge, 1.75” x 0.75”. 43 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side B, scattered general light soiling, with faint stains and small spots, scattered small holes and areas of loose weave and stitch losses, ravelling and scattered minor breaks to selvage cords on long edges, short edges with loose weave and a small loss to one edge, center seam with center neck opening stitched closed with various types of hand and machine stitches. Slightly visible stitch holes from a previous collar or facing. Side B with stitched fabric pole sleeve verso. 44 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. A few scattered faint spots. One side with a few pale patchy marks and faint smudges. A couple of tiny splits to side edge, 0.125”. Each side with scattered small areas of shallow insect grazing. Fringe slightly ravelled and with a few scattered breaks to knotwork.

Condition Reports

34 Overall good condition with dust accumulation, tarnishing, and wear commensurate with age and use. Scattered minor marks and smudges to felt, with a few faint spots and stains. A pea-sized area of insect grazing to crown exterior. Heavier staining to interior brim felt, with creasing, a few scratches, and rubbed wear to leather band.

411

45 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint spots, a small area of minor insect grazing, and the diamond and silk bands with scattered areas of dye transfer. 46 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; scattered spots and stains, especially to one end, with a larger faint stain just below the diamond; scattered splits of various sizes, small holes and areas of loose weave; wear to selvage edges including loose threads, minor stitch losses and a couple of larger splits; each short end with ravelled edges and areas of minor loss. 47 Overall good condition with dust accumulation, light creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered minor spots and small marks, and a couple of small areas of shallow insect grazing. With stitch applied fabric sleeves to one long edge. 48 Overall good appearance. The full sheets with deckled edges. Two sheets layered one above the other (possibly hinged to one another in the corners from the verso of the front sheet to the recto of the back sheet, presumably as issued). The two sheets are framed floating, possibly hinged from the verso of the bottom sheet in places to a backing board, not visible. Not examined out of the frame. Framed under Plexiglas: 27” H x 34.125” W x 2” D 49 Overall good appearance. The sheet is framed floating, secured to an unseen foam core backing from the verso. Not examined out of the frame.

Condition Reports

Framed under glass: 17.5” H x 14.75” W x 1.75” D

412

50 Overall good appearance. Soft handling marks along the outer edges of the paper. Numeric notations in ink showing through from the verso along the right and upper edges. Minor wear to the edges and corners of some of the laser-cut paper elements. Not examined out of the frame. Framed under glass: 11.75” H x 9.25” W x 1.5” D

51 The top with wear to wood finish, more concentrated wear, stains, and a drink ring. Overall good condition with scuffs, scratches, nicks, indentations, and older losses commensurate with age. The iron components with oxidation/rust and dust accumulation. 52 Older chipped losses including a pea-sized loss to rim and another to shoulder rib. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear, losses, and darkening to the polychrome throughout. 53 With shelf wear, soiling, scattered scuffs and scratches, fire clouding, and inherent firing flaws commensurate with age. With multiple older repairs to losses at the rim. Deterioration to the slip decorations and finish throughout. With inked possibly accession markings and applied felt pads to underside. 54 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside. 55 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 56 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 57 Overall good appearance. The full sheet with wide margins and deckled edges. A grouping of several minor pinhead-sized pressure marks near the lower right margin corner, not affecting the image. The sheet is framed floating, hinged to a back mat from the verso sheet edges, not visible, and corners, and that mat board is subsequently affixed to the back mat. Framed under Plexiglas: 23.75” H x 39.5” W x 1.5” D 58 Trim elements with some separation. Long crack at the front of lid. Older losses throughout, with concentrated losses to lower trim at back. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Possibly with older repairs/restoration, particularly to hinges and hardware.

60 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost to underside, the frog with offset staining from display ring. 61 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Talavera with heavier scuffs, with some soiling throughout. 62 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The López with sticker ghost and offset stain from display ring to underside. 63 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost to underside. 64 Overall generally good appearance. The sheet is toned both recto and verso. Mat staining along the window opening of the overmat. Minor horizontal creasing throughout. The sheet is affixed to the overmat with masking tape completely along the verso sheet edges. Framed under glass: 22.5” H x 18.5” W x 1.5” D 65 Overall generally good appearance. A handling crease upper right, along the vertical edge about 2.5” H. Scattered pale foxmarks. A dime-sized faint surface stain in the upper right corner with another similar pea-sized one just above. Mild paper toning. Considerable foxmarks, verso, mostly not showing recto. A 1.5” H x 2” W bulls-eye light stain lower right, verso, that is ever-so-slightly noticeable recto (under the leftmost figure’s arm). A 2.5” H x 1” W area of surface skinning on the verso’s left side, not affecting recto. The sheet is taped to the overmat along the verso of the upper edge with green masking tape. Framed under glass: 18” H x 21.5” W x 1” D

66 Overall generally good appearance. The paper is toned. Pale scattered foxmarks recto with extensive foxmarks verso. The sheet is taped to the overmat with brown tape from the verso of the upper sheet edge. Framed under glass: 14.25” H x 17.5” W x 1.25” D 67 Overall good appearance. With margins. A 2” H x 2” W damp stain on the verso of the upper right quadrant of the paperboard. A very soft cockle in the center of the work. As mentioned, the sheet is laid to paperboard. The sheet is partially adhered to the overmat from each of the outer margin edges. Framed under glass: 20.5” H x 23.875” W x 1.5” D 68 Visual: Overall good appearance. Light, occasional craquelure, mainly in the upper left quadrant. Blacklight: No evidence of restoration. Frame: 33” H x 29.5” W x 2.5” D 69 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 32.25” H x 41.875” W x 3” D 70 Updated backing. Older losses throughout. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Staining to top surface, with repairs and replaced elements throughout. 71 With insulators removed, replaced with string, included in the weight. Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Heavier scratching to tray throughout and each body at the waist. 72 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. A few drip trays slightly bent, with soiling to nozzles. Weight includes nonsilver components. 73 Overall good condition with soiling, dust accumulation, and minor shelf and handling wear commensurate with age.

Condition Reports

59 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghosts and a ring of staining to underside.

413

74 Darkening to underside, with some shallow losses. Localized areas of spalling and small slip losses throughout. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 75 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside. 76 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Three with sticker ghosts or adhesive residue to underside. 77 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, and appears to be hinged to the back mat from the verso of the upper sheet edge. The hinges appear loose and the sheet has slipped within the window of the matting on the left side. Not examined out of the frame. Framed under glass: 34” H x 44.75” W x 1” D 78 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 32.75” H x 43.125” W x 1.5” D

Condition Reports

79 Overall good appearance. The full sheet with deckled edges. Two diagonal dog-ear creases in the upper right corner visible from the verso (left side), one 4” long, and the other, 2” long, is ever-so-slightly visible recto in raking light. Two handling marks visible upper center, verso, not visible recto. A 1” diagonal printer’s crease upper center, verso, not visible recto. The sheet is loose, not matted.

414

Unframed 80 Overall good appearance. Two pinhead-sized abrasions along the very outer center of the upper edge, not affecting the figure’s head. As mentioned, the sheet is laid to board. Framed under glass: 20” H x 26” W x 3” D

81 The top with some drink rings, burn rings, fading to wood finish, and scattered stains. The frame somewhat shaken with possible repairs to joints with attendant losses. Cracks in the supports throughout. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses throughout. 82 With three pea-sized older chipped losses to rim, another to underside, and degradation/weathering to slip. With soiling, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With paper labels applied to underside. 83 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost to underside. 84 Each overall good condition with soiling, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with a few spots/ stains to interior and more concentrated scratches to interior. The other with a deeper 2.75” long scratch to interior. 85 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 52.5” H x 76.25” W x 2.25” D 86 Visual: Overall good appearance. Pale light-staining. Scattered areas of fine craquelure, primarily in the areas of thicker pigment. An unobtrusive 0.25” vertical edge tear extending in from the center of the lower sheet edge. A 1.5” horizontal flattened crease extending in from the upper portion of the right sheet edge. The sheet is framed floating, tipped to the back mat in places along the verso edges. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under Plexiglas: 21.5” H x 19” W x 1.75” D

Blacklight: No evidence of restoration. Framed under Plexiglas: 20” H x 15.25” W x 1.75” D 88 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 14.5” H x 17.75” W x 1.5” D 89 Visual: Overall good appearance. Minor surface grime. Blacklight: No evidence of restoration. Frame: 33.5” H x 30” W x 2.5” D 90 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed: 18.75” H x 16.75” W x 2” D 91 Overall good condition with minor shelf and handling wear commensurate with age. 92 Visual: Overall good appearance. Fine craquelure scattered throughout, primarily visible in raking light. Blacklight: No evidence of restoration. Frame: 30.75” H x 38.75” W x 2.5” D 93 Visual: Overall good appearance. A few small flecks of pigment loss scattered occasionally along the extreme outer edges. Blacklight: No evidence of restoration. Frame: 38.5” H x 30.5” W x 2.25” D

94 Visual: Overall good appearance. Light craquelure (under the surface) throughout. The artwork has separated from the frame at the top edge but remains somewhat secure in the frame/mount. Blacklight: A possible (but uncertain) pea-sized spot of touch-up in the upper right quadrant near the upper edge. Frame: 27” H x 35” W x 2” D 95 Visual: Overall good appearance. An occasional ricesized (or smaller) pigment loss along the extreme right and left edges. Blacklight: No evidence of restoration. Frame: 55.625” H x 25.375” W x 2” D 96 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with some wear/scuffing at juncture of ring and undersides of ollas. 97 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The medium sized one with grey marks to underside from contact with display rings. 98 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 99 Visual: Overall good appearance. Scattered areas of craquelure, primarily in the upper half. A dime-sized pressure mark in the lower right portion of the figure’s skirt. Blacklight: No evidence of restoration. Frame: 30.75” H x 25” W x 2” D 100 Visual: Overall good appearance. Blacklight: A few quarter-sized (or smaller) touch-ups in the background of the upper left quadrant and on the floor of the lower left quadrant. Frame: 38.75” H x 35” W x 2.75” D

Condition Reports

87 Visual: Overall good appearance. Pale light-staining. Fine craquelure in the white pigment along the center of the left sheet edge, and scattered occasionally throughout the areas with thicker pigment. The extreme tips of the upper right and lower left sheet corners slightly dog-eared. Artist pinholes in each sheet corner. The sheet is framed floating, tipped to the back mat in places along the verso sheet edges. Not examined out of the frame.

415

101 Visual: Overall good appearance. An unobtrusive fleck of pigment loss in the brown pigment of the background in the upper right quadrant. Blacklight: A few pea-sized areas of touch-up scattered in the background of the upper half. Frame: 35.625” H x 43.125” W x 2.25” D 102 Overall good condition with minor scratches and scuffs and very mild tarnishing commensurate with age. 103 One nozzle unmounted, retained with the lot, lacking piece of the mounting hardware. Other nozzles slightly loose from their mounting. With mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Wax residue to nozzles, included with the weight. 104 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Craquelure and soiling to the lacquer throughout. Includes key. 105 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Condition Reports

106 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of yellowing and staining, especially to top edge. Side B with scattered small spots of red paint, and darkening to cream wool at top third. A small area to center with minor stitch loss to weave. .

416

107 Each overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: the smallest with very slight fading to one side, a few pale spots and marks, a few tiny dark spots, and a few small areas of shallow insect grazing; the largest with slight pilling to the surface on one side.

108 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, hinged or tipped to an unseen piece of foamcore which is affixed to the fabric-covered back mat. Not examined out of the frame. Framed under Plexiglas: 37.5” H x 29.5” W x 2” D 109 Overall good appearance. The full sheet with deckled edge. The sheet is framed floating and hinged to the back mat. Framed under glass: 37” H x 29.75” W x 1.75” D 110 Overall generally good appearance. There is a 0.75” H x 0.25” W paper loss in the lower right side of the neck. There are scattered areas of craquelure with cupping, and associated rice-sized (or smaller) pigment losses, predominately in the white pigmented areas. The paper is heavily cockled and delicate, likely due to technique. Not examined out of the frame. Framed under glass: 33.25” H x 23.25” W x 1” D 111 Overall generally good appearance. The paper is heavily cockled and delicate, likely due to technique. There are possible foxmarks or other stains that appear to be under the tissue. Not examined out of the frame. Framed under glass: 29” H x 18.75” W x 1.5” D 112 Overall generally good appearance. Paper delicate and with cockling, likely due to the technique. There is a 0.25” triangular paper loss in the extreme upper left corner and two rice-sized losses near the upper right edge, with a possible associated arc-shaped hairline tear measuring about 1.5” H. Not examined out of the frame. Framed under glass: 35.25” H x 25.25” W x 2” D

113 Light-staining and toning throughout. Small flecks of pigment loss scattered in the areas of thicker pigment, primarily in the orange pigments. A 5” horizontal tear extending in from the upper portion of the left sheet edge with an attendant 0.5” H x 1” W unstable area of paper loss, and another smaller tear extending in vertically from the left of center of the upper sheet edge. Rice-sized paper losses scattered occasionally along the outer sheet edges. A 0.25” H x 4” W portion of the sheet edge is folded over along the center of the upper edge. Cockling and creasing throughout, inherent in the materials used. The sheet is very brittle. Other minor defects. The sheet is loose within the frame.

117 Visual: Overall generally good appearance. Craquelure throughout with some cupping and lifting, with very small clusters of unobtrusive pinhead-sized losses predominately in the head and neck of the figure as well as the hat. Surface grime.

Framed under Plexiglas: 24.25” H x 34.375” W x 1.25” D

118 Visual: Overall good appearance.

114 Visual: Overall generally good appearance. The parchment is detaching from the stretcher bar at the tacking edges along the upper and upper right vertical edges, causing some warping to the parchment in the upper right corner. There is a series of approximately 10 pinhead-sized (or smaller) holes to the parchment in the center of the image (only easily seen when backlit). In this area there are also a number of approximate pinhead-sized (or smaller) similar marks that are not holes, and are mostly visible under raking light. It is unclear if these holes and marks are inherent to the parchment or possibly insect damage. There is some occasional scuffing in places along the edges.

Blacklight: No evidence of restoration.

Frame: 24” H x 24” W x 2.25” D 115 Overall good appearance. Rice-sized (or smaller) pigment or surface losses, and occasional tape remnants, all scattered along the outer sheet edges and corners. The paperboard is slightly cockled. Scattered specks of slightly cloudy varnish layer, primarily visible in raking light. As mentioned, the paperboard is laid to panel. Framed under glass: 30.75” H x 24.75” W x 1.5” D 116 Visual: Overall generally good appearance. Considerable paint shrinkage/crazing in most places throughout. Light surface grime. Blacklight: A 2.5” H x 1.5” W possible touch-up in the right figure’s cheek. An uneven, old varnish layer. Frame: 32.25” H x 38.25” W x 1.5” D

Frame: 46” H x 38.5” W x 3” D

Frame: 26” H x 22” W x 1.5” D 119 Overall good appearance. The sheet is framed floating, hinged to the back mat from the verso sheet edges. Not examined out of the frame. Framed under Plexiglas: 15.75” H x 19” W x 1.5” D 120 Overall generally good appearance. The full sheet with deckled edges. The colors good. The figure’s mask of the lithographed mylar collage is fully detached from the bottom “latch,” and the top “latch” is hanging very loosely. The collage piece is also creased and with areas of slight abrasion. Very slight scattered surface soiling, primarily visible in raking light. A few very small edge tears scattered along the extreme upper edge. The sheet is loose, not matted. Unframed 121 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The wedding jar with scuffing to handle and rice-sized shallow chipped loss. Three with sticker ghost or stain to underside. 122 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each Rodriguez with sticker ghost to underside.

Condition Reports

Blacklight: No evidence of restoration.

Blacklight: Possible areas of touch-up mainly in the lower third, possibly covering stretcher bar creases. These areas seem to consist of scattered small lines but there may also be larger areas along the lower edge. Difficult to read under blacklight due to uneven, old varnish layer.

417

123 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost to underside. 124 Overall good condition with minor wear commensurate with age. The base with abrasions at corners with attendant losses. 125 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The plinth with scuffs, scratches, and nicks and small losses at edges and corners. 126 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 127 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. A few small areas of pitting inherent in the casting. 128 Each with older chipped losses throughout. Scattered evidence of older wood worm and remnants of paint throughout. Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Condition Reports

129 With soiling, staining, weathering, dust accumulation, scattered scuffs and scratches, heavy verdigris and oxidation, and darkening/oxidation to bronze commensurate with age and outdoor use.

418

130 With soiling, weathering, dust accumulation, scattered scuffs and scratches, heavy verdigris and oxidation, and darkening/oxidation to bronze commensurate with age and outdoor use. 131 Overall good appearance. Moderate paper cockling overall. Very pale scattered foxmarks in the sky and foreground. An approximate rice-sized area of skinning at the very outer edge of the upper right corner. Possibly tipped or glued to the back mat. Not examined out of the frame. Framed under glass: 15” H x 23.25” W x 1” D

132 Visual: Overall good appearance. Craquelure throughout. Two 1” horizontal hairline scratches near the lower left corner and a few scattered pinheadsized abrasions scattered along the lower edge. Imperfections in the surface of the panel. Blacklight: No evidence of restoration. Unframed 133 Overall good appearance. Soft scattered handling marks, primarily visible in raking light. The sheet is taped to the overmat in places along the verso of the mount edges. Framed under Plexiglas: 31.625” H x 26.375” W x 3” D 134 Overall good appearance. Not examined out of the frame. Framed under glass: 20.5” H x 16.5” W x 1” D 135 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 34.5” H x 28.5” W x 1.5” D 136 Overall good appearance. There are a few minor spots of possible unobtrusive, stray brown printer’s ink in the margins, not affecting the image. With margins. Not examined out of the frame. Framed under Plexiglas: 17.325” H x 21.75” W x 0.75” D 137 Overall generally good appearance. Mat staining showing along the window opening of the overmat. Soft paper cockling, likely due to the technique. The sheet is sandwiched within the matting. Unframed; Matting: 14.375” H x 17.375” W 138 Overall generally good appearance. Full margins and deckled edges. Time and light-staining, particularly on the left side, with probable pigment attenuation. The upper right and lower left margin corners are dog-eared (with a 2” and 1” light diagonal crease, respectively). Scattered handling marks. A pinheadsized speck of grime in the upper right margin quadrant, and two more similar verso. Unframed

Unframed 140 Overall generally good appearance. Full margins with deckled edges. Soft handling marks in the outer margins, primarily along the left margin edge. The sheet is loose, not matted. Unframed 141 Overall good appearance. Full margins and deckled edges. A pinpoint-sized pressure mark in the margin to the left of the plate, and another at the lower right margin edge, neither affecting the image. Soft handling marks in the margins, not affecting the image. The sheet is loose, not matted. Unframed 142 The taller with heavier wear to slip, with crazing, a 3” long slip crack, and heavier scratches, mostly inherent. Each with at least one rice-sized chipped loss and fleabites to rim. Each with fading, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost stain to underside. 143 Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with sticker residue or ghost to underside. 144 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Bañuelos with sticker ghost to underside. 145 Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The larger with sticker ghosts to underside.

146 Overall good appearance. A few pinpoint-sized foxmarks in the lower center. Minor mat staining showing along the window opening of the overmat. Not examined out of the frame. Framed under Plexiglas: 16.625” H x 13.75” W x 1” D 147 Overall good appearance. With margins. Lightstaining. Pale foxing in the margins. A 0.5” curved crease in the lower portion of the left margin. The sheet with very soft cockling. Not examined out of the frame. Framed under glass: 18” H x 16.25” W x 1.25” D 148 Overall good condition. Full margins and the colors fresh. Plate 1 with two pinhead-sized insect holes in the blank directly above the artist’s printed name in the lower right corner of the image; Plates 12 and 22 each with one small and unobtrusive, extremely minor, printing irregularity; a few of the plates with occasional minor specks of stray printer’s ink or a few unobtrusive tiny foxmarks in the blanks of the image; each of the plates with typical time staining and minor scattered occasional foxing in the outer margins, as well as faint offsetting from other plates on their versos; all of the text sheets with one related pinhead-sized insect hole in each of their lower right quadrants, and with pale time staining, minor surface soiling, and some of the pages partially disbound; the original cloth-covered portfolio boards/wrapper with minor surface soiling and shelf wear, including partial or full splits or along some of their edges; other lesser defects. Original cloth-covered portfolio with string ties: 18.25” H x 13.5 W x 1.25” D 149 Overall generally good appearance. The full sheet with wide margins and deckled edges. A 1.25” H x 2.75” W irregularly shaped damp stain along the lower right margin edge, with assorted smaller damp stains to the right of it, not affecting the image. Handling creases in the right margin and in the lower margin, at right, not affecting the image. A slight time stain and small crease along the upper margin edge. Possible slight toning to the paper. Some minor surface dirt, verso, not affecting recto. The sheet is loose, not matted. Unframed

Condition Reports

139 Overall generally good appearance. Full margins and deckled edges. Vertical rolling marks and handling creases in places. A hard, rice-sized spot of white pigment or putty stuck to the sheet at the very outer edge of the image, directly above the signature, with a similar substance in three places on the verso’s right edge, not affecting the recto. Pale staining verso, not affecting the recto. The sheet is loose, not matted.

419

150 Overall generally good appearance. The full sheet with wide margins and deckled edge. A 1.5” H x 5” W irregularly shaped damp stain at the edge of the lower left corner and another 1” H x 6” W irregularly shaped faint damp stain at the edge of the lower right corner, neither affecting the image. A few scattered slight handling marks in the margins. Possible slight paper toning. Unframed 151 Overall good appearance. The full sheet with deckled edges. A faint pinhead-sized foxmark in the lower left margin, not affecting the image. There are two thin horizontal bands (approx. 0.125” H) of moderate staining verso, one along the right side of the very outer upper edge, and the other about 2” up from the lower edge on the right side, extending toward the left side, approx. 7.25” long. The lower stain is ever-so-slightly visible recto, in the left margin. The sheet is loose, but secured onto a foamcore backing with black plastic corners. Unframed 152 Not inspected out of case. Overall good condition with mild shelf wear and scattered scuffs and scratches to acrylic. 153 Overall good appearance. Not examined out of the frame.

Condition Reports

Framed under plexiglass: 18.375” H x 18.375” W x 3.25” D

420

154 Overall generally good appearance. With margins. A rice-sized speck of debris adhered to the upper right horizontal margin. A 0.125” horizontal hairline tear with an accompanying 0.25” H x 0.125” W area of paper abrasion on the extreme upper left margin edge, not affecting the image. Light surface skinning along the upper left and right horizontal margin edges due to tape removal, with a smaller-than-peasized area of tape residue remaining on the right, not affecting the image. There is an approximate 3” diagonal handling mark in the center of the lower margin, as well as smaller handling marks in the lower and upper right margin corners, not affecting the image. The extreme tips of the lower margin corners are mildly dog-eared. Pale toning in places on the verso. The sheet is loose, not matted. Unframed

155 Overall generally good appearance. With full margins and deckled edges. Soft flattened creases scattered in the margins, a few of which are partially extending into the lower image edge. A 0.25” vertical edge tear extending in from the centers of the lower and right margin edges, as well as a few minor edge abrasions scattered occasionally along the margin edges. A thin 2.5” possible surface scuff or soiling along the upper portion of the left margin, as well as other soft minor surface scuffs or soiling scattered in the margins. Pencil and ink notations along the verso of the upper margin edge, and minor scattered surface scuffing throughout the verso. The sheet is loose, not matted. Unframed 156 Overall generally good appearance. The full sheet with deckled edges. A repaired 3” diagonal tear in the lower right quadrant, starting at the vertical edge, barely visible recto. A 0.5” H x 0.125” spot of surface skinning along the extreme outer vertical edge, lower left. Slight paper toning, possible mild pigment attenuation. A faint pinhead-sized foxmark in the “window” at the lower left. Glue remnants in places along the extreme outer edges. A cardboard pattern acid burn stain verso, not visible recto. Two paper tape hinge remnants on the verso of the upper edge. A few pinhead-sized foxmarks verso. The sheet is loose, not matted. Unframed 157 Overall good appearance. With margins. Lightstaining. A few pale spots of possible reverse foxing scattered primarily in the image and some in the margins. Not examined out of the frame. Framed under glass: 20.25” H x 22.5” W x 2” D 158 Overall good appearance. The full sheet. There are two rice-sized white spots in the extreme lower right corner of an uncertain origin. The sheet appears to be sandwiched between the back mat and the glass. Not examined out of the frame. Framed under glass: 34” H x 42” W x 2” D 159 Overall good appearance. With margins. A soft 0.5” vertical crease extending into the upper margin from the left portion of the upper platemark. Not examined out of the frame. Framed under glass: 37.5” H x 30” W x 1.25” D

Framed under glass: 39.75” H x 32” W x 2” D 161 Overall good appearance. Full margins and deckled edges. Scattered flattened creases and handling marks throughout the image and the margins, primarily in the lower margin. 2” H x 2” W (or smaller) areas of surface skinning scattered along the verso of the margin corners and edges, partially affecting a pencil notation (presumably in another hand) on the verso of the upper right margin corner. The sheet is loose, not matted. Unframed 162 With margins. Handling creases throughout, including a 0.5” H crease in the head of the figure, a 1.75” H crease upper center, and a 1.5” H crease upper right. The paper is light-stained. There are mat stains showing along the window opening of the overmat. There are stains at the center of each edge that appear to be from tape that is presumably on the verso. Not examined out of the frame. Framed under glass: 17.75” H x 15.75” W x 0.5” D 163 The Agular with heavy verdigris, soiling, and scattered indentations throughout. The Castillo with tarnishing to silver components, oxidation and darkening to brass and copper elements, and general soiling. Each with shelf wear, scuffs, and scratches commensurate with age. 164 Each amulet with soiling, heavy oxidation, scuffs, scratches, and indentations commensurate with age. Each with shelf and handling wear. 165 The print with heavy mold and discoloration under glass. Each with heavy oxidation, the frame with rust and indentations. Each poor condition with soiling and discoloration, scuffs, and scratches commensurate with age. 166 Fish missing two mother of pearl scales. Each with oxidation, soiling, scuffs, scratches, nicks, and indentations commensurate with age.

167 At least two of the mounted angel heads are not firmly mounted. With fading to paper elements, dust accumulation, soiling, and rubbed wear to wheels. Some areas of chipped paint losses at ruler edges. With shelf wear, and general handling wear commensurate with age. 168 Overall good appearance. With margins. A pea-sized surface stain in the blank just above the third monkey from the left in the bottom row. Minor handling creases scattered throughout the outer margins. A light stray pencil mark near the signature, at right, not affecting the image. Not examined out of the frame. Framed under Plexiglas: 36.75” H x 33” W x 1.75” D 169 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 20.75” H x 24.75” W x 2” D 170 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 33” H x 33” W x 1.75” D 171 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 33” H x 35” W x 1.75” D 172 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 31.25” H x 31.25” W x 1.75” D 173 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 34.5” H x 34.5” W x 1.75” D 174 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 34.75” H x 34.5” W x 1.75” D

Condition Reports

160 Overall good appearance. The full sheet. The lower left corner is slightly dog-eared. The sheet is framed floating, hinged in places from the edges of the sheet’s verso to a backing board, not visible. Not examined out of the frame.

421

175 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 31.375” H x 31.75” W x 1.75” D 176 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 25.75” H x 25.75” W x 1.75” D 177 Overall good appearance. With margins. A rice-sized reverse pressure mark in the lower left margin, not affecting the image. A 2” diagonal crease upper left margin corner, not affecting the image. Not examined out of the frame. Framed under glass: 23” H x 23” W x 1.5” D 178 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 29.25” H x 29.25” W x 1.75” D

Condition Reports

179 The larger with a 4” x 1” area of repaired break to lid rim as well as a 1.25” long chipped loss to rim exterior. Smaller with a 1.25” long chipped loss to lid rim. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with crazing to glaze throughout.

422

180 Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. The smaller with a surface repair measuring 3” x 1.25”, a pea-sized chipped loss to center of body, and 3” long scuff with possible repair. The larger with a chipped loss at edge of base, measuring 1” x 0.75” large. 181 With heavy weathering, oxidation/rust and losses to the metal, some soiling, and scattered scuffs and scratches commensurate with age and outdoor use. The tiles with crazing, one with an older chipped loss inherent before glazing. 182 Plate with two near-intersecting cracks measuring 3” and 1.5” long. Serving with pinholing and a pea-sized chipped loss to foot rim. Tall vase with crazing. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

183 Minor paper cockling. The sheet framed floating and appears to be mounted to a back mat from the verso sheet edges, not visible, and that mat board is subsequently affixed to the back mat; minor lifting of the sheet from the support is visible along the edges. Framed under Plexiglas: 56.5” H x 55.25” W x 2.5” D 184 Overall good appearance. The sheet is framed floating, hinged to the back mat from the verso sheet edges. Not examined out of the frame. Framed under glass: 28.5” H x 21.25” W x 1.25” D 185 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 48.75” H x 30.75” W x 2.75” D 186 Overall good appearance. A 10.5” horizontal scratch in the lower left quadrant, primarily across the second image from the left in the bottom row. Occasional minor wear to the edges of the collaged elements. Frame: 47” H x 56” W x 3.25” D 187 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 188 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 189 The first: Overall generally good appearance. With margins. An approximately 1.5” x 3” linear X-shaped pale scuff in the lower center margin, not affecting the image or signature. The mat opening covers the vertical edges of the image. The second: Overall good appearance. Not examined out of the frames. Each framed under glass: 15.25” H x 12.25” W x 1.125” D

190 Overall good appearance. The are handling creases visible in the upper right quadrant. Slight paper cockling visible along the upper edge. Scattered scratches, scuffs, and hairline marks that appear to be in the negative, as issued. Not examined out of the frame.

197 Overall good appearance. With margins. Soft handling marks scattered occasionally in the margins, primarily visible in raking light. A pea-sized area of small indentations in the lower right margin corner, primarily visible in raking light. The sheet is loose, not matted.

Framed under Plexiglas: 17.25” H x 21.25” W x 1.5” D

Unframed

Framed under Plexiglas: 17.25” H x 21.25” W x 1.5” D 192 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 21.25” H x 17.25” W x 1.5” D 193 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 19.625” H x 23.5” W x 1” D 194 Overall good appearance. With margins. There is a thin, horizontal 1.25” faint mark in the upper left image corner, possibly in negative as issued. Framed under Plexiglas: 18.125” H x 22.125” W x 1” D 195 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 19.5” H x 23.5” W x 1.25” D 196 Overall good appearance. With margins. Scattered soft handling marks in the four margins, extending into the image, visible in raking light. A 0.125” hairline mark in the center of the right margin, not affecting the image. Not examined out of the frame. Framed under Plexiglas: 18” H x 22.125” W x 1” D

198 Overall good condition with dust accumulation, surface grime, and general handling wear commensurate with age. Possibly lacking a few nail accents. 199 Overall good condition with minimal shelf and handling wear and minor scuffs and scratches commensurate with age. 200 Overall good condition with shelf and handling wear and oxidation to brass commensurate with age. 201 Bowl of irregular shape. Each with dust accumulation, shelf, and handling wear commensurate with age, possibly with a few single bead losses scattered. Votive bowl possibly lacking internal previously applied elements. 202 Each overall good condition with minor shelf and handling wear commensurate with age. 203 Each overall good condition. An occasional very minor surface scuff at the edges or on the verso. 204 Each overall good condition. An occasional very minor surface scuff at the edges or on the verso. 205 Each overall good appearance. With margins. The two sheets are matted together in one frame. Framed under Plexiglas: 17.75” H x 80” W x 1.75” D 206 Overall good appearance. The full sheet with deckled edges. The colors good. The sheet is tipped to the back mat in various places along the verso sheet corners and edges. Unframed

Condition Reports

191 Overall good appearance. Not examined out of the frame.

423

207 Each overall good appearance. The full sheets with deckled edges. The sheets are framed floating, affixed to the back mat. Not examined out of the frame. Framed under glass: 28.25” H x 53.25” W x 2” D 208 Overall good appearance. Full margins and deckled edges. The sheet is framed floating, hinged to an unseen board from the sheet’s verso, not visible. Not examined out of the frame. Framed under Plexiglas: 23.5” H x 27” W x 2.25” D 209 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 34.5” H x 28.25” W x 1.25” D 210 Overall good appearance. With margins. Appears to be hinged from the verso in places to a mount, not visible. Not examined out of the frame. Framed under Plexiglas: 21” H x 17.25” W x 1.25” D 211 Overall good appearance. With margins. Not examined out of the plastic shrink wrap. Unframed, but matted, wrapped in plastic shrink wrap: 35.125” H x 47.25” W x 0.25” D

Condition Reports

212 Overall generally good appearance. A horizontal band of discoloration across the center of the image measuring 1” H to 0.25” H x 17” W. Light rolling creases, mainly visible along the left edge. The sheet appears toned. An occasional scattered light foxmark. Appears that it may be hinged to the foamcore overmat from the sheet’s verso (some of the lower edge is visible).

424

Framed under Plexiglas: 37” H x 25.5” W x 1” D 213 Each: overall generally good appearance. The green piece has an irregularly shaped vertical stain on the left, from the upper edge to the lower edge that is approximately 0.25” H to 0.5” W. Another similar vertical stain approximately 2.5” H lower center, with a smaller vertical stain in the center between the edge of the cart and the pedal mechanism, measuring approximately 1” H x 0.125” W. Scattered very minor abrasions and irregularities within the acrylic surface of each. Each unframed

214 Visual: Overall good appearance. Slight varnish discoloration and grime. Stretcher bar creases along each edge and across each corner. Blacklight: No evidence of restoration. Frame: 42.75” H x 55” W x 1.75” D 215 Overall good condition with dust accumulation and minor soiling commensurate with age. 216 Several cracks in the paint throughout, with chipped losses at edges. With shelf and handling wear, dust accumulation, minor soiling, and scattered scuffs, scratches, and small nicks commensurate with age. 217 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Underside with partial ‘Made in Mexico’ sticker and penciled marks. 218 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Penciled ‘713’ to underside. 219 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. With sticker remnants and adhesive residue to underside. 220 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Remnants of blue stain throughout, likely inherent and with rubbed losses. 221 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Remnants of blue stain throughout, likely inherent and with rubbed losses. 222 Visual: Overall good appearance. A rice-sized scuff mark along the center of the extreme right edge. Scattered, minor specks of grime. Blacklight: No evidence of restoration. Unframed

223 Overall good appearance. Soft handling marks scattered throughout. The sheet is taped to a foam core overmat with long pieces of hinging tape along the verso of the upper and lower sheet edges.

231 Overall good condition with light dust accumulation commensurate with age. Not examined out of frame.

Unframed; Overmat: 30” H x 23.75” W

232 Overall good condition with light dust accumulation commensurate with age. Light soiling to yarn around the edges. A loose strand of brown yarn to one edge.

Unframed 225 Overall good appearance. The lower portion of the extreme left edge is trimmed slightly unevenly. The sheet is loose, not matted. Unframed 226 Overall generally good appearance. A 12.5” diagonal crease along the lower left quadrant. Other smaller creases scattered in the outer blank corners and edges, and some in the image. The sheet is loose, not matted. Unframed 227 Overall good appearance. The sheet is loose, not matted. Unframed 228 Overall good condition with light dust accumulation commensurate with age. Frame: 18.25” H x 15.25” W x 2” D (unglazed) 229 Each overall good condition with light dust accumulation and minor wear commensurate with age and use. The edges with a few scattered fraying or loose threads. The owls with slight fading and slight wear to raised areas. Framed under Plexiglas. Not examined out of the frame. Each frame: 16.125” H x 20.125” W x 0.875” D 230 Overall good condition with light dust accumulation commensurate with age. Very minimal distortion to some yarns at corners and top edge. Framed under Plexiglas. Frame: 29” x 29” x 1.625” H

233 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Some losses and general wear to tail. Each foot with some adhesive residue, with the same in corresponding areas of plinth. 234 Overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Felt pads applied underneath each foot. 235 Taller giraffe with repaired break to head and both ears, which have been reattached. The cow with break to tail. Each fibrous tail with some losses and general wear. Each with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Each with minor soiling, the tallest with spotted stains to top of back. 236 The wooden tail with repaired break. Each fibrous element with some losses, fading, and general wear. Each with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. 237 Both ears of horse with breaks, detached and retained with the lot, each ear of other figure also broken and retained with the lot. Tails can detach. With shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. 238 The skunk with one foot broken, retained with the lot and with attendant losses. The pink figure with detached ears, previously broken with repairs. Each with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. 239 Taller giraffe missing one ear and with general wear to the fibrous elements. Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Antler and some ears removeable for shipping.

Condition Reports

224 Overall good appearance. A 1” horizontal crease along the upper edge, at right, primarily visible on the verso. The sheet is loose, not matted.

Frame: 17.25” H x 17.25” W x 1.625” D

425

240 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Abrasion with loss to tails of largest cat and squirrel, the largest cat also with abrasions to face, ears, and one at side. 241 The cricket with repaired break to one leg. Each with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. The antennae, wings, and quills are removeable for shipping. 242 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Some antler, ear, or tail elements removeable for shipping. 243 Overall generally good appearance. A crease extending along the upper half of the work. Smaller creases and small abrasions along the extreme sheet corners and edges. The verso sheet with a few small areas of scattered surface abrasion. The sheet is loose, not matted. Unframed 244 Overall generally good appearance. A diagonal crease extending along the right half of the work, affecting the image and blank outer edges. Other smaller creases scattered in the blank outer edges, with a few areas in the image. Scattered areas of minor surface soiling in the outer right and lower edges. Soiling and grime along the diagonal crease on the verso sheet, and a small irregular surface indentation on the verso, near the upper right sheet corner. The sheet is loose, not matted.

Condition Reports

Unframed

426

247 Overall good appearance. A 1.5” diagonal crease along the lower left corner, and a smaller, softer one near the upper left corner. The sheet is loose, not matted. Unframed 248 Overall good appearance. Possible faint, occasional scattered stray pigment or foxmarks. Artist’s pinholes visible in the upper corners. Not examined out of the frame. Framed under glass: 35.75” H x 29.25” W x 1.5” D 249 Overall good appearance. Pale light-staining. Scattered areas of surface skinning along the outer unpainted margins, partially affecting some areas of the ink-drawn border. Not examined out of the frame. Framed under glass: 17.75” H x 20.5” W x 1” D 250 Visual of each: Overall good appearance. Minor surface scuffs or grime scattered occasionally throughout. Blacklight of each: No evidence of restoration. Frame of largest: 18” H x 20” W x 1.5” D; Frame of smallest: 11.5” H x 9.5” W x 2” D (or reverse) 251 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 12.5” H x 12” W x 3.5” D 252 Visual: Overall good appearance.

245 Overall good appearance. The sheet is loose, not matted.

Blacklight: No evidence of restoration.

Unframed

253 Visual: Overall good appearance.

246 Overall good appearance. A few very soft handling marks only showing on the verso and in raking light. The sheet is loose, not matted. Unframed

Unframed

Blacklight: No evidence of restoration. Framed under Plexiglas: 76.85” H x 55.25” W x 2.5” D

Blacklight: Certain darker pigments fluoresce under blacklight, however this does not appear to be due to restoration. Frame: 34.75” H x 26.75” W x 2.5” D 255 Evidence of older wood worm and older losses to wood, concentrated verso. Heavy soiling, wear to gilding and painted elements, scuffs, scratches, nicks, indentations, and shrinkage cracks commensurate with age. 256 Each with soiling, oxidation, shelf wear, scuffs and scratches, and overall darkening commensurate with age. and use. The teapot with a quarter-sized indentation at the base. 257 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Each shade overall good condition with minor wear. Each requires rewiring. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 258 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight includes non-silver components. 259 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 260 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Some soiling and signs of use. 261 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age.

262 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight includes non-silver component. 263 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Each with soiling. 264 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. One bracelet stone with chip to one end. 265 Each in overall good condition with light tarnishing and scratches commensurate with age and use. With original box. 266 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Round brooch chain clasp slightly loose, needs minor adjustment. With some original boxes. 267 Overall good condition with light tarnishing and scratches commensurate with age and use. 268 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 269 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. With sticker ghost to underside. 270 Heavy tarnishing throughout. Sticker ghosts and adhesive residue to underside. Soiling and staining to hardstone border. With shelf wear, scuffs, and scratches commensurate with age. 271 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stone beads with light abrasions. With branded jewelry bag. 272 Overall good condition with light tarnishing and scratches commensurate with age and use.

Condition Reports

254 Visual: Overall good appearance. Craquelure throughout with attendant flecks of pigment loss scattered in the areas of thicker impasto. The canvas is slightly slack, most noticeably in the upper right quadrant.

427

273 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Round link and chain link bracelets each with replacement chain guard. 274 Overall good condition with light tarnishing and scratches commensurate with age and use. 275 Overall good condition with tarnishing and scratches commensurate with age and use.

284 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. One stone with minor fracture to hat edge of largest figure. Not tested for sterling

276 Each in overall good condition with light tarnishing and scratches commensurate with age and use. No. 5306 necklace and bracelet may combine to form larger necklace. Narrow dot bracelet lacking drops or charms.

285 Overall good condition with tarnishing and light scratches commensurate with age and use. The amethyst with light abrasions, eye-visible inclusions and surface-reaching fractures. A few tiny chips to face. Tests for sterling with XRF.

277 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Shell with scattered light abrasions.

286 Overall good condition with tarnishing and light scratches commensurate with age and use. The amethysts with light abrasions, eye-visible inclusions and surface-reaching fractures. Tests for sterling with XRF.

278 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Cuff with slight indentation to center. 279 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Bracelet length with integral loops for adding safety chain.

Condition Reports

280 Overall good condition with tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. A few links with scattered tiny single chips to the inlay.

428

283 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. The repoussé cuff with 1.5” gap at ridge join at one shoulder. Not tested for sterling.

281 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. The bracelet lacking original charm, loop attached. Brooch likely lacking small dangles. Brooch tests for sterling; herringbone set tests for 800 silver with XRF. 282 Each in overall good condition with minor tarnishing and scratches commensurate with age and use. Stones with light abrasions. Cuff slightly overlaps. Cuff with label residue to interior.

287 Overall good condition with light tarnishing and minor scratches commensurate with age and use. 288 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Black stone cuff slightly out of round and with dent and hole to one silver ball. Not tested for sterling. 289 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Some stones with a minor chip to nose. Not tested for sterling or for gold. 290 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions. A few stones with a single minor chip. 291 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Not tested for sterling with XRF.

292 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Chipped inlay with a few minor chips to surface. Not tested for sterling with XRF.

Condition Reports

293 Each with tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Most picks are bent in at least one place. Weight possibly including items of mixed silver purity.

429

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Associate Specialist, Fine Art Madison Ari President, Auctioneer Jeffrey J. Moran Vice President, Specialist Maranda Moran Director, Fine Art Katherine Halligan, AAA Director, Furniture and Decorative Arts Jen Kurtz Director, Native American Art Kim Jarand Senior Specialist, Furniture & Decorative Art Angela Past Specialist, Post-War & Contemporary Design Matthew Grayson Associate Specialist, Fine Art Bobby Cullen Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Cataloguer, Fine Art Christine Weir Department Administrator, Fine Art Jacob Baer Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Sally Andrew Cataloguer, Silver Jewelry & Decorative Art Director, Jewelry & Watches Tom Burstein Kelly Sitek Senior Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Department Administrator, Trusts and Estates Julia Kelley

CLIENT SERVICES

HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Accounts Receivable / Customer Service Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Office Supervisor Joseph Fields Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

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

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

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

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran. AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. (c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

SINCE 1969

AUCTIONEERS & APPRAISERS

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