Latin American Art + Design — July 15, 2025 | John Moran Auctioneers
Tuesday, July 15, 2025
Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com
Maranda Moran, ISA AM Vice President, Head of Sale m.moran@johnmoran.com Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com
Mario Esquivel Office Manager m.esquivel@johnmoran.com
1 Francisco Goya (1746-1828, Spanish)
“Brabisimo!,” plate 38 from “Los Caprichos,” circa 1799
Etching and aquatint in gray/brownish-black ink on sturdy off-white wove paper without watermark
Presumably from one of the later editions (at least 12 separate editions were printed between 1799 and 1937)
Unsigned as usual; with the title and plate number etched in the plate outside the image
Image: 7.5” H x 5.125” W; Plate: 8.125” H x 5.5” W; Sheet: 10.875” H x 7.5” W
$300-500
2
Francisco Goya (1746-1828, Spanish)
“No hay quien nos desate,” plate 75 from “Los Caprichos,” circa 1799
Etching and aquatint in gray/brownish-black ink on sturdy off-white wove paper without watermark
Presumably from one of the later editions (at least 12 separate editions were printed between 1799 and 1937)
Unsigned as usual; with the title and plate number etching in the plate outside the image
Image: 7.625” H x 5.625” W ; Plate: 8.625” H x 6” W; Sheet: 10.75” H x 8” W
$300-500
Jesús Escobedo (1918-1978, Mexican)
Jesús Escobedo Trejo emerged as a pivotal figure artistic odyssey began in El Oro, México, but it was luminaries like Gabriel Fernández Ledesma and Francisco Carlos, respectively, Escobedo absorbed the essence
What distinguished Escobedo was not solely his integral to movements like the Liga de Escritores political and societal narratives. His participation Nacional Femenino Pro-Pago de la Deuda Petrolera,
Beyond gallery walls, Escobedo’s canvas extended Secretariat of Public Education to partnerships with his illustrations for the 1946 book “Lecturas Hispanoamericanas universality of his artistic language.
Amidst his diverse portfolio, the pinnacle of Escobedo’s essence of New York City, a project funded by the
Tragically, his artistic journey concluded prematurely final resting place in the San Nicolás Tolentino cemetery brushstrokes spoke volumes about social consciousness
figure in Mexico’s artistic landscape, renowned for his prowess in drawing and engraving. His was in the vibrant milieu of Mexico City where he honed his craft. Under the tutelage of Francisco Díaz de León at the Escuela de Pintura al Aire Libre and the Academy of San essence of traditional and contemporary artistic techniques.
artistic acumen but also his impassioned dedication to social causes. He became Escritores y Artistas Revolucionarios and the Taller de Gráfica Popular, aligning his art with in the 1938 Palacio de Bellas Artes collective exhibition, spearheaded by the Comité Petrolera, underscored his commitment to using art as a vehicle for social change.
extended 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. Notably, Hispanoamericanas” resonated with audiences on both sides of the border, showcasing the
Escobedo’s international recognition was the creation of eight lithographs capturing the the prestigious Guggenheim Fellowship in 1945.
prematurely at the age of 60, leaving behind a legacy that transcends his temporal existence. His cemetery in Iztapalapa, Mexico City, stands as a silent homage to an artist whose consciousness and the enduring power of art to shape societies.
3
Jesús Escobedo (1918-1978, Mexican)
Net fisherman, 1939 Lithograph on wove paper Edition: 10/20
Signed, dated, and numbered in pencil in the lower margin, at right: Jesús Escobedo / 1939 Image: 8.25” H x 11” W; Sheet: 19.75” H x 25.5” W
$500-700
4
Jesús Escobedo (1918-1978, Mexican)
Untitled, from the “New York Series,” 1946
Lithograph on wove paper
Signed, dated, and inscribed in pencil in the lower margin, at right: Jesús Escobedo / 1946
Image: 10” H x 11” W; Sheet: 12.625” H x 19” W
$400-600
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
5
Jesús Escobedo (1918-1978, Mexican)
Untitled, from the “New York Series,” 1946 Lithograph on wove paper
Signed and dated in pencil in the lower margin, at right: Jesús Escobedo / 1946
Image: 8.875” H x 12” W; Sheet: 12.5” H x 19” W
$400-600
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
Jesús Escobedo (1918-1978, Mexican)
Untitled, from the “New York Series,” 1946 Lithograph on wove paper
Signed and dated in pencil in the lower margin, at right: Jesús Escobedo / 1946 Image: 8.875” H x 12” W; Sheet: 12.5” H x 19” W
$400-600
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
7
Jesús Escobedo (1918-1978, Mexican)
Untitled, from the “New York Series,” 1946
Lithograph on wove paper
Signed, dated, and inscribed in pencil in the lower margin, at right: Jesús Escobedo / “New York” / 1946
Image: 9.25” H x 10” W; Sheet: 12.5” H x 19” W
$400-600
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
Jesús Escobedo (1918-1978, Mexican)
Untitled, from the “New York Series,” 1946 Lithograph on wove paper
Signed and dated in pencil in the lower margin, at right: Jesús Escobedo / 1946 Image: 9” H x 9.75” W; Sheet: 12.375” H x 19” W
$500-700
9
Leopoldo Méndez (1902-1969, Mexican)
“El Globo,” 1929
Woodcut on tissue-thin paper
From the edition of unknown size on loose sheets (aside from the book edition of 500 for La Corola Invertida)
Signed and dated in the lower margin, at right: L. Méndez / 29; Taller de Gráfica Popular, Mexico City, Mexico; inscribed in pencil in the lower left margin corner: “-7- / A-1100”
Image: 6.75” H x 6” W; Sheet: 9.875” H x 9” W
$700-900
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, acquired from the above by descent
Literature: Arce 5; Reyes 22
Notes:
Leopoldo Méndez was one of Mexico’s most important graphic artists from the early 20th century. Known for his works to focus on political and social activism, such as highlighting causes like agricultural reforms, indigenous rights, and anti-fascism.
Méndez is also known for co-founding the famous Mexican printmaking collective, Taller de Gráfica Popular in Mexico City.
10
Leonora Carrington (1917-2011, British-Mexican) “Crow Soup,” 1997 Lithograph in colors on wove paper Edition: 61/95
Signed, dated, and numbered in pencil in the lower left corner of the image: Leonora Carrington / 97 Image: 18.25” H x 24.125” W; Sheet: 24” H x 31.5” W
$1,000-1,500
Provenance: Masters of Latin America, Santa Monica, CA
Notes:
This lot is sold together with a copy of the purchase receipt, dated 10/11/99, from the gallery mentioned above.
Signed and numbered in pencil in the lower left corner of the image: Leonora Carrington; Kyron Ediciones Gráficas Limitadas, Mexico City, prntr./pub., and with their blindstamp in the lower right corner of the image; with an ink stamp at the verso of the lower left sheet corner: LC-145-50
Image/Sheet: 23.5” H x 31.375” W
$1,000-1,500
Provenance:
Sold: Butterfield and Butterfield, San Francisco and Los Angeles, CA, “American, European, and Contemporary Prints,” Lot 2322 (1 of 2)
Notes:
This lot is accompanied by a copy of a sales invoice dated May 7, 1991, from the auction mentioned above.
12
Leonora Carrington (1917-2011, British-Mexican)
“Drue,” 1992
Lithograph in colors on Arches paper Edition: 2/75
Signed and numbered in white pencil lower left: Leonora Carrington; De Soto Workshop, San Francisco, prntr./pub. and with their blindstamp lower right; inscribed, partially illegibly, “Ed. # *101” in pencil at the verso of the lower right sheet corner Image/Sheet: 22.375” H x 30” W
$1,000-1,500
Provenance:
Iturralde Gallery, Los Angeles, CA
Notes:
This lot is accompanied by a sales invoice dated July 10, 1992, from the gallery mentioned above.
13
Leonora Carrington
(1917-2011, British-Mexican)
Sketch for “Mundo Mágico de los Mayas,” 1963/1965
Pen, ink, and graphite on paper
Signed and dated in pencil lower right: Leonora Carrington 1965
Sight: 11.75” H x 17.5” W
$600-800
Provenance:
Galería de Arte Mexicano, Mexico City
The Estate of Dr. Eugene A. Solow
Sold: Christie’s, New York, NY, “Important Latin American Pictures & Sculpture,” November 24, 1997, Lot 271 Masters of Latin America, Santa Monica, CA
Exhibited:
Chicago, IL, Museum of Contemporary Art, “Dada and Surrealism,” December 1984-January 1985
Notes:
This drawing is a sketch for the mural “El Mundo Mágico de los Mayas,” created between 1963 and 1964 for the Museo Nacional de Antropología in Mexico City. Although the sketch was completed in 1963, it was not signed until 1965. This lot is accompanied by a Masters of Latin America sales invoice dated November 9, 1999.
14
Leonora Carrington (1917-2011, British-Mexican)
“Cocodrilos,” 1974
Lithograph on BFK Rives paper Edition: 21/100
Signed and numbered in pencil lower left: Leonora Carrington; with the printed signature and date in the stone at lower right; Taller de Gráfica Mexicana, Mexico City, prntr., and with their blindstamp lower left Image: 21” H x 27.5” W; Sight: 21.25” H x 28” W
$800-1,200
Provenance:
Sold: Butterfield and Butterfield, San Francisco and Los Angeles, CA, “American, European, and Contemporary Prints,” May 7, 1991, Lot 2322 (1 of 2)
Notes:
This lot is accompanied by a copy of a sales invoice dated May 7, 1991, from the auction mentioned above.
After Leonora Carrington (1917-2011, British-Mexican)
Bird with Fish, 1979 Wool Tapestry
With woven signature, date, and manufacturer’s mark at lower right: Leonora Carrington / TX Manufactured by Tapices de Xonacatlan 74” H x 51” W
$1,500-2,500
Provenance:
Gallery Andres Siegel, Mexico City
Property from the Estate of the Late Dr. Edwin R. Wallace, IV, Columbia, SC
Sold: Brunk Auctions, Ashville, SC, “Fine and Decorative Arts,” September 15, 2012, Lot 0358 Private collection, San Diego, CA
Notes:
This lot is accompanied by a printed receipt from Brunk Auctions.
Tapices de Xonacatlan was a state funded atelier that taught Indigenous Mexicans the art of European Tapestry weaving in the 1970s. They did Tapestries for artists like Jose Luis Cuevas, Vicente Rojo, Tamayo and others. The last few years there have been several exhibitions on their tapestries and the now closed school. Work is currently underway to find and document works created at Tapices de Xonacatlan.
16
David Alfaro Siqueiros (1896-1974)
“Flight,” plate VIII from “Mexican Suite,” 1968
Lithograph in colors on paper Edition: 75/300
Signed and numbered in pencil in the lower margin: D A Siqueiros Image: 19.75” H x 16.25” W; Sight: 21.75” H x 17.5” W
$600-800
17
Raymon Price (1901-1957)
“Peon Gossip”
Print enhanced with watercolor on paper laid to board
Edition: 16 out of an edition of unknown size
Signed and titled in pencil on the overmat: Raymon Price; numbered 16 in pencil on the artist’s label attached to the verso of the frame’s backing board
Sight: 11.75” H x 14.75” W; Board: 13.75” H x 16.75” W
$200-400
Notes:
There is a printed artist’s label, with a pencil numbering, attached to the frame’s backing board for this artwork. It includes a facsimile of the artist’s signature, plus “No 16” written in pencil, and reads: “Original Water Color Etching by Raymon Price / Painted in limited editions and signed by the artist. No 16.” The exact technique seems to involve something akin to a stencil process, presumably done using concentrated watercolor pigments, and then enhanced with additional, brushed-on, watercolor pigments.
18
Mario Orozco Rivera (1930-1998, Mexican)
“Pensador,” 1957
Watercolor on paperboard
Signed and dated lower right: Orozco Rivera 1957; dated again and titled in ink, in another hand, on a gallery label affixed verso
20” H x 15” W
$600-800
Provenance:
Galeria Central de Arte Moderno Misrachi, Mexico City, Mexico
Property from a Southern California Estate
Sold: Hughes Auction, Sunland, CA, “March Art & Design Auction,” March 29, 2018, Lot 87
Private Collection, San Diego, CA
19
Wilfredo Lam (1902-1982, Cuban)
Four untitled plates, from the suite of seven, circa 1977-79
Each: Etching and aquatint in colors on wove paper
Edition of each: 68/99
Each signed and numbered in pencil in the lower margin: Wil; Societe Internationale d’Art XXe Siecle, Paris, pub.
Plate of each: 13” H x 15.5” W; Sight of each: 19.25” H x 25.5” W
This lot is sold together with a copy of an invoice dated 10/11/99 from Masters of Latin America, Santa Monica, CA, that most likely relates to one of these four plates.
Adrian Rojas (b. 20th century)
A Mata Ortiz polychrome pottery jar, late 20th/early 21st century; Chihuahua, Mexico Incised to underside: Adrian Rojas
The large three-color jar with white and black banded step and geometric motifs on a matte red slip ground 19.125” H x 15.375” Dia.
$700-900
21
Mireya Quezada (b. 20th century)
A Mata Ortiz pottery jar, 2000; Chihuahua, Mexico
Incised signature and date to underside: Mireya Quezada / 31-5-2000
The jar with stylized rim and matter white swirling bands of fine-line geometric motifs on a matte terra cotta slip ground 12.75” H x 10.5” Dia.
$200-400
22
Armando Silveira (b. 20th century)
A Mata Ortiz polychrome pottery jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Armando Silveira
The large globular three-color jar with red and black depictions of various insects and fish in medallions within a geometric checkered ground, the shoulder with incised textural accents
13.5” H x 13.5” Dia.
$200-400
23
Luiz Martinez (b. 20th century)
A Mata Ortiz polychrome pottery vessel, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Luiz Martinez L.
The vessel with squared body below a flared rim, featuring red and black decorations on a white slip ground, including feather and meandering motifs to shoulder and bird, rabbit, and lizard figures to body 9.25” H x 5.625” W x 5.625” D
$600-900
24
Damian E. Quezada (b. 20th century)
A Mata Ortiz pottery wedding jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Damian E. Quezada
The jar with upper handle connecting opposed pour spouts, featuring matte white fine-line geometric motifs on a brown buff ground 12.75” H x 7” Dia.
$500-700
25
Hector Gallegos Jr. (b. 20th century)
A Mata Ortiz polychrome and sgraffito pottery jar, 2002; Chihuahua, Mexico
Incised signature and date to underside: Hector Gallegos Jr. 24-3-002
The wide-bodied jar with flared rim, featuring a scene painted in black and green on a white slip ground with incised details, depicting various flora and fauna among trees
9.125” H x 7.25” Dia.
$300-500
Miguel Covarrubias (1904-1957, Mexican)
José Miguel Covarrubias Duclaud, known as Miguel began his artistic journey at 14, contributing caricatures
At 19, armed with talent and a grant, Covarrubias artistic talents extended to designing for theater
Covarrubias created monumental murals, notably became cultural treasures, captivating audiences
His life intertwined with Rosa Rolando, leading to Kahlo. His caricatures graced esteemed publications exploration led to Bali, resulting in a book contributing became a hub for global visitors and creative exchange.
Beyond art, Covarrubias taught and contributed through his artwork and analysis of pre-Columbian
Through his art, writings, and anthropological studies, indelible imprint on art and anthropology.
Miguel Covarrubias, was a Mexican artist born on November 22, 1904, in Mexico City. He caricatures and illustrations to Mexico’s Ministry of Public Education and Communications. Covarrubias moved to New York City, quickly becoming a premier caricaturist for Vanity Fair. His productions, including Caroline Dudley Reagan’s La Revue Negre.
notably the Pageant of the Pacific for the Golden Gate International Exposition. These murals audiences with vibrant depictions of cultures and landscapes.
to adventures across continents and friendships with icons like Diego Rivera and Frida publications and theater productions, earning him acclaim and influencing fellow artists. Their contributing to the 1930s Bali craze in New York. Returning to Mexico City, their home exchange.
to the preservation of Mexican dance. His life ended in 1957, leaving a lasting impact pre-Columbian art, notably the Olmec civilization, reshaping perceptions of Mesoamerican cultures. studies, Covarrubias shared an enduring appreciation for diverse cultures, leaving an
26
Miguel Covarrubias (1904-1957, Mexican)
“Head of a Balinese Girl,” circa 1930 Lithograph on paper Edition: 12/30
Signed and numbered in pencil in the lower margin: Covarrubias Image: 10.5” H x 8.5” W; Sight: 12” H x 9” W
$1,000-1,500
José Clemente Orozco (1883-1949, Mexican)
José Clemente Orozco, born on November 23, 1883, Mural Renaissance. Renowned for his politically charged transformative movement. Orozco’s art delved into deep commitment to social causes.
His journey into art commenced during his time in illustrator José Guadalupe Posada. Despite losing undeterred. He immersed himself in art education, of the time.
His artistic career spanned various locations, from those at the National Preparatory School and Pomona human struggle. While his contemporaries celebrated the toll it took on society.
His return to Mexico in 1934 marked the creation Cabañas in Guadalajara. Despite residing in Mexico American Civilization’ at Dartmouth College, an expansive
1883, in Zapotlán el Grande, Jalisco, Mexico, became a pivotal figure in the Mexican charged murals, he, along with Diego Rivera and David Alfaro Siqueiros, defined this into human suffering and the political struggles of peasants and workers, reflecting his in Mexico City in the 1890s, where he found inspiration in the works of the satirical losing his left hand at the age of 21 in a tragic accident, Orozco’s passion for art remained education, studying at the Academy of San Carlos and engaging in the revolutionary movements
from Mexico City to Claremont, California, and New York City. Orozco’s murals, such as Pomona College, reflected his profound commentary on war, societal upheaval, and celebrated the Mexican Revolution’s glory, Orozco depicted its darker aspects, emphasizing
creation of significant masterpieces like ‘The Catharsis’ and the iconic frescoes at the Hospicio Mexico City, Orozco’s legacy extended internationally through works like ‘The Epic of expansive mural that encapsulated migration, cultural clashes, and spirituality.
José Clemente Orozco (1883-1949, Mexican)
Untitled, abstract
Ink and gouache on paper
Signed lower right: J.C. Orozco
Sheet: 10.375” H x 14.125” W
$2,000-3,000
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
Francisco Toledo (1940-2019, Mexican)
Born in Juchitán, Oaxaca, in 1940, Francisco Toledo Francisco Toledo followed his father into the jungles trade of lithography from the engraving workshops exhibited his works at Antonio Souza’s gallery in would become.
“Toledo’s is the art of shamanism,” Christopher Goodwin and animals and may take on human characteristics.” Twitter, calling Mr. Toledo “a true defender of nature,
While he preferred anonymity, his service to cultural His first one-man show at 19 years set the stage Rufino Tamayo. Toledo’s fascination with the metaphors his art.
Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico, where he took up the workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo Mexico and the Fort Worth Art Center in Texas. These early years informed the artist he
Goodwin of “The Guardian” wrote in 2000, “in which people are transformed into beasts characteristics.” President Andrés Manuel López Obrador of Mexico announced the death on nature, customs, and traditions of our people.”
cultural preservation and the celebration of traditional imagery gained him national acclaim. for his travels to Paris, where he was supported by poet Octavio Paz and the painter metaphors of indigenous animals as symbols of Mexican history and mythology abounds in
Francisco Toledo (1940-2019, Mexican)
“Hombre Y Gatos”
Lithograph in colors on wove paper
From the edition of unknown size
Signed and indistinctly inscribed in pencil in the lower right and left corners of the image, respectively: Toledo Image: 19.75” H x 14.625” W; Sight: 20” H x 15.125” W
$700-900
29
Francisco Toledo (1940-2019, Mexican)
Untitled, 1963
Watercolor and ink on laid paper
Signed in ink lower left: Toledo; dated in ink, presumably in another hand, on a gallery label affixed to a prior frame’s backing board
Image/Sheet: 16.75” H x 21.5” W
$3,000-5,000
Provenance:
Galerie Daniel Gervis, Paris, France
The Collection of Artist Bengt Olson, Gothenburg, Sweden, acquired from the above
Sold: Uppsala Auktions Kammare, Uppsala, Sweden, “International Quality Auction,” May 10-12, 2023, Lot 429
30
Francisco Toledo (1940-2019, Mexican)
Untitled Watercolor on a handwritten letter Appears unsigned
Image/Sheet: 10.75” H x 8.5” W
$2,000-3,000
Provenance: Saidenberg Gallery Inc., New York, NY
Estate of Irwin Hersey, New York, NY
Sold: Capo Auctions, Long Island, NY, “Capo Auction Holiday Sale,” December 15, 2012, Lot 0116 Private collection, San Diego, CA
Notes:
The watercolor was authenticated by the artist’s representative gallery in Mexico, “Galeria Juan Martin,” the artist’s sister, Graciela Toledo, and Francisco Toledo. A copy of a letter from the artist accompanies the lot, signed by Toledo.
31 Francisco Toledo (1940-2019, Mexican) “El Circuito,” 1976
Etching in colors on BFK Rives paper Edition: 48/50
Signed and numbered in pencil in the lower margin, directly below the platemark: Toledo Plate: 8” H x 12.375” W; Sheet: 30” H x 22” W
$800-1,200
32
J. Luis Toledo (1929-2007, Mexican)
“Luz de la Luna - Ensenada” Oil on Masonite
Signed lower left: Luis Toledo; signed again and titled in pencil, possibly in another hand, on the frame’s backing paper
7.875” H x 11.875” W
$400-600
Francisco Toledo (1940-2019, Mexican)
“Hombre, Un Pescado, Una Tortuga y Pajaros,” 1970
Lithograph in colors on wove paper Edition: 53/100
Signed and numbered in pencil in the lower margin: Toledo Image: 15.5” H x 20.5” W; Sheet: 16.125” H x 21.25” W
$400-600
Francisco Toledo (1940-2019, Mexican)
One plate from “Trece Maneras de Mirar un Mirlo,” 1981
Etching with roulette on wove paper Edition: 16/25 (there were also six artist’s proofs)
Signed and numbered in pencil in the lower margin, below the platemark: Toledo
Plate: 5.5” H x 7.75” W; Sheet: 15” H x 11” W
$500-700
Francisco Toledo (1940-2019, Mexican)
“Nee Laze (The One with Slender Feet (Death)),” 1967
Etching on wove paper Edition: 2/25
Signed and numbered in pencil in the lower margin, below the platemark: Toledo Plate: 6” H x 7” W; Sheet: 10” H x 13” W
$500-700
36
Emmy Lou Packard (1914-1998)
“Diego Rivera on His Pyramid,” 1941 Gelatin silver print on paper Edition: 1/20
Signed, dated, and numbered in pencil in the lower margin: Emmy Lou Packard; titled on a label affixed to the frame’s backing board Image: 7.5” H x 7.5” W; Sight: 8.25” H x 7.875” W
$300-500
Provenance: Triton Museum of Art, Santa Clara, CA
Notes:
As a child, Packard lived in Mexico City and was encouraged in her art interests by Diego Rivera. Years later, when the man she had met. At the same time, an undergraduate at the University of California, Berkeley, and then married, was tragically killed in an auto accident, Packard returned to Mexico City, grateful to have Rivera and his wife, Frida Kahlo, as close friends. She spent a great deal of time with Rivera and Kahlo, often eating and sometimes traveling with them. She is also known to have photographed them in Mexico. In 1940, Packard assisted Diego Rivera with his mural for the San Francisco World’s Fair.
Jorge Tapia (b. 1940, Argentinian)
“Metamorfosis del Jazz,” 1963
Oil on canvas
Signed and dated verso: Tapia 63; titled on labels affixed to the stretcher
19.25” H x 37.25” W
$600-800
Provenance:
Galleria Rubbers, Buenos Aires, Argentina
The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, acquired from the above
Sonya Fe (b. 1952)
Sonya Fe is a Hispanic American artist known for neglect, and women’s roles in society. Born to a Jewish-American she grew up in the William Mead Housing Project At 13, Fe received a scholarship to a summer program College of Design in Pasadena, California.
Her notable exhibition, “Are You With Me?”, displayed views on women’s and children’s innocence. She
Her pieces have been featured in “Forbes,” “SunStorm collections, including those of CCH Pounder, Cheech the Great Wall of Los Angeles, reinforcing her commitment
her impactful works that address social and cultural issues, particularly child abuse, Jewish-American mother and a father of Narragansett and Mexican American descent, Project in Downtown Los Angeles, where she was influenced by the Chicano art movement. program at Otis College of Art and Design and later earned her B.A. from Art Center
displayed 27 oil paintings and 18 mixed-media drawings, exploring her life and societal expressed her desire for viewers to connect with her work, asking, “Are you with me?”
“SunStorm Magazine,” “Sacramento Magazine,” and “Sixteen Magazine,” and are held in Cheech Marin, and the Smithsonian Institution. Fe has also contributed to the restoration of commitment to community and the arts.
38
“The Last Look,” 1987 Oil on canvas
Signed and dated lower right: Sonya Fe ‘87; titled on the stretcher
39.75” H x 30” W
$800-1,200
Sonya Fe (b. 1952)
39
Jorge Luis Cuevas (b. 1922, Mexican) Juchiteca Woman, 1974
Patinated bronze on wood plinth Edition: I/VI
Signed, numbered, and dated in the casting: Cuevas Bronze: 14.5” H x 9.625” W x 10.125” D; Overall: 16.5” H
$800-1,200
Provenance:
Sold: Sotheby Parke Bernet Los Angeles, Los Angeles, CA, “Fine 19th and 20th Century Prints,” September 24 & 25, 1979, Lot 129
Private Collection, acquired from the above
Notes:
This lot is accompanied by a purchase receipt dated September 24, 1979.
40
José Luis Cuevas (1934-2017, Mexican)
“Tower of Babel,” 1972
Lithograph in colors with gold foil collage on wove paper Edition: 24/150
Signed, dated, and numbered in white pencil in the lower right and left corners of the image, respectively: Cuevas 72
Image/Sheet: 30” H x 22.5” W
$500-700
41
José Luis Cuevas
“El Cuaderno de París,” 1976-77
The complete portfolio including numerous screenprints and lithographs in colors on Fabriano, Rosaspina Avorio, Murillo, and Arches papers
Edition: 71/100 (there were also 20 hors commerce portfolios, each signed and numbered in Roman numerals, printed for the author and collaborators)
Signed and numbered in pencil, and with the blindstamp of the publisher, all on the justification page; together with title, and justification/colophon sheets, each the full sheet, folded (as issued), together with original interleaving tissues, brown paper wrapper with printed images, and cloth-covered boards and slipcase with printed images and titles; Ediciones Multiarte, Mexico City, prntr. (screenprints) and Clot Bramsen et Georges, Paris, prntr. (lithographs); Ediciones Multiarte, Mexico City, pub.
Each sheet (as folded): 12.375” H x 13.5” W
$500-700
42
José Luis Cuevas (1934-2007, Mexican)
“Autorretrato con pareja,” 1981
Etching in colors on wove paper
Edition: 24/100
Signed, dated, numbered, and inscribed in pencil in the lower margin: Cuevas / Barcelona 81
Signed and dated in pencil lower right: Lucía Maya 83; signed again and titled on the frame’s backing board
Sight: 24.75” H x 17.5” W
$600-800
Lucía Maya (b. 1953, Mexican)
Three works:
“Vuelo inesperado,” from the “Corazones Afines” portfolio, 1986 Lithograph with hand-coloring on paper Edition: 2/28, a proof of the second state (aside from the edition of 70)
Signed, titled, dated, numbered and inscribed “Prueba de estado II” in pencil in the lower margin: Lucía Maya 86; Andrew Vlady with Kyron Ediciones Grafícas Limitadas, Mexico City, prntr./pub. Image: 12.5” H x 16.25” W; Sight: 13.75” H x 17.75” W
“Alfiletero,” from the “Corzones Afines” portfolio, 1986 Lithograph with hand-coloring on paper Edition: 40/70
Signed, titled, dated, and numbered in pencil in the lower margin: Lucía Maya 86; Andrew Vlady with Kyron Ediciones Grafícas Limitadas, Mexico City, prntr./pub. Image: 16.25” H x 12” W; Sight: 18” H x 13.75” W
“Relicario,” from the “Corzones Afines” portfolio, 1986 Lithograph with hand-coloring on paper Edition: 40/70
Signed, titled, dated, and numbered in pencil in the lower margin: Lucía Maya 86; Andrew Vlady with Kyron Ediciones Grafícas Limitadas, Mexico City, prntr./pub. Image: 12” H x 16.5” W; Sight: 14” H x 18.25” W
$500-700
Fernando de Szyszlo (1925-2017, Peruvian)
Fernando de Szyszlo is one of the most influential and Peruvian mother, de Szyszlo’s multicultural heritage studying architecture briefly at the National University in Lima.
In the late 1940s, de Szyszlo traveled to Europe, and particularly the Surrealists, whose influence reshaped formed close ties with key intellectuals of the Latin
Returning to Peru in the 1950s, de Szyszlo emerged modernist twist that fused European abstraction rich in texture, light, and symbolic form that often language that bridges the ancient and the contemporary.
influential artists to emerge from Latin America, post World War II. Born in Lima to a Polish father heritage deeply informed his lifelong exploration of identity, myth, and memory. After University of Engineering, he turned to painting and enrolled at the Escuela de Bellas Artes where he encountered the work of modern masters such as Paul Klee, Georges Braque, reshaped his understanding of abstraction and symbolism. During this time, he also Latin American literary boom, including Mario Vargas Llosa and Octavio Paz.
emerged as a leading voice in pushing Peruvian art beyond academic realism and toward a with the imagery and cosmology of pre-Columbian cultures. His paintings are frequently often references South American ritual, architecture, and spirituality, creating a distinct visual contemporary.
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Fernando de Szyszlo (1925-2017, Peruvian)
“Sol Negro” Oil on canvas
Signed lower right: Szyszlo; titled verso 47” H x 59” W
$40,000-60,000
Provenance:
Adagio Galleries, Palm Springs, CA Private Collection, acquired from the above
Notes:
Fernando de Szyszlo’s “Sol Negro” (Black Sun) immerses the viewer in a vivid, almost ritualistic composition dominated by a deep crimson palette. The two central figures in the piece embody opposing yet complementary forces, evoking a type of ceremonial dialogue. The dark vertical form on the left resembles a totem or stela, with circular and rectangular shapes that hint at anthropomorphic features or ritual masks, standing like a sentinel or guardian. In contrast, the rounded form on the right, filled with triangular patterns suggests an architectural or ceremonial structure, possibly a huaca or temple, its interior space rendered mysterious by shadow and fragmentation. “Sol Negro” exemplifies de Szyszlo’s mastery of creating a modern visual language rooted in pre-Columbian spirituality and myth.
Rufino Tamayo (1899-1991, Mexican)
Rufino Tamayo is a towering figure in 20th-century Oaxaca, his exposure to Zapotecan culture shaped avant-garde aesthetics. Central to his oeuvre is mixografia, pulp applied to inked plates, resulting in textured, preference for highlighting his Zapotec heritage. cultural boundaries, resonating universally while UNESCO Prize at the 1958 Venice Biennale, solidifying
20th-century Mexican art, famed for blending indigenous and modernist influences. Born in shaped his artistic vision, leading to a distinct style marrying Mexican folk traditions with mixografia, a technique he developed with Luis Remba in the 1970s, involving wet paper textured, multidimensional artworks. Tamayo’s mixografias, over 80 in total, reflect his thematic Often depicting mythology, nature, and the human condition, his art transcends celebrating Mexico’s rich heritage. Tamayo received numerous accolades, including the solidifying his legacy as a pioneering figure in printmaking.
Rufino Tamayo (1899-1991, Mexican)
“Frutero con Manzanas,” 1981 Mixografia in colors on thick handmade paper Edition: 44/100
Signed and numbered in pencil in the lower right and left corners of the image, respectively: R. Tamayo; Taller de Gráfica Mexicana, Mexico City, prntr./pub.
Plate: 34.5” H x 24.375” W; Sheet: 39.625” H x 29.5” W
$5,000-7,000
Provenance: B. Lewin Galleries, Palm Springs, CA
Literature: Pereda 291
Notes:
This lot is accompanied by a certificate of authenticity from the gallery mentioned above.
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Rufino Tamayo (1899-1991, Mexican) “Dos Figuras,” 1976 Mixografia in colors on paper Edition: 111/140
Signed and numbered in white pencil in the lower right and left corners, respectively: R. Tamayo; Taller de Gráfica Mexicana, Mexico City, prntr.; Transworld Art, New York, pub.
Image/Sheet: 22.25” H x 29.875” W
$2,000-3,000
Literature: Pereda 220
48
Rafael Canogar (b. 1935, Spanish)
“Still Life,” 1974
Polyester, fiberglass construction, and oil on wood panel mounted to canvas laid to panel
Signed and dated lower left: Canogar 74; signed and dated again, verso
23.75” H x 28.75” W x 7” D
$2,500-3,500
Provenance:
The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Exhibited:
Los Angeles, CA, Silvan Simone Gallery, “Rafael Canogar,” April 6-May 2, 1975
Toledo, Spain, Santa Cruz Museum; Ciudad Real, Spain, Ciudad Real Museum; Albacete, Spain, Albacete Museum, “Canogar 1957-1997,” May-December, 1997
Literature: V. Nieto Alcaide, “Rafael Canogar: El paso de la pintura,” Editorial Nerea S.A., Donostia-San Sebastián, 2006, p. 25, no. 15 (illustrated)
Notes:
This work is registered on the artist’s website under Cat. No. 1974-025
49
Manuel Pailós (1918-2005, Uruguayan) Cathedral, 1962
Oil and mixed media on paper laid to artist’s board laid to board
Signed upper left: Pailós; dated lower right: 62
21” H x 17” W
$2,000-3,000
Provenance: Del Cardal Centro de Arte, Montevideo, Uruguay
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Manuel Pailós (1918-2005, Uruguayan)
Ship
Gouache, ink, and mixed media on Masonite
Signed upper right: .Pailós
22.25” H x 18.5” W
$2,500-3,500
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Manuel Pailós (1918-2005, Uruguayan)
Church scene, 1976
Gouache, ink, and mixed media on Masonite
Signed lower left: .Pailós; signed again and dated in pencil, verso: 10 junio 76
11.5” H x 14” W
$2,000-3,000
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Manuel Pailós (1918-2005, Uruguayan)
“Serie Escarlata,” 1981
Oil on paper laid to Masonite
Signed upper left: .Pailós; titled and dated, verso: 1981; also inscribed in red on the verso, possibly in another hand, “#74” 9.875” H x 9.875” W
$1,000-1,500
Provenance: Del Cardal Centro de Arte, Montevideo, Uruguay
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Manuel Pailós (1918-2005, Uruguayan)
Abstract landscape, 1980
Encaustic on paper mounted to Masonite
Signed upper left: .Pailós; signed again, dated, numbered, and indistinctly inscribed, all verso: 1980 / “No 602” 9.5” H x 7.125” W
$1,000-1,500
Two Mata Ortiz pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Humberto Ponce (b. 20th century)
A large polychrome jar
Incised to underside: Humberto Ponce
The three-color jar with red and black fine-line checkered motifs on a white slip ground 12” H x 10.75” Dia.
Leonel Lopez Saenz (b. 20th century)
A sgraffito jar
Incised to underside: Leonel Lopez Saenz
The jar with incised feather pattern motif 10.75” H x 9.375” Dia.
2 pieces
$400-600
Two Mata Ortiz fish effigy pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Adrian Rojas (b. 20th century)
A fish-form vessel
Incised to underside: Adrian Rojas
The fish with incised details to fins, featuring matte white geometric and fine-line motifs on a matte terra cotta slip ground
8.875” H x 13.25” W x 9.25” D
Lydia Quezada Celado (b. 20th century)
A polychrome vessel
Incised to underside: Lydia Quezada
The three-color vessel with stylized rim and red and black painted geometric motifs on a white slip ground
8.25” H x 12.5” W x 6.25” D
2 pieces
$400-600
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Manuel Pailós (1918-2005, Uruguayan)
Still life of flowers
Gouache and mixed media on Masonite
Signed lower right: .Pailós; signed again and inscribed verso: “H. Abadie Santos / 940-AP 202” 10” H x 10” W
$1,000-1,500
Pedro Pablo Preux (1932-2011,
Mexican)
Pedro Pablo Preux (1932 - 2011) was a Mexican tapestry effort to introduce and promote contemporary tapestry lines between fine art and “popular” art, a movement tradition after the Mexican Revolution. Although Preux using the Gobelins techniques in a mixture of cotton
This featured tapestry in an abstract design, “Y Volvio woven by Bertha Preux, displays vibrant colors of fantastical, surreal shapes suggesting an eerie play
Born in Paris, and immigrating with his family to Mexico artist parents, his father a painter and his mother a to Paris in 1961 and 1965 with scholarships from the Paris, as well as in Aubusson, where he apprenticed and philosophy.” Like his mentor he insisted that tapestries and involve a drawing on canvas or paper, but the emphasize this effect was at the Museo de Arte Moderno history of the craft, suggesting that tapestries are
When he returned from France, Preux was invited from 1963 until 1973, when the Instituto Nacional the newly-formed “Taller Nacional de Tapiz” until sending Preux and others to a newly formed textile
Preux’s work has been exhibited in Mexico and abroad, United States, Peru, Poland, the Netherlands, Cuba, Biennial and the Salón Michoacano del Textil en Miniatura. admission to the Sistema Nacional de Creadores de de Sonora. Although tapestry making as an art form
tapestry artist of French origin, and studied in Europe under Jean Lurçat. He was part of an tapestry weaving as an art form in Mexico in the 1960s and 1970s, attempting to blur the movement favored by the artistic community which had begun promoting Mexico’s handcraft Preux did some printmaking, his most notable work was in tapestry design and making, cotton and wool.
Volvio La Noche”, or the “Return of the Night” of 1966, designed by Pedro Preux and orange, ochre yellow, and lilac, with strong shaded black and grey contrasts and play of light and shadow as the twilight fades and the dark draws in.
Mexico in 1942, Preux did not have any formal artistic training, but was influenced by his a sculptor and tapestry weaver, and also studied architecture and the violin. Preux returned the French government to study tapestry weaving in the official Gobelins Manufactory in apprenticed under Jean Lurçat (1892-1966). There, Preux became a “loyal disciple of both technique tapestries are paintings in another medium as they require a similar sense of composition the finished work is executed in wool and cotton. One of his most important exhibits to Moderno in 1979, which featured not only tapestries, but also paintings related to the “wall paintings” or a sort of portable mural.
by mural artist José Chávez Morado to establish tapestry workshops, where he taught de Bellas Artes y Literatura (INBAL) sponsored the workshop. Preux became director of 1984, when declining interest in the tapestry arts led to the closure of the workshop, textile design school.
abroad, including both solo and collective exhibitions in France, London, Colombia, the Cuba, Argentina, and Brazil. Preux served both as an artist and as a jurist to the Tapestry Miniatura. He was recognized with membership in the Salón de la Plástica Mexicana and de Arte in 1994, and in 2009, his work was honored with a retrospective at the Universidad form waned after the 1970s, Preux remained an active artist until his death in 2011.
Pedro Pablo Preux (1932-2011, Mexican)
“Y Volvio La Noche,” August 1966
Wool and Cotton Tapestry
With woven signature and manufacturer’s mark to face: Preux / BP [conjoined]; signed, titled, dated and inscribed on fabric label verso: Tejido Por Bertha Preux / en E.D.A. Mexico / Medidas: Altura 1.20 Longitud 1.54 / Agosto 1966 / Pedro Preux
3’9’’ H x 4’11’’ W
$600-800
Provenance:
Sold: John Moran Auctioneers, Monrovia, CA, December 6, 2016, lot 1073
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Rodolfo Morales (1925-2001, Mexican)
Untitled Lithograph in colors on paper Edition: 71/100
Signed and numbered in pencil in the lower corners of the image: Rodolfo Morales Sight: 19.75” H x 29.25” W
$500-700
Provenance: Masters of Latin America, Los Angeles, CA
Notes:
This lot is sold together with a copy of an invoice dated 7/6/01 from the gallery mentioned above.
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Alejandro Colunga (b. 1948, Mexican)
“El Mago”
Lithograph in colors on wove paper
Edition: 35/120
Signed, dated, numbered, and inscribed “Barcelona,” all in pencil in the lower margin: A. Colunga 1986; with two unidentified blindstamps in the lower margin corners
Image: 36” H x 26.5” W; Sheet: 39.5” H x 29” W
$600-800
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Luis Lopez Loza (b. 1939, Mexican)
Geometric abstract, 1969
Encaustic on canvas laid to panel
With the incised signature, date, and inscription lower right: Luis Lopez Loza / New York 69 10” H x 8” W
$500-700
Provenance:
Sold: Roland NY, Glen Cove, NY, “The Estate of Elliot Bloom,” November 15, 2014, Lot 141
Private Collection, San Diego, CA, acquired from the above
Notes:
This lot is accompanied by a copy of a sales invoice from the auction mentioned above.
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Ramón Alejandro (b. 1943, Cuban)
“Las Puertas de la Perceptión,” 2004
Pencil and colored pencil on paper
Signed in pencil along the lower edge, right of center: Alejandr titled, dated, and inscribed “Miami,” all in red ink, verso: 2004 Sheet: 18” H x 34” W
Etching and aquatint on wove paper Edition: 16/100
Signed, titled, and numbered in pencil in the lower margin: Maximino Javier Plate: 19.375” H x 23.625” W; Sight: 26.625” H x 30.875” W
$300-500
Federico Castellón (1914-1971, Spanish-American)
“The Alchemist,” circa 1965
Lithograph on BFK Rives paper
Presumably from the edition of 175
Signed in pencil in the lower margin: Castellon; Joseph J. Geagan for the National Wholesale Druggists’ Association, pub.
Plate: 19” H x 14.375” W; Sight: 25.25” H x 19.75” W
$300-500
Literature: Freundlich 129
Javier Arévalo (1937-2020, Mexican)
“Caballo de hacienda”
Etching and aquatint in colors on wove paper
Edition: P/A (and artist’s proof [prueba de artista] aside from the edition of 38)
Signed, titled, dated, and inscribed “P/A” in pencil in the lower margin: Arévalo / Mexico / 87
Plate: 18.75” H x 23.75” W; Sight: 20.625” H x 26.5” W
$300-500
Javier Arévalo (1937-2020, Mexican)
“La Ceremonia,” 1986
Etching and aquatint in colors on paper Edition: 50/50
Signed, titled, and dated in pencil in the lower margin: Arévalo / 86
Plate: 18.25” H x 21” W; Sight: 19.5” H x 22.25” W
$300-500
68
Javier Arévalo (1937-2020, Mexican) “La Annunciacion,” 1962 Etching on wove paper Edition: 8/25
Signed, titled, dated, numbered, and inscribed “Mex,” all in pencil in the lower margin: Arévalo
Plate: 12.625” H x 19.5” W; Sight: 14.125” H x 20.875” W
$300-500
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Jesús Álvarez Amaya
(1925-2010, Mexican)
“Constitucion”
Woodcut on paper
From the edition of unknown size
Signed and indistinctly inscribed in pencil in the lower margin, at right: Amaya Image: 39.25” H x 27.5” W; Sight: 40.75” H x 28.75” W
$500-700
Leopoldo Méndez (1902-1969, Mexican)
In 1937, together with Pablo O’Higgins and Luis Arenat, Taller de Gráfica Popular (TGP) (the Popular Graphic ephemeral prints to high-quality illustrated books with the TGP until 1961, using his artwork to further members of the TGP initiated a tradition of activist
Today, one of the largest collections of Méndez’s graphic one-man exhibitions of Méndez’s prints and drawings,
Arenat, Leopoldo Méndez co-founded Mexico’s most famous printmaking collective, the Graphic Arts Workshop). The TGP was run as a collective of artists who made everything from in the service of leftist political reform. A virtuosic printmaker himself, Méndez remained further the causes of agrarian reforms, Indigenous rights, and anti-fascism. He and the other activist printmaking that continues in Mexico to this day.
graphic works is at the Art Institute of Chicago. By 1945, this institution was already hosting drawings, most of which they acquired directly from him.
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Leopoldo Méndez (1902-1969, Mexican)
Torture of a young child
Woodcut on wove paper
From the edition of unknown size
Signed in pencil in the lower margin, at right: Méndez Image: 9.625” H x 12.875” W
$400-600
71
Alfredo Zalce (1908-2003, Mexican)
“Matalos en Caliente,” 1946
Woodcut on paper
From the edition of unknown size
Signed and dated in pencil in the lower margin, at right: Alfredo Zalce 1946
Image: 12” H x 8.5” W; Sight: 12.75” H x 9” W
$200-400
72
Carlos Raquel Rivera (1923-1999, Puerto Rican)
“Doña Fulana,” 1955
Linocut on paper
From the edition of unknown size
Signed, titled, and inscribed in pencil in the lower margin: Rivera / “linóleo” Image: 15” H x 10.75” W; Sight: 15.75” H x 11.25” W
$300-500
73
Maurice Logan (1886-1977)
Mexican market scene Oil on canvas
Signed lower right: Maurice Logan
22” H x 18.25” W
$4,000-6,000
Exhibited: Pacific Grove, CA, Pacific Grove Art Center, “How the West was Done,”
August 20-September 24, 1993
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Alfredo Ramos Martinez (1871-1946, Mexican)
“Retrato de Genevieve Quale”
Pastel on grayish-green paper laid to board
Signed and dedicated upper left: “a la muy simpatica / Genevieve Quale / carinosamente, Ramos Martinez”
Image/Sheet: 24.75” H x 19” W
$3,000-5,000
Provenance:
Sold: D.G.W. Auctioneers & Appraisers, Sunnyvale, CA, anonymous sale, December 1, 2012, Lot 0049
Private Collection, San Diego, CA
Exhibited: Pasadena, CA, Pasadena Museum of California Art, “Picturing Mexico: Alfredo Ramos Martinez in California,” 2014 (the exhibition also travelled to Nevada Museum of Art)
Literature:
Alfredo Ramos Martinez Research Project #ARM0393
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Mario Martín del Campo (b. 1945, Mexican)
Surrealist bat, 1986
Mixed media including watercolor, graphite, and incised lines on tan paper mounted to an orange support board
Signed and dated in pencil lower right: Mario Martin C 86
Image/Sheet: 23.5” H x 31.25” W
$1,000-1,500
Mario Martín del Campo
(b. 1945, Mexican)
“Personajes,” 1985
Lithograph in colors with metallic paper collage on paper
Edition: P/A 4/5 (one of five artist’s proofs [prueba de artista], aside from the edition of unknown size)
Signed, dated, and inscribed “P/A. 4/5” in pencil in the lower right and left corners of the image, respectively: Mario Martin C. 85.”; titled by repute
Image: 27.75” H x 19.75” W; Sight: 29.375” H x 21.125” W
$500-700
Notes:
This image offers an interesting comparison with M.C. Escher’s well-known “Drawing Hands” lithograph of 1948. It seems likely that the face depicted in the mirror is del Campo’s.
Carlos Mérida (1891-1984, Guatemalan)
Mérida was born in Guatemala City to parents of Spanish music, but due to an issue with his ear at age 15 that middle school, Mérida studied art at two Guatemala Letras.
From this early period, Mérida integrated into the innovative painter. From 1910 to 1914, Mérida was avant garde including artists Kees Van Dongen, Amedeo artists who were working and studying in Europe, under Hermengildo Anglade y Camarosa and Van
Mérida returned to Guatemala in 1914. His experiences diverse Mayan folkloric history, which he began to symbolism. Mérida had an important exhibition at painting movement in the country.
In 1919, Mérida moved to Mexico and participated Mexican exhibit at the Escuela Nacional de Bellas Hispanic Society of New York. Beginning in this early and individual exhibitions throughout the world including: Academia Nacional de Bellas Artes in Guatemala New York, 1930; at the Mexican Writers Club and San Francisco; and the 1940 International Surrealist US, such as at Harvard and Berkeley Art Museums, Arts in Santa Fe.
While successfully working as an artist, Mérida was peoples from 1932 to 1934, and he taught drawing
While Carlos Mérida’s earliest works were figural, painting, graphic works, murals, stage design, and of European modernism with ancient Mayan and
Spanish and Maya-Quiche heritage. From a young age, Mérida was interested in art and that caused partial deafness, he refocused his attentions solely on art. After completing Guatemala City trade schools: the Instituto de Artes y Oficios and the Instituto de Ciencias y rich cultural life of artists and intellectuals in Guatemala, while he established himself as an was based in Paris and travelled throughout Europe. There he was exposed to the European Amedeo Modigliani, Pablo Picasso, and Piet Mondrian, as well as other Latin American such as Diego Rivera, Jorge Enciso, Angel Zarrage, and Dr. Atl. In Paris, Mérida studied Van Dongen and exhibited at the Salon Indépendant and the Giroux Gallery.
experiences in Europe altered the artist’s perceptions of his native country, particularly the to incorporate into his work, notably in his use of barkwood paper and geometric at the Rosenthal Building in Guatemala City in 1915, a show that ushered in the modern participated in Muralism led by Diego Rivera and Rufino Tamayo. In 1920, Mérida had his inaugural Artes, and that same year, he exhibited in the United States for the first time at the early 1920s period and through the artist’s career, Mérida exhibited in more than 50 group including: Independent Artists Exhibition, New York,1922; solo shows in 1926 at the and the Valentin Dudesing Gallery in New York; with Rufino Tamayo at the Art Center, Posada Gallery, Mexico City, 1931; the Stendhal Gallery, Los Angeles; East West Gallery, Surrealist Exhibition, Mexico City. His work was also included in institutional shows throughout the Museums, the Art Institute of Chicago, the Dallas Museum of Fine Arts, and the Museum of Fine was also an educator. He was the director of a school in Mexico City dedicated to Indigenous drawing at North Texas State Teachers College from 1941 to 1943.
figural, the bulk of his career focused on non-figurative, geometric abstract composition in and tapestry. Mérida’s work is celebrated today for the unique visual fusion of elements and Mexican cultural imagery.
Carlos Mérida (1891-1984, Guatemalan)
Abstract figure, 1972
Gouache on handmade paper
Signed and dated in pencil lower right: Carlos Merida / 1972
Sheet: 12” H x 8.25” W
$3,000-5,000
78
Carlos Mérida (1891-1984, Guatemalan)
“La Endecha,” 1978
Screenprint in colors on paper
Presumably from the edition of 100
Signed in pencil in the lower margin, at right: Carlos Merida
Image: 25” H x 21” W; Sheet: 31” H x 25.75” W
$1,000-1,500
79
Carlos Mérida (1891-1984, Guatemalan)
“Boceto,” 1973
Pencil and colored pencil on tissue-thin paper
Signed in pencil lower left: Carlos Merida, titled and dated on a gallery label affixed to the frame’s backing board
Sheet: 17.375” H x 12.625” W
$2,000-3,000
Provenance: Galeria “Merkup” A.C., De Artistas Plasticos Mexicanos
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Carlos Mérida (1891-1984, Guatemalan)
“El Abuelo Ixmucane,” 1966
Screenprint in colors on lightweight cardstock
Edition: 48/50
Signed and numbered in pencil in the lower margin: Carlos Merida
Image: 19” H x 14.375” W; Sheet: 20.75” H x 16.125” W
$1,000-1,500
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Carlos Mérida (1891-1984, Guatemalan)
Untitled from the “Cielos Luminicos” portfolio, 1941
Screenprint in colors on wove paper
Edition: 78/100
Signed and numbered in pencil in the lower margin, directly below the image: Carlos Merida; with the printed signature and date in the image lower right: 1941; Taller de Ediciones Multiarte, prntr. Image: 15” H x 11.75” W; Sheet: 30” H x 22” W
$700-900
82
Guillermo Meza Álvarez (1917-1997, Mexican)
“Estudio Alejandra (Study of Alejandra),” 1962
Colored pencil on paper
Signed and with the artist’s device, titled, and dated, all lower right: Guillermo Meza A. / 1962
Image: 31.5” H x 18.5” W; Sight: 35.5” H x 25.5” W
$800-1,200
Provenance:
Collection of Mr. and Mrs. Henry M. Rubin
Sold: Clars Auctions, Oakland, CA, May 31, 2015, Lot 6357
Sold: Clars Auctions, Oakland, CA, Fine Art and Antiques, September 19, 2015, Lot 4734
Private Collection, San Diego, CA, acquired from the above
Exhibited: Mexico City, Mexico, Salón de la Plástica Mexicana, circa 1960’s
Notes:
This lot is accompanied by a sales invoice dated September 21, 2015 from the auction mentioned above.
Patricio Robles Gil
(b. 1955, Mexican)
“San Cristo Bal De Las Casas Chiapas,” 1984
Mixed media on wove paper
Signed, titled, and dated along the lower edge: Patricio RG 84
Image/Sheet: 19.75” H x 27.75” W
$200-400
84
Arnulfo Mendoza (1954-2014, Mexican)
Untitled, 1978
Gouache and mixed media on paper
Signed and dated lower right: Arnulfo M. 78. Image/Sheet: 13” H x 10” W
$500-700
Mauricio Bueno (1939-2023, Ecuadorian)
Quito, Ecuador-born important Contemporary artist, with science and technology and visually explored
Bueno studied architecture at Colombia’s National designer. This work led to a four-year fellowship at he collaborated with Horacio Caminos and worked Foundation and the National Endowment for the
Bueno returned to Colombia and was a professor permanently back to Ecuador to work first as a professor Plastic Arts, where he taught for more than three decades. Quito where he was a professor of Architecture. After Quito studio.
In the present work, “Signos Orientales,” Bueno presents Eastern character forms. The unexpected choice of the artist’s international viewpoint and experiences artist’s earlier hard-edged imagery created on shaped interest in environmental considerations.
artist, architect, graphic designer and educator, Mauricio Bueno’s body of work merged art explored ideas about environment, space, time, light, transparency, mirror/reflection and form.
National University between 1947 and 1960, and following his studies, worked as a graphic at Massachusetts Institute of Technology’s Faculty of Architecture’s Masters program, where worked under Gyorgy Kepes. Bueno received additional fellowships from the Graham Arts. of architecture at the Universidad de Los Andes in Bogotá. In 1977, Bueno moved professor in the Faculty of Architecture at the Central University, and then at the Faculty of decades. Around 2007 and until 2014, Bueno moved to Universidad San Francisco de After leaving the teaching profession, Bueno became a full-time artist, working out of his
presents an organic, yet abstracted, composition painted in natural hues and featuring of Asian references in the imagery, rather than, perhaps, local indigenous design, speaks to experiences abroad. While the style and composition of the present work are a departure from the shaped forms, it continues the Bueno’s architecturally based vision of form in space and his
85
Mauricio Bueno (1939-2023, Ecuadorian)
“Signos Orientales,” 1985
Oil on unprimed canvas
Initialed and dated in the lower right corner: M.B. / 85, titled by the artist 47.25” H x 47.25” W
$2,000-4,000
Provenance: Private collection, New Mexico, acquired directly from the artist, circa 1985
Kazuo Wakabayashi (b. 1931, Brazilian/Japanese)
Untitled abstract
Mixed media and oil on canvas
Signed lower center: Wakabayashi 45” H x 29” W
$1,000-2,000
A Guatemalan pottery urn
Early 20th century; Totonicapan, Guatemala
Possibly sacramental, the footed vessel with opposed sculptural lug handle surmounted by pinecone finials, the front of the body featuring two eagle figures in relief
19” H x 14.5” W x 11” D
$200-400
88
Eugenia Everett (1908-2004)
Bull
Ceramic
Unmarked, attributed to embossed labels later applied to underside
7.375” H x 13.5” W x 7.5” D
$300-500
Three Guatemalan pottery vessels
Early 20th century; Totonicapan, Guatemala
Possibly sacramental, each footed vessel with opposed sculptural lug handle surmounted by pinecone finials, the front of each body featuring variations of floral medallions in relief 3 pieces
Tallest: 8.25” H x 6.375” W x 3.875” D; Shortest: 8” H x 5.25” W x 4.25” D
$100-200
90
A Chancay-style wood mask
19th century or earlier; Central America
The wood figure set in an enameled metal stand
Mask: 14.5” H x 5.5” W x 2.375” D; Stand: 13.125” H x 5” W x 5” D
$400-600
Provenance: Thomas Murray Arts, Mill Valley, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above in the 1990s
Notes:
This lot is accompanied by a transparency of the item and written description.
91
Two Panamanian Kuna carved balsa wood figures
Early 20th century
Comprising two aniline dyed wood figures
2 pieces
Taller: 15” H x 3” W x 2.75” D; Shorter: 13.75” H x 3.625” W x 3.75” D
$200-400
Provenance:
Sold: Hindman Auctioneers, Chicago, IL, “Roadside Attractions: The Susann Craig Collection,” March 9, 2023, Lot 156
Private Collection, acquired from the above
92
A Pre-Columbian carved stone mask
Formative Period (500BCE-650CE) or later; Catamarca, Argentina
With metal accession label, possibly from the Museo de la Plata in Argentina: [logo] / MPA / 8 / 206
Likely Condorhuasi-Alamito, the partial funerary mask with perforation to each side, set on an acrylic stand
Mask: 8.375” H x 5.5” W x 2.5” D; Stand: 7.25” H x 7.5” W x 4.25” D
$600-800
93
A Guatemalan carved wood Xin mask 20th century; Sololá, Guatemala
Used in the Patzcar dance, a ritual combining lessons concerning the moral codes of courtship and a satirical take on Spanish colonialism
7.25” H x 5.75” W x 3.875” D
$100-200
94
A Pre-Columbian Chancay chuchimilco figural urn 14th Century; Peru
The polychrome ceramic effigy vessel depicting a seated figure with elaborate headdress and incised and slip-painted accents 18.25” H x 10.25” Dia. approximately
$500-700
95
A Pre-Columbian Chancay chuchimilco pottery figure 14th Century; Peru
The terracotta ceramic figure of a moon goddess, with black and white painted accents, banded motifs to face, and incised facial features 24” H x 12.25” W x 5.25” D
$400-600
96
A Pre-Columbian Chorrera pottery effigy vessel 600-400 BCE; Ecuador
The globular ceramic vessel with central whistling spout and mounted zoomorphic figure with incised facial details 6.375” H x 6.875” Dia.
$300-500
97
Gullú (20th Century)
“Desnudo,” 1974
Acrylic and ink on board
Signed, dated, and indistinctly inscribed at lower right: Gullú 74 [indistinct]; titled from a sales invoice
39.5” H x 28” W
$400-600
Provenance:
Galería Uno, Puerto Vallarta, Mexico
Notes:
This lot is accompanied by a sales invoice dated November 12, 1994, from the gallery mentioned above.
98
José Manuel Fors
(b. 1956, Cuban)
“Main Course,” 2000
Etching in colors on paper
Edition: 16/75
Signed and numbered in the lower plate corners: Fors
Plate: 35.5” H x 27” W; Sight: 44.25” H x 34.75” W
$300-500
99
Luis Granda (b. 1941, Spanish)
Two musicians, 1979
Lithograph in colors on paper
Edition: 18/50
Signed, dated, and numbered in pencil in the lower margin: Luis Granda ‘79 Image: 22” H x 15” W; Sight: 23.5” H x 16” W
$300-500
Provenance:
Iturralde Gallery, Los Angeles, CA
Notes:
This lot is accompanied by a sales invoice date November 23, 1991, from the gallery mentioned above.
100
Aceves
(1931-2019, Mexican) Man walking, 1984 Oil on canvas
Signed and dated lower right: G. Navarro / 84
36” H x 24” W
$800-1,200
Gilberto
Navarro
101
Gilberto Aceves Navarro (1931-2019, Mexican)
Cityscape with faces, 1984
Oil on canvas
Signed and dated lower right: G. Navarro / 84 24” H x 36” W
$800-1,200
102
Fernando Garrido
(b. 1955, Mexican)
Seated figure with an open box, 1976 Oil on canvasboard
Signed and dated lower right: F Garrido 76 12” H x 8” W
$700-900
Carlos Estévez
(b. 1969, Cuban)
“Migraciones Pasionales,” 2008
Oil and mixed media on canvas
Signed, dated, and inscribed lower left: Carlos Estevez / 2008 / “Miami”
66” H x 48” W
$6,000-9,000
Carlos Estévez (b. 1969, Cuban)
“El Rostro del Cielo,” 2016
Glazed ceramic
Signed, dated, titled, and inscribed verso:
Carlos Estévez / Charlotte NC
1.125” H x 11.75” Dia.
$300-500
105
Guillermo Meza Álvarez (1917-1997, Mexican) “Camino al Pueblo” Gouache on board
Signed and dated lower right: G. meza. a / Nov. 1947
Signed and dated lower right: D.H. Xochitiotzin / 1952; signed and dated again, titled, and inscribed “Matachines / Puebla, PUE,” all verso 31.75” H x 23.75” W
$2,000-3,000
107
Felipe Orlando (1911-2001, Cuban)
“Figura en Rojo,” circa 1975
Acrylic on paper
Signed and with the artist’s device lower right: Orlando; titled and dated by repute Image: 18.75” H x 13.375” W; Sight: 20.75” H x 15.25” W
$800-1,200
Provenance: Stern Fine Art, Huntington Beach, CA
108
Jorge Ochoa
(b. 1950, Mexican)
“Vendedora en Rojo,” 1998
Acrylic on linen
Signed and dated upper left: J. Ochoa 98; signed and dated again, and titled verso
30” H x 24” W
$400-600
109
Jorge Ochoa
(b. 1950, Mexican)
“La Espera,” 1996
Acrylic on linen
Signed and dated near the lower edge, right of center: J. Ochoa / 96; signed and dated again, and titled, all verso
30” H x 40” W
$700-900
Provenance:
B. Lewin Gallery, Palm Springs, CA
Collection of the Palm Springs Desert Museum, Palm Springs, CA, gifted from the above
110
Frank Romero (b.1941)
“The Closing of Whittier Boulevard,” 1990
Screenprint in colors on paper
Aside from the edition of 99
Signed and inscribed in white chalk in the lower left corner of the image: Lucas/FERomero; Modern Multiples
Richard Duardo, prntr., and with their blindstamp in the lower right corner of the image
33.75” H x 55” W
$1,000-1,500
Angel “Andy” Rivero
(b.
1965, Cuban)
Angel “Andy” Eusebio Rivero Sierra is a contemporary Institute of Industrial Design of Havana, Cuba, abstract expressionism. Sierra is a founder of member of the Experimental Workshop of Engraving (UNEAC). His oil paintings, acrylic paintings, and public exhibitions in Cuba, the United States, Mexico, Colombia, Puerto Rico, Panamá and
Sierra
contemporary Cuban painter and graphic designer. Graduating in 1987 from the Cuba, Sierra has emerged as an important representative of the current Cuban of the prestigious Cuban artistic association “Hermanos Saíz.” He’s also a Engraving of Havana and the Cuban National Union of Artists and Writers paintings, and prints have been successfully exhibited in numerous private collections States, Spain, Switzerland, Finland, Poland, Russia, Japan, Argentina, Brazil, and Perú.
111
Angel “Andy” Rivero Sierra
(b. 1965, Cuban)
“Cristo Cubana / Cuban Christ,” 2008
Digital photograph in colors on paper Appears unsigned Sight: 19.5” H x 23.5” W
$500-700
Provenance:
Sold: Long Beach Museum of Art, Long Beach, “Contemporary Latin American Art Auction,” 2008, Lot 93
Private Collection, Los Angeles, CA, acquired from the above
Notes:
This lot is sold together with a copy of the lot tag from the auction mentioned above.
112
Vicente Martín (1911-1998, Uruguayan)
Tonal abstract, 1973
Acrylic on canvas
Signed and dated verso: Martín / 73
23.75” H x 23.75” W
$300-500
113
Oscar Garcia Reino (1910-1993, Uruguayan) “Claraboyas” Oil on canvas
Signed upper right: Garcia Reino; titled by repute 35” H x 51” W
$1,000-1,500
114
Sergio Bustamante
(b. 1949, Mexican)
Fish boy
Patinated bronze on painted wood plinth
Signed in the casting: Sergio Bustamante
Bronze: 29” H x 21.5” W x 26.5” D; Plinth: 29.25” H x 21.5” W x 24.5” D
$1,000-1,500
115
Sergio Bustamante
(b. 1949, Mexican)
“Small table with Face,” 1996
Patinated cast bronze with glass top on painted wood plinth
Egg: 9.5” H x 7” Dia.; Plinth: 34.5” H x 18.5” W x 14” D
$500-700
117
Noe Quezada (b. 20th century)
A Mata Ortiz polychrome pottery jar, late 20th/early 21st century; Chihuahua, Mexico
Incised signature to underside: Noe Quezada
The three-color jar with black and red geometric motifs to body on a white slip, featuring three applied bear heads with incised details
13.5” H x 12.5” Dia.
$400-600
118
Mario Rangel Sanchez
(b. 1938, Mexican)
Composition with figure and animal, 1965
Acrylic on linen laid to Masonite
Signed and dated lower right: Mario Rangel S. 65
12” H x 8” W
$500-700
Provenance:
Sold: Stephenson’s Auction, Southampton, PA, Antiques and Decorative Arts, January 2, 2014, Lot 586
Private Collection, San Diego, CA
119
Mario Rangel Sanchez (b. 1938, Mexican)
Surrealist landscape in red tones, 1967
Acrylic on linen laid to Masonite
Signed and dated lower right: Mario Rangel S. 67; indistinctly inscribed in pencil on the linen overlap, verso 11.625” H x 17.75” W
$500-700
Provenance:
Sold: Quinn’s Auction Galleries, Falls Church, VA, October 12, 2015, Lot 302
Private Collection, San Diego, CA, acquired from the above
Notes:
This lot is accompanied by a copy of a sales invoice from the auction mentioned above.
Babak Emanuel (b. 1966)
In response to Don Quixote’s delusional perspective, by surrounding lines.
Babak Emanuel has always believed that art moves visually immediate and rationally inexplicable.
In response to the conceptual demands of today’s morphologies that emotionally have defined the purpose
Babak begins his work with “concrete visions” and through recondite and mysterious pathways. He works cohesive expression. Emanuel makes forms for form’s to a standard. He aims for them to be seen for their
Babak also wants the viewer to take these strands and experiences. Just as the artist’s own aesthetic and cultural narratives. Yet through all of this, Emanuel
Fascinated by the interplay of accidents and reason, entropy stands face to face with coherent arrangements
Emanuel is deeply engaged with techniques and making, painting, sculpture and digital technology
perspective, this piece is a depiction of his state of mind in two dimensional spaces, inhibited
moves beyond the narrow confines of language and explores indescribable dimensions that are today’s art, Emanuel has, while cognizant of art history, remained faithful to those visions and purpose and limitations of “Being” for him as an artist.
and yet does not work with an end in sight. The emotional language of his vision guides him works on several paintings at once and allows for multiple impulses to synchronize in a form’s sake and chooses not to have his works understood or to be scrutinized by adherence their own power, awaken senses, and envision new vistas.
and create their own personal narratives. Art is often interwoven with the viewer’s desires preferences are determined by their feelings formed in the crucible of social, historical Emanuel is guided by the unconscious forces that often lie beyond reasoning.
reason, Babak Emanuel’s art pits rules and order against chaos and the unexpected. Always, arrangements and their confrontations, though tragic, are meaningful.
media. They are vehicles of his emotional yearnings and explorations. Photography, printtechnology all facilitate his desires and the quest for meaning and the purpose of “Being.”
120
Babak Emanuel (b. 1966)
“Esto no es un molino de viento (This is Not a Windmill),” 2023
Ink, paraffin, graphite, and collage on canvas
Signed, titled in English, and dated, all verso: Babak Emanuel / This is Not a Windmill / 2023; titled in Spanish, recto
74.5” H x 62” W
$3,000-5,000
121
Babak Emanuel (b.1966)
“Corporeal I: The Dance “ Ink, paraffin, oil, graphite, and collage on canvas
Signed, titled, and inscribed, all verso: Babak Emanuel / Corporeal I / The Dance / #EMACOR4260I
60.5” H x 42” W
$2,000-3,000
122
Babak Emanuel (b. 1966)
“Corporeal II: The Dance II” Ink, paraffin, oil, graphite, and collage on canvas
Signed, titled, and inscribed, all verso: Babak Emanuel / Corporeal II / The Dance / #EMACOR4260II
60.25” H x 42” W
$2,000-3,000
123
Gino Hollander (1924-2015)
Abstract bull, 1969 Oil on canvas
Signed and dated lower right: 5-69 Gino Hollander
32.75” H x 65” W
$600-800
Provenance: The Hollander Gallery, New York, NY
Notes:
This lot is accompanied by a copy of a sales invoice dated October 23, 1969, from the gallery mentioned above.
124
Gino Hollander (1924-2015)
Three ships, 1969
Acrylic on canvas
Signed and dated lower right: 10-69 Gino Hollander
30” H x 40” W
$400-600
Provenance: The Hollander Gallery, New York, NY
Notes:
This lot is accompanied by a copy of a sales invoice dated October 23, 1969, and other documentation materials from the gallery mentioned above.
Enrique Galdos Rivas (b. 1933, Peruvian)
Enrique Galdos Rivas, born in 1933 in Lima, captivating paintings that intricately weave Rivas was surrounded by the vibrant colors, which would influence his artistic vision upon graduating with honors, Rivas’s renown in work in Brazil in 1961 and Argentina in 1967. numerous Biennials, from Sao Paulo to Paris.
One of the defining characteristics of Galdos symbolism with Modernist artistic techniques. modern society, his paintings often feature Rivas’ use of wild and vivid colors earned as a progenitor of the genre of painting known through Modern or Abstract Expressionist
“A long time ago I painted the huacos of Little by little I was losing the figure, the shape Comercio, May 20, 2023)
Galdos Rivas has gained recognition both contributions to the art world. His awards of Peru and the Diploma of Recognition granted the Sao Paulo Biennial, Brazil in 1965, and His works have been featured in numerous
Lima, Peru, is a prominent Peruvian artist celebrated for his vivid and weave together elements of Peruvian culture, history, and mythology. Galdos colors, rich textures, and diverse traditions of his homeland from a young age, upon graduating from the National Academy of Fine Arts in 1959. After South America grew exponentially, receiving scholarships to travel and 1967. By the end of the first decade of his career, Rivas had exhibited at Paris.
Galdos Rivas’s art is his unique ability to blend traditional Peruvian motifs and techniques. Drawing inspiration from indigenous cultures, colonial history, and feature a striking juxtaposition of ancient iconography with abstraction. Galdos him the nickname “The Magician of Color.” Galdos Rivas has been noted known as “Ancestralism,” where cultural iconographies are processed Expressionist sensibilities. In explaining his artistic process, Galdos Rivas says:
the Nazca culture. First, I made them as they are, then I abstracted them. shape of the huaco, until there was no trace of it, only the color.” (El
both domestically and internationally for his exceptional talent and include the Meritorious Personality of Culture from the Ministry of Culture granted by the Congress of the Republic of Peru, an Honorable Mention at and the V Prize II at the Cordova Biennial in Argentina in 1964, among others. numerous exhibitions, galleries, and museums worldwide.
Signed and dated lower right: Galdos Rivas / 63; signed and dated again, titled, and inscribed “Lima - Peru,” all verso
34.5” H x 48” W
$1,500-2,000
Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982
126
Felipe Orlando (1911-2001, Cuban)
Untitled
Acrylic on wove paper, watermark GVA-RRO
Signed in ink in the image lower right: Orlando. F
Image: 18.75” H x 13.5” W; Sheet: 25.625” H x 20.625” W
$600-800
127
Ricardo Anguía
(b. 1951, Mexican)
“El Señor Tranvía,” 1982
Lithograph in colors on paper
Signed, dated, and numbered diagonally in pencil near the lower left corner: Anguía
Image/Sheet: 20.75” H x 26.25” W
$200-300
Provenance:
Masters of Latin America, Los Angeles, CA
Notes:
This lot is accompanied by a sales invoice dated July 6, 2001, from the gallery mentioned above.
Victor Huerta Batista (b. 1972, Cuban)
Acrylic on canvas
Signed and dated lower right: V. Huerta / 06
27.5” H x 39” W
$400-600
Crocodile, 2006
129
Signed and dated lower right: V. Huerta / 7-06
23.5” H x 33.5” W
$400-600
Victor Huerta Batista
(b. 1972, Cuban)
Tortoise, 2006
Acrylic on canvas
Victor Huerta Batista
(b. 1972, Cuban)
Surrealist seascape, 2007
Acrylic on canvas
Signed and dated lower right: V. Huerta / 07
13.25” H x 17.25” W
$300-500
Victor
Huerta
Batista (b. 1972, Cuban)
Untitled, 2002
Oil on canvas
Signed and dated at the lower left: V H Batista / 02
37” H x 38” W
$400-600
Fernando Olivera (b. 1962, Mexican)
“Mensajes del Alma,” 2005 Woodcut on wove paper Edition: 29/30
Signed, titled, and numbered in pencil in the lower margin: F. Olivera Image: 9.625” H x 11.75” W; Sight: 11.75” H x 13.75” W
$250-350
133
Lydia Quezada Celado (b. 20th century)
Two Mata Ortiz blackware pottery jars, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Lydia Quezada
Each with stylized rim, with black geometric motifs on a black buff ground
2 pieces
Larger: 16.5” H x 11” Dia.; Smaller: 15.5” H x 10.75” Dia.
$800-1,200
Lydia Quezada Celado (b. 20th century)
A Mata Ortiz blackware pottery jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Lydia Quezada With a stylized kiva step-form rim, featuring black stepped and geometric motifs on a black buff ground 14.5” H x 9.5” Dia.
$600-900
Lydia Quezada Celado (b. 20th century)
A Mata Ortiz blackware pottery jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Lydia Quezada; sticker applied to rim interior: Casas Grandes
Pottery / MX / Mata Ortiz, Chihuahua
With a stylized rim, featuring matte black swirling banded geometric motifs a black buff ground
14.5” H x 10” Dia.
$400-600
Imelda Quezada (b. 20th century)
Two Mata Ortiz blackware pottery jars, early 21st century; Chihuahua, Mexico
Each incised to underside: Imelda Quezada
The black on black jars. each with quadrillos pattern and geoetric motifs throughout, below a stylized rim 2 pieces
Taller: 7.625” H x 7.375” Dia.; Shorter: 6.375” H x 7.875” Dia.
$200-300
A Matl sterling silver and gem-set dove and basket necklace
Matilde Poulat (c. 1900-d. 1960)
Circa 1950-1960; Mexico City, Mexico
Etched in script verso: Matl / Mexico / 925 / Patente / 10466; further marked: [Eagle 129]
Designed by Matilde Poulat, an articulated sterling silver collar necklace with elaborate central plaque featuring doves and rose motifs with set turquoise and greenstone, suspended from multiple openwork scrolled links with pyramidal-cut set amethysts
19” L x 4.25” H
168.2 grams gross
$4,000-6,000
Notes:
This lot accompanied by a note card indicating the necklace as part of The Gloria Vanderbilt Private Collection, signed by Gloria Vanderbilt.
A Bernice Goodspeed Mexican silver and stone inlay pendant/brooch
Bernice I. Goodspeed (d. 1971)
Mid-20th century, Taxco, Mexico
Stamped: B / Sterling / Taxco / Eagle 23
A sterling silver Monte Albán -style brooch with multistone-inlay and dangles
2.25” H x 2.75” W
35.7 grams gross
$200-300
A William Spratling Mexican silver butterfly brooch
William Spratling (1900-1967)
Circa 1940-1946, First Design Period; Taxco, Mexico
Stamped to pin mount for William Spratling and for sterling
A sterling silver figural insect pin with incised details and silver wire overlay accents
2” H x 2.75” W 33.5 grams
$200-400
Literature:
This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern HandWrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007) 41, fig. III-22.
A Hubert Harmon mixed metal box & buttons
Hubert Harmon (1913-2004)
Mid/late 20th century, Mexico City, Mexico
Each stamped: Mexico; box further stamped: Hubert Harmon
Two works comprising a hinged box with brass lid and copper triangle accents, and a copper base, as well as two brass Hubert Harmon-style “barefoot” buttons, 3 pieces
Box: 1.25” H x 5.125” W x 4.125” D ; buttons: 1.375” H
420.4 grams gross
$300-500
A group of mixed metal jewelry
Mid-20th century
Variously marked for maker and for Mexico
Four works comprising a brass Hubert Harmon-style Maya two-piece snake head buckle with fish dangles and set amethyst accents, attached to a beige suede belt strap, together with a brass Hubert Harmonstyle Maya cuff with intertwined fish with amethyst eyes, as well as a single snake-head belt buckle with green stone accents, and a brass and set-stone fish motif single buckle, 4 pieces
Cuff: 6.25 inner C x 2.75” H; 2-piece buckle: 4” H x 5.5” W (closed); fish: 2.5” H x 4” W; snake head: 1” H x 2.5” W
228.1 grams gross
$300-500
142
Jorge Noceda Sanchez (1931-1987, Dominican)
Surrealist landscape, 1964
Oil on canvas
Signed, dated, and with the artist’s device lower right: Jorge N. Sanchez / 64-7-28; signed, dated, and with the artist’s device again, and inscribed “4964 / New York / No. 17,” all in red ink, verso 14” H x 24” W
$5,000-7,000
Provenance:
Sold: C&C Clarke Auction Gallery, New York, NY, n.d., Lot 253
Sold: Hutter Auctions, New York, NY, “Eclectic Fine & Decorative Art Estate Auction,” January 21, 2012, Lot 63
Private Collection, San Diego, CA
143
Sofia Bassi (1913-1997, Mexican)
“Desolation,” 1968
Oil on Masonite
Signed, inscribed, and dated lower right: ELC [En la cárcel] Bassi 1968; titled by repute; alternatively titled “Ruined Landscape”
7.75” H x 13” W
$1,500-2,500
Provenance:
Sold: Morton Subastas, Mexico City, Mexico, May 22, 2011, Lot 0035
Sold: Neal Auction Company, “Summer Estates Auction,” as property from the collection of a Texas gentleman, June 30, 2012, Lot 354
Private Collection, San Diego, CA, acquired from the above
Notes:
“En la c·rcel” translates to “in jail” or “in prison.” Bassi was a Mexican socialite who created headlines when she shot and killed her son-in-law, the Italian Count Cesare D’Acquarone, in 1968. A documentary of the artist and trial was made in 2011 called “Acapulco 68.” This lot is accompanied by a copy of an invoice dated June 30, 2012 from Neal Auction Company, and other documentation materials related to the artwork and the artist.
L.A. Impression Fine Art Galleries, West Hollywood, CA
Notes:
This lot is accompanied by a sales invoice from the gallery mentioned above.
146
Luis Alberto Solari (1918-1993, Uruguayan)
Zoomorphic form with a standing bouquet, 1963
Collage and mixed media on board
Signed and dated: Luis a. Solari / 63
9.5” H x 7” W
$300-500
Provenance: Cardal Centro de Arte, Montevideo, Uruguay
147
A Pre-Columbian Capulí pottery coquero figure Circa 900 CE; Narino-Carchi, Colombia/Ecuador
The ceramic figure of a male dignitary chewing coca-leaf, depicted seated on a stool and adorned with face paint and a diagonal sash with geometric motifs
7” H x 4.125” W x 4.375” D
$300-500
148
A Pre-Columbian Capulí pottery effigy urn
Circa 900 CE or 1200-1400 CE; Narino-Carchi, Colombia/Ecuador
The ceramic bullet-form urn with flared rim, incised bust in relief to one side, and polychrome geometric motifs to body, set in a metal stand
Urn: 21.5” H x 8” Dia. approximately; Stand: 6.5” H x 7.375” Dia.
$300-500
149
A Pre-Columbian pottery masked figure
600-800 CE; Guatemala/Venezuela
Possibly Veracruz or Mayan, the Mesoamerican ceramic warrior figure with separate zoomorphic mask with incised features, set on a custom enameled metal stand 3 pieces
Figure: 5.875” H x 4.625” W x 3.625” D; Mask: 3.5” H x 2” W x 2.375” D
$500-700
150
Three pottery effigy items 20th century
The terra cotta items, comprising another Mojave handled jar with 3 pieces
Larger vessel: 7.375” H x 6.75”
$200-400
comprising a Mojave effigy jar with four spouts below a mask with handle, with four spouts, and a possibly Nayarit figural funerary scene
6.75” W x 6.875” D; Funerary scene: 3.125” H x 4.5” W x 4.625” D
151
A Pre-Columbian Quimbaya pottery slab figure
Circa 800 CE; Colombia
The ceramic figure with perforated and incised accents, featuring a hand-wrought gold alloy nose piece with repoussé dotted border 11.875” H x 7” W x 4.25” D
$500-700
A Pre-Columbian Tumaco-La Tolita figural pottery fragment Circa 200 BCE-200 CE; Ecuador
The ceramic fragment of a larger figure, possibly depicted hoisting an object on its head, with incised facial features
8.25” H x 9.25” W x 5” D
$200-300
153
A Guatemalan rustic wood cabinet
Late 19th century
The painted wood floor-standing cabinet with architectural base and frame-ornamented paneling, featuring a locking cabinet door revealing a single shelf 29” H x 20.5” W x 15.5” D
$500-700
154
A Guatemalan rustic wood work table
Late 19th century
The table of mortise and tenon construction with two drawers
28.75” H x 41” W x 28.75” D
$200-400
155
A Nahaula carved wood chest 19th century; Guatemala
The rustic lidded blanket box chest featuring two incised double-headed eagle figures to front panel 15.75” H x 31.25” W x 15.5” D
$800-1,200
Two Guatemalan polychrome figures of Maximón
Early 20th century
The painted carved woof folklore figures, each with articulated limbs and dressed with later fabric clothing, depicted seated in a wood chair, one with a cigarette butt and the other with a later woven hat
2 pieces
Larger with chair: 19” H x 12.75” W x 14” D; Smaller: 14” H x 7.5” W x 10” D, dimensions variable
$600-800
157
A Casas Grandes polychrome pictorial pottery bowl
Pre-historic
The four-color bowl featuring an interior with black alternating stepped and figurative registers on a white slip and an exterior with red and black geometric motifs 4.5” H x 10” Dia.
$700-900
158
A Casas Grandes pottery bowl
Pre-historic
The bowl with black swirling, kiva step, and geometric motifs to interior and banded step motifs to exterior
4.625” H x 10.375” Dia.
$200-300
159
Felipe Jesus Consalvos (1891-1960, Cuban-American) “Ladies Room Talk”
Collage and mixed media on paper
Unsigned; titled from a gallery label affixed to the frame’s backing paper Sight: 15.75” H x 12” W
$2,000-3,000
Provenance: Fleisher Ollman Gallery, Philadelphia, PA
160
Felipe Jesus Consalvos (1891-1960, Cuban-American)
“Astronomical Calculations”
Collage and mixed media on paper
Unsigned; titled on a gallery label affixed to the frame’s backing paper Sheet: 15.75” H x 12” W
$2,000-3,000
Provenance: Fleisher Ollman Gallery, Philadelphia, PA
161
Christophe Miralles
(b. 1970, Franco-Spanish)
“Les extremes se touchent” Oil on canvas
Signed along the lower portion of the right edge: Miralles; signed again and titled verso; titled again on two artist labels affixed verso
57.5” H x 45” W
$300-500
162
Christophe Miralles
(b. 1970, Franco-Spanish)
“Ses reins brûlent comme le phosphore”
Oil on canvas
Signed along the lower portion of the right edge: Miralles; signed again and titled verso; titled again on two artist labels affixed verso 51” H x 38.25” W
$300-500
163
Leonor Fini (1907-1996, Argentine-Italian) “Fillette et Deux Femmes”
Offset lithograph in colors on paper Edition: 3/275
Signed and numbered in pencil in the lower corners of the image: Leonor Fini; titled by repute; with an unidentified blindstamp of a cat’s face in the lower left corner of the image Sight: 27” H x 27” W
$300-500
Roberto Matta (1911-2002, Chilean)
“4AM,” from the “L’Arc, Obscure Des Heures” portfolio, 1975
Etching and aquatint in colors on paper Edition: 61/125 (there were also 33 hors commerce in Roman numerals)
Signed and numbered in pencil in the lower margin: Matta; Stamperia G. Visat, Paris, prntr.; Multiplicata S.A., Chiasso, pub. Plate: 19.375” H x 27” W; Sight: 20.25” H x 28.25” W
$700-900
Literature: Ferrari 105
165
Jesus Ortiz Tajonar (1919-1990, Mexican)
Untitled, abstract figures
Oil on compressed panel
Signed lower left: Tajonar
16.5” H x 30” W
$400-600
166
Joan Ponç (1927-1984, Spanish) “Amorfo,” 1973
Etching in colors on Guarro paper Edition: 14/75
Signed, dated, and numbered in the lower margin: Joan Ponç 73 Plate: 11.75” (Dia.); Sheet: 29.875” H x 22.25” W
$300-500
Provenance: Masters of Latin America, Los Angeles, CA
Notes:
This lot is accompanied by a copy of a sales invoice dated August 3, 2000, from the gallery mentioned above.
167
Lucía Maya
(b. 1953, Mexican)
“El Amor Vela,” 1991
Two-plate etching in colors with colored pencil enhancements on paper Edition: 4/40
Signed, titled, dated, and numbered in pencil in the lower margin: Lucía Maya 91
Sight: 31.25” H x 23.5” W
$500-700
Provenance: The artist
Jansen-Perez Inc., San Antonio, TX and Los Angeles, CA, acquired from the above
Notes:
This lot is accompanied by a sales invoice dated March 25, 1992, from the gallery mentioned above.
168
Julio Chico
(b. 1947, Mexican)
“Birth of the Eagle,” 1989 Oil on canvas
Signed and dated lower right: J. Chico / 89; titled from the sales invoice
23.5” H x 33.5” W
$2,000-3,000
Provenance:
Galería Atenea, San Miguel de Allende, Mexico
Private Collection, acquired from the above, May 25, 1991
Notes:
This lot is accompanied by a copy of a sales invoice dated May 25, 1991, from the gallery mentioned above.
169
Teódulo Rómulo
(b. 1943, Mexican)
“Astronauta con Pollo,” 1986
Mixografia in colors on thick handmade paper
Edition: 86/100 (there were also 10 artist’s proofs)
Signed in white crayon and numbered in pencil in the lower plate edge: Teódulo Rómulo; Mixografia Workshop, Los Angeles, CA, prntr.
Plate: 34” H x 27” W; Sheet: 38” H x 31” W
$400-600
Provenance:
Mixografia Gallery-Workshop, Los Angeles, CA
Notes:
This lot is accompanied by a sales invoice from the gallery mentioned above.
170
Unidentified 20th century, possibly Jose Alicea (b. 1928, Puerto Rican) “Tribulaciones,” 1996
Edition: 1/5
Etching and drypoint on wove paper
Signed, titled, dated, numbered, and inscribed “Para mi amigo Lázaro” in pencil in the lower margin: Alicea [?] 23” H x 17.25” W
$300-500
Hernando Gonzallo Villa (1881-1952)
Hernando Gonzallo Villa was an American in Los Angeles to Mexican parents, he studied education in Europe. He worked for the Santa “The Chief,” which became a well-known people, and cultures of the Southwest, helping
Beyond his commercial success, Villa was rich heritage of the West. His paintings often blending historical accuracy with a romanticized preserved the imagery of the Southwest, leaving
American artist known for his striking depictions of the American West. Born in 1881 studied at the Los Angeles School of Art and Design before furthering his Santa Fe Railroad for 40 years, creating iconic illustrations, most notably emblem of the company. His commercial art captured the landscapes, helping to define the visual identity of the region.
an accomplished fine artist, working in oils and watercolors to portray the often depicted vaqueros, Native Americans, and California’s missions, romanticized aesthetic. Through both his illustrations and paintings, Villa leaving a lasting impact on American Western art.
171
Hernando Gonzallo Villa (1881-1952)
“Feliz Año Nuevo” Oil on canvas
Signed lower left: Hernando [faintly] G. Villa; titled across the banner at the upper edge of the image
39.75” H x 30” W
$5,000-7,000
Olin Dows (1904-1981)
Born in Irvington-on-Hudson, New York, Olin University and the Art Students League of Edward C. Taylor, and C.K. Chatterton. A establishment of the Treasury Department’s the federal arts initiative.
Painted in 1932, Tortilla Makers captures one Latin women, rendered in warm, autumnal familial bonds, shared history, and the timeless
Later in his career, Dows would document Civilian Defense’s wartime artist project to World War II. He served with distinction, producing heart of Germany. His ability to humanize attuned to the lives and labors of others.
Olin Dows was a classically trained American artist who studied at Harvard of New York, where he was mentored by notable artists Eugene F. Savage, firm believer in the power of public art, Dows played a key role in the Department’s Art Program in 1933 and later authored a guidebook on mural design for
one of Dows’s enduring themes: the quiet dignity of communal labor. Two autumnal tones, sit together preparing tortillas—an intimate moment that hints at timeless ritual of conversation around the table.
document American life on a broader scale, from his leadership in the Office of to his appointment as a U.S. Army war artist in the European Theater during producing vivid, firsthand portrayals of military life from Normandy to the both homefront and battlefield scenes alike distinguishes him as deeply
172
Olin Dows (1904-1981)
“Tortilla Makers,” 1932
Oil on canvas
Signed and dated lower right: Olin Dows 1932; titled by repute
14.25” H x 20” W
$2,000-3,000
173
Barbara Beretich (1936-2018)
“Mayan Woman”
Patinated bronze Unmarked 9” H x 7” W x 10” D
$1,000-1,500
174
A Pre-Columbian Tairona pottery effigy vessel
Circa 900 AD; Colombia
The hollow-bodied ceramic mammalian figural vessel depicted bearing its teeth, with incised X-pattern details to body and central handle at top 9” H x 11.75” W x 7.5” D
$300-500
A Pre-Columbian Tairona pottery effigy vessel
Circa 900 CE; Colombia
The blackware ceramic basket-form vessel with large handle, featuring opposed mammalian protrusions with incised facial features
7.875” H x 8.625” W x 6.5” D
$300-500
177
A Pre-Columbian Jama-Coaque pottery effigy vessel
Circa 200 BCE; Ecuador
The sculptural ceramic vessel in the form of a mythic being, with elaborate facial adornments
6.875” H x 6.875” W x 6.5” D
$300-500
176
A Pre-Columbian Jama-Coaque pottery effigy vessel
Circa 200 BCE; Ecuador
The ceramic vessel depicting an animal-nosed large-headed dwarf figure donning a cuirass and headpiece, with incised facial features
9” H x 6.75” W x 6.5” D
$400-600
178
Two Mata Ortiz pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Damian E. Quezada (b. 20th century)
A polychrome olla jar
Incised to underside: Damian E. Quezada
The three-color jar with red and black swirling bands of geometric motifs and a checkered diamond pattern on a white slip ground 12.5” H x 11” Dia.
Noe Quezada (b. 20th century)
A blackware pottery jar
Incised to underside: Noe Quezada
The jar with stylized rim with incised ticking, featuring white swirling banded geometric motifs on a matte black slip ground 14” H x 9” Dia.
2 pieces
$800-1,200
179
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Mireya Quezada (b. 20th century)
Incised to underside: Mireya Quezada / 13-12-99
The three-color jar with red and black swirling bands of geometric motifs on a white slip ground 8” H x 7.25” Dia.
Jorge Quintana (b. 20th century)
Incised to underside: Jorge Quintana
The three-color jar with red and black swirling bands of geometric motifs on a white slip ground 11” H x 10” Dia.
2 pieces
$200-400
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Gerardo Tena (b. 1973)
Incised to underside: Gerardo Tena
The three-color jar with wide body and long neck, featuring red and black fine-line geometric and feather motifs on a terra cotta slip ground 10” H x 10.5” Dia.
Nicolas Quezada (b. 20th century)
Incised to underside: Nicolas Quezada
The three-color jar with red and black stepped and fine-line motifs on a terra cotta slip ground 12” H x 12.75” Dia.
2 pieces
$500-700
181
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Leonel Quezada (b. 20th century)
Incised to underside: Leonel Quezada
The three-color jar with red and black feather and geometric motifs on a white slip ground
8.625” H x 7.375” Dia.
Gerardo Cota Guillen (b. 20th century)
Incised to underside: Gerardo Cota G
The three-color jar with red and black fine-line and geometric motifs on a white slip ground
6.625” H x 8.625” Dia.
2 pieces
$400-600
182
Pedro Ramírez Vázquez (1919-2013, Mexican)
“El David”
Molded cobalt glass
With illegible etched signature and applied sticker: Pedro Ramirez Vazquez
9” H x 6.375” W x 5” D
$200-400
183
Ivan Rickenmann (b. 1965, Columbian)
“El Aspirador,” 1999
Acrylic on canvas
Signed and dated lower right: Ivan Rickenmann 99; signed and dated again, and titled, all verso 47” H x 39” W
$1,000-2,000
184
Ramon Prats (1928-2003, Spanish/American) Still life with vases, 1971 Oil on Masonite
Signed and dated lower right: Prats / -71 11.75” H x 36.375” W
$300-500
185
Ramon Prats (1928-2003, Spanish/American)
Figure wearing a hat and holding a flower, 1969 Oil on Masonite
Signed and dated lower right: Prats / -69
Sight: 15” H x 23” W
$300-500
186
Victor Manuel Cancino
(b. 1929, Mexican)
Crouched figure Oil on canvas
Signed lower right: Cancino
21.75” H x 18” W
$300-500
Notes: This lot is accompanied by a handwritten note with the artist’s name and Mexico City address, dated February 16,1969, documenting the sale of a painting.
187
José Maria de Servin (1917-1983, Mexican) Angels Oil on Masonite
Signed lower right: Jose Ma de Servin
28” H x 20.25” W
$600-800
188
Attributed to José Maria de Servin (1917-1983, Mexican)
Mexican children Oil on burlap laid to very thin paper
Unsigned
24.75” H x 38” W
$400-600
A Huichol yarn painting
Mid/late 20th century, Huichol people; Mexico
In polychrome yarn, depicting a spirit figure centering two birds and a tree on a blue ground
Sight: 24” H x 42” W
$400-600
Francisco Zúñiga (1912-1998, Mexican)
Artist Francisco Zúñiga received his first lessons Jose, Costa Rica. He became interested in Mexico City. There he studied during the prominent artists of Mexico’s rich artistic culture.
Celebrated for his explorations of primarily alabaster and bronze sculpture, oil and watercolor lithograph at age sixty and worked prolifically
During the course of his career, Zúñiga’s 35 awards. In 1992, his body of work earned found in museums world-wide.
lessons in sculpture in the workshop of his father, a religious sculptor in San in 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.
primarily the female form, Zúñiga worked in a variety of mediums including onyx, watercolor painting, drawing and lithography. Zúñiga created his first prolifically in the medium for the remainder of his life.
35 public sculptures, along with his other works, garnered international the Premio Nacional, Mexico’s highest cultural award and his work can be
190
Francisco Zúñiga (1912-1998, Mexican)
“Esperanza’s Nude,” 1966
Charcoal on cardstock
Signed and dated lower right: Zga / 1966 Sheet: 19.75” H x 25.75” W
$1,000-1,500
Provenance:
Galeria Tasende, Acapulco, Mexico
J.W. Pavin, Southern California, acquired from the above, January 19, 1967
Notes:
This work is listed as number 4198A (1966) 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 signed by the artist and a sales invoice from the gallery mentioned above. The work is titled “Maternal” on this document, which according to Mr. Ariel Zúñiga, is incorrect.
191
Francisco Zúñiga (1912-1998, Mexican)
“Mujer con Olla,” 1983
Lithograph in colors on BFK Rives paper Edition: 49/100 (there were also 10 artist’s proofs)
Signed, dated, and numbered in pencil near the lower edge: Zúñiga / 1983; Wolfensberger, Zurich, Switzerland, prntr.; Gallery Borjeson, Malmo, Sweden, pub. 22.5” H x 29.75” W
$600-800
Literature: Brewster 90; Zúñiga 322
192
Francisco Zúñiga (1912-1998, Mexican)
“La Señal,” 1982
Lithograph in colors on paper
Edition: 92/135 (there were also 15 artist’s proofs)
Signed, dated, and numbered in pencil lower left: Zga / 1982; Mourlot Atelier, Paris, prntr. and with their blindstamp lower left; Brewster Editions, New York, pub.
Sight: 21.5” H x 29.25” W
$500-700
Literature: Brewster 73; Zúñiga 305
193
Francisco Zúñiga (1912-1998, Mexican)
“El Niño y la Vela,” 1979/1980
Lithograph in colors on handmade Twin Rocker paper Edition: 27/125 (there were also 12 artist’s proofs)
Signed, dated, and numbered in pencil lower left: Zga 1979
Kryon, S.A., Mexico City, prntr., and with their blindstamp lower right; Brewster Editions, New York, pub.; with a pencil inscription and an ink stamp at the verso of the lower left sheet corner: RM 138X / FZ-159-125
Image/Sheet: 19.25” H x 23.375” W
$600-800
Literature: Brewster 50; Zúñiga 282
194
Francisco Zúñiga (1912-1998, Mexican)
“Cuatro Figuras,” 1972
Lithograph in colors on Arches paper
Edition: E.P.I #4 of 10 Editions Press Impressions (aside from the regular edition of 100 and 20 artist’s proofs)
Signed, dated, and numbered in pencil along the lower edge: Zga 72; Editions Press, San Francisco, prntr. and pub. and with their blindstamp lower left Sight: 16” H x 21.75” W
$500-700
Provenance:
Serendipity Art Gallery, San Juan Capistrano, CA
Literature: Brewster 3; Zúñiga 235
195
Francisco Zúñiga (1912-1998, Mexican)
“La Vela,” 1978
Lithograph on wove paper
Edition: P.A. VII/VIII (an artist’s proof aside from the edition of 50)
Signed, dated, and numbered in pencil in at the lower edge, left of center: Zga 1978; Kyron, S.A., Mexico City, prntr. and with their blindstamp lower right; Brewster Editions, New York, pub.
Sight: 22.75” H x 15.75” W
$500-700
Literature: Brewster 40; Zúñiga 272
Francisco Zúñiga (1912-1998, Mexican)
“Three Seated Women,” 1972
Watercolor and charcoal on paper
Signed and dated lower left: Zga / 1972; titled in the catalogue raisonné
Image/Sheet: 19.75” H x 25.625” W
$2,000-3,000
Notes:
This work is listed as number 4480A (1972) in the online Catalogue Raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. According to Mr. Ariel Zúñiga, the figures in the scene are from the state of Oaxaca but are not Tehuanas.
197
Francisco Zúñiga (1912-1998, Mexican)
“Mujer con Naranja,” 1974
Lithograph in colors on wove paper
Edition: 129/300 (there were also 20 artist’s proofs)
Signed, dated, and numbered “129-300” in pencil in the lower corners of the sheet: Zúñiga 1974; Kyron, S.A., Mexico, prntr./pub., and with their blindstamp in the lower right corner
Image/Sheet: 26.875” H x 19.125” W
$200-400
Literature: Brewster 19; Zúñiga 251
198
Two Mata Ortiz pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Manuel Rodriguez Guillen (b. 1972)
A polychrome pottery jar
Incised to underside: Manuel Rodriguez Guillen
The three-color jar with red and black banded feather and geometric motifs and depictions of lizards, a snake, and an eagle, on a white slip ground
6.75” H x 7” Dia.
Mauro Quezada (b. 20th century)
A globular pottery vase
Incised to underside: Mauro C. Quezada
The wide-body vase with narrow flared spout, featuring black geometric motifs on a white slip ground
9” H x 7.625” Dia.
2 pieces
$500-700
199
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Noe Quezada (b. 20th century)
Incised to underside: Noe Quezada
The three-color jar with red and black fish, geometric, and fine-line motifs on a white slip ground
10” H x 8.75” Dia.
Hector Gallegos (b. 20th century)
Incised to underside: Hector Gallegos
The three-color jar with red and black fish, meandering, stepped, and fine-line motifs on a white slip ground
8” H x 8.25” Dia.
2 pieces
$200-400
200
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Martha Martinez Dominguez (b. 20th century)
Incised to underside: Martha Martinez Dguez
The wide-bodied three-color jar with flared rim, featuring red and black fine-line and banded floral motifs on a white slip ground 9.5” H x 12.125” Dia.
Celia Lopez (b. 20th century)
Incised to underside: Celia Lopez
The polychrome jar with red, pink, blue, and green butterfly motifs with sgraffito bordering, on a white slip ground 5.25” H x 7.25” Dia.
2 pieces
$400-600
201
Francisco Zúñiga (1912-1998, Mexican)
“Rostro con Manos,” 1976
Lithograph on wove paper
Edition: 12/16 (there were four artist’s proofs)
Signed, dated, and numbered in pencil in the lower right and left corners, respectively: Zúñiga; Kyron, S.A., Mexico, prntr./pub., and with their blindstamp, lower right Sheet: 16.5” H x 13” W
$200-400
Literature: Brewster 23; Zúñiga 255
202
Vladimir Cora (b. 1951, Mexican) “Desnudo,” 1976
Pastel on light gray paper
Signed and dated in pencil lower left: Vladimir Cora 76; titled by repute Sheet: 6” H x 9.375” W
$500-700
203
Aurelio Pescina (1938-1990, Mexican)
Three figures in yellow Oil on canvas
Signed lower right: Pescina; inscribed with the artist’s name and address in ink, possibly in another hand, on a label affixed verso 20” H x 23.75” W
$300-500
204
Raúl Anguiano
(1915-2006, Mexican)
“Sonrisa Maya,” 1967
Lithograph in brown on paper
Edition: 18/60
Signed, dated, and inscribed upper right: R. Anguiano / Paris, 1967; initialed and inscribed in pencil upper right: R.A. / “a la familia Rosenbaum”; numbered in pencil in the lower edge, at center; titled by repute
Sight: 29.5” H x 21.5” W
$300-500
205
José María Jara (1867-1939, Mexican)
Portrait of a Mexican peasant Oil on unstretched canvas
Signed and indistinctly inscribed lower right: J. Jara [Calóns] 9.25” H x 6” W
$1,000-1,500
Notes:
Mexican painter José María Jara was from Orizaba, Veracruz and studied under Santiago Rebull, José Salomé Pina and José María Velasco. His work focused on sensitive depictions of Mexican people, their dress and folk customs. “El Velorio” (The Wake), considered the artist’s most important work, depicts an interior home wake with figures in mourning and was show at the 1899 Paris World’s Fair.
206
Ramiro Tapia
(1931-2024, Spanish)
Seven works: Bullfighting scenes
Each: Gouache and ink on wove paper
Each: Signed in ink lower right: R Tapia
Each sheet: 13” H x 10” W
$200-400
Provenance:
The Collection of Frederick W. Davis
Private Collection, Southern California, by descent from the above
207
A Pepe Mendoza sun door handle
Mid-20th century
Marked verso: Mendoza / [illegible]
The bronze sun-form handle with anthropomorphic face and turquoise ceramic inlay
9” Dia. x 1.75” D
$400-600
A Pepe Mendoza ashtray
1950s
Marked to underside: Mendoza / Hecho en Mexico / Pat No 59443 / Mayo7-58
The brass ashtray inlaid with turquoise ceramic
1” H x 7.75” W x 6.75” D
$300-500
209
Sergio Bustamante (b. 1949, Mexican)
“En Busca de la Razon”
Patinated bronze on composite base Edition: 145/200
This lot is accompanied by a Certificate of Authenticity, signed by the artist, dated August 10, 2015.
211
Gustavo Montoya (1905-2003, Mexican)
“Niño con Dulce” Oil on canvas
Signed lower right: Gustavo Montoya; titled on a gallery label affixed to the frame’s backing board 22” H x 18” W
$8,000-12,000
Provenance: Dalzell Hatfield Galleries, Los Angeles, CA
212
Gustavo Montoya (1905-2003, Mexican)
“El Merenguero,” 1984
Lithograph in colors on BFK Rives paper Edition: 43/100
Signed, dated, and numbered in pencil near the center of the right edge: Gustavo Montoya 84; Kyron, Mexico, pub., and with their blindstamp lower right; with an ink stamp “GM249-100” on the verso of the lower left corner
Image/Sheet: 30” H x 22” W
$300-500
213
Agapito Labios (1898-1996, Mexican)
A pair of portraits of children in traditional dresses
Each: Oil on canvas
One signed lower left: a. Labios
Each: 16” H x 12” W
$1,000-1,500
214
A pair of Mexican Olinala 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
215
A Mexican Guerrero tigre mask
Late 19th/early 20th century; Zitala, Guerrero
The polychrome leather mask with deep set mirror eyes and a fabric neck, used on the feast day of the Holy Cross
12.5” H x 14.5” W x 10” D
$500-700
216
Sergio Bustamante
(b. 1949, Mexican)
Bird boy, 1982
Painted ceramic on acrylic stand on paper-wrapped plinth
Signed and dated to left side proper: Sergio Bustamante / 82
Figure: 22” H x 9.75” W x 13.25” D; Plinth: 36” H x 10.625” W x 12.125” D
$400-600
217
A Mayan mushroom stone carving Pre-Columbian; Guatemala
The carved stone religious item with tripod base 12.25” H x 8” W x 7.75” D
$1,000-1,500
218
A Casas Grandes polychrome pottery effigy jar
Late 19th/early 20th century
The three-color jar in the form of a figure depicted in pensive repose, with red and black geometric motifs on a tan slip ground 9.75” H x 9.25” W x 11.5” D
$400-600
219
A Seri pictorial basketry vessel
Late 20th/early 21st century; Sonora, Mexico
The polychrome coiled basket depicting butterfly figures and a star motif to rim and base
12” H x 15.5” Dia.
$200-400
220
A group of Panamanian Wounaan basketry vessels
Late 20th/early 21st century; Darién Province, Panama
The polychrome coiled baskets woven from palm frond fibers, each depicting rainforest floral and fauna including a sea turtle, grasshoppers, scorpions, and butterflies
4 pieces
Largest: 5.75” H x 5.75” Dia.; Shortest: 3.5” H x 5.125” Dia.
$400-600
221
A group of Panamanian Wounaan basketry vessels
Late 20th/early 21st century; Darién Province, Panama
The polychrome coiled baskets woven from palm frond fibers, each depicting rainforest floral and fauna including three depicting butterflies and one depicting various birds and lizards
4 pieces
Largest: 5” H x 6.25” Dia.; Low bowl: 1.625” H x 7.375” Dia.
$400-600
222
A group of Panamanian Wounaan basketry vessels
Late 20th/early 21st century; Darién Province, Panama
The coiled baskets woven from palm frond fibers, each depicting various geometric motifs, the largest depicting a butterfly figure, one with a bird-form finial to lid 6 pieces
Largest: 5.25” H x 7.375” Dia.; Smallest: 2.375” H x 3.375” Dia.
$500-700
223
A Mexican polychrome pottery charger depicting Santa Rosa
Early 20th century
Marked recto: “Sta. Rosa” / Guanajuato, GTO. / Hecho en Mexico / CGM; marked verso: Mayolica / “Sta. Rosa” / Guanajuato, GTO. / Hecho en Mexico / Solo Decoration / K
The large glazed terra cotta plaque with central image of Santa Rosa within a floral border, set on an enameled wrought iron stand
Charger: 27.5” H x 28.25” W x 3.25” D; Stand: 19.125” H x 10.5” W x 13” D
$200-400
224
A Tonal· bruñido pottery floor jardinère
Circa 1940s; Jalisco, Mexico
Unmarked
The burnished ceramic vase painted with avian and floral motifs on a red ground 27.75” H x 21.5” Dia.
$400-600
A Mexican Talavera pottery garden urn 20th century; Puebla, Mexico
The urn adorned with floral and foliate motifs in shades of green glaze 26.75” H x 19.75” Dia.
$300-500
226
A Mexican Talavera pottery vase
Mid/late 20th century
Unmarked
The polychrome vase with vibrant banded meandering and geometric motifs in black, red, yellow, and green 14.75” H x 10.625” Dia.
$300-500
A pair of Spanish Colonial carved wood torchère 19th century
The parcel-gilt and red-painted wood candle holder pedestals, each with a gilt tole crown above a columnar standard with foliate motif accents, raised on a tiered triangular base
2 pieces
Each: 59.5” H x 21.75” W x 19” D
$1,500-2,500
228
18th Century Spanish School
Portrait of a man in formal attire
Oil on canvas laid to waxed canvas
Unsigned 29” H x 21” W
$500-700
Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above
229
19th Century Cuzco School
Virgin of Bethlehem
Oil on canvas laid to waxed canvas
Appears unsigned
61” H x 44.75” W
$3,000-5,000
230
A Spanish Colonial carved wood sideboard 19th century with later elements
The cabinet with upper drop-front cabinet door above opposed hinged cabinet doors, the front and sides featuring deeply carved foliate and floral motifs and three column accents, the open verso revealing a single shelf 36” H x 78.75” W x 20.5” D
$700-900
231
Francisco Zúñiga (1912-1998, Mexican)
Hombre arrodillado (sin piernas), 1965
Patinated bronze on wood plinth
Edition: 4/5
Signed, dated, and numbered: Zúñiga / IV/V
Bronze: 24.25” H x 10” W x 8” D; Overall: 28.5” H x 10” W x 9” D
$15,000-20,000
Provenance:
Galería Tasende, Acapulco
Sold: Sotheby’s, New York, November 26-27, 1985, lot 138
Sold: Sotheby’s, New York, “Latin American Art,” November 21, 2006, lot 114
Sold: Bonham’s, New York, “Modern Art Online,” March 1-10, 2023, lot 27
Private Collection, acquired from the above
Exhibitions:
Mexico City, Museo de Arte Moderno, “La Escuela Mexicana,” November 1966
San Diego, Fine Arts Gallery of San Diego, “Francisco Zúñiga, an Exhibition of Drawings and Sculpture,” September 11, 1971-November 7, 1971, no. 9 (later traveled to Phoenix)
Literature:
Exh. cat., “Francisco Zúñiga, an Exhibition of Drawings and Sculpture,” (San Diego: Fine Arts Gallery of San Diego, 1971), p. 48, illustrated
Sheldon Reich, “Francisco Zuniga, Sculptor: Conversations and Interpretations,” (Tucson, AZ: University of Arizona Press, 1980), p. 17, another cast illustrated
Ariel Zúñiga, “Francisco Zúñiga: Catálogo Razonado, Vol. I, 1923-1993,” (Mexico: Albedrío, 1999), no. 321, p. 223, another cast illustrated
Notes:
The underside of plinth has a partial gallery sticker applied from Fine Arts Gallery of San Diego.
232
A Latin American santo bulto figure
Early 20th century
The polychrome carved wood torso, set on a wood block stand Figure: 12.625” H x 9.875” W x 6.5” D; Block: 2.5” H x 7” W x 7” D
$200-400
233
A Peruvian inlaid wood tabletop cabinet
Early 20th century
The six-drawer wood cabinet with bird-form metal pulls, featuring gilt accents and bone-inlaid avian and foliate motifs, the central panel depicting a painted and gilt figure of Nuestra Señora de Belén, a patron saint of Cuzco, Peru 10.625” H x 14.875” W x 9” D
$800-1,200
234
A Guatemalan pottery olla
Early 20th century; Chinautla
The large ceramic vessel with a flared neck and piecrust rim above opposed figural lug handles and the body with deeply incised floral medallions
21.5” H x 24” W x 18.5” D
$200-400
235
18th Century Spanish Colonial School
‘’La Alegora de la Redencion’’ Oil on metal
Unsigned; titled on the frame plaque 14” H x 10” W
$600-800
Provenance: The Collection of David and Holly Davis, Pasadena, CA
236
A Latin American Cristo figure 19th century
The Spanish Colonial painted carved wood crucifix mounted with hair and fabric to figure’s head
27.5” H x 20.25” W x 6.5” D
$500-700
237
A group of Latin American santos bultos figures
Early 20th century
The polychrome carved wood religious figures, comprising one Cristo figure, one figure depicted with a book and metal nimbus, another figure with a metal halo, and another figure depicted holding a skull
4 pieces
Tallest: 15.75” H x 5.375” W x 4.75” D; Shortest: 8.25” H x 3.625” W x 1.875” D
$400-600
238
Three Latin American santos bultos figures
Early 20th century
The polychrome carved wood religious figures, comprising one possibly depicting Archangel Michael with metal wings, holding an orb and a metal staff with a sterling silver pendant, and two other figures, one depicted holding a sheet copper staff with floriform accents to upper terminus
3 pieces
Archangel: 17.25” H x 12.5” W x 4.125” D; Smallest: 14.625” H x 7” W x 7” D
$400-600
239
19th Century Mexican retablo
“La Anima Sola (The Lonely Soul)” Oil on tin
Unsigned; titled from documents accompanying the work 7” H x 5” W
$500-700
Provenance:
Colonial Arts, San Francisco, CA
The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, 2007
Notes:
This lot is sold together with the invoice dated September 27, 2005, together with other general materials related to the work and its acquisition, from the gallery mentioned above.
240
A group of Latin American santos bultos figures
Early/mid-20th century
The polychrome carved wood religious figures, each with gilt accents, comprising one shepherd figure depicted with a lamb, another possibly figure of Archangel Michael depicted with metal wings and holding a metal staff and pendant, and tow other figures, one depicted with a book bearing Latin text
4 pieces
Archangel: 12.375” H x 8.75” W x 4.25” D; Smallest: 7.625” H x 3.625” W x 3” D
$400-600
241
Three Latin American santos bultos figures
Early/mid-20th century
The polychrome carved wood religious figures, comprising one figure depicted with arrows in his back and arms outstretched, and two figures depicted holding books, one also holding a metal floral branch 3 pieces
Tallest without branch: 19.5” H x 6” W x 5.5” D; Shortest: 17.25” H x 6.5” W x 4.5” D
$400-600
242
A group of Latin American santos bultos figures
Early 20th century
The polychrome carved wood religious figures, comprising one depicted holding the Christ child, another depicted hoisting a metal staff with floriform terminus, and another depicted with a black shawl over a white robe
3 pieces
Largest: 20” H x 7.75” W x 5.625” D; Shortest: 15.25” H x 4.75” W x 3.75” D
$400-600
243
Two Latin American santos bultos figures
Late 19th/early 20th century
The polychrome carved wood religious figures, comprising one angle figure and another figure depicted kneeling, set on a carved wood wall-mounted shelf
3 pieces
Angel: 12” H x 13.25” W x 4.25” D; Knelt: 12.5” H x 5.5” W x 5.75” D; Shelf: 6.5” H x 12.25” W x 8.5” D
$300-500
244
A group of Latin American santos bultos figures
Early 20th century
The polychrome carved wood religious figures, comprising one depicted holding the Christ child and hoisting a metal staff with floriform terminus, another figure depicted standing above three winged masks, and another figure depicted with a book 3 pieces
Largest: 20” H x 9” W x 6.5” D; Shortest: 16.25” H x 6.25” W x 4.75” D
$300-500
245
A Mexican metal wall-mounted cross
Late 20th/early 21st century
Sticker applied verso: Ante Gifts / El Cajon / Made in Mex. With central floral medallion and floral motifs at each end of a metal alloy
17.375” H x 11.25” W x 0.625” D
$100-200
246
Two Peruvian polychrome wood retablos
Late 20th/early 21st century
Smaller signed verso: I. Lopez / Ayacucho / Peru
The painted carved wood boxes, each with leather hinged cabinet doors revealing potato and gypsum powder dough sculpted figures, comprising one possibly by Nicario Jiménez (b. 1957) depicting figures in a mask shop preparing for Día de los Muertos (Day of the Dead), and another depicting Adam and Eve in the Garden of Eden in front of the Tree of Knowledge of Good and Evil amongst flora and fauna
2 pieces
Larger closed: 10.25” H x 11.5” W x 3” D; Smaller closed: 8.625” H x 5.75” W x 2.875” D
$400-600
247
Ismael Flores Ledezma (b. 1966)
A Mata Ortiz polychrome pottery seed jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Ismael Flores
The three-color jar with red and black fine-line and geometric motifs on a white slip ground 9” H x 12.25” Dia.
$400-600
248
Damian E. Quezada (b. 20th century)
A Mata Ortiz polychrome pottery jar, late 20th/early 21st century; Chihuahua, Mexico
Incised to underside: Damian E Quezada
The three-colored jar with stylized rim, featuring red and black swirling bands of fine-line geometric motifs on a white slip ground 14” H x 11.25” Dia.
$300-500
249
Two Mata Ortiz blackware pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Olivia Dominguez Renteria (b. 1971)
A snake effigy vessel
Incised to base: Olivia Dominguez Renteria
The vessel with snake-form handle and in relief to body, featuring white swirling stepped and fine-line motifs on a matte black slip ground
10.75” H x 9” W x 8.5” D
Jorge Quintana (b. 20th century)
A blackware pottery jar
Incised to underside: Jorge Quintana
The jar with white swirling geometric and zoomorphic motifs on a matte black slip ground 12” H x 9.75” Dia.
2 pieces
$500-700
Notes:
This lot is accompanied by a CoA for the Olivia Dominguez jar from Sandia Fine Mexican Folk Art in Texas, dated October 6, 2014. There is a tear in the 2.5” long tear in the document.
250
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Jorge Quintana (b. 20th century)
Signed to underside: Jorge Quintana R.
The four-color jar with red, yellow, and black insect and geometric motifs on a turquoise slip ground
10.75” H x 8.5” Dia.
Eli Navarrete Ortiz (b. 1972)
Incised to underside: Eli Navarette Ortiz
The three-color jar with red and white fish and lizard motifs on a gunmetal black ground, the interior painted with white slip 9.75” H x 7.875” Dia.
2 pieces
$700-900
Attributed to the Olay Family
Mexican popotillo straw folk art view of Metropolitan Cathedral (Catedral Metropolitana de la Asunción de la Santísima Virgen María a los cielos) in Mexico City, Mexico
Unsigned
Sight: 14” H x 17.5” W
$200-300
252
A Guatemalan nicho cabinet
Early 20th century
The painted wood display cabinet of mortise and tenon construction, with glazed hinged door centering architectural molding and opposed turned wood columns, surmounted by a cross centering two turned finials
31.75” H x 21.75” W x 11.375” D
$400-600
A Spanish Colonial wood trunk 19th century; Guatemala
The wood trunk with hinged lid, butterfly joints, and an iron locking mechanism, set on a conforming stand of mortise and tenon construction raised on turned legs
Overall: 29.5” H x 27” W x 17.75” D; Trunk: 14.25” H x 24.5” W x 18” D
$800-1,200
254
Two Guatemalan wood cradleboards
Late 19th/early 20th century
Carved and bentwood frames
2 pieces
Larger: 12.5” H x 32.5” W x 10.25” D; Smaller: 10.25” H x 33” W x 9.5” D
$600-800
A stone columnar pedestal 20th century
The octagonal pedestal with floral motifs to each side
18.25” H x 13.25” W x 12.5” D
$300-500
256
A Spanish Colonial carved wood pedestal 18th/19th century With scrolled foliate motifs
15.5” H x 10.25” Dia.
$300-500
257
A Spanish Colonial-style console 2003
Stamped verso: Taber / CO / 2003 The Taber & Co. antiqued wood table an undershelf, with carved scrolled accents
32.5” H x 83.5” W x 18” D
$800-1,200
with three drawers above accents throughout
258
A Spanish Colonial Sillon de Frailero chair 17th/18th Century; Northern Andes Region
Likely Peruvian, the friar’s chair with carved wood frame and tooled and painted leather seat and back, the back depicting a peacock within a wreath centering two soldier figures, all within a floral border
47.5” H x 21” W x 19” D
$1,000-1,500
259
Mary Wyant (b. 1939)
“Tarahumara Market” (triptych) Oil on canvas
Signed in the lower left corner of overlap of each section: Mary E Wyant
In the manner of Sergio Bustamante (b. 1949, Mexican), the cast and welded brass and copper turtle figure
15.5” H x 36.25” W x 20.75” D
$600-800
A Contemporary figural sculpture 2007
Signed and dated verso: OG / 07
Possibly by Omar Garcia, in the manner of Niki de Saint Phalle (1930-2002), the polychrome metal figure depicted on a unicycle and juggling four rings
69.5” H x 30” W x 16” D
$1,200-1,800
Manuel Rodriguez Lozano (1896-1971, Mexican)
Untitled, 1934
Ink on cream-colored paper
Signed and dated lower right: Rodriguez / Lozano / 34; numbered “318” in red pencil on the verso of the right sheet corner
Sheet: 12.75” H x 9.75” W
$800-1,200
Provenance:
Sold: Museum of Latin American Art (MOLAA), Long Beach, CA, “Molaa’s Art Auction 07,” October 2, 2007, Lot 275 Jack Rutberg, Los Angeles, CA
263
Jesús Guerrero Galván (1910-1973, Mexican)
“Niño,” 1962
Charcoal on Arches paper
Signed and dated lower right: J. Guerrero Galván / 1962; titled by repute Sheet: 30” H x 22” W
$800-1,200
264
Raúl Anguiano (1915-2006, Mexican)
Young girl in a dress, 1946
Brown ink on cream-colored paper
Signed and dated in brown ink near the center of the left edge: R. Anguiano / 1946
Sight: 21” H x 17.5” W
$400-600
A Pre-Columbian Colima pottery effigy vessel 1st century CE; Colima, West Mexico
The hollow-bodied ceramic figural vessel depicted seated with arms crossed and incised facial features
17.5” H x 8.75” W x 9.375” D
$1,000-2,000
266
A Pre-Columbian Nayarit pottery figure
1st century CE; West Mexico
The terracotta figure with red mineral glaze, depicted with bulbous protrusions to torso and incised details to top of head 8.5” H x 7.25” W x 7.125” D
$500-700
267
A Pre-Columbian Nayarit
1st century CE; West Mexico
The terracotta figure of a incised details to head, depicted 9” H x 4.375” W x 6.25”
$500-700
Nayarit pottery figure
Mexico
a pregnant female, with red mineral glaze, and depicted seated and wearing a necklace
6.25” D 268
A Pre-Columbian pottery effigy vessel
Circa 100 CE; Ecuador
The possibly Panzaleo ceramic figural vessel, depicted seated and holding a small cup, with incised facial features and polychrome stripes to left side of face and body
14.25” H x 8” W x 8” D
$400-600
269
Two Latin American yerba mate vessels and bombilla straw
Early/mid-20th century
Bombilla marked: Industria Mamboreta Argentina
Comprising an alpaca silver vessel with chased and repoussé floral and foliate motifs, raised on figurative mask-form legs, a silver alloy vessel with chased and repoussé floral and avian motifs, raised on foliate-form legs, and an alpaca silver bombilla straw
3 pieces
Taller vessel: 5.5” H x 3.25” W x 2.125” D; Straw: 7.5” L
$200-400
Three Mexican sterling silver table items
Mid-20th century Three works:
William Spratling (1900-1967)
A sterling silver and carved wood petit four server Circa 1964-1967, Third Design Period Stamped for William Spratling; further stamped: [Eagle 30]
1.75” H x 4.5” W x 1.5” D
0.8 gross oz. troy approximately
Hector Aguilar (1905-1986)
A sterling silver and carved wood teaspoon Marked: 940 / [conjoined ‘HA’ cipher] / Taxco / [Eagle 9]
6.5” L
1.4 gross oz. troy approximately
A Mexican sterling silver and carved wood butter spreader Marked: JS [unknown maker] / 925 Sterling / [illegible]
5.5” L
0.7 gross oz. troy approximately
3 pieces
$200-400
271
A South American-style gourd-shaped pottery vessel 20th century
The terra cotta reproduction of a Mayan vessel, with white and red slip-painted figures and geometric motifs
10.5” H x 11.75” Dia.
$200-400
272
A Shipibo-Conibo pottery effigy vessel 20th century; Peru
The polychromed vessel with a low relief mask of a woman to the neck and painted linear geometric meanders representing Icaro, the medicine songs used in ceremonies where ayahuasca is the sacrament 6.375” H x 6.375” Dia.
$200-400
273
Sergio Bustamante
(b. 1949, Mexican)
Two lions emerging from a pumpkin
Patinated bronze
Signed in the casting: Sergio Bustamante
7” H x 10” W x 11.5” D
$400-600
274
Sergio Bustamante
(b. 1949, Mexican)
Three rams and a gourd
Painted ceramic
Signed to right side: Sergio Bustamante
14.5” H x 9” W x 9.5” D
$300-500
275
A group of Tairona-style cast tumbaga items
Date unknown, Central America
Four stylized figural works in gold-toned mixed metal, each with wire and textured wire overlay accents and designs, comprising an 18k gold and mixed metal mask breast plate pendant with central bird figure, mounted on a wire collar, as well as a large hollow alligator figure with small young alligator on its back, a large winged shaman figure pendant, and a small standing male figure pendant, 4 pieces Necklace: 18” inner C x 3” H x 2.125” W; Alligator: 1.375” H x 2” W x 6.75” D; Larger pendant: 2.375” H x 2.75” W; Smaller: 1.875” H x 1.875” W 230.9 grams gross
$1,000-2,000
276
A group of pre-Columbian-style tumbaga ornaments
Unknown date, Central America
Comprising six stylized figural works in gold-toned mixed metal, each with wire and textured wire overlay accents and designs, including a large bird motif finial or pipe end, as well as five pendants in various styles and sizes including a rectangular pendant with male and female seated figures, a male figure pendant flanked by serpent motifs, a wide double-headed bird motif pendant, and two diminutive figural pendants, 6 pieces
Finial: 2” H x 4.25” W x 4.75” D; Largest pendant: 2.75” H x 4.25” W; Smallest: 1.125” H x 1” W
387.0 grams gross
$400-600
277
A group of Sergio Bustamante jewelry
Sergio Bustamante (b.1949)
Late 20th/21st century, Jalisco, Mexico
Three marked for artist, further variously stamped: GA39 / 925 / Mexico; wire stamped: 750
Comprising a sterling silver and vermeil openwork sun face pendant, on an associated 18K gold neck wire, and a sterling silver moon face disc pendant, as well as a pair of sterling silver stylized face earrings, 5 pieces
Pendants: 2.375” H & 2” H; Neck ring: 15.5” inner C; Earrings: 2” H
59.0 grams gross
$400-600
278
Two Mata Ortiz polychrome jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Jorge Quintana (b. 20th century)
A polychrome pottery jar
Incised to underside: Jorge Quintana R.
The three-color jar with red and black stepped, banded feather, and geometric motifs on a white slip ground 12.5” H x 9” Dia.
Damian E. Quezada (b. 20th century)
A redware pottery jar
Incised to underside: Damian E. Quezada
The jar with white swirling bands of geometric fine-line motifs on a buff red ground 14” H x 10.5” Dia.
2 pieces
$600-900
279
Two Mata Ortiz pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Damian E. Quezada (b. 20th century)
Incised to underside: Damian E Quezada
The jar with white and black swirling banded geometric and fine-line motifs on a matte red slip ground 12.75” H x 10.25” Dia.
Alvaro Quezada (b. 20th century)
Incised to underside: Alvaro Quezada
The jar with white swirling bands of kiva step, floral medallions, avian and geometric motifs on a matte red slip ground 13” H x 10” Dia.
2 pieces
$700-900
280
Noe Quezada (b. 20th century)
Two Mata Ortiz pottery jars, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Noe Quezada
Comprising a three-color jar with red and black fine-line and geometric motifs on a mauve slip ground, and a jar with stylized rim and white fine-line geometric motifs on a matte terra cotta slip ground 2 pieces
Polychrome: 9.75” H x 8.75” Dia.; Shaped rim: 9.5” H x 8.5” Dia.
$700-900
281
Noe Quezada (b. 20th century)
Two Mata Ortiz polychrome pottery jars, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Noe Quezada
The three-color jars, each with red and black fine-line geometric motifs on a white slip ground
2 pieces
Larger: 8.5” H x 9.25” Dia.; Smaller: 8.25” H x 9” Dia.
$600-800
Sergio Bustamante (b. 1949, Mexican)
Moon egg
Painted ceramic on acrylic plinth Edition: 51/100
Signed and numbered recto at lower left proper: Sergio Bustamante
Ceramic: 18.5” H x 11.25” W x 9.75” D; Plinth: 34” H x 11” W x 11” D
$300-500
283
Sergio Bustamante
(b. 1949, Mexican)
Three horses emerging from an egg
Painted ceramic mounted on painted wood plinth
Signed to one side: Sergio Bustamante
Ceramic: 10” H x 13.5” W x 11.25” D; Plinth: 36” H x 12.125” W x 10.125” D
$300-500
A Juventino Lopez Reyes sterling silver coffee and tea service Mid-20th century
Each marked: JLR / Sterling / Made in Mexico / 925; spoon with English hallmarks
Comprising a coffee pot (7” H x 10.125” W x 5.625” D), a teapot (6.75” H x 10” W x 5.5” D), a covered cream jug (4.25” H x 5.25” W x 4” D), a covered sugar (4.24” H x 5.75” W x 4.125” D), and an open sugar (1.625” H x 4.125” Dia.), all set on an oval tray (24” W x 12.875” D), together with an associated English sterling silver spoon
7 pieces
141.9 oz. troy approximately
$4,000-6,000
285
A set of Mexican sterling silver plates
Mid-20th century
Each marked: M.R.M. Hecho en Mexico D.F. / 925 / sterling 925 / [Eagle 145]
8 pieces
Each plate: 11.25” Dia. 135.4 oz. troy approximately
$3,000-5,000
286
A Mexican sterling silver pitcher and tray
Mid-20th century
Pitcher marked: JLR / Sterling / Made in Mexico / 925; tray marked: M.R.M. Hecho en Mexico
D.F. / 925 / sterling 925 / [Eagle 145]
Comprising a Juventino Lopez Reyes water pitcher and a circular tray from an unknown maker
2 pieces
Pitcher: 7.75” H x 6.5” W x 6” D; Tray: 12.5” Dia.
Comprising a Conquistador gravy boat with under plate and a serving platter from an unknown maker
3 pieces
Gravy boat: 4.5” H x 7.75” W x 4” D; Platter: 18.125” W x 11.875” D 48.9 oz. troy
$1,000-1,500
288
A Juventino Lopez Reyes sterling silver champagne bucket Mid-20th century
Marked to underside: JLR / Sterling 925 / Made in Mexico; further marked with illegible eagle mark With opposed lug handles
8.25” H x 9.75” W x 7.5” D
34.3 oz. troy approximately
$800-1,200
289
A pair of Conquistador sterling silver candelabra Mid-20th century; Mexico City, Mexico
Each marked to underside: [Eagle 13] / Conquistador / Sterling Mexico / 925/1000
The three-light candleholders, each with chased accents
2 pieces
Each: 7” H x 11.5” W x 6” D
38.4 oz. troy approximately
$800-1,200
290
Three Mexican sterling silver sombrero ring holders
Early/mid-20th century; Mexico City, Mexico
Two marked: Sanborns / Mexico / Sterling; one marked: Plateria Alejo / Mexico / 925
Each ring dish in the form of a sombrero hat, two with repoussé silver floral motifs and eagle motif to crown, and one with chased silver motifs to brim
3 pieces
Largest: 1.5” H x 3.75” Dia.; Smallest: 1.5” H x 2.75” Dia. 3.715 oz. troy approximately
$100-200
291
A Los Castillo silvered brass “Dove” serving dish
Mid-20th century; Taxco, Mexico
Marked to plaque verso: Los Castillo / Taxco / Hecho en Mexico / Platero / 331
The three-compartment silver plated mixed metal dove-form bowl with green enamel “olive branch”
1.5” H x 13.5” W x 9.125” D
$100-200
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), 90, fig. VI-23.
A group of Mexican sterling silver table items
Mid-20th century
Sugar and creamer marked: JLR / Sterling / .925 / Made in Mexico [Eagle 9] / 24; tray and bowl marked: CLS / Sterling .925 / Hecho en Mexico; tray further marked: [Eagle 141]; bowl further marked: [Eagle1]
Comprising a Juventino Lopez Reyes cream jug and covered sugar, and a CLS oval tray and navetteform footed bowl
4 pieces
Bowl: 2.5” H x 12” W x 5” D; Creamer: 4” H x 4.25” W x 2.875” D
30.2 oz. troy approximately
$300-500
A Spanish Colonial-style repoussé mirror 20th century
With repoussé sheet metal decorations depicting bird figures, floral medallions, and scrolled foliate motifs, mounted on a wood backing
47.5” H x 31.5” W x 1.5” D
$500-700
294
Pedro Friedeberg (b. 1936, Mexican)
Mano Sol (Hand-Sun), circa 1970s
Gilded wood, articulated
Signed to the underside: Pedro Friedeberg
Dimensions variable: 8.75” H x 3” W x 1.375” D
$600-800
Provenance:
Friedeberg Fine Arts, San Miguel de Allende, Mexico
Private collection, San Diego, CA
295
Pedro Friedeberg (b. 1936, Mexican)
Mano Pie (Handfoot)
Gilded wood
Signed to the underside: Pedro Friedeberg
4.5” H x 2.5” W x 4” D
$400-600
Provenance:
Friedeberg Fine Arts, San Miguel de Allende, Mexico
Private Collection, acquired from the above, December 16, 2014
Private collection, San Diego, CA
Notes:
This lot is accompanied by a printed receipt from the gallery mentioned above.
296
Pedro Friedeberg (b. 1936, Mexican)
Mano Pie (Handfoot)
Gilded wood
Signed to the underside: Pedro Friedeberg
6” H x 3.375” W x 4.5” D
$500-700
Provenance:
Friedeberg Fine Arts, San Miguel de Allende, Mexico
Private Collection, acquired from the above, December 16, 2014
Private collection, San Diego, CA
Notes:
This lot is accompanied by a printed receipt from the gallery mentioned above.
297
Pedro Friedeberg
(b. 1936, Mexican)
Mano Pie (Handfoot)
Gilded wood
Signed to the underside: Pedro Friedeberg
6.75” H x 4” W x 5.875” D
$600-800
Provenance:
Friedeberg Fine Arts, San Miguel de Allende, Mexico
Private Collection, acquired from the above, December 16, 2014
Private collection, San Diego, CA
Notes:
This lot is accompanied by a printed receipt from the gallery mentioned above.
298
Pedro Friedeberg (b. 1936, Mexican)
Stacked Zebra Maquette, 2013
Painted wood
Unsigned
9.625” H x 5.125” W x 1.75” D
$500-700
Provenance:
Alexandre Lemaire, Mexico City, Mexico
Sold: Paddle 8 Auction, “The Eye Collection,” December 5, 2014, lot 117 Private collection, San Diego, CA, acquired from the above
Notes:
This lot is accompanied by a printed receipt from the abovementioned auction.
299
Jorge Quintana (b. 20th century)
Two Mata Ortiz pottery vessels, late 20th/early 21st century; Chihuahua, Mexico
One signed to underside: Jorge Quintana; other signed: Jorge Quintana R.
Comprising a canteen with stepped rim and two lanyard protrusions, featuring black geometric motifs on a red slip ground, and an egg-shaped three-color seed pot with red and black fine-line and geometric motifs on a light red slip ground
2 pieces
Canteen: 11.5” H x 10.125” W x 6.75” D; Egg: 9.75” H x 7.75” Dia.
$500-700
Two Mata Ortiz pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Reynaldo Quezada (b. 20th century)
A blackware fish effigy seed pot
Incised to underside: Reynaldo Quezada L.
The pot with incised facial features and fin protrusions, featuring black stepped and geometric motifs on a buff black ground
6.5” H x 9.75” W x 11.375” D
Damian E. Quezada (b. 20th century)
A shaped rim pottery jar
Incised to underside: Damian E. Quezada
The jar with stylized rim and matte white fine-line geometric motifs on a matte terra cotta slip ground
9.75” H x 9.5” Dia.
2 pieces
$300-500
301
Noe Quezada (b. 20th century)
Two Mata Ortiz polychrome pottery jars, late 20th/early 21st century; Chihuahua, Mexico
Each incised signature to underside: Noe Quezada
Comprising a three-color seed jar with red and black fine-line geometric motifs on a white slip ground, and blackware jar with grey fine-line geometric motifs on a matte black slip ground
2 pieces
Polychrome: 9.5” H x 9.75” Dia.; Blackware: 8.5” H x 9” Dia.
$500-700
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Martha Martinez Dominguez
Incised to underside: Martha Martinez Dguez
The three-color jar with red and black feather motifs in four registers and a checkered pattern to base, all on a white slip ground
5.75” H x 6.25” Dia.
Hugo Macias (b. 20th century)
Incised to underside: hugo macias
The three-color jar with red and black geometric and figural motifs on a white slip ground
Comprising a sterling silver Sanborns flared jigger with integral mixing spoon, together with a sterling silver thimble-shaped jigger with engraved phrase: “Thimble Full”
2 pieces
Larger: 9” H x 2” Dia.; Smaller: 2” H x 1.75” Dia.
2.925 oz. troy approximately
$100-200
304
A group of Huichol beaded jaguar masks
Late 20th/early 21st century, Huichol people; Mexico
The carved wood masks adorned with polychrome beadwork depicting various flora, fauna, and banded geometric motifs, each set in a custom acrylic case
5 pieces
Largest mask: 10.5” H x 8.5” W x 7.5” D approx.; Each case: 14.125” H x 14” W x 12.5” D
$400-600
305
A group of Huichol beaded jaguar masks
Late 20th/early 21st century, Huichol people; Mexico
The carved wood masks adorned with polychrome beadwork depicting various flora, fauna, and banded geometric motifs, each set in a custom acrylic case
5 pieces
Largest mask: 10.5” H x 9.5” W x 8.5” D approx.; Each case: 14.125” H x 14” W x 12.5” D
$500-700
306
A Mexican Huichol beaded mask
Early 21st century
Signed and inscribed verso: Nicolaza Bautista / [various ciphers] / Centro Huichol
The carved wood mask with polychrome beadwork designs depicting various figures and foliate motifs
13.75” H x 8.25” W x 3.25” D
$200-300
307
Two Mexican alebrijes porcupine figures
Late 20th/early 21st century; Oaxaca, Mexico
Smaller singed and inscribed to underside: Josue Ortocha / Tilcajete / Oax. / Mex.
Each vibrantly painted folk art porcupine figure mounted with sharpened quills
2 pieces
Larger: 12.75” H x 19” W x 21” D; Smaller: 5.5” H x 7.5” W x 7” D
The vibrantly painted folk art figures carved from copal wood, comprising an iguana figure, a lizard figure, and a snake figure
3 pieces
Iguana: 2.75” H x 24” L x 7.125” W; Lizard: 5.25” H x 9.75” W x 8.625” D
$400-600
309
A group of Taller Alfonso Castillo pottery sculptures
Circa 2020s; Puebla, Mexico
Each candelabra marked: Taller Alfonso Castillo / [shop cipher] / Mexico; one further marked and dated: Orta / 17-10-20; vase signed: Marco Castillo / Mexico / [shop cipher]
The polychrome ceramic items, comprising two Tree of Life three-light candelabra, and one Dia de los Muertos tall vase mounted with applied calaveras, marigolds and figural elements
3 pieces
Vase: 12.5” H x 5.25” Dia.; Taller candelabrum: 10.875” H x 5.875” W x 3.875” D
$400-600
Notes:
Alfonso Castillo Orta (1944-2009, Mexican) and his wife Soledad Martha Hernández founded the ceramic studio in the town of Izúcar de Matamoros, where their legacy and artistic traditions are carried on to this day by their five children and a cadre of local apprentices.
310
Three Martín Melchor Ángeles alebrijes pedicab figures
Late 20th/early 21st century; Oaxaca, Mexico
Each signed and marked: Martin Melchor Angeles / San Martín Tilcajete / Oaxaca / Mexico; two with applied sticker: Hecho en Mexico
The vibrantly painted folk art figures carved from copal wood, comprising three pedicab vignettes with articulated wheels, each depicting various figures including a jaguar, three elephants, two giraffes, a tropical bird, and two human figures
3 pieces
Largest: 10.75” H x 14.25” W x 7.375” D
$200-400
Three Mexican alebrijes figures
Late 20th/early 21st century; Oaxaca, Mexico
Frog signed and inscribed to underside: Amelia, Morales, Arrazola, Oax, Mex; armadillo signed: Jacinto Mandarin / Arrazola Oaxaca; zebra signed: Coindo Melchor Gómez / Oaxaca México; zebra with applied sticker: Hecho en Mexico
The vibrantly painted folk art figures carved from copal wood, comprising a frog figure depicted catching a butterfly on its tongue, an armadillo figure, and a winged anthropomorphic figure with a zebra head, depicted carrying a sacred heart 3 pieces
Frog: 6.75” H x 17.75” W9.5” D; Armadillo without tail: 6.625” H x 10.5” W x 5.875” D
$200-400
A group of Mata Ortiz blackware pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Four works:
Antonio Dominguez (b. 20th century)
Two blackware seed jars
Each incised to underside: Antonio Dominguez
Comprising a low seed jar with red geometric motifs on a gunmetal buff ground, and another seed jar with black geometric motifs on a gunmetal buff ground
2 pieces
Taller: 3.5” H x 3.75” Dia.; Shorter: 2.625” H x 5.625” Dia.
Jose M. Martinez (b. 20th century)
A blackware jar
Incised to underside: Jose M Martinez
The jar with black banded feather motifs above a checkered pattern to body on a black buff ground
3.625” H x 4.125” Dia.
A blackware wide jar
Incised to underside: Fernando R
The jar with black checkered diamond motif on a black buff ground 5.125” H x 6.25” Dia.
4 pieces total
$200-400
A group of Mata Ortiz redware pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Four works:
Julio Ledezma (n.d.-2015)
Two pottery vessels
Each incised to underside: Julio Ledezma
Each decorated in black on a red slip ground, comprising a low seed jar with Paquime-style banded feather motif, and a wide-bodied jar with flared rim, featuring a checkered motif
2 pieces
Larger: 3.5” H x 7” Dia.; Smaller: 3.75” H x 4.75” Dia.
Angel Amaya (b. 20th century)
A seed jar
Incised to underside: Angel Amaya
The jar with white fine-line decoration on a red slip ground
3.75” H x 6” Dia.
A small polychrome seed jar
Unmarked
The three-color jar decorated in a black checkered pattern with white dotted accents on a red slip ground
2.5” H x 4.125” Dia.
4 pieces total
$400-600
314
Mauro Quezada (b. 20th century)
Three Mata Ortiz polychrome pottery seed pots, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Mauro C. Quezada
The three-color pots, each with red and black geometric motifs on a white slip ground
3 pieces
Largest: 10” H x 9.25” Dia.; Smallest: 8.25” H x 8.125” Dia.
$300-500
315
Three Mata Ortiz polychrome pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Three works:
Noe Quezada (b. 20th century)
Two effigy vessels
Each incised: Noe Quezada
Comprising a fish-form vessel with black geometric motifs on a tan slip ground, and a frog-form vessel with red and black geometric motifs on a white slip ground
2 pieces
Fish: 5.25” H x 6.875” W x 2.125” D; Frog: 4.125” H x 10.125” W x 4.25” D
Mauro Quezada (b. 20th century)
A globular pottery jar
Incised to underside: Mauro C. Quezada
The three-color jar with narrow flared spout and red and black depictions of fish and geometric motifs on a white slip ground
8” H x 7.5” Dia.
3 pieces total
$500-700
316
Three Mexican alebrijes figures
Late 20th/early 21st century; Oaxaca, Mexico
Palm tree signed and inscribed to underside: Viki Mendoza M. / San Martin / Tilcajete / Ocotlan / Oaxaca / Mexico; barrel cactus signed: Feliciano Santiago; prickly pear signed and inscribed: Melchor / Mitla / Oaxaca
The vibrantly painted folk art figures carved from copal wood, comprising a palm tree mounted with fruit and frond, surmounted by a parrot figure, a barrel cactus mounted with flowers, insects, and birds, and a prickly pear cactus with a snake figure
3 pieces
Prickly: 20.5” H x 8.5” W x 8” D; Barrel: 9.5” H x 9.5” W x 8.25” D
$200-400
317
A group of Martín Melchor Ángeles alebrijes bicycle figures
Late 20th/early 21st century; Oaxaca, Mexico
Each signed and marked: Martin Melchor Angeles / San Martín Tilcajete / Oaxaca / Mexico; two with applied sticker: Hecho en Mexico
The vibrantly painted folk art figures carved from copal wood, depicting various animal figures including a zebra, a giraffe, a jaguar, three Dalmatians, and two skeletons, each riding a bicycle with articulated wheels
7 pieces
Tallest: 11.75” H x 9.75” W x 3.5” D
$400-600
318
A group of Mexican alebrijes musician figures
Late 20th/early 21st century; Oaxaca, Mexico
Seven signed under foot: Martin Melchor; one signed and inscribed: Inocencio Vasquez M. / Sn Martin Tilcajete / Ocot. Oax.; half with applied sticker: Hecho en Mexico
The vibrantly painted folk art figures carved from copal wood, comprising various anthropomorphic animal figures playing various instruments and a conductor 12 pieces
Tallest: 8.75” H x 3.5” W x 2.5” D
$400-600
A large group of Mexican alebrijes figures
Late 20th/early 21st century; Oaxaca, Mexico
Most variously signed by the artist
The vibrantly painted folk art figures carved from copal wood, comprising three figures seated in chairs with fishing rods, and various other animals and insects 15 pieces
Tallest: 12.125” H x 6.5” W x 2.75” D; Smallest: 1” H x 1.875” W x 1.5” D
$200-400
320
Three Mexican alebrijes fantastical figures
Late 20th/early 21st century; Oaxaca, Mexico
Largest signed and inscribed to underside: Jesus Ramirez / Oaxaca Mex; another signed: Pepe Santiago; last signed with lengthy inscription: Hecho Por: Jacobo Y Maria Angeles / San Martin
The vibrantly painted folk art figures carved from copal wood, each comprising anatomical traits of multiple various animal species, one with applied fibrous mane
3 pieces
Tallest: 10.375” H x 11.75” W x 9” D; Shortest: 3” H x 11” W x 10.25” D
$300-500
321
Mauro Quezada (b. 20th century)
Three Mata Ortiz polychrome pottery seed pots, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Mauro C. Quezada
The three-color pots, each with red and black geometric motifs on a white slip ground
3 pieces
Largest: 11.375” H x 9.25” Dia.; Smallest: 8.5” H x 7.75” Dia.
$500-700
322
Nicolas Quezada (b. 20th century)
Two Mata Ortiz polychrome pottery jars, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Nicolas Quezada
The three-color jars, each with red and black swirling geometric motifs on a white slip ground
2 pieces
Taller: 9.5” H x 8.625” Dia.; Shorter: 9.25” H x 10.5” Dia.
$600-900
Hector Gallegos Jr. (b. 20th century)
Two Mata Ortiz polychrome pottery pitchers, late 20th/early 21st century; Chihuahua, Mexico
Each incised to underside: Hector Gallegos
The three-color jars with shaped spout rims, each with red and black decorations on white slip ground, comprising one with fine-line and snake motifs, and one with fish, avian, and banded geometric motifs
2 pieces
Snake: 10.25” H x 8.25” Dia.; Fish: 9” H x 8.375” Dia.
$700-900
324
Two Mata Ortiz polychrome pottery jars
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Jorge Quintana (b. 20th century)
Incised to underside: Jorge Quintana R.
The three-color jar with red and black banded geometric motifs in a white slip ground
9.75” H x 8” Dia.
Damian E. Quezada (b. 20th century)
Incised to underside: Damian E Quezada
The three-color jar with red and black banded geometric and stepped motifs in a white slip ground
9.75” H x 8” Dia.
2 pieces
$200-400
325
An Antonio Pineda Mexican silver and moonstone necklace
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
With crown mark for Antonio Pineda; further stamped: [Eagle 3] / JCL / 970 / Taxco / Hecho en Mexico
A sterling silver collar necklace featuring ten square stylized links each inset with an oval cabochon moonstone 15” L x 0.875” H
119.3 grams gross
$1,500-2,000
Literature:
Illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 158, plate 225.
Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 149, fig. XII-19.
Comprising a chunky silver modernist collar necklace with alternating shaped domed links, together with a matching stretch link bracelet, 2 pieces
Necklace: 14” inner C x 1.125” H; Bracelet: 6”-7” inner C (expandable) x 1.125” H
386.0 grams
$600-800
327
A Manuel Altamirano Mexican silver “Armadillo” necklace
Manuel Altamirano (b. 20th century)
Mid-20th century, Taxco, Mexico
Stamped to clasp: M Altamirano / Taxco / Mex / 925
Comprising a chunky sterling silver rounded square link necklace or small belt with concave plate links
Necklace: 27.75” L x 1.5” H 131.9 grams
$600-900
Literature: This design and mark illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 198, fig. IV-90 & IV-91.
328
A set of Hector Aguilar silver conchos and earrings
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
One earring stamped: HA [conjoined] / .940 / Taxco / Mexico; conchos unmarked
Comprising ten silver scrolled openwork conchos and a pair of matching concho earrings, 12 pieces
Each concho: 2.375” H x 2.75” W; Earrings: 2.75” H x 1.375” W
221.2 grams
$300-500
329
A group of Mexican silver and mixed metal brooches
Mid/late 20th century
Variously marked for maker, for Mexico, and for silver; further variously marked: [Design number] / [Eagle 12]
Five works comprising a Coro gold-plated mixed metal orchid brooch, together with three further Coro floral brooches in vermeil, sterling silver, and rose gold-plated mixed metal, together with a Victoria/Ana Maria Nunez de Brilanti for Cony mixed metal copper and sterling silver butterfly brooch (Number 214), 5 pieces
Largest: 4” H x 2.5” W; Smallest: 1.75” H x 2.75” W
100.0 grams gross
$200-400
Literature:
Similar design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 106, fig. VII-21.
A group of Mexican silver table items
Mid-20th century
Variously marked for maker, for sterling, and for Mexico
Eleven works comprising a sterling silver Maciel brazier with incised figural and abstract motifs, together with two sterling silver salt cellars or egg cups, as well as a set of four diminutive sterling silver liqueur goblets, one small single sterling silver goblet, and three sterling silver “jiggers” or shot cups in various shapes 11 pieces
Brazier: 2.75” H x 4” Dia.; Largest cup: 3” H x 2” Dia.; Smallest: 1.5” H x 1.875” Dia. 10.77 oz. troy approximately
$300-500
331
A group of Mexican silver items
Mid-20th century
Variously marked for maker, for sterling, and for Mexico
Comprising three sterling silver ashtrays including two round trays and a shell-form footed tray, each by various makers including Juventino Lopez Reyes, and Maciel, as well as three diminutive Maciel diamond-shaped sterling silver dishes, a large chased silver dish, an Emma/Pasaje Alameda small shaped sterling silver bowl, and a Bernice Goodspeed sterling silver box/holder sleeve
9 pieces
Largest ashtray: 4” Dia.; Largest dish: 4.5” Dia.; Box/cover: 3.5” H x 2.25” W x 1” D 12.020 oz. troy approximately
$200-400
332
A group of Mexican silver tableware Mid-20th century
Variously marked for maker and for Mexico, fifteen marked for sterling; further variously marked: [Eagle 22] / [Eagle 3] / [Eagle 12]
Comprising four salt cellars and a shaker, two by Bernice Goodspeed, and one a Fred Davis figural tripod cellar with “cat” legs, together with two small sterling silver forks, one by Rafael Dominguez, and one by Sanborns, as well as a small William Spratling spoon with pierced design and incised lines, and a small Victoria/Ana Maria Nunez de Brilanti demitasse spoon with scrolled end, plus three diminutive salt spoons, two by Sanborns, and six sterling silver demitasse spoons with floral handles 18 pieces
Largest cellar: 1” H x 2” Dia.; Largest fork: 4.5” L; Largest spoon: 4.25” L 6.870 oz. troy approximately
$500-700
Literature:
Goodspeed salt cellars illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007)134, fig. X-15.
Three Mexican folk art masks Mid-20th century
The polychrome carved wood masks, comprising one depicting a jaguar and woman within a fish figure, an armadillo figure mask, and a bat figure mask 3 pieces
Largest: 36” H x 14.5” W x 9.25” D; Smallest: 20.75” H x 8.25” W x 5.75” D
$500-700
334
A group of Mexican folk art masks
Early/mid-20th century
The polychrome carved wood masks, comprising one mounted with a frog figure, one jaguar mask mounted with a devil and a dog, one mask mounted with a serpentine devil figure, one devil mask mounted with a lizard, one mask mounted with a lizard figure and a lion figure, and a jaguar mask 6 pieces
Largest: 15.5” H x 10.5” W x 4.5” D; Smallest: 9.5” H x 7.5” W x 5.5” D
$600-900
335
A group of Latin American religious masks
Late 19th/early 20th century
The polychrome carved wood masks, four mounted with hardstone eyes, each featuring a sheet metal crown depicting biblical figures, two with text, and one with inlaid medallion to forehead 5 pieces
Largest: 14.75” H x 7” W x 4.5” D; Smallest: 11” H x 6” W x 3.75” D
$800-1,200
336
A group of Mexican dance masks
Early 20th century
One dated to mounted Peso: 1923
The painted carved wood masks, comprising a viejito old man mask with mounted child figure, a watermelon man mask with shell inlay accents, a two-faced mask mounted with a figure eating watermelon, a female mask with inset Peso coin, mounted to a cloth and wood backing, and a bearded man mask mounted with milagros 5 pieces
Largest: 12.25” H x 10.5” W x 5.75” D; Smallest: 8.5” H x 7” W x 3.5” D
$500-700
Notes:
The female mask is accompanied by a CoA from Faces of Mexico Ethnic Art Gallery in Cabo San Lucas, Mexico, dated March 29, 1989.
337
A group of Tlaquepaque pottery serving platters and bowl
Mid/late 20th century; Mexico
Platters stamped within a heart cartouche: Made in Mexico; ashtray inscribed illegibly
Comprising three graduated serving dishes and an ashtray, each decorated with painted scenes depicting cacti and a figure, and a footed bowl with incised detailing to interior
5 pieces
Largest platter: 2.125” H x 12.25” W x 10.5” D; Bowl: 2.625” H x 6.25” Dia.
$100-200
A group of Mata Ortiz pottery vessels
Early 21st century; Chihuahua, Mexico
Three works:
Nancy Heras de Martinez (b. 20th century)
A polychrome squared vase
Incised to underside: Nancy Heras de Martinez
The three-color vase with black and red zoomorphic motifs to body and bands of meandering and geometric motifs to shoulder, all on a cream slip glaze
9.25” H x 4.875” W x 4.875” D
Juan Mora (b. 20th century)
A polychrome low vessel
Incised to underside: Juan Mora
The three-colored vessel with black and red checkered diamond motif to body on a white slip glaze
4.875” H x 6” Dia.
Oscar Gonzalez Quezada Jr. (b. 20th century)
A polychrome two-spouted vase
Incised to underside: Oscar de G Quezada
The three-color vase with black and red feather and geometric motifs on a white slip glaze 7” H x 7” Dia.
3 pieces
$400-600
A group of Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Three works:
Yoly Ledezma (b. 20th century)
A wide shouldered seed pot
Incised to underside: Yoly Ledezma
The pot with squared rim above a black quadrillos pattern over a terra cotta wash
5.25” H x 8.75” Dia.
Lupe Soto (b. 20th century)
A polychrome jar
Incised to underside: Lupe Soto
The four-color jar with black, red, and green banded geometric motifs above a bird figure to underside, over a terra cotta wash 6.125” H x 6.5” Dia.
Lucy Mora de Bugarini
A polychrome olla jar
Incised to underside: Lucy Mora de Bugarini
The three-color jar with incised marking to shoulder above red and black banded feather motifs to body 6” H x 6.375” Dia.
3 pieces
$300-500
Two Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Jesus Tina (b. 20th century, Mata Ortiz)
A polychrome bulbous pottery jar
Incised signature to underside: Jesus Tina
The three-color jar with red and black banded feather and geometric motifs on a light brown slip
10.625” H x 9.625” Dia.
Beto Soto (b. 20th century, Mata Ortiz)
A polychrome wide pottery jar
Incised signature to underside: Beto Soto
The four-color jar with black, white, and red rattlesnake figure to shoulder and banded geometric motifs to flared rim, on a light brown slip
6.875” H x 9.75” Dia.
2 pieces
$500-700
Four Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Four works:
Sabino Villalba (b. 20th century, Mata Ortiz and Casas Grandes)
A polychrome pottery plate
Incised signature to underside: Sabino Villalba H
The three-color plate with central black lizard figure and banded red and black geometric motifs to rim on a light brown slip
1.625” H x 9” Dia.
Martin Cota Guillen (b. 20th century, Mata Ortiz)
A pottery jar
Incised signature to underside: Martin Cota Guillen
The jar with black geometric bird motifs on white slip
5.375” H x 6.125” Dia.
Adam Villa (b. 20th century, Mata Ortiz)
A polychrome pottery seed pot
Incised signature below shoulder: Adan Villa
The three-color pot with red and black banded checkerboard motif to rim, hare figures to shoulder, and scorpion figure to underside, on a light brown slip
2.5” H x 4.625” Dia.
A Mata Ortiz-style polychrome pottery jar, late 20th/early 21st century
Unsigned
The three-color jar with red and black geometric motifs on a white slip
7.25” H x 7.75” Dia.
4 pieces
$200-400
342
A Spanish Colonial devotional necklace and strand of beads
Late 19th century and later
A Spanish Colonial devotional rosary necklace with stamped metal cross pendant and brass-toned charms and beads, with sections of double strand red glass beads, as well as a single strand of coral beads with a leather neck cord, 2 pieces
Larger: 42” L x 6” H; Smaller: 25” L
212.9 grams gross
$300-500
343
A set of D’Molina Mexican sterling silver fish jewelry
Late 20th century
Each stamped: D’Molina / Mex / 925 / TM-90
Comprising a chunky silver “fish scales” link necklace with fish motif clasp to front, together with a matching fish link bracelet, 2 pieces
Necklace: 18” L x 1.5” H; Bracelet: 7” L x 1” H
254.8 grams
$600-800
344
A set of D’Molina Mexican sterling silver fish jewelry
Late 20th century
Each stamped: D’Molina / Mex / 925 / TM-90
Comprising a chunky silver “fish scales” link necklace with fish motif clasp to front, together with a matching fish link bracelet, 2 pieces
Necklace: 18.25” L x 1.375” H; Bracelet: 7.5” L x 0.875” H 239.2 grams
$500-700
345
A set of Mexican sterling silver rope twist jewelry
Late 20th century
Stamped: Mexico / 925 / TC-222
Comprising a chunky silver rope twist necklace and matching bracelet, each with barrel clasp, 2 pieces
Necklace: 27.5” L x 0.75” H; Bracelet: 9” L x 0.75” H
384.2 grams
$500-700
346
A set of Mexican silver rope twist necklaces
Late 20th century
Stamped: Mexico / 925 / TC-222
Comprising two chunky silver rope twist necklaces, each with barrel clasp, 2 pieces
Larger: 21.5” L x 0.75” H; Smaller: 17” L x 0.75” H
412.0 grams
$500-700
347
A set of Mexican sterling silver jewelry
Late 20th century
Each stamped: Mexico / 925 / LTT-26
Comprising a chunky long necklace with modernist-style abstract oval links, together with a matching link bracelet and a pair of earrings, 4 pieces
Necklace: 29” L x 1” H; Bracelet: 7” L x 1” H; Earrings: 1.125” H
A diminutive sterling silver strawberry-form container with twist-latch opening and inner compartment
1.75” H x 1.25” Dia.
29.6 grams
$100-200
Three Latin American pottery effigy vessels
Three works:
Jorge Corona (b. 20th century)
A redware fish effigy vessel, 20th/early 21st century
Incised to underside: Jorge Corona
The fish-form vessel with black geometric motifs over a red slip glaze
4.375” H x 8.75” W x 3.75” D
Lourdes Villalba (b. 20th century)
A polychrome turtle effigy vessel, 20th/early 21st century
Incised to underside: Lourdes Villalba
The three-color turtle-form vessel with red and black geometric motifs on a tan slip glaze, featuring an animal figure to underside
3.375” H x 8.5” W x 10.5” D
A Peruvian Pre-Columbian-style whistling vessel, early 21st century
Unmarked
The polychrome reproduction of a Nazca zoomorphic whistle
3.625” H x 8.125” W x 4.875” D
3 pieces
$200-400
350
A collection of Latin American pottery items 20th century or earlier
Comprising a Peruvian Chim˙ blackware effigy bottle with stirrup spout, a Chim˙ handled effigy cup, a Shipibo-Conibo bowl decorated with Icaro lines, a polychrome terra cotta reproduction of a Mayan vessel depicting red figures on a black field, two Mayan-style figural whistles, and a blackware mask 7 pieces
Chimu: 9.125” H x 6.25” W x 6” D; Smallest whistle: 3.5” H x 2.875” W x 2.125” D
$400-600
351
A group of Olmec-style carved hardstone items 20th century
Each a replica of an Olmec altar item, comprising a carved figure depicted kneeling with an offerings bowl, head/mask, and a mosaic small jar with three carved figures and opposed handles 3 pieces
Jar: 4.5” H x 4.5” Dia.; Figure: 5.25” H x 2.125” W x 3.375” D; Mask: 2.875” H x 2.75” W x 1.375” D
$300-500
352
A group of Latin American pottery vessels
Pre-Columbian
Comprising two tripod rattle bowls, each with slits in the legs and a rattling ball, one with red and white slip accents, the other with incised cross-hatch pattern to bowl interior, and a small flask with lug handle
3 pieces
Larger bowl: 4.875” H x 9” Dia.; Flask: 6” H x 5.5” W x 2.625” D
$200-400
Three Mata Ortiz polychrome pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Three works:
Noe Quezada (b. 20th century)
Incised to underside: Noe Quezada
The three-color olla jar with red and black geometric motifs on a marbled white slip ground 7.375” H x 9.625” Dia.
Reynaldo Quezada (b. 20th century)
Incised signature and date to underside: Reynaldo Quezada / 10/21/87
The three-color seed pot with red and black fine-line motifs on a marbled terra cotta ground 7.875” H x 0.625” Dia.
Lydia Quezada Celado (b. 20th century)
Incised to underside: Lydia Quezada C.
The three-color olla jar with red and black fine-line and geometric motifs on a tan slip ground 5.75” H x 6.5” Dia.
3 pieces
$600-800
354
Two Casas Grandes polychrome pottery vessels
Late 19th century; Northern Mexico
The three-color vessels, each depicting red and black geometric motifs, comprising one water jar and one small vessel with vertical ribbed accents
2 pieces
Larger: 8.75” H x 10” Dia.; Smaller: 4.75” H x 6” Dia.
$200-400
A group of Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Four works:
Porfirio “Pilo” Mora (b. 20th century)
Incised to underside: Pilo Mora / 2006
The tall jar with black op art design on a white slip ground 9.75” H x 7” Dia.
Martha Martinez Dominguez (b. 20th century)
Incised to underside: Martha Martinez Dguez
The three-color vessel with squared body, featuring red and black fine-line geometric motifs on a tan slip ground
4.75” H x 4” W x 4” D
Lazaro Ponce (b. 1961)
Incised to underside: Lazaro Ponce
The three-color vase with wide body and long flared neck, featuring red and black fine-line geometric motifs on a tan slip ground
5.5” H x 5.875” Dia.
Carmen Veloz (b. 1960)
Incised to underside: Carmen Veloz
The three-color seed pot with red and black fine-line geometric motifs on a tan slip ground
2.5” H x 4.625” Dia.
4 pieces
$300-500
356
A group of silver rings
Mid/late 20th century
Variously marked for maker; four marked for Mexico; seven marked for sterling
Comprising eleven rings in various designs, some with set stones such as onyx, amethyst, turquoise, variscite, including a Matl carved obsidian mask ring, a set cabochon amethyst ring, a Brutalist-style ring with set opal and adjustable shank, and a large Mexican silver cocktail ring with faceted blue glass stone, 11 pieces
Largest ring size: 8.5; smallest: 4.25
87.4 grams gross
$400-600
357
A group of mixed metal jewelry
Mid/late 20th century
Variously marked for maker
Eight works comprising a Rebajes copper and mixed metal pendant necklace with a detachable Rebajes copper chain, as well as a pair of Rebajes copper swirl earrings, together with a Pedro Pujol modernist style copper cuff bracelet with attached interlocking rings, a copper-toned metal link bracelet, a copper wire stylized floral openwork pendant, and three further pairs of copper and mixed metal abstract and figural earrings, 13 pieces
Pendant necklace: 18.5” L x 2.25” H; Cuff: 6.5” inner C x 1.125” H; Link: 7” L x 1.5” H; Pendant: 2.5” Dia.; Earrings: 1.75” H to 1” H 220.1 grams gross
$200-400
358
A set of Mexican sterling silver jewelry
Mid-20th century
Each marked: Sterling / Made in Mexico / 200 [likely design number]
Three works comprising a sterling silver leaf-form link necklace together with a matching bracelet and pair of earrings, 4 pieces
Necklace: 15.75” L x 0.625” H; bracelet: 8” L x 0.625” H; earrings: 1” H
78.8 grams gross
$200-400
359
A group of Mexican silver jewelry
Mid/late 20th century
Variously marked for maker, for Mexico and for sterling; further variously marked: Taxco / [Design number] / [Eagle 3] / [Indistinct Eagle] / [Eagle 16]
Five works comprising a sterling silver Plateros modernist-style clasp-front collar necklace (No. 17), together with four hinged cuff bracelets in various styles including a Margot de Taxco Margot Van Voorhies “Silver Swirls” crossover cuff with scrollwork and dot motifs (No. 5339), a Taller Taxco cuff with silver overlay wing motifs, an Alfredo Villasana crossover cuff with teardrop overlay motifs, and a sterling silver shaped crossover cuff with silver dot accents, 5 pieces
Necklace: 12.75” inner C x 1.125” H; Largest cuff: 7.5” inner C x 1.375” H; Smallest: 5.75” inner C x 3” H 401.6 grams gross
$500-700
Literature: Margot de Taxco cuff design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 81, pl. IV-2.
360
Two Mata Ortiz blackware pottery vessels
Early 21st century; Chihuahua, Mexico
Two works:
Eusebio Sandoval (b. 20th century)
A blackware pottery jar
Incised to underside: Eusebio Sandoval
With black on black fish and bird figures to body below a flared rim 10” H x 9.5” Dia.
Israel Sandoval (b. 20th century)
A blackware pottery vase
Incised to underside: Israel Sandoval
With black on black alternating lizard figures and bands of tracks motifs 9.25” H x 6.5” Dia.
2 pieces
$300-500
361
Two Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Amalia Mora (b. 20th century)
A polychrome pottery olla jar
Incised to underside: Amalia Mora
The three-color jar with red and black fish figure motifs over a tan slip glaze, featuring banded indentations to shoulder 7.25” H x 8.75” Dia.
A polychrome low jar
Unmarked
The three-color jar with red and black fish figures and geometric motifs over a tan slip glaze
6.25” H x 10.625” Dia.
2 pieces
$300-500
362
Two Mata Ortiz pottery vessels
Late 20th/early 21st century; Chihuahua, Mexico
Two works:
Beto Soto (b. 20th century)
A polychrome low pottery jar
Incised to underside: Beto Soto
The four-color jar with red, black, and white banded feather motif to neck above fish figures and geometric motifs over a tan slip glaze
8” H x 10” Dia.
Israel Sandoval (b. 20th century)
A polychrome bulbous pottery jar
Incised to underside: Israel Sandoval
The four-color jar with red, black, and white fish figures and checkered motifs over a tan slip glaze
10.5” H x 9.25” Dia.
2 pieces
$200-400
Three Latin American pottery effigy vessels 20th century
Each with feline-form motifs in relief, comprising two Casas Grandes polychrome jars, each with red and black geometric motifs over a tan slip, and a South American redware vessel with lug handle and black geometric designs 3 pieces
Tallest: 6” H x 8.625” W x 6.75” D; Shortest: 4.875” H x 7” W x 6” D
$200-400
A group of Mata Ortiz pottery vessels
Mid-20th century; Chihuahua, Mexico
Three works:
Santanita Suazo (1925-2005)
A small blackware bowl
Signed: Santanita Suazo / [illegible]
The bowl with black on black banded geometric motifs below rim 2.5” H x 3.625” Dia.
Joel Silveira (b. 20th century)
A blackware pottery vase
Incised to underside: Joel
The round-bottom vase with flared rim and black on black geometric motifs 7.125” H x 7” Dia.
A blackware pottery bowl
Unmarked
The bowl with black on black banded feather and geometric motifs 3.25” H x 6.125” Dia.
3 pieces
$100-200
365
A group of silver and mixed metal jewelry
Mid/late 20th century
Most variously marked for maker, for Mexico and for sterling; further variously marked: [Eagle 3] / Ten works in sterling silver and mixed metal, some with set stones and stone inlay, by various makers including Enrique Ledesma, Bernice Goodspeed, and Thomas Mann, comprising four figural brooches in various designs including a cat face and a serpent, as well as five pairs of earrings including a pair with shadowbox Pegasus motif, and one pair with bird motifs, together with a black ribbon choker necklace with round sterling “belt buckle’ clasp, and a sterling silver wire bangle with 10K gold accent and decorative spring latch,16 pieces
Choker: 14.5” L x 1.5” H; Bangle: 6.75” inner C; Largest brooch: 1.375” H x 2.5” W; Largest earring: 1.375” H
116.2 grams gross
$300-500
366
A group of Peruvian and Mexican silver and mixed metal jewelry
Mid-20th century
Most variously marked for maker, for country, and for sterling; further variously marked: [Design number]
Fifteen works in silver and mixed metal, some with set stones such as onyx and glazed turquoise ceramic cabochons, by makers including Graziella Laffi, Los Castillo, and Tono/Piedra Negra, featuring eleven brooches, three pairs of earrings, and a small pendant, all designed with various fish, bird, and other figural motifs, 18 pieces
Largest brooch: 3” H; Largest earring: 1.25” H
180.5 grams gross
$300-500
367
A group of Mexican silver floriform brooches
Mid-20th century
Each variously marked for maker, for Mexico and for sterling; further variously marked: [Design number] / [Eagle 16] / [Eagle 1]
Six works in sterling silver including a Hector Aguilar floral sprig brooch, a Margot de Taxco rose bloom brooch (No. 5352), a Los Castillo modernist-style floral sprig brooch with set hardstones (No. 14), two Damaso Gallegos tulip brooches, and a William Spratling ribbon bow brooch with dangling heart, 6 pieces
Largest: 1.75” H x 3” W; Smallest: 1.5” H x 2.25” W
111.7 grams gross
$200-400
Literature:
Spratling brooch illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 56, fig. III-58.
A group of Mexican silver and modernist-style jewelry
Late 20th century
Each marked for sterling; four variously marked for Mexico; round collar stamped: JS Comprising a Mexican sterling silver and black enamel pendant necklace with geometric patterns, with a pair of matching clip earrings, together with a Mexican modernist-style sterling silver collar with shaped edges, and a pair of Mexican silver concho-style clip earrings, as well as two further collars, one a vermeil sterling silver V-shaped collar, and one round collar, 8 pieces
Necklace: 20” L x 1.25” H; Collars: 14.5” L & 11.5” L; Earrings: 1.625” H & 1.125” H 133.3 grams gross
$200-400
369
A group of Mexican silver dress accessories
Mid-20th century
Most variously marked for maker, for country, and for sterling; further variously marked: [Design number] / [Eagle 9] / [Eagle 1] / [Eagle 3]
Eighteen works in silver and mixed metal, some with set stones including obsidian and hardstone mosaic, by makers including Margot de Taxco, Los Castillo, Mosaico Azteca, Valentin Vidaurreta, Antonio Pineda, Hector Aguilar, Rafael Melendez, Fuentes, and Romero, featuring four tie clips, two money clips, four pairs of cuff links, two sterling silver belt buckles and an elaborate fine filigree two-piece belt buckle, two sets of floriform buttons and a pair of Vogt butterfly filigree collar ends, in various floral, figural and abstract motifs, 34 pieces
Largest buckle: 2” H x 2.875” W; Largest clip: 0.25” H x 2.625” W; Largest cuff link: 1” H; Largest button: 1.5” H
290.8 grams gross
$200-400
Literature:
A similar Hector Aguilar buckle design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-22.
370
A group of Mexican silver and hardstone earrings
Mid-20th century
Most variously marked for maker, for Mexico and for sterling; further variously marked: [Eagle 15]
Twelve pairs of earrings in sterling silver, and various stones including amethyst, obsidian and greenstone inlay, featuring designs by Hector Aguilar, William Spratling, Fred Davis, Margot de Taxco, Los Castillo/Mosaico Azteca, and F. Gutierrez, in various sizes and motifs including feathers, ewers, leaves, and scrollwork motifs, 24 pieces
Largest: 1.75” H; Smallest: 0.75” H
121.8 grams gross
$200-400
371
A large group of Mexican silver earrings
Mid/late 20th century
Variously marked for maker, for silver and for Mexico; further variously marked: [Design number} / [Eagle 16] / [Eagle 3] / [Eagle 23]
Comprising twenty-seven pairs of earrings by various makers including Hector Aguilar, Margot de Taxco, Felipe Martinez/Piedra Y Plata, and Coro, in various designs such as floriform, abstract, botanical, and figural, five with mother-of-pearl shell inlay, three with set stones including amethyst, two pairs with enamel accents, and three pairs in fine silver filigree, 54 pieces approximately
Largest: 2.125” H x 1.375” W; Smallest: 0.75” H
225.3 grams gross
$200-400
Literature:
Margot de Taxco flower earring design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), copyright/verso page.
August 26, 2025
Consignment and Auction Inquiries: info@johnmoran.com
SINCE 1969
A Clarence Lee Sterling Silver Story Teller Necklace Price Realized: $9,240
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Overall good appearance. With full margins on three sides (including the original gilt edges), trimmed and with a strip of binding tape along the left margin edge. Pale lightstaining showing through the mat’s window opening. A 2.5” H x 0.5 “ W area of scattered pale foxing in the lower portion of the right margin edge. Time staining along the extreme margin edges. The work is hinged to the back mat with small pieces of hinging tape from both the recto and verso of the upper margin corners.
Framed under glass: 14.75” H x 11.625” W x 0.5” D
2
Overall good condition. With full margins on two sides (including the original gilt edges), both vertical margin trimmed (and with a strip of binding tape along the left margin edge). Pale light-staining showing through the mat’s window opening. A 3” H x 0.5” W area of scattered pale foxing in the lower portion of the right margin edge. Time staining along the extreme margin edges. The work is hinged to the back mat with small pieces of hinging tape from both the recto and verso of the upper margin corner.
Framed under glass: 14.75” H x 11.75” W x 0.75” D
3
With margins. Pale light-staining. Time staining along the extreme edges. Specks of foxing and minor surface soiling scattered throughout the recto and verso. Clusters of surface skinning, the largest being 1” H x 1” W, all concentrated in the blank of the image. Two areas of pale staining showing on both the recto and verso, the first area measuring 4” H x 0.5” W at the center of the left edge, and the other area measuring 3” H x 0.125” W in the extreme upper edge, at left, all not affecting the image. Two 10.5” diagonal creases running parallel along the lower right margin corner, and other handling creases scattered throughout. A 0.5” H x 0.5” W tear near the lower right margin corner. The sheet is loose, not matted.
Unframed
4
Overall generally good appearance. Full margins with deckled edges. Very pale time staining along the margin edges. A pale, pinpoint-sized foxmark at the center of the right margin edge. A few small tears along the extreme lower margin edge. Scattered areas of surface soiling in the margin edges and some areas on the verso. The sheet is loose, not matted.
Unframed
5
Overall generally good appearance. Full margins with deckled edges. Traces of printer’s ink scattered in the outer margins. Scattered handling creases in the margins, the most prominent area in the lower right margin quadrant, the largest measuring 6” diagonally. Small areas of surface soiling scattered in the margin edges and some areas on the verso. The sheet is loose, not matted.
Unframed
6
Overall good appearance. Full margins with deckled edges. Stray printer’s ink and soft, occasional handling marks scattered in the margins. The lower right margin corner is dog-eared. The sheet is loose, not matted.
Unframed
7
Overall good appearance. Full margins with deckled edges. Small hairline traces of printer’s ink scattered in the outer margins. Soft cockling in the margins, just outside of the image, attendant with the printing process. A few small, pale areas of staining scattered in the margin of the upper left quadrant. Scattered areas of surface soiling at the outer edges, verso. The sheet is loose, not matted.
Unframed
8
Overall generally good appearance. Full margins with deckled edges. Hairline traces of printer’s ink scattered in the outer margin edges. A pale, pinpoint-sized foxmark near the lower right corner. Mostly minor handling creases scattered in the margins, the largest being a 7” diagonal crease near the upper portion of the right margin and not affecting the image. Small scattered areas of surface soiling in the margins. The sheet is loose, not matted.
Unframed
9
Overall generally good appearance. With margins. Pale light-staining. Creasing throughout, the more apparent areas in the upper left margin corner and along the right margin. Two areas of loss, one measuring 0.5” H x 0.25” W in the upper portion of the left margin edge, and a pinhead-sized area of loss in the lower portion of the left margin edge. Bands of surface soiling scattered along the right margin edge and corners. A piece of old tape at the extreme upper right margin corner. The sheet is tipped to the back mat from the verso of the upper margin corners.
Unframed; Mat Board: 19” H x 14” W x 0.125” D
10
Overall good appearance. Full margins with deckled edges. The sheet is attached to the overmat with white hinging tape in places from the verso of the upper and lower margin edges.
Framed under glass: 29.75” H x 35.5” W x 1” D
11
Overall generally good appearance. With deckled edges. The tips of the margin corners very slightly dog-eared. A few scattered rice-sized abrasions with attendant slight pigment loss, confined to the deckled edges. The sheet is loose, not matted.
Framed under glass: 26” H x 34” W x 0.75” D
Overall good appearance. The full sheet with deckled edges. Very soft, minor handling marks, only visible from the verso. The sheet is loose, not matted.
Framed under glass: 24.75” H x 32.5” W x 1.5” D
13
Overall good appearance. Very pale, old light-staining. A foxmark near the right edge, several inches above the signature, and another to the left of center in the extreme lower edge. Not examined out of the frame.
Framed under glass: 21.5” H x 27.25” W x 2.25” D
14
Overall good appearance. Very soft, minor cockling, primarily visible in the upper and left edges. A few unobtrusive, soft handling creases in the right portion of the upper sight edge, primarily visible in raking light. A fine 1” diagonal surface scratch in the bird-like figure in the upper left quadrant. A few unobtrusive, pinpoint-sized disturbances in the paper fibers, scattered primarily in the left half. Not examined out of the frame.
Framed under glass: 27.5” H x 33.25” W x 1.75” D
15
Overall good condition with dust accumulation and minor wear commensurate with age. With wood batten and attached cotton tape loops verso for hanging.
16
Overall good appearance. With margins. Not examined out of the frame.
Framed under Plexiglas: 34” H x 29.5” W x 1.5” D
17
Overall generally good appearance. As mentioned, the paper is laid to board. It is also affixed to the overmat along the recto of the work’s upper edge.
Framed under glass: 20” H x 22.5” W x 1” D
18
Overall good appearance. Pinhead-sized (or smaller) pigment losses scattered in places along the extreme edges. The upper left corner slightly dog-eared. The work is loose, not matted.
Unframed
19
Each overall good appearance. With wide (possibly full) margins. The colors generally good. T-R 7902 with a few scattered foxmarks, pea-sized or smaller, the largest in the upper portion of the right margin, near the edge. Two smaller foxmarks in the blank of the plate, and a few more in the lower margin. The upper margin corners of this example slightly uneven from old hinges showing through from the verso, visible primarily in raking light. T-R 7905, 7906, and 7907 each with an occasional pale and unobtrusive foxmark concentrated primarily in the margins. None of the examples examined out of their frames.
Each framed under Plexiglas: 20.25” H x 26.5” W x 1.75” D
20
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More concentrated scuffing to bottom third and underside, obtrusive to the white decorations.
21
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The body with several darker scuffs, two measuring 3” long.
22
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
23
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
24
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous dealer’s sticker applied to underside.
25
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
26
With margins. Uneven, pale staining throughout. An irregular scattered horizontal crease near the center of the image and margins. Other scattered creases scattered along the lower margin. The sheet is sandwich-mounted.
Framed under glass: 20” H x 16.375” W x 1.5” D
27
Pale light-staining throughout. Pea-sized (or smaller) areas of surface skinning scattered throughout the outer edge, and larger areas scattered throughout the verso. Soft, scattered handling creases and the upper right corner slightly dog-eared. A small foxmark in the lower portion of the extreme left edge. Abrasion along the extreme edges. Artist pinholes at each of the sheet corners and the center of the upper and lower sheet edges. The extreme lower edge is unevenly trimmed, possibly in the hand of the artist. The sheet is loose, not matted.
Unframed
28
With narrow margins showing as displayed. The colors attenuated. Not examined out of the frame.
Framed under glass: 26” H x 21” W x 1” D
29
Overall good appearance. The sheet is hinged to the overmat with long pieces of brown paper tape along the verso of each sheet edge.
Unframed
30
Overall good appearance. An unobtrusive pinhead-sized abrasion to the sheet in the upper right corner. Horizontal and vertical folding creases and handling marks, all attendant with this being a letter. The sheet is framed floating, mounted to an invisible mat board from the verso of the sheet, and that mat board is subsequently affixed to the back mat. Not examined out of the frame.
Framed under Plexiglas: 16” H x 13.5” W x 1.25” D
31
Overall generally good appearance. The sheet with full margins and deckled edges. Soft handling marks scattered primarily in the margins. Each of the margin corners slightly dog-eared. Occasional, very minor abrasions scattered in the margin edges, primarily affecting the deckled edges. The sheet is loose, not matted.
Unframed
32
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 14.25” H x 18” W x 2.5” D
33
With margins. Three pale and generally unobtrusive old damp stains in the background of the image, two of which are near the outstretched arm of the man and the other just above the back of the fish-person, the largest measuring approximately 2” H x 1” W. A few scattered foxmarks, the largest approximately pea-sized in the neck of one of the white birds in the lower right corner of the image. Framed floating, tipped to the green back board from the verso of the margin edges. Not examined out of the frame.
Framed under Plexiglas: 24.75” H x 29.5” W x 1” D
34
Overall good appearance. Full margins with deckled edges. A good impression with velvety burr. A very pale 1” H x 0.125” W area of staining in the lower right margin corner. Very soft, occasional handling marks in the outer margin edges, mostly visible in raking light. The sheet is loose, not matted.
Unframed
35
Overall good appearance. With margins, the right margin edge deckled. A pinhead-sized area of surface soiling near the lower left margin corner. A very small, approximately rice-sized area of abrasion to the left of the extreme lower margin edge, more apparent on the verso. Two rectangular hinging tape remnants on the verso of the upper margin edge. The sheet is loose, not matted.
Unframed
36
Overall good appearance. With margins. A few, small, flattened handling creases scattered in the image and margins, primarily visible in raking light. Not examined out of the frame.
Framed under glass: 21.25” H x 17.25” W x 1” D
37
Visual: Overall generally good appearance. Occasional pinhead-sized spots of pigment loss in the upper half. A 1.75” H x 0.25” W and 1.25” H x 0.25” W area of surface abrasion with attendant pigment loss at the center of the work and the lower left extreme edge. A few rice- to pinhead-sized spots of surface abrasion with attendant pigment loss in the lower right and lower edge.
Blacklight: No evidence of restoration.
Frame: 38” H x 20” W x 1.5” D
38
Visual: Overall good appearance. A 3” H x 2.5” W area of varnish accumulation upper right.
Blacklight: No evidence of restoration.
Unframed
39
With scattered minor scuffs, soiling, dust accumulation, and darkening/oxidation to bronze commensurate with age. Scattered verdigris throughout.
40
Overall generally good appearance. The full sheet with deckled edges. Some of the colors appear to be slightly attenuated. A few pinhead-size surface abrasions in the upper left corner, visible only in raking light. The work is framed floating, hinged to the fabric-covered back mat in places from the verso of the sheet edges. Not examined out of the frame.
Framed under Plexiglas: 31.5” H x 24” W x 1.5” D
41
Overall good appearance. The full sheets and colors fresh. A few of the folded pages very slightly curved from storage, but not necessarily permanently. The interleaving tissues with various creases throughout. Slight soiling, staining, shelf and edge wear to the outer fabric-covered boards and slipcase.
Overall: 13.25” H x 14” W x 2” D
42
Overall good appearance. With wide margins. Occasional handling creases scattered in the lower margin and the lower portions of the left and right margin edges, mostly visible in raking light. Not examined out of the frame.
Framed under glass: 37.5” H x 29.5” W x 1.75” D
Overall good appearance. Not examined out of the frame.
Framed under Plexiglas: 37.75” H x 24” W x 1.5” D
44
Each overall good appearance. With margins. “Vuelo inesperado” with a few very minor creases in the upper margin, primarily visible in raking light. Not examined out of the frame.
Each framed under Plexiglas: approx. 17.25” H x 21” W x 2” D (or reverse)
45
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 54.5” H x 66.25” W x 1.5” D
46
Overall good appearance. The full sheet with deckled edges. A couple of very minor printing imperfections scattered in the lower half of the image, the largest pinhead-sized in the left leg of the table. Pale scattered foxing, primarily confined to the margins and verso. A 0.75” H x 0.75” W ‘L-shaped’ surface split in the deckle of the lower portion of the right margin edge, not affecting the image. Seven small patches of minor surface skinning, each approximately 2” H x 2” W, in places on the verso due to prior framing. The sheet is loose, not matted.
Unframed
47
Overall good appearance. The full sheet with deckled edges. Two very short and unobtrusive tears near the center of the left extreme edge, the longer of which measures 0.125.” The tips of the upper and lower right sheet corners very slightly dog-eared. The sheet is framed floating, tipped or hinged at the verso of the sheet edges to a hidden matboard, which is subsequently affixed to the fabriccovered back mat. Not examined out of the frame.
Framed under Plexiglas: 34” H x 42” W x 1.5” D
48
Overall good appearance. Minor dust accumulation. A few minor cracks and chips, presumably intrinsic to the creation of the work.
Unframed
49
Visual: Overall good appearance. Minor bumps and creases throughout, attendant with the paper having been laid to board.
Blacklight: No evidence of restoration.
Frame: 27.75” H x 23.75” W x 1.5” D
50
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Framed under glass: 32.75” H x 28.75” W x 2” D
51
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Framed under glass: 21.5” H x 23” W x 2” D
52
Overall good appearance. Minor scattered areas of white residue, primarily in the outer edges. Fine scattered creasing throughout, attendant with the sheet being laid to Masonite.
Framed under glass: 15” H x 15” W x 1.5” D
53
Visual: Overall good appearance. Minor discoloration. Scattered wear to the extreme edges, with some small areas of loss, primarily in the extreme upper edge. Small pieces of paper adhered to the surface along the verso’s left and lower edges.
Blacklight: No evidence of restoration.
Framed under glass: 16.5” H x 14.125” W x 1.5” D
54
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
55
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rojas with splattered staining throughout, concentrated to front half of figure.
56
Visual: Overall good appearance. Minor darkening to the pigment. A very small, unobtrusive area of pigment loss in the black outlining of the small yellow flower at the center of the upper edge. Wear to the extreme edges of the Masonite.
Blacklight: No evidence of restoration.
Framed under glass: 16” H x 16” W x 1” D
57
Overall good condition with dust accumulation and minor wear commensurate with age. With stitched drapery tape sleeve verso, for hanging.
58
Overall good appearance. Not examined out of the frame.
Framed under Plexiglas: 28” H x 37.5” W x 0.75” D
59
Overall generally good appearance. With wide (possibly full) margins and deckled edges. Soft handling marks along the outer margins. The lower margin corners somewhat dogeared. Additionally, the lower left margin corner with slight puckering due to the attachment to the back mat. The sheet is framed floating, tipped to the back mat from the verso of the margin corners. Not examined out of the frame.
Framed under Plexiglas: 42.75” H x 32.75” W x 1.25” D
60
Visual: Overall good appearance. A few scattered areas of fine craquelure. A mentioned, the canvas is laid to panel.
Blacklight: A few scattered areas of touch-up in places along the outer edges, the largest 1” H x 2” W, in the upper left corner.
Frame: 10.75” H x 8.625” W x 1.75” D
61
Overall good appearance. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 29.75” H x 45.75” W x 2” D
62
Overall good appearance. Full margins with deckled edges. A good impression. Occasional handling creases in the margin edges, the largest being a minor 7” diagonal crease in the lower portion of the right margin, not affecting the image. The sheet is loose, not matted.
Unframed
63
Overall good appearance. The full sheet with deckled edges. Pale toning, verso. The sheet is loose, not matted.
Unframed
64
Overall good appearance. A rich impression with good contrasts. Wide (possibly full) margins. A few soft handling marks in the lower left and upper right margin corners, not affecting the image. The carcasses of two minute bugs trapped between the paper and the Plexiglas of the lower margin. Not examined out of the frame.
Framed under Plexiglas: 27.75” H x 32” W x 1.5” D
65
Overall good appearance. With wide (possibly full) margins. Not examined out of the frame.
Framed under glass: 26.5” H x 21” W x 1” D
66
With wide margins. Various skillfully repaired and touchedin surface abrasions, and V-shaped, accordion tears, concentrated primarily in the right half of the image, the largest approximately 0.5” H x 3” W, all of which are visible primarily in raking light. Slight mat staining evident in the outer portion of the margins. A pale, rice-sized stain in the upper margin, at right. Not examined out of the frame.
Framed under glass: 28.5” H x 35” W x 1” D
67
Overall good appearance. Very minor, soft cockling, primarily visible in raking light. Not examined out of the frame.
Framed under glass: 26.75” H x 29.25” W x 1.75” D
68
Overall good appearance. A rich impression on a sheet of paper with margins. Not examined out of the frame.
Framed under glass: 24” H x 30.5” W x 1.25” D
69
Overall generally good appearance. With margins. Pale light-staining. Pale bands of staining along the lower margin and in the upper right margin corner. A 0.75” horizontal tear in the upper portion of the right margin edge. A few small, scattered, flattened creases and minor surface soiling in the margins. Not examined out of the frame.
Framed under glass: 48.5” H x 36.5” W x 2.25” D
70
Overall good appearance. With margins. Not examined out of the frame
Framed under glass: 17.5” H x 20.5” W x 1” D
71
Overall good appearance. With margins. Not examined out of the frame.
Framed under Plexiglas: 18.5” H x 14.75” W x 1.375” D
72
Overall good appearance. With margins. A pinhead-sized area of slightly white painted pigment near the upper right margin corner. Small, minor creases in the margins. A pale 0.125” H x 1.5” W area of staining in the extreme lower margin edge, right of center. Not examined out of the frame.
Framed under Plexiglas: 21.625” H x 17.125” W x 2” D
73
Visual: Overall good appearance. Very fine, scattered craquelure, primarily in the upper half. Minor scattered frame abrasion with occasional rice-sized (or smaller) pigment losses, and flecks of gold leaf transfer along the extreme edges.
Blacklight: No evidence of restoration.
Frame: 30” H x 26” W x 2.25” D
74
Overall good appearance. The hue of the paper very slightly faded, except for a 0.25” border all the way around, where covered by the frame. An unobtrusive, rice-sized surface abrasion in the lower sheet edge, and another even smaller abrasion in the right sheet edge, both of which are near the lower right corner and do not affect the image. As mentioned, the sheet is laid to board.
Framed under glass: 28.25” H x 22.5” W x 2” D
Overall good appearance. With deckled edges. Minor dust accumulation. A few unobtrusive foxmarks in the lower left quadrant. The sheet is framed floating, and as mentioned, mounted to an orange support board, presumably in the hand of the artist.
Framed without glazing: 32.75” H x 39.75” W x 2” D
76
Overall good appearance. With margins. Not examined out of the frame.
Framed under glass: 38” H x 28” W x 0.75” D
77
Overall good appearance. Very fine craquelure in areas of the white pigment structures. The sheet is framed floating, mounted to an “invisible” styrofoam back mat from the verso sheet, and that mat board is subsequently affixed to the back mat. Not examined out of the frame.
Framed under Plexiglas: 16” H x 12.375” W x 1.5” D
78
With margins. A very faint, unobtrusive hairline surface scuff in the right of center of the lower edge of the image. A few pale foxmarks scattered in the margins. A 3” vertical crease in the upper portion of the left sheet edge. Two 0.25” diagonal tears that have been repaired with two pieces of tape from the verso, in the lower portion of the right edge. Minor abrasions and tears scattered, along the outer sheet edges, the largest 0.25” long. A few soft handling marks in the outer margins. Two areas of surface skinning, the largest 0.875” H x 0.75” W, in the verso of the upper sheet corners, presumably due to old hinging tape. A few scattered areas of pale surface staining showing in the verso. The sheet is loose, not matted.
Unframed
79
Overall generally good appearance. Pale light-staining and the colors slightly attenuated. A thin 1” band of surface skinning at the center of the work. A pale, pinpoint-sized foxmark near the center of the upper sheet edge. Areas of minor surface soiling scattered in the extreme edges and corners. Minor handling creases scattered throughout. Two stray pinhead-sized orange pigments on the verso, showing through slightly to the recto, near the lower portion of the right edge. The sheet is loose, tipped down from the verso of the upper right corner, and with the three other corners of the loose sheet secured to the back mat with clear archival corners.
Framed under glass: 22” H x 17” W x 1” D
80
With margins, slightly trimmed unevenly along the right margin edge. Pale light-staining throughout. A pea-sized area of white gouache-type medium added in the lower margin, to the right of center, not affecting the image. Pale backboard staining and occasional minor surface soiling, verso. Masking tape remains along the center of the upper and lower margin edges. The sheet is hinged to the overmat with a piece of white artist’s tape from the verso of the upper margin edge.
Framed under glass: 26” H x 21.5” W x 1.5” D
81
Overall good appearance. With margins. Pale, scattered staining along the lower margin edge. Soft handling marks in the outer margin edges, mostly visible in raking light. The sheet is framed floating, tipped to the back mat in places along the verso edges and corners. Not examined out of the frame.
Framed under Plexiglas: 40” H x 32” W x 1.5” D
82
Overall good appearance. Soft, minor handling marks scattered throughout, showing primarily in the background in raking light. A few pale, unobtrusive, scattered foxmarks in the background, not affecting the image. Not examined out of the frame.
Framed under glass: 41” H x 31” W x 2.25” D
83
Overall good appearance. Occasional, minor handling marks scattered primarily in the outer edges and corners. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.
Framed under glass: 22.75” H x 30.75” W x 1.125” D
84
Overall good appearance. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.
Framed under glass: 21” H x 17.75” W x 1.125” D
85
Visual: Overall good appearance. Minor dust accumulation and unobtrusive wear to the unprimed canvas at the outermost corners. The canvas is slightly loose on its stretcher.
Blacklight: No evidence of restoration.
Unframed
86
Visual: Overall generally good appearance. Scattered areas of craquelure throughout.
Blacklight: No evidence of restoration.
Frame: 47” H x 30.25” W x 1.75” D
87
With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a repaired break to one pinecone finial and small scattered older losses throughout.
88
One horn with a repaired break, each horn with small losses at end. Two pea-sized losses to base. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
89
Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with older chipped losses throughout, including two with losses to pinecone finials.
90
With inherent flaws and dust accumulation commensurate with age.
91
Each overall good condition with shelf wear and minor rubbed loss to dyed layer commensurate with age.
92
With typical wear, losses, and soiling commensurate with age.
93
With scattered older scuffs and scratches and patination/ darkening to wood commensurate with age.
94
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered spattered stains, a pea-sized chipped loss behind right ear proper, and scattered crazing.
95
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a repaired break to right hand proper, possible restoration to left hand proper, and losses to polychrome throughout.
96
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered spaulding to underside.
97
Visual: Overall generally good appearance. Fine craquelure and scattered surface grime throughout. Stretcher bar creases along each side. A 0.75” diagonal surface scratch with attendant pigment loss in the hip of the figure, in the lower left quadrant. A 1” diagonal blue surface scuff in the lower portion of the right edge, as well as other, softer, minor, scattered scuff marks primarily in the outer edges.
Blacklight: No evidence of restoration.
Frame: 40” H x 28.25” W x 1.25” D
98
Overall good appearance. With margins. Very slight, soft cockling, primarily visible in raking light. Some very pale, minor staining in the outer margins. Not examined out of the frame.
Framed under Plexiglas: 48” H x 38.25” W x 2.25” D
99
Overall good appearance. With margins. Minor toning throughout. A pale pea-sized spot of staining in the upper margin, at left, partially affecting the image. Not examined out of the frame.
Framed under glass: 30.5” H x 22.25” W x 1.75” D
100
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 39.5” H x 27.5” W x 2” D
101
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 27.5” H x 39.5” W x 2” D
102
Visual: Overall good appearance. A few unobtrusive scattered specks of stray white paint.
Blacklight: No evidence of restoration.
Frame: 14” H x 10” W x 1.5” D
103
Visual: Overall good appearance. A pinhead-sized puncture near the lower right corner.
Blacklight: No evidence of restoration.
Unframed
104
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to the glaze throughout. Accompanied by wallhanging hardware.
105
Overall good appearance. Not examined out of the frame due to framing materials verso.
Framed under glass: 31” H x 24.5” W x 1.75” D
106
Visual: Overall good appearance. A few scattered unobtrusive pinpoint-sized pigment losses.
Blacklight: No evidence of restoration.
Frame: 36.5” H x 28.5” W x 1.5” D
107
Overall good appearance. With margins. Pale overmat staining showing in the margins. The sheet with very minor cockling. A soft handling mark to the right of center in the lower margin, not affecting the image. Not examined out of the frame.
Framed without glazing: 31.25” H x 25.75” W x 1.75” D
108
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Unframed
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 38.25” H x 48.25” W x 3” D
110
Overall good appearance. A 0.75” horizontal crease or possible paper split in the lower left corner of the image. The sheet is framed floating, hinged to the back mat in various places from the verso of the sheet edges and corners. Not examined out of the frame.
Framed under Plexiglas: 44.25” H x 65” W x 1.5” D
111
Overall good appearance. Not examined out of the frame.
Framed under glass: 27.25” H x 31.25” W x 1” D
112
Visual: Overall good appearance. Two very soft reverse pressure marks, the largest approximately 0.5” H x 1.25” W, primarily visible in raking light, at the center of the upper edge.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 31.5” W x 2.5” D
113
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 36.5” H x 52.75” W x 2” D
114
Overall good condition with dust accumulation, scattered minor scuffs, and darkening to bronze commensurate with age. Plinth with scattered nicks and small losses to paint, with some stains to top surface.
115
Overall good condition with dust accumulation, scattered minor scuffs, and darkening to bronze commensurate with age. Glass top with scattered scratches throughout. Plinth with small nicks at corners.
116
Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Plinth with scattered scuffs and scratches, concentrated to upper surface.
117
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
118
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 16.25” H x 12.25” W x 1.5” D
119
Visual: Overall good appearance. Very soft frame abrasion and minor wear to each of the corners, none of which is visible as framed.
Blacklight: No evidence of restoration.
Frame: 16” H x 22” W x 1.5” D
120
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Unframed
121
Visual: Overall good appearance. A pea-sized, very slight pressure mark in the upper left corner.
Blacklight: No evidence of restoration.
Unframed
122
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Unframed
123
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 33.5” H x 66” W x 2” D
124
Visual: Overall good appearance. A small, unobtrusive area of very fine craquelure in the dark brown pigment at the top of the sailboat, in the upper left quadrant.
Blacklight: No evidence of restoration.
Frame: 31” H x 40.75” W x 1.75” D
125
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 34.75” H x 48.5” W x 2” D
126
Overall good appearance. Pale light-staining and slightly uneven staining showing primarily in the outer edges, not affecting the image. Surface soiling and stray pale black pigment along the outer edges of the upper and right edges, and a small area of glue residue near the upper right sheet corner, all not affecting the image. Handling creases scattered in the outer edges and cockling along the right edge. Artist’s pinholes at each sheet corner. Areas of glue residue in places on the verso of the sheet edges and corners. The sheet is loose, not matted.
Unframed
127
Overall good appearance. The full sheet with deckled edges. Two minor diagonal creases across the extreme lower left corner, the longest 1” and only visible in raking light. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 25.25” H x 30.75” W x 1.25” D
128
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 30” H x 41.5” W x 3” D
129
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 26” H x 36” W x 3” D
130
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 16.5” H x 20.5” W x 3” D
131
Visual: Overall generally good appearance. An unobtrusive, 1” horizontal repaired tear near the upper right corner. An 11” diagonal crease extending from roughly the bottom of the female figure’s left toes to a central point below the chair’s shaggy fringe, and another measuring 7.5” extending horizontally across the lower unpainted corner of the canvas, both of which are visible primarily in raking light. The canvas is slightly puckered along the lowest section of the right edge.
Blacklight: No evidence of restoration.
Frame: 40” H x 41” W x 1.25” D
132
Overall good appearance. With margins. Not examined out of the frame.
Framed under glass: 18.5” H x 22.5” W x 2.25” D
133
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
134
Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age.
135
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More concentrated and significant scuffs to matte ground.
136
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
137
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One stone with chip to side. Amethysts with eye-visible inclusions and a few scattered minor chips to points. Two silver dot embellishments lacking central dot.
138
Overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions. Label residue verso.
139
Overall good condition with light tarnishing and scratches commensurate with age and use.
140
Each in overall good condition with wear, oxidation, and scratches commensurate with age and use.
141
Each in overall good condition with wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. Two-piece buckle with stone loss to one snake eye. Wear and creasing to leather belt strap.
142
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 16.5” H x 26.5” W x 2.25” D
143
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 13.25” H x 18.5” W x 2.5” D
144
Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. With several scattered small nicks revealing the base material.
145
Overall good appearance. A pea-sized foxmark above the leg of the figure near the upper edge. Small, scattered spots of mold or mildew scattered near the lower edge, and some areas of the same slightly obscuring the signature. Scattered creases and slight splits to the paper all inherent in the handmade paper. Not examined out of the frame.
Framed under Plexiglas: 73.5” H x 35.75” W x 2.5” D
146
Overall good appearance. Small losses and lifting to some of the collage elements.
Frame: 16.125” H x 13.625” W x 1.5” D
147
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: rubbed wear to the painted decorations and a possible accession sticker to underside.
148
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: losses to polychrome throughout, a 0.5” long chipped loss to left side of mask, and fire clouding throughout.
149
The mask is separate and sits in the figure’s head. Figure with detached left leg. With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy chipped losses throughout, including to backs of shoulder mounts and item carried in left hand proper.
150
Each with shelf wear, rubbed losses to painted details, scattered scuffs, and inherent firing flaws commensurate with age. Each vessel with fire clouding and soiling. Largest vessel with crack through/break to one end of handle.
151
With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy crazing throughout ceramic and inherent indentations to gold piece.
152
With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age.
153
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Verso with staining/soiling and drip marks, with some older losses and evidence of inactive insect grazing. Top with a lateral crack through the wood. Losses to paint throughout. Cabinet with updated hardware. Lacking key.
154
With soiling, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top, drawer fronts, and front panel each with multiple lateral cracks in the wood. Table is shaken.
155
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses throughout, with some evidence of inactive insect grazing.
156
Each with soiling, losses to paint, and general wear commensurate with age. Soiling to fabric clothing, with dust accumulation. One figure lacking the traditional hat, each possibly missing other original elements.
157
With multiple repaired breaks and cracks throughout, scattered spaulding losses, and soiling. With shelf wear, fading to polychrome, and inherent firing flaws commensurate with age. Older chipped losses to rim, the largest measuring 1.25” x 0.5” large.
158
Underside with a 1.5” x 1.25” repair. With shelf wear, scattered scuffs, soiling, crazing, spaulding, and inherent firing flaws commensurate with age. Some stains possibly due to older moisture damage and subsequent microbial growth. With a few pea-sized chipped losses to rim.
159
Overall good appearance. Slight traces of excess glue in places, attendant with the artist’s working process. The work is tipped to the back mat from the verso of the support sheet’s upper corners.
Framed under Plexiglas: 18.5” H x 14.5” W x 0.5” D
160
Overall good appearance. Occasional flecks of pale foxing scattered in the collage eye pieces. The lower right collage eye piece with pale staining along the eyebrow. The work is tipped to the back mat from the verso in places along the sheet edges and corners.
Framed under Plexiglas: 18.5” H x 14.5” W x 0.75” D
161
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Unframed
162
Visual: Overall good appearance. Scattered areas of wear to the pigment along the outer edges. A minor 0.75” H x 3” W pressure mark with an attendant 0.25” vertical tear in the extreme upper edge, at right.
Blacklight: No evidence of restoration.
Unframed
163
Overall generally good appearance. The colors slightly attenuated. Occasional short handling creases, some with attendant small pigment losses, including in the backrest and seat of the bench. Not examined out of the frame.
Framed under glass: 28.5” H x 28.5” W x 1” D
164
Overall good appearance. With margins. An unobtrusive, possible pinhole at the center of the lower plate edge. Not examined out of the frame.
Framed under Plexiglas: 28” H x 38.5” W x 1.5” D
165
Visual: Overall good appearance. An occasional scattered pinhead-sized pigment loss in areas with heavier impasto. A pea-sized pigment loss at the tip of the lower left corner.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 37.5” W x 1” D
166
Overall good appearance. Full margins with deckled edges. Very pale time staining. A few pale foxmarks scattered in the margins. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 32.25” H x 24.375” W x 1.5” D
167
Overall good appearance. With wide margins. A foxmark at the center of the upper margin. Very pale, scattered surface staining in the lower margin edge. Not examined out of the frame.
Framed under glass: 34.75” H x 27” W x 2.25” D
168
Visual: Overall good appearance. Fine, scattered craquelure. Stretcher bar creases along each edge.
Blacklight: No evidence of restoration.
Frame: 26” H x 35.75” W x 2.75” D
169
Overall good appearance. With margins. A few mostly pale foxmarks scattered in the margins. The sheet is framed floating, affixed to an invisible foamcore backboard which is subsequently mounted to the fabric-covered back mat. Not examined out of the frame.
Framed under Plexiglas: 43.25” H x 35.75” W x 2.75” D
170
Overall good appearance. A rich impression of this rare image. With margins. An approximately 4” long, diagonal, soft crease through the lower half of the face and jaw, visible primarily in raking light. Occasional soft, scattered, handling marks in the blank of the plate’s upper half, visible primarily in raking light. One very pale, pea-sized foxmark in the blank near the left edge of the plate. Some other, very unobtrusive pea-sized scattered foxing. Soft creasing in the upper right margin corner, not affecting the plate. Not examined out of the frame.
Framed under glass: 31.5” H x 25.25” W x 0.75” D
171
Visual: Overall good appearance. Minor surface grime and the canvas is slightly loose on its stretcher. A pea-sized pressure mark with attendant pigment loss near the lower right corner. Occasional minor surface abrasions and wear in places along the edges and corners.
Blacklight: No evidence of restoration.
Unframed
172
Visual: Overall good appearance.
Blacklight: A few scattered areas with small flecks of touchup, the largest pinhead-sized.
Frame: 21” H x 27” W x 1.75” D
173
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
174
Extensive restoration to underside of figure’s belly. With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered fire clouding throughout and a pea-sized chip to back left foot proper.
175
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy rubbed wear throughout and a possibly accession sticker to underside.
176
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 1” long crack to rim verso and a 2.375” long crack to underside.
177
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a chipped loss to left ear proper with partial restoration, a quartersized chipped loss behind facial adornment, and fire clouding throughout.
178
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
179
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
180
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Nicolas with more concentrated scuffing to base.
181
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Gerardo with fire-clouding to underside.
182
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. More concentrated scratches verso and to underside.
183
Visual: Overall good appearance. A minor stretcher bar crease along the left edge. The canvas is slightly loose from the stretcher.
Blacklight: No evidence of restoration,
Frame: 49.25” H x 41.25” W x 2.25” D
184
Visual: Overall good appearance. A minor pinhead-sized speck of grime in the left portion of the extreme upper edge, and another, rice-sized, in the upper left corner.
Blacklight: No evidence of restoration.
Frame: 12.25” H x 37” W x 1.25” D
185
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.75” H x 30.5” W x 2” D
186
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 27” H x 23” W x 1.5” D
187
Visual: Overall good appearance. Minor scattered frame abrasion.
Blacklight: Scattered flecks of touch-up throughout, the largest 0.875” H in the center of the lower half.
Frame: 35.5” H x 27.5” W x 3” D
188
Overall good appearance. The work is loose, not matted or framed. As mentioned, it is laid to very thin paper, and the latter has traces of old adhesive, verso.
Unframed
189
With dust accumulation throughout and a 2” x 1” hardened stain to blue ground. The borders with scattered moth grazing. Soiling to frame.
Framed: 24.75” H x 42.5 “ W x 1.125” D
190
Toning and time staining. Very minor cockling, primarily along the upper and lower edges. A soft 0.75” diagonal crease across the lower right corner and two very minor handling creases in the blank of the lower left quadrant, primarily visible in raking light. A pinhead-sized foxmark in the blank of the upper right quadrant, and a few more that are smaller and paler along the lower sheet edge, none of which are affecting the image. Artist pinholes in each corner. The verso with uneven backboard staining. The sheet is loose, not matted.
Framed under glass: 27” H x 32.75” W x 2.5” D
191
Overall generally good appearance. The sheet is trimmed by approximately 0.25” along the lower edge. Very minor handling marks scattered along the left and right outer edges, mostly appearing in the upper right corner, all primarily visible on the reverse. The sheet is loose, not matted.
Unframed
192
Overall good appearance. A few very unobtrusive, faint surface soiling or scuffs, the longest 0.75” H and two others pinhead-sized (or smaller) along the left edge. Not examined out of the frame.
Framed under Plexiglas: 29.5” H x 37” W x 1.25” D
193
Overall good appearance. The full sheet with deckled edges. The slightest hint of cockling visible primarily on the verso. The sheet is loose, not matted.
Unframed
194
Overall good appearance. Not examined out of the frame.
Framed under glass: 25.75” H x 31.5” W x 1.25” D
195
Overall good appearance. The sheet is sandwiched within the mat.
Unframed
196
Overall good appearance. Pale light-staining. A few pale, mostly pinpoint-sized scattered foxing, the most apparent area being in the background and in-between the two ladies at left. Pale, uneven backboard staining on the verso. Artist pinholes at each sheet corner. The sheet is loose, secured to the back mat with four clear archival corners.
Framed under glass: 26.375” H x 32.5” W x 1.5” D
197
Overall good appearance. A very faint, 1” horizontal hairline of possible pigment loss or a flattened crease underneath the numbering in the lower left corner. Two unobtrusive, pale, dime-sized areas of staining in the upper corners, possibly attendant with the glue used on the verso, primarily visible in raking light. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under glass: 32.75” H x 24.75” W x 1” D
198
Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Mauro with a 1” diameter area of grey smudging, likely inherent in the decoration process.
199
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
200
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
201
Overall good appearance. The full sheet with deckled edges. Splotches of pale staining in the upper left and each of the lower corners, possibly attendant with the glue used on the verso. A soft, 0.5” vertical handling mark at the center of the right edge, mostly visible in raking light. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under glass: 23.5” H x 20” W x 1.25” D
202
Overall good appearance. A soft, unobtrusive 1” diagonal crease across the figure’s extended elbow, primarily visible in raking light and on the verso. A pinpoint-sized, unobtrusive speck of residue adhered to the surface in the upper edge, right of center. The sheet is loose, secured to the back mat with four clear archival corners.
Unframed
203
Visual: Overall good appearance. A few scattered, unobtrusive, pinpoint-sized specks of grime.
Blacklight: No evidence of restoration.
Frame: 24.25” H x 28” W x 2” D
204
Overall good appearance. Not examined out of the frame.
Framed under glass: 35” H x 26.75” W x 1.75” D
205
Visual: Overall good appearance. Very fine, unobtrusive, scattered craquelure. The canvas is loose in the frame.
Blacklight: No evidence of restoration.
Framed under glass: 11” H x 7.75” W x 1.25” D
206
Each overall generally good appearance. Very pale lightstaining, except the work with only the bull displayed shows more significant light-staining and toning. Timestaining and minor surface soiling along the extreme edges, with some sheets more than others. Each sheet is loose, not matted, and housed inside a red folded sheet of paper.
Each unframed
207
Overall good condition with oxidation and scattered scuffs and scratches commensurate with age. Scattered cracks in the ceramic inlay.
208
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Soiling throughout. Four chipped losses to inlaid ceramic.
209
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
210
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
211
Visual: Overall good appearance. A few minor specks of surface grime, primarily in the left portion of the upper edge.
Blacklight: No evidence of restoration.
Frame: 28.25” H x 24.25” W x 2.25” D
212
Overall good appearance. The full sheet with deckled edges. The colors good. The sheet is loose, not matted.
Unframed
213
Visual of each: Overall good appearance. Soft stretcher bar creases along each side. The work depicting the girl in the red dress, with a very unobtrusive, pinpoint-sized abrasion in the background, near the upper edge, at left. The work depicting the girl in the blue dress, with a small area of fine craquelure in the upper right corner, and a few scattered, unobtrusive areas of wear to the pigment.
Blacklight of each: No evidence of restoration.
Frame of each: 21.5” H x 17.625” W x 2.25” D
214
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.
215
With darkening, soiling, dust accumulation, and general wear commensurate with age. Stiffening to the leather with scattered older losses. Lacking one ear.
216
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Craquelure to paint throughout, with several scattered pea-to-rice-sized flaked losses. Plinth with some peeling of paper at edges.
217
With wear, dust accumulation, and minor scuffs commensurate with age and weathering.
218
This piece has been restored/reassembled from shards, with cracks throughout and some small attendant losses. Otherwise with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
219
Overall good condition with shelf wear and minor dust accumulation commensurate with age. Rim with single stitch break. The body with a few scuff marks, the largest measuring 2.5” long.
220
Each overall good condition with minor shelf wear commensurate with age.
221
Each overall good condition with minor shelf wear commensurate with age.
222
Each overall good condition with minor shelf wear commensurate with age. The largest with some fading and minor dust accumulation.
223
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered cracks in the glaze and crazing throughout.
224
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few scuffed losses to paint. Soiling to interior.
225
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior. Crazing to the glaze throughout. Older chipped losses to rim, which have been painted over. Small chipped losses to underside edge.
226
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few scattered pea-sized losses to polychrome.
227
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Soiling and chipped losses and rubbed wear to the paint and gilding throughout.
228
Visual: Dust accumulation, grime, varnish discoloration, darkening to the pigments, craquelure throughout, pea-sized or smaller areas of pigment loss scattered throughout, and wear to the pigment, all commensurate with age. Could benefit from a cleaning.
Blacklight: Scattered dime-sized (or smaller) areas of touchup in the outer edges. A very heavy varnish layer has been applied.
Frame: 35” H x 27” W x 3” D
229
Visual: Scattered craquelure, paint shrinkage, dust accumulation, and varnish discoloration throughout. An approximately 4” H x 3.5” W area of scattered repairs and touch-ups at and just above the Virgin’s right wrist. A 0.5” H x 1.25” W pigment loss near the center of the extreme upper edge, exposing the underlying canvas. A 0.75” H x 0.75” W loss in the lower portion of the extreme left edge, touched-in with a dark medium. Stretcher bar creases extending horizontally across the canvas, just below center. Surface abrasions with attendant varnish and/or pigment losses concentrated primarily near the outer edges. Old frame abrasions in places along the extreme edges. Other minor defects. As mentioned, the canvas has been relined. Additionally, it is attached to newer stretcher bars and keys.
Blacklight: Touch-ups scattered throughout, including in all of the figures’ faces.
Unframed .
230
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Top with horizontal crack and scattered deeper indentations. Each hinge loose or starting. Scattered older chipped losses throughout.
231
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
232
With scattered scuffs, scratches, nicks, shrinkage cracks, separation at joints, and indentations commensurate with age. With small losses to the wood, losses to polychrome, and soiling throughout. The neck with a crack and possible repair. Lacking right forearm. Possibly lacking some original elements.
233
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rear panel with crack through, a near break. Upper panel with horizontal cracks in the veneer, with losses to veneer on one side. Scattered losses to inlay, concentrated to central panel arched border. Rubbed wear to gilding throughout.
234
With multiple cracks to body, the longest with repair measuring 10” long. With shelf wear, soiling, wear to glaze, older scattered chipped losses, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Fire clouding to body. Losses to lug handles. Other possible older repairs or restoration throughout.
235
Overall generally good appearance. Dust accumulation, grime, wear to the pigment mostly in the lower half and outer edges of the work, areas of oxidation, and minor darkening to the pigment, all commensurate with age. Minor abrasion along the extreme upper edge. The metal is framed floating and nailed to the linen backing board in places along the edges and corners.
Framed under glass: 25.5” H x 21.5” W x 1.25” D
236
With scattered scuffs, scratches, indentations, nicks, and rubbed losses to the paint commensurate with age. Soiling throughout, with cracking to the paint. Cross is loose from its mounting with base.
237
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. Two figures with losses to fingers. The smallest with repair to face. Each possibly lacking some original elements.
238
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. One figure with losses to arms. Each possibly lacking some original elements.
239
Visual: Overall good appearance for a work of this date and use. Scattered slight dents, abrasions, and attendant pigment losses concentrated primarily at the outermost edges and corners. The tips of the corners also with signs of wear related to handling and use. Mounted to an invisible matboard which was subsequently attached to a fabric-covered back mat. Not examined out of the frame.
Blacklight: No evidence of restoration. A heavy layer of varnish has been applied.
Framed under glass: 17.75” H x 15.75” W x 0.75” D
240
Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. One figure lacking an arms, another lacking a hand. Archangel with losses to one fingers of one hand. Each possibly lacking some original elements.
241
Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. The tallest with possible repairs to arms. The other figure with a book showing evidence of insect grazing. Each possibly lacking some original elements.
242
Each with scattered scuffs, scratches, nicks, shrinkage cracks, separation at joints, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. The tallest with losses to fingers. One figure lacking hands and with large crack with attendant separation to verso. Each possibly lacking some original elements.
243
Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. Angel with possible repair to wings. One figure lacking arms. Shelf with updated platform. Each possibly lacking some original elements.
244
Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling throughout. Losses to Christ child fingers. One figure lacking arms. Each possibly lacking some original elements.
245
Overall good condition with intentional antiquing.
246
Each overall good condition with scattered scuffs, scratches, rubbed wear and fading to exterior paint, and heavy dust accumulation commensurate with age. Each with stiffening to leather hinges, the larger with one door detached, retained with the lot.
247
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
248
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 0.75” long dark scuff to body.
249
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
250
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
251
Overall good appearance. A few scattered areas of straw loss. Not examined out of the frame.
Framed under glass: 15.25” H x 18.75” W x 0.875” D
252
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Soiling and rubbed losses to paint throughout. Evidence of inactive insect grazing, concentrated verso. Older chipped losses to wood throughout.
253
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Front with older mounting holes for a previous escutcheon plate. Older losses throughout. Hinges updated. Lacking key.
254
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One with a crack and losses to bentwood and a vertical split in the baseboard.
255
With wear, dust accumulation, soiling, and scuffs and scratches commensurate with age. With a 3.5” x 1” chipped loss to bottom edge and a 2.5” x 1.5” chipped loss to underside.
256
With darkening to wood, shelf wear, scuffs, scratches, nicks, indentations, and soiling commensurate with age. With vertical split at one side. Older losses throughout.
257
Overall good condition with scattered scuffs, scratches, and indentations commensurate with age. The wood with natural flaws and intentional aging.
258
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses to wood throughout. Heavy wear, losses, and tears to leather, with stiffening and darkening.
259
Overall good appearance. Each section with occasional slight edge wear and attendant pigment losses in places at the extreme edges, primarily in the lowest 2 inches of the some of the vertical edges.
Blacklight: No evidence of restoration.
Unframed
260
With oxidation, scattered scuffs and scratches, nicks, indentations, and soiling commensurate with age. With a larger dent in turtle shell measuring 7” x 5” large. Scattered dents, including one measuring 0.5” long. Lacking left eye proper.
261
Overall good condition with scattered minor scuffs and scratches.
262
Overall good appearance. Pale toning throughout the recto and verso. A 0.5” line of stray, pale reddish-pink pigment near the upper right sheet corner. Areas of minor surface soiling along the extreme edges. Very soft handling creases scattered primarily in the outer edges. Glue residue in places along the verso sheet edges and corners. The sheet is hinged to the overmat in two places with white linen tape from the verso of the upper sheet edge.
Framed under Plexiglas: 18.5” H x 15.5” W x 1.75” D
263
Overall good appearance. The full sheet with deckled edges. Pale light-staining. Very pale time staining along the extreme edges. A pinhead-sized pressure mark near the upper portion of the right edge. Minor handling creases scattered in the outer edges. A stray pinkish pigment mark near the upper edge, at left, and other stray pigment marks scattered throughout the verso sheet, all presumably in the hand of the artist. Toning to the verso sheet. Small bands of glue residue on the verso of each edge, at center. The sheet is loose, not matted.
Unframed
264
Overall good appearance. A very pale and unobtrusive peasized foxmark near the lower portion of the right edge, mostly visible in raking light. Two pinholes in places along the right edge. Minor handling creases scattered throughout. Not examined out of the frame.
Framed under Plexiglas: 31.75” H x 28.25” W x 1.25” D
265
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a repaired break to right leg proper and a 1.5” long crack in right arm proper.
266
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: rubbed wear to the glaze throughout and felt pads applied to underside.
267
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a chipped loss at figure’s right foot proper, small losses verso at necklace, rubbed wear to the glaze throughout, and felt pads applied to underside.
268
With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 2” long surface crack to front of body, a 1.5” long surface crack to rear, losses to the polychrome, and staining/darkening to body.
269
Each with tarnishing/oxidation, scattered indentations, scratches commensurate with age.
270
Each overall good condition with tarnishing and scratches commensurate with age. Darkening to wood. Weights include non-silver components.
271
With shelf wear, scattered scuffs, fire clouding, spaulding, and inherent firing flaws commensurate with age. With a 1.25” long crack to neck. Ri with a pea-sized chipped loss.
272
With shelf wear, scattered losses to polychrome, scratches, scuffs, and inherent firing flaws commensurate with age. Fleabites to rim. Soiling throughout.
273
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Underside with rubbed loss to patina, revealing base bronze, with attendant oxidation.
274
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a ricesized paint flaked loss to lower right ram figure.
275
Each overall good condition with wear, light scratches, and oxidation commensurate with age and use. Alligators with a few scattered small pierced holes to surface, to legs and near tails. Some items with custom stands. Pendant tests for 18k gold with XRF.
276
Each overall good condition with wear, light scratches, and oxidation commensurate with age and use. Couple pendant with loss to areas of one figure. Finial with previous complete break to one bird head, retained. Male figure pendant with previous complete break to neck, retained. Some items with custom stands.
277
Each in overall good condition with tarnishing and scratches commensurate with age and use.
278
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
279
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Damian with minor crazing to white slip decorations. Alvaro with a few scuffs obtrusive to white slip decorations, and some cloudiness to red ground.
280
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
281
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger with scattered small dark specks to body, possibly moisture staining.
282
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Plinth with scattered scuffs and scratches, concentrated to upper surface.
283
The sculpture is glued to the pedestal. Paint cracking on center horse and some areas of egg, most concentrated to lower front. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
284
Each overall good condition with tarnishing and scratches commensurate with age.
285
Each overall good condition with tarnishing, mild soiling, and scratches commensurate with age.
286
Each overall good condition with scattered minor indentations, tarnishing, and scratches commensurate with age.
287
Each overall good condition with tarnishing and light scratches commensurate with age.
288
Overall good condition with tarnishing and scratches commensurate with age.
289
Overall good condition with tarnishing and light scratches commensurate with age.
290
Each overall good condition with tarnishing and light scratches commensurate with age.
291
Overall good condition with light tarnishing, scattered minor scuffs, scratches, and small nicks commensurate with age and use. Light wear to the silvered finish on some edges.
292
Each overall good condition with tarnishing and light scratches commensurate with age.
293
Overall good condition with scattered scuffs, scratches, and indentations commensurate with age.
294
Overall good condition with minor shelf wear, a few scattered scuffs and scratches, and attendant small losses to gilding at underside.
295
Overall good condition with minor shelf wear, a few scattered scuffs and scratches, and attendant small losses to gilding at underside.
296
Overall good condition with minor shelf wear, a few scattered scuffs and scratches, and attendant small losses to gilding at underside.
297
Overall good condition with minor shelf wear, a few scattered scuffs and scratches, and attendant small losses to gilding at underside.
298
Overall good condition with minor wear commensurate with age.
299
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
300
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Damian with a 1” long deeper scuff to body.
301
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
302
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
303
Each overall good condition with light tarnishing and wear commensurate with age and use.
304
Each overall good condition with minor wear and scattered small areas of bead loss. Each case with dust accumulation, scuffs, and scratches commensurate with age. None examined out of case.
305
Each overall good condition with minor wear and scattered small areas of bead loss. Each case with dust accumulation, scuffs, and scratches commensurate with age. Only one examined out of case.
306
Overall good condition with minor shelf wear commensurate with age. With scattered small losses to beadwork and a 1” area of smudging to wax.
307
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. The larger with six quills detached and retained with the lot. The smaller with at least two broken quills, one lost, the other retained with the lot. Each possibly with other losses or loose quills.
308
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age.
309
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Larger Tree of Life with a 0.75” diameter loss and repair at center recto, another possible repair at center opposed, and pencil inscription to underside.
310
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age.
311
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Zebra figure with one wing detached, retained with the lot, and a crack in the base, obtrusive to signature. Armadillo tail is detachable.
312
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Three with sticker ghosts to underside.
313
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Both Ledezmas with sticker ghost to underside.
314
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
315
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
316
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. The prickly pear cactus with two 1” diameter areas of scuffed paint loss, revealing base wood. Each with loosely mounted elements, one palm frond detached and retained with the lot.
317
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age.
318
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Donkey figures with loosely mounted ears.
319
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age. Some figures with detachable elements, all retained with the lot.
320
Each overall good condition with shelf wear, scattered minor scuffs and scratches, and dust accumulation commensurate with age.
321
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Largest with specks of moisture staining to neck, shoulder, and upper portion of body. The smallest with a 1.25” diameter grey smudge to body.
322
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Shorter with sticker ghost to underside. Taller interior with specked stains, possibly from moisture.
323
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Fish with a 1” long thin dark scuff to body and very small losses to underside obtrusive to signature, possibly inherent in the signed process. Snake with a few small scuffs to rim.
324
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
325
Overall good condition with light tarnishing and scratches commensurate with age and use Scattered stones with abrasions.
326
Each overall good condition with light tarnishing and scratches commensurate with age and use. The bracelet strung with elastic cord.
327
Overall good condition with light tarnishing and scratches commensurate with age and use.
328
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
329
Each in overall good condition with tarnishing and light scratches commensurate with age and use. Stones with scattered abrasions. Coro orchid does not test for sterling; two further brooches test for sterling with XRF. Cony butterfly with detached antennae, retained.
330
Each in overall good condition with tarnishing and light scratches commensurate with age and use. One jigger with minor dent to footed base.
331
Each overall good condition with tarnishing and light scratches commensurate with age.
332
Each overall good condition with tarnishing and light scratches commensurate with age and use. Davis cellar with slight distortion to ear of one “cat.”
333
Each overall good condition with scattered scuffs, scratches, rubbed wear to polychrome, soiling, and dust accumulation commensurate with age. Each with scattered losses, chips, and small cracks present. Repaired break to fish figure. Break to two legs of armadillo figure and figure’s nose. Each with other possible repairs.
334
Each overall good condition with scattered scuffs, scratches, rubbed wear to polychrome, soiling, and dust accumulation commensurate with age. Each with scattered losses, chips, cracks, and repaired breaks.
335
Each overall good condition with soiling, dust accumulation, shelf wear, and scattered scuffs, scratches, nicks, and abrasions commensurate with age.
336
Each overall good condition with soiling, dust accumulation, shelf wear, and scattered scuffs, scratches, nicks, and abrasions commensurate with age.
Smallest framed: 15” H x 13” W x 4.5” D
337
Each with shelf wear, scattered scuffs, soiling, and inherent firing flaws commensurate with age. Each serving platter with wear from use, the middle with chipped losses to glaze and decorations at interior, the smallest with a 1” long chipped loss to rim. Bowl with small chips to glaze at rim.
338
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
339
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
340
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Soto with a 1.25” long vertical crack to rim. The unattributed with a ring mark to bottom.
341
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The unattributed with a ring mark to bottom.
342
Each overall good condition with light wear, scratches and tarnish commensurate with age and use. a few minor scattered chips to beads. Rosary lacking charm to one side. Does not test for silver.
343
Each overall good condition with light tarnishing and scratches commensurate with age and use.
344
Each overall good condition with light tarnishing and scratches commensurate with age and use.
345
Overall good condition with light tarnishing and scratches commensurate with age and use.
346
Each overall good condition with light tarnishing and scratches commensurate with age and use.
347
Each overall good condition with light tarnishing and scratches commensurate with age and use.
348
Overall good condition with light tarnishing and scratches commensurate with age and use.
349
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Turtle with repair to one leg, mounting putty residue to the other three legs, and soiling to interior. The whistle with rubbed losses to polychrome and two small chipped losses to whistle spouts. Fish with mounting residue to underside.
350
Each with scattered chipped losses, loss to polychromy, soiling, shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each whistle with small cracks.
351
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One handle of jar slightly loose.
352
Each with soiling, rubbed losses to decoration, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger bowl with multiple cracks, repairs, and restorations throughout. The smaller bowl with chipped losses to rim and feet.
353
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
354
Each has been restored/reassembled from shards, the larger with some missing shards. Each with rubbed loss to polychrome, soiling, and shelf wear commensurate with age. Each with multiple losses to rim.
355
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Carmen and Marth each with sticker ghost to underside.
356
Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
357
Each in overall good condition with light oxidation and scratches commensurate with age and use.
358
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
359
Most overall good condition with light tarnishing and scratches commensurate with age and use. Margot cuff with slightly loose hinge. Two cuffs with rubbed wear and areas of loss to black areas of design. Villasana cuff with distortion to cuff shape, slight creasing to curved sections, and scattered small dents to the surface.
360
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
361
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The unmarked with more concentrated scuffing to underside.
362
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Sandoval with scuffing to rim and mild soiling throughout.
363
Each with shelf wear, scattered scuffs, small losses, and inherent firing flaws commensurate with age. One with cracked repairs, restoration, and spaulding throughout. Redware with mounting putty residue to underside.
364
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Silveira with sticker ghost near underside.
365
Each in overall good condition with light scratches, tarnishing, and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Bangle tests for 10K gold and sterling with XRF.
366
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.
367
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.
368
Each overall good condition with tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions.
369
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.
370
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and visible inclusions.
371
Each in overall good condition with tarnishing, light wear, and scratches commensurate with age and use. Scattered stones with abrasions and visible inclusions.
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Vice President
President, Auctioneer
Director, Fine Art
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Senior Cataloguer, Fine Art
Cataloguer, Fine Art
Cataloguer, Fine Art
Specialist / Department Manager, Furniture and Decorative Arts
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Cataloguer, Furniture & Decorative Arts
Cataloguer, Silver Jewelry, Western, and American Indian
Director, Jewelry & Watches
Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Department Administrator, Trusts and Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
Manager, PR/Social Media
Graphic Designer
PHOTOGRAPHY
Senior Photographer, Head of Photography
Photographer
FOUNDERS
Founder
Co-Founder
Maranda Moran, ISA AM
Jeffrey J. Moran
Katherine Halligan, AAA
Bobby Cullen
Ian Anderson
Jacob Baer
Anne Spink
Madison Ari
Lori Kassabian
Jen Kurtz
Angela Past
Matthew Grayson
Grant Stevens
Sally Andrew
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Julia Kelley
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Jean Rapagna
Richard Corral
Joe Miranda
Romero Corral
Robert Robles
Nathan Martinez
Brenda Smith
Brian Olivas
Keith Berson
Madison Torres
John H. Moran (1942-2017)
Madeleine Moran
This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.
BUYER’S PREMIUMS:
BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.
Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer.
Credit cards are not an accepted form of payment for buyers outside of the United States.
BIDDING INCREMENTS:
$100 - $475 @ $25 increments
$500 - $950 @ $50 increments
$1,000 - $1,900 @ $100 increments
$2,000 - $4,750 @ $250 increments
$5,000 - $9,500 @ $500 increments
$10,000 - $19,000 @ $1,000 increments
$20,000 - $47,500 @ $2,500 increments
$50,000 - $95,000 @ $5,000 increments
$100,000 - $190,000 @ $10,000 increments
$200,000 - $480,000 @ $20,000 increments
$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.
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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.
(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.
