California & American Fine Art — Tuesday, May 4, 2021 | John Moran Auctioneers

Tuesday, May 4, 2021

Tuesday, May 4, 2021—12pm Sale 186 145 East Walnut Avenue, Monrovia CA 91016 Public Previews: Friday, April 30 - Monday, May 3 12pm-4pm Or by appointment

Meet the Team Morgana Blackwelder AAA Head of Sale, Senior Vice President morgana@johnmoran.com Bobby Cullen Junior Fine Art Specialist bobby@johnmoran.com

Jeff Moran President jeff@johnmoran.com

Mike Hook Fine Art Cataloguer mike@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

1

Anna A. Hills

(1882-1930, Laguna Beach, CA) “Oaks - Irvine Park” Oil on board Signed lower right: A.A. Hills, signed again, titled, numbered and inscribed verso: A3-118 / “Painted by Anna A. Hills - Laguna Beach - Calif.”

10” H x 14” W $8,000-10,000 Notes: Presented in a Mayen Olson frame.

1

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

2

Clarence Hinkle

(1880-1960, Santa Barbara, CA) “The Artist’s Studio, Santa Barbara” Oil on canvas laid to masonite Signed lower left: Hinkle, titled by repute 28” H x 36” W $5,000-7,000

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

2

3

Olive Rush

(1873-1966, Santa Fe, NM) “Washington Square Park” Oil on canvas Signed lower right: Olive Rush, titled on a partial exhibition label affixed verso 32” H x 24” W $3,000-5,000

3

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

4

Claude Curry Bohm

(1894-1971, Chicago, IL) Nymphs under a tree, 1929 Oil on canvas under glass Signed lower right: C. Curry Bohm, signed again, inscribed and dated verso: “To Billy most loveable of friends I give this painting. May our friend-ship flow like sky blue waters ‘ore the sands of time.”

26” H x 30” W $6,000-8,000

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

4

5

Maurice Braun

(1877-1941, San Diego, CA) “Hillside in the Golden Sun,” 1918 Oil on canvas Signed lower right: M. Braun, titled on the frame plaque, dated on the stretcher: Nov. 14th, 1918 20” H x 24” W $6,000-9,000

5

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

6

7

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

8

9

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

6

Charles Reiffel

(1862-1942, San Diego, CA) “A Midsummer Day” Oil on board Signed lower right: Charles Reiffel, signed again and titled verso 20” H x 24” W $20,000-30,000 Provenance: Fine Arts Gallery of San Diego, San Diego, CA Paschke’s Gallery, Riverside, CA

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

10

7

Charles Reiffel

(1862-1942, San Diego, CA) “Man, Cow and Tree,” 1931 Oil on board Signed lower right: Charles Reiffel, signed again, titled and dated verso 17” H x 14” W $10,000-15,000

11

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

8

Phil Dike

(1906-1990, Claremont, CA) Circus scene, c. 1928 Oil on canvas Signed lower right: Phil Dike 20” H x 24” W $8,000-10,000 Provenance: The artist The Collection of Gene Crain, purchased directly from the above

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

12

9

Donna Schuster

(1883-1953, Los Angeles, CA) “Columbus Day Celebration” Mixed media on paper under glass Signed lower left: Donna Schuster, titled verso 17” H x 17” W $3,000-5,000 Provenance: Kelley Gallery, Pasadena, CA

13

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

10

Harry Raymond Henry

(1882-1974, Costa Mesa, CA) “Happy Valley” Oil on canvas laid to canvas Signed lower left: H. Raymond Henry, titled in pencil on the stretcher 24” H x 30” W $3,000-5,000

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

14

11

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) “Purple Dawn” Oil on canvas Signed lower left: Marion Kavanagh Wachtel, and with the artist’s device, titled on a exhibition label affixed to the backing board 13” H x 17” W $4,000-6,000 Provenance: Biage & Bonney Quattrocchi Fine Art and Antiques, Santa Rosa, CA Exhibitions: Pasadena, CA, Pasadena Heritage Blinn House, “Early California Impressionist & Post Impressionist Paintings,” November 1-2, 1996 Notes: Presented in a Richard Tobey frame.

This painting is number 65 from the estate of Marion Kavanagh Wachtel.

15

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

12

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) “Spring Shadows” Oil on canvas laid to board Signed lower left: Marion Kavanagh Wachtel, titled on a card affixed to the backing board 16” H x 20” W $3,000-5,000

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

16

13

Clark Hobart

(1868-1948, Napa, CA) Napa vineyard Oil on board Signed lower right: Clark Hobart 13.75” H x 17.75” W $3,000-5,000

17

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

14

Tim Allen Lawson

(b. 1963, Sheridan, WY) “Young Avocados,” 1991 Oil on canvas laid to board Signed lower left: T. Allen Lawson, titled and dated on a gallery label affixed verso 12” H x 16” W $3,000-5,000 Provenance: Mitchell Brown Fine Art, Paradise Valley, AZ

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

18

15

Millard Owen Sheets

(1907-1989, Gualala, CA) “Green Pastures,” 1924 Oil on canvas Signed lower right: Millard Sheets, titled and dated on a gallery label affixed to the backing board 20.25” H x 24.25” W $5,000-7,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA Michael Johnson Fine Arts, Fallbrook, CA Sale: Bonhams California, “ California and Western Paintings and Sculpture,” April 6, 2011, Lot 1174 Notes: Presented in a Mayen Olson frame.

19

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

16

David Chapple

(b. 1947, Californian) “Owens Valley” Oil on canvasboard Signed lower right: David Chapple, titled verso 14” H x 18” W $1,500-2,000

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

20

17

Anna A. Hills

(1882-1930, Laguna Beach, CA) “The Winding River,” 1923 Oil on canvas laid to board Signed and dated lower right: AA Hills, signed and dated again, titled and inscribed verso: “Cajon Pass - from near Redlands - Santa Ana River...”

14” H x 18” W $6,000-8,000

21

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

18

Benjamin Chambers Brown

(1865-1942, Pasadena, CA) “Wild Verbenas Palm Springs Calif” Oil on canvas Signed lower left: Benjamin C. Brown, titled on the stretcher 16” H x 20” W $4,000-6,000

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

22

19

Mary DeNeale Morgan

(1868-1948, Carmel, CA) “Near Palm Canyon” Oil on canvas Signed lower right: M. DeNeale Morgan, signed again and titled on the stretcher 25” H x 30” W $3,000-4,000 Provenance: Private Collection, Oakland, CA Sale: Bonhams California, June 8, 2004, sale 13014, Lot 4353 Private collection, Pacific Grove, CA

23

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

20

Millard Owen Sheets

(1907-1989, Gualala, CA) “Cactus of San Juan Capistrano” Oil on canvas Signed lower left: Millard Sheets, signed again and titled on the stretcher 24” H x 36” W $8,000-10,000

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

24

25

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

26

27

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

21

Benjamin Chambers Brown

(1865-1942, Pasadena, CA) “A Side Canyon - Grand Canyon,” circa 1920 Oil on canvas Signed lower right: Benjamin C. Brown, titled and dated on a gallery label affixed to the backing board 20” H x 16” W $8,000-10,000 Provenance: David and Sons Fine Art, Laguna Beach, CA

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

28

29

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

22

Alson Skinner Clark

(1876-1949, Pasadena, CA) “Top of the World” Oil on canvas Signed lower right: Alson Clark, titled on the stretcher and a gum label affixed to the stretcher 26” H x 32” W $10,000-15,000 Notes: Alternately titled “The Promoter” on an exhibition label affixed to the frame.

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

30

23

Joseph Kleitsch

(1882-1931, Laguna Beach, CA) “Molino” Oil on canvas Signed lower right: Joseph Kleitsch, signed again and titled on a partial paper label affixed to the stretcher, titled again on the stretcher 14” H x 11” W $3,000-5,000

31

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

24

Jack Wilkinson Smith

(1873-1949, Alhambra, CA) “Cajon Pass Desert” Oil on canvas Signed lower right: Jack Wilkinson Smith, signed again and titled verso 25” H x 30.25” W $10,000-15,000 Provenance: Private Collection, Bishop, CA Sale: John Moran Auctioneers, Monrovia, CA, “California and American Paintings,” February 28, 2006, Lot 105 DeRu’s Fine Arts, Laguna Beach, CA Private Collection, Orange County, CA. Notes: Presented in a Richard Tobey frame.

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

32

33

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

25

William Wendt ANA

(1865-1946, Laguna Beach, CA) Oaks in a rolling hills landscape Oil on canvas laid to canvas Signed lower right: William Wendt 25.25” H x 30.25” W $30,000-40,000 Provenance: William Karges Fine Art, Carmel, CA Notes: Presented in a Richard Tobey frame.

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

34

35

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

26

William Wendt ANA

(1865-1946, Laguna Beach, CA) Landscape with boulders, 1901 Oil on canvas laid to canvas Signed and dated lower right: WM Wendt 20” H x 30” W $20,000-30,000

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

36

27

John Marshall Gamble

(1863-1957, Santa Barbara, CA) Landscape with poppies, 1903 Oil on canvas laid to canvas Signed and dated lower left: J.M. Gamble 10.75” H x 14.5” H $10,000-15,000 Notes: Presented in a Mayen Olson frame.

37

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

28

John Marshall Gamble

(1863-1957, Santa Barbara, CA) “Summer Wild Flowers, Ojai Valley (Wild Buckwheat & Turkish Rugging)” Oil on canvas Signed lower left: John M. Gamble, signed again, titled and inscribed verso: Santa Barbara Cal 24” H x 36” W $25,000-35,000 Exhibitions: Santa Barbara, CA, Santa Barbara Museum of Art, 1929.

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

38

39

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

29

William Wendt ANA

(1865-1946, Laguna Beach, CA) Dunes, Monterey, 1902 Oil on canvas laid to canvas Signed and dated lower left: WM. Wendt 24.25” H x 32” W $40,000-60,000

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

40

30

31

(1888-1972, San Diego, CA) “Torrey Pines” Oil on board Signed lower left: Alfred R. Mitchell, titled and inscribed verso: “The salt marsh and North hill, with the road going up” 16” H x 20” W

(1842-1928 “Early Sum Oil on canv Signed low 18” H x 30”

Alfred R. Mitchell

$8,000-12,000

41

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

William Le

$2,000-3,00

Provenance Fine Art,” M

ees Judson

8, Los Angeles, CA) mmer Morning” vas wer right: W.L. Judson, titled on an artist’s label affixed to the stretcher ”W

00

e: Sale: John Moran Auctioneers, Monrovia, CA, “California & American March 24, 2015, Lot 141.

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

42

32

33

(1868-1923, San Fransisco, CA) Coastal landscape Oil on canvas laid to board Signed lower left: A.M. Bremer 12.25” H x 15.25” W

(1923-1995, Los Ange “Salt Creek Beach” Oil on canvas Signed lower left: Be 24” H x 48” W

Anne Milly Bremer

$3,000-5,000

Ben Abril

$7,000-9,000

Notes: Presented in a

43

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

eles, CA)

en Abril, titled on the stretcher

a Mayen Olson frame.

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

44

34

35

(1883-1977, Morro Bay, CA) “Full Tide,” circa 1930’s Oil on canvas Signed lower right: A. Harold Knott, signed again, titled and inscribed on the stretcher: “Morro Bay Cal.” 30” H x 40” W

(1889-1977, Alhambra, CA) Boats along a back bay dock Oil on board Estate stamped lower right: Sam Hyde Har estate numbered verso: 000138 16” H x 20” W

Arthur Harold Knott

Sam Hyde Harris

$3,000-5,000

$3,000-5,000

Provenance: The Estate of H.T. Knott

Provenance: The Estate of the artist Sale: Bonhams California, “California and W

Notes: With an authentication stamp signe

45

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

rris, authentication stamped and

Western,” August 5, 2014, Lot 59

36

John Christopher Smith

(1891-1943, Los Angeles, CA) “Fisherman’s Wharf, Monterey Bay” Oil on canvas laid to canvas Signed lower right: J.C. Smith, titled on a gallery label affixed to the backing board 26” H x 34” W $3,000-5,000 Provenance: George Stern Fine Art, Carmel, CA

ed by Maureen St. Gaudens verso.

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

46

47

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

48

49

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

37

Percy Gray

(1869-1952, San Francisco, CA) Eucalyptus and wildflowers, 1928 Watercolor on paper under glass Signed and dated lower left: Percy Gray Sight: 19.25” H x 27.25” W $10,000-15,000

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

50

38

Percy Gray

(1869-1952, San Francisco, CA) Path through a wooded valley Watercolor on paperboard under glass Signed lower left: Percy Gray Sight: 7.75” H x 9.75” W; Paperboard: 8” H x 10” W $3,000-5,000 Provenance: Sale: Bonhams California, San Francisco, CA, June 17, 1999, Lot 1347

51

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

39

Franz A. Bischoff

(1864-1929, Pasadena, CA) “California Hills” Oil on canvas Signed lower right: Franz A. Bischoff, titled on an auction label affixed to the backing board 18.25” H x 24.25” W $15,000-20,000 Provenance: Estate of the artist Petersen Gallery, Beverly Hills, CA Sale: Christie’s, Los Angeles, CA, “Western & American Paintings, Drawings and Sculpture,” November 4, 1998, Lot 8.

Notes: Presented in a Richard Tobey frame.

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

52

40

Franz A. Bischoff

(1864-1929, Pasadena, CA) California landscape Oil on board Signed lower right: Franz A. Bischoff 12.75” H x 16.25” W $5,000-7,000

53

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

41

Frederick Schafer

(1839-1927, Oakland, CA) “Mt. Shasta, California” Oil on canvas laid to canvas Signed lower left: Schafer, titled verso 30” H x 49.75” W $3,000-5,000

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

54

55

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

42

Thaddeus Welch

(1844-1919, Santa Barbara, CA) Cows grazing in a rolling hills landscape, 1904 Oil on canvas Signed and dated lower left: T. Welch 14” H x 24” W $3,000-5,000

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

56

43

Joseph Morris Raphael

(1869-1950, San Francisco, CA) Portrait of two young children Oil on canvas laid to board Signed right center: Jos Raphael 18.25” H x 20.25” W $10,000-15,000

57

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

44

Elizabeth Nourse

(1859-1938, American) Sleeping baby Oil on canvas Signed and inscribed lower right: E. Nourse / “To her friend...indistinct” 11.5” H x 21.75” W $4,000-6,000 Notes: A copy of the book, “Elizabeth Nourse, 1859-1938, A Salon Career” by Mary Alice Heekin Burke, published by the Smithsonian Institution Press, Washington D.C., 1983, for the National Museum of American Art and the Cincinnati Art Museum, accompanies this lot.

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

58

59

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

45

Adam Emory Albright

(1862-1957, Warrenville, IL) Children by the stream Oil on canvas laid to waxed canvas Signed lower right: Adam Emory Albright 20.25” H x 36” W $8,000-12,000

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

60

61

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

62

46

Karl Witkowski

(1860-1910, Newark, NJ) “The Little Smoker,” 1900 Oil on canvas Signed, dated and inscribed lower left: K. Witkowski / “Copyright 1900”, titled on the frame plaque 24” H x 16” W $3,000-5,000

63

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

47

Karl Witkowski

(1860-1910, Newark, NJ) “Their First Smoke,” 1889 Oil on canvas Signed and dated upper right: K. Witkowski / 89, titled by repute 28” H x 22” W $5,000-7,000 Provenance: Sale: Christie’s New York - Rockafeller Center, May 22, 1991, Lot 103

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

64

48

Matteo Sandona

(1881-1964, San Francisco, CA) “Gertrude and Boots” Oil on canvas laid to canvas Signed lower left: Sandona 56.5” H x 40.5” W $3,000-5,000 Provenance: Southwest Museum, Los Angeles, CA Bohemian Club, San Francisco, CA Sale: Bonhams California, San Francisco, CA, December 8, 2004, Lot 374 Exhibitions: San Francisco, CA, “15th Annual Exhibition of the Society of Western Artists,” October 14-November 14, 1954

65

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

49

Joseph Kleitsch

(1882-1931, Laguna Beach, CA) Portrait of a woman in pink Oil on canvas laid to canvas Signed lower right: Joseph Kleitsch 40.5” H x 28” W $4,000-6,000

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

66

67

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

68

69

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

50

Joseph Kleitsch

(1882-1931, Laguna Beach, CA) Portrait of Theresa (Resi), the artist’s sister, 1915 Oil on canvas Signed and dated lower center: Joseph Kleitsch, signed and dated again lower right 30” H x 22” W $20,000-30,000 Provenance: Estate of Joseph Kleitsch Private Collection, acquired from the above Notes: Identity of the sitter was verified by the artist’s estate.

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

70

71

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

72

51

Emil Carlsen

(1853-1932, New York, NY) Still life with roses, fruit and champagne flute Oil on canvas Signed lower left: Emil Carlsen 30” x 25” $10,000-15,000

73

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

74

75

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

76

77

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

52

E. Charlton Fortune

(1885-1969, Monterey, CA) Still life with holly berries and figurines Oil on board Signed lower left: E.C. Fortune 18” H x 14” W $30,000-40,000

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

78

53

George Demont Otis

(1879-1962, Kentfield, CA) “Bayou Near Houston - Baytown Texas,” 1908 Oil on canvas laid to canvas Signed lower right: Geo. Demont Otis, titled and dated on the tacking edge 24” H x 30” W $4,000-6,000

79

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

54

Ben Austrian

(1870-1921, Reading, PA) “Autumn,” 1919 Oil on canvas Signed and dated lower right: Ben Austrian, titled and inscribed verso: “Painted by Ben Austrian from his studio window Clovelly at the Pinnacle at Kempton near Reading PA. Winter studio The Royal Poinciana Palm Beach Fla.” 36” H x 48” W $4,000-6,000

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

80

55

Ernest Albert ANA

(1857-1946, New York, NY) “The Red Mill” Oil on canvas Signed lower right: Ernest Albert A.N.A., signed again and titled on a gum label affixed to the stretcher 25” H x 30” W $5,000-7,000 Provenance: Grand Central Art Galleries, Inc., New York, NY The Goldfield Collection, Los Angeles, CA

81

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

56

Edward Redfield

(1869-1965, Bridgeville, DE) Trees in a winter landscape Oil on canvas Signed lower right: E.W. Redfield 16.25” H x 19.25” W $15,000-25,000 Provenance: Estate of Richard Fahrney, Southern California

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

82

83

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

84

85

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

57

Maurice Braun

(1877-1941, San Diego, CA) “Village Brook in Winter” Oil on canvas Signed lower right: Maurice Braun, titled on a gallery label affixed to the frame verso 30” H x 36” W $20,000-30,000 Provenance: Chicago Galleries Association, Chicago, IL Exhibitions: Chicago, IL, Chicago Galleries Association, “Ninth Semi-Annual Exhibition,” 1929 Literature: San Diego Evening Tribune, San Diego, CA, June 14, 1930 (not illustrated).

Notes: The artist won a $350 prize for this piece from the Chicago Galleries Association in 1929.

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

86

58

59

(1889-1975, Glendale, CA) “Northern Lights Anchorage,” 1919 Oil on canvas laid to board Signed and dated lower left: Paul Lauritz, signed again and titled verso 9.75” H x 13.75” W

(1873-194 “Solitude” Oil on can Signed an labels affix 25.75” H

Paul Lauritz

$2,000-3,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art,” June 15, 2010, Lot 153

87

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

Louis As

$12,000-1

Provenanc 2001, Lot

ston Knight

48, New York/France) ” nvas nd inscribed lower left: Aston Knight / Paris, titled on gum xed to the stretcher x 60” W

15,000

ce: Sale: John Moran Auctioneers, Monrovia, CA, June 19, 111

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

88

60

Emil Carlsen

(1853-1932, New York, NY) “On the Kattegatt” Oil on canvas laid to waxed canvas Signed lower left: S. Emil Carlsen, titled on an artist’s label affixed to the stretcher 26” H x 42.25” W $12,000-15,000

89

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

61

Donald Teague

(1897-1991, Carmel, CA) Figures on fishing boats, Hong Kong Watercolor on paper under glass Signed lower right: Donald Teague Sight:16.5” H x 23.5” W; Sheet: 17.25” H x 23.75” W $8,000-12,000

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

90

62

Si Chen Yuan

(1911-1974, Monterey, CA) “The Guitar Player” Oil on canvas Signed lower right: S.C. Yuan, titled by repute 43” H x 43” W $3,000-5,000

91

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

92

63

Clarence Hinkle

(1880-1960, Santa Barbara, CA) Still life with spilled picnic basket, 1945 Oil on canvas laid to panel Signed and dated lower right: Hinkle / 45 36” H x 30” W $4,000-6,000

93

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

64

Jane Wooster Scott

(b. 1920, Los Angeles, CA) “Indian Summer in Nantucket” Oil on canvas Signed and titled lower right: Wooster Scott, and with the copyright symbol 40” H x 30” W $6,000-8,000 Provenance: Private Estate, Beverly Hills, CA Peterson Galleries, Beverly Hills, CA Exhibitions: Beverly Hills, CA, Peterson Galleries, “The Works of Jane Wooster Scott,” May 17-June 9, 1984.

Notes: Presented in a Richard Tobey frame.

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

94

95

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

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

96

97

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

65

Charles Wysocki

(1928-2002, Los Angeles, CA) “Sunday Sailors” Oil on canvas Signed lower right: Charles Wysocki, and with the copyright symbol, titled on the stretcher 24” H x 30” W $12,000-18,000 Provenance: Galerie De Tours, Carmel, CA, December 22, 1973 Purchased from the above by the present owner Literature: C. Wysocki, “An American Celebration - The Art of Charles Wysocki,” New York, NY, 1985, pg 113, (partially illustrated) Notes: A signed and personalized copy of the book, “An American Celebration, The Art of Charles Wysocki,” by the artist accompanies this lot.

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

98

66

Helen Rousseau

(1896-1992, Santa Barbara, CA) Cows in a barnyard Oil on board Signed lower right: H. Rousseau 24” H x 30” W $3,000-5,000

99

C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

w w w. j o h n m o r a n . c o m 1 0 0

1 0 1 C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

67

R. Kenton Nelson

(b. 1954, American) Man in a Blue Suit Oil on canvas Signed lower right: R. Kenton Nelson 49” H x 21” W $10,000-15,000 Provenance: Plus One Gallery, London

w w w. j o h n m o r a n . c o m 1 0 2

1 0 3 C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, M ay 4 , 2 0 2 1

Condition Reports

w w w. j o h n m o r a n . c o m 1 0 4

1 Visual: Generally good condition.

Blacklight: Small spots of touch-up upper center. A small spot of touch-up lower right corner.

Frame: 16” H x 20” W x 1.75” D

Blacklight: No evidence of restoration under blacklight.

2 Visual: Generally good condition. The canvas has minor spots of lifting from the substrate scattered throughout. Isolated areas of very fine craquelure lightly scattered throughout.

Frame: 27.5” H x 31.5” W x 2” D

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 34” H x 42” W x 1.5” D

Frame: 23” H x 19.5” W x 2.75” D

3 Visual: Craquelure scattered throughout. Stretcher bar creases and artist’s pinholes along the four edges. Surface dirt and grime.

8 Visual: Fine craquelure scattered throughout.

Multiple small areas of flaking with additional instability and small chips of paint loss across the center.

Condition Reports

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

7 Visual: Generally good condition.

Blacklight: Two pea-sized spots of touch-up lower left. Small spots of touch up scattered across the center.

Frame: 37.5” H x 30.5” W x 2.75” D

Frame: 28.75” H x 32.75” W x 2.5” D

4 Visual: A pinhole upper right. A 1” area of paint loss upper left corner. Isolated areas of fine craquelure.

Craquelure scattered throughout the center. Areas of instability and flaking with moderate paint loss lower left and across the lower edge. A tiny square of paper adhered to the canvas with the number 2 lower left.

Blacklight: No evidence of restoration under blacklight.

9 Toning to the paper. Mat burn from a previous mounting along the perimeter. Artist’s pinholes scattered along the upper edge. There are creases to all of the corners and scattered along the perimeter.

Six small tears scattered along the edge of the paper with corresponding tape verso, the largest, a .75” tear along the upper right edge. A small dot of staining upper center. Craquelure and scattered paint loss to the impasto. Hinged to the back mat with artist’s tape along the upper edge.

Frame: 29.25” H x 33.25” W x 2.25” D

Frame: 23.75” H x 23.75” W x 2” D

5 Visual: Craquelure throughout. A 3” x 3” area of instability with small chips of paint loss upper left. A 1” x 1” area of instability with tiny flecks of paint loss left center. A series of tiny chips of paint loss lower right.

10 Visual: Craquelure throughout the sky. Two small chips of paint loss upper center. Two small spots of instability upper left and in the center. A .75” x 1.25” area of instability upper center. A tiny chip of paint loss right center, left center and lower center.

Blacklight: Touch-up scattered along the upper edge. A pea-size spot of touch-up lower right. Small spots of touch-up scattered throughout the sky.

Blacklight: A 4” x 8” area of scattered spots of touchup left center.

Frame: 30” H x 33.75” W x 3.75” D 105

6 Visual: Generally good condition. Small chips and losses to the board scattered along the upper edge.

A tiny chip of paint loss upper right. Two small chips of paint loss upper center.

Frame: 29.75” H x 35.75” W x 1.5” D

Blacklight: Small spots of touch-up scattered throughout, the largest a 1.5” spot along the right edge center.

Frame: 18.75” H x 22.75” W x 2.75” D 12 Visual: Generally good condition. A small chip of paint loss upper right corner. A .5” surface abrasion right edge center. A series of small chips of paint loss lower right quadrant. Surface dirt and spots of grime throughout.

Blacklight: Certain pigments fluoresce under blacklight, likely in the hand of the artist.

Frame: 23.5” H x 27.5” W x 2.25” D 13 Visual: Generally good condition. Very fine craquelure to some of the darker pigments in the left tree. Small gouge to the board lower edge center.

Small loss to the board upper left corner. Tiny hole in the board lower left corner. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.75” H x 22.75” W x 1.25” D 14 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.75” H x 22.75” W x 1.5” D 15 Visual: Generally good condition. Stable craquelure throughout. Small chips of paint loss in both lower corners. Minor dust accumulation to the impasto.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.25” H x 31.25” W x 3” D

16 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 20.75” H x 24.75” W x 2” D 17 Visual: Generally good condition. Craquelure throughout. A .5” line of paint loss along the upper edge right.

Blacklight: Crackfill throughout.

Frame: 17.75” H x 21.5” W x 2” D 18 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 20.75” H x 24.75” W x 2.25” D 19 Visual: Craquelure scattered throughout. Frame abrasion along the four edges due to an ill-fitting frame. Stretcher bar creases along the four edges. A small chip of paint loss upper edge center. Two small gouges to the canvas with paint loss left edge center.

Surface dirt and grime scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 32” H x 37” W x 1.75” D 20 Visual: Generally good condition. A series of small chips of paint loss scattered throughout the center.

Surface oxidation throughout. Would benefit from a cleaning.

Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 45” W x 2.5” D

Condition Reports

11 Visual: Generally good condition. A .5” furrow in the paint upper right corner.

106

21 Visual: Generally good condition. The canvas is slightly rippled in the upper right corner. Minor stretcher bar crease in the upper right corner. Small area of fine craquelure in the center. Minor frame abrasion in the upper left corner. Small area of grime lower right edge migrating from grime on the frame.

Blacklight: No evidence of restoration under blacklight.

Frame: 25” H x 21” W x 2.5” D 22 Visual: Generally good condition. Fine craquelure scattered throughout the upper portion of the mission arch.

Blacklight: A series of small dots of touch-up in and around the center. The largest, pea-sized in the center.

Frame: 33.25” H x 39.5” W x 2.75” D 23 Visual: Generally good condition. Isolated areas of very fine craquelure scattered throughout. A small bulge in the canvas right center.

Frame: 25.25” H x 35.25” W x 2” D 27 Visual: Generally good condition. Very fine craquelure scattered throughout.

Blacklight: Small spots, dots, lines and small areas of touch-up scattered throughout. The largest concentration along the upper edge.

Frame: 18” H x 22” W x 2.5” D 28 Visual: Generally good condition. Craquelure scattered throughout the sky and along the bottom edge. Minor surface dirt and grime.

Blacklight: A pea-sized spot of restoration upper center with a corresponding patch verso.

Frame: 27” H x 39” W x 1.5” D

Frame: 22.5” H x 19.5” W x 3.75” D

29 Visual: Generally good condition. Fine craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: One minor ‘L’-shaped spot of touch-up on the upper center right edge. Other very minor scattered spots of touch-up on the left boulder.

Condition Reports

Blacklight: Small spots of touch-up scattered throughout the sky. Touch-up along the upper 6” of the left edge.

Blacklight: No evidence of restoration under blacklight.

24 Visual: Generally good condition. Craquelure scattered throughout. A few tiny smudges scattered throughout the sky.

107

26 Visual: Generally good condition. Stretcher bar creases along the left and right edges. Craquelure scattered throughout.

Frame: 34.5” H x 39.5” W x 3” D 25 Visual: Generally good condition. Craquelure throughout. Minor frame abrasion along the four edges.

Blacklight: Touch-up and crack-fill scattered throughout the sky upper left. A pea-sized spot and a quarter-sized spot of touch-up along the lower edge left. Difficult to read under varnish.

Frame: 32.5” H x 37.5” W x 2.5” D.

Blacklight: Isolated spots of touch-up lightly scattered throughout, concentrated mostly in the center. The largest, a 3” x 1” scattered area in the cloud right center.

Frame: 32.75” H x 40.75” W x 3” D 30 Visual: Generally good condition. 1” line of craquelure upper right edge. Surface dirt and grime scattered throughout.

Blacklight: Two small spots of touch-up lower center.

A 2” area of touch-up upper right edge. Isolated spots of touch-up throughout the sky. The largest, a pea-sized spot upper right.

Frame: 24.25” H x 28.5” W x 2.5” D

31 Visual: Stretcher bar creases along the four edges.

Isolated areas of fine craquelure lightly scattered throughout.

36 Visual: Generally good condition. Craquelure throughout. A series of small chips of paint loss in the center.

Blacklight: Small spots of touch-up scattered throughout. A 1.75’’ x 1’’ area of touch-up left center with corresponding patch verso. A 2.25’’ line of touch-up upper right with corresponding patch verso. A dime-sized spot of touch-up upper center with corresponding patch verso. A 1’’ x .75’’ area of scattered touch-up in the center.

Blacklight: A small spot of touch-up lower right. A series of small spots of touch-up lower left.

32 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.25” H x 20.25” W x 1.25” D 33 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: A 4” x 4.5” scattered area of small spots of touch-up upper right.

Frame: 30.5” H x 54.5” W x 2” D 34 Visual: Craquelure scattered throughout. Two small areas of instability with chips of paint loss across the center. Surface dirt and grime throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.5” H x 44.5” W x 2” D 35 Visual: Generally good condition. Frame abrasion with scattered minor paint chipping to the four edges not visible while framed. Small area of minor paint shrinkage to the dark green pigments lower center.

Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 22.5” H x 26.5” W x 2” D

37 Generally good condition. A 2.75” scratch to the paper upper edge center. A series of small spots of staining and unobtrusive creases scattered along the upper edge.

Frame: 27.25” H x 35.25” W x 1.5” D 38 Visual: Generally good condition. A .5” chip to the board right edge center. Not visible while framed.

Tape residue along the four edges verso from a previous mounting.

Frame: 16.25” H x 18.25” W x 1.5” D 39 Visual: Generally good condition. Fine craquelure and tiny chips of paint loss scattered throughout the sky.

A 1” x 1” area of fine craquelure lower left. Minor surface dirt throughout.

Blacklight: Touch-up scattered along the upper edge.

Dime-sized spots of touch-up right center, lower left and lower center.

Frame: 26” H x 32” W x 3” D 40 Visual: Generally good condition. Isolated areas of very fine craquelure lightly scattered throughout the lower portion. A pea-sized scuff to the paint upper edge center. Tiny dots of grime lightly scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 19.25” H x 22.75” W x 1.5” D

Condition Reports

Frame: 22” H x 34” W x 2.5” D

Frame: 35.25” H x 43” W x 3” D

108

41 Visual: Generally good condition. A 2” tear in the canvas right center. Fine craquelure throughout.

Minor surface dirt scattered throughout.

45 Visual: Generally good condition. Fine craquelure scattered throughout. A quarter-sized yellow spot of paint loss lower left.

Blacklight: Spots of touch-up lightly scattered throughout. The largest, a 6” x 8” scattered area upper center.

Blacklight: Spots and dots of touch-up scattered throughout, the largest a quarter-sized spot lower left.

Unframed.

Frame: 27.25” H x 43.5” W x 3” D

42 Visual: Craqulure and instability with flaking and chips of paint loss throughout the sky. Isolated areas of fine craquelure with tiny flecks of paint loss scattered throughout the darker pigments. Surface dirt throughout.

46 Visual: Generally good condition. Stretcher bar creases along the four edges. Fine craquelure throughout. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Frame: 17.5” H x 27.5” W x 2” D

109

Blacklight: No evidence of restoration under blacklight.

Frame: 29.75” H x 21.75” W x 2.25” D

43 Visual: Generally good condition. Fine craquelure and paint shrinkage scattered throughout. Minor surface dirt throughout.

47 Visual: Generally good condition. Craquelure throughout. Isolated areas of paint shrinkage concentrated mostly in the upper left quadrant.

A 1.5” scratch upper left. Minor surface dirt throughout.

Blacklight: Small spots of touch-up scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 22.5” H x 24.5” W x 1.75” D

Frame: 38.5” H x 32.5” W x 3” D

44 Visual: Stretcher bar crease along the upper edge. A dime-sized bulge in the canvas upper edge right.

The canvas is bulged along the lower left edge. A tiny gouge to the canvas upper edge right. A tiny chip of paint loss upper left. Craquelure scattered throughout.

48 Visual: Generally good condition. Craquelure scattered throughout. Drips and dots of house paint lightly scattered throughout. A quarter-sized area of scattered chips of paint loss upper right. Surface dirt and grime throughout.

Blacklight: A series of spots of touch-up along the upper edge. The largest, a dime sized-spot upper edge right. A 1.5” x .5 area of touch-up lower left edge. Small spots of touch-up in the lower left corner.

Frame: 18.5” H x 28.75” W x 3.5” D

Blacklight: Small spots and lines of touch-up lower left corner. Small spots of touch-up to the subject’s face.

Frame: 66” H x 50” W x 2.25” D 49 Visual: Generally good condition. Craquelure throughout. Minor surface dirt throughout.

Blacklight: Spots, lines and small areas of touchup scattered throughout. The largest, a 5” x 3” scattered area lower left.

Frame: 49.25” H x 37” W x 4.5” D

Blacklight: Small dots and areas of touch-up to the subject’s face. A small scattered area of touch-up lower right.

Frame: 35.5” H x 27.5” W x 2.5” D 51 Visual: Generally good condition. Fine craquelure scattered throughout. Isolated areas of paint shrinkage scattered throughout. Areas of instability and flaking with tiny chips of paint loss to the two lowest pieces of fruit.

Blacklight: A quarter-sized spot of touch-up lower center. Touch-up scattered along the length of the right edge.

Frame: 44.5” H x 38.5” W x 4.5” D 52 Visual: Generally good condition. A small cluster of tiny flecks of paint loss left edge center. A .25” light scratch left edge center.

Blacklight: Small spots of touch up lightly scattered throughout the upper quarter of the board.

Frame: 23.75” H x 19.75” W x 1.5” D 53 Visual: The previous tacking edge crease is exposed across the upper edge. Minor frame abrasion to the four edges. Fine stable craquelure scattered throughout. Tiny flecks of paint loss lightly scattered throughout.

Blacklight: Small spots, dots and lines of touch-up scattered throughout.

Frame: 31.75” H x 37.75” W x 1.75” D

54 Visual: The canvas is loose and rippled. Stretcher bar creases along the four edges. Craquelure throughout.

A pea-sized puncture in the canvas upper left. A .5” tear in the canvas lower left. 1” scratches in the upper and lower left corners. An 11” x 2” area of instability with multiple chips of paint loss down the center. A 2” area of scattered paint loss lower edge right. A series of small chips of paint loss upper edge right.

Blacklight: Small spots of touch-up lightly scattered throughout.

Frame: 47.25” H x 59.5” W x 2.25” D 55 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges.

Blacklight: Small spots of touch-up scattered throughout, concentrated mainly in the sky. A dimesized spot of touch-up lower left. A quarter-sized spot of touch-up upper right with corresponding patch verso.

Frame: 33.5” H x 39.75” W x 3” D 56 Visual: Generally good condition. Stable craquelure throughout. A small chip and tiny fleck of paint loss upper left. The lower left corner has slight damage and loss.

Blacklight: Certain pigments fluoresce under blacklight, likely in the hand of the artist.

Frame: 22.5” H x 25.5” W x 2.25” D 57 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout.

Blacklight: A pea-sized spot of touch-up right center.

A few tiny dots of touch-up in the center.

Frame: 35.25” H x 41.25” W x 2” D 58 Visual: Generally good condition. The board is bowed from the center. A .5” tear in the canvas lower left edge.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

50 Visual: Generally good condition. Fine craquelure scattered throughout. Minor stretcher bar creases along the four edges.

Frame: 14” H x 18” W x 1.5” D 110

59 Visual: Generally good condition. Craquelure throughout.

Blacklight: Small spots of touch-up and extensive crackfill scattered throughout. Difficult to read under varnish.

Frame: 34.75” H x 68.5” W x 2” D 60 Visual: Generally good condition. Minor frame abrasion scattered along the four edges. Stable craquelure throughout. Minor surface dirt and grime.

Blacklight: Spots and areas of touch-up scattered throughout the sky, the largest a 4” x 8” scattered area upper center.

Frame: 30.75” H x 47” W x 2.75” D 61 Generally good condition. Hinged to the recto mat with artist’s tape along the four edges.

64 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 48.25” H x 38” W x 2.5” D 65 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 30” H x 36” W x 1.25” D 66 Visual: Generally good condition. A .25” gouge to the board upper right.

Blacklight: A 3.5” line of touch-up lower right. A 5” scattered line of touch-up lower left. Small spots and dots of touch-up lightly scattered throughout.

Frame: 32” H x 38” W x 3” D

Frame: 28.5” H x 35.5” W x 1” D 62 Visual: Generally good condition. Stretcher bar creases scattered along the four edges. A 4” line of instability left center. Isolated areas of fine craquelure lower center. A dime-sized area of paint loss lower right. Drips of varnish discoloration along the right side and lower edge. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight. Difficult to read under uneven varnish.

Condition Reports

Frame: 52.5” H x 52.5” W x 2.5” D

111

63 Visual: Generally good condition. Minor frame abrasion scattered along the four edges. Very fine craquelure throughout. Isolated areas of craquelure scattered throughout. A tiny chip of paint loss lower right.

Blacklight: A dime-sized area of touch-up in the upper left corner. A series of small touch-ups in the upper right corner. A small touch-up in the lower right corner. A small dot of touch-up lower center.

Two small dots of touch-up upper left.

Frame: 41” H x 35” W x 2.5” D

67 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 52” H x 24.25” W x 2.75” D

Consign Today

California & American Fine Art Fall 2021

Edgar Alwin Payne (1883-1947, Hollywood, CA) “San Juan Capistrano” circa 1922

Price Realized: $46,875

Consignment and Auction Inquiries: fineart@johnmoran.com

bid in person - absentee - telephone - live online

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 112

Consign Today

Fine Jewelry & Timepieces An Art Deco natural Ceylon sapphire and diamond pendant necklace

Price Realized: $53,125 Consignment and Auction Inquiries: mollie@johnmoran.com

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

Consign Today

Made In Mexico | August 3, 2021

Alfredo Ramos Martinez (1871-1946, Mexican) “Jesus and Mary - The Crucifiction” Conté crayon and pastel on paper, 48.5” H x 38” W $30,000-50,000 Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - a bsentee - telephone - live online

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Fine Art Cataloguer Mike Hook Furniture & Decorative Arts Cataloguer Shannon Dailey

20th Century Furniture and Decorative Arts Specialist John Simon Taylor Specialist Maranda Moran Post War & Contemporary Fine Art Specialist Bree Hughes Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Consignment Coordinator

Julia Hamilton Operations Coordinator

Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Angela Bryant

FOUNDERS

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

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

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

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

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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

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

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

Is your collection

protected?

Do you need a formal appraisal for insurance scheduling, estate tax filing, gift or charitable donation?

Moran’s team of USPAP compliant appraisers is here to meet your needs.

• USPAP

Compliant

• Quick

Turnaround

art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Jessie Arms Botke White cockatoos in an avocado tree

Price Realized: $87,500

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · trustsandestates@johnmoran.com · (626) 793-1833

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

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

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

New bidders will be asked to provide financ al accoun nforma on as a reference All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

UYER S PRE IU : P s calcula ed a on e firs $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

uyers outside of the United States must submit payment via wire transfer Credit cards are not an accepted form of payment for buyers outside of the United States

Title:

First Name:

Paddle number

Sale number

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

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In e e en of a e b d e e s ra on Form rece ed firs ll be reco n ed as the winning bid.

Please list lots for absentee bidding on reverse

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

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

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

Telephone (primary):

Rugs & Carpets Silver

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

No

How did you hear about our services?

Sellers permit info: Contact of ce for veri cation State: I agree that I have read Signature:

Native American Objects Prints & Multiples

Telephone (secondary):

Permit #

Modern & Contemporary Art

Turn of the Century Design / Arts + Crafts Western Art a e a s ec fic y e of em you are n eres ed n let us know:

Exp: oran s Conditions of Sale and shall be bound by them This affects my legal rights Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

w w w. j o h n m o r a n . c o m 1 2 2

w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3