20th Century Art + Design

20th Century Art + Design Sale 139 May 5, 2019—12 Noon 145 East Walnut Avenue, Monrovia CA 91016 Previews May 2-4: 12pm-4pm May 5: Doors open 8am

Featuring: Property from the Estate of Mrs. Donald M. Jones, Pasadena, CA. Lots: 82-131 Prints & Multiples Lots: 217-247

Lot 242 Massimo Vitali (1944-* Italian) Papeete Beach Regatta Pg. 135

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Decorative Art Department John Simon Taylor Co-Head of Sale 20th Century Furniture & Decorative Arts Specialist jsimon@johnmoran.com

Roland Rynkiewiscz Director roland@johnmoran.com

Jardine Bruce Cataloguer jardine@johnmoran.com

Maranda Moran Special Projects marandam@johnmoran.com

Fine Art Department David Trujillo Co-Head of Sale Post-War and Contemporary Art Specialist david@johnmoran.com

Morgana Blackwelder Director morgana@johnmoran.com

Jeff Moran President jeff@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

1 Beatrice Wood (1893-1998 Ojai, CA) Folded bowl Blue volcanic glaze Signed to underside: Beato 2.25” H x 5.375” W x 3.5” D $400/600

2 Beatrice Wood (1893-1998 Ojai, CA) Two works: Cabinet vase and handled mug Earthenware, red and blue glaze; Black metallic glaze Each signed to underside: Beato Larger: 5.25” H x 5.125” W x 3.75” D $400/600

3 Beatrice Wood (1893-1998 Ojai, CA) Vase with face and abstract designs Earthenware, matte polychrome glaze Signed to underside: Beato 7” H x 4.25” W x 3.5” D $600/800

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4 Martha Hamlin Visser’t Hooft (1906-1994 American) Abstract Watercolor and gouache on paper under glass Signed and dated lower right: Visser’t Hooft Sight: 12” H x 35.75” W $1,000/1,500

5 A modern sofa Contemporary The long black sofa with integral back and seat cushions raised on tapering cylindrical legs 28” H x 79.25” W x 31” D $600/800

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6 Leonard Janklow (1919-2006 American) Untitled (Op art) Screenprint on white, with two suspended clear acrylic rods Signed lower right: Janklow 36.75” H x 25” W x 2” D

7 Max Finklestein (1915-2016 California) “Black plus 49, #6,” 1969 Aluminum Signed, titled and dated verso: Finkelstein ‘69 17.5” H x 12.5” W x 4” D

$1,200/1,800

$600/800

8 A pair of Saarinen-style tulip end tables Third quarter 20th century Apparently unsigned Each white end table with orange flower petal/orange slice design top, 2 pieces Each: 20” H x 17.75” Dia. $600/800

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9 A George Nelson for Howard Miller Model #4755 ‘’Ball’’ clock 1964 Partial label: Howard Miller Clock Company / Zeeland Michigan Designed 1964 by George Nelson (1908-1986 New York, NY) for Howard Miller Clock Company, the sunburst-motif clock terminating in teak balls with brass face 13.25” H x 13.25” W x 2.75” D

10 An Italian Venini charger on stand 1986 Acid etched: Venini Laura 1986 05 “Summer” from the “Quattro Stagioni” series for Venini designed

by Laura de Santillana (1955-* Italian), the red glass charger centering orange and apple green Murrina center on a chromed metal stand Charger: 1.5” H x 13.75” Dia.

$400/600

$800/1,200

11 Marina Núñez Del Prado (1910-1995 Bolivian) “Bird” Carved and polished stone Signed to base: M. Núñez / Del Prado 10.875” H x 13.75” W x 6” D $5,000/7,000

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12 Bernar Venet (1941-* French) “Position of Three Major Arcs of 245.5 Degrees Each,” 1980 Collage and charcoal on paper Signed, titled and dated lower right: Venet Bernar 8.5” H x 19.75” W

13 Young-Il Ahn (1934-* Korean) “Space,” 1970 Acrylic on canvas Signed upper right: Ahn Young-Il, titled and dated on a gallery label affixed verso 33” H x 36” W

$2,000/3,000

$2,000/4,000

Provenance: Gift of the artist to the partner of the present owner.

Provenance: The Zachary Waller Gallery, Los Angeles, CA.

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14 Six Warren Platner for Knoll armchairs Third quarter 20th century Designed 1966 by Warren Platner (1919-2006 New Haven, CT) for Knoll, each nickel wire base supporting sloping back and armrest over a conforming seat, 6 pieces Each: 29” H x 27” W x 21.5” D $5,000/7,000

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15 A John Leslie Op-Art wall mirror 1970s The angled mirrors set into steel-wrapped cylinders on a mirrored ground 54” H x 36” W x 4.5” D

16 An Eero Saarinen for Knoll ‘’Tulip’’ dining table Third quarter 20th century Designed 1956 by Eero Saarinen (1910-1961 Finnish/American) for Knoll, the oval Carrera marble top over a metal tulip-form base 29.25” H x 77” W x 48” D

$2,000/3,000

$2,000/3,000

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17 A pair Verner Panton for Plus-Linje ‘’Peacock’’ chairs Second half 20th century Designed 1960 by Verner Panton (1926-1998 Danish) for Plus-Linje Denmark, each chrome cage seat set with circular red/orange cushions on a cage base, 2 pieces Each: 21.75” H x 27.25” Dia. $1,500/2,500

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18 An Italian glass free-form table lamp Fourth quarter 20th century Apparently unsigned The egg-shaped clear and striped glass lamp in three parts 21.5” H x 14.75” Dia. $800/1,200

19 A Raymond Loewy for C.E.I. ‘’DF-2000’’ dual-sided chest Third quarter 20th century Paper label to one drawer: DF-2000 / Made in France Designed circa 1965 by Raymond Loewy (1893-1986 French) for Compagnie d’Esthetique Industrielle (C.E.I.), the dual-sided chest wrapped with red laminate issuing a total of eleven drawers and one shelf raised on upsidedown T-form feet 45.5” H x 22.25” W x 19.75” D $2,000/3,000

20 An Eero Saarinen for Knoll ‘’Grasshopper’’ lounge chair Second half 20th century Designed 1948 by Eero Saarinen (1910-1961 Finnish/American), the bent plywood arm and legs supporting an arm and seat rest with later-added upholstery 34.25” H x 27.5” W x 33.5” D $800/1,200

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21 20th Century American School "Abraxas/Seventy-One" Oil on canvas Signed right center: Spenilli, titled on a label affixed verso 46” H x 46” W $1,000/2,000

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22 William Dole (1917-1983 American) Abstract collage, 1975 Collage on paper under glass Signed lower right: W. Dole and dated Sight: 17” H x 25” W $1,000/1,500 Exhibitions: Santa Barabara Museum of Art, Santa Barbara, CA, n.d.

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23 Laura Andreson (1902-1999 Los Angeles, CA) High-walled bowl Earthenware, shiny red glaze Incised signature: Laura Andreson 4.75” H x 6.25” Dia.

24 Glen William Lukens (1887-1967 Los Angeles, CA) Vase, 1920s Earthenware, deep indigo over matte green glaze Incised signature to bottom: Glen Lukens 5.75” H x 4.5” Dia.

$500/700

$800/1,200

25 A Norwegian Modern credenza Circa 1960 Indistinctly stamped: Norway Possibly Westnofa, the rectangular rosewood top over two tambour doors rolling back to reveal an arrangement of two shelves and three slide-out drawers 32” H x 78.5” W x 17.25” D $2,000/3,000

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26 Peter Arno (1904-1968 American) “Gretchen,” 1939, figures drinking in a bar Mixed media on canvas Signed and dated lower right: Peter Arno, titled verso 33” H x 48” W

27 Frank (Francesco Serverio) Perri (1918-1999 American/Italian) Still life with toys Oil on canvas Signed lower left: F. Perri 30” H x 40” W

$2,000/3,000

$800/1,200

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28 Sam Maloof (1916-2009 Alta Loma, CA) Game table with four low-back chairs Walnut and black leather The table stamped: Design Made / Maloof / California; each chair with upholsterer’s label to underside of seat Table: 29.625” H x 35.125” W x 35.125” D; each chair: 30.125” H x 21.5” W x 19” D $10,000/15,000 Provenance: Estate of Millard Sheets.

Thence by descent through the family.

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29 Two worked wrought iron light fixtures Third quarter 20th century Each in the Brutalist style, comprising a hanging four-tier candle holder and a wall sconce, 2 pieces Larger: 81.5” H x 14” W x 16” D $600/800

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30 Two American modern ceramic vessels Second half 20th century The vase indistinctly signed to bottom Comprising a jardinière and a vase, each with incised decoration, 2 pieces Larger: 9.625” H x 11.75” Dia.

31 An Architectural Pottery tall pot Second half 20th century Apparently unsigned The jade green glazed pot of abstract form 22.75” H x 12.5” W x 11” D

$300/500

$800/1,200

32 Ynez Johnston (1920-* American) Untitled (abstract) Gouache on paperboard under glass Signed and inscribed verso: To Malvina and Ron - Love Ynez John 8” H x 5” W $700/900 Provenance: Antal Fine Art, Los Angeles, CA.

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33 A white glazed ceramic sculpture Fourth quarter 20th century Signed to bottom: JL In openwork design on a natural wooden base 13.5” H x 11.5” W x 11.25” D

34 Robert Ervin (20th century, United States) Female torso, 1986 Carved wood Signed lower rear: R.L. Ervin and dated 31” H x 12.5” W x 8” D

$800/1,200

$600/800

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35 A pair of Lucite zig-zag chairs Fourth quarter 20th century Apparently unsigned In the style of Gerrit Rietveld (1888-1964 Dutch), each Lucite chair on integral zig-zag base, 2 pieces Each: 31” H x 16” W x 18.5” D $500/700

36 A Milo Baughman Lucite and burl wood game table 1970s Designed circa 1970 by Milo Baughman (1923-2003 American), the square burlwood top with inset circular leather panel raised on Lucite legs 29.5” H x 36.125” W x 36.125” D $1,000/2,000

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37 Roberto Matta (1911-2002 Chilean) Inscape (beach scene) Crayon and pencil on paper under glass Signed lower right: Matta Sight: 11.25� H x 14.25� W $15,000/25,000 Notes: A certificate of authenticity from the Palacio Del Arte Cuba with translation accompanies this lot.

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38 A Lucite armchair Fourth quarter 20th century The curved lucite back and armrest set into a square base 31” H x 38” W x 22” D $800/1,200

39 Peter Shire (1947-* American) Guitar-form desk Metal and glass 59.5” H x 71” W x 40” D $2,000/3,000

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40 Vasa Velizar Mihich (1933-* Yugoslavian) Four column tower, 1980 Cast acrylic columns in fitted base Incised on one column: Vasa and dated Each column: 88” H x 5.25” W x 3.5” D $15,000/25,000 Provenance: Acquired directly from the artist by the present owner

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41 Angel Botello (1913-1986 Puerto Rican) Boats in port Oil on panel Signed lower right: Botello, numbered verso: A.59 10.5” H x 12.75” W $4,000/6,000

42 A set of Frederic Weinberg Formica nesting tables Circa 1950s Designed by Frederic Weinberg (fl. mid-20th Century Philadelphia, PA), the triangular Formica top over three cylindrical legs in peach, teal, black, and white, 4 pieces Each: 16” H x 17.5 W x 15” D $500/700

43 A set of Frederic Weinberg Formica nesting tables Circa 1950s Designed by Frederic Weinberg (fl. mid-20th Century Philadelphia, PA), the triangular Formica top over three cylindrical legs in peach, teal, black, and white, 4 pieces Each: 16” H x 17.5 W x 15” D $500/700

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44 A Robert Josten cast aluminum cocktail table Third quarter 20th century The rounded square top on tapering post legs 15.25” H x 45.5” W x 45.5” D $800/1,200

sofa back detail

45 A Mark Goetz for Herman Miller ‘’Goetz’’ sofa Circa 1998 Designed 1998 by Mark Goetz, the walnut-wrapped frame enclosing a gray “crepe” seat and back upholstery raised on steel legs 31.125” H x 84.75” W x 31.25” D $2,000/3,000

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46 A Johan Rohde for Georg Jensen ‘’Cosmos’’ sterling silver tea set Post-1945 Each stamped: Georg Jensen / 45; Three pieces further stamped for Johan Rohde Designed 1915 by Johan Rohde (1856-1935 Danish), comprising a coffee pot (9.25” H x 7.5” W x 4.75” D), a teapot (6.25” H x 7.75” W x 5.5” D), a cream jug (4.5” H x 5” W x 2.75” D), and covered sugar bowl (4” H x 4” Dia.), 4 pieces 54.670 oz. troy approximately

47 A pair of Swid Powell silver plate candlesticks Each stamped: Swid Powell / RM / Silver Plate / Argentina Designed Richard Meier (1934-* Los Angeles, CA) for Swid Powell, each in an abstract design, 2 pieces Each: 3.25” H x 6” W x 4.5” D $400/600

$4,000/6,000

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48 A Gio Ponti ‘’Diamond’’ sterling silver flatware service 1958-2005 Each stamped: Reed & Barton Sterling Designed 1958 by Gio Ponti (1891-1971 Italian) for Reed & Barton in the “Diamond” pattern, comprising: 8 hollow-handled knives (8.75”), 8 hollow-handled butter spreaders (6.75”), 8 forks (7.5”), 8 individual salad forks (6.75”), 8 teaspoons (6”), 1 master butter knife (7.5”), 1 medium hollow-handled cold meat serving fork (8.25”), 1 pierced table/serving spoon (8.125”), 1 table/serving spoon (8.125”), 1 cream ladle (6”), 1 hollow-handled cheese knife (7.825”), 46 pieces Weighable sterling: 52.915 oz. troy approximately $2,000/3,000

49 A Johan Rohde for Georg Jensen #432A sterling silver water pitcher Post-1945 Stamped for artist Johann Rohde; Georg Jensen; Dessin / Denmark / Sterling / 432 / C Designed by Johan Rohde (1856-1935 Danish) for Georg Jensen, the angled spout issuing a hollow handle over a hammered bulbous body 11.5” H x 6.75” W x 5.5” D 31.415 oz. troy approximately $1,500/2,500 Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

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(1901-1985)

Jean Dubuffet 26

50 Jean Dubuffet (1901-1985 French) Study for Institute of Contemporary Arts, London exhibition catalogue “Jean Dubuffet Drawings,” 1966 India ink, marker, and gouache on paper with collage Signed and inscribed lower right: A Nancy Hoskins / J. Dubuffet 10.5” H x 9.75” W $25,000/35,000 Provenance: Gift from the artist to the present owner, 1972 Notes: This work is accompanied by a certificate of authenticity from the Fondation Dubuffet, no. 2019001, dated March 14, 2019 and signed by François Gibault. It will be included in the revised volume XXI of the catalogue raisonné, “L’Hourloupe II.” The present work is a study for the cover of the exhibition “Jean Dubuffet Drawings,” held at the Institute of Contemporary Arts in London, March 25 - April 30, 1966. The exhibition later traveled to the Scottish National Gallery of Modern Art, Edinburgh (May 14 - June 4, 1966), the Whitworth Art Gallery, Manchester (June 11 - July 2, 1966) and the City Arts Gallery, Leeds (July 9-30, 1966).

We would like to thank Sophie Webel, Director of the Fondation Dubuffet, for her assistance in cataloguing this work.

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51 Andrew Turner (1944-2001 American) “Rhythm Section” Acrylic on foamcore Signed lower right: Andrew Turner, titled on a gallery label affixed to the backing paper 60” H x 40” W

52 A Robert Sonneman ‘’Orbiter’’ floor lamp Second half 20th century Designed 1960s by Robert Sonneman (Mid-20th century American) the chromed light on an adjustable metal arm with leather-wrapped handle on cylindrical base with tripod foot 57” H x 33.75” W x 17.5” D

$800/1,200

$500/700

Provenance: The Sande Webster Gallery, Philadelphia, PA.

53 A Richard Schultz for Knoll ‘’Petal’’ side table Fourth quarter 20th century Paper label to underside: Knoll Associates, Inc. / 320 Park Avenue / New York, N.Y. 10022 Designed 1960 by Richard Schultz (1926-* American) for Knoll, the flowerhead-form top over a cylindrical support terminating in a starburst foot 19” H x 16” Dia. $300/500

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54 Claude Venard (1913-1999 French) Abstract still life Oil on canvas Signed lower left: C. Venard 13” H x 16” W $2,000/4,000

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55 James Weeks (1922-1998 American) “Still Life with Plant, Anchor and Stove,” 1952 Oil on canvas Unsigned, titled and dated on an exhibition label affixed verso 60” H x 75” W $10,000/15,000 Exhibitions: Waltham, MA, The Rose Art Museum, Brandeis University, April 2 - May 14, 1978, no. 8; Oakland, CA, The Oakland Museum, June - August 1978, no. 8.

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56 An Yngve Ekström for Swedese ‘’Lamino’’ armchair 1950s Stamped: Swedese Designed by Yngve Ekström Made in Sweden Designed 1953 by Yngve Ekström (1913-1988 Swedish) for Swedese, the curved back over arched arm/legs upholstered with brown shearling 39.5” H x 27.5” W x 29” D

57 A Missoni area rug 1990s Tag: Missoni Masters / by T & J Vestor / Made in Italy Wool on cotton foundation, bright floral design within a chevron border 118” H x 79” W $1,000/1,500

$300/500

58 A Hans Wegner for Getama ‘’GE258’’ sofa bed 1960-1969 With paper label to underside Designed by Hans Wegner (1914-2007 Danish), the rectangular backrest folds up to turn into a single bed over a rectangular cushion with original orange upholstery 28.75” H x 81” W x 34.5” D $800/1,200 May 5, 2019 - 20th Century Art + Design

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59 Robert Ervin (20th century American) Abstract pelican Patinated bronze Edition 39/60, signed Ervin and with the copyright symbol 22.25” H x 18.25” W x 7.75” D

60 Robert Ervin (20th century, United States) Swimming stingray Patinated bronze mounted to base on stand Edition 12/40, signed to underside: R. Ervin 5” H x 31” W x 14.5” D

$500/700

$600/800

61 An H.P. Hansen Danish Modern desk Circa 1960s Stamped: Made in Denmark; Further stamped: H.P. Hansen’s Mobelindustri Designed circa 1960 possibly by Arne Vodder (1926-2009 Danish) for H.P. Hansen’s Mobelindustri, the rectangular wooden top with upswept guard rail to back over four short drawers and a cabinet to one side and a shelf and locking cabinet to the other raised on outswept tapering post legs 28.5” H x 60.125” W x 29” D $600/800

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62 Elizabeth Taggart (1943-* United Kingdom) “Baboon,” 1975 Patinated bronze Signed: EST 314; Stamped for foundry: Morris Singer Founders London 9.25” H x 8.75” W x 11.25” D $800/1,200 Exhibitions: London, Royal Academy of Arts, May - July 1975, no. 631.

Notes: A copy of the receipt from the Royal Academy of Arts Summer Exhibition 1975 accompanies the lot.

63 A Danish Modern farm-style dining table and chairs Third quarter 20th century The rectangular top on trestle-style supports with six curved spindle-back chairs over woven cord seats raised on tapering post legs, 7 pieces Table: 28.75” H x 70.75” W x 35.25” D; Each chair: 32.125” H x 19.5” W x 19” D $3,000/5,000

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64 Eight Hans Wegner model ‘’W2’’ side chairs 1960s One stamped: C.M. Madsens Fabrikker / Haarby Denmark / Made in Denmark / Design: Hans J. Wegner Designed circa 1960 by Hans Wegner (1914-2007 Danish) for C.M. Madsens Fabrikker, comprising a set of eight chairs with teak frame issuing a squared leather seat, 8 pieces Each: 29.75” H x 21.75” W x 18” D

65 A CJ Rosengaarden Danish Modern dining table 1960s Apparently unsigned The oblong top extendable with two additional leaves over a central post support with six feet 28” H x 74.25” W x 48.25” D; Each leaf: 19.625” H x 48.25” W $2,000/3,000

$2,500/3,500

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66 Joseph Burlini (1937-* American) Abstract sculpture, 1963 Enameled steel raised on a wooden plinth Signed to sculpture: J.A. Burlini 36” H x 22” W x 14” D

67 An Austrian Art Deco rug Circa 1930 The wool rug with multicolored abstract design 99.5” H x 55.5” W $400/600

$1,500/2,500 Provenance: Private Collection, Temecula, CA.

68 An H.P. Hansen for Randers teak credenza Circa 1960s Foil label verso: H.P. Hansen / Mobelindustri / Randers / Made in Denmark Stamped: Made in Denmark Designed by H.P. Hansen for Randers, the rectangular cabinet with sliding doors enclosing shelves and slide-out shelf/ drawers raised on tapering cylindrical legs 31.75” H x 78.75” W x 20.125” D $1,000/2,000

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69 A Fornasetti ‘’Pennini’’ paper basket Contemporary Fornasetti paper label to underside The brass rim over a cylindrical base decorated in a pen nib motif raised on brass supports 11.25” H x 10.325” Dia.

70 A walnut veneer rocking chair Contemporary The curved back issuing curved arms over a square seat on rockers 25.125” H x 22” W x 27.25” D $800/1,200

$800/1,200

71 A pair of Poul Jensen for Selig ‘’Z’’ lounge chairs 1960s With tag: Made and finished in Denmark imported by Selig Designed by Poul Jensen (1905-1990 Danish) for Selig Denmark, each teak armchair with rectangular back and seat cushions, 2 pieces Each: 26.25” H x 29.5” W x 32.5” D $1,000/1,500

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72 Johann Walter-Kurau (1869-1932 German) Impressionistic landscape, circa 1919 Oil on canvas Signed lower right: Walter-Kurau 25� H x 28.75� W $15,000/25,000 Notes: Dr. Kristiana Abele has kindly confirmed the authenticity of this work.

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73 A Danish Modern teak modular wall shelf Third quarter 20th century Possibly designed by Arne Hovmand-Olsen (1919-1989 Danish), the four-section unit designed with an arrangement of shelves, cabinets, and a secretary desk Fully assembled: 79.75” H x 128” W x 19” D $2,000/3,000

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74 Sam Maloof (1916-2009 Alta Loma, CA) Spindle-back rocking chair, 2002 California walnut with laminated ebony/walnut rockers Incised to seat: No. 30 Sam Maloof 47” H x 26.5” W x 44.5” D $20,000/30,000

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Doyle Lane

(1925-2002)

“To be spiritual is to be balanced” — Doyle Lane, 1981

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One of the few African American ceramicists working in mid-century Los Angeles, Doyle Lane was born in New Orleans, Louisiana in 1925. He began his education at Los Angeles City College before moving on to East Los Angeles City College and finally the University of Southern California where he was a classmate of artist and fellow ceramicist Ken Price. In the 1950s he made his home and studio in the El Sereno neighborhood of East Los Angeles, remaining there for the rest of his life. An astute businessman as well as a master of glazes, his eye-catching colors and gentle forms possess a life and order all their own. His red glazes, like the ones seen in this piece, were applied in a thick layer to the tile and fired until the edges would burn and blacken, rendering a unique texture and color onto the tiles.

A dedicated artist and pragmatist, Lane once related “architectural commissions have mainly been my support and encouragement…I used to go around to the architects and show them my portfolio” (as quoted in "Black Artists of Los Angeles," Studio Potter Magazine Vol. 9 No. 2, June 1981, page 19). A personal friend of Lane’s, the consignor of the present work met the artist while working at architectural firm William L. Pereira & Associates. The owner, a dedicated collector of ceramics in his own right, became a frequent visitor at the artist’s studio and eventually purchased a home himself in El Sereno. The clay painting included in this auction was commissioned by the consignor to hang over the fireplace in his new Santa Monica home, although it has been enjoyed by the family as a vertical wall decoration ever since. Like Lane’s other large-scale works, this collage of rectangular variegated blackened and orange-red tiles made in different sizes and arranged on a narrow piece of plywood has a warm and playful air, perfect for a family fireplace. A rogue round tile hidden amongst the rectangles invites the viewer to engage in a game of “I Spy” while the complementary red and dark-toned finishes cast a warm glow and create balance and harmony. As Lane would say “wellcreated and well designed—that was the merit; not controversial, just beautiful pieces” (as quoted in Black Artists of Los Angeles," Studio Potter Magazine Vol. 9 No. 2, June 1981, page 20).

Though known and loved by the collectors and architects who commissioned him during his lifetime, Doyle Lane’s work, and the work of other African American ceramicists, has mostly been left out of the narrative of California post-war ceramics. Since his death in 2002, his work has gained a following including a retrospective at Reform Gallery in 2014 and inclusion in several important public and private collections. Clay paintings of this scale have not come up for auction previously, and this stunning piece presents a singular opportunity for a new appreciator of this unique voice in Los Angeles art.

detail

75 Doyle Lane (1925-2002 Los Angeles, CA) Clay painting, 1969 Red gas-fired tiles mounted to wood Apparently unsigned 90” H x 8” W x 2” D $4,000/6,000

Doyle Lane

Provenance: Commissioned by the consignor in 1969 to be mounted horizontally over their fireplace in Santa Monica, it was instead hung vertically as a wall piece. Please see letter from consignor for further information.

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76 Robert Miller (Second half 20th century) French horn elephant sculpture Found objects 30.5” H x 21.25” W x 17.25” D

77 Paul Braslow (20th century American) “Astarte,” 1992 Gold plated bronze on black stone plinth Edition 18/70, signed: Braslow 30.125” H x 3.75” W x 2.75” D

$400/600

$800/1,200

78 A George Nelson for Herman Miller ‘’Thin Edge’’ credenza Contemporary With tag to one drawer: Designed by George Nelson / Herman Miller Zeeland Mich.

Designed 1956 by George Nelson (1908-1986 New York, NY), the rectangular credenza with four short drawers joined to a three-door cabinet fitted with adjustable shelves and a pull-out drawer raised on cylindrical feet 32.25” H X 80” W X 18.25” D $1,000/2,000

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79 Sergio Bustamante (1942-* Mexican) Resting lion Brass and copper Edition 83/100, signed: Sergio Bustamante 17.25” H x 28.5” W x 16.5” D $600/800

80 A Gimson & Slater ‘’Rock N Rest’’ armchair and ottoman 1960s Designed by Adolf Relling (1913-2006 Norwegian) and Rolf Rastad (20th century Norwegian) for Gimson & Slater, the teak frame with reclining seat and ottoman in red upholstery with headrest, 2 pieces Chair (upright): 40” H x 28” W x 34.25” D; Ottoman: 17” H x 16.25” W x 16.5” D $600/800

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81 Richard Bunkall (1953-1999 American) “Reliquary,” 1995 Oil on canvas Signed lower right: Bunkall 66” H x 102” W $10,000/15,000 Literature: S. Storch and S. Mutter, “Richard Bunkall,” Captain of the Stripes Press, Pasadena, CA, 2012, p. 233, (illustrated).

Notes: The book “Richard Bunkall” accompanies the lot.

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Gertrud and Otto Natzler

Estate of Mrs. Donald M. Jones

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Pasadena, CA Lots 82-131

Gertrud Amon met Otto Natzler in Vienna in 1933, and they began their collaboration in ceramics in 1934. Their professional relationship blossomed into a romance that would last until Gertrud’s death in 1971. Mostly self-taught, the pair studied at the ceramics studio of Franz Iskra before opening their own studio in Vienna. With Gertrud at the wheel and Otto mixing and developing glazes, their collaboration led them to exhibit their work at Galerie Würthle in 1937 and won them a silver medal at the Exposition Internationale des Arts et Techniques dans la Vie Moderne on March 11, 1938, the same day Nazi Germany annexed Austria. In June of that year Gertrud and Otto were married, and by September they fled to the United States. Like many artists fleeing Nazi-occupied Europe at that time, the Natzlers chose Los Angeles to settle, adding to the rich artistic tapestry of Southern California during the war and post-war period. Their partnership raised the profile of the pair to one of the most influential ceramic studios on the West Coast.

Both of the time and timeless, Natzler pottery celebrates the symbiotic union of vessel and glaze.

Unlike many artists working at the time, the style and look of the Natzlers' work changed little over the years. The hand-thrown form of impossibly thin walls, delicate curves dexterously shaped by hand, and monochromatic glaze honed by trial and error all combined to create 'happy accidents' achieved through innovative formulas and regulated firing. The harmonious balance between the form and the glaze mean they can only exist together, one developed to compliment but not overtake the other.

The fruits of this partnership, nearly 20,000 vessels and 2,000 glazes, can be found in many museum and private collections around the world, including the single-owner collection contained in the 20th Century Art + Design auction. As Gertrud wrote in her notes: “The true lover of a pot will see a world contained in it and he will never think of himself as the owner but as the trustee through whose hand it shall pass to the next.” (Natzler, as cited in Natzler, 1973, p. 23). This collection, consigned from a Pasadena estate, encompasses a lifetime of patronage and connoisseurship. A personal friend of the Natzlers, the owner sought out and purchased their pieces along with other top ceramicists including Harrison Macintosh and Beatrice Wood to create an assemblage of important California ceramic art.

Moran's is proud to be the temporary custodian of this remarkable collection until these pieces are passed to a new generation of trustees.

82 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Vase, 1951 Earthenware, cream and brown volcanic/crater glaze Signed to underside: Natzler; Paper label: C719 21” H x 7” W $15,000/20,000 Provenance: Bullock’s Wilshire Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Exhibitions: Los Angeles, Los Angeles County Museum of Art, “The Ceramic Work of Gertrud and Otto Natzler,” June 15 August 14, 1966, no. 36; San Francisco, M. H. de Young Memorial Museum, “The Ceramic Work of Gertrud and Otto Natzler,” July 24 - Sept 6, 1971, p. 36, no. 28.

Literature: See corresponding catalogue for exhibition.

Notes: This lot is accompanied by the 25th Anniversary Exhibition brochure from the Bullock’s Wilshire Gallery, a loan receipt from the Los Angeles County Museum of Art, 1966, and a request for loan dated May 26, 1971, from the M.H. de Young Memorial Museum, San Francisco, CA.

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83 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Bowl, 1961 Earthenware, turquoise crater glaze Signed to underside: Natzler; Paper label: L264 2.25” H x 6.25” Dia. $1,500/2,500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

84 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Teardrop bottle, 1961 Earthenware, ivory sulfur crater glaze Signed to underside: Natzler; Paper label: L611 9.25” H x 4” Dia. $2,500/3,500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA. Exhibitions: Washington, D.C., Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, “Form and Fire: Natzler Ceramics 1939-1972,” July 27 - October 22, 1972, p. 57, no. 68 (illustrated).

Notes: This lot is accompanied by the loan receipt from the Renwick Gallery dated June 22, 1973 and a copy of the Renwick Gallery exhibition catalog.

Gertrud and Otto Natzler

From the artist: “This is one of the few small teardrop bottles on which I used a crater glaze. It somehow adds softness to the sensitive flowing profile.”

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85 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Chalice, 1965 Earthenware, grey-green crater glaze, reduction fired Signed to inside of base: Natzler; Paper label: N555 7” H x 6.25” Dia.

86 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Vase, 1961 Earthenware, oxblood reduction glaze Signed to underside: Natzler; Paper label: L523 4.75” H x 4.5” Dia.

$2,500/3,500

$2,000/3,000

Provenance: Bullock’s Wilshire Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

Exhibitions: Washington D.C., Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, “Form and Fire: Natzler Ceramics 1939-1972,” July 27 - October 22, 1972, pg. 72.

Gertrud and Otto Natzler

Notes: This lot is accompanied by the Natzler 6th Annual exhibition brochure from the Bullock's Wilshire Gallery, a loan receipt from the Renwick Gallery dated June 22, 1973 and a copy of the Renwick Gallery exhibition catalogue.

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87 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Round bottle, 1963 Earthenware, dark red flowing glaze Signed to underside: Natzler; Paper label: M275 7.5” H x 7” Dia. $3,000/5,000 Provenance: Bullock’s Wilshire Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Exhibitions: Los Angeles, Los Angeles County Museum of Art, “The Ceramic Work of Gertrud and Otto Natzler,” June 15 - August 14, 1966 (illustrated); San Francisco, M. H. de Young Memorial Museum, “The Ceramic Work of Gertrud and Otto Natzler,” July 24 - Sept 6, 1971, no. 85, p. 44 (illustrated); Washington, D.C., Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, “Form and Fire: Natzler Ceramics 1939-1972,” July 27 - October 22, 1972, p. 64, no. 86 (illustrated).

Notes: This lot is accompanied by the original receipt from Bullock's Wilshire, loan receipts from the Los Angeles Country Museum of Art and the Renwick Gallery and a copy of the Renwick Gallery exhibition catalog.

From the artist: “A very sensitively thrown round bottle. The smoothly flowing outline rises from an integrated base, then curves inward and up at the neck only to change direction again to form the beautifully proportioned lip. The glaze, applied in uneven layers, flows in red cascades over the sensuous mass of the form, counterbalancing the upward thrust of the form itself.”

88 Gertrud and Otto Natzler (1908-1971 and 1908-2007 Los Angeles, CA) Bottle vase, 1966 Earthenware, cat’s eye glaze Signed to underside: Natzler; Paper label: N866 14.5” H x 4.25” Dia. $2,000/3,000 Provenance: Bullock’s Wilshire Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Gertrud and Otto Natzler

Notes: This lot is accompanied by the Natzler 6th Annual Exhibition brochure from the Bullock’s Wilshire Gallery.

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89 Morris Graves (1910-2001 American) “Vase,” 1946 Tempera on paper laid to canvas under glass Signed and dated lower right: Graves Sight: 52.25” H x 26.5” W $5,000/7,000 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: The original invoice from Rex Evans Gallery, dated October 27, 1965, accompanies the lot.

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90 Ruby Morris (20th Century American) “Figure Study” Pencil and pastel on brown paper under glass Signed lower right: R. Morris Sight: 15” H x 10” W

91 Jack Zajac (1929-* American) “Small Swan III,” 1971 Gilt bronze on black acrylic plinth Edition 20/25, signed: Jack Zajac 8” H x 10.25” W x 4.75” D

$300/500

$500/700

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Jodi Scully Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: The original receipt from Jodi Scully Gallery accompanies the lot.

92 Joel Philip Meyers (1934-* Bloomington, IL) Vase Amber glass Signed to base: Joel Philip Meyers 10.875” H x 9.5” W x 5.75” D $2,000/3,000 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA

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93 Two Nils Landberg for Orrefers glass vases Second half 20th century Each with etched signature to bottom edge: Orrefors Expo NL Each designed by Nils Landberg (1907-1991 Swedish) comprising a smokey glass tulip chalice and a rose-colored tulpa vase, 2 pieces Larger: 17” H x 4.25” Dia. $500/700 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA. Literature: Duncan, 'Orrefors Glass,' pg. 122; Ricke and Gronert, 'Glas in Schweden: 1915-1960,' pg. 17.

94 Marie-Anne Poniatowski Krugier (1931-* Swiss) “Self Portrait #7,” 1962 Charcoal on paper under glass Signed and dated lower right: Poniatowski Sight: 25.25” H x 16.5” W

95 Marie-Anne Poniatowski Krugier (1931-* Swiss) “Lilly,” 1963 Charcoal on paper under glass Signed and dated lower right: Poniatowski Sight: 28.5” H x 23.25” W

$500/700

$500/700

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

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96 Sorel Etrog (1933-2014 Canadian/Romanian) “Corinth,” 1969 Patinated bronze Edition 3/10, signed to base: Etrog 6” H x 2.25” H x 2” D $1,500/2,500 Provenance: Dominion Gallery, Montreal, Quebec, Canada.

Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: A Certificate of Authenticity from the Dominion Gallery and Canada Customs Export Entry report dated April 26, 1973 accompanies the lot.

97 Robert Cremean (1932-* American) “Beatricci,” 1960 Papier-mâché on wood plinth Titled and dated on gallery label to underside 21” H x 8” W x 6” D $800/1,200 Provenance: Esther Robles Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

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99

98 William Dole (1917-1983 American) “Citta,” 1963 Collage on paper under glass Signed and dated lower right: W. Dole, titled on a gallery label affixed to the backing paper Sight: 12.75” H x 17.25” W

99 William Dole (1917-1983 American) “Holy City,” 1964 Collage on paper under glass Signed and dated lower right: W. Dole, titled on a gallery label affixed to the backing paper Sheet: 7” H x 14.75” W

$1,000/1,500

$1,000/1,500

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Exhibitions: San Diego, CA, Fine Arts Gallery of San Diego, “William Dole Retrospective 1960-1975,” December 3, 1976 - January 6, 1977; Santa Barbara, CA, The Santa Barbara Museum of Art, January 15 - February 27, 1977, no. 6.

Exhibitions: San Diego, CA, Fine Arts Gallery of San Diego, “William Dole Retrospective 1960-1975,” December 3, 1976 - January 6, 1977; Santa Barbara, CA, The Santa Barbara Museum of Art, January 15 - February 27, 1977.

Notes: The original invoice from Rex Evans Gallery dated January 4, 1965, accompanies the lot.

Notes: The original invoice from Rex Evans Gallery dated March 7, 1964, accompanies the lot.

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100 Dimitri Hadzi (1921-2006 American) “Arcturus” Bronze on granite plinth Edition VI/XIII, signed to bronze: D. Hadzi 14.75” H x 3.5” W x 3.5” Dia. $3,000/5,000 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

101 Helen Pashgian (1934-* American) “Receding I” Oil on canvas Signed and titled verso: Pashgian 12” H x 12” W $3,000/5,000 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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102 Jack Zajac (1929-* American) “Deposition” Patinated bronze on stone plinth Edition 2/6, signed: Zajac PG Bronze: 11.75” H x 6” W x 7.5” D $300/500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

103 Rico LeBrun (1900-1964 American) Abstract, 1962 Mixed media on paper under glass Signed and dated lower right: Lebrun, indistinctly inscribed verso Sight: 27” H x 39” W $800/1,200 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA

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(1914-2016)

Harrison Edward McIntosh was born in Stockton, California on September 11, 1914. The McIntosh family settled in Los Angeles in the late 1930s after brother Robert McIntosh, a fine painter, was accepted at the Art Center. McIntosh enrolled in his first ceramic course in 1940 studying with Glen Lukens, an essential figure in California ceramic art. Soon after in a studio/garage at the family home designed by famed Viennese architect Richard Neutra, McIntosh began his nearly 70-year career in ceramics. Using the G.I. Bill, McIntosh took courses in ceramics at Claremont Graduate School beginning in 1947 with Richard Petterson and a wheel-throwing workshop with Marguerite Wildenhain in Guerneville, California. By 1954, Harrison and friend Rupert Deese set up a pottery workshop on Foothill Boulevard in Claremont, California, establishing firm roots in the post-war art boom flowering in Southern California.

Harrison McIntosh

McIntosh’s work, inspired by Japanese forms, European Bauhaus sensibilities, and the California Casual lifestyle were uncomplicatedly elegant. The soft matte glazes (achieved mostly through the use of colored slip called englobe) and delicately incised designs achieved with everyday objects work together with organic forms that perfectly capture the elusive but distinct California spirit. The works included in this collection were most likely completed in the early 1960s after McIntosh began throwing more regularly on the wheel. The delicately incised decoration coupled with carefully applied engobe work together to achieve a deceptively simple design, never giving away the complexity of techniques used in the process.

104 Harrison McIntosh (1914-2016 Claremont, CA) Bottle-form vase, early 1960s Stoneware, incised decoration, color engobe, scrap glaze Impressed chop mark: HM 10.825” H x 4.825” Dia. $800/1,200 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA

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106 Harrison McIntosh (1914-2016 Claremont, CA) Vase Stoneware, incised vertical stripe, oxide engobe, matte glaze Impressed chop mark: HM 6” H x 4” Dia.

$800/1,200

$300/500

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

107 Harrison McIntosh (1914-2016 Claremont, CA) Low bowl Stoneware, scrap glaze, engobe Impressed monogram to underside: HM; With paper label 2.75” H x 13.125” Dia. $300/500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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Harrison McIntosh

105 Harrison McIntosh (1914-2016 Claremont, CA) Bottle-neck vase, early 1960s Stoneware, copper oxide engobe, matte glaze Impressed chop mark: HM; Paper studio label affixed to underside 9.125” H x 6” Dia.

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108 Elie Nadelman (1882-1946 American/Polish) “Cubist Head” Brown ink on tan paper laid to board under glass Signed lower right: Elie Nadelman, titled on a gallery label affixed to the backing paper Sight: 12” H x 7.5” W $2,000/3,000 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

109 Käthe Kollwitz (1867-1945 German) “Tod und Frau um Das Kind Ringend” Etching on paper under glass Unsigned, Alexander von der Beck “Berlin Halensee” blindstamp upper right Plate: 11.25” H x 9” W $500/700 Provenance: Ferdinand Roten Galleries, Baltimore, MD. Estate of Mrs. Donald M. Jones, Pasadena, CA. Literature: Klipstein 90; Hinz 36.

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110 Käthe Kollwitz (1867-1945 German) “Mother and Child” Graphite on paper laid to board under glass Signed lower right: Käthe Kollowitz Sight: 11.5” H x 17.5” W $3,000/5,000 Provenance: Felix Landau Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: The original reciept from Felix Landau Gallery, dated April 1, 1963, accompanies the lot.

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(1893-1998)

Beatrice Wood

Few people could dream of, let alone live, a life as full and fascinating as Beatrice Wood. Born in 1893 in San Francisco to a well-off household, Wood and her family eventually settled in Paris by way of New York.

After a stint at Miss Ely’s finishing school in New York, the shy Beatrice began to pull away from her overbearing mother and the expectations of women of her time. At 16 Wood ran away from her chaperone to live in an attic in Giverny. At 19 she was an ingenue at the French theater in New York. At 24 she co-founded the Avant-Garde magazine "The Blind Man" with Marcel Duchamp and Henri-Pierre Roché. At 37 she began her career in ceramics, deciding to make herself a teapot to go with lusterware plates purchased for an impending marriage. After taking courses at Hollywood High School, Wood later studied with Gertrud and Otto Natzler. Wood developed a distinctive style all her own, combining organic forms often paired with luster glazes, achieved by firing the pieces in a low-oxygen environment to encourage the metallic salts in the glaze to rise to the surface. Her works, meant not to be used but appreciated on their own merit, capture the playfulness and unabashed confidence of the woman herself.

111 Beatrice Wood (1893-1998 Ojai, CA) Long-neck vase Earthenware, volcanic pink and light blue glaze Signed to underside: 37 (1) Beato 11.75” H x 3.75” Dia. $800/1,200 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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113 Beatrice Wood (1893-1998 Ojai, CA) Teardrop-form vase Earthenware, iridescent metallic glaze Signed to underside: Beato 6.5” H x 5” Dia.

$300/500

$400/600

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

114 Beatrice Wood (1893-1998 Ojai, CA) Bud vase Earthenware, iridescent turquoise glaze Signed to underside: Beato 5.125” H x 3.5” Dia. $400/600 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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Beatrice Wood

112 Beatrice Wood (1893-1998 Ojai, CA) Long-neck vase Earthenware, green metallic glaze Signed to underside: Beato 4.75” H x 3.25” Dia.

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115 William Dole (1917-1983 American) “Mandate,” 1966 Collage on masonite under glass Signed and dated lower right: W. Dole, titled on a piece of tape affixed verso Sight: 21” H x 25.75” W $1,000/1,500 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Exhibitions: Champaign, IL, Krannert Art Museum, University of Illinois, “Biennial Exhibition of Contemporary American Painting and Sculpture,” March 5 - April 9, 1967; San Diego, CA, Fine Arts Gallery of San Diego, “William Dole Retrospective 1960-1975,” December 3, 1976 - January 6, 1977; Santa Barbara, CA,The Santa Barbara Museum of Art, January 15 - February 27, 1977.

Notes: The original invoice from Rex Evans Gallery dated September 26, 1966, accompanies the lot.

116 William Dole (1917-1983 American) “Crypto,” 1967 Collage on paper under glass Signed and dated lower right: W. Dole Sheet: 7.75” H x 5.75” W $1,000/1,500 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: The original invoice from Rex Evans Gallery dated February 3, 1968, accompanies the lot.

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118

117 Salvatore Grippi (1921-* American) Still life, 1965 Oil on canvas Signed and dated lower right: S. Grippi 43” H x 43” W

118 Salvatore Grippi (1921-* American) Still life with bread, 1964 Color pencil and pastel on paper under glass Signed and dated lower center: Salvatore Grippi Sight: 18.5” H x 21” W

$800/1,200

$400/600

Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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119 Five studio pottery vases Second half 20th century Comprising a bottle neck vase by Faith Banks, a crystalline vase by Adam Mekler, a diminutive vase signed W, a diminutive vase signed Alisa, and an unsigned wide-bodied vase, 5 pieces Largest: 7.75” H x 5” Dia. $300/500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

120 Two earthenware vessels Mid-20th century Comprising an abstract vase by Phillip Cornelius and a tall vase Esta James, 2 pieces Larger: 18.5” H x 4.5” W x 2.875” D

121 A carved wood lamp Third quarter 20th century The wood free-form lamp with pull-chain mechanism 45.75” H x 19.875” Dia. $200/400

$200/400

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

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122 Francis Picabia (1879-1953 French) “Composition,” circa 1924 Graphite on paper laid to board under glass Signed lower right: Francis Picabia Sheet: 16” H x 11.5” W $15,000/20,000 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

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123 Four studio pottery pieces Second half 20th century Comprising a blue chalice-form bowl by Henry Gernhardt, a bud vase by Jyn Brooks, an incised bottle by Oscar Bucher, and a straight-sided low bowl by Palshus Denmark, 4 pieces Largest: 7.75” H x 6.125” Dia. $200/400 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

124 Sidney Nolan (1917-1992 Australian) “Landscape,” 1959 Helizarin dye on paper under glass Signed lower right: Nolan, signed again, titled and dated verso Sight: 11.5” H x 9.5” W $2,000/3,000 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA.

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125 Morris Graves (1910-2001 American) “Snake, Rock, Moon” Ink and watercolor on rice paper under glass Signed lower right: M. Graves, titled lower left Sight: 29.5” H x 25” W $4,000/6,000 Provenance: Rex Evans Gallery, Los Angeles, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: The original invoice from Rex Evans Gallery, dated June 9, 1964, accompanies the lot.

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126 Alphonse Legros (1837-1911 French) Two faces, after Michangelo Graphite on paper laid to paper under glass Unsigned Sheet: 12.5” H x 11.5” W $300/500 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA.

127 Rembrandt van Rijn (1606-1669 Dutch) “Saint Jerome in a Dark Chamber,” 1642 Etching on paper under glass Unsigned, inscribed in another hand verso Image/sheet: 6” H x 6.75” W $2,000/3,000 Provenance: Estate of Mrs. Donald M. Jones, Pasadena, CA. Literature: Bartsch 105; Hollstein (White and Boon) 105.

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128 A votive head of a goddess Likely 5th-6th century B.C.E., Southern Etruria In the Veii style, the goddess (likely Juno Regina, patron goddess of Veii) with a crown resting on stylized curls 8.875” H x 6” W x 5.5” D $1,000/2,000 Provenance: Stendahl Galleries, Hollywood, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: A copy of the receipt from Stendahl Galleries dated April 24, 1963 accompanies the lot. Most of the Stendahl collection of Etruscan art was “formerly in the Gorga Collection which was left to the Italian state to be used specifically for exchanges and educational purposes.” (Mario A Del Chiaro, University of California, Santa Barbara, Art Gallery, 1967, Etruscan Art from West Coast Collections, Santa Barbara.)

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129 A bucchero-ware kyathos Likely 7th-6th century B.C.E., Vulci region of Southern Etruria The tall-handled drinking vessel with female mask to interior rim 5.25” H x 5.5” W x 4.25” D $600/800 Provenance: Stendahl Gallery, Hollywood, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: A copy of the receipt from Stendahl Gallery dated April 24, 1963 accompanies the lot. Most of the Stendahl collection of Etruscan art was “formerly in the Gorga Collection which was left to the Italian state to be used specifically for exchanges and educational purposes.” (Maria A Del Chiaro, University of California, Santa Barbara, Art Gallery, 1967, Etruscan Art from West Coast Collections, Santa Barbara.)

130 A small krater Likely 7th century B.C.E., Tarquina and Vulci region, Southern Etruria Either bucchero or transitional between impasto clay and bucchero ware, the dual-handled krater with ribbed body 5.25” H x 7” W x 5.75” D $300/500 Provenance: Stendahl Galleries, Hollywood, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: This lot is accompanied by a copy of the receipt from Stendahl Galleries dated April 24, 1963. Most of the Stendahl collection of Etruscan art was “formerly in the Gorga Collection which was left to the Italian state to be used specifically for exchanges and educational purposes.” (Del Chiaro, Mario A, and University of California, Santa Barbara, Art Gallery.

1967. Etruscan Art from West Coast Collections, Santa Barbara.)

131 Two ancient alabaster vessels Likely 18th Dynasty (1555-1350 B.C.E.), Egypt / 5th century B.C.E., Southern Ertruia Comprising an Egyptian round alabaster vase, and a Etruscan alabastron (perfume/oil holder), 2 pieces Vase: 4” H x 3.25” Dia. $200/400 Provenance: Stendahl Galleries, Hollywood, CA. Estate of Mrs. Donald M. Jones, Pasadena, CA. Notes: Two original receipts from Stendahl Galleries, dated June 5, 1963 and April 24, 1963 accompany this lot.

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132 Alfredo Ramos Martínez (1871-1946 Mexican) “The Tamale Makers” Tempera on paper laid to board under glass Signed lower right: Ramos Martinez, signed again on the backing board lower right Image/sheet: 14.25” H x 16.75” W $12,000/18,000 Provenance: Acquired directly from the artist by Margaret Cassidy, Los Angeles, CA. Thence by descent through the family to the present owner.

Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martínez Research Project.

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133 Alfredo Ramos Martínez (1871-1946 Mexican) “The Potters” Tempera on paper under glass Signed lower left: Ramos Martinez, signed again on the backing board lower right Image/sheet: 11.25” H x 13.25” W $12,000/18,000 Provenance: Acquired directly from the artist by Margaret Cassidy, Los Angeles, CA. Thence by descent through the family to the present owner.

Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martínez Research Project.

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134 Gustavo Montoya (1905-2003 Mexican) “Niña a la Matraca,” 1957 Oil on canvas Signed lower right: Gustavo Montoya, titled and dated on a gallery label affixed verso 22” H x 18” W $6,000/8,000 Provenance: Galería Central de Arte Moderno Misrachi, Mexico City.

135 Felipe Castañeda (1933-* Mexican) Untitled (Woman Sitting), 1990 Bronze Edition II/VII, signed: F. Casatñeda and dated 1990 47” H x 24.25” W x 23.75” D $4,000/6,000

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136 Lola Pons (1929-* Spanish) Seated woman Patinated bronze on marble plinth Edition 40/250, signed: Lola Pons 7.75” H x 5.75” W x 5.75” D

137 Eng Tay (1947-* Malaysian/American) ”Mirror” Oil on Arches paper under glass Signed in pencil lower left: Eng Tay Sheet: 15.5” H x 11.25” W

$500/800

$1,500/2,500 Notes: A certificate of authenticity from Multiple Impressions, LTD., New York, NY, dated July 14, 1991, accompanies the lot.

138 Roberto Moya (1932-2008 Brazilian) “Retrato de Confirmación,” 1979 Oil on canvas Signed lower right: Moya, signed again, titled, dated and inscribed verso: San Juan, P.R. 68” H x 48” W $5,000/7,000 Provenance: Galeria Palomas, San Juan, Puerto Rico.

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139 Alexander Grigorievich Tyshler (1898-1980 Russian) Woman with staircase, 1965 Oil on canvas Signed in Cyrillic and dated lower left 27� H x 19� W $10,000/15,000

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140 Rodolfo Nieto (1936-1988 Mexican) “El Filo de la Noche,” 1963 Oil on masonite Signed upper right: Nieto, titled and dated on an exhibition label affixed verso 19.5” H x 25.5” W $7,000/9,000 Provenance: Property from the Collection of Nancy Nieto, California.

Exhibitions: The Museo Chicano, Phoenix, AZ, “Nieto & Nancy,” n.d.

Notes: A letter of authenticity from Nancy Nieto accompanies the lot.

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141 Rafael Coronel (1932-* Mexican) “Man in Red” Pencil and chalk on board under Plexiglas Signed and inscribed lower right: Rafael Coronel Mex Sight: 29.75” H x 39.75” W $3,000/5,000 142 Carol Gold (1937-* American) Woman and horse Bronze on black granite plinth Apparently unsigned Bronze: 23.375” H x 17.25” W x 22.5” D $3,000/5,000

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143 20th Century American School Abstract sculpture, 1963 Patinated bronze Signed: M. Jacob and dated 54.25” H x 15” W x 13.75” D $2,000/3,000

144 An Eames for Herman Miller ebonized panel screen Second half 20th century Designed circa 1946 by Charles and Ray Eames (1907-1978 and 19121988 Los Angeles, CA) for Herman Miller, the foldable molded ash plywood screen in ebonized finish 68” H x 59” W x 2.25” D $1,500/2,500

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145

146

145 George Chann (1913-1995 American/Chinese) Untitled abstract Oil on canvas Signed lower left: Geo Chann 19” H x 15” W $7,000/9,000

146 Jae Carmichael (1925-2005 Los Angeles, CA) “Space Plant #4,” three abstract sculptures Patinated bronze Each stamped: AEP; titled on Pasadena Society of Artists Exhibition label Largest: 14” H x 6.5” W x 7.125” D $1,000/2,000

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147 Joseph E. Frederic (1916-2005 Rochester, NY) Abstract city street Oil on board Signed lower right: J.E. Frederic 24” H x 20” W

148 Frank Porter Riggs (1927-* American) Bio-morph Painted aluminum 17” H x 25” W x 14.5” D $1,000/1,500

$1,000/2,000

Notes: A copy of the invoice from Mill St. Gallery, Aspen, CO dated July 22, 1986, accompanies the lot.

149 A Glenn of California for Lawson-Fenning walnut slide-top cocktail table 1960s Rectangular walnut finish body with slide top over square aluminum legs 15” H x 60” W x 20” D $1,000/1,500

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150 A spun-aluminum chandelier 1950s Partial Underwriters label to fixture The two-part eight-light brass and steel fixture with frosted panel adorned with star-form cutouts 29.25” H x 30” Dia. $2,000/3,000

151 Joseph E. Frederic (1916-2005 Rochester, NY) “Nut House - Just Crazy” Watercolor on Arches paper Signed lower right: JE Frederic, titled verso Sheet: 22.5” H x 30” W $1,000/2,000

152 A Warren Platner for Knoll ‘’Platner Side Table’’ Third quarter 20th century Designed 1966 by Warren Platner (1919-2006 New Haven, CT) for Knoll, the nickel wire base supporting a round glass top 18: H x 16” Dia. $500/700

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153 A John Leslie Op-Art wall mirror 1970s The angled mirrors set into steel-wrapped cylinders on a mirrored ground 36” H x 18” W x 3” D

154 A Curtis Jere ‘’Raindrops’’ wall sculpture 1974 Signed and dated: Jere ‘74 The abstract raindrop-motif wall sculpture of chrome and steel 46.5” H x 46” W x 5” D

$600/800

$1,000/2,000

155 Three Eames for Herman Miller DKR ‘’Wire Mesh’’ chairs 1960s-1970s One with Herman Miller fabric label to cushion Designed 1951 by Charles and Ray Eames (1907-1978 and 1912-1988 Los Angeles, CA), each wire mesh frame with “bikini” cushions on an Eiffel tower base, 3 pieces Each: 32.5” H x 19.25” W x 21” D $500/700

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156

157

156 Tom Perkinson (1940-* American) “The Mute Cowgirl,” 1980 Oil on board Signed and dated lower right: Perkinson, signed again and titled verso 11.5” H x 29.25” W $2,000/3,000 Provenance: Acquired directly from the artist by the present owner.

157 Tom Perkinson (1940-* American) “Horse” Oil on board Signed lower right: Perkinson, signed again and titled verso 9.5” H x 12” W $1,000/2,000 Provenance: Acquired directly from the artist by the present owner.

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158 A chrome and Lucite Art Deco-style table lamp 1980s The two-light lamp with pull chains set with a half-moon shade over a lucite panel set into a half-moon base 23” H x 15.875” W x 10” D

159 A clear Lucite and glass lamp table Second half 20th century The squared glass top inset into a squared Lucite base with chamfered corners raised on triangular post legs 23.25” H x 32.5” W x 31.75” D

$1,200/1,800

$500/700

160 A chrome and glass console table Fourth quarter 20th century Possibly Leon Rosen, the T-form chrome console table with black glass top and sides 30.25” H x 72” W x 15.125” D $2,000/3,000

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161 Tom Perkinson (1940-* American) “Mask” Oil on board Signed lower right: Perkinson, signed again and titled verso 10.75” H x 10” W $1,000/2,000 Provenance: Acquired directly from the artist by the present owner.

162 Tom Perkinson (1940-* American) “Night Visit” Oil on board Signed lower right: Perkinson, signed again and titled verso 11” H x 11” W $1,000/2,000 Provenance: Acquired directly from the artist by the present owner.

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163 An Italian glass and acrylic floor lamp Second half 20th century Apparently unsigned The abstract frosted glass lampshade over a plum-colored cylindrical base 57” H x 14” W x 11” D $1,000/2,000

164 An Eero Saarinen for Knoll ‘’Tulip’’ side table Third quarter 20th century Designed 1956 by Eero Saarinen (1910-1961 Finnish/American) for Knoll, the oval Carrera marble top over a metal base 20.25” H x 22.325” W x 15” D $300/500

165 An Eames for Herman Miller lounge chair 670 Fourth quarter 20th century Designed 1956 by Charles and Ray Eames (19071978 and 1912-1988 Los Angeles, CA) for Knoll, the palisander veneer shell with brown leather cushions, synthetic fill, 2-bolt arm construction, and black rectangular cushion clips 32.25” H x 33” W x 32.25” D $1,500/2,500

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166 Reimond Kimpe (1885-1970 Belgian) “Vissen,” 1932 Oil on canvas Signed, inscribed and dated lower left: R. Kimpe / Palma de Malloca, titled on a gallery label affixed verso 25.5” H x 29.75” W $8,000/12,000 Provenance: Sold: Sotheby’s, Amsterdam, Modern and Contemporary Art, December 6, 2006, Lot 66.

Exhibitions: Laren, Netherlands, Singer Laren Museum, "De Gulden Middenweg," January 19 - March 9, 1997.

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167 A Frigast ‘’Savoy’’ sterling silver flatware service Mid-20th century Each stamped: Frigast Sterling In the “Savoy” pattern, comprising: 12 hollow-handled knives (8.5”), 12 forks (7.75”), 12 cocktail/seafood forks (5.75”), 12 spoons (7.75”), 12 place/oval soup spoons (7.25”), 12 five o’clock teaspoons (4.75”), 2 sugar spoons (5”), 1 round bowl spoon (6”), 1 gravy ladle (7”), 1 table/serving spoon (8.25”), 1 round serving spoon (8.25”), 1 short-handled pickle/olive fork (6”), 1 two-tine cold meat serving fork (8”), 1 serrated serving knife (10.5”), 1 offset server (7.25”), 2 cheese servers (6”), 84 pieces Weighable sterling: 114.510 oz. troy approximately $1,500/2,500

168 A Rosenthal ‘’Romance (Romanze)’’ porcelain dinner service 1961-2004 Each stamped: Rosenthal / Studio-Linie / Germany Designed 1961 by Bjørn Wiiblad (1918-2008 Danish), comprising 12 dinner plates (9.75” Dia.), 8 salad plates (7.5” Dia.), 24 bread and butter plates (5.75” Dia.), 12 large coupe soup bowls (8.375” Dia.), 6 coupe soup bowls (7.25” Dia.), 12 fruit/dessert (sauce) bowls (5” Dia.), 12 flat teacups/soup bowls (2.125” H x 5.125” W x 4.125” D), 18 saucers (6” Dia.), 6 tall coffee/ tea cups (2.75” H x 4.25” W x 3.25” D), 12 demitasse/espresso cups (2.25” H x 3.125” W x 2.375” D), 12 demitasse/espresso saucers (4.25” Dia.), 2 pairs of salt and pepper shakers (2.75” H x 2” Dia.), 1 small tea pot (6.875” H x 7.625” W x 4.75” D), 1 large teapot (8” H x 8.75” W x 5.5” D), 2 covered sugar bowls (4” H x 3.625” Dia.), 2 cream jugs (3.5” H x 3.75” W x 3” D), 1 covered tureen (6.25” H x 10.25” W x 7.5” D), 1 pitcher (6.75” H x 6.25” W x 4.5” D.), 2 oil or vinegar creuets (5.625” H x 4” W x 2.75” D), 1 gravy boat (3.25” H x 6.75” Dia.), 1 vegetable serving bowl 4.125” H x 8.5” Dia.), 1 round serving bowl (2” H x 11.25” Dia.), 1 round torte plate (1.25” H x 12.872” Dia.), 1 large oval serving platter (1.5” H x 14.875” W x 10.25” D), 1 medium oval serving platter (1.25” H x 13.125” W x 9.125” D), 1 small oval serving platter (1.375” H x 9.5” W x 5.75” D), 1 stretched oval serving platter (1” H x 14.5” W x 6.5” D), 1 covered butter dish (4.5” H x 7.25” Dia.), 157 pieces $600/800

169 A Gimson & Slater ‘’Rock N Rest’’ armchair and ottoman 1960s Designed by Adolf Relling (1913-2006 Norwegian) and Rolf Rastad (20th century Norwegian) for Gimson & Slater, the teak frame with reclining seat and ottoman in fish-motif upholstery with headrest, 2 pieces Chair (upright): 40” H x 28” W x 34.25” D; Ottoman: 17” H x 16.25” W x 16.5” D $600/800

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170 Jack Laycox (1921-1984 American) “Sausalito Waterfront,” 1967 Oil on canvas Signed lower right: Jack Laycox, signed again, titled and dated verso 24” H x 30” W

171 Christopher Ries (1952-* American) “Afterglow,” 1998 Optical crystal Signed and dated to edge: Christopher Ries 5/12/98 (c) 11”H x 7.5” W x 3.25” D

$2,000/3,000

$800/1,200 Notes: A copy of the certificate of valuation and authenticity from the Rachael Collection, Aspen, CO dated January 30, 1999 accompanies the lot.

172 A custom wooden bookcase Second half 20th century The horizontal bookcase with two long shelves with central support 40.25” H x 84” W x 13” D $600/800 Provenance: From the collection of Len Larson.

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173 A Castiglioni ‘’Arco’’ floor lamp Third quarter 20th century Designed 1962 by Achille and Pier Giacomo Castiglioni (1918-2002 and 1913-1968 Italian), the gray light suspended from a brushed metal support set into a Carrera marble base 72.75” H x 52” W x 11” D $1,000/1,500 174 An Italian glass figural sculpture Fourth quarter 20th century Signed: Seguso The stylized standing figure with arms raised on an integral textured glass cylindrical base 24.25” H x 4.5” Dia. $500/700

175 A set of Berthold Müller-Oerlinghausen mosaic nesting tables Mid-20th century Each with metal Tag: Müller Mosaik Kressbronn / Made in Germany Designed by Berthold Müller-Oerlinghausen (1893-1979 German), the triangular-shaped nesting tables with concentric triangular-motif tops set into a brass frame on cylindrical legs, 2 pieces Larger: 21” H x 30.5” W x 19.875” D $1,500/2,000

94

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176 Bradford Salamon (1963-* Los Angeles, CA) “Tasty Colors,” 2018 Oil on canvas Signed lower left: Bradford, signed again, titled and dated verso 72” H x 48” W $8,000/12,000

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177 Two Rupert Deese ceramic pieces Mid-20th century Incised chop mark to base: RD Each glazed ceramic, comprising a vase and a compote Larger: 8.325” H x 5.25” Dia.

178 A pair of Dessin Fournir metal and wood two-tier end tables Fourth quarter 20th century Metal tag: Dessin Fournir / Los Angeles Each custom-designed table with rectangular burlwood veneer top set into a wrought iron frame with conforming undershelf, 2 pieces 28” H x 27” W x 19.5” D

$1,000/1,500

$400/600 Provenance: From the collection of Len Larson.

179 A wood and metal rectangular table Fourth quarter 20th century The slatted wood top on a wrought iron base with stretcher bar connected to an arch and post support 30” H x 79.5” W x 36” D $1,000/1,500 Provenance: From the collection of Len Larson.

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180 Byron Browne (1907-1961 American) “The Picador and Bull,” 1959 India ink and gouache on paper under Plexiglas Signed lower left: Byron Browne and dated Sight: 18.5” H x 24.75” W $7,000/9,000

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97

181 Ron Rizk (1941-* American) “Levi Commission,” 1999, trompe l’oeil with tin cowboy Oil on panel Signed and dated lower right: Ron Rizk and with the copyright symbol, titled on a gallery label affixed verso 24” H x 24” W $4,000/6,000 Provenance: Koplin Gallery, Los Angeles, CA.

182 Four Eames ‘’DCW’’ dining chairs Third quarter 20th century Hume Furniture Restoration label to one seat Designed 1946 by Charles and Ray Eames (1907-1978 and 1912-1988 Los Angeles, CA), each bent plywood chair with rubber shock mounts, 4 pieces Each: 29.25” H x 19.25” W x 19” D $1,000/2,000

98

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183 An Eames ‘’CTW’’ coffee table Third quarter 20th century Stamped: CTW Designed 1946 by Charles and Ray Eames (1907-1978 and 19121988 Los Angeles, CA), the circular top with molded lip over tapering post legs of laminated plywood in a natural finish 15.5” H x 33.75” Dia. $500/700

185 Joel Shapiro (1941-* American) Untitled (clay disk) Ceramic 5” H x 4.5” W $500/700

184 An Architectural Pottery round pot Second half 20th century Apparently unsigned The widening cylindrical pot with tapering lower quarter to a flat bottom 9.25” H x 16” Dia. $300/500

186 Stanton MacDonald-Wright (1890-1973 American) Still life with flute, fruit and bowl, 1942 Oil on canvas Signed, dated and inscribed verso: S. Macdonald-Wright / Santa Monica 24” H x 20” W $5,000/7,000 Notes: A statement of authorship, signed by Edward Goldfield and dated April 3, 1982, is affixed to the backing board.

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187 20th Century American School “Zuni Mesa,” 1970 (nail sculpture) Mixed media with nails Signed: Ken [Rew or Drew]; further numbered and titled verso 27” H x 30.5” W x 2.75” D

188 Kurt Larisch (1913-2009 Austrian) Red abstract with applied figure, 1973 Oil on canvas Signed and dated lower right: Kurt Larish 35.5” H x 27.5” W

$600/800

$700/900

189 Dennis Davis (20th century American) “5-36-54,” 1966 Assemblage with acrylic on panel Signed and dated lower center: Dennis Davis, titled on an exhibition label affixed verso 24” H x 48” W x 3” D $600/800 Exhibitions: San Dieguito Art Guild, Encinitas, CA, “Second Annual Exhibit,” 1966.

100

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190 Howard Finster (1916-2001 American) Diorama Mixed media diorama Inscribed and signed verso 12.5” H x 7.5” W x 3.625” D

191 An Italian side table Second half 20th century With Made in Italy paper labels to underside The parchment top on black lacquered supports 29.75” H x 54.75” W x 15.75” D

$2,000/3,000

$800/1,200

Notes: Dedication to Ronald Reagan verso: From Howard Finster to the President of the United States of American who is a big hunk of America itself. I am for what you are doing. You are the only qualified man we have for this present age and time God bless you forever. Howard Finster an American man.

192 A parchment cocktail table 1970s The rectangular parchment top with rounded corners over two slide-out mirrored undershelves raised on a lacquered rectangular base 14.125” H x 58.25” W x 35.25” D $1,000/1,500

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193 A BL Design ‘’Bubble’’ mirror Third quarter 20th century After Verner Panton (1926-1998 Danish), the square plexiglass bubble wrapform panel over a mirrored back 36.25” H x 36.25” W x 1.25” D

194 Boris Lovet-Lorski (1894-1973 American) “Standing Nude,” female nude, 1950s Bronze with black/brown patina Signed to figure’s lower right leg: Lovet-Lorski 33.5” H x 12.5” W x 9” D Provenan

$400/600

$12,000/18,000 Provenance: Mr. Alexander Racolin, New York, NY. Private Collection, New York. Private Collection, San Diego, CA.

195 A Master Craft chest of drawers unit 1970s The brass and mirrored unit with an arrangement of fifteen drawers and a shelf 51” H x 86.5” W x 17” D $2,000/3,000

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196 A Master Craft bed and shelving unit 1970s The brass and mirrored king-sized bed set into a configuration of two corner cabinets and one side cabinet fitted with an arrangement of five shelves, three double-door cabinets, and three drawers all with lighting rigs adjustable at the headboard Bed: 51” H x 12’2” W x 95” D; Shelving unit: 51” H x 86.75” W x 17” D $3,000/5,000

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197 János Vaszary (1867-1939 Hungarian) Figures in top hats Crayon on paper under glass Signed lower left: Vaszary J. Sight: 11.5” H x 16” W

198 János Vaszary (1867-1939 Hungarian) Woman in beret and man in top hat Pastel and graphite on paper under glass Faintly signed lower left: Vaszary J. Sight: 10.25” H x 11.25” W

$3,000/5,000

$1,500/2,500

199 An H.P. Hansen Danish Modern teakwood desk 1960s Stamped: Made in Denmark; Further stamped: H.P. Hansen’s Mobelindustri Designed circa 1960 possibly by Arne Vodder (1926-2009 Danish) for H.P. Hansen’s Mobelindustri, the rectangular wooden top upswept on either side over six short drawers to one side and a shelf and locking cabinet to the other raised on tapering post legs 29” H x 60.25” W x 29.5” D $1,000/2,000

104

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200 Alexander Archipenko (1887-1964 Ukrainian/American) Study of two figures Pencil on paper under glass Signed lower center: Archipenko Sheet: 13.5” H x 9.5” W $3,000/5,000 Provenance: Richard L. Feigen & Co., New York, NY.

201 A pair of Erik Buch ‘’Model 61’’ walnut bar stools Third quarter 20th century Metallic tag to frame: Made in Denmark / Oddense Maskinsnedkeri A-S Designed 1961 by Erik Buch (1923-1982 Danish) for Oddense Maskinsnedkeri, the low-back stool over a trestle-legged support with wooden footrest, 2 pieces Each: 32.75” H x 15.25” W x 17.5” D $600/900

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105

202 An Ace-Hi Prelude bedroom suite 1960s Label to dresser: Custom Quality by Prelude Ace-Hi Gardena, Calif.

Comprising a headboard with leather panel (36.125” H x 78” W x 2” D), a dresser (32.78” H x 69.375” W x 18.125” D), and two side tables (each: 25.25” H x 20.125” W x 18.125” D), 4 pieces $800/1,200

106

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203 Peter Max (1937-* American) Floral still life, 1996 Oil on paper under Plexiglas Signed lower right: Max, signed again, inscribed, dated and with a personal drawing on the backing paper verso: To Pauline, Love Max, with the inventory number on the backing paper verso: 28732 Sheet: 16” H x 12” W $2,000/3,000

204 Sonia Gold (1959-* Lithuanian/American) “Magical Voice” Mixed media on canvas Signed lower right: Sonia Gold, signed again and titled verso 30” H x 34” W $1,000/2,000

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107

205 Hong Viet Dung (1962-* Vietnamese) Boat on a lake Oil on canvas Signed lower left indistinctly 53” H x 60.75” W $5,000/7,000

206 Jaap Weijand (1886-1960 Dutch) Iris still life, 1920 Oil on canvas Signed and dated lower right: J. Weijand; Signed again twice and indistinctly inscribed on the stretcher 37.5” H x 26.75” W $1,500/2,500

108

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207 Attributed to David Cressey (1916-2013 Los Angeles, CA) Two pots Red-glazed ceramic Apparently unsigned Each approximately: 18.5” H x 20.5” Dia.

208 Attributed to David Cressey (1916-2013 Los Angeles, CA) Pot Red glazed ceramic Incised: USA 13.25” H x 13” Dia.

$1,000/1,500

$400/600

209 Four studio pottery pieces Second half 20th century Comprising a cylindrical vase signed ED for Elaine De Vore, a textured low bowl by Eduardo Laza, a rectangular vase signed Glidden, and an Israeli vase, 4 pieces Largest: 10.125” H x 3” Dia. $300/500

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109

210 Joseph E. Frederic (1916-2005 Rochester, NY) Abstract cityscape, 1983 Watercolor on Arches paper Signed and dated lower left: J. Frederic and with the copyright symbol Sheet: 20.25” H x 30” W $1,000/2,000

211 Joseph E. Frederic (1916-2005 Rochester, NY) Abstract street scene with woman holding an umbrella Watercolor on Arches paper Signed lower right: Frederic DBH and with the copyright symbol Sheet: 22.5” H x 30” W $1,000/2,000

212 Late 20th Century American School Catfish on train tracks, 1996 Oil on canvas Signed lower right: Prothro and dated 39.75” H x 29.75” W $600/800

110

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213 Sergon (1945-* American) “Sign of the Time,” 1981 Oil on canvas Signed and dated lower left: Sergon, titled verso 24” H x 30” W

214 A Baccarat ‘’Mille Nuit’’ chandelier Contemporary Marked to some crystal and hardware: Baccarat A clear crystal six-light hanging chandelier with six additional scroll arms with hanging faceted crystals 33” H x 35” Dia.

$800/1,200

$3,000/5,000

215 A marble and silver plated center table Third quarter 20th century The rectangular marble top over a silver plated base with circle-motif apron on tapering post legs 27” H x 50” W x 29” D $800/1,200 Provenance: From the collection of Len Larson.

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111

216 Robert Wyland (1956-* American) “Breach for the Sky,” 2004 Polychrome bronze Edition 11/200, signed Wyland with copyright symbol and dated 80.5” H x 45” W x 27.5” D $5,000/7,000

112

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2019

Prints & Multiples Lots 217-247

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114

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2019

217 Rembrandt Van Rijn (1606-1669 Dutch) “Death of the Virgin,” 1639 Etching on laid paper under glass Signed and dated in the plate lower left Plate: 15.5” H x 12.25” W $3,000/5,000 Literature: Bartsch 99; Biörklund 39-A; Hollstein (White and Boon) 99.

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115

218 James Abbott McNeil Whistler (1834-1903 American) “La Marchande de Moutarde,” 1858 Etching on paper laid to board under glass Plate: 6.25” H x 3.5” W $700/900 Literature: Kennedy 22; Glasgow 20.

219 Käthe Kollwitz (1867-1945 German) “Selbstbildnis,” 1921 Etching on paper under glass Inscribed lower right: Von Kathe Kollwitz, inscribed lower left: Original Radierung Plate: 8.5” H x 10.5” W $500/700 Literature: Klipstein 155.

116

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2019

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117

220 Alfred Kubin (1877-1959 Austrian) “Weber Portfolio” (portfolio of 15 prints) Fifteen facsimile prints with colophon and portfolio Each stamped with signature and title: A. Kubin Sheet of each: 14” H x 17.25” W $2,000/4,000

118

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119

(1887-1985)

Marc Chagall

221 Marc Chagall (1887-1985 French) “Le village fantastique,” 1964-65 Color lithograph on BFK Rives paper under glass Edition 29/50, signed lower right: Marc Chagall Image: 26” H x 20” W $3,000/5,000 Literature: Mourlot 429a.

120

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2019

$3,000/5,000 Literature: Mourlot 133.

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Marc Chagall

222 Marc Chagall (1887-1985 French) “David and Absalom,” 1956 Color lithograph on Arches wove paper; Verve, Paris, pub.

Edition 47/75, signed lower right: Marc Chagall Image/sheet: 14” H x 10.5” W

121

223 Karel Appel (1921-2006 Dutch) “Composition 58,” 1958 Lithograph on Arches paper under glass Edition 22/90, signed and dated lower right: CK Appel Sight: 29.75” H x 22” W

224 Joan Miró (1893-1983 Spanish) “Das Graphische Werk (Kunstverein in Hamburg),” 1973 Color lithograph before letters on paper under glass Edition E.A., signed lower right: Miro Image: 22.75” H x 20.25” W

$600/800

$6,000/8,000

Provenance: I. Irving Feldman Fine Arts Gallery, Southfield, MI

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225 Pablo Picasso (1881-1973 Spanish) “La fenêtre de l’atelier à la Californie,” 1959 Color aquatint on BFK Rives wove paper; Atelier Crommelynck, Paris, pub.

Edition 89/300, signed lower right: Picasso Plate: 16” H x 13” W $2,000/4,000 Literature: Maeght 2102.

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226

227

226 Jasper Johns (1930-* American) “Jasper Johns Drawings, January 10-31, Leo Castelli” Offset lithographic poster under glass Signed lower right: Jasper Johns Sight: 22” H x 28.25” W

227 M.C. Escher (1898-1972 Dutch) “Fire,” 1995 and “Water,” 1956 (two works) Two-color block prints on cream paper framed together under glass Image: 6.25” H x 5.25” W (each)

$800/1,200

$500/700 Notes: No. 3 and No. 4 of The Four Elements New Year’s Cards made for Eugene and Willy Strens, patrons of the artist.

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228 Thomas Hart Benton (1889-1975 American) “The Music Lesson,” 1943 Lithograph; Associated American Artists, New York, pub.

Edition of 250, signed lower right: Benton Image: 10” H x 12.75” W $1,500/2,500 Literature: Fath 60.

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125

229 George Rodrigue (1944-2013 American) “Golden Gate,” 1999 Color serigraph on paper under glass Edition 151/1000, signed lower left: Rodrique, with the artist’s stamp lower left Image: 18” H x 14.75” W $1,000/1,500

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230

231

230 George Tooker (1920-2011 American) “Un Ballo in Maschera,” 1983 Color lithograph on paper under glass; Metropolitan Opera Association, New York, and Circle Fine Art, Chicago, pub.; American Atelier, New York, prntr.

Edition 111/250, signed lower left: Tooker, with the MET’s dry stamp lower left and the printer’s dry stamp lower right Sheet: 22” H x 30” W

231 Anne Youkeles (1920-* American) “Heat Wave” Folded paper print under Plexiglas Edition 46/100, signed lower right: Anne Youkeles, titled lower left 18” H x 17.25” W $400/600

$500/700

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127

232 Shepard Fairey (1970-* American) “Japanese Fabric Pattern Set,” 2009 (a set of four) Color screeprints; Obey Giant, Los Angeles, pub.

Each edition 88/100, signed and dated lower right: Shepard Fairey Sheet: 18” H x 18” W (each) $1,500/2,500

128

1969

2019

233 Roy Lichtenstein (1923-1997 American) “Water Lily,” 1993 Color screenprint on Lana Royale paper; Gemini G.E.L., Los Angeles, pub.

Edition 97/130, signed and dated lower right: rf Lichtenstein, with the artist and Gemini G.E.L. blindstamp lower right Image: 12.5” H x 17” W; Sheet: 18.5” H x 23” W $15,000/25,000 Literature: Corlett 281.

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129

(1953-*)

Robert Longo

Robert Longo

234 Robert Longo (1953-* American) “Untitled (Moon in Shadow),” 2006 Digital pigment print on Crane Museo paper under Plexiglas Edition 66/75, signed and dated lower right: Robert Longo Image: 10” H x 10” W $4,000/6,000

130

1969

2019

235 Robert Longo (1953-* American) “Gun,” 1997 Screenprint with handcoloring on wove paper under glass Edition WP/18, signed and dated lower right: R. Longo, inscribed lower left: “from Bob, Happy Birthday” Image/sheet: 29.75” H x 22.25” W $3,000/5,000 Provenance: Gift of the artist to the partner of the present owner.

Robert Longo

236 Robert Longo (1953-* American) “Untitled #9 (Wave),” 2000 Lithograph on paper under Plexiglas Edition PPI, signed and dated lower right: Robert Longo Image: 8.75” H x 9.25” W $3,000/5,000

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131

237 Beatrice Wood (1893-1998 Ojai, CA) “The Blind Man” Lithograph on Arches paper under Plexiglas Edition AE 34, signed lower right: Beatrice Wood Sheet: 29.75” H x 22.25” W

238 Jim Dine (1935-* American) “The Blue Heart,” 2005 Color lithograph on BFK Rives; Marco Fine Arts Contemporary, Hawthorne, CA, pub.; Atelier Michael Woolworth, Paris, prntr.

Edition 15/200, signed and dated lower right: Jim Dine Sheet: 26.25” H x 20.25” W

$600/800 Notes: The Beatrice Wood books “The Angel Who Wore Black Tights,” “33rd Wife of a Maharajah: A Love Affair in India,” and “I Shock Myself” accompany the lot.

132

1969

$2,500/3,500

2019

239 Hebru Brantley (1981-* American) “Wonder,” 2018 18-color hand-pulled screenprint on Mohawk Superfine UltraWhite Edition 76/120, inscribed lower right: WW Image/sheet: 30” H x 22” W $1,500/2,500

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133

240 Massimo Vitali (1944-* Italian) “Madima Wave Verticale,” (from “A Portfolio of Landscapes and Figures”) Color offset lithograph printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition 75/120, artist’s inkstamp verso Image: 33.75” H x 26” W; Sheet: 35.25” H x 27.5” W $3,000/5,000

134

1969

2019

241

242

241 Massimo Vitali (1944-* Italian) “Marina di Carrara Torre Fiat,” 2006 (from “A Portfolio of Landscapes and Figures”) Color offset lithograph printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition AP 2/20, artist’s inkstamp verso Image: 26” H x 33.75” W; Sheet: 27.5” H x 35.25” W

242 Massimo Vitali (1944-* Italian) “Papeete Beach Regatta,” 2006 (from “A Portfolio of Landscapes and Figures”) Color offset lithograph printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition AP 2/20, artist’s inkstamp verso Image: 26” H x 33.75” W; Sheet: 27.5” H x 35.25” W

$1,500/2,500

$3,000/5,000

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135

243 Ai Weiwei (1957-* Chinese) Untitled (two works from “Becoming”), 2009 Color offset lithographic photographs; Ivorypress, Madrid, pub.

Each impressed with dry stamp of number and date lower left mat: The first: 100 2006.08.12; The second: 105 2006.09.11 Image/sheet: 6” H x 8.75” W (each) $500/700

244 Julius Shulman and Juergen Nogai (1910-2009 American) “Elrod House, Palm Springs, CA,” 2007 LightJet print on Fujicolor Crystal Archive paper under Plexiglas Edition 14/20, signed and dated lower right: Julius Shulman and Juergen Nogai Image: 16” H x 20” W $2,000/3,000

136

1969

2019

245

245 Leeland Lee (1918-2016 American) “Elrod House,” a collection of 20 photographs Gelatin silver prints Stamped with artist’s studio mark verso Each: 8” H x 10” W $2,000/4,000

May 5, 2019 - 20th Century Art + Design

137

246 Hiroshi Sugimoto (1948-* Japanese) Sea triptych (three works) Tri-toned offset lithographs under Plexiglas Blindstamped recto with title, year and image number: The first: “Irish Sea Isle of Man,” 1990, No. 337; The second: “Caribbean Sea Yucatan,” 1990, No. 355; The third: “Black Sea Oakbayir,” 1991, No. 368 Image: 9.5” H x 12.25” W (each) $2,500/3,500

138

1969

2019

247 Michael Kenna (1953-* American) “Night Shadows, St. Malo, France,” 2000; “Manhattan Skyline, Study 1, New York, USA,” 2006; “Chariot of Apollo, Study 4, Versailles, France,” 2009; “Temple Tree, Jonjaanji, Jeju Island, South Korea,” 2012 (four works) Gelatin silver prints under Plexiglas Each edition of 45, each signed and dated lower right: Michael Kenna, signed again, titled, dated and numbered on the back mat verso Largest: 7.5” H x 8” W $800/1,200 Provenance: Stephen Wirtz Gallery, San Francisco, CA. Peter Fetterman Gallery, Santa Monica, CA.

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139

140

1969

2019

Condition Reports

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141

1 Overall good condition.

20 Overall good condition with minor scuffs and light wear to finish commensurate with age.

2 Each in overall good condition.

3 Overall good condition with minor scuffs and scratches commensurate with age.

4 Generally good condition. Spots of light staining scattered throughout.

Mounted to the recto mat with masking tape along the four edges.

Sheet: 13.25” H x 37” W; Frame: 18.25” H x 41.25” W x 1.5” D

23 Overall good condition.

6 Generally good condition. A few tiny flecks of paint loss scattered throughout.

24 Overall good condition with scattered scuffs and craquelure to glaze commensurate with age. Splatters of silvery residue throughout.

7 Overall good condition.

25 Overall good condition with scattered scuffs and rubbed wear to finish commensurate with age and use.

9 Overall good condition with dust accumulation commensurate with age. Wire has been cut verso. Wiring should be checked by a qualified electrician prior to use.

10 Overall good condition.

Stand: 10”H x 14” W x 4” D 11 Overall good condition. Several inherent fissures in stone commensurate with material; does not appear to affect integrity of stone. The largest fissure: 5”. Several minor chips along bottom rim.

12 Generally good condition. Minor toning to the paper. With a water stain in the lower right corner. Not examined out of the frame.

Frame: 9” H x 20.25” W x 1” D 13 Visual: Generally good condition. Small spots of paint loss right center and lower left.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.25” H x 37.25” W x 1.5” D 14 Each in overall good condition with oxidation to metal and light wear to black upholstery commensurate with age.

15 Overall good condition with minor spots of oxidation commensurate with age.

Condition Reports

22 Generally good condition. Mounted to the recto mat with clear tape along the four edges.

Sheet: 20” H x 28” W; Frame: 24.75” H x 32.5” W x 1.25” D

5 Overall good condition with minor soiling and lost stitches to the upholstery commensurate with age.

8 Each in overall good condition with scuffs and scratches commensurate with age. Scratches and wear to the paint primarily to the underside of table top and to the base commensurate with age.

142

21 Visual: Generally good condition. A few lines of craquelure lower right.

Stretcher bar creases along the four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 46.75” H x 46.75” W x 1.25” D

16 Overall good condition with light scuffs, scratches, and nicks commensurate with age. A .25” x .25” gouge to the support.

17 Each in overall good condition with minor oxidation commensurate with age. All but three floor protectors missing.

18 Overall good condition with minor scuffs commensurate with age. The middle tier with a chip to fitter rim.

19 Overall good condition with scattered scratches, nicks, and losses to surface commensurate with age. One drawer with two hairline cracks to veneer.

Drawers with four screws each, some protruding to the inner drawer (likely added later). Some drawers stick.

1969

26 Visual: Generally good condition. Paint shrinkage in some of the red elements in the center and some of the black and blue elements lower right.

Blacklight: No evidence of restoration under blacklight.

Frame: 34” H x 49” W x 1.75” D 27 Visual: Generally good condition. Craquelure, flaking, instability and paint loss scattered throughout. Stretcher bar creases along the four edges.

Blacklight: Touch-up throughout, the largest a 3.5” x 3” area upper left.

Frame: 34” H x 44” W x 1.5” D 28 Overall good condition with minor scuffs and light scratches commensurate with age. Scattered wear to finish. The table with scattered shrinkage cracks to the top including a series of three running down the center. A condensation ring to the top. One chair with a 3”-long filled crack to back support with corresponding 1.5”-long hairline crack to backsplat.

29 Each in overall fair condition with red oxidation and pitting due to outdoor display.

30 Each in overall good condition. Dirt accumulation to the jardiniere.

31 Overall good condition with minor nicks to foot and scattered scuffs commensurate with age. Drops of housepaint scattered throughout, the largest area: 2” x 1.75”.

32 Generally good condition. Framed floating and mounted to the back mat.

Not examined out of the frame.

Frame: 17” H x 14” W x 2” D 33 Overall good condition with scattered minor scuffs commensurate with age.

Base: 36” H x 9.5” W x 9.75” D 34 Overall good condition with scattered shrinkage cracks and scuffs commensurate with age.

Plinth: 1.5” H x 13.5” W x 8.325” D 35 Each in overall good condition with scratches and scuffs commensurate with age.

36 Overall good condition with scattered scuffs and scratches commensurate with age.

2019

37 Generally good condition. Very minor toning to the paper. Minor handling creases right center, lower center and in the right corners. Mounted to the recto mat with brown paper tape at the four edges.

Sheet: 11.5” H x 14.5” W; Frame: 20” H x 24” W x 1.5” D 38 Overall good condition with scattered scuffs and scratches commensurate with age.

39 Overall good condition with oxidation and light scratches commensurate with age.

40 Overall good condition with minor scuffs and light scratches commensurate with age.

Overall: 90” H x 34” W x 14.125” D

54 Visual: Generally good condition. An area of flaking and paint loss in the center.

Blacklight: A 1” x 3.5” area of touch-up upper center. A .75” x 1.25” area and a 1.5” x 1.5” scattered area of touch-up in the center.

Frame: 17.25” H x 20.25” W x 1.5” D 55 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: A 12.5” line of touch-up lower right with corresponding patch verso.

Frame: 61” H x 76” W x 2.5” D 56 Overall good condition with scattered scuffs and rubbed wear to the finish commensurate with age.

57 Overall good condition with even pile wear.

42 Each in overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The lighter colors with minor discoloration to tops.

One corner of the white top lifting slightly from frame.

58 Overall good condition with scattered scuffs and localized wear to finish.

Scattered minor spots of soiling to upholstery. Scattered scuffs and tape residue to plywood finish.

59 Overall good condition with oxidation commensurate with age.

43 Each in overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The lighter colors with minor discoloration to tops.

60 Overall good condition with scuffs commensurate with age.

Height with base and stand: 40.25”

44 Overall good condition with scattered scratches, scuffs, and oxidation commensurate with age.

61 Overall good condition with nicks and chips to drawers and localized fading to finish throughout. Scattered condensation rings to top.

45 Overall good condition with scattered scuffs and scratches commensurate with age. Minor soiling to upholstery.

62 Overall good condition with patination commensurate with age. Mounting holes to crossbar from possible prior mounting.

46 Overall good condition with minor scuffs, scratches, scattered small dents, and dings commensurate with age. The lid of the coffee pot with a .75”long dent to the rim. The handle of the cream jug with a small shrinkage crack to ebony. Later-added partial address labels to bottoms.

63 Each in overall good condition with light scuffs, scratches, and minor shrinkage cracks commensurate with age. The table in overall good condition with sun fading throughout concentrated mainly to the top. Each chair with sun fading to wood and wear to the cords commensurate with age.

47 Each in overall good condition with tarnishing and light scratches commensurate with age. Each with later-added felt pads to bottoms.

48 Overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

49 Overall good condition with tarnishing, light scratches, and minor scattered dents commensurate with age.

50 Generally good condition. Mounted to the recto mat with brown paper tape along the upper and lower edges.

Sheet: 10.5” H x 9.75” W; frame: 19.25” H x 19.5” W x 1” D. 51 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 63.5” H x 43.5” W x .75” D 52 Overall good condition with oxidation and scuffs commensurate with age. An end cap missing from the handle. Wiring should be checked by a qualified electrician prior to use.

53 Overall good condition with scattered scuffs, oxidation, and nicks commensurate with age. Scattered chips and minor cracks to the edges of the table top. Cracking and shrinkage to the paint primarily to the underside.

64 Each in overall good condition with scattered minor scuffs, scratches, and nicks. Minor creasing to upholstery throughout. One chair with a lateradded cap to foot.

65 Overall good condition with scattered nicks, scuffs, and scratches. Rubbed wear to finish along the edge. Heat and condensation rings to top.

With leaves extended: 28” H x 74.25” W x 48.25” D 66 Overall good condition with nicks to the wooden base and wear and losses to enamel. One enameled element with a .875” x .625” loss to enamel work.

67 Overall good condition with even pile wear. Two rectangular areas of discoloration running almost the whole area of the rug.

68 Overall good condition with minor scratches commensurate with age. One corner with a loss to teak veneer.

69 Overall good condition with scattered scuffs and losses to decoration primarily concentrated to one side. Brass trim slightly loose.

70 Overall good condition with scattered scuffs, gouges, losses to veneers, and separation at joints commensurate with age. Later-added felt pads to the bottom.

May 5, 2019 - 20th Century Art + Design

Condition Reports

41 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19.25” H x 21.25” W x 2.5” D

143

71 Each in overall good condition with light scuffs, scratches, and minor separation at joints commensurate with age. Scattered gouges primarily to the underside of the seat supports. Minor drying to leather straps. Minor soiling to upholstery.

90 Generally good condition. A pinhole in the upper left corner. A handling crease in the upper left corner. Mounted to the backing paper with archival tape in the four corners.

Sheet: 15.5” H x 10.25” W; Frame: 25.5” H x 20” W x 1.5” D

72 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar creases along the four edges. A small fleck of paint loss upper left. The canvas is slightly loose.

Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 37” W x 2.75” D

91 Overall good condition with minor dust accumulation commensurate with age.

Plinth: .375” H x 10.25” W x 5.125” D

73 Overall good condition with scuffs, scratches, and nicks commensurate with age. Scattered glass shelves and doors missing. Scattered wood pins missing. Minor oxidation to metal throughout. Tape residue to one unit.

74 Overall good condition with minor scuffs and nicks commensurate with age.

75 Overall good condition with minor dust accumulation commensurate with age. Approximately three tiles with shallow chips to the corners, some possibly dating to the time of manufacture.

76 Overall good condition with scratches, scuffs, oxidation, and dents commensurate with age and material.

77 Overall good condition with minor oxidation and pitting. Gouges and scuffs throughout, the largest area: 1.5” H x .5” W. Plinth: 3” H x 7.5” W x 7.5” D 78 Overall good condition. One cabinet door with a later-added child safety lock. Localized fading and grime to top. Waxy residue with discoloration to one drawer.

79 Overall good condition with oxidation, minor scuffs, and scattered dents commensurate with age. The end of the tail loose.

80 Each in overall good condition with minor nicks, rubbed wear to finish, and oxidation to the hardware commensurate with age. Localized fading to upholstery.

81 Visual: Generally good condition. Areas of paint shrinkage upper center and left center.

Blacklight: No evidence of restoration under blacklight.

Frame: 68” H x 104” W x 2.5” D 82 Overall good condition. An old .5” x .125” restoration to the rim. Lateradded museum putty to foot.

Condition Reports

83 Overall good condition with later-added felt pad to foot.

144

92 Overall good condition with minor abrasions along bottom edge and light scratches to bottom commensurate with age.

93 Each in overall good condition with minor shelf wear commensurate with age.

94 Generally good condition. Toning to the paper. Not examined out of the frame.

Frame: 27” H x 18” W x 2” D 95 Generally good condition. Toning to the paper. A small hole in the paper upper right. Not examined out of the frame.

Frame: 30.5” H x 25” W x 2” D 96 Overall good condition with darkening commensurate with age.

97 Overall good condition with oxidation and dust accumulation commensurate with age.

98 Generally good condition. Not examined out of the frame.

Frame: 20” H x 24.5” W x 1.25” D 99 Generally good condition. Not examined out of the frame.

Frame: 13.5” H x 21” W x 1.5” D 100 Overall good condition with oxidation commensurate with age.

Plinth: 2.375” H x 3.125” W x 3” D 101 Visual: Generally good condition. Paint shrinkage scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 13.5” H x 13.5” W x 1.5” D 102 Overall good condition with minor rubbed wear and dust accumulation.

Plinth: .75” H x 6.25” W x 5.125” D 103 Generally good condition. The paper is loose, not mounted.

Sheet: 27.5” H x 39.5” W; Frame: 32” H x 44.25” W x 2” D 104 Overall good condition with very minor scuffs to body. Later-added museum putty to foot.

84 Overall good condition with minor shallow nicks to the rim.

105 Overall good condition with very minor scuffs to body.

85 Overall good condition with later-added felt pad to foot.

86 Overall good condition with later-added museum putty to foot.

106 Overall good condition with later-added felt pads to foot. Scattered small splatters of housepaint.

87 Overall good condition with later-added felt pads to foot.

107 Overall good condition with later-added felt pads to foot.

88 Overall good condition with a hairline fracture running through the circumference of the neck.

108 Generally good condition. Scratches with minor paper and ink loss scattered throughout, the largest a 6.5” line along the left edge. The paper is laid down, as stated.

Sheet: 12.25” H x 7.75” W; Frame: 20” H x 14.75” W x 1.5” D

89 Generally good condition. The paper with wrinkles and ripples throughout due to the laying down process.

Sheet: 53” H x 27.5” W; Frame: 58” H x 32” W x 1.5” D

1969

2019

109 Generally good condition. Toning to the paper. Small spots of staining scattered throughout the margins. Not examined out of the frame.

Frame: 19” H x 16” W x .5” D

127 Generally good condition. Scattered pindot areas of foxing difficult to see in natural light. Trimmed to plate.

Frame: 15.5” H x 13.25” W x .5” D

110 Generally good condition. Uneven toning to the paper. Staining to the paper scattered throughout. The paper is laid down, as stated.

Sheet: 12” H x 18” W; Frame: 18.5” H x 24.5” W x 1.25” D

128 Overall fair condition commensurate with considerable age. Glued repairs throughout neck and shoulders, the largest: 2.25” x 2”. Scattered hairline cracks to the neck, one extending into the ear.

111 Overall good condition with minor scuffs commensurate with age.

129 Overall fair condition commensurate with considerable age. A 2” x 1” repair to rim.

112 Overall good condition.

113 Overall good condition with later-added museum putty to foot. A .25”-long chip to rim.

114 Overall good condition with later-added felt pads to foot.

115 Generally good condition. Mounted to the recto mat with masking tape along the four edges.

Board: 22” H x 28” W; Frame: 27” H x 31.5” W x 1.5” D 116 Generally good condition. Not examined out of the frame.

Frame: 13” H x 11.25” W x 1” D

130 Overall fair condition commensurate with considerable age. A 2” x .75” partially repaired break to rim (pieces retained). Other repairs throughout, difficult to determine the extent due to dirt accumulation.

131 Each in overall fair condition with nicks commensurate with considerable age. The vase with a possible repair to rim.

132 Generally good condition. Uneven toning to the paper. A .25” x 4” area of residue along upper right corner. Hinged to the backing board with glue along the upper edge.

Frame: 22.5” H x 27.75” W x 2” D 133 Generally good condition. Minor toning to the paper. Minor light glue residue along the left, right and lower verso edges not affecting recto image. Hinged to the backing board with glue along the upper edge.

Frame: 23” H x 28” W x 2” D

118 Generally good condition. Minor toning to the paper. The paper is slightly rippled along the left and right edges. Not examined out of the frame.

Frame: 25” H x 27.25” W x 1” D 119 Each in overall good condition, most with later-added felt pads to feet.

120 Overall good condition with oxidation and minor dust accumulation commensurate with age.

121 Overall good condition with shrinkage cracks, scuffs, and nicks commensurate with age.

122 Generally good condition. Toning to the paper. Small scratches and scuff marks scattered throughout. A 1.75” diagonal crease in the lower left corner. Very minor creasing to the lower right corner. A tiny piece of paper loss in the upper right corner. An 8” cut to the paper along the right edge.

Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 26.5” H x 21” W x 1.25” D 123 Each in overall good condition. The chalice with scattered chips to rim. The bud vase with a chip to the rim. The bottle stopper with possible repaired breaks covered in silver paint.

124 Generally good condition. The paper is loose, not mounted.

Sheet: 12” H x 10” W; Frame: 16.5” H x 14.5” W x 1.75” D 125 Generally good condition. Toning to the paper. Creases to the paper throughout. Spots of staining to the paper where backing board was adhered.

Sheet: 30” H x 25.5” W; Frame: 36.25” H x 31.75” W x 2.25” D 126 Toning to the paper. Spots of foxing throughout. The paper is laid down, as stated. Not examined out of the frame.

Frame: 20” H x 19” W x 1” D

134 Visual: Generally good condition. Small areas of craquelure upper right and upper left.

Blacklight: No evidence of restoration under blacklight.

Frame: 29” H x 25” W x 1.75” D 135 Overall good condition with scattered minor scuffs and oxidation.

136 Overall good condition. Four areas of losses to patination, largest: .25” x .25”. Scattered hairline cracks to marble plinth.

1.625” H x 6.25” W x 6.25” D 137 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat.

Frame: 26.25” H x 23.75” W x 1.5” D 138 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 72” H x 52” W x 2.5” D 139 Visual: Generally good condition. Lines of craquelure scattered throughout.

Tiny flecks of paint loss upper right, lower right and in the center. Stretcher bar creases along the left and right edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 29.25” H x 21.25” W x 1.5” D 140 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 21.5” H x 27.5” W x 1” D 141 Generally good condition. The board is hinged to another board with linen hinge tape in the upper corners and upper center.

Board: 30” H x 40” W; Frame: 39.5” H x 49.5” W x 2.25” D. 142 Overall good condition. A .25” crack to figure’s wrist likely dating to time of manufacture.

143 Overall good condition with darkening to bronze commensurate with age.

May 5, 2019 - 20th Century Art + Design

Condition Reports

117 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 44” H x 44” W x 1.75” D

145

144 Overall good condition with scuffs, nicks, minor losses, and scratches commensurate with age. The ends of the fabric panels with minor fraying.

145 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 23” H x 19” W x 2” D

162 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 18.5” W x 1.5” D

146 Each in overall good condition with dust accumulation and scuffs commensurate with age. Each with drops or strokes of white paint.

147 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 28” H x 24” W x 2” D 148 Overall good condition with craquelure and losses to paint throughout. Instability to paint layer. Drilled holes added by the artist for ease of installation.

164 Overall good condition with scattered scuffs and scratches commensurate with age. The marble top with two chips, the largest: 1” x .25”. Oxidation and flaking to the base, the largest area: 3” x .25”.

165 Overall good condition with minor wear to leather commensurate with age.

166 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 29” H x 33” W x 1.5” D

150 Overall good condition with scattered scuffs and oxidation commensurate with age. The lower piece with a 3” x 1.5” area of dents and attempted repairs. Wiring should be checked by a qualified electrician prior to use.

167 Overall good condition with tarnishing and light scratches commensurate with age. The table/serving spoon with discoloration to the bowl. Weight does not include hollow-handled items.

151 Generally good condition. Very minor toning to the paper. The paper with deckled edges.

Unframed

168 Overall good condition with minor rubbed wear to gold decoration commensurate with age. The foot of two large coupe soup bowls with a small chip. One espresso cup with a chip to the rim.

152 Overall good condition with oxidation commensurate with age.

169 Overall good condition with light scuffs, scratches, and minor gouges commensurate with age. Scattered areas of light soiling to upholstery.

154 Overall good condition with oxidation and pitting commensurate with age.

155 Each in overall good condition with oxidation to the metal commensurate with age. Lost stitches throughout. One fastener is missing its loop closure.

156 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 31.25” W x 1.5” D

Condition Reports

163 Overall good condition with scattered minor scuffs commensurate with age. Scattered minor chips to the fitter rim. Wiring should be checked by a qualified electrician prior to use.

149 Overall good condition with scattered minor condensation rings to the top. Top sliders stick.

153 Overall good condition with minor spots of oxidation commensurate with age.

146

161 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 17.75” W x 1.75” D

170 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 33.75” W x 1.75” D 171 Overall good condition.

172 Overall good condition with light scuffs and scratches commensurate with age. Totters slightly.

173 Overall good condition with minor scuffs and oxidation commensurate with age. Minor losses to gray paint. Minor chips to marble. Wiring should be checked by a qualified electrician prior to use.

174 Overall good condition.

157 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 17” H x 19.5” W x 1.5” D 158 Overall good condition with scattered light scratches and scuffs commensurate with age. Very minor oxidation and dents to surface.

Not functioning. Wiring should be checked by a qualified electrician prior to use.

159 Overall good condition with scattered scuffs and scratches commensurate with age. Yellowing to the glue layer holding to the top to the legs.

160 Overall good condition with minor oxidation to chrome and scratches to glass commensurate with age. Wear to the finish underneath the glass, the longest: 1.125”.

175 Each in overall good condition with scattered minor scuffs and oxidation commensurate with age.

176 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 177 Overall good condition.

178 Each in overall good condition with light scuffs and scratches commensurate with age.

179 Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age.

1969

2019

180 Generally good condition. Minor toning to the paper. The recto mat and back mat are glued together.

Frame: 30” H x 36” W x 1.5” D. 181 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

198 Generally good condition. Uneven toning to the paper. Tape and glue remnants from a previous mounting remain in the four corners verso.

Mounted to the recto mat with masking tape along the four edges.

Sheet: 11.5” H x 11.75” W; Frame: 16” H x 17” W x 1” D 199 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Paint residue to one shelf. Lacking key.

183 Overall good condition with nicks, scuffs, and scratches commensurate with age. Wear to finish primarily to table top including a condensation stain.

Losses to veneers to underside commensurate with age.

184 Overall good condition with scattered shallow chips and dirt accumulation commensurate with age and outdoor use. A drop of house paint to one side.

185 Overall good condition with minor dust accumulation commensurate with age.

186 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar crease along the four edges.

Blacklight: A 2” x 2.5” area of touch-up lower right.

Frame: 28” H x 24” W x 1.75” D 187 Overall good condition with shrinkage cracks, scuffs, nicks, and chips commensurate with age.

188 Visual: Generally good condition. The canvas is slightly loose in the upper corners. Very minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 36” H x 28.25” W x 1.5” D; Applied figure: 4.5” H x 1.75” W 189 Overall good condition.

190 Overall good condition with scattered minor nicks and dust accumulation commensurate with age.

191 Overall good condition with scattered scratches and scuffs commensurate with age. Totters slightly.

192 Overall good condition with scattered minor scratches to top and scuffs to base commensurate with age.

193 Overall good condition with scattered scuffs and scratches commensurate with age. Contemporary frame.

194 Overall good condition.

195 Overall good condition with scattered scuffs and scratches commensurate with age. One drawer sticks. Two screws missing from one side.

196 Overall good condition with scattered nicks, scuffs, scratches, chips, and abrasions commensurate with age. Two cracks through the top of one mirrored cabinet surface, the larger running approximately 25”.

197 Generally good condition. Uneven toning to the paper. Tape and glue remnants from a previous mounting remain in the four corners verso.

Mounted to the recto mat with masking tape along the four edges.

Sheet: 11.75” H x 16.5” W; Frame: 17.5” H x 22” W x 1.25” D

200 Generally good condition. Uneven toning to the paper. A 1.25” tear and a diagonal crease with a .25” tear in the upper right corner. Small tears and losses along the left and upper left edges. Framed floating and mounted to the back mat.

Frame: 23” H x 19” W x 1.25” D 201 Each in overall good condition with scuffs, scratches, gouges, and wear to the finish commensurate with age. Light wear to leather seat and minor tearing to underside of upholstery commensurate with age.

202 Each in overall good condition with scattered scuffs and scratches throughout. The tops of the dresser and side tables each with condensation rings to top. One dresser drawer sticks.

203 Visual: Generally good condition. Tiny flecks of paint loss upper center, upper left and in the center. The paper with deckled edges. Framed floating and mounted to the back mat.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 23.5” W x 1.5” D 204 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 205 Visual: Generally good condition. Tiny flecks of paint loss scattered throughout the darker green pigments.

Blacklight: No evidence of restoration under blacklight.

Frame: 55” H x 62.5” W x 2” D 206 Visual: Generally good condition. Craquelure and paint shrinkage throughout. Instability with paint loss scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 45.5” H x 34.5” W x 2.5” D 207 Each in overall good condition with minor scuffs and dirt accumulation commensurate with age and use.

208 Overall good condition with scattered scuffs and minor chip to foot possibly from time of manufacture.

209 Each in overall good condition with minor scuffs commensurate with age.

210 Generally good condition. Minor toning to the paper. The paper with deckled edges. With clear tape along the four edges verso.

Unframed 211 Generally good condition. Very minor toning to the paper. The paper with deckled edges.

Unframed 212 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 31” W x 1.75” D

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Condition Reports

182 Each in overall good condition in various states of restoration with scuffs, nicks, light scratches, and minor losses to veneers commensurate with age.

Each with glued repairs to sockets and most hardware has been replaced.

147

213 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 31” H x 37” W x 1” D

226 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 22.75” H x 28.75” W x 1.25” D

214 Overall good condition; Working condition unknown. Wiring should be checked by a qualified electrician prior to use.

227 Each: Generally good condition. Minor toning to the paper. Mounted to the recto mat with artist’s tape along the upper edge and in the lower corners.

The tape has caused staining to the paper on the recto.

Each: Sheet: 6.75” H x 6” W; Frame: 15.75” H x 22.75” W x 1” D

215 Overall good condition with tarnishing to base commensurate with age.

216 Overall good condition with scattered minor scuffs and dust accumulation commensurate with age.

217 Generally good condition. Minor toning to the paper. Nicks, tears and creases to the paper along the upper right and upper left edges. Light staining to the paper scattered throughout. A small spot of foxing upper center. The plate has been trimmed. Hinged to the back mat with archival tape in the upper corners.

Sheet: 16.25” H x 12.75” W; Frame: 30.75” H x 27.25” W x 2.25” D 218 Generally good condition. Toning to the paper. Mat burn along the four edges. Some light spots of staining scattered throughout the margins. The paper is laid down as stated.

Sheet: 9” H x 6.25” W; Frame: 14” H x 11.25” W x .75” D 219 Generally good condition. Minor toning to the paper. Mat burn along the four edges. Hinged to the recto mat with scotch tape in the upper corners.

Sheet: 15” H x 21” W; Frame: 17” H x 21” W x 1” D 220 Each: Generally good condition. Toning to the paper. A few prints with small spots of staining to the paper in the margins. The paper with deckled edges. The portfolio in overall good condition with wear and minor losses to the edges and corners commensurate with age.

Portfolio: 18.25” H x 14.75” W x .5” D 221 Toning to the paper. Light stains in the lower right corner, upper right corner and along the right and upper margins. A pea-sized area of discoloration in the lower center margin. A 2.75” scuff to the lower center margin. The paper is loose, not mounted.

Sheet: 30.5” H x 22.5” W; Frame: 31.25” H x 22.5” W x 1” D 222 Generally good condition. Light toning to verso likely from mat. A 1.5” area of tape residue in the lower right verso corner. Hinged to the back with white paper tape in the upper corners. The paper with deckled edges.

Frame: 22.5” H x 18.25” W x 1.25” D

Condition Reports

223 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 31.25” H x 23.5” W x 1.75” D

148

224 Generally good condition. Minor toning to the paper. A small spot of staining to the paper upper left. Mounted to the back mat with plastic pocket corners.

Sheet: 30” H x 22” W; Frame: 39.25” H x 31.25” H x 1.5” W 225 Generally good condition. Toning to the paper consistent with age and exposure. A spot of foxing in the upper right margin. Toning along all verso sheet edges, likely from prior matting. Light toning to verso from red pigments of aquatint. Tape residue along upper verso edge not affecting image. Attached to the recto mat in lower right corner, lower left corner, and two places along upper edge with linen tape.

Frame: 29.5” H x 23.75” W x 1” D.

1969

228 Generally good condition. Minor toning to the paper. Mounted to the back mat with plastic pocket corners.

Sheet: 12” H x 16” W; Matted but unframed 229 Generally good condition. Not examined out of the frame.

Frame: 28.5” H x 24.75” W x .5” D 230 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 27.5” H x 35.5” W x 1.5” D 231 Generally good condition. The back mat with minor toning. Framed floating.

Frame: 28.5” H x 27.5” W x 1.5” D 232 Each: Generally good condition. Very minor toning to the paper.

Unframed 233 Overall good condition. Hinged to the recto mat with linen tape in the upper corners.

Frame: 22.25” H x 26.25” W x 2” D 234 Generally good condition. A pindot area of grime in the upper left margin not affecting the image. Framed floating and mounted to the back mat.

Sheet: 11.5” H x 11.5” W; Frame: 20.25” H x 20.25” W x 1” D 235 Generally good condition. The left and right edges are deckled. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 33.75” H x 26” W x 1.5” D 236 Generally good condition. Very minor toning to the paper. The paper with deckled edges. Framed floating and mounted to the back mat.

Sheet: 10.25” H x 24” W; Frame: 13” H x 26.75” W x 1.5” D 237 Visual: Generally good condition. Uneven toning to the paper. Framed floating and hinged to the back mat. The left and right edges are deckled.

Frame: 31” H x 23.5” W x 2” D 238 Generally good condition. Framed floating and mounted to the back mat.

Frame: 33” H x 27” W x 2.25” D 239 Generally good condition. The paper with deckled edges.

Unframed 240 Overall good condition. Not examined out of the frame.

Frame: 35.25” H x 27.5” W x 1.25” D 241 Overall good condition.

Unframed 242 Overall good condition.

Unframed 243 Each: Overall good condition.

Unframed

2019

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

Frame: 25.5” H x 29.25” W x 1.25” W 245 Each: Overall good condition. Mounted to the back mat with plastic pocket corners.

246 Overall good condition. Mounted to the back mat with plastic pocket corners.

Frame: 17.5” H x 59.25” W x 1.25” D

Condition Reports

247 Each: Overall good condition. Laid to the back mat. “Chariot of Apollo” with a light, diagonal indentation across the photo.

Each: Frame: 21” H x 17” W x 1.75” D

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149

A princess-cut diamond ring 4.07cts. $50,000/70,000

Fine Jewelry & Timepieces May 21, 2019 Consignment Inquiries jewelry@johnmoran.com

1969

2019

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

Consign Today The Traditional Collector July 21, 2019

A Samurai Shokai sterling silver dragon-motif chafing dish

Price Realized: $8,125

1969

2019

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

Consign Today 20th Century Art + Design Fall 2019

Fong Chung-Ray (1934 - * Chinese) 89-32

Price Realized: $34,375

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833 152

1969

2019

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran SPECIALISTS Vice President, Furniture & Decorative Arts Director 20th Century Furniture & Decorative Arts Specialist

Roland Rynkiewicz John Simon Taylor

Vice President, Fine Art Director Morgana Blackwelder Post-War and Contemporary Art Specialist David Trujillo Fine Art Cataloguer Bobby Cullen Jewelry Director Mollie Burns Keith, G.J.G. Furniture, Decorative Arts & Jewelry Cataloguer Jardine Gates, G.G. CLIENT SERVICES Finance & Human Resources Director

Maha Darwish Client Services, Consignment Administration

Jean Rapagna Client Services Rose Ford OPERATIONS Business Director, Auctioneer Stephen Swan Special Projects Maranda Moran Property Manager Mike Hook Art Handler Joe Miranda Art Handler Richard Corral DIGITAL DESIGN Advertising & Marketing Director, Art Design Nathan Martinez Webmaster, Network Administrator Oscar Tsao Photographer Mido Lee FOUNDERS Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

May 5, 2019 - 20th Century Art + Design

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This catalogue is meant merely as a guide.

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

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

Credit card payments will be subject to an additional 2% buyer’s premium.

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

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

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!

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

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

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

by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate.

In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) 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 2% buyer's premium. 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

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(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) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 .

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

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