California Living — Tuesday, April 6, 2021 | John Moran Auctioneers

Featuring property from The Alan Schneider Collection

Tuesday, April 6, 2021

Tuesday, April 6, 2021—12pm Sale 187 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Maranda Moran Head of Sale maranda@johnmoran.com

Mike Hook Fine Art Cataloguer mike@johnmoran.com

Shannon Daily Decorative Arts Cataloguer shannon@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

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A Tiffany Studios “Acorn” table lamp

Circa 1902-1919; New York, NY Base spuriously signed: Tiffany Studios / New York / 28622 The pink and green leaded glass “Acorn” shade on a three-light patinated bronze Tiffany-style reproduction mushroom base with flared column raised on five ball feet, electrified Overall: 21.5” H x 16” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios “Acorn” table lamp

Circa 1901-1903; New York, NY Shade signed: Tiffany Studios / New York; Base spuriously signed: Tiffany Studios / New York / 533 The green leaded glass “Acorn” shade on a three-light patinated bronze Tiffany-style reproduction base raised on four feet, electrified Overall: 21.5” H x 16” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios single-arm student lamp

1902; New York, NY Shade bares signature: L.C.T.; Base marked: 25564 The green and blue iridescent Tiffany-style glass shade on a Gothicstyle patinated bronze Manhattan Brass Co. converted oil lamp base with oil canister and glass hurricane chimney, decorated with elliptical twisted wire designs and beaded trims, electrified Overall: 23.5” H x 15.5” W x 10.5” D; Shade: 10” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 12, fig. 1.

Notes: Manhattan Brass Co. supplied oil lamp bases to Tiffany Studios, whom then added their finishes and exterior embellishments, which were then marketed under the Tiffany Studios brand.

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A Tiffany Studios three-light lily table lamp

Circa 1902-1919; New York, NY Each shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 319 The gilt-bronze base with a ribbed foot and tri-form stem issuing a drop cluster of three gold iridescent Favrile glass “Blossom” shades, electrified 12.75” H x 11” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios table lamp

Circa 1903; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / [T.G.D.Co. monogram] / 28609 The gold iridescent Favrile glass damascene shade with swirled motif and shades of blue on a patinated bronze gooseneck base with curving stem and circular foot with incised lotus motif, electrified 14.25” H x 6.5” W x 12.5” D $2,000-3,000 Provenance: The Alan Schneider Collection

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A Tiffany Studios table lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / 637 The gold iridescent Favrile glass floriform shade on a patinated bronze gooseneck base with adjustable head, curving stem, and circular foot with leaf motif, electrified 12” H x 6.125” W x 7” D $1,000-2,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 116, fig. 488.

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A Tiffany Studios three-light lily table lamp

Circa 1902-1919; New York, NY Each shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 306 The verdigris patinated bronze base with a domed ribbed foot and slender stem issuing a drop cluster of three gold iridescent Favrile glass “Blossom” shades, electrified 16” H x 8” W x 8.5” D $1,200-1,800 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 55, fig. 185.

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A Tiffany Studios patinated bronze table lamp

Circa 1899-1900; New York, NY Each shade signed: L.C.T.; Base signed: Tiffany Studios / New York / S 1129 / 1 The patinated bronze table lamp with an intertwined vine-style base with a pinched and fluted foot issuing three drop pendant lights and one central light, each with gold iridescent Favrile glass floriform shades, electrified Overall: 30.25” H x 9.5” Dia. $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A Tiffany Studios counter-balance floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C. Tiffany / Favrile; Base singed: Tiffany Studios / New York / 468 The green and gold iridescent damascene Favrile glass shade on a single-light patinated bronze counter-balance base with plain narrow stem, weighted ball in a foliate cradle, and adjustable head raised on five curved legs with spade feet, electrified Overall: 56” H x 16” Dia.; Shade: 10” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” p. 211, fig. 827.

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T. / Favrile; Base signed: Tiffany Studios / New York / 423 The green and gold iridescent damascene Favrile glass shade with tones of blue and pink on a single-light patinated bronze harp base with plain stem and pivoting socket raised on three curved legs with spade feet, electrified Overall: 55” H x 14.25” Dia.; Shade: 10” Dia. $3,000-5,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 210, fig. 820.

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A Tiffany Studios harp floor lamp

Circa 1902-1919; New York, NY Shade signed: L.C.T.; Base signed: Tiffany Studios / New York / 423 H The green and cream iridescent Favrile glass shade with pulled feather motif on a single-light patinated bronze harp base with plain stem and floral socket cover raised on five curved legs with spade feet, electrified Overall: 57” H x 16” Dia.; Shade: 12” Dia. $5,000-7,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 210, fig. 821.

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A Tiffany Studios “Abalone” lamp shade

Circa 1902-1919; New York, NY Signed: Tiffany Studios / NY / 1928 The gilt-bronze “Abalone” lamp shade with caramel-colored slag glass panels, “linenfold” glass borders, and an interlace motif band to the top with inlaid abalone discs 5” H x 10” Dia. $2,500-3,500 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 192, fig. 747.

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A Tiffany Studios “Greek” table lamp base

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 441 The single-light patinated bronze narrow urn-form “Greek” table lamp base with three arms and four flared feet raised overall on a circular foundation with beaded border, electrified 13” H x 10.75” Dia. $800-1,200 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 94, fig. 371.

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A Tiffany Studios double-arm bronze candlestick

Circa 1900-1902; New York, NY Signed: Tiffany Studios / New York / [T.G.D.Co. monogram] The patinated bronze candlestick with floral motif base and inset green Favrile glass cabochons issuing two curved arms terminating in green blown Favrile glass capitals with removable bobeches 12.875” H x 8.75” W x 5.5” D $1,000-2,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 387, fig. 1579.

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A Tiffany Studios “Wild Carrot” bronze and Favrile glass candlestick

Circa 1900-1902; New York, NY Signed: Tiffany Studios / New York / [T.G.D.Co. monogram] / D 555 The green blown Favrile glass capital and removable bobeche raised on a patinated bronze “Wild Carrot” base with slender stem 18” H x 8” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A L.C. Tiffany bronze and blown glass candlestick

Circa 1900-1902; New York, NY Signed: Tiffany Studios / New York / [T.G.D.Co. monogram] / 25956 The candlestick with a green blown Favrile glass capital with removable bobeche raised on a patinated bronze puddle-style “Plain” base with slender stem 17.5” H x 5.75” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 386, fig. 1577.

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A pair of Tiffany-style candlesticks

20th Century Each spuriously signed Each with green blown glass capitals and removable bobeches raised on a verdigris patinated bronze base with Queen Anne’s lace motif and slender stem, 2 pieces Each: 17.75” H x 7.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Tiffany Studios bronze “Pine Needle” frame

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York / 947 The rectangular verdigris patinated bronze frame with green glass, pine needle motif bronze overlay, and beaded border enclosing a rectangular opening Overall: 9.5” H x 8” W x 6” D; Opening: 5.375” H x 3.875” W $1,000-1,500 Provenance: The Alan Schneider Collection Notes: In the Tiffany Studios catalogue, the pattern was originally referred to as “Etched Metal and Glass.”

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A Tiffany Studios “Grape Vine” bronze picture frame

Circa 1902-1919; New York, NY Signed: Tiffany Studios / New York The rectangular verdigris patinated bronze “Grape Vine” frame with green mottled glass and bronze overlay enclosing a rectangular opening 8.75” H x 7.25” W x 4.5” D; Opening: 4.75” H x 3.25” W $600-800 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, pp. 466-469.

Notes: In the Tiffany Studios catalogue, the pattern was originally referred to as “Etched Metal and Glass.”

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Three Tiffany Studios desk accessories

Circa 1902-1919 Each signed: Tiffany Studios / New York Each verdigris patinated bronze, comprising a rectangular picture frame with green rippled glass and foliate motif bronze overlay, a calendar frame with green mottled glass and foliate motif bronze overlay, and a “Grape Vine” pen tray with green mottled glass and bronze overlay, 3 pieces Largest: 6.375” H x 7.5” W; Smallest: 1.5” H x 8.5” W x 3” D $400-600 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 442, fig. 1762.

Notes: In the Tiffany Studios catalogue, the grape vine pattern was originally referred to as “Etched Metal and Glass.”

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A group of Tiffany Studios “Pine Needle” desk set items

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 940 / 961 / 981 / 997 / 1004 Each mottled green glass with patinated bronze pine needle motif overlay, comprising a calendar frame, a pen tray, a bill file hook, four bronze blotter corners, and a pen brush, 8 pieces Largest: 6.5” H x 7.5” W x 3.125” D; Smallest: 2” H x 2.25” Dia. $500-700 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, pp. 466-469.

Notes: In the Tiffany Studios catalogue, the pattern was originally referred to as “Etched Metal and Glass.”

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Three Tiffany Studios gilt-bronze “Zodiac” desk accessories

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 988 / 1009 Each gilt-bronze with “Zodiac” motif depicting the astrological signs in cartouches surrounded by interlace, comprising a small paper rack and two blotter ends, 3 pieces Paper rack: 6.25” H x 9.625” W x 2.5” D; Each blotter end: .375” H x 19.25” W x 2” D $500-700 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, pp. 473-475.

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A Tiffany Studios gilt-bronze “Abalone” desk set

Circa 1902-1919; New York, NY Each signed: Tiffany Studios / New York; Further marked: 1153 / 1159 / 1164 / Each gilt-bronze with medallions and geometric linear patterning with inset mother-of-pearl discs, comprising a letter scale, a rocker blotter, a pen tray with an associated mother-of-pearl handled pen, a paper knife, and two blotter ends, 7 pieces Largest: .25” H x 12.25” W x 2.25” D; Smallest: 3.125” H x 1.75” W x 2.875” D $1,000-1,500 Provenance: The Alan Schneider Collection Literature: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 472, fig. 1859.

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Five Louis C. Tiffany Furnaces gilt-bronze table items Circa 1919-1928; New York, NY Each signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] / Favrile; Further marked: 131 / 325 / 523 Each gilt-bronze with quatrefoil and cartouche motif border and enamel details, comprising one compote with a red and yellow enamel border, three chargers with blue and green enamel borders and each raised on five flattened ball feet, and one cedar lined lidded rectangular cigarette box with a green enamel border to the lid, 5 pieces Largest: 3.375” H x 9.875” Dia.; Smallest: 2.5” H x 6.25” W x 3.875” D $400-600 Provenance: The Alan Schneider Collection

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Four L.C. Tiffany gilt-bronze table items

Circa 1902-1928; New York, NY Three signed: Tiffany Studios / New York; Further marked: 1680 / 1723 / 1747; One signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] / 304 Each gilt-bronze, comprising one Tiffany Studios etched border serving tray with stylized floral motif border, one Tiffany Studios “Abalone” card tray with floral border and inset mother-of-pearl discs, one Tiffany Studios “Venetian” cigarette box with cold painted decorations, and one Louis C. Tiffany Furnaces charger with blue and pink enameled geometric border, 4 pieces Largest: .5” H x 14” Dia.; Smallest: 2.25” H x 5.5” W x 3.875” D $500-700 Provenance: The Alan Schneider Collection Literature: Serving tray: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 526.

Card tray: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 452, fig. 1802.

Cigarette Box: Alastair Duncan, “Tiffany Lamps and Metalware,” 2007, p. 449, fig. 1787.

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Three Louis C. Tiffany Furnaces bronze and enamel chargers

Circa 1919-1928; New York, NY Each signed: Louis C. Tiffany Furnaces, Inc. / [L.C.T. monogram] / Favrile / 309 Each patinated and gilt-bronze charger with foliate and Greek key meander border set with monochrome enamel jewels in red, green, and blue raised on five flattened ball feet, 3 pieces Each: .625” H x 8.25” Dia. $400-600 Provenance: The Alan Schneider Collection

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Peaceful Hills” Oil on canvas Signed lower left: H. Puthuff, titled on the frame plaque 20.25” H x 24.25” W $8,000-10,000 Provenance: Property from a Northern California Estate

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Golden Summer” Oil on canvas Signed lower right: H. Puthuff, signed again and titled verso, titled again on the stretcher 24” H x 30” W $8,000-10,000 Provenance: William Karges Fine Art, Carmel, CA Property from a Northern California Estate

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Carl Sammons

(1883-1968, Oakland, CA) “Bush Lupin” Oil on masonite Signed lower right: Carl Sammons, titled and inscribed on the backing paper: “Carmel Calif.”

12” H x 16” W $800-1,200

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(1881-1947, Los Angeles, CA) Atmospheric landscape with trees Oil on canvas under glass Signed lower left: Edgar Payne 12” H x 9” W

(1893-1954, Ukiah, CA) Trees in a pastoral mountain landsca Oil on canvas laid to board Signed lower right: Bickerstaff 22” H x 28” W

Edgar Alwin Payne

$3,000-4,000 Notes: Painting sealed in original frame with Louis Grosse & Company, 621 N. State Street, Chicago, Illinois label affixed to verso.

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George Bickerstaff

$600-800

ape

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Arthur Harold Knott

(1883-1977, Morro Bay, CA) “From My Studio Door” Oil on canvas Signed lower right: A. Harold Knott, signed again, titled and inscribed verso: “Morro Bay Cal.” 26” H x 30” W $800-1,200

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Fred Grayson Sayre

(1879-1939, Glendale, CA) Lake in a mountain landscape Oil on canvas Signed lower right: F Grayson Sayre 24” H x 30” W $2,000-3,000

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Harold L. Doolittle

(1883-1974, Pasadena, CA) “Morning in Yosemite” Aquatint on paper under glass Signed in pencil lower right: H.L. Doolittle, titled in pencil lower left Sheet: 16.25” H x 11.25” W; Image: 13.25” H x 9.75” W $1,000-1,500 Notes: The book, “The Lore and the Lure of Yosemite,”

by Herbert Earl Wilson, accompanies this lot.

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Four Gustav Stickley ladder back oak chairs, No. 306

Circa 1901-1916; Eastwood, NY Each with Stickley shop mark [joiner’s compass] Each oak ladder back chair with three cross back rails over a woven rush seat atop four square legs joined by a box stretcher, 4 pieces Each: 36” H x 16.875” W x 19” D $800-1,200

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Five Chicago-style Arts and Crafts oak

Late 19th/early 20th Century Each Chicago School-style high back oak cha wide top rail and three splats over a tapered seat rail raised on four sqaure legs and with tr supprt posts to the back, 5 pieces Each: 38” H x 18.5” W x 19.5” D $500-700

chairs

air with seat atop a restle-style

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A pair of Gustav Stickley H-back chairs, No. 308 Circa 1901-1916; Eastwood, NY One with Stickley shop mark [joiner’s compass] Each oak chair with straight top rail and H-back over an inset brown leather seat raised on four thin square legs joined by a box stretcher, 2 pieces Each: 40” H x 16.75” W x 18” D $500-700

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A Gustav Stickley oak rocking chair, No. 2603

First-quarter 20th Century; Eastwood, NY The oak ladder back rocking chair with four back cross rails over a black leather seat and back cushion atop four square legs with rockers 36” H x 25” W x 31” D $1,000-1,500

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A Gustav Stickley oak rocking chair, No. 397

Circa 1901-1916; Eastwood, NY Stickley shop mark [joiner’s compass] The original finish oak tall back rocking chair with three slats and corbeled arms over a brown leather seat atop four square legs with rockers joined by a box stretcher 43” H x 27” W x 29” D $800-1,200

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A Gustav Stickley fumed oak rocking chair, No. 315

First-quarter 20th Century; Eastwood, NY Appears unsigned Designed 1904, the original finish fumed oak ladder back rocking chair with four back cross rails and corbeled arms over a black leather seat atop four square legs with rockers joined by a box stretcher 38” H x 27.25” W x 28” D $800-1,200

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A Gustav Stickley extendable oak dining table

Circa 1901 Appears unsigned The extendable oak dining table with round top over a split-pedestal base with central column and four square legs joined by a keyed mortise and tenon X-stretcher raised on castors, with three custom leaves and leather table cover 30” H x 53.5” Dia.; Extended: 101.5” W x 53.5” D $2,000-3,000

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A gilt-bronze chandelier with five Quezal art glass shades

First-quarter 20th Century Each shade signed: Quezal The five-light gilt-bronze chandelier with bulbous body, acorn finials, canopy, and suspended chain link harness issuing five scrolled arms terminating in white and blue Quezal floriform glass shades with pulled feather motif and iridescent gold transition, electrified 24” H x 22” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection

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A gilt-metal chandelier with Steuben Aurene glass shades

Second-quarter 20th Century Each shade signed: Steuben The gilt-metal chandelier with flared canopy issuing four drop pendants on square chain link harnesses and one central light, each with an iridescent gold Aurene glass floriform shade, electrified 44” H x 20” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A patinated bronze chandelier with sconces

First-quarter 20th Century Each shade signed: Quezal The five-light patinated metal chandelier with a pinched neck, gadrooned border, and rotund body issuing four scrolled arms terminating in drop pendants and one central pendant each with a white Quezal glass shade with iridescent gold interior, pulled feather motif, and ruffled rim and fitted overall with flared canopy and chain link harness, accompanied by two matching wall sconces, electrified, 3 pieces Chandelier: 30.5” H x 21” Dia.; Each sconce: 12” H x 6” Dia. $1,000-2,000 Provenance: The Alan Schneider Collection

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A Stickley Brothers fumed oak armchair

First-quarter 20th Century Appears unsigned The fumed oak ladder back chair with three shaped back cross rails over a black leather seat atop four square legs joined by a box stretcher 37” H x 23” W x 20” D $200-300

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A Stickley Brothers oak ladder back armchair

Circa 1898-1916; Grand Rapids, MI Metal tag: Stickley Bros. Co. / “Quaint” Furniture The oak ladder back chair with three back cross rails over a black leather seat with nail stud trim atop four square legs joined by a box stretcher 37.75” H x 24.75” W x 19” D $200-300

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Six contemporary Stickley oak chairs

Late 20th/early 21st Century; Manlius, NY Each with metal tag: Stickley Handcraft Craftsman; Armchairs with Stickley burned mark; Side chairs further marked: 89-384 Each spindle back chair with green leather seat raised on four square legs joined by a through-tenon constructed box stretcher with side spindles, comprising four side chairs with straight top rail and two armchairs with curved top rail and corbeled arms, 6 pieces Larger: 48.5” H x 27.5” W x 24” D; Smaller: 45.75” H x 19” W x 21” D $1,500-2,500 Notes: These chairs are contemporary pieces produced at the Stickley workshop in Manlius, New York, presently owned and opperated by the Audi family.

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A contemporary Stickley oak coffee table

Late 20th/early 21st Century; Manlius, NY Metal tag: Stickley Handcraft Craftsman; Burned mark: Stickley; Further marked: 89-787 The oak coffee table with a rectangular top and corbeled supports over an undershelf and raised on four square legs joined by stretchers with through-tenon construction and two spindle sides 17” H x 36” W x 44” D $600-800 Notes: This table is a contemporary piece produced at the Stickley workshop in Manlius, New York, presently owned and opperated by the Audi family.

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A Duffner and Kimberly leaded glass chandelier

First-quarter 20th Century; New York, NY Unsigned The leaded glass domed shade with pink and amber floral motif and free-form edge fitted with a six-light socket cluster, patinated bronze heat cap and suspended chain link harness, and acorn pulls, electrified 16” H x 24” Dia. $2,000-3,000 Provenance: The Alan Schneider Collection

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A Duffner and Kimberly leaded glass hanging shade

First-quarter 20th Century; New York, NY Unsigned The leaded glass domed shade with green and amber mottled slag glass geometric patterning and stylized vine border with verdigris patinated bronze fitter ring 8.75” H x 24” Dia. $2,500-3,500

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51

A green leaded glass chandelier

First-quarter 20th Century The three-light, bell-form green leaded glass chandelier with geometric pattern and lace-style metal trim fitted with patinated metal cap, suspended chain link harness, and canopy, electrified 16” H x 21” Dia. $700-900 Provenance: The Alan Schneider Collection

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An Arts and Crafts leaded glass chandelier

First-quarter 20th Century Possibly Duffner and Kimberly, the domical leaded glass shade with scrolling floral motifs in amber, yellow, green, and white with a scalloped rim and fitted with three lights and four patinated metal hanging shafts, electrified 38” H x 20.5” Dia. $1,500-2,500

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53

A pair of Arts and Crafts polished brass and glass sconces

First-quarter 20th Century Each polished brass sconce with a crook-form stem issuing a floriform socket fitted with a flared and ribbed gold iridescent art glass shade, electrified, 2 pieces Each: 8.75” H x 5” W x 9.5” D $600-800 Provenance: The Alan Schneider Collection

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54

An Arts and Crafts hammered copper table lamp

First-quarter 20th Century The Arts and Crafts table lamp with a conical hammered copper shade with six mica panels on a two-light hammered copper base with a tapered body raised on a domed foot with two curved handles, electrified Overall: 22” H x 16” Dia. $500-700 Provenance: The Alan Schneider Collection

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55

An Arts and Crafts hammered copper boudoir lamp

First-quarter 20th Century Appears unsigned Possibly by Fred Brosi “Ye Olde Copper Shoppe,” the Arts and Crafts boudoir lamp with a conical hammered copper shade with six mica panels on a single-light weighted hammered copper base with a reeded foot and three arms, electrified Overall: 18” H x 10” Dia. $500-700 Provenance: The Alan Schneider Collection

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A Dirk van Erp hammered copper table lamp

Circa 1913-1915; San Francisco, California Signed: Dirk van Erp [open-box mark] The Arts and Crafts table lamp with a conical hammered copper shade with three mica panels on a single-light hammered copper base with a flared body and three arms, electrified Overall: 21” H x 14.5” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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57

A pair of Bradley & Hubbard Arts and Crafts desk lamps

First-quarter 20th Century; Meriden, Connecticut Each signed: B&H Each verdigris patinated metal with a squared column issuing an arm terminating in a square shade with yellow and white slag glass panels and pine cone metal overlay, electrified, 2 pieces Each: 17.75” H x 5.625” W x 10.5” D $600-800 Provenance: The Alan Schneider Collection

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A Bradley & Hubbard Arts and Crafts table lamp

First-quarter 20th Century; Meriden, Connecticut Base signed: B&H / 154 The verdigris patinated metal lamp with an octagonal shade with yellow and white slag glass panels and rose vine motif metal overlay on a four-light tapered base with ribbed column, inverted floriform foot, acorn pulls, and acorn finial, electrified Overall: 25” H x 15.125” Dia. $600-800 Provenance: The Alan Schneider Collection

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59

An Arts and Crafts reverse-painted table lamp

First-quarter 20th Century Appears unmarked Likely Bradley & Hubbard, the hexagonal shade with six ribbed glass panels with reverse-painted floral motif set in a bronze frame atop a two-light patinated bronze base with ribbed column raised on a square foliate motif foot, electrified Overall: 22” H x 16” Dia. $700-900 Provenance: The Alan Schneider Collection 76

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An Arts and Crafts leaded glass table lamp

First-quarter 20th Century The domical leaded slag glass shade with white panels and caramel-colored lozenge bands on a two-light verdigris patinated bronze base with two acorn pulls and a bulbous tapered body decorated with low relief floral motifs and two stylized loop handles, electrified Overall: 24” H x 19” Dia. $500-700

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61

Virginia B. Woolley

(1884-1971, Laguna Beach, CA) “House by the sea” (Mr. Harper’s House) Oil on canvas Signed lower right: Virginia Woolley, titled on an artist’s label affixed verso 12” H x 12” W $800-1,200 Notes: Alternately titled “The Ark” (Foot of Moss St.) on a second artist’s label affixed to the backing board.

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Richmond Kelsey

(1905-1987, Oxnard, CA) “The Old Boats,” 1930 Oil on canvas Signed and dated lower left: Richmond Irwin Kelsey, titled by repute 16” H x 20” W $500-700

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63

Joseph Areno

(1950-2006, Canadian/American) “Goleta Beach, Santa Barbara,” 1986 Oil on masonite Signed and dated lower right: Joseph R. Areno, signed and dated again and titled verso, and with the artist’s thumbprint wax seal 16” H x 21” W $1,000-1,500

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Joseph Aaron

(b. 1959, Laguna Beach, CA) “Overlooking Montecito” Oil on canvas laid to panel Signed lower right: Joseph Aaron, titled verso 24” H x 30” W $500-700 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, November 18, 2003, Lot 147

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Henry L. Richter

(1870-1960, Rolling Hills, CA) “Laguna Coastline,” circa 1930s Oil on canvas laid to canvas Signed lower right: Henry L. Richter, titled and dated on gallery labels affixed to the backing board 30.25” H x 40.25” W $1,000-1,500 Provenance: David and Sons Fine Art, Laguna Beach, CA Michael Johnson Fine Art, Fallbrook, CA

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Carl Sammons

(1883-1968, Oakland, CA) “Point Lobos - Carmel by the Sea” Oil on canvasboard Signed lower right: Carl Sammons, titled on the stretcher 12” H x 16” W $1,500-2,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, June 19, 2001, Lot 138

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67

Joane Cromwell

(1895-1969, Laguna Beach, CA) Las Brisas, Laguna coastal, 1950 Oil on canvas Signed and dated lower left: Joane Cromwell / ‘50 36” H x 52” W $2,000-3,000 Notes: Las Brisas is a restaurant overlooking the Laguna Beach coastline.

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(1950-2006, Canadian/American) “Biltmore Beach, Santa Barbara,” 1987 Oil on masonite Signed and dated lower right: Joseph R. Areno, signed and dated again and titled verso, and with the artist’s thumbprint wax seal 15.25” H x 19.25” W

(1913-1988, Iron Ducks and gulls Oil on masonite Signed lower rig 26” H x 42” W

Joseph Areno

$800-1,200

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Lee LeBlanc

$1,500-2,500

n River, MI) s along the shore e ght: LeBlanc, and with the copyright symbol

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Carl Sammons (1883-1968, Oakland, CA)

Two works “Sand Dunes Pacific Grove Calif.,” 1948 Oil on board 6” H x 8” W Signed lower right: C. Sammons, signed again, titled and dated verso “Carmel Coast,” 1948 Oil on board 6” H x 8” W Signed lower right: Sammons, signed again, titled and dated verso $800-1,200

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(1883-1977, Morro Bay, CA) “Sea Foam Symphony,” circa 1930s Oil on canvas Signed lower right: A. Harold Knott, signed again, titled and inscribed on the stretcher: “Morro Bay California,” dated on a gum label affixed to the frame verso 30” H x 36” W

(1888-1966, Ramona, CA) Seascape Oil on masonite Signed lower right: Frank J. Gavenck 24” H x 30” W

Arthur Harold Knott

$1,000-2,000 Exhibitions: Sacramento, CA, Carmel Art Association, “California State Fair,” 1939

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Frank J. Gavencky

$1,500-2,000

Provenance: Michael Johnson Fine A

ky

Arts, Fallbrook, CA

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Nels Hagerup

(1864-1922, San Francisco, CA) “Monterey Bay looking towards Del Monte” Oil on canvas laid to waxed canvas Signed lower left: N. Hagerup, titled on the stretcher 18” H x 30” W $800-1,200 Provenance: Gump’s, San Francisco, CA

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A L.C. Tiffany Favrile “Prince” compote

1905; New York, NY Signed: L.C.T. / W 7749 The gold iridescent compote with a shallow, flared basin raised on a slender stem 11” H x 5.5” Dia. $600-800 Provenance: The Alan Schneider Collection Notes: In the Tiffany catalogue, this item is referred to as an “epergne.”

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A L.C. Tiffany Favrile glass leaf and vine vase

1910; New York, NY Signed: L.C. Tiffany / Favrile / 376 E The gold iridescent Favrile glass vase with green iridescent leaf and vine motif, wide mouth, pinched neck, and wide-shouldered body 4” H x 6.25” Dia. $600-800 Provenance: The Alan Schneider Collection

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76

Two blue L.C. Tiffany Favrile glass items

Circa 1892-1893; New York, NY First signed: L.C. Tiffany / Favrile / 1700; Second signed: L.C. Tiffany / Favrile / 1236 Each blue iridescent Favrile glass, comprising one compote with onion skin rim and ribbed exterior and one footed bowl with flared lip, 2 pieces Larger: 3” H x 5.25” Dia.; Smaller: 2.25” H x 4.875” Dia. $500-700 Provenance: The Alan Schneider Collection

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A Louis C. Tiffany Furnaces gilt-bronze and art glass vase

Circa 1919-1928; New York, NY Base signed: Louis C. Tiffany Furnaces, Inc. / Favrile / [L.C.T. monogram] / 158 The Louis C. Tiffany Furnaces gilt-bronze base with fluted foot and pentagonal floriform stem issuing a blue iridescent Favrile-style art glass trumpet vase with ribbed exterior 13.75” H x 5.625” Dia. $700-900 Provenance: The Alan Schneider Collection

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A L.C. Tiffany blue opalescent Favrile glass bowl

Late 19th/early 20th Century; New York, NY Signed: Favrile The opalescent Favrile glass bowl with a flared, blue onion skin rim fading to a clear ribbed base with an opaque white transition 3.5” H x 8.25” Dia. $500-700 Provenance: The Alan Schneider Collection

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A L.C. Tiffany Favrile glass candlestick

Circa 1892-1919; New York, NY Signed: L.C.T. The gold iridescent Favrile glass candlestick shaded to blue with swirled base terminating in a bobeche with metal liner 5.125” H x 3.75” Dia. $400-600 Provenance: The Alan Schneider Collection

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A L.C. Tiffany blue opalescent Favrile glass compote

Circa 1902-1919; New York, NY Signed: L.C. Tiffany / Favrile / 1848 / [L.C.T. monogram paper label] The opalescent Favrile glass compote with an aqua blue-colored onion skin flared rim fading to light green with radiating opaque white stripes raised on an opaque white foot 3.75” H x 10.25” Dia. $400-600 Provenance: The Alan Schneider Collection

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A L.C. Tiffany yellow opalescent Favrile glass bowl

First-quarter 20th Century; New York, NY Signed: [L.C.T. monogram paper label] The Favrile glass bowl with yellow scalloped and flared onion skin rim with white underside transitioning to translucent glass with opaque opalescent triangular panels on an octagonal body 3.5” H x 8.125” Dia. $400-600 Provenance: The Alan Schneider Collection Literature: Moise S. Steeg, “Tiffany Favrile Art Glass,” 1997, p. 176.

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A Handel Teroca “Palm Tree and Sunset” table lamp

First-quarter 20th Century; Meriden, Connecticut Signed: Handel / Pat’d. No. 979664 The “Teroca” shade with eight mottled pink slag glass panels encased in bronzed metal overlay with palm tree motif on a three-light baluster-form bronzed metal base with woven motif raised on four flared feet, electrified Overall: 26.5” H x 20” Dia. $1,500-2,000 Provenance: The Alan Schneider Collection Literature: Carole Goldman Hibel, John Hibel, and John Fontaine, “The Handel Lamps Book,” 1999, p. 51.

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A Handel reverse-painted parchment “Treasure Island” table lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Broggi; Base marked: 1219 The table lamp with a tapered drum-shaped parchment shade with reverse-painted nautical scene depicting a sailing vessel in a moonlit tropical bay with palm tress, in shades of umber and ochre, with ribbon trim on a three-light base with a baluster-form iridescent orange glazed ceramic body with crazed finish raised on a circular patinated metal foot and surmounted by an openwork finial, electrified Overall: 25” H x 18” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Handel harp floor lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel / Brown / 6068 1/2; Base signed: Handel [cloth label] The green chipped ice finished glass shade on a single-light patinated metal harp base with plain stem and pivoting socket raised on a stepped circular foot, electrified Overall: 57” H x 10” Dia.; Shade: 10” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Handel painted glass landscape piano lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel / 6253; Base signed: Handel The pivoting cylindrical chipped ice finished glass shade with obverse and reverse-painted wooded landscape scene on a single-light patinated metal base with adjustable gooseneck arm raised on a circular foot, electrified Overall: 13.5” H x 12.5” W x 8.5” D $800-1,200 Provenance: The Alan Schneider Collection

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A Handel acid-etched glass piano lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel / Brown / 6132 1/2; Base signed: Handel [cloth label] The pivoting cylindrical acid-etched glass shade with caramel-colored pine needle motif on a single-light patinated metal base with adjustable gooseneck arm raised on an ovoid foot, electrified 15” H x 10.25” W x 9” D $700-900 Provenance: The Alan Schneider Collection

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A Handel Teroca glass and metal piano lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel; Base signed: Handel [cloth label] The pivoting cylindrical Teroca shade with mottled green slag glass and leaf and vine metal overlay on a single-light patinated metal base with adjustable S-curve arm raised on a circular foot with low relief interlace border, electrified 8” H x 12” W x 15” D $800-1,200 Provenance: The Alan Schneider Collection

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A Handel reverse-painted glass landscape piano lamp

First-quarter 20th Century; Meriden, Connecticut Base signed: Handel [cloth label] The pivoting cylindrical glass shade with reverse-painted wooded landscape with a stream on a single-light bronzed metal base with scrolled detail and tapered stem with gadrooned motif atop a circular foot with egg and dart border, electrified 14.5” H x 10” W x 13” D $700-900 Provenance: The Alan Schneider Collection

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90

Circa 1921; Meriden, Connecticut Shade signed: Handel Lamps / Pat’d. No. 979664 / Handel / 6868; Base signed: Handel The domical, chipped ice and sand-finished glass shade molded with eight vertical lobes and with obverse-painted woodland scene with birds in flight in tones of green and brown against a frosted translucent ground on a three-light patinated metal base with a knopped inverted floriform column, electrified Overall: 25” H x 18” Dia.

First-quarter 20th Century; Meriden, C Shade signed: Handel / 7104; Base si The domical, chipped ice finished gla with reverse-painted wooded lakeside birds in flight on a three-light patinate and roots extending over a circular fo Overall: 23” H x 18” Dia.

A Handel obverse-painted glass landscape table lamp

A Handel reverse-painted glass

$1,500-2,000

$1,000-1,500

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Coll

Literature: Robert De Falco, Carole Goldman Hibel, and John Hibel, “Handel Lamps: Painted Shades and Glassware,” 1986, pp. 74 and 129.

Literature: Base: Robert De Falco, Ca Lamps: Painted Shades and Glasswar

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landscape table lamp

Connecticut igned: Handel ass shade molded with eight vertical lobes and e scene during a red and yellow sunset with ed metal tapered base with low relief trees oot, electrified

lection

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A Handel painted glass “Chrysanthemum” boudoir lamp

First-quarter 20th Century; Meriden, Connecticut Shade signed: Handel / 7065; Base signed: Handel The domical opaque white glass shade with obverse-painted yellow and mauve chrysanthemums on a matching single-light glass base with chipped ice finished tapered column fitted with bronzed metal hardware and raised on five ball feet, electrified Overall: 13.25” H x 7” Dia. $600-800 Provenance: The Alan Schneider Collection

arole Goldman Hibel, and John Hibel, “Handel re,” 1986, p. 98.

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A Pairpoint reverse-painted glass “Berkeley” table lamp

1907-1929; New Bedford, Massachusetts Shade signed: The Pairpoint Corp’r. / H. Fisher; Base signed: Pairpoint / [“P” diamond monogram] / D 3037 / Made in U.S.A. The chipped ice finished glass “Berkeley” shade with reverse-painted wooded landscape scene with chestnut trees in shades of green, blue, and yellow and polychrome flowers on a two-light patinated and gilt-bronze base with fluted urn-form column raised on an octagonal foot, electrified Overall: 21” H x 15.75” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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A Pairpoint reverse-painted glass “Carlisle” table lamp

1907-1929; New Bedford, Massachusetts Shade signed: The Pairpoint Corp.; Base signed: Pairpoint / [“P” diamond monogram] / C 3045 / Made in U.S.A. The conical chipped ice finished glass “Carlisle” shade with reverse-painted floral band with peacocks against a yellow ground with leaf and vine motif on a two-light baluster-form brass base, electrified Overall: 22.5” H x 18” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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An iridescent art glass boudoir lamp

First-quarter 20th Century The Tiffany-style iridescent glass shade with cranberry and orange pulled feather motif atop three patinated bronze arms with leaf-style terminals on a Stueben Aurene-style iridescent gold glass base with straight column, circular foot, and prunt decorations, electrified Overall: 16” H x 9” Dia. $400-600 Provenance: The Alan Schneider Collection

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A Tiffany-style lily wall sconce

20th Century One shade signed: Lundberg Studios / 2002 The patinated bronze lily wall sconce with ball-form base and shaped spindle issuing a drop cluster of seven lights, each with opalescent art glass floriform shades, joined with a bracket arm to an engraved back plate with bead trim, electrified 14” H x 11.75” W x 9.5” D $500-700 Provenance: The Alan Schneider Collection

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A Tiffany-style art glass lamp shade

First-half 20th Century The domical Tiffany-style art glass lamp shade with blue and green swirl design and pink iridescence 5.5” H x 11.25” Dia. $400-600 Provenance: The Alan Schneider Collection

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Four Quezal art glass orb shades

First-quarter 20th Century Each signed: Quezal Each shade gold iridescent art glass, comprising three small orbs and one large orb, 4 pieces Larger: 8” Dia.; Smaller: 6” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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A collection of emerald green glass chandelier prisms

Second-quarter 20th Century Each rectangular glass prism with flat back and curved front, comprising eighteen dark green prisms and thirty-seven light green prisms, 55 pieces Each: 6” L x 1” W x .5” D $600-800 Provenance: The Alan Schneider Collection

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A Tiffany-style art glass vase

20th Century The iridescent art glass vase with green and gold pulled feather motif on a cream ground with pinched foot, tapered body, and flared ruffled rim 7.75” H x 3.375” Dia. $400-600 Provenance: The Alan Schneider Collection

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100

101

Late 19th/early 20th Century First signed: L.C.T. / D 1087; Second signed: Aurene / 3058; Third signed: Quezal Each gold iridescent art glass, comprising one L.C. Tiffany chalice with knopped stem, ribbed and pointed bowl, and blue-shaded interior, one Stueben Aurene bud vase with cylindrical body and flared rim, and one Quezal vase with bublous body, tall neck, and flared rim, 3 pieces Largest: 8.625” H x 4.125” Dia.; Smallest: 6” H x 4.25” Dia.

1916 Bronze signed: Griff The gold iridescent lip on a Griffoul pat 14” H x 3.75” Dia.

Three American gold art glass table items

$800-1,200 Provenance: The Alan Schneider Collection

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A Griffoul patina

$400-600

Provenance: The Ala

ated bronze and art glass trumpet vase

foul / Copyright 1916 / Genuine Bronze art glass trumpet vase, likely by Quezal, with ruffled tinated bronze base depicting swallows in flight

an Schneider Collection

102

A gold Steuben Aurene glass vase

Circa 1904-1933; Corning, New York Signed: Aurene / 2683 The gold Aurene glass vase, model no. 2683, shaded pink with wide-shouldered body and flared neck 10.75” H x 9.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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103

Alexander John Drysdale

(1870-1934, New Orleans, LA) Oak trees in the bayou Oil wash on board under glass Signed lower left: A.J. Drysdale Board: 12” H x 26” W; Sight: 11.75” H x 25.75” W $1500-2000

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104

James Everett Stuart

(1852-1941, San Francisco, CA) “Showers,” 1922 Oil on artist’s board Signed, dated and numbered lower left: J.E. Stuart / Oct. 3, 1922 / 2948, signed, dated and numbered again and titled and inscribed verso: Sacramento River, California 17.75” H x 29.75” W $1,000-2,000

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105

Robert William Wood

(1889-1979, Bishop, CA) Trees in a lakeside landscape Oil on canvas laid to canvas backed by card Signed lower left: Robt. Wood, titled illegibly in pencil “... Sunset” on the stretcher 24” H x 30” W $2,000-3,000

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106

Orrin A. White

(1883-1969, Pasadena, CA) Trees in a landscape at moonrise Oil on board Signed lower right: Orrin A. White 10” H x 12” W $700-900

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107

William Keith

(1838-1911, Berkeley, CA) “Figures in a California Forest” Oil on canvas Signed and inscribed lower right: W. Keith / SF (for San Francisco), titled by repute 24.25” H x 30.25” W $1,500-2,000 Notes: With a Hudson & Salah Conservation Studios label affixed to the stretcher.

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108

A Limbert’s Arts and Crafts Ebon-Oak settee

Circa 1915 Burned mark: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland The oak settee with caned back and corbeled arms over a green fabric seat raised on four square feet joined by stretchers and finished with geometric ebony inlay to the back and arms 38.5” H x 74” W x 25” D $1,200-1,800

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109

A Limbert’s Arts and Crafts oak armchair, No. 877

First-quarter 20th Century Burned mark: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland The original finish oak slat back chair with four back slats over a dark brown leather seat and back cushion with corbeled arms atop four square legs joined by stretchers and an arched seat rail 41” H x 31.75” W x 33” D $1,000-1,500

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110

A Limbert’s Arts and Crafts oak table, No. 120

First-quarter 20th Century Burned mark: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland The oak table with an octagonal top with corbeled supports atop four slatted legs with cut-out spade motifs joined by an X-strecher with keyed mortise and tenon construction 29” H x 45” Dia. $1,500-2,500

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111

An L. & J.G. Stickley oak Morris chair, No. 410

1906-1912; Fayetteville, NY Label: L. & J.G. Stickley Handcraft The oak ladder back Morris chair with adjustable back, corbeled drop arms, and original tan leather seat and back cushion raised on four square legs with through-tenon construction and slatted sides 40” H x 32.25” W x 38” D $4,000-6,000

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112

An L. & J.G. Stickley oak armchair, No. 422

Circa 1912-1917; Fayetteville, NY Paper label: The Work of L. & J.G. Stickley The oak slat back chair with six slats and corbeled arms over a black leather seat atop an arched seat rail and four square legs joined by a box stretcher 38” H x 27.75” W x 24” D $300-400

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113

An L. & J.G. Stickley oak library table, No. 529

Circa 1912-1917; Fayetteville, NY Paper label: The Work of L. & J.G. Stickley The original finish oak library table with splined top over a single drawer with two handhammered copper drop bail handles atop a keyed mortise and tenon lower shelf raised on four square legs joined by two stretchers 29” H x 42” W x 28” D $800-1,200

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114

A L. & J.G. Stickley double-door bookcase, No. 645

Circa 1906-1912; Fayetteville, NY Label: L. & J.G. Stickley Handcraft The original finish oak double-door bookcase with raised back panel over keyed mortise and tenon slab sides and two twelve-lite glazed mullion doors with rectangular panels, each finished with a hammered copper drop handle and lockplate, enclosing a fitted interior with three stationary shelves raised overall on four bracket feet 55” H x 52” W x 12” D $2,500-3,500

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115

A L. & J.G. Stickley double-door bookcase, No. 645

Circa 1912-1917; Fayetteville, NY Label: The Work of L. & J.G. Stickley The original finish oak double-door bookcase with raised back panel over keyed mortise and tenon slab sides and two twelve-lite glazed mullion doors with rectangular panels, each finished with a hammered copper drop handle and lockplate, enclosing a fitted interior with three stationary shelves raised overall on four bracket feet 55” H x 52” W x 12” D $2,500-3,500

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116

An Arts and Crafts oak settee

First-quarter 20th Century The oak slat back settee with a through-tenon constructed straight top rail, thirteen slats, and paddle arms with slats over a light brown hide upholstered seat atop four square legs with a through-tenon constructed front seat rail 37.25” H x 60” W x 24” D $800-1,200

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117

An Arts and Crafts-style mahogany armchair

20th Century In the style of Charles Stickley, the mahogany spindle back chair with ten spindles and corbeled arms with spindle sides over a dark brown leather seat atop four square legs joined by a box stretcher 49” H x 28.75” W x 26” D $700-900

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118

Henrietta Mary Shore

(1880-1963, Carmel, CA) Child Holding a Doll Oil on canvas laid to canvas Appears unsigned 16” H x 12.25” W $2,000-3,000

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119

Maria del Carmen Calvo

(20th/21st Century, Capistrano Beach, CA) “Waterlilies,” 1990 Oil on canvas Signed lower right: Calvo, signed again, dated, titled, numbered and inscribed verso: #38 / “Reproduction Rights reserved by the artist” 50” H x 50” W $2,000-3,000

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120

Meta Gehring Cressey

(1882-1694, Los Angeles, CA) Still life with lilies in a clear vase Oil on canvas Signed lower left: Meta Cressey 36” H x 40” W $1,000-2,000

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121

An American Art Deco copper table lamp

Circa 1930 The geometric table lamp with a triangular shade composed of mica panels set in a textured copper frame with a stepped border and openwork star and circle designs atop a single-light textured copper sphere and inverted pyramid base raised on a stepped triangular foot and surmounted by a folded copper finial, electrified Overall: 28.5” H x 14.25” Dia. $600-900 Provenance: From the Collection of the Dharam Damama’s

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122

Four Mexican copper vanity boxes

Circa 1940s; Taxco, Mexico Three stamped for Hector Aguilar; One stamped for unknown maker Comprising three boxes with ball feet designed by Hector Aguilar and one glass-sided box by an unknown maker, 4 pieces Largest: 2.875” H x 5.125” W x 3.125” D $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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123

A group of American Arts and Crafts metal accessories

First-quarter 20th Century First marked: Handwrought by F. Novick / Chicago; Second marked: Forest Craft Guild; Third marked: [Roycroft orb and cross middle mark] Comprising a Falick Novick hand-wrought copper tray with hammered surface and two raised handles, a pair of Forest Craft Guild brass bookends with openwork design, and a pair of Roycroft copper bookends with studded strap motif and drop handles, 5 pieces Largest: 1.5” H x 12.75” Dia.; Smallest: 5.125” H x 5.5” W x 2.5” D $300-500

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124

Two Chinese cloisonnÈ table items

Late Qing Period (1636ñ1912) One with reign mark Each polychrome enamel cloisonne, comprising one charger with lozenge border and blue floral motif on a yellow ground with stars centering a blessing symbol and one footed low bowl with floral sprays on a cobalt blue ground with light blue and yellow scrolled border, 2 pieces Larger: 2.75” H x 15” Dia.; Smaller: 3.5” H x 12” Dia. $400-600 Provenance: The Alan Schneider Collection

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125

126

(1868-1919, Pasadena, CA) “An Interlude,” 1912 Color woodcut on paper under glass Signed and numbered in pencil lower right: Helen Hyde / 187, inscribed in the plate lower left: “Copyright. 1912 by Helen Hyde,” and with the artist’s device Sight: 11.75” H x 13.25” W; Image: 11.25” H x 12.75” W

(1905-2006, Santa Barbara, CA) Fields and clouds in a landscape Oil on masonite Signed lower right: Ray Strong 15” H x 30” W

Helen Hyde

$600-800 Literature: T. Mason/L. Mason, “Helen Hyde 1868-1919,” New York, NY, 1991, pg 54, Cat. no.

94, (illustrated) Notes: “It was in San Angelo that we so often saw the breadman’s donkey, pausing with his cowhide panniers before the green door.” Helen Hyde, “The Colour Lure of Mexico” in the International Studio, Novemeber 1913.

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Ray Strong

$2,000-3,000

Provenance: Sale: John Moran A October 21, 2008, Lot 223

) e

Auctioneers, Monrovia, CA, “California and American Paintings,”

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127

Carl Sammons

(1883-1968, Oakland, CA) Snow capped mountains outside of Palm Springs Oil on canvasboard Signed lower right: Carl Sammons 12” H x 16” W $1,000-1,500

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128

Sam Hyde Harris

(1889-1977, Alhambra, CA) San Jacinto landscape Oil on canvasboard Estate signed lower right: Sam Hyde Harris 18” H x 24” W $1,200-1,800 Provenance: The Estate of Gary L. Booth Notes: With an authentication stamp signed by Maureen St. Gaudens verso.

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129

Bradley W. Giles

(b. 1967, American) “Moonlight on Southridge Drive,” 2015 Oil on canvas Signed and dated lower right: Giles, signed again and inscribed on the stretcher: Completed May 11, 2015 24” H x 24” W $1,500-3,000 Provenance: Smith Vargas Fine Art Gallery, Palm Springs, CA Exhibitions: Palm Springs Artist Council Art Exhibition, Palm Springs, CA, 2015 and 2016.

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130

Bradley W. Giles

(b. 1967, American) “Nocturne Vision Quest,” 2019 Oil on canvas Signed and dated lower right: Giles, signed and dated again, titled and inscribed on the stretcher: April 24, 2019 / Location - Palm Canyon, Palm Springs, California 10” H x 10” W $800-1,000

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131

A Gallé cameo glass pendant chandelier

First-quarter 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass domical shade with floral motifs cut from purple to pink frost fitted with three light sockets, finished with wrought iron hardware and canopy, and suspended from three chain link harnesses, electrified 30” H x 15.5” Dia. $500-700 Provenance: The Alan Schneider Collection

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132

A Muller Frères art glass chandelier

Second-quarter 20th Century; Luneville, France Signed: Muller Freres Luneville The six-light chandelier with a mottled purple and orange frosted glass bowl mounted with gilt-brass filigree arms terminating in drop pendant lights with matching glass shades and fitted with a gilt-bronze floral motif harness and foliate canopy, electrified 37” H x 22” Dia. $600-800 Provenance: The Alan Schneider Collection

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133

A Muller Frères glass and wrought iron chandelier

Second-quarter 20th Century; Luneville, France Signed: Muller Freres Luneville The six-light chandelier with upper gallery of mica panels atop a mottled white, pink, and purple frosted glass bowl enclosed in a wrought iron frame with foliate motifs, fish scale border, and three natralistic doves issuing drop pendant lights with matching glass shades and fitted with an openwork canopy and three square hanging shafts, electrified 35” H x 24” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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134

A Victorian-style chandelier with Steuben Aurene glass shades

First-quarter 20th Century Each shade signed: Steuben The gilt-metal chandelier with reeded and knopped column, openwork foliate bobeche and gallery, and ball finial issuing three arms with scrolling foliate arm backs, each terminating in an iridescent gold Steuben Aurene glass floriform shade, electrified 32” H x 28” Dia. $600-800 Provenance: The Alan Schneider Collection

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135

Two cameo glass table items

First-half 20th Century One marked: France Each acid-etched cameo glass, comprising one Austrian-style oblong bowl cut from purple to clear glass with gilt orchid motif against an engraved ground and one Schneider-style low bowl cut from purple to mottled yellow and red frost with floral motif, 2 pieces Larger: 5.5” H x 13.75” W x 6” D; Smaller: 2.5” H x 2.5” Dia. $500-700 Provenance: The Alan Schneider Collection

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136

Three Art Nouveau cameo glass table items

Late 19th/early 20th Century Two signed: Galle; One signed indistinctly Each acid-etched cameo glass, comprising one powder jar cut from blue to yellow and clear frost with blueberry motif, one Galle “Pine Needle” lidded box cut from amber to light blue frost, and one Galle “Fuchsia” dish cut from purple to light yellow frost, 3 pieces Largest: 3.25” H x 4.5” Dia.; Smallest: 5” H x 3” Dia. $700-900 Provenance: The Alan Schneider Collection

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137

Three Gallé cameo glass vases

Late 19th/early 20th Century; Nancy, France Each signed: Galle Each acid-etched cameo glass, comprising one “Hazel Catkins” urn-form vase cut from amber to light pink and green frost, one tapered “Oleander” vase with a cylindrical neck cut from purple and blue to yellow frost, and one tapered “Fern” vase cut from red to yellow frost, 3 pieces Largest: 6” H x 3.5” Dia.; Smallest: 4” H x 1.875” Dia. $600-800 Provenance: The Alan Schneider Collection

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138

Three Gallé-style cameo glass items

First-quarter 20th Century Each spuriously signed for Galle Each acid-etched cameo glass, comprising one baluster-form vase with berry motif cut from red to yellow frost, one urn-form “Primrose” vase cut from orange to light yellow frost, and one oval “Primrose” covered bowl cut from orange to light yellow frost, 3 pieces Largest: 8” H x 2.75” Dia.; Smallest: 2.75” H x 8” W x 3.5” D $700-900 Provenance: The Alan Schneider Collection

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139

A Gallé cameo glass “Wild Rose” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass tapered “Wild Rose” vase with flared rim cut from red to yellow frost 12.5” H x 4.375” Dia. $600-800 Provenance: The Alan Schneider Collection

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140

A Gallé cameo glass vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass vase with bulbous base and tall cylindrical neck cut from green to pink frost with floral motif 13” H x 4.75” Dia. $500-700 Provenance: The Alan Schneider Collection

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141

A Gallé cameo glass “Dogwood” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass “Dogwood” vase with bulbous body and flared rim cut from red to yellow frost 8” H x 6” Dia. $500-700 Provenance: The Alan Schneider Collection

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142

A Gallé cameo glass “Pond Lily” vase

Late 19th/early 20th Century; Nancy, France Signed: Galle The acid-etched cameo glass trefoil-form “Pond Lily” vase with tapering body cut from purple and blue to clear and yellow frost 8.25” H X 5.25” Dia. $500-700 Provenance: The Alan Schneider Collection

144

A Daum cameo glass and enameled bowl

20th Century Signed: Daum Nancy / France [Croix de Lorraine] The acid-etched cameo glass quatrefoil-shaped bowl cut to orange and clear glass and with enameled floral motif 2.5” H x 6” Dia. $600-800 Provenance: The Alan Schneider Collection

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143

A Daum vitrified cameo glass and silver mounted vase

Late 19th/early 20th Century; Nancy, France Signed: Daum Nancy [Croix de Lorraine]; Further marked for 950 silver with obus export hallmark The vitrified and acid-etched cameo glass baluster-form vase cut from green and white to pink and blue with floral motif and fitted with silver beaded rim and foot decorated with high relief oak leaves and acorns 8.5” H x 4” W x 3.75” D $800-1,200 Provenance: The Alan Schneider Collection

145

A Daum cameo glass “Paysage du Lac” vase First-quarter 20th Century; Nancy, France Signed: Daum Nancy [Croix of Lorraine] The acid-etched cameo glass vase cut from brown to mottled pink and green frost with wooded lakeside motif 4.75” H x 2.5” Dia. $300-500 Provenance: The Alan Schneider Collection

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146

An Art Nouveau bronze dragon chandelier

First-quarter 20th Century Each shade signed: Quezal The patinated bronze four-light chandelier issuing four zoomorphic dragon arms, each terminating in an iridescent gold Quezal glass shade with green pulled feather motif, white spun overlay, and scalloped rim, fitted with original suspended chain link harness, canopy, and ball finials, electrified 50” H x 24” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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147

An Art Nouveau patinated bronze chandelier

First-quarter 20th Century Two shades numbered The Art Nouveau four-light patinated bronze chandelier with stylized canopy and squared column with four free-form shaped arms, each issuing a drop pendant suspended from a chain link harness and terminating in a foliate-style socket and an iridescent white art glass shade with green leaf and vine motif, iridescent gold onion skin interior, and ruffled rim, electrified 30” H x 16” Dia. $1,000-1,500 Provenance: The Alan Schneider Collection

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148

An Art Nouveau-style gilt-bronze and art glass chandelier

20th Century Spuriously signed for Daum Nancy The mottled pink and orange domical glass shade mounted in a gilt-bronze grapevine motif frame with four light sockets and issuing four scrolled arms terminating in matching floriform glass shades, fitted with four suspended chain link harnesses and canopy, electrified 30” H x 33” Dia. $1,000-2,000 Provenance: The Alan Schneider Collection

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149

An Art Nouveau gilt-bronze chandelier

First-quarter 20th Century The gilt-bronze chandelier with tri-form column issuing three arms terminating in pale yellow tapered gass shades and suspended from a chain link harness, electrified 48.5” H x 19” W x 19” D $800-1,200 Provenance: The Alan Schneider Collection

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150

An Art Nouveau Austrian brass table lamp

First-quarter 20th Century; Austria The brass table lamp with a shallow domed shade inset with four green jeweled cabochons angled atop a curving slender stem on a squared foot, electrified 17” H x 9.5” W x 11” D $400-600 Provenance: The Alan Schneider Collection

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151

An Art Nouveau Austrian chunk glass table lamp

First-quarter 20th Century; Austria The bronze table lamp with dome shade with green, red, and yellow glass jewels, hammered floral motif, and ruffled skirt on a cylindrical column with inset glass jewels raised on three coiled feet, electrified Overall: 30” H x 19” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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153

153

Circa 1918-1932; Epinay-sur-Seine, France Circa 1918-1932; Epinay-sur-Seine, France Each signed: Le Verre Francais; One further signed: Charder Each acid-etched cameo glass, comprising one footed “Campanules” vase cut from mottled red to red and yellow frost with a tapered body and flared rim and one bulbous “Foxglove” bowl cut from red and pink to pink and white frost, 2 pieces Larger: 9.375” H x 2.5” Dia.; Smaller: 3” H x 4” Dia.

Circa 1918-1932; Epinay-sur-Seine, F Signed: Le Verre Francais / France The acid-etched cameo glass “Fusch to mottled clear and blue frost with p foot 17.625” H x 7.5” Dia.

Two Charles Schneider Le Verre Français glass vases

$500-700 Provenance: The Alan Schneider Collection

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A Charles Schneider Le Verre Fr

$800-1,200

Provenance: The Alan Schneider Coll

ranÁais glass “Fuschia” vase

France

hia” vase cut from orange and blue pinched neck, flat rim, and flared

lection

154

A Charles Schneider art glass vase

Circa 1918-1932; Epinay-sur-Seine, France Signed: Schneider [amphora] The yellow and purple frosted glass vase with tapering body, flared rim, and stepped foot with engraved signature with traces of gilt 18” H x 4.625” Dia. $400-600 Provenance: The Alan Schneider Collection

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155

A Charles Schneider Le Verre Franáais wrought iron and glass vase

Circa 1918-1932; Epinay-sur-Seine, France Signed: Le Verre Francais [Croix de Lorraine] The Art Deco tapered vase with mottled blue and purple cased glass blown in a wrought iron cage with grapevine motif raised on a circular wrought iron foot with swirls 14” H x 7” Dia. $500-700 Provenance: The Alan Schneider Collection

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156

A French wrought iron mounted art glass vase

Second-quarter 20th Century Appears unsigned Likely Charles Schneider, the Art Deco spherical vase with mottled orange, green, and white glass blown in a wrought iron cage with triangular panels 9.5” H x 9” Dia. $500-700 Provenance: The Alan Schneider Collection

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157

A Murano murrina art glass vase

Third-quarter 20th Century Likely by Dino Martens, the square-form vase with multi-colored murrina, metallic foil inclusions, and red cased interior 8” H x 4.625” W x 4.5” D $600-800 Provenance: The Alan Schneider Collection

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158

A French art glass vase

Second-quarter 20th Century Signed indistinctly to side and bottom The urn-form art glass vase with a mottled pink body and a red and white mottled wave-form motif 11” H x 6.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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159

A French marble mantle clock

First-quarter 20th Century; France Dial marked: Made in France; Movement signed with maker’s mark [unidentified]; Further marked: MRE D’Horlogerie De Bethune / Made in France The yellow and black Brocatelle de Sienne marble mantle clock with white painted dial, Black Arabic numeral hour markers, minute track, and single train movement set in a brass bezel encircled by a gilt-spelter foliate garland and flanked by opposed gilt-spelter squirrels raised overall on four flattened ball feet 10.25” H x 18” W x 4.5” D $400-600 Provenance: The Alan Schneider Collection

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160

Armand Lemo

(1881-1935, French) Woman seated with greyhound Gilt and cold painted bronze, marble, and onyx Signed: Lemo 18.5” H x 24.25” W x 8.375” D $600-800 Provenance: The Alan Schneider Collection

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161

162

20th Century Bust of a sea nymph holding a shell Plaster and paint Signed: G. La Croix / Made in Austria / 276 25.5” H x 16.5” W x 13.5” D

Late 19th/early 20th Century Signed: Amphora / Riessner, Made in Austria / G 34 The art pottery vase with wid profile portrait of a woman in 10.5” H x 4.625” Dia.

G. La Croix

$500-700 Provenance: The Alan Schneider Collection

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An Amphora art pottery

$400-600

Provenance: The Alan Schnei

portrait vase Stellmacher & Kessel [RStK] Turn-Teplitz Bohemia /

de foot, flared rim, and tapered body depicting a n blue and green costume with gilt enamel details

163

A Loetz-style gilt-metal mounted art glass jar

Late 19th/early 20th Century The iridescent purple and green oil spot glass jar mounted with gilt-metal floral overlay, floral motif lid, and raised on three scrolled feet 5” H x 6” Dia. $400-600 Provenance: The Alan Schneider Collection

ider Collection

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164

165

Late 19th/early 20th Century Signed: Lelievre Possibly Eugene Lelievre, with a gilt-bronze free-form shaped tray and looped handle surmounted by a patinated bronze figural nude 3.375” H x 8.5” W x 5.5” D

(20th Century, American) Bronze nude relief sculpture, 1926 Patinated bronze on marble base Signed and dated: Milton Cohen / 1926; F 4.5” H x 12.625” W x 9.25” D; Overall: 5.2

An Art Nouveau gilt-bronze figural tray

Milton Cohen

$300-500

$500-700

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Collection

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Further marked: Amer. Art F’dry N.Y. 25” H x 13.375” W x 10” D

n

166

An Art Nouveau patinated metal clock

Late 19th/early 20th Century Movement marked: France / 1798 / 9 2 The clock with a white painted metal dial, black Arabic numeral hour markers, minute track, and single-train movement enclosed in a gadrooned and beaded bezel set in a free-form Art Nouveau patinated metal case with black cold painted low relief foliate motifs raised overall on a red marble base 17.25” H x 9.5” W x 6.5” D $400-600 Provenance: The Alan Schneider Collection

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167

A pair of Loetz-style art glass vases

20th Century Each iridescent gold and blue Loetz Phaenomenstyle glass vase with urn-form body, flared neck, and wide foot, 2 pieces Each: 7” H x 3.625” Dia. $400-600 Provenance: The Alan Schneider Collection

168

An Art Nouveau Loetz-style sterling silver overlay vase Late 19th/early 20th Century Marked: Sterling The iridescent red and yellow oil spot glass vase with wideshouldered body and sterling silver foliate motif overlay 6” H x 5.5” Dia. 17.475 gross oz. troy approximately $400-600 Provenance: The Alan Schneider Collection

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169

A Loetz-style art glass centerpiece vase

Late 19th/early 20th Century The iridescent green Loetz Crete Pampas-style centerpiece vase with squat lobed body and flared lip 5.5” H x 10.25” Dia. $500-700 Provenance: The Alan Schneider Collection

170

A Loetz Phaenomen glass vase

Late 19th/early 20th Century Signed: Loetz / Austria The iridescent gold Phaenomen glass vase with pulled feather motif, wide-shouldered body, flared lip, and tapered foot 8.25” H x 7.125” Dia. $500-700 Provenance: The Alan Schneider Collection

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171

172

First-quarter 20th Century The pendant chandelier with a spherical Loetz-style iridescent glass shade with blue oil spot finish and spun green overlay fitted with a single light socket and brass canopy, scrolled loop, and chain link harness, electrified Overall: 15” H x 8.75” Dia.

Circa 1921 Each signed: R. Lalique / France Designed 1921, model no. 2459, each cha glass globular shade with pressed dahlia m highlights fitted with three light sockets an central tassel, electrified, 2 pieces Each shade: 5.625” H x 12” Dia.

A Loetz-style art glass pendant chandelier

$400-600 Provenance: The Alan Schneider Collection

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A pair of R. Lalique frosted glass “Da

$800-1,200

Provenance: The Alan Schneider Collection

ahlias” chandeliers

andelier with a frosted motif and copper-colored nd a three-rope mount with

n

173

A Schneider Art Deco frosted glass chandelier

Second-quarter 20th Century Signed: Schneider / France / 1108 The eight-light chromed metal chandelier with geometric canopy, square columns, four backlit frosted and molded glass floral bouquet-form panels, and four geometric patterned arching arms issuing drop pendants with frosted and molded glass shades with cornucopia motif, electrified 36” H x 24” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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174

A Sabino-style Art Deco glass chandelier

20th Century Metal fixture bears inscription: Sabino / Paris / Made in France The four-light silvered-metal chandelier with a square column fitted with four frosted smoked glass segments with geometric patterning, electrified 32” H x 13” Dia. $800-1,200 Provenance: The Alan Schneider Collection

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175

176

Second-quarter 20th Century Shade signed: Sabino / 4330 / BIS / Paris / Depose The shallow domed, semi-transparent opalescent glass shade with a basketweave-style top over a foliate garland trim and band of modeled flowers atop a three-light silvered metal base with rosette motif, electrified Overall: 22.5” H x 17.75” Dia.

Second-quarter 20th Century Base marked: Rembrandt / R 50 09 The cream-colored glass reflecting s chromed metal base with a plain cyli joined spheres on a black circular wo Overall: 63.25” H x 16” Dia.

A Sabino Art Deco glass table lamp

$800-1,200

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An Art Deco chrome torchière

$800-1,200

Provenance: The Alan Schneider Co

shade on a single-light indrical stem atop two ooden foot, electrified

ollection

177

An Art Deco wrought iron torchière

Second-quarter 20th Century In the style of Edgar Brandt, the frosted glass shade with rose border on a three-light tapering wrought iron base with grapevine motif raised on three scrolled feet, electrified Overall: 69.25” H x 20” Dia. $600-800 Provenance: The Alan Schneider Collection

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178

A Tom Gardner Arts and Crafts-style oak table

Late 20th/early 21st Century; Pasadena, California Marked: Gardner Woodcraft / Pasadena In the style of Stickley No. 410, the oak table with a hexagonal top over an arched apron raised on six slatted legs joined by a stacked three-arm stretcher with faceted finial and keyed mortise and tenon construction 30” H x 47” Dia. $1,500-2,500

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179

A Tobey Furniture Co. Arts and Crafts library table

First-quarter 20th Century; Chicago, IL Metal tag: Tobey Handmade Furniture / Established 1856 / Chicago; Further marked: 68 / 1 / 2 / 5 / 1904 The mahogany library table with a rectangular top over a single flush mount drawer atop a lower shelf raised on four square legs joined by stretchers 29.5” H x 42” W x 28” D $400-600

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180

A hand-painted dressing screen

First-quarter 20th Century Center panel signed: L.F.R. The three-panel wooden dressing screen with sienna-colored painted finish and hand-painted Tonalist-style autumnal birch woodland scenes with swimming swans 72.5” H x 60.25” W x .75” D $1,000-1,500 Provenance: The Alan Schneider Collection

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181

182

First-quarter 20th Century Appear unmarked Comprising one cream-colored panel with a pale green and yellow stylized geometric pattern, eight painted burlap drapery panels with stenciled red and green foliate motif, and four matching painted burlap valence panels with red tassel fringe, 13 pieces Largest: 70.5” L x 16” W approximately

20th Century Wool on cotton foundation, with pink cream-colored banding and centering all against a light green ground 110” L x 73” W

A collection of Arts and Crafts drapery panels

$400-600

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An English Arts and Crafts-style

$600-800

area rug

k rose motif trimmed with g a dark green wave pattern,

183

A Persian-style area rug

20th Century Possibly India, wool on cotton foundation, with all-over polychrome floral and foliate patterning on an ivory ground with a dark blue border 101” L x 67” W $600-800

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184

A Newcomb College landscape vase

1924 Marked for Newcomb College; Signed: Joseph Fortune Meyer [JM] and Anna Frances Simpson [AFS]; Further marked: NV59 / 78 The urn-form vase thrown in buff clay by Joseph Fortune Meyer and designed by Anna Frances Simpson with a moonlit landscape of oak trees and hanging moss in matte glaze 6.25” H x 3.5” Dia. $2,000-3,000

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185

A Legras cameo glass landscape pitcher

Late 19th/early 20th Century Signed: Legras The acid-etched cameo glass pitcher cut from dark green to light green with wooded landscape scene and naturalistic vine handle 8.25” H x 6” W x 3.5” D $400-600 Provenance: The Alan Schneider Collection

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186

Six Moorcroft pottery cabinet vases

Circa 1928-2004; Stoke-on-Trent, England Each marked for Moorcroft; Each further marked Comprising one cobalt blue baluster-form vase with white and peach floral motif, one cobalt blue tall-necked vase with wide flared base and blue and purple pansy motif, one yellow bulbous vase with cylindrical neck and red hibiscus motif, one red bulbous vase with tall flared neck and berry motif, one blue urn-form vase with pomegrante motif, and one red globular vase with berry motif, 6 pieces Largest: 8” H x 3.625” Dia.; Smallest: 2.625” H x 3.125” Dia. $600-900 Provenance: The Alan Schneider Collection

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187

Three California Faience pottery items

Circa 1915-1959; Berkeley, California Each marked: California Faience Comprising a wide-shouldered high gloss lavender glazed vase, a matte black glazed low bowl, and an unglazed low bowl, 3 pieces Largest: 4.5” H x 5.75” Dia.; Smallest: 2” H x 5.625” Dia. $400-600

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188

A Teco footed jardinière garden pot

First-quarter 20th Century; Terra Cotta, IL Impressed: Teco Designed 1906 by William Day Gates, shape no. 157, the large art pottery jardiniere with matte green glaze raised on four flared feet 15.75” H x 22” Dia. $800-1,200 Literature: Sharon S. Darling, “Teco: Art Pottery of the Prairie School,” 1989, pp. 47 and 140, fig. 48.

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189

A Rookwood pottery vase

1905 Marked for Rookwood; Further marked: ED [Edward Diers] / 902 / D / V Designed by Edward Diers, the flared neck over a bulbous body in matte vellum glaze with slip painted wild rose motif 7” H x 5.5” Dia. $400-600 Provenance: The Alan Schneider Collection

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190

A Syracuse China Arts and Crafts-style “Tudor Rose” china service

Late 20th/early 21st Century Each marked: Tudor Rose / Reproduced Especially for Dalton’s Antiques by Syracuse China Each white china with light green stylized Tudor rose pattern and banding, based on a design from 1912-1919, comprising 5 large rim bowls (11.5), 6 dinner plates (11”), 10 dessert plates (7.25”), 10 cereal bowls (4.875”), 10 saucers (6.375”), 10 footed teacups (2.5”), 1 sugar bowl (2.5”), and 1 individual creamer (2.5”), 53 pieces $600-900 Notes: This pattern of china was featured in the Gustav Stickley showroom and epitomizes the Arts and Crafts aesthetic.

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191

192

(1865-1922, Austrian) Painted bronze cockatoo Bronze and paint on marble base Signed: C. Kauba 25.25” H x 9.5” Dia.; Overall: 26” H x 11” Dia.

First-quarter 20th Century Each bulbous shade of pale yellow blown g patterned patinated bronze cage, 2 pieces Each: 7” H x 5” Dia.

After Carl Kauba

$400-600 Provenance: The Alan Schneider Collection

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A pair of Spanish Revival-style bronz

$400-600

Provenance: The Alan Schneider Collection

ze caged glass lamp shades

glass in a Moroccan trellis s

n

193

A Monterey-style painted wood wall mirror

Second-quarter 20th Century; California The shaped wood wall mirror with hand-painted polychrome floral decorations 28.5” H x 26.5” W x 1.375” D $400-600 Provenance: From the Collection of the Dharam Damama’s

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194

A wrought iron and marble console table

Second-quarter 20th Century The light beige marble top with ogee-shaped front over a wrought iron framework base raised on two cabriole-form legs decorated with C-scrolls and foliate motifs 35.875” H x 60” W x 17.5” D $800-1,200

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195

A pair of wrought iron garden gates

First-quarter 20th Century Each wrought iron gate with C-scrolls and bronze floral medallions Each: 77.5” H x 29” W x 1.25” D $500-700 Provenance: From a Wallace Neff house by repute.

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197

A silk Americana “God Bless America” pillow

Second-quarter 20th Century Depicting an embroidered bald eagle and forty-eight star American flag with the phrase “God Bless America” on a blue silk ground finished with a red, white, and blue corded trim and tassels to one corner 18.5” H x 16” W $150-250 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

196

An Old Hickory rocking chair

First-quarter 20th Century The original finish rocking chair with straight back and flared barrelshaped arms with natural wood front and back posts raised on rockers joined by a box stretcher and finished with splint reed seat and back 40.5” H x 28” W x 35” D $500-700

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198

199

(1876-1954, Los Angeles, CA) “Portrait of Tyrone Power’s sister,” Anne Hardenbergh, 1945 Oil on canvas laid to panel Signed upper right: John Hubbard Rich, signed again and inscribed verso: “To my good friend, Ann Hardenbergh,” titled and dated on a gallery label affixed to the backing board 13” H x 11” W

(1888-19 Female n Oil on ca Signed lo 20” H x 2

John Hubbard Rich

$1,000-2,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, June 19, 2001, Lot 25A Michael Johnson Fine Arts, Fallbrook, CA

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Mischa

$1,000-1

Askenazy

961, Los Angeles, CA) nude resting anvas ower right: M. Askinazy 24” W

1,500

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200

Mischa Askenazy

(1888-1961, Los Angeles, CA) Nude Reading, 1918 Oil on canvas laid to strip-lined canvas Signed lower right: M. Askenazy, signed again and dated verso 20.25” H x 16.25” W $2,000-3,000

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201

Figurative still life of woman nursing 20th Century Continental School Oil on canvas laid to canvas Appears unsigned 26” H x 21” W $600-900 Provenance: From the Collection of the Dharam Damama’s

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202

Jessie Arms Botke

(1883-1971, Santa Paula, CA) Portrait of a woman in a head scarf Colored pastel on paper under Plexiglas Signed lower right: Jessie Arms Botke Sight: 17.25” H x 13.25” W $1,000-2,000

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203

Helena Adele Dunlap

(1876-1955, Los Angeles, CA) “Fruit Server” Oil on canvas Appears unsigned, titled on a gallery label affixed to the backing board 40” H x 36” W $2,000-3,000 Provenance: Michael Johnson Fine Arts, Fallbrook, CA w w w. j o h n m o r a n . c o m 2 1 7

204

An Art Deco silver plate tea and coffee service

Second-quarter 20th Century Each stamped to base with maker’s mark Comprising one coffee pot, one teapot, one sugar bowl, and one cream jug with wood handles, 4 pieces Larger: 5.75” H x 9” W x 4.5” D; Smaller: 3.25” H x 6.25” W x 3” D $400-600

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205

A Moser cut glass apÈritif set

Second-quarter 20th Century; Karlovy Vary, Czech Republic (Bohemia) Foil label: Bohemia Cristall / FH / XH The Art Deco cut glass liqueur set in smoked glass, comprising a decanter with faceted stopper and six glasses atop a fitted black glass tray with silver-tone handles and fittings raised on four ball feet, 8 pieces Overall: 9.5” H x 17.5” W x 6” D $400-600 Provenance: The Alan Schneider Collection

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206

207

Circa 1988-1991 Each signed: Baccarat / France Each with ribbed stem and cut horizontal linear band to the chalice, comprising four tall water goblets (8.5”), four champagne flutes (8”), and four highball glasses (5.5”), 12 pieces

Second-quarter 20th Century Each cobalt blue cut to clear glass, compr faceted stoppers and cut star base, two flu and ten cordial glasses with cut star base, Largest: 6” H x 5.25” W x 4.125” D; Small

A set of Baccarat “Athena” cut crystal stemware

$600-900

An Art Deco Bohemian cut glass apé

$400-600

Provenance: The Alan Schneider Collectio

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éritif set

rising two bulbous handled decanters with uted flacon decanters with faceted stoppers, 14 pieces lest: 2” H x 2.375” Dia.

on

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208

An Art Deco art glass centerpiece

Second-quarter 20th Century Appears unsigned Likely Sabino, the blue-hued semi-transparent opalescent glass dish with cut floral motif raised on a silvered metal foot and fitted with two scrolled silvered metal handles with wooden ball details 6” H x 15” W x 11.875” D $400-600

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209

A René Lalique “Plumes” vase

Circa 1920 Signed: R. Lalique Designed 1920, model no. 944, the opalescent glass vase with a short neck over a globular body decorated with a swirled feather motif 8.5” H x 8.5” Dia. $500-700 Provenance: The Alan Schneider Collection

210

A René Lalique “Camaret” vase

Circa 1928 Signed: R. Lalique / France / No. 1010 Designed 1928, the frosted glass camaret vase with four rows of alternating stylized fish on a spherical body 5.5” H x 5.125” Dia. $500-700 Provenance: The Alan Schneider Collection

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211

Five René Lalique glass table items

Circa 1921-1932 Each signed: R. Lalique; Three further marked: France Comprising one “Coquilles” platter, model no. 3009, with opalescent overlapping shell design to reverse, one “Coquilles” bowl, model no. 3200, with opalescent overlapping shell design to reverse, one “Dauphins” bowl, model no. 10-384, in opalescent glass depicting fish swimming among stylized waves, one “Poissons” bowl, model no. 3212, in opalescent glass with a spiral of sardines radiating around a stylized field of bubbles at the center, and one “Gui” bowl, model no. 3223, with brown mistletoe motif, 5 pieces Largest: 1.5” H x 11.75” Dia. $700-900 Provenance: The Alan Schneider Collection

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212

Guy Carleton Wiggins NA

(1883-1962, New York, NY) “French Riviera,” 1925 Oil on canvas Signed lower right: Guy Wiggins, signed again, dated and titled verso 12.25” H x 16.25” W $8,000-10,000

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213

Floyd Hildebrand

(1896-1984, San Francisco, CA) California Street, San Francisco, 1958 Oil on board Signed and dated lower right: Floyd R. Hildebrand / ‘58 24” H x 29” W $1,500-2,000 Notes: Presented in a Mayen Olson frame.

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214

Joseph Areno

(1950-2006, Canadian/American) “Broad Street - Globe, Arizona” Oil on board Signed lower right: Joseph R. Areno, signed again and titled verso, and with the artist’s thumbprint wax seal 14” H x 11” W $1,000-1,500

215

John Charles Haley (1905-1991, Berkeley, CA)

two works “Point Richmond Studios on SF Bay,” 1938 Watercolor on paper 14.75” H x 20” W Signed and dated lower left: John Haley / ‘38, titled, alt inscribed verso: ‘32 / Folio 7 #32

“Old Garage with new Studio,” 1933 Watercolor on paper 11” H x 14” W Signed lower left: John Haley, titled, dated and inscribe $600-800 2 3 0 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

ternately dated and

ed verso: Folio 7 #35

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216

Frank J. Gavencky

(1888-1966, Ramona, CA) Winter in Chicago Oil on board Signed lower right: Frank J. Gavencky 38” H x 46” W $2,000-3,000

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217

Frank J. Gavencky

(1888-1966, Ramona, CA) “Salt Creek” Oil on board Signed lower right: Frank J. Gavencky, titled on an exhibition label affixed to the frame verso 30.5” H x 42” W $2,000-3,000 Provenance: Sale: Leslie Hindman Auctioneers, Chicago, IL, October 15, 1989, Lot 636 Exhibitions: Chicago, The Art Institute of Chicago, “American Paintings and Sculpture,” Forty-Ninth Annual Exhibition, October 20-December 4, 1938.

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220

David Na

(20th/21st Large dini Cherry ve Appears u 30.5” H x

$2,000-3,0

Notes: Da interior de Sante Fe,

218

A Danish modern teak reclining armchair and ottoman

Third-quarter 20th Century; Denmark Metal tag: Made and Finished in Denmark / Imported by Selig The teak reclining armchair with tapered arms raised on four straight legs joined by a box stretcher and fitted with multi-colored fabric upholstery cushions, with matching ottoman, 2 pieces Chair: 37” H x 28.5” W x 29” D; Ottoman: 15” H x 24.25” W x 17.5” D $600-900

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aylor

t Century, American) ing room table eneer unsigned 94.5” W x 47” W D

000

avid Naylor is an American esigner headquartered in New Mexico.

219

Denis O’Connor

(1933-2007, American) Mosaic-top teak cocktail table, 1982 Teak wood and tile Signed to underside: Denis O’Connor [with artist’s cipher] 16.25” H x 48.125” W x 34.25” D $1,000-1,500 Provenance: By descent in the family to the present owner, Private Collection, Southern California Notes: Denis O’Connor worked with Californian painter, sculptor, and mosaicist Millard Sheets (1907-1989) on his building-mounted mosaics and is known for his mosaic designs on Home Savings of America banks across Southern California.

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221

A Robert Maxwell modern stoneware pottery lamp

Circa 1960s; Venice, California Signed: Robert Maxwell The stoneware pottery lamp base with a teardrop-shaped body in blue, green, and red-hued glaze accompanied with original cylindrical white linen shade, electrified Overall: 42” H x 15.25” Dia.; Shade: 19.75” H x 15.25” Dia. $300-500

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222

A Danish modern teak and metal adjustable dining table Third-quarter 20th Century Possibly made by Dansk, the circular teak wood top over a silvertoned metal column terminating in a star foot 28” H x 41” Dia. $600-900

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223

224

Second-quarter 20th Century Underside inscribed: 1404 The round top with bookmatch marquetry veneer atop a multi-level support raised on four shaped feet 26” H x 24.875” Dia.

Second-quarter 20th Century With Biedermeier styling, the faux burlwood veneered artist’s table with a cantilevered rectangular top over a flat column raised on two curving scrolled feet 29” H x 24” W x 31” D

An Art Deco occasional table

An Art Deco flip-top artist’s table

$400-600

$800-1,200

Provenance: From the Collection of the Dharam Damama’s

Provenance: The Alan Schneider Collection

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225

A Continental burlwood casket

Second-half 20th Century The burlwood casket with domed lid centering a gilt-metal crown medallion, rope-style carved wood trim, and GrecoRoman-style hammered gilt-metal figural lockplate raised on four white bun feet 12.5” H x 16” W x 10.5” D $500-700 Provenance: The Alan Schneider Collection

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226

227

Second-quarter 20th Century The white painted metal cabinet with two doors, four rectangular glass panels with rounded corners and black trim fitted with three glass shelves raised overall on four square feet 71” H x 39.25” W x 18.5” D

Second-quarter 20th Century The silvered metal mounted glass vitrine with mirro interior fitted with two shelves and raised overall on toupie feet 71.5” H x 36.5” W x 14.375” D

A white metal medical cabinet

A metal mounted glass vitrine

$600-800

$800-1,200

Provenance: The Alan Schneider Collection

Provenance: The Alan Schneider Collection

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ored n four

228

An Art Deco iron and wire mesh garden bench

Second-quarter 20th Century The garden bench with wire mesh back and seat enclosed in an iron framework with rounded arms raised on four circular feet 32.75” H x 44.25” W x 20” D $500-700

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229

Jean Cocteau

(1889-1933, French) “Matarasso,” 1957 Color lithograph on paper under glass, Mourlot, Paris, prntr.

Signed and dated in the plate lower right: Jean Cocteau, stamped Mourlot IMP. lower left Sight: 23.75” H x 18.25” W $500-700

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230

Jean Cocteau (1889-1933, French)

Three works “Danseurs” Color lithograph on Arches paper under Plexiglas, Mourlot, Paris, prntr.

Edition 38/150, initialed in pencil and wetstamped for Jean Cocteau lower left, numbered in pencil lower right Sight: 19.25” H x 25” W Figure study Lithograph on Arches paper under Plexiglas Edition 38/150, initialed in colored pencil and wetstamped for Jean Cocteau lower left, numbered in colored pencil lower right, signed and dated in the plate Sight: 19.25” H x 25” W “Tete,” 1957 Color lithograph on Arches paper under Plexiglas Edition 38/150, initialed in pencil and wetstamped for Jean Cocteau lower left, numbered in pencil lower right, titled on a label affixed to the backing paper Sight: 25” H x 19.25” W $500-700

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231

Jean Cocteau (1889-1963, French)

Three works “Chapelle St. Piere” Color lithograph on Arches paper under Plexiglas Edition 38/150, initialed in pencil and wetstamped for Jean Cocteau lower left, numbered in pencil lower right, titled on a label affixed to the backing paper Sight: 25” H x 19.25” W “Menton Festival de Musique,” 1956 Lithograph on Arches paper under Plexiglas, Mourlot, pub.

Edition 94/150, initialed in pencil and wetstamped for Jean Cocteau lower left, numbered in pencil lower left and lower center, signed and dated in the plate Sight: 25” H x 19.25” W Color lithograph on Arches paper under Plexiglas Edition 38/150, initialed in pencil and wetstamped for Jean Cocteau lower left, numbered in pencil lower right, initialed and dated in the plate Sight: 19.25” H x 25” W $500-700

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232

A set of William Spratling silver jewelry

1940-1946, First Design Period; Taxco, Mexico Necklace stamped for William Spratling; Further stamped: Made in Mexico; Earrings attributed to William Spratling A flower link necklace with matching screw back earrings, 3 pieces Necklace: 18.50” L x 0.75” H; Earrings: 0.75” 83.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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233

A William Spratling silver necklace

1940-1946, First Design Period; Taxco, Mexico Stamped for William Spratling Comprising a heavy curb link necklace 18” L x 0.75” H 193.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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234

A group of William Spratling silver bracelets

1933-1939, 1940-1946, and 1964-1967, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Others variously stamped: Taxco / 980 / Made in Mexico / Silver / 925 / Taxco Mexico / Eagle 30 Composed of three link bracelets of various design, 3 pieces Largest bracelet: 8” L x 0.75” W 140.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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236

A near-pair of William Spratling silver cuff bracelets

1933-1939, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Taxco / 980 Comprising a near-pair of matching cuff bracelets with six plaques of scrolled engraving, 2 pieces 6.25-6.5” C x .325” H, wrist opening: 1-1.125” 82.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

235

Two William Spratling “Vindobonensis” sterling silver bracelets

1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Sterling Each designed as alternating links of stylized “X” design and silver cabochons, 2 pieces Larger: 7.50” L x 1” H; Smaller: 7” L x 0.85” H 254 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” 1994. p. 43, fig. III-30.

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237

A group of William Spratling silver jewelry

1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Others variously stamped: Taxco / 980 / Made in Mexico / Silver / Mexico Including a bead necklace, screw back dome ear clips, screw back shell ear clips, brooch, and two rings, 7 pieces Necklace: 16” L; Brooch: 1.75” W; Rings sized 5 & 5.50 82.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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238

A group of William Spratling silver jewelry

1933-1939, 1940-1944, and 1949-1956, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Others variously stamped: Made in Mexico / Silver / Taxco Mexico / [indistinct eagle] Comprising two bead necklaces (larger: 17” L x .5” Dia.), a pair of bombe ear clips (.625” Dia.), and a pin (.875” H x 2.25” W), 5 pieces 83.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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239

An assembled set of William Spratling silver and amethyst brooches 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Each further stamped: Made in Mexico; One stamped: Sterling Including an amethyst-set bow and feather brooch, 2 pieces Largets brooch: 4.25” W x 1.30” H 59.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

241

A group of William Spratling silver brooches

1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling: Others variously stamped for: Made in Mexico / Silver / Taxco / 980 / Sterling A group of three whimsical brooches, 3 pieces Moth brooch: 2.75” W x 1.50” H 42.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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240

A group of William Spratling silver and obsidian brooches

1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Each variously stamped: Made in Mexico / Silver / Sterling A group of three “Cholulteca Conch” brooches of varying sizes and an obsidian abstract swirl brooch, 4 pieces Largest brooch: 2” L x 2.85” H 67.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: a Field Guide: Recognizing a William Spratling Treasure,” 2003, p. 40, fig. 2-56.

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242

A William Spratling silver and copper brooch

1940-1946, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Silver A stylized owl brooch with two copper eyes 2” H x 1.75” W 26.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” 1994, p. 44, fig. III-32.

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243

A group William Spratling silver earrings

1940-1946 and 1964-1967, First and Third Design Period; Taxco, Mexico All Stamped for William Spratling; Two stamped: Silver; One stamped: Taxco Mexico / 925 Including four pair of silver screw-back earrings, 8 pieces Largest earrings: 1.25” H x 1” W 51.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

245

A group of William Spratling silver and amethyst jewelry

1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Each variously stamped: Made in Mexico / Silver / Sterling / 980 Including an amethyst pill box, clip-back amethyst flower earrings, carved amethyst brooch, a cabchon amethyst ring, and silver ring, 6 pieces Ring sizes: 11.75, 7.25; Brooch: 2” H x 0.75” W; Box: 1.25 W 90.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill and Carole A. Berk, “Mexican Silver: 20th Century Jewelry & Metalwork,” 1994. p. 45, fig. III-33.

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244

A group of William Spratling silver rings

1933-1939, 1940-1946, and 1949-1952, First and Third Design Periods; Taxco, Mexico All stamped for William Spratling; One stamped: Taxco / 980; One stamped: 980; One stamped: 925 Including six silver rings; 6 pieces Ring sizes: 12.50, 10.50, 11, 10, 7.50, 7.50 71.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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247

A group of William Spratling silver buttons

1933-1939, 1940-1944, and 1956-1962, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Others variously stamped: Made in Mexico / Silver / Sterling / Taxco / 980 / Eagle 63 Comprising three sets of matching silver buttons and miscellaneous buttons, 28 pieces Largest: 1.5” Dia.; Smallest: .5” Dia. 129.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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246

A group of William Spratling silver jewelry

1940-1944 and 1956-1962, First and Third Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Silver / [indistinct marks]; One pair of cufflinks and seven buttons not stamped Comprising two pairs of cufflinks and thirty-one round matching buttons, 35 pieces Each: .625” Dia. 145.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

248

A group of William Spratling silver jewelry

1940-1946, 1949-1956, and 1964-1967, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Others variously stamped: Made in Mexico / Sterling / 925 / Eagle 30 Including a bangle topped with copper elements, a pair of fist cufflinks, and two rings, 5 pieces Bangle: 7.84” L x 0.45” H; Cufflinks: 1.25” L x 0.75”W; Rings sized 9 & 10 140.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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249

A group of William Spratling silver ID bracelets

1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver A group of ID bracelets of varying weights and designs, three are personalized, 6 pieces Longest: 8” L 219.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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250

A group of William Spratling silver and copper jewelry

1940-1946 and 1949-1956, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver Including a cuff bracelet, caviar link bracelet, and pair of screw-back moon ear clips, 4 pieces Cuff bracelet: 5.25”L x 1” H x 1.25” wrist opening; Bracelet: 6.75” L; Earrings: 1.25” W x 1.25” H 145.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

251

A group of William Spratling silver earrings

1940-1946 and 1956-1962, First and Third Design Period; Taxco, Mexico Stamped for William Spratling; Others variously stamped for: Made in Mexico / Silver / 925 / Taxco Mexico / [indistinct eagle] Including five pair of screw back silver earrings, 10 pieces Largest: 1.35 L x 0.75” W 38.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh w w w. j o h n m o r a n . c o m 2 6 3

252

A Los Castillo silver necklace

1939 - 1948: Taxco, Mexico Stamped: 980/ Los Castillo / Taxco Silver overlay necklace with S-form chain 15.5” L x 2” H 60 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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253

A Los Castillo amethyst lotus necklace

Third-quarter 20th Century; Taxco, Mexico Stamped: Los Castillo / Taxco / Eagle 15 / Sterling / Made en Mexico / 298 A necklace with eleven cabochon amethysts set into a stylized lotus flower silver backing 16” L x 2.75” H 139.6 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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254

A two piece Los Castillo jewelry set

Third-quarter 20th Century; Taxco, Mexico Stamped: Los Castillo / Taxco / Sterling / Made in Mexico / #606 Comprising a scrolled fluted necklace and a cuff bracelet, 2 pieces Necklace: 16” L x 1” H; Bracelet: 6.50” L x 1.50” H, wrist opening 1.25” 165.8 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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255

A set of Los Castillo Jewelry

1940; Taxco, Mexico Each stamped: Los Castillo / Taxco / Eagle #15 / 380 Including a necklace and bracelet, designed with stylized curls with ball joints, 2 pieces Necklace: 16.50” L x 0.75” W; Bracelet: 8” L x 0.75” W 239 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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256

Two Los Castillo silver jewelry pieces

1940, Taxco, Mexico Stamped: Los Castillo Sterling / Made in Mexico / Sterling / 262 Comprising a necklace designed with stylized curls with ball joints, with hook and eye closure, further marked: 262, and a bracelet designed with four quatrefoil panels set with cabochon green turquoise, further stamped: 122, 2 pieces Necklace: 18” L x 1.50” H; Bracelet: (6.50” L x 1.50” H) 222 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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257

A group of Los Castillo silver and amethyst jewelry

1939-1945 and 1945-1960; Taxco, Mexico Each stamped: Los Castillo / Eagle 15; Each variously stamped: Made in Mexico / Taxco / Sterling / 468 / 372 / Silver / Mexico; One pair attributed to Los Castillo Comprising a necklace (17” L x .5” H) set with amethyst cabochons with matching bracelet (6.5” L x 2” H) and a pair of screw-back earrings (1.125” H x .5” W), 4 pieces 332.0 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; From the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, p. 98, plate 92.

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258

A group of Los Castillo figurative brooches

1939-1945 and 1948-1965; Taxco, Mexico Each variously stamped Los Castillo / Made in Mexico / 349 / 617 / 666 / 151 / 189 / 672 Comprising an angel fish with a turquoise eye, a fish with a green glass eye, a caterpillar, a leaf, a rooster with a glass bead, a swordfish, a sailfish, and a round fish, 8 pieces Largest: 2” W x 3.10 H. 171 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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259

A two piece set of Los Castillo jewelry

1945 -1950: Taxco Mexcio Stamped: Los Castillo / Taxco / Sterling / Made in Mexico / 354 Including a hinged panel bangle and a brooch depicting a winged pegasus, 2 pieces Bracelet: 6.50” L x 2” H; Brooch: 2.75” L x 1.75” H 132.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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260

A group of Los Castillo mixed-metal trays and dishes

Third-quarter 20th Century; Taxco, Mexico Most marked for Los Castillo; Further numbered Each hand-wrought mixed-metal in a variety of circular, oblong, and rectangular sizes with various motifs, including sail boats, birds, corn, antelope, and organic and geometric designs and two with inlaid stone decoration, 21 pieces Largest: .625” H x 20.5” W x 13” D; Smallest: .375” H x 4.125” Dia. $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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261

A Margot de Taxco silver and enamel “Spiraling Circle” pendant/brooch

Third-quarter 20th Century; Taxco, Mexico Stamped: Margot de Taxco / Hecho en Mexico / Eagle 16; Each further numbered: 5702 Designed by Margot Van Voorhies, comprising a yellow/brown circle pendant/brooch suspended from a detachable chain, 2 pieces Pendant/brooch: 2.5” Dia.; Neck chain: 22.5” L 87.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

262

A Margot de Taxco silver and enamel pendant/brooch

Third-quarter 20th Century; Taxco, Mexico Marked: 5907 Comprising a multi-color pinwheel pendant/brooch suspended from a detachable chain, No. 5907, 2 pieces 20” L x 2.50” H 75.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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263

A group of Margot de Taxco silver and enamel jewelry

Third-quarter 20th Century; Taxco, Mexico Stamped: Margot de Taxco / 925 / Hecho in Mexico / Eagle 16 ; Each further numbered Comprising a blue enamel bib necklace and matching earclips, No. 5556 / Eagle 16, a link necklace, No. 5835 / Eagle 16, two brooches, No. 5604/ Eagle 16 and No. 5881, a link bracelet, No. 5701, and two pairs of earclips, No. 5525 and No. 5896, 11 pieces Bib Necklace: 14.50” L x 2” H; Largest Earrings: 1.50” H x 1” W; Necklace: 16.50” L x 0.35” H; Largest Brooch: 2.50” L x 0.75” W; Bracelet: 7.25” L x 0.35” W 210 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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264

A Matl silver necklace

1935-1948; Mexico City, Mexico Signed: Matl Designed by Matilde Poulat, the silver necklace in a birds an 19” L x 1.875” H 184.5 grams $3,000-5,000

Provenance: The Collection of Cindy Tietze-Hodosh and Stu

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nd roses motif

uart Hodosh

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266

Three Fred Davis silver and amethyst

Second-quarter 20th Century; Mexico City, Stamped: FD [Fred Davis]; Further stamped Comprising three flower brooches, one wit round amethyst cabochons, 3 pieces Largest: 2.75” H x 3.325” W 114.0 grams $500-700

Provenance: The Collection of Cindy Tietze

265

A Matl silver gem-set bracelet

1934-1948; Taxco, Mexico Stamped: Matl Designed by Matilde Poulat, set with amethyst, turquoise, and coral 6.625” C x 2.5” H 97.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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t brooches

, Mexico d: Silver / Made in Mexico th carved amethysts and two with

e-Hodosh and Stuart Hodosh

267

A group of Fred Davis silver and amethyst brooches Pre-1948; Mexico City, Mexico Stamped: FD [Fred Davis]: Further stamped: Silver / Mexico A group of flower brooches of various motifs, 3 pieces Largest: 2.25” x 3.1/2” 96.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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268

A Fred Davis vermeil and orange glass floral brooch

Pre-1948; Mexico City, Mexico Stamped: FD [Fred Davis]; Further stamped: Silver / Mexico A silver vermeil stylized flower brooch set with eight round cabochon fire opals 3” L x 2.25” H 25.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

269

A group of Fred Davis silver and amethyst jewelry

Pre-1948; Mexico City, Mexico Stamped: FD [Fred Davis]; Further stamped: Silver / Mexico; Earrings attributed to Davis, hallmarks covered by screw backings Comprising two silver and amethyst bracelets with matching screw back earrings and necklace, 5 pieces Necklace: 14.75” C; Bracelet: 7.50” L x 1.75” H 168.0 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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270

Two Fred Davis silver and amethyst bracelets

Pre-1948; Mexico City, Mexico Stamped: FD [Fred Davis]; Further stamped: Silver / Mexico The wide link bracelets comprising of rectangular clusters of silver half spheres each centering a round cabochon amethyst, 2 pieces 6.5’’ L x 2.875” W; 7.5’’ L x 1’’ W 169.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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271

A group of Carmen Beckmann jewelry

Third-quarter 20th Century; San Miguel de Allende, Mexico Stamped: Beckman / Sterling / Mexico Comprising a double circular link bracelet set with green turquoise, a large free-form pendant set with turquoise, an anemone brooch set with turquoise, a square brooch set with carved jade, and a leaf brooch topped with a carved malachite frog, 5 pieces Bracelet: 8” L x 1” H; Pendant 3.25” W x 3.25” H; Largest brooch: 2.50” W x 2” H 161.8 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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272

Anthony Villis

(20th Century, American) Untitled, 1977 Clay wall sculpture affixed to lavender Lucite panel Signed, dated, and numbered: AV / 1977 / 174 24” H x 23” W x 1.5” D $400-600

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273

A Horacio de la Parra two piece jewelry set

Necklace: Appears unsigned; Stamped: Mexico / Silver Earrings: Stamped: “Parra” for Horacio de la Parra; Further stamped: Hecho en Mexico / 925 Comprising a long foliated panel link necklace set with cabochon amethysts and screw-backed earrings, 3 pieces Necklace: 30” L x 0.75” H; Earrings: 0.75” H x 0.75” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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274

Three Hector Aguilar bracelets

1940-1945; Taxco, Mexico Each stamped for Hector Aquilar; One further stamped: Taxco / 940 Including a bracelet of triple ball and concave link design, a cuff bracelet of swirl and sphere design, and a cuff with swirl ends, 3 pieces Link bracelet: 1.25” H x 7.75” C approximately 178 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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275

Two Hector Aguilar bolos

1955-1962; Taxco, Mexico Each stamped: Taller Borda / Taxco / Mexico / .940 / Eagle 9 Cpmprising one stone set and one square beveled bolo, each attached to braided leather, 2 pieces Bolo with stone: 1.75” H x 1.18” W; Silver bolo: 1.25” H x 1” W 72 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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276

A suite of Antonio Pineda silver and obsidian jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Each further stamped: Hecho en Mexico / 970 / Silver Comprising a diamond-shaped collar necklace with faceted diamond-shaped obsidian (14” L x 2.125” H) with matching bracelet (6.5” L x a pair of screw-back earrings (2” H), and a ring (5.5), 5 pieces 239.0 grams $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These pieces illustrated in: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; From the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, p. 123, plate 144A-C. and p. 50, plate 38.

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277

An Antonio Pineda amethyst brooch

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; eagle 17; Further stamped: Hecho en Mexico / PR527 Designed as a stylized ribbon brooch suspending trumpet-form dangles tipped with amethyst drops 4.50” L x 2.50” W 59.9 grams $500-700

x 1” H),

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278

A group of Antonio Pineda silver belt buckles

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Variously stamped: Eagle 17 / Eagle 3; Further stamped: Hecho en Mexico / Silver / 925 / PZ126 / 970 / Sterling Taxco ILD A group of five belt buckles including one with black enamel, 5 pieces Largest: 2.50” W x 1.35” H 231.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

279

A group

1953-19 Crown m Compris Three ba 106.5 gr

$400-60

Provena

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280

An Antonio Pineda silver and onyx quatrefoil necklace 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / Hecho en Mexico / Silver / 970 The quatrefoil pendant of onyx and silver on black velvet cord with silver tips Pendant: 2.75” H x 2.50” W 51.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

p of Antonio Pineda silver bangle bracelets

979; Taxco, Mexico mark for Antonio Pineda; Further stamped: Eagle 17; Each variously stamped: Hecho en Mexico / 970 / Sterling / Mexico / Silver / sing three flat bangles and one concave bangle bracelet, 4 pieces angles 7.85” L x 0.10” H; One bangle 8” L x 0.50” H rams

00

ance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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282

An Antonio Pineda

1953-1979; Taxco, Me Crown mark for Anton The geometric-link nec 14.5” L x .5” H 55.5 grams $500-700

Provenance: The Collec

281

An assembled set of Antonio Pineda silver and onyx jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / [indistict eagle]; Each variously stamped: Sterling / Mexico / Silver / YY439 / Hecho en Mexico / Made in Mexico / 518 A necklace, bracelet, and post back earrings comprised of silver wave segments alternating with round onyx, 4 pieces Necklace: 15” L x 0.75” H; Bracelet: 6.75” L x 1.25” H; Earrings: 1.10” L x 0.75” W 220.0 grams $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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silver and onyx necklace

exico nio Pineda; Further stamped: Eagle 17 / 970 cklace set with carved onyx half-cylinders

ction of Cindy Tietze-Hodosh and Stuart Hodosh

283

A group of Antonio Pineda silver bracelets

1941-1950 and 1953-1979; Taxco, Mexico Stamped AP for Antonio Pineda; Further stamped: 980 / Taxco; Other matching bracelets stamped: Crown mark for Antonio Pineda; Indistinct Eagle marks; Taxco Mexico / VJ / Silver Comprising a near-pair of circle and ball link bracelets (7” L x .5-.625” H) and a stylized X-link bracelet (7.25” L x 1” H), 3 pieces 185.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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284

An Antonio Pineda silver crown belt buckle

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / Hecho en Mexico / Silver / 970 / PZ144 A rectangular belt buckle of a geometric motif centering a crown design on a black leather belt Buckle: 3.95” L x 2.20” W; Leather: 31” L 151.5 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2 9 4 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

285

Two Antonio Pineda silver and amethyst necklaces

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / Silver / Made in Mexico / YY482 / 970 Comprising a necklace with faceted and cabochon amethyst in a scrolled setting (18” L x 1.75” H) and an abstract necklace with a single cultured pearl (16.75” L x 2.25” H x 1” W), 2 pieces 135.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 2 9 5

286

A group of Antonio Pineda silver Western-motif accessories

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 3 / Eagle 17; Each variously stamped: Mota Tasco / 925 / 970 / Hecho en Mexico Comprising a horseshoe bolo tie (1.5” H x 1.25” W), a bull skull bolo tie (1.75” H x 1.25” W), a horseshoe buckle (1.5” H x 1.5” W), a pair of bull’s head cufflinks (.75” H x .875” W), two horseshoe accessories bolo pendant and clip (each: 1.5” H x 1.25” W), and a horse head money clip (1” H x 2” W), 8 pieces 162.5 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2 9 6 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

287

A set of Antonio Pineda silver jewelry

1962-1963 and 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17, Eagle 3, and Eagle 18; Each variously stamped: Hecho en Mexico / 970 / Los Castillo Soc Coop Scl Sec 2 / ZZ703 / JVL Taxco / Sterling A necklace with matching bracelet and a pair of screw-back earclips with a stylized wing motif, 4 pieces Necklace: 16.25” L x 0.35” H; Bracelet: 7.25” L x 0.45” W x 0.45” H; Earrings: 1” L 240.5 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 2 9 7

288

Five Antonio Pineda silver bangle bracelets

1948-1953 and 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Stamped: Silver by Tono / Eagle 17; Each variously stamped: Hecho en Mexico / Silver / 970 / Sterling / Taxco 925 Sterling ILD / Mexico Comprising five bangle bracelets of various designs, 5 pieces Largest: 8.75” C x .5” H; Smallest: 8” C x .25” H 151.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

2 9 8 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

289

An assembled set of Antonio Pineda silver and amethyst jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / Hecho en Mexico / Silver / 970 / PR527 Comprising a bow brooch suspending trumpet style silver drops tipped with amethyst (4.5” H x 2.25” W) and a pair of screw-back earrings (2” H x 1” W) designed with a ribbon motif with amethyst drops, 3 pieces 71.5 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 2 9 9

290

A group of Antonio Pineda silver jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / [indistinct eagle]; Each variously stamped: Silver / Hecho en Mexico / 970 / YY591 Comprising a collar necklace design with pointed rays (15.5” L x 1.325” H) and with matching screw-back ear clips (1.25” H x .625” W), and a geometric link necklace (13.5” L x .75” H), 4 pieces Necklaces: 15” L x 1.50” H & 14” L x 0.35” H; Earrings: 1.20” H x 0.50” W 290.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 0 0 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

291

A set of Antonio Pineda silver “Birdcage” jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Each further stamped: Eagle 17 / 970 / Sterling / Silver / Mexico / ZZ679 / Hecho en Mexico Each designed in a scalloped, stylized birdcage motif, comprising a necklace (15.5” L x 1.5” H) and bracelet (6.5” L x 1.5” H), 2 pieces 270.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This set illustrated: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; From the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, p. 126, plate 147A-B.

w w w. j o h n m o r a n . c o m 3 0 1

292

293

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: [indistict eagle mark] / Eagle 58; Each variously stamped: Hecho en Mexico / 970 / JVL Taxco Comprising a stylized maltese cross with five oval blue glass stones suspended by a cylindrical bar detachable neck chain, 2 pieces 21.5” L x 2.5” H x 2” W 46.0 grams

1953-197 Crown m Compris 229.0 gr

An Antonio Pineda silver and blue glass pendant necklace

$500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 0 2 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

Two An

$700-900

Provenan

ntonio Pineda silver bracelets

79; Taxco, Mexico mark for Antonio Pineda; Further stamped: Eagle 17; Each variously stamped: 970 / Hecho en Mexico / Silver / ZZ616 sing a stylized Y-shaped link bracelet (6.25” L x .875” H) and a scale-link bracelet (6.5” L x .75” H), 2 pieces rams

0

nce: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 0 3

294

29

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 / Hecho en Mexico / Silver / 970 Teardrop shaped obsidian link necklace wrapped in stylized silver snakes 15.50” long 112.0 grams

195 Cro sta Co Lar 238

An Antonio Pineda silver and obsidian necklace

$800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 0 4 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

Tw

$1,

Pro

95

wo Antonio Pineda silver bracelets

53-1979; Taxco, Mexico own mark for Antonio Pineda; One stamped: Eagle 17; One stamped: Eagle 207; Each variously amped: Hecho en Mexico / 970 / ZZ616 / Sterling / JVL Taxco omprising a stylized leaf-motif bracelet and an interlocking link bracelet, 2 pieces rgest bracelet: 6.75” L x 0.75”H 8.0 grams

,200-1,800

ovenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 0 5

3 0 6 C al i fo r ni a L iv i n g l Tu e s d ay, A p ril 6 , 2 0 2 1

Condition Reports

w w w. j o h n m o r a n . c o m 3 0 7

1 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Original shade with reproduction base and heat cap.

Wiring should be checked by a qualified electrician prior to use.

7 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Each shade with chips to the interior of the fitter rim.

Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

2 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Original shade with reproduction base and heat cap.

Approximately one glass panel with crack. Wiring should be checked by a qualified electrician prior to use.

8 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Each shade with minor chips to the fitter rim.

Possibly the central shade is reproduction with spurious signature. Three sockets slightly loose.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

3 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Original base with possible reproduction shade.

Shade with minor chips to fitter rim and adhesive label residue to interior. Base with scattered areas of wear to bronze surface throughout and cracks to base rim and canister molding. Four missing prongs on light sockets. Wiring should be checked by a qualified electrician prior to use.

4 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

Condition Reports

5 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

The shade with scattered chips to the fitter rim and two vertical imperfections to the glass effecting the interior and exterior. Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

308

6 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade with one chip to the fitter rim and a .25” area of abrasion to the side. Base with minor scratches to the foot and small area of indentation to the underside at the edge. Depth measurement reflects the lowest articulated position of the head. Wiring should be checked by a qualified electrician before use.

9 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with 1” area of chipping to fitter rim. Central column with scattered scratches and wear to the patination with heavier wear to the upper portion. Minor area of loss to patination on one curved stem of the neck.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

10 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. The shade with scattered minor dark spots inherent to the glass’s finish, dating to the time of manufacture, that are visible when illuminated. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

11 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with .5” area of chips to fitter rim. Base with a 1” area of scratches to the pationation on one branch of the harp frame. Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

12 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Slag glass panels with scattered surface imperfections and recesses in the glass dating to the time of manufacture.

14 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

With wax residue commensurate with use. One capital with cracks to glass. Small area of wear to patinate surface at base of stem. Scattered hairline cracks and surface imperfections to the glass cabochons.

15 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Minor bend to the rim of the bobeche. Dark residue to interior of glass capital. Variation in patina to capital and base. Each piece of the candlestick was authenticated.

16 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

With minor bend to the bobeche.

17 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Each with wax residue commensurate with use.

The first with minor crack to glass interior rim. Each spuriously signed for Tiffany Studios.

18 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Chip and crack to glass panel on reverse.

19 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

20 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Picture frame with cracks to glass panels at lower right verso. Calendar frame with scattered ruptured air bubbles to glass panels and lacking easel stand. Pen tray with loosening of top from framework at one corner, repairs to three ball feet, and localized area of cracks to glass side panel.

21 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. The calendar with cracks to three glass panels.

Bill file with localized area of losses to patina on hook. Three blotter corners with adhesive residue to underside and each with rubbed wear to the patina.

Pen brush with minor loss to patina on the rim.

22 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Paper rack with crazing to gilt surface.

23 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Letter scale with adhesive residue to underside and fading to front weight chart. Rocker blotter lacking one mother-of-pearl disc. Pen tray with a crack and minor chip to one mother-of-pearl disc and associated pen with losses to handle tip.

24 Each overall good condition with shelf wear, minor scuffs, and oxidation and darkening to bronze commensurate with age. Compote dish sits slighly uneven. Two chargers with indentations to the underside. Cigarette box with minor indentation to the underside.

25 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. The card tray with three missing mother-ofpearl discs. The cigarette box with light rubbed wear to the cold painted decoration. The charger with indentations and bending to the rim and minor losses to the enameled decoration.

Condition Reports

13 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

One arm with a 1.25” area of loss to patina. Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

309

26 Each overall good condition with shelf wear, minor scuffs, light scratches, and oxidation and darkening to bronze commensurate with age. Blue enameled charger with one missing jewel. Green charger with scattered indenations.

31 Visual: Scattered stable craquelure throughout the center and lower left. A .5” tear to the canvas upper left edge. A 1.5” Y-shaped repaired tear right center.

A small chip of paint loss lower left.

Blacklight: Touch-up scattered throughout.

27 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 28” H x 32” W x 2.5” D 28 Visual: Generally good condition. Light stretcher bar creases along the upper and left edges with associated scattered fine craquelure.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.5” H x 40.5” W x 3” D 29 Visual: Generally good condition. Small dots of yellow staining scattered throughout the right side of the painting. Two small chips of paint loss lower center. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight. Dots of yellow staining do fluouresce under blacklight.

Frame: 18.5” H x 22.5” W x 1” D

Frame: 27.5” H x 33.25” W x 1.75” D 32 Visual: Generally good condition. Craquelure scattered throughout. Surface dirt throughout with spots of grime scattered throughout.

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

Frame: 29.5” H x 33.5” W x 2” D 33 Visual: Generally good condition. Fine craquelure scattered throughout. A repaired tear visible verso right center.

Blacklight: A dime-sized repair right center. A 2” scattered line of touch-up in the sky upper left.

Scattered dots and lines of touch-up in the water.

Frame: 27.25” H x 33.25” W x 1.75” D 34 Generally good condition. Toning to the paper. The paper with deckled edges. Mat burn along the four edges. Hinged to the back mat with paper tape along the upper edge.

Condition Reports

Frame: 22.75” H x 18.75” W x .5” D

310

30 Visual: Generally good condition. Small piece of fiber attached to the impasto right center. A small chip of paint loss lower center above the “E” in Payne. A small scratch/crease to the lower right corner.

Blacklight: No evidence of restoration under blacklight.

Frame: 16.25” H x 13.25” W x 1.75” D

35 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each with replacement rush seat, chipped abrasions to wood, and heavier wear front legs. Two chairs with shrinkage crack to front left leg. One chair with separation in rush weaving.

37 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each likely reupholstered. Each with minor chips and nicked abrasions throughout. The first likely refinished. The second with heavier wear to the legs and strechters and a shrinkage crack to the left stile.

42 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Four shades with chips to the fitter rim. One shade with minor rubbed losses to the gold iridescent interior.

One shade with a 3” hairline crack running from fitter rim into center of shade. One shade possibly a period replacement with a more yellow-gold coloration when illuminated that does not match the others.

Discoloration to metal finish canopy. Chandelier has been rewired. Wiring should be checked by a qualified electrician prior to use.

43 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Appears to have likely been repainted. With possible lateradded height extension and upper canopy. With some replacement socket screws. Wiring should be checked by a qualified electrician prior to use.

38 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Leather seat and back cushion are modern. A .75” puncture to leather back cushion verso. Possibly has been refinished.

Paper label residue to verso of back seat rail. A 1” area of nicks to top of front left leg. Scattered nicked abrasions to crest rail.

44 Each overall good condition with wear, minor scuffs, light scratches, and oxidation to bronze commensurate with age. The chandelier with chips to fitter rim of each shade and possibly has been rewired. Each wall sconce with fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

39 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Leather reupholstered.

Repair to right front foot. Scattered chipped abrasions to front legs and rockers.

45 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Leather reupholstered and with a minor abrasion to the surface at front-left.

Left back post with a .75” and a .5” scratch.

40 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Top rail with 1.75” restained scratch to verso. Scattered scratches to back cross rails. Heavier wear to arms. Front left leg with a 1” area of chipped abrasion. Right back post with chip to corner.

46 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. The front left leg with a .75” nick above the stretcher and a .5” nick at the arm joint. A 2.5” splinter to the left stretcher. The right stretcher with a 1.25” splinter and a 4” repaired splinter. Heavier wear to the front stretcher. Leather possibly reupholstered.

41 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Table has been refinished. With heavier rubbed wear, nicked abrasions, and indentations to the top commensurate with use. Scattered chips to the lower legs.

47 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each chair with minor nicked abrasions and chips throughout, with heavier wear to the feet. One side chair with discoloration to leather seat. Each armchair with rubbed wear to the arms, one with raised texture to front of arms.

Condition Reports

36 Each fair to overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

Each with wear and chipped abrasions to surface throughout. Three chairs with shrinkage cracks to seat. Four chairs with shrinkage cracks to top rail.

Two chairs with loose middle back splat. One chair with discoloration to seat. One chair with a .5” nick to seat. One seat with condensation ring and one seat with water staining.

311

48 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. The top with scattered indented scratches. One leg with a 1.25” and a 2” loss. One side of undershelf with minor chipped abrasions to edge and pitted indentations to top.

49 Overall fair to good condition with wear, minor scuffs, and oxidation to bronze commensurate with age.

Height measurement does not include chain. With original chain measuring approximately 30” H. One light socket with non-operational pull chain and missing two acorn pulls. Approximately twenty-one glass panels with cracks. A 13” area of possible repairs to lower pink floral border. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

50 Overall fair to good condition with wear, minor scuffs, and oxidation to bronze commensurate with age.

Lacking chain and socket fixture. Approximately twenty-three glass panels with cracks. Three lower border panels loose.

Condition Reports

51 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Height measurment does not include chain or canopy.

Canopy later-added. Scattered losses to metal trim.

Wiring should be checked by a qualified electrician prior to use.

312

52 Overall fair to good condition with wear, minor scuffs, and oxidation to bronze commensurate with age.

Lamp has been converted from a table lamp into a hanging light fixture. Light scratches to metal hanging shafts. Approximately sixty-eight glass panels with cracks. A localized area of repairs to the leading visible to the exterior. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

53 Each overall good condition with shelf wear, minor scuffs, and tarnishing commensurate with age. Each with scattered indentations to brass. One shade with five chips to the fitter rim and one shade with scattered surface imperfections to the fitter rim.

Wiring should be checked by a qualified electrician before use.

54 Overall good condition with shelf wear, minor scuffs, light scratches, and oxidation to copper commensurate with age. Top of shade with indentation to side. One mica panel with flaking to the interior. Lamp has been rewired and with updates to socket cluster. Wiring should be checked by a qualified electrician before use.

55 Overall good condition with shelf wear, minor scuffs, and oxidation to copper commensurate with age.

Scattered areas of flaking to mica panels. The base with adhesive felt pad to underside. Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

56 Overall good condition with shelf wear, minor scuffs, and oxidation to copper commensurate with age.

Shade with scattered flaking to mica panels and one panel with minor loss to mica at center-top. Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

57 Each overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age. Each slag glass panel with surface imperfections dating to the time of manufacture. Each lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

58 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Losses to patinated surface throughout with heavier wear on the column. Base signed “B&H” to interior underneath the base plate. Lamp has been rewired.

Wiring should be checked by a qualified electrician prior to use.

59 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

The shade with scattered areas of losses to the bronze patina, minor wear to the painted decoration, and one glass panel with possible chips to the lower left corner visible underneath the bronze frame.

Adhesive felt pad to underside. Wiring should be checked by a qualified electrician prior to use.

61 Visual: Craquelure scattered throughout the sky and water. An indentation in the canvas upper center. A small chip of paint loss in the water lower left. A series of tiny flecks of paint loss in the center. Minor surface dirt and grime throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 15.75” H x 15.75” W x 1.5” D 62 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt throughout.

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

Frame: 23.5” H x 27.5” W x 2.5” D 63 Visual: Generally good condition. Isolated craquelure in the green pigment upper right. Surface dirt and grime throughout. Small drops of white house paint right center.

Blacklight: No evidence of restoration under blacklight.

Frame: 22” H x 27” W x 2” D 64 Visual: Generally good condition. Minor frame abrasion scattered along the right edge. Minor dust accumulation.

Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 39” W x 2.25” D

65 Visual: Generally good condition. Stable craquelure throughout. Surface dirt throughout. A drip of varnish lower right.

Blacklight: Areas of touch-up in the sky upper center.

The largest, an irregular shaped 4” x 6” area. A dimesized spot of touch-up in the center.

Frame: 38.75” H x 48.75” W x 2.5” D 66 Visual: Generally good condition. Minor frame abrasion along the upper and left edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.5” H x 21.5” W x 2.25” D 67 Condition: Visual: Generally good condition.

Craquelure throughout the sky, water and building.

Stretcher bar creases along the left, right and upper edges.

Blacklight: Touch-up along the entire upper edge. A quarter-sized spot and a dime-sized spot of touchup upper center. Touch-up scattered throughout the cloud upper left. A quarter-sized spot and a 2.25’’ x 2’’ area of scattered touch-up in the center. A 2.75’’ x 1.5’’ area of touch-up upper left.

Frame: 46” H x 62” W x 3.75” D 68 Visual: Generally good condition. Isolated areas of very fine craquelure scattered throughout. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 21.25” H x 25” W x 2.25” D 69 Visual: Generally good condition. Varnish discoloration throughout.

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

Frame: 33” H x 50” W x 2” D

Condition Reports

60 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Approximately four glass panels with cracks. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

313

70 Each: Visual: Generally good condition. Minor surface dirt throughout. The second: A tiny dot of dark grime upper left.

Each: Blacklight: No evidence of restoration under blacklight.

Frame of first: 8.75” H x 10.75” W x 1” D Frame of second: 7.75” H x 9.75” W x 2” D 71 Visual: Generally good condition. Isolated areas of stable craquelure scattered throughout the sky and lower center. Frame abrasion in the upper corners.

Minor surface dirt throughout. Tiny dots of grime scattered throughout the center.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.5” H x 40.5” W x 1.75” D 72 Visual: Generally good condition. A very light 4” surface scratch in the sky upper left.

Blacklight: A series of small dots of touch-up lightly scattered throughout the sky. The largest a dimesized spot in the upper left corner.

76 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The first with scratches to top of stem and adhesive felt pads to the underside. The second with two raised surface imperfections likely dating to the time of manufacture.

77 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation to bronze commensurate with age.

78 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Heavier scuffing to underside that partially obscures the signature.

79 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Metal liner with later applied felt padding.

80 Overall good condition with minor shelf wear and light scuffs commensurate with age. Small chip to underside rim.

Frame: 33.25” H x 39.25” W x 2” D 73 Visual: Generally good condition. Small chip of paint loss upper edge left. Wax accumulation in the upper left corner. A 1” scratch left-center. Varnish discoloration throughout the right side.

Condition Reports

Blacklight: Isolated tiny dots of touch up scattered along the lower edge.

314

Frame: 29” H x 41” W x 3” D 74 Overall good condition with minor shelf wear and light scuffs commensurate with age.

75 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. A 1” horizontal scratch to the exterior side. Adhesive felt pads to underside.

81 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Two scratches to the underside, one with further chipping. One raised surface imperfection to the interoir dating to the time of manufacture.

82 Overall good condition with shelf wear and minor scuffs commensurate with age. Base with scratches to one foot and adhesvie felt pad residue to underside. One glass panel with crack to lower corner. Wiring should be checked by a qualified electrician before use.

83 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Shade with scattered spots of discoloration to exterior. Lamp has been rewired. Wiring should be checked by a qualified electrician before use.

85 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age. One chip to the lower rim. Height measurement reflects the heightest adjustable position. Lamp has been rewired. Losses to the plastic plug. Wiring should be checked by a qualified electrician prior to use.

86 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Height measurement reflects the heighest adjustable position. A 1” x .75” chip to the interior rim of the shade. Localized rubbed wear around adjustment knob. Lamp has likely been rewired. Wiring should be checked by a qualified electrician prior to use.

87 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Adjustable arm has slight rotational movement causing the lamp to sometimes appear off-center.

Loosening to the pivoting shade allowing the shade to fall forward due to weight. Heavier rubbed wear to adjustment knob. Depth measurement reflects shallowest horizontal adjustable position. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

88 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Original finish and hardware. Scattered nicked abrasions throughout with heavier wear and chips to the feet. Chips along upper back panel verso. Moisture rings and fading to the top. Possible moisture damage to lower interior right.

One glass panel on left door with repairs to casing.

Includes key.

89 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Shade with approximately three small chips to the lower rim. Slight wear to the cord. Wiring should be checked by a qualified electrician prior to use.

90 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age. Felt pad to underside is partially pulling away. Shade with scattered minor chips to the lower rim. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

91 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Shade with chips to fitter rim and nicked abrasions to the lower edge. Harp is not centered and shade sits unlevel. Fixture has been rewired. Wiring should be checked by a qualified electrician before use.

92 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade with scattered minor chips to the lower rim and slight slopping imperfection to metal fitter cap. Losses to gilt surface on base. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

93 Overall good condition with shelf wear, minor scuffs, and oxidation to brass commensurate with age.

Shade with two chips to the fitter rim and one chip to lower rim. Base with scattered scuffs and scratches.

Losses to the plastic plug. Wiring should be checked by a qualified electrician prior to use.

94 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Shade with scattered chips to the interior and exterior of the fitter rim, two chips to the lower rim, and approximately five ruptured air bubbles to the exterior surface. Base with one chip to the upper rim along the patinated bronze socket. Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

95 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. With modern reproduction shades. Each shade numbered and one signed for Lundberg Studios. Four shades with chips to the fitter rim. One shade with air bubble and hair line crack to fitter rim. Fixture has been rewired. Wiring should be checked by a qualified electrician before use.

Condition Reports

84 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. Base with rubbed wear to patination on upper portion of harp frame and on the socket. Lamp has been rewired.

Wiring should be checked by a qualified electrician prior to use.

315

96 Overall good condition with minor wear, scuffs, and light scratches commensurate with age. A .25” chip to the fitter rim.

104 Visual: Generally good condition.

97 Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. One small shade with chips to the fitter rim and two small shades with nicks to the fitter rim.

Frame: 22.5” H x 34.5” W x 1.5” D

98 Each overall good condition with minor shelf wear, light scuffs, and dust accumulation commensurate with age. Each crystal with minor chips throughout.

Nine light green and one dark green crystals with prominent chips.

Blacklight: No evidence of restoration under blacklight.

105 Visual: Craquelure scattered throughout. Stretcher bar creases along the left and right edges. A 4” scratch left edge center. Surface dirt and grime throughout.

Blacklight: A dime-sized spot of touch up upper center. Scattered dots of touch-up in the center and right center. A 4’ line of touch-up left edge center.

Frame: 29.5” H x 35.5” W x 3.25” D

99 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

100 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The first does not sit evenly. The second with possible hairline cracks visible when lit from interior. The third with minor ruptured air bubble to exterior rim.

101 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation to bronze commensurate with age.

Condition Reports

102 Overall good condition with minor shelf wear and light scuffs commensurate with age. Adhesive label residue to interior rim.

316

103 Generally good condition. Minor toning to the paper.

Mat burn along the upper left edge.

Frame: 23.5” H x 36.75” W x 1.25” D

106 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 15” H x 17” W x 1.5” D 107 Visual: Generally good condition. The canvas is loose. Stretcher bar creases along the four edges.

Craquelure scattered throughout.

Blacklight: Touch-up scattered throughout. Difficult to read under varnish.

Frame: 31.75” H x 38” W x 3.25” D 108 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Seat has been recovered and has sun discoloration. Shrinkage cracks to two inlaid ebony squares on back.

Scattered nicked abrasions to the top rail and seat rail. Localized area of discoloration to the right arm.

109 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Leather reupholstered. Leather back cushions with tack holes to seam. Shrinkage crack to right back post.

Minor chipped abrasions and indentations to arms.

Chipped abrasions to legs.

111 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Height measurement represents upright seat position. Chair has possibly been refinished. Heavier wear and chips to the feet.

Arms with indentations commensurate with use and the left arm with a .25” chip to the front. Leather seat with scratches and wear and back cushion with sun fading visible to the verso.

112 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Retains original spring seat with reupholstered leather. Chipped abrasions to the front seat rail and front right leg. Possibly refinished.

113 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Original finish.

Scattered minor indentations to the top. Lower shelf with two shrinkage cracks and chipped abrasions to front edge. Back right leg with 2.5” scratch and chip.

114 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Original finish and hardware. Scattered nicked abrasions throughout with heavier wear and chips to the feet. Chipped losses along upper back panel verso. Moisture rings and fading to the top. Possible moisture damage to lower interior right. One glass panel on left door with repairs to casing. Includes key.

115 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Originial finish and hardware. Minor shrinkage cracks to lower portion of left side panel. Scattered nicked abrasions throughout with heavier wear and chips to the feet. The top with a 1” dark spot. Moisture spots to top-right and to lower interior left. One glass panel on right door with loose interior casing. Left lock sticks slightly. Includes key.

116 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered minor chipped abrasions throughout.

117 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Heavy wear, scuffs, scratches, and nicks throughout. Chair has likely been refinished. Rubber wear and loss to finish on arms.

Loosening to back seat rail. Nicked abrasions to feet and legs. Leather reupholstered.

118 Visual: Craquelure throughout. Stretcher bar creases along the four edges. Surface dirt throughout.

Blacklight: Spots, dots and lines of touch-up scattered throughout. The largest, a pea-sized spot upper right.

Frame: 22.75” H x 18.75” W x 2.75” D 119 Visual: Generally good condition. A repaired tear lower center with corresponding patch verso.

Blacklight: A small spot of touch-up lower center.

Frame: 58.25” H x 58.25” W x 3” D 120 Visual: Generally good condition. Very fine craquelure scattered throughout. Minor surface dirt and grime throughout. Spots of grime along the lower edge.

Blacklight: Spots of touch-up scattered throughout.

The largest, a 7” area along the upper edge center.

Frame: 45.5” H x 49.5” W x 2.5” D

Condition Reports

110 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Table has possibly been refinished. Heavier wear to the top and feet.

The top with scattered scratches, indentations, spots of discoloration to the finish, a 5” line of dark markings, moisture rings, darkening to the finish on one side, and a shrinkage crack on one edge running toward the center.

317

121 Overall good condition with shelf wear, minor scuffs, and oxidation to copper commensurate with age. Lamp sits slightly crooked. The shade with detatchment of one panel from the frame, likely requiring resoldering. Areas of white paint on the foot. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

122 Each in overall good condition with oxidation, dents, scratches, and rubbed wear commensurate with age.

Oxidation and wear to the mirror backs.

123 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Each pair of bookends with adhesive felt pads to underside.

124 Each overall good condition with minor shelf wear and light scuffs commensurate with age. Each with scattered recesses and surface imperfections. The second with scratches to the underside and possible honorary reign mark for Ming Period (1368-1644).

125 Generally good condition. Minor toning to the paper.

The paper is gently rippled. A .75” crease to the lower left corner. Not examined out of the frame.

Frame: 18” H x 19” W x .75” D 126 Visual: Generally good condition. A 1” surface abrasion upper right. Minor surface dirt throughout.

Condition Reports

Blacklight: A 4” thin line of touch-up upper center.

Small spots of grime fluoresce under blacklight.

318

Frame: 21.75” H x 36.75” W x 1.25” D 127 Visual: Generally good condition. A small gouge to the board lower center. Surface dirt and grime throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 22.25” W x 1” D

128 Visual: Generally good condition.

Blacklight: Two small spots of touch-up upper edge center. A small spot of touch-up upper right.

Frame: 24.75” H x 30.75” W x 1.25” D 129 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 27.5” W x 1.25” D 130 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 13.5” H x 13.5” W x 1” D 131 Overall good condition with minor shelf wear, light scuffs, and oxidation to wrought iron commensurate with age. Ceilling cap is new. Losses to chain link hangers. Wiring should be checked by a qualified electrician before use.

132 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. Each shade with dark scuffs to the exterior and one with a minor area of rubbed wear to the frosted finish.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

133 Overall good condition with wear, minor scuffs, and oxidation to wrought iron commensurate with age.

One applied foliate mount loose due to broken fastener and one mount lacking screw and with glued repair. Each mica panel not attached to fixture.

Each pendant shade with chips and nicked abrasions to fitter rim. Wiring should be checked by a qualified electrician prior to use.

135 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The first with scattered minor chips and nicks to rim.

The second with 1.5” area of chipping and adhesive felt pads to the underside.

136 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The second with minor nick and hairline crack to lid flange and chip to rim. The third with minor nick to rim.

137 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The first with one chip to the underside. The second with adhesive residue to the underside. The third with minor chips to the rim and underside and one nick to the side.

138 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The first with minor nicks to the foot. The second with one minor chip and surface abrasions to the rim and one minor nick to the base. The third with scattered chips to the bowl’s rim, one minor nick to the lid’s rim, and ruptured air bubble to top of the lid. Each spuriously signed for Galle.

139 Overall good condition with minor shelf wear and light scuffs commensurate with age. Inscribbed to base: 2298.

140 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

141 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

142 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Adhesive labels to underside.

143 Overall good condition with tarnishing, minor shelf wear, scuffs, and light scratches commensurate with age. Was possibly a lamp base. Inscribed to underside: 18607.

144 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor nicks to rim.

145 Overall good condition with minor shelf wear and light scuffs commensurate with age.

146 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Each shade with minor nicks to fitter rim and scattered spots of dark discoloration to white spun overlay. Two shades with chips to the fitter rim. One shade with chip to white spun overlay. Canopy with minor hole in the metal. Wiring should be checked by a qualified electrician prior to use.

147 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Two shades with hairline cracks to the fitter rim. Fixture has possibly been rewired. Wiring should be checked by a qualified electrician before use.

148 Overall good condition with wear, minor scuffs, oxidation to bronze, and fading of gilt surface commensurate with age. Each glass shade and the dome spuriously signed for Daum Nancy. Drop shades not examined off of fixture. The dome with scratches and wear to the frosted surface due to previously adhered labels. One arm with repair to scrolled chain link mount. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

134 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. One shade with chips to fitter rim. Wiring should be checked by a qualified electrician prior to use.

319

149 Overall good condition with wear, minor scratches, and oxidation to bronze commensurate with age.

Each shade with chips to fitter rim. One shade of slightly different shape and coloring. Wiring should be checked by a qualified electrician before use.

150 Overall good condition with shelf wear, minor scuffs, and oxidation to brass commensurate with age.

One cabochon with scratches. With impressed mark to underside, possibly “RR.” Fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

151 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Wiring should be checked by a qualified electrician before use.

152 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Bowl with minor nick to underside.

153 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Adhesive label residue to underside.

Condition Reports

154 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

320

155 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Scattered minor chips and hairlines to the rim.

Adhesive label residue exterior side of rim. Areas of light rust to the wrought iron.

156 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation to metal commensurate with age.

157 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One minor chip to the rim. Heavier scratching to the underside.

158 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Internal air bubble with radiating hairline cracks to the side.

159 Overall good condition with minor shelf wear, scuffs, light scratches, and darkening to metal commensurate with age. Loosening of spelter mounts. Rubbed wear to dial between five and six.

Minor chip in marble to center-front rim and to front right corner. Chipped abrasions to verso marble edge. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

160 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

Scattered minor areas of rubbed wear and losses to cold painted surface. Base with chips to three corners and three chips to bottom edge verso. Onxy with scattered inherent surface-reaching fractures.

Chip to right front corner of black marble pedestal.

Onyx pedestal with chips to the right side and possible painted repairs to the left side.

161 Overall fair to good condition with scattered minor scuffs and scratches commensurate with age. Issues include, but not limited to: scattered chips to painted surface throughout with areas of repainting and possible repairs to foliate elements.

162 Overall good condition with shelf wear and light scuffs commensurate with age. Minor losses to gilt enamel details.

163 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation to metal commensurate with age. Interior rim with scattered minor chips and a 1” chip. Exterior glass with one linear and one circular surface imperfection likely dating to the time of manufacture.

164 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

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

Marble base with scattered minor chips to upper and lower edge, black ink marking along lower edge, and two painted repairs to front. Dial lacking glass cover.

Includes pendulum. Working condition unknown.

Moran’s does not guarantee the working condition of clocks and watches.

167 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

168 Overall good condition with tarnishing, light scratches, and shelf wear commensurate with age.

169 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. A .375” nick to interior lip and 1” nick to side.

170 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

171 Overall good condition with wear, minor scuffs, and oxidation to brass commensurate with age. Shade with three chips to the fitter rim. Canopy with a .25” indentation. Fixture has been rewired. Wiring should be checked by a qualified electrician before use.

Height measurement is from bottom of shade to top of brass loop and does not include chain link harness.

172 Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. Each shade with dust accumulation and residue to interior.

One shade with minor chip to rim. Each with scattered chips to raised decoration. Each with fraying and wear to the cord. Wiring should be checked by a qualified electrician before use.

173 Overall good condition with wear, minor scuffs, scratches, and oxidation to metal commensurate with age. Each bouquet panel with minor chips and nicks to edges. Each shade with chips to the fitter rim. A small indentation to the upper portion of one metal column. Two light sockets non-operational. Wiring should be checked by a qualified electrician prior to use.

174 Overall good condition with wear, minor scuffs, and oxidation to metal commensurate with age. Glass with scattered interior air bubbles. One glass segment with minor hairline crack visible when illuminated.

Glass does not bear Sabino mark. The fixture is marked on the metal. Possibly a later reproduction or reissue. Wiring should be checked by a qualified electrician prior to use.

175 Overall good condition with minor shelf wear, scuffs, light scratches, and tarnishing commensurate with age. Shade with scattered chips to lower rim, a hairline crack to one mounting slot, and minor chips and nicks to modeled floral decoration throughout.

Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

176 Overall good condition with minor wear, scuffs, light scratches, and tarnishing commensurate with age.

Shade with minor chips to the fitter rim and chipped abrasions to the upper rim. Black wooden foot with shrinkage crack running through one side. Wiring should be checked by a qualified electrician prior to use.

177 Overall good condition with minor wear, scuffs, light scratches, and oxidation commensurate with age.

Shade with scattered vertical hairline cracks to upper rim. Areas of rust patina to iron throughout. Wiring should be checked by a qualified electrician prior to use.

178 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. The top with rubbed wear, discoloration to the finish, and minor moisture rings commensurate with use. Heavier wear and chipping to the feet. One leg with loosening of keyed tenon.

Condition Reports

165 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Bronze with verdigris patination. Marble base with scattered chips and abrasions to edges.

321

179 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Table has been refinished. Scattered indentations and scratches to the top. Heavier wear and chipped indentations to the drawer and front of lower shelf. Shrinkage cracks to joints of lower shelf. Front right leg with 1” chip to foot. Scattered areas of paint residue throughout.

180 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Nicked abrasions to each foot. Shrinkage crack to bottom of center panel. Repaired crack to molding on right panel verso. Repair to left panel upper left corner. Losses to painted surface throughout. Possibly has been repainted throughout. Landscape scenes painted direct to wood. Each landscape panel with slight varnish oxidation, surface dirt, craqeulure throughout, and a pinhole in each corner. Left panel with spots of grime to center. Center panel initialed lower right: L.F.R. Right landscape panel possibly repainted.

Condition Reports

181 Overall fair to good condition with creasing, loosening of stiches, sun damage, and signs of wear commensurate with age. Cream-colored panel with scattered pulled stitches, two minor holes, one .75” x .5” hole, and areas of soiling throughout with heavier soiling to top hem. Each burlap drapery panel with sun darkening and discoloration; one with 1” hole to top hem and a 1” hole to lower area; one with heavier wear and holes to lower-middle; one with 1” area of wear and loose stitching; and one with a 10” vertical area of loose stitching. Each burlap valence panel with sun fading to tassel fringe and one with one missing tassel.

322

Cream panel: 89” L x 43” W approximately Each drapery panel: 70.5” L x 16” W approximately Each valence panel: 15.75” L x 33.5” W approximately 182 Overall good condition with even pile-wear and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of soiling and stains along all edges, signs of fading, areas of dimpled pile.

183 Overall good condition with even pile-wear and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of light fraying to the selvage edges and scattered areas of soiling and staining along all edges, 184 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Scattered minimal pinholing. The moon with a .25” area of surface imperfection to glaze likely dating to the time of manufacture.

185 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Reapirs to handle. Scattered areas of a dark substance to exterior.

186 Each overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. The third with imperfections to the galze at the rim. The fourth with two small chips to the underside.

187 Each overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Lavender bowl with scattered minor pinholing to the glaze and localized area of uneven surface to the side. Black low bowl with a .5” scratch to the side.

188 Overall good condition with scattered scuffs and inherent firing flaws commensurate with age.

Scattered minor nicks and chips to feet. Restorations to the feet. Later added adhesive felt pads to all four feet.

189 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

190 Each overall good condition with rubbed wear and light scratches commensurate with age and use. One large dinnner plate, two dinner plates, four dessert plates, and two saucers with minor recessed surface imperfections to the underside likely dating to the time of manufacture.

192 Each overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age.

193 Overall good condition with scattered scuffs, scratches, nicks, and separation at joints commensurate with age. Scattered areas of loss to wood finish and painted floral decoration.

194 Overall good condition with minor scuffs and oxidation to wrought iron commensurate with age.

Top with prior repaired horizontal crack running throughout marble and a .75” loss to the right back corner. Wrought iron base with losses to black painted finish and areas of rusting throughout, with heavier wear to the feet.

195 Overall fair condition with scattered scuffs, light scratches, and oxidation commensurate with age.

With later-added handle and locking mechanism.

Depth measurement with original iron handle is 6.5” D, does not include later-added handle. Scattered areas of rusting and paint remants throughout. One gate with significant rust to lower section. One gate with rust spot to lower inside corner, area of surface wear to lower outside corner, and two drilled holes to lower panel.

196 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age and use. Original finish.

Evidence of wood worm throughout. Even wear to the reeding throughout with heavier wear to the seat.

197 Overall fair to good condition with creasing, loosening of stiches, and signs of wear commensurate with age. Scattered areas of fraying to cord trim.

Soiling and possible dye migration to the white linen verso. A .25” hole to the lower left corner. Localized area of sun fading to the upper left. Two pulled stitches to the embroidery on the eagle. Patch of soiling to the flag and eagle’s tail.

198 Visual: Generally good condition.

Blacklight: A small spot of touch-up left center.

Frame: 18.75” H x 16.5” W x 1.75” D 199 Visual: Generally good condition.

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

Two small spots of touch-up upper center.

Frame: 27” H x 31” W x 3” D 200 Visual: Generally good condition. A series of vertical ridges in the canvas upper center and left center.

Blacklight: A series of small dots of touch up to the subject’s face and neck.

Frame: 27” H x 23” W x 3.25” D 201 Visual: Craquelure throughout. Areas of flaking with paint loss upper right and right center.

Blacklight: Dots, small spots and small areas of touch-up scattered throughout, the largest a 3” x 6” scattered area at the base of the green flower vase.

Frame: 31.5” H x 26.25” W x 1.5” D 202 Generally good condition. The paper is slightly cupper to the center. Not examined out of the frame.

Frame: 28.25” H x 24.25” W x 2” D 203 Visual: Generally good condition. Minor stretcher bar creases along the four edges. Small area of fine craquelure in the green apples. Small repaired holes upper left and lower left with corresponding patches verso. Minor surface dirt throughout.

Blacklight: Spots, dots and areas of touch-up scattered throughout. The largest, an 8” x 6” scattered area in the sky near the subject’s right shoulder.

Frame: 48.5” H x 44.5” W x 2.75” D

Condition Reports

191 Overall good condition with minor scuffs, scratches, and areas of rubbed wear and losses to painted bronze surface commensurate with age. Marble base with adhesive felt pad to underside.

323

204 Each in overall good condition with tarnishing and light scratches commensurate with age.

212 Visual: Generally good condition. Isolated areas of fine craquelure lightly scattered throughout. A tiny fleck of paint loss lower center.

205 Each overall good condition with minor shelf wear and scratches commensurate with age. Base with scattered chips to underside and edge. Three glasses with minor chips to rim and one with chips to side.

Blacklight: A small spot of touch-up in the sky upper center.

206 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age and use.

207 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Each bulbous decanter with minor chips to handle, side, and underside. Each flacon decanter with minor chips to stoppers and one with minor chip to rim.

Five cordial glasses with minor nicks to underside and one with nick to rim.

208 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Scattered minor chips to the rim. Rubbed wear to the finish on the wooden ball handles.

Condition Reports

209 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Four minor chips to base rim. Slight discoloration and residue to interior.

324

210 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Areas of discoloration to interior of glass. The vase was also marketed as a lamp base.

211 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

The “Coquilles” bowl with four minor chips to rim and scattered minor chips to underside. The “Poissons” bowl with one minor nick to the rim and scattered nicks to side. The “gui” bowl with tape residue to interior.

Frame: 16” H x 20” W x 1.75” D 213 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 29.5” H x 34.75” W x 2” D 214 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 21” H x 18” W x 1.5” D 215 Each: Generally good condition. The first: The paper is slightly rippled. Hinges remain along the upper edge from a previous mounting. The second: Artist’s pinholes in the four corners. The paper is slightly rippled. Hinges remain along the upper edge from a previous mounting.

Each: Unframed 216 Visual: Generally good condition. Chips and losses to the board scattered along the four edges. The largest, a 1.5” x .5” loss to the upper right edge. A small chip of paint loss upper right. A small chip of paint loss upper left.

Blacklight: No evidence of restoration under blacklight.

Unframed.

Blacklight: A few small dots of touch-up lower center.

Touch-up scattered along the four edges. The largest a 2” x 1” area lower left corner.

Frame: 37.75” H x 49.75” W x 1.5” D 218 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Chair with shrinkage crack running through right side of spring back frame.

Ottoman lacking metal manufacturer’s tag, a 4” area of chipped abrasions to support frame underside, and a 4” area of splitting to support frame. Each cushion with wear and stiffening of foam insert.

219 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. The top with scattered indentations and nicked abrasions to the edge commensurate with use. Scattered surface imperfections to the mosaic panel likely dating to the time of manufacture. A 1.25” chip to the lower edge of the top.

220 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Heavier shrinkage cracks to the top and to one leg. Scattered nicked abrasions, chips, and indentations to the top commensurate with use. Top with areas of buckling to the veneer. Evidence of wood worm to the top and base.

221 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Scattered pinholing to glaze throughout. Two circular recessed surface imperfections to the side. Small area of dark discoloration to lower rim of linen shade.

Adhesive felt pads to underside. Wiring should be checked by a qualified electrician before use.

222 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Top with minor scratches, light indentations, and a nickle-sized area of discoloration. Areas of minor loss to silver-toned metal surface.

223 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Evidence of water damage to supports. Top with minor indentations and a 3” area of fading. Areas of loss to veneer throughout. Each foot with abrasions and chipping to the corners. Loosening of one foot, possibly in need of repair.

224 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Nicked abrasions throughout. Top with scattered indentations commensurate with use, a localized area of buckling with cracks to the veneer on top, lifting and repairs to the veneer on the underside, and repaired scratch to top. Cantilever with chips due to use. Heavier wear and scuffs to the feet. One foot with a .75” chip to the scroll.

225 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Includes key.

226 Overall good condition with scattered scuffs and scratches commensurate with age. Scattered areas of paint loss, repainting, and subsequent rust throughout. Moisture rings to interior. Each glass shelf with chips to edges. One replacement glass shelf tight-fitting. Includes key but locking mechanism sticks and does not always work.

227 Overall good condition with minor wear, scuffs, light scratches, and oxidation commensurate with age.

Right side glass panel with crack to upper left corner and top glass panel with crack to back right corner.

Interior mirrored bottom with heavier wear, scratches, and scattered areas of losses to silvering around edges. Includes key. Locking mechanism loose on interior.

228 Overall fair condition with scattered scuffs, scratches, and oxidation to metal commensurate with age. Mesh back with indentations and misshaped at center.

Losses and crazing to surface finish with rusting to iron throughout.

Condition Reports

217 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt throughout.

325

229 Generally good condition. Minor toning to the paper.

A series of tiny dots of yellow staining scattered throughout the upper left corner. Frame abrasion along the lower edge. Not examined out of the frame.

Frame: 33.25” H x 27.75” W x 1.25” D 230 Each: Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame of first: 21” H x 26.75” W x 1.25” D Frame of second: 21” H x 26.75” W x 1.25” D Frame of third: 26.75” H x 21” W x 1.25” D 231 Each: Generally good condition. Minor toning to the paper. Not examined out of the frame. The second: A tiny dark dot upper right. A tiny dot of yellow staining lower left. The third: A light handling crease to the upper left corner.

Frame of first: 26.75” H x 21” W x 1.25” D Frame of second: 26.75” H x 21” W x 1.25” D Frame of third: 21” H x 26.75” W x 1.25” D 232 Each in overall good condition with tarnishing and light scratches commensurate with age. One dome element to necklace missing.

Condition Reports

233 Overall good condition with tarnishing and light scratches commensurate with age.

326

234 Each in overall good condition with tarnishing and light scratches commensurate with age. Denting can be seen on one clasp.

235 Each in overall good condition with tarnishing and light scratches commensurate with age.

236 Each in overall good condition with tarnishing and light scratches commensurate with age.

Circumference includes the wrist openings. One bracelet with approximately two areas of minor dents.

237 Each overall good condition with tarnishing and light scratches commensurate with age.

238 Each overall good condition with tarnishing and light scratches commensurate with age. Each with scattered dents to spheres and half-spheres. The smaller necklace with kinks to the neck chain.

239 Each overall good condition with tarnishing and light scratches commensurate with age. Stones with typical, natural eye-visible inclusions and surfacereaching fractures.

240 Each overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions and minor chips.

241 Each in overall good condition with tarnishing and light scratches commensurate with age.

242 Overall good condition with tarnishing and light scratches commensurate with age.

243 Each overall good condition with tarnishing and light scratches commensurate with age.

244 Each overall good condition with tarnishing and light scratches commensurate with age.

245 Each in overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

246 Each overall good condition with tarnishing and light scratches commensurate with age. Scattered pieces with minor nicks, some loops with minor bends.

248 Each overall good condition with tarnishing and light scratches commensurate with age. Denting to the copper tops on bangle.

249 Each in overall good condition with tarnishing and light scratches commensurate with age.

250 Each overall good condition with tarnishing and light scratches commensurate with age.

251 Each overall good condition with tarnishing and light scratches commensurate with age. One set is not a perfect pair.

252 Overall good condition with tarnishing and light scratches commensurate with age.

253 Overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

254 Each overall good condition with tarnishing and light scratches commensurate with age. The reverse displays a residue that needs professional cleaning on necklace.

255 Each overall good condition with tarnishing and light scratches commensurate with age.

256 Each overall good condition with tarnishing and light scratches commensurate with age. Turquoise with typical natural eye-visible inclusions and surfacereaching fractures.

257 Each overall good condition with tarnishing and light scratches commensurate with age. Two necklaces can be linked together to form one long necklace.

Scattered stones with abrasions and chips. Stones with typical, natural eye-visible inclusions and surfacereaching fractures. One cabochon appears to be purple glass and not amethyst.

258 Each overall good condition with tarnishing and light scratches commensurate with age.

259 Each overall good condition with tarnishing and light scratches commensurate with age.

260 Each overall good condition with rubbed wear, scattered scuffs, light scratches, minor indentations, and oxidation commensurate with age. One small round dish with heavier wear to surface commensurate with use. Small square dish with with minor losses to inlaid stone.

261 Each overall good condition with tarnishing and light scratches commensurate with age. Minor abrasions to the enamel, one panel on the neck chain with chips.

262 Each overall good condition with tarnishing and light scratches commensurate with age. Minor pitting and loss to enamel.

263 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered abrasions and loss to enamel.

264 Overall good condition with tarnishing and light scratches commensurate with age. Brassy oxidation throughout.

265 Overall good condition with tarnishing and light scratches commensurate with age. Scattered abrasions and minor nicks to the amethysts.

Approximately three amethysts with chips and breaks, one with a glued repair. Later-added safety chain.

Condition Reports

247 Each overall good condition with tarnishing and light scratches commensurate with age. Scattered buttons with minor dents, nicks, and some with bends to the backing link.

327

266 Each overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions. Stones with typical, natural eye-visible inclusions and surface-reaching fractures.

267 Each overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

268 Overall good condition with tarnishing and light scratches commensurate with age. Glass shows surface-reaching fractures. One is broken.

269 Each overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

270 Each overall good condition with tarnishing and light scratches commensurate with age. Tab link with additional solder. Scattered stones with abrasions and minor chips. Stones with typical, natural eye-visible inclusions and surface-reaching fractures.

271 Each overall good condition with tarnishing and light scratches commensurate with age. Stones with typical natural eye-visible inclusions and surface-reaching fractures.

Condition Reports

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

328

273 Each overall good condition with tarnishing and light scratches commensurate with age. One stone missing from necklace. Amethysts with typical natural eyevisible inclusions and surface-reaching fractures.

274 Each overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

275 Each overall good condition with tarnishing and light scratches commensurate with age.

276 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions.

277 Overall good condition with tarnishing and light scratches commensurate with age. Stones with typical natural eye-visible inclusions and surfacereaching fractures.

278 Each overall good condition with tarnishing and light scratches commensurate with age.

279 Each overall good condition with tarnishing and light scratches commensurate with age. One bangle appears to have been blackened/oxidized and that is wearing away. Needs professional cleaning.

280 Overall good condition with tarnishing and light scratches commensurate with age. Stones with typical natural eye-visible inclusions and surfacereaching fractures.

281 Each overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions and minor chips.

282 Overall good condition with tarnishing and light scratches commensurate with age. Most stones with nicks or minor chips, some with glue residue to the setting. The safety chain at the clasp is detachable.

283 Each overall good condition with tarnishing and light scratches commensurate with age. One of the circle and ball-link bracelets missing the safety chain. Verdigris to the smaller of the circle and ball bracelets.

284 Overall good condition with tarnishing and light scratches commensurate with age.

285 Each overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures. Scattered stones with abrasions.

294 Overall good condition with tarnishing and light scratches commensurate with age. Obsidian with typical natural eye-visible inclusion.

295 Each overall good condition with tarnishing and light scratches commensurate with age.

286 Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes the leather ties.

287 Each overall good condition with tarnishing and light scratches commensurate with age.

288 Each overall good condition with tarnishing and light scratches commensurate with age. The other bangles are approximately 8” C. Some bangles slightly out of round. One bangle with a dent to the edge.

289 Each overall good condition with tarnishing and light scratches commensurate with age. Amethysts with typical natural eye-visible inclusions and surfacereaching fractures.

290 Each overall good condition with tarnishing, nicks, and light scratches commensurate with age.

292 Each overall good condition with tarnishing and light scratches commensurate with age. Glass with surfacereaching fractures.

293 Each overall good condition with tarnishing and light scratches commensurate with age.

Condition Reports

291 Each overall good condition with tarnishing and light scratches commensurate with age.

329

Consign Today

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

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

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

Consign Today

Art of the American West

Malcolm Furlow Armani Indian $2,000-3,000 Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - a bsentee - telephone - live online

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 3 3 1

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

SPECIALISTS

Head of Sale, Specialist Maranda Moran Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Furniture & Decorative Arts Cataloguer Shannon Dailey Senior Vice President, Fine Art Director Morgana Blackwelder Post War & Contemporary Fine Art Bree Hughes Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain

OPERATIONS

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

Maha Darwish Consignment Coordinator

Jean Rapagna Consignment Coordinator

Julia Hamilton Operations Coordinator

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

MARKETING

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

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino Department Administrator Angela Bryant

FOUNDERS

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

This catalogue is meant merely as a guide.

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

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

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

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

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

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

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

Is your collection

protected?

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

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

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

Price Realized: $87,500

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

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

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

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

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: 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.

Title:

First Name:

Paddle number

Sale number

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

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

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

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

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

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

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

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

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