California Living - Featuring The Marmor Family Collection

The Marmor Family Collection

Dr. Judd Marmor, a psychiatrist in Los Angeles, and his wife Dr. Katherine Marmor, a psychologist, were well acquainted with the LA art scene during the last half of the 20th century. They forged connections with Modern and Contemporary artists such as William N. Copley, George Herms, Ed Kienholz, Roy Lichtenstein, Ed Ruscha, Frank Stella, and H.C. Westermann, among others. The couple built a large collection of prints and assemblages, were founding members of the Museum of Contemporary Art, and long-time supporters of the Los Angeles County Museum of Art. Through their acumen and purchases from artists’ studios and galleries, their collection represents a microcosm of Los Angeles art from this influential period.

Much of this art was held in the Marmor Foundation, and in the early 2000s the family initiated a 20-year promised gift of this art (more than 220 works) to the Cantor Arts Center at Stanford University. This group of artworks is now recognized as the Marmor Collection. Judd and Katherine’s artistic ties were with large museums in Los Angeles, but their son Dr. Michael Marmor (a professor of ophthalmology at Stanford) and his wife Dr. Jane Marmor (a Stanford graduate) convinced their parents that the Cantor could maintain the art from the foundation and use it effectively for teaching and learning. As a result, a portion of this art remains on display at the Cantor, and the Marmor Collection is now a memorial to the elder Marmors’ appreciation for art. What began as a modest selection of burgeoning artists in Los Angeles in the 1960s became a historically rich collection of prints, drawings, sculptures, and paintings by many of the most admired American artists of the twentieth century.

Beyond their involvement as art collectors and philanthropists to the arts and medical science, the Marmor Family has made important contributions to research and education. Judd Marmor was an eminent psychiatrist who was seminal in the effort within psychiatry to declassify homosexuality from its prior status as a disease, an effort that paved the way for gay rights. He advocated for greater science in psychoanalysis and fought against prospects of nuclear war. Michael Marmor was trained in neurophysiology and ophthalmology and has made many contributions to enhance understanding of how the retina works and how to manage diseases such as retinitis pigmentosa and retinal drug toxicity. His life-long interest in both vision and art merged into a 50-year career of writing and teaching about how the mechanics of vision are relevant to how artists create art and the way in which viewers see it. This is reflected in this collection, such as in works by Bridget Riley, with whom he had personal correspondence with. For decades, he taught a Stanford undergraduate course examining the relationship between the eye and art and has published four books on vision art, the most recent of which, The Artistic Eye (Kugler Publications), was recently released in May 2023.

The present sale is composed of Pop Art collected by Judd and Katherine Marmor as well as works added by Michael and Jane Marmor that emphasize Op Art and Indigenous art.

The Marmor Family Collection

1Sam Francis (1923-1994)

“For Miro II,” 1963

Lithograph in colors on wove paper, watermark Arches

Edition: One of three artist’s proofs (there was also the edition of 20 on BFK Rives paper)

Signed in pencil lower right: Sam Francis; titled and dated on an exhibition label affixed to the backboard of the frame; Kenneth Tyler, prntr.; Tamarind Lithography Workshop, Inc., Los Angeles, CA, pub.; and with their blindstamps lower left

Image/Sheet: 22” H x 30” W

$2,000-3,000

Provenance: The Marmor Family Collection

Exhibited: Stanford, CA, Cantor Arts Center, Stanford University, “Eloquence and Elation: Prints by Sam Francis,” February 9-May 21, 2000

Literature: Lembark L38; Tamarind 859 C/6; SF-36

2

Sam Francis (1923-1994)

“Tono,” 1963

Lithograph on Japon nacre paper

Edition: One of nine Tamarind impressions (there was also the edition of 20 on BFK Rives paper)

Signed and inscribed in pencil “Tam Imp” along the lower sheet edge: Sam Francis; John E. Dowell Jr., prntr.; Tamarind Lithography Workshop, Inc., Los Angles, pub.; and with their blindstamps at the center of the lower sheet edge; inscribed 932 in pencil at the verso of the lower sheet edge

Image/Sheet: 22.25” H x 30.25” W

$800-1,200

Provenance: The Marmor Family Collection

Literature: Lembark L39; Tamarind 932 C/7; SF- 37

Notes: The same plate was used to print “For Miro I” (L37).

The Marmor Family Collection

3

Sam Francis (1923-1994)

“For Miro I,” 1963

Lithograph in colors on wove paper, watermark Arches

Edition: One of nine printer’s proofs (there was also the edition of 20 on BFK Rives paper)

Signed and inscribed in pencil “Tam Imp” along the lower sheet edge: Sam Francis; Aris Koutroulis, prntr.; Tamarind Lithography Workshop, Inc., Los Angles, pub.; and with their blindstamps at the center of the lower sheet edge; inscribed 865 in pencil at the verso of the lower sheet edge

Image/Sheet: 22.25” H x 30.25” W

$1,200-1,800

Provenance: The Marmor Family Collection

Literature: Lembark L 37; Tamarind 865 C/5; SF-35

Notes: The same plate was used to print “Tono” (L39).

4 Sam Francis (1923-1994)

“Blue Violet,” 1963

Lithograph in colors on wove paper, watermark Arches

Edition: One of three artist’s proofs (there was also the edition of 20 on BFK Rives paper)

Signed in pencil at the lower edge, left of center: Sam Francis; Robert Gardner, prntr.; Tamarind Lithography Workshop, Inc., Los Angeles, CA, pub., ; and with their blindstamps at the lower sheet edge, at left

Image/Sheet: 22.25” H x 30” W

$800-1,200

Provenance: The Marmor Family Collection

Literature: Lembark L 32; Tamarind 865A; SF-31

The Marmor Family Collection

5 Victor Vasarely (1906-1997)

“Zebra (Blue)” from the “Zebra Series,” 1966 Embossed engraving on blue cast paper Edition: 52/100 (there were also 10 artist’s proofs)

Signed and numbered in the lower image: Vasarely; with unidentified blindstamp at the lower left corner Sheet: 31” H x 38” W

$600-800

Provenance: Circle Fine Art Corporation, Chicago, IL The Marmor Family Collection, acquired from the above, April 4, 1996

Bridget Riley (b. 1931)

Bridget Riley, often compared to Henry Moore due she delved into Op Art. Initially, she explored only she was guided by direct observation rather than

In 1963, Riley gained prominence at the “New Generation” and David Hockney. However, her breakthrough on Art’s “The Responsive Eye” exhibition in New York. unauthorized commercialization of her work, and Riley’s solo exhibition at the Richard Feigen Gallery Art captivated the public imagination, with Riley emerging

In 1967, Riley ventured into the realm of color, a cautious evolved to embrace this instability, with color becoming dynamic illusions of movement. A pivotal moment the vibrant colors of ancient Egyptian art. Inspired arrangement, infusing her work with the intensity ordered approach to color, heralding the beginning “The music of colour, that’s what I want.”—Bridget

due to her ubiquity in British art history. She began her artistic journey at Hornsey,, where only black and white compositions with geometric shapes. Her approach was instinctive, as theory.

Generation” exhibition at London’s Whitechapel Gallery alongside artists like Allen Jones on the international stage came in 1965, with her inclusion in The Museum of Modern York. While this brought her rapid success, it also led to the almost immediate and years of legal battles. Despite initial critics dismissing Op Art as mere optical illusion, Gallery in New York garnered widespread acclaim, with tickets selling out on the first day. Op emerging as a leading figure in the movement.

cautious exploration that revealed the relative nature of color perception. Her work becoming the foundation of her compositions, shaping the spaces between forms to create moment occurred in 1981 when Riley journeyed to Egypt, where she was captivated by Inspired by the purity and brilliance of these hues, she adopted a freer approach to color and shimmering light she had long sought. This marked a departure from her previous beginning of her experimentation with free color organization.

The Marmor Family Collection

6Bridget Riley (b. 1931)

“Untitled (Bronze),” 1978 Screenprint in colors on wove paper

Edition: One of twenty artist’s proofs (there was also the edition of 75)

Signed, dated, and numbered in pencil in the lower margin: Bridget Riley

Image: 22.5” H x 33” W; Sheet: 26.5” H x 37.125” W

$5,000-7,000

Provenance: Bridget Riley Services, London, England

The Marmor Family Collection, acquired from the above, June 23, 1999

Literature: Schubert 26

Notes: Notes: This lot is accompanied by a copy of the sales invoice and gallery card from Bridget Riley Services, London, England, June 23, 1999.

The Marmor Family Collection

7

Bridget Riley (b. 1931)

“Ra 2,” 1981

Screenprint in colors on wove paper

Edition: 8/75 (there were also 20 artist’s proofs)

Signed, titled, dated, and numbered in pencil in the lower margin: Bridget Riley; Sally Gimson, prntr.; Artizan Editions, Hove, England, pub.

Image: 34.25” H x 30” W; Sheet: 42” H x 36” W

$12,000-18,000

Provenance: Karsten Schubert, London, England

The Marmor Family Collection, acquired from the above, May 29, 1996

Literature: Schubert 28

Notes: Inscribed in pencil in the lower margin, at left: 21 Reds / 21 Blues/ 24 Turquoise / 24 Yellows / 9 Blacks / 8 Whites

Notes: This lot is accompanied by the original sales invoice and gallery card from Karsten Schubert, London England, May 29, 1996.

The Marmor Family Collection

8

Bridget Riley (b. 1931)

“Silvered 2,” 1981

Screenprint in colors on wove paper

Edition: 8/75 (there were also 20 artist’s proofs)

Singed, dated, and numbered in pencil in the lower margin: Bridget Riley; Sally Gimson, prntr.; Artizan Editions, Hove, England, pub.

Image: 34.25” H x 30” W; Sheet: 42” H x 36.75” W

$12,000-18,000

Provenance: Karsten Schubert, London, England

The Marmor Family Collection, acquired from the above, May 29, 1996

Literature: Schubert 29

Notes: Inscribed in pencil in the lower margin, at left: 21 Reds / 21 Blues / 24 Turquois / 24 Yellows / 9 Blacks / 8 Whites

Notes: This lot is accompanied by a copy of the sales invoice and gallery card from Karsten Schubert, London, England, May 29, 1996.

The Marmor Family Collection

9

Richard Serra (b. 1938)

“Balance,” 1972

Lithograph on Arjomari paper

Edition: 24/68 (there were also 9 artist’s proofs)

Signed and numbered in pencil at the lower right corner: Serra; Gemini G.E.L. Los Angeles, prntr./ pub., and with their blindstamp, lower right; with the Gemini ink stamp and workshop number in pencil, verso: RS72-468

Image/Sheet: 35.625” H x 45” W

$5,000-7,000

Provenance: The Marmor Family Collection

Literature: Berswordt-Wallrabe 6; Gemini 402

10

Ellsworth Kelly (1923-2015)

“Red Curve (For Joel),” 1993

Lithograph in color on wove paper, watermark Arches

Edition: 61/130 (there were also 20 artist’s proofs)

Signed and numbered in pencil along the lower sheet edge, at right: Kelly; the artist and Gemini G.E.L., Los Angeles, CA, publishers, and with their blindstamps; with the Gemini ink stamp and work number in pencil, verso: EK93-1344

Image/Sheet: 22” H x 16” W

$4,000-6,000

Provenance: The Marmor Family Collection

Literature: Gemini G.E.L.1583; Axsom 269

Roy Lichtenstein (1923-1997)

Roy Lichtenstein’s exploration of artistic form oscillates and 1972, epitomizing the latter. Preceding these rooted in Art Deco ornamentation. However, the with a basic architectural reference shared with Lichtenstein’s

The holistic approach evident in the “Mirror” series Cord (1961) or a Durlidum (1964), characterized by deviate from traditional still life painting, focusing objects, aligning with George Maciunas’ concept

Mirrors hold a rich iconographical history in art, symbolizing Lichtenstein, however, dismisses these conventional play of reflections. Employing the conventions of mirrors, utilizing dots to indicate smoothness, parallel studies of highlights, tonal gradients, and blips of his earlier explosive paintings.

In the Mirror prints, Lichtenstein presents mirrors`, the conceptual presence of the depicted objects. Lichtenstein’s Mirror series invites viewers to explore on the interplay between art and reality.

oscillates between intricacy and austerity, with his Mirror print series, created between 1969

these works, Lichtenstein had already reached geometric complexity with his modern works, Mirror series departs from this compartmentalized aesthetic, offering a unified imagery Lichtenstein’s earlier works.

series is foreshadowed by Lichtenstein’s earlier studies of isolated artifacts, such as an Electric by their centralized placement and defined by unwavering black outlines. These works

focusing more on the individual object itself rather than on relationships between multiple of “monomorphic” art.

symbolizing vanity or serving as aids in representing unseen aspects of the human form. conventional interpretations, choosing instead to explore the unpaintable aspect of mirrors—the comic strips and advertisements, Lichtenstein meticulously captures the artificiality of parallel hatching to imply reflections, and little jumps to denote beveled edges. These of color create a captivating game of references, freezing fleeting moments as decisively as

mirrors`, head-on, highlighting the absence of reflections and prompting viewers to contemplate objects. By transcending traditional iconography and embracing the artificiality of representation, explore the boundaries of perception and visual phenomena, offering a unique perspective

The Marmor Family Collection

11

Roy Lichtenstein (1923-1997)

“Mirror #1” from the “Mirror Series,” 1972

Linecut, screenprint with embossing, and collage in colors on Arjomari paper

Edition: 24/80 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-435

Image: 21” Dia; Sheet: 28” H x 28” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 9, 1972

Literature: Corlett 106; Gemini 382; NGA Gemini 31.35; RLCR 2032

Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

12

Roy Lichtenstein (1923-1997)

“Mirror #2” from the “Mirror Series,” 1972

Linecut and screenprint in colors with embossing on Arjomari paper

Edition: 24/80 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-434

Image: 21” Dia.; Sheet: 28” H x 28” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 9, 1972

Literature: Corlett 107; Gemini 383; NGA Gemini 31.36; RLCR 2033

Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

13

Roy Lichtenstein (1923-1997)

“Mirror #3” from the “Mirror Series,” 1972

Linecut and screenprint in colors with embossing on Arjomari paper

Edition: 24/80 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-433

Image: 21” Dia; Sheet: 28” H x 28” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 9, 1972

Literature: Corlett 108; Gemini 384; NGA Gemini CR 31.37; RLCR 2034

Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

14

Roy Lichtenstein (1923-1997)

“Mirror #4” from the “Mirror Series,” 1972

Linecut and screenprint in colors with embossing on Arjomari paper

Edition: 24/80 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-432

Image: 21” Dia.; Sheet: 28” H x 28” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 9, 1972

Literature: Corlett 109; Gemini 385; NGA Gemini CR 31.38; RLCR 2035

Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

15

Roy Lichtenstein (1923-1997)

“Mirror #8” from the “Mirror Series,” 1972 Lithograph and screenprint in colors on Arjomari paper

Edition: 24/72 (the edition was 50; there were also 9 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL72-439

Image: 30.125” H x 42.5” W; Sheet: 40.875” H x 53” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, October 11, 1972

Literature: Corlett 113; Gemini 389; NGA Gemini CR 31.42; RLCR 2040

The numbering out of 72 on this impression was likely an inadvertent substitution of the date in place of the edition number [50] by Lichtenstein as he signed, dated, and numbered multiple examples of this print. According to the literature references, this work was printed in an edition of 50, plus 9 AP (as well as 1RTP, 1 PPII, 3 GEL, and 1C). A label for a Claus Oldenberg piece is affixed to the backing of the frame with a slash through it. An inventory label is tied to the framing loop. Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

16

Man Ray (1890-1976)

“Roman Noir,” 1948

Lithograph in colors on wove paper

Edition: 48/50 (there was also the edition of 50 on pale green paper)

Signed and numbered in pencil in the lower margin: Man Ray; Lynton Kistler, prntr., and with their blindstamp in the lower margin, at left

Image: 9.75” H x 12.875 W; Sheet: 13” H x 16.875” W

$400-600

Provenance: The Marmor Family Collection

Literature: Anselmino 32

17

Ken Price (1935-2012)

“Figurine Cup IV” from the “Figurine Cup Series,” 1970 Lithograph and screenprint in colors on wove paper

Edition: 46/61 (there were also 9 artist’s proofs)

Signed, titled, dated, and numbered in pencil in the lower margin, at right: Price; Gemini G.E.L., Los Angeles, CA, prntr./pub.; and with their blindstamps in the lower margin, at right; with the Gemini G.E.L ink stamp and workshop number in pencil, verso: RP70-264

Image: 20” H x 16” W; Sheet: 22” H x 18” W

$1,200-1,800

Provenance: The Marmor Family Collection

Literature: Gemini 196; NGA Gemini 39.4

Notes: Notes: This lot is accompanied by a copy of the sales receipt for the work.

The Marmor Family Collection

18

Ken Price (b. 1935) and Ed Ruscha (b. 1937)

“Flies and Frog,” 1969

Lithograph in colors on Copperplate Deluxe paper

Edition: 40/40 (there were also 7 artist’s proofs)

Signed and dated in pencil by both artists in the lower margin, at right; numbered and inscribed “Copperplate Delux” and “2503” in pencil near the printer’s and publisher’s ink stamps

$3,000-5,000

Provenance: The Marmor Family Collection

Literature: Engberg 8; Tamarind 2503

in the lower margin, right of center; in the lower margin, right of center; in the lower margin, right of center; Dan Socha, prntr.; Tamarind Lithography Workshop, Los Angeles, CA, pub.; Image: 18” H x 30” W; Sheet: 22.875” H x 33.875” W

19

David Hockney (b. 1937)

“Pacific Mutual Life,” 1964 Lithograph on wove paper

Edition: one of nine Tamarind impressions (there was also the edition of 20)

Signed, dated, and inscribed Tamp Imp in red pencil at the lower right: David Hockney; Tamarind Lithography Workshop, Inc., Los Angeles, CA, prntr.; Editions Alecto, London, England and Tamarind Lithography Workshop, Inc., Los Angeles, CA pub.; and with their blindstamps

Image/Sheet: 20” H x 25” W

$5,000-7,000

Provenance: The Marmor Family Collection

Literature: S.A.C., MCA Tokyo 36

Jasper Johns (b. 1930)

Jasper Johns’ Light Bulb lead relief is a profound enduring fascination with mundane objects and their

Johns’ oeuvre has been defined by his relentless within commonplace imagery. Through this lead deeply ingrained in our collective consciousness. ordinary, transforming “things the mind already knows”

At the heart of this piece lies the enigmatic presence illumination and artistic creation. The light bulb, for both the creation and appreciation of art—without

Notably, Johns’ fascination with the light bulb extends his cameo appearance in an episode of The Simpsons traditional artistic discourse, affirming its status as

This Light Bulb lead relief represents a pivotal moment relentless pursuit of visual and conceptual complexity. the familiar, inviting us into a world where ordinary

profound exploration of American cultural symbols encapsulated in lead, revealing the artist’s their transformation into potent symbols of meaning.

relentless interrogation of the familiar, challenging viewers to reconsider the significance embedded relief, Johns invites us to confront the conceptual contradictions inherent in symbols consciousness. The series encapsulates Johns’ lifelong endeavor to destabilize and recontextualize the knows” into objects of contemplation and intrigue.

presence of the light bulb, a motif that recurs throughout Johns’ career as a symbol of rendered in lead relief, serves as a potent metaphor for the essential conditions required art—without light, what remains unseen?

extends beyond the confines of the art world, permeating popular culture as evidenced by Simpsons. Here, Johns’ appropriation of the light bulb transcends the boundaries of as an enduring emblem of creativity and cultural resonance.

moment in Jasper Johns’ artistic evolution, showcasing his mastery of the medium and his complexity. Through this work, Johns challenges us to reconsider the meaning embedded within ordinary objects become vessels for profound introspection and inquiry.

The Marmor Family Collection

20

Jasper Johns (b. 1930)

“Light Bulb,” from the “Lead Reliefs” series, 1969

Lead relief multiple

Edition: 40/60 (there were also 10 artist’s proofs)

With the incised signature, date, and number at the upper left: J Johns; Gemini G.E.L, Los Angeles, CA, pub., and with their blindstamp; in the publisher’s original welded aluminum frame with polystyrene and backing

39” H x 17” W

$20,000-30,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, May 23, 1969

Literature: Universal Limited Art Editions 75; Field 121; Gemini 132

Notes: This lot is accompanied by the Gemini G.E.L. documentation sheet, sales invoice dated May 23, four slides of the Jasper Johns installation at the Stanford Art Museum in 1998.

CA, prntr./ and wood

1969, and

21

Matt Kahn (1928-2013)

“The Fly,” 1995

Acrylic on canvas over a shaped wooden form

Signed, dated, and titled, all verso: Matt Kahn

45” H x 30.75” W x 3.75” D

$1,000-1,500

Provenance: The Artist

The Marmor Family Collection, acquired from the above, March 1, 1997

Notes: Notes: This lot is accompanied by a photocopied purchase receipt from the artist dated March 1, 1997. Further accompanied by a slide of the piece as well as various ephemera including two exhibition postcards and a pamphlet and press release for the exhibition “Matt Kahn: Artist and Educator” at Stanford University, May 8-July 12, 2009.

The Marmor Family Collection

22

Matt Kahn (1928-2013)

“Medusa,” 2004

Acrylic on canvas over a shaped wooden form Signed, dated, and titled, all verso: Matt Kahn

52” H x 41” W x 6.5” D

$1,000-1,500

Provenance: The Artist

The Marmor Family Collection, acquired from the above, January 3, 2005

Notes: Notes: This lot is accompanied by a photocopied purchase receipt from the artist dated January 3, 2005. Further accompanied by various ephemera including a photocopied press release for the exhibition “Matt Kahn: Artist and Educator” at Stanford University May 8-July 12, 2009.

Roy Lichtenstein (1923-1997)

Roy Lichtenstein’s Modern Head series, created in represents a shift in Lichtenstein’s approach, moving and specific works of Modern masters, including

As a transitional figure between Modernism and German Expressionist works in his signature comic artists he referenced, stating, “The things I have

The inspiration for the Modern Head series came Art Museum’s Serial Imagery exhibition. Lichtenstein aesthetic to create original compositions.

The Modern Head series challenges Modern Art on Constructivist and Machine Art methods of depicting printing techniques such as dots and flat colors to

Each work in the Modern Head series was produced embossing, and die-cut paper overlay. The portfolio Lichtenstein’s characteristic bright, rich colors and signify the tone and texture of printed material.

in the 1970s, stands as a critical dismantling of the history of Modern Art. This series moving away from mass-produced imagery towards the appropriation of stylistic conventions Picasso, Monet, Matisse, and Mondrian.

Postmodernism, Lichtenstein recreated versions of Impressionist, Cubist, Art Deco, and comic style. Despite the parody inherent in his work, Lichtenstein expressed admiration for the apparently parodied I actually admire.”

came from Alexei von Jawlensky’s Constructivist portrait heads exhibited in the 1968 Pasadena Lichtenstein adopted Expressionist motifs from Jawlensky’s work, infusing them with his own Pop

by presenting fine art portraits in the style of mass-produced comic illustrations. Drawing depicting human figures with an industrial machine quality, Lichtenstein employed machine to create figures reminiscent of media images.

produced using a distinct commercial printing process, including woodcut, lithography, line-cut, portfolio combines Art Deco and Cubist traditions of flat and curvilinear geometric planes with and schematic forms. These methods, along with dotted areas and regularized stripes,

The Marmor Family Collection

23

Roy Lichtenstein (1923-1997)

“Modern Head #1,” from the “Modern Head” series, 1970 Woodcut in colors on Japanese Hoshi laid paper Edition: 24/100 (there were also 7 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL70-243

Image: 20.125” H x 12.5” W; Sheet: 24.25” H x 19.25” W

$15,000-20,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, November 2, 1969

Literature: Corlett 91; Gemini 242; NGA Gemini CR 31.23; RLCR 1876

Notes: This lot is accompanied by a copy of the price list and the original print documentation, both from Gemini G.E.L. According to the artist’s online catalogue raisonné, this is Lichtenstein’s first woodcut with a print publisher and his only work in this medium between 1959 and 1980.

The Marmor Family Collection

24

Roy Lichtenstein (1923-1997)

“Modern Head #2” from the “Modern Head” series, 1970 Lithograph and linecut in colors with embossing on handmade Waterleaf paper

Edition: 24/100 (there were also 7 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL70-245

Image: 19.75” H x 11.75” W; Sheet: 24.25” H x 18.25” W

$15,000-20,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, November 2, 1969

Literature: Corlett 92; Gemini 243; NGA Gemini CR 31.24; RLCR 1880

The Marmor Family Collection

Roy Lichtenstein (1923-1997)

“Modern Head #3” from the “Modern Head” series, 1970 Linecut with embossing on handmade Waterleaf paper

Edition: 24/100 (there were also 7 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL70-246

Image: 20” H x 14” W; Sheet: 24” H x 18.5” W

$15,000-20,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, November 2, 1969

Literature: Corlett 93; Gemini 244; NGA Gemini CR 31.25; RLCR 1882

Notes: This lot is accompanied by a copy of the price list and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

26

Roy Lichtenstein (1923-1997)

“Modern Head #5” from the “Modern Head” series, 1970 Embossed graphite with Strathmore die-cut paper overlay Edition: 75/100 (there were also 7 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; with the Gemini G.E.L. ink stamp and work number in pencil, both verso: RL70-244 Sheet: 28” H x 19.5” W

$10,000-15,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, November 2, 1969

Literature: Corlett 95; Gemini 246; NGA Gemini CR 31.27; RLCR 1887

Notes: The work is mounted in its original white lacquered aluminum frame with wood stretcher support and with the Gemini G.E.L. black ink stamp on the verso of the wood support.

Peter Alexander

(1939-2020)

Peter Alexander stands as a trailblazing figure in of luminosity and spatial perception. Born and bred architecture and experimentation. As a former protege the realm of art, enrolling at UCLA in the mid-1960s.

It was during his formative years at UCLA that Alexander’s innovative artistic approach. Experimenting with transformative potential. Mastering the manipulation casting resin into abstract, visionary forms.

His seminal work, “Grey Wedge” (1969), embodies quality of ‘June Gloom’ with its hazy, inky hues. This became emblematic of Alexander’s ability to shape

A luminary within the Space and Light artists’ collective, Turrell, and Mary Corse, Alexander’s contributions institutions worldwide, from the Broad Foundation in New York, and the Solomon R. Guggenheim Museum.

In recognition of his profound impact, retrospectives County Museum of Art, which presented “Peter such as “Phenomenal: California Light, Space, Surface” influence.

the realm of California Light and Space art, a movement characterized by its exploration bred in Los Angeles, Alexander’s artistic journey began with a unique convergence of protege of architectural visionaries Richard Neutra and William Pereira, he transitioned to mid-1960s.

Alexander’s affinity for resin, born out of his passion for surfing, crystallized into an liquid resin, a material he initially used to mend his surfboard, he discovered its manipulation of form, tone, color, and texture, Alexander pioneered a new frontier in sculpture, embodies the essence of Southern California’s coastal landscape, capturing the ephemeral This piece, along with others crafted in the form of cubes, wedges, and wall-mounted bars, shape light and space through his art.

collective, which includes esteemed peers such as De Wain Valentine, Larry Bell, James contributions have left an indelible mark on the art world. His work graces the collections of renowned Foundation in Santa Monica to the Los Angeles County Museum of Art, the Museum of Modern Art Museum.

retrospectives of Alexander’s work have been hosted by esteemed institutions like the Orange Alexander: In this Light” in 1990. Additionally, his participation in landmark exhibitions Surface” as part of the Pacific Standard Time initiative in 2011 underscore his enduring

The Marmor Family Collection

Peter (1939-2020)

Grey Polyester Unmarked Wedge:

$20,000-30,000

Provenance: The Marmor

Exhibited: February

Notes: is also

Peter Alexander (1939-2020) wedge, 1969 Polyester resin

Unmarked

Wedge: 91.325” H x 6.875” W x 7” D; Base: 0.325” H x 15” W x 15” D

$20,000-30,000

Provenance: The collection of the Artist Marmor Family Collection, acquired from the above, June 29, 1970

Exhibited: Santa Monica, CA, James Corcoran Gallery, “Peter Alexander: Sculpture 1966-72,” February 16-March 16, 1991

Notes: Notes: This lot is accompanied by a purchase receipt from the artist dated June 29, 1970. It also accompanied by a bi-fold gallery reception card from the exhibition noted above.

De Wain Valentine

(1936-2021)

De Wain Valentine emerges as a pivotal figure in sculptures that seamlessly merge industrial aesthetics Colorado, Valentine’s artistic journey led him to reshape sculptural conventions. De Wain Valentine’s artists as Larry Bell, Robert Irwin, James Turrell, Mary and others.

Arriving in Los Angeles to teach a course in plastics established himself as one of the earliest pioneers develop a product called Valentine MasKast Resin experiences in boat building shops and automotive vision. This fusion of technical knowledge and creative and polyester resin, materials that evoke a futuristic

Disk Amber transforms into a sensory encounter, manipulation of light and space. Meticulous attention enhancing the sculpture’s visual impact. The vibrant immersive experience created by the artwork.

Valentine’s minimalist sculptures, primarily from manufactured products. Yet, beneath their glossy Inspired by the boundless expanse of the sky and translucent qualities, enabling him to create works

Central to Valentine’s artistic philosophy was the craftsmanship and a keen understanding of materials, Angeles, characterized by sinuous forms and otherworldly boundaries of sculptural expression, resulting in Valentine’s enduring legacy extends beyond his His works are housed in major museum collections and The Museum of Modern Art in New York, among commitment to pushing the boundaries of sculptural art.

in the Light & Space movement of the 1960s and 1970s, celebrated for his avant-garde aesthetics with the evocative essence of California’s coastal environment. Born in Fort Collins, Los Angeles in 1965, where he embarked on a transformative career path that would Valentine’s work is part of the Space and Light artists of Southern California that consist of such Mary Corse, John McCracken, Eric Orr, Doug Wheeler, Helen Pasgian, Peter Alexander,

plastics technology at the University of California, Los Angeles (UCLA), Valentine quickly pioneers in utilizing industrial plastics and resins to craft monumental sculptures. He would later Resin with the Hastings Plastics company. His technical expertise, honed through his diverse automotive painting, including some speculative work with UFOs, profoundly influenced his artistic creative ingenuity ignited Valentine’s fascination with sculptures crafted from colored plastic futuristic aesthetic and captivate viewers with their mesmerizingly translucent surfaces.

encounter, beckoning viewers to interact with both the object and their environment through its attention to detail and the refinement of its finish and color produce a prismatic effect, vibrant orange hue evokes the imagery of a sun setting below the horizon, adding to the

the sixties and seventies, exude a polished, impersonal allure reminiscent of industrially glossy exteriors lies a profound connection to the coastal landscape that surrounded him. and sea, Valentine meticulously selected materials such as glass, fiberglass, and resin for their works that seemingly transcend their physical confines.

the dissolution of form in favor of an exploration of color and light. Through meticulous materials, he produced sculptures that epitomized the “Finish Fetish” movement of Los otherworldly hues. Valentine’s mastery of industrial techniques allowed him to push the monumental works that captivate viewers with their mesmerizing play of light and shadow.

innovative use of materials; his influence on subsequent generations of artists is profound. collections worldwide, including the Denver Art Museum, The Whitney Museum of American Art, among others. Through his relentless pursuit of artistic innovation and his unwavering sculptural practice, De Wain Valentine remains an indelible icon in the realm of contemporary

The Marmor Family Collection

28

DeWain Valentine (1936-2022)

Disk Amber, circa 1968

Cast resin

Unmarked

5” H x 10.75” Dia.

$8,000-12,000

Provenance: The Marmor Family Collection

The Marmor Family Collection

29

Jens

Trees

Acrylic on canvas

Signed lower right: Jens 34” H

$800-1,200

Provenance: The Marmor Family Collection

Notes: Notes: This lot is sold together with a small booklet titled, “A Painter’s Journey,” p. 5, illustrated.

Johannsen (active 21st century)

x 44” W

William Copley (1919-1996)

William Nelson Copley stands as an influential figure challenged conventional artistic norms. Born in innate curiosity and a fearless exploration of themes Despite lacking formal training, he fearlessly delved swept through Europe.

Copley’s early encounters with artistic luminaries artistic vision. Embracing a self-taught approach, representations. It was during this formative period marking the beginning of a journey of self-discovery

His body of work is a rich tapestry of loosely narrative colors. Employing a lexicon of recurring motifs—from that intertwined with literary and art historical references,

Relocating to Paris in the early 1950s, Copley found nurturing friendships with luminaries like Marcel figurative style, resisting the prevailing trends of marked the genesis of a new chapter in his artistic

Following the closure of the Copley Galleries, Copley expression. His founding of The Letter Edged In accessible portfolios like S.M.S. (Shit Must Stop)—underscored traditional gallery spaces.

Throughout his life, Copley’s artistic output traversed political and psychosexual undertones. His playful artist unbound by convention.

Copley’s contributions to the art world have been N. Copley: The World According to CPLY” curated worldwide, showcased in prestigious institutions Surrealism and American Pop art. Today, Copley’s artistic innovation.

figure in the postwar art world, renowned for his vibrant and audacious works that the vibrant cultural hub of New York City, Copley’s artistic journey was propelled by an themes ranging from humor to societal critique, often infused with elements of eroticism. delved into the realm of painting, drawing inspiration from the Surrealist movement that

luminaries such as Max Ernst, Man Ray, and Marcel Duchamp proved instrumental in shaping his approach, he developed a primitive painting style characterized by anomalous figural period that he adopted the moniker “CPLY,” a playful nod to his family name sans vowels, self-discovery through his art.

narrative compositions, featuring curvilinear figures, bold contours, and a vibrant palette of motifs—from bowler-hatted men to embracing couples—Copley crafted a personal mythology references, creating a visual language uniquely his own.

found fertile ground for his artistic endeavors, exhibiting extensively across Europe while Marcel Duchamp. This period of European immersion allowed him to refine his distinctive of Abstract Expressionism and École de Paris. However, his return to New York City in 1962 artistic career.

Copley heeded Duchamp’s encouragement and embarked on a journey of artistic selfIn Black Press, Inc. in 1968—a publishing venture aimed at democratizing art through Stop)—underscored his commitment to pushing artistic boundaries beyond the confines of

traversed a wide array of themes, from the nude figure to nationalism, often imbued with playful engagement with visual puns and vaudevillian Americana set him apart as a visionary been celebrated through numerous exhibitions, including the groundbreaking survey “William curated by Germano Celant and Toby Kamps. His work continues to captivate audiences institutions and public collections, affirming his enduring legacy as a vital link between European Copley’s artworks stand as a testament to his pioneering spirit and unwavering commitment to

The Marmor Family Collection

30

William Copley (1919-1996)

“Haut Boy,” 1970

Acrylic on canvas

Signed and dated lower left: Cply; titled on a museum label affixed to the stretcher 51” H x 38” W

$30,000-50,000

Provenance: The Artist

The Marmor Family Collection, acquired from the above

Exhibited: Paris, France, Centre Georges Pompidou, n.d.

The Marmor Family Collection

31

William Copley (1919-1996)

Figures in an entryway

Charcoal on paper

Signed and inscribed in red ink lower right: Bill Cply

24” H x 19” W

$10,000-15,000

Provenance: The Artist

The Marmor Family Collection, acquired from the above

/ To Mike / Merry Xmas / Nom a Bill Cply

The Marmor Family Collection

32

William Copley (1919-1996)

Knight’s gambit, 1964

Felt pen and ink on paper

Signed, dated, and inscribed at the center of the left edge: , at center: Cply / To Katherine / Happy Birthday

Image/Sheet: 23.875” H x 18.75” W

$10,000-15,000

Provenance: The Artist

The Marmor Family Collection, acquired from the above

The Marmor Family Collection

33

William Copley (1919-1996)

Nude with figure in bowler hat Felt pen, crayon, and collage on paper

Unsigned 28” H x 18.5” W

$12,000-18,000

Provenance: The Artist

The Marmor Family Collection, acquired from the above

The Marmor Family Collection

34

William Copley (1919-1996)

Hotel rooms, 1959

Watercolor and felt pen on paper

Signed and dated near the lower edge, at right: Cply

Sheet: 15.75” H x 20” W

$5,000-7,000

Provenance: The Artist

The Marmor Family Collection, acquired from the above

Sir Anthony Alfred Caro (1924-2013)

Sir Anthony Caro, a revolutionary force in twentieth-century innovative approach to materials and spatial relationships. studying engineering at Christ’s College, Cambridge, apprenticeship with Henry Moore. It was in the Whitechapel Gallery, London, where he presented the conventions of pedestal-mounted sculpture

Caro’s influence extended beyond his studio practice; profoundly impacted the next generation of sculptors. subject matter, leading to the flourishing of sculpture

In 1977, Caro’s artistic exploration took him to the experimented with tubular steel in a linear mode. notable works such as “Emma Dipper” (1977, now continued evolution as an artist. This is the same

Throughout his illustrious career Caro explored paper. His restless experimentation with form and propelled him to the forefront of contemporary viewers a deeply subjective encounter with form,

Anthony Caro’s selected exhibitions spanned the Museum of Modern Art in New York (1975) to Trajan’s Caro’s sculptures engaged diverse audiences in (2005), celebrated his profound influence on British his practice to various cultural contexts. Each exhibition captivate and inspire audiences worldwide.

Honored with numerous awards and accolades, Caro’s legacy as a pioneering sculptor and educator language of abstract sculpture, coupled with his influential figures in the history of modern art.

Caro

twentieth-century sculpture, challenged traditional notions of form and engagement with his relationships. Born in New Malden, England, Caro’s journey into sculpture began after Cambridge, followed by sculptural training at the Royal Academy Schools in London and an early 1960s that Caro’s artistic vision crystallized into a groundbreaking exhibition at the presented large, brightly painted abstract sculptures positioned directly on the ground, shattering and inviting viewers into a more intimate, interactive encounter with the artwork. practice; his tenure as a teacher at St. Martin’s School of Art in London (1953 -1981) sculptors. His questioning approach opened new possibilities, both formally and in terms of sculpture worldwide.

the Emma Lake summer workshop at the University of Saskatchewan, where he mode. Sculptures produced during this period, later known as the “Emma” series, include now in the Tate Gallery collection) and “Emma Dance” (1977/78), showcasing Caro’s same period Caro created the present work, “Table Piece CCCLXXIII,” (1977).

a diverse range of materials, from steel, bronze, lead, and silver to stoneware, wood, and and composition, coupled with his influential teaching at St. Martin’s School of Art in London, sculpture. Resolutely nonfigurative, Caro’s works resonate with human experience, offering form, space, and emotion.

the globe, showcasing his pioneering contributions to twentieth-century sculpture. From the Trajan’s Markets in Rome (1992) and the Museum of Contemporary Art in Tokyo (1995), dialogue about form, space, and materiality. His retrospective at the Tate Britain, London British art, while exhibitions in Pas-de-Calais, France (2008), highlighted his ability to adapt exhibition underscored Caro’s enduring legacy as a visionary artist whose work continues to

including knighthood in 1987 and the Praemium Imperiale Prize for Sculpture in 1992, educator continues to inspire generations of artists worldwide. His profound impact on the his unwavering commitment to artistic innovation, cements his place as one of the most

The Marmor Family Collection

Sir Anthony Alfred Caro (1924-2013)

“Table Piece CCCLXXIII,” 1977

Varnished and rusted steel on black lacquered wood table

Unmarked

Sculpture: 21.25” H x 69.5” W x 12.5” D; Base: 18.325” H x 71” W x 15” D

$40,000-60,000

Provenance: ACE Gallery, Venice, CA

The Marmor Family Collection, acquired from the above, July 17, 1978

Exhibited: Venice, California, Ace Gallery, “Anthony Caro: Recent Sculpture,” 1978.

Literature: D. Blume, Anthony Caro: Catalogue Raisonné, Vol. I: Table and Related Sculptures, 1966-1978, Cologne, 1981, p.234, illustrated

Notes: Notes: This lot is accompanied by a purchase receipt from ACE Gallery, Venice, CA, dated July 17, 1978. The bench was custom made for the piece after purchase.

The Marmor Family Collection

36 Armand Pierre Arman (1928-2005)

Untitled, bells, 1964

Brass bells set in resin on painted plywood

With the incised signature and date on the painted plywood, at lower right: Arman

Overall: 18” H x 12.75” W x 4” D

$2,500-3,500

Provenance: The Marmor Family Collection

The Marmor Family Collection

37

Armand Pierre Arman (1928-2005)

“What Happened to the Flowers? (Homage to Andy Warhol),” 1970

Paper collage and resin

Edition: From the edition of 50 (there were also 3 artist’s proofs)

Signed lower left: Arman, and just below, but more faintly, Andy Warhol; dated on a label affixed verso; Sonnabend Gallery, Paris, France, pub.

Image/Resin: 35” H x 35” W

$15,000-20,000

Provenance: Lee Hoffman Gallery, Birmingham, MI

Private collection, acquired from the above

Sold: Christie’s, New York, “First Open / Post-War and Contemporary Art,” March 4, 2016, Lot 39

The Marmor Family Collection, acquired from the above, March 4, 2016

Notes: Each work in this edition is a slight variant. Arman purportedly created the collages with small pieces of paper torn from various impressions of Andy Warhol’s “Flowers” screenprints.

Notes: This lot is accompanied by a copy of the purchase invoice for the Christie’s auction mentioned above. There are also two New Year greeting cards from 1998 and 2001, both handsigned in blue ink by Arman and his wife, Corice. This work is recorded in the Arman Studio Archives, New York, under number: APA# 8400.70.025.

Richard Lindner

(1901-1978)

Born in Hamburg, Germany, Richard Lindner became human figures with machine-like components. These and then later inspired by the vulgar, fetishistic aspects

Born on November 11, 1901, in Hamburg, Germany, shop. Lindner grew up in the era of social satire, mark was worth less than a match. It was easy then

From 1925 to 1927, Lindner attended the Kunstakademie where he cheated his way in by submitting a friend’s large publishing house, from 1929 to 1933. As a flee.

Avoiding arrest by the Nazi regime due to his Jewish early 1940s, becoming a successful illustrator for new life in America, Lindner did not get back to

As Lindner assimilated the hubbub of urban New see women on the streets all wrapped up like candy crowds, of penny-ante popular life. “Macy’s is the smells. Even the chandelier department is a sort created his oeuvre that included exciting and powerful heroes - his artistic panorama of the unruly 60s streetwalkers, circus women, and men in uniform,

Ferdinand Leger had the greatest influence over strokes. “Léger was the most important painter himself with daily existence. He was a peasant who Leger Linder’s work, having lived in Germany until Otto Dix, by the German dada movement, and

The artist died on April 16, 1978, in New York, NY. the Tate Gallery in London, The Metropolitan Museum, Bornemisza Museum in Madrid, among others.

became a prominent New York artist known for his erotic and enigmatic portraits, which blend These expressionistic renderings were initially based on his childhood memories in Germany aspects of life in New York.

Germany, his family moved to Nuremberg in 1905, where his mother ran a boutique corset satire, Max Beckmann’s realism, and the street-fighting of the Weimar Republic—a time where a then for Lindner to become an artist because nothing else paid anything either.

Kunstakademie in Munich, one of the oldest and most significant art academies in Germany, friend’s sketches and began his life’s work. He then became the art director at Knorr & Hirth, a a Jew and a Social Democrat, Lindner knew in 1933 that the rise of Hitler was a reason to Jewish descent, Lindner fled to Paris in the mid-1930s and finally moved to New York in the for numerous publications, including Vogue and Harper’s Bazaar. Busy with these jobs and his to creative painting until 1950.

New York, he combined his natural bent for satire with his impulse to depict city bustle: “You candy packages,” he says, and he is the artist of the concupiscent street scene, of crass the greatest museum in the world,” he says. “You can study the people, the objects, the sort of phony Versailles.” In this metropolitan jungle of New York City, Lindner eventually powerful images of robot-like figures, amazons and heroines, harlequins of self-styled and 70s of the 20th century. Infusing Surrealist and Cubist elements into his paintings of uniform, rendering his subjects with bold outlines and harsh colors. over Linder’s work with his depictions of blocked masses of bodies, lined with broad black to me, the only one who influenced me. His concerns were close to my own. He concerned who charmed me. The elements of his paintings - his tools - are what interests me.” Besides until the early 1930s, Lindner was strongly affected by the satirical art of George Grosz and by surrealism.

NY. Today, his works are held in the collections of The Museum of Modern Art in New York, Museum, New York, The Whitney, Museum of Fine Arts, Houston, and the Thyssen-

The Marmor Family Collection

38

Richard Lindner (1901-1978)

“Waiting and Passing,” 1964

Mixed media on paper

Signed and dated lower right: R Lindner; titled on a gallery label affixed to the frame’s backboard

Sight: 30” H x 40” W

$20,000-30,000

Provenance: Cordier & Ekstrom, New York, NY

The Marmor Family Collection, acquired from the above, April 24, 1964

Exhibited: Berkeley, CA, University of California (Berkeley) Art Museum, “Richard Lindner,” June 17- July 27, 1969, no. 71

Minneapolis, Minnesota, Walker Art Center, “Richard Lindner,” August 11-30, 1969, no. 71

Literature: D. Ashton, “Richard Lindner,” New York, NY: Harry N. Abrams, Inc., 1970, pl. 138 Spies 184

Notes: Notes: This lot is accompanied by the original sales invoice from April 24, 1964, and a letter dated May 18, 1967, asking for a photograph of the piece, “Waiting and Passing,” for a book that was published the following year by Harry N. Abrams, Inc., and the text by Dore Ashton, both from Cordier & Ekstrom, New York, NY. There is also a letter from the Stadtisches Museum, Leverkusen, Germany, about planning the first major retrospective exhibition of the work of Richard Linder and asking to include “Waiting and Passing” in the exhibition. In addition, there are original letters of correspondence from May 24, 1991, about the discussion including this piece in the catalogue raisonné of Richard Lindner, and a copy of the catalogue raisonné entry.

The Marmor Family Collection

39

Richard Lindner (1901-1978)

“Room for Rent,” 1969

Screenprint in colors on wove paper

Edition: 126/150

Signed and numbered in pencil in the lower margin: Richard Lindner; an unidentified geometric blindstamp in the lower right margin corner

Image: 39” H x 27.75” W; Sheet: 40.625” H x 29” W

$600-800

Provenance: Cordier & Ekstrom, Inc., New York, NY

The Marmor Family Collection, acquired from the above, October 2, 1969

40

Richard Lindner (1901-1978)

“The Paris Review,” 1965

Offset lithograph in colors on thick paper

Edition: 150/150

Signed and numbered in pencil in the lower margin: Richard Lindner; signed again in the stone along the lower portion of the right image edge: R. Lindner

Sheet: 28.5” H x 20.25” W

$300-500

Provenance: The Marmor Family Collection

The Marmor Family Collection

41

Allen Jones (b. 1937)

“Young Woman Contemplating Sculpture,” 1969

Lithograph in colors on wove paper, watermark BFK Rives

Edition: One of ten artist’s proofs (there was also the edition of 100)

Signed, dated, and inscribed in pencil at the llower right corner of the image: Allen Jones; E. Matthieu, Zurich, Switzerland, prntr.; Galerie Der Spiegel, Cologne, Germany, pub.

Image: 9.125” H x 11.125” W; Sheet: 17.875” H x 22” W

$400-600

Provenance: The Marmor Family Collection

Literature: Lloyd 49

“Self” from the “New York International” portfolio, 1965

Screenprint in colors on thick wove paper

Edition: 80/225

Signed, dated, and numbered in pencil at the lower edge: Allen Jones; Chiron Press, New York, NY, prntr., and with their blindstamp in the lower left corner; Tanglewood Press, Inc., pub., 1966

Image/Sheet: 22” H x 17” W

$400-600

Provenance: The Bookshop at the Los Angeles County Museum of Art, Los Angeles, CA The Marmor Family Collection, acquired from the above, May 5, 1969

Literature: Lloyd 111.28

Notes: Notes: This lot is accompanied by the original sales receipt from the Bookshop at the Los Angeles County Museum of Art.

42

Allen Jones (b. 1937)

The Marmor Family Collection

43

Roberto Matta (1911-2002)

“I Want to See It to Believe It,” from “Brunidor Portfolio, No. 1”, 1947 Lithograph in colors on wove paper

Edition: 32/70 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: Matta; Alfred W. Jones, New York, NY, prntr.; Robert Altmann, Brunidor Editions, New York, NY, pub.

Image/Sheet: 16.5” H x 13” W

$700-900

Provenance: The Marmor Family Collection

Literature: Sabatier 12

The Marmor Family Collection

44

Carol Summers (1925-2016)

Untitled Woodcut on vinyl in acrylic stand

Edition: 82/100

Signed and numbered at lower edge: Carol Summers

Sheet: 22.25” H x 15.75” W

$500-700

Provenance: Flatsfixed Gallery, New York, NY

The Marmor Family Collection, acquired from the above, April 18, 1971

Notes: Notes: This lot is accompanied by a purchase receipt from Flatsfixed Gallery, New York, NY, dated April 18, 1971.

45

James Rosenquist (1933-2017)

“F-111 (Castelli Gallery Poster),” 1965

Lithograph in colors on lightweight wove paper

From the edition of unknown size

Signed, dated, and inscribed in black ink in the lower edge of the image, at left: James Rosenquist / To the Marmors; Leo Castelli Gallery, New York, NY, pub.

Image:

$700-900

The Artist

The Marmor Family Collection, acquired from the above

28” H x 22” W; Sheet: 29.125” H x 23.25” W

The Marmor Family Collection

46

John Dowell (b. 1973)

“Mr. J.C.,” 1963

Lithograph in colors on wove paper

Edition: One of nine Tamarind Impressions (there was also the edition of 20)

Signed, titled, and inscribed “TAM IMP” in pencil at the lower sheet edge: John Dowell; Tamarind Lithography Workshop, Los Angeles, CA, prntr. / pub., with their blindstamps lower right corner; inscribed 831 in pencil, verso

Image/Sheet: 22” H x 31.5” W

$800-1,200

Provenance: The Marmor Family Collection

Literature: Tamarind 831

47

David James Gilhooly III (1943-2013)

Frog Taco, 1981

Glazed ceramic

Incised signature and date to underside: Gihooly / ‘81 3.25” H x 6.125” Dia.

$800-1,200

Provenance: The Marmor Family Collection

The Marmor Family Collection

48

Karel Appel (1921-2006)

“Two Lovers (Deux Tetes Amoureux),” 1959

Colored crayon on paper, blindstamp Arches

Signed and dated lower left: Appel

22” H x 30” W

$8,000-12,000

Provenance: Esther Robles Gallery, Los Angeles, CA

The Marmor Family Collection, acquired from the above, March 28, 1960

Exhibited: Stanford, CA, Iris & B. Gerald Cantor Center for Visual Arts, Stanford University

Notes: Notes: This lot is accompanied by a sales invoice from Esther Robles, Los Angeles, CA, dated March 28, 1960.

The Marmor Family Collection

49

George Herms (b. 1935)

Untitled

Ink, pencil, and collage on mat board

Unsigned, with L-O-V-E letters in each corner 27.75” H x 22.75” W

$800-1,200

Provenance: The Marmor Family Collection

Notes: The L-O-V-E letters in the corners of this work seem to relate to the fact that, according to the artist’s biography available online, “In the 60s, Mr. Herms began publishing woodcuts and books of poetry on a small hand press he named The LOVE Press.”

Notes: This lot is accompanied by two envelopes with George Herms ephemera and miscellaneous printed material. The first envelope with two copies of “Manifesto” denouncing Rolf Nelson, “All Together Now,” announcement for an exhibition at Molly Barnes, two copies of catalogue Cal State LA, Fine Arts Gallery, 1972, and “Zen Love Poems,” by Idell (with the cover designed by George Herms), the envelope is hand-signed and addressed by Herms; and all contents printed and not inscribed by Herms.

The second envelope with an announcement of Rolf Nelson Gallery Nativity ‘63, signed by Herms, and two-sided, three woodcuts in colors, each signed by Geroge Herms, a small envelope signed by Herms, and a color xerox “Faith,” 1969, the second envelope is hand-signed and addressed by Herms; and all contents with Herms signature, inscriptions, or “LOVE” stamp.

50

Carrie Abramovitz (1913-1999)

Wall sculpture, 1970

Carved redwood

Incised signature and date, verso: Abramovitz / ‘70 34.5” H x 45” W x 2” D

$300-500

Provenance: The collection of the Artist

The Marmor Family Collection, acquired from the above, October 1, 1995

Notes: Notes: This lot is accompanied by a photocopied purchase receipt from the artist, dated October 1, 1995. It is further accompanied by a photocopy of a handwritten letter of appreciation from the artist to the present owner.

51

Carrie Abramovitz (1913-1999)

Soapstone figure, 1988

Carved soapstone on a wood base

Etched signature and date near base: Abramovitz / ‘88

D;

$300-500

Provenance: The collection of the Artist

The Marmor Family Collection, acquired from the above, October 1, 1995

Notes: Notes: This lot is accompanied by a purchase receipt from the artist, dated October 1, 1995. It is further accompanied by a hand-written letter of appreciation from the artist to the present owner.

Figure: 15.5” H x 4.75” W x 4.75”

Base: 3.625” H x 8” W x 5.5” D

The Marmor Family Collection

Circa 1975

Ochre on banyan tree bark

Marked verso: The Yam Totem / CAWTE-2 / 906/8A

25.125” H x 12.125” W x 0.325” D

$300-500

Provenance: The Marmor Family Collection

Notes: Notes: This lot is accompanied by a description of the item written up by the person who sourced the material, dated April 8, 1975.

52

An aboriginal yam totem

53

Jimmy Am Gunguna (b. 1935)

Untitled, circa 1989

Pigment on eucalyptus bark

Unsigned 29” H x 11” W

$600-800

Provenance: Maningrida Arts And Culture, Maningrida, Northern Territory, Australia Hogarth Gallery, London, England, 2000

The Marmor Family Collection, acquired from the above

Notes: Notes: This lot is accompanied by photographs of the work by the collector and an informational printout on the artist.

The Marmor Family Collection

54

Peggy Poulson Napurrula (b. 1935)

“Ngapa Dreaming (The Battle Between Water and Lightning),” 1998

Pigment on linen

Appears unsigned; with the artist’s name, verso, possibly in another hand 52” H x 79” W

$1,500-2,000

Provenance: The Marmor Family Collection

Exhibition: San Francisco, CA, Songlines Aboriginal Art, “Songlines and Dreamings - Mapping and Ancestral Power in Aboriginal Painting,” September 9 - October 27

Notes: Notes: This lot is accompanied by two slide negatives, a Songlines Aboriginal Art exhibition invitation with the work on the cover, and information sheets on the artist from Songlines Aboriginal Art gallery.

55

Lily Kelly Napangardi

(b. 1948)

“Tali (Sandhills),” 2009

Acrylic on linen

Signed verso: Lily Kelly Napangardi with an inventory number 48” H x 53” W

$1,000-1,500

Provenance: Japingka Gallery, Fremantle/Perth, Australia

The Marmor Family Collection

Notes: Notes: This lot is accompanied by a Xerox copy of the work annotated with assorted details including the display orientation and gallery name.

The inventory number, verso, reads: Jap005466.

To quote the Japingka Gallery website, “While Lily Kelly Napangardi presents the finest microcosmic details in her paintings, she embeds these into a macrocosmic aerial view of her country [Australia]. The ephemeral nature of this drifting, changing landscape is her key subject, and the viewer, standing in front of her paintings, can sense something of the immersive experience of her country.” Napangardi won the Northern Territory Art Award for Excellence in Aboriginal Painting in 1986 and the General Painting Category at the Telstra National Aboriginal and Torres Strait Islander Art Award (NATSIAA) in 2003. In January 2006, she was named one of Australia’s 50 most collectable artists by “Art Collector” magazine.

The Marmor Family Collection

56

Roman Loranc (b. 1956)

“Tule Raft,” 1997

Gelatin silver print on paper mounted to a board mount

Edition: 136/200; printed 2006

Signed in pencil on the mount, at right: Roman Loranc; numbered on a gallery label affixed to the frame’s backing board 6.5” H X 9” W

$600-800

Provenance: Photography West Gallery, Carmel, CA The Marmor Family Collection

57

Henri-Georges Adam (1904-1967)

“Ecueils,” 1959

Engraving on wove paper, watermark Edition: 3/30 (an artist’s proof; the Signed, titled, dated, inscribed “epreuve margin: Adam; unidentified blindstamp Sheet: 15.125” H x 22.25” W

$300-500

Provenance: The Marmor Family

watermark Rives the edition was 220)

“epreuve d’artiste,” and numbered, all in pencil in the lower blindstamp initials G.G. in a circle in the lower left margin corner Collection

The Marmor Family Collection

58

Yozo Hamaguchi (1909-2000)

“Sole,” 1956

Mezzotint on wove paper, watermark BFK Rives

Edition: 30/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 11.75”

$700-900

Provenance: The Marmor Family Collection

H x 13.625” W; Sheet: 19.75” H x 20.5” W

59

Yozo Hamaguchi (1909-2000)

Untitled (cherries), 1956

Mezzotint on wove paper, watermark BFK Rives

Edition: 14/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 11.75”

$700-900

Provenance: The Marmor Family Collection

H x 13.625” W; Sheet: 19.75” H x 21” W

The Marmor Family Collection

60

Yozo Hamaguchi (1909-2000)

“Bunch of Grapes,” 1957

Mezzotint on wove paper, watermark BFK Rives

Edition: 15/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 12.75” H x 11.75” W; Sheet: 22.375” H x 15” W

$700-900

Provenance: The Marmor Family Collection

61

Yozo Hamaguchi (1909-2000)

“Breakfast,” 1957

Mezzotint on wove paper, watermark BFK Rives

Edition: 12/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 11.75”

$700-900

Provenance: The Marmor Family Collection

H x 14.25” W; Sheet: 19.5” H x 22.75” W

The Marmor Family Collection

62

Yozo Hamaguchi (1909-2000)

“Pitcher, Grapes, and Lemon,” 1957

Mezzotint on wove paper, watermark BFK Rives

Edition: 5/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 11.75” H x 13.625” W; Sight: 21.5” H x 20” W

$700-900

Provenance: The Marmor Family Collection

Notes: “Pitcher, Grapes, and Lemon” was honored with the National Museum of Art, Tokyo prize in 1954.

63

Yozo Hamaguchi (1909-2000)

“Lemon and Fish,” 1958 Mezzotint on wove paper

Edition: 27/50

Signed and numbered in pencil in the lower margin: Hamaguchi

Plate: 10.5” H x 19.375” W; Sight: 19.5” H x 26” W

$700-900

Provenance: The Marmor Family Collection

The Marmor Family Collection

64

A

Japanese

Bizen-style stoneware vase

Late 20th/early 21st century

With unknown maker’s cipher incised to underside

Likely Japanese Bizen ware, the glazed stoneware vase with round body, long attenuated neck and a flared rim 8.25” H x 4.25” Dia.

$300-500

Provenance: The Marmor Family Collection

65

A Japanese Bizen-style stoneware jar

Late 20th/early 21st century

With unknown maker’s cipher and signature incised to underside

Likely Japanese Bizen ware, the glazed stoneware jar with round body and lightly flared rim 7.5” H x 7.5” Dia.

$600-800

Provenance: The Marmor Family Collection

The Marmor Family Collection

66 Moses Soyer (1899-1974)

Study of two dancer girls

Oil on linen laid to board

Signed lower left: MSoyer 13.875” H x 10” W

$500-700

Provenance: The Marmor Family Collection

The Marmor Family Collection

67

Peter Blake (b. 1932)

Three plates from the “French Postcards” suite

Three works:

Seated nude woman with roses, 1969

Screenprint in colors on thin cardstock

Edition: 33/75

Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Nude woman leaning against a tree, 1969

Screenprint in metallic green on thin cardstock

Edition: 33/75

Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Nude woman seated on a daybed, 1969

Screenprint in colors on thin cardstock

Edition: 2/75

Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Image/Sheet of each: 16.75” H x 10.75” W (approx.)

$1,000-1,500

Provenance: The Marmor Family Collection

Roy Lichtenstein

(1923-1997)

In the dynamic landscape of art history, the legacy centuries and styles. Such is the case with Roy Lichtenstein’s to Claude Monet’s groundbreaking series of paintings

At the dawn of the 20th century, Claude Monet, a His series of Haystacks paintings captured the transient multiple canvases, Monet meticulously depicted the of day. Through his mastery of color and light, Monet ephemeral nature of perception and reality.

Fast forward to the 1960s, a period marked by the leading figure in this movement, drew inspiration images from comic strips, advertisements, and art colors.

One of Lichtenstein’s most notable works within this ingenious use of Ben Day dots—a printing technique comic books. By employing this mechanical process, engages in a playful dialogue with art historical tradition.

In Lichtenstein’s interpretation, the dot pattern serves with varying shades of gray. Through this technique, and subverting the original Impressionist aesthetic. luminous hues of morning to the deep shadows of

In essence, Lichtenstein’s Haystacks series encapsulates challenging traditional notions of artistic originality, Monet’s timeless masterpiece through the lens of commodification of art and the ever-shifting landscape the enduring relevance of Monet’s legacy while simultaneously

legacy of one artist often intertwines with the creations of another, sometimes bridging Lichtenstein’s iconic series of prints, the Haystacks, which serve as a contemporary homage paintings from the 1890s.

a pioneer of the Impressionist movement, embarked on a revolutionary artistic journey. transient beauty of rural landscapes under the ever-changing play of natural light. Across the same subject—the humble haystack—under varying atmospheric conditions and times Monet transformed the ordinary into the extraordinary, inviting viewers to contemplate the

the rise of Pop Art and its subversion of traditional artistic conventions. Roy Lichtenstein, a from the visual lexicon of mass culture. In his prints, Lichtenstein appropriated familiar art history, infusing them with his distinct style characterized by bold lines and vibrant

this vein is his series of Haystacks prints. What sets these pieces apart is Lichtenstein’s technique commonly associated with mass-produced publications such as newspapers and process, Lichtenstein not only pays homage to the pop culture imagery of his time but also tradition.

serves as a clever nod to the halftone printing process, which is used to reproduce images technique, Lichtenstein replicates Monet’s Haystacks in a stylized manner, simultaneously echoing aesthetic. Moreover, by presenting the Haystacks in a serialized format, ranging from the of midnight, Lichtenstein offers a modern take on Monet’s exploration of light and color.

encapsulates the essence of Pop Art—blurring the boundaries between high and low culture, originality, and inviting viewers to reconsider the significance of familiar imagery. By reimagining contemporary mass production, Lichtenstein prompts us to reflect on the landscape of cultural meaning. Through his inventive reinterpretation, Lichtenstein reaffirms simultaneously carving out his own place in the annals of art history.

The Marmor Family Collection

68

Roy Lichtenstein (1923-1997)

“Haystack #2” from the “Haystack Series,” 1969 Lithograph in colors and screenprint on wove paper Edition: 28/100 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil, below the image, in the white screenprinted margins: rf Lichtenstein; Gemini G.E.L., Los Angeles, prntr. and pub., and with their blindstamp at the lower right; with the Gemini ink stamp and workshop number in pencil, both verso: RL69-232

Image: 13.25” H x 23.5” W; Printed area/Sheet: 20.75” H x 30.625”

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 14, 1969

Literature: Bianchini 33-B; Corlett 66; Gemini 151; NGA Gemini CR 31.10; RLCR 1660

Notes: This lot is accompanied by a copy of the sales invoice and the original print documentation, both from Gemini G.E.L.

The Marmor Family Collection

69

Roy Lichtenstein (1923-1997)

“Haystack #3” from the “Haystack Series,” 1969 Lithograph in colors and screenprint on wove paper

Edition: 90/100 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil, below the image, in the white screenprinted margins: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp at the lower right; with the Gemini ink stamp and workshop number in pencil, both verso: RL69-233

Image: 13.5 x 23.5” W; Printed area/Sheet: 20.625” H x 30.75” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 14, 1969

Literature: Bianchini 33-C; Corlett 67; Gemini 152; NGA Gemini CR 31.11; RLCR 1661

The Marmor Family Collection

70

Roy Lichtenstein (1923-1997)

“Haystack #4” from the “Haystack Series,” 1969 Lithograph in colors and screenprint on wove paper Edition: 28/100 (there were also 10 artist’s proofs) Signed, dated, and numbered in pencil, below the image, in the white screenprinted margins: rf Lichtenstein; Gemini G.E.L, Los Angeles, CA, prntr./ pub., and with their blindstamp at the lower right; with the Gemini ink stamp and workshop number in pencil, both verso: RL69-234 Image: 13.5” H x 23.5” W; Printed area/Sheet: 20.75” H x 30.75” W

$8,000-12,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, August 14, 1969

Literature: Bianchini 33-D; Corlett 68; Gemini 153; NGA Gemini CR 31.12; RLCR 1662

The Marmor Family Collection

71

Joel Shapiro (b. 1941)

Untitled, 1988

Bronze on cold-painted bronze base

Edition: 0/3 (an artist’s proof)

Signed, dated, and numbered to underside of base: Shapiro

10.25” H x 14.25” W x 10.75” D

$20,000-30,000

Provenance: John Berggruen Gallery, San Francisco, CA

The Marmor Family Collection, acquired from the above, December 13, 1989

Notes: Notes: This lot is accompanied by a purchase receipt from John Berggruen Gallery, San Francisco, CA, dated November 30, 1989.

The Marmor Family Collection

72

Ronald Davis (b. 1937)

“Cube III” from the “Cube Series,” 1971

Photo offset lithograph in colors on paper mounted to plastic with laminated Mylar overlay Edition: 108/125

Signed in ink, and with the printed title and number, all on a label affixed to the plastic, verso: R. Davis; Gemini., Los Angeles, CA, pub. 30” H x 40” W (irregular)

$1,000-1,500

Provenance: The Marmor Family Collection

73

Ronald Davis

(b. 1937)

“Six Prong - Color,” 1974

Screenprint in colors on wove paper

Edition: Artist Proof X (there was also the edition of 25)

Signed and inscribed “APX” in white pencil lower right: Ronald Davis; Gemini G.E.L, prntr./ pub., and with their blindstamps in the lower right corner; with the Gemini G.E.L ink stamp and workshop number in pencil, verso: RD74-5075

Image/Sheet: 15.875” H x 42.125” W

$800-1,200

Literature: Gemini 541

Provenance: The Marmor Family Collection

The Marmor Family Collection

74

Roy Lichtenstein (1923-1997)

“CRAK!,” 1964

Offset lithograph in colors on lightweight wove paper Edition: 165/300

Signed, dated, and numbered in pencil just inside the black border of the image, at right: Roy Lichtenstein; Colorcraft, New York, NY, prntr.; Leo Castelli Gallery, New York, NY, pub.

Image: 18.625” H x 27.125” W; Sheet: 19.25” H x 27.75” W

$15,000-20,000

Provenance: The Marmor Family Collection

Literature: Bianchini 5; Corlett II.2; RLCR 812

Notes: “CRAK!” served as a promotional poster for Roy Lichtenstein’s second solo exhibition at the Leo Castelli Gallery in New York City, which took place from September 28 to October 24, 1963. Other notable works included in the 1963 exhibition were, “Whaam!,” “Drowning Girl,” “Conversation,” “In the Car,” “Torpedo...Los!,” and “Baseball Manager.”

Lichtenstein created this image by utilizing Ben-Day dots, speech balloons, and onomatopoeic graphic text, which were all a characteristic of his signature comic book style. It was also one of many of “his works related to military art and monocular vision.” Michael Lobel, an art historian, described monocular vision as a visual motif that depicts the subject “frontally in such a way as to expose both eyes to the view, yet which has one eye closed or otherwise obscured,” and in the context of this particular image, “the main subject has one eye-opened and one eye closed, which related to a pervasive theme of monocularity in Lichtenstein’s art.”

The visual inspiration for this piece comes from the comic book story, “Star Spangled War Stories #102,” originally written by Bob Haney and illustrated by Jack Abel. He visually recomposed his image from the original comic book source by “replacing the mound of sand with what seems to be a stack of sandbags. He also isolated the figure by cropping the foreground and background elements.”

“CRAK!,” encapsulates the aesthetic of the comic strip, vibrant primary colors, and moments of graphic motifs of action with pop culture ties; which all perfectly describe Lichtenstein’s popular style.

The Marmor Family Collection

75

Roy Lichtenstein (1923-1997)

“The Solomon R. Guggenheim Museum Poster,” 1969

Screenprint in colors on wove paper, watermark BFK Rives

Edition: 155/250

Signed, dated, and numbered in pencil in the lower margin, at right: rf Lichtenstein; The artist and Leo Castelli Gallery, New York, NY, for the Solomon R. Guggenheim Museum, New York, NY, pub.

Image: 23.125” Dia.; Sheet: 28.75” H x 28.75” W

$6,000-8,000

Provenance: The Marmor Family Collection

Literature: Bianchini 35; Corlett 83; RLCR 1789

Notes: Roy Lichtenstein created this image for his first solo exhibition, “Roy Lichtenstein at the Guggenheim,” September 19 - November 21, 1969, at the Guggenheim Museum, New York. The image was reproduced as the cover for the October 1969 issue of “ARTnews” magazine.

76

Roy Lichtenstein (1923-1997)

“At the Beach,” from the “Surrealist Series,” 1978 Lithograph in colors on Arches 88 paper Edition: 34/38 (there were also 7 artist’s proofs)

Signed, dated, and numbered in pencil, below the image, in the lower margin, at right: rf Lichtenstein; Gemini G.E.L., Los Angeles, CA, prntr./ pub., and with their blindstamp in the lower margin, at right; the Gemini G.E.L. ink stamp and workshop number in pencil, both verso: RL78-858

Image: 17.75” H x 33.875” W; Sheet: 26” H x 42” W

$10,000-15,000

Provenance: Gemini G.E.L., Los Angeles, CA

The Marmor Family Collection, acquired from the above, April 26, 1978

Literature: Corlett 156; Gemini 794; NGA Gemini CR 31.59; RCLR 2696

Notes: Notes: This lot is accompanied by the original sales invoice and the print documentation, both from Gemini G.E.L.

The Marmor Family Collection

77

Roy Lichtenstein (1923-1997)

A set of six porcelain plates, after the artist’s “Bull Profile” series, 1989 Glazed porcelain plates

Edition: 29/50 (there were also 6 artist’s proofs)

Each Each with the artist’s printed signature and title to verso; additionally printed around each rim, verso: “The Proceeds of the sale of this plate will benefit The International Art Show for the End of World Hunger. / Reproduced from Bull I-VI / © 1989 Roy Lichtenstein / Gemini G.E.L. / Produced in Vermont, U.S.A. By Charlotte Potok;” Artists to End Hunger, Inc., pub.

Each plate: 13” H x 13” W x 1” D; Each box: 7.125” H x 16.5” W x 20.125” D

$5,000-7,000

Provenance: The Marmor Family Collection

Literature: cf. Corlett 116-121

Robert Rauschenberg (1925-2008)

Robert Rauschenberg, born Milton Rauschenberg artistic journey that spanned multiple mediums and His early years were marked by a convergence of Rauschenberg’s artistic pursuits took him to various with avant-garde figures like John Cage and Merce setting the stage for his groundbreaking collaborations

In the 1950s, Rauschenberg’s experimentation with collages made on Italian shirtboards and photographs image. These explorations laid the groundwork for lithography allowed him to seamlessly integrate found

“”Jade Hole” (1980) demonstrates Rauschenberg’s fabric. For the work, Rauschenberg transferred a variety publications onto asymmetrical pieces of blue and

By the early 1960s, Rauschenberg’s work had garnered Exhibition of Prints in Ljubljana, Yugoslavia, cementing In the late 1960s and beyond, Rauschenberg’s interests Brown Dance Company sparked a renewed passion Series. From then on, Rauschenberg exclusively used innovation and experimentation.

In the 1970s, Rauschenberg’s move to Captiva Island, idiom and a newfound appreciation for natural fibers, mastery of texture and materiality. Collaborations boundaries of what was possible with paper as a

The 1980s saw Rauschenberg undertaking ambitious Overseas Culture Interchange (ROCI). These projects exchange on a global scale. Meanwhile, his exploration Photem Series showcasing his keen eye for capturing

Rauschenberg’s impact on the art world cannot be the way for future generations of artists, inspiring contemporary art. Today, his legacy lives on as a testament

Rauschenberg on October 22, 1925, in Port Arthur, Texas, embarked on a diverse and pioneering and styles.

influences and experiences. After serving in the U.S. Navy during World War II, various institutions, where he explored different techniques and styles. Notably, his encounters Merce Cunningham during his time at Black Mountain College left a lasting impression, collaborations in the years to come. with materials and techniques began to bear fruit. His early works on paper, such as photographs taken during travels with Cy Twombly, hinted at his later fascination with the found for his later innovations in printmaking, where techniques like solvent transfer and found images into his compositions.

Rauschenberg’s mature use of solvent transfer imagery and variety of appropriated imagery from print and green textiles and paper.” - Robert Rauschenberg Foundation garnered widespread acclaim, with accolades like the Grand Prize at the International cementing his reputation as a master of printmaking. Yet, his artistic journey was far from over. interests expanded to include photography once again. Collaborations with the Trisha passion for the medium, leading to projects like In + Out of City Limits and the Photem used his own photographic images across all mediums, a testament to his commitment to

Island, Florida, marked a significant shift in his artistic practice. Embracing a more abstract fibers, he produced works like the Cardboards and the Venetians, which showcased his with paper mills in France and India further expanded his artistic horizons, pushing the medium.

ambitious long-term projects, such as The ¼ Mile or 2 Furlong Piece and the Rauschenberg projects exemplified his belief in the power of art to foster social change and cultural exploration of photography continued unabated, with projects like Glacial Decoy and the capturing the beauty of everyday life.

be overstated. His groundbreaking work in printmaking, photography, and beyond paved countless innovations and pushing the boundaries of what was possible in the realm of testament to the enduring power of creativity, collaboration, and experimentation.

The Marmor Family Collection

78

Robert Rauschenberg (1925-2008)

“Jade Hole,” 1980

Oil, solvent transfer, and fabric collage on paper

Signed and dated in pencil at the center of the lower edge: , at center: Rauschenberg; titled on a sales invoice

Sheet: 31.5” H x 23.25” W

$40,000-60,000

Provenance: Ace Gallery, Los Angeles, CA

The Marmor Family Collection, acquired from the above, September 23, 1980

Exhibited: Los Angeles, CA, Ace Gallery, “Three of the Cloisters Series,” April-August,1980

Notes: This lot is accompanied by a photocopy of a sales invoice and a letter signed by Pamela Kort, all from the Ace Gallery.

We wish to thank the Robert Rauschenberg Foundation for their assistance in the research and cataloguing of this work. The present work is now listed with archive number: RRF 80.D002. This lot is accompanied by a copy of a letter from the foundation, n.d.

The Marmor Family Collection

79

Robert Rauschenberg (1925-2008)

Dwan Gallery poster (Self-portrait), 1965

Offset lithograph in colors on paper

Signed lower right: Rauschenberg

Image/Sheet: 23” H x 25” W

$1,500-2,500

Provenance: The Marmor Family Collection

80

Robert Rauschenberg (1925-2008)

Dwan Gallery “Western Union Telegram” invitation, 1962

Offset lithograph on smooth wove paper

Unsigned Image: 16.25” H x 13.25” W; Sheet: 20” H x 17” W

$300-500

Provenance: The Marmor Family Collection

Notes: This image was for Rauschenberg’s first solo show in California, which featured his “Combines”, March 4-31, 1962, at the Dwan Gallery, Los Angeles, at its first location on Broxton Avenue.

The Marmor Family Collection

81

Larry Rivers (1923-2002)

“At the Dwan Gallery: Rivers Small Recent Work,” 1965

Offset lithograph in colors on paper

From the edition of unknown size

Unsigned; with the printed title in the upper half of the image

Image: 15.5” H x 17.75” W; Sheet: 17.5” H x 20” W

$500-700

Provenance: The Marmor Family Collection

Notes: This work is an exhibition announcement created by Larry Rivers and published for his solo exhibition, “Rivers Small Recent Work,” at the Dwan Gallery, Los Angeles, CA, which opened on November 16, 1995.

82

Claes Oldenburg (1929-2022)

“Symbolic Self-Portrait with ‘Equals’,” 1971

Offset lithograph in colors on smooth Louvain Supreme Vellum Bristol paper

Edition: 115/300 (there were also 25 artist’s proofs)

Signed and numbered in pencil in the lower margin: Oldenburg; with the title, copyright, and publisher line printed in the lower margin, at center; Colorcraft Lithographers, New York, NY, prntr.; Sidney Janis Gallery Editions, New York, NY, and the Contemporary Arts Council, Los Angeles Museum of Art, pub.

Image: 20” H x 15” W; Sheet: 28.5” H x 21” W

$400-600

Provenance: The Marmor Family Collection

Literature: Leavin 22; Axsom and Platzker 74; Stedelijk, p. 6; Pompidou, p. 8; G. Goldman, “Sort of a Commercial for Objects,” The Print Collector’s Newsletter, January-February, 1972, pp. 117-121

The Marmor Family Collection

83

Edward Kienholz (1927-1994)

“Dix Tableux, Edward Kienholz,” 1970 Color poster with mixed media

From the edition of unknown size Color poster, with affixed paper calendar, red plastic slider at top, and a translucent paper partial overlay with black ink thumbprint, as issued; Mazarine, Paris, France, prntr.; Centre National d’Art Contemporain et A.R.C., Paris, France, pub.

30.75” H x 14.25” W

$400-600

Provenance: The Marmor Family Collection

The Marmor Family Collection

84

Joe Goode (b. 1937)

“L.A. Artists & their Cars,” 1969 Photo offset lithographs in colors on paper (calendar)

From the edition of unknown size

Front cover signed in ink lower right: Joe Goode; March signed and inscribed in pen below the image: To me from you / Ed Ruscha; June initialed, inscribed, and with artist’s studio stamp below calendar dates: B.A.B [Bill Bengston] / For KM / with Love; July with signature in ink lower right image: John Altoon; September signed in ink in the image, lower right: Peter Alexander; November signed and inscribed in ink in the image, lower right: For Katherina / Ron Davis; December signed in ink in the image, lower right: Bob Graham; January 1970 signed in ink in the image, at center: Joe Goode

Each sheet: 22.25” H x 14.375” W

$1,800-2,200

Provenance: The Marmor Family Collection

Literature: Barron, Stephanie, “Made in California: Art, Image, and Identity, 1900-2000” (Los Angeles, CA: Los Angeles County Museum of Art, 2000) 205.

Notes: Artists included in this calendar are Bill Bettet, Larry Bell, Ed Ruscha, Bob Irwin, Jim Turrell, Bill Bengston, John Altoon, Ken Price, Peter Alexander, John McCracken, Ron Davis, Bob Graham, and Joe Goode

The Marmor Family Collection

85

Mel Ramos (b. 1935)

“Virnaburger,” 1965

Offset lithograph in colors on paper

A proof aside from the numbered edition of 500

Signed and dated in pencil in the lower margin, at right: Mel Ramos

Image: 19.25” H x 15” W; Sheet: 21.25” H x 17” W

$1,000-1,500

Provenance: The Marmor Family Collection

86

Roy Dean De Forest (1930-2007)

A Dilexi Gallery exhibition poster, circa 1966

Offset lithograph on paper

From the edition of unknown size

With the printed signature near the lower edge, right of center

Image/Sheet: 17.75” H x 24.25” W

$400-600

Provenance: Dilexi Gallery, San Francisco, CA

The Marmor Family Collection

The Marmor Family Collection

87

Richard Pettibone (b. 1938)

“Appropriation Print (with Andy Warhol, Frank Stella, and Roy Lichtenstein),” 1970

Screenprint in colors on wove paper

From the edition of unknown size

Signed and dated in pencil in the lower lower right sheet corner: Richard Pettibone

Sheet: 12.25” H x 16” W

$800-1,200

Provenance: The Marmor Family Collection

88

Jasper Johns (b. 1950)

“Target,” with “Technics and Creativity: Gemini G.E.L.” exhibition catalogue and case, 1970-71 Offset lithograph in colors with collage of watercolor pads and brush on matboard Edition of 22,500

The offset lithograph with the printed signature in the image, as issued; together with the catalogue by the artist and Riva Castleman for the Museum of Modern Art, New York, 1971 exhibition, “Technics and Creativity: Gemini G.E.L.;” both the printed multiple and catalogue housed in the original white plastic clamshell box with information sheet and foam rubber protective sheet, all as issued; Gemini G.E.L., Los Angeles, prntr.; the Museum of Modern Art, New York, pub.

Image/Matboard: 10.25” H x 8.375” W

$400-600

Provenance: The Marmor Family Collection

Literature: ULAE 89

The Marmor Family Collection

89

A custom Mayline C-File flat filing cabinet coffee table

Late 20th/early 21st century

Front with label: Mayline C-File

The enameled steel five-drawer art filing cabinet with later added custom wood tabletop and base set on metal and rubber casters 21.325” H x 54.75” W x 43” D

$1,000-1,500

Provenance: The Marmor Family Collection

90

◊ A Contemporary rosewood dining set

Late 20th century

Each appears unmarked

The Art Deco Revival set comprising a rectangular trestle-style lacquered table featuring a book-matched rosewood veneer top, extendable with central leaf and raised on columnar legs with chromed metal cuffs, and eight wood dining chairs, each with ebonized vertical slat seatback and seat cushions upholstered in blue cotton brocade-style textured fabric, raised on curvilinear legs, 9 pieces

Table: 29.5” H x 84.25” W x 42” D; Extended: 102.25” W; Each chair: 35.75” H x 22” W x 22” D

$1,500-2,000

Provenance: The Marmor Family Collection

The Marmor Family Collection

91

A Contemporary dining table

Late 20th century

Appears unmarked

The Art Deco Revival table with lacquered book matched wood veneer top set on a brushed steel and wood circular base with two concentric rings and three curved arm supports 30” H x 54.25” Dia.

$2,000-3,000

Provenance: The Marmor Family Collection

92

A pair of Modern side tables

Late 20th century

Each unmarked

The tables with book matched lacquered burlwood veneer top, set on a painted metal frame with triangular stretchers, 2 pieces

Each: 20.875” H x 21.5” W x 14” D

$300-500

Provenance: The Marmor Family Collection

The Marmor Family Collection

93

Charles And Ray Eames (1907-1978 And 1912-1988)

An “Aluminum Group” side chair for Herman Miller, late 20th century

Designed 1958

With embossed Herman Miller logo to the frame

The swivel chair with black leather sling-style upholstery and polished aluminum frame, set upon four legs with metal feet

33.5” H x 27” W x 27” D

$250-350

Provenance: The Marmor Family Collection

94

Charles-Edouard “Le Corbusier” Jeanneret (1887-1965)

A pair of LC2 Petite Club Chairs for Cassina

Designed 1928 by Le Corbusier, Pierre Jeanneret (1896-1967), and Charlotte Perriand (1903-1999)

Each with Cassina tag to underside

The lounge chairs with chrome-plated steel frame and foam cushions upholstered in brown leather with cording

2 pieces

Each: 26.5” H x 31.25” W x 28” D

$1,200-1,800

Provenance: The Marmor Family Collection

The Marmor Family Collection

95

Charles And Ray Eames (1907-1978 And 1912-1988)

Time Life Stool Model 0411-A, mid/late 20th century

Designed 1960

Unmarked

Turned walnut

15” H x 13.125” Dia.

$600-800

Provenance: The Marmor Family Collection

97

Charles And Ray Eames (1907-1978 And 1912-1988)

Time Life Stool Model 0413-C, mid/late 20th century

Designed 1960

Unmarked

Turned walnut

15” H x 13” Dia.

$600-800

Provenance: The Marmor Family Collection

96

Charles And Ray Eames (1907-1978 And 1912-1988)

Time Life Stool Model 0413-C, mid/late 20th century

Designed 1960

Unmarked

Turned walnut

15” H x 13” Dia.

$600-800

Provenance: The Marmor Family Collection

98

Three Joan Miró and one Marc Chagall lithograph catalogue raisonnés

Four works:

Leiris, Michel (essays); Fernand Mourlot (catalogue). “Joan Miró: Lithographs Volume I.” New York: Tudor Publishing Company, 1972

Edition: 667/5000

Hardcover quarto, First English language edition, with twelve original color lithographs by Miró, bound in and printed by Mourlot, protected by a Mylar sleeve

13” H x 10.25” W x 1.625” D

Queneau, Raymond (prologue); Enrique Molina Campos (translation). “Joan Miró: Litógrafo II, 1953-1963.” Barcelona: Ediciones Pol”grafa, S.A., 1975

From the edition of 150

Hardcover quarto, First Spanish edition, with eleven original lithographs, bound in throughout the book, with a twelfth used as the dustjacket, including original belly band wrapper and acetate cover, additionally protected in a Mylar sleeve

13” H x 10.375” W x 1.75” D

Teixidor, Joan (preface); “Joan Miró: Lithographs Volume III, 1964-1969.” Paris: Maeght Éditeur, 1977

Edition: 558/5000

Hardcover quarto, First English language edition, with five original lithographs, bound in throughout the book, with a sixth used as the dustjacket, including original belly band wrapper and acetate cover, additionally protected in a Mylar sleeve

13” H x 10.25” W x 1.325” D

Cain, Julian (preface); George Lawrence (translation). “The Lithographs of Chagall, 19621968.” Boston: Boston Book and Art Shop, Inc., 1969

Hardcover quarto, with one original colored lithograph as frontispiece, dust jacket protected in a Mylar sleeve

13” H x 10.125” W x 1.125” D

4 pieces

$200-300

Provenance: Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson

99

A group of Frank Lloyd Wright writings and recordings Eighteen works:

“The Work of Frank Lloyd Wright: The Great Wendingen Edition.” New York: Horizon Press, 1965

“Frank Lloyd Wright Drawings For a Living Architecture.” New York: Horizon Press, 1959

“The Architectural Forum, Frank Lloyd Wright.” January 1948 Staple-bound magazine later bound in a hardcover

“Frank Lloyd Wright: An Autobiography.” New York: Duell, Sloan and Pearce, 1943

“An Autobiography: Frank Lloyd Wright.” The Taliesin Press, 1944

Hitchcock, Henry-Russell “In the Nature of Materials: The building of Frank Lloyd Wright, 1887-1941.” New York: Duell, Sloan and Pearce, 1942

“Frank Lloyd Wright: The Future of Architecture.” New York: Horizon Press, 1953

“Frank Lloyd Wright: The Disappearing City.” New York: William Farquhar Payson, 1932

“AIA Monthly Bulletin, Michigan Society of Architects.” December, 1959

“The Drawings of Frank Lloyd Wright, For the Museum of Modern Art.” New York: Horizon Press, 1962

“Genius and the Mobocracy.” New York: Duell, Sloan and Pearce, 1949

“When Democracy Builds.” Chicago: The University of Chicago Press, 1951

Frank Lloyd Wright Foundation. “Taliesin Drawings.” New York: Wittenborn, Schultz, Inc., 1952

“Taliesin Square-Paper.” The Taliesin Press, 1949, issues 13, 14

“Frank Lloyd Wright, Japanese Prints Exhibition.” Municipal Art Gallery, Barnsdall Park, January 10-February 4, 1962

“Frank Lloyd Wright Week, Los Angeles.” The Comsky Galery Beverly Hills, California, 1974

The Address of Frank Lloyd Wright in accepting the Gold Medal of The A.I.A. Houston Texas, March 17, 1949, comprising four LP records in original binding

Frank Lloyd Wright on Architecture LP record I & II, 1951

18 pieces

Largest: 13.75” H x 13.325” W x 1.5” D

$500-700

Provenance: The private collection of Robert Andrew Swan

100

Man Ray (1890-1976)

“Nudo,” 1964

Lithograph in colors on wove paper

Edition: 6/100 (there were also 10 artist’s proofs)

Signed and numbered in pencil underneath the image and in the lower margin: Man Ray; Stampatore Clot, Bramsen & Georges, Paris, France, pub.

Image: 12.5” H x 19” W; Sheet: 20” H x 26” W

$600-800

Literature: Anselmino 24

101

Lynn Chadwick (1914-2003)

“Moon in Alabama,” 1963

Lithograph in colors on wove paper

Edition: XXII/XXXV (there was also a numbered edition of 65)

Signed, dated, and numbered in pencil in the lower margin: Chadwick; Felix H. Man and Galerie Wolfgang, Ketterer, Stuttgart, Germany, pub., and with their blindstamp at the lower right margin corner

Image: 24.25” H x 20” W; Sheet: 30.125” H x 20.5” W

$400-600

102

Richard Diebenkorn (1922-1993)

“#1” from “Nine Drypoints and Etchings,” 1977 Etching and drypoint on wove paper

Edition: 24/25, aside from an edition of ten artist’s proofs

Initialed, dated, and numbered in pencil in the lower margin: DP; John Silvon, prntr.; Crown Point Press, San Francisco, CA, pub., with their blindstamps in the lower margin, at right

Plate: 23.75” H x 17.75” W; Sheet: 30” H x 22.25” W

$2,000-4,000

103

Howard Hodgkin (1923-2017)

“Thinking Aloud in the Museum of Modern Art” from the series “In the Museum of Modern Art,” 1979 Soft-ground etching on yellowish-gray Hodgkinson hand-made paper Edition: 65/100

Signed, dated, and numbered in red pencil in the lower edge, at center: Hodgkin; Ken Farley and John Hutcheson, Petersburg Studios, New York, NY, prntr.; Petersburg Press, New York, NY, pub.

Image/Sheet: 30.5” H x 40.5” W

$1,500-2,500

Literature: Tate Gallery 23

Notes: According to Hodgkin’s partner, Antony Peattie, “Prints mattered to Howard all his working life. He collected them avidly....He delighted in the way prints made his own work available to a wider public and revelled in its technical challenges, as collaboration with printers offered him an alternative to the lonely solitude of painting studio.” Scholar Richard Morphet wrote, “With a deep understanding of the sophisticated techniques required to bring out the desired colours and textures...Hodgkin’s printmaking methods were incredibly ambitious, spontaneous and hugely experimental. Hodgkin employed an enormous variety of printmaking techniques, from lithography, to screen-printing, to intaglio works with additional carborundum and hand-coloring. His method of layering three or even four different printmaking techniques gave new potential to the medium. The result was a painterly fusion of rich printed colour with the more immediate and luminous hand-colouring.”

Over time, the scale and technical intricacy of Hodgkin’s prints tended to increase, and he occasionally switched master printers and publishers. What remained consistent through it all, however, was an ongoing interest in lush colors, broad, dynamic lines and marks, and the creation of mostly abstract compositions which he famously described as “representational pictures of emotional situations.” His subjects were often very personal, stemming from memories and responses to people, places, literature, and admiration for artistic predecessors or peers such as Vuillard, Degas, Matisse, Hockney, and Ellsworth Kelly. Luckily, unlike some of his contemporaries, Hodgkin tended to title his paintings and prints; his descriptive word choices often help to make his abstract images more accessible than they would otherwise be.

104

David Hockney (b.1937)

“Celia - Elegant,” 1979

Lithograph on Toyoshi 80 paper

Edition: 72/100 (there were also 16 artist’s proofs)

Signed, dated, and numbered in green pencil along the lower sheet edge, at left; Gemini G.E.L., Los Angeles, pub., with their blindstamps near the lower right sheet

corner

Image/Sheet: 40.25” H x 29” W

$6,000-8,000

Provenance: Brompton Gallery, London, England

Provenance: Museum of Contemporary Art Tokyo 224; Gemini 836

105

Ken Price (1935-2012)

“Green Turtle Cup,” 1971

Screenprint in colors on Arjomari wove paper

Edition: 25/75 (there were also 9 artist’s proofs)

Signed, titled, dated, and numbered along the extreme lower edge of the image, at right: Ken Price; Gemini G.E.L., Los Angeles, prntr./pub., with their blindstamps in the lower right margin

corner

Image: 41.5” H x 36” W; Sight: 56.75” H x 39.75” W

$2,500-3,500

Literature: Gemini 332; Gemini NGA 39.9

Notes: Price once said, “I just like the cup. I think it’s a kind of primal idiom. . . Yes, it’s very limiting, but once you agree to all the tight limitations, then you have total freedom.”

106

Jeff Laudenslager

20th century)

Zig zag sculpture

Patinated steel

Appears unmarked

27.25” H x 8.75” W x 8.5” D $800-1,200

107

A Modern wood inlay and Mid-20th century

Appears unmarked

The sideboard with two double-hinged inlay, each side revealing a 28” H x 64.5” W x 18” D

$700-900

(b.

and chrome sideboard

double-hinged cabinet doors featuring arched wood and chromed metal single shelf, raised on chromed metal box stretcher and tapered legs

108

Three George Nelson & Associates for Howard Miller Clock Co. clocks

Three works:

A “Ball” clock, model 4755, circa 1960s

Designed 1949 by Irving Harper (1916-2015)

With sticker verso: Howard Miller Clock Co. / Zeeland, Michigan / Chronopak

The atomic-style wall clock with winding movement housed in a grey enameled aluminum case issuing metal spokes and grey painted wood balls at each terminus

13.25” Dia. x 2.75” D

A “Ball” clock, model 4755, circa 1960s

Designed 1949 by Irving Harper (1916-2015)

Stamped verso: 4755

The atomic-style wall clock with battery-powered movement housed in a brass case issuing goldtoned metal spokes with natural wood balls at each terminus, including original box

13.25” Dia. x 3” D

A “Steering Wheel” clock, Model 4756, circa 1960s

Designed 1948 by George Nelson (1908-1986)

With Howard Miller label to front

The steering wheel form wall clock with battery-powered movement housed in a brass case issuing brass spokes mounted to an enameled metal wheel

11.325” Dia. x 2.625” D

3 pieces

$600-800

Provenance: Carroll Sagar + Associates, Los Angeles, CA

The private collection of Robert Andrew Swan, acquired from the above March 16, 1970

Notes: Notes: This lot is accompanied by a purchase receipt for the second item listed from Carroll Sagar + Associates, Los Angeles, CA, dated March 16, 1970.

109

Celso Lagar Arroyo (1891-1966)

Three clowns

Oil on canvas

Signed lower right: Lagar

Sight: 7” H x 10.25” W

$1,000-1,500

Notes: There is a large, partly illegible oval black ink stamp, verso.

110

Burt Brock (20th century)

Untitled Pigments on joined squares of thick handmade paper

Signed lower right corner: Burt Brock

22” H x 57” W

$500-700

111

James Strombotne (b. 1934)

Man in an interior scene, 1947 Acrylic on canvas

Signed upper left: Strombotne 48” H x 35” W

$800-1,200

Provenance: Sold: Butterfields, San Francisco, CA, “Modern, Contemporary & Latin American Art,” April 24, 1997, Lot 5669

112

A set of Modernist-style silver and stone-set jewelry

Mid/late 20th century

Each stamped: 900

Two works comprising a silver necklace with six oval links and three drops, each with a bezel-set orange stone, together with a matching pair of clip earrings, 3 pieces

Necklace: 17.5” L x 2” H; Each earring: 3.125” H 151.5 grams gross

$500-700

113

A Modernist

Late 20th

Unmarked

A brutalist with figural 19” L 88.1 grams

$500-700

114

A set of Mariusz Gliwinski MG Baltic amber jewelry Mariusz Gliwinski (b. 20th century)

Late 20th/21st century

Pendant marked: MG; Cuff with paper label affixed verso: MG / 78 / Made in Poland

Two works comprising a large Modernist plaque necklace with set amber slab suspended to leather cordage with chunky terminals and clasp, together with a set amber offset Modernist cuff with fishtail terminal, 2 pieces

Necklace: 18” L x 4” H; Cuff: 7.5” total inner C x 2.75” H, with a 1” gap 263.6 grams gross

$500-700

113

Modernist silver pendant necklace

20th century

Unmarked brutalist sterling silver freeform collar necklace figural pendant and narrow flat wire links x 4” H grams

$500-700

115

Joan Savo (1918-1992)

Untitled, abstract composition, 1960

Oil on board

Signed and dated lower right: Savo 31” H x 48.5” W

$1,000-2,000

Provenance: Claypool Freese Gallery, Pacific Grove, CA Winfield Gallery, Carmel, CA

Exhibited: San Francisco, CA, San Francisco Museum of Art, “79th Annual Painting Exhibition of the San Francisco Art Association.” 1960

San Francisco, CA, California Palace of the Legion of Honor, “Fifth Winter Invitational,” 1964

Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980”

Notes: This lot is accompanied by a color of transparency of the painting as well as copies of personal letters written by Joan Savo.

A signed letter from Claypool Freese Gallery discusses their involvement with Joan Savo’s career and offer to assist collectors in purchasing her work in the secondary market.

Public collections that Joan Savo works are in include: Public Collections: Santa Barbara Museum of Art; Walnut Creek Civic Arts Center; Kaiser Center, Oakland; Oakland Museum; Monterey Peninsula Museum of Art; City of Viborg, Denmark.

Robert Irwin

(1928-2023)

Born in 1928 in Long Beach, California, Robert Irwin 1947 before returning to Los Angeles to study art. from 1948 to 1950,—the Jepson Art Institute in 1951, Chouinard from 1957 to 1958. Irwin’s work during with Irwin working predominately in painting and began to completely deconstruct his paintings to abandoned both his studio and painting, wanting

During this period of intense experimentation, Irwin artists of the Light and Space movement (which included vision, but a belief in the influence of physical space the artists of Light and Space were influenced by blue skies, water, and cars. Irwin’s installation pieces perception of the work. One of these early notable and manipulation of light and paint made the painted

In time Irwin’s works became what he called his “site-conditioned” works had been. These works would transcend the parks, gardens, and large outdoor areas. For those was made and then to the art’s response to the light garden at the Getty Museum in Los Angeles, completed

Notes: This lot is one of Irwin’s late 1950s abstract that of juxtaposing shape and color. Irwin exhibited Expressionist) champions Ferus Gallery. This painting, painting for sculpture, and eventually, his large-scale Robert Irwin passed away in October of 2023. He numerous collections, including—Centre Georges Museum of Art; the—Museum of Contemporary Art, Contemporary Art San Diego; the—Walker Art Center, Washington, D.C.;—Museo Nacional Centro de Arte Metropolitan Museum of Art, New York;—Solomon York.

“To be an artist is not a matter of making paintings shape of our perceptions.”— - Robert Irwin

Irwin served in the U.S. Army in the aftermath of World War II (1941-1945) from 1946 to art. Irwin spent time at numerous art schools in California, including the Otis Art Institute 1951, and—the Chouinard Art Institute (now CalArts) from 1952 to 1954, teaching at during the late 1950s was deeply influenced by the dominating Abstract Expressionist school, sculpture. Becoming more interested in perception and its influence on viewers, Irwin their essences, defined by his mid and late-1960s dot and line paintings. By 1970 Irwin wanting to break out of the confines of the limitations of painting.

Irwin came to the forefront of the California-based “Light and Space” movement. The included artists such as James Turrell and Doug Wheeler) did not share a singular aesthetic space and physical participation of the audience. A uniquely Californian art movement, the ambient and environmental light and atmosphere of southern California: sun, sand, pieces focused on a sensory experience and the role of the artist in guiding the viewer’s notable works was a “discs” series produced between 1965 and 1969, in which his installation painted aluminum discs appear to float or recede into space.

“site-conditioned” works—more immersive experiences for the viewer than his previous the traditional boundaries of gallery spaces and take over urban areas, whole museums, those installations, Irwin attempted to draw the viewer’s attention to the site in which his work light and environment. One of his most famous, and relevant to California, is the sculptural completed in 1997 in conjunction with the opening of the new museum.

abstract paintings and showcases his belief in pairing down painting into its most basic form, exhibited widely throughout this period, usually in partnership with the AbEx (Abstract painting, dated 1956, comes from the artist’s later painting period, before abandoning large-scale installations.

He was the inaugural artist of the MacArthur Genius Award in 1984. His work is included in Georges Pompidou, Paris; the—J. Paul Getty Museum, Los Angeles; the—Los Angeles County Art, Los Angeles; the—Museum of Contemporary Art, Chicago;—Museum of Center, Minneapolis;—Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Arte Reina Sofia, Madrid, Spain; the—Museum of Modern Art, New York; the— York;—Solomon R. Guggenheim Museum, New York; and the—Whitney Museum of American Art, New

paintings or objects at all. What we are really dealing with is our state of consciousness and the

116

Robert Irwin (1928-2023)

“Afterall,” 1956 Oil on Masonite

Signed and dated lower right: Irwin; titled on an exhibition label affixed to the stretcher 26” H x 26” W

$8,000-10,000

Exhibited: Los Angeles, CA, Landau Gallery, “Fourth Outdoor All City Art Festival,” 1957

117

William Metcalf (b. 1945) “New Purple,” 1987 Oil on canvas

Signed upper left: Wm Metcalf; signed again and dated, verso; titled on a label affixed to the stretcher 68” H x 48” W

$1,000-2,000

Notes: A copyright stamp affixed verso.

118

William Metcalf (b. 1945)

Untitled, abstract Oil on canvas

Signed lower right: Wm. Metcalf

60” H x 48” W

$1,000-2,000

119

William Metcalf (b. 1945)

“Patriot,” 1988

Acrylic on canvas

Signed on the lower edge, right of center: Wm Metcalf; signed again, titled, and dated, verso; titled again on a gallery label affixed, verso 75” H x 61” W

$1,000-2,000

Provenance: Sena Galleries West, Santa Fe, NM/ San Francisco, CA

120

Sair Garcia (b. 1975)

Untitled, 2002

Oil on canvas

Signed lower 32.25” H

$1,500-2,500

$1,500-2,500

121

Sair Garcia (b. 1975)

“Territorio Nuestro” Oil on canvas

Signed and titled verso: Sair Garcia 40.5” H x 78” W

$1,500-2,500

Garcia 2002 canvas

lower left: Sair Garcia x 30” W

122

Joel Urruty (b. 1968)

Reclining female, 2004

Painted and lacquered wood

With the incised signature and date on the figure’s lower leg: J. Urruty 11” H x 8” W x 33” D

$700-900

123

A Jonathan Adler “Talitha” credenza

Early 21st century

With gilt metal “JA” medallion to left side cabinet door

The nickel-plated metal and wood credenza with geometric stud pattern to three hinged cabinet doors, each revealing blue lacquered wood interior with one to two shelves 30.5” H x 69.875” W x 20” D

$1,200-1,800

124

A Jonathan Adler “Nixon” dining table

Early 21st century

With metal tag: Jonathan Adler; sticker to top underside: Handmade in China; further marked on a sticker: P094143521111

The dining table with polished nickel cylindrical drum base pierced in a quadrilinear geometric pattern, surmounted by a white marble top 30” H x 53.5” Dia.

$700-900

125

Early 21st century

With gilt metal “JA” medallion to left side cabinet door

The nickel-plated metal and wood armoire with two hinged doors stamped with a modernist sunburst pattern and cut abalone shell pulls, revealing a blue lacquered wood interior with three shelves above three drawers

72.25” H x 40” W x 19.5” D

$1,500-2,500

A Jonathan Adler “Talitha” armoire

126

Shepard Fairey (b. 1970)

“Obey Eye,” 2009

Screenprint in colors, collage, and hand-painted (HPM) on wood

Edition: 2/2 HPM

Signed, dated, numbered, and inscribed “HPM” at the lower sheet edge: Shepard Fairey; signed, dated, and numbered in pencil again, all verso 24” H x 18” W

$4,000-6,000

Provenance: Subliminal Projects, Los Angeles, CA

Selections from The Elliot Roberts Estate, acquired from the above, October 2009

127

Shepard Fairey (b. 1970)

“Support Our Troops Study,” 2015

Screenprint in colors, collage, and stencil on paper

Signed and dated lower right: Shepard Fairey 15; dated again and titled on a gallery label affixed to the frame’s backing paper

Image/Sheet: 18” H x 21.25” W

$2,000-3,000

Provenance: Jacob Lewis Gallery, New York, NY

Selections from The Elliot Roberts Estate, acquired from the above, September 2015

Exhibited: New York, NY, Jacob Lewis Gallery, “On Our Hands,” September 18-October 24, 2015

Notes: According to the artist’s website, the exhibition, “On Our Hands,” was a solo exhibition of Shepard Fairey’s new body of work, which reflected on “contemporary issues facing our global community: political corruption, environmental apathy and abuse of power. The exhibition is marked by a focus on corporate influence in government and the resulting inaction toward environmental concerns by the powers that be.”

128

Shepard Fairey (b. 1970)

“Occupy Protester,” 2012

Screenprint in colors on speckled cream paper

Edition: 201/250, from a total edition of 450

Signed, dated, and numbered in pencil in the lower margin: Shepard Fairey; also signed in pencil in the lower margin: Sarah; OBEY GIANT, Los Angeles, pub.

Image: 22.75” H x 16.75” W; Sight: 23.375” H x 17.125” W

$1,500-2,500

Provenance: Selections from The Elliot Roberts Estate

Notes: Depicted in this image is Occupy Wall Street protester Sarah Mason, who has also signed the screenprint.

129

Kai and Sunny (b. 1975, b. 1977)

“Just an Illusion 2,” 2013 Screenprint in colors on wove paper

Edition: One of ten artist’s proofs

Signed and inscribed “A/P” in pencil in the lower margin, at left: K + S; with the artists blindstamp in the lower margin, at right

Image: 57.5” H x 32.25” W; Sheet: 60” H x 40.25” W

$600-800

Provenance: Selections from The Elliot Roberts Estate

130

An Epiphone Les Paul Junior electric guitar signed by The Eagles 2001

Serial number: SJ05011760; marked on sticker: A.G.S. / 65346; further marked on sticker: 100% Inspected & Set-Up in the USA by 28 [Epiphone ‘E’]

The 22-fret guitar with sunburst finish to wood body and black pick guard, featuring a raised bridge and clear acrylic knobs, signed in black Sharpie by members of The Eagles: Joe Walsh, Timothy B. Schmit, Don Henley, and Glenn Frey, and housed in a wood and plate glass locking display case, electrified

Guitar: 40” H x 13” W x 2.75” D; Case: 45” H x 19” W x 5.325” D

$1,000-1,500

131

Joan Brown (1938-1990)

“Mary and Julie #16,” 1976

Acrylic, gouache, charcoal, wax crayon, and graphite on paper

Signed, titled, and dated in pencil lower right: Joan Brown

36” H x 24” W

$8,000-12,000

Provenance: Gerald Peters Gallery, Santa Fe, NM, circa 1970

Notes: Joan Brown, an established artist with a rich exhibition history, found herself amidst a whirlwind of creativity during the summer of 1976 in the vibrant Bay Area art scene. Every Sunday, she joined a dynamic group of fellow artists at Manuel Neri’s sun-soaked studio for marathon drawing sessions. Alongside luminaries like Manuel Neri, Ira Yeager, Robert Colescott, and Michael Barnes, they were fueled by the presence of their muse, Mary Julia Klimenko, who had been posing for Neri’s artwork for four years.

However, the sessions were not without their challenges. Mary Julia, their muse, faced opposition from her husband, who forbade her from posing for the group. Undeterred, she defied his wishes, embodying the spirit of artistic rebellion and adding an extra layer of excitement to the sessions. Mary Julia’s transformations through an array of costumes, fueled by her vibrant personality and copious amounts of wine by everyone, added a dynamic element to the creative process.

In “Mary Julia #16”, Joan Brown immortalized her muse in an evocative portrayal, adorned with a skullembroidered bomber jacket and striking red and black heels. The juxtaposition of Mary Julia’s curves with an androgynous sculptural ghost reflected Brown’s use of a similar maquette in “Mary Julia #33,” where a sculpted ghost forms as a stand-in for the missing bride. Brown’s skillful blending of influences from artistic giants like Matisse, Valasquez, and Goya resonates with depth, drawing viewers into a world of interpretation and speculation.

Throughout her art, echoes of Joan Brown’s childhood fantasies of crafting costumes for paper dolls and sketching starlets in fantastical settings reverberated, serving as a means of escape and expression. Her portrayal of traditional feminine gender representation intertwined with a fierce sense of independence, weaving a narrative that transcended conventional boundaries. Even her choice of medium, salvaged paper from San Francisco’s Mission District, underscored her resourcefulness and commitment to artistic expression. Joan Brown is celebrated as one of the most renowned American painters, emerging prominently from the Bay Area scene. Her legacy is defined by a prolific output that encompasses both figurative and abstract expressionism, leaving behind a substantial and influential body of work.

132

Nathan Oliveira (1928-2010)

“Imi Study #2,” 1990

Oil on canvas

Signed and dated lower right: Oliveira; titled on a gallery label affixed to the upper portion of the frame 16” H x 20” W

$4,000-6,000

Provenance: Marsha Mateyka Gallery, Washington, D.C. Private Collection, Warrenton, VA

Sold: Brunk Auctions, Asheville, NC, “Modern to Contemporary Auction,” April 21, 2023, Lot 189

Figure, 2001

Watercolor on paper

Signed and dated lower right: Oliveira

$2,000-4,000

133

Nathan Oliveira (1928-2010)

14” H x 17” W

134

Nathan Oliveira (1928-2010)

“Douro Valley VII,” 1997 Monotype with hand-coloring on wove paper

Signed, dated, and inscribed “VII” in pencil at the lower sheet edge: N. Oliveira; Tamarind Institute, Albuquerque, NM, prntr./pub., and with their blindstamp lower left Sheet 22.25” H x 30” W

$1,500-2,500

Provenance: Marsha Mateyka Gallery, Washington, D.C.

Sold: Bonhams, Los Angeles, CA, “Prints & Multiples,” September 27, 2022, Lot 192

135

Nathan Oliveira (1928-2010)

Figural maquette, 2007

Patinated and cold-painted bronze Edition: 15/25

Signed in the casting: Oliveira / [illegible]; numbered to underside 6.125” H x 2.625” W x 4” D

$1,000-1,500

Paul Wonner

(1920-2008)

Paul Wonner was born in Tucson in 1920 and moved California College of the Arts), where he earned a bachelor’s he worked as a package designer and briefly continued Wonner attended programs and lectures at Robert to the Bay Area to earn his MFA under the direction

By 1953, Wonner completed both bachelor’s and master’s of the Bay Area Figurative Movement. Like other members ‘60s and began painting light-filled landscapes and

Wonner’s “Boy with Flowers,” 1961, was created the where the two artists lived close to the beach. Wonner during the 1960s. This painting was created the same landscape depicted heavily embraces Wonner’s new

In “Boy with Flowers,” it is difficult as a viewer to not expansive sunlit sky that is ubiquitous to Los Angeles’ landscape by a hint of the ocean curling into an orange place within dual interior and exterior spaces, the complete possibilities, and a new outlook for the artist.

Reflecting on this period in his career, Wonner explained, Wonner’s first explorations of the Los Angeles landscape, environment in Los Angeles. It was created before the pools and Malibu landscapes.

The emergence of this painting at auction comes just Rules: Paul Wonner and Theophilus Brown,” where generation of Bay Area Figurative Artists, along with Wonner and Brown were not celebrated as first-generation

Their queer identity has sidelined the artists for too founding members of the Bay Area Figurative Movement. founders, their work and influence on other artists speaks Paul Wonner’s work is represented in public collections Guggenheim Museum, the Whitney Museum of Modern Museums of San Francisco, the Art Institute of Chicago, D.C., and the Hirshhorn Museum and Sculpture Garden,

moved to the Bay Area to study at the California College of Arts and Crafts in Oakland (now bachelor’s degree in 1941. After military service in Texas, Wonner moved to New York, where continued his training at the Art Students League. Residing in New York from 1946 to 1950, Motherwell’s Studio 35, a gathering place for artists’ lectures and events. Wonner returned direction of Hans Hofmann at the University of California, Berkeley, in 1950.

master’s degrees in fine arts from UC Berkeley and began to work with the formative members members of the Bay Area Figurative School, Wonner rejected abstraction in the late 1950s and and interiors that often-showed solitary figures absorbed in their own worlds.

the same year that he and his partner Theophilus Brown moved to Santa Monica, California, Wonner started a teaching position at the Otis Art Institute in Los Angeles and UC Santa Barbara same year that Wonner made his move from the Bay Area to Southern California, and the new environment.

not get lost in the vast blue hues that dominate the upper half of the painting, suggesting the Angeles’ coastline. The painting conveys feelings of spaciousness and tranquility in this new orange wave in the distance. Whereas Wonner’s Bay Area paintings mostly focus on a subject’s complete lack of man-made elements in “Boy with Flowers” suggests new beginnings, new

explained, “We experienced living outdoors rather than inside like artists in New York.” Among landscape, “Boy with Flowers” is a transitional painting from his Bay Area works to his new the artist shed his Bay Area sensibilities, turning his focus to paintings of Southern California

just after the traveling exhibition that started at the Crocker Museum, titled “Breaking the curator and friend Scott Shields Ph.D. argues for Wonner and Brown’s placement in the first with David Park, Elmer Bischoff, James Weeks, and Richard Diebenkorn. Shields argues that first-generation Bay Area Figurative artists because of the couple’s openly homosexual relationship. too long, and Shields has made a strong argument for the reexamination of the artist’s place as Movement. While Wonner and Brown’s sexuality may have excluded them from being praised as speaks for itself.

collections such as the Museum of Modern Art, the Metropolitan Museum of Art, the Solomon R. Modern Art in New York City, the San Francisco Museum of Modern Art, and the Fine Arts Chicago, the Boston Museum of Fine Art, the National Museum of American Art in Washington Garden, also in Washington D.C.

136

Paul Wonner (1920-2008)

“Boy with Flowers,” 1961

Oil on canvas

Signed lower right: Paul Wonner; titled on a gallery label and a partial museum label,

46.5”

$60,000-80,000

Provenance: The Artist Virginia Museum of Fine Arts, Richmond, VA

Felix Landau Gallery, Los Angeles, CA

Gifted to Bill Brown, Los Angeles, CA, circa 1964

Private Collection, Los Angeles, CA, by descent from the above to current owner, 2018

Exhibited: Richmond, VA, Virginia Museum of Fine Arts, “American Painting,” March 9-April 15, 1962

Los Angeles, CA, Felix Landau Gallery, “Recent paintings, Paul Wonner,” January 7-26, 1963

both affixed to the stretcher, verso

H x 46.25” W

137

A pair of Sam Maloof-style armchairs

Late 20th century

Each unmarked

In the manner of Sam Maloof’s low-back chair, the sculpted wood armchairs featuring peg joints, curved arm rests and seat back, and a formed seat, 2 pieces

Each: 36” H x 19.75” W x 23.5” D

$800-1,200

138

Charles Arnoldi (b. 1946)

Untitled, 1988

Acrylic on carved wood

Signed and dated verso: Arnoldi; with artist studio label

23.75” H x 21.125” W x 3” D

$6,000-8,000

139

Mark Williams (b. 1950)

“Venture,” 1988

Acrylic paint on wood assemblage

Signed, titled, and dated verso: Mark Williams

59” H 76.5” W x 6.75” D

$1,000-2,000

Exhibited: Condeso Lawler Gallery, NYC, 1988

$500-700

140 Robert Hartman (1926-2015)

“Blue Scud,” 1962 Oil on canvas

Signed in the lower right corner: Hartman; titled (twice) and dated, verso 49.5” H x 49.5” W

141

Laddie John Dill (b. 1943)

Untitled

Mixed media on canvas laid to panel

Signed and dated verso: Laddie John Dill; initialed and dated again, verso: LJD 48” H x 84” W

$2,000-3,000

142

Josh Reames (b. 1985)

“It’s a Wonderful Thing,” 2014 Acrylic on canvas

Signed, dated, and titled, verso: Josh Reames; titled and dated again on a gallery label affixed, verso 36” H x 40” W

$1,000-1,500

Exhibited: Los Angeles, CA, Luis de Jesus, “#PAINTING,” February 22-March 29, 2014

$500-700

143 Elliot Elgart (1927-2014)

Untitled, abstract, 1966 Oil on canvas

Signed and dated upper left: Elgart

36” H x 30” W

144

Tanya Ragir (b. 1955)

“Landscape V,” 1995

Patinated bronze Edition: 3/9

Signed, dated, and numbered in the casting: T. Ragir

12.5” H x 12.75” W x 2.5” D

$500-700

145

James Renner (b. 1958)

“Heirophant,” 1995

Assembled wood and found objects

Attributed, titled, and dated to affixed paper label at underside of base

Overall: 19.875” H x 7.25” W x 7.25” D

$700-900

146

Hank Pitcher (b.1949)

“Tandem Surfing #2,” 1987

Oil on canvas

Signed and dated lower right: Hank Pitcher ©; signed again, titled, and dated, verso

80” H x 48” W

$3,000-5,000

147

Walter Impert (20th century)

Telephone pole

Oil on panel

$500-700

Signed lower right edge: Impert 24” H x 30” W

148

Luc Leestemaker (1957-2012)

“Transfigurations 2000.54,” circa 2000 Cement acrylic on canvas

Signed, titled, and dated, verso: Luc Leestemaker 48” H x 48” W

$700-900

Notes: A certificate of authenticity and a donation letter both signed by the artist are taped to the verso.

149

Bill Brauer (b. 1939)

Two works:

The red wall, 1971 Pastel on paper

Signed and dated upper left: Bill Brauer

12.5” H x 8.25” W (irregular)

Lady with a blue top Pastel on paper

Unsigned 12.75” H x 11.125” W (irregular)

$500-700

150

Bill Brauer (b.1939)

Profile of a woman, 1992

Pastel on paper

Signed and dated lower right: Bill Brauer

Sight: 10” H x 14” W

$600-800

Tuan Thai (1918-2007)

Thai Tuan, born Nguyen Xuan Cong on September occupation, Thai Tuan relocated to his maternal hometown, advertising, while fostering relationships with notable Saigon, where he commenced his artistic journey modern painting in Saigon, aspiring for the city to

Thai Tuan’s artistic foray into oil painting at the age paintings, characterized by gentle hues and evocative of women, particularly his wife, who serves as the economy of strokes and subdued palettes, evoke

Despite incorporating modern, Western influences, exploration of universal beauty and artistic expression. concerns. Let our emotions work more freely.” Like an ambiguous green background hinting at a lush

September 11, 1918, in Hanoi, hailed from a privileged family of civil servants. Amidst the French hometown, Thanh Hoa, actively engaging in artistic endeavors such as poster drawing and notable resistance writers. Following the 1954 Geneva Agreement, Thai Tuan migrated to around 1956-1957 under the pseudonym Thai Tuan. He played a pivotal role in shaping to become a hub of cultural innovation.

age of forty imbued his works with a profound sense of nostalgia and literary depth. His evocative themes, exude a poetic char m. Central to Thai Tuan’s artistic vision is the portrayal muse for his minimalist yet impactful compositions. His paintings, characterized by an profound emotions and leave a lasting impression on viewers. influences, he disregarded traditional boundaries and historical constraints, prioritizing his expression. “...when enjoying a painting, we should put aside all prejudices and all intellectual Like the portrait of his wife holding an umbrella, the form is simplified and economical with lush garden setting.

151 Tuan Thai (1918-2007)

Portrait of a woman with an umbrella, 1971 Oil on canvas

Signed in Vietnamese and dated lower right; signed and dated again, and variously inscribed, all verso 39” H x 31.5” W

$5,000-7,000

152

Sam Maloof (1916-2009)

A walnut settee, 1969

Incised signature and date to underside: Sam Maloof

The carved walnut two-seater settee with blue hopsack cloth upholstery

33.5” H x 53” W x 29” D

$6,000-8,000

Notes: Sam Maloof furniture is synonymous with high-quality woodworking. Throughout the 20th century, Sam Maloof rocking chairs graced the homes of celebrities and U.S. presidents, and one currently sits in the Smithsonian American Art Museum. A self-taught master woodworker, Maloof is the creator of thousands of handcrafted wooden chairs. He was born in California in 1916 and immediately took a liking to woodworking, carving toys for himself as a child. After making furniture for his own home following his marriage, close friends began asking him to carve pieces for their houses. As word spread, Maloof started receiving requests and commissions from architects and designers throughout California. He began his professional career in the 1950s, and the iconic Sam Maloof woodworking style was known worldwide a decade later.

153

A pair of Art Deco torchères

Circa 1930s

Each with Lightolier label

The single-light gilt and enameled metal lamps with green enameled molded glass shade and inset metal reflector Each: 65.75” H x 11.25” Dia.

$500-700

154

Aart Lambert (1947-2015)

“Fallen”

Patinated and verdigris bronze on stone base

Edition: 6/6

Signed and numbered bottom verso with artist’s cipher

Figures: 6.75” H x 5” W x 2.25” D; Overall: 8.75” H x 5” W x 2.325” D

$600-800

Literature: Wim Alings and Mira Becker, “Aart Lamberts, Visual Language” (Den Bosch, Netherlands: BoxPress, 2013), 63.

155

Aart Lambert (1947-2015)

“Concord”

Patinated and verdigris bronze on stone base

Appears unmarked

Figures: 7.325” H x 4.25” W x 1.875” D; Overall: 9.875” H x 5” W 3.125” D

$800-1,200

Literature: Wim Alings and Mira Becker, “Aart Lamberts, Visual Language” (Den Bosch, Netherlands: BoxPress, 2013), 47.

156

Gidi Levy (1946-1999)

“Variation on Matisse,” 1986 Oil and collage on paper Signed, titled, and dated lower left: Gidi Levy 39” H x 59” W

$800-1,200

Initialed and dated lower right: AS 42”

157

Andre Schiffrin (active 20th century) Sunflowers, 1964 Oil on canvas

H x 30” W

$1,200-1,800

158

James Strombotne (b. 1934)

Untitled, abstract Oil on canvas

Signed upper right: Strombotne 32” H x 40” W

$2,000-3,000

159

James Strombotne (b. 1934)

Untitled, abstract Oil on canvas

Signed upper right: Strombotne 46” H x 44” W

$800-1,200

160

Bernard Villemot (1911-1989)

“Sports d’Hiver, France,” 1954

Lithograph in colors on paper

Signed in the stone near the lower edge, right: Villemot; S.A. Courbet, Paris, prntr.; Ministere des Travaux Publics, des Transports, et du Tourisme, Paris, pub.

Sight: 38.75” H x 23.75” W

$1,000-2,000

Literature: Villemot 58

161

Antonio Citterio (b. 1950)

Two Visa lounge chairs for Vitra, 21st century

Each with cloth Vitra tag

The chairs with cantilevered chromed metal tubular frame and light blue velour upholstered cushions with navy piping 2 pieces

Each: 29” H x 24” W x 21” D

$600-800

162

A Modern surfboard-style coffee table Mid-20th century

Unmarked

The table with white molded glass oval top set on a chromed metal rectangular frame

14.625” H x 80.125” W x 30.125” D

$700-900

163

Richard Etts (b. 1945)

A plaster “Faces” bowl, 1980

Etched signature and date to underside: © Richard Etts

The painted plaster bowl with four mid-relief mask feet 6.5” H x 14.5” Dia.

$1,000-1,500

164

Frank Damiano (20th century)

“Shades of Blue,” 2006 Oil on canvas

Signed and dated lower right: Damiano; signed and dated again, and titled, all on the verso of the canvas and stretcher 48” H x 48” W

$500-700

166

165

John Harrison Levee (1924-2017)

Untitled, 1970

Gouache and mixed media on paper

Initialed and dated lower right: J.L 29” H x 22” W

$700-900

Luigi Benzoni (b. 1956)

A “Beatus Vir” Murano block glass sculpture for Berengo, 2003; Venice, Italy

Etched date and illegible signature to bottom right; stamped to underside: Berengo / Murano Italy

Encased red glass and gold flakes 12.875” H x 10.25” W x 4.5” D

$500-700

167 Joe Tilson (1928-2023)

“P.C. from NYC,” 1965

Screenprint in colors on two sheets of paper and Edition: 18/70

Signed, titled, dated, and numbered in pencil in image: Joe Tilson; Kelpra Studios Ltd., London, London, UK, pub.

84.5” H x 34.5” W (irreg.)

$3,000-5,000

Literature: Pat Gilmour, “Joe Tilson: Graphics,” Vancouver, 1979, p. 5.

Notes: While this piece has been framed to be hung have been shown hung vertically.

and one sheet of filled Bristol board

in the blank along the right edge of the UK, prntr., Marlborough Fine Art Ltd., Vancouver, BC: Vancouver Art Gallery,

hung horizontally, other examples

168

Aaron Fowler (b. 1988)

“Flow”

Mixed media installation with water bottles and particle board

Appears unsigned; titled by repute

72” H x 71.5” W x 3” D (approximately)

$3,000-5,000

Exhibited: Seattle, WA, Seattle Art Museum, “Aaron Fowler: Into Existence,” Dec 13, 2019 - June 28, 2020

Notes: Aaron Fowler was the 2019 recipient of the Seattle Art Museum’s 2019 Gwendolyn Knight | Jacob Lawrence Prize, which is awarded annually to one earlycareer Black artist, and comes with $10,000 and a solo exhibition at the museum.

169

Aaron Fowler (b. 1988)

“Smoke”

Mixed media installation on mirrors mounted to plastic panels

Appears unsigned; titled by repute

80.5” H x 61.5” W x 6” D (approximately)

$2,000-4,000

Exhibited: Seattle, WA, Seattle Art Museum, “Aaron Fowler: Into Existence,” Dec 13, 2019 - June 28, 2020

Notes: Aaron Fowler was the 2019 recipient of the Seattle Art Museum’s 2019 Gwendolyn Knight | Jacob Lawrence Prize, which is awarded annually to one early-career Black artist, and comes with $10,000 and a solo exhibition at the museum.

170

American Realist School (Mid-20th century)

The Thinker

Oil on polyester resin and synthetic hair Unmarked 34” H x 32” W x 42” D (approx.)

$1,500-2,500

171

Bill Brauer

1939)

Nude couple, 1965

Oil on Masonite

Signed twice, dated, and inscribed in the lower left quadrant: Brauer; To Adrianna / and Eddie / and a valued / friendship / Bill Brauer Dec. 25/65

16” H x 24” W

$500-700

(b.

172

Paula

Hocks (1916-2003)

A group of abstract figural stoneware sculptures, mid-20th century

One titled on paper label applied to underside; others appear unmarked

Comprising five glazed stoneware works titled “Half Angel,” “Etruscan Lunches,” “Inventing the Letter A,” “Friends & Lovers,” and “Untitled”

5 pieces

Largest: 13.25” H x 9.325” W x 6.75” D

$1,000-1,500

173

A Maitland-Smith monkey lamp

Late 20th century

With foiled paper label to underside: Maitland-Smith / Hand Made in Philippines

The single-light lamp with a cast and patinated bronze monkey with verdigris holding a leaf-form shade of pen shell, resin, and brass, resting atop a resin sphere and raised on a leather-wrapped base, electrified 21.25” H x 14” W x 9” D

$600-800

174

A Danish Modern-style dining table

Mid-20th century

Unmarked

The table top with notched corners, extendable with two additional leaves, set on four attenuated legs

Stored: 28.25” H x 56” W x 40.5” D; Extended: 96” W

$700-900

175

An Art Deco Revival monumental buffet

Late 20th century

Appears unmarked

The wood veneered credenza with brass hardware and six hinged locking cabinet doors revealing two opposed cavities with a shelf to left side and a central cavity featuring six drawers, two lined with felt, and two additional smaller shelves, all below a central central pull-out surface with inset marble 41.25” H x 108” W x 26.75” D

$800-1,200

176

A Contemporary geometric hanging mobile

Painted metal with round and freeform black painted panels

Unmarked

Dimensions variable: 23” H x 25” Dia.

$800-1,200

177

A Contemporary geometric hanging mobile

Painted metal with round and freeform red painted panels

Unmarked

Dimensions variable: 37” H x 34” Dia.

$800-1,200

178

A Contemporary refectory/console table

Late 20th/early 21st century

Burn mark to one leg: David Wade / California Made

The solid wood rectangular slab top raised on two pedestals of conjoined triangular supports

29.75” H x 120” W x 24” D

$500-700

179

A Woodley Recliner W762-RC by Vanguard

Late 20th century

Unmarked

From the Michael Weiss Collection for Vanguard, the recliner with metallic painted wood frame housing a footrest under the seat cushion, upholstered in orange zig-zag chenille

Stored: 41.25” H x 27.75” W x 34” D; Reclined: 33” H x 27.75” W x 62” D

$1,200-1,800

180

Lotte Jacobi (1896-1990)

Untitled, from the “Photogenics Series,” circa 1950s

Gelatin silver print on paper

From the edition of unknown size; printed later

Signed in pencil lower left: Lotte Jacobi

Image/Sheet: 8” H x 10” W

$1,000-1,500

Notes: Starting in 1947, Lotte Jacobi started creating images made in the darkroom without a camera, also known as “photogenics.” For almost a decade Jacobi experimented with the technique of “cameraless photography,” which created some of her most abstract and unique works. Jacobi described her creative process as: “I started moving around the light source (in the darkroom) as well as the objects I used to make photograms, and from then on, there was nothing I didn’t try... If I had time, I went into the darkroom, because my head was so full of ideas. The possibilities are limitless. The only boundary is the personality that’s working with them. Not much in my life put me into such an altered state of joyful excitement.”

Around this same time, abstract art movements were emerging in American photography, and as a result camera-less photography was seen as a way to break free from the constraints of traditional optical elements. This allowed artists to flee “from the world of material objects to explore the forgotten realms of the unconscious mind and its symbolism... Modern Art was shocked by photography out of its objective, descriptive complacency, and now one finds the beginning of a return of the fruits of its labor to photography.”

Particularly with Lotte Jacobi, her cameraless works were “visions produced solely using directed light. They develop their degree of esthetic effect by simulating motion, creating associations with sculptures or suggestions of widely diverse materials, or evoking expressionistically graceful spaces. Hair-thin lines of light become sharp-edged objects, concentric circles trace spinning motions, and a flowing scale of grays creates the illusion of transparency. Well-versed in the principles of esthetic composition, the photographer drew her images from a seemingly inexhaustible repertoire of ideas.”

181

Lotte Jacobi (1896-1990)

“Gardner Museum, Boston, Mass.,” circa 1950

Gelatin silver print on paper mounted to a mat board

From an edition of unknown size; printed later

Signed lower right: Jacobi

Image/Sheet: 15.375” H x 19.25” W; Mat board: 26.125” H x 29” W

$1,000-1,500

Literature: Marion Beckers, Elisabeth Moorgat, Lotte Jacobi, “Atelier

Lotte Jacobi: Berlin/New York” (Berlin, Germany: Nicolai Verlag, 1998), plate 107.

182

Lotte Jacobi (1896-1990)

“Tajik Woman, Stalinabad,” 1932

Gelatin silver print on paper mounted to board

From an edition of unknown size; printed later

Signed in pencil, lower right: Jacobi

Image/Sheet: 11.875” H x 8.875” W

$600-800

Literature: Marion Beckers, Elisabeth Moorgat, Lotte Jacobi, “Atelier Lotte Jacobi: Berlin/New York” (Berlin, Germany: Nicolai Verlag, 1998), plate 70.

183

Edward Weston (1886-1958)

“Monna Alfau Laughing,” 1924 Silver gelatin on paper

Unsigned; printed later

Image/Sheet: 4” H x 3” W

$1,000-1,500

Provenance: The Estate of Dr. Amy Conger

Literature: Amy Conger, “Edward Weston in Mexico 1923-1926,” San Francisco Museum of Modern Art, the University of New Mexico Press, Albuquerque, fig. 4.

184

Graham Nash (b. 1942)

“Self-Portrait at the Plaza Hotel,” 1974

Giclee on paper

From the edition of unknown size; printed later Signed, titled, and dated in pencil in the lower edge of the image: Graham Nash; inscribed in pencil in the lower edge, at center: For my dear friend Eliot - with respect

Image: 22.5” H x 33.75” W; Sight: 23.5” H x 34.75” W

$500-700

Provenance: Selections from The Elliot Roberts Estate

Literature: Graham Nash, “A Life in Focus: The Photography of Graham Nash” (San Rafael, CA: Insight Editions, 2021) 17.

Notes: In the book, “A Life in Focus,” Graham Nash writes, “I took this self-portrait during the very end of the 1974 Crosby, Stills, Nash & Young Stadium Tour of the World. I was staying at The Plaza Hotel and on my way to London to do the last show. I visualized the composition and then asked my girlfriend Calli Cerami to push camera’s trigger.”

185

Helen Levitt (1918-2009)

“New York 1980 (spider girl),” 1980

Chromogenic print on paper

Appears unsigned; titled and dated on a label affixed verso

Image: 9.625” H x 14.25” W; Sheet: 14.25” H x 17.875” W

$2,000-4,000

Provenance: Galerie Anne De Villepoix, Paris, France

186

A Star International Furniture “Bellini” BU3 sideboard 2017

Paper label verso: Star International; serial number: E77203062017

The black lacquered wood and stainless steel entertainment console with single sliding door revealing two sliding drawers to one side and a single shelf to the other, surmounted by a front galley and a raised black glass top 31” H x 71” W x 23” D

$600-800

187

Toyoda Hiroyuki (1946-2000)

Eight “Pelle” chairs for ICF Group, late 20th century

Designed 1985

With ICF Group paper label; further labeled: Made in Italy

Chrome-plated steel frame and stitched leather upholstery

8 pieces

Each: 31” H x 17.25” W x 22” D

$1,000-2,000

188

A pair of Modern brass globe chandeliers

Mid-20th Century

Each with label: Lustry / Kamenicky Senov

Each with brass fixture with eight radiating arms terminating in a yellow glass globe light, suspended from a slender rod with tubular canopy, electrified, 2 pieces

Each: 43” H x 33” Dia.

$2,000-3,000

Provenance: Private Collection, Hidden Hills, CA

190

A Modern metal and glass bar cart

Mid/late 20th century

Unmarked

The two-tiered metal bar cart with gold-toned finish and convex bowed legs above a mirrored undershelf and set on casters

32.5” H x 33.25” W x 18” D

$500-700

189

Gordon Bradt (1924-2022)

A “Seven Man Clock” for Kinetico Studios, late 20th century

Designed 1992

Signed on mounted copper penny: Bradt; with sticker to movement verso: Kinetico Studios; further marked: AUTOTROL

The brass automaton clock with seven figures moving as though they are operating the clock, electrified 17.5” H x 7.5” W x 4.75” D

$700-900

192 Robert (b. “20th Etching Edition: Signed, Case Plate: $800-1,200

Notes: Crown

192

Robert Bechtle (b. 1932)

“20th and Mississippi - Night,” 2002

Etching and aquatint in colors on paper

Edition: 16/30 (there were also 10 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: Bechtle; Case Hudson, prntr.; Crown Point Press, San Francisco, CA, pub. Plate: 7.875” H x 15.75” W; Sight: 9.5” H x 17.375” W

$800-1,200

Notes: Notes: This lot is accompanied by an information sheet from Crown Point Press and a framing receipt.

191

Corita (Sister Mary) Kent (1918-1986)

Two works:

“May the Heavens that Protect Us be Sweet to You,” 1982 Screenprint in colors on wove paper

From the edition 200

Signed and inscribed in pencil lower right: Corita; with the title printed directly below the image

Sheet: 16” H x 20” W

“May the Sun Shine on You Sweetly,” 1982 Screenprint in colors on wove paper

From the edition 200

Signed and inscribed in pencil lower right: Corita; with the title printed directly below the image

Sheet: 16” H x 20” W

$600-800

193

Two Lino Sabattini “Cormorano” candle holders and two jardinières

Late 20th century

Candle holders marked to underside: Sabattini / Italy; further marked to edges: “Cormorano” Collezione / Sabattini Bregnano Italy

Comprising a near-pair of silver-plated arched candle holders in graduated sizes and two Persepolis-style chromed metal jardinières, 4 pieces

Largest candle holder: 3.75” H x 17” W x 6” D; Each jardinière: 11.125” H x 11.125” W x 11.125” D

$500-700

195 Salvador Dali (1904-1989)

“Don Quixote,” circa 1979

Metal bas-relief with platinum

Edition: I 6/75 (there were With the stamp signature, Martin Lawrence Ltd. Editions, 26.5” H x 19” W

$1,000-1,500

Notes: Bruce Hochman ®

1979 platinum patina also editions in gold, silver, and bronze)

™ OS has confirmed the authenticity of this

$600-800

lower right: Dali; with the incised numbering, lower left; Editions, Van Nuys, CA, pub.

lot.

194

Joseph Galvan (b. 20th century)

An Art Deco Revival acrylic and glass console table, 1987 Laser etched signature and date: Joseph Galvan / 1987 © The table with opposed acrylic slabs joined by a mitered stretcher, surmounted by a later added beveled glass top 34.75” H x 60” W x 13.125” D

196

Kiyochika Kobayashi (1847-1915)

“Heavy Snow at the Toshogu Shrine in Ueno,” 1879

Woodcut in colors on paper

Signed in the image lower right: Kobayashi Kiyochika hitsu; titled in the bottom margin, dated in the upper section of the cartouche in the lower right margin; Fukuda Kumajiro, pub.

Image: 8.125” H x 12.75” W; Sheet: 9.25” H x 13.75” W

$1,000-2,000

198

Kiyoshi Saito (1907-1997)

“Plowing the Rice Field in Spring”

Woodcut in colors on Japanese paper

Signed in black ink lower left: Kiyoshi Saito, together with the art

Image: 10.125” H x 15.125” W; Sheet: 11.625” H x 17.125” W

$600-800

197

Kiyoshi Saito (1907-1997)

Summer in Aizu

Woodcut in colors on paper

Signed in black ink lower left: Kiyoshi Saito, together with the artist’s red seal

Sight: 10” H x 14.875” W

$600-800

artist’s red seal; titled by repute

200

Leon Saulter (1908-1986)

Figure of a reclining woman, 1971 Carved stone

Incised signature and date verso: L Saulter / 71 8.5” H x 17.5” W x 11.25” D

$500-700

199

Matsumi Kanemitsu (1922-1992)

“Oxnard Madame #2,” 1969 Lithograph in colors on wove paper

Edition: From an artist’s proof (there was also the edition of 25) Signed, dated, and inscribed “Artist Proof” in pencil on the image of the orange pigment, near the lower edge, at center: Kanemitsu; Tamarind Lithography Workshop, Inc., Los Angeles, CA, prntr./pub.; titled on a label affixed to the frame’s cardboard backing Image/Sheet: 30” H x 22” W

$500-700

201 Joaquin Sorolla Y Bastida (1863-1923)

Two female figures

Watercolor and gouache on paper

The artist’s name partially visible on the back mat, possibly in another hand: Sorolla; inscribed in pen, again possibly in another hand, verso:

UNU / NOS

Image/Sheet: 7” H x 4” W

$2,000-4,000

202

Gerda With (20th century) “Owls,” 1962

Oil, enamel, and gold leaf on Masonite

Signed and dated lower right: With; signed again and titled in blue pen, possibly in another hand, on a label affixed verso 31.75” H x 15.5” W

$500-700

203

Diane Whitehead (b. 1957) Kitten, 2008

Oil on canvas

Signed and dated lower right: DWhitehead © 28” H x 22” W

$1,500-2,500

204

A Restoration Hardware “Aero” oval dining table 2018

Dated on a paper tag from the manufacturer under table top

The reclaimed elm wood dining tabletop with banded metal edge, raised on a cast metal tulip pedestal base

30” H x 77.5” W x 47.5” D

$600-800

205

A group of Danish Modern-style teak tables

Mid-20th century

Two with paper label: Westnofa Furniture / Made in Norway; lamp and coffee tables stamped: Made in Denmark; coffee table marked: for Contempo Comprising three Westnofa nesting tables (largest: 19.25” H x 24.875” W x 15” D), a Danish single-drawer lamp table (19.5” H x 28” W x 24” D), and a Contempo coffee table (18.875” H x 51.25” W x 26.5” D), 5 pieces

$800-1,200

206

Ward Bennett (1917-2003)

A pair of “Landmark” armchairs for Brickel Associates, circa 1970s

Designed 1964

Each with Brickel Associates paper tag to underside

The chairs with lacquered walnut frame and natural caning to seat back and seat, the detached seat cushion upholstered in brown leather with cording 2 pieces

Each: 32.75” H x 23” W x 23” D

$600-800

Provenance: The private collection of Robert Andrew Swan

Notes: Ward Bennett (1917-2003) was a multi-disciplinary American designer best known for furniture and interior design. Looking back on Bennett’s storied career it is obvious that he had an interest in creatively designing all things. Born Howard Bernstein in New York, he left home at the age of 13. Delivering fabric in the city’s garment district sparked an interest in fashion where he began sketching and designing dresses. Bennet’s love of art drew him to take evening classes with Hans Hoffman, the iconic postwar painter. Hoffman convinced him that his true creative potential lay beyond fashion. Soon his sculptures were exhibited in the Whitney Museum’s annual exhibition in 1944. After a trip to Mexico, Bennet’s jewelry designs were being exhibited, including a feature in a show at the Museum of Modern Art – “Modern Handmade Jewelry”, Sept. 17 – November 17, 1946..

Soon after Bennet’s interest expanded to interiors and by the mid 1960’s he was the sole designer for Brickell and Associates. Blending industrial design into everyday living spaces, as exemplified in his i beam table, his design esthetic has been called “sensual minimalism.” One can find Bennett’s designed across almost every discipline ñ from modern jewelry to flatware designed for Tiffany & Co.

Originally designed in 1964, Bennett’s Landmark chair was inspired by classic English form. Available in two versions (standard and low armrests), the present pair represents the standardheight arms. The caned sides give the chair a visual lightness that molds into any room.

207

Dora de Larios (1933-2018)

A group of ceramic dishes and vessels, late 20th/early 21st century

Each with a version of artist’s signature to underside: de larios; alternately: Dora Comprising one lidded biscuit jar (7.125” H x 5.25” Dia.), one bulbous vase with swathes of blue glaze (6.75” H x 8.5” Dia.), four earth-toned plates of various sizes with foliate or geometric motifs (largest: 2.125” H x 11.5” Dia. approx.), and two small footed bowls (larger: 1.875” H x 6.125” Dia.)

8 pieces

$500-700

208

Mikael Leibovici (b. 1926)

“L’heure Calme,” 2000 Oil on canvas

Signed lower right: Leibovici; signed again, titled, and dated, verso 32” H x 39.25” W

$1,000-1,500

209

Mikael Leibovici (b. 1926)

Landscape with figures

Oil on canvas

Signed lower right: Leibovici 29” H x 36.25” W

$1,000-1,500

210 Lowell Herrero (1921-2015)

“Tuscan Hilltop Villa,” 1999 Acrylic on canvas

Signed lower right: Herrero 60” H x 48” W

$2,000-3,000

Untitled, Tuscany

Offset photo-lithograph in colors on paper

Edition: 20/33

Signed and numbered in pencil in the lower margin: R. Wright

Image: 27” H x 35.5” W; Sight: 28.5” H x 31.5” W

$500-700

211

Robert Wright (20th century)

Condition Reports

1

Overall good condition. The full sheet with deckled edges. The colors fresh. A soft 0.5” vertical crease in the lower left sheet corner. The sheet is framed floating and hinged to the back mat.

Framed under Plexiglas: 29” H x 37.25” W x 2” D

2

Overall good condition. The full sheet with deckled edges. Some scattered soft creases in places at the sheet edges and corners, visible primarily in raking light. A slightly deeper crease, measuring approximately 3” long, near the lower sheet edge, to the right of (but not affecting) the signature. The sheet is loose, not matted.

Unframed

3

Overall good condition. The full sheet with deckled edges. A minor and unobtrusive 0.5” soft crease at the tip of the lower right sheet corner. The sheet is loose, not matted.

Unframed

4

Overall good condition. The full sheet with deckled edges. Pale time staining along the extreme sheet edges. Occasional soft and very minor handling creases at the lower sheet edge. The sheet is framed floating and hinged to the back mat from the verso of the upper sheet corners. Not examined out of the frame.

Framed under Plexiglas: 29.75” H x 37” W x 2” D

5

Overall good condition. Presumably the full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 43.75” H x 50.5” W x 2” D

6

Overall good condition. With full margins and deckled edges. The colors good. Soft cockling along the upper margin, at right. The sheet is loose, not matted.

Framed under glass: 27.5” H x 38.25” W x 1.25” D

7

Overall good condition. Full margins and the colors fresh.

Framed under Plexiglas: 42.25 x 36.75” W x 1” D

8

Overall good condition. Full margins and the colors fresh. A few flecks of black printer’s ink on the sheet, verso.

Framed under Plexiglas: 37 x 42.5 x 1.25” D

9

Overall good condition. The full sheet with deckled edges. The smallest pale flecks of foxing scattered near the center, at left. Four pieces of old hinging tape along the upper sheet edge, verso. The sheet is loose, not matted.

Unframed

10

Overall good condition. The full sheet and the color fresh. Notes: The work is framed floating, hinged to the back mat with archival tape in three places from the verso of the upper sheet edge.

Framed under Plexiglas: 31.5” H x 25” W x 1.75” D

11

Overall good condition. The colors fresh. Notes: The work is framed floating, hinged to the back mat in two places at the verso of the upper margin edge.

Framed under Plexiglas: 30.25” H x 30.25” W x 1.5” D

12

Overall good condition. With full margins and the colors fresh. A 2” diagonal very slight surface scuff at the upper left margin corner, visible only in raking light. The sheet is framed floating, hinged to the back mat in three places at the verso of the upper margin edge.

Framed under Plexiglas: 30” H x 30” W x 2” D

13

Overall good condition. Full margins and the colors fresh. The sheet is frame floating, hinged to the back mat in two places at the verso of the upper margin edge.

Framed under Plexiglas: 30.25” H x 30.25” W x 1.5” D

14

Overall good condition. Full margins and the colors fresh. A soft, approximately 1” handling crease in the lower margin, at center, primarily visible in raking light. Notes: The work is framed floating, hinged to the back mat in three places at the verso of the upper margin edge.

Framed under Plexiglas: 30” H x 30” W x 2” D

15

Overall good condition. Full margins and the colors fresh. The sheet is framed floating and tipped to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 45” H x 59.75” W x 2” D

16

Overall good condition. With full margins. The palest trace of unobtrusive light staining showing only slightly in the lower margin. A few pale foxmarks, verso, one of which shows through faintly to the recto in the left margin. Old brown paper tape at the verso of the upper margin corners. The sheet is loose, not matted.

Unframed

17

Full margins. Staining from old adhesive on the verso of the sheet appearing on the recto in the upper margin, at left. A soft 0.5” crease in the upper margin, at left. Soft surface scratches and scuff marks throughout the purple pigment. The sheet is loose, not matted.

Unframed

18

Overall good condition. The full sheet with deckled edges. Occasional soft, small handling creases showing primarily in the upper and lower margin edges. A soft 1.5” vertical crease in the left margin. A 2.5” fold in the upper left margin corner. The sheet is loose, not matted.

Unframed

19

Overall good condition. The full sheet with deckled edges. A few very soft handling creases showing primarily in the lower right quadrant. Pale time staining along the extreme sheet edges. The sheet is framed floating and hinged to the back mat.

Framed under Plexiglas: 22.25” H x 27.25” W x 1.75” D

20

Overall good condition for a work of this size in this medium. A pencil-thin, approximately 13” horizontal surface scuff across the lower section of the electric cord, possibly inherent in the original manufacture. A slight surface dent, approximately one inch long, across the upper right corner. As is common with these lead relief multiples, there are occasional scattered small surface scuffs and slight abrasions, some areas with delicate surface pitting, and occasional fingerprints or small areas of oxidation near the outer edges, all visible primarily in raking light.

The work, in the publisher’s original welded aluminum frame, is framed under Plexiglas: 39.5” H x 18” W x 2” D

21

Visual: Overall good condition with slight dust accumulation.

Blacklight: No evidence of restoration.

Unframed

22

Visual: Overall good condition with slight dust accumulation.

Blacklight: No evidence of restoration.

Unframed

23

Overall good condition. Full margins and the colors fresh. Slight surface rubbing and a few soft and unobtrusive handling creases in the margins, mostly attendant with the soft Japanese paper chosen by the artist. Some very pale time staining along the extreme upper and left margin edges. Both the upper and lower left margin corners have small tabs of excess paper beyond the full margins which have been gently folded to align with the rest of the margin edges for framing. The sheet is loose, not matted.

Framed under glass: 24.75” H x 19.5” W x 1.5” D

24

Overall good condition. Full margins with deckled edges. The sheet is hinged to a back support on the back mat in two places on the verso of the upper sheet edge, about 1.5” from the upper sheet edge. The sheet is framed floating.

Framed under glass: 28.75” H x 22.25” W x 1.25” D

25

Overall good condition. Full margins with deckled edges. The sheet is framed floating, hinged to a back support and back mat in two places from the verso of the upper margin.

Framed under glass: 28.75” H x 22.25” W x 1.25” D

26

Overall good condition. Some pale and very unobtrusive minor surface near the outer edge of the the lower right quadrant. Notes: The work is mounted to the backing stretcher, as issued.

Framed under Plexiglas: 28.25” H x 19.75” W x 1.5” D

27

Overall good condition with scattered chips, nicks, scuffs, and scratches commensurate with age. The underside of wedge with chipped loss at the mounting to the clear base.

28

Overall good condition with shelf wear, scattered scuffs, and scratches commensurate with age. The object leans as its center of gravity does not perfectly match the center of the object. Subsequently, the underside with a 2.25” diameter area of rubbed wear from rocking movement.

29

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 36” H x 46.75” W x 1.25” D

30

Visual: Overall good condition. An occasional speck of grime commensurate with age.

Blacklight: No evidence of restoration.

Unframed

31

Overall good condition. Artist pinholes at each sheet corner. A soft 5” horizontal crease in the upper left quadrant near the upper edge. Pale surface soiling to the sheet, verso. The sheet is loose, not matted.

Unframed

32

Overall good condition. Artist pinholes at each sheet corner. The sheet is mounted to the back mat from the verso of the upper sheet edge.

Framed under glass: 29” H x 23.75” W x 0.75” D

33

Overall generally good condition. A small notch of paper loss in the extreme upper left corner. Artist pinholes along the upper sheet edge. Scattered and soft handling creases. Areas of old adhesive residue throughout. The sheet is loose, not matted.

Unframed

34

Overall good condition. Very pale light staining to the sheet. Scattered handling creases primarily in the outer edges, the longest along the lower sheet edge. A pinhead-sized reverse pressure mark in the lower left quadrant of the image, primarily visible, verso. Artist pinholes at the upper and lower left corners, and the upper and lower sheet edges, at center. Scattered and small areas of uneven pale staining, verso. The sheet is loose, not matted.

Unframed

35

Overall good condition with scattered scuffs and scratches commensurate with age. A 1.5 x 0.25” scuff to top of sculpture. The steel with oxidation/ rust throughout. The table with scattered scratches from the metal and minor general wear throughout. Felt applied to underside of metal sculpture.

36

Overall generally good condition. Heavy dust accumulation, slight surface scratches and grime, all commensurate with age. The resin with yellowing and cracks running throughout the block, possibly due to climate. The bells with pitting and verdigris. The hardware components with rusting.

Frame: 19” H x 14” W x 5” D

37

Overall generally good condition. Notes: The work is slightly convex, apparently as issued. An unobtrusive horizontal surface scratch extending approximately 10 inches from the center of the extreme left edge, visible only in raking light. Occasional small scuffs or delicate surface scratches primarily to the verso of the back mount. Notes: The work is mounted to Plexiglas, and is lacking one of the four acrylic corner pins (lower right).

Overall: 37” H x 37” W x 2” D

38

Overall good condition. Not examined out of the frame.

Framed under glass: 30.5” H x 40.5” W x 1” D

39

With full margins and the colors fresh. Scattered soft handling creases and occasional slight surface scuffs throughout, visible primarily in raking light. A 9” diagonal, branching fold across the upper left corner of the image, with attendant delicate lines of pigment loss. A few edge tears in the margins, each 0.5” long or less, and not affecting the image. The sheet is loose, not matted.

Unframed

40

Overall good condition. With full margins. Pale light staining throughout and time staining along the upper portion of the extreme right margin edge. Specks of unobtrusive surface soiling in the left margin, at center. A soft 1” diagonal crease in the lower right margin corner. The sheet is loose, not matted.

Unframed

41

Overall good condition. Full margins with deckled edges. Handling creases throughout the margin edges, the largest measuring 3” diagonally near the lower left margin corner. Two small pinholes at both the center of the left and right margin edges. A pinpoint-sized area of foxing in the lower margin edge, at right. The sheet is loose, not matted.

Unframed

42

Overall good condition. The full sheet. Scattered and minor surface scuffs to the image. Three small spots of pale and unobtrusive surface soiling at the upper and right sheet edges. At least three of the sheet corners are slightly dog-eared, the lower right corner being slightly more noticeable than the others. The sheet is loose, not matted.

Unframed

43

Overall good condition. The full sheet. Minor ink offsetting from another impression, verso. Slight remains of old hinges at the verso of the upper sheet corners. The sheet is loose, not matted.

Unframed

44

Overall good condition with minor soiling and scuffs and scratches to print as well as to the acrylic stand.

Framed in acrylic: 20.5” H x 15.875” W x 5.125” D

45

Presumably the full margins. The colors good. Handling creases scattered throughout, the largest area being an 11” diagonal crease in the upper portion of the left margin edge, and slightly affecting the image. The upper right quadrant slightly curled forward, most likely from previous creasing. The sheet is loose, not matted.

Unframed

46

Overall good condition. The full sheet with deckled edges. A soft, 1.5” diagonal crease across the lower right sheet corner, and another crease 0.5” crease near the middle of the lower sheet edge, both of which are visible primarily in raking light. The sheet is loose and not matted.

Unframed

47

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered small chipped losses to the “cheese.”

48

Overall good condition. The sheet is framed floating, hinged to the back mat.

Framed under Plexiglas: 29” H x 37” W x 2” D

49

Overall generally good condition. The extreme tip of each corner of the mat board with either a small abrasion, crease, surface loss, or repair, all pea-sized or smaller. A small piece of masking tape affixed at the verso of the upper right corner. Notes: The work is loose, not matted.

Unframed

50

Overall good condition with scattered scuffs and scratches commensurate with age. One panel with crack/repair verso. The components are loose at their junctures, which are joined by metal brackets and copper wire.

51

Overall fair to good condition with wear, dust accumulation, abrasions, scuffs, and scratches throughout commensurate with age. A pea-sized chipped loss to the upper edge with scattered fleabite chips throughout. The side with a 3.25” long pencil mark. As well, two pencil marks to underside. The base possibly homemade with inherent flaws and scratches/staining at the mounting juncture.

52

Overall good condition with some cockling to panel from curing process.

53

Overall good condition. Very slight abrasions and stray white pigments along the edges.

Framed: 29.5” H x 11.75” W x 2” D

54

Visual: Overall good condition. Minor scuff marks and stray pigment occasionally through the thicker ochre pigments in the middle of the work.

Blacklight: No evidence of restoration.

Unframed

55

Visual: Overall good condition. An occasional minor speck of grime.

Blacklight: No evidence of restoration.

Unframed

56

Overall good condition. The sheet is framed floating and mounted to the board mount. Not examined out of the frame.

Framed under Plexiglas: 16.5” H x 20.5” W x 1.5” D

57

Overall good condition. Full margins with deckled edges. The paper very slightly toned. Minor ink offsetting from a different impression, verso. Framed floating between two pieces of glass.

Framed under glass: 20.5” H x 28” W x 1” D

58

Overall generally good condition. A rich impression with full margins and deckled edges. A soft yet noticeable vertical crease extending vertically from the top to the bottom of the left margin, not affecting the plate. Other smaller handling creases scattered in the margins and margin corners. Two unobtrusive, rice-sized (or smaller), surface abrasions in the upper margin, not affecting the plate, visible primarily in raking light. The sheet is loose, not matted.

Unframed

59

Overall good condition. A rich, velvety impression on a sheet with full margins and deckled edges. Occasional soft handling creases in places near outer edges and corners of the margins. The sheet is loose, not matted

Unframed

60

Overall good condition. Full margins with deckled edges. An occasional minor handling crease showing slightly in the margins or on the verso. The sheet is loose, not matted.

Unframed

61

A rich, velvety impression, with full margins and deckled edges. Several small pressure marks, generally pea-sized or smaller, in the upper right margin corner, not affecting the plate. Six small 1.5” H x 1.5” W patches of surface skinning at or near the margin edges, commensurate with previous matting. Scattered soft handling creases in the margins. The sheet is loose, not matted.

Unframed

62

Overall good condition. With wide (possibly full) margins. Two unobtrusive, tiny foxmarks in the lower margin, at right. Not examined out of the frame.

Framed under glass: 22” H x 20.75” W x 1” D

63

Overall good condition. A rich impression with good contrasts. With wide (possibly full) margins. Some scattered soft handling creases showing primarily in the margins. Not examined out of the frame.

Framed under glass: 20” H x 26.25” W x 1.5” D

64

Overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

65

Overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

66

Visual: Overall generally good condition. Scattered pinhead-sized specks of pigment loss throughout, concentrated in the lower half of the work.

Blacklight: No evidence of restoration.

Frame: 16.5” H x 20” W x 2” D

67

Each: Overall good condition. The tips of the sheet corners occasionally very slightly dog-eared. The sheet is loose, not matted.

Each: Unframed

68

Overall good condition. The full sheet and the colors fresh. Occasional very soft handling creases in the upper sheet edge, visible primarily in raking light, including in the upper sheet corners (attendant with the hinges verso). The sheet is framed floating, hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 22.5” H x 32.5” W x 2” D

69

Overall generally good condition. The full sheet and the colors fresh. A 0.125” Dia. reverse pressure mark in the lower sheet, at right. A 0.5” scratch in the upper right edge. A soft 0.125” Dia. pressure mark in the upper sheet, at left. Old hinging in places on the verso of the upper sheet edge. The sheet is loose, not matted.

Unframed

70

Overall good condition. The full sheet and the colors fresh. A pinhead-sized speck of grime towards the center of the white screenprinted margin. The sheet is framed floating, hinged to the back mat at the verso of the upper left and right sheet corners.

Framed under Plexiglas: 22.5” H x 32.5” W x 1.5” D

71

Overall good condition with minor scuffs and slight darkening to bronze commensurate with age. Corners and edges of base with very slight rubbed wear.

72

Overall good condition. The full sheet. Scattered fingerprints and faint surface scratches, primarily visible in a raking light. The mounted offset with pieces of Velcro along the edges, verso, attendant with the light blue cardboard backing, where the work attaches to.

Unframed

73

Overall generally good condition. The full sheet and the colors fresh. A few slight surface scuffs in the orange pigment of the upper left quadrant. A tiny edge tear, approximately 0.125” long, near the center of the upper sheet edge, and again in the same area of the lower sheet edge. A pinhead-sized abrasion in the upper portion of the right sheet edge. Soft creases at the lower left and right edges of the sheet. The sheet is lose, not matted.

Framed under glass: 16.5” H x 42.25” W x 1.125” D

74

Full margins. Pale light staining and the colors attenuated. Time staining along the extreme margin edges. Three small and soft creases in the upper right quadrant, the largest measuring 3” diagonally in the upper right corner of the image. A pinheadsized area of paper loss in the extreme upper margin edge, at left. The verso sheet with backboard staining throughout, attendant with the cardboard backing being used. The sheet is loose, not matted.

Framed under glass: 20.25” H x 28.75” W x 1.25” D

75

Overall generally good condition. Full margins with deckled edges. The colors fresh. An 11” soft vertical fold in the lower left quadrant, affecting both the image and margins. A 3” hard vertical fold in the lower portion of the extreme right margin edge. Other scattered, soft, and small handling creases. The sheet is loose, not matted.

Unframed

76

Full margins. Pale light-staining, with the colors slightly attenuated. A pea-sized area of slight surface skinning to the right of center in the upper margin. A 0.75” H x 3” W and 0.5” H x 1” W area of pale damp staining along the lower margin edge, at left, showing through from the verso of the lower margin edge. Uneven backboard staining showing on the verso. Four old white hinges at the verso of the upper margin edge. The sheet is loose, not matted.

Unframed

77

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Four plates with 0.5” long stress cracks to the foot of the plate, likely inherent from the time of production. The boxes in good condition with minor shelf wear and scuffing. Stored in museum-quality, custom boxes with foam forms.

78

Overall good condition. The full sheet with deckled edges. A pea-sized area of pale staining near the lower edge, at right. A few flecks of pigment loss in the blue pigment near the upper edge, right of center, possibly in the hand of the artist. The sheet is framed floating and tipped to the back from the verso of the the upper left and right sheet corners.

Framed under Plexiglas: 40.75” H x 32.75” W x 1.75” D

79

Overall good condition. Handling creases scattered throughout, the more prominent areas being a 6” crease along the upper sheet edge, at left, and a 2.25” crease at the upper right sheet corner. The sheet is loose, not matted.

Unframed

80

Overall good condition. Occasional very minor handling creases, visible primarily in the margins and on the verso. The sheet is loose, not matted.

81

Overall good condition. With full margins. Soft and unobtrusive handling creases scattered in the margin edges, and a 1” area of small rippling in the lower margin, at left. The sheet is loose, not matted.

Unframed

82

Overall good condition. Full margins. Soft handling creases scattered throughout the margin edges and corners. A 0.25” horizontal tear in the lower portion of the extreme left margin edge. The sheet is loose, not matted.

Unframed

83

Overall good condition. The colors fresh. A 1.5” flattened handling crease in the black doorway at center, visible primarily verso. Two diagonal flattened creases across the lower right sheet corner, just affecting the outer edge of the red lettering. A few tiny edge tears plus one horizontal tear extending 1” into the sheet from the upper left sheet corner, attendant with the edge of the original red plastic slider at top. Some very minor spots of old dry glue, near the lower sheet edge, verso. Notes: The work is loose, not matted.

Unframed

84

Overall good condition. Soft, small handling creases on the front cover, commensurate with handling. A 0.125” horizontal tear on the cover sheet on the upper right edge. The sheets are held together by brass fixtures on the far ends of the upper edge. The cover sheet with a tear at the upper left puncture hole for the brass fixtures.

Unframed

85

Overall generally good condition. Staining from old tape residue on each sheet corner, not affecting the image. The sheet is loose, not matted.

Unframed

86

Overall generally good condition. A 2” diagonal crease at the lower left corner. A central vertical and horizontal folding crease, presumably, as issued. A small and pale area of surface soiling in the upper right corner. A dime-sized area of pale residue, at center, on the verso sheet. The sheet is loose, not matted.

Unframed

87

Overall good condition. The full sheet. Handling creases throughout the left portion of the sheet. Two 1” diagonal creases near the upper right corner. A very small pinpoint-sized area of foxing near the upper sheet edge, at center. An approximately 1” area of soft abrasion at the extreme upper edge, at right. The sheet is loose, not matted.

Unframed

88

Overall good condition. The colors fresh. The matboard of the offset lithograph detached from the inside cover of the plastic clamshell case. A minute handling crease across the tip of the lower right corner of the exhibition catalogue’s cover. Very minor soiling to the outside of the clamshell case.

Overall for white plastic clamshell box when closed: 10.5” H x 9” W x 1.25” D

89

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The wood top with two 1” long scuffs and localized smaller scuffs to the area and a quarter-sized stain.

90

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Tabletop with small abrasions to the glossy finish at edges of half the table, with a few drink ring/dinnerware impressions to middle. Pitting to chromed metal components. Each chair overall good condition with scattered scuffs, nicks, and scratches, concentrated at legs, each with varying degrees of fading and scattered soiling to upholstery.

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

91

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The top with some scratches to lacquer finish throughout, mostly visible in raking light. Minor oxidation and scuffs to steel components.

92

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. One with more scratching to the lacquered top.

93

Overall good condition with minor scuffs, scratches, and minor soiling commensurate with age and use. The upholstery with very minor abrasions, scuffs, and scratches.

94

Each overall good condition with minor scuffs and scratches commensurate with age and use. The metal frame with scattered pitting to chrome finish. The leather in overall good condition with some creasing and scattered minor scuffs and scratches.

95

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Localized areas of slight separation of the wood towards the middle. More concentrated scratches to edges of both ends. One end that has been used as the top with a drink two pea-sized deeper abrasions.

96

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Localized areas of separation of the wood towards the middle. More concentrated scratches to edges of both ends. One end that has been used as the top with a drink ring.

97

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Localized areas of separation of the wood towards the middle. More concentrated scratches to edges of both ends. Localized black scuffs to the end more used as the bottom.

98

Each overall good condition with shelf wear, very minor bumping to corners, spine ends, and edges. Each dust jacket in good condition with slight tanning. The Miró books with mild foxing to upper page edges. The Chagall dust jacket with tanning at edges and creasing to upper edges. Two with previous retailer pencil marks to end papers. One with previous retailer’s sticker to title page. The Miró books with minor offsetting to opposite pages of original lithographs.

99

Each overall good condition with shelf wear, bumping to edges and corners, tanning, and general wear commensurate with age. A few hardcovers with issues such as soiling or foxing to boards or page edges. Some non-hardcover items with previous owner’s annotation or ex-libris mark. Dust jackets with some chipping at edges.

100

Overall generally good condition. Full margins with deckled edges. Pale light staining to the sheet, with two thin diagonal bands of darker toning near the upper left and right margin corners. Time staining to the extreme margin edges. A pea-sized area of foxing near the lower left margin corner. Soft, small handling creases scattered throughout. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 23.5” H x 29.75” W x 1.5” D

101

Overall good condition. Pale light staining with some areas with small and uneven reverse staining in the upper and lower margin edges. Very minor and small handling creases in the upper margin corners, most likely attendant with the hinging used at the verso of the margin corners. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 32.5” H x 23.25” W x 1” D

102

Overall good condition. With full margins and deckled edges. The sheet is hinged to the back mat with white archival tape in two places on the verso of the upper margin edge.

Framed under glass: 31.25” H x 23.25” W x 1.25” D

103

Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 37” H x 47” W x 2” D

104

The full sheet with deckled edges. Handling creases, generally soft, but occasionally more distinct, scattered throughout, showing primarily in the blank areas. The longest of these, approximately 4,” extends horizontally from the right sheet edge, just above the chair. Creasing affecting the deckle of the lower sheet edge, concentrated primarily at right. The tip of the lower right sheet corner lacking, possibly inherent in the original paper manufacture. Framed floating and hinged to the back mat at the verso of the sheet corners. Not examined out of the frame.

Framed under Plexiglas: 48” H x 38” W x 1.75” D

105

Overall good condition. With wide (probably full) margins, and the colors fresh. Unobtrusive flecks of very minor dust or bloom occasionally showing in the darkest pigments. Not examined out of the frame.

Framed under Plexiglas: 37.5” H x 40.5” W x 1.5” D

106

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

107

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Oxidation and pitting to the chrome finish of the box stretcher and legs. The right side cabinet fronts with spattered reddish staining. The top with a drink ring and a 5” x 3” moisture stain.

108

Each overall fair condition with scattered scuffs, scratches, oxidation to metal components, and general wear commensurate with age. The first clock movement needs repairing and is loose in the case, with hands slightly bent out of straight, and lacking winding key. The second clock lacking hands, condition of movement unknown. The third clock battery movement unmounted and needs repair, lacking one hand, the other detached but retained with the lot, and some cracking to the enameled numeral markings. Each working condition unknown. Moran’s does not guarantee the working condition of clocks and watches. Notes: This lot is sold as-is.

109

Visual: Overall good condition. Occasional craquelure scattered throughout. A stretcher bar crease along the lower edge.

Blacklight: No evidence of restoration.

Frame: 14” H x 17.25” W x 1.25” D

110

Overall good condition. Notes: The work is framed floating and mounted to a linen covered backboard. Not examined out of the frame.

Framed under Plexiglas: 28” H x 63” W x 2” D

111

Visual: Dust accumulation and grime commensurate with age. Pinhead-sized areas of stray pigment scattered primarily in the lower portion of the work.

Blacklight: No evidence of restoration.

Frame: 48.75” H x 34.25” W x 1.5” D

112

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions, surfacereaching fractures and visible inclusions.

113

Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling.

114

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and visible inclusions. Wear to leather cordage, primarily near pendant.

115

Visual: Overall good condition. Occasional small areas of very fine craquelure in the black pigments throughout the center.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 49” W x 1.5” D

116

Visual: Overall good condition. A few pea-sized or smaller spots of grime in the lower left and right corners. Slight surface abrasion scattered at the extreme edges.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 26.75” W x 1.5” D

117

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

118

Visual: Overall good condition. A pinhead-sized scuff with minor pigment loss near the left edge of the upper left quadrant. A rice-size spot of abrasion with attendant pigment loss in the lower portion of the right edge.

Blacklight: No evidence of restoration.

Unframed

119

Visual: Overall good condition. Surface abrasion along each of the extreme edges.

Blacklight: No evidence of restoration.

Unframed

120

Visual: Overall good condition. A few pea-sized or smaller reverse pressure marks scattered in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 35” H x 32.5” W x 1.75” D

121

Visual: Overall good condition. A soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 79.5” W x 1.5” D

122

Overall good condition with dust accumulation, minor soiling, surface scuffs, scratches, and small indentations/nicks to the wood figure, all commensurate with age and wear.

123

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age, concentrated at the front and top. Minor soiling to interiors.

124

Overall good condition with scattered minor scuffs and scratches commensurate with age. The base with localized area of oxidation/rust at the bottom interior. The marble top with scattered shallow scratches and surface wear, the longest measuring 6” long.

125

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The interior shelves with some scratching near the front edges. Right cabinet door with a 5” x 3” area of touch-up to the paint covering a deeper scratch. One drawer with 1.5” long chipped loss to the wood at bottom right corner.

126

Overall good condition. A pinhead-sized hole in the upper right corner. Not examined out of the Plexiglas.

Framed under Plexiglas: 25.5” H x 19.5” W x 2.5” D

127

Overall good condition. The full sheet with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 26” H x 22.5” W x 2.25” D

128

Overall good condition. With margins and the colors fresh. The sheet is sealed within the mat.

Framed under Plexiglas: 31.25” H x 25.25” W x 1.5” D

129

Overall good condition. Presumably the full margins with the lower margin edge deckled. The sheet is frame floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 67.75” H x 47.5” W x 2” D

130

Overall good condition with scattered scuffs and scratches commensurate with age and use. Minor surface grime to neck and headstock, with pitting to the chrome finished of tuning knobs. Case in overall good condition with scattered scuffs, scratches, and indentations. Left side with white spray paint flecks. Case lacking key. Working condition unknown, guitar has not been tested or tuned. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of musical instruments.

131

Overall good condition. Small areas of pigment loss and tears along each extreme sheet edge. Small handling creases and scattered tears throughout. A 5.5” horizontal crease with some attendant pigment loss in the lower right quadrant. A hard 2” diagonal fold in the lower right corner, and a 1.25” diagonal fold in the lower left corner. Occasional rice-sized spots of pigment loss scattered throughout. The sheet is loose, not matted.

Unframed

132

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.5” H x 21.5” W x 2.5” D

133

Overall good condition. Slight cockling to the outer edges. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner.

Framed under Plexiglas: 28” H x 23.75” W x 1” D

134

Overall good condition. The full sheet with deckled edges. Two spots of white material in the upper right quadrant. The sheet is framed floating and affixed to the back mat with three clear archival corners at the upper left and both lower corners, and the upper right corner is tipped to the back mat from the verso.

Unframed

135

Overall good condition with very minor scuffs and darkening/oxidation to bronze commensurate with age.

136

Visual: Overall good condition. Stretcher bar creases along each of the four sides. Craquelure throughout. With areas of pigment loss in the outer edges and impasto, the largest areas being a 0.75” H x 2” W loss near the upper left corner, a 3” H x 3” W area of scattered pea-sized or smaller losses near the center of the left edge, and scattered pea-sized losses in the lower right quadrant. Pea-sized or smaller areas of foxing scattered throughout the canvas, verso.

Blacklight: No evidence of restoration.

Frame: 47.5” H x 47.5” W x 2.5” D

137

Each overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Each with some restoration to most joints, subsequently each slightly shaken. More concentrated indentations and scratches to legs, arms, and seats. One with a 0.325” diameter chip to arm rest terminus.

138

Overall good condition.

139

Overall good condition with mild dust accumulation and very minor scuffs verso.

140

Visual: Overall good condition. Occasional hairline areas of stable craquelure primarily in the thicker application of pigment. A thin band of old water staining along the lower edge. Scattered very minor scuffs and slight grime to the exposed canvas in the upper right quadrant.

Blacklight: No evidence of restoration.

Unframed

141

Overall good condition. A 1” scuff along the lower portion of the left edge.

Frame: 49” H x 85” W x 2” D

142

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

143

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 37” H x 31” W x 2” D

144

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Some dust accumulation and surface grime.

145

Overall good condition with scattered minor scuffs, scratches, and dust accumulation commensurate with age. One component slightly loose from the mounting.

146

Visual: Overall good condition. A small 1” H x 0.5” W area of stray beige pigment to the right of the male figure. Pinhead-sized or smaller flecks of stray white pigment scattered in the upper left and right quadrants. A pea-sized spot of stray black pigment at the center of the right edge. Surface abrasion along the extreme edges and corners.

Blacklight: No evidence of restoration.

Unframed

147

Visual: Overall generally good condition. Very fine, stable craquelure showing throughout the bottom half of the work, primarily in the darker pigments. A rice-sized spot of pigment loss near the upper edge, at center. Very slight surface abrasion to the extreme edges and corners.

Blacklight: No evidence of restoration.

Unframed

148

Visual: Overall generally good condition. Minor surface abrasion with attendant and small pigment losses scattered in the extreme edges and corners. Pinhead-sized or smaller areas of scattered pigment losses throughout.

Blacklight: No evidence of restoration.

Unframed

149

Each: Overall generally good condition. Lady with a blue top, with soft handling creases and unobtrusive surface scratches scattered throughout, and primarily visible in raking light. Each sheet is hinged to the overmat with pieces of tape at the verso of the sheet edges and corners.

Each: Unframed

150

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 16.75” H x 21” W x 1” D

151

Visual: Overall good condition. Dust accumulation and grime, primarily near the outer edges. Several short and very unobtrusive hairline surface scuffs in the background at left. Two unobtrusive, pinheadsized pigment losses, one in the woman’s right cheek and one near her upper right arm. Slight frame abrasion along the left and lower edges

Blacklight: Occasional tiny spots or of touch-up, generally pea-sized or smaller, primarily near the outer edges. A dime-sized touch-up near the center of the extreme right edge

Blacklight: Framed: 40” H x 32” W x 1.25” D

152

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. A 1.5” long white scuff to right side seatback. Upholstery in overall good condition with mild dust accumulation.

153

Each overall fair to good condition with scattered scuffs, scratches, indentations, and oxidation to metal commensurate with age. One shade with a 4” long chipped loss, retained with the lot. One base with 1.5” x 1” loss to the cast metal and a 1” fracture as well. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

154

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The base in good condition with shelf wear, minor scuffs, and a paper label taped to underside describing the marks. Mounting putty to juncture of figures and base.

155

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The base in good condition with shelf wear, minor scuffs, and some chipped losses at corners and edges, possibly inherent. With a paper label taped to underside reading “Stohefor Concord.” Mounting putty to juncture of figures and base.

156

Overall good condition. Slight cockling to the outer sheet edges. The sheet is framed floating and tipped to the back mat from the verso of each sheet edge and corner.

Framed under Plexiglas: 40” H x 60” W x 2” D

157

Visual: Overall generally good condition. Fine and stable craquelure primarily in the yellow pigment to the sunflower, on the left. Occasional areas of pigment loss, the largest measuring 1.5” H x 0.75” W near the left edge of the upper left quadrant. Small areas of discoloration scattered along the outer edges.

Blacklight: No evidence of restoration.

Frame: 31.25 x 43.5 x 1.5” D

158

Visual: Overall good condition. A rice-sized spot of pigment loss in the lower portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 33.5” H x 41.5” W x 1.5” D

159

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 47.5” H x 45.5” W x 1.25” D

160

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 49” H x 39.25” W x 1.5” D

161

Each overall good condition with scattered scuffs and scratches on chrome metal frames commensurate with age. Original manufacturing fabric with soiling and light wear commensurate with use for each.

162

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The chrome plating with pitting and areas of oxidation and rust, concentrated under the glass mounting. The glass top in good condition with scattered scratches, a few measuring about 6” long.

163

Overall good condition with scattered scuffs, scratches, and inherent flaws commensurate with age. Each nose with some rubbed wear/scuffing, with two pea-sized chips to the paint. Interior with 1.5” long sticker residue and minor soiling. Felt feet applied to underside.

164

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 50” H x 50” W x 2” D

165

Overall good condition. Pale light staining to the sheet. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 24” H x 31.5” W x 1.25” D

166

Overall good condition with shelf wear and scattered minor scratches and scuffs commensurate with age.

167

Overall good condition. The image is mounted to the Bristol board, with the two image sheets unaligned when produced. A soft 1.125 horizontal crease across the upper corner panel with the Chrysler Building.

Framed under Plexiglas: 32” H x 85” W x 1.75” D

168

Condition issues are commensurate with the artist’s choice of material and creative process.

169

Condition issues are commensurate with the artist’s choice of materials and creative process.

170

Overall good condition with wear, dust accumulation, light soiling, and minor scuffs commensurate with age. One hand with 1.5” graphite mark.

171

Visual: Overall good condition. Occasional soft surface scratches scattered throughout, the largest measuring approximately 6.5” in the upper left quadrant, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 17.5” W x 1.5” D

172

Each overall good condition with shelf wear, scattered minor scuffs, dust accumulation, and inherent firing flaws commensurate with age. Each with felt applied to underside.

173

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Crazing to the resin sphere as well as to the pen shell shade. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

174

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Possibly lacking one additional leaf. One edge of table top with 8” long rubbed wear to the finish.

175

Overall fair to good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Issues include but not limited to: scattered chipped losses to veneer along back edge and corners, two measuring 2” x 0.5”, four drawer pulls broken off, inhibiting pulling action, and drink rings throughout the top surface. The two rightmost cabinet doors are stuck closed and the interior not inspected. Top surface with two small holes drilled near the back. Lacking key.

176

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

177

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Scattered tiny flaked paint losses to upper wire. One pin-sized nick to one panel.

178

Overall fair condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. One pedestal support cracked in the middle with glued repair. The tabletop with more concentrated scattered scratches, nicks, stains, and wear to the finish.

179

Overall good condition with scattered scuffs, scratches, nicks, and indentations throughout. Rubbed wear and scratching to metallic paint, the arm rest terminuses with 0.75” areas of exposed base wood. The upholstery in good condition with even rubbed wear to the pile, mild soiling, and two pea-sized stains to the seat cushion.

180

Overall good condition. Abrasion along the extreme lower and right sheet edges. A small lighter band along the extreme right edge, possibly inherent in the negative. The sheet is secured to the back mat with three clear archival corners.

181

Overall good condition. The matboard mount is mounted to the back mat.

Framed under Plexiglas: 27.25” H x 30.25” W x 2” D

182

Overall good condition. Small surface abrasions scattered along each of the sheet edges and corners. As previously mentioned above, the sheet is laid to board. The board is secured to the back mat with clear archival corners.

Framed under Plexiglas: 20.25” H x 16.25” W x 1.75” D

183

Overall good condition. Old glue residue on the verso of each sheet edge. The sheet is hinged to the back mat with pieces of linen tape in two places from the verso of the upper sheet corners.

Framed under glass: 14.25” H x 11.25” W x 1.25” D

184

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 34.25” H x 45.25” W x 1.5” D

185

Overall good condition. Dry-mounted to the backmat and hinged to the overmat with multiple pieces of linen tape along the upper and lower edges, verso of the back mat.

Framed under glass: 16.75” H x 20.75” W x 1” D

186

Overall good condition with scattered scuffs and scratches commensurate with age. Bottom drawer with a 4” H x 24” long panel cut out of the back. Shelf with 2” x 24” long panel cut out for electric cable access, retained with the lot. The back board with four 3” diameter ventilation holes cut and mounted with fans. As well, two more 2.5” diameter holes cut for electric cable access. Fleabite nicks to shelf front edge.

187

Each overall good condition with scuffs, scratches, and soiling commensurate with age and use. Some pitting, oxidation, and surface grime to chrome finished metal frame. Leather upholstery in overall fair to good condition with scattered scuffs and scratches and rubbed wear to the black finish, particularly at edges that meet the metal frame, revealing natural leather color underneath.

188

Each overall good condition with scattered scuffs, light scratches, surface grime, dust accumulation, and pitting and oxidation to metal finish commensurate with age. Each glass globe with soiling and fleabites and chips at fitter rim. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

189

Overall good condition with scattered scuffs, light scratches, and dust accumulation commensurate with age. Scattered pitting and oxidation to the finish throughout. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

190

Overall good condition with scattered scuffs and scratches commensurate with age and use. Minor pitting and localized areas of chipped losses to the gold finish. The glass with minor scattered scratches, the most noticeable measuring 3” long to second tier.

191

Each overall good condition. Full margins. “May the Heavens...” with a pinpoint-sized foxmark near the upper edge, left of center. Each sheet is loose, not matted.

Framed under Plexiglas: 17” H x 21” W x 2” D

192

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 25.25” H x 18.75” W x 1.25” D

193

Each overall good condition with tarnishing and light scratches commensurate with age. The jardinières with more concentrated scratching to underside and interior. More tarnishing to edges of candle holders.

194

Overall good condition with scattered scuffs and scratches commensurate with age. The glass top with minor scattered scratches from use.

195

Overall good condition. Scattered surface scratches, primarily in the lower left quadrant. This work is without the issued and original velvet-covered box, with the artist and title lettering on the front. Notes: The work is mounted to the back mat of the frame.

Framed without glazing: 37.5” H x 30.5” W x 3.5” D

196

Overall good condition. A good impression with fresh colors. The sheet is loose, not matted.

Unframed

197

Overall generally good condition. The outermost edges of the image are not visible, either indicating that they are covered by the present matting, or that the work may have been very slightly trimmed into the image on all sides. An unobtrusive foxmark in the upper edge, at right. Not examined out of the frame.

Framed under glass: 14” H x 19” W x 0.75” D

198

Overall generally good condition. With wide (possibly full) margins. Scattered foxing at the center of the upper margin, and just into the upper portion of the sky in the same area. Additional, more delicate foxing showing through from the verso of the lower left margin corner, not affecting the image. Short strips of brittle masking tape at the verso of each of the margin corners. Notes: The work is taped to the overmat from the verso of the margin corners.

Framed under glass: 14” H x 19.25” W x 0.75” D

199

Overall good condition. With deckled edges. Pale toning to the sheet. The sheet tipped to the back mat in the upper left and right corners. Not examined out of the frame.

Framed under glass: 37.25” H x 29.75” W x 1.5” D

200

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. The underside shows where metal rods that were used for mounting previously have been cut. More concentrated scuffing to underside.

201

Scattered foxing, mostly pinpoint-sized, with two larger, pea-sized foxmarks at the right edge. Pale light-staining, the colors slightly attenuated. Remnants of old brown paper tape, old paper, and old glue, all verso. Hinged to the back mat with white hinging tape in two places at the verso of the upper sheet edge.

Framed under glass: 13.25” H x 10.25” W x 1” D

202

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 39” H x 22.5” W x 1.75” D

203

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

204

Overall good condition with scattered scuffs, scratches, and indentations commensurate with age, some inherent in the reclaimed material. Mild soiling to cast metal base. Faux oxidation to metal base and tabletop edges.

205

Each overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. Two drink rings to nesting tables. One drink ring for lamp table. Coffee table with 1.5” long deeper scratch at center of top as well as some bumping at corners and scattered scratches.

206

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age, more concentrated at legs arm rests. Scuffing to seat rails verso. Caning in good condition with scattered unobtrusive dry cracking to a few strands. Leather upholstery in good condition with scattered scuffs and creases, the cording with localized rubbed wear and subsequent loss of leather pigment, particularly in corners and front edges.

207

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The vase and one of the plates with minor crazing to the glaze.

208

Visual: Overall good condition. Small areas of pigment loss scattered in the yellow pigment border, the largest being two 0.75” x 0.25” W areas in the upper left corner. The canvas is slightly rippled at the lower edge of the canvas.

Blacklight: No evidence of restoration.

Frame: 37.5” H x 45” W x 2.5” D

209

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 34.25” H x 41.5” W x 1.5” D

210

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 50” H x 62” W x 3” D

211

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 44” H x 77” W x 2.5” D

John Moran Auctioneers, Inc

SPECIALISTS

President, Auctioneer

Head of Sale, Vice President, Silver, Western, and American Indian Art Specialist

Director, Fine Art

Senior Specialist, Furniture & Decorative Arts ``

Associate Specialist, Fine Art

Associate Specialist, Fine Art

Post-War & Contemporary Design Specialist

Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts

Silver, Western and American Indian Cataloguer

Cataloguer, Furniture & Decorative Arts

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Director, Jewelry & Watches

Department Administrator, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Administrator, Appraisals

Administrator, Trusts & Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Finance

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

PR Manager/Social Media

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

Photography Assistant

FOUNDERS

Jeffrey J. Moran

Maranda Moran

Jenny Wilson

Angela Past`

Bobby Cullen

Ian Anderson

Matthew Grayson

Lori Kassabian

Alek Ellis

Sally Andrew

Grant Stevens

Anne Spink

Madison Ari

Clark Silva

Tom Burstein

Nikita Mehta

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Melissa Brownell

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Matthew Mizerowski

Jacob Baer

Founder John H. Moran (1942-2017)

Co-Founder

Madeleine Moran

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

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer.

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

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

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) The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Bidsquare platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3.5% 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 card payments made directly to Moran are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased 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.