California Living—November 17, 2020 | John Moran Auctioneers by johnmoranauctioneers

Living Tuesday, November 17, 2020

Living Tuesday, November 17, 2020â&#x20AC;&#x201D;10am Sale 176 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Maranda Moran Co-Head of Sale, Specialist maranda@johnmoran.com

Morgana Blackwelder Co-Head of Sale, Senior Vice President, Fine Art Director morgana@johnmoran.com

Mike Hook Fine Art Cataloguer mike@johnmoran.com

Shannon Daily Decorative Arts Cataloguer shannon@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

Hoofrish Patel Client Services hoofrish@johnmoran.com

1001

Alfred R. Mitchell

(1888-1972, San Diego, CA) “Spring Flowers” Oil on board Signed lower right: Alfred R. Mitchell, signed again, titled and inscribed verso: San Diego Cal. 8” H x 10” W $1,000-1,500

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1002

Nell Walker Warner

(1891-1970, Carmel, CA) Eucalyptus landscape Oil on board Signed lower left: Nell Walker Warner 23” H x 35” W $2,000-3,000

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1003

Joane Cromwell

(1895-1969, Laguna Beach, CA) Path through a rolling hills landscape Oil on board Signed lower left: Joane Cromwell 12” H x 16” W $500-700

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1004

Aaron Edward Kilpatrick

(1872-1953, San Luis Obispo, CA) “Sycamore Spring” Oil on canvasboard Signed lower right: Aaron Kilpatrick, titled by repute 18” H x 24” W $1,000-1,500

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1005

Walter Barron Currier

(1879-1934, Santa Monica, CA) “Moonrise,” 1928 Oil on canvas Signed and dated lower right: W Barron Currier, signed again, tit inscribed verso: San Gabriel Val 30” H x 20” W $2,000-3,000

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Walter tled and lley

1006

A Newcomb College landscape vase

First-quarter 20th Century Stamped for Joseph F Meyer [JM] and Sadie Irvine [SI]; Further stamped: 1913 NC / FU49 / B / S Thrown in buff clay by Joseph Meyer and designed by Sadie Irvine with a landscape and tall trees 14.25â&#x20AC;? H x 5.5â&#x20AC;? Dia. $4,000-6,000 Provenance: Property from a Northern Californian Estate

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1008

A Newcomb College pottery vase

1921 Stamped to base for Joseph Meyer [JM] and Anna Frances Simpson [AFS]; Further stamped: 76 The four-handled blue vase with jasmine pattern 4.125” H x 5.25” Dia. $800-1,200

1007

A Newcomb College landscape vase

1917 Marked to underside for Joseph Meyer [JM] and unknown maker; Further stamped: NC / IS30 / 270 / JM The Joseph Meyer-thrown spherical vase with Spanish moss-covered oak trees 3.325” H x 4.25” Dia. $3,000-4,000 Provenance: Property from a Northern Californian Estate

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1009

A Newcomb College bulbous vase

1923 Stamped for Joseph Meyer [JM] and Sadie Irvine [SI]; Further stamped: NC / NJ 50 / 63 Thrown in buff clay by Joseph Meyer and designed by Sadie Irvine, the blue vase with pink and green floral motif 3.75â&#x20AC;? H x 6.25â&#x20AC;? Dia. $500-700 Provenance: Property from a Northern Californian Estate

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1010

Dana Bartlett

(1882-1957, Los Angeles, CA) Trees in a landscape, 1937 Oil on board Signed lower left: Dana Bartlett, signed again, dated and with a painting history verso 12â&#x20AC;? H x 16â&#x20AC;? W $1,200-1,500

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1011

Robert William Wood

(1889-1979, Bishop, CA) “Golden Forest” Oil on canvas Signed lower left: Robert Wood, titled verso, with the reproduction rights reserved by artist stamp 24î H x 36î W $3,000-5,000

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1012

Robert William Wood

(1889-1979, Bishop, CA) “Laguna Canyon,” 1954 Oil on board Signed lower right: Robert Wood, titled, dated and inscribed verso: “Caryl S. Wood - From the private collection” 12” H x 16” W $2,000-3,000 Provenance: Sale: Bonhams California, “SoMa Estate Auction,” August 24, 2008, Lot 4100 Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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1013

Dedrick Brandes Stuber

(1878-1954, Los Angeles, CA) “The Old Cabin” house in a farm landscape Oil on canvas laid to waxed canvas Signed lower right: Dedrick B. Stuber, titled on the stretcher 20” H x 24” W $1,000-1,500 Provenance: De Ru’s Fine Arts, Laguna Beach, CA

1014

George Gardner Symons

(1863-1930, Laguna Beach, CA) “Summer Path” Oil on board Initialed lower right: G.S., titled on a gallery label affixed verso 6” H x 4” W $800-1,200 Provenance: The Redfern Gallery, Laguna Beach, CA

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1015

David Chapple

(b. 1947, California) “Cat Canyon - Wildflowers” Oil on canvas laid to board Signed lower right: David Chapple, titled verso 9” H x 12” W $500-700

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1016

Hernando G. Villa

(1881-1952, Los Angeles, CA) Cabin overlooking a lake, 1944 Oil on canvasboard Signed and dated lower left: Hernando Villa / 44 12â&#x20AC;? H x 16â&#x20AC;? W $1,000-1,500

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1017

Sergei Bongart

(1918-1985, Santa Monica, CA) Small structure in a nocturnal landscape Oil on canvas Signed lower right: Sergei Bongart 30.25â&#x20AC;? H x 36.25â&#x20AC;? W $800-1,200

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1018

Dedrick Brandes Stuber

(1878-1954, Los Angeles, CA) Flowering tree Oil on canvasboard Signed lower right: Dedrick B. Stuber 16” H x 20” W $700-900

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1019

Mentor Huebner

(1917-2001, Los Angeles, CA) “Nothing is Forever,” 1952 Oil on board Signed and dated lower right: Mentor / ‘52, signed again and titled verso 24” H x 30” W $3,000-5,000

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1020

Aaron Edward Kilpatrick

(1872-1953, San Luis Obispo, CA) Sycamore landscape Oil on canvas Signed lower left: Aaron Kilpatrick 20” H x 24” W $800-1,200

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1021

Charles Arthur Fries

(1854-1940, San Diego, CA) “On Piney Hills” Oil on canvas laid to canvas Appears unsigned, titled and numbered verso before lining: #524 12.5” H x 18.25” W $1,000-1,500 Literature: ed. B.F. Dixon, ‘’Too Late: The Picture and the Artist: A Tribute to the Dean’’, San Diego, CA, 1969, p. 75, no. 524.

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1022

William Keith

(1838-1911, Berkeley, CA) “Figures in a California Forest” Oil on canvas Signed and inscribed lower right: W. Keith / SF (for San Francisco), titled by repute 24.25” H x 30.25” W $2,500-3,500

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1023

Grigory Gluckmann

(1898-1973, Los Angeles, CA) “Dancer” Mixed media on paper under glass Signed lower right: Gluckmann, titled on a gallery label affixed to the backing board 14” H x 12.5” W $2,500-3,500 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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1024

Robert Alexander Graham

(1873-1946, San Francisco, CA) A portrait of a Japanese woman wearing a kimono Oil on canvas laid to waxed canvas Unsigned 30.25” H x 24.50” W $1,000-1,500 Provenance: Sale: Bonhams California, “Sunset Estate Auction,” January 20, 2008, Lot 7092 Notes: This lot is accompanied by a photocopy of a letter written by Gladys G. Sherman, daughter of the artist.

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1025

Francis De Erdely

(1904-1959, Los Angeles, CA) Violin player, 1931 Oil on canvas Signed and dated in Roman Numerals lower right: erdely / MCMXXXI 35.5” H x 29.5” W $3,000-5,000

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1026

A North Dakota School of Mines pottery vase

Second-quarter 20th Century; North Dakota School of Mines, Grand Forks, ND Stamped for maker and signed: Jarvis Of typical form with open work in a floral motif 10.625â&#x20AC;? H x 5.625â&#x20AC;? Dia. $800-1,200

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1027

A Teco Pottery vase, Model 182

First-quarter 20th Century Stamped twice for Teco Designed by Fritz Albert and W.D. Gates in matte green glaze 15.75â&#x20AC;? H x 7.5â&#x20AC;? Dia. $800-1,200 Provenance: Property from a Northern Californian Estate

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1028

A Fulper pottery handled vase

1922-1928 Ink mark: Fulper The green-glazed bulbous vase flanked by two rounded handles 12” H x 11.25” W x 9” W $300-500

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1029

A Franz Bischoff hand-painted porcelain plate

First-quarter 20th Century Signed to border: F.A. Bischoff; Stamped verso: Haviland France The French Limoges plate with burgundy rose vining border 1.125â&#x20AC;? H x 9.625â&#x20AC;? Dia. $600-800

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1030

Franz A. Bischoff

(1864-1929, Pasadena, CA) “Yellow Roses” Hand-painted porcelain plate Signed: FA Bischoff Overall: 20” H x 20” W x 2.5” D; Plate: 8.5” Dia. $800-1,200 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1031

Alexis M. Podchernikoff

(1886-1933, Pasadena, CA) Cows watering in a eucalyptus landscape Oil on canvas Signed lower left: A.M. Podchernikoff 12” H x 16” W $1,000-1,500 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1032

George Demont Otis

(1879-1962, Kentfield, CA) “Flowering Hills - Sunset District S.F.” Oil on board Signed lower right: Geo. Demont Otis, titled verso 5.25” H x 7” W $1,000-1,500 Provenance: The Redfern Gallery, Laguna Beach, CA

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1033

1034

(1879-1954, Oakland, CA) Creek in a landscape Oil on board Signed lower left: W.H. Clapp 17” H x 14” W $1,500-2,000

(1879-1948, San Francisco, CA) “October, California,” stream through a forest landscape Oil on canvasboard Signed lower left: Carl Moon, signed again, titled and inscribed verso: “Original Sketch” 9” H x 12” W

Notes: In a Shawn Speck frame.

$700-900

William Henry Clapp

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Carl (Karl) Moon

1035

William Barr

(1867-1933, San Francisco, CA) “Thatch Roof Cottage, Carmel” Oil on canvas Signed lower left: Wm Barr, titled on a gallery label affixed to the backing board 18” H x 14” W $1,000-2,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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1036

Theodore Wores

(1859-1939, San Francisco, CA) “Mill Valley” Oil on board Signed lower right: Theodore Wores, titled on a gum label affixed to the backing board 9.25” H x 12.25” W $2,000-3,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1037

Manuel Valencia

(1856-1935, Sacramento, CA) “Poppies & Lupine - Monterey” Oil on canvas laid to waxed canvas Signed lower left: M. Valencia, titled on a card affixed to the backing board 16” H x 24” W $2,000-3,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1038

Charles H. Harmon

(1859-1936, San Jose, CA) River through a mountain landscape Oil on canvas Signed lower right: C.H. Harmon 10” H x 14” W $500-700

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1039

Clarkson Dye

(1869-1955, San Francisco, CA) “Twilight,” 1912 Oil on canvas Signed and dated lower right: Clarkson Dye, titled by repute, inscribed on the stretcher, “Presented to Chinese Famine Fund by Clarkson Dye - March 27, 1912” 10” H x 14” W $600-800

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1040

A Tiffany Studios iridescent and Favrile glass table lamp

Late 19th/early 20th century Shade signed to fitter rim: L.C.T.; Base signed: L.C. Tiffany - Favrile; Socket stamped: Hubbell 125 V The blue damascene shade with white interior over a single gilt-bronze light fixture raised on a knopped blue Favrile standard Overall: 17.25â&#x20AC;? H x 10â&#x20AC;? Dia. $3,000-5,000

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1041

A Quezal silver-overlay glass vase

Fourth-quarter 20th Century Signed and numbered: Quezal / D1198 The iridescent glass vase with long neck adorned with a silver Art Nouveau-style garland 8.75â&#x20AC;? H x 3.5â&#x20AC;? Dia. $800-1,200 Provenance: Property from a Northern Californian Estate

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1042

A Tiffany-style bronze floor lamp

20th Century Shade stamped: Art Glass Works The leaded glass lamp shade with magnolia’s in reds, pinks, and blues over a three-light socket, raised on a standard with a medium brown patina 63.25” x 21.50” Dia $1,000-2,000

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1043

An Arts and Crafts leaded glass table lamp First-quarter 20th Century and later Cloth label to base: Handel Lamps; Shade apparently unmarked The associated floral-motif shade over a threelight naturalistic bronze base with brown feltcovered base Overall: 32.5â&#x20AC;? H x 19.5â&#x20AC;? Dia. $1,500-2,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1044

A Tiffany-style leaded glass table lamp

20th century Shade signed: Art Glass Studio The acorn-motif shade on bulbous three-light bronze base 16â&#x20AC;? H x 16â&#x20AC;? Dia. $600-900

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1045

Douglass Fraser

(1883-1955, Vallejo, CA) “The Coast of Monterey,” 1942 Oil on canvas laid to waxed canvas Signed lower left: Douglass Fraser, titled, dated and inscribed on the stretcher: “Carmel, California - Painted by - Douglass Fraser” 11” H x 14” W $1,500-2,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, “American & Western,” October 21, 2014, Lot 196 Estate of Dewitt McCall III, Los Alamitos, CA

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1046

Francis Augustus Todhunter

(1884-1963, San Francisco, CA) Town along a shore Oil on canvasboard Signed lower right: Francis Todhunter, signed again and inscribed verso: “Sketch” and with the artist’s address stamp 12” H x 16” W $800-1,200

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1047

Mary DeNeale Morgan

(1868-1948, Carmel, CA) “Autumn,” Carmel Valley Oil on masonite Signed lower right: M. DeNeale Morgan, titled on a gallery label affixed to the backing paper 12” H x 16” W $1,500-2,000 Provenance: Trotter Galleries, Pacific Grove, CA

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1048

Leland Curtis

(1897-1989, Carson City, NV) “Carmel Bay” Oil on canvas laid to board Signed lower left: Leland Curtis, signed again and titled on a tag affixed to the frame verso, signed again, titled and inscribed verso: “Los Angeles” 9” H x 11.25” W $600-800

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1049

Kevin MacPherson

(b. 1956, Escondito, NM) “Good Morning Avalon,” 1997 Oil on canvasboard Signed lower left: Kevin MacPherson PAPA, signed again, titled, dated and inscribed verso: Plein Air Painters of America 12” H x 16” W $1,000-1,500

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1050

A Rookwood vase

1930 Stamped for Rookwood 904D; Further stamped for Sara Sax The high gloss vase with foliate motif 8.625” H x 3.325” Dia. $1,000-1,500 Provenance: Property from a Northern Californian Estate

1051

A Rookwood pottery vase

1905 Stamped for Carrie Steinle [CS]; Further stamped: 935 E Designed by Carrie Steinle, the wideshouldered vase in vellum glaze with slender body in a floral motif, model 614, size F 6.75” H x 3.5” Dia. $400-600

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1052

A Rookwood pottery vase

1917 Stamped for Carrie Steinle [CS]; Further stamped: XVII 162 D/V Designed by Carrie Steinle, the slender neck over a bulbous body in vellum glaze with plum blossom pattern, model 614, size F 5.5â&#x20AC;? H x 3.625â&#x20AC;? Dia $400-600

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1053

Alice B. Chittenden (1859-1944, San Francisco, CA) (three works) “Lilium Humboldtii” Oil on paper under glass Sight: 17.75” H x 11.5” W; Sheet: 19” H x 13” W Signed lower right: A.B. Chittenden, titled on the mat “Brodiaea Coccinea-Fire Cracker Flower-Lily Family” Oil on paper under glass Sight: 16.75” H x 11.5” W; Sheet: 18” H x 12” W Signed lower right: A.B. Chittenden, titled on the mat “Potentilla Anseriana - Silver-weed” Oil on paper under glass Sight: 16.75” H x 11.5” W; Sheet: 18” H x 12.5” W Unsigned, titled on the mat $1,000-2,000 Notes: The second: The information verso does not match the information on the back.

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1054

John Powell

(b. 1930, Los Angeles, CA) Floral still life with Chinese vase Oil on canvas Signed lower left: John Powell 30” H x 24” W $1,000-1,500

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1055

Ron Rencher

(b. 1952, American) “Poppy Heaven” Oil on canvas Signed lower right: R. Rencher, and with the artist’s device, signed again and titled verso, and with the copyright symbol 30” H x 36” W $600-800

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1056

Emil J. Kosa Jr. NA

(1903-1968, Los Angeles, CA) “Peonies,” circa 1950 Oil on board Signed lower left: Emil Kosa Jr. 24” H x 18” W $1,000-1,500

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1057

1058

(1906-1994, American) Floral still life Oil on canvas Signed lower left: Michael Marsden 40” H x 30” W

(1920-2003, French) “Fleurs sur la Baie” floral still life overlo Oil on canvas Signed lower left: Levier, signed again a 40” H x 30” W

Michael Marsden

$1,500-2,500

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Charles Levier

$800-1,200

ooking a bay

and titled verso

1059

Charles Levier

(1920-2003, French) “Fleurs au la Rue” floral still life on the street Oil on canvas Signed lower left: Levier, signed again and titled verso 40” H x 30” W $1,000-1,500

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1060

A Gustav Stickley server, No. 802

First-quarter 20th Century Stamped to inside drawer for Gustav Stickley The rectangular top over two drawers and a curved apron set on post legs with a rectangular undershelf 39.25” H x 42” W x 18” D $1,000-1,500

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1061

A near pair of Arts & Craft brass lamps

First quarter 20th century, American Appears unmarked Each with amber glass finial over a four-sided brass shade with white slag glass inserts on a rectangular standard and raised on a stepped, square base, 2 pieces Each: 19.75” H x 8” W x 8” D $300-500

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1062

A Tiffany Studios bronze smoking stand

Late 19th/early 20th century Stamped to underside of base: Tiffany Studios / New York / 1649 The openwork bowl atop a round tray supported on a tall stem and circular bronze base 27.5” H x 9” Dia. $400-600 Provenance: The Collection of Cindy TietzeHodosh and Stuart Hodosh

1063

A Roycroft three-light candelabrum

First-quarter 20th Century Stamped for Roycroft The three-light copper candelabrum over a twisted standard raised on a widening hand-hammered base 20” H x 9” W x 6” D $500-700

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1064

Three Tiffany Studios bronze desk items

Early-20th Century Each stamped: Tiffany Studios / New York; Further stamped with style numbers Comprising two bronze “Zodiac” blotter ends (#988) and a bronze over white slag “Grapevine” inkwell (#847), 3 pieces Blotter ends each: 19.25” H x 2” W; Inkwell: 3.75” H x 6.5” Dia. $600-900

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1065

A Tiffany & Co. silver and copper handhammered chafing dish

1902-1907 Each piece stamped: T & Co. Makers / Sterling Silver and Other Metals; Each further stamped for Charles T. Cook dates [C] The hammered mixed-metal chafing dish with carved leaf motif, wooden handle and four studded legs together with matching tray Overall: 9.5” H x 15.25” W x 9.375” D $1,000-1,500

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1066

Alan Wolton

(b. 1934, Arizona) “Thawing River, Colorado,” 1986 Oil on canvas Signed, dated and inscribed lower right: Alan Wolton / 86 / SAI, titled on the stretcher 28î H x 30î W $1,000-1,500

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1067

Kent R. Wallis

(b. 1945, Utah) “A Long Road Home,” Country road with house and trees Oil on canvas Signed lower left: Kent R. Wallis, titled and numbered on a label affixed to the backing paper: #2950 36” H x 48” W $2,000-3,000

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1068

Kent R Wallis

(b. 1945, Utah) “Field Aglow,” Country road with flowering hillside Oil on canvas Signed lower right: Kent R. Wallis, signed again, titled and numbered on the backing board: #2858 36” H x 48” W $2,000-3,000

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1069

Walter Elmer Schofield NA

(1867-1944, Philadelphia, PA) “Kings Bridge Mill-Devonshire” Oil on board Signed lower right: Schofield, titled on a gallery label affixed verso 10” H x 12” W $2,500-3,500 Provenance: The Redfern Gallery, Laguna Beach, CA Notes: In a Meyen Olsen frame.

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1070

Colin Campbell Cooper NA

(1856-1937, Santa Barbara, CA) “Italian Village Scene” Oil on board Estate signed lower left: Colin Campbell Cooper, titled on a gallery tag hanging from the wire, estate signed and estate numbered verso: 000203 7” H x 11.75” W $1,000-2,000 Provenance: De Ru’s Fine Arts, Laguna Beach, CA

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1071

Noel Coward

(1899-1973, English) “Jamaica View,” 1964 Oil on canvasboard Signed lower left: Noel Coward, signed again, titled, dated and inscribed on the backing paper: “Presented to Robert Fletcher opening night of High Spirits - NYC” 9” H x 12” W $4,000-6,000

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

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1073

A Steuben glass cylinder lantern

First-quarter 20th Century Apparently unsigned The gold Aurene glass shade set into a wrought iron frame in the Spanish Revival/ Arts & Crafts taste Overall: 17.5” H x 9.5” Dia.; Chain: 19” L $500-700

1072

An Arts & Crafts double-door bookcase First-quarter 20th Century Two single glass pane doors each divided into five-lights by a wood frame enclosing four adjustable shelves 54.5” H x 44.75” W x 13” D $500-700

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1074

A Steuben Aurene art glass vase

First-quarter 20th Century Signed to base: Steuben / 12793-5 The flared rim over a short neck over a ribbed body raised on a squat foot 4.825” H x 3.75” Dia. $300-500

1075

A Steuben Aurene art glass vase

First-quarter 20th Century Signed to base: Steuben Aurene / 913 In the form of a morning glory on a squat foot 5.5” H x 5.5” Dia. $300-500

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1076

Sergio Bustamante

(b. 1942, Mexican) Egret Papier-m‚chÈ 48/100; Signed: Sergio Bustamante 40.75” H x 43” W x 15” D $600-800

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

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1077

Thomas W. Wells

(1916-2004, American) Matson tall ship offshore Oil on masonite Signed and inscribed lower right: Thomas Wells / A.I.C.H. 24” H x 30” W $1,000-1,500 Notes: Matson, Inc. is a U.S. owned and operated transportation services company founded in 1882. Matson, Inc.’s subsidiary Matson Navigation Company provides ocean shipping services across the Pacific to Hawaii, Alaska, Guam, Micronesia, the South Pacific, China and Japan.

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1078

Bennett Bradbury

(1914-1991, Carmel, CA) “October Moon,” waves crashing in a coastal landscape Oil on canvas Signed lower left: Bennett Bradbury, signed again and titled verso, and with the artist’s copyright reserved stamp 24” H x 36” W $2,000-3,000

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1079

Bennett Bradbury

(1914-1991, Carmel, CA) “Castle Rock Arch” Oil on canvas Signed lower right: Bennett Bradbury, signed again and indistinctly inscribed verso, titled on the frame plaque 24” H x 30” W $1,500-2,000

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1080

Carl Sammons

(1883-1968, Oakland, CA) “Carmel Coast,” 1944 Oil on canvasboard Signed lower right: Carl Sammons, signed again, titled and dated verso 12” H x 16” W $1,000-2,000

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1081

Emil Kosa Sr.

(1876-1955, Los Angeles, CA) Waves on rocks, Pacific Ocean Oil on board Signed lower right: Emil Kosa Sr. 20” H x 24” W $800-1,200

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1082

Anthony Thieme

(1888-1954, Rockport, MA) Harbor scene Oil on canvas Signed lower right: A. Thieme 14” H x 16î W $2,500-3,500 Exhibitions: New York, Salmagundi Club, “Auction Exhibition,” 1956

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1083

A Tiffany-style leaded glass table lamp First-half 20th century Likely Art Glass Studio, apparently unsigned The turtle back-style shade and bronze base with iridescent glass panels on a three-light base 20” H x 16” Dia. $800-1,200

1084

A Tiffany-style leaded glass table lamp 20th century Shade signed: Art Glass Studio The floral multi-color shade on organic three-light bronze pedestal base 17.25” H x 16.5” Dia. $600-900

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1085

A Tiffany-style leaded glass table lamp

20th century Shade signed: Art Glass Studio The green and blue glass panel shade with dragonfly motif over a three-light lily pad-motif bronze base 21.75â&#x20AC;? H x 20.75â&#x20AC;? Dia. $1,000-1,500

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1086

Ernest Browning Smith

(1866-1951, Los Angeles, CA) “Old Baldy,” 1912 Oil on canvas laid to canvas Signed lower left: Ernest Browning Smith, titled and dated on the frame plaque 30” H x 36” W $1,000-1,500

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1087

Alan Wolton

(b. 1934, Arizona) “Sierra Storm,” 1985 Oil on canvas Signed, dated and inscribed lower right: Alan Wolton / 85 / SAI, signed again and titled on the stretcher 20” H x 24” W $1,000-1,500

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1088

Carl Sammons

(1883-1968, Oakland, CA) “Autumn High Sierra,” 1944 Oil on board Signed lower left: C. Sammons, signed again, titled and dated verso 6” H x 8” W $600-800 Provenance: Sale: Pook & Pook Inc, “Period Furniture, Fine Art and Accessories Sale,” January 12, 2012, Lot 546

1090

Paul Grimm

(1891-1974, Palm Springs, CA) “High Sierras, Near Lone Pine” Oil on board Signed lower left: Paul Grimm, signed again, titled and inscribed verso: “To Virginia & Harold - Good Friends” 12” H x 16” W $800-1,200

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1089

Fred Grayson Sayre

(1879-1939, Glendale, CA) Lake in a mountain landscape Oil on canvas Signed lower right: F Grayson Sayre 24” H x 30” W $2,500-3,500

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1091

A cobalt blue Bauer Indian bowl/jardinière 1920s, Los Angeles, CA Apparently unsigned The squat bowl-form body with applied architectural buttresses to four sides 5” H x 8.125” Dia. $500-800

1092

A Bauer Indian pot

First-quarter 20th Century Apparently unsigned The squat bowl-form body with applied architectural buttresses to four sides 9.75” H x 15.75” W $200-300

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1093

A group of California pottery

Second-quarter 20th Century One charger stamped for Glading McBean; One vase stamped: Made in U.S.A. Comprising two large matte orange Catalina chargers, a seafoam Gladding McBean charger, an orange pitcher, four custard cups, two small vases and two small garden pots, 12 pieces Largest: 1.75” H x 16.75” Dia.; Smallest: 2.5” H x 3.325” Dia. $300-500

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

C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1094

Paul Grimm

(1891-1974, Palm Springs, CA) “San Jacinto,” 1969 Oil on canvas Signed lower left: Paul Grimm, signed again, dated and inscribed verso: “Painted for Madelyn & Frank - April 1969 - Paul,” and with the artist’s copyright stamp 26” H x 40” W $3,000-5,000

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1095

Paul Grimm

(1891-1974, Palm Springs, CA) “Desert Sentinels” Oil on canvasboard Signed lower left: Paul Grimm, titled on a card affixed to the backing board 20” H x 24” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

1 0 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

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1096

William S. Darling

(1882-1963, Laguna Beach, CA) “Deep Shadows” Oil on canvasboard Signed lower left: W. Darling, titled on a gum label affixed verso 18” H x 24” W $800-1,200 Exhibitions: Palm Desert, CA, Walter N. Marks Center for the Arts, College of the Desert, “Desertscapes-Early California Desert Painters,” April 5-22, 2010.

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1098

Five Mexican abalone inlaid boxes

Third-quarter 20th century Three stamped: Mexico Comprising a domed box, one turtle-form box, and three rectangular boxes, all but the turtle box with a wood lining, 5 pieces Largest: 2” H x 6.25” W x 4.25” D $400-600

1097

An abalone-inlay mixed-metal pedestal serving plate

Mid-20th century, Mexico Apparently unsigned Possibly Los Castillo, designed with figures hunting ducks 3.75” H x 13.75” Dia. $400-600

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1099

A pair of Emilia Castillo silver-inlaid bowls

Contemporary Each marked to base: Emilia Castillo MR / Plata Pura / Mexico 98 / [production number] Each of white earthenware enhanced with silver inlay of parrots, trees, and dragonflies, 2 pieces Each: 3.25â&#x20AC;? H x 9.75â&#x20AC;? Dia $200-400

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1100

110

1933-1938 and 1931-1946; First Design Period; Taxco, Mexico Each stamped for William Spratling; Three further stamped: Spratling Silver Comprising two soup ladles, two salsa ladles, a serving fork, and a serving spoon, 6 pieces Largest: 12.625â&#x20AC;? H x 3.625â&#x20AC;? W $700-900

Third-q Each st Compr Castillo small st Largest Weigha

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

$500-7

Six William Spratling serving pieces

1 0 6 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

Eight

Mexican silver and metal table items

quarter 20th century tamped for maker rising a Matl picture frame, two articulated fish, a Los o silver plate cream pitcher with bird handle, and four terling silver Sanborn plates, 8 pieces t: 5.875” H x 4” W x 2.75” D able sterling silver: 5.455 oz. troy approximately

700

w w w. j o h n m o r a n . c o m 1 0 7

(1 D O S 1

1102

Attributed to Clyde Forsythe (1885-1962, Pasadena, CA) Study for “On an Old Trail,” 1943 Oil on masonite Unsigned 20” H x 28” W $2,000-3,000 Provenance: The Artist The Personal Collection of Ed and Katherine Ainsworth, acquired from the above Notes: Provenance described in handwritten note verso: From the personal collection of Ed and Katherine Ainsworth, lifelong friends of the artist. Katherine is well known as the biographer of artist John Hilton (The Man Who Captured Sunshine) and was a regular reviewer for the L.A. Times and the Monrovia News Post. Ed served as the Chief Editorial Editor at the L.A. Times and authored several books, including The Cowboy in Art and Painters of the Desert.

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1104

Joseph P. Frey

1892-1977, Hawthorne, CA) Desert landscape Oil on canvas laid to board Signed lower left: Joseph Frey 18.5” H x 23” W

$600-800

1103

Karl Albert

(1911-2007, Alhambra, CA) “Desert in Bloom” Oil on canvas laid to board Signed lower right: Karl Albert 12” H x 18” W $500-700

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1105

A Navajo Regional r

Circa 1930 With red and grey geom cross pattern on a natu 40â&#x20AC;? H x 64â&#x20AC;? W $400-600

1 1 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

rug

metric ural field

1106

A Plains woman’s hairpipe breastplate

First-half 20th Century With bone, saddle leather, green and white glass beads, buckskin, cotton string, brass tacks, and brass beads 25” H x 4” W $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1107

A group of Chimayo clutch purses

Circa 1940 Various makers including: Ganscraft, La Azteca, El Grandee- Fred Harvey The thirteen clutch purses sewn from New Mexico Chimayo wool weavings, varying colors, some with silver snaps, interior zippers, interior buttons; some retain original box Each approximately 6â&#x20AC;? H x 9.75â&#x20AC;? W $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1 1 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

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1108

Six miniature Pomo baskets

Second-half 20th Century Comprising two trays, one bowl, two covered boxes, and one open vase, 6 pieces Largest: .125â&#x20AC;? H x 1.5â&#x20AC;? Dia. $200-300

1 1 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1109

A group of wrought iron folk art wall racks and utensils

First-quarter 20th Century Comprising a set of hand wrought utensils (three spoons and two forks) with a similarly handwrought decorative scrolled hanger and a second hanger with rooster finials, 7 pieces Larger hanger: 23.5” H x 27.5” W; Largest utensil: 18.75” H x 3.125” W $500-700

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1110

Clyde Forsythe

(1885-1962, Pasadena, CA) “Silvery Desert,” 1928 Oil on board Signed and dated lower right: Clyde Forsythe / 28, titled verso 16” H x 20” W $1,000-1,500 Provenance: Mulberry Gallery, Aptos, CA Redfern Gallery, Laguna Beach, CA Notes: An appraisal from 1989 by Redfern Gallery accompanies this lot.

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1111

Paul Lauritz

(1889-1975, Glendale, CA) Mountain landscape with a road and barn Oil on canvas Signed lower left: Paul Lauritz, signed again on the stretcher 16â&#x20AC;? H x 20â&#x20AC;? W $2,000-3,000 Provenance: Mission Gallery, San Diego, CA

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1112

John W. Hilton

(1904-1983, Twentynine Palms, CA) “Joshua Sundown,” 1966 Oil on board Signed lower right: John W. Hilton, titled and dated verso: 66-8 18” H x 24” W $1,000-1,500

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1113

Harry B. Wagoner

(1889-1950, Altadena, CA) Desert landscape Oil on canvas laid to masonite Signed lower left: H.B. Wagoner 10â&#x20AC;? H x 14â&#x20AC;? W $800-1,200

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1114

A Tiffany-style leaded glass table lamp

20th century Signed to shade: Art Glass Studio The blue dragonfly-motif shade on a three-light bronze pedestal-shaped base 21.75” H x 20.5” Dia. $800-1,200

1115

A Tiffany-style leaded glass table lamp 20th Century Shade signed: Art Glass Studio The pink floral glass shade over an organic three-light bronze base 21.25” H x 16” Dia. $600-900

1 2 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1116

A Tiffany-style leaded glass table lamp

20th century Shade signed: Art Glass Studio The floral-motif shade over a three-light bronze pedestal base 21.5â&#x20AC;? H x 16.75â&#x20AC;? Dia. $600-900

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

1 2 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1117

Paul Grimm

(1891-1974, Palm Springs, CA) “Southern California Ranch” Oil on canvasboard Signed lower left: Paul Grimm, titled on a label affixed to the frame verso 12î H x 16î W $1,500-2,000 Provenance: William Karges Fine Art, Carmel, CA Notes: In a Richard Tobey frame.

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1118

Charles Arthur Fries

(1854-1940, San Diego, CA) Mission scene Oil on canvas Signed lower right: C.A. Fries 12” H x 17” W $1,000-1,500 Provenance: Alcala Gallery, La Jolla, CA

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1119

John Nelson Marble

(1855-1918, Woodstock, VT) “Gardens of Santa Barbara Mission” Watercolor on card under glass Signed lower left: J.N. Marble, titled on the backing board Sight: 12” H x 8.75” W; Sheet: 13.25” H x 9.75” W $1,000-1,500 Notes: In a Shawn Speck frame.

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1120

After Rufino Tamayo

(1899-1991, Mexican) Abstract sculpture Bronze on marble base Signed and numbered to base: R. Tamayo / 0-72 / II/VII 14” H x 9” W x 5.875” D $600-800

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1121

Alson Skinner Clark

(1876-1949, Pasadena, CA) City scene, 1904 Oil on panel Signed and dated lower right: Alson Clark / 04 7.5â&#x20AC;? H x 9.5â&#x20AC;? W $2,500-3,500 Notes: In a Richard Tobey frame.

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1122

1123

(1886-1975, Pasadena, CA) “Spanish Village” Oil on canvas laid to waxed canvas Signed lower right: A.G. Rider, titled on a gum label affixed to the backing board 20” H x 16” W

(1883-1969, Pasadena, CA) “Market Day, Taxco” Oil on canvas laid to board Signed lower right: Orrin A. White, titled on a card affixed to the backing board 10” H x 12” W

Arthur Grover Rider

$2,500-3,500

1 3 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

Orrin A. White

$1,000-2,000

1124

Charles Arthur Fries

(1854-1940, San Diego, CA) “The Spanish Dancer” Oil on board Signed lower right: C.A. Fries, titled and numbered verso: #742 14” H x 12” W $2,000-3,000 Notes: In a Meyen frame.

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1125

Stanley W. Galli

(1912-2009, American) “Spanish Walk” Acrylic on canvas Signed lower right: Stanley W. Galli, titled on a gum label affixed to the stretcher 50” H x 52” W $2,000-4,000

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1126

Antonia Miether Melvill

(1875-1946, Santa Monica, CA) “Son of Covenantor,” 1912 Oil on canvas Signed and dated upper left: Antonia Melvill, titled on an exhibition label affixed to the frame verso 45.25” H x 24” W $1,500-2,500 Provenance: Museum of History, Science and Art, Los Angeles, CA

1 3 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1127

John Hubbard Rich

(1876-1954, Los Angeles, CA) Mexican man with blanket Oil on canvasboard Signed upper right: John Hubbard Rich 13” H x 11” W $1,000-2,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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1128

Two embroidered silk piano shawls

First-quarter 20th Century Both pink floral themed with black silk backgrounds and fringe, 2 pieces Larger: 62” H x 62” W; Smaller: 59” H x 56” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1129

Two embroidered silk piano shawls

First-quarter 20th Century Comprising two polychrome embroidered shawls with black backgrounds and fringe, smaller with peacocks and butterflies, 2 pieces Larger: 61” H x 60” W; Smaller: 55” H x 56” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh 1 3 6 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1130

Two embroidered silk piano shawls

First-quarter 20th Century One black with yellow embroidery, One black with yellow, green and pink embroidery, 2 pieces Larger: 49” H x 49” W; Smaller: 35.5” H x 35” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1131

Two embroidered silk piano shawls cream

First-quarter 20th Century Comprising two polychrome embroidery shawls on cream backgrounds, 2 pieces Larger: 59” H x 59” W; Smaller: 50” H x 50” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1132

Bradley W. Giles

(b. 1967, American) “Sutter Buttes and the Spring Floodplains,” 2019 Oil on canvas laid to board Signed and dated lower right: Giles, signed and dated again, titled and inscribed verso: November 6, 2019 / Palm Springs (Cathedral City), California 16” H x 28” W $2,000-4,000

1133

Bradley W. Giles

(b. 1967, American) “Moonlight on Southridge Drive,” 2015 Oil on canvas Signed and dated lower right: Giles, signed again and inscribed on the stretcher: Completed May 11, 2015 24” H x 24” W $3,000-5,000 Provenance: Smith Vargas Fine Art Gallery, Palm Springs, CA Exhibitions: Palm Springs Artist Council Art Exhibition, Palm Springs, CA, 2015 and 2016.

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1134

Bradley W. Giles

(b. 1967, American) “Moonlight in the Land of Giants,” 2019 Oil on canvas Signed and dated lower right: Giles, signed again and inscribed verso: Grizzly Sequoia - Yosemite, titled and inscribed again on the stretcher 30” H x 12” W $2,000-4,000 Exhibitions: Folsom, CA, California Art Club, January 24 - March 13, 2020

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1135

1136

(b. 1965, Brazilian/American) “Off Shore Breeze,” 2005 Oil over silver leaf on canvas Signed lower right: H. Aguiar, signed again, titled, dated and numbered verso: #078 70” H x 70” W

(b. 1965, Brazilian/American) “Heaven and Earth,” 2004 (triptych) Each: Oil over silver leaf on panel Each: Signed, dated and numbered #084, #085, titled by repute Each: 24” H x 24” W

Hamilton Aguiar

$1,200-1,800

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Hamilton Aguiar

$800-1,000

verso: H. Aguiar / #083,

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1137

A William Spratling lidded sterling silver box

1940-1944; First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Spratling Silver The pillow-topped hinged lid over a curved tapering body 2.25” H x 3.25” W x 3” D 6.110 oz. troy approximately $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1 4 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1138

A near pair of Hector A candelabra

Mid-20th Century; Taxco, Each stamped for Hector A Mexico Each copper candelabrum Smaller: 8.5” H x 10.5” W 2.75” D $200-400

Provenance: The Collectio Stuart Hodosh

Aguilar copper and brass

Mexico Aguilar further stamped Taxco,

m with brass accents, 2 pieces x 3” D; Larger 8.5”H x 11” W x

on of Cindy Tietze-Hodosh and

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1139

Two Victoria copper chargers with applied silver figures

Third-quarter 20th Century Each stamped: Victoria / Taxco / Mexico Each hand-hammered copper charger with applied silver figures to the incised scenes of country life on the rim, 2 pieces Larger: .875” H x 17.25 Dia. $400-600

1141

Two William Spratling .980 silver table items

1933-1938; First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: 980; Box branded: Taxco Comprising a box with an applied sterling serpent and one dish with eagle motif, 2 pieces Larger: 1.5” H x 4.5” W x 3.25” D $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1140

Two William Spratling rosewood salad sets

1933-1938 and 1940-1944; First Design Period; Taxco, Mexico Each stamped for William Spratling; One fork stamped: Spratling Silver; One fork stamped: 925 / Taxco Comprising two sets, 4 pieces Larger set: 13â&#x20AC;? L x 2.25â&#x20AC;? W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1142

Anthony Quinn

(1915 - 2001 American) “ALEXANDER” Marble on onyx base Signed: A. Quinn 12.5” H X 14” W x 6.125 D” ; black onyx base 8” W X 5” W x 8” D $2,000-3,000

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1143

1144

Second-half 20th Century Signed indistinctly to base With brown and ocher glaze 9” H x 3.75” Dia.

Third-quarter 20th centur Most stamped for maker Comprising one cream cy planter, one red cylinder tapered planter, one grey crock, one small white pla one Bauer cream floral fro Largest: 14.25” H x 15.25

A brown glazed weed vase

$300-500

Nine mid-century gar

$600-800

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rden pots

ylinder planter, one grey-glazed terracotta cylinder planter, one caramel-colored Gainey Ceramics y Gainey Ceramics tapered planter, one Bauer anter, one cylindrical Gainey Ceramics planter, and og, 9 pieces 5” Dia.; Smallest: 3” H x 3.75” Dia.

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1145

Hendrik Grise

(1914-1982, American) Splatter abstract Oil on paper under Plexiglas Signed lower right: Grise Sight: 25.25” H x 38” W $800-1,200

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1146

Hendrik Grise

(1914-1982, American) Abstract Oil on paper under Plexiglas Signed lower right: Grise Sight: 25.5” H x 39.5” W $800-1,200

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1147

Matthew Thomas

(b. 1943, American) “The voice of one who perceives the world,” 2006 Drawing on wood Alternately signed, dated and titled verso 5” H x 5” W $500-700 Notes: Brochures, writings by the artist and newspaper articles about the artist accompany this lot.

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1148

Olga Seem

(b. 1927, American) “Chink,” 1994 Oil on collaged canvas Signed and dated lower right: Seem, signed and dated again and titled verso: August 1, 1994, and with the copyright symbol 15” H x 15” W $500-700 Provenance: Purchased directly from the artist Notes: Receipt from artist with personal message and signed program from exhibit accompany this lot

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1149

Olga Seem

(b. 1927, American) “Evensii,” (3), 1997 Acrylic on paper on laminated wood Signed, titled and dated verso: Olga Seem / November 16, 1997, and with the copyright symbol 20” H x 15” W $500-700 Provenance: Purchased directly from the artist Notes: A receipt from the artist with a personal message, a signed program from an exhibit and a post card accompany this lot.

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1150

“Trojan Horse”

20th Century French School Artist’s name engraved in the base of the bronze piece, further signed: Fonderie St. Maur Horse: 17.5” H X 12” W X 5.5 D $800-1,200

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1151 Banksy

(b. 1974, British) “Di Faced Tenner,” 2004 Offset lithograph in colors on paper under glass Edition unknown Sight: 2.75” H x 5.5” W $1,200-1,800

1152

A Modern glass vase

1988 Signed and dated to bottom: Robert Spielhoz / Kathleen Hargrave / 2102 The polychrome ground with abstract animal and human figures 12.875” H x 8” Dia. $200-400 Provenance: Kirvan/Bartoszewicz Gallery, Palm Springs, CA, November 23, 1990 Property from a Northern Californian Estate

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1154

Marie Laurencin

(1883-1956, French) Miniature portrait of a woman Watercolor and ink on paper under glass Initialed lower center: M.L. Sight: 2.75” H x 2.5” W (oval); Sheet: 3.5” H x 2.75” W (oval) $2,000-4,000 Provenance: A gift from the artist to Mr. Gelender, Paris, France Thence by descent to William Gelender, Paris, France Acquired from the above by the present owner

1153

Two Modern glass vases

1987 Each signed and dated to bottom: Robert Spielholz / Kathleen Hargrave / 1987’ Each further numbered Comprising a with pink-hued vase with birds and an abstract figure together with an amber-hued vase with incised abstract figures and architectural elements, 2 pieces Larger: 11.25” H x 10.25” Dia. $500-700 Provenance: Kirvan/Bartoszewicz Gallery, Palm Springs, CA, November 23, 1990 Property from a Northern Californian Estate

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1155

1156

(1889-1963, French) “Narcisse,” 1995 pendant/brooch; Double-portrait of Jean Marais Bronze doré Edition: 25/500; Initialed to front: JC; Stamped verso: Artcurial 2.125” H x 1.325” W

(1889-1963, French) The Gondolier Crayon on paper unde Signed lower right: Jea Sight: 11” H x 15” W

After Jean Cocteau

$400-600 Notes: Artcurial box, dust cover, and certificate accompany this lot.

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Jean Cocteau

$500-700

er glass an Cocteau

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1157

Jean Cocteau (1889-1963, French)

(four works) Four winged figures Color lithograph on Arches paper 19.5” H x 25.5” W Edition 102/150, initialed and wetstamped lower left, numbered lower right “Orphee” Color lithograph on Arches paper 19.5” H x 25.5” W Edition 50/150, initialed and wetstamped lower left, titled lower center, numbered lower right A group of Centaurs Color lithograph on Arches paper 19.5” H x 25.5” W Edition 131/150, initialed and wetstamped lower left, numbered in pencil and signed in the plate lower right: Jean Cocteau Helmeted figures and fish Color lithograph on Arches paper 25.5” H x 19.5” W Edition 39/150, initialed and wetstamped lower left, numbered lower right $600-800 Provenance: Edouard Dermit, the “fils adoptif” and legatee of the estate of Cocteau at Milly-la-Foret, France Acquired from the above by the present owner

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1158

Jean Cocteau (1889-1963, French) (four works) Pegasus with figures Crayon on tracing paper 19.75” H x 13” W Unsigned, numbered verso: 141 Angel with baby Crayon on paper laid to card 9.5” H x 7.25” W Unsigned Winged figure with spear Crayon on paper laid to card 9.5” H x 11” W Signed and numbered in ink right center: Je Cocteau / 2 Caped figure Pencil and ink on paper 10.75” H x 8.25” W Initialed and numbered right center: Je / 2 $600-800 Provenance: Edouard Dermit, the “fils adoptif” and legatee of the estate of Cocteau at Milly-la-Foret, France Acquired from the above by the present owner

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1159

Morris Graves

(1910-2001, American) Seagull, 1954 Ink on paper under glass Signed and dated lower right: Graves / ‘54 17.25” H x 25” W $3,000-5,000

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1160

Masami Teraoka

(b. 1936, Japanese/American) “31 Flavors Invading Japan/Today’s Special,” 1981 Woodcut on paper under Plexiglas, Space Gallery, Los Angeles, pub. Edition 99/500, signed and dated twice in pencil verso: Masami Teraoka / ‘81, and with the copyright symbol, editioned on a gallery label affixed to the backing board, two printed artist’s monograms in Japanese lower left in image, carver’s, printer’s and publisher’s notations in Japanese along lower right edge Sheet: 11” H x 16.5” W; Image: 10.5” H x 16” W $1,000-2,000 Provenance: Hunsaker/Schlesinger Associates, Los Angeles, CA

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1161

Maritta Tapanainen

(b. 1956, Finnish) “Ranch,” 2001 Paper collage on archival board under Plexiglas Signed lower left: Maritta, titled and dated on a gallery label affixed to the backing board Image: 7.75” H x 8” W; Sight: 9.25” H x 9.25” W $500-700 Provenance: Couturier Gallery, Los Angeles, CA Notes: A receipt from the gallery, artist’s brochures and an LA times article about the artist accompany this lot.

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1162 Banksy

(b. 1974, British) “Peckham Rock,” 2005 Offset lithograph in colors on wood under glass Stamped courtesy of Pest Control office, Banksy, Peckham Rock, 2005 4.75” H x 7” W $400-600 Literature: Published by The British Museum, London

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1163

Maureen O’Hara Ure

(b. 1949, American) “Thanks For The Hospitality,” 1989 Paper collage under glass Signed, titled and dated along the lower margin: M. O’Hara Ure 11” H x 8.5” W $500-700

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1164

Andrew Ong

(20th Century) “XXX-000,” 1979 Monoprint on paper under glass Signed and dated in pencil lower right margin: Andrew Ong / ‘79, titled in pencil lower center margin, inscribed in pencil lower left margin: “Monoprint” Sheet: 11.5” H x 7.5” W; Image: 7” H x 5” W $500-700

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1165

DeLoss McGraw

(b. 1945, American) “Now! Now!, cried the Queen. Faster! Faster!” Watercolor, gouache and ink on paper under Plexiglas Signed lower right: DeLoss, titled by repute 5” H x 7” W $500-700 Provenance: Couturier Gallery, Los Angeles, CA Notes: An LA Times article about the artist, a program from an exhibition featuring his art, a receipt and brochures accompany this lot.

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1166

Richard Bowman

(1918-2001, American) Untitled Abstract, 1977 Acrylic and fluorescent acrylic on paper under glass Signed and dated center right: R Bowman / 9-77 Sight: 13” H x 7.5” W $500-700

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1167

Ron Pokrasso

(b. 1951, American) “Nudged By Music #4,” 1995-1997 Mixed media collage on paper under glass Signed and dated in pencil lower right margin: pokrasso / 95-97, titled in pencil lower left margin Sight: 19.25” H x 17.25” W; Image: 17.5” H x 15.75” W $500-700 Provenance: Patricia Carlisle Fine Art, Santa Fe, NM Notes: A receipt, brochures, magazine articles about the artist and a personal note from the gallery owner accompanies this lot. w w w. j o h n m o r a n . c o m 1 7 5

1168

Two Antonio Pineda silver bracelets

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17: Each variously stamped: Silver / Sterling / Mexico / 970 / Hecho in Mexico Comprising a bracelet designed with onyx and silver crescent V-shaped segments (6.5” L x 1.325” H) and a silver crescent V-shaped bracelet (6.5” L x 1” H), 2 pieces 168.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1169

An Antonio

1172

A group of Antonio Pineda silver and gemstone earrings

1941-1950, 1948-1953 and 1953-1979; Taxco, Mexico Stamped: AP for Antonio Pineda; Silver by Tono; Crown mark for Antonio Pineda; Eagle 17; Each variously stamped: Sterling / Mexico / Silver / Hecho en Mexico / 970 / Made in Mexico Comprising two pairs of shell motif silver screw back earrings, a pair of amethyst flower screw back earrings, a pair of silver and onyx wave motif screw back earrings and pair of silver, copper and onyx screw back earrings, 10 pieces Largest: 1.25” H x .75”; Smallest: .875” H x .75” W 73.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh 1 7 6 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 7 , 2 0 2 0

1953-1979; Ta Crown mark f Hecho en Me The stylized s suspended on 27” L x 2.325 54.5 grams $700-900

Provenance: T Stuart Hodosh

1170

Three Antonio Pineda silver brooches

1948-1953 and 1953-1979; Taxco, Mexico Stamped: Silver by Tono; Crown mark for Antonio Pineda; Eagle 208; Indistinct eagle; Each variously stamped: Mexico / Sterling / Silver / 970 / PR577 / Hecho en Mexico / JVL Comprising a green stone brooch (1.75” H x 1.75” W), a two-plume brooch 3.75” H x 1.5” W), and a three-plume brooch (4.75” H x 2” W), 3 pieces 113.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

o Pineda silver and moonstone pendant

axco, Mexico for Antonio Pineda; Eagle 17; Further stamped: exico / 970 swirl pendant with two moonstone accents n a velvet cord with silver tips 5” H x 3.5” W

The Collection of Cindy Tietze-Hodosh and h

1171

A set of Antonio Pineda silver jewelry

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Sterling / Mexico / Silver / 970 / ZZ728 / Comprising a wave-motif bracelet (6.5” L x 1.125” H) with a matching pair of screw-back earrings (1.125” H x .5” W), 3 pieces 114.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1173

Three Los Castillos silver plate and copper Madonnas

Third-quarter 20th century; Taxco, Mexico Each stamped: Los Castillo / Hand Wrought / Hecho en Mexico Each with silver-plate over copper shrouds in graduating sizes, 3 pieces Largest: 13.5” H x 6.75” W x 4” D $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1174

Five Los Castillo brass and copper angel candlesticks

Third quarter 20th century All but one stamped: Los Castillo / Hecho en Mexico / Handwrought Comprising two brass and three copper candlesticks, 5 pieces Each approximately: 7.5” H x 5.625” W x 3.325” D $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1175

A William Spratling sterling silver and amethyst pendant/brooch with chain

1940-1946; First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Sterling Designed as an Aztec sunburst with eleven inset cabochon amethyst, 2 pieces 20â&#x20AC;? L x 3â&#x20AC;? Dia. 101.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1176

Two William Spratling “Vindobonensis” silver bracelets

1940-1946; First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Silver Each designed as alternating links of stylized X design and silver cabochons, 2 pieces 6.75-7.5” L x 1” H 264.0 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill and Carole A. Berk. Mexican Silver: 20th Century Handwrought Jewelry & Metalwork. Schiffer, 1994. pg. 43, fig. III-30.

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1177

A William Spratling silver cuff bracelet

1940-1946; First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / silver The linear zig-zag design terminating with six silver balls 6.25” C x 1” H; Wrist opening: 1.25” 36.0 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1178

A set of William Spratli

1940-1946; First Design Pe Each stamped for William stamped: Made in Mexico Comprising a bracelet (7.5 necklace (16” L x .875” H) chain link, 2 pieces 334.5 grams $1,000-1,500

Provenance: The Collectio Hodosh and Stuart Hodosh

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ing silver jewelry

eriod; Taxco, Mexico Spratling; Further / Silver 5” L x .875” H) and designed as a heavy

on of Cindy Tietzeh

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1179

A group of William Spratling silver jewelry

1933-1939 and 1942; First Design Period; Taxco, Mexico All stamped for William Spratling; Further stamped: 980 / Taxco; Necklace stamped: Silver / Made in Mexico Comprising a bead necklace (18” L x .5” H), two ball brooches (2.5” W x .875” H, 1.325” W x .625” H), and a ring (6.75), 4 pieces 62.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1180

A group of William Spratling si

1940-1946; First Design Period; Tax Each stamped for William Spratling; Silver Comprising a bracelet (6” L x 1” H), 4.25” W) and an amethyst-set ring (8 93.0 grams $600-800

Provenance: The Collection of Cindy

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1181

A William Spratling “Lenguas” sterling silver and vermeil necklace 1964-1967; First Design Period Stamped for William Spratling; Further stamped: Taxco Mexico / 925 / indistinct eagle The silver and gold wash lenguas pendants suspended from a round bead chain 18” L x 1.875” H x 2.325” W 86.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Stuart Hodosh, et al. “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, pg. 93, plate 81.

ilver and amethyst jewelry

xco, Mexico ; Further stamped: Made in Mexico /

, an amethyst set brooch (2.125” H x 8), 3 pieces

y Tietze-Hodosh and Stuart Hodosh

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1183

A group of Willi

1933-1939 and 19 Each stamped for Silver / Taxco / 980 Comprising a geom necklace (16.5” L x matching tear drop 179.5 grams $1,200-1,800

Provenance: The C

1182

A group of William Spratling silver jewelry

1933-1939, 1940-1946, and 1956-1962; First and Third Design Period; Taxco, Mexico Stamped For William Spratling; Further stamped: 980 / Taxco; 2 stamped: Made in Mexico / Silver: One stamped: Taxco Mexico / 925 Comprising four belt buckles and five buttons, 10 pieces Largest buckle: 2.25” H x 4.25” W; Largest button: 1.5” Dia. 179.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1184

A set of Hector Aguilar silver conchos

Circa 1940; Taxco, Mexico Apparently unmarked, original marks would have been on clasp Circular with incised swirls (six with ridged swirls going clockwise, nine with ridged swirls going counterclockwise), 15 pieces Each approximately: 2.25” H x 2.75” W 253.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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iam Spratling silver jewelry

940-1946; First Design Period; Taxco, Mexico William Spratling; Further stamped: Made in Mexico / 0 metric link necklace (22” L x .25” H), a half-dome link x .5” H), and a teardrop link necklace (13.5” L x .5” H) with p earclips (1” H x .5” W), 5 pieces

Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1185

A suite of Margot de Taxco “Serpent” silver and enamel jewelry

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered 5554 Designed by Margot Van Voorhies, comprising a necklace (16” L x 1.5” H) with matching bracelet (6.25” L x 1.625” H), 2 pieces 142.5 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1186

A suite of Margot de Taxco “Serpent” silver and enamel jewelry

Third quarter 20th century; Taxco, Mexico All but the earclips and rings stamped: Margot de Taxco / Hecho en Mexico or Made in Mexico; Some stamped: Sterling; Each stamped and numbered: Eagle 16 / 5554 Designed by Margot van Voorhies, comprising a bolo tie (2.625” Dia.), a bracelet (6” C x 1.5” H), two flexible rings (9.5 and 11.25), and a pair of earclips (1.75” H x 1” W), 7 pieces 105.5 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1187

A suite of Margot de Taxco “Swirls” silver and enamel jewelry

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico; Further numbered 5543 Each designed by Margot Van Voorhies, comprising a green enamel bib necklace (16” L x .75” H) with matching hinged cuff bangle (6” C x 2.325” H) and screw-back ear clips (.625” Dia.), 4 pieces 145.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1188

Two Margot de Taxco “Papyrus” silver and enamel jewelry items

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered 5587 Designed by Margot Van Voorhies, comprising a bib necklace (16.5” L x 1.25” H x 3.5” W) and belt buckle (2” H x 3.625” W), 2 pieces 117.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1189

Two Margot de Taxco “Egyptian” silver and enamel jewelry items

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered Designed by Margot Van Voorhies, the assembled set comprising a pendant on chain No. 5468 (14.5” L x 2” H x 3.25” W) and link bracelet No. 5536 (6.125” L x .5” H), 2 pieces 98.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1190

Two Margot de Taxco silver and enamel necklaces

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered Designed by Margot Van Voorhies, comprising a “Diamonds & Dots” necklace No. 5552 (14” L x 1” H), and a “Wild Leaves with Flowers” necklace No. 5744 (17” L x 1.625” H x 4.5” W), 2 pieces 184.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1191

A group of Margot de Taxco silver and enamel jewelry

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered Designed by Margot Van Voorhies, comprising a black enamel bib necklace with a nearpair of screw-back ear clips No. 5584 (17” L x 1.625” H; .875” Dia.), a “Feathery Leaf” wide plaque bracelet No. 5559 (7” L x 1.625” H) and a pair of “Mask” drop screw-back earrings No. 5459 (1.5” H x .875” W), 6 pieces 184.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1192

A group of Margot de Taxco “Zodiac” silver charm jewelry

Third quarter 20th century; Taxco, Mexico Each stamped: Margot de Taxco / Hecho en Mexico / Eagle 16; Each further numbered Designed by Margot Van Voorhies, comprising a charm bracelet, four circle charms one suspended on attached bracelet, three enamel charms one suspended on attached bracelet and a square charm suspended on attached bracelet, No. 5223, 5224, 5227, 5228, 5230, 5231, 5370, 5451, the back of one pendant personalized: Marge Busch, 9 pieces Each charm approximately: 2” H x 1.75” Dia.; Longest bracelet: 7.875” L 317.5 grams $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1193

A group of Margot de Taxco silver jewelry

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered 5410, 147, or 5146 Designed by Margot Van Voorhies, comprising a hinged bange No. 5140 (6.75” C x 1.325” H), a hinged bangle with eight pear shaped cabochon amethyst No. 5147 (6” C x 3.325” H) and a bib necklace with six pear shaped cabochon amethyst No. 5146 (16” L x 2” H x 4.325” W), 3 pieces 210.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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1195

A Margot de Taxco silver necklace

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered 4348 Designed by Margot Van Voorhies, the long link necklace with geometric scroll and ball design 29” L x 1.5” H 351.0 grams $500-700 Provenance: The Collection of Cindy TietzeHodosh and Stuart Hodosh

1194

An assembled suite of Margot de Taxco silver and amethyst fish jewelry

Third quarter 20th century; Taxco, Mexico Each stamped for Margot de Taxco / Sterling / Made in Mexico / Eagle 16; Further numbered Designed by Margot Van Voorhies, comprising a crossover hinged bracelet with two matching articulated fish pins No. 5207 (6” C x 4” H; 3.25” H x .75” W), and a pair of screw-back ear clips No. 5201 (2” H x .875” W), 5 pieces 156.5 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Condition Reports

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

1001 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 14” H x 16” W x 1.25” D

Blacklight: A pea-sized spot of touch-up in the center. A 1” x .75” area of touch up to the upper left corner.

1002 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt and grime.

Frame: 21.25” H x 25.25” W x 3.5” D

Blacklight: A few spots of touch-up in the sky upper left. Frame: 27.5” H x 39.5” W x 2” D

Blacklight: No evidence of restoration under blacklight. Frame: 33.5” H x 46” W x 3.5” D

Blacklight: No evidence of restoration under blacklight.

1012 Visual: Generally good condition. A small chip of paint loss left edge center.

1004 Visual: Generally good condition. The board is slightly cupped. Four small gouges to the right edge of the board. Blacklight: No evidence of restoration under blacklight. Frame: 22.25” H x 28.5” W x 1.5” D 1005 Visual: Generally good condition. A small spot of paint loss upper center. A pea-sized spot and two small spots of paint loss to the impasto upper right. Two small flecks of paint loss in the center. Three small scuff marks with minor paint loss in the upper left and right corners. A small area of scattered flecks of paint loss in the upper left corner. Blacklight: No evidence of restoration under blacklight. Frame: 36.75” H x 27” W x 2” D 1006 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age and use. Scattered scuffs to the body. Slight residue to one side. 1007 Overall good condition with scattered very minor scuffs and minor inherent firing flaws commensurate with age. Very shallow area of abrasion to lip, possibly from time of manufacture.

Condition Reports

1011 Visual: Generally good condition. Fine craquelure scattered throughout.

1003 Visual: Generally good condition.

Frame: 15.5” H x 19.5” W x 1.25” D

202

1010 Visual: Generally good condition. Small area of fine craquelure lower center. A line of fine craquelure in the lower right corner. Tiny flecks of paint loss in the upper right corner and upper center.

1008 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. 1009 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Blacklight: Small spots of touch-up scattered throughout. Frame: 19.5” H x 23.5” W x 2.25” D 1013 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Small spots of touch-up lightly scattered throughout. Frame: 28” H x 32” W x 2.25” D 1014 Visual: Craquelure throughout the upper portion. A 1” scratch left center. A tiny fleck of paint loss right center. Rubber wear with paint loss scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 12” H x 10.25” W x 1.5” D

1015 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 15.75” H x 19” W x 2” D 1016 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 18.5” H x 22.5” W x 1.5” D 1017 Visual: Generally good condition. Small chip of paint loss upper edge right. Blacklight: No evidence of restoration under blacklight. Frame: 39.25” H x 44” W x 3” D

1018 Visual: Generally good condition. Small gouge to the board upper edge center. Isolated areas of fine craquelure scattered throughout, mainly in the areas with thicker impasto. Minor surface dirt. Blacklight: No evidence of restoration under blacklight. Frame: 21.5” H x 25.5” W x 1.25” D 1019 Visual: Generally good condition. A 1” scratch lower left. Fine craquelure to the pigment of the signature. Minor surface dirt and grime throughout. Blacklight: No evidence of restoration under blacklight. Frame: 33.5” H x 39.75” W x 2” D 1020 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Blacklight: Certain pigments fluoresce under blacklight, possibly in the hand of the artist.

1025 Visual: Craquelure throughout. Stretcher bar creases along the four edges. The canvas is slightly loose in the upper corners. A small spot of paint loss and instability upper left. A repair to a 2.5” tear in the canvas upper left with corresponding patch verso. A repair to a dime-sized hole in the canvas lower left with corresponding patch verso. A repair to a 1” tear in the canvas lower right with corresponding patch verso. Blacklight: A 3.25” x 3” area of touch-up lower right. A quartersized spot of touch-up lower left. A 4” x 3” area of touch-up and restoration and a 2.5” x 4” area of touch-up upper left. Small spots of touch-up scattered throughout. Frame: 41.25” H x 35.5” W x 2.5” D 1026 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Scattered shallow nicks to the surface. 1027 Overall good condition with scattered minor scuffs throughout, minor scuffs to the rim, and inherent firing flaws commensurate with age. With later added felt pads to the base and some removable residue.

Frame: 26” H x 30” W x 2.25” D 1021 Visual: Generally good condition. Fine craquelure throughout. A small spot of gold frame paint upper edge center. Minor surface dirt and grime. Blacklight: Spots of touch-up scattered throughout, including the entire lower edge.

1028 Overall fair condition, drilled hole to the bottom of the vase through the Fulper stamp. Minor inherent firing flaws commensurate with manufacturing. 1029 Overall good condition with rubbed wear and light scratches commensurate with age.

Frame: 19” H x 24.75” W x 2.5” D

Blacklight: Touch-up scattered throughout. Difficult to read under varnish. Frame: 31.75” H x 38” W x 3.25” D 1023 Generally good condition. Artist’s pinholes in the upper and lower left corners. Crease/fold to the lower right corner. .25” tears to the paper upper left and center left edge. Two 1” x 1” areas of scratches upper left quadrant. Hinged to the back mat with three pieces of tape along the upper edge. Frame: 26” H x 22” W x 1.25” D 1024 Visual: The canvas is rippled with some paint loss and instability upper center. Stretcher bar crease along the upper edge. The canvas has small areas of bubbling scattered throughout the upper left quadrant. Fine craquelure scattered throughout. Blacklight: Small spots of touch-up scattered throughout. Difficult to read under varnish. Frame: 36.5” H x 30.25” W x 1.5” D

1031 Visual: Generally good condition. Isolated areas of very fine craquelure scattered throughout. A small chip of paint loss in the center. Blacklight: Small spots, dots and scattered areas of touch-up scattered throughout the foliage in the lower right quadrant. Difficult to read under varnish. Frame: 17.75” H x 21.5” W x 2.75” D 1032 Visual: Generally good condition. Minor frame abrasion and fuzz adhered to the board along the upper and left edges. A small fleck of paint loss along the upper right edge. A “fingerprint” in the paint along the upper edge center. Blacklight: No evidence of restoration under blacklight. Frame: 10.5” H x 12” W x 1.25” D

Condition Reports

1022 Visual: Generally good condition. The canvas is loose. Stretcher bar creases along the four edges. Craquelure scattered throughout.

1030 Overall good condition with minor scuffs and scratches commensurate with age. Not examined out of frame.

203

1033 Visual: Generally good condition. Tiny fleck of paint loss upper right. Blacklight: No evidence of restoration under blacklight.

1040 Overall good condition with minor scuffs and scratches to the base. The base may have been drilled later, a series of deeper scratches around the drill hole as a result. Wiring should be checked by a qualified electrician.

Frame: 23” H x 20” W x 1.5” D 1034 Visual: Generally good condition. Very light paint shrinkage scattered throughout the darker pigments of the mountains. A .75” gouge to the board with paint loss lower left. A small area of rubbed wear on the signature. Blacklight: Certain pigments fluoresce under blacklight, possibly in the hand of the artist. Frame: 15.75” H x 18.75” W x 2” D 1035 Visual: Generally good condition. Craquelure scattered throughout. Paint shrinkage in the darker pigments of the door. Blacklight: A 3” x 2” area of scattered spots of touch-up right center. A 2” x 2” area of scattered spots of touch-up in the center.

1041 Overall good condition with tarnishing and minor shelf wear. 1042 Overall good condition with oxidation commensurate with age. Approximately 5 glass panels with cracks. Wiring should be checked by a qualified electrician prior to use. 1043 Overall good condition with oxidation commensurate with age. The shade with approximately four cracked glass panels. Wiring should be checked by a qualified electrician prior to use. 1044 Overall good condition with scuffs and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.

Frame: 24.5” H x 20.5” W x 2.5” D 1036 Visual: Generally good condition.

1045 Visual: Generally good condition. Very fine craquelure associated with previous stretcher bar creases scattered along the left, right and upper edges.

Blacklight: A 5” x 1.5” scattered area of touch-up right center, possibly in the hand of the artist.

Blacklight: Tiny dot of touch-up right center. Two small spots of touch-up upper center.

Frame: 15” H x 18” W x 1.25” D

Frame: 17.5” H x 20.5” W x 2” D

1037 Visual: Generally good condition. Stable craquelure throughout. Two small chips of paint loss lower left. A 1” area of small chips of paint loss left edge center.

1046 Visual: The board is cupped. Two tiny chips of paint loss in the center and one left center. The canvas is delaminating from the board in various places. A 1.75” ridge with craquelure left edge center.

Condition Reports

Blacklight: Small spots, lines and scattered areas of touch-up scattered throughout, concentrated mainly in the sky.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.5” H x 31.5” W x 2.25” D

Frame: 18” H x 22” W x 1.5” D

1038 Visual: Generally good condition. Stretcher bar crease upper right with associated craquelure. Isolated areas of fine stable craquelure lightly scattered throughout. A tiny fleck of paint loss lower center. Minor surface dirt throughout.

1047 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. Frame: 15.5” H x 19.5” W x 2.5” D 1039 Visual: Generally good condition. Areas of paint shrinkage scattered throughout the dark pigments left and right center. Minor frame abrasion visible upper right edge. Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight. Frame: 18.25” H x 22.25” W x 1” D 1048 Visual: Generally good condition. Fine craquelure throughout. The high points of the impasto have rubbed wear scattered throughout. Minor surface dirt and grime. Blacklight: A 2” line of touch-up upper left. Tiny dots of touch-up lightly scattered throughout the sky. Frame: 12.75” H x 15” W x 1.75” D

Frame: 15” H x 19.25” W x 2.75” D 1049 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19” H x 23” W x 1.5” D

204

1051 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. With minor small firing flaw to glaze. Scattered spots of discoloration throughout body. 1052 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. 1053 Each: Generally good condition. The first: The paper is slightly rippled. Minor handling creases scattered throughout. The second: Minor handling creases throughout. A 1” crease to the paper right edge center. Two dots of light yellow staining upper right. Minor surface dirt throughout. The third: The paper is slightly rippled with unobtrusive handling creases scattered throughout. Frame of each: 24.25” H x 18.25” W x 1” D 1054 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 39.75” H x 33.75” W x 3.25” D 1055 Visual: Generally good condition. Blacklight: Spots of grime lower right fluoresce under blacklight.

1059 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 48.75” H x 38.75” W x 3.5” D 1060 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One loss to finish on top surface: approximately .75”. An area of cracking and loss to veneer on the back: 4.5” x 4.5”. Scattered spots of house paint throughout. Later added veneer applied to the inside that has since been snapped off. Refinished. 1061 Each in overall good condition with minor oxidation commensurate with age. One standard with two small tears to the brass where the standard meets the socket. Wiring should be checked by a qualified electrician prior to use. 1062 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Lacking insert. 1063 Overall good condition with tarnishing and light scratches commensurate with age. 1064 Each in overall good condition with minor scuffs and darkening to bronze commensurate with age. Blotter ends with green felt foot pads.

Frame: 36.5” H x 42.5” W x 1.5” D

1065 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age and use.

1056 Visual: The board is loose in the frame causing frame abrasion to the four edges. A 1.75” scattered line of tiny chips of paint loss upper left. A 1” scratch with paint loss lower right. Tiny flecks of paint loss lightly scattered throughout.

1066 Visual: Generally good condition. Drips of uneven varnish in the lower right corner.

Blacklight: Tiny dots of touch-up lightly scattered throughout. A 1.75” line of touch-up corresponding to the line of tiny chips described in the visual inspection.

Frame: 38.25” H x 40.25” W x 3.25” D

Frame: 33.5” H x 27.5” W x 1.75” D 1057 Visual: Generally good condition. Blacklight: Small spots of touch-up lightly scattered throughout. A 1” x 4” scattered area of touch-up lower right. A 8” line of touchup along the upper edge center. Frame: 51.25” H x 41.5” W x 4.25” D 1058 Visual: Generally good condition. The canvas is slightly rippled. Minor frame abrasion along the upper edge center. Isolated areas of fine craquelure lightly scattered throughout. Minor surface dirt. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Blacklight: Drips of uneven varnish fluoresce under blacklight.

1067 Visual: Generally good condition. Small areas of paint shrinkage scattered throughout the darker pigments along the center of the left and right edges. Minor dust accumulation to the heavier impasto. Blacklight: Certain pigments along the lower edge right fluoresce under blacklight, possibly in the hand of the artist. Frame: 46.25” H x 58.25” W x 4” D 1068 Visual: Generally good condition. Paint shrinkage scattered throughout the darkest pigment right center. Blacklight: No evidence of restoration under blacklight. Frame: 46.5” H x 58.25” W x 4” D

Condition Reports

1050 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Two small impacts to the glaze with shallow loss to the side of the vase, larger .125” Dia.

Frame: 49.25” H x 39” W x 3” D

205

1069 Visual: Generally good condition. Isolated areas of very fine craquelure lightly scattered throughout. Blacklight: Spots, dots and areas of touch-up scattered throughout the upper portion of the piece, the largest a 1” x 2” scattered area upper center.

1078 Visual: Craquelure throughout. Small fleck of paint loss upper center. Small flecks of paint loss upper right. Flaking paint with paint loss scattered throughout the lower portion of the canvas. Minor dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 17.5” H x 19.5” W x 2.75” D

Frame: 33” H x 45” W x 2.5” D

1070 Visual: Fine craquelure scattered throughout. Tiny flecks of paint loss, instability and paint flaking across the center and scattered throughout.

1079 Visual: Generally good condition. Minor frame abrasion scattered along the four edges. A 13” scattered scratch along the left edge. Craquelure scattered throughout the rocks in the lower corners.

Blacklight: No evidence of restoration under blacklight.

Blacklight: Spots of touch-up scattered along the left edge, the largest a 3” x 3” scattered area.

Frame: 10.75” H x 15.25” W x 1.25” D

Frame: 32.25” H x 38.5” W x 2.5” D 1071 Visual: A dime-sized area of scattered flecks of paint loss upper left. A .5” x 1.5” area of scattered chips of paint loss lower right. A .5” x 2.5” area of scattered chips of paint loss lower center. Minor surface dirt and grime.

1080 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 22.5” W x 1.25” D

Blacklight: No evidence of restoration under blacklight.

Frame: 11.25” H x 14.25” W x 1.25” D 1072 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Alligatoring throughout. Scattered scratches and marks to top, largest: 4.25” x 3”. Two areas of damage to shellac on the the top. Refinished. Retains key. 1073 Overall good condition with oxidation to the metal commensurate with age. Nicks, abrasions, and small chips to the fitter rim. Wiring should be checked by a qualified electrician prior to use. Glass cylinder: 11.325” H x 6” Dia.

Condition Reports

1074 Overall good condition with minor shelf wear commensurate with age.

206

1081 Visual: Generally good condition. Fine stable craquelure scattered throughout. Spots and drips of uneven varnish across the center. A 1” surface scratch to the varnish layer lower center. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 31.75” W x 2.75” D 1082 Visual: Generally good condition. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish. Frame: 21.5” H x 24” W x 3.25” D

1075 Overall good condition with minor shelf wear commensurate with age.

1083 Overall good condition with oxidation and light scuffs commensurate with age. Approximately two glass panels on the shade with a small crack. The plate on the base missing three washers. Wiring should be checked by a qualified electrician prior to use.

1076 Overall good condition with scuffs commensurate with age. Approximately two repaired holes, larger: 3” x 3”. Cracks to the circumference of each leg. Scattered hairline cracks throughout. Possible overpaint to the beak.

1084 Overall good condition with minor scuffs and oxidation commensurate with age. The finial is detached from the cap. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

1077 Visual: Generally good condition. Surface dirt and small dark dots of grime scattered throughout.

1085 Overall good condition with oxidation commensurate with age. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

Blacklight: No evidence of restoration under blacklight. Frame: 31” H x 37” W x 1.5” D

Blacklight: It appears that the right 3/4ths of the sky has been retouched. Frame: 40.5” H x 46.5” W x 3” D

1095 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 31.5” W x 1.75” D

1087 Visual: Generally good condition.

1096 Visual: Generally good condition. Tiny fleck of paint loss upper right edge. Isolated areas of very fine craquelure scattered along the lower portion. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 30.25” H x 34.5” W x 3” D

Frame: 25.5” H x 31.75” W x 1.5” D

1088 Visual: Generally good condition. Spots of surface grime upper edge center.

1097 Overall good condition with tarnishing, oxidation, and light scratches commensurate with age. Verdigris to one of the figures and to the underside of the plate.

Blacklight: No evidence of restoration under blacklight. Frame: 7.75” H x 9.75” W x .75” D 1089 Visual: Generally good condition. Fine craquelure scattered throughout. A repaired tear visible verso right center. Blacklight: A dime-sized repair right center. A 2” scattered line of touch-up in the sky upper left. Scattered dots and lines of touch up in the water. Frame: 27.25” H x 33.25” W x 1.75” D 1090 Visual: Generally good condition. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 18.25” H x 22.5” W x 1.5” D 1091 Overall good condition with inherent firing flaws, scuffs, and shelf wear to the bottom. Wear to the finish of the interior, possibly from use as a jardiniere. Scuffs and scratches to the lower body. Deeper scratches to the foot. Undrilled. 1092 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Several small nicks to the rim. 1093 Each in overall good condition with minor scuffs, shelf wear, and inherent firing flaws commensurate with age. Each charger with light scratches. The bulbous vase with dirt accumulation to the interior from use. The other vase with a series of scratches to the body and scratches and chips to one area of the rim.

1098 Each in overall good condition with oxidation and light scratches commensurate with age. The brass box with polishing residue to the abalone inlay as well as minor losses to the cement binding primarily to the lid. 1099 Overall good condition with scattered losses to silver inlay commensurate with use. 1100 Each in overall good condition with tarnishing and lights scratches commensurate with age. Minor wear to the wood finish. 1101 Each in overall good condition with tarnishing, oxidation and light scratches commensurate with age. Minor abrasions to the stones. Approximately four abalone plaques missing. The weight only includes the Matl frame and Sanborn plates. 1102 Visual: Generally good condition. Three very light diagonal lines running from the right edge into the center. Blacklight: Small spots of touch-up scattered throughout. Certain pigments fluoresce under blacklight, possibly in the hand of the artist. Small spots of grime fluoresce white under blacklight throughout the sky. Frame: 22.75” H x 30.75” W x 1.25” D 1103 Visual: Generally good condition. Small scattered line of gold frame paint transfer upper edge center. Blacklight: No evidence of restoration under blacklight.

1094 Visual: Generally good condition.

Frame: 18.5” H x 24.5” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

1104 Visual: Generally good condition.

Frame: 33.25” H x 47.5” W x 1.75” D

Blacklight: One small spot of touch-up right center. Frame: 23” H x 27.25” W x 1” D

Condition Reports

1086 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the upper right corner.

207

1105 Overall good condition with light areas of grey soiling throughout with fraying at edges and some wear and scuffing to weave commensurate with age and use. 1106 Overall good condition with wear and losses to the string. Possibly missing at least 3 beaded elements from the top and some green beads to the bottom. Scattered beads with chips nicks and abrasions. One pipe with a chip, corresponding loss and crack extending the length of the tube. 1107 Each in overall good condition with minor wear commensurate with age. Scattered clutches with minor moth damage and pulled threads. One with the wrapped original mirror to the pocket. Scattered linings with soiling. 1108 Each in overall good condition with minor dust accumulation commensurate with age. 1109 Each in overall fair condition with heavy oxidation, weathering, bends, and minor dents commensurate with age and display.

1114 Overall good condition with minor scuffs and oxidation commensurate with age. Approximately three panels with shallow chips possibly from time of manufacture. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use. 1115 Overall good condition with light scuffs and oxidation commensurate with age. Approximately two glass panels with cracks. Wiring should be checked by a qualified electrician prior to use. 1116 Overall good condition with minor scuffs and oxidation commensurate with age. Approximately two glass panels with cracks. There is an approximately .5” gap between the cap and the shade. Wiring should be checked by a qualified electrician prior to use. 1117 Visual: Generally good condition. Rubbed wear to the higher points of impasto scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 17” H x 21” W x 1.75” D

1110 Visual: Generally good condition. Minor frame abrasion upper edge right. Two tiny flecks of paint loss upper center. Minor surface dirt and grime.

1118 Visual: Generally good condition. Minor surface dirt.

Blacklight: No evidence of restoration under blacklight.

Blacklight: A dime-sized spot of touch-up upper center. Tiny dots of touch-up lightly scattered throughout the sky.

Frame: 20.25” H x 24.25” W x 1.75” D

Frame: 18” H x 23” W x 1.75” D

1111 Visual: Generally good condition. The canvas is loose and rippled. Craquelure scattered throughout. Minor surface dirt.

1119 Generally good condition. A faint pea-sized yellow stain upper left corner. A small gouge to the paper upper right. A tiny gouge and scratch upper right. A 1” and a .5” light scratch at the top of the largest tree. A .5” light scratch in the center. Hinged to the recto mat with linen tape in two places along the upper edge.

Blacklight: No evidence of restoration under blacklight. Frame: 24” H x 28” W x 2.25” D

Frame: 22.5” H x 19.25” W x 2” D 1112 Visual: Generally good condition. Surface dirt and grime upper right.

Condition Reports

Blacklight: A 1” scattered line of touch-up upper right. Spots of grime across the upper half fluoresce under blacklight.

208

Frame: 23.5” H x 29.5” W x 1.5” D 1113 Visual: Generally good condition. Tiny gouge to the canvas lower left corner. Isolated areas of very fine craquelure lightly scattered throughout. Tiny spots of grime above the large cloud. Blacklight: No evidence of restoration under blacklight. Frame: 18.25” H x 22.25” W x 1.25” D

1120 Overall good condition with minor scuffs, scratches, chips, and darkening to bronze commensurate with age. 1121 Visual: Generally good condition. Blacklight: A dime-sized spot of touch-up in the lower right corner. Frame: 12.75” H x 14.75” W x 2.75” D 1122 Visual: Generally good condition. Isolated areas of very fine craquelure lightly scattered throughout. A small gouge to the canvas lower right edge. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 26” H x 22” W x 2” D

Blacklight: No evidence of restoration under blacklight. Frame: 15.75” H x 17.75” W x 1.25” D 1124 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout. A .75” x .5” area of instability with paint loss in the upper left corner. A small chip of paint loss in the lower left corner. Two tiny chips of paint loss lower left edge and lower left. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 21.25” H x 19.25” W x 1.75” D

1132 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 22.75” H x 34.75” W x 1.25” D 1133 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 27.5” W x 1.25” D 1134 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

1125 Visual: Generally good condition.

Frame: 37.75” H x 19.5” W x 1.75” D

Blacklight: No evidence of restoration under blacklight.

1135 Visual: Generally good condition.

Frame: 53.75” H x 55.75” W x 2” D 1126 Visual: Craquelure throughout. Tiny flecks of paint loss scattered throughout as a result of the craquelure. Five repaired tears/holes scattered throughout with corresponding patches verso. Blacklight: Spots and areas of touch-up scattered throughout, the largest a 5” x 7” area upper center. Frame: 58” H x 37” W x 3” D 1127 Visual: Generally good condition. Very fine craquelure scattered throughout the purple pigment in the lower right corner.

Blacklight: No evidence of restoration under blacklight. Unframed 1136 Visual: Each: Generally good condition. Each: Unframed 1137 Overall good condition with tarnishing, dents, and light scratches commensurate with age.

Frame: 17” H x 14.5” W x 1.5” D

1138 Each in overall good condition with oxidation, scuffs, and minor scratches throughout. One with heavy oxidation to the brass both with visible solder marks throughout.

1128 Both in overall good condition with areas of scattered stitch loss and localized sun fading commensurate with age and use. Some tangles to fringe.

1139 Each in overall good condition with oxidation, light scratches, and dents to the rim commensurate with age. Each with visible solder marks verso. The larger with four applied supports verso.

1129 Each in overall good condition with minor losses to stitching and tangles to fringe. Some scattered small areas of soilling.

1140 Each in overall good condition with tarnishing, light scratches, and wear to the finish of the wood handles commensurate with age. One fork with glue residue to the handle. Smaller set: 12.25” L x 2.25” W

Blacklight: No evidence of restoration under blacklight.

1130 Overall good condition with minor pulled threads and lost stitches. Minor tangles to fringe. Possible repair to the edge of the lager with scattered minor spots of soiling. Smaller with some tangling to fringe and scattered minor spots of soiling. 1131 Both in overall good condition with larger areas of water stains and soiling, slight oxidation, staining to the fringe, and pulled stitches throughout.

1141 Each in overall good condition with tarnishing and light scratches commensurate with age. The box with later-added felt to the bottom. The dish with a .25” x .125” chip to one edge. 1142 Overall good condition with scattered scuffs, scratches, nicks and chips to the marble commensurate with age. Scattered chips along the lower edge of sculpture. Minor chips to onyx base. One area of loss to base: 1” x .5”. Some scattered abrasions throughout.

Condition Reports

1123 Visual: Generally good condition. The canvas is bubbled and separated from the board along the lower edge.

209

1143 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. One small chip to glaze, lower body. 1144 Each in overall good condition with scuffs, scratches, and shelf wear commensurate with age, use, and outdoor display. Most with inherent firing flaws. First with crazing to interior and deeper scratches to the body. Second with crazing throughout, a 4.25” hairline crack to the rim extending into the body, and dark scuffs to the exterior. Third with a .125” x .125” chip to the rim, a series of shallow chips to the glaze on the foot, drops of house paint to exterior, and a possible period repair to the interior. Fourth with dirt and plant residue to interior, a .5” x .5” chip to the inside bottom, abrasions to the rim, dark discoloration and wear to the glaze along the foot. Sixth with scattered small drops of paint. 1145 The paper is rippled and creased throughout. The largest creases run from upper edge to lower edge down the right and left of center. Craquelure scattered throughout with areas of paint loss and flaking. Not examined out of the frame. Frame: 29.5” H x 42” W x 1.75” D 1146 Generally good condition. Small loss to the paper in the upper left corner. Scattered creases along the left edge. A .5” crease lower edge center. A .75” tear upper edge center and a .25” tear upper right corner. Not examined out of the frame. Frame: 29.5” H x 43.5” W x 1.75” D 1147 Generally good condition. Unframed

1152 Overall good condition with minor shelf wear commensurate with age. 1153 Each in overall good condition with minor shelf wear commensurate with age. 1154 Toning to the paper. The paper is slightly rippled with a small handling crease lower left. A .25” x .25” scattered area of tiny scuffs to the paper upper center. Hinged to the recto mat with clear tape around the perimeter. Frame: 5.5” H x 5” W x .75” D 1155 Overall good condition with oxidation commensurate with age. Pin back is later added. 1156 Generally good condition. Handling creases scattered throughout, concentrated in the upper left and lower right corners. Not examined out of the frame. Frame: 18.75” H x 22” W x .75” D 1157 The first: Minor toning to the paper. The lower edge is deckled. The lower corners are slightly creased. The second: Minor toning to the paper. The lower edge is deckled. The upper left corner is slightly creased. The third: Minor toning to the paper. The lower edge is deckled. A .5” crease to the left edge center. A 1” light indentation to the paper upper left edge. The fourth: Minor toning to the paper. The right edge is deckled. Minor handling creases lightly scattered throughout. The upper left corner is creased. Each: Unframed

1148 Visual: Generally good condition. Two tiny spots of rubbed wear in the upper right corner and one in the lower right corner. Blacklight: No evidence of restoration under blacklight. Unframed

Condition Reports

1149 Visual: Generally good condition. Small gouge to the paper upper center. Small chip of paper loss upper left edge. A series of tiny chips and a 2.5” light surface scratch lower left.

210

Blacklight: No evidence of restoration under blacklight. Unframed 1150 Overall good condition. A 1.5” x 1.125” loss to the marble plinth. Some spears bent. Surface abrasion to the front left leg. Bronze base 11” W x 7.5” D Brown marble base 14.5” W x 10.5 D” x 1.75” H 1151 Generally good condition. Not examined out of the frame. Frame: 12.25” H x 11.25” W x .75” D

1158 The first: A 1” tear to the upper edge center. A .75” tear lower left edge. A 3.5” line of dark yellow staining upper left. A heavy diagonal crease down the left side. Handling creases scattered throughout. The page appears to have been torn from a sketch book. The second: Toning to the bottom 3/4ths of the paper. A faint white line runs down the left edge. Light smudges scattered throughout the upper portion. The third: Toning to the bottom 3/4ths of the paper. Light smudges scattered throughout. The fourth: A quarter-sized water stain upper right. Small dots of yellow staining lightly scattered throughout. Light, unobtrusive handling creases scattered throughout. A 1” area of zig-zag indentations to the paper lower right. Each: unframed 1159 Generally good condition. Minor toning to the paper. The paper is slightly rippled, concentrated mostly along the lower edge left. The upper left corner is creased. Minor, unobtrusive handling creases scattered throughout. A quarter-sized scattered light yellow stain in the lower left corner. A series of light vertical lines along the upper edge. Isolated tiny dots of yellow staining lightly scattered throughout. None of the above mentioned items affect the image. The paper is loose, not mounted. Frame: 18.25” H x 26” W x 1” D

Frame: 17.75” H x 23” W x 1.5” D 1161 Generally good condition. Not examined out of the frame. Frame: 14.25” H x 14.5” W x 1.5” D 1162 Generally good condition. Not examined out of the frame. Frame: 15.5” H x 12.75” W x .75” D 1163 Generally good condition. Minor toning to the paper. A 1.25” scratch upper right corner, not affecting the image. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 14” H x 11.5” W x 1” D 1164 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

1172 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with minor abrasions. The shell earrings with minor dents to the silver. The amethysts with surface-reaching fractures. 1173 Each in overall good condition with tarnishing, oxidation, light scratches, and minor bends commensurate with age. Minor dents to the bases. 1174 Each in overall good condition with oxidation and light scratches commensurate with age. One brass candlestick with a dent to the lower skirt. Two copper candlesticks with a bend to the candle standard, one further bent at the wings. One copper angel missing the plug to the base. 1175 Each in overall good condition with tarnishing and light scratches commensurate with age. One amethyst slightly loose in the setting. The amethysts with eye-visible inclusions and surface-reaching fractures.

Frame: 15” H x 11” W x .75” D

1176 Each in overall good condition with tarnishing and light scratches commensurate with age. The longer bracelet’s safety chain is partially detached. One of the half-spheres on the smaller brooch with a dent.

1165 Generally good condition. The paper is slightly rippled. The upper, right and left edges are deckled. Framed floating and hinged to the back mat. Not examined out of the frame.

1177 Overall good condition with tarnishing and light scratches commensurate with age. Circumference includes the wrist opening. Visible solder marks throughout. Brassy oxidation throughout.

Frame: 7.5” H x 9.5” W x 2” D 1166 Generally good condition. Not examined out of the frame. Frame: 16.75” H x 12.75” W x .5” D 1167 Generally good condition. Not examined out of the frame. Frame: 28.25” H x 26.5” W x 2” D 1168 Each in overall good condition with tarnishing and light scratches commensurate with age. Approximately three onyx panels with breaks to the tips. 1169 Overall good condition with tarnishing and light scratches commensurate with age. 1170 Each in overall good condition with tarnishing and light scratches commensurate with age. 1171 Each in overall good condition with tarnishing and light scratches commensurate with age.

1178 Each in overall good condition with tarnishing and light scratches commensurate with age. Can be linked together. Scattered links with dents and nicks. 1179 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered beads with dents. The brooches and the ring with dents to the half-spheres. 1180 Each in overall good condition with tarnishing and light scratches commensurate with age. The bracelet with scattered dents to some elements. The amethysts show eye-visible inclusions and surfacereaching fractures. 1181 Overall good condition with tarnishing and light scratches commensurate with age. Scattered minor dents to some beads. Rubbed wear to the gold wash. The clasp does not close snugly. 1182 Each in overall good condition with tarnishing and light scratches commensurate with age. The oval buckle with deep scratches and gouges to the edges and a possible repair to the bar. The ridged buckle with gouges to the edge.

Condition Reports

1160 Generally good condition. Framed floating and hinged to the back mat in the upper corners.

211

1183 Each in overall good condition with tarnishing and light scratches commensurate with age. Each necklace with scattered dents to some beads.

1194 Each in overall good condition with tarnishing and light scratches commensurate with age. One amethyst on the bracelet with a break.

1184 Each in overall good condition with tarnishing and light scratches commensurate with age.

1195 Overall good condition with tarnishing and light scratches commensurate with age. Scattered spheres with minor dents.

1185 Each in overall good condition with tarnishing and light scratches commensurate with age. Each with scattered scales missing enamel and chips to the enamel on the snakeâ&#x20AC;&#x2122;s mouth. 1186 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered enamel with abrasions and minor crazing. The rings with rubbed wear, scratches, and losses to the enamel. 1187 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered wear, losses, and replacements to the enamel work. 1188 Each in overall good condition with tarnishing and light scratches commensurate with age. Chips to the black enamel on the necklace. The green enamel on the necklace may be a replacement. Yellowing to some of the enamel panels on the belt buckle. 1189 Each in overall good condition with tarnishing and light scratches commensurate with age. Cracks to the enamel primarily to the arms of the figures. One figureâ&#x20AC;&#x2122;s arm is slightly bent. 1190 Each in overall good condition with tarnishing and light scratches commensurate with age. 5552 with greening to the enamel, may be replaced enamel.

Condition Reports

1191 Each in overall good condition with tarnishing and light scratches commensurate with age. One 5584 earring is black, the other is black flecked with gold. Scattered minor chips to the enamel of the bracelet, some of the enamel appears to be replaced.

212

1192 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered enamel with abrasions and minor crazing. One charm possibly missing a silver element. 1193 Each in overall good condition with tarnishing and light scratches commensurate with age. The amethysts show typical, natural inclusions and surface-reaching fractures. Visible solder to the back of the necklace. The amethyst bangle is stamped 147 but should be 5147.

Bid Now

California & American Fine Art November 17, 2020

Granville Redmond (1871-1935, Los Angeles, CA) Landscape with poppies and lupine $80,000-120,000

Consignment and Auction Inquiries: morgana@johnmoran.com

bid in person - absentee - telephone - live online

213

Consign Today

The Traditional Collector December 16, 2020 A Chinese export French-style automaton clock $30,000-50,000

Consignment and Auction Inquiries: roland@johnmoran.com 145 East Walnut Ave, Monrovia, CA 91016 www.johnmoran.com Âˇ info@johnmoran.com Âˇ (626) 793-1833

Consign Today

Fine Jewelry & Timepieces December 15, 2020

An Art Deco sapphire and diamond pendant necklace Circa 1920, approximately 22.0 cts. Estimate available upon request

Consignment and Auction Inquiries: mollie@johnmoran.com (626) 628-9333

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com Âˇ info@johnmoran.com Âˇ (626) 793-1833 w w w. j o h n m o r a n . c o m 2 1 5

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

SPECIALISTS

Head of Sale, American Indian Specialist Senior Vice President, Fine Art Director Vice President, Furniture & Decorative Arts Director

Maranda Moran Morgana Blackwelder Roland Rynkiewicz

Junior Specialist / Senior Cataloguer: Furniture & Decorative Arts Jardine Gates, GIA G.G. Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Decorative Arts Cataloguer Shannon Dailey 20th Century Furniture and Decorative Arts Specialist Post War & Contemporary Fine Art Specialist

John Simon Taylor Bree Hughes

Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Client Services Hoofrish Patel

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

ADVERTISING, MARKETING, DIGITAL DESIGN

Advertising & Marketing Director, Art Design Nathan Martinez Photographer Madison Torres Photographer Keith Berson Graphic Designer Brian Olivas

TRUSTS & ESTATES

Department Manager Noelle Valentino Administrator Angela Bryant

FOUNDERS

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

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYERâ&#x20AC;&#x2122;S PREMIUMS: BUYERâ&#x20AC;&#x2122;S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyerâ&#x20AC;&#x2122;s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "â&#x2014;&#x160;" 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 buyerâ&#x20AC;&#x2122;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.

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

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the nal bid, plus uyer s Premium on the nal bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided. Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid. New bidders will be asked to provide financ al accoun nforma on as a reference All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance. UYER S PRE IU : P s calcula ed a on e firs $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and re uested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank. Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In e e en of a e b d e e s ra on Form rece ed firs ll be reco n ed as the winning bid.

Please list lots for absentee bidding on reverse

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

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18th & 19th Century Furniture & Decorative Art

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

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

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

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