California & American Fine Art Auction

J ohn Mor a n Auc t ioneer s - Califor nia & American Fine Art - Tu e sday, Octo be r 2 3, 20 18

California & American Fine Art Tuesday, October 23, 2018—6pm

1969 w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3

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Front cover: Pg. 33 Lot 41 Guy Rose (1867 - 1925 Pasadena, CA) Young woman in a field of daisies

Back cover: Pg. 19 Lot 27 Maurice Braun (1877 - 1941 San Diego, CA) “The Cliffs”

Pg. 34 Lot 42 Theodore Wores (1859 - 1939 San Francisco, CA) “Lady in Kimono”

Pg. 77 Lot 101 Ralph Hulett (1915 - 1974 Los Angeles, CA) “Yesterday & Today”

This catalogue designed & printed in California, USA

California & American Fine Art Sale 126 October 23, 2018—6pm 145 East Walnut Avenue, Monrovia CA 91016 Previews October 19-22: 12pm-4pm October 23: Doors open 12pm

Pg. 9 Lot 14 Harold Weaver (1889 - 1961 Los Angeles, CA) Storm clouds above the desert, 1923

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Fine Art Department Morgana Blackwelder Director morgana@johnmoran.com

Jeff Moran President jeff@johnmoran.com

David Trujillo Specialist david@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

A special thank you to Katherine Halligan for her essay contributions.

Pg. 53 Lot 63 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Spring Ploughing”, 1983

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1 Elmer Wachtel (1864 - 1929 Pasadena, CA) Trees in a coastal landscape Oil on canvas Signed lower left: Wachtel and with the artist’s device 16” H x 12” W $3,000/5,000

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2 Maurice Braun (1877 - 1941 San Diego, CA) Sunset landscape Oil on canvas laid to board Signed lower right: M. Braun 6.25” H x 9.5” W $2,000/4,000 Exhibitions: Muckenthaler Cultural Center Foundation, Fullerton, CA, “The California Scene: Plein Air Paintings of the Golden State”, January 14 - February 18, 2001.

3 Granville Redmond (1871 - 1935 Los Angeles, CA) “Fair Light (Study)” Oil on board Signature inscribed lower right: G. Redmond, signed again and titled verso 5.5” H x 8” W $3,000/5,000

4 George Gardner Symons (1863 - 1930 Laguna Beach, CA) Spring landscape with picket fence Oil on board under glass Initialed lower left: G.S. 6.25” H x 8.75” W $2,000/3,000 Provenance: Sold John Moran Auctioneers, Pasadena, CA, June 21, 2005, Lot #8.

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5 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “Lakeside” Oil on board Signed lower left: Alfred R. Mitchell, signed again and titled verso 13” H x 16” W $3,000/5,000

6 Charles Reiffel (1862 - 1942 San Diego, CA) “Winnipauk Hills in Winter”, 1932 Watercolor and gouache on paper laid to board under glass Signed lower left: Charles Reiffel, titled, inscribed and dated on the backing board verso: To Sanger, With love and many happy returns of the day. From Frankie & Charles.

Winnipauk, Connecticut Sheet: 5.25” H x 6.5” W $2,000/3,000

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7 Jack Wilkinson Smith (1873 - 1949 Alhambra, CA) Cattle ranch near Whitney portal, 1923 Oil on canvas laid to canvas Inscribed, signed and dated lower right: To Buster from his friend Jack Wilkinson Smith 12.25� H x 14.5� W $8,000/10,000

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8 Edgar Alwin Payne (1883 - 1947 Hollywood, CA) “High Sierra Plein Aire” Oil on board Signed lower right: Edgar Payne, titled by repute 10.25” H x 12” W $8,000/12,000

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9 Thomas Moran (1837 - 1926 Santa Barbara, CA) “El Capitan” Watercolor on paper under glass Signed with conjoined initials lower right: TMoran, titled on a gallery label affixed to the backing paper Sight: 8.75” H x 6.75” W $5,000/7,000 Provenance: Frank Perls Gallery, Beverly Hills, CA.

10 William Louis Otte (1871 - 1957 Santa Barbara, CA) Santa Barbara landscape, 1921 Oil on canvas laid to board Signed and dated lower left: William Louis Otte 14” H x 18” W $3,000/5,000

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11 Edgar Alwin Payne (1883 - 1947 Hollywood, CA) “Early Summer - Sierras” Oil on board Signed lower right: Edgar Payne, titled verso 10.5” H x 14.5” W $10,000/15,000 Provenance: Goldfield Galleries, Los Angeles, CA. Notes: An authentication label signed by Edward Goldfield and dated August 3, 1978 is affixed verso.

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12 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “Toward the Mountain” Oil on board Signed lower right: Alfred R. Mitchell, signed again and titled verso 8” H x 10” W

13 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “Desert Glow” Oil on board Signed lower right: Alfred R. Mitchell, signed again and titled verso 8” H x 10” W

$3,000/5,000

$2,000/3,000

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14 Harold Weaver (1889 - 1961 Los Angeles, CA) Storm clouds above the desert, 1923 Oil on board under glass Signed and dated upper right: Harold Weaver and with the artist’s device, signed and dated again verso, with signed and dated inscription verso: To Claude Bronner from Harold Weaver, 1924 8” H x 10” W $3,000/5,000

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15 Frank Hoffman (1888 - 1958 Taos, NM) “Wagon Boss”, 1949 Oil on canvas Inscribed, signed and dated lower right: Vick (Victor Buck) from Hoffman, ‘49 and with the artist’s device, titled on a gallery label affixed to the backing board 22” H x 29” W $10,000/15,000 Provenance: Collection of Clarence Ellsworth and Iron Eyes Cody, gifted by the artist to Victor Buck, 1949.

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16 Charles Reynolds (1902 - 1963 Taos, NM) “Storm over Mesa”, 1947 Oil on canvas Signed and dated lower right: Chas. H. Reynolds, signed again and titled on the stretcher 24” H x 29.5” W

17 Charles Arthur Fries (1854 - 1940 San Diego, CA) “Mountains from Mesa Grande” Oil on canvas laid to canvas Signed lower left: C.A. Fries 18” H x 28” W

$3,000/5,000

Literature: ed. B.F. Dixon, ''Too Late: The Picture and the Artist: A Tribute to the Dean'', Don Diego's Libreria, San Diego, CA, 1969, p. 69, no. 227.

Exhibitions: Phippen Museum, Prescott, AZ, “Taken by Storm”, October 10, 2015 February 21, 2016.

$3,000/5,000

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18 Joseph Henry Sharp (1859 - 1953 Taos, NM) Portrait of a Native American man with bow and arrows Oil on panel Signed lower right: J. H. Sharp 23.75� H x 16.25� W $15,000/20,000 Notes: This painting is based on a photograph by Hermann Heyn, who had a portrait studio in Omaha in the late 19th/ early 20th century. The subject of the photo is Bone Necklace, a council chief from the Yanktonai band of the Dakota.

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19 Will Sparks (1862 - 1937 San Francisco, CA) Adobe home nocturne Oil on canvasboard Signed lower right: Will Sparks 16” H x 20” W $3,000/5,000

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20 James A. Fetherolf (1925 - 1994 Camarillo, CA) “Near Springville, Cal.” Oil on canvas Signed lower right: Fetherolf, titled on the stretcher, indistinctly inscribed on the stretcher 30” H x 36” W $5,000/7,000 Provenance: Sold: Christie's, New York, NY, November, 30, 1994, Lot 135.

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21 Ed Mell (1942 - * Phoenix, AZ) “Sandy Ridge”, 2000 Oil on canvas Signed lower right: Ed Mell, signed again, titled, and dated verso 20” H x 24” W $5,000/7,000 Provenance: Mark Sublette Medicine Man Gallery, Tucson, AZ, 2006.

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22 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “The Morning Light”, house in a mountain landscape Oil on board Signed lower right: Alfred R. Mitchell, signed again and titled verso 8” H x 10” W

23 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “Desert Morning” Oil on board Signed lower left: Alfred R. Mitchell, signed again, titled and inscribed verso: Coachella Valley 8” H x 10” W $2,000/3,000

$3,000/5,000

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24 Fremont F. Ellis (1897 - 1985 Santa Fe, NM) “Near Durango” Oil on canvas Signed lower right: Fremont F. Ellis, titled on the stretcher 20” H x 25” W $7,000/9,000

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25 Paul Grimm (1891 - 1974 Palm Springs, CA) “California Foothills” Oil on canvasboard Signed lower right: Paul Grimm, signed again and titled verso 20” H x 24” W

26 Paul Grimm (1891 - 1974 Palm Springs, CA) “Symbol of the Desert”, 1961 Oil on canvas Signed lower left: Paul Grimm, signed again and titled verso, dated on the stretcher 20” H x 30” W

$4,000/6,000

$2,000/3,000

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27 Maurice Braun (1877 - 1941 San Diego, CA) “The Cliffs” Oil on canvas Signed lower right: Maurice Braun, titled on the stretcher 30” H x 25” W $15,000/25,000

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29 28 Attributed to Albert Bierstadt (1830 - 1902 New York, NY) Rocky coastal with sailboat, 1901 Oil pastel on board under glass Signed with conjoined initials and dated lower right: AB Sight: 19.5” H x 23.5” W $8,000/12,000

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29 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “La Jolla Cliffs” Oil on board Signed lower right: Alfred R. Mitchell, signed again and titled verso 8” H x 10” W $3,000/5,000

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30 Theodore Wores (1859 - 1939 San Francisco, CA) “Coast Near Santa Barbara”, 1905 Oil on canvas Signed and dated lower left: Theodore Wores, titled on a gallery label affixed to the backing board 16” H x 20” W $10,000/15,000 Provenance: Wunderlich & Company, Inc., New York, NY; Montgomery Gallery, San Francisco, CA.

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31 Curt Walters (1950 - * Sedona, AZ) “Great Waters”, Point Lobos Oil on canvas Signed lower left: Curt Walters, titled on the stretcher 30” H x 60” W $7,000/9,000

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32 Dennis M. Doheny (1956 - * Santa Barbara, CA) “Moonlit Surf”, 2001 Oil on canvas Signed and dated lower left: Dennis M. Doheny, signed and dated again, titled and inscribed on the backing board: Jalama Beach 16” H x 20” W $5,000/7,000 Provenance: William A. Karges Fine Art, Los Angeles, CA.

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33 Joe Duncan Gleason (1881 - 1959 Glendale, CA) “U.S. Frigate Constitution” Oil on canvas laid to canvas Signed lower right: Duncan Gleason, titled on an artist’s label affixed to the backing board 20” H x 16” W $4,000/6,000

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34 Peter Ellenshaw (1913 - 2007 Santa Barbara, CA) “Caragh Lake, Kerry”, 1982 Oil on canvas Signed and dated lower left: Peter Ellenshaw 40” H x 63” W

35 William C. Adam (1846 - 1931 Pacific Grove, CA) Lover’s Point, Pacific Grove Oil on canvas laid to board Signed lower left: Wm. Adam 20” H x 30” W

$8,000/12,000

$3,000/5,000

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36 Maurice Braun (1877 - 1941 San Diego, CA) “Mountain and Lake”, Lake Hodges Oil on canvas Signed lower right: Maurice Braun, titled on the stretcher 24” H x 20” W $10,000/15,000 Provenance: Wiiliam Karges Fine Art, Beverly Hills, CA; California Art Company, LLC, Pasadena, CA.

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37 Grigory Gluckmann (1898 - 1973 Los Angeles, CA) “La Petite Fille à la Rose [The Little Girl with the Rose]” Oil on panel Signed lower right: Gluckmann 22.25” H x 18.25” W $20,000/30,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA.

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38 Geza Kende (1889 - 1952 Los Angeles, CA) “Lucille Ball”, 1939 Oil on canvas Signed and dated lower left: Geza Kende, dated again and titled verso 30” H x 24” W $8,000/12,000

39 Late 19th/early 20th Century American School Seated woman in a green dress Oil on board Unsigned 46” H x 31.75” W $3,000/5,000

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40 William Henry Clapp (1879 - 1954 Oakland, CA) “Nude Woman in Hammock”, 1940 Oil on masonite Signed and dated lower right: Clapp, titled on a label affixed verso 20” H x 24” W $12,000/18,000 Provenance: Concours d’Antiques, Oakland Museum, Oakland, CA.

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Guy Rose

(1867 - 1925)

Guy Rose, the San Gabriel-born master of Impressionism, studied in Paris beginning in 1888.

From 1904 to 1912, he spent eight years living and painting in Giverny, France where he was strongly influenced by his friend Claude Monet and other impressionist painters working there. While Rose painted many personal explorations of Impressionism during his time in France, particularly after health issues relating to childhood lead poisoning improved after 1907, he and his wife Ethel financed their lives there through work as illustrators for women’s magazines. In fact, the move to France was facilitated by Ethel’s work as Paris fashion representative for Harper’s Bazaar, a position she held for 13 years beginning in 1899 (South, p. 37).

Guy Rose returned to the United States for the last time in 1912, and brought with him a deep commitment to Impressionism and a focus on light and atmosphere. For their first two years back in the US, Rose and Ethel lived in Washington Square, New York in proximity to Macbeth Gallery where Rose was actively exhibiting, and summered in Narragansett, Rhode Island where Rose taught sketching classes. This brief period ended in fall 1914, when the couple returned permanently to Southern California.

Outdoor figural compositions were a popular genre for Rose and his contemporaries in Giverny, and Rose continued to produce alfresco portraiture, such as the present painting, upon his return to the US. In his figure-focused paintings from this period, Rose is particularly adept at depicting layers of patterns from the decorated fabric and folds of his sitter’s dress to the naturalistic settings in which the women are posed. (South, p. 53).

The present alfresco portrait of a beautiful, fashion-forward woman standing in a field of blooming daisies was painted for a June 1914 woman’s magazine cover and was possibly executed in February of 1914, according to inscriptions on the upper stretcher bar.

Movement is everywhere in the scene – in the figure’s billowing wind-swept scarf, in the the riot of daisy heads that surround her feet, in the spindly and irregular distant fence that crosses behind the figure’s head, in the lively, bravura brushwork Rose uses to represent the receding blossoms in the middle ground, and in the thinned, quick green brushwork of the background that gives the impression of a thick stand of hedges or trees. Rose, likely with publication in mind, balances and enhances the color palette with deliberate areas of complementary greens and oranges. The pops of tangerine orange in the figure’s scarf, flower decorating her hat and even her red hair visually link the figure to the orange daisy heads and distant orange-yellow ragweed growing along the back fence.

Rose was at the prime of his career when the present work was executed. He was exhibiting regularly with top American art dealers, was a sought-after instructor and successful illustrator, and had just returned from a productive, illuminating and healthy period in France. The present painting has the immediacy of an experienced I mpressionist’s first-hand observation of the figure in nature. It showcases Rose's virtuosity with light, and his confident, rapid brushwork executed at the height of his career. Rose's keen awareness of, and ability to balance and restrain color and brushwork honed in France and his extensive experience in producing works intended for printed publication, crystallize in the present painting’s intimate yet lavish, natural yet chic portrait composition.

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$400,000/600,000

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Guy Rose

41 Guy Rose (1867 - 1925 Pasadena, CA) Young woman in a field of daisies Oil on canvas Signed lower right: Guy Rose, inscribed on the stretcher: Woman’s Magazine Cover for June 1914, inscribed verso: 10 3/4” to extreme edges / 2 velox prints wanted 24” H x 17” W

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42 (left) Theodore Wores (1859 - 1939 San Francisco, CA) “Lady in Kimono” Oil on canvas laid to canvas Signed lower right: Theodore Wores 16.75” H x 11” W $8,000/12,000 Provenance: Brand Library & Art Center, Glendale, CA.

43 Indiana Gyberson (1875 - 1944 Brooklyn, NY) “In the Seraglio” Oil on board Signed lower right: Indiana Gyberson, titled by repute 16” H x 12” W $2,000/3,000

44 Orrin A. White (1883 - 1969 Pasadena, CA) Spanish woman Oil on canvas Signed lower right: O.A. White 30” H x 25” W $6,000/8,000

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45 Mischa Askenazy (1888 - 1961 Los Angeles, CA) “Mother and Child” Oil on canvas Signed lower left: M. Askenazy, titled on a gallery label affixed verso, numbered on the stretcher: #70, with the estate stamp and numbered on the stretcher: 4 42” H x 32” W $2,000/3,000 Provenance: Trotter Galleries, Pacific Grove, CA; The Estate of Mabel Alvarez, Los Angeles, CA.

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(1867 - 1925)

Guy Rose 38

The Old Summer House was likely executed between 1907 and 1912 while Rose was actively painting in Giverny and had fully and completely committed to Impressionism. In this intimate forest interior view of vines and bushes growing into and overtaking an old summer cottage, Rose’s “mature sensitivity to the interpretation of transient color and fugitive light” is displayed (South, p. 40). Purely Impressionistic works such as this painting “records a series of perceptions and experiences culled from a heightened awareness of the visible” (South, pp.

40-41).

The fairly constrained color palette of The Old Summer House reflects the French forest setting, but within the limited palette of mostly greens to yellows, Rose creates endless, subtle and distinct colors from blue-green shadows to yellow-green sunlit highlights.

Gauzy light filtered through overhead trees is visualized with soft colors and flatter, swirling brushwork in the upper part of the composition. Foreground brushwork becomes much more defined and lively on the forest floor and on the vines trailing the cottage porch.

The present painting is a wonderful reflection of Rose’s personal views of the transcendent spirituality of nature and his belief that the act of painting was a mediation between nature and the divine, while also showcasing Rose’s fully developed Impressionist technique, honed from master French Impressionist and Giverny neighbor Claude Monet’s optical wizardry (South p. 50).

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$200,000/300,000 Exhibitions: The Los Angeles Art Association, Los Angeles, CA, n.d.

Notes: With the Stendahl Galleries stamp signed by Ethel Rose and Earl Stendahl and dated March, 1926 verso.

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Guy Rose

46 Guy Rose (1867 - 1925 Pasadena, CA) “The Old Summer House” Oil on canvas Signed lower right: Guy Rose, titled on the stretcher, titled again and inscribed on a gum label affixed to the stretcher: France 28.75” H x 23.5” W

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47 Joseph Morris Raphael (1869 - 1950 San Francisco, CA) Japanese Tea House, Golden Gate Park, San Francisco, California Oil on canvas laid to waxed canvas Unsigned 28” H x 34” W $15,000/20,000 Literature: Spanierman Galleries, Inc, “Joseph Raphael (1869-1950), An Artistic Journey”, Spanierman Galleries, New York, NY, 2003, p. 112, fig. 59, illustrated.

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48 Charles Reiffel (1862 - 1942 San Diego, CA) Town in a mountain landscape Oil on panel Signed lower right: Charles Reiffel, signed again and indistinctly titled on the backing paper verso: B(?)

Nogales - M(?)

20� H x 24� W $10,000/15,000

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49 Paul Lauritz (1889 - 1975 Glendale, CA) Eucalyptus landscape with barn Oil on canvas laid to canvas Signed lower left: Paul Lauritz 32.25” H x 36.25” W $5,000/7,000

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50 Paul Lauritz (1889 - 1975 Glendale, CA) California autumn landscape Oil on canvas Signed lower left: Paul Laurtiz 28” H x 34” W $4,000/6,000

51 Paul Lauritz (1889 - 1975 Glendale, CA) “California Mountains” Oil on canvas Signed lower left: Paul Lauritz, titled and inscribed verso: Afternoon 14” H x 18” W $2,000/3,000

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52 Manuel Valencia (1856 - 1935 Sacramento, CA) Mountains in a landscape Oil on canvas laid to canvas Signed lower right: M. Valencia 16” H x 24” W

53 Manuel Valencia (1856 - 1935 Sacramento, CA) Sweeping California coastal landscape Oil on canvas laid to board Estate stamped lower left: M. Valencia 24” H x 40” W

$1,200/1,800

$1,500/2,500

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54 Frank Virgil Dudley (1868 - 1957 Chicago, IL) Coastal sand dunes Oil on canvas Signed lower left: Frank V. Dudley 18” H x 24” W

55 Nicholas Brewer (1857 - 1949 St. Paul, MN) Creek in a rolling hills landscape Oil on canvas laid to canvas Signed lower right: N.R. Brewer 20” H x 24” W

$4,000/6,000

$2,000/4,000

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56 Hugh Bolton Jones (1848 - 1927 New York, NY) “Springtime”, trees in a landscape Oil on canvas laid to canvas Signed lower right: H. Bolton Jones, titled on a gallery label affixed to the backing paper 30.25” H x 36.25” W $10,000/15,000 Provenance: Schillay & Rehs, Inc., New York, NY; Goldfield Galleries, Los Angeles, CA.

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57 Adrian Brewer (1891 - 1956 Hot Springs, AR) Eucalyptus landscape, 1925 Oil on canvasboard Signed and dated lower right: Adrian Brewer 20” H x 18” W $6,000/8,000

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58 Clinton Loveridge (1838 - 1915 Brooklyn, NY) Cows in a pastoral autumn landscape, 1888 Oil on canvas Signed and dated lower right: C. Loveridge 27” H x 22” W $3,000/5,000

59 James Ormsbee Chapin (1887 - 1975 New York, NY) Cows in a barnyard, 1924 Oil on canvas laid to canvas Signed and dated lower right: James Chapin 20” H x 26” W $2,000/4,000 Provenance: D. Wigmore Fine Art, New York, NY. Tomlin Fine Arts, Santa Monica, CA. Sold: John Moran Auctioneers, California and American Fine Art Sale, June 24, 2008, Lot 233.

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60 Michael Coleman (1946 - * Provo, UT) “In the Dark Timber”, 2007 Oil on board Signed lower left: Michael Coleman and with the copyright symbol, titled, inscribed and dated verso: Rocky Mt. Elk / January, 2007 14” H x 20” W $3,000/5,000 Exhibitions: Autry National Center, Los Angeles, CA, “Master of the American West Fine Art Exhibition and Sale”, February 3 - March 4, 2007.

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61 Arthur B. Frost (1851 - 1928 Pasadena, CA) Hunter with dog Oil on board Signed lower right: A.B. Frost 16” H x 20” W $10,000/15,000

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(1907 - 1989)

Millard Owen Sheets 52

In May of 1929, a twenty-two-year-old Millard Sheets received a telegram from San Antonio, informing him that he had won a $1,750 first prize for his painting Goat Ranch in a group competition for artists all across the United States. Having opened his first show with famed dealer Dalzell Hatfield that very same day, the possibilities of Sheets’ career soared before him. With that prize money, Sheets booked passage on a ship traveling from Los Angeles to New York and thence onward to Europe. It was a pivotal moment in Sheets’ development as an artist and the first of many adventures for him.

Throughout his life, Sheets would travel to Mexico, Turkey, Uzbekistan, the Soviet Union, Greece, Japan, Thailand, Nepal, Hong Kong, India, Britain, Yugoslavia, Tahiti, Moorea, Fiji, New Zealand, France, Spain, Portugal, Hawaii, China and Japan. The final trip of his life, made in 1985, was to Italy, Greece, and Egypt.

Late Afternoon Moon, painted after his final journey in the last years of his life, is an at once stunning and subtle composition. The white moon rising just above the water visually anchors the frame, while the mountains and camels add a depth and direction that settle as a calm energy along the river.

The absolutely incredible gradation of the sky - a light dusty beige haze rising unevenly towards a delicate blue - is testament to Sheets’ mastery of watercolor as a medium. The pale pinks and purples in the clouds are so easy to miss for a casual viewer, although they are a small gem for connoisseurs of Sheets’ oeuvre. In the end, the viewer is drawn into the serene, hazy Egyptian atmosphere of Late Afternoon Moon and may stand with Sheets on the banks of the Nile as he reminisces on his journey, both personal and physical.

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62 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Late Afternoon Moon”, 1988, figures riding camels along the Nile Watercolor on Arches paper under Plexiglas Signed and dated lower right: Millard Sheets, signed and dated again and titled on the backing board Sight: 28.75” H x 40” W $30,000/40,000 Provenance: Provenance: Estate of Millard Sheets, thence by descent through the family.

Millard Owen Sheets

Notes: Millard Sheets commissioned Arches to deliver watercolor paper in this mammoth size, approximately 30” x 40”. This painting is one of twelve works Sheets painted in this size.

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63 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Spring Ploughing”, 1983 Watercolor on Arches paper under Plexiglas Signed and dated lower right: Millard Sheets, signed again, titled and inscribed on the backing board: Mexico Sight: 21.25” H x 29.25” W

Millard Owen Sheets

$3,000/5,000

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64 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) Tahitian scene with village and farmers, 1968 Watercolor on Arches paper under glass Signed and dated lower right: Millard Sheets Sight: 21.25� H x 29.25� W

Millard Owen Sheets

$7,000/9,000

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65 Emil J. Kosa Jr. NA (1903 - 1968 Los Angeles, CA) “The Love Bugs”, anthropomorphic cow and pig Oil on masonite Unsigned, titled on a label affixed to the frame verso 20” H x 16” W $3,000/5,000 Provenance: Gift from the artist to Millard Sheets; Estate of Millard Sheets, thence by descent through the family.

66 Daniel Sayre Groesbeck (1878 - 1950 Los Angeles, CA) Study for “The Building of the Missions” Gouache on board under glass Unsigned Sight: 29.25” H x 35.5” W $3,000/5,000 Exhibitions: Santa Barbara Museum of Art, Santa Barbara, CA, “Destined for Hollywood: The Art of Dan Sayre Groesbeck”, August 25 - November 25, 2001.

Notes: This is a preparatory study for “1786 Fr. Presidente Fermin de Lasuen builds the Xth Mission at Santa Barbara after the death of Fr. Junipero Serra at Carmel", which is one of the famed murals inside the Santa Barbara courthouse.

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67 Frank Coburn (1862 - 1938 Santa Ana, CA) “A Flower Market on Wilshire Boulevard” Oil on canvasboard Signed lower right: Frank Coburn, signed again, titled, and inscribed verso: Winter morning - Los Angeles, Cal 20” H x 24” W $4,000/6,000

68 Clarence Hinkle (1880 - 1960 Santa Barbara, CA) Still life with lemons and jar, circa 1935 Oil on canvas Signed lower lower left: Hinkle, initialed and numbered verso: C.H. 20 14” H x 10.75” W $5,000/7,000 Provenance: Edenhurst Gallery, Palm Desert, CA. Exhibitions: Laguna Art Museum, Laguna Beach, CA, “Clarence Hinkle”, June 10 - October 7, 2012.

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69 Frank Montague Moore (1877 - 1967 Carmel, CA) Santa Barbara Mission Oil on board Signed lower left: F.M. Moore 30” H x 24” W

70 Hernando G. Villa (1881 - 1952 Los Angeles, CA) “The Desert Mass”, 1928 Oil on canvas Signed and dated lower left: Hernando G. Villa / 7-28 and with the copyright symbol, titled by repute 28” H x 21” W

$2,000/4,000

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$2,000/4,000

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$4,000/6,000 Provenance: Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles CA.

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Millard Owen Sheets

71 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Irish Gypsies”, 1971 Watercolor and gouache on Arches paper under glass Signed and dated lower right: Millard Sheets, titled by repute Sight: 21.5” H x 27.25” W

59

Millard Owen Sheets 60

72 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Willows on the Canal”, 1967, village scene with figures near bridge Watercolor on Arches paper under glass Signed lower right: Millard Sheets, signed again, titled, dated and inscribed verso: Kurashki [sic] - Japan Sight: 21.25” H x 29.25” W $6,000/8,000

1969

2019

$8,000/12,000 Provenance: Estate of Millard Sheets, thence by descent through the family.

October 23, 2018 - California & American Fine Art

Millard Owen Sheets

73 Millard Owen Sheets NA (1907 - 1989 Gualala, CA) “Michoacan,” 1974 Oil on canvas Signed and dated lower right: Millard Sheets, signed and dated again and titled on a label affixed to the backing board 20.5” H x 25” W

61

74 Theodore Roosevelt Lambert (1905 - 1960 Levelock, AK) Inuit man in fur parka Oil on canvas Signed and dated lower right: T.R. Lambert 11.75” H x 7.75” W

75 Theodore Roosevelt Lambert (1905 - 1960 Levelock, AK) Snowy mountain path, 1940 Oil on canvas under glass Signed and dated lower right: T.R. Lambert 16” H x 10.25” W

$1,500/2,000

$3,000/5,000

76 Theodore Roosevelt Lambert (1905 - 1960 Levelock, AK) Alaskan mountain scene with lake Oil on board Signed lower left: T.R. Lambert Sight: 11” H x 15.5” W $3,000/5,000

62

1969

2019

77 Sydney M. Laurence (1865 - 1940 Anchorage, AK) “Northern Lights”, Alaska Oil on board Signed lower right: Sydney Laurence, signed again and titled on a gum label affixed verso 12.25” H x 16” W $20,000/30,000

October 23, 2018 - California & American Fine Art

63

78 Stephen William Shaw (1817 - 1900 San Francisco, CA) Portrait of Ulysses S. Grant Oil on canvas Signed lower left: S.W. Shaw 18” H x 15.25” W $5,000/7,000

79 Adolph Brougier (1870 - 1926 Santa Barbara, CA) “Rendezvous”, woman waiting for a man in a courtyard Oil on canvas Signed lower right: A. Brougier, titled by repute 38.5” H x 30.25” W $3,000/5,000

64

1969

2019

October 23, 2018 - California & American Fine Art

65

80 Thomas Hill (1829 - 1908 San Francisco, CA) “Yosemite” Oil on canvas Signed lower left: T. Hill, titled by repute 31.5” H x 26.5” W $12,000/18,000

66

1969

2019

81 Christian August Jorgensen (1860 - 1935 Piedmont, CA) Cathedral Rocks, Yosemite Valley, 1907 Watercolor on paper under glass Signed and dated lower left: Chris Jorgensen Sight: 26.75” H x 21.75” W $3,000/5,000

82 Alfred R. Mitchell (1888 - 1972 San Diego, CA) “In Yosemite” Oil on board Signed lower right: Alfred R. Mitchell, signed again and titled verso 16” H x 19.75” W $5,000/7,000

October 23, 2018 - California & American Fine Art

67

83 Orrin A. White (1883 - 1969 Pasadena, CA) “Sierra Stream” Oil on canvas Signed twice lower left: Orrin A. White, signed again and titled on the stretcher 36” H x 36” W $8,000/12,000 Exhibitions: Muckenthaler Cultural Center Foundation, Fullerton, CA, “The California Scene: Plein Air Paintings of the Golden State”, January 14 - February 18, 2001.

84 No Lot

68

1969

2019

85 Edgar Alwin Payne (1883 - 1947 Hollywood, CA) Jones Peak, San Gabriel Mountains Oil on canvas Signed lower right: Edgar Payne 28” H x 34” W $40,000/60,000

October 23, 2018 - California & American Fine Art

69

86

87 86 Frederick Schafer (1839 - 1927 Oakland, CA) “Mt. Shasta”, 1881 Oil on canvas Signed and dated lower right: Schafer 30” H x 50” W $3,000/4,000 Provenance: The Estate of Harry J. O’Connor III.

70

1969

87 Paul Harvey (1878 - 1948 Queens, NY) “Montecito Peak, Santa Barbara, CA”, 1916 Oil on canvas laid to waxed canvas Signed and dated lower right: Paul Harvey, dated again and titled on the stretcher 24” H x 36” W $3,000/5,000

2019

88 Hermann Herzog (1832 - 1932 Philadelphia, PA) Waterfall in a landscape Oil on canvas laid to canvas Signed lower left: H. Herzog 27” H x 41.5” W $10,000/15,000

October 23, 2018 - California & American Fine Art

71

89 John Bentley (1880 - 1951 Woodstock, NY) House in the woods Oil on canvas Signed lower right: John W. Bentley 25” H x 30” W $2,000/4,000

90 Robert Emmett Owen (1878 - 1957 New Rochelle, NY) “Early Autumn” Oil on canvas laid to waxed canvas Signed lower left: R. Emmett Owen, signed again and inscribed on the stretcher: To Isabel Andrews, titled on a gallery label affixed to the backing board 25” H x 30” W $2,000/3,000

91 Robert Emmett Owen (1878 - 1957 New Rochelle, NY) “Country Road in Spring” Oil on canvas laid to waxed canvas Signed lower left: R. Emmett Owen, titled on a gallery label affixed to the backing board 25” H x 30.25” W $2,000/3,000

72

1969

2019

October 23, 2018 - California & American Fine Art

73

92 Anna A. Hills (1882 - 1930 Laguna Beach, CA) “Autumn in Santa Ana Canyon”, 1920 Oil on board Signed and dated lower left: A.A. Hills 1920, signed again and titled verso 14” H x 18” W $20,000/30,000 Provenance: Stendahl Galleries, Los Angeles, CA; C.J. Forbes Estate, California; DeRu’s Fine Art, Laguna Beach, CA. Exhibitions: Laguna Beach Art Gallery, Laguna Beach, CA, n.d.; Laguna Art Museum, Laguna Beach, CA, “Miss Hills of Laguna Beach, Anna Althea Hills: Art, Education, Community”, October 16, 2006 - January 15, 2007.

74

1969

2019

93

94

93 Alexis Comparet (1856 - 1906 San Diego, CA) Bridge over a river, 1891 Oil on canvas laid to waxed canvas Signed and dated lower left: Comparet 20.75” H x 19.25” W $2,000/3,000

94 John M. Gamble (1863 - 1957 Santa Barbara, CA) Coastal range - Santa Barbara Oil on canvasboard Signed lower right: John M. Gamble, inscribed in another hand verso 9” H x 11.75” W $6,000/8,000

October 23, 2018 - California & American Fine Art

75

95 George Demont Otis (1879 - 1962 Kentfield, CA) “Summer’s Day - Marin County” Oil on canvas Signed lower right: Geo. Demont Otis, titled verso, stamp verso 24” H x 30” W $1,500/2,500

96 Everett Lloyd Bryant (1864 - 1945 Los Angeles, CA) Lakeside trees Oil on canvas Signed lower right: E.L. Bryant 18” H x 22” W $1,000/2,000

97 Jean Mannheim (1863 - 1945 Pasadena, CA) Stream through the Arroyo Seco Oil on canvas laid to canvas Signed lower left and lower right: J. Mannheim 20” H x 24” W $2,500/3,500

76

1969

2019

98 William Wendt ANA (1865 - 1946 Laguna Beach, CA) Rolling hills landscape Oil on canvas laid to canvas Signed lower right: William Wendt 25.25� H x 30.25� W $30,000/50,000 Provenance: William A. Karges Fine Art, Carmel, CA. Acquired from the above by the present owners.

October 23, 2018 - California & American Fine Art

77

99

100

99 Ben Abril (1923 - 1995 Los Angeles, CA) “Los Angeles County Museum of Natural History from the Rose Garden” Oil on canvas Signed lower right: Ben Abril, titled on the stretcher 18” H x 24” W $3,000/5,000

78

1969

100 Paul Grimm (1891 - 1974 Palm Springs, CA) “Normandy Village - Hollywood” Oil on canvasboard Signed lower right: Paul Grimm, signed again and titled verso 18” H x 24” W $5,000/7,000

2019

101 Ralph Hulett (1915 - 1974 Los Angeles, CA) “Yesterday & Today”, Chavez Ravine scene with figures Oil on canvas Signed lower right: Ralph Hulett, signed, titled and numbered verso: #763 22” H x 30” W $3,000/5,000 Provenance: Gift from the artist; thence by descent in the family to the present owner.

October 23, 2018 - California & American Fine Art

79

102 Gene Kloss NA (1903 - 1996 Taos, NM) “Spring’s Around the Corner”, circa 1965, figures walking along a path Oil on canvas Signed lower right: Gene Kloss A.N.A., signed again and titled on the frame 26.25” H x 40” W $10,000/15,000 Provenance: Gallery A, Taos, New Mexico. Acquired from the above by the present owner, Joanna Mersereau, Redlands, CA, 1965.

Notes: This lot is accompanied by the original sales receipt from Gallery A, Taos, New Mexico, dated August 29, 1965.

80

1969

2019

103 Phil Latimer Dike NA (1906 - 1990 Claremont, CA) “Light Shafts,” 1976 Watercolor on board under glass Signed lower right: Phil Dike, signed again, titled, numbered and dated verso: D75 5 78. W / Revised 1976 Sight: 14.5” H x 21.5” W $2,500/3,500 Provenance: Fireside Gallery, Carmel, CA.

October 23, 2018 - California & American Fine Art

81

104 William Dorsey (1942 - * Ojai, CA) “Ojai Valley”, eucalyptus landscape Oil on canvas Signed lower right: Wm. Dorsey, titled on the frame plaque 36” H x 48” W $4,000/6,000

82

1969

2019

105 John Modesitt (1955 - * Solana Beach, CA) “Spring Glory II”, oak tree and poppy landscape Oil on burlap Signed lower right: Modesitt, titled and inscribed verso: Central California 30” H x 40” W $3,000/5,000

October 23, 2018 - California & American Fine Art

83

106 David Chapple (1947 - * California) “Changing Seasons”, Santa Ynez with Figueroa Mountain Oil on canvas laid to masonite Signed lower left: David Chapple, titled verso 30” H x 40” W $7,000/9,000

84

1969

2019

107 Robert W. Wood (1889 - 1979 Bishop, CA) “Peaceful Valley”, stream through a mountain landscape Oil on canvas Signed lower right: Robt. Wood, titled on a frame plaque affixed verso 24” H x 30” W $4,000/6,000

October 23, 2018 - California & American Fine Art

85

108

109

86

108 Angel Espoy (1879 - 1963 Seal Beach, CA) Atmospheric landscape with wildflowers Oil on canvas laid to canvas Signed lower left: A. Espoy 20” H x 30” W

109 Angel Espoy (1879 - 1963 Seal Beach, CA) Dunes on the beach Oil on canvas Signed lower left: A. Espoy 26” H x 30” W

$3,000/5,000

$3,000/5,000 1969

2019

October 23, 2018 - California & American Fine Art

87

Pg. 23 Lot 32 Dennis M. Doheny (1956 - * Santa Barbara, CA) “Moonlit Surf”, 2001

88

Artist Index

89

Artist

Lot

Artist

Lot

Abril, Ben Adam, William C. Askenazy, Mischa

99 35 45

74, 75, 76

Bentley, John Bierstadt, Attributed to Albert Braun, Maurice Brewer, Adrian Brewer, Nicholas Richard Brougier, Adolph Bryant, Everett Lloyd

89 28 2, 27, 36 57 55 79 96

Lambert, Theodore Roosevelt Late 19th/early 20th C. American School Laurence, Sydney M. Lauritz, Paul Loveridge, Clinton

Chapin, James Ormsbee Chapple, David Clapp, William Henry Coburn, Frank Coleman, Michael Comparet, Alexis

59 106 40 67 60 93

Dike NA, Phil Latimer Doheny, Dennis M. Dorsey, William Dudley, Frank Virgil

103 32 104 54

Ellenshaw, Peter Ellis, Fremont F. Espoy, Angel

34 24 108, 109

Fetherolf, James A. Fries, Charles Arthur Frost, Arthur B.

20 17 61

Gamble, John M. 94 Gleason, Joe Duncan 33 Gluckmann, Grigory 37 Grimm, Paul 25, 26, 100 Groesbeck, Daniel Sayre 66 Gyberson, Indiana 43

Harvey, Paul 87 Herzog, Hermann 88 Hill, Thomas 80 Hills, Anna A. 92 Hinkle, Clarence 68 Hoffman, Frank 15 Hulett, Ralph 101

90

Jones, Hugh Bolton Jorgensen, Christian August

56 81

Kende, Geza Kloss NA, Gene Kosa Jr. NA, Emil J.

38 102 65

1969

39 77 49, 50, 51 58

Mannheim, Jean 97 Mell, Ed 21 Mitchell, Alfred R. 5, 12, 13, 22, 23, 29, 82 Modesitt, John 105 Moore, Frank Montague 69 Moran, Thomas 9 Otis, George Demont Otte, William Louis Owen, Robert Emmett

95 10 90, 91

Payne, Edgar Alwin

8, 11, 85

Raphael, Joseph Morris Redmond, Granville Reiffel, Charles Reynolds, Charles Rose, Guy

47 3 6, 48 16 41, 46

Schafer, Frederick 86 Sharp, Joseph Henry 18 Shaw, Stephen William 78 Sheets NA, Millard Owen 62, 63, 64, 71, 72, 73 Smith, Jack Wilkinson 7 Sparks, Will 19 Symons, George Gardner 4 Valencia, Manuel Villa, Hernando G.

52, 53 70

Wachtel, Elmer Walters, Curt Weaver, Harold Wendt ANA, William White, Orrin A. Wood, Robert W. Wores, Theodore

1 31 14 98 44, 83 107 30, 42

2019

Condition Reports

91

1 Visual: Generally good condition. Craquelure throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 20” W x 2.75” D.

13 Visual: Generally good condition. A few small spots of paint loss in the sky right center. Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 16.5” W x 2” D.

2 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: Small spots of touch-up scattered throughout.

Frame: 15” H x 18” W x 1.5” D.

14 Visual: Generally good condition. A 2.25” vertical crack in the board left center. Blacklight: No evidence of restoration under blacklight.

Frame: 16.5” H x 18.5” W x 1” D.

3 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Difficult to read under varnish.

Frame: 13.5” H x 16” W x 3” D.

15 Visual: Generally good condition. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 31.5” H x 38.5” W x 2” D.

4 Visual: Generally good condition. Paint shrinkage upper left.

Blacklight: No evidence of restoration under blacklight.

Frame: 13” H x 15.5” W x 1.5” D. 5 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 23.5” W x 1.5” D. 6 Generally good condition. With crazing and tiny flecks of paint loss in some of the white pigments. Mounted to the back mat with tape along the upper and lower edges.

Frame: 14.25” H x 16.25” W x 2” D. 7 Visual: Generally good condition. Craquelure throughout the sky and a small area lower left. Blacklight: Two lines of crack-fill in the sky upper right.

Frame: 20” H x 22” W x 2” D. 8 Visual: Generally good condition. Paint loss in the upper left corner. Artist’s pinholes along the corners and edges. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 19.5” W x 2” D. 9 Generally good condition. Minor toning to the paper. Hinged to the recto mat with archival tape along the upper edge.

Sheet: 8.75” H x 7” W; frame: 16.25” H x 14.25” W x 1” D. 10 Visual: Generally good condition. Craquelure throughout.

Blacklight: Small spots of touch-up scattered throughout.

Frame: 16” H x 20” W x 1.5” D. 11 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 17” H x 21.5” W x 2” D. 12 Visual: Generally good condition. Craquelure scattered throughout the sky and mountains. Scattered paint shrinkage in the trees left center. Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 16.5” W x 2” D.

92

1969

16 Visual: Generally good condition. Stretcher bar creases along the four edges. Blacklight: No evidence of restoration under blacklight.

Frame: 31.5” H x 37.5” W x 2” D. 17 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: Apparent touch-up scattered throughout under blacklight.

Difficult to read under varnish.

Frame: 25.5” H x 35.5” W x 2.25” D. 18 Visual: Generally good condition. The panel is bowed out in the center.

Minor surface dirt and grime. Blacklight: Touch-up throughout, including in the man’s hands and face. An 11” x 3” ‘L’-shaped line of touch-up to address a crack in the panel in the lower left quadrant.

Unframed.

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

Minor varnish discoloration scattered throughout. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 24” H x 28” W x 1.5” D. 20 Visual: Generally good condition. Craquelure scattered throughout.

Stretcher bar creases along the four edges. Blacklight: No evidence of restoration under blacklight.

Frame: 40” H x 46” W x 2.25” D. 21 Visual: Generally good condition. A very light, small scratch lower center.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 25” H x 29” W x 2” D. 22 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 16.5” W x 2” D. 23 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 16.5” W x 2” D. 24 Visual: Generally good condition. Craquelure throughout. Blacklight: No evidence of restoration under blacklight.

Unframed.

2019

25 Visual: Generally good condition. Small spots of paint loss scattered throughout. Blacklight: Touch-up scattered throughout.

Frame: 31.5” H x 35.5” W x 3” D. 26 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 28” H x 38” W x 2.25” D. 27 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 35” H x 30” W x 2.25” D. 28 Generally good condition. Frame abrasion along the four edges.

The board is loose, not mounted.

Board: 20” H x 24” W; frame: 26” H x 30” W x 2.25” D. 29 Visual: Generally good condition. Blacklight: A few tiny spots of touch-up scattered throughout.

Frame: 14.5” H x 16.5” W x 2” D. 30 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 22.25” H x 26.25” W x 3” D. 31 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 38” H x 68” W x 3” D. 32 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 28” W x 3” D. 33 Visual: Generally good condition. A few spots of craquelure scattered throughout. Paint shrinkage lower center. Minor frame abrasion. Blacklight: A 1.5” line of touch-up left center. Possible touch-up in the sails and the ocean. Difficult to read under varnish.

Frame: 25.5” H x 21.5” W x 2” D. 34 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 47.5” H x 70.5” W x 3” D. 35 Visual: Generally good condition. Minor frame abrasion. Blacklight: A few scattered spots of touch-up in the center sky. Touch-up along the upper left edge due to frame abrasion.

Frame: 30” H x 40” W x 2.75” D. 36 Visual: Generally good condition. A few small areas of craquelure scattered throughout the sky. Blacklight: Small spots of touch-up in the upper corners.

Frame: 32” H x 28” W x 2.5” D.

37 Visual: Generally good condition. Craquelure due to woodgrain scattered throughout. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 31” H x 27” W x 2.5” D. 38 Visual: Generally good condition. The canvas is slightly loose upper right. Blacklight: No evidence of restoration under blacklight.

Frame: 35.5” H x 29.5” W x 1.75” D. 39 Visual: Generally good condition. Paint shrinkage scattered throughout the background. An area of paint loss and instability along the upper right edge. Blacklight: Touch-up scattered throughout, the largest a 7.75” x 3.25” scattered area upper right.

Frame: 53” H x 38.5” W x 1.5” D. 40 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up throughout, concentrated mainly on the woman’s body and face.

Frame: 25” H x 29” W x 2” D. 41 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 31.5” H x 24.5” W x 2.75” D. 42 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Small spots of touch-up scattered throughout, including in the woman’s hair and kimono. Touch-up on and surrounding the signature lower right.

Frame: 23.75” H x 18” W x 2.25” D. 43 Visual: Generally good condition. Craquelure scattered throughout.

Minor frame abrasion along the four edges. Blacklight: Touch-up along the lower edge. An 8.25” x 2.25” scattered area of touch-up upper left. A 5.25” x 3.25” scattered area of touch-up in the center.

Small spots and lines of touch-up scattered throughout.

Frame: 24” H x 20” W x 2.5” D. 44 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 42.5” H x 37.5” W x 2.5” D. 45 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: A few small spots and lines of touch-up scattered throughout.

Frame: 49” H x 39” W x 2.25” D. 46 Visual: Generally good condition. A few areas of craquelure scattered throughout. Blacklight: Two small spots of touch-up lower right. Two small spots of touch-up along the lower left edge.

Frame: 39” H x 34” W x 4.5” D. 47 Visual: Generally good condition. Fine craquelure scattered throughout. The canvas is bowed out on the left side. Blacklight: Touch-up scattered throughout, concentrated mainly lower left and upper right.

Frame: 36” H x 42” W x 3.5” D.

October 23, 2018 - California & American Fine Art

93

48 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Small spots of touch-up scattered throughout the sky.

Frame: 29” H x 33” W x 2.25” D.

59 Visual: Generally good condition. Craquelure throughout the sky.

Blacklight: Scattered spots of touch-up throughout the sky and along the left edge. A few scattered spots of touch-up on the barn.

Frame: 25” H x 31” W x 2.25” D.

49 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Touch-up scattered throughout, the largest a 2.25” x 1.75” scattered area left center.

Frame: 35” H x 39” W x 2” D.

60 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 21.5” H x 27.5” W x 2.75” D. 61 Visual: Generally good condition. Craquelure scattered throughout.

Minor surface dirt and grime. Blacklight: A 2” x 1.75” area of touch-up upper right. Difficult to read under uneven varnish.

Frame: 26” H x 29.5” W x 4” D.

50 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 33.5” H x 39.5” W x 2” D.

62 Generally good condition. Artist’s pinholes in the four corners and upper center. The paper is loose, not mounted.

Sheet: 29.25” H x 40.5” W; frame: 41” H x 52.5” W x 3.5” D.

51 Visual: Generally good condition. Craquelure throughout.

Stretcher bar creases along the four edges. Blacklight: No evidence of restoration under blacklight.

Frame: 21.25” H x 25.25” W x 2.5” D.

63 Generally good condition. Artist’s pinholes in the four corners. The paper is loose, not mounted.

Sheet: 21.75” H x 30” W; frame: 32” H x 40” W x 2.75” D.

52 Visual: Generally good condition. Craquelure throughout.

Minor surface dirt and grime. Blacklight: Touch-up scattered throughout, concentrated mainly in the sky.

Frame: 19” H x 27” W x 2” D. 53 Visual: Generally good condition. Craquleure throughout the sky. Frame abrasion. Blacklight: No evidence of touch-up under blacklight.

Frame: 29” H x 45” W x 2” D. 54 Visual: Generally good condition. Minor frame abrasion. A few small spots of surface grime. Blacklight: No evidence of restoration under blacklight.

Unframed.

65 Visual: Generally good condition. Small scratches and scuff marks scattered throughout. Minor frame abrasion along the four edges.

Small areas of paint shrinkage upper left, upper center and left center.

Minor surface dirt and grime. Blacklight: A few small spots of touch-up scattered throughout the background.

Frame: 27.5” H x 23.5” W x 1.5” D. 66 Generally good condition. Scratches and scuff marks scattered throughout. The board is loose, not mounted.

Board: 29.75” H x 36” W; frame: 33.5” H x 40” W x 2.25” D.

55 Visual: Generally good condition. Craquelure throughout.

Stretcher bar creases along the four edges. Spots of glue scattered throughout the sky upper right and upper center.

Blacklight: Possible restoration scattered throughout under blacklight. Difficult to read under varnish.

Frame: 26” H x 30” W x 2.5” D.

67 Visual: Generally good condition. Craquelure in the sidewalk and figures left center. Blacklight: No evidence of restoration under blacklight.

Frame: 24.5” H x 28.5” W x 2” D.

56 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Touch-up throughout the sky, the largest a 2.5” x .5” line upper left.

Frame: 44” H x 50” W x 4” D. 57 Visual: Generally good condition. Craquelure throughout.

Small spots of paint loss upper left and lower right. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 25” H x 23” W x 1.5” D. 58 Visual: Generally good condition. Craquelure throughout.

Blacklight: A quarter-sized spot of touch-up upper left with corresponding patch verso. A couple of small spots and a 1” line of touch-up in the stream in the foreground.

Frame: 39” H x 34.25” W x 4.25” D.

94

64 Generally good condition. Artist’s pinholes in the upper corners. The paper is loose, not mounted.

Sheet: 21.75” H x 30” W; frame: 27.5” H x 35.5” W x 1.5” D.

1969

68 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 21” H x 17.5” W x 2.25” D. 69 Visual: Generally good condition. Artist’s pinholes in the four corners.

Blacklight: No evidence of restoration under blacklight.

Frame: 36” H x 30” W x 2.5” D. 70 Visual: Generally good condition. Small scuff marks with paint and varnish loss upper right. Varnish discoloration throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 26” W x 2.25” D.

2019

71 Generally good condition. Artist’s pinholes in the four corners. Frame abrasion along the four edges. A few nicks and losses to the paper along the upper edge. The paper is loose, not mounted.

Sheet: 22.25” H x 28” W; frame: 32” H x 37.75” W x 2.25” D. 72 Generally good condition. Artist’s pinholes in the four corners. The paper is loose, not mounted.

Sheet: 21.75” H x 30” W; frame: 27.5” H x 35.5” W x 1.5” D. 73 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 32” W x 2.5” D. 74 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Blacklight: No evidence of restoration under blacklight.

Unframed.

75 Visual: Generally good condition. Stretcher bar creases along the four edges. Varnish discoloration throughout. Blacklight: Touch-up scattered throughout, the largest a quarter-sized spot right center.

Frame: 21.5” H x 17.5” W x 1.5” D. 76 Visual: Generally good condition. Craquelure scattered throughout.

Small flecks of paint loss left center and upper right. Blacklight: A few small spots of overpaint in the snow left center and upper right.

Mounted to the recto mat with artist’s tape along the four edges.

Board: 11.5” H x 16” W; frame: 25” H x 29.5” W x 2” D. 77 Visual: Generally good condition. Craquelure throughout. Blacklight: No evidence of restoration under blacklight. A few spots of white fluoresce under blacklight lower right.

Frame: 22” H x 25.5” W x 2.25” D. 78 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. A light crease in the canvas upper left. Blacklight: A 1.5” x 1” area of touch-up lower center. Apparently no other restoration under blacklight. Difficult to read under varnish.

Frame: 26” H x 23” W x 2.75” D. 79 Visual: Generally good condition. A few small areas of paint shrinkage scattered throughout. Stretcher bar creases along the four edges, down the middle and across the center. Blacklight: Small spots of touch-up lower right, left center, upper left and in the center.

Touch-up scattered along the left edge. A small spot of touch-up in the woman’s hair.

Frame: 45.5” H x 36.75” W x 2.5” D. 80 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 43” H x 38” W x 4.5” D. 81 Generally good condition. Toning to the paper. Foxing throughout.

Glue and board remnants from a previous mounting remain verso.

The paper is loose, not mounted.

Sheet: 27.25” H x 21” W; frame: 36.5” H x 30.5” W x 2” D.

82 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 23.5” H x 27.5” W x 1.5” D. 83 Visual: Generally good condition. Splashes of white residue scattered throughout the center of the painting. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Frame: 39” H x 39” W x 2” D. 84 No Lot 85 Visual: Generally good condition. Blacklight: A 2.5” line of touch-up along the left center edge. A 1.75” line and a small spot of touch-up lower left. A .75” line of touch-up lower center. Three small spots of touch-up right center.

Frame: 34” H x 40” W x 2.5” D. 86 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky and mountain. Frame abrasion along the four edges with an area of paint loss lower center. Tiny flecks of paint loss upper left, upper center, lower right and lower center. Blacklight: A dime-sized spot of touch-up upper center with corresponding patch verso. Other possible restoration scattered throughout. Difficult to read under varnish.

Frame: 44” H x 64” W x 5” D. 87 Visual: Generally good condition. Craquelure throughout. Blacklight: Touch-up scattered throughout.

Frame: 29” H x 41” W x 2.25” D. 88 Visual: Generally good condition. Craquelure scattered throughout the sky and water. Blacklight: A 1.5” x 2.25” area and small spots of touch-up upper center. A 5.5” x 3” scattered area of touch-up in the center. A few small spots and lines of touch-up upper right, the largest 2.5”.

Frame: 41.5” H x 55” W x 4” D. 89 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 38” W x 3” D. 90 Visual: Generally good condition. Craquelure throughout. The canvas is bowed out in the center. Blacklight: Touch-up scattered throughout.

Frame: 32.5” H x 37.5” W x 2.5” D. 91 Visual: Generally good condition. Craquelure throughout. Blacklight: A few small spots and a quarter-sized spot of touch-up upper right. A small spot of touch-up in the center. Difficult to read under varnish.

Frame: 33” H x 38” W x 2” D. 92 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Touch-up scattered throughout the sky and mountains, concentrated mainly in the sky upper left.

Frame: 21.5” H x 25.5” W x 1.5” D.

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93 Visual: Generally good condition. Craquelure throughout. The canvas is bowed out upper right. Blacklight: Touch-up along the upper edge. Small spots of touch-up lower left and right center.

A pea-sized spot of touch-up upper left. A scattered 2” line of touch-up lower right.

Frame: 28.25” H x 26.5” W x 3” D. 94 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 15.25” H x 18” W x 2.25” D. 95 Visual: Generally good condition. Blacklight: A pea-sized spot of touch-up in the center.

Frame: 31” H x 37” W x 2” D. 96 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout, the largest a 3.25” x 2.5” area lower center with corresponding patch verso.

Frame: 26.5” H x 30.5” W x 3” D. 97 Visual: Generally good condition. Minor, stable, scattered craquelure concentrated mainly in the sky. Blacklight: Extensive spots of touch-up throughout the sky in the upper center, in the upper left and on the green hillside in the center and right center. A vertical area of touch-up to address a repaired 4” x 1” tear in the left center with corresponding spots of touch-up. A few other scattered spots of touch-up throughout.

Frame: 27” H x 32” W x 2.5” D. 98 Visual: Generally good condition. Craquelure throughout. Minor frame abrasion along the four edges. Blacklight: Touch-up and crack-fill scattered throughout the sky upper left. A pea-sized spot and a quarter-sized spot of touch-up along the lower left edge. Difficult to read under varnish.

Frame: 32.5” H x 37.5” W x 2.5” D.

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

Board: 15” H x 22” W; frame: 25” H x 32” W x 2” D. 104 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 46” H x 58” W x 2.5” D. 105 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 36.5” H x 46.5” W x 1.75” D. 106 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 38” H x 48” W x 1.5” D. 107 Visual: Generally good condition. Small spots of paint loss lower left and lower center. Blacklight: Apparently no restoration under blacklight.

Difficult to read under varnish.

Frame: 30” H x 36” W x 3” D. 108 Visual: Generally good condition. Craquelure throughout. Blacklight: Touch-up and crack-fill scattered throughout the sky.

Frame: 27” H x 37” W x 2.5” D. 109 Visual: Generally good condition. Craquelure in the sky upper center.

Light scuff marks upper right. Blacklight: No evidence of restoration under blacklight.

Frame: 32.5” H x 36.5” W x 1.5” D.

99 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Frame: 26.5” H x 32.5” W x 2.5” D. 100 Visual: Generally good condition. The canvas is creased and slightly lifting from the board in the lower corners. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight.

Unframed.

101 Visual: Generally good condition. Small flecks of paint loss left center. Blacklight: No evidence of restoration under blacklight.

Frame: 31” H x 39” W x 2.5” D. 102 Visual: Generally good condition. Small areas of craquelure lower right, upper right and lower left. Very minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 30.5” H x 44.5” W x 2.25” D.

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20th Century Art + Design Tuesday, November 13, 2018

Sam Maloof (1916 - 2009 Alta Loma, CA) A spindle-back rocking chair, 1981 $15,000/25,000

1969

2019

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

Prints & Multiples

Tuesday, November 13, 2018

Robert Motherwell (1915-1991 American) Redness of Red, 1985 $18,000/22,000

1969

2019

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

Rare and Important Timepieces from a Private Collection Tuesday, December 11, 2018

A Charles Fasoldt, Albany, NY pocket watch 18k gold, Fasoldt patented micrometric regulator, No. 426 $10,000/20,000

A Patek Philippe & Co. wristwatch calendar moon-phase, 37 jewels Ref: 3448, Cal: 27-460 Q $60,000/90,000

Presenting a curated collection of over 120 rare and unusual American and European pocket and wristwatches

1969

2019

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

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

SPECIALISTS

Vice President, Fine Art Director Morgana Blackwelder Fine Art Specialist David Trujillo Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Furniture & Decorative Arts Specialist Kim Jarand Estate Specialist John Simon Taylor Jewelry Director Mollie Burns Keith, G.G. Furniture, Decorative Arts & Jewelry Cataloguer Jardine Bruce, GIA D.G., A.J.P.

TRUSTS & ESTATES

Consignment Director Greg Colley

CLIENT SERVICES

Office Manager, Client Accounting

Maha Darwish Client Services / Consignment Administration

Jean Rapagna Client Services Derek McLaughlin

OPERATIONS

Business Director / Auctioneer Stephen Swan Special Projects Maranda Moran Property Manager Mike Hook Art Handler Joe Miranda Art Handler Richard Corral

DIGITAL DESIGN

Advertising & Marketing Director, Art Design Nathan Martinez Webmaster / Network Administrator

Oscar Tsao Photographer Mido Lee

FOUNDERS

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

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This catalogue is meant merely as a guide.

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

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

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

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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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 $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside 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

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price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, Pasadena Branch located at 300 E. Walnut Street, Pasadena, California 91101 or the Federal Court Central District located at 312 North Spring Street, Los Angeles, California, 90012-4793.

CREDIT CARDS, CONTINUED Credit card payments will not be accepted from buyers outside of the United States. Buyers outside of the United States are required to submit payment via wire transfer.

TAXES Applicable California sales tax applies.

CONTRACT 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.

PAYMENT 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 $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States.

SHIPPING 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.

BUYERS PREMIUM 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 $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States.

CONDITION 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.

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

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

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

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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

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

Title:

First Name:

Paddle number

Sale number

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

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

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

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

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

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

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

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

Front cover: Pg. 33 Lot 41 Guy Rose (1867 - 1925 Pasadena, CA) Young woman in a field of daisies

Back cover: Pg. 19 Lot 27 Maurice Braun (1877 - 1941 San Diego, CA) “The Cliffs”

Pg. 34 Lot 42 Theodore Wores (1859 - 1939 San Francisco, CA) “Lady in Kimono”

Pg. 77 Lot 101 Ralph Hulett (1915 - 1974 Los Angeles, CA) “Yesterday & Today”

This catalogue designed & printed in California, USA

J ohn Mor a n Auc t ioneer s - Califor nia & American Fine Art - Tu e sday, Octo be r 2 3, 20 18

California & American Fine Art Tuesday, October 23, 2018—6pm

1969 w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3

2019