Prints & Multiples

Prints & Multiples Sale 131 November 13, 2018—12pm 145 East Walnut Avenue, Monrovia CA 91016 Previews November 9-12: 12pm-4pm November 13: Doors open 10am

Pg.79 1074 Willy Ronis (1910 - 2009 French) “Le Petit Parisien,” 1952

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Fine Art Department Morgana Blackwelder Director morgana@johnmoran.com

David Trujillo Specialist david@johnmoran.com

Jeff Moran President jeff@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

Pg. 54 1051 Richard Duardo (1952 - 2014 American) “Hecho en Aztlan,� 2012 (from the Flag Series)

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1001 Mary Cassatt (1844 - 1926 American) “The Manicure,” circa 1908 Drypoint etching on paper under glass Unsigned Plate: 8.25” H x 5.75” W $1,000/2,000 Literature: Breeskin 199.

November 13, 2018 - Prints & Multiples

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1002 Pierre-Auguste Renoir (1841 - 1919 French) “Une Mêre et Deux Enfants,” circa 1912 Lithogaph on Ingres d’Arches laid paper with MBM watermark under Plexiglas; Auguste Clot, Paris, prntr.

Edition of approx. 50 Image: 13” H x 17.25” W $1,500/2,000 Literature: Delteil 54.

1003 Edmond François Aman-Jean (1858 - 1936 French) “Tête de Femme, de Profil à Gauche,” circa 1897 Color lithograph on paper under glass Signed and numbered lower right: Aman Jean / No. 13 Image: 18.5” H x 15” W $500/700 Provenance: Property from the Estate of Nancy Chandler.

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Walter Schnackenberg

1004 Walter Schnackenberg (1880 - 1961 German) “Ballet und Pantomime,” (group of 21 prints with text and portfolio cover), 1920 Color pochoirs on wove paper under glass; Georg Müller, Munich, pub.

Edition of 850 Image: Largest: 11” H x 9” W

Walter Schnackenberg

$7,000/9,000

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1005 Henri de Toulouse-Lautrec (1864 - 1901 French) “Aristide Bruant, Dans son Cabaret,” 1893 Color lithographic poster; Edw. Ancourt, Paris, pub.

Image/sheet: 53.5” H x 38” W $8,000/12,000 Provenance: Property from the Estate of Nancy Chandler.

Literature: Delteil 348; Adhémar 15.

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1006 Roger Soubie (1898 - 1984 French) “De Chamonix au Montenvers,” 1920 Color lithograph backed on linen; De Lattre, Paris, prntr.

Sheet: 39” H x 24.25” W $2,000/4,000

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Pg. 12 1011 Grant Wood (1891 - 1942 American) “July Fifteenth,” 1938

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1007 Oskar Kokoschka (1886 - 1980 Austrian) “Ivar von Lucken” Lithograph on Japan paper under Plexiglas Signed lower right: Oskar Kokoschka Image: 26.5” H x 18” W $800/1,200

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1008 Alfred Kubin (1877 - 1959 Austrian) A group of three prints Lithographs on paper under glass Each signed lower right: Kubin, the first: Edition VII/10, the second: numbered lower left: 16, the third: titled in German lower left Largest: 16.5� H x 12.5� W $1,000/1,500

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1009 Wharton Harris Esherick (1887 - 1970 American) “February” Woodblock on rice paper under glass Signed lower right: Wharton Harris Esherick, titled lower left Image: 9.5” H x 8.75” W $800/1,200

1010 Wharton Harris Esherick (1887 - 1970 American) “The Man in the Snow Storm” Woodblock on rice paper under glass Edition 24/40, signed lower right: Wharton Harris Esherick, titled lower left Image: 8” H x 8.5” W $800/1,200

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1011 Grant Wood (1891 - 1942 American) “July Fifteenth,” 1938 Lithograph on paper under glass; Associated American Artists, New York, pub.

Edition of 250, signed lower right: Grant Wood Image: 9” H x 12” W $4,000/6,000 Literature: Cole 5.

1012 John Steuart Curry (1897 - 1946 American) “John Brown,” 1939 Lithograph on wove paper laid to board under glass; Associated American Artists, New York, pub.

Edition of 250, signed lower right: John Steuart Curry Image: 14.75” H x 11” W $3,000/5,000 Literature: Cole 34.

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1013 George Tooker (1920 - 2011 American) “Voice,” 1977 Color lithograph on paper under glass Trial proof, signed lower right: George Tooker Image: 11” H x 9.75” W $800/1,200 Provenance: David Tunkl Gallery, Los Angeles, CA.

1014 Elizabeth Catlett (1915 - 2012 American/Mexican) “Sentado Niña,” 1951 Color lithograph on paper laid to board under glass Signed lower left: E. Catlett, dated lower right Image: 9.5” H x 7.5” W $800/1,200

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1015 Francisco Zúñiga (1912 - 1998 Mexican) “La Familia Indígena II,” 1980 Color lithograph on paper under glass Edition 59/125, signed and dated lower left: Zúñiga Image/sheet: 22” H x 31.25” W $800/1,200 Provenance: Property from the Estate of Nancy Chandler.

1016 Francisco Zúñiga (1912 - 1998 Mexican) “Domitila,” 1980 Color lithograph on paper under glass Edition 41/93, signed and dated lower left: Zúñiga, with the publisher’s blindstamp in the lower right corner.

Image/sheet: 22.5” H x 17.5” W $600/800 Provenance: Property from the Estate of Nancy Chandler.

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Pg. 20 1021 After Joan Miró (1893 - 1983 Spanish) “Femme et Oiseaux,” 1959 (from the “Constellations” suite)

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1969

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1017 Georges Braque (1882 - 1963 French) “Oiseau noir sur fond bleu (Oiseau VIII),” 1955 Color etching on BFK Rives wove paper; Maeght, Paris, pub.

Edition 63/75, signed lower right: G. Braque Plate: 5.75” H x 8.75” W; Sheet: 11” H x 15” W $3,000/5,000 Literature: Vallier 100.

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1018 Joan Miró (1893 - 1983 Spanish) “Lithograph II,” 1959 (from the “Constellations” suite) Color lithograph on Arches; Pierre Matisse, New York, pub.; Mourlot, Paris, prntr.

Edition 13/350, signed lower right: Miró Image: 11.75” H x 9.25” W; Sheet: 17.25” H x 14” W $2,000/4,000 Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

Literature: Mourlot 193.

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1019 Joan Miró (1893 - 1983 Spanish) “Constellations (Black State),” 1959 (from the “Constellations” suite) Etching and aquatint on paper under glass; Pierre Matisse, New York, pub.

Edition 13/100, signed lower right: Miró Plate: 10.75” H x 7.5” W; Sheet: 17.5” H x 14.25” W $3,000/5,000 Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

Literature: Dupin 269.

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1020 After Joan Miró (1893 - 1983 Spanish) “La Lever du Soleil,” 1959 (from the “Constellations” suite) Color pochoir on paper under Plexiglas; Pierre Matisse, New York, pub.

Edition of 350, with a printed inscription and drawing verso Image/sheet: 14” H x 16.75” W

1021 After Joan Miró (1893 - 1983 Spanish) “Femme et Oiseaux,” 1959 (from the “Constellations” suite) Color pochoir; Pierre Matisse, New York, pub.

Edition of 350, with a printed inscription and drawing verso Image/sheet: 14” H x 16.75” W

$1,500/2,500

$1,500/2,500

Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

Literature: Cramer 58.

Literature: Cramer 58.

1022 After Joan Miró (1893 - 1983 Spanish) “Graphismes,” 1960 Color lithograph on paper under Plexiglas; Galerie Maeght, Paris, pub.

Edition 132/300, signed lower right: Miró, with Galerie Maeght blindstamp lower left Image: 15.5” H x 33.5” W $1,200/1,800 Literature: Maeght 1721.

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1023 Joan Miró (1893 - 1983 Spanish) “Mannequin Parade in Bahia,” 1969 Color lithograph on wove paper under glass; Maeght, Paris, pub.

Edition 34/75, signed lower right: Miró, titled in another hand verso, inscribed in graphite verso: 21643 AANO Image: 47” H x 31.5” W $10,000/15,000 Literature: Mourlot 628.

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1024 Bernard Buffet (1928 - 1999 French) “Fleurs,” 1955 Color lithograph on paper under glasss Edition 26/200, signed lower right: Bernard Buffet, with the publisher’s blindstamp lower left Image: 19.75” H x 15” W $800/1,200 Provenance: Redfern Gallery, London.

Mr. Charles H. Black, Los Angeles, CA. Literature: Sorlier 4.

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1025 Françoise Gilot (1921 - * French) “Paloma” Color lithograph on paper under glass; Mourlot, Paris pub.

Edition EA, signed lower right: F. Gilot Image: 26.25” H x 20.25” W $1,000/2,000 Provenance: Property from the Collection of Shirley Polykoff, New York, NY.

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1026 Betye Irene Brown Saar (1926 - * American) “Sorceress & Seven Assorted Birds,” 1964 Etching with aquatint on paper under glass Edition 3/20, signed and dated lower right: Betye Saar, titled lower left Plate: 14.75” H x 12.25” W $400/600 Provenance: Kozlow Gallery, Encino, CA.

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$4,000/6,000 Literature: Michler/Löpsinger 321-33; Field 69-5.

November 13, 2018 - Prints & Multiples

Salvador Dalí

1027 Salvador Dalí (1904 - 1989 Spanish) “Alice’s Adventures in Wonderland,” 1969 Portfolio with complete text, color etching and 12 heliogravures in leather-backed linen clamshell case with intact leather straps and horn clasps; Maecenas Press and Random House, New York, pub.; Atelieres Rigal and Nourrisson, Paris, prntr.

Edition 1326/2500, signed in pencil on the title page: Dalí Sheet: 17.125” H x 11.5” W (each)

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Salvador DalĂ­

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Salvador DalĂ­ November 13, 2018 - Prints & Multiples

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1028 Salvador Dalí (1904 - 1989 Spanish) “Manhattan Skyline,” 1976 Color lithograph on Arches paper under Plexiglas Edition EA, signed lower right: Dalí Image/sheet: 30” H x 21.5” W

1029 Salvador Dalí (1904 - 1989 Spanish) “Hommage aux Petits Lits Blancs,” 1971 Color lithograph on Arches; Mourlot, Paris, prntr.

Edition 71/250, signed lower right: Dalí Image: 26.25” H x 19.75” W

$2,000/4,000

$500/700

Literature: Field 76-6.

Provenance: Wally Findlay Gallery, Beverly Hills, CA.

Salvador Dalí

Notes: A ceritificate of authenticity from Wally Findlay Gallery, Beverly Hills, CA, is affixed to the backing board.

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1030 Reuven Rubin (1893 - 1974 Israeli) “Visions of the Bible,” 1972 (group of 11 prints) Color lithographs on Arches paper under Plexiglas; Mourlot, Paris, pub.

Edition 61/150, each signed lower right: Rubin Sheet: 28” H x 22” W (each) $2,000/4,000 Provenance: Property from the Estate of Nancy Chandler.

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Friedensreich Hundertwasser 32

1031 Friedensreich Hundertwasser (1928 - 2000 Austrian) “Good Morning City - Bleeding Town,” 1969-70 Color screenprint with metallic embossing on Fabriano paper; Dorothea Leonhart, Munich and Ars Viva, Zurich, pub., Studio Quattro, Venice, prntr.

Edition 3987/10000 30.25” H x 18.5” W $800/1,200

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Friedensreich Hundertwasser

$7,000/9,000 Literature: Koschatzky 44-53.

November 13, 2018 - Prints & Multiples

Friedensreich Hundertwasser

1032 Friedensreich Hundertwasser (1928 - 2000 Austrian) “Look at it on a Rainy Day (Regentag Portfolio),” 1971 Portfolio of 10 color screenprints with metallic embossing; Ars Viva, Zurich, pub.

Edition 2037/3000, signed and numbered 2037/3000 in colored pencils on inside of upper lid of portfolio case, plate 7 signed in black ink and numbered 204/300, with the artist’s stamp in red Sheet: 19.25” H x 26.25” W (each)

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1033 Jean Dubuffet (1901 - 1985 French) “Immeuble,” 1971-76 Color screenprint; Pace Editions, Inc., New York, pub.

Edition 43/50, initialed and dated lower right: J.D. Image: 23.75” H x 26.75” W $3,000/5,000 Provenance: Pace Gallery, New York, NY. Literature: Webel 1181.

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1034 Lajos Kassák (1887 - 1967 Hungarian) Untitled (Abstract) Color silkscreen Edition 144/200, signed lower right: Kassák Image: 19.5” H x 13.75” W $500/700

1035 Lajos Kassák (1887 - 1967 Hungarian) Untitled (from “Bildarchitectur”), 1965 Color silkscreen Edition 122/200, signed lower right: Kassák Image: 17.75” H x 13.25” W $700/900

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1036 Robert Motherwell (1915 - 1991 American) “Redness of Red,” 1985 Color screenprint, lithograph and collage on Arches Cover paper; Tyler Graphics, Ltd., Bedford Village, New York, pub.

Edition 17/100, initialed lower right: RM Image/sheet: 24” H x 16” W $15,000/25,000 Provenance: Margo Leavin Gallery, Los Angeles, CA. Estate of Ruth and Allen Ziegler, Brentwood, CA. Literature: Engberg & Banach 354.

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1037 Alexander Calder (1898 - 1976 American) “Homage to the Pyramids” Lithograph in colors on paper under Plexiglas Edition E.A., signed lower right: Calder Image: 12” H x 9.5” W $500/700 Exhibitions: Harcourts Gallery, San Francisco, CA, “Calder, 1898-1976: Retrospective Showing,” December, 1977 - January, 1978.

Notes: A certificate of authenticity from Harcourts Gallery, San Francisco, CA, is affixed verso.

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1038 Alexander Calder (1898 - 1976 American) “Three Elephants,” 1975 (from “Our Unfinished Revolution”) Color lithograph on Arches paper; Alba Editions, New York, pub.

Edition 145/175, signed lower right: Calder Sheet: 22” H x 30” W $3,000/5,000

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1039 Joe Goode (1937 - * American) “Untitled,” 1975 (JG75-5140) Two-layer, three-color screenprint on Royal satin fabric; Gemini G.E.L., Los Angeles, pub.

Edition of 24, signed along top binding verso: Joe Goode and dated; numbered with printer’s mark on binding recto 20.25” H x 23.75” W $4,000/6,000 Provenance: Acquired directly from the artist by the present owner.

1040 Robert Rauschenberg (1925 - 2008 American) “11,000 and Rising,” 1982 (from “L.A. Flakes”) Color etching with embossing on Georges Duchene Colombe paper; Gemini G.E.L., Los Angeles, pub.

Edition 3/42, signed and dated lower right: Rauschenberg, with the publisher’s blindstamp in the lower left corner Sheet: 30” H x 23” W $800/1,200 Provenance: Estate of Ruth and Allen Ziegler, Brentwood, CA.

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1041 Sam Francis (1923 - 1994 American) “Freshet,” 1972 Color silkscreen on paper under glass Edition A.P. II, signed lower right: Sam Francis, with the Gemini G.E.L. blindstamp lower right and inkstamp verso, inscribed in the lower corners verso: SF72-5055 / SFS-131 Sheet: 38” H x 29.5” W $2,000/3,000 Literature: Lembark S2.

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1042 Jim Dine (1935 - * American) “Black Ink Robe,” 2005 Color woodcut with lithograpy on BFK Rives; Marco Fine Arts Contemporary, Hawthorne, CA, pub.; Atelier Michael Woolworth, Paris, prntr.

Edition 82/200, signed and dated lower right: Jim Dine Sheet: 26.25” H x 20.25” W

1043 Jim Dine (1935 - * American) “The Blue Heart,” 2005 Color lithograph on BFK Rives; Marco Fine Arts Contemporary, Hawthorne, CA, pub.; Atelier Michael Woolworth, Paris, prntr.

Edition 10/200, signed and dated lower right: Jim Dine Sheet: 26.25” H x 20.25” W

$2,500/3,500

$2,500/3,500

1044 Jim Dine (1935 - * American) “Double Venus in the Sky at Night,” 1984 Color lithograph and screenprint on watermarked William Morris Nonesuch laid paper; Pace Editions, Inc., New York, pub.

Edition 27/50, signed lower center: Jim Dine, dated lower right, with the William Morris stamp and numbered verso: 83-131 Sheet: 41” H x 30” W $5,000/7,000 Provenance: Property from the Estate of Lee Vandervelde, Beverly Hills, CA; sold to benefit charities.

Literature: D’Oench & Feinberg 166.

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1046 Donald Sultan (1951 - * American) “King of Diamonds” and “Six of Spades” from “Playing Cards” (two works), 1990 Color aquatints; Parasol Press, New york, pub.

Edition 25/44 (each), initialed, titled and dated along the left margin: D.S. Plate: 11.5” H x 8” W; Sheet: 21” H x 14.75” W (each) $2,000/3,000

1045 Jim Dine (1935 - * American) “The Realistic Poet Assassinated,” 1971 Etching with hand coloring; Petersburg Press, London, pub.

Edition AP, aside from an edition of 75, signed lower left: Jim Dine, dated lower center Plate: 27” H x 21.25” W $800/1,200 Provenance: Margo Leavin Gallery, Los Angeles, CA. Estate of Ruth and Allen Ziegler, Brentwood, CA. Literature: Williams College 32.

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1047 Alex Katz (1927 - * American) “Ada Four Times,” 1979-1980 (four works) Complete set of four color lithographs with screenprint; GHJ Graphics, Inc., New York, pub.; Styria Studio, New York, prntr.

Each from the edition of 120, signed lower left or lower right: Alex Katz Image/sheet: 30.25” H x 22.5” W (each) $4,000/6,000 Literature: Maravell 117-20.

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1048 Chuck Close (1940 - * American) “Self-Portrait,” 2012 Archival watercolor pigment print on wove paper; Pace Editions, New York, pub.

Edition 25/50, signed lower center: Chuck Close, dated lower right, with the publisher’s blindstamp in the lower right corner Image: 24.25” H x 19.5” W; Sheet: 30” H x 22” W $4,000/6,000

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1049 Chuck Close (1940 - * American) Untitled (Phil detail), 2007 Screenprint; Pace Editions, Inc., New York, pub.; Brand X Editions, New York, prntr.

Edition B.A.T. for the edition of 100, signed lower center: Chuck Close, dated lower right Image: 10” H x 10” W; Sheet: 16” H x 15” W $4,000/6,000

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Pg. 57 1054 Richard Duardo (1952 - 2014 American) “Big Long Frida,” 2014 November 13, 2018 - Prints & Multiples

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(1952 - 2014)

Richard Duardo

Richard Duardo was born at White Memorial Hospital on César Chávez Avenue in the Los Angeles neighborhood of Boyle Heights, May 15, 1952. The son of a Mexican mother and first-generation Mexican-American father, Duardo grew up during a pivotal point in the history of East Los Angeles, as Boyle Heights slowly shifted from a predominately Jewish community to an enclave for first-generation Mexican immigrants and Mexican-American families. In 1963, Duardo's family moved to Highland Park, a white, conservative community that would also slowly evolve to a largely Hispanic populace as white families moved to Pasadena or other Los Angeles suburbs.

It was these early Chicano communities that shaped Duardo's political and artistic outlook, and in high school, Duardo began to participate in Chicano rights organizations and movements. César Chávez and Dolores Huerta had co-founded the National Farm Worker's Association in 1962, which then merged with the Agricultural Workers Organizing Committee to form the United Farm Workers of America (UFW) in 1966. Duardo and fellow classmates at Franklin High School organized the United Mexican American Students organization, and Duardo started his own newspaper that he produced on a mimeograph at a storefront run by émigré Russian Communists. The UFW also used that space to produce their own posters, and Duardo began to organize supermarket pickets for the organization among his fellow students.

Despite the amount of time Duardo spent in support of local and national Chicano movements, he attended Pasadena Community College and eventually transferred to UCLA, where he graduated with a BFA in design in 1976. He interned at Gemini G.E.L. with master printer Jeff Wasserman following his studies, and in 1978, began working with Sister Karen Boccalero in running her print department at Self-Help Graphics, a center dedicated to fostering East LA Chicano artists. Following his time at Self-Help, Duardo opened the Centro de Arte Público in his childhood neighborhood of Highland Park with fellow artists Carlos Almaraz and Frank Romero, writers Guillermo Bejarano and Victor Valle, and photographer John Valadez. An artist collective fueled by the ideals of the UFW, the centro refused to take any non-profit or government money that could compromise their political views of creating a united Chicano community in the neighborhood.

While the centro lasted only two years, Duardo's love of printmaking and art grew, and he was able to take over the entire 5,000 square foot space with money from making posters for punk bands. His first print shop was appropriately called Hecho en Aztlán, followed by later offshoots that eventually found their way to his current studio, Modern Multiples Fine Art Editions.

During his lifetime, Duardo printed and published the works of over 700 artists, including Shepard Fairey (lots 1057 and 1058), John van Hamersveld (lot 1053), Sage Vaughn (lot 1059), Keith Haring, Banksy, Ray Pettibon, and David Hockney.

His personal body of work is staggering in its scope. Ranging from political signs, to concert flyers, to beautifully detailed pop art masterpieces, his oeuvre drew on his incredible technical prowess combined with tongue-in-cheek or outright confrontational compositions. Duardo embraced celebrities and pop culture in his imagery, although unlike Warhol, he did not fetishize his subjects but presented them with an incredible energy and vivacity typical of his own style.

Duardo was not only an artist, but an activist, teacher, mentor, and community facilitator who left an indelible mark on Southern California art history. As Los Angeles celebrates its vibrant Latino and immigrant communities with projects like Pacific Standard Time LA/LA, we remember the artists who made those communties thrive as Richard Duardo did.

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$1,000/1,500

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Richard Duardo

1050 Richard Duardo (1952 - 2014 American) “JFK,” 2013 (from the “Flag Series”) Four-color serigraph with hand-coloring on Coventry Rag 320; Modern Multiples, Los Angeles, pub.

Edition 6/20, signed and dated lower right: Richard Duardo, with the publisher’s blindstamp in the lower left corner Image: 42” H x 24.25” W; Sheet: 47.5” H x 29.25” W

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1051 Richard Duardo (1952 - 2014 American) “Hecho en Aztlan,” 2012 (from the “Flag Series”) Five-color serigraph on Coventry Rag 320; Modern Multiples, Los Angeles, pub.

Edition 3/9, signed and dated lower right: Richard Duardo, with the publisher’s blindstamp in the lower left corner Image: 24.5” H x 42” W; Sheet: 30” H x 47” W

Richard Duardo

$1,000/1,500

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1052 Richard Duardo (1952 - 2014 American) “Obey,” 2012 (from the “Flag Series”) Six-color serigraph on Coventry Rag 320; Modern Multiples, Los Angeles, pub.

Edition 3/9, signed and dated lower right: Richard Durado, with the publisher’s blindstamp in the lower left corner Image: 24.25” H x 42” W; Sheet: 30” H x 47” W

Richard Duardo

$1,000/1,500

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1053 John van Hamersveld (1941 - * American) “Hendrix” Four-color screen print; Modern Multiples, Los Angeles, pub.

Edition PP 5/6, signed lower right: John van Hamersveld, with the publisher’s blindstamp in the lower left corner Image: 40” H x 28” H; Sheet: 44.25” H x 32.25” W $1,000/1,500

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$1,000/1,500

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Richard Duardo

1054 Richard Duardo (1952 - 2014 American) “Big Long Frida,” 2014 Color serigraph on Coventry Rag 320 with hand-coloring; Modern Multiples, Los Angeles, pub.

Edition 8/24, signed and dated lower right: Richard Durardo, inscribed lower left: H.P.M. (Hand Painted Multiples), with the publisher’s blindstamp in the lower left corner Image: 45” H x 18” W; Sheet: 49.5” H x 22” W

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Richard Duardo 58

1055 Richard Duardo (1952 - 2014 American) “7 Year Itch,” 2012 Six-color serigraph on Coventry Rag 320 with hand-coloring; Modern Multiples, Los Angeles, pub.

Edition 17/18, signed and dated lower right: Richard Duardo, inscribed lower left: H.P.M. (Hand Painted Multiples), with the publisher’s blindstamp in the lower left corner Image: 46” H x 34” W; Sheet: 48” H x 36” W $1,500/2,500

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$1,500/2,500

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Richard Duardo

1056 Richard Duardo (1952 - 2014 American) “Hard at Twerk,” 2014 Four-color serigraph on Coventry Rag 320 with hand-coloring; Modern Multiples, Los Angeles, pub.

Edition AP 3/10, signed and dated lower right: Richard Durado, with the publisher’s blindstamp in the lower left corner Image: 44.25” H x 32” W; Sheet: 50.5” H x 37” W

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1057 Shepard Fairey (1970 - * American) “Michael Jordan Portrait,” 2009 Four-color serigraph on Stonehenge 290; Modern Multiples, Los Angeles, pub.

Edition V/VIII, signed and dated lower right: Shepard Fairey, with the publisher’s blindstamp in the lower left corner Image: 34” H x 24.25” W; Sheet: 26” H x 36” W $1,000/1,500

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1058 Shepard Fairey (1970 - * American) “Michael Jordan: UNC,” 2009 Five-color serigraph on Stonehenge 290; Modern Multiples, Los Angeles, pub.

Trial proof, signed and dated lower right: Shepard Fairey, with the publisher’s blindstamp in the lower left corner Image: 34.25” H x 24.25” W; Sheet: 36” H x 26” W $1,000/2,000

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1059 Sage Vaughn (1976 - * American) “Butterfly Ring,” 2004 Four-color serigraph with hand-coloring; Modern Multiples, Los Angeles, pub.

Edition 20/24, signed and dated lower right: Sage Vaughn, with the publisher’s blindstamp in the lower left corner Image: 44” H x 33” W; Sheet: 48” H x 36.25” W $1,500/2,500

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1060 Banksy (1974 - * British) “Di-Faced Tenner,” 2004 Offset lithograph on paper under Plexiglas 3” H x 5.5” W $800/1,200

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1061 Takashi Murakami (1962 - * Japanese) “Homage to Francis Bacon: Head of Isabel Hawthorne and Head of George Dyer,” (a pair) Color offset lithographs on smooth wove paper; Kaikai Kiki, Tokyo, pub.

Head of Isabel Hawthorne: Edition 58 of 300, initialed lower right: TM; Head of George Dyer: Edition 61 of 300 initialed lower right: TM Image/sheet: 19.75” H x 19.75” W (each) $4,000/6,000 Notes: This lot is accompanied by the original packaging from Kaikai Kiki Co., LTD.

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1062 Hiroshi Sugimoto (1948 - * Japanese) “#367 Black Sea, Inebolu,” 1991 Tri-toned offset lithograph under Plexiglas Blindstamped recto with title, year and image number Image: 9.5” H x 12.25” W $1,000/1,500

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1063 Hiroshi Sugimoto (1948 - * Japanese) “#302, Pacific Ocean, Iwate,” 1991 Tri-toned offset lithograph under Plexiglas Blindstamped recto with title, year and image number Image: 9.5” H x 12.25” W $1,000/1,500

November 13, 2018 - Prints & Multiples

69

1064

1065

1064 Massimo Vitali (1944 - * Italian) “Malcesine Sail,” 2006 (from “A Portfolio of Landscapes and Figures”) Color offset lithograph printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition AP 10/20, artist’s inkstamp verso Image: 26” H x 33.75” W; Sheet: 27.5” H x 35.25” W $1,500/2,500

70

1065 Massimo Vitali (1944 - * Italian) “Venezia San Marco,” 2006 (from “A Portfolio of Landscapes and Figures”) Color offset lithograph printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition 75/120, artist’s inkstamp verso Image: 25.75” H x 33.75” W; Sheet: 27.5” H x 35.25” W $2,000/3,000

1969

2019

1066 Massimo Vitali (1944 - * Italian) “Sagamore Diptych,” 2006 (from “A Portfolio of Landscapes and Figures”) Color offset lithographs printed on 300gsm Consort Royal paper; Steidl Verlag, Göttingen, Germany, pub.; Brancolini Grimaldi, Rome and Florence, prntr.

Edition AP 4/20, artist’s inkstamp verso Image: 33.75” H x 26” W; Sheet: 35.25” H x 27.5” W $2,500/3,500

November 13, 2018 - Prints & Multiples

71

1067 Ai Weiwei (1957 - * Chinese) Untitled (two works from “Becoming”), 2009 Color offset lithographic photographs; Ivorypress, Madrid, pub.

Each impressed with dry stamp of number and date lower left mat: The first: 018 2005.10.18; The second: 127 2007.01.12 Image/sheet: 6” H x 8.75” W (each) $500/700

1068 Max Yavno (1911 - 1985 American) San Francisco cable car turnaround Gelatin silver print under glass Signed on the mat lower right: Yavno Image: 3.75” H x 4.25” W $600/900 Provenance: Estate of Millard Sheets.

Thence by descent through the family.

72

1969

2019

1069 Melanie Pullen (1975 - * American) “Ferris Wheel,” 2005 C-print face mounted to acrylic 36” H x 54” W $4,000/6,000

November 13, 2018 - Prints & Multiples

73

74

1969

2019

1070 George Hurrell (1904 - 1992 American) “Portfolio I,” circa 1932-41 (portfolio of 10 prints) Gelatin silver prints, printed 1979-80; Creative Art Investments, Inc., Los Angeles, pub.

Edition 175/190 (each), signed lower right: Hurrell Image: 13.25” H x 10.25” W; Sheet: 14” H x 11” W (each) $2,500/3,500

November 13, 2018 - Prints & Multiples

75

1071 Herb Greene (1929 - * American) “Bob Dylan and the Grateful Dead,” 1987 Gelatin silver print under glass Signed lower right: H. Greene, titled, dated and inscribed lower left: 3-3-87 H.J.K., numbered verso: HG15755 Image: 9.25” H x 11.25” W $700/900

76

1969

2019

1072 Jim Marshall (1936 - 2010 American) “Jerry Garcia,” 1969 Gelatin silver print under glass, printed 1998 Signed lower right: Jim Marshall, titled and dated lower left, numbered verso: 6483-11 and with the artist’s stamp Image: 8.25” H x 12.5” W $700/900

November 13, 2018 - Prints & Multiples

77

1073 Flor Garduño (1957 - * Mexican) “Aqua, Valle Nacional, Oaxaca, Mexico,” 1983 Gelatin silver print under Plexiglas; printed later Signed, titled and dated verso, inscribed in Spanish verso: Print made by artist in 1992, numbered verso and on the matting: FLG023 Image: 12” H x 9” W $1,500/2,500

78

1969

2019

1074 Willy Ronis (1910 - 2009 French) “Le Petit Parisien,” 1952 Gelatin silver print; printed later Titled, dated and inscribed in pencil verso: Paris, with the artist’s stamp Image: 12.75” H x 10” W $2,000/4,000

November 13, 2018 - Prints & Multiples

79

1075 Norman Parkinson (1913 - 1990 British) “In the Moonlight,” 1950, Carmen, for American Vogue Gelatin silver print flush mounted to card paper, printed later Signed and titled verso: Norman Parkinson Image: 22.25” H x 17.5” W $7,000/9,000

80

1969

2019

Pg. 83 1076 Helmut Newton (1920 – 2004 Australian/German) “SUMO,” 1999 November 13, 2018 - Prints & Multiples

81

82

1969

2019

1076 Helmut Newton (1920 – 2004 Australian/German) “SUMO,” 1999 Hardcover book together with original Philippe Starck-designed book stand; Taschen, Monte Carlo, pub.

First edition 5989/10000, signed in blue pencil to fly page: Helmut Newton Book: 28” H x 20.5” W x 2.875” D; Stand: 29.5” H x 24” W x 24” D $3,000/5,000

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Pg. 7 1006 Roger Soubie (1898 - 1984 French) “De Chamonix au Montenvers,” 1920

84

Artist Index

Artist

Lot

Artist

Lot

Marshall, Jim Miró, After Joan Miró, Joan Motherwell, Robert Murakami, Takashi

1072 1020, 1021, 1022, 1018, 1019, 1023 1036 1061

Newton, Helmut

1076

Parkinson, Norman Pullen, Melanie

1075 1069

Rauschenberg, Robert Renoir, Pierre-Auguste Ronis, Willy Rubin, Reuven

1040 1002 1074 1030

Saar, Betye Irene Brown Schnackenberg, Walter Soubie, Roger Sugimoto, Hiroshi Sultan, Donald

1026 1004 1006 1062, 1063 1046

Tooker, George Toulouse-Lautrec, Henri de

1013 1005

van Hamersveld, John Vaughn, Sage Vitali, Massimo

1053 1059 1064, 1065, 1066

Hundertwasser, Friedensreich 1031, 1032 Hurrell, George 1070

Weiwei, Ai Wood, Grant

1067 1011

1034, 1035 1047 1007 1008

Yavno, Max

1068

Zúñiga, Francisco

1015, 1016

Aman-Jean, Edmond François 1003 Banksy Braque, Georges Buffet, Bernard

1060 1017 1024

Calder, Alexander Cassatt, Mary Catlett, Elizabeth Close, Chuck Curry, John Steuart

1037, 1038 1001 1014 1048, 1049 1012

Dalí, Salvador 1027, 1028, 1029 Dine, Jim 1042, 1043, 1044, 1045 Duardo, Richard 1050, 1051, 1052, 1054, 1055, 1056 Dubuffet, Jean 1033 Esherick, Wharton Harris

1009, 1010

Fairey, Shepard Francis, Sam

1057, 1058 1041

Garduño, Flor Gilot, Françoise Goode, Joe Greene, Herb

1073 1025 1039 1071

Artist Index

Kassák, Lajos Katz, Alex Kokoschka, Oskar Kubin, Alfred

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1969

2019

Condition Reports

1001 Generally good condition. Minor toning to the paper. A few very minor spots of staining scattered throughout. Hinged to the recto mat with artist’s tape in the upper corners.

Sheet: 12” H x 9” W; Frame: 19” H x 16” W x 1.5” D. 1002 Generally good condition. Toning to the paper. Mat burn along the four edges. Three spots of foxing lower center. The paper with deckled edges.

Hinged to the back mat with archival tape along the upper edge.

Sheet: 18.75” H x 24.5” W; Frame: 28” H x 31.5” W x 2.5” D. 1003 Generally good condition. Toning to the paper. Handling creases along the edges. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Sheet: 25.5” H x 20.5” W; Frame: 33” H x 27.5” W x 1.75” D. 1004 Each: Generally good condition. Minor toning to the paper. Framed floating. One with an area of water damage in the lower right corner. Not examined out of the frame.

The portfolio cover with surface dirt, grime and residue throughout. Water stains scattered throughout including a 4” x 7” area in the lower left corner.

A spot of paper and paint loss in the center. Losses to the four corners and edges.

Each: Frame: 24.25” H x 19.25” W x 1.25” D. 1005 Toning to the paper. Spots of staining scattered throughout the background, possible paper repairs. Nicks, tears and losses scattered along the edges. Some slight rippling across the center. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 62.5” H x 47.5” W x 2.5” D. 1006 Generally good condition. Minor tonnig to the paper. With three vertical and three horizontal folding creases. A small spot of paper loss along the upper right edge. A repair to a small tear in the upper right folding crease.

Unframed.

1007 Generally good condition. Toning to the paper. Handling creases scattered along the edges under the matting. Small spots of staining scattered throughout. Hinged to the back mat with archival tape on the upper corners.

Sheet: 33” H x 24.25” W; Frame: 39.25” H x 31.25” W x 1.5” D. 1008 Each: Generally good condition. Minor toning to the paper. A few handling creases scattered throughout. Not examined out of the frame.

Frame: Largest: 25.75” H x 20” W x 1.75” D.

Condition Reports

1009 Generally good condition. Minor toning to the paper. Heavier toning along the right edge. Spots of staining scattered throughout. Not examined out of the frame.

Frame: 17” H x 14.75” W x .75” D.

88

1010 Generally good condition. Minor toning to the paper. Spots of staining scattered throughout. Not examined out of the frame.

Frame: 16.5” H x 14.5” W x .75” D. 1011 Generally good condition. Toning along all edges. Brown paper tape along all verso edges. Mounted to the back mat with photo corners.

Sheet: 11” H x 13.75” W; Frame: 16.75” H x 20.75” W x 1.25” D. 1012 Generally good condition. Minor toning to the paper. The backing board is glued to the recto mat along the four edges.

Frame: 20” H x 30” W x 2” D.

1969

1013 Generally good condition. Very minor toning to the paper. Not examined out of the frame.

Frame: 23” H x 20.5” W x 2” D. 1014 Generally good condition. Toning to the paper. Mounted to the recto mat with clear tape along the four edges.

Sheet: 15.5” H x 11.5” W; Frame: 23.5” H x 21.5” W x 1.5” D. 1015 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 31” H x 40” W x 1.25” D. 1016 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 30” H x 24.5” W x 1.5” D. 1017 Generally good condition. Minor toning to the paper. Light mat toning to the margins. Three pin dot areas of faint foxing in the upper margin. Light toning to verso. Light toning to bird figure verso consistent with technique.

Some scattered areas of foxing to verso. The paper with deckled edges.

Hinged to the recto mat with brown paper tape along the upper edge.

Frame: 14” H x 16.25” W x 1” D. 1018 Generally good condition. Minor toning to the paper. A small crease in the upper left corner margin. The lower edge is deckled. Framed floating and mounted to the back mat.

Frame: 20.5” H x 17.5” W x 1” D. 1019 Generally good condition. Minor toning to the paper. The paper with deckled edges. Framed floating and mounted to the back mat.

Frame: 20.5” H x 17.5” W x 1” D. 1020 Generally good condition. Hinged to the recto mat with artist’s tape in the upper corners.

Sheet: 14.25” H x 17” W; Frame: 19.75” H x 22.75” W x 2” D. 1021 Generally good condition. Framed floating and mounted to the back mat.

Frame: 20” H x 23” W x 2” D. 1022 Generally good condition. Minor toning to the paper. Mounted to the back mat with archival tape in the four corners and upper and lower center.

Sheet: 17.75” H x 35” W; Framed: 23.5” H x 41” W x 1.75” D. 1023 Generally good condition. Toning to the paper. Mat burn along the edges.

1/8” tear in right lower edge. The paper with deckled edges. Mounted to the back mat with plastic pocket corners and archival tape upper center.

Sheet: 49.5” H x 34” W; Framed: 62” H x 45” W x 1.25” D. 1024 Generally good condition. Uneven toning to the margin. A few minor handling creases scattered throughout. The left and right edges are deckled. Mounted to the recto mat with artist’s tape on the four corners.

Sheet: 21.5” H x 18” W; Frame: 28.5” H x 23” W x 1.5” D. 1025 Generally good condition. Minor toning to the paper. Mat burn along the four edges. Mounted to the recto mat with archival tape along the upper edge and lower center.

Sheet: 26.5” H x 20.5” W; Frame: 36” H x 30” W x 2.25” D.

2019

1026 Generally good condition. Minor toning to the paper. A small area of staining to the paper in the lower center margin. Not examined out of the frame.

Frame: 23.75” H x 20” W x .75” D.

1039 Pea-sized light stain left center. Possible light attenuation to silk commensurate with age. Sewn to printer’s original backing board, consistent with method of creation.

Frame: 22.25” H x 25.75” W x 1.75” D.

1027 Overall good condition with light wear to the cover. One small tear to the leather spine. Very minor toning to paper. Minor drying and cracking to leather closures.

Overall portfolio: 18.5” H x 13.25” W x 2.75” D

1040 Generally good condition. Minor toning to the paper. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 36” H x 29” W x 1.5” D.

1028 Generally good condition. The left and upper edges are deckled. Framed floating and hinged to the back mat.

Frame: 37.5” H x 28.5” W x 1.75” D.

1041 Generally good condition. Minor toning to the paper. The paper with deckled edges. Framed floating and hinged to the back mat.

Framed: 50” H x 41.5” W x 1.5” D.

1029 Generally good condition. Toning to the paper. Mat burn along the four edges. The right edge is deckled. Hinged to the recto mat with artist’s tape in the upper corners.

Sheet: 30” H x 22.5” W; Frame: 36” H x 28.5” W x 1.75” D.

1042 Generally good condition. Framed floating and mounted to the back mat.

Not examined out of the frame.

Frame: 32.5” H x 26.5” W x 1.5” D.

1031 Generally good condition. Minor toning to the paper. The left edge is deckled. Framed floating and mounted to the back mat.

Frame: 38.25” H x 28.25” W x 1” D. 1032 Overall good condition with scattered nicks and scuffs to case commensurate with age. Plates 1 and 8 toned throughout. Plate 4 with minor toning to the paper. Plates 1 and 4 with light pencil marks along the margins from framer. Plates 1, 4 and 5 with brown paper tape residue along the upper verso edge.

Portfolio case: 28.5” H x 21.5” W x 1.75” D. 1033 Generally good condition. Very minor toning to the paper. Mounted to the backing board with artist’s tape in the four corners.

Sheet: 27.5” H x 30.75” W; Frame: 39.5” H x 42.5” W x 1” D. 1034 Generally good condition. Minor toning to the paper. Small creases in the upper corner margins. A small nick in the paper along the lower left edge.

Small spots in the margin upper center and upper right.

Sheet: 26.5” H x 19.5” W; Unframed.

1035 Generally good condition. Minor toning to the paper. A few very minor scuff marks scattered throughout. A small smudge mark in the margin left center.

Mounted to the back mat with pocket corners.

Sheet: 26.5” H x 19.75” W; Matted under plastic but unframed.

1036 Generally good condition. The paper with deckled edges. Mounted to the back mat with linen hinge tape in the four corners.

Frame: 32” H x 23” W x 1.5” D. 1037 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 23” H x 19” W x 1.75” D. 1038 Generally good condition. Minor toning to the paper. The right and lower edges are deckled. Framed floating and mounted to the back mat.

Frame: 27.5” H x 35.5” W x 1.75” D.

1043 Generally good condition. Framed floating and mounted to the back mat.

Not examined out of the frame.

Frame: 32” H x 26” W x 1.75” D. 1044 Generally good condition. Minor toning to the paper. Lines of craquelure across the center. Rippling to sheet throughout. The paper with deckled edges. Framed floating and hinged to the back mat.

Frame: 43” H x 32” W x 1.5” D. 1045 Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 35.5” H x 28.5” W x 1.25” D. 1046 Each: Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat.

Frame: 26.25” H x 20.25” W x 1.5” D. 1047 Each: Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat.

Each frame: 35.5” H x 28” W x 1.5” D. 1048 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat.

Frame: 36.5” H x 28.5” W x 2.25” D. 1049 Generally good condition. The paper with deckled edges. Hinged to the back mat with linen hinge tape in the upper corners.

Frame: 22” H x 21” W x 1.5” D. 1050 Overall good and stable condition. A scuff mark lower left corner verso. The paper with deckled edges.

Unframed.

1051 Overall good and stable condition. A 1.5” vertical scuff in the lower margin to the left of the signature. Light scuffing to verso. A 1.5” crescent-shaped handling crease to lower center verso, lightly visible on recto lower center margin. The paper with deckled edges.

Unframed.

1052 Overall good and stable condition. Light scuffing verso. The paper with deckled edges.

Unframed.

November 13, 2018 - Prints & Multiples

Condition Reports

1030 Each: Generally good condition. Minor toning to the paper. The paper is loose, not mounted.

Frame: 28.5” H x 22.25” W x .75” D.

89

1053 Overall good and stable condition. Light scuffing verso. The paper with deckled edges.

Unframed.

1054 Overall good and stable condition. The paper with deckled edges.

Unframed.

1055 Overall good and stable condition. Light scuffing verso. The paper with deckled edges.

Unframed.

1056 Overall good and stable condition. Light scuffing verso. The paper with deckled edges.

Unframed.

1057 Overall good condition. A 4” crease visible lower left verso, not visible on recto. A .25” tear to the lower right margin not affecting the signature.

Tape residue from prior mount on the upper left, lower left and lower right corners. A dime-sized scuff to paper along the lower center edge recto. The paper with deckled edges.

Unframed.

1069 Overall good condition. Flush mounted to the acrylic.

Frame size: 41” H x 59” W x 2” D. 1070 Each: Generally good condition. Not examined out of the frame.

Frame: 20” H x 17” W x 1” D or 17” H x 20” W x 1” D. 1071 Overall good condition. Hinged to the recto mat with glue upper center.

Sheet: 11” H x 14” W; Frame: 16.5” H x 18.5” W x 1” D. 1072 Overall good condition. Hinged to the recto mat with glue upper center.

Sheet: 11” H x 14” W; Frame: 16.5” H x 18.5” W x 1” D. 1073 Overall good condition. Mounted to the back mat with pocket corners.

Sheet: 14” H x 11” W; Frame: 20.75” H x 16.75” W x 1.25” D. 1074 Generally good condition. A light scratch in the boy’s shadow. Light spots of accretion upper left and lower right only visible in raking light. Mounted to the back mat with plastic pocket corners.

Sheet: 16” H x 12” W; Frame: 26” H x 22” W x .75” D.

1058 Overall good and stable condition. Light scuffs to verso. The paper with deckled edges.

Unframed.

1075 Overall good condition. A very light 5” crease lower center. Mounted to the back mat with pocket corners.

Sheet: 23.75” H x 20” W; Matted but unframed.

1059 Overall good and stable condition. The paper with deckled edges.

Unframed.

1076 Overall good condition with scattered minor scuffs and light wear to dust jacket and cover. One small tear to front dust jacket. Light yellowing to the edges of pages. Scattered minor soiling to some pages. Rippling to two pages.

1060 Generally good condition.

Frame: 6.25” H x 8.28” W x .25” D. 1061 Each: Excellent condition. Unframed.

1062 Generally good condition. Not examined out of the frame.

Mounting mat: 14” H x 18.25” W; Frame: 14.25” H x 18.5” W x 1.25” D. 1063 Generally good condition. Not examined out of the frame.

Mounting mat: 14” H x 18.25” W; Frame: 14.25” H x 18.5” W x 1.25” D.

Condition Reports

1064 Overall good and stable condition. No noticeable visible defects.

Frame: 29” H x 37” W x 1” D.

90

1065 Overall good and stable condition. No noticeable visible defects. Framed between two pieces of acrylic.

Frame: 27.5” H x 35.5” W x 1.25” D. 1066 Each: Overall good and stable condition. No noticeable visible defects.

Each: Frame: 37” H x 29” W x 1” D. 1067 Each: Overall good and stable condition. No noticeable visible defects.

Each: Frame: 14.25” H x 18.5” W x 1.25” D. 1068 Overall good condition. Laid to the back mat.

Frame: 9.5” H x 11.25” W x 1.25” D.

1969

2019

Fine Jewelry, Timepieces & Luxury Tuesday, December 11, 2018

An 18K yellow gold woven clutch $7,000/9,000

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

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 Furniture, Decorative Arts & Jewelry Cataloguer

TRUSTS & ESTATES

Consignment Director

Mollie Burns Keith, G.G. Jardine Bruce, GIA D.G., A.J.P.

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

92

1969

2019

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

November 13, 2018 - Prints & Multiples

93

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 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

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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.

November 13, 2018 - Prints & Multiples

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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