California & American Fine Art — May 7, 2024 | John Moran Auctioneers

California & American Fine Art

Tuesday, May 7, 2024—12pm

Sale 280 145 East Walnut Avenue, Monrovia CA 91016

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Madison Ari

Fine Art Cataloguer mari@johnmoran.com

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&

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Granville Redmond (1871-1935)

Granville Redmond was an American painter renowned 1871, in Philadelphia, Pennsylvania, Redmond’s early life scarlet fever. Most likely, this change prompted Redmond’s on January 2, 1879, Granville Redmond would start receiving under the guidance of Theophilus Hope d’Estrella, his potential, and encouraged him to pursue art professionally. enrolled at the California School of Design in San Francisco, continued his studies at the Academie Julian in Paris, where

Upon returning to California, Redmond established himself and unique light of the California landscape, earning him wrote in 1931 that Redmond was “unrivaled in the realistic deep connection to nature, set him apart as a luminary poppy, which he portrayed in countless paintings with San Gabriel Valley, often accompanied by purple lupines. poppy fields in bloom became emblematic of California’s

Although Redmond’s poppies were widely popular, he a companion to him, offering him a sanctuary where he his career, Redmond’s paintings often depicted tranquil depictions of rolling hills, expansive fields, and secluded him in moments of contemplation and introspection, encouraging solitude was not merely the absence of human presence than oneself.

Apart from his artistic pursuits, Redmond was also an accomplished admired the “natural expressiveness of a deaf person techniques that Chaplin would later use in his silent films. painting career by offering him an empty studio on the collected Redmond’s paintings, and sponsored him in expressive performances and ability to convey emotion professional collaboration, Redmond and Chaplin shared starred in also provided Redmond with a new market for other artists like Elmer Wachtel and Norman St. Clair.

Throughout his career, Redmond’s work was exhibited Design and the California Palace of the Legion of Honor. resonance. Granville Redmond passed away on May 24, quote Charlie Chaplin about the true essence of Granville flowers,” he continued. “Sometimes I think that the silence others are lacking.”

renowned for his breathtaking landscapes and thoughtful depictions of California rural scenes. Born on March 9, life was marked by adversity when, at the age of two, he lost his hearing and speech after contracting Redmond’s family to move from Pennsylvania to San Jose, California in 1974, where just a couple years later, receiving his education at the Berkeley School for the Deaf and Blind. Here, he discovered his artistic talent first art teacher who gave him continuous drawing and pantomime lessons, recognized Redmond’s professionally. In 1890, Redmond graduated from the Berkley School for the Deaf and Blind. In 1893, Redmond Francisco, where he studied under notable artists such as Arthur Mathews and Amedee Joullin. He later where he honed his skills and absorbed the influences of European Impressionism.

himself as a leading figure in the state’s burgeoning art scene. His works often captured the vibrant colors him critical acclaim and commercial success. Arthur Miller, an art critic for the Los Angeles Times, even realistic depictions of California’s landscape.” Redmond’s mastery of color and form, combined with his luminary of the California Impressionist movement. One of Redmond’s most iconic subjects was the California sensitivity and reverence. Redmond’s poppies “accented his renditions of the rolling meadows of the lupines. Sometimes they complemented a coastal scene with bursts of yellow highlights.” His depictions of California’s natural beauty and garnered widespread admiration.

he preferred to paint scenes of solitude, because it permeated both his life and his art. Solitude became he could immerse himself fully in his artistic pursuits and commune with the natural world. Throughout tranquil landscapes devoid of human presence, emphasizing the serene beauty of untouched nature. His secluded valleys conveyed a sense of peaceful seclusion. Through his art, Redmond invited observers to join encouraging them to find solace and beauty in the quiet corners of the world. For Redmond, the idea of presence in his art, but rather a communion with the essence of nature and connection to something greater accomplished actor and had a strong working relationship and friendship with Charlie Chaplin. Chaplin using American Sign Language,” which led Chaplin to ask Redmond to collaborate and develop certain films. Charlie Chaplin was thoroughly impressed by Redmond’s skills, and he supported Redmond’s the movie lot, where Chaplin would visit during his breaks and quietly watch Redmond paint. Chaplin also silent acting roles, including the role as the sculptor in the 1931 silent film, “City Lights.” Redmond’s emotion through gesture and expression made him a natural fit for Chaplin’s silent films. Beyond their shared respect and admiration for each other’s talent and work. Both, Charlie Chaplin and the movies he for his art, of buyers that included the Hollywood elite. Redmond would also go onto meeting many

in prestigious galleries and museums across the United States, including the National Academy of Honor. His legacy continues to endure, with his paintings celebrated for their timeless beauty and emotional 24, 1935, leaving behind a rich artistic legacy that inspires generations of artists and enthusiasts alike. To Granville Redmond and his work, Chaplin states, “Look at the gladness in that sky, the riot of color in those silence in which he lives has developed in him some sense, some great capacity for happiness in which we

1

Granville Redmond (1871-1935)

“Sailboats off Catalina,” 1903 Oil on canvas laid to board

Signed and dated lower right: G. Redmond 6.25” H x 7.375” W

$7,000-9,000

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, Lot 2574, July 13, 1989

2

Granville Redmond (1871-1935)

“After the Rain,” 1908 Oil on board

Signed and dated lower left: G. Redmond; titled on a label affixed, verso 5” H x 7.5” W

$4,000-6,000

Provenance: Kanst Art Gallery, Los Angeles, CA

3

Joe Duncan Gleason (1881-1959)

“The Beautiful Bay of Avalon” Oil on canvasboard

Signed lower right: Duncan Gleason; titled on an artist’s label affixed, verso 9” H x 12” W

$8,000-12,000

Notes: Affixed to the verso is a poem by Jennie L. H. Giddings:

“Sometimes emerald, sometimes blue; But always calling, calling youBeautiful Bay of Avalon.

It ripples and rolls, on its pebbly shore It dimples, and sparkles, and calls once moreBeautiful Bay of Avalon.

Oh the emerald and the blue; Oh this beckoning and calling youWho can resist, and who wants to? Beautiful Bay of Avalon”

Signed and titled in ink on a gallery label affixed, verso: Jack Gage Stark

7.50” H x 9.25” W

$2,000-3,000

Provenance: Blanchard Hall Art Gallery, Los Angeles, CA

Jack Gage Stark (1882-1950)

“Bear Creek Sycamores” Oil on panel

Signed

11.75” H x 12.75” W

$2,000-3,000

Provenance: Orr’s Gallery, San Diego, CA

Charles Reiffel (1862-1942)

“Mt. Palomar from Santa Isabel” Gouache on board

lower right: Charles Reiffel; titled on gallery label affixed to the frame’s backing board

6

Signed lower left: A. DeRome; titled in pencil, verso; titled again and dated on a gallery label affixed, verso 10” H x 14” W

$2,000-3,000

Provenance: Orr’s Gallery, San Diego, CA

Albert Thomas DeRome (1878-1950)

“El Estero, Monterey,” 1946 Oil on canvasboard

7

“Dr. David Anderson Cottage, Carmel,” 1937 Oil on canvasboard

Signed lower left: A. DeRome; titled and dated in pencil, possibly in another hand, verso; titled and dated again on various labels affixed, verso 10” H x 14” W

$600-800

Provenance: Orr’s Gallery, San Diego, CA

Exhibited: Santa Cruz, CA, University of California Santa Cruz, “Plein Air Paintings: Landscapes and Seascapes from Santa Cruz to the Carmel Highlands, 1898-1940,” April 14 - May 12, 1985

Albert Thomas DeRome (1878-1950)

8

Paul Lauritz (1889-1975)

“Old Home of Pio Pico, Last Mexican Governor of California” Oil on canvas laid to board

Signed lower left: Paul Lauritz; titled from two inscriptions in pencil and ink, possibly in another hand, verso 11.5” H x 14.25” W

$2,000-3,000

9

George Spangenberg (1907-1964)

“Viejas Valley Ranch”

Oil on canvas

Signed lower right: G. Spangenberg; signed again, titled, and inscribed “Valley of the Old Women” in ink on the upper portion of the stretcher; titled again on a gallery label affixed to the frame, verso

22” H x 25” W

$3,000-5,000

Provenance: Orr’s Gallery, San Diego, CA

10

Armin Hansen (1886-1957)

“Bucking Bronco,” 1946

Watercolor on paperboard

Signed, inscribed, and dated in pencil lower right: Armin Hansen / To Marg. Xmas; titled on a gallery label affixed to the frame’s backing paper

Sheet: 9.5” H x 10.625” W

$7,000-9,000

Provenance: Maxwell Galleries, San Francisco, CA

11

$3,000-5,000

12

Signed lower right: Paul Grimm; signed again, titled, and dated, all verso 14” H x 36” W

$3,000-5,000

Curt Walters (b. 1950) “Moran Pt.” Oil on board

Signed lower left: Kurt Walters; signed again and titled, verso 12” H x 20” W

Paul Grimm (1891-1974)

“Desert Expanse,” 1967 Oil on canvas

13

Signed lower left: Paul Grimm; signed again, titled, and with the artist’s copyright ink stamp, all verso

30” H x 40” W

$4,000-6,000

Paul Grimm (1891-1974)

“Mighty San Jacinto” Oil on canvas

14

Signed lower right: © John W. Hilton; titled in pencil on the upper portion of the stretcher

20” H x 30” W

$800-1,200

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, “Antique & Decorative Art Auction,” February 18, 2014, lot 1218

John William Hilton (1904-1983)

“San Jacinto Dunes” Oil on Masonite

15

Jessie

“White Peacocks and Wisteria” Oil on canvas laid to panel

Signed lower right: Jessie Arms Botke; titled on a label affixed, verso

25” H x 30” W

$5,000-7,000

Notes: The word wisteria is spelled “...Wistaria” on the old typed label affixed, verso.

Arms Botke (1883-1971)

Phil Dike (1906-1990)

In the early 1940s, Phil Dike and fellow artist Rex Brandt’s home in Corona del Mar, CA.. Included Sheets, and Milford Zornes, to name a few. Fortunately, the entrance to Balboa Harbor in 1940. Located springboard over the next decade for Dike and endless well of beach-themed inspiration for the

Painted in 1954, both “Shore Tapestry” and “Shore to capture in his works. These painting are dominated movement. Noted Los Angeles art critic, Arthur Gallery exhibition:

“One of Dike’s favorite painting grounds breezy activity though the window the faculty of combining effects of harmonious observations which give

Rex Brandt founded the highly regarded, Brandt-Dike Summer School in 1947 at Included in this talented pair would be visiting artist/instructors Phil Paradise, Millard Fortunately, Brandt had purchased a lot near the Newport Jetty, overlooking Located in Corona Del Mar and nicknamed “Blue Sky” this location proved to be a Brandt, serving as a center of California watercolor paintings and providing an the artists and their circle of close friends.

“Shore Texture,” exemplify the vibrant coastal lifestyle that Phil Duke sought dominated by bright sunshine, vibrant colors, and constant changing patterns of Millier describes Phil Dike’s talent in a 1940s catalogue foreword for a Biltmore grounds is Newport Bay, alive with sails. In his pictures one often glimpses its of some seaside cottage where holiday makers relax in the beach air. He has light on the sea and shore, which are both beautiful and dramatic, with give life and lightness to his pictures.”

Signed lower right: Phil Dike; signed again, titled, and inscribed in pencil along the upper portion of the stretcher: 157 E 10th / Claremont, CAL.

26” H x 36” W

$20,000-30,000

Provenance: An ink notation along the upper portion of the stretcher states that the painting was once owned by a J. B. Laughlin

Phil Dike (1906-1990)

“Shore Tapestry” Oil on canvas

17

Phil Dike (1906-1990)

“Shore Texture,” 1954

Mixed media on Strathmore paper

Signed and dated at the lower edge, right of center: Phil Duke; signed again, titled, and inscribed on the frame’s backing board: 157 E 10th / Claremont / Calif; with the Strathmore blindstamp at the lower right corner

Image/Sheet: 23” H x 29” W

$12,000-18,000

18

$2,000-3,000

Andreas Roth (1871-1949)

A view of Avalon on Catalina Island, 1937 Oil on canvas laid to panel Signed and dated lower left: Andreas Roth 15” H x 20” W

19

24” H x 36” W

$2,000-3,000

Andreas Roth (1872-1949)

Laguna Beach, 1934

Oil on canvas

Signed and dated lower left: Andreas Roth

20

Signed lower left: Paul Lauritz; titled verso 32” H x 36.5” W

$5,000-7,000

Notes: A photograph of the inscribed title on the verso of the canvas is affixed to the frame’s backing board.

Paul Lauritz (1889-1975)

“Paths of Old” Oil on canvas

Edgar Alwin Payne (1883-1947)

From the sparkling waters of France and Italy and sun-kissed desserts of the American Southwest, career as one of the United States’ preeminent Payne had a passion for art since he was fourteen. and Midwest when he was in his late teens, painting Art Institute in 1907. Like many expressive artists institutions and became a self-taught artist. Payne Chicago, taking commissions, working on large-scale

In 1918 the couple settled in Laguna Beach, California, taking root there. Payne helped found the Laguna From his home base in southern California, Payne peaks and valleys of the Sierra Nevada. Payne took United States.

Following the stock market crash of 1929, commissions to focus on painting the Sierra Nevada mountains, deal of time searching for the perfect angle and for the Sierra Nevada was unparalleled, and he was diagnosed with cancer in 1942 and passed landscape painting.

Edgar Payne’s works are included in the collections Museum of California Art, the Crocker Art Museum, Nevada is named in his honor.

and the snow-swept peaks of the Swiss Alps to the rolling hills of California and American painter Edgar Alwin Payne captured it all on canvas in an illustrious Impressionist painters.

fourteen. He was born in Missouri and started traveling through the American South painting murals and stage sets. Then, he spent a brief period at the Chicago artists of his time, Payne became bored with the rigid structure of academic art Payne worked and lived as an artistic nomad, moving between California and large-scale murals, and, in 1912, marrying fellow artist Elise Philippa Palmer.

California, becoming an integral part of the burgeoning art community that was Laguna Beach Art Association in 1918, and became the organization’s first president. Payne ventured out into the California mountains, painting striking scenes of the took on numerous commissions and exhibited throughout the Mid- and Western

commissions for Edgar Payne’s paintings started to decline. Consequently, he began mountains, making it his primary subject matter from 1930 onwards. He spent a great and lighting to capture the beauty of the mountains on his canvases. His passion even produced a documentary film titled “Sierra Journey”. Sadly, Edgar Payne away in 1947. Nevertheless, he left behind an exceptional legacy of American collections of numerous institutions including the Laguna Art Museum, the Pasadena Museum, Sacramento, and the Indianapolis Museum of Art. Paynes Lake in the Sierra

21

Edgar Alwin Payne (1883-1947)

Riding near Canyon de Chelly Oil on canvas

Signed lower left: Edgar Payne

20” H x 24” W

$70,000-90,000

Provenance: Acquired circa 1950

By descent in the family to the present owner

Sold: Christie’s Los Angeles, “Live Auction,” April 29, 1998, Lot 24

Private Collection, California, acquired from the above

Notes: Inscribed on the verso: Studio

22

Edgar Alwin Payne (1883-1947)

Brittany boats Oil on canvas

Signed lower right: Edgar Payne

25” H x 30” W

$30,000-50,000

Provenance: Estate, Southern California

Adirondacks

Signed, dated, and inscribed lower left: A.F. Tait 30” H x 42” W

$4,000-6,000

Arthur Fitzwilliam Tait (1819-1905)

with Blue Herons, 1871 Oil on canvas laid to canvas

Thomas Hill (1829-1908)

Thomas Hill was born in Birmingham, England, Massachusetts. In 1853, he moved to Philadelphia, visited the White Mountains of New Hampshire, beginning of the Civil War in 1861 that he departed

Arriving in San Francisco, Hill worked initially as the renown painter Samuel Marsden Brookes to

By 1865, Thomas Hill was sketching throughout would go on to build a pine-board studio, where Williams and, William Keith. Furthermore, after became more expressive.

During an 1872 tour of Hill’s work in New York, an Hill’s magnificent “Canyon of the Sierra,” both expansive

“Mr. Bierstadt’s imagination is beyond his powers through attempting too much. In this respect, he possesses a freshness, originality, and power which

To be sure, moments such as this helped secure mention ensure his financial success) with clients

and came to the United States as a youth in 1844, following his father to Philadelphia, where he studied at the Pennsylvania Academy of Fine Arts. A year later, he Hampshire, a region associated with painters of the Hudson River School. It was during the departed for California.

a commercial artist but soon sought to pursue easel painting. In 1863, he hired to give him lessons in oil painting.

the Sierra Nevada, and by that summer he was staying in Yosemite Valley. Hill where he would host visiting artist and friends including Carleton Watkins, Virgil studying in France in 1866 and immersing in the Barbizon manner, his therefore an art critic pitted Albert Bierstadt’s “In The Rocky Mountains” against Thomas expansive and breathtaking mountain landscapes, declaring: powers of execution and he generally fails to give a satisfactory and perfect picture he compares unfavorably with his rival, and we think, superior, Thomas Hill, who which nothing of Mr. Bierstadt’s, that we have seen, can equal.” secure Hill’s stature as one of the most accomplished American artists of his day (not to clients in San Francisco and beyond.

24

Stream in a western landscape

Oil on board

Signed lower left: T. Hill

12.25” H x 18.5” W

$3,000-5,000

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, July 1, 1997, Lot 105A

Notes: A beach scene is painted on the verso of the board.

Thomas Hill (1829-1908)

25

“A Spiritual Vision,” 1896 Oil on canvas laid to canvas

Signed and dated lower left: W.H. Beard; dated again and titled on a label affixed to the upper portion of the frame, verso 20” H x 26.5” W

$3,000-5,000

William Holbrook Beard (1824-1900)

26

Will Sparks (1862-1937)

“Borromeo Mission,” 1913

Oil on panel

Signed lower right: Will Sparks; titled and dated faintly on a piece of tape along the verso of the upper panel edge; titled and dated again on a label affixed to the frame 12.5” H x 15.375” W

$3,000-5,000

Notes: A painter, etcher, and muralist, Will Sparks became one of California’s premier artists, best known for his mission and nocturnal adobe scenes. Born in St. Louis, Mo., Sparks showed artistic talent as a child, selling his first painting when he was twelve. He attended the St. Louis School of Fine Arts, and then went to New York and Paris to the Academies Julian and Colarossi, where he studied with Jean-Leon Gerome, Henri-Joseph Harpignies and William-Adolphe Bouguereau.

In 1834, the Mexican government secularized the mission system, and by the late 19th century the missions had drastically deteriorated. Will Sparks was one of early California artists to paint the missions in large part because of the dilapidated state of these structures, as their rustic and time-worn features provided a fascinating subject matter while at the same time exemplifying “Old California”. Oil paintings similar to this example created renewed interest to preserve and restore the missions.

27

“Valley

Oil on board

Signed lower left: Colin Campbell Cooper; titled in ink on various labels affixed, verso

18” H x 22” W

$3,000-5,000

Exhibited: San Diego, CA, Fine Arts Gallery of San Diego, “Seventh Annual Southern California Art Exhibition,” 1933

Notes: An artist label with handwriting in ink and one unknown exhibition label, affixed, verso.

Colin Campbell Cooper (1856-1937)

of the Arno (Italy)”

28

Trees in a landscape Oil on canvas

Signed lower left: Gardner Symons

20” H x 25” W

$3,000-5,000

George Gardner Symons (1861-1930)

29

Paul de Longpre (1855-1911)

“Mock Orange Flowers”

Watercolor on paperboard

Signed lower left: Paul de Longpre; titled and inscribed in pencil, possibly in another hand, verso

Image/Sheet: 10” H x 13.5” W

$4,000-6,000

30

Clarence

“Vegetables”

Encaustic on canvas

Signed lower center: Hinkle; with the black ink Clarence Hinkle estate collection stamp on the upper portion of the stretcher; titled on various labels affixed, verso 16” H x 22.50” W

$2,000-3,000

Provenance: The Artist’s Estate Orr’s Gallery, San Diego, CA

Kaiser Hinkle (1880-1960)

31

Signed lower left: Jane Peterson; titled on a gallery label affixed, verso 18” H x 18” W

$3,000-5,000

Provenance: David Findlay Jr. Inc., New York, NY

Jane Peterson (1876-1965) “Zinneas” Oil on canvas laid to board

32

Laura Coombs Hills (1859-1952)

“Tulips in a Glass Vase” Pastel on paperboard

Signed upper left: Laura Hills; titled on a gallery label affixed to the frame’s backing board; inscribed verso, possibly in another hand: Tulips in a Glass Image/Sheet: 21.75” H x 18” W

$3,000-5,000

Provenance: David Findlay Jr. Inc., New York City, NY

33

Granville Redmond (1871-1935)

Landscape with eucalyptus groves Oil on canvas laid to board

Signed lower left: Granville Redmond 11” H x 14” W

$10,000-15,000

Provenance: Laguna Fine Arts, Laguna Beach, CA

34

$8,000-10,000

Edgar Alwin Payne (1883-1947)

Chioggia boats Oil on canvas laid to board Signed lower left: Edgar Payne 12” H x 12” W

35

Franz A. Bischoff (1864-1929)

“Santa Rosa Island [at] San Pedro Harbor”

Oil on canvas laid to board

Signed lower right: Franz A. Bischoff; titled verso 15” H x 20” W

$6,000-8,000

Provenance: Trotter Galleries, Carmel, CA

Notes: The Schooner “Santa Rosa Island”, 1903-1915

Some confusion has existed as to the schooners “Santa Rosa” and the “Santa Rosa Island”. They were two different vessels. A. P. More’s sailing schooner “Santa Rosa” was wrecked in San Miguel Island’s Cuyler Harbor in November 1899. Vail & Vickers contracted construction of the 87-foot, gasoline schooner “Santa Rosa Island” in Wilmington, California in 1903. Vail & Vickers put her to work hauling sheep off the island by July of 1903.

After the ranch owners obtained the “Vaquero,” three of Walter Vail’s sons-N. R., Ed, and Banning took the “Santa Rosa Island” on a four-month voyage to Mexico in 1915, leaving San Pedro for Cabo San Lucas, the Gulf of California, and Mazatlán. They and their friends, with a hired captain and cook, spent their time “fishing, hunting, trading with the locals of coastal fishing villages, and socializing with Mazatlán’s upper society of the day.” The boat was sold shortly after the trip to Mexico and entered service in the South Pacific.

-National Park Service

36

Signed lower left: Mulhaupt; titled on a label affixed, verso 12” H x 15.875” W

$5,000-7,000

Frederick Mulhaupt (1871-1938)

“Fishing Boats” Oil on canvasboard

37

“A Summer’s Afternoon”

Oil on canvas

Signed lower right: Chris Siemer

16.5” H x 15.5” W

$2,000-3,000

Literature: “Adelaide Easel Club, Ninth Exhibition,” The Advertiser, Tuesday, September 18, 1900

“Adelaide Easel Club, Annual Exhibition,” South Australian Register, Tuesday, September 18, 1900

Exhibition: Adelaide, Australia, “Adelaide Easel Club Ninth Annual Exhibition,” 1900

Christian Siemer (1874-1940)

38

$8,000-12,000

John Marshall Gamble (1863-1957)

“Yellow Lupine” Oil on canvas

Signed lower left: John M. Gamble; signed again, titled, and inscribed, verso 18” H x 24” W

39

Mischa Askenazy (1888-1961)

Lake and mountain landscape Oil on canvas

Signed lower right: M. Askenazy 22” H x 30” W

$1,500-2,500

Notes: An estate stamp on the stretcher bar lists this work as inventory number 55 from the artist’s estate. A Vintage Banks Antiques label is taped to the back of the frame.

40

Oil on canvas

Signed lower right: Harry Curieux Adamson; titled on a label affixed to the stretcher

26” H x 34.5” W

$15,000-20,000

Harry Curieux Adamson (1916-2012)

“Canvasbacks at Little Lake”

41

$15,000-20,000

$3,000-5,000

Edgar Alwin Payne (1883-1947)

“Young Sycamores in Autumn” Oil on canvas Signed lower left: Edgar Payne; signed again and titled on the stretcher 20” H x 24” W

42 Conrad Buff (1886-1975) Desert landscape Oil on board Estate signed lower right: Conrad signed by Mary Elizabeth Buff, 24”

Conrad Buff; with the artist’s estate ink stamp Buff, verso

43

Self portrait Oil on board

Estate signed lower right: Conrad Buff; ; with the artist’s estate ink stamp signed by Mary Elizabeth Buff, verso 16” H x 24” W

$2,000-3,000

Conrad Buff (1886-1975)

Alson Skinner Clark (1876-1949)

Alson Skinner Clark was born in Chicago, Illinois enrolled at the Art Institute of Chicago and continued 1898 he travelled to Europe for two years, studying Returning to the U.S. in 1901, Clark lived in Watertown, Chicago’s annual shows.

In 1902, Alson married Atta Medora McMullin, who travelled throughout Europe painting extensively onward show the broken brushwork and strong In addition to seeing his work juried into the prestigious venues ranging from the Louisiana Purchase Exposition well as the Art Institute’s American art annuals. It the massive undertaking of the Panama Canal construction.

In 1920, Alson and Medora moved to Pasadena, the year 1921, Clark joined the faculty of the Stickney From his California studio, Clark traveled widely Parker and Frederick Frieseke.

Illinois on May 25, 1876, and grew up as the son of a commodities trader. At age 14 Clark continued in New York City under William Merritt Chase and the Art Students League. In studying under the venerable American ex-pat, James McNeill Whistler in Paris. Watertown, New York, and in Chicago, where he began exhibiting in the Art Institute of

who often appears in his oils as a model. Based in Paris at this time, he and Medora extensively in Brittany and Italy. Under the spell of French influence, his paintings from 1907 outdoor color and light of impressionism that Clark is most associated with today. prestigious Paris Salon exhibitions, Clark found exposure and strong sales in American Exposition (where he won a bronze medal), to the Society of American Artists’ show, as It was during 1913 that Alson Clark traveled to Panama to chronicle in a series of oils construction. Pasadena, CA, where the couple quickly immersed in the region’s burgeoning art scene. By Stickney School of Fine Arts in Pasadena and soon thereafter he became its Director. widely often painting plein air with his friends and colleagues including Guy Rose, Lawton

44

Alson Skinner Clark (1876-1949)

“Out to the Sea”

Oil on board

Signed lower right: Alson Clark; titled in ink on the artist’s ink stamp, verso 18.5” H x 22” W

$10,000-15,000

Notes: An artist biography from Zeitlin & Ver Brugge Booksellers is taped to the verso of the board.

45

Signed lower left: Herman Rose; signed again and titled, possibly in another hand, verso 10.25” H x 20.5” W

$2,000-3,000

Herman Rose (1909-2007) “Gansvoort St. Pier” Oil on canvas

Edgar Alwin Payne (1883-1947)

From the sparkling waters of France and Italy and kissed desserts of the American Southwest, American one of the United States’ preeminent Impressionist

From the age of fourteen Payne dreamed of being South and Midwest painting murals and stage sets, artists of his time, Payne became bored with the rigid worked and lived as an artistic nomad, moving between and, in 1912, marrying fellow artist Elise Philippa

In 1918 the couple settled in Laguna Beach, California, root there. Payne helped found the Laguna Beach home base in southern California, Payne ventured valleys of the Sierra Nevada. Payne took on numerous

Commissions began to wane after the stock market his primary subject matter. He spent an excessive His love of the Sierra Nevada was unrivaled, and 1942, Edgar Payne passed away in 1947, leaving Edgar Payne’s works are included in the collections Museum of California Art, the Crocker Art Museum, Nevada is named in his honor.

and the snow-swept peaks of the Swiss Alps to the rolling hills of California and sunAmerican painter Edgar Alwin Payne captured it all on canvas in an illustrious career as Impressionist painters.

being an artist. Born in Missouri, in his late teens Payne traveled through the American sets, before a minute stint at the Chicago Art Institute in 1907. Like many expressive rigid structure of academic art institutions and became a self-taught artist. Payne between California and Chicago, taking commissions, working on large-scale murals, Palmer.

California, becoming an integral part of the burgeoning art community that was taking Beach Art Association in 1918, and became the organization’s first president. From his ventured out into the California mountains, painting striking scenes of the peaks and numerous commissions and exhibited throughout the Mid- and Western United States. market crash of 1929, and from 1930 onwards Payne made painting the Sierra Nevada’s amount of time finding the perfect angle, the perfect lighting, to put to canvas. even produced a documentary film, “Sierra Journey.” Diagnosed with cancer in behind an unrivaled legacy of American landscape painting. collections of numerous institutions including the Laguna Art Museum, the Pasadena Museum, Sacramento, and the Indianapolis Museum of Art. Paynes Lake in the Sierra

46

Oil on canvas laid to canvas

Signed lower left: Edgar Payne; titled on a label affixed to the stretcher

25” H x 30” W

$150,000-200,000

Notes: A partial label is affixed to the stretcher behind a transparent protective cover. An inscription on the right stretcher reads: LFW / Mar. 30 / 1946

Edgar Alwyn Payne (1882-1941) “Indian Riders”

47

$3,000-5,000

Paul Lauritz (1889-1975) “California Hills, at Malibu” Oil on canvas

Signed lower right: Paul Lauritz; titled in ink on the stretcher 25” H x 34.25”

48

Paul Saltarelli (1955-2019)

A Group of 27 miniature paintings after Vincent Van Gogh, 1998-2001

Each: Oil on board

26 work with the artist’s name, title, dates of the miniature and the original work, and inscribed in ink, all on the frame’s backing paper: Paul Saltarelli / after Vincent Van Gogh; “Starry Night” with the artist name, title, date of the miniature in Roman numerals, and inscribed ink on the frame’s backing paper

Smallest: 1.25” H x 2” W; Largest: 3” H x 4.75” W

$12,000-18,000

Provenance: Inherited from the Estate of Dr. James Crisp, 1999

Exhibited: Los Angeles, CA, The Carole and Barry Kay: Museum of Miniatures, 1998

Notes: This lot includes miniature reproductions of some of Vincent Van Gogh’s most renowned works of art, which include, “The Potato Eaters,” 1885, “The Seated Zouave,” 1888, “Cafe Terrace at Night,” 1888, “Portrait of Armand Roulin,” 1888, “Van Gogh’s Chair,” 1888, “Self Portrait with Bandaged Ear,” 1889, “Le Berceuse (Augustine Roulin),” 1889, “The Starry Night,” 1889, “Cypresses,” 1889, and “Portrait of Dr. Gachet.”

49

Bernhard

“Mallorca View”

Oil on panel

Unsigned; attributed to and titled on label affixed to the frame’s backing paper; with the De Ville Galleries Estate of Bernhard Gutmann red ink stamp and inscribed inventory number on the frame’s backing paper: No. 10922; with a black ink Bernhard Gutmann estate stamp, verso 8” H x 10” W

$1,000-2,000

Notes: An information label is taped to the frame’s backing paper.

Gutmann (1869-1936)

50

“Sun on Coastal Rocks”

Oil on panel

Unsigned; attributed to and titled on label affixed to frame’s backing paper

8” H x 10” W

$1,000-2,000

Provenance: The Artist’s Estate

Bernhard Gutmann (1869-1936)

51

Bernhard Gutmann (1869-1936)

“Keene Valley” Oil on panel

Unsigned; attributed to and titled on labels affixed to the back of the frame; with red and black ink estate stamps, verso

10” H x 14” W

$1,000-2,000

Exhibited: The Artist’s Estate

New York, NY, Grand Central Art Galleries, June 16, 1988

52

Harold Gaze (1884-1963)

“A Matter of Balance,” 1957

Watercolor and ink on paper

Signed and dated with the artist’s device lower left: Harold Gaze; titled on frame plaque and exhibition label affixed to the frame’s backing paper

14.5” H x 11.75” W

$1,500-2,000

53

“Fairy Serenade,” 1951 Watercolor and ink on paper

Signed and dated with the artist’s device lower left: Harold Gaze

14.5” H x 11.5” W

$1,500-2,000

Harold Gaze (1884-1963)

Harold Gaze (1884-1963)

One of the most important illustrators of the early fantastic creatures, which were featured in numerous moved to England when he was ten years old, and Cole School of Art, in Kensington, and also at the

However, World War I (1914-1918) interrupted his rejected from service, Gaze found a job in munitions bound for Great Britain. In 1918, Gaze moved again “War in Fairyland” and “The Wicked Winkapong” series published by Whitcombe & Tombs a year Australia and New Zealand until the early 1920s,

After moving to Pasadena, Gaze turned from book sending work across the United States. Like many working for Disney Studios. Gaze provided fanciful Man”) for the Disney animated film “Fantasia,” of delightful, fanciful images of wonderous places. Museum of American Illustration, the Pasadena

early 20th century, Harold Gaze, created vivid and detailed depictions of fairies and numerous children’s fantasy books. Born in 1884 in New Zealand, Harold and his family and began his art training. Gaze honed his artistic skills at the Byam Shaw and Vicat the Polytechnic School of Art in London.

his training, and Gaze tried unsuccessfully to enlist in the British army. After being munitions manufacturing and was sent in 1917 to New York City to inspect munitions again to Australia, and began his major period of book illustration and publishing. Winkapong” were published by Gordon & Gotch in 1918, with the first of his “Mite Merry” year later in 1919. Gaze continued to illustrate for local publications and his works in 1920s, when he moved to Pasadena, alongside his older brother. book illustration to one-off paintings and watercolors for galleries and exhibitions, many artists in California in the early and mid-20th century, Gaze spent some time fanciful images of fairies (and famously bubbles, as he was nicknamed the “Bubble which was released in 1940. Gaze passed away in 1963, leaving behind a trove places. His work is held in institutions across the United States, including the National Museum of History, and the San Diego Museum of Art.

54

Fairies and butterflies with flowers Watercolor, pen, and ink on paper

Signed lower right with artist’s device: Harold Gaze; signed again, possibly in another hand, verso Sheet: 14.125” H x 11.125” W

$1,500-2,000

Exhibited: Pasadena, CA, Pasadena Museum of History, “Nature’s Palette,” April 30 - June 26, 2005

Harold Gaze (1884-1963)

55

Harold Gaze (1884-1963)

Fairies

Watercolor, pen, and ink on paper

Singed lower right with the artist’s device: Harold Gaze

Sheet: 14.5” H x 1.5” W

$1,500-2,000

Exhibited: Pasadena, CA, Pasadena Museum of History, “Nature’s Palette,” April 30 - June 26, 2005

Notes: A possible title is inscribed on the backing foam board: “The Trouble Maker.”

56

Illustration for “Peter and Prue,” 1924 Watercolor and ink on paper laid to paper

Signed and dated with the artist’s device lower left: Harold Gaze

9.25” H x 6.75” W

$1,500-2,000

Notes: A scan of the image on the support sheet and photograph of the inscriptions on the verso of the support sheet is taped to the frame’s backing paper.

Harold Gaze (1884-1963)

57

“Full Sails”

Oil on board laid to board

Incised lower edge, at right: A. Theime; titled on gallery label affixed verso

8” H x 10” W

$2,000-3,000

Provenance: Goldfield Galleries, Los Angeles, CA

Sold: Christie’s, Los Angeles, CA, “California, Western and American Paintings,” May 3, 2000, lot 140

Anthony Thieme 1888-1954

24” H x 20” W

$20,000-30,000

Edgar Alwin Payne (1883-1947) Italian boats (Chioggia) Oil on canvas

Signed lower right: Edgar Payne

59

24” H x 30” W

$6,000-8,000

Arthur Hill Gilbert, ANA (1894-1970) Rocky coastal landscape Oil on canvas

Signed lower right: Arthur Hill Gilbert

W

$2,000-3,000

60 Angel Espoy (1879-1963) Coastal scene Oil on canvas

Signed lower right: A. Espoy 24” H x 30”

61

Sunlit mountains

Oil on canvas

Signed lower right: Franz Bischoff

14” H x 18” W

$5,000-7,000

Franz A. Bischoff (1864-1929)

62

“The Salton Sea,” 1922 Oil on linen laid to board

Signed and dated lower left: Alson Clark; titled and dated on label affixed, verso 15” H x 14” W

$5,000-7,000

Alson Skinner Clark (1876-1949)

63

Signed lower left: John Ross Key; titled and dated in ink on the stretcher

8.75” H x 27.5” W

$5,000-7,000

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, July 13, 1989

John Ross Key (1837-1920)

“Sacramento Valley, California,” 1886 Oil on canvas

64

John Ross Key (1837-1920)

“World’s Columbian Exposition, Chicago, 1892”

Oil on artist board

Signed lower left: John R Key; titled on a gallery label, as well as on a catalogue page, both affixed to the frame’s cardboard backing

13.5” H x 21” W

$3,000-5,000

Provenance: David David, Inc., Philadelphia, PA

Sold: Christie’s, New York, NY, “American Paintings from the Collection of Mrs. George Arden, Part 1,” May 22, 1991, Lot 119

William Keith (1838-1911)

William Keith was born in Scotland, in 1838, coincidently meeting of these two men, thousands of miles from Muir traveled from Lake Tahoe to Mount Shasta, edited. By this time, William Keith was in a transitioning spell of his friend and venerable Barbizon painter,

A 1930s article in the Art Digest memorialized this

“In 1891, three years before his death, George William Keith. The two were American’s leading that George Inness was said to claim Yosemite to Albert Bierstadt would prove that rumor false.

After William Keith’s first meeting with Muir in 1872, the two gentlemen remained friends for another they both held a common love and utter fascination and what kept them returning thereafter.

coincidently the same year as his friend and fellow Scot, John Muir. A pre-arranged from Scotland, in Yosemite Valley, occurred in October 1872. In 1888, Keith and Shasta, creating sketches to be used in Picturesque California, which Muir wrote and transitioning period of styles and to some extent, painting under the reinvigorating painter, George Inness.

this friendship: Inness was in California, painting and passing many pleasant hours with his friend leading Barbizon painters, for so time has ranked them.” There is some irony in the rumor to be “unpaintable”. To be sure, Virgil William, Thomas Hill, William Keith, and 1872, in a river encampment along the Merced (not unlike the one depicted here), another three decades. It is said that they were each other’s fiercest critics. Nevertheless, fascination for Yosemite Valley is what brought William Keith and John Muir together -

65

William Keith (1838-1911)

Encampment at Yosemite Valley with Cathedral Rock Oil on canvas laid to canvas

Signed lower right: W. Keith

18” H x 24” W

$10,000-15,000

66

Signed lower right: T. Hill; titled in pencil verso

20” H x 30” W

$18,000-22,000

Thomas Hill (1829-1908)

“Crescent Lake - Yosemite Valley” Oil on canvas

67

14.5” H x 20.5” W

$3,000-5,000

Thomas Addison Richards (1820-1900) Lakeside landscape with boaters Oil on canvas laid to canvas

Signed lower left: T.A Richards

68

Oil on canvas laid to canvas

Signed lower right: C. Rollo Peters; titled on a gallery label affixed to the frame’s backing foam board

20.25” H x 30.25” W

$7,000-9,000

Charles Rollo Peters (1862-1928)

“Moonlight Adobe”

69

20” H x 30” W

$3,000-5,000

Charles Henry Harmon (1859-1936)

Mission Carmel, circa 1900 Oil on canvas laid to canvas

Signed lower left: Chas. H. Harmon

George Inness (1825-1894)

George Inness’s artistic legacy is one of profound testament to his mastery of Tonalism and his ability

Exemplifying his Transcendentalist Period, Inness’s gateway into the serene and the spiritual. The painting physical and the ethereal are blurred, where the the words of Ralph Cudney, a previous owner of

“In this one, ‘Twilight,’ I feel as though I, and not Yes, there is something in these canvases of Inness Letters, 1917, New York, p. 278).

Cudney’s reflection encapsulates the immersive viewer. The painting becomes a mirror, reflecting

Inness’s work is often seen as a spiritual dialogue, figure in the painting, as Cudney poignantly observes, journey through the temporal world, seeking connection inspired by his Swedenborgian beliefs and his conviction

“Twilight” remains a pivotal work in understanding time, inviting each viewer to find their own sense universal appeal of Inness’s landscapes and their and contemplation, and “Twilight” is a shining example

profound introspection and spiritual resonance, with his painting “Twilight” standing as a ability to evoke the sublime through landscape art.

Inness’s “Twilight” is more than a mere visual representation; it is an intimate experience, a painting invites the viewer to step into a world where the boundaries between the the fading light of day beckons to a realm of tranquility. It is in this context that we recall of “Twilight,” who found a personal connection with the work: not the girl on the canvas, am going for the cows crossing that log that spans the brook. Inness that fills me with a sense of rest.” (G. Inness Jr., George Inness: Life, Art and immersive quality of Inness’s art; it is a shared experience between the artist, the subject, and the reflecting our own longing for peace and a harmonious existence with nature. dialogue, with “Twilight” serving as a statement in this ongoing conversation. The lone female observes, is not just a subject within the landscape but a representation of humanity’s connection with the divine. This spiritual quest is a recurring theme in Inness’s oeuvre, conviction that art could bridge the gap between the tangible and the spiritual realms. understanding George Inness’s artistic and philosophical vision. It is a painting that transcends sense of rest within the scene. As we reflect on Cudney’s words, we are reminded of the their ability to speak to the deepest parts of our being. Inness’s legacy is one of beauty example of his profound impact on American art.

70 George Inness (1825-1894)

“Twilight,” 1889

Oil on canvas laid to canvas

Signed lower left: G. Inness

30” H x 45” W

$15,000-20,000

Provenance: Estate of the artist

Sold: Fifth Avenue Art Galleries, New York, NY, February 13, 1895, Lot 133

Samuel Putnam Avery, Jr., New York, NY, acquired from the above

George H. Ainslie, Esq., New York, NY, by February 1912

Ralph Cudney, Chicago, by 1917

Estate of the above

Babcock Galleries, New York, NY, circa 1936-1950

Leroy Ireland, New York, NY, circa 1950-1957

Sold: Parke-Bernet Galleries, New York, NY, March 13, 1957, Lot 75

Rufus Napoleon Garrett, El Dorado, AR

Floyd Norris, Covington, LA

R. H. Love Galleries, Chicago, IL, by 1975

The Moss Collection, Chicago, IL, by 1978

Exhibited: New York, NY, American Fine Arts Society, “Exhibition of the Paintings Left by the Late George Inness,” December 27, 1894 New York, NY, New York School of Applied Design for Women, “Exhibition of Thirty-Eight Paintings by the Late George Inness, N.A. from the Ainslie Collection and Others,” April 6-May 6, 1912, no. 2 New York, NY, New York School of Applied Design for Women, “Summer Exhibition of Paintings by the Late George Inness and a Few Examples by A. H. Wyant from the George H. Ainslie Collection,” June-September 1912, no. 13 Detroit, MI, Detroit Museum of Art [now the Detroit Institute of Arts], “Retrospective and Comparative Exhibition of Paintings by the Late George Inness and . . . The Late A. H. Wyant from the George H. Ainslie Collection,” 1913, no. 23 Rochester, New York, NY, The Memorial Art Gallery, “Exhibition of Paintings by George Inness, N.A., Alexander H. Wyant, N.A., Aston Knight,” 1914, no. 18

St. Louis, MS, St. Louis, City Art Museum,” An Exhibition of Paintings by George Inness, N.A., and Alexander H. Wyant, N.A.,” 1914, no. 19.

Oakland, CA, Oakland Museum Art Department, “George Inness Landscapes: His Signature Years, 1884-1894,” November 28, 1978-January 28, 1979

Jacksonville, FL, The Cummer Gallery [aka The Cummer Museum of Art & Gardens], “George Inness in Florida, 1890-1894, and the South,” April 11-May 25, 1980, no. 39

Literature: “Chicago Post,” February 19, 1910, p. 6.

James William Pattison, “Paintings by American Artists,” “Fine Arts Journal,” vol. 29, no. 4 (October 1913): pp. 618, 621, no. 4, illustrated.

George Inness, Jr., “Life, Art, and Letters of George Inness,” (New York: The Century Co., 1917), pp. 116, 278, illustrated. Leroy Ireland, D.B. Goodall, and R.G. McIntyre, “The Works of George Inness: An Illustrated Catalogue Raisonné” (Austin: University of Texas, 1965), p. 325, no. 1290, illustrated.

“Art in America,” vol. 63, no. 6, (November-December 1975): pp. 36-37, illustrated.

R. H. Love Galleries, “A Selection of American Paintings” (Chicago: R. H. Love Galleries, 1977), pp. 25, 61, no. 32, illustrated.

Michael Quick, “George Inness: A Catalogue Raisonné, Volume Two” (New Brunswick: Rutgers University Press, 2007), p. 248, no. 958, illustrated.

Notes: This painting has an alternate title, “Twilight (After the Shower).” The 1889 date comes from its listing as item no.2 in the spring 1912 New York exhibition catalogue mentioned above. This lot is accompanied by two books, “The Works of George Inness: An Illustrated Catalog Raisonne,” by LeRoy Ireland, and “Library of American Art: Life, Art, and Letters of George Inness,” by George Inness, Jr.

To truly appreciate the depth and colors in this painting, it should be properly lit.

71

Signed and dated in the lower right corner: Oxley Miller; titled on the frame plaque 43” H x 72.5” W

$2,000-4,000

Thomas Oxley Miller (1854-1909)

“Phrosine & Meliodore,” 1888 Oil on canvas

72

Marguerite Stuber Pearson (1898-1978)

Young girl seated Oil on canvas

Signed lower left: M.S. Pearson 26” H x 18.25” W

$1,000-2,000

73

Charles Muench (b. 1966)

Inyo Mountains Oil on canvas

Signed lower right: Charles Muench; signed again with the artist’s copyright and inscribed verso: 1001 40” H x 60” W

$10,000-15,000

74

California landscape Oil on canvas

Signed and dated lower left: Alson Clark; inscribed lower left: To Graham 26” H x 32” W

$5,000-7,000

Alson Clark (1876-1949)

75

Elmer Wachtel (1864-1929)

Landscape with wildflowers Oil on canvas

Signed lower left: Wachtel, with artist’s monogram 16” H x 20” W

$10,000-15,000

Provenance: Orr’s Gallery, San Diego, CA

76

Figures and Plant Oil on board

Signed lower right: Franz A Bischoff 19” H x 13” W

$7,000-9,000

Provenance: The Joanne Greenwald Collection The Estate of Dr. Brian Bork Bojesen, acquired from the above

Franz Arthur Bischoff (1864-1929)

77

“Sociable Solitude,” circa 1930 Oil on canvas

Signed lower right: H. Puthuff; titled on a gallery label affixed to the frame’s foamboard backing

24” H x 30” W

$5,000-7,000

Provenance: Adamson-Duvannes Galleries, Los Angeles, CA

Notes: This lot is accompanied by a sheet with Puthuff’s address, biography, and awards is affixed to the verso. The logo of Adamson-Duvannes Galleries is inscribed on the stretcher.

Hanson Duvall Puthuff (1875-1972)

78

Angel Espoy (1879-1963)

Eucalyptus tree in a wildflower field Oil on canvas

Signed lower right: A. Espoy; incised inscription along the upper portion of the frame, verso: From Rhue to Eva / Feb 25 1962

18” H x 14” W

$2,000-3,000

79

Oil on canvas

Signed with the estate stamp lower right: Sam Hyde Harris; with the estate ink stamp signed by Maureen St. Gaudens, verso; signed and titled on the stretcher, possibly in another hand

25” H x 30” W

$3,000-5,000

Provenance: Estate of the Artist

Sold: Bonhams, Los Angeles, CA, “California and Western Art,” March 17, 2020, Lot 124

Sam Hyde Harris (1889-1977)

“Mountain Retreat”

80

Si Chen Yuan (1911-1974)

“Tree with Golden Leaves Above Landscape”

Oil on canvas

Signed lower left: S C Yuan; titled on a label affixed, verso 26” H x 36” W

$1,500-2,500

Provenance: Sold: Altermann Galleries & Auctioneers, Santa Fe, NM, “2020 May Auction,” June 19, 2020, Lot 336

81

Mary

“Pines, Point Lobos” Oil on Masonite

Signed lower right: M. DeNeale Morgan; signed again and titled, verso; titled again on two labels affixed, verso 16” H x 20” W

$4,000-6,000

Provenance: George Stern Fine Arts, West Hollywood, CA California Paintings, Beverly Hills, CA

DeNeale Morgan (1868-1948)

82

Phillips Lewis (1892-1930)

“After the Storm, San Francisco Bay” Oil on canvas

Signed at the lower edge, right of center: Phillips Lewis; titled on the frame plaque; titled again on a label affixed to the stretcher

24” H x 28” W

$2,000-4,000

83

Hermann Ottomar Herzog (1831-1932)

“An Angler and His Daughter,” 1897 Oil on canvas

Signed lower left: H. Herzog

37” H x 52” W

$10,000-20,000

Provenance: Sold: Christie’s, New York, NY, “American Paintings, Drawings and Sculpture,” September 22, 1993, Lot 46

Edith White (1855-1946)

Edith White was one of the only professionally trained studio in Los Angeles in 1882. Known best for her a noted landscape, mission, and portrait painter.

Born in Iowa, White and her Quaker family migrated settled in a mining camp in the Sierra Nevadas art at Mills Seminar (now Mills College) and graduated before moving to Pasadena in the early 1880s.

Except for a year studying at the Art Students League California arts community for decades. She exhibited Pasadena Art Association.

White and her family were very close and deeply from marrying or starting a family. White and her religious movement, and moved to Point Loma noted Theosophist Katherine Tingley. For 28 years producing her work without commercial pressures 1945, p. 44).

White returned to Northern California in 1930 and

trained female artists working in Southern California by the time she established her her complex, realistic, and academically formal compositions of roses, White was also painter. migrated to California via an ox-drawn cart when she was four years old. They initially in 1859 and remained in Nevada County or San Francisco until 1868. White studied graduated in 1874. She continued her studies in San Francisco under Virgil Williams League in New York from 1892-93, White was an active member of the Southern exhibited widely, particularly in the 1890s, and in 1896, was a founding member of the deeply religious, her parents encouraged her to focus on painting while discouraging her her parents were also active in the Theosophical Society, a 19th-century esoteric about 1902 to live in the Theosophical community, Lomaland, that was led by years White taught painting at the Raja-Yoga School in the Lomaland settlement while pressures (P. Trenton, “Independent Spirits: Women Painters of the American West,” 1890and settled in Berkeley. She had a studio and also taught there until she died in 1946.

84

Signed lower right: E. Potthast; titled on two labels affixed to the back of the frame

10.5” H x 14” W

$3,000-4,000

Edward H. Potthast (1857-1927) “Ironing” Oil on canvas laid to canvas

85

$3,000-5,000

Edith White (1855-1946) Still life with flowers Oil on canvas laid to canvas

Signed lower left: Edith White 40” H x 34” W

86

Still life with red roses, 1895 Oil on canvas

Signed and dated lower left: Edith White 28” H x 22” W

$2,500-3,500

Edith White (1855-1946)

87

Oil on canvas

Signed and dated lower left: S. A. Kilbourne; titled on label affixed to the frame’s backing board 10” H x 18” W

$3,000-4,000

Samuel Kilbourne (1836-1881)

“Trout on a Riverbank,” 1877

88

Signed lower right: Maurice Braun; titled and dated on a gallery label affixed to the frame’s backing board

25” H x 30” W

$12,000-18,000

Provenance: Orr’s Gallery, San Diego, CA

Maurice Braun (1877-1941)

“Spring Landscape” circa 1929 Oil on canvas

89

Signed lower left: Wm. V. Cahill; signed again, titled, dated, and inscribed, verso: San Francisco

30” H x 24” W

$2,500-3,500

Notes: The artist’s signature is incised into the back of the frame.

William Vincent Cahill (1878-1924)

“The Daughter of Ceres,” 1921 Oil on canvas

90

Charles Rollo Peters (1862-1929)

“The Old Customs House, Monterey, California” Oil on canvas

Signed lower right: Charles Rollo Peters; titled in ink on the tor n part of the old frame’s backing paper, and again on a gallery label affixed to the stretcher 14” H x 16” W

$6,000-8,000

Provenance: Ulrike Cantor Gallery, Los Angeles, CA

Notes: Various iterations of the title are inscribed on the back of the frame, an Ulrike Cantor Gallery label, and inscribed on the frame’s backing foam board.

91

Lights in the city at night Oil on canvas laid to foamboard

Signed lower right: M. Askenazy; with the estate ink stamp inscription with an accompanied number in pen, verso: This painting is number 64 from / the estate of Mischa Askenazy

31.5” H x 25” W

$4,000-6,000

Mischa Askenazy (1888-1961)

92

$1,500-2,500

Provenance: Lane Galleries, Westwood Village, CA, circa 1950s

93

W

$4,000-7,000

Francis de Erdely (1904-1959) “Unmasked” Oil on canvas

Signed lower left: de Erdely; titled in ink on a label affixed to the stretcher 28” H x 17” W

Roger Edward Kuntz (1926-1975)

California fishing reef sunset Oil on canvas

Signed upper right: Kuntz 34” H x 46”

94

Clare Leighton (1898-1989)

Four works:

“Gaspé Fisherman,” 1948

Woodcut on wove paper

From the edition of 125

Signed, titled, and inscribed in pencil in the lower margin: Clare Leighton / for Helen

Image: 3.125” H x 2.5” W; Sheet: 5.125” H x 3.875” W

“Hatteras Wreck,” circa 1950

Woodcut on wove paper

Edition: 25/150

Signed, titled, numbered, and inscribed in pencil in the lower margin: Clare Leighton / For Helen, with love, July 31, 1952

Image: 2.625” H x 5” D; Sheet: 4.125” H x 6.875” W

“Telescope”

Woodcut on wove paper

Edition: 10/50

Signed, titled, numbered, and inscribed in pencil in the lower margin: Clare Leighton / Cotton / For Helen and John, with love

Image: 5.5” H x 5.5” W; Sheet: 8” H x 6.875” W

“Oyster Houses, Wellfleet”

Edition: 96/200

Signed, titled, numbered, and inscribed in pencil in the lower margin: Clare Leighton / For Helen and John, with my love

November 1952

Image: 8.25” H x 10” W; Sheet: 9.625” H x 11.25” W

$1,000-1,500

Literature: Henry M. Belden and Arthur Palmer Hudson, “The Frank C. Brown Collection of North Carolina Folklore, Volume

Two: Folk Ballads from North Carolina” (Durham, NC: Duke University Press, 1952), 660. Clare Leighton, “Southern Harvest” (Athens, GA: University of Georgia Press), 9.

Notes: The woodcut, “Hatteras Wreck” is illustrated in the above-mentioned literature reference. In 1913, Frank C. Brown founded and organized the North Carolina Folklore Society. After its establishment, Dr. Brown and the Folklore Society continued decades of exploration and collecting of North Carolina and Appalachian folklore. The result was an extensive archival collection of field notes and recordings, traditional expressions, journal articles, music scores, transcriptions of original songs, stories, and more. The culmination of almost forty years of work was the result of a seven-volume book, which involved various editors for each volume, and included woodcuts from Clare Leighton.

95

Ansel Adams (1902-1984)

“El Capitan, Winter,” 1968

Gelatin silver print on paper mounted to a board mount

Edition: 146 from an edition of unknown size; printed later by an assistant to Ansel Adams

Signed on the matboard mount, lower right: Ansel Adams; with the Special Edition of Fine Prints ink stamp and inscribed edition number and title on the verso of the matboard mount

Image/Sheet: 9.25” H x 7” W; Matboard mount: 16.5” H x 13.375” W

$1,500-2,000

96

Ansel Adams (1902-1984)

“Forest Detail, Winter,” 1949

Gelatin silver print on paper mounted to a board mount

From an edition of unknown size; printed later by an assistant to Ansel Adams

Initialed in pencil lower margin, at right: AR; with the Photographs of Yosemite Special Edition ink stamp, verso

Image/Sheet: 9.375” H x 7.625” W; Mattboard mount: 16.5” H x 13.375” W

$1,000-1,500

97

Paul Caponigro (b. 1932)

“Redding Woods, Connecticut” from “Portfolio II,” circa 1957

Gelatin silver print on paper mounted to a board mount

Signed in pencil on the mount, at right: Paul Caponigro

Image/Sheet: 8.375” H x 11.25” W; Mount: 15.125” H x 18.125” W

$800-1,200

98

Robert Riggs (1896-1970)

“Dust Storm,” circa 1941

Lithograph on BFK Rives paper

From the edition of unknown size

Signed by the printer in pencil in the lower margin, at left: Geo. C. Miller (Litho); with the printer’s watermark in the lower right margin corner

Image: 14.125” H x 14.125” W; Sheet: 17.5” H x 23.625” W

$2,000-4,000

Literature: Bassham 80

Notes: The image “Dust Storm” was used as an advertisement illustration for Purolator oil filters in “The Saturday Evening Post,” published on, May 3, 1941.

Mentor Charles Huebner (1917-2001)

Mentor Hueber was a leading Hollywood production for more than 250 films, including “The Time Machine” Ford Coppola’s “Dracula” (1992). Huebner’s talents sequence in “Snow White and the Seven Dwarves”), over 25 years at a variety of art schools in California.

Born in the Boyle Heights neighborhood of Los 10. When his father died when he was young, his Surrounded by paper pads and pencils, Huebner combining traditional representative draftsmanship not stop him from creating and working.

The artistic contributions of Mentor Huebner to (not including his design work for theme parks and iconic moments in film. The plane chase in “North

The painting in this lot was done by Huebner during Century Fox. Based on the book from 1959 by author Normandy during the invasion of Europe during of war, as a corpse lies on the beach while fellow Additionally, “The Longest Day” featured an all-star also nominated for five Academy Awards and won appreciate his work as the U.S. Army coordinator

Huebner production illustrator who created numerous storyboards and production and concept art Machine” (1960), “The Planet of the Apes” (1968), “Blade Runner” (1982) and Francis talents spanned a wide variety of creative roles, including animation (the “Heigh-Ho” Dwarves”), character design (Robbie the robot from “Forbidden Planet”), and teaching for California. Huebner has left an artistic legacy spanning decades.

Angeles in 1917, Huebner began sketching and drawing prolifically when he was his mother took a job at the medical offices of a family friend, Dr. Frank McCoy. Huebner sketched everything he laid his eyes on. Huebner developed a unique style, draftsmanship combined with fluidity and action. Losing an eye to cancer when he was 29 did motion picture history cannot be understated. With over 250 film credits to his name and solo exhibitions), Huebner has designed, staged, and sketched some of the most “North by Northwest.” The Balrogs in Rankin/Bassí “Lord of the Rings.” And many more. during filming for the 1962 movie, “The Longest Day,” in La Rochelle, France, for 20th author Cornelius Ryan, “The Longest Day” details the Allied D-Day beach landing in during World War II (1941-1945). This single image captures both the action and tragedy fellow soldiers storm past Nazi defenses, explosions cascading the water behind them. all-star cast and was the highest-grossing black-and-white film of 1962. The film was won two Oscars. Furthermore, this painting was given to the previous owner’s father to coordinator during the filming of “The Longest Day.”

99

Hughie Lee-Smith (1915-1999)

“Storm,” 1939

Linoleum cut on paper

From the edition of unknown size

Signed, titled, and dated in pencil in the lower margin: Hughie Lee-Smith Image: 5.75” H x 8.25” W; Sheet: 9.5” H (irreg.) x 11.5” W (irreg.)

$3,000-5,000

Provenance: Karamu Studio of Karamu House, Cleveland, OH Private Collection, Los Angeles, CA

100 Mentor (1917-2001) Production Oil Signed 21.5”

$1,000-2,000

100

Oil on board

Signed lower right: M.

inscribed

Rochelle 21.5” H x 29” W

$1,000-2,000

Mentor Charles Huebner (1917-2001)

Production illustration for “The Longest Day,” circa 1960

Huebner;

verso:

101

Reginald Marsh

1938-1942

“Merry-Go-Round,” circa 1940

Etching with handcoloring on laid paper

Signed in pencil in the lower margin, at right:

Reginald Marsh

Plate: 8” H x 12” W; Sheet: 10.375” H x 13.75” W

$2,000-4,000

Eyvind Earle (1916-2000)

Unique, inspired, and influential, Eyvind Earle remains Earle has made his mark on everything from fine Disney Animation remain some of the most sought-after

Eyvind Earle was born into a creative family. His Often overbearing and demanding, when Earle painting every day. Earle took the up the challenge, In 1937, fleeing abuse from his father, Earle bicycled He exhibited those watercolors in New York City

In the late 1930s Earle began taking on commercial also began producing Christmas cards, something designs). After taking odd jobs and exhibiting work Studios. Earle’s unique modernist style gained the stylist for the masterpiece “Sleeping Beauty,” released

After almost 16 years working in animation, Earle produced paintings, scratchboards, drawings, and working multiple applications of color over dark, and midcentury abstraction to create images of McCay Lifetime Achievement Award in 1998 and

“For 70 years, I’ve painted paintings, and I’m constantly Wherever I turn and look, there I see creation. Art

remains one of the most popular of American artists. In an astonishing artistic career, fine art, to animation, to greeting cards. His original paintings and work done for Walt sought-after pieces by collectors.

mother was a concert pianist, and his father, Ferdinand Earle, a well-known artist. was only 10 his father gave him a choice – either read 50 pages of a book or make a challenge, and did both, exhibiting his first solo show of artwork at the age of 14 in France. bicycled across the United States, painting watercolors and writing in a diary as he went. City in 1938.

commercial work, designing magazine covers for AT&T and architectural publications. He something he would continue to create for the rest of his life (making over 800 individual work in the 1940s, Earle landed a position as a background painter at the Walt Disney the admiration of Walt Disney, who made him the production designer and color released in 1959.

Earle returned to his distinctive style of landscape painting. Until the end of his life Earle and screenprints, of which this lot is curated from. Earle’s luminous style derived from dark, often black, shapes of underpainting. He melded American Regionalist, Medieval, intriguing, and often mysterious, scenes of nature. He was awarded the Windsor and became a Disney Legend in 2015.

constantly and everlastingly overwhelmed at the stupendous infinity of nature. Art is creating… Art is the search for truth.” -Eyvind Earle

102

Eyvind Earle (1916-2000)

“Sea, Wind and Fog,” 1986 Oil on board

Signed and dated lower right: Eyvind Earle © 48” H x 36” W

$15,000-20,000

103

Irv Wyner (1904-2002)

“Light and Shadows - Farm Scene,” circa 1970 Oil on board

Signed lower right: Irv Wyner ©; titled and dated on a label affixed to the frame’s backing paper

20” H x 25.5” W

$1,000-2,000

Provenance: The Hillbert Collection, Newport, CA

104

“Farm Scene in Green”

Oil on board

Signed lower right: Irv Wyner ©; titled on a label affixed to the frame’s backing paper 24” H x 30” W

$1,000-2,000

Provenance: The Hilbert Collection, Newport, CA

Irv Wyner (1904-2002)

105

Irv Wyner (1904-2002)

“Country Farm”

Acrylic on thin board

Unsigned; titled on a label affixed to the frame’s backing paper

19.25” x 24.5”

$1,000-2,000

Provenance: The Hilbert Collection, Newport Beach, CA

106

on canvas

Signed lower right: J. Tomanek; titled on a gallery label affixed to the frame’s backing board

23.5” H x 28” W

$2,500-3,500

Provenance: The Redfern Gallery, Laguna Beach, CA Private Estate, Southern California, acquired from the above, October 23, 1998

Notes: In a Richard Tobey frame.

Joseph Tomanek (1879-1974) “Pumpkin Patch” Oil

Ben Abril (1923-1995)

The romance of old California and nostalgia for Abril. Old LA is caught in a time capsule in each between the Golden Age of Hollywood and the Born in 1923 in Los Angeles, Abril served in World learned painting under Arthur Beaumont), Abril eclectic in his schooling and training, studying landscape Art Institute (now Cal Arts), and watercolor classes cartographer and draftsman for the County of Los cemented Abril’s reputation as an outstanding painter: whole studio. Abril received several high-profile

Abril passed away in La Canada Flintridge in 1995 Painters, Abril’s work was described as such in an

“There are, nevertheless, few artists among the manage to convey this exuberance to the observer suburbs, he makes swift bold statements in pure

Classic cars, old houses, skyscrapers, vistas of urban

Ben Abril’s work is held in many prestigious institutions, in Seattle, the Navy History and Heritage Command Archival materials of the artist are held in the Natural

a lost past of high-rises and vintage Los Angeles coalesce around the work of artist Ben each Abril work, frozen in time in dazzling brushwork and vibrant colors. Capturing a city the end of the midcentury, Abril’s work sees the passing of the old, the new, and the old again.

World War II in the Air Force. After a short stint at the Glendale School of Allied Arts (where we worked as a clerk in a post office at night so he could spend his days painting. Abril was landscape painting at the Art Center School of Design, architectural rendering at Chouinard classes at Otis Art Institute. While an accomplished artist on the side, Abril mainly worked as a Los Angeles. A series of artistic projects and exhibitions in the mid-1950s and early 1960s painter: an exhibition in 1964 prompted actor and art collector Vincent Price to buy out his

commissions, including a series for the US Navy and a gift for Pope John Paul II.

1995 after complications from cancer. A stand-out from many of the other California Scene an exhibition at the Cowie Wilshire Galleries in Los Angeles:

many southern California scene painters who so obviously enjoy their profession and also observer as does Abril. Whether his subject is taken from the rolling hills, beaches, sunlit slums, or pure blazing colors that emphasize his enthusiasm as well as his often injudicious compositions.” urban and rural, images of Califor nia do not spring to life as much as the work of Ben Abril. institutions, including the Los Angeles County Museum of Art (LACMA), the Frye Art Museum Command in Washington D.C., and the Hilbert Museum of California Art in Orange, California. Natural History Museum of Los Angeles County and the Los Angeles Public Library.

107

Cove scene with figures

Watercolor on paperboard

Signed lower right: H. Gasser

Image/Sheet: 14.375” H x 21” W

$2,000-3,000

Henry Gasser (1909-1981)

108

Oil on canvas

Signed lower right: Ben Abril; titled on the stretcher

20” H x 30” W

$800-1,200

Ben Abril (1923-1995) “Mendocino County”

109

Train on a railway Oil on canvas

Signed lower right: Ben Abril

18” H x 24” W

$1,000-1,500

Ben Abril (1923-1995)

110

Ben Abril (1923-1995)

Beach scene

Watercolor on paper

Signed lower right: Ben Abril

Sight: 13.5” H x 21” W

$700-900

111

Signed lower right: Wm Dorsey

40” H x 30” W

$3,000-5,000

William Dorsey (1942-2019)

Euclayptus landscape overlooking the Pacific Oil on canvas

112

“Party time Laguna Beach” Oil on Masonite

Signed lower right: Mottola; signed again and titled, verso 24” H x 32” W

$3,000-5,000

Filastro Mottola (1915-2008)

113

Signed lower left: David Chapple; titled verso 24” H x 30” W

$3,000-5,000

Provenance: DeRu’s Fine Arts, Laguna Beach/Bellflower, CA

David Chapple (b. 1947)

“Yosemite Reflections” Oil on Masonite

114

12” H x 16” W

$3,000-5,000

Provenance: Treasured Auctions, Westbury, NY

Private collection, Amesbury, MA, acquired from the above, 2022

Allan Freelon (1895-1960)

“House Near River” Oil on board

Signed lower right: Freelon; signed again in pencil, verso; titled on a sales invoice affixed, verso

115

26” H x 40” W

$3,000-5,000

Paul Grimm (1891-1974)

Smoke trees near Mt. San Jacinto Oil on canvas

Signed lower left: Paul Grimm

116

Signed lower right: Paul Grimm; signed again, titled, and dated, verso 16” H x 12” W

$1,500-2,000

Provenance: DeRu’s Fine Arts, Bellflower, CA

Paul Grimm (1891-1974)

“Cotton Wood Trees - High Sierra at Base of Mountains,” 1968 Oil on board

117

Tim Solliday (b. 1952)

Landscape with palm trees

Oil on board

Signed lower left: Tim Solliday; two notations of the artist’s name, in another hand, verso

20” H x 16” W

$1,000-2,000

118

Signed lower right: Gary Ray; signed again and titled, verso 20” H x 24” W

$800-1,200

Gary Ray (b. 1952)

“Carpinteria Bluffs” Oil on board

119

Signed lower right: Wakeham; signed again and dated, verso 34” H x 36” W

$800-1,200

Duane Wakeham (b. 1937) Hillside by the bay, 1978 Oil on canvas

Grandma (Anna Mary (1860-1961)

Anna Mary Robertson “Grandma” Moses (1860-1961)

American life catapulted her to international fame immersed in the agricultural lifestyle that would 1887, and together they worked on farms, first in arthritis hindered her ability to embroider, that Moses

Grandma Moses’ artistic journey began in earnest of pastoral scenes. Her paintings are characterized narrative quality that captures the simplicity and an idealized past, particularly during the turbulent

In 1938, art collector Louis J. Caldor discovered of her public recognition. The following year, her in 1940, she had her first solo exhibition at the Galerie success, leading to a prolific period where she produced

One of Grandma Moses’ distinguished pieces, “In scenes brimming with life and emotional depth. riverbank, under the glow of a full moon. On one on the opposite bank, another figure engages from characteristic style that features a flattened perspective universality. This work, which was once housed in book on the artist, listed as figure 928.

Moses’ legacy extends beyond her paintings. She celebrated as “Grandma Moses Day” by New York 1952, offers an intimate glimpse into the life of generations to come.

Grandma Moses passed away at the age of 101, value, and representation of American folk culture. Art in New York and the Art Institute of Chicago,

Robertson) Moses

(1860-1961) was an American folk artist whose vibrant and endearing depiction of rural fame in the mid-20th century. Born in Greenwich, New York, Moses spent much of her life later become the central theme of her work. She married Thomas Salmon Moses in in Virginia and later in Eagle Bridge, New York. It was not until her late seventies, when Moses turned to painting as her primary creative outlet.

earnest at the age of 78, and her work quickly garnered attention for its nostalgic portrayal characterized by their use of bright colors, keen observation of seasonal changes, and a charming, and beauty of country living. Moses’ art resonated with a public yearning for the comfort of turbulent times of the Great Depression and World War II.

discovered Moses’ paintings in a drugstore window and purchased them all, marking the beginning her work was included in an exhibition at the Museum of Modern Art in New York City, and Galerie St. Etienne in New York. Her work was met with critical acclaim and commercial produced over 1,500 works.

“In the Camp,” crafted in 1950, stands as a testament to her talent for weaving together depth. This masterpiece captures an intimate moment between two figures separated by a one side, a figure attends to a dinner pot over an open flame beside a moored boat, while from afar. The scene is set against a backdrop of tree-lined banks, rendered in Moses’ perspective and the use of bright, unmodulated colors to evoke a sense of timelessness and in the Hammer Galleries in New York, is meticulously cataloged in Otto Kallir’s definitive

She was featured on the cover of Time Magazine in 1953, and her 100th birthday was York Governor Nelson Rockefeller. Her autobiography, “My Life’s History,” published in a woman who began her artistic career in her later years and became an inspiration for 101, leaving behind a body of work that continues to be celebrated for its charm, historical culture. Her paintings are held in major collections, including the Metropolitan Museum of Chicago, and her influence on the field of folk art remains profound.

120

Grandma (Anna Mary Robertson) Moses (1860-1961)

“In the Camp,” 1950 Oil on canvas

Signed lower right: Moses; titled, dated, and with the artist’s number 1424, all handwritten on the artist’s copyright label affixed, verso 12” H x 16” W

$25,000-35,000

Notes: There is a Hammer Galleries, New York circular black ink stamp surrounding a hand-written no: 21692-2 on the stretcher (nearly illegible) as well as the frame.

Provenance: Mr. and Mrs. Harry Gelles Private Collection, Buellton, CA, by descent from the above

Literature: Kallir, fig. 928

121

“Winding thru the Hills to the Valley”

Signed lower right: Gardner Symons; titled and inscribed #19 in pencil on the stretcher and again on the typed artist’s estate label affixed to the stretcher

49” H x 40” W

$15,000-20,000

Provenance: DeVille Galleries, Los Angeles, CA

Notes: The painting has an alternate title, “Lake Reflections,” on the gallery label affixed, verso.

George Gardner Symons (1863-1930)

Oil on canvas

122

Signed lower right: Emile A. Gruppe; titled, dated, and inscribed on the stretcher: Vermont

25” H x 30” W

$3,000-5,000

Emile Albert Gruppe (1896-1978) “Red Maples,” 1950 Oil on canvas

123

Signed lower right: A.C. Goodwin; titled on the canvas, verso; titled again on a gallery label affixed to the frame’s backing board

20” H x 26” W

$8,000-12,000

Provenance: Vose Galleries of Boston, Boston, MA

Arthur Clifton Goodwin (1864-1929) “Greenwich Village” Oil on canvas

124

Signed lower right: A.C. Goodwin; titled on the frame plaque 25” H x 30.5” W

$6,000-8,000

Arthur Clifton Goodwin (1864-1929)

“Mt. Vernon Street, Beacon Hill” Oil on canvas laid to canvas

125

Emile Albert Gruppe (1896-1978)

Fall landscape

Oil on canvas laid to canvas

Signed lower right: Emile A. Gruppe

40” H x 30” W

$5,000-7,000

126

Emile Albert Gruppe (1896-1978)

Hauling in the nets

Oil on canvas

Signed lower right: Emile A. Gruppe

30” H x 36” W

$4,000-6,000

127

Signed lower right: Sidney M. Wiggins

16” H x 20” W

$700-900

Notes: A Yonkers Art Association article is affixed, verso.

128

Signed lower right: A. Dzigurski; with the artist’s verso

24” H x 48” W

$3,000-5,000

Sidney Miller Wiggins (1881-1940) Lake scene Oil on canvas

Alexander Dzigurski (1911-1995)

Sunset coastal Oil on canvas

artist’s copyright black ink stamp,

129

Alexander Dzigurski (1911-1995)

Rocky coastal at sunset

Oil on canvas laid to board

Signed lower right: A. Dzigurski

24” H x 48” W

$3,000-5,000

Notes: An inscription, possibly in another hand, on the frame’s backing paper reads: Orig Oil by Prof. Alex Dzigurski (Calif Coast)

$4,000-6,000

130 William Ritschel (1864-1949)

“Curling Wave” Oil on canvas laid to canvas

Signed lower right: William Ritschel; titled in ink on a partial label affixed to the left corner of the stretcher 25” H x

131

“Late Afternoon”

Oil on canvas laid to board

With the incised signature lower left: W. Darling; titled in ink, possibly in another hand on a label affixed to the frame, verso 24” H x 36” W

$1,000-1,500

William Darling (1882-1963)

132

$1,000-1,500

Robert Ferguson (b.1958)

“Mission Pepper,” 2023 Oil on canvas

Signed lower left: Robert Ferguson; signed again twice, titled, dated, and inscribed in blue pen and pencil, all verso 30” H x 40” W

133

$800-1,200

Robert Ferguson (b. 1958) “Lone Palm in Evening Light” 2022 Oil on canvas

Signed lower left: Robert Ferguson; signed again, dated, and inscribed in pencil, verso 40” H x 30” W

134

“San Pasqual Valley in Winter Light,” 2008

Signed lower left: Robert Ferguson; signed again, titled, dated, and inscribed in pencil, verso 40” H x 50” W

$1,500-2,500

Notes: Inscribed on the verso: I found this scene of Old San Pasqual Valley Road in Escondido CA. This is my original study/painting done on location there.

Robert Ferguson (b. 1958)

Oil on canvas

Signed lower left: Robert Ferguson; signed again, dated, and inscribed in pencil, verso 48” H x 36” W

$1,500-2,500

Notes: Inscribed on the verso: 11/2023 / This is my final painting done / from my study that has been destroyed / This is my final painting from / my study done at the white water canyon / several years ago. I am destroying my / original study so it cannot be duplicated.

135 Robert Ferguson (b.1958)

“White Water Canyon,” 2023 Oil on canvas

Signed lower right: Paul Grimm; signed again, titled, and dated, all verso 16” H x 20” W

$1,500-2,000

136 Paul Grimm (1891-1974)

“Under Desert Clouds,” 1958 Oil on canvasboard

137

Christopher Gerlach (b. 1952)

“Early Morning - La Jolla Shores,” 1985

Oil on canvas

Signed lower right: Gerlach; titled and dated on a gallery label affixed to the frame, verso

16” H x 20” W

$1,000-1,500

Provenance: Orr’s Gallery, San Diego, CA, October 4, 1985

Notes: This lot is accompanied by a certificate of authenticity, signed and dated in blue ink by the artist, on June 25, 1985.

138

“Road to Julian, Santa Ysabel in Evening Haze,” 2023

Signed lower left: Robert Ferguson; signed again, titled, dated, and inscribed in pencil, verso

24” H x 30” W

$800-1,200

Notes: The pencil inscription on the verso, reads: This is my final painting that / I will do from this study. The original / study has been destroyed

Robert Ferguson (b.1958)

Oil on canvas

139

Signed, titled, dated, and inscribed in pencil, verso: Robert Ferguson

30” H x 24” W

$800-1,200

Notes: The pencil inscription on the verso, reads: I did this painting using / study done on the main road / going through Romona. This is my final painting. / The original study has been destroyed so that it may not be duplicated

Robert Ferguson (b.1958)

“Romona Eucalyptus,” 2023 Oil on canvas

140

Signed lower left: Alfred R. Mitchell; titled in pencil, verso; titled again on a gallery label affixed, verso

8” H x 10” W

$700-900

Provenance: Orr’s Gallery, San Diego, CA

Alfred R. Mitchell (1888-1972)

“Santa Rosa Mountains from Coachella Valley” Oil on Upson board

141

George Spangenberg (1907-1964)

“Valley of the Old Women,” circa 1940s Oil on canvas laid to Upson board

Signed lower left: G. Spangenberg; titled on a gallery label affixed to the frame’s styrofoam backing 4.75” H x 6” W

$500-700

Provenance: Orrs’s Gallery, San Diego, CA

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Condition Reports

Visual: Overall good condition. Minor frame abrasion along the extreme edges and corners, with some scattered areas of attendant pinhead-sized or smaller areas of pigment loss.

Blacklight: No evidence of restoration.

Frame: 11.75” H x 12.75” W x 1” D

2

Visual: Overall good condition. Slight varnish discoloration, grime, and occasional craquelure, showing primarily in the sky and upper clouds.

Blacklight: No evidence of restoration.

11.5” H x 14” W x 1.75” D

3

Visual: Overall good condition.

Blacklight: Pea-sized or smaller areas of touch-up throughout the foliage of the tree on the left and the bushes on the right.

Frame: 13.75” H x 15.5” W x 1.125” D

4 Visual: Overall good condition.

Blacklight: No evidence of restoration. Some of the dark red pigments in the right half fluoresce under blacklight.

Frame: 15.75” H x 17.5” W x 1.25” D

5 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed under glass: 21.5” H x 22.25” W x 1.25” D

6

Visual: Overall good condition. A few unobtrusive pinheadsized areas of stray dark pigment scattered primarily in the upper left and lower right corners.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 18.5” W x 1.25” D

7

Visual: Overall good condition. A few occasional, pinheadsized areas of grime scattered in the upper right quadrant, showing primarily in the clouds.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 17.5” W x 1.5” D

8

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 16.25” H x 19.25” W x 2” D

9

Visual: Overall good condition. Scattered specks of grime and dust accumulation primarily in the outer edges and corners. Stable craquelure throughout with prominent areas concentrated in the sky.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 34.5” W x 3.25” D

10

Overall good condition. Light-staining throughout and time staining along the outer edges of the sheet. Very minor surface abrasion scattered along the extreme edges and corners of the paperboard. The work is hinged to the back mat with two pieces of hinging tape from the verso of the upper edge.

Framed under glass: 17.25” H x 18.5” W x 1.25” D

11

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 26.25” W x 1.25” D

12

Visual: Overall good condition. A faint, approximately 4” W scuff mark in the bushes towards the middle of the work. A few pinhead-sized areas of grime in the upper left quadrant. A 1.5” scuff with rice-sized areas of attendant pigment loss at the extreme upper edge, at left.

Blacklight: No evidence of restoration.

Frame: 19.5” H x 44.5” W x 2” D

13

Visual: Overall good condition. A pinhead-sized area of abrasion with attendant pigment loss near the center of the right edge.

Blacklight: No evidence of restoration.

Frame: 36” H x 46” W x 3” D

14

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 36.5” W x 2” D

15

Visual: Overall good condition. The unobtrusive edge of the linen and occasional faint scuff marks in places along the extreme left edge.

Blacklight: No evidence of restoration.

Frame: 29.25” H x 34.25” W x 2” D

Visual: Overall good condition. Areas of very fine craquelure scattered throughout the brown pigment, and other areas of stable craquelure scattered in the thicker application of pigment, mostly the lighter colors. A soft dime-sized pressure mark in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 28” H x 38” W x 2.5” D

17

Overall generally good condition. Occasional areas of small surface abrasions with attendant pigment losses, the largest measuring 0.75” H x 0.25” W near the lower edge, at center. Pale light staining throughout. Scattered, minor areas of wear to the pigment, primarily in the outer edges. Areas of time staining, primarily visible at the upper sheet edge, all verso. Remnants of brown paper tape in places at the verso of the sheet edges. The sheet is hinged to the overmat with various small pieces of paper tape from the verso of the upper sheet edge.

Framed under glass: 31” H x 37” W x 2” D

18

Visual: Overall good condition. Small areas of very fine craquelure and the faintest flecks of pigment loss scattered throughout. A pinhead-sized pressure mark near the upper edge, at left. A few specks of old, darkened varnish in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 22.5” W x 2” D

19

Visual: Overall good condition.

Blacklight: Occasional pea-sized or smaller areas of touchup scattered throughout.

Frame: 26.75” H x 39.75” W x 2” D

20

Visual: Overall generally good condition. Fine, stable craquelure throughout, showing primarily in the sky.

Blacklight: Lines of crack-fill throughout the clouds of the background. Occasional, scattered, pea-sized or smaller spots of touch-up throughout. Areas of overpaint primarily in the ground-plane of the lower left quadrant and throughout the foliage of the trees.

Frame: 40.5” H x 44.75” W x 2.5” D

21

Visual: Overall good condition. Very soft, unobtrusive, fine, stable craquelure showing primarily in the blue pigment of the sky.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 28.75” W x 2.25” D

22

Visual: Overall good condition. A very unobtrusive pinpoint-sized area of pigment loss in the darker pigment near the extreme lower edge, at center.

Blacklight: A 1” H x 1.25” W area of touch-up near the left edge, at center, and other pea-sized or smaller areas of touch-up occasionally scattered at the extreme upper and left edges.

Frame: 27” H x 42” W x 4” D

23

Visual: Overall generally good condition. Fine, stable craquelure throughout. Hairline splits in the canvas, attendant with the stretcher bar creases along each of the sides. Two pinhead-sized spots of pigment loss in the upper left edge. The canvas has been relined.

Blacklight: Lines of touch-up, attendant with repaired tears in the lower right quadrant.

Frame: 40.5” H x 52.75” W x 3.5” D

24

Visual: Overall good condition. Very fine, stable craquelure showing primarily in the white pigment of the clouds.

Blacklight: A 1” H x 0.5” W area of touch-up in the lower right corner, and other rice-sized or smaller areas of touchup scattered throughout.

Frame: 18.5” H x 24.75” W x 1.75” D

25

Visual: Overall generally good condition. Specks of occasional grime in the upper right quadrant, fine craquelure scattered throughout, and small scattered areas of wear in the lower left quadrant, all commensurate with age. A pea-sized area of pigment loss (touched-in) near the center of the left edge. Frame abrasion along the extreme edges of the upper and right sides.

Blacklight: Small areas of touch-up scattered in the outer edges of the upper and lower left quadrants.

Frame: 24.25” H x 30.25” W x 2.5” D

26

Visual: Overall good condition. Stable craquelure scattered throughout, primarily in the upper and lower portion of the work. An unobtrusive pinpoint-sized hole in the panel. presumably attendant with the natural surface of the panel. A pea-sized area of grime in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 18” H x 21” W x 3” D

27

Visual: Overall good condition.

Blacklight: Occasional scattered spots of touch-up throughout, under heavy varnish.

Frame: 22.5” H x 26.25” W x 2.25” D

Visual: Overall good condition. Occasional areas of fine and stable craquelure primarily in the light-colored pigment in the sky.

Blacklight: A pea-sized spot of touch-up near the upper edge, at left.

Frame: 28.75” H x 34” W x 2.25” D

29

Overall good condition. Pale light-staining throughout the exposed sheet area of the mat window. Time staining and scattered pinhead-sized areas of foxing along the extreme edges. Some areas of glue residue scattered along the lower sheet edge, with one attendant rice-sized area of abrasion. The right extreme sheet edge is trimmed slightly unevenly. The sheet is mounted to a board mount.

Framed under glass: 17.5” H x 18.5” W x 2” D

30

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 27.75” W x 2.25” D

31

Visual: Overall good condition. A pinhead-sized spot of black pigment in the upper right corner. A rice-sized scrape into the canvas at the extreme upper left edge.

Blacklight: No evidence of restoration.

Frame: 25” H x 25” W x 2” D

32

Overall good condition. Pieces of brown paper tape remnants scattered along the verso of each edge. The work is loose, not matted.

Framed under glass: 28.75” H x 25.25” W x 2” D

33

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20” H x 23” W x 4” D

34

Visual: Overall good condition. The DeRue’s Gallery treatment label affixed to the frame’s backing board states that the work was cleaned, chemically treated, and finished with an acrylic ester resin varnish.

Blacklight: A pea-sized spot of touch-up in the upper left quadrant.

Frame: 20” H x 20.25” W x 2” D

35

Visual: Overall good condition. With the conservation work-order label affixed, verso.

Blacklight: A 1” H x 1.5” W spot of touch-up at the middle of the upper edge.

Frame: 22.75” H x 27.5” W x 2” D

36

Visual: Overall good condition. Very fine and unobtrusive craquelure in the white pigment of the sky. Minor frame abrasion along the extreme edges.

Blacklight: Pinhead-sized or smaller areas of touch-up scattered primarily along the upper edge.

Frame: 20.25” H x 24.25” W x 3.25” D

37

Visual: Overall good condition. The canvas is slightly loose from the stretcher. A few scattered pinhead-sized flecks of stray dark pigment scattered in the center of the work.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 23.75” W x 2.25” D

38

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 33.5” W x 2.5” D

39

Visual: Overall good condition. The canvas is slightly loose and rippling.

Blacklight: No evidence of restoration.

Frame: 31” H x 38.75” W x 2” D

40

Visual: Overall good condition. Areas of fine and stable craquelure scattered in some areas of the canvasbacks and in the white pigment used for the clouds in the upper right quadrant. A pinpoint-sized area of wear to the blue pigment, near the lower edge, at center. A pinhead-sized area of darkened, old varnish underneath the canvasback flying at center, and on the rock formation.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 41.5” W x 3.75” D

41

Visual: Overall generally good condition. Fine stable craquelure throughout, with some heavier in the background towards the center of the work.

Blacklight: A dime-sized spot of touch-up in the lower right corner in the bushes and a dime-sized spot of touchup in the lower left quadrant underneath the tree in the background.

Frame: 27.5” H x 31.5” W x 2.25” D

42

Visual: Overall good condition. A few soft surface abrasions to the left of the butte, the longest measuring 1.5” W. Occasional, scattered pinhead-sized spots of stray pigment in the background of the right half.

Blacklight: No evidence of restoration.

Frame: 26” H x 38.75” W x 1” D

43

Visual: Occasional surface scratches throughout, the largest measuring 5” L in the upper left corner. Flecks of stray yellow pigment scattered throughout. A few rice-sized spots of pigment loss in the lower half, primarily in the figure’s chin and red clothing. A rice-sized spot of material adhered to the surface of the upper right corner.

Blacklight: Occasional spots of touch-up throughout, primarily along the left and lower edge, the largest area measuring 2” H x 0.5” W in the upper left corner.

Frame: 18” H x 26” W x 1.25” D

44

Visual: Overall good condition.

Blacklight: Occasional, scattered, rice-sized or smaller spots of touch-up primarily in the sky of the upper left quadrant and the water of the lower left quadrant.

45

Visual: Overall good condition.

Blacklight: Scattered areas of touch-up throughout, with a 2.5” H x 5” W area from the left edge into the center

Frame: 11.5” H x 22.25” W x 1.25” D

46

Visual: Overall good condition. Occasional pinhead-sized areas of pigment loss along each extreme edge, with a 0.75” H x 0.125” W spot in the extreme lower right edge. A pinhead-sized spot of grime in the upper right quadrant in the blue pigment. The canvas has been relined.

Blacklight: No evidence of restoration.

Frame: 33.25” H x 38” W x 2.5” D

47

Visual: Overall good condition. Scattered and small areas of frame abrasion at each of the extreme edges. A quartersized area of white pigment by the painted fence in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 44.25” W x 3” D

48

Visual of each: Overall good condition.

Blacklight of each: No evidence of restoration.

Smallest frame: 2.25” H x 3” W x 0.25” D; Largest Frame: 3.75” H x 5.5” W x 0.25” D

49

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 18.5” W x 2.5” D

50

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 16” W x 2.25” D

51

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20.5” H x 17.25” W x 2” D

52

Overall good condition. Old brown tape along the verso of each sheet edge. The sheet is taped to the overmat along each verso sheet edge by pieces of scotch tape.

Framed under glass: 21.25” H x 17.25” W x 1.25” D

53

Overall good condition. Old pieces of brown tape along the verso of each sheet edge. The sheet is taped to the overmat by pieces of scotch tape along each sheet edge.

Framed under glass: 21.25” H x 17.25” W x 1” D

54

Overall good condition. Old tape along each edge of the verso of the sheet. A few pinhead-sized spots of staining in the extreme left margin of the sheet, not affecting the image. The sheet is hinged to the overmat in three places by strips of masking tape along the upper edge and upper right edge of the verso of the sheet.

Framed under glass: 23.5” H x 27.5” W x 2” D

55

Overall good condition. Rippling to the sheet commensurate with mounting method. The sheet is taped to the overmat by Scotch tape along the verso of each sheet edge.

Framed under glass: 22.75” H x 18.75” W x 1” D

56

Overall good condition. The sheet is mounted to a thick support paper. The support paper is taped to the overmat in four places along the edges of the old dried tape at each support sheet edge.

Framed under glass: 16.75” H x 14.75” W x 1.5” D

57

Visual: Overall good condition. Ocassioanal, faint lines of stable craquelure throughout. Some frame abrasion along the lower right edge. Some minor grime and discoloration in the outer edges, commensurate with age.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 17.5” W x 1.5” D

58

Visual: Overall good condition. A soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 30” H x 26” W x 2.5” D

59

Visual: Overall good condition. Two quarter-sized and smaller areas of pale green stray pigment in the upper left quadrant, towards the upper edge.

Blacklight: No evidence of restoration.

Frame: 29” H x 35” W x 2” D

60

Visual: Overall generally good condition. Stretcher bar creases along the upper and left edges and faintly on the left edge. A few approximately 1.5” H hairline vertical scuff marks in the upper left quadrant above the waves. Occasional, scattered pinhead-sized spots of pigment loss throughout.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 37.5” W x 2.75” D

61

Visual: Overall good condition. The canvas is slightly rippling. A few pinhead-sized punctures in the extreme upper left, lower left, and lower right corners. Occasional, scattered, pinhead-sized spots of pigment loss showing primarily in the left edge and lower right corner.

Blacklight: No evidence of restoration.

Frame: 19.5” H x 24.25” W x 2” D

62

Visual: Overall good condition. A few unobtrusive pinheadsized areas of pigment loss scattered along the upper edge.

Blacklight: No evidence of restoration.

Frame: 21” H x 20” W x 1.75” D

63

Visual: Overall good condition. Specks of grime, minor varnish discoloration, and very fine, stable craquelure throughout, all commensurate with age. A minor repair to the canvas near the upper edge of the upper right quadrant.

Blacklight: A 1.5” H x 2.5” W area of touch-up above the boat, and other occasional pea-sized or smaller areas of touch-up scattered throughout.

Frame: 14.75” H x 33.75” W x 3.5” D

64

Visual: Overall good condition. Minor frame abrasion along the lower right edge, with attendant flecks of unobtrusive pigment loss. An unobtrusive fleck of pigment loss near the left edge, at center. A 0.75” horizontal soft scratch to the pigment along the upper edge, left of center.

Blacklight: Areas of touch-up throughout, the largest measuring 14” along the path at the center of the work.

Frame: 19.25” H x 26.625” W x 1.5” D

65

Visual: Overall generally good condition. Occasional areas of fine and stable craquelure, showing primarily in the lighter pigments used in the sky. The canvas has been relined.

Blacklight: A 6” H x 2” W area of touch-up in the mountain near the center of the work, and other pea-sized or smaller areas of touch-up scattered throughout.

Frame: 27.25” H x 32.25” W x 4.25” D

66

Visual: Overall good condition. Occasional specks of grime commensurate with age. Craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 29” H x 39” W x 2.5” D

67

Visual: Overall good condition. A 0.5” repaired tear near the corner of the upper left edge.

Blacklight: Scattered areas of touch-up showing mostly in the sky and water, the largest three each measuring approximately 1.75” H x 3.5” W, with the one in the lower half with a related patch showing verso.

Frame: 19.75” H x 25.25” W x 2.25” D

68

Visual: Overall good condition. Very fine, stable craquelure throughout. Occasional, scattered, pinhead-sized spots of light pigment primarily through the middle of the work. The canvas is relined.

Blacklight: Occasional, scattered quarter-sized or smaller spots of touch-up throughout, with a 0.75” H x 1” W area in the extreme upper left corner.

Frame: 26.75” H x 36.75” W x 2.5” D

Visual: Overall generally good condition. Grime and discoloration throughout, commensurate with age. Occasional small areas of very fine, stable craquelure showing primarily in the darker pigments of the lower half. A few scattered rice-sized or smaller spots of fill-in through the sky. The canvas is relined.

Blacklight: Occasional, scattered rice-sized or smaller spots of touch-up throughout.

Frame: 27.25” H x 37” W x 2” D

70

Visual: It appears that the painted surface has evidence of extensive cleaning, and occurred prior to 1978 according to the current owner. Slight varnish discoloration as well as delicate, stable craquelure throughout. The canvas has been relined and the original tacking edges removed.

Blacklight: Extensive touch-ups throughout and a heavy masking varnish.

Frame: 37” H x 52” W x 3.5”. Appears to be the original frame containing exhibition labels

71

Visual: Dust accumulation, grime, craquelure, paint shrinkage, and varnish discoloration commensurate with age. Other condition issues include but are not limited to: some scattered pea-sized pressure marks and surface scuffs, the longest of the latter measuring approximately 5 feet, horizontally, near the upper edge, just affecting the elbow of the male figure’s right arm. Scattered areas of paint loss in the background including: a 1.75”H x 2.2” W area upper right; a quarter-sized area in the upper portion, to the right of center; and a 0.5” H x 1” W T-shaped crack in the pigment with attendant pea-sized paint loss at the upper right.

Blacklight: Scattered small touch-ups. Other touchups in the areas of three skillful repairs to the canvas, each of which includes a canvas patch on the verso: an approximately 5.5” horizontal repair in the upper half, to the right of center; an approximately 2” vertical repair near the lower portion of the right edge; and a pea-sized repaired puncture in the lower portion of the left edge.

Frame: 56” H x 88” W x 4.5” D

72

Visual: Overall generally good condition. Very fine, stable craquelure throughout. Occasional soft surface scratches scattered throughout, with the largest measuring 3” to the right of the figure’s face, in the upper left quadrant. A rice-sized spot of apparent touch-up near the corner of the upper right quadrant.

Blacklight: A few, occasional areas of touch-up scattered throughout, with the largest measuring 0.5” H x 1” W near the lower edge, at center.

Frame: 33” H x 25” W x 3” D

73

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 50” H x 70” W x 2” D

74

Visual: Overall generally good condition. Dust accumulation commensurate with age. Fine stable craquelure throughout.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 36.5” W x 1.75” D

75

Visual: Overall good condition. Stable and fine craquelure scattered primarily in the sky.

Blacklight: No evidence of restoration.

Frame: 23.75” H x 27.75” W x 3” D

76

Visual: Overall generally good condition. Dust accumulation and specks of grime commensurate with age. A 2.5” diagonal surface scratch in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 15.5” H x 21.25” W x 2.5” D

77

Visual: Overall good condition. Scattered and small areas of fine craquelure throughout.

Blacklight: No evidence of restoration.

Frame: 32.75” H x 38.75” W x 3” D

78

Visual: Overall good condition. Stretcher bar creases along the left and right edges, with small attendant areas of vertical craquelure along the left edge crease.

Blacklight: No evidence of restoration.

Frame: 21.75” H x 17.75” W x 2.75” D

79

Visual: Overall good condition.

Blacklight: A few small areas of touch-up in the lower left quadrant, the largest measuring 1” H x 3” W in the lower left corner.

Frame: 29.5” H x 34.5” W x 2.5” D

80

Visual: Areas of grime scattered primarily in the blue pigment of the sky. Occasional areas of pigment loss, the largest measuring 0.75” H x 0.5” W to the left of the tree trunk in the lower left quadrant. Minor frame abrasion with attendant pigment losses scattered along each extreme edge.

Blacklight: A 1.5” H x 2” W area of touch-up in the yellow tree leaves of the upper left quadrant.

Unframed

81

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 26.25” W x 2.25” D

82

Visual: Overall good condition. Areas of stable craquelure scattered throughout, stretcher bar creases along each outer edge and the center stretcher, and dust accumulation, all commensurate with age. A soft 4” horizontal abrasion near the upper edge, at right. Two pinhead-sized areas of pigment loss in the extreme upper left corner.

Blacklight: No evidence of restoration.

Frame: 28.5” H x 32.5” W x 3” D

83

Visual: Overall good condition. Very fine, hairline, stable craquelure throughout, showing primarily in small areas through the sky.

Blacklight: No evidence of restoration.

Frame: 47” H x 61” W x 3.75” D

84

Visual: Overall generally good condition. A hairline 2” curved surface scratch in the wash basin in the lower right quadrant. The canvas has been relined.

Blacklight: Very few, occasional, rice-sized or smaller areas of touch-up scattered throughout. Some of the red and pink pigments fluoresce under blacklight.

Frame: 18.75” H x 22.5” W x 3” D

85

Visual: Overall good condition. Areas of very fine, stable craquelure throughout. A soft stretcher bar crease along the upper edge. The canvas has been relined.

Blacklight: Occasional areas of touch-up scattered along the edges, the longest measuring 15” H x 1.5” W along the lower right edge. Small, scattered areas of touch-up in the flowers and table in the lower right quadrant.

Frame: 40” H x 34” W x 2” D

86

Visual: Overall good condition. The canvas is slightly loose from the stretcher.

Blacklight: Occasional areas of touch-up scattered throughout, the largest measuring 2” H x 1” W at the upper portion of the left edge.

Frame: 28” H x 21.75” W x 2” D

87

Visual: Overall good condition. Very fine stable craquelure throughout.

Blacklight: A few pinhead-sized areas of touch-up near the lower edge of the lower left quadrant.

Frame: 14.5” H x 22.5” W x 2” D

88

Visual: Overall good condition. A few small areas of very fine and stable craquelure scattered throughout.

Blacklight: A 3.5” H x 1” W area of touch-up in the upper half, near the center, and in the background of the work, and with other occasional spots of touch-up scattered throughout.

Frame: 32.5” H x 37.5” W x 2.5” D

89

Visual: Overall good condition. Very fine, stable craquelure scattered primarily in the lower half of the work.

Blacklight: A 1” H x 0.75” area of touch-up to the left of the figure’s head, and other occasional, pea-sized areas of touch-up scattered throughout, primarily concentrated in the figure’s dress.

Frame: 36” H x 31” W x 2.25” D

90

Visual: Overall generally good condition. Very fine, stable craquelure throughout. A few occasional, pinhead-sized areas of pigment loss showing primarily in the upper half of the work.

Blacklight: A dime-sized area of touch-up in the upper right quadrant, and other occasional areas of touch-up scattered throughout.

Frame: 22” H x 24.75” W x 2.25” D

91

Visual: Overall good condition. Dust accumulation and craquelure throughout commensurate with age.

Blacklight: Scattered areas of craquelure primarily in the outer edges. A 1” H x 0.75” W diagonal area of touch-up in the lower left corner. A 3” H x 4.5” W area of scattered and occasional 1” thin bands to rice-sized touch-ups in the upper right quadrant.

Frame: 39” H x 33” W x 4” D

92

Visual: Overall good condition. Very fine and stable craquelure scattered in the white pigment used as a highlight for the figure’s dress.

Blacklight: A 1.5” horizontal area of touch-up to the left of the figure’s proper right arm, in the figure’s clothing, and a few small areas of touch-up in the upper and lower right quadrants.

Frame: 36.5” H x 24.5” W x 3.5” D

93

Visual: Overall good condition. Soft stretcher bar creases along each side.

Blacklight: No evidence of restoration.

Frame: 43.5” H x 55.5” W x 2.5” D

94

Each overall good condition. Three woodcuts with full margins and deckled edges. “Oyster Houses, Wellfleet,” with margins. Each with pale light staining. “Hatteras Wreck,” with pinhead-sized areas of foxing scattered throughout the recto and verso, and small glue remnants at each of the margin corners. “Telescope,” with scattered areas of surface soiling primarily along the mat window and the outer margin edges. “Oyster Houses, Wellfleet,” with very pale areas of foxing and surface soiling, primarily on the verso, but some appearing in the image at the blank of the sky. Small glue remnants at each of the margin corners, and small areas of insect damage to the paper from the verso of the upper left and right margin corners. Three works are hinged to the overmat with pieces of tape from the verso of the upper edge and one work, “Telescope,” is hinged to the back mat with small pieces of paper tape from the recto of each margin corner.

Each unframed

95

Overall good condition. As mentioned above, the sheet is mounted to a board mount.

Unframed

96

Overall good condition. The upper right corner of the board mount is slightly dog-eared. As mentioned above, the sheet is mounted to a board mount.

Unframed

97

Overall good condition. As mentioned above, the sheet is mounted to a board mount.

Unframed

98

Overall generally good condition. A good impression. With wide margins and deckled edges. With the original binding edge along the extreme left edge. A 0.75” H x 8.5” W area of damp staining along the lower margin edge, at center, and another area of staining measuring 2” H x 3” W in the lower right margin corner. A flattened 14” diagonal crease in the right margin edge, and other minor handling creases scattered in the outer margin corners. Two thin 1” soft pressure marks appearing from the verso at the lower margin, presumably attendant with previous nails used for framing. Small areas of pale foxing and minor surface soiling primarily scattered in the margin corners. The sheet is loose, not matted.

Unframed

99

With margins. Light staining throughout the sheet exposed through the mat window of the overmat. Backboard staining on the verso sheet, attendant from previous backmats. Pinhead-sized or smaller areas of foxing scattered throughout the margin edges. The extreme margins edges are slightly trimmed unevenly. The sheet is taped to the overmat with small pieces of brown tape from the verso of the sheet edges and corners.

Unframed

100

Visual: Overall good condition. The board is slightly bowing along the upper edge. Occasional minor rice-sized abrasions and areas of pigment loss along the extreme edges.

Blacklight: No evidence of restoration.

Unframed

101

Overall good condition. With margins. Time staining along each of the outer margin edges, and pale mat burn along the opening edges of the mat window. Occasional specks of printer’s ink scattered in the margin edges.

Framed under glass: 16” H x 20” W x 2” D

102

Visual: Overall good condition. Occasional, slight frame abrasion along the extreme left edge. A few scattered pinhead-sized areas of stray black pigment in the fog in the lower left quadrant. Visible touch-ups along the upper edge, at right, and along the right edge.

Blacklight: Pea-sized or smaller areas of touch-up along the upper, right, and lower edges, with occasional rice-sized areas in the trees of the lower half.

Frame: 53.25” H x 43” W x 1.75” D

103

Visual: Overall good condition. Dust accumulation and very fine craquelure primarily in the darker pigments scattered throughout. Very fine areas of abrasion and white residue adhered to the surface scattered in the upper left and lower right quadrants.

Blacklight: No evidence of restoration.

Frame: 28” H x 33.25” W x 1.5” D

104

Visual: Overall generally good condition. Dust accumulation, specks of grime, and very fine craquelure scattered throughout. Pinhead-sized or smaller areas of pigment loss in the upper and lower right quadrants, the most prominent area being a pinhead-sized area of loss on the edge of the barn roof, in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 36.5” W x 2” D

105

Visual: Overall good condition. A few shallow rice-sized surface scratches with attendant pigment losses near the extreme upper left edge. Occasional, very shallow surface scratches scattered throughout. The board with remnants of old brown tape along each edge. The sheet is hinged to the overmmat in five places with pieces of white archival tape, from the verso of each edge.

Framed under Plexiglas: 31.5” H x 38” W x 1.25” D

106

Visual: Overall good condition. Very faint stretcher bar creases showing along the upper edge and the upper portion of the left edge.

Blacklight: Occasional, scattered spots of touch-up throughout, parimarily along the extreme edges, with a 0.25” H x 1.75” W line at the extreme upper edge, at left.

Frame: 34.5” H x 39.25” W x 3.75” D

107

Overall good condition. The paperboard is taped to the overmat with strips of masking tape along the verso of each edge.

Framed under glass: 22.5” H x 26.5” W x 2” D

108

Visual: Overall good condition. An unobtrusive pinheadsized area of pigment loss in the extreme upper edge, at center. A soft pea-sized pressure mark, primarily visible in a raking light, directly above the mountains in the upper left quadrant.

Blacklight: A possible pea-sized area of touch-up in the same area of the pressure mark mentioned above.

Frame: 28” H x 38” W x 4” D

109

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18.75” H x 25” W x 2” D

110

Overall good condition. The colors fresh. Not examined out of the frame.

Framed under glass: 21.75” H x 29.75” W x 1” D

111

Visual: Overall good condition.

Blacklight: A few areas of touch-up scattered in the outer edge, the largest area being a cluster of 1.5” H x 0.75” W areas of touch-up or smaller in the upper edge, at center.

Frame: 48” H x 38” W x 4” D

112

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 40.5” W x 2.25” D

113

Visual: Overall good condition. Minor frame abrasion with attendant pigment transfer from the frame along the upper edge.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 37.5” W x 2” D

114

Visual: Overall good condition. Occasional specks of grime, mostly in the upper portion of the painting, commensurate with age. Two 2” horizontal surface scratches near the upper edge, at right, with attendant, unobtrusive, and soft pigment losses.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 20.75” W x 1.5” D

115

Visual: Overall good condition. Dust accumulation scattered primarily in the white pigment of the clouds. A very soft and unobtrusive stretcher bar crease along the left side. A soft reverse pressure mark on the smoke tree in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 33.5” H x 47.5” W x 3” D

116

Visual: Overall good condition. Small areas of faint splatter in the background blue pigments between the center trees.

Blacklight: No evidence of restoration.

Frame: 21.75” H x 17.25” W x 1” D

117

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27” H x 22.75” W x 2” D

118

Visual: Overall good condition. A pinhead-sized area of stray dark pigment near the center of the upper edge.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 33.5” W x 1.75” D

119

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 39” H x 41” W x 1.25” D

120

Visual: Overall good condition. Minor frame abrasion at the tip of all but the lower right corner, and in a few places at the extreme lower edge of the canvas. A pinhead-sized fleck of stray beige paint and a very unobtrusive 0.25” long hairline surface scuff, both near the center of the extreme left edge.

Blacklight: No evidence of restoration.

Framed under plexiglas: 17.5” H x 21.5” W x 1.75” D

121

Visual: Overall good condition. Slight varnish discoloration and scattered craquelure throughout. A delicate surface scuff, approximately 3” long, in the lower left quadrant. A pinhead-sized pigment loss in the lower portion of the extreme right edge. Unobtrusive frame abrasion near the middle of the extreme left edge.

Blacklight: Some small dots and dashes of touch-up in the sky of the upper left quadrant as well as in the lower right quadrant. An approximately 5” long horizontal line of scattered touch-up just above the lower edge, at left.

Frame: 56” H x 48” W x 3” D

122

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 35.75” W x 2.25” D

123

Visual: Overall good condition. Very fine stable craquelure throughout. Soft stretcher bar creases along the upper edge. The canvas is slightly loose from the stretcher.

Blacklight: A 2” H x 0.125” W repaired tear near the lower right edge, and other occasional pea-sized or smaller areas of touch-up throughout.

Frame: 35.75” H x 29.75” W x 4” D

124

Visual: Overall good condition. Fine and stable craquelure throughout. The canvas has been relined.

Blacklight: No evidence of restoration.

Frame: 33” H x 38.25” W x 2.25” D

125

Visual: Overall good condition. Occasional areas of fine, stable craquelure, showing primarily in the sky of the upper right quadrant. The canvas has been relined.

Blacklight: Areas of touch-up throughout, concentrated in the sky of the upper right quadrant, the recessed tree of the foreground, and to the left of the tree in the background.

Frame: 48.25” H x 38.25” W x 3.5” D

126

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 38” H x 44” W x 3” D

127

Visual: Overall good condition. Occasional areas of fine craquelure scattered throughout. A soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 19.25” H x 23.75” W x 1.75” D

128

Visual: Overall good condition. A few faint hairline scuff marks scattered in the upper half of the work, the two largest areas being a 15” horizontal scuff and a 4” diagonal scuff mark in the clouds.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 56.5” W x 2” D

129

Visual: Overall good condition. A 1” W line of pinheadsized areas of pigment loss in the clouds of the upper left quadrant. Fine and unobtrusive areas of craquelure scattered in the upper half of the work.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 56.25” W x 2.5” D

130

Visual: Overall good condition. Fine craquelure throughout. A pinhead-sized spot of pigment loss near the edge of the upper left quadrant.

Blacklight: Occasional scattered areas of touch-up throughout, showing primarily along the edges, with the largest measuring 1.5” H x 5” W, above the waves of the upper right quadrant.

Frame: 30.25” H x 35.25” W x 3” D

131

Visual: Overall good condition. Stable and fine craquelure throughout, primarily in the darker pigments in the foreground and the clouds in the sky. A soft, unobtrusive, pinpoint-sized pressure mark in the extreme upper edge, near the right corner.

Blacklight: A couple small cluster of pea-sized or smaller areas of touch-up near the lower edge of the lower right quadrant.

Frame: 32.5” H x 44.5” W x 3” D

132

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 40.25” H x 50.25” W x 3” D

133

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 49” H x 39” W x 3.5” D

134

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 49” H x 59” W x 3.5” D

135

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 58” H x 46” W x 2” D

136

Visual: Overall good condition. A 0.5” H x 0.5” W area of pigment loss at the extreme upper right corner, and other occasional pinhead-sized areas of pigment loss scattered along the left and upper edges.

Blacklight: A pinhead-sized spot of touch-up in the furthermost mountain in the background, of the lower right quadrant.

Frame: 21.5” H x 25.5” W x 1.5” D

137

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22” H x 26.25” W x 2.25” D

138

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 34.5” H x 40.5” W x 2.5” D

139

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 34.5” W x 2.5” D

140

Visual: Overall good condition. A few pinhead-sized areas of stray dark pigment scattered throughout, primarily concentrated in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 16” H x 17.75” W x 2” D

141

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 10.5” H x 11.75” W x 2.5” D

SPECIALISTS

Head of Sale, President, Auctioneer

Director, Fine Art

Associate Specialist, Fine Art

Associate Specialist, Fine Art

Department Administrator, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Vice President, Specialist

Senior Specialist, Furniture & Decorative Art

Post-War & Contemporary Design Specialist

Department Administrator, Furniture & Decorative Arts

Cataloguer, Furniture & Decorative Arts

Silver, Western and American Indian Cataloguer

Director, Jewelry & Watches

Department Administrator, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Consignment Manager

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Finance

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

PR Manager/Social Media

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

Photography Assistant

FOUNDERS

Founder

Co-Founder

Jeffrey J. Moran

Jenny Wilson

Bobby Cullen

Ian Anderson

Lori Kassabian

Anne Spink

Madison Ari

Clark Silva

Maranda Moran

Angela Past

Matthew Grayson

Alek Ellis

Grant Stevens

Sally Andrew

Tom Burstein

Nikita Mehta

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Melissa Brownell

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Matthew Mizerowski

Jacob Baer

John H. Moran (1942-2017)

Madeleine Moran

John Moran Auctioneers, Inc

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

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

Conditions of Sale

These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT

Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION

(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. 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 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 in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment.

(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates 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 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 backward at their 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. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit card payments made directly to Moran are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran 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 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 the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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 made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS

(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.