Art + Design — August 13, 2024 | John Moran Auctioneers

Art + Design

Tuesday, August 13, 2024

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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Art + Design

Tuesday, August 13, 2024—10am Sale 286 145 East Walnut Avenue, Monrovia CA 91016

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Meet the Team Bobby Cullen Co-Head of Sale, Associate Specialist, Fine Art bobby@johnmoran.com

Matthew Grayson Co-Head of Sale, Specialist, Post-War & Contemporary Design matthew@johnmoran.com

Anne Spink Cataloguer, Fine Art anne@johnmoran.com

Grant Stevens Cataloguer, Furniture & Decorative Art grant@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

John Moran Auctioneers is grateful for the assistance from Mr. Michael Kelley in the research and cataloguing of “Flowering” by Agnes Pelton.

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

Alex Katz (b. 1927)

The prolific American painter, sculptor, and printmaker figurative and landscape works. Acknowledging in an i Vienna that, “I don’t like narratives, basically,” Katz’s di in broad, boldly-lit planes of flat, rich color. His striking regularly feature neutral backgrounds. Even so, benea fact that most of Katz’s figurative works are portraits of the print offered here), features of locations that are m

Born in Brooklyn in 1927 and then raised in Queens, K his studies to the Skowhegan School of Painting and S northern state (where he soon purchased a summer ho technique. Exposing him to the idea of working out-of Abstract Expressionist and Pop Art peers of the early 1

Throughout his already 70-plus-year career, Katz’s hund linocut) have been as essential to his artistic efforts and the copy of the catalogue raisonne of Katz’s prints (194 image. When he gets an initial idea for an artwork, he to a large-scale cartoon that he uses to finalize the com they used to call a universal image,’ Katz has comment accessible.’ “

It is significant that out of the more than 500 different p Brook,” as offered here, that the publishers chose for t image (reminiscent of Claude Monet’s water lilies paint dear to the artist’s heart. Like many New York City resid each summer to a calmer and cooler location. The blac Lincolnville, Maine. Alex and Ada acquired the plot of one winter—and when I was up there, I saw a tree and germ of it: A little thing that makes something big. I’ve opened up this area of interest. I kept painting it for ab distinctions between illustration and painting are mudd are a little decorative. It’s actually sunlight hitting the le

Alex Katz’s works have been shown both nationally and public institutions worldwide own examples of his work The Albertina, Vienna, and the Museum of Fine Arts, B

r Alex Katz, now nearly 100 years old, has had a long and distinguished career creating primarily interview with fellow artist David Salle on the occasion of a 2012-2013 exhibition of his works in istinctive, clean-edged style features skillful distillations of his subjects into simplified forms rendered g images, which are often large in scale, typically appear to be both stylized and realistic, and ath the semi-minimalist, Pop Art, and billboard-type veneer of his recognizable working style, is the f people he knows (such as his wife Ada), and his landscape views and details typically depict (as in most familiar to him.

Katz’s first formal artistic training was at the nearby Cooper Union in Manhattan. By 22, he had shifted Sculpture in Maine. In addition to forming a lasting appreciation for the beauty and tranquility of that ouse), it was during this period of his training that Katz was introduced to the plein air painting f-doors, in nature, and thereby essentially distancing him from the influence of his studio-based, 1950s, this technique proved pivotal to Katz’s lifelong appreciation for light, space, and place.

dreds of original prints (done in everything from etching to aquatint, lithography, screenprint, and d worldwide recognition as his paintings. As described by Vivien Bittencourt as part of her essay in 47-2011) that is included with this lot, “... printmaking is often the final step in the development of an may first make an ink sketch, oil-on-board studies, and charcoal-on-paper drawings, which then lead mposition and transfer it to the linen on which he paints a painting. ‘I want to make a print from what nted, ‘one that means more to more people. Prints help to expand the art world [and] make it more

prints by Katz described within the above-mentioned catalogue raisonne, it is his 1989 “Black the cover of their book. With it bold colors and a horizon line somewhere beyond the borders of the tings), this masterful blend of aquatint and lithography is also interesting as it depicts a place very dents, starting in the 1950s, Alex and his wife Ada began escaping the crowds, heat, and humidity ack brook of this print is located across the street from the Katz’s long-time summer home/studio in land with this natural feature in about the same year as Alex made this print. “We went up to Maine d piece of snow, and I said, they are very interesting to make a big painting of—real big. That was the e painted almost ten to fifteen paintings of the black brook. The early one was with the leaves. That bout ten years; every summer I was doing one.” About this print, in particular, Katz has said, “The dy. And the edges between decoration and beauty are not clear either, because all beautiful things eaves and the brook: it’s a black brook, where the water is dark.”

d internationally in more than 200 solo exhibitions as well as at least 500 group exhibitions. Over 100 rks. Moreover, impressions of Katz’s entire print oeuvre can be found in the permanent collections of Boston.

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Alex Katz

(b. 1927) “Black Brook,” 1989 Aquatint with lithograph in colors on wove paper Edition: 8/50 (there were also 10 artist’s proofs) Signed and numbered in pencil on the lower edge, at left: Alex Katz; Simmelink/Sukimoto Editions, New York, prntr.; Crown Point Press, San Francisco, CA, pub.

Image/Sheet: 39.25” H x 28.875” W $3,000-5,000 Provenance: AW Massey Fine Art, Ft. Lauderdale, FL Literature: Schroder 232 Notes: This lot is accompanied by a copy of Klaus Albrecht Schroder, et al., editors, “Alex Katz Prints: Catalogue Raisonne 1947-2011,” (Vienna/Ostfildern: Albertina/Hatje Cantz, 2011).

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Alex Katz

(b. 1927) “Oak,” 1996 Linocut in orange on wove paper Edition: 17/25 Signed and numbered in pencil in the lower margin, at left: Alex Katz; John C. Erickson, New York, prntr.; Alex Katz, pub.

Image: 16” H x 45” W; Sheet: 23” H x 52” W $1,000-2,000 Provenance: AW Massey Fine Art, Ft. Lauderdale, FL Literature: Schroder 298

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Corita (Sister Mary) Ke (1918-1986)

Corita Kent, born Frances Elizabeth Kent in 191 Sisters of the Immaculate Heart of Mary at 18 an becoming the chair of the art department in 196

During the late 1950s and 1960s, Kent’s artistic compositions with religious themes. By the early slogans, popular song lyrics, biblical verses, and became a hallmark of her work.

Kent primarily used screen printing, a technique of two-dimensional media, making her art more addressed social and political issues like poverty movement during the Vietnam War, with her pri

Despite her growing influence, Kent faced oppo combined with the demands of her public profil

By the end of the 1960s, Corita Kent had establ advocate for social justice. Her work from this p techniques, and powerful messages. Kent contin legacy in both the art world and social activism.

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18, was an influential American artist, designer, and educator. She joined the nd began her teaching career at Immaculate Heart College, eventually 64.

style evolved significantly. Initially, her works featured dense, figurative y 1960s, she had embraced a Pop Art aesthetic, integrating advertising images, d literature into her art. This blend of spirituality and contemporary culture

e she largely taught herself. Her innovative methods expanded the possibilities e accessible and affordable. As the 1960s progressed, her work increasingly y, racism, and social injustice. Kent’s activism also extended to the anti-war ints featuring peace symbols and anti-war slogans.

osition from conservative elements within the Catholic Church. This tension, le, led her to leave the religious order in 1968.

lished herself as a significant figure in the Pop Art movement and a passionate period remains influential, celebrated for its bold use of color, innovative nued to create art and engage in social causes until she died in 1986, leaving a .

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(1918-1986) “One Must Not Cut Oneself Off from the World,” 1967 Screenprint in colors on paper Signed faintly in blue pen on the lower edge, at right: Corita Image/Sheet: 23” H x 19.25” W

(1918-1986) “Someday is Now,” 1964 Screenprint in colors on p Unsigned; titled and date Image/Sheet: 24” H x 36

Corita (Sister Mary) Kent

$1,200-1,800

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Corita (Sister Mary) K

$1,500-2,500

Kent

4 paper ed faintly in pencil near the lower edge, at left 6” W

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Corita (Sister Mary) Kent

(1918-1986) “Seven Swords,” 1957 Screenprint in colors on paper Signed and titled in pencil in the lower margin: Sister Mary Corita Kent Image: 15.5” H x 21.5” W; Sheet: 16” H x 22” W $700-900

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Corita (Sister Mary) Kent

(1918-1986) “Magpie in the Sky” Screenprint in colors on paper From the edition of unknown size Signed, titled, and inscribed in pencil in the lower margin: Sister Mary Corita / HM Image: 29” H x 22” W (irreg.); Sight: 29.5” H x 22.5” W $800-1,200

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Corita (Sister Mary) Kent

(1918-1986) “Ark,” 1962 Screenprint in colors on paper From the edition of unknown size Signed and titled in ink at the lower edge: Sister Mary Corita Kent Sight: 23.5” H x 29.5” W $800-1,200 Notes: According to the catalogue for the exhibition, “The Spirit of the Sixties: Art as an Agent for Change,” at the Trout Gallery, Carlisle, PA, February 27-April 11, 2015, Kent’s earliest works would depict “densely clustered, distorted imagery in bright colors and energetic, layered forms. The influence of Byzantine and Gothic art is apparent in these prints, given that Biblical characters in these styles tend to be elongated, flattened, and composed of energetic lines. Kent was also inspired by the modern artist Paul Klee and the postwar movement, abstract expressionism, especially the work of Mark Rothko.”

When creating this work, Kent made sure that, “Ark recalls the rough and layered shapes of paper collage, re-created in a serigraph. Shapes of deep purple dominate the image and recall a boat-like shape, or ark, with its reflection below a choppy, pale blue line that indicates the surface of water. Near the top left we find Kent’s signature textual element, this time a line of poetry composed by her brother, Mark. It reads, “deluge of noon light / eyes ride their own kind of ark / grass turns olive green.” The title and simplified abstract forms might speak to the Biblical Flood, yet the text presents a more ambiguous message.”

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James Rosenquist

(1933-2017) “Near, Far,” 1975 Lithograph in colors on wove paper Edition: 98/150 Signed, dated, and numbered in pencil at the lower right and left corners, respectively: Rosenquist; numbered in pencil near the lower edge, at left; titled in pencil inside the printed black rectangular box, at center Sight: 18.25” H x 36” W $700-900

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Victor Pasmore

(1908-1998) “Composite Image: Orange and Pink,” 1984 Screenprint in colors on wove paper Edition: 11/70 (there were also 20 artist’s proofs) Initialed, dated, and numbered in pencil in the lower margin: VP; Kelpra Studio, London, prntr., and with their blindstamp in the lower right margin corner; Marlborough Fine Art, London, pub.

Image: 16.75” H x 21.375” W; Sheet: 24.125” H x 29.5” W $1,000-2,000 Provenance: Christie’s Contemporary Art Inc., New York, NY, April 11, 1985 Notes: This lot is accompanied by a sales invoice from the dealer mentioned above.

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Roy Lichtenstein

(1923-1997) “Foot and Hand,” 1964 Offset lithograph in colors on wove paper Edition: 159/300 Signed, dated, and numbered in pencil just inside the black border of the image, upper left: rf Lichtenstein; Leo Castelli Gallery, New York, NY, pub.

Image: 16.75” H x 21” W; Sheet: 17.25” H x 21.5” W $6,000-8,000 Provenance: Collection of Peter Nelson, Altadena, CA. Notes: Peter acquired Foot and Hand while he was Media Director and Editorial Consultant at Pasadena Art Museum, 1969-1971.

Literature: Bianchini 2; Corlett II.4; RLCR 858; RL 3785

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Roy Lichtenstein

(1923-1997) “Brushstrokes,” 1967 Screenprint in colors on wove paper Edition: 108/300 Signed and numbered in pencil on a margin that has been trimmed from the work and affixed to the frame’s backing board: r. Lichtenstein; Aetna Silkscreen Products, New York, NY, prntr.; Leo Castelli Gallery, for the Pasadena Art Museum, Pasadena, CA, pub.

Sight: 21.875” H x 30” W $600-800 Notes: According to the online catalogue raisonné for Roy Lichtenstein, “The image was designed for the Pasadena Art Museum’s 1967 Lichtenstein exhibition and was also produced as a poster.”

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Matt Kahn (1928-2013)

Matt Kahn (1928-2013) was a highly respected p influencing the realms of fine art, design and ac Department, where he would go on to teach for His interdisciplinary approach to art education e understanding of art among his students. This m

Matt Kahn was celebrated for this versatility and painting, graphic design, jewelry, and textile de form, color, and composition. His works exhibit

“Through all of his work, Matt Kahn’s common t and abstract. He has invented an art balanced p the San Francisco Chronicle.

“Hidden Valley” is an outstanding example of th hand-painted line work, combined with his use o mysterious glow that reaches up into the canvas where the viewer stands.

It comes as no surprise, that throughout his care contributions to art education. Beyond his own went on to become influential artists and design

Matt Kahn passed away in 2013, leaving behind His commitment to creativity, innovation, and ed

professor and a multifaceted artist whose career spanned several decades, significantly cademia. In 1949, at the age of 21, Kahn joined the Stanford University Art r 60 years, providing an innovative curriculum in design, painting, and color theory. emphasized the integration of various art forms and principles, fostering a holistic multifaceted mindset is ever-present in Kahn’s own unique artworks.

d innovation. His body of work encompasses a wide range of mediums, including esign. Kahn’s artistic style evolved over the years, reflecting his deep understanding of a unique blend of modernist values and a mastery of traditional craftsmanship.

theme is synthesis. Synthesis of structure and illusions, of idea and feeling of figurative perfectly on the edge between painting and design.” - Alfred Frankenstein, art critic of

he ingenuity and attention to detail that Kahn brings to painting. The web of intricate of light and depth as the light green “valley” is tucked away leaving behind a s. A rare piece, that can be appreciated in entirely different aspects depending on

eer, Matt Kahn received numerous accolades for his artistic achievements and his work, his legacy is preserved in the countless students he mentored, many of whom ners in their own right.

d a rich legacy that continues to inspire and influence the worlds of art and academia. ducation remains a guiding light for future generations of artists and educators.

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Matt Kahn working in studio

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Matt Kahn

(1928-2013) “Hidden Valley,” 1994 Acrylic on canvas over an oval-shaped construct of two wood forms Signed, dated, and titled in ink, verso: Matt Kahn 60.25” H x 30.25” W x 3” D $3,000-5,000 Provenance: The Artist’s Estate Private Collection, Northern California, by descent from the above

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Warren Platner (1919-2006)

Known primarily for his iconic 1960s modernist contrib interior design by way architecture. Born in Baltimore Roche, where he designed the interior of the Ford Fou the Water Tower Place mall in Chicago (1976), the inte building (1986).

The furniture he designed for Knoll, however, would b silhouettes, his pieces embody a quiet exuberance, bo plated steel wire designs forced Knoll to change the w any interior.

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bution to the Knoll furniture collection, Warren Platner (1919-2006) would find his way into the world of and graduating from Cornell University, he went on to work under I.M. Pei, Eero Saarinen, and Kevin undation headquarters to critical acclaim. Later projects include the Georg Jensen Design Center (1968), erior of the Windows on the World restaurant in New York (1976), and a later renovation of the Pan Am

be his most enduring entry into the canon of modern design. Recognized for their sleek and simple oth aesthetically versatile and an engineering feat of functional comfort. Released in 1966, his nickelways they did their welding. Today, they live on as true modernist classics that work seamlessly in almost

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Warren Platner (1919-2006)

An “Easy Chair” and ottoman for Knoll, 1981 Designed 1966 Each with date on Knoll tag to cushion underside The lounge chair with flared sloped armrests, upholstered in brown cotton fabric, raised on a steel wire base, together with a conforming ottoman 2 pieces Chair: 39.25” H x 41.5” W x 37” D; Ottoman: 15.5” H x 25.5” Dia. $3,000-5,000

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Warren Platner (1919-2006)

A coffee table for Knoll, 20th century Designed 1966 Unmarked The flared steel wire base surmounted by a circular beveled glass top 2 pieces Base: 14.5” H x 30.25” Dia.; Glass: 36” Dia. $800-1,200

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Warren Platner (1919-2006)

A stool for Knoll, 1980 Designed 1966 With dated Knoll tags to cushion underside The flared steel wire base surmounted by a circular brown upholstered seat cushion 21” H x 16.75” Dia. $500-700

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Harrison McIntosh (1914-2016)

A Harrison McIntosh (1914-2016) stoneware exp Californian. From his studio in Claremont, CA, M together with an appreciation for natural forms,

Born in Vallejo, CA to artistically supportive pare class at University of Southern California under i Los Angeles, where he honed his craft under Al 1952. This time was formatively punctuated by a future wife Marguerite Wildenhain at Pond Farm supporter, and her love of nature and design wa

Aside from Marguerite, McIntosh also drew a pr Japanese potter Shoji Hamada toured the Unite demonstrating the mingei techniques and philo his peers, McIntosh took to heart the “selflessne McIntosh applied this approach, removing his e subtle perfectionism to emerge.

By the mid-1950s, his ceramics had become syn grown into a design obsession marketed nation “House Beautiful” and “Art and Architecture” a and friend Sam Maloof. Locally, his work was sta the Los Angeles County Fair, California Design S including the “California Living” show held in 19

Throughout his career, his work has been shown Louis Newman Galleries, and Frank Lloyd Galler LACMA, the American Craft Museum in New Yo

This example showcases McIntosh’s philosophy line aesthetic. Perhaps it’s no accident that the f indigenous to the California landscape. Whethe spontaneity, this piece deftly displays the interse makes a McIntosh vessel timelessly recognizable

pression is instantly recognizable and timeless, although distinctly Southern McIntosh threw a harmonious aesthetic of clean lines and geometric symmetry , spanning a career of over 60 years.

ents, the family later moved to Los Angeles, where Harrison took his first ceramics instructor Glenn Lukens. After serving in the Army during World War II, he returned to King in 1947 and Richard Peterson at the Claremont Graduate School from 1948a Bernard Leach seminar at Mills College in 1950 and a summer workshop led by his m in Guerneville, CA in 1953. Marguerite would prove to be his greatest champion and as a primary inspiration for his life’s work.

rofound inspiration from Japanese mingei ceramics. In the early 1950s, treasured ed States accompanied by Bernard Leach and philosopher Soetsu Yanagi, osophies that date back to the Momoyama period (late 16th century). Like many of ess” and “spontaneity” that Hamada espoused as core tenets to the mingei process. ego and the intention of artfulness from his focus, allowing for an elegant simplicity and

nonymous with the California aesthetic, which during the post-World War II era had nwide. His pottery vessels were featured in nationally distributed magazines such as alongside international designers like Isamu Noguchi, Peter Voulkos, George Nelson, aged in room vignettes that showcased the Modern aesthetic at such venues as Shows at the Pasadena Art Museum, and shows held at the Pan Pacific Auditorium 957, curated in tandem by McIntosh and Maloof.

n at Los Angeles institutions such as Bullocks Wilshire, Craft and Folk Art Museum, ry. Today, collections of his work can be found in museums around the world including ork, the Museum of Fine Arts in Boston, and The Louvre in Paris.

of form as function and features one of his signature pale green glazes with a clean form feels reminiscent of a poppy pod or a barrel cactus, two plants that are er we are seeing a subliminal nod to the natural world or a pure expression of mingei ection of precision and whimsy from the champion of California homewares that e and cherished by many.

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Harrison McIntosh (1914-2016)

A glazed stoneware lidded jar, mid-20th century Incised to underside: McIntosh; further marked with paper label to the underside of vessel and lid: Handthrown Stoneware / Harrison McIntosh / Claremont / California The green glazed ceramic with sgraffito lines 11” H x 8.5” Dia. $2,000-3,000

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Doyle Lane (1923-2002)

One of the few African American ceramicists wo Louisiana in 1925. He began his education at Lo College and finally the University of Southern C Price. In the 1950s he made his home and studi the rest of his life.

An astute businessman as well as a master of gl their own. A dedicated artist and pragmatist, La and encouragement. I used to go around to the Los Angeles,” “Studio Potter Magazine” Vol. 9 N

His red glazes, like the ones seen in this piece, w burn and blacken, rendering a unique texture an that was the merit; not controversial, just beauti Magazine” Vol. 9 No. 2, June 1981, page 20).

Though known and loved by the collectors and and the work of other African American ceramic ceramics. Since his death in 2002, his work has g and inclusion in several important public and pr

orking in mid-century Los Angeles, Doyle Lane was born in New Orleans, os Angeles City College before moving on to East Los Angeles City California, where he was a classmate of artist and fellow ceramicist Ken io in the El Sereno neighborhood of East Los Angeles, remaining there for

lazes, his eye-catching colors and gentle forms possess a life and order all ane once related “architectural commissions have mainly been my support e architects and show them my portfolio” (as quoted in “Black Artists of No. 2, June 1981, page 19).

were applied in a thick layer to the clay and fired until the edges would nd color to the pot. As Lane would say “well created and well designed— iful pieces” (as quoted in “Black Artists of Los Angeles,” “Studio Potter

architects who commissioned him during his lifetime, Doyle Lane’s work, cists, has mostly been left out of the narrative of California post-war gained a following, including a retrospective at Reform Gallery in 2014 rivate collections.

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Doyle Lane (1923-2002)

A ceramic “Weed Pot,” circa 1965-1976 Incised signature to underside: LANE The diminutive ceramic pot with thick orange glaze 2.875” H x 2.75” Dia. $4,000-6,000 Literature: cf. Ricky Swallow, “Doyle Lane Weed Pots,” (Los Angeles and New York: David Kordansky Gallery, 2022), 35 and 97

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In the manner of Adrian Pearsall (1925-2011)

A Modern three-seater sofa, late 20th/early 21st century Unmarked The wood sofa with opposed inset white painted floating surfaces centering a threeseater seat and seat back reversible cushions upholstered in brown to one side and with an abstracted mountain pattern to the other 31” H x 125.5” W x 32” D $1,000-2,000

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Victor Vasarely

(1906-1997) “Feny,” 1981 Screenprint in colors on wove paper Edition: 130/250 (there were also 50 artist’s proofs and 25 proofs for the Vasarely Foundation) Signed and numbered in pencil at the lower margin: Vasarely; Silium Atelier, Paris, prntr.

Image: 25.5” H x 25.5” W; Sight: 27.5” H x 27.5” W $500-700 Notes: This lot is accompanied by a certificate of authenticity from Original Print Collectors Group, Ltd., New York, NY, signed by the director.

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The Collection of Ralph & Sheila Pickett

Ralph and Sheila Pickett had a consuming interest in art. They acquired their first piece at an auction on Long Island in 1960, shortly after they were married. Initially, they were attracted by color and abstract works. From the 1960s through the 1970s, most of the work they collected were abstract prints and multiples by known modern artists. Most of these works were acquired through the Associated American Artists catalog of prints and auctions.

In the 1980s, their growing collection reflected a shift to contemporary art and their increased engagement in the San Jose art scene. They docented at the San Jose Museum of Art, and regularly attended art lectures and receptions at San Jose State University School of Art and Design, the Institute of Contemporary Art San Jose, Fred Spratt Gallery, and other local galleries. They became increasingly interested in the process of making art and the medium itself. They found that unique pieces presented an opportunity for a more personal experience.

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By the 1990s, Ralph and Sheila had immersed themselves in the San Francisco Bay Area art community and they were able to travel more. Their travels usually centered around an area’s art scene and included Whitney, Venice and other Biennales, Documentas in Kasel, the Munster Sculpture Fair in Germany, Art Basel, as well as Paris, Barcelona, Havana, and many US cities including New York and Miami. With increased exposure to contemporary art around the world, they found themselves responding to more and more unusual and challenging work. The concept (idea) was most compelling. They noted their eye changed. They found areas (sometimes quirky) that consistently interested them – e.g., fresh views of the human condition, new materials, unusual subject matter and/or processes, and humor.

Ralph and Sheila loved the art community – locally and globally. And they loved the Institute of Contemporary Art San Jose most all. They both were dedicated board members for many years and served in various leadership roles during that time.

Despite their tremendous contributions, they would say they got more than they gave. In recognition of the many ways this wonderful organization enriched their lives, a portion of the proceeds will be dedicated to the Institute of Contemporary Art San Jose.

List of lots from the Collection of Ralph & Sheila Pickett featured in this catalogue: 20, 68, 69, 70, 71, 72, 73, 74, 86, 98, 99, 100, 117, 125, 126, 140, 141, 144, 145, 148, 172, 173, 174, 175, 176, 191

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Yaakov Agam

(b. 1928) Untitled abstract Lithograph in colors on paper Edition: 171/180 Signed and numbered in the lower margin: Agam Image: 10.375” H x 11.5” W; Sight: 12” H x 14” W $700-900 Provenance: Chamberlin Galleries, Los Angeles, CA The Collection of Ralph and Sheila Pickett, acquired from the above, October 25, 1984 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Yaacov Agam

(b. 1928) “Spinning Polymorph,” 1983 Rotating agamograph of wood, composite, and paper Edition: XIV/XV Signed and numbered to underside of upper component: Agam / H.C. Overall: 11.5” H x 12.625” W x 4.75” D, dimensions variable $600-800

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Yaacov Agam

(b. 1928) “New Year’s Day” from the series “Nouvelle #3” Agamograph in colors on acrylic Edition: 41/99 Signed and numbered in blue ink at the lower margin: Agam; titled in ink on a label affixed, verso Image: 11.25” H x 13.25” W; Sight: 12.625” H x 15” W $400-600

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Yaacov Agam

(b. 1928) “Double Rainbow” Agamograph in colors on acrylic Edition: 31/99 Signed and numbered in ink at the lower margin: Agam; numbered again and titled in ink, verso Image: 12.75” H x 12.75” W; Sight: 14.5” H x 13.5” W $600-800

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Harold Waldrum

(1934-2003) Quilt pattern Acrylic on paper Signed lower right: H Waldrum 18” H x 22” W $2,000-3,000

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Mario Bellini (b. 1935)

Four “Cab 412” side chairs for Cassina, early 21st century; Italy Each marked in the plastic molding underside: Cassina; each stamped in the leather to underside: V-10 Cassina Each chair wrapped in stitched white leather 4 pieces Each: 32.5” H x 18.5” W x 19.5” D $700-900

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Mario Bellini (b. 1935)

Four “Cab 412” side chairs for Cassina, early 21st century; Italy Each marked in the plastic molding underside: Cassina; each stamped in the leather to underside: V-10 Cassina Each chair wrapped in stitched white leather 4 pieces Each: 32.5” H x 18.5” W x 19.5” D $700-900

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Ettore Sottsass (1917-2007)

A “Palm Springs” dining table for Memphis Milano, 1984; Milan, Italy With sticker to one leg: Memphis Milano / Ettore Sottsass / 1984 / Made in Italy The briar burlwood veneer tabletop set on wood and laminate square legs 29.25” H x 84.75” W x 39.25” D $3,000-5,000

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Philippe Starck (b. 1949)

An armchair for Aleph / Driade from the Royalton Hotel, circa 2007 Stamped to metal leg: Aleph by Starck; With sticker to underside: Aleph / 730831 / The wood seat issuing a curved plywood back and continuous armrest support, raised on anterior wood legs and posterior chromed metal attenuated leg 33.625” H x 22.625” W x 22” D $600-800

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Attributed to Arturo Pani (1915-1981)

An onyx backgammon table and two stools, circa 1960s Each appears unmarked Likely Arturo Pani, the onyx veneered table with metal siding to the top, featuring an inset backgammon board and wood slot for game pieces, together with two conforming stools 3 pieces Table: 30” H x 43.5” W x 28.5” D; Each stool: 16.5” H x 16” W x 16” D $2,000-3,000

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Frank Stella (b. 1936)

Frank Stella’s “Cantahar” (1998) showcases the exploration of layered compositions and vivid co demonstrating his unique blend of abstraction a

“Cantahar” exemplifies Stella’s skill in creating d incorporates bright, almost fluorescent colors al color transitions throughout the work create a se depth not through traditional perspective or rep approach.

The combination of lithography, screenprinting, visual complexity. Stella’s use of line is particular example is a verdant, wing-shaped element on the intricate structure of a butterfly’s wing. This m

By 1998, Stella had evolved significantly from hi embraced a more maximalist approach, incorpo Places” series, which includes “Cantahar,” reflec

This series is notable for its intricate compositio combined various elements, including printed p translated into prints using multiple techniques,

“Cantahar” represents a significant period in Ste layering, and dynamic composition make it a sta individually signed and dated by the artist, adds

Frank Stella’s “Cantahar” stands as a testament dynamic composition to create a visually captiva

artist’s innovative approach during the late 1990s, a period characterized by his olor schemes. This piece is part of Stella’s acclaimed “Imaginary Places” series, and implied narrative.

dynamic compositions. The artwork features a complex layering technique that long its periphery, adding luminosity and dimension to the overall piece. The gradual ense of movement, guiding the viewer’s gaze across the image. Stella achieves presentational elements but through the interplay of color and line within his layered

, and intaglio techniques results in a richly textured surface that enhances the work’s rly noteworthy, as he creates organic forms through repetitive patterns. A striking the left side of the composition, where repeated lines fill the form’s outline, evoking meticulous detailing contributes to the work’s sense of fluidity and motion.

is earlier minimalist black paintings of the late 1950s. His work in the 1990s orating bold colors, complex forms, and three-dimensional elements. The “Imaginary cts Stella’s interest in fantastical themes and literary inspiration.

ons, which Stella developed through a collage process. To create initial designs, he proofs, digital renderings, and industrial printing plates. These collages were then , resulting in technically sophisticated and visually engaging works.

ella’s artistic journey and greatly appeals to collectors. Its vibrant palette, intricate andout piece from this era of Stella’s career. The limited edition of 40, each s to its exclusivity and potential value.

to the artist’s late-career innovation, merging vibrant colors, complex layering, and ating work that continues to resonate with viewers and collectors alike.

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Frank Stella

(b. 1936) “Cantahar” from the “Imaginary Places III” series,” 1998 Lithograph, screenprint, etching, aquatint, and relief in colors on wove paper Edition: 18/40 (there were also 14 artist’s proofs) Signed, dated, and numbered in pencil near the lower edge, at center: F. Stella; Tyler Graphics, Ltd., Mount Kisco, NY, pub., and with their blindstamp in the lower right corner 52” H x 52” W $8,000-12,000 Provenance: Meyerovich Gallery, San Francisco, CA Notes: This lot is accompanied by a sales invoice from the above-mentioned gallery.

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In the manner of Vladimir Kagan (1927-2016)

A Modern sectional sofa, late 20th century Unmarked Attributed to Vladimir Kagan, the modular sofa in four sections, upholstered in a tan/grey cotton blend textured velvet, raised on possibly later added black plastic faux wood grain feet 4 pieces Overall: 30” H x 133” W x 103” D $4,000-6,000

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John Conard Lewis (b. 1942)

John Conard Lewis (b. 1942) is a distinguished glass a are known for their intricate detail, vibrant colors, and to his craft is evident in the process he employs, often explore themes of fragility, transformation, and the int reflectiveness, and delicate strength, Lewis creates pie a leading figure in the modern glass art world, inspirin

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artist whose work has garnered acclaim for his innovative approach and profound artistic vision. His pieces the way they interact with light, creating dynamic and captivating visual experiences. Lewis’ commitment n blending traditional glassblowing methods with contemporary artistic expressions. His installations often terplay between nature and human intervention. By utilizing glass’ inherent properties of transparency, eces that evoke a sense of wonder and contemplation. Lewis’ fusion of old and new has positioned him as ng both admiration and introspection among audiences.

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John Conard Lewis (b. 1942)

A spun art glass bowl, early 21st century The large footed glass bowl centerpiece with flat rim and gold leaf to interior 12.5” H x 23.875” Dia. $600-800

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John Conard Lewis (b. 1942)

A cast art glass table, early 21st century The small circular table assembled with multiple cast and fused glass elements comprising a textured tabletop set on a frosted glass pedestal above a base with tinted lime green and frosted elements, all raised on three hard plastic feet 29.25” H x 36” Dia. $2,000-3,000

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John Conard Lewis (b. 1942)

A cast art glass bench, early 21st century The bench assembled with multiple cast glass elements comprising a top plank with triangular corrugated underside set on two opposed supports with beaker-form openwork, the juncture cushioned with rubber bumpers and feet 3 pieces 18.5” H x 55.25” W x 16.75” D $2,000-3,000

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David Gale

(active 20th century) “Mr. Extremo Snail in the Inevitable Truffle,” 1990 Painted aluminum Titled, dated, and signed to metal plaque: David Gale / 10.5.90 31” H x 15.25” W x 18.5” D $300-500

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Joe Andoe

(b. 1955) “Mid Continent (Bison),” 2006 Screenprint in colors on paper Edition: P.P. 1/4 (there was also an edition of 77) Signed, dated, numbered, and inscribed “P.P.” in pencil in the lower margin: Joe Andoe Image: 24.5” H x 20.5” W; Sight: 26.5” H x 22.5” W $800-1,200 Provenance: AW Massey Fine Art, Fort Lauderdale, FL

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Joe Andoe

(b. 1955) “Mid Continent (Deer),” 2006 Screenprint in colors on paper Edition: P.P. 1/4 (there was also an edition of 77) Signed, dated, numbered, and inscribed “P.P.” in pencil in the lower margin: Joe Andoe Image: 24” H x 20” W; Sight: 29.25” H x 24” W $800-1,200 Provenance: AW Massey Fine Art, Fort Lauderdale, FL

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Peter Alexander (1939-2020)

Peter Alexander stands as a trailblazing figure in exploration of luminosity and spatial perception unique convergence of architecture and experim William Pereira, he transitioned to the realm of a

A luminary within the Space and Light artists’ co James Turrell, and Mary Corse, Alexander’s cont collections of renowned institutions worldwide, Museum of Art, the Museum of Modern Art in N

In recognition of his profound impact, retrospec County Museum of Art, Costa Mesa, CA, which participation in landmark exhibitions such as “Ph Time initiative in 2011 underscore his enduring

n the realm of California Light and Space art, a movement characterized by its n. Born and bred in Los Angeles, Alexander’s artistic journey began with a mentation. As a former protege of architectural visionaries Richard Neutra and art, enrolling at UCLA in the mid-1960s.

ollective, which includes esteemed peers such as De Wain Valentine, Larry Bell, tributions have left an indelible mark on the art world. His work graces the from the Broad Foundation in Santa Monica to the Los Angeles County New York, and the Solomon R. Guggenheim Museum.

ctives of Alexander’s work have been hosted by institutions such as the Orange presented “Peter Alexander: In this Light” in 1990. Additionally, his henomenal: California Light, Space, Surface” as part of the Pacific Standard influence.

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Peter Alexander

(1939-2020) “Dana,” 2002 Acrylic on panel Signed, titled, and dated, verso: Peter Alexander 24” H x 28” W $5,000-7,000 Provenance: The Artist’s Studio Private Collection, CA, acquired from the above Notes: This lot is accompanied by an information sheet and copy of the sales invoice from the artist, dated October 30, 2002. It also includes a hardcover, artist-inscribed copy of Dave Hickey and Naomi Vine, “Peter Alexander: In This Light” (Newport Beach: Orange County Museum of Art, 1999).

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Peter Alexander

(1939-2020) “Rico,” 2002 Acrylic, pastel, and collage on museum board Initialed, titled, and dated in pencil at the lower right corner: P.A.; titled and dated again on the artist’s label affixed to the frame’s backing board Image/Sheet: 15” H x 17” W $1,000-2,000 Provenance: The Artist’s Studio Private Collection, CA, acquired from the above Notes:This lot is accompanied by an information sheet and copy of the sales invoice from the artist, dated October 30, 2002.

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Tarmo Pasto

(1906-1986) “Retreat of the Cactus,” 1968 Oil on canvas Signed and dated lower right: Tarmo Pasto; titled in ink on the stretcher 50” H x 80” W $2,500-3,500 Provenance: Estate of the artist Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist, Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the postwar period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum, Sacramento, CA, which holds examples of Pasto’s work in its permanent collection.

In 1986, four years after a retrospective at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers.

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Tarmo Pasto

(1906-1986) Sunset in the desert Oil on canvas Unsigned 34” H x 50” W $2,000-4,000 Provenance: Estate of the artist

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"…the miracles of growth day and night, the fountains of young green corn and the morning dew on the wild blueberries were a deep inspiration." ~Agnes Pelton

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Agnes Pelton

(1881-1961) Flowering, 1929 Oil on canvas, 24 x 19 inches Signed and dated lower right: Agnes Pelton; signed again, titled, and inscribed: “Water Mill Long Island N.Y. $200” (twice each), all in pencil on the upper and side stretcher bars; also with the stenciled number 452 on the upper stretcher bar Housed in the artist’s original silver-grey painted frame $300,000-500,000 Provenance: The Artist Matille Prigge “Billie” Seaman (1883-1966), neighbor and friend of Agnes Pelton Josephine Morse True (1888-1975), neighbor and friend of Agnes Pelton, and author of the 1965 memoir, “Painted Rocks” Estate of Anne-Marie Boyce, San Diego, CA, acquired from the above circa 1970s Exhibited: New York, NY, Montross Gallery, “Abstractions by Agnes Pelton,” November 11- 23, 1929, no.

12, Flowering. This solo exhibition included The Fountains, Caves of Mind, Star Gazer, Incarnation, Messenger, Lookouts, Ecstasy, Inward, Sleep, Being, Faith, Flowering, and Meadowlark’s Song – Winter.

Plainfield, NJ, Plainfield Public Library, “Exhibition of Paintings by Agnes Pelton,” March 16-30, 1931. This large solo exhibition consisted of thirty works: Peace, Being, The Fountains, Flowering, White Fire, Prayer, A Lotus For Lida, Sleep, Rose and Palm, Translation, Inward, Thought, Voyaging, Lookouts, In Winter, Radiance, Fire Sounds, Renunciation, Faith, Equilibrium, Ecstasy, Incarnation, Wells of Jade, Meadowlark’s Song – Winter, Star Icon No. 2, Hibiscus (Beirut, Syria), Windmill Path, 4 Hawaiian Flowers (decorative panels, samples for custom orders), Phantasy of Frost and Fire, Star Icon No.1.

Ogunquit, ME, Ogunquit Art Center, “9th Annual Exhibition of Painting & Etchings,” June 15July 30, 1931. This exhibition included Pelton’s Being and Flowering, according to Margaret Stainer, “Agnes Pelton” (Fremont: Ohlone College Art Gallery, 1989) page 33.

Andover, MA, Addison Gallery of American Art, Phillips Academy, “Third Loan Exhibition,” curated by Charles H. Sawyer, 1931 (specific months not known). This exhibition included Pelton’s Being and Flowering, according to Margaret Stainer, “Agnes Pelton” (Fremont: Ohlone College Art Gallery, 1989) page 33.

Brooklyn, NY, Brooklyn Society of Modern Artists, Painters & Sculptors Gallery, “Annual Exhibit,” March 1-13, 1932. This exhibition included Pelton’s Flowering and Ecstasy, according to Margaret Stainer, “Agnes Pelton” (Fremont: Ohlone College Art Gallery, 1989) page 33. w ww ww w.. jj oo hh nn m m oo rr aa nn .. cc oo m m

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Literature: Margaret Stainer, “Agnes Pelton,” (Fremont: Ohlone College Art Gallery, 1989) published to coincide with their exhibition October 9 - November 5, 1989. Clarifying note: In this publication, curator Margaret Stainer provides chronological listings of select Pelton “Imaginative Paintings” dating from 1911 through 1917 and “Symbolic Abstractions” dating from 1923/24 through 1961. These are not checklists of works shown at Ohlone College in Stainer’s exhibition; they are incomplete “lifetime output” listings of Pelton paintings in these respective categories known to exist through archival sources and “best information” at the time of compilation and publication in 1989. Since that time, additional information has surfaced which expands and revises these lists. Stainer’s list of then-known Pelton abstractions for the year 1929 consisted of: Caves of Mind (De Anza College, Permanent Collection), Lookouts (unlocated), Messengers (Phoenix Art Museum, Permanent Collection), Frost and Fire (unlocated), Incarnation (Private Collection), Flowering, Alchemy (The Buck Collection at University of California Irvine), Ahmi in Egypt (Whitney Museum of American Art, Permanent Collection), The Voice (Burchfield Penney Art Center, Buffalo State University, Permanent Collection), White Fire (Raymond Jonson Collection, University of New Mexico), Sea Change (Whitney Museum of American Art, Permanent Collection), Shell (unlocated), Voyaging (JLW Collection), The Guide (Orange County Museum of Art, Permanent Collection), Bells (unlocated), Thought (unlocated), Efflorescent Decoration (unlocated).

Ed Garman, Posthumous inventory of Agnes Pelton’s abstractions, “Raymond Jonson Papers, University of New Mexico” no. 28 (circa 1961-62). Ed Garman (1914-2004) was a member of the Transcendental Painting Group.

Agnes Pelton papers, Archives of American Art, Smithsonian Institution, Notebook/ Sketchbook IV, circa 1917-1929; compositional sketch and color notes for Flowering appear on frame 95a (left-hand page) which bears a small swatch of muted greenish paint in the upper right quadrant; at the lower left quadrant of sketchbook 95b another swatch of paint, bright green, appears directly adjacent to the composition and color notes for Flowering on page 95a. Both a&b pages of frame 97 contain Pelton’s handwritten Montross Gallery exhibition hanging configurations which list Flowering among the works to be shown.

“The Art News,” volume 28, issue 7 (November 16, 1929); Volume 28, Issue 7; Exhibitions in New York, Agnes Pelton Montross Gallery; brief overview of Pelton’s Montross exhibition (no titles listed) “An Exhibit of Paintings: Miss Pelton Making Display of Her Work in New York,” “Matawan Journal,” (November 15, 1929): page 2. This newspaper article provides titles of all works exhibited at Montross Gallery including Flowering.

Note: John Moran Auctioneers is grateful for the assistance from Mr. Michael Kelley in the research and cataloguing of this painting.

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Rescue and Discovery Unseen in public for nearly one hundred years and rescued from an estate clearance of items destined for donation to Mexico, Agnes Pelton's transcendental abstraction Flowering represents a significant discovery by a pioneering American modernist. Her works have been acquired for the permanent collections of over two dozen American museums including MoMA NY, the Whitney Museum of American Art, the Crocker Art Museum, and the Los Angeles County Museum of Art. The salvation of this striking and otherworldly painting is one in a series of fortuitous events bordering on the miraculous that have characterized the renaissance of interest in Agnes Pelton’s art which commenced in the early 1980s and continues to proliferate via museum exhibitions and acquisitions, catalogue publications, scholarly analysis, and public adulation.

Underscoring the rarity of Flowering’s discovery and offer for purchase is the fact that it is only the fifth Pelton transcendental abstraction to be offered at auction since the artist’s passing in 1961.

Flowering was conceived and painted by Agnes Pelton in August 1929 in her rural windmill home and studio located on Long Island, shortly after returning from an eight month visit to Southern California where she would move permanently in late 1931.

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"…the miracles of growth day and night, the fountains of young green corn and the morning dew on the wild blueberries were a deep inspiration."

From “Windmill Home of Artist Inspires Unique Paintings” by Jane Corby, Brooklyn Daily Eagle, New York, Friday, February 20, 1931

Agnes Pelton standing in the doorway of her home and studio at Hayground Windmill (built 1809), Water Mill, Long Island, circa 1921.

Photo: Agnes Pelton papers, Archives of American Art, Smithsonian Institution

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Agnes Pelton’s home and studio at Hayground Windmill (built 1809), Long Island, circa 1925

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Flowering made its public debut in the exhibition Abstractions by Agnes Pelton, (November 11 - 23, 1929), at the Montross Gallery, New York City, in the company of The Fountains, Star Gazer, Being, Incarnation, Ecstasy, and Meadowlark’s Song – Winter, works which today are widely exhibited, reproduced, and the focus of ongoing scholarly analysis.

The Montross catalogue features an introduction written by Agnes Pelton which provides a glimpse into her creative mind and allows us to see Flowering through the lens of her visionary sensibilities:

“These pictures are like little windows, opening to the view of a region not yet much visited consciously or by intention—an inner realm, rather than an outer landscape. Sometimes the view is peaceful, even complete calm, or it may be active, stirring. Here color is like a voice, giving its message directly. Like music … it acts on the perception which is sympathetically ready to receive it. As the fragrance of a flower fills the consciousness with the essence of its life …by its own vibratory nature, with a beauty not for the eye alone, but of a more comprehensive nature, carrying a more direct impact on our newly developing perception.”

Excerpts from Agnes Pelton’s catalogue introduction `, Montross Gallery, 1929.

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The Montross exhibition was a life-changing event for Pelton. In addition to being an early solo showing of seminal abstract works, it is where she met music composer, philosopher, and fellow artist Dane Rudhyar (1895-1985) who became her close friend & mentor, astrologer, and chief art world advocate. Their decades-long friendship was of inestimable benefit to Pelton who revealed more of herself to Rudhyar, both personally and as an artist, than anyone else in her life. Through their relationship, Agnes was introduced to artist Raymond Jonson (1891-1982), with whom she exhibited in Santa Fe in 1933. This association led to Jonson, Pelton, and Rudhyar joining the New Mexico-based Transcendental Painting Group, for which Pelton also served as honorary president. The TPG’s philosophical and artistic alliance, forged “to carry painting beyond the appearance of the physical world,” was explored in the traveling survey Another World: The Transcendental Painting Group, curated by Michael Duncan. Today, some of the most perceptive and meaningful insights into Agnes Pelton and her art are those written by Dane Rudhyar:

“Her remarkable technique by means of which she produces an intense luminosity of color was acquired largely through her study of flowers” and is “the art of a woman of exquisite sensibility and awakened intuition who unveils through it an inner life rich in spiritual content.”

Dane Rudhyar, from his 1938 essay “The Transcendental Movement in Painting,” published in the exhibition catalogue Another World: The Transcendental Painting Group. (Crocker Art Museum, 2021)

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“Agnes Pelton stands as the modern ‘seer’ type, unconnected to any particular school of philosophy, with the power to picture inwardly ‘bio-psychological’ symbols through which her inner development as a spiritual personality expresses itself in individual freedom.” ~Dane Rudhyar, quoted by Michael Duncan in Another World: The Transcendental Painting Group Crocker Art Museum, 2021

Dane Rudhyar (1895-1985)

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In addition to the Montross show, Flowering was also exhibited at the Plainfield Public Library, New Jersey, 1931; the Ogunquit Art Center, Maine, 1931; the Addison Gallery of American Art, Massachusetts, 1931; and the Brooklyn Painters & Sculptors Gallery, New York, 1932.

Agnes Pelton’s handwritten price list featuring Flowering (entry #4) Plainfield Public Library exhibition, New Jersey, March 1931

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Announcement for Agnes Pelton’s 1931 solo show at Plainfield Public Library, New Jersey, in which Flowering was exhibited

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Agnes Pelton held a deep Zen-like reverence for nature. An avid gardener with a love of flora, she understood from direct observation and hands-on experience the biodynamics of growth and wonders of bloom, which she perceived as symbolically reflective of universal truths found in humankind and the cosmos. In a 1926 newspaper interview, she seems to foretell her vision for Flowering while reminiscing that during the period from 1914 to 1918: “came the war and raising vegetables with no time for painting but the miracles of growth day and night, the fountains of young green corn and the morning dew on the wild blueberries were a deep inspiration.”

The solitude and beauty provided by Pelton’s two homes of the period-- the windmill on Long Island and secluded farm in rural Connecticut— were essential to her spiritual well-being and art making. She painted both representational and abstract compositions palpably influenced by these serene and picturesque environments, among which Flowering is a prime example.

“Pelton’s most imaginative works, including her exquisite organic abstractions, were always based on nature. Nature was the source of her life and art. …she was intrigued by the cycles of nature and the beauty of emerging life. To Pelton, life was most vibrant at the moment when it emerged…. The themes of emerging plant life, radiating light and youthful energy were Pelton’s personal leitmotifs. Later they became seminal elements in her mature abstractions.” ~ Michael Zakian, from his essay “Agnes Pelton Drawings“ in the exhibition catalogue of the same title, Ohlone College Art Gallery, 1996, curated by Margaret Stainer.

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“As she gradually moved more and more toward abstraction, Pelton’s use of the floral image took on a deeper significance beyond the obvious bloom in nature. Even the early reviews of her flower paintings, which noted their carefully detailed representation, often indicated something more, something exotic, unknown, and powerful.” ~ Nancy Strow Sheley, from Bringing Light to Life: The Art of Agnes Pelton, University of Kansas, American Studies, 2000.

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Pelton’s extensive world travels included visits to Italy, Paris, the Middle East, the American Southwest, various locales on both the East and West Coasts, and Hawaii.

These experiences were fundamental to her acquisition of the botanical knowledge, creative vision, and refined artistic sensibilities requisite for producing exotic and richly symbolic compositions like Flowering. In considering this essential facet of Pelton’s evolution toward abstraction, Gilbert Vicario, curator of the exhibition Agnes Pelton, Desert Transcendentalist (Phoenix Art Museum & traveling, 2019-2021) observes, “From 1921 to 1926, she traveled extensively to farflung places including lengthy stays in Hawaii and Syria, which afforded her firsthand knowledge of the seemingly contradictory landscapes and flora of these two diverse locales.” ~ Nancy Strow Sheley, from Bringing Light to Life: The Art of Agnes Pelton, University of Kansas, American Studies, 2000.

“Great artists in all periods are those who incorporate in their works a new experience of reality.” ~ Dane Rudhyar’s catalogue introduction for Agnes Pelton’s 1931 exhibition at Argent Galleries, New York

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‘‘…having left one place and not yet arrived in another is suggestive of the condition of mind which is open to such pictures as these.’’ ~Agnes Pelton

Agnes Pelton, Hawaii, circa 1923 Photo: Collection of Nyna Dolby

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In late 1931, Agnes Pelton moved from her windmill home on Long Island and relocated to Cathedral City, California, near Palm Springs, where she lived and painted for the next thirty years until her passing in 1961. Despite the harsh climate and sparse population, Pelton was deeply inspired by the desert environment and thrived artistically. The area became an enclave for those of a creative bent and was home to the Sven-Ska resort, a favorite stop for visiting artists, many of whom Pelton entertained. Landscape painter Matille “Billie” Seaman (1883-1966) and beekeeper-author Josephine Morse True (1888-1975), both former owners of Flowering, were residents of Cathedral City and neighbors of Pelton, as were husband-and-wife authors Irving Sussman (1908-1996) and Cornelia “Corinne” Sussman (1910-1999). The Sussmans held the honored distinction of being the caretakers of Pelton’s extensive archive which they donated to the Smithsonian’s Archives of American Art, providing an invaluable research resource that continues to be a wellspring of information for scholars.

L to R: Former Flowering owner Matille “Billie” Seaman, unidentified woman, and Agnes Pelton, circa 1940. Photo by Wilson Ellis, courtesy of Cathedral City Historical Society

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Agnes Pelton regularly opened her home and studio to host salon-style teas and exhibitions of both her work and that of local artists. Welcoming a broad range of visitors consisting of neighbors and area residents, fellow artists and luminaries, relatives, children, and travelers from near and far, Pelton’s small residential gallery was the genesis for what eventually became the Desert Art Center which continues to operate in Palm Springs. The guestbook Pelton kept provides a fascinating window into her life and the small-town art world activities of Cathedral City during the 1940s and ‘50s and is now available to view online as part of the Smithsonian’s Agnes Pelton papers.

Author Josephine Morse True, neighbor of Agnes Pelton and former owner of Flowering, at her home in Imperial Beach, California, 1965 , holding a copy of her memoir “Painted Rocks”

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Pelton’s Desire to Make “Living Art” “She has treated the various items within the paintings in a way which seems to give them a life outside the purely physical.”~ Raymond Jonson, from his lecture “Three Paintings by Agnes Pelton,” University of New Mexico, circa 1939 With its themes of upward surging growth and blossoming unfoldment, Flowering is an example of Agnes Pelton consciously designing a picture with qualities intended to infuse it with the energies of a living creation. This conceptually advanced dynamic was noted by an anonymous author who reported in 1934 that Pelton “...feels a new element has come into art with the moderns, namely the duration of time in a picture. This means that some part of the picture keeps on going like a fountain while you watch it. ‘The sensibilities are developing along lines in this air-minded age we were not aware of before,’ Miss Pelton explained.”

In Spiritual Moderns:Twentieth-Century American Artists and Religion (Chicago University Press, 2023), Erika Doss states that Pelton “…defined her Abstractions as animated entities-- expressing, becoming, leading, telling--engaged in an evolving ‘state of being.’

She saw them as living pictures: as vibrant images that embodied her spiritual thoughts and experiences, and possibly sparked similar awareness among viewers.”

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Agnes Pelton, circa 1901 Photo: Nyna Dolby, restored by Peter Palladino, Agnes Pelton Society

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Agnes Pelton’s notebook for years 1917-1929 containing her original sketch and notes for Flowering

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“Agnes painted the invisible, which she tied to the natural world. She is the link between these two worlds, guided by her meditations.” ~ Nyna Dolby, cousin of Agnes Pelton and custodian of Agnes Pelton’s personal photo archive.

A fundamental dynamic of Pelton’s abstract compositions, as Margaret Stainer writes in her Agnes Pelton: Drawings catalogue essay (Ohlone College, 1996), was the desire to create spiritually transformative art. “Pelton was interested in the image as a window into another world, of color and forms that correspond poetically within the viewer. She is interested in life in nature… the soul in portraits… and in human correspondence to the physical and immanent energies surrounding us. She clothed her symbolic images, the abstractions, in the illusionistic language of atmospheric color and volumetric light that gave them depth and believable presence.”

In his essay Deep Streams Flow, Endlessly Renewing, Nathan Rees elaborates, “For Pelton, the appearance of creating and viewing art was central to its spiritual function.

In her view, a work of art was not a physical repository of meaning so much as a nexus through which diverse interpretations brought by the artist and the viewer could converge. Pelton meant to do more than simply elicit a particular emotional response through her art—she considered the ‘inner realm’ from which she felt her paintings arose to be a fount of spiritual knowledge. The inner visions that she sought to portray were intended…to allow others, through the act of viewing, to access their own internal sight, awaken their own spiritual perception.” (American Religious Liberalism, edited by Leigh E. Schmidt and Sally M. Promby, Indiana University Press, 2012)

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A notebook entry which appears a couple of pages after the annotated sketch for Flowering relates to the painting Star Gazer and reveals how spiritually invested Pelton was in the creation of her abstract compositions: “Oct. 19 (1929) After finishing Star Gazer - saw empty easel & felt light myself - empty - relieved, like an eggshell is empty - becoming a completeness in itself - with beauty - not just a covering for life within.”

AAA Notebook 1917-29 frame 97 (right page), two pages after entry for Flowering on frame 95 Flowering was designed to be a “living picture” that conveys a sense of movement and bioactivity. This is evidenced in Pelton’s 1929 sketchbook entry in which she drew side-by-side downward and upward facing arrows with the note “double action, down & up – transformed.”

Entries for Flowering appear in Notebook/Sketchbook IV, circa 1917-1929 Agnes Pelton papers, Archives of American Art, Smithsonian Institution Frame: 95 (right page) Transcription: “Aug 18 [1929] Flowering [Double pencil sketch drawn below; left sketch is unframed and shows basic composition form; right sketch is framed (drawn) and forms are color-coded with numbers, size stated as 19 x 24 with notation indicating “Size of Ecstasy” (referring to another Pelton abstraction) ] Double action down & up - transformed” [downward and upward arrows, drawn side-by-side] Left column notes: “Background seawater or greenish ivory – close, like translucent fog – or steam in warmth [sic] light but dense- clearing toward top where it darkens slightly to blue violet gray – like blue agate. Mysterious rather than dense, just dark enough for flower to gleam & radiate against. Green, cream, gray-violet.”

Notes continue on right side of page with drawing of elongated floral form in-between: “Size of Ecstasy, 5 grayish [referring to color coded forms] green growth veg.[etation] 1 dark - thick 2 light virile green growth Plunging down into 3 mysterious vaporous thick haze 4 reappearing upward more like green fire than vegetable surface Delicate steam rising from them somewhat like smoke – tenuous in middle to pearly translucent flower open in center but not revealing light from top”

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Agnes Pelton’s 1929 notebook entry for Flowering

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Notebook frame 97 (left and right pages): Pelton has made notes and diagrams for Montross Gallery exhibition layout options

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“Agnes Pelton began her career as a painter of landscapes, portraits and above all flowers. The latter seem to have offered to her a natural transition to the realm of imaginative forms and exquisitely shaded colors. Flowers are, as it were, the climax of the plant’s effort toward the sun. And works of art like those of Miss Pelton are very much like the Flowering of an individual life. In practically all her works we witness a victory of light over darkness, and of life over death.

They are psalms of integration sung to the spirit of man.” ~ Dane Rudhyar, introduction to Agnes Pelton’s 1943 exhibition at the Santa Barbara Museum of Art

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In addition to philosophically-informed compositional content, Pelton’s methods of infusing her abstractions with “living” energies included the application of numerology and metaphysical color theory, both of which are pillars of Theosophy in which colors and numbers are believed to have vibrational frequencies that correspond to scientific principles and spiritual energies governing matter, states of consciousness, and aspects of the human psyche.

Pelton’s notebooks reveal a recurring focus on numbers. Entries range from details of complex numerical systems and examples of magic squares to calculations for determining canvas dimensions to align artworks with specific numerological attributes. In an entry from March 1929, written during her eight month stay in South Pasadena to study with Will Levington Comfort’s Theosophy-based “Glass Hive” group, a deeper agenda beyond appearances is expressed in Pelton’s observation that “All vibratory activity expresses itself in form, color and sound, the energy always of that particular color or shade belonging to that particular rate of vibration.” This quote is a closely paraphrased transcription of a passage from the 1927 publication “A Book About You” by Charles F. Haanel (1866-1949). Pelton’s awareness of and adherence to such principles suggests that the colors used for Flowering were selectively chosen for their metaphysical properties.

Agnes Pelton felt a deep connection with flowers and saw them as symbols of spiritual qualities that correlate with human life and personal transformation. With its intertwining forms, blooming energy and bio-luminescence, Flowering offers a portal for earthly, cosmic, and personal exploration.

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The Rarity of Flowering’s Frame Agnes Pelton was particular and exact about the frames used for her abstractions, which she handmade and painted silver. Unfortunately, most of these frames have been discarded and few have survived. Flowering retains its original frame preserving Agnes Pelton’s complete vision of design and construction.

Handwritten title, original price, and artist’s name and address on painting stretcher

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Flowering, present in it’s original silver painted frame handmade by Agnes Pelton

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“The aim of these paintings over many years has been to give life and vitality to the visual images that have appeared to me from time to time in receptive moments--as symbols of fleeting but beautiful experiences.” ~ ~Agnes Pelton from Cosmic Art by Raymond F. Piper and Lila K. Piper, Hawthrone Books, 1975

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Agnes Pelton’s home in Cathedral City, circa 1942 Photo: Raymond Jonson Archive, University of New Mexico

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Flowering displayed in Agnes Pelton’s former Cathedral City home, present day headquarters of the Agnes Pelton Society

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In April of 2024, Agnes Pelton’s former residence and studio located in Cathedral City, California was designated as a historic landmark by the Cathedral City Historic Preservation Committee.

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AUCTIONEERS & APPRAISERS

Est. 1969

Years

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Philip Moulthrop

(b. 1947) “Bundled Mosaic” Lacquered turned white mulberry, mahonia, oak, maple, and cedar Signed and titled to underside: [artist’s cipher PM] / Philip Moulthrop / 618-020; further marked with a list of woods used 10.375” H x 10.625” Dia. $2,000-3,000

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William Leslie (active 20th/21st century)

A hanging light sculpture, late 20th/early 21st century Signed and possibly dated: William Leslie / PS 450 / 3/20 The single-light lamp housed in a laminated paper and wood shaped shade, electrified 21.5” H x 25” W x 19” D approximately $1,200-1,800 Notes: From the artist’s statement: “In 1976, William Leslie apprenticed to Stephen White, an architect who had developed a unique form of “lightsculpture” made from thin strips of wood bent into a frame then covered with paper soaked in polyvinyl resin and lit internally by incandescent or fluorescent light bulbs.

Most of William’s designs have been inspired by natural forms, which continue to generate new ideas and joy. Williamís Lightsculptures have shown in Hawaii, California, Chicago, New York and Milano, Italy.

His work has been used on the stage of the American Musical Awards and in the film Star Trek: Generations. He was featured in the Dec. 2003 issue of The Robb Report and appeared on HGTV, The Carol Duvall Show episode #1618, May 2004.

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William Leslie (active 20th/21st century)

A hanging light sculpture, late 20th/early 21st century Signed and possibly dated: William Leslie / PS 453 / 7/87 The single-light lamp housed in a laminated paper and wood shaped shade, electrified 44.5” H x 24” Dia. approximately $1,000-2,000

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Paul Philp

(b. 1941) “Ceramic No. 31,” 2009 Earthenware Inscribed on underside: PHILP 09 14” H x 10.75” W x 4.75” D approx. $500-700 Provenance: Hedge Gallery, San Francisco, CA Private Collection, acquired from the above, April 6, 2010 Notes: This lot is accompanied by a purchase receipt.

Additionally accompanied by a book on the artist’s work “Fired Clay: the Ceramic Work of Paul Philip,” wherein similar examples of this lot are represented.

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Paul Philp

(b. 1941) “Ceramic No. 33,” 2009 Earthenware With artist’s stamp to underside: PHILP; sticker to underside: 33 / 2009 18.5” H x 16” W x 4.5” D $800-1,200 Provenance: Hedge Gallery, San Francisco, CA Private collection, acquired from the above, April 6, 2010 Notes: This lot is accompanied by a purchase receipt.

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Esther (Esta) Krainis-James

(b. 1930) Untitled textured cylinders Glazed earthenware Each signed to underside: Esta James; one numbered: 5; another numbered: 8 Tallest: 14.375” H; Shortest: 9.5” H $500-800 Notes: Born in the Bronx, Esta James received a pottery degree from Alfred University in upstate New York. Her focus was on plants and their relationships to the pots they grow in. Her work was shown in Pasadena at California Design 8 (1962), California Design 9 (1965), and California Design 10 (1968), as well as in a solo exhibition called “A Woman in a Garden” at The Egg and the Eye gallery in Los Angeles in 1971.

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A Modern geometric weaving

Mid-20th century Signed in the weaving: Zimerman The framed and wall-hanging yarn weaving with webbed geometric and dot motifs in earth tones Framed: 53” H x 34.5” W x 1.5” D $600-800

Sam Francis (1923-1994)

Sam Francis was a leading figure in post-World War II American art, known for his use light and space but are also influenced by his American roots and extensive travels acr trends. While often associated with Abstract Expressionism, his work transcends any si Francis’s work displayed a mature synthesis of his earlier influences and his unique artis

Born in 1923 in San Mateo, California, Francis was initially a pre-med student at the Un accident. Consequently, he developed spinal tuberculosis, which left him bedridden a particularly challenging time. When Francis returned to UC Berkeley, he decided to stu color combination and the notion that artists should abandon the last remnants of illus career.

After graduating from UC Berkeley in 1950 with a degree in art, Francis moved to Pari significantly impacted him, and the luminosity and atmospheric lighting of Paris profou abstraction, and the interplay of light and space.

Francis lived briefly in New York before returning to California, specifically Santa Monic Japan, Francis explored the country, studied Eastern philosophy and aesthetics, and im undergoing Jungian analysis in the ‘70s, Francis painted a series of alchemically-theme of “sumi-e” (Japanese ink painting) and the concept of “ma” (the space between obje tranquility, highlighting his ability to synthesize disparate cultural influences into a cohe

By the late 1970s, Francis had established himself as a leading figure in the art world, e illustrate a period of consolidation and refinement in his artistic practice. During this tim interplay between the seen and unseen, with vibrant colors—often in bold reds, blues reflects his use of tactical “negative” or “empty” space, with a stark white background Japan, particularly the use of negative space and its relationship with colorful brushstro

The juxtaposition of intense color against vast white spaces creates a dynamic equilibr balance and harmony. He once said, “Painting is about the beauty of space and the p in his artistic journey, where his mastery of color, space, and form coalesced into a dist impact on the world of contemporary art.

Despite facing health challenges, including a battle with cancer, Francis remained prol legacy. His contributions to abstract art, particularly his innovative use of light and colo Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Tate Galle of international acclaim, his life and work exemplify the resilience and creativity of the h vision. As we continue to explore and celebrate his contributions, Sam Francis’s art rem

of vibrant colors and expressive abstraction. His bold splashes and lyrical compositions not only reflect his artistic engagement with ross Europe and Asia. His style evolved significantly throughout his career, reflecting both firsthand experiences and broader artistic ingle movement, embodying a profound synthesis of Eastern and Western aesthetics. By the late 1970s, particularly around 1978, stic voice.

niversity of California, Berkeley. He enlisted in the Army Air Corps during World War II, but in 1943 he was injured in a flight-training and in the hospital until 1947. During this four-year period of recovery, he pursued art to reignite his passion and creativity during a udy art under the guidance of German modernist Hans Hofmann. Hofmann’s curriculum “emphasized the ‘push-pull’ theories of sionism and fully embrace the inherent two-dimensionality of the picture plane.” This foundation was pivotal for Francis’s future

is, France, where he absorbed European modernist influences and the avant-garde scene. European masters like Monet and Matisse undly influenced his works. This period marked the beginning of his signature style, characterized by broad fields of vibrant colors,

ca, in 1962. He stayed in Santa Monica for a significant part of his later career, except for a few years in Japan during the 1970s. In mmersed himself in Japanese art circles and Zen Buddhism. “Zen and Jungian psychology informed his later work. While ed canvases, inspired by the Swiss psychologist’s interest in the subject. These dealt with dreams, death, and rebirth.” The influence ects) became evident in his work. His use of negative space and the fluidity of brushstrokes evoke a sense of boundless energy and esive and unique artistic expression.

especially known for his lyrical abstraction and mastery of color. His works from around 1978, including the untitled work in this lot, me, his paintings often featured expansive white backgrounds punctuated by dynamic, vibrant splashes, and drips of color. The s, and yellows—floating, dancing, or exploding across the canvas, conveys a sense of movement and energy. This untitled 1978 work d focusing on an indigo-colored tilted square with a splash of red paint in the center. This work evidences the influence of his time in okes.

rium, inviting viewers to find harmony within the contrasts. Another key theme in Francis’s work from this period was the concept of power of containment.” This philosophy is evident in his work from this time. Sam Francis’s work in the late 1970s represents a peak tinctive and powerful visual language. His paintings from this period continue to captivate and inspire, testifying to his enduring

lific, creating works that continued to evolve in complexity and depth. He passed away on November 4, 1994, leaving behind a rich or, have cemented his place as a major figure in 20th-century art. His works are held in major collections worldwide, including the ery in London. Sam Francis’s artistic journey is a testament to the transformative power of art. From the trauma of war to the heights human spirit. His vibrant canvases, filled with dynamic color and form, invite viewers to experience the world through his unique mains a vibrant and enduring presence in the ever-evolving narrative of modern art.

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Sam Francis

(1923-1994) Untitled, 1978 Acrylic on BFK Rives paper Signed and dated in pencil, verso: Sam Francis; with the work number in pencil at the lower left corner, verso: SF 78-132 LA Image/Sheet: 32.25” H x 23” W $20,000-30,000 Provenance: The Sam Francis Estate, California, 1994 Private Collection, acquired from the above, 2000 Exhibited: Boston, MA, Institute of Contemporary Art, “Sam Francis: Works on Paper, A Survey 1948-1979,” September-October 1979 Boston, MA, Institute of Contemporary Art, “Sam Francis: Works on Paper,” June 1980-June 1981, no. 51 (illustrated).

Literature: Stephen Prokopoff and Jan Butterfield, “Sam Francis: Works on Paper” (Boston, MA: Institute of Contemporary Art), no. 51.

Notes: The work in this lot is identified with the number SF78-132, in pencil on the verso sheet and on a large label affixed to the frame, verso, for the Sam Francis Online Catalogue Raisonné.

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Robert Rauschenberg (1928-2008)

Robert Rauschenberg, born Milton Rauschenberg on O spanned multiple mediums and styles.

His early years were marked by a convergence of influ pursuits took him to various institutions, where he exp and Merce Cunningham during his time at Black Moun to come.

In the 1950s, Rauschenberg’s experimentation with ma shirtboards and photographs taken during travels with groundwork for his later innovations in printmaking, w into his compositions.

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

By the early 1960s, Rauschenberg’s work had garnered Ljubljana, Yugoslavia, cementing his reputation as a m Rauschenberg’s interests expanded to include photog for the medium, leading to projects like In + Out of Ci images across all mediums, a testament to his commit

In the 1970s, Rauschenberg’s move to Captiva Island, newfound appreciation for natural fibers, he produced Collaborations with paper mills in France and India fur medium.

The 1980s saw Rauschenberg undertaking ambitious l Interchange (ROCI). These projects exemplified his be exploration of photography continued unabated, with everyday life.

Rauschenberg’s impact on the art world cannot be ove generations of artists, inspiring countless innovations a on as a testament to the enduring power of creativity,

g

October 22, 1925, in Port Arthur, Texas, embarked on a diverse and pioneering artistic journey that

uences and experiences. After serving in the U.S. Navy during World War II, Rauschenberg’s artistic plored different techniques and styles. Notably, his encounters with avant-garde figures like John Cage untain College left a lasting impression, setting the stage for his groundbreaking collaborations in the years

aterials and techniques began to bear fruit. His early works on paper, such as collages made on Italian h Cy Twombly, hinted at his later fascination with the found image. These explorations laid the where techniques like solvent transfer and lithography allowed him to seamlessly integrate found images

ture use of solvent transfer imagery and ty of appropriated imagery from print een textiles and paper.” - Robert Rauschenberg Foundation.

d widespread acclaim, with accolades like the Grand Prize at the International Exhibition of Prints in master of printmaking. Yet, his artistic journey was far from over. In the late 1960s and beyond, graphy once again. Collaborations with the Trisha Brown Dance Company sparked a renewed passion ity Limits and the Photem Series. From then on, Rauschenberg exclusively used his own photographic tment to innovation and experimentation.

Florida, marked a significant shift in his artistic practice. Embracing a more abstract idiom and a d works like the Cardboards and the Venetians, which showcased his mastery of texture and materiality. rther expanded his artistic horizons, pushing the boundaries of what was possible with paper as a

long-term projects, such as The 1/4 Mile or 2 Furlong Piece and the Rauschenberg Overseas Culture elief in the power of art to foster social change and cultural exchange on a global scale. Meanwhile, his h projects like Glacial Decoy and the Photem Series showcasing his keen eye for capturing the beauty of

erstated. His groundbreaking work in printmaking, photography, and beyond paved the way for future and pushing the boundaries of what was possible in the realm of contemporary art. Today, his legacy lives collaboration, and experimentation.

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Robert Rauschenberg

(1925-2008) “Jade Hole,” 1980 Solvent transfer, fabric collage, and acrylic on paper Signed and dated in pencil at the center of the lower edge: Rauschenberg; titled on a sales invoice Sheet: 31.5” H x 23.25” W $20,000-30,000 Provenance: Ace Gallery, Los Angeles, CA The Marmor Family Collection, acquired from the above, September 23, 1980 Exhibited: Los Angeles, CA, Ace Gallery, “Three of the Cloisters Series,” April 24-August 15,1980 Notes: This lot is accompanied by a photocopy of a sales invoice and a letter signed by Pamela Kort, both from the Ace Gallery. We wish to thank the Robert Rauschenberg Foundation for their assistance in the research and cataloguing of this work. The present work is now listed with archive number: RRF 80.D002. This lot is accompanied by a copy of a letter from the foundation, n.d.

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George Nakashima (1905-1990)

George Nakashima (1905-1990) was one of the leadin Craft movement. He called himself a woodworker. He craftsmen, the Shakers, and Zen Buddhist ideals of bea

Born in Spokane, Washington, he earned a Bachelor o Massachusetts Institute of Technology in 1931. Nakash styles and cultures in Paris, France. After this, he travell American architect who had collaborated with Frank Ll

Nakashima built furniture for the first time when he wa

He returned to Japan where he married his wife, Mario workshop until World War II, when they were interned Hikogawa, and learned to use Japanese hand tools an Raymond, and they settled in New Hope, Pennsylvania successful business employing many craftsmen.

His original source of wood was scraps, wood from tre evaluated, and chosen. He allowed the wood to speak to the trees he used, and he believed he was giving a basically my dialogue with a tree, with a complete and

He collaborated with Knoll from 1945-1954 and Widdi exposed his designs to a broader audience.

He received early recognition for his work in 1951, whe craftsmanship by the American Institute of Architects in

He received many large commissions including 200 pie University, Kyoto’s Church of Christ the King, and over

His work was not normally signed, as in the mingei trad Indian ink and then felt pen.

In 1984, Nakashima founded the Nakashima Foundati continent of the world as centers for meditation, praye

The Nakashima studio continues today under the guid at the studio since 1970. They continue to produce Ge

ng innovators of 20th-century furniture design and was the first generation of the American Studio was inspired by ancient craft traditions of Japan, the traditional methods of colonial American auty.

of Architecture from the University of Washington in 1929 and his Master of Architecture from the hima worked as a mural painter on Long Island and in Albany before travelling to explore architectural lled to Japan to explore his family’s heritage and took a position in Tokyo with Antonin Raymond, an loyd Wright on the Imperial Hotel. He also spent time studying Japanese architecture and design.

as the primary construction consultant at an ashram in Puducherry, India.

on Okajima. They moved to the United States in 1940 and settled in Seattle where he had a furniture in Camp Minidoka, Idaho. While there, he met traditional Japanese cabinet maker Gentauro nd joinery techniques from him. The family was released in 1943, through the sponsorship of Antonin a, where he reopened his furniture workshop and studio. Over time it grew from just George to a

ee surgeons, construction projects, and fallen trees. While in Japan he had learned how wood was cut, k for itself and utilized flaws like knots, cracks, cavities, and wormholes. He had a spiritual connection second life to the trees. A quote from 1977 stated “my relationship to furniture and construction is d psychic empathy.”

icomb-Mueller from 1957-1961, and while he preferred handcrafted studio items, those partnerships

en his work was featured by the Museum of Modern Art, and he was awarded a gold medal in n 1952.

ieces for Nelson Rockefeller’s house in Pocantico Hills, NY, Columbia University, Carnegie Melon one hundred pieces for Dr. Arthur and Evelyn Krosnick of Princeton, New Jersey.

dition, until in 1980, due to the rising number of fakes, he started signing and dating his work in

ion for Peace in New Hope, Pennsylvania. He dreamed then that if Altars for Peace made for each er, and activities for peace, the world would be a better place.

dance of his daughter, Mira Nakashima, an accomplished architect and woodworker who has worked eorge’s designs as well as Mira’s.

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George Nakashima (1905-1990)

Six “Conoid Lounge” chairs, circa 1970; New Hope, PA Each signed with clients’ name to underside in marker: Lerman; each also with a set of Roman numerals etched to underside: LXII / XI / XL / LXXI / VII / XXXXV Designed 1961 The sculptural carved walnut chairs, each with blonde hickory spindle back, the formed seat cantilevered over two continuous legs set on horizontal feet 6 pieces 35.5” H x 20.75” W x 22” D $20,000-30,000 Provenance: The Artist Mr. and Mrs. Jay Lerman, Storr, Connecticut, acquired form the above, December 5, 1970 By descent to current owners, Kansas City, MO Literature: George Nakashima Woodworkers, studio catalog, p. 8; George Nakashima Woodworkers: Process Book, Nakashima, pg. 36-37, 74 Notes: This lot is accompanied by a photocopy of the original purchase receipt.

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Erik Buch (1923-1982)

Erik Buch (1923-1982) was a Danish designer whose wo several decades, during which he created numerous ic characterized by their clean lines, ergonomic forms, an modernist principles has cemented his legacy as one o creation of barstools for the brand Domus Danica. The from high-quality wood, Buch’s bar stools feature elega understated yet refined look of Buch’s barstools has ma work, Buch not only contributed to the global apprecia

ork epitomizes the elegance and functionality of mid-century modern furniture. His career spanned conic pieces that remain highly sought after by collectors and design enthusiasts. Buch’s designs are nd the seamless integration of comfort. His ability to blend traditional woodworking techniques with of Denmark’s foremost designers. One of Buch’s most celebrated contributions to furniture is his ese barstools exemplify his design philosophy, combining simplicity with sophistication. Crafted primarily antly curved seats with tapered legs that provide both aesthetic appeal and structural integrity. The ade them timeless pieces that continue to be appreciated for their beauty and functionality. Through his ation of Danish design but also set a standard for barstool design that remains influential to this day.

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Erik Buch (1923-1982)

Four barstools for Domus Danica, mid-20th century; Denmark Each marked to sticker: Made in Denmark / Oddense Maskinsnedkeri A-S / Domus / Danika The carved wood stools with bar stretchers and a rosewood footrest, each surmounted by a leather upholstered seat cushion 4 pieces Each: 31.5” H x 16” W x 20” D $2,000-3,000 Notes: This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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Hans Wegner (1914-2007)

An AP-19 “Papa Bear” chair and ottoman for A.P. Stolen, 1953-1969; Denmark Designed 1951 Stamped in ink to underside of chair frame: Hans J. Wegner / A.P. Copenhagen / 1 The armchair with teak wood arms and legs and light brown upholstery with tufted back 39” H x 36.25” W x 35.5” D $5,000-7,000 Literature: Hans J. Wegner’s 100 Chairs, Oda, p. 49 Wegner: Sitting Pretty, Nielsen, p. 70

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Charles and Ray Eame (1907-1978 and 1912-1988)

Charles and Ray Eames (1907-1978 and 1912-1988) w designer, while Ray Eames was an artist and designer. industrial and consumer design that would appeal to a

They are best known for their groundbreaking work w pieces such as the Eames Lounge Chair and Ottoman characterized by their sleek, organic forms, innovative

A key element of the Eames design viewpoint was to such as dining and living rooms, became open and m 1946. With molded plywood, the folding screen is por six panels connected by woven polypropylene mesh.

es

were one of the influential husband-and-wife design duos of the last century. Charles was an architect and They created some of the most iconic and innovative furniture designs of the 20th century, forging a growing and changing demographic after World War II.

with molded plywood and fiberglass, which revolutionized the furniture industry. They designed iconic n, the Eames Molded Plywood Chair, and the Eames Molded Plastic Chair. These designs are e use of materials, and emphasis on comfort and functionality.

o create spaces, objects, and pieces of furniture with a multipurpose function in mind. Homes and spaces, more versatile spaces. To respond to this, they created the “FSW” (Folding Screen Wood), designed in rtable, foldable, and can create a decorative backdrop or provide privacy. The molded plywood featured

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

An “FSW” folding screen for Herman Miller, 1946-1955 Designed 1946 Unmarked The molded plywood screen of undulating wavy form Stored: 68” H x 10” W x 8.5” D; Unfurled: 58” W, dimensions variable $800-1,200

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

A pair of “MAX” lounge armchairs for Herman Miller, 1950-1954 Designed 1950 Each unmarked The molded fiberglass armchairs set on a steel base with rubber bumpers, raised on black powder-coated steel legs 2 pieces Each: 27.5” H x 25” W x 24.75” D $600-800

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A pair of Brutalist-style copper side tables

Late 20th/early 21st century Each unmarked In the manner of Paul Evans (1931-1987), the welded copper bases of cubic construction surmounted by a glass top, one with copper corners, 2 pieces Bases: 16” H x 34.25” W x 19” D and 17” D; Glass: 36.5” W x 19.125” D and 36” W x 21” D $800-1,200

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Purvis Young

(1943-2010) Untitled abstract Acrylic on plywood Signed near the center of the left edge: Young; indistinctly inscribed “H-18 Tramp / Left” on the verso, although possibly unrelated to the work itself 96” H x 24” W $1,000-2,000

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Grandma (Anna Mary (1860-1961)

Anna Mary Robertson “Grandma” Moses (1860-1961) to international fame in the mid-20th century. Born in G become the central theme of her work. She married T Bridge, New York. It was not until her late seventies, w outlet.

Grandma Moses’ artistic journey began in earnest at t paintings are characterized by their use of bright color and beauty of country living. Moses’ art resonated wit Great Depression and World War II.

In 1938, art collector Louis J. Caldor discovered Mose recognition. The following year, her work was included exhibition at the Galerie St. Etienne in New York. Her w produced over 1,500 works.

One of Grandma Moses’ distinguished pieces, “In the life and emotional depth. This masterpiece captures a side, a figure attends to a dinner pot over an open flam set against a backdrop of tree-lined banks, rendered in colors to evoke a sense of timelessness and universalit Otto Kallir’s definitive book on the artist, listed as figur

Moses’ legacy extends beyond her paintings. She was Moses Day” by New York Governor Nelson Rockefelle woman who began her artistic career in her later years

Grandma Moses passed away at the age of 101, leavi representation of American folk culture. Her paintings of Chicago, and her influence on the field of folk art re

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Robertson) Moses

) was an American folk artist whose vibrant and endearing depiction of rural American life catapulted her Greenwich, New York, Moses spent much of her life immersed in the agricultural lifestyle that would later Thomas Salmon Moses in 1887, and together they worked on farms, first in Virginia and later in Eagle when arthritis hindered her ability to embroider, that Moses turned to painting as her primary creative

the age of 78, and her work quickly garnered attention for its nostalgic portrayal of pastoral scenes. Her rs, keen observation of seasonal changes, and a charming, narrative quality that captures the simplicity th a public yearning for the comfort of an idealized past, particularly during the turbulent times of the

es’ paintings in a drugstore window and purchased them all, marking the beginning of her public d in an exhibition at the Museum of Modern Art in New York City, and in 1940, she had her first solo work was met with critical acclaim and commercial success, leading to a prolific period where she

e Camp,” crafted in 1950, stands as a testament to her talent for weaving together scenes brimming with an intimate moment between two figures separated by a riverbank, under the glow of a full moon. On one me beside a moored boat, while on the opposite bank, another figure engages from afar. The scene is n Moses’ characteristic style that features a flattened perspective and the use of bright, unmodulated ty. This work, which was once housed in the Hammer Galleries in New York, is meticulously cataloged in re 928.

s featured on the cover of Time Magazine in 1953, and her 100th birthday was celebrated as “Grandma er. Her autobiography, “My Life’s History,” published in 1952, offers an intimate glimpse into the life of a s and became an inspiration for generations to come.

ing behind a body of work that continues to be celebrated for its charm, historical value, and are held in major collections, including the Metropolitan Museum of Art in New York and the Art Institute emains profound.

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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 $20,000-25,000 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

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Thomas Hart Benton (1889-1975)

Thomas Hart Benton was an influential American pain April 15, 1889, in Neosho, Missouri, Benton hailed fro Benton. This heritage imbued him with a profound sen Benton’s journey in the arts began at the Art Institute o to and experimented with modernist styles. However, diverging from the European avant-garde.

The 1930s and 1940s were particularly prolific periods experiences of ordinary Americans. His paintings and sense of movement and vitality. Bentonís art not only d and strength. His works often highlighted the struggle Depression.

The lithograph “Threshing,” offered here, is one of Be task of separating grain from stalks. “Threshing” is em characteristic use of strong, sweeping lines and drama are depicted with muscular intensity, reflecting Benton comments on the evolution of agriculture and the land harvesting, the steam thresher billow black smoke tha from which it is so dramatically offset.” Additionally, in inscription written by Benton is reproduced on the pag done in 1938. The scene represents the last steam thre K.C. home, we were still near the county here in 1938. works, serves as both an artistic and historical docume

Benton’s legacy extends beyond his artistic achieveme accessible and deeply rooted in American themes. His sense of place and identity, celebrating the diverse an honesty and vigor has left an indelible mark on the art an era, immortalizing the spirit of a nation in his work. people.

nter, printmaker, and muralist whose works are synonymous with the Regionalist art movement. Born on om a politically influential family, which included his great-uncle, the renowned U.S. Senator Thomas Hart nse of American history and culture, which would later become the backbone of his artistic endeavors. of Chicago, followed by further studies at the Académie Julian in Paris. While in Europe, he was exposed Benton eventually chose to forge his path, one that distinctly celebrated American life and landscapes,

s for Benton, during which he produced a significant body of work that depicted the everyday murals from this era are characterized by their dynamic compositions, robust figures, and a palpable documented the economic and social conditions of the time but also provided a narrative of resilience es and triumphs of rural America, offering a vivid commentary on the American spirit during the Great

enton’s notable pieces created in 1939. This print captures a group of farmers engaged in the arduous mblematic of Benton’s focus on the labor and lives of rural workers. The lithograph is marked by Benton’s atic contrasts, which emphasize the physical effort involved in the agricultural process. The figures n’s admiration for the strength and endurance of the American farmer. However, this lithograph also d through the representation of the bygone era, specifically showing, “the increased mechanization of at snakes across the horizon. The smoke echoes the rolling curve of the land and that of the white clouds n the catalogue raisonne, “The Lithographs of Thomas Hart Benton,” by Creekmore Fath, a copied note ge discussing the print, “Threshing,” the note reads: “Made from a series of drawings and paintings resher engine to be operated in Johnson County, Kansas. The area represented is within 25 miles of my ... Every bit of this land is now uprooting ranch houses and swim pools.” This piece, like many of Benton’s ent, encapsulating a moment in American agricultural life with remarkable clarity and emotion.

ents; he played a crucial role in shaping the American art scene by championing a style that was s murals, such as those in the Missouri State Capitol and the Metropolitan Museum of Art, resonate with a nd multifaceted nature of American life. His dedication to portraying the American experience with t world. Through his dynamic compositions and evocative imagery, Benton captured the essence of His art continues to inspire and inform, offering a window into the heart of America and the lives of its

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Thomas Hart Benton

(1889-1975) “Threshing,” 1941 Lithograph on wove paper From the edition of 250 Signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, NY, pub.

Image: 9.375” H x 14” W; Sheet: 11.25” H x 16” W $2,000-3,000 Literature: Fath 48

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Henry Moore

(1898-1986) “Square Forms,” 1963 Lithograph on Japon nacré paper Edition: XXVIII/XXXV (there was also a numbered edition of 65 on BFK Rives paper) Signed and dated in pencil in the lower margin, at right: Moore; numbered in pencil in the lower margin, at left; Curwen Prints Ltd., London, prntr.; Galeries Wolfgang Ketterer, London, pub., and with their blindstamp at the lower left margin corner Image: 18.25” H x 23.25” W; Sheet: 21.25” H x 29.75” W $500-700

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Arik Levy (b. 1963)

Arik Levy is a renowned multidisciplinary artist, design design, and installation art. Born in Tel Aviv in 1963, Le Center Europe in Switzerland, where he earned a disti to merge artistic creativity with practical design princip

Levy’s work is characterized by a unique blend of orga stimulating. His sculptures have been exhibited in pres ability to transcend traditional boundaries between art

Levy has also made significant contributions to the fiel and Swarovski. Creating products that range from furn use of materials. Levy’s approach often involves a deep beautiful but also highly practical.

Levy’s impact extends beyond his creations, as he is al insights and experiences with aspiring designers and a to achieve success in their own right. Through his teac

Overall, Levy’s career is a testament to his versatility an consistently pushed the boundaries of what is possible broader themes of nature, technology, and human exp

ner, and photographer known for his innovative work across various fields, including sculpture, industrial evy’s journey into the world of art and design began after he moved to Europe. He studied at the Art inction in Industrial Design. This formal education laid the foundation for his diverse career, allowing him ples.

anic forms and industrial materials, creating pieces that are both aesthetically pleasing and intellectually stigious galleries and museums worldwide, earning Levy critical acclaim and a significant following. His rt and design has made him a prominent figure in contemporary art.

eld of industrial design. He has collaborated with numerous high-profile brands, including Vitra, Baccarat, niture and lighting to luxury goods, his designs are known for their elegance, functionality, and innovative ep exploration of the relationship between form and function, resulting in objects that are not only

lso a respected educator and lecturer. He has taught at various institutions and frequently shares his artists. His influence on the next generation of creatives is evident, as many of his students have gone on ching and public speaking, Levy continues to inspire and shape the future of art and design.

nd vision. Whether through his striking sculptures, innovative designs, or educational efforts, he has e in the realms of art and design. His work not only reflects his personal aesthetic but also engages with perience, making him a pivotal figure in the contemporary creative landscape.

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Arik Levy

(b. 1963) “Fixing Nature” series Natural wood and plaster Unmarked 12.625” H x 4.375” W x 2” D $500-700

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Arik Levy

(b. 1963) “Fixing Nature 32A,” 2016 Natural wood twigs and plaster Unmarked 13.75” L x 3.625” W $500-700 Literature: Levy 6

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Arik Levy

(b. 1963) “Fixing Nature” series, 2008 Natural wood and plaster Unmarked 12.75” H x 6” W x 5.5” D $500-700 Literature: Levy 44, 45

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Arik Levy

(b. 1963) Parpaing wood sculpture, 2011 Oak wood Impressed signature and date: A. Levy / PP 2011 16.5” H x 8.375” W x 3.5” D $600-800

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Arik Levy

(b. 1963) Parpaing wood sculpture, 2011 Oak wood Impressed signature and date: A. Levy / PP 2011 16.5” H x 8.375” W x 3.5” D $600-800

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Emil Lukas (b. 1964)

Emil Lukas, born in 1964, is an American contemporar Pittsburgh, Pennsylvania, Lukas developed an early fas pursued a formal education in Fine Arts at Edinboro U

Lukas’s career took off in the 1990s, marked by his gro across wooden frames, blend elements of painting, dr definitions of painting and engaging viewers in a dialo philosophy: an emphasis on process and the explorati

In addition to his thread paintings, Lukas has made sig sculptural pieces are composed of materials gathered memory. By integrating discarded items such as wood meaning of overlooked objects. These sculptures high

A central theme in Lukas’s work is his deep engageme as insect behavior, plant growth, and water movement methods, which often involve repetitive, meditative ac

ry artist renowned for his innovative use of materials and unique approach to artmaking. Raised in scination with both art and the natural world, interests that would profoundly shape his future work. He University, where he honed his skills and laid the groundwork for his distinctive artistic style.

oundbreaking thread paintings. These works, which involve meticulously stretching thousands of threads rawing, and sculpture. The resulting compositions are intricate and layered, challenging traditional ogue about light, shadow, and color. This innovative technique exemplifies Lukasís broader artistic ion of perception.

gnificant contributions to the field of sculpture through his mixed media works using found objects. These d from everyday life, transformed into complex, multi-layered forms that evoke a sense of history and d, metal, and fabric, Lukas creates assemblages that challenge viewers to reconsider the value and hlight his skill in recontextualizing mundane materials into thought-provoking art.

ent with natural processes and the passage of time. His art often draws inspiration from phenomena such nt, reflecting an organic rhythm and transformation. This connection to nature is mirrored in his artistic ctions that build complexity over time.

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Emil Lukas

(b. 1964) “Every Seven Years,” 2002 Mixed media on canvas and on eight separate sheets of paper Signed, titled, and dated on the lower right side of the stretched canvas; titled again, verso; each sheet of paper numbered sequentially in pencil, recto and verso, and with two reinforced holes at the upper edge for display purposes, all in the hand of the artist 9 pieces 37.5” H x 29.25” W x 4” D; Largest sheet: 37.5” H x 29.25” W; Smallest sheet: 24” H x 17.75” W $8,000-12,000 Provenance: Marcel Sitcoske Gallery, Los Angeles, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 2002 Notes: The work is comprised of the canvas piece, as well as eight sheets of mixed media works. A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “Turning Water,” 1996 Plaster, wood, paper, thread, mixed paint, wax, and glass Signed, titled, and dated in pencil to side of one module: Lukas / 96 / 6 Sections / 0439 / 4 Overall: 11.5” H x 6” W x 8.625” D $3,000-5,000 Provenance: Haines Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 1997 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “The Last Rose of Summer,” 1995 Plaster, wood, paper, thread, mixed paint, and glass Front module signed, titled and dated in pencil near bottom: Lukas / 12 Sections / 1.95 Overall: 7.875” H x 9.5” W x 5.75” D $3,000-5,000 Provenance: John Post Lee Gallery, New York, NY The Collection of Ralph and Sheila Pickett, acquired from the above, 1995 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “#0844,” 2006 Paint, paper, and found objects Signed, dated, and titled in pencil at edge: Lukas / 11 06 2.625” H x 21” W x 14.5” D $2,500-3,500 Provenance: Hosfelt Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 2006 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “From Roses to Slate,” 1998 Mixed media including rose petal, slate, thread, pigment, and dirt on various papers in glass box The complete set of 28 loose works on paper, signed, titled, inscribed, and numbered in pencil on the first page along the lower portion of the right edge: Lukas; each sheet sequentially numbered in pencil from 1-28 in the lower right corner; together in what is presumably the original custom glass and wood box; 28 pieces in one glass box Image/Sheet of each: 11” H x 8.625” W $500-700 Provenance: Haines Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 1995 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “1st Portrait in Hamilton,” 1985 Oil on stretched BFK Rives paper Signed, titled, dated and inscribed Studio. Aug 1-3 85 in pencil, all verso: Emil Lukas; with a variant title and date on a typed information card affixed to the stretcher, verso: Traditional First Portrait / Sep. 1, 85 17.75” H x 12” W $800-1,200 Provenance: The Artist Robert Milnes, acquired from the above The Collection of Ralph and Sheila Pickett, gift from the above Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Emil Lukas

(b. 1964) “Icebreaker for Note Vitale #0872,” 2007 Cloth plaster Signed and titled in pencil to underside: Emil Lukas 10.625” H x 4.75” W x 1.875” D $600-800 Provenance: Hosfelt Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Andy Moses

(b. 1962) “Lacuna 103,” 2015 Acrylic on polycarbonate Signed and dated, verso: Andy Moses; dated again and titled on a label affixed, verso 15” H x 26” W $3,000-5,000

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Jean Messagier

(1920-1999) Abstracted tree Pastel on vellum Signed lower right: Messagier 21” H x 35” W $2,000-3,000 Provenance: Estate of Monique De Wulf

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Stanley Boxer

(1926-2000) “Circlet of Astral Flowers,” 1974 Oil on linen Signed, titled, and dated, verso: S. Boxer; titled and dated again on two gallery labels affixed verso 36” H x 96” W $7,000-9,000 Provenance: André Emmerich Gallery, Inc., New York, NY Janus Gallery, Venice, CA Private Collection, Los Angeles, CA

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Note: Stanley Boxer (1926-2000) was a notable American painter, sculptor, and printmaker known for his contributions to the Abstract Expressionist movement. Born in New York City, Boxer developed a distinctive style characterized by vibrant colors, rich textures, and complex surfaces. His work often blurred the boundaries between painting and sculpture, incorporating thick layers of paint and mixed media to create dynamic, tactile compositions.

“Circlet of Astral Flowers” is no exception, the work demonstrates his well-known ability to work in grand scale, as the piece measures eight feet in length, drawing the viewers eye from one end to the other through improvisational strokes using a masterful balance of muted and vibrant colors, while also incorporating the rich and organic color of the linen the piece is made on.

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Julie Heffernan (b.1956)

Julie Heffernan, born in 1956 in San Francisco, Californ femininity, and the complex relationship between the realm, reflecting both personal introspection and broa Heffernan creates a captivating dialogue that resonate

Heffernan’s canvases are not merely scenes to behold crafted universe, where lush vegetation intertwines wit otherworldly colors and textures imbues her works wit

Moreover, Heffernan’s technique is as meticulous as it nestled in foliage, a glimmer of light through dense clo enhances the visual impact of her work but also under art often addresses contemporary ecological concerns prompts us to reconsider our relationship with the natu the fragility of our ecosystems and the urgent need fo

Beyond the ecological, Heffernan’s art delves into the identity, particularly concerning the external world. He thoughts, emotions, and existential questions. By situa is shaped by the surrounding environment. These ima balance between humanity and nature.

Heffernan’s incorporation of flora and fauna further en the landscape, blending with the natural world to emp identity is not isolated but rather deeply intertwined w

Heffernan’s work is also a powerful commentary on fem women, capturing both strength and vulnerability.

rnia, is an acclaimed contemporary artist whose work intricately weaves together themes of identity, individual and the environment. Her paintings serve as vivid narratives that invite viewers into a dreamlike ader societal concerns. Through her unique approach to self-portraiture and rich symbolic imagery, es with the human experience.

d but vast tapestries of symbolism and storytelling. Each painting invites the viewer into a meticulously th opulent fabrics, and figures emerge like guardians of an enigmatic realm. Her use of rich, almost th a sense of ethereal beauty, drawing us deeper into the narrative she weaves.

is evocative. Her paintings are replete with details that reward careful observation—a hidden creature louds—that add layers of meaning and mystery to her compositions. This attention to detail not only rscores her thematic exploration of the interconnectedness of all living things. Thematically, Heffernan’s s, albeit in a surreal and allegorical manner. Through her imaginative landscapes and hybrid creatures, she tural world and contemplate the consequences of our actions. Her works serve as poignant reminders of or stewardship and conservation.

psychological and emotional realms. At the heart of Heffernan’s work lies a profound exploration of er self-portraits are not mere reflections of her physical appearance; rather, they embody her inner ating herself within fantastical landscapes, Heffernan prompts viewers to consider how personal identity aginative settings often juxtapose natural beauty with surreal elements, inviting contemplation about the

nriches her exploration of identity. In many of her paintings, she transforms herself into an integral part of phasize interconnectedness. This merging signifies a deeper understanding of self, suggesting that with the ecological and social fabrics of life.

mininity and the complexity of womanhood. Her figures often embody a multifaceted representation of

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Julie Heffernan

(b. 1956) “Self Portrait as Infanta [sic] with Atlas Stick,” 1999 Oil on canvas Signed with artist copyright, titled, and dated, verso: Julie Heffernan 66” H x 58” W $15,000-20,000

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Julie Heffernan

(b. 1956) “Self-Portrait as Infants on the Cusp of Expressionism” Oil on canvas Signed, dated, and titled, verso: J. Heffernan; titled again along the lower edge, at center Sight: 54.25” H x 47” W $10,000-15,000

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Isamu Noguchi (1904-1988)

A coffee table for Herman Miller, late 20th/early 21st century Designed 1947 With plastic tag to underside: Herman Miller / Isamu Noguchi [script]; partial incised signature to side of glass: Isamu Noguchi The black painted wood base with swiveling joint surmounted by a glass top 2 pieces Base folded: 15” H x 30.5” W x 4.5” D; Glass: 0.875” H x 50” W x 39” D $600-800

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Achille and Pier Giacomo Castiglioni (1918-2002 and 1913-1968)

An “Arco” floor lamp, late 20th/early 21st century Designed 1962 With sticker to shade: FLOS / Made in Italy The cantilevered single-light lamp with adjustable length metal arm and articulated domed lid, set in a white marble base, electrified Dimensions variable: 96” H x 86” W x 13” D approx. $1,000-2,000

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

An “LC4” chaise lounge by Cassina, mid/late 20th century; Italy Designed 1928 With partial Cassina label to underside of base; impressed to chrome bar: Le Corbusier [in script] / LC/4 / 9381 The black leather upholstered cushion with headrest set in a chromed metal frame with rubber strapping, set on a black powder-coated metal frame 2 pieces Overall: 27.5” H x 64” W x 20” D, dimensions variable $1,000-2,000

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After Le Corbusier (1887-1965) and Charlotte Perriand (1903-1999)

An “LC1”-style armchair, late 20th century Designed 1928 Appears unmarked The chromed metal frame with tilting cowhide sling back and seat, raised on four straight legs continuous to support black leather sling arms Dimensions variable: 23.5” H x 25” W x 27” D $700-900

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84

Peter Lodato

(b. 1946) Untitled abstract, 1992 Gouache on paper Signed and dated in pencil near the lower edge, at right: P. Lodato Image/Sheet: 44” H x 30.25” W $800-1,200

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85

Peter Lodato

(b. 1946) Abstract compositions, 1981 Each: Gouache on Arches paper First piece titled illegibly in pencil in the lower margin, at left; last piece signed and dated in pencil in the lower margin, at right: Peter Lodato; three pieces inscribed with letters in pencil in the lower margin, at left 4 pieces Each sheet: 24.5” H x 20.375” W $800-1,200

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Titus Kaphar (b. 1976)

Titus Kaphar is an acclaimed American contemporary artist known painting, installation, performance, sculpture, and film, as well as te challenge traditional national storytelling and ask us to rethink what

Born in 1976 in Kalamazoo, Michigan, Kaphar grew up in a diverse college art history class, and Kaphar taught himself artmaking by vi continued his arts education at Yale School of Art, where he comple its often exclusionary practices.

Kaphar’s powerful work is characterized by its engagement with his paintings by adding new elements or altering existing ones to chal include cutting, shredding, and reassembling canvases, as well as in Myth of Benevolence” (2014), Kaphar peels back the canvas of a p power dynamics in the United States. In the work “Absconded from eyes down, in enlarged strips of text taken from slave advertisemen race couples, and contemporary Black activists and protesters are t TED Talk, Kaphar “whitewashed” his painting “Shifting the Gaze” ( portrays a wealthy Dutch family with their African servant. The fami

The untitled lot in this sale continues Kaphar’s practice of highlighti photographs that Eakins often used as references for his painting. T steering the shallow raft, who is actually Dave Wright, a friend of Ea whiteboard stand. The juxtaposition of the whited-out and recreate

Kaphar’s work has been exhibited in numerous prestigious institutio several awards and fellowships, such as the MacArthur Fellowship ( social discourse. In 2020 his painting “Analogous Colors” (2020), g Crystal Bridges Museum of Art, the Detroit Institute of Art, the Art I

Beyond his studio practice, Kaphar is committed to using art as a to Kaphar lives and continues to produce thought-provoking work. NX emerging artists and curators, fostering a collaborative and inclusiv

Titus Kaphar’s work continues to challenge and inspire, prompting and revealing the complexities of identity, memory, and history pos justice, Kaphar not only redefines art but also advocates for a more

“If we don’t amend history by making new images and new represe -Titus Kaphar 2 0 4 Ar t + D e s ig n l Tu e sd ay, A u g u st 1 3 , 2 0 2 4

for his innovative approach to addressing the complexities of history, race, and identity through his art. Through echniques that often deconstruct both modalities and subject matter, Kaphar delivers saliant and evocative works that at constitutes “the past” and the narratives we uphold.

e but challenging environment, which significantly influenced his artistic vision. His introduction to art started in a junior isiting museums. He then attended San Jose State University, where he earned his Bachelor of Fine Arts degree. He leted his Master of Fine Arts degree in 2006. His time at Yale was pivotal, shaping his understanding of art history and

storical art forms and subject matter and contemporary issues. He frequently reworks 18th and 19th century classical llenge the viewer’s perception of history and highlight marginalized or forgotten voices. Some of these techniques ncorporating three-dimensional elements that bring depth and a sense of urgency to his subjects. In “Behind the portrait of Thomas Jefferson to reveal a portrait of Sally Hemings, alluding to the complex history of slavery and m the Household of the President of the United States” (2016), a portrait of George Washington is covered, from the nts held to the canvas by large, rusted nails. In the “Whitewash” series, paintings of Black civil war soldiers, mixedthen covered in streaks of white paint, alluding to purposefully forgotten and suppressed histories. In 2017 during a (2017), which was based on “Family Group in a Landscape” (1645ñ48), by Dutch artist Frans Hals (1580-1666), and ily group was obscured with white paint, shifting attention entirely to the presence of the young servant.

ing forgotten histories. The work is influenced by Thomas Eakins’ piece “Rail Shooting on the Delaware,” and the The Eakins piece has also been titled “Will Schuster and Blackman Rail Hunting,” erasing the identity of the man akins’. Here, Kaphar whiteouts Wright’s figure from the “photograph,” and recreates it on a larger scale on the ed figure adds agency to an individual reduced and erased.

ons, including the Studio Museum in Harlem, the Seattle Art Museum, and the Brooklyn Museum. He has received (also known as the “Genius Grant”) in 2018, which recognized his innovative contributions to contemporary art and graced the cover of TIME Magazine. Kapharís work is housed in the collections of numerous institutions including the Institute of Chicago, the Met, and the Brooklyn Museum, among others.

ool for social change. He is a co-founder of NXTHVN, a nonprofit arts space in New Haven, Connecticut, where XTHVN operates as an arts incubator, and provides mentorship, studio space, and professional development to ve artistic community.

viewers to reconsider the narratives embedded in historical and contemporary contexts. His dedication to exploring sitions him as a transformative figure in the art world. Through his powerful visual language and commitment to social e inclusive and honest representation of our collective past.

entations, we are always going to be excluding ourselves.”

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86

Titus Kaphar

(b. 1976) Untitled, 2004 Mixed media on two boards, framed, as issued Signed, dated, and illegibly titled on the verso of the larger board: Kaphar; signed and dated again on the verso of the smaller board; 2 pieces Larger: 14” H x 11” W x 3.5” D; Smaller: 7” H x 9.25” W $10,000-15,000 Provenance: The Collection of Ralph and Sheila Pickett

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87

Jay Musler

(b. 1949) “Recognizable Human” Blown and hot molded glass, oil paint Unmarked Central form: 23.5” H x 6.5” Dia. approx. $1,500-2,000

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88

Gaetano Pesce (1939-2024)

An Etro chair for ZERODISEGNO, 2004 Edition: 55/99 Numbered, dated, and marked: ETRO / ZERODISEGNO / Gaetano Pesce / 19.01.04 The cast resin chair with Etro fabric and nylon 37.125” H x 18.5” W x 17.5” D $2,000-3,000 Notes: This limited number series of 99 chairs conceived by powerhouse designer Gaetano Pesce for his “Nobody’s Perfect” collaboration with experimental furniture designer ZERODISEGNO, and luxury clothing brand Etro, exemplifies Pesce’s radical and bold design style and process. Using color resin and scraps of fabric from various Etro clothing collections, this chair is one of Pesce’s most innovative and rare creations.

Pesce was an Italian architect and was known for his innovative approaches to design. He was a pioneer of the Radical Design movement, a style born in Italy in the mid 1960s that lasted until the end of the 1970s. During his prolific career, Pesce created many iconic designs for Cassina, B& B Italia, and Vitra. One of his most famous chairs is the Up5 Lounge Chair for B&B Italia produced in 1969.

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Alice Baber (1928-1982)

Alice Baber, born in Charleston, Illinois in 1928, began Exhibition of New York artists. Baber, as one of the app Hartigan, Louise Nevelson, Lee Krasner, Mary Abbott, been recognized as key figures of the Abstract Expres museums and the art market at large.

Throughout her career, Baber experimented with diffe forms, flowing lines, and translucent layers of color, cre and this became a central theme in her artistic explora

Speaking of Baber’s work in the San Francisco Chronic shapes that resemble rounded beach stones. These b and transparent, unified by a softness of surface that re forms appear to undergo, sometimes crowded and co advancing and receding in depth like the currents and

Baber was diagnosed with cancer in the late 1970s an public collections, including the Metropolitan Museum recognized as an important figure in the development

n exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s Sixth Annual proximately twenty women included on the Annual’s extensive roster, was shown alongside Grace , Joan Mitchell, and Elaine de Kooning. While many of the male artists featured in this exhibition have ssionist movement, Baber—who died at the age of fifty-four in 1982—has long been overlooked by

erent mediums, including oil paint, watercolor, and printmaking. Her paintings often featured organic eating a sense of depth and movement. She was particularly fascinated by the interplay of light and color, ation.

cle in 1976, the art critic Thomas Albright noted, “Baber’s abstractions are made up of broad, lobular become scaffolds for applications of richly harmonized oil colors, some full and intense, others vaporous resembles the sensitive touch of a pianist....The musical analogy extends to the movement that these ompacted... but more often flowing and gliding in complex, swirling rhythms and counter-rhythms, d cross-currents in a pool of water fed by a hidden spring.”

nd continued to paint until her death on February 2, 1982, in New York City. Her work is held in numerous m of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum of Art. Today, she is t of abstract art in the United States and is celebrated for her unique and innovative style.

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89

Alice Baber

(1928-1982) Abstract Watercolor on heavy Arches paper Signed in the lower right corner: Baber Image/Sheet: 30.75” H x 22.25” W $6,000-8,000

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90

Lucile Leighton

(1911-1983) Woman with steer skull and lizard Oil on canvas Signed lower right: Lucile Leighton; inscribed with the artist’s name, verso 26.5” H x 22” W $1,000-1,500

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91

Lucile Leighton

(1911-1983) Figures at work Oil on canvas Signed lower left: Lucile Leighton 27” H x 23” W $1,000-1,500

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92

Deborah Oropallo

(b. 1954) Untitled portrait, 1993 Oil, graphite, and collage on paper Signed and dated in pencil on the lower edge, verso: Oropallo Image/Sheet: 50” H x 38” W $4,000-6,000 Provenance: Catherine Clark Gallery, San Francisco, CA Private Collection, Tiburon, CA

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93

Deborah Oropallo

(b. 1954) “Jane Seymour” from the “The Wives of Henry VIII” series, 1994 Oil, graphite, and collage on paper Unsigned; titled and dated by repute Image/Sheet: 50” H x 38” W $4,000-6,000 Provenance: Catherine Clark Gallery, San Francisco, CA Private Collection, Tiburon, CA

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94

Henry Miller

(1891-1980) Faces, 1967 Watercolor and gouache on paper Signed, dated and, inscribed lower right: Henry Miller / Paris = 20 25” H x 19.75” W $1,000-1,500 Notes: A pencil inscription on the verso of the upper sheet edge, reads: Photographed by Connie.

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95

Henry Miller

(1891-1980) Parisian street scene, 1967 Crayon on paper Signed, dated, and inscribed in ink lower right: Henry Miller / Paris = 12; inscribed in pencil, verso: author of / “Tropic of Cancer” Sheet: 18” H x 21.5” W $800-1,200

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96

Henry Miller

(1891-1980) Orange abstract face, 1967 Watercolor on paper Signed and dated lower right: Henry Miller Sheet: 23.75” H x 18.625” W $700-900

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William Copley (1919-1996)

William Nelson Copley stands as an influential figure i artistic norms. Born in the vibrant cultural hub of New themes ranging from humor to societal critique, often painting, drawing inspiration from the Surrealist movem

Copley’s early encounters with artistic luminaries such Embracing a self-taught approach, he developed a pr period that he adopted the moniker “CPLY,” a playful

His body of work is a rich tapestry of loosely narrative lexicon of recurring motifs—from bowler-hatted men t historical references, creating a visual language unique

Relocating to Paris in the early 1950s, Copley found fe with luminaries like Marcel Duchamp. This period of E Abstract Expressionism and École de Paris de Paris. H

Following the closure of the Copley Galleries, Copley of The Letter Edged In Black Press, Inc. in 1968—a pu underscored his commitment to pushing artistic boun

Throughout his life, Copley’s artistic output traversed a undertones. His playful engagement with visual puns a

Copley’s contributions to the art world have been cele World According to CPLY” curated by Germano Celan institutions and public collections, affirming his enduri stand as a testament to his pioneering spirit and unwa

in the postwar art world, renowned for his vibrant and audacious works that challenged conventional York City, Copley’s artistic journey was propelled by an innate curiosity and a fearless exploration of n infused with elements of eroticism. Despite lacking formal training, he fearlessly delved into the realm of ement that swept through Europe.

as Max Ernst, Man Ray, and Marcel Duchamp proved instrumental in shaping his artistic vision. rimitive painting style characterized by anomalous figural representations. It was during this formative nod to his family name sans vowels, marking the beginning of a journey of self-discovery through his art.

compositions, featuring curvilinear figures, bold contours, and a vibrant palette of colors. Employing a to embracing couples—Copley crafted a personal mythology that intertwined with literary and art ely his own.

ertile ground for his artistic endeavors, exhibiting extensively across Europe while nurturing friendships European immersion allowed him to refine his distinctive figurative style, resisting the prevailing trends of However, his return to New York City in 1962 marked the genesis of a new chapter in his artistic career.

heeded Duchamp’s encouragement and embarked on a journey of artistic self-expression. His founding ublishing venture aimed at democratizing art through accessible portfolios like S.M.S. (Shit Must Stop)— ndaries beyond the confines of traditional gallery spaces.

a wide array of themes, from the nude figure to nationalism, often imbued with political and psychosexual and vaudevillian Americana set him apart as a visionary artist unbound by convention.

ebrated through numerous exhibitions, including the groundbreaking survey “William N. Copley: The nt and Toby Kamps. His work continues to captivate audiences worldwide, showcased in prestigious ing legacy as a vital link between European Surrealism and American Pop art. Today, Copley’s artworks avering commitment to artistic innovation.

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97

William Copley

(1919-1996) Nude with figure in bowler hat Felt pen, crayon, and collage on paper Unsigned 28” H x 18.5” W $6,000-8,000 Provenance: The Artist The Marmor Family Collection, acquired from the above

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98

An Angelbert Metoyer (b. 1977) exhibition catalogue for “War-Beau”

A catalogue for the exhibition “War-Beau” by the artist Angelbert Metoyer, at Giovanni Rossi Fine Art, Miami, FL; the title page is signed and dated in black permanent marker: Angelbert Metoyer; the loose pages of the catalogue with various offset images in colors of the works presented at the exhibition, a printed write-up about Angelbert Metoyer’s work, “M Window: Static Memory” on wove paper with a deckled edge, and a torn piece of paper with the artist’s email; all enclosed in a black cardboard box, and the lid with a printed offset image of the exhibition title Each Sheet: 10” H x 8” W $800-1,200 Provenance: The Collection of Ralph and Sheila Pickett Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

99

Dorothy Cross

(b. 1956) “Cormorant,” 2005 Patinated bronze candleholders Each unmarked 2 pieces Each: 3.75” H x 9” W x 3.375” D $1,000-1,500 Provenance: Kerlin Gallery, Dublin, Ireland The Collection of Ralph and Sheila Pickett, purchased from the above, 2005 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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100

Dorothy Cross

(b. 1956) “Snail,” 2006 Cast 9ct gold and snail shells in a cotton-lined tin box Unmarked Box: 1.25” H x 3.625” W x 1.5” D $700-900 Provenance: Kerlin Gallery, Dublin, Ireland The Collection of Ralph and Sheila Pickett, purchased from the above, 2004 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Umberto Riva (1928-1921)

Umberto Riva (1928-1921) is an Italian architect and de aesthetic exploration. One of Riva’s most iconic design to lighting design, combining form and function in a w shade reminiscent of a jellyfish, with flowing lines and industrial to evoke a sense of fragility and strength. Riv demonstrating his mastery in blending aesthetics with prominent place in the pantheon of modern design, w

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esigner, celebrated for his distinctive approach that marries functionality with a profound sense of ns is the “Medusa” table lamp, created for VeArt in 1968. This lamp exemplifies his innovative approach way that is both visually striking and practically effective. The “Medusa” lamp features a distinctive glass a soft, diffused light that creates a serene ambiance. The design cleverly balances the organic and the va’s “Medusa” lamp stands as a testament to his ability to transform everyday objects into works of art, h practicality. Riva’s contributions to both architecture and industrial decorative arts have earned him a where his creations continue to inspire and influence.

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101

Umberto Riva (1928-1921)

A “Medusa” table lamp for VeArt, circa 1970s; Murano, Italy Designed 1972 Unmarked The glass lamp with single light fixture suspended on metal tension clamp, electrified 14.5” H x 15” W x 14.75” D $1,200-1,800

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102

After Salvador Dalí (1904-1989)

A “Sillón Leda” armchair by BD Barcelona, circa 1990s Titled and attributed to metal plaque: Salvador Dalí / 1935 / b.d. ediciones de diseño / 145 The polished brass chair after a chair depicted in Dalí’s painting “Femme à Tête de Roses’’ (1935) 35.5” H x 24.25” W x 20.5” D $15,000-20,000 The Sillón Leda is a sculptural armchair that brings Salvador Dalí’s surrealist vision to life. This unique piece is directly inspired by Dalí’s 1935 painting “Femme à Tête de Roses” (Woman with Head of Roses), a work that exemplifies the artist’s dreamlike imagery and symbolic motifs.

Salvador Dalí (1904-1989), a prominent Spanish surrealist artist, was known for his eccentric personality, flamboyant style, and groundbreaking artistic contributions. His work often challenged conventional notions of reality, and the Sillón Leda chair is no exception to this approach.

The chair’s design faithfully reproduces the surreal elements from Dalí’s painting. It features a distorted, dream-like image of a woman seated in the chair, with the chair’s legs transforming into a woman’s legs capped with shoes. This three-dimensional interpretation remains true to every detail in Dalí’s original artwork, effectively bridging the gap between painting and sculpture.

Manufactured by BD Barcelona, the Sillón Leda is crafted from polished cast brass, making it a substantial and visually striking piece. While it is technically a functional furniture item, Dalí himself humorously noted, “A chair can be used even to sit on, but only on one condition: That we sit uncomfortably.” Indeed, with its three-legged design and considerable weight, the Sillón Leda serves more as a work of art than a practical seating solution.

The chair’s creation has an interesting history. In the mid to late 1930s, Dalí collaborated with designer Jean-Michel Frank on a collection of furniture designs. However, not all of these designs were realized during their lifetimes. It wasn’t until the 1990s that a team of designers, led by Oscar Tusquets and supported by The Gala-Salvador Dalí Foundation, worked to bring the Dalí/Frank collection to fruition. BD Barcelona subsequently took on the manufacturing of these pieces, including the Sillón Leda.

By integrating elements from “Femme à Tête de Roses” into a three-dimensional form, the Sillón Leda serves as a tangible link between Dalí’s painted surrealism and the physical world. It embodies the artist’s ability to challenge perceptions and blur the lines between different artistic mediums, making it a true representation of Dalí’s enduring legacy in the world of art and design.

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John Dickinson (1920-1982)

John Dickinson, one of the most innovative and origin original sculptural furniture made out of plaster with an palette. His work is characterized by the use of scale, s classical, African, and Art Deco motifs.

Born in Berkeley, CA in 1920, he briefly attended Pars Albert Hadley and other contemporary designers inclu work of 1920s/1930s designers Jean-Michel Frank, Se

He worked for various interior design firms and depart opened his own design business in 1956. By the 1960 monochrome palette and pared down original design and feet, branches, wood-textured planks, bones, and

Using a carved wood maquette to design the forms, h “People think I never use color. It’s not true. Their eye can’t use strong color with conviction is that it draws a plaster pieces were commissioned for the couture sec for lampshades and for tables using the metal to mimi monochromatic theme, some integrating wood detail

Dickinson’s popularity resulted in commissions from hi exist in their original forms and have been disassembl the SF Museum of Modern Art and Macy’s, he receive for these and many examples, now in the museum’s p due to cost and their avant-garde appearance.

Two years before Dickinson’s passing, in 1980, he rece his who later inherited his estate and donated around

nal American interior and furniture designers of the 20th century, is renowned for his highly nimal-like legs, hooves, planks, and tree branches, and galvanized metal tables, in a monochromatic shape, and patina rather than color and pattern. While innovative, his designs drew inspiration from

sons School of design in New York and while there was influenced by professors like interior designer uding T.H. Robsjohn-Gibbings and his Klismos line. His signature chalk white finish directly relates to the erge Roche, Syrie Maugham, and Frances Elkins.

tment stores like Lord & Taylor, then eventually made his way back to the Bay Area in the 1950s and 0s, now based in his Pacific Heights Victorian firehouse, he had established his signature look of a n drawing from Classical and African elements and forms. Components included anthropomorphic legs d chiseled stone.

he produced some of the furniture and lighting in reinforced concrete with a plaster finish. He once stated just isn’t trained, and they don’t notice subtlety. Subdued colors are still colors. But really, the reason I attention away from all the things I do best, which involve line, proportion and shape.” His earliest ction of the I. Magnin department store in Chicago. Starting in the 1970s, he used galvanized metals mic draped fabric. Additionally, other pieces were created from highly lacquered wood, maintaining his ls.

is devoted followers in the Bay area and designed entire interiors. Sadly, none of these complete projects led, with many pieces appearing on the secondary market. In 1977, through his followers connected to ed a major commission to create a collection of 25 objects, produced by Randolph & Hein. The designs permanent collection, were critically acclaimed, but at the time were not successful in the larger market

eived his final large commission for the Sonoma Mission Inn, owned by Carlene Safdie, an avid client of 200 of his working drawings to the SF Museum of Modern Art.

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John Dickinson (1920-1982)

An “Etruscan” side table model 115, late 20th century Signed in script to underside: John Dickinson / San Francisco The later black-painted molded plaster table with paw feet 21.75” H x 21.5” W x 21” D $1,500-2,500

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Piero Fornasetti (1913-1988)

Piero Fornasetti (1913-1988) was an Italian artist and disciplines, including painting, sculpture, interior deco surrealism, and metaphysical art, which he often com (1891-1979) and Richard Ginori (b. 1920) further cem

Fornasetti’s designs were heavily inspired by Italian R into his works, making them both functional and artis opera singer Lina Cavalieri, showcasing his fascination

The “Palladiana” chest of drawers is one of Fornasett exemplifies Fornasetti’s mastery in combining decora architect, reflecting the architectural motifs that Forna

The “Palladiana” chest of drawers features a curved s methods allowed Fornasetti to achieve intricate and p architectural elements, creating an illusion of depth a

This piece is part of Fornasetti’s broader body of work the “Trumeau Architettura” slant-front desk, showcas continues this tradition, offering a practical storage so

Fornasetti’s work, including the “Palladiana” chest, ex retrospective at the Victoria & Albert Museum in 1991 his pieces.

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designer renowned for his prolific contributions to the world of decorative arts. His career spanned various oration, and printing. Born in Milan, Fornasetti’s work is characterized by a unique blend of classicism, mbined with playful and humorous elements. His collaborations with notable designers such as Gio Ponti mented his influence in the design world.

Renaissance, Rococo, and Neoclassical motifs. He had a penchant for incorporating architectural elements stically rich. One of his most famous series, “Tema e Variazioni,” features over 400 variations of the face of on with repetition and variation.

ti’s iconic pieces, embodying his distinctive style and artistic philosophy. Designed around 1955, this piece ative art with practical furniture design. The chest is named after Andrea Palladio, the renowned Italian asetti often employed in his designs.

structure, meticulously crafted using hand-painting and lithographic transfer printing techniques. These precise decorative patterns, which are a hallmark of his work. The chest’s faÁade is adorned with and perspective that is both visually striking and emblematic of Fornasetti’s playful approach to design.

rk that sought to bring art into everyday life. His collaboration with Gio Ponti, particularly on projects like sed his ability to merge artistic expression with functional design. The “Palladiana” chest of drawers olution that doubles as a piece of art.

xperienced a resurgence in popularity in the late 20th century. Exhibitions such as the comprehensive 91 helped to rekindle interest in his designs, leading to a renewed appreciation and higher market value for

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104

Piero Fornasetti (1913-1988)

A “Palladiana” chest of drawers, mid/late 20th century; Milan, Italy With sticker to uppermost drawer: [hand holding brush cipher] / Fornasetti / Milano he lacquered wood three-drawer chest with brass pulls featuring a screen-printed Neoclassical building image to curved front and Italian garden to top surface 28” H x 39.5” W x 22” D $10,000-15,000 Literature: Barnaba Fornasetti (editor), “Fornasetti The Complete Universe” (New York: Rizzoli, 2010), p. 372 Patrick Mauries, “Fornasetti: Designer of Dreams” (London: Thames & Hudson, 1991), p. 104

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105

Piero Fornasetti (1913-1988)

An “Architettura” small cabinet, 1989; Milan, Italy Dated to right side proper: 6-15-89 The low wood cabinet with lacquered finish over transfer printed architectural motif patterns, featuring two hinged cabinet doors revealing a single shelf, raised on brushed brass feet 24” H x 27.75” W x 14” D $4,000-6,000

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106

Carlo Canevari

(1922-1996) Woman with cat Oil on panel Signed lower right: Carlo Canevari 13.75” H x 8.5” W $800-1,200

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107

Carlo Canevari

(1922-1996) Clown with cat Oil on panel Signed lower right: Carlo Canevari 13.5” H x 8.75” W $800-1,200

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108

Mark Vedres

(1870-1961) Nude man, 1908 Patinated bronze on lacquered wood plinth Signed and dated in the casting on the bronze base: Vedres Mark / Firenze Overall: 12.125” H x 4” W x 4” D $700-900

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109

Mark Vedres

(1870-1961) Nude woman, 1903 Patinated bronze on stone plinth Incised signature and date to plinth base: VEDRES M / Firenze Overall: 14.25” H x 4.75” W x 6.125” D; Bronze: 10” H $500-700

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110

Evald Nielsen (1879-1958)

A sterling silver flatware service, early 20th century; Copenhagen, Denmark Each marked for Evald Nielsen, sterling, and Denmark; most marked: No / 29 Comprising 8 dinner forks (7”), 8 dinner knives (8.125”), 8 teaspoons (5.75”), 4 oval soup spoons (6.25”), 2 tablespoons (8.25”), 1 child’s spoon (4.375”), 1 gravy ladle (7”), and a carving set (9.25” and 11.5”) 34 pieces Weighable sterling: 30.5 oz. troy approximately $1,000-2,000

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111

Evald Neilsen (1879-1958)

A sterling silver coffee service, early 20th century; Copenhagen, Denmark Each marked for Evald Nielsen, sterling, and Denmark; further marked: 925 / S Comprising a lidded coffee pot with ebonized wood handle (7.625” H x 9.25” W x 6.375” D), an open sugar with opposed lug handles (2.875” H x 5.5” W x 4.375” D), and a handled creamer (3.5” H x 3.875” W x 3.5” D) 3 pieces 32.4 gross oz. troy approximately $600-800 Notes: This lot is accompanied by a purchase receipt from Evald Nielsen and Bjarne Weimar dated September 5, 1958. Additionally accompanied by correspondence between the original purchaser and Weimar concerning the design of the set as well as two preliminary pencil sketched mock-ups of different designs, with original postal packaging.

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112

Lino Sabattini (1925-2016)

A pair of silver-plated “Harmony” candleholders, 1989/90; Italy Designed 1989 Each with script signature: Lino Sabattini; titled and dated: “Harmony” / 1989/1990 / Collezione Sabattini Italy The postmodern four-light candelabra on black plastic feet with inset candlestick holders 2 pieces Each: 11.25” H x 6.75” W x 6.5” D $1,200-1,800

114

A René Lalique “Plumes” vase

Circa 1920s Acid etched to underside: R. Lalique / France / 968 / 944 Designed 1920, the molded and frosted uranium glass globular vase with wide waist tapered into a small cylindrical rim 8.5” H x 8.25” Dia. $500-700

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113

A pair of Atelier Jean Perzel sconces

Late 20th/early 21st century Each stamped to underside of shade: Perzel In the manner of Karl Springer (1931-1991), the Art Deco-style dual light sconces with chrome shades mounted to partially frosted glass panels joined at the top by a bolt, electrified, 2 pieces Each: 23.5” H x 16.5” W x 5.75” D $1,200-1,800

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115

A pair of Maison Jansen chests of drawers

Circa 1940s/50s with later elements Partially legible marks verso: Jansen / 4617 N-727 / BS; one alternately marked: EM The wood dressers, each with a double-hinged bifold front panel with four concentric squares centering later added silvered mirrors, revealing five drawers, the top three with dividers in various configurations, all raised on corbeled bracket feet, later white lacquered, 2 pieces Each: 40.125” H x 36.125” W x 18.125” D $1,000-2,000 Notes: On the heels of a German retreat and the formation of France’s Third Republic, the French sought a renewed sense of identity and a stable foothold during a burgeoning period of industrialization. When Maison Jansen opened the doors to their Paris storefront in 1880, their signature style of seamlessly merging 18th century revival with early 19th century aesthetics quickly became a design staple of French taste, celebrating the strength of their past while integrating modern trends.

With so much momentum out of the gates, Maison Jansen soon grew into an international tastemaker, with offices in Buenos Aires, London, and New York. To this day, they are prized for their limited run furniture and custom commissioned interiors for royalty and cultural heavyweights, including King Leopold III, Hattie Carnegie, the Duke and Duchess of Windsor, and the White House during Jaqueline and John F. Kennedy’s residency. Later, under the name Jansen Inc., they would manufacture more accessibly priced furniture and decorative items out of their New York office. Though remaining relevant to the tastes of the day, Jansen’s furniture always upheld their signature sense of luxury, opulence, and strength.

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116

A Jean de Merry “Koa” chest

21st century; Paris, France Unmarked The Art Deco-inspired lacquered blonde wood three-drawer dresser with circular iron pulls raised on tapered squared legs 35.75” H x 49” W x 23.5” D $600-800

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117

Joan Miró

(1893-1983) Untitled, for “Review XXe Siecle, no. 31,” 1968 Lithograph in colors on Arches paper Edition: H.C. (aside from the signed and numbered edition of 75) Signed and inscribed HC in pencil in the lower margin: Miro; Mourlot, Paris, prntr.; XXe Siecle, Paris, pub.

Image: 13” H x 29” W (approx.); Sheet:21.75” H x 29.625” W $5,000-7,000 Provenance: Chamberlin Galleries, Sepulveda, CA The Collection of Ralph and Sheila Pickett Literature: Mourlot 583 Notes: There was also an unsigned and unnumbered edition of 2000, printed without margins and in a tri-fold format, for inclusion within the periodical mentioned above (cf. Cramer 122).

A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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118

Joan Miró

(1893-1983) Plate II from “Quelques Fleurs pour des Amis,” 1964 Lithograph in colors on paper From the edition of 75 (there was also a deluxe edition of 225) Signed in pencil lower right: Miro; Mourlot, Paris, prntr.; XXe SiËcle, Paris, pub.

Image/Sheet: 16.25” H x 12.75” W $1,500-2,000 Literature: Mourlot 407; cf. Cramer 92

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119

Marc Chagall

(1887-1985) “Vision of Paris,” 1952 Lithograph in colors on paper From the edition of unknown size, aside from the edition of 75 Signed in pencil near the lower edge, left of center: Marc Chagall Image/Sheet: 13.75” H x 20.5” W $1,000-1,500 Literature: Cramer 23; Mourlot 80-87

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Victor Brecheret (1894-1955)

Victor Brecheret (1894-1955) stands as one of Brazil’s m of modernist sculpture techniques, Art Deco synthesis

Born in Farnese, Italy, Brecheret emigrated to Brazil at modeling, and wood carving. In 1913, he traveled to R great formal synthesis.

Upon returning to São Paulo in 1919, Brecheret had a Cavalcanti, Mário de Andrade, and Oswald de Andrad “Week of Modern Art” at the Theatro Municipal in São in his career and in Brazilian art history, as it showcased

One of Brecheret’s notable works is ‘’Tocadora de Gui female figure playing a guitar. It exemplifies Brecheret housed in the Memorial de Curitiba, Brazil.

Victor Brecheret’s work can be contextualized within th his time. Like Pablo Picasso, Brecheret was influenced folk art. Like Wilfredo Lam and Diego Rivera, Brechere Brecheret met artists such as Fernand Léger and Picas styles in the 1920s echoes the work of artists like Carlo of choice was sculpture, his commitment to creating a Montenegro, who sought to express national identity tapestry of Latin American modernism, bridging Europ international stage.

most prominent modernist sculptors of the 20th century. His work represents a captivating convergence s, and Brazilian cultural heritage, embodying a profound dialogue between form and cultural identity.

t 10. He began his artistic training at the Liceu de Artes e Ofícios in São Paulo in 1912, studying drawing, Rome, where he became a disciple of Italian sculptor Arturo Dazzi, known for his monumental figures with

already mastered various sculptural techniques. He was soon discovered by modernists such as Di de, who began promoting his work. In 1922, although absent, Brecheret participated in the seminal o Paulo, exhibiting 12 sculptures of various dimensions and materials. This event marked a turning point d artists breaking away from traditional European styles to form a modernist movement.

itarra’’ (The Guitar Player), 1920s. This piece, which exists in both bronze and marble versions, depicts a t’s transition towards a more geometric style, balancing straight and curved lines. The bronze version is

he broader Latin American modernist movement, sharing certain parallels with other prominent artists of d by primitivism and incorporated indigenous motifs into his work, although Brecheret focused on Brazilian et sought to create modern and distinctly representative art of his cultural heritage. While in Paris, sso, which likely influenced his artistic development. His exploration of simplified forms and geometric os Mérida, who combined modernist techniques with indigenous themes. Although Brecheret’s medium a uniquely Brazilian modernist aesthetic aligns with the goals of painters like Frida Kahlo and Roberto through their art. Ultimately, Brecheret’s work represents a significant contribution to the diverse pean influences with local traditions and helping to establish a distinctive Brazilian artistic voice on the

120

Victor Brecheret

(1894-1955) “Tocadora de Guitarra,” 1920s Carved marble Incised signature to base: V. BRECHERET 20” H x 14.5” W x 5.375” D $20,000-30,000 Provenance: Private Estate, Sequim, Washington Property of the Estate of a Washington State Collector, acquired from the above Notes: Accompanying this lot is a certificate of authenticity issued by Sandra Brecheret Pellegrini, the artist’s daughter.

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Pablo Picasso (1881-1973)

Pablo Picasso’s foray into ceramics during the 1950s re studio in Vallauris, France, Picasso transformed this an variety of themes in his ceramics, often drawing inspira notable pieces such as “Visage de Faune,” “Profil de

“Visage de Faune,” 1955 (Face of Faun) showcases Pi creature from Roman mythology. This piece demonstr bridges ancient lore with modern aesthetics.

“Profil de Jacqueline,” created in 1956, is a testament Picasso met at the Madoura studio in 1953 and later m simplified, yet expressive forms.

“Picador and Bull,” crafted in 1950, reflects Picasso’s e ceramic piece vividly portrays the dynamic between th ceramic surface.

These works exemplify Picasso’s ceramic techniques d creating designs in dry clay molds before transferring glazes to create his distinctive designs. Picasso’s ceram on both sides to vases and pitchers with handles shap conventional codes and exploring textures and eleme

Today, these ceramic works are highly sought after, val creative process during the 1950s. They stand as a tes traditional forms and techniques.

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epresents a vibrant and innovative period in the artist’s prolific career. Working at the Madoura pottery ncient craft into a new medium for his boundless creativity. During this period, Picasso explored a rich ation from his Mediterranean surroundings and personal experiences. His works from this era include Jacqueline,” and “Picador and Bull,” each exemplifying his distinctive style and thematic interests.

icasso’s fascination with mythological subjects, depicting the face of a faun - a half-human, half-goat rates Picasso’s ability to imbue traditional motifs with his unique artistic vision, creating a ceramic work that

t to Picasso’s personal life during this period. The work features the profile of Jacqueline Roque, whom married. This ceramic piece showcases Picasso’s talent for capturing the essence of his subjects in

enduring fascination with bullfighting scenes, a recurring theme in his work across various media. This he picador and the bull, encapsulating the drama and energy of the corrida within the confines of a

during the 1950s. He employed various methods, including hand replication of original objects and them to fresh clay. Picasso worked with white earthenware clay, using engobes (colored clay slips) and mics from this period encompass a wide range of forms, from plates and dishes featuring painted scenes ped like facial features or animal parts. His style in ceramics echoed his approach in painting, breaking ents with a playful, often whimsical touch.

alued for their artistic merit, historical significance, and the unique insight they provide into Picasso’s stament to the artist’s versatility and innovative spirit, embodying his ability to breathe new life into

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121

Pablo Picasso

(1881-1973) “Profil de Jacqueline,” 1956 Glazed ceramic From the edition of 500 Impressed to underside: Madoura Plein Feu / Empreinte Originale de Picasso 7.5” H x 7.5” W x 0.875” D $4,000-6,000 Literature: A.R. 383

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122

Pablo Picasso

(1881-1973) “Visage de faune,” 1955 Partially glazed terracotta bowl From the edition of 100 Dated recto in relief: 30.3.55. Underside impressed: Madura / Empreinte Originale de Picasso 2.5” H x 7” Dia. $2,500-3,500 Provenance: Estate of Monique De Wulf Literature: A.R. 257

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123

Pablo Picasso

(1881-1973) “Picador and Bull,” 1950 Terracotta medallion From the edition of 100 Verso impressed: Empreinte Original de Picasso 3.125” H x 3” W $1,000-1,500 Provenance: Estate of Monique De Wulf Literature: A.R. 57, plate 101

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124

Attributed to Pablo Picasso

(1881-1973) “Pan” Crayon on paper Signed and dated lower right: Picasso; titled by repute 6” H x 4.75” W $10,000-15,000

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125

Paula Santiago

(b. 1969) Title: Untitled, De la serie: “Quitapesares 2” (From the series: “Consolation 2”), 1999 Rice paper, hair, and blood on marble plinth with glass case Unmarked Dress: 15” H x 15” W x 5.5” D approx.; Case: 24.75” H x 19” W x 11.25” D $2,000-3,000 Provenance: Iturralde Gallery, Los Angeles, CA The Collection of Ralph and Sheila Pickett, acquired from the above, July 29, 1999 Exibitited: Iturralde Gallery, Los Angeles, CA, “MOAN,” July 15-August 21, 1999 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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126

Paula Santiago

(b. 1969) New title: Untitled, 1999 Fabric, hair, and blood on marble plinth with glass case Unmarked Dress: 13.5” H x 10” W x 6.5” D approx.; Case: 24.75” H x 19” W x 11.25” D $2,000-3,000 Provenance: Graystone Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett, acquired from the above, May 29, 1999 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Enrique Galdos-Rivas (b. 1933)

Enrique Gerardo Galdos-Rivas, born 1933 in Lima, Per together elements of Peruvian culture, history, and my homeland from a young age, which would influence h honors, Rivas’s renown in South America grew expone first decade of his career, Rivas had exhibited at nume

One of the defining characteristics of Galdos-Rivas’s ar techniques. Drawing inspiration from indigenous cultu iconography with abstraction. Rivas’ use of wild and vi of the genre of painting known as “Ancestralism,” whe explaining his artistic process, Rivas says:

“A long time ago I painted the huacos of the Nazca cu shape of the huaco, until there was no trace of it, only

Galdos-Rivas has gained recognition both domesticall Meritorious Personality of Culture from the Ministry of Honorable Mention at the Sao Paulo Biennial, Brazil in featured in numerous exhibitions, galleries, and museu

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ru, is a prominent Peruvian artist celebrated for his vivid and captivating paintings that intricately weave ythology. Galdos-Rivas was surrounded by the vibrant colors, rich textures, and diverse traditions of his his artistic vision upon graduating from the National Academy of Fine Arts in 1959. After graduating with entially, receiving scholarships to travel and work in Brazil in 1961 and Argentina in 1967. By the end of the erous Biennials, from Sao Paulo to Paris.

rt is his unique ability to blend traditional Peruvian motifs and symbolism with Modernist artistic ures, colonial history, and modern society, his paintings often feature a striking juxtaposition of ancient ivid colors earned him the nickname “The Magician of Color.” Rivas has been noted as a progenitor ere cultural iconographies are processed through Modern or Abstract Expressionist sensibilities. In

ulture. First I made them as they are, then I abstracted them. Little by little I was losing the figure, the the color.” (El Comercio, May 20, 2023)

ly and internationally for his exceptional talent and contributions to the art world. His awards include the Culture of Peru and the Diploma of Recognition granted by the Congress of the Republic of Peru, an n 1965 and the V Prize II at the Cordova Biennial in Argentina in 1964, among others. His works have been ums worldwide.

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127

Enrique Galdos-Rivas

(b. 1933) “Carneval de Colores,” 1965 Oil on canvas Signed and dated lower right: Galdos-Rivas; signed again, titled, and dated, all verso 51” H x 67.5” W $4,000-6,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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128

Enrique Galdos-Rivas

(b. 1933) “Marados V,” 1965 Oil on canvas Signed and dated lower right: Galdos-Rivas; tiled, dated again, and inscribed, all verso 47” H x 34” W $3,000-5,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: The work is wired to be hung horizontally but is intended to be displayed vertically.

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129

Nathan Oliveira

(1928-2010) “Imi 104,” 1989 Watercolor on paper Signed and dated in pencil lower right: Oliveira; titled verso and gallery labels affixed to the frame’s backing paper 19” H x 24” W $1,200-1,800

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130

Nathan Oliveira

(1928-2010) Figural abstract, 1975 Mixed media on paper Signed, dated, and indistinctly inscribed in pencil lower left: Nathan 15” H x 11” W $1,000-2,000

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131

Frederic Bruly Bouabre

(1923-2014) “Serie: Pagne Traditionnel Beté Peint aux Couleurs Divines” Each: Ink, colored crayon, and pencil on heavy cardstock Each: signed and dated in ink, verso: Bouabre / 27-8-2009; inscribed in French in ink along each edge with the same inscription, except on each card one word changes at the lower edge to represent the nationality of the figure: Aux couleurs divines visage / de femme couronnee de plumes ici la “Libera” / l’art de l’habillement [interchangeable Nationality] / bana-groko: pagne traditionnel bete peint (51 pieces) Each: Image/Sheet: 7.5” H x 6” W $1,000-2,000

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132

Frederic Bruly Bouabre

(1923-2014) “Connaissance du Monde,” 2007-2008 Each: Ink, colored crayon, and pencil on heavy cardstock Each: Signed and dated in ink, verso: Bouabre; inscribed in ink along each sheet edge (39 pieces) Each: Image/Sheet: 7.5” H x 6” W $1,000-2,000

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133

134

(b. 1951) “Shadows of What Lies Beyond,” 1988 Cibachrome print on paper Edition: 18/150 Signed and numbered in pencil on the lower edge of the overmat, at right: Robert Kelly Image: 20” H x 19.75” W; Sheet: 23.875” H x 19.875” W

(1913-1995) Seashore with fishing boats Oil on canvas Signed and with the artist device lower left: Geo. Chann 30” H x 56” W

Robert J. Kelly

$2,000-3,000

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George Chann

$1,000-2,000

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135

B. Prabha

(1933-2001) “Three Fisherwomen” Oil on canvasboard Signed left center; titled on the frame plaque 20” H x 24” W $8,000-12,000

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136

Eliana Sevillano

(b. 1947) Untitled, 1995 Mixed media on canvas Signed, dated, and indistinctly inscribed, verso: Eliana Sevillano 79” H x 75” W (or opposite) $3,000-5,000 Notes: The placement of the signature and date on the verso of the canvas orients the work to be wider than it is tall, however, it is currently wired to be displayed taller than it is wide.

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Dan Baldwin (b. 1972)

Known for a vibrant style that is recognizable across a collaborations, contemporary British artist Dan Baldwin as Banksy, Damien Hirst, and Sir Peter Blake.

Baldwin combines rich, saturated colors alongside brig painterly, expressionistic strokes reflect his appreciatio identifiable elements, often highly personal in nature, undergraduate degree in illustration from Kent Institut

“My work is always about life, harmony & balance but together, innocence with decay, symbolism and religio the viewer think about their connections. It all links.”

The two canvases comprising the present lot, “Cherry Baldwin, however, intended that they be viewed as a d sense of safety and comfort. In one, we see my mante my birth. The rooms are populated with symbols of re Blossom II also has very a personal meaning; it was my independence. At the same time these cosy rooms are rain clouds. And finally the cherry blossom, which in Ja

The enduring power and popularity of this diptych wa granted CCA Galleries in Surrey, England permission t Studio in Isleworth, England. The screenprinted versio or as a pair, with the latter intended to most closely ec offered here.

range of media including painting, printmaking, ceramics, book and album covers, and clothing design in has exhibited and sold his works worldwide alongside such Young British Artist Movement colleagues

ght, often neon ones to create energetic, intriguing, visual tapestries and environments. Abstract, on for artists such as Jean-Michael Basquiat and Robert Rauschenberg, whereas his renditions of more can range from curious or ominous to playful and cartoonish, and may hark back to his 1995 te of Art and Design in England.

t often explores the fine line between that and death. I love to contradict and put opposing factors on, nature and war.... I want to present elements that force a dialogue between all the elements and make

y Blossom I” and “Cherry Blossom II,” are each worthy of standing on their own as finished works of art. diptych: “... we see two rooms, two interiors, the kind of familiar domestic interiors that should inspire a elpiece, the clock always set to 2:40, or twenty to three: 23 being my favourite number and the date of efuge; the bird returning to the nest, children climbing the stairs. The inclusion of the VW Beetle in Cherry y first car and I restored it with my stepfather, it was also the means for getting to art college and finding re invaded by a sense of time passing, the fragility of memory; a cracked vase, a barbed wire fence, a fire, apanese culture is a reminder that life is overwhelmingly beautiful, but also tragically short.”

as already verified in 2016 when, just one year after Dan Baldwin finished the paintings shown here, he to publish them as a limited edition of 100 hand-signed, color screenprints on paper printed by Coriander ons were reduced in scale to approximately 34” H x 31.5” W, and could be purchased either individually cho Baldwin’s original concept whereby the two paintings would be viewed side by side as the unique lot

137

Dan Baldwin

(b. 1972) “Cherry Blossom I,” and “Cherry Blossom II” (dipytch), 2015 Mixed media with collage on two canvases Each signed and dated in black marker on the stretcher bar, verso: Dan Baldwin; the first signed and dated again in ink along one of the wrapped vertical edges of the canvas, verso; the second inscribed “cold wind blows” in ink along the wrapped upper edge of the canvas, verso Each: 48” H x 43” W $7,000-9,000 Provenance: Lawrence Alkin Gallery, London, England

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138

Lucy Lyon

(b. 1947) “Studio,” 1999 Molded glass and mixed media on steel plinth Signed and dated to plinth: L Lyon / 99 Overall: 16.875” H x 18.125” W x 11.125” D $2,000-4,000

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139

Wendy Walgate

(active 20th/21st century) “Struwwelpeter” Painted and glazed ceramic and wood Inscribed to paper with the children’s cautionary tale “The Man Who Went Out Shooting” from “Der Struwwelpeter” (1848) by Heinrich Hoffmann (1809-1894) Wood case component: 37” H x 23” W x 18” D; Each soldier: 12.5” H x 4.25” W x 4” D $500-700 Provenance: Ferrin Contemporary, Cummington, MA Private Collection, acquired from the above

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140

Robert Milnes

(b. 1948) “Cenote” Glazed and painted ceramic Appears unmarked 9.375” H x 17” W x 16.5” D $500-700 Provenance: The Collection of Ralph and Sheila Pickett Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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141

Robert Milnes

(b. 1948) “Right Brain Left Brain,” 1994 Glazed ceramic Inscribed signature and date to underside: Robert Milnes / 94 2 pieces Top: 7.5” H x 11.625” Dia.; Bottom: 2.5” H x 10.5” Dia.; Overall: 8.75” H $500-700 Provenance: The Collection of Ralph and Sheila Pickett Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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142

A glazed earthenware decanter and a group of goblets

Mid-20th century Each unmarked Thickly glazed in brown, the pottery group comprising a totemic decanter with figural head at the apex centering two flared spouts, one stopped with a cork, and thirteen conformingly constructed and glazed footed goblets of slightly varying sizes, 14 pieces Decanter: 19” H x 11.25” W x 5.75” D; Largest goblet: 3.75” H x 3.25” Dia. $500-700

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143

John Matos (Crash)

(b. 1961) “Up in Arms,” 2003 Screenprint in colors on Arches paper Edition: 18/30 Signed, dated, and numbered in pencil in the lower margin, at right: J Crash; titled, dated, and numbered again on a gallery label affixed to the frame’s backing board Image: 9” H x 31.5” W; Sheet: 15.25” H x 43.5” W $1,000-1,500

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144

Sati Zech

(b. 1958) “Bollenarbeit #49,” 2007 Oil and mixed media on strips of joined, raw canvas Unsigned 21” H x 25.25” W $1,500-2,000 Provenance: Howard Scott Gallery, New York, NY The Collection of Ralph and Sheila Pickett, purchased from the above, 2008 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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145

Charles Linder

(b. 1967) “May 23, 1997 (Graduation): Golden Gate Park / Land’s End on My Bike,” 1997 Each: Mixed media diptych on panel Each: Signed, dated, titled, and inscribed, all verso: Charles Linder 2 pieces Each: 24.25” H x 16” W $500-700 Provenance: Brian Gross Fine Art, San Francisco, CA The Collection of Ralph and Sheila Pickett, purchased from the above, 1997 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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146

Horst Egon Kalinowski

(1924-2013) “L’Oracle Des Atrides,” 1964 Leather, wood, and string Signed, titled, and dated verso, and again to Cordier & Ekstrom gallery label; also with artist’s cipher verso: HEK [conjoined]; further marked verso: 518 41.25” H x 28.5” W x 10” D $700-900

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147

Laddie John Dill

(b. 1943) Abstracted shapes, 1982 Mixed media on panel Signed and dated, verso: Laddie John Dill 24” H x 32” W $600-800

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148

Dorothy Cross

(b. 1956) “Finger Mushroom” Patinated bronze in a cotton-lined bespoke box Unmarked Bronze: 6.75” L; Box: 3.125” H x 11.5” W x 4.75” D $800-1,200 Provenance: Kerlin Gallery, Dublin, Ireland The Collection of Ralph and Sheila Pickett, acquired from the above, March 28, 2006 Notes: This lot is accompanied by a photocopy of the purchase receipt. A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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149

Masayo Odahashi

(b. 1975) “Calm of Water VI” P‚te de verre and enamel paint Unmarked 18.25” H x 5.75” W x 8.5” D $2,000-4,000

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John Seward Johnson (1930-2020)

Seward Johnson was an influential American sculptor k gained fame for his larger-than-life figures that capture include the “Celebration of Life” series and the iconic “ beautifies public spaces but also sparks conversations

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Jr.

known for his lifelike bronze sculptures that often blend realism with a touch of whimsy. Born in 1930, he e everyday moments, encouraging viewers to engage with art in a relatable way. His most notable works “Unconditional Surrender,” a massive depiction of the famous World War II kiss. Johnson’s art not only about community and the human experience. His legacy continues to inspire artists and art lovers alike.

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150

John Seward Johnson Jr.

(1930-2020) “Generation Bridge” Patinated and cold-painted bronze and cedar bench Attributed and titled to plaque: By J. Seward Johnson Jr. / Sited By Sculpture Placement, Washington, D.C.; stamped to wood: PLIB / 21 / NLGA RULE / STAND & BTR / S-GRN / W CEDAR-N 2 pieces Bench and figure: 40.5” H x 60.25” W x 40” D; Child: 35” H x 14.5” W x 16” D $15,000-20,000

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152

Bill Mack

(b. 1949) “Charisma,” 1995 Patinated bronze on a stone base Edition: V/C Signed and dated to base: © billmack Bronze: 21.25” H x 8” W x 9” D; Base: 2.125” H x 8” W x 8” D $1,000-2,000

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151

Irene Frolic

(b. 1941) “Botanic Series 1,” 2002 Cast glass Incised signature and date to underside: Frolic 23.25” H x 9.5” W x 6.25” D $1,200-1,800

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Josh Agle (aka SHAG) (b. 1962)

Josh Agle, born on August 31, 1962, known professio captures the essence of mid-century modernism and r in the world of modern art.

Growing up in Southern California, SHAG developed began during his childhood, where he would spend co would later shape his artistic vision and inspire his sign

In the late 1980s, SHAG attended the California State skills and experiment with different mediums, includin galleries and art shows, slowly gaining recognition for

It was in the early 1990s that SHAG began to establish cocktail lounges, and vintage advertising. He created sophistication and mystery. With his masterful use of fl simultaneously nostalgic and contemporary.

)

onally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style that retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has become an icon

a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His artistic journey ountless hours drawing and immersing himself in the visual culture of the time. These early experiences nature style.

e University, Fullerton, where he studied both illustration and fine art. His studies allowed him to refine his ng painting, printmaking, and sculpture. During this time, he also started exhibiting his work in local his unique approach to art.

h his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, Tiki culture, a universe of characters, often depicted in glamorous and whimsical settings, exuding an air of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic world that feels

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153

Josh Agle (aka SHAG)

(b. 1962) “Into His Dark Heart,” 2003 Acrylic and vinyl paint on board Signed lower right: SHAG 24” H x 38” W $4,000-6,000

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154

Josh Agle (aka SHAG)

(b. 1962) “Million Dollar View,” 2020 Screenprint in colors on paper Edition: 72/200 Signed, titled, and numbered in pencil in the lower margin: SHAG Image: 32.5” H x 54.5” W; Sight: 34” H x 57” W $1,000-2,000

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155

Josh Agle (aka SHAG)

(b. 1962) “Mammoth Martini,” 2023 Screenprint in colors on paper Edition: 14/200 Signed, titled, and numbered in pencil in the lower margin: SHAG Image: 18.125” H x 53.75” W; Sight: 21.5” H x 57.5” W $1,000-2,000

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156

Josh Agle (aka SHAG)

(b. 1962) “The Refill,” circa 2011 Giclee on canvas From an edition of 10 Signed lower right: SHAG 37.5” W x 83.5” W $1,000-2,000

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157

Josh Agle (aka SHAG)

(b. 1962) “Nosy Neighbors,” circa 2013 Giclee on canvas Edition: 2/10 Signed and numbered in the lower image: SHAG 37.25” H x 79” W $1,000-2,000

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158

Peter Blake (b. 1932)

Three plates from the “French Postcards” suite Three works: Seated nude woman with roses, 1969 Screenprint in colors on thin cardstock Edition: 33/75 Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Nude woman leaning against a tree, 1969 Screenprint in metallic green on thin cardstock Edition: 33/75 Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Nude woman seated on a daybed, 1969 Screenprint in colors on thin cardstock Edition: 2/75 Signed, dated, and numbered in black ink in the lower corners of the image: Peter Blake; Leslie Waddington/Kelpra Studios, London, England, pub.

Image/Sheet of each: 16.75” H x 10.75” W (approx.) $600-800 Provenance: The Marmor Family Collection

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159

Larry Sultan

(1946-2009) “Malibu Canyon Rd.,” 2002 Chromogenic print on paper Edition: 1/10 Signed very faintly in the lower margin, at right: Larry Sultan; titled, dated, and numbered on a gallery label affixed to the frame’s backing board Image: 18.5” H x 23” W; Sheet: 20.75” H x 25” W $5,000-7,000 Provenance: Stephen Wirtz Gallery, San Francisco, CA

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Robert ParkeHarrison (b. 1968)

Robert ParkeHarrison is an American photographer an performance. Born in 1968 in Fort Leonard Wood, Mis and the interplay between technology, nature, and hu

Together with his wife Shana, the ParkeHarrisons creat traditional film and darkroom techniques. Their work o in Sisyphean tasks, and attempting to mend the broke combining elements of theater, sculpture, and painting Their images are both haunting and hopeful, reflecting

One of their most acclaimed series, “The Architect’s B many of the themes central to their work, including en their surreal beauty and poignant commentary on con waste by industrial exploitation, and acts as a singular “The Architect’s Brother” appear bleak and hopeless, new world, one that is environmentally conscious of ac are from the “Industrialscapes” section of the monogr

The ParkeHarrisons’ works have been exhibited in num of American Art, and the George Eastman Museum. T for their contributions to contemporary art.

“I want to make images that have open, narrative qua juxtaposed with the modern. I use nature to symbolize there are holes in the sky. These mythic images mirror technology and a poetry of existence. These can be ve absurd approach.” - Robert ParkeHarrison

n

nd artist known for his evocative and surreal imagery that blends photography, sculpture, fabrication, and ssouri, ParkeHarrison has built a career exploring themes of human struggle, environmental degradation, umankind.

te intricate, fantastical staged photographs that are meticulously constructed and photographed using often features Robert as the protagonist figure, a lone person navigating dystopian landscapes, engaging en relationship between humans and the environment. A narrative quality runs throughout their work, g. They construct elaborate sets and use a variety of techniques to create dreamlike, allegorical scenes. g a deep concern for the state of the planet and a longing for reconnection with the natural world.

Brother,” was published as a monograph in 2000 and has been widely exhibited. This series encapsulates nvironmental collapse, renewal, and the human condition. The images from this series are celebrated for ntemporary issues. Through five sections of photographic narratives, ParkeHarrison envisions a world laid Everyman, trying desperately to repair and remake a world torn asunder. Though many of the images in a concurrent, underlying sense of hopeful optimism runs through the monograph, reflecting on what a ction, can be. The two ParkeHarrion lots in this sale, “Tree Symphony” (1997), and “The Sacrifice” (1997), raph.

merous prestigious institutions, including the Los Angeles County Museum of Art, the Whitney Museum Their photographs are part of several major collections, and they have received various awards and honors

alities, enough to suggest ideas about human limits. I want there to be a combination of the past, e the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; our world, where nature is domesticated, controlled, and destroyed. Through my work I explore very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically

160

Robert ParkeHarrison

(b. 1968) “Tree Symphony” from the series “The Architect’s Brother,” 1997 Gelatin silver print on paper, mixed media, varnish, and beeswax mounted on aluminum honeycomb panel Edition: 2/4 Signed, titled, dated, and numbered in pencil on a label affixed to the frame, verso: Robert ParkeHarrison; titled, dated, and numbered again on a gallery label affixed, verso 26” H x 22” W $3,000-5,000 Provenance: Richard Levy Gallery, Albuquerque, NM

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161

Robert ParkeHarrison

(b. 1968) “The Sacrifice” from the series “The Architect’s Brother,” 1997 Gelatin silver print on paper, pigment, and resin on a wood box mount Edition: 4/4 Signed, titled, dated, and numbered on a label affixed, verso: Robert ParkeHarrison 25.5” H x 20.75” W $3,000-5,000

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162

Ansel Adams

(1902-1984) “Storm Surf and Rocks, Timber Cove, California,” 1960 Gelatin silver print on paper laid to illustration board, as issued From the edition of unknown size, printed prior to 1963 Inscribed with the negative number 4-CAL-[B] in black ink within the purplish-black ink studio stamp “Photograph / by / Ansel Adams / 131-24th Avenue / San Francisco” on the verso of the illustration board Image/Sheet: 10.5” H x 13.25” W; Illustration board: 16” H x 20” W $1,000-1,500 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Prints and Multiples,” November 19, 2019, Lot 1038 Private Collection, acquired from the above

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163

Philippe Halsman

(1906-1979) Scene with Salvador Dalí from the production of “In Voluptas Mors” Gelatin silver print on paper Unsigned; with the artist’s copyright ink stamp, verso Image: 11.875” H x 10.75” W; Sheet: 13.875” H x 10.875” W $2,000-3,000

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164

Peter Milton

(b. 1930) “Water Music” from the “Interiors V” series, 1988 Etching on Somerset Buff paper Edition: 62/175 Signed, titled, dated, and numbered in pencil in the lower margin: P Milton Plate: 29.75” H x 23.75” W; Sheet: 38” H x 30.5” W $1,000-2,000 Literature: Johnson/Milton 112

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165

Peter Milton

(b. 1930) “Soundings” from the “Interiors VI” series, 1989 Etching on Somerset Buff paper Edition: 5/175 Signed, tilted, dated, and numbered in pencil in the lower margin: P Milton Plate: 30” H x 24” W; Sheet: 38.125” H x 30.5” W $1,000-2,000 Literature: Johnson/Milton 112

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166

Kelly Fearing

(1918-2011) Figures on blue ground, 1950 Watercolor, ink and wax on paper under glass Signed and dated upper right: Fearing, titled on a collection label affixed to the backing board Sight: 7.5” H x 11.25” W; Sheet: 7.75” H x 11.5” W $1,000-2,000

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167

Rajendra Dhawan

(1936-2012) Untitled, 1978 Watercolor and pencil on paper Signed and dated lower right: Dhawan 9” H x 11.75” W $1,000-1,500 Provenance: Estate of Monique De Wulf

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168

20th Century Abstract School

Untitled, 1963 Mixed media on cardboard Signed, dated, and inscribed “III” lower right: Chassepot 39” H x 31.5” W $300-500 Provenance: Estate of Monique De Wulf

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169

Lars Bo

(1924-1999) Army on the march, 1962 Mixed media on paper Signed and dated lower right: Lars Bo; an unidentified blindstamp lower right Image/Sheet: 32.5” H x 39.5” W $300-500 Provenance: Estate of Monique De Wulf

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170

James Havard

(1937-2020) “Mimbres Head,” 1987 Acrylic and collage on canvas Signed and dated lower right: Havard; dated again and titled in blue pen ink on an artist label affixed, verso 20” H x 16” W $1,200-1,800

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171

Masami Teraoka

(b. 1936) “Today’s Special - Ready to Lick” from the “31 Flavors Invading Japan” portfolio, circa 1981 Woodblock in colors on paper Edition: 67/500 Signed and dated in pencil, verso: Masami Teraoka; with two artists’s printed monograms, lower left: Masami Teraoka; with carver’s, printer’s, and publisher’s notations in Japanese along lower right edge; Ukiyo-e Research Center, Tokyo, prntr.; Space Gallery, Los Angeles, CA, pub.

Image: 10.25” H x 16.125” W; Sheet: 11.125” H x 16.5” W $1,000-2,000

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172

Valeska Soares

(b. 1957) Untitled Beeswax and hair on acid-free paper Unsigned 18” Dia. $1,000-1,500 Provenance: Christopher Grimes Gallery, Santa Monica, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 1998 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

174

Laurie Reid

(b. 1964) “Untitled (fence),” 1999 Watercolor on paper Unsigned; titled and dated on labels affixe backing board and hanging wire 44” H x 30” W $600-800

Provenance: Stephen Wirtz Gallery, San Fr The Collection of Ralph and Sheila Pickett the above, 1999

Notes: A portion of the proceeds from the collection will go to benefit the Institute o Art San Jose.

173

Marco Maggi

(b. 1957) “Title in Progress,” 1998 Pencil on clayboard Unsigned; titled and dated on a gallery label affixed, verso 7” H x 5” W $500-700 Provenance: Hosfelt Gallery, San Francisco, CA The Collection of Ralph and Sheila Pickett, purchased from the above, 1999 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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ed to the frame’s

rancisco, CA t, purchased from

e sale of this of Contemporary

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175

Monika Lin

(b. 1968) “White Gloopie,” 2009 Stretched cotton and cotton batting Unmarked Dimensions variable: 39” H x 9” Dia. approx. $1,000-1,500 Provenance: Toomey Tourell Fine Art, San Francisco, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 2009 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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176

Alesha Fiandaca

(b. 1964) Untitled Unglazed porcelain and clay 5 pieces Largest: 9.25” H x 9” W x 3.25” D; Smallest: 5” H x 3.25” W x 2.5” D $400-600 Provenance: The Collection of Ralph and Sheila Pickett, acquired in 1999 Notes: The group is meant to hang vertically on a wall and each has holes for mounting.

A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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Sir Anthony Alfred Ca (1924-2013)

Sir Anthony Caro, a revolutionary force in twentieth-ce materials and spatial relationships. Born in New Malde Cambridge, followed by sculptural training at the Roya Caro’s artistic vision crystallized into a groundbreaking sculptures positioned directly on the ground, shatterin encounter with the artwork.

Caro’s influence extended beyond his studio practice; generation of sculptors. His questioning approach ope worldwide.

In 1977, Caro’s artistic exploration took him to the Em in a linear mode. Sculptures produced during this peri Tate Gallery collection) and “Emma Dance” (1977/78) work, “Table Piece CCCLXXIII,” (1977).

Throughout his illustrious career, Caro explored variou experimentation with form and composition and his in sculpture. Resolutely nonfigurative, Caro’s works reson emotion.

Anthony Caro’s selected exhibitions spanned the glob Art in New York (1975) to Trajan’s Markets in Rome (19 in dialogue about form, space, and materiality. His retr exhibitions in Pas-de-Calais, France (2008), highlighted legacy as a visionary artist whose work continues to ca

Honored with numerous awards and accolades, includ pioneering sculptor and educator continues to inspire with his unwavering commitment to artistic innovation

aro

entury sculpture, challenged traditional notions of form and engagement with his innovative approach to en, England, Caro’s journey into sculpture began after studying engineering at Christ’s College, al Academy Schools in London and an apprenticeship with Henry Moore. It was in the early 1960s that g exhibition at the Whitechapel Gallery, London, where he presented large, brightly painted abstract ng the conventions of pedestal-mounted sculpture and inviting viewers into a more intimate, interactive

; his tenure as a teacher at St. Martin’s School of Art in London (1953 -1981) profoundly impacted the next ened new possibilities, both formally and in terms of subject matter, leading to the flourishing of sculpture

mma Lake summer workshop at the University of Saskatchewan, where he experimented with tubular steel iod, later known as the “Emma” series, include notable works such as “Emma Dipper” (1977, now in the ), showcasing Caro’s continued evolution as an artist. This is the same period Caro created the present

us materials, from steel, bronze, lead, and silver to stoneware, wood, and paper. His restless nfluential teaching at St. Martinís School of Art in London propelled him to the forefront of contemporary nate with human experience, offering viewers a deeply subjective encounter with form, space, and

be, showcasing his pioneering contributions to twentieth-century sculpture. From the Museum of Modern 992) and the Museum of Contemporary Art in Tokyo (1995), Caro’s sculptures engaged diverse audiences trospective at the Tate Britain, London (2005), celebrated his profound influence on British art, while d his ability to adapt his practice to various cultural contexts. Each exhibition underscored Caro’s enduring aptivate and inspire audiences worldwide.

ding a knighthood in 1987 and the Praemium Imperiale Prize for Sculpture in 1992, Caro’s legacy as a e generations of artists worldwide. His profound impact on the language of abstract sculpture, coupled n, cements his place as one of the most influential figures in the history of modern art.

177

Sir Anthony Alfred Caro

(1924-2013) “Table Piece CCCLXXIII,” 1977 Varnished and rusted steel on black lacquered wood table Unmarked Sculpture: 21.25” H x 69.5” W x 12.5” D; Base: 18.325” H x 71” W x 15” D $20,000-30,000 Provenance: ACE Gallery, Venice, CA The Marmor Family Collection, acquired from the above, July 17, 1978 Exhibited: Venice, California, Ace Gallery, “Anthony Caro: Recent Sculpture,” 1978.

Literature: D. Blume, Anthony Caro: Catalogue Raisonné, Vol. I: Table and Related Sculptures, 1966-1978, Cologne, 1981, p.234, illustrated Notes: This lot is accompanied by a purchase receipt from ACE Gallery, Venice, CA, dated July 17, 1978. The bench was custom-made for the piece after purchase.

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178

Dennis Westwood

(1928-2021) “Eyecatcher” Patinated and verdigris bronze on black stone base Edition: 3/9 Signed, titled, and numbered to paper label affixed to underside: Dennis Westwood Overall: 12” H x 10.625” W x 9.5” D $1,500-2,500

179

Carter Stephen Cox

(b. 1969) “Petrification of Memory,” 1999 Steel on a wood pedestal with steel base Unmarked Sculpture: 27.375” H x 6.5” W x 7.25” D; Pedestal: 51” H x 19” W x 18.25” D $2,000-3,000 Notes: This lot is accompanied by a purchase receipt dated January 18, 2000.

Additionally accompanied by an artist’s statement, an artist’s CV, and a letter signed by the artist.

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180

Eric Orr

(1939-1998) “Eternal Clouds,” 1993 Black Andes granite water sculpture with water pump, light fixture, and onyx base Electrified Overall height: 89”; Sculpture: 14” W x 1.5” D; Base: 9.25” H x 22.25” W x 21.5” $7,000-9,000 Provenance: Eric Orr Gallery, Venice, CA Private Collection, acquired from the above, 1993

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181

Eric Orr

(1939-1988) “Blue and White,” 1989 Etching and screenprint in colors on wove paper Edition: 17/25 Signed, dated, and numbered in pencil at the lower margin: Orr; titled by repute; signed again and inscribed on the frame’s backing board: Happy Birthday / George & Gloria / Orr ‘93 Image: 25.25” H x 18.75” W; Sheet: 29.5” H x 21.5” W $2,000-3,000

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182

Rolly Crump

(1930-2023) Singing skeleton Mixed media on paper Signed in pencil lower right: Crump Image/Sheet: 24” H x 18” W $600-800

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183

Aldo Luongo

(b. 1940) “Green Fields” Oil on canvas Signed upper left: Aldo Luongo; signed again and titled in ink on the upper portion of the stretcher 48” H x 60” W $800-1,200

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184

Tibor Jankay

(1899-1995) Pathway through a landscape Oil on Masonite Signed left of center: Jankay 24” H x 48” W $1,000-1,500

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185

186

(1899-1995) Pathway towards a house Oil on Masonite Signed lower left: Jankay 24” H x 32” W

(1912-1975) “Le Plat de Valoris,” 1960 Oil on canvas Signed lower right: Falcou; signed again, titled, dated and inscribed, all verso: Paris / 501 Mai 54.5” H x 41” W

Tibor Jankay

$800-1,200

Jacques Falcou

$600-800 Provenance: Estate of Monique De Wulf

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d,

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187

John McKaughan Jr.

(1927-2022) Self-portrait Mixed media on board Signed verso: John McKaughan 42” H x 31” W $1,000-2,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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188

John McKaughan Jr.

(1927-2022) “Finder Mushroom,” 2005 Mixed media on canvas Signed verso: John McKaughan 78.25” H x 60.5” W $1,000-2,000 Provenance: Kerlin Gallery, Dublin, Ireland The Collection of Ralph and Sheila Pickett, acquired from the above, March 28, 2006

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189

John McKaughan Jr.

(1927-2022) Portrait of the artist’s father Mixed media on canvas Unsigned 78.25” H x 60” W $1,000-2,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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190

Ron Zick

(1934-2024) “The Graduate,” 2002 Oil on canvas Signed and dated directly underneath the male figure: Zick; titled on the upper edge, at center; inscribed on the lower edge, at center: Mrs. Robinson / and Benjamin; signed, titled, dated, and inscribed again, verso 60” H x 48” W $2,000-3,000 Provenance: Estate of the artist

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191

Peter Klasen (b. 1935) Two works:

“Corrosive 8” Mixed media on illustration board Signed and titled in pencil in the lower margin: Klasen 19.5” H x 12.25” W “Camion bâche rouge rouge,” 1991 Mixed media on illustration board Signed, titled, and dated in pencil in the lower margin: Klasen 14” H x 19.5” W $2,000-3,000 Provenance: Galerie Alexandre De La Salle, France The Collection of Ralph and Sheila Pickett, acquired from the above, 1985 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose.

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192

Gregory Siff

(b. 1977) Museum chocolate bar Mixed media on paper mounted to panel Signed in pencil lower right: Gregory 20” H x 16” W $400-600

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193

Sylvester Stallone

(b. 1946) “Surprise at Night, for the Hunter,” 2016/2018 Mixed media on canvas Signed lower left: Sly; dated upper left: 2018; signed and dated again: Sly Stallone, 2016, and inscribed, verso 46” H x 24” W $4,000-6,000

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194

A framed guitar signed by members of The Rolling Stones

Late 20th/early 21st century Signed by Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, and Ronnie wood; with barcoded CoA sticker applied to guitar: 1114020; with an additional sticker bearing same number The guitar framed with six photographs from live performances by the band on felt backing Framed: 25.125” H x 42” W x 4.125” D $1,000-1,500

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Doug Owen (b. 1950)

Doug Owen (b. 1950) is celebrated for his masterful as Dakota, where the vast prairies and rugged beauty of

Specializing in mixed media and found objects, Owen assemblages are crafted of faintly recognizable object replaced the horses he creates. His works are noted fo pieces are widely appreciated for their lifelike quality a

ssemblage sculptures and public artworks. Owen’s artistic journey began in the rural landscapes of South the Midwest heavily influenced his creative vision.

n’s sculptures often depict wildlife and the natural world with remarkable detail and dynamic realism. His ts—primarily car, tractor, and motorcycle parts—these materials being of the machines that ultimately or their meticulous craftsmanship and ability to capture the spirit and movement of his subjects. Owen’s and the emotional depth they convey.

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195

Doug Owen

(b. 1950) Horse sculpture Soldered metal scraps and found materials Incised to back left leg: OWEN 62.5” H x 66” W x 45” D approximately $4,000-6,000

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Bernhard Rohne (b. 1947)

Bernhard Rohne is a renowned artist and designer kno 1970s. Rohne, originally from Germany, brought a uniq approach involved the use of acid-etched brass and co often featuring elaborate and organic patterns, disting only set new standards for luxury and sophistication in were celebrated for their craftsmanship, elegance, and be sought after by collectors and design enthusiasts w

own for his significant contributions to the world of furniture design through his work at Mastercraft in the ique blend of European craftsmanship and innovative artistry to the American market. His distinctive opper, creating intricate and captivating surfaces that became the hallmark of his designs. These pieces, guished Mastercraft’s offerings from those of other furniture manufacturers of the time. Rohne’s work not n furniture design but also established him as a leading figure in the decorative arts. The pieces he created d the ability to blend seamlessly into both contemporary and traditional interiors. His legacy continues to who appreciate the artistry and innovation that define his work.

196

Bernhard Rohne (b. 1947)

An oval bar cart for Mastercraft, circa 1970s The black lacquered wood table banded featuring acid-etched brass art by Bernhard Rohne, with glass top and undershelf and brass tubular supports, set on four brass casters 24.5” H x 32.25” W x 19.5” D $600-800

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197

Don Shoemaker (1919-1990)

A “Perno” safari armchair, circa 1950s Unmarked The cocobolo wood frame with plug joint construction and leather strapping to seat and seat back 28.25” H x 23” W x 22” D $1,000-2,000

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198

Charles Hollis Jones (b. 1945)

A “Waterfall” coffee table, late 20th century Unmarked The Lucite and polished nickel over steel table with rounded corners, surmounted by a glass top 2 pieces Overall: 17.25” H x 60.25” W x 30.25” D $1,000-1,500

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199

A pair of Modern suede top side tables

Mid-20th century Each unmarked The gold-tone painted metal tables, each surmounted by a tan suede leather-wrapped wood top, 2 pieces Each: 16.75” H x 27.75” W x 20” D $600-800 Provenance: Estate of Monique De Wulf

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200

Paul Frankl (1886-1951)

A pair of “Bell” side tables for Brown Saltman, 1930s with later elements The Art Deco wood tables inspired by the form of a kanji character, later white lacquered 2 pieces Each: 22.875” H x 28” W x 15.75” D $800-1,200

201

Six Naos Italian leather side chairs

Circa 1990s; Italy Each with sticker: NAOS / Made in Italy The high-back dining chairs, each with stitched leather over black metal frame and black leather cushioned seats, 6 pieces Each: 39.5” H x 17.75” W x 21” D $600-800

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202

Marilyn Armstrong

(b. 1949) “Women’s Dreaming,” 1989 Acrylic on canvas Signed, titled, and inscribed in blue pen ink, verso: Marilyn Armstrong 33” H x 24” W $500-700 Provenance: Helen Loveridge-Outback Alive, Kuranda, Queensland Richard Kelton Collection, Santa Monica, CA, acquired from the above, 1990 Sold: Abell Auction, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 335 Notes: The blue pen ink inscription on the verso, reads: In Mythological times two old women / traveled to the site ngatan [?] / at the site a large water snake / went in the water hole / the two old women killed the snake / because no one could drink or go / near the river.

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203

Marilyn Armstrong

(b. 1949) “Goanna Dreaming” Acrylic on canvas Signed, titled, and inscribed in blue pen ink, verso: Marilyn Armstrong 33” H x 24” W $500-700 Provenance: Helen Loveridge-Outback Alive, Kuranda, Queensland Richard Kelton Collection, Santa Monica, CA, acquired from the above, 1990 Sold: Abell Auction, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 70 Notes: The blue pen ink inscription on the verso, reads: This painting shows about the giant / goanna ancestors is slaying in his country / rounds [?] at top on each side represents water / the other bright colours show a delicious edible berries / The other background colours are wild plums [?]

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204

Xavier Wimmiji

(b. circa 1945) “Emu Dreaming at Rockholenear Jupiter Well,” 1997 Acrylic on linen Signed, dated, and numbered “557” verso: Xavier Wimmiji 36” H x 24” W $600-800 Provenance: Warlayirti Aboriginal Artists Corporation, Balgo, Western Australia Richard Kelton Collection, Santa Monica, CA, acquired from the above, 1997 Sold: Abell Auction, Los Angeles, CA, “The Kelton Collection of Important Australian Indigenous Works of Art,” July 29, 2022, Lot 259

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205

Richard Sapper (1932-2015)

A pair of “Executive” armchairs and a “Management” armchair for Knoll, 1986; New York City, NY Designed 1979 Each Knoll International reclining chair with black leather upholstery, powder-coated aluminum frame, and cantilevered arms, set on a swivel base with five legs on casters, comprising two high-back armchairs and one lower-back chair 3 pieces Pair: 39” H x 27” W x 27” D; Lower: 33.5” H x 26” W x 26.5” D, each height adjustable $600-800 Provenance: Estate of Monique De Wulf

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206

A Modern lacquered wood chest

Mid/late 20th century The rectangular orange lacquered wood chest of drawers with two small over two long drawers, each with bladed brass pulls 27.625” H x 47.125” W x 19.75” D $700-900 Provenance: Estate of Monique De Wulf

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207

A contemporary dining table

Late 20th century Appears unmarked The Art Deco Revival table with lacquered book matched wood veneer top set on a brushed steel and wood circular base with two concentric rings and three curved arm supports 30” H x 54.25” Dia. $1,000-1,500 Provenance: The Marmor Family Collection

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208

A Contemporary rosewood dining set

Late 20th century Each appears unmarked The Art Deco Revival set comprising a rectangular trestle-style lacquered table featuring a book-matched rosewood veneer top, extendable with central leaf and raised on columnar legs with chromed metal cuffs, and eight wood dining chairs, each with ebonized vertical slat seatback and seat cushions upholstered in blue cotton brocade-style textured fabric, raised on curvilinear legs, 9 pieces Table: 29.5” H x 84.25” W x 42” D; Extended: 102.25” W; Each chair: 35.75” H x 22” W x 22” D $700-900 Provenance: The Marmor Family Collection This lot may require a CITES permit if being shipped outside California.

Please contact your preferred shipping company for information.

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Alexander Calder (1898-1976)

A multidisciplinary modern artist, Alexander Calder (18 whimsical shapes. Calder had a creative outlet early in even have his own workshop growing up. Years later h When he returned to an artistic profession after gradu

In 1926, Calder moved to Paris and began working mo included miniature performers, animals, and props. Ca to split his time between France and the United States artists such as Joan Miró, Fernand Léger, and Marcel D “mobile” meaning motion or active.

With his work shown around the world, and having cre International Airways to paint one of their DC-8 jetline began, and it was not the first time Braniff had worked worked with fashion designer and printmaker Emilio P stewardesses and airline personnel.

“Flying Colors” was aimed to commemorate an expan closely with Braniff Art Director, John McKaughan Jr., w used colors that he found most striking during his trips added unique figures and “beasties” to the engine na that is rarely found to contain all six original designs.

The “Flying Colors” Series extended beyond the Bran used for the final design of the DC-8 plane. In the Fall they were installed hanging to appear floating around

In 1975, after the success of the Flying Colors campaig States”. This time, the designs commemorated the Bic like strokes across a Boeing 727-200. More lithograph collection.

Alexander Calder passed away the following year, in 1 the end of his career.

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898-1976) is most notably known for his kinetic sculptures or mobiles often made with bright colors and n life, being born into a family of artists, he created small sculptures as early as eight years old and would he would go on to earn a mechanical engineering degree from Stevens Institute of Technology in 1919. uating, this degree would prove valuable as he created his uniquely engineered sculptures later in life.

more diligently with wire, creating a large body of work known as “Cirque Calder,” an assemblage that alder would put on performances of his hand-crafted circus in both Paris and New York. He would go on s by 1950, finding continued artistic success in both countries and connecting with other well-known Duchamp who coined the phrase “Mobile” for Calder’s kinetic sculptures, referring to the French word

eated paintings and sculptures in a grand scale, Calder was pitched the idea of collaborating with Braniff ers, as well as 50 gouaches for a series known as “Flying Colors”. It was in 1973 when their collaboration d with a renowned artist, having already bridged the gap between design, fashion, and aviation, as they Pucci. Starting in 1965 through 1974, Pucci designed six collections of designer uniforms for Braniff’s

nsion of Braniff flights from the United States to South America. Throughout this process, Calder worked who this collection comes from. McKaughan traveled extensively to Latin America, and Calder himself s to South America as an influence for the color palette used on the plane. In addition, Calder himself acelles, in which these designs were used to create the “Flying Colors” suite, a collection of lithographs

niff tarmac. Calder made several fiberglass models with various hand-painted designs, which were then l of 1973, five of these models were displayed at the Solomon R. Guggenheim Museum in New York City, d the rotunda of the museum.

gn, Alexander Calder and Braniff Airways collaborated once again for the “Flying Colors of the United centennial of the United States, with more U.S. centric colors of red, white, and blue painted in ribbonhs and gouaches arose from this series, with unique works and tests designs included in the McKaughan

1976, making his collaboration with Braniff Airways a large milestone and emphatic exclamation point at

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209

Alexander Calder

(1898-1976) “Gramophone,” 1976 Lithograph in colors on Japon paper Edition: XIII/XX (there was also the edition of 75 on Arches paper) Signed and numbered in pencil in the blank of the printed spirals near the lower edge: Calder Image/Sheet: 25.5” H x 19.75” W $2,000-3,000 Notes: This lot is accompanied by a certificate of authenticity from Original Print Collectors Group, Ltd., New York, NY, and signed by the director.

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210

Alexander Calder

(1898-1976) “Untitled,” 1976 Gouache and ink on Canson wove paper Signed and dated upper right: Calder Sheet: 29.5” H x 44” W $20,000-30,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift rom the above Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A30177.

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Image showing Alexander Calder painting Braniff airliner accompanied with lot 234

211

Alexander Calder

(1898-1976) “Arctic Sunset,” 1973 Lithograph in colors on laid paper From the edition of unknown size Signed and dated in the stone lower right: Calder; with the red ink stamp from Perls Galleries, New York, NY, verso Image/Sheet: 29.5” H x 43” W $1,000-1,500 Provenance: Perls Galleries, New York, NY The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This image is from the original gouache on wove paper, that is currently stored at the National Gallery of Art, Washington, DC, and was a gift from Mr. and Mrs. Klaus G. Perls, the owners of the Perls Galleries, New York, NY. Additionally, this image was also used as a color lithograph exhibition poster with accompanying text for the upcoming “Calder at 75-Works in Progress” exhibition at Perls Galleries, New York, NY, October 2 - November 3, 1975.

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212

Alexander Calder

(1898-1976) “Take Off for the Sun,” 1976 Lithograph in colors on wove paper From the edition of unknown size Signed in pencil lower right: Calder Image/Sheet: 23” H x 34.125” W $400-600 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, acquired from the above

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213

Alexander Calder

(1898-1976) Hand-made paper visor, 1975 Gouache, pastel, string, various types of paper, and mixed media Signed, dated, and inscribed in red gouache along the upper portion and brim of the visor: John from Sandy 11.25” H x 12.25” W (irreg.) $5,000-7,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 19551982, gift from the above, 1975 Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A30176. Alexander Calder was also known by his nickname, Sandy. He would often make visors when working in his studio.

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214

Alexander Calder

(1898-1976) Design Concept - Running Figures, 1975 Gouache and graphite on Arches paper Initialed and dated lower right: AC Sheet: 29” H x 41” W $10,000-15,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above, 1975 Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A18837.

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215

Alexander Calder

(1898-1976) A lettering test for “The Flying Colors of the United States” Gouache on Arches paper Signed lower right: Calder, and titled, at center; with an unidentified blindstamp in the lower right corner Image/Sheet: 15” H x 22.5” W $3,000-5,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 19551982, gift from the above Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A30183.

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216

Alexander Calder

(1898-1976) U.S. cities and signatures - design test Gouache on Arches paper Signed four times and with various U.S. cities inscribed on the sheet, at center: Calder; inscribed in gouache on the verso: Flying Colors of the United States / 200 years Sheet: 30.25” H x 22.5” W $2,500-3,500 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 19551982, gift from the above, 1975 Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A30182.

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217

Alexander Calder

(1898-1976) A list of November 1975 test dates Gouache on Arches paper Unsigned Image: 15” H x 10” W (approx.); Sheet: 30.25” H x 22.5” W $2,000-4,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 19551982, gift from the above Notes: These test dates were to be used as promotional material for the launch of Braniff International Airways Flying Colors of the United States Bicentennial. This design was never used in any mass production, although Braniff did introduce the Boeing 727-291 painted with a unique Alexander Calder design on November 17, 1975.

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218

Alexander Calder

(1898-1976) Design concept for bicentennial plane, 1976 Lithograph in brown ink and collage on various papers Signed and dated in the stone near the upper right corner of the support sheet: Calder; inscribed in pencil in the lower right corner of the support sheet, possibly in another hand: Brownline — Calder Gift 22.5” H x 32.5” W $1,000-2,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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Photo taken by John McKaughan Jr. of Alexander Calder painting Braniff airliner accompanied with lot 234.

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219

Alexander Calder

(1898-1976) An in-process design for “Flying Colors of the United States,” 1976 Lithograph in colors on wove paper From the edition of unknown size Signed and dated in the stone, upper right: Calder Image: 20.25” H x 26” W; Sheet: 21.5” H x 29.125” W $1,000-1,500 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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Image showing Alexander Calder painting Braniff plane model accompanied with lot 234

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220

Alexander Calder

(1898-1976) “Flying Colors of the United States / The Bicentennial Plane,” 1976 Lithograph in colors on paper From the edition of unknown size Signed and dated in the stone lower right: Calder Image: 20.25” H x 27.75” W (approx.); Sheet: 23” H x 33” W $400-600 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: “Flying Colors of the United States / The Bicentennial Plane” is a notable lithograph that was reproduced from the original gouache of Calder’s as a commemoration piece of the bicentennial Boeing 727-200 plane Calder had decorated for Braniff Airways, Dallas, TX. Calder, known for his vibrant and dynamic works, infused the lithograph with patriotic themes, reflecting the spirit of the era, and the 200th birthday of the United States.

This work was a tribute to the employees and associates of Braniff International, honoring their dedication and service during a momentous time in American history, as well as thanking them for the opportunity to head this creative project. This lithograph was never sold to the public and was only available to those who worked for Braniff.

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221

Alexander Calder

(1898-1976) “Stars and Stripes” from the “Flying Colors” campaign, 1975 Lithograph in colors on wove paper Edition: 96/100 Signed and numbered in pencil at the lower right and left, respectively: Calder; Mourlot, Paris, pub.

Image/Sheet: 25” H x 35.75” W $2,000-4,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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222

Alexander Calder

(1898-1976) “America with Flying Colors” Gouache on Arches paper Signed and titled, at center: Calder Image: 12” H 23.5” W (approx.); Sheet: 22.5” H x 30.25” W $3,000-5,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above, 1975 Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A30185.

Notes: Before deciding on “Flying Colors of the United States” as the name of the Bicentennial campaign, Alexander Calder and Braniff debated using America with Flying Colors. The official name was decided after The United States was deemed a more specific title than “America”.

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223

Alexander Calder

(1898-1976) Untitled (Nice going John) Gouache and lithograph in colors on a ‘with Flying Colors - Braniff International’ gloss paper folder Signed in blue gouache, lower right: Sandy; inscribed in blue gouache near the upper edge, right of center: Nice going John Overall: 9.5” H x 25” W $3,000-5,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: Soon after Braniff International Airways announced the Flying Colors of the United States Bicentennial campaign, Calder sent this folder with an inscription and drawing to John McKaughan Jr. to congratulate him on another successful launch of their second Flying Colors series.

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224

Alexander Calder

(1898-1976) A design test for “Oct. 22, 75” Gouache on Arches paper Signed and titled, at center: Calder Image: 10.5” H x 18.5” W (approx.); Sheet: 22.5” H x 30.25” W $2,500-3,500 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: This work is registered in the archives of the Calder Foundation, New York, under application number A26604.

This work is a design test for a poster that was reproduced for the Flying Colors of the United States unveiling conference that Braniff International Airways hosted at the Plaza Hotel in New York City in 1975.

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225

Alexander Calder

(1898-1976) A mailing envelope from Alexander Calder Gouache, ink, and postal stamps on a thin mailing envelope laid to Charko-Board Signed and inscribed, presumably in the hand of the artist, at center: Expediteur / Calder / Sache 37 Frances Overall: 11” H x 10” W $500-700 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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226

Alexander Calder (1898-1976) Color swatches Gouache on paper Unsigned 16” H x 7” W $500-700 Provenance: Perl’s Galleries, New York, NY The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A sheet on the back of the frame states that this sheet of pigments is the “standard, final, and Alexander Calder APPROVED COLORS for WorldWide paint/press inks/literature inks.

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227

Alexander Calder

(1898-1976) An invitation card to the opening of Alexander Calder’s exhibition at the Maeght Gallery, Paris, January 24, 1973 Lithograph in colors on thick paper From the edition of unknown size Signed in the stone: Calder; the exhibition invitation card cut into two sections along the original vertical folding line; sold together with a separate piece of thin paper with printed exhibition and gallery information; 3 pieces Invitation (overall): 5.5” H x 14.5” W; Gallery information printed sheet: 7.875” H x 10.125” W $1,000-2,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: The invitation card is for the opening of the exhibition, “Calder: Recent Mobiles,” that was held at the Maeght Gallery, Paris, France from January 24-February 24, 1973.

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228

Alexander Calder

(1898-1976) Two invitations for “Sandy’s Air Party,” 1975 Each: Lithograph in colors on a folded wove paper invitation card, as issued Each from the edition of unknown size Each unsigned; with the invitation text printed in French on the left-hand side of the open card Each when folded: 6.5” H x 8.75” W; Each overall: 6.5” H x 17.25” W $1,000-2,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: The information on the inside of the card invites the possible attendees to a lunch aboard the DC-8-62 with the painted decorations by Calder for Braniff International on Saturday, May 31, 1975, at 11:00 a.m., at Du Bourget Airport, Paris, France, with the plane scheduled for take-off at 11:30 a.m. and landing at 2:30 p.m.

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229

Alexander Calder

(1898-1976) An assembled group of Alexander Calder’s signature test designs Each: Gouache on wove paper Nine small wove rectangular pieces of paper, each signed in black gouache: Calder Each rectangle: 1.5” H x 5” W (approx.); Overall: 13.125” W x 5” W $2,000-4,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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230

Alexander Calder

(1898-1976) “Beastie” from the “Flying Colors” suite, 1974-75 Lithograph in colors on Arches paper From the edition of 250 Initialed and dated in the stone lower right: AC; with the Flying Colors Collection blindstamp lower right; State Street, New York, for Braniff International Airlines, pub.; inscribed in black ink with a doodle of the world love and a bottle above the figure Image/Sheet: 20” H x 26” W $1,000-2,000 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: This lithograph has a black ink hand-drawn bottle with a heart label along the back of the printed image, and in the hand of the artist. John McKaughan Jr. had brought this lithograph to Calder after they had made many reproductions for the Flying Colors campaign. Upon sharing a bottle of wine, Calder drew the bottle along the back of “Beastie” and regifted the piece back to McKaughan Jr.

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231

Alexander Calder

(1898-1976) “Flying Colors (Plate X),” 1973 Lithograph in colors on Arches paper Edition: 18/100 (from the deluxe, pencil-signed edition; there was also an unsigned edition) Signed and numbered in pencil at the lower right and left, respectively: Calder Image/Sheet: 23.375” H x 33.875” W $1,500-2,500 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above Notes: This work was created as part of the “Flying Colors” campaign for Braniff International Airways, Dallas, TX.

232

Alexander Calder

(1898-1976) “Flying Colors” suite, 1974-75 The complete suite of six lithographs in colors on Arch From the edition of 250 Initialed and dated in the stone lower right: AC; with t International Airlines, pub.

Image/Sheet of each: 20” H x 26” W (or reverse) $600-800

Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Bra

Notes: The titles for the lithographs in this suite are “B

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the Flying Colors Collection blindstamp lower right; State Street, New York, for Braniff

aniff International Airways from 1955-1982, acquired from the above

Beastie,” “Convection,” “Friendship,” “Skybird,” “Skyswirl,” and “Sunburst.”

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Braniff International promotional ad accompanied with lot 234

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A Calder designed Braniff model airplane and ephemera

1970s Model plane with sticker to underside: Pacific Miniatures, Inc. / Alhambra, CA The model plane decorated with a 1970s design by Alexander Calder (1898-1976) for Braniff Airways, together with various ephemera including sixteen large-format printed photographs of Calder taken by John McKaughan Jr. in both color and black and white (fourteen measuring 14.75” H x 18.25” W approx. and two measuring 13” H x 16.5” W approx.), a Flying Colors airplane poster, a small bifold Flying Colors brochure, and a booklet detailing how to install the vinyl decorations to the airplane, 20 pieces total Plane: 11.75” H x 36” W x 38.25” D; Poster: 15” H x 23” W; Booklet: 11.25” H x 8.125” W $500-700 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, acquired from the above

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233

A group of Alexander Calder Braniff International Airways ephemera and memorabilia

Compromising two invitations for the Beaux Arts Ball as a tribute to Alexander Calder and his works; one pamphlet for “The Maiden Voyage of Flying Colors;” a souvenir memento postcard screenprinted in colors on paper of “Le Dragon Amical the Friendly Dragon” that was hand-painted on the left side engine cover of a Braniff International 727 jet; a folded offset image of “Stars and Striped;” two Braniff International in-flight menus with Alexander Calder’s “Flying Colors” designs, with a Beaux Arts Ball: A Tribute to Alexander Calder and His Works benefit celebration pamphlet; two Braniff International: with Flying Colors folders; two typed letters written by Calder for Braniff marketing; a “South America with Flying Colors...Braniff International” poster; and a crescent moon poster by Calder 14 pieces Largest: 35.5” H x 25.125” W; Smallest: 5” H x 8” W $300-500 Provenance: The Artist The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

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235

A group of model airplanes including Braniff Airways

1970s/80s With wheel chock labels for five planes; bases marked for plane models Comprising an aluminum Douglas DC-8 super 62 with black plastic stand, an aluminum Braniff International Boeing 707 with metal stand, a small metal BAC One Eleven (1-11) with marble stand, and four smaller painted wood model prop planes including NC8026, NC9798, NC9424, NC7455, together with a group of service figurines, 18 pieces Largest plane: 2.5” H x 11” W x 12” D $300-500 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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236

Two Braniff International Airways Posters Two works:

“Havana,” circa 1950 Screenprint in colors on paper From an edition of unknown size Unsigned “Paraguay” Screenprint in colors on paper From an edition of unknown size With the printed signature in the image: Fabio Each: 26” H x 20” W $400-600 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: The “Havana” poster with a Charles Adams label affixed to the frame’s backing board.

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Emilio Pucci for Branif (1914-1992)

In 1965, when Braniff International Airways decided to giants of quality and reputation in the design world, na 2024), Girard became project designer and would take Pucci, would re-dress the flight crew in an entirely radic Plain Plane.”

At that time, many 1960s airplane exteriors were consi bland with military styling. The design team focused o military uniforms, especially since “a host of new synth

According to then Braniff President, Harding L. Lawren to be really distinctive and different, but at the same tim The ultimate aim was to wow the American public and was lauded as critical to the airline’s turnaround. Upon emergence of a new and startling butterfly of an airline

Emilio Pucci, the “Prince of Prints,” was well known at of natural and synthetic fibers that were comfortable a be contemporary. The Italian look is elegance, applied

Together with his Summer and Fall Haute Couture coll Florence, on July 19, 1965. Inspired by the “Space Rac weightlessness of a walk in space,” designed to be int various times in the flight: the infamous “Air Strip.”

Ultimately, Pucci designed six collections for Braniff fro accessories including scarves, shoes, belts, bags, and e

Emilio Pucci (1914-1992), the Marchese di Barsento, w life in the family “Pucci Palace.” After spending two ye a master’s degree in social science at Reed College, Po served in the Italian Air Force in WWII, and continued a

As an avid skier and athlete who was part of the 1932 College, Oregon ski team, a team he had been tasked and innovative stretch fabrics, and is credited with des photographer spotted one of Pucci’s friends in Zermat editor later asked Pucci to create outfits for an editoria

ff International

o enliven their image and redesign their entire fleet and the uniforms of their crew, they turned to two amely Alexander Girard and Emilio Pucci. Hired by advertising executive Mary Wells Lawrence (1928e on the airplane livery, the airport lounges and furniture and airplane interiors. Haute couturier, Emilio cal new concept, known as the “Anti-Uniform,” all part of the Braniff campaign called “The End of the

idered unremarkable, with plain grey interiors, few company logos, and uniforms that were often rather on a “splashy theme involving a multitude of colors,” with Pucci proposing to do away with the traditional hetic fabrics in bright colors were available for travel wardrobes.”

nce, “commissioning Pucci to design apparel for us was an aspect of Braniff International’s determination ime functional and customer oriented.” He wanted the outfits to be fun, comfortable, and memorable. d “be sufficiently newsworthy to make the cover of Life magazine.” With such success, the campaign n their debut, the newly painted aircraft and bold designs and colors were expressively described as “the e bursting forth where a rather familiar old moth of a carrier had been.”

the time for his vibrant geometric prints and innovative, breezy fabrics, in rather luxurious combinations and easy-care, as well as glamorous. Pucci stated he was guided by the simple principle: “Fashion must d to even formal occasions. When I design, I think of a woman in motion.”

lections, Pucci debuted the first Braniff collection, “Galaxy IV,” at his family home, the Pucci Palace in ce,” the collection featured colorful air hostess outfits with multiple pieces, in fluid cuts “translating the terchangeable, often reversible, and worn in layers, with each successive layer removed or replaced at

om 1965 to 1974, each in a mix of solid colors and geometric prints, with a full range of coordinating even umbrellas and metallic hostess aprons; all very modern, very chic uniforms “suited to the jet age.”

was born in Naples, Italy to one of Florence’s oldest aristocratic families, and lived and worked most of his ears at the University of Milan in Italy, he attended the University of Georgia in Athens, GA., and received ortland, Oregon, in 1939. Pucci held a doctorate in political science from the University of Florence. He after the war, as a promoted captain.

Olympic Italian ski team, one of his first forays into fashion was designing the ski outfits for the Reed d with developing. In the early part of his career, Pucci was known for sportswear, swimwear, ski outfits, signing the first one-piece ski suit. His sportswear designs gained wider attention when a Harper’s Bazaar tt, Switzerland wearing an intriguingly fitted ski outfit. The look was photographed, and the Harper’s al on European Winter Fashion, for the winter 1948 issue.

By 1950, Mr. Pucci was at the forefront of the fledgling Italian fashion industry. As he travelled between hi palatial home in Florence, the mountain pistes of Switzerland and the glamourous resort of Capri, Pucci “naturally embodied the post-war, jet-set glamour which captivated a new generation of modern, active women.”

For his first boutique in Capri and later, in Rome, Pucci initially designed simple, beautiful resort clothing inspired by the island’s natural beauty and vivid colors, but shifted his focus to vibrant kaleidoscope print in silks, creating dramatic silk scarves, and later blouses and wrinkle-free silk free-flowing dresses.

These graphic, abstract prints were to become synonymous with the Pucci name. The patterns and optica motifs were inspired by cultural and historical artifacts such as mosaics, batiks, and African and later Latin American motifs. “It was the first time that such optical illusions had been used in clothing and the effect highly original and extensively copied over the years.” Another of his innovations at the time was to incor his signature “Emilio” into the print of his fabrics, one of the first couturiers to use his name as part of the external design.

By the 1960s, a dress in the distinctively patterned Pucci print, which used up to sixteen colors in a single design, was the uniform of fashionable women everywhere in the world. Marilyn Monroe, Elizabeth Taylor Lauren Bacall, Gina Lollobrigida and Jacqueline Kennedy Onassis were some of the women photographe Pucci designs.

Pucci aspired to create practical pleasing garments that would liberate women, granting them unprecede freedom and ease of movement. His simply-designed dresses, pants, and tops featured flowing lines that followed the natural curves of the body, in contrast to the prevailing post-war styles of fitted, confining, an often very heavy and voluminous fashions. He was inspired to develop stretch fabrics and worked with Ita fabric manufacturers to create (and patent) several new fabrics such as silk stretch jersey and cotton jersey new fabrics helped him design effortless and elegant clothes that were weightless, unlined, and wrinkle-p the beginning of a modern, travel-friendly wardrobe.

As a true innovator in color and fabrics, Pucci is well placed in fashion history, especially during the 1950sas “a perfect example of the transition between luxurious couture and ready-to-wear, in Europe and North America.” His popularity continued to rise throughout the 1960s and 1970s, undergoing a revival in the e 1990s.

After Emilio Pucci’s death in 1992, his daughter, Laudomia Pucci, continued to design under the Pucci nam The French LVMH luxury goods empire acquired 67% of Pucci in 2000, rising to 100% in June 2021. Laud Pucci remained in charge of the house’s archives and heritage.

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237

An Emilio Pucci for Braniff International silk twill scarf

Circa 1965-1966 A large silk twill scarf in greens, lavender, purple, blues, and cream, featuring various Central American instruments and pre-Columbian motifs, with the Braniff International logo, with scrollwork border and hand rolled hem 35” x 35” approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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238

An Emilio Pucci for Braniff International silk twill scarf

Circa 1965-1966 A large silk twill scarf in dark pink, black, blue, and olive, featuring various Central American instruments and pre-Columbian motifs, with the Braniff International logo, with scrollwork border and hand rolled hem 35” x 35” approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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239

An Emilio Pucci for Braniff International silk twill scarf

Circa 1965-1966 A large silk twill scarf in various pinks, and blues featuring various Central American instruments and pre-Columbian motifs, with the Braniff International logo, with scrollwork border and hand rolled hem 35” x 35” approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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240

An Emilio Pucci for Braniff International silk twill scarf

Circa 1965-1966 A large silk twill scarf in yellow, pink, and green, featuring various Central American instruments and pre-Columbian motifs, with the Braniff International logo, with scrollwork border and hand rolled hem 35” x 35” approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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Graphic from a large framed BI promotional photograph accompanied with Lot 241

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241

An Emilio Pucci for Braniff International hostess ensemble

Circa 1966 Dress labeled size 10; Emilio Pucci / Florence / Italy / 100% nylon; hat labeled for Adolpho II / New York / Paris; tights labeled Emilio Pucci for Formfit Rogers / Made in USA / Long / 100% nylon From the Braniff International “End of the Plain Plane” campaign, and part of the “Supersonic Derby” collection, comprising a multicolored Pucci Harlequin signature print thin nylon jersey dress with raglan sleeves and high zip neck with a matching beaded tassel cord belt, as well as a matching bowler hat with flaps, a pair of matching nylon briefs, and a pair of similar patterned gusseted seamed nylon tights, 5 pieces Dress: 18.5” W (waist) x 38” L; belt: 56” L; hat: 21.25” inner C x 6” H; briefs: 15” W (stretched) x 11.5” H; tights: 16” W x 42” L $150-250 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 70-71, 72-73.

This lot accompanied by a large framed BI promotional photograph and design layout image.

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Graphic from a large framed BI promotional photograph accompanied with Lot 241

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242

An Emilio Pucci for Braniff International reversible hostess coat

Circa 1968 With black Emilio Pucci label to dark pink interior sleeve From the “Classic Collection,” a two-toned reversible wool blend coat in pale pink and dark pink, with princess seams and raglan sleeves, and with self-covered buttons and covered snaps to each side 15” W (waist, buttoned) x 39.5” L; sleeves: 26.5” L (from collar) $150-250 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by a four-page BI promotional brochure.

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243

A vintage Pucci/Harrison flight bag

Circa 1960s-1970s Label: Made in Italy for Harrison A large zip top bag in blue coated canvas cloth trimmed with Pucci plum and pale pink striped webbing accents, with rolled handles and front zip pocket 13.5” H x 19” W x 6.75” D; Handle drop: 5.5” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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Graphic from four-page BI promotional brochure accompanied with lot 242

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245

Circa 1965 Marked to interior: Emilio Pucci Bags / By J[ana] / Made in Italy A rectangular zip top bag, part of the Gemini IV collection, in pinks, cream and black printed velveteen featuring various Central American instruments and pre-Columbian motifs, with a black leather strap, vinyl trim and lining, and a Prentice zipper 10” H x 14” W x 4” D; Strap drop: 16.5” $100-200

Circa 1966-1968 Dress labeled size 8; apron labeled Small/Short and with Cohama “Galaxy” label: 100% Nylon / Hand Washable; hat labeled for Adolpho II / New York / Paris Comprising a 1968 “Classic Collection pale pink Trevira wool blend drop waist hostess dress together with a silver metallic lamé hostess tabard apron with self-sash belt, as well as a 1966 “Supersonic Derby” nylon Pucci harlequin print bowler hat with flaps, featuring various Central American instruments and pre-Columbian motifs and a matching beaded tassel cord belt, 4 pieces Dress: 17” W x 33” L; apron: 16” W x 29.5” L ; hat: 21.5” inner C x 6” H; belt: 50” L

Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

$150-250

An Emilio Pucci for Braniff International shoulder bag

An Emilio Pucci for Braniff International hostess ensemble

Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Flight Patterns: Airline Uniforms from the 1960s-70s” (San Francisco: SFO Museum: 2021-2022), figure 5.

This lot accompanied by an original Braniff hostess certificate.

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Original Braniff hostess certificate accompanied with lot 245

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An Emilio Pucci for Braniff International hostess ensemble

Circa 1966-1968 Dress labeled size 4; apron labeled Small/Short and with Cohama “Galaxy” label: 100% Nylon / Hand Washable; hat labeled for Adolpho II / New York / Paris Comprising a 1968 “Classic Collection pale pink Trevira wool blend drop waist hostess dress together with a silver metallic lamé hostess tabard apron with self-sash belt, as well as a 1966 “Supersonic Derby” nylon Pucci harlequin print bowler hat with flaps, featuring various Central American instruments and pre-Columbian motifs, 3 pieces Dress: 15” W x 31.5” L; apron: 16” W x 29.5” L ; hat: 21” inner C x 6” H $150-250 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Flight Patterns: Airline Uniforms from the 1960s-70s” (San Francisco: SFO Museum: 2021-2022), figure 5.

This lot accompanied by an original Braniff hostess certificate.

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247

An Emilio Pucci for Braniff International hostess ensemble

Circa 1966-1968 Dress and apron labeled size 6; apron with Cohama “Galaxy” label: 100% Nylon / Hand Washable; hat labeled for Adolpho II / New York / Paris; tights with Emilio Pucci label, size M Comprising a 1968 “Classic Collection” plum Trevira wool blend drop waist hostess dress together with a gold metallic nylon lamé hostess apron with a matching beaded tassel cord belt, as well as a 1966 “Supersonic Derby” nylon Pucci harlequin print bowler hat with flaps, featuring various Central American instruments and pre-Columbian motifs, and a pair of matching harlequin print nylon seamed tights, 5 pieces Dress: 16” W x 31.5” L; apron: 16.5” W x 33.5” L; belt: 61” L; hat: 21.5” inner C x 6” H $150-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 82-83.

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248

An Emilio Pucci for Braniff International hostess ensemble

Circa 1966-1968 Dress labeled size 10, apron labeled size 12; with Cohama “Galaxy” label: 100% Nylon / Hand Washable; hat labeled for Adolpho II / New York / Paris Comprising a 1968 “Classic Collection” plum Trevira wool blend drop waist hostess dress together with a gold metallic nylon lamé hostess apron with a matching beaded tassel cord belt, as well as a 1966 “Supersonic Derby” nylon Pucci harlequin print bowler hat with flaps, featuring various Central American instruments and pre-Columbian motifs, and a pair of dark plum nylon tights, 5 pieces Dress: 17.5” W x 33.25” L; apron: 18” W x 35.5” L; belt: 62” L; hat: 21.75” inner C x 6” H $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 82-83.

This lot accompanied by a four-page BI promotional brochure.

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249

An Emilio Pucci for Braniff International hostess dress ensemble

Circa 1971 Dress marked size 8; pantyhose unmarked From the “747 Braniff Place Collection,” comprising a Qiana nylon short sleeved knee length dress with V-neck in dark pink solid and pink Pucci signature print, with a pair of matching lime green nylon tights/pantyhose, together with a Braniff International hostess certificate in a white vinyl presentation case, 3 pieces Dress: 14” W (waist) x 34” L; case: 5.375” H x 7.375” W $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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250

An Emilio Pucci for Braniff International hostess uniform ensemble

Circa 1972 Two with size 8 label; scarf with label for Emilio Pucci, silk, and care labels Three works comprising a Qiana nylon short sleeved knee length dress with ruffled neck in solid and blue Pucci signature print, from the “727 Braniff Place Collection,” together with a matching silk chiffon scarf and a blue metallic lamé hostess serving apron with a matching beaded tassel corded belt, 4 pieces Dress: 14.25” W (waist) x 33.5” L; apron: 19” W (front waist) x 34.25” L; belt: 60” L; scarf: 34.5” x 35” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102-103.

This lot accompanied by an original Braniff International in-flight menu with cover designed by Alexander Calder.

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251

Two Emilio Pucci for Braniff International silk chiffon scarves

Circa 1970s Each with tags: Emilo Pucci / Florence / Made in Italy / 100% Pure Silk / [care labels] Comprising a pink and green abstract print scarf from the 1971 “747 Braniff Place” collection, together with a blue and green abstract print scarf from the 1972 “727 Braniff Place” collection, each with Emilio signature, the Braniff International logo, and with hand rolled hems, 2 pieces Each: 35” H x 35” W approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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252

An Emilio Pucci for Braniff International hostess shorts ensemble

Circa 1972 Each marked size 8; scarf with label for Emilio Pucci, for silk, and care labels From the “727 Braniff Place Collection,” comprising a Qiana nylon sleeveless knee length dress with scoop neck in solid and blue Pucci signature print with a pair of matching print shorts, together with a Pucci silk chiffon scarf, 3 pieces Dress: 14” W (waist) x 32” L; shorts: 12” W (waist) x 13.5” L; scarf: 35” x 35” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102-103.

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Two Emilio Pucci for Braniff International silk chiffon scarves

Circa 1970s Pink scarf with tags: Emilo Pucci / Florence / Made in Italy / 100% Pure Silk Comprising a pink and green abstract print scarf from the 1971 “747 Braniff Place” collection, together with a blue and green abstract print scarf from the 1972 “727 Braniff Place” collection, each with Emilio signature, the Braniff International logo, and with hand rolled hems, 2 pieces Each: 35” H x 35” W approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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254

An Emilio Pucci for Braniff International hostess shorts ensemble

Circa 1972 Dress marked size 4; shorts: Size 6; scarf with label for Emilio Pucci, for silk, and care labels From the “727 Braniff Place Collection,” comprising a Qiana nylon sleeveless scoop neck dress with side split and self-covered buttons, in solid and blue Pucci signature print, with a pair of matching shorts and a matching Pucci silk chiffon scarf, 3 pieces Dress: 12.5” W (waist) x 30” L; shorts: 11.5” W (waist) x 13.25” L; scarf: 35” x 35” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102-103.

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255

An Emilio Pucci for Braniff International silk twill scarf

Circa 1965-1966 A large silk twill scarf in greens, lavender, purple, blues, and cream, featuring various Central American instruments and pre-Columbian motifs, with the Braniff International logo, with scrollwork border and hand rolled hem 35” x 35” approximately $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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256

A group of vintage Braniff International hostess accessories

Circa 1965 and 1972 Shoes labeled for Ferragamo and Florence, Italy; Size 7AAA Comprising an Emilio Pucci 1965 “Gemini IV” velveteen hostess “scarf” hat with Central American and pre-Columbian motifs in greens, cream and black, together with two pairs of Salvatore Ferragamo “Princel” green patent leather shoes, in two-tone glossy green patent leather with low chunky heel, likely worn with the 1972 “727 Braniff Place Collection,” 5 pieces Hat: 21.75” inner C x 4.5” H; each shoe: 9.75” L (insole); heel: 1.875” H $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by as well as a large black and white promotional photograph of the same style hat worn by the Braniff International air hostesses (20.25” H x 16” W), and a page from a BI promotional brochure.

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257

Four pairs of vintage Braniff International hostess shoes

Circa 1965-1974 Each labeled for maker and for size Comprising three pairs of Salvatore Ferragamo “Princel” green leather shoes, in twotone glossy green patent leather with low chunky heels and cut-out vamp, likely worn with the 1972 “727 Braniff Place Collection,” (6B & 6.5B, Made in Italy), as well as a pair of dark pink and green Baldino for Braniff smooth leather block heel shoes featuring one green leather heel accent and cut out vamp detail (7AA, Made in Italy), 8 pieces Green: 9.5” L and 9.25” L; heel: 1.875”; Pink: 9.5” L; heel: 1.5” $100-150 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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258

An Emilio Pucci for Braniff International hostess uniform pants ensemble

Circa 1972 Each with size 8 label; pants: 8 short From the “727 Braniff Place Collection,” comprising a Qiana nylon short sleeved knee length dress with ruffled neck in solid and blue Pucci signature print with matching palazzo pants, 2 pieces Dress: 14” W (waist) x 35” L; pants: 14.5” W (stretched waist) x 39.5” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102-103.

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259

An Emilio Pucci for Braniff International hostess uniform pants ensemble

Circa 1972 Each with size 8 label; pants: 8 long From the “727 Braniff Place Collection,” comprising a Qiana nylon short sleeved knee length dress with ruffled neck in solid and blue Pucci signature print with matching palazzo pants, 2 pieces Dress: 14” W (waist) x 33” L; pants: 14.5” W (stretched waist) x 42” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102-103.

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260

A Braniff International Pilot Captain’s uniform ensemble

Circa 1960s-1970s Jacket with label for Brooks Tailors, Dallas; shirt with Bob Fenn, Dallas label and care labels Comprising a BI designated Captain custom tailored black wool mix gabardine double breasted suit jacket with brass metal branded buttons and four bars of yellow trim to each sleeve, partially lined to fronts and upper back, and a pair of matching tailored trousers, as well as a custom-made Braniff International white poly/cotton short sleeved shirt (size 15 1/2), together with a First Officer’s hat with BI leaf insignia (size: 6 7/8), as well as two further BI Officers hats (Sizes 7 1/2 and 7 3/8), and a promotional photograph of a BI Captain, 7 pieces Jacket: 21” W (chest) x 32” L (center back); sleeves: 25.5” L; pants: 16” W (waist) x 39.5” L; inseam: 29”; photo: 17.25” H x 14” W $150-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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261

A framed Emilio Pucci silk scarf panel

Circa 1960s-1970s A square Pucci signature fabric panel, likely silk, in a twill weave with multicolored geometric design, in oranges, pinks, yellow, and purple, with selvages at two sides, and cut edges on two sides 35” x 35” approximately $50-75 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This particular scarf panel was framed by the original owner, John McKaughan Jr. as the two worked together closely while Emilio Pucci was collaborating with Braniff Airways. Pucci had been pitching a new marketing idea that was shot down by the Braniff team, when he entered McKaughan’s office. Pucci flung the scarf, a factory defect, at Mr. McKaughan in a fit of passion over their conflicting marketing ideas. McKaughan ultimately framed the scarf to emphasize the point that due to Emilio Pucci’s meticulous work ethic, such factory defects rarely made in to the public eye.

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262

A group of Pucci for Braniff International hostess items

Circa 1968-1972 Aprons labeled: size 6; gold apron with Cohama “Galaxy” label: 100% Nylon / Hand Washable Comprising two metallic nylon lamé hostess aprons, one in hot pink and one in gold with a matching beaded tassel cord belt, together with a pink and yellow multicolored “Classic Collection” silk chiffon hostess scarf, 4 pieces Each apron: 17” W x 33” L approximately; belt: 64” L; scarf: 34” x 35” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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263

An Emilio Pucci for Braniff International hostess uniform shorts ensemble

Circa 1971 Each marked size 10 From the “747 Braniff Place Collection,” comprising a Qiana nylon short sleeved tunic dress with square neck in pink solid and pink Pucci print, with a side slit and selfcovered buttons, as well as a pair of matching shorts, 2 pieces Dress: 14.5” W (waist) x 31” L; shorts: 13” W (waist) x 14.25” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by two Braniff International publicity photos.

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264

An Emilio Pucci for Braniff International hostess uniform pants ensemble

Circa 1971 Each marked size 10; pants: 10 long From the “747 Braniff Place Collection,” comprising a Qiana nylon short sleeved knee length dress with ruffled neck in solid pale pink and pink Pucci signature print with a pair of matching palazzo pants, as well as two promotional photographs for the collection, 4 pieces Dress: 14.5” W (waist) x 33.5” L; Pants: 15” W (stretched waist) x 42” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by two Braniff International promotional photographs (larger: 20.25” H x 16” W)

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265

Two pairs of vintage Braniff International hostess shoes

Circa 1965-1974 Each labeled for maker and for size Comprising a pair of Beth Levine/Herbert Levine/Neiman Marcus mint green calf leather mid-calf boots with dark apricot calf leather trim and tapered heel (7B), together with a pair of dark pink and green Baldino for Braniff smooth leather block heels featuring one green leather heel accent and cut out vamp detail (7B, Made in Italy), 4 pieces Boots: 10” L x 11.25” H, heel: 2”; Pink: 9.5” L; heel: 1.5” $100-150 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by two pages from a BI promotional brochure.

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266

Four pairs of vintage Braniff International hostess shoes

Circa 1965-1974 Each labeled for maker and for size A group of size 9AA shoes comprising a pair of Beth Levine/Herbert Levine/Neiman Marcus green patent leather mid-calf boots with apricot calf leather trim and flat heel (9AA), and a pair of Beth Levine green patent leather and clear plastic “See Thru Pump” flats (9AA), a well as a pair of dark pink and green Baldino for Braniff smooth leather block heels with one green leather heel accent and cut out vamp detail (9AA, Made in Italy), and a pair of Chandlers/ French Room Originals dark pink/plum smooth leather heels (9AA), 8 pieces Boots: 10.5” L x 10.5” H, heel: 1”; Green: 10.25” L; heel: 1”; Baldino: 10.25” L; heel: 1.75”; Pink: 10.25” L, heel: 2” $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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267

A group of vintage Braniff International hostess accessories

Circa 1965-1974 Each labeled for maker and for size Comprising a pair of Beth Levine/Herbert Levine/Neiman Marcus green patent leather mid-calf boots with apricot calf leather trim and flat heel (7B), as well as a pair of Beth Levine/Herbert Levine/Neiman Marcus pink patent leather and clear plastic “See Thru Pump” flats (7.5B), and a pair of green and apricot nylon gloves by Kay Fuchs (Size M), 6 pieces Boots: 10” L; heel: 1.125”; Pink: 9.75” L; heel: 1”; gloves: 9” L $100-150 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by a BI promotional brochure page.

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268

Three pairs of vintage Braniff International hostess shoes

Circa 1965-1974 Each labeled for maker and for size A group of size 8 shoes, comprising a pair of pale pink Palmroth for Braniff smooth leather block heels (8B; Made in Finland), a pair of dark pink and green Baldino for Braniff smooth leather block heels featuring one green leather heel accent and cut out vamp detail (8B, Made in Italy), and a pair of Beth Levine/Herbert Levine/Neiman Marcus navy blue patent leather and clear plastic “See Thru Pump” flats (8B), 6 pieces Each pink pair: 10” L; heel: 1.5”; Blue: 10.25” L, heel: 1” $100-150 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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269

An Emilio Pucci for Braniff International hostess scarf

Circa 1971 A shaped nylon scarf with a diagonal seam and two pointed opposing ends, in a pink and green abstract Pucci signature print, with original tag and box, 2 pieces 21.5” H x 22” W $50-75 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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270

A group of Pucci for Braniff International hostess accessories

Circa 1965 and 1971 Variously labeled for Pucci and Italy; gloves labeled for Kay Fuchs Three works comprising a Pucci print umbrella in pinks and greens from the 1971 “747 Braniff Place collection, with leather handle and strap (25” L), as well as a matching Pucci shoulder bag in Pucci print-covered leather with buckled leather strap, and a pair of deep plum and pink nylon gloves by Kay Fuchs from circa 1965-66, 4 pieces Umbrella: 25” L; bag: 5.75” H x 8.375” W x 2.25” D; gloves: 8.5” L x 3.625” W $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by two BI promotional photographs.

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271

An Emilio Pucci for Braniff International hostess ensemble

Circa 1966-1968; 1971 Dress labeled size 10; apron: 8; gold apron with Cohama “Galaxy” label: 100% Nylon / Hand Washable Comprising a 1968 “Classic Collection” pale pink Trevira wool blend drop waist hostess dress together with an oblong nylon Pucci signature print hostess scarf from the 1971 “747 Braniff Place” collection, as well as a gold lamé hostess apron and matching corded beaded tassel belt, and a pair of pale pink nylon pantyhose, 5 pieces Dress: 17” W (waist) x 33” L; apron: 17” W x 34” L; belt: 62” L; scarf: 41” W x 22” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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Braniff International promotional photographs accompanied with lot 272 w w w. j o h n m o r a n . c o m 4 8 3

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272

A group of Pucci for Braniff International hostess items

Circa 1968-1971 Two labeled for size; apron with Cohama fabric label: Galaxy / 100% nylon / Hand Washable Six works comprising a “747 Braniff Place” collection Qiana nylon sleeveless knee length dress with scoop neck in solid pink and Pucci signature print (Size 8), with a matching Pucci narrow silk chiffon scarf, as well as a gold nylon metallic lamé serving apron (Size 6), a pair of pink nylon tights, and a lightweight pink shift tunic (no label), 5 pieces Dress: 14” W (waist) x 33.5” L; apron: 17” W x 33.5” L; scarf: 5.5” W x 30” L; tunic: 17” W x 35” L $100-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by a large promotional photograph featuring the 1971 Pucci dress (20.25” H x 16” W).

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273

Three pairs of vintage Braniff International hostess shoes

Circa 1965-1974 Each labeled for maker and for size A group of size 8.5 shoes comprising a pair of dark pink Baldino for Braniff smooth leather block heels (8.5A, Made in Italy), a pair of Beth Levine/Herbert Levine/Neiman Marcus green patent leather and clear plastic “See Thru Pump” flats (8.5AA), and a pair of Beth Levine/ Herbert Levine/Neiman Marcus blue and pink calf leather flats (8.5AAA), 6 pieces Pink: 10.25” L; heel: 1.5”; Green: 10.25” L; heel: 1”; Blue: 10” L, heel: 0.75” $75-100 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: This lot accompanied by two pages from a BI promotional brochure.

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274

A group of vintage Braniff International hostess accessories

Circa 1965-1974 Each labeled for maker and for size Comprising a pair of Chandlers/French Room Originals lime green smooth leather heels (8.5B), a pair of Beth Levine/Herbert Levine/Neiman Marcus green patent leather and clear plastic “See Thru Pump” flats (8.5B), as well as a pair of two-tone green and apricot nylon gloves by Kay Fuchs (Size M), 6 pieces Green: 10” L; heel: 2”; Green plastic: 10.25” L; heel: 1.125”; gloves: 9” L $50-75 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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275

A group of Pucci for Braniff International textiles and accessories

Circa 1971; 1974-1976 Comprising two 1971 “747 Braniff Place” pink and green Qiana nylon Pucci signature abstract print panel pieces (57” L x 48” W and 56” L x 47.5” W), as well as a similar Pucci design umbrella cover with a metal and leather umbrella frame (38” Dia.; frame: 24.75” L), together with three fabric swatches from the 1974-1976 “Classic Collection” including two color block polyester slub fabric pieces, one blue, one green (20.5” x 18.5” and 16” x 16.5”), as well as a green and blue nylon swirl Pucci signature print fabric piece, likely a garment cutting remnant (32” H x 25.5” W), 7 pieces $150-200 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982 Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 162-163.

This lot accompanied by two BI promotional photographs.

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Alexander Girard (1907-1993)

Alexander Girard (1907-1993), affectionately known as Sandr York City to an American mother from Boston and a French-It architecture in London. A graduate of the Royal School of Arc in New York, later moving to Detroit in 1937.

Girard is widely known for his contributions in the field of Am for the designs of George Nelson and Charles and Ray Eame

In 1952, Alexander Girard was hired to head the Herman Mill influenced the fundamentals of design throughout the United architectural training, with his first fabric line consisting of plai more patterns and designs, largely inspired by his passion for to develop a line of handwoven 100% cotton fabrics, “Mexic which he used in many of his installation and upholstery proje

His design work also included table settings for Georg Jenso Compound (1967) in Santa Fe, New Mexico, as well as the H

In May 1965, Girard began his design work for Braniff Interna all the flight attendant uniforms and accessories. Girard was g the sugar packets to the ticket counters to the color of the pla lemon yellow to make the “jellybean” planes recognizable fro

Girard also designed a line of upholstered furniture for Branif building on the Braniff designs which featured a low sight line Originals from this 1967 collection are considered rare, as the

Alexander Girard’s design work was heavily influenced by his

In 1962, Girard and his wife Susan established the Girard Fou other ethnic expressions, all reflecting a lifetime of travel and “beauty, humor, whimsy, and directness.”

In 1978, Girard contributed this vast collection to the Museum world’s largest collection of folk art. The Girard Wing houses toys and textiles from more than 100 nations.

Opening in 1982, this unconventional and enchanting exhibit or installed at various heights, including hanging from the cei painted color to delineate different sections of the exhibition Italian proverb “Tutto il mondo è paese” or “The whole world passion for collecting.

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ro, was an architect, interior designer, furniture designer, industrial designer, and a textile designer born in New talian father. He was raised in Florence, Italy, attended boarding school in England, and left in 1924 to study chitecture in Rome, Girard refined his skills in both Florence and New York. In 1932, he opened a studio opened

merican textile design, most notably through his work for Herman Miller (1952 to 1973), where he created fabrics es.

ller Textiles division. He worked with George Nelson and Charles and Ray Eames to form a design team that has d States and the rest of the world. Girard initially established a fabric collection with designs based on his in upholsteries and geometric drapery prints with stripes, circles, and triangles. He went on to create many or folk art. For some of his fabrics, he worked with a 19th century textile mill in Central Mexico, Telares Uruapan, cottons.” The excellent quality and array of colors inspired Girard to create “Mexidots” and “Mexistripes” fabrics ects.

on (1956), restaurant concepts including for La Fonda del Sol (1960), and L’Etoile (1966) in New York, and The Herman Miller Showplace: T&O (Textiles and Objects) (1961), and Braniff International Airways (1965).

ational Airways re-branding campaign: “The End of the Plain Plane,” with Italian couturier Emilio Pucci designing given the opportunity to work with textiles, color, and graphics on a grand scale, redesigning everything from lanes themselves. He used strong solid colors like light and dark blue, beige, ochre, orange, turquoise, and om the ground. He also designed the iconic Braniff bird motif logo.

ff’s ticket offices and customer lounges. He later developed a furniture collection for Herman Miller in 1967, e and an interior/exterior shell separate from the seat cushion to maximize the use of varied upholstery. ey were in production and available to the public for only one year.

s passion for folk art.

undation to manage their art collection that numbered over 100,000 pieces, including toys, dolls, icons, and d a love of objects. They began collecting on their honeymoon to Mexico in 1939, selecting pieces for their

m of International Folk Art in Santa Fe, New Mexico, recognized nationally and internationally as home to the the popular long-term exhibition, “Multiple Visions: A Common Bond,” which showcases folk art, popular art,

ition was designed and installed by Girard, and “features objects displayed within vignettes of Girard’s invention iling. Girard insisted upon a pure visual experience, rejecting the use of object labels, using bold areas of n, and often juxtaposing objects from very different cultures.” Visitors to the Girard Wing are greeted by the d is a village,” a saying Alexander Girard liked to quote, and which was a guiding principle of the Girard’s w w w. j o h n m o r a n . c o m 4 9 1

276

A large collection of fabric remnants including Alexander Girard

Circa 1960s-1970s A large group of upholstery fabric remnants and yardage lengths in various sizes, block colors, weaves, and fabric types, some likely designed by Alexander Girard for Herman Miller and Maharam including approximately five large pieces of “Checker” in black and white for Herman Miller, and multiple pieces and scraps of “Hopsak” in various colors, such as violet, yellow, orange, ochre, and pink, as well as other fabrics including a purple and blue variegated plain weave (similar to “Lanalux” by Maraham, 1970), an ochre yellow plain weave (similar to “Superweave” by Maraham, 1966), a few pieces of yellow and black repp fabric, pieces of grey and cream vertical stripe ribbed weave, and one large piece in an orange and beige twill weave, 74 pieces approximately Largest: 25.5” H x 56” W; smallest: 4.5” H x 14” W $600-800 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

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277

A 2010 Porsche Boxster convertible

VIN: WP0CA2A87AU710727; Plate: 6PVF327 White exterior with tan leather and carpet interior 84,4XX miles 3.4 liter, V6 engine 6-speed manual transmission, rear wheel drive Radio, CD player, and navigation Black soft top convertible Porsche manuals included $15,000-20,000 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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278

Pablo Picasso

(1881-1973) “Sculpture d’un jeune homme à la coupe,” Plate 70 from “La Suite Vollard,” 1933 Etching on Montval paper with Picasso watermark From the edition of 250 (there was also an edition of 50 with wider margins) Signed in pencil just below the platemark, at right: Picasso Plate: 10.5” H x 7.5” W; Sheet: 17.5” H x 13.25” W $4,000-6,000 Literature: Bloch 179, Baer 332 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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279

Joan Miro

(1893-1983) “Grand Duc II,” 1965 Etching and aquatint in colors on Arches paper Edition: 32/75 Signed and numbered in pencil at the lower margin: Miro; titled in pencil at the lower margin edge, verso; Maeght Éditeurr, Paris, pub.

Plate: 26.75” H x 20.75” W; Sheet: 35” H x 25” W $3,000-5,000 Literature: Dupin 395 Notes: An inscription with an illegible signature attesting to the authenticity of the work is inscribed in pencil in the upper half of the verso of the sheet.

Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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280

Rembrandt van Rijn

(1606-1669) “Beggar with a Wooden Leg,” circa 1630 Etching on laid paper, without watermark Unsigned Plate: 4.5” H x 2.625” W; Sheet: 4.625” H x 2.875” W $3,000-5,000 Literature: Bartsch, Hollstein 179; Hind 12; New Hollstein 49 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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281

Albrecht Dürer

(1471-1528) “Betrayal of Christ” from “The Engraved Passion,” 1508 Engraving on laid paper, without watermark Monogrammed and dated in the plate on the lower edge, at center; with an unidentifiable brown ink inscription on the verso of the upper edge Sheet: 4.625” H x 2.875” W $2,000-3,000 Literature: Bartsch, Meder, Hollstein 5; Schoch, Mende, Scherbaum 47 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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282

Two cast bronze deer garden statues

Late 20th/early 21st century Each unmarked The patinated and verdigris bronze figures, one of a stag with head upright and the other of a doe with head slightly lowered, 2 pieces Stag: 77” H x 54” W x 26” D; Doe: 38” H x 61” W x 15” D, approximately $2,000-3,000 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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283

Claudia Meyer

(b. 1961) Untitled Mixed media, Plexiglas, and LED lights on board Initialed on the lower corner of the right edge: CM 55.25” H x 55.25” W x 4” D $2,000-3,000 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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284

Yaacov Agam

(b. 1928) “Spring Fall,” 2015 Agamograph in colors Edition: XXIX/XCIX Signed and numbered in white pigment at the lower edge: Agam Sight: 14” H x 14” W $600-800 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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285

Marcus Glenn (b. 1968) Two works:

Dancer in yellow Mixed media on paper Signed lower left: Marcus Glenn Sight: 12.25” H x 8.75” W Woman with flowers Mixed media on paper Signed near the center of the right edge: Marcus Glenn Sight: 12.25” H x 8.75” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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286

Marcus Glenn

(b. 1968) Musicians and dancers Giclee print in colors and collage on canvas Edition: 219/350 Signed lower right: Marcus Glenn; numbered in pencil, verso 18.5” H x 25” W $700-900 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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287

Marcus Glenn

(b. 1968) Viewing modernism Giclee print in colors, pigment, and collage on canvas Edition: 325/450 Signed lower right: Marcus Glenn; numbered in pencil, verso 27” H x 19” W $600-800 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘ As-Is’, without warranty, all sales final.

Offered without Reserve

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288

Gene Francis

(20th century) “Prim Rose Lane” Watercolor and gouache on paper Signed and with the artist’s device lower right: Gene Francis; titled lower left Sight: 29.5” H x 39.5” W $500-700 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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289

Marcus Glenn

(b. 1968) Woman painting in apartment Mixed media on paper Signed lower right: Marcus Glenn Sight: 19.25” H x 15” W $500-700 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale.

‘As-Is’, without warranty, all sales final.

Offered without Reserve

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290

After George Nelson (1908-1986)

A chair after George Nelson’s “Marshmallow” chair for Knoll, 21st century Designed 1956 Sticker to metal bar verso: Alphaville Design / 3 The two-seater chair with metal frame mounted with eighteen circular leather-wrapped and cushioned wood pads 31” H x 51.5” W x 32” D $500-700 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 1 4 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

291

Shlomi Haziza

(b. 1969) Untitled bust Lucite Etched signature: Shlomi Haziza 24.5” H x 8.125” W x 8.125” D $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran. com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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292

Shlomi Haziza

(b. 1969) Untitled double helix stand Lucite Signed to bottom platform: Shlomi Haziza; with sticker to top: 49946 35.625” H x 14” W x 14” D $800-1,200 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditionsof-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 1 6 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

293

David Gerstein

(b. 1944) “Jacob Ladder,” 2008 Serigraph on steel Signed to base: Gerstein Design 20.75” H x 12.25” W x 6” D $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditionsof-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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294

Michael Kalish

(b. 1973) “Astrid,” 2016 Cut and lasered metal on aluminum Edition: 4/18 Signed upper left in black permanent ink: Kalish; numbered verso; titled and dated by repute 35.75” H x 42” W x 7.5” D $1,000-1,500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/ conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 1 8 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

w w w. j o h n m o r a n . c o m 5 1 9

295

Michael Kalish

(b. 1973) Pink rose Cut and lasered metal on aluminum Edition: 2/35 Signed and numbered in black permanent ink, verso: Kalish 32” H x 32” W x 5.5” D $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 2 0 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

296

Michael Kalish

(b. 1973) Red and yellow rose Cut and lasered metal on aluminum Edition: 2/35 Signed and numbered in black permanent ink, verso: Kalish 32” H x 32” W x 5.5” D $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale.

‘As-Is’, without warranty, all sales final.

Offered without Reserve

w w w. j o h n m o r a n . c o m 5 2 1

297

Peter Max

(b.1937) “Blushing Beauty on Blends” Mixed media on paper Signed lower right: Max; with the artist’s copyright ink stamp, verso; titled by repute Sight: 9.5” H x 7.25” W $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale.

‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 2 2 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

298

David Le Batard (LEBO)

(1972-2023) “Well Beyond,” 2017 Acrylic on canvas Signed lower right: LEBO; titled and dated, verso 18” H x 18” W $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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5 2 4 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

299

David Le Batard (LEBO)

(1972-2023) “The Ascent” Mixed media on board Signed and titled lower left quadrant: LEBO Sight: 35.5” H x 35.5” W $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditionsof-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

w w w. j o h n m o r a n . c o m 5 2 5

300

Daniel Ross (active 20th Century)

A folk art fire hydrant dining table and Dalmatian chairs, 1991 Signed and dated to each: Daniel Ross / 91; Fire hydrant inscribed: The Babe was here / Nancy Loves Mark XXX The carved and painted wood chairs with back splats in the form of dogs, ladybugs, and flowers, centering a carved and painted wood table with fire hydrant base set on steel, surmounted by a beveled glass top with corner cutouts 7 pieces Table: 34” H x 72” W x 42.25” D; Tallest chair: 54” H x 20” W x 24” D $1,500-2,000 Notes: One side chair inscribed verso: Once upon a Time a tiny Ladybug met a Dalmatian with only a very Few Spots.; Inscribed recto: “What happened to all Your Spots?” Said the Ladybug to the Dalmatian / “I’ve never seen such a small smattering of spots!” / the Dalmatian cocked its head sadly and said, “Whenever I laugh my spots shake loose and fall OFF...” / the Ladybug Pondered this and nodded wisely trying very very hard not to Laugh.

Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 2 6 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

301

Daniel Ross (active 20th century)

A folk art dog step stool, 1991 Signed and dated to top step: Daniel Ross 91 The carved and painted wood three-step stool depicting two opposed figural cattle dogs and steps decorated with floral motifs 35.25” H x 22.5” W x 23.5” D $400-600 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

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302

Boris O’Klein (1893-1985); Four etchings from the “Dirty Dogs of Paris” series Four works:

“A la Qucue” Etching in colors on paper Bears signature and titled in pencil in the lower margin: B O’Klein Plate: 6.5” H x 17.5” W; Sheet 8.625” H x 19.5” W “Le Profanateur” Etching in colors on paper Bears signature and titled in pencil in the lower margin: B O’Klein Plate: 6.5” H x 17.5” W; Sheet: 8.5” H x 19.625” W “Chacun Son Tour” Etching in colors on paper Bears signature and titled in pencil in the lower margin: B O’Klein; Plate: 6.5” H x 17.5” W; Sheet: 8.5” H x 19.5” W “Comme Nos Maitres” Etching in colors on paper Bears signature and titled in pencil in the lower margin: B O’Klein Plate: 6.5” H x 17.5” W; Sheet: 8.5” H x 19.5” W $800-1,200 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 2 8 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

w w w. j o h n m o r a n . c o m 5 2 9

303

Michael Cheval

(b.1966) “Discord of Analogy,” 2015 Digital print in colors on aluminum From the edition of unknown size Signed right of center: Cheval Sight: 6” H x 7.5” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 3 0 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

304

Michael Cheval

(b. 1966) “Imagine (In Memory of John Lennon)” Digital print in colors on aluminum From the edition of unknown size Signed lower right: Cheval Sight: 7.5” H x 6.25” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale.

‘As-Is’, without warranty, all sales final.

Offered without Reserve

w w w. j o h n m o r a n . c o m 5 3 1

305

Michael Cheval

(b. 1966) “Melody of Rain” Digital print in colors on aluminum From the edition of unknown size Signed lower right: Cheval Sight: 7” H x 6.5” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

5 3 2 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

306

Michael Cheval

(b. 1966) “Evolution III” Digital print in colors on aluminum From the edition of unknown size Signed lower right: Cheval Sight: 6.25” H x 7.5” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘As-Is’, without warranty, all sales final.

Offered without Reserve

w w w. j o h n m o r a n . c o m 5 3 3

5 3 4 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

307

Michael Cheval

(b. 1966) “Enigma,” 2015 Digital print in colors on aluminum From the edition of unknown size Signed lower right: Cheval Sight: 7.75” H x 5.75” W $300-500 Notes: Sold by order of the court pursuant to the Mark Robert Moskowitz legal case and subject to our bankruptcy terms posted on johnmoran.com/conditions-of-sale. ‘AsIs’, without warranty, all sales final.

Offered without Reserve

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`

Consign Today

Modern & Contemporary Fine Art November 19, 2024 Raimonds Staprans “Blue Skies, Red Paint,” 1994

Price Realized: $203,200 Consignment and Auction Inquiries: fineart@johnmoran.com 5 3 6 A r t + D e s i g n l Tu e s d a y, Au g u st 1 3 , 2 0 2 4

SINCE 1969

AUCTIONEERS & APPRAISERS

Condition Reports

w w w. j o h n m o r a n . c o m 5 3 7

1 Overall good condition. The full sheet and the colors good. A minor, very unobtrusive abrasion to the tip of the upper right corner. The sheet is framed floating and hinged to the back mat at the verso of the sheet corners. Not examined out of the frame.

7 Overall good condition. Pale light-staining throughout. Occasional pinhead-sized foxing scattered in the blank. Faint surface scratches to the purple pigment in the lower left quadrant. Not examined out of the frame.

Framed under Plexiglas: 51” H x 41” W x 2.5” D

Framed under glass: 27.5” H x 33.5” W x 2.5” D

2 Overall good condition. Full margins with deckled edges. The colors good. Soft handling creases scattered primarily in the margins, not affecting the image. The sheet is framed floating and hinged to the back mat from the verso of the upper and lower margin edges. Not examined out of the frame.

8 Overall good condition. Light-staining throughout and the colors attenuated. Not examined out of the frame.

Framed under Plexiglas: 33.5” H x 62” W x 1.5” D 3 Overall good condition. The full sheet. Pale lightstaining throughout and time-staining along the extreme sheet edges, both on the recto and verso.

A minor 2” H x 0.25” W diagonal area of surface skinning in the upper left quadrant, verso, and not affecting the image. The sheet is loose, not matted.

Framed under glass: 24.5” H x 21” W x 1” D 4 Overall generally good condition. The full sheet.

Light-staining throughout, and the colors slightly attenuated. A 1.25” thin vertical band of residue on the middle portion of the letter “S” and along the extreme edge, is attached/stuck to the Plexiglas.

Very minor and soft handling creases scattered primarily along the outer edges and corners. Artist pinholes at each of the four sheet corners. The sheet is loose, not matted.

Condition Reports

Framed under Plexiglas: 24.5” H x 36.5” W x 1.5” D

538

5 Overall good condition. With margins. Light-staining throughout, with darker staining along the margin edges. A soft, vertical crease along the center of the work, affecting both the image and margins, and with an attendant rice-sized wear to the orange pigment on the figure’s clothing. Not examined out of the frame.

Framed under glass: 26.25” H x 32.25” W x 1” D 6 Overall good condition. With margins. The colors good. Not examined out of the frame.

Framed under glass: 36” H x 28.75” W x 2.25” D

Framed under glass: 23” H x 40.5” W x 1” D 9 Overall good condition. Full margins and deckled edges. The colors good. Two very small and unobtrusive, soft indentations in the extreme upper left margin corner. The sheet is framed floating and hinged to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 25.5” H x 31” W x 1.75” D 10 With full margins. The sheet is toned throughout the recto and verso, with some areas of uneven toning along the extreme margin edges. Small scratches with two very thin 0.75” areas of attendant pigment loss scattered in the black pigment of the shoe heel.

Occasional pinpoint-sized indentations and soft handling creases scattered primarily in the edges of the outer image. Small abrasions and paper losses scattered at the extreme margin corners and edges.

The sheet is loose, not matted.

Unframed 11 Light-staining and toning throughout. The colors attenuated. The margins have been trimmed and as mentioned-above the pencil signature and numbering on the margin is now affixed to the frame’s backing paper. Not examined out of the frame.

Framed under glass: 28” H x 36.25” W x 2.25” D 12 Overall good condition. Dust accumulation and specks of grime scattered throughout.

Unframed

14 Overall good condition with mild general wear. The glass with scattered minor scratches.

15 Overall good condition with oxidation to metal components, mild soiling, and dust accumulation commensurate with age. The upholstery in good condition.

16 Overall good condition with minor shelf wear and inherent firing flaws commensurate with age.

17 With a 0.0625” chip to rim. Overall good condition with very mild shelf wear and inherent firing flaws commensurate with age.

18 Overall good condition with scattered minor scuffs and scratches and oxidation to metal components commensurate with age. The upholstery in good condition with minimal pile wear and cushion foam with mild wear. Verso upholstery with a 5” x 2.5” of possible staining/darkening to material. Fabric behind middle cushion with 3” long stain.

19 Overall good condition. With margins. Pale lightstaining along the margin edges. Occasional, soft surface scratches scattered in the upper left circle.

Not examined out of the frame.

Framed under Plexiglas: 34” H x 34” W x 1.75” D 20 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under glass: 20.5” H x 21.5” W x 1.25” D 21 Overall good condition with shelf wear, dust accumulation, and soiling commensurate with age.

22 Overall good condition. With margins. Not examined out of the frame.

Frame: 22” H x 24.25” W x 1.5” D

23 Overall good condition. With margins. Not examined out of the frame.

Frame: 24.5” H x 23.5” W x 1.5” D 24 Overall good condition. The sheet is mounted to a support mat, which is then mounted to a backing panel.

Framed under Plexiglas: 19” H x 23” W x 1.5” D 25 Each overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age.

26 Each overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age.

One with a quarter-sized white scuff to upper seat back verso.

27 Overall good condition with scattered scratches, scuffs, nicks, and indentations, concentrated to top surface, commensurate with age. One corner of tabletop with 1.25” long losses to veneer and two other corners with small chipped losses. Some tape and tape residue to tabletop underside.

28 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With a 4” x 2.5” area of flaked loss to the lacquer under right side proper armrest support. A crack along the front edge of the seat. Scattered rubbed wear, nicks, small chipped losses, and wear to the finish, concentrated at corners and edges from bumping and use. Pitting to the chrome finish.

29 Each overall good condition with scattered scuffs, scratches, nicks, and oxidation to metal components commensurate with age. The top of table pedestal with a 1.5” long chipped loss in the onyx. The stools with a few chipped losses to the metal siding.

Scattered fleabites and bumping throughout each.

30 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

Condition Reports

13 Each overall good condition with dust accumulation, scattered minor scuffs, scratches, nicks, and oxidation to metal components commensurate with age. Upholstery in good condition with a few scattered spots, concentrated to chair seat cushion and armrest terminals.

539

31 Overall good condition. The full sheet with deckled edges. The colors good. Very soft and unobtrusive handling marks scattered occasionally in the upper and lower edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

39 Visual: Overall good condition. A pinpoint-sized area of unobtrusive pigment loss in the upper portion of the lower left quadrant. Occasional specks of grime scattered throughout.

Framed under Plexiglas: 60.5” H x 60.5” W x 2.5” D

Frame: 25.25” H x 29.25” W x 2” D

32 Overall good condition with scattered minor scuffs and scratches. Upholstery in good condition with even soiling, minor pile wear, and a few scattered loose threads at edges. Each section with metal joining hardware.

40 Overall good condition. The work is framed floating and mounted to the back mat. Not examined out of the frame.

33 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With rubber feet and mounting putty residue to underside.

41 Visual: Overall good condition.

34 Overall good condition with scattered bubbles and minor imperfections/mold lines inherent in the casting. Tabletop surface with scattered scratches and minor scuffs. The base with scattered scuffs to the side edge.

Frame: 58” H x 88” W x 2.5” D

35 Overall good condition with scattered bubbles and other possible imperfections inherent in the casting and construction. With scattered scratches and scuffs throughout, concentrated to plank top surface.

Blacklight: No evidence of restoration.

36 Overall good condition with scattered scuffs, scratches, nicks, and oxidation commensurate with age. The oxidation concentrated to edges and corners, with some small indentations to corners including the crest rail and front seat edges.

Condition Reports

37 Overall good condition. With margins. The colors good. Not examined out of the frame.

540

Framed under Plexiglas: 35.5” H x 30.75” W x 1.5” D 38 Overall good condition. With margins. The colors good. Not examined out of the frame.

Framed under Plexiglas: 35.25” H x 30.25” W x 1.75” D

Blacklight: No evidence of restoration.

Framed under glass: 17.25” H x 19.25” W x 1.75” D

Blacklight: No evidence of restoration.

42 Visual: Overall generally good condition. A 13” vertical hairline surface scratch near the center of the work.

Frame: 38” H x 54” W x 1.5” D 43 Visual: Overall good condition. Occasional scattered and unobtrusive craquelure. Soft stretcher bar creases along all four sides as well as frame abrasions in places at the extreme outer edges.

Blacklight: Two narrow, nearly horizontal lines of touch-up, one approximately 5.5” long, to the left of center near the upper edge, attendant with the stretcher bar creasing described, and one roughly 4” long near the upper left corner. Scattered small touch-ups, generally pea-sized or smaller, showing primarily in the upper left quadrant, plus one at the base of the bulb in the lower portion of the canvas. Several of these touch-ups relate to small and unobtrusive, skillful repairs. Touch-ups attendant with the scattered frame abrasions are concentrated primarily along the upper edge.

A conservation report can be provided upon request.

Frame: 26” H x 20.75” W x 2” D 44 Overall good condition with scattered minor scuffs and shelf wear commensurate with age. The underside with previous dealer’s sticker applied.

45 Overall good condition with minor soiling and scattered scuffs. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

53 Each overall good condition with scattered minor spotting, scuffs, scratches, nicks, and small indentations commensurate with age. One with 3” long chipped loss to wood of the front of right leg proper. One with a 2.5” x 1.25” stain to top of seat.

46 Overall good condition with minor soiling and scattered scuffs. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

54 Each overall good condition with scattered scuffs, scratches nicks, and indentations commensurate with age and use, concentrated to legs. The upholstery in good condition with scattered minor scuffs and shallow creasing to the leather.

47 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to underside.

55 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The chair has been reupholstered, in good condition wit dust accumulation, mild soiling, and a few scattered loose threads.

49 Each overall good condition with shelf wear, scattered scuffs and scratches and inherent firing flaws commensurate with age. The tallest with multiple breaks and repairs. Each with felt applied to underside.

50 Overall good condition with some dust accumulation.

51 Overall good condition. Pale light-staining throughout. Minor handling marks scattered primarily in the blank of the outer edges. Three pea-sized areas of surface soiling in the upper right corner. The sheet is framed floating and hinged to the back mat with white hinging tape from the verso of the upper sheet corners and the right edge, at center.

Framed under Plexiglas: 36” H x 26.5” W x 1.75” D 52 Overall good condition. The full sheet with deckled edges. A pea-sized area of pale staining near the lower edge, at right. A few flecks of pigment loss in the blue pigment near the upper edge, right of center, possibly in the hand of the artist. The sheet is framed floating and tipped to the back from the verso of the the upper left and right sheet corners.

Framed under Plexiglas: 40.75” H x 32.75” W x 1.75” D

56 With scattered scuffs, scratches, and nicks commensurate with age. With a vertical line restoration to both sides of one end panel. A 3” chipped loss to one corner, a 2” chipped loss to another corner, three 1.5” chipped losses to bottom edge, and other small chipped losses at edges throughout.

57 Each overall good condition with scattered scuffs, scratches, nicks, and minor soiling to seats commensurate with age.

58 Each overall good condition with scattered scuffs, scratches, oxidation, indentations, and other imperfections inherent in the construction and commensurate with age. Glass tops with scattered scratches. One top lacking copper corner tabs.

59 Visual: Overall generally good condition. Condition issues including occasional small chips, dents, and surface cracks commensurate with the material used.

Scattered delicate surface scuffs, possibly inherent in the artist’s process, the longest approximately 7.5”.

Some splitting of the plywood in the lower right corner.

Blacklight: No evidence of restoration.

Unframed

Condition Reports

48 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to underside.

541

60 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.

69 Each overall good condition with minor shelf wear and dust accumulation.

Blacklight: No evidence of restoration.

71 Overall good condition with minor shelf wear and dust accumulation.

Framed under Plexiglas: 17.5” H x 21.5” W x 1.75” D 61 Overall generally good condition. The margins trimmed by at least an inch on each margin edge.

Very pale specks of foxing primarily scattered in the margin edges, and occasionally in the image, primarily in the upper left quadrant. Areas of staining on the verso of the lower right quadrant. Each margin edge are taped with thin bands of brown tape. The sheet is hinged to the overmat with long pieces of tape along the verso of each margin edge.

Framed under glass: 17” H x 21” W x 0.75” D 62 Overall good condition. With full margins and deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 38.5” W x 2.25” D 63 Overall good condition with very minor shelf wear.

64 Overall good condition with very minor shelf wear.

65 Overall good condition with very minor shelf wear.

Condition Reports

66 Overall good condition with very minor shelf wear.

542

67 Overall good condition with very minor shelf wear.

68 Visual: Overall good condition. Each of the individual sheets with various handling creases and small abrasions commensurate with the materials used and with handling and display.

Blacklight: No evidence of restoration.

Unframed

70 Overall good condition with minor shelf wear and dust accumulation.

72 Each overall good condition. Occasional soft handling creases scattered throughout the sheets of paper. The sheets are loose, not matted, inside the glass and wood box.

Glass box: 12” H x 9.5” W x 2.5” D 73 Visual: Overall good condition. Occasional scattered rice-sized spots of grime throughout. Slight frame abrasion along the lower edge.

Blacklight: No evidence of restoration.

Framed without glazing: 19” H x 13.25” W x 1.5” D 74 Overall good condition with two 2” long scuffs to either side. With one pulled thread in the fabric towards the bottom edge.

75 Visual: Overall good condition. A pinhead-sized spot of stray white pigment near the center of the right edge.

Blacklight: No evidence of restoration.

Unframed 76 Overall good condition. Soft handling creases and small, minor surface abrasions scattered along each sheet edge. A soft 2” diagonal folding crease in the lower right corner. The sheet is loose, not matted.

Framed under glass: 21” H x 30.5” W x 1.25” D 77 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 38” H x 98” W x 2.5” D

Frame: 71.5” H x 63.25” W x 3.5” D

86 Overall good condition. A few scattered, faint spots of grime on the smaller board. A 0.75” vertical chip into the lower left edge of the gold frame on the smaller board. Each framed without glazing, as issued.

79 Visual: Overall good condition.

Frame of smaller: 7” H x 9.25” W x 1.25” D; Frame of larger: 14” H x 11.25” W x 3.5” D

Blacklight: No evidence of restoration.

87 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor soiling to areas underneath hanging junctures. A few scattered small chipped losses to central form.

Blacklight: No evidence of restoration.

Frame: 58.25” H x 50” W x 3” D 80 Overall good condition with scattered scuffs, scratches, and nicks commensurate with age and use, concentrated to undersides and edges of wood base.

The glass with scattered minor scratches.

81 Overall good condition with scattered minor scuffs and scratches. Portion of arm not affixed and freely sliding. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

82 Overall good condition with scattered scuffs, scratches, and dust accumulation commensurate with age. The leather in good condition with no tears or rips, but with creasing throughout and wear to the cushioning. Some soiling to the rubber connections.

Black plastic feet damaged and retained with the lot.

83 Overall good condition with scattered scuffs, scratched, and minor indentations commensurate with age. Scattered pitting to the chrome finish.

Leather in good condition with some slack in the armrests and cracking to edges. Minimal wear to cowhide.

84 Overall good condition. The full sheet with deckled edges. Artist pinholes at the upper left and right sheet corners. The sheet is framed floating and hinged to the back mat.

Framed under Plexiglas: 47.25” H x 33.5” W x 2.5” D 85 Overall generally good condition. Each sheet with scattered spots of staining. Artist pinholes in the upper corners of each sheet. Each sheet is tipped to the backing board from the verso of the upper left and right corners.

Each unframed

88 Overall good condition with scattered scuffs, scratches, and minor bumping to edges commensurate with age.

89 Overall good condition. The slightest time staining in the deckle of the extreme sheet edges. The sheet corners very slightly dog-eared and with a tiny paper loss at the very tip of the upper right sheet corner.

The sheet is framed floating, secured to the back mat with four clear archival corners as well as one small hinge at the verso of the upper sheet edge.

Framed under glass: 36.5” H x 27.5” W x 1” D 90 Visual: Overall generally good condition. Fine and stable craquelure scattered throughout, primarily visible in raking light, and soft stretcher bar creases along each side. A 0.5” H x 0.5” W repaired puncture to the canvas and a few pinhead-sized areas of pigment loss in the upper right quadrant. Occasional clusters of rice-sized or smaller pigment losses along the extreme edges, possibly attendant with previous abrasion.

Blacklight: No evidence of restoration under heavy masking varnish.

Unframed

Condition Reports

78 Visual: Overall good condition.

543

91 Visual: Stretcher bar creases along the horizontal edges, showing primarily along the upper edge.

Occasional, scattered, soft surface scratches showing primarily in the lower left quadrant. A 1” H x 0.75” W triangular cut into the canvas towards the middle of the right edge. A few rice-sized spots of pigment loss at the left portion of the upper edge and in the lower left corner. A pinhead-sized puncture into the canvas in the lower right corner. A faint line of possible frame abrasion across the extreme upper edge.

Blacklight: No evidence of restoration.

Unframed 92 Overall good condition. Artist pinholes at each of the four corners. A cluster of pale foxing and a 1” very thin and pale line of staining near the lower edge, at center. A 2” diagonal crease in the lower left sheet corner. The sheet is framed floating and hinged to the back mat from the verso of the upper edge corners.

Condition Reports

Unframed 97 Overall generally good condition. A small notch of paper loss in the extreme upper left corner. Artist pinholes along the upper sheet edge. Scattered and soft handling creases. Areas of old adhesive residue throughout. The sheet is loose, not matted.

Unframed 98 Overall good condition. The black cardboard box with scattered and unobtrusive surface scuffs and small abrasions at the corners and edges.

Framed under Plexiglas: 58.5” H x 46.5” W x 2” D

Black cardboard box: 10.5” H x 8.5” W x 1” D

93 Overall good condition. Artist’s pinholes at each of the four corners. The sheet is framed floating and hinged to the back mat from the verso of the upper edge corners.

99 Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age.

Framed under Plexiglas: 58.5” H x 46.5” W x 2” D

544

96 Overall generally good condition. The colors good.

A 0.5” H x 0.25” W triangular tear in the lower portion of the left edge. Occasional stray pigment marks scattered near the outer left and lower edges.

Slight cockling to the sheet. The sheet is hinged to the back mat with white tape from the recto of the upper sheet corners.

94 Overall generally good condition. Light rippling and occasional soft handling creases through the middle and lower portions. Pale mat burn from previous matting. Pale soiling along the extreme left edge of the sheet. A 0.5” crease towards the middle of the right edge. Two small pieces of tape, presumably from old mounting, on the extreme left and right edge of the verso of the sheet. The sheet is hinged to the back mat in two places by pieces of tape affixed to the recto of the upper sheet edge towards the left and right corners.

Unframed 95 Overall good condition. The colors good. A few soft handling creases in the upper right quadrant. The sheet is hinged to the back mat with white tape from the recto of the upper sheet corners.

Unframed

100 Overall good condition with oxidation to the tin commensurate with age, inherent in the design.

101 Overall good condition with minor shelf wear and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

102 Overall good condition with scattered scuffs and light scratches commensurate with age.

103 With scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. One leg with crack through its intersection with the top, possibly repaired/restored. Later spray painted black with some drip marks to sides, possibly covering over chipped losses throughout, or possibly inherent in the molding.

105 Overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. Scattered fleabite nicks/bumping to top edges.

Interior of cabinet doors with a few transferred black scuffs.

106 Visual: Overall generally good condition. A few hairline splits in the panel, the largest measuring 2.25” in the black pigment of the lower right quadrant, a 0.5” split underneath the cat’s face in the lower left quadrant, and other splits scattered in the outer edges. Occasional pinhead-sized areas of white pigment scattered in the woman’s hair in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 13.5” W x 2” D 107 Visual: Overall generally good condition. Occasional hairline splits to the panel, with minor attendant pigment losses scattered throughout. A few pinheadsized areas of stray white pigment in the lower third.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 13.5” W x 2” D 108 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. With mounting residue to underside of feet of base and previous dealer’s sticker to right side of base.

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

113 Each overall good condition. Wiring should be checked by a qualified electrician prior to use.

Moran’s does not guarantee the working condition of electronic equipment.

114 Overall good condition with shelf wear, scuffs, and light scratches commensurate with age. A bit of mounting putty residue to underside with a small black scuff.

115 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each hinge very slightly loose from repeated use and weight of panels.

116 Overall good condition with scattered scuffs, scratches, nicks, and bumping to edges and corners commensurate with age and use. The drawer interiors with scuffing, minor soiling, and a perfumed smell.

With a few green-colored scuffs to right side proper.

117 Overall generally good condition. With nearly full margins, deckled along the right and lower edges.

Pale light-staining within the window opening of the mat. Mat staining, verso. The work is tipped to the overmat in the upper margin corners as well as attached to the overmat with white tape in two places from the verso of the vertical margin edges. A dimesized area of slight surface skinning at the verso of the upper right margin corner.

Framed under glass: 23.5” H x 36” W x 2” D

109 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. With previous dealer’s sticker to underside.

118 Overall generally good condition. The full sheet and the lower sheet edge is deckled. Light-staining throughout and the colors attenuated. Two rectangular areas of staining in the upper left and right corners, attendant with previous hinging on the verso.

110 Each overall good condition with tarnishing and scratches commensurate with age. Weight does not include hollow-handled items or items of mixed composition.

119 Overall good condition. The colors good. A vertical fold down the center of the sheet, as issued. The sheet is hinged to the overmat by a piece of white tape on the verso of the upper sheet edge.

111 Each overall good condition with tarnishing and light scratches commensurate with age. he handle with rubbed wear to the ebonized finish. Weight includes non-sterling handle.

Framed under glass: 22” H x 29” W x 1.25” D

Condition Reports

104 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With an overall yellowing to exterior. Craquelure to the top surface with a few pea-sized losses and fleabite chips to edges, with a 10” long scuff and adjacent 2.5” diameter area of damage. Lacking legs.

545

120 Overall good condition with shelf wear, dust accumulation, and scattered minor scuffs commensurate with age. The base with soiling and a 0.375” chip to bottom right corner proper at bottom edge. With a rice-sized chipped loss to end of outstretched hand. A few scuffs, including one measuring 1.5” long. Scattered spotting near base.

121 Overall good condition with very minor shelf wear commensurate with age. With two fleabite chips at upper edges, mostly visible verso. Metal hanging wire attached to handle verso.

Frame: 34.5” H x 48” W x 2” D 129 Overall good condition. The sheet is framed floating and hinged to the back mat from the verso of the upper sheet corner.

Framed under Plexiglas: 28” H x 32.25” W x 1.25” D

123 Overall good condition with shelf wear and inherent firing flaws commensurate with age. Verso with slight discoloration surrounding impressed mark.

131 Each: Overall good condition. Light scuffing, abrasion, and folding to the sheet edges and corners commensurate with age and handling. Slight levels of transfer from the crayon to the verso of each card.

Each sheet is loose, not matted.

Framed under glass: 11.5” H x 10” W x 1.25” D 125 Overall good condition with inherent flaws.

126 Overall good condition with inherent flaws.

Condition Reports

Blacklight: No evidence of restoration.

122 Overall good condition with minor shelf wear, scattered minor scuffs, dust accumulation, and inherent firing flaws commensurate with age. With a 0.5” diameter smudge to bottom left of the bowl interior and small spots to near bottom edge, possibly inherent in the construction.

124 Overall generally good condition. Light-staining throughout. Mat burn and time-staining at the extreme sheet edges from previous matting and framing. Remnants of brown tape in two places on the verso of the upper sheet edge.

546

128 Visual: Overall good condition. Occasional areas of very fine, stable craquelure throughout, primarily visible in raking light. A few pinhead-sized spots of pigment loss in the lower right quadrant.

127 Visual: Overall generally good condition. Occasional, scattered, pinhead-sized spots of pigment loss primarily showing in the outer portions of each quadrant. A 2” H diagonal surface scratch in the upper right quadrant by the red line of pigment.

Two pinhead-sized pressure marks in the upper right corner towards the upper portion of the right edge.

Occasional black streaks of frame abrasion showing primarily along the upper edge.

130 Overall good condition. The sheet is tipped to the back mat from the verso of each sheet corner.

Framed under Plexiglas: 19.5” H x 15.25” W x 1.5” D

Each: Unframed 132 Each: Overall good condition. Light scuffing, abrasion, and folding to the sheet edges and corners commensurate with age and handling. Slight levels of transfer from the crayon to the verso of each card.

Pale staining scattered on the verso of each sheet, and some with very pale and occasional staining on the extreme sheet edges. Each sheet is loose, not matted.

Each: Unframed 133 Overall good condition. With margins. The sheet is loose and secured to the back mat by four clear archival corners.

Framed under Plexiglas: 34.5” H x 32.5” W x 1.25” D

Blacklight: No evidence of restoration.

134 Visual: Overall good condition. A few rice-sized areas of stary orange pigment scattered throughout the upper left quadrant.

Frame: 54” H x 70” W x 2.5” D

Blacklight: No evidence of restoration.

Frame: 30.25” H x 56.5” W x 2” D

Blacklight: Areas of old and new touch-up throughout, primarily along the edges, with a 9.5” H x 3.5” W area in the upper left quadrant. Rice-sized or smaller spots of touch-up scattered throughout the yellow background.

Frame: 29.75” H x 25.75” W x 2” D 136 Visual: Overall good condition. A small loss as well as an L-shaped tear, both along the left edge of the collaged parchment paper, the former approximately 0.625” H x 1” W, and the latter approximately 1” H x 1.5” W. Occasional, scattered, pinhead-sized spots of stray white pigment throughout.

143 Overall good condition. Full margins with deckled edges. The colors fresh. The sheet is hinged to the back mat with pieces of tape from the verso of the upper sheet edge.

Framed under glass: 21.25” H x 50” W x 1” D 144 Overall good condition. Surface soiling, frayed edges and other minor issues commensurate with the artist’s materials and working process.

Unframed 145 Each overall good condition. A few pinhead-sized spots of stray white pigment on each panel.

Blacklight: No evidence of restoration.

Frame of each: 25” H x 16.5” W x 1.125” D

Frame: 80” H x 76” W x 2” D (or opposite)

146 Overall good condition with scattered scuffs and scratches and cracking to leather throughout, with some small losses at edges.

137 Visual of each: Overall good condition.

Blacklight of each: No evidence of restoration.

Frame of each: 49” H x 45” W x 2.25” D

147 Overall good condition.

Unframed

138 Overall good condition with minor shelf wear and inherent flaws in the glass. Scratches near mounting of figure’s feet and bench.

148 Overall good condition with inherent wear to the box.

139 Overall good condition with scattered scuffs, scratches, nicks, and rubbed wear to paint commensurate with age. Two bunny figures with chipped losses to blindfold.

149 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Some craquelure in the painted areas and other inherent flaws in the glass.

140 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt applied to underside, possibly obscuring marks.

150 Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age. Scattered small losses to painted areas, rubbed wear to patination, and weathering. The bench with scattered chipped losses, scratches, nicks, and indentations.

141 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some scratches and transfer of pigment to underside of top component from mounting friction with bottom portion.

142 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor pinholing to the glazes. One goblet with a pea-sized chip to outside of rim.

151 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

152 Overall good condition with scattered minor scuffs and scratches and darkening/oxidation to bronze commensurate with age.

Condition Reports

135 Visual: Overall good condition.

547

153 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30” H x 44” W x 2.25” D 154 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 41.5” H x 64.25” W x 2.25” D 155 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 28.75” H x 64.5” W x 2” D 156 Overall good condition. A few pinhead-sized spots of grime by the ‘O’ on the neck of the champagne bottle.

Unframed 157 Overall good condition.

Unframed 158 Each: Overall good condition. The tips of the sheet corners occasionally very slightly dog-eared. The sheet is loose, not matted.

Each: Unframed

Condition Reports

159 Overall good condition. With margins. The extreme lower margin edge is slightly trimmed unevenly. The sheet is hinged to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 26” H x 30” W x 1.5” D

548

160 Overall good condition.

Unframed 161 Overall generally good condition. Pea-sized or smaller spots of loss to the resin varnish scattered throughout the edges of the work.

Unframed

162 Overall good condition. One tiny speck of grime and occasional very slight surface scuffs in the image, visible only in raking light. Slight time staining and surface soiling to the mount, commensurate with age. Minor surface abrasions in places at the extreme outer edges of the mount, attendant with the framing. The illustration board is loose, not hinged to its overmat.

Framed under glass: 18” H x 22” W x 1.5” D 163 Overall good condition. The sheet is hinged to the overmat in two places with pieces of white linen tape from the verso of the upper sheet edge. The sheet is framed between two pieces of glass, showing the verso of the sheet.

Framed under glass: 20” H x 17.75” W x 2” D 164 Overall good condition. With full margins and deckled edges. Pieces of tape from previous hinging are scattered along the verso of the extreme sheet edges. The sheet is hinged to the over mat with three pieces of white linen tape from the verso of the upper margin edge.

Framed under Plexiglas: 43” H x 35” W x 2” D 165 Overall good condition. Full margins. Very soft handling creases in the lower half of the image, near the platemark. The sheet is hinged to the overmat with pieces of white linen tape along the verso of the upper margin edge.

Framed under Plexiglas: 41.25” H x 34.75” W x 1.25” D 166 Overall generally good condition. The full sheet with deckled edges. Mat burn along the edges of the mat window. A 0.25” tear along the left edge. The sheet is mounted to the back mat.

Frame: 13” H x 16.75” W x 1” D 167 Overall generally good condition. The sheet is toned throughout. Remains of four small brown paper hinges, verso. The sheet is loose, not matted.

Unframed 168 Overall good condition. The work is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 32.5” H x 40” W x 2” D 170 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20.75” H x 16.75” W x 1” D 171 Overall good condition. Pale light-staining throughout. The sheet is framed floating and tipped to the back mat from the verso of the upper sheet corners.

178 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Felt applied to underside, whereupon the attribution is mounted.

179 Overall good condition with mild oxidation commensurate with age. The pedestal with scattered minor scuffs and scratches, concentrated to mounting juncture and edges.

180 With scattered scuffs, scratches, and oxidation commensurate with age. Possibly lacking two copper inserts to top. With some wear to the stone from use.

Light does not function. Moran’s does not guarantee the working condition of this piece.

172 Overall good condition. An artist pinhole at the top of the work.

181 Overall good condition. With margins and the colors good. A very small bug carcass in the upper portion of the right margin. The sheet is framed floating and hinged to the back mat from the verso of the upper margin. Not examined out of the frame.

Unframed

Framed under glass: 35.5” H x 27.75” W x 2” D

173 Overall good condition. The work is framed floating and secured in between double-sided Plexiglas.

182 Overall good condition. The sheet is loose, not matted.

Framed under Plexiglas: 12.5” H x 9.25” W x 2” D

Framed under Plexiglas: 24.5” H x 18.25” W x 1.25” D

Framed under Plexiglas: 16” H x 21.5” W x 1.5” D

174 Overall generally good condition. The sheet with some rippling, commensurate with material and mounting. Artist pinholes in the upper left and right quadrant. The sheet is tipped to the back mat at the verso of each of the sheet corners. Not examined out of the frame.

Framed under Plexiglas: 48” H x 32.75” W x 2.25” D 175 Overall good condition.

176 Each overall good condition with scattered minor wear and two with possible older repairs.

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

Felt applied to underside of metal sculpture.

183 Visual: Overall good condition.

Blacklight: No evidence of restoration Frame: 50.25” H x 62.25” W x 2” D 184 Visual: Overall good condition. Very fine craquelure primarily scattered in the thicker layering of pigment.

Blacklight: No evidence of restoration.

Frame: 26” H x 50” W x 3” D 185 Visual: Overall good condition. Very fine craquelure scattered primarily in the thicker layering of the pigment.

Blacklight: No evidence of restoration.

Frame: 29” H x 37” W x 2.5” D

Condition Reports

169 Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

549

186 Visual: Fine and stable craquelure scattered throughout the thick red pigment, and occasional areas of unstable craquelure with attendant, small pigment losses. Areas of pigment loss scattered throughout, the largest areas being a 1” H x 0.5” W crescent-shaped loss in the plate in the upper right quadrant, and a 0.25” H x 0.5” W diagonal areas of pigment loss on the pitcher in the lower left quadrant. Occasional, soft surface scratches scattered throughout. Minor frame abrasion along the extreme edges. A few hairline streaks of stray red and green pigment in the upper left corner.

Blacklight: A few lines of pinhead-sized spots of touch-up near the upper edge of the upper left quadrant.

Frame: 30.75” H x 54.5” W x 2.5” D 187 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed 188 Visual: Overall good condition. A rice-sized spot of stray white pigment in the lower left quadrant near the center.

Blacklight: No evidence of restoration.

Unframed 189 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

Condition Reports

190 Visual: Overall good condition.

550

Blacklight: No evidence of restoration.

Unframed 191 Each overall good condition. Each work is taped to its overmat along the illustration board edges.

Each framed under glass: 22.5” H x 19 W x 0.75” D (or opposite)

192 Overall good condition. Occasional soft smudge marks along the upper edge.

Frame: 22” H x 18” W x 2.5” D 193 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 49.5” H x 27.25” W x 2.75” D 194 Overall good condition with a few scattered minor scratches to the glass. Working condition unknown.

Not examined out of frame. Moran’s does not guarantee the working condition of musical instruments.

195 Overall good condition with scuffs, scratches, and other defects inherent in the found material.

196 Overall good condition with scattered scuffs, scratches, small indentations, and dust accumulation commensurate with age. Some oxidation to metal components. Scattered small scratches to glass surfaces.

197 With scattered scuffs, scratches, nicks, indentations, separation at joints, and shaken construction commensurate with age. The leather cracking throughout. Some pegs loose, some partially broken or with chipped losses to tips, two pegs retained with the lot.

198 Overall good condition with scattered scuffs and scratches. Pitting to the nickel plating, with attendant oxidation/rust. Scratches to glass top, the longest measuring 33” long.

199 Each with scattered scuffs, scratches, and oxidation commensurate with age. Pitting to the gold finish of each. The suede with staining, scratches, and rubbed wear to the pile. One with previous owner’s embossed sticker applied to underside.

200 Each overall good condition with scattered scuffs, scratches, and small nicks commensurate with age. Each with scattered cracks in the lacquer, concentrated at edges or gutters, with a few ricesized chipped losses to lacquer at corners.

202 Visual: Overall good condition. A few unobtrusive, pinhead-sized spots of stray yellow pigment in the upper left corner and near the right edge of the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 26.5” W x 1.5” D 203 Visual: Overall good condition. A few scattered, unobtrusive, pinhead-sized spots of stray pigment, inherent in the artist’s process throughout.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 26.5” W x 1.5” D 204 Visual: Overall good condition. A few rice-sized spots of stray pigment near the right edge of the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 38.5” H x 27” W x 1.75” D 205 Each overall good condition with scattered scuffs, scratches, dust accumulation, and mild soiling commensurate with age and use. Two of the chairs with wear to the cushion of the seat. Subsequently, the metal frame is detectable while in use. The upholstery in good condition with creasing and scattered minor scuffs. One executive chair with tears in the dust cover underneath the seat.

206 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Chipping to the lacquer at interior of waterfall legs. Tabletop with scattered scratches, a pea-sized indentation at front middle, and a ring indentation.

The right side proper with a bump to rear corner and a 2” long scuff. Oxidation to brass pulls.

207 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The top with some scratches to lacquer finish throughout, mostly visible in raking light. Minor oxidation and scuffs to steel components.

208 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Tabletop with small abrasions to the glossy finish at edges of half the table, with a few drink ring/dinnerware impressions to middle. Pitting to chromed metal components. Each chair overall good condition with scattered scuffs, nicks, and scratches, concentrated at legs, each with varying degrees of fading and scattered soiling to upholstery.

209 Overall good condition. The full sheet and colors good. The smallest and unobtrusive nick in the extreme upper edge, at right. The sheet is framed floating and hinged to the back mat from the verso of the upper sheet corners.

Framed under Plexiglas: 32.5” H x 26.75” W x 1.5” D 210 Overall generally good condition, the colors vibrant.

A few very soft handling creases, as well as occasional, scattered, rice-sized or smaller pale stains or specks of grime throughout. An approximately 1” vertical scratch in the pigment at the upper right corner. A soft 9” diagonal crease extending from the right edge, within the blank of the lower right quadrant, not affecting the image. A 1” vertical tear in the upper sheet edge, at left, just affecting the image.

Artist pinholes at the tips of the lower sheet corners, and the tip of the lower left corner slightly dog-eared.

A few pieces of old white hinging tape, verso. The sheet is loose, not matted.

Unframed 211 Overall good condition. Pale light-staining.

Occasional areas of slight surface soiling primarily scattered along the blank of the lower sheet edge. A 0.25” vertical unobtrusive tear on the extreme lower edge, right of center. Soft handling creases scattered in the outer edges. Slight offset on the verso sheet.

The sheet is loose, not matted.

Unframed 212 Overall good condition. The colors good. Soft, scattered handling creases, primarily in the lower left and right quadrants. Pinhead-sized minor indentations scattered along the extreme right edge, at center, and at the extreme upper and lower right corners. A very faint pinhead-sized area of surface soiling near the lower right corner. The sheet is loose, not matted.

Unframed

Condition Reports

201 Each overall good condition with scattered scratches and scuffs commensurate with age. Metal components with rust/oxidation to seat undersides and legs, concentrated to areas where leather does not cover.

551

213 Surface soiling primarily scattered throughout the brim of the visor, scattered specks of foxing scattered in the beige paper, minor handling creases scattered throughout, some areas presumably in the hand of the artist, areas of minor wear to the pigment, uneven toning to the paper, very minor abrasion along the edges of the paper visor, dust accumulation and areas of grime scattered throughout, all commensurate with age and use.

Unframed 214 Overall good condition. A faint 1” hairline scuff in the upper left quadrant towards the upper edge.

A few pea-sized and smaller faint spots of grime towards the middle of the work, above and just under the airplane. A few faint, soft handling creases throughout. With deckled edges. The sheet is loose, not matted.

Condition Reports

Unframed

Unframed 219 Overall good condition. With margins. The colors good. Very minor handling creases scattered primarily in the outer margin edges. The sheet is loose, not matted.

Unframed

215 Overall good condition. The full sheet with deckled edges. A 4” diagonal tear on the upper edge, at left, with an attendant piece of clear tape on the verso along the tear, as well as remnants of glue from an old piece of clear tape that was placed on the recto of the upper edge of the tear. The sheet is hinged in various places along the verso of each sheet edge.

220 Overall generally good condition. With margins and the colors good. Three 0.75” or smaller horizontal indentations on the extreme upper margin edge, left of center. Mostly soft handling creases scattered primarily throughout the outer margin edges, the most prominent one being a 5” horizontal crease in the lower margin edge, at right. The sheet is loose, not matted.

Unframed

Unframed

216 Overall good condition. The full sheet with deckled edges. Cockling along the upper sheet edge, predominately showing and with attendant creasing at center. A 0.5” H x 0.25” W area of light brown residue at the upper left sheet corner. Areas of stray paint pigment and soft handling creases scattered primarily in the outer edges. The sheet is loose, not matted.

221 Overall good condition. The full sheet with deckled edges. Pale light-staining throughout. Minor handling creases scattered throughout and primarily in the upper edge and corners. A pea-sized area of pale foxing near the lower left corner, and other pinpoint-sized foxmarks scattered occasionally in the outer edges, primarily along the lower edge.

Occasional surface soiling in the upper and lower sheet edges. Slight toning and offset from another lithograph on the verso. The sheet is loose, not matted.

Unframed 217 Overall good condition. The full sheet with deckled edges, and the colors good. Soft handling creases scattered primarily in the outer edges, and the largest measuring 5” horizontally near the lower edge, at right, and minor cockling along the lower edge. Scattered printer’s ink on the verso sheet.

Rectangular remnants of black glue from old hinging tape appearing on the verso of the sheet edges, and remnants slightly appearing on the recto of the upper and left extreme sheet edges. The sheet is loose, not matted.

Unframed

552

218 The support sheet with perforated holes along the lower margin edge, presumably as issued, and with creasing in the upper margin edge. Various stains, offsetting, tears and paper losses in places along the edge of the support sheet. The collage element with the ink drawing of a variant size for the plane now detached, and with occasional minor handling creases and with a few remains of old scotch tape, verso. All condition issues as described commensurate with age and use as a working concept design.

Unframed 222 Overall good condition. The full sheet with deckled edges. Occasional, soft handling creases scattered along the outer edges. A small area of very unobtrusive surface soiling in the upper portion of the left edge. The sheet is loose, not matted.

Unframed

Unframed 224 Overall good condition. The full sheet with deckled edges. Cockling and three pea-sized areas of very minor surface soiling along the left sheet edge.

Occasional, soft handling creases scattered along the lower and right sheet edges. A minor pinhead-sized indentation near the upper edge, at center. The sheet is loose, not matted.

Unframed 225 Overall generally good condition. Some small areas of wear to the gouache inscriptions, slight toning to the postal stamps, small bands of surface skinning along the upper and lower portion of the left edge, and scattered surface scratches, all commensurate with age and this being a working material. This is not the full envelope since the front portion has been trimmed down and laid to Charko-Board. The work is loose, not matted.

Unframed 226 Overall generally good condition. Occasional small spots of stray pigment. The sheet is housed in four clear archival corners. A transparent sheet is hinged to the painted sheet by a strip of black tape on the recto of the painted sheet.

227 Overall fair condition. The exhibition invitation card was originally issued as an asymmetrical folding card, however, the card in this lot has been cut along the vertical folding line, and is now two separate pieces. Two very pale pinpoint-sized foxmarks on the card with the blue and black printed “Calder” signature. The thin gallery information paper with soft handling creases and very small paper losses at the extreme sheet corners. Remnants of old masking tape and glue on both the invitation card and gallery information paper. Each sheet is loose, not matted.

Each unframed

228 Each overall good condition. Presumably the full sheet. Each with pale-light staining throughout and offset from the printed “Sandy’s Air Party” text transferring to the information in-text, but with one invite with a slightly more light-staining and offset transfer than the other. One invite with a small area of minor surface soiling on the cover and near the lower edge, directly underneath the figure’s hand, and not affecting the image. Each sheet is loose, not matted.

Each unframed 229 Overall good condition. Each rectangular piece of paper is hinged to the back mat with one long piece of white hinging tape from the verso of the center sheet.

Unframed 230 Overall good condition. The full sheet. Pale-light staining throughout, with some areas of uneven and darker light-staining in the blank of the upper left and right quadrant. Occasional, soft handling creases scattered primarily in the blank. A thin band of surface skinning along the verso of the upper sheet edge, possibly attendant with prior hinging. Minor offset on the verso of the sheet. The sheet is loose, not matted.

Unframed 231 Overall good condition. The full sheet with deckled edges and the colors good. The sheet is tipped to the back mat from the verso of each sheet corner.

Unframed 232 Each overall good condition. The full sheet and colors good. Occasional and soft handling creases scattered primarily in the outer edges, a few unobtrusive surface abrasions to the extreme edges or corners, and the verso sheets with toning and offset transfer from the other lithographs in this lot.

The lithographs with predominately blank, white backgrounds with very pale light-staining and some with very pale time staining along the extreme edges. “Skybird” with a 2” diagonal crease along the upper left corner. “Sunburst” with a pinpointsized pale foxmark to the right of the printed date.

“Skyswirl” with very soft and unobtrusive surface scratches in the blue pigment, and “Friendship” with a 1” unobtrusive scratch/indentation in the red pigment of the upper left quadrant. Each sheet is loose, not matted.

Each unframed

Condition Reports

223 Overall good condition. Minor toning throughout. A 0.5” vertical tear with attendant creasing at the upper edge and to the right of the vertical folding crease. The signature and inscription with small areas of wear to the pigment. Scattered areas of surface soiling, minor handling creases, and surface scratches to both the pigment and background primarily visible in raking light. The folder is loose, not matted.

553

233 Each overall good condition. Occasional areas of soft handling creases, scattered foxing on some pieces, light-staining, and specks of grime, all commensurate with age and use.

Each unframed 234 The model plane overall good condition with scattered scuffs, scratches, and small paint losses.

The poster with a 3.75” x 1.75” area of moisture damage to top right corner, which has been dogeared. Minor bumping to corners of some photographs, unobtrusive to the images.

Each piece of ephemera unframed.

235 Each overall good condition with shelf wear, scattered minor scuffs and scratches commensurate with age. The NC7455 with detached wheels retained with the lot. One wheel chock label seemingly unmatched to a model plane.

236 Each: Overall generally good condition. “Havana” with occasional, scattered, soft, handling creases throughout. The extreme corners of “Paraguay” very slightly dog-eared. “Havana” not examined out of the frame. “Paraguay” loose and not matted.

“Paraguay” unframed; “Havana” framed under Plexiglas: 25.75” H x 19.5” W x 1” D 237 Overall good condition with minor folds/creasing commensurate with age and storage. A few scattered small spots, and tiny pulls to fabric.

Condition Reports

238 Overall good condition with minor folds/creasing commensurate with age and storage. A few scattered tiny pulls to fabric.

554

239 Overall good condition with minor folds/creasing commensurate with age and storage.

240 Overall good condition with minor folds/creasing commensurate with age and storage. A few scattered small spots, and tiny pulls to fabric.

241 Each overall good condition with minor folds/ creasing and wear commensurate with age and storage. Hat slightly distorted on crown sides, and with very light faint soiling to exterior and to flap ends.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

Photo in frame: 19” H x 23.25” W x 1” D 242 Overall good condition with light wear commensurate with age and use. With a few small faint stains to lower section at back. Loose stitching to one pale pink side placket at lower left side back.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

243 Overall good condition with dust accumulation, faint marks and wear commensurate with age and storage. Slight creasing to canvas fabric. Oxidation to metal zippers.

244 Overall good condition with dust accumulation and light wear commensurate with age and storage.

Slight stiffening overall. A few scattered small spots and faint stains. Areas of creasing to sides, with slight distortion to the seams. Light wear and creasing to leather.

245 Each overall good condition with minor folds/ creasing, and light wear commensurate with age and storage. Hat slightly distorted and with very light soiling to exterior and to interior grosgrain ribbon band.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

246 Each overall good condition with minor folds/ creasing, and light wear commensurate with age and storage. Hat distorted and with light soiling to interior grosgrain ribbon band and to flaps. Rings to flap end detached; retained.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

247 Each overall good condition with minor folds/ creasing and wear commensurate with age and storage. Hat slightly distorted on crown sides, and with very light soiling to exterior and to flap ends.

Tights appear clean with very faint soiling to soles.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

249 Overall good condition with minor folds/creasing, light dust accumulation, and wear commensurate with age and storage. Dress with back zipper.

Please note: vintage numbered sizes often do not equate to current clothing sizes.

250 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Apron with side openings and a Velcro fastener to one side.

Scarf with a few small scattered faint spots, and a couple of minor pulls to weave.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

251 Overall good condition with minor folds/creasing commensurate with age and storage. A few scattered small spots, and tiny pulls to fabric.

252 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Scarf with a few small scattered faint spots.

Dress and shorts with back zipper.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

253 Each overall good condition with minor folds/ creasing commensurate with age and storage. A few scattered tiny pulls to fabric.

254 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Scarf with scattered spots and faint marks. Dress and shorts with back zipper.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

255 Overall good condition with minor folds/creasing commensurate with age and storage. A few scattered small spots, and tiny pulls to fabric.

256 Each in overall good condition with dust accumulation and light wear commensurate with age and storage. Hat with minor creasing and a few faint marks to velveteen. Shoes with a few minor marks, light scratches and faint rubbed wear. Some shoes with color variation to leather. With one original shoe box.

Please note: Vintage numbered sizes often do not equate to current clothing and shoe sizes.

257 Each in overall good condition with dust accumulation and light wear to soles commensurate with age and storage. Each with minor marks, scuffs, light scratches and faint rubbed wear, as well as creasing and slight distortion in places. Some green patent shoes with color variation to leather, and some with faint discoloration from paper or labels.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

258 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Dress with back zipper; pants with elasticated waist.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

259 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. A few scattered faint small spots. Pants with 5” gap to seam at center back. Dress with back zipper; pants with elasticated waist.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

260 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Each with a few scattered minor faint spots/marks. One hat with slight distortion to brim and slightly collapsed crown.

261 Overall good condition with a few scattered small spots and faint marks. Cut edges uneven and with ravelled areas. Textile not examined out of frame.

Framed under plexiglass and mounted to a linentype fabric.

Frame: 40.25” H x 40.25” W x 0.75” D

Condition Reports

248 Each overall good condition with minor folds/ creasing and wear commensurate with age and storage. Dress with a few small scattered faint spots.

Hat slightly distorted on crown sides, and with very light soiling to exterior and to interior grosgrain ribbon band. A few minor pulls to fabric. Pantyhose with light dust accumulation and very faint soiling to heels.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

555

262 Each overall good condition with minor folds/ creasing and wear commensurate with age and storage. Scarf with a couple of scattered small faint spots.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

263 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Dress and shorts with back zipper.

Please note: vintage numbered sizes often do not equate to current clothing sizes.

264 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Dress with back zipper; pants with elasticated waist.

Please note: vintage numbered sizes often do not equate to current clothing sizes.

265 Each in overall good condition with dust accumulation and light wear to soles commensurate with age and storage. Each with minor marks, scuffs, light scratches and rubbed wear, as well as creasing and slight distortion in places.

Please note: Vintage numbered sizes often do not equate to current clothing and shoe sizes.

Condition Reports

266 Each in overall good condition with dust accumulation and light wear to soles commensurate with age and storage. Each with minor marks, scuffs, light scratches and faint rubbed wear, as well as creasing and slight distortion in places. Green shoes with areas of discoloration to clear plastic. Chandler’s with curling to insoles.

Please note: Vintage numbered sizes often do not equate to current clothing and shoe sizes.

556

267 Each in overall good condition with dust accumulation and light wear to soles commensurate with age and use. Each with minor marks, scuffs, scratches and rubbed wear, as well as creasing and slight distortion in places. Pink shoes with areas of discoloration to clear plastic.

Please note: Vintage numbered sizes often do not equate to current clothing and shoe sizes.

268 Each in overall good condition with dust accumulation and wear to soles commensurate with age and use. Each with minor marks, light scratches and rubbed wear, as well as creasing and slight distortion in places. Baldino shoes with a few scattered darker marks to leather. Blue shoes with areas of discoloration to clear plastic.

Please note: Vintage numbered sizes often do not equate to current clothing and shoe sizes.

269 Overall good condition with minor folds/creasing commensurate with age and storage.

270 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Umbrella not examined out of bag. Shoulder bag with slight stiffness to fabric-covered leather, and with break to strap at D-ring.

271 Each overall good condition with minor folds/ creasing, light dust accumulation, and wear commensurate with age and storage. Dress with back zipper. Dress with a few scattered small stains and faint marks, primarily to neckline. Pantyhose cleaned, with scattered areas of dye transfer and faint marks.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

272 Each overall good condition with minor folds/ creasing, and wear commensurate with age and storage. Dress with a few scattered minor spots. to pink top section. Scarf with a few scattered small spots, some faint dye transfer, and a couple of tiny pulls to fabric. Shift with a few minor pulls and an area of faint soiling to lower section near hem, likely from storage.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

273 Each in overall good condition with dust accumulation and light wear to soles commensurate with age and storage. Each with minor marks, light scratches and faint rubbed wear, as well as creasing and slight distortion in places. Green shoes with areas of discoloration to clear plastic.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

275 Each overall good condition with minor folds/ creasing, light dust accumulation, and light wear commensurate with age and storage. Remnants with a few scattered very faint spots, mostly to edges.

276 Each in overall good condition with dust accumulation and wear to edges commensurate with age and use. A few with minor stains.

277 Overall good condition; car starts, runs, drives, and stops. Engine idles smoothly and presents well as a daily driver. Scattered small nicks, scratches, scuffs, and wear to interior and exterior, including one deeper scuff measuring 1.5” long to front hood near Porsche emblem as well as a 3.5” long indentation/ scuff to rear right side of bumper. Interior good overall condition with normal wear to the seats, door panels, steering wheel, and carpet. Carfax report available upon request. Moran’s does not guarantee the proper working condition of this motor vehicle.

278 Overall generally good condition. With full margins and deckled edges. Pale light-staining showing in the window of the mat. Minor surface soiling along the upper margin edge. Minor cockling to the upper and lower margin edges. The sheet is loose and secured to the back mat by four clear archival corners.

Framed under Plexiglas: 29.25” H x 26” W x 2.75” D 279 Overall good condition. With full margins and deckled edges. The colors fresh. Very pale uneven staining along the margin edges. A 0.75” area of soiling in the lower portion of the right margin. Two 0.5” vertical tears in the lower margin edge. A 1” H x 0.25” W tear in the upper portion of the left margin edge. Skinning to the verso of each extreme margin edge, affecting the pencil title inscription at the lower margin edge, verso, possibly attendant with previous mounting. The sheet is loose and secured to the back mat with four clear archival corners and two clear tabs on the left and right margin edges.

Framed under Plexiglas: 45.5” H x 37.25” W x 2.25” D

280 Overall generally good condition. The sheet trimmed to (or just into) the platemark on all sides. Slight toning throughout. A pinhead-sized area of reverse staining in the upper left margin corner. The extreme margin edges with very small, occasional abrasions and tears. The sheet is hinged to the back mat with four pieces of white hinging tape from the verso of the upper and lower margin corners.

Framed under Plexiglas: 28” H x 26” W x 3” D 281 Overall generally good condition. The sheet trimmed to (or just into) the platemark on all sides. Slight toning throughout. An approximately pea-sized pale brown stain on Christ’s waist, possibly attendant with an old repair. Other occasional pinhead-sized or smaller areas of foxing. The sheet is hinged to the back mat from the verso of each edge, at center.

Framed under Plexiglas: 28” H x 26.5” W x 3” D 282 Each overall good condition with scattered scuffs, scratches, nicks, weathering, and oxidation commensurate with age and use.

283 Overall good condition. Dust accumulation and specks of grime throughout. Occasional surface scratches mostly visible in raking light.

Unframed 284 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 26.25” H x 26.25” W x 2.25” D 285 Each: Overall good condition. Each sheet is sealed in the mat.

Each framed under Plexiglas: 29” H x 25.5” W x 2.25” D 286 Overall good condition.

Frame: 27” H x 33” W x 2.5” D 287 Overall good condition. A piece of the collage is lifting in the hair of the painted figure on the right.

Frame: 34.75” H x 28” W x 2.5” D

Condition Reports

274 Each in overall good condition with dust accumulation and light wear commensurate with age and storage. Shoes with minor marks, light scratches and rubbed wear, as well as creasing and slight distortion in places, including insoles. Green flat shoes with areas of discoloration to clear plastic, and further distortion to soles.

Please note: Vintage numbered sizes often do not equate to current clothing sizes.

557

288 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 43” H x 53” W x 2.25” D 289 Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 32” H x 28.25” W x 3.25” D

299 Overall good condition. A few pinhead-sized spots of pigment loss in the extreme upper left edge. Not examined out of the frame.

290 Overall good condition with scattered scuffs, scratches, and indentations commensurate with age.

The leather in good condition with minor scattered scuffs. Metal frame with minor oxidation, soiling, and dust accumulation. Some pads are loose, one unmounted and retained with the lot. Lacking one of the feet.

291 Overall good condition with scattered minor scuffs and scratches and shelf wear commensurate with age. With a fleabite nick to base of figure’s neck.

292 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. The bottom platform and some portion of the bottom of helix with some spattered soiling.

293 Overall good condition with minor shelf wear.

294 Overall good condition. Dust accumulation and specks of grime throughout.

Unframed

Condition Reports

295 Overall good condition. Dust accumulation and specks of grime throughout.

558

298 Visual: Overall good condition. A few pinhead-sized spots of stray pigment in the upper left quadrant.

A faint 2.5” diagonal scuff mark in the upper left quadrant.

Unframed 296 Overall good condition. Dust accumulation and specks of grime throughout.

Frame: 26” H x 16” W x 1.5” D

Framed under Plexiglas: 43” H x 43” W x 3” D 300 Each overall good condition with scattered scuffs, scratches, nicks, indentations, soiling, and dust accumulation commensurate with age and use.

Each chair with soiling and staining throughout, with rubbed wear to the paint.

301 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Rubbed wear to the paint throughout.

302 Each: Overall good condition. The colors fresh. Each sheet is framed floating. Not examined out of the frame.

Each: Framed under glass: 11.25” H x 22.25” W x 1” D 303 Overall good condition.

Frame: 15.5” H x 17” W x 2.5” D 304 Overall good condition.

Frame: 17” H x 15.75” W x 2.5” D 305 Overall good condition.

Unframed

Frame: 16.75” H x 16” W x 2” D

297 Overall good condition. The sheet is hinged to the back mat from the verso of the upper sheet corners.

306 Overall good condition.

Framed under Plexiglas: 24” H x 22.25” W x 2.5” D

Frame: 15.75” H x 17” W x 2.25” D 307 Overall good condition.

Framed without glazing: 17.25” H x 15.25” W x 2.5” D

`

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Andy Warhol “After the Party,” 1979

Price Realized:$25,000 SINCE 1969

Condition Reports

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AUCTIONEERS & APPRAISERS 559

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Co-Head of Sale, Associate Specialist, Fine Art Co-Head of Sale, Post-War & Contemporary Design Specialist Director, Fine Art Vice President, Silver, Western & American Indian Art Senior Specialist, Furniture & Decorative Art Associate Specialist, Fine Art

Jeffrey J. Moran Bobby Cullen Matthew Grayson Jenny Wilson Maranda Moran Angela Past

Department Administrator, Furniture & Decorative Arts Department Administrator, Fine Art

Cataloguer, Silver Jewelry and Luxury

Ian Anderson Alek Ellis Lori Kassabian Sally Andrew

Director, Jewelry & Watches Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek, G.G.

Cataloguer, Furniture & Decorative Arts Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Fine Art

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals Associate Appraiser

Grant Stevens Anne Spink Madison Ari Clark Silva

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM Shannon Dailey

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Office/HR Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

Vice President, Business Director, Auctioneer Controller Consignment Coordinator

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Director, Advertising & Marketing PR Manager/Social Media Graphic Designer

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

FOUNDERS

Stephen Swan Joseph Scott Jean Rapagna Richard Corral Joe Miranda Joseph Corcoran Romero Corral

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Matthew Mizerowski Jacob Baer

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

This catalogue is meant merely as a guide.

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

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

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

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

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

BIDDING INCREMENTS:

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

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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. Successful bidders may be required to further verify their identity before property is released. (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. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran 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.

Conditions of Sale Cont’d (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.

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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