California & American Fine Art—Tuesday, November 12, 2024 | John Moran Auctioneers
Thomas Hill (1829-1908)
Thomas Hill was born in Birmingham, England, and In 1853, he moved to Philadelphia, where he studied Mountains of New Hampshire, a region associated in 1861 that he departed for California.
Arriving in San Francisco, Hill worked initially as a commercial renowned painter Samuel Marsden Brookes to give
By 1865, Thomas Hill was sketching throughout the to build a pine-board studio, where he would host Keith. After studying in France in 1866 and immersing
During an 1872 tour of Hill’s work in New York, an magnificent “Canyon of the Sierra,” each expansive
“Mr. Bierstadt’s imagination is beyond his powers of attempting too much. In this respect, he compares freshness, originality, and power which nothing of Mr.
To be sure, moments such as this helped secure Hill’s ensure his financial success) with clients in San Francisco
and came to the United States as a youth in 1844, following his father to Massachusetts. studied at the Pennsylvania Academy of Fine Arts. A year later, he visited the White associated with painters of the Hudson River School. It was during the beginning of the Civil War
commercial artist but soon sought to pursue easel painting. In 1863, he hired the give him lessons in oil painting.
the Sierra Nevada, and by that summer was staying in Yosemite Valley. Hill would go on visiting artists and friends including Carleton Watkins, Virgil Williams, and William immersing himself in the Barbizon manner, his approach became more expressive.
art critic pitted Albert Bierstadt’s “In The Rocky Mountains” against Thomas Hill’s expansive and breathtaking mountain landscape, declaring:
of execution and...he generally fails to give a satisfactory and perfect picture through compares unfavorably with his rival, and we think, superior, Thomas Hill, who possesses a Mr. Bierstadt’s, that we have seen, can equal.”
Hill’s stature as one of the most accomplished American artists of his day (not to mention Francisco and beyond.
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Thomas Hill (1829-1908)
“View of Yosemite Valley”
Oil on canvas
Signed lower right: T. Hill; titled on an exhibition label affixed to the verso of the frame; remnant of an old ink inscription on a small section of brown paper attached to the frame’s backing paper reads, “M [missing] Fin [missing] / Compt. / T.H”
8.5” H x 11” W
$8,000-10,000
Exhibited: Fresno, CA, Fresno Arts Center, “Views of Yosemite,” June 10-August 8, 1982
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Thomas Hill (1829-1908)
Bridalveil Falls, Yosemite
Oil on canvas
Signed lower right: T. Hill; with the artist’s estate inscription in ink, verso 20” H x 14” W
$7,000-9,000
Provenance: The Estate of Thomas Hill
Private Collection, acquired from the above, by family descent
Notes:
The ink inscription, verso, reads, “From the Estate of Thomas Hill.”
William Albert Hamilton Jr. (1900-1984)
Valley” Oil on canvas
Signed lower right: William Hamilton; signed again and titled in ink on the stretcher 18” H x 24” W
$500-700
“Yosemite
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Lorenzo Palmer Latimer (1857-1941)
“An Old Road, and Redwoods,” 1910
Watercolor on paper laid to paperboard
Signed lower left: L.P. Latimer; signed again, titled, dated and inscribed “Trospers, Near Cazadero, Cal / 1910” in ink, verso; signed, titled, and inscribed again on a label affixed to the frame’s backing board
Image/Sheet: 10” H x 7” W
$1,000-1,500
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William Keith (1838-1911)
California oaks
Oil on canvas laid to canvas
Signed and inscribed lower right: W. Keith / S.F. 24” H x 36” W
$4,000-6,000
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William Keith (1838-1911)
“Moonlight Sonata” Oil on canvas
Signed and inscribed lower left: W. Keith / S.F.; titled by repute 19.75” H x 15.75” W
$1,800-2,200
Attributed to Thaddeus Welch (1844-1919)
“Marin Pastorale” Oil on panel Bears signature lower right: T. Welch; titled on the frame plaque 14” H x 17.5” W
$1,500-2,500
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Carl Jonnevold (1856-1955)
Eucalyptus trees and grazing cattle Oil on canvas
Signed lower right: C. Jonnevold 16” H x 20” W
$1,500-2,000
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Carleton Wiggins (1848-1932)
Holstein at a watering hole, 1912 Oil on canvas
Signed and dated lower right: Carleton Wiggins / 1912; signed again and titled partially indistinctly, verso 20” H x 24” W
$2,500-3,500
Provenance: The Property of Oscar de Lima Meyer
Notes:
The ink notation, verso, reads, “Personal Property of Oscar de Lima Meyer.”
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Carleton Wiggins (1848-1932)
Herd of sheep Oil on canvas laid to canvas
Signed lower left: Carleton Wiggins 24” H x 20” W
$2,500-3,500
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Jules Eugene Pages (1867-1946)
“Chinatown, San Francisco” Oil on canvas laid to kraft gator board
Signed lower left: Jules Pages; titled on a gallery label affixed verso 11.75” H x 7.75” W
$2,500-3,500
Provenance: William A. Karges Fine Art, Carmel, CA Estate, Oakland, CA
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Raymond Dabb Yelland (1848-1900)
“Cruz de San Francisco, Panama,” 1873
Pencil and gouache on buff paper
Signed and dated in pencil in the lower left corner: R.D. Yelland / Dec. 1873; titled in pencil lower right Image/Sheet: 10.25” H x 7.75” W
$1,000-1,500
Provenance:
The North Point Gallery, San Francisco, CA Private Collection, Laguna Beach, CA
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Francis Hopkinson Smith (1838-1915)
Chartres Cathedral from across the L’Eure River Gouache and watercolor on paper Signed lower right: F. Hopkinson Smith Sight: 28” H x 19” W
$2,000-3,000
Provenance:
Sold: Bonhams, Los Angeles, CA, “California Art,” April 12, 2022, Lot 54
John Trumbull (1756-1843)
John Trumbull was an American painter, author, architect, and historical paintings of the events of the American
Born in 1756 in Lebanon, Connecticut, Trumbull was son of Jonathan Trumbull, Connecticut’s governor, American Revolutionary cause. Furthermore, Trumbull’s further deepened his ties to the war, and to observe
After the war, Trumbull studied painting in London Britain. It was during this time that Trumbull conceived immortalize the American Revolution and its heroes.
In terms of the Declaration of Independence, Charles colonial history, being the only Catholic signer of political career and role in the revolution were particularly Protestant colonies. Despite religious prejudices, support for the revolutionary cause in Maryland. In American history, from colonial rule through to the stability and identity. His advanced age and legacy
John Trumbull’s portrait of Charles Carroll, completed to convey the inner strength and character of his depiction, emphasizing Carroll’s calm authority Trumbull was not only commemorating one of ideals of liberty that Carroll embodied. In this sense, contributions of the Founding Fathers.
Trumbull’s portraits of American leaders like Charles and its aftermath. Through his work, Trumbull honored emerging national identity. As one of the first American to his works that was unusual for the period. His ability distinctively American school of painting, one that
architect, and military officer who was best known for his portraits of early American leaders American Revolutionary War (1775-1783).
was uniquely positioned to become one of America’s premier historical painters. He was the governor, and thus grew up surrounded by affluent political and military figures central to the Trumbull’s involvement in the Revolutionary War as an aide to General George Washington observe firsthand the leaders and events that would later become subjects in his paintings.
London under the authority of Benjamin West, a prominent American-born painter based in conceived of a grand artistic project: to create a series of historical paintings that would heroes. His most famous work from this period includes “The Declaration of Independence.”
Charles Carroll of Carrollton (1737-1832) was one of the most significant figures in American the Declaration of Independence and one of the wealthiest men in the colonies. His particularly notable given his Catholic faith, which was viewed with suspicion in the largely Carroll became a key advocate for independence and played a vital role in securing In addition to his political achievements, Carroll’s life spanned an extraordinary period in the early years of the United States. He lived to see the country’s birth and early struggles for legacy made him a revered figure by the time John Trumbull painted his portrait.
completed in 1821, captures the dignified statesman. Trumbull was known for his ability his subjects, and the portrait of Carroll is no exception. It is a restrained and formal authority and wisdom. The painting also has a deeper political resonance. By painting Carroll, the last surviving signers of the Declaration of Independence but also celebrating the sense, the portrait becomes not just a personal likeness, but a symbol of the lasting
Charles Carroll were an integral part of his mission to create a visual record of the Revolution honored the key figures who shaped the United States, while also contributing to the American painters to gain international recognition, Trumbull brought a level of sophistication ability to blend historical narrative with personal portraiture helped to establish a that would later influence artists like Gilbert Stuart and Thomas Sully.
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John Trumbull (1756-1843)
“Charles Carroll of Carrollton,” 1821 Oil on canvas
Signed, titled, and dated in ink verso: John Trumbull / 1821 36” H x 29” W
$3,000-5,000
Provenance: Private collection, Baltimore, 1950s. By descent
Peter David Edstrom (1873-1938)
“Abraham Lincoln”, 1926
Painted ceramic
Signed and dated left side: Peter David Edstrom / 1926; inscribed to front: Presented to Kern County Union High School / Through the Courtesy and By Choice of / Harry D. Smith / Winner of District Number Nine / First International and Third National Oratorical Contest on the Constitution 27” H x 17.25” W x 13” D
$2,000-3,000
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William Holbrook Beard (1824-1900)
“Deer in a Landscape” Oil on board
Signed lower left: W.H. Beard; titled on the frame plaque; titled again on a gallery label affixed to the frame’s backing paper
10” H x 9” W
$2,000-3,000
Provenance:
Vose Galleries, Boston, MA
Sold: DuMouchelle’s, Detroit, MI, July 1998, Lot 2177 Private Collection, acquired from the above
Sold: Christie’s, New York, NY, “Fine American Paintings, Drawings and Sculpture,” March 5, 2009, Lot 121
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Junius R. Sloan (1827-1900)
Cows in a landscape
Watercolor on paper mounted to board Faintly signed along the lower edge, right of center: J. Sloan 10” H x 20” W
$500-700
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Henry Lavender Adolphus Culmer (1854-1914)
Lake in a mountainous landscape
Oil on canvas
Signed lower left: H.L.A. Culmer
10” H x 14” W
$1,000-2,000
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Sydney Mortimer Laurence (1865-1940)
Denali, Alaska landscape Oil on canvas
Signed lower left: Sydney Laurence 16” H x 20.5” W
$20,000-30,000
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Jules Dahlager (1884-1952)
Alaskan landscape, 1926 Oil on board
Signed and dated lower right: Jules / 1926
Sight: 9.75” H x 7.75” W
$1,000-1,500
Provenance:
Private collection, acquired Cordova, Alaska, January 17, 2012
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Paul Lauritz (1889-1975)
“Forest in the Sky” Oil on canvas laid to panel
Signed lower left: Paul Lauritz; signed again, Near the North Pole
30” H x 40” W
$3,000-5,000
titled, and inscribed in ink, all verso:
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Isabel Hunter (1865-1941)
“Study for Mural” Oil on canvas laid to board
Signed lower right: Isabel Hunter; titled on museum labels affixed verso 14.5” H x 33.5” W (half-circle)
$1,000-2,000
Provenance: Greenville County Museum of Art, Greenville, NC
Notes:
Multiple inventory labels from the Greenville County Museum of Art, as well as a small newspaper article clipping, are affixed to the verso of the board.
Paul de Longpré (1855-1911)
Paul de Longpré (1855-1911) was a renowned French-American Lyon, France, he developed a passion for art at a young selling his artwork, and by his early twenties, he had
In 1890, financial difficulties brought on by bank failures United States, where he settled in New York City. There, move to Los Angeles in 1899 that solidified his legacy. Hollywood surrounded by extensive gardens that became a hub for art lovers and collectors.
de Longpré was particularly celebrated for his ability him the nickname “King of Flowers.” He worked primarily floral still lifes to a fine art form. His attention to detail work highly sought after during his lifetime.
This particular painting is a masterful example of the circular frame of delicate white blossoms with lush a distant horizon. The addition of two birds and a butterfly enhancing the scene’s natural beauty. De Longpré’s seamlessly blending floral still life with landscape and
Although his fame peaked in the early 20th century, paintings were widely exhibited and reproduced in his pieces are part of various museum collections,
French-American painter best known for his exquisite and detailed floral still lifes. Born in young age, particularly for painting flowers. By the time he was 12, de Longpré began had become a highly regarded artist in Paris, exhibiting his works at prestigious salons.
failures in his home country, forced de Longpré to leave France and immigrate to the There, he quickly gained a reputation as a master of floral painting. However, it was his legacy. Attracted by the city’s climate and lush plant life, de Longpré built a home in became the subject of many of his paintings. His home became a tourist destination and
ability to capture the delicate nuances of different flowers, particularly roses, which earned primarily with oil paint and watercolor, often creating vibrant compositions that elevated detail and skill in rendering the textures and colors of petals, leaves, and blooms made his
the craftsmanship de Longpré was able to obtain. The composition centers around a green leaves, framing a serene landscape that includes calm waters, sailboats, and butterfly within this space highlights his skill at incorporating elements of wildlife, Longpré’s use of soft, harmonious colors and intricate textures creates a sense of tranquility, and wildlife in a refined, ornamental style.
century, de Longpré’s work continues to be admired for its technical precision and beauty. His in prints, further cementing his influence in both the art world and popular culture. Today, and his legacy remains tied to the early art scene in Southern California.
Paul de Longpré (1855-1911)
Harbor view with birds and insects and a garland of flowers
Oil on canvas laid to canvas
Faintly signed lower right
19.5” H x 14.5” W
$20,000-30,000
Notes:
This particular painting is a masterful example of the craftsmanship de Longpré was able to obtain. The composition centers around a circular frame of delicate white blossoms with lush green leaves, framing a serene landscape that includes calm waters, sailboats, and a distant horizon. The addition of two birds and a butterfly within this space highlights his skill at incorporating elements of wildlife, enhancing the scene’s natural beauty. de Longpré’s use of soft, harmonious colors and intricate textures creates a sense of tranquility, seamlessly blending floral still life with landscape and wildlife in a refined, ornamental style.
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Paul de Longpré (1855-1911)
Harbor view with birds and a garland of flowers
Oil on canvas laid to canvas
Signed lower left: Paul de Longpré
19.5” H x 14.75” W
$20,000-30,000
Notes:
Harbor view with birds and a garland of flowers is an exquisite example of the detail de Longpré was able to achieve in his paintings. The flowers’ intricate attributes, from their layered petals to the subtle shades of green in the leaves, contrasts beautifully with the soft pastel background, which depicts a peaceful riverside view framed by distant trees and architecture. Birds with vivid plumage perch within the composition, adding dynamic movement and energy, while a delicate dragonfly hovers nearby, reinforcing the painting’s theme of life and serenity in nature. The overall effect is one of harmony, with De Longpré’s characteristic elegance and attention to the fine details of both flora and fauna.
Oil on canvas laid to paperboard
Signed lower left: Paul de Longpré
21.25” H x 9.125” W
$5,000-7,000
Paul de Longpré (1855-1911)
Floral spray
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Raoul de Longpré (1843-1911)
Lilacs
Gouache on tan paper
Signed lower right: Raoul M. D.Longpré fils
26” H x 20.5” W
$2,000-3,000
Raoul de Longpré (1843-1911)
“Still Life of Lilacs” Gouache on paperboard
Signed lower right: R.M. De Longpré; titled on a gallery label affixed to the frame’s backing paper
19.5” H x 27.5” W
$1,000-2,000
Provenance:
William A. Karges Fine Art, Carmel, CA
Private Collection, Los Angeles, CA
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Matilda Browne (1869-1947)
Still life of yellow carnations and pansies Oil on canvas
Signed lower right: Matilda Browne 12” H x 20” W
$3,000-5,000
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Percy Gray (1869-1952)
Landscape with a distant lake and mountains
Watercolor on paperboard
Signed lower right: Percy Gray 10” H x 14” W
$2,000-3,000
Provenance: Property from an Estate, San Luis Obispo, CA
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Alexis Matthew Podchernikoff (1886-1933)
“Wild Everlasting”
Oil on canvas laid to waxed canvas
Signed lower left: A.M. Podchernikoff; titled on a gallery label affixed to the frame’s backing board
24” H x 36” W
$2,500-3,500
Provenance: De Ru’s Fine Art, Laguna Beach, CA
Alexis Matthew Podchernikoff (1886-1933)
“The Romance of Summer” Oil on canvas
Signed lower left: A.M. Podchernikoff; signed again, titled, inscribed and with the artist’s device, all verso: Santa Barbara Cal.
20” H x 16” W
$1,000-1,500
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Alexis Matthew Podchernikoff (1886-1933)
Cows in a lush landscape Oil on canvas
Faintly signed lower left: A.M. Podchernikoff 14” H x 18” W
$800-1,200
Provenance: Westbrook Galleries, Carmel, CA
Manuel Valencia (1856-1935)
“Marin County” Oil on board
Signed lower right: M. Valencia; titled on a gallery label affixed verso 10” H x 14” W
$700-900
Provenance: The Redfern Gallery, Laguna Beach, CA Private Collection, Pasadena, CA
Granville Redmond (1871-1935)
Granville Redmond was an American painter renowned for Philadelphia, Pennsylvania, Redmond’s early life was marked likely, this change prompted Redmond’s family to move from Redmond would start receiving his education at the Berkeley Hope d’Estrella, his first art teacher who gave him continuous professionally. In 1890, Redmond graduated from the Berkley Francisco, where he studied under notable artists such as Arthur he honed his skills and absorbed the influences of European
Upon returning to California, Redmond established himself unique light of the California landscape, earning him critical that Redmond was “unrivaled in the realistic depictions of California’s nature, set him apart as a luminary of the California Impressionist countless paintings with sensitivity and reverence. Redmond’s by purple lupines. Sometimes they complemented a coastal California’s natural beauty and garnered widespread admiration.
Although Redmond’s poppies were widely popular, he preferred companion to him, offering him a sanctuary where he could Redmond’s paintings often depicted tranquil landscapes devoid hills, expansive fields, and secluded valleys conveyed a sense observers to join him in moments of contemplation and introspection, the idea of solitude was not merely the absence of human greater than oneself.
Apart from his artistic pursuits, Redmond was also an accomplished the “natural expressiveness of a deaf person using American Chaplin would later use in his silent films. Charlie Chaplin was an empty studio on the movie lot, where Chaplin would visit sponsored him in silent acting roles, including the role as the emotion through gesture and expression made him a natural respect and admiration for each other’s talent and work. Chaplin the Hollywood elite. Redmond would also meet many other
Throughout his career, Redmond’s work was exhibited in prestigious the California Palace of the Legion of Honor. His legacy continues Redmond passed away on May 24, 1935, leaving behind a the true essence of Granville Redmond and his work, Chaplin think that the silence in which he lives has developed in him
for his breathtaking landscapes and thoughtful depictions of California rural scenes. Born on March 9, 1871, in marked by adversity when, at the age of two, he lost his hearing and speech after contracting scarlet fever. Most from Pennsylvania to San Jose, California in 1974, where just a couple years later, on January 2, 1879, Granville Berkeley School for the Deaf and Blind. Here, he discovered his artistic talent under the guidance of Theophilus continuous drawing and pantomime lessons, recognized Redmond’s potential, and encouraged him to pursue art Berkley School for the Deaf and Blind. In 1893, Redmond enrolled at the California School of Design in San Arthur Mathews and Amedee Joullin. He later continued his studies at the AcadÈmie Julian in Paris, where European Impressionism.
himself as a leading figure in the state’s burgeoning art scene. His works often captured the vibrant colors and critical acclaim and commercial success. Arthur Miller, an art critic for the Los Angeles Times, even wrote in 1931 California’s landscape.” Redmond’s mastery of color and form, combined with his deep connection to Impressionist movement. One of Redmond’s most iconic subjects was the California poppy, which he portrayed in Redmond’s poppies “accented his renditions of the rolling meadows of the San Gabriel Valley, often accompanied coastal scene with bursts of yellow highlights.” His depictions of poppy fields in bloom became emblematic of admiration.
preferred to paint scenes of solitude, because it permeated both his life and his art. Solitude became a could immerse himself fully in his artistic pursuits and commune with the natural world. Throughout his career, devoid of human presence, emphasizing the serene beauty of untouched nature. His depictions of rolling sense of peaceful seclusion, such as the present Monterey landscape. Through his art, Redmond invited introspection, encouraging them to find solace and beauty in the quiet corners of the world. For Redmond, presence in his art, but rather a communion with the essence of nature and connection to something
accomplished actor and had a strong working relationship and friendship with Charlie Chaplin. Chaplin admired American Sign Language,” which led Chaplin to ask Redmond to collaborate and develop certain techniques that was thoroughly impressed by Redmond’s skills, and he supported Redmond’s painting career by offering him visit during his breaks and quietly watch Redmond paint. Chaplin also collected Redmond’s paintings, and the sculptor in the 1931 silent film, “City Lights.” Redmond’s expressive performances and ability to convey natural fit for Chaplin’s silent films. Beyond their professional collaboration, Redmond and Chaplin shared Chaplin and the movies he starred in also provided him with a new market for his art, of buyers that included other artists like Elmer Wachtel and Norman St. Clair.
prestigious galleries and museums across the United States, including the National Academy of Design and continues to endure, with his paintings celebrated for their timeless beauty and emotional resonance. Granville a rich artistic legacy that inspires generations of artists and enthusiasts alike. To quote Charlie Chaplin about Chaplin states, “Look at the gladness in that sky, the riot of color in those flowers,” he continued. “Sometimes I him some sense, some great capacity for happiness in which we others are lacking.”
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Granville Redmond (1871-1935)
Along a path near Monterey, 1908
Oil on canvas
Signed and dated lower left: Granville Redmond
28” H x 44” W
$30,000-50,000
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Granville Redmond (1871-1935)
Oaks in a mountain landscape Oil on canvas laid to board
Signed lower left: Granville Redmond 14” H x 18” W
Signed lower right: W.F. Jackson; titled on a typed label affixed verso 13.75” H x 20” W
$2,000-4,000
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Charles Abel Corwin (1858-1938)
“California Poppy Fields” Oil on board
Signed lower left: Charles Abel Corwin; titled by repute 16” H x 23.5” W
$2,500-3,500
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, “Antique & Fine Furnishings Estates Auctions,” November 21, 2006
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Angel Espoy (1879-1963)
Poppy field along rolling hills
Oil on canvas
Signed lower right: A. Espoy
25” H x 30” W
$1,500-2,500
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Paul Bernard King (1867-1947) Path in an Aspen grove Oil on Masonite
Signed lower right: Paul King 25” H x 30” W
$2,000-3,000
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Paul King (1867-1947)
Lakefront landscape with distant church Oil on canvas
Signed lower right: Paul King 25” H x 30” W
$2,000-3,000
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Charles Shepard Chapman (1879-1962)
“Glowing Woods” Oil on Masonite
Signed lower right: Charles S. Chapman; signed again and titled verso 18.5” H x 24” W
$2,000-3,000
Provenance:
Ex.coll. National Academy of Design, New York, NY
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Wilson Irvine (1869-1936)
Winter landscape
Oil on canvas
Signed lower left: Irvine 24” H x 27” W
$3,000-5,000
Frederick Mulhaupt (1871-1938)
Frederick John Mulhaupt (1871-1938) was an American particularly the coastal scenes of Gloucester, Massachusetts. its skillful rendering of light, atmosphere, texture, and
Born in Rockport, Missouri, modest circumstances the Art Institute of Chicago, where he gained a strong development took him to Paris in the late 1890s, where Claude Monet. This period in Paris expanded his technical would become hallmarks of his later work.
Mulhaupt eventually settled in Gloucester, Massachusetts, harbor scenes, and rugged coastline of this New England place with dynamic brushstrokes and luminous color dramatic interplay between sea and sky. Mulhaupt distinctive quality of light along the coast.
What set Mulhaupt apart from many of his contemporaries and atmosphere. His paintings have a structural solidity sense of place while highlighting the beauty of everyday
Mulhaupt was highly regarded during his lifetime. and the Salmagundi Club, and his work was exhibited connection to the American landscape and his ability
While the coastal environs of Gloucester were frequent seasonal views of New England’s natural beauty. The foreground, framing a peaceful river winding through and shadow evoke a sense of seasonal transition, likely earthy tones create a vivid atmosphere, reflecting
American painter best known for his vibrant depictions of New England landscapes, Massachusetts. A key figure in American Impressionism, Mulhaupt’s work is distinguished by and intimate connection to the natural world.
shaped Mulhaupt’s early life, but his talent for art became evident early on. He studied at strong foundation in traditional artistic techniques. His pursuit of further artistic where he absorbed the influences of French Impressionism and the works of masters like technical skills and broadened his appreciation for the effects of light and color, which Massachusetts, a place that became his primary source of inspiration. The fishing industry, England town captivated him, and he painted them repeatedly, capturing the spirit of the color palettes. His works often depict fishermen at work, boats in the harbor, and the had an extraordinary ability to capture the changing moods of the sea and the contemporaries was his ability to blend the realist tradition with the Impressionist focus on light solidity and clarity. This fusion of technique and emotion allowed him to evoke a strong everyday scenes.
He was a member of various art societies, including the National Academy of Design exhibited widely across the United States. His paintings remain a testament to his deep ability to translate that connection into works of lasting beauty.
frequent subjects for the artist, Mulhaupt also spent considerable time inland painting The present work captures a tranquil New England landscape with tall birch trees in the through a sunlit valley. The soft, rolling hills in the distance and the delicate interplay of light likely early spring or late autumn. Mulhaupt’s Impressionistic brushstrokes and warm, his mastery in portraying the beauty and fleeting moods of nature.
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Frederick Mulhaupt (1871-1938)
New England river landscape Oil on canvas
Signed lower left: Mulhaupt 36” H x 36” W
$20,000-30,000
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Walter Emerson Baum (1884-1956) Winter scene
Gouache on cream paper laid to matboard
Signed lower left: W.E. Baum 11” H x 14” W
$1,000-1,500
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Walter Mattern (1892-1946)
Pennsylvania mill in a winter landscape Oil on canvasboard
Signed lower left: W.I. Mattern 15.75” H x 19.75” W
$1,000-1,500
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Paul Strisik (1918-1998)
“Matson’s Point” Oil on canvas
Signed lower right: P. Strisik; titled on the stretcher; with the artist’s copyright ink stamp verso and again on the stretcher 20” H x 30” W
$1,500-2,000
Johann Berthelsen (1883-1972)
“Winter Afternoon” (Washington Square looking up Fifth Avenue, New York), 1948 Oil on canvas
Signed lower right: Johann Berthelsen; titled and dated on a typed label affixed to the verso of the frame 25” H x 30” W
$3,000-5,000
Notes:
The typed label affixed to the verso of the frame reads, “Winter Afternoon” by Johann Berthelsen. Painted in February, 1948 in his cottage on Long Mountain near Gaylordsville, Conn. from sketches he had made the previous winter in Washington Square, New York City.”
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Johann Berthelsen (1883-1972)
The Pulitzer Fountain at Grand Army Plaza, New York in winter Oil on canvas laid to board
Signed lower right: Johann Berthelsen
11.875” H x 9” W
$800-1,200
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Joseph Nordmann (1922-2015)
“New England Winter” Oil on canvas
Signed lower left: J. Nordmann; signed again and 30” H x 40” W
$3,000-5,000
and titled verso
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J. Jeffrey Grant (1883-1960)
Farm scene with farmer and goats
Oil on canvas
Signed lower right: J. Jeffrey Grant
30.5” H x 34.5” W
$1,000-1,500
Edward Charles Volkert (1871-1935)
Cows going to pasture Oil on canvas
Signed lower left: Ed. C. Volkert 12” H x 16” W
$2,000-3,000
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Attributed to Helena Sturtevant (1872-1946)
Woman with dog reading in a sunny garden, circa 1930 Oil on canvas
Unsigned; the artist’s name written in pencil on the frame’s cardboard backing, most likely in another hand; the artist’s name and circa date for the work written on a retail string tag attached verso 14” H x 23” W
$1,000-2,000
Provenance: Indigo Seas, Los Angeles, CA
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Claire Shuttleworth (1867-1930)
“Country Cottage” Oil on canvas laid to canvas
Signed lower right: Claire Shuttleworth; titled in ink on the frame’s backing board 10” H x 14” W
$1,000-2,000
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William Adam (1846-1931)
Vine clad cottage garden
Oil on canvas
Signed lower left: Wm. Adam 18” H x 24” W
$2,000-3,000
57
William Adam (1846-1931)
Pacific Grove
Oil on canvas laid to board
Signed lower center: Wm. Adam 19” H x 26” W
$2,000-3,000
58
Constance Macky (1883-1961)
“Hetch Hetchy Reservoir, Calif.,” 1931 Oil on board
Signed lower left: Constance Macky; signed again, titled, and dated, verso: 1931
12” H x 16” W
$1,000-2,000
Jules François Pages (1833-1910)
Beach along a seashore Oil on canvas
Signed lower right: Jules F. Pages 14” H x 24” W
$3,000-5,000
60
William Trost Richards (1833-1905)
Coastal mountains, 1901
Watercolor on paper
Signed and dated lower left: Wm. T. Richards 01
Image: 5.125” H x 7.875” W; Sheet: 8.875” H x 11.75” W (approx.)
$2,000-3,000
William Trost Richards (1833-1905)
“The Sea at Melmore, Donegal, Ireland” Watercolor on paper laid to paperboard
Signed and dated directly underneath the image, left of center: W.T. Richards; titled in pencil on the lower edge, at left Image: 5.5” H x 8.5” W; Sheet: 9.75” H x 14.125” W (irreg.)
$2,000-3,000
62
William Bradford (1823-1892)
“Morning’s Silver Light (Coast of Labrador),” 1877
Oil on canvas laid to board
Signed and dated lower right: W Bradford; titled on the frame plaque 12” H x 20” W
$20,000-40,000
Provenance: Mills Estate, San Francisco, CA
Exhibited: San Francisco, CA, California Palace of the Legion of Honor, n.d.
63
Anna Althea Hills (1882-1930)
Trees in a lakeside landscape Oil on canvasboard
Signed lower right: A.A. Hills 11.75” H x 15.75” W
$4,000-6,000
64
James Everett Stuart (1852-1941)
Ship at sea Oil on canvas laid to linen
Signed lower left: Stuart 30” H x 50” W
$6,000-8,000
Provenance: Montgomery Gallery, San Francisco, CA Private Collection, San Francisco, CA, from the
65
Frank Vining Smith (1879-1967)
“Off to the Pacific” Oil on Masonite
Signed lower right: Frank Vining Smith; titled verso and on gallery labels affixed to the verso of the frame and to the frame’s backing board
30” H x 36” W
$3,000-5,000
Provenance: William A. Karges Fine Art, Santa Monica, CA
William Alexander Coulter (1849-1936)
Boats in a harbor
Oil on canvas laid to canvas
Signed lower right: W.A. Coulter 24” H x 32” W
$3,000-4,000
67
Jay Connaway (1893-1979)
“Maine,” 1948 Oil on board
Signed and dated lower right: Connaway / 48; titled lower left 16” H x 20” W
$800-1,200
68
Frederick Waugh (1861-1940)
Rocky coastal scene
Oil on Masonite
Signed lower right: Waugh 28” H x 37” W
$7,000-9,000
69
Carl Sammons (1883-1968)
“Carmel,” 1929
Oil on canvas
Signed lower right: Carl Sammons; signed again, titled, and dated in ink, all verso: 1929 14” H x 20” W
$2,000-3,000
Notes:
An alternate title, “Sunset, Carmel, California,” is written in another hand on a label affixed to the verso of the frame.
Louise Nimmo (1899-1959)
“Monarch of the Waste Land” Oil on canvas
Signed lower right: L. Nimmo; signed again in ink and titled in pencil on the stretcher
25” H x 30” W
$2,000-3,000
71
Franz A. Bischoff (1864-1929)
Boulders at the shoreline Oil on board
Signed lower right: Franz A. Bischoff 15” H x 23” W
$4,000-6,000
72
Joane Cromwell (1895-1969)
Rocky shoreline
Oil on canvas laid to board
Signed lower left: Joane Cromwell
12” H x 16” W
$1,000-1,500
73
Dana Bartlett (1882-1957) Coastal inlet
Oil on canvas laid to board
Signed lower left: Dana Bartlett 10” H x 15” W
$1,000-1,500
Notes:
A business card for Marla Bird, President of the Board of Trustees, Laguna Beach Museum of Art, is affixed to the verso of the frame.
74
Joseph Greenbaum (1864-1940)
“Catalina” Oil on canvas
Signed lower right: Joseph Greenbaum; titled on the frame plaque, and again on a gallery label affixed to the frame’s backing board 10” H x 14” W
$800-1,200
75
Frank Lucien Heath (1857-1921)
“The Caves of La Jolla,” 1888 Oil on canvas
Signed and dated lower right: F.L. Heath / 88; signed and dated again, titled, and inscribed, all verso: Near San Diego Cala 30” H x 60” W
$4,000-6,000
76
Frank Lucien Heath (1857-1921)
“La Jolla Cove (Alligator Rock),” 1887 Oil on canvas laid to canvas
Signed and dated lower left: F.L Heath; titled by repute 23” H x 44” W
$3,000-5,000
77
Alfred R. Mitchell (1888-1972)
Signed lower right: Alfred R. Mitchell 24” H x 30” W
$10,000-15,000
Laguna sunset Oil on canvas
78
Alfred R. Mitchell (1888-1972)
“San Simeon Hills” Oil on artist’s board
Signed lower left: Alfred R. Mitchell; signed again and titled, verso; inscribed #578 in pencil, verso, possibly in another hand.
8” H x 10” W
$1,500-2,500
Edgar Alwin Payne (1883-1947)
From the sparkling waters of France and Italy and the desserts of the American Southwest, American painter United States preeminent Impressionist painters.
From the age of fourteen Payne dreamed of being and Midwest painting murals and stage sets, before time, Payne became bored with the rigid structure as an artistic nomad, moving between California and fellow artist Elise Philippa Palmer.
Edgar and Elise Payne made frequent trips to Europe, impressionist painter concerned with capturing light, for the Paynes. Sottomarina is a small “frazione” - a was one of the many “farm islands” that supplied draft boats depicted in Payne’s Italian works transported the light and energy of one of the most beautiful cities
Edgar Payne’s works are included in the collections California Art, the Crocker Art Museum, Sacramento, honor.
the snow-swept peaks of the Swiss Alps to the rolling hills of California and sun-kissed painter Edgar Alwin Payne captured it all on canvas in an illustrious career as one of the being an artist. Born in Missouri, in his late teens Payne traveled through the American South before a minute stint at the Chicago Art Institute in 1907. Like many expressive artists of his of academic art institutions and became a self-taught artist. Payne worked and lived and Chicago, taking commissions, working on large-scale murals, and, in 1912, marrying
Europe, painting in the harbors of Brittany, France, and in and around Venice, Italy. As an light, the clear waters, red sails, and Mediterranean architecture provided ample inspiration a section of the district of Chioggia that makes up the municipality of Venice. Chioggia the city with food and other goods and in the case of Chioggia, wine. The many shallowtransported wine from Sottomarina to Venice proper. Payne’s exquisite Italian paintings capture cities in the world.
collections of numerous institutions including the Laguna Art Museum, the Pasadena Museum of Sacramento, and the Indianapolis Museum of Art. Paynes Lake in the Sierra Nevada is named in his
79
Edgar Alwin Payne (1883-1947)
“Chioggia Harbor”
Oil on canvas laid to canvas
Signed lower right: Edgar Payne; titled in pencil on the upper portion of the stretcher; a partial exhibition label with the numbering “161” in the lower left corner 25” H x 30” W
$30,000-50,000
80
Edgar Alwin Payne (1883-1947)
Brittany boats Oil on canvas
Signed lower right: Edgar Payne
25” H x 30” W
$30,000-50,000
Provenance: William A. Karges Fine Art, Carmel, CA
Private Collection, Santa Barbara, CA
Edgar Alwin Payne (1883-1947)
“Tuna Boats,” 1936
Oil on canvas laid to waxed canvas
Signed and dated lower right: Edgar Payne 36; signed, titled, and dated, all in another hand, verso 20” H x 24” W
$15,000-20,000
Notes:
There is an alternate title, “Morning Light, Brittany,” written on a label affixed to the frame’s backing board.
82
Bernhard Gutmann (1869-1936)
“Harbor of Palma, Mallorca” Oil on panel
Signed lower left: B. Gutmann; titled verso; signed again and an alternate title in ink on an exhibition label affixed verso: Mallorcan Landscape
8” H x 10” W
$1,000-1,500
Exhibited: New York, NY, Salmagundi Club, “Thumb-box Exhibition,” n.d.
83
Ralph Hulett (1915-1974)
“Ascending Fishermen” Watercolor on Arches Unsigned; titled and inscribed again in ink and with the Image/Sheet: 22” H x
$1,000-1,500
Provenance: Kesler Art Gallery, San
Fishermen” paper inscribed in purple ink verso: “71-131”; titled and inscribed the artist’s ink stamp on the frame’s backing board 30” W San Diego, CA
Signed lower right: Ralph Davison Miller 14.75” H x 18.75” W
$1,000-1,500
88
DeWitt Parshall (1864-1956)
“Pelican Bay,” 1925 Oil on panel
Signed lower left: DeWitt Parshall N.A.; signed again (twice), dated, and numbered “28,” verso 24” H x 26” W
$2,000-3,000
Exhibited: Chicago, IL, Art Institute of Chicago, “Arts Club: Paintings by Randall Davey, DeWitt and Douglass Parshall, William S. Horton, G.A. Fjastad, Romaine Brooks,” December 22, 1925-January 26, 1926
Notes:
An old label from The Art Institute of Chicago, dated in pencil “12-10-25,” is affixed verso.
89
Roy Martell Mason (1886-1972)
“Fog at Big Bay,” 1946 Oil on canvas board
Signed lower right: Roy M Mason; signed again, dated and titled verso: 1940 - Nov 6th 12” H x 16” W
$1,000-1,500
90
Karl Eugen Neuhaus (1879-1963)
Big Sur coast Oil on canvas
Signed lower right: Eugen Neuhaus 14” H x 16” W
$800-1,200
91
Selden Connor Gile (1877-1947)
“Hill in Marin,” circa 1920 Oil on canvas
Unsigned; titled in a photocopy of a hand-written statement by Wallace W. Hall, affixed to the frame’s backing board; dated on various gallery labels affixed to the verso of the stretcher and backing board 12” H x 16” W
$10,000-15,000
Provenance:
Hackett Freedman Gallery, San Francisco, CA
George Krevsky Gallery, San Francisco, CA
Exhibited: San Francisco, CA, The North Point Gallery, “A North Point Gallery Exhibition,” n.d.
Notes:
This lot is sold together with a photocopy of a hand-written statement by Wallace W. Hall dated February 21, 1994. Titled “Hill in Marin” in that statement, two gallery labels affixed to the stretcher and backing board use an alternate title, “Marin County.”
92
James Taylor Harwood (1860-1940)
“Poplars,” 1932
Oil on artist board
Signed and dated lower right: JT Harwood / 32; titled and dated on a gallery label affixed verso; inscribed verso: For Ruth Harwood 19” H x 13.5” W
$10,000-15,000
Eanger Irving Couse (1866-1936)
In 1904, Eanger Irving Couse embarked on a train Cypress.” As a long-time resident and a founder of much time in California. The striking cypress trees the area a stop on his tour of the West Coast.
By 1904, the California Cypress were only found in Central Coast of California. Couse captures the play nature with the bright trunks of the cypress. This natural of these majestic trees. The figure’s exact activity—whether remains on the protective embrace of the gnarled
Throughout his career, Couse continued to depict caves, or trees. This approach highlights a symbiotic alone in his fascination with these towering trees; a Charlton Fortune, William Ritschel, Paul Dougherty,
journey from Washington to California, a trip that likely inspired his painting “California of the Taos Society of Artists, Couse’s documented travels suggest that he did not spend he encountered might have influenced this painting, as their distinctive presence made
in two small populations, one near Pebble Beach, and the other at Point Lobos on the play of light filtering through the surrounding glade, highlighting the chaotic beauty of natural splendor contrasts with the serene Native American figure sheltered in the shade activity—whether tending a small fire or rolling a bedroll—is left to our imagination, but the focus cypress.
nature as a nurturing presence for his figures, whether they were sheltered by rocks, symbiotic relationship between his Native figures and their natural surroundings. Couse was not a vibrant community of artists, including Armin Hansen, Mary DeNeale Morgan, E. Dougherty, and Ferdinand Burgdorff, also found inspiration in the cypress of the California coast.
93
Eanger Irving Couse (1866-1936)
“California Cypress” Oil on canvas
Signed lower left: E.I. Couse; titled in pencil on the upper portion of the stretcher; titled again on a label affixed to the frame’s backing paper 24” H x 29” W
$20,000-30,000
Provenance:
Mrs. Jeanie Kerr
Alexander H. Kerr, gifted from the above, his mother, in 1936
Notes:
According to a label affixed to the frame’s backing paper, this work was “given to Alexander H. Kerr in 1936 with love and affection from his mother, Mrs. Alexander H. Kerr.”
94
Edgar Alwin Payne (1883-1947)
“Cypress Trees, Monterey” Oil on canvas laid to gypsum wallboard
Signed lower right: Edgar Payne; signed again and titled in pencil verso 12” H x 16” W
$5,000-7,000
95
Francis John McComas (1875-1938)
Oak trees, 1917
Watercolor on paper
Signed and dated lower right: Francis McComas 1917
Sight: 11.625” H x 13.625” W
$2,000-3,000
96
Alfred R. Mitchell (1888-1972)
“High Sierras from Owen’s Valley” Oil on board
Signed lower right: Alfred R. Mitchell; titled and inscribed verso: “(Lone Pine?)” 16” H x 20” W
$800-1,200
97
Carl Oscar Borg (1879-1947)
“Sierra Mts., Calif.”
Watercolor on paper
Signed lower left: Carl Oscar Borg; titled on a label affixed to the frame’s backing paper
Image/Sheet: 14” H x 18.625” W
$2,000-3,000
98
Jack Gage Stark (1882-1950)
“Bear Creek Sycamores” Oil on panel Signed and titled in ink on a gallery label affixed verso: Jack Gage Stark
7.50” H x 9.25” W
$1,000-1,500
Provenance: Blanchard Hall Art Gallery, Los Angeles, CA
99
Edgar Alwin Payne (1883-1947)
“Mammoth Lake Country, Sierra”
Oil on canvas laid to board
Signed lower left (trimmed along the lower edge) and lower right: Edgar Payne, inscribed in pencil with the artist’s name and titled, verso; also inscribed in pencil by the artist’s widow, Elsie Palmer Payne, verso
9.75” H x 11.5” W
$7,000-9,000
100
Edgar Alwin Payne (1883-1947)
“Trout’s Abode” Oil on canvas board
Signed lower right: Edgar Payne; titled in pencil, possibly in another hand, verso 10” H x 14” W
$7,000-9,000
101
Leland S. Curtis (1897-1989)
“Sierra Sunrise” Oil on canvas laid to canvas
Signed lower left: Leland Curtis; signed again and inscribed in pencil on the upper stretcher bar; titled on a gallery label affixed to the frame’s backing board, and again on the frame plaque
24” H x 30” W
$4,000-6,000
Provenance:
William A. Karges Fine Art, Beverly Hills and Santa Monica, CA Private collection, Los Angeles, CA
102
Paul Lauritz (1889-1975)
Creek through a wooded landscape
Oil on canvas
Signed lower left: Paul Lauritz 20” H x 24” W
$2,000-3,000
103
Sergei Bongart (1918-1985)
Rain storm in the mountains
Oil on canvas
Signed upper left: Sergei Bongart
32” H x 32” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
104
Edgar Alwin Payne (1883-1947)
Mountain landscape
Oil on canvas laid to board
Signed lower right: Edgar Payne 15.75” H x 19.75” W
$7,000-9,000
105
Aaron Kilpatrick (1872-1953)
“Oaks in the Meadow” Oil on canvas
Signed lower left: Aaron Kilpatrick; titled in pencil on the stretcher; titled again on a gallery label affixed to the frame, verso 16” H x 24” W
$800-1,200
Provenance:
Orr’s Gallery, San Diego, CA
Private Collection, Southern California, acquired from the above
Sold: Bonhams, Los Angeles, CA, “Period Art and Design Including Russian Works of Art,” September 7, 2014, Lot 7139
106
Dana Bartlett (1882-1957)
Mountain landscape Oil on canvasboard
Signed lower left: Dana Bartlett 20” H x 24” W
$2,000-3,000
107
Ralph William Holmes (1876-1963)
“A Bend in the River” Oil on canvas
Signed lower right: Ralph Holmes; titled by repute 24” H x 30” W
$1,500-2,000
Provenance: Sold: Bonham’s, Los Angeles, CA, March 13, 1989, Lot 2565
108
Jack Wilkinson Smith (1873-1949)
“Solitude” Oil on canvas
Signed lower right: Jack Wilkinson Smith; titled on a label affixed to the frame’s backing board 24” H x 30” W
$7,000-9,000
109
(1882-1974)
“Gypsy
$6,000-8,000
Harry
Oil on Signed stretcher, 60” H x
to the verso of the frame
Raymond Henry (1882-1974)
“Gypsy Camping Ground” canvas
lower left: H. Raymond Henry; titled in pencil on the upper portion of the stretcher, at left; titled again on a label affixed
x 72” W
$6,000-8,000
110
Harry Raymond Henry (1882-1974)
“Arroyo in Spring” Oil on canvas
Signed lower right: H. Raymond Henry; titled on two exhibition labels affixed to the verso of the frame 30” H x 40” W
$3,000-5,000
Exhibited:
Pasadena, CA, Pasadena Heritage Blinn House, “Early California Impressionist & Post Impressionist Paintings,” November 1-2, 1996 Pasadena, CA, Pasadena Museum of History, “Nature’s Palette,” April 30-June 26, 2005
Notes:
Please note that the above-mentioned exhibition labels have two different versions of the title, one being “Arroyo,” and the other, “Arroyo in Spring.”
111
Hanson Duvall Puthuff (1875-1972)
“Quietude,” 1922
Oil on canvas
Signed lower right: H Puthuff; signed again and titled, verso, as well as on the remnant of an old exhibition label affixed to the frame’s backing board; dated on the frame plaque 30” H x 26” W
$8,000-12,000
Provenance:
Private collection, Irvine, CA
Sold: John Moran Auctioneers, Pasadena, CA, “California & American Paintings,” June 14, 1994, Lot 77
William A. Karges Fine Art, Carmel, CA
Private collection, acquired from the above
Exhibited: Los Angeles, CA, Painters and Sculptors Club of Los Angeles, May 15, 1927
112
Dedrick Brandes Stuber (1878-1954)
“The Vesper Hour” Oil on board
Signed lower right: Dedrick Stuber; titled on a gallery label affixed verso; titled again on the frame plaque 12” H x 16” W
$1,000-1,500
Provenance:
George Stern Fine Arts, West Hollywood, CA Private Collection, Los Angeles, CA
113
Orrin A. White (1883-1969)
“Coastal Sentinels” Oil on canvas
Signed lower right: Orrin A. White; titled on the frame plaque 26” H x 36” W
$10,000-15,000
114
Elmer Wachtel (1864-1929)
“Santa Barbara” Oil on canvas
Signed lower right: Wachtel; titled on the stretcher and on a gallery label affixed to the frame’s backing board
16” H x 20” W
$8,000-12,000
Provenance:
George Stern Fine Arts, West Hollywood, CA
Private Collection, Los Angeles, CA
115
Marion Kavanagh Wachtel (1870-1954)
“Santa Anita Creek” Oil on canvas
Signed lower left and with the artist’s device: Marion Kavanagh Wachtel; titled on the stretcher 26” H x 36” W
$15,000-20,000
Provenance: William A. Karges Fine Art, Beverly Hills, CA Private Collection, Los Angeles, CA
116 Sergei Bongart (1918-1985)
“End of October” Oil on linen
Signed lower right: Sergei Bongart; titled in ink on an artist label affixed to the verso of the frame
32” H x 40” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
117
Sergei Bongart (1918-1985)
“Spring Evening” Oil on canvas
Signed lower right: Sergei Bongart; signed again and titled on artist labels affixed to the verso of the frame 36” H x 48” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
Elsie Palmer Payne (1884-1971)
Elsie Palmer Payne was born in 1884 in San Antonio, Texas, where her father worked in real estate and her mother taught Art School in San Francisco between 1903 and 1905, after in Victorian-base art training, beginning with drawing from school, Palmer Payne worked as commercial artist.
Palmer Payne met her husband Edgar Payne (1883-1947) in November 1912. After their marriage, the couple lived in Chicag received recognition for “his” work, it was Elsie who was considered complete the finished view.
After making several trips during their Illinois period to Cali members of the Laguna Beach Art Association, where Palmer
From 1922 to 1924, Palmer Payne and her family spent time people and their environments. Always interested in recording American and European, were distinguished in this seminal
After separating from her husband in 1932, Palmer Payne expanded subjects. She regularly exhibited at major Los Angeles venues Palmer Art School and Gallery in Beverly Hills in 1934.
Despite their marital separation, the artist was close to her him until his death, just one year later, in 1947.
Following Edgar’s death, Palmer Payne focused her attention typically showed her works alongside Edgar’s in joint shows. the sale of her and Edgar’s paintings to buy a triangular- shaped
As her health and eyesight began to fail her, Payne moved Inc. to conserve the works and record the artistic history of
In her lifetime, Palmer Payne was a member of or founder of Women Painters & Sculptors, Women Painters of the West Club, Artists of the Southwest, America Artists Professional
Palmer Payne’s work was exhibited in many significant Southern Art Club (1943), the Ebell Club, Los Angeles (1932, 1943), Greek Association (1951).
Texas, the youngest of eight children. When Payne was five years old, the family moved to San Francisco taught art and music classes. Palmer Payne was interested in art from an early age and attended the Best finishing high school. There, a traditional art curriculum provided the young artist with the finest antique casts to life drawing and finally to incorporating color into her work. Upon completing art
in 1909 in San Francisco but did not agree to marry him until she travelled, for work, to Chicago in Chicago from 1912 to 1917 where they regularly collaborated on mural commissions. While Edgar considered superior at figure drawing and executed preliminary sketches before Edgar would
California, the couple moved permanently to Laguna Beach in 1917. Both artists were founding Palmer Payne’s works were often exhibited in the associated museum.
time in Europe. Palmer Payne’s European work focused on the unique characteristics of the local recording fidelity of personality, environs, color palette and subject, Palmer Payne’s paintings, both seminal period and praised by French critics.
expanded her artistic reach to include more works in oil, often with a view toward urban Los Angeles venues including the Women Painters of the West and the California Art Club, and opened the Elsie
estranged husband and when, in 1946, Edgar was diagnosed with cancer, Palmer Payne cared for
attention on propagating her late ex-husband’s memory and his artwork, and when she exhibited, she shows. After a year of whirlwind exhibitions, in 1948, Palmer Payne earned enough from her teaching and shaped plot of land on which she built a home.
to Minneapolis in 1969 to be with her daughter Evelyn. There they established the Payne Studios, Elsie Palmer Payne and Edgar Payne. Palmer Payne died there on June 17, 1971.
of some of the most significant California artistic institutions including: National Association of (cofounder), Laguna Beach Art Association (cofounder), California Watercolor Society, California Art League.
Southern California institutions including: Los Angeles County Museum of Art (1942, 1943), the California Greek Theatre, Los Angeles (1948, 1949), Pasadena Art Institute (1950) and the Laguna Beach Art
118
Elsie Palmer Payne (1884-1971)
Neighborhood mailboxes
Oil on canvas laid to canvas
Signed lower left: Elsie Palmer Payne 24” H x 30” W
$2,000-3,000
Notes:
In “Neighborhood mailboxes,” Palmer Payne presents a particularly charming view of Southern California. A line of foreground mailboxes stand before a dominant oak tree. Beyond the tree, a valley vista filled with red-roofed houses fills the scene.
119
Elsie Palmer Payne (1884-1971)
California landscape with figures and wagon Gouache on paper
Signed lower right: Elsie Palmer Payne Image/Sheet: 14.5” H x 14.5” W
$1,000-2,000
Elsie Palmer Payne (1884-1971)
“Monte Carlo - from the Old Cornisch [sic] Rd.” Gouache on paper mounted to board, as issued Signed lower right, and again in pencil on the board directly below the image at right: Elsie Palmer Payne; titled in pencil on the board directly below the image at left
Image/Sheet: 9.875” H x 12.125” W; Board: 14.875” H x 18” W
$800-1,200
121
Edgar Alwin Payne (1883-1947)
“Trees - California,” 1913 Oil on canvas laid to canvas
Signed lower right: Edgar Payne; titled and dated on an artist label affixed to the frame’s backing board: 1913 20” H x 24” W
$10,000-15,000
Alfred R. Mitchell (1888-1972) Landscape Oil on board
Signed lower left: Alfred R. Mitchell 16” H x 20” W
$2,500-3,500
123
Alfred R. Mitchell (1888-1972)
Landscape with a winding river Oil on artist’s board
Signed lower right: Fred Mitchell, and signed again verso 9” H x 12” W
$1,500-2,000
124
Maurice Braun (1877-1941)
“Eucalyptus Hills”
Oil on canvas laid to canvas
Signed lower right: Maurice Braun; titled in pencil on the upper portion of the stretcher 25” H x 30” W
$10,000-15,000
125
Maurice Braun (1877-1941)
“Calif. Landscape” Oil on canvas
Signed lower right: Maurice Braun; titled on the stretcher 20” H x 30” W
$10,000-15,000
Maurice Braun (1877-1941)
“Eucalyptus & Hills” Oil on canvas
Signed lower right: Maurice Braun; titled on the stretcher; inscribed in another hand partially indistinctly on the stretcher: Presented by Elanor Parkes to Etta B. Hart / who presented it to Frank T. Cha**ry 16” H x 20” W
$5,000-7,000
Provenance: Kesler Art Galleries, San Diego, CA
127
Charles Arthur Fries (1854-1940)
“Looking Down Banner Grade, Morning” Oil on canvas
Signed lower right: C.A. Fries; titled and inscribed “#1378” in ink, verso 24” H x 36” W
$6,000-8,000
Literature:
Ben F. Dixon, ed., “Too Late: The Picture and the Artist, A Tribute to the Dean From the Archives of Artist Charles A. Fries and author Addie Davies Fries, His Wife”, San Diego, Don Diego’s Libreria, 1969, no. 1378, p. 97.
128
Charles Arthur Fries (1854-1940)
House among the trees
Oil on canvas
Signed lower right: C. A. Fries 18” H x 24” W
$2,000-3,000
129
Carl Sammons (1883-1968)
Golden hills, California
Oil on canvas
Signed lower right: Carl Sammons 24” H x 30” W
$3,000-5,000
130
George Kennedy Brandriff (1890-1936)
“Sun Worshippers” Oil on canvas
Signed lower right: Geo. K. Brandriff; titled verso; titled again in blue ink on a gallery label affixed to the frame, verso 24” H x 28” W
$2,000-3,000
Provenance: Cowie Galleries, Los Angeles, CA
131
Dana Bartlett (1882-1957)
“The Rajah Passes,” 1942 Oil on board
Signed and dated lower right: Dana Barlett / 1942; titled verso 20” H x 20” W
$2,000-3,000
132
Maurice Braun (1877-1941)
“The Blue Jar” Oil on canvas
Signed lower right: Maurice Braun; titled in pencil on the upper portion of the stretcher 24” H x 20” W
$2,000-4,000
133
Mabel Alvarez (1891-1985)
“Zinnias & Fruit,” 1928 Oil on canvas laid to canvas
Signed lower left: Alvarez; titled on labels affixed to the stretcher 25” H x 30” W
$4,000-6,000
Provenance: Jane and Austin Schleger, gifted from the artist on the occasion of their wedding, May 29, 1946
Notes:
Inscribed in ink on a label affixed to the stretcher: One of the paintings / by Mabel Alverez / to Jane and Austin / Schlegel on their / wedding May 29, 1946
134
Boza (Beatrice Hess) Hessova (1899-1981) Flowers in a vase, 1953 Oil on canvas
Signed and dated lower right: Boza Hessova / 1953 26” H x 30” W
$1,000-1,500
135
William Alexander Gaw (1891-1973)
“Still Life,” 1932 Oil on canvas
Signed lower left: Wm. A. Gaw; signed again in pencil on the upper portion of the stretcher; signed again and titled on an exhibition label affixed to the stretcher; titled again and dated on the frame plaque
15” H x 18” W
$1,000-2,000
Exhibited:
San Francisco, CA, The San Francisco Art Association, “Fifty-Fourth Annual Exhibition,” 1932
136
Cornelis Botke (1887-1954)
“Still Life” Oil on board
Signed lower right: Cornelis Botke; titled on the upper portion of the stretcher bar; titled again on a gallery label affixed, verso 19” H x 36” W
$3,000-5,000
Provenance:
George Stern Fine Arts, West Hollywood, CA Private Collection, Los Angeles, CA
137
Jessie Arms Botke (1883-1971) A loquat tree Oil on canvas laid to panel
Signed lower right: Jessie Arms Botke 23” H x 18” W
$3,000-5,000
138
Franz Arthur Bischoff (1864-1929)
Figures and plant Oil on board
Signed lower right: Franz A Bischoff 19” H x 13” W
$4,000-6,000
Provenance: The Joanne Greenwald Collection The Estate of Dr. Brian Bork Bojesen, acquired from the above
139
Frank Coburn (1862-1938)
“Pink Lady with Parasol in Flower Garden,” 1917 Oil on canvas
Signed and dated lower right: Frank Coburn; titled and dated again on a gallery label affixed to the frame’s backing board
30.25” H x 25” W
$3,000-5,000
Provenance:
Orr’s Gallery, San Diego, CA Private Collection, Manhattan Beach, CA
140
Allan Clark (1896-1950)
“Miss Dick Dempsey,” 1924
Patinated bronze on a slate base
Signed and dated in the casting: Allan Clark / 1924; with foundry mark: Roman Bronze Works NY
Overall: 14” H x 11.25” W x 7.5” D
$800-1,200
141
Mabel Alvarez (1891-1985)
“Variations on an Icon,” circa 1927-9 Oil on board
Signed and titled in pencil on the previous mat used with this work and attached to the frame’s backing board: M Alvarez; estate signed lower right: M. Alvarez; titled in pencil again, presumably in another hand, on the frame’s backing board 13” H x 10” W
$1,500-2,000
Notes:
A typed letter from Glenn Bassett, the heir to Mabel Alvarez’s personal art collection, confirms this work to be authentic and with its estate stamp at the lower right, additionally this letter is signed and dated in ink by Glenn Bassett.
On the frame’s backing board is a small piece of thick paper with a handwritten note from 1990 in the hand of Glenn Bassett that states, “For this series of ‘symbolist’ paintings c. 1927-29. Mabel Alvarez did not sign the pictures, but rather matted them and titled and signed them on the mats. I have glued that part of the mat on this picture as well as apply the estate stamp signature.”
142
Sergei Bongart (1918-1985)
Artist’s studio
Oil on canvas
Unsigned 32” H x 36” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
143
Sergei Bongart (1918-1985)
Self-portrait at his easel
Oil on canvas
Signed lower right: Sergei Bongart
30” H x 30” W
$800-1,200
Provenance: The Estate of Sergei Bongart
George E. Hughes (1907-1990)
Born in New York in 1907, George Hughes grew up in eschewing a traditional university path in favor of pursuing attended the National Academy of Design, where he developed
At the onset of his career, Hughes worked as a freelance Hughes briefly left the world of fashion illustration in New design working as a mechanical designer, but the limitations
In 1942, Hughes’ work was discovered by “The Saturday American generals, was a major success, and brought produce content, including an impressive 115 covers including “McCall’s”, “Woman’s Day”, “American Magazine”, “Reader’s
The present work was one of the artist’s popular covers condition in a humorous and comical “sitcom” scene. captures the audience’s attention. The layered narrative “Post” covers from this time period.
Hughes’s illustrations were so popular, in fact, that his work original illustrations in magazines after the Second World appearing in 1971. After commissions for periodical illustratio death in 1990.
“Screaming Child on Santa’s Knee” was the cover illustration timelessly relatable scene that features a toddler, dressed toward his well-dressed mother. Meanwhile, the department holiday life, featuring onlookers waiting in the queue to monkey, lend a nostalgic and ageless quality to the composition.
Hughes’s work can be found in prominent collections in and the National Portrait Gallery.
Hughes’ work can be compared to such luminary artists Wyeth, Kurt Ard, Maxfield Parrish, Saul Tepper, Coles Philips,
the epicenter of Twentieth Century art and advertising. Hughes lived in the city until adulthood, pursuing an arts education at the Art Students League. Following his time at the League, Hughes developed and expanded on his skills as an artist.
freelance illustrator for popular magazines including “Vanity Fair” and “House & Garden”. In 1936, New York to explore work in the automobile industry in Detroit. There Hughes focused on industrial limitations of the subject led the artist to quickly return to New York.
Saturday Evening Post” art director Ken Stuart. Hughes first commission, a series of WWII portraits of national attention to the artist for the first time. The “Post” would go on to employ Hughes to including the present work, in the subsequent years, while the artist also worked as an illustrator for “Reader’s Digest”, “Good Housekeeping” and other national publications.
covers for “The Saturday Evening Post”, and succinctly captures Hughes’s ability to present the human In images such as “Screaming Child on Santa’s Knee”, Hughes’s detailed and unfolding story deftly narrative illustrations that Hughes created, including the present work, are distinct from other types of
work transcended the rise of photography in magazine illustration. Despite a decline in the use of World War, Hughes continued to receive commissions into the 1970s, with his last “Post” cover illustrations finally dried up, Hughes turned to creating portraiture and continued to paint until his illustration for the December 6, 1958 issue of the “Post”. In his composition, Hughes creates a dressed in a smart blue snowsuit, capped hat and red boots, as he reaches out in adolescent fear department store Santa appears as shocked by this negative reaction as the child. Hughes’s slice of to visit Santa, and an eccentric motley of period toy decorations including a stuffed lion and composition.
in the US and abroad including the National Museum of American Illustration, the British Museum, artists such as Norman Rockwell, James Montgomery Flagg, Mead Schaeffer, Anton Otto Fischer, NC Philips, and Joseph Christian Leyendecker, of which there is a fine example included in this auction.
144
George E. Hughes (1907-1990)
“Screaming Child On Santa’s Knee,” 1958 Oil on canvas
Signed lower left: Hughes, titled on the “Saturday Evening Post” publication order document attached to the frame’s backing board 25” H x 23.25” W
$25,000-35,000
Literature:
“The Saturday Evening Post,” December 6, 1958, cover illustration. Jan Cohn, “Covers of the Saturday Evening Post: Seventy Years of Outstanding Illustration from America’s Favorite Magazine,” New York, 1995, p. 254, illustrated.
Notes:
A “Saturday Evening Post” publication order document is housed in a plastic sleeve taped to the frame’s backing foam board. This lot is sold together with a cover of an original December 6, 1958 issue of “The Saturday Evening Post.”
One of the titans of American Illustration, Joseph Christian strokes, captured the energy and excitement of the New Years babies, Leyendecker codified in magazine debonair, steely-gazed images of the “Arrow Collar of the American male, and lay the foundation for advertising Leyendecker’s work has been undergoing a renaissance
Born March 23, 1874 in Montabaur, Germany, Leyendecker Leyendecker worked at the J. Manz & Company printing School of the Art Institute. Joseph and his brother studied in there, taking classes from artists including passing in 1924.
On his return to Chicago from Paris, Leyendecker worked he was commissioned for his first cover of “The Saturday Leyendecker would create over 300 covers for the
Leyendecker
Christian Leyendecker’s exquisite paintings, constructed from vivid colors and quick, broad the early 20th century. From Santa Claus to football at Thanksgiving, Mother’s Day flowers and magazine overs and advertisements an emerging American identity and popular culture. His Collar Man,” modeled on his business partner and lover Charles Beach, would define the look advertising mascots in the years to come. Eclipsed by his protégée Norman Rockwell, renaissance of appreciation, scholarship, and admiration.
Leyendecker and his family would move to Chicago when he was eight. As a teenager, printing house, working his way from apprentice to staff artist, taking night classes at the Frank both enrolled in the Académie Julian in Paris, and from 1895 to 1897, lived and including Alphonse Mucha. Joseph and Frank would live and work together until Frank’s tragic
worked producing illustrations for multiple local companies. His break came in 1899, when Saturday Evening Post”. This first cover portended a long career with the “Post” in which famed magazine.
146
Joseph Christian Leyendecker (1874-1951)
“Lucky Bag Girl,” circa 1910 Oil on canvas
Signed lower left: J.C. Leyendecker
Oval size: 20.5” H x 18” W
$15,000-20,000
Literature:
“The Saturday Evening Post,” January 2, 1907, cover illustration.
147
Ted Withers (1896-1964) Pink ribbon Oil on Masonite
Unsigned; inscribed in another hand verso: Painted by Ted Withers
30.5” H x 19.25” W
$1,000-2,000
Notes:
An inscription on the verso states: Authenticated by Paul Detlefsen and Clair Fry 7-18-73.
Harold Gaze (1884-1963)
An important early 20th Century illustrator, Harold creatures that illuminated numerous children’s books.
Born in 1884 in New Zealand, Harold and his family honed his artistic skills at the Byam Shaw and Vicat the onset of World War I, Gaze’s art training was interrupted. manufacturing and was sent in 1917 to New York City Australia in 1918 where his major period of book illustration published by Gordon & Gotch that year, with the first
Gaze moved again in the early 1920s, this time to creating unique paintings and watercolors for galleries early and mid-20th century, Gaze also worked for Disney animated film “Fantasia,” released in 1940. Through depictions of froth and bubbles.
Gaze passed away in 1963, leaving behind a trove wonderous worlds, such as the present and following National Museum of American Illustration, the Pasadena
Gaze created a fantasy world of vivid and detailed depictions of fairies and fantastic books.
family moved to England when he was ten years old, where he began his art training. Gaze Vicat Cole School of Art in Kensington, and also at the Polytechnic School of Art in London. With interrupted. After being rejected from service with the British Army, Gaze worked in munitions City to inspect munitions bound for Great Britain. Following the war, Gaze moved to illustration and publishing began. “War in Fairyland” and “The Wicked Winkapong” were first of Gaze’s “Mite Merry” series published by Whitcombe & Tombs a year later, in 1919.
Pasadena, where he transitioned away from commercial publishing and instead focused on galleries and exhibitions across the United States. Like many artists in Southern California in the Disney Studios where he most famously produced fanciful images of fairies for the Disney Through his work at Disney, Gaze was nicknamed the “Bubble Man” for his realistic yet whimsical of delightful images of fairies, children, insects and animals frolicking in fantastical and following works. Gaze’s paintings are held in institutions across the United States, including the Pasadena Museum of History and the San Diego
148
Harold Gaze (1884-1963)
“Teasing,” 1930
Watercolor, ink, and graphite on paper
Signed and dated with the artist’s device, lower right: Harold Gaze / 1930; titled on the verso of the back mat Image: 13.25” H x 10.75” W; Sheet: 14.5” H x 11.5” W
$1,500-2,000
149
Harold Gaze (1884-1963)
Fairies frolicking on vines
Watercolor, ink, and graphite on paper
Signed and partially dated with the artist’s device upper right: Harold Gaze 19 14.25” H x 11.5” W
$1,500-2,000
Streeter Blair (1888-1966)
Streeter Blair was an American self-taught painter known reminiscent of his upbringing. Born in Cadmus, Kansas, despite his initial disdain for farm life. He pursued teacher, principal, clothing store owner, and advertising began painting and quickly gained recognition for
Blair’s works focus on everyday rural activities, such concerts and ice-cream socials. His style, often compared traditional perspective, and whimsical elements. Though world, his paintings captured the warmth and simplicity he remained active in the art world until he died in
Blair’s legacy is preserved through various collections, about his artistic career.
known for his nostalgic depictions of rural life in the Midwest, particularly scenes Kansas, Blair grew up on a farm, an experience that greatly influenced his later works, several careers before starting his painting career later in life, including working as a advertising business operator. After retiring in 1950, Blair moved to Los Angeles, where he his unique, folk art style.
such as children playing games, family gatherings, and small-town events like band compared to that of Grandma Moses, is characterized by its naïve charm, lack of Though Blair never received formal artistic training and avoided the mainstream art simplicity of rural American life. His works were exhibited both in the U.S. and Europe, and in 1966.
collections, including at the University of Kansas, which holds his papers and documentation
150
Streeter Blair (1888-1966)
“The Circus Train Arrives, Midwest 1900,” 1952 Oil on canvas laid to canvas
This Streeter Blair painting vibrantly depicts the arrival of a traveling circus in a small rural town, a lively and colorful scene packed with circus animals, performers, and families. The circus atmosphere is bustling with activity-wagons are being drawn, animals including elephants and zebras are visible, and workers are setting up tents while townspeople gather in excitement. Blair’s folk art style, with its flat perspective and bright, whimsical figures, captures the simple joys and communal spirit of such events, evoking a sense of nostalgia for early 20th-century rural life. The vibrant palette and rich details reflect Blair’s fascination with the everyday, celebratory moments of small-town America.
151
Streeter Blair (1888-1966)
“Back to K.U. (After Christmas, Kan. 1910),” 1956 Oil on canvas
Provenance: Galerie St. Etienne, New York, NY Private collection, Pasadena, CA
152
Mort Künstler (b. 1931)
“B-24 Raid on Ploesti,” 1959
Gouache on board
Signed lower right: M. Künstler; titled and dated on a gallery information sheet
20” H x 16” W
$10,000-15,000
Provenance:
Grand Central Art Galleries, New York, NY
Exhibited:
Greenvale, New York, Post Art Gallery, “Mort Künstler: Epic Paintings of WWII,” December 7, 1981-January 8, 1982
Washington D.C., U.S. Navy Memorial Museum, “Mort Künstler: Epic Paintings of WWII,” March 12-September 7, 1982
Literature:
STAG Magazine, “1,800 Will Fly Tonight – None May Return!,” New York, September 1959, magazine cover Hammer Galleries, “Mort Künstler: Epic Paintings of America,” New York, exhibition catalogue, 1981, p. 25, illustrated
Robert Deis and Wyatt Doyle, ed., “Mort Künstler: The Godfather of Pulp Fiction Illustrators,” New Texture, 2019, p. 55, illustrated
Notes:
The present work was the cover illustration for the September 1959 issue of STAG Magazine, a men’s pulp adventure periodical that ran from the 1930s until approximately the 1990s. This lot is accompanied by a copy of an information sheet from Grand Central Art Galleries.
153
Redmond Stephens Wright (1903-1991)
“Gandy Dancers and the Limited” Oil on canvas
Signed lower right: R Stephens Wright; titled in pencil on the upper portion of the stretcher; inscribed “#262” verso 20” H x 24” W
$1,000-1,500
Provenance: Zantman Galleries, Carmel, CA
Notes:
A “gandy dancer” was an early slang term for a “section hand” railroad worker whose job was to lay and maintain railroad tracks prior to machine innovations.
154
Redmond Stephens Wright (1903-1991)
“Wrestling Match” Oil on canvas
Signed lower right: R Stephens Wright; titled in ink, possibly in another hand, on a label affixed to the verso of the frame; inscribed “#192” in ink on the upper portion of the stretcher 24” H x 30” W
$1,800-2,200
Provenance: Zantman Galleries, Carmel, CA
156
Ernest Martin Hennings (1886-1956)
Untitled, (satyrs approaching a sleeping nymph), circa 1900-20
Oil on canvas laid to waxed canvas
Signed lower left: E. Martin Hennings
40” H x 40” W
$6,000-8,000
Provenance: Medicine Man Gallery, Tucson, AZ
155
Francis De Erdely (1904-1959)
“Subway” Oil on canvas
Signed upper right: De Erdely; titled on the verso of the frame
9” H x 11” W
$1,000-2,000
157
Maynard Dixon (1875-1946)
“Leaning Figure #24,” 1930
Charcoal and graphite on brown paper
Initialed and dated lower right: MD / Mch 1930; titled in another hand on the frame’s backing paper
Sheet: 17.5” H x 12.75” W
$3,000-5,000
158
Patricia LeGrande (1941-2024)
Portrait of a woman Oil on Masonite
Signed lower left: LeGrande; signed again (twice) on the verso of the frame and the backing board
24” H x 18” W
$800-1,200
Provenance: The Estate of Sergei Bongart
159
Adolf Brougier (1870-1926)
Spanish dancer with fan Oil on canvas
Signed lower right: A. Brougier
45” H x 30.5” W
$2,000-3,000
160
Jean Mannheim (1863-1945)
“Mexican Girl” Oil on Masonite
Signed lower right: J. Mannheim; titled and numbered “456” on a label affixed verso 24” H x 20” W
$1,000-1,500
161
Clarkson Dye (1869-1955)
“Santa Barbara Mission” Oil on canvas laid to canvas
Signed lower right: Clarkson Dye; titled on a gallery label affixed verso 20” H x 30” W
$2,500-3,500
Provenance:
Sullivan Goss: An American Art Gallery, Santa Barbara, CA
Christopher Queen Galleries, Duncan Mills, CA
The Estate of Ernest A. Bryant III, Santa Barbara, CA, acquired from the above, July 1999
Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art Auction,” October 22, 2013, Lot 199
Exhibited:
Duncan Mills, CA, Christopher Queen Galleries, “Artists of the Bohemian Club,” 1999
Moraga, CA, St. Mary’s College, The Hearst Art Gallery, “Early Artists of the Bohemian Club,” August-October 2002
Santa Barbara, CA, Sullivan Goss: An American Art Gallery, “California Missions,” August-September 2006
162
Emil J. Kosa Jr. (1903-1968)
“Carmel Mission”
Watercolor on paper
Signed lower right: Emil J. Kosa Jr. 20” H x 27” W
$2,000-3,000
163
Raymond Boynton (1883-1951)
“Grass Valley,” 1945 Oil on board
Signed and dated lower left: Ray Boynton 1945; titled verso 20” H x 16” W
$1,000-2,000
164
Helen Forbes (1891-1945)
“Village with Mountain,” circa 1926 Oil on canvas
Signed lower right: Helen Forbes; titled on the frame plaque 16” H x 20” W
$1,000-2,000
165
Terry Delapp (1934-2020)
“New Field”
Acrylic on canvas
Signed with initial lower right: D; titled verso and again on a label affixed to the verso of the frame
24” H x 32” W
$3,000-5,000
Provenance:
Private Collection, Los Angeles, CA, acquired directly from the artist George Stern Fine Arts, West Hollywood, CA
166
Rex Brandt (1914-2000)
“Back Country,” 1958
Watercolor on paper mounted on paperboard
Signed and dated in pencil lower right: Rex Brandt / 1958; signed and dated again, and inscribed in pencil lower left: “To Elizabeth and Sid with much appreciation / 8-23-58”; signed again and titled in pencil along the lower edge of the overmat
Image/Sheet: 13.25” H x 19.625” W
$1,000-1,500
167
Fred Grayson Sayre (1879-1939)
“Flowered Slopes” Oil on canvas
Signed lower right: F. Grayson Sayre; titled verso 16.25” H x 20.25” W
$2,000-3,000
168
Sam Hyde Harris (1889-1977)
“Desert Majesty” Oil on canvasboard
Signed lower right: Sam Hyde Harris; signed again and titled in pencil, numbered in another hand, verso: #318; titled again on a label affixed verso 16” H x 20” W
$1,500-2,000
169
Cornelis Botke (1887-1954)
“A Cloudy Day, Utah” Oil on canvas laid to paperboard
Signed lower right: C. Botke; signed again and titled in pencil verso Sight: 12” H x 15” W
$1,000-1,500
170
Alfred R. Mitchell (1888-1972)
“Desert Wash” Oil on board
Signed lower left: Alfred. R. Mitchell; signed again and titled in pencil, verso 8” H x 10” W
$1,500-2,000
Marjorie Reed (1915-1996)
American artist Marjorie Reed’s vivid colors and expressive the real and imagined American West. While Reed depicted fascination with the iconic image of the West, the stagecoach.
Born in Illinois in 1915 to a family of artists and art enthusiasts, Stephen Reed, was a commercial artist, and as Reed work as well. The Reed family moved to Los Angeles at the Walt Disney Studios. Having done some commercial after, disliking the regimentation and repetitiveness of
Reed’s artistic direction would change once she began of Jack Wilkinson Smith, Reed was encouraged to follow enamored with the great outdoors and life of cowboys fields, she became determined to capture the spirit walk eighteen miles a day, exploring the countryside
Reed befriended Captain William Banning, who had out in a Model T, retracing the route of the famed Butterfield completed later. From these sketches, Reed created the Southwest.
Reed completed her first series of Butterfield Stage the same year. Reed would continue this research stagecoach and Western art would continue through would compel her to move over eighty times, spending collected by luminaries such as James S. Copley, private collectors. Marjorie Reed passed away in 1996,
expressive strokes bring to life some of the most engaging and entertaining images of depicted scenes of cowboys and ranchers, what sets Reed’s work apart is her stagecoach.
enthusiasts, Reed began dabbling in art at three years old. Reed’s father, Walter Reed grew older and trained as an artist under him, she began to take on commercial Angeles when Marjorie was 14, and later, like many Southern California artists, she took a job commercial work for Disney, Reed was taken into the animation department, but left soon of animation work.
began taking art classes at Chouinard Art Institute in the mid-1930s. Under the tutelage follow her passion for the outdoors and ranch life. Reed had become passionately cowboys and ranchers in the Southwest, and though she had been denied work in those of the West in her paintings. Some of her friends would even state that Reed would countryside around Los Angeles.
had been a stagecoach driver. Reed was inspired by these tales of the stagecoach, set Butterfield Overland Mail Stage, and sketching out images for paintings to be created colorful, exciting images of the Butterfield stagecoaches soaring across the plains of
Stage paintings in 1957, with a book, “The Colorful Overland Stage,” published research cycle, traveling, sketching, and painting, for the rest of her life. Other cycles of through the 1960s and 1970s. Her passion for the images and history of the West spending much of her time in Tombstone, Arizona. Her work became quite popular, the publisher of the San Diego Union and San Diego Tribune, and numerous 1996, leaving behind a voluminous legacy of American art.
171
Marjorie Reed (1915-1996)
“On the Stage Road in Southeast Arizona” Oil on canvasboard
Signed lower right: Marjorie Reed; signed again and titled in ink on an artist label affixed verso; inscribed in red ink, verso: For Brian - Christmas 1986 / Delivered April 20, 1986
8” H x 10” W
$800-1,200
172
Paul Dougherty (1877-1947)
“New Mexico Foothills Tawny and Violet” Oil on panel
Unsigned, titled on gallery labels affixed verso 15” H x 18” W
$1,000-1,500
Provenance: Santa Fe East Galleries, Santa Fe, NM
Exhibited:
Hickory, NC, Hickory Museum of Art, “Paul Dougherty: Land and Sea,” April 24-June 19, 1988, no. 5
173
Clark Hulings (1922-2011)
New Mexico street scene
Oil on canvas
Signed lower right: Hulings 16” H x 24” W
$5,000-7,000
174
Robert Wood (1889-1979)
Signed and dated lower left: Robert Wood / 56 24” H x 30” W
$4,000-6,000
Desert blooms, 1956 Oil on canvas
175
Robert W. Wood (1889-1979)
Texas farm and bluebonnets landscape
Oil on canvas laid to board
Signed lower left: Robert Wood 15.75” H x 21.75” W
$6,000-8,000
176
William Slaughter (1923-2003)
Texas Bluebonnet landscape Oil on canvas
Signed lower left: W.A. Slaughter 24” H x 36” W
$8,000-12,000
177
Eldridge Hardie (1940-2021)
“Wyoming Autumn - Brown Trout and Pale Morning Duns,” 1975
Watercolor on paper
Signed lower left: Eldridge Hardie; with a partially erased signature lower left; signed again, titled, and dated in ink in the right margin, and again on the verso: “#19-74 by Eldridge Hardie - Denver - 1974-75 - all reproduction rights reserved by the artist” Image: 14” H x 18.75” W; Sheet: 15” H x 20.5” W
$2,000-3,000
Notes:
The ink inscription in the right margin of the recto of the sheet is repeated on the verso of the sheet.
178
$1,500-2,000
Karl Thomas (b. 1948)
Snowy mountains Oil on canvas
Signed lower right: Karl Thomas 20” H x 30” W
179
James Fetherolf (1925-1994)
“The Sawtooths” (Idaho) Oil on canvas
Signed lower right: Fetherolf; titled on the upper portion of the stretcher 36” H x 24” W
$3,000-5,000
180
Curt Walters (b. 1950)
“China Cove,” 1987 Oil on canvas
Signed lower left: Curt Walters; signed again, titled, and dated on the stretcher and verso of the frame
20” H x 16” W
$1,000-2,000
181
Curt Walters (b. 1950)
Flowering trees Oil on canvas
Signed lower right: Curt Walters
30” H x 24” W
$1,500-2,500
182
Dennis M. Doheny (b. 1956)
“Up Canyon Eucalyptus (Arroyo Sequit),” 2004 Oil on linen
Signed and dated lower right: Dennis M. Doheny 2004; signed and dated again, titled, and with the artist’s copyright on the verso of the painting’s backing board
36” H x 30” W
$10,000-15,000
183
Karen Moore (20th century)
“Meadows of Dreams (California’s Coastal Flats)” Oil on canvas
Unsigned; titled by repute
50.5” H x 50.5” W
$2,000-3,000
Provenance:
The artist’s studio
Private collection, Los Angeles, CA, acquired from the above
Notes:
Karen Moore began her artist practice, painting the valleys of Ojai and landscapes surrounding her as she grew up in Santa Barbara, CA. Later in life, in 1990s, she enrolled in the California State Academy of Fine Arts, where she began her studies of the arts and art history. The most significant academic year for her was spent abroad in Europe, studying masters such as Paul Cezanne, Claude Monet, and John Constable. Back in the United States, she became fond of the works of Henrietta Berk, another California female artist that pulled inspiration from her surrounding scenaries.
Karen Moore’s work has been exhibited in galleries throughout California, New Mexico, Arizona, Wyoming, Washington, and Colorado. She is currently based in Southern California.
184
Karen Moore (20th century)
“Valley of Ochre (California Inland Escapes)” Oil on canvas
Unsigned; titled by repute
50.5” H x 50.5” W
$2,000-3,000
Provenance: The artist’s studio
Private collection, Los Angeles, CA, acquired from the above
185
Paul Lauritz (1889-1975)
Barn in a farm landscape
Oil on canvas board
Signed lower left: Paul Lauritz
20” H x 25” W
$2,000-3,000
186
Paul Lauritz (1889-1975)
“Top of Rocky Mountain Pass” Oil on waxed canvas
Signed lower left: Paul Lauritz; titled on a label affixed to the frame’s backing paper 24” H x 34” W
$3,000-5,000
187
Sam Hyde Harris (1889-1977)
“Mountain Retreat” Oil on canvas
Signed with the estate stamp lower right: Sam Hyde Harris; with the estate ink stamp signed by Maurine St. Gaudens, verso; signed, titled and numbered “871” on the stretcher 25” H x 30” W
$2,000-3,000
Provenance:
Estate of the Artist
Sold: Bonhams, Los Angeles, CA, “California and Western Art,” March 17, 2020, Lot 124
188
Emil J. Kosa Jr. (1903-1968)
“Hills of Malibu,” 1938 Oil on canvas laid to waxed canvas
Signed lower left: Emil J Kosa Jr.; signed again, titled, and dated in ink on the upper portion of the stretcher: 1938 24” H x 34” W
$4,000-6,000
Provenance:
Sold: Butterfield & Butterfield, San Francisco, June 15, 1989, Lot 3871
189
Emil J. Kosa Jr. (1903-1968)
“Feather Edged” Oil on Masonite
Signed lower right: EJ Kosa Jr; titled in ink pencil on a label affixed verso 24.25” H x 31.75” W
$5,000-7,000
190
Emil J. Kosa Jr. (1903-1968)
“Wild Green Sanctuary, Irvine Ranch” Oil on Masonite
Signed lower right: Emil Kosa Jr.; titled in ink, verso; titled again on a label affixed verso
24” H x 36” W
$4,000-6,000
191
Conrad Buff (1886-1975)
“Mountain and Mesa” Oil on board
Estate signed lower right: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso; titled on a gallery label affixed verso 16.25” H x 24.375” W
$2,000-3,000
Provenance:
George Stern Fine Arts, West Hollywood, CA, no. CB217
192
Conrad Buff (1886-1975)
“Mountain with Stream (Mt. Morrison)” Oil on board
Estate signed lower right: Conrad Buff; the estate ink stamp signature by Mary Elizabeth Buff, verso; titled on a gallery label affixed verso 12.25” H x 24” W
$2,000-3,000
Provenance:
George Stern Fine Arts, West Hollywood, CA, no. CB571
193
Conrad Buff (1886-1975)
“Blue Lake with Sunset” Oil on board
Estate signed lower right: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso; titled on a gallery label affixed verso
12.5” H x 16.5” W
$1,500-2,000
Provenance:
George Stern Fine Arts, West Hollywood, CA, no. CB333
194
Conrad Buff (1886-1975)
Snow-capped mountains
Oil on board
Estate signed lower left: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso Sight: 8” H x 18.5” W
$800-1,200
Provenance:
George Stern Fine Arts, West Hollywood, CA, no. CB039
Tarmo Pasto (1906-1986)
Tarmo Pasto, a noted psychologist and art professor, Though he is perhaps best known for bringing attention Pasto was a key figure in a circle of artists working
This loose coalition of artists, which includes figures work at institutions such as the Crocker Art Museum,
In 1986, four years after a retrospective at the Crocker remained unseen by subsequent generations of viewers.
professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. attention to the work of one of his patients, the so-called Outsider artist, Martin Ramirez, in and around the Sacramento area during the post-war period.
figures such as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their Museum, Sacramento, CA, which holds examples of Pasto’s work in its permanent collection.
Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely viewers.
195
Tarmo Pasto (1906-1986)
“Cactus Country,” 1968 Oil on canvas
Signed and dated lower right: Tarmo Pasto 68; titled and inscribed “297” in pencil on the upper portion of the frame, verso 59” H x 81” W
$2,000-4,000
196
Tarmo Pasto (1906-1986)
“Three Sentinels,” 1971 Oil on canvas
Signed and dated lower right: Tarmo Pasto 71; titled and inscribed “46” in black pen on the stretcher 26” H x 34” W
$1,000-2,000
197
Tarmo Pasto (1906-1986)
“Dry Rain,” 1972 Oil on canvas
Signed and dated lower right: Tarmo Pasto 72; titled in black pen on the stretcher, and again in pencil on the verso of the frame; also inscribed “3169” in black pen in several places on the stretcher
28” H x 36” W
$1,000-2,000
198
Hans Kegler (20th century)
“Carmel Coast Line,” 2008 Oil on canvas laid to panel
Signed lower left: Hans Kegler; signed again, titled, and dated, verso 30” H x 36” W
$1,000-1,500
199
Millard Sheets (1907-1989)
“Mendocino,” 1983
Ink and watercolor on wove paper
Signed and dated lower right: Millard Sheets 1983; signed and dated again, and titled, on the frame’s backing board, titled and dated again on the frame plaque
Image/Sheet: 29” H x 39.75” W
$8,000-12,000
Provenance: Kennedy Galleries, Inc., New York, NY
Notes:
The partial blindstamp on this paper is most likely that of the “Veritable Torchon” brand. This lot is sold together with a variety of old newspaper clippings about the artist.
200
Millard Sheets (1907-1989)
“Sonoma Coast with Pintos,” 1981 Watercolor on Arches paper
Signed and dated lower right: Millard Sheets 1981; signed and dated again, and titled and numbered “27069”, all in ink, on a section of brown paper backing paper reserved from prior framing Image/Sheet: 22” H x 29.625” W
$6,000-8,000
Provenance:
Kennedy Galleries, Inc., New York, NY Stary - Sheets Fine Art Galleries, Irvine, CA The Estate of Mr. & Mrs. Kenneth Childs, by descent
Notes:
Kenneth Childs was the President of Home Savings and Loan - a Southern California Institution whose branches were designed by Millard Sheets Studio and adorned with rich mosaics and other artworks by the artist and his collaborators. Childs and Sheets became close friends, often traveling and vacationing together. So close was their friendship that Millard Sheets spoke at Kenneth Childs’ funeral and the two families continued to stay in contact.
According to the Los Angeles Daily News, Howard Ahmanson Sr., the owner of Home Savings and Loan, wrote to Sheets in 1952 saying: “Have traveled Wilshire Boulevard for twenty-five years. Know name of architect and year every building was built. Bored... Need buildings designed? I want buildings that will be exciting seventy-five years from now.” Sheets designed more than 100 Home Savings and Loan buildings, primarily in Southern California - many of which are still standing and often admired.
This lot is sold together with a copy of a “on loan only” document dated 9-21-90, and the subsequent invoice dated 12-5-90, both issued by StarySheets Fine Art Galleries, Irvine CA.
201
Antonio Pietro Martino (1922-1988)
“After the storm, Percé, Canada”
Oil on canvas
Signed lower right: Antonio P. Martino; signed again, titled, and inscribed with the artist’s address in ink on the upper portion of the stretcher 15” H x 30” W
$2,000-3,000
Phil Dike (1906-1990)
In the early 1940s, Phil Dike and fellow artist Rex Brandt talented pair would be visiting artist/instructors including purchased a lot near the Newport Jetty, overlooking to be a springboard over the next decade for Dike beach-themed inspiration for the artists and their circle
Painted in 1954, both “Shore Tapestry” and “Shore in his works, dominated by bright sunshine, vibrant foreword for a Biltmore Gallery exhibition, noted following harbor views: “One of Dike’s favorite painting its breezy activity through the window of some seaside of combining effects of light on the sea and shore, life and lightness to his pictures.”
Brandt began holding a summer art school in Corona Del Mar, California. Joining this including Phil Paradise, Millard Sheets, and Milford Zornes. Fortunately, Brandt had overlooking the entrance to Balboa Harbor in 1940. Nicknamed “Blue Sky,” this location proved Dike and Brandt, serving as a center of California watercolor paintings and providing endless circle of close friends.
“Shore Texture” exemplify the vibrant coastal lifestyle that Phil Dike sought to capture vibrant colors, and constantly changing patterns of movement. In a 1940s catalogue noted Los Angeles art critic Arthur Millier describes similar paintings to the present and painting grounds is Newport Bay, alive with sails. In his pictures one often glimpses seaside cottage where holidaymakers relax in the beach air. He has the happy faculty shore, which are both beautiful and dramatic, with humorous observations which give
202
Phil Dike (1906-1990)
“Shore Tapestry” Oil on canvas
Signed lower right: Phil Dike; signed again, titled, and inscribed in pencil with the artist’s Claremont address along the upper portion of the stretcher
26” H x 36” W
$10,000-15,000
Provenance: J. B. Laughlin
203
Phil Dike (1906-1990)
“Shore Texture,” 1954
Mixed media on Strathmore paper
Signed and dated at the lower edge, right of center: Phil Dike 54; signed again, titled, and inscribed with the artist’s Claremont address on the frame’s backing board, with the Strathmore blindstamp at the lower right corner Image/Sheet: 23” H x 29” W
$6,000-9,000
204
Alfred R. Mitchell (1888-1972)
“The Spunky at Rock Hall, Maryland” Oil on board
Signed lower left: Alfred R. Mitchell; titled in pencil, verso 16” H x 20” W
$4,000-6,000
Provenance: Walter Robinson
Sold: Butterfield & Butterfield, San Francisco, and Los Angeles, “Selected California Paintings,” October 12, 1989, Sale 2124P
Notes:
The pencil inscription on the verso, reads, “To Mariana - from Fred and Dorothea / with love and best wishes.” “Fred and Dorothea” in the inscription, verso, refers to the artist and his wife, Dorothea Webster Mitchell (1894-1985).
205
Mabel Alvarez (1891-1985)
“Beach Umbrellas,” circa 1965 Oil on board
Estate signed lower right: M. Alvarez 9” H x 18” W
$2,000-3,000
Provenance: Estate of the artist
206
Richard Kollorsz (1900-1983)
“Hollywood and Vine,” Oil on board
Signed and dated and again on the 22” H x 29.5” W
$7,000-9,000
Provenance: William A. Karges
Kollorsz
Vine,” 1947
dated lower left: R. Kollorsz / 47; titled on a gallery label affixed verso frame plaque
Karges Fine Art, Beverly Hills and Santa Monica, CA
Ben Abril (1923-1995)
The romance of old California and nostalgia for a lost Abril. Old LA is caught in a time capsule in each Abril between the Golden Age of Hollywood and the end
Born in 1923 in Los Angeles, Abril served in World learned painting under Arthur Beaumont, Abril worked schooling and training. He studied landscape painting (now Cal Arts), and watercolor classes at Otis Art Institute. and draftsman for the County of Los Angeles until Abril’s reputation as a noted painter. At a 1964 exhibition, bought out his entire studio. Abril received a number John Paul II.
Abril passed away in La Canada Flintridge in 1995 Painters, Abril’s work was glowingly described in an
“There are, nevertheless, few artists among the many manage to convey this exuberance to the observer suburbs, he makes swift bold statements in pure blazing
Ben Abril’s work is held in many prestigious institutions, Seattle, the Navy History and Heritage Command Archival materials of the artist are held in the Natural
Ben Abril’s work, nostalgic yet timeless, celebrates rural, of California.
lost past of high-rises and vintage Los Angeles coalesce around the work of artist Ben Abril work, frozen in time in dazzling brushwork and vibrant colors. Capturing a city end of the midcentury, Abril’s work sees the passing of the old, the new, and the old again.
World War II in the Air Force. After a short stint at the Glendale School of Allied Arts, where he worked as a clerk in a post office at night to spend his days painting. Abril was eclectic in his painting at the Art Center School of Design, architectural rendering at Chouinard Art Institute Institute. While an accomplished artist on the side, Abril mainly worked as a cartographer a series of artistic projects and exhibitions in the mid-1950s and early 1960s cemented exhibition, actor and art collector Vincent Price was so impressed with the artist that he number of high-profile commissions, including a series for the US Navy and a gift for Pope
after complications from cancer. A stand-out from many of the other California Scene an exhibition at the Cowie Wilshire Galleries in Los Angeles:
many southern California scene painters who so obviously enjoy their profession and also observer as does Abril. Whether his subject is taken from the rolling hills, beaches, sunlit slums, or blazing colors that emphasize his enthusiasm as well as his often injudicious compositions.”
institutions, including the Los Angeles County Museum of Art (LACMA), the Frye Art Museum in in Washington D.C., and the Hilbert Museum of California Art in Orange, California. Natural History Museum of Los Angeles County and the Los Angeles Public Library.
celebrates the classic cars, old houses, skyscrapers, landmarks and vistas both urban and
207
Ben Abril (1923-1995)
“Down Angels Flight,” 1959 Oil on canvas
Signed lower left: Ben Abril; titled, dated and inscribed in ink, verso 20” H x 30” W
$2,000-3,000
Notes: The full ink inscription, verso, reads, “A magnificent view of the city can be seen from the top of Angels Flight Railway on Bunker Hill, Los Angeles.”
Abril returned to depictions of Angels Flight Railway many times, capturing the landmark funicular in its original Bunker Hill location, surrounded by a youthful downtown Los Angeles. In “Down Angels Flight”, Abril focuses on the sweeping city view from the vantage point of the railway.
208
Donna Schuster (1883-1953)
“Village on a Hill” Oil on canvas laid to canvas Signed lower right: Donna Schuster; titled by repute 21” H x 27” W
$2,000-3,000
Provenance:
Sold: Butterfield & Butterfield, San Francisco, CA, February 7, 1990, Lot 1121
209
Ben Abril (1923-1995)
“Colorado Street Bridge” Oil on canvas
Signed lower left: Ben Abril; signed again, titled, and inscribed on the stretcher: “Colorado Street Bridge - Completed in 1913 - Cost $200,000 / 160 Feet Above Arroyo Seco - 1,467 Feet Long / Bridge Engineer = Mr. John Drake Mercereau / Nicknamed ‘Suicide Bridge’ Over 100 People Have Jumped from the Bridge to their DeathSince 1913”
24” H x 36” W
$1,000-2,000
Notes:
In “Colorado Street Bridge”, Abril captures an iconic view of the historic concrete arch bridge scene from the Arroyo Seco in Pasadena, CA. Built in 1912 by the firm of Waddell & Harrington, based in Kansas City, MS. This major structure was designed to replace the small Scoville Bridge near the Bottom of the Arroyo Seco, to form an east-west route that connected Pasadena with Eagle Rock and Glendale to the west, and with Monrovia to the east. The Colorado Street Bridge also stands as a visual backdrop in many movies like Charlie Chaplin’s 1921 film, “The Kid,” and almost 100 years later, appearing during an evening stroll scene of the protagonist in the 2016 film, “La La Land.”
210
Roger Kuntz (1926-1975)
Village square (Puerto Vallerta) Oil on canvas
Signed lower right: Kuntz 30” H x 40” W
$3,000-5,000
211
Roger Kuntz (1926-1975)
Signed lower right: Kuntz; titled verso 30” H x 40” W
$2,000-4,000
“Mitla, Mexico” Oil on canvas
212
Roger Kuntz (1926-1975)
“Milta, Oaxaca” Oil on canvas
Signed lower right: Kuntz; titled in pencil, possibly in another hand, on a label affixed to the upper portion of the stretcher 34” H x 44” W
$1,500-2,000
Provenance:
The Estate of Sergei Bongart, acquired directly from the artist
213
Roger Kuntz (1926-1975)
“Plaza” (Mexico) Oil on canvas
Signed upper left: Kuntz; titled on two labels affixed to the frame, verso 36” H x 40” W
$1,000-1,500
Provenance:
The Estate of Sergei Bongart, acquired directly from the artist
Exhibited:
Laguna, CA, Laguna Beach Museum of Art, “Roger Kuntz Memorial Retrospective,” April 5-May 2, 1977
214
Marjorie Reed (1915-1996)
“Jerusalem Old City from the Mt. of Olives” Oil on canvas
Signed lower right: Marjorie Reed; signed again and titled in ink on an artist label affixed to the stretcher
24” H x 36” W
$2,000-3,000
Notes:
A business card from Marjorie Reed’s Old Adobe Gallery is taped to the verso of the frame.
215
Signed and dated lower right: Zick 96
36” H x 28” W
$2,000-3,000
Ron Zick (1934-2024)
Woman in green kimono, 1996 Oil on canvas
216
Ron Zick (1934-2024)
“Spring Break Frauen,” 2006
Oil on canvas laid to canvas
Signed and dated lower right: Zick 06; signed again and titled, verso Image: 43” H x 30.75” W; Overall w/ the primed canvas border: 48” H x 36” W
Signed lower left: Hinkle; titled on a label affixed to the upper portion of the stretcher
18” H x 22” W
$1,000-1,500
Provenance:
Private collection, California
Sold: Heritage Auctions, Beverly Hills, CA, “Fine & Decorative Arts,” February 13, 2020, Lot 28195
219
Victor Mikhail Arnautoff (1896-1979) Still life with bread Oil on board
Signed lower right: Victor Arnautoff 19” H x 28” W
$2,000-3,000
220 Sergei Bongart (1918-1985)
Still life of a harvest dinner, 1973 Oil on canvas
Signed upper left: Sergei Bongart; titled, dated, and inscribed in Slavic on the upper portion of the stretcher 36” H x 48” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
221 Sergei Bongart (1918-1985)
“Watermelon and Copper Pot” Oil on canvas
Signed upper right: Sergei Bongart; titled in red ink on a label affixed to the verso of the frame
30” H x 36” W
$800-1,200
Provenance: The Estate of Sergei Bongart
222
Sergei Bongart (1918-1985)
Floral still life with blue vase Oil on Masonite
Signed upper left: Sergei Bongart
40” H x 30” W
$1,000-1,500
Provenance: The Estate of Sergei Bongart
223 Ray Swanson (1937-2004)
Still life of peonies in a vase Oil on canvas
Unsigned
30” H x 36” W
$1,000-1,500
224
Anni Baldaugh (1881-1953)
“Flowers”
Oil on canvas
Signed upper right: Anni Baldaugh; titled in ink on a label affixed to the frame’s backing board 23” H x 21” W
$1,000-1,500
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SINCE 1969
Condition Reports
1
Visual: Overall generally good condition. Dust accumulation commensurate with age. A stretcher bar crease along the left edge. Slight frame abrasion along all four extreme edges.
Blacklight: No evidence of restoration.
Framed under glass: 11” H x 13.25” W x 1.5” D
2
Visual: Overall generally good condition. Fine and stable craquelure scattered throughout. A minor pinhead-sized reverse pressure mark with attendant pigment loss near the left edge, just above the center, and a pinpoint-sized area of pigment loss near the area mentioned above. A pinhead-sized area of pigment loss on the extreme upper edge, at center. A rice-sized area of prior abrasion with visible touch-up near the upper portion of the right edge.
Blacklight: An approximately dime-sized, and two peasized areas, of touch-up to the rock formation of the waterfall in the upper right quadrant.
Frame: 26.25” H x 20.25” W x 2.25” D
3
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24.5” H x 30.5” W x 1.75” D
4
Overall good condition. Very pale and unobtrusive lightstaining showing mostly in the lighter colors. The paperboard is slightly warped along the lower edge, mostly right of center.
Framed under glass: 14.5” H x 11.5” W x 2.25” D
5
Visual: Overall good condition. Grime and discoloration commensurate with age. As mentioned, the canvas has been relined.
Blacklight: Occasional spots of touch-up, difficult to read under heavy varnish.
Frame: 36” H x 48.25” W x 3.5” D
6
Visual: Dust accumulation, specks of grime, darkening, minor varnish discoloration, fine craquelure, and stretcher bar creases along each side, all commensurate with age. Frame abrasion along the extreme edges. Scattered areas of stray paintbrush bristles. Pinhead-sized (or smaller) areas of raised pigment scattered throughout, possibly in the hand of the artist.
Blacklight: Small areas of touch-up scattered primarily in the outer edges. A thick application of varnish has been applied.
Frame: 29.25” H x 25.25” W x 3.5” D
7
Visual: Overall good condition. Grime and varnish discoloration commensurate with age. A 1” diagonal soft scratch in the lower left quadrant above the cows. A surface abrasion with an attendant pinhead-sized pigment loss in the lower right corner.
Blacklight: A rice-sized spot of touch-up towards the middle of the upper edge.
Frame: 19” H x 22” W x 2.25” D
8
Visual: Overall generally good condition. A minor, approximately 3” horizontal surface scratch towards the upper edge, at right. A 1” pressure mark with some attendant pigment loss in the lower right quadrant at the base of a tree. A soft stretcher bar crease showing along the upper edge. A minor, hairline, 4” vertical split in the canvas towards the upper left edge.
Blacklight: No evidence of restoration.
Frame: 21.25” H x 25” W x 2” D
9
Visual: Overall good condition. Craquelure and minor varnish discoloration commensurate with age. Small, occasional areas of slight gold leaf transfer scattered along the extreme edges.
Blacklight: A 1.5” H x 0.25” W area of touch-up to the left of the cow’s face, with an attendant patch verso, and two approximately dime-sized (or smaller) areas of touch-up in the upper right quadrant.
Frame: 26” H x 30” W x 3.5” D
10
Visual: Overall good condition. As mentioned, the canvas has been relined.
Blacklight: Quarter-sized or smaller spots of touch-up throughout.
Frame: 25.75” H x 31.75” W x 3.25” D
11
Visual: Overall generally good condition. The painting’s tacking edges have been removed and, as mentioned, the canvas has been laid down. Frame abrasion in places at the outermost edges of the canvas.
Blacklight: No evidence of restoration.
Frame: 18.25” H x 14.25” W x 2.25” D
12
Overall good condition. Scattered very pale foxing throughout. A minute, pinhead-sized cut in the surface of the paper to the left of center. The sheet is hinged to the back mat from the verso of the upper sheet corners.
Framed under Plexiglas: 18.5” H x 15.5” W x 1.25” D
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 29.5” H x 20.5” W x 2” D
14
Visual: An approximately pea-sized area of pigment loss on the figure’s forehead, at center, attendant with the unstable craquelure scattered in the figure’s face. Dust accumulation, mostly stable craquelure throughout, heat damage to the pigment in the upper half of the work with attendant thick bands of crazing, varnish discoloration, darkening to the pigment, the canvas fragile, and frame abrasion along the extreme edges, all commensurate with age. The canvas rippled, mostly appearing in the lower half of the work, attendant with the canvas slightly loose from the strainer. A 9” thin band of smaller areas of soft abrasion to the surface, appears to not be affecting the underlayer. A pea-sized area of visible touch-up/repair near the right edge, at center. Other minor defects are present. This work could benefit from conservation and restretching.
Blacklight: A quarter-sized area of touch-up to the figure’s left shoulder, another quarter-sized area of touch-up near the upper edge, at center, and touch-up along the extreme edges. Presumably more touch-ups throughout, but difficult to read under blacklight, attendant with heavy and old varnish used.
Frame: 45” H x 38” W x 5.25” D
15
With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Some rubbed wear and loss to paint, revealing base material. Felt applied to underside. Dedication panel likely added later, with seam around words and crack through the middle. Likely with scattered older losses, concentrated along lower edge.
16
Visual: Overall good condition. A 2” thin area of frame abrasion along the extreme upper edge, at center.
Blacklight: No evidence of restoration.
Frame: 16.5” H x 14.75” W x 2.75” D
17
Overall good condition. As mentioned, the paper is mounted to board. An unobtrusive, nickel-size, partial tear in the paper at the upper right corner. The work is attached to the overmat with various types of tape from the verso of the board edges.
Matted but unframed
18
Visual: Overall good condition. Dust accumulation, occasional specks of grime, and minor varnish discoloration, all commensurate with age.
Blacklight: No evidence of restoration.
Framed under glass: 18” H x 22” W x 4” D
19
Visual: Overall generally good condition. Occasional, soft, horizontal lines of craquelure showing primarily in the background. A faint, hairline 2” vertical split in the pigment in the upper right quadrant. A rice-sized cut into the canvas in the lower right quadrant.
Blacklight: No evidence of restoration. The white and lighter pigments fluoresce under blacklight.
Frame: 24.5” H x 28.5” W x 3” D
20
Visual: Overall good condition. Dust accumulation and craquelure commensurate with age. An approximately dime-sized cluster of smaller pinhead-sized (or smaller) areas of pigment loss, possibly attendant with an area of unstable craquelure near the center of the left edge. Minor frame abrasion along the extreme upper edge.
Blacklight: No evidence of restoration.
Frame: 11.5” H x 9.5” W x 1.25” D
21
Visual: Dust accumulation, varnish discoloration, specks of grime, and craquelure throughout, a few areas of which are unstable with attendant pinhead-sized or smaller areas of pigment loss, all commensurate with age. An approximately dime-sized cluster of very small pigment losses near the center of the upper edge. Scattered areas of frame abrasion along the extreme upper and left edges.
Blacklight: Touch-ups throughout, the largest area measuring 2” H x 5” W near the center of the right edge.
Frame: 36.5” H x 46.5” W x 3.25” D
22
Visual: Overall generally good condition. Occasional lines of fine, stable craquelure throughout. Surface abrasions throughout, with scattered rice-sized (or smaller) pigment losses.
Blacklight: No evidence of restoration. Some red pigments fluoresce under blacklight.
Frame: 19.25” H x 38.75” W x 1.25” D
23
Visual: Overall generally good condition. Specks of grime and very fine craquelure scattered throughout, with a few pinpoint-sized (or smaller) areas of unobtrusive pigment loss scattered in the flowers and leaves, all commensurate with age. As mentioned, the canvas has been relined.
Blacklight: Two approximately 0.75” bands of touch-up along the lower and upper edges, at left. Other smaller areas of touch-up scattered primarily throughout the outer edges and occasionally in the center of the work.
Frame: 22.5” H x 17.5” W x 2.5” D
Visual: Overall generally good condition. Occasional areas of fine craquelure scattered primarily in the center of the work, minor varnish discoloration, and occasional specks of grime, all commensurate with age. A few unobtrusive pinpoint-sized (or smaller) pigment losses scattered in the leaves and white flowers. A possible faint surface scratch along the extreme lower edge, at center. As mentioned, the canvas has been relined.
Blacklight: A 2” H x 1” W area of touch-up in the upper right corner. Touch-up along the extreme edges, and other small areas of touch-up scattered throughout.
Frame: 22.5” H x 17.5” W x 2.5” D
25
Visual: Overall good condition. Fine paint shrinkage primarily scattered in the flowers, specks of occasional grime, and minor darkening, all commensurate with age. A small area of lifting near the upper right corner. Frame abrasion along the extreme edges, with attendant pinheadsized (or smaller) areas of pigment loss, and ink numbering from the frame has slightly transferred to the extreme left edge, none of which is visible as framed.
Blacklight: Small, occasional areas of touch-up scattered in the flowers and leaves.
Framed under Plexiglas: 27” H x 15” W x 3” D
26
Overall generally good condition. The sheet is toned. A soft crescent-shaped scuff extending from the middle of the upper edge to the middle of the lower edge. A 1.75” D pale stain in the lower right, near the signature.
Framed under glass: 44.25” H x 39.25” W x 3” D
27
Overall generally good condition. A 5.5” H x 3.5” W repaired tear on the right edge, at center. Minor toning and scattered areas of abrasion with some areas of attendant pigment losses along the extreme edges. Occasional areas of soft surface scratches and specks of glue residue. The work is hinged to the back mat with various pieces of white archival tape along the recto of each extreme edge.
Framed under Plexiglas: 27” H x 34.5” W x 1.25” D
28
Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure throughout, and with a few areas of unstable craquelure with attendant, very small and unobtrusive specks of pigment loss scattered occasionally in the lower left quadrant. Very minor frame abrasion scattered along the extreme upper edge.
Blacklight: Scattered areas of touch-up throughout, primarily in the upper left quadrant.
Frame: 18.25” H x 26.25” W x 4” D
29
Overall good condition. Minor toning and dust accumulation throughout, commensurate with age; the toning slightly darker along the extreme upper edge, and mostly covered by the narrow beveled edge of the frame.
Framed under glass: 15” H x 19” W x 1.5” D
30
Visual: Overall good condition. Fine and stable craquelure throughout, minor paint shrinkage concentrated in the dark blue pigment used for the shadows in the trees in the upper left quadrant, and a very soft stretcher bar crease along the upper edge, at right.
Blacklight: A few areas in the trees in the upper left quadrant fluoresce under blacklight, possibly attendant with touch-up or inpainting.
Frame: 31.5” H x 43.5” W x 2.5” D
31
Visual: Overall good condition. Scattered pinhead-sized spots of transfer pigment along the extreme upper edge.
Blacklight: No evidence of restoration.
Frame: 25.75” H x 21.75” W x 2” D
32
Visual: Overall good condition. Dust accumulation commensurate with age. Stable craquelure throughout. A soft stretcher bar crease along the left side, mostly visible in raking light. A pinpoint-sized area of unobtrusive pigment loss on the extreme edge, at left, and a small cluster of a few pinpoint-sized or smaller areas of pigment loss at the lower edge, at left, slightly affecting the image. An unobtrusive pinpoint-sized indentation near the upper edge, at center.
Blacklight: A 1” H x 0.5” W and some pea-sized areas of touch-up to the smaller tree in the right half of the work.
Frame: 17.5” H x 21.75” W x 2” D
33
Visual: Overall good condition. Very unobtrusive and small areas of craquelure in the distant mountains and parts of the sky.
Blacklight: A 1.5” diagonal area of touch-up near the left edge, at center, and two pea-sized areas of touch-up in the sky, at center.
Frame: 18.5” H x 22.5” W x 2.5” D
34
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38” H x 54” W x 3” D
35
Visual: Overall good condition. Dust accumulation, very minor varnish discoloration, and areas of fine and stable craquelure scattered throughout, all commensurate with age. Minor frame abrasion along the extreme upper edge. As mentioned, the canvas is laid to board, and the tacking edges have been removed.
Blacklight: A 1.5” H x 2” W area of touch-up in the upper right portion of the tree, a 1” H x 1” W area of touch-up in the upper right corner, and other dime-sized areas of touchup scattered in the upper and lower edges.
Frame: 24.25” H x 28.25” W x 2.5” D
36
Visual: Overall good condition.
Blacklight: A few scattered lines of touch-up in the sky, the largest measuring approximately 0.5” H x 2” W in the clouds at right. There are also several areas of scattered pinhead-sized surface rubbing to the varnish in the sky.
Frame: 24.75” H x 37” W x 3” D
37
Visual: Overall good condition. Dust accumulation and specks of occasional grime scattered throughout. Three unobtrusive pinpoint-sized areas of pigment loss, presumably attendant with frame abrasion, at the extreme lower edge, right of center.
Blacklight: No evidence of restoration.
Frame: 14.5” H x 19.25” W x 2.5” D
38
Visual: Overall good condition. Occasional specks of grime commensurate with age. A pinhead-sized area of pigment loss near the upper edge, at center. Scattered areas of fine frame abrasion along the extreme upper edge.
Blacklight: No evidence of restoration.
Framed under glass: 17” H x 23.25” W x 1.25” D
39
Visual: Overall good condition. Dust accumulation and grime commensurate with age. An unobtrusive and fine 2” surface scratch near the upper edge, at center.
Blacklight: A pea-sized and two rice-sized touch-ups near the upper edge, at center.
Frame: 20.5” H x 28” W x 1.5” D
40
Visual: Overall good condition. Very slight frame abrasion in places along the vertical edges.
Blacklight: Scattered touch-ups throughout, primarily in the sky.
Frame: 30.5” H x 36” W x 2” D
41
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. Minor frame abrasion along the extreme left edge.
Blacklight: A few pea-sized (or smaller) areas of touch-up near the upper right corner, and one area near the upper portion of the left edge.
Frame: 31” H x 35.75” W x 2.5” D
42
Visual: Overall generally good condition. Dust accumulation, grime, craquelure throughout, and a soft stretcher bar crease along the upper edge, all commensurate with age. Minor transfer from the gold leaf on the frame along the lower portion of the extreme left edge.
Blacklight: One quarter-sized, and a few pea-sized, areas of touch-up in the upper right quadrant.
Frame: 31” H x 36” W x 3” D
43
Visual: Overall good condition.
Blacklight: A penny-sized spot of touch-up in the upper left quadrant.
Frame: 22.5” H x 28.5” W x 2” D
44
Visual: Overall good condition. Very fine and stable craquelure scattered primarily in the outer edges and the lower half of the work.
Blacklight: An approximately 1” H x 0.25” W area of touchup in the sky of the upper left quadrant.
Frame: 31.25” H x 34.25” W x 2.5” D
45
Visual: Overall good condition. Very fine and unobtrusive craquelure scattered in the lower half of the work, primarily concentrated in the blue pigment of the river. A very soft stretcher bar crease primarily along the lower portion of the stretcher bar. New stretcher bar keys at each corner.
Blacklight: An approximately 1” W vertical band of touchup all along the left edge. Four other thin 7.5” H x 0.25” W vertical bands of touch-up in the foliage and sky near the upper left quadrant. A dime-sized touch-up in the lower extreme edge, to the right of the signature.
Frame: 43” H x 43” W x 4.5” D
46
Overall good condition. Faint residue from previous framing showing along the extreme left and right edges, not visible as framed.
Framed under glass: 14.25” H x 17.25” W x 1.25” D
47
Visual: Overall good condition. Minor specks of grime and varnish discoloration throughout and commensurate with age.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 24.25” W x 2” D
48
Visual: Overall good condition. Unobtrusive stretcher bar creasing showing slightly in the upper edge, at left.
Blacklight: No evidence of restoration.
Frame: 26.75” H x 36.5” W x 2.25” D
49
Visual: Overall good condition. Fine and stable craquelure scattered primarily in the impasto of the white pigment along the upper and lower edges, and other occasional areas just right above or below those areas. A soft stretcher bar crease along the upper portion of the left edge. An unobtrusive pinhead-sized area of pigment loss in the extreme upper left corner, and a pinpoint-sized pigment loss near the lower edge, right of center.
Blacklight: Specks of touch-ups scattered throughout the top of the building in the background in the upper right quadrant, and a few other specks of touch-ups scattered along the left and lower edges.
Frame: 31” H x 36” W x 3” D
50
Visual: Overall good condition. Scattered occasional craquelure in the areas with impasto along the upper and lower edges. Two pinholes near the upper corner of the extreme right edge.
Blacklight: No evidence of restoration.
Frame: 17.25” H x 14.25” W x 2” D
51
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38.75” H x 48.75” W x 2.75” D
52
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32” H x 36” W x 2” D
53
Visual: Overall good condition. Stable craquelure scattered throughout, minor stretcher bar crease along the upper edge, and slight dirt accumulation mostly showing in the sky, all commensurate with age.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 2” D
54
Visual: Overall good condition. A few unobtruisive, peasized (or smaller) pigment losses in the foliage of the upper left corner. Occasional fine craquelure in the grass of the foreground. A 1.5” very delicate and unobtrusive, vertical scratch in the upper right corner. Slight stretcher bar creases along the upper and right edges.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 29.5” W x 1.75” D
55
Visual: Overall generally good condition. The smallest area of unobtrusive craquelure in the white pigment in the upper left quadrant. Two artist’s pinholes at the upper corners. As mentioned, the canvas has been relined.
Blacklight: An approximately dime-sized area of touch-up in the upper left corner.
Frame: 14” H x 18” W x 2.5” D
56
Visual: Overall good condition. Very fine, stable craquelure showing primarily in the blue pigments of the background. A very soft stretcher bar crease showing along the blue pigment towards the upper edge.
Blacklight: No evidence of restoration.
Frame: 23.75” H x 29.75” W x 2.5” D
57
Visual: Overall good condition. Grime and discoloration commensurate with age.
Blacklight: No evidence of restoration.
Frame: 23.5” H x 30.75” W x 1.75” D
58
Visual: Overall good condition. Very fine paint shrinkage scattered in the darker pigments in the lower half of the work. A very small area of fine craquelure in the upper left corner.
Blacklight: A pea-sized area of touch-up near the upper edge, left of center.
Frame: 19” H x 23” W x 2.25” D
59
Visual: Stable craquelure throughout. A 3” horizontal repaired split in the canvas in the sky of the upper left quadrant.
Blacklight: Material used to repair the above-mentioned split in the canvas fluoresces under blacklight.
Frame: 18” H x 28” W x 1.75” D
Visual: Overall good condition. Two tiny, unobtrusive surface splits to the paper in the sky and mountains at right, each approx 0.125”, visible only in raking light. Pale light-staining showing in the wide margins outside the image, along the window opening of the mat. Occasional unobtrusive foxmarks outside the image at the lower right. Pale mat staining, verso. The sheet is tipped to a support sheet along the verso of the upper margin edge.
Framed under glass: 14.75” H x 17.75” W x 0.5” D
61
Overall good condition. The colors good. Very pale matburn on the sheet along the extreme edges of the mat window. A few flecks and a dime-sized area of residue, possibly from old glue, scattered in the outer edges, and not affecting the image. The sheet is trimmed, presumably in the hand of the artist. A cluster of rice-sized areas of watercolor pigments in the lower portion of the right edge, and in the hand of the artist. As mentioned above, the sheet is laid to paperboard.
Framed under glass: 15” H x 18” W x 1” D
62
Visual: Overall good condition. Very fine, stable craquelure throughout. A rice-sized spot of pigment loss in the upper right quadrant, in the clouds towards the upper right edge.
Blacklight: Occasional pea-sized or smaller spots of touchup primarily along the outer edge of the clouds.
Frame: 22” H x 30” W x 3” D
63
Visual: Overall good condition. Slight varnish discoloration commensurate with age.
Blacklight: No evidence of restoration. Heavy varnish application.
Frame: 17” H x 21.5” W x 2” D
64
Visual: Overall good condition. Slight surface rubbing and grime. Minor frame abrasion along the extreme right edge.
Blacklight: Occasional scattered touch-ups, the largest measuring approximately 3” H x 9” W in the dark water at lower center. Another touch-up measuring approximately 1” H 1” W in the sky at upper right, and an L-shaped touch-up measuring 0.25” H x 0.25” W in the lower portion of the sails.
Frame: 40” H x 60” W x 5” D
65
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 40” H x 46.25” W x 2.5” D
66
Visual: Overall generally good condition. Dust accumulation, occasional specks of grime, craquelure throughout, and very soft stretcher bar creases along the upper and left edges, all commensurate with age. A very thin and unobtrusive black vertical surface scuff near the upper edge, at center. As mentioned, the canvas has been relined.
Blacklight: A 3” H x 2” W area of touch-up near the right edge, at center, and other quarter-sized areas of touch-up scattered in the outer edges.
Frame: 30.5” H x 38.5” W x 4.25” D
67
Visual: Overall generally good condition. Dust accumulation, areas of grime and dirt, all commensurate with age. An unobtrusive 0.25” line of craquelure and a pinpoint-sized pressure mark on the extreme upper edge, at center. The work is attached to the overmat with long pieces of white tape along the verso of each side.
Blacklight: No evidence of restoration. The grime and dirt fluoresce under blacklight.
Frame: 24.25” H x 28.25” W x 2” D
68
Visual: Overall good condition. Dust accumulation, occasional specks of grime, and craquelure throughout, all commensurate with age. Areas of slight oxidation to the pigment, primarily in the fine craquelure. A possible 0.5” diagonal area of the Masonite cracked in the upper right corner.
Blacklight: Two approximately 3” H x 3” W as well as other smaller areas of touch-up scattered in the rock formation in the lower left quadrant of the work. Some quarter-sized or smaller areas of touch-up occasionally scattered along the upper edge.
Frame: 37.5” H x 45.5” W x 5” D
69
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 26.25” W x 2.25” D
70
Visual: Overall generally good condition. Dust accumulation, grime, and occasional areas of very fine craquelure, some of which is unstable with attendant pinhead-sized (or smaller) pigment losses, all commensurate with age. Soft and unobtrusive stretcher bar creases along the upper and left edges. An approximately 0.5” hole and a pea-sized pressure mark, both in the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 36.5” W x 3.5” D
71
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 23.25” H x 31.25” W x 2.5” D
72
Visual: Overall generally good condition. Dust accumulation and specks of grime commensurate with age. Areas of fine and stable craquelure scattered primarily along the upper portion of the work and in the thicker layering of the white pigment. Pea-sized circular areas in the corners and edges, most likely the previous tacking circles. Frame abrasion and scattered areas of canvas loss along the extreme upper edge.
Blacklight: No evidence of restoration.
Frame: 15.5” H x 19.5” W x 2.25” D
73
Visual: Overall good condition. Slight surface grime. A 2.5” irregular, curved, pencil line in the upper right corner, most likely in the hand of the artist.
Blacklight: No evidence of restoration.
Frame: 17” H x 22” W x 2” D
74
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Fine and stable craquelure scattered throughout. A pea-sized area of unobtrusive pigment loss in the lower left corner.
Blacklight: A 1” H x 0.75” W area of touch-up near the upper edge, right of center. Crack-fill scattered primarily throughout the upper left quadrant.
Frame: 17.5” H x 21.5” W x 2.5” D
75
Visual: Fine, stable craquelure throughout. A pinhead-sized pressure mark in the lower right quadrant. A few scattered pinhead-sized spots of pigment loss throughout. Small abrasions in places along the extreme edges of the canvas.
Blacklight: Areas of touch-up scattered throughout.
Unframed
76
Visual: Overall good condition. Very faint, unobtrusive, stable craquelure throughout. A soft stretcher bar crease along the upper edge. A cluster of pinhead-sized spots of pigment loss in the upper left corner. As mentioned, the canvas has been relined.
Blacklight: Areas of touch-up through the sky, the largest a 1.5” thick ‘L’-shaped area in the upper left extreme corner.
Unframed
77
Visual: Overall good condition. Scattered soft and unobtrusive craquelure. Stretcher bar creasing showing primarily along the upper edge.
Blacklight: No evidence of restoration. Occasional uneven varnish application at the outermost edges.
Frame: 32.5” H x 38” W x 2.75” D
78
Visual: Overall good condition. A few unobtrusive, pinhead-size pigment losses in the water of the lower right quadrant.
Blacklight: No evidence of restoration.
Frame: 13.5” H x 16” W x 2” D
79
Visual: Overall good condition. Very fine and stable craquelure scattered throughout, primarily visible in the cream-colored sail at center. Minor frame abrasion along the extreme upper edge. The stretcher with four new keys. As mentioned, the canvas has been relined and a partial numbered label is in the lower left corner.
Blacklight: An approximately 7.5” H x 1.25” W vertical band of touch-up along the upper portion of the boat’s mast and partially in the sky, near the left edge. A 5” H x 2” W area of touch-up on the front of the boat with the one figure, at the top of the boat in the lower right quadrant. Other pea-sized or smaller areas of touch-up scattered in the outer edges.
Frame: 30” H x 35” W x 2.5” D
80
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 37.25” H x 32.25” W x 2” D
81
Visual: Overall generally good condition. Fine craquelure scattered throughout. As mentioned, the canvas is laid to waxed canvas, and with one of the vertical tacking edges removed.
Blacklight: Scattered touch-ups, primarily in the upper left corner.
Frame: 28.5” H x 32.5” W x 3” D
82
Visual: Overall generally good condition. Dust accumulation and grime commensurate with age. Paint shrinkage scattered throughout the boat. A fine 2” line with smaller vertical areas of abrasion near the upper edge, at left. Abrasion along the extreme left edge.
Blacklight: A 2” H x 0.25” W area of touch-up along the upper portion of the extreme right edge.
Frame: 14.5” H x 16.5” W x 2” D
83
Overall good condition. Very pale time-staining along the extreme upper sheet edge. A thin indentation along the extreme left sheet edge, possibly attendant with the framing. A small tear to the sheet near the lower left corner. Artist’s pinholes at each sheet corner. The sheet is loose, not matted.
Framed under glass: 29.5” H x 37.5” W x 2.5” D
84
Visual: Discoloration and grime commensurate with age. Small areas of very fine, stable craquelure showing primarily in the white pigment. As mentioned, the canvas has been relined.
Blacklight: Spots of touch-up throughout, primarily in the waves.
Frame: 19.75” H x 23.75” W x 2” D
85
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 19.5” H x 23.5” W x 1.5” D
86
Visual: Overall good condition. A 1” vertical scratch, as well as a pinhead-sized pigment loss, both in the crashing wave to the left of center. Occasional very fine craquelure showing primarily near the lower edge, at left, not affecting the signature.
Blacklight: No evidence of restoration.
Frame: 28.5” H x 36.5” W x 1.5” D
87
Visual: Overall generally good condition. Grime and discoloration commensurate with age. A few pea-sized or smaller spots of pigment loss in the lower left corner, upper right corner, and towards the lower portion of the right edge. Areas of stray white pigment, possibly from painting of frame, showing at points along the extreme edge, not visible under frame, except for the lower right corner.
Blacklight: A pea-sized spot of touch-up in the upper right quadrant towards the middle of the upper edge.
Frame: 20.75” H x 24.75” W x 2” D
88
Visual: Overall generally good condition. Dust accumulation and grime commensurate with age. Three pigment losses scattered along the upper edge, two of which are each approximately pea-sized, and the other a 0.5” vertical loss. Fine and stable craquelure scattered throughout. A 0.5” area of very minor and unobtrusive frame abrasion along the extreme left edge, at center.
Blacklight: No evidence of restoration.
Frame: 29” H x 31” W x 2.5” D
89
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 14.75” H x 18.5” W x 2” D
90
Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Fine and stable craquelure throughout. An approximately pinhead-sized area of unobtrusive pigment loss in the dark purple pigment near the lower edge, right of center. A very slight reverse pressure mark in the sky at center, primarily visible in raking light.
Blacklight: A few very faint pea-sized or smaller areas of touch-up scattered in the sky. A thick application of varnish has been applied.
Frame: 18.75” H x 20.75” W x 3” D
91
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 15.5” H x 19.5” W x 1.75” D
92
Visual: Overall good condition.
Blacklight: No evidence of restoration. Some of the light pigments fluoresce under blacklight.
Frame: 27” H x 21” W x 1.75” D
93
Visual: Overall good condition. Very fine and stable craquelure scattered throughout, minor varnish discoloration, and a faint stretcher bar crease along the upper edge, all commensurate with age.
Blacklight: A 2.5” H x 2” W area of touch-up above the figure and in the foliage of the lower right quadrant.
Frame: 29” H x 34” W x 3” D
94
Visual: Overall good condition. Fine craquelure and scattered specks of grime commensurate with age. Minor frame abrasion along the upper edge, at left.
Blacklight: Areas of touch-up scattered primarily along the left and lower extreme edges, and a few small, scattered areas in the center tree trunk and in a few of the branches.
Frame: 17.75” H x 21.75” W x 3” D
95
Overall good condition. Not examined out of the frame.
Framed under glass: 21.5” H x 23.5” W x 2.75” D
96
Visual: Overall good condition.
Blacklight: No evidence of restoration. The lighter red and orange pigments fluoresce under blacklight.
Frame: 25” H x 29.5” W x 2.25” D
97
Overall good condition. Pale light-staining. Time staining along the upper sheet edge. Occasional specks of foxing scattered primarily throughout the outer edges. Glue residue along the extreme sheet edges, not visible under matting. Artist’s pinholes at each sheet corner. The verso of the sheet with minor toning, occasional foxing, and scattered paper tape or glue remnants along the extreme edges. The sheet is hinged to the overmat with white tape from the verso of the upper sheet edge.
Framed under glass: 23.25” H x 27.25” W x 1.5” D
98
Visual: Overall good condition.
Blacklight: No evidence of restoration. Some of the dark red pigments in the right half of the work fluoresce under blacklight.
Frame: 15.75” H x 17.5” W x 1.25” D
99
Visual: Overall good condition. As mentioned, the artist’s signature at lower left is partially truncated due to trimming along the work’s lower edge. Two unobtrusive pinhead-sized pigment losses: one near the top of the extreme right edge, and the other in the same area of the extreme left edge. Scattered wear in places along the outermost edges, primarily to the board layer.
Blacklight: No evidence of restoration.
Frame: 19” H x 21” W x 3.25” D
100
Visual: Overall good condition. Slight frame abrasion in places along the outermost edges.
Blacklight: A few unobtrusive rice-sized touch-ups, primarily in the water at lower right.
Unframed
101
Visual: Overall generally good condition. Fine and stable craquelure throughout. Minor frame abrasion along the extreme upper edge, at left. As mentioned, the canvas has been relined.
Blacklight: A 3” H x 6” W area of touch-up in the lower left corner, and other specks of touch-up scattered throughout the sky.
Frame: 33” H x 39” W x 4” D
102
Visual: Overall good condition. Very fine, stable craquelure scattered in the lower half of the work. Slight wear to the pigment near the lower left corner. The canvas with new stretcher bars and keys.
Blacklight: Two rice-sized areas of touch-up near the lower left corner, and an area of touch-up on the letter “z” of the signature. A few approximately pea-sized areas of touchup near the lower edge, at right, and near the right edge, at center.
Frame: 30” H x 34” W x 4.5” D
103
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 32.5” W x 1.5” D
104
Visual: Overall good condition. Slight grime commensurate with age. A few pinhead-sized specks of pigment loss showing primarily in the lower right quadrant. Occasional wear to the extreme edges of the board, primarily at the lower corners.
Blacklight: Scattered small touch-ups, primarily in the upper and lower quarters of the work, the largest of which measures approximately 3.5” H x 5” W near the upper right corner, approximately 1.5” H x 2.5” W in the sky to the left of center, and approximately 1.25” H x 1” W in the mountains of the lower right quadrant.
Frame: 24.5” H x 28.25” W x 2.5” D
105
Visual: Overall good condition. Dust accumulation, occasional specks of grime, and craquelure throughout, all commensurate with age. A very unobtrusive pinpoint-sized area of abrasion near the upper right corner.
Blacklight: A possible 3” diagonal area of touch-up in the sky, at center.
Frame: 23.75” H x 32” W x 3.25” D
106
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24.75” H x 29” W x 1.75” D
107
Visual: Scattered spots of grime throughout. Vertical lines of stable craquelure, showing primarily in the blue pigments of the background. Occasional spots of pigment loss through the middle, the largest measuring 0.25” H x 0.5” W in the mountains center left. A soft stretcher bar crease showing in the lower portion of the left edge.
Blacklight: Touch-up scattered throughout, mostly dime and quarter-sized, concentrated mainly along the edges and in the upper left quadrant. The largest areas are a 3.5” H x 2” W area upper left and a 1.25” H x 5” W area along the upper center edge.
Frame: 30.5” H x 36.5” W x 2.25” D
108
Visual: Overall good condition. A few pinhead-sized spots of pigment loss towards middle of the lower edge.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 37.5” W x 2” D
109
Visual: Overall generally good condition. Minor varnish discoloration. Heavy craquelure throughout, some of which is unstable and with small attendant pigment losses scattered throughout, showing primarily in the lower right quadrant. Minor rippling to the canvas, attendant with the varnish application.
Blacklight: Touch-up scattered throughout, primarily in the sky.
Frame: 67” H x 79” W x 4.5” D
110
Visual: Overall generally good condition. Dust accumulation, specks of grime, and craquelure throughout. Some areas of unstable craquelure primarily concentrated in the upper half of the work, at center, and with two attendant pea-sized pigment losses at the center of the extreme upper edge. A soft stretcher bar crease along the left edge.
Blacklight: Areas of touch-up scattered in the sky, at center, the largest measuring 1” H x 1.5” W directly below the large formation, at center.
Frame: 36” H x 46” W x 3” D
111
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38” H x 34.5” W x 3” D
112
Visual: Overall good condition. Dust accumulation and specks of occasional grime scattered throughout.
Blacklight: No evidence of restoration.
Frame: 18” H x 22” W x 3” D
113
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 37.25” H x 45.25” W x 2.75” D
114
Visual: Overall good condition. The canvas is slightly loose.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 3” D
115
Visual: Overall good condition. A few lines of very faint, fine, stable craquelure showing in the light blue pigments in the upper left and right corners. The canvas is slightly loose.
Blacklight: A 0.75” H x 1.75” W spot of touch-up in the peak of the mountain in the background.
Frame: 28” H x 34” W x 3” D
116
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 40” H x 48” W x 3” D
117
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 44.75” H x 55.75” W x 3” D
118
Visual: Overall good condition. An unobtrusive 0.5” horizontal line of pinhead-sized spots of pigment loss in the extreme upper left corner. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 37.5” W x 3” D
119
Overall good condition. Areas of reverse and pale staining in the sky of the upper right quadrant. Very minor abrasion with specks of occasional pigment loss scattered in the extreme edges. Remnants of white paper tape scattered along the verso of the extreme edges. The sheet is hinged to the back mat with pieces of white hinging tape along the verso of the upper sheet edge.
Framed under glass: 25” H x 24” W x 2” D
120
Overall good condition. Very slight toning, commensurate with the type of support board used. Scattered surface soiling, staining, edge wear, and a tack hole to the outer edges of the support board. A loss to the upper left corner of the board, not affecting the image. The work is hinged to the back mat from the verso of the support board’s upper edge.
Framed under glass: 20.5” H x 23.5” W x 1.25” D
121
Visual: Overall good condition. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 26.75” H x 30.75” W x 2” D
122
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.25” H x 26.5” W x 1.5” D
123
Visual: Overall good condition. Slight surface grime.
Blacklight: No evidence of restoration.
Frame: 14” H x 17.5” W x 1.5” D
124
Visual: Overall good condition. Very fine and stable craquelure scattered in the white pigment used in the clouds of the upper left quadrant. A 0.75” H x 0.25” W unobtrusive pigment loss at the extreme lower left corner. An unobtrusive pinpoint-sized puncture in the sky near the upper edge, left of center. As mentioned, the canvas has been relined.
Blacklight: A 3” H x 2” W ‘J’-shaped touch-up in the sky near the upper edge, at right. A 2” H x 2.5” W area of touch-up and either quarter-sized or smaller areas of touch-up, all scattered along the lower edge.
Frame: 30.25” H x 35.25” W x 3” D
125
Visual: Overall good condition. A 1.5” diagonal slight pressure mark (with attendant pinhead-sized minor pigment loss) in the sky near the upper right corner, visible primarily in raking light.
Blacklight: No evidence of restoration.
Frame: 27” H x 37” W x 2” D
126
Visual: Overall good condition. Scattered very fine, stable and unobtrusive craquelure throughout.
Blacklight: No evidence of restoration.
Frame: 23” H x 27.5” W x 4” D
127
Visual: Overall good condition. Occasional, unobtrusive, stable craquelure.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 43.5” W x 2.25” D
128
Visual: Fine, stable craquelure throughout. A stretcher bar crease along the upper edge, showing primarily towards the middle of the upper edge.
Blacklight: Areas of touch-up throughout.
Frame: 22.25” H x 28.25” W x 3.5” D
129
Visual: Overall good condition. Occasional and fine craquelure scattered along the upper edge and corners. Minor frame abrasion along the extreme left edge.
Blacklight: No evidence of restoration.
Frame: 29.25” H x 35.25” W x 3” D
130
Visual: Overall good condition. Soft stretcher bar creases along the upper and left edges. A few areas of the slightest and very fine craquelure scattered primarily in the outer edges. An unobtrusive reverse pressure mark near the lower right corner, showing primarily in raking light. A small area of frame abrasion at the extreme upper right corner.
Blacklight: No evidence of restoration.
Frame: 32” H x 36” W x 3.25” D
131
Visual: Overall good condition. A few pea-sized or smaller spots of grime scattered throughout.
Blacklight: No evidence of restoration.
Frame: 26.5” H x 26.5” W x 1.75” D
132
Visual: Overall good condition.
Blacklight: A 4” H x 0.25” W band of touch-up along the upper right edge of the blue vase.
Frame: 29” H x 25” W x 2.5” D
133
Visual: Overall good condition. Fine and stable craquelure showing in scattered placed throughout. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 33.5” H x 38.5” W x 3.5” D
134
Visual: Overall good condition. Streaks of pale grime showing primarily through the center. A rice-sized spot of stray red pigment in the upper left corner.
Blacklight: No evidence of restoration.
Frame: 34.75” H x 30.25” W x 3” D
135
Visual: Overall good condition. Dust accumulation, specks of grime, craquelure throughout, and with stretcher bar creases along the left and lower edges, all commensurate with age.
Blacklight: A 1.5” H x 0.75” W area of touch-up on the farleft red apple, and a 1” H x 0.5” W area of touch-up on the lower portion of the right edge.
Frame: 22” H x 25” W x 3” D
136
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 30” H x 35.25” W x 3” D
137
Visual: Overall good condition. Scattered areas of small scuffing to the background gold pigment, with attendant pigment loss, primarily scattered in the upper left quadrant, and very fine paint shrinkage in the background of the lower left quadrant. A pinhead-sized area of old varnish on the extreme lower edge, at center.
Blacklight: No evidence of restoration.
Frame: 27.75” H x 22.75” W x 2.25” D
138
Visual: Overall generally good condition. Dust accumulation and specks of grime commensurate with age. A 2.5” diagonal surface scratch in the upper left corner.
Blacklight: No evidence of restoration.
Frame: 15.5” H x 21.25” W x 2.5” D
139
Visual: Overall good condition. Occasional scattered craquelure.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 33.5” W x 2.25” D
140
Overall good condition with minor scattered scuffs and darkening/oxidation to bronze commensurate with age. Shelf wear to stone base.
141
Visual: Overall good condition.
Blacklight: A few areas of touch-up, mostly pea-sized or smaller primarily scattered near the upper edge, and a 1” line and a few smaller areas directly underneath the figure on the left.
Frame: 19” H x 16.75” W x 1.5” D
142
Visual: Overall good condition. A pea-sized area of pigment loss directly underneath the window along the right edge. A 0.75” H x 0.125” W area of pigment loss near the lower portion of the left edge. A few rice-sized areas of pigment loss scattered along the left edge, attendant with a small, delicate split to the pigment. Specks of white powdery residue scattered in the lower right quadrant.
Blacklight: No evidence of restoration.
Unframed
143
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
144
Visual: Overall generally good condition. Some small, occasional, scattered areas of fine, stable craquelure throughout, with showing primarily in the upper right corner. Some light grime and varnish discoloration showing along the lower edge. An approximately 3” crescent crease in the canvas in the lower center, to the right of Santa’s boots. A small line of pinhead-sized spots of pigment loss in the lower right quadrant in the red pigment of the little girl’s stockings.
Blacklight: No evidence of restoration.
Frame: 31” H x 29.75” W x 2.5” D
145
Visual: Overall good condition. Minor frame abrasion along the extreme left and right edges.
Blacklight: A thin, curved 1” H x 2” W touch-up on the buggy and near the left edge, at center. Thin bands of touch-up scattered along the extreme upper and right edges, and a pinhead-sized touch-up near the upper edge, at center.
Frame: 26.5” H x 22.5” W x 2.25” D
146
Visual: Overall good condition. Slight surface grime. Remnants of old pulp board affixed verso. The canvas is trimmed to an oval shape and is loose within the frame. It is not stretched or mounted.
Blacklight: A few pinhead-sized flecks of touch-up in the figure’s face.
Frame: 26.75” H x 23.5” W x 1.25” D
147
Visual: Overall good condition. Areas of dirt and grime scattered primarily in the white pigment of the outer edges, commensurate with age.
Blacklight: Occasional pinhead-sized or smaller areas of touch-up in the central figure’s lips. Some pigment in the outer edges fluoresce under blacklight.
Frame: 32” H x 20.5” W x 1” D
148
Overall good condition. Graphite marks, artist pinholes, and small spots of pigment loss showing outside the masked area of the work, and therefore not affecting the image. The sheet is taped to the backmat with brown tape in places along the sheet edges.
Framed under glass: 22” H x 17.75” W x 0.5” D
149
Overall good condition. The sheet is affixed to old brown tape from the recto, which is affixed to a decorative overmat. The decorative overmat is then taped to another overmat by pieces of white tape along the verso of the decorative mat. A few spots of pale soiling in the center of the image.
Framed under glass: 22” H x 17.75” W x 0.5” D
150
Visual: Overall generally good condition. Dust accumulation and occasional specks of grime commensurate with age. Fine and unobtrusive craquelure primarily concentrated in the center of the work. A 2.25” H x 0.25” W band of white pigment loss with green underpainting showing at the center of the extreme left edge. A pea-sized and a few flecks of pigment loss in the three white silos near the upper edge, at center, and with the same green underpainting showing underneath. As mentioned, the canvas has been relined, and the stretcher has four new keys.
Blacklight: No evidence of restoration.
Frame: 42.25” H x 54” W x 2” D
151
Visual: Overall good condition. A few scattered, faint, stable lines of craquelure. A rice-sized spot of pigment loss towards the middle of the extreme lower edge. A few pinhead-sized spots of pigment loss in the upper right quadrant, above the green passenger car.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 48.5” W x 1.5” D
152
Overall good condition. Occasional, scattered clusters of pale foxing.
Framed under glass: 25.5” H x 22” W x 1.25” D
153
Visual: Overall good condition. Very fine, unobtrusive, and stable craquelure scattered throughout the lower half of the work.
Blacklight: No evidence of restoration.
Frame: 28” H x 32” W x 3” D
154
Visual: Overall generally good condition. Dust accumulation, grime, and craquelure commensurate with age. A pea-sized area of pigment loss near the upper edge, left of center, attendant with a small area of unstable craquelure. An upside-down ‘L-shaped’ area of frame abrasion with fine pigment loss in the upper left corner, and a rice-sized area of pigment loss near the upper left corner. A pinhead-sized area of stray blue pigment near the center of the left edge.
Blacklight: Areas of touch-up scattered throughout the outer edges, mostly in the background of the upper half, and some smaller areas of touch-up scattered on the figure’s legs.
Frame: 32.5” H x 38.5” W x 3” D
155
Visual: Overall good condition. A few pinhead-sized spots of stray pigment in the right half.
Blacklight: An approximately dime-sized area of touch-up in the upper right corner. An uneven varnish layer has been applied.
Frame: 13.75” H x 15.75” W x 1.75” D
156
Visual: Overall generally good condition. Dust accumulation, stable craquelure, varnish discoloration, and minor darkening to the pigment, all commensurate with age. As mentioned, the canvas has been relined.
Blacklight: Areas of touch-up scattered throughout, primarily in the outer edges. The two largest areas being a 3.5” H x 2.5” W area in the lower edge, at left, and a 4.5” H x 3.5” W cluster of quarter-sized touch-ups near the upper edge, left of center.
Frame: 46” H x 46” W x 4” D
157
Overall good condition. Minor handling creases primarily scattered in the outer sheet edges and corners. The sheet is affixed to the overmat with long pieces of masking tape along the verso of each sheet edge.
Framed under glass: 24.25” H x 18.5” W x 1” D
158
Visual: Overall good condition. Occasional specks of scattered grime.
Blacklight: No evidence of restoration.
Frame: 31.25” H x 25.25” W x 2.5” D
Visual: Craquelure throughout, soft stretcher bar creases along each side, minor varnish discoloration, and darkening to the pigment, all commensurate with age. A pea-sized area of pigment loss near the left edge, at center, and other areas of pinpoint-sized or smaller pigment losses scattered in the dark green background. A 1.25” H x 0.5” W minor scuff in the figure’s dress, near the lower edge, at center. Scattered areas of fine creasing to the canvas primarily in the background.
Blacklight: A 2” H x 1” W area of touch-up on the figure’s right side armpit. A 2” H x 1” W area of touch-up near the left edge, at center, and a 1” H x 0.5” W area of touch-up near the upper left corner.
Frame: 52.5” H x 38.5” W x 4.5” D
160
Visual: Overall good condition. Small areas of very fine and stable paint shrinkage scattered in the figure’s eyes, hair, and clothes. Scattered areas of minor frame abrasion along the extreme upper and lower edges, with small attendant pigment losses.
Blacklight: Touch-up throughout the figure’s black sweater, and other bands of touch-up along the upper and left edges.
Frame: 33” H x 29” W x 3” D
161
Visual: Overall generally good condition. Minor varnish discoloration, slight darkening of the pigment, grime, all commensurate with age. Craquelure scattered primarily in the upper half of the work. A soft stretcher bar crease along the upper edge. As mentioned, the canvas has been relined.
Blacklight: Areas of touch-up throughout the sky and in the foliage of the foreground.
Frame: 30.25” H x 40.25” W x 3.5” D
162
Overall good condition. Pale time staining along the extreme sheet edges, affecting both the recto and verso. An approximately pea-sized foxmark in the sky to the left of the Mission, and a few other smaller areas of pale foxing, recto and verso. The sheet is hinged to the overmat with white hinging tape from the verso of the upper edge.
Framed under glass: 34” H x 41” W x 2” D
163
Visual: Overall generally good condition. Dust accumulation and specks of grime commensurate with age. A 1” horizontal surface scratch on the upper portion of the telephone pole in the upper right quadrant. Occasional, small indentations to the board, some with attendant pigment loss, scattered in the outer edges. Minor frame abrasion along the extreme edges.
Blacklight: A 2” H x 0.5” W area of touch-up in the lower left corner, and other dime-sized (or smaller) areas of touch-up scattered along the outer edges, and in the trees.
Frame: 25.25” H x 21.25” W x 1.75” D
164
Visual: Overall good condition. Dust accumulation commensurate with age. The work with new stretcher bars and keys.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 3” D
165
Visual: Overall good condition.
Blacklight: No evidence of restoration
Frame: 29” H x 37” W x 2.5” D
166
Overall good condition. Pale light-staining and the colors slightly attenuated. Very pale mat staining to the sheet along the mat window opening. A speck of grime near the upper edge, at left. As mentioned, the sheet is mounted to paperboard and the lower portion of the left edge of the overmat is glued to the sheet.
Framed under glass: 21” H x 27” W x 2.5” D
167
Visual: Overall good condition. Slight grime and discoloration commensurate with age showing primarily in the sky.
Blacklight: No evidence of restoration.
Frame: 22” H x 25.5” W x 2.75” D
168
Visual: Overall good condition. Tiny and unobtrusive foxing showing slightly in a few narrow sections where the artist left the canvas exposed (such as along the ridgeline of the mountains)
Blacklight: No evidence of restoration
Frame: 23” H x 27” W x 2” D
169
Visual: Overall good condition. Very fine craquelure scattered throughout, and two small areas of unstable craquelure with attendant flecks of pigment loss in the white clouds near the upper edge, at center, and in the light blue clouds near the upper right corner. The board is slightly warped inwards. As mentioned above, the canvas is laid to paperboard.
Blacklight: 0.5” wide or smaller bands of touch-up along the extreme edges, and flecks of touch-up scattered occasionally in the sky.
Frame: 22” H x 21” W x 2.25” D
170
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 13.5” H x 15.5” W x 3.25” D
171
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 15.75” H x 17.75” W x 1.5” D
172
Visual: Overall generally good condition. Minor dust accumulation and grime commensurate with age. Vertical, hairline splits in the panel throughout. A 2” soft surface scratch from the lower edge, at right into the yellow pigments, all in the lower right quadrant.
Blacklight: Occasional rice-sized or smaller spots of touchup scattered through the sky, mountain range near the left edge, and the foreground of the lower left quadrant.
Frame: 17.5” H x 20.25” W x 1.25” D
173
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24” H x 32” W x 3.5” D
174
Visual: Overall generally good condition. Fine, stable craquelure showing primarily in the upper half. A soft stretcher bar crease showing along the upper edge.
Blacklight: No evidence of restoration.
Frame: 30” H x 36.25” W x 2.5” D
175
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 26.75” W x 1.75” D
176
Visual: Overall good condition. Occasional specks of grime scattered in the sky. Fine and stable craquelure scattered throughout and primarily in the foliage. Minor and unobtrusive surface abrasion in the extreme upper left corner. Very faint and thin lines of brown residue in the sky of the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 33” H x 44.5” W x 4” D
177
Overall good condition. Residue from old brown tape in places along the margin edges, recto and verso. The sheet is hinged to the backmat with white archival tape from the recto of the upper sheet edge. None of the hinging tape or residue affects the image.
Framed under glass: 20.75” H x 25.75” W x 1.25” D
178
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 28” H x 38” W x 2.25” D
179
Visual: Overall good condition. The smallest speck of unobtrusive pigment loss near the extreme left corner.
Blacklight: A few specks of touch-up to the left of the tree near the lower right corner, a rice-sized area of touch-up near the center of the left edge, and two approximately dime-sized areas of touch-up near the upper edge.
Frame: 44.5” H x 33” W x 3.25” D
180
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 28.5” H x 24.5” W x 2” D
181
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 37” H x 31” W x 1.5” D
182
Visual: Overall good condition. A very unobtrusive, pinhead-sized speck of grime in the clouds of the upper right quadrant.
Blacklight: No evidence of restoration.
Framed: 46” H x 40” W x 3.5” D
183
Visual: Overall good condition. The smallest area of unobtrusive and fine craquelure in the clouds near the center of the right edge.
Blacklight: No evidence of restoration.
Unframed
184
Visual: Overall good condition. A 2.5” diagonal area of very fine craquelure and an approximately quarter-sized area of fine and unobtrusive craquelure along the upper edge, at left.
Blacklight: No evidence of restoration.
Unframed
185
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24.5” H x 29.5” W x 2” D
186
Visual: Overall good condition. Scattered delicate craquelure.
Blacklight: No evidence of restoration. Heavy varnish application.
Frame: 29” H x 39” W x 2.25” D
187
Visual: Overall good condition.
Blacklight: A few small areas of touch-up in the lower left quadrant, the largest measuring 1” H x 3” W in the lower left corner.
Frame: 29.5” H x 34.5” W x 2.5” D
188
Visual: Overall good condition. Stable craquelure throughout, soft stretcher bar creases along each side, and minor dust accumulation, all commensurate with age. As mentioned, the work has been laid to waxed canvas.
Blacklight: A 0.25” H x 4” W area of touch-up along the extreme upper edge, at right, and a pea-sized area of touch-up near the center of the upper edge.
Frame: 29.25” H x 39.25” W x 2.5” D
189
Visual: Overall good condition. Occasional spots of minor frame abrasion showing along the extreme left edge. An unobtrusive cluster of pinhead-sized spots of stray pigment in the upper right corner.
Blacklight: No evidence of restoration.
Frame: 34.5” H x 42” W x 2” D
190
Visual: Overall good condition. Two small areas of wear to the pigment in the sky, possibly attendant with previous abrasion, near the upper edge, at left.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 43.5” W x 2.5” D
191
Visual: Overall good condition. Dust accumulation and craquelure throughout. Three very unobtrusive flecks of chips to the blue pigment in the sky near the upper portion of the left edge.
Blacklight: Areas of touch-up scattered primarily in the outer edges, and areas of crack-fill scattered in the lower right quadrant.
Frame: 20” H x 27.75” W x 2” D
192
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 29.25” W x 2” D
193
Visual: Overall good condition. Dust accumulation and very fine and unobtrusive craquelure scattered in the dark pigment in the lower half. A very small tear in the board in the extreme upper edge, at left. Stray, thin black pigment scattered occasionally along the extreme edges, presumably in the hand of the artist.
Blacklight: A small area of touch-up in the lower left corner.
Frame: 16.75” H x 20.75” W x 2” D
194
Visual: Overall good condition. Dust accumulation commensurate with age. Two flecks of pigment loss in the sky of the upper left quadrant. Very small and unobtrusive indentations scattered occasionally in the snow-capped mountain at center. Scattered areas of very unobtrusive surface scratches scattered in the lower half, and very minor oxidation to the blue pigment in the sky.
Blacklight: Areas of touch-up scattered mostly in the outer edges.
Frame: 14.25” H x 24.75” W x 1.5” D
195
Visual: Overall good condition. Occasional areas of scattered, stable craquelure, including a delicate, horizontal line, measuring approximately 7 inches, and a quarter-sized area, both in the central mountain, and some other small areas in the sky.
Blacklight: No evidence of restoration.
Frame: 66” H x 89” W x 2” D
196
Visual: Overall good condition. Dust accumulation commensurate with age. Fine craquelure scattered in the upper half of the work, primarily in the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 40.5” W x 2.5” D
197
Visual: Overall good condition. Dust accumulation and specks of occasional grime scattered throughout. Occasional areas of very thing residue from the frame scattered along the extreme edges.
Blacklight: No evidence of restoration.
Frame: 32” H x 40” W x 2” D
198
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 37.5” H x 47.5” W x 2.75” D
Overall good condition. The colors vibrant. Two pinheadsized stains stains in one of the tree branches left of center, possibly in the hand of the artist. An unobtrusive, pinheadsized stain near the tip of the upper left sheet corner. A few artist pinholes at the tips of each of the sheet corners. The sheet is loose, not matted.
Framed under Plexiglas: 39” H x 50” W x 2.5” D
200
Overall very good condition, the full sheet with deckled edges, and the colors fresh. A few tiny artist pinholes at the tip of each of the sheet corners. Very slight remains of old tape residue along the center of both the left and right sheet edges, verso. The sheet is loose, secured to the back mat with archival paper corners.
Framed under glass: 13” H x 37.75” W x 1” D
201
Visual: Overall good condition. Occasional and very fine craquelure scattered primarily in the lower half of the work. Soft stretcher bar creases along the upper and lower edges. A few flecks of very unobtrusive pigment loss near the upper edge, at center.
Blacklight: A 1.25” H x 0.25” W area of touch-up on the extreme upper edge, at right, and two pea-sized areas of touch-up near the right edge, at center.
Frame: 19.5” H x 34.5” W x 2” D
202
Visual: Overall good condition. Areas of very fine craquelure scattered throughout the brown pigment, and other areas of stable craquelure scattered in the thicker application of pigment, primarily the lighter colors. A slight dime-sized pressure mark in the lower right corner.
Blacklight: No evidence of restoration.
Frame: 28” H x 38” W x 2.5” D
203
Overall generally good condition. Pale light-staining throughout. Occasional areas of small surface abrasions with attendant pigment losses, the largest measuring 0.75” H x 0.25” W near the lower edge, at center. Pale light staining throughout. Scattered, minor areas of wear to the pigment, primarily in the outer edges. Areas of time staining, primarily visible at the upper sheet edge, verso. Remnants of brown paper tape in places at the verso of the sheet edges. The sheet is hinged to the overmat with small pieces of paper tape from the verso of the upper sheet edge.
Framed under glass: 31” H x 37” W x 2” D
204
Visual: Overall good condition. A few unobtrusive, pinhead flecks of grime to the right of the dock.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 1.5” D
205
Visual: Overall good condition. A 1” vertical area of pigment loss with overpaint and other smaller areas of pigment loss scattered in the upper right quadrant, lower right quadrant, and the umbrellas in the background. Minor abrasion along the extreme upper edge. Occasional, faint lines of graphite scattered in the lower right quadrant.
Blacklight: Small areas of touch-up are scattered in the previously mentioned areas above, in the upper right quadrant, lower right quadrant, and the umbrellas in the background
Frame. 13.75” H x 23.25” W x 2.5” D
206
Visual: Overall good condition.
Blacklight: Scattered pea-sized or smaller spots of touchup, with two areas of touch-up in the background towards the upper edge, the largest measuring 3” H x 13” W in the upper left quadrant.
Frame: 29.25” H x 37” W x 2” D
207
Visual: Overall good condition. A few very unobtrusive scattered specks of pigment loss in the foreground.
Blacklight: No evidence of restoration.
Framed: 27” H x 37” W x 2.25” D
208
Visual: Overall good condition. Dust accumulation and dirt scattered primarily in the upper half of the work. Craquelure throughout, and with some areas of unstable craquelure with attendant pea-sized (or smaller) pigment losses scattered in the upper and lower right quadrants. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 29.25” H x 35.25” W x 3.5” D
209
Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craqeulure scattered throughout. Two areas of unstable craquelure with attendant unobtrusive and small specks of pigment loss.
Blacklight: Pea-sized or smaller areas of touch-up throughout the sky.
Frame: 33.375” H x 45.375” W x 3” D
210
Visual: Overall good condition. Faint drip lines in the right half of the work.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 48.5” W x 2” D
211
Visual: Overall generally good condition. A few areas of very fine stable craquelure showing in the lower half. A few rice-sized spots of pigment loss along the extreme right edge. A 4” H line of white residue near the lower left edge.
Blacklight: No evidence of restoration.
Unframed
212
Visual: Overall good condition. A dime-sized reverse pressure mark near the upper edge, at left. An approximately pinhead-sized area of pigment loss near the center of the architecture in the lower right quadrant.
Blacklight: No evidence of restoration.
Frame: 35.25” H x 44.75” W x 1.5” D
213
Visual: Overall good condition. Minor frame abrasion scattered along the extreme edges, primarily in the lower edge, with attendant and occasional flecks of pigment loss.
Blacklight: No evidence of restoration.
Frame: 44.25” H x 48.25” W x 3.5” D
214
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 35” H x 46.75” W x 5” D
215
Visual: Overall good condition. Slight varnish discoloration and occasional specks of grime.
Blacklight: Scattered small areas fluoresce, primarily in the foliage of the upper left corner, however, these appear to be in the hand of the artist. Another area near the in the drapery folds of the figure’s left arm, the largest approximately 2” H x 1” W.
Framed: 33.5” H x 41.5” W x 2.5” D
216
Visual: Overall good condition. Slight varnish discoloration and occasional specks of grime.
Blacklight: No evidence of restoration.
Unframed
217
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.75” H x 24.75” W x 3.25” D
218
Visual: Overall good condition. Dust accumulation, specks of grime, and fine craquelure throughout, all commensurate with age.
Blacklight: Two approximately quarter-sized clusters of smaller touch-ups below the bananas and in the upper right corner of the background.
Frame: 21.5” H x 25.5” W x 2.25” D
219
Visual: Overall good condition. Occasional, scattered spots of grime.
Blacklight: No evidence of restoration.
Frame: 26” H x 35” W x 2” D
220
Visual: Overall good condition. A 1.5” thin scuff with attendant pigment loss directly below the signature in the upper left.
Blacklight: No evidence of restoration.
Frame: 37.25” H x 49” W x 1.75” D
221
Visual: Overall good condition. Dust accumulation and specks of grime throughout. A 1” area of possible pigment loss in the upper portion of the right edge. The canvas is slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Frame: 37.75” H x 43.5” W x 3.25” D
222
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Framed under glass: 49.5” H x 39.5” W x 4” D
223
Visual: Overall generally good condition. A 1” H x 0.5” area with pinhead-sized or smaller pigment losses near the upper edge, at left. A pressure mark on the far left dark pink flower. An unobtrusive 3” H x 1” W area of varnish residue near the lower edge, at right. Stretcher bar creases along the upper and left edges. The canvas is slightly loose from it’s stretcher.
Blacklight: No evidence of restoration.
Frame: 34.75” H x 41” W x 3” D
224
Visual: Overall good condition.
Blacklight: No evidence of restoration. Some white pigments fluoresce under blacklight.
Framed under glass: 26” H x 24” W x 2” D
Overall good condition. The colors vibrant. Two pinheadsized stains stains in one of the tree branches left of center, possibly in the hand of the artist. An unobtrusive, pinheadsized stain near the tip of the upper left sheet corner. A few artist pinholes at the tips of each of the sheet corners. The sheet is loose, not matted.
Framed under Plexiglas: 39” H x 50” W x 2.5” D
200
Overall very good condition, the full sheet with deckled edges, and the colors fresh. A few tiny artist pinholes at the tip of each of the sheet corners. Very slight remains of old tape residue along the center of both the left and right sheet edges, verso. The sheet is loose, secured to the back mat with archival paper corners.
Framed under glass: 13” H x 37.75” W x 1” D
201
Visual: Overall good condition. Occasional and very fine craquelure scattered primarily in the lower half of the work. Soft stretcher bar creases along the upper and lower edges. A few flecks of very unobtrusive pigment loss near the upper edge, at center.
Blacklight: A 1.25” H x 0.25” W area of touch-up on the extreme upper edge, at right, and two pea-sized areas of touch-up near the right edge, at center.
Frame: 19.5” H x 34.5” W x 2” D
202
Visual: Overall good condition. Areas of very fine craquelure scattered throughout the brown pigment, and other areas of stable craquelure scattered in the thicker application of pigment, primarily the lighter colors. A slight dime-sized pressure mark in the lower right corner.
Blacklight: No evidence of restoration.
Frame: 28” H x 38” W x 2.5” D
203
Overall generally good condition. Pale light-staining throughout. Occasional areas of small surface abrasions with attendant pigment losses, the largest measuring 0.75” H x 0.25” W near the lower edge, at center. Pale light staining throughout. Scattered, minor areas of wear to the pigment, primarily in the outer edges. Areas of time staining, primarily visible at the upper sheet edge, verso. Remnants of brown paper tape in places at the verso of the sheet edges. The sheet is hinged to the overmat with small pieces of paper tape from the verso of the upper sheet edge.
Framed under glass: 31” H x 37” W x 2” D
204
Visual: Overall good condition. A few unobtrusive, pinhead flecks of grime to the right of the dock.
Blacklight: No evidence of restoration.
Frame: 23” H x 27” W x 1.5” D
205
Visual: Overall good condition. A 1” vertical area of pigment loss with overpaint and other smaller areas of pigment loss scattered in the upper right quadrant, lower right quadrant, and the umbrellas in the background. Minor abrasion along the extreme upper edge. Occasional, faint lines of graphite scattered in the lower right quadrant.
Blacklight: Small areas of touch-up are scattered in the previously mentioned areas above, in the upper right quadrant, lower right quadrant, and the umbrellas in the background
Frame. 13.75” H x 23.25” W x 2.5” D
206
Visual: Overall good condition.
Blacklight: Scattered pea-sized or smaller spots of touchup, with two areas of touch-up in the background towards the upper edge, the largest measuring 3” H x 13” W in the upper left quadrant.
Frame: 29.25” H x 37” W x 2” D
207
Visual: Overall good condition. A few very unobtrusive scattered specks of pigment loss in the foreground.
Blacklight: No evidence of restoration.
Framed: 27” H x 37” W x 2.25” D
208
Visual: Overall good condition. Dust accumulation and dirt scattered primarily in the upper half of the work. Craquelure throughout, and with some areas of unstable craquelure with attendant pea-sized (or smaller) pigment losses scattered in the upper and lower right quadrants. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 29.25” H x 35.25” W x 3.5” D
209
Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craqeulure scattered throughout. Two areas of unstable craquelure with attendant unobtrusive and small specks of pigment loss.
Blacklight: Pea-sized or smaller areas of touch-up throughout the sky.
Frame: 33.375” H x 45.375” W x 3” D
210
Visual: Overall good condition. Faint drip lines in the right half of the work.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 48.5” W x 2” D
211
Visual: Overall generally good condition. A few areas of very fine stable craquelure showing in the lower half. A few rice-sized spots of pigment loss along the extreme right edge. A 4” H line of white residue near the lower left edge.
Blacklight: No evidence of restoration.
Unframed
212
Visual: Overall good condition. A dime-sized reverse pressure mark near the upper edge, at left. An approximately pinhead-sized area of pigment loss near the center of the architecture in the lower right quadrant.
Blacklight: No evidence of restoration.
Frame: 35.25” H x 44.75” W x 1.5” D
213
Visual: Overall good condition. Minor frame abrasion scattered along the extreme edges, primarily in the lower edge, with attendant and occasional flecks of pigment loss.
Blacklight: No evidence of restoration.
Frame: 44.25” H x 48.25” W x 3.5” D
214
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 35” H x 46.75” W x 5” D
215
Visual: Overall good condition. Slight varnish discoloration and occasional specks of grime.
Blacklight: Scattered small areas fluoresce, primarily in the foliage of the upper left corner, however, these appear to be in the hand of the artist. Another area near the in the drapery folds of the figure’s left arm, the largest approximately 2” H x 1” W.
Framed: 33.5” H x 41.5” W x 2.5” D
216
Visual: Overall good condition. Slight varnish discoloration and occasional specks of grime.
Blacklight: No evidence of restoration.
Unframed
217
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.75” H x 24.75” W x 3.25” D
218
Visual: Overall good condition. Dust accumulation, specks of grime, and fine craquelure throughout, all commensurate with age.
Blacklight: Two approximately quarter-sized clusters of smaller touch-ups below the bananas and in the upper right corner of the background.
Frame: 21.5” H x 25.5” W x 2.25” D
219
Visual: Overall good condition. Occasional, scattered spots of grime.
Blacklight: No evidence of restoration.
Frame: 26” H x 35” W x 2” D
220
Visual: Overall good condition. A 1.5” thin scuff with attendant pigment loss directly below the signature in the upper left.
Blacklight: No evidence of restoration.
Frame: 37.25” H x 49” W x 1.75” D
221
Visual: Overall good condition. Dust accumulation and specks of grime throughout. A 1” area of possible pigment loss in the upper portion of the right edge. The canvas is slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Frame: 37.75” H x 43.5” W x 3.25” D
222
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Framed under glass: 49.5” H x 39.5” W x 4” D
223
Visual: Overall generally good condition. A 1” H x 0.5” area with pinhead-sized or smaller pigment losses near the upper edge, at left. A pressure mark on the far left dark pink flower. An unobtrusive 3” H x 1” W area of varnish residue near the lower edge, at right. Stretcher bar creases along the upper and left edges. The canvas is slightly loose from it’s stretcher.
Blacklight: No evidence of restoration.
Frame: 34.75” H x 41” W x 3” D
224
Visual: Overall good condition.
Blacklight: No evidence of restoration. Some white pigments fluoresce under blacklight.
Framed under glass: 26” H x 24” W x 2” D
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Director, Fine Art
President, Auctioneer
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Cataloguer, Fine Art
Cataloguer, Fine Art
Vice President, Specialist
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Department Administrator, Furniture & Decorative Arts
Cataloguer, Furniture & Decorative Arts
Katherine Halligan
Jeffrey J. Moran
Bobby Cullen
Ian Anderson
Lori Kassabian
Anne Spink
Madison Ari
Maranda Moran
Angela Past
Matthew Grayson
Alek Ellis
Grant Stevens Silver, Western and American Indian Cataloguer
Director, Jewelry & Watches
Department Administrator, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Consignment Manager
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Finance
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
PR Manager/Social Media
Graphic Designer
PHOTOGRAPHY
Sally Andrew
Tom Burstein
Nikita Mehta
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Melissa Brownell
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Maha Darwish
Jean Rapagna
Richard Corral
Joe Miranda
Joseph Corcoran
Romero Corral
Nathan Martinez
Brenda Smith
Brian Olivas
Photographer Keith Berson
Photographer Madison Torres
Photographer Matthew Mizerowski
Photography Assistant
FOUNDERS
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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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.
(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.
