Modern + Contemporary Fine Art—November 19, 2024 | John Moran Auctioneers by johnmoranauctioneers

1

Alexander Calder (1898-1976)

“Pyramids and Circles” from the “La Memoire Elementaire” suite, 1973 Lithograph in colors on Arches paper Edition: 73/100

Signed and numbered in pencil at the lower right and left, respectively: Calder Image/Sheet: 20.5” H x 28.5” W

$6,000-8,000

Provenance: Lerum Arts, Puyallup, WA Private Collection, acquired from the above, 1976

Notes:

This lot is accompanied by a copy of an invoice for this work, as well as a certificate signed by the President of Argus Fine Arts, Eugene, OR, Susan Donohue, to guarantee that this is an original print by Alexander Calder.

2

Alexander Calder (1898-1976)

“Stars and Stripes” from the “Flying Colors” campaign, 1975 Lithograph in colors on Arches paper Edition: 98/100

Signed and numbered in pencil at the lower right and left, respectively: Calder; Mourlot, Paris, pub Image/Sheet: 25” H x 35.75” W

$2,000-4,000

Provenance:

The Artist

The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

Notes:

This lot is accompanied by a smaller reproduction of this lithograph enclosed in a folded thin paper describing “The Flying Colors ‘76” project with Alexander Calder and Braniff Airlines.

A multidisciplinary modern artist, Alexander Calder is most notably known for his kinetic sculptures or mobiles often made with bright colors and whimsical shapes. Calder had a creative outlet early in life, being born into a family of artists, he created small sculptures as early as eight years old and would even have his own workshop growing up. Years later he would go on to earn a mechanical engineering degree from Stevens Institute of Technology in 1919. When he returned to an artistic profession after graduating, this degree would prove valuable as he created his uniquely engineered sculptures later in life.

In 1926, Calder moved to Paris and began working more diligently with wire, creating a large body of work known as “Cirque Calder,” an assemblage that included miniature performers, animals, and props. Calder would put on performances of his hand-crafted circus in both Paris and New York. He would go on to split his time between France and the United States by 1950, finding continued artistic success in both countries and connecting with other well-known artists such as Joan Miró, Fernand Léger, and Marcel Duchamp who coined the phrase “Mobile” for Calder’s kinetic sculptures, referring to the French word “mobile” meaning motion or active.

With his work shown around the world, and having created paintings and sculptures on a grand scale, Calder was pitched the idea of collaborating with Braniff International Airways to paint one of their DC-8 jetliners, as well as 50 gouaches for a series known as “Flying Colors.” It was in 1973 when their collaboration began, and it was not the first time Braniff had worked with a renowned artist, having already bridged the gap between design, fashion, and aviation, as they worked with fashion designer and printmaker Emilio Pucci. Starting in 1965 through 1974, Pucci designed six collections of designer uniforms for Braniff’s stewardesses and airline personnel.

“Flying Colors” was aimed to commemorate an expansion of Braniff flights from the United States to South America. Throughout this process, Calder worked closely with Braniff Art Director, John McKaughan Jr., who this collection comes from. McKaughan traveled extensively to Latin America, and Calder himself used colors that he found most striking during his trips to South America as an influence for the color palette used on the plane. In addition, Calder himself added unique figures and “beasties” to the engine nacelles, which these designs were used to create the “Flying Colors” suite, a collection of lithographs that is rarely found to contain all six original designs.

The “Flying Colors” Series extended beyond the Braniff tarmac. Calder made several fiberglass models with various hand-painted designs, which were then used for the final design of the DC-8 plane. In the Fall of 1973, five of these models were displayed at the Solomon R. Guggenheim Museum in New York City, they were installed hanging to appear floating around the rotunda of the museum.

In 1975, after the success of the Flying Colors campaign, Alexander Calder and Braniff Airways collaborated once again for the “Flying Colors of the United States.” This time, the designs commemorated the Bicentennial of the United States, with more U.S.-centric colors of red, white, and blue painted in ribbon-like strokes across a Boeing 727-200. More lithographs and gouaches arose from this series, with unique works and test designs included in the McKaughan collection.

Alexander Calder passed away the following year, in 1976, making his collaboration with Braniff Airways a large milestone and emphatic exclamation point at the end of his career.

https://www.youtube.com/watch?v=vU0msfZRC8A

3

Alexander Calder (1898-1976)

“Red and Blue Swirl with Sun,” 1975 Lithograph in colors on paper Edition: 54/99

Signed and numbered in pencil at the lower right and left, respectively: Calder Image/Sheet: 20.5” H x 29.5” W

$1,500-2,500

4

Alexander Calder (1898-1976)

“Flying Colors” suite, 1974-75

The complete suite of six lithographs in colors on wove paper

Initialed and dated in the stone lower right: AC 74; with the Flying Colors Collection blindstamp lower right; State Street, New York, for Braniff International Airlines, pub.

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

$600-800

Provenance:

The Artist

The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, acquired from the above

Notes:

This lot is accompanied by a smaller reproduction of this lithograph enclosed in a folded thin paper describing “The Flying Colors ‘76” project with Alexander Calder and Braniff Airlines.

Alexander Calder passed away the following year, in 1976, making his collaboration with Braniff Airways a large milestone and emphatic exclamation point at the end of his career.

https://www.youtube.com/watch?v=vU0msfZRC8A

Marc Chagall (1887-1985)

“Double Visage Gris,” 1975

Lithograph in colors on Japon nacre paper

Edition: 33/50

Signed and numbered in pencil in the lower margin: Marc Chagall; Maeght, Paris, pub.

Image: 16.625” H x 12.625” W; Sheet: 21.75” H x 16.5” W

$2,000-3,000

Literature: Mourlot 732

After Fernand Léger (1881-1955)

“Visage aux deux mains,” 1954

Glazed and painted bas-relief ceramic plaque

Edition: 79/250

Glazed initials at the lower right: F.L.; signed in what appears to be black paint, verso, by the artist’s second wife, Nadia Khodossevitch Leger: N. Leger; stamped on the verso: VISAGE AUX DEUX MAINS / Edition a 250 exemplaires d’apres la maquette originale de Fernand LEGER (exclusivite Musee National F. LEGERBIOT) Numero [ ]/250; this example numbered 79 at the left edge of this stamped label

Plaque: 17.5” H x 14.75” W x 1.5” D

$4,000-6,000

Joan Miró (1893-1983)

“Le Journal,” 1972

Lithograph in colors on Arches paper

Edition: 35/50

Signed and numbered in pencil in the lower margin: Miró; Maeght, Paris, pub.

Image: 25” H x 19.375” W; Sheet: 29.25” H x

$3,000-5,000

Provenance:

Property from the Estate of Richard Roundtree

Literature: Mourlot 836

Henri Matisse (1869-1954)

“Danseuse couchée,” from “Dix Danseuses,” 1925-26

Lithograph on Arches paper

Edition: One of eight hors commerce impressions lettered from A-H (there were also 130 on Arches paper, 5 on China paper, and 15 on Japanese paper)

Signed and inscribed in pencil in the lower margin: epreuve B / Henri Matisse; published by Galerie d’Art Contemporain de Paris in 1927

Image: 10.25” H x 18” W (approx.); Sheet: 12.875” H x 19.75” W

$3,000-5,000

Literature: Duthuit 487

Joan Miró (1893-1983)

“Great Britain” from the “Escultor” suite, 1974

Lithograph in colors on Guarro paper Edition: XXVII/L (there was also an edition of 100)

Signed and numbered in pencil in the lower margin: Miró Image: 8” H x 15.75” W; Sheet: 13.75” H x 20.5” W

$1,500-2,000

Literature: Mourlot 940

Joan Miró (1893-1983)

Untitled, from “Le Lezard aux Plumes d’Or,” 1967

Lithograph in colors on Japon nacre

Edition: 48/50

Signed and numbered in pencil in the lower margin: Miró ; Fernand Mourlot, Paris, prntr.; Louis Broder, Paris, pub.

Image: 13.25” H x 18.875” W; Sheet: 16” H x 22” W

$1,000-1,500

Literature: Mourlot 529

Joan Miró (1893-1983)

“Miro: Album 19,” 1963

Lithographs in colors on BFK Rives paper Edition: 73/100 (there were also 1250 unsigned and unnumbered albums printed on a different paper)

The complete set of four lithographs in colors, one of which is a double page, and text by Joan Perucho, loose, signed and numbered in pencil on the inside of the back cover, together with the original printed blue paper wrapper; Sala Gaspar, Barcelona, pub. Sheet of each when folded: 12” H x 9” W

$800-1,200

After Pablo Picasso (1881-1973)

“Young Spanish Peasant,” 1970

Lithograph in colors on Arches paper

Edition: 95/150, from the deluxe signed edition printed in 1974

Signed and numbered in pencil in the lower margin: Picasso; Michel Casse, Paris, prntr.

Image: 22” H x 18.25” W; Sheet: 29.375” H x 22.25” W

$3,000-5,000

After Georges Rouault (1871-1958)

“Visages,” 1969

10 offset lithographs in colors on cream wove paper

Edition: 142/450 (there were also 50 hors commerce numbered in Roman numerals I-L)

Unsigned, as issued; each of the images numbered in pencil in the lower margin; sold together with the title, numbered colophon, list of plates, text, and individual folders for each image, all on the same paper, loose, and housed in the original beige fabriccovered portfolio with titles printed in red; Editions L’Etoile Filante and Daniel Jacomet, Paris, France, prntr.; Boston Book and Art Shop, Boston, MA , pub.

Image of each: 12” H x 9” W (or smaller); Sheet of each: 18” H x 13.25” W

$500-700

“Good Times”

Agamograph in colors on acrylic Edition: 33/99

Signed and numbered in black or blue ink in the lower margin: Agam; titled on a label affixed to the frame’s backing board Image: 12.75” H x 15.5” W; Sight: 13.5” H x 15.75” W

$1,200-1,800

Yaacov Agam (b. 1928)

15

Larry Bell (b. 1939)

Untitled #10, from the “In Barcelona” suite, 1989 Lithograph in colors on wove paper Edition: 29/75

Signed, dated, and numbered in pencil in the lower edge: L Bell ‘89; Polígrafa Obra Gráfica, Barcelona, prntr. and pub.

Image/Sheet: 30” H x 22” W

$700-900

Katherine Bradford (b. 1942)

“Steamboat GY Long Red,” 2013 Monotype with watercolor on wove paper Edition: 1/1

Signed, dated, and numbered in pencil in the lower margin: K Bradford 2013; titled in pencil verso; Oeheme Graphics, Steamboat Springs, CO, pub., and with their blindstamp in the lower right margin corner Image: 12” H x 9.75” W; Sheet: 18.25” H x 15.75” W

$3,000-4,000

Katherine Bradford (b. 1942)

“Ferry Boat,” 2013

Monotype with watercolor on wove paper Edition: 1/1

Image: 9.25” H x 12” W; Sheet: 16” H x 18” W

$3,000-4,000

Katherine Bradford (b. 1942)

“Steamboat USA,” 2013

Solarplate etching and carborundum in colors on wove paper

Edition: 9/10

Signed and numbered in pencil in the lower margin: K Bradford; Oeheme Graphics, Steamboat Springs, CO, pub., and with their blindstamp in the lower right margin corner

Plate: 9.5” H x 12” W; Sheet: 16” H x 18” W

$1,000-2,000

Bruce Connor (1933-2008)

Two works:

“Plate 13,” from the “Book One” portfolio, 1970 Offset lithograph on wove paper

From the edition of 90

Signed, titled, and dated in pencil in the lower margin: B Connor 70; Kaiser Graphics, Oakland, CA, prntr. Image: 8.5” H x 5.5” W; Sheet: 11” H x 7.25” W

“Plate 15,” from the “Book One” portfolio, 1970 Offset lithograph on wove paper

From the edition of 90

Signed, titled, and dated in pencil in the lower margin: B Conner 70; Kaiser Graphics, Oakland, CA, prntr. Image: 8.5” H x 5.5” W; Sheet: 10.75” H x 7.25” W

$600-800

Tony DeLap (1927-2019)

“Slick Ace,” 1982

Lithograph black and silver on cream wove paper

Edition: 8/40

Signed, titled, dated, and numbered along the lower edge: Tony DeLap 1982

Sight: 13” H x 15” W

$300-500

Jim Dine (b. 1935)

“Shoe (second state),” 1973

Etching in green on Japanese Etching paper

Edition: A bon à tirer impression aside from the edition

Signed, dated, and inscribed in pencil in the lower margin: Jim Dine 1973 / B.A.T.; Petersburg Press, London and New York, pub.

Plate: 19.75” H x 25.875” W; Sheet 23.75” H x 29” W

$1,000-1,500

Sam Francis (1923-1994)

“An 8 Set - 8,” from the “Pasadena Box,” 1966 Lithograph in colors on BFK Rives paper Edition: 93/100 (there were also 5 artist’s proofs)

Signed and numbered in pencil on the lower edge, at left: Sam Francis; Kenneth Tyler at Gemini Ltd., pub., and with their blindstamp lower right; Pasadena Art Museum, CA, pub.

Image/Sheet: 23.5” H x 15.75” W

$2,000-3,000

Literature: Lembark L64

Notes:

Attached to the frame’s backing board is a large-print information sheet for this series.

Jenny Holzer (b. 1950)

“Inflammatory Essays,” 1979-82

Fifteen offset lithographs on various colored wove papers

From the unlimited edition

One sheet signed in ink lower right: Jenny Holzer; Millner Bros., New York, NY, prntr.; Jenny Holzer, pub.; 15 works

Each sheet: 17” H x 17” W

$5,000-7,000

Provenance: The Chara Schreyer Collection

Friedensreich Hundertwasser (1928-2000)

“Night Train,” 1978

Screenprint in colors with metallic embossing on Fabriano paper Edition: 124/285 (the total edition is 375 including the XC proofs and collages that are signed and numbered I-XC/XC)

Signed, dated, and numbered in pencil in the lower margin, at left: © Hundertwasser 18.Mai.1978; Claudio Barbato and Giorgio Verrati, Venedig and Venice, Italy, prntr.; Gruener Janura AG, Glarus, Switzerland, pub. Image/Sheet: 22” H x 29” W

$2,500-3,500

Literature: Koschatsky 72

Clifton Karhu (1927-2007)

“Yasukuni Synchromy,” 1979

Woodcut in colors on paper Edition: 1/100

Signed, titled, dated, and numbered in pencil in the lower margin: C Karhu 79 Image: 20.875” D; Sight: 21.5” D

$1,000-1,500

Ellsworth Kelly (1923-2015)

“Leaf V” from “Twelve Leaves,” 1978

Lithograph on Arches 88 paper

Edition: RTP (a ‘right to print’) impression, aside from the edition of 20

Signed, titled, and inscribed “RTP” in pencil along the lower edge, at right: Kelly; Gemini G.E.L., Los Angeles, CA, pub., and with their blindstamp in the lower left corner Sheet: 30” H x 42” W

$6,000-8,000

Literature: Axsom 170

Ellsworth Kelly (1923-2015)

“Leaf XI” from “Twelve Leaves,” 1978

Lithograph on Arches 88 paper

Edition: RTP (a ‘right to print’) impression, aside from the edition of 20

Signed, titled, and inscribed “RTP” in pencil along the lower edge, at right: Kelly; Gemini G.E.L., Los Angeles, CA, pub., and with their blindstamp in the lower left corner

Sheet: 30” H x 42” W

$6,000-8,000

Literature: Axsom 176

Ellsworth Kelly (1923-2015)

“Marigot” from the “Series of Seven Lithographs,” 1979 Lithograph on BFK Rives paper Edition: RTP (a ‘right to print’) impression, aside from the edition of 25

Signed and inscribed “RTP” in pencil along the lower edge, at right: Kelly; Mark Stock, and Anthony Zepeda, prntr.; Gemini G.E.L., Los Angeles, CA, pub., and with their blindstamp in the lower left corner Sheet: 30” H x 34.5” W

$3,000-5,000

Literature: Axsom 183

29

William Joseph Kentridge (b.1955)

“Man with Megaphone Cluster,” 1998 Etching, aquatint, drypoint, and engraving with roulette and crayon additions on paper Edition: 27/70

Signed and numbered in the lower margin: W. Kentridge; The Caversham Press, Balgowan, KwaZulu-Natal, South Africa, prntr., and with their blindstamp lower left; Kunstverein München, Munich, Germany, William Kentridge, Johannesburg, pub. Plate: 9.75” H x 14.75” W; Sheet: 13.75” H x 19.5” W

$3,000-5,000

Provenance:

Osborne Samuel, London, England

Private Collection, Chicago, IL, acquired from the above, 2005 Sold: Wright, Chicago, IL, “Prints from an Important Chicago Collection,” May 19, 2021, Lot 386

Literature:

William Kentridge, “William Kentridge: Prints” (Johannesburg: David Krut Publishing, 2006) p. 71

Notes: When the Museum of Modern Art, New York, displayed their impression of this image in their 2010 Kentridge exhibition, they wrote: “The megaphone first appeared in Kentridge’s work in 1990, and it continues to be a common motif. Megaphones ‘indicate what needs to be heard or seen, outside of oneself,’ the artist has said. The nude figure is both a self-portrait and a picture of Felix Teitelbaum, one of the main protagonists in Kentridge’s work at the time.”

30

Norman Lewis (1909-1979)

“The Red Umbrella,” 1973

Etching printed in bright orange on a blue-grey chine-collé paper Edition: 11/25

Signed, titled, dated, numbered, and inscribed “To Fran & Bill / Two lovely people” in pencil in the lower margin: Norman Lewis - 73

Image/Chine-collé: 11.75” H x 15.75” W; Sheet: 20” H x 23.5” W

$2,000-3,000

Richard Long (b. 1945)

“Untitled (Horizontal - C),” 1994 Lithograph on hemp paper Edition: 36/40

Signed, dated, and numbered in red pencil in the lower margin corners: Richard Long 94 Image: 12” H x 17.25” W; Sheet: 20.25” H x 32.5” W

$700-900

Robert Motherwell (1915-1991)

“The Black Douglas Stone,” 1970-71 Lithograph in black and blue on wove paper

Edition: 13/18 (there were also two artist’s proofs numbered in Roman numerals)

Signed and numbered in pencil in the lower margin, at right: R. Motherwell; Universal Limited Art Editions, West Islip, NY, prntr. and pub., and with their blindstamp in the lower left margin corner

Image: 44.5” H x 19.5” W; Sheet: 47.5” H x 31.75” W

$3,000-5,000

Literature: Walker Art Center 102

Robert Motherwell (1915-1991)

“Africa 2” from “Africa Suite,” 1970

Screenprint in black and cream on J.B. Green paper

Edition 86/150

Initialed and numbered in pencil in the lower margin: R.M.; With the Robert Motherwell blindstamp in the lower right margin corner; Marlborough Graphics Inc., NY, pub.

Image: 31.375” H x 23.375” W; Sight: 39” H x 28.625” W

$2,000-3,000

Literature: Engberg and Banach 70; Belknap 41

Robert Motherwell (1915-1991)

“Untitled (Blue/Cream),” from “London Series II,” 1970-71

Screenprint in colors with embossing on J.B. Green paper

Edition: 70/150

Initialed and numbered in pencil and with the artist’s blindstamp, all in the lower right sheet corner: R M; Kelpra Studio, London, prntr.; Marlborough Graphics, NY, pub.

Image: 19.5” H x 27.25” W; Sheet: 29.5” H x 41” W

$1,500-2,000

Literature: Belknap 67

Nathan Oliveira (1928-2010)

Three works:

“Rainbow Head,” 1972

Lithograph in brownish-purple on wove paper

Edition: A Tamstone Impression (there was also an edition of 10)

Signed, titled, dated, and inscribed “Tamstone Impression” in pencil along the lower edge: N. Oliveira 72; Tamstone Group, Inc., Los Angeles, CA, and with their blindstamp lower right; an unidentified blindstamp lower right

Image/Sheet: 29.75” H x 22.5” W

“Composite Head,” 1972

Lithograph on wove paper

Edition: A Tamstone Impression (there was also an edition of 10)

Image/Sheet: 29.75” H x 22.5” W

“Two Heads,” 1972

Lithograph in purple on wove paper

Edition: A Tamstone Impression (there was also an edition of 10)

Image/Sheet: 29.75” H x 22.5” W

$800-1,200

36

Frank Stella (1936-2007)

“Sinjerli Variation I,” 1977

Lithograph and screenprint in colors on Arches paper Edition: 32/100 (there were also 20 artist’s proofs)

Signed, dated, and numbered in pencil in the lower edge, at right: Frank Stella 77; Bruce Foster, Jim Welty, New York, NY, prntr.; Petersburg Press, New York, NY, pub. Image: 25” H x 25” W; Sheet: 32” H x 42.25” W

$6,000-8,000

Provenance: Petersburg Press Inc., New York, NY

Barbara Gillman Gallery, Miami, FL

Literature: Axsom 113

Frank Stella (1936-2007)

“New Madrid,” from the “Benjamin Moore Series,” 1971

Lithograph in orange on Arches paper Edition: 78/100

Signed, numbered, and dated in pencil lower right: F Stella 71; Ron Adams and Stuart Henderson, prntr.; Gemini G.E.L., pub, with their blindstamps in the lower right sheet corner, and their ink stamp and pencil work number “FS71-392” on the verso of that same sheet corner

Image: 9.25” H x 9.25” W; Sheet: 15.75” H x 21.875” W

$1,000-2,000

Literature: Axsom 58

David Wojnarowicz (1954-1992)

David Wojnarowicz completed this untitled diptych than ten editions he produced during his lifetime, organization founded to advocate for the rights

The upper panel features a photograph of a man from a Red Cross lifesaving manual. The overlaid previously appeared in a piece honoring his friend experiences in Manhattan’s East Village, where HIV-positive.

The lower panel features a USA-shaped target aligning to spell “KKK and referencing the Ku whose names appear include pharmaceutical

This diptych is also held in the collections of the NY, and the Museum of Fine Arts, Houston, TX.

diptych in 1990, just two years before his death from AIDS. It is one of fewer lifetime, created to raise money for ACT UP (AIDS Coalition to Unleash Power), an rights and well-being of people living with AIDS.

man lying on the ocean floor with another man floating above him, sourced overlaid text describes Wojnarowicz’s anger at the AIDS crisis. This text, which friend and mentor Peter Hujar who died of AIDS in 1987, reflects Wojnarowicz’s where he witnessed the epidemic’s devastating toll before he was diagnosed as

target layered with stock market data. Some company names start with “K,” Klux Klan, which led to anti-LGBTQ protests in the 1980s. Other companies giants targeted by activists for their excessive pricing of AIDS medications. the British Mus eum, London, the Whitney Museum of American Art, New York, TX.

David Wojnarowicz (1954-1992)

Untitled (ACT UP diptych), 1990

Each: Screenprint in colors on wove paper

Edition: 50/100 (there were also 10 artist’s proofs)

One signed and dated in pencil in the lower margin, at right: David Wojnarowicz; one numbered in pencil in the lower margin, at left; ACT UP, New York, NY, pub. Each Image: 18.5” H x 23.5” W; Each Sheet: 23.25” H x 27.5” W

$7,000-9,000

Provenance:

Private Collection, Michigan

Sold: Artnet Auctions, November 15, 2018, Lot 126590 Private Collection, California, acquired from the above

Notes:

The work’s two panels are intended to be displayed vertically with the figures swimming over the map of the United States.

Bruce Nauman (b. 1941)

“Violent Incident - Man/Woman Segment” (for Parkett 10), 1986

Three color videotapes and two DVDs Edition: 48/200

Signed and numbered on label affixed to videotape: B Nauman

Together with a 6.75” x 9” print of an installation photograph, the original 4” x 5” chrome film, and four slides of the photograph

8 pieces

Largest case: 8.5” H x 5.25” W x 1.5” D

$2,000-4,000

Provenance:

Sold: Sotheby’s, New York, NY, “Contemporary Art: Paintings, Photographs, Prints, and Multiples,” February 23, 1996, Lot 127

The Chara Schreyer Collection, acquired from the above, February 23, 1996

Notes:

This lot is accompanied by a photocopy of the purchase receipt.

Jeff Koons and Howard L. Bingham (b. 1955 and 1939-2016)

Jeff Koons and Howard L. Bingham (Photography). “GOAT: A Tribute to Muhammad Ali (Champ’s Edition).” Germany: Taschen, 2004

Edition: 566/1000

Book signed by Ali and Koons on vellum edition page and dated 2001; photographs signed by Ali and Bingham

The hardcover book in a silk-covered custom clamshell box with four silver gelatin prints by Howard L. Bingham and a companion art piece by Jeff Koons “Radial Champs,” comprising a stool and inflatable sculpture in two parts

Overall: 66” H x 83” W x 31” D, approximately; Clamshell: 22” H x 22” W x 5.5” D

$2,000-3,000

Provenance:

The Chara Schreyer Collection

Larry Clark (b. 1943)

“Punk Picasso,” 2003

Softcover book in original board slipcase

Larry Clark. “Punk Picasso.” New York: Roth Horowitz Gallery, 2003 Edition: 469/1000

Signed, dated, and stamped edition to final page verso: Larry Clark

11.25” H x 8.75” W x 2.25” D

$1,000-2,000

Provenance: The Chara Schreyer Collection

Allen Ruppersberg (b. 1944)

“23 Pieces,” 1969

Spiral-bound paper book on an acrylic stand, five examples

Each signed to first page: A Ruppersberg

5 pieces

Each book: 6.375” H x 8.125” W; Each stand: 4.375” H x 14.125” W x 5.75” D

$2,000-4,000

Provenance: The Chara Schreyer Collection

Jon Rafman (b. 1981)

“New Age Demanded - Kandinsky #5” Archival pigment print mounted to Dibond Unsigned; titled by repute Sight: 57.5” H x 41.5” W

$2,000-4,000

Ralph Gibson (b. 1939)

Untitled, from the portfolio “New York 1967-1970,” 1968

Gelatin silver print on paper

Signed and dated in pencil on the lower edge, verso: Ralph Gibson 1968 Image: 9” H x 6” W; Sheet: 14” H x 11” W

$1,000-2,000

Provenance: The Chara Schreyer Collection

Hans Namuth (1915-1990)

“Jackson Pollock,” circa 1952

Gelatin silver print on paper Edition: 9/50; printed circa 1981

Signed and numbered in ink in the lower margin: Hans Namuth; with the artist’s copyright ink stamp in the lower margin, at left

Image: 18.75” H x 18” W; Sight: 20.5” H x 18.25” W

$2,000-4,000

Provenance:

Sold: Swann Auctions, New York, NY, “Photographic Literature and Photographs,” May 15, 2003, Lot 452

William Clift (b. 1944)

“Georgia O’ Keeffe, New Mexico,” 1981

Gelatin silver print on paper mounted to a board mount

Edition: 16/25, printed 1986 (there were also five lettered artist’s proofs)

Signed on the board mount, directly below the image, at right: William Clift; signed again, titled, dated, numbered, inscribed “Prints of this image at other sizes exist,” and with the artist’s copyright statement, all in a combination of pencil and ink on the verso of the board mount; signed yet again in pencil at the lower edge of the overmat

Image: 19” H x 13.5” W; Sheet: 19.5” H x 14” W

$2,500-3,500

Linda McCartney (1941-1998)

“Jimi Hendrix,” 1967

Offset lithograph on paper Edition: 2/25; printed 1994

Signed, dated, and numbered in pencil, verso: Linda McCartney / 7/3/94; titled on the frame plaque Image: 13.875” H x 20.25” W; Sheet: 23” H x 17” W

$2,000-4,000

Walter Chappell (1925-2000)

“Sharon Tate, Big Sur,” 1964

Gelatin silver print mounted to Strathmore 4-ply board

Unsigned; titled and dated in pencil, verso: 1964; with the artist’s blue ink estate stamp with a pencil notation inside “13 + 1 A,” verso

Image/Sheet: 8.74” H x 7.875” W; Board: 17.875” H x 14” W

$1,500-2,500

Provenance: The Chara Schreyer Collection

Jim Goldberg (b. 1953)

“Hollywood and Highland,” 1986-1988

Digital print on paper

Appears unsigned; titled and dated by repute Sight: 6.5” H x 21.75” W

$1,000-2,000

Provenance: The Chara Schreyer Collection

Jim Goldberg (b. 1953)

“Kato, Hollywood Boulevard” from the “Raised by Wolves” series, 1995

Gelatin silver print on paper

Unsigned Image: 23” H x 15.125” W; Sheet: 19.75” H x 23.875” W

$1,000-2,000

Provenance: The Chara Schreyer Collection

Laurie Simmons (b. 1949)

Three works:

“Pushing Lipstick (The Approach),” 1979 Cibachrome print on paper Edition: 5/7

Signed, titled, dated, and numbered in pen, verso: Laurie Simmons 1979

Image: 5.75” H x 8.75” W; Sheet: 8” H x 10” W

“Woman Watching TV,” 1978 Cibachrome print on paper Edition: 6/7

Signed, titled, dated, and numbered in pen, verso: Laurie Simmons 1978

Image: 3.5” H x 5” W; Sheet: 7” H x 9” W

“Woman Listening to Radio,” 1978 Silver gelatin print on paper Edition: 87/120

Signed, titled, dated, and numbered in pencil, verso: Laurie Simmons 1978

Image: 6.875” H x 10.5” W; Sheet: 7.375” H x 10.875” W

$2,000-4,000

Provenance:

Skarstedt Fine Art, New York, NY The Chara Schreyer Collection

Larry Sultan (1946-2009)

“Conversation Through Kitchen Window” from “Pictures from Home” series, 1986

C-print on paper

Printed in 1999 for the Mother Jones L.A. Portfolio

Signed in ink, verso: Larry Sultan

Image: 10.375” H x 12.5” W; Sheet: 10.875” H x 13.875” W

$1,500-2,500

Provenance: The Chara Schreyer Collection

53

Paul Graham (b. 1956)

Untitled No. 46 from “End of an Age,” 1997 Fuji long life photograph in colors on paper Signed, dated, and numbered in ink on the frame’s backing board; titled on a label affixed to the frame’s backing board Image: 63.5” H x 47” W; Sheet: 68.5” H x 52” W

$4,000-6,000

Provenance: The Chara Schreyer Collection

Lee Friedlander (b. 1934)

“Bismarck, North Dakota,” 2002

Gelatin silver print on paper

From an edition of unknown size, printed in 2004

Signed, titled, and dated in pencil, verso: Lee Friedlander; with the ink stamp printing date, verso Image: 15” H x 14.5” W; Sheet: 20” H x 16” W

$1,000-2,000

Provenance:

The Chara Schreyer Collection

Jon Rafman (b. 1981)

Untitled, Google map street scene

Archival pigment print mounted to Dibond

Unsigned

Sight: 39.5” H x 64” W

$3,000-5,000

Jon Rafman (b. 1981)

“139 Rua Indiaporã, Campinas, Sao Paulo, Brazil,” 2012

Archival pigment print mounted to Dibond

Signed in gold marker, and with the typed title and date, all on a gallery label affixed to the frame’s backing board: J. Rafman Sight: 39.5” H x 64” W

$2,000-4,000

Provenance: Zach Feuer, New York, NY, no. JR5446

Slim Aarons (1916-2006)

“Dining Al Fresco on Capri,” 1980

C-type print on Fujicolor Crystal archival paper

Edition: 10/150, printed later (there is also an open edition without the numbering and artist’s estate blindstamp)

Embossed with artist’s estate blindstamp in the lower margin, at right: Slim Aarons; titled from an information sheet that accompanies this lot; numbered in ink in the lower margin, at left

Image: 25.25” H x 37.75” W; Sheet: 30” H x 39.75” W

$3,000-5,000

Notes:

This lot is accompanied by an information sheet specific to this impression, as well as a certificate of authenticity from Getty Images Gallery dated 26 April 2023. According to these materials, the image shows Italian artist and actress Domiziana Giordano, Francesca Sanvitale, Dino Trappetti, and Umberto Terrelli dining al fresco on a terrace overlooking the waters off the coast of Capri, Italy, in August 1980

Slim Aarons (1916-2006)

“Palm Beach Idyll,” circa 1955

C-type print on Fujicolor Crystal archival paper

Edition: 27/150, printed later (there is also an open edition without the numbering and artist’s estate blindstamp)

Embossed with artist’s estate blindstamp in the lower margin, at right: Slim Aarons; titled from an information sheet that accompanies this lot; numbered in ink in the lower margin, at left

Image: 37.625” H x 37.875” W; Sheet 40” H x 40” W

$3,000-5,000

Notes:

This lot is accompanied by an information sheet specific to this impression, as well as a certificate of authenticity from Getty Images Gallery dated 26 April 2023. These materials state that this image shows a couple sunbathing by the sea in Palm Beach, Florida, circa 1955.

Slim Aarons (1916-2006)

“Hotel du Cap Eden- Roc,” 1976

C-Type print on Fujicolor Crystal archival paper

From the open edition, printed later (there was also an edition of 150 with the artist’s estate blindstamp and numbered in ink)

Embossed with the Getty Images Archive blindstamp in the lower margin, at right; titled from an information sheet that accompanies this lot

Image: 38” H x 25.25” W; Sheet: 40” H x 30” W

$800-1,200

Notes:

This lot is accompanied by an information sheet, as well as an undated certificate of authenticity from Getty Images Gallery. According to these materials, this image shows guests by the pool at the Hotel du Cap Eden-Roc, Antibes, France, in August of 1976.

Slim Aarons (1916-2006)

“Poolside Gossip,” circa 1970

C-Type print on Fujicolor Crystal archival paper

From the open edition, printed later (there was also an edition of 150 with the artist’s estate blindstamp and numbered in ink)

Embossed with the Getty Images Archive blindstamp in the lower margin, at right; titled from an information sheet that accompanies this lot

Image: 25.25” H x 37.75” W; Sheet: 30” H x 40” W

$800-1,200

Notes:

This lot is accompanied by an information sheet, as well as a certificate of authenticity from Getty Images Gallery dated 20 April 2022. According to these materials, this image shows a desert house in Palm Springs designed by Richard Neutra for Edgar J. Kaufmann. Lita Baron (far left) approaches Helen Dzo Dzo Kaptur (left) and Nelda Linsk, wife of art dealer Joseph Linsk

Julius Shulman (1910-2009)

“Stahl House,” 1960

Gelatin silver print on paper

Signed and dated in white ink in the lower right corner: Julius Shulman / 1960; inscribed in the artist’s hand, verso: 2980 – 20P, Koenig, Stahl House, Case Study House #22; with the artist’s ink stamp verso Sight: 9.5” H x 7.5” D

$5,000-7,000

Provenance: Private Collector, Los Angeles, CA

Notes:

This print was made by Julius Shulman at the request of the collector. It does not exist as an edition with these dimensions, thereby making this version a one-of-a-kind work.

Henri Cartier-Bresson (1908-2004)

“Island of Siphnos, the Cyclades, Greece,” 1961 Gelatin silver print on paper

Signed in brown ink in the lower margin, at right: Henri Cartier-Bresson; with the artist’s blindstamp in the lower left margin corner; titled and dated on a label affixed to the frame’s backing board

Image: 11.875” H x 17.75” W; Sheet: 15.75” H x 19.75” W

$7,000-9,000

Pierre-Louis Pierson (1822-1913)

Three works:

“La Contemplation” from the “La Comtesse de Castiglione” series, 1863-1865

Gelatin silver print on paper

Unsigned; attributed, titled, and dated on gallery labels affixed to the frame’s backing paper

Image/Sheet: 11.375” H x15.125” W

“La Comtesse de Castiglione, Rachel” from the “Sainte Cecile and Rachel” series, 1893

Albumen silver print on paper

Unsigned; attributed, titled, and dated on gallery labels affixed to the frame’s backing paper

Image/Sheet: 5.5” H x 3.875” W

“Cactus” from the “La Comtesse de Castiglione” series, 1861-1863

Gelatin silver print on paper

Unsigned; attributed, titled, and dated on gallery labels affixed to the frame’s backing paper

Image/Sheet: 15.5” H x 11.625” W

$2,000-4,000

Provenance:

Robert Miller Gallery, New York, NY

The Chara Schreyer Collection

Georges Rouault (1871-1958)

Portrait of a woman, 1914 Oil on canvas

Signed and dated near the upper left corner: G. Rouault / 1914 26” H x 15” W

$30,000-50,000

Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

Nino Caffe (1908-1975)

Cardinals exercising, some walking on stilts Oil on panel

Signed lower left: N. Caffe 12” H x 25.5” W

$1,000-1,500

Notes:

This lot is accompanied by a first edition Nino Caffe book by Graham Greene, inscribed and signed by the artist on the second leaf. The book includes 13 (of what was originally 14) printed color reproductions.

Nino Caffe (1908-1975)

“Panni Rossi” Oil on panel

Signed lower center: Caffe; titled on a gallery label affixed verso 9.75” H x 15.75” W

$1,000-1,500

Provenance: Pomeroy Galleries, San Francisco, CA

Notes:

This lot is accompanied by a first edition Nino Caffe book by Graham Greene, complete with all 14 printed color reproductions.

Zvi Raphaeli (1924-2005)

“Synagogue” Oil on canvas

Signed lower left: S. Raphaeli; signed in Hebrew lower right; titled on a gallery label affixed verso 20” H x 16” W

$1,000-1,500

Provenance: Safrai Art Gallery, Jerusalem, Israel

Zvi Raphaeli (1924-2005)

Synagogue interior Oil on canvas

Signed near the center of the lower edge: S. Raphaeli; signed in Hebrew lower right 20” H x 24” W

$1,000-1,500

Provenance: Safrai Art Gallery, Jerusalem, Israel

Julie Heffernan (b.

1956)

Julie Heffernan, born in 1956 in San Francisco, together themes of identity, femininity, and the serve as vivid narratives that invite viewers into concerns. Through her unique approach to self-portraiture that resonates with the human experience.

Heffernan’s canvases are not merely scenes to viewer into a meticulously crafted universe, where guardians of an enigmatic realm. Her use of rich, ethereal beauty, drawing us deeper into the narrative

Moreover, Heffernan’s technique is as meticulous observation—a hidden creature nestled in foliage, mystery to her compositions. This attention to thematic exploration of the interconnectedness ecological concerns, albeit in a surreal and allegorical prompts us to reconsider our relationship with serve as poignant reminders of the fragility of

Beyond the ecological, Heffernan’s art delves profound exploration of identity, particularly concerning physical appearance; rather, they embody her fantastical landscapes, Heffernan prompts viewers These imaginative settings often juxtapose natural between humanity and nature.

Heffernan’s incorporation of flora and fauna further herself into an integral part of the landscape, signifies a deeper understanding of self, suggesting and social fabrics of life.

Heffernan’s work is also a powerful commentary multifaceted representation of women, capturing

Francisco, California, is an acclaimed contemporary artist whose work intricately weaves the complex relationship between the individual and the environment. Her paintings into a dreamlike realm, reflecting both personal introspection and broader societal self-portraiture and rich symbolic imagery, Heffernan creates a captivating dialogue to behold but vast tapestries of symbolism and storytelling. Each painting invites the where lush vegetation intertwines with opulent fabrics, and figures emerge like rich, almost otherworldly colors and textures imbues her works with a sense of narrative she weaves.

meticulous as it is evocative. Her paintings are replete with details that reward careful foliage, a glimmer of light through dense clouds—that add layers of meaning and to detail not only enhances the visual impact of her work but also underscores her interconnectedness of all living things. Thematically, Heffernan’s art often addresses contemporary allegorical manner. Through her imaginative landscapes and hybrid creatures, she with the natural world and contemplate the consequences of our actions. Her works our ecosystems and the urgent need for stewardship and conservation.

into the psychological and emotional realms. At the heart of Heffernan’s work lies a concerning the external world. Her self-portraits are not mere reflections of her her inner thoughts, emotions, and existential questions. By situating herself within viewers to consider how personal identity is shaped by the surrounding environment. natural beauty with surreal elements, inviting contemplation about the balance further enriches her exploration of identity. In many of her paintings, she transforms blending with t he natural world to emphasize interconnectedness. This merging suggesting that identi ty is not isolated but rather deeply intertwined with the ecolo gical commentary on femininity and the complexity of womanhood. Her figures often embody a capturing both strength and vulnerability.

Julie Heffernan (b. 1956)

“Self-Portrait as Infants on the Cusp of Expressionism,” 1996 Oil on canvas

Signed, titled, and dated, verso: J. Heffernan 1996; titled again along the lower edge, at center Sight: 54.25” H x 47” W

$6,000-8,000

Aileen Lipkin (1933-1994)

“Buskers,” 1960 Oil on Masonite

Signed and dated lower left: Lipkin 60; titled verso 18” H x 28.25” W

$1,000-2,000

Provenance: John Whibley Gallery, London, England

Jacques Lipchitz (1891-1973)

“Melancholia,” 1971

Patinated bronze Edition: 0/0 (Artist’s Proof)

Signed and numbered to base: J. Lipchitz; further marked for the artist’s foundry: Fonderia Luigi Tomassi, Pietrasanta

15.75” H x 13.25” W x 15.5” D

$8,000-12,000

Provenance: Private Collection, Santa Barbara, CA, acquired from the artist, 1971

Ivan Meštrovic (1883-1962)

Domagojevi strelci [Domagoj’s archers]

Cast and patinated stone and resin, with wood veneer Unsigned 12.125” H x 10.875” W x 1” D

$4,000-6,000

Provenance: The Estate of Sergei Bongart

Max Weber (1881-1961)

“Mask,” 1915

Gilt-bronze mounted to stained wood

Signed in the casting: Max Weber; titled, dated, and attributed on a gallery label affixed to the wood verso

Bronze: 4” H x 2.987” W x 1.25” D; Overall: 7” H x 5.375” W x 3.25” D

$1,500-2,000

Provenance:

Albright Art Gallery, The Members’ Gallery, Buffalo, NY, no. 107A60

Mr. and Mrs. M. Cox, San Francisco, CA

Private Collection

Pablo Picasso (1881-1973)

“Chouette,” 1969

Partial glazed ceramic and engobe

Edition: 40/500

Numbered and inscribed to underside: Edition Picasso / Madoura; stamped to two ceramic pastilles: Edition Picasso / Madoura Plein Feu 11.25” H x 8.75” W x 5.875” D

$12,000-18,000

Literature: Alan Ramie 605

Pablo Picasso (1881-1973)

“Poisson Chiné,” 1952

Partial glazed earthenware and engobe in Plexiglas case

From the edition of 200

Stamped to underside: Madoura Plein Feu / Empreinte

Originale de Picasso

Ceramic: 13.5” H x 16.625” W x 1.625” D

$6,000-8,000

Literature: Alain Ramie 107

Béla Kádár (1877-1956)

Deer and figure

Watercolor on paper

Signed in pencil lower right: Kádár / Béla 13.75” H x 9.875” W

$3,000-5,000

Palmer Schoppe (1912-2001)

“The Plunge,” 1966 Oil on canvas

Signed and dated lower right: Palmer Schoppe 1966; signed again, titled, and numbered “#196” in ink on the stretcher 48” H x 70” W

$3,000-5,000

Lester F. Johnson (1919-2010)

“City Group #1,” 1973 Oil on canvas

Signed lower right: Lester Johnson; titled by repute; dated on a gallery label affixed to the stretcher

30” x 36”

$1,000-2,000

Provenance: Martha Jackson Gallery, New York, NY

Hong Viet Dung (b. 1962)

“Lady with Bird #14” Oil on canvas

Signed and illegibly dated lower right: Viet Dung

35” H x 31.25” W

$4,000-6,000

Hans Erni (1909-2015)

“Nude,” 1959

Tempera on paper

Signed and dated lower right: Erni 59; titled on a gallery label affixed to the frame’s backing paper

Image/Sheet: 22” H x 15” W

$1,000-1,500

Provenance: Hightower Gallery, Oklahoma, OK

Hans Erni (1909-2015)

“Man and Pregnant Woman,” 1967

Tempera on paper

Signed and dated lower right: Erni 67; signed and dated again, titled, and inscribed in pencil, all verso; inscribed and dated again in red pencil, verso 17.25” H x 14.25” W

$1,000-2,000

82 Sergei Bongart (1918-1985)

Candle-lit poker game in artist’s studio, 1962 Oil on board

Signed and dated upper right: Sergei Bongart 1962 Sight: 31.5” H x 39.5” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

Sergei Bongart (1918-1985)

Still life of the artist’s table

Oil on canvas

Signed on the lower edge, at center: Sergei Bongart

34” H x 30” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

Sergei Bongart (1918-1985)

“Red Room,” 1961 Oil on Masonite

Signed and dated upper right: Sergei Bongart 1961; titled on the frame plaque 30” H x 40” W

$1,000-1,500

Provenance:

National Academy of Design, New York, NY, 1965 The Estate of Sergei Bongart

Sergei Bongart (1918-1985)

“Lilacs,” 1979 Oil on Masonite

Signed and dated upper right: Sergei Bongart 1979; signed again and titled in ink on a label affixed to the frame, verso 36” H x 40” W

$1,000-1,500

Provenance: The Estate of Sergei Bongart

Martiros Sarian (1880-1972)

Martiros Sarian was a prominent Armenian painter a defining figure in 20th-century Armenian art. Armenian heritage, which became central to his Architecture, he was influenced by Russian Symbolism as Paul Gauguin and Henri Matisse, which led style emphasizing the expressive nature of color.

Sarian’s artistic inspirations extended across cultures Turkey. These experiences contributed to the portrayals of Armenian landscapes and folklore reflect a profound sense of national identity and deep cultural resonance.

In the 1920s, Sarian relocated to Armenia, where Armenian Soviet Socialist Republic. He served projects, including theater set designs and murals, death in 1972, Sarian’s home in Yerevan was converted influence Armenian artists, representing a fusion

Sarian’s 1958 painting “Ararat” exemplifies his a symbol of Armenian cultural and historical identity, Employing vibrant greens and blues, Sarian bathes brushstrokes create a dreamlike atmosphere. beauty, its harmonious colors and subtle luminosity

painter whose vibrant landscapes and depictions of Armenian life established him as art. Born in Nakhichevan-on-Don, Russia, Sarian maintained a deep connection to his his artistic vision. After studying at the Moscow School of Painting, Sculpture, and Symbolism and Post-Impressionism. He drew inspiration from European masters such led him to integrate e lements of Fauvism and Symbolism into a distinctive, color-rich color.

cultures and movements, shaped by his travels through Armenia, Egypt, Iran, and vibrant color palettes and mystical qualities present in his work, enriching his folklore with a blend of traditional motifs and modernist experimentation. His paintings and spiritual connection to nature, embodying his vision of Armenia as a place of

where he played an instrumental role in developing the visual culture of the served as the director of the National Gallery of Armenia and contributed to large-scale murals, integrating Armenian traditions with contemporary styles. Following his converted into a museum, preserving his work and legacy. His works continue to fusion of Armenian heritage, European modernism, and his stylistic approach.

his spiritual connection to the Armenian landscape. This work depicts Mount Ararat, identity, with its twin peaks, Masis (Greater Ararat) and Sis (Lesser Ararat). bathes the landscape with warmth and vitality, while his soft, expressive “Ararat” encapsulates Sarian’s vision of Armenia as a land of spiritual depth and luminosity illustrating the unique style that has influenced Armenian modernism.

Martiros Sarian (1880-1972)

“Ararat,” 1958

Oil on canvas

Signed twice and dated lower left: Martiros Sarian / M. Sarian; signed again, titled, and dated, all verso; inscribed “470” in another hand, verso 15” H x 22” W

$15,000-20,000

Provenance:

Rafayel Israyelian, Armenia, gifted directly from the artist Private Collection, Los Angeles, CA

Literature:

Notes: This lot is accompanied by a Certificate of Authenticity from Rouzan Sarian, granddaughter of the artist Martiros Sarian, and Expert Authenticator of Sarian’s works.

We are grateful to Sophie Sarian, granddaughter of the artist and Chief Curator of the Martiros Sarian House-Museum, Yerevan, Armenia, for her assistance in cataloging this lot.

Hagop Hagopian (1923-2013)

Landscape with trees, 1998

Watercolor on paper

Signed and dated in pencil, lower right: H. Hagopian 98

Image: 15” H x 12” W; Sheet: 18.25” H x 14” W

$2,000-3,000

Minas Avetisyan (1928-1975)

Village woman, 1973

Pastel on paper

Signed and dated lower right: Minas 73

Sight: 14.5” H x 11” W

$4,000-6,000

Bernice Bing (1936-1998)

Untitled (Figure), 1959

Ink on paper laid to board, as issued

Signed and dated in ink at lower right on the support board, directly below the image: B. Bing 59

Image/Sheet: 14” H x 10.5” W; Support board: 18” H x 14” W

$2,000-4,000

Deborah Oropallo (b. 1954)

“Jane Seymour” from the “The Wives of Henry VIII” series, 1994 Oil, graphite, and collage on paper Unsigned; titled and dated by repute Image/Sheet: 50” H x 38” W

$2,000-3,000

Provenance: Catherine Clark Gallery, San Francisco, CA Private Collection, Tiburon, CA

Deborah Oropallo (b. 1954)

Untitled portrait, 1993

Oil, graphite, and collage on paper

Signed and dated in pencil on the lower edge, verso: Oropallo 1993

Image/Sheet: 50” H x 38” W

$2,000-4,000

Provenance: Catherine Clark Gallery, San Francisco, CA Private Collection, Tiburon, CA

Betye Saar (b. 1926)

Assembling History, Challenging Perceptions

In the pantheon of American artists who have as a formidable presence. Born in 1926 in Los deep engagement with identity, history, and the Saar’s oeuvre, spanning over six decades, is characterized weave complex narratives through the juxtaposition as a bridge between the personal and the political, spirituality, and the enduring impact of historical

The 1970s marked a pivotal moment in Saar’s pieces that challenged racial stereotypes. It was elements of mysticism, family history, and social

Our collection features two significant works from narratives and collective memory. In this work, using found photographs and objects to create

The 1987 work represents a period of expansion complexity of her installations. This piece may technology and spirituality—themes that began

Saar’s enduring influence on contemporary art everyday objects into powerful statements on generations of artists.

The two works in our collection offer a unique decade. They stand as testament to her role as making them invaluable additions to any discerning

shaped the cultura l landscape of the 20th and 21st centuries, Betye Saar stands Los Angeles, Saar’s artistic journey has been one of constant evolution, marked by a the power of objects to tell stories.

characterized by her masterful use of assemblage—a technique that allows her to juxtaposition of found objects, cultural artifacts, and personal mementos. Her work serves political, offering a nuanced commentary on the African American experience, historical injustices.

career, as she began to gain widespread recognition for her thought-provoking was during this period that Saar honed her distinctive visual language, incorporating social critique into her assemblages.

from Saar’s oeuvre. The 1978 piece exemplifies her exploration of personal work, Saar likely employs her characteristic blend of nostalgia and social commentary, create a layered meditation on identity and heritage.

expansion in Saar’s artistic practice. As her reputation grew, so did the scale and may reflect her increasing interest in global influences and the intersection of began to emerge in her work during the 1980s.

art is evident in her presence in over 60 museums worldwide. Her ability to transform race, gender, and politics continues to resonate with audiences and inspire new

unique opportunity to trace the development of Saar’s artistic vision across nearly a as a visionary artist whose work continues to challenge, provoke, and enlighten, discerning collection of American art.

Betye Saar

(b. 1926)

“Sentimental Souvenir #100,” 1987

Acrylic on carved wood

Signed and dated in ink to underside: B Saar; titled in a stamp

13.75” H x 6” W x 4.75” D

$3,000-5,000

Exhibited:

Philadelphia, Pennsylvania Academy of the Fine Arts, “Sentiment October 18, 1987

Notes:

This lot is accompanied by a signed and inscribed hardcover pamphlet “Betye Saar: Connections: Site Installations,” with card inscribed by the artist.

Betye Saar

(b. 1926)

Jewelry box pin, 1978

Mixed media

Signed and dated verso: Betye Saar

1.5” H x 1.875” W x 0.5” D

$1,000-1,500

Notes:

This lot is accompanied by a signed gallery card and a hardcover Betye Saar monograph book from the David Driskell Series of African American Art, Vol. 2.

stamp and inscribed: Philadelphia, PA 1987 / Betye Saar

“Sentimental Sojourn: Strangers and Souvenirs,” August 21 -

hardcover book titled “Colored: Consider the Rainbow,” a with dated gift inscription from the artist, and a birthday

Louise Nevelson (1899-1988)

“Full Moon,” 1980

Cast resin in a wood frame Edition: 45/125, with 25 artist’s proofs

Metal plaque affixed verso, with title, date, and marked: © Pace Editions Inc.; incised signature and number to plaque: Louise Nevelson 18.625” H x 18.625” W x 2” D

$7,000-9,000

Provenance: Pace Editions Inc., New York, NY

Medici-Berenson Gallery, Bay Harbor Islands, Florida, acquired from the above Private Collection, FL, acquired from the above, 1980

95

Louise Nevelson (1899-1988)

“Morning Haze,” 1978

Cast paper relief on two sheets of handmade paper Edition: 79/125 (there were also 25 artist’s proofs)

Signed, dated, and numbered in pencil in the lower margin: Louise Nevelson 78; Pace Editions, Inc., New York, NY, pub.; titled (twice) on two labels affixed to the frame’s backing board

Each sheet: 33.75” H x 22.5” W; Overall 33.75” H x 45.5” W

$7,000-9,000

Provenance:

Pace Editions, Inc. New York, NY

Medici-Berenson Gallery, Bay Harbor Islands, FL

Private Collection, FL, acquired from the above, 1979

Notes:

This lot is accompanied by a copy of a purchase receipt from the gallery mentioned above, dated July 24, 1979.

“Just up out of a deep, deep long sleep – I had to make several tries before I came to at all.”

~Agnes Pelton

January 19, 1942, letter to Jane Comfort

Sleep

It came to me many years ago after a mid-winter visit to the city and was the expression of the sudden quiet and winter peace of the windmill (on Long Island) which was then my home: The feeling of rightness in being there, and of a conscious gentle radiation of protection, through dark and uncertain places.”

~Agnes Pelton

Agnes Pelton (1881-1961)

Sleep, 1928 Oil on canvas

Signed and dated lower right: Agnes Pelton 1928

Signed again and titled along the bottom of the stretcher bar: Agnes Pelton / Sleep Artist’s handwritten card attached verso: Sleep / Agnes Pelton / Cathedral City / California

Attached to the bottom of the painting, verso, is Agnes Pelton’s typewritten summary of Sleep’s backstory: “Sleep by Agnes Pelton: It came to me many years ago after a mid-winter visit to the city and was the expression of the sudden quiet and winter peace of the windmill (on Long Island) which was then my home: The feeling of rightness in being there, and of a conscious gentle radiation of protection, through dark and uncertain places.”

Displayed in its original, Pelton-made, silver-gray frame

18” H x 20” W; Framed: 20” H x 22” W x 1.75” D

$300,000-500,000

Provenance:

The artist Agnes Pelton estate inventory, circa 1961, #76: “Sleep -V.- 20” x 18”-Photo” Private Collection, Minnesota

Exhibited:

Pasadena, CA, Grace Nicholson Art Galleries, “Decorative Flower Paintings and Abstractions by Agnes Pelton,” April 15 – May 1, 1929. Note: A news item published Thursday May 23, 1929 in the “Keyport Enterprise” (Keyport, New Jersey) “Borough Briefs” column states: “The exhibition of portraits, abstract and flower paintings by Miss Agnes Pelton at the Grace Nicholson galleries in Pasadena, Cal., was so successful that Miss Pelton was compelled to continue the exhibit for two weeks longer.” This would revise the exhibition dates to April 15 – circa May 15, 1929.

Los Angeles, CA, (Jake) Zeitlin’s Book Shop, “Abstract Paintings by Agnes Pelton,” June 1 – 15, 1929. Note: A news item published Sunday June 9, 1929 in the “Los Angeles Times” (Los Angeles, Calif) states: “The very interesting abstract paintings by Agnes Pelton, shown recently at the Grace Nicholson Galleries and reviewed in The Times, are now on view at Zeitlin’s bookshop until the 15th.”

New York, NY, Montross Gallery, “Abstractions by Agnes Pelton,” November 11 - 23, 1929, Sleep as no. 9. This solo exhibition also included The Fountains, Caves of Mind, Star Gazer, Incarnation, Messenger, Lookouts, Ecstasy, Inward, Being, Faith, Flowering, and Meadowlark’s Song – Winter.

New York, NY, Grand Central Palace, “Society of Independent Artists, 14th Annual Exhibition,” February 28 – March 30, 1930, Sleep as no. 798.

New York, NY, Argent Galleries, “Exhibition of Paintings by Agnes Pelton,” February 16- March 7, 1931, Sleep as no. 15. This solo exhibition of twenty-one works included Fire Sounds, Equilibrium, White Fire, Voyaging, Rose and Palm, A Lotus for Lida, Wells of Jade, Prayer, Translation, Bells, Peace, The Fountains, Being, Faith, Incarnation, Inward, Lookouts, Renunciation, Meadowlark’s Song – Winter, Efflorescent Decoration.

Plainfield, NJ, Plainfield Public Library, “Exhibition of Paintings by Agnes Pelton,” March 16 – 30, 1931, Sleep as no. 8. This large solo exhibition consisted of thirty works: Peace, Being, The Fountains, Flowering, White Fire, Prayer, A Lotus For Lida, Sleep, Rose and Palm, Translation, Inward, Thought, Voyaging, Lookouts, In Winter, Radiance, Fire Sounds, Renunciation, Faith, Equilibrium, Ecstasy, Incarnation, Wells of Jade, Meadowlark’s Song – Winter, Star Icon (2), Hibiscus (Beirut, Syria), Windmill Path, 4 Hawaiian Flowers (decorative panels, samples for custom orders), Phantasy of Frost and Fire, Star Icon (1).

s then my home: The feeling

Literature:

Margaret Stainer, “Agnes Pelton,” (Fremont, California, Ohlone College Art Gallery, 1989), catalogue published to coincide with Ohlone exhibition, October 9— November 5, 1989. In this publication, curator Margaret Stainer provides chronological listings of select Pelton “Imaginative Paintings” dating from 1911 through 1917 and “Symbolic Abstractions” dating from 1923/24 through 1961. These are not checklists of works shown at Ohlone College in Stainer’s exhibition; they are incomplete “lifetime output” listings of Pelton paintings in these respective categories known to exist through archival sources and “best information” at the time of publication in 1989. Since that time, additional information has surfaced which expands and revises these lists. Stainer’s list of then-known Pelton abstractions for the year 1928 consisted of: Ecstasy (Des Moines Art Center), Star Gazer (Private Collection), Sleep, Meadowlark’s Song – Winter (Crocker Art Museum).

Ed Garman, posthumous inventory of Agnes Pelton’s abstractions, compiled circa 1961-62, entry no. 76, Raymond Jonson Archives, Agnes Pelton file, University of New Mexico Art Museum.

“The Art News,” volume 28, issue 7 (November 16, 1929).

“An Exhibit of Paintings: Miss Pelton Making Display of Her Work in New York”, “Matawan Journal,” Matawan, New Jersey, (November 15, 1929): page 2. This newspaper article provides titles of all works exhibited at Montross Gallery including Sleep.

“Agnes Pelton Will Exhibit in New York,” “The Courier-News,” Bridgewater, New Jersey, (November 7,1929): page 6, Ida H. Riley announces Pelton’s exhibition at Montross Galleries, Nov. 11 – 23, stating “These most unusual paintings were exhibited in Pasadena at the Grace Nicholson Art Galleries during May and at Zeitlin’s in Los Angeles during June. They are being exhibited in New York for the first time. These canvasses are remarkable for their beautiful, luminous color and for their imaginative range.” The abstractions “Being,” “Ecstasy,” “Faith,” and “Sleep” are mentioned along with a quote from Agnes Pelton: “The aim in these pictures has been to express, through pure and direct color and the; free rhythm essential to them, glimpses of what might be called symbolic vision.”

Agnes Pelton Paper, Archives of American Art, Smithsonian Institution, sketch and notes for Sleep, 1928. Notebook-Sketchbook IV, circa 1917 – 1929, frame 77-b.

“Floating, luminously protected…”

feeling of rightness in bein

~Agnes Pelton

Discovery

Acquired by the present owner decades ago in a gift exchange, Sleep is a rare find and revelatory addition to the Agnes Pelton canon, and only the sixth of her scarce transcendental abstractions to be offered at auction.

Along with Flowering (John Moran Auctioneers sale, Art + Design, August 13, 2024) Sleep is among the first wave of abstract compositions Pelton began to paint starting around 1925-26. Its sketchbook entry begins the year 1928 and is annotated with the comment “Home at Easter” which suggests it was probably conceived in April. On a timeline of Pelton’s creative evolution, Sleep appears in close proximity to Ecstasy (1928), Divinity Lotus (1929), Lotus For Lida aka Egyptian Dawn (1930), Incarnation (1929), Caves of Mind (1929), Radiance (1929), Winter (1929) and Star Gazer (1929).

Like Flowering, Sleep retains its original Pelton-made silver-gray frame, her exclusive choice for abstractions. Because of changing tastes and an unawareness of Pelton’s preference, the majority of her abstractions have been reframed to contemporary standards with few retaining their original frames.

“That’s

what Miss Pelton loves doing, painting the sound of crackling fire, the picture of peace, as it formed in her own mind, of renunciation, of faith, of sleep.”

Jane Corby, “Windmill Home of Artist Inspires Unique Paintings,” Brooklyn

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

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

Eagle, Brooklyn, New York, February 20, 1931

Sleep and meditation were the two primary sources of inspiration for Agnes Pelton’s abstract compositions. With sleep came dreams and during meditation she received visions; both provided images and narratives that Pelton entered into her sketchbooks with notes addressing forms and colors. In a January 1929 entry for an abstract composition titled Felicity, Pelton indicates that the idea came to her “between sleeping and waking.”

Agnes Pelton reading in interior. Image courtesy of Michael Kelly

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

Notes on Sleep

Agnes Pelton’s handwritten sketchbook entry for “Sleep” includes the title, date and inscription: “1928 [underscored twice] / Home at Easter / Sleep,” along with a line drawing of the composition and the following notes:

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

“Soft phosphorus oval body - not quite opaque - an inner state not seen but felt - Soft green gray or pearl - faint glow - Surroundings dull - opaque - beneath rich dark forms are there holding it or reaching toward it - color somewhat like moon mist but more yellow, slight veins of color or lightdelicate, over the opaque part of it.”

The importance of sleep to Pelton’s spiritual nourishment and creative process is further revealed in her statement: “A night under stars. Coming out of sleep & consciousness overlapped a moment and I held a nearer feeling or perception of the stars. I was nearer them, or else their potencies reached me — rayed out toward me, softer, filial, or streaming, speaking, reaching, giving messages.”

“Agnes Pelton and Occulture”, Spiritual Moderns: Twentieth Century American Artists & Religion, 2023

Agnes Pelton, sketch and notes for Sleep, 1928, Notebook-Sketchbook IV, circa 1917-1929, frame 77

Agnes Pelton Papers, Archives of American Art, Smithsonian Institution

Pelton’s comment “color somewhat like moon mist but more yellow” refers to her circa 1911 painting Calm (Moon Mist), which is referenced in an inventory of known works listed on page 22 of Margaret Stainer’s Margaret Stainer’s exhibition catalogue “Agnes Pelton”, Ohlone College Art Gallery, Fremont, California, 1989 [the exhibition dates were October 9 - November 5, 1989].

“That’s what Miss Pelton loves doing, painting the sound of crackling fire, the picture of peace, as it formed in her own mind, of renunciation, of faith, of sleep.”

~Jane Corby, “Windmill Home of Artist Inspires Unique Paintings,” “Brooklyn Eagle,” Brooklyn, New York, February 20, 1931

Agnes Pelton, Calm (Moon Mist), circa 1911 (detail), Private Collection

“This picture came to me during a spring vacation in the country at Easter after several exhausting months of portrait commissions in a suburban city.”

~Agnes Pelton

Sleep was conceived in 1928, most likely during a recuperative stay at Wild Farm, Pelton’s 54-acre rural retreat in Killingworth, Connecticut.

Wild Farm, circa 2004, former vacation home of Agnes Pelton, Killingworth, Connecticut

Photo courtesy of California Desert Art/Ann Japenga

The isolated setting of Wild Farm with its swaths of dense forest also provided the inspiration for Vine Wood, Pelton’s entry in the landmark Armory Show of 1913.

The Windmill: Birthplace of Pelton’s Transcendental Abstractions

Spiritual batteries recharged after her vacation at Wild Farm, Pelton returned to the creatively stimulating environs of her windmill on Long Island for the following seven months. A visitor described the romantically picturesque home and charming impression it made on her with its “aroma of a tasty supper drifting from the kitchen, crystal candlesticks, a purring cat in an armchair, and an old piano which the artist proceeded to play.”

Agnes Pelton, Hayground Windmill (the artist’s residence and studio) Bridgehampton, New York, circa 1920-22, Lincoln Galleries, NY

Pelton’s mindset and art were profoundly affected by her move in 1921 from Brooklyn to the windmill. As quoted by Erika Doss in “Spiritual Moderns: Twentieth-Century American Artists & Religion,” Pelton saw it as a “mystical house…reaching into Heaven and radiating from its center.” The relocation brought a sweeping change from bustling city life to quiet, picturesque seclusion, black night skies, and glowing stars. Living full-time in the solitude of this idyllic rural environment brought Pelton into intimate communion with nature, where her “art of the heart” evolved progressively into abstraction. In 1923, she wrote “I love it here, and feel happier & more contented than I have anywhere before” (Michael Zakian, “Agnes Pelton: Poet of Nature”, Long Island, 1995, p. 30). In addition to Sleep, the abstractions Being, The Fountains, Messengers, Flowering, Alchemy, Illumination, and Fire Sounds date from Pelton’s windmill period.

A warm and gracious hostess, Pelton regularly entertained visitors at the windmill, treating them to tea, music she provided on her piano, and her art. It was in this richly nurturing setting that Sleep was painted in advance of Pelton’s first visit to Southern California in October of 1928.

During her approximately nine-month stay in South Pasadena through June of 1929, Pelton exhibited Sleep at the Grace Nicholson Galleries in Pasadena (now the USC Pacific Asia Museum) and Jake Zeitlin’s Book Shop in downtown Los Angeles. The Grace Nicholson installation was announced in the Pasadena Post newspaper on April 12, 1929: “Another Wonderful Art Exhibit – Agnes Pelton’s flower subjects – the portraits and her Mysticism Paintings – marvels of color – occupy one of the small south galleries.”

Grace Nicholson Galleries, Pasadena, circa 1927 Photos: Calisphere.com

Agnes & Frida: History in the Making

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

In late 1931, Pelton returned to California and made it her permanent home, settling in Cathedral City near Palm Springs. Prior to arriving, she visited San Francisco where her abstraction Ecstasy, painted in 1928 during the same period as Sleep, was featured in the Sixth Annual San Francisco Society of Women Artists exhibition at the Legion of Honor. In lofty company, Pelton shared the walls with Theresa Bernstein, the late Mary Cassatt, and perhaps the most notable participant, “Senora Frieda Rivera” as she was then known—Frida Kahlo—making her public debut as an artist with a portrait of herself and Diego Rivera. Pelton, a seasoned art world veteran with academic training, teaching positions, and a fifteen-year exhibition history, had recently celebrated her 50th birthday. In contrast, Kahlo was 24 and taking her first step as a professional artist; she did not have her first solo exhibition until 1938.

Ecstasy (1928) by Agnes Pelton and Frida and Diego Rivera (Coll. of SFMoMA), 1931, by Frida Kahlo, both exhibited at the Palace of the Legion of Honor, San Francisco, November 4 - December 3, 1931

The Uncommon Theme of Sleep

Sleep is paired with Pelton’s corresponding poem, plus the rare addition of explanatory notes detailing the backstory of the composition. These consist of a typewritten summary attached to the back of the painting and two longer archival versions, each with unique elaboration, one handwritten, one typewritten. Both were made for a lecture Pelton gave in late 1930 at the Master Institute of United Arts, New York City, founded by painter-philosopher Nicholas Roerich (1874-1947) and his wife, Theosophist-writer Helena Roerich (1879-1955). The Roerichs’ Agni Yoga system of enlightenment was a foundational influence on Pelton’s personal spiritual beliefs and the corresponding metaphysical principles that inform her abstractions.

“Sleep: is the picture of an arrival at a temporary destination snugly established in our own compartment or our own private train leading to some place of which we remember nothing. It is here presented by the mind as a state of being we all enter gladly and with relief. Its naturalness after days of normal activity does not lesson the mystery of its actual condition and the need of entering it in a positive and peaceful state of mind; with a consciousness of protection as in the prayers of childhood, “I pray the Lord my soul to keep - God keep us through the night.” And here we arekeeping ourselves, or being kept. Floating through a rather sinister region we become a sphere of immunity, self sustaining, insulated from danger by the protective glow we have unconsciously called out from within to keep us through the night.

This picture came to me during a spring vacation in the country at Easter after several exhausting months of portrait commissions in a suburban city. It represented to me an unapproachable haven, though temporary, a sphere of immunity and refreshment. The egg shape being of such universal significance may suggest some other state of being, but I interpret it as it came with the feeling of safety and renewal it brought me.”

Although the function of sleep is of universal relevance as a necessity of life for all sentient creatures, it is an uncommon theme in artistic depictions. The best-known artwork to address the darker, dream-state aspects of sleep is The Nightmare, painted in 1781 by Henry Fuseli (Swiss/English, 1741-1825).

Detroit Institute of Arts, Permanent Collection

Agnes Pelton’s typewritten statement explaining the origins and meaning of Sleep, Agnes Pelton file, Raymond Jonson Archive, University of New Mexico Art Museum, Albuquerque, NM

Reviewing the Whitney Museum of American Art’s 2020 exhibition “Agnes Pelton: Desert Transcendentalist,” Kassandra Ibrahim observes that “Pelton seemed to have been following a tradition of artistic interest in nocturnal fascinations, similar to that of 19th century painter Henry Fuseli.” Ibrahim, however, makes the distinction that Pelton and Fuseli present “two opposite experiences of dreaming: the elevated blissful consciousness in Pelton and the horrifying nightmare in Fuseli, compliments to one another, representing the binary nature of dreams” (Kassandra Ibrahim, “A Review of Agnes Pelton: Desert Transcendentalist,” Art Ramblings, Fordham University online, November 30, 2020, https://artramblings.ace.fordham.edu/?p=3463).

In contrast to Fuseli’s picture, which offers only a disturbance of sleep with no redemption or escape, Pelton’s glowing cocoon provides a refuge of peaceful protection.

“Many of Pelton’s works include a light-filled orb or egg. A cosmogonic symbol par excellence, it is found in many creation myths, symbolic of creativity, often splitting open to form a new world. Pelton’s eggs are transparent with light emanating from their centers. Two such works must have had great significance for the artist, because she repeats the first version [of] Light Center (1947-48). Both paintings feature a pale, almost white, transparent egg that glows from within, surrounded by darker blue forms. They present a portrait of the divine center of the artist’s personality. Similar forms can be found in many of Pelton’s works such as Wells of Jade (1931), Interval (1950), Focus (1951), and Departure (1952). It is as though she has captured divinity in this orb or egg, and it creates an energetic center, projecting these energies outward toward the viewer.”

(Ann McCoy, “Agnes Pelton, Desert Transcendentalist,” The Brooklyn Rail, Art Seen, May 2020, https://brooklynrail.org/2020/05/artseen/Agnes-Pelton-DesertTranscendentalist/)

While as a general rule Pelton did not create pictures in series—her numerous Star Icon variants being a notable exception—there are occasional instances of overlap with some compositions sharing common traits. This is the case with Sleep and Wells of Jade (1931), which could have been painted side-by-side using the same color palette.

“We become a sphere of immunity, self-sustaining”

~Agnes Pelton

Agnes Pelton, Wells of Jade (1931), University of New Mexico, University Art Museum, Albuquerque, New Mexico

Transcendental Abstraction as Universal Truth and Personal Experience

The transcendental abstractions of Agnes Pelton—or Abstractions with a capital ‘A’ as she referred to them—are known for their spiritual and painted light, life-affirming symbolism, and positive energy. Yet despite this overarching theme of optimism, Pelton did not shy away from literal or metaphoric darkness. In many of her compositions she addresses the Yin-Yang polarities of life by incorporating forms that are both beneficent and menacing, rendered in colors that are correspondingly radiant and dark. In a sketchbook entry for an untitled abstract composition dated July 5 (1928) which appears just a few pages after Sleep, both “serenity” and “confusion” have been noted by Pelton as key spiritual dynamics she wants to convey, indicating her desire to articulate the concept of duality.

Agnes Pelton’s handwritten price list featuring Sleep (entry #8) Plainfield Public Library exhibition, New Jersey, March 1931

“…there was a place - or a state of being - in which no fears could reach me at all...”

Agnes Pelton’s handwritten notebook entry quoting from the novel “FEAR” by John Oliver Rathbone (1928), AAA Notebook/Sketchbook VI, 1930-1935, frame 14

Although Pelton dealt with lifelong physical, psychological, emotional, and spiritual issues linked to anxiety, she was equally driven by a strong impulse to survive and thrive through introspection and spiritual exploration. Her voluminous notebooks and personal correspondence attest to her unrelenting quest for knowledge she could use for self-help and healing.

Agnes Pelton’s transcendental abstractions address universal truths through their symbolic depiction of personal experiences. Sleep is such a picture with its nurturing, cocoon-like safety provided by a light in the darkness; the light of still, silent, innerglowing faith in which Pelton and the viewer are “floating, luminously protected” during unconscious dreaming hours.

Researched and compiled by Michael Kelley, 2024

Ruth Armer (1896-1977) Untitled, 1966 Oil on canvas Unsigned 24” H x 20” W

$4,000-6,000

Provenance:

Gump’s Gallery, San Francisco, CA San Francisco Museum of Art Rental Gallery, San Francisco, CA

James “Jimi” Suzuki (1933-2022)

Yokohama-Japan born James ‘Jimi’ Hiroshi Suzuki abstractions reveal influences of traditional Japanese works are often imbued with social and political and elements of collage, assemblage, and ceramics.

Interested in art from a young age, Suzuki studied London for many years prior to returning to Japan in the early 1950s, where Suzuki initially spent at the Portland School of Fine Arts and then continued

After completing his formal art studies, Suzuki exhibiting his work. The year 1958 was a seminal exhibited at the museum, and his work was also Painters of Japanese Origin in America - 1958.”

In New York, Suzuki was part of the group of dynamic Pollock, Elaine de Kooning, Kenzo Okada, Franz based ceramist Peter Voulkos. These friendships

In the early 1960s, Suzuki moved to Berkeley, an artist. He first joined the art department of Hockney. From 1964-65, Suzuki taught at the University in Sacramento, prior to his retirement

Suzuki’s works are included in many important Sacramento, CA, Corcoran Gallery of Art, Washington, Museum, Oakland, CA, and the National Museum

Suzuki was an important abstract artist who worked in a variety of mediums. Early Japanese artforms, particularly in the use of calligraphic-like shapes. Mature period political messaging through the use of text, bold color palettes, confident brushwork, ceramics.

studied in Japan under Yoshio Markino, an artist who had visited America and lived in Japan at the start of WWII. Markino encouraged the young artist to travel to the US spent time in Los Angeles and San Francisco before moving to Maine. There he studied continued his stud ies at the Corcoran School of Art in Washington D.C. in 1953.

Suzuki moved to New York where his career began to take off and he was regularly seminal one for the ar tist: Suzuki received a Whitney Opportunity Fellowship and first also included in an I nstitute of Contemporary Art Boston show “Contemporary 1958.”

dynamic Abstract Expressionist artists working in the city that included Jackson Franz Kline and Saburo Hasegawa. There he also first crossed paths with Californiafriendships greatly influenced the artist’s work.

California to begin a decade of teaching in conjunction with continuing to work as the University of California, Berkeley in 1962 where he worked with David California College of Arts and Crafts, and in 1972 he worked at the California State retirement and permanent return to Japan.

important national and Japanese institutions including: The Crocker Art Museum, Washington, D.C., Wadsworth Athenaeum Museum of Art, Hartford, CT, Oakland Museum of Modern Art, Tokyo, Japan.

James “Jimi” Suzuki (1933-2022)

“Three Wish Bones - In Tang Bird,” 1970 Oil, collage, 3-D assemblage, and mixed media on canvas Signed in Japanese, titled, dated, and numbered verso: 1970 / 72 73 48” H x 48” W

$5,000-7,000

Provenance:

Private collection, Berkeley, CA, acquired directly from the artist’s estate

Peter Voulkos (1924-2002)

Peter Voulkos was an American artist and sculptor, traditional pottery with abstract expressionism, studied painting and ceramics at Montana State the Arts. His early influences were shaped by approach to texture and form.

In the 1950s, Voulkos emerged as a key figure to ceramics as an expressive art form. He developed gouging, and layering clay in ways that defied and perforating his pieces in a way that evoked the ceramic medium, making him a celebrated

Voulkos founded influential ceramics programs later at the University of California, Berkeley, where accolades, including fellowships from the Guggenheim works are held in major museum collections around boundaries between art and craft. His legacy materials and process.

sculptor, renowned for his revolutionary work in ceramics that fused elements of expressionism, fundamentally reshaping the field. Born in Bozeman, Montana, Voulkos initially State University and l ater earned an MFA in ceramics from the California College of his Greek heritage and the rugged landscapes of Montana, which inspired his bold

figure in the West Coast art scene, pioneering a shift from ceramics as functional ware developed a unique style that combined spontaneity and aggression, often tearing, defied traditional techn iques. He worked with large-scale forms, often stacking, cutting, evoked the energy of abstract expressionist painting. This approach broke the norms of celebrated figure in the mid-20th-century avant-garde movement.

programs at the Los Angeles County Art Institute (now Otis College of Art and Design) and where he inspired generations of artists. His contributions earned him numerous Guggenheim Foundation and the National Endowment for the Arts. Today, Voulkos’s around the world, recognized for their raw energy and their challenge to the continues to shape contemporary ceramics, inspiring artists to push the limits of

Peter Voulkos (1924-2002)

Untitled charger, 1979

Stoneware and porcelain

Signed and dated to underside: V O U L K O S 79

23.25” Dia. x 5.25” D

$8,000-12,000

100

Peter Voulkos (1924-2002)

Untitled charger, 1980

Stoneware and porcelain

Signed and dated to underside: V O U L K O S 80

Irregular 21.5” Dia. x 5” D

$7,000-9,000

101

Peter Voulkos (1924-2002)

Untitled vessel, (CR703.7-G), 1973

Glazed stoneware and porcelain

Signed and dated underside: V O U L K O S 7 3

6” H x 6.75” W x 6.5” D

$3,000-5,000

Provenance:

Sold: Bonhams Los Angeles: Tuesday, October 27, 2015, Lot 02099

The Chara Schreyer Estate, acquired from the above

Exhibited:

Tokyo, Japan, Sezon Museum of Art, “Peter Voulkos Retrospective,” January 22 - February 20, 1995, another work illustrated [also traveled to Kyoto, Japan, National Museum of Modern Art, February 28 - April 2, 1995].

102

June Schwarcz (1918-2015)

Vessel 1, 1992

Hammered, enameled, and patinated copper

Incised signature, inscription, and date to underside: 1099 / Schwarcz / 1992

11.125” H x 5” W x 6.125” D

$1,000-2,000

103

June Schwarcz (1918-2015)

Untitled vessel, 1992

Hammered, enameled, and patinated copper

Incised signature, inscription, and date to underside: 2137 / Schwarcz / 1992

8.5” H x 6.125” W x 6.125” D

$1,000-2,000

104

Nairy Baghramian (b. 1971)

“Maintainers,” 2017

Cast aluminum and polishing wax

From the edition of 28, plus XII, plus 10 artist’s proofs

2 pieces

Aluminum: 4.625” H x 2.75” W x 2.25” D; Wax: 4.5” H x 2.5” W x 2” D

$1,000-1,500

Provenance: The Chara Schreyer Collection

105

Colin Roberts (active 21st century)

“Pocket Therapist”

Pale pink silicon ear sculpture

Inscribed with artist’s name and titled on a printed sticker applied to the associated foam-lined box

Ear: 1.5” H x 3.625” W x 3.125” D

$1,000-2,000

Emil Lukas (b. 1964)

Emil Lukas, born in 1964, is an American contemporary to artmaking. Raised in Pittsburgh, Pennsylvania, interests that would profoundly shape his future he honed his skills and laid the groundwork for Lukas’s career took off in the 1990s, marked by stretching thousands of threads across wooden compositions are intricate and layered, challenging light, shadow, and color. This innovative technique the exploration of perception.

In addition to his thread paintings, Lukas has works using found objects. These sculptural pieces complex, multi-layered forms that evoke a sense and fabric, Lukas creates assemblages that challenge sculptures highlight his skill in recontextualizing

A central theme in Lukas’s work is his deep engagement inspiration from phenomena such as insect behavior, transformation. This connection to nature is mirrored that build complexity over time.

Lukas’s work has been featured in numerous solo Museum, Ridgefield, CT, the Pennsylvania Academy York, NY. His pieces are part of esteemed collections, Francisco, CA and the Panza di Biumo Collection,

contemporary artist renowned for his innovative use of materials and unique approach Pennsylvania, Lukas developed an early fascination with both art and the natural world, future work. He pursued a formal education in Fine Arts at Edinboro University, where for his distinctive artistic style.

by his groundbreaking thread paintings. These works, which involve meticulously wooden frames, blend elements of painting, drawing, and sculpture. The resulting challenging traditional definitions of painting and engaging viewers in a dialogue about technique exemplifies Lukas’s broader artistic philosophy: an emphasis on process and

made significant contributions to the field of sculpture through his mixed media pieces are composed of materials gathered from everyday life, transformed into sense of history and memory. By integrating discarded items such as wood, metal, challenge viewers to reconsider the value and meaning of overlooked objects. These recontextualizing mundane materials into thought-provoking art.

engagement with natural processes and the passage of time. His art often draws behavior, plant growth, and water movement, reflecting an organic rhythm and mirrored in his artistic methods, which often involve repetitive, meditative actions

solo exhibitions across prestigious venues such as the Aldrich Contemporary Art Academy of the Fine Arts, Philadelphia, PA, and Sperone Westwater Gallery, New collections, including those of the San Francisco Museum of Modern Art, San Collection, solidifying hi s status in the art world.

106

Emil Lukas (b. 1964)

“The Last Rose of Summer,” 1995

Plaster, wood, paper, thread, mixed paint, and glass

Front module signed, titled and dated in pencil near bottom: Lukas / 12 Sections / 1.95

Overall: 7.875” H x 9.5” W x 5.75” D

$1,500-2,000

Provenance:

John Post Lee Gallery, New York, NY

The Collection of Ralph and Sheila Pickett, acquired from the above, 1995

Notes:

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

107

Adam McEwen

(b. 1965)

“The Wrong Gallery Exhibition,” 2005

Printed cardboard and mixed media

Unsigned, but dated verso 6.125” H x 6.125” W x 1.375” D

$3,000-5,000

Provenance:

The Chara Schreyer Collection

Notes:

This lot was manufactured by Cerealart and represents Adam McEwen’s contribution to “The 1:6 scale Wrong Gallery” project by Maurizio Cattelan, Ali Subotnick and Massimiliano Gioni, wherein the group created a 1:6 scale replica of “The Wrong Gallery” in New York, inside of which miniature 1:6 scale artwork was to be displayed. McEwen’s contributions are the 1:6 scale open/closed signs, ostensibly meant to be placed on the front door of the 1:6 scale gallery.

Olafur Eliasson (b. 1967)

Olafur Eliasson is a Danish-Icelandic artist renowned natural elements. Born in 1967 in Copenhagen, Iceland’s stark, natural landscapes, which have Arts, where he began to explore the boundaries a practice that fuses art with architecture, science,

Eliasson’s latest exhibition, “Olafur Eliasson: OPEN,” 2025. The exhibition is a site-specific installation of light and space. The present work, “Eye Ceiling” immersive visual experience.

Made in 2005, “Eye Ceiling” features a tall, cylindrical As the light filters through the tinted glass, it layered, halo-like effect that resembles an over-watching warm yellows and greens—creates a gradient perception, color, and spatial awareness. This drawing attention to the surrounding environment

Eliasson’s work often seeks to transform physical including mirrors, water, fog, and other materials exception, as it pushes the boundaries of light,

renowned for his immersive installations and innovative use of light, space, and Copenhagen, Eliasson grew up in Denmark and Iceland, developing a deep appreciation for have greatly influenced his work. He studied at the Royal Danish Academy of Fine boundaries between nature, perception, and the built environment, ultimately developing science, and ecology.

OPEN,” is currently on display at MOCA in Downtown Los Angeles through July installation made for Th e Geffen Contemporary that highlights his career-long exploration Ceiling” is a unique work that uses light and transparency to create its own cylindrical glass structure standing on a metal base, with a light source at its core. casts radiant bands of color across the surrounding walls and ceiling, producing a over-watching eye. The interplay of colors—from deep blues and purples to that shifts with the viewer’s perspective, embodying Eliasson’s exploration of piece invites viewers to engage with the subtle, ever-changing qualities of light, environment in a way that feels both natural and otherworldly.

physical spaces, challenging viewers’ perceptions of reality by using more than light, materials that create ephemeral yet powerful experiences. “Eye Ceiling” is no light, space, and con temporary art.

108

Olafur Eliasson (b. 1967)

“Eye Ceiling,” 2005

Color-effect filter glass and metal, electrified Appears unmarked

Base stored: 52.5” H x 26” W x 30” D, height variable; Shade: 21.875” H x 11.75” Dia.

$70,000-90,000

Provenance:

Emi Fontana West of Rome, The Jamie Residence, Pasadena, CA, 2005 Private Collection, Los Angeles, CA, acquired from the above

Literature:

Caroline Eggel ed., “Olafur Eliasson: Your Engagement has Consequences; On the Relativity of Your Reality”, Studio Olafur Eliasson, Baden, 2006

Notes:

Please note, this work is a unique work, illustrated on the artist’s website. This lot is accompanied by a Sotheby’s International Realty postcard of The Jamie Residence, where the piece was last exhibited.

109

Olafur Eliasson (b. 1967)

“Seeing Yourself Seeing,” 2007 DVD in plastic jewel case

Unsigned

5” H x 5.625” W x 0.375” D

$2,000-4,000

Provenance: The Chara Schreyer Collection

Notes:

Olafur Eliasson is a Danish-Icelandic artist renowned for his immersive installations and innovative use of light, space, and natural elements. Born in 1967 in Copenhagen, Eliasson grew up in Denmark and Iceland, developing a deep appreciation for Iceland’s stark, natural landscapes, which have greatly influenced his work. He studied at the Royal Danish Academy of Fine Arts, where he began to explore the boundaries between nature, perception, and the built environment, ultimately developing a practice that fuses art with architecture, science, and ecology.

Eliasson’s latest exhibition is currently on display at MOCA in Downtown Los Angeles through July 2025. The exhibition is a site-specific installation made for The Geffen Contemporary that highlights his career-long exploration of light and space.

“Seeing Yourself Seeing” is a mini documentary from 2007 that goes behind the scenes of Olafur Eliasson’s studio in Berlin, including interviews with Eliasson himself and members of his staff.

110

Peter Coffin (b. 1972)

“Untitled (Symbiotic Relationship Drum, Mexican jumping beans, lights and heating pad Appears unmarked Drum with lights: 36” H x 16.5”

$1,000-2,000

Provenance: The Chara Schreyer Collection

Relationship / Dance Party),” 2003

beans, stool, headphones, microphones, effects pedal, string

16.5” W x 18” D, approximately; Stool: 17.75” H x 11.75” Dia.

111

Keith Tyson (b. 1969)

“Table,” 2001

Mixed media

Dated and signed illegibly to tabletop underside

29” H x 47.5” Dia.

$3,000-5,000

112

Jan Mancuska (1972-2011)

“When I Look, I can Believe it” for Cumulus Studios, 2010 Stainless steel

Laser-cut text reads: The feeling of absence is not to be identified as a need to replenish something but on the contrary it is generated out of what we have 121” H x 88.5” Dia. approximately

$2,000-4,000

113

Samuel Jablon (b. 1986)

“Time,” 2014

Acrylic and glass tile on wood

Signed, titled, and dated in black marker, verso: Samuel Jablon / 2014 12” H x 9” W

$4,000-6,000

114

Alexander Calder (1898-1976)

A list of November 1975 test dates

Gouache on Arches paper

Unsigned Image: 15” H x 10” W (approx.); Sheet: 30.25” H x 22.5” W

$1,000-2,000

Provenance: The Artist

The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, gift from the above

Notes:

These test dates were to be used as promotional material for the launch of Braniff International Airways Flying Colors of the United States Bicentennial. This design was never used in any mass production, although Braniff did introduce the Boeing 727-291 painted with a unique Alexander Calder design on November 17, 1975.

115

Luis Feito López (1929-2021)

Untitled, 1970 Oil on canvas

Signed upper left: Feito

21.5” H x 32” W

$3,000-5,000

Provenance:

Private Collection, Montreal, Quebec, Canada

Sold: Waddington’s, Toronto, Canada, “Modern, Post-War and Contemporary Art,” November 24, 2022, Lot 35

Private Collection, Los Angeles, CA, acquired from the above

116

Dan Levenson (b. 1972)

“Klaus Hangartner,” 2015

Oil on prepared linen

Unsigned; titled and with a German, round, ink stamp verso; titled again and dated on a gallery label affixed to the stretcher

33” H x 23.5” W

$1,000-1,500

Provenance:

Susanne Vielmetter Los Angeles Projects, Culver City, CA

The Blake Byrne Collection, acquired from the above

Private Collection, Los Angeles, CA, acquired from the above

Sold: John Moran Auctioneers, Monrovia, CA, “Postwar & Contemporary Art + Design,”

November 9, 2021, Lot 2008

Private Collection, Los Angeles, CA, acquired from the above

117

Erle Loran (1905-1999)

“Search,” 1969

Acrylic on canvas

Signed and dated lower right: Loran ‘69; signed and dated again, and titled on the stretcher

72” H x 52” W

$3,000-5,000

118

Erle Loran (1905-1999)

“Ritual,” 1968

Acrylic on canvas

Signed and dated lower right: Loran ‘68; signed and dated again, and titled verso 60” H x 52” W

$2,500-3,500

119

Paul Jenkins (1923-2012)

“Phenomena Mariner’s Compass,” 1984

Acrylic on canvas

Signed lower right: P Jenkins; signed again, titled, dated, and inscribed, verso: 1984 / New York; titled again on various gallery labels affixed verso 39.5” H x 32” W

$15,000-20,000

Provenance:

Gimpel & Weitzenhoffer Gallery, New York, NY

Mr. and Mrs. Paul F. Klapper, acquired from the above Gallery Century, Oakland, CA

120

Matsumi Kanemitsu (1922-1992)

“City Wave P.M.,” 1987

Acrylic on paper

Signed and dated near the center of the lower edge: Kanemitsu / 87; titled and dated in marker on the verso of the frame’s backing board and again on a typed gallery label affixed to that same backing 39” H x 25.5” W

$1,000-1,500

Provenance: Louis Newman Galleries, Beverly Hills, CA

121

Jay Rosenblum (1933-1989)

“Gradum ad Parnassum,” 1976

Acrylic on canvas

Signed, titled, dated, and inscribed with the artist’s New York address, all verso: Jay Rosenblum / 1976

20” H x 20” W

$3,000-5,000

122

Larry Zox (1936-2006)

“Red Range,” 1975/1976

Acrylic on canvas Unsigned; titled and dated on a gallery label affixed to the stretcher

83” H x 41” W

$10,000-15,000

Provenance: Andre Emmerich Gallery Inc., New York, NY Medici-Berenson Gallery, Bay Harbor Islands, FL Private Collection, FL, acquired from the above, 1981

123

Raimonds Staprans (b. 1926)

“Boats,” 1964

Oil on canvas

Signed and dated lower left: Staprans 64; titled on gallery label affixed verso 48” H x 38” W

$30,000-50,000

Provenance: John F. Kennedy University, Orinda, CA, 1979

Exhibited: Pasadena, CA, Pasadena Museum of California Art, “Raimonds Staprans: Art of Tranquility and Turbulence,” January 22 - March 19, 2006 (the exhibition also traveled to the State Museum in Riga, Latvia)

Notes:

With an alternate title on a label affixed verso: “Two Boats”

Raimonds Staprans’ paintings are celebrated for their bold use of color or contrast, geometric forms, and unique interplay between abstraction and representation. Staprans depicts everyday objects and landscapes with distinctive clarity and intensity, and his artistic contributions have firmly established him as a significant figure in the Bay Area painting movement. Throughout his career, Staprans exhibited widely, earning acclaim for both his visual art and his literary works, which include several successful plays. His enduring impact on the art world is marked by a relentless exploration of form, color and contrast, making his pieces a testament to his innovative spirit and artistic mastery. Staprans’ work transforms quotidian scenes into compelling visual statements.

In the present painting, two row boats stand side by side in the lower right corner of a linear landscape composition. Staprans divides the scene into distinct visual areas and uses a limited palette of creams, grays and blacks to convey a thoroughly modern perspective. “Boats” achieves compositional harmony through spare form and palette.

124

Robert Irwin (1928-2023)

Untitled, circa 1952 Oil on Masonite

Signed lower right: Irwin 36” H x 48” W

$10,000-15,000

Henrietta Berk (1919-1990)

The story of the career of Henrietta Berk is of genius to become ignited.

Born in 1919 in Wichita, Kansas, Berk lived the didn’t. Abandoned by her father and left at an her trauma and forge an independent identity, high school in 1936 but did not complete a college housewife, her personal artmaking a mild annoyance

Berk could not resist panting. She began executing recognition in the press in 1957. She was urged College of Arts and Crafts) from 1957 to 1961, in the summer of 1957, which would alter her contemporary art scene, Berk’s work would become show, “Painted Flower,” at the Oakland Art Museum was her solo exhibition at Lucien Labaudt Art

Berk participated in numerous solo and group represented. Berk blurred the line between realism expressionism gripping the West Coast art world. in late 1960s, it steadily worsened her eyesight vision, Berk continued to paint (on large canvases

Henrietta Berk’s artistic achievements inspire, historian Deborah Solon commented, “Berk defied time training, and a complicated personal history-any painted, all those hurdles evaporated. Berk was grateful for the financial success, her true focus making her art.”

The first major retrospective exhibition of the her paintings are featured in a number of institutional Museum of Modern Art, New York, NY; San Francisco Santa Barbara, CA; Solomon R. Guggenheim

triumph and creative explosion, one that proves that it is never too late for artistic the life of a traditional American woman in the middle of the 20th century. Until she an orphanage by her mother, Berk’s early childhood is clouded and tragic. To heal identity, Berk turned to artmaking during her time at the orphanage. Berk graduated from college degree. She married Dr. Morris Berk in 1939, living the life of an American annoyance to her husba nd.

executing small interior projects for neighbors in Oakland, California, receiving some urged by a friend to take art classes and enrolled on and off at CCAC (California 1961, often the oldest student in the classroom. She studied under Robert Diebenkorn artistic career forever. From her studies at CCAC and visiting the surrounding become linked to the Bay Area Figurative Movement. Her participation in a group Museum (now the Oakland Museum of California Art) gained some attention, but it Gallery that propelled her career as an artist.

group exhibitions throughout the next decade, often being only woman artist realism in landscape and figurative painting and the movement of abstract world. Her creative output only diminishing with her health. Diagnosed with diabetes eyesight until she was near blind by the middle of the 1970s. Unfettered by her lack of canvases so she could make out shapes and colors) until her death in 1990.

and her work is coming into its own in American art history. As professor and art defied the odds. She ha d every reason not to succeed. Age, gender, lack of fullhistory-any one of th ese obstacles could have derailed her career. But when she was circumspect and self-effacing. Although gratified by the critical recognition and focus was the perso nal freedom, joy, and creative delight she experienced through artist’s work was held in 2021 at The Hilbert Museum in Orange, California, and institutional collections including: Metropolitan Museum of Art, New York, NY; Francisco Museum of Modern Art, San Francisco, CA; Santa Barbara Museum of Art, Museum, New York, NY; Whitney Museum of American Art, New York, NY.

125

Henrietta Berk (1919-1990)

“Landscape with Blue Tree,” 1962

Oil on canvas

Signed lower right: H. Berk; titled on a label maker typed plastic strip affixed to the lower stretcher; with an alternate title, “Blue Landscape,” and dated on a gallery label affixed to the frame’s backing board 30” H x 30” W

$10,000-15,000

126

Henrietta Berk (1919-1990)

“Oakland Hills,” circa 1964-1966 Oil on canvas

Signed lower right: H. Berk; titled on a gallery label affixed verso

11” H x 14” W

$5,000-7,000

Provenance:

Steven Stern Fine Arts, Beverly Hills, CA Private Collection, Los Angeles, CA

Literature: Cindy Johnson et al., “In Living Color: The Art and Life of Henrietta Berk,” 2020, plate 40, p. 99.

Tarmo Pasto (1906-1986)

Tarmo Pasto, a noted psychologist and art professor, his lifetime. Born in Estonia in 1906, Pasto immigrated professor at Sacramento State College.

As an artist, Pasto’s paintings are known for their believed that understanding the psychological Many of his pieces reflect his dual fascination figure in a circle of artists working in and around which includes figures such as Mel Ramos, Wayne such as the Crocker Art Museum, Sacramento,

In psychology, Pasto is best known for his role Ramirez. Ramirez was a self-taught Mexican artist institutions. Pasto recognized the unique value world’s attention. This advocacy not only highlighted circles but also emphasized the therapeutic and

In 1986, four years after a retrospective at the has remained unseen by subsequent generations and psychology. His dual impact on these fields demonstrates that the boundaries between disciplines

professor, was also a prolific painter who frequently exhibited his paintings during immigrated to the United States, where he pursued his education and became a their expressionistic style, marked by bold colors and dramatic forms. Pasto psychological aspects of perception and mental states could deepen the artistic process. with the human psyche and visual expression. Furthermore, Pasto was a key around the Sacramento area during the post-war period. This loose coalition of artists, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions Sacramento, CA, which holds examples of Pasto’s work in its permanent collection.

role in discovering and promoting the work of the so-called “Outsider” artist Martin artist who created intricate and mesmerizing works while confined in mental health value of Ramirez’s art, advocating for its display and helping to bring it to the art highlighted the creative potential of those considered “Outsiders” in traditional art and communicative potential of art for those experiencing mental illness.

the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that generations of viewers. Pasto’s legacy endures as an advocate for the intersection of art fields continues to influence artists, psychologists, and educators alike, as his work disciplines can be bot h fluid and enriching.

127

Tarmo Pasto (1906-1986)

“Yellow and Green Landscape,” 1975 Oil on canvas

Signed and dated lower right: Tarmo Pasto 75; inscribed on a label and the stretcher: 167 28” H x 40” W

$1,200-1,800

Provenance: Estate of the artist

128

Tarmo Pasto (1906-1986)

“Amaryllis I,” 1973 Oil on canvas

Signed and dated lower right: Tarmo Pasto 73; signed again, titled, and with the artist’s Sacramento address on the original frame; titled again and numbered on the upper stretcher bar: 3052 36” H x 21.75” W

$1,000-2,000

Provenance: Estate of the artist

129

Lee Boon Wang (1934-2016)

Singapore River, 1978

Oil on canvas

Signed and dated lower left: B.W. Lee ‘78 26” H x 38” W

$3,000-5,000

Notes:

An inscription on the stretcher reads: Gift from Singapore Ofc. / to John E Kindt / when leaving Singapore 1979

Roger Kuntz (1926-1976)

Roger Kuntz was an American artist who trained, art. His two large paintings in this auction act Claremont to his later years in Laguna Beach. internationally, surrounding the artistic merits

“Morning Interior #4,” was likely done in the two institutions in Claremont, a college town painting, which likely depicts his young wife in in college from notable instructors such as Millard saw during post-graduation travels to France, Bonnard’s interiors, also aligns with Kuntz’s 1952 matter with a formal ordering of the canvas.” space bathed in warm sunlight, is both protected verticals and horizontals of partial walls, doors,

This desire for “formal ordering” is even more Art Museum, this work dates to around 1960. by driving 50 miles to the seaside area of Laguna Claremont colleges, joined the newly formed his wife and daughter.

Roger Kuntz often painted multiple works on companion pieces exploring similar subjects. figures seated in domestic interiors. Some depict the woman seated with her back against a series brilliant blue ocean serving as a horizon line outside

Among Roger Kuntz’s most famous works are around the same time as “Beach Porch II.” Like abstracted combination of harmoniously-colored tendencies, exaggerated viewing angles, dramatic By the 1960s, Kuntz was sometimes associated in California Pop.” How Kuntz ultimately envisioned Museum’s 2009 retrospective, “Roger Kuntz: accomplished at uniting the two opposing approaches. Instead, when a battle with cancer in the early suicide at just 49. One can only wonder about years.

trained, painted, and ta ught in southern California during a pivotal time in 20th-century act as guideposts to the evolution of his style and interests, from his early years in Beach. They also reflect his awareness of the mid-century debate, both nationally and merits of realism versus abstraction.

mid-1950s, shortly after he completed his undergraduate and graduate degrees at east of Los Angeles with a growing reputation for its art community. With this in their own home , Roger Kuntz demonstrates the traditional techniques he learned Millard Sheets and Henry Lee McFee. Equally, it may reflect an appreciation for art he France, Italy, and England. The scene, reminiscent of some of Henri Matisse’s and Pierre 1952 statement: “I find the strongest joy in painting when I can equate the subject canvas.” There is certainly a sense here that the reading female, set deep within an interior protected and yet somehow also distanced from us by a visual grid created via the doors, half-open wi ndows, and a multitude of furnishings and decorations.

more evident in “Beach Porch II.” Similar to a nearly identical painting at the Laguna 1960. By this time, Kuntz and his family began regularly escaping the heat of Claremont Laguna Beach. Soon after, he resigned from his role as an art instructor at the formed School of Art and Design in Laguna Beach, and permanently relocated there with the same theme, and both “Morning Interior #4” and “Beach Porch II” have Throughout his career, he created several painted series featuring single female depict an interior with a palette similar to the one in this auction, while others show series of windows, her facial features obscured by the resulting shadows, and the outside the wind ows.

are his paintings of California freeway ramps, overpasses, tunnels, and signs, created Like this porch which, aside from the recognizable empty chairs, is essentially an harmoniously-colored geometric forms, Kuntz’s freeway-themed paintings with their reductive dramatic lighting, and cropping, are a skillful mix of everyday realism and abstraction. associated with Pop Art, as n oted in a “Los Angeles Times” article titled “Who’s Who envisioned being remembered is hard to say. Exhibitions such as the Laguna Art The Shadow Between Representation and Abstraction,” argued that he was approaches. Had he lived longer, he might have resolved that question for us. early 1970s caused se vere mobility issues and an inability to paint, Kuntz committed about the art he might have created, had he just lived and worked for another 30 or so

130

Roger Kuntz (1926-1975)

“Beach Porch II,” circa 1960 Oil on canvas

Signed lower left corner: Kuntz; titled in pencil, and inscribed with black marker “RK13,” both on the stretcher

39.5” H x 40.25” W

$10,000-15,000

Provenance: The Estate of Sergei Bongart

131

Roger Kuntz (1926-1975)

“Morning Interior #4,” circa 1955 Oil on canvas

Signed in the lower corner of the right edge: Kuntz; titled in pencil on the stretcher 40” H x 40” W

$3,000-5,000

Provenance: The Estate of Sergei Bongart

132

Jan Zach (1914-1986)

“Victoria, B.C.,” 1953 Oil on canvas

Signed, titled, and dated lower right: Jan Zach 53 32” H x 48” W

$2,000-3,000

133

Philomé Obin (1892-1986)

“Drame de l’Amiral Killick et La Crete-a-Pierrot en 1902 aux Gonaives,” 1961 Oil on Masonite

Signed, titled, dated, and inscribed in the lower edge: Ph. Obin / Cap-Haitien 61 24” H x 30” W

$7,000-9,000

134

Sénèque Obin (1893-1977)

Still life with flowers and fruit Oil on Masonite

Signed and inscribed lower right: Sénèque Obin / Cap Haitien 16” H x 20” W

$1,000-1,500

135

Max Hooper Schneider (b. 1982)

“Marginalia Blossoms,” 2020 Plexiglass, rubber glass and mixed media Edition: 8/20 unique variants

Signed and dated in pen to interior sticker: MHS 15.125” H x 10” W x 3” D

$1,000-2,000

Magdalena Abakanowicz (1930-2017)

Magdalena Abakanowicz emerged as one of the profoundly shaped by the tumultuous historical the eve of World War II, Abakanowicz’s early life experiences would inform her artistic vision, leading human dignity, collective behavior, and the relationship

Living under Soviet Communist rule, she studied and later with deconstructed ship rope, she created space that challenged traditional notions of sculpture establish her own voice internationally. In 1962, Biennial in Lausanne and later at the 8th São Paulo critic Elzbieta Zmudzka would later coin the term

“The Abakans were a kind of bridge between atmosphere in which I somehow felt safe because animals, like figures, while abstract, like geometric

Themes of wartime violence and the traumas the human form and its capacity to convey complex capped in wrought iron for the series “War Games,” structures invoke the violence of an artillery machine (1989-1990), a headless burlap figure is represented sense of imprisonment implicit in the necessary by foreign invasion. That very same year, the Iron

During the late 1990s and early 2000s, Abakanowicz Figures,” crowds of seemingly mummified bodies reminiscent of the exhumed bodies found preserved the inexorable anonymity and degeneration wrought

Abakanowicz

the most influential and innovative sculptors of the 20th century; her work was historical events she experienced in her native Poland. Born into an aristocratic family on life was marked by upheaval, loss, and the brutality of war. These formative leading her to create powerful, often unsettling works that explored themes of relationship between individuals and society.

studied weaving at the Academy of Plastic Arts in Warsaw. Working with imported sisal created woven sculptural textiles, exploring figural, abstract, and geometric forms in sculpture and weaving. Within this medium, Abakanowicz was beginning to 1962, her woven pieces would find the world stage at the 1st International Tapestry Paulo Biennial, w here she was awarded the Gold Medal in Applied Arts. Polish art term “Abakans,” by which her textile sculptures are now known.

me and the outside world. I could surround myself with them; I could create an because they were my world; they were something between figurative and natural, like geometric forms, but never to be definitively described.” — Magdalena Abakanowicz

of occupation span t he breadth of Abakanowicz’s career. She always focused on complex emotional and philosophical ideas. She manipulated felled tree trunks Games,” which debuted at MoMA PS1 in 1993. These monumental horizontal machine built from the scattered remains of its victims. In “Figure in Iron House” represented within an iron cage. The figure’s position seems to capture an underlying necessary measures to safeguard a body, perhaps even an entire population, once violated Iron curtain would be lifted.

Abakanowicz embarked on bronze figural projects. She cast multiple series of “Standing bodies in states of rigor mortis. Contemporary to “Standing Figures,” “Atoris” is preserved in the bogs of Northern Europe, now standing sentinel as an example of wrought by the slow march of time.

Magdalena Abakanowicz (1930-2017)

“Atoris,” 2005

Patinated bronze

Titled, dated, and signed with artist’s monogram verso 72.5” H x 25.5” W x 21.5” D

$70,000-90,000

Notes:

The lot is accompanied by an exhibition catalogue from the Marlborough Gallery in New York, “Magdalena Abakanowicz: Embodied Forms,” which ran from February 7 to March 10, 2018.

137

Mary Frank (b. 1933)

“Lover,” 2010

Patinated verdigris bronze

Each appears unmarked 4 pieces

Assembled: 21.25” H x 42” W x 35.5” D approx.;

Largest segment: 21.25” H x 15” W x 17.5” D

$4,000-6,000

138

Claire McCarthy Falkenstein (1908-1997)

Untitled sculpture

Copper

Impressed signature: © Falkenstein

Dimensions variable: 6.875” H x 8.25” W x 5.25” D

$10,000-15,000

139

David James Gilhooly III

(1943-2013)

British frog, 1978

Glazed ceramic and engobe

Frog signed and dated to left side: 78 / Gilhooly; stump with incised signature: Gilhooly

2 pieces

Frog: 14.75” H x 14.25” W x 12.5” D; Stump: 7.25” H x 11.5” W x 11” D

$3,000-5,000

Brian “KAWS” Donnelly (b. 1974)

“Chum (pink),” 2002

Cast plastic in original plastic bag Edition: 213/500

Titled, attributed, and dated to underside: © KAWS / 02; heat printed edition: CHUM / 500/213; bag marked: produced and manufactured by 360 Toy Group ® [logo]

Figure: 12.875” H x 7.875” W x 3.75” D; Bag: 15.75” H x 11.5” W x 4” D

$1,500-2,000

141

Donald Roller Wilson (b. 1938)

Cat with olive on head, 1980

Oil on canvas

Signed and dated at the center of the upper edge: Donald Roller Wilson / 1980/75 5:34 P.M. Tuesday, November 11 9” H x 12” W

$4,000-6,000

Wallace Berman (1926-1976)

Wallace Berman was an American visual artist and pivotal his experimental collage, film, and assemblage works.

Born in 1926 in Staten Island, New York, Berman’s family the vibrant, multifaceted culture of Southern California, Jepson Art Institute and Chouinard Art Institute in the start creating sculptures from wood scraps and becoming scene, the writings of the Beat poets (therefore becoming mystical interpretation of Judaism to understand the helped shape his approach to art, leading him to seek spirituality, and inner consciousness, all of which would

It was this time during the late 1950s, ‘In a letter to Wallace change—a quality that shaped his life as an artist. This

“No hope in making, assembling, binding together ornate sleeping poet; on the streets; beneath the sea; in levels, Reconsider the wind that moves flags, touches tents:

Wallace Berman is often credited with the technique photocopier. This technology enabled him to create collages and combining diverse imagery, Berman reflected and feature hand-held transistor radios displaying various space, echoing the spiritual and mystical undertones as a tool of manipulation, questioning its duality by inserting Additionally, Berman’s work often explored the mystical pieces a symbolic depth that reflected his quest for enlightenment would incorporate Hebrew letters, not simply as linguistic above that merge with symbols from advertising, religious mass media on consciousness.

Despite his limited commercial success during his lifetime, techniques, and he is widely recognized as an artist who unconventionality that made his art transformative. In exhibitions and retrospectives, solidifying his place in

pivotal figure in the California counterculture scene of the 1950s and 1960s, and often known for works.

family moved to Boyle Heights, Los Angeles when he was a child. This relocation introduced him to California, which later became an essential component of his creative output. After attending classes at the 1940s, Berman worked at a factory furnishing store for a few years, thus introducing him to becoming a full-time artist in the early 1950s. Additionally, Berman was heavily influenced by the jazz becoming involved in the ‘Beat Movement’), and by Jewish mysticism, particularly the Kabbalah (a divine world and the purpose of human life). Berman’s attraction to mysticism and the esoteric seek meaning beyond conventional boundaries. He found resonance in themes of transcendence, would find expression in his later work.

Wallace Berman from the poet, David Meltzer who captured Wallace’s fluid openness to This openne ss recalls the layered, transformative imagery often seen in Berman’s work:’

ornate bibles of history. The clues are found everywhere: outside the printed word; inside the levels, stratum, the years of a desert; and aurora around all the dead we bury within ourselves. an invisibl e snake running thru the grass,” (Artforum, Merril Greene).

of photocollage, particularly through his use of the Verifax copier, a forerunner to the modern collages that juxtaposed images from popular culture, media, and religious symbols. By layering and critiqued the commercialization and contradictions of modern society. His collages often images instead of speakers, representing a form of communication that transcends physical of his pie ces. Berman saw mass communication as both a powerful force for unity, as well inserting various symbols within the radio, thus creating a language through various images. mystical and spiritual entities of life. His Jewish heritage and interest in Kabbalistic imagery gave his enlightenment and understanding of the universe’s hidden meanings. In his collages, Berman linguistic symbols but as representations of cosmic and spiritual principles. It was these elements religious texts, and esoteric sources, drawing viewers into a meditation on the pervasive impact of

lifetime, Berman is now celebrated as one of the fathers of the assemblage and photocollage who bridged the Beatnik and hippie countercultural movements. It was his authenticity and In the years following his sudden death, Berman’s work has been the subject of numerous in the history of American art.

142

Wallace Berman (1926-1976)

Untitled (Teri Garr)

Paper collage, photograph, with ink and postage stamps affixed to board as a postcard

Initialed lower left: W.; inscribed in ink to the original recipient/current owner near the center of the work: “Terri Dear / 6100 Delongpre #2 / L.A. 48 Calif., / #2” 6.125” H x 3.25” W

$4,000-6,000

Provenance:

Property from the Collection of Teri Garr, Los Angeles, CA

Exhibited:

Los Angeles, CA, Otis Art Institute Gallery of Los Angeles County, “Wallace Berman Retrospective,” October 22-November 26, 1978.

143

Wallace Berman (1926-1976)

Untitled, circa 1965

Verifax collage and acrylic on paper laid to board

Appears unsigned; attributed and dated on a gallery label affixed to the frame’s backing board

5.75” H x 6” W

$7,000-9,000

Provenance: Property from the Collection of Teri Garr, Los Angeles, CA

Exhibited: Michael Kohn Gallery, Los Angeles, CA

144

Wallace Berman (1926-1976)

“Corres (Girl Running)”

Paper collage, with ink and postage stamps affixed to board as a postcard

Initialed in ink lower right: W; “Terri Dear / 6100 Delongpre #2 / L.A. 48 Calif.;” titled on an exhibition label affixed to the frame’s backing paper

5.5” H x 7” W

$1,500-2,500

Provenance:

Property from the Collection of Teri Garr, Los Angeles, CA

Exhibited:

Los Angeles, CA, Otis Art Institute Gallery of Los Angeles County, “Wallace Berman Retrospective,” October 22-November 26, 1978

145

Wallace Berman (1926-1976)

Untitled Postcard (Pink)

Diffusion transfer/verifax in pink on paper with ink and postage stamp collaged to board as a postcard

Initialed and indistinctly inscribed in blue ink lower right: W.B.

4.25” H x 3” W

$1,000-1,500

Provenance:

Property from the Collection of Teri Garr, Los Angeles, CA

Joan Brown (1938-1990)

Joan Brown is celebrated as one of the most from the Bay Area scene of the late 1950s.

Brown compositions in mixed media were created were varied broadly including German Expressionism, blending of influences from artistic giants like Park - resonates with depth, drawing viewers of Joan Brown’s childhood fantasies of crafting reverberated, serving as a means of escape and in her daily life in California, extensive and regular spirituality and ancient cultures.

Brown’s portrayal of traditional feminine gender narrative that transcended conventional boundaries. Mission District, underscored her resourcefulness

renowned figurative expressionist American painters, emerging prominently

created in a rapid and simplified cartoon-like style. The artist’s artistic influences Expressionism, French Impressionism, and European Old Masters. Brown’s skillful like Matisse, Valasquez, and Goya - as well as contemporaries including David viewers into a world of interpretation and speculation. Throughout her art, echoes crafting costumes for paper dolls and sketching starlets in fantastical settings and expression. Other subjects drew creativity from experiences as an adult regular travel, and her personal passions including pets, dancing, swimming, gender representation, intertwined with a fierce sense of independence, weave a boundaries. Even her ch oice of medium, salvaged paper from San Francisco’s resourcefulness and commitment to artistic expression.

146

Joan Brown (1938-1990)

Seated female nude, 1975 Acrylic, tempera, wax crayon, and graphite on paper Signed and dated in pencil lower left: Joan Brown 1975 Image/Sheet: 36” H x 24” W

$12,000-18,000

Provenance:

Private collection, San Francisco, CA, a friend of the artist Private collection, acquired by the present owner from the above

147

Joan Brown (1938-1990)

“The Seduction #2, David & Stephanie,” 1976

Acrylic and graphite on paper

Signed, titled, and dated in pencil along the lower edge: Joan Brown / 10/22/76 Sheet: 36” H x 24” W

$7,000-9,000

148

Billy Al Bengston (1934-2022)

“Plato de Moreno,” 1982

Watercolor and collage on Arches paper

Initialed, titled, and dated in pencil in the lower center: B.A.B; illegibly inscribed in pencil in the lower left corner. 23” H x 29.5” W

$4,000-6,000

Provenance:

Billy Al Bengston Artist Studio, Venice, CA

Property from the Collection of Teri Garr, Los Angeles, CA

149

Harry Bertoia (1915-1978)

Untitled (cattail sonambient sculpture)

Beryllium copper rods on brass base

Appears unmarked

Rod layout: 1 x 15 (15 total rods)

17.5” H x 9.25” W x 2.75” D

$15,000-25,000

Provenance:

Medici-Berenson Gallery, Bay Harbor Islands, FL

Private Collection, Forida, acquired from the above, 1980

150

Petra Cortright (b. 1986)

“A handful of Dust play,” 2013

Digital painting on aluminum

Unsigned; with the artist’s name, the title and date typed on a gallery label affixed verso:

Petra Cortright; the label also with a typed inventory number, “pntg-cor.005653”

36” H x 48” W

$6,000-8,000

Provenance:

Steve Turner Contemporary, Los Angeles, CA

151

David William Simpson

(b. 1928)

“Sun and Light,” 2006; “So Close So Far,” 2006; “Envy,” 2007; “Sub Strata,” 2007; “7:00 a.m.,” 2008; “7:00 p.m.,” 2008

Each: Acrylic on canvas over panel

Each: Signed, titled, and dated in ink on the verso of the box-panel support: David Simpson; and then signed and dated again on the wrapped edges of the canvas

Each: 22” H x 22” W

$10,000-15,000

Provenance: Gallery Century, Oakland, CA

Kim Yousun (b. 1967)

“Rainbow” from the “Rainbow Art Project” series, 2003 Mother of pearl on board

Signed, titled, dated, and with the artist’s red ink chopmark, all on a label affixed, verso: Kim Yousun / 2003

15.75” H x 15.75” W

$1,000-1,500

153

Blake Rayne (b. 1969)

“John Caged,” 2009

Inkjet and screenprint in colors on linen with metal desk organizer and postcard assemblage

Initialed and dated on the left edge overlap of the linen: BR 2009; initialed and dated again on the stretcher, verso, possibly in another hand; titled by repute; with an alternate title “Untitled” and dated again on a gallery label affixed to the stretcher, verso

4 pieces

Stretcher: 32” H x 24” W x 1” D; Overall assembled: 32” H x 24” W x 8” D

$5,000-7,000

Provenance:

Miguel Abrbu Gallery, New York, NY

The Chara Schreyer Collection

Notes:

In addition to the original black and white postcard for a May-June,1995 exhibition of works by Allan Kaprow at the John Gibson Gallery, New York, NY which is an integral part of this assemblage, the lot also includes a green tinted version of the same postcard, which is said to be a copy (created by the former owner) of the original just mentioned. The two postcards are currently stored in a clear, protective, plastic sleeve with printed identifying labels affixed to the outside.

154

Marc Horowitz (b. 1976)

“Optimal Tip to Tip Efficiency”

Oil, acrylic, collage, and mixed media on six sheets of paper all mounted to board, as issued Unsigned; titled by repute

Overall: 77” H x 70.25” W (irreg.)

$2,000-4,000

155

Katherine Barieau (1917-2010)

Abstract, 1962

Oil on canvas

Signed and dated lower right: Barieau

62; signed again on the stretcher

30” H x 18” W

$2,000-3,000

156

Max Ruf

(b. 1982)

Untitled, 2013

Toner pigment on linen

Signed and dated on the upper edge overlap of the linen: Max Ruf 2013 77.25” H x 52.75” W

$2,000-4,000

Llyn

Foulkes

(b. 1934)

Llyn Foulkes is a celebrated American artist and consumerism and its exploration of nostalgia. musical performances on an instrument of his American dream, like tourist postcards, bald the myths of American culture. Throughout his world and commercialism.

Born on November 17, 1934, in Yakima, Washington, Education before serving in the Army in 1954. Institute and exhibited alongside artists like Ken himself from the art world in the 1980s, Foulkes Los Angeles held a major retrospective of his documentary directed by Tamar Halpern and powerful, uncompromising voice in American

and musician whose work is defined by its biting critique of American nostalgia. His creative repertoire spans collages, richly textured paintings, and unique his own invention, “The Machine.” Foulkes’s art often incorporates icons of the eagle emblems, images of Mickey Mouse, and self-portraits, to challenge his career, Foulkes has maintained an outsider’s stance, often critical of the art Washington, Foulkes studied art and music at Central Washington College of 1954. He relocated to Los Angeles in 1957, where he studied at the Chouinard Art Ken Price and Ed Ruscha at the iconic Ferus Gallery. Though he distanced Foulkes saw a resurgence in recognition in 2013 when the Hammer Museum in his work. That same year, he was featured in Llyn Foulkes One Man Band, a and Chris Quilty. He continues to live and work in Los Angeles, remaining a American art.

157

Llyn Foulkes (b. 1934)

“Lanscape [sic] #23,” 1996 Oil, acrylic, wood assemblage, and mixed media on canvas laid to panel

Signed, titled, and dated verso: Llyn Foulkes / 1996 14” H x 18” W

$12,000-16,000

Provenance: Private Collection, Los Angeles, CA

158

Gregory Kondos (1923-2021)

“Southwest,” 2016 Oil on linen

Signed and dated in pencil lower left: G. Kondos / 2016; signed and dated again and titled verso 9” H x 12” W

$2,000-4,000

159

Bradford J. Salamon (b. 1963)

“Julian Calm,” 2004 Oil on canvas

Signed lower right: Bradford; signed again, titled, 48” H x 72” W

$2,500-3,500

and dated verso: 2004

160

Bradford J. Salamon (b. 1963)

“Follow the Leader,” 2004 Oil on canvas

Signed lower right: Bradford; signed again, titled, and dated verso: 2004 24” H x 60” W

$1,000-2,000

Astrid Preston (b. 1945)

Astrid Preston is a celebrated contemporary raised in California, Preston combines hyper-realistic landscape representations. Rather than striving light, evoking emotions and memories of landscapes and layered paint, gives her paintings a textured,

Preston’s work often explores the tension between nature by featuring gardens alongside wild settings. sweeping views as well as close-up details of

By merging realism with abstraction, she creates beauty and fragility of our natural world. Her environment with fresh eyes.

artist known for her unique approach to landscape painting. Born in Sweden and hyper-realistic detail with a dreamlike quality, creating works that challenge traditional striving for photographic accuracy, she infuses her scenes with a surreal, ethereal landscapes rather than direct depictions. Her meticulous technique, using tiny dots textured, almost digital quality, inviting viewers into a tactile experience of nature.

between natural and cultivated landscapes, examining humanity’s influence on settings. Her art seamlessly blends the grand with the intimate, capturing of leaves and water, revealing nature’s complexity on multiple scales.

creates a timeless, meditative perspective on landscapes, reminding us of the work prompts a renewed appreciation for nature, inspiring us to see the

161

Astrid Preston (b. 1945)

“Garden in Mist,” 2001 Oil on canvas

Signed and dated, verso: Astrid Preston / 2001; titled by repute 28” H x 35” W

$7,000-9,000

162

Astrid Preston (b. 1945)

“Darkening Sky,” 2002 Oil on canvas laid to board

Signed, titled, and dated, verso: Astrid Preston / 2002 4” H x 6” W

$500-700

163

Signed and dated, verso: Astrid Preston / 2001; titled by repute 16” H x 16” W

$3,000-5,000

Astrid Preston (b. 1945)

“Red Apples,” 2001 Oil on canvas

164

Astrid Preston (b. 1945)

“Whispered Memories,” 2000 Oil on canvas Signed, titled, and dated verso: Astrid Preston / 2000 72” H x 24” W

$8,000-12,000

Nikolay Moltchanov (b. 1959)

“Still Life with Wine and Fruits,” 1993

Acrylic on canvas

Signed and numbered along the lower portion of the left edge: Nikolay 34; initialed and numbered again lower right: Mt .34; signed again (twice), titled, and dated on the canvas or on a label, all on the verso; with the artist’s handprints in black and red ink, and a blue ink stamp, all verso 18” H x 18” W

$2,000-4,000

166

Ira Yeager (1938-2022)

“Rooster,” 2008

Oil, acrylic, and collage on canvas

Signed and numbered lower right and with the artist’s device: Ira Yeager / 18-30; titled and dated on an artist’s studio label affixed verso 36” H x 36” W

$2,000-4,000

Rodney (1949-2022)

“Weather

Black-enameled

From the

After a drawing 2 pieces Larger: 79.5”

$1,000-2,000

Provenance:

The Chara Notes: “...caught tendency as we all impossible, thought; -Mathew

Graham (1949-2022)

“Weather Vane” (for Parkett 64), 2002

Black-enameled stainless steel, one set in weighted bucket edition of 70 drawing by Derek Root (b. 1960)

79.5” H x 25” Dia.; Smaller: 64.25” H x 25” Dia.

$1,000-2,000

Provenance: Chara Schreyer Collection

“...caught up in the loops of their own company, Graham’s solitaries have a to leave even themselves behind for periods, and journey inwards do, at least in sleep... Graham keeps taking us back to the same impossible, giddy place; leading us right up to the border of someone else’s his thought; our own thought; the ‘Edge of a Wood.’” Hale, Parkett No. 64, 2002

168

Mark Andrew Bailey (b. 1982)

“Broadway Restaurant Laguna Beach,” 2014 Oil on canvas

Signed lower left: Bailey; signed again and titled on the wrapped section of the canvas, verso 18” H x 18” W

$1,000-2,000

Provenance: Broadway by Amar Santana [Restaurant], Laguna Beach, CA

169

Christoph Schmidberger (b. 1974)

“Won’t You Stay...,” 2002

Acrylic and oil on Masonite

Signed and dated verso: Christoph Schmidberger; titled on a gallery label affixed verso 25” H x 19.75” W

$1,000-2,000

Provenance: Mark Moore Gallery, Santa Monica, CA

Notes:

This lot is accompanied by Christoph Schmidberger’s book, “Lavender Fields Forever.”

170

Alec Monopoly (b. 1986)

Untitled, (James Bond)

Acrylic on canvas

Unsigned 60” H x 42” W

$1,000-2,000

171

Peter Max (b.1937)

“Liberty Head #20”

Acrylic on canvas

Signed upper right: Max; numbered “117709” and with the artist’s copyright ink stamp, both verso 10” H x 10” W

$2,000-3,000

Provenance: Princess Cruises Fine Arts, Pompano Beach, FL

Notes:

This lot is accompanied by an invoice dated December 21, 2004, and a certificate of authenticity dated January 13, 2005, from the gallery mentioned above.

172

Steve Kaufman (1960-2010)

Untitled, Campbells Soup (Tomato and Cream of Mushroom)

Each: Laser cut steel and paint

Each initialed in blue marker verso: SK; 2 pieces

Each: 20” H x 12.5” W

$1,000-1,500

173

John Baldessari (1931-2020)

“Repository (Blue/Red) The Artist is a Fountain,” 2002

White ceramic with sprayed glaze surface and screened glaze text

From the edition of 48, plus 12 artist’s proofs

Signed and dated in black glaze to the underside: Baldessari / NOESURO MEX.

16.25” H x 12.625” W x 4.5” D

$3,000-5,000

Provenance: The Chara Schreyer Collection

Literature: Published by Brain Multiples, Los Angeles, CA

174

John Baldessari (1931-2020)

“Repository (Orange/Blue) The Artist is a Fountain,” 2002

White ceramic with sprayed glaze surface and screened glaze text

From the edition of 48, plus 12 artist’s proofs

Signed and dated in black glaze to the underside: Baldessari / NOESURO MEX.

16.25” H x 12.625” W x 4.5” D

$3,000-5,000

Provenance: The Chara Schreyer Collection

Literature: Published by Brain Multiples, Los Angeles, CA

175

John Baldessari (1931-2020)

“Repository (Red/Green) The Artist is a Fountain,” 2002 White ceramic with sprayed glaze surface and screened glaze text From the edition of 48, plus 12 artist’s proofs Signed and dated in black glaze to the underside: Baldessari / NOESURO MEX. 16.25” H x 12.625” W x 4.5” D

$3,000-5,000

Provenance: The Chara Schreyer Collection Literature: Published by Brain Multiples, Los Angeles, CA

176

Robert Beck

(b. 1959)

Wall-mounted urinal screen, 2001

Ink, graphite, and paint, on a white laminated plastic particle board with steels bolts

Signed, titled, and inscribed in ink along the lower portion of the left edge: R. Beck 4/18/01 / 3:53 PM / #RB01-11

Overall: 42.25” H x 24” W x 3.5” W (approx.)

$1,000-2,000

Provenance: The Chara Schreyer Collection

177

Mike Bidlo (b. 1953)

Two works:

#1078 from “The Fountain Drawing” series, 1997 Oil and mixed media on paper

Signed, dated, and titled/numbered “1078” in pencil on the lower edge, verso: M Bidlo

Image/Sheet: 3.75” H x 4.375” W

#172 from “The Fountain Drawing” series, 1991 Oil and mixed media on paper

Signed, dated, and titled/numbered “172” in pencil on the lower edge, verso: M Bidlo

Image/Sheet: 2.875” H x 2.875” W

$2,500-3,500

178

Robert Beck (b. 1959)

Untitled, 1999

Gunpowder and a gunshot hole on paper

Signed, dated, and inscribed in black pen around the gunshot hole, verso: R. Beck / 2/23/99 / Winchester .22/94 / Mag. @ close range; inscribed in black pen near the upper left corner, verso: #RB99-34

Overall: 14.25” H x 11” W

$1,000-2,000

Provenance: The Chara Schreyer Collection

179

Robert Beck (b. 1959)

Untitled (Daly Over/Under .12 Point Slug @ Close Range)

Gunpowder on paper pad mounted foamboard

Unsigned; titled by repute 36” H x 24” W

$1,000-2,000

Provenance: The Chara Schreyer Collection

.12 Gauge Hollow mounted to

180

Keith Tyson (b. 1969)

“Studio Wall Drawing: Lecture to Mark Titchner on the origins of the unit...,” 2001

Mixed media on paper

Signed and dated in ink on the label affixed to the verso of the frame: K. Tyson 01

Image/Sheet: 59.5” H x 47.75” W; framed: 61.75” H x 49.5” W

$3,000-5,000

Provenance: Anthony Reynolds Gallery, London, England The Chara Schreyer Collection

181

Moshe Kupferman (1926-2003)

Four untitled works, 1987-88

Each: Oil, ink transfer, and graphite on paper

Each: Signed (twice) in English and Hebrew and dated either “87” or “88” in pencil in the lower edge: Kupferman

Image/Sheet of Smallest: 9” H x 6.75” W; Image/Sheet of Largest: 10.375” H x 7.5” W

$4,000-6,000

182

Ethan Cook (b. 1983)

Untitled

Handwoven cotton canvas with a small rectangular cotton canvas patchwork

Signed in pencil on the center of the upper stretcher bar: Ethan Cook

50” H x 40” W

$6,000-8,000

183

Tom Laduke (b. 1963)

“Bitch,” 2004

Watercolor on illustration board

Unsigned; titled and dated on a gallery label affixed to the frame’s backing board

Sight: 18” H x 28” W

$2,500-3,500

Provenance: Angles Gallery, Santa Monica, CA

184

Emil Lukas (b. 1964)

“Every Seven Years, #0743,” 2002

Mixed media on canvas and on eight separate sheets of paper

Signed, titled, and dated on the lower right side of the stretched canvas: Lukas 02; titled again, verso; each sheet of paper numbered sequentially in pencil, recto, and verso, and with two reinforced holes at the upper edge for display purposes, all in the hand of the artist

9 pieces

37.5” H x 29.25” W x 4” D; Largest sheet: 37.5” H x 29.25” W; Smallest sheet: 24” H x 17.75” W

$4,000-6,000

Provenance:

Marcel Sitcoske Gallery, Los Angeles, CA

The Collection of Ralph and Sheila Pickett, acquired from the above, 2002

Notes:

The work is comprised of the canvas piece, as well as eight sheets of mixed media works. A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose, San Jose, CA

Gedi Sibony (b. 1973)

Gedi Sibony is a Post-Minimalist artist known found materials. Sibony draws on the Minimalist the line between the finished product and the Sibony explores the boundaries of what constitutes Sibony has been exhibited continuously around Modern Art in New York. He lives and works

known for creating simple, graceful creations often used from a varied assortment of Minimalist tradition in pa ring down aesthetics into methods of construction, blurring the modes and methods of creating. Like his inspiration Robert Rauschenberg, constitutes “art,” and plays with materiality, space, and the nature of exhibition. around the world and is collected by major institutions such as the Museum of in New York City.

185

Gedi Sibony (b. 1973)

“Epimedium,” 2008

Carpet and tape with grommets

Unsigned; titled and dated by repute 82” H x 62” W

$1,500-2,500

Provenance: The Chara Schreyer Collection

186

Gedi Sibony (b. 1973)

“Someone Is Trying to Make Noise Somewhere,” 2009

Reverse-matted watercolor paper

Unsigned; titled and dated by repute

20.25” H x 16.25” W

$1,500-2,500

Provenance: Greene Naftali, New York, NY The Chara Schreyer Collection

Notes:

On the verso of this work is a repurposed watercolor that the artist used for the foundation of this work in the lot.

187

Clay Ketter (b. 1961)

“Der Kleine Stapelhauschen,” 1999 Mixed media on panel Signed, titled and dated, verso: Clay Ketter; inscribed verso: T.P+18.2+’99 71” H x 71” W

$2,000-4,000

Provenance:

Gallery Specta, Copenhagen Private Collection, 2000, acquired from the above Sale: Sotheby’s, London, “Contemporary Art Day Auction,” February 16, 2011 The Chara Schreyer Collection

Literature: Exhibition Catalogue, Sophienholm; Vendsyssel, Kunstmuseum, “Passion”, 2003, p. 80, illustrated

188

Ralph Du Casse (1916-2003)

Untitled, abstract

Acrylic on canvas

Signed, numbered, and with the artist’s San Francisco address on the stretcher: Du Casse - I 48” H x 48” W

$1,000-1,500

Provenance: Ollendorff Fine Arts, New York, NY

189

Peter Lodato (b. 1946)

Untitled, 1988

Watercolor and gouache on wove paper

Signed and dated in pencil lower right: P Lodato / 88 30” H x 40” W

$800-1,200

190

Zhou Brothers (b. 1952/1957)

Untitled, 1999

Mixed media on canvas

Signed lower right: Zhou B.; signed again and dated, verso

36” H x 35” W

$800-1,200

191

Two mid-century modern Aboriginal works

Two works:

Damien Marks Jangala (b. 1967)

“Seven Sisters”

Acrylic on canvas

Signed verso, possibly in another hand: Damien Marks; titled on a label affixed to the stretcher; inscribed verso: “WR N 04 / Ngurratjuta Art Center 9-11” 18” H x 48” W

Peggy Granites Napurrula (b. 1960)

“Pirlala Jukurrpa (Bush Bean Dreaming)

Acrylic on linen

Signed verso, possibly in another hand: Peggy Napurrurla Granites; titled on a label affixed to the stretcher, inscribed verso: “Warlukurlangu Artists / WGDY7” 48” H x 18” W (or opposite)

$1,000-1,500

Provenance:

Ngurratjuta Art Centre, Alice Springs, Northern Territory, Australia

Warlukurlangu Artists Aboriginal Association, Alice Springs, North Territory, Australia

Anzus Aboriginal Art and Walkabout Fine Art, Palo Alto, CA

Notes:

This lot is accompanied by information sheets about the artists, as well as certificates of authenticity prepared and signed by the directors of the abovementioned galleries for each of the paintings. One of these documents includes a variant title, “Yilpi’s Grandfather’s Story,” for the work titled “Seven Sisters” on its label.

192

Walala Tjataltjarri (b. circa 1969)

Two works:

“Tingari Dreaming”

Acrylic on canvas

Signed verso: Walala; titled on a label affixed to the stretcher; inscribed verso: “WGC UB 10”

35” H x 24” W

“Tingari Dreaming”

Acrylic on canvas

Signed verso: Walala; titled on a label affixed to the stretcher; inscribed verso: “WGC UB 9”

35” H x 24” W

$800-1,200

Provenance:

Provenance: Walkabout Fine Art, Palo Alto, CA

Notes:

This lot is accompanied by information sheets about the artists, as well as, certificates of authenticity prepared and signed by the director of the gallery mentioned above.

193

Contemporary Aboriginal works

Three works:

Josephine Napurrula (b. circa 1948)

“Rock Hole and Sand Hills”

Acrylic on linen

Signed verso: Josephine Napurrula; titled on a label affixed to the stretcher; inscribed verso: “WGC PT 5”

36” H x 24” W

Richie Jampijinpa Robertson (20th century)

“Ngapa Jukurrpa (Water Dreaming)”

Acrylic on linen

Signed verso: Richie Jampijinpa Robertson; titled on a label affixed to the stretcher; inscribed verso: “WGD Y 5”

36” H x 18” W

Judith Nakamarra Nelson (b. 1951)

“Wildflowers”

Acrylic on linen

Signed verso: Judith Nakamarra; titled on a label affixed to the stretcher; inscribed verso: “WGC HB 1”

36” H x 22” W

$800-1,200

Provenance:

Art of the Western Desert, Alice Springs, Northern Territory, Australia

Ikuntji Fine Art from Desert Australia, Alice Springs, Northern Territory, Australia

Warlukurlangu Artists Aboriginal Association, Alice Springs, Northern Territory, Australia

Anzus Aboriginal Art, and Walkabout Gallery, Palo Alto, CA

Notes:

This lot is accompanied by information sheets about the artists, as well as, certificates of authenticity prepared and signed by the directors of the galleries mentioned above.

194

Contemporary Aboriginal works

Two works:

Katie Cox

“Eagle Hawk and Crow,” 2007 Ochre on canvas

Signed verso: Katie Cox; titled on a label affixed to the stretcher; dated on a certificate of authenticity: 2007

24” H x 30” W

Tommy Carroll

“Nowan, Doon Doon Station,” 2007 Buch Ochre on canvas

Signed verso: Tommy Carroll; titled on a label affixed to the stretcher; dated on a certificate of authenticity: 2007

24” H x 24” W

$700-900

Provenance:

Our Land Gallery, Kununurra, East Kimberley, Western Australia

Anzus Aboriginal Art, and Walkabout Gallery, Palo Alto, CA

Notes:

This lot is accompanied by information sheets about the artists, as well as, certificates of authenticity from the galleries mentioned above.

195

Phyllis Thomas (b. circa 1938)

Two works:

“Mackentoo Gorge”

Ochre on canvasboard

Signed, titled, and inscribed verso: Phyllis Thomas / “WGA 114” 24” H x 30” W

“Top of Rugan”

Ochre on canvas

Initialed verso: PT; titled on a label affixed to the stretcher; inscribed verso: “A 118” 20” H x 24” W

$600-800

Provenance:

Walkabout Fine Art, Palo Alto, CA

Notes:

This lot is accompanied by information sheets about the artists, as well as, certificates of authenticity prepared and signed by the directors of the gallery mentioned above.

Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs.

• USPAP Compliant • Quick Turnaround art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Andy Warhol

“After the Party,” 1979 Price Realized:$25,000

Condition Reports

Overall good condition. The full sheet with deckled edges. Minor toning to both the recto and verso. Four very tiny remnants of linen hinges at the verso of each sheet corner. The sheet is framed floating and hinged to the back mat with two pieces of linen tape from the verso of the upper edge and one piece near the center.

Framed under Plexiglas: 28.75” H x 36.5” W x 1.5” D

Overall good condition. The full sheet with deckled edges. Pale light-staining. Pale toning and offset from another lithograph on the recto of the lithograph primarily visible in the upper right quadrant. An approximately pea-sized abrasion on the extreme lower edge, at center. Very minor handling marks scattered in the upper half of the work. The sheet is loose, not matted.

Unframed

Overall generally good condition. The colors good. The sheet is mounted to a thick yellow paper mount.

Framed under glass: 29” H x 38” W x 2.25” D

Each overall good condition. The full sheet and colors good. Occasional and soft handling creases scattered primarily in the outer edges, but “Beastie” with a minor 7” vertical crease in the black of the left edge, a few unobtrusive surface abrasions to the extreme edges or corners, and the verso sheets with toning and offset transfer from the other lithographs in this lot. “Skybird” with pale time staining along the extreme sheet edges, and a 3” H x 0.75” W area of pale staining in the upper right corner. Each sheet is loose, not matted.

Full margins with deckled edges. Handling creases scattered primarily in the upper half of the work. Scattered pale foxing recto and verso. Four pale black stains in the upper margin at right, possibly stray printer’s ink, not affecting the image. A small and unobtrusive skinned area at the center of the lower margin edge. The sheet is loose, not matted.

Unframed

Extensive invisible repairs and with a masking varnish. The stamped label, verso, partially worn or rubbed. Two horizontal wooden brace are glued and/or screwed to the verso, attendant with the framing.

Framed: 20.75” H x 17.75” W x 2.5” D

Overall generally good condition. With full margins, deckled along the upper and left margin edges. A 2” vertical crease at the very top of the right margin edge. A few minor handling creases in the blank at top, visible primarily in raking light. There is a small pencil notation, “Z98,” in another hand in the lower left margin corner. Pale staining at the verso of the margin edges, including three old hinging stains along the verso of left margin edge.The work is framed floating, hinged to the back mat at the verso of the upper margin corners.

Framed under glass: 24” H x 31” W x 1.25” D

Uneven toning showing primarily in the margins. A rice-sized reverse foxmark in the lower margin, at left, not affecting the image. Surface skinning and old glue/paper residue from former mounting in the upper margin corners. A tiny loss at the extreme tip of the upper right margin corner. Remains of old hinges and hinging glue at the verso of the upper margin edge. The sheet is loose, secured to the back mat with clear archival corners.

Framed under Plexiglas: 35.5” H x 28.5” W x 2” D

Overall good condition. The full sheet with deckled edges. A pale pea-sized area of foxing on the verso of the upper sheet edge, at center. The sheet is hinged to a support sheet with two pieces of brown paper tape from the verso of the upper sheet corners.

Framed under Plexiglas: 27.25” H x 33.5” H x 2” D

Overall good condition. Full margins with deckled edges. Very pale light-staining showing in the margins. The sheet is framed floating and hinged to the back mat with two pieces of hinging tape from the verso of the upper margin corners.

Framed under Plexiglas: 23.75” H x 29.5” W x 1.5” D

Overall generally good condition for the sheets contained within the blue paper wrapper. All of the lithographs and text pages with time staining showing primarily at the sheet edges. The blue paper wrapper faded, time stained, partially split along the center fold, a small sticker in the lower right corner, and with other signs of age and handling.

Overall of the album: 12” H x 9” W x 0.125” D

Overall good condition. Wide margins with two deckled edges. Very pale light-staining. A soft 1” diagonal crease across the upper left margin corner. Eight small stains offset from old staples in the back mat, showing only on the verso of the margin edges. The work as framed floating, hinged to the back mat at the verso of the upper margin corners.

Framed under glass: 36.75H”x 29.5” W x 1” D

Overall good condition. Occasional very minor and unobtrusive surface soiling and the tips of the margin corners on a few of the sheets ever so slightly dogeared. The outer surface of the protective portfolio with very minor surface soiling and two stray ballpoint pen letters at the lower right.

Portfolio: 18.5” H x 14” W x 1” D

Overall good condition. With margins. Specks of grime and thin bands of residue scattered throughout.

Frame: 22.5” H x 24.75” W x 0.75” D

Overall generally good condition. The colors good. Three pinhead-sized (or smaller) abrasions to the sheet, with attendant pigment loss in places in the lower half of the work. Occasional soft handling creases in the outer edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 34.25” H x 26.25” W x 1.5” D

Overall good condition. Full margins with deckled edges. The colors good. The sheet is loose, not matted.

Unframed

Overall good condition. Full margins with deckled edges. The colors good. The sheet is loose, not matted.

Unframed

Overall good condition. Full margins with deckled edges. The colors good. The softest handling marks in the lower portion of the right margin, primarily visible in raking light. The sheet is loose, not matted.

Unframed

Each overall good condition. Full margins with the lower margin edge deckled. Each sheet is loose, not matted.

Each unframed

Overall good condition. With wide margins. Not examined out of the frame.

Framed under glass: 14.25” H x 12.25” W x 1” D

Overall generally good condition. With wide margins. A 23.25” crease extending diagonally from the center of the upper margin edge to the center of the right margin edge, affecting the background of the image, visible primarily in raking light. A 2.75” diagonal crease along the lower margin edge, near the left margin corner. Soft rippling attendant with hinges on the verso of the margin corners are slightly visible from the recto.

Framed under Plexiglas: 30” H x 35” W x 1.25” D

Overall good condition. The full sheet with deckled edges. The colors good. A 3.5” horizontal soft handling crease above the pencil numbering near the lower edge, at right, primarily visible on the verso. The sheet is tipped to the linen back mat from the verso of the upper sheet corners.

Framed under Plexiglas: 30” H x 22” W x 1.25” D

Each overall good condition. The full sheets and colors good. Each sheet is loose, not matted.

Each unframed

Overall good condition. The full sheet with the upper sheet edge deckled. The colors good. Minor handling creases scattered in the outer edges and corners, primarily visible in the upper right corner. Unobtrusive minor surface scratches scattered in the darker pigment along the upper edge, primarily visible in raking light. The sheet is framed floating, hinged to the back mat from various spots along the verso of the sheet edges and corners.

Framed under Plexiglas: 29” H x 35.5” W x 2.5” D

Overall good condition. With margins and the colors good. Not examined out of the frame.

Framed under glass: 27.5” H x 27” W x 1” D

Overall good condition. Full margins with deckled edges. The sheet is framed floating and hinged to the back mat in various places at the verso of the margin edges and corners.

Framed under glass: 33.25” H x 46” W x 1.75” D

Overall good condition. Full margins with deckled edges. The sheet is framed floating and hinged to the back mat in various places along the verso of the margin edges and corners.

Framed under glass: 33.25” H x 46” W x 1.75” D

Overall generally good condition. With full margins. Minor scattered handling marks in the outer edges, and corners, primarily in the lower left and upper right margin corners, not affecting the image. Unobtrusive, small abrasions along the lower extreme margin edge. A very pale and unobtrusive speck of foxing in the black, near the upper edge, left of center. The sheet is framed floating and tipped in various areas along the verso of the margin corners and edges.

Framed under glass: 33” H x 37.5” W x 2.25” D

Overall good condition. A rich impression on a sheet with full margins. The work is framed floating, hinged to the back mat with white archival tape from the verso of the upper margin edge.

Framed under glass: 15.25” H x 20.75” W x 1.5” D

Overall good condition. Full margins with deckled edges and the colors fresh. A 0.75” vertical tear at the upper margin edge, left of center, not affecting the image. Occasional specks of pale foxing and very pale mat staining at the margin edges. A few soft and unobtrusive handling creases in the lower margin. The verso of the sheet with a few small foxmarks and with remnants of old hinging tape and related slight surface skinning at the upper and right margin edges. The work is hinged to the overmat with white tape from the verso of the upper margin edge.

Framed under glass: 23” H x 26.5” W x 1.5” D

Overall good condition. Full margins with deckled edges. The sheet is loose, not matted.

Unframed

Overall good condition. Full margins with deckled edges. A very small 0.5” crease in the upper portion of the left margin edge, and a 1.25” soft crease in the upper right margin corner, both mostly visible in raking light. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Frame under Plexiglas: 55.25” H x 39.25” W x 2.75” D

Overall generally good condition. The full sheet with deckled edges. A 1” horizontal section of the extreme lower margin edge is folded forward for framing, with an attendant 1” H x 1.25” W area of staining on the verso of the lower margin edge, at center. The sheet with some pale, uneven toning, both recto and verso. Very soft horizontal cockling to the sheet, visible primarily in raking light. A pinpointsized foxmark in the upper left quadrant. Remnants of old hinging with attendant staining in a few places at the verso of the upper margin. The sheet is loose, not hinged within its mat.

Framed under glass: 41” H x 31” W x 1.5” D

Overall good condition. Full margins with deckled edges and the colors fresh. A pale, pinhead-sized foxmark in the left margin. Two very soft and unobtrusive creases across the upper right margin corner, the longest approximately 6 inches, visible primarily in raking light. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.

Framed under glass: 37.5” H x 49.5” W x 2.25” D

Each overall good condition. The full sheet with deckled edges. Each sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Each framed under Plexiglas: 31” Hx 24” W x 1” D

Overall generally good condition. With full margins. Slightly uneven staining throughout and with the colors very slightly attenuated. Staining from four old 1” H x 1” W squares of adhesive showing through to the recto from the verso of the upper margin edge. The work is framed floating and hinged to the back mat from the verso of the sheet.

Framed under Plexiglas: 32.75” W x 43.25” W x 2” D

Overall good condition. Several very soft and unobtrusive handling creases near the right sheet edge, as well as the upper left sheet corner, visible primarily in raking light. The sheet is hinged to the back mat at the verso of the upper sheet corners.

Framed under glass: 16.5” H x 22.5” W x 1” D

Each overall good condition. With full margins and the colors good. The slightest and palest overmat staining along the outer margin edges, primarily visible in raking light. A few pale pea-sized (or smaller) foxmarks scattered in the lower margin of both the recto and verso. Occasional soft, handling marks scattered in the margin edges. The United States image with the slightest and most unobtrusive surface scuffs in the black background in the upper right quadrant. Each sheet is loose, and secured to the back mat with four clear archival corners.

Each framed under Plexiglas: 25.25” H x 30.25” W x 1.5” D

Each overall good condition with shelf wear and scattered scuffs and scratches. The largest, black case with a split in the plastic along the seam of open edge, with attendant rippling to the plastic layer at the edge. The discs with some scratches. One copy with 2” diameter area of moisture stain to one corner of slipcase. Working conditions of tapes and discs unknown. This item is untested.

Overall good condition with scattered minor scuffs and scratches.

Overall good condition with mild shelf wear. The slipcase with very minor bumping at corners.

Each overall good condition with scattered minor scuffs and scratches to front and last pages. Each final page verso with tanning along the upper and outer edges. One book with two rice-sized indentations to last page verso. The stands with minor shelf wear.

Overall good condition. With margins. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under Plexiglas: 15.5” H x 12.5” W x 1.5” D

Overall good condition. Not examined out of the frame.

Framed under glass: 59.25” H x 43.25” W x 2” D

Overall good condition. With margins. The work is sandwich mounted.

Framed under glass: 30” H x 27.5” W x 1” D

Overall good condition. With narrow margins. As mentioned, the sheet is mounted to the board mount, as issued.

Mount Board (unframed): 29” H x 23” W

Overall good condition. With margins. Skinning along the lower and left margin edges. A 2” diagonal stain in the lower left margin. The sheet is hinged to the overmat in two places by pieces of tape across the upper left and right corners.

Framed without glazing: 27” H x 21” W x 1” D

Overall good condition. The board with pale time staining along the extreme edges. As mentioned, the sheet is mounted to board, and the board is loose and secured to the back mat with four clear archival corners.

Framed under glass: 22” H x 18.25” W x 1” D

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 13.75” H x 28.5” W x 1.25” D

Overall good condition. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner.

Framed under Plexiglas: 25.5” H x 21.5” W x 2” D

Each: Overall good condition. “Pushing Lipstick (The Approach)” and “Woman Watching TV” are both hinged to the back mat in two places by pieces of white archival tape affixed to the verso of the upper sheet edge. “Woman Listening to Radio” is housed in four archival triangles affixed to the back mat and held in place by pieces of white tape.

Largest framed under glass: 12.5” H x 16” W x 1.25” D; Smallest framed under Plexiglas: 8.75” H x 10.25” W x 1.25” D

Overall good condition. The sheet is loose and secured to the back mat with four archival corners.

Framed under glass: 17” H x 18.75” W x 1.5” D

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

Framed under Plexiglas: 70.5” H x 54” W x 2” D

Overall good condition. The sheet is loose and secured to the back mat with four archival corners.

Framed under Plexiglas: 22.25” H x 21.75” W x 1.25” D

Overall good condition. Not examined out of the frame.

Framed without glazing: 41.25” H x 65.25” W x 2.25” D

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 41.25” H x 65.25” W x 2.5” D

Overall good condition. The sheet with full margins. An occasional unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.

Unframed

Overall good condition. The sheet with full margins. An occasional unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.

Unframed

Overall good condition. The sheet with full margins. An occasional unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.

Unframed

Overall good condition. The sheet is currently sandwich-mounted between the matboards. A photocopy of the verso of the sheet is taped to the back of the frame.

Framed under glass: 16” H x 14” W x 1.25” D

Overall good condition. With margins. Occasional, minor handling creases scattered in the outer margin edges, not affecting the image. The sheet is loose and secured to the back mat by four paper archival corners.

Framed under Plexiglas: 26.75” H x 30.75” W x 1.25” D

Each: Overall good condition. Occasional, soft abrasions or chips along the edge of each sheet. Each sheet is framed floating and tipped to the back mat from the verso of each sheet corner. Not examined out of the frame.

Each: Framed under glass: Largest: 24” H x 20” W x 1.25” D; Smallest: 16” H x 13.5” W x 1.25” D

Visual: Overall good condition. A pinhead-sized area of stray white pigment in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 34.25” H x 25.75” W x 5” D

Visual: Overall good condition. Crazing in the varnish layer.

Blacklight: No evidence of restoration.

Frame: 19” H x 32.5” W x 1.75” D

Visual: Overall good condition. Crazing in the varnish layer.

Blacklight: A 1.5” H x 2.5” W area of touch-up upper center.

Frame: 13.25” H x 19” W x 1.75” D

Visual: Overall good condition. Minor dust accumulation and grime. Craquelure throughout. A small fleck of pigment loss upper left.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 19.75” W x 1.5” D

Visual: Overall generally good condition. Craquelure throughout. Areas of apparent damp staining with mold along the left and lower right edges. Areas of oxidation scattered throughout.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 27.5” W x 1.75” D

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 58.25” H x 50” W x 3” D

Visual: Overall good condition. Minor dust accumulation and grime. Fine and stable craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 24” H x 34.5” W x 1.25” D

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

Two rice-sized chips to opposed edges. One 0.5” long scuff to torso of figure. Verso with a 4.75” long area of chipped losses to wood veneer and a vertical shrinkage crack to through middle of veneer.

Overall good condition with minor oxidation to bronze. Last two letters of signature obscured in the bronze casting.

Overall good condition with minor shelf wear and inherent firing flaws commensurate with age. Felt applied to underside rim.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Framed: 18” H x 21” W x 3.25” D

Overall generally good condition. Slight toning to recto and verso of the sheet, concentrated primarily at the sheet edges. Pale damp staining along the lower sheet edge, just affecting the lowest portion of the image and signature. Old binding holes and an occasional small abrasion or short tear in places at the extreme sheet edges. The sheet is hinged to the backmat with white archival tape in two places at the upper sheet edge.

Framed under glass: 18.5” H x 15.25” W x 1.25” D

Visual: Overall generally good condition. Dust accumulation, dirt, and specks of grime commensurate with age. A pea-sized area of pigment loss in the figure’s elbow near the upper left corner. The canvas is softly rippled in some places at the outer edges and corners, attendant with the canvas being slightly loose from the stretcher.

Blacklight: No evidence of restoration.

Frame: 50.25” H x 72.25” W x 2.25” D

Visual: Overall generally good condition. Scattered craquelure and occasional paint shrinkage. A few stray spots and drips of paint, however, these appear to be in the hand of the artist. A few very small frame abrasions at the extreme edges.

Blacklight: An approximately 3” H x 2” W area of scattered touch-up in the background to the left of the central woman’s head (with a related patch, verso). Another touch-up, 1” H x 0.375” W, in the extreme upper left corner. The varnish has been applied unevenly.

Frame: 31” H x 36.5” W x 1.5” D

Visual: Overall good condition. A tiny fleck of paint loss in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 37” H x 33.25” W x 1.5” D

Overall good condition. A pale pinhead-sized foxmark on the extreme lower sheet edge, at left. Two possible pinpoint-sized areas of abrasion to the dark background pigment in the upper right quadrant. Artist pinholes at the lower sheet corners. Remnants of old masking tape and glue scattered along the verso of the sheet edges. The work is hinged to the overmat with white tape from the verso of the upper sheet edge.

Framed under glass: 29.25” H x 22.25” W x 1.25” D

Overall good condition. The sheet is hinged to the back mat with two small pieces of hinging tape from the verso of the upper sheet edge.

Framed under glass: 24.25” H x 21” W x 1.25” D

Visual: Overall good condition. A pea-sized area of residue near the lower left corner.

Blacklight: No evidence of restoration.

Framed under glass: 38” H x 46” W x 2.25” D

Visual: Overall good condition. Very fine paint shrinkage scattered in the red and darker-colored pigments.

Blacklight: No evidence of restoration.

Frame: 35” H x 30.75” W x 1.25” D

Visual: Overall good condition. A few pinhead-sized (or smaller) pigment losses near the lower portion of the left edge. Minor frame abrasion scattered along the extreme upper and right edges.

Blacklight: No evidence of restoration.

Frame: 37.25” H x 47.25” W x 2.75” D

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 46.25” H x 50” W x 4.25” D

Visual: Overall generally good condition. Slight dust accumulation, grime, and discoloration throughout. Stretcher bar crease along the upper edge and softer stretcher bar crease along the right edge.

Blacklight: Possible restoration under varnish in the upper right quadrant in the mountain. Some red pigments fluoresce under blacklight.

Frame: 22.75” H x 29.5” W x 1.75” D

Overall good condition. Occasional minor stains and stray pigment marks in the margins of the sheet, in the hand of the artist. The sheet is hinged to the overmat with pieces of white archival tape at the verso of the upper sheet edge.

Framed under glass: 20.75” H x 17.75” W x 1” D

Overall good condition. The sheet is sealed in the mat.

Framed under glass: 20.75” H x 16.75” W x 1” D

Visual: Overall good condition. The sheet with an unobtrusive 3” H x 1.25” W area of delicate cockling in the blank to the right of the figure’s hip, most likely attendant with the artist’s original process. Occasional minor surface soiling and scuffing showing primarily on the support board.

Unframed

Overall good condition. Artist’s pinholes at each of the four corners. The sheet is framed floating and hinged to the back mat from the verso of the upper edge corners.

Framed under Plexiglas: 58.5” H x 46.5” W x 2” D

Overall good condition. Artist pinholes at each of the four corners. A cluster of pale foxing and a 1” very thin and pale line of staining near the lower edge, at center. A 2” diagonal crease in the lower left sheet corner. The sheet is framed floating and hinged to the back mat from the verso of the upper edge corners.

Framed under Plexiglas: 58.5” H x 46.5” W x 2” D

Figure lacking headpiece, with glue remnants to top of head. The carved wood support with four breaks in the openwork, two with glued repairs. With scattered scuffs, nicks, and scratches commensurate with age.

Overall good condition with minor shelf wear.

Overall good condition for age. Scattered specks of grime, mostly to the inside of box frame.

Overall good condition. The full sheets with deckled edges. Pale light-staining. The work is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 46” H x 57.5” W x 3.5” D

Visual: Overall good condition. Slight stretcher bar creases along all four sides, showing primarily at top. The stretcher has new keys in all four corners.

Blacklight: Occasional pea-sized (or smaller) touchups scattered almost exclusively near the outer edges of the canvas. A small area of scattered touch-up in the background at left measuring approximately 0.75” H x 0.25” W.

Frame: 20” H x 22” W x 1.75” D

Visual: Overall good condition. Minor oxidation and a few tiny flecks of white paint scattered throughout the background.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 20.75” W x 1.75” D

Visual: Overall good condition. Three pea-sized areas of pigment loss, two being near the center, and the third near the center of the upper edge. An area that looks to have a missing assemblage piece near the left portion of the upper edge.

Blacklight: No evidence of restoration.

Frame: 50” H x 50” W x 5.5” D

With repaired crack through the middle, one end with multiple attendant radiating cracks. The underside with six blue spots to repairs, four of them possibly over inherent firing cracks, the largest measuring 4.5” x 2.25” large. Hanging wire wrapped around foot of base.

100

Underside with a 5” x 1.75” chipped loss and a 5” x 1” chipped loss. As well, two areas of restoration to underside, the larger measuring 4” x 1.5” large with attendant crack, and the smaller measuring 4” x 1” large. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

101

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside, unobtrusive to marks.

102

Overall good condition with minor shelf wear. With a 1.5” long shallow scratch to one side at center of body. Thin felt strips applied to underside at edges.

103

Overall good condition with minor shelf wear.

104

Each overall good condition.

105

Overall good condition with some dust accumulation to silicone and mild shelf wear to box.

Box: 1.875” H x 4.75” W x 3.5” D

106

Overall good condition with minor shelf wear and dust accumulation.

107

Overall good condition with minor shelf wear and a 1.25” long crease to underside at the area where folded flap meets the bottom panel.

108

Overall good condition. The shade with a few tiny chipped losses to bottom rim at areas of junctures with metal stand. Wiring should be checked by a qualified electrician prior to use. The original Halogen bulb has changed to an LED bulb per US Government Regulations and approved by the Olafur Eliasson Studio.

109

The disc clean with minimal scratching. The jewel case with scattered scuffs and scratches, and a 1.5” area of chipped loss to the black plastic. As well, with a 3.5” long crack in the front panel.

110

Overall good condition. The stool with a 1” long loss to side of seat. The drum with 1” area of lifting to the silvered paper at one lower corner. Working condition of electronic equipment unknown. Moran’s does not guarantee the working condition of this lot.

111

Overall good condition.

112

Overall good condition with scattered scuffs and scratches commensurate with age. Scattered pitting to the stainless finish and minor oxidation. Some bolt holes are stripped.

113

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

114

Overall good condition. The full sheet with deckled edges. The colors good. Soft handling creases scattered primarily in the outer edges, the largest measuring 5” horizontally near the lower edge, at right, Minor cockling along the lower sheet edge. Scattered printer’s ink on the verso sheet. Rectangular remnants of black glue from old hinging tape appearing on the verso of the sheet edges, and remnants slightly appearing on the recto of the upper and left extreme sheet edges. The sheet is loose, not matted.

Unframed

115

Visual: Dust accumulation and grime throughout. Scattered areas of fine, stable craquelure throughout, showing primarily in the white pigment of the upper right quadrant. Occasional clusters of pinhead-sized spots of pigment loss scattered along the upper and left edges.

Blacklight: No evidence of restoration.

Frame: 33.25” H x 22.5” W x 2” D

116

Visual: Overall good condition. Craquelure and pigment losses throughout, and appear to be part of the artist’s process.

Blacklight: No evidence of restoration.

Unframed

117

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 73” H x 53” W x 1.5” D

118

Visual: Overall good condition. A few, thin, unobtrusive surface scuffs scattered occasionally in the lower half and right edge of the work.

Blacklight: No evidence of restoration.

Frame: 60.75” W x 53” W x 2” D

119

Visual: Overall good condition. A 1.5” H x 3” W band of grime in the lower portion of the right edge.

Blacklight: No evidence of restoration.

Frame: 40.75” H x 33.25” W x 1.75” D

120

Overall good condition. Scattered generally unobtrusive flecks of grime in the lighter area near the left edge. The sheet is hinged to the back mat from the verso of the upper margin corners.

Framed under Plexiglas: 46.5” H x 32.75” W x 1.75” D

121

Visual: Overall good condition. Occasional, peasized (or smaller) spots of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 21” H x 20.75” W x 1.5” D

122

Visual: Overall good condition. Dust accumulation and specks of grime.

Blacklight: No evidence of restoration.

Frame: 84.5” H x 82.5” W x 3.5” D

123

Visual: Overall good condition. Craquelure scattered throughout. Areas of paint shrinkage in some of the darker pigments of the boats.

Blacklight: Touch-up scattered along the four edges. A pea-sized spot of touch-up upper left. A quartersized spot and a few small spots of touch-up upper center.

Frame: 49.25” H x 39.5” W x 2” D

124

Visual: Overall good condition. Dust accumulation, specks of grime, and minor, scattered scuffs, all commensurate with age.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 48.5” W x 1.75” D

125

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 30.75” W x 2.5” D

126

Visual: Overall good condition. A few spots of craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 13” H x 16” W x 2” D

127

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 32.75” H x 45” W x 1.25” D

128

Visual: Overall generally good condition. Faint and stable craquelure throughout. Occasional areas of pigment flaking and loss scattered along the edges. A 4” soft scuff throughout the left side of the plant in the lower left quadrant, and a 2” H scratch in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 43.5” H x 29.75” W x 2” D

129

Visual: Overall good condition. A pea-sized spot of grime in the water near the center of the lower edge.

Blacklight: No evidence of restoration.

Frame: 32.5 x 45” W x 1.75” D

130

Visual: Overall good condition. Dust accumulation and slight grime. Scattered small areas of stable craquelure, including in the upright porch beam left of center, and in the darker pigments of the upper quarter of the composition. A few spots of stray pigment, pea-sized or smaller, at the extreme right edge.

Blacklight: No evidence of restoration.

Frame: 41” H x 41” W x 1.5” D

131

Visual: Overall good condition. Small scattered areas of stable craquelure. A few unobtrusive pinheadsized paint losses.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 40.5” W

132

Visual: Overall generally good condition. Dust accumulation, grime, a quarter-sized area of dirt/ residue near the lower edge, at center, stable craquelure, soft stretcher bar creases along each side, and frame abrasion in places along the extreme lower edge, all commensurate with age. A band of minor damp staining along the lower edge, at center. A few delicate surface scuffs/scratches in the lower right quadrant. The canvas is slightly rippled in places, attendant with the canvas slightly loose from the stretcher.

Blacklight: A dime-sized area of touch-up near the center of the right edge.

Frame: 38.5” H x 54.5” W x 4.25” W

133

Visual: Overall good condition. A few spots of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 31” H x 37” W x 1.75” D

Visual: Overall good condition. Minor dust accumulation and grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 25.25” W x 1.5” D

135

Overall good condition with shelf wear and minor scattered minor scuffs and scratches.

136

Overall good condition with scattered minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. Verdigris to figure’s feet and ankles with scattered small spots at edges verso.

137

Overall good condition with scattered scuffs, scratches, oxidation, and minor small indentations commensurate with and and outdoor storage. With two green stains to pelvis, the largest area measuring 2” diameter, a 4” long brown stain to inner left thigh proper, with other areas of spotting/irregular oxidation throughout, concentrated at legs. A 1.75” long area of rubbed wear to the patina, at verso of central piece, revealing polished bronze.

138

Overall good condition with shelf wear at ends and points and oxidation throughout.

139

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With repair to hat feather. Stump with some rubbed wear and scratches at juncture with underside of frog.

140

Overall good condition with minor shelf wear. Bag with minor soiling, scattered scratches, and scuffs. Zipper with a stuck spot when close to open.

141

Visual: Overall good condition. Stable craquelure in the lower right quadrant, stretcher bar creases along the four sides, and small areas of grime residue scattered throughout, all commensurate with age. Small spots of pigment loss and instability in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 17.75” W x 2.75” D

142

Overall generally good condition. The ink has faded to a faint brown from what was most likely originally black. Slight toning throughout and minor abrasion along the extreme corners of the board. A pale pinhead-sized foxmark near on the photograph and near the upper portion of the right edge. The work is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 10.75” H x 8” W 1” D

143

Overall good condition. Slight abrasions along each extreme edge. The work is framed floating, mounted to the back mat. Not examined out of the frame

Framed under glass: 12.25” H x 17.75” W x 1.75” D

144

Overall generally good condition. Small abrasions, folds, and tears on the paper, commensurate with artist’s process. The work is framed floating, mounted to the back mat. Not examined out of the frame.

Framed under glass: 11” H x 12.75” W x 0.5” D

145

Overall generally good condition. Slight toning throughout. A 0.75” H x 0.25” W area of paper loss on the left edge, at center. Minor surface soiling and slight abrasion mostly along the extreme corners, and the paper lifting slightly in the upper and lower right corners. Glue residue in the upper left corner. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 8.75” H x 8” W x 1” D

146

Overall good condition. A rice-sized, very unobtrusive area of pigment loss in the yellow pigment, bordering in-between the red and yellow pigment, near the center of the upper edge. Artist’s pinholes at the upper sheet corners. The sheet is loose, not matted.

Framed under glass: 36.5” H x 24.5” W x 1.25” D

147

Overall generally good condition. Pale light-staining. Minor time staining along the extreme sheet edges, recto, and verso. Handling creases scattered throughout and cockling along the edges of the sheet. A pinpoint-sized foxmark near the lower edge, at right. Artist’s pinholes at each of the sheet corners. Small areas of surface skinning along the verso of the upper and lower sheet edges. The sheet is loose, not matted.

Framed under glass: 37.75” H x 25.75” W x 1.5” D

148

Overall generally good condition. With deckled edges. The sheet framed floating, mounted to the back mat from the verso of the sheet corners.

Framed under glass: 24.25” H x 31” x 2” D

149

Overall good condition with oxidation commensurate with age.

150

Overall good condition. A pinhead-sized speck of grime near the center of the right edge. The extreme tips of the upper corners very slightly bent, however, this feature is barely noticeable.

Unframed

151

Visual of each: Overall good condition. “Sun & Light,” “Envy,” and “7:00 p.m.” each with a couple of extremely unobtrusive pinpoint-size specks of grime near their outer edges.

Blacklight of each: No evidence of restoration.

Each unframed: 22” H x 22” W x 2.5” D

152

Overall good condition.

Unframed

153

Overall good condition. The black and white postcard with minor surface soiling and staining, remains of scotch tape, as well as five pinholes in the upper margin and one just into the upper edge of the image.

Unframed

154

Overall good condition. Artist’s pinholes in some of the sheet corners. As mentioned, each sheet is mounted to the back mat, as issued.

Framed without glazing: 79.25” H x 37.25” W x 2.25” D

155

Visual: Overall good condition. A 4” H x 2” W ‘L’shaped scratch with minor pigment loss lower left.

Blacklight: No evidence of restoration.

Unframed

156

Overall generally good condition. Dust accumulation throughout. An approximately pale 2” wide band of surface soiling/staining along the upper edge, mostly at left.

Unframed

157

Visual: Overall good condition. Minor dust accumulation. Very minor and unobtrusive abrasion at the extreme upper left corner.

Blacklight: A pea-sized touch-up in the upper portion of the extreme right edge.

Frame: 15.25” H x 19.25” W x 2.25” D

158

Visual: Overall good condition. A small scuff mark near the center of the right edge.

Blacklight: No evidence of restoration.

Frame: 10.25” H x 13.5” W x 2” D

159

Visual: Overall good condition. Minor abrasion scattered along the extreme upper and lower edges of the canvas. A few specks of old, darkened varnish near the left edge of the lower left quadrant.

Blacklight: No evidence of restoration.

Unframed

160

Visual: Overall good condition. Dust accumulation and specks of grime. Minor abrasions scattered along the extreme edges of the canvas, primarily in the lower extreme edge, with small attendant areas of pigment loss. Stray white specks of pigment scattered in the lower half.

Blacklight: No evidence of restoration.

Unframed

161

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 29” H x 36” W x 2.25” D

162

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 9.5” H x 11.5” W x 1.75” D

163

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.5” H x 17.5” W x 2.25” D

164

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 73.5” H x 25.25” W x 2.5” D

165

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

166

Visual: Overall good condition. Dark spots of varnish scattered throughout. Two small lines of craquelure upper center. Stretcher bar creases along the left, right, and upper edges. Some bubbling and minor lifting in the two collage pieces. A few minor scratches scattered throughout.

Blacklight: No evidence of restoration.

Unframed

167

Each overall good condition with scattered minor scuffs and scratches, one with bent upper component. Each set into later poles with some oxidation/rust. One also set into a weighted bucket with dirt to exterior.

168

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

169

Visual: Overall good condition. A few minor, unobtrusive spots of wear along the edges and in the corners.

Blacklight: No evidence of restoration.

Frame: 26.25” H x 21.25” W x 1.75” D

170

Visual: Overall good condition. A few rice-sized tears/punctures in the canvas along the extreme upper edge, at right, and along the extreme lower edge, at left, all attendant with previous tacking holes from stretcher bars. A few minor creases along the lower half of the work, mostly visible in raking light. A pinhead-sized area of grime near the figure’s hairline, at left.

Blacklight: No evidence of restoration.

Unframed

171

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 27.5” W x 2” D

172

Each overall good condition. Occasional, unobtrusive surface scratches. The ‘cream of mushroom’ soup can with the lower edge slightly bent. The ‘tomato’ soup can with a few pigment losses scattered in the green pigment.

173

Overall good condition with very minor shelf wear and inherent firing flaws commensurate with age.

174

Overall good condition with very minor shelf wear and inherent firing flaws commensurate with age.

175

Overall good condition with very minor shelf wear and inherent firing flaws commensurate with age.

176

Overall good condition. Occasional and unobtrusive, scattered surface scratches, primarily visible in raking light.

Unframed

177

Each overall good condition. The larger work with artist’s pinholes at the upper corners, and the smaller work with an artist’s pinhole at the upper edge, at center. The sheets are framed floating and hinged to the back mat from the verso of the upper sheet edge.

Frame of smallest under Plexiglas: 4.25” H x 4.25” W x 1.25” D; Frame of largest under Plexiglas: 5.25” H x 5.75” W x 1.25” D

178

Overall good condition. The first couple of pages are taped together with small pieces of tape from the verso of each edge, and after the initial taped pages, there are holes on each sheet edge for the mounting bolts, all in the hand of the artist and as issued. The work is framed floating and mounted to the back mat.

Framed under glass: 17” H x 14” W x 2.25” D

179

Overall generally good condition. The lower right corner of pad is dented.

Framed under Plexiglas: 38.5” H x 26.5” W x 2.25” D

180

Each of the corners with branched-tears and attendant creasing. The largest of these branchedtears approximately 1.75” long. A 0.75” H x 0.75” W attendant paper loss at the tip of the lower left corner. Framed floating, presumably tipped to the back mat along the verso of the sheet edges. Not examined out of the frame.

Framed under Plexiglas: 62” H x 49.75” W x 2” D

181

Each overall good condition. The full sheets with deckled edges. Each work with either a central horizontal or vertical crease, in the hand of the artist. Each sheet is framed floating. One work was examined out of the frame and tipped from the verso of the upper sheet corners, and hinged in one place near the center of the work, presumably the three other works are tipped/hinged in the same manner as the one examined out of the frame.

Each framed under glass: 16.25” H x 13” W x 1.5” D

182

Overall generally good condition. Minor dust accumulation. A quarter-sized hole in the canvas near the upper portion of the left edge. A thin, vertical, possible pencil mark in the lower left quadrant. Three 1” horizontal stitchings into the canvas near the left of the upper edge, presumably in the hand of the artist.

Frame: 50.5” H x 40.5” W x 1.25” W

183

Overall good condition. The work is sandwichedmounted between the matboards.

Framed under Plexiglas: 26” H x 36” W x 1.75” D

184

Visual: Overall good condition. Each of the individual sheets with various handling creases and small abrasions commensurate with the materials used and with handling and display.

Blacklight: No evidence of restoration.

Unframed

185

Overall good condition.

Unframed

186

Overall generally good condition. The old tape on the right edge of the sheet is lifting towards the upper portion of the work.

Framed under glass: 20.5” H x 16.25” W x 1” D

187

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

188

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 49.5” H x 49.5” W x 3.5” D

189

Overall good condition. The full sheet with deckled edges. The colors good. Soft, occasional handling marks scattered primarily in the left half of the sheet. Small remnants of hinging, with very minor attendant surface skinning in places on the verso sheet edges. Artist’s pinholes at the upper corners. The sheet is loose, not matted, and secured to a foamboard with four large paper corners.

Unframed

190

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

191

Visual of each: Overall good condition. Occasional flecks of unobtrusive grime.

Blacklight of each: No evidence of restoration.

Each: Unframed

192

Visual of each: Overall good condition. A small area of very fine craquelure near the center of the left edge. The canvas with minor stretcher bar creases along the upper and left edges, attendant with the canvas slightly loose from the stretcher. The red and black work with a few small areas of residue near the upper left and right corners.

Blacklight of each: No evidence of restoration.

Each unframed

193

Visual of each: Overall good condition. The linen is slightly loose from the stretcher. The Richie Jampijinpa Robertson work with minor stretcher bar creases along the upper and lower edges, attendant with the linen loose from the stretcher.

Blacklight of each: No evidence of restoration.

Each unframed

194

Visual of each: Overall good condition.

Blacklight of each: No evidence of restoration.

Each unframed

195

Visual of each: Overall good condition. The work on canvasboard with a few areas of pigment loss, some areas of lifting to the pigment, and slight surface scratches, all scattered in the outer edges. The work on canvas with slight abrasion to the white dot pigments scattered along the upper edge.

Blacklight of each: No evidence of restoration.

Each unframed

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Director, Fine Art

President, Auctioneer

Associate Specialist, Fine Art

Department Administrator, 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

Cataloguer, Silver, Western and American Indian

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

MARKETING

Director, Advertising & Marketing

PR Manager/Social Media

Graphic Designer

PHOTOGRAPHY

Photographer

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

Sally Andrew

Tom Burstein

Nikita Mehta

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Melissa Brownell

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Photographer Madison Torres

Photographer

Matthew Mizerowski

Photography Assistant Jacob Baer

FOUNDERS

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.

View Illustrated Catalogue Online @ www.johnmoran.com

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

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.