Latin American Art + Design — November 20, 2024 | John Moran Auctioneers

November 20, 2024

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

w w w. j o h n m o r a n . c o m

1

November 20, 2024—10am PST Sale 294 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

Previews:

Friday, November 15th: 12-4pm Saturday, November 16th: 12-4pm Monday, November 18th: 12-4pm Tuesday, November 19th: Doors open 10am Wednesday , November 20th: Doors open 9am

Meet the Team Maranda Moran Head of Sale, Vice President marandam@johnmoran.com Grant Stevens Cataloguer, Decorative Arts grant@johnmoran.com

Sally Andrew Cataloguer, Jewelry sally@johnmoran.com

Madison Ari Cataloguer, Fine Art mari@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

AUCTIONEERS & APPRAISERS

Est. 1969

Years

1

Jesús Escobedo

(1918-1978, Mexican) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed, and dated in pencil in the lower margin, at right: Jesus Escobedo / 1946 Image: 10” H x 11” W; Sheet: 12.625” H x 19” W $400-600 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Notes: In 1945, Jesus Escobedo received a two-year residential scholarship from the Guggenheim Foundation, where he spent time in New York and created a series of eight lithographs of subway, city, and train scenes. These works were held in a portfolio by Frederick Davis.

4

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

2

Jesús Escobedo

(1918-1978, Mexican) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed, dated, and inscribed in pencil in the lower margin, at right: Jesus Escobedo / 1946 Image: 8.875” H x 12” W; Sheet: 12.5” H x 19” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m

5

6

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

3

Jesús Escobedo

(1918-1978, Mexican) Untitled, from the “New York Series,” 1946 Lithograph on wove paper Signed and dated in pencil in the lower margin, at right: Jesus Escobedo / 1946 Image: 9.5” H x 10.625” W; Sheet: 12.5” H x 19” W $800-1,200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m

7

4

Francisco Toledo

(1940-2019, Mexican) “Leon,” 1970 Etching and aquatint on wove paper Edition: 4/250 Signed, titled, and numbered in pencil in the lower margin: Toledo; Associated American Artists, New York, NY, pub.

Image: 12” H x 9.875” W; Sight: 12.5” H x 10.25” W $600-800

8

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

9

5

Francisco Dosamantes

(1911-1986, Mexican) “Cuatro Mujeres” / Four Women Lithograph on cream paper Edition: 16/30 Signed, numbered and indistinctly inscribed in pencil in the lower margin: F. Dosamantes Image: 20” H x 9.25” W; Sight: 22.5” H x 16” W $500-700

10

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

6

Francisco Dosamantes

(1911-1986, Mexican) “Tres Yayaltecas” / Three Yayaltecan Women, 1946 Lithograph on cream paper From the edition of unknown size Signed and indistinctly inscribed in pencil in the lower margin: F. Dosamantes Sight: 14.75” H x 10.25” W $500-700

w w w. j o h n m o r a n . c o m

11

7

Javier Calleja

(b. 1971, Spanish) “Cada Cual,” 2011 Mixed media on paper Signed and dated in pencil on the verso of the left and right sheet corners, respectively: Javier Calleja; titled at the center of the lower edge Sheet: 8.375” H x 6” W $3,000-5,000

12

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

8

Jerónimo (“Dr. Lakra”) López Ramírez

(b. 1972, Mexican) “Mujer Culebra” Etching on wove paper Edition: P/T Signed and inscribed “P/T” in pencil in the lower margin: Dr. Lakra Plate: 9.75” H x 9” W; Sheet: 17” H x 15” W $500-700

w w w. j o h n m o r a n . c o m

13

9

Fernando Olivera

(b. 1962, Mexican) “Mensajes del Alma,” 2005 Woodcut on wove paper Edition: 29/30 Signed, titled, and numbered in pencil in the lower margin: F. Olivera Image: 9.625” H x 11.75” W; Sight: 11.75” H x 13.75” W $400-600

14

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

10

Fernando Olivera

(b. 1962, Mexican) “Tres Angeles,” 2008 Etching and aquatint in colors on wove paper, watermark GVA-RRO Edition: 32/40 Signed, dated, and numbered in pencil in the lower margin: F. Olivera Plate: 13” H x 19.5” W; Sheet: 22.25” H x 27.5” W $600-800

w w w. j o h n m o r a n . c o m

15

11

José Luis Cuevas

(1934-2017, Mexican) Character studies, 1965 Mixed media on paper, double-sided Signed lower right: José Luis Cuevas; signed again and dated upper left; signed again and with alternate date verso: 1966 Sight: 11.75” H x 17.75” W; Verso sight: 6.5” H $500-700

16

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

12

José Luis Cuevas

(1934-2017, Mexican) “Tower of Babel,” 1972 Lithograph with gold foil collage on wove paper Edition: 68/150 Signed upper left: Cuevas; numbered in white pencil near the lower edge, at left Image/Sheet: 30” H x 22.5” W $300-500

w w w. j o h n m o r a n . c o m

17

18

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

13

José Luis Cuevas

(1934-2017, Mexican) “Marquis de Sade, Niño,” 1964 Oil on canvas Signed, dated, and numbered upper right: Cuevas / 1-I-64 / #25; signed again and titled in pencil on the upper stretcher bar 55” H x 55” W $2,500-3,500 Provenance: Silvan Simone Gallery, Los Angeles, CA

14

José Luis Cuevas

(1934-2017, Mexican) Nursing mother and child, 1974 Verdigris patinated bronze Signed and indistinctly dated in the casting: Cuevas 13.5” H x 10.25” W x 11” D $700-900

w w w. j o h n m o r a n . c o m

19

15

José Luis Cuevas

(1934-2017, Mexican) “La Mascara” from “Homage to Quevedo” portfolio, 1969 Lithograph in colors with lithographed mylar collage on wove paper Edition: XXII, an artist’s proof aside from the edition of 100 Signed and numbered in white pencil in the lower sheet corners Cuevas; Collectors Press, pub., and with their blindstamp lower left Image/Sheet: 30” H x 22.5” W $700-900

20

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

16

José Luis Cuevas

(1934-2007, Mexican) “Autorretrato con pareja,” 1981 Etching in colors on wove paper Edition: 24/100 Signed, dated, numbered, and inscribed in pencil in the lower margin: Cuevas / Barcelona 81 Plate: 25” H x 17” W; Sight: 29” H x 21” W $600-800

w w w. j o h n m o r a n . c o m

21

17

Emmy Lou Packard

(1914-1998) “Strawberry Pickers Near Pajaro” Linocut in colors on paper From the edition of unknown size Signed in pencil in the lower margin, at right: Packard Image: 22.625” H x 17” W; Sight: 24” H x 18” W $600-800

22

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

18

Emmy Lou Packard

(1914-1998) “Front Street - 5 AM” Linocut in colors on Japanese paper From the edition of unknown size Signed and titled in pencil in the lower margin: Packard Image: 18” H x 14” W; Sight: 19.25” H x 15” W $500-700

w w w. j o h n m o r a n . c o m

23

19

Raúl Anguiano

(1915-2006, Mexican) “Sonrisa Maya,” 1967 Lithograph in brown ink on paper Edition: 18/60 Signed, dated, and inscribed upper right: R. Anguiano / Paris, 1967; initialed and inscribed in pencil upper right: R.A. / “a la familia Rosenbaum”; numbered in pencil in the lower edge, at center Sight: 29.5” H x 21.5” W $500-700

24

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

20

Diego Rivera

(1886-1957, Mexican) “Self Portrait,” 1930 Lithograph in black and beige on smooth wove paper Edition: 76/100 Signed, dated, and numbered in grease pencil in the lower margin: Diego Rivera 1930 / 76-100; George Miller, New York, prntr.; Weyhe Gallery, New York, pub.

Image: 15.75” H x 11” W; Sheet: 18.25” H x 13.75” W $3,000-5,000

w w w. j o h n m o r a n . c o m

25

21

Francisco Zúñiga

(1912-1998, Mexican) “Mujer con Olla,” 1983 Lithograph in colors on BFK Rives paper Edition: 49/100 (there were also 10 artist’s proofs) Signed, dated, and numbered in pencil near the lower edge: Zúñiga / 1983 / 1983; Wolfensberger, Zurich, Switzerland, prntr.; Gallery Borjeson, Malmo, Sweden, pub.

22.5” H x 29.75” W $1,000-1,500 Literature: Brewster 90

26

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

27

22

Francisco Zúñiga

(1912-1998, Mexican) “Mujer con Pescades,” 1980 Lithograph in colors on Arches paper Edition: 45/135 (there were also 15 artist’s proofs) Signed, dated, and numbered in pencil lower left: Zúñiga 1980; Mourlot Atelier, Paris, France, prntr., with their blindstamp; Brewster Editions, New York, NY, pub.

Image/Sheet: 22” H x 30” W $800-1,200 Literature: Brewster 58

28

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

23

Francisco Zúñiga

(1912-1998, Mexican) “Familia Indigena I,” 1976 Lithograph in colors on wove paper Edition: 112/125 (there were also 20 artist’s proofs) Signed, dated, and numbered in pencil in the lower right corner of the image: Zúñiga 1976; Kyron, Mexico, prntr.; Graphic Arts Council of the Los Angeles County Museum of Art, Los Angeles, CA, pub.

Image/Sheet: 24.875” H x 35.875” W $800-1,200 Literature: Brewster 26

w w w. j o h n m o r a n . c o m

29

24

Francisco Zúñiga

(1912-1998, Mexican) “Dos Mujeres Sentadas,” 1978 Lithograph on wove paper Edition: 84/100 (there were also 20 artist’s proofs) Signed, dated, and numbered in pencil lower left: Zúñiga 1978; Kyron, S.A., Mexico, prntr.; Brewster Editions, New York, NY Image/Sheet: 22.375” H x 31” W $600-800 Literature: Brewster 41

30

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

25

Francisco Zúñiga

(1912-1998, Mexican) Plate 3 from the “Impresiones de Egipto” suite, 1982 Lithograph in colors on Arches paper Edition 35/90 (there were also 10 artist’s proofs and 45 deluxe suite impressions) Signed, dated, and numbered in pencil along the lower edge: Zúñiga / 1982, at left; Mourlot Atelier, Paris, France, prntr., with their blindstamp; Brewster Editions, New York, NY, pub.

Image/Sheet: 13.75” H x 19.5” W $300-500 Literature: Brewster 76 Notes: This lot is accompanied by a certificate of authenticity signed by Joyce Disraeli from The Art Collector, San Diego, CA, April 25, 1990

w w w. j o h n m o r a n . c o m

31

26

Francisco Zúñiga

(1912-1998, Mexican) Plate 5 from the “Impresiones de Egipto” suite, 1982 Lithograph in colors on Arches paper Edition 35/90 (there were also 10 artist’s proofs and 45 deluxe suite impressions) Signed, dated, and numbered in pencil along the lower edge, at left: Zúñiga / 1982; Mourlot Atelier, Paris, France, prntr., with their blindstamp; Brewster Editions, New York, NY, pub.

Image/Sheet: 13.75” H x 19.5” W $300-500 Literature: Brewster 78 Notes: The impression reproduced in Brewster, also numbered from the edition of 90, shows the center rear figure with a navy blue blouse, and the foreground figure with a red blouse.

32

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

27

Francisco Zúñiga

(1912-1998, Mexican) Plate 9 from the “Impresiones de Egipto” suite, 1982 Lithograph in colors on Arches paper Edition 35/90 (there were also 10 artist’s proofs and 45 deluxe suite impressions) Signed, dated, and numbered in pencil along the lower edge, at left: Zúñiga / 1982; Mourlot Atelier, Paris, France, prntr., with their blindstamp; Brewster Editions, New York, NY, pub.

Image/Sheet: 13.75” H x 19.5” W $300-500 Literature: Brewster 82

28

Francisco Zúñiga

(1912-1998, Mexican) Seated nude, 1964 Pencil and pastel on paper Signed and dated in pencil lower left: Zúñiga / 1964 Sheet: 18” H x 24” W $1,500-2,000 Provenance: Catchpenny Gallery, Santa Monica, CA

w w w. j o h n m o r a n . c o m

33

29

Francisco Zúñiga

(1912-1998, Mexican) “La Espera,” 1973 Lithograph in colors on Arches paper Edition: 43/100 (there were also 20 artist’s proofs) Signed, dated, and numbered in pencil at the lower edge: Zúñiga 1973 Editions Press, San Francisco, CA, pub./prntr.; and with their blindstamp lower left Sight: 22” H x 29.5” W $400-600

34

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

30

Byron Galvez

(1941-2009, Mexican) “On Stage,” 1989 Acryligraph on paper Edition: 49/250 Signed and dated lower right: Byron 89 Sheet: 33.75” H x 34” W $600-800

w w w. j o h n m o r a n . c o m

35

31

Jorge Ochoa

(b. 1950, Mexican) “Vendedora en Rojo,” 1998 Acrylic on linen Signed and dated upper left: J. Ochoa 98; signed and dated again, and titled verso 30” H x 24” W $400-600

36

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

37

m be r 2 0, 2024

Carlos Mérida

(1891-1984, Guatemalan)

While Carlos Mérida’s earliest works were figura painting, graphic works, murals, stage design an of European modernism with ancient Mayan and

Mérida was born in Guatemala City to parents o and music, but due to an issue with his ear at ag completing middle school, Mérida studied art a de Ciencias y Letras.

From this early period, Mérida integrated into th himself as an innovative painter. From 1910 to 1 exposed to the European avant garde including well as other Latin American artists who were wo Dr. Atl. In Paris, Mérida studied under Hermeng and the Giroux Gallery.

Mérida returned to Guatemala in 1914. His expe diverse Mayan folkloric history, which he began symbolism. Mérida had an important exhibition modern painting movement in the country.

In 1919, Mérida moved to Mexico and participa inaugural Mexican exhibit at the Escuela Nacion time at the Hispanic Society of New York. Begin more than 50 group and individual exhibitions t solo shows in 1926 at the Academia Nacional d Rufino Tamayo at the Art Center, New York, 193 Gallery, Los Angeles; East West Gallery, San Fra also included in institutional shows throughout t Museum of Fine Arts, and the Museum of Fine A

While successfully working as an artist, Mérida w Indigenous peoples from 1932 to 1934, and he

al, the bulk of his career focused on non-figurative, geometric abstract composition in nd tapestry. Mérida’s work is celebrated today for the unique visual fusion of elements d Mexican cultural imagery.

of Spanish and Maya-Quiche heritage. From a young age, Mérida was interested in art ge 15 that caused partial deafness, he refocused his attentions solely on art. After at two Guatemala City trade schools: the Instituto de Artes y Oficios and the Instituto

he rich cultural life of artists and intellectuals in Guatemala, while he established 1914, Mérida was based in Paris and travelled throughout Europe. There he was g artists Kees Van Dongen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian, as orking and studying in Europe such as Diego Rivera, Jorge Enciso, Angel Zarrage and gildo Anglade y Camarosa and Van Dongen and exhibited at the Salon Indépendant

eriences in Europe altered the artist’s perceptions of his native country, particularly the to incorporate into his work, notably in his use of barkwood paper and geometric at the Rosenthal Building in Guatemala City in 1915, a show that ushered in the

ated in Muralism led by Diego Rivera and Rufino Tamayo. In 1920, Mérida had his nal de Bellas Artes, and that same year, he exhibited in the United States for the first nning in this early 1920s period and through the artist’s career, Mérida exhibited in throughout the world including: Independent Artists Exhibition, New York,1922; de Bellas Artes in Guatemala and the Valentin Dudesing Gallery in New York; with 30; at the Mexican Writers Club and Posada Gallery, Mexico City, 1931; the Stendhal ancisco; and the 1940 International Surrealist Exhibition, Mexico City. His work was the US such as at Harvard and Berkeley Art Museums, Art Institute of Chicago, Dallas Arts in Santa Fe.

was also an educator. He was director of school in Mexico City dedicated to taught drawing at North Texas State Teachers College from 1941 to 1943.

32

Carlos Mérida

(1891-1984, Guatemalan) “Boceto,” 1973 Pencil and colored pencil on tissue thin paper Signed in pencil lower left: Carlos Merida, titled and dated on the gallery label, verso Sheet: 17.375” H x 12.625” W $3,000-5,000 Provenance: Galeria “Merkup” A.C., De Artistas Plasticos Mexicanos

42

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

33

Carlos Mérida

(1891-1984, Guatemalan) “Espectro en Rojo,” 1974 Oil on amate paper laid to Masonite Signed and dated lower right: Carlos / Merida / 1974; signed and dated again and titled on the frame verso Sheet: 17” H x 21” W $10,000-15,000 Provenance: Acquired at a Mexico City, Mexico gallery in the 1980s Acquired from the above, by family descent

w w w. j o h n m o r a n . c o m

43

34

Carlos Mérida

(1891-1984, Guatemalan) “La Endecha” Screenprint in colors on paper Edition: 78/100 Signed and numbered in ink in the lower margin: Carlos Merida Image: 25” H x 21” W; Sight: 26” H x 22” W $800-1,200

44

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

45

35

Carlos Mérida

(1891-1984, Guatemalan) “Boceto” Gouache and watercolor on paper Signed lower left: Carlos Merida; titled on two gallery labels affixed to the frame’s backing board Sheet: 9.25” H x 6.375” W $4,000-6,000 Provenance: Kyron, Ediciones Graficas Limitadas, Coyoacán, Mexico Galeri­a Arvil, Mexico City, Mexico

46

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

36

Carlos Mérida

(1891-1984, Guatemalan) Untitled from the “Cielos Luminicos” portfolio, 1941 Screenprint in colors on wove paper Edition: 78/100 Signed and numbered in pencil directly underneath the image in the lower margin: Carlos Merida; signed again and dated in the image lower right: 1941; Taller de Ediciones Multiarte, prntr.; Galeria Arvil, pub.

Image: 15” H x 11.75” W; Sheet: 30” H x 22” W $700-900

w w w. j o h n m o r a n . c o m

47

37

Jorge Balboa

(20th/21st century, Mexican) Untitled, 1990 Mixed media on paper Signed and dated in pencil lower right: Jorge Balboa / 1990; titled on a gallery label affixed to the frame’s backing paper Sheet: 27.5” H x 19.75” W $300-500 Provenance: Aldo Castillo Gallery, Estero, FL

48

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

38

Roberto Echaurren Matta

(1911-2002, Chilean) “Enai” Etching in colors on paper From the edition of unknown size Initialed and titled in pencil in the lower margin: M Plate: 19.5” H x 14.75” W; Sight: 21.375” H x 16.625” W $400-600

w w w. j o h n m o r a n . c o m

49

39

Thomaz Ianelli

(1932-2001, Brazilian) “O Trapezista” Oil on canvas Signed lower left: Thomaz; titled on a label affixed to the stretcher 50.75” H x 43.5” W $2,000-4,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

50

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

40

Thomaz Ianelli

(1932-2001, Brazilian) “O Trapesista II,” 1972 Oil on canvas Signed and dated lower right: Thomaz / 1972; titled on a label affixed to the stretcher 50.75” H x 43.25” W $2,000-4,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

w w w. j o h n m o r a n . c o m

51

Fernando de Szyszlo (1925-2017, Peruvian)

Fernando de Szyszlo Valdelomar was a promine National Engineering University before shifting Adolfo Winternitz, with whom he co-founded th

In 1947, Szyszlo moved to Paris, where he befrie inspired by Rufino Tamayo. Upon returning to P pre-Columbian themes, achieving a balance bet

By the early 1960s, Szyszlo’s distinctive style was Americas and Europe during the 1970s. His acc Pontifical Catholic University of Peru, and the Kn education, teaching at the Pontifical Catholic Un

ent 20th-century Peruvian artist. Born in Lima, he initially studied architecture at the to the Academy of Plastic Arts at the Pontifical Catholic University of Peru under he cultural magazine Las Moradas.

ended influential writers and artists, including Octavio Paz and Julio Cortázar, and was Peru, he immersed himself in surrealism and abstraction, which he later integrated with tween tradition and modernity.

s established, and he gained recognition through exhibitions in museums across the colades included honorary doctorates from the University of San Martín de Porres, the night’s Cross of the Order of Arts and Letters from France. He also contributed to niversity of Peru, Cornell, and Yale.

41

Fernando de Szyszlo

(1925-2017, Peruvian) “Sacasa 8 Paisaje Gris,” circa 1976 Mixograph in colors on Arches paper Edition: 52/100 Signed and numbered in pencil in the lower sheet edge: Szyszlo; signed again in pencil on the verso of the lower left sheet corner; titled in pencil on the verso of the upper sheet edge; with an unidentified blindstamp in the lower left sheet corner Image/Sheet: 29.5” H x 22.5” W $800-1,200

54

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

42

Fernando de Szyszlo

(1925-2017, Peruvian) “Masi Masi,” 1991 Mixograph in colors on Arches paper Edition: 60/100 Signed and numbered in white pencil in the lower edge: Szyszlo Image/Sheet: 29.5” H x 22” W $800-1,200

w w w. j o h n m o r a n . c o m

55

43

Fernando de Szyszlo

(1925-2017, Peruvian) “Waman Wasi I,” 1976 Mixograph in colors on Arches paper Edition: 57/100 Signed and numbered in pencil in the lower edge: Szyszlo Image/Sheet: 29.5” H x 22” W $800-1,200

56

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

44

Ynez Johnston

(1920-2019) “Beyond the Gobi,” circa 1960 Etching and aquatint in colors on paper Edition: 64/200 Signed, titled, and numbered in pencil in the lower margin: Ynez Johnston Plate: 17.7” H x 11.5” W; Sheet: 19” H x 12.5” W $400-600

w w w. j o h n m o r a n . c o m

57

45

Anna Maria Maiolino

(b. 1942, Brazilian) Untitled, from the “Nas Mãos (In the Hands)” series, 2017 Patinated bronze Edition: 1/25 Etched signature, date, and edition to underside: AMM - 2355 / AnnaM*Maiolino 2017 3.875” H x 6.625” W x 4.875” D $1,000-2,000 Provenance: The Chara Schreyer Collection Notes: This limited-edition bronze was created by Contemporary artist Anna Maria Maiolino in relation elements from her 2017-2018 exhibition at The Museum of Contemporary Art, New York. In the show, Maiolino created an installation that featured a long table covered in unfired clay abstracted forms. The subject bronze is a “bread roll” shape replicating one of the elements of this installation.

58

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

59

60

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

46

Anna Maria Maiolino

(b. 1942, Brazilian) Untitled, from the “Nas Mãos (In the Hands)” Series, 2017 Patinated bronze Edition: 4/25 Etched signature, date, and edition to underside: AMM - 2358 / AnnaM*Maiolino 2017 3.875” H x 6.625” W x 4.875” D $1,000-2,000 Provenance: The Chara Schreyer Collection Notes: This limited-edition bronze was created by Contemporary artist Anna Maria Maiolino in relation elements from her 2017-2018 exhibition at The Museum of Contemporary Art, New York. In the show, Maiolino created an installation that featured a long table covered in unfired clay abstracted forms. The subject bronze is a “bread roll” shape replicating one of the elements of this installation.

w w w. j o h n m o r a n . c o m

61

Rufino Tamayo (1899-1991, Mexican)

Rufino Tamayo is a towering figure in 20th-centu Oaxaca, his exposure to Zapotecan culture shap avant-garde aesthetics. Central to his oeuvre is paper pulp applied to inked plates, resulting in his thematic preference for highlighting his Zapo transcends cultural boundaries, resonating unive including the UNESCO Prize at the 1958 Venice

ury Mexican art, famed for blending indigenous and modernist influences. Born in ped his artistic vision, leading to a distinct style marrying Mexican folk traditions with mixographia, a technique he developed with Luis Remba in the 1970s, involving wet textured, multidimensional artworks. Tamayo’s mixographias, over 80 in total, reflect otec heritage. Often depicting mythology, nature, and the human condition, his art ersally while celebrating Mexico’s rich heritage. Tamayo received numerous accolades, e Biennale, solidifying his legacy as a pioneering figure in printmaking.

64

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

47

Rufino Tamayo

(1899-1991, Mexican) “Cara en Rojo” Mixografia in colors on Arches paper Edition: 24/100 Signed and numbered in white crayon in the lower edge: R Tamayo; Taller de Grafica Mexicana, Mexico City, Mexico, prntr.

Image/Sheet: 27.5” H x 19.75” W $3,000-5,000 Provenance: Aldo Castello Gallery, Estero, FL Literature: Pereda 236

w w w. j o h n m o r a n . c o m

65

48

Rufino Tamayo

(1899-1991, Mexican) “Mascara Roja,” 1976 Mixografia in colors on Arches paper Edition: P de T 2/10 Signed, numbered, and inscribed “P de T” in pencil in the lower edge: R Tamayo Image/Sheet: 31.5” H x 22.625” W $2,000-3,000 Provenance: Aldo Castillo Gallery, Estero, FL Literature: Pereda 226

66

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

49

Rufino Tamayo

(1899-1991, Mexican) “Mano Negra,” 1977 Mixografia in colors on Arches paper Edition: 10/100 Signed and numbered in white pencil in the lower edge: R Tamayo; signed again in pencil lower left; Taller Grafica Mexicana, Mexico City, Mexico, prntr.

Image/Sheet: 46” H x 30.5” W $3,000-5,000 Provenance: Aldo Castillo Gallery, Naples, FL Literature: Pereda 243

w w w. j o h n m o r a n . c o m

67

50

Rufino Tamayo

(1899-1991, Mexican) “Cabeza en la Ventana” from the “16 Aguafuertes” series, 1976 Etching in colors on Guarro paper Edition: 39/75 Signed and numbered in the lower edge: R Tamayo; Ediciones Poligrafa, Barcelona, pub.

Image/Sheet: 29.25” H x 22.25” W $2,000-3,000 Literature: Pereda 201

68

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

51

Rufino Tamayo

(1899-1991, Mexican) “Figura Sobre Estuco,” 1976 Mixografia in colors on Arches paper Edition: 27/100 Signed and numbered in pencil in the lower edge: R Tamayo; Taller de Grafica Mexicana, Mexico City, Mexico, prntr.

Image/Sheet: 30” H x 22.25” W $2,000-3,000 Literature: Pereda 241

w w w. j o h n m o r a n . c o m

69

52

Rufino Tamayo

(1899-1991, Mexican) “Cabeza en Gris” from the “15 Aguafuertes” series, 1979 Etching in colors Guarro paper Edition: 97/99 (there were also 15 artist’s proofs) Signed and numbered in black crayon in the lower edge: R Tamayo; Ediciones Poligrafa, Barcelona, prntr.

Image/Sheet: 29.75” H x 22” W $2,000-3,000 Literature: Pereda 262

70

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

53

Rufino Tamayo

(1899-1991, Mexican) “Femme en Rojo,” 1969 Lithograph in colors on BFK Rives paper Edition: 139/150 Signed and numbered in pencil in the lower margin: R Tamayo Image: 27.25” H x 21.25” W; Sheet: 29.625” H x 22.125” W $1,500-2,500 Literature: Pereda 121

w w w. j o h n m o r a n . c o m

71

54

Rufino Tamayo

(1899-1991, Mexican) “Diamantes,” 1977 Mixografia on Arches paper Edition: 79/100 Signed and numbered in white crayon in the lower edge: R Tamayo; Taller de Grafica Mexicana, Mexico City, Mexico, prntr.

Image/Sheet: 22.25” H x 31.25” W $2,000-3,000 Provenance: Aldo Castillo Gallery, Estero, FL Literature: Pereda 240

72

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m

73

74

Latin A me ric an A rt + De sig n l Wednesda y, November 20, 2024

w w w. j o h n m o r a n . c o m

75

José Benítez Sánchez (1938-2009, Mexico)

José Benítez Sánchez (1938-2009), known as Yik San Pablito ranch in Nayarit, Mexico. Raised in a began his spiritual training at a young age. His e

In the early 1960s, Benítez started creating yarn 1971, he had gained recognition as a master art works are characterized by bold colors, dynamic baroque compositions.

Throughout his career, Benítez also served as a He was instrumental in establishing Colonia Zita

Benítez’s art received international acclaim, inclu largest yarn painting was commissioned for the struggled for wider recognition until late in his li his vibrant yarn paintings, which he believed we

kaiye Kikame or “Silent Walker,” was a renowned Wixárika (Huichol) artist born on the a shamanic tradition by his grandfather and stepfather, both mara’akate (shamans), he early life involved extensive rituals and pilgrimages to sacred sites.

n paintings, drawing inspiration from his cultural heritage and personal experiences. By tist, blending traditional Wixárika themes with contemporary artistic expressions. His c figures, and intricate narratives, evolving from simple depictions to complex,

cultural intermediary, teaching other Wixaritari artists and advocating for their rights. akua, a community for displaced Wixaritari in Tepic.

uding a major exhibition at the Museum of Modern Art in Mexico City in 1986. His Juarez subway station in Guadalajara in 2001. Despite his significant contributions, he ife. He passed away in Tepic in 2009 but leaves behind a legacy that endures through ere visual memories of his ancestors and teachings.

78

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

55

José Benítez Sánchez

(1938-2009, Mexico) “The God Spirits Disappear from the Underworld to Form the Earth,” 1975-76 Yarn and beeswax on plywood Signature and lengthy, partially legible inscription verso: José Benítez Sánchez; titled possibly in the artist’s hand verso; attributed, titled, and dated to gallery labels affixed verso 47.875” H x 48.25” W x 2.125” D $3,000-5,000 Provenance: E.B. Crocker Art Gallery, Sacramento, CA Ankrum Gallery, Los Angeles, CA

w w w. j o h n m o r a n . c o m

79

56

Attributed to José Benítez Sánchez

(1938-2009, Mexico) A Huichol yarn painting Yarn and beeswax on plywood Mexico Signed and inscribed illegibly verso, possibly reading: José Benítez Sánchez In polychrome yarn depicting shamanic figures, spiritual figures, and various flora and fauna Sight: 36” H x 42” W $2,000-3,000

80

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

57

A Huichol yarn painting

20th century, Huichol people; Mexico Appears unsigned In polychrome yarn depicting foliate motifs surrounding a central spiritual figure on a purple background Sight: 23.5” H x 23.5” W $300-500

w w w. j o h n m o r a n . c o m

81

58

A Huichol yarn painting

20th century, Huichol people; Mexico Unsigned In polychrome yarn depicting peace doves within an arboreal motif scene on a deep green background Sight: 23.625” H x 17.75” W $300-500

82

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

59

A Huichol yarn painting

20th Century, Huichol people; Mexico Unsigned In polychrome yarn depicting a sole geometric figure in orange and green on a blue background 41” H x 33.5” W x 0.5” D $400-600

w w w. j o h n m o r a n . c o m

83

60

Casiano Garcia

(b. 1950, Mexican) “Las Flores,” 1988 Oil on canvas Signature and date incised lower left: Casiano G 88; titled on the upper stretcher, verso 39.5” H x 35.5” W $800-1,200

84

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

61

Casiano Garcia

(b. 1950, Mexican) “El Camino Se Hacia Largo,” 1988 Oil on canvas Signed and dated lower right: Casiano G 88; titled on the upper stretcher bar, verso 39.5” H x 35.5” W $1,000-1,500

w w w. j o h n m o r a n . c o m

85

62

Mario Lopez Cano

(b. 1928, Mexican) Figures in hooded cloaks Oil on canvas Signed lower right: Mario Cano 27.5” H x 35.5” W $300-500

86

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

63

Rodolfo Opazo

(b. 1935, Chilean) “Unicornio Virrey,” 1967 Oil on canvas Signed and dated lower right: Opazo / 67; signed and dated again, and titled, verso 47” H x 39.25” W $2,000-3,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

w w w. j o h n m o r a n . c o m

87

64

Jorge Roberto Tapia

(b. 1940, Argentinian) “Metamorfosis del Jazz,” 1963 Oil on canvas Signed and dated verso: Tapia 63; titled on labels affixed to the stretcher 19.25” H x 37.25” W $800-1,200 Provenance: Galleria Rubbers, Buenos Aires, Argentina The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982, acquired from the above

88

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

65

Mario Agostinelli

(1915-2000) “Girls from Sacromonte” Oil on Masonite Signed lower left: Agostinelli; signed again and titled verso; titled again on the frame plaque 36” H x 26” W $500-700 Provenance: The Estate of Sergei Bongart

w w w. j o h n m o r a n . c o m

89

66

Victor Manuel Cancino

(b. 1929, Mexican) Untitled (figure) Oil on canvas Signed lower left: Cancino 15.5” H x 23.5” W $600-800

90

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

67

Ernesto Gutierrez

(20th/21st Century, Peruvian) “Two Sisters,” 1987 Oil on canvas Signed and dated lower right: E. Gutierrez ‘87; signed again, titled, and dated, all verso 40” H x 60” W $500-700

w w w. j o h n m o r a n . c o m

91

68

69

(1929-2002, Mexican) “Aro Verde” Screenprint in colors on paper on paper Edition: 1/1 Signed and numbered lower left: T. Osorio; numbered again and titled on a label affixed verso Sheet: 17” H x 13” W

(b. 1963, Mexican) “Geometric Desires IV”, 1992 Mix media and oil on canvas Signed and dated lower left: Reyna / C 35.5” H x 43.25” W

Trinidad Osorio

$500-700

92

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

Reyna Castano

$700-900

Castano 92; titled by repute

w w w. j o h n m o r a n . c o m

93

94

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

70

A group of Taller Alfonso Castillo pottery sculptures

Circa 2020s; Puebla, Mexico Each variously marked for Taller Alfonso Castillo with shop cipher and inscribed: Mexico; one signed: Marco Castillo; most variously dated The polychrome ceramic candleholders, each profusely mounted with applied calaveras, marigolds and figural elements, comprising two Dia de los Muertos three-light figural candelabra, two Tree of Life three-light candelabra, and one Dia de los Muertos tall vase, 3 pieces Vase: 12.5” H x 5.25” Dia.; Tallest candelabrum: 10.875” H x 5.875” W x 3.875” D $1,000-2,000 Notes: Alfonso Castillo Orta (1944-2009, Mexican) and his wife Soledad Martha Hernández founded the ceramic studio in the town of Iz˙car de Matamoros, where their legacy and artistic traditions are carried on to this day by their five children and a cadre of local apprentices.

w w w. j o h n m o r a n . c o m

95

Marie Romero Cash (b. 1942, American)

Marie Romero Cash is known for her distinctive prominently displayed in numerous Northern Ne Notably, her pieces are part of the collections at As an accomplished author, Cash has published reflecting on her childhood in the 1950s, and a

retablos and woodcarvings, with a career spanning over 45 years. Her artwork is ew Mexico churches, museums, and private collections throughout the United States. t the Smithsonian Institution and the Museum of International Folk Art in Santa Fe. d several books, including a guide to churches in Northern New Mexico, a memoir book about Saints.

71

Marie Romero Cash

(b. 1942, American) “Santa Librada” Enameled carved wood Edition: 10/21 Twice signed and numbered: Marie Romero Cash; titled to underside 28.75” H x 22” W x 4” D $400-600

98

L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

72

Marie Romero Cash

(b. 1942, American) Three polychrome figures, early 21st century Each signed: Marie Romero Cash; figure dated, titled, and inscribed: November 25, 2021 / Santa Fe, New Mexico; skulls dated: 23 The polychrome carved wood and papier-mâché items, comprising “Our Lady of the Universe,” mounted with a metal repoussé crown, depicted holding a rosary, grass, and faux flowers, together with two multicolor skulls, each raised on conical bases 3 pieces Figure: 29” H x 11.25” Dia.; Each skull: 16.625” H x 5” W x 5.75” D approximately $300-500

w w w. j o h n m o r a n . c o m

99

73

Marie Romero Cash (b. 1942, American)

Three polychrome wood plaques of Mother Mary, 2021-2022 Each signed and variously dated: Marie Romero Cash; one titled Comprising “Our Lady of Perpetual Help” and two plaques depicting Our Lady of Guadalupe 3 pieces Largest: 18” H x 9.875” W x 0.5” D $400-600

1 0 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

74

Marie Romero Cash (b. 1942, American)

A group of polychrome carved wood religious icons, early 21st century Each signed and variously dated between 2021-23: Marie Romero Cash Comprising a sacred heart plaque, two framed images of the Mother Mary, and two crosses depicting a winged Cristo figure amongst the sun, moon, cherubs, and floral motifs, one framed in a repoussé metal border 5 pieces Largest cross: 21.5” H x 17.625” W x 0.625” D; Each Mary: 7” H x 5” W x 0.75” D $400-600

w w w. j o h n m o r a n . c o m 1 0 1

75

Marie Romero Cash (b. 1942, American)

A group of polychrome carved wood santos figures, late 20th/early 21st century Six signed and variously dated: Marie Romero Cash; four titled Comprising “Madonna of Light,” “Our Lady of the Heavens,” “Our Lady of Solitude,” “Our Lady of the Flowers,” a Mother Mary figure with repoussé metal aureola, an angel figure with repoussé metal wings, and another Mary figure above three children’s masks 7 pieces Largest: 15.5” H x 8” W x 4.125” D; Smallest: 6.75” H x 4.625” W x 2” D $600-800

1 0 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

76

A group of Guatemalan santos bultos figures

Mid/late 20th century The polychrome carved wood figures, comprising two figures of Saint Francis of Assisi, each mounted with bird figures, and two Mother Mary figures, one with mounted aureola and another with floral motifs conforming with the taller Francis figure, 4 pieces Tallest: 27.625” H x 5.5” W x 3.25” D; Shortest: 14.125” H x 9.5” W x 3.5” D $200-400

w w w. j o h n m o r a n . c o m 1 0 3

77

Joaquin Garnica (b. 20th century, Mexican)

A group of milagros sculptures, late 20th/early 21st century Each signed verso: [artist’s cipher] / Joaquin Garnica; four with sticker verso: Hecho en México The carved and painted wood sculptures, each profusely adorned with silver-toned metal milagro charms, comprising three hearts and two crosses, one with polychrome heart at center, 6 pieces Largest: 11.875” H x 7.75” W x 1.625” D; Smallest: 5.125” H x 4.125” W x 0.875” D $300-500

1 0 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

78

Lourenco Goncalves

(b. 20th century, Brazilian) Seated man in a brown hat Oil on canvas Signed lower left: L Goncalves 51” H x 35.5” W $2,000-3,000

w w w. j o h n m o r a n . c o m 1 0 5

79

A Mexican rustic harvest table

Mid 20th century The Spanish-style wood table of mortise and tenon construction, with shaped apron and single drawer raised on turned wood legs joined by lateral stretchers 31.5” H x 54.25” W x 21.25” D $500-700

1 0 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

80

A Mexican small blanket chest

Late 19th/early 20th century The carved wood chest with dovetail joints and a hinged lid, raised on two lateral brackets with waterfall edges recto 16.75” H x 22.375” W x 17.125” D $300-500

w w w. j o h n m o r a n . c o m 1 0 7

81

Three Mexican angel figural panels

Late 20th/early 21st century Each unmarked Comprising three wall-mounted enameled plywood angel figures Largest: 30.5” H x 57” W x 0.25” D; Each smaller: 15” H x 27.75” W x 0.125” D $400-600

1 0 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

82

Three Mexican alebrijes figures

Late 20th/early 21st century Blue signed to underside: “José Hernández M / E Hijo / Evaristo Hernández”; horned marked to underside: San Martin Tilcajete / Oaxaca / Aquilino / Sarmiento / 4/8/91 The polychrome carved wood figures, comprising one blue spotted canine, one orange and blue spotted canine with bound fiber tail, and a black, white, and orange horned animal Largest: 17” H x 12.25” W x 5” D $400-600 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 0 9

83

A group of Mexican alebrijes figures

Late 20th/early 21st century One armadillo signed to underside: Pedro Ramirez / Arrazola XOXO / Oaxaca; cat signed: Esteban / H.T The polychrome carved wood figures, comprising an orange spotted horned animal with fibrous tail, a multicolor armadillo, another multicolor armadillo with a feline figure mounted on its back, a black cat, and a mouse with fibrous whiskers, 5 pieces Tallest: 12.5” H x 8.5” W x 5.5” D; Smallest: 4” H x 3.25” W x 3” D $400-600 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 1 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

84

Armando Amaya

(b. 1935, Mexican) “Mother and child,” 1985 Verdigris patinated bronze on a wood plinth Edition: II/VII Signed, dated, and numbered in the casting: Amaya / 1985; titled by repute Bronze: 14.25” H x 9.25” W x 8” D; Overall: 15.625” H x 9.375” W x 8.5” D $800-1,200

w w w. j o h n m o r a n . c o m 1 1 1

85

A Mexican folk art wall cabinet and lattice shelf

Early/mid-20th century The tiered wall unit with upper gallery above two latch lock cabinets, each revealing a single shelf, together with a conformingly painted lattice wall unit with single drawer below a scalloped edged shelf Larger unit: 41.75” H x 18” W x 12.875” D; Lattice: 24.5” H x 16” W x 5” D $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 1 2 L at i n A me m e r iicc a n Ar t + D e sig s ig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

86

Salvador Teran (1920-1974)

A mosaic and brass pitcher, circa 1952-70; Mexico City, Mexico Marked to underside: Handwrought / Hecho en Mexico / Salvador / 433 The handled and footed pitcher with multi-colored glass mosaic tiles on brass depicting jaguar motifs 7.5” H x 8.5” W x 6.25” D $200-300

w w w. j o h n m o r a n . c o m 1 1 3

87

A Sergio Bustamante-style turtle sculpture

Mid/late 20th century Unmarked In the manner of Sergio Bustamante (b. 1949, Mexican), the cast and welded brass and copper turtle figure 15.5” H x 36.25” W x 20.75” D $600-800

1 1 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

88

Sergio Bustamante

(b. 1949, Mexican) Bird sculpture Painted and gilt papier-mâché on metal stand Edition: 42/100 Signed and numbered to one side: Sergio Bustamante Bird: 25.5” H x 14.75” W x 8” D; Stand: 12.75” H x 10.625” W x 7.875” D $400-600

w w w. j o h n m o r a n . c o m 1 1 5

89

Sergio Bustamante

(b. 1949, Mexican) Apple table Hand-wrought brass and metal alloy Signed to base: Sergio Bustamante 22” H x 27.5” Dia. $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 1 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 1 7

91

Ivan Rickenmann

(b. 1965, Columbian) “El Aspirador,” 1999 Acrylic on canvas Signed and dated lower right: Ivan Rickenmann 99; signed and dated again, and titled, verso 47” H x 39” W $2,000-3,000

90

Valeska Soares

(b. 1957, Brazilian) Untitled Beeswax and hair on acid-free paper Unsigned 18” Dia. $500-700 Provenance: Christopher Grimes Gallery, Santa Monica, CA The Collection of Ralph and Sheila Pickett, acquired from the above, 1998 Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose, San Jose, CA

1 1 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 1 9

Francisco Toledo (1940-2019, Mexican)

Born in Juchitán, Oaxaca in 1940, Francisco Tole Francisco Toledo followed his father into the jun the trade of lithography from the engraving wor Toledo exhibited his works at Antonio Souza’s g informed the artist he would become. “Toledo’s which people are transformed into beasts and a Obrador of Mexico announced the death on Tw people.” While he preferred anonymity, his serv acclaim. His first one-man show at 19 years set t painter Rufino Tamayo. Toledo’s fascination with abound in his art. He settled definitively in Mexi

edo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, ngles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up rkshops at the local School of Arts and Crafts. In 1959, after developing his craft, gallery in Mexico and at the Forth Worth Art Center in Texas. These early years s is the art of shamanism,” Christopher Goodwin of The Guardian wrote in 2000, “in animals and may take on human characteristics.” President Andrés Manuel López witter, calling Mr. Toledo “a true defender of nature, customs, and traditions of our vice to cultural preservation and celebration of traditional imagery gained him national the stage for his travels to Paris where he was supported by poet Octavio Paz and the h the metaphors of indigenous animals as symbols of Mexican history and mythology ico in 1967.

1 2 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

92

Francisco Toledo

(1940-2019, Mexican) “Personages con Tortugas” Watercolor and ink on thin laid paper Signed in pencil lower right: Toledo; inscribed indistinctly and faintly along the left edge; a pencil notation, possibly in another hand, verso; titled by repute Sheet: 9.5” H x 12.375” W $5,000-7,000

w w w. j o h n m o r a n . c o m 1 2 3

93

Francisco Toledo

(1940-2019, Mexican) Untitled, 1963 Watercolor and ink on laid paper Signed in ink lower left: Toledo; dated in ink, presumably in another hand, on a gallery label affixed to a prior frame’s backing board Image/Sheet: 16.75” H x 21.5” W $3,000-5,000 Provenance: Galerie Daniel Gervis, Paris, France The Collection of Artist Bengt Olson, Gothenburg, Sweden, acquired from the above Sold: Uppsala Auktions Kammare, Uppsala, Sweden, “International Quality Auction,” May 10-12, 2023

1 2 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

94

Francisco Toledo

(1940-2019, Mexican) “Cazador Catalán,” 1985 Etching in colors on wove paper, watermark GVA-RRO Edition: 33/75 Signed and numbered in pencil in the lower margin: Toledo Plate: 10” H x 14.75” W; Sheet: 15” H x 22.5” W $1,000-1,500

w w w. j o h n m o r a n . c o m 1 2 5

95

Francisco Toledo

(1940-2019, Mexican) “Mujeres con Crocodiles” Lithograph in colors on BFK Rives paper Edition: 330/350 Signed and numbered in pencil in the lower margin: Toledo; notation in pencil, possibly in another hand, verso Image: 22” H x 16” W; Sheet” 24.5” H x 18.125” W $1,000-1,500

1 2 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 2 7

Miguel Osuna (b. 1961)

Miguel Osuna has been painting and drawing fr moved to Los Angeles. He practiced architectur while visiting Buenos Aires. Upon return, he eng series of abstract landscape paintings that conti

His studio practice frequently involves investiga abstract work, ‘SPIN,’ in Los Angeles in Novemb a solo exhibition at the CALTRANS District 7 He in the 2015 Ping Pong Exhibition in Basel, Switz “bounces” in Miami Beach during Art Basel Mia at the Craft Contemporary Art Museum of Los A Reality,’ showing in Naples, Italy in December 2 1307 Institution, culminating in a solo exhibition

His work is now on permanent collection and di now part of the permanent collection of the City Osuna lives and works in Los Angeles.

rom an early age. He studied architecture in Mexico, and a year after graduating, ral design in diverse industries through 2001. In 2002 he started painting full-time gaged in an exploration of Los Angeles, his adopted hometown, through an extensive inue.

ations of different techniques, applications, and materials. He presented a new body of ber of 2012. He was invited by the California Department of Transportation to present eadquarters on November 2013. Works from his new series “The Bends” were included zerland during the 2015 Art Basel Art Fair in June, and in Miami Beach when Ping Pong ami, in December 2015. His work was included in the exhibition “Work Over School” Angeles in September 2016. His work was included in the exhibition ‘Ambiguous 2017, where he was subsequently invited to a three-month art residency, by the Art n in May of 2018.

isplay at the Pio Monte della Misericordia Museum in Naples, Italy. His work is also y of Santa Monica, CA.

96

Miguel Osuna

(b. 1961) “Contrail,” 2004 Diptych, Oil on canvas Signed, dated, numbered, and titled on the reverse of each element: Miguel Osuna 2K4 #2401 Left element 48” H x 48” W; right element 48” H x 36” W $8,000-12,000

1 3 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 3 1

97

Miguel Osuna

(b. 1961) “LA Dusk” Diptych, Oil on canvas Appears unsigned; titled twice on the frame, verso Each element 24” H x 48” W $8,000-12,000

98

Miguel Osuna

(b. 1961) “Night Highway Overpass” Oil on canvas Appears unsigned; title by repute 48” H x 48” W $4,000-8,000

1 3 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 3 3

Enrique Galdos Rivas (b. 1933, Peruvian)

Enrique Galdos Rivas, born in 1933 in Lima, Per intricately weave together elements of Peruvian rich textures, and diverse traditions of his home from the National Academy of Fine Arts in 1959 receiving scholarships to travel and work in Braz had exhibited at numerous Biennials, from Sao P

One of the defining characteristics of Galdos Riv Modernist artistic techniques. Drawing inspiratio feature a striking juxtaposition of ancient iconog nickname “The Magician of Color.” Galdos Riva where cultural iconographies are processed thro Galdos Rivas says:

“A long time ago I painted the huacos of the Na losing the figure, the shape of the huaco, until t

Galdos Rivas has gained recognition both dome world. His awards include the Meritorious Perso granted by the Congress of the Republic of Peru at the Cordova Biennial in Argentina in 1964, am museums worldwide.

ru, is a prominent Peruvian artist celebrated for his vivid and captivating paintings that n culture, history, and mythology. Galdos Rivas was surrounded by the vibrant colors, eland from a young age, which would influence his artistic vision upon graduating 9. After graduating with honors, Rivas’s renown in South America grew exponentially, zil in 1961 and Argentina in 1967. By the end of the first decade of his career, Rivas Paulo to Paris.

vas’s art is his unique ability to blend traditional Peruvian motifs and symbolism with on from indigenous cultures, colonial history, and modern society, his paintings often graphy with abstraction. Galdos Rivasí use of wild and vivid colors earned him the as has been noted as a progenitor of the genre of painting known as “Ancestralism,” ough Modern or Abstract Expressionist sensibilities. In explaining his artistic process,

azca culture. First I made them as they are, then I abstracted them. Little by little I was there was no trace of it, only the color.” (El Comercio, May 20, 2023)

estically and internationally for his exceptional talent and contributions to the art onality of Culture from the Ministry of Culture of Peru and the Diploma of Recognition u, an Honorable Mention at the Sao Paulo Biennial, Brazil in 1965, and the V Prize II mong others. His works have been featured in numerous exhibitions, galleries, and

99

Enrique Galdos Rivas

(b. 1933, Peruvian) “Gris,” 1963 Oil on canvas Signed and dated lower right: Galdos Rivas / 63; signed again, titled, dated again, and inscribed, all verso: Lima - Peru 34.5” H x 48” W $3,000-5,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

1 3 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

100

Enrique Galdos Rivas

(b. 1933, Peruvian) “Mochica,” 1963 Oil on canvas Signed and dated lower right: Galdos Rivas / 63; signed again, titled, and inscribed: Lima - Peru, all verso 36” H x 60” W $1,500-2,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

w w w. j o h n m o r a n . c o m 1 3 7

101

Enrique Galdos Rivas

(b. 1933, Peruvian) “Pintura Blanca,” 1965 Oil on canvas Signed and dated lower right: Galdos Rivas / 65; signed and dated again, and titled, all verso: Lima-Peru 25.5” H x 34” W $2,000-4,000 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

1 3 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

102

Enrique Galdos Rivas

(b. 1933, Peruvian) “Ancestros,” 1965 Oil on canvas Signed and dated lower right: Galdos Rivas / 65; titled, dated again, and inscribed, verso 33.5” H x 25.5” W $1,000-1,500 Provenance: The Estate of John McKaughan Jr., Art Director of Braniff International Airways from 1955-1982

w w w. j o h n m o r a n . c o m 1 3 9

Leonardo Nierman (1932-2023, Mexican)

Leonardo Nierman was a leading figure in mode and energy, often inspired by music. Born in Me took off with a major mural at the university and leading to international recognition.

Nierman’s work was showcased globally, includi Flame” in Chicago and “Sensation of Flight” at also studied muralism with David Alfaro Siqueiro

As a former lead violinist for the Mexico Sympho had the power to transport audiences across cu elements of his paintings.

ern Mexican art, renowned for his dynamic abstract landscapes that evoked motion exico City, he graduated from the National University of Mexico in 1951. His career d a significant exhibition at the Museum of Modern Art in Mexico City in 1972,

ing in the U.S., Italy, Israel, and Japan, with notable pieces like “The Millennium St. Louis Airport. Influenced by artists such as Wassily Kandinsky and Paul Klee, he os, enhancing his techniques.

ony Orchestra, Nierman drew parallels between music and art, believing that music ultures and time. This influence was reflected in the movement and thematic

1 4 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

103

Leonardo Nierman

(1932-2023, Mexican) “Genesis” Oil on Masonite Signed lower left: Nierman; titled and with a number “94922” written in ink, both verso 36.5” H x 60” W $1,500-2,500

w w w. j o h n m o r a n . c o m 1 4 3

104

Leonardo Nierman

(1932-2023, Mexican) “Enchanted City,” 1962 Oil on Masonite Signed and dated lower right: Nierman 62; titled by repute 16.5” H x 24” W $800-1,200

1 4 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

105

Leonardo Nierman

(1932-2023, Mexican) “Flames in Red” Oil on panel Signed lower left: Nierman; titled on a gallery label affixed verso 16.5” H x 8.25” W $700-900 Provenance: Classic Antiquities Gallery Ltd, Los Angeles, CA

w w w. j o h n m o r a n . c o m 1 4 5

106

Leonardo Nierman

(1932-2023, Mexican) “Seagull” Gold-toned bronze Edition: VI/VI Signed and numbered: Nierman Overall: 11.25” H x 23.25” W x 7” D $1,000-2,000

1 4 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

107

Lola Alvarez Bravo

(1903-1993, Mexican) Four portraits of Frida Kahlo Each: Gelatin silver print on paper Each: Signed in pencil, verso: Lola Alvarez Bravo; one work inscribed partially indistinctly in pencil, verso: During her lifetime after ***; four works Each Image: 9.875” H x 9.875” W; Each Sheet: 12” H x 11” W $800-1,200 Provenance: The Estate of Dr. Amy Conger

w w w. j o h n m o r a n . c o m 1 4 7

108

Michael Nye

(20th century) A multifoil archway with a photo of a little girl Gelatin silver print on paper mounted to a board mount Signed in pencil on the board mount, at right: Michael Nye Image/Sheet: 8.5” H x 6.75” W $200-300 Provenance: The Estate of Dr. Amy Conger

1 4 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

109

Louis Carlos Bernal

(1941-1993, Mexican) “Barrio El Hoyo,” 1984 Gelatin silver print on paper Signed partially indistinctly, titled, dated, and inscribed in pencil, verso: Louis Carlos Bernal 1984 / “Gift to Amy Conger” Image: 9” H x 11.5” W; Sheet: 11” H x 14” W $100-200 Provenance: The Estate of Dr. Amy Conger

w w w. j o h n m o r a n . c o m 1 4 9

110

José Luis Neyra (1930-2019, Mexican) Two works:

Untitled street scene, Compro Todo Vendo Todo, 1983 Gelatin silver print on paper Signed, dated, and inscribed “para amy conger con gran aprecio” in pencil, verso: José Luis Neyra / Jan/83 Image/Sheet: 5” H x 7” W “Las Damas del Buen Humor,” 1983 Gelatin silver print on paper Signed, titled, and dated in pencil verso: © José Luis Neyra / Jan. 83 Image/Sheet: 5” H x 7” W $300-500 Provenance: The Estate of Dr. Amy Conger

1 5 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

111

Louis Carlos Bernal

(1941-1993, Mexican) “Benitez Suite (Set #3),” 1977 Each: Gelatin silver print on paper Each: Signed, titled, and dated in pencil on the verso sheet: Louis Carlos Bernal / 1977; titled and dated again in pencil and with the artist’s copyright black ink stamp in the lower edge of the back mat Each Image: 9” H x 9” W; Sheet of six works: 14” H x 11” W; Sheet of one work: 13.5” H x 11” W $300-400 Provenance: The Estate of Dr. Amy Conger

w w w. j o h n m o r a n . c o m 1 5 1

112

Sergio Hernandez

(b. 1957, Mexican) “Niña Araña,” 2006 Etching in colors on wove paper Edition: 24/30 Signed and numbered in pencil in the lower margin: Hernandez; titled on a label affixed to the frame’s backing paper Plate: 15.5” H x 19.5” W; Sight: 20” H x 24” W $800-1,200 Provenance: Sold: Museum of Latin American Art (molaa), Long Beach, CA, “Molaa’s Art Auction 08,” October 20, 2008, Lot 179

1 5 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

113

Felipe Orlando

(1911-2001, Cuban) Untitled Acrylic on wove paper, watermark GVA-RRO Signed in ink in the image lower right: Orlando. F Image: 18.75” H x 13.5” W; Sheet: 25.625” H x 20.625” W $1,000-1,500

w w w. j o h n m o r a n . c o m 1 5 3

114

Manuel Rodriguez Lozano

(1896-1971, Mexican) Untitled, 1934 Ink on cream-colored on paper Signed and dated lower right: Rodriguez / Lozano / 34; numbered “318” in red pencil on the verso of the right corner Sheet: 12.75” H x 9.75” W $1,500-2,000 Provenance: Sold: Museum of Latin American Art (molaa), Long Beach, CA, “Molaa’s Art Auction 07,” October 2, 2007, Lot 275 Jack Rutberg, Los Angeles, CA

1 5 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

115

Early 20th Century Portrait Photograph Portrait of a man in three-quarter profile Gelatin silver print on paper Unsigned Image/Sheet: 4” H x 3” W $100-150 Provenance: The Estate of Dr. Amy Conger

w w w. j o h n m o r a n . c o m 1 5 5

116

After Alfredo Ramos Martinez

(1871-1946, Mexican) Two women with fruit, circa late 1940s Screenprint in colors on paper From the edition of unknown size Unsigned Sight: 20.5” H x 11.75” W $300-500 Notes: This screenprint after an original work on newsprint was produced by the artist’s wife, María Sodi de Ramos Martínez (1895-1985), following the artist’s death. de Ramos Martinez learned the screenprinting process from married artists Guy Maccoy and Geno Pettit, who would form the Western Serigraph Society in 1948. Beginning in 1947, de Ramos Martinez produced screenprints out of a print studio set up in her Hollywood garage, ultimately creating seven series of close facsimiles of the artist’s original works on newsprint. While these were a source of additional income for the widowed printmaker, her intention in producing these works was to promote and maintain the artistic legacy of Ramos Martinez. Notably, in 1951, it was María Sodi de Ramos Martínez who taught Sister Mary Corita Kent (1918-1986) the screenprinting process.

1 5 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 5 7

117

Betsabee Romero

(b. 1963, Mexican) “La Bella Dormiente,” 1994 Oil on Chimayo textile rolled on a wooden dowel Signed and dated lower right: BetsabeeR 94; titled by repute Sight of canvas: 22.5” H x 46.5” W approximately $1,000-1,500

1 5 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 5 9

118

Gustavo Montoya

(1905-2003, Mexican) “El Merenguero,” 1984 Lithograph in colors on BFK Rives paper Edition: 43/100 Signed, dated, and numbered in pencil near the center of the right edge: Gustavo Montoya 84; Kyron, Mexico, pub., and with their blindstamp lower right; with an ink stamp inscription “GM249-100” on the verso of the left corner Image/Sheet: 30” H x 22” W $500-700

1 6 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

119

Gustavo Montoya

(1905-2003, Mexican) “Nino en Amarillo,” 1964 Oil on canvas Signed lower right: Gustavo Montoya; signed again, dated, and inscribed verso: Mexico 1964; titled on a partial gallery label affixed verso 21.75” H x 18” W $5,000-7,000 Provenance: Galeria, Arte De Mexico, Art Collectors’ Gallery, Mexico City, Mexico, no. 1522

w w w. j o h n m o r a n . c o m 1 6 1

120

Pablo O’Higgins

(1904-1983, Mexican) “A Young Girl” Oil on canvas Signed lower right: P. O’Higgins; titled on a label affixed to the lower portion of the frame, verso 23.5” H x 18.5” W $6,000-8,000 Notes: According to a label written by Sterling Franklin on 2/82, affixed to the frame, verso, this painting “was donated to the Law Center for educational purposes in December 1981,” and continues to say, “We are holding it for three years and then intend to sell it (thus sale [sic] sometime in 1985).”

1 6 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

121

Francisco J.J.C. Masseria

(1927-2002, Argentinian) Portrait of a boy in a boat, 1968 Oil on canvas Signed and dated upper left: F.J.J.C. Masseria / 68; with a © lower right; signed and dated again verso 30” H x 24” W $800-1,200

w w w. j o h n m o r a n . c o m 1 6 3

122

Raul Anguiano

(1915-2006, Mexican) “Muchacha de Jamaica,” 1976-1977 Oil on canvas Signed and dated lower left: R. Anguiano / 76-77; signed and dated again and titled, verso 18” H x 14” W $2,000-3,000 Exhibited: Los Angeles, CA, International Student Center, University of California, May 28 - June 4, 1979

1 6 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 6 5

Sonya Fe (b. 1952)

Sonya Fe is a Hispanic-American artist known fo neglect, and women’s roles in society. Born to a descent, she grew up in the William Mead Hous movement. At 13, Fe received a scholarship to a Art Center College of Design in Pasadena, Calif

Her notable exhibition, “Are You With Me?”, dis societal views on women’s and children’s innoce you with me?”

Her pieces have been featured in Forbes Sunsto collections, including those of CCH Pounder, Ch restoration of the Great Wall of Los Angeles, rei

or her impactful works that address social and cultural issues, particularly child abuse, a Jewish-American mother and a father of Narragansett and Mexican-American sing Project in Downtown Los Angeles, where she was influenced by the Chicano art a summer program at Otis College of Art and Design and later earned her B.A. from fornia.

splayed 27 oil paintings and 18 mixed-media drawings, exploring her life and ence. She expressed her desire for viewers to connect with her work, asking, “Are

orm Magazine, Sacramento Magazine, and Sixteen Magazine, and are held in heech Marin, and the Smithsonian Institution. Fe has also contributed to the inforcing her commitment to community and the arts.

123

Sonya Fe

(b. 1952) “The Last Look,” 1987 Oil on canvas Signed and dated lower right: Sonya Fe ‘87; titled on the stretcher 39.75” H x 30” W $2,000-4,000

1 6 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 6 9

124

125

(1886-1946, Mexican) Portrait of a woman in profile, 1904 Watercolor on tan paper Signed and dated lower left: Angel Zarraga / 1904 Sheet: 5” H x 3.5” W

(1913-2003, Spanish) Spanish family in a courtya Oil on canvas Signed lower left: Ignacio 23.75” H x 28.5” W

Angel Zarraga

$500-700

1 7 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

Ignacio Gil y Sala

$800-1,200

ard Gil

w w w. j o h n m o r a n . c o m 1 7 1

126

Howard Everett Smith

(1885-1970) ‘’Going to Market - San Miguel de Allende” Oil on canvasboard Signed lower left: Howard E. Smith; titled verso 12” H x 16” W $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 7 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

127

George Loftus Noyes

(1864-1954) Mexico street scene Watercolor on paper Signed lower right: G. Noyes Sight: 9.5” H x 9” W $400-600

w w w. j o h n m o r a n . c o m 1 7 3

128

Judith Gutiérrez

(1927-2003, Ecuadorian) “Transito de la Virgen Maria,” 1989 Oil on linen Signed and dated lower right: J. GutiÉrrez / 89; signed and dated again, and titled, verso; titled again on a label affixed to the frame’s backing paper 36” H x 30” W $400-600 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 7 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

129

Dan Lutz

(1906-1978) “Capalitta (I),” 1953 Oil on canvas Signed and dated lower right: Dan Lutz / 53; titled on the upper stretcher bar, verso 24” x 20” $500-700

w w w. j o h n m o r a n . c o m 1 7 5

1 7 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

130

Roberto González Goyri

(1924-2007, Guatemalan) Jesus, angels, and worshippers, 1981 Acrylic on panel Signed, dated, and inscribed along the lower edge: To Mr. and Mrs. Nolan with love from Carmen and Roberto / Guatemala - 1981 13.5” H x 11” W $5,000-7,000 Provenance: Mr. and Mrs. Nolan, acquired directly from the artist, 1981

w w w. j o h n m o r a n . c o m 1 7 7

131

Alfredo Ramos Martínez

(1871-1946, Mexican) “La Bienaventurada Virgin Maria,” circa 1900 Pastel on paper Signed lower right: Ramos Martínez 25.5” H x 17” W $10,000-15,000 Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martínez Research Project.

1 7 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 7 9

m be r 2 0, 2024

1 8 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

132

Manner of Juan Manuel “de” Ávila

(active 1753-1765, Spanish) Virgin of Guadalupe, circa early/mid-19th century Oil on canvas with applied silver metal crown and stars to her robe housed in a contemporary gilt, painted and carved wood frame Unsigned 33.25” H x 22” W $5,000-7,000

w w w. j o h n m o r a n . c o m 1 8 3

133

18th Century Spanish Colonial School ‘’La Alegora de la Redencion’’ Oil on metal Unsigned; titled on the frame plaque 14” H x 10” W $1,000-1,500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 8 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

134

A Spanish Colonial bastidor figure of Santa Maria

19th century The polychrome carved wood cage doll figure depicted with left foot above a crescent moon, adorned with later faux pearl earrings and composite necklace 19.75” H x 6.25” W x 5.625” D $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 8 5

1 8 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

135

A Latin American santo bulto figure

Early 20th century The polychrome carved wood female saint figure with articulated forearms, raised on a tiered plinth with gilt accents and mounted polychrome mirror panels painted with floral motifs Overall: 15.375” H x 7.75” W x 3.875” D $700-900 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 8 7

137

A Latin Americ

Early/mid-19th c The polychrome and gilt papier-m Overall: 41.5” H $3,000-5,000

136

A Mexican folk art “Cruz de las Animas” crucifix

Mid/late 19th century Translating to “The Cross of Souls”, the painted wood crucifix depicting the Christ figure flanked by a sun and moon below the dove of the holy spirit and mounted to a wood base depicting pious figures in flames Overall: 15.5” H x 9.125” W x 2.625” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 8 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

can santo bulto figure of Saint Hilarión

century e carved wood figure, adorned in a painted m‚che robe, raised on a tiered wood base H x 16.25” W x 16.25” D

w w w. j o h n m o r a n . c o m 1 8 9

138

A William Spratling tin frame and santo painting

Spanish Colonial School (18th century) ‘’Una Ave Maria’’, a portrait of Jesus Christ and St. John the Baptist Pigment on canvas in tin frame set to linen backing in acrylic case Titled at lower edge Sight: 4” H x 3.5” W; Tin frame: 8.125” H x 7.875” W $600-900 Provenance: Marc Navarro Gallery, Santa Fe, NM The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, December 12, 1999 Notes: This lot is accompanied by a purchase receipt.

1 9 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

139

19th Century Spanish Colonial School Madonna and child Oil on tin Unsigned 14” H x 10” W $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 9 1

140

Spanish Colonial School

A portrait of Saint Dominic de la Calzada Oil on tin mounted to panel Unsigned; Inscribed upper right: “Caritas” Sight: 13” H x 9” W $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 9 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

141

20th Century Spanish Colonial School Portrait of the Virgin Mary Oil on canvas laid to board Unsigned Sight: 5.5” H x 3.625” W $400-600 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 9 3

142

Two Latin American santos bultos figures

19th century The polychrome carved wood female saint figures, each mounted to wooden base, one with articulated fabric arms, the other depicted with raised arms and a wood and twine rosary, 2 pieces Larger: 14.375” H x 6.125” W x 4.5” D; Smaller: 14” H x 5.375” W x 5.125” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

143

Two Latin American sa

19th century The polychrome carved w with hands in prayer, one Larger: 15.25” H x 4.625” $500-700

Provenance: The Collection of David a

1 9 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

144

A Spanish santo figure of Saint Peter

19th century The polychrome carved wood saint figure depicted with liturgical staff in left hand and two keys in the right, mounted to a brick base with wood trim Overall: 20” H x 9.5” W x 6.5” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

antos bultos figures

wood female saint figures mounted with wood bases, each depicted Anima Sola depicted kneeling with mounted legs, 2 pieces ” W x 4.375” D; Smaller: 10.25” H x 5.625” W x 5” D

and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 9 5

145

A Latin American santo mask

Early 20th century Possibly a mask of Jesus Christ, the polychrome and gilt carved wood mask surmounted by a cloth Mother Mary figure centering a gold-toned metal aureola, housed in an acrylic case Case: 27.875” H x 13.875” W x 8.5” D; Mask overall: 23.5” H x 10.25” W x 6.5” D approximately $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 9 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 1 9 7

146

A Mexican polychrome carved wood mask

19th century The wood mask of a bearded man donning a helmet with three arrows centering horns, housed in an acrylic case Case: 21.875” H x 16.875” W x 10.75” D; Mask: 17” H x 11.75” W x 8.25” D approximately $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

1 9 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

148

A Latin American santo figure and mask

20th century Possibly a mask of Jesus Christ, the polychrome and gilt carved wood mask with fabric trim to forehead, mounted at the front with a conforming female figure with articulated legs, depicted with arms folded inwards, housed in an acrylic case Case: 23.875” H x 11.375” W x 8” D; Mask and figure: 19” H x 6.5” W x 6.625” D approximately $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

147

A Latin American santo mask

Late 19th/early 20th century Marked to metal plaque verso: “Mascara Santero” / Found: Las Rosas, Hidalgo The polychrome and gilt carved wood mask mounted with a repoussé metal headpiece centering a floating male bust, housed in an acrylic case Case: 21.75” H x 12.625” W x 5.25” D; Mask: 17.25” H x 6.375” W x 3.5” D approximately $600-800 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 1 9 9

149

Two Guatemalan santos bultos figures of Saint Michael

Early 20th century One dated and marked in paint: Esquipulas / 190[indecipherable] Comprising two polychrome carved wood saint figures mounted with enameled metal wings and headpiece accents, each raised on wood stands, 2 pieces Taller: 17.625” H x 8.375” W x 6.5” D; Shorter: 16.75” H x 9” W x 6.75” D $600-800 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 0 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

150

Two Latin American santos bultos figures

Late 19th/early 20th century Comprising two polychrome carved wood saint figures, one likely Saint Anthony of Padua, depicted holding a book and the Christ child in left hand and mounted with a cut metal nimbus, the other possibly a Cristo figure, each raised on wood stands, 2 pieces Cristo without plinth: 15” H x 5.5” W x 4.5” D; Saint Anthony overall: 14.875” H x 6” W x 4.875” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 0 1

151

A Guatemalan harvest table

Late 19th/ early 20th century The pine wood table of mortise and tenon construction, with single drawer to one side, raised on turned wood legs 31.5” H x 82.5” W x 31.5” D $800-1,200

2 0 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

152

19th Century Latin American School

“Solas de Animas,” circa 1860 Oil on canvas Unsigned; titled and dated on the frame plaque 7.625” H x 5.75” W $700-900 Provenance: Colonial Arts, San Francisco CA The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, February 19, 2003

w w w. j o h n m o r a n . c o m 2 0 3

153

A Mexican Christ child figure and nicho

Early 20th century The polychrome carved wood nicho with upper handle and opposed latchlocking hinged doors, each mounted with a candleholder, revealing a Christ child figure adorned in cloth and holding a globus cruciger Stored: 17.875” H x 10.5” W x 6.25” D $300-400 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 0 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

154

Two Latin American carved wood religious items

18th/19th century Alms marked verso: [illegible] / C.S. / Dia 13 Comprising a Guatemalan polychrome plaque depicting the Agnus Dei (Lamb of God) and a banister in relief, and a handled polychrome alms box depicting the Madonna and child above a figure within the maw of a voracious creature, 2 pieces Alms: 11.875” H x 5.375” W x 3.75” D; Lamb: 10.75” H x 7.375” W x 1.125” D $600-800 Provenance: Agnus Dei: Colonial Arts Antiques, San Francisco, CA The Collection of David and Holly Davis, Pasadena, CA, acquired from the above, March 17, 2008

w w w. j o h n m o r a n . c o m 2 0 5

155

Two Latin American nichos

18th/19th century The polychrome carved wood nichos, comprising one larger with opposed hinged doors revealing a silvered sculptural scene of Santa Maria surrounded by angels within an architectural frame, and one smaller with single hinged door revealing Saint Anthony with the Christ child, each housed in an acrylic case, 2 pieces Larger case: 13.125” H x 14.75” W x 5.875” D; Smaller case: 6.375” H x 6.75” W x 3.625” D $800-1,200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 0 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

156

Two Mexican Cristo nichos

Early 20th century The polychrome carved wood nichos, each housing a crucifix with anterior hinged door and glazed front, one with opposed hinged doors revealing the Cristo figure surrounded by foiled paper flowers and leaves, the interior lined with Christmas wrapping paper, and another revealing a Cristo figure adorned with metal milagros, 2 pieces Larger stored: 15.875” H x 9.25” W x 5” D; Smaller: 14.875” H x 7.75” W x 4.75” D $400-600

w w w. j o h n m o r a n . c o m 2 0 7

157

A Latin American carved wood panel

19th century The wood cabinet door with locking mechanism, depicting a dual headed eagle centering a foliate border, possibly a family crest 25.5” H x 25.75” W x 2.375” D $300-500

2 0 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

158

After Federico Barocci

(1526-1612, Italian) Portrait of the Duke of Urbino as a newborn in 1605 Oil on canvas Unsigned; with a descriptive title painted along the upper edge of the canvas; with a hand-written information sheet affixed to the stretcher, verso 29.25” H x 36.25” W $1,500-2,500 Notes: This work is based on Federico Barocci’s original painting of 1605. Depicted here as an infant, Federico Ubaldo della Rovere, the Duke of Urbino, who died in 1623, when he was just 18 years old.

w w w. j o h n m o r a n . c o m 2 0 9

159

A Spanish Colonial carved wood santo figure

Likely 18th century; Latin America The carved wood figure, possibly Saint Christopher carrying the infant Christ, depicted with flowing robes 9.25” H x 3.875” W x 2.875” D $300-500

2 1 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

161

A Guatemalan gilt metal altar icon

Late 19th/early 20th century The cut tin mount, possibly processional, with repoussé accents, depicting a Madonna and Child centering an elaborate aureola border, mounted to a standard with incised floral motifs and raised on a scalloped base, surmounted by a cross and adorned with four bells 12.5” H x 7.625” W x 3.375” D $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 1 1

162

A group of Mexican carved wood masks

19th/early 20th century; Oaxaca, Mexico Each unmarked Comprising five carved wood masks, four with polychrome, each set on custom metal display stands, 5 pieces Largest: 9.5” H x 6.125” W x 4.5” D; Smallest: 7.5” H x 5.25” W x 3.625” D $400-600 Literature: Christine Mather and Sharon Woods, “Santa Fe Houses” (Pottery Style, 2002), p. 22

2 1 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

163

A group of Mexican polychrome masks

Late 19th/20th century The group of ceremonial dance masks, comprising a carved wood tecuani jaguar mask, another carved wood jaguar mask with inset reverse painted glass eyes, a carved wood human mask with thick eyebrows, and a wrought metal human mask with felt lining and applied hair, together with a Nepalese mask, 5 pieces Largest: 11.75” H x 6.625” W x 3.625” D $200-400 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 1 3

164

A Spanish-style wrought iron cross marker

Early/mid-20th century The handwrought cruciform marker with sunburst and possibly figural dove accents 41” H x 24” W $200-400

2 1 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

165

A New Mexican carved wood Cristo

Late 19th century Possibly by Santero Juan Miguel Herrera (1835-1905), the polychromed carved Jesus figure mounted to an ebonized wood cross above a turned wood base 27.75” H x 14” W x 7” D $1,000-2,000

w w w. j o h n m o r a n . c o m 2 1 5

166

A group of Latin American Cristos figures

18th/19th century The Spanish Colonial group of Cristos comprising a possibly Peruvian altar screen of painted green wood and yellow tin embellishments, a later painted pink carved wood Jesus of Nazareth, a carved wood darker figure on yellow cross, a green painted wood cross with repoussé silver flourishes at the terminuses and figure adorned with embroidered fabric and lace, and an earlier carved figure on an ebonized cross, 5 pieces Largest: 23.25” H x 12.25” W x 5” D; Smallest: 16.25” H x 7.375” x 4.5” D $500-700

2 1 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

167

A Mexican santo bulto figure

19th century Marked to metal plaque under bench: “Santo Tarasco Ojos De Jade” / Found: Patza Raro Michoacan The polychrome and gilt carved wood saint figure depicted seated on a bench decorated with floral motifs and holding a human mask in one hand and possibly a bowl in the other, featuring inset jade eyes Overall: 18.25” H x 13” W x 9.5” D $600-800 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 1 7

168

A Latin American santo bulto figure and nicho

Late 19th/early 20th century Comprising a polychrome and gilt carved wood saint figure, depicted with an enameled ceramic devil figure in each hand, and a wood nicho with glazed front and hinged rear door, each mounted on a custom black acrylic base, 3 pieces Santo: 24.5” H x 17” W x 9.75” D; Nicho: 11.625” H x 6.625” W x 4.75” D; Base: 4” H x 24.25” W x 11.125” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 1 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

169

Two Latin American santos figures of Santa Maria

Late 19th century Comprising two polychrome carved wood figures of the Mother Mary, one depicted holding the Christ child with gilt accents verso, the other with arms outstretched, each raised on a wood plinth, 2 pieces With child: 8.125” H x 2.875” W x 2.375” D; Shorter: 8” H x 2.875” W x 2.875” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 1 9

170

Two Latin American santos figures of Saint Michael

Late 19th/early 20th century Comprising two polychrome carved wood saint figures, one depicted with metal wings and a sword, the other with gilt wings and poised to strike against a Lucifer figure, 2 pieces Taller: 20.75” H x 12” W x 8.5” D; Shorter: 18.25” H x 7.75” W x 5.75” D $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 2 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

171

Three Latin American santos figures

20th century Raphael illegibly signed and inscribed; dated: © 94; further marked: San Raphael Arcangel / For Paty Comprising a polychrome carved wood figure of Saint Raphael, depicted with a fish in one hand and a staff in the other, set in a wood base and flanked by a carved wood angel and an angel with carved wood articulated torso and gilt metal wings above an enameled metal base, each with articulated arms, 3 pieces Raphael overall: 16.25” H x 10” W x 9” D; Larger angel: 16” H x 7” W x 5.75” D $500-700 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 2 1

172

A group of Guatemalan carved wood figures

Circa 19th century or earlier Comprising four figures, two set on an enameled metal stand, one a slingshot 4 pieces Largest figure: 10” H x 2.75” W x 2” D; Smallest figure: 5.875” H x 1.5” W x 2.25” D $300-500

2 2 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

173

A group of Guatemalan slingshots

Early 20th century The carved wood figures, each raised on enameled metal stands, comprising two owls, a twisted horse head, a rabbit, a bird, and another animal figure, 6 pieces Tallest overall: 6.25” H $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 2 3

174

A group of Guatemalan slingshots

Early 20th century The carved wood figures, one raised on an enameled metal stand, comprising a pregnant female figure, a figure surmounted by a water jar, a horse figure, a chicken figure, a monkey figure, a dog figure, and a donkey figure with later strap and woven sling, 7 pieces Tallest: 6.375” H $300-500

2 2 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

175

A group of Guatemalan slingshots

Early 20th century The carved wood figures, each raised on enameled metal stands, comprising three monkey figures, a bird figure, a jaguar figure, a sporting male figure, an explorer figure, and two other mammalian animal figures, 9 pieces Tallest: 7.5” H $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 2 5

176

A group of Guatemalan slingshots

Early 20th century The carved wood figures, each raised on enameled metal stands, comprising two jaguar figures, a lion figure, an armadillo figure, a monkey figure, a horse head figure, a fish figure, and another mammalian animal figure, 8 pieces Longest: 6.75” L $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 2 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

177

Frederick Davis collection: A group of silver dollhouse miniatures

Late 19th/20th century Table faintly marked with kanji or hanzi characters A large group of diminutive dollhouse household items including candlesticks, tongs, serving dishes, a harp, a saddle, and a table, 17 pieces Largest: 2 1/4” H; smallest: 3/4” H 115.6 grams gross $300-500 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m 2 2 7

178

A Guatemalan Nahuala table

Late 19th/early 20th century The carved wood table of mortise and tenon construction, with three drawers and anterior turned legs, the front featuring motifs of flora and fauna and a wine glass, with incised mammalian-form legs 25” H x 42.5” W x 19.25” D $800-1,200

2 2 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

179

A Guatemalan carved wood box

Early/mid-20th century The wood box with dovetail joints and mounted lid, the front panel featuring incised double-headed peacocks above a smaller peacock 16.5” H x 30.75” W x 14.625” D $500-700 179 A Guatemalan carved wood box Early/mid-20th century The wood box with dovetail joints and mounted lid, the front panel featuring incised double-headed peacocks above a smaller peacock 16.5” H x 30.75” W x 14.625” D $500-700

w w w. j o h n m o r a n . c o m 2 2 9

180

A Mexican dance costume of San Rafael

Early 20th century; Oaxaca The polychrome painted canvas suit mounted with conformingly polychromed carved wood fish figures, mounted to a linen-backed acrylic case Sight of canvas: 43” H x 38.5” W x 6.5” D $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 3 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

181

A Latin American loving cup

Early 20th century The silver alloy vase form with opposed scrolling handles and beaded scalloped rim above banded floral and basket weave motifs to the body, over a domed foot 11.625” H x 11.125” W x 8” D $500-700

w w w. j o h n m o r a n . c o m 2 3 1

182

A Latin American folk art devil figure

Late 19th/early 20th century The polychrome carved wood winged and horned figure of the devil, raised on a tiered wood plinth Overall: 23” H x 12.5” W x 11” D $300-500 Provenance: The Collection of David and Holly Davis, Pasadena, CA

2 3 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

183

A group of Peruvian Chancay dolls

Early 20th century The dolls constructed from mixed fabrics, comprising two groups of three conjoined figures mounted to a handled canvas backing, one housed in an acrylic box, and a solo doll with reed hands wrapped in cotton thread, 3 pieces Largest in case: 11.75” H x 10.875” W x 3.25” D; Smallest: 4.375” H x 5.375” W x 1.5” D $100-200 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 3 3

184

Three Latin American folk art figures

Early 20th century Marked to undersides: Monkey / Ram / Maximan The polychrome carved wood articulated figures with knotted rubber joints, comprising a humanoid ram and monkey and a male figure, each set on a wood base, 3 pieces Each overall: 13.5” H x 5.875” W x 4.125” D approximately, dimensions variable $400-600

2 3 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

185

A group of Latin American folk art skeleton and devil figures

20th century Possibly Guatemalan, the polychrome carved wood folk art figures, each with articulating limbs, comprising two skeletons donning a top hat, each with an ajitz figure brandishing a hatchet, two conjoined devil and skeleton figures, and one three-headed conjoined skeleton and devil, together with three associated staffs, 5 pieces Largest: 19.125” H x 4.625” W x 5.75” D; Smallest: 9.375” H x 3.25” W x 1.5” D $400-600

w w w. j o h n m o r a n . c o m 2 3 5

186

A Guatemalan pottery garden pot

Early 20th century The large ceramic vessel with a flared neck and piecrust rim above opposed lug handles with applied animal figures in relief and the body with floral medallions in relief 25” H x 25.5” W x 22.5” D $400-600

2 3 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

187

A Guatemalan pottery garden pot

Early 20th century The large ceramic vessel with a flared neck and piecrust rim above opposed lug handles with applied animal figures in relief, the body with impressed designs 23.25” H x 25” W x 20.5” D $400-600

w w w. j o h n m o r a n . c o m 2 3 7

188

A Mexican worktable

Early 20th century The Spanish-style white-washed wood table of mortise and tenon construction, with two drawers raised on turned wood legs 30.75” H x 54.5” W x 31.5” D $500-700

2 3 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

189

A Guatemalan harvest table

Early 20th century The dark wood table of mortise and tenon construction, with single drawer to one side, raised on turned wood legs 30.5” H x 66.25” W x 31.5” D $700-900

w w w. j o h n m o r a n . c o m 2 3 9

190

A Pre-Columbian Mayan mushroom figural stone carving

Circa 600-900 AD; Guatemala The carved stone religious item with shamanic figure to one side and tripod base 10.5” H x 5.25” W x 5.25” D $1,000-1,500

2 4 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 2 4 1

191

A Pre-Columbian pottery figure

Pre-100 AD; Jalisco, West Mexico The terracotta ceramic hollow-body figure depicted seated in a pensive pose, with a headpiece and incised facial features 13.75” H x 8.5” W x 10.125” D $1,500-2,500

193

A Pre

1st ce The ho crosse 17.5”

$2,000

2 4 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

192

A Pre-Columbian Colima pottery effigy vessel

Pre-100 AD; Colima, West Mexico The hollow-bodied ceramic figural vessel depicted seated with neck protrusion, incised x pattern to torso body, and incised banded designs around face 14.25” H x 10.125” W x 10.25” D $1,200-1,800

3

e-Columbian Colima pottery effigy vessel

entury AD; Colima, West Mexico ollow-bodied ceramic figural vessel depicted seated with arms ed and incised facial features H x 8.75” W x 9.375” D

0-3,000

w w w. j o h n m o r a n . c o m 2 4 3

194

A Pre-Columbian Colima pottery dog figure

100 BC-300 AD; West Mexico The hollow-body terracotta ceramic figure with red mineral glaze, depicted scratching its ear, featuring incised facial features and paws 8.375” H x 9.5” W x 7.75” D $1,500-2,500

2 4 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 2 4 5

195

A Pre-Columbian Colima pottery dog effigy

Pre-100 AD; West Mexico The figural terracotta ceramic vessel, with hollow body, red mineral glaze, flared rim, and incised details throughout 11.75” H x 6.875” W x 8.75” D $1,000-1,500

2 4 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

196

A Pre-Columbian Calima alcarraza pottery vessel

Circa 200 BC; Colombia The hollow-bodied ceramic vessel with double spout and handle above five domicile-form protrusions with incised details 10” H x 9.25” Dia. approximately $800-1,200

w w w. j o h n m o r a n . c o m 2 4 7

197

Two Pre-Columbian Colima pottery figures

Pre-100 AD; West Mexico The ceramic figures with elaborate headpieces, applied discs to shoulders, and incised facial features, 2 pieces Taller: 13.25” H x 6.625” W x 1.875”D; Shorter: 12.125” H x 7” W x 2” D $800-1,200

2 4 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

198

Paula Santiago

(b. 1969, Spanish) Untitled, De la serie: “Quitapesares 2” (From the series: “Consolation 2”) Rice paper, hair, and blood on marble plinth with glass case Unmarked Dress: 15” H x 15” W x 5.5” D approx.; Case: 24.75” H x 19” W x 11.25” D $1,000-1,500 Provenance: Iturralde Gallery, Los Angeles, CA The Collection of Ralph and Sheila Pickett, acquired from the above, July 29, 1999 Exhibited : Iturralde Gallery, Los Angeles, CA, “MOAN,” July 15-August 21, 1999

Notes: A portion of the proceeds from the sale of this collection will go to benefit the Institute of Contemporary Art San Jose, San Jose, CA w w w. j o h n m o r a n . c o m 2 4 9

199

A Mexican banded blanket

Mid-20th century Woven in multicolor wool in alternating bands on a beige ground 63” H x 67” W $200-400

2 5 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

200

A Brazilian carved wood trestle table

Early 20th century The wood work table raised on trestle supports joined by lateral stretchers 33.625” H x 69.5” W x 27.5” D $1,000-1,500

w w w. j o h n m o r a n . c o m 2 5 1

201

A Pre-Columbian Tairona pottery effigy vessel

Circa 800 AD; Colombia The blackware ceramic footed vessel with figural bat adorned with phallic jewelry to one end and an animal mouth pouring spout to the other end 9.5” H x 9.5” W x 6.25” D $500-700

2 5 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

202

A Pre-Columbian Tairona pottery effigy vessel

Circa 900 AD; Colombia The hollow-bodied ceramic mammalian figural vessel depicted bearing its teeth, with incised X-pattern details to body and central handle at top 9” H x 11.75” W x 7.5” D $500-700

w w w. j o h n m o r a n . c o m 2 5 3

203

A Pre-Columbian Tairona pottery effigy vessel

Circa 900 AD; Colombia The blackware ceramic figural footed vessel featuring a feline head with incised details to one side and flared rim spout to the other, bridged by a handle 9.75” H x 10.5” W x 4.875” D $400-600

2 5 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

204

A Pre-Columbian Nayarit pottery figure

100-300 AD; West Mexico The ceramic female figure with incised facial features, hair, and ear adornments, featuring polychrome geometric motifs throughout 24.75” H x 11.625” W x 9.75” D $1,500-2,500

w w w. j o h n m o r a n . c o m 2 5 5

205

A Pre-Columbian Nayarit polychrome pottery figure

1st century AD; West Mexico The partial ceramic seated figure depicted with splayed legs, featuring incised facial features and polychrome adornments in a geometric pattern 4 pieces Torso: 13” H x 16.5” W x 9.5” D; Head: 8.25” H x 6.375” W x 3.875” D $2,000-3,000

2 5 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

206

A Pre-Columbian Nayarit pottery figure

1st century AD; West Mexico The terracotta figure with red mineral glaze, depicted with bulbous protrusions to torso and incised details to top of head 8.5” H x 7.25” W x 7.125” D $1,000-1,500

w w w. j o h n m o r a n . c o m 2 5 7

207

A Pre-Columbian Nayarit pottery figure

1st century AD; West Mexico The terracotta figure of a pregnant female, with red mineral glaze, and incised details to head, depicted seated and wearing a necklace 9” H x 4.375” W x 6.25” D $1,000-1,500

2 5 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

208

Rodolfo Nieto

(1936-1985, Mexican) Untitled (owl), 1963 Watercolor and pencil on paper Signed lower right: Nieto; signed again, dated, and inscribed “P-A-1963-7” in ink on the verso Image/Sheet: 12.625” H x 9.75” W $1,500-2,000 Provenance: Sold: Rossini Auctions, Paris, France, “Modern and Contemporary Art,” December 8, 2020, Lot 93

w w w. j o h n m o r a n . c o m 2 5 9

2 6 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

209

Rodolfo Nieto (1936-1985, Mexican) Four works:

Untitled, circus scene (red) Woodcut in red ink on BFK Rives paper Edition: 30/125 Signed and numbered in pencil in the lower margin, at left: Nieto Image: 9.5” H x 9.5” W; Sheet: 10” H x 10” W Untitled, circus scene (indigo) Woodcut in indigo ink on BFK Rives paper Edition: 29/125 Signed and numbered in pencil in the lower margin: Nieto Image: 9.5” H x 9.5” W; Sheet: 9.75” H x 10” W Untitled, circus scene (green) Woodcut in green ink on BFK Rives paper Edition: 45/125 Signed and numbered in pencil in the lower margin, at left: Nieto Image: 9.5” H x 9.5” W; Sheet: 10.25” H x 10” W Untitled, circus scene (brown) Woodcut in brown ink on BFK Rives paper Edition: 35/125 Signed and numbered in pencil in the lower margin: Nieto Image: 9.5” H x 9.5” W; Sheet: 10.25” H x 9.75” W $1,000-1,500

w w w. j o h n m o r a n . c o m 2 6 1

210

Jesús Guerrero Galván

(1910-1973, Mexican) “Nino,” 1962 Charcoal on Arches paper Signed and dated lower right: J. Guerrero Galván / 1962; titled by repute Sheet: 30” H x 22” W $1,500-2,000

2 6 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

211

Raul Anguiano

(1915-2006, Mexican) Young girl in a dress, 1946 Brown ink on cream-colored paper Signed and dated in brown ink near the center of the left edge: R. Anguiano / 1946 Sight: 21” H x 17.5” W $700-900

w w w. j o h n m o r a n . c o m 2 6 3

212

A Pre-Columbian Chancay chuchimilco figural urn

14th Century; Peru The polychrome ceramic effigy vessel depicting a seated figure with elaborate headdress and incised and slip-painted accents 18.25” H x 10.25” Dia. approximately $1,000-1,500

2 6 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

213

A Pre-Columbian Chancay chuchimilco pottery figure

14th Century; Peru The terracotta ceramic figure of a moon goddess, with black and white painted accents, banded motifs to face, and incised facial features 24” H x 12.25” W x 5.25” D $800-1,200

w w w. j o h n m o r a n . c o m 2 6 5

214

A Pre-Columbian Jama-Coaque pottery effigy vessel

Circa 200 BC; Ecuador The ceramic vessel depicting an animal-nosed large-headed dwarf figure donning a cuirass and headpiece, with incised facial features 9” H x 6.75” W x 6.5” D $800-1,200

2 6 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

215

A Pre-Columbian Jama-Coaque pottery effigy vessel

Circa 200 BC; Ecuador The sculptural ceramic vessel in the form of a mythic being, with elaborate facial adornments 6.875” H x 6.875” W x 6.5” D $500-700

w w w. j o h n m o r a n . c o m 2 6 7

216

A Pre-Columbian pottery masked figure

600-800 AD; Guatemala/Venezuela Possibly Veracruz or Mayan, the Mesoamerican ceramic warrior figure with separate zoomorphic mask with incised features, set on a custom enameled metal stand, 3 pieces Figure: 5.875” H x 4.625” W x 3.625” D; Mask: 3.5” H x 2” W x 2.375” D $1,000-1,500

2 6 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

217

A Pre-Columbian Mayan ceramic figure

Circa 600-700 AD; Tiquisate, Guatemala The molded ceramic figure depicted with legs crossed and an elaborate headpiece, set on an enameled metal and wood stand Ceramic: 9.75” H x 5” W x 3.875” D; Stand: 7.625” H x 6.5” W x 5.5” D $700-900

w w w. j o h n m o r a n . c o m 2 6 9

218

A Pre-Columbian Mayan ceramic figure

Circa 600-700 AD; Tiquisate, Guatemala The molded ceramic female figure depicted with an elaborate headpiece and necklace, set on an enameled metal and wood stand Ceramic: 8” H x 4.875” W x 4.5” D; Stand: 3.75” H x 5.875” W x 5.875” D $600-900

2 7 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

219

Three Pre-Columbian Mayan ceramic figures

Circa 600-700 AD; Tiquisate, Guatemala The molded ceramic items comprising a monkey head and two figures depicted with elaborate headpieces, each set on an enameled metal and wood stand, 3 pieces Largest ceramic: 5.625” H x 3.5” W x 2.125” D; Smallest ceramic: 2.75” H x 2.875” W x 2” D $600-800

w w w. j o h n m o r a n . c o m 2 7 1

220

A vintage three-piece “mariachi” suit

Mid/late 20th century In a traditional “traje de charro” style, the black wool suit comprisied of a short jacket with a leather applique leather eagle motif verso, together with a matching vest/waistcoat and trousers, each with elaborate soutache braid embroidery and scalloped white leather edge trim, and the vest and jacket sleeves with striped glazed cotton lining, 3 pieces Jacket: 21 1/4” L (center back); 14” W (across shoulders); sleeves: 25” L approximately; Vest: 18 1/2” L (center back); 17 1/2” W (at waist); Trousers: 16” W (waist); 43” H (side leg); inseam: 32” H $600-800 Notes: From the early 20th century, male mariachi bands have typically worn “ traje de charro,” or the traditional clothing of the cowboys of Jalisco, consisting of matching uniforms with tight, ornamented trousers, boots, wide bow ties, sombreros, and short jackets.

2 7 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

221

An embellished “Traje de Luces” matador set

Early/mid-20th century The heavy “suit of light” chaquetilla jacket and pants, in reddish brown satin and stretch fabric, covered in ornate metal thread embroidery and sequins, featuring beaded shoulder embellishments with tassels and bullion fringe and drawstring tassels to ankles, and a striped cotton lining, 2 pieces Jacket: 16 3/4” L (center back); 14 1/2” W (inner shoulders); sleeves: 25” L approximately; trousers: 13” W (waist); 33 1/2” L (side leg); inseam: 21” L $400-600 Provenance: The Estate of Sergei Bongart

w w w. j o h n m o r a n . c o m 2 7 3

222

Two Mexican carved wood doors

Early 20th century The double-sided doors of mortise and tenon construction joined by hinges, featuring friezes depicting floral and avian motifs, cherubs, and a church, surmounted by later carved accents and finials Each panel: 79” H x 18.625” W x 2” D $800-1,200

2 7 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

223

A pair of Mexican polychrome turned wood vases

Early 20th century The shorter marked to shoulder: Mexico The turned wood urn-form vases with mounted flared necks, featuring painted banded kiva step and motifs to shoulder and base centering poppy motifs, one depicting the Mother Mary with gilt accents, the shorter depicting a bull fighter in an arena, each likely painted by the same hand, 2 pieces Larger: 14.625” H x 5.75” Dia.; Smaller: 11.25” H x 5.875” Dia. $200-400

w w w. j o h n m o r a n . c o m 2 7 5

224

A Pre-Columbian Mayan ceramic figure

Circa 600-700 AD; Tiquisate, Guatemala The molded ceramic female figure depicted with an elaborate headpiece and necklace, set on an enameled metal and wood stand Ceramic: 6.625” H x 5.125” W x 3.125” D; Stand: 5.875” H x 4.125” W x 4.125” D $400-600

2 7 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

225

A Pre-Columbian Mayan ceramic figure

Circa 600-700 AD; Tiquisate, Guatemala The molded ceramic figure depicted with an elaborate headpiece and necklace, set on an enameled metal and wood stand Ceramic: 5.275” H x 3.75” W x 2.625” D; Stand: 6.125” H x 3.125” W x 3” D $400-600

w w w. j o h n m o r a n . c o m 2 7 7

226

A Pre-Columbian Quimbaya pottery slab figure

Circa 800 AD; Colombia The ceramic figure with perforated and incised accents, featuring a hand-wrought gold alloy nose piece with repoussé dotted border 11.875” H x 7” W x 4.25” D $1,000-1,500

2 7 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

227

A Pre-Columbian pottery effigy vessel

Circa 100 AD; Ecuador The possibly Panzaleo ceramic figural vessel, depicted seated and holding a small cup, with incised facial features and polychrome stripes to left side of face and body 14.25” H x 8” W x 8” D $800-1,200

w w w. j o h n m o r a n . c o m 2 7 9

228

A Pre-Columbian Chorrera pottery effigy vessel

600-400 BC; Ecuador The globular ceramic vessel with central whistling spout and mounted zoomorphic figure with incised facial details 6.375” H x 6.875” Dia. $600-800

2 8 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

229

A Pre-Columbian Tairona pottery effigy vessel

Circa 900 AD; Colombia The blackware ceramic basket-form vessel with large handle, featuring opposed mammalian protrusions with incised facial features 7.875” H x 8.625” W x 6.5” D $700-1,000

w w w. j o h n m o r a n . c o m 2 8 1

230

A group of Pre-Columbian Sinu gold earrings

Circa 900 AD; Colombia Comprising ten pairs and one single earring, housed in a glazed cardboard box with foam padding, 21 pieces Largest: 4.875” W; Smallest: 1” W 61.1 grams gross $1,800-2,200

2 8 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

231

A group of vintage Guatemalan-style “Chachales” pendants

Late 19th century or later Unmarked Comprising four cast silver-toned pendants with central coins and suspending various animal milagros figures, including birds and fishes, 4 pieces Largest: 5” H x 2 7/8” W; smallest: 3” H x 1 3/4” W 162.8 grams gross $500-700

w w w. j o h n m o r a n . c o m 2 8 3

232

A group of Pre-Columbian Sinu gold earrings

Comprising ten pairs and one single earring, housed in a glazed cardboard box with foam padding, 21 pieces Largest: 4.875” W; Smallest: 1” W 61.1 grams gross $1,800-2,200

2 8 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

233

A group of Mexican mixed metal items

One cuff and box marked: Mexico Comprising two Casa Maya-style cuff bracelets, one with carved chipped stone mask and accent stones, and one in hammered copper with stylized figure in brass metal, as well as a mixed metal humidor-style box featuring a hinged lid with a metal figural mask motif and blue and green stone inlay, with wood lining to interior, 3 pieces Cuffs: 7 1/4” inner C x 2 3/4” H and 6 1/2” inner C x 2 3/8” H; box: 1 1/8” H x 6 5/8” W x 4” D 669.2 grams gross $200-400

w w w. j o h n m o r a n . c o m 2 8 5

234

Two South American Aymara ceremonial carved wood bowls

19th/early 20th century; Peru/Bolivia Comprising two chicheros, or “marriage bowls,” one with two bovine figures at middle and scalloped design to shoulder, the other with single mammalian figure and opposed handles, 2 pieces Larger: 3” H x 9.5” Dia.; Smaller: 2.5” H x 7.25” W x 5.75” D $300-500

2 8 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

235

A Los Castillo silvered brass bowl

Mid-20th century; Taxco, Mexico Marked to underside: Los Castillo Taxco / Handwrought / Hecho en Mexico / 250 The three-compartment foliate-form bowl with handle inlaid in green and blue hardstone 4.875” H x 16.625” W x 12.375” D $200-400

w w w. j o h n m o r a n . c o m 2 8 7

236

A Pre-Columbian Tumaco-La Tolita figural pottery fragment

Circa 200 BC-200 AD; Ecuador The ceramic fragment of a larger figure, possibly depicted hoisting an object on its head, with incised facial features 8.25” H x 9.25” W x 5” D $400-600

2 8 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

237

A Pre-Columbian Capulí pottery coquero figure

Circa 900 AD; Narino-Carchi, Colombia/Ecuador The ceramic figure of a male dignitary chewing coca-leaf, depicted seated on a stool and adorned with face paint and a diagonal sash with geometric motifs 7” H x 4.125” W x 4.375” D $500-700

w w w. j o h n m o r a n . c o m 2 8 9

238

A Pre-Columbian Capulí pottery effigy vessel

Circa 10th-15th century; Narino/Carchi, Colombia/Ecuador The gourd-form polychrome ceramic vessel with hollow body, featuring an incised mask in relief to one side and painted geometric motifs to body 14.375” H x 9.75” Dia. approximately $300-500

2 9 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

239

A Pre-Columbian Jama-Coaque pottery effigy vessel

Circa 200 BC-200 AD; Ecuador The ceramic vessel in the form of an animal-nosed figure donning an elaborate cuirass, headdress, and other adornments, with incised facial features 12.75” H x 10” W x 7.5” D $700-900

w w w. j o h n m o r a n . c o m 2 9 1

240

A Pre-Columbian Capulí pottery effigy urn

Circa 900 AD or 1200-1400 AD; Narino-Carchi, Colombia/Ecuador The ceramic bullet-form urn with flared rim, incised bust in relief to one side, and polychrome geometric motifs to body, set in a metal stand Urn: 21.5” H x 8” Dia. approximately; Stand: 6.5” H x 7.375” Dia. $600-800

2 9 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

241

A Tikal-style mosaic hardstone mask

Mid-20th century The Mayan-style reproduction carved jasper over clay mask, with incised accents to elaborate headpiece, mounted to an acrylic stand Mask: 11.75” H x 8.375” W x 3.5” D; With stand: 19.75” H x 8.375” W x 4.25” D $200-400 Provenance: The Collection of David and Holly Davis, Pasadena, CA

w w w. j o h n m o r a n . c o m 2 9 3

242

Lydia Quezada (b. 20th century, Mexican)

A Mata Ortiz polychrome pottery vase, early 21st Century Incised signature to underside: Lydia Quezada The vase with elaborately shaped rim, featuring black and red swirling motifs on a cream slip glaze 14.625” H x 9.5” Dia. $400-600 Provenance: Chimayo Trading & Mercantile, Chimayo, NM Private Collection, acquired from the above, August 3, 2006 Notes: This lot is accompanied by a purchase receipt.

2 9 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

243

Two Mata Ortiz pottery ollas Two works:

Gregorio “Goyo” Silveira (b. 1978) A redware pottery olla, early 21st century Incised signature to underside: Goyo Silveira The jar with rounded bottom and flared rim, featuring black banded alternating eagle feather, whirlwind, and rain cloud motifs on burnished red 12.75” H x 13” Dia. Betty Quezada (b. 20th century) A blackware pottery olla, early 21st century Incised to underside: Betty Quezada The jar with rounded bottom and flared rim, featuring red banded feather and geometric motifs on burnished black 15.25” H x 15.5” Dia. 2 pieces $200-400

w w w. j o h n m o r a n . c o m 2 9 5

244

Two Mata Ortiz pottery vessels Two works:

Silvio Silviera (b. 20th century) A blackware pottery olla, late 20th century Incised signature to underside: Silvia Silveira The water vessel with black on black banded feather motifs to body and shoulder 9.25” H x 11” Dia. Reynalda Quezada de Lopez (b. 20th century) A blackware pottery jar, late 20th century Incised signature to underside: Reynalda Quezada L The vessel with indented rim and various black on black geometric motifs to body and shoulder 6.625” H x 9.25” Dia. 2 pieces $200-400

2 9 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

245

A group of Mata Ortiz pottery vessels Three works:

Santanita Suazo (1925-2005) A small blackware bowl, mid-20th century Signed: Santanita Suazo / [illegible] The bowl with black on black banded geometric motifs below rim 2.5” H x 3.625” Dia. Joel Silveira (b. 20th century) A blackware pottery vase, mid-20th century Incised to underside: Joel The round-bottom vase with flared rim and black on black geometric motifs 7.125” H x 7” Dia. A blackware pottery bowl, mid-20th century Unmarked The bowl with black on black banded feather and geometric motifs 3.25” H x 6.125” Dia. 3 pieces $200-400

w w w. j o h n m o r a n . c o m 2 9 7

2 9 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

246

A group of Casas Grandes pottery vessels Seven works:

Juana Quezada (b. 20th century) Two polychrome pottery ollas, early 21st century Each incised to underside: juana quezada The three-color flat round jars, one with red and brown geometric motifs, the other with banded feather motifs, each on a tan slip glaze, 2 pieces Larger: 4.125” H x 4.375” Dia.; Smaller: 3.375” H x 4.375” Dia. Octavio “Tavo” Silveira (b. 20th century) A sideways spouted polychrome pottery olla, early 21st century Incised to underside: Tavo Silveira The flat round three-color vessel with angled spout, depicting red and brown feather and geometric motifs on a tan slip glaze 5.125” H x 7.5” W x 7” D A diminutive pottery vessel, late 20th/early 21st century Incised signature to underside possibly reading: Delia Vizeano The pot with black banded feather motif to shoulder over a red wash 2” H x 3” Dia. A small Anasazi-style pottery jar, mid-20th century Marked to underside: Acoma N.M. The jar with brown fine line motifs over a white slip glaze 3.125” H x 3.875” Dia. Two polychrome pottery ollas, late 20th century The larger with illegible possible signature to underside Comprising two three-color jars with red and brown geometric motifs on a tan slip glaze, 2 pieces Larger: 9.625” H x 10” Dia.; Smaller: 5.375” H x 6” Dia. 7 pieces total $300-500

w w w. j o h n m o r a n . c o m 2 9 9

247

Four Mata Ortiz pottery vessels Four works:

Jose L. Quezada (b. 20th century) A blackware lizard effigy vessel, late 20th century Incised signature to underside: Jose L Quezada The vessel with opposed lizards in relief with sgraffito details above black on black kiva step motifs 5.375” H x 8.125” Dia. Manuel G. Quezada (b. 20th century) A blackware olla jar, late 20th/early 21st century Incised signature to underside: Manuel G. Quezada The jar with black on black geometric motifs 5.75” H x 7” Dia. Lila Silveira (b. 20th century) A redware low jar, late 20th century Incised signature to underside: Lila Silveira The vessel with black on red geometric motifs 3” H x 5.125” Dia. A small blackware jar, late 20th century Unmarked The jar with sgraffito indentations below a flared rim and black on black geometric motifs to body 3.5” H x 3.875” Dia. 4 pieces $200-400

3 0 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 3 0 1

Raul Coronel

(1871-1946, Mexican)

Raul Coronel was a Mexican sculptor and stonew Coronel was a diverse potter and known for his and bottles, to tableware and hand-built planter and business settings. Coronel attended the Un Arts & Crafts in Oakland, CA, where he worked his B.A. at the California State University, Los An of Southern California. Coronel opened up a ce Coronel, Stoneware Designs,” later becoming “ as “Raul Coronel Incorporated” in Venice, Califo References: https://www.craftinamerica.org/artis https://www.eichlernetwork.com/article/grand-g

ware designer. Influenced by Mexican, Mesoamerican, African, and Greek Art, abstract approach. His wide array of work varied from functional wheel-thrown pots rs, lamps, and wall screens, as well as stoneware clay wall murals for both domestic niversity of Hawaii in 1951 where he studied art and then studied at the College of alongside Peter Voulkos and studied under Marguerite Wildenhain. He completed ngeles, and would later continue his studies, receiving his M.F.A. at the University eramic studio and store in Los Angeles on Melrose Avenue called “Raul Angulo “Stoneware Designs Incorporated.” In the early 1980s, Coronel’s company reformed ornia. He retired approximately 1994. st/raul-coronel/ guru-clay

248

Raul Coronel (1926-2022, Mexican)

A “peacock” glazed stoneware bowl, 1980 Incised signature and date: raul The large pottery low bowl with interior magenta floral medallion centering banded wavy and denticulate motifs over Coronel’s signature “peacock” glaze 4.25” H x 20” Dia. $300-500 Notes:

3 0 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

249

Dolores Porras (1937-2010, Zapotec-Bën Za)

An earthenware mermaid charger, late 20th century; Oaxaca Unsigned The polychrome glazed pottery charger depicting a mermaid figure, with incised details and facial features in relief 2.375” H x 12.875” Dia. $200-400

w w w. j o h n m o r a n . c o m 3 0 5

250

A Tarahumara hide dance drum and beater

Early/mid-20th century; Chihuahua, Mexico The wood frame wrapped in goat hide to each side, with a hide handle to upper edge, together with a wood and hide beater Drum: 4.375” H x 33” Dia.; Beater: 11.25” L $400-600

3 0 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

251

A group of Emilia Castillo silver and porcelain serving items

Late 20th century; Taxco, Mexico Each marked for Emilia Castillo (b. 20th century, Mexican), daughter of Antonio Castillo, founder of Los Castillo; tray marked in sterling medallion: Sterling [in an eagle cipher] / TO-85; each bowl marked in overlay: [three fish] / M.R. / Plata Pura / Mexico / 95; bowls further alternately marked: 10 / 8; utensils marked: TO-85 / Mexico M.R. / Plateado Comprising a long oval serving tray with opposed mounted sterling silver jaguar head masks (3.375” H x 24.375” W x 9.875” D), two bowls decorated with silver overlay figural fish, one with scalloped rim (3.5” H x 9.625” Dia.), another octagonal (4” H x 9.375” W x 9.375” D), and two silver-plated salad serving utensils (each: 12.5” L approx.), 5 pieces $400-600

w w w. j o h n m o r a n . c o m 3 0 7

252

An Airedelsur alpaca silver milk and sugar service

Late 20th/early 21st century; Argentina Each marked to underside: Airedelsur / Made in Argentina The silver alloy set, each with carved horn handles, comprising a milk pitcher (4.625” H x 3.75” W x 2.75” D) and a lidded sugar (4.625” H x 3.625” W x 3.625” D), set on a tray with opposed handles (1.625” H x 12.125” W x 5.25” D), 3 pieces $200-400

3 0 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

253

Ricardo del Rio

(b. 1961, Mexican) Horsehead sculpture for D’Argenta Silver-plated resin composite and lacquer Edition: 430/500 Signed in the casting: del Rio; with incised edition 13.5” H x 13.75” W x 5.25” D $500-700

w w w. j o h n m o r a n . c o m 3 0 9

254

Ricardo del Rio

(b. 1961, Mexican) Horsehead sculpture for D’Argenta Gold-washed silver-plated resin composite and lacquer Edition: 355/500 Signed in the casting: del Rio; with incised edition; D’Argenta sticker applied to underside 13.5” H x 13.75” W x 5.25” D $500-700

3 1 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

255

Ricardo del Rio

(b. 1961, Mexican) Reclining tiger for D’Argenta Silver-plated resin composite and lacquer Edition: 45/500 Signed illegibly in the casting; further marked: D’Argenta / Internacional / Mexico; with incised edition 10.875” H x 22” W x 14.75” D $400-600

w w w. j o h n m o r a n . c o m 3 1 1

256

Oshra Michan

(b. 1956, Israeli/Mexican) “Passion” for D’Argenta Silver-plated resin composite and lacquer Edition: 46/500 Signed in the casting: Oshra; with incised edition Overall: 27.25” H x 9.25” Dia. $300-500

3 1 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

257

Two Mexican Talavera pottery jars

20th century; Puebla, Mexico Each unsigned Comprising a large baluster-form jar with opposed scrunched ribbon handles, one side featuring a painted polychrome basket with fruits, the other side depicting two birds and floral motifs, and a smaller jar with banded Chinese-style blue foliate motifs centering polychrome flowers, 2 pieces Larger: 19.5” H x 15” W x 12.5” D; Smaller: 10.375” H x 8.25” Dia. $500-700

w w w. j o h n m o r a n . c o m 3 1 3

258

A Juvento Lopez Reyes sterling silver footed gravy boat

Mid-20th Century Stamped for sterling and for Juvento Lopez Reyes: Made in Mexico The handled sauce server with foliate motifs to upper rim and edge of foot 4.75” H x 8.5” W x 4.25” D 11.9 oz. troy approximately $200-400

3 1 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 3 1 5

259

Sergei Bongart

(1918-1985) Portrait of a young girl Oil on canvas Unsigned 30” H x 24” W $300-500 Provenance: The Estate of Sergei Bongart

3 1 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

260

Sergei Bongart

(1918-1985) Portrait of a young girl in green Oil on board Unsigned 30” H x 24” W $300-500 Provenance: The Estate of Sergei Bongart

w w w. j o h n m o r a n . c o m 3 1 7

261

Sergei Bongart

(1918-1985) Portrait of a woman with a rose in her hair Oil on board Unsigned 30” H x 24” W $300-500 Provenance: The Estate of Sergei Bongart

3 1 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

262

Patricia LeGrande

(1941-2024) Portrait of a mother and child Oil on canvas Signed lower left: P.D. LeGrande 48” H x 36 W $300-500 Provenance: The Estate of Sergei Bongart

w w w. j o h n m o r a n . c o m 3 1 9

3 2 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 3 2 1

264

A set of Tane sterling silver and vermeil “Pescador” jewelry

Late 20th century Two stamped: Tane / ME 32 / MEX / 925; earrings: Mexico / 925 / C-24_ Comprising a “gargantilla pescador” chunky silver rope twist fisherman torsade necklace with a vermeil clasp, together with a matching “pulsera pescador” bracelet and a similar pair of sterling silver earrings, 4 pieces Necklace: 16 1/4” inner C; bracelet: 7” inner C; earrings: 1/2” Dia. 306.2 grams $800-1,200 Notes: This lot accompanied by a purchase receipt from Tane, Mexico, dated March 1998.

3 2 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

265

A group of Antonio Pineda Mexican silver jewelry

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; further stamped: [Eagle 17] / Silver / Hecho en Mexico / 970 Two works comprising a sterling silver necklace with rectangular concave links and a chunky sterling silver bracelet with square deeply concave links, 2 pieces Necklace: 17” L x 5/8” H; bracelet: 7 1/4” L x 7/8” H 248.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 127, plate 149.

w w w. j o h n m o r a n . c o m 3 2 3

266

An Antonio Pineda Lascaux-motif silver belt buckle

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Eagle 17; further stamped: Silver / Hecho en Mexico / 970 / PZ150 A rectangular belt buckle featuring a relief of a Lascaux-inspired hunting scene, with two clasps 3 pieces Buckle: 2 3/4” H x 5 7/8” W 229.4 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 2 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

267

An Antonio Pineda Mexican silver and amethyst brooch

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; further stamped: [Eagle 17] / Hecho en Mexico / Silver / 970 A knotted sterling silver brooch/pendant suspending seven silver trumpet dangles tipped with amethyst 4 1/4” H x 1.5” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 115, plate 132.

w w w. j o h n m o r a n . c o m 3 2 5

268

An Antonio Pineda Mexican silver and amethyst brooch

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Stamped with crown for Antonio Pineda; further stamped: [Eagle 17] / Silver / Mexico / PR234 A sterling silver floriform “bunched trumpets” brooch with cascading stems suspending silver and amethyst drop “buds” 4 1/4” H x 1 1/8” W 62.7 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 117, plate 136.

3 2 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

269

A group of Antonio Pineda Mexican silver and amethyst jewelry

Antonio Pineda (1919-2009) Circa 1953-1979 and 1962-1963; Taxco, Mexico Each with crown mark for Antonio Pineda; further variously stamped: [Eagle 3] / [Eagle 17] / [Eagle 58] / Hecho en Mexico / 970 / Silver / PR527 / Los Castillo Soc Coop Scl Sec 2 Comprising a sterling silver ribbon bow brooch suspending trumpet style silver drops tipped with amethyst, as well as an amethyst swirl brooch and a carved amethyst ring, 3 pieces Brooches: 4 1/8” H x 2 1/2” W and 1 3/4” Dia.; ring size: 6 1/2 101.8 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 154, plate 211.

w w w. j o h n m o r a n . c o m 3 2 7

270

A Carmen Beckmann Mexican silver and opal cuff bracelet Carmen Beckmann (b. 20th century) Circa 1960-1980; San Miguel de Allende, Mexico Stamped: Bekmann / Mexico / Sterling A chunky sterling silver hinged cuff with multiple bezel-set fire opal cabochons, with silver balls and rope wire accents 6 1/2” inner C x 2 5/8” H 134.8 grams gross $800-1,200

3 2 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

271

A William Spratling Mexican silver ring

William Spratling (1900-1967) Taxco, Mexico Circa 1939, First Design Period; Taxco, Mexico Stamped for William Spratling; further stamped: Taxco / 980 A chunky sterling silver domed ring customized with later added commemorative seal with musical instrument motifs Ring size: 6 1/2 24.0 grams gross $300-500

w w w. j o h n m o r a n . c o m 3 2 9

272

A group of Mexican silver bracelets including Pineda and Aguilar 3 works:

Antonio Pineda Circa 1941-1950 and 1953-1979; Taxco, Mexico Each variously marked: AP / Taxco / [crown mark] for Antonio Pineda / Hecho en Mexico / Silver / 970 / ZZ661 / [Eagle 17] Comprising a domed silver cuff, and a narrow chased silver cuff with dog bone terminals, 2 pieces Larger: 6 3/4” inner C x 7/8” H; smaller: 5 5/8” inner C x 1 3/8” H Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA / Taxco; further marked: Silver / Mexico [to later added plaque] A chunky “pyramid and three beads” link bracelet 6 1/4” inner C x 1” H 3 pieces total 176.3 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 64, fig. I -111.

3 3 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

273

Two Fred Davis Mexican silver and amethyst bracelets

Frederick W Davis (1880-1961) Circa Pre-1948; Taxco, Mexico Each stamped: FD / Mexico; further variously stamped: Silver / Sterling Comprising a silver quatrefoil link bracelet with five large set amethyst cabochons, and a narrow link bracelet with tapered oval links and small amethyst cabochons, 2 pieces Larger: 8” L x 3/4” H; smaller: 7 1/4” L x 1 1/4” H 91.2 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 3 1

274

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD / Silver / Made in Mexico / Sterling Comprising two stylized flower motif brooches set with carved amethyst flowers, and a stylized foliate floral repoussé silver brooch, 3 pieces Largest: 3” H x 3 1/2” W; smallest: 2 1/2” H x 3 1/4” W 87.0 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 3 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

275

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Circa pre-1948; Mexico City, Mexico Each stamped: FD / Silver / Made in Mexico Comprising two stylized silver and carved amethyst floral sprig brooches, as well as a vermeil silver floral sprig brooch set with a large amethyst cabochon, 3 pieces Largest: 3” H x 4 1/4” W; smallest: 2 1/8” H x 3” W) 107.7 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 3 3

276

A group of Fred Davis Mexican silver and amethyst brooches

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Each stamped: FD; further variously stamped: Silver / Mexico / Made in Mexico / Sterling Four works comprising stylized silver brooches of various motifs with set amethysts including a rectangular Art Deco-style brooch, a bow motif brooch, a silver swirl brooch with large amethyst cabochon, and a small angel pin, 4 pieces Largest: 1 1/2” H x 3 1/8” W; smallest: 1 3/8” H x 1 1/8” W) 69.8 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 3 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

277

A group of Los Castillo Mexican silver link bracelets

Circa 1940-1945 and 1948-1962; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / [Design numbers: 441; 468; 521] Comprising three wide sterling silver link bracelets in various floral, foliate, and scrolled motifs, 3 pieces Largest: 7 3/4” inner C x 1 3/8: H; smallest: 6” inner C x 2” H 223.5 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 3 5

278

A group of Los Castillo “Mosaico Azteca” Zodiac silver jewelry

Circa 1950-1965; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Mosaico Azteca / [Eagle 15] / 114 / Made in Mexico / 838 / Hecho en Mexico / SCL / Cooperative Six works in sterling silver with blue and green hardstone inlay in Zodiac motifs, including two Pisces brooches, a Pisces pendant on a chain, and a Pisces belt buckle, together with a Sagittarius brooch and a pendant, 6 pieces Each brooch/pendant: 1 1/2” Dia.; buckle: 1 1/4” H x 1 3/8” W 140.3 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 3 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

279

A Los Castillo Mexican silver necklace

Circa 1940-1945; Taxco, Mexico Stamped: Los Castillo / Taxco / Sterling / Made in Mexico / 261 A sterling silver link necklace with wave and ball motif riveted links 19” L x 1 1/8” H 173.4 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 108, pl. VI-22.

w w w. j o h n m o r a n . c o m 3 3 7

280

A group of William Spratling silver and gem-set jewelry

William Spratling (1900-1967) Circa 1933-1939, 1940-1946, 1964-1967; First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; further variously stamped: Made in Mexico / Silver / Taxco / 980 / 925 / Taxco Mexico / [Eagle 30] Six works comprising a triple strand silver bead necklace, a domed silver ring, two silver disc brooches, one with incised triskele motifs, as well as a pair of silver bow earclips and a pair of onyx-set earclips, 8 pieces Necklace: 16” L; ring size: 5 1/2; brooches: 1 1/2” Dia. and 1 /14” Dia.; earrings: 3/4” H 123.4 grams gross $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 3 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

281

A set of Margot de Taxco Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Three works in sterling silver and multicolored enamel designed by Margot Van Voorhies, comprising a “Small Flower and Leaf” collar link necklace with yellow enamel flower motif, together with a matching link bracelet and earclips (No. 5871), 4 pieces Necklace: 17 5/8” L x 5/8 “H; bracelet: 7 1/2” inner C x 5/8” H; earrings: 1” H 98.8 grams gross $700-900 Provenance: The Collection of Cindy Tietz-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 155, pl. IX-5, IX-6; 184.

w w w. j o h n m o r a n . c o m 3 3 9

282

A Mexican sterling silver link concho belt

Mid-20th century Stamped: Sterling / Mexico A delicate chain link belt featuring square silver links with curved wire overlay designs and silver ball edging 33” L x 7/8” H; buckle: 1 3/8” H 92.7 grams $300-500

3 4 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

283

A Hector Aguilar “Georgia O’Keefe” concho belt

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Buckle stamped: HA [conjoined] / Taxco / 940 Similar to a belt worn by Georgia O’Keefe in her studio portrait, comprising four “X” shaped conchos alternating with five large fixed dimpled silver studs set on a wide black suede belt, with a sterling silver buckle 27 1/2” L x 2” H; each concho: 2 1/4” H x 3 3/4” W 235.2 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 107, fig. III-24; 108, fig. III-26.

w w w. j o h n m o r a n . c o m 3 4 1

284

A Hector Aguilar Mexican silver concho belt

Hector Aguilar (1905-1986) Circa 1943-1948; Taxco, Mexico Buckle stamped: HA [conjoined] / Sterling / Made in Mexico Comprising nine “X” conchos set on a wide black leather belt, with a narrow sterling silver buckle Conchos: 1 3/4”” H x 2” W; belt: 37” L x 1 3/4” H 301.1 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 107, fig. III-24; 108, fig. III-26.

3 4 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 3 4 3

285

A Hector Aguilar Mexican silver necklace

Hector Aguilar (1905-1986) Circa 1948-1962; Taxco, Mexico Stamped: HA [conjoined]; Taller Borda / .940 / Taxco / Mexico / [Eagle 9] An abstract sterling silver necklace with oval links and raised silver overlay and ball accents 17” L x 3/4” H 107.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 92, fig. II-47.

3 4 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

286

A Hector Aguilar Mexican silver necklace

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA / Made in Mexico / Sterling A sterling silver collar necklace with incised solid silver drop links 14” L x 3/4” H 71.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 64, fig. I-108.

w w w. j o h n m o r a n . c o m 3 4 5

287

A group of Los Castillo Mexican silver jewelry

Mid/late 20th century; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / 560 [design number] Four works comprising a sterling silver leaf motif link necklace, with a similar design link bracelet, as well as a leaf brooch and a matching pair of pierced earrings, 5 pieces Necklace: 16 1/2” L x 5/8” H; bracelet: 7 1/4” L x 5/8” H; brooch: 1” H x 2” W; earrings: 1 1/8” H 147.6 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 4 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

288

A group of Los Castillo Mosaico Azteca silver and hardstone jewelry

Circa 1950-1965; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / Mosaico Azteca / [Eagle 15] Three works in sterling silver and azurmalachite inlay comprising a narrow link necklace (No. 122), as well as two link bracelets (No. 121), each with square links and diagonal bands of stone inlay, 3 pieces Necklace: 14” inner C x 3/8” H; bracelets: 6 1/2” inner C x 5/8” H and 6” inner C x 5/8” H 149.5 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 4 7

289

A group of Los Castillo Mexican silver jewelry

Circa 1940-1945 and1948-1962; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / [Design number] Comprising a sterling silver collar necklace with openwork fringed heart motif links (No. 411), a chunky incised silver collar necklace with ornate scrollwork links (No. 543), and a sterling silver scrolled wave-form foliate link bracelet (No. 475), 3 pieces Necklaces: 16 1/2” L x 1 1/8” H and 14 1/2” L x 7/8” H; bracelet: 6 1/4” inner C x 1 1/2” H 245.9 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 4 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

290

A set of Ana Maria Nuñez Brilanti / Victoria Mexican silver jewelry

Ana Maria Nuñez Brilanti (c.1910-1999) Circa 1948-1958; Taxco, Mexico Each marked: Victoria / Taxco / Mexico / Sterling / 107 [design number] Three works in sterling silver comprising an intricate stylized foliate/feather and ball motif collar necklace, together with a matching bracelet and a pair of earrings, 4 pieces Necklace: 16 1/8” L x 1 1/8” H; bracelet: 6 1/2” inner C x 1 1/8” H; earrings: 1 1/8” H 152.2 grams

$200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 4 9

291

A group of Ana Maria Nuñez Brilanti / Victoria silver jewelry

Ana Maria Nuñez Brilanti (c.1910-1999) Circa 1948-1975; Taxco, Mexico Each variously marked: Victoria / Mexico / Taxco / Sterling / Cony / 142 / [Eagle 12] Comprising a sterling silver link necklace with scrolled overlay motifs, as well as a matching link bracelet and silver belt buckle, 3 pieces Necklace: 16” L x 3/4” H; bracelet: 6 1/2” L x 3/4” H; buckle: 1 5/8” H x 2” W 166.3 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 5 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

292

A set of Ana Maria Nuñez Brilanti / Victoria Mexican silver jewelry

Ana Maria Nuñez Brilanti (c.1910-1999) Circa 1948-1958; Taxco, Mexico Each stamped: Victoria / Taxco / Mexico / Sterling / 53 [design number] Comprising an openwork shadowbox link necklace with scrollwork motifs, as well as a matching link bracelet, 2 pieces Necklace: 15 1/2” L x 5/8” H; bracelet: 6 3/4” inner C x 3/4” H 109.2 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 5 1

293

A group of Casa Maya “Sputnik” brass and copper jewelry

Mid-20th century Belt marked to clasp hook ring: Maya [indistinct] / Mexico Comprising a long studded round brass and copper link “Sputnik” belt, as well as a matching bracelet and pair of earrings, 4 pieces Belt: 36 1/2” L; bracelet: 10” L x 1 3/4” H; earrings: 1 3/8” H 374.1 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 5 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

294

A group of Hubert Harmon Mexican silver and amethyst jewelry

Hubert Harmon (1913-2004) Circa 1944-1948; Mexico City, Mexico Each stamped for Hubert Harmon, sterling, and Mexico Five works in sterling silver comprising a scrolled wave-form link bracelet with set amethyst cabochons as well as a pair of matching earrings, together with a rectangular link bracelet with rope wire accents, a pair of fish motif cuff links, and a hook motif key chain with fish dangle, 7 pieces Bracelets: 7 1/2” L x 3/4” H and 7” L x 3/4” H; earrings: 1 1/8” H; cuff links: 1 1/2” H; key chain: 4 1/2” H 107.6 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 5 3

295

A group of Hubert Harmon mixed metal jewelry

Hubert Harmon (1913-2004) Circa 1942-1948; Mexico City, Mexico Each marked: Hubert Harmon / Mexico Four works comprising a corded black leather belt with brass snake head hook buckle and “rattle” brass tip, as well as a two-piece “snake heads” gem-set brass buckle with fish dangles, and a brass “barefoot” buckle, together with an associated red leather belt with brass hook end clasp, 5 pieces Snake belt: 28” L x 1 1/4” H; snake buckle: 3” H x 7 1/8” W; foot buckle: 2” H x 4 1/4” W; belt: 31” L 271.7 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 5 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

296

A group of Mexican mixed metal jewelry including Hubert Harmon

Hubert Harmon (1913-2004) Circa 1942-1948; Mexico City, Mexico Two marked: Hubert Harmon / Mexico; one with elephant hallmark; buckle marked: Mexico Four works comprising two pairs of Hubert Harmon delicate brass earrings, together with a pair of round brass earrings with stone cabochons, and a two-piece “snake heads” gem-set brass buckle with fish dangles, 8 pieces Buckle: 3” H x 7 1/2” W; earrings: 1 1/2” H to 1” Dia. 103.3 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 5 5

297

A group of mixed metal jewelry including Hubert Harmon

Hubert Harmon (1913-2004) Circa 1942-1948; Mexico City, Mexico Four works comprising a large Hubert Harmon “barefoot” brass belt buckle, as well as two further brass and copper fish motif buckles, with gem set eyes, and a two-piece Maya “snake heads” gem-set brass buckle with fish dangles, 5 pieces Largest: 3 3/8” H x 5 5/8” W; smallest: 2 5/8” H x 4” W; double buckle: 3” H x 7” W 257.4 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 5 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

298

A Hector Aguilar Mexican silver link necklace

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA [conjoined] / 940 / Taxco A collar necklace comprised of small pierced “Half-oval” links joined by incised bands 17” L x 7/8” H 108.8 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 65, fig. I-112.

w w w. j o h n m o r a n . c o m 3 5 7

299

A Hector Aguilar Mexican silver link necklace

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA [conjoined] / Taxco / 940 Comprising a modernist collar necklace with domed square plaque links 15 1/4” L x 1” H 99.1 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 5 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

300

A group of Hector Aguilar Mexican silver belt accessories

Hector Aguilar (1905-1986) Circa 1948-1962 ; Taxco, Mexico Buckle stamped: HA [conjoined] / 940 / Taxco / [Eagle 9]; conchos unmarked Comprising a segmented narrow tan leather belt with a two-piece rectangular belt buckle with stud accents and two joining links, as well as ten silver belt conchos, each formed from incised openwork discs with an arabesque design, and a silver belt clasp, 12 pieces Buckle: 1 : H x 4 1/8” L; belt: 31” L; each concho: 2 3/8” H x 2 3/4” W; clasp: 2 3/8” H x 2 1/2” W 317.7 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 5 9

3 6 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

301

A group of Hector Aguilar Mexican silver conchos

Hector Aguilar (1905-1986) Mid-20th century; Taxco, Mexico Each concho unmarked [marks normally found on original clasp] Comprising eight belt conchos, each formed from incised openwork discs with an arabesque design, as well as four silver belt clasps of various sizes and designs, 12 pieces Each concho: 2 3/8” H x 2 3/4” W; clasps: 1 15/16” H to 1 3/8” H 184.2 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 6 1

302

A Fred Davis silver and obsidian mask panel necklace

Frederick W Davis (1880-1961) Pre-1948; Mexico City, Mexico Stamped: FD [conjoined] / Made in Mexico / Silver A chunky collar link necklace with inset carved obsidian mask motifs 14” L x 7/8” H 115.0 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 6 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 3 6 3

303

A set of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986); Taxco, Mexico Circa 1940-1945 and 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / Mexico / [Eagle 9] Comprising a chunky sterling silver link necklace with knotted ribbon motif links, together with a matching link bracelet, 2 pieces Necklace: 16 1/2” L x 7/8” H; bracelet: 7” L x 3/4” H 165.2 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 98, fig. III-3.

3 6 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

304

Two Hector Aguilar Mexican silver and turquoise bracelets

Hector Aguilar (1905-1986) Circa 1940-1945 and 1953-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] Comprising two sterling silver double-width chain link bracelets, each with set stones, 2 pieces Larger: 7 3/4” L x 5/8” H; smaller: 7 1/2” L x 5/8” H 77.6 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: A similar design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 149, fig. III-133.

w w w. j o h n m o r a n . c o m 3 6 5

305

A group of Mexican silver and set stone bracelets

Mid-20th century Each marked for maker, for silver, and for Mexico Comprising two Clna [?] silver leaf-motif link bracelets with set amethyst cabochons, and an Emma Melendez sterling silver link bracelet with silver overlay arabesque motifs with silver ball accents, 3 pieces Largest: 7 1/4” inner C x 2 “ H; smallest: 6” inner C x 1 1/8” H 193.2 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 6 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

306

A group of Mexican silver bracelets Six works:

Bernice Goodspeed (d. 1971) Mid-20th century; Taxco, Mexico Stamped: B / Sterling / Taxco / [Eagle 28] A stylized leaf-form link bracelet with silver ball accents 6 1/2” inner C x 3/4” H Los Castillo Circa 1940-1945, 1948-1965; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / [Design number] 105M / 504 / 579 / 800 / 802 Comprising five Los Castillo sterling silver link bracelets in various designs including geometric, wave-form, scrolled, and figural stylized serpent motifs, 5 pieces 6 pieces total 234.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 6 7

307

A group of Mexican silver bracelets

Mid/late 20th century Two variously marked for maker, for sterling, and for Mexico; further variously marked: [Eagle 15] / [Design number] Comprising a Los Castillo hinged cuff bracelet with openwork figural mask motif, an Ana link bracelet with silver overlay stylized animal motifs, and an unmarked chunky Margot de Taxco-style incised link bracelet, 3 pieces Largest: 6 3/4” inner C x 1 1/2” H; smallest: 6” inner C x 2” H 227.1 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 6 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

308

A group of Los Castillo Mexican silver jewelry

Mid/late 20th century, Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [design number]; two stamped: [Eagle 15] Comprising two sterling silver fish motif brooches (No. 514 and 514c) and a similar design ring, each with aqua glass cabochons, and a swirl motif cuff bracelet (No. 701) with green glass cabochons, 4 pieces Brooches: 2” and 1 7/8” H x 3 3/8” W; cuff: 6 1/4” inner C x 1 1/8” H; ring size: 4 1/2 121.4 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 6 9

309

A Gustavo Martinez Mexican silver and gem-set cross pendant

Gustavo Martinez (b. 20th century) Mid/late 20th century, Mexico City, Mexico Stamped: GM / Hecho en Mexico / Coy. D. F. / Sterling / Mexico / [coyote icon] A Matl-style filigree pendant with set amethyst and turquoise and an articulated small plaque, on an associated chain, 2 pieces 3 1/2” H x 2 1/2” W; chain: 43.5” L 41.4 grams gross $200-300

3 7 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

310

A group of Los Castillo Mexican silver brooches

Mid/late 20th century; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Design number] 143 / 110 / 150 / 980 / 149 Comprising five large, incised sterling silver brooches with foliate or feather motifs, including a pair of “Pendulous Flower” sweater brooches joined with a central clasp, 6 pieces Largest: 4 3/4” H x 1” W; smallest: 1 1/4” H x 2 7/8” W 188.0 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 8, pl. F-3.

w w w. j o h n m o r a n . c o m 3 7 1

311

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco Comprising a chunky silver link bracelet with X-motif links as well as three “Clipped Coin” link bracelets, or alternatively a bracelet and necklace, as well as extra links, 5 pieces Bracelets: 6 1/2” L x 1” H; 7” L x 5/8” H; 9” L x 3/4” H and 7 7/8” L x 3/4” H; as a necklace: 17” L 184.9 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23; 102, fig. III-12.

3 7 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

312

Three Mexican silver and stone set link bracelets

Mid-20th century Two stamped: Mexico / Silver; one stamped: Sterling / 0.925 Comprising two chunky leaf-form graduated link bracelets, each with a large set stone cabochon, one amethyst, and one greenstone, as well as a sterling silver quatrefoil link bracelet with set amethyst cabochons, 3 pieces Largest: 7” L x 1 1/8” H; smallest: 6 1/2” L x 1 1/8” H 165.5 grams gross $200-400

w w w. j o h n m o r a n . c o m 3 7 3

313

Frederick Davis collection: A group of silver accessories

Early/mid-20th century Three marked for sterling and for Mexico Comprising two large ornate incised openwork sterling silver hair ornaments and two money clips, each with a Mexican coin attached, one in silver and one in stainless steel, as well as a rectangular silver box, and a early 20th century Mexican 50 centavos bank note, 6 pieces Combs: 2 1/4” H x 3 3/8” W; largest clip: 2 3/8” H x 1 /12”; box: 3/4” H x 5 3/4” W x 1 3/8 “D 238.1 grams gross $200-300 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

3 7 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

314

Frederick Davis collection: A group of Mexican silver jewelry

Mid-20th century Variously marked: 925 / Sterling / Mexico / Taxco / Los Castillo / [Eagle 15] / MigueG / 925; four unmarked Ten works comprising nine silver rings in various styles and sizes, including seven with set stones such as amethyst, onyx, and tigers eye, as well as a pair of Los Castillo figural mask cuff links with greenstone inlay, 11 pieces Largest ring size: 9 3/4; smallest: 6 3/4; cuff links: 3/4” H 140.5 grams gross $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m 3 7 5

315

A group of Matl Mexican silver jewelry

Matilde Poulat (c. 1900-1960) Circa 1934-1948; Mexico City, Mexico Each marked: Matl Four works designed by Matilde Poulat comprising a two-piece sterling silver repoussé belt buckle; a pair of silver earrings with set coral cabochons and filigree edging, and two scroll and dot motif small brooches, 5 pieces Buckle: 1 7/8” H x 2 1/4” W; earrings: 1 1/4” H; brooches: 5/8” H x 1 5/8” W 57.9 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 7 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

316

A group of Los Castillo Mexican silver and stone inlay jewelry

Circa 1950-1965; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / Mosaico Azteca / [Eagle 15] / [Design number] Six works comprising a chunky silver bead necklace suspending a greenstone inlay cross pendant (No. 139), together with three sterling silver and azurmalachite link necklaces in various designs, including heart motif links, curved links with drops (No. 137), and leaf-form links (No. 113), as well as a pair of matching leaf-form earrings, and a single heart motif earring, 7 pieces Necklaces: 19” L to 15 1/2” L; earrings: 1 1/4” H and 1” H 236.1 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 89, fig. VI-21. w w w. j o h n m o r a n . c o m 3 7 7

317

A group of Margot de Taxco Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Three stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Four works in sterling silver and multicolored green and mélange enamel designed by Margot Van Voorhies, comprising a “Narrow Leaves” bamboo motif collar necklace, with a matching link bracelet and a pair of earrings (No. 5906), as well as a “Green Leaf” brooch (No. 5405), 5 pieces Necklace: 17” L x 1 1/2” H; bracelet: 7” inner C x 3/4” H; earrings: 1 3/8” H; brooch: 2” H x 2” W 115.7 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 7, pl. F-2; 9, pl. F-5; 172; 186.

3 7 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

318

A group of Mexican silver jewelry

Mid/late 20th century Each variously marked for maker, for sterling and for Mexico; further marked: Taxco / [Eagle 183] / Tasco Comprising a Fortino Mota sterling silver eagle motif disc pendant, together with two Horacio de la Parra sterling silver repoussé mask brooches, one with a carved stone profile and one with a stone dangle, as well as a Rafael Melendez pendant/brooch with central amethyst cabochon, and a 980 silver overlay sunburst brooch with multiple set greenstone cabochons, 5 pieces Largest: 3 1/4” H x 2” W; smallest: 1 3/4” H x 1 3/8 “W 158.0 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 7 9

319

Two Los Castillo Mexican silver necklaces

Mid/late 20th century; Taxco, Mexico Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Design number] / [Eagle 15] Comprising two sterling silver link necklaces, one designed with intertwined arabesque links, and one designed with wave-form scroll and ball links (No. 122), 2 pieces Larger: 18 1/2” L x 1 1/8”H; smaller: 15 1/2” L x 3/4” H 200.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 8 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

320

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco Comprising a sterling silver figure-8 knot link necklace, with a matching link bracelet, as well as a chunky incised sterling silver X-motif link bracelet, 3 pieces Necklace: 17” L x 5/8” H; bracelets: 7 1/2” inner C x 5/8” H and 6 3/4” inner C x 1” H 212.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23.

w w w. j o h n m o r a n . c o m 3 8 1

321

Two Hector Aguilar Mexican silver link bracelets

Hector Aguilar (1905-1986) Circa 1940-1948; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / /990 / Taxco Comprising a narrow “Book and Three Beads” scroll link bracelet, together with a chunky “Pyramid and Three Beads” link bracelet, 2 pieces Larger: 6 3/4 “ inner C x 5/8” H; smaller: 6” inner C x 1” H 159. 4 grams gross $600-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 32, fig. I-32; 64, fig. I -111.

3 8 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

322

Two Margot de Taxco Mexican silver bracelets

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / 5280; one further stamped: [Eagle 16] Designed by Margot Van Voorhies comprising two chunky link bracelets, each with elaborate geometric overlay motifs, 2 pieces Each: 6 1/2” inner C x 1 1/2” H 183.0 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 3 8 3

323

A group of Margot de Taxco Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Five works in sterling silver and multicolored enamel designed by Margot Van Voorhies, comprising an elaborate “Codex Nuttall Shell” green mosaic enamel foliate necklace (n. 5611), together with a “Roman Patrician” classical profile portrait brooch in black and brown enamel (No. 5826), 2 pieces Necklace: 16” L x 1” H; brooch: 3” H x 2 1/4” W 190.0 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 38; 39, pl. 25; 143, pl. VIII-16.

3 8 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

324

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945, 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / Sterling / Made in Mexico / [Eagle 9] Comprising two chunky sterling silver “Ornamented Squares” bracelets and a pair of matching earrings, 4 pieces Each bracelet: 6 1/2” inner C x 7/8” H; earrings: 7/8” H 183.2 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 68, fig. I-117.

w w w. j o h n m o r a n . c o m 3 8 5

325

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945, 1943-1962, 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / Taxco / 940 / [Eagle 9] / Mexico / Taller Borda Five works in sterling silver comprising a chunky X-motif bracelet with dimpled dots, a chunky X-motif bracelet with rounded spheres, as well as two chain link bracelets with pre-Colombian-style incised foliate motif plaques, and a pair of matching earrings, 6 pieces Largest: 7 1/4” inner C x 7/8” H; smallest: 6” inner C x 1 1/4” H; earrings: 1 1/4” H 314.7 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23; 98, fig. III-4.

3 8 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

326

A group of Hector Aguilar Mexican silver brooches

Hector Aguilar (1905-1986) Circa 1943-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / Made in Mexico / Sterling / [Eagle 9] / TB [conjoined, for Taller Borda] Comprising five sterling silver brooches in various designs including a fish brooch with set onyx cabochon, a floriform branch brooch with set greenstones, a curvilinear threedomes pin, a “Bar Braid” pin and a feather pin, 5 pieces Largest: 1 1/4” H x 3 1/8” W; smallest: 3/4” H x 1 3/4” W 97.1 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 131, fig. III-90; 150, fig. III-138.

w w w. j o h n m o r a n . c o m 3 8 7

327

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945 and 1953-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] Comprising a chunky sterling silver “Clipped Coin” link belt, with removable and adjustable hook links to enable use as a necklace, together with a pair of similar design earrings, 3 pieces Belt: 27” L x 1” H; earrings: 7/8” Dia. 206.6 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 102, fig. III-12.

3 8 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

328

A set of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1943-1948; Taxco, Mexico Each variously stamped: HA [conjoined] / Made in Mexico / Sterling / TB [for Taller Borda] A chunky “V-chain” link necklace together with a matching chain link bracelet, 2 pieces Necklace: 16 3/4” L x 3/4 “ H; bracelet: 8” L x 3/4” H 127.3 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 39, fig. I-51; 63, fig. I-107.

w w w. j o h n m o r a n . c o m 3 8 9

329

A set of Gabriel Flores for Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Gabriel Flores (b. 20th century; son-in-law of Hector Aguilar) Circa 1948 or later; Taxco, Mexico Two stamped: GF [conjoined] / 940 / Taxco / Mexico / [Eagle 9] / Taller Borda; one marked HA / 940 / Taxco Three works comprising a Taller Borda wave-form scroll and ball link collar necklace, as well as a matching bracelet and pair of similar design Hector Aguilar earrings, 4 pieces Necklace: 14 1/4” L x 1/2” H; bracelet: 7 1/4” L x 1/2” H; earrings: 1 3/8” H 134.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3 9 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

330

Three Hector Aguilar Mexican silver link bracelets

Hector Aguilar (1905-1986) Circa 1940-1945, 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] Comprising a chunky X-motif bracelet with dimpled dots, a narrow “Book and Three Beads” scroll link bracelet, and a “Slim Bands and Beads” narrow link bracelet, 3 pieces Largest: 7 1/4” inner C x 5/8” H; smallest: 5 1/2” inner C x 5/8” H 198.9 grams $600-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23; 32, fig. I-32; 132, fig. III-92.

w w w. j o h n m o r a n . c o m 3 9 1

331

A Hector Aguilar Mexican silver link bracelet

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA [conjoined] / 940 / Taxco A chunky “Maguey” sterling silver link bracelet with ornate incised silver links 6.25” L x 1.25” H 87.8 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 62, fig. I-103.

3 9 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

332

Two Hector Aguilar Mexican silver cuff bracelets

Hector Aguilar (1905-1986) Circa 1940-1945 and 1943-1948; Taxco, Mexico Each variously stamped: HA [conjoined] / Made in Mexico / Sterling Comprising a chunky woven braid cuff with five-ball ends, and a narrow woven braid cuff with three-ball ends, 2 pieces Larger: 6 3/4” inner C x 1 1/4” H; smaller: 6 3/4” inner C x 7/8” H 106.3 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 89, fig. II-39.

w w w. j o h n m o r a n . c o m 3 9 3

333

A group of William Spratling Mexican silver and amethyst jewelry

William Spratling (1900-1967) Circa 1944-1946, 1956-1962, 1964-67; First and Third Design Periods; Taxco, Mexico Each stamped for William Spratling; further variously stamped: Silver / Made in Mexico / Sterling / 925 / Taxco / Mexico / [Eagle 63] Six works comprising two sterling silver link bracelets with tubular links bordered by silver balls, as well as a carved amethyst tulip brooch, a chunky silver ring with set amethyst cabochon, and two pairs of silver screw-back earrings, one pair with amethyst dangles, 8 pieces Bracelets: 7” inner C x 1/2” H and 6 1/4” inner C x 1/2” H; brooch: 1” H x 2.375” W; ring size: 9.25; earrings: 1.875” H and 0.75” H 132.4 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 43, fig. 2-75.

3 9 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

334

A group of William Spratling Mexican silver and amethyst jewelry

William Spratling (1900-1967) 1940-1946, First Design Period; Taxco, Mexico Three stamped for William Spratling; further stamped: Made in Mexico / Silver; earrings unmarked, attributed to Spratling Four works comprising a sterling silver ring with round amethyst cabochon, as well as two silver brooches, one a bird motif with large amethyst cabochon, and one a tulip brooch with carved stone tulip, and a pair of similar design carved stone tulip earclips, 5 pieces Brooches: 1 1/2” H x 2 3/4” W and 1” H x 2” W; earrings: 1 3/8” H; ring size: 5 1/2 90.8 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 43, fig. 2-75; 46, fig 2-92. w w w. j o h n m o r a n . c o m 3 9 5

335

A large group of William Spratling Mexican silver jewelry

William Spratling (1900-1967) Circa 1933-1939, 1940-1946, 1949-1956; First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; further variously stamped: 980 / Taxco / Made in Mexico / Silver Eleven works comprising a chunky “Vindobonensis” sterling silver link bracelet, three sterling silver rings including a large silver ring with a set amethyst cabochon and copper accents, a silver rectangular ring with rectangle with “rolled fringe,” and a shaped silver ring with incised lines, as well as two silver figural brooches and a figural tie clip, together with a two-piece silver disc belt with incised triskele motifs, and three further silver belt buckles of various sizes and designs, 12 pieces Bracelet: 7” inner C x 1 1/8” H; ring sizes: 11, 6, 5 3/4; brooches: 1 1/4” H x 1 3/4” W and 1” H x 1 3/8” W; buckles: 2 1/8” H x 4 1/4” W to 1 3/4” H x 1 1/2” W; tie clip: 7/8” H x 2 7/8” W 336.7 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 33, fig. III-4a; 35, fig. III-7; 43, fig. III-30.

3 9 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

336

A group of Margot de Taxco Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Four works in sterling silver and multicolored enamel designed by Margot Van Voorhies, comprising an “Open Bow” link necklace in brown, black, speckled white and green, with a pair of matching “Gathered Swirls” earrings (No. 5651), together with a green and black enamel “Tricolor Torque” necklace (No. 5524), and a hammered sterling silver tie clip with applied yellow and black “Square Triangle” enamel motif (No. 5525), 5 pieces Necklaces: 16 1/2” L x 1 5/8” L and 16” L x 1 1/8” H; earrings: 1 1/4” H; clip: 7/8” H x 1 5/8” W 116.0 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 40, pl. 26; 115, pl. VII-5, 174; 177.

w w w. j o h n m o r a n . c o m 3 9 7

337

A group of Margot de Taxco “Cherubs” Mexican silver jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Designed by Margot Van Voorhies, comprising a sterling silver charm bracelet suspending nine charms (No. 5441), a heart pendant/brooch (No. 5194), as well as a pair of drop earrings and a matching pin (No. 5168), 5 pieces Bracelet: 6 1/4” L; pendant: 2 1/2” H x 2 1/4” W; pin: 1 1/8” Dia.; earrings: 1 3/4 “H 100.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 63, pl. I-21.

3 9 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

338

A group of Margot de Taxco Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Eleven works designed by Margot Van Voorhies, comprising a “ Roman Patrician” cameo pendant brooch with detachable enamel link chain (No. 5826), a hat and gloves brooch with a pair of matching earclips (No. 5325), a cat brooch with set amethyst eyes (No. 5220), two horse motif brooches (No. 5160), two poodle brooches, one mixed metal (No. 5327), a carriage chatelaine double pin (No. 5165), a galleon brooch (No. 5131), and a figure brooch (No. 5310), 13 pieces Necklace: 23 1/” L x 3” H x 2 1/4” W; largest brooch: 2” H x 3 1/4” W; smallest: 1 1/2” H x 3/4” W; earrings: 7/8” H 259.3 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 143, pl. VIII-16.

w w w. j o h n m o r a n . c o m 3 9 9

339

A group of Margot de Taxco Mexican silver jewelry

Margot Van Voorhies (1896-1985) Circa 1948-1978; Taxco, Mexico Variously stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Designed by Margot Van Voorhies, comprising a delicate link necklace with crown motif “charms” and set amethyst cabochons (No. 5240), together with a matching bracelet with double-faced crown charms, as well as a pair of similar design crown motif earrings (No. 5183), 4 pieces Necklace: 15 1/2” L x 5/8” H; bracelet: 7 1/4” L x 5/8” H; earrings: 3/4” Dia. 57.7 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 0 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

340

A group of Mexican silver and mixed metal jewelry

Mid/late 20th century Four variously marked: Napier / Mexico / Hecho en Mexico / Metales / Taxco / SHC / Sterling / Taxco / MO / [Eagle 3] Comprising six pendant necklaces in mixed metal including a large sterling silver fish pendant, and a smaller silver fish pendant, together with an elaborate Napier mask pendant, a Casa Maya-style eagle pendant, a mask profile pendant with multicolor enamel accents and segmented chain, and a modernist mixed metal domed pendant, as well as a large silver “Metales” figural pendant with chipped stone inlay, 7 pieces Largest: 4” H x 1 3/4” W; smallest: 2” H x 1 1/8” W; chains: 31” L to 17” L 302.6 grams gross $200-400

w w w. j o h n m o r a n . c o m 4 0 1

341

A large group of Mexican silver earrings

Mid/late 20th century Variously marked for maker, for sterling, and for Mexico Comprising twelve pairs of sterling silver and mixed metal earrings in various styles and sizes, some with set stones and inlay such as amethyst, onyx and blue hardstone, all by various makers including Antonio Pineda, Reveriano Castillo, Rancho Alegre, Cortes, and others, 24 pieces Largest: 1 3/4” H; smallest: 3/4” H 173.7 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 0 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

342

A group of Mexican silver and onyx earrings including Antonio Pineda Eleven works:

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; further variously stamped: [Eagle 17] / Silver / Hecho en Mexico / 970 Four pairs of sterling silver earrings in various designs and sizes, including one pair with set onyx, 8 pieces Largest: 1 3/8” H; smallest: 3/4” H A group of Los Castillo Mexican silver and stone inlay earrings Circa 1940-1945 and 1950-1965; Taxco, Mexico Most variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / Onix Negro / Mosaico Azteca / [Design numbers: 16, 136, 132, 255, 325., 663] Seven pairs of sterling silver earrings in various styles and sizes, including three pairs of Mosaico Azteca earrings with stone inlay, one pair of Onix Negro dangle earrings with onyx inlay, and three further pairs with incised silver motifs, one unmarked, 14 pieces Largest: 1 3/4” H; smallest: 3/8” H 22 pieces total 136.2 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 0 3

4 0 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

343

A group of Mexican silver cuff bracelets Four works:

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico With crown for Antonio Pineda; further stamped: 970 / Silver / Hecho en Mexico / ZZ 661 A modernist domed sterling silver cuff with tapered terminals 6 1/4” inner C x 1 1/4” H Rafael Dominguez (1911-1980) Mid-20th century; Taxco, Mexico Stamped: RD / Taxco / 980 A chunky sterling silver cuff with herringbone wire and rope wire overlay banding 6 5/8” inner C x 1” H Reveriano Castillo (b. 20th century) Circa 1952-1980; Taxco, Mexico Stamped: RC [conjoined] / Sterling / Taxco / Mexico / 26 A wave-form repoussé cuff with incised edges 6 1/2” inner C x 1” H A sterling silver cuff with set greenstone Mid-20th century; Taxco, Mexico Stamped: [illegible] / Taxco / Mex. / 925 A two wire openwork cuff with ten greenstone cabochons and scroll-and dimple terminals 7” inner C x 1 3/8” H 4 pieces total 233.3 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 0 5

344

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945, 1953-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / 990 / Taxco / [Eagle 9] / TB [conjoined, for Taller Borda] Comprising a chunky X-form sterling silver link bracelet with dimpled dots, as well as four sterling silver brooches in various interlaced and wave-form styles, 5 pieces Bracelet: 7 1/4” inner C x 1” H; brooches: 1 1/8” H x 3” W to 1 7/8” H x 1 3/4” W 197.0 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23; 62, fig. I-103; 97, fig. III-1.

4 0 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

345

A group of Hector Aguilar Mexican silver floral brooches

Hector Aguilar (1905-1986) Circa 1940-1945 and 1943-1948; Taxco, Mexico Variously stamped: HA [conjoined] / Taxco / Made in Mexico / Sterling; one stamped for Taller Borda Four sterling silver brooches in various floral motifs including an orchid and a chrysanthemum, 4 pieces Largest: 3 3/4” H x 3” W; smallest: 1 7/8” H x 2 1/4” W 120.1 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Round brooch illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 7.

w w w. j o h n m o r a n . c o m 4 0 7

346

A group of Hector Aguilar Mexican silver belt buckles

Hector Aguilar (1905-1986) Circa 1940-1945 and 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] Comprising six sterling silver buckles in various shapes and geometric designs, 6 pieces Largest: 2” H x 1 5/8” W; smallest: 1 1/8” H x 2” W 171.0 grams $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 0 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

347

A group of Antonio Pineda Mexican silver belt buckles

Antonio Pineda (1919-2009) Circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; further variously marked: [Eagle 17] / [Eagle 58] / Hecho en Mexico / 970 / PZ121 / Silver / PZ126 / Made in Mexico / PZ133 / 925 / PZ 148 Eight works comprising a large oval sterling silver buckle featuring a Lascaux-inspired hunting scene, with one attachment link, as well as four smaller sterling silver belt buckles including one buckle with azurmalachite stone inlay and a matching keeper, 8 pieces Largest: 2 3/8” H x 5 5/8” W; smallest: 1 1/8” H x 1 3/4” W 367.4 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 0 9

348

A group of Mexican silver jewelry

Mid/late 20th century Five variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 26] / [Design number] Comprising seven silver link bracelets including a wide Los Castillo scroll and ball bracelet, a Pedro Castillo stylized V-link bracelet, and two C. Avila de la Borda chunky domed silver link bracelets, as well as a Gerardo Lopez silver link bracelet with blue glass cabochons, and three unmarked small foliate silver brooches, one with set amethyst cabochon, 8 pieces Largest: 7 1/4” inner C x 1 7/8” H; smallest: 6 1/4” inner C x 1 1/2” H; brooches: 1 3/4” H; 1 1/4” H; 3/4” H 367.0 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 1 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

349

A group of Carmen Beckmann Mexican silver and hardstone jewelry

Carmen Beckmann (b. 20th century) Mid-20th century; San Miguel de Allende, Mexico Each variously stamped: Beckmann / Bekmann / Sterling / Mexico Eight works in sterling silver comprising a link bracelet with carved amethyst frogs and copper overlay, a chain link bracelet with carved frog charm, a link bracelet with figural copper overlay motifs, and a silver bangle suspending a silver and amethyst disc charm, with a pair of matching earrings, together with two sterling silver brooches, one in the form of a stylized conch shell, and one with a stylized eagle head in silver overlay, as well as a ring with a carved greenstone frog, 9 pieces Bracelets: 8” inner C x 1 1 3/8” H to 6” inner C x 1 1/4” H; brooches: 2” H x 2 3/4” W and 2” Dia.; earrings: 1 1/4” H; ring size: 6 1/2 225.4 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 233, fig. XXV-10; 234, fig. XXV-11.

w w w. j o h n m o r a n . c o m 4 1 1

350

Four Hector Aguilar Mexican silver bracelets

Hector Aguilar (1905-1986) Circa 1940-1945; 1948-1962; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] Comprising a chunky “Pyramid and Three beads” link bracelet, a narrow “Lyre” wave-form link bracelet, as well as a chunky scroll-and-dot link bracelet, and a modernist narrow flat link bracelet with ball accents, 4 pieces Largest: 7” inner C x 1/2” H; smallest: 6” inner C x 5/8” H 206.9 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 30, fig. I-27; 64, fig. I-111.

4 1 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

351

A group of Mexican silver and hardstone jewelry Five works:

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Stamped: HA [conjoined] / 940 / Taxco A sterling silver “Clipped Coin” link necklace 16 3/4” L x 5/8” H A group of Los Castillo and Mexican silver jewelry Mid/late 20th century; Taxco, Mexico Two variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Design number] Four works in sterling silver foliate designs with various oval hardstones, comprising a silver bead link necklace with six green/blue hardstone drops (No. 55), a multicolored hardstone link bracelet, and two pairs of earrings of similar design, one pair unmarked, 6 pieces Necklace: 16 “ L x 1” H; bracelet: 6 3/4” inner C x 3/4” H; earrings: 1 1/8” H and 1” H 7 pieces total 229.2 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 102, fig. III-12.

w w w. j o h n m o r a n . c o m 4 1 3

352

A group of Latin American mixed metal jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 12] / [Design number] Nine works comprising a group of Victoria / Ana Maria NuÒez Brilanti sterling silver and mixed metal jewelry in various figural and geometric styles including two pendant/brooches, a link bracelet with a pair of matching earrings, and two further pairs of earrings (Nos. 144, 182, 218, 236, 239), as well as three further sterling silver, copper, and mixed metal link bracelets in geometric and floriform motifs, by makers such as Frank Rebajes, CAP/Abraham Paz, and Casa Prieto S.A., 12 pieces Pendants: 2 1/2” Dia. and 2 5/8” H x 1 5/8” W; largest bracelet: 7 1/4” inner C x 7/8: H; smallest: 6” inner C x 7/8” H; earrings: 2” H to 7/8” H 218.3 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 1 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

353

A group of Hector Aguilar Mexican silver jewelry

Hector Aguilar (1905-1986) Circa 1940-1945; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / 990 / Taxco / Made in Mexico; single earring marked: 980 Four works comprising a narrow “Lyre” wave-form link bracelet, as well as a narrow “Book and Three Beads” scroll link bracelet with a pair of matching earrings, plus one single earring, 5 pieces Bracelets: 6 3/4” inner C x 3/4” H; earrings: 5/8” H and 3/4” H 141.8 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 30, fig. I-26 & I-27; 32, fig. I-32.

w w w. j o h n m o r a n . c o m 4 1 5

354

A group of Mexican silver earrings

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 17] Comprising eleven pairs of sterling silver and mixed metal earrings in various styles and sizes, some with set stones including amethyst, moonstone, and mother-of pearl, by makers such as Antonio Pineda, and Ana Maria NuÒez Brilanti / Victoria, 22 pieces Largest: 4” H; smallest: 3/4” H 119.0 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 1 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

355

A large group of Mexican silver earrings

Mid/late 20th century Variously marked for maker, sterling, and for Mexico Comprising fourteen pairs of sterling silver earrings in various styles and sizes, some with set stones, by makers including Horacio de la Parra, Reveriano Castillo, Hector Aguilar, Serafin Moctezuma, and Tane, as well as a sterling silver two-piece sweater swirl clip with chain, 29 pieces Largest: 2 1/4” H; smallest: 1” H 162.7 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 1 7

356

A group of Felipe Martinez Piedra y Plata silver and stone jewelry

Felipe Martinez (b. 20th century) Mid/late 20th century Five variously marked: Piedra Y Plata / Martinez / [Eagle 3] / Sterling / Taxco / [Design number]; one marked: Metales Y Piedra / JY [?conjoined] / Mex Six works comprising two sterling silver fanciful cornucopia ribbon motif brooches with set stones (No. 173), as well as three pairs of sterling silver and greenstone earrings (one: No. 173), and a mixed metal and greenstone parrot motif pendant, 9 pieces Brooches: 2 3/4” H x 2 1/2” W; earrings: 2” H to 1 1/4” H; pendant: 2 1/4” H 102.8 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 1 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

357

A group of Mexican silver figural jewelry

Mid-20th century Each variously marked for sterling and for Mexico; ten further marked for maker Comprising twelve sterling silver brooches and a pair of earrings, each with various figural motifs including seated figures, one with carved greenstone, donkeys, and stylized figures including eagles and pre-Colombian motifs, by makers including William Spratling, Serafin Moctezuma, Bernice Goodspeed, Rafael Dominguez, and Isidro Garcia Piña/Maricela, 14 pieces Largest: 2 1/8” Dia; smallest: 3/4” H; earrings: 3/4” H 174.7 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 1 9

358

A group of Mexican silver dress accessories

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: Onix Negro / [Eagle 3] / [Design number] Eight works in sterling silver and mixed metal comprising two money clips, by William Spratling and Reveriano Castillo, three pairs of mixed metal and inlay cuff links by Los Castillo and Emma Melendez, and a sterling silver tie clip by Antonio Pineda, and two Los Castillo mixed metal tie clips, 11 pieces Largest: 1 5/8” H x 2 7/8” W; smallest: 5/8” H 117.0 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 2 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

359

A group of Mexican silver jewelry and accessories

Mid-20th century Each variously marked for maker, for sterling, and for Mexico Eleven works in sterling silver, by various makers including Rafael Melendez, M. Velasquez, and Taller Borda, comprising three brooches, two tie clips, a money clip, two hair clips, a belt buckle, a key holder and a pair of cuff links, in various figural and geometric motifs, 12 pieces Largest: 2 1/4” Dia.; smallest: 3/4” H 185.2 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 2 1

360

A group of Mexican silver jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 15] / [Design number] Comprising a Los Castillo leaf-form brooch, as well as ten pairs of earrings in various styles and sizes, some with azurmalachite inlay and one with set amethyst, by various makers including William Spratling, Los Castillo, and Reveriano Castillo, 21 pieces Largest: 1 1/2” H; smallest: 1” H; brooch: 1 1/8” H x 2” W 123.2 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 2 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

361

A group of Mexican silver figurative jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 15] / [Design number] / [Eagle 84] / JMM Comprising sixteen works by Los Castillo, including a sterling silver link bracelet with horse and wave motif links and two matching small round brooches as well as a pair of mask motif earrings, and twelve additional figural brooches in various styles and sizes, including stylized deer, burros, fish and figures, together with five works by Martinez including two pendants, two diminutive pins and a pair of cufflinks all in the form of a sculptural standing figure with sombrero and patterned blanket, as well as an unmarked two-piece chatelaine pin of two dancers, 24 pieces Bracelet: 6 1/2” inner C x 1” H; brooches: 2 3/4” H x 3 1/4” W to 1” H; earrings: 1” H; cuff links: 7/8” H 318.3 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 88, fig. VI-20.

w w w. j o h n m o r a n . c o m 4 2 3

362

A group of Margot de Taxco-style Mexican silver and enamel jewelry

Margot Van Voorhies (1896-1985) Circa 1955-1978; Taxco, Mexico Two variously marked: Margot [de Taxco, obscured] Made in Mexico / Mexico / 925 / MAJ / 5481 [Design number];three unmarked Five works in silver and multicolored enamel likely designed by Margot Van Voorhies, comprising two choker necklaces with enamel links, one in blue with geometric motif (No. 5481), and one with black, blue, and white enamel floriform links, as well as a pair of Papyrus earrings in blue enamel (No. 5587), and a pair of articulated fish earrings in blue enamel, together with a single fish in green mélange enamel (likely No. 5693), 7 pieces Necklaces: 17” L and 16” L; earrings: 1 5/8” H; fish charms: 2” H 106.1 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Some designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 28, pl. 13; 31, pl. 17; 35, pl. 21; 47, pl. 34; 145, pl. VIII-19; 176.

4 2 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

363

A group of Mexican silver brooches

Mid-20th century Each variously marked for maker, for sterling and for Mexico Comprising two Horacio de la Parra silver repoussé brooches, one a floriform design, and one a figural mask brooch with carved amethyst face and silver dangles, as well as two J.P. brooches with amethyst cabochons, including a dragonfly with openwork wings and a fanciful scroll and floriform brooch, 4 pieces Largest: 4” H x 2” W; smallest: 2 1/4” H x 3 1/4” W 116.9 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 2 5

364

A group of Mexican silver jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico/Taxco; further variously marked: Taller Borda / [Eagle 9] / [Eagle 16] / [Eagle 200] / [Design number] Comprising six pendants including a Hector Aguilar glazed ceramic “Leo” lion pendant, a Margot de Taxco sterling silver overlay fish motif “Pisces” pendant designed by Margot Van Voorhies (No. 5222), as well as a Nestor sterling “Scorpio charm bracelet, and an Arte Plata sterling silver and stone inlay stylized mask pendant (No. 42), an unmarked two-sided stone inlay and silver overlay pendant, a long openwork figural pendant, and a multicolored enamel pendant with pre-Colombian animal motif, together with a Los Castillo repoussé mask brooch (No. 530), a “Castillo’s” stone inlay desert motif brooch, and a small fish charm with chain, 10 pieces Bracelet: 6 3/4” inner C; largest pendant: 3 1/4” H; smallest: 2” H; brooches: 3 1/4” H and 2 1/2” H 269.4 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 148, pl. VIII-24.

4 2 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

365

A group of Mexican silver jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico Five works comprising a Miguel Garcia Martinez three wire sterling silver cuff bracelet with floral overlay, and a small round modernist-style hair clip/earring, as well as two Rancho Alegre stylized floriform link bracelets, and a La Cucaracha stylized figural bird disc brooch, 5 pieces Largest bracelet: 7 3/4” inner C x 1 1/4” H; smallest: 6 1/4” inner C x 3/4” H; brooch: 1 7/8” Dia.; clip: 1 1/4” Dia. 252.0 grams $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 2 7

366

A group of Mexican silver and amethyst floral jewelry including Hector Aguilar Five works:

Hector Aguilar (1905-1986) Circa 1940 -1945, 1943-1948; Taxco, Mexico Each variously stamped: HA [conjoined] / 940 / Taxco / Made in Mexico / Sterling / [Eagle 9] / TB [for Taller Borda] Comprising a large brooch with leaves and floral sprigs tipped with amethyst drops, as well as a silver and carved amethyst double tulip brooch, a pair of carved tulip drop earrings, and a Taller Borda sterling silver orchid brooch, 5 pieces Brooches: 3 1/2” H x 3 1/4” W to 2 1/4” H x 1 3/4 “W; earrings: 1 1/2” H Bernice Goodspeed (d.1971) Mid-20th century; Taxco, Mexico Stamped: B / Sterling / Taxco / [Eagle 28] A sterling silver trumpet flower brooch with dot accents 1 3/4” H x 1 3/4” W 6 pieces total 104.2 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 94, fig. II-54.

4 2 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 4 2 9

367

A group of modernist-style Mexican silver jewelry

Mid/late 20th century Each variously marked: Mexico / 925 / Sterling / TU-31 / RMJ / Taxco / TL-46 / PLB / TN-18 / TV-53 / TB-28 / D[?]. Molina Seven works comprising a sterling silver collar necklace with herringbone links and a stylized fish clasp, together with two chunky sterling modernist hinged bangle bracelets, one with stone inlay, as well as two chunky sterling silver cuffs, one with repoussé motif and one with large set oval onyx, and two pairs of abstract portrait dangle earrings, one in silver and one in brass colored metal, 9 pieces Necklace: 16 1/2” L x 7/8” H; largest cuff: 7” inner C x 1 7/8” H, with a 1” gap; smallest: 6 1/4” inner C x 2” H, with a 1” gap; earrings: 3” H approximately 448.2 grams gross $300-500

4 3 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

368

A group of modernist-style silver jewelry

Mid/late 20th century Two variously marked for Mexico and for sterling; one marked: RUM [conjoined] / .925 Comprising a Mexican silver hinged collar necklace with set gemstone and a Mexican sterling cuff bracelet with prominent set gemstone, as well as a hammered silver seven-wire collar necklace, 3 pieces Necklaces: 16” inner C x 1” H and 14 1/2” total inner C x 2” H, with a 1 5/8” gap; cuff: 7” total inner C x 2” H, with a 1 1/8” gap 314.2 grams gross $200-400

w w w. j o h n m o r a n . c o m 4 3 1

369

A group of silver jewelry and coins

Early/mid-20th century Four variously marked: Sterling / Mexico / 925 / DF / DH / Rancho Alegre / Taxco / AA / [Eagle 3] / Made in Mexico Comprising a hinged chased silver bangle, six brooches including two incised silver brooches, a filigree and carved stone mask brooch, two figural brooches, and a sombrero brooch, as well as two-piece belt buckle, an “Aries” zodiac pendant of mixed metal with stone inlay, and a small pitcher charm, together with twenty-two pierced Guatemalan coins (circa 1900-1912), 33 pieces Cuff: 7” inner C x 3/4” H; buckle: 1 1/2” H x 2 1/2” W; largest brooch: 2 3/4” H x 2” W; smallest: 1 1/4” Dia.; pendants: 2” Dia. and 1 3/8” H; coins: 7/8” Dia. and 3/4” Dia. 221.7 grams gross $200-400

4 3 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

370

A large group of Mexican silver and mixed metal jewelry

Mid/late 20th century Variously marked for maker, sterling, and for Mexico; further variously marked: [Eagle 15] / Mosaico Azteca / [Design number] / [Eagle 20] Eleven works comprising seven Los Castillo mixed metal and stone inlay items with various stylized figural or geometric motifs including a large disc pendant with dangles, a pendant/brooch, and four further brooches and a tie clip (Nos. 63, 112, 171, 187, 289), as well as an HT sterling silver and mixed metal link bracelet, a modernist brooch with interlocking circles, a tie clip, and a pair of Cony Victoria / Ana Maria NuÒez Brilanti mixed metal oval earrings, 12 pieces Largest: 4” H x 2 1/2” W; smallest: 3/8” H x 1 7/8” W; bracelet: 6 5/8” inner C x 5/8” H 225.2 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 3 3

371

A group of Mexican silver bolo ties

Mid-20th century Each variously marked for maker, for Mexico, and for sterling Comprising an Ana Maria NuÒez Brilanti/Victoria sterling silver marlin bolo with black cord and silver tips, a Miguel Melendez sterling silver and blue/green stone inlay stylized sun face bolo with braided leather cord and silver tips, and a Bernice Goodspeed sterling silver and set onyx bolo/scarf slide, 3 pieces Largest: 2 1/4” H x 2 1/4” H; smallest: 1 1/8” H x 1 3/8” W; cords: 40” L and 36” L 83.4 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 3 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

372

A set of Casa Maya Mexican jewelry

Mid/late 20th century; Mexico City, Mexico Each stamped: Maya / Mexico Three works comprising a mixed metal overlay disc pendant with a Mexican eagle motif , together with a pair of matching earrings and a matching belt buckle, 4 pieces Necklace: 19” L x 2 1/2” H; buckle: 2 1/4” H x 4” W; earrings: 3 1/4” H 144.9 grams gross $100-200

w w w. j o h n m o r a n . c o m 4 3 5

373

A group of Mexican jewelry

Mid/late 20th century Two marked for Mexico Comprising three pendant necklaces, two in mixed metal with blue glass and stone accents including a round pendant/brooch with fringe dangles, a three panel articulated necklace with mask motif, and a carved stone bead necklace, 3 pieces Necklaces: 28” L x 3 3/4” H; 26” L x 4” H; 22” L x 4 1/2” H 284.6 grams gross $100-200

4 3 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

374

A group of Mexican jewelry

Mid/late 20th century Each stamped for Mexico Three works comprising an elaborate mixed metal pendant necklace with carved stone mask and bead accents and dangles, together with a large mixed metal disc pendant necklace with central greenstone cabochon and a pair of matching earrings, 4 pieces Necklaces: 27” L x 2 1/2” H and 25” L x 4 1/2” H; earrings: 1 3/4” H 166.2 grams gross $100-200

w w w. j o h n m o r a n . c o m 4 3 7

375

A group of Mexican jewelry

Mid/late 20th century Two marked for Mexico Comprising three stone-set mixed metal pendant necklaces including a large elaborate pendant with carved red stone mask and bead accents and enamel and filigree details, an articulated pendant necklace with carved purple stone mask and beads, and an etched stone disc pendant with carved orange stone beads, 3 pieces Necklaces: 28” L x 4” H; 26” L x 7 1/4” H; 26” L x 2 7/8” H 290.9 grams gross $100-200

4 3 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

376

A group of Mexican silver brooches

Mid-20th century One marked: Victoria / Taxco / Mexico / Sterling / 414; two marked: RM [conjoined] / Taxco / 980; three marked: SM [conjoined] / 980 [or] 940; one marked: G / RAF / Mex / Sterling Comprising a large Ana Maria Nuñez Brilanti / Victoria fanciful floral brooch with articulated triangular dangles, as well as two Rafael Melendez bird motif brooches, four Serafin Moctezuma figural brooches, and a foliate star brooch, 8 pieces Largest: 3” H x 3 5/8” W; smallest: 1 1/4” H x 1 1/4” W 115.1 grams $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 3 9

377

A group of Mexican silver jewelry including Horacio de la Parra

Horacio de la Parra (b. 20th century) Mid-20th century; Mexico City, Mexico Seven variously stamped: Parra / Mexico / Sterling / [Eagle 34]; others variously marked: Sterling / [Eagle 3] / LMR / 925 Comprising nine figural brooches in various styles and sizes, including dragonflies, dogs, a cat, a duck, a fish, a guitar, some with set stones including amethyst, greenstone, and shell, as well as a silver and wood cross pendant, and a sterling silver chain necklace, 12 pieces Largest: 2 1/2” H x 3 1/2” W; smallest: 1 1/4” H x 1 1/8” W; pendant: 1 3/4” H; chain: 17” L 88.8 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 4 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

378

A group of Mexican silver and onyx earrings including Antonio Pineda

Mid/late 20th century Each variously marked for maker, for sterling, and for Mexico Comprising three pairs of Antonio Pineda sterling silver earclips, two with onyx accents, as well as a pair of William Spratling silver earrings, and six pairs of Los Castillo incised sterling silver earrings in various foliate, figural and scrollwork designs, 20 pieces Largest: 2” H; smallest: 5/8” H 126.7 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 4 1

379

A group of Mexican silver earrings

Mid/late 20th century Variously marked for maker, sterling and for Mexico; further variously marked: [Eagle 3] / [design number] / [Eagle 9] Comprising two Sigi Pineda sterling silver floral brooches with set amethyst (no. 70), and a Miguel Melendez sterling silver starburst brooch with set faceted purple gemstone, as well as a small sunburst silver pendant with a pair of matching earrings and nine further pairs of silver earrings, plus one single, in various styles and sizes including some with set stones such as onyx and amethyst, by makers including Fred Davis, Hector Aguilar, Sigi Pineda, and Valentin Vidaurreta, 25 pieces Brooches: 1 1/2” H x 2 7/8” W and 2” Dia.; largest earrings: 1 1/2” H; smallest: 3/4” H 205.6 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 4 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

380

A group of Mexican jewelry Six works:

Bernice Goodspeed (d. 1971) Mid-20th century; Taxco, Mexico Each stamped: B / Sterling / Taxco / [Eagle 28] Comprising an elaborate sterling silver link necklace with incised silver overlay foliate motifs and set greenstone, as well as a cluster-set turquoise and sterling silver domed link bracelet with a pair of matching earrings, 4 pieces Necklace: 18 1/2” L x 2 1/8” H; bracelet: 6 5/8” inner C x 1” H; earrings: 7/8” Dia. A group of Mexican silver jewelry Mid/late 20th century Each marked for maker, for sterling, and for Mexico; further variously marked: Los Castillo / Soc Coop SCL / SEC 2 / [Eagle 58] Comprising an Antonio Pineda/Los Castillo sterling silver chain with tubular bead links, a Los Castillo turquoise bead necklace with a sterling silver hallmarked clasp, and a JP silver lock-and-key articulated brooch with set stone, 3 pieces Necklaces: 24 1/4” L and 19 3/4” L; brooch: 2 5/8” H x 3 5/8” W 7 pieces total 217.7 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh w w w. j o h n m o r a n . c o m 4 4 3

381

A group of silver jewelry Mid/late 20th century Three works:

A Mexican modernist sterling silver convex cuff bracelet Stamped: Hecho en Mexico / 970 7 1/4” total inner C x 1 1/2” H A Southwest Navajo/Diné eleven wire sterling silver cuff bracelet Stamped: Tahe [possibly Franklin Tahe] / Sterling 6 1/2” inner C x 1 1/8” H An abstract pewter pendant necklace with stamped silver chain Unmarked 28” L x 1 3/4” H 3 pieces Cuffs: 100.4 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 4 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 4 4 5

382

A group of Mexican silver jewelry and accessories

Mid/late 20th century Each variously marked for maker, sterling and for Mexico; further variously marked: [Eagle 15] / [design number] Comprising a group of Los Castillo items including a silver ring (no. 190), two incised silver money clips (no. 328), a narrow knotwork tie clip (no. 742), and six figural profile face buttons (no. 253) and two geometric buttons (no. 454), as well as a pair of Margot de Taxco silver overlay profile cuff links (no. 5259), a pair of sterling silver geometric cuff links, and two further tie clips, one by Emma Melendez, and one by Clna, 18 pieces Largest: 3/8” H x 2 5/8” W; smallest: 5/8” H; ring size: 8 1/2 160.5 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 4 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

383

A group of Mexican silver jewelry

Mid-20th century Each variously marked for maker, sterling, and for Mexico Comprising seven brooches, two pendant/brooches, a pendant, and a money clip, in various scrollwork and stylized figural motifs, including deer and birds, all by various makers including Francisco Rivera, Bernice Goodspeed, and Casa Prieto, 11 pieces Largest: 4” H x 1 1/2” W; smallest: 1 1/2” H x 1”W 171.0 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 4 7

384

A group of figural Mexican silver jewelry including Hector Aguilar

Mid-20th century Each marked for maker and for sterling [one key ring indistinct] Comprising two Hector Aguilar sterling silver brooches, one a grasshopper and one a fish, as well as three key rings with figural motifs including a feathered serpent, an eagle with set stone eyes, and a crouching monkey, 5 pieces Largest: 2” H x 1 3/4” W; smallest: 3/4” H x 2 3/4” W 79.7 grams gross $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 18, fig. I-3.

4 4 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

385

A group of Mexican sterling silver jewelry

Mid/late 20th century Each variously marked for maker and for sterling Five works comprising a Margot de Taxco [Margot Van Voorhies (1896-1985)] sterling silver scrollwork link necklace (no. 5243), a Rafael Melendez sterling silver openwork disc pendant necklace, an Emma Melendez reversable pendant with stone inlay and stylized pre-Colombian motifs, as well as two silver feather pendants, one a pendant/brooch, 5 pieces Necklaces: 21” L x 2 1/8” Dia. and 18 1/2” L x 7/8” H; pendants: 3 1/4” H; 2 1/4” H; 1 7/8” Dia. 173.7 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 4 9

386

A group of Mexican silver and mixed metal buttons

Mid/late 20th century Variously stamped for maker, sterling, and for Mexico; further stamped: [winged feet for Harmon] Comprising a large group of metal buttons, in various designs, sizes and by various makers including six brass “Sputnik” buttons, two silver fish buttons and two with rope accents, all by Hubert Harmon, as well as two floral buttons, two diminutive stylized buttons, and four unmarked silver dimpled belt studs, all by Hector Aguilar, and six Los Castillo stylized floral buttons (No. 235), 24 pieces Largest: 3/4” H x 1 1/2” W; smallest: 1/2” Dia.; studs: 7/8” Dia. 95.0 grams gross $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Dimpled stud design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 107, fig. III-24.

4 5 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

387

A group of Mexican silver men’s dress pins and shirt accessories

Mid-20th century Variously marked: 970 / [Eagle 17] / [indistinct Eagle] Comprising seven pairs and one single pin, all in silver and mixed metal in various shapes and designs, some with stone inlay, 15 pieces Largest: 3/8” H 39.4 grams gross $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 5 1

388

A group of Mexican mixed metal jewelry and accessories

Mid-20th century Variously marked for maker and for Mexico Comprising a Casa Maya “Kiss” motif belt buckle with green enamel accents and hammered finish, as well as a Casa Maya brass bangle bracelet with clasped hands and dangles, with pin closure, together with a pair of Harmon-style brass fish buckles with various multicolor set stone accents, and a single Hubert Harmon gem-set snake head earring, and a three-fish dangle charm, 6 pieces Maya buckle: 5 1/4” H x 7” W; fish buckles: 2 1/2” H x 4 1/4” W; cuff” 7 “ inner C x 1/1/4” H; earring: 1 5/8” H; charm: 3” H 228.4 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 5 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

389

A large group of Mexican mixed metal jewelry

Mid/late 20th century Variously marked for maker and for Mexico Ten works comprising two pairs of Hubert Harmon delicate brass earrings as well as a Hubert Harmon brass “barefoot” buckle with clasp, a Harmon-style “Sputnik” buckle piece with fish dangles, a brass “sputnik” pendant with second detached charm, and a brass star lariat necklace with black suede strap, together with two Justo “Coco” Castillo mixed metal horse motif dishes with stone set eyes (No. 302), 12 pieces Dishes: 4 1/4” H x 4” W; buckles: 212” H x 4 “ W and 2” H x 4 1/2” W; lariat: 30” L; earrings: 1 3/8” H 393.8 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 5 3

390

An Horacio de la Parra Mexican silver charm bracelet

Horacio de la Parra (b. 20th century) Circa 1940s Stamped: Parra / Mexico / Silver / Hnos A heavy silver bead and ball chain bracelet, with multiple silver charms including figures, a bird, artifacts, a coffee bean, banana, a coin, and a drum 8 “ L x 1 5/8” H 80.1 grams $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

4 5 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

391

A Monte Alban-style silver mask brooch

Early/mid-20th century Unmarked An elaborate articulated brooch with pre-Colombian-style silver wire overlay motifs and filigree accents, with silver dangles 2 7/8” H x 1 1/4” W 26.7 grams $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 4 5 5

392

A group of Mexican jewelry

Mid/late 20th century One marked for Mexico Three works comprising an elaborate mixed metal pendant necklace with carved orange stone mask and beads with a pair of similar style earrings, as well as a carved stone pendant bead mask motif necklace, 4 pieces Necklaces: 27 1/2” L x 5” H and 26” L x 2 1/2” H; earrings: 1” Dia. 238.4 grams gross $100-200

4 5 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

393

A group of Casa Maya Mexican jewelry

Mid/late 20th century; Mexico City, Mexico Each stamped for Mexico; three further stamped: Maya Five works all with masked figural motifs in mixed metal overlay with enamel accents, comprising a twopanel pendant necklace, a large Casa Maya belt buckle, two pairs of articulated earrings, and a pair of cufflinks, 8 pieces Necklace: 19 1/2” L x 3 1/2” H; buckle: 3” H x 4 1/2” W; earrings: 3” H and 2 1/2” H; cuff links: 3/4” H 181.7 grams gross $100-200

w w w. j o h n m o r a n . c o m 4 5 7

394

A large group of Casa Maya Mexican jewelry

Mid/late 20th century; Mexico City, Mexico Each stamped for Mexico; four further stamped: Maya; one further stamped: Cobre Six works in mixed metal with unglazed clay mask and bead accents comprising four Casa Maya items including a hammered copper link necklace with small articulated figural pendant, a chunky cuff bracelet, a large belt buckle with fastener and a pair of matching earrings, as well as a mixed metal and copper necklace with large oval mask motif pendant with a pair of similar design earrings with blue enamel accents, 8 pieces Necklaces: 24” L x 3 3/8” H and 17 1/2” L x 3” H; cuff: 7 1/2” total inner C x 2 3/8” H, with a 1 1/8” gap; buckle: 2 7/8” H x 5” W; earrings: 1 5/8” H and 1” Dia. 318.0 grams gross $100-200

4 5 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

395

Ramiro Tapia

(1931-2024, Spanish) Seven works: Bullfighting scenes Each: Gouache and ink on wove paper Each: Signed in ink lower right: R Tapia Each sheet: 13” H x 10” W $500-700 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m 4 5 9

4 6 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

396

Two portfolios of offset printed works Two works:

“Portfolio One,” circa 1975 The complete set of 18 black and white offsets of photographs on paper of various sizes and types From the edition of 250 Each of the sheets either signed in pencil or ink, or stamped with the artist’s name on either the recto or verso; together with the title/colophon page; University of New Mexico, Albuquerque, NM, pub.; all sheets loose in the original pale gray folded paper portfolio with printed title on the front 25 plates from “Colors: A Portfolio of Original Offset Prints by 10 Imagemakers,” 1975 Offset lithographs in colors or black and white on wove paper, watermark Lancaster Bond Edition: 300/300 Each sheet printed with the artist’s name in the lower margin; the colophon page numbered in pencil and with printed facsimiles of each artist’s signature; together with the colophon and introductory essay, “Color on the Cusp,” by Henry Holmes Smith; Rose Printing, prntr.; Florida State University, pub.; all sheet loose in the original blue paper-covered portfolio box Portfolio of first: 14.5” H x 12” W x 0.25” D; Portfolio/box of second: 20.25” H x 16.25” W x 0.75” D $100-200 Provenance: The Estate of Dr. Amy Conger Notes: According to information on the colophon page of the “Colors” portfolio, the example in this lot is incomplete. There are supposed to be a total of 40 plates. A notation on a xerox of the colophon page helps to explain the discrepancy: “Michael Costello and I split this portfolio in Albuquerque.”

w w w. j o h n m o r a n . c o m 4 6 1

397

Leopoldo Méndez

(1902-1969, Mexican) “Verdadera Historia de la Virgen de Guadalupe,” 1931 Woodcut on tissue-thin paper tipped to a support sheet Signed and dated in pencil lower right: L Méndez / 31: inscribed in pencil on the verso of the support sheet: “For Juana”; titled in ink on a loose green sheet accompanying the lot, possibly in another hand Image: 5” H x 4.375” W; Sheet: 7.875” H x 6.5” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 6 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

398

Agapito Rincón Piña

(1897-1973, Mexican) Mexican courtyard scene Watercolor on paper Signed lower right corner: A Rincón P Image/Sheet: 9.5” H x 6.25” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m 4 6 3

399

Federico Cantu

(1907-1989, Mexican) “Villon,” 1936 Etching on wove paper Signed, titled, dated, and indistinctly inscribed in pencil in the lower margin, directly underneath the platemark: Federico Cantu / 1936 / Prueba [proof] *** Plate: 8” H x 6” W; Sheet: 18” H x 12” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 6 4 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 4 6 5

4 6 6 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

400

Emma Best de Enciso

(20th Century, Mexican) “Semejanzas” portfolio, 1988 Each: Woodcut in colors on grey speckled paper Edition: 45/125 Signed, titled, inscribed, and dated on the front cover: Emma Best de Enciso / Mexico 1988; numbered “no. 45” in blue ink on the front of the justification page; with the folded justification sheet, loose text page, and 30 loose woodcuts (two with colors), all stored in a paper slipcover Image of each woodcut: 5.25” H x 5.25” W; Sheet of each woodcut: 6.25” H x 6.25” W $100-200 Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

w w w. j o h n m o r a n . c o m 4 6 7

401

C.L. Palestino (20th century) Two works:

Brown donkey in a mountainous landscape Pastel on black paper laid to a support sheet Signed lower right: CL Palesrino Sheet: 12” H x 9.5” W (irreg.); Support sheet: 17.75” H x 12” W (irreg.)

Grey donkey in a floral landscape Pastel on black paper laid to a support sheet Signed lower right: CL Palesrino Sheet: 11.875” H x 9.5” W; Support sheet: 17.75” H x 11.75” W (irreg.) $100-200

Provenance:

The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above

4 6 8 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 4 6 9

Consign Today

Latin American Art + Design April 2025 A William Spratling 18k gold and ebony necklace

Price Realized: $11,430

Consignment and Auction Inquiries: info@johnmoran.com

4 7 0 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

SINCE 1969

AUCTIONEERS & APPRAISERS

`

Is your collection

protected?

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:

Fernando Botero Couple dancing, 1980

Price Realized:$381,000 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 4 7 1

Condition Reports

4 7 2 L at i n A me r i c a n Ar t + D e sig n l We d n e sd ay, Nov e mb e r 2 0 , 2 024

w w w. j o h n m o r a n . c o m 4 7 3

1 Overall generally good condition. Full margins with deckled edges. An approximately 2.5” wide band of very pale staining along the left margin edge, and a thinner band along the right margin edge. A 3” diagonal crease in the lower right margin corner, and cockling along the right margin edge. Traces of printer’s ink near the margin edges, not affecting the image. The sheet is loose, not matted.

Unframed 2 Overall good condition. Full margins with deckled edges. Minor handling creases scattered in the outer margin edges, and the upper left margin corner slightly dog-eared. Minor cockling along the right margin edge. Small possibly paper tears or abrasions along the extreme upper margin edge. Traces of printer’s ink in the outer margin edges. The sheet is loose, not matted.

8 Overall good condition. Full margins with deckle edges. A good impression. Occasional handling creases in the margin edges, the largest being a minor 7” diagonal crease in the lower portion of the right margin, not affecting the image. The sheet is loose, not matted.

Unframed

3 Overall good condition. Full margins with deckled edges. Soft handling creases scattered in the outer margins, and minor cockling along the extreme margin edges. Traces of printer’s ink near the margin edges, not affecting the image. A small area of glue residue on the verso. The sheet is loose, not matted.

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

4 Overall good condition. With margins. A rich impression with velvety burr. Not examined out of the frame.

Framed without glazing: 17.25” H x 15” W x 1” D

Condition Reports

Framed under glass: 12.75” H x 10.25” W x 0.75” D

Unframed

Unframed

474

7 Overall good condition. The sheet with original binding holes down the extreme left edge. A delicate and unobtrusive, 2” diagonal crease along the upper sheet edge, at left. A pinhole in each of the sheet corners. A minute paper loss and tear attendant with another pinhole at the tip of the upper right sheet corner. The sheet is float-mounted to a foamboard which is mounted to the back mat.

As a result, the signature and date on the verso of the lower sheet edge can only be partially viewed via skillful backlighting.

5 The sheet with wide margins. Uneven toning throughout. Occasional handling creases, some of which affect the image. A few foxmarks in the margins. Not examined out of the frame.

Framed under glass: 32” H x 24.5” W x 1” D 6 Overall good condition. Pale light-staining throughout and time-staining along the edges. A thin 0.25” line of staining in the upper right corner, and a very pale pea-sized area of surface soiling at the center of the lower edge. Not examined out of the frame.

Framed under glass: 23.75” H x 19” W x 1.25” D

Framed under glass: 18.5” H x 22.5” W x 2.25” D 10 Overall good condition. Full margins with deckled edges. The colors good. A small uninked hair-line affecting just the upper left corner of the image. A very unobtrusive handling mark in the upper margin, at center, visible mostly in raking light. The sheet is loose, not matted.

Unframed 11 Overall good condition. Pale light-staining. Rippling to the paper along the edges, possibly attendant with how the work is mounted. Not examined out of the frame.

Frame: 27.75” H x 32.75” W x 1.25” D 12 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 31.5” H x 24” W x 2” D

13 Visual: Overall good condition. Scattered areas of grime throughout. A few, minor areas of creasing to the canvas in the upper left quadrant. The canvas is slightly rippled in the corners, attendant with the canvas slightly loose from the stretcher.

Blacklight: No evidence of restoration.

Frame: 56.25” H x 56.25” W x 1.5” D 14 Overall good condition with scattered scuffs and darkening/oxidation to bronze commensurate with age. Minor soiling to interior and crevices of exterior.

15 Overall good condition. The full sheet with deckled edges. The colors good. A very soft and unobtrusive crease in the lower left corner. Stray residue in places on the verso of each edge. The sheet is loose, not matted.

Unframed 16 Overall good condition. With wide margins.

Occasional handling creases scattered in the lower margin and the lower portions of the left and right margin edges, mostly visible in raking light. Not examined out of the frame.

Framed under glass: 37.5” H x 29.5” W x 1.75” D 17 Overall good condition. With margins and the colors good. Occasional foxing scattered in the upper and lower margin edges. Not examined out of the frame.

20 Overall good condition. With wide margins. A few areas of very pale and unobtrusive stray printer’s ink in the right and lower margins, as well as on the verso. Faint mat staining showing primarily on the verso. The sheet is hinged to the back mat with gold tape from the verso of the upper margin corners.

Framed under glass: 26.5” H x 21.5” W x 1” D 21 Overall generally good condition. The sheet is trimmed by approximately 0.25” along the lower edge. Very minor handling marks scattered along the left and right outer edges, mostly appearing in the upper right corner, all primarily visible on the reverse.

The sheet is loose, not matted.

Unframed 22 Overall good condition. The full sheet with deckled edges. A 0.5” vertical tear near the upper right sheet corner. Minor and obtrusive, occasional handling creases, the largest being a 1.5” horizontal crease in the upper right corner. The sheet is hinged to the back mat with white hinging tape from the verso of the upper sheet corners.

Framed under glass: 31.75” H x 39.75” W x 1.75” D 23 Overall good condition. The full sheet with deckled edges. The colors somewhat attenuated. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 27” H x 38” W x 1.5” D

Framed under glass: 32.5” H x 25.5” W x 1.75” D

Framed under glass: 27” H x 22.5” W x 1.5” D 19 Overall good condition. Not examined out of the frame.

Framed under glass: 35” H x 26.75” W x 1.75” D

24 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 32.25” H x 41” W x 1.5” D 25 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat.

Framed under glass: 20.5” H x 26.25” W x 2” D 26 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Condition Reports

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

Framed under glass: 20.5” H x 26.25” W x 2” D 475

27 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat.

Framed under glass: 20.5” H x 26.25” W x 2” D 28 Overall good condition. A small 0.75” horizontal handling crease in the upper left quadrant. Pale time staining along the extreme left edge.

Framed under glass: 24.25” H x 30.25” W x 1.75” D 29 Overall good condition. The sheet is sealed in the mat.

Framed under glass: 31.5” H x 39.5” W x 2.5” D 30 Overall good condition. The full sheet with deckled edges. The sheet is loose, not matted.

Condition Reports

Framed under Plexiglas: 33.25” H x 29.5” W x 1.5” D 35 Overall good condition. Pale light-staining. An artist’s pinhole in the upper left corner. Minor cockling along the left and right edges. Four dime-sized paper residue on the verso of each sheet corner. The sheet is hinged to the back mat in two places with white tape from the verso of the upper sheet edge.

Framed under Plexiglas: 17.5” H x 13.75” W x 2.5” D 36 Overall good condition. Full margins with deckled edges. A minor 1” diagonal crease in the lower right margin corner. The sheet is loose, not matted.

Unframed

31 Visual: Overall good condition.

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

Blacklight: No evidence of restoration.

Framed under glass: 36” H x 27.5” W x 2” D

Unframed

38 Overall good condition. Occasional faint small areas of grime in the outer margins, with a 0.75” stray pigment mark in the lower right margin, all possibly in the hand of the artist. Not examined out of the frame.

Unframed

32 Overall generally good condition. Pale light-staining and the colors slightly attenuated. A thin 1” band of surface skinning at the center of the work. A pale, pinpoint-sized foxmark near the center of the upper sheet edge. Areas of minor surface soiling scattered in the extreme edges and corners. Minor handling creases scattered throughout. Two stray pinheadsized orange pigments on the verso, and slightly appearing on the recto, in two places near the lower portion of the right edge. The sheet is tipped from the verso of the upper right corner and the three other corners are loose and secured to the back mat with three clear archival corners.

Framed under Plexiglas: 31.25” H x 26.5” W x 1.5” D 39 Visual: Overall generally good condition. A few occasional scattered pinhead-sized spots of grime.

A rice-sized surface abrasion in the lower left corner above the signature. A 17” shallow and faint, diagonal surface scratch from the upper right edge towards the center of the work.

Framed under glass: 22” H x 17” W x 1” W

Blacklight: No evidence of restoration.

33 Visual: Overall good condition. The full sheet with deckled edges. The sheet is framed floating and laid to the backing board as stated.

Frame: 51.5” H x 44” W x 1.75” D

Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 22.5” H x 26.5” W x 1.75” D

476

34 Overall good condition. With margins. The colors good. Two very pale pinhead-sized foxmarks in the extreme upper margin edge, right of center. Not examined out of the frame.

40 Visual: Overall good condition. A 0.75” horizontal line and a pea-sized area of pigment loss in the upper left quadrant. A very soft stretcher bar crease in the upper portion of the left edge.

47 Overall good condition. The full sheet with deckled edges. The colors good. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 38.5” H x 30.5” W x 3.75” D

Frame: 52.5” H x 44.5” W x 2” D

48 Overall good condition. The full sheet with deckled edges. The colors good. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 36.5” H x 29.5” W x 3.5” D 42 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 36” H x 29” W x 3” D 43 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 36” H x 29” W x 3” D 44 Overall generally good condition. With margins.

Toning throughout the sheet exposed through the opening of the overmat, and the colors attenuated.

Not examined out of the frame.

Framed under glass: 31” H x 25” W x 1” D 45 Overall good condition with minor shelf wear and scattered minor scuffs and oxidation to bronze commensurate with age. With a few scattered white inclusions.

46 Overall good condition with minor shelf wear and scattered minor scuffs and oxidation to bronze commensurate with age. With a few scattered white inclusions.

Framed under Plexiglas: 39.5” H x 31.75” W x 3.75” D 49 Overall good condition. The full sheet with deckle edges. The colors good. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 55.25” H x 39.25” W x 4” D 50 Overall good condition. The full sheet with deckled edges. The colors good. The sheet is framed floating and hinged to the back mat.

Framed under glass: 46.75” H x 39.75” W x 1.5” D 51 Overall good condition. The full sheet with deckled edges. The colors good. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 43” H x 35.25” W x 1.25” D 52 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat from the verso of each sheet corner.

Framed under glass: 45.25” H x 35.75” H x 1.5” D 53 Overall good condition. The full sheet with deckled edges. Pale light-staining mostly showing in the margins. A pale, small area of staining on the verso of the upper sheet edge, at center. The sheet is hinged to the back mat with two pieces of white linen tape from the verso of the upper margin edge.

Framed under glass: 35” H x 28.5” W x 1.25” D

Condition Reports

41 Overall good condition. The full sheet with deckled edges. The slightest surface skinning at the verso of the upper sheet edge, at right, attendant with prior hinging. The sheet is framed floating and hinged to the back mat with three pieces of hinging tape from the verso of the upper sheet edge.

477

54 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 31” H x 40.25” W x 3.75” D 55 Overall good condition with a few scattered small pulled threads and a few small areas of minor soiling, the largest measuring 2” x 1” at upper right.

56 Overall good condition with mild dust accumulation and a few scattered loose threads, concentrated at edges.

Framed: 36.75” H x 42.625” W x 1.625” D

62 Visual: Overall good condition. A pea-sized pressure mark in the white pigment of the background in the lower left quadrant, mostly visible in raking light.

Minor frame abrasion in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 34” H x 41.75” W x 2.5” D 63 Visual: Overall generally good condition. Occasional pinhead-sized scuff marks throughout, primarily in the lighter purple pigments in the upper half, with a few occasionally broken lines of scuff marks going from the left to right edges in the upper third of the work. A few pinhead-sized spots of grime in lower right quadrant.

57 Overall good condition. Not examined out of frame.

Minor soiling to canvas border of frame.

Blacklight: No evidence of restoration.

Framed: 26.5” H x 26.5” W x 1.125” D

64 Visual: Overall generally good condition. Occasional pinhead-sized spots of pigment loss in the upper half. A 1.75” H x 0.25” and 1.25” H x 0.25” area of surface abrasion with attendant pigment loss and the middle and lower left extreme edge. A few rice- to pinhead-sized spots of surface abrasion with attendant pigment loss in the lower right and lower edge.

58 Overall good condition with dust accumulation and scattered loose threads, concentrated along right edge and an area within the top right dove.

Framed: 25.25” H x 19.5” W x 0.875” D

Frame: 48” H x 40.25” W x 2” D

59 Overall good condition.

Blacklight: No evidence of restoration.

Unframed.

Frame: 38” H x 20” W x 1.5” D

60 Visual: Overall good condition.

Blacklight: No evidence of restoration.

65 Visual: Overall good condition. A minor, thin surface scuff near the lower edge, at center. Minor frame abrasion along the extreme upper and left edges.

Frame: 49” H x 45” W x 1.5” D

Blacklight: No evidence of restoration.

Condition Reports

Frame: 42.75” H x 32.5” W x 2” D

478

61 Visual: Overall good condition. A 3” line of craquelure directly to the left of the flower basket.

Areas of fine paint shrinkage scattered on the figure’s body.

Blacklight: No evidence of restoration.

Frame: 43.25” H x 39.25” W x 2.5” D

66 Overall good condition. A spot of grime and an unobtrusive, slight pressure mark, approximately pea-sized in the lower portion of the red pigment at right.

Frame: 21.5” H x 29.5” W x 2.5” D 67 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed: 46” H x 66” W x 2” D

Frame: 26” H x 22” W x 1.5” D 69 Visual: Overall good condition. Minor dust accumulation.

Blacklight: No evidence of restoration.

Framed: 37.25” H x 34” W x 1.5” D 70 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Wax residue and drippings to tallest Day of the Dead candelabrum. Larger Tree of Life with a 0.75” diameter loss and repair at center recto, another possible repair at center opposed, and pencil inscription to underside.

71 Overall good condition with minor shelf wear. Wallmounting hardware verso.

72 Each overall good condition with minor shelf wear.

73 Each overall good condition with minor shelf wear, craquelure throughout, and wall-hanging hardware verso.

74 Each overall good condition with minor shelf wear, and a few minor scratches and scuffs. Each with wallmounting hardware verso.

75 Each overall good condition with minor shelf wear and scattered scuffs and scratches.

76 Each overall good condition with shelf wear, scattered minor scuffs, scratches, nicks, and rubbed wear to the polychrome commensurate with age.

77 Each overall good condition with scattered minor scuffs and scratches commensurate with age, and antiquing to the painted wood. Some very small losses to silver-toned finish of milagros. Each with wall-hanging hardware verso.

78 Visual: Overall good condition. Occasional very slight craquelure, primarily near the edges.

Blacklight: No evidence of restoration.

Unframed 79 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With older losses in the wood. Tabletop with deeper nicks and scratches, with areas of loss to finish. Legs with more concentrate nicks and small losses.

80 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Scattered older losses to the wood, including a 2” x 1” area to interior. Felt applied to underside.

81 Each overall good condition with scattered scuffs, scratches, small nicks, and shelf wear commensurate with age. The largest with two nail holes to arm from mounting and rubbed loss to polychrome at edges.

82 Each overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. Horned animal with repair to left ear proper.

83 Each overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. Horned animal lacking right ear proper, retained with the lot. Solo armadillo with repair to one ear. Mouse with repair to tail at juncture and to one ear.

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

85 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The lattice with multiple 1” diameter losses to the paint and larger unit with losses at edges. Each with some soiling and darkening, concentrated at edges.

86 Overall good condition with scattered minor scuffs and scratches and oxidation commensurate with age.

Mild soiling to interior.

Condition Reports

68 Overall good condition. The full sheet with deckled edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

479

87 With oxidation, scattered scuffs and scratches, nicks, indentations, and soiling commensurate with age.

With a larger dent in turtle shell measuring 7” x 5” large. Scattered dents, including one measuring 0.5” long. Lacking left eye proper.

88 With minor soiling, scattered scuffs and scratches, and indentations commensurate with age. One rear talon with repair. Craquelure throughout, with peasized losses to the head area. Scattered rubbed losses to polychrome, concentrated to gilt. With a 1” long deeper indentation/scratch under tail feathers.

Oxidation/rust to metal stand.

89 Overall good condition with scattered scuffs, scratches, nicks, indentations, and oxidation commensurate with age.

90 Overall good condition. An artist pinhole at the top of the work.

Unframed 91 Visual: Overall good condition. A minor stretcher bar crease along the left edge. The canvas is slightly loose from the stretcher.

96 Visual: Overall good condition. Framed together in a metal slat frame along the upper and lower edges.

Minor scattered edge wear and a few scattered minor scuffs.

Blacklight: No evidence of restoration.

Frame: 50” H x 86” W x 2” D 97 Visual: Overall good condition. Framed together in a metal slat frame along the upper and lower edges.

Minor scattered edge wear and a few scattered minor scuffs.

Blacklight: No evidence of restoration.

Frame: 25” H x 97 1/2” W x 2” D

Frame: 49.25” H x 41.25” W x 2.25” D

98 Visual: Overall good condition. Minor scattered edge wear and a few scattered minor scuffs. Framed in a metal slat frame along the upper and lower edges.

Unframed

Condition Reports

Unframed

Blacklight: No evidence of restoration,

92 Overall good condition. Uneven, pale, scattered staining recto and verso, showing primarily verso.

Cockling along the edges, showing mostly along the upper edge. The extreme tip of the lower sheet corners nearly detached. Very minor handling creases. The sheet is loose, not matted.

480

95 Overall good condition. With margins and the colors good. A pinpoint-sized foxmark in the upper margin, left of center, and scattered flecks of pale foxing at the extreme lower margin edge, mostly at left. A minor 6” vertical handling crease in the left margin, not affecting the image. Cockling along the margin edges. Two quarter-sized areas of glue residue on the verso of the upper sheet corners, and four pieces of brown paper tape on the verso of each sheet edge, at center. The sheet is loose, not matted.

93 Overall good condition. The sheet is hinged to the overmat with long pieces of brown paper tape along the verso of each sheet edge.

Unframed 94 Overall good condition. Full margins with deckled edges. A good impression and the colors good. The sheet is loose, not matted.

Unframed

Blacklight: No evidence of restoration.

Frame: 48 1/2” H x 48” W x 2” D 99 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 34.75” H x 48.5” W x 2” D 100 Visual: Overall good condition. Dust accumulation commensurate with age. Scattered and minor surface scratches primarily in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 37” H x 60” W x 2” D

Unframed 102 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 34.25” H x 26.5” W x 2” D 103 Visual: Overall good condition Blacklight: No evidence of restoration.

109 Overall good condition. With margins. Artist’s pinholes in the upper left margin corner. Remnants of old hinging in two places on the verso of the upper margin edge. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under glass: 13” H x 15” W x 1” D 110 Each overall good condition. The slightest wear to the extreme corners and edges. Each sheet is loose, not matted.

Unframed

104 Visual: Overall good condition.

111 Each overall good condition. With margins, with one sheet trimmed vertically by 0.5”. Artist’s pinholes in the upper left margin corner. Each sheet is loose and secured to the back mat with three clear archival corners from the upper right and lower sheet corners.

Blacklight: No evidence of restoration.

Each unframed

Frame: 18” H x 25.5” W x 1.75” D

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

Frame: 37” H x 60.5” W x 1.25” D

105 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23.75” H x 15.5” W x 1.5” D 106 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Gull figure is slightly loose from mounting with the base.

107 Each overall good condition. With margins. One work with soft cockling along the left margin edge. Each sheet is loose and secured to the back mat with four paper archival corners.

Each unframed 108 Overall good condition. The sheet is framed floating and mounted to a board mount. Not examined out of the frame.

Framed under Plexiglas: 17.25” H x 14.25” W x 1.25” D

Framed under glass: 27.25” H x 31.25” W x 1.5” D 113 Overall good condition. Pale light-staining and slightly uneven staining showing primarily in the outer edges, not affecting the image. Surface soiling and stray pale black pigment along the outer edges of the upper and right edges, and a small area of glue residue near the upper right sheet corner, all not affecting the image. Handling creases scattered in the outer edges and cockling along the right edge.

Artist’s pinholes at each sheet corner. Areas of glue residue in places on the verso of the sheet edges and corners. The sheet is loose, not matted.

Unframed 114 Overall good condition. Pale toning throughout the recto and verso. A stray 0.5” pale red-pinkish pigment near the upper right corner. Areas of minor surface soiling along the extreme edges. Glue residue in places along the verso sheet edges and corners. Very soft handling creases scattered primarily in the outer edges. The sheet is hinged to the overmat in two places with white linen tape from the verso of the upper sheet edge.

Framed under Plexiglas: 18.5” H x 15.5” W x 1.75” D

Condition Reports

101 Visual: Overall good condition. Faint stretcher bar creases showing occasionally along each edge.

481

115 Overall good condition. Pale toning to the recto and verso sheet. A few thin surface scratches, in the lower half and only visible in raking light. The sheet is hinged to the overmat with white hinging tape in two places from the verso of the upper edge.

121 Visual: Overall good condition. Scattered areas of craquelure throughout. Spots of old varnish accumulation in the lower left quadrant.

Framed under glass: 14.25” H x 11.25” W x 1.25” D

Frame: 38.5” H x 32.75” W x 1.25” D

116 Visual: Minor toning. A few scattered losses right center and lower right, the largest 1” W. Trimmed, particularly along the left side, with part of the printed signature missing. Framed covering the edges but appears to be laid down.

Frame: 22” H x 13” W x 1” D 117 Overall good condition. Not examined out of frame.

Framed: 32.375” H x 64.25” W x 4.625” D 118 Overall good condition. The full sheet with deckled edges. The colors good. The sheet is loose, not matted.

Unframed 119 Visual: Overall good condition. Minor specks of grime.

Blacklight: No evidence of restoration. Scattered spots of mold fluoresce under blacklight.

Condition Reports

Frame: 31.5” H x 27.5” W x 1.5” D

482

Blacklight: No evidence of restoration.

122 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20” H x 16” W x 1.25” D 123 Visual: Overall good condition. A 3” H x 2.5” W area of varnish accumulation upper right.

Blacklight: No evidence of restoration.

Unframed 124 Overall good condition. The shee is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 9” H x 7.25” W x 0.5” D 125 Visual: Overall good condition.

Blacklight: No evidence of restoration.

120 Visual: Craquelure throughout, including areas of unstable craquelure, with attendant pigment losses, peeling and flaking to the pigment, and certain areas of dry bubbling to the pigment, all primarily in the outer edges of the background. A pinheadsized area of pigment loss in the upper left portion of the figure’s blue shirt, with an attendant peasized reverse pressure mark. A dime-sized pressure mark to the right of the figure’s cheek and in the background. A stretcher bar crease along the lower edge. The canvas with minor ripples, presumably commensurate with the canvas slightly being loose from the stretcher.

Frame: 32.75” H x 37.75” W x 2” D

Blacklight: Areas of restoration throughout the left and right side of the figure’s head, and in the background.

Framed under glass: 17.75” H x 16.75” W x 1.25” D

Frame: 31” H x 26” W x 3” D

126 Visual: Overall good condition. Occasional specks of grime.

Blacklight: No evidence of restoration.

Frame: 17.75” H x 21.75” W x 3” D 127 Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 35” W x 2.5” D 129 Visual: Overall good condition. A pinhead-sized pigment loss in the tree at left. Slight surface grime.

Blacklight: No evidence of restoration.

Frame: 28” H x 24” W x 2.5” D 130 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed: 17.25” D x 14.5” W x 1” D 131 Visual: Spots of possible loss or rubbing on the figure’s blue garment lower center. Scattered older paper and mounting remnants along the edges.

Scattered nibbles to the edges, a few scattered small tears left center edge, lower left, and lower right.

Pin holes upper corners and lower right. An area lacking pastel pigment upper center, likely intrinsic to creation. The upper corners curved in a lunette style.

A French paper manufacturing stamp center verso, remnants of Mexican-branded hinge paper upper verso edge. The sheet is loose, not matted.

134 Figure lacking crown. Overall good condition with minor soiling, shelf wear, scuffs, scratches, nicks, and indentations commensurate with age. Scattered losses to the polychrome. Facial details likely retouched.

135 Overall good condition with soiling, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Scattered small losses to polychrome throughout.

The face with craquelure. Chipped losses and possible repairs to fingers.

136 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Rubbed wear and fading to the polychrome.

137 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Repairs and to each hand.

Craquelure to papier-m‚che robe throughout, with small chipped losses. Soiling throughout, with spotted stains to front of base. Rubbed losses to the gilt and polychrome.

138 Overall good condition with oxidation and general wear commensurate with age. Not examined unmounted from frame.

Unframed

In acrylic frame: 14.625” H x 14.625” W x 3.75” D

132 Visual: Overall generally good condition. Dust accumulation and grime commensurate with age.

Occasional, unobtrusive, pea-sized or smaller pigment losses concentrated primarily in the virgin’s hands and in the heavenly angels/floral border of the canvas.

139 Overall generally good condition. Dust accumulation, grime, dirt, areas of wear to the pigment, occasional surface scratches and scuffs, minor abrasion and a few pieces of metal loss scattered along the extreme corners and edges, areas of residue adhered to the surface in the lower left and upper right quadrant, and minor darkening to the pigment, all commensurate with age. The work is framed floating and mounted to the linen backing board.

Blacklight: No evidence of restoration.

Frame: 46.25” H x 29.25” W x 1.5” D

Framed under glass: 25.75” H x 21.75” W x 2” D 133 Overall generally good condition. Dust accumulation, grime, wear to the pigment mostly in the lower half and outer edges of the work, areas of oxidation, and minor darkening to the pigment, all commensurate with age. Minor abrasion along the extreme upper edge. The metal is framed floating and nailed to the linen backing board in places along the edges and corners.

140 Overall good condition. Dust accumulation and specks of grime commensurate with age. Occasional thin surface scratches and scuffs. Areas of residue along the upper edge. Occasional scattered specks of stray white pigment. As mentioned, the work is mounted to board, with nails along the upper and lower edges. Not examined out of the frame.

Framed under glass: 25.5” H x 21.5” W x 1.25” D

Framed under glass: 16.5” H x 12.5” W x 3” D

Condition Reports

128 Visual: Overall good condition.

483

141 Visual: Overall generally good condition. Dust accumulation, specks of grime, fine and stable craquelure, stretcher bar creases along the four sides, and darkening to the pigment. Occasional flecks of pigment loss in places scattered in the outer edges. Not examined out of the frame.

Blacklight: A pea-sized area of touch-up and a 1” vertical line of touch-up in the lower left quadrant.

Framed under Plexiglas: 15.25” H x 13.25” W x 2” D

142 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with small losses to the wood, losses to polychrome, and soiling. The articulated with repair to left shoulder proper. The other figure with repairs to arms at elbows.

Condition Reports

143 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with small losses to the wood, losses to polychrome, soiling, and evidence of wood worm. The smaller with possible repair to legs and a 1.5” long area of loss to base verso.

484

147 Overall good condition with scattered scuffs, scratches, dust accumulation, and scattered losses to gilt and polychrome commensurate with age. A 2” crack to mask at forehead and nose. Metal with oxidation. Not examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

148 Overall good condition with scattered scuffs, scratches, dust accumulation, and scattered losses to gilt and polychrome commensurate with age. Not examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

149 Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Taller figure with losses to hands and cracks at shoulders. Shorter with losses to hands and possible repairs. Each with craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

150 Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cristo with left hand loosely mounted and not firmly affixed to lower plinth. Each with craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

144 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

151 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Tabletop with 10.5” long older loss and insect grazing.

145 Overall good condition with scattered scuffs, scratches, dust accumulation, and scattered losses to gilt and polychrome commensurate with age. Not examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

152 Visual: Overall generally good condition. Dust accumulation, grime, fine and stable craquelure, and stretcher bar creases along each side, all commensurate with age. Frame abrasion with occasional areas with attendant pigment loss along the extreme edges.

146 Overall good condition with scattered scuffs, scratches, dust accumulation, and scattered losses to gilt and polychrome commensurate with age. Not examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 12.75” W x 2” D 153 With scattered scuffs, scratches, dust accumulation, nicks, indentations, and scattered losses to polychrome commensurate with age.

154 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with rubbed losses to polychrome and older losses to wood throughout. The alms with older losses to upper portions.

162 Each with scattered scuffs, scratches, indentations, older losses, soiling, and rubbed wear to polychrome commensurate with age. The mask with horse hair lacking applied hair to one side and lifting to applied leather. One with chipped losses to nose and nail to forehead with remnants of a gift bow.

155 Each with scattered scuffs, scratches, dust accumulation, and scattered losses to polychrome commensurate with age. Neither examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

163 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

157 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Older chipped losses and evidence of older wood worm and grazing throughout. Oxidation to mechanisms. Lacking key.

158 Visual: Fine, stable craquelure throughout, and stretcher bar creases along each side. Rippling to the canvas along the upper edge. Rice-sized or smaller areas of pigment losses in the red drapery of the lower left quadrant. Occasional flecks of stray house paint scattered in the outer edges.

Blacklight: A few pinhead-sized spots of touch-up throughout, with a 1” H x 0.5” W area near the lower portion of the right edge. Possible older touch-ups under heavy varnish.

Frame: 29.25” H x 36.25” W x 1.5” D 159 Child figure lacking head and saint figure lacking nose and possibly right leg, with scattered other chipped losses throughout. Wall-mounting hardware verso.

160 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

161 Overall good condition with shelf wear, scattered scuffs and scratches, and oxidation commensurate with age. Rubbed loss and fading to the gilding.

165 Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. The figure with chipped losses to the polychrome, cracks in the proper right hand, losses to two fingers of proper left, and a crack at the knee.

The base with 2” area of small losses in the wood, rubbed wear to the wood, and pressure cracks throughout.

166 Each with scattered scuffs, scratches, indentations, nicks, and rubbed losses to the paint commensurate with age. The tin and silver elements with oxidation/ tarnishing and some elements slightly bent. Each with varying degrees of scattered chipped losses to the wood and polychrome, concentrated at bases.

Each with a slight lean.

167 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Losses to hands and repair to mask mounting. Craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

168 Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The left head with break and unmounted portion of devil. Right hand with possible repair. Halo unmounted. Each with craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

169 Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

Shorter with repaired breaks to arms. Each with craquelure, small losses to the wood, losses to polychrome and gilt, and soiling throughout.

Condition Reports

156 Each with scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, shrinkage cracks, and separation at joints commensurate with age. Each with losses to internal paper materials. The larger with uneven and wobbly legs.

164 Overall good condition with heavy oxidation and weathering commensurate with age and possible outdoor use. Some elements slightly bent out of original orientation.

485

170 Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The figure with devil lacking a sword. The other with broken foot and subsequently loose from mounting juncture.

Oxidation/rust to metal wings. Each with craquelure, small losses to the wood, losses to polychrome, and soiling throughout.

171 Each overall good condition with fading to polychrome, scattered scuffs and scratches, nicks, and shelf wear commensurate with age. One wing of Raphael broken from its mounting and retained with the lot. Metal angel with scattered paint loss.

172 Each with darkening, scattered older chipped losses, and general wear commensurate with age. The largest with a vertical split down the middle, two others with smaller splits.

173 Each overall good condition with scattered scuffs, scratches, and patination commensurate with age.

Each lacking a strap.

174 Each overall good condition with scattered scuffs, scratches, and patination commensurate with age.

All but one lacking a strap.

175 Each overall good condition with scattered scuffs, scratches, and patination commensurate with age.

One with strap and hide pouch retained with the lot.

The others without a strap.

Condition Reports

176 Each overall good condition with scattered scuffs, scratches, and patination commensurate with age.

One with remnants of a strap, the other without a strap.

486

177 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

178 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

With older losses, including one verso measuring 10” long. The tabletop with more concentrated scratches. The front with rubbed wear/loss to the finish.

179 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Insect grazing to top of lid. Scattered older chipped losses in the wood.

180 Overall good condition with creasing, stiffening, soiling, scattered losses to the polychrome throughout, and general wear commensurate with age. Not examined out of frame.

Framed: 46.75” H x 40.5” W x 8.125” D 181 Overall good condition with tarnishing and light scratches commensurate with age. Repair to lower juncture of one handle and possible repair to the other. Felt applied to underside.

182 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Possible repairs to wings at mounting junctures. Fading to the polychrome and soiling throughout.

183 Each overall good condition with minor soiling, dust accumulation, small losses to fabric, and fraying to edges commensurate with age. Solo doll with stapled tag lower right proper. The cased grouping not examined out of case, which has mounting hardware verso and scattered minor scuffs and scratches.

184 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Rubbed wear and soiling to the polychrome throughout.

185 Each overall good condition with scattered scuffs, scratches, nicks, and soiling commensurate with age.

Scattered rubbed wear to the polychrome with small losses.

186 With possible repairs to handles, scattered losses, scuffs, and inherent firing flaws commensurate with age and outdoor use. Extensive losses to the glaze throughout. Older chipped losses to rim. Soiling to interior.

188 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With older losses in the wood. Tabletop with deeper nicks and scratches, with a few drink rings and stains. Legs with more concentrated nicks and small losses and remnants of white paint.

189 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With older losses to legs and tabletop. Tabletop with a few scattered stains, the largest measuring 15.5” long.

190 With wear, dust accumulation, and minor scuffs commensurate with age and weathering. A repaired crack to central shaft and older chipped losses to rim of top portion.

191 Extensive restoration and repairs to figure’s back and underside. With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: restoration to right foot and heavy loss to glaze throughout.

192 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age.

193 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a repaired break to right leg proper and a 1.5” long crack in right arm proper.

194 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: losses to each ear, a quarter-sized area of spaulding to right shoulder proper, and spattered black stains throughout.

195 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a restored break to right ear proper and scattered black stains.

196 With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: chipped losses to one spout and older chips to handle.

197 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: the taller with a repaired break to left leg proper and the shorter with two pea-sized areas of spaulding verso.

198 Overall good condition with inherent flaws.

199 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: minor soiling, concentrated at edges, and a few scattered stains, the largest a yellow stain to side A measuring 7” x 3” large.

200 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Older losses and deeper scratches throughout, with a few newer scratches to tabletop, including two measuring about 4” long.

201 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: older chipped losses to bat figure’s knees, at vessel corners, and to rim.

202 Extensive restoration to underside of figure’s belly.

With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered fire clouding throughout and a pea-sized chip to back left foot proper.

Condition Reports

187 The underside and base has been patched and repaired, with an area of separation of the repair substance where it joins with the original material.

With repairs, scattered losses, scuffs, and inherent firing flaws commensurate with age and outdoor use.

The rim with an older 1” x 1” chipped loss. Soiling to interior.

487

203 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 0.5” chipped loss to rim and sticker ghost to underside.

204 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy losses to painted motifs and possible restoration to rear supports.

205 With extensive losses, cracks, and previous restorations. With shelf wear, soiling and patination, scattered scuffs, and inherent firing flaws commensurate with age.

206 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: rubbed wear to the glaze throughout and felt pads applied to underside.

207 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a chipped loss at figure’s right foot proper, small losses verso at necklace, rubbed wear to the glaze throughout, and felt pads applied to underside.

208 Overall good condition. Minor surface soiling and occasional pale staining, verso. The sheet is loose, not matted.

Framed under glass: 19.25” H x 16” W x 1.75” D

Condition Reports

209 Each overall good condition. With narrow margins and the colors good. Each sheet is loose, not matted.

488

Each unframed

210 Overall good condition. The full sheet with deckled edges. Pale light-staining. Very pale time staining along the extreme edges. Toning to the verso sheet.

A pinhead-sized pressure mark near the upper portion of the right edge. Minor handling creases scattered in the outer edges. A stray pinkish pigment mark near the upper edge, at left, and other stray pigment marks scattered throughout the verso sheet, all presumably in the hand of the artist. Small bands of glue residue on the verso of each edge, at center.

The sheet is loose, not matted.

Unframed 211 Overall good condition. A very pale and unobtrusive pea-sized foxmark near the lower portion of the right edge, mostly visible in raking light. Two pinholes in places along the right edge. Minor handling creases scattered throughout. Not examined out of the frame.

Framed under Plexiglas: 31.75” H x 28.25” W x 1.25” D 212 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered spattered stains, a pea-sized chipped loss behind right ear proper, and scattered crazing.

213 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a repaired break to right hand proper, possible restoration to left hand proper, and losses to polychrome throughout.

214 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 1” long crack to rim verso and a 2.375” long crack to underside.

215 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a chipped loss to left ear proper with partial restoration, a quarter-sized chipped loss behind facial adornment, and fire clouding throughout.

216 The mask is separate and sits in the figure’s head.

Figure with detached left leg. With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age.

Issues including but not limited to: heavy chipped losses throughout, including to backs of shoulder mounts and item carried in left hand proper.

223 Each with shelf wear and scattered scuffs and scratches commensurate with age. Each with moisture staining and rubbed wear to the finish. The smaller with a 1.5” long vertical crack at shoulder.

The taller with neck slightly loose, with a 5.5” long crack emanating from base, darkening to base, and scattered rubbed losses to the decoration.

217 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With two quarter-sized older chipped losses behind figure’s ears.

224 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. A 2.5” crack to left side proper, with possible older repair.

218 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Scattered small older chipped losses throughout.

225 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With possible repairs to shoulders.

219 Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Scattered older small chipped losses and soiling throughout.

226 With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy crazing throughout ceramic and inherent indentations to gold piece.

221 Each overall well-worn condition with dust accumulation, soiling, stains, and wear commensurate with age and repeated use. Scattered areas of oxidation to metal threads, especially to jacket front. Left shoulder panel detached from shoulder, and lacking two padded ornaments. A few areas of loose seam stitching. Scattered loose embellishment threads, with some loss to beads/sequins. Major tears and loss to underarms. Linings with soiling, losses to edges, and loose seams. Pants with evidence of alterations to waist, with stitch holes and repairs to interior.

222 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One frieze with two 1” holes. Insect grazing and losses throughout. Scattered white soiling throughout.

227 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 2” long surface crack to front of body, a 1.5” long surface crack to rear, losses to the polychrome, and staining/darkening to body.

228 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: scattered spaulding to underside.

229 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy rubbed wear throughout and a possibly accession sticker to underside.

230 Two with broken loop, each piece retained with the lot. One loop repaired. Each with general wear commensurate with age.

Framed: 8.25” H x 12.25” W x 1” D 231 Each in overall good condition with tarnishing, oxidation, and scratches commensurate with age and use. Smallest pendant lacking attachment ring.

Condition Reports

220 Each overall good condition with dust accumulation, faint soiling, and light wear commensurate with age and repeated use. Scattered brown stains to areas of soutache braid and leather trim overall. A few areas of loss to leather trim at trouser seams. A few faint marks to sleeves. A few discreet small moth holes to trousers, at front.

489

232 Each in overall good condition with light tarnishing and scratches commensurate with age and use. A few clasps with slightly distorted hoops.

241 Overall good condition with soiling, scattered scuffs and scratches, and inherent flaws commensurate with age.

233 Each in overall good condition with tarnishing, oxidation, and scratches commensurate with age and use. Stones and inlay with scattered abrasions. Box with slight distortion to lid at hinge.

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

234 Each with shelf wear, scattered scuffs and scratches, darkening, and soiling commensurate with age. Each with grime and wax residue to interior. Each with a 1-1.5” long crack to rim.

235 Overall good condition with scattered scuffs, scratches, soiling, and small nicks commensurate with age and use. Losses to the silvering finish.

Moisture staining throughout. Cracking and soiling to the inlay.

Condition Reports

236 With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age.

490

243 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each with two quarter-sized spots of sticker remnants.

244 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each with mounting putty residue to underside.

245 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Silveira with sticker ghost near underside.

237 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: rubbed wear to the painted decorations and a possible accession sticker to underside.

246 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Anasazi-style with scattered spaulding and rubbed wear to the decorations and sticker residue to underside. As well, the largest with sticker ghosts to underside.

238 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: extensive darkening and losses to polychrome throughout and fleabite chipped loss to left side proper of mask.

247 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Silveira with a 1.5” x 1” mounting putty stain to underside. The unmarked vessel with mounting putty or sticker residue to underside. The frog effigy with dust accumulation.

239 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: a 1” long chipped loss at figure’s right elbow proper and possible scattered fire clouding.

248 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 1” long chip with rim exterior.

240 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: losses to polychrome throughout, a 0.5” long chipped loss to left side of mask, and fire clouding throughout.

249 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with drips of glaze and some discoloration, possibly inherent in the construction.

250 Overall good condition with scattered scuffs and scratches. Scattered stains in the hide, with minor soiling throughout.

251 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Tarnishing to silver elements. Long tray with a 7” long deeper scratch. Bowls with sticker ghosts to undersides.

260 Visual: Overall good condition. A pinhead-sized area of unobtrusive pigment loss near the upper edge, at right. Scattered areas of minor abrasion along the extreme corners and edges, with some areas of attendant pigment loss.

252 Each with scattered scratches, indentations, and soiling commensurate with age and use. Each with scattered small stains. The milk with spotted stains throughout, concentrated to area of handle and interior.

Blacklight: No evidence of restoration.

254 Overall good condition with scattered minor scuffs and scratches and tarnishing commensurate with age. Loss to gold wash throughout, revealing silver underneath. Felt applied to underside.

255 Overall good condition with scattered minor scuffs and scratches, dust accumulation, and minor soiling commensurate with age. Felt applied to underside.

256 Overall good condition with scattered minor scuffs and scratches, dust accumulation, and minor soiling commensurate with age.

257 Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. The smaller with a surface repair measuring 3” x 1.25”, a pea-sized chipped loss to center of body, and 3” long scuff with possible repair. The larger with a chipped loss at edge of base, measuring 1” x 0.75” large.

258 Overall good condition with tarnishing and light scratches commensurate with age.

259 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

261 Visual: Overall good condition. A cluster of smaller pigment losses scattered near the upper edge, at left. Scattered areas of minor abrasion along the extreme corners and edges, with some areas of attendant pigment loss.

Blacklight: No evidence of restoration.

Unframed 262 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 48.75” H x 36.75” W x 2” D 263 Generally good condition. Some sheets with uneven staining, creases, and scattered nicks and losses along the edges, all commensurate with age. The sheets are loose, not matted.

Each unframed.

264 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

265 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

266 Overall good condition with light tarnishing and scratches commensurate with age and use. With two attachment clip hooks.

267 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with scattered light abrasions, eye-visible inclusions, and surface-reaching fractures.

Condition Reports

253 Overall good condition with scattered minor scuffs and scratches and tarnishing commensurate with age. Felt applied to underside.

Unframed

491

268 Overall good condition with light tarnishing and scratches commensurate with age and use.

Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions.

278 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. Buckle and Sagittarius pendant with a few minor chips to inlay.

269 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions.

279 Overall good condition with light tarnishing and scratches commensurate with age and use.

270 Overall good condition with light tarnishing and faint scratches commensurate with age and use. Scattered stones with light abrasions.

271 Overall good condition with light tarnishing and scratches commensurate with age and use.

272 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Aguilar bracelet with detached chain guard to one end.

273 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

The amethysts with scattered abrasions, eye-visible inclusions and surface-reaching fractures.

Condition Reports

274 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Scattered stones with abrasions, eye-visible inclusions and surface-reaching fractures.

492

275 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Scattered stones with abrasions, eye-visible inclusions and surface-reaching fractures. Smaller floral sprig brooch with minor subtle chip to top of left carved stone bud. A minor dent to one leaf of second silver brooch.

276 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Scattered stones with abrasions, eye-visible inclusions and surface-reaching fractures. Deco-style brooch stone with scattered subtle fleabites to cut edges.

277 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One bracelet lacking chain guard.

280 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

281 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel with scattered light abrasions.

282 Overall good condition with tarnishing and scratches commensurate with age and use. With discreet wire repair to clasp.

283 Overall good condition with tarnishing and scratches commensurate with age and use. Belt with light wear and creasing to leather.

284 Overall good condition with tarnishing and light scratches commensurate with age and use. Wear and light marks to leather.

285 Overall good condition with light tarnishing and scratches commensurate with age and use.

286 Overall good condition with light tarnishing and scratches commensurate with age and use.

287 Each in overall good condition with light tarnishing and scratches commensurate with age and use. necklace with later added hook clasp and chain extender with glass bead.

288 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stone inlay with scattered abrasions and surface reaching fractures. One bracelet with scattered small losses to inlay.

289 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

290 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

303 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

291 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

304 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered light abrasions.

293 Each in overall good condition with wear, oxidation, and scratches commensurate with age and use.

294 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Clasp of amethyst bracelet loose; does not close.

295 Each in overall good condition with rubbed wear, oxidation, and scratches commensurate with age and use. Scattered stones with light abrasions. Wear to leather belts.

296 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.

297 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. Oval buckle lacking corresponding latch piece.

298 Overall good condition with light tarnishing and scratches commensurate with age and use.

299 Overall good condition with light tarnishing and scratches commensurate with age and use.

300 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Wear, creasing, darkening, and stitch losses to leather belt.

301 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

302 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.

305 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Emma bracelet with loss of one ring of one link, and detached chain guard to one end.

306 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

307 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

308 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Glass with scattered light abrasions.

309 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Added chain lacking clasp.

310 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

311 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The two larger pieces can be joined to make a necklace.

312 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.

313 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Hair combs with attached plastic teeth.

Condition Reports

292 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

493

314 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Minor chip to round purple stone.

315 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Coral with scattered light abrasions. Each tests for sterling.

316 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions and surface reaching fractures. Heart necklace with discreet minor loss to stone inlay near clasp.

317 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel with scattered light abrasions. Necklace with a couple of faint hairlines to enamel. Bracelet lacking guard chain.

318 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions.

319 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

320 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Figure-8 bracelet lacking chain guard.

Condition Reports

321 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

494

322 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

323 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel with scattered light abrasions. Brown enamel of necklace with a couple of scattered areas of faint crazing/small lines and a couple of minor discreet chips, near the clasp.

324 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

325 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

326 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

327 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

328 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

329 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

330 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

331 Overall good condition with light tarnishing and scratches commensurate with age and use.

332 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

333 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

The amethysts with scattered abrasions, eye-visible inclusions and surface-reaching fractures. Ring cabochon with small hairline to side of crown.

334 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Tulip brooch with slightly loose stone.

335 Each in overall good condition with tarnishing and light scratches commensurate with age and use.

Amethyst with scattered abrasions, surface reaching fractures, and visible inclusions. Bracelet with slight distortion to closure pin.

337 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

338 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Cameo pendant with light abrasions and scattered minor chips to enamel.

339 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

340 Each in overall good condition with tarnishing, oxidation, and scratches commensurate with age and use. Enamel and stone inlay with scattered light abrasions. Modernist pendant lacking clasp.

341 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

342 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

343 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered light abrasions.

344 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

345 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

346 Each in overall good condition with tarnishing and scratches commensurate with age and use.

347 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions and surface reaching fractures.

348 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions. Scattered minor dents to some silver domes of two bracelets.

349 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Ring carved frog with minor chip.

350 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

351 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

352 Each in overall good condition with light wear, tarnishing, oxidation, and scratches commensurate with age and use.

353 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

354 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Stones with scattered abrasions.

355 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions. A few scattered minor dents to domed silver. One pair lacking post backs.

356 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions and surface reaching fractures. One drop earring with large chip to back of stone drop.

Condition Reports

336 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel with scattered light abrasions. Torsade necklace with scattered light crazing to a few green enamel panels. Earrings with a couple of subtle minor chips.

495

357 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Greenstone with scattered abrasions.

368 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered light abrasions.

358 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Stones with scattered abrasions.

369 Each in overall good condition with tarnishing, oxidation, and scratches commensurate with age and use. Stone inlay with scattered light abrasions.

359 Each in overall good condition with tarnishing and light scratches commensurate with age and use.

370 Each in overall good condition with light wear, tarnishing, oxidation, and scratches commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures.

360 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions.

361 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

362 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel with scattered light abrasions. Mélange fish with a couple of minor losses to enamel. Papyrus earrings with later added pierced posts; obscuring hallmarks.

363 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions.

Condition Reports

364 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Enamel and stone inlay with scattered light abrasions.

496

365 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

366 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions, surface reaching fractures, and visible inclusions. A few scattered minor chips to stone edges.

367 Each in overall good condition with tarnishing, oxidation, and scratches commensurate with age and use. Stones with scattered light abrasions.

371 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions.

372 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Minor distortion to buckle wires verso.

373 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.

374 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.

375 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.

376 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

377 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.

378 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions. One pair with break to ear clip wire, retained.

379 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions.

381 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

382 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

383 Each in overall good condition with tarnishing and scratches commensurate with age and use.

384 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Key rings with heavier scratches to ring elements.

385 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions.

386 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

387 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

388 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. Minor distortion to one fish buckle bar clasp.

389 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. One dish with rubbed wear to interior silver.

390 Overall good condition with light tarnishing and scratches commensurate with age and use.

391 Overall good condition with light tarnishing and scratches commensurate with age and use.

392 Each overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.

393 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Buckle with small bend to one corner and minor distortion to wires verso.

394 Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. Cuff mask accent with minor chip to top edge. Buckle and attached fastener with minor distortions to wires verso. Oval pendant with wear and loss to enamel highlights.

395 Each overall generally good condition. Very pale light-staining, except the work with only the bull displayed with significant light-staining and toning.

Time-staining and minor surface soiling along the extreme edges, with some sheets more than others.

Each sheet is loose, not matted, and housed inside a red folded sheet of paper.

Each unframed 396 Each of the plates in overall good condition. The full sheets in various sizes. The outer portfolios of each with surface soiling, stains, edge wear, splits, and other features attendant with their function as the protective casings for the loose interior pages.

Unframed 397 Overall good condition. With margins. Handling creases scattered in the outer margin edges and corners. Minor surface soiling in the blank and near the left margin edge, at center. The support sheet with pale light-staining and minor handling creases.

The sheet is tipped to the support sheet from the verso of the upper corners and lower right corner, and the support sheet is loose, not matted.

Unframed 398 Overall good condition. The sheet is hinged to the overmat with small pieces of brown paper tape along the verso of each sheet edge and corner.

Unframed

Condition Reports

380 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered light abrasions. Beads with a few scattered minor chips.

497

399 Overall generally good condition. A good impression with velvety burr. Uneven toning and light-staining to the margin edges. A 1.5” soft crease in the lower left margin corner and minor cockling along the upper and lower margin edges. Small areas of surface soiling scattered in the outer margin edges and corners. The sheet is loose, not matted.

Unframed 400 Overall good condition. The folded justification sheet with staining along the recto and verso of the extreme lower sheet edge. The slipcover with wear, toning, surface soiling, and small tears mostly in the outer edges, all commensurate with age. As mentioned, the title page and woodcuts are loose.

Unframed 401 Each overall good condition. The support sheets with pale time staining along the lower sheet edge and minor, scattered handling creases.

Condition Reports

Each unframed

498

499

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Head of Sale, Vice President, Silver, Western & American Indian Art Maranda Moran Director, Fine Art Katherine Halligan Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art

Ian Anderson

Department Administrator, Fine Art

Lori Kassabian Cataloguer, Silver Jewelry & Decorative Arts Sally Andrew

Cataloguer, Furniture & Decorative Arts Cataloguer, Fine Art Cataloguer, Fine Art Senior Specialist, Furniture & Decorative Art Post-War & Contemporary Design Specialist

Grant Stevens Anne Spink Madison Ari Angela Past Matthew Grayson

Department Administrator, Furniture & Decorative Arts

Alek Ellis

Director, Jewelry & Watches Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek, G.G.

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Consignment Manager Jennifer Kurtz

CLIENT SERVICES

Office/HR Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

Vice President, Business Director, Auctioneer Controller Consignment Coordinator

Warehouse Supervisor, Senior Art Handler Transport Supervisor, Senior Art Handler Art Handler Art Handler

MARKETING

Director, Advertising & Marketing PR Manager/Social Media Graphic Designer

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

FOUNDERS

Stephen Swan Joseph Scott Jean Rapagna Richard Corral Joe Miranda Joseph Corcoran Romero Corral

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Matthew Mizerowski Jacob Baer

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

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

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

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

BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility.

Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf.

The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

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

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

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

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction.

Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. (c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

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

ADDITIONAL MATTERS (a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate.

Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures.

Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

SINCE 1969

AUCTIONEERS & APPRAISERS

w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3