California & American Fine Art Auction

California & American Fine Art Sale 137 April 9, 2019—6pm 145 East Walnut Avenue, Monrovia CA 91016 Previews April 5-8: 12pm-4pm April 9: Doors open 12pm

Pg. 42 54 Hermann Herzog (1832-1932 Philadelphia, PA) Forested landscape with deer

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Fine Art Department Morgana Blackwelder Director morgana@johnmoran.com

Jeff Moran President jeff@johnmoran.com

David Trujillo Specialist david@johnmoran.com

Bobby Cullen Cataloguer bobby@johnmoran.com

Special thanks to Jardine Bruce and David Trujillo for their essay contributions.

1 Warren B. Davis (1865-1928 Brooklyn, NY) “A Young Nymph” Oil on canvas laid to board under glass Signed lower left: Warren Davis, signed again and titled on an exhibition label affixed verso 8” H x 10” W $2,000/3,000 Exhibitions: Salmagundi Club, New York, NY, “Thumb-box Exhibition,” n.d.

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2 Maurice Braun (1877-1941 San Diego, CA) “Mountains” Oil on canvas Signed lower right: Maurice Braun 12” H x 16” W $4,000/6,000

3 Franz A. Bischoff (1864-1929 Pasadena, CA) Landscape with trees along a wash Oil on board laid to board Signed lower right: Franz A. Bischoff 10” H x 14” W $3,000/4,000

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4 Edgar Alwin Payne (1883-1947 Hollywood, CA) “Sketch - High Sierra #7” Oil on canvasboard Signed lower left: Edgar Payne, signed again and titled on a label affixed verso 6” H x 8” W $4,000/6,000

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5 Maurice Braun (1877-1941 San Diego, CA) Coastal Oil on canvas laid to board Signed lower right: Maurice Braun, inscribed in another hand verso 8” H x 12.5” W $3,000/5,000

6 Anna A. Hills (1882-1930 Laguna Beach, CA) “First Tide - Laguna Beach,” 1929 Oil on board Signed and dated lower right: A. A. Hills, signed and dated again, titled and numbered verso: AO-37 5” H x 7” W $2,000/3,000

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7 Anna A. Hills (1882-1930 Laguna Beach, CA) “The Blue Pacific” Oil on canvas laid to board Signed lower left: A. A. Hills, signed again, titled and numbered verso: A1-191 7” H x 11” W $3,000/5,000

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8 Karl Schmidt (1890-1962 Los Gatos, CA) “Eucalyptus Grove,” 1915 Oil on panel Signed and dated lower left: Karl Schmidt, titled by repute 12” H x 16” W $2,000/3,000 Provenance: sale, Bonham’s, Los Angeles, CA, July 13, 1989, lot 2499.

9 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA) Cottages in the shadow of eucalyptus trees Oil on canvas laid to canvas Estate signed lower right: Marion Kavanagh Wachtel 13.75” H x 18” W $4,000/6,000 Provenance: Estate of Elmer and Marion Wachtel, Pasadena, CA; sale, John Moran Auctioneers, October 16, 2012, lot 1044. Kelley Gallery, Pasadena, CA.

10 Franz A. Bischoff (1864-1929 Pasadena, CA) House in a landscape with trees Watercolor on paper laid to board under glass Signed lower right: Franz A. Bischoff, indistinctly inscribed and numbered verso Sight: 7.25” H x 10” W $3,000/5,000

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11 Jean Mannheim (1863-1945 Pasadena, CA) “After the Rain” Oil on masonite Signed lower left: J. Mannheim, titled on a label affixed verso 12” H x 16” W $3,000/4,000

12 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA) Trees in a rolling hills landscape Watercolor on paper tacked to stretcher bars under glass Signed lower right: Marion Kavanagh Wachtel and with the artist’s device 14” H x 20” W $7,000/9,000 April 9, 2019 - California & American Fine Art

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13 William Louis Otte (1871-1957 Santa Barbara, CA) Santa Barbara landscape, 1921 Oil on canvas laid to board Signed and dated lower left: William Louis Otte 14” H x 18” W $3,000/5,000

14 Anders Aldrin (1889-1970 Los Angeles, CA) "Train in L.A." (Bridge in Los Angeles Series), circa 1942 Oil on canvas Signed lower right: Aldrin, titled on a gallery label affixed verso 12” H x 20” W $2,000/3,000 Provenance: Sullivan Goss Gallery, Santa Barbara, CA. Kelley Gallery, Pasadena, CA.

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15 Henry Chapman Ford (1828-1894 Santa Barbara, CA) Figure on road to a mission, 1887 Watercolor on paper laid to board under glass Signed and dated lower left: H. C. Ford Sheet: 14� H x 10� W $4,000/6,000

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16 Nicolai Fechin (1881-1955 Taos, NM) “Portrait of Frank Waters” Charcoal on paper laid to board under glass Initialed lower right: NF, titled on a gallery label affixed verso Image: 15” H x 8.5” W $5,000/7,000 Provenance: Fenn Galleries, Santa Fe, NM. Property from the Estate of Paul Weaver, Del Mar, CA. Notes: Frank Waters (July 25, 1902 - June 3, 1995) was an American writer. He is known for his novels including “The Man Who Killed the Deer” and historical works about the American Southwest. The Frank Waters Foundation, established in 1993, is a nonprofit organization, the primary goal of which is to promote the arts, specifically those in the spirit of the creativity of Mr. Waters.

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17 Gordon Coutts (1868-1937 Palm Springs, CA) “An Indian Brave” Oil on canvas laid to canvas Signed lower right: Gordon Coutts, titled on a gallery label affixed to the backing board 24” H x 20” W $5,000/7,000 Provenance: Goldfield Galleries, Los Angeles, CA. Nedra Matteucci Galleries, Santa Fe, NM.

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(1866 - 1955)

William Leigh 12

William Robinson Leigh was born on September 23rd, 1866 on Maidstone Manor Farm in West Virginia. At 14 he attended Maryland Institute, one of the oldest art colleges in the United States, and continued his studies abroad at the Royal Academy in Munich.

After 12 years abroad, Leigh returned home and began work as a cyclorama painter and illustrator. The indelible relationship between the painted image and the narrative necessary for illustration seeps into his contributions to fine art, creating works that beautifully convey a story to the viewer.

This work, a study for “Baking Day/Zuni Baking,� may have been painted as early as Leigh’s first trip to the Southwest in 1906. The process of traveling to the pueblos meant Leigh could only take smaller canvases and minimal supplies so this diminutive painting would have been done on-sight to be used in a larger work once he returned to his New York studio. The figure with her bright red sash is fully engaged in her work, bent over at the waist tending to the horno oven while supplies lie in wait. A second figure in the background appears to be kneading the dough that will eventually be baked once the oven has reached the perfect temperature. The communal aspect of breadmaking is rendered here for the viewer, emphasizing the coming-together of women to create something their families can all enjoy together. The quickness of his brushstrokes, necessary for a study done at the spur of the moment, adds to the charm of the work as it immortalizes this everyday task.

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$20,000/30,000 Provenance: Goldfield Galleries, Los Angeles, CA. Notes: A letter of authenticity from June DuBois, dated November 26, 1989, accompanies the lot.

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William Leigh

18 William Leigh (1866-1955 New York, NY) “Zuni Bread Maker” Oil on canvas laid to waxed canvas Unsigned 8” H x 7” W

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19 Isaac Loren Covington (1885-1970 Provo, UT) Native American storyteller and young boy, 1907 Oil on canvas Signed and dated lower right: L. Covington 23.5” H x 35.5” W $2,000/3,000

20 Frederick William Becker (1888-1974 Palm Springs, CA) “Taos” Oil on paper laid to canvas Signed and titled lower left: Frederick W. Becker 15.25” H x 20.25” W $2,000/3,000 Provenance: Goldfield Galleries, Los Angeles, CA. Nedra Matteucci Galleries, Santa Fe, NM.

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21 Henry Raschen (1854-1937 Oakland, CA) “Moonlight Encampment,” American Indians and horses near a lake Oil on canvas Signed lower right: H. Raschen, titled on a gallery label affixed to the stretcher 20” H x 30.25” W $3,000/5,000 Provenance: J. Mongerson Gallery, Chicago, IL.

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22 Danquart Weggeland (1827-1918 Salt Lake City, UT) “Near St. George,” 1906, American Indian figures with early Mormon Tabernacle Oil on canvasboard Signed and dated lower right: by Dan Weggeland, titled lower left 16” H x 18” W $10,000/15,000

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23 Maynard Dixon (1875-1946 San Francisco, CA) Indian on horseback, 1917 Watercolor and graphite on paperboard under glass Initialed and dated in graphite lower right: M.D., signed verso: M. Dixon 9.5�H X 11.5�W $30,000/40,000 Notes: There is an unfinished graphite sketch verso.

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24 Sheldon Parsons (1866-1943 Santa Fe, NM) “New Mexico Landscape” Oil on board laid to board Unsigned, titled on a gallery label affixed verso 7.5” H x 10.5” W $3,000/5,000 Provenance: Goldfield Galleries, Los Angeles, CA. Nedra Matteucci Galleries, Santa Fe, NM.

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25 Carl Sammons (1883-1968 Oakland, CA) “Palm Springs” Oil on canvas Signed lower right: Carl Sammons, titled on a gallery label affixed to the backing board 20” H x 26” W $3,000/4,000

26 Carl Sammons (1883-1968 Oakland, CA) “Smoke Trees - Verbenas,” 1944 Oil on canvas Signed lower right: Carl Sammons, signed again, titled, dated and inscribed verso: Palm Springs, Calif.

18” H x 26” W $2,000/4,000 Provenance: sale, Christie’s, Los Angeles, April 30, 2008, lot 13.

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27 William Alexander Griffith (1866-1940 Laguna Beach, CA) Snow-capped mountain in desert landscape, 1929 Oil on canvas Signed and dated lower left: William Alexander Griffith 25” H x 30” W $2,500/3,500 Provenance: sale, John Moran Auctioneers, September 28, 1993, lot 232.

28 Paul Grimm (1891-1974 Palm Springs, CA) “Garden in the Desert” Oil on masonite Signed lower left: Paul Grimm, signed again and titled verso 16” H x 20” W $2,500/3,500

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29 Paul Grimm (1891-1974 Palm Springs, CA) “Nature’s Sculpture” Oil on masonite Signed lower right: Paul Grimm, signed again and titled verso 20” H x 30” W $3,000/5,000

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30 Peter Nielsen (1873-1965 Santa Ana, CA) Estero cove scene Oil on canvas Signed lower left: Peter Nielsen, signed again verso 28” H x 34” W $5,000/7,000 Provenance: George Stern Fine Arts, West Hollywood, CA.

31 Dedrick B. Stuber (1878-1954 Los Angeles, CA) “The Turquoise Bay,” near Palos Verdes, CA Oil on board Signed lower right: Dedrick B. Stuber, titled on the frame plaque 20” H x 24” W $2,000/3,000

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32 Jack Wilkinson Smith (1873-1949 Alhambra, CA) “Oregon’s Grey Coast” Oil on canvas laid to waxed canvas Signed lower left: Jack Wilkinson Smith, signed again and titled on the original canvas 28” H x 36” W $12,000/18,000

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33 William Ritschel NA (1864-1949 Carmel, CA) Rocky coastal with crashing waves Oil on canvas laid to canvas Signed lower right: W. Ritschel N.A. 30” H x 40” W $20,000/30,000

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34 Joseph Raphael (1869-1950 San Francisco, CA) “Carmine L. Maggiore,” 1938 Watercolor on paper laid to board Signed and titled lower right: Joe Raphael, inscribed and dated in another hand on the backing paper: The Carmine Lake Maggiore, Italy / Done in 1938 Sight: 19.5” H x 26.75” W $3,000/5,000

35 Joseph Morris Raphael (1869-1950 San Francisco, CA) “Canal at Uccle” Oil on canvas laid to waxed canvas Signed and indistinctly inscribed lower left: Joe Raphael, titled by repute 29.75” H x 21.75” W $6,000/9,000

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36 Charles Henry Gifford (1839-1904 Fairhaven, MA) “Neapolitan Fishing Boats - Retrieving the Nets,” 1895 Oil on panel Signed and dated lower right: C.H. Gifford, titled by repute 10.25” H x 15.25” W $4,000/6,000

37 Benjamin Chambers Brown (1865-1942 Pasadena, CA) “Venice” Oil on canvas Signed and titled lower right: Benjamin C. Brown, signed again verso 18” H x 24” W $7,000/9,000

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(1880 - 1980)

Harriet Frishmuth 28

Born in Philadelphia on September 17th, 1880, Harriet Frishmuth began her career in sculpture studying under Auguste Rodin in Paris and Jean Antoine Injalbert in Berlin.

After returning to the United States, she continued her studies at New York’s Art Student’s League and even performed dissections at the College of Physicians and Surgeons to further her knowledge of the human form. It is this blend of understanding between the human body with its physiological capabilities and limitations and an almost streamlined artistic eye that is so well balanced in Frishmuth’s sculptures. Rejecting the beating drum of Modernism for her preferred figural style, Frishmuth would create works that center on strong, determined women at ease in their bodies for the rest of her career.

One of eighteen statuettes cast at Roman Bronze works in 1929 (an additional thirty-four were cast at Gorham Bronze Works), "Allegra" was meant as a companion piece to "Desha", with both works modeled after Desha Delteil. A Slovenian-born dancer, Delteil began her career as an artist’s model in 1918 working with Frishmuth and became prized for her ability to hold difficult poses. Frishmuth described her pose as "the instant of repose in dance just before the dancer begins a new series of movements." (as quoted in Thayer Tolles, Leah Rosenblatt Lehmbeck, Janis Conner, "Captured Motion: The Sculpture of Harriet Frishmuth, A Catalogue of Works," Christies/Hohmann Holdings, LLC, New York, 2006, p. 49). The figure ambiguously balanced on one leg could be moving into a balancé or a pirouette with one arm delicately outstretched for balance and the other bent in front of the body for kinesis. The face, calm yet determined, is facing opposite the arms, anticipating the body’s next move.

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38 Harriet Frishmuth (1880-1980 New York, NY) “Allegra,” 1929 Patinated bronze on black marble plinth Signed and dated: Harriet Frishmuth / 1929; Further stamped: Roman Bronze Works Inc. 11.25” H x 7” W x 2.75” D

Harriet Frishmuth

$10,000/15,000

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39 Jean Mannheim (1863-1945 Pasadena, CA) “Fixing Her Hair” Oil on canvas Signed lower left: Jean Mannheim, titled by repute, with a canvas stencil from Paul Foinet, Paris verso 23” H x 19” W $2,500/3,500

40 Albert Herter (1871-1950 California/New York) “Portrait of Master Rosenbaum,” circa 1914 Oil on canvas Signed upper left: Albert Herter and with the artist’s device, titled and dated on a gum label affixed to the backing board 36” H x 25” W $7,000/9,000 Provenance: Artist’s estate through descent in the family; Albert M. and Nettie Rosenbaum passed to Milton Meyers (young Alberts older brother), passed to Fern Meyers, widow of Milton Meyer, gifted to Mabel Alvarez, Los Angeles, CA, passed to the present owner, Private Collection, Los Angeles, CA.

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41 J. Alden Weir (1852-1919 New York, NY) Portrait of a woman, circa 1905 Oil on canvas Signed upper left: J. Alden Weir 24” H x 20” W $8,000/10,000 Provenance: Larcada Gallery, New York, NY. M. Knoedler & Co., Inc., New York, NY.

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42 Louis Moeller NA (1855-1930 New York, NY) “A Candy for Dolly” Oil on canvas Signed lower left: Louis Moeller N.A., titled on a gallery label affixed verso 10” H x 8” W $4,000/6,000 Provenance: Dawson Gallery, Annapolis, MD.

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43 Karl Witkowski (1860-1910 Newark, NJ) “Game of Marbles” Oil on canvas Signed right center: K. Witkowski 28” H x 24” W $6,000/8,000

44 Karl Witkowski (1860-1910 Newark, NJ) “Dividing the Spoils,” 1901 Oil on canvas Signed and dated lower right: K. Witkowski / Copyright 1901, titled by repute 24” H x 30” W $5,000/7,000

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45 Fernand Lungren (1857-1932 Santa Barbara, CA) “Picadilly Spring Morning,” 1899 Oil on canvas Signed lower left: Lungren, inscribed on the stretcher: From an omnibus. London.

Picadilly Spring Morning - Painted 1899 16” H x 20” W $7,000/9,000 Exhibitions: Santa Barbara Free Public Library, Faulkner Memorial Art Gallery, Santa Barbara, CA, n.d.

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46 Peter Ellenshaw (1913-2007 Santa Barbara, CA) “Pinewood, Buckinghamshire, England,” 1980 Oil on canvas Signed and dated lower left: Peter Ellenshaw 24” H x 36” W $3,000/5,000 Exhibitions: R. W. Norton Art Gallery, Shreveport, LA, September 18-October 30, 1983; Hammer Galleries, New York, NY, December 6, 1983-January 7, 1984.

Literature: “Peter Ellenshaw - Selected Works 1929-1983,” Hammer Publishing, New York, NY, 1983, fig. 21.

47 Harry A. Vincent (1864-1931 Rockport, MA) Fishermen and boats at rest Oil on canvas Signed lower right: H.A. Vincent 25.25” H x 30” W $3,000/4,000

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(1858 - 1924)

Maurice Brazil Prendergast 36

Working as a young man in Boston during the late 19th century, Maurice Prendergast was apprenticed to a commercial artist and by 1879 was working as a painter of show cards for a local firm. The genesis of his style, Prendergast’s early work with commercial painting introduced him to bright colors and flat patterning effects, which would become a hallmark of his later oeuvre. Such experience also brought Prendergast into contact with watercolor, a medium with which he almost exclusively worked until the turn of the century. Watercolors allowed Prendergast a level of spontaneity and portability to explore the subject matter for which he is well-known, slowly building the experience and eye of a young artist.

Continuing his work as a commercial painter through a trip to England in 1886-87, Prendergast moved to Paris in 1887 after a brief return to the United States and would remain in France until 1891. This period saw the artist receive his first formal artistic training, studying at both the Atelier Colarossi and the Académie Julian. Perhaps more influential than his studies were the acquaintances he made in France, including the English avant-garde artists Walter Sickert and Aubrey Beardsley, and the PostImpressionists Pierre Bonnard and Edouard Vuillard. During this time, Prendergast developed a style that has been compared to a mosaic or tapestry, similar to the pointillism of Georges Seurat. His works are bright, with bold, jewel-like colors woven together to create an at once expressive and vibrant composition, greater than, yet entirely dependent on the sum of its parts. Taking a cue from the subject matter of the Impressionists whose works he had studied, Prendergast’s paintings focus on crowds of the genteel middle class in varying genre scenes, each figure anonymous yet an integral part of the whole.

Such is Sunday in the Park, a subtle yet striking composition created circa 1910-1913.

Anchoring the scene are three women, their dresses pink. blue and yellow, although under closer inspection, a palette of hues emerge in each brushstroke. Facing the viewer, the women draw our gaze into the park, pulling us into the depths of the leafy green shade. Dappled sunlight plays across the ground, figures, and branches, weaving the tapestry of Prendergast’s vision, absorbing and reflecting bright jewels of color. The bright sunlit background behind the tree trunks provides an otherwise unobtainable depth of field to Prendergasts’s composition, while the swift strokes of dark green, light green, light brown, and burnt orange create the layered foliage of the park’s canopy.

This scene, simply a day in the park, becomes a jewel of a memory, a warming and comforting time capsule of a leisurely Sunday before the shadows lengthen and the crowd returns home.

While there is nothing shocking about the present work, Prendergast was seen as an incredibly modern and avant-garde artist for the time. Opposed to the conservative, academic nature of American painting at the turn of the century, he was invited to show seven paintings at the landmark 1913 Armory Show in New York, the largest exhibition of modern art in America at the time and a turning point in American art history.

Although a reportedly shy and conservative man, Prendergast’s paintings were anything but, and his vibrant yet approachable works serve as an excellent bridge between the American art of the 19th century and the modern American masters of the 20th.

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$150,000/200,000 Provenance: The artist; to Charles Prendergast, the artist’s brother, 1924; to Mrs. Charles Prendergast, Eugenie Prendergast, 1948; The George Wasserman and Janice Wasserman Goldsten Family Collection, Washington, D.C., 1950.

Literature: Carol Clark, Gwendolyn Owens, Nancy Mowll Mathews, “Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonne”, Williams College Museum of Art, Williamstown, MA, 1990, p. 266, no. 273, illustrated.

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Maurice Brazil Prendergast

48 Maurice Brazil Prendergast (1858-1924 New York, NY) “Sunday in the Park,” circa 1910-1913 Oil on panel Signed lower right: Prendergast 11.5” H x 16” W

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49 Albert Ernest (Beanie) Backus (1906-1990 Fort Pierce, FL) Florida Everglades Oil on canvas Signed lower right: A.E. Backus 25.25” H x 30” W $15,000/20,000

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50 Edward B. Gay (1837-1928 Mount Vernon, NY) Stream through an autumn landscape Oil on canvas Signed lower right: Edward Gay 20.25” H x 30” W $2,000/3,000

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51 Charles Wilson Knapp (1823-1900 Philadelphia, PA) “Highland Lake” Oil on canvas laid to waxed canvas Signed lower left: CW Knapp, titled on a gallery label affixed to the backing board 20” H x 36” W $3,000/5,000 Provenance: SoHo Myriad Gallery, Atlanta, GA.

52 Late 19th Century Hudson River School “Adirondack Lake with Indian” Oil on canvas laid to canvas Unsigned, titled on an exhibition label affixed to the stretcher 20” H x 36” W $3,000/5,000 Exhibitions: Los Angeles County Museum of Art, Los Angeles, CA, “American Paintings in Los Angeles Collections,” May 7 - June 30, 1974, No. ex.74.731.

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53 Thomas Hill (1829-1908 Raymond, CA) Lake scene, White Mountain, New Hampshire, 1892 Oil on canvas Signed and dated lower right: T. Hill 22” H x 42” W $30,000/40,000

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54 Hermann Herzog (1832-1932 Philadelphia, PA) Forested landscape with deer Oil on canvas Signed lower right: H. Herzog 34” H x 55” W $20,000/30,000

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55 Jack Lorimer Gray (1927-1981 Halifax, Nova Scotia/New York, NY) “West Side Docks,” New York Harbor Oil on canvas Unsigned, titled on a gallery label affixed verso, artist copyright stamp verso 26” H x 40” W $10,000/15,000 Provenance: Manhattan Galleries, Pasadena, CA.

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56 Frank Coburn (1862-1938 Santa Ana, CA) “The Gate to a Great City” Oil on canvas laid to waxed canvas Signed lower right: Frank Coburn, titled on a frame plaque affixed verso 30.25” H x 38.5” W $15,000/25,000 Provenance: sale, Bonhams, California & American Paintings and Sculpture, June 9, 2002, lot 8231.

Literature: B.J. Delaney, “Frank Coburn (1862-1938): An Early Los Angeles Painter”, San Diego, 1991, p. 104, no. 67, illustrated.

Notes: The background showcases the Wrigley Building in Chicago, IL, completed in 1924.

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57 Rex Brandt (1914-2000 Corona del Mar, CA) “Surf - Newport,” 1947 Watercolor on paper under glass Signed, titled and dated lower left: Rex Brandt, signed again on the matting lower right Sight: 18.75” H x 25.75” W $3,000/4,000

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58 Peter Ellenshaw (1913-2007 Santa Barbara, CA) Coastal with crashing waves, 1967 Oil on canvas Signed and dated lower left: Peter Ellenshaw 20” H x 34” W $4,000/6,000

59 Peter Ellenshaw (1913-2007 Santa Barbara, CA) Rocky coastal with calm waters, 1967 Oil on canvas Signed and dated lower left: Peter Ellenshaw 18” H x 30” W $3,000/5,000 Provenance: Hammer Galleries, New York, NY.

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60 Joane Cromwell (1895-1969 Laguna Beach, CA) “The Emerald Pool” Oil on board Signed lower left: Joane Cromwell, titled verso 9.75” H x 13.75” W $3,000/5,000 Provenance: DeRu’s Fine Arts, Laguna Beach, CA. Exhibitions: Laguna Art Museum, Laguna Beach, CA, “Greetings from Laguna Beach: Our Town in the Early 1900s,” April 9 - July 9, 2000 and July 30 - October 15, 2000; The Huntington Beach Art Center, Huntington Beach, CA, May 2 - July 4, 2015.

61 Joane Cromwell (1895-1969 Laguna Beach, CA) “Arch Beach” Oil on canvasboard Signed lower right: Joane Cromwell, titled on an artist’s label affixed to the backing paper 12” H x 16” W $3,000/5,000

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62 20th Century California School Women painting in sand dunes, circa 1920s Oil on canvas Unsigned 22� H x 30� W $3,000/5,000

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(1906 - 1990)

Phil Latimer Dike NA 50

63 Phil Latimer Dike NA (1906-1990 Claremont, CA) Harbor scene with figures and tug boat Watercolor, gouache and oil on paper laid to board under glass Faintly signed in graphite lower left: Phil Dike Sight: 19� H x 23.5� W $10,000/15,000

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64 Phil Latimer Dike NA (1906-1990 Claremont, CA) Laguna Harbor scene with figures Watercolor on Arches paper under glass Signed lower right: Phil Dike Sight: 19.5� H x 29.5� W

Phil Latimer Dike

$8,000/12,000

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65 Phil Latimer Dike NA (1906-1990 Claremont, CA) “Harbor Revisited #20,” 1963 Mixed media on paper laid to board under glass Signed lower right: Phil Dike, signed again and titled on the backing board Sight: 17.5” H x 23.5” W $2,000/3,000 Provenance: Fine Arts Rental Gallery, Scripps College, Claremont, CA.

66 Wynn Chamberlain (1927-2014 New York, NY) “Junkyard Men,” 1957 Tempera on masonite Signed and dated lower right: Chamberlain 9.25” H x 15.5” W $2,000/3,000

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67 Charles Keck (1913-2003 Los Angeles, CA) “Salt of the Land, Oxnard” Watercolor on paper under glass Signed lower right: Keck, titled by repute Sight: 15” H x 22” W $2,000/3,000

68 Emil J. Kosa Jr. NA (1903-1968 Los Angeles, CA) “Self Portrait” Oil on canvas Signed lower right: Emil Kosa Jr., signed again verso and on the stretcher 20” H x 16” W $3,000/4,000

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69 Charles Keck (1913-2003 Los Angeles, CA) “Playing Marbles, Ojai,” circa 1940s Mixed media on paper under glass Signed lower left: Keck, titled and dated on a gallery label affixed to the backing paper Sight: 19” H x 24.5” W $3,000/4,000 Exhibitions: Sullivan Goss Gallery, Santa Barbara, CA, “Americans at Play,” 2010.

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70 Millard Owen Sheets NA (1907-1989 Gualala, CA) “Willows on the Canal,” 1967, village scene with figures near bridge Watercolor on Arches paper under glass Signed lower right: Millard Sheets, signed again, titled, dated and inscribed verso: Kurashki [sic] - Japan Sight: 21.25” H x 29.25” W $4,000/6,000

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71 Millard Owen Sheets NA (1907-1989 Gualala, CA) “Warner Hot Springs,” 1937 Watercolor on Arches paper under glass Signed lower right: Millard Sheets, titled and dated on the frame plaque: Nov. 20th, 1937 Sight: 16” H x 27” W $3,000/5,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA.

72 William A. Griffith (1866-1940 Laguna Beach, CA) Laguna landscape, 1924 Pastel on board under glass Signed and dated lower right: W.A. Griffith / 5.24 Sight: 19.5” H x 15.5” W $4,000/6,000 Exhibitions: The Irvine Museum, Irvine, CA, “Mastering the Medium: Works on Paper,” June 19 - September 19, 2013; The Irvine Museum Collection at the University of California, Irvine, “Drawing on the Past: Works on Paper,” July 7 - October 4, 2018.

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73 Tim Solliday (1952-* Alhambra, CA) “Majestic Moonlit Wall” Oil on canvas Signed lower right: T. Solliday, titled on an exhibition label affixed verso 30” H x 20” W $3,000/5,000 Exhibitions: California Art Club, Pasadena, CA, n.d.

74 Paul Grimm (1891-1974 Palm Springs, CA) “Bishop Crek [sic]” Oil on board Signature incised lower right: Paul Grimm, titled and inscribed verso: Tillie 12” H x 16” W $2,500/3,500

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57

75 Paul Grimm (1891-1974 Palm Springs, CA) “Quiet Pool” Oil on board Signed lower left: Paul Grimm, titled on a gallery label affixed verso 12” H x 16” W $2,500/3,500

76 Paul Grimm (1891-1974 Palm Springs, CA) “Temple Crag,” 1945 Oil on canvas Signed lower left: Paul Grimm, signed again, titled, dated and inscribed verso: From First Lake / To Tillie 30” H x 24” W $5,000/7,000

58

1969

2019

77 Paul Grimm (1891-1974 Palm Springs, CA) “Scenic Allure,” 1939 Oil on canvasboard Signed lower right: Paul Grimm, signed again, titled and dated verso 16” H x 20” W $4,000/6,000

78 Peter Ellenshaw (1913-2007 Santa Barbara, CA) “Teton Sunset,” 1992 Oil on canvas Signed and dated lower left: Peter Ellenshaw 30” H x 48” W $6,000/8,000

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59

79 Harry Raymond Henry (1882-1974 Costa Mesa, CA) High Sierras landscape Oil on canvas laid to waxed canvas Signed lower left: H. Raymond Henry 30.25” H x 40” W $4,000/6,000

80 Jack Wilkinson Smith (1873-1949 Alhambra, CA) Mountain stream Oil on canvas Signed lower left: Jack Wilkinson Smith 24” H x 27.25” W $6,000/8,000

60

1969

2019

81 Jack Wilkinson Smith (1873-1949 Alhambra, CA) “Lingering Snow, High Sierras,” 1922 Oil on canvas Signed and dated lower left: Jack Wilkinson Smith, with alternate date verso: 1921, signed again, titled, indistinctly inscribed and numbered verso: No. A-22 24” H x 30” W $15,000/25,000

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61

82 Artus van Briggle (1869-1904 American) “The Garden Path” Oil on canvas Signed lower right: Artus van Briggle, titled by repute 20” H x 24” W $3,000/5,000

83 Alice B. Chittenden (1859-1944 San Francisco, CA) Still life with poppies, 1902 Oil on canvas laid to canvas Signed and dated lower left: Alice B. Chittenden 12” H x 20” W $4,000/6,000 Exhibitions: The Irvine Museum, Irvine, CA, “Abundance of Color: California Flowers in Art,” March 22 - August 23, 2008, “Saving Paradise,” June 16 - October 26, 2010, “Then and Now: 100 Years of Plein Air Painting,” May 17 - October 2, 2014; The Irvine Museum Collection at the University of California, Irvine, “Moods of California,” October 7, 2017 - February 8, 2018.

62

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84 Franz A. Bischoff (1864-1929 Pasadena, CA) “White Rose Bush, Perla Von Godensburg Roses” Oil on canvas Signed lower right: Franz A. Bischoff, signed again and inscribed verso 40” H x 24” W $50,000/70,000 Provenance: Purchased directly from Mrs. Franz Bischoff, Pasadena, CA; Private Collection, Claremont, CA. Exhibitions: “Gardens and Grandeur: Porcelains and Paintings by Franz A. Bischoff,” Pasadena Museum of California Art, Pasadena, CA, November 21, 2010 - March 20, 2011; The Irvine Museum, Irvine, CA, November 12, 2011 - March 8, 2012.

Literature: J. Stern, “Franz Bischoff: the Life & Art of an American Master,” The Irvine Museum, Irvine, CA, 2010, p. 37, illustrated.

Notes: This work was painted in Bischoff’s backyard.

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63

85 Franz A. Bischoff (1864-1929 Pasadena, CA) Still life with fruit and glass bowl, 1890 Watercolor on paper laid to board Signed and dated lower left: Franz A. Bischoff Sight: 21” H x 30” W $3,000/5,000

86 Vernon Jay Morse (1898-1964 Sierra Madre, CA) Still life with zinnias, 1929 Oil on canvasboard Signed and dated lower left: Vernon Morse, an artist’s profile pamphlet is affixed verso 15” H x 20” W $2,000/3,000

64

1969

2019

87 Mabel Alvarez (1891-1985 Los Angeles, CA) Still life with two pitchers Oil on board Signed upside down upper left: Alvarez 18” H x 24” W $3,000/5,000 Provenance: The Estate of Mabel Alvarez.

88 Mabel Alvarez (1891-1985 Los Angeles, CA) “Vendor” Oil on masonite Signed lower right: Alvarez, signed again verso, titled on a gallery label affixed to the backing board 36” H x 24” W $5,000/7,000 Provenance: The Estate of Mabel Alvarez. Adamson-Duvannes Galleries, Los Angeles, CA.

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65

(1829 - 1908)

Thomas Hill 66

Born in Birmingham England in 1829, Hill emigrated to the United States at 15, settling in Taunton, Massachusetts. Finding an artistic home outside the world of industrial Midlands England and New England, Hill took solace and inspiration in rugged mountainous landscapes. Hill began his education in 1851 at the Pennsylvania Academy of Fine Arts and studied under its director, Peter Frederick Rothermel. Several Hudson River School painters were frequent companions on his painting trips to the White Mountains of New Hampshire, and the influence of their aesthetics, particularly grand idealized landscapes, are evident in Hill’s work. In 1856 Hill moved west to the burgeoning city of San Francisco, a bustling but altogether different place than the busy cities of the East Coast. Nine years later in 1865, he made his first journey to Yosemite, beginning a relationship with the valley that would last for the rest of his life and where he would make yearly sketching trips.

"Half Dome Mountain, Mirror Lake, Yosemite, Calif." was executed just two years after Hill made his first trip to Yosemite in 1867. An early adopter of painting en plein air (to paint outdoors directly from the landscape), Hills’ love of the outdoors and natural world is particularly evident in this work. Replacing the presence of man—typical in Hudson River School-style vistas—with a family of deer, the work transports the viewer into an immersive communion with nature. The calm, mirror-like lake in the foreground is cast in a deep shadow by the steep incline of the righthand peak, directing the eye inward to the mid-ground. There we begin to see the red hues of sunlight picked up by the yellow-green pine trees jutting up with warm-toned rolling gray peaks just beyond.

Hints of jagged mountain tops in the background covered in a carpet of soft green grass are cooled by a shroud of mist echoing the streaks and puffs of the clouds in the upper sky.

Hill would return to the same valley again and again over his long career, creating a lasting body of work that celebrates the rugged nature of one of America’s oldest National Parks. His earthy palettes of greens, browns, and warm grays record Yosemite as it was and, in many ways, still is; an earthly palace of reflection and closeness with nature where there is still craggy peaks, families of deer, and calm cool water.

1969

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89 Thomas Hill (1829-1908 San Francisco, CA) “Half Dome Mountain, Mirror Lake, Yosemite, Calif.,” 1867 Oil on canvas laid to canvas Signed and dated lower right: T. Hill, titled in another hand on a label affixed to the stretcher, with alternate title on exhibition label affixed verso: “Mirror Lake” 26” H x 42” W $40,000/60,000

Thomas Hill

Exhibitions: Los Angeles County Museum of Art, Los Angeles, CA, “American Paintings in Los Angeles Collections,” May 7 - June 30, 1974, No. ex.74.730.

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67

90 Thomas Moran (1837-1926 Santa Barbara, CA) “El Capitan” Watercolor on paper under glass Signed with conjoined initials lower right: TMoran, titled on a gallery label affixed to the backing paper Sight: 8.75” H x 6.75” W $5,000/7,000 Provenance: Frank Perls Gallery, Beverly Hills, CA.

91 Lorenzo P. Latimer (1857-1941 Berkeley, CA) Pond in a redwood forest interior, 1903 Watercolor on paper laid to board under glass Signed and dated lower right: L.P. Latimer Sight: 19.25” H x 13” W $2,000/3,000

68

1969

2019

92 Early 20th Century American School Rolling hills overlooking a bay Oil on canvas Unsigned 25� H x 30� W $5,000/7,000 Notes: In a Newcomb-Macklin frame designed by Stanford White.

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69

93 Orrin A. White (1883-1969 Pasadena, CA) “Hills & Eucalyptus” Oil on canvas Signed lower right: Orrin A. White, titled and numbered on the stretcher: #10660 25” H x 30” W $4,000/6,000

94 Peter Nielsen (1873-1965 Santa Ana, CA) House in a Morro Bay eucalyptus grove Oil on canvas Signed lower right: Peter Nielsen 20” H x 24” W $3,000/4,000

95 Carl Sammons (1883-1968 Oakland, CA) Mountain landscape Oil on canvas Signed lower right: C. Sammons 20” H x 28” W $2,000/4,000

70

1969

2019

96 Paul Lauritz (1889-1975 Glendale, CA) Golden trees Oil on canvas Signed lower right: Paul Lauritz 36” H x 40” W $6,000/8,000

97 Maurice Braun (1877-1941 San Diego, CA) “Grey Skies” Oil on canvas Signed lower left: Maurice Braun, titled on the stretcher 20” H x 24” W $6,000/8,000 April 9, 2019 - California & American Fine Art

71

98 Mabel Burnette (1876-1956 Pasadena, CA) “Foothills of Altadena” Oil on canvas Signed lower right: M. Burnette, titled twice on the stretcher 20” H x 24” W $3,000/4,000

99 Alexis M. Podchernikoff (1886-1933 Pasadena, CA) Valley landscape with mountains Oil on canvas Signed lower left: A.M. Podchernikoff 25” H x 30” W $2,000/4,000

72

1969

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100 Paul Grimm (1891-1974 Palm Springs, CA) Sycamore tree in a landscape Oil on canvas Signed lower left: Paul Grimm 24” H x 30” W $10,000/15,000

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73

101 Jack Lorimer Gray (1927-1981 Halifax, Nova Scotia/New York, NY) “On Roseway Bank,” 1961 Oil on canvas Signed and dated lower left: Jack L. Gray, signed and dated again and titled on the stretcher 24” H x 40” W $12,000/18,000

102 Attributed to Albert Bierstadt (1830-1902 New York, NY) Rocky coastal with sailboat, 1901 Oil pastel on paperboard under glass Signed with conjoined initials and dated lower right: AB Sight: 19.5” H x 23.5” W $4,000/6,000

74

1969

2019

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75

(1849 - 1936)

William Alexander Coulter 76

William Coulter was born in Glenariff, County Antrim in what is today Northern Ireland on March 7th, 1849, the son of a captain in the Coast Guard. After a stint as an apprentice seaman beginning at age 13, Coulter eventually settled in San Francisco in 1869. The city by the bay was an important center for the Pacific trading routes and a maritime hub on the Pacific Coast, perfect for a young man with the sea in his blood.

Never far from the water, Coulter spent most of his free-time fostering his innate talent for drawing and art. While working as a sailmaker during his early years in San Francisco, Coulter began contributing to exhibits organized by the San Francisco Art Association.

Though he was mostly self-taught, Coulter eventually studied with marine artists in Europe, returning to the Bay Area in the late 1870s where he would remain for the rest of his life. Coulter’s works were prized by captains for their accuracy, showing their vessels at their most glorious in harmony with the water.

The Three Brothers was initially built as an iron-steamer by Cornelius Vanderbilt in 1857 and launched at Greenpoint, New York. After its conversion to a full-rigged clipper ship in 1873, it was regarded as one of the fastest clipper ships of its day and was a regular on the San Francisco, Le Havre, Liverpool, and New York City shipping routes.

Coulter likely painted the Three Brothers sometime after his return to San Francisco from Europe in the late 1870s. The deftness of the brushwork shows each sail and rig in exacting detail with hints of crewmembers engaged in work drawn for scale. The cloudy sky with suggestions of a storm is painted with the looming Farallon Islands skewed by mist miles away, anchoring the setting firmly in the San Francisco Bay Area. Though the skies have darkened on the cusp of a squall, Coulter’s brushwork assures the viewer that the Three Brothers can handle the worst of what the Pacific Ocean and treacherous Farallon Islands can throw at it.

1969

2019

$15,000/20,000 Notes: Three Brothers was built in 1857 by Cornelius Vanderbilt at a cost of one million dollars and launched as the Vanderbilt, a side wheel paddle steamer, for transatlantic passenger sevice. It was converted into a three-masted clipper ship in 1873. The ship was scrapped in 1899.

April 9, 2019 - California & American Fine Art

William Alexander Coulter

103 William Alexander Coulter (1849-1936 Sausalito, CA) “Three Brothers Clipper Ship Outward Bound” Oil on canvas Signed lower right: W.A. Coulter 24” H x 36” W

77

William Alexander Coulter

104 William Coulter (1849-1936 Sausalito, CA) Ships heading out to sea Oil on board Signed lower left: W.A. Coulter 39.5” H x 51.25” W

78

$8,000/10,000

1969

2019

105 Theodore Roosevelt Lambert (1905-1960 Levelock, AK) Two Inuits with canoe Oil on canvas Signed lower right: T.R. Lambert 12” H x 19” W $3,000/4,000 Notes: A copy of a letter of authenticity from Kesler Woodward, Professor of Art Emeritus, University of Alaska, accompanies the lot.

106 Theodore Roosevelt Lambert (1905-1960 Levelock, AK) Inuit fishermen Oil on canvas Signed lower right: T.R. Lambert 16.5” H x 9” W $2,000/3,000 Notes: A copy of a letter of authenticity from Kesler Woodward, Professor of Art Emeritus, University of Alaska, accompanies the lot.

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79

107 David Anthony Tauszky (1878-1972 Pasadena, CA) “Cantoneese [sic]” Oil on canvas Signed lower right: Tausky, titled on the stretcher 40” H x 30” W $3,000/5,000

108 Donna Schuster (1883-1953 Los Angeles, CA) “The Woman in Red” Oil on canvas laid to canvas Signed lower left: Donna Schuster 30” H x 30” W $6,000/9,000 Provenance: Kelley Gallery, Pasadena, CA.

80

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109 Mischa Askenazy (1888-1961 Los Angeles, CA) “Girl Looking at Woodblock Prints” Oil on canvas Signed lower left: M. Askenazy, titled on a gallery label affixed to the backing board 36” H x 32” W $5,000/7,000

110 Henriette Amiard Oberteuffer (1878-1962 Lexington, MA) “La Poupee” Oil on canvas Signed lower right: H. Amiard Oberteuffer, signed again verso, titled on a gum label affixed to the stretcher 26.5” H x 26” W $2,000/3,000 Exhibitions: P. Navez, Emballages de Tableaux & Objets D’Art \ 76, Rue Blanche, 76 - Paris, No. 21, n.d.; Carnegie Institute, Museum of Art, Pittsburgh, PA, n.d.

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81

111 Ben Abril (1923-1995 Los Angeles, CA) “Bunker Hill - Los Angeles, California,” 1962 Oil on canvas Signed lower right: Ben Abril, signed again, titled and inscribed on the stretcher: 336 S. Bunker Hill, signed again and with dated inscription verso 30” H x 40” W $5,000/7,000 Notes: The dated inscription verso reads: In the ending years of Bunker Hill, when many of the mansions were turned into rooming houses, it was a shock to see a 1934 Rolls Royce appear occasionally parked in front of 336 S. Bunker Hill Avenue. Its owner was said to be the son of a tenant who would never move from the premisis [sic]. Ben Abril, 1965.

112 Ben Abril (1923-1995 Los Angeles, CA) “Going Home” Oil on canvas Signed lower right: Ben Abril, signed again, titled and inscribed on the stretcher: Angelino Heights 24” H x 48” W

$2,500/3,500

$4,000/6,000

82

113 Ben Abril (1923-1995 Los Angeles, CA) Bunker Hill hotel Oil on canvas Signed lower left: Ben Abril 20” H x 30” W

1969

2019

112

113

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83

114 Brian Blood (1962-* Pebble Beach, CA) “Afternoon Light - Balboa Park,” 2003 Oil on canvas Initialed lower left: BB, signed, titled and dated on the stretcher: Brian Blood 18” H x 24” W $2,000/4,000 Provenance: K. Nathan Gallery, La Jolla, CA.

115 Howard Everett Smith (1885-1970 Carmel, CA) Mexican market scene Oil on masonite Signed lower right: Howard E. Smith 19.5” H x 25.5” W $2,000/3,000

84

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116 Nell Walker Warner (1891-1970 Carmel, CA) Cathedral exterior with figures Oil on canvas Signed lower left: Nell Walker Warner 30� H x 26� W $2,000/3,000 Provenance: Estate of the artist; Gifted to the present owner.

April 9, 2019 - California & American Fine Art

85

(1916 - 2005)

Joseph E. Frederic 86

After a publishing slump in the 1930s and 1940s, the post-war boom in magazine production was a haven for illustrators, whose work could be featured in a wide array of magazines. Rochester-based artist Joseph E. Frederic (1916-2005) built a career in illustration starting with detailed pen and ink drawings for military-technical operations manuals that lead to rich and varied illustration work for magazines and other publications in that post-war Mad Men heyday of graphic arts. Working comfortably in a variety of styles from 1950s Modern to detailed architectural renderings to affable portraiture, his ability to work deftly in many different styles sets him apart from other post-war graphic artists. The selections in this sale, ranging from energetic street scenes to film noir-like atmospheric cityscapes, display Frederic’s deft hand in rendering figures, buildings, and most importantly, subtle emotion with just the right amount of detail.

1969

2019

$3,000/4,000

April 9, 2019 - California & American Fine Art

Joseph E. Frederic

117 Joseph E. Frederic (1916-2005 Rochester, NY) “No Cars” Watercolor on board under glass Signed lower left: J.E. Frederic, signed again and titled verso Sight: 29.25” H x 39.25” W

87

118 Joseph E. Frederic (1916-2005 Rochester, NY) Figures on a rainy street corner Watercolor on paper Signed lower right: JE Frederic Sheet: 21” H x 28” W $1,500/2,000

119 Joseph E. Frederic (1916-2005 Rochester, NY) “State Street as it was in the 1950s” Watercolor on paper under glass Signed lower right: J. Frederic, signed again and titled on the backing board Sight: 25” H x 19” W

Joseph E. Frederic

$1,500/2,000

88

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120 Joseph E. Frederic (1916-2005 Rochester, NY) City street with figures Watercolor on paper under glass Signed lower right: J.E. Frederic Sight: 15.5” H x 19” W

121 Joseph E. Frederic (1916-2005 Rochester, NY) Nocturnal harbor with tugboat Watercolor on paper Signed lower right: J.E. Frederic Sheet: 28” H x 21” W $1,500/2,000 Notes: There is an unsigned work with sailboats verso.

April 9, 2019 - California & American Fine Art

verso

Joseph E. Frederic

$1,500/2,000

89

122 Olaf Wieghorst (1899-1988 El Cajon, CA) Vaquero on horseback, 1982 Mixed media on board under glass Signed and dated lower left: O. Wieghorst and with the artist’s device and the copyright symbol Sight: 9” diameter $2,000/3,000

123 Marjorie Reed (1915-1996 Vallecito, CA) “Across the Forty Mile Desert” Oil on canvasboard Signed lower right: Marjorie Reed, signed again and titled verso on a gum label affixed verso 17” H x 23.75” W $2,000/3,000

90

1969

2019

124 James Elwood Reynolds (1926-2010 Scottsdale, AZ) “Buffalo Herd in Snow” Gouache on paper under glass Signed verso: James Reynolds, titled on the matting Sight: 18.5” H x 34” W $2,000/3,000

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91

125 Bill Hughes (1932-1992 Santa Fe, NM) “The Blue Pickup,” 1980 Oil on canvas Signed and dated lower left: Hughes, titled on the stretcher 40” H x 50” W $7,000/9,000 Notes: An original invoice from Savage Gallery, Santa Fe, NM, dated May 4, 1980, is affixed verso.

92

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126 Bert Geer Phillips (1868-1956 Taos, NM) “Taos Mountain, Golden Cottonwood, Pink Adobe” Oil on panel Signed lower right: Phillips, signed again and titled verso, with alternate title on gallery labels affixed verso: “Autumn in the Hondo” 18” H x 24” W $12,000/18,000 Provenance: Goldfield Galleries, Los Angeles, CA. Nedra Matteucci Galleries, Santa Fe, NM. Fenn Galleries Ltd., Santa Fe, NM.

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93

127 Peter Ellenshaw (1913-2007 Santa Barbara, CA) “San Jacinto Vista,” 1967 Oil on canvas Signed and dated lower left: Peter Ellenshaw, titled on the stretcher 18” H x 30” W $3,000/5,000

94

1969

2019

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95

Pg. 69 92 Early 20th Century American School Rolling hills overlooking a bay

96

Artist Index

Artist

Lot

Artist

Lot

20th C. California School

62

Abril, Ben Aldrin, Anders Alvarez, Mabel Askenazy, Mischa

111, 112, 113 14 87, 88 109

Keck, Charles Knapp, Charles Wilson Kosa Jr. NA, Emil J.

67, 69 51 68

Backus, Albert Ernest (Beanie) Becker, Frederick William Bierstadt, Attributed to Albert Bischoff, Franz A. Blood, Brian Brandt, Rex Braun, Maurice Brown, Benjamin Chambers Burnette, Mabel

49 20 102 3, 10, 84, 85 114 57 2, 5, 97 37 98

Lambert, Theodore Roosevelt Late 19th C. Hudson River School Latimer, Lorenzo P. Lauritz, Paul Leigh, William Lungren, Fernand

105, 106 52 91 96 18 45

Mannheim, Jean Moeller NA, Louis Moran, Thomas Morse, Vernon Jay

11, 39 42 90 86

Chamberlain, Wynn Chittenden, Alice B. Coburn, Frank Coulter, William Alexander Coutts, Gordon Covington, Isaac Loren Cromwell, Joane

66 83 56 103, 104 17 19 60, 61

Nielsen, Peter

30, 94

Oberteuffer, Henriette Amiard Otte, William Louis

110 13

Davis, Warren B. Dike NA, Phil Latimer Dixon, Maynard

1 63, 64, 65 23

Parsons, Sheldon Payne, Edgar Alwin Phillips, Bert Geer Podchernikoff, Alexis M. Prendergast, Maurice Brazil

24 4 126 99 48

Raphael, Joseph Morris Raschen, Henry Reed, Marjorie Reynolds, James Elwood Ritschel NA, William

34, 35 21 123 124 33

Sammons, Carl Schmidt, Karl Schuster, Donna Sheets NA, Millard Owen Smith, Howard Everett Smith, Jack Wilkinson Solliday, Tim Stuber, Dedrick B.

25, 26 8 108 70, 71 115 32, 80, 81 73 31

Tauszky, David Anthony

107

van Briggle, Artus Vincent, Harry A.

82 47

Wachtel, Marion Kavanagh Warner, Nell Walker Weggeland, Danquart Weir, J. Alden White, Orrin A. Wieghorst, Olaf Witkowski, Karl

9, 12 116 22 41 93 122 43, 44

Early 20th Century Am. School 92 Ellenshaw, Peter 46, 58, 59, 78, 127 Fechin, Nicolai 16 Ford, Henry Chapman 15 Frederic, Joseph E. 117, 118, 119, 120, 121

Frishmuth, Harriet 38 Gay, Edward B. 50 Gifford, Charles Henry 36 Gray, Jack Lorimer 55, 101 Griffith, William Alexander 27, 72 Grimm, Paul 28, 29, 74, 75, 76, 77,100

Henry, Harry Raymond Herter, Albert Herzog, Hermann Hill, Thomas Hills, Anna A. Hughes, Bill

98

79 40 54 53, 89 6, 7 125

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2019

Condition Reports

1 Visual: Generally good condition. A few small areas of paint shrinkage in the green pigments of the background.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 15” H x 18” W x 1.5” D 2 Visual: Generally good condition. Very fine craquelure throughout.

Blacklight: A few small spots of touch-up scattered throughout.

Frame: 19” H x 23” W x 1.5” D 3 Visual: Generally good condition. Minor frame abrasion along the four edges. Very minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 22” W x 2” D 4 Visual: Generally good condition.

Blacklight: Touch-up scattered throughout, the largest a 1.75” x .75” scattered area upper right.

Frame: 12.5” H x 14.5” W x 1” D 5 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: Two small spots of touch-up lower center.

Frame: 12” H x 16.5” W x 2” D 6 Visual: Generally good condition. Craquelure scattered throughout white pigment. A small area of paint shrinkage in the rock upper right.

Blacklight: A few small spots of touch-up scattered throughout.

Frame: 8” H x 10” W x 1” D

13 Visual: Generally good condition. Craquelure throughout.

Blacklight: Small spots of touch-up scattered throughout.

Frame: 16” H x 20” W x 1.5” D 14 Visual: Generally good condition.

Blacklight: Touch-up throughout, concentrated mainly in the sky.

Frame: 18.5” H x 26.5” W x 1.5” D 15 Generally good condition. Minor toning to the paper. A small scuff mark in the center sky. The paper is laid down, as stated.

Frame: 29.5” H x 25.5” W x 1.25” D 16 Generally good condition. A pea-sized indent in the upper left corner, not affecting the image. Loose, not mounted.

Sheet: 15.25” H x 12” W; Frame: 23” H x 19.75” W x 1.5” D 17 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up scattered throughout, including down the entire right edge and a few spots on the man’s face.

Frame: 31.5” H x 27.5” W x 2.5” D 18 Visual: Generally good condition. Fine craquelure scattered throughout.

Minor frame abrasion along the four edges.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 15.5” H x 14.25” W x 1” D 19 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: A 4” line and a 2.25” x 1.5” scattered area of touch-up lower right.

Frame: 33” H x 45” W x 4” D

7 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up scattered throughout the sky.

Unframed 8 Visual: Generally good condition. Craquelure scattered throughout. Minor surface dirt, grime and varnish discoloration.

Blacklight: A small spot of touch-up upper left. A few other possible spots of restoration scattered throughout. Difficult to read under varnish.

Frame: 17” H x 21” W x 2” D 9 Visual: Generally good condition. The tacking edges were removed when re-lined. Mounted on new stretcher bars.

Blacklight: A few scattered spots of touch-up in the sky along the upper edge. Two approximate 2” diagonal lines of touch-up in the upper right sky. A spot of touch-up in the lower right.

Frame: 22” H x 26.25” W x 2” D 10 Generally good condition. Toning to the paper. The paper is loose, not mounted.

Sheet: 7.75” H x 10.25” W; Frame: 14.25” H x 17” W x 3.25” D 11 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19” H x 23” W x 2” D

100

12 Generally good condition. Very minor toning to the paper.

Frame: 19” H x 25” W x 2.5” D

1969

20 Visual: Tears in the paper upper right, lower center and upper left. Minor surface dirt and grime.

Blacklight: A 3.25” x 1.25” area of touch-up and restoration to address a tear in the paper upper right. A 1.5” x 2.75” area of touch-up and restoration to address a tear in the paper lower center. Restoration to address a 2” tear in the paper upper left.

Frame: 23” H x 28” W x 1.75” D 21 Visual: Generally good condition. Fine craquelure scattered throughout.

Stretcher bar creases along the four edges. A pea-sized spot of scattered paint loss right center.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 29” H x 39” W x 4” D 22 Visual: Generally good condition. Scratches and scuff marks scattered throughout. Surface dirt and grime.

Blacklight: Touch-up in the figures and scattered throughout the foreground.

Frame: 18” H x 20” W x 1” D

2019

23 Generally good condition. A .75” scuff mark upper center.

The paperboard is loose, not mounted.

Sheet: 9.5” H x 12” W; Frame: 14.5” H x 17” W x 1.5” D 24 Visual: Generally good condition. Minor paint loss in three of the four corners.

Blacklight: Apparent touch-up scattered throughout, including a 1.5” line of restoration to address a crack in the board right center.

Difficult to read under uneven varnish.

Frame: 15.75” H x 18.75” W x 1.5” D 25 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 33.5” W x 2.5” D 26 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 26” H x 34” W x 1.75” D 27 Visual: Craquelure throughout the lighter pigments of the desert landscape. Flaking and paint loss throughout the sky, concentrated mainly upper right. Paint shrinkage in some of the blue and green pigments lower right. Stretcher bar creases along the four edges.

Blacklight: Touch-up and crack-fill throughout the sky. A few small spots of touch-up in the mountains.

Frame: 30” H x 35” W x 2” D 28 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.5” H x 27.5” W x 2.5” D 29 Visual: Generally good condition.

Blacklight: Touch-up scattered throughout, the largest a 2.75” x 1” area in the upper left corner.

Frame: 27” H x 37” W x 1.5” D 30 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up scattered throughout the sky, the largest a 1.25” x 5” area upper right.

Frame: 37” H x 43” W x 2.25” D 31 Visual: Generally good condition. Minor frame abrasion along the four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 31.5” W x 2.5” D 32 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky. Signature and title on original canvas no longer visible after lining.

Blacklight: Small spots of touch-up upper center and upper left.

Difficult to read under varnish.

Frame: 34” H x 42” W x 2.5” D 33 Visual: Generally good condition. Craquelure throughout the sky and waves. Stretcher bar creases along the four edges.

Blacklight: A 2.75” x 2.25” area of touch-up lower right. Small spots of touch-up scattered throughout.

Frame: 38.25” H x 48.25” W x 2.25” D

34 Minor toning to the paper. Scuff marks with paper and paint loss scattered throughout, concentrated mainly in the lower right quadrant. A .75” tear in the paper in the lower left corner. The paper is lifting from the board across the center.

Sheet: 20” H x 27” W; Frame: 22.75” H x 29.75” W x 1.25” D 35 Visual: Generally good condition. A few spots of craquelure scattered throughout. Creases to the canvas with minor paint loss in the right corners.

Blacklight: A few small spots of touch-up lower center. Difficult to read under varnish.

Frame: 39.5” H x 32.5” W x 3.25” D 36 Visual: Varnish discoloration throughout. Frame abrasion along the four edges. A few scratches and scuff marks along the lower edge.

Blacklight: A 1” line of touch-up under the signature. Other possible restoration scattered throughout. Difficult to read under varnish.

Frame: 15” H x 20” W x 1.5” D 37 Visual: Generally good condition. Craquelure scattered throughout.

Minor varnish discoloration scattered throughout.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 24” H x 30.5” W x 3” D 38 Overall good condition with patination commensurate with age.

Scattered chips to the marble plinth, the largest: .5” x .25”.

39 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: Small spots of touch-up right center and left center.

Difficult to read under varnish.

Frame: 28” H x 24” W x 2” D 40 Visual: Generally good condition. Fine craquelure scattered throughout. An area of oxidation lower right. Stretcher bar crease along the left edge.

Blacklight: Touch-up scattered throughout, including in the boy’s hands, face and collar.

Frame: 47.5” H x 36.5” W x 3” D 41 Visual: Generally good condition. Craquelure throughout. A small area of paint loss and instability left center near the woman’s head.

Blacklight: Small spots of touch-up scattered throughout, including in the woman’s face.

Frame: 32.5” H x 28.5” W x 2.75” D 42 Visual: Generally good condition. A 1.5” and a ‘V’-shaped scratch with minor paint loss in the girl’s dress.

Blacklight: Touch-up around the girl’s head. A few small spots of touch-up along the left center edge.

Frame: 19” H x 17” W x 3” D 43 Visual: Craquelure throughout. Stretcher bar creases along the four edges. Varnish discoloration throughout.

Blacklight: A 3.5” line of touch-up lower right. A 5.75” line of touchup right center. A 1.75” x 1.5” area of touch-up in the center. A 1.5” x 1.25” area of touch-up upper center. A 4” x 3.5” area and a 1.25” x 1.75” area of touch-up upper left, each with corresponding patches verso. Small spots of touch-up scattered throughout.

Frame: 33.5” H x 29.5” W x 1.25” D

April 9, 2019 - California & American Fine Art

101

44 Visual: Generally good condition. Fine craquelure scattered throughout. Stretcher bar creases along the four edges. Minor frame abrasion. Varnish discoloration throughout. Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout the children’s hair, faces and clothes. A few spots of touch-up in the background.

Frame: 38.5” H x 44.5” W x 4.5” D 45 Visual: Generally good condition. A few areas of very fine craquelure. Very minor surface dirt.

Blacklight: No evidence of restoration under blacklight.

Frame: 22” H x 26” W x 2.5” D

54 Visual: Generally good condition. Craquelure throughout the sky. Frame abrasion along the four edges.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 42” H x 63” W x 5” D

46 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

55 Visual: Generally good condition.

Blacklight: Touch-up scattered along the right edge. Small spots and lines of touch-up upper right, lower right, upper left and lower left. A 2” x 1.5” scattered area and a .5” line of touch-up in the center.

Unframed

47 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 29.5” H x 34.5” W x 2” D 48 Visual: Generally good condition for age. A 9” horizontal repaired crack lower left. Frame abrasion with corresponding inpaint scattered along the edges. The panel is warped across the center.

Blacklight: A 2.5” repaired crack with a horizontal line of touchup upper right. A 1” vertical line of touch-up upper left. A 2” horizontal line of touch-up above the signature lower right.

Frame: 18.25” H x 23.25” W x 1.25” D 49 Visual: Generally good condition. Craquelure throughout. Small flecks of paint loss right center and upper left.

Blacklight: A 2” x 4” area of touch-up right center. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 33” H x 38” W x 2” D 50 Visual: Craquelure scattered throughout. Minor surface dirt and grime.

Blacklight: A 2.5” x 2” area of touch-up in the center. A repair to a 2.5” tear in the canvas upper left with corresponding patch verso. Other possible restoration scattered throughout. Difficult to read under varnish.

Frame: 27.5” H x 37.5” W x 3.5” D 51 Visual: Generally good condition. Craquelure scattered throughout the lower left quadrant. Stretcher bar creases along the four edges.

Blacklight: Touch-up throughout, including an 18” line to address a tear in the canvas upper left and a large concentration of restoration in the lower right quadrant.

Frame: 29.5” H x 45.5” W x 3.5” D 52 Visual: Generally good condition. Craquelure throughout.

Varnish discoloration in the sky.

Blacklight: Touch-up and crack-fill scattered throughout, concentrated mainly in the sky.

Frame: 26.5” H x 42.5” W x 2.5” D

102

53 Visual: Fine craquelure throughout the sky. Stretcher bar creases along the four edges. Small spots of paint loss scattered throughout. Frame abrasion along the four edges, some areas with minor paint loss. Varnish discoloration throughout. The canvas is slightly loose in the upper left corner. Surface dirt and grime.

Blacklight: A 3” x 1.75” area of touch-up right center. A 2” x 3.75” area of touch-up left center. A 2” x 4.25” area of touch-up lower left. Small spots of touch-up scattered throughout.

Frame: 33” H x 52.5” W x 2.25” D

1969

56 Visual: Generally good condition. Craquelure throughout. Small spots of surface grime upper left.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 40” H x 48” W x 2” D 57 Generally good condition. Minor toning to the paper. Mounted to the back board with brown paper tape along the four edges.

Sheet: 21” H x 28.25” W; Frame: 35.5” H x 42.5” W x 1.5” D 58 Visual: Generally good condition.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 25.5” H x 39.5” W x 2.75” D 59 Visual: Generally good condition. Paint shrinkage in some of the darker pigments of the rocks and a small area lower right.

Blacklight: No evidence of restoration under blacklight.

Frame: 26” H x 38” W x 2.5” D 60 Visual: Generally good condition. A few lines of craquelure in the sky.

Blacklight: No evidence of restoration under blacklight.

Frame: 17” H x 21” W x 1.5” D 61 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 20.5” H x 24.5” W x 1.75” D 62 Visual: Generally good condition. Fine craquelure scattered throughout.

Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout, concentrated upper right.

Frame: 26.5” H x 34.5” W x 2” D

2019

63 Generally good condition. Minor toning to the paper. Artist’s pinholes in the four corners. The paper with deckled edges. The paper is laid down, as stated.

Sheet: 19.5” H x 24” W; Frame: 34.5” H x 39” W x 2.25” D

76 Visual: Generally good condition. A 6” diagonal scratch with minor paint loss and two tiny drips of dark paint lower left.

Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 29” W x 2” D

64 Generally good condition. Minor toning to the paper. Mounted to the backing board with double-sided tape along the upper and lower edges.

Sheet: 20” H x 30” W; Frame: 25” H x 35” W x 1.5” D

77 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 20.5” H x 24.5” W x 1.5” D

65 Generally good condition. Toning to the paper. The paper is laid down, as stated.

Sheet: 18” H x 24” W; Frame: 21.25” H x 27.25” W x 2” D 66 Generally good condition. Small spots of paint loss scattered throughout, including in the four corners and below the signature. A few scratches and scuff marks scattered throughout. Minor surface dirt and grime.

Frame: 10.5” H x 16.5” W x 1.5” D 67 Generally good condition. Minor toning to the paper. Artist’s pinholes in the right corners. The paper with deckled edges. Hinged to the back mat with artist’s tape in the upper corners.

Sheet: 15.5” H x 23” W; Frame: 23.5” H x 30.5” W x 2.25” D 68 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up in the collar of the man’s shirt. Difficult to read under uneven varnish.

Frame: 26” H x 22” W x 2.5” D 69 Generally good condition. The paper is loose, not mounted.

Sheet: 20” H x 26.25” W; Frame: 27” H x 33” W x 3.5” D 70 Generally good condition. Artist’s pinholes in the four corners. The paper is loose, not mounted.

Sheet: 21.75” H x 30” W; Frame: 27.5” H x 35.5” W x 1.5” D 71 Generally good condition. Mounted to the recto mat with plastic tabs on the left and right edges.

Sheet: 22” H x 30.75” W; Frame: 24” H x 35.5” W x 1.25” D 72 Generally good condition. Not examined out of the frame.

Frame: 26.25” H x 22.25” W x 2.25” D 73 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 31” W x 2.5” D 74 Visual: Generally good condition.

Blacklight: Touch-up in the sky upper left and upper right, the largest quarter-sized. A few small spots of touch-up in the mountain in the center.

Frame: 18.25” H x 22.25” W x 2.25” D 75 Visual: Generally good condition.

Blacklight: Touch-up along the upper edge.

Frame: 18.25” H x 22.25” W x 2.25” D

78 Visual: Generally good condition. A 7” scratch lower left above the signature.

Blacklight: No evidence of restoration under blacklight.

Frame: 37.5” H x 55.5” W x 2.75” D 79 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up scattered throughout the sky, mountains and lake, the largest a .75” x 1.5” area upper right.

Frame: 38” H x 48” W x 2.5” D 80 Visual: Generally good condition. Craquelure scattered throughout.

Minor frame abrasion. A small area of canvas and paint loss in the upper left corner. Framed with a hard board backing.

Blacklight: No evidence of restoration under blacklight.

Frame: 30” H x 33” W x 2.5” D 81 Visual: Generally good condition. A few areas of craquelure scattered throughout. The canvas is slightly loose.

Blacklight: A 1.75” x 4” area of touch-up left center. A small spot of restoration lower right with corresponding patch verso.

Frame: 31” H x 37” W x 2.5” D 82 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up throughout.

Frame: 26” H x 30” W x 3” D 83 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: Small spots and lines of touch-up scattered throughout the background, the largest a pea-sized spot lower left.

Frame: 20” H x 28” W x 2.25” D 84 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish.

Frame: 45” H x 29” W x 2.5” D 85 Generally good condition. Toning to the paper.

Sheet: 21.75” H x 30.5” W; Frame: 26.5” H x 35.5” W x 2.5” D 86 Visual: Generally good condition. Very fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 20” H x 25” W x 1.75” D 87 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 23” H x 29” W x 1.5” D

April 9, 2019 - California & American Fine Art

103

88 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 40” H x 28” W x 2” D

99 Visual: Generally good condition. Craquelure throughout the sky with areas of flaking, instability and paint loss upper right and upper center.

Blacklight: Areas of light touch-up in the sky in the center.

Frame: 33” H x 38” W x 3” D

89 Visual: Generally good condition. Craquelure throughout.

Blacklight: Touch-up and crack-fill scattered throughout, concentrated mainly in the sky and mountains.

Frame: 32” H x 48” W x 3” D

100 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 30.5” H x 36.5” W x 2.5” D

90 Generally good condition. Minor toning to the paper. Hinged to the recto mat with archival tape along the upper edge.

Sheet: 8.75” H x 7” W; Frame: 16.25” H x 14.25” W x 1” D 91 Generally good condition. The paper is laid down, as stated.

Sheet: 19.5” H x 13.5” W; Frame: 22” H x 21” W x 2.25” D 92 Visual: Generally good condition. Craquelure throughout.

Stretcher bar creases along the four edges. Surface dirt and grime under the varnish layer scattered throughout.

Blacklight: Touch-up along the four edges. Touch-up scattered down the right side of the painting. A dime-sized spot of touchup lower right. A small spot of touch-up lower center. Small spots of touch-up scattered throughout the sky, concentrated mainly upper right.

Frame: 36.5” H x 41.5” W x 2” D 93 Visual: Generally good condition. Craquelure scattered throughout the sky. Small spots of paint loss upper left, upper center, right center and lower left. Stretcher bar creases along the upper and right edges. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 31.5” H x 36.5” W x 1.75” D 94 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 31.5” W x 2.5” D 95 Visual: Generally good condition. Stretcher bar creases along the four edges. Spots of varnish accumulation scattered throughout. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 26” H x 34” W x 2” D 96 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky. Minor surface dirt.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 45” W x 2” D 97 Visual: Generally good condition. Very minor varnish discoloration throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 28” H x 32” W x 2.5” D 98 Visual: Generally good condition. Fine craquelure throughout.

Blacklight: Two areas of touch-up in the sky, the largest 3” x 7”.

A few small spots of touch-up right center.

Frame: 29” H x 33” W x 2” D

104

1969

101 Visual: Generally good condition. Craquelure throughout the sky.

Stretcher bar crease along the upper edge.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 32” H x 46” W x 3” D 102 Generally good condition. Frame abrasion along the four edges. The paperboard is loose, not mounted.

Paperboard: 20” H x 24” W; Frame: 26” H x 30” W x 2.25” D 103 Visual: Generally good condition. Craquelure scattered throughout the sky. Stretcher bar creases along the four edges. A pea-sized scuff mark in the lower left corner.

Blacklight: Small spots of touch-up scattered throughout the sky.

Frame: 28.5” H x 40.5” W x 2.5” D 104 Visual: Generally good condition. Lines of craquelure due to woodgrain scattered throughout. Minor frame abrasion along the four edges. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 43.75” H x 55.5” W x 2” D 105 Visual: Generally good condition. Creases in the canvas upper left and upper right.

Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 25.25” W x 1.5” D 106 Visual: Generally good condition. A couple of small spots of paint loss in the figure on the left.

Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 21” H x 13.5” W x 1.5” D 107 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 48” H x 38” W x 2.5” D 108 Visual: Generally good condition. Small areas of paint shrinkage scattered throughout the red pigments.

Blacklight: Small lines and spots of touch-up scattered throughout, including in the woman’s face, hair, arm and dress.

Frame: 39.5” H x 39.5” W x 3” D 109 Visual: Generally good condition.

Blacklight: Small spots of touch-up in the woman’s right hand. A 3” x 1.25” ‘X’-shaped area of touch-up lower right.

Frame: 44” H x 40” W x 3” D

2019

110 Visual: Generally good condition. Paint shrinkage scattered throughout the blue ribbon in the girl’s hair and the green pigment along the lower right edge. A very slight ripple in the canvas in the upper left corner. Minor surface dirt and grime.

Blacklight: A 1.5” x 1.25” area of touch-up upper left with corresponding patch verso.

Frame: 32.5” H x 31.5” W x 2” D 111 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 38” H x 48” W x 2.5” D 112 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 31” H x 55” W x 2.75” D 113 Visual: Generally good condition. Small areas of paint shrinkage in the center.

Blacklight: No evidence of restoration under blacklight.

Frame: 25” H x 35” W x 1.5” D 114 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 25” H x 31” W x 2.25” D

123 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 25.5” H x 31.5” W x 1.75” D 124 Generally good condition. Fine craquelure scattered throughout the light blue pigment of the sky. A tiny spot of paint loss and instability upper left. Mounted to the recto mat with masking tape along the edges.

Sheet: 19” H x 37.75” W; Frame: 27” H x 42.25” W x 1.25” D 125 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 50” H x 60” W x 2” D 126 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 25” H x 31” W x 1.75” D 127 Visual: Generally good condition. Tiny flecks of paint loss upper left and upper right. Stretcher bar crease along the upper and upper left edges.

Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish.

Frame: 23” H x 35” W x 2” D

115 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 23” H x 29” W x 2” D 116 Visual: Generally good condition. Craquelure scattered throughout the sky, concentrated mainly along the upper edge.

Minor canvas and paint loss in the four corners.

Blacklight: A 2.5” x 3.75” area of touch-up lower right with corresponding patch verso.

Frame: 32.75” H x 36.5” W x 2.25” D 117 Generally good condition. The board is loose, not mounted.

Board: 30” H x 40” W; Frame: 38” H x 48” W x 2” D 118 Generally good condition. Minor toning to the paper.

Unframed 119 Generally good condition. Mounted to the recto mat with masking tape along the four edges.

Sheet: 28” H x 21” W; Frame: 33.5” H x 27.5” W x 1.5” D 120 Generally good condition. The paper is slightly rippled. The paper is loose, not mounted.

Sheet: 16” H x 20” W; Frame: 24.5” H x 28.5” W x 1.5” D 121 Generally good condition. Minor toning to the paper.

Unframed 122 Generally good condition. Mounted to the recto mat with archival tape along the edges and corners.

Board: 14” H x 12.5” W; Frame: 18” H x 18” W x 1.5” D

April 9, 2019 - California & American Fine Art

105

20th Century Art + Design May 5, 2019

Doyle Lane (1915-2002 Los Angeles, CA) Clay painting, 1969 $4000/6000

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833 106

1969

2019

Consign Today Fine Jewelry & Timepieces May 2019

A princess-cut diamond ring 4.07cts. $50,000/70,000

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

Consign Today Art of the American West September 2019

A large Navajo Germantown weaving c. 1900 $6000/8000

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

Consign Today California & American Fine Art October 2019

Alber Bierstadt (1830-1902 New York, NY) El Capitan, Yosemite Price Realized: $660,000.00

1969

2019

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Vice President, Fine Art Director Morgana Blackwelder Fine Art Specialist David Trujillo Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Estate Specialist John Simon Taylor Jewelry Director Mollie Burns Keith, G.G. Furniture, Decorative Arts & Jewelry Cataloguer Jardine Bruce, GIA D.G., A.J.P.

CLIENT SERVICES

Finance & Human Resources Director

Maha Darwish Client Services, Consignment Administration

Jean Rapagna Client Services Derek McLaughlin Client Services Rose Ford

OPERATIONS

Business Director, Auctioneer Stephen Swan Special Projects Maranda Moran Property Manager Mike Hook Art Handler Joe Miranda Art Handler Richard Corral

DIGITAL DESIGN

Advertising & Marketing Director, Art Design Nathan Martinez Webmaster, Network Administrator

Oscar Tsao Photographer Mido Lee

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

110

1969

2019

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 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 2% buyer’s premium.

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

April 9, 2019 - California & American Fine Art

111

AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. 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's 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 below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized

by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated 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's 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 backwards at his 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. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Sucessful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 28% on the first $500,000 of the hammer price, plus 21% on any amount between $500,001 - $1,000,000, and 18% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 2% buyer's premium. Buyers outside the United States must submit payment via wire transfer. 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's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (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 lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service

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(c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's 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's 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. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 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, 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 above 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's in the same condition as when sold. Moran's 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's 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 Moran's nor the consignor or our 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 or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an 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 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's for this auction is and shall remain at all times the property of Moran's. Moran's 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 conditions, Moran's 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 we deem necessary or appropriate. If Moran's 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's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted 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. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

April 9, 2019 - California & American Fine Art

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Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financial account information as a reference.

All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights.

Signature:

Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$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...................$1000 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 the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018