Art + Design — February 25, 2025 | John Moran Auctioneers
Art + Design
February 25, 2025—12pm
Friday, February 21st: 12-4pm Saturday, February 22nd: 12-4pm Monday, February 24th: 12-4pm Tuesday, February 25th: Doors open 10am
Katherine Halligan Co-Head of Sale Director, Fine Art k.halligan@johnmoran.com
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1
Joan Miró (1893-1983)
One plate from “Picasso i Els Reventos,” 1973
Etching and aquatint in colors with embossing on wove paper, watermark Guarro
Edition: 132/182
Signed and numbered in pencil in the lower margin: Miró; Editorial Gustavo Gili, Barcelona, prntr. and pub. for the Fundacio Picasso-Reventos
Plate: 9.375” H x 17.125” W; Sheet: 20.75” H x 27.625” W
$2,500-3,500
Provenance: Private Collection of an Orange County Gallerist
Literature: Dupin 588; cf. Cramer Books 176
Notes:
The present work represents the final, combined version of the separate plates used for the creation of the five different intaglios in the “Picasso i Els Reventos” series.
2
Pablo Picasso (1881-1973)
“Couple et Enfant,” and “Deux Vieillards et Voilier,” plates 2 and 4 from “Lysistrata,” 1934
Two etchings on wove paper, one of which shows the BFK watermark
Each from the book edition of 1500 on this paper (there was also a deluxe edition of 150 pencil signed and numbered impressions on Arches paper with wide margins) Each unsigned and with an underlined number 8 written in pencil in another hand in the lower margin, at left; Roger Lacouriere, Paris, prntr.; The Limited Editions Club, New York, pub.
Plate of each: 8” H x 5.375” W; Sheet of each: 11.375” H x 9.125” W
$1,000-1,500
Provenance:
Estate of a Lady, Hollywood, CA
Literature:
Bloch 268 and 270; Baer 388 and 390; cf. Cramer books 24
3
Pablo Picasso (1881-1973)
Four plates from “A los Toros avec Picasso,” 1961
Transfer lithographs, one of which is in colors, on wove paper
Each from the unsigned edition of 125
Each unsigned; with the printed date in the stone only; Mourlot, Paris, prntr.; Andre Sauret, Monte Carlo, pub.
The individual images are “La Pique” (M. 346); “Jeu de la Cape” (M. 348); “Les Bandilleras” (M. 349); and “Le Picador II” (M. 350).
4
Walter Joseph Phillips (1884-1963)
“The Stump” from the “Canadian Scene” portfolio, 1928 Woodcut in colors on Goyu paper
From the edition of 300
Signed and inscribed “252” in pencil in the lower margin: W.J. Phillips; with the printed initials of the artist in the lower left corner of the image Image: 6.75” H x 9” W; Sight: 7.25” H x 9.5” W
$800-1,200
Richard
(1938-2024)
Serra
“When you walk into a room, you’re not in a room with
This March will mark one year since the death of the renowned medium, technique, scale, and space in his artworks. Today, “Torqued Ellipse(s)” series. With their expansive, gravity-defying doubt informed by his childhood visits to San Francisco’s and unsteady while walking alongside or between the ways. Serra’s steel installations elicit a range of visitor reactions, is hard to forget.
Not everyone acquainted with Serra’s striking indoor and most of his 85 years. In fact, “Cool Down,” the large-scale editions that Serra created throughout 52 years of close Limited] in Los Angeles. Serra’s initial forays at Gemini “too refined.” As in his sculptures, Serra wanted to push in experimental ways. He sought to make prints that would and crannies of his prints’ textured surfaces, enhance the black ink. In order to execute all of this, Serra relied on endorsing experimental printmaking. Sidney Felsen, a out of his way, or he’ll just blow you away. He’s phenomenally
By daring to do things as radical as allowing the etching plates so large that an opening had to be temporarily complicated, multi-step method of mixing gravel into etching the plates, Serra revolutionized the medium (cf. etchings/ for a description of some of Serra’s studio techniques). representational subject matter, used only black ink, and either glass or Plexiglas so as to engage his viewers most
For her recent exhibition, “Richard Serra at Gemini G.E.L.: allowed him to understand printmaking in a radically new valuable proving ground to interrogate the physical relationship techniques and approaches that remain singular in the art in relation to the public: “If the work is open enough, don’t have a prejudgment or a bias about what they’re judgement, then you’re not going to see anything.”
with pieces in it, you’re in the space of the pieces.” - Richard Serra
renowned American artist Richard Serra, a creative maverick known for pushing the boundaries of Today, Serra is most often remembered for massive, site-specific sculptural installations such as the gravity-defying walls of steel, the often canyon-like sculptural environments created by Serra were no Francisco’s industrial shipyards and subsequent work in steel mills during college. One feels both dwarfed broad, metallic surfaces that rise up to open space above, closing in and unfolding in unexpected reactions, from calm and protected, to curious or claustrophobic. Once encountered, the experience
and outdoor sculptures is aware, however, that he was also a prolific draftsman and printmaker for large-scale etching from 1996 offered here, represents just one impression from some 330 different print close collaboration with his preferred printing workshop and publisher, Gemini G.E.L. [Graphic Editions in the 1970s were lithographs, but he quickly abandoned this print medium by characterizing it as push the boundaries of printmaking while grappling with concepts of scale, weight, surface, and form would draw the viewer into his hulking, non-representational forms, reveal the light playing off nooks the outlines of his curious forms, and eliminate any need for color thanks to his unwavering use dense on the technical knowledge and stamina of the master printers at Gemini, a publisher long-known for co-founder of Gemini, once compared Serra to “...a steam locomotive: if he’s doing something, get phenomenally exciting to work with, and very involved in printmaking.”
etching acids to corrode his copper plates to the point of eating holes through them, working on copper cut into the studio ceiling in order to maneuver them on and off the press, or creating a highlymelted paint stick and then piling it onto his plates with gloved hand—or even his feet—prior to (cf. https://www.timothytaylor.com/exhibitions/202-richard-serra-torqued-ellipses-and-rounds-9-newtechniques). The ink alone on many of Serra’s prints can easily weigh a pound or more. He eschewed and as is the case with our example of “Cool Down,” preferred to have his prints framed without most directly, inviting us to “touch” his intriguing surfaces simply by looking.
G.E.L.: Five Decades of Printmaking,” Joni Weyl wrote, “Serra’s exceptional approach to materiality new light; rather than perpetuating the primacy of the image, Serra employed printmaking as a relationship of ink, depth and flatness. Deriving meaning from process, Serra’s editions offered new the history of printmaking.” In a 2013 interview with journalist Charlie Rose, Serra commented on his enough, it can provide a multiplicity of experiences that anybody can enter into and find something if they they’re looking at. I think a lot of people come to a work not willing to see it, and if you come with that
5
Richard Serra (1938-2024)
“Cool Down,” 1996
Etching on Goitia cream wove paper
Edition: 16/38
Signed, dated, and numbered in pencil in the lower margin: R. Serra 96; Eric Donato and James Reid, prntrs.; Gemini G.E.L., Los Angeles, CA, pub., and with their blindstamps in the lower right margin corner
Plate: 28.75” H x 38.5“ W; Sheet: 33.125” H x 42.375” W
$5,000-7,000
Provenance: Rena Bransten Gallery, San Francisco, CA
Signed, titled, dated, and numbered in pencil in the lower margin: Strombotne 1958
Plate: 14.75” H x 17.625” W
$300-500
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
7
Salvador Dalí (1904-1989)
“Begonia (Anacardium recordans)” from the “FlorDalí (Flora Dalínae)” suite, 1968
Etching and drypoint in colors on Arches paper
Edition: 170/200 (there were also 200 on Japanese paper)
Signed and numbered in pencil in the lower margin: Dalí; Werbungs und Commerz
Union Anstalt, Basel, Switzerland, pub.
Plate: 23.25” H x 15.5” W; Sheet: 30” H x 22.5” W
$2,000-3,000
Literature: Ralf Michler and Lutz Löpsinger 233
Salvador Dalí (1904-1989)
“L’hirondelle” from “Le Jungle Humaine,” 1976 Lithograph in colors on wove paper Edition: [?]/250
Signed and partially numbered indistinctly in pencil in the lower edge: Dalí; Martin Lawerence Limited Editions, Los Angeles, CA, pub. Image/Sheet: 18.875” H x 25.5” W
$800-1,200
Literature: Field 76-2D
Frank
Gehry
(b. 1929)
Frank Gehry is a Canadian-American architect traditional architectural forms. His iconic buildings, Concert Hall in Los Angeles, feature bold, curving, architecture.
Beyond architecture, Gehry has also made a Knoll and Vitra. One of his earliest furniture pieces, a budget-conscious project. Recognizing both concept into a full line of cardboard furniture
In 1992, Gehry introduced the “Bentwood Collection” Crafted from layered and interwoven plywood both lightweight and sturdy. The “High Sticking form with functional durability across various
architect known for his groundbreaking deconstructivist designs, which challenge buildings, like the Guggenheim Museum Bilbao in Spain and the Walt Disney curving, free-flowing structures that have redefined contemporary
a lasting impact on furniture design, particularly through collaborations with pieces, the “Wiggle Chair” was created in 1969 using cardboard as part of both the strength and futuristic appeal of the design, he expanded the furniture called “Easy Edges,” which Vitra began producing in 1982.
Collection” for Knoll, inspired by his childhood fascination with apple crates. plywood strips, these pieces showcase sculptural, gravity-defying forms that feel Sticking Chair” exemplifies his playful approach to design, blending artistic various furniture moDalíties.
9
Frank Gehry (b. 1929)
A pair of “High Sticking” chairs for Knoll, 1994/1995 Designed 1990
Each burn marked: Frank Gehry [script] / Knoll / Made in USA; one dated and marked: 02/18/94; 645; the other dated and marked: 3/95 / 815
Each constructed from interwoven ribbon-form wood and glue
2 pieces
Each: 43.25” H x 20.25” W x 23.5” D
$1,500-1,800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
10
Frank Gehry (b. 1929)
An “Off Side Ottoman” for Knoll, 1995
Designed 1990
Burn marked to underside: Frank Gehry [script] / Knoll / 9/95; with original bi-fold Knoll brochure
Constructed from interwoven ribbon-form wood and glue, the ottoman with articulated legs for flat or angled positioning
Stored: 8.75” H x 24” W x 24” D
$700-900
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA 11
$800-1,200
Provenance:
Frank Gehry A “Wiggle Designed Each unmarked
The corrugated 2 pieces Chair: 33.25”
The Collection
Gehry (b. 1929)
“Wiggle Chair” and ottoman for Vitra, late 20th/early 21st century Designed 1969 unmarked corrugated cardboard chair in stacked cantilever form with conforming ottoman
33.25” H x 14.75” W x 24.5” D; Ottoman: 16” H x 17.25” W x 15.75” D
$800-1,200
Provenance:
Collection of Andrew and Lydia Sussman, Studio City, CA
12
George Nelson (1908-1934)
An “Action Office Desk” Series II for Herman Miller, 1965-1975
Designed 1965
Etched to one leg interior: T.S.R.H. / # 78-1097
The roll-top desk with locking walnut tambour revealing a wood writing surface with sliding plastic compartment drawers and posterior cubby, raised on an enameled steel and cast aluminum base
35” H x 54.5” W x 30” D
$1,200-1,800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Edward Ruscha (b. 1937)
“Brews,” 1970
Screenprint in colors on paper Edition: 71/75
Signed, dated, and numbered in pencil in the lower margin: E. Ruscha 1970; Alecto Studios, London, prntr. / pub. Image: 18” H x 27” W; Sheet: 22.75” H x 31.75” W
$3,000-5,000
Provenance: Jack Wright Gallery, Palm Beach, FL
Literature: Engberg 40
14
Corita (Sister Mary) Kent (1918-1986)
“Impossible Loves,” 1972
Screenprint in colors on paper
From the edition of 260
Signed in pencil lower right: Corita; numbered in pencil “E 260” lower left
Sight: 22.25” H x 22.25” W
$400-600
Literature:
Corita Art Center Archive, number 72-20
After Roy Lichtenstein (1923-1997)
“Girl with Ball”
Offset lithograph in colors on wove paper Edition: 390/700
With the printed signature in the lower margin, at right: r. Lichtenstein; numbered in pencil in the lower margin, at left Image: 11.25” H x 7” W; Sight: 14.5” H x 9.75” W
$400-600
Notes:
A related painting (of a different size and color combination), done in 1961, is in the collection of The Museum of Modern Art, New York.
16
Jasper Johns (b. 1930)
“Jasper Johns Drawings 1970-80,” poster for exhbition at Margo Leavin, Los Angeles, 1981
Offset lithograph in colors on paper
Signed in pencil near the lower sheet edge, at right: Jasper Johns
Sight: 28.5” H x 21.75” W
$400-600
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
17
Friedensreich Hundertwasser (1928-2000)
“Night Train,” 1978
Screenprint in colors with metallic embossing on Fabriano paper
Edition: 124/285 (the total edition is 375 including the XC proofs and collages that are signed and numbered I-XC/XC)
Woodcut in black with enhancements in red on handmade Japanese paper Edition: 11/100
Signed and titled in Japanese, dated, and numbered, all in pencil in the lower margin; with the artist’s red ink seal in the lower margin, at right Image: 18” H x 20.5” W (approx.); Sight: 19.5” H x 21.75” W
$500-700
Notes:
There is another impression of this woodcut in the collection of the Honolulu Museum of Art.
James Rosenquist (1933-2017)
“Star Proctor,” 1978
Etching and aquatint in colors with embossing and hand embellishments on Pescia Italia paper Edition: 11/78 (there were also 23 artist’s proofs)
Signed, titled, dated, and numbered in pencil in the lower margin: James Rosenquist 1978; Flatstone Studio, Tampa, FL, prntr; Multiples Inc., New York, NY, pub. Plate: 17.5” H x 35.75” W; Sight: 21.5” H x 38.75” W
$600-800
Literature: Glenn 130
Sam
Francis (1923-1994)
Sam Francis was a leading figure in post-World War II lyrical compositions not only reflect his artistic engagement Europe and Asia. His style evolved significantly throughout associated with Abstract Expressionism, his work transcends By the late 1970s, particularly around 1978, Francis’s work
Born in 1923 in San Mateo, California, Francis was initially during World War II, however, in 1943 he was injured in bedridden and in the hospital until 1947. During this four-year challenging time. When Francis returned to UC Berkeley, curriculum “emphasized the ‘push-pull’ theories of color embrace the inherent two-dimensionality of the picture
After graduating from UC Berkeley in 1950 with a degree the avant-garde scene. European masters like Monet and profoundly influenced his works. This period marked the the interplay of light and space.
Returning to California in the late 1960s, Francis established increasingly bold, with intense splashes of color and a large-scale works on paper, expanding his artistic vocabulary. to monotypes, always seeking new ways to express his spontaneity and chance, as the process emphasized immediacy open, white areas that contrasted with vibrant, energetic
Despite facing health challenges, including a battle with depth. He passed away on November 4, 1994, leaving color, have cemented his place as a major figure in 20th-century Art in New York, the Centre Pompidou in Paris, and the art. From the trauma of war to the heights of international canvases, filled with dynamic color and form, invite viewers contributions, Sam Francis’s art remains a vibrant and enduring
American art, known for his use of vibrant colors and expressive abstraction. His bold splashes and engagement with light and space but are also influenced by his American roots and extensive travels across throughout his career, reflecting both firsthand experiences and broader artistic trends. While often transcends any single movement, embodying a profound synthesis of Eastern and Western aesthetics. work displayed a mature synthesis of his earlier influences and his unique artistic voice.
initially a pre-med student at the University of California, Berkeley. He enlisted in the Army Air Corps in a flight-training accident. Consequently, he developed spinal tuberculosis, which left him four-year period of recovery, he pursued art to reignite his passion and creativity during a particularly Berkeley, he decided to study art under the guidance of German modernist Hans Hofmann. Hofmann’s color combination and the notion that artists should abandon the last remnants of illusionism and fully picture plane.” This foundation was pivotal for Francis’s future career.
degree in art, Francis moved to Paris, France, where he absorbed European modernist influences and and Matisse significantly impacted him, and the luminosity and atmospheric lighting of Paris the beginning of his signature style, characterized by broad fields of vibrant colors, abstraction, and
established studios in Los Angeles and continued to refine his signature style. His work became heightened sense of movement. He also embraced new techniques, including printmaking and vocabulary. Throughout the following decades, Francis experimented with different media, from acrylics his fascination with light, space, and the fluidity of color. His monotypes allowed him to explore immediacy and the unpredictability of ink on paper. His paintings from this period often featured energetic bursts of pigment, reinforcing his interest in the balance between presence and absence.
with cancer, Francis remained prolific, creating works that continued to evolve in complexity and leaving behind a rich legacy. His contributions to abstract art, particularly his innovative use of light and 20th-century art. His works are held in major collections worldwide, including the Museum of Modern the Tate Gallery in London. Sam Francis’s artistic journey is a testament to the transformative power of international acclaim, his life and work exemplify the resilience and creativity of the human spirit. His vibrant viewers to experience the world through his unique vision. As we continue to explore and celebrate his enduring presence in the ever-evolving narrative of modern art.
20
Sam Francis (1923-1994)
Untitled, 1979
Monotype in colors with hand embellishments on handmade paper
Signed in pencil lower left: Sam Francis; dated on a gallery label affixed to the frame’s backing paper; Experimental Workshop, San Fransico, CA, prntr.
Image/Sheet: 26” H x 31” W
$20,000-30,000
Provenance:
Jan Turner Gallery, Los Angeles, CA
Private Collection, Los Angeles, CA Denenberg Fine Arts, West Hollywood, CA
Exhibited:
Los Angeles, CA, Los Angeles County Museum of Art, “Sam Francis,” March 13-May 11, 1980, no. 34
Notes:
According to the label on the frame’s backing paper, both the paper and print were executed at Garner Tullis’s “Experimental Workshop” in San Francisco, CA, in 1979.
21
Jenny Holzer (b. 1950)
“Inflammatory Essays,” 1979-82
Fifteen offset lithographs on various colored wove papers
From the unlimited edition
One sheet signed in ink lower right: Jenny Holzer; Millner Bros., New York, NY, prntr.; Jenny Holzer, pub.; 15 works
Each sheet: 17” H x 17” W
$2,000-3,000
Provenance: The Chara Schreyer Collection
David Hockney (b.1937)
From his alluring swimming pool scenes to his
influential artists, redefining contemporary art
contributions to the Pop Art movement and his printmaking, photography, and digital art. Within collaborator, playing a vital role in Hockney’s personal
Celia Birtwell is a British textile and fashion designer an era of unique fashion. Birtwell is especially known figure in British fashion. In 1969, Birtwell sat with friendship. Birtwell became one of Hockney’s most her, creatively documenting their evolving visual
The work in this lot, “Celia with Green Plant,” created Hockney. Hockney uses strong black strokes of predominantly monochromatic palette, he creates green tones in the background. This lithograph Dress (III).” In Matisse’s work, the sitter is outlined from the depth of the figure. Both prints establish colors surrounding the sitter and the simple textured central image of the artwork.
Celia Birtwell was simply not just a muse but also art scene of the 1960s and 1970s, where their creative and design makes their partnership feel like the isolation; it is born from relationships, shared visions,
evocative portraits, David Hockney has cemented his place as one of Britain’s most through his innovative mastery of color and perspective. Hockney is best known for his his ability to blend various mediums and techniques, including painting, drawing, Within this rich and creative landscape, Celia Birtwell emerges as a key muse and personal life and artistic evolution.
designer who worked closely with her now ex-husband, Ossie Clark, where they defined known for her whimsical playfulness and abstract elegance, making her a prominent with Hockney for the first time, marking this encounter as the beginning of a deep most famous muses, and over the years, Hockney has painted numerous portraits of visual relationship.
created in 1980, is a portrait completed 11 years after the first time Birtwell sat for pigment alongside soft, subtle lines to define the figure’s dimensions. By employing a creates a striking contrast with the bright red pigment used for her lips and the yellow and lithograph by Hockney is reminiscent of Henri Matisse’s 1950 aquatint, “Marie-Jose in a Yellow outlined with bold black lines and various textures; the minimal detailing does not detract establish the sitter as the focal point of the image. In “Celia with Green Plant,” the limited textured black lines emphasize her presence, making her not just the muse but also the
also a friend and collaborator of David Hockney. Both being key figures in the London creative worlds often overlapped. Their shared passion for the same visual language the perfect duet. This connection serves as a reminder that art is rarely created in visions, and the indefinable spark between two like-minded souls.
22
David Hockney (b.1937)
“Celia with Green Plant,” 1980 Lithograph in colors on Arches paper Edition: 44/90 (there were also 20 artist’s proofs)
Signed, dated, and numbered in pencil in pencil at the lower sheet edge: David Hockney 80; Gemini G.E.L., Los Angeles, CA, prntr. and pub., and with their blindstamps near the lower right corner Image/Sheet: 29.75” H x 39.5” W
$8,000-12,000
Provenance: Gemini G.E.L, Los Angeles, CA
Literature: Gemini 919; NGA Gemini 23.69
Notes:
This lot is accompanied by the original print documentation from Gemini G.E.L., signed by the artist and director.
23
Antoni Tàpies (1923-2012)
“Grand Central,” circa 1982
Etching and aquatint in colors on wove paper Edition: 91/99
Signed and numbered in pencil in the lower margin: Tàpies Plate: 19.25” H x 16.5” W; Sheet: 30.25” H x 22.25” W
$1,000-1,500
24
Jim Dine (b. 1935)
“Nine Views of Winter, #8,” 1985
Woodcut in colors on Okawara paper Edition: 14/24 (there were also 5 artist’s proofs)
Signed, dated, and numbered in pencil, lower left: Jim Dine 1985; Pace Editions, Inc., New York, NY, pub. Image/Sheet: 52.75” H x 36.75” W
$3,000-5,000
Literature: D’Oench & Feinberg 204
Joan Brown (1938-1990)
“Golden Gate,” 1987 Woodcut and lithograph in colors on BFK Rives paper Edition: An artist’s proof, aside from the edition of 80 Signed, dated, and inscribed in pencil in the lower margin: Joan Brown 1987 / “A.P.”; Magnolia Editions, Oakland, CA, prntr. and pub.
Image: 36.5” H x 26.25” W; Sheet: 41.75” H x 29.5” W
$3,000-5,000
26
David James Gilhooly III (1943-2013)
Four works:
“Multi-Dogs,” 1988
Monotype in colors on wove paper
Signed and dated in pencil in the lower margin, at right: David Gilhooly 1988; titled in pencil, verso; Magnolia Edition, Oakland, CA, pub. Image: 25” H x 16.5” W (irreg.); Sheet: 30” H x 22” W
“Sam’s Dog,” 1987
Monotype in colors on Arches paper
Signed and dated in pencil in the lower margin, at right: David Gilhooly 1987; titled in pencil, verso Image: 19.25” H x 20.5” W; Sheet: 30” H x 22” W
Untitled, 1988
Monotype in colors on wove paper
Signed and dated in pencil in the lower margin, at right: David Gilhooly 1988 Image: 12.5” H x 9.5” W; Sheet: 30” H x 22.25” W
“Agate Dog,” 1988
Monotype in colors on BFK Rives paper
Signed and dated in pencil in the lower margin, at right: David Gilhooly 1988; titled in pencil, verso; Magnolia Edition, Oakland, CA, pub. Image: 17.5” H x 16” W; Sheet: 30” H x 22.25” W
$600-800
Provenance:
Sold: Turner Auctions + Appraisals, San Francisco, CA, “The Applegate Collection,” October 21, 2023, Lots 11, 17, 63, and 94
27
Victor Pasmore (1908-1998)
“Senzo Titolo 6,” 1989
Etching and aquatint in colors on wove paper Edition: 77/90 (there were also 11 artist’s proofs)
Initialed, dated, and numbered in pencil in the lower margin: VP / 89; Vigna Antoniniana, prntr.; Marlborough Graphics Ltd., London, and 2 RC Edizioni d’Arte, Rome, pub. Plate: 58” H x 30” W; Sight: 65” H x 33” W
$1,000-1,500
Provenance: Private Collection of an Orange County Gallerist
Literature: Lynton G.54
28
Ross Bleckner (b. 1949)
Untitled, for “Parkett” vol 38, 1993
Watercolor, ink, and wax on paperboard in hand-painted and waxed desktop frame, as issued
Edition: 97/100
Unsigned; numbered in pencil on the frame’s backing board, upper right Image/Sheet: 10” H x 8.125” W
According to the literature reference above, the work in this lot was created in an edition for “Parkett,” vol 38. Specifically, the untitled, 1993 work from an edition of 100 unique variants is made out of watercolor, ink, and wax on paperboard displayed inside a hand-painted and waxed wooden desktop picture frame, as issued. Each example is apparently individually signed and numbered, however, the work in this lot lacks the signature.
29
Larry Rivers (1923-2002)
“Homage to Picasso,” 1994
Screenprint in colors on paper Edition: 23/30
Signed, dated, and numbered in pencil in the lower left and right corners of the image, respectively: Larry Rivers ‘94
Image: 23.875” H x 27.875” W; Sight: 25” H x 29” W
$800-1,200
30 After Keith Haring (1958-1990)
Untitled (Poster for Nuclear Disarmament), 1982 Offset lithograph on glossy wove paper
From the edition of approximately 20,000 Bears signature in ink in the lower portion of the image’s right edge: K. Haring; with the printed signature, date, and copyright in the lower portion of the right edge Sheet: 24” H x 18” W
$800-1,200
31
Peter Max (b. 1937)
“Andy with Mustache”
Lithograph in colors on paper Edition: 73/300
Signed and numbered in pencil in the lower edge: MAX
Sight: 10.75” W x 10.75” W
$400-600
32
Sol LeWitt (1928-2007)
“Parallel Curves,” 2000
Lithograph with etching and aquatint in colors on wove paper Edition: 16/30
Signed and numbered in pencil in the lower right margin corner: Lewitt Plate: 30.5” H x 30.75” W; Sight: 35.75” H x 35.75”W
$1,000-2,000
Literature: Krakow 2000.02
Helen Frankenthaler (1928-2011)
Helen Frankenthaler was an influential American Expressionism and Color Field painting. Born in also at Bennington College in Vermont before
In the early 1950s, Frankenthaler developed her poured them onto unprimed canvas, allowing colors Field movement as well as artists such as Morris
In the early 1970s, Frankenthaler began working sense of spontaneity, fluidity, and luminous color with delicate washes of color, evoking the organic
Instead of rigid, sharply defined carvings typical methods that allowed for softer, more painterly unconventional inking methods to achieve subtle
“Weeping Crabapple,” 2009 exemplifies Frankenthaler’s composition features fluid, organic forms with delicate, gold, and earthy tones interact with the negative demonstrates her innovative approach to woodcut luminous, almost watercolor-like effect.
American painter and printmaker known for her pioneering contributions to Abstract in New York City, she studied at the Dalton School under muralist Rufino Tamayo and emerging as a leading figure in postwar American art.
her signature “soak-stain” technique, where she thinned oil paints with turpentine and colors to seep and blend organically. This method profoundly influenced the Color Morris Louis and Kenneth Noland.
working on woodcut prints. She reimagined the woodcut medium, infusing it with the same color that defined her paintings. Her prints often feature expansive, layered compositions organic quality of watercolor or her signature soak-stain technique.
typical of woodcuts, Frankenthaler worked closely with master printmakers to develop painterly effects. She often employed multiple blocks, hand-wiping techniques, and subtle gradients and atmospheric depth.
Frankenthaler’s masterful ability to blend abstraction with natural inspiration. The delicate, gestural lines that suggest branches or natural elements. Soft washes of pink, negative space, creating a sense of depth and movement. The layering of color and texture woodcut printmaking, pushing the medium beyond its traditional boundaries to achieve a
33
Helen Frankenthaler (1928-2011)
“Weeping Crabapple,” 2009 Woodcut in colors on Japanese paper Edition: 24/50
Signed, dated, and numbered in pencil at the lower sheet edge, to the right of center: Frankenthaler / ‘09; Pace Editions, New York, pub. An ink notation written on the frame’s backing board in another hand reads: “They are weeping out of joy and satisfaction that the magic happened again.”
Image/Sheet: 25.25” H x 37.25” W
$20,000-30,000
Notes:
According to the Helen Frankenthaler Foundation website, 18 woodblocks were used to create this 31-color woodcut. “Weeping Crabapple” was the artist’s final print. It was printed and published just two years before she died.
Florence Knoll (1917-2019)
Florence Knoll was an architect, designer, and entrepreneur and commercial spaces. Her work emphasized designs, embodying the core principles of modernism. including Eliel Saarinen and Ludwig Mies van der
Born on May 24, 1917, in Saginaw, Michigan, Florence Saarinen. She studied architecture at the Cranbrook on design projects, and they married in 1946. She
Knoll is known for her “total design” approach, functional environments. In the mid-1950s, she System.” The sofa, Model 53, and slipper chair,
After Hans’s death from a tragic car accident in more years. She later remarried and retired but age of 101 in Coral Gables, Florida.
entrepreneur who revolutionized mid-century modern aesthetics for both residential functionality, clean lines, and the seamless integration of furniture into broader spatial modernism. She was a protégé of some of the most influential figures in modern design, der Rohe.
Florence was orphaned at an early age and eventually mentored by Eliel and Loja Cranbrook Academy of Art as well as Columbia University. She collaborated with Hans Knoll She became a full partner in their company, Knoll Associates, Inc.
approach, in which furniture, textiles, and spatial planning were integrated into cohesive and designed a series of sleek, modular furniture pieces known as the “Parallel Bar chair, Model 51, with their exposed metal frames, characterize Florence’s minimalist style.
1955, she took over as president of Knoll Associates, leading the company for five but continued to work in private practice in Florida. Florence Knoll passed away at the
34
Florence Knoll (1917-2019)
A “Parallel Bar System” sofa and slipper chair for Knoll, mid-20th century
Designed 1955
Each unmarked
Comprising a sofa, Model 53, and a conforming slipper chair, Model 51, each constructed from a partially black enameled steel frame with lavender cotton fabric tufted upholstery with cording
2 pieces
Sofa: 30.5” H x 85.5” W x 31” D; Chair: 30” H x 25” W x 32” D
$1,500-2,000
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Charles and Ray Eames (1907-1978 and 1912-1988)
A “CTM” coffee table, 3rd generation (1950-1957)
Designed 1946
Unmarked
The black dyed molded plywood circular table with central depression set on a chromed tubular metal X-form frame with aluminum “Domes of Silence” feet 16.25” H x 34” Dia.
$500-700
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
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Eero Saarinen (1910-1916)
A “Womb” chair and ottoman for Knoll, Circa 1990s
Designed 1948
The ottoman with paper Knoll tag to underside
The scoop back chair with flared armrests, cushioned at the seat and seatback, set on a chromed steel rod frame, en suite with conforming ottoman 2 pieces
Chair: 35.5” H x 41” W x 37” D; Ottoman: 15.75” H x 24.5” W x 21” D
$1,500-2,500
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Charles and Ray Eames (1907-1978 and 1912-1988)
An Eames lounge chair and ottoman for Herman Miller, 1978
Designed 1956
Each marked for Herman Miller on plaque and with dated paper tags to underside
The chair with molded plywood and powder-coated and brushed aluminum frame, rubber shock mounts, and black leather tufted upholstery, en suite with matching ottoman 2 pieces
32.25” H x 33.25” W x 35.5” D; Ottoman: 17” H x 25.25” W x 21.25” D
$2,000-4,000
Notes: This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.
Chair:
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Prefab77 (20th Century)
“Lick London,” circa 2011
Screenprint in colors with spray paint on Somerset paper Edition: 1/1
Signed and numbered in ink in the lower margin: Prefab; published by the artist, and with the artist’s blindstamp in the lower margin, at left
Image: 27” H x 17.25” W; Sight: 29.5” H x 21.5” W
$400-600
Provenance:
Sale, Heritage Auctions, Dallas, TX, “Urban Art Showcase Auction,” September 13, 2023, Lot 42232
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Alex Prager (b. 1979)
“Sophie” from the “Week-End,” 2009
Chromogenic print on paper mounted to Edition: 3/3
Appears unsigned
Sight: 47.5” H x 62” W
$10,000-15,000
Provenance:
as issued
Yancey Richardson Gallery, New York, NY
A Private California Collector, acquired from the above, 2010
Notes:
This lot is accompanied by a copy of the sales invoice dated October 13, 2010, from the gallery mentioned above.
Plexiglas,
40
Joyce Tenneson (b. 1945)
“Bull Thistle” from the “Flower Portraits” series, 2002 Inkjet on photographic paper Edition: 1/25
Signed, dated, and numbered in ink in the lower margin: Joyce Tenneson 2002
Image: 21” H x 17” W; Sight: 22.5” H x 18” W
$400-600
Literature: Joyce Tenneson, “Flower Portraits: The Life Cycle of Beauty” (Boston: Bulfinch Press, 2003), 41.
41
Joyce Tenneson (b. 1945)
“Hydrangea” from the “Flower Portraits” series, 2002
Inkjet in colors on photographic paper Edition: 1/25
Signed, dated, and numbered in ink in the lower margin: Joyce Tenneson 2002
Image: 21” H x 17.5” W; Sight: 22.5” H x 18.5” W
$400-600
Literature: Joyce Tenneson, “Flower Portraits: The Life Cycle of Beauty” (Boston: Bulfinch Press, 2003), 6.
42
Clifford Ross (b. 1952)
“Hurricane LXII,” 2009
Archival pigment print on paper mounted to a board mount, as issued Edition: 1/12
Signed in ink, titled, dated, and numbered, all on the artist’s label affixed to the verso of the board mount: Clifford Ross
Image: 15.5” H x 29.5” W; Sheet: 24” H x 39” W
$10,000-15,000
43 Slim Aarons (1916-2006)
“Keep Your Cool,” 1978
C-type print on Fujicolor Crystal archival paper Edition: 28/150, printed later (there is also an open edition without the numbering and artist’s blindstamp) Embossed with artist’s estate blindstamp in the lower margin, at right: Slim Aarons; titled from an information sheet that accompanies this lot; numbered in ink in the lower margin, at left Image: 25” H x 37.75” W; Sheet: 30” H x 40” W
$3,000-5,000
Notes:
This lot is accompanied by an information sheet specific to this impression, as well as a certificate of authenticity from Getty Images Gallery dated 26 April 2023. These materials state that the image shows Carmen Alvarez enjoying a game of backgammon with Frank “Brandy” Brandstetter in an Acapulco swimming pool.
44
Slim Aarons (1916-2006)
“Hotel du Cap Eden- Roc,” 1969
C-Type print on Fujicolor Crystal archival paper
From the open edition, printed later (there was also an edition of 150 with the artist’s estate blindstamp and numbered in ink)
Embossed with the Getty Images Archive blindstamp in the lower margin, at right; titled from an information sheet that accompanies this lot
Image: 25.5” H x 37.875” W; Sheet: 30” H x 40” W
$800-1,200
Notes:
This lot is accompanied by an information sheet, as well as a certificate of authenticity from Getty Images Gallery dated 30 January 2024. According to these materials, this image shows waterskiing from the Hotel du Cap Eden-Roc in Cap d’Antibes, France, 1969.
45 Slim Aarons (1916-2006)
“Poolside Gossip - Slide,” 1970
C-Type print on Fujicolor Crystal archival paper
From the open edition, printed later (there was also an edition of 150 with the artist’s estate blindstamp and numbered in ink)
Embossed with Getty Images Archive blindstamp in the lower margin, at right; titled from an information sheet that accompanies this lot
Image: 27.75” H x 27.75” W; Sheet: 30” H x 30” W
$500-700
Notes:
This lot is accompanied by an information sheet, as well as a certificate of authenticity from Getty Images Gallery dated 30 January 2024. According to these materials, this image shows a desert house in Palm Springs designed by Richard Neutra for Edgar J. Kaufman. Lita Baron (far left) approaches Helen Dzo Dzo (left) and Nelda Linsk, wife of art dealer Joesph Linsk.
46
Barbara Kasten (b. 1936)
“Architectural Site #3,” 1986
Cibachrome photograph on paper Edition: 7/10
Signed, titled, dated, and numbered in pencil, all verso: Barbara Kasten / June 14, 1986
Image/Sheet: 40” H x 30” W
$3,000-5,000
Provenance: Judith Slutzky / Fine Art Furniture, CA
Notes:
This lot is accompanied by a sales invoice dated September 28, 1989.
According to the artist’s website, works in the “Architectural Site” series were “...made on location with a single exposure and no digital intervention. One of the first photographers to utilize a professional cinematic lighting crew in a monumental production, I deconstructed the postmodern architecture of the 80’s with gels and on-site mirror constructions in overnight photo shoots. The photographs were made with a 4x5 view camera and printed in editions of 30x40 or 50x60 Cibachrome prints.” Along with its other features, this image shows part of the mural done by Roy Lichtenstein for the atrium of the Equitable Tower (now known as the AXA Center) in New York City in 1986.
Frank Lloyd Wright (1867-1959)
A “Taleisin” low dresser for Heritage Henredon, 1955-1957
Designed 1955
With burn mark to top middle drawer interior: HH / Heritage Henredon by Frank Lloyd Wright
The wood chest of drawers with five upper smaller drawers above two rows of three larger drawers, each with recessed pulls and raised on a modified box stretcher, featuring a geometric motif border
28.25” H x 61.5” W x 20” D
$1,500-2,500
48
Frank Lloyd Wright (1867-1959)
A pair of “Taleisin” side tables for Heritage Henredon, 1955-1957
Designed 1955
Each with burn mark to drawer interior: HH / Heritage Henredon by Frank Lloyd Wright
The wood single-drawer tables, each with recessed pulls and raised on a U-form base, featuring a geometric motif border
2 pieces
Each: 23” H x 26” W x 29” D
$2,000-4,000
Frank Lloyd Wright (1867-1959)
A “Taleisin” side table for Heritage Henredon, 1955-1957
Designed 1955
Unmarked
The waterfall table with medial stretcher and incised geometric motif border 24” H x 23.75” W x 19.25 “ D
$1,000-2,000
Harrison McIntosh (1914-2016)
A Harrison McIntosh stoneware expression is instantly studio in Claremont, CA, McIntosh threw a harmonious appreciation for natural forms, spanning a career
Born In Vallejo, CA to artistically supportive parents, class at University of Southern California under to Los Angeles, where he honed his craft under 1948-1952. This time was meaningfully punctuated led by his future wife Marguerite Wildenhain at champion and supporter, and her love of nature
Aside from Marguerite, McIntosh also drew a profound Japanese potter Shoji Hamada toured the United demonstrating the mingei techniques and philosophies his peers, McIntosh took to heart the “selflessness” McIntosh applied this approach, removing his ego and subtle perfectionism to emerge.
By the mid-1950s, his ceramics had become synonymous grown into a design obsession marketed nationwide. “House Beautiful” and “Art and Architecture” alongside and friend Sam Maloof. Locally, his work was staged the Los Angeles County Fair, California Design including the “California Living” show held in 1957,
Throughout his career, his work has been shown Louis Newman Galleries, and Frank Lloyd Gallery. including LACMA, the American Craft Museum
instantly recognizable and timeless, although distinctly Southern Californian. From his harmonious aesthetic of clean lines and geometric symmetry together with an career of over 60 years.
parents, the family later moved to Los Angeles, where Harrison took his first ceramics instructor Glenn Lukens. After serving in the Army during World War II, he returned under Al King in 1947 and Richard Peterson at the Claremont Graduate School from punctuated by a Bernard Leach seminar at Mills College in 1950 and a summer workshop Pond Farm in Guerneville, CA in 1953. Marguerite would prove to be his greatest nature and design was a primary inspiration for his life’s work.
profound inspiration from Japanese mingei ceramics. In the early 1950s, treasured United States accompanied by Bernard Leach and philosopher Soetsu Yanagi, philosophies that date back to the Momoyama period (late 16th century). Like many of “selflessness” and “spontaneity” that Hamada espoused as core tenets to the mingei process. ego and the intention of artfulness from his focus, allowing for an elegant simplicity synonymous with the California aesthetic, which during the post-World War II era had nationwide. His pottery vessels were featured in nationally distributed magazines such as alongside international designers like Isamu Noguchi, Peter Voulkos, George Nelson, staged in room vignettes that showcased the Modern aesthetic at such venues as Shows at the Pasadena Art Museum, and shows held at the Pan Pacific Auditorium 1957, curated in tandem by McIntosh and Maloof.
shown at Los Angeles institutions such as Bullocks Wilshire, Craft and Folk Art Museum, Gallery. Today, collections of his work can be found in museums around the world Museum in New York, the Museum of Fine Arts in Boston, and The Louvre in Paris.
50
Harrison McIntosh (1914-2016)
A glazed stoneware footed bowl, mid-20th century
Marked to the underside with potter’s chop mark: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California
The black glazed exterior with banded ovoid design and cerulean glazed interior
3.5” H x 8.875” Dia.
$1,000-1,500
52
Harrison McIntosh (1914-2016)
A glazed stoneware footed bowl, mid-20th century
Marked to the underside with potter’s chop mark: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California
The bowl with flared rim and dark cerulean glaze
2.875” H x 7.375” Dia.
$700-900
51
Harrison McIntosh (1914-2016)
A glazed stoneware footed low bowl, mid-20th century
Marked to the underside with potter’s chop mark: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California
The blue and black glazed interior with brush spot design and grey glazed exterior 2.125” H x 9.125” Dia.
$800-1,200
Adolph Gottlieb (1903-1974)
Adolph Gottlieb was one of the pioneering artists his bold compositions, symbolic imagery, and expressive Art Students League and traveled to Europe, where and Cubism while taking classes at the Académie
In 1935, he became a founding member of the as Mark Rothko and Ilya Bolotowsky and is remembered work evolved through various phases, including his later “Imaginary Landscapes.” The untitled “Pictograph” series and his “Burst” series.
“Untitled,” 1951 is an exemplary image of Gottlieb’s balance between order and spontaneity, reflecting paintings such as this work, he sought to create psychological states.
Throughout his career, Gottlieb exhibited widely, São Paulo Biennale. He was the first American to Museum of Modern Art and the Whitney Museum
Adolph Gottlieb passed away in 1974, leaving abstraction to this day.
artists in the American Abstract Expressionist movement. He is best known for expressive use of color. Born in New York City in 1903, Gottlieb studied at the where he absorbed influences from modernist movements such as Surrealism Académie de la Grande Chaumière in France.
the avant-garde group “The Ten” which included other well-known artists such remembered best as playing a key role in shaping postwar American art. His including his early Surrealist-inspired pictographs, the dramatic “Burst” series, and work brought to auction here, falls nearly directly between his style from the
Gottlieb’s body of work, featuring primal-like shapes, calligraphic marks, and a reflecting his interest in Jungian psychology and mythological themes. Through create a universal visual language that conveyed deep emotional and widely, earning international recognition, including the Grand Prize at the 1963 to receive this award. His works are held in major collections such as the Museum of American Art.
behind a profound legacy that continues to influence contemporary
Pencil notations on the verso, most likely those of a mat maker or framer, read: “1) Pink / or / 2) Cream” and also “10” in a circle. As mentioned, there is a label on the frame’s backing paper from the Adolph and Esther Gottlieb Foundation, Inc., New York, NY.
54
Jean Varda (1893-1971)
Untitled (city scene), 1949
Mixed media, paper collage, and sand on plywood
Signed lower left: Varda; dated on a gallery label affixed to the frame’s backing paper 18.25” H x 24.25” W
$2,000-3,000
Provenance:
John Natsoulas Gallery, Davis, CA
55
John Altoon (1925-1969)
Untitled, espresso machine, circa 1950 Oil on board
Unsigned Sight: 33.5” H x 23.5” W
$3,000-5,000
Provenance: The artist Robert Runyan, Los Angeles, CA, a gift from the above Private Collection, by descent from the above Sold: Bonhams, Los Angeles, CA, “Modern Design | Art,” October 27, 2019, Lot 156
Private Collection, acquired from the above by the present owner
Notes:
This painting depicts the espresso machine kept in the offices of Playa del Rey, CA graphic design firm Robert Miles Runyan & Associates, established in 1956.
56
David Simpson (b. 1928)
“Grey Square,” 1955 Oil on canvas
Signed and dated lower right: David S. 55.; signed and dated again, and titled, all verso
44.25” H x 44” W
$3,000-5,000
Provenance:
The Collection of Ralph S. Du Casse and Guy T. Roberts, Jr., Oakland, CA Sold: Bonhams, San Francisco, CA, “SoMa Estate Auction,” September 18, 2011, Lot 3072
Exhibited: San Francisco, CA, San Francisco Museum of Art, “San Francisco Art Association 75th Annual Painting and Sculpture Exhibition,” March 29 - May 6, 1956
Zygmund Sazevich (1899-1968)
Russian-born San Francisco modernist Zygmunc immigrating to the San Francisco Bay area in 1923. a studio with fellow Russian artist Eugene Ivanoff. California School of Fine Art. Following the completion Art from 1947 to 1965 and simultaneously at Mills
Sazevich is noted for receiving sculpture commissions his work is in the collection of SFMOMA, among relief works, he also created two-dimensional explorations modernist composition executed in acrylic on waxed
Zygmunc Sazevich began his artistic studies at the University of Kazan before 1923. During the 1930s, as he established himself as an artist, Sazevich shared Ivanoff. In San Francisco, Sazevich continued his studies at UC Berkeley and the completion of his arts education, Sazevich taught at the California School of Fine Mills College between 1947 and 1958.
commissions for post offices in Roseville and San Mateo, CA, and Kent, WA, and among other institutions. While Sazevich is best known for his sculptural and bas explorations of the three-dimensional form in works such as the present waxed paper.
57
Zygmund Sazevich (1899-1968)
Modernist composition
Acrylic on waxed paper
Signed lower right: Zygmund Sazevich
Sight: 12.5” H x 9.5” W
$600-800
58
Charles Safford (1900-1963)
Abstract composition, circa 1950s
Oil on canvas
Signed lower right: Safford, dated by repute 48” H x 36” W
$600-800
Provenance: Winfield Gallery, Carmel, CA
59
John Saccaro (1913-1981)
Abstract, 1958
Oil on canvas
Unsigned; dated on a gallery label affixed verso 24” H x 30” W
$2,000-3,000
Provenance: Carlson 20th Century Art, Carmel, CA
Gallery North Carmel, Carmel, CA
60
John Saccaro (1913-1981)
Untitled, 1978 Oil on canvas
Signed and dated verso: Saccaro / ‘78 30” H x 40” W
$1,200-1,800
Taro Yashima (1908-1994)
Taro Yashima was already an established and successful when he and his artist-wife Tamao arrived in New against Japan, Yashima enlisted in the US Army Services. He also adopted the pseudonym Taro Mako. Following the end of WWII, the family was a daughter Momo was born.
Yashima kept his pseudonym professionally and including “Umbrella,” published in 1958. The central eyes and blunt bob haircut featured in the book’s present work.
successful artist in Japan (working under his given name Jun Atsushi Iwamatsu) New York in 1939 to study at the Art Students League. When the US declared war Army working as an artist in the Office of War Information and the Office of Strategic Taro Yashima, partly to protect his family who remained in Japan, including his son was granted permanent residence, their son Mako joined them in New York, and and went on to write and illustrate endearing mid-20th Century children’s books central character in the book was modeled on Momo, and her distinct wide-set book’s illustrations are similar to the young girl reclining on a striped rug in the
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Taro Yashima (1908-1994)
Reclining girl (Momo), 1958
Charcoal, pastel, and ink on wove paper
Signed and dated lower right: Yashima / 1958 Sight: 13” H x 23.125” W
$500-700
Provenance: Private collection, Los Angeles, CA
Notes:
This lot is accompanied by a copy of Taro Yashima, “Umbrella” (New York: Puffin Books, 1977).
62
Milton Avery (1885-1965)
“Two Nudes - Standing and Sitting” Graphite and ink on China paper
Signed lower right: Milton Avery; titled and inscribed in pencil in another hand, verso: “‘Two Nudes -Standing and Sitting’ by Milton Avery 17 x 14 ink & pencil n.d.” 16.75” H x 13.75” W
$2,000-3,000
Notes:
This lot is accompanied by a photocopy of the original certificate of authenticity (presumed lost, and lacking the associated photograph), signed by the vice president of the Milton & Sally Avery Arts Foundation, Inc. New York, NY, dated March 15, 1994.
63
Raimonds Staprans (b. 1926)
Ballerina, 1957
Oil on canvasboard
Signed and dated lower left: R. Staprans 22” H x 18” W
$1,000-1,500
64
Samuel Bak
(b. 1933)
Untitled abstract, 1959
Oil on canvas
Signed and dated lower right: BAK 59; inscribed in ink, possibly in another hand, verso 23.75” H x 19.75” W
$1,000-2,000
Provenance: Galleria Schneider, Rome, Italy
Lebadang (1921-2015)
Abstract still life, 1960
Oil on canvas
Signed, inscribed, and dated lower right: Lebadang / Paris 60 24” H x 19.75” W
$2,000-3,000
Robert Natkin (1930-2010)
Robert Natkin was an American abstract expressionist blended geometric shapes and rich colors, incorporating formal qualities of color field painting. Natkin’s of movement and depth, creating works that were
Throughout his career, Natkin experimented with innovative methods to achieve his signature style. workings of the human psyche, resulting in compositions
Natkin exhibited his work in numerous solo and scene. His works are held in several major collections, of Modern Art in New York, and the Smithsonian
With a career spanning several decades, Natkin’s His legacy continues to inspire contemporary abstract
expressionist painter known for his vibrant and dynamic works. His paintings often incorporating both the emotional intensity of abstract expressionism and the use of layered color, fluid brushstrokes, and textured surfaces evoked a sense were both visually striking and emotionally resonant.
with a range of materials and techniques, incorporating both traditional and style. His work drew inspiration from the natural world, music, and the inner compositions that felt both personal and universal.
and group shows and was recognized for his contributions to the American art collections, including those of the Whitney Museum of American Art, the Museum Smithsonian American Art Museum.
Natkin’s art remains influential for its bold, emotive exploration of color and form. abstract artists and collectors alike.
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Robert Natkin (1930-2010)
Untitled, 1961
Oil on canvas
Signed and dated lower right: Natkin 61 32” H x 34” W
$6,000-8,000
Provenance: Sullivan Goss: An American Gallery, Santa Barbara, CA
67
Masami Teraoka (b. 1936)
Abstract, 1966
Colored pencil, crayon, and ink on paper
Signed and dated in ink lower right: M. Teraoka ‘66
Image/Sheet: 8.625” H x 9.75” W
$2,000-4,000
Sol LeWitt (1928-2007)
Untitled working drawing, 1968 Ink on thin, off-white wove paper
Signed and dated in ink lower right: Sol LeWitt / 1968 Sheet: 10.125” H x 8.25” W
$2,000-4,000
69
Michael Simon (1947-2021)
A salt glazed stoneware teapot, early 21st century
Marked to base with potter’s chop mark: MS
The lidded teapot with opposed leaf motifs issued from the rim
4.5” H x 8.375” W x 5.125” D
$700-900
71
Warren Mackenzie (1924-2018)
Two glazed ceramic bowls, mid/late 20th century
Each marked to underside with potter’s chop mark: M
Comprising a larger green glazed leaf-form bowl with spiral design to interior and raised on three feet, and a smaller footed bowl with cream speckled glaze
2 pieces
Larger: 4.5” H x 10.75” W x 11.375” D; Smaller: 3.875” H x 6.125” Dia.
$400-600
Warren Mackenzie (1924-2018)
A shino glazed ceramic lidded trinket box, mid-20th century Marked with potter’s chop mark: W The box crafted in the Japanese mingei style, with white shino glaze and green stripe accents 4.375” H x 4.875” Dia.
$300-500
Fredrik Kayser (1924-1968)
A teak sideboard for Skeie & Co., mid-20th century With sticker applied verso: Skeie & Co Mobelfabrik / Norheimsund / S / Made in Norway
The wood sideboard with four drawers and a cabinet with single adjustable-height shelf, raised on four tapered legs 28” H x 42” W x 14.75” D
$600-800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Ib Kofod-Larsen (1921-2000)
A “Penguin” lounge chair for Selig, mid-20th century
Designed 1953
Appears unmarked
The low chair with enameled metal frame, featuring a plywood scoop back above a brown fabric upholstered seat cushion
27.75” H x 21” W x 23.5” D
$400-600
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
74
Arne Hovmand-Olsen (1919-1989)
A Danish Modern armchair manufactured by Onsild Møbelfabrik for Jutex, circa 1960s
Unmarked
The teak wood armchair with horseshoe armrest and black leather upholstered seat and seatback, raised on four legs joined by a shaped box stretcher 34” H x 28” W x 22.5” D
$200-400
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
75
George Nelson (1908-1986)
A pair of “Swag Leg” armchairs for Herman Miller, 1964
Designed 1956
Each with Cincinnati Milacron “Mercedes” mark to underside and further marked with a patent label
The fiberglass chairs of biomorphic form, each raised on chromed metal base with four curvilinear legs and aluminum glides
2 pieces
Each: 31.5” H x 28.5” W x 21.5” D
$600-800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Ray and Charles Eames (1912-1988 and 1907-1978)
An Eames lounge chair and ottoman for Herman Miller, 2006
Designed 1956
The chair with dated Herman Miller paper tag and 50th Anniversary metallic tag to underside; ottoman with Herman Miller plaque to underside
The chair with molded plywood and powder-coated and brushed aluminum frame, rubber shock mounts, and white leather tufted upholstery, en suite with matching ottoman 2 pieces
$2,000-4,000
Chair: 31.5” H x 33.25” W x 35.5” D; Ottoman: 17” H x 26” W x 22.5” D
Norman Zammitt (1931-2007)
Pioneering light and space artist Norman Zammitt is celebrated Band Paintings executed between 1974 and 1988.
Zammitt’s mother was a Mohawk from the Iroquois Nation, and family moved a few times in his childhood, first to the Caughnaw Valley in 1945.
Zammitt was interested in art and animation from a young age, and awards and accolades followed the artist to Pasadena City College the Air Force during the Korean War. Zammitt spent a year in Korea draftsman.
After being discharged from the Air Force in 1956, Zammitt returned a four-year scholarship to study fine art under luminaries including Landau Gallery, one of the most prestigious galleries in Los Angeles compositions executed in a variety of artistic mediums including
Zammitt’s next significant series was a group of paintings executed response to the assemblage art movement of the time. Plastic sculptures sculptures, influenced by New Mexico’s light and space, by painting into three-dimensional spectacles of color and form. Always innovatively thicker sheets of acrylic with embedded pigments to further ena variety of shapes, thickness, and sizes, including a series of laminated
Beginning in 1974, Zammitt returned to the painted canvas. Unlike new works were a continuation of his three-dimensional pursuit of imitate nature, but rather to present color ‘in relation to’ nature, Zammitt started first by mixing a focus color, and then added other advice from mathematicians at CalTech, he incorporated mathematical the pigments. From there he was able to take gram weights of the harmonious sequence.
In a review of Zammitt’s Band Paintings in a 1978 show at the Corcoran Norman Zammitt’s paintings are magic... it takes only a few minutes light beyond the zones of opticality and abstraction and pushed Magic, Now At the Corcoran,” February 18, 1978).
Following the decade and a half focus on Band Paintings, Zammit installations that the artist called “Elysium.”
for his innovative transparent op-art acrylic constructions from the 1960s and luminous explorations of color in his his father was a native of Palermo, Sicily. Zammitt was born and lived in Toronto until he was aged 7 before the Caughnawaga Reservation near Montreal, then to Montreal and Buffalo, New York, before settling in California’s San Gabriel
and during his time at El Monte and Rosemead High Schools, he created comic strips for the school newspapers. Art College where he began to pursue a focus in Commercial Art before his studies were interrupted in 1952 by enlistment in Korea working as an aerial reconnaissance photographer, and then was based in Colorado where he worked as a returned to Southern California and enrolled at Otis Art Institute (now Otis College of Art and Design) where he received including John Baldessari. He received an MFA in 1961. In his final year at Otis, Zammitt began exhibiting at the Felix Angeles at the time, and opened his first studio in Pasadena. His works from this early period were primarily abstract g oil, Liquitex, collage, crayon, pencil and etching.
executed between 1962 and 1964 that explored body parts as common objects presented encased in boxes, the artist’s sculptures and painted constructions followed for the next decade as Zammitt worked to create transparent painting on glass and then acrylic sheets. These abstract explorations viewed through layers would morph and transition innovatively pushing his mediums, by the late 1960s, Zammitt was actively working in lithography while also laminating enable the mixture of color with light and space. His pioneering techniques allowed for bubble-free laminations in a laminated and polished acrylic poles of color that were as much as 10 feet high, executed in the 1970s.
Unlike his early paintings executed in muted color palettes and compositions that focused on form and space, these of expressing and exploring color and atmosphere. These new works were not intended to be representational or to in a natural sequence of spectrums of shades.
other colors to that “parent” color until a whole spectrum was formed. As he further explored this process, and with mathematical calculations using logarithms and graphed progression curves that enabled him to assign numerical values to the mixtures of pigments that allowed for the creation of precise variations of color in order to create a visually
Corcoran Gallery, a “Washington Star” critic wrote, “Despite their hard-edge appearance and quasi-logical structure, minutes in their presence to realize something extraordinary is going on. Zammitt has taken the idea of mixing color and it into the realm of the spirit” (Benjamin Forgey, “The Washington Star”, “Norman Zammitt: A Master Painter, With Zammitt’s work from the 1980s into the early 2000s went on to explore chaos theory, self-portrait and walk-in site-specific
77
Norman Zammitt (1931-2007)
Untitled, 1977
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; dated again and numbered “#17 Feb 77” in pencil, also on the verso 9” H x 12” W
$4,000-6,000
Provenance: The artist
Private Collection, California, acquired from the above
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Norman Zammitt (1931-2007)
“Variation on R-B,” 1977-78
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1978; titled, dated again, and inscribed “1977-78 / 3/3” in ink, also on the verso 6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
Norman Zammitt (1931-2007)
“Variation on R-B,” 1977
Acryic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; titled, dated again, and numbered “1977-78 / 2/3” in ink, also on the verso 6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
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Norman Zammitt (1931-2007)
Untitled, 1977
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; dated again and inscribed “1974-80 R/B 14/17” in ink, also on the verso 6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
Norman Zammitt (1931-2007)
Untitled, 1977
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; dated and inscribed
“1974-80 R/B 15/17” in ink, also on the verso
6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
Norman Zammitt (1931-2007)
Untitled, 1977
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; dated again and inscribed “1974-80 R/B 13/17” in ink, also on the verso 6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
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Norman Zammitt (1931-2007)
“Variation on R-B,” 1977
Acrylic on canvasboard
Signed and dated in blue ink, verso: Norman Zammitt / 1977; titled and inscribed “1977-78 / 1/3” in ink, also on the verso 6” H x 9” W
$2,500-3,500
Provenance:
The artist
Private Collection, California, acquired from the above
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Norman Zammitt (1931-2007)
Untitled, 1980
Acrylic on canvas laid to board
Signed and dated in blue ink, verso: Norman Zammitt / 1980; dated again and numbered “#31 Feb ‘79 4/17” in ink, also on the verso
5.5” H x 10” W
$2,000-3,000
Provenance: The artist
Private Collection, California, acquired from the above
Piero Fornasetti (1913-1988)
Piero Fornasetti was an Italian artist whose legacy as worldwide. His work, celebrated for its surreal imagination transcending fleeting trends to establish a permanent than 13,000 designs, many of which have become
At the heart of Fornasetti’s work lies a dedication to motifs with dreamlike imagery, ranging from architectural his most iconic contributions is the “Tema e Variazioni” Cavalieri, a 19th-century opera singer—reimagined repetition, reinvention, and the transformation of the
One of Fornasetti’s designs uses hot air balloons (Palloni adorned with decorations of hot air balloons and flying designed for a Milanese residence. The inspiration human ascent in a hot air balloon. This monumental fans, furniture, handkerchiefs, and umbrella tops—adorned.
Fornasetti revived this classical symbol and reinterpreted design encapsulates his ability to merge historical imagination and exploration.
Fornasetti’s influence extends far beyond his lifetime. father’s vision, ensuring its relevance in today’s world and private collections, celebrated for their ability
as a painter, sculptor, interior designer, and decorator continues to captivate audiences imagination and timeless elegance, bridges classical aesthetics with whimsical surrealism, permanent place in the history of art and design. Over his prolific career, Fornasetti produced more enduring symbols of his creative genius.
to rich symbolism and meticulous craftsmanship. His designs often juxtapose neoclassical architectural elements and celestial maps to playful reinterpretations of everyday objects. Among Variazioni” series, which showcases the enigmatic face of a woman—widely believed to be Lina singer—reimagined in hundreds of variations. This series epitomizes Fornasetti’s fascination with themes of the ordinary into the extraordinary.
(Palloni in Italian). This imagery traces back to Fornasett’s childhood, when his bedroom was flying machines. The motif first appeared in collaboration with architect Gio Ponti on fabrics inspiration for these designs stemmed from the Montgolfier brothers’ historic 1783 flight, the first monumental event captivated 18th-century Europe, inspiring a wave of decorative objects—including tops—adorned.
reinterpreted it for modern design, integrating it into furniture, textiles, and porcelain. The balloon inspiration with contemporary creativity, transforming a centuries—old icon into a symbol of lifetime. His son, Barnaba Fornasetti, has played a pivotal role in preserving and expanding his world of art and design. Today, Piero Fornasetti’s works can be found in museums, galleries, to transcend time and ignite the imagination.
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Piero Fornasetti (1913-1988)
A “Palloni” four-panel folding screen, 2011
Designed 1954
Marked to bottom corner: Fornasetti / Milano / Made in Italy; further inscribed: Speciale 11 2011 / 3/90
The lithography on lacquered wood panels, one side depicting hot air balloons flying over a hillside, each panel joined by brass hinges
Each panel: 79” H x 19.75” W x 1.25” D; Stored: 5.375” D
$3,000-5,000
Literature
Patrick Mauriès, “Fornasetti, Designer of Dreams”, London, 1991, p. 191 (design illustrated)
Gaetano Pesce (1939-2024)
Gaetano Pesce was an Italian architect, artist, and designer materials. His profound influence on contemporary Design movement in Italy during the 1960s. This approach
Born in La Spezia, Italy, in 1939, Pesce studied architecture contributions across various disciplines are countless. boundaries with materials such as resin, polyurethane
Pesce had a prolific career, creating many iconic designs lived and worked in New York City later in life. The polyurethane resin with bright marbled colors. The Pesce passed away at the age of 84 on April 3, 2024. Modern Art and The Metropolitan Museum of Art London, among others.
designer renowned for his avant-garde approach to design and innovative use of contemporary design has inspired generations of creators since his involvement with the Radical approach sought to challenge design with unconventional materials and aesthetics. architecture in Venice and traveled, worked, and lived throughout Europe. His countless. He once remarked, “Art is design, and design is art.” Always pushing the polyurethane foam, and rubber, his work is vibrant, tactile, and playful.
designs for brands such as Cassina, B&B Italia, and Vitra. While his roots were in Italy, he The “Broadway Chair” produced by Bernini in the early 1990s, is crafted from The chair reflects his artistic philosophy of functional objects as works of art.
2024. His work has been featured in esteemed institutions, including The Museum of in New York, the Centre Pompidou in Paris, and the Victoria and Albert Museum in
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Gaetano Pesce (1939-2024)
A “Broadway Chair” for Bernini, circa 1990s Designed 1993
Stamped to the underside: Des Gaetano Pesce / [logo] / Bernini Italy
The chair with marbled resin back splat and seat on a stainless-steel frame, raised on rubberized spring feet
29.5” H x 22” W x 16.75” D
$2,500-3,000
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
Gae Aulenti (1927-2012)
Architect and designer Gaetana “Gae” Aulenti and Buenos Aires. The lamp’s biomorphic methacrylate bulbs under its wings, showcasing the telescoping Sergio Camilli of furniture company Poltronova, to Elio Martinelli of Martinelli Luce, who in 1967 this day.
During her career, Aulenti contributed greatly to Polytechnic University of Milan. She interpreted buildings rather than simply replacing them with however, perhaps best known for her work transforming
first designed the “Pipistrello” lamp to illuminate Olivetti’s typewriter stores in Paris methacrylate diffuser was inspired by the form of a bat and brings warmth to the four telescoping brushed steel and aluminum base. At the time, Aulenti was collaborating with Poltronova, but they were unable to put the lamp into production. Camilli then introduced her 1967 brought the “Pipistrello” lamp to market and the company still manufactures it to
to the post-war reconstruction of Italy, particularly in Milan, where she studied at the interpreted the tenets of “neo-liberty” to honor the history of the city and the design of its with simplified Modern forms that clashed with the ornamentation of the past. She is, transforming the Beaux Arts Gare d’Orsay railway station into the Musée d’Orsay.
Gae Aulenti (1927-2012)
A pair of “Pipistrello” table lamps for Martinelli Luce, late 20th century
Designed 1965
Each marked to underside: Modello 620 / Pipistrello / [logo] / Martinelli Luce / Design
Gae Aulenti / Made in Italy; each with sticker: MOD / 620 / Made in Italy
The four-light lamp with methacrylate diffuser issued from a tiered telescoping brushed steel standard above a painted aluminum base, electrified
Stored: 28” H x 21.5” Dia.; Extended: 35.5” H
$2,000-4,000
After Salvador Dalí
(1904-1989)
Salvador Dalí, a prominent Spanish surrealist artist, contributions. His work often challenged conventional
The chair’s design faithfully reproduces the surreal seated in the chair, with the chair’s legs transforming remains true to every detail in Dalí’s original artwork,
Manufactured by BD Barcelona, the Sillón Leda is While it is technically a functional furniture item, Dalí condition: That we sit uncomfortably.” Indeed, with work of art than a practical seating solution.
The chair’s creation has an interesting history. In the of furniture designs. However, not all these designs led by Oscar Tusquets and supported by The Gala-Salvador Barcelona subsequently took on the manufacturing
By integrating elements from “Femme à Tête de Roses” Dalí’s painted surrealism and the physical world. It different artistic mediums, making it a true representation
artist, was known for his eccentric personality, flamboyant style, and groundbreaking artistic conventional notions of reality, and the Sillón Leda chair is no exception to this approach.
elements from Dalí’s painting. It features a distorted, dream-like image of a woman transforming into a woman’s legs capped with shoes. This three-dimensional interpretation artwork, effectively bridging the gap between painting and sculpture.
crafted from polished cast brass, making it a substantial and visually striking piece. Dalí himself humorously noted, “A chair can be used even to sit on, but only on one with its three-legged design and considerable weight, the Sillón Leda serves more as a
the mid to late 1930s, Dalí collaborated with designer Jean-Michel Frank on a collection designs were realized during their lifetimes. It wasn’t until the 1990s that a team of designers, Gala-Salvador Dalí Foundation, worked to bring the Dalí/Frank collection to fruition. BD manufacturing of these pieces, including the Sillón Leda.
Roses” into a three-dimensional form, the Sillón Leda serves as a tangible link between embodies the artist’s ability to challenge perceptions and blur the lines between representation of Dalí’s enduring legacy in the world of art and design.
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After Salvador Dalí (1904-1989)
A “Sillón Leda” armchair by BD Barcelona, circa 1990s
Titled and attributed to metal plaque: Salvador Dalí / 1935 / b.d. ediciones de diseño / 145
The polished brass chair after a chair depicted in Dalí’s painting “Femme à Tête de Roses’’ (1935)
35.5” H x 24.25” W x 20.5” D
$10,000-15,000
Notes:
The Sillón Leda is a sculptural armchair that brings Salvador Dalí’s surrealist vision to life. This unique piece is directly inspired by Dalí’s 1935 painting “Femme à Tête de Roses” (Woman with Head of Roses), a work that exemplifies the artist’s dreamlike imagery and symbolic motifs.
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A Modern armchair from Hotel Esplanade Mid-20th century
With tag to underside: Hotel Esplanade / Inv Br 9442
The wood chair with rounded back and notched armrests above a red leather upholstered seat, featuring gold-toned metal sabots recto and angled support verso 32.75” H x 27.25” W x 24” D
$1,000-2,000
Provenance: From the Collection of Kim Gordon, Venice, CA
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Pablo Picasso (1881-1973)
“Picador,” conceived 1952
White earthenware plate with black oxide and white glaze
From the edition of 500
Stamped and marked in glaze: Edition Picasso / Madoura Plein Feu / Edition Picasso 8” Dia.
$1,000-1,500
Literature: Alan Ramie 160
Baltasar Lobo (1910-1993)
Balthasar Lobo was a Spanish sculptor best known themes. Born in 1910 in Cerecinos de Campos, Spain, continuing his studies at the Academy of Fine Arts
His career was profoundly shaped by the Spanish Civil part of the vibrant artistic community, forming connections under the influences of Cubism and abstraction, developing organic forms that conveyed movement, tenderness,
Throughout his career, Lobo received international exhibited alongside Henri Matisse, Picasso and Fernand bronze, are celebrated for their poetic balance between be found in public spaces and museum collections, Pompidou in Paris.
Lobo remained in France until his passing in 1993, century. His work continues to inspire and resonate,
known for his elegant, modernist depictions of the female form and mother-and-child Spain, Lobo displayed an early talent for sculpture and trained in Valladolid before in Madrid.
Civil War, which forced him into exile in France in 1939. Settling in Paris, he became connections with figures such as Pablo Picasso and Henri Laurens. Lobo’s work evolved developing a signature style characterized by smooth, flowing lines and simplified, tenderness, and serenity.
international recognition, exhibiting in major galleries and biennials worldwide. In 1945 he Fernand Leger which brought him further into the public eye. His sculptures, often cast in between modernist abstraction and a timeless, classical sensibility. Many of his works can collections, including the Museo Nacional Centro de Arte Reina Sofía in Madrid and the Centre leaving behind a legacy as one of the most distinguished Spanish sculptors of the 20th resonate, embodying a universal expression of beauty and human connection.
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Baltasar Lobo (1910-1993)
“Sur la Plage,” conceived 1975
Patinated bronze
Edition: 6/8 plus four artist proofs
Signed and numbered to base verso: Lobo; foundry mark verso: Susse Fondeur Paris
Private Collection, Boca Raton, acquired from the above, September 19, 1995
Notes:
This lot is accompanied by a copy of the purchase receipt.
Nina Saemundsson
(1892-1965)
Nina Saemundsson was born on a rural farm in Iceland, Arts, graduating in 1920, and continued her arts education
Saemundsson first travelled to New York in 1926 and significant international commissions and projects for a 1931 competition for a sculpture to grace the today.
By the mid-1930s, Saemundsson was living in Los work, while also receiving major domestic and international became a fixture in Hollywood society and spent her Iceland as the country’s first professional female sculptor.
Saemundsson’s first solo show in Los Angeles was sculptures. The show was positively reviewed by Los saying she was, “among the very few good sculptors a rare capacity to feel deeply and to express emotions
Saemundsson’s accessibly sized portraits and figural representational subjects in sophisticatedly simplified present torso showcase the artist’s keen sense of movement
Iceland, the youngest of 15 children. She studied at the Royal Danish Academy of Fine education in Rome, London and Paris.
and established a studio there where she quickly achieved critical success. Among her while in New York, “The Spirit of Achievement” was selected out of 400 submissions the entrance to the newly build Waldorf-Astoria Hotel in New York, where it remains
Angeles where she continued to produce portrait busts and nudes such as the present international commissions for monumental sculptures. While Saemundsson quickly her formative mature period in the US, she steadfastly remained relevant in her native sculptor.
held in 1941 at the Grace Nicholson Galleries in Pasadena, where she exhibited 50 Los Angeles Times art critic Arthur Millier, who wrote about the artist the following year sculptors working west of the Mississippi.” Millier went on to write, “[Saemundsson] brought emotions with strength and clarity.”
figural works executed in ceramic, clay, wood and stone are sensitively crafted, presenting simplified constructions that lean toward the otherworldly and romantic. Small works like the movement and balance.
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Nina Saemundsson (1892-1965)
Torso
Glazed ceramic on a wood stand
Appears unmarked
Figure: 7.25” H x 3” W x 1.5” D; Base: 3.875” H x 4.875” W x 3.875” D
$1,000-1,500
Guido Brink (1913-2002)
Silver and gold abstraction, 1977
Brass and chrome
Etched signature and date near base: Guido Brink / 77; further inscribed: 1-49
Overall: 24” H x 6” Dia.
$500-700
Provenance:
Private Collection of an Orange County Gallerist
Abe Ajay (1919-1998)
Abstract
Pigmented composite on wood Stamped to side of wood frame: Ajay; signed to paper tag verso: Ajay
Overall: 10.75” H x 5.25” W x 2.875” D
$500-700
96
Lee Silton (1931-2016)
“Man Machine”
Mixed media in painted wood shadow box
Appears unsigned
24” H x 48” W x 7.5” D
$2,000-4,000
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Lee Silton (1931-2016)
Assemblage sculpture
Mixed media on a painted wood plinth
Appears unsigned
Sculpture: 24” H x 9.125” W x 5.625” D; Plinth: 48.5” H x 13” W x 12” D
$2,000-4,000
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Faustino Aizkorbe (b. 1948)
Untitled Bas-relief bronze mounted to wood With the incised signature along the lower portion of the right edge: Aizkorbe
7.75” H x 7.75” W x 2.5” D
$600-800
99
Faustino Aizkorbe (b. 1948)
Untitled
Bas-relief bronze mounted to wood
With the incised signature along the lower portion of the right edge: Aizkorbe
7.75” H x 7.75” W x 2.25” D
$600-800
100
John Seeman (b. 1951)
Abstract sculpture, 2003
Patinated steel
Signed and dated to underside: Jon Seeman
19.625” H x 15.25” W x 10” D
$700-1,000
101
Nathan Oliveira (1928-2010)
“Head Two,” 1982
Patinated and cold-painted bronze
Edition: AP II/III
Signed, dated, and numbered in the casting: Oliveira / 82; foundry mark: Artworks Foundry Head: 14.125” H x 6.75” W x 9.75” D; Overall: 14.75” H x 12.75” W x 12.75” D
$15,000-25,000
Provenance: The publisher
From a private Nathan Oliveira collector
Literature: Signe Mayfield, “Nathan Oliveira: The Painter’s Bronzes” (Palo Alto: Palo Alto Art Center, 2008), cover and p. 37, another example illustrated
Note: We would like to thank Joe Oliveira for his assistance in cataloguing this item.
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Frank Hamilton (1923-2015)
Freeform sculpture
Patinated bronze on later painted wood base
Signed and dated in the casting: F Hamilton / 60
Bronze: 15.5” H x 9.25” W x 9.75” D; Overall: 19.375” H x 10.5” W x 9.75” D
$1,000-1,500
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Kelly Breslin (20th century)
Untitled sculpture
Glazed ceramic
Signed to underside: Breslin
19.125” H x 10.25” W x 6.5” D
$500-700
104
David Bennett
(b. 1941)
Horse head
Pigmented glass on a metal base
Signed below the mane: David Bennett
Together with an associated DVD
Overall: 18” H x 30.75” W x 12.625” D
$2,000-4,000
105
Olga Antich (b. 1957)
Figures embracing, 1999
Ceramic
With etched signature and date to base: Olga / 99
20.375” H x 9.625” W x 7.5” D
$300-500
106
Ruth Bloch (b. 1951)
Head of a woman
Patinated bronze
Edition: 3/9
Etched signature and edition near base: R Bloch
14” H x 11” W x 15.5” D
$500-700
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Masami Teraoka (b. 1936)
“Study for Woman and Pregnancy Test Kit,” 1982
Graphite on paper
Signed, titled, and dated in pencil along the lower edge: Masami Teraoka ‘82
Sheet: 7.5” H x 13.375” W
$2,000-4,000
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Alec Monopoly
(b. 1986)
Three kimonos from the film “The Girl from Nagasaki,” 2013 Acrylic on cotton canvas
Two signed: Alec
Each: 66” H x 57” W approximately
$1,000-1,500
Notes:
These kimonos were painted and designed by Alec Monopoly, as wardrobe for the movie “The Girl from Nagasaki,” 2013, directed by Michel Comte.
Judy Chicago (b.
1939)
Judy Chicago is a pioneering artist whose work has became a central figure in challenging the male-dominated decades of groundbreaking work that emphasizes and 21st centuries.
Chicago’s artistic journey is deeply intertwined with Art Program at California Institute of the Arts, aiming (1974-1979), is a monumental installation that celebrates reclaims female history and gives women a figurative
Beyond “The Dinner Party,” Chicago continued to Project,” which highlighted the female experience crafts,’ challenged ideas of high art and further redefined
Chicago’s advocacy for feminist art and her innovative elevated the representation of women in art but
has significantly shaped the feminist art movement. Born in 1939 in Chicago, Illinois, she male-dominated art world and advocating for the visibility of women in art. Her career spans emphasizes gender, identity, and history, making her one of the most influential artists of the 20th
with her feminist ideals. In the 1970s, she and Miriam Schapiro co-founded the Feminist aiming to support and empower women artists. Her best-known work, “The Dinner Party” celebrates women throughout history. Featuring 39 place settings for important women, it figurative ‘seat at the table’ of cultural narratives.
to explore themes of gender and identity through other works, such as the “Birth experience of childbirth. Her use of textiles and ceramics, traditionally associated with ‘women’s redefined the boundaries of artistic expression.
innovative approach to representation have left a lasting legacy. Her work has not only also continues to inspire generations of artists to use art as a tool for social change.
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Judy Chicago (b. 1939)
“Study for Sewing Circle II” from the “Holocaust Project: From Darkness Into Light” series, 1990 Pastel, graphite, and ink on Arches paper
Signed and dated in pencil in the lower edge, at right: Judy Chicago 1990; titled in pastel in the lower edge, at left; with a partially indistinct inscription in ink along the right edge of the image Sheet: 29.875” H x 22” W
$10,000-15,000
Provenance:
The artist
Private Collection, Los Angeles, CA, acquired from the above
Notes:
The “Holocaust Project: From Darkness into Light” was conceived in 1984, and executed between 1985 and 1993. The series was a continuation of Judy Chicago’s exploration of the “consequences of male power” and a lifelong artistic focus on concepts of power versus powerless, while introducing a growing focus on the artist’s own Jewish identity and the ways it may have consciously and unconsciously shaped her artwork. Marrying photographer Donald Woodman in 1985 further solidified Chicago’s desire to explore their shared Jewish heritage despite secular upbringings, and the ways in which evil can exist in civil society. The series travelled worldwide to various Jewish and non-Jewish institutions over a ten-year period.
In the present finished mixed media work on paper, Chicago reminds us of a quiet yet profound moment of deep indignity, that it was Jewish women like the subject figure who literally sewed the cultural and religious identity of the yellow star onto their family’s garments in order to better identify them so they could be more efficiently subjected to the brutality of the Nazi regime.
Chicago wrote of the series: “The Holocaust Project is...structured as a journey into the darkness of the Holocaust and out into the light of hope...[C]onfronting and trying to understand the Holocaust, as painful as that might be, can lead to a greatly expanded understanding of the world in which we live. Our hope is that this will contribute to a firm individual and collective commitment to take up the vast project of transforming ourselves and nurturing our humanity, thereby creating a more peaceful, equitable world” (as quoted in Judy Chicago and Donald Woodman, “Holocaust Project: From Darkness Into Light” (New York: Penguin Books, 1993).
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Judy Chicago (b. 1939)
“Double Clear Handout / Handsoff” from the “Hands” series, 2006
Etching and glass paint on two multi-stage carved glass panels, plus acrylic base With the incised signature and date along the right outer edge of the front panel: Judy Chicago; with the incised title along the front of the acrylic base; the multi-stage glass carving by Ruth and Norm Dobbins, Dobbins Studio, Santa Fe, NM
Each glass panel: 18” H x 24” W x 0.5” D; Overall with acrylic base: 21” H x 30” W x 12” D
$40,000-60,000
Provenance:
LewAllen Contemporary, Santa Fe, NM
Exhibited:
Santa Fe, NM, LewAllen Contemporary, “Judy Chicago: Chicago in Glass,” November 3December 31, 2006.
Waterloo, Ontario, Canada, Canadian Clay & Glass Gallery, “Judy Chicago: Chicago in Glass,” September 9 - November 11, 2007.
Literature:
David Revere McFadden, Introduction, “Judy Chicago: Chicago in Glass” (Santa Fe: LewAllen Contemporary, 2006), pg. 17, illus. Wesley Pulkka, “Judy Chicago puts her hand out for all to see,” “The Albuquerque Journal,” Sunday edition, November 19, 2006, pg. F5.
Notes:
Judy Chicago became interested in the glass medium as part of collaborative works made for the “Holocaust Project: From Darkness Into Light.” She began working with glass artisans in glass etching and casting, and, in 2003, was an Artist in Residence at the Dale Chihulyfounded Pilchuck Glass School near Seattle. In the “Hands” series, cast glass, fused glass, etching, kiln fired painting and other glass mediums are utilized to create artistic and expressive gestural views of hands and lower arms in anatomically accurate and detailed depictions of flesh and bone structure.
Wen-Ying Tsai (1928-2013)
“Multi-Chromatic #1,” 1970
Steel and iridescent disks
Edition: 58/100
With the incised signature, date, and numbering in the lower right quadrant, all verso: Tsai Wen-Ying / 1970; titled on a typed gallery label affixed verso 24” H x 24” W
$1,000-1,500
Provenance:
Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Exhibited: Buffalo, NY, Albright-Knox Art Gallery, “The Members’ Gallery,” n.d., no. 131N: 70-71
Ernest Trova (1927-2009)
Ernest Trova was an American artist best known for style that blends elements of modernism and surrealism, between technology and nature. Trova’s art is characterized of a stylized human figure known as “The Falling Man.”
Beginning in the 1960s Trova’s “Falling Man” series instability and unpredictability. His sculptures, typically the art world, with many being displayed in prominent
Throughout his career, Trova’s works often challenged in human existential questions and technological advancement.
Trova’s art continues to be celebrated for its distinctive postwar American art.
for his work in the fields of sculpture and painting. He is widely regarded for his unique surrealism, often exploring themes of the human form, movement, and the relationship characterized by its minimalist approach, geometric shapes, and an iconic, recurring image Man.”
series became a symbol of the human condition, often interpreted as a metaphor for life’s typically made of stainless steel or bronze, were highly influential and gained recognition in prominent galleries and museums around the world.
challenged conventional perceptions of form and space, while also reflecting his deep interest advancement.
distinctive visual language and philosophical depth, making him a significant figure in
112
Ernest Trova (1927-2009)
“Figure in Sloped Box,” 1985
Stainless steel Edition: AP 1/2
Signed, dated, and numbered: [logo] / E. Trova; further titled and attributed to gallery tag affixed to underside from Hokin Gallery, Bay Harbor Islands, FL 15.375” H x 18.25” W x 5” D
$10,000-15,000
Provenance: Hokin Gallery, Inc., Bay Harbor Islands, FL Private Collection
113
A Modern game table and four chairs
Early 21st century
Each unmarked
Comprising a wood game table with leather top above four drawers and tapered legs, centering four likely “Ella” barrel armchairs from Precedent, each with horseshoe backs and attenuated legs, upholstered in a grey cotton fabric, 5 pieces
Table: 30.5” H x 35” W x 35” D; Each chair: 32.5” H x 26” W x 26” D
$2,000-4,000
Attributed to Donald Deskey (1894-1989)
A Streamline Moderne sideboard, circa 1950s
Appears unmarked
The partially ebonized and lacquered burlwood veneer sideboard with curvilinear front, featuring three drawers with metal pull accents centering opposed hinged cabinets, each revealing a single shelf
35” H x 68.5” W x 20.25” D
$600-800
A Jaeger-LeCoultre “Atmos” mantel clock
Mid-20th century
Marked to central gearbox: Atmos / Jaeger-LeCoultre / Switzerland / Thirteen (13) Jewels / Swiss / 540; further marked to top of instruments: 643375; marked again to underside: CAL 540 / Jaeger-LeCoultre / Swiss Made / Metal
The gold-plated metal and brass mantel clock with torsion pendulum regulator and white dial bearing Arabic numerals, housed in a glass and gilt brass case, including original manual
Overall: 9” H x 7.75” W x 6” D
$400-600
Lino Sabattini (1925-2016)
A pair of silver-plated “Harmony” candleholders, 1989/90; Italy
Designed 1989
Each with script signature: Lino Sabattini; titled and dated: “Harmony” / 1989/1990 / Collezione Sabattini Italy
The postmodern four-light candelabra on black plastic feet with inset candlestick holders
2 pieces
Each: 11.25” H x 6.75” W x 6.5” D
$700-900
117
A Dunhill “Foot Rule” table lighter
Circa 1953
Stamped to bottom end: Dunhill / Made in West-Germany
The stainless-steel lighter in the shape of a one foot ruler with 1/8 inch hatch marks numbered by inch and centimeter hatch marks numbered every five 13” H x 1.5” W x 0.5” D
$300-500
119
Born Wiinblad (1918-2006)
An “Eva” glazed earthenware tazza, 1988
Marked in blue underglaze to pedestal interior: BW [conjoined] / 88 / Danmark / V 14 [in a cartouche]
The figural centerpiece bowl with opposed floral ornamentation above a conical pedestal depicting hands offering a diminutive bowl in relief 13.5” H x 12.25” W x 9.25” D
$500-700
118
Charles Catteau (1880-1966)
A ceramic vase for Boch Freres Keramis, 1925
Marked to underside: Keramis / Made in Belgium / D.943. / Ch Catteau / 23 / 894
The Art Deco rounded footed vase depicting four stylized deer grazing on foliage, mounted to an acrylic base
Overall: 9.875” H x 9.25” Dia.
$500-700
120
André Hambourg (1909-1999)
“Beau temps, sur la plage, à marée basse (Trouville),” 1970 Oil on canvas
Signed lower left: a. hambourg; initialed, titled, and dated in ink, all verso 32” H x 39.25” W
$8,000-12,000
Provenance:
Wally Findlay Galleries, Palm Beach, FL
Notes:
This lot is accompanied by a certificate of authenticity, a sales invoice dated February 24, 2004, from the gallery mentioned above, and other documentation materials related to the painting.
121
André Hambourg (1909-1999)
“Préparation de régates” Oil on canvas
Signed lower left: a. hambourg; initialed and titled in ink, verso 10.625” H x 18.125” W
$2,000-3,000
Provenance: Wally Findlay Galleries, Palm Beach, FL
Notes:
This lot is accompanied by a certificate of authenticity, a sales invoice dated April 19, 1990, from the gallery mentioned above, and other documentation materials related to the painting.
122
André Hambourg (1909-1999)
“Le trios - mats en automne,” 1968 Oil on canvas
Signed lower left: a. hambourg; signed again, titled and dated in ink, all verso: 1968
8.625” H x 13.75” W
$2,000-3,000
Notes:
This lot is accompanied by documentation material related to the painting.
123
André Hambourg (1909-1999)
“3 Chalutiers en fête, temps calme,” 1988 Oil on canvas
Signed lower left: a. hambourg; initialed, titled, and inscribed in ink, all verso: a.h. / “(008)” 8.625” H x 13.75” W
$2,000-3,000
Provenance: Phillips Galleries, Palm Beach, FL
Notes:
This lot is accompanied by a sales invoice dated February 15, 2001, from the gallery mentioned above, and other documentation materials related to the painting.
124
André Hambourg (1909-1999)
“Vens les régates” Oil on canvas
Signed lower right: a. hambourg; initialed and titled in ink, verso: a.h. 4.75” H x 8.75” W
$1,000-2,000
Notes:
This lot is accompanied by documentation material related to the painting.
125
Frederick McDuff (1931-2011)
“Clouds at Dinard” Oil on canvas
Signed lower right: McDuff; 32” H x 40” W
$5,000-7,000
Provenance: Venable Neslage Galleries,
Notes:
This lot is accompanied gallery mentioned above,
accompanied by a copy of a sales invoice dated July 12, 1990, from the above, and other documentation materials related to the painting.
McDuff; titled in red ink on a gallery information sheet
Galleries, Washington, D.C.
126 Frederick McDuff (1931-2011)
“Storm Clouds at Concale” Oil on panel
Signed lower left: McDuff.; titled from a typed label affixed verso 14” H x 18” W
$2,000-3,000
Provenance:
Wally Findlay Galleries, Palm Beach, FL
Notes:
This lot is accompanied by a copy of a certificate of authenticity, a sales invoice dated December 19, 1989, from the gallery mentioned above, and other documentation materials related to the painting.
127
Frederick McDuff (1931-2011)
“Red Parasols, Brittany” Oil on panel
Signed lower left: McDuff; titled on a label affixed verso 12” H x 18” W
$2,000-3,000
Provenance: Wally Findlay Galleries, Palm Beach, FL
Notes:
This lot is accompanied by a copy of a certificate of authenticity, a sales invoice dated December 19, 1989, from the gallery mentioned above, and other documentation materials related to the painting.
128
Robert Vickrey (1926-2011)
“Morning Mist,” 2000 Tempera on panel
Signed lower right: Robert Vickrey; titled in pencil on a piece of masking tape affixed verso; titled again and dated in ink on a gallery label affixed to the frame: 2000 10.5” H x 15.5” W
Signed lower right: Alain Thomas; signed again, titled, and inscribed, verso 15” H x 18.25” W
$700-900
In the manner of Alberto Giacometti (1901-1966)
A Modern wrought metal occasional table, late 20th/early 21st century
Unmarked
The silvered metal table with glass top and undershelf, raised on four biomorphic legs
29.75” H x 50” Dia.
$800-1,200
Lidia Biagioni (b. 20th century)
Two works:
“Etna,” 2000
Marker, glue, and glitter on paper
Signed, dated, and titled at lower left: L Biagioni Sheet: 20” H x 14” W
Silvano Signoretto (b. 1951)
A Murano art glass sculpture after “Etna,” 2001
Glass and gold leaf on an illuminated wood and acrylic pedestal, electrified
Etched signatures from both artists and dated to base: L Biagioni / Silvano Signoretto Glass overall: 24” H x 10.5” W x 7.125” D; Pedestal: 27.75” H x 15.125” W x 12.125” D
2 pieces
$700-900
133
Clayton George Bailey (1939-2020)
Robot with paper flower Metal and found objects, electrified Appears unsigned
15” H x 18.5” W x 10.5” D
$800-1,200
134
Jan Mancuska (1972-2011)
“When I Look, I can Believe it” for Cumulus Studios, 2010 Stainless steel Laser-cut text reads: The feeling of absence is not to be identified as a need to replenish something but on the contrary it is generated out of what we have 121” H x 88.5” Dia. approximately
$800-1,200
135
Keith Tyson (b. 1969)
“Table,” 2001
Mixed media
Dated and signed illegibly to tabletop underside
29” H x 47.5” Dia.
$1,000-1,500
Provenance: The Chara Schreyer Collection
Charles-Edouard “Le Corbusier” Jeanneret and Charlotte Perriand (1887-1965 and 1903-1999)
An “LC4” chaise lounge for Cassina, 20th/early 21st century
Chrome and black powder-coated metal frame with cow hair on hide and black leather upholstery
27.5” H x 63” W x 24” D
$2,000-3,000
137
A Kar-studio fiberglass “Tripod Coffee Table”
Early 21st century
Impressed to base of one leg: KarThe molded fiberglass biomorphic table in black, raised on three legs
11.75” H x 59.5” W x 31.5” D
$600-800
138
A Golden Gate Bridge Furniture Co. “Clifford Paine” side table
Late 20th/early 21st century
Edition: 18/28
Marked and numbered to metal tag: Golden Gate Bridge Furniture Company / Clifford Paine / Accent Table / Made in USA
Constructed from portions of steel from the Golden Gate Bridge pedestrian handrail removed for replacement in 1993, with glass top
Overall: 17.75” H x 20” Dia.
$600-800
A Modern arc floor lamp
Mid-20th Century
Unmarked
The brass four-light lamp set in a marble base, electrified
Stored: 85” H x 77” W x 36” D, dimensions variable
$400-600
140
Henrietta Berk (1919-1990)
“Dunes”
Oil on canvas
Signed lower left: H. Berk; titled on a gallery label affixed to the stretcher 8” H x 8” W
$2,000-3,000
Provenance: The Carter Gallery, Los Angeles, CA
141
Harriette Anton Frances (b. 1925)
“The Children,” 1963
Oil on canvas
Signed lower right: H. Frances; signed two additional times in the same manner on the verso of the canvas; faintly signed, titled, and priced at $375 by the artist on the verso of the canvas: Harriette Frances; signed yet again, titled, and with the artist’s addresses in Stockton and San Rafael on the central stretcher bar; additionally, the work is inscribed in red ink at the upper right corner of the stretcher: “#110”
40.5” H x 49.5 “ W
$1,000-2,000
Notes:
The artist is also known as Sherana Harriette Frances.
142
Timothy Cummings (b. 1968)
“Boy with a Doll: Homage to Otto Dix” Acrylic on two pieces of conjoined Masonite
Signed upper right: Timothy Cummings; titled by repute 17.5” H x 7.125” W
$1,500-2,000
143
Milton Komisar (b. 1935) “Millie”
Oil on canvas
Signed on the upper portion of the stretcher: Milton Komisar; titled verso 73.25” H x 55.25” W
$15,000-20,000
Exhibited: New York, NY, The Louis Comfort Tiffany Foundation, n.d.
Joan Brown (1938-1990)
Joan Brown is celebrated as one of the most renowned the Bay Area scene of the late 1950s.
Brown compositions in mixed media were created varied broadly including German Expressionism, influences from artistic giants like Matisse, Valasquez, with depth, drawing viewers into a world of interpretation childhood fantasies of crafting costumes for paper a means of escape and expression. Other subjects extensive and regular travel, and her personal passions
Brown’s portrayal of traditional feminine gender narrative that transcended conventional boundaries. District, underscored her resourcefulness and commitment
renowned figurative expressionist American painters, emerging prominently from created in a rapid and simplified cartoon-like style. The artist’s artistic influences were Expressionism, French Impressionism, and European Old Masters. Brown’s skillful blending of Valasquez, and Goya—as well as contemporaries including David Park—resonates interpretation and speculation. Throughout her art, echoes of Joan Brown’s paper dolls and sketching starlets in fantastical settings reverberated, serving as subjects drew creativity from experiences as an adult in her daily life in California, passions including pets, dancing, swimming, spirituality, and ancient cultures.
gender representation, intertwined with a fierce sense of independence, weaves a boundaries. Even her choice of medium, salvaged paper from San Francisco’s Mission commitment to artistic expression.
144
Joan Brown (1938-1990)
Reclining female nude with fan, 1975 Arcylic, tempera, pastel, and graphite on paper
Signed and dated in pencil lower left: Joan Brown 1975
Image/Sheet: 36” H x 24” W
$10,000-15,000
Isamu Noguchi (1904-1988)
Isamu Noguchi is known today as a preeminent pre-med student at Columbia University, Noguchi
His playful designs quickly caught the eye of a wire silhouette and cast-iron design for a stool into Noguchi’s iconic table designs today made through
Knoll manufactured the Cyclone table featured
preeminent architect, sculptor, and designer of the 20th Century. Beginning his career as a Noguchi shifted his focus in the 1940s by starting to experiment with furniture making. well-known furniture manufacturer, Hans Knoll, who suggested that he convert his into a table. The “Cyclone” table, as it is known today, became known as one of through Knoll in various sizes and as part of the Bertoia wire collection.
in this sale during the late 1950s.
Isamu Noguchi (1904-1988)
A “Cyclone” dining table for Knoll, mid-20th century
Designed 1957
With Knoll International paper label to underside of top
The birch plywood top with white laminate surface over a chrome-plated steel wire column on a black powder-coated finished case iron base
Overall: 28.875” H x 47.625” Dia.
$1,000-1,500
146
Ludwig Mies van der Rohe (1886-1969)
A pair of “MR 30/5” lounge chairs for Knoll, mid-20th century
Designed 1927
Each unmarked
The cantilevered chairs, each with black leather seat and back bound at verso and undersides with leather cording, on a tubular steel frame
2 pieces
Each: 30” H x 22” W x 34” D
$1,200-1,800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
147
Peter Hvidt and Orla Molgaard-Nielsen (1916-1986 and 1907-1993)
An “FD-135 Boomerang Chair” for France & Son, mid-20th century
Designed 1956
Marked with France & Son logo to metal tag, which is numbered: 6001069
The wood frame with plastic-covered coiled spring strapping to seat and seatback, the cushions upholstered in blue fabric, raised on tapered brass legs
31.5” H x 26” W x 33” D
$600-800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
148
Alfred Christensen (1903-1980)
A “Boomerang” side chair, Model 370 for Slagelse Mobelvaerk, circa 1960s
Stamped to underside: No 370 / Made in Denmark / 5812
The teak wood frame with swooping seatback above a blue fabric upholstered seat, raised on two U-form legs joined by a posterior stretcher
32.25” H x 18” W x 21” D
$200-400
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
149
James Weeks (1922-1998)
“Concord River / Spring Morning, Cypresses,” 1973
Acrylic on canvas
Signed twice, titled, dated, and inscribed with the medium, and dimensions in inches, all verso: James Weeks; also inscribed with the title, date, medium, dimensions in centimeters, and “Coll. M/M S. Weeks” in another hand on the verso 60” H x 50” W
$4,000-6,000
Provenance:
Mr. and Mrs. S. Weeks, presumably as a gift from the artist Sunne Savage Gallery, Boston, MA
Campbell-Thiebaud Gallery, San Francisco, CA
150
Geer Morton (b. 1935)
“Francisco Street,” 1984
Oil on canvas
Signed lower right: Geer Morton; signed again, titled, dated, numbered, and inscribed, all verso: “375 / April 1984 / Hopland, CA”
30” H x 30” W
$800-1,200
Robert Cottingham (b. 1935)
Robert Cottingham is an American artist celebrated signs, storefronts, and movie marquees. After serving New York, in 1963 and began a career in advertising. focus on typography, lettering, and the intersection
Though frequently associated with Photorealism, painters such as Stuart Davis, Charles Demuth, creative reinterpretation, often cropping and enlarging Drawing inspiration from Pop Art and Andy Warhol’s into cultural commentary.
Cottingham’s artistic journey took a pivotal turn drawing inspiration from the city’s vibrant yet decaying prestigious exhibitions and galleries, including of American Art, where he held a solo exhibition Contemporain in Paris and the Deutsche Guggenheim a key figure in contemporary American realism.
celebrated for his paintings and prints depicting urban landscapes, including neon serving in the U.S. Army from 1955 to 1958, he earned a BFA from Pratt Institute, advertising. This professional background heavily influenced his art, particularly his intersection of art and commerce.
Photorealism, Cottingham identifies more closely with the realist tradition of American and Edward Hopper. His approach combines photography as a reference with enlarging words to alter their meaning or emphasize their emotional impact. Warhol’s exploration of commercial imagery, Cottingham transforms urban signage
turn when he moved to Los Angeles in 1968, committing fully to painting and decaying commercial landscape. His work has been showcased in numerous the Whitney Museum of American Art, New York, NY, and the National Museum exhibition in 1998-99, and international venues such as the Centre National d’Art Guggenheim in Berlin. His ability to reinterpret everyday visuals has established him as realism.
151
Robert Cottingham (b. 1935)
“Rio,” 1988
Gouache on Arches paper
Signed, titled, and dated in pencil in the lower margin: Cottingham 1988 Image: 19.625” H x 19.625” W; Sheet: 25.25” H x 25” W
$10,000-15,000
Provenance:
Roger Ramsay Gallery, Chicago, IL
James Corcoran Gallery, Santa Monica, CA
Notes: Inscribed “C88-4-71” in pencil, possibly in another hand, verso.
152
Robert Cottingham (b. 1935)
“Barber Shop,” 1987
Watercolor on sturdy paper
Signed, titled, and dated in pencil in the lower margin: Cottingham 1987 Image: 15.5” H x 15.5” W; Sheet: 23” H x 23” W
$8,000-12,000
Provenance:
Roger Ramsay Gallery, Chicago, IL
James Corcoran Gallery, Santa Monica, CA
153
George Nick (b. 1927)
“Dowager,” 1988 Oil on canvas
With the incised signature, title, and date lower left: George Nick / Dowagar / 26 April 1988
40” H x 40” W
$3,000-5,000
Provenance: Fischbach Gallery, New York, NY
154
Deanna Forbes
(b. 1940)
“With a Little Help From My Friends,” 1992 Oil on canvas
Bay Area figurative painter June Felter studied (1954-1958), and the San Francisco Art Institute and was influenced by, Elmer Bischoff, David Park,
Felter taught art for over three decades, including paintings and drawings, were tragically lost in the Felter’s oil paintings and watercolors are celebrated personal history living and working in the Oakland vantage point.
at the Oakland Art Institute (1937-1940), the California School of Arts and Crafts Institute (1960-1961). She was a student of Richard Diebenkorn and worked alongside, Park, and Wayne Thiebaud.
including figurative drawing at SFMOMA. Her home and studio, filled with hundreds of the 1991 Oakland fire.
celebrated for their grace and fluid spontaneity. Often subjects reference her lifelong Oakland environs, such as the present sweeping vista of the city painted from a high
155
June Felter (1919-2019)
“Oakland View,” 1998
Oil on canvas
Signed and dated lower left: June Felter 98; signed and dated again, and titled, all verso 30” H x 48” W
$1,500-2,500
156
Tim Fraser (20th century)
“City Park Seawall,” 2008
Oil on canvas
Signed lower right: Tim Fraser; signed again, titled, and dated, verso: 2008
36” H x 48” W
$1,000-1,500
Gregory Kondos (1923-2021)
Gregory Kondos was an influential American landscape impressionism and post-impressionism. Born in through his Greek heritage and later formal studies University, Sacramento. Immersed in Northern Thiebaud, fostering opportunities for emerging Kondos’ landscapes, inspired by figures like Cézanne evoking the atmosphere and depth of the places reflects a unique blend of technical skill and intuitive
In addition to painting, Kondos was a dedicated residence at Yosemite National Park in 1990. He York, and received numerous accolades. His legacy of the natural world’s beauty.
landscape painter known for his vivid portrayals of nature, which bridged in Lynn, Massachusetts, in 1923, Kondos developed a deep connection to art studies at the Art Center College of Design in Los Angeles and California State California’s art scene, he co-founded the Artists Cooperative Gallery with Wayne emerging artists.
Cézanne and Gauguin, are characterized by their bold use of color and light, places he painted. His art, described by Thiebaud as “a kind of brush dancing,” intuitive expression.
dedicated educator at California State University, Sacramento, and was an artist-inHe exhibited widely, including at the American Academy of Arts and Letters, New legacy endures through his profound influence on American art and his celebration
157
Gregory Kondos (1923-2021)
“Haystack,” 2011 Oil on canvas
Signed and dated lower right: G. Kondos 2011; signed and dated again, and titled, all verso 36” H x 30” W
$6,000-8,000
158
Adam Ross (b. 1962)
“The Perpetuality of Time #1,” 2000 Oil and alkyd on canvas
Signed and dated verso: Adam Ross 2000; dated again and titled on a gallery label affixed verso 48” H x 72” W
$500-700
Provenance: Shoshana Wayne Gallery, Santa Monica, CA
Astrid Preston (b. 1945)
Astrid Preston is a celebrated contemporary artist raised in California, Preston combines hyper-realistic landscape representations. Rather than striving evoking emotions and memories of landscapes layered paint, gives her paintings a textured, almost
Preston’s work often explores the tension between by featuring gardens alongside wild settings. Her well as close-up details of leaves and water, revealing
By merging realism with abstraction, she creates and fragility of our natural world. Her work prompts fresh eyes.
artist known for her unique approach to landscape painting. Born in Sweden and hyper-realistic detail with a dreamlike quality, creating works that challenge traditional for photographic accuracy, she infuses her scenes with a surreal, ethereal light, landscapes rather than direct depictions. Her meticulous technique, using tiny dots and almost digital quality, inviting viewers into a tactile experience of nature.
between natural and cultivated landscapes, examining humanity’s influence on nature Her art seamlessly blends the grand with the intimate, capturing sweeping views as revealing nature’s complexity on multiple scales.
creates a timeless, meditative perspective on landscapes, reminding us of the beauty prompts a renewed appreciation for nature, inspiring us to see the environment with
159
Astrid Preston (b. 1945)
“Leaves,” 2005
Oil on canvas
Signed, titled, and dated, all verso: Astrid Preston 2005; titled and dated again on a gallery label affixed to the stretcher
32” H x 32” W
$1,500-2,500
Provenance: Craig Krull Gallery, Santa Monica, CA
160
Astrid Preston (b. 1945)
“Oleander,” 2006
Oil on canvas
Signed, titled, and dated, all verso: Astrid Preston / 2006; titled and dated again on a label affixed to the stretcher
16” H x 16” W
$1,000-1,500
Provenance: Craig Krull Gallery, Santa Monica, CA
161
Astrid Preston (b. 1945)
“Whispered Memories,” 2000
Oil on canvas
Signed, titled, and dated, verso: Astrid Preston / 2000 72” H x 24” W
$5,000-7,000
George Nakashima (1905-1990)
George Nakashima was one of the leading innovators movement. He called himself a woodworker, inspired by Shakers, and Zen Buddhist ideals of beauty.
Born in Spokane, Washington, he earned a Bachelor of the Massachusetts Institute of Technology in 1931. Nakashima architectural styles and cultures in Paris, France. After this, Antonin Raymond, an American architect who had collaborated architecture and design.
Nakashima built furniture for the first time when he was Japan where he married his wife, Marion Okajima. They until World War II, when they were interned in Camp Minidoka, and learned to use Japanese hand tools and joinery techniques Raymond, and they settled in New Hope, Pennsylvania, a successful business employing many craftsmen.
His original source of wood was scraps, wood from tree was cut, evaluated, and chosen. He allowed the wood spiritual connection to the trees he used, and he believed furniture and construction is basically my dialogue with
He collaborated with Knoll from 1945-1954 and Widdicomb-Mueller partnerships exposed his designs to a broader audience. Museum of Modern Art, and he was awarded a gold medal he received many large commissions including 200 pieces University, Kyoto’s Church of Christ the King, and over
Nakashima’s work was not normally signed, as in the mingei his work in Indian ink and then felt pen.
In 1984, Nakashima founded the Nakashima Foundation each continent of the world as centers for meditation, continues today under the guidance of his daughter, Mira 1970. They continue to produce George’s designs as well
of 20th-century furniture design and was in the first generation of the American Studio Craft by ancient craft traditions of Japan, the traditional methods of colonial American craftsmen, the of Architecture from the University of Washington in 1929 and his Master of Architecture from Nakashima worked as a mural painter on Long Island and in Albany before travelling to explore this, he travelled to Japan to explore his family’s heritage and took a position in Tokyo with collaborated with Frank Lloyd Wright on the Imperial Hotel. He also spent time studying Japanese
was the primary construction consultant at an ashram in Puducherry, India. Later, he returned to They moved to the United States in 1940 and settled in Seattle where he had a furniture workshop Minidoka, Idaho. While there, he met traditional Japanese cabinet maker Gentauro Hikogawa techniques from him. The family was released in 1943, through the sponsorship of Antonin Pennsylvania, where he reopened his furniture workshop and studio. Over time it grew from just George to
tree surgeons, construction projects, and fallen trees. While in Japan he had learned how wood to speak for itself and utilized flaws like knots, cracks, cavities, and wormholes. He had a believed he was giving a second life to the trees. A quote from 1977 stated “my relationship to with a tree, with a complete and psychic empathy.”
Widdicomb-Mueller from 1957-1961, and while he preferred handcrafted studio items, those audience. During this time, he received early recognition in 1951, when his work was featured by the medal in craftsmanship by the American Institute of Architects in 1952. With these accolades, pieces for Nelson Rockefeller’s house in Pocantico Hills, NY, Columbia University, Carnegie Melon one hundred pieces for Dr. Arthur and Evelyn Krosnick of Princeton, New Jersey.
mingei tradition, until in 1980, due to the rising number of fakes, he started signing and dating
Foundation for Peace in New Hope, Pennsylvania. He dreamed then that if Altars for Peace made for prayer, and activities for peace, the world would be a better place. The Nakashima studio Mira Nakashima, an accomplished architect and woodworker who has worked at the studio since well as Mira’s.
162
George Nakashima (1905-1990)
A carved walnut dining table, 1956
Unmarked
The freeform table with two beveled edges, raised on four turned wood attenuated legs
28.5” H x 54.125” W x 52.75” D
$8,000-10,000
Notes:
This lot is accompanied by an authentication from the Nakashima Peace Foundation on their letterhead, as well as a signed thank you letter from Marion Nakashima to the original purchaser, dated June 15, 1956.
163
Hans Wegner (1914-2007)
A “CH22” lounge chair for Carl Hansen & Son, mid-20th century
Designed 1950
With sticker to armrest underside: Danish Furnituremakers Control / Made in Denmark by Carl Hansen & Son / Mobelfabrik A/S / Odense / Design: Hans J. Wegner [CHS logo]; impressed: BL65
The wood chair with curved seatback splat above a paper cording seat, raised on four turned legs joined by an H-stretcher
28.25” H x 27.5” W x 24.25” D
$1,200-1,800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
164
Attributed to Ib Kofod-Larsen (1921-2003)
A Danish Modern lounge chair for J.M. Birking, mid-20th century with later elements Rubber supports marked: J.M. Birking & Co. A/S / Copengahen Denmark / Fagas / Made in Denmark / 445; hand-written to wood twice: IMP 955
The wood chair with coiled metal back supports and possibly later rubber seat supports, adjustable at four reclined settings, the cushions later upholstered in mixed fiber fabric
29.5” H x 28” W x 31” D, dimensions variable
$800-1,200
Isamu Noguchi (1904-1988)
Isamu Noguchi was a Japanese-American artist industrial design. One of his standout achievements functional and beautifully sculptural. His lamps form with practical purpose.
Noguchi began designing lamps in the 1950s, His designs were marked by clean lines, organic visit to Japan in the mid-1950s, are perhaps his inspired by traditional Japanese lanterns but given recognition, and his lamps have since become art and sculpture, influencing the visual language
artist and designer known for his wide-ranging talent in sculpture, architecture, and achievements was in lighting design, creating floor and table lamps that were both often combined materials like paper, wood, and metal, merging a delicate artistic working with the Herman Miller furniture company on a series of lighting pieces. organic shapes, and innovative materials. The “Akari” light sculptures, created during a his most famous. Made from handmade paper and bamboo, these lamps were given a modern twist. Noguchi’s approach to light and design earned him worldwide icons of mid-century modern design. His work blurred the lines between functional language of the 20th century.
$1,000-2,000
165
Isamu Noguchi An Akari Designed Marked with Manufactured paper shade electrified Overall: 23”
Noguchi (1904-1988)
Model 4A table light sculpture, early 21st century Designed beginning 1951 with the sun and moon Akari ideograph Manufactured in Japan by Ozeki & Co., Ltd., the single-light lamp featuring a washi shade with bamboo ribbing, mounted to an enameled metal tripod frame, electrified 23” H x 12.5” Dia.
$1,000-2,000
166
Isamu Noguchi (1904-1988)
An Akari Model UF4-L10 floor lamp, late 20th/early 21st century
Designed beginning 1951
Marked with the sun and moon Akari ideograph
Manufactured in Japan by Ozeki & Co., Ltd., the single light lamp featuring a washi paper shade with bamboo ribbing, mounted to an enameled metal four-legged frame, electrified
Overall: 76.5” H x 23” W x 19.5” D
$1,000-1,500
167
Isamu Noguchi (1904-1988)
An Akari Model UF4-L8 floor lamp, late 20th/early 21st century
Designed beginning 1951
Marked with the sun and moon Akari ideograph
Manufactured in Japan by Ozeki & Co., Ltd., the single light lamp featuring a washi paper shade with bamboo ribbing, mounted to an enameled metal tripod frame, electrified
76.5” H x 23” Dia.
$700-900
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Eugenia Butler (1947-2008)
Pioneering American conceptual artist Eugenia Butler Sr. and lawyer James G. Butler. She received graduation, spent seven years in South American
Butler achieved early success in the late 1960s 1969 exhibit “Kinzeption/Conception.” Early idea-forward Hole” (1967) and “Static Electricity Piece” (1967-68), critical success.
In 1993, Butler hosted a series of eight conversations “The Kitchen Table,” the conversations with John hidden booth at the fair and streamed live to attendees. raw pigment directly into paper in physical manifestations
In 1991, Butler began what would become a three-volume dining room, Butler gathered artist-friends on three most complicit?” and “What is the truth that most
In total seventy-six artists participated in the initial and create unique and individual artworks in a variety del Sol. For this ambitious publication, each artist handmade artist books that were published between at the 18th Street Arts Center in Santa Monica in
Perpetua Butler was born in Washington, DC to art collector and gallerist Eugenia received her arts education at the University of California, Berkeley and following her American traveling and studying shamanism.
with inclusion in important shows including Germany’s Leverkusen State Museum’s idea-forward works of “invisible sculptures,” with names such as “Negative Space (1967-68), comprised of phrases on paper, metal plates and wall labels and achieved conversations with twenty-six artists as part of the Los Angeles art fair Art/LA93. Titled John Outterbridge, Marina Abramovic, Joan Jonas and others were filmed in a attendees. In this same period, Butler executed large-scale drawings often working manifestations of an exploration of the phenomena of her mind. three-volume series titled “The Book of Lies.” Using the intimate setting of her own three different occasions and asked the group “What is the lie with which you are most feeds your life?”
initial conversation about truth and lies, and then left the group setting to go forward variety of mediums in response, including Butler and her artist-daughter Colazon artist produced eighty versions of their contributing piece for inclusion in the between 1996 and 2004. The series became a traveling exhibition that was installed in 2007.
168
Eugenia Butler (1947-2008), et al.
“The Book of Lies (Volumes I, II, and III),” 1996-2004
Comprising 3 portfolio series containing 81 artist’s print contributions, produced for the Artists’ (Invisible, Floating) Museum of Actual Art, with an associated booklet from Fullerton College
Three works:
Butler, Eugenia, et al. “The Book of Lies (Volume I).” Los Angeles: SCI-Arc Public Access Press, 1996 Edition: 17/80
Contributing artists: Lita Albuquerque, Eve Ascheim, Rod Baer, Mirella Bentivoglia, Eugenia Butler, Ed Colver, Georgeann Dean, Chiara Diamantina, George Evans, Elizabeth Grier, Stephan Koehler, Kim Jones, Penelope Lee, Adolphe Lechtenberg, Julia Lohmann, Jim Melchert, Gisella Meo, John O’Brien, Lala Rukh, and Ilka Juhani Takalo-Eskola
14.5” H x 11.625” W x 0.875” D
Butler, Eugenia, et al. “The Book of Lies (Volume II).” Los Angeles: SCI-Arc Public Access Press, 1996 Edition: 17/80
Contributing artists: Lisa Adams, Edgar Arceneaux, Robert Aitchison, Deanne Belinoff, Theresa Chong, Sally Elesby, George Evans, Lidia Fiabane, Marcel Hardung, Mary Beth Heffenan, Kady Hoffman, Joan Jonas, Gertrude Moser-Wagner and Beverly Piersol, Maria Porges, Peter Reading, Ann Reiniger, Eve Sonneman, Arthur Sze, Toadhouse, Matthew Thomas, and Daisy Zamora and Maria Jose Zamora
12.75” H x 9.5” W x 2” D
Butler, Eugenia, et al. “The Book of Lies (Volume III).” Los Angeles: Eugenia Butler, 1996 Edition: 17/80
Contributing artists: Lynn Aldrich, Michael C. McMillen, Tom Marioni, Jill Giegerich, Rita Barnes, Gloria Graham, Sam Erenberg, Benji Whalen, Seth Kaufman, Eugenia Butler, Bruce Whiteman, Gloria Kondrup, Steve Degroodt, Richard Haxton, William T. Wiley, Minoru Ohira, John Outterbridge, Marvin Harden, Diana Jacobs, James Cobb, Madam X, Kim Abeles, Garth Erasmus, Jenny Watson, Bronislava Dubner, Janet Fitch, Kim McCarty, Xavier Fumat, and Melissa Smedley
14.25” H x 11” W x 4.625” D
3 pieces
$4,000-6,000
169 Andy Warhol (1928-1987)
“The Philosophy of Andy Hardcover book Warhol, Andy. “The Philosophy London: Harcourt Brace Signed and inscribed with Fifth printing
8.625” H x 5.875” W x 1.125”
$800-1,200
Notes: The present book features Campbells Tomato Soup
Andy Warhol (From A to B and Back Again),” 1975
Philosophy of Andy Warhol (From A to B and Back Again).” New York and Jovanovich, 1975 with soup can drawing by the artist: To Faith / [soup can] / Andy Warhol
1.125” D
features an original Warhol inscription, signature and ink sketch of a can covering the title page.
Edward Ruscha (b. 1937)
Ed Ruscha never considered himself a photographer, Coleman. As such, his photobook projects are concept of the book as an object. The “contrived” images to complete the final product.
Since the publication of his first book, “Twentysix borrowed by, and even parodied by many other redefined artistic practices by blending the arbitrary confounds the beholder with concepts that are
It is no surprise that these books have become
photographer, as he stated in his conversation “I’m Not Really a Photographer” with A.D. not traditional displays of photographic work. Instead, Ruscha focuses on the “contrived” concept precedes the photographic process, guiding him to find the right “Twentysix Gasoline Stations,” in 1963, Ruscha’s style and approach have influenced, been other artists over the past six decades. Enigmatic and groundbreaking, his photobooks arbitrary with the seemingly mundane. Using minimalist typesetting, Ruscha objective, setting-based, stagnant, or temporal.
essential items for collectors across all artistic mediums.
Edward Ruscha (b. 1937)
A group of artist’s books, mid-20th century
Four works:
Ruscha, Edward and Gus Foster (design). “Edward Ruscha (Ed - Werd Rew - Shay) Young Artist.” Minneapolis: The Minneapolis Institute of Arts, 1972
Hardcover book
From the edition of 2,000
4.5” H x 3.75” W x 1.5” D
Ruscha, Edward. “Colored People.” Los Angeles: Edward Ruscha, 1972
Softcover book
From the edition of 4,000
7” H x 5.5” W x 0.25” D
Ruscha, Edward. “Crackers.” Hollywood: Heavy Industry Publications, 1969
Softcover book
First Edition
8.75” H x 6” W x 0.5” D
Williams, Mason and Edward Ruscha and Patrick Blackwell. “Royal Road Test.” Los Angeles: Mason Williams and Edward Ruscha, 1971
Ring-bound book
From the Third Edition of 2,000 copies
9.5” H x 6.375” W x 0.25” D
4 pieces
$1,000-1,500
171
Edward Ruscha (b. 1937)
A group of softcover artist’s books, mid-20th century
Five works:
Ruscha, Edward. “Twentysix Gasoline Stations.” Alhambra: The Cunningham Press, 1969 Third Edition of 3,000
7” H x 5.5” W x 0.25” D
Ruscha, Edward. “Nine Swimming Pools (and a Broken Glass).” Los Angeles: Edward Ruscha, 1968 First Edition of 2,400
7” H x 5.5” W x 0.25” D
Ruscha, Edward. “Real Estate Opportunities.” Los Angeles: Edward Ruscha, 1970
First Edition of 4,000
7” H x 5.5” W x 0.25” D
Ruscha, Edward. “Some Los Angeles Apartments.” Los Angeles: Anderson, Ritchie & Simon, 1970 Second Edition of 3,000
7” H x 5.5” W x 0.25” D
Ruscha, Edward and Art Alanis (photographs). “Thirtyfour Parking Lots (in Los Angeles).” Los Angeles: Edward Ruscha, 1967
First Edition of 2314
10” H x 8” W x 0.125”
5 pieces
$1,000-1,500
Edward Ruscha and Billy Al Bengston (b. 1937 and 1934-2022)
“Business Cards,” 1968
Small folio book bound with leather string
Ruscha, Edward and Billy Al Bengston. “Business Cards.” Los Angeles: Edward Ruscha, Inc., 1968
Signed to front cover: B.A.B. / Edward Ruscha
8.75” H x 5.75” W x 0.125” D
$1,000-1,500
173
David Hockney (b. 1937)
“Cameraworks,” 1984
Hardcover book
Hockney, David and Lawrence Weschler (text). “Cameraworks.” New York: Alfred A. Knopf, 1984
Signed and inscribed to title page, with three simple drawings by the artist: for Judith / david hockney
First American Edition
12.25” H x 12.25” W x 1.25” D
$300-500
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
174
Frederic Bruly Bouabre (1923-2014)
“Serie: Pagne Traditionnel Beté Peint aux Couleurs Divines,” 2009
Each: Ink, colored crayon, and pencil on heavy cardstock
Each: signed and dated in ink, verso: Bouabre / 27-8-2009; inscribed in French in ink along each edge with the same inscription, except on each card one word changes at the lower edge to represent the nationality of the figure: Aux couleurs divines visage / de femme couronnee de plumes ici la “Libera” / l’art de l’habillement [interchangeable Nationality] / bana-groko: pagne traditionnel bete peint (51 pieces)
Each Image/Sheet: 7.5” H x 6” W
$700-900
Charles and Ray Eames (1907-1978
and 1912-1988)
During the early years of WWII, Charles Eames 1988) were already beginning to experiment with design in the decades to follow. In their own studio, glued wood veneer, allowing them to manipulate battlefield and to launch their careers as commercial
Before the splint’s redesign, medical officers in the patient’s discomfort, sometimes even worsening Commander in the US Navy Reserves, recognized So, in 1942, Scott commissioned the Eameses
Having secured a contract, the Plyformed Wood based the first prototype on Charles’s own leg, produce the splints at scale. So, they teamed up provided the workforce and wood necessary to estimated 150,000 splints during the war.
The splint’s brilliant design was remarkably lightweight could be used on either leg without extra padding, the wood plies so that the wood grains alternated in process and construction that would allow Charles furniture.
“The details are details. They make the product. details that give the product its life.” — Charles
After the war, Charles and Ray shifted their focus them for. But the Eames splint will always stand whole experience of working with Evans and the their designs to be widely distributed to a new
(1907-1978) was designing sets at MGM studios, but he and his wife Ray (1912with the molded plywood processes that would become a signature of their furniture studio, they built the Kazam! machine, which applied heat and pressure to stacks of manipulate the form. These methods would eventually be used to help save lives on the commercial designers.
the field were using metal splints that proved problematic, clunky, and added to worsening the casualties sustained in combat. Wendell G. Scott, who was a Lieutenant recognized the problem and set about finding someone who could design a better model. to apply their techniques with molded plywood and deliver a solution.
Wood Company was founded by Charles and others including Harry Bertoia. They but quickly realized they didnít have access to enough materials or labor to up with Evans Products, who absorbed the Plyformed Wood Company and to meet the demands of the contract. Together, they were able to produce an
lightweight and easy to transport because they stacked neatly into each other. They padding, and there were slots for bandages to secure the leg. Additionally, by stacking alternated at right angles meant that they would not warp. It is this level of meticulousness Charles and Ray to turn their playful ideas into sturdy, practical, and lasting pieces of
product. The connections, the connections, the connections. It will in the end be these Charles Eames
focus and poured their boundless creativity into designing the furniture we now know stand as a symbol of their ingenuity, creative problem solving, and perfectionism. The the access they then had to materials certainly provided a solid jumping off point for post-war generation.
175
Charles and Ray Eames (1907-1978 and 1912-1988)
Six Molded Leg Splints by Evans Products Company in box, 1943 Designed 1941-1942
Each marked to original sticker: 1 Splint / Leg . Plywood / For Transportation / Stock No. S2-1790 / [Evans logo] / Manufactured by Evan Products Company / Molded Plywood Division / Los Angeles . California; box marked with matching stock number The molded plywood splints, each wrapped in original paper packaging and housed in a cardboard box
6 pieces
Each: 42” L x 8” W x 4” D; Box: 42.75” L x 8.5” W x 8.5” D
$1,500-2,500
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
176
Charles and Ray Eames (1907-1978 and 1912-1988)
Two “LCW” molded plywood lounge chair for Herman Miller, 1st generation transitional (1949-50)
Designed 1946
One with foil label to underside: Charles Eames design / Herman Miller-zeeland-mighican
Each with molded veneered plywood body with rubber shock mounts, set on two U-form legs with aluminum glides/feet, the underside screws in 5-2-5 formation
2 pieces
Each: 26.75” H x 22” W x 24” D; Seat height: 13.5” H
$700-900
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Notes:
The 5-2-5 screw configuration is a trait of 1st generation Evans manufactured chairs, but the foil label and presence of aluminum glides signify 2nd generation Herman Miller, hence the transitional dating of this piece.
177
Charles and Ray Eames (1907-1978 and 1912-1988)
An “LCW” molded plywood lounge chair for Herman Miller, 1st Generation (1946-50)
Designed 1946
With paper Evans sticker to underside: Herman Miller / Evans / Charles Eames
The molded veneered plywood body with rubber shock mounts, set on two U-form legs, the underside screws in 5-2-5 formation
Each: 26.75” H x 22.25” W x 24” D; Seat height: 13.5” H
$500-700
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
178
Charles and Ray Eames (1907-1978 and 1912-1988)
A “Shell Armchair” with rope edge for Herman Miller, 1st generation (1950-1954)
Designed 1948
With partial checkerboard sticker to underside
The fiberglass chair shell with rope edge in lemon yellow, raised on four enameled tubular steel legs joined in an X-form with rubber shock mounts
31” H x 24.75” W x 23” D
$1,000-2,000
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Charles and Ray Eames (1907-1978 and 1912-1988)
A “PAW” swivel armchair with rope edge for Herman Miller, 1st generation (1950-1954)
Designed 1959
With Herman Miller checkboard sticker to underside
The fiberglass chair shell with rope edge in red orange with swivel action, raised on wood dowel legs joined by an enameled tubular steel matrix stretcher
30.75” H x 24.75” W x 23” D
$700-900
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
180
Tony Berlant (b. 1941)
“The Geometry of Desire,” 1983
Found metal collage, mixed media, and brads on wood
Signed, titled, and dated in ink, verso: Berlant / 1983
11.25” H x 10.25” W
$1,500-2,000
Provenance:
Sold: Bonhams, San Francisco, CA, April, 24, 1997, Lot 5727
From the Collection of Kim Gordon, Venice, CA, acquired from the above
181
Peter Alexander (1939-2020)
“Casino,” 1992
Acrylic on panel
Signed, titled, and dated, all verso: Peter Alexander / 92
18” H x 20” W
$4,000-6,000
Provenance:
Sold: Los Angeles, CA, The Museum of Contemporary Art, “Silent Auction,” June 7, 1994, Lot S5
Private Collection, Los Angeles, CA, acquired from the above
Notes:
This lot is accompanied by a copy of the purchase receipt from the auction mentioned above.
Billy Al Bengston (1934-2022)
“Puerto Escondido,” 1977
Watercolor, ink, and pencil on paper
Initialed, titled, and dated in pencil near the center of the lower edge B. A. B. / 1977
20” H x 15” W
$2,000-3,000
Provenance:
Artist Studio, Venice, CA
James Corcoran Gallery, Los Angeles, CA
Notes:
Pencil notations on the Artist Studio label affixed to the verso of this frame’s backboard indicate that this work was once part of the James Corcoran Gallery inventory. Matching the other Bengston watercolor in this sale from the same source, it is likely that the Corcoran Gallery label used to be affixed to the frame’s backboard where there is now only a patch of dried glue.
183
Max Ruf (b. 1982)
Untitled, 2013
Toner pigment on linen
Signed and dated on the upper edge overlap of the linen: Max Ruf 2013
77.25” H x 52.75” W
$1,000-2,000
184
Michiel Ceulers (b. 1986)
Abstract Oil on canvas
Unsigned 29” H x 20” W
$800-1,200
185
Shaan Syed (b. 1977)
“Stage Right (Black Horizontal),” 2009 Oil and Polyfilla on canvas
Signed twice, titled, dated, and inscribed with alternative date and the medium, all in ink, verso: Syed / 2009 / STHS / 2014
72” H x 64” W
$1,000-2,000
Notes:
In addition to the other information, the verso of this work also includes two prominent black ink stamps, one on the verso of the canvas and one on the stretcher, both of which start with “This painting is a painting...” and conclude with the artist’s ideal height range for display.
186
Gergo Szinyova (b. 1986)
Untitled [AABOC27042014], 2014
Acrylic and airbrush on canvas
Signed, presumably titled and dated on the overlap of the canvas, verso:
Gergo Szinyova / 2014
84” H x 60” W
$500-700
187
Henry Codax (20th century)
Untitled, pink
Acrylic on canvas
Unsigned 84” H x 42” W
$1,000-2,000
188
Henry Codax (20th century)
Untitled, red
Acrylic on canvas
Unsigned 84” H x 42” W
$1,000-2,000
189
Henry Codax (20th century)
Untitled, blue
Acrylic on canvas
Unsigned 84” H x 42” W
$1,000-2,000
190 Moshe Kupferman (1926-2003)
Four untitled works, 1987-88
Each: Oil, ink transfer, and graphite on paper
Each: Signed (twice) in English and Hebrew and dated either “87” or “88” in pencil in the lower edge: Kupferman Image/Sheet of Smallest: 9” H x 6.75” W; Image/Sheet of Largest: 10.375” H x 7.5” W
$3,000-5,000
191
Piotr Lakomy
(b. 1983)
Untitled, 2013
Chameleon spray paint on four conjoined aluminum panels
Initialed and dated verso: PL 13
Overall: 48.5” H x 39” W
$400-600
192 Piotr Lakomy (b.1983)
Untitled, 2013
Chameleon spray paint and adhesive vinyl on four conjoined aluminum panels
Initialed and dated on the verso: PL 13
50” H x 39” W
$400-600
193
(b. 1982)
Untitled Oil and colored pencil on canvas
Unsigned 47” H x 62.5” W
$1,000-2,000
Razvan Boar
194
Scott Bullock (20th Century)
Deconstructed torso sculpture
Acrylic on canvas
Indistinctly inscribed and dated lower right
48” H x 35.5” W
$500-700
Provenance: Byron Roche Gallery, Chicago, IL
195
Russell Woodard (1910-1969)
Four “Sculptura” patio armchairs, mid/late 20th century
Designed 1956
Each unmarked
Comprising four enameled wrought iron and wire mesh outdoor chairs
4 pieces
Each: 33” H x 27.5” W x 24” D
$600-800
Lagardo Tackett (1911-1984)
Lagardo Tackett was an American ceramicist known Henderson, Kentucky, he later moved to California California, Los Angeles.
In 1953, Tackett established Tackett Associates, working with various companies in Japan and Los his collaboration with Architectural Pottery during
Founded by Max and Rita Lawrence in Los Angeles, planters featuring geometric and sculptural forms. Malcolm Leland, David Cressey, and Tackett.
The Model T-102, also known as the “Double Cone Architectural Pottery. Defined by its striking geometric bases, creating a visually balanced silhouette. Typically black, or terracotta, the planter exemplifies Tackettí’s Modern ceramic design.
known for clean lines, organic shapes, and restrained color palette. Born in California and studied at the California School of Fine Arts and the University of Associates, a large-scale pottery business. His work through the years found him Los Angeles, and then eventually Connecticut. In recent years, however, it is during the 1950s and 1960s that has garnered renewed interest with collectors.
Angeles, Architectural Pottery became renowned for its minimalist ceramic forms. The firm collaborated with leading ceramicists of the time, including
Cone Planter,” offered in this lot is an iconic example of Tackett’s work with geometric form, the planter consists of two symmetrical cones joined at their Typically crafted from high-fired stoneware in matte finishes such as white, Tackettí’s mastery of form and proportion, reinforcing his lasting influence on
196
Lagardo Tackett (1911-1984)
A Model T-102 planter for Architectural Pottery, mid-20th century
Unmarked The cream glazed ceramic planter of stacked conical form 21” H x 11.25” Dia.
$700-900
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
197
Four Kimball fiberglass “Bullet” planters
Mid-20th century
Each unmarked
The dyed fiberglass half-egg planters, each set into an enameled wrought iron tripod stand, one with central wood sphere finial, 4 pieces Tallest overall: 30.5” H x 15.75” Dia.; Shortest overall: 21” H x 15.5” Dia.
$400-600
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
198
Philippe Starck (b. 1975)
Two “Bubu” stools for XO, circa 1990s
Designed 1991
Marked in the molding to underside: Starck in XO
The molded plastic four-legged stools, each with removable top, one in lemon yellow and another in brown 2 pieces
Each: 17.25” H x 12.875” Dia.
$200-400
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
199
Peter Sutherland (b. 1976)
“Welcome to Aberdeen”
Inkjet on perforated vinyl mesh, ink, vinyl stickers, and matte medium Appears unsigned; titled by repute
Sight: 71.5” H x 47.625” W
$800-1,200
200
Peter Sutherland (b. 1976)
“Fast and Loose,” 2013
Mixed media including inkjet on perforated vinyl mesh, stickers, and india ink on smooth Masonite
Signed, dated, and inscribed in ink on the verso: Peter Sutherland / 2013 / NYC; titled by repute; with assorted stickers, verso, presumably in the hand of the artist, two of whcih match the same imagery on the recto
Sight: 71.25” H x 47.5” W
$800-1,200
201
Peter Sutherland (b. 1976)
“Inner Circle,” 2014
Mixed media including inkjet on perforated vinyl mesh, stickers, and india ink on smooth Masonite
Signed and dated in black ink, verso: Peter Sutherland / 2014; titled on a typed label affixed to the frame’s backing board
Sight: 71.75” H x 47.75” W
$800-1,200
202
Nikolas Gambaroff (b. 1979)
Untitled, 2011
Acrylic and newspaper collage on two conjoined canvases
Signed and dated in pencil, verso: N. Gambaroff / 2011
72” H x 48” W
$800-1,200
Jack Greer
(b. 1987)
“The Last of the Mohicans,” diptych, 2014 Pillow cases and latex paint on canvas
Signed, titled, dated, and inscribed in marker on the verso of the left section: “Jack Greer / The Last of the Mohicans / 2K14 / 1 of 2/ L [in a circle];” also titled and inscribed in marker on the verso of the right section: “The Last of the Mohicans / 2 of 2 / R [in a circle];” with the artist’s name, title, date, and medium on a typed label affixed to the verso of each stretcher
Each section: 30” H x 21” W; Overall: 30” H x 42” W
$500-700
204
Ethan Cook (b. 1983)
Untitled
Handwoven cotton canvas with a small rectangular cotton canvas patchwork
Signed in pencil on the center of the upper stretcher bar: Ethan Cook
50” H x 40” W
$3,000-5,000
205
De Santis (b. 1983)
Untitled
Each: Acrylic on marble
Each: Unsigned
Each: 15.75” H x 12” W
$500-700
Gabriele
206
Valerie Snobeck (b. 1980)
“Après,” 2010-2013
Partially erased mirror, peeled print and burlap on plastic, unpeeled plastic, and brackets
Appears unsigned; titled by repute
24.75” H x 17” W (approx.)
$500-700
Provenance: The Chara Schreyer Collection
Notes: This lot is accompanied by four “U” brackets for the installation of the piece.
207
Hans Sieverding (1937-2019)
“Chronicle for the Millennium,” 1992 Wood and mixed media
Signed and dated in pencil at lower left of lid verso: H Sieverding / 92; with collection sticker to underside: HS 2487; titled to sticker affixed to wax paper covering 16.25” H x 11.5” W x 1.875” D
$500-700
Provenance:
Michael Dunev Gallery, San Francisco, CA Private Collection, acquired from the above, 1993
208
Nicholas Pilato (b. 1986)
Untitled, 2013 Oil and concrete on canvas
Signed and dated, verso: N. Pilato / 2013 48” H x 42” W
$1,000-2,000
209
Steve Klein
(b. 1946)
“Exploration XIII,” 2000
Mottled glass on a plastic plinth
Etched signature, date, and title to underside: S Klein
Overall: 9” H x 16” W x 16” D
$2,000-3,000
210
Fabio Tosi (20th century)
A Murano art glass “Scavo” vase for Ars Cenedese, late 20th century
Etched signature and inscription to underside: Fabio Tosi / Ars Cenedese Murano The vase constructed in the style of ancient Roman glass but of Modern form, with applied bands and circular buttons, set on an acrylic base Glass: 14” H x 9.375” Dia.; Overall: 15.125” H
$500-700
211
Fabio Tosi (20th century)
Two Murano art glass “Scavo” vases for Ars Cenedese, late 20th century
Each with etched signature and inscription to underside: Fabio Tosi / Ars Cenedese Murano; each with sticker applied to underside: Murano / Cenedese / Vetri
Each vase constructed in the style of ancient Roman glass but of Modern form, one with applied elements, each set on an acrylic base
2 pieces
Taller overall” 17.5” H x 7” Dia.; Shorter overall: 11.875” H x 7.375” W x 7” D
$400-600
212
Livio Seguso (b. 1930)
An abstract glass sculpture, 1990
Etched signature and date to glass: Livio Seguso / 90; further signed and dated to steel stand base: L. Seguso / 90
The art glass sculpture articulated on a brushed steel stand, set on a painted wood plinth
Glass: 15.75” H x 13.25” W x 2.75” D; With stand: 30” H x 4.625” D; Plinth: 42.5” H x 18” W x 9” D
$400-600
Hans Wegner (1914-2007)
Hans J. Wegner was a Danish furniture designer cabinetmaker before studying at the Danish School aesthetics and functional minimalism. Wegner designed Wishbone Chair (CH24), the Papa Bear Chair (AP19).
Wegner was born in 1914, in Tonder, Denmark, collaborating with renowned manufacturers such passed away in 2007, in a suburb of Copenhagen. of Modern Art in New York, The Design Museum Museum in Copenhagen.
designer and a key figure in the Scandinavian Modern movement. Trained as a School of Arts and Crafts, Wegner combined masterful craftsmanship with organic designed more than 500 chairs, many of which became iconic such as the (AP19).
Denmark, a town near Germany. Throughout his career, he worked primarily in Denmark, such as Carl Hansen & Son, PP Mobler, Johannes Hansen, and Fritz Hansen. He Copenhagen. His designs are in many top museum collections including the Museum Museum in London, the Vitra Design Museum in Germany and the Danish Design
213
Hans Wegner (1914-2007)
A “CH07” shell chair for Carl Hansen & Son, early 21st century
Designed 1963
Unmarked
The molded plywood chair in biomorphic form with black cotton upholstered seat and back cushions, raised on three attenuated legs
29.75” H x 36” W x 34” D
$700-900
Provenance:
From the Collection of Kim Gordon, Venice, CA
214
Matthew Hilton (b. 1957)
A “Cross Extension Dining Table” With two paper Case Furniture
The wood table with four splayed
Smallest state: 29” H x 78.5”
$700-900
for Case Furniture, early 21st century Furniture tags to underside splayed legs joined by a medial stretcher, including two leaf extensions stored internally
78.5” W x 35.5” D; Fully extended: 116” W; Each leaf: 18.75” W
Table”
215
John Hutton (1947-2006)
A side chair from the Merbau Collection for Donghia, circa 1995
Unmarked
The bamboo frame with leather accents and woven wicker seat and bow-shaped seatback
36” H x 19.75” W x 23.5” D
$200-300
216
Ron Rezek (b. 1946)
A pair of Postmodern floor lamps, late 20th century Each with Ron Rezek sticker to underside The single-light torchères, each with enameled metal standards and domed terminuses, set on a circular base, electrified 2 pieces
$600-800
Each: 74.75” H x 12” Dia.
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
217
Morgan Richard Murphey (b. 1989)
Untitled
Acrylic and ratchet strap with clamp on canvas
Unsigned 63” H x 44.5” W
$600-800
219
Jacco Olivier (b. 1972)
“Pave de Flore,” 2015
HD animation on zip drive
Edition: 3/5
Titled to drive label
Runtime: 3 minutes
2.25” L
$500-700
Provenance: The Chara Schreyer Collection
218
Artie Vierkant (b. 1986)
From the series “Exploits (Detachable Storage Metallic Structure)”
Acrylic, spray paint, collaged currency, and a plastic jewel on canvas
Unsigned; titled near the lower edge, at left 48” H x 36” W
$1,000-2,000
Provenance: From the Collection of Kim Gordon, Venice, CA
221
Sylvester Stallone (b. 1946)
Rambo, 1991
Acrylic on canvas
Signed and dated lower right: Stallone / 91 72” H x 108” W
$4,000-6,000
Notes:
It is likely that this painting’s custom sheet metal frame artist.
was specially selected by the
222
Sonia Gold
(b. 1959)
“Purple Rain,” 2022
Acrylic, metallic paint, and collage on canvas
Signed lower right: Sonia Gold; signed again and titled verso 36” H x 36” W
$1,000-1,500
223
Marc Horowitz
(b. 1976)
“Optimal Tip to Tip Efficiency”
Oil, acrylic, collage, and mixed media on six sheets of paper all mounted to board, as issued
Unsigned; titled by repute
Overall: 77” H x 70.25” W (irreg.)
$1,000-2,000
224
Habib “Bibi” Ayat (20th Century)
Abstract composition
Acrylic and epoxy on canvas
Initialed lower right: H.A. 30” H x 26” W
$1,000-1,500
225
Habib “Bibi” Ayat (20th Century)
Abstract shapes
Acrylic, mixed media, and epoxy on canvas
Initialed lower left and upper right: HA; signed verso: Bibi
48” H x 26” W
$1,000-1,500
Ara Tevkantz (1956-2021)
Ara Tevkantz was a prominent avant-garde artist of Armenian his artistic genius blossomed in the first decades of the twenty
Tevkantz was born in 1956 in Yerevan into a family of intellectuals family was a famous dynasty of prominent educators, church
Tevkantz belonged to the generation of young Armenian artists official ideological control of the so called “Social Realism” art As a result of this upheaval, a young generation of talented artists artists had the freedom to choose their creative path, and Tevkantz
He was intoxicated by the freedom to create and to experiment, was that every human is the manifestation of the Higher Creator, freely convey the higher Truth of human eternal unity within
This was the artist’s fundamental existential belief system, operating to and projection of the images of my soul. And it is the only
Young and talented, Tevkantz was in search of his own ways Armenia. His call was to express through visual art, the idea Self-Creativity. His manifesto was too radical for some in cultural explorations of the avant-garde masters of the West. Tevkantz to their great legacy and acknowledged them as his teachers.
In early 1990s Tevkantz immigrated to the US to have a full creative master his artistic genius. He was able to make his innovative attracting an audience willing to share the vital energy of his his artworks.
Living in the US, Tevkantz was able to freely experiment and human existence. He succeeded in mastering his quest to prove
Tevkantz participated in several collective and private exhibitions collections throughout the country. Tevkantz passed away in
We are grateful to Dr. Mariam Gregory for her assistance in
Armenian origin. He was one of the pioneers of the avant-garde movement in Armenia in the 1980s, although twenty-first century in the US.
intellectuals and he received his higher education in visual art at the Yerevan State Academy of Art. His church leaders and writers. That fact has undoubtedly left a noticeable imprint on his artistic personality.
artists of the 1970s and 80s who made cultural upheaval in Armenian art possible, which overthrew the art movement imposed by the Soviets for more than half a century. artists appeared on the scene, creating a new artistic landscape open to diverse movements. Young Tevkantz was one of them.
experiment, to break boundaries, to express his spiritual and existential philosophy. For him the basic truth Creator, the Divine Universe. Tevkantz believed that the artist had the responsibility and the mission to the divine Universe.
operating both in his personal life and his creative work. He wrote in his diary: “My art is the adaptation only way for the human existence, because the life itself is THE ART.”
of expressing the avant-garde movement to establish himself in this new artistic landscape of of Cosmic Eternal Unity with all that exists in the world, which reveals itself through human Higher cultural establishment of Armenia and his search for means of diverse expression led him to broader Tevkantz was highly influenced by Joan Miró and Willem de Kooning, and later in his career, he paid tribute teachers.
creative freedom to express his spiritual quest through his art. In the US, the prolific artist was able to innovative ideas attainable. Passionate energy of Enlightened Love energy transmuted into his canvas, art and enabling them to be part of the Ultimate Union with Love and Light of the Universe through not be rejected. In the US he had full freedoms to express his ideas about the higher mission of art in prove that the visual art can be the Way of coming closer with the Eternal Unity Here on earth.
exhibitions in private galleries including in Miami, Los Angeles, Detroit, and Boston. His works are in private 2021 in Los Angeles.
cataloging lots 226 and 227 and for her contribution of this essay.
226
Ara Tevkantz (1956-2021)
Abstract composition with gray Oil on canvas laid to burlap
Unsigned 52” H x 60” W
$800-1,200
Provenance: Estate of the artist
227
Ara Tevkantz (1956-2021)
Abstract composition
Oil on canvas laid to burlap
Unsigned 54” H x 59.5” W
$800-1,200
Provenance: Estate of the Artist
228
Karo Mkrtchyan (1951-2001)
“Countess,” 1986 Oil on canvas
Initialed and dated in Armenian, lower right: K.M. - 86; signed in Armenian verso: Karo Mkrtchyan 29.5” H x 25” W
$2,000-3,000
Provenance: Karo Art Gallery, Yerevan, Armenia
Notes:
This lot is accompanied by a certificate of authenticity from the gallery mentioned above, and an export permit from the Department of Cultural Heritage and Folk Arts at the Ministry of Education, Science, Culture, and Sport of the Republic of Armenia.
229
Karo Mkrtchyan (1951-2001)
“Horseman,” 1976
Watercolor, gouache, and ink on paper
Initialed and dated in Armenian, lower right: K.M. - 76
Sight: 10.25” H x 15.5” W
$800-1,200
Provenance: Karo Art Gallery, Yerevan, Armenia
Notes:
This lot is accompanied by a certificate of authenticity from the gallery mentioned above, and an export permit from the Department of Cultural Heritage and Folk Arts at the Ministry of Education, Science, Culture, and Sport of the Republic of Armenia.
230
Jim Morphesis (b. 1948)
“No Sanctuary,” 1981
Oil, acrylic, gold leaf, wood, collage, nails, and resin on wood
Signed and dated in ink verso: Jim Morphesis / ‘81; dated again and titled on two labels affixed verso
Signed and dated on the stems of the flowers in the lower left quadrant: Ibarra / 1988
30” H x 31” W
$2,000-3,000
233
Sonia Gold (b. 1959)
“Springtime,” 2005
Mixed media on canvasboard
Signed and dated lower right: Sonia Gold; signed again, verso; titled by repute 30” H x 24” W
$800-1,200
Nikolay Moltchanov (b.
1959)
“Still Life with Wine and Fruits,” 1993
Acrylic on canvas
Signed and numbered along the lower portion of the left edge: Nikolay 34; initialed and numbered again lower right: Mt .34; signed again (twice), titled, and dated on the canvas or on a label, all on the verso; with the artist’s handprints in black and red ink, and a blue ink stamp, all verso
Signed and dated in three places and titled twice, all verso:
Frank Damiano / 1992
36” H x 30” W
$500-700
Provenance: Olga Dollar Gallery, San Francisco, CA
237
Heinie Hartwig
(b. 1937)
“Abstract #250” Oil on Masonite
Signed and titled in ink, verso: Heinie Hartwig
40” H x 30” W (or reverse)
$1,000-2,000
Notes:
According to an inscription on the verso, the work in this lot can be turned in any direction.
238
Peter Liashkov
(b. 1939)
Female Torso
Oil and encaustic on SynSkin board
Signed and titled on the frame’s backing board, presumably by the artist: Liashkov
19.75” H x 16” W
$500-700
Exhibited:
San Francisco, CA, Acme Art, “Peter Liashkov: Paintings,” 1984
Notes:
SynSkin is an epoxy-based composite surfacing film. There are other examples of works on SynSkin by Peter Liashkov on his website.
239
Tal Yerushalmi (b. 1978)
Tiger, 2006
Oil on canvas
Signed and titled in Hebrew, and dated, all verso: Tal Yerushalmi / 2006 107” H x 60” W
$2,500-3,500
Provenance: Ota House, Marina Del Rey, CA
240
Nurit David (b. 1952)
Untitled, 2003 Oil on canvas
Signed and titled in Hebrew, and dated 2003, all verso 42” H x 58” W
$3,000-5,000
Exhibited: Haifa, Israel, Haifa Museum of Art, 2004
241
Leslie Lerner (1949-2005)
“My Life in France: Canaletto’s Factory Fire,” 1992
Acrylic, tempera, and collage on corrugated board
Signed, titled, and dated in ink, verso: Leslie Lerner
Sight: 35” H x 39.5” W
$1,500-2,000
242 Alexander Petrov (b. 1947)
“Bird Catcher,” 1994 Oil on panel
Initialed in Russian and dated lower right: A.P. / 94; dated again and titled on a gallery label affixed to the frame’s backing board 24” H x 36” W
$2,000-3,000
Provenance: Davidson Galleries, Seattle, WA
243
Laurie Hogin (b. 1963)
“Fall Collection: Warm Traditional Designs,” 1993
Oil on canvas
Signed, titled, dated, and inscribed in pencil, all verso: Laurie Hogin / 1993 / “Chicago”; with the incised title and inscription in the upper and lower edges of the frame: “Produce - Misrecord - Consume”
20” H x 30” W
$1,000-2,000
244
Steve B. Hudson (20th Century)
“Disjecta 4 Collection,” 1996 Oil on panel
Signed, titled, and dated in pencil, verso: Steve B. Hudson 96 16” H x 23” W
$600-800
245
Don Bachardy (b. 1934)
Portrait of a man
Watercolor on paper
Signed lower right: Bachardy
Sight: 22” H x 14.75” W
$800-1,200
246
Don Bachardy (b. 1934)
Portrait of a woman
Watercolor on prepared paper
Appears unsigned
Image/Sheet: 25.5” H x 19.75” W (approx.)
$800-1,200
247
Don Bachardy (b. 1934)
Portrait of woman, 1977
Ink wash and graphite on paper
Signed in ink lower left: Bachardy; dated and inscribed in pencil lower right: 11/25/77 / “Faith Ham”
Sheet: 24” H x 19” W
$600-800
Charles and Ray Eames (1907-1978 and 1912-1988)
Two “Shell Armchairs” for Herman Miller, 3rd and 4th generations (1955-1993) Designed 1948
The brown with partial raised Herman Miller ‘H’; the yellow unmarked
Each fiberglass chair shell raised on two enameled tubular steel U-form legs joined in an H-stretcher with rubber shock mounts and plastic feet, comprising a 3rd generation (1955-1958) chair in lemon yellow and a 4th generation (1959-1993) chair in brown
2 pieces
Each: 31.5” H x 24.75” W x 23.75” D
$1,200-1,800
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
249
Charles and Ray Eames (1907-1978 and 1912-1988)
An “LCM” molded plywood lounge chair for Herman Miller, 2nd generation transitional (Circa 1954)
With paper half board label to underside: Herman Miller Furniture Company / zeeland michigan / Design by Charles Eames
The chair with molded veneered plywood seat and seat back with rubber shock mounts, raised on two enameled tubular steel U-form legs with aluminum boots/feet, the seatback with oval connectors
26.25” H x 22.25” W x 24.75” D
$500-700
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
250
Charles and Ray Eames (1907-1978 and 1912-1988)
A swiveling “Shell Armchair” for Herman Miller, Circa 1970s/1980s
Stamped to fiberglass underside: 71122 [illegible final number] / S [in a circle] / Herman Miller The black fiberglass chair shell upholstered in green Naugahyde, raised on a swiveling and tilting aluminum and steel base with four legs on casters
31.25” H x 28” Dia.
$400-600
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
251
Charles and Ray Eames (1907-1978 and 1912-1988)
A “Shell Armchair” for Herman Miller, 2nd generation (1954-1955)
Designed 1948
Unmarked
The fiberglass chair shell in seafoam, raised on four enameled tubular steel legs joined in an X-form with rubber shock mounts and metal feet
31.5” H x 24.75” W x 23” D
$500-700
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
252
Charles and Ray Eames (1907-1978 and 1912-1988)
A “Shell Armchair” for Herman Miller, 2nd generation (1954-1955)
Designed 1948
Unmarked
The fiberglass chair shell in elephant grey, raised on four enameled tubular steel legs joined in an X-form with rubber shock mounts and plastic feet
31.5” H x 24.75” W x 23” D
$500-700
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
253
Charles and Ray Eames (1907-1978 and 1912-1988)
A “DSR” side chair for Herman Miller, circa 1956-1959
Designed 1951
Marked to metal sticker: Designed by Charles Eames / Herman Miller / Zeeland Mich. / [logo at center]; further marked with paper patent label starting with: D / 147 / 613
The fiberglass seat in seafoam, raised on tubular steel “Eiffel Tower” legs with possibly later generation self-leveling plastic feet/glides
31.25” H x 18.5” W x 22” D
$300-500
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
254
Charles and Ray Eames (1907-1978 and 1912-1988)
An “LAR” rocking chair for Herman Miller, 3rd or 4th generation (1957-1962)
With partial paper patent label to underside: 147 [illegible]
The fiberglass chair shell in elephant grey, raised on enameled tubular steel “Cats Cradle” legs with rubber shock mounts 24” H x 24.75” W x 24.25” D
$200-400
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
255
Peter Walker
(b. 1946)
Railroad montage (pentaptych), 1986
Oil on canvas over molded plywood, stretchers, and cut-out panel
Signed and dated in the lower right corner of the fourth panel: Peter Walker 86
Overall assembled: 96” H x 242” W approx.
$800-1,200
256
Pirates Treasure Cove, 1984
Signed and dated lower right: Peter Walker 84 56” H x 100” W
$600-800
Peter Walker
(b. 1946)
Oil on canvas
257
Signed and dated lower right: Peter Walker 75 70” H x 50” W
$500-700
Peter Walker (b. 1946)
Tattooed carney, 1975 Oil on canvas
258
Peter Walker (b. 1946)
Lunch break, 1977
Oil on canvas
Signed and dated lower right: Peter Walker 77
30” H x 80” W
$500-700
259
Peter Walker (b. 1946) Circus scene, 1984
Oil on canvas
Signed and dated lower right: Peter Walker 84
30” H x 78.25” W
$500-700
260
Peter Walker
(b. 1946)
Seated woman, 1979
Oil on canvas
Signed and dated lower right: Peter Walker / 79
56” H x 40” W
$400-600
261
Peter Walker (b. 1946)
Potato peelers (circus), 1983
Signed and dated lower right: Peter Walker 83
70” H x 50” W
$500-700
Oil on canvas
262
Contemporary Aboriginal Works
Two works:
Serianne Butcher Napangati (b. 1987)
“Bush Bananas”
Acrylic on canvas
Signed twice and inscribed verso: Serianne Butcher / “WGC HB3” / “IK05SB464”
30” H x 12” W
Marlene Wheeler (b. 1942)
“Seven Sisters”
Acrylic on canvas
Signed, titled, and inscribed verso: Marlene Wheeler / “The Seven Sisters travelled [sic] over / the country in search of food. / One day some hunters came by / the waterholes and saw them / bathing. He fell in love with all / them and put spells so they / would dance for him day and night / Tired, hungary [sic] and thirsty they broke / Spells and flew up into the / Milky Way to live. Today we see / them as the Seven Sisters Stars / on the great Milky Way.”
35” H x 12” W
$800-1,200
Provenance:
Iltja Ntjarra (Many Hands) Art Centre, Alice Springs, Northern Territory, Australia
Anzus Aboriginal Art and Walkabout Fine Art, Palo Alto, CA
Notes:
This lot is accompanied by information sheets about the artists as well as certificates of authenticity prepared and signed by the directors of the above-mentioned galleries.
Gabriella Possum Nungurrayi (b. circa 1967)
“Seven Sisters Dreaming,” 2011
Acrylic on linen
Signed and dated verso: Gabriella Possum Nungurrayi / 2011; titled on a label affixed to the stretcher; inscribed verso: “WF K 01” 14” H x 40” W
$800-1,200
Provenance:
Artlandish: Aboriginal Art Gallery, Kununurra, East Kimberley, Western Australia
Anzus Aboriginal Art and Walkabout Fine Arts, Palo Alto, CA
Notes:
This lot is accompanied by information sheets about the artists as well as certificates of authenticity prepared and signed by the directors of the above-mentioned galleries.
264
Napurla Scobie Napurrula (b. 1950)
“My Country” (four examples), 2006
Each: Acrylic on canvas
Each: Signed and dated verso: Nabula Scobie / 2006; titled similarly on a label affixed to the stretcher; four pieces
Each: 12” H x 12” W
$800-1,200
Provenance:
Boomerang Art - Aboriginal Art Gallery, Alice Springs, Northern Territory, Australia Walkabout Fine Art, Palo Alto, CA
Notes:
This lot is accompanied by information sheets about the artists, as well as certificates of authenticity from the galleries mentioned above.
Maggie Yilpi
(b. circa 1950)
“Seven Sisters”
Acrylic on canvas
Unsigned; inscribed verso: “WF M 03” 36” H x 48” W
$600-800
Provenance:
Muk Muk: Indigenous Fine Art, Alice Springs, Northern Territory, Australia
Anzus Aboriginal Art, Palo Alto, CA
Notes:
This lot is accompanied by information sheets about the artists as well as certificates of authenticity prepared and signed by the directors of the above-mentioned galleries.
Evelyn Jugadai Nungarrayi (b. 1978)
“Bush Tucker Seeds” Acrylic on canvas
Signed and inscribed verso: Evelyn Jugadai / “WGD H 1”; titled on a label affixed to the stretcher
36” H x 48” W
$600-800
Provenance:
Ikuntji: Fine Art from Desert Australia, Alice Springs, Northern Territory, Australia
Anzus Aboriginal Art and Walkabout Fine Art, Palo Alto, CA
Notes:
This lot is accompanied by information sheets about the artists as well as certificates of authenticity prepared and signed by the directors of the above-mentioned galleries.
267
A William Stranger Modern coffee table
2014
Signed and dated to underside: Stranger/ 214
A custom-made cocktail table by William Stanger, featuring a quilted/feathered English Walnut top with live edge and inset butterfly joinery on a stainless-steel base with square reliefs Overall: 18.5” H x 68.5” W x 71.25” D
$1,000-2,000
After Ludwig Mies van der Rohe (1886-1969)
Two chairs in the manner of “Barcelona” chairs for Knoll, late 20th/early 21st century
Designed 1929
Each unmarked
Each with tufted black leather upholstery, black leather strapping, and chromed metal curved X-frame
2 pieces
Each: 31” H x 31” W x 34” D
$600-800
Charles and Ray Eames (1907-1978 and 1912-1988)
A “Soft Pad Executive” chair for Henry Miller, 1990
Designed 1969
With paper tag: EA438 / Herman Miller; with stamped date to base
The cast aluminum frame with arms and brown leather upholstery cushions, set on a five-legged swivel base
38.25” H x 26” W x 31” D
$500-700
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
Charles and Ray Eames (1907-1978 and 1912-1988)
A “Drafting Stool” for Herman Miller, 1977
Dated to Herman Miller paper label to underside The fiberglass chair with black Naugahyde upholstery, raised on a steel swivel frame with circular footrest and four legs with casters 41.5” H x 27.5” Dia.
$200-300
Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA
271
Charles and Ray Eames (1907-1978 and 1912-1988)
A “DSS-TA” stacking chair with table arm for Herman Miller, 1950s/1960s
Designed 1955
With partially legible stamp to fiberglass shell possibly reading: 12212
The fiberglass seat in seafoam, raised on a tubular steel frame with side hooks, the legs with plastic self-leveling feet, featuring an articulated plywood tablet table
31.75” H x 25.5” W x 25.5” D
$200-300
Provenance:
The Collection of Andrew and Lydia Sussman, Studio City, CA
June 17, 2025
Magdalena Abakanowicz
“Atoris,” 2005
Price Realized: $82,550
Consignment and Auction Inquiries: fineart@johnmoran.com
SINCE 1969
Condition Reports
1
Overall good condition. Full margins with deckled edges. The colors fresh. The palest mat staining showing in the margins. Very slight staining at the margins corners from prior mounting corners. An occasional unobtrusive foxmark in the margins and on the reverse. A larger foxmark or very pale stain, approximately pea-sized, near the center of the left margin edge. The sheet is loose, secured to the back mat with clear mounting corners.
Framed under glass: 23.5” H x 29.5” W x 1.5” D
2
Each with wide margins, the sheets having been disbound from the original book and therefore with indications of the old stitching holes along the left margin edge. Light staining throughout, together with time staining along the extreme margin edges. Backboard and other pale, irregular staining, verso. Remains of old masking tape on the verso of each margin corner. The sheets are each loose, currently secured to the frame’s cardboard backing with clear archival corners.
Each framed under glass: 17.5” H x 15.5” W x 1.5” D
3
Each overall good condition. With margins. The lot is comprised of these four transfer lithographs disbound from the original book written by Jaime Sabartes. Not examined out of the frames.
Each framed under glass: 20.5” H x 21.5” W x 1.25” D
4
Overall good condition. With margins. Very pale light-staining throughout. An approximately peasized pale foxmark to the right of the tree stump and in the sky, and a pinhead-sized foxmark near the upper left margin corner. Not examined out of the frame.
Framed under glass: 11.25” H x 13.25” W x 1.25” D
5
Overall very good condition. With full margins. The paper very slightly toned. One minute and unobtrusive white fleck in the lower left quadrant, possibly inherent in the original printing. A few scattered, reverse foxmarks in the blank of the plate or in the margins, one of which is approximately pea-sized, in the upper portion of the right margin. The sheet is framed floating, mounted to a platform frame from the verso of the margin edges.
Framed without glazing (as was the artist’s preference): 35” H x 44” W x 1.5” D
6
Overall good condition. With margins. The paper very slightly toned. Not examined out of the frame.
Framed under glass: 21.5” H x 24.5” W x 0.75” D
7
Overall good condition. Full margins with deckled edges. The colors slightly attenuated. A few specks of foxing in the image and margin edges. Very pale overmat staining along the outer margin edges. Cockling along the left and right margin edges. The sheet with minor remnants of hinging glue along the verso of the margin edges. The sheet is loose, not attached within the mat.
Framed under Plexiglas: 31” H x 23” W x 1” D
8
Overall good condition. The full sheet with deckled edges. Very pale light-staining. Time staining along the extreme sheet edges. The sheet is framed floating, tipped to the back mat in places from the verso sheet.
Framed under Plexiglas: 30.25” H x 36.5” W x 2.5” D
9
Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. One chair with three disconnected junctures and a break at underside. The other with one break and a separation. One lacking both plastic glides, the other missing one.
10
Overall good condition with scattered minor scuffs and scratches commensurate with age. One glued juncture has separated at underside.
11
Each overall good condition with scattered scuffs, scratches, and indentations commensurate with age. Ottoman with a 10” long area of peeling to outer layer with attendant 3” long loss. Each with scattered bumping at edges.
12
Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Aluminum base components with some oxidation and pitting. Wear to the finish of the writing surface with more concentrated and deeper scratches, concentrated at anterior edge. Tambour with wear to the wood finish as well. Tambour glides smoothly. Lacking key.
With wide (possibly full) margins. An unobtrusive printing irregularity extending horizontally 0.75” into the image from the lower portion of the image’s right edge. Three short, delicate, surface scuffs near the upper left corner of the image, the longest approximately 0.75”, visible only in raking light. A small series of flattened, vertical creases in the uppermost portions of both the extreme left and extreme right margin edges, not affecting the image. Slight surface skinning at the tip of the upper left margin corner. One soft handling crease in the lower margin, as well as in both of the lower margin corners, all visible primarily in raking light. The work is dry mounted to the back mat.
Framed under Plexiglas: 25.25” H x 34.25” W x 1.5” D
14
Overall good condition. The colors good. A very pale and unobtrusive pea-sized foxmark in the yellow pigment, near the center. Not examined out of the frame.
Framed under Plexiglas: 23” H x 23” W x 1” D
15
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 21.625” H x 16.875” W x 1.5” D
16
Overall good condition. The colors attenuated. Not examined out of the frame.
Framed under glass: 29.5” H x 22.5” W x 2” D
17
Overall good condition. The full sheet with the upper sheet edge deckled. The colors good. Minor handling creases scattered in the outer edges and corners, primarily visible in the upper right corner. Unobtrusive minor surface scratches scattered in the darker pigment along the upper edge, primarily visible in raking light. The sheet is framed floating, hinged to the back mat from various spots along the verso of the sheet edges and corners.
Framed under Plexiglas: 29” H x 35.5” W x 2.5” D
18
Overall good condition. A very unobtrusive 1.5” diagonal crease in the upper left corner, primarily visible in raking light. Not examined out of the frame.
Framed under glass: 26.25” H x 28.75” W x 1.25” D
19
Overall good condition. With margins. Minor handling creases scattered primarily along the margin edges, however, a few are within the plate, a few near the upper and lower edges, at center. A pea-sized textured area in the plate, near the upper edge, at center, possibly inherent in the paper manufacturer. Not examined out of the frame.
Framed under Plexiglas: 31.25” H x 48.25” W x 2.25” D
20
Overall good condition. The full sheet with deckled edges. The colors good. An approximately 0.75” H x 0.5” W area of either printer’s ink or a fingerprint near the center of the left edge, not affecting the image. The sheet is framed floating, tipped to the back mat in places along the verso of the sheet edges and corners..
Framed under glass: 32.25” H x 38” W x 2.5” D
21
Each overall good condition. The full sheets and colors good. Each sheet is loose, not matted.
Each unframed
22
Overall good condition. The full sheet with deckled edges. The colors good. A very pale, pinhead-sized foxmark near the upper left corner. A few very minor, unobtrusive, small handling marks in the lower right quadrant. The sheet is hinged to an invisible back mat from the verso sheet edges and corners, and that mat board is subsequently affixed to the back mat. Not examined out of the frame.
Framed under glass: 39” H x 48.5” W x 2” D
23
Overall good condition. Full margins with deckled edges. Very pale time staining along the extreme right margin edge. Very occasional, unobtrusive, pale pinpoint-sized foxmarks scattered in the margin edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 34.25” H x 25.75” W x 2” D
24
Overall good condition. The full sheet with deckled edges. The sheet is framed floating, hinged to an invisible matboard which is affixed to the back mat. Not examined out of the frame.
Framed under Plexiglas: 58.5” H x 42.5” W x 2.5” D
Overall good condition. Full margins with deckled edges. The colors good. The sheet is hinged to the overmat from the verso of the upper margin and upper portions of the left and right margin edges.
Framed under Plexiglas: 42.25” H x 36.5” W x 1” D
26
Each overall good condition. The full sheets with deckled edges. “Sam’s Dog” with a pinhead-sized foxmark on the lower portion of the extreme right margin edge. Minor handling marks scattered in the blank. “Multi-Dogs” with a 5” diagonal handling crease in the upper right margin corner, and other minor, occasional handling marks scattered in the outer margins. Scattered printer’s ink smudges mostly in the upper half of the work. “Agate Dog” with a 7” diagonal crease in the lower right margin corner and other minor handling marks in the blank. A few, scattered printer’s ink marks in the blank. The untitled work with minor handling marks and an unobtrusive stray printer’s ink mark in the lower margin, at center.
Each unframed, but matted: 34” H x 30” W x 0.25” D
27
With margins and the colors good. Large creases throughout, primarily in the lower half of the image. A 0.75” scratch in the upper half of the upper right quadrant of the image. Not examined out of the frame.
Framed under Plexiglas: 80” H x 42” W x 3.5” D
28
Overall good condition. The sheet is loose, not matted. The backing board to the original frame’s backing board with various abrasions.
Framed under glass: 11.125” H x 9.125” W x 1” D
29
Overall good condition. Not examined out of the frame.
Framed under glass: 31” H x 35” W x 1” D
30
Overall generally good condition. A 1.25” and 0.75” W vertical creases in the upper left quadrant of the image. The upper right sheet corner slightly dogeared and other small, minor creases scattered along the extreme sheet edges. A pale 0.5” H x 0.375” W stain near the center of the right edge. Very minor, unobtrusive surface scratches in the image, mostly visible in raking light. The sheet is loose, not matted.
Unframed
31
Overall good condition. The colors good. Not examined out of the frame.
Framed under Plexiglas: 20.25” H x 20.25” W x 2” D
32
Overall good condition. With full margins and the colors fresh. The work is loose within its frame, having detached from its three small archival hinges (which are still attached to the back mat).
Framed under glass: 41” H x 41” W x 1” D
33
Overall good condition. Two pinpoint-sized foxmarks in the image, one at upper left and the other at upper right. A few other, even smaller and nearly invisible foxmarks near the center of the lower sheet edge. The work is framed floating, hinged to the back mat from the verso of the sheet corners. Not examined out of the frame.
Framed under Plexiglas: 35” H x 47” W x 2” D
34
With scattered scuffs, scratches, nicks, and abrasions commensurate with age and use. Frame with some losses to the enamel and rust/oxidation. Upholstery with fading, a few small losses to the pile, and rubbed wear. The sofa with two nickel-sized stains to seatback cushion. The chair with more uneven sun fading and a few scattered nickel-sized stains.
35
Overall good condition with some loss to the black dye, rubbed wear, scattered scuffs, scratches, and nicks commensurate with age. Some pitting to chrome finish and an area of rust/oxidation to middle juncture.
36
Each overall good condition with scattered scuffs, scratches, and dust accumulatio commensurate with age. Pitting to chrome finish. Upholstery with some fading, and two pea-sized holes to seatback cushion. The chair with a 2.5” x 1” stain to meeting of seat and seatback, the ottoman with a 3” x 4.5” area of a few brown stains.
37
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The ottoman legs missing two screws to attach to the wood. Chair upholstery with mild soiling, some creasing, and scattered shallow tears, most not reaching through, concentrated at the edge of seat and armrests, and scattered scratches. The ottoman with similar wear, the tears slightly wider.
Overall good condition. With margins and the colors good. Not examined out of the frame.
Framed under glass: 30.25” H x 22.5” W x 1.5” D
39
Overall good condition. As mentioned, the sheet is mounted to Plexiglas, as issued.
Framed under Plexiglas: 49.5” H x 64.25” W x 2.375” D
40
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 36.25” H x 31” W x 1” D
41
Overall good condition. With margins. Not examined out of the frame.
Framed under glass: 36.25” H x 31” W x 1” D
42
Overall good condition. With margins. The work is loose, not matted.
Framed under glass: 24.375” H x 39.25” W x 1.625” D
43
Overall good condition. The sheet with full margins. An occasional, unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.
Unframed
44
Overall good condition. The sheet with full margins. An occasional, unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.
Unframed
45
Overall good condition. The sheet with full margins. An occasional, unobtrusive handling crease showing primarily in the margins. The sheet is loose, not matted.
Unframed
46
Overall good condition. The full sheet. The sheet is hinged to the back mat in three places from the verso of the upper sheet edge.
Framed under Plexiglas: 46.5” H x 39” W x 2” D
47
Overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. The front edge of top with a 2.5” long abrasion/indentation with attendant losses. Some handwritten notes and marks to backside.
48
Each overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age, concentrated to base and top.
49
Overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age, concentrated to edges and corners.
50
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
51
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
52
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
53
Overall good condition. The full sheet with deckled edges. Surface soiling and occasional stray pigment in the margins and on the verso. Pale old adhesive residue along the verso of the upper sheet edge. The sheet is hinged to the back mat with four Japanese tissue hinges from the verso of the upper sheet edge.
Framed under glass: 25.5” H x 32.25” W x 1.5” D
54
Overall good condition. Dust accumulation attendant with the materials used. The tip of the green collaged triangle at the lower left lifting very slightly, visible mostly in raking light. Two short diagonal cuts into the mustard-colored pigment to the left of center at the lower edge, the longest measuring 0.5”.
Framed under glass: 22.5” H x 28” W x 3” D
55
Visual: Overall good condition. A minor, thin scratch in the upper portion of the espresso machine, and other occasional, smaller, and unobtrusive surface scratches. A few scuffs with attendant pigment loss near the lower left corner, the largest being 0.5”.
Blacklight: No evidence of restoration.
Frame: 36.75” H x 24.5” W x 2.25” D
56
Visual: Stretcher bar creases along the edges, with thin attendant splits to the pigment. Puckering to the canvas in the upper left corner, attendant with the warped canvas and stretcher bar. Small areas of scattered craquelure. Two scuff marks with pigment loss, the largest 3.25”, along the lower edge, left of center. Small creases to the canvas and a penny-sized pressure mark in the lower left quadrant. Specks of foxing and areas of grime throughout, primarily along the left and right edge.
Blacklight: No evidence of restoration.
Frame: 45” H x 45” W x 2” D
57
Overall good condition. A few unobtrusive areas of scattered craquelure. Not examined out of the frame.
Framed under glass: 19.5” H x 16.5” W x 1.25” D
58
Visual: Overall generally good condition. Soft stretcher bar creases along each side and center, mostly visible in raking light. Craquelure throughout, and a few areas of unstable craquelure with two attendant pea-sized pigment losses in the upper portion of the right edge, and another pea-sized pigment loss in the lower right quadrant. Two peasized pigment losses, both near the upper corners. A 0.75” scuff with attendant pigment loss below the signature, and a small, unobtrusive scuff with an attendant pinhead-sized pigment loss in the center of the lower half. Two minor, pinpoint-sized punctures in the canvas, in the lower right quadrant. Foxing throughout the verso.
Blacklight: No evidence of restoration.
Frame: 50.25” H x 38.5” W x 3” D
59
Visual: Overall good condition. A few unobtrusive pigment losses at the tips of the left corners and occasionally along the extreme upper and lower edges, the largest approximately pea-sized.
Blacklight: No evidence of restoration.
Frame: 25.75” H x 31.75” W x 2.25” D
60
Visual: Overall good condition. Unobtrusive, ricesized (or smaller) areas of pigment loss in the extreme upper and lower edges, towards the right. An area of minor surface abrasion near the tip of the upper left corner.
Blacklight: No evidence of restoration.
Frame: 31.75” H x 41.75” W x 2.5” D
61
Overall generally good condition. The sheet with pale toning. A 1” H x 2” W area of roughened paper fibers at the lower right, very slightly affecting the lower portion of the date. An occasional, small and unobtrusive foxmark, the most noticeable in the figure’s upper shoulder. A few small stains in the blank at lower right, the largest approximately peasized. Not examined out of the frame.
Framed under glass: 21.5” H x 32” W x 2.25” D
62
Overall generally good condition. A 0.375” tear extending horizontally from the lower portion of the left sheet edge, backed with archival tape, not affecting the image. A 5.25” flattened diagonal crease across the lower left corner, just affecting the standing figure’s left calf and ankle. Soft creasing, small handling marks, and occasional edge nicks in the left sheet corners and extreme edge. The sheet is framed floating, hinged to the back mat with archival tape from the verso of the upper sheet corners.
Framed under glass: 29.5” H x 26.5” W x 1.5” D
63
Visual: Overall good condition. An occasional tiny staple hole scattered along the extreme edges and corners, likely from previous backing.
Blacklight: No evidence of restoration.
Frame: 27.25” H x 23.25” W x 2” D
64
Visual: Overall good condition. Dust accumulation and specks of grime throughout. A 0.5” H x 2” W area of residue near the lower left corner.
Blacklight: No evidence of blacklight.
Frame: 28” H x 24” W x 3” D
65
Visual: Overall good condition. Dust accumulation throughout. A small area of minor paint shrinkage in the orange pigment near the center of the left edge.
Blacklight: No evidence of restoration.
Frame: 29” H x 24.75” W x 3” D
66
Visual: Overall good condition. Dust accumulation and occasional specks of grime. Soft stretcher bar creases along the upper and left sides, with attendant, minor splits to the pigment. Very occasional, unobtrusive, and small areas of craquelure scattered primarily in the outer edges. A minor 3” diagonal scratch in the upper right quadrant. A pinhead-sized puncture near the upper left corner.
Blacklight: No evidence of restoration.
Frame: 33.5” H x 35.5” W x 3” D
67
Overall good condition. An unobtrusive, pinheadsized abrasion at the extreme lower right corner. Two artist’s pinholes in the upper sheet corners. The sheet is framed floating, tipped to the back mat from the verso of each sheet corner.
Framed under glass: 15.25” H x 19.25” W x 1.25” D
68
Overall generally good condition. Pale toning throughout and time staining along the extreme edges. The ink has attenuated to a darkish-brown pigment, in contrast to its original black pigment. Slight cockling throughout the sheet. A few soft 2.5” (or smaller) vertical creases in the upper right corner. The sheet it loose, not matted.
Framed under glass: 10.75” H x 9” W x 0.625” D
69
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
70
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
71
Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
72
Lacking cabinet door. Otherwise, overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Scratches concentrated to legs and upper surface, which has some fading, scattered faint stains, and a 0.5” long chip to front edge. With a chipped loss to back right corner. A few more chipped losses to veneer including a 1” long to edge of middle drawer pull.
73
With scattered scuffs, scratches, nicks, and indentations commensurate with age. The wood with deeper scratches and small losses throughout. The metal frame with slight pitting to enameling and attendant oxidation/rust. Possibly later reupholstered, the fabric in good condition.
74
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Underside of seat with a crack in the wood. Rubbed wear/fading to wood of armrests. Leather in good condition with a few minor scratches. Oxidation to metal feet.
75
Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Very minor pitting to chrome finish.
76
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather upholstery with scattered scuffs, scratches, and abrasions. The ottoman with localized abrasions/shallow holes in the leather.
77
Visual: Overall generally good condition. Occasional specks of unobtrusive grime. Soft rippling throughout, mostly visible in raking light. A minute abrasion in the lower portion of the extreme left edge, and other occasional, minor abrasions at the tips of each corner. The lower right corner with dust adhered to the surface.
Blacklight: No evidence of restoration.
Unframed
78
Visual: Overall good condition. Small areas of dust and residue adhered to the surface at each corner, and occasional areas along the edges.
Blacklight: No evidence of restoration.
Unframed
79
Visual: Overall good condition. Small areas of dust and residue adhered to the surface at each corner and along the lower edge, right of center.
Blacklight: Two approximately 1” H x 0.75” W areas of touch-up in the upper and lower right corners.
Unframed
80
Visual: Overall good condition. Small areas of dust and residue adhered to the surface scattered in the corners, edges, and some areas near the center of the work.
Blacklight: No evidence of restoration.
Unframed
81
Visual: Overall good condition. Small areas of dust and residue adhered to the surface at each corner, and occasional specks of grime, mostly at center.
Blacklight: No evidence of restoration.
Unframed
82
Visual: Overall good condition. Small areas of dust and residue adhered to the surface at each corner, and occasionally along the extreme upper and lower edges.
Blacklight: No evidence of restoration.
Unframed
83
Visual: Overall good condition. Small areas of minor dust and residue adhered to the surface at each corner. An approximately pea-sized area of black pigment in the upper right corner, presumably in the hand of the artist.
Blacklight: No evidence of restoration.
Unframed
84
Visual: Overall good condition. Two pinpoint-sized abrasions in the extreme right edge, at center. Very minor, occasional dust residue adhered to the surface along the upper edge, and a speck of grime near the
lower left corner.
Blacklight: No evidence of restoration.
Unframed
85
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Scattered chipped losses to lacquer at edges. Craquelure throughout. Verso with more scuffing and a 7” x 1.5” area of abrasion/indentation. With a 6” long touchup to outer edge at middle. Lacking casters.
86
Overall good condition with scattered scuffs and scratches commensurate with age.
87
Each overall good condition with scattered minor scuffs and scratches commensurate with age. The connection between telescoping standard and base with pitting to the finish. Bases with a few minor speckled losses to paint. Light grim to brushed steel components. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
88
Overall good condition with scattered scuffs and light scratches commensurate with age.
89
Overall good condition with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The metal components with oxidation, pitting, and indentations. Upholstery with creasing, rubbed wear, discoloration, and 11.5” long tear to seat edge. Edges and armrests with more rubbed wear and paint loss.
90
Overall good condition with minor shelf wear and inherent firing flaws commensurate with age.
91
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. With a 0.5” long scratch to figure’s right elbow and a 2” x 1” area of a few scuffs to the patina with faint subsequent verdigris.
92
Overall good condition with a few rice-sized flaws/ losses, possibly inherent in the material or artistic process.
93
Overall good condition with mild oxidation and scattered scuffs and scratches commensurate with age. Slight oxidation to gold and chrome finishes. Soiling to interior of base and adhesive residue to one outer side. Abstraction is loose from its base.
94
Overall good condition with minor soiling, dust accumulation, and some scattered spotted stains to front and right side proper. With two rice-sized chipped losses at lower right corners of composite.
95
Overall generally good condition. Heavy dust accumulation, slight surface scratches and grime, all commensurate with age. The resin with yellowing and cracks running throughout the block, possibly due to climate. The bells with pitting and verdigris. The hardware components with rusting.
Frame: 19” H x 14” W x 5” D
96
Overall good condition with scattered scuffs and scratches to shadow box frame commensurate with age. The back with wall-mounting hardware.
97
Overall good condition with minor wear and dust accumulation commensurate with age. Plinth with paint loss along two upper edges.
98
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
Frame: 23.75” H x 23.75” W x 3.5” D
99
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
Frame: 23.75” H x 23.75” W x 3.5” D
100
Overall good condition with minor shelf wear.
101
Overall good condition with shelf wear, very minor scuffs, and darkening/oxidation to bronze commensurate with age.
102
The bronze overall good condition with dust accumulation, scattered scuffs, and darkening/ oxidation to bronze commensurate with age. The base is a later custom element and the bottom edges
of bronze have traces of blue paint from the time of the base’s construction. The bronze is mounted on nails issued from the base and as such, is loose from its mounting.
103
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside.
104
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. DVD not tested.
105
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside.
106
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
107
Overall good condition. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner.
Framed under glass: 20.25” H x 20.25” W x 2.25” D
108
Each overall good condition with some creasing in the fabric commensurate with age.
109
Overall good condition. The full sheet with deckled edge. The colors good. A very pale 0.75” H x 0.5” W oval-shaped stain in the lower portion of the left edge. A few soft and very unobtrusive handling marks near the outer edges, visible only in raking light. Artist’s pinholes at each of the sheet corners. A small hinging remnant on the verso of the lower left sheet corner. The sheet is hinged to the back mat from the verso of the upper and lower right sheet corners.
Framed under Plexiglas: 33” H x 25.25” W x 2” D
110
Overall good condition. Minor scattered surface scuffs and scratches.
Overall with acrylic base: 21” H x 30” W x 12” D
111
Overall generally good condition. Some of the iridescent disks lifting very slightly at their edges. One of the disks at lower right with a pinhead-sized edge loss, attendant with a 2” long, delicate surface scratch
in the steel. Minor surface scuffs, smudges, delicate scratches, and grime showing primarily near the lower edge. Some excess epoxy on the verso, most likely in the hand of the artist.
Unframed
112
Overall good condition with scattered scuffs and light scratches commensurate with age.
113
Each overall good condition with scattered minor scuffs and scratched commensurate with age. The leather tabletop with faint drink rings. Upholstery in overall good condition.
114
With scattered scuffs, scratches, nicks, indentations, soiling, and dust accumulation commensurate with age. The top with some staining and darkening, with craquelure in the lacquer finish. With a few scattered small losses to veneer at edges. One hinge loose to cabinet door of left side proper, subsequently, the door does not line up exactly flush.
115
Overall good condition with very minor shelf wear commensurate with age. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.
116
Each overall good condition with tarnishing and light scratches commensurate with age.
117
Overall good condition with scattered scuffs, scratches, and indentations commensurate with age and use. Small losses and oxidation towards the upper edge of ignition end.
118
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Underside of ceramic with applied felt pads, then later mounted to acrylic with mounting putty.
119
Overall good condition with minor shelf wear, minor soiling, and inherent firing flaws commensurate with age.
120
Visual: Overall good condition. Two thin 1” vertical scuff marks at the center of the extreme left edge.
Blacklight: No evidence of restoration.
Frame: 39.5” H x 47” W x 3.5” D
121
Visual: Overall good condition. Pinholes in the upper and lower left corners.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 27.5” W x 3.25” D
122
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 16.5” H x 21.5” W x 3” D
123
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 26.5” W x 3.5” D
124
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 12.25” H x 16.125” W x 3.5” D
125
Visual: Overall good condition. Very fine, unobtrusive craquelure primarily in the upper right quadrant, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 39.5” H x 46.5” W x 3.5” D
126
Visual: Overall good condition.
Blacklight: No evidence of restoration
Framed: 22” H x 26” W x 2.25” D
127
Visual: Overall good condition. An unobtrusive, approximately 0.375” diagonal surface scratch near the upper edge, right of center, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 19.75” H x 25.75” W x 2.5” D
128
Visual: Overall good condition. The smallest, most unobtrusive area of craquelure with attendant flecks of pigment loss near the lower left corner.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 22.5” W x 2.5” D
129
Visual: Overall good condition. Dust and grime accumulation. A very unobtrusive pinpoint-sized abrasion in the sky, to the right of the sailboat. One 0.5” abrasion just below the signature at lower left, and one 0.75” abrasion to the left of the red birds in the lower right quadrant.
Blacklight: No evidence of restoration.
Frame: 24.25” H x 29” W x 2.25” D
130
Visual: Overall good condition. Scattered areas of minor frame abrasion along the extreme upper and left edges.
Blacklight: No evidence of restoration.
Frame: 23” H x 26” W x 2.25” D
131
Overall good condition with scattered scuffs and scratches commensurate with age. The upper glass top with a 1.5” long white residue abrasion near middle and another residue patch along edge measuring 2.5” long.
132
Each overall good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
Framed: 21.375” H x 15.5” W x 1.5” D
133
Overall good condition with inherent flaws in the found materials and general wear and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
134
Overall good condition with scattered scuffs and scratches commensurate with age. Scattered pitting to the stainless finish and minor oxidation. Some bolt holes are stripped.
135
Overall good condition.
136
Metal frame in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered losses of the powder coated finish throughout the lower part of the frame. Hide upholstery with some creasing and roughing up of the hair. The elastic supports beneath the upholstery are in good condition overall, the black leather pillow with scattered minor scuffs and scratches.
137
Overall good condition with scattered scuffs and scratches commensurate with age.
138
Overall good condition with a few scattered scratches to glass top commensurate with age.
139
Overall good condition with scattered scuffs and scratches and mild oxidation commensurate with age. The marble back with deeper scratches. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
140
Visual: Overall good condition. Slight paint shrinkage in the sleeve of the figure on the left.
Blacklight: No evidence of restoration.
Frame: 14.25” H x 14.5” W x 2” D
141
Visual: Overall generally good condition. Scattered stray flecks and delicate drips of pigment, most likely in the hand of the artist. Slight varnish discoloration and occasional small drips of stray pigment, most likely in the hand of the artist. Small areas of stable craquelure, including a 1” vertical hairline that slightly reveals the gesso underlayer.
Blacklight: No evidence of restoration.
Frame: 43” H x 52.5” W x 2” D
142
Visual: Overall good condition. Very slight wear along the extreme edges.
Blacklight: No evidence of restoration.
Unframed
143
Visual: Overall generally good condition. Dust accumulation and grime. Craquelure throughout, with an 8” H x 8.5” W area of finer craquelure in a spiderweb-like pattern in the lower left corner. Areas of unstable craquelure with attendant pigment losses, the largest approximately dime-sized in the lower left quadrant, and other smaller pigment losses, primarily in the lower half. A 52” vertical line of what seems to be scattered pigment along the left edge, presumably in the hand of the artist. Minor frame abrasion mostly along the lower portion of the extreme right edge.
Blacklight: No evidence of restoration.
Frame: 78” H x 60” W x 2.5” D
144
Overall good condition. A pea-sized pigment loss in the yellow pigment underneath the figure’s head. A few, very unobtrusive specks of pigment loss in the black pigment of the upper right quadrant. Various artist’s pinholes in the upper sheet corners. The sheet is loose, not matted.
Framed under glass: 37” H x 25” W x 1.25” D
145
Overall good condition with signs of wear and oxidation to bronze commensurate with age and use. Top with minor scattered chips to edge. Underside of top with heavy scratching and peeling to the finish. The chrome column with scattered light pitting. The base with a 0.25” chip to black coating at edge of rim.
146
Each with scattered scuffs and scratches and dust accumulation commensurate with age. Each with losses to leather cording, stiffness to leather, surface cracks, scratches, and rubbed wear at edges.
147
Overall good condition with scattered scuffs,
scratches, and nicks commensurate with age. Oxidation to brass legs. Rubbed wear/fading to wood finish on armrests. A few small losses to plastic covering of coiled springs. Upholstery in good condition with slight fading, rubbed wear, and mild discoloration at seat front edge.
148
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The upholstery in good condition.
149
Visual: Overall good condition. An unobtrusive fleck of stray red pigment in the lower portion of the sky, most likely in the hand of the artist. A possible 0.25” H x 0.5” W slight surface abrasion in the lower central portion of the lawn. A pea-sized abrasion at the tip of the lower left corner.
Blacklight: No evidence of restoration.
Frame: 62.5” H x 53” W x 2” D
150
Visual: Overall good condition. Unobtrusive, occasional flecks of stray pigment, possibly in the hand of the artist.
Blacklight: No evidence of restoration.
Frame: 31” H x 31” W x 2” D
151
Visual: Overall good condition. With margins. An occasional, very minor surface scuff in the image, visible primarily in raking light. Three unobtrusive, pinhead-sized flecks of stray pigment to the right of the “I”. A pale, pinpoint-sized foxmark in the lower portion of the left margin. The sheet is hinged to the back mat in two places from the verso of the upper margin edge.
Blacklight: No evidence of restoration.
Framed under Plexiglas: 31.75” H x 31.25” W x 1.75” D
152
Overall very good condition. With margins. The sheet is hinged to the back mat in two places from the verso of the upper margin edge.
Framed under glass: 26.75” H x 26.25” W x 1.25” D
153
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 41.5” H x 41.5” W x 2.25” D
154
Visual: Overall good condition. A quarter-sized area of minor craquelure near the center of the left edge. A few specks of stray white pigment scattered primarily in the lower half.
Blacklight: No evidence of restoration.
Frame: 49.5” H x 60.5” W x 2” D
155
Visual: Overall good condition. Small areas of grime accumulation, mostly along the extreme upper edge, near the right corner. An approximately 0.25” H x 1.25” W pigment loss near the upper edge, at right, and other occasional, unobtrusive pinhead-sized (or smaller) pigment losses. A very faint, 2.5” vertical hairline scratch in the house at the lower right corner. Slight frame abrasion showing primarily along the extreme upper edge.
Blacklight: Occasional, small areas of touch-up near the upper edge, attendant with the slight frame abrasion.
Unframed
156
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38” H x 50” W x 2.5” D
157
Visual: Overall good condition.
Blacklight: A vertical 11” H x 0.25” W area of touchup in the sky, at center.
Frame: 37.5” H x 31.5” W x 2.125” D
158
Visual: Overall good condition. Areas of minor craquelure scattered throughout, mostly visible in raking light. A dime-sized area of grime near the upper left corner, and a few other occasional specks of grime.
Blacklight: No evidence of restoration.
Frame: 50.25” H x 73” W x 3.25” D
159
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 33.25” H x 33.25” W x 2.25” D
160
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17” H x 17” W x 2.25” D
161
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 73.5” H x 25.25” W x 2.5” D
162
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Minor soiling throughout. With a 14” separation crack at the edge. As well, a 7.5” long separation crack to middle.
163
Overall good condition with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Scattered moisture spotting throughout, concentrated to underside, with a 5” x 2.5” area of staining to the paper cording.
164
Overall good condition with scattered scuffs, scratches, nicks, and areas of fading to wood finish commensurate with age and use. Seat supports replaced as well as the seat and back cushions. Upholstery in good condition with minor wear and dust accumulation.
165
Overall good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
166
Overall good condition with some creasing to shade. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
167
The shade with wrinkling throughout, scattered small
stains, and a few tears. Stand in overall good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
168
Each overall good condition with minor shelf wear commensurate with age. Volume II with small areas of offsetting from adhesive on tabs in portfolio wrapping. Volume III clamshell with one corner of applied title paper starting at lower left corner.
169
Overall good condition with minor shelf wear commensurate with age. Dust jacket in good condition with small fold crease at lower corner of front flap and a few scratches to front and back.
170
Each overall good condition with shelf wear and minor bumping/rubbing to edges and corners. Each with sticker applied to first free end paper: Pasadena Art Museum. ‘Colored’ with rice-sized tear to front cover at bottom edge. ‘Young’ with a lean to spine and binding starting to separate at front gutter. ‘Crackers’ with wear to upper edge of dust jacket.
171
Each overall good condition with minor shelf wear, very minor bumping to corners, and tanning to spines commensurate with age. ‘Apartments’ and ‘Lots’ with sticker applied to first endpaper recto: Pasadena Art Museum. ‘Apartments’ with two tears and attendant losses to glassine jacket. ‘Stations’ lacking glassine jacket. ‘Lots’ with tears along upper edge of glassine jacket.
172
Overall good condition with minor shelf wear and bumping to corners commensurate with age. A few minor tears to cover paper at spine and a 1” long crease at front upper corner. Mounting tabs holding front photograph are starting to unmount from cover, with a tear to bottom left tab.
173
Overall good condition with shelf wear, minor shelf wear and very minor bumping to corners commensurate with age. Dust jacket in good condition with scattered scratches, a 1” long scuff at upper front edge, and a pea-sized tear at spine.
174
Each: Overall good condition. Light scuffing, abrasion, and folding to the sheet edges and corners commensurate with age and handling. Slight levels of transfer from the crayon to the verso of each card. Each sheet is loose, not matted.
Each unframed
175
None examined out of paper wrapping. Each overall good condition. The box with wear, indentations, losses at edges, soiling, and shelf wear.
176
Each with scattered scuffs, scratches, nicks, indentations, and wear/fading to finish commensurate with age. One with a few small moisture stains to seat.
177
With scattered scuffs, scratches, nicks, indentations, and wear/fading to finish commensurate with age. Screws stripped, some hardware possibly updated. Seat back is loose form shock mounts.
178
Overall good condition with scattered scuffs, scratched, and nicks commensurate with age. Losses to checkerboard sticker. Minor soiling to edges and armrests.
179
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Swivel action with some resistance. More concentrated scuffing to legs. some fading and mild soiling to chair, concentrated at arms and seat area from use.
180
Overall good condition. Dust accumulation and specks of occasional grime. Rusting to the tops of the brads and occasionally on the metal collage, attendant with wear and age. Minor, thin surface scratches scattered throughout.
Frame: 16” H x 15” W x 2.25” D
181
Visual: Overall good condition. A few short, delicate, and unobtrusive surface scuffs near the upper corners, visible primarily under blacklight.
Blacklight: No evidence of restoration.
Unframed
182
Overall good condition. A very pale, rice-sized foxmark in the blank of the upper right quadrant. The paper is buckling very slightly, recto, from the hinge on the verso of the upper right sheet corner. Not examined out of the frame.
Framed under glass: 27” H x 22” W x 1” D
183
Overall generally good condition. Dust accumulation
throughout. An approximately pale 2” wide band of surface soiling/staining along the upper edge, mostly at left.
Unframed
184
Visual: Overall good condition. Approximately peasized areas of grime near the tips of the upper corners.
Blacklight: No evidence of restoration.
Frame: 31.25” H x 22.25” W x 2.5” D
185
Visual: Overall generally good condition. Dust accumulation and minor surface grime commensurate with the materials used. A few pinhead-sized pigment losses at the extreme upper and right edges.
Blacklight: No evidence of restoration.
Unframed
186
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
187
Visual: A few streaks of grime/residue scattered primarily in the outer edges and corners. Occasional areas of minor, scattered craquelure. Two 3” H x 1” W pressure marks along the left edge. A 12” H x 1” W band of smaller, hairline surface puckering in the upper portion of the right edge, with attendant water damage staining along the edge of the canvas. A thin 0.5” vertical pigment loss near the lower portion of the extreme left edge. A “dent” in the pigment in the upper portion of the extreme left edge.
Blacklight: No evidence of restoration.
Unframed
188
Visual: Overall good condition. Two rice-sized areas of pigment loss in the extreme upper edge, right of center.
Blacklight: No evidence of restoration.
Unframed
189
Visual: Overall good condition. Minor varnish
irregularities near the center of the work, visible primarily in raking light.
Blacklight: No evidence of restoration.
Unframed
190
Each overall good condition. The full sheets with deckled edges. Each work with either a central horizontal or vertical fold, likely in the hand of the artist. Each sheet is framed floating. One work was examined out of the frame and was tipped to the back mat from the verso of the upper sheet corners, and hinged in one place near the center of the work; presumably the three other works are tipped/hinged in the same manner as the one examined out of the frame.
Each framed under glass: 16.25” H x 13” W x 1.5” D
191
Overall good condition. A few areas of scattered residue primarily in the lower half. Scratches, dents, and creasing commensurate with the materials used.
Unframed
192
Overall generally good condition. Scratches, dents, and delamination commensurate with the materials used.
Unframed
193
Visual: Overall good condition. Occasional, minor surface scuffs, mostly in the outer edges. A pinheadsized pigment loss to the left of center, near the upper edge.
Blacklight: No evidence of restoration.
Unframed
194
Visual: Overall good condition. Faint, occasional, pinhead-sized stray pigment primarily in the lower right quadrant. A 5” horizontal faint surface scratch in the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 52” H x 40” W x 2.5” D
195
Each overall good condition with scattered scuffs and scratches commensurate with age. Scattered small areas of rust/oxidation with attendant paint loss. Wear and losses to glides.
196
Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Bottom edge with small losses from use. Interior of top portion with some soiling from use.
197
Each with weathering, fading, staining to interior from use, and scattered scuffs and scratches commensurate with age. Each stand with losses to the enamel and attendant rust/oxidation.
198
Each overall good condition with scattered scuffs and scratches commensurate with age.
199
Overall good condition. Scattered, small areas of adhesive, presumably in the hand of the artist. Not examined out of the frame.
Framed under Plexiglas: 73.25” H x 49.25” W x 2.5” D
200
Overall good condition
Framed under Plexiglas: 73.25” H x 49.5” W x 2.5” D
201
Overall good condition.
Framed under Plexiglas: 73.5 x 49.5 x 2.5
202
Overall good condition.
Unframed
203
Visual: Overall generally good condition. The pillowcase in each segment with scattered wrinkles and slight surface soiling. The pillowcase selected for use by the artist for the left segment appears to have already been of a darker cream shade than that on the right. Additionally, the pillowcase on the left shows various small, pale stains, and some delicate brown pigment in the upper right quadrant, all of which may be in the hand of the artist.
Blacklight: No evidence of restoration.
Each unframed. Overall: 30” H x 42” W x 1.5” D
204
Overall generally good condition. Minor dust accumulation. A quarter-sized hole in the canvas near the upper portion of the left edge. A thin, vertical, possible pencil mark in the lower left quadrant. Three 1” horizontal stitchings into the canvas near the left of the upper edge, presumably in the hand of the artist.
Frame: 50.5” H x 40.5” W x 1.25” W
205
Each overall good condition. One of the works with a minor, thin 2” line of pigment loss along the extreme upper edge, left of center.
Frame of each: 16.625” H x 12.75” W x 2” D
206
Overall good condition. Minor tears to the upper and lower edges of the back layered plastic, inherent to the creative process and hanging of the work.
Unframed
207
Overall good condition.
208
Scattered losses and unstable areas, primarily in the right half of the work, the largest approximately 3” H x 3.5” W in the upper right quadrant. It is possible that these features are in the artist’s own hand. Possible later restoration with slightly different concrete mixture at the center of the lower edge measuring approximately 4” H x 3.5” W.
Frame: 50” H x 44” W x 2.25” D
209
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Concentrated scratches to area where ball meets plane.
210
Intentionally antiqued. Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.
211
Each intentionally antiqued. Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.
212
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.
213
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age, concentrated at edges. Upholstery in good condition with animal hair.
214
With a small split in one of the legs at the bottommost segment’s juncture. Subsequently, the table leg is slightly loose. With scattered scuffs, scratches, nicks, and indentations commensurate with age. Lacking table extensions. With two deeper scratches to tabletop, one measuring 3” long, the other measuring 1.5” long. A few faint stains to tabletop.
215
Overall good condition with minor scuffs and scratches, minor soiling, and dust accumulation commensurate with age.
216
Each overall good condition with scattered scuffs and scratches commensurate with age. Light dome interiors with some flaking to paint, one with a crack in the paint to exterior at the juncture of the dome and standard.
217
Visual: Overall good condition. Occasional, minor scuff marks scattered primarily in the outer edges. Minor creasing and small indentations near the upper edge, inherent in the artist’s process.
Blacklight: No evidence of restoration.
Unframed
218
Overall good condition with scattered minor scuffs and scratches. One piece with mounted magnet starting to detached from metal form and attendant small chipped losses to enamel at edge.
219
Overall good condition.
220
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
221
Visual: Overall good condition.
Blacklight: No evidence of restoration
Frame: 80” H x 117” W x 2.5” D
222
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
223
Overall good condition. Artist’s pinholes in some of the sheet corners. As mentioned, each sheet is mounted to board, as issued.
Framed without glazing: 79.25” H x 37.25” W x 2.25”
224
Visual: Overall good condition. A slight pressure mark in the upper left quadrant visible mostly in raking light. Scattered minor surface scuffs, primarily near the outer edges, visible mostly in raking light. A few delicate and unobtrusive scratches to the epoxy, the longest extending diagonally approximately 4” near the center of the lower edge.
Blacklight: No evidence of restoration.
Frame: 32” H x 28” W x 2” D
225
Visual: Overall good condition. Minor, thin surface scratches to the epoxy scattered mostly in the outer edges. Occasional areas of mostly pinhead-sized pigment losses at each of the extreme corners, and some scattered areas along the extreme edges.
Blacklight: No evidence of restoration.
Unframed
226
Visual: Overall good condition. The painting is loose and lacks stretcher bars. Vertical creasing to the painted surface every 4”-5” due to being stored rolled. Very slight fraying of the burlap layer. The canvas and burlap are unevenly cut, presumably in the hand of the artist.
Blacklight: No evidence of restoration.
Unframed
227
Visual: Overall generally good condition. The painting is loose and lacks stretcher bars. Vertical creasing to the painted surface every 4”-5” due to being stored rolled. Scattered craquelure primarily in the black pigmented areas with attendant pigment loss. Scattered areas of pigment loss, the largest 2” H x 1.5” W, as well as lifting of the black pigment, primarily in the lower right quadrant and the center of the left edge. Very slight fraying of the burlap layer. The canvas and burlap are unevenly cut, presumably in the hand of the artist.
Blacklight: No evidence of restoration.
Unframed
228
Visual: Overall good condition.
Blacklight: A few flecks of touch-up scattered along the upper edge, at right. An uneven varnish application has been applied.
Frame: 33.25” H x 28.75” W x 2.5” D
229
Overall good condition. Not examined out of the frame.
Framed under glass: 19.75” H x 24.5” W x 1” D
230
Overall good condition.
Unframed
231
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
232
Visual: Overall generally good condition. Dust accumulation and grime scattered throughout. The edges of the canvas fraying and lifting from the board. A 2.25” thin band of pigment loss in the light green pigment of the lower right quadrant. A peasized puncture and pigment loss at the center of the extreme upper edge. An approximately 19” faint scuff mark near the lower portion of the left edge.
Blacklight: No evidence of restoration.
Unframed
233
Visual: Overall generally good condition. The top layer of mixed media and/or varnish in the upper half of the work has a slightly tacky, bubbled quality which appears to be part of the artist’s working method. A few small pigment losses, the largest measuring approximately 0.375” H x 0.25” W in the upper edge of the red pigment of the lower left quadrant. Dust accumulation and grime attendant with the materials used.
Blacklight: No evidence of restoration.
Frame: 38.25” H x 32.25” W x 1.25” D
234
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
235
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
236
Visual: Overall good condition. Occasional pea-sized areas of pigment loss along the extreme edges and corners, primarily on the left side. Very minor, unobtrusive, approximately pinpoint-sized areas of pigment loss scattered throughout the cream pigmented area, mostly visible in raking light.
Blacklight: A rice-sized area of touch-up on the handle of the pitcher.
Unframed
237
Visual: Overall good condition. A few scattered areas of frame abrasion with attendant, minor pigment losses along the extreme edges and corners.
Blacklight: No evidence of restoration.
Frame: 41.75” H x 31.75” W x 1.875” D (or reverse)
238
Visual: Overall good condition. Very minute, unobtrusive paint shrinkage in the dark brown pigment near the upper right corner, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 24” H x 20” W x 2.25” D
239
Visual: Overall good condition. Three delicate and unobtrusive vertical lines of stray pigment, to the left of center, the longest measuring 1.25”.
Blacklight: No evidence of restoration.
Frame: 109.5” H x 62.5” W x 2.5” D
240
Visual: Overall good condition. Slight frame abrasion in places along the extreme edges, concentrated primarily in the corners.
Blacklight: No evidence of restoration.
Frame: 45” H x 60” W x 2” D
241
Overall good condition. A very unobtrusive, approximately pinhead-sized pigment loss in the upper portion of the right edge. Occasional dimesized pressure marks scattered primarily in the outer edges, presumably in the artist’s hand and creative process.
Frame: 39.125” H x 43” W x 2.625” D
242
Visual: Overall good condition. A very slight, unobtrusive pinpoint-sized pigment loss near the lower edge, at center. Minor, occasional areas of abrasion along the extreme corners and edges.
Blacklight: A very thin 2.5” band of touch-up in the extreme upper edge, at left.
Frame: 28” H x 40” W x 2” D
243
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 26.5” H x 36.5” W x 2.25” D
244
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 21” H x 28” W x 1.75” D
245
Overall good condition. A pinpoint-sized foxmark in the upper edge, at right. Not examined out of the frame.
Framed under glass: 30.25” H x 23” W x 1.25” D
246
Overall generally good condition. The colors fresh. Cockling and curling to the lower edge and corners of the sheet, with attendant puckering and delicate craquelure to the paper’s prepared white surface in that same area. Framed floating, mounted to the back mat from the verso of the sheet edges. Not examined out of the frame.
Framed under Plexiglas: 28.5” H x 22.5” W x 2” D
247
Overall good condition. A very small and unobtrusive speck of grime adhered to the bridge of the figure’s nose. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 27” H x 22” W x 2” D
248
Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The yellow with soiling to edges and armrests.
249
With scattered scuffs, scratches, nicks, indentations, and wear/fading to finish commensurate with age. Areas around shock mounts either unfinished or the chair was later refinished and those areas were not. Some oxidation and losses to paint of metal frame. Scattered staining to the wood, with areas of darkening along underside side edges. With a white stripe down the middle of seat underside.
250
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The aluminum with some oxidation/pitting. Upholstery in good condition with some dust accumulation.
251
Overall good condition with scattered scuffs, scratched, and nicks commensurate with age. With minor soiling to armrests and a 2” diameter faint darkening ring stain to seat.
252
Overall good condition with scattered scuffs, scratched, and nicks commensurate with age. One glide/foot is a different color than the others.
253
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Some oxidation and yellowing to steel legs.
254
Overall good condition with scattered scuffs, scratched, and nicks commensurate with age. With some areas of slight discoloration to fiberglass. Legs with some oxidation.
255
Visual: Overall good condition. Varnish discoloration showing primarily in the upper sections of the first and second panels. A pea-sized pressure mark in the sky of the second panel. Small surface scuffs showing in places near the edges of the first, second, and fourth panels, generally 1” x 1” or smaller. Occasional minor scuffing with attendant small flecks of white pigment scattered in the center stretcher bar area of the fourth panel.
Blacklight: No evidence of restoration.
Unframed
256
Visual: Overall good condition. Scattered areas of minor abrasion along the extreme upper and lower edges and corners.
Blacklight: No evidence of restoration.
Unframed
257
Visual: Overall good condition. Dust accumulation and grime. Occasional, minor craquelure, primarily showing in the figure’s right arm, and in the lower portion of the wheel. Scattered foxing showing throughout the verso.
Blacklight: No evidence of restoration.
Frame: 71” H x 51” W x 2.25” D
258
Visual: Overall good condition. Dust accumulation, specks of grime, and minor varnish discoloration. Two rice-sized surface abrasions near the center of the lower edge. Minor soiling to the extreme upper edge of the canvas, not affecting the image. Scattered foxing throughout the verso.
Blacklight: No evidence of restoration.
Unframed
259
Visual: Overall good condition. Dust accumulation and specks of occasional grime. An approximately 5” unobtrusive horizontal line of craquelure near the center of the lower edge, primarily visible in raking light. Scattered foxing primarily on the verso of the right side of the canvas.
Blacklight: No evidence of restoration.
Unframed
260
Visual: Overall good condition. Dust accumulation and grime. Occasional, minor craquelure, primarily in the upper right quadrant. Scattered foxing showing throughout the verso.
Blacklight: No evidence of restoration.
Frame: 57.25” H x 41.25” W x 2.25” D
261
Visual: Overall good condition. Dust accumulation and specks of occasional grime. A few unobtrusive, scattered areas of abrasion in the extreme upper and lower edges and corners.
Blacklight: No evidence of restoration.
Unframed
262
Visual of each: Overall good condition.
Blacklight of each: No evidence of restoration.
Each unframed
263
Visual: Overall good condition. The canvas is slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Unframed
264
Visual of each: Overall good condition.
Blacklight of each: No evidence of restoration.
Each unframed
265
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
266
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
267
Steel bade with rust throughout. With scattered scuffs, scratches, shrinkage cracks, and separation at joints commensurate with age. A small chip to one corner.
268
Each overall good condition with scattered scratches, scuffs, nicks, and dust accumulation commensurate with age. Very mild scattered pitting to chrome finish. The upholstery with rubbed wear throughout, creasing, and scattered scratches.
269
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Some loss to finish of and scratching to the aluminum frame. Upholstery in good condition with scratches, rubbed wear, and scuffs, and creasing, concentrated to seat cushion.
270
Overall good condition with scattered scuffs, scratches, nicks, and dust accumulation commensurate with age. Steel components with losses to finish and mild oxidation. Label has been taped to underside. Upholstery in good condition.
271
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Some oxidation and yellowing to steel legs.
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Director, Fine Art
President, Auctioneer
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Specialist / Department Manager, Furniture and Decorative Arts
Cataloguer, Fine Art
Cataloguer, Fine Art
Vice President, Specialist
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Cataloguer, Furniture & Decorative Arts
Cataloguer, Silver, Western and American Indian
Director, Jewelry & Watches
Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Department Administrator, Trusts and Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Finance
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
PR Manager/Social Media
Graphic Designer
PHOTOGRAPHY
Katherine Halligan
Jeffrey J. Moran
Bobby Cullen
Ian Anderson
Lori Kassabian
Jenn Kurtz
Anne Spink
Madison Ari
Maranda Moran
Angela Past
Matthew Grayson
Grant Stevens
Sally Andrew
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Julia Kelley
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Maha Darwish
Jean Rapagna
Richard Corral
Joe Miranda
Joseph Corcoran
Romero Corral
Nathan Martinez
Brenda Smith
Brian Olivas
Photographer Keith Berson
Photographer
Photographer
Photography Assistant
FOUNDERS
Madison Torres
Matthew Mizerowski
Jacob Baer
Founder John H. Moran (1942-2017)
Co-Founder
Madeleine Moran
This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.
BUYER’S PREMIUMS:
BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.
Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards.
Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.
BIDDING INCREMENTS:
$100 - $475 @ $25 increments
$500 - $950 @ $50 increments
$1,000 - $1,900 @ $100 increments
$2,000 - $4,750 @ $250 increments
$5,000 - $9,500 @ $500 increments
$10,000 - $19,000 @ $1,000 increments
$20,000 - $47,500 @ $2,500 increments
$50,000 - $95,000 @ $5,000 increments
$100,000 - $190,000 @ $10,000 increments
$200,000 - $480,000 @ $20,000 increments
$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.
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Conditions of Sale
These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.
(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.
AFTER THE AUCTION
(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.
Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.
(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.
(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.
LIABILITY AND LIMITED WARRANTY
(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.
(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.
(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.
(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.
(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.
(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.
ADDITIONAL MATTERS
(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.
(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.
(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.
(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.
This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.
In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.
(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.
