Winter Modern & Contemporary — February 23, 2021 | John Moran Auctioneers by johnmoranauctioneers

Winter Modern & Contemporary Tuesday, February 23, 2021

Winter Modern & Contemporary Tuesday, February 23, 2021â&#x20AC;&#x201D;12pm

Sale 183 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Bree Hughes Head of Sale, Post-War and Contemporary Fine Art Specialist bree@johnmoran.com

Morgana Blackwelder Senior Vice President, Fine Art Director morgana@johnmoran.com

Bobby Cullen Junior Specialist, Senior Fine Art Cataloguer bobby@johnmoran.com

Mike Hook Fine Art Cataloguer mike@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

Hoofrish Patel Client Services hoofrish@johnmoran.com

1001

Anni Albers

(1899-1994, American) “TR I,” 1969 Color lithograph on Arjomari paper under Plexiglas, Gemini G.E.L., Los Angeles, CA pub./prntr., with full margins Edition 43/44, signed and dated in pencil lower right: Anni Albers / 69, blindstamped for Gemini G.E.L. and the copyright symbol, titled and numbered in pencil lower left, stamped for Gemini G.E.L. and numbered verso: AA68-215 Sheet: 19.75” H x 21.75” W; Image: 14” H x 16” W $3,000-5,000 Literature: G., 211 Notes: German born, American artist Anni Albers (1899-1994) is known for closing the gap between craft and fine art, but doing so was not her original intent. In the early 1920s when Anni studied at the infamous Bauhaus, an avant-garde German school for art and design, her heart was set on becoming a painter. However, she was coerced into pursing weaving classes instead...a more female-friendly art form. Despite the precarious origins of her beginnings in textiles, the loom proved to be a constant companion as she created woven works of art for over 40 years. It wasn’t until her 60s that she moved away from the physical demands of the loom and began producing works on paper made through various printmaking processes. Color lithographs like the present example is a very involved process with each color requiring a separate stone. Anni’s husband, Josef Albers was a well-known artist and color theorist. Anni and Josef shared a devotion to color but expressed it very differently. Josef gave Homage to the Square and focused on a methodical approach to the interaction of color; while Anni’s use of color came across as more expressive even though it was still often contained in geometric shapes. Although her later works were on paper, Anni Albers brought her rich textural background into her impactful color lithographs.

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1002

After Roy Lichtenstein

(1923-1997, American) As I Opened Fire (triptych), 1966 Each: Color offset lithograph on wove paper, from the edition of unknown size, Stedelijk Museum, Amsterdam, pub., the complete set, with full margins Each: Wet stamped for Roy Lichtenstein and the Stedelijk Museum verso Each: Sheet: 25.125” H x 20.875” W; Image: 24” H x 19.5” W $800-1,200 Literature: Corlett, App. 5

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1003

Roy Lichtenstein

(1923-1997, American) “Mirror #7” from the Mirror Series, 1972 Lithograph and color screenprint on Arjomari paper under Plexiglas, Gemini G.E.L., Los Angeles, CA, pub., with full margins Edition 63/80, signed, dated and numbered in pencil lower right: R. Lichtenstein, with the blindstamps for Gemini G.E.L. and the copyright symbol, stamped for Gemini G.E.L. and numbered verso: R.I. 72-440 Sheet: 39” H x 25.5” W; Image: 29.75” H x 17.5” W $5,000-7,000 Literature: Gemini G.E.L., 388; Mary Lee Corlett, 112 Notes: There were also 10 artist’s proofs.

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1004

Robert Rauschenberg

(1925-2008, American) “LA Uncovered #5” from the L.A. Uncovered series, 1998 Color screenprint on paper under Plexiglas, Gemini G.E.L. Los Angeles, CA, pub., the full sheet Edition 42/58, signed, dated and numbered in pencil lower left: Rauschenberg / 98, blindstamped for Gemini G.E.L. and the copyright symbol lower right 30.75” H x 22.25” W $4,000-6,000 Literature: Gemini, RR98-5254

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1005

Robert Rauschenberg

(1925-2008, American) “LA Uncovered #11” from the L.A. Uncovered series, 1998 Color screenprint on paper under Plexiglas, Gemini G.E.L. Los Angeles, CA, pub., the full sheet Edition 12/56, signed, dated and numbered in pencil lower edge: Rauschenberg / 98, blindstamped for Gemini G.E.L. and the copyright symbol lower right Sheet: 31” H x 22.5” W $4,000-6,000 Literature: Gemini, RR98-5257

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1006

Sam Francis

(1923-1994, American) Self Portrait, 1982 Aquatint etching on paper, 3EP, pub., Ikuru Kuwahara, prntr. Edition 8/20, signed in pencil lower right with the blindstamp for the printer, numbered in pencil lower left with the blindstamp for the publisher, and with the blindstamp for the copyright symbol Sheet: 15” H x 11.25” W; Image: 3.75” H x 2” W $300-500

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1007

Extra “O” Ghana Barbershop/Hairdressing sign Third-quarter 20th Century African School Oil on Board Unsigned 36” H x 24” W $300-500 Notes: Barbershops and hair salons may consist of a simple structure with a hand-painted sign nailed to its exterior. Sometimes a barber or hairstylist will fabricate the signs themselves. More often, these signs are painted on wood panels by self-taught sign artists who work in studios or independently. Such signs first appeared in urban areas to advertise services sometime during the 1930s to 1950s. American popular culture has long influenced contemporary hairstyles in Africa with named styles such as ìBoeingî and ìFord.

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1008

Attributed to Silvia Levenson

(b. 1957, Argentinian) “Cenetta Intima (Table for Two),” 1998 Kiln cast glass and wood Appears unsigned 16.5” H x 53.5” W x 31.5” D $800-1,200 Provenance: The Bullseye Connection Gallery, Oregon Private Collection, Florida, acquired directly from the above, 2004

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1009

Tadashi Sato

(1923-2005, American) Untitled, 1967 Oil on canvas Signed and dated lower right: Tadashi Sato / ‘67 20” H x 30” W $6,000-8,000 Provenance: The artist Private Collection, Tustin, CA, aquired from the above Notes: Japanese-American artist, Tadashi Sato’s vibrant career spanned the far reaches of the globe, from Honolulu to Manhattan. The artist exhibited and worked in both the epicenter of the artworld and in the distant Hawaiian islands, drawing inspiration from both sources. Sato was a practitioner of abstract expressionism, working in the orbit of Pollock and the other New York artists central to the movement. At the same time, Sato’s abstracted, painterly forms also found influence in his native Hawaii, where the colors and forms of the ocean, as well as the light and atmosphere, are evocative of his beloved islands.

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1010

Hunt Slonem

(b. 1951, American) “Tennessee Johnson City,” 1998 Oil on paperboard Signed, dated and titled verso 10” H x 8” W $3,000-5,000 Notes: Reminiscent of Warhol’s patterned canvases and vibrant silkscreen prints, Hunt Slonem explores color, form and repetition in much of his work. Stylistically, Slonem employs an expressionistic style of paint handing, exhibiting loose, gestural strokes. Birds are a frequent motif in the artist’s oeuvre, often originating from his own aviary. Other varieties of animals and plant life likewise factor into his prolific body of work.

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1011

Enrique Martinez Celaya

(b. 1964, Cuban/American) “Lost Letters,” 1995 Oil and mixed media on canvas Signed, dated and inscribed verso: Martinez Celaya, and with the copyright symbol / “indiferently - letters - but remote from me,” and with a poem by Pablo Neruda, “I skimmed them neither offended nor slighted, as if they were letters to other people, others like me, lost letters.” 72” H x 60” W $3,000-5,000 Provenance: Goldeen Gallery, Santa Monica, CA

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1012

Robert Jay Wolff

(1905-1977, American) Untitled (Abstract) from Conn. Series #53, 1968 Oil on canvas Signed and dated verso: R.J Wolff / June 1968 52” H x 48” W $5,000-7,000 Provenance: Canfield Gallery, Santa Fe, NM

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1013

Peter Tunney

(b. 1961, American) “THE TRUTH ALWAYS HAPPENS,” 2018 Acrylic and collage on canvas Signed dated and inscribed lower right: Pete / NYC, signed and dated again and inscribed verso: “Guaranteed original and authentic Created for Taj Majal - indistinct” 48” H x 72” W $3,000-4,000

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1014

Carrie Marill

(b. 1976, American) “Blue and White Matisse,” 2011 Acrylic on linen Unsigned, titled and dated on a gallery label affixed to the backing board 44” H x 34” W $2,000-3,000 Provenance: Lisa Sette Gallery, Scottsdale, AZ (Inv# 3979)

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1015

John Harvey McCracken

(1934-2011, American) Group (3), 2000 (three works) Each: Ink on paper under glass Each: Signed in pencil lower left, dated in pencil lower right, titled by repute Sheet of each: 11” H x 8.5” W $1,500-2,500 Provenance: The Estate of Jane Machon, Santa Fe, NM Private Collection, Tustin, CA, aquired directly from the above Notes: John McCracken was an Minimalist artist associated with the West Coast “Fetish Finish” and later “Light and Space” movements. He often employed industrial materials as well as commercial paints and resin finishes to the surfaces of his ultra sleek sculptures. Like many versatile artists of his era, he pursued printmaking as a means of continuing his lifelong explorations of formal qualities, in particular line, color and texture.

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1016

John Harvey McCracken

(1934-2011, American) Untitled (multi-color absract), 1975 Watercolor and gouache on paper under glass Signed and dated lower right: J. McCraken / 75 27” H x 39.75” W $6,000-8,000 Provenance: Gifted by artist to Jane Machon, Santa Fe, NM Notes: John McCracken was an Minimalist artist associated with the West Coast “Fetish Finish” and later “Light and Space” movements. He often employed industrial materials as well as commercial paints and resin finishes to the surfaces of his ultra sleek sculptures. Like many versatile artists of his era, he pursued printmaking as a means of continuing his lifelong explorations of formal qualities, in particular line, color and texture.

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1017

Stephen Dean

(b. 1968, French) Untitled, 1997 Acrylic on flannel laid to canvas Signed and dated in acrylic verso: Dean 18” H x 14” W $2,000-4,000

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1018

Richmond Burton

(b. 1960, American) Untitled, 2000 Oil on linen Signed and dated verso: R. Burton, titled on a gallery label affixed to the stretcher 30â&#x20AC;? H x 30â&#x20AC;? W $3,000-4,000 Provenance: Cheim & Read, New York, NY w w w. j o h n m o r a n . c o m

1019

Charles Arnoldi

(b. 1946, American) Untitled, 1988 Oil and acrylic on rag paper Signed and dated lower center: Charles Arnoldi, numbered verso: PAG 007 / GT/CA 1-88 W17 30.5â&#x20AC;? H x 44.25â&#x20AC;? W $2,000-4,000 Provenance: Pamela Auchincloss Gallery, New York, NY

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1020

I Made Wianta

(1949-2020, Balinese) Untitled, 1996 Mixed media on canvas Signed and dated lower right: Wianta 35â&#x20AC;? H x 35â&#x20AC;? W $500-700

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1021

Jonas J. Fendell

(1924-1994, American) “My Landscape” Acrylic, resin and oil on masonite Signed, titled and inscribed verso: j. Fendell / “Balt. Md.” 15.75” H x 49.75” W $3,000-5,000

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1022

George Braque

(1882-1963, French) Cubist still life with fruit and guitar printed by Georges Visat (b. 1910, French), circa 1950 Engraving and aquatint on wove paper under Plexiglas, G. Visat, France, prntr., with full margins Edition 35/100, signed in pencil lower right: G. Braque, and with the printer’s stamp, numbered in pencil lower left Sheet: 19.25” H x 30” W; Sight: 15.75” H x 25” W; Image: 13” H x 23.25” W $2,000-3,000 Provenance: Sale: Bonhams, Los Angeles, CA, “Prints & Multiples,” May, 7, 2019, Lot 15

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1023

Nan Goldin

(b. 1953, American) “Valerie in the taxi, Paris,” 2001 Cibachrome on paper under glass Edition 38/100, signed, dated, titled, numbered and inscribed on a gum label affixed verso: Nan Goldin / “Special edition for Phaidon Press” Sheet:15” H x 23.75” W; Sight: 14.75” H x 21” W $600-800 Provenance: The Collection of Darma Demama

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1024

After Salvador Dalí

(1904-1989, Spanish) “Trojan Horse” Bronze on brown marble base Signed: Salvador Dali; Edition: H.C. 4/50; Further marked to bronze base: Fonderie St. Maur, Center Art-Hawaii Horse: 17.5” H x 12” W x 5.5” D $3,000-5,000 Notes: Bruce Hochman O.S. has verified the authenticity of this piece.

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1025

Salvador Dalí

(1904-1989, Spanish) “Hidden Faces,” The Dial Press, New York, 1944 Ink on paper Signed, inscribed, and doodled 8.25” H x 5.875” W x 1.5” D $5,000-7,000 Provenance: The artist Private Collection, Southern California, acquired directly from the artist while working together at Disney Studios, 1946 Through descent to the present owner Notes: Bruce Hochman O.S. has verified the authenticity of this piece.

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1026

Salvador Dalí (1904-1989, Spanish)

Two works “Tauromachie III,” 1968 Color lithograph with embossing on Japon Nacre paper under glass Sight: 25” H x 19” W; Sheet: 30” H x 22” W, with full margins Edition XV/L, signed in pencil lower right: Dali, editioned in pencil lower left “Tauromachie V,” 1968 Color lithograph with embossing on Japon Nacre paper under glass Sight: 25” H x 19” W: Sheet: 30” H x 22” W, with full margins Edition XXIX/L, signed in pencil lower right: Dali, editioned in pencil lower left $3,000-4,000 Literature: Michler/Lˆpsinger, 1220-1224 Notes: There is also an edition of 150 in Arabic numerals on Rives paper. Bruce Hochman O.S. has verified the authenticity of this piece.

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1027

Fernand Leger

(1881-1955, French) “Nature morte aux fruits,” 1948 Color lithograph on Arches paper Edition 49/75, signed in pencil lower right: F. Leger, numbered in pencil lower left, Arches watermark lower center Sheet: 19.75” H x 25.75” W; Image: 13.5” H x 18” W $1,000-2,000 Literature: Saphire, 18 Notes: Fernand Leger embraced the tenants of cubism while retaining recognizable forms, creating what he termed “tubism.” His approachable, populist aesthetic has often been interpreted as aligning with his socialist political leanings, which became more entrenched following the Second World War. Colorful, robust and animated, Leger’s familiar style is readily apparent in the present lithograph. As a choice of subject, the still life pays homage to the history of art, recalling the Dutch still life tradition, while also evoking Cezanne’s experiments with the abstraction of form. Leger also harkens back to similar nature morte aux fruits subjects by Picasso and fellow members of the twentieth-century avant-garde.

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1028

Pablo Picasso

(1881-1973, Spanish) “Lampe Femme,” 1955, A.R. 295 Terre de faÔence ceramic vase Edition of 100; Stamped: Madoura / Plein Feu / d’AprËs Picasso; Partial transport label to underside and full transport label with the piece: Andre Chenue & Fils / 24/64/2 15” H x 8” W x 5.5” D $15,000-20,000 Provenance: Estate of Jacqueline Roque Picasso Purchased from Hammer Galleries, New York Acquired by decent to present owner Literature: Hammer Galleries, “Picasso: Unique Ceramics from the Estate of Jacqueline Picasso,” New York, 1999, p. 12. Notes: Among the most influential and prolific artists of the twentiethcentury, Pablo Picasso was instrumental in the development of Cubism, Surrealism and Expressionism. In addition to an ever-shifting aesthetic sensibility, he embraced diverse media from painting and sculpture to prints, drawings, ceramics, and even jewelry. The present work, “Lampe Femme,” has an esteemed provenance, originating from the collection of Picasso’s second wife and longtime muse, Jacqueline Picasso. She sold the vase to Hammer Galleries in New York, where it was purchased by the present collector. Picasso met Jacqueline at Madoura Pottery, the ceramic workshop where many of the artist’s works in that medium were produced. Jacqueline was a studio assistant before they commenced a romantic relationship and later married. Together for more than 20 years, she is a frequent subject of his late paintings, until his death in 1973. “Lampe Femme” was produced at the Madoura studio. Attracted by the versatility of clay, Picasso not only mastered traditional ceramic forms but invented new ones. In this example, a technical achievement of firing, Picasso overlays the face of a woman onto this unique shaped vessel. He hand-painting her features in a pleasing blue that is reminiscent of the Mediterranean Sea, not far from the Cote D’Azur pottery studio. In characteristic form, Picasso achieves harmony of proportion coupled with unmatched innovation. This lot is accompanied by the Hammer Galleries catalogue and the Andre Chenue & Fils transport label.

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1029

Eduardo Chillida

(1924-2002, Spanish) “Barcelona I,” 1971 Lithograph on cream wove paper, Sala Gaspar, Barcelona, pub., Damian Caus, Barcelona, prntr. Edition P.A. (from an edition of 75), signed in pencil lower right: Chillida, editioned in pencil lower left 28” H x 19.75” W $1,500-2,000 Literature: Van der Koelen, 7018

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1030

Antoni Tàpies

(1923-2012, Spanish) Untitled, (abstract), 1971 Color lithograph on paper, Sala Gaspar, Barcelona, pub. Edition P.A. from an edition of 100, signed in pencil lower right: tapies, editioned in pencil lower left 35.5” H x 25.5” W $1,000-2,000 Literature: M. Galfetti, “Antoni T·pies. Obra Gr·fica 1947-72,” Barcelona, 1973, plate 286, page 176

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1031

Antoni Tàpies

(1923-2012, Spanish) Untitled plate 9, from the suite of 17, “Nocturn Matinal,” 1970 Color etching on Guarro paper, La Poligrafa, Barcelona, pub. Edition 16/100, signed in pencil lower right: Tapies, numbered in pencil lower left, signed again, titled, numbered and inscribed verso: No 032 / “original etching” Sheet: 30.25” H x 24.5” W; Image: 19.5” H x 25.5” W $600-800 Literature: M. Galfetti, “Antoni T·pies. Obra Gr·fica 1947-72,” Barcelona, 1973, no 245, page 152 Notes: There were also 15 hors commerce proofs.

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1032

Antoni Tàpies

(1923-2012, Spanish) “A4,” 1985 Color etching and aquatint with carborundum on Guarro paper (with watermark) under Plexiglas, La PolÌgrafa, Barcelona, pub., the full sheet Edition 41/99, signed in pencil lower right: Tapies, numbered in pencil lower left 29.75” H x 29.25” W $3,000-4,000 Literature: Galfetti, 1016

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1033

John Nelson Battenburg

(1931-2012, American) “Aviator” Patinated bronze on acrylic base Signed and dated: JB / dated indistinctly 8.25” H x 5.5” W x 6” D; Overall: 9.25” H x 5.5” W x 6.25” D $500-700

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Edward Ruscha

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1034

Edward Ruscha

(b. 1937, American) “Landmark Decay,” 2006 Color lithograph on wove paper under Plexiglas, Hamilton Press, Venice, CA, pub./prntr., with full margins Edition 3/70, signed and dated in pencil lower right: Ed Ruscha, edition numbered in pencil lower left, with the blindstamp for the publisher/printer, Hamilton Press, Venice, CA, numbered verso: EH587-06ER Sheet: 9.25” H x 13.25” W; Image: 3.5” H x 9” W $3,000-4,000 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to lament the imagined ruin of one of American’s most iconic structures, the Hollywood Sign. The sketchy, abstracted quality underscores the imagined impermanence of this legendary LA monument. Like Warhol and other pop artists, the notion of celebrity and Hollywood, itself, plays a reoccurring and conflictual role in Ruscha’s oeuvre.

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Edward Ruscha

1035

Edward Ruscha

(b. 1937, American) “Further Landmark Decay,” 2006 Color lithograph on Hahnemuhle wove paper under Plexiglas, Hamilton Press, Venice, CA, pub./prntr., with full margins Edition 3/50, signed and dated in pencil lower right: Ed Ruscha, edition numbered in pencil lower left, with the blindstamp of the publisher/printer, Hamilton Press, Venice, CA, with the watermark for Hahnemuhle paper, Dassel, Germany, numbered verso: EH592-06ER Sheet: 9.25” H x 13.25” W; Image: 3.5” H x 9” W $3,000-4,000

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Edward Ruscha

1036

Edward Ruscha

(b. 1937, American) “Reloj de Arena,” 1988 Color etching on handmade paper (with watermark) under Plexiglas, Ediciones PolÌgrafa, Barcelona, pub., Poligrafa Obra Grafica, Barcelona, prntr., with full margins Edition 25/45 (there were also 5 artist’s proofs), signed and dated in pencil lower right: Ed Ruscha, numbered in pencil lower left Sheet: 29.75” H x 22” W; Image: 18.25” H x 13.25” W $6,000-8,000 Literature: Engberg, 166 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre tends to incorporate cheeky text and glorify seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to highlight two methods of time keeping, ancient and modern. Reloj, the title, meaning watch in Spanish, is used by Ruscha to describe both an hourglass and watch bezel. The blurry, abstracted quality implies the subjectivity and impermanence of time.

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Edward Ruscha

1037

Edward Ruscha

(b. 1937, American) “Reloj,” 1988 Color etching with aquatint on handmade paper (with watermark) under Plexiglas, EdiÁiones Poligrafa, Barcelona, pub., with full margins Edition 25/45, signed and dated in pencil lower right: Ed Ruscha, numbered in pencil lower left Sheet: 29.75” H x 22” W; Image: 18.25” H x 13.25” W $6,000-8,000 Literature: Engberg, 163 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre tends to incorporate cheeky text and glorify seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to highlight two methods of time keeping, ancient and modern. Reloj, the title, meaning watch in Spanish, is used by Ruscha to describe both an hourglass and watch bezel. The blurry, abstracted quality implies the subjectivity and impermanence of time.

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Edward Ruscha

1038

Edward Ruscha

(b. 1937, American) “Brown Course of Empire, State I,” 2005 Color lithograph on wove paper under Plexiglas, Hamilton Press, Venice, CA, pub., with full margins Edition 3/35, signed and dated in pencil lower right: Ed Ruscha, edition numbered in pencil lower left, with the blindstamp for Hamilton Press, Venice, CA, numbered verso: EH581-05ER Sheet: 18” H x 15” W; Image: 11.5” H x 9.5” W $3,000-4,000 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to pay false tribute to one of American art’s most iconic painting cycles, Thomas Cole’s Course of Empire (183436). The epic nineteenth-century series was painted on five canvases, which together expressed an inevitable forward march of progress in western civilization. Such a notion has come to be perceived with increasing scrutiny and criticism by revisionist historians. The utilitarian architecture of Ruscha’s tire shops and trade schools denounce Cole’s thesis, while likewise acknowledging their inescapable global ubiquity.

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Edward Ruscha

1039

Edward Ruscha

(b. 1937, American) “Black Course of Empire, State II,” 2005 Lithograph on Hahnemuhle wove paper under Plexiglas, Hamilton Press, Venice, CA, pub., with full margins Edition 3/35, signed and dated in pencil lower right: Ed Ruscha, numbered in pencil lower left, with the blindstamp for Hamilton Press, Venice, CA, with the watermark for Hahnemuhle paper, Dassel, Germany, inscribed verso: EH581 II-05ER Sheet: 18” H x 15.25” W; Image: 11.75” H x 9.5” W $3,000-4,000 Notes: There were also 20 artist’s proofs. Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to pay false tribute to one of American art’s most iconic painting cycles, Thomas Cole’s Course of Empire (1834-36). The epic nineteenth-century series was painted on five canvases, which together expressed an inevitable forward march of progress in western civilization. Such a notion has come to be perceived with increasing scrutiny and criticism by revisionist historians. The utilitarian architecture of Ruscha’s tire shops and trade schools denounce Cole’s thesis, while likewise acknowledging their inescapable global ubiquity.

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Edward Ruscha

1040

Edward Ruscha

(b. 1937, American) “Course of Empire,” 2005 Color lithograph on B.F.K. Rives paper under Plexiglas, Hamilton Press, Venice, CA, pub., with full margins Edition 17/50, signed and dated in pencil lower right: Ed Ruscha, edition numbered in pencil lower left, with the blindstamp for Hamilton Press, Venice, CA, with the watermark for B.F.K. Rives, numbered verso: EH580-05ER Sheet: 18” H x 15.25” W; Image: 11.5” H x 9.25” W $6,000-8,000 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor to pay false tribute to one of American art’s most iconic painting cycles, Thomas Cole’s Course of Empire (183436). The epic nineteenth-century series was painted on five canvases, which together expressed an inevitable forward march of progress in western civilization. Such a notion has come to be perceived with increasing scrutiny and criticism by revisionist historians. The utilitarian architecture of Ruscha’s tire shops and trade schools denounce Cole’s thesis, while likewise acknowledging their inescapable global ubiquity.

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Edward Ruscha

1041

Edward Ruscha

(b. 1937, American) “Music,” 2014 Color lithograph on Arches Cover Cream paper under glass, Hamilton Press, Venice, CA/Los Angeles Music Center, pubs., Hamilton Press, prntr., the full sheet Edition 12/60, signed and dated in pencil lower right: Ed Ruscha, numbered in pencil lower left, and blindstamped for the printer, Hamilton Press Sheet: 22.5” H x 18” W $3,000-5,000 Notes: Ed Ruscha is among the most celebrated Los Angeles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal imagery, often with a playful perspective inspired by advertising. In the present work, Ruscha employs his clever sense of humor through the juxtaposition of a regular ledger line of music and a distorted one below, implying cacophonous and dissonant sound. The work recalls experimental twentieth century music such as that of John Cage, as well as his penchant for absurdist imagery and surrealistic tendencies. A copy of the Hamilton Press printing documentation accompanies this lot.

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1042

Theodore Waddell (b. 1941, American)

Four works “Angus I-State II,” 1985 Lithograph on paper under Plexiglas 22.25” H x 28.25” W Edition Printer’s Proof, signed and dated in pencil lower right: Ted Waddell / 85, titled in pencil lower center, editioned in pencil and blindstamped lower left “Longhorn-State II,” 1985 Lithograph on paper under Plexiglas 22.25” H x 28” W Edition Printer’s Proof, signed and dated in pencil lower right: Ted Waddell / 85, titled in pencil lower center, editioned in pencil and blindstamped lower left “Longhorn-State I,” 1985 Lithograph on paper under Plexiglas 22.25” H x 28” W Edition Printer’s Proof, signed and dated in pencil lower right: Ted Waddell / 85, titled in pencil lower center, editioned in pencil and blindstamped lower left “Angus I-State I,” 1985 Lithograph on paper under Plexiglas 22.25” H x 28” W Edition Printer’s Proof, signed and dated in pencil lower right: Ted Waddell / 85, titled in pencil lower center, editioned in pencil and blindstamped lower left $2,000-4,000 Notes: This series of prints was a special edition put out for a special event for the California Cattlemen’s Association.

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1043

James Gill

(b. 1934, American) Girl with Violin, 1964 Oil on panel under glass Signed and dated lower right: Gill / 64 20” H x 14” W $2,000-4,000 Provenance: The collection of Richard Dorso Sale: Los Angeles Modern Auctions, Los Angeles, CA, “ The Collection of Richard Dorso,” October 9, 2011, Lot 48

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1044

John Charles Haley

(1905-1991, American) “Mother and Child,” 1975 Ebony on wood base Signed: Haley 21” H x 10” W x 6.25” D; Overall: 23” H x 11.25” W x 6.25” D $800-1,200 Provenance: George Krevsky Gallery, 77 Geary St, San Francisco, CA, 91408 Exhibitions: “John Haley: A Retrospective,” Richmond Art Center; University Art Gallery, Chico State University; and Bakersfield Museum of Art, 1993-1994, catalogue #61, page 63.

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1045

John Charles Haley

(1905-1991, American) Untitled, 1952 Polychromed wood on wood base Signed and numbered: Haley / #341 17” H x 7” W x 6” D; Overall: 18” H x 7.75” W x 6.5” D $1,000-1,500 Provenance: George Krevsky Gallery, 77 Geary St, San Francisco, CA, 91408 Exhibitions: “John Haley: A Retrospective,” Richmond Art Center; University Art Gallery, Chico State University; and Bakersfield Museum of Art, 1993-1994, catalog #32, page 62.

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1046

John Charles Haley

(1905-1991, Berkeley, CA) “Tonalea- Monument Valley, Flock of Sheep,” 1947 Oil on board Signed upper left: John Haley, titled and dated on a gum label affixed verso 25” H x 30” W $1,000-2,000

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1047

Nyoman Gunarsa

(1944-2017, Balinese) “Bala Dewa,” 1989 Oil on canvas Signed and dated lower right: 89, titled by repute 57” H x 57” W $2,000-3,000

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1048

Agbagli Kossi

(1935-1991, Togo) “Mami Wata” Wood, pink lacquer, and paint 35” H x 16.25” W x 12” D $1,000-2,000

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1049

William Theophilus Brown

(1919-2012, American) “Woman with Red Chair,” 1961 Oil on paper Signed and dated lower right: William Brown / 61 11” H x 8.5” W $1,000-2,000 Provenance: Felix Landau Gallery, Los Angeles, CA Collection of Barbara Pie Levee, Los Angeles, CA Private Collection, Denver, CO, by descent Sale: Heritage Auctions, Dallas, TX, “Fine & Decorative Arts Including Estates Signature Auction,” September 12, 2015, Lot 63658

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1050 Le Pho

(1907-2001, Vietnamese) “Bouquet ChampÍtre” Oil on canvas Signed lower right: Le Pho, titled on the stretcher 18” H x 11” W $10,000-15,000 Notes: Born in Vietnam, Le Pho lived and worked between Paris and Hanoi, moving back and forth several times to teach fine art and pursue his painting practice. Such internationalism came to inform Pho’s distinct aesthetic: a subtle blend of Asian influences and European forms. This Impressionistic still life recalls earlier examples of the genre in the history of western art. Likewise, the work also draws upon the bushiness, delicacy and linear quality found in eastern ink wash paintings celebrating nature. Colorful, soft and appealing, the work typifies Le Pho’s oeuvre.

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1051

Jonathan Borofsky

(b. 1942, American) “Numbered Money,” 1989 Silkscreen with money under Plexiglas, Gemini G.E.L., Los Angeles, CA, pub. Edition 2/35, signed and numbered lower left: J.B., blindstamped with the copyright symbol, blindstamped for the publisher 25.75” H x 21.75” W $1,000-2,000 Notes: A sheet of US currency is encased between two sheets of screenprinted Plexiglas. Each sheet of Plexi was screened consecutively with four 7-digit “Borofsky numbers” conceived by the artist.

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1052

Andy Warhol

(1928-1987, American) “S&H Green Stamps,” 1965 Offset color lithograph on paper under Plexiglas, Institute of Contemporary Art, Philadelphia, pub., Eugene Feldman, prntr. From the edition of approximately 300, initialed in graphite by Fred Hughes verso; retains Andy Warhol Estate stamp verso 23” H x 22.75” W $2,000-3,000 Literature: F. Feldman and J. Schellmann. 2003. #II.9 Notes: Ever the art world provocateur, Warhol was fascinated by the ripe possibilities of applying modern mechanization techniques to his artistic practice. Much of Warhol’s celebrated oeuvre takes the form of silkscreen prints that call attention to themes related to modern-day capitalistic practices and society’s insatiable preoccupation with fame. S&H Green Stamps is ripe with visual pun, reflecting the now-defunct retailer’s actual customer loyalty trading stamps, while simultaneously alluding to the stamp-based silk-screen process Warhol employed to create the work of art itself. The print is indicative of Warhol’s humor, as well as his predilection for ready-made, pop culture imagery. From an edition of approximately 300 signed works, a larger unsigned run of nearly 6,000 prints were employed at exhibition as Warhol’s exhibition announcements.

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1053

Andy Warhol

(1928-1987, American) “Ladies and gentleman” (one print from the set of ten), 1975 Color screenprint on Arches wove paper, Luciano Anselmino, Milan, Italy, pub., Alexander Heinrici, New York, prntr. Edition 50/125 (there were also 25 artist’s proofs), signed, dated and numbered verso: Andy Warhol / 75 Sheet: 43.25” H x 28.5” W; Image: 32.25” H x 23” W $7,000-9,000 Literature: Ed. Feldman and Shellmann, “Andy Warhol Prints Catalogue RaisonnÈ, 1962-1987,” New York, 1997, p. 128, no. 129 Notes: Ever the art world provocateur, Warhol was fascinated by the ripe possibilities of applying modern mechanization techniques to his artistic practice. Much of Warhol’s celebrated oeuvre takes the form of silkscreen prints that call attention to themes related to modern-day capitalistic practices and society’s insatiable preoccupation with fame. By 1975, Warhol had shifted attention from his earlier iconic color-block celebrity portraits, choosing to instead delve into New York’s thenmarginalized cross-dressing community. This distinct portrait series, “Ladies and Gentleman,” is derived from Warhol’s Polaroid photographs taken at the Gilded Grape nightclub. Warhol then transferred the images to silkscreen, declaring their colorful personalities and penchant for cosmetics through a superimposed patchwork of color. Warhol imbues these subjects with the same heroic quality befitting his famous faces, a celebration of the panache and glamour associated with the provocative cross-dressing culture.

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1054

Dominic Besner

(b. 1965, Canadian) “Petite quadrille des carrousels” Oil on canvas Signed lower center: Besner, titled on the stretcher, numbered verso: -1375F110636” H x 24” W $1,000-1,500

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1055

Dominic Besner

(b. 1965, Canadian) “L’oeil du recit,” abstract face Acrylic on canvas Signed lower left: Besner, signed again, titled and numbered verso: -2352 O 1005 60” H x 24” W $2,000-3,000

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1056

Claes Oldenburg

(b. 1929, Swedish/American) “Geometric Mouse: Scale D (Paper), ‘Home-made’,” 1971 Offset lithograph on wove paper laminated to five cardboard elements with die-cut, stainless steel chain and wire and nickel-plated fasteners, shrink wrapped as issued, Gemini G.E.L., Los Angeles, CA, pub. From the edition of approximately 3000, artist’s printed name, title and date lower right 19.5” H x 16.5” W $600-800 Literature: Axsom and Platzker, 73; Gemini, 295

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1057

Paul John Wonner

(1920-2008, American) “Saul Blinded,” 1971 Pencil, acrylic and gouache on paper Signed lower right: Paul Wonner, titled and dated on a gallery tag affixed to a remnant of a previous backing board, signed, dated and titled again on a remnant of a previous backing board 17” H x 14” W $1,000-2,000 Provenance: Felix Landau Gallery, Los Angeles, California Collection of Bernard and Rebecca Reis, New York Collection of Barbara Poe Levee, Los Angeles, CA, by descent Private Collection, Denver, Colorado, by descent Notes: Two remnants of a previous backing board with a Felix Landau Gallery tag and the artist’s signature accompany this lot.

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1058

M Louise Stanley

(b. 1942, Emeryville, CA) “Naughty Girls,” 1974 Watercolor on paper under glass Initialed and dated lower right: MLS, titled on a gallery label affixed to the backing paper 7.5” H x 6” W $300-500 Provenance: Exchange Gallery & Sculpure Garden, San Francisco, CA

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1059

M Louise Stanley

(b. 1942, Emeryville, CA) “Artist Burying a Reject in the Dead of Night,” 1981 Watercolor on paper under glass Initialed and dated lower right: MLS / ‘81 10” H x 13.75” W $300-500

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1060 KAWS

(b. 1974, American) Resting Place (Black), 2013 Cast vinyl Stamped: KAWS / ..13 / Medicom Toy / 2013 / China Edition of 500 9” H x 8.25” W x 10” D $3,000-5,000

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1061 KAWS

(b. 1974, American) Pincocchio & Jiminy Cricket, 2010 Cast vinyl Stamped: KAWS / Disney / Medicom Toy / 2010 / China Edition of 500 Larger: 10.25” H x 5” W x 4.75” D; Smaller: 2.25” H x 1” W x 1.25” D $5,000-7,000 Notes: Picking up the pop art mantle from Andy Warhol, Jeff Koons and Takashi Murakami, Kaws is the art world’s latest rebel blurring the lines between commercial and artistic output. Kaws modifies recognizable cultural icons, recalling Disney characters, popular cartoons and figures of his own design, such as Companion. The artist/ designer relies upon on a cast of repeating figures, instantly identifiable as his own due to their graphic quality, X’s for eyes and head protrusions. Kaws’ works are sold as toys, paintings, and prints, typifying his cross-market appeal and unmatched ability to straddle high and low art.

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1062

Rick Wolfryd

(b. 1953, American) After KAWS “Gone” 2019, 2020 Vinyl and beads Signed and dated: Rick Wolfryd / T.P. 2020 / KAWS 19 Gone / Medicom Toy China 13.5” H x 14” W x 5” D $3,000-5,000

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1063

Rick Wolfryd

(b. 1953, American) After KAWS “Astroboy” 2012, 2020 Vinyl and beads Signed and dated: Rick Wolfryd / T.P. 2020 14.5” H x 6.25” W x 3.75” D $3,000-5,000

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1064

Adam Fuss

(b. 1961, American) Untitled (sunflower), 1998 Unique cibachrome photogram on paper under glass Titled and dated on a gallery label affixed to the backing board 14â&#x20AC;? H x 11â&#x20AC;? W $4,000-6,000 Provenance: James Kelly Contemporary, Santa Fe, NM

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1065

Dominic Besner

(b. 1965, Canadian) “Les betes a cornes” Acrylic on canvas Signed center right: Besner, titled lower center, signed and titled again on the stretcher, numbered verso: -1347F0902 40” H x 30” W $1,000-1,500

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1066

Dominic Besner

(b. 1965, Canadian) “La derive de fanel” Oil on canvas Signed lower right: Besner, signed again, titled and numbered verso: -2351O100425” H x 24” W $800-1,200

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Condition Reports

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1001 Generally good condition. Frame: 20” H x 22” W x 1” D 1002 Each: Generally good condition. Very minor toning to the paper. The paper is loose, not mounted. Each: Unframed.

Blacklight: Spots of grime fluoresce under blacklight.

Frame: 39.25” H x 25.75” W x 1.5” D

1010 Visual: Generally good condition.

1004 Generally good condition. The paper is gently rippled. The paper with deckled edges. Framed floating and hinged to the back mat.

Blacklight: No evidence of restoration under blacklight.

1005 Generally good condition. The paper is gently rippled. The paper with deckled edges. Framed floating and hinged to the back mat.

Condition Reports

1009 Visual: Generally good condition. Stretcher bar creases along the four edges and down the center. Scattered lines of fine craquelure associated with the stretcher bar creases. Small spots of surface dirt and grime scattered throughout.

1003 Generally good condition. A light handling crease upper left. A .75” light indention to the paper upper edge center.

Frame: 37.75” H x 29.75” W x 1” D

117

1008 Overall good condition with scuffs and light scratches commensurate with age. Minor chips along glass edge. Light nicks and wear to wooden legs.

Frame: 21” H x 31” W x 1.75” D

Frame: 13.75” H x 11.75” W x 1.25” D 1011 Visual: Generally good condition. A 5” light surface scratch upper center. A 4” x 3” scattered area of craquelure in the center. A pea-sized chip of paint loss lower center. A 3” x .5” area of paint loss lower right. Minor dust accumulation.

Frame: 38” H x 29.75” W x 1” D

Blacklight: No evidence of restoration under blacklight.

1006 Generally good condition. Minor toning to the paper. Minor dust accumulation. Three small smudges of blue ink upper center, not affecting the image. The paper is gently rippled. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 79” H x 67.25” W x 2” D

Frame: 16.25” H x 12.25” W x 1” D (no glass) 1007 Visual: Generally good condition. Two small nail holes upper and lower center. Nicks, scratches and scuffs scattered throughout commensurate with age and use. The lower corners of the board have minor loses. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Unframed

1012 Visual: Generally good condition. Stretcher bar creases along the four edges, across the middle and down the center. A 1” x 2” repair to the lower left edge. A 7” diagonal scuff lower left. Isolated areas of short lines of fine craquelure associated with the stretcher bar creases scattered throughout. Minor scuffs to the perimeter edge scattered throughout. Small light scuffs to the varnish layer lightly scattered throughout. Blacklight: The above mentioned repair and an 11” section of the lower left edge fluoresces under blacklight. A series of tiny dots of touch-up lower right. Isolated tiny dots of touch-up lightly scattered throughout. Unframed.

1013 Visual: Generally good condition. The paper overlay is peeling along the left tacking edge. Rubbed wear along the corners of the tacking edges. Blacklight: No evidence of restoration under blacklight.

1018 Visual: Generally good condition. Isolated areas of light rubbed wear scattered along the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 37.25” H x 37.25” W x 3.25” D

Unframed 1014 Visual: Generally good condition. Light pencil lines scattered along the left edge margin. Blacklight: No evidence of restoration under blacklight. Frame: 45.25” H x 35.25” W x 2.25” D

1019 Generally good condition. Framed floating and hinged to the back mat. Frame: 35.25” H x 49” W x 1.5” D 1020 Visual: Generally good condition. The canvas is loose and slightly rippled.

1015 Each: Generally good condition. Very light, unobtrusive handling creases scattered throughout. Two pieces with tape residue verso from a previous mounting. The paper is loose, not mounted.

Blacklight: No evidence of restoration under blacklight.

Frame of each: 15.25” H x 12.25” W x 1” D

1021 Visual: Generally good condition. Minor dust accumulation.

1016 At one time the paper appears to have been crudely rolled and bears five heavy horizontal creases across the width of the paper. Artist’s pinholes in the four corners. A dime-sized loss to the paper and a .5” tear lower edge left. A 1.25” tear to the paper right edge center. A small nick to the paper lower left edge. The lower left corner is creased. Handling creases scattered around the perimeter. The lower half of the paper bears a dark water stain visible in the margins and verso. The paper is loose, not mounted.

Frame: 42.5” H x 42.25” W x 1.75” D

Blacklight: No evidence of restoration under blacklight. Frame: 16.25” H x 50.25” W x 1.75” D 1022 Generally good condition. The paper with deckled edges. Hinged to the back mat with artist’s tape along the upper edge. Frame: 25” H x 33.75” W x 2” D

1017 Generally good condition. Tiny chip of paint loss to the red paint upper left edge. Minor dust accumulation throughout, concentrated on the upper tacking edge. Unframed

1023 Light surface scratches and handling creases scattered throughout. Hinged to the recto mat with artist’s tape along the upper edge. Frame: 21.75” H x 28.25” W x 1.25” D

Condition Reports

Frame: 30” H x 43” W x 1” D

118

1024 Overall good condition. A 1.5” x 1.125” loss to the marble plinth. Some spears bent. Surface abrasion to the front left leg. Bronze base: 11” W x 7.5” D

1030 Generally good condition. Toning to the paper. A .25” dark mark right edge center. A series of small yellow stains scattered around the peimeter edge. A series of small nicks and creases to the paper’s edge lower right. The paper is loose, not mounted.

Brown marble base: 1.75” H x 14.5” W x 10.5” D

Unframed

1025 Overall good condition with shelf wear and minor toning to paper commensurate with age. Water damage and wear to dust jacket. Areas of paper transfer from dust jacket sticking to leather binding. Minor bending to corners. With French inscription to front endpaper.

1031 Minor toning to the paper. The lower edge is deckled. The paper with creases along the perimeter, concentrated mostly along the upper and lower edges. The paper is skimmed in several places verso from a previous mounting. Remnants of tape and tape residue remain along the four edges verso. The paper is loose, not mounted.

1026 Each: Generally good condition. Light unobtrusive toning to the paper. Tauromachie V not examined out of the frame.

Unframed.

Frame of each: 34” H x 27.75” W x 1” D 1027 Toning to the paper. The paper with deckled edges. Mat burn to the perimeter from a previous mounting. Tape remnants scattered around the perimeter from a previous mounting. A 3” x .75” loss to the paper with an additional 2” tear right edge center. A 1”, heartshaped yellow stain lower center. A 4” crease to the paper upper right. Light handling creases scattered throughout. The paper is loose, not mounted.

Condition Reports

Unframed.

119

1028 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Scattered flaking and minor losses along the bottom with reversible repairs to two minor chips to front by a professional restoration service. 1029 Generally good condition. Minor toning to the paper. The four corners are creased. Light handling creases scattered throughout. The paper is loose, not mounted. Unframed.

1032 Generally good condition. The paper is gently rippled. The paper with deckled edges. Framed floating and hinged to the back mat. Frame: 38.25” H x 37.75” W x 2” D 1033 Overall good condition with darkening to bronze commensurate with age. Light scratches to acrylic base. 1034 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat with artist’s tape in the upper corners. Frame: 10.25” H x 14.25” W x 1.25” D 1035 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat with artist’s tape in the upper corners. Frame: 10.25” H x 14.25” W x 1.25” D

Frame: 32.5” H x 24.5” W x 1.5” D 1037 Generally good condition. The paper is gently rippled. The paper with deckled edges. Small creases to the left edge center. Framed floating and hinged to the back mat with artist’s tape in the upper corners.

1042 Each: Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. The paper is gently rippled. Not examined out of the frame. Frame of each: 29” H x 35” W x 1.5” D 1043 Visual: Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Blacklight: No evidence of restoration under blacklight.

Frame: 32.5” H x 24.5” W x 1.5” D

Frame: 25.25” H x 19.25” W x 2.25” D

1038 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat with artist’s tape in the upper corners. Frame: 19.25” H x 16.5” W x 1.75” D

1044 Overall good condition with scuffs and shelf wear commensurate with age. Scattered cracks in wood throughout. Mounted on wooden base with adhesive fabric pads to underside. With gallery label to underside. Signed to sculpture and wooden base.

1039 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat with artist’s tape in the upper corners.

1045 Overall good condition with shelf wear commensurate with age. Craquelure to surface. Small chip in paint to lower right. 4.5” crack in wood to lower part of sculpture. Adhesive felt protector pads to base. Signed to sculpture and to base.

Frame: 19.5” H x 16.5” W x 1.5” D

1040 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat with artist’s tape in the upper corners.

1046 Visual: Generally good condition. Small chip of paint loss upper edge center and lower edge center. Tiny fleck of paint loss upper left. Two tiny flecks of paint loss lower left corner. Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 16.5” W x 1.5” D

Frame: 30.5” H x 35.5” W x 1.25” D

1041 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat.

1047 Visual: Generally good condition. Craquelure scattered throughout the upper right corner and the lower edge right. Surface dirt and grime throughout with dust accumulation to the impasto. The hand carved frame is warped.

Frame: 28.25” H x 23.75” W x 1.75” D

Blacklight: No evidence of restoration under blacklight. Frame: 73” H x 73” W x 1.5” D

Condition Reports

1036 Generally good condition. The paper is gently rippled. The paper with deckled edges. Small dots of light yellow staining lightly scattered throughout. A 2.5” handling crease upper left. Framed floating and hinged to the back mat with artist’s tape in the upper corners.

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1048 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. 16” crack running down back. Losses to painted surface. 1049 Visual: Generally good condition. Slight rippling to the paper along the upper left and right edges. Artist’s pinholes in the upper corners. Three small indentions in the paper to the right of the subject’s left shoulder, the largest, a .25” indent with associated tearing to the paper. A series of horizontal and diagonal lines of indent from the center to right edge center. Blacklight: No evidence of restoration under blacklight.

1054 Visual: Generally good condition. Fine craquelure throughout. A 5” scratch and a .5” scuff to the varnish layer lower left. Blacklight: No evidence of restoration under blacklight. The above mentioned scratch and scuff fluoresce under blacklight. Frame: 41.5” H x 29.5” W x 2.5” D 1055 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 67” H x 31” W x 1.5” D

Frame: 14.5” H x 12.25” W x 1.25” D 1050 Visual: Generally good condition. Blacklight: Certain pigments fluoresce under blacklight, likely in the hand of the artist.

1056 Five perforations to the original shrink wrapping scattered throughout the lower half. The metal chains have left small rust marks across the back board and square element. Unframed.

Frame: 26.25” H x 18.25” W x 3” D 1051 Generally good condition. Minor scuffs and light scratches to the Plexiglas. Frame: 25.75” H x 21.75” W x .25” D 1052 Generally good condition. Very minor toning to the paper. Hinged to the back mat along the upper edge.

Condition Reports

Frame: 25.75” H x 25.5” W x 1.5” D

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1053 Generally good condition. Minor toning to the paper. The paper is gently rippled. Minor creasing and smudging scattered around the perimeter edge. The paper is loose, not mounted. Unframed.

1057 Generally good condition. The paper is slightly rippled. There appears to be slight overall paper discoloration with faint foxing in areas without pigment. The lower right corner of the paper is slightly creased. There are remnants of brown paper tape in the four corners verso from a previous mounting. The paper is loose, not mounted. Unframed 1058 Generally good condition. The left edge of the paper is deckled. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 10.75” H x 9” W x 1” D 1059 Generally good condition. The paper is slightly rippled. Artist’s pinholes in three corners. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 17.25” H x 23.25” W x .5” D

1060 Overall good condition with shelf wear commensurate with age. Includes original box and packaging material. Minor wear to box exterior. Box: 12.75” H x 10.5” W x 10.5” D 1061 Overall good condition with shelf wear commensurate with age. Includes original box and packaging material. Minor wear to box exterior. Box: 11.75” H x 7.25” W x 6.5” D 1062 Overall good condition with shelf wear commensurate with age. Scattered losses to beads throughout. Minor crack in vinyl to underisde of pink figure. 1063 Overall good condition with shelf wear commensurate with age. Scattered losses to beads throughout. 1064 Generally good condition. Tiny crease to the lower left corner. Framed floating and hinged to the back mat. Frame: 17” H x 14” W x .75” D 1065 Visual: Generally good condition. Stable fine craquelure throughout with isolated areas of heavier craquelure scattered throughout.

Frame: 49.25” H x 39.25” W x 3.25” D 1066 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 32” H x 31” W x 1.5” D

Condition Reports

Blacklight: No evidence of restoration under blacklight. Difficult to read under varnish.

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Consign Today

20th Century Art + Design June 8, 2021 Joan Miró 1893-1983, Spanish “L’Astre du Marecage,” 1967

Price Realized: $12,500 Consignment and Auction Inquiries: bree@johnmoran.com

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

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Consign Today

20th Century Art + Design June 8, 2021 Beatrice Wood 1893-1998, American Figural vase

Price Realized: $11,700 Consignment and Auction Inquiries: jsimon@johnmoran.com

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

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The Alan Schneider Collection

March 2, 2021

A Tiffany Studio ten-light “Pond Lily” table lamp $10,000-15,000

Consignment and Auction Inquiries: marandam@johnmoran.com

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

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Consign Today

California & American Fine Art

Birger Sandzen 1871-1954, Lindsborg, KS “Mountain Landscape”

Price Realized: $62,500 Consignment and Auction Inquiries: jeff@johnmoran.com

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

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

SPECIALISTS

Head of Sale, Post War & Contemporary Fine Art Bree Hughes Senior Vice President, Fine Art Director Morgana Blackwelder Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Vice President, Furniture & Decorative Arts Director 20th Century Furniture and Decorative Arts Specialist Furniture & Decorative Arts Cataloguer

Roland Rynkiewicz John Simon Taylor Shannon Dailey

American Indian Specialist Maranda Moran Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Client Services Hoofrish Patel

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Consignment Coordinator Julia Hamilton Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino Department Administrator Angela Bryant

FOUNDERS

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

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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.

BUYERâ&#x20AC;&#x2122;S PREMIUMS: BUYERâ&#x20AC;&#x2122;S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyerâ&#x20AC;&#x2122;s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 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 the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "â&#x2014;&#x160;" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyerâ&#x20AC;&#x2122;s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (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's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

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

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the nal bid, plus uyer s Premium on the nal bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided. Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid. New bidders will be asked to provide financ al accoun nforma on as a reference All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance. UYER S PRE IU : P s calcula ed a on e firs $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

uyers outside of the United States must submit payment via wire transfer Credit cards are not an accepted form of payment for buyers outside of the United States

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and re uested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank. Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In e e en of a e b d e e s ra on Form rece ed firs ll be reco n ed as the winning bid.

Please list lots for absentee bidding on reverse

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

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18th & 19th Century Furniture & Decorative Art

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20th Century / Modern Design

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Turn of the Century Design / Arts + Crafts Western Art a e a s ec fic y e of em you are n eres ed n let us know:

Exp: oran s Conditions of Sale and shall be bound by them This affects my legal rights Date:

rev. 7/2018

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Registration Form (Attendee / Absentee / Telephone Bidding)

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

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

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