Summer Modern & Contemporary — September 14, 2021 | John Moran Auctioneers by johnmoranauctioneers

Summer Modern & Contemporary September 14, 2021

Sum

Modern & Co Tuesday, Septemb

Sale 145 East Walnut Avenu

Public P Friday, August 27th 12-4 Or by app

Meet th

Morgana B Head o morgana@joh

Bobby Senior Fine Art Catalo bobby@john Anne Spink Fine Art Cataloguer anne@johnmoran.com

Fur

Client Ser Mario Esquivel Office Manager mario@johnmoran.com

mmer

ontemporary er 14, 2021—12pm

e 198 ue, Monrovia CA 91016

Previews: Saturday, August 28th 4 pm pointment

he Team

Blackwelder of Sale hnmoran.com

Cullen oguer, Junior Specialist nmoran.com

Shannon Dailey rniture & Decorative Art Cataloguer shannon@johnmoran.com

rvices Ella Fountain Client Services ella@johnmoran.com

Takashi Murakami

(b. 1962, Japanese) Two pieces ìMr. Wink, Cosmos Ball,” 2000 Colored plastic, vinyl, and mini CD Edition of approximately 3000; each marked: Peter Norton Family Christmas Project / 2000 / by Takashi Murakami / Produced by CUBE / Made in China; each disc marked: Peter Norton Family Christmas Project / 2000 / Takashi Murakami / Music by Zakyumiko / Hiropon Factory Each: 9.75” H x 7.25” W x 7” D $1,500-2,000 Notes: This edition was commissioned by the Peter Norton family as a gift for The Peter Norton Christmas Project.

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Scott Reeder

(b. 1970, American) “Bread and Butter (Museum),” 2009 Oil on canvas Signed, titled, and dated verso: Scott Reeder 24” H x 31” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Andrzej Zielinski

(b. 1976, American) “1!,” 2005 Oil on panel Signed, titled, dated, and inscribed verso: Andrzej Zielinski / Lawrence, KS 20” H x 20” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Andrzej Zielinski

(b. 1976, American) Untitled, 2004 Oil on panel Signed and dated verso: Andrzej Zielinski 20” H x 20” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Kevin Christy

(b. 1977, American) “Help Me Help You,” 2004 Gouache, graphite, and collage on paper under glass Appears unsigned Image/Sheet: 11” H x 8.5” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection

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Steve Roden

(b. 1964, American) “The Same Sun Spinning and Fading,” 2007-08 Oil and acrylic on linen Signed, titled, and dated verso: Steve Roden; further inscribed, possibly in another hand, verso: “Line 20 / 3 Bars” 42” H x 35” W $5,000-7,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection

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Jim Shaw

(b. 1952, American) “Dream Object (In Russia next to an old age home...),” [diptych], 1996 Acrylic on canvas Signed and dated on the stretcher bar of the first panel: Jim Shaw First panel: 30” H x 20” W; Second panel: 18” H x 14” W $4,000-6,000 Provenance: Patrick Painter Inc, Santa Monica, CA The Blake Byrne Collection

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(b. 1973, German) “Aesthetic-Tac-Toe,” 2007 Oil, lacquer, acrylic, dispersion, and vinyl on canvas Signed, titled, and dated verso: Andreas Diefenbach 55” H x 45.25” W

(b. 1973, German) “Interesting People Fabric collage Signed, titled, and d 55” H x 39.25” W

Andreas Diefenbach

Andreas Diefenb

$1,500-2,000

$1,000-2,000

Provenance: The Blake Byrne Collection

Provenance: The Bla

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bach Leaving at One-Thirty,” 2007

dated verso: Andreas Diefenbach

ake Byrne Collection

David Allan Peters

(b. 1969, American) “#5,” 2012 Acrylic paint, layered and carved, on panel Signed, titled, and dated verso: David Allan Peters 12” H x 9” W x 1.5” D $1,000-2,000 Provenance: The Blake Byrne Collection

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Tom LaDuke

(b. 1963, American) “Surrender,” 2012 Acrylic and oil on canvas laid to panel Appears unsigned 60” H x 80.5” W $5,000-7,000 Provenance: Angles Gallery, Los Angeles, CA The Blake Byrne Collection

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Michelle Fierro

(b. 1967, American) “Then & Now,” 1996 Oil, acrylic, and paper on canvas Signed, titled, and dated verso: Michelle Fierro 60” H x 66” W $800-1,200 Provenance: The Blake Byrne Collection

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Tom LaDuke

(b. 1963, American) “Cult Phenomenon,” 2007 Acrylic on canvas over panel Unsigned 45” H x 60.5” W $3,000-5,000 Provenance: Angles Gallery, Los Angeles, CA The Blake Byrne Collection

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James Smeaton

(b. 1964, Australian) “Untitled 1/2” and “Untitled 2/2,” 1994 Gesso and acrylic on linen Signed, titled, and dated verso: James Smeaton Each: 10” H x 8” W $400-600 Provenance: The Blake Byrne Collection

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Joshua Smith

(20th Century, American) Untitled, 2009 Acrylic on canvas Signed and dated verso: Joshua Smith 20” H x 16” W $1,000-2,000 Provenance: John Connelly Presents, New York, NY The Blake Byrne Collection

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John Swanger

(b. 1956, American) Untitled, 1991 Mixed media on wood Signed and dated verso: John Swanger 22.5” H x 22” W x 2” D $400-600 Provenance: Margo Leavin Gallery, Los Angeles, CA The Blake Byrne Collection

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John Swanger

(b. 1956, American) “Black Green Square” [diptych], 1996 Acrylic and collage on canvas Signed, titled, and dated on each panel verso: John Swanger First panel: 38” H x 17” W; second panel: 38” H x 21” W $600-800 Provenance: The Blake Byrne Collection

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Wawrzyniec Tokarski

(b. 1968, Polish) “Die Neverland Fahne (Surface Covers the Inside),” 2002 Acrylic on canvas Signed, titled, and dated verso: Wawrzyniec Tokarski 79” H x 59” W $1,000-2,000 Provenance: Galerie Karlheinz Meyer, Karlsruhe, Germany Galerie Vera Munro, Hamburg, Germany The Blake Byrne Collection

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Gabriel Vormstein

(b. 1974, German) “Hate to Feel,” 2004 Watercolor and gouache on newsprint Appears unsigned; titled and dated by repute 61.5” H x 44” W $2,000-4,000 Provenance: Meyer Riegger Gallery, Karlsruhe, Germany The Blake Byrne Collection

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Chris Vasell

(b. 1974, American) “Untitled (Mask),” 2004 Watercolor, gouache, and acrylic on paper Signed, numbered, inscribed, and dated verso: Chris Vasell / CV4604 / B + P Image/sheet: 12” H x 16” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Sean Paul

(b. 1978, American) Untitled, 2005 Spray paint on canvas Unsigned 21” H x 15” W $800-1,200 Provenance: The Blake Byrne Collection Exhibitions: Sutton Lane, London, “You The With US,” November 22, 2004 - January 6, 2005

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Sean Paul

(b. 1978, American) Untitled, 2005 Spray paint on canvas Unsigned 22” H x 18” W $1,000-2,000 Provenance: Sutton Lane, London, England The Blake Byrne Collection Exhibitions: London, Sutton Lane, “You The With US,” November 22, 2004 - January 6, 2005

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Kanishka Raja

(b. 1970, Indian) “Memory Pattern (15),” 2005-2007 Oil on canvas laid to panel Initialed and numbered verso: K. / 9Y 13” H x 16” W $2,000-4,000 Provenance: Envoy Enterprises Art Gallery, New York, NY The Blake Byrne Collection

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Amy Adler

(b. 1966, American) “Study for Location #3,” 2014 Oil pastel on canvas Signed, titled, and dated verso: Amy Adler 18” H x 24” W $800-1,200 Provenance: Sold: Paddle8 online auctions, March 30, 2015 Private Collection, Pasadena, CA, acquired from the above Notes: A sales invoice dated April 1, 2015 from Paddle8 online auctions accompanies this lot. Literature: Duncan, Michael. “Amy Adler.” Art in America, March 12, 2015, https://www.artnews.com/art-in-america/aia-reviews/amy-adler-61899/

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John Zinsser

(b. 1961, American) “Ten Percent Solitude,” 1990 Oil and enamel on canvas Signed, titled, and dated verso: John Zinsser 12” H x 12” W $800-1,000 Provenance: Thomas Solomon’s Garage, Los Angeles, CA The Blake Byrne Collection

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Megan Williams

(b. 1956, American) “Boy Playing,” 1994 Charcoal and pastel on gray paper under glass Appears unsigned Image/Sheet: 25.75” H x 19.75” W $1,000-2,000 Provenance: Christopher Grimes Gallery, Santa Monica, CA The Blake Byrne Collection

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Megan Williams

(b. 1956, American) “Everything is Broken,” 2006 Oil on linen Signed, titled, and dated verso: Megan Williams / 2006; further inscribed: not part of title / note* / (portrait of my hometown, Chagrin Falls, Ohio) 42” H x 42” W $1,500-2,500 Provenance: The Blake Byrne Collection

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Megan Williams

(b. 1956, American) Untitled, 2006 Watercolor, ink, gouache, and collage on paper Signed and dated in pencil verso: Megan Williams Approximately 18.5” H x 17.75” W $500-700 Provenance: The Blake Byrne Collection

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Stuart Elster

(20th Century, American) “Spaceman III,” 2003 Oil on canvas Signed, titled, and dated verso: Stuart Elster 96” H x 73” W $2,000-4,000 Provenance: Lucas Schoormans Gallery, New York, NY The Blake Byrne Collection

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Robert Fry

(b. 1980, English) “Red #5,” 2010 Oil on canvas Signed and dated verso: Robert Fry 79.75” H x 118” W $5,000-7,000 Provenance: The Blake Byrne Collection

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Mathew Weir

(b. 1977, English) “Needle Woman,” 2004 Oil on canvas laid to panel Signed, titled, and dated verso: Mathew Weir 14.5” H x 9” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Chris Vasell

(b. 1974, American) “Untitled (Wipe),” 2004 Watercolor and gouache on paper Signed, numbered, inscribed, and dated verso: Chris Vasell / CV3904 / B + P Image/Sheet: 16” H x 12.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Chris Vasell

(b. 1974, American) “Untitled (The Meeting),” 2004 Watercolor and gouache on paper under Plexiglas Appears unsigned Image/Sheet: 16” H x 12” W $1,000-2,000 Provenance: Blum & Poe, Los Angeles, CA The Blake Byrne Collection

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Fan Yi-Mei

(20th Century, Chinese) “Sarah,” 2012 Oil on canvas Signed and dated twice in the lower left corner: Y. Fan 17.75” H x 13.75” W $800-1,000 Provenance: The Blake Byrne Collection

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Jessica Minckley

(20th/21st Century, American) “Birds and Bees,” 2005 Gesso, acrylic, watercolor and gouache paints, graphite, and ball point ink on paper under Plexiglas Appears unsigned Image/Sheet: 52.5” H x 52.5” W $1,000-2,000 Provenance: LA Louver, Venice, CA The Blake Byrne Collection

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Joshua Nathanson

(b. 1976, American) “Interlude (No Known Home),” 2015 Acrylic on canvas Signed and dated along the lower edge verso: J Nathanson 69” H x 47” W $20,000-30,000 Provenance: The Blake Byrne Collection

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Matt Greene

(b. 1972, American) “The Replicators,” 2005 Mixed media, collage, graphite, and acrylic on canvas Signed, titled, anad dated verso: M Greene 84” H x 120” W $5,000-7,000 Provenance: Peres Projects, Los Angeles, CA The Blake Byrne Collection

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Matt Greene

(b. 1972, American) “The Slu,” 2005 Graphite and colored pencil on blush-colored paper under Plexiglas Appears unsigned Sheet: 19.75” H x 22” W $700-900 Provenance: Peres Projects, Los Angeles, CA The Blake Byrne Collection

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Servan Savu

(b. 1978, Romanian) “Enlightenment,” 2010 Oil on canvas Signed and dated verso: Servan Savu; titled by repute 13.75” H x 20” W $4,000-6,000 Provenance: The Blake Byrne Collection

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Lamar Peterson

(b. 1974, American) “Nude Series (Untitled),” 2008 Acrylic and collage on vintage magazine page under Plexiglas Appears unsigned Image/Sheet: 11.75” H x 8.5” W $1,000-2,000 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection

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Lamar Peterson

(b. 1957, American) “Nude Series (Untitled),” 2008 Acrylic and collage on vintage magazine page under Plexiglas Appears unsigned Image/Sheet: 10.75” H x 8” W $1,000-2,000 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection

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(b. 1978, American) Untitled, 2008 Watercolor on paper under glass Unsigned Sheet: 11.5” H x 8.5” W

(b. 1938, Swiss) “Action avec une bicyclett Photograph on paper Edition 8/150; signed, dat numbered again on the ar Sheet: 8.25” H x 11.75” W

Patrick Jackson

$1,000-2,000 Provenance: The Blake Byrne Collection

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Roman Signer

$400-600

Provenance: The Blake By

ter et feuille de papier,” 1991

ted, and numbered on separate sheet as issued: R. Signer; rtist’s envelope that accompanies the lot W

yrne Collection

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(b. 1970, American) “Mayakovsky 1918,” 2005 Colored pencil on paper under Plexiglas Appears unsigned Image: 19.25” H x 14.25” W; Sheet: 30” H x 22.25” W

(b. 1970, American) “A Cloud in Trousers - Leta An installation comprising metal rectangular element Appears unsigned Sheet: 22.25” H x 26.5” W

Mark Flores

$1,500-2,500 Provenance: The Blake Byrne Collection

Mark Flores

$1,000-2,000

Provenance: David Kordan The Blake Byrne Collection

Notes: This lot is accompa referencing the artist’s serie

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atlin 1932,” 2005 colored pencil on paper under Plexiglas and a multitude of enameled ts

W; Each metal element: 2” H x 2.75” W

nsky Gallery, Los Angeles, CA n

anied by original archival box with David Kordansky Gallery label es “Diffusion Paintings.”

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Alison Van Pelt

(b. 1963, American) Untitled, 2002 Oil on paper Signed and dated lower right: Alison Van Pelt Image: 9” H x 5.75” W; Sheet: 10.25” H x 6.75” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Faris McReynolds

(b. 1977, American) “Untitled (Saliva String),” 2004 Acrylic, gouache, watercolor, and ink on paper under Plexiglas Appears unsigned Sheet: 10.75” H x 8.25” W $200-400 Provenance: Roberts & Tilton, Los Angeles, CA The Blake Byrne Collection

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Faris McReynolds

(b. 1977, American) “The Falling Family,” 2006 Oil on canvas Signed, titled, and dated verso: Faris 62” H x 76” W $4,000-6,000 Provenance: Roberts & Tilton Gallery, Los Angeles, CA The Blake Byrne Collection

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(b. 1975, American) “I See Your Hard Heart,” 2001 Acrylic, graphite, and collage on paper under glass Appears unsigned Sheet: 10” H x 7.75” W

(b. 1974, Frenc “Greg,” 2006 Oil on canvas Signed, titled, 9” H x 15.5” W

Rob Thom

Audrey Nerv

$400-600

$1,000-2,000

Provenance: The Blake Byrne Collection

Provenance: Th

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ch)

and dated verso: Nervi W

he Blake Byrne Collection

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Jessica Minckley

(20th/21st Century, American) “Let Me Go,” 2005 Watercolor, gouache, graphite, and acrylic on paper laid to Masonite Appears unsigned; titled lower center 47.75” H x 86” W $1,000-2,000 Provenance: L.A. Louver, Venice, CA The Blake Byrne Collection

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Scott Treleaven

(b. 1972, Canadian) “Heir Apparent,” 2005 Watercolor and collage on paper under Plexiglas Signed, titled, and dated verso: Treleaven Sheet: 11” H x 7.25” W $2,000-4,000 Provenance: John Connelly Presents, New York, NY The Blake Byrne Collection

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Scott Treleaven

(b. 1972, Canadian) “Witchcraft Through the Ages (x),” 2007 Watercolor and collage on paper under Plexiglas Signed, titled, and dated verso: Treleaven Sheet: 12.25” H x 11” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Scott Treleaven

(b. 1972, Canadian) “We Love an Audience,” 2005 Collage on Masonite Signed, titled, and dated verso: Treleaven 10” H x 8” W $2,000-4,000 Provenance: Marc Selwyn Fine Art, Los Angeles, CA The Blake Byrne Collection

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Scott Treleaven

(b. 1972, Canadian) “Witchcraft Through the Ages (iii),” 2007 Watercolor on paper under Plexiglas Unsigned; titled and dated by repute Sheet: 8.5” H x 6” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Robert Russell

(b. 1971, American) “Llyn Foulkes,” 2012 Oil on board Unsigned 14” H x 11” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Charlie Roberts

(b. 1983, American) Untitled, 2005 Watercolor on paper Signed and inscribed upper center: Peter Schuyff & Charlie Sheet: 6” H x 12” W $300-500 Provenance: The Blake Byrne Collection

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Benjamin Senior

(b. 1982, English) “Hoop and Heron,” 2016 Egg tempera on plywood Signed, titled, and dated verso: Benjamin Senior 16” H x 12” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Serban Savu

(b. 1978, Romanian) “The Bather,” 2009 Oil on canvas Signed and dated verso: Serban Savu 19.75” H x 13.75” W $4,000-6,000 Provenance: The Blake Byrne Collection

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(b. 1977, American) “Untitled (Family),” 2005 Oil on canvas Signed and dated, twice, and titled verso: Faris 18” H x 24” W

(b. 1962, German) “Chris,” 2004 Oil on canvas Signed, titled and da 79” H x 47.25” W

Faris McReynolds

Anke Doberauer

$1,000-2,000

$2,000-4,000

Provenance: The Blake Byrne Collection

Provenance: Mai 36 The Blake Byrne Col

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ated verso: Anke Doberauer

Galerie, Zurich, Switzerland llection

Edward del Rosario

(b. 1970, American) “Liason III,” 2004 Oil on linen Initialed lower right: dR; titled and dated by repute 17” H x 13” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Susanna Coffey

(b. 1949, American) “Self-Portrait (mariposa),” 2001 Oil on panel Signed, titled, and dated in pencil along the bottom edge: Susanna Coffey / SP (mariposa); signed and dated again in pencil verso 12” H x 11” W $2,000-3,000 Exhibitions: Tibor de Nagy, New York, NY

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George Bolster

(b. 1972, Irish) “Salome and J to the B,” 2005 Paint, pencil, and diamante on sycamore wood Signed, titled, and dated verso: George Bolster 11.75” H x 8” W $2,000-4,000 Provenance: The Blake Byrne Collection

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George Bolster

(b. 1972, Irish) “Jesus,” 2006 Customized gold jewelry, pencil, and paint on sycamore wood Signed, titled, and dated verso: George Bolster 12” H x 8.25” W $2,000-4,000 Provenance: The Blake Byrne Collection

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Neil Farber

(b. 1975, Canadian) Untitled, 2005 Color inks and acrylic gel media on paper under Plexiglas Appears unsigned Image/sheet: 22.25” H x 30” W $400-600 Provenance: The Blake Byrne Collection

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Kim McCarty

(b. 1956, American) Untitled (Boy), 2003 Color screenprint on paper under Plexiglas Signed and dated in pencil lower left: Kim McCarty; signed again and inscribed on the backing paper: To Blake / Kim McCarty / Limited edition Image/Sheet: 10.75” H x 8” W $600-800 Provenance: The Blake Byrne Collection

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Hideaki Kawashima

(b. 1969, Japanese) “Cat,” 2010 Acrylic on canvas Appears unsigned; titled, dated, and indistinctly inscribed verso 36” H x 28.5” W $4,000-6,000 Provenance: Tomio Koyama Gallery, Tokyo, Japan The Blake Byrne Collection

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Axel Geis

(b. 1970, German) Untitled, 2007 Oil on canvas Signed and dated verso: Axel Geis 29.5” H x 19.5” W $1,500-2,500 Provenance: Galerie Jan Wentrup, Berlin, Germany The Blake Byrne Collection

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Axel Geis

(b. 1970, German) “Kopf mit drei Knopfen,” 2005 Oil on canvas Signed, titled, and dated verso: Axel Geis 19.75” H x 19.75” W $1,500-2,500 Provenance: Galerie Jan Wentrup, Berlin, Germany The Blake Bryne Collection

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Chris Vasell

(b. 1974, American) “Untitled (Ape Face, Beams),” 2004 Watercolor, gouache, and collage on paper under Plexiglas Appears unsigned Image/Sheet: 16.25” H x 12.25” W $1,000-2,000 Provenance: Blum & Poe, Los Angeles, CA The Blake Byrne Collection

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Andre Thomkins

(1930-1985, Swiss) Untitled, 1982 “Lackskin” technique on paper under Plexiglas Signed and dated lower center: Andre Thomkins Sight: 9” H x 8.5” W $2,000-4,000 Provenance: Galerie Hauser & Wirth, Zurich, Switzerland The Blake Bryne Collection Notes: According to Galerie Hauser & Wirth, Thomkins used the “lackskin” technique to create “... otherwordly and amorphous forms by floating a coat of lacquer paint on the surface of water, before blowing, dripping, pulling and stirring the liquid.”

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Andre Thomkins

(1930-1985, Swiss) “gilbenschreier,” 1961 “Lackskin” technique on paper under glass Signed and dated lower right: Andre Thomkins, titled lower left Sheet: 8” H x 8.5” W $2,000-4,000 Provenance: Galerie Hauser & Wirth, Zurich, Switzerland The Blake Byrne Collection Notes: According to Galerie Hauser & Wirth, Thomkins used the “lackskin” technique to create “... otherwordly and amorphous forms by floating a coat of lacquer paint on the surface of water, before blowing, dripping, pulling and stirring the liquid.”

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Siobhan Liddell

(b. 1965, English/American) “Mountain Series, #3,” 2003 Watercolor on paper under Plexiglas Appears unsigned 11” H x 15” W $800-1,000 Provenance: The artist CRG Gallery, New York, NY, acquired from the above Private Collection, Pasadena, CA, acquired from the above Notes: A sales receipt dated May 27, 2003 from CRG Gallery, New York, accompanies this lot.

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Paul P.

(b. 1977, Canadian) Untitled, 2007 Watercolor on paper under Plexiglas Appears unsigned 10.25” H x 6.5” W $2,000-4,000 Provenance: Galerie Thaddaeus Ropac, Paris, France The Blake Byrne Collection

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(b. 1963, German) “Avatar of the Tortoise,” 2004 Acrylic on canvas Signed and dated verso: Th. Eggerer 26” H x 41” W

(b. 197 “NFA I Pencil Appea Image

Thomas Eggerer

Adam

$2,000-4,000

$1,000

Provenance: Friedrich Petzel Gallery, New York, NY The Blake Byrne Collection

Proven

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m Helms

74, American) Interior Fortification,” 2005 on paper under Plexiglas ars unsigned e: 37.25” H x 57.5” W; Sheet: 40” H x 60” W

0-2,000

nance: The Blake Bryne Collection

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Neil Farber

(b. 1975, Canadian) “Untitled,” 1998 Ink and watercolor on paper under Plexiglas Signed and dated lower right: Neil Farber / Augt. 98 Sheet: 14” H x 16.75” W $400-600 Provenance: The Blake Byrne Collection

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Federico Guzman

(b. 1964, Spanish) “Noticia Sonica,” 1990 Oil monotype on canvas Signed, titled, and dated verso: Federico Guzman 77” H x 47” W $2,000-4,000 Provenance: Galeria La Maquina, Barcelona, Spain Brooke Alexander Gallery, New York, NY The Blake Byrne Collection

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Thomas Müller

(b. 1959, German) Untitled, 2010 Ink, acrylic, and oil on paper under Plexiglas Unsigned Image/Sheet: 11.75” H x 8.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Thomas Müller

(b. 1959, German) Untitled, 2010 Ink, graphite, and chalk on paper under Plexiglas Appears unsigned Image/Sheet: 11.5” H x 8.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Thomas M¸ller

(b. 1959, German) Untitled, 2010 Mixed media on paper under Plexiglas Appears unsigned Image/Sheet: 11.75” H x 8.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Kevin Wolff

(1955-2018, American) “Handmade Object with Hole #2,” 2005 Graphite on paper under Plexiglas Appears unsigned Sheet: 29.5” H x 22.25” W $800-1,200 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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Kelly McLane

(b. 1968, American) “Untitled (Bunny on Overpass),” 2001 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $600-800 Provenance: Lucas Schoormans Gallery, New York, NY The Blake Byrne Collection

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Kelly McLane

(b. 1968, American) “Untitled (Deer with Woman),” 2001 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.5” W $600-800 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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Lucia Nogueira

(1950-1998, Brazilian) Untitled, 1995 Ink and graphite on paper under Plexiglas Appears unsigned Image/Sheet: 11” H x 15” W $200-400 Provenance: Anthony Reynolds Gallery, London, England The Blake Byrne Collection

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Lucia Nogueira

(1950-1998, Brazilian) Untitled, 1995 Ink and graphite on paper under Plexiglas Appears unsigned Image/Sheet: 15” H x 11.25” W $200-400 Provenance: Anthony Reynolds Gallery, London, England The Blake Byrne Collection

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Lucia Nogueira

(1950-1998, Brazilian) “Sleep,” 1997 Steel and thread Unsigned 11.75” L x 3.125” W x 2” H $1,000-2,000 Provenance: The Blake Byrne Collection

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Andrew Hewish

(20th Century, English) “The Dinner Party (After Courbet),” 2010 Pencil on paper under glass Signed and dated lower right: Andrew Hewish, titled lower left; signed, dated, titled again, and inscribed on the backing paper: for Blake on your anniversary, Paris 2010 Sheet: 9” H x 6.5” W $600-800 Provenance: The Blake Byrne Collection

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Kelly McLane

(b. 1968, American) “Havilah Honey,” 2009 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $500-700 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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Kelly McLane

(b. 1968, American) “Summer Vacation (Goat Soup),” 2003 Graphite on Arches paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $500-700 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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Monique Prieto

(b. 1962, American) Untitled, 1999 India ink on rice paper under Plexiglas Appears unsigned; inscribed indistinctly lower left Sheet: 18” H x 12” W $1,000-2,000 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection

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Sean Paul

(b. 1968, American) “Pouvoir/Devoir,” 2007 The installation piece comprised of the acrylic and spray painted canvas and the various dried flowers with spray paint Appears unsigned Canvas: 47” H x 31.5 W x 1” D; Dried Flowers: various sizes $2,000-4,000 Provenance: Sutton Lane, London, England The Blake Byrne Collection

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Alison Van Pelt

(b. 1963, American) “F. K.,” 2002 Oil on paper Signed and dated lower right: Alison Van Pelt; titled lower center Image: 10.25” H x 8” W $1,000-2,000 Provenance: The Blake Byrne Collection

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Randall Sellers

(b. 1969, American) “Beholden,” 2008 Pencil on stained paper under Plexiglas Initialed and dated lower right: R.F.S.; titled by repute Sheet: 8” H x 12” W $600-800 Provenance: The Blake Byrne Collection

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Randall Sellers

(b. 1969, American) “Untitled Landscape with Woman Pointing,” 2005 Graphite on paper under Plexiglas Initialed and dated lower right: R.F.S..; titled by repute Sheet: 7.75” H x 10.5” W $600-800 Provenance: The Blake Byrne Collection

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James Siena

(b. 1957, American) “Pathway,” 2000 Graphite on paper under glass Appears unsigned Image/Sheet: 6” H x 4” W $1,000-2,000 Provenance: Gorney Bravin & Lee, New York, NY The Blake Byrne Collection

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Dennis Scholl

(b. 1980, German) “Fehlgeschlagene Objektbesetzung 10,” 2004 Pencil on paper under glass Signed, titled, and dated verso: Scholl Sheet: 11.75” H x 8.25” W $800-1,000 Provenance: Bilderrahmen Janecki, Berlin, Germany Arndt & Partner, Berlin, Germany The Blake Byrne Collection

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Gabriel Vormstein

(b. 1974, German) “Dead but dreaming,” 2005 Watercolor and pencil on newsprint Appears unsigned; titled and dated by repute 61.5” H x 44” W $2,000-4,000 Provenance: Meyer Riegger Gallery, Karlsruhe, Germany The Blake Byrne Collection

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100

John Morris

(b. 1965, American) “Creative Destruction #6 (A Drawing for Joseph Schumpeter),” 2002 Ink, acrylic, and graphite on lined notebook paper under Plexiglas Signed twice, dated, and numbered verso: John Morris / JM/DT-557-D 11.5” H x 8.5” W $1,000-2,000 Provenance: D’Amelio Terras Gallery, New York, NY Private Collection, Pasadena CA, acquired from the above in 2002

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101

Simon English

(b. 1959, English) “The Horse and the Angel,” 2006 Ink, watercolor, gouache, and crayon on paper under glass Appears unsigned Sheet: 14.25” H x 22” W $1,000-2,000 Provenance: The Blake Byrne Collection

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102

David Scher

(b. 1952, American) “Untitled (man with cigarette and bottle),” 2002 Mixed media on paper Initialed lower right: D.S.; signed verso: D.C. Scher Sheet: 10.25” H x 12” W $200-400 Provenance: The Blake Byrne Collection

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103

Allyson Hollingsworth

(20th Century, American) “Persephone #2,” 2005 Charcoal on Bristol board in vintage-style photography folder Signed on the front cover of the folder lower left: Allyson Hollingsworth; titled and dated lower right Sight: 6.5” H x 4.5” W $800-1,200 Provenance: The Blake Byrne Collection

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104

105

(b. 1952, American) “Untitled (Dream Drawing),” 1995 Pencil on paper under Plexiglas Signed, dated, and inscribed on the backing board verso: Jim Shaw; titled by repute Sheet: 12” H x 9” W

(b. 1952, American) “Untitled (Monster Kid Faces),” 2004 Pencil on paper under Plexiglas Signed and dated in pencil verso: Jim S Sheet: 22.5” H x 30” W

Jim Shaw

$2,000-4,000 Provenance: Metro Pictures Gallery, New York, NY The Blake Byrne Collection

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Jim Shaw

$3,000-5,000

Provenance: Patrick Painter, Inc., Santa The Blake Byrne Collection

Shaw; titled by repute

a Monica, CA

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106

Jim Shaw

(b. 1952, American) “Dream Object (sliced vegetable drawing with insect legs),” 1996 Pencil on paper under Plexiglas Appears unsigned Sheet: 14.5” H x 11.5” W $2,000-4,000 Provenance: Patrick Painter, Inc., Santa Monica, CA The Blake Byrne Collection

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107

Sean Duffy

(b. 1966, American) “Times T,” 2010 Assemblage comprised of five issues of the New York Times Style Magazine, hand cut, under Plexiglas Appears unsigned 24” H x 21.5” W x 1.5” D $2,000-4,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection

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108

Ellsworth Kelly

(1923-2015, American) “Black White Black,” 1970 Lithograph printed in white and two shades of black on Special Arjomari paper under Plexiglas; Gemini G.E.L., Los Angeles, prntr./pub. Edition 34/75, signed in pencil: Kelly; with the Gemini G. E. L. blindstamps lower right and their inkstamp verso Sheet: 42.5” H x 30” W $5,000-7,000 Literature: Axsom 63

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109

Rita McBride

(b. 1960, American) “Black Circle Template,” 2006 Inkjet on paper under Plexiglas Signed and dated in pencil lower right: Rita McBride Image: 27.5” H x 20.75” W; Sheet: 36” H x 24” W $1,000-2,000 Provenance: The Blake Byrne Collection

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110

Jasper Johns

(b. 1930, American) “Cup 2 Picasso,” 1973 Color lithograph on paper under glass From the undetermined but large, unsigned and unnumbered edition published in “XXe Siècle, no. 40,” June 1973 (the original pencil signed and numbered edition of 11 was printed and published by ULAE, New York), Signed and dated lower right: J. Johns Sight: 15.25” H x 10.5” W $600-900

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111

Dennis Scholl

(b. 1980, German) “Regenland 3,” 2004 Pencil on paper under glass Signed, titled, and dated verso: Scholl Sheet: 11.75” H x 8.25” W $600-800 Provenance: Arndt & Partner, Berlin The Blake Byrne Collection

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112

Jimmy Baker

(b. 1980, American) “Study for Alex,” 2007 Acrylic, screenprint, and graphite on paper under Plexiglas Signed, titled, and dated verso: Jimmy Baker Image/Sheet: 13” H x 10” W $2,000-4,000 Provenance: Roberts & Tilton, Los Angeles, CA The Blake Byrne Collection

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113

Jimmy Baker

(b. 1980, American) “Study for Robert,” 2007 Acrylic, screenprint, and graphite on paper under Plexiglas Signed, titled, and dated verso: Jimmy Baker Image/Sheet: 13” H x 10” W $1,000-2,000 Provenance: Roberts & Tilton, Los Angeles, CA The Blake Byrne Collection

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114

Randy Walz

(20th Century, American) “Camilo X,” 1997 Ink, gouache, gesso, graphite, and charcoal on paper under Plexiglas Signed and dated lower right: Walz Image/Sheet: 12.5” H x 10” W $500-700 Provenance: Paul Morris Gallery, New York, NY The Blake Byrne Collection

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115

Randy Walz

(20th Century, American) “Camilo IV,” 1997 Ink, gouache, gesso, graphite, and charcoal on paper under Plexiglas Signed and dated lower right: Walz Sheet: 12” H x 9.5” W $500-700 Provenance: Paul Morris Gallery, New York, NY The Blake Byrne Collection

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116

Bruce Helander

(b. 1947, American) “Post Triangles,” 2009 Paper collage and gouache on museum board under Plexiglas Signed and dated lower right Sight: 17.25” H x 15.5” W $1,000-2,000 Provenance: The Blake Bryne Collection Exhibitions: Los Angeles, Don O’Melveny Gallery, “Five Easy Pieces,” 2009

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117

Erwin Pfrang

(b. 1951, German) Untitled, 2004 Mixed media on paper under Plexiglas Signed in the image lower center: PFR Image/Sheet: 8” H x 6” W $1,000-2,000 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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118

Javier Perez

(b. 1968, Spanish) “Mascara mortuoria” [triptych], 2010 Three ink drawings on parchment in forged steel frames Signed in pencil in the lower right corner of the section depicting the palm of the hand: Javier Perez; titled and dated by repute Each: 19.25” H x 15.25” W $2,000-4,000 Provenance: The Blake Byrne Collection

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119

120

(b. 1933, English) “Warriors,” 1982 Watercolor and ink on paper under glass Signed and dated lower left: Colin Spencer, titled lower right Sight: 13.5” H x 9” W

(b. 1933, English “Images of Muta Watercolor and i Signed lower rig Sight: 13.5” H x

Colin Spencer

$200-400

Provenance: The Blake Byrne Collection

Provenance: The

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h) ation - Man & Armour - Warrior I,” 1982 ink on paper under glass ght: Colin Spencer, titled lower left; dated by repute 9” W

e Blake Byrne Collection

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121

Colin Spencer

(b. 1933, English) “Study for Dancers for... [illegible],” 1982 Mixed media on paper under glass Signed lower right: Colin Spencer, titled illegibly lower left; dated by repute Sight: 13.75” H x 18.5” W $200-400 Provenance: The Blake Byrne Collection

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122

Luke Whitlatch

(b. 1977, American) “The Key to a Cigarette is a Man Named Narch,” 2006 Acrylic, graphite, and ink on Arches paper under Plexiglas Appears unsigned; titled and dated by repute Image/Sheet: 30” H x 22.5” W $500-700 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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123

Ryoko Aoki

(b. 1973, Japanese) “Active Eyeballs (Large)” [diptych], 2003 Watercolor, ink, and plastic product on two pieces of paper framed together under Plexiglas Appears unsigned Sight: 26” H x 17.5” W; Each sheet: 11.5” H x 15.75” W $1,000-2,000 Provenance: Marc Foxx Gallery, Los Angeles, CA Acquired from the above, 2003 Private Collection, Pasadena, CA Notes: A sales invoice dated 18 July 2003 from Marc Foxx Gallery, Los Angeles, accompanies this lot.

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124

Franziska Kneidl

(b. 1967, German) “M.T.,” 2017 Acrylic, oil, and lacquer on plastic film and paper under Plexiglas Appears unsigned Sheet: 11.5” H x 8” W $500-700 Provenance: The Blake Byrne Collection

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125

Daniel Zeller

(b. 1965, American) “Interior Source,” 2004 Ink on paper under Plexiglas Appears unsigned Sheet: 13.5” H x 11” W $600-800 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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126

Daniel Zeller

(b. 1965, American) “Industrial Outsource,” 2004 Ink on paper under Plexiglas Appears unsigned Sheet: 16.5” H x 14” W $600-800 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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127

Jon Pylypchuk

(b. 1972, Canadian/American) Three works Untitled (am I still a slut?); Untitled; Untitled, 2000 Each: Mixed media and collage on paper under glass Each: Unsigned, dated by repute The largest: 11.25” H x 9” W; The smallest: 9.75” H x 8.75” W $800-1,200 Provenance: China Art Objects Galleries, Los Angeles, CA Acquired from the above, 2000 Private Collection, Pasadena, CA Notes: A sales invoice dated January 29, 2000 from China Art Objects Galleries accompanies this lot.

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128

Kim McCarty

(b. 1956, American) Untitled (Baby), 2003 Watercolor on thick wove paper Signed and dated lower right: K McCarty Sheet: 13” H x 10.25” W $600-800 Provenance: The Blake Byrne Collection

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129

Keith Boadwee

(b. 1961, American) “Barfing Angel,” 1993 Duraflex photographic print on paper under Plexiglas Appears signed in the image only: Boadwee Sight: 47.5” H x 47.5” W $500-700 Provenance: Kim Light Gallery, Los Angeles, CA The Blake Byrne Collection

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130

Jan De Maesschalck

(b. 1958, Belgian) Untitled, 2003 Acrylic and collage on Steinbach paper under Plexiglas Signed lower left: Jan De Maesschalck, dated and indistinctly inscribed in Dutch lower right: 16 juli ‘03 Sheet: 10.5” H x 14.25” W $1,000-2,000 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection

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131

Jan de Maesschalck

(b. 1958, Belgian) “Untitled (Take this Dance),” 2013 Acrylic on paper under Plexiglas Signed, titled, and dated verso (according to a photograph of the sheet’s verso affixed to the verso of the frame): Jan de Maesschalck / 6 III 2013 Sight: 11.75” H x 8.5” W $1,500-2,500 Provenance: The Blake Byrne Collection

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132

Jan de Maesschalck

(b. 1958, Belgian) “Untitled,” 2015 Acrylic on paper under glass Signed, titled, and dated verso: Jan de Maesschalck / 19 II 2015 Image: 11” H x 8.75” W; Sheet: 15.75” H x 13.5” W $2,000-4,000 Provenance: The Blake Byrne Collection

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133

Leo Copers

(b. 1947, Belgian) “00/9,” 2000 Mixed media on paper under glass Appears unsigned Image/Sheet: 8.25” H x 11.5” W $800-1,200 Provenance: Tilton / Kustera Gallery, New York, NY The Blake Byrne Collection

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134

Dan Bayles

(b. 1977, American) “Interior #4,” 2009 Mixed media on canvas over panel Appears unsigned 60” H x 72” W $1,000-2,000 Provenance: The Blake Byrne Collection

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135

Lore Bert

(b. 1936, German) “Pillow,” 1986 Aquatech on paper laid to canvas Signed, dated, and numbered: Lore Bert / 1986 / 86-21 2” H x 10” W x 10” D $300-500 Provenance: The Blake Byrne Collection

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136

Mark Dion

(b. 1961, American) “Insignia for - The South Florida Wildlife Rescue Unit,” 2006 Watercolor and pen on paper under glass Signed and dated lower right: M. Dion, titled lower left Sight: 8.25” H x 8.75” W $1,000-2,000 Provenance: Tanya Bonakdar Gallery, New York, NY The Blake Byrne Collection

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137

Mark Dion

(b. 1961, American) “Monument for the Birds of Puffin Island,” 2006 Ink on paper under glass Signed and dated lower right: M. Dion, titled lower left Sight: 11.75” H x 6.75” W $700-900 Provenance: Tanya Bonakdar Gallery, New York, NY The Blake Byrne Collection

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138

Thomas Campbell

(b. 1969, American) “Squashed Flower,” 2006 Mixed media on paper under Plexiglas Unsigned 13” H x 14” W $500-700 Provenance: Roberts & Tilton Gallery, Los Angeles, CA The Blake Byrne Collection

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139

Jeremy Dickinson

(b. 1963, English) “Kranwagen,” 2006 Oil and acrylic on canvas Signed, titled, dated, and numbered verso: Jeremy Dickinson / J865 10” H x 14” W $1,200-1,800 Provenance: Tomio Koyama Gallery, Tokyo The Blake Byrne Collection

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140

Jeremy Dickinson

(b. 1963, English) “Maudsley Marathon,” 2000-03 Oil and acrylic on canvas Signed, titled, dated and numbered verso: Jeremy Dickinson / J466 5” H x 7” W $600-800 Provenance: The Blake Byrne Collection

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141

Kaz Oshiro

(b. 1967, Japanese/American) “California Souvenir (UNARIUS),” 2006 Acrylic on paper under Plexiglas Signed and dated lower right: Kaz Oshiro 22.25” H x 30.25” W $2,000-4,000 Provenance: Rosamund Felsen Gallery, Santa Monica, CA The Blake Byrne Collection

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142

Audrey Nervi

(b. 1974, French) “Guerilla 3,” 2004 Oil on canvas Signed, titled, inscribed, and dated verso: Nervi Audrey / France 9” H x 15.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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143

Isidro Blasco

(b. 1962, Spanish) “Untitled,” 2000 Mixed media Signed in pencil: Isidro Blasco / 100 11.5” H x 7.5” W x 5.5” D $700-900 Provenance: The Blake Byrne Collection

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144

Iva Gueorguieva

(b. 1974, Bulgarian/American) Untitled Ink on paper under glass Appears unsigned Image/Sheet: 10.25” H x 7” W $500-700 Provenance: The Blake Byrne Collection

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145

Iva Gueorguieva

(b. 1974, Bulgarian/American) Untitled [diptych], 2005 Acrylic and watercolor on two pieces of paper Signed and dated verso: Iva Gueorguieva Overall: 104.75” H x 117” W $1,000-2,000 Provenance: The Blake Byrne Collection

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146

Iva Gueorguieva

(b. 1974, Bulgarian/American) Untitled, 2010 Acrylic on linen Signed and dated verso: Iva Gueorguieva 14” H x 11” W $1,000-2,000 Provenance: Angles Gallery, Los Angeles, CA The Blake Byrne Collection

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147

Brad Howe

(b. 1959, American) “Sondrio,” 2010 Stainless steel, aluminum, and polyurethane Signed and dated: Brad Howe / 2010 23.25” H x 16” W x 23” D, dimensions variable $1,000-2,000 Provenance: The Blake Byrne Collection

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148

Juan Garaizabal

(b. 1971, Spanish) “Tower Window,” 2012 Iron and LED With indistinct cipher to base 101” H x 29.75” W x 17.125” D $7,000-9,000 Provenance: The Blake Byrne Collection

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149

150

(b. 1977, American) “Small Fire Extinguisher,” 2007 Stoneware and metal hardware Stamped: BJ 07 12” H x 5” W x 2.875” D

(20th/21st Century, American) “Angled Looking Glass, a Proposal,” 2010 Wood, dibond, glass, and enamel Signed and numbered in black pen: [indistinct signature] / 10 17.5” H x 33” W x 11.5” D

Ben Jackel

David Hendren

$1,000-2,000

Provenance: The Blake Byrne Collection

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151

Ben Jackel

(b. 1977, American) “Mar-a-Lago,” 2017 Stoneware and ebony Unsigned 5.5” H x 17” W x 14” D $7,000-9,000 Provenance: The Blake Byrne Collection

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152

Guillaume Bijl

(b. 1946, Belgian) “Sorry,” 1989 Mixed media assemblage Interior inscribed: X9Y [indistinct] 8” H x 8” W x 11” D $1,000-2,000 Provenance: The Blake Byrne Collection

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153

Christophe Leroux

(b. 1964, French) “64,” 2014 Mixed media on aluminum Signed and dated in black ink verso: Christophe Leroux 36” H x 36” W x 9” D $2,000-4,000 Provenance: The Blake Byrne Collection

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154

Mihara Ken

(b. 1958, Japanese) Vessel Multi-fired stoneware and natural glazes Signed with artist’s mark: Ken 15.75” H x 24” W x 10” D $3,000-5,000 Provenance: Los Angeles County Museum of Art, Los Angeles, CA

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155

Brendan Monroe

(b. 1989, American) “Ghost #3,” 2006 Acrylic on wood Unsigned; inscribed in pencil verso: Blake 8.125” H x 4.625” W x 3” D $600-800 Provenance: The Blake Byrne Collection

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156

Theo Mercier

(b. 1984, French) Mask with pom poms Steel, leather, and pom poms Unsigned 26.5” H x 14” W x 4.375” D $400-600 Provenance: The Blake Byrne Collection

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157

Victoria Reynolds

(20th/21st Century, American) “Blooming Tails,” 2003 Oil on panel in the artist’s carved and polychromed wooden frame Signed, titled, dated, and inscribed verso: Victoria Reynolds / Oil on panel, / framed Sight: 5.5” H x 3” W; Overall: 12” H x 7.5” W $1,000-2,000 Provenance: The Blake Bryne Collection

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158

Claire Fontaine

(Founed in 2004, French) “Passe-Partout (Washington, D.C.),” 2008 Hacksaw blades, bicycle spokes, allen keys, chain, razor cutter-blade, hair pins, paper-clips, safety pins, wire, pocket watch, and key rings Unsigned 24” L x 1.75” W, dimensions variable $2,000-4,000 Provenance: The Blake Byrne Collection

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159

Théo Mercier

(b. 1984, French) “Os et poils,” 2010 Hair, plastic, and resin Unsigned 60.5” H x 27” W x 12” D $1,000-2,000 Provenance: The Blake Byrne Collection

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160

Kara Walker

(b. 1969, American) “Freedom: A Fable,” 1997 Pop-up book in bonded leather, paper, and ink Edition of 4000 Pop-up design by David Eisen, Eisen Architects, Inc. Boston, MA Printed by Typecraft, Inc., Pasadena, CA Binding by Roswell Book Binders, Phoenix, AZ 9.5” H x 8.25” W x .625” D $2,500-3,500 Notes: This edition was commissioned by the Peter Norton family as a gift for The Peter Norton Christmas Project. This lot is accompanied by a holiday card from the Norton Family.

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161

Mark Flores

(b. 1970, American) Untitled, 2008 Oil pastel on four pieces of black paper under Plexiglas; displayed within a custom wooden table Appears unsigned; dated by repute 31.25” H x 26.5” W x 26.5” D $2,000-4,000 Provenance: The Blake Byrne Collection

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162

Bob Van Breda

(20th/21st Century, American) “Mouse Trap,” 2012 24k gold-plated bronze, wood, and metal wire Edition 6/10, signed: BVB 13.5” H x 10.125” W x 9.125” D $400-600 Provenance: The Blake Byrne Collection

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163

A group of works commissioned by The Peter Norton Christmas Project

Three works Nina Katchadourian (b. 1968, American) Salt and pepper shakers, 2007 Glass, confetti, and water One stamped: Nina / Katchadourian; One stamped: Norton / Christmas 2007 Each: 3.625” H x 2” Dia. Christian Marclay (b. 1955, American) “Tinsel,” 2005 Wood music box Burned: Silent / Listen / Peter Norton Family Christmas Project / Music & Box by Christian Marclay 2005; Music box marked: Reuge / Swiss Made / Tinsel 2.75” H x 5.125” W x 3.875” D Benjamin Lord (b. 1974, American) “Humaliwo Chambers,” 2010 Offset lithograph stereoscopic prints, stereo viewer, and plywood Marked: Benjamin Lord - Norton Christmas Project 2010 5 pieces 13.125î H x 7.875” W x 11.5” D $1,000-1,500 Notes: These editions were commissioned by the Peter Norton family as gifts for The Peter Norton Christmas Project. Each edition is accompanied by a Norton Christmas Project pamphlet, “Humaliwo Chambers” further accompanied by a commemorative PEZ candy dispenser with candy and custom card in honor of the passing of PEZ creator, Curtis Allina.

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164

Barbara Broughel

(b. 1956, American) “Cuban Long Filter,” 1988 Mixed media Unsigned 2.75” H x 8” W x 8.375” D $700-900 Provenance: The Blake Byrne Collection

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165

Vik Muniz

(b. 1961, Brazilian) Untitled (Wanderer Ashtray), 1999 Porcelain Impressed to underside pad: 1999 / Peter Norton Family Christmas Project / by Vik Muniz / Made by Bernardaud in Limoges, France 1.375” H x 6.625” W x 7.75” D $400-600 Notes: This edition was commissioned by the Peter Norton family as a gift for The Peter Norton Christmas Project.

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166

Michael Decker

(b. 1982, American) “Unbelievable R.I.P,” 2012 Unstuffed plush animals and plastic string Unsigned 83” H x 35.5” W x 35.5” D $800-1,000 Provenance: The Blake Byrne Collection

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167

Peter Rogiers

(b. 1967, Belgian) “Slagroom,” 2006-2007 Epoxy, iron, paint, and polyurethane-foam Unsigned 31.75” H x 18.75” W x 13” D $2,000-4,000 Provenance: The Blake Byrne Collection

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168

Leo Copers

(b. 1947, Belgian) “Golden Motor,” 1988 Mixed media Signed and numbered: L. Copers / 1.89/0 8.75” H x 9” W x 12” D $800-1,200 Provenance: The Blake Byrne Collection

169

Thomas Campbell

(b. 1969, American) “Dart Board,” 2003 Acrylic on wood Inscribed: DARTAMORTIS / vid- T - MOSKi / 2 thousand / [indistinct cipher]; inscribed to verso: Blake 31” H x 4.25” W x 2.25” D $500-700 Provenance: The Blake Byrne Collection

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170

Liu Ruowang

(b. 1977, Chinese) “Soldiers,” 2005 Fiberglass and paint Each inscribed in Chinese characters and variously editioned Tallest: 23.5” H x 6.5” W x 5.25” D approximately, dimensions vary $2,000-4,000 Provenance: The Blake Byrne Collection

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171

Barbara Broughel

(b. 1965, American) “Rum Cocktail/Molotov Monster,” 1988 Mixed media Unsigned 9.25” H x 5” Dia. $700-900 Provenance: The Blake Byrne Collection

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172

Do Ho Suh

(b. 1962, Korean) Untitled (Glass Bowl), 2004 Glass Unsigned 6.5” H x 9.5” Dia. $400-600 Notes: This edition was commissioned by the Peter Norton family as a gift for The Peter Norton Christmas Project. This lot is accompanied by an information card from the Norton Family.

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173

Sean Albert

(b. 1975, American) “Intentionally Random Line Study 4.23.06,” 2006 Cast glass Signed and dated: Sean Albert / 2006 14.125” H x 12.125” W x 2.5” D $2,000-3,000 Provenance: The Blake Byrne Collection

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174

Marc Swanson

(b. 1969, American) Bejeweled antler, 2009 Cast urethane, crystals, and adhesive Unsigned 3.75” H x 7.75” W x 6” D $500-1,000 Notes: This edition was commissioned by the Peter Norton family as a gift for The Peter Norton Christmas Project. This lot is accompanied by an informative card from the Norton Family and an embroidered cloth bag, reading: Norton Christmas Project 2009 / Marc Swanson.

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175

Lore Bert

(b. 1936, German) “Untitled,” 1988 Paper on wood Signed and numbered in pencil: Lore Bert / 79 89 / 89007; burn mark to verso: Galerie Dorothea van der Koelen 14.25” H x 13.75” W x 2.75” D $300-500 Provenance: Galerie Dorothea van der Koelen, Mainz, Germany The Blake Byrne Collection

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176

George Stoll

(b. 1954, American) “Untitled (Gold/Yellow),” 1998 Burned balsa wood and alkyd paint Signed and dated: George Stoll / 1998; titled to verso 6” H x 6.625” W x 1” D $2,000-4,000 Provenance: The Blake Byrne Collection

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178

George Stoll

(b. 1954, American) “Untitled (Teal/Blue),” 1998 Burned balsa wood and alkyd paint Signed and dated: George Stoll / 1998; titled to verso 6” H x 6.875” W x 1” D $2,000-4,000 Provenance: The Blake Byrne Collection

177

George Stoll

(b. 1954, American) “Untitled 4 Pack with Oval (Orange, Mint, Teal, Yellow),” 1999 Burned balsa wood and alkyd paint Signed and dated: George Stoll / 1999; titled to verso 4.625” H x 5.875” W x 1.5” D $2,000-4,000 Provenance: The Blake Byrne Collection

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179

George Stoll

(b. 1954, American) “Untitled (Raspberry Car Sponge),” 2000 Burned balsa wood and alkyd paint Signed and dated: George Stoll / 2000; titled to verso 8.375” H x 4.875” W x 2” D $2,000-4,000 Provenance: The Blake Byrne Collection

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180

Jessica Lajard

(b. 1985, French) “Try Try Again,” 2010 Painted bronze Unsigned 9.5” H x 5.75” W x 5.875” D $2,000-4,000 Provenance: The Blake Byrne Collection

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181

Edward del Rosario

(b. 1970, American) Untitled (Two rats on a chair), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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182

Edward del Rosario

(b. 1970, American) Untitled (Rats surrounding a bound rabbit), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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183

Edward del Rosario

(b. 1970, American) Untitled (Office rats), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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184

Edward del Rosario

(b. 1970, American) Untitled (Rat filming other rats at play), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.75” H x 7.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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185

Edward del Rosario

(b. 1970, American) “Counter Reformation,” 2005 Oil on linen Signed verso: Edward del Rosario; initialed and dated verso: EdR; titled by repute 24” H x 32” W $2,000-4,000 Provenance: The Blake Byrne Collection

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186

Rick Wolfryd

(b. 1953, American) “Sea of Desire (Peeing Dog),” 2021 Acrylic resin and beads Signed and dated: Rick Wolfryd / T.P. / 2021 / .0002 15.25” H x 15” W x 8” D approximately $1,500-2,000

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187

Rick Wolfryd

(b. 1953, American) After KAWS, “X Man,” 2021 Acrylic resin and beads Signed and dated: Rick Wolfryd / TP / 2021 14.875” H x 8.5” W x 11” D $1,500-2,000

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188

Rigo Schmidt

(b. 1974, German) “Untitled (Rhino),” 2006 Oil and acrylic on canvas Signed, dated, and inscribed verso: Rigo Schmidt / 04-05/2006 / O.T. (Nashorn) 9.5” H x 12” W $1,000-2,000 Provenance: The Blake Byrne Collection

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189

Rigo Schmidt

(b. 1974, German) “Fig. 5,” 2004 Oil and acrylic on canvas Signed, titled, dated, and inscribed verso: Rigo Schmidt / Siren [the latter then redacted] 12.25” H x 8” W $1,000-2,000 Provenance: The Blake Byrne Collection

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190

Kori Newkirk

(b. 1970, American) “Seep,” 2010 Four inkjet prints in plastic frames Unsigned Largest: 8.25” H x 10” W x 2.625” D; Smallest: 3.5” H x 5” W x 1.25” D $2,000-4,000 Provenance: The Blake Byrne Collection

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191

Bruce Helander

(b. 1947, American) “Bars & Stripes Forever,” 2009 Giclee with hand-embellished glitter on paper Edition 30/100, signed and dated in the lower margin: Bruce Helander; titled by repute Image: 22” H x 22” W; Sheet: 24” H x 24” W $400-600 Provenance: The Blake Byrne Collection

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192

Bruce Helander

(b. 1947, American) “Jumping Jahovahs” Paper collage on foam board under Plexiglas Signed lower left: Bruce Helander; signed again, twice, on the foam board, once lower center recto, and once upper center verso, and with the artist’s guide marks for the size and placement of the mat’s window Sight: 16” H x 12.75” W $1,000-2,000 Provenance: The Blake Bryne Collection Notes: Please note that the backing paper to frame incorrectly features a label for a different work by the aritst.

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193

Bruce Helander

(b. 1947, American) “Clever Canvas,” 1996 Collage on board Signed lower left: Bruce Helander; titled and dated by repute Sight: 15” H x 9.5” W $500-700 Provenance: The Blake Byrne Collection

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194

Christophe Leroux

(b. 1964, French) “No Guns Allowed,” 2014 Mixed media on paper, with various puncture holes, under glass Signed, titled, and dated verso: Christophe Leroux 20.75” H x 20.25” W $1,000-2,000 Provenance: The Blake Byrne Collection

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195

Audrey Nervi

(b. 1974, French) “Metek,” 2001 Oil on canvas Signed, titled, and dated verso: Nervi Audrey 9” H x 15.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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196

Audrey Nervi

(b. 1974, French) Two works “Gaz 1,” 2004; “Gaz 2,” 2004 Each: Oil on canvas Each: Signed, titled, dated, and inscribed verso: Nervi Audrey / Pologne [indistinct] Each: 6.75” H x 9.75” W $1,000-2,000 Provenance: The Blake Byrne Collection

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197

Frank Sturmer

(b. 1972, Romanian) Untitled, 2004 C-Print on paper Signed and dated on the backing board: Sturmer Sight: 16” H x 10.25” W $200-400 Provenance: The Blake Byrne Collection

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198

Michael Lazarus

(b. 1969, American) “Reverse,” 2006 Enamel, spray paint, collage, and acrylic on panel Signed, titled, and dated verso: Michael Lazarus 29” H x 21” W $1,000-2,000 Provenance: The Blake Byrne Collection

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199

Neil Farber

(b. 1975, Canadian) Untitled, 2005 Colored inks and acrylic gel media on paper under Plexiglas Appears unsigned; dated by repute 30” H x 22.25” W $400-600 Provenance: The Blake Byrne Collection

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200

Brendan Monroe

(b. 1980, American) “Blush from Side to Side,” 2006 Acrylic with collage on Arches paper under Plexiglas Signed and dated lower right: B. Monroe Sheet: 26” H x 40” W $1,000-2,000 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection

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201

Brendan Monroe

(b. 1980, American) “Untitled (They Normally Stay Inside),” 2007 Acrylic on paper under Plexiglas Signed and dated lower left: B. Monroe Image/Sheet: 13.75” H x 12” W $600-800 Provenance: The Blake Byrne Collection

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202

Alexander Kroll

(b. 1981, American) “Cama,” 2012 Oil on canvas Signed and dated verso: Kroll 14” H x 11” W $2,000-4,000 Provenance: The Blake Byrne Collection

203

Alexander Kroll

(b. 1981, American) “Imagining a Snow Wing,” 2017 Oil on canvas Signed twice, titled, and dated verso: Alexander Kroll 80.25” H x 70” W $5,000-7,000 Provenance: The Blake Byrne Collection

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204

Steven R. Heino

(20th/21st Century, American) “Polar Season,” 1990 Mixed media on wood in two parts Signed twice, titled twice, and dated verso: Steven R. Heino and with the copyright symbol Overall: 78” H x 100” W x 8” D $2,000-3,000 Provenance: The Blake Byrne Collection

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205

206

(b. 1969, German) Untitled, 2000 Mixed media on paper under Plexiglas Appears unsigned Sight: 8.75” H x 5.25” W

(b. 1969, German) Untitled, 2002 Watercolor and ink on tan paper under Plexiglas Appears unsigned Sight: 11” H x 16” W

Dirk Bell

$400-600

Provenance: Gavin Brown’s enterprise, New York, NY The Blake Byrne Collection

Provenance: Gavin Brown’s enterprise, New York, NY The Blake Bryne Collection

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207

Dirk Bell

(b. 1969, German) Untitled, 2002 Watercolor, ink, and ink stamping on tan paper under Plexiglas Appears unsigned Sight: 16” H x 11” W $400-600 Provenance: Gavin Brown’s enterprise, New York, NY The Blake Byrne Collection

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208

Scott Reeder

(b. 1970, American) “Eggsecution,” 2008 Oil on linen Signed, titled, and dated verso: Scott Reeder 17” H x 20” W $2,000-4,000 Provenance: The Blake Byrne Collection

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209

Nancy Lorenz

(b. 1962, American) “Left Hand Right Hand,” 2006 Mother-of pearl inlay, gesso, pigment, and shellac on panel Signed, titled, and dated verso: Lorenz 4” H x 6” W $1,000-2,000 Provenance: The Blake Byrne Collection

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210

Wawrzyniec Tokarski

(b. 1968, Polish) “Boring,” 2003 Acrylic on found materials Signed and dated verso: Wawrzyniec Tokarski 16” H x 16” W $1,000-2,000 Provenance: Galerie Vera Munro, Hamburg, Germany The Blake Byrne Collection

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211

Chris Finley

(b. 1971, American) “Pattern Master,” 2005-06 Acrylic and oil on canvas over to board Signed and dated on the board verso: Chris Finley 22” H x 30” W $2,000-4,000 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection

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212

Francesca Gabbiani

(b. 1965, Canadian) “Profile of a New Elite,” 1999 Collage on construction paper Signed, titled, and dated verso: Francesca Gabbiani Sheet: 12” H x 10.75” W $800-1,200 Provenance: The Blake Byrne Collection

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213

Francesca Gabbiani

(b. 1965, Canadian) “Perfect Ride,” 1999 Collage on construction paper Signed, titled, and dated verso: Francesca Gabbiani Sheet: 12.25” H x 11” W $800-1,200 Provenance: The Blake Byrne Collection

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214

Liam Jones

(20th/21st Century, American) “Tented House #5,” 2004 Acrylic on canvas over panel Unsigned 48.75” H x 72.25” W $2,000-4,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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215

Glen Rubsamen

(b. 1959, American) “Something that looks alot like nature but isn’t,” 2004 Acrylic on linen Signed, titled, and dated verso: Glen Rubsamen 23.5” H x 27.5” W $2,000-3,000 Provenance: The Blacke Byrne Collection

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216

Reuben Aaron Miller (1912-2006, American) Ten items

Two devil-type figures Each: Polychrome paint on cutout sheet metal Each signed (the large at lower left; the small on verso): R A Miller Three Native Americans wearing headdresses Each: Polychrome paint on cutout sheet metal Each signed (the large along left edge; the two small on verso): R A Miller Three angel-like figures Each: Polychrome paint on cutout sheet metal Each signed verso: R A Miller Two crab or beetle-like forms Each: Polychrome paint on cutout sheet metal One appears unsigned; one signed along right edge: R A Miller Largest: 30” H x 14” W; Smallest: 9” H x 5.5” W $600-800

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217

Ruben Aaron Miller

(1912-2006, American) “Lord Love You” Polychrome paint on plywood panel Signed lower left: R A Miller; titled or inscribed upper center 8.75” H x 39.5” W $200-400

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218

Ruben Aaron Miller

(1912-2006, American) Seven works Six works titled or inscribed “Blow Oskar” Polychrome paint on cutout sheet metal Each signed (the two large at lower left; the four small on verso): R A Miller One painting titled or inscribed “I wont[sic] that millon[sic]” Polychrome paint on Masonite Signed lower left: R A Miller Largest cutout: 41” H x 10” W; Smallest cutout: 8” H x 3” W; Masonite: 14.25” H x 16.25” W $300-500

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Consign Today

Post-War & Contemporary Art + Design November 1, 2021 Duilio (Dubé) Barnabé (1914-1961, Italian) Man seated with pipe

Price Realized: $31,250 Consignment and Auction Inquiries: fineart@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 2 5 4 Sum m er M o d e r n & C o n t e mp orary l Tu e sd ay, S e p te mb e r 1 4 , 2021

Consign Today

California & American Fine Art November 16, 2021

Granville Redmond (1871-1935 Los Angeles, CA) “October” (Study) $10,000-15,000

Consignment and Auction Inquiries: fineart@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 w w w. j o h n m o r a n . c o m 2 5 5

Consign Today

Fine Jewelry & Timepieces | December 2021 Featured in our upcoming September 21, 2021 Fine Jewelry Auction: A pair of yellow and near colorless diamond flower earrings $4,000-6,000 A jadeite and diamond ring $8,000-12,000 A Van Cleef & Arels “Alhambra” necklace $15,000-20,000 Consignment and Auction Inquiries: mollie@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 2 5 6 Sum m er Mo d e r n & C o n t e mp orary l Tu e sd ay, S e p te mb e r 1 4 , 2021

Condition Reports

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1 Each overall good condition with dust accumulation, scuffs, and minor scratches commensurate with age. Each with minor dark scuffing to plastic, one with slightly more dark scuffing to figure’s arms and legs. 2 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

3 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 4 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

5 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Condition Reports

Frame: 14.25” H x 11.5” W x 1” D

258

6 Visual: Generally good condition. Dust accumulation. Blacklight: No evidence of restoration under blacklight. Unframed 7 Visual of each: Generally good condition. Blacklight of each: No evidence of restoration under blacklight. Each unframed

8 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 9 Generally good condition. Unframed 10 Generally good condition. Unframed 11 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

12 Visual: Generally good condition. Minor surface dirt and grime. Slight stretcher bar creases showing occasionally throughout. Blacklight: No evidence of restoration under blacklight. Unframed 13 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 14 Visual: Generally good condition. The first with small scuff marks lower center and along the lower right edge. The second with a small scuff mark along the lower left edge. Blacklight: No evidence of restoration under blacklight. Unframed

15 Visual: Generally good condition.

22 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

16 Generally good condition.

23 Visual: Generally good condition. A small scuff mark right center.

Frame: 22.75” H x 22.25” W

Blacklight: No evidence of restoration under blacklight.

17 Visual: Generally good condition.

Frame: 15” H x 17.5” W x 2” D

Blacklight: No evidence of restoration under blacklight. Unframed

24 Visual: Generally good condition. Slight surface soiling at the left edge. Blacklight: No evidence of restoration under blacklight.

18 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

Frame: 19” H x 25” W x 1.5” D 25 Visual: Generally good condition aside from a .5” horizontal split lower center. Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed / Overall: 12” H x 12” W x .5” D 26 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 29” H x 22.75” W x 1.75” D

20 Generally good condition. The paper is loose, not mounted. Unframed 21 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

27 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Unframed

Condition Reports

19 Generally good condition. The joined sheets of newsprint all issued during 2003 and with the usual toning, timing staining, minor surface dirt, grime, and occasional tiny nicks at the sheet edges as would be expected for paper of this type and age.

259

28 Generally good condition. A pinhole at the upper center edge and a lightweight hanging device attached verso, both presumably by the hand of the artist.

34 Visual: Generally good condition.

The paper is loose, not mounted.

Frame: 21” H x 17” W x 1.5” D

Unframed 29 Visual: Generally good condition.

35 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.

Unframed

Frame: 56.5” H x 56.5” W x 2” D

30 Visual: Generally good condition.

Condition Reports

36 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight. A speck of residue adhering to the surface lower right fluoresces under blacklight.

Unframed

31 Visual: Generally good condition.

37 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

32 Generally good condition. The paper is loose, not mounted.

38 Generally good condition. A few very slight handling marks near the outer edges, attendant with the hinges verso. Framed floating and mounted to the back mat. Not examined out of the frame.

Unframed

260

Blacklight: No evidence of restoration under blacklight.

Frame: 22.75” H x 25.25” W x 2” D 33 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 18.25” H x 14.25” W x 1.25” D

39 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Slightly uneven varnish application near the upper edge. Unframed

Frame: 16” H x 12.5” W x 1.5” D 41 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 16” H x 12.5” W x 1.5” D 42 Generally good condition. Very minor toning to the paper. Creases to the paper lower center and in the lower right corner. Framed floating and mounted to the back mat. Frame: 15.5” H x 12” W x 1” D 43 Generally good condition. The photo loose, not mounted. The envelope in generally good condition with two small ink marks in the lower right corner and a small tear to one of the flaps verso. Unframed 44 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

46 Visual: Generally good condition. The paper with deckled edges. Framed floating and mounted to the backing board. Blacklight: No evidence of restoration under blacklight. Frame: 11.5” H x 8” W x 1.5” D

47 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 20” H x 15” W x 1.25” D

48 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

49 Generally good condition. Artist’s pinholes in the four corners. The right edge is deckled. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 15.25” H x 12.25” W x 1.5” D

Frame: 33.5” H x 25.75” W x .75” D

50 Visual: Generally good condition.

45 Generally good condition. The drawing framed floating and mounted to the back mat. Not examined out of the frame. The enameled metal elements each with slight surface dirt, grime, occasional surface scratches, and adhesive residue, verso, from the previous installation.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.5” H x 27.5” W x 1.5” D Box: 5.75” H x 6.5” W x 10” D

Unframed 51 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

Condition Reports

40 Generally good condition. An unobtrusive, tiny crease across the tip of the lower right corner. Framed floating and mounted to the back mat. Not examined out of the frame.

261

52 Generally good condition. Framed floating and mounted to the back mat. Frame: 14” H x 10.25” W x 1.5” D

59 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 20.75” H x 15” W x 1.5” D

53 Generally good condition. Framed floating and mounted to the back mat. Frame: 14.5” H x 13.25” W x 1.5” D 54 Generally good condition. Minor creasing in the upper corners. Minor wear scattered along the edges. Unframed 55 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 11” H x 8.5” W x 1.5” D

Condition Reports

56 Visual: Generally good condition. A few very unobtrusive, pinhead-sized, pigment losses at the outermost vertical edge upper right. One very unobtrusive, pinhead-sizde fleck of pigment loss near the upper left corner.

262

60 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 61 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

62 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Some lines and spots lower left, left center and along the left and right edges fluoresce under blacklight but these appear to be in the hand of the artist.

Blacklight: No evidence of restoration under blacklight.

Unframed

Overall: 14” H x 11” W x 1” D

63 Visual: Generally good condition. The outtermost edge very slightly burnished, but visible only in a raking light. Several short, very unobtrusive, stray, burnished lines upper left, again visible only in a raking light.

57 Generally good condition. A 1” tear to the paper upper center affecting the inscription. The paper is loose, not mounted. Unframed

58 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

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

64 Visual: Generally good condition.

70 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

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

65 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

66 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 26” H x 33” W x 1.5” D 67 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 14.75 x 11.75 x 2” D 68 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 69 Visual: Generally good condition.

Frame: 21” H x 21” W x 2.25” D 71 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 18.25” H x 14.25” W x 1.25” D 72 Generally good condition. Not examined out of the frame. Frame: 18” H x 17” W x 1.5” D 73 Generally good condition. Framed floating and hinged to the backmat. Not examined out of the frame. Frame: 18.25” H x 17” W x 1” D 74 Generally good condition. Arist’s pinholes in the four corners. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 16.25” H x 19.75” W x 2” D 75 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Blacklight: A 1.5” x .5” area lower right fluoresces under blacklight but appears to be in the hand of the artist. An area of restoration upper right w/ corresponding 3.5” x 2.5” patch verso, all most likely in the hand of the artist.

Frame: 17.75” H x 14” W x 1” D

Frame: 28.5” H x 20.5” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

76 Visual: Generally good condition.

Unframed

Condition Reports

Unframed

263

77 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 44” H x 63” W x 2” D 78 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 16” H x 19” W x 1.5” D

84 Generally good condition. Minor toning to the paper. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 18.5” H x 14.75” W x 1” D

85 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 18.5” H x 14.5” W x 1” D

79 Visual: Generally good condition. A few small scuff marks and stains scattered throughout. Slight stretcher bar creases along the four edges. Blacklight: No evidence of restoration under blacklight.

86 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 24” H x 27” W x 1.25” D

Condition Reports

Unframed

80 Generally good condition. Framed floating and mounted to the back mat.

87 Generally good condition. Framed floating and mounted to the back mat. Slight rippling at the sheet corners attendant with the hinges verso. Not examined out of the frame.

Frame: 21” H x 17” W x 1” D

Frame: 28” H x 23” W x 1.5” D

81 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

88 Overall good condition with dust accumulation commensurate with age.

Frame: 20.75” H x 16.75” W x 1” D

89 Generally good condition. The paper is loose, not mounted.

82 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 21” H x 17” W x 1” D 83 Generally good condition. Occasional pale scattered foxmarks showing mostly outside the image. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 34” H x 26.5” W x 1” D

Frame: 10.5” H x 8” W x 1.5” D 90 Generally good condition. Framed floating and mounted to the back mat. One hinge slightly loose. Not examined out of the frame. Frame: 18.25” H x 14.25” W x 1” D 91 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 18.25” H x 14.25” W x 1” D

264

Frame: 21” H x 15” W x 1.5” D 93 Canvas visual: Generally good condition. Canvas blacklight: No evidence of restoration under blacklight. Flowers: Varying degrees of flaking and cracking to the dried petals and stems of the loose dried flowers Unframed 94 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. An approximately 4.5” H x .25” W area of white pigment loss along the right sheet edge, presumably inherent in the original manufacture. Frame: 11.5” H x 9.25” W x 1.5” D 95 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 10.5” H x 14.5” W x 1.5” D 96 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 10” H x 13” W x 1.5” D 97 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 12.5” H x 10.5” W x 1” D 98 Generally good condition. Framed floating and mounted to the back mat. Frame: 13.5” H x 10.25” W x .5” D

99 Generally good condition. The joined sheets of newsprint all issued during 2003 and with the usual toning, timing staining, minor surface dirt, grime, and occasional tiny nicks at the sheet eges as would be expected for paper of this type and age. Unframed 100 Generally good condition. Torn perforations along the upper edge inherent to the medium. Framed floating and mounted to the back mat along the upper edge. Frame: 14.5” H x 11.25” W x 1.5” D 101 Generally good condition. An unobtrusive soft crease across the tip of the upper right sheet corner. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 22.5” H x 30” W x 1.5” D 102 Generally good condition. Very minor toning to the paper. Artist’s pinholes in the four corners. Unframed

103 Generally good condition. Folder: 10” H x 7” W

104 Generally good condition. Very minor toning to the paper. Very minor damage in three of the four corners. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 15” H x 12” W x 1.25” D

105 Generally good condition. A few very pale stains and a dime-size areas of surface skinning verso. Framed floating and mounted to the back mat. Frame: 25” H x 32.75” W x 1.5” D

Condition Reports

92 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

265

106 Generally good condition. Several very unobtrusive handling marks upper left and right corners attendant with the hinging. Frame: 22” H x 19.25” W x 1.5” D

114 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 40.5” H x 40.5” W

Frame: 15.25” H x 12.75” W x 1” D

108 Generally good condition. The full sheet. Framed floating and attached to the back mat with clear, archival mounting corners. All but the top right sheet corner with a small, dime-sized area of slight surface skinning from previous hinging verso.

115 Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

109 Generally good condition. Framed floating between two pieces of Plexiglas. Not examined out of the Plexiglas.

Frame: 15.5” H x 13” W x 1.5” D 116 Generally good condition. Not examined out of the frame. Frame: 25” H x 22.75” W x 1.75” D

Plexiglas: 37” H x 25” W

117 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

110 Generally good condition. Taped to the overmat from the verso of the upper sheet corners as well as from the center of the lower sheet edge.

Frame: 14.5” H x 12.75” W x 1.25” D

Frame: 18.25” H x 14” W x 1” D

Condition Reports

Frame: 16.25” H x 13.25” W x 1.75” D

107 Generally good condition. Not examined out of the frame.

Frame: 44” H x 31.25” W x 1.75” D

266

113 Generally good condition. Framed floating and mounted to the back mat.

111 Generally good condition. Framed floating and mounted to the back mat. Frame: 13.25” H x 10” W x .75” D 112 Generally good condition. Framed floating and mounted to the back mat. Frame: 16.25” H x 13.25” W x 1.75” D

118 Generally good condition. Slight surface dirt and grime. The sheets of parchment showing the usual features of this organic material. The section depicting the face with a few pea-sized scuffed areas lower left. Frame of each: 19.75” H x 15.75” W x 1.75” D 119 Generally good condition. Not examined out of the frame. Frame: 17.5” H x 12.75” W x 1” D 120 Generally good condition. Not examined out of the frame. Frame: 17.5” H x 12.75” W x 1” D

121 Generally good condition. Not examined out of the frame. Frame: 18.5” H x 23.5” W x 1” D 122 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 32.25” H x 24.75” W x 1.5” D 123 Generally good condition. Not examined out of the frame. Framed together, floating and mounted to the back mat. Frame: 27” H x 19” W x 1.5” D 124 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.

128 Generally good condition. A few minor, pale and very unobtrusive stains near the right sheet edge. One very soft, horizonal, handling crease, visible mostly in a raking light, near the lower sheet edge and another of the same type in the top left sheet corner. The paper is loose, not mounted. 129 Generally good condition. Not examined out of the frame. Frame: 49” H x 49” W x 2” D 130 Generally good condition. The upper edge is deckled. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 14.75” H x 18.5” W x 1.5” D 131 Generally good condition. Not examined out of the frame. Frame: 17.5” H x 14.25” W x 1.5” D

Frame: 20” H x 16.75” W x 4.25” D

Blacklight: No evidence of restoration under blacklight.

Frame: 16” H x 13.25” W x 1.5” D

Frame: 17.25” H x 14.75” W

126 Generally good condition. One unobtrusive foxmark in the lower left sheet corner. Framed floating and mounted to the back mat. Not examined out of the frame.

133 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 16.5” H x 20.5” W x .75” D

Frame: 19” H x 16.75” W x 1.5” D 127 Each: Generally good condition. Not examined out of the frame. Each: Frame: 13” H x 11”W x 1.75” D

134 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

Condition Reports

125 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

132 Visual: Generally good condition. Hinged to the overmat from the reverse of the upper sheet corners.

267

135 Overall fair to good condition with scuffs and spots of discoloration commensurate with age. Scattered small tears in in paper throughout, more prominent at corners. Splits in covered canvas at corner edges. An 1.5” area of discoloration to bottom edge. 136 Generally good condition. Not examined out of the frame.

Unframed

Frame: 12.5” H x 13” W x 1.25” D

137 Generally good condition. Not examined out of the frame.

144 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 16” H x 11” W x 1.25” D

Frame: 14.5” H x 11.5” W x 1.25” D

138 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

145 Generally good condition. Scattered areas of surface dirt and grime. A 2” cut at the upper right sheet edge of the top sheet. Various pinholes along the vertical sheet edges and corners. A pea-sized surface scuff at left edge of bottom sheet. Scattered pea-sized skinned patches to verso from previous installation.

139 Visual: Generally good condition.

Unframed

Blacklight: No evidence of restoration under blacklight.

146 Visual: Generally good condition.

Unframed

Blacklight: No evidence of restoration under blacklight.

140 Visual: Generally good condition.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

143 Overall good condition with dust accumulation commensurate with age. Corners and edges to foam board with rippling, wrinkles, and slight bending.

Frame: 15.5” H x 17.25” W x 1.5” D

268

142 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. Unframed

141 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 23.75” H x 31.75” W x 1.5” D

Unframed 147 Overall good condition with dust accumulation commensurate with age. 148 Overall good condition with dust accumulation commensurate with age. Scattered indentations and scratches inherent to the time of manufacture. Wiring should be checked by a qualified electrician prior to use.

149 Overall good condition with dust accumulation, scuffs, scratches, and inherent firing flaws commensurate with age. Neck joint fluoresces under blacklight, possibly due to prior repair or method of original construction, and repairs to pin.

160 Overall good condition with minor rippling/wrinkles to scattered pop-up elements commensurate with age and handling. Front cover with minor pinholesize imperfection in leather and light wear to spine ends.

150 Overall good condition with dust accumulation commensurate with age.

161 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. With detachable wooden table legs.

151 Overall good condition with scuffs, dust accumulation, and inherent firing flaws commensurate with age.

Table overall: 31.25” H x 26.75” W x 26.75” D

153 Overall good condition with dust accumulation commensurate with age. 154 Overall good condition with shelf wear, scuffs, and inherent firing flaws commensurate with age. 155 Overall good condition with dust accumulation commensurate with age. 156 Overall good condition with dust accumulation commensurate with age. 157 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Framed: 12” H x 7.5” W x .5” D 158 Overall good condition with dust accumulation commensurate with age. 159 Overall good condition with dust accumulation commensurate with age.

163 Each overall good condition with dust accumulation commensurate with age. “Tinsel” music box with a minor spot of discoloration to lid, possibly inherent to the wood. “Humaliwo Chambers” pamphlet with light creasing and rippling. 164 Overall good condition with dust accumulation commensurate with age. Four cigars with wear and separation/loosening of joined pieces; one with detatched missile head, loose in box. 165 Overall good condition with minor scuffs and inherent firing flaws commensurate with age. With impressed suede pad to underside. 166 Overall good condition with dust accumulation commensurate with age. 167 Overall good condition with dust accumulation commensurate with age. A crack in surface epoxy to one wire, undetermined if inherent to time of manufacture or later-occuring. 168 Overall good condition with scuffs, scratches, and dust accumulation commensurate with age.

Condition Reports

152 Overall good condition with dust accumulation commensurate with age.

162 Overall good condition with dust accumulation commensurate with age.

269

169 Overall good condition with dust accumulation commensurate with age. Areas of craquelure scatterd throughout.

180 Overall good condition with minor scuffs, scratches, and inherent surface imperfections commensurate with age.

170 Overall good condition with dust accumulation commensurate with age.

181 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

171 Overall good condition with scuffs, scratches, and dust accumulation commensurate with age. Rust to metal inherent to the time of manufacture.

Frame: 15” H x 15” W x 1.25” D

172 Overall good condition with dust accumulation and scuffs commensurate with age. The rim with minor imperfections/fleabites throughout, likely occurring at time of manufacture from grinding. Scattered inherent air bubbles to blown glass. 173 Overall good condition with dust accumulation and minor surface scratches commensurate with age. A small area of adhesive label residue to underside. 174 Overall good condition commensurate with age. 175 Overall good condition with dust accumulation commensurate with age.

Condition Reports

176 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age.

270

177 Overall good condition with light scuffs and dust accumulation commensurate with age. 178 Overall good condition with light scuffs and dust accumulation commensurate with age. Scattered minor areas of cracks in wood and one chip to paint upper left. 179 Overall good condition with light scuffs and dust accumulation commensurate with age. Minor areas of indentations to lower right.

182 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat. Frame: 15” H x 15” W x 1.25” D 183 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat. Frame: 15” H x 15” W x 1.25” D 184 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat. Frame: 15” H x 15” W x 1.25” D 185 Visual: Generally good condition. Scattered scuff marks left center and lower left. Blacklight: No evidence of restoration under blacklight. Unframed

186 Overall good condition with shelf wear commensurate with age. 187 Overall good condition shelf wear commensurate with age. Adhesive felt pads to underside.

188 Visual: Generally good condition.

195 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 10.25” H x 12.75” W x 1.25” D

Unframed

189 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

196 Each visual: Generally good condition. Each blacklight: No evidence of restoration under blacklight. Each unframed

Frame: 13” H x 8.5” W x 1” D 197 Generally good condition. Not examined out of the frame. Frame: 17” H x 11.25” W x 1” D

191 Generally good condition. The paper is loose, not mounted.

198 Visual: Generally good condition. Tiny flecks of paint loss lower left and lower center.

Unframed

Blacklight: No evidence of restoration under blacklight.

192 Generally good condition. Irregular perimeter, scattered puckers, grime and creases, pressumably all attendant with the artist’s collage technique.

Unframed

Frame: 23.5” H x 20.5” W x 1” D 193 Generally good condition. Unframed 194 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 25.5” H x 25” W x 1.25” D

199 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 33.25” H x 25.75” W x 1.5” D 200 Visual: Generally good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame. Blacklight: No evidence of restoration under blacklight. Frame: 29.5” H x 43.25” W x 1.5” D

Condition Reports

190 Overall good condition with dust accumulation and light scuffs/scratches to plastic surface commensurate with age. Two prints with a .5” band of offset printing inherent to the time of manufacture.

271

201 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 16” H x 14” W x 1.25” D 202 Visual: Generally good condition. Unobtrusive, scattered and tiny particulate matter, appears to be from the artist’s own hand. Blacklight: No evidence of restoration under blacklight.

Unframed

209 Visual: Generally good condition. A pea-sized surface chip revealing the underlying gesso upper left, but showing only on the panel’s side surface and therefore not affecting the image. Blacklight: No evidence of restoration under blacklight.

203 Visual: Generally good condition.

Unframed

204 Generally good condition. Surface dirt and grime. A dime-sized abrasion near the top of the red spiral and scattered minor surfaces scuffs. 205 Generally good condition. A pea-sized stain upper center. Not examined out of the frame. Frame: 22” H x 17” W x 1.25” D 206 Generally good condition. A pea-sized pale stain upper center. Not examined out of the frame.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

Frame: 15” H x 12” W x 2” D

Blacklight: No evidence of restoration under blacklight.

272

208 Visual: Generally good condition.

Frame: 22” H x 17” W x 1.25” D 207 Generally good condition. Not examined out of the frame.

Overall: 4” H x 6” W x .5” D 210 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

211 Visual: Generally good condition. Uneven varnish discoloration throughout. Surface dirt and grime. A few tiny and unobtrusive, pinhead-sized, pigment losses or pressure marks upper right. An unobtrusive .5” surface abrasion along the upper edge at right. Blacklight: No evidence of restoration under blacklight. Unframed / Overall: 22” H x 30” W x 2.5” D 212 Generally good condition. The paper is loose, not mounted. Unframed

Frame: 22” H x 17” W x 1.25” D 213 Generally good condition. The paper is loose, not mounted. Unframed

214 Visual: Generally good condition. Several dusty fingerprints along the upper edge center. Blacklight: No evidence of restoration under blacklight. An unobtrusive, 1.25” horizontal line of stray, dripped material which fluoresces under blacklight near the center lower edge. Unframed 215 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 216 All ten works variously scratched and with attendant paint losses, stains, display holes, dirt, grime, and other condition issues. 217 Visual: Surface dirt and grime, stains, scratches with attendant paint loss, drilled holes for display and various other condition issues. Blacklight: No evidence of restoration under blacklight. Unframed

Condition Reports

218 All seven works variously scratched and with attendant paint losses, stains, display holes, dirt, grime, and other condition issues.

273

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

SPECIALISTS

Senior Vice President, Fine Art Director Morgana Blackwelder AAA Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Anne Spink Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Western, American Indian Specialist Maranda Moran 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Furniture & Decorative Arts Cataloguer Shannon Dailey Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

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 Jacob Baer

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 AAA Department Administrator Angela Bryant

FOUNDERS

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

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 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.

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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 Buyer’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

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 "◊" 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 buyer’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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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Antonio Nicolo Gasparo Jacobsen (1850-1921 West Hoboken, NJ) The tugboat "E Heipershausen" on open waters, 1891 Price Realized: $46,875

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:

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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.

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rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

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

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Last Bid $

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

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rev. 7/2018

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