Prints & Multiples — Tuesday, November 9, 2021 | John Moran Auctioneers by johnmoranauctioneers

Prints & Multiples

Tuesday, November 9, 2021

SINCE 1969

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

Prints & Multiples Tuesday, November 9, 2021—10am Sale 201 (Session 1) 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, November 5th: 12-4pm Saturday, November 6th: 12-4pm Sunday, November 7th: By Appointment Monday, November 8th: 12-4pm

Meet the Team Morgana Blackwelder Head of Sale, Senior Vice President morgana@johnmoran.com Bobby Cullen Senior Fine Art Cataloguer, Junior Specialist bobby@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1001

Pablo Picasso

(1881-1973, Spanish) “Profil de Jacqueline,” 1956 Unglazed earthenware plaque Impressed: Madoura / Plein Feu / Empreinte / Originale de / Picasso 7.5” H x 7.5” W x .625” D $5,000-7,000 Literature: cf. A. Ramié 383-385 Notes: This plaque is an unglazed earthenware version of A.R. 383-385, lacking the engobe.

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1002

Pablo Picasso

(1881-1973, Spanish) “Pichet Anse Prise,” 1953 Terre de faïence ceramic pitcher Edition 110/200; impressed and numbered: Edition Picasso / Madoura / Plein Feu / Edition Picasso / 110-200 / Madoura 7.75” H x 12.5” W x 4.5” D $6,000-8,000 Literature: A. Ramié 186

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1003

Pablo Picasso

(1881-1973, Spanish) “Dove of Peace,” circa 1961 Color offset lithograph on paper under glass Edition 111/150; signed lower right: Picasso Sight: 18.5” H x 14.5” W; Sheet: 20” H x 15.25” W $3,000-5,000

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1004

Françoise Gilot

(b. 1921, French) “Earth,” from “The Four Elements,” 1977 Color lithograph on paper under glass; Tamarind Institute, Albuquerque, pub. Edition 52/100; signed and titled in the lower margin: Francoise Gilot; two blindstamps in the lower margin at left Image: 11” H x 11” W; Sight: 15.75” H x 13.75” W $1,000-1,500

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1005

1006

(1922-2010, Dutch) “La Colline Enrubannee,” 1970 Color lithograph on paper under glass Edition 113/120; signed and dated lower margin at right: Corneille; titled lower margin at center Image: 24” H x 18” W

(b. 1927, Belgian) “L’eau douce,” 1976 Color aquatint and etching on c Edition 37/60; signed, titled, da Image approx.: 23.5” H x 37.25

Guillaume Corneille

$500-700

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Pierre Alechinsky

$2,000-3,000

Provenance: The Estate of Jane

cream Japanese paper under Plexiglas ated, and numbered in red pencil along the lower portion of the image: Alechinsky 5” W; Sheet approx.: 23.75” H x 38.75” W

e Reisman and Neil Peter Jampolis, Los Angeles, CA

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1007

Pierre Alechinsky

(b. 1927, Belgian) “Wordly Flying Object,” 1978 Color lithograph on paper under glass Edition 32/100; signed lower right: Alechinsky Sight: 25.75” H x 19” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1008

Pierre Alechinsky

(b. 1927, Belgian) Untitled Color lithograph on B.F.K. Rives paper under glass; London Arts, London, pub. Edition 9/100; signed lower margin at right: Alechinsky Sheet: 26.25” H x 20” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1009

Salvador DalÌ

(1904-1989, Spanish) “Hidden Faces,” New York: The Dial Press, 1944 Hardcover book Signed, illegibly dated, inscribed, and with the artist’s ink sketches on the front endpaper Folio: 8.25” H x 5.875” W x 1.5” D $5,000-7,000 Provenance: The artist Private Collection, Southern California, acquired directly from the artist while working together at Disney Studios, 1946 Thence by descent to the present owner Notes: Bruce Hochman O.S. has verified the authenticity of this piece.

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1010

David Hockney

(b. 1937, British) “Prisoner, for Amnesty International,” 1977 Color offset lithograph on paper under glass Edition 17/100; signed and numbered in pencil in the lower left and right corners, respectively: David Hockney Sight: 28.25” H x 22.75” W; Sheet: 29” H x 23.625” W $2,000-3,000 Literature: Published for Amnesty International, Prisoners of Conscience Year 1977

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1011

Mark Tobey

(1890-1976, American) “Kopf,” 1967 Color lithograph on paper under glass Edition 126/150; signed, dated and numbered in pencil in the lower margin: Tobey Image: 8.75” H x 6” W $400-600 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1012

Robert Indiana

(1928-2018, American) “LOVE,”1967 Color screenprint on smooth wove paper under glass Appears to be one of the 25 artist’s proofs apart from the pencil signed and numbered edition of 250, also with margins, on paper this size; the artist’s copyright stamp showing along the lower portion of the left margin edge: “(c) 1967 by Robert Indiana” Image: 34” H x 34” W; Sheet: 36” H x 36” W $3,000-4,000 Literature: Sheehan 39 Notes: According to Sheehan, there were also editions of 2,275 and 250 printed without margins on different types of paper measuring only 34” x 34.” w w w. j o h n m o r a n . c o m

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1013

After Jim Dine

(b. 1935, American) “Look at Dine” Exhibition Poster, 1970 Color offset lithograph on paper laid to artist’s board under Plexiglas; Galerie Thomas, Munich, pub. Edition size unknown; with the printed signature and date in the image only, as issued Image/Sheet: 24.75” H x 29.75” W $500-700 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1014

Jim Dine

(b. 1935, American) “New French Tools 2 - Three Saws from the Rue Cler,” 1984 Etching, aquatint, and electric tools on paper under Plexiglas; Pace Gallery, Inc., New York, pub. Edition: 40/50; signed, dated and numbered in pencil in the lower margin Plate: 23.25” H x 19.25” W; Sheet: 35.5” H x 24.75” W $800-1,200 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: D’Oench & Feinberg 172

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1015

Jim Dine

(b. 1935, American) One plate from “Four German Brushes,” 1973 Etching on paper under Plexiglas; Maurice Payne, prntr; Petersburg Press, London, pub. Edition 2/73 [sic]; signed, dated, and numbered in pencil along the lower margin edge Plate: 11.75” H x 11.75” W; Sheet: 31.25” H x 22.25” W $1,000-1,500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Williams College 130 Notes: The edition was 75 plus 12 artist’s proofs.

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1016

Robert Motherwell

(1915-1991, American) “Africa 3,” from “Africa Suite,” 1970 Screenprint in cream and black on wove paper under glass; Marlborough Graphics, Inc., New York, pub. Edition: 103/150; initialed and numbered in pencil and with the artist’s blindstamp in the lower margin: RM Image: 31.75” H x 23.5” W; Sheet: 40.5” H x 28.25” W $4,000-6,000 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Belknap 42; Engberg & Banach 71 Robert Motherwell was among the small group of New York-based painters who founded the Abstract Expressionist style in the mid 1940s. Relying on spontaneous brushwork and formal qualities, Motherwell’s nonobjective compositions offered a new visual language while conveying emotion. Motherwell’s 1951 essay, “What Abstract Art Means to Me,” originally published in the Museum of Modern Art Bulletin, is his treatise on the emergence of the nonrepresentational style. Motherwell writes that the development of abstraction is “a sign that there are still men of feeling in the world.” The “Africa Suite” is comprised of ten screenprints produced by Robert Motherwell around 1970. As a group, they are related to a large canvas by the artist in the Baltimore Museum of Art. In the present example, number three in the series, a black abstraction is juxtaposed against a stark white background. The effect is a calligraphic, Rorschach-esque form that is both expressive and dynamic. This composition, and the suite at large, may illustrate an inner world and therefore eludes a fixed meaning.

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1017

Robert Motherwell

(1915-1991, American) “The Paris Review,” 1991 Lithograph on Japanese Kozo paper Chine colle to Arches paper under glass; The Paris Review, New York, pub. Edition PP 2/4; initialed in pencil in the lower margin at right: RM Image/Sheet: 14” H x 17” W; Sight: 19.25” H x 22.25” W $1,000-1,500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Engberg & Banach 519 Notes: There were also 100 signed and numbered impressions plus 12 artist’s proofs.

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1018

Robert Motherwell

(1915-1991, American) “Phoenician Etching,” 1977 Sugar lift aquatint in cream and black on paper under Plexiglas; Catherine Mosley, prntr; Robert Motherwell, pub.,1983 Edition 24/40; signed lower margin: Motherwell; with the artist’s blindstamp in the lower right margin corner Plate: 5.875” H x 7.75” W; Sheet: 14” H x 15.75” W $700-900 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Belknap 178

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1019

Sam Francis

(1923-1994, American) “Untitled (SF-233),” 1977 Color lithograph on paper under Plexiglas; The Litho Shop, Santa Monica, pub. Edition16/22; signed in pencil lower right: Sam Francis Image: 25.625” H x 16” W; Sheet: 30” H x 22” W $1,000-1,500 Provenance: The Collection of Dr. Denis Bettencourt Literature: Lembark 226

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1020

Sam Francis

(1923-1994, American) “Untitled (SF-234),” 1977 Color lithograph on paper under Plexiglas Edition 3/20; signed and numbered in pencil in the lower margin: Sam Francis Image: 22” H x 17.5” W; Sheet: 29” H x 23” W $1,000-1,500 Provenance: Jack Rutberg Fine Arts Inc., Los Angeles The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Lembark 227

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1021

Lorser Feitelson

(1898-1978, American) “Untitled (Red with White Line),” 1971 Color screenprint on paper under Plexiglas Edition 3/30: signed and dated in pencil lower right: Lorser Feitelson; titled on a gallery label affixed verso Sight: 31.5” H x 23.25” W; Sheet: 36” H x 28” W $1,500-2,000 Provenance: Louis Stern Fine Art, West Hollywood, CA Notes: A portion of the proceeds will go to the Los Angeles Art Association.

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1022

R.B. Kitaj

(1932-2007, American) “The Desire for Lunch is a Bourgeois Obsessional Neurosis or Grey Schizoids,” 1965 Color screenprint on paper under Plexiglas Edition 10/70; signed lower right: Kitaj, titled lower left Sheet: 30” H x 20” W $500-700 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1023

Paul Wunderlich

(1927-2010, German) “La Tete,” 1965 Color lithograph on paper under Plexiglas Edition 113/120; signed lower right: Wunderlich Image: 22.25” H x 20” W; Sight: 24.25” H x 21.375” W $400-600 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Riediger 260

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1024

Alberto Giacometti

(1901-1966, Swiss) “Nu Assis,” 1965 Lithograph on BFK Rives paper under Plexiglas; Gemini G.E.L., Los Angeles, prntr./pub. Edition 97/100; Signed lower margin at right: Alberto Giacometti; the publisher’s two blindstamps in the lower right margin corner Image: 23.75” H x 17.5” W; Sheet: 30” H x 22.25” W $4,000-6,000 Literature: Lust 53

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1025

1026

(1898-1976, American) “Potpourri en ciel,” 1975 Color lithograph on paper under Plexiglas Inscribed EA lower left, an artist’s proof apart from the numbered edition; signed lower right: Calder Image/Sheet: 29” H x 21.75” W

(1898-1976, American) “Composition aux cercle Color lithograph on pap Edition 30/95; signed in Image/Sheet: 29.5” H x

Alexander Calder

$1,200-1,800

$1,000-1,500

Notes: There were also 90 signed and numbered impressions.

Notes: “Man Hole Cove

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es,” 1975 per under Plexiglas pencil lower right: Calder 43.5” W

ers” sometimes appears as an alternate title for this image.

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1027

Alexander Calder

(1898-1976, American) “Pennants,” 1965 Color lithograph on paper under Plexiglas Inscribed E.A. lower left, an artist’s proof apart from the numbered edition; signed in pencil lower right: Calder Image/Sheet: 23” H x 30.75” W $1,500-2,000 Notes: There were also 110 signed and numbered impressions.

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1028

Joan Miro

(1893-1983, Spanish) One plate from “Les Perseides,” 1970 Color lithograph on wove paper, watermark of the publisher, under Plexiglas; Louis Broder, Paris, pub. Edition IX/XV; signed in pencil lower right: Miro Image/Sheet: 26” H x 20” W $8,000-10,000 Literature: Mourlot 656 Notes: Mourlot records a total edition of about 105 impressions. While the exact number is unknown, this total also includes 75 impressions signed and numbered with Arabic numerals.

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1029

James Rosenquist

(1933-2017, American) “Window Washer Glass House,” 1978 Color intaglio & relief print with hand coloring applied with a rubber tire under glass Edition 8/15 AP; signed and dated lower right: James Rosenquist; titled lower left Image: 17.5” H x 36” W; Sheet: 22.5” H x 40” W $1,000-1,500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1030

James Rosenquist

(1933-2017, American) “Black Triangle,” from “Tripartite Series,” 1978 Color etching, aquatint, and pochoir on paper under glass; Multiples, Inc., New York, pub. Edition 9/78; signed, titled, dated, and numbered in pencil in the lower margin: James Rosenquist Plate: 17.75” H x 35.75” W; Sheet: 22.5” H x 39.75” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1031

James Rosenquist

(1933-2017, American) “Carousel,” 1978 Color etching and aquatint on wove paper; Multiples Inc., New York, pub. Edition 18/78; signed, titled, dated, and numbered in pencil in the lower margin: James Rosenquist Plate: 17.75” H x 36” W; Sheet: 22.625”H x 40” W $500-700 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Constance Glenn 131

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1032

James Rosenquist

(1933-2017, American) “Star Leg,” 1979 Color etching and aquatint on paper; Multiples Inc., New York, pub. Edition 47/78; signed, titled, dated, and numbered in pencil in the lower margin: James Rosenquist Plate: 17.625” H x 36” W; Sheet: 22.75” H x 39.75” W $500-700 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Constance Glenn 169

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1033

Victor Pasmore

(1908-1998, British) “Metamorphosis,” 1986 Color aquatint and etching on paper under Plexiglas; Stamperia d’Arte, 2RC Edizioni d’Arte, Rome, prntr./pub. Edition 40/90; initialed and dated in pencil in the lower margin at right: VP; the blindstamps of the printer and publisher in the left margin corner Image: 24.25” H x 63.75” W, Sheet: 30.5” H x 90.5” W $3,000-5,000 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

British artist Victor Pasmore was very influential in the 1940s and 1950s within the abstract art scene, producing several seminal over the course of his career. He was also involved in Constructivism, the Russian-based ideology that reflected modern industr and urban spaces through art. At times his work extended beyond the canvas into new materials and actual architectural builds addition to creating works of art, he cultivated students as a professor for over 20 years and taught at three major universities in UK. Pasmore often created environments in his pieces that consisted of organic shapes and soft-angled pathways. Texture play a major role in his paintings, and he frequently implemented various types of mark-making into his works on paper by combinin painting with printmaking.

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lower

l works rial life s. In n the yed ng

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1034

Victor Pasmore

(1908-1998, British) Two works “Points of Contact 2,” 1982 Color screenprint on paper under Plexiglas Edition 24/90; initialed and dated lower right: VP; with the publisher’s blindstamp lower left Image: 23.25” H x 30” W; Sheet: 29.5” H x 43” W “Points of Contact 37,” 1982 Color screenprint on paper under Plexiglas Edition 21/70; initialed and dated lower right: VP; with the publisher’s blindstamp lower right Image: 26.25” H x 13” W; Sheet: 34.5” H x 19” W $2,500-3,500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1035

Victor Pasmore

(1908-1998, British) “Apollo II,” 1985 Color screenprint on Arches paper under Plexiglas; Kelpra Studio, prntr; Marlborough Graphics, London, pub. Edition 56/70; initialed and dated lower right: VP; with the printer’s blindstamp lower right Sheet: 26” H x 34.5” W $800-1,200 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1036

Victor Pasmore

(1908-1998, British) “Blue Fantasy,” 1979 Color screenprint on paper under Plexiglas Edition 47/70; initialed, dated, and numbered in pencil lower right: VP Sheet: 31.75” H x 47.75” W $1,500-2,500 Provenance: Leslie Sacks Fine Art, Los Angeles, CA The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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1037

Victor Pasmore

(1908-1998, British) “Untitled 1O,” 1991 Color screenprint on paper under glass; Marlborough Graphics, London, pub. Edition 7/70; initialed, dated, and numbered in pencil in the lower margin: VP Image: 19” H x 25.25” W; Sheet: 29.125” H x 41.375” W $1,200-1,800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Literature: Norbert Lynton G69

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1038

Helen Frankenthaler

(1928-2011, American) “West Wind,” 1997 Color screenprint on paper under Plexiglas; Brand X Editions, New York, prntr.; The Paris Review, New York, pub. Edition 42/110; signed in pencil lower left: Helen Frankenthaler Image/Sheet: 41.75” H x 35.75” W $15,000-20,000 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Helen Frankenthaler is one of the cornerstone artists of the color field painting movement. Her process was a layered one. She began her paintings with poured pigment that she allowed to absorb into raw canvas rather than the conventional approach of a primed canvas where all marks would situate themselves properly on top of the picture plane. Frankenthaler is a legend within the painting community, exhibiting for more than six decades and moving painting forward with each new body of work. The work on offer, “West Wind” made around 1997 demonstrates her signature wash and impeccable composition.

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1039

Ross Bleckner

(b. 1949, American) “School,” 1999 Color lithograph and screenprint on paper, Gemini G.E.L., Los Angeles, pub. Edition AP 13/16; signed, dated and numbered in pencil in the lower margin: Ross Bleckner; with the blindstamps and ink stamp of the publisher in the lower right margin corner, recto and verso, respectively Image: 19.75” H x 29.75” W; Sheet: 24.5” H X 34” W $1,000-1,500 Literature: Gemini G.E.L. 56.3 Notes: This lot is still in its original packaging from the publisher with notations unique to this impression.

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1040

Marlene Dumas (b. 1953, South African) and Rita McBride (b. 1960, American)

“Future Risk,” 2005 Etching on paper From the edition of 275; signed and titled in pencil in the lower margin: R. McBride / M. Dumas Plate: 6” H x 8.25” W; Sheet: 11.25” H x 14.25” W $700-900

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1041

Robert Rauschenberg

(1925-2008, American) “Venice Print Project,” 1984 Color screenprint and collage on paper under Plexiglas; Styria Studio, New York, pub. Edition PP 8/10, a printer’s proof apart from the edition of 75 and 15 artist’s proofs; signed, dated and numbered lower center: Rauschenberg 31.75” H x 26.25” W (irregular) $1,500-2,500 Provenance: The Collection of Dr. Denis Bettencourt

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1042

Robert Rauschenberg

(1925-2008, American) “Untitled (Harp),” 1989 Color screenprint on paper under Plexiglas; Dallas Cares / The American Foundation for AIDS Research, pub. Edition 141/500, signed, dated, and numbered lower left: Robert Rauschenberg Sheet: 38” H x 34” W $1,200-1,800

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1043

John Zinsser

(b. 1961, American) “Standard Atmospheres: Troposphere,” 2000 Alkyd, enamel and oil on Arches hot-press paper Signed, titled, dated, and inscribed: Zinsser / 9:07 P. M. / 5. 26. 00, all in pencil, in the lower margin 16” H x 12.25” W $800-1,000 Provenance: The Blake Byrne Collection

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1044

John Zinsser

(b. 1961, American) “Standard Atmospheres: Thermosphere,” 2000 Alkyd, enamel, and oil on Arches hot-press paper Signed, titled, dated and inscribed: Zinsser / 8:18 P.M. / 5. 01. 00, all in pencil, in the lower margin 16” H x 12.25” W $800-1,000 Provenance: The Blake Byrne Collection

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1045

Kandis Williams

(b. 1985, American) “Grief Sketch (School Shootings),” 2012 Inkjet print of archived Xerox collage on canvas Appears unsigned; titled and dated by repute 11” H x 8” W $3,000-5,000 Provenance: Café Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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1046

Walid Raad

(b. 1967, Lebanese) “Preface to the Third Edition (Édition française) Plate III,” 2012 Color inkjet print on paper under Plexiglas Edition 1/3; plus two AP, unsigned; edition sequencing by repute Sight: 43.5” H x 33” W $1,000-2,000 Provenance: Paula Cooper Gallery, New York, NY Private Collection, New York, NY, acquired from the above

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1047

Richard Duardo

(1952-2014, American) “Frida Kahlo,” 1997 Color screenprint on wove paper Edition 12/40; signed and dated lower right: Richard Duardo Image: 24.5” H x 18.25” W; Sheet: 30.5” H x 22” W $800-1,200

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1048

Shepard Fairey

(b. 1970, American) OBEY Burrard Mandala, 2020 Color screenprint on wood panel Edition AP; signed and dated lower right: Shepard Fairey; signed, dated and numbered again verso 24” H x 18” W $1,000-1,500

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1049

Jeff Koons

(b. 1955, American) “Balloon Dog (Yellow),” 2015 Limoges porcelain painted in chrome Signed, dated, and numbered: Jeff Koons / Limited Edition / Fine Porcelain / Plate number 1348-2300 / ‘15 / Bernardaud; titled to verso 10.5” H x 10.5” W x 5” D $5,000-7,000 Provenance: The Blake Byrne Collection Notes: This lot is accompanied by a certificate and pamphlet from Bernardaud.

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1050

Jeff Koons

(b. 1955, American) “Cracked Egg (Red),” 2008 Chromed metal and paper Edition of 1000, unsigned 3.875” H x 2.375” W x 2.375” D $1,000-1,500 Provenance: The Blake Byrne Collection Notes: “Cracked Egg (Red)” was issued on behalf of the Los Angeles County Museum of Art as an invitation for the opening gala of The Broad Contemporary Art Museum on February 9, 2008.

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1051

Vasa Velizar Mihich

(b. 1933, American) Sphere, 1986 Laminated acrylic Signed, dated, and numbered: Vasa [copyright symbol] / 1986 / #2742 11” Dia. $3,000-4,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

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1052

Vasa Velizar Mihich

(b. 1933, American) Triangular column, 1990 Laminated acrylic on base Signed, dated, and numbered: #H300 / V 73.25” H x 4.5” W x 4” D $2,000-3,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

Vasa [copyright symbol] / 1990

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1053

Chad Moore

(b. 1987, American) “Emma (Beach),” 2016 C-print on photographic paper under Plexiglas Edition 1/5; appears unsigned; title, date, and edition sequencing by repute 16” H x 24” W $3,000-5,000 Provenance: Agnes b., New York, NY Private Collection, New York, NY, acquired from the above

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1054

Chad Moore

(b. 1987, American) “Athena (Barbed Wire),” 2017 C-print on photographic paper under Plexiglas Edition 1/5; appears unsigned; title, date, and edition sequencing by repute 11” H x 17” W $3,000-5,000 Provenance: Agnes b., New York, NY Private Collection, New York, NY, acquired from the above

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1055

Chad Moore

(American, B. 1987) “Camilla (Couch),” 2015 C-print laid to photoboard under Plexiglas Edition 2/3; unsigned; edition sequencing by repute 30” W x 46” H $3,000-5,000 Provenance: Private Collection, New York, NY, acquired from the above

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1056

Marnie Weber

(b. 1959, American) “Eternal Friends,” 2005 C-print with collage under Plexiglas Signed, titled, and dated verso: Marnie Weber Sight: 39.5” H x 49.5” W $800-1,200 Provenance: Rosamund Felsen Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1057

An-My LÍ

(b. 1960, Vietnamese/American) “Fragment I: Graffiti, November 9, New Orleans, Louisiana,” from Silent General, 2016 Inkjet print on plastic board under Optium Edition 3/5; unsigned, no. 19899; number and edition sequencing by repute 40” H x 56.5” W $1,000-2,000 Provenance: Private Collection, New York, NY

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1058

Geoff Guerrero

(20th Century, American) “Dads Car” Cibachrome on paper under glass Edition 3/89; initialed lower right: G.G. Sight: 30” H x 19.5” W $700-900 Provenance: The Art Rental and Sales Gallery, Los Angeles County Museum of Art, Los Angeles, CA The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

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1059

Kirk Weddle

(20th Century, American) Dave Grohl, 2018 Color photograph on aluminum panel Edition 1/5; with printed initials and dated lower right: C.B. 40.25” H x 80.25” W $1,000-2,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

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1060

Garry Winogrand

(1928-1984, American) “Central Park Zoo, New York City, New York,” 1967 Gelatin silver print Signed verso: Garry Winogrand Image: 6” H x 9” W; Sheet: 8” H x 10” W $3,000-5,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

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1061

Charles Brittin

(b. 1928, American) Two works Martin Luther King, Jr. and Louis Armstrong Signed verso: Charles Brittin, with the artist’s stamp verso Image: 9” H x 13.5” W; Sheet: 11” H x 14” W Civil rights march Signed verso: Charles Brittin, with the artist’s stamp verso Image: 8.75” H x 13” W; Sheet: 11” H x 14” W $600-800

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

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1062

Lewis W. Hine

(1874-1940, American) ìSlovak Group, Ellis Islandî Gelatin silver print Unsigned, with the artist’s studio stamp verso Sheet: 9.5” H x 7.25” W $800-1,200

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1063

Alexander Rodchenko

(1891-1956, Russian) ìRhythmic Gymnastics,î 1936 Gelatin silver print on paper Signed in Cyrillic and dated verso, titled, and dated again in another hand verso, stamped verso Sheet: 9” H x 12” W $500-700 Literature: Lavrentiev, Alexander Rodchenko: Photography 1924-1954, pl. 37. Notes: Rhythmic Gymnastics 1936 Portfolio is printed by Rodchenko’s grandson Alexander Lavrientev in the Rodchenko Workshops in Moscow from the original plates in a Limited Edition of 50.

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1064 Man Ray

(1890-1976, American) “Three Heads (Joseph Stella and Marcel Duchamp),” negative date 1920 Gelatin silver print on paper under glass Unsigned; printed prior to 1957 according to a gallery label affixed to the frame verso Image: 4.375” H x 3.25” W; Sheet: 4.625” H x 3.5” W $3,000-5,000 Provenance: Galerie Francoise Paviot, Paris, France The Blake Byrne Collection, acquired from the above Man Ray was an American artist who regarded himself primarily as a painter even though his work spanned several disciplines. Portraiture and fashion photography were his most prolific media and his reputation for capturing distinctive depictions of art icons like Pablo Picasso, Salvador Dali, and Peggy Guggenheim brought him global recognition and success. Man Ray spent most of his career in Paris producing works that align with the Dada and Surrealist movements, but he also made several works that fall into the categories of Abstract art, Cubism, and Modern art. Conveying an idea took precedent over any particular style or medium for Man Ray. His artistic approach enabled him to make significant contributions to several movements and established him as above all, a truly original thinker. Three Heads, from 1920 features Futurist painter Joseph Stella, conceptual artist Marcel Duchamp, and a portrait of Man Ray upside down on the wall above Marcel Duchamp.

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Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1065

Edward Weston

(1886-1958 Carmel, CA) “China Cove, Point Lobos,” 1940 Gelatin silver print on paper, a later printing by Cole Weston With the Edward Weston stamp verso, signed, titled, dated, and numbered in pencil by Cole Weston verso: PL40-K-4 Sheet: 9.5” H x 7.5” W $1,200-1,800

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1066

Yuri Dojc

(b. 1946, Canadian) “Dog Lady” Photographic print on Hahnemuhle photo rag paper Edition 2/5; signed lower right: Yuri Dojc; with the artist’s blindstamp lower left Image: 24” H x 35.75” W; Sheet: 28” H x 40” W $1,500-2,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1067

Yuri Dojc

(b. 1946, Canadian) “Pool Cat” Photographic print on Hahnemuhle photo rag paper Edition 2/5; signed lower right: Yuri Dojc; with the artist’s blindstamp lower left Image: 24” H x 36” W; Sheet: 28” H x 40” W $1,500-2,000

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1068

Yuri Dojc

(b. 1946, Canadian) “Flamingo” Photographic print on Hahnemuhle photo rag paper Edition 2/5; signed lower right: Yuri Dojc; with the artist’s blindstamp lower left Image: 30” H x 30” W; Sheet: 36” H x 36” W $1,500-2,000

Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1069

Yuri Dojc

(b. 1946, Canadian) “Fisherman’s Wife” Photographic print on Hahnemuhle photo rag paper Edition 2/5; signed lower right: Yuri Dojc; with the artist’s blindstamp lower left Image: 24” H x 35.5” W; Sheet: 28” H x 40” W $1,500-2,000

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1070

Yuri Dojc

(b. 1946, Canadian) “Marble Woman” Photographic print on BFK Rives paper Edition 16/50; signed lower right: Yuri Dojc Image: 14” H x 9.75” W; Sheet: 26” H x 19.75” W $800-1,200

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Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

1071

Masao Yamamoto

(b. 1957, Japanese) “Installation B, Los Angeles, CA,” 2007 Toned gelatin silver prints on four sheets of paper Initialed on the largest verso: M; Each: numbered verso Largest: 3.5” H x 5.25” W $2,000-3,000 Provenance: Craig Krull Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above Notes: A schematic for the installation accompanies the lot.

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Consign Today Winter Modern 2022

Edward Ruscha (b. 1937, American) “Made in California,” 1971

Price Realized: $100,000

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

Consign Today

Fine Jewelry & Timepieces December 2021

An Indian diamond and blue enamel necklace

Price Realized: $9,100

Consignment and Auction Inquiries: mollie@johnmoran.com

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

Condition

1 0 0 Pr i nt s & M u l t i p l e s l Tu e s day, Nov e mb e r 9 , 2 0 2 1

n Reports

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1001 Overall good condition with scattered minor scuffs, scattered minor chips along edge, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 1002 Overall good condition with scattered scuffs, very light surface dirt or soiling with areas of darkening to matte glaze from prior handling, inherent firing flaws, and inherent glaze imperfections commensurate with age. No evidence of repairs or restorations under blacklight. 1003 Generally good condition. Minor toning to the paper. Mounted to the overmat with archival tape along the upper and vertical edges. Remains of old tape from a previous mounting along these same edges. Frame: 31” H x 27” W x 1.5” D 1004 Generally good condition. Not examined out of the frame. Frame: 25.25” H x 22.75” W x .75” D 1005 Generally good condition. Toning to the paper. Not examined out of the frame. Frame: 31.5” H x 25” W x 1.5” D

Condition Reports

1006 Generally good condition. Very soft and unobtrusive handling creases and slight soiling commensurate with the artist’s choice of paper. Framed floating and hinged to the back mat.

102

Frame: 26.25” H x 41” W x 1” D 1007 Generally good condition. The left and lower edges are deckled. A small handling crease upper left. Very minor toning to the paper. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 32.25” H x 25.25” W x 1” D

1008 Generally good condition. Very minor handling creases in the four corners. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 32.25” H x 25.25” W x 1” D

1009 Overall fair to good condition with shelf wear and minor toning to paper commensurate with age. Dust jacket with water damage and heavier wear including tears, creases, and losses. Areas of paper transfer from dust jacket sticking to leather binding. Minor bending to corners. With French inscription to front endpaper. 1010 Slightly light-stained throughout. Soft creases center left and in the lower right corner. Mat staining showing near the sheet edges and on the verso. Taped to the overmat with masking tape along the top sheet edge and in a few places on the other three edges, all verso. Frame: 34” H x 28.5” W x .75” D 1011 Generally good condition. Not examined out of the frame. Frame: 19” H x 15” W x 1” D 1012 Generally good condition. The colors good. With full margins. Scattered tiny surface losses in the upper half. Slight time staining at the margin edges and pale backboard staining verso. The sheet is loose, not mounted. Frame: 36.75” H x 36.75” W x 1” D 1013 The colors fresh. The sheet trimmed on all sides which has also removed the exhibition title and gallery information normally at right. The entire sheet laid down to artist’s board. Framed: 25.25” H x 30” W x .75” D

1014 Generally good condition. With full margins deckled all around. A foxmark near the deckle of the top margin edge. Framed floating and hinged to the back mat. Temporary, clear, archival corners attached to the back mat for added support of the large sheet. Frame: 38.5” H x 27.25” W x 2” D 1015 Generally good condition. Full margins with deckled edges. Remains of old hinges at the top margin corners verso. Framed floating and sealed in the Plexiglas frame. Not examined out of the frame.

1021 Visual: Generally good condition. A .25” tear at the right margin edge, not visible due to the overmat. Very slight toning verso. Hinged with paper tape in the upper left and right margin corners. Frame: 41” H x 32.5” W x 1.5” D 1022 Generally good condition. Handling creases scattered along the edges. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 40” H x 29” W x 1” D

Frame: 32” H x 23” W x 1.5” D

Frame: 43.25” H x 31” W x 1.5” D

1023 Generally good condition. Not examined out of the frame. Frame: 7” H x 32.75” W x 1” D 1024 Generally good condition. The sheet with full margins. Slight toning to the paper showing mostly in the outer portion of the margins. Soft creases in the top left margin corner.

1017 Generally in good condition. Not examined out of the frame.

Frame: 31.25” H x 23.25” W x 2” D

Frame: 20.5” H x 23.5” W x 1.5” D

1025 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

1018 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 17” H x 18.75” W x 1.25” D 1019 Generally good condition. With full margins. The sheet is loose, not mounted.

Frame: 39” H x 32” W x 1.5” D 1026 Generally good condition. Light staining except along the outermost portion of the sheet. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 36” H x 50” W x 1” D

Frame: 30.25” H x 22.25” W x 1” D 1020 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

1027 Generally good condition. The colors fresh. The full sheet with deckled edges. A 1.5” crease across the bottom left corner. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 32” H x 26” W x 1.5” D

Frame: 32” H x 40” W x 1.25” D

Condition Reports

1016 Generally good condition. Full margins with deckled edges. An unobtrusive, tiny foxmark at lower left. A pinhead-size abrasion in the cream background upper left. A very small, v-shaped notch out of the deckle of the left margin edge and another tiny loss to the tip of the top left margin corner. Framed floating and hinged to the back mat.

103

1028 Generally good condition. The full sheet with deckled edges. The colors fresh. A few small patches of minor of surface skinning verso. Frame: 38” H x 32” W x 1.25” D 1029 Generally good condition. A small area of surface skinning lower right. Handling creases along the lower center edge. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 34” H x 51” W x 2.25” D

1035 Generally good condition. Very minor toning to the paper. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 29.25” H x 38.25” W x 1” D

1036 The full sheet with deckled edges. Pale light and time staining. Laid down to Foamcore.

Frame: 25.25” H x 42.25” W x 1.5” D

Frame: 34” H x 50.5” W x 1.25” D

1031 Generally good condition. Full margins with deckled edges. A 2” horizontal handling crease at right, in the blank outside the image. Two very soft, horizontal creases in the left margin. Creasing at the tips of the top margin corners. The sheet is loose, not mounted.

1037 Generally good condition. Full margins with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

1032 Full margins with deckled edges. A faint and unobtrusive .75” stain in the blank beyond the image at left. A .5” vertical tear in the top margin edge at right with attendant horizontal creasing. Soft creases in the vertical margins. The sheet is loose, not mounted. Unframed

Condition Reports

Frame of larger: 37” H x 45” W x 2” D

1030 Generally good condition. The full sheet with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

Unframed

104

1034 Each: Generally good condition. Very minor toning to the paper. The first is hinged to the overmat with artist’s tape in the upper corners. The second is framed floating and mounted to the back mat.

Frame: 34.5” H x 46.5” W x 2” D 1038 Generally good condition. The full sheet with deckled edges. The colors fresh. Framed floating and hinged to the back mat. Frame: 47” H x 41” W x 1.5” D 1039 Generally good condition. Full margins. The sheet is loose, not mounted. Unframed

1033 Generally good condition. Full margins with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 38” H x 97” W x 1.5” D

1040 Generally good condition. Full margins with deckled edges. Minor handling crease upper left margin edge. Two small areas of surface skinning upper right and lower left. The paper is loose, not mounted. Unframed

1041 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

1048 Generally good condition. Frame: 25.25” H x 19.5” W x 2.5” D

Frame: 40” H x 34” W x 1.25” D

Frame: 43.5” H x 39.25” W x 1.75” D 1043 Generally good condition. Various pinholes in the margin corners, all presumably by the hand of the artist. The sheet is loose and unmounted. Unframed 1044 Generally good condition. Some stray pigment lower right and various pinholes in the margin corners, all presumably by the hand of the artist. The sheet is loose and unmounted. Unframed 1045 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 1046 Generally good condition. Not examined out of the frame. Frame: 45.5” H x 35” W x 2” D

1047 Generally good condition. The upper and lower margin edges are deckled. Very minor toning to the paper. Pinholes in the upper corners. Water staining verso visible in the left and right margins recto. Handling creases and minor scuff marks in the left and right margins. The paper is rippled across the center. The paper is loose, not mounted. Unframed

1049 Overall good condition with dust accumulation and inherent firing flaws commensurate with age. Includes original packaging from Bernardaud. 1050 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor areas of flaking to red glaze along edges of lid. 1051 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With base: 13” H x 11” Dia. 1052 Overall good condition with minor scuffs, light scratches, and dust accumulation commensurate with age. With base: 77.75” H x 14.125” W x 14.125” D 1053 Generally good condition. The paper fully affixed to matboard verso. Frame: 17.25” H x 25.25” W x 1.25” D 1054 Generally good condition. The paper fully affixed to matboard verso. Frame: 18.25” H x 12” W x 1.25” D 1055 Visual: Generally good condition. Framed floating in the frame. Frame: 31” H x 49” W x 1.5” D 1056 Generally good condition. Minor dust particles under the Plexiglas. Not examined out of the frame. Frame: 41.25” H x 51.5” W x 3” D

Condition Reports

1042 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

105

1057 Visual: Generally good condition. The work is not mounted, but is in a frame.

1065 Generally good condition. Dry mounted to the back mat.

Frame: 40.25” H x 46.75” W x 1.5” D

Unframed

1058 Generally good condition. Not examined out of the frame.

1066 Generally good condition. The paper is loose, not mounted.

Frame: 28.25” H x 39” W x 2” D

Unframed

1059 Generally good condition.

1067 Generally good condition. The paper is loose, not mounted.

Unframed

1060 Generally good condition. A slight crease in the upper right corner. Two small indentations along the left edge. Very minor toning to the paper. The paper is loose, not mounted.

1068 Generally good condition. A handling crease in the lower left corner. The paper is loose, not mounted.

Unframed 1061 Each: Generally good condition. A few spots of very minor damage along the edges and in the corners. The first with a few light surface scratches, the longest 6”. The second with three indentations to the paper in the center. The sheets are loose, not mounted. Each: Unframed

Unframed 1069 Generally good condition. The paper is loose, not mounted. Unframed 1070 Generally good condition. A few very minor handling creases in the margins. The paper with deckled edges. The paper is loose, not mounted.

Condition Reports

Unframed 1062 Generally good condition. The lower right corner is creased. Mounted to the back mat with artist’s tape in the upper corners.

1071 Each: Generally good condition.

Unframed

Each: Unframed

1063 Generally good condition. Very minor damage to the lower corners. The paper is loose, not mounted. Unframed 1064 Generally good condition. Later notations in pencil, verso. Frame: 10” H x 8” W x 1.25” D

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Fine Art Cataloguer Anne Spink Fine Art Administrator Angela Bryant Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen 20th Century Design Specialist Furniture & Decorative Arts Cataloguer

John Simon Taylor Shannon Dailey

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Office Manager Mario Esquivel Client Services Ella Fountain

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

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: Banksy (b. 1974 British) “LAUGH NOW,” 2004

Price Realized: $100,000

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