California & American Fine Art — Tuesday, November 16, 2021 | John Moran Auctioneers

Tuesday, November 16, 2021 SINCE 1969

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

California & American Fine Art Tuesday, November 16, 2021—4pm Sale 202 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, November 12th: 12-4pm Saturday, November 13th: 12-4pm Monday, November 15th:: 12-4pm Or by appointment

Meet the Team Morgana Blackwelder Head of Sale, Fine Art Director, Senior Vice President morgana@johnmoran.com

Jeff Moran President Fine Art Specialist jeff@johnmoran.com

Bobby Cullen Senior Fine Art Cataloguer, Junior Fine Art 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

4001

Eyvind Earle

(1916-2000, Carmel, CA) “Coastline (66),” 1999 Scratchboard Initialed and dated lower right: EE [copyright symbol] 14” H x 11” W $2,000-3,000 Provenance: The Collection of Dr. Denis Bettencourt

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4002

Eyvind Earle

(1916-2000, Carmel, CA) “Coastline (33),” 1999 Scratchboard Initialed and dated lower right: EE [copyright symbol] 14” H x 11” W $2,000-3,000 Provenance: The Collection of Dr. Denis Bettencourt

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4003

Ben Abril

(1923-1995, Los Angeles, CA) “South to the Waterfront” Oil on canvas Signed lower right: Abril; signed again, titled and inscribed verso: 4th Street Bridge, Los Angeles, CA 30” H x 47” W $4,000-6,000

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4004

Ben Abril

(1923-1995, Los Angeles, CA) “3rd Street East Los Angeles,” 1959 Oil on canvas Signed, titled and dated lower right: Ben Abril 48” H x 72.5” W $10,000-15,000

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4005

Otto Kuhler

(1894-1977, Santa Fe, NM) Train station with figures Oil on canvas Signed lower right: O. Kuhler [copyright symbol] 30” H x 35.75” W $3,000-5,000

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4006

Bradford J. Salamon

(b. 1963, Los Angeles, CA) Capitol Records building Oil on canvas Signed lower left: Bradford; signed again verso 40” H x 30” W $2,500-3,500

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4007

Caroline Van Hook Bean

(1879-1980 Washington, D.C.) “5th Avenue, June, 1918” Gouache on paper under glass Signed, titled and dated lower right: Caroline Van H. Bean; signed and dated again on the backing board Sight: 12.25” H x 8.25” W $3,000-5,000 Provenance: Chapellier Galleries, New York, NY Robert Rice Gallery, Houston, TX Exhibitions: De Cordova Museum, Lincoln, MA, n.d.

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4008

Roger Kuntz

(1926-1975, Laguna Beach, CA) Laguna rocky coastal Oil on canvas Signed lower left: Kuntz 40” H x 48” W $8,000-10,000

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4009

Millard Owen Sheets

(1907-1989, Gualala, CA) “Evening Surf, Hawaii,” 1966 Watercolor on Arches wove paper under glass Appears unsigned; titled and dated on the back board 22” H x 30” W $4,000-6,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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4010

Paul Lauritz

(1889-1975, Glendale, CA) Coastal with rocks Oil on canvas under glass Signed lower left: Paul Lauritz 16” H x 20” W $2,000-3,000

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4011

Mabel Alvarez

(1891-1985, Los Angeles, CA) Woman reading in a chair Oil on canvas Signed lower right: Alvarez; inscribed verso: “To [illegible]” 20” H x 16” W $10,000-15,000

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4012

Carl Rudolph Krafft

(1884-1938, Oak Park, IL) “From the Garden” Oil on canvas Signed lower right: Carl R. Krafft; titled on an exhibition label affixed verso 24” H x 27” W $8,000-12,000 Exhibitions: The Corcoran Gallery of Art, Washington D.C., Ninth Exhibition Contemporary Oil Paintings, 1923.

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4013

Selden Connor Gile

(1877-1947, Belvedere, CA) Patio with table and flowers Oil on canvas Signed lower right: Gile 9.5” H x 11.5” W $3,000-5,000

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4014

Joseph Tomanek

(1889-1974 Chicago, IL) Semi-nude at the edge of a pond Oil on board Signed lower right: Jos. Tomanek 17” H x 14” W $2,500-3,500

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4015

Frederick Stuart Church

(1842-1927 New York, NY) “The Tease,” 1899 Watercolor and gouache on paper laid to board Signed, dated and with the artist’s copyright lower right: F.S. Church N.Y.; signed and titled in another hand verso 13.625” H x 10.75” W $2,000-3,000

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4016

Thomas Waterman Wood

(1823-1903, American) “Private Lunch,” 1869 Oil on canvas Signed and dated lower right: T.W. Wood; titled by repute 14” H x 11” W $20,000-30,000 Provenance: Private collection, Morristown, New Jersey Sold: Sotheby’s, New York, 27 May 1999, lot 132 Acquired by the late owner from the above Property from the Estate of Danny Wiginton Sold: Christies, New York, NY, 20 November 2018, lot 44 The Blake Byrne Collection, acquired from the above Literature: “The Artist at Home,” New York Evening Post, June 8, 1868, p. 2.

Notes: his work will be included in the forthcoming catalogue raisonné being written by Paul Worman for the TW Wood Gallery, Montpelier, Vermont.

Christies auction sale note for the lot stated: “According to the artist’s record books, Wood most likely painted the present work in 1868 but did not date it until 1869 at the time of its sale. In 1868, the New York Evening Post noted of the present work, “Mr. Wood has painted to order a little figure picture called ‘Private Lunch.’ It shows a little...bootblack eating a watermelon at one of the cheap stands and looking out anxiously over his shoulders for intruders. It gives one of the aspects of city life in summer.” (“The Artist at Home,” New York Evening Post, June 8, 1868, p. 2)”

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4017

Jessie Arms Botke

(1883-1971, Santa Paula, CA) “Mandarin Duck” Oil and gold leaf on canvas board Signed lower right: Jessie Arms Botke; titled on an old sticker affixed verso 18” H x 20” W $4,000-6,000

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4018

William J. McCloskey

(1859-1941 Orange, CA) “Wrapped Oranges,” 1890 Oil on canvas laid to canvas Signed and dated lower right: W. J. McCloskey; titled on a label affixed verso 8” H x 18” W $200,000-300,000 Provenance: George H. Colony, Keene, NH Gifted in 1894 to Miss Chamberlayne School for Girls, Boston, MA, by the above in honor of his daughter Catherine Jane Chamberlayne, School Founder & Principal William Morrell Art & Antiques Hyman Kaufman Antiques, Boston, c.1930s Estate of Dr. John Grider, acquired from the above By descent to the present owner

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4019

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) Sierra Nevada mountains Oil on canvas on panel Signed lower left: Marion Kavanagh Wachtel; titled by repute 28.25” H x 24.25” W $15,000-20,000 Notes: This painting is in an authentic Newcomb - Macklin frame.

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4020

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) River in a mountain landscape Oil on canvas Signed lower left: Marion Kavanagh Wachtel [with the artist’s device] 18.25” H x 14” W $4,000-6,000 Notes: The painting is inscribed in another hand verso: “Painted by Marion Wachtel, 1930, Pasadena, CA Prior to the mid 30’s this sketch is was done in the High Sierras & brought home to work from in her studio.

She was my grandmother’s teacher for a number of years.

The framer cut off much of the canvas to fit the only frame he had available! Curses!

Grand Mother Marie Nellie Lott Hoffman She also studied with Orrin White for many years.”

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4021

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) “View Down the Valley” and a mountain landscape (double-sided) Each: oil on canvas Each signed lower right: Marion Kavanagh Wachtel 13” H x 17” W $4,000-6,000 Provenance: Sold: Bonhams, Los Angeles, CA, “California and American Paintings and Sculpture,” August 5, 2008, Lot 239 Notes: In a Mayen Olson frame.

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4022

Jean Mannheim

(1863-1945, Pasadena, CA) “Morrison Canyon” Oil on canvas Signed lower left: J. Mannheim 20” H x 24” W $3,000-5,000 Provenance: Bowater Gallery, Los Angeles, CA

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4023

Alexis M. Podchernikoff

(1886-1933, Pasadena, CA) Eucalyptus landscape with figures Oil on canvas Signed lower left: A.M. Podchernikoff 36” H x 42” W $3,000-5,000

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4024

George Ames Aldrich

(1872-1941, Chicago, IL) “The River Elaune, Bellengreville,” 1924 Oil on canvas Signed and dated lower right: G. Ames Aldrich 36” H x 40” W $5,000-7,000 Notes: The book “The Art of George Ames Aldrich,” by Wendy Greenhouse accompanies the lot.

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4025

Percy Gray

(1869-1952, San Francisco, CA) Landscape with trees and a pond, 1920 Watercolor on paper laid to matboard under glass Signed and dated lower left: Percy Gray 11.75” H x 16” W $4,000-6,000

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4026

Hudson River School

View of West Point, circa1870 Oil on canvas Appears unsigned 21” H x 30” W $3,000-5,000

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4027

4028

(1882-1930, Laguna Beach, CA) Eucalyptus in summer Oil on board Signed lower right: A.A. Hills 16” H x 12” W

(1903-1968, Los Angeles, CA) Windmill in a meadow Watercolor on Arches paper under g Signed lower right: Emil Kosa Jr. Sheet: 22.5” H x 30.375” W

Anna A. Hills

$4,000-6,000

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Emil J. Kosa Jr.

$3,000-5,000

glass

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4029

4030

(1891-1974, Palm Springs, CA) Lake with trees Oil on canvas board Signed lower right: Paul Grimm 16” H x 20” W

(1888-1971, Ame “Autumn Landsc Oil on canvas Signed lower rig 24” H x 31” W

Paul Grimm

$2,000-3,000

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Allen Dean Co

$3,000-5,000

ochran

erican) cape near Woodstock”

ght: Allen D. Cochran; titled by repute

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4031

Jasper Francis Cropsey

(1823-1900, Hastings-on-Hudson, NY) River in an autumn landscape Watercolor on paper laid to board under glass Signed lower right: J.F. Cropsey Sight: 14.75” H x 22.75” W $3,000-5,000

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4032

Maurice Braun

(1877-1941, San Diego, CA) “New England Winter Afternoon” Oil on canvas laid to canvas Signed lower right: Maurice Braun; titled on the stretcher 16” H x 20” W $7,000-9,000

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4033

William Clapp

(1879-1954, Oakland, CA) House in a landscape Oil on Masonite Unsigned 20” H x 24” W $3,000-5,000

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4034

Paul Lauritz

(1889-1975, Glendale, CA) Tree shadowed road Oil on canvas Signed lower left: Paul Lauritz 40” H x 50.5” W $5,000-7,000

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4035

Paul Lauritz

(1889-1975, Glendale, CA) “Autumn California” Oil on Masonite Signed lower left: Paul Lauritz; titled verso 16” H x 20” W $2,000-3,000

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4036

Paul Lauritz

(1889-1975, Glendale, CA) Southern California Landscape Oil on canvas Signed lower left: Paul Lauritz 25” H x 30” W $1,200-1,800 Notes: The painting is in an authentic Newcomb-Macklin frame.

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4037

LeConte Stewart

(1891-1990, Kaysville, UT) “Winter in Liberty” Oil on linen Signed lower left: LeConte Stewart; titled on a label affixed verso 30” H x 36” W $30,000-40,000 Provenance: David Dee Fine Arts, Salt Lake City, Utah

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4038

LeConte Stewart

(1891-1990, Clearfield, UT) Landscape Oil on canvas board Signed lower right: LeConte Stewart 19.5” H x 23.5” W $4,000-6,000 Notes: According to a long inscription written on the backing paper in 1978 by Mrs. Calvin Thomson, a one-time owner of this painting, the area depicted is near Farmington, UT, In 1896, a resort was opened there and became a popular destination for citizens of nearby Salt Lake City interested in “bowling, elegant dancing, fine music, a shady bowery and good restaurants.” By 1900, guests began enjoying Lagoon Lake, also on the property, and ultimately the namesake of the resort which exists today as more of an amusement park.

The inscription written on the backing paper is as followed: March 10th, 1978 Dear Joyce and Cal, Its 53 yrs since I was a student of LeConte Stuart at Ogden High School. He called me “Breezy” because of my long walk from previous class (came in last!) He was not only one of my favorite teachers but one of my favorite friends.

This oil is not one his bests but one of my favorites because Charles and I are a part of it. “Lagoon” is somewhere between the mountains and the ripened fields in the fore-ground, and it was at Lagoon, dancing to “Come to Me My Melancholy Baby” that Charles asked me to be his wife.

After you are done with enjoyment of this scene, it is our wish that you two give it to the Ephraim College in the name of Dr. and Mrs. Calvin Thomson.

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4039

LeConte Stewart

(1891-1990, Clearfield, UT) “Weber Canyon in November” Oil on canvas board Signed lower right: LeConte Stewart; titled in another hand on the backing paper 20” H x 24” W $5,000-7,000 Notes: Inscribed in another hand on the backing paper: “Weber Canyon in November - I’ve sat on the bank opposite the old barn many times and watched trout take Charles’ fly.”

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4040

Edgar Alwin Payne

(1883-1947, Hollywood, CA) Trees in a rolling hills landscape, 1927 Oil on canvas laid to canvas Signed and dated lower right: Edgar Payne 15” H x 48” W $9,000-12,000

4041

Edgar Alwin Payne

(1883-1947, Hollywood, CA) Trees in a mountain landscape Oil on canvas laid to waxed canvas Signed lower right: Edgar A. Payne 15.25” H x 42.25” W $8,000-10,000

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4042

Edgar Alwin Payne

(1883-1947 Los Angeles, CA) Swiss village with mountains Oil on canvas laid to canvas Signed lower right: Edgar Payne 20.25” H x 24” W $20,000-30,000 Provenance: Estate of Edward S. Coath, IL

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4043

Thomas Hill

(1829-1908, San Francisco, CA) Campfire lakeside in Yosemite Oil on canvas Signed lower right: T. Hill 20” H x 30” W $7,000-9,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” October 25, 2005, Lot 54

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4044

Millard Owen Sheets

(1907-1989, Gualala, CA) “’The Mountain’ - High Sierras,” 1968 Watercolor on thick wove paper under glass Signed lower left: Millard Sheets; signed again, titled and dated on the backboard Image/Sheet: 22.75” H x 31.375” W $3,000-5,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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Property from a Private Collection, Southern California

Lots 4045-4078

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M

oran’s is delighted to offer a capsule collection of prominent works by Bay Area and Carmel- By-The-Sea artists in this sale. Consigned from a private collection, these paintings genuinely reflect the geography and aesthetic this family enjoyed while maintaining two residences on the California Coast.

Carmel was an irresistible stop for artists desperate to refresh their spirits after the earthquake and fire destroyed their homes and studios. The catastrophic events of April 18th, 1906, in San Francisco forced thousands of residents to find greener pastures to reestablish their livelihoods.

A predominant number of artists headed south - and many were captivated by the natural and tranquil beauty of Santa Barbara, Los Angeles, and San Diego. This artistic migration was pivotal in creating art colonies in those and other areas throughout California. In late 1906, the Carmel Arts and Crafts Club was formed along with accommodations for visiting artists and teachers. Noted female artist Mary DeNeale Morgan (honored by Scribner’s Magazine as ‘one of the nation’s foremost women artists) was one visiting artist who by 1909 moved permanently and painted her entire life there.

By 1910, pillars of the art teaching community, William Merritt Chase and William Keith, both held summer art classes drawing even more talented students. Artists represented in this collection, such as William F. Jackson, Percy Gray, and Granville Redmond, all summered in Carmel and painted brilliant canvasses of wildflowers, coastal cypress trees, and moody eucalyptus landscapes. The Carmel Art Association, established in 1927, was created by a dedicated new arts venue and organization. The vision for this Association was the genius of a handful of local artists, including the National Academicians Arthur Hill Gilbert and Paul Dougherty, both also featured in the collection.

To this day, Carmel-By-The-Sea continues to cast its spell over hundreds of artists who are drawn to the area to paint, just like the artists who blazed their trail a century ago.

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4045

Franz A. Bischoff

(1864-1929, Pasadena, CA) Mountain landscape Oil on board laid to board Signed lower right: Franz A. Bischoff 13” H x 18.5” W $5,000-7,000 Provenance: Private Collection, Southern California

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4046

Jack Wilkinson Smith

(1873-1949, Alhambra, CA) River in a mountain landscape Oil on canvas board Signed lower left: Jack Wilkinson Smith 8” H x 10” W $1,000-1,500 Provenance: Private Collection, Southern California

Private Collection, Southern California

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4047

William Franklin Jackson

(1850-1936, Sacramento, CA) “Sentinel Rock, Yosemite” Oil on canvas laid to board Signed lower right: W.F. Jackson; titled on a galery label affixed verso 10” H x 7.25” W $3,000-5,000 Provenance: Steven Stern Fine Arts, Beverly Hills, CA Private Collection, Southern California

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4048

4049

(1847-1933, San Rafael, CA) Wildflowers in a mountain landscape Oil on board Signed with conjoined initials lower left: CDRobinson 8” H x 10” W

(1886-1955, California) The Berkeley Hills Oil on board Unsigned; signed and da 12” H x 17.25” W

Charles Dormon Robinson

Elizabeth Pond

$1,200-1,800

$2,000-3,000

Provenance: Private Collection, Southern California

Provenance: Steven Stern Private Collection, South

Notes: In a Vandeuren, L

Private Collection, Southern California

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ated in another hand upper left verso: 1906; titled on gallery label verso

n Fine Art, Beverly Hills, CA hern California

Los Angeles frame.

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4050

4051

(1850-1936, Sacramento, CA) “California Landscape with Wildflowers” Oil on canvas laid to board Signed lower left: W.F. Jackson; titled on a gallery label affixed verso 6” H x 8.25” W

(1850-1936 Sacramento, CA) California landscape with poppies and lupine Oil on canvas laid to canvas Signed and dated lower left: W. F. Jackson 20.25” H x 30” W

William Franklin Jackson

William Franklin Jackson

$3,000-5,000

$8,000-12,000

Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California Notes: In a Mayen Olson frame.

Private Collection, Southern California

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e, 1929

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4052

Edward Norton Ward

(b. 1928, American) “Steelhead Lake” Oil on canvas Signed lower left: Edward Norton Ward; signed again, titled and numbered verso: 03047 16” H x 20” W $1,000-1,500 Provenance: Private Collection, Southern California

Private Collection, Southern California

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4053

Edward Norton Ward

(b. 1928, American) “Big Sur Coast” Oil on canvas Signed lower left: Edward Norton Ward; signed, titled and numbered verso: 99085 16” H x 20” W $1,000-1,500 Provenance: Private Collection, Southern California

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Private Collection, Southern California

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4054

Granville Redmond

(1871-1935, Los Angeles, CA) “October,” (Study) Oil on canvas Signed lower left: G. Redmond; titled on artist label affixed to the stretcher 10.25” H x 12” W $10,000-15,000 Provenance: Private Collection, Southern California

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Private Collection, Southern California

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4055

Arthur Hill Gilbert A.N.A.

(1894-1970, Monterey, CA) Trees in a farm landscape Oil on canvas Signed lower right: Arthur Hill Gilbert 19” H x 24” W $4,000-6,000 Provenance: Private Collection, Southern California

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4056

Paul Lauritz

(1889-1975, Glendale, CA) Autumn landscape Oil on canvas Signed lower left: Paul Lauritz 16” H x 20” W $1,500-2,000 Provenance: Private Collection, Southern California

Private Collection, Southern California

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4057

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) Path in a sycamore and mountain landscape Watercolor on paper under plexiglass Signed lower left: Marion Kavanagh Wachtel Paper: 9” H x 12” W $6,000-8,000 Provenance: Private Collection, Southern California

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4058

Angel Espoy

(1879-1963, Seal Beach, CA) “California Oaks and Wildflowers,” circa 1920 Oil on canvas laid to board Signed lower left: A. Elroy; titled and dated on a gallery label affixed verso 12” H x 14” W $2,000-3,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

80

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

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81

Private Collection, Southern California

82

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

4059

Angel Espoy

(1879-1963, Seal Beach, CA) “California Landscape with Eucalyptus and Wildflower” Oil on canvas Signed lower left: A. Espoy; titled on a gallery label affixed verso 24” H x 30” W $4,000-6,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

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83

4060

Angel Espoy

(1879-1963, Seal Beach, CA) “Coastal with Flowers” Oil on canvas Signed lower right: A. Espoy; titled on a gallery label affixed to the backing board 25” H x 30” W $1,000-1,500 Provenance: William A. Karges Fine Arts, Beverly Hills, CA Private Collection, Southern California

Private Collection, Southern California

84

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85

4061

4062

(1885-1959, Carmel, CA) “Pt. Lobos,” 1942 Oil on canvas board Signed lower left: Albert De Rome; titled, dated and inscribed verso: 6-20-42 / Dr. Anderson / H.B. Truett / Frank Moore 10” H x 14” W

(1885-1959, Ca “Cypress on th Watercolor on Signed lower le Sight: 6.75” H

Albert Thomas De Rome

$1,500-2,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

86

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

Albert Thoma

$600-800

Provenance: Tro Private Collecti

as De Rome

armel, CA) he Coast - Pt. Lobos” paper under glass eft: A. De Rome; titled on a gallery label affixed verso x 9.75” W

otter Galleries, Carmel, CA ion, Southern California

4063

Albert Thomas De Rome

(1885-1959, Carmel, CA) “Point Lobos” Oil on canvas laid to board Signed lower right: A. De Rome; titled on a gallery label affixed verso 6” H x 8” W $800-1,200 Provenance: Carlson 20th Century Paintings, Carmel, CA Private Collection, Southern California

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87

4064

Paul Dougherty

(1877-1947, Carmel, CA) “A Freshening Gale” Oil on panel Unsigned, titled verso 12.75” H x 16” W $1,000-1,500 Provenance: The Godwin Gallery, Pepperell, MA Trotter Galleries, Carmel, CA Private Collection, Southern California Notes: An affidavit signed by Lisa Dougherty Coon, daughter of the artist, is affixed verso.

Private Collection, Southern California

88

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

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89

4065

Frank Harmon Myers

(1899-1956, Pacific Grove, CA) “Evening Tapestry,” 1946 Oil on canvas laid to board Signed lower right: Frank H. Myers; signed again, titled and inscribed 327 on the verso, dated on a gallery label affixed to the frame verso 18” H x 24” W $2,500-3,500 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

90

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

4066

Arthur Hill Gilbert A.N.A.

(1894-1970, Monterey, CA) “Pt. Lobos,” circa 1930 Oil on canvas Signed lower left: Arthur Hill Gilbert, signed again and titled verso 26” H x 30” W $4,000-6,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California Exhibitions: Bohemian Club, San Francisco, CA, n.d.

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91

4067

Arthur Hill Gilbert A.N.A.

(1894-1970, Monterey, CA) “Coast of France,” Circa 1927 Oil on canvas board Signed lower left: Arthur Hill Gilbert A.N.A.; titled on a gallery label affixed verso 8” H x 10” W $1,500-2,500 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

92

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

4068

Alfred R. Mitchell

(1888-1972, San Diego, CA) “Lake Arrowhead” Oil on board Signed lower left: Alfred R. Mitchell; signed again and titled verso 8” H x 10” W $2,000-3,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

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93

4069

Lillie May Nicholson

(1884-1964, Monterey, CA) “Fishing Boats and Cable with Catch, Monterey Bay” & T hree figures in a townsquare (verso) Oil on double-sided board Faintly signed lower left: L. M. Nicholson 10.25” H x 13.5” W $4,000-6,000 Provenance: The Artist Emma H. Nicholson Bllie H, 1981, gift from the above Trotter Galleries, Carmel, CA Private Collection, Southern California Literature: W. A. Nelson-Rees, “Lillie May Nicholson, 18841964: An Artist Rediscovered”, WIM, Oakland, CA, 1981, p. 72, illustrated, fig. 61. P. 81, catalogue number: 246.

Private Collection, Southern California

94

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

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95

4070

4071

(1869-1952, San Francisco, CA) “Cypress on the Monterey Coast” Watercolor on paper laid to board under glass Signed lower left: Percy Gray; titled on a gallery label affixed to the backing paper Sheet: 4” H x 6” W

(1869-1952, San Francisco, CA) Northern California landscape with oaks Watercolor on paper laid to board under glass Signed lower left: Percy Gray Sheet: 7.25” H x 9.75” W

Percy Gray

$2,000-3,000

$4,000-6,000

Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Provenance: William A. Karges Fine Art, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

96

Percy Gray

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

4072

Percy Gray

(1869-1952, San Francisco, CA) Eucalyptus Landscape Watercolor on paper under Plexiglas Signed and dated lower right: Percy Gray; titled on a gallery lavel affixed verso 9.625” H x 13.75” W $4,000-6,000 Provenance: William Karges Fine Art, Carmel, CA Private Collection, Southern California

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97

Private Collection, Southern California

98

C al i for nia & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 021

4073

Percy Gray

(1869-1952, San Francisco, CA) “A Lane of Eucalyptus Trees,” 1924 Watercolor on paper board under plexiglass Signed and dated lower left: Percy Gray; titled verso Paper board: 20” H x 14” W $8,000-12,000 Provenance: William Karges, Carmel, CA Private Collection, Southern California

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99

4074

4075

(1875-1955, Kentfield, CA) “Golden Gate Park, S.F,” 1914 Oil on canvas board Signed, titled, and dated lower right: M. Del Mue 13.75” H x 10” W

(1899-1956, Pacific Grove, CA) Winter scene Oil on canvas laid to canvas Signed lower right: F.H. Myers; signed label affixed to the backing board 16” H x 20” W

Maurice Del Mue

$2,000-3,000 Provenance: Private Collection, Southern California

Frank Harmon Myers

$1,000-1,500

Provenance: Private Collection, Southe

Exhibitions: Cincinnati Museum Associa

Private Collection, Southern California

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again and indistinctly titled on an exhibition

ern California

ation, Twenty-Fifth Annual Exhibition, 1918

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4076

Si Chen Yuan

(1911-1974, Monterey, CA) “Vase with Pink Flowers” Oil on board Signed lower right: S.C. Yuan; titled on a gallery label affixed verso 10” H x 8” W $2,000-3,000 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

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4077

Nell Walker Warner

(1891-1970, Carmel, CA) “Zinnias” Oil on canvas Signed lower right: Nell Walker Warner; titled on a gallery label affixed to the backing board 24” H x 30” W $1,200-1,800 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

Private Collection, Southern California

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4078

Nell Walker Warner

(1891-1970, Carmel, CA) “Flower Shower” Oil on canvas Signed lower right: Nell Walker Warner; signed again and titled on the stretcher 26” H x 30” W $1,000-1,500 Provenance: William A. Karges Fine Art, Santa Monica, CA Private Collection, Southern California

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4079

Julius Moessel

(1871-1957, Chicago, IL) “We Protest,” 1915 Mixed media on paper under glass Signed lower left: Moessel; signed again, titled, dated and inscribed verso: Chicago 15 Sight: 24.25” H x 20.25” W; Sheet: 25” H x 21” W $2,500-3,500

3080 Lot Withdrawn

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4081

Henry Chapman Ford

(1828-1894 Santa Barbara, CA) Mission Santa Barbara Watercolor on wove paper under glass Signed lower left: H. C. Ford 9.5” H x 13.125” W $3,000-5,000

1 0 8 C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 0 21

4082

Joseph Kleitsch

(1882-1931, Laguna Beach, CA) “Molino” Oil on canvas Signed lower right: Joseph Kleitsch; signed again and titled on a partial paper label affixed to the stretcher, titled again on the stretcher 14” H x 11” W $2,000-3,000

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4083

John Bond Francisco

(1863-1931 Los Angeles, CA) View of San Francisco harbor Oil on canvas laid to canvas Signed lower left: J. Bond Francisco 22” H x 28” W $6,000-8,000

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4084

Fred Grayson Sayre

(1879-1939, Glendale, CA) Azteca Cantina Oil on canvas Signed lower left: F. Grayson Sayre; variously inscribed in other hands verso 20” H x 24.25” W $3,000-5,000

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4085

Emil J. Kosa Jr.

(1903-1968, Los Angeles, CA) Ranch scene Watercolor on wove paper under glass Signed lower right: E J Kosa Jr. Sight: 21.25” H x 30” W $3,000-5,000 Notes: In addition to many pleine air watercolors such as this, Kosa also painted still-lifes, commissioned portraits and other subjects. He was an active member and one-time president of the California Water Color Society. For 35 years, he also worked in the special effects division at Twentieth Century Fox. He was awarded an Oscar in 1964 for his special effects contributions to “Cleopatra.”

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4086

Alfred R. Mitchell

(1888-1972, San Diego, CA) “Ocotillos” Oil on board Signed lower left: Alfred R. Mitchell; signed again and titled verso 16” H x 20” W $5,000-7,000

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4087

Fred Grayson Sayre

(1879-1939, Glendale, CA) “Smoke Tress by the Salton Sea” Oil on canvas Signed lower left: F. Grayson Sayre 20” H x 24” W $2,000-3,000

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4088

Millard Owen Sheets

(1907-1989, Gualala, CA) “’Hilltown and Ancient Olives’ Northern Spain,” 1976 Watercolor on Arches wove paper under glass Signed and dated lower left: Millard Sheets; signed again, titled and dated on the backboard Image/Sheet: 22” H x 29.75” W $3,000-5,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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4089

Millard Owen Sheets

(1907-1989, Gualala, CA) “Isle of Crete,” 1971 Watercolor on thick wove paper under glass Signed lower right: Millard Sheets; titled on a gallery label affixed to the backboard $3,000-5,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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4090

Millard Owen Sheets

(1907-1989, Gualala, CA) “Hong Kong Bay,” 1970 Watercolor on Arches wove paper under glass Signed lower right: Millard Sheets; titled in pencil verso; dated by repute Sight: 21.875” H x 30” W $5,000-7,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA

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4091

Emil J. Kosa, Jr.

(1903-1968, Los Angeles, CA) “Dock at Portofino” Watercolor on paper under glass Signed lower left: Emil Kosa Jr; titled by repute Sight: 15” H x 21.5” W $3,000-5,000

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4092

Charles Dorman Robinson

(1847-1933, San Rafael, CA) Coastal sunset Oil on board Signed with conjoined initials lower left: CDRobinson Sight: 9.25” H x 17” W; Board: 9.5” H x 17.25” W $2,000-3,000

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Consign Today

California & American Fine Art Spring 2022

Benjamin Chambers Brown (1865-1942, Pasadena, CA) “A Side Canyon - Grand Canyon”

Price Realized: $12,500 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 1 2 2 C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 0 21

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 w w w. j o h n m o r a n . c o m 1 2 3

1 2 4 C al i fo r ni a & Am e r ic a n F in e A rt l Tu e sd ay, Nov e mb e r 1 6 , 2 0 21

Condition Reports

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4001 Generally good condition.

Frame: 26.75” H x 23.75” W x 2” D

4002 Generally good condition.

Frame: 26.75” H x 23.75” W x 2” D 4003 Visual: Generally good condition. Light stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 31.25” H x 48.25” W x 1.5” D

4004 Visual: Generally good condition. Two spots of varnish accumulation in the center and upper center.

Blacklight: No evidence of restoration under blacklight.

Frame: 59” H x 82.75” W x 3.5” D

4007 Visual: Generally good condition. Not examined out of the frame.

Frame: 18” H x 14” W x 1.75” D

4008 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: A small spot of touch-up in the sky upper right.

Frame: 46” H x 54” W x 1.5” D

4009 Generally good condition. The sheet is loose, not mounted.

Frame: 31” H x 39” W x 2” D 4010 Visual: Generally good condition. Very fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.25” H x 27.25” W x 2.25” D

4005 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. An 8” scuff mark lower left and a 1” scuff mark in the center.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Unframed

126

4011 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: An approximately 2” x .75” skillful repair with attendant touch-up in the chair to the right of the woman’s back. A pea-sized touch-up to the right of the woman’s knee.

Frame: 28” H x 24” W x 2.5” D

4006 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 31” W x 2” D

4012 Visual: Generally good condition. A few lines of craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 31.5” H x 34.5” W x 2” D

4013 Visual: Generally good condition. Minor surface dirt and grime.

4018 Visual: Generally good condition. Craquelure throughout.

Blacklight: No evidence of restoration under blacklight.

Blacklight: A pea-sized spot of touch-up in the table, center left. A very small, ‘T’-shaped area of touch-up upper center. Difficult to read under varnish.

Unframed

4014 Visual: Generally good condition. The extreme edges of the board slightly abraded and with occasional attendant small paint losses, the largest approximately pea-size at the top right corner. Two pinhead-size nicks in the board at the right edge.

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

Frame: 23” H x 19.75” W x 1.5” D 4015 Generally good condition. Slight surface dirt. The extreme edges of the paper very slightly abraded and with occasional, attendant, tiny losses revealing the surface of the board below.

Frame: 15” H x 25” W x 3” D 4019 Visual: Generally good condition. Uneven varnish discoloration. Slight surface dirt showing along the upper edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 35.5” H x 31.5” W x 2” D 4020 Visual: Generally good condition. Craquelure scattered throughout. A few small spots of paint loss scattered throughout.

Blacklight: Touch-up scattered throughout, concentrated mainly in the sky and mountains. Some spots with corresponding patches verso.

Frame: 24” H x 20.25” W x 1.75” D

Frame: 18” H x 15” W x 1”D 4016 Visual: Generally good condition. Craquelure throughout. Minor varnish discoloration.

Blacklight: Touch-up and crack-fill scattered throughout.

4021 Each: Visual: Generally good condition.

Each: Blacklight: No evidence of restoration under blacklight.

Frame: 19” H x 23” W x 1.75” D

4017 Visual: Generally good condition.

4022 Visual: Generally good condition. Stretcher bar creases slowing slightly along the vertical edges.

Blacklight: No evidence of restoration under blacklight.

Blacklight: A .25” x .5” area of touch-up near the lower left corner.

Frame: 23” H x 25” W x 1.5” D

Frame: 27.75” H x 32” W x 3” D

Condition Reports

Frame: 26” H x 23” W x 4.25” D

127

4023 Visual: Generally good condition. Craquelure throughout. Stretcher bar crease along the lower edge. Varnish discoloration scattered throughout.

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

Frame: 42” H x 48” W x 3” D

4024 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges.

Blacklight: A 1” x 1.75” area of touch-up lower right with corresponding patch verso.

Frame: 40.25” H x 44.25” W x 2.25” D

4028 Generally good condition. Remains of old brown paper tape along the verso of the sheet edges.

Taped to the overmat with three pieces of brown paper tape from the verso of the sheet edges.

Frame: 30” H x 37.5” W x 1.25” D 4029 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 28.5” W x 1.75” D 4030 Visual: Generally good condition. A few spots of fine craquelure scattered throughout the sky.

Blacklight: No evidence of restoration under blacklight.

4025 Generally good condition. A .25” wide line of discoloration showing along the upper edge as well as the upper section of the left vertical edge.

Frame: 15.75” H x 20” W x 1.75” D 4026 Craquelure throughout. Stretcher bar creases along the four edges. Two small holes in the canvas upper right. A small line of paint loss in the upper left corner. Frame abrasion along the four edges. Varnish discoloration throughout. Minor surface dirt and grime.

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

Condition Reports

Frame: 23.5” H x 32.5” W x 1.5” D

128

4027 Visual: Generally good condition. Minor surface dirt and grime Blacklight: No evidence of restoration under blacklight.

Frame: 25.25” H x 22.25” W x 2.25” D

Frame: 32.25” H x 38.25” W x 3” D

4031 Generally good condition. Toning to the paper.

Spots of foxing scattered throughout. The paper has been cut to fit the demicircle shape of the matting.

The recto and verso mat boards are glued together.

Frame: 25.5” H x 33.5” W x 1” D

4032 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: A dime-sized spot and two small spots of touch-up in the sky upper left. A few small spots of touch-up in the sky upper right.

Frame: 21.25” H x 25.25” W x 3” D

4033 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 27” H x 31” W x 2.25” D

4034 Visual: Generally good condition. Craquelure throughout the sky. Small spots of craquelure in the house and road.

4039 Visual: Generally good condition. Small spots of paint loss upper right and left center. Very minor surface dirt and grime.

Blacklight: Touch-up and crack-fill scattered throughout the sky.

Blacklight: No evidence of restoration under blacklight.

Frame: 50.5” H x 60.5” W x 2.5” D

Frame: 24.25” H x 28.25” W x 2” D

4035 Visual: Generally good condition. Minor surface dirt and grime.

4040 Visual: Generally good condition. Craquelure throughout.

Blacklight: No evidence of restoration under blacklight.

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

Frame: 23.5” H x 27.5” W x 1.75” D

Frame: 18.25” H x 51.25” W x 2” D

4036 Visual: Generally good condition. Minor surface dirt and grime. The canvas slightly puckered in places in the lower right quadrant, mostly coinciding with heavier layers of impasto. A pinhead-size paint loss at the extreme right edge.

4041 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 46.5” W x 2” D

4037 Visual: Generally good condition. Slight stretcher bar creases along all four edges.

Blacklight: Scattered touch-ups, primarily in the sky at upper left. The largest approximately 2” x 5.”

Frame: 38” H x 43” W x 2.5” D 4038 Visual: Generally good condition. Scattered unobtrusive surface abrasions with attendant small paint losses, primarily near the upper edge, the largest approximately pea-sized.

Blacklight: No evidence of restoration under blacklight.

Frame: 24.5” H x 28.5” W x 1.75” D

4042 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 25” H x 29” W x 2.25” D 4043 Visual: Generally good condition. Fine craquelure throughout. Small chip of paint loss upper center.

Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.5” H x 39.5” W x 3.25” D

Condition Reports

Frame: 33” H x 38” W x 2” D

Blacklight: Spots and lines of touch-up scattered throughout, the largest a 1” x 9” line lower center.

129

4044 Generally good condition. The full sheet with deckled edges. Very minor surface soiling. Remains of old brown paper tape along the sheet edges, verso. The sheet is loose, not mounted.

Frame: 32.5” H x 41.25” W x 2” D 4045 Visual: Generally good condition. Cracks to the board lower center.

Blacklight: No evidence of restoration under blacklight.

Frame: 20” H x 25” W x 1.5” D

4050 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Frame: 11.5” H x 13.75” W x 1” D

4051 Visual: Generally good condition.

Blacklight: A 1.5” H x 3” W area of touch-up directly above the snow-capped mountain. Relined as stated.

Frame: 28” H x 38.5” W x 3.75” D

4046 Visual: Generally good condition.

4052 Visual: Generally good condition.

Blacklight: Two small spots of touch-up in the sky upper center.

Blacklight: No evidence of restoration under blacklight.

Frame: 12.5” H x 14.5” W x 1.5” D

Frame: 24.25” H x 28.25” W x 2.25” D

4047 Visual: Generally good condition. A few lines of craquelure scattered throughout.

4053 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 25.75” H x 29.75” W x 2.25” D

Frame: 15.25” H x 12.25” W x 2” D

Condition Reports

4048 Visual: Generally good condition. Fine craquelure throughout.

130

Blacklight: Small spots of touch-up scattered throughout the sky and mountain. A 1” x 1.75” area of touch-up in the upper right corner.

4054 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 14.5” H x 16.75” W x 1.25” D

4049 Visual: Generally good condition.

4055 Visual: Generally good condition. Craquelure scattered along the upper portion of the painting.

Areas of varnish discoloration in the clouds. The painting appears to have been reduced in size along the lower edge.

Blacklight: A 1.25” H triangle-shape area of touch-up in the upper left.

Blacklight: No evidence of restoration under blacklight.

Frame: 16.25” H x 22.5” W x 2” D

Frame: 24.5” H x 29.5” W x 2” D

Frame: 14.25” H x 16.25” W x 2.5” D

4056 Visual: Generally good condition. Craquelure throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 22.5” H x 26.5” W x 1.5” D

4057 Visual: Generally good condition. Minor mat burn along the extremes edges. Very slight toning throughout. A pea-sized stain in the upper right corner. Paper tape remnants along the upper and right edge verso. In pocket corners laid to a mat.

4061 Visual: Generally good condition. The board is very slightly bowed out along the lower portion of the painting.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.25” H x 21.25” W x 2” D

4062 Generally good condition. Not examined out of the frame.

Frame: 14.5” H x 17.5” W x 1.25” D

Frame: 16.5” H x 19.75” W x 1.75” D 4058 Visual: Generally good condition.

Blacklight: A pea-sized spot of touch-up near the upper left edge. Certain pigments fluoresce under blacklight, however these appear to be in the hand of the artist.

4063 Visual: Generally good condition. Artist’s pinholes in the four corners.

Blacklight: No evidence of restoration under blacklight.

Frame: 10.25” H x 12.25” W x 1.5” D

Frame: 17.75” H x 19.75” W x 1.25” D

Blacklight: No evidence of restoration under blacklight.

Frame: 29.5” H x 35.5” W x 2.25” D

4060 Visual: Generally good condition. Fine craquelure scattered throughout. Stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 32.5” H x 37.5” W x 2.5” D

4064 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19.5” H x 22.5” W x 2.25” D

4065 Visual: Generally good condition. Surface dirt, grime and uneven varnish discoloration. Slight frame abrasions scattered along all four edges.

Blacklight: Apparently no restoration under blacklight.

Difficult to read under varnish.

Frame: 26.75” H x 32.75” W x 2” D 4066 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up scattered throughout the clouds.

Frame: 34.75” H x 38.75” W x 2.75” D

Condition Reports

4059 Visual: Generally good condition.

131

4067 Visual: Generally good condition.

Blacklight: Two spots of touch-up in the sky.

Frame: 13.75” H x 315.75” W x 1.25” D

4074 Visual: Generally good condition. Minor frame abrasion along the edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 14.25” W x 1.5” D

4068 Visual: Generally good condition.

Blacklight: Small spots of touch-up scattered throughout, concentrated mainly in the sky.

4075 Visual: Generally good condition. Craquelure throughout.

Frame: 15” H x 17” W x 2” D

Blacklight: Tiny dots of touch-up throughout.

Frame: 20.75” H x 24.75” W x 1.5” D

4069 Visual: Generally good condition. Intrinsic protrusion along the left and right edges of the board, likely in the manufacturing of the board.

4076 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.75” H x 21” W x 1.75” D

Frame: 16” H x 14” W x 1” D

4070 Generally good condition. The paper is laid down as stated.

Frame: 11.5” H x 13.5” W x 1.5” D

4071 Generally good condition. Minor frame abrasion along the edges. The paper is laid down as stated.

4077 Visual: Generally good condition. Crazing in the background along the left and right edges and in some of the red flowers. Frame abrasion along the right edge. Small spots of paint loss left center and right center.

Blacklight: No evidence of restoration under blacklight.

Frame: 31.5” H x 37.5” W x 2.25” D

Condition Reports

Frame: 12.5” H x 15” W x 1.5” D

132

4072 Generally good condition. Scattered small areas of very minor surface skinning verso Frame: 20.75” H x 24.5” W x 1.5” D 4073 Visual: Generally good condition. Slight toning throughout. Taped along all four edges to front mat with artist tape.

Frame: 29.5” H x 23” W x 2.25” D

4078 Visual: Generally good condition. Fine craquelure scattered throughout. A crease in the canvas in the upper left corner.

Blacklight: Touch-up scattered throughout, including a 3.5” scattered line upper left and a quarter-sized spot lower left.

Frame: 33.5” H x 37.5” W x 2.5” D

4079 Generally good condition. Minor frame abrasion along the edges. Handling creases to the paper in the upper right corner. An artist’s pinhole upper center.

The paper is loose, not mounted.

Frame: 31.5” H x 27.5” W x 1.5” D 4080 Lot Withdrawn 4081 Generally good condition. Remains of old glue along the verso of the sheet edges. Taped to the overmat in places from the verso of the sheet edges.

Frame: 17.25” H x 21.25” W x .5” D

4085 Generally good condition. The full sheet with deckled edges. Mat staining showing along the outer edges of the sheet: .25” wide along the upper, .50” wide along the lower, and 1.25” along the left and right verticals. Remains of old tape along the verso of the sheet edges.

Frame: 29” H x 36” W x 1.25” D 4086 Visual: Generally good condition.

Blacklight: A small spot of touch-up along the upper center edge.

Frame: 24.5” H x 28.5” W x 2.5” D

4082 Visual: Generally good condition. Isolated areas of very fine craquelure scattered throughout. A small bulge in the canvas right center.

4087 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: No evidence of restoration under blacklight.

Blacklight: Touch-up scattered throughout the sky.

Frame: 22.5” H x 19.5” W x 3.75” D

Frame: 25” H x 29” W x 2.25” D

4083 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

4088 Generally good condition. The sheet trimmed along three edges, deckled only along the lower edge. The sheet is loose, not mounted.

Blacklight: Touch-up throughout, the largest a 2.5” x 2.25” area upper left.

Frame: 32” H x 40” W x 2.5” D

4084 Visual: Generally good condition. Scattered craquelure throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 24.25” H x 28.5” W x 2” D

4089 Generally good condition. The deckle edges appear to be trimmed along all sides. The sheet is loose, not mounted.

Frame: 32” H x 40” W x 2” D 4090 Generally good condition. A very unobtrusive razorcut, just into the surface of the paper, which extends horizontally across nearly half of the upper sheet edge. The sheet is loose, not mounted.

Frame: 31” H x 39” W x 2” D

Condition Reports

Frame: 29.5” H x 35.5” W x 2.5” D

133

4091 Generally good condition. Scattered pale foxing visible near the top and right edges. Not examined out of the frame.

Frame: 24” H x 30.25” W x 1.5” D 4092 Visual: Generally good condition. Frame abrasion along the four edges.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Frame: 16.5” H x 24.5” W x 1.5” D

134

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Edgar Alwin Payne (1883-1947, Hollywood, CA) “San Juan Capistrano”

Price Realized: $46,875

SINCE 1969

AUCTIONEERS & APPRAISERS 135

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Anne Spink Fine Art Administrator Angela Bryant

Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Western, American Indian Specialist Maranda Moran 20th Century Design 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 Allison Allyn

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.

View Illustrated Catalogue Online @ www.johnmoran.com

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

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

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

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a 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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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