California Living — November 16, 2021 | John Moran Auctioneers

Tuesday, November 16, 2021 SINCE 1969

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

California Living Tuesday, November 16, 2021—10am Sale 203 145 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 Maranda Moran Head of Sale, Specialist marandam@johnmoran.com

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

Shannon Dailey Furniture & Decorartive Arts Cataloguer shannon@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

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

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

3001

Polia Pillin

(1909-1992, American) Vase with potrait of two figures Glazed ceramic Signed in the glaze: Pillin 11” H x 9.5” Dia. $800-1,200

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3002

Harrison McIntosh

(1914-2016, American) Conical vase Glazed stoneware with off-white engobe Incised signature: McIntosh 7.5” H x 3.25” Dia. $800-1,200

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3003

Laura Andreson

(1902-1999, American) Vase with raised design, 1972 Glazed ceramic Signed and dated: Laura Andreson / 72 8” H x 3.75” Dia. $500-700

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3004

Bruno Gambone

(1936-2021, Italian) Vase, circa 1970 Glazed stoneware Signed in the glaze: Gambone / Italy 13.75” H x 3.75” Dia. $400-600 Provenance: Private Collection, Southern California

3005

David Cressey

(1916-2013, American) Pro/Artisan “Solar” planter Unglazed stoneware Unsigned 6” H x 12.25” Dia. $500-700

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3006

Bob Kinzie

(20th Century, American) Two table lamps Unglazed stoneware and wood, electrified Each signed with impressed cipher Larger with shade: 45” H x 19” Dia.; Smaller: 39” H x 14” Dia. $600-800

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3007

David Cressey

(1916-2013, American) Pro/Artisan table lamp base Glazed stoneware and wood, electrified Appears unsigned 22.5” H x 14” Dia. $600-800

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3008

An American art pottery vase

20th Century Impressed: 08 / 1022 / [cipher that looks like a snake in the form of an S The urn-form ceramic vase in a forest green, semi-matte glaze with textu surface 7.625” H x 5.25” Dia. $200-400 Provenance: Private Collection, Southern California

3009

Sonja Blomdahl

(b. 1952, American) Incalmo vase, no. B4389 Glass Signed and numbered in engraving: Sonja / B4389 7.5” H x 14” Dia. $600-900 Notes: This lot is accompanied by a receipt of sale dated December 1, 1990 and a copy of the artist’s CV.

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or 8] ured

3010

Robert C. Fritz

(1920-1986, American) Two free-form art glass vases Blown glass Each with engraved signature: Fritz Larger: 11.25” H x 6.5” W x 5.5” D; Smaller: 6” H x 7.25” W x 5.75” D 2 pieces $400-600 Notes: This lot is accompanied by a receipt of sale dated December 20, 1974 and a brochure about the artist.

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3011

A large Scandinavian glass vase

Circa 1960 The large blue glass vase with a bulbous body and slender, tapered neck 22” H x 11.5” Dia. $400-600

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3012

An acrylic and bronze centerpiece

Mid-20th Century The centerpiece with three cast resin trumpet vases mounted on an etched bronze frame with striped resin central column, raised on a stacked and tiered bronze and clear acrylic base 20.5” H x 15.5” W x 15.5” D $600-800

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3013

Eyvind Earle

(1916-2000, Carmel, CA) “Hidden Valley,” 1976 Color screenprint on paper under glass; Frank Rowland Workshop, Libertyville, IL prntr./pub.

Edition 220/300; signed in pencil in the lower margin at right: Eyvind Earle Image: 29.75” H x 19.75” W; Sight: 32” H x 22” W $800-1,200 Provenance: Circle Gallery, Chicago, IL

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3014

Galen Rowell

(1940-2002, Bishop, CA) Yosemite, 1970 Color photograph on paper under Plexiglas Edition 15/300; signed, dated and numbered in pencil lower right on the overmat Sight: 17” H x 25.75” W $400-600

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3015

Arthur Tress

(b. 1940, American) Head of statue in the desert Gelatin silver print on paper Unsigned, with the artist’s studio stamp verso Image: 7.5” H x 7.5” W; Sheet: 10” H x 8” W $400-600

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3016

John Wimberly

(b. 1945, Ashland, OR) “Mojave Desert Near Joshua Tree,” 1977 Black and white photograph Annotated in pencil with a title and date, possibly in another hand, verso Image: 7.25” H x 9” W; Sheet: 8” H x 10” W $400-600

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3017

Edward Weston

(1886-1958, Carmel, CA) “Salinas,” 1947 Gelatin silver print, printed later Annotated in pencil verso: Edward Weston GSP (1947) / (P/L) Printed by Cole Weston (Son) Image: 7” H x 9” W; Sheet: 7.625” H x 9.625” W $300-500

3018

Yanai Toister

(b. 1977, Israeli) “Summer Palette #812,” 2007 Color digital print on paper under Plex Edition of 5; appears unsigned 47” H x 32” W $500-700 Provenance: Sandroni Rey Gallery, Los Project Angel Food, Benefit Auction The Blake Byrne Collection

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xiglas

Angeles, CA

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3019

Hippolyte Arnoux

(19th Century, French) Each: Egyptian scenes with people and locations, 11 pieces Each: Black and white or sepia-tone photographs Two works with the photographer’s signature in the plate lower right: Arnoux Largest Image: 8.5” H x 11.25” W $1,000-1,500 Notes: Photographs by Nikolas Zographos and Andreas Reiser accompany the lot.

3020 No Lot

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3021

A group of L. Frank Baum “Oz” books (1856-1919, American) Seventeen works:

“Little Wizard Stories of Oz.” Chicago: Reilly & Britton, 1914.

Hardcover book First edition, first state “Glinda of Oz.” Chicago: Reilly & Lee, 1920.

Hardcover book First edition, first state “The Patchwork Girl of Oz.” Chicago: Reilly & Britton, 1913.

Hardcover book First edition, second state “The Emerald City of Oz.” Chicago: Reilly & Britton, 1910.

Hardcover book First edition, first state

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“The Magic of Oz.” Chicago: Reilly & Lee, 1919.

Hardcover book First edition, 1920 printing “The Land of Oz.” Chicago: Reilly & Britton, 1904.

Hardcover book Second edition “Tik-Tok of Oz.” Chicago: Reilly & Britton, 1914.

Hardcover book Later edition, ca. 1917 “The Road to Oz.” Chicago: Reilly & Britton, 1909.

Hardcover book Later edition, ca. 1918-1919 “Dorothy and the Wizard in Oz.” Chicago: Reilly & Lee, 1908.

Hardcover book Later edition, ca. 1920s

“Rinkitink in Oz.” Chicago: Reilly & Lee, 1916.

Hardcover book Later edition, ca. 1920s

“The Lost Princess of Oz.” Chicago: Reilly & Lee, 1917.

Hardcover book Later edition, ca. 1920-1923

“The Tin Woodman of Oz.” Chicago: Reilly & Lee, 1918.

Hardcover book Later edition, ca. 1920s

Ruth Plumly Thompson, attributed to L. Frank Baum. “The Royal Book of Oz.” Chicago: Reilly & Lee, 1921.

Hardcover book Possibly first edition, early printing

“The Scarecrow of Oz.” Chicago: Reilly & Lee, 1915.

Hardcover book Later edition, ca. 1920s “Ozma of Oz.” Chicago: Reilly & Lee, 1907.

Hardcover book Later edition, ca. 1920s “The Wizard of Oz.” Indianapolis: The Bobbs-Merrill, 1903.

Hardcover book Later edition, ca. 1920s

David L. Green and Dick Martin. “The Oz Scrapbook.” New York: Random House, 1977.

Hardcover book First edition 17 pieces Larger: 11.25” H x 8.75” W; Smaller: 7.75” H x 6” W $1,000-2,000 Provenance: Private Collection, Southern California

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3022

An assembled group of hardcover books Twenty-six works:

Walter Tittle. “The First Nantucket Tea Party.” New York: Doubleday Page & Co., 1907.

First edition Margaret Sidney. “Old Concord: Her Highways and Byways.” Boston: Lothrop Publishing Co., 1888.

Edgar Rice Burroughs. “Tarzan: Lord of the Jungle.” New York: Grosset & Dunlap, 1928.

First edition Edgar Rice Burroughs. “The Return of Tarzan.” New York: Grosset & Dunlap, 1915.

First edition Edgar Rice Burroughs. “Tarzan and the Foreign Legion.” New York: Grosset & Dunlap, 1947.

First edition Albert Payson Terhune. “Lochinvar Luck.” New York: Grosset & Dunlap, 1923.

First edition Albert Payson Terhune. “The Heart of a Dog.” New York: Garden City Publishing Co., 1924.

Albert Payson Terhune. “Lad: A Dog.” New York: E.P. Dutton & Co., 1947.

Rudyard Kipling. “The Second Jungle Book.” New York: The Century Co., 1895.

Rudyard Kipling. “Kim.” New York: Doubleday Page & Co., 1901.

First edition, second state Henry David Thoreau. “Walden.” New York: Thomas Y. Cromwell Co., 1910.

Henry David Thoreau. “Men of Concord.” Boston: Houghton Mifflin Co., 1936.

“The Letters of Robert Browning and Elizabeth Barrett Browning: 1845-1846.” Volume 1. New York: Harper & Bros., 1899.

“The Letters of Robert Browning and Elizabeth Barrett Browning: 1845-1846.” Volume 2. New York: Harper & Bros., 1899.

Harriet Beecher Stowe. “ Uncle Tom’s Cabin.” New York: McLoughlin Bros., Inc., n.d. [ca. 1900].

Will James. “Smoky: The Cow Horse.” New York: Charles Scribnerís Sons, 1929.

Oscar Levant. “The Unimportance of Being Oscar.” New York G. P. Putnam’s Sons, 1968.

Mark Twain. “Extracts from Adam’s Diary.” New York: Harper & Bros., 1904.

Mark Twain. “Adventures of Tom Sawyer.” Norwalk, CT: The Heritage Press, 1964.

Victor Appleton. “Tom Swift and His Air Glider.” New York: Grosset & Dunlap, 1912.

First edition

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L. Frank Baum. “The Sea Fairies.” New York: Reilly & Lee, 1911.

Later printing, ca. 1920s “Captain Cook’s Voyages of Discovery.” London: J. M. Dent, 1906.

Second edition Lewis Carroll. “Alice’s Adventures in Wonderland.” New York: Hodder & Stoughton, 1914.

First illustrated edition Nathaniel Hawthorne. “A Wonder-Book for Girls and Boys.” New York: Rand McNally & Co., 1936.

George D. Lyman. “The Saga of the Comtsock Lode: Boom Days in Virginia City.” New York: Charles Scribnerís Sons, 1944.

Richard H. Dana, Jr. “Two Years Before the Mast: A Personal Narrative.” New York: Houghton Mifflin Co., 1911.

“Knickerbocker’s New York.” The Bibliographic Edition: The Works of Washington Irving. Philadelphia: University Library Association, n.d. [ca. 1895].

26 pieces Larger: 10.25” H x 7.75” W; Smaller: 7” H x 4.25” W $800-1,200 Provenance: Private Collection, Southern California

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3023

An assembled group of first edition books Three works:

Mario Puzo “The Godfather” New York: G.P. Putnam’s Sons, 1969 Hardcover book, first edition 8.75” H x 6” W x 2” D Frank Rose “The Agency: William Morris and the History of Show Business” New York: Harper Business, 1995 Hardcover book, first edition 9.5” H x 6.5” W x 1.75” D Arthur Marx “Goldwyn: A Biography of the Man Behind the Myth” New York: W.W. Norton & Company, Inc., 1976 Hardcover book, first edition 9.5” H x 6.5” W x 1.5” D 3 pieces $300-500 Provenance: Private Collection, Southern California

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3024

Joyce Treiman

(1922-1991, Pacific Palisades, CA) “With Love,” (lacking one etching), 1965, Venice, CA, Joe Funk, prntr.

Nine loose etchings including the title page (from the suite of ten), one of which has the cancellation mark, and the colophon page, all on wove paper with an occasional Arches watermark, housed together in a linencovered, wooden portfolio-box with an original watercolor displayed on the cover, as issued Edition: the unique printer’s proof example; the watercolor on paper mounted to the cover, as issued, is unsigned; seven of the etchings signed and inscribed in pencil in the lower margin: printers proof / Treiman; two etching lacking these features; the colophon page inscribed in ink: Printers Proof Watercolor: 3.5” H x 2.5” W; Sheet of each etching approximately: 8” H X 6” W $400-600 Notes: There were also 10 special edition copies, numbered I-X, each of which included one of the ten cancelled original aluminum plates; the regular edition of 40 lacking the watercolor; and some artist’s proofs.

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3025

Judith Daner

(20th Century, American) Horses on a trail Enamel on copper mounted to walnut Signed in the enamel: JD Plaque: 11.5” H x 46.5” W; Overall: 19.5” H x 55.25” W x 1” D $800-1,200

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3026

Two American studio enamel and wood items Two works:

Rita A. Blum (1927-2010, American) Lidded box, 1976 Enamel, metal, and wood Signed and dated in black ink: Blum / ‘76 2.875” H x 3.5” W x 2.75” D A wood and enamel wall plaque 20th Century Unsigned The red and gold enamel on metal sheet with bubble effect mounted on a wood frame Overall: 8.5” H x 9.75” W x 2” D 2 pieces $400-600

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3027

Maxine Kim Stussy

(b. 1923, American) Untitled Clay, paint, and reclaimed wood Initialed in paint: MKS 4.375” H x 4.5” W x 3.25” D $300-500

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3028 No Lot

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3029

Mel Kendrick

(b. 1949, American) “Large Mahogany with Holes,” 1985 Mahogany wood Signed and dated: Mel Kendrick / 1985 70.5” H x 23.5” W x 19” D $7,000-9,000 Provenance: Margo Leavin Gallery, Los Angeles, CA The Collection of Eugene Stevens Sale: Christie’s, New York, NY, “Post-War and Contemporary Art,” September 23, 2005, Lot 106 The Blake Byrne Collection, acquired from the above

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3030

A Lifetime Furniture Co. Arts and Crafts rocking chair, no. 688

20th Century The oak slat back rocking chair with corbeled top rail flanked by straight arms with slat sides over a tan leather upholstered seat and back cushion atop four square legs with rockers 30.5” H x 28” W x 36.5” D $800-1,200

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3032

A pair of Gusta

Circa 1901-1916; One with Stickley Each oak chair wit brown leather sea a box stretcher, 2 Each: 40” H x 16. $300-500

3031

A L. & J.G. Stickley double-door bookcase, no. 645

Circa 1912-1917; Fayetteville, NY Label: The Work of L. & J.G. Stickley The original finish oak double-door bookcase with raised back panel over keyed mortise and tenon slab sides and two twelve-lite glazed mullion doors with rectangular panels, each finished with a hammered copper drop handle and lockplate, enclosing a fitted interior with three stationary shelves raised overall on four bracket feet 55” H x 52” W x 12” D $1,500-2,500

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av Stickley H-back chairs, No. 308

Eastwood, NY y shop mark [joiner’s compass] th straight top rail and H-back over an inset at raised on four thin square legs joined by pieces .75” W x 18” D

3033

A Gustav Stickley oak tabouret side table, no. 603

Circa 1909-1915; Eastwood, NY With burned Stickley shop mark [joiner’s compass] and paper shop label The fumed oak side table with a round top raised on four straight legs joined by a carved X-stretcher 20” H x 18” Dia. $600-900

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3034

A contemporary Stickley “Harvey Ellis” tall chest Circa 1990s; Manlius, NY

With Stickley burned mark and metal factory tag The quarter-sawn white oak dresser with a raised back rail and rectangular top over six short drawers and three long drawers with copper pulls raised on four straight legs with an arched apron 55.625” H x 37.75” W x 19” D $600-800 Provenance: Private Collection, Southern California

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3035

A contemporary Stickley “Harvey Ellis” dresser

Circa 1990s; Manlius, NY With Stickley burned mark and metal factory tag The oak Arts and Crafts-style dresser with a raised back rail and a rectangular top over nine short drawers with copper pulls, raised on four straight legs with an arched apron 34.5” H x 66” W x 20” D $700-900 Provenance: Private Collection, Southern California

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3036

A contemporary Stickley Mission-style bedroom set

1995 Each with Stickley burned mark and metal factory tag; headboard dated and numbered: MAR 27 1995 / # 35 / 89-912 B; Nightstands dated and numbered: APR 21 1995 / # 35 / 89-611 The Arts and Crafts Mission-style bedroom set comprising a queen-size spindle headboard with corbeled top and two single-drawer nightstands with copper pulls, mortise and tenon construction, and an undershelf, 3 pieces Headboard: 45” H x 70.5” W x 4” D; Each nightstand: 27.5” H x 22” W x 16” D $1,000-1,500 Provenance: Private Collection, Southern California

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3037

A contemporary Stickley-style Morris chair and ottoman

Circa 1990s The contemporary Arts and Crafts Stickley-style oak Morris chair with adjustable ladder back flanked by two canted, corbeled bow arms with slat sides raised on four straight legs and with light brown nubuck leather upholstered back cushion and seat, accompanied by a conformingly designed ottoman, 2 pieces Chair: 40.5” H x 33.75” W x 40.25” D $800-1,200 Provenance: Private Collection, Southern California

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3038

A contemporary Stickley Mission-style box settle

Circa 1990s; Manlius, NY With Stickley burned mark and metal factory tag; further dated and numbered: MAY 01 [illegible] / # 35 [partially illegible] The oak Arts and Crafts Mission-style settee sofa with spindle sides and back with tan leather upholstered loose back cushions and seat 30” H x 60” W x 32” D $800-1,200 Provenance: Private Collection, Southern California

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3039

A contemporary Stickley swivel office chair

1995; Manlius, NY With Stickley burned mark and metal factory tag; further dated and numbered: MAY 01 1995 / #35 The oak swivel armchair with straight top rail and slatted back over an upholstered tan leather seat raised on five-leg swivel base 40” H x 25.5” W x 25” D $400-600 Provenance: Private Collection, Southern California

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3040

A contemporary Mission-style coffee table

Circa 1990s The oak Arts and Crafts Mission-style coffee table with a rectangular top over two frieze drawers with metal pulls raised on four straight legs with spindle sides joined by an undershelf 18” H x 36” W x 25” D $500-700 Provenance: Private Collection, Southern California

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3041

A contemporary Mission-style bookcase

Fourth-Quarter 20th Century The oak Arts and Crafts Mission-style four-tier bookcase with slat sides 62.25” H x 23” W x 14” D $600-800 Provenance: Private Collection, Southern California

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3042

A contemporary Mission-style console table

Circa 1990s The contemporary Arts and Crafts Mission-style oak console table with rectangular top over three drawers with iron hardware raised on four legs and spindle sides joined by an undershelf 30” H x 50” W x 18.25” D $600-800 Provenance: Private Collection, Southern California

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3043

A contemporary Mission-style console table

Circa 1990s The contemporary Arts and Crafts Mission-style oak console table with rectangular top over two drawers with iron hardware raised on four legs and spindle sides joined by an undershelf 26” H x 35” W x 18.25” D $500-700 Provenance: Private Collection, Southern California

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3044

A contemporary Mission-style side table

Circa 1990s The cherry Arts and Crafts Mission-style side table with rectangular top raised on four straight legs with slat sides joined by an undershelf 23” H x 22” W x 17.5” D $500-700 Provenance: Private Collection, Southern California

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3045

3046

Circa 1990s The contemporary Arts and Crafts Mission-style oak table with rectangular top over a single drawer with iron hardware raised on spindle sides joined by an undershelf 26” H x 21” W x 18.25” D

Circa 1990s Each oak Arts an arched skirt raise Larger: 26” H x 2

A contemporary Mission-style end table

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A near-pair of

$500-700

$500-700

Provenance: Private Collection, Southern California

Provenance: Priv

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f contemporary Mission-style side tables

nd Crafts Mission-style side table with rectangular top over an ed on four straight legs with a spindle rail undershelf, 2 pieces 21” W x 18.25” D; Smaller: 26” H x 21” W x 17” D

vate Collection, Southern California

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3047

Eli Harvey

(1860-1957, American) Standing bear on ball, 1898 Patinated bronze on marble base Signed and dated: [copyright symbol] ‘98 / by Eli Harvey 12” H x 3.375” W x 4.25” D $800-1,200

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3048

Wah Ming Chang

(1917-2003, Chinese/American) “Horse II,” 1996 Patinated bronze Edition 44/90; signed and dated 13.25” H x 13.5” W x 3.5” D $500-700 Provenance: Private Collection, Southern California

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3049

Wah Ming Chang

(1917-2003, Chinese/American) Doe and Faun Patinated bronze on an acrylic and wood base Edition 38/90; sculpture signed and numbered; signed, titled, and numbered again in black ink to underside of base, further inscribed in ballpoint pen with moon cipher and illegible name 4.75” H x 9” W x 5.25” D $500-700 Provenance: Private Collection, Southern California

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3050

Wah Ming Chang

(1917-2003, Chinese/American) Sea Otter with Pup II, 1987 Patinated bronze on geode and wood base Edition 23/90; signed, titled, dated, and numbered in black ink to underside 2.5” H x 7.5” W x 3.125” D $500-700 Provenance: Private Collection, Southern California

3052

Wah Ming

(1917-2003 Sea Otter w Patinated b Edition 5/9 black ink to 2.5” H x 7.5 $300-500

Provenance

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3051

Wah Ming Chang

(1917-2003, Chinese/American) Pelican Patinated bronze on geode base Signed and titled in black ink to underside 6” H x 2.75” W x 2.25” D $500-700 Provenance: Private Collection, Southern California

g Chang

3, Chinese/American) with Pup bronze on geode base 9, A.P.; signed, titled, and numbered to in o underside 5” W x 3.125” D

e: Private Collection, Southern California

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3053

A Rookwood Vellum glaze pottery vase, Lenore Asbury

1916 Marked for Rookwood; Further marked: XVI / 2032 C / V [vellum glaze] / LA [Lenore Asbury] Designed by Lenore Asbury (active 1894-1931), the vase with gently tapering body in semi-translucent matte glaze over a gradient blue and pink ground with slip painted forested landscape of eucalyptus trees, Vellum glaze line 12” H x 5.25” Dia. $1,200-1,800

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3054

A Rookwood Vellum glaze pottery vase, Lenore Asbury

1914 Marked for Rookwood; Further marked: XIV / 917 B / V [vellum glaze] / LA [Lenore Asbury] Designed by Lenore Asbury (active 1894-1931), the urn-form vase in semitranslucent matte glaze over a gradient blue and pink ground with slip painted forest landscape, Vellum glaze line 10” H x 4.5” Dia. $800-1,200

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3055

A Rookwood Vellum glaze pottery vase, Lenore Asbury

1909 Marked for Rookwood; Further marked: IX / 1357 D / V [vellum glaze] / [chevron symbol for trial piece]/ LA [Lenore Asbury] Designed by Lenore Asbury (active 1894-1931), the flared, cylindrical vase in semi-translucent matte glaze over a gradient blue, pink, and green ground with slip painted water lilies, Vellum glaze line 8.75” H x 4.125” Dia. $700-900

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3056

A Rookwood Vellum glaze pottery vase, Elizabeth F. McDermott 1917 Marked for Rookwood; Further marked: XVII / 913 D / V [vellum glaze] / [cipher for Elizabeth F. McDermott] Designed by Elizabeth F. McDermott (active 1912-1919), the urn-form vase in semi-translucent matte glaze over a gradient blue and ivory ground with slip painted winter forest landscape, Vellum glaze line 8” H x 4.75” Dia. $700-900

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3057

A Rookwood Vellum glaze “Colorado” pottery wall plaque

1912 Plaque marked for Rookwood; Further marked: XII / V [vellum glaze]; titled and attributed to F. [Frederick] Rothenbusch on gallery label verso Design attributed to Frederick Rothenbusch (active 1896-1931), the “Colorado” plaque in semi-translucent matte glaze with slip painted forest landscape with a waterfall and mountains, Vellum glaze line Plaque: 10.5” H x 8.25” W $2,000-3,000

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3058

A Rookwood Vellum glaze pottery vase, Frederick Rothenbusch

1920 Marked for Rookwood; Further marked: XX / 2066 / V [vellum glaze] / [cipher for Frederick Rothenbusch] Designed by Frederick Rothenbusch (active 1896-1931), the tapered, cylindrical vase in semi-translucent matte glaze over a gradient blue and pink ground with slip painted forest landscape with green meadow, Vellum glaze line 7.75” H x 3.5” Dia. $800-1,200

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3059

A Rookwood Vellum glaze pottery vase, Edward Timothy Hurley

1920 Marked for Rookwood; Further marked: XX / 1358 C / V [vellum glaze] / [cipher for Edward Timothy Hurley] Designed by Edward Timothy Hurley (active 1896-1948), the flared, cylindrical vase in semi-translucent matte glaze over a gradient blue and pink ground with slip painted forest landscape, Vellum glaze line 11.25” H x 6.375” Dia. $1,000-1,500

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3060

Three Rookwood Iris pottery vases Three works:

A Rookwood pottery vase, Sara Sax 1906 Marked for Rookwood; Further marked: VI / 907 E / W [Iris glaze line] / [cipher for Sara Sax] Designed by Sara Sax (active 1896-1931), the urn-form vase in translucent gloss glaze over a gradient ivory to emerald green ground with slip painted white daisies, Iris glaze line 8.25” H x 3.5” Dia. A Rookwood pottery vase, Irene Bishop 1908 Marked for Rookwood; Further marked: VIII / 30 E / W [Iris glaze line] / I.B. [Irene Bishop] Designed by Irene Bishop (active 1900-1909), the urn-form vase in translucent gloss glaze over a gradient dark green to pink ground with slip painted white daffodils, Iris glaze line 8.125” H x 3.25” Dia. A Rookwood pottery vase, Sara Sax 1903 Marked for Rookwood; Further marked: III / 829 / W [Iris glaze line] / [cipher for Sara Sax] Designed by Sara Sax (active 1896-1931), the urn-form vase in translucent gloss glaze over a gradient ivory, green, to orange ground with slip painted blueberries, Iris glaze line 9.25” H x 3.25” Dia. 3 pieces $800-1,200

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3061

A Rookwood Vellum glaze pottery vase, Elizabeth Neave Lincoln

1912 Marked for Rookwood; Further marked: XII / 925 D / V [vellum glaze] / LNL [Elizabeth Neave Lincoln] Designed by Elizabeth Neave Lincoln (active 1892-1931), the urn-form vase in semi-translucent matte glaze over a gradient blue, pink, and green ground with slip painted pink nasturtiums, Vellum glaze line 8.5” H x 4.25” Dia. $500-700

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3062

A Rookwood pottery vase with Gorham sterling silver overlay

1902 Vase marked for Rookwood and further marked: II / 926 B / SEC [Sarah Elizabeth Coyne]; Sterling silver marked for Gorham and further marked: J / X / T Designed by Sarah Elizabeth Coyne (active 1891-1939), the baluster-form vase in yellowtinted, translucent gloss glaze over a brown and green ground with slip painted yellow daffodils and an electrodeposited sterling silver overlay in flowing organic forms with chased decoration, Standard glaze line 10.75” H x 5.5” Dia. 58.38 gross oz. troy approximately $1,500-2,000

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3063

3064

1889 Marked for Rookwood; Further marked: 464 / A.R.V. [Albert Robert Valentine] / L [light yellow glaze] / R [red body] Designed by Albert Robert Valentine (active 1881-1905), the urn-form vase with flared ruffle rim in yellow-tinted, translucent gloss glaze over a brown ground on a red body with slip painted rowan berries, Mahogany glaze line 7.75” H x 4.5” Dia.

1886 Marked for Rookwood; Furthe 275 / A.R.V. [Albert Robert Va Designed by Albert Robert Va vase in yellow-tinted, transluc with low relief, slip painted do with a floral motif brass rim, M 11” H x 7” W x 6” D

A Rookwood Mahogany glaze pottery vase, Albert Robert Valentine

$800-1,200 Provenance: Private Collection, Southern California

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A Rookwood Mahogany g

$300-500

glaze pottery vase, Albert Robert Valentine

er marked: 1886 [partially illegible] / R [red body] / alentine] alentine (active 1881-1905), the tapered cylindrical cent gloss glaze over a brown and green ground ogwoods, flanked by two small handles and fitted Mahogany glaze line

3065

A Rookwood pottery vase, Jeanette Carick Swing

1903 Marked for Rookwood; Further marked: III / 568 C / [cipher for Jeanette Carick Swing] Designed by Jeanette Carick Swing (active 1900-1904), the baluster-form vase with flared rim in yellow-tinted, translucent gloss glaze over a brown and yellow ground with slip painted orange nasturtiums, Standard glaze line 7.25” H x 4” Dia. $500-700 Provenance: Private Collection, Southern California

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3066

A group of American art pottery items Five works:

A large Rookwood pottery water pitcher, Anna Marie Bookprinter Valentine 1884 Marked for Rookwood; Further marked: 1884 / 183 A / W [white body] / AMB [Anna Marie Bookprinter Valentine] Designed by Anna Marie Bookprinter Valentine (active 1884-1905), the handled jug with spherical body and tall, tapered neck in yellow gloss glaze with incised wisterias 11.5” H x 6.25” Dia. A Rookwood pottery pitcher, Irene Bishop 1900 Marked for Rookwood; Further marked: 611 D / I.B. [Irene Bishop] Designed by Irene Bishop (active 1900-1909), the handled jug with a wide, flared body, tall neck, and flared ruffle rim in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with slip painted roses, Standard glaze line 8.25” H x 5.25” W x 5” D

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A small Weller “Louwelsa” pottery pitcher Late 19th/Early 20th Century Marked: Louwelsa / Weller / 516 / 2 The handled jug with a squat, flared body, pinched neck, and flared ruffle rim in gloss glaze over a brown and yellow ground with slip painted roses, Louwelsa line 4.5” H x 4.5” Dia. A Rookwood pottery covered jar 1889 Marked for Rookwood; Further marked: 282 C / S [demonstration piece] The covered jar with spherical body and cylindrical neck in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with low relief, slip painted chrysanthemums, Standard glaze line 6.25” H x 5” Dia. A Rookwood pottery dish, Mary Luella Perkins 1888 Marked for Rookwood; Further marked: [illegible numbers] / W [white body] / L [light yellow glaze] / MLP [Mary Luella Perkins] Designed by Mary Luella Perkins (active 1886-1898), the small dish with ruffled sides in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with slip painted pansies, Standard glaze line 1” H x 6.5” Dia. 5 pieces $700-900

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3067

3068

1899 Marked for Rookwood; Further marked: 606 B / SEC [Sarah Elizabeth Coyne] Designed by Sarah Elizabeth Coyne (active 1891-1939), the handled jug with a squat, flared body, tall neck, and flared ruffle rim in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with slip painted roses, Standard glaze line 9” H x 6.5” Dia.

1900 Marked for Rookwood; Furth Designed by Adeliza Drake S tear drop-shaped body and glaze over a dark brown and Standard glaze line 6.5” H x 4.25” W x 4” Dia.

A Rookwood pottery pitcher, Sarah Elizabeth Coyne

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A Rookwood pottery pit

$500-700

$300-500

Provenance: Private Collection, Southern California

Provenance: Private Collectio

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tcher, Adeliza Drake Sehon

her marked: 848 / A.D.S. [Adeliza Drake Sehon] Sehon (active 1896-1902), the handled jug with flared rim in yellow-tinted, translucent gloss d yellow ground with slip painted apple blossoms,

on, Southern California

3069

A Rookwood pottery pitcher

1897 Marked for Rookwood; Further marked: 673 / [“MR” cipher, possibly Marie Rauchfuss] The handled jug with a wide shouldered body and narrow neck in yellow-tinted, translucent gloss glaze over a brown and yellow ground with slip painted corn, Standard glaze line 7.75” H x 4.75” Dia. $400-600 Provenance: Private Collection, Southern California

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3070

A Rookwood pottery pitcher, Emma D. Foertmeyer

1890 Marked for Rookwood; Further marked: 496 C / W [white body] / L.Y. [light yellow glaze] / E.D.F. [Emma D. Foertmeyer] Designed by Emma D. Foertmeyer (active 1887-1895), the handled jug with a tear drop-shaped body and angular handle in yellow-tinted, translucent gloss glaze over a brown and yellow-orange ground with slip painted dog roses, Standard glaze line 10” H x 3.5” Dia. $400-600 Provenance: Private Collection, Southern California

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3071

A Rookwood pottery pitcher, Jeanette Carick Swing

1900 Marked for Rookwood; Further marked: 724 D / [cipher for Jeanette Carick Swing] Designed by Jeanette Carick Swing (active 1900-1904), the handled jug with a wide tapered body, narrow neck, and flared ruffle rim in yellow-tinted, translucent gloss glaze over a brown and green ground with slip painted blueberry branches, Standard glaze line 5.5” H x 4.5” W x 3.25” D $300-500 Provenance: Private Collection, Southern California

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3072

A Rookwood pottery bud vase, Adeliza Drake Sehon

1900 Marked for Rookwood; Further marked: 688 / A.D.S. [Adeliza Drake Sehon] Designed by Adeliza Drake Sehon (active 1896-1902), the squat bud vase with a wide tapered body and narrow flared neck in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with slip painted white dogwood blossoms, Standard glaze line 2.375” H x 4.75” Dia. $300-500 Provenance: Private Collection, Southern California

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3073

Two Rookwood pottery vases Two works:

A Rookwood pottery vase, Anna Marie Bookprinter Valentine 1899 Marked for Rookwood; Further marked: 718 / a.m.v. [Anna Marie Valentine] Designed by Anna Marie Bookprinter Valentine (active 1884-1905), the bulbous vase with a narrow neck and flared ruffle rim in yellow-tinted, translucent gloss glaze over a brown, yellow-orange, and green ground with slip painted blueberries, Standard glaze line 7.5” H x 6.25” Dia. A Rookwood pottery vase, Lenore Asbury 1903 Marked for Rookwood; Further marked: III / 940 D / L.A. [Lenore Asbury] Designed by Lenore Asbury (active 1894-1931), the urn-form vase with a tall cylindrical neck in yellow-tinted, translucent gloss glaze over a brown, yellow, and green ground with slip painted grapevines, Standard glaze line 9” H x 4.25” Dia. 2 pieces $400-600

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3074

30

Two works:

Thre

Two Rookwood pottery vases

Thre

A Rookwood Decorated Mat glaze pottery vase, Charles Stewart Todd 1912 Marked for Rookwood; Further marked: XII / 1660 C / C.S.T. [Charles Stewart Todd] Designed by Charles Stewart Todd (active 1910-1922), the tall tapered vase with a flared rim in matte red, green, black, and brown glaze with carved relief floral band, Decorated Mat glaze line 11” H x 5” Dia.

A Ro 1923 Mark Desi with 6.25

A Rookwood Ombroso glaze pottery vase 1919 Marked for Rookwood; Further marked: XIX / 909 C / [possibly “C.S.T.” for Charles Stewart Todd] The tall baluster-form vase with a flared rim in matte yellow, green, and rust glaze with an incised geometric band of circular elements, Ombroso glaze line 9.75” H x 5” Dia. 2 pieces

A Ro 1923 Mark Desi glos 6.25

$600-800

A Ro 1911 Mark Desi grou 7” H 3 pie

$400

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075

ee Rookwood pottery vases

ee works:

ookwood pottery vase, Edward Diers 3 ked for Rookwood; Further marked: XXIII / 363 / [cipher for Edward Diers] igned by Edward Diers (active 1896-1931), the urn-form vase with flared rim in translucent gloss glaze over a gradient blue to yellow ground h slip painted white dandelions 5” H x 4.5” Dia.

ookwood Ivory Jewel Porcelain glaze pottery vase, William Ernst Hentschel 3 ked for Rookwood; Further marked: XXIII / 265 / [cipher for William Ernst Hentschel] igned by William Ernst Hentschel (active 1907-1939), the large bowl-form vase with pinched neck and flared rim in a hazy, semi-translucent, ss glaze with dripping effect over an ivory and black ground with slip painted pink and blue floral motif, Ivory Jewel Porcelain glaze line 5” H x 8” Dia.

ookwood Iris glaze pottery vase, Frances “Carrie” Steinle 1 ked for Rookwood; Further marked: XI / 1858 E / W [Iris glaze line] / CS [Frances “Carrie” Steinle] igned by Frances Steinle (active 1886-1925), the tapered cylindrical vase in translucent gloss glaze over a gradient pink, ivory, and blue und with slip painted white and pink leaves, Iris glaze line H x 3.75” Dia. eces

0-600

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3076

3077

1903 Marked for Rookwood; Further marked: III / 924 / C.F.B. [Caroline F. Bonsall] Designed by Caroline F. Bonsall (active 1901-1905), the urn-form vase in yellow-tinted, translucent gloss glaze over a brown, green, and yellow ground with slip painted orange wildflowers, Standard glaze line 5.5” H x 3” Dia.

Three works:

A Rookwood pottery vase, Caroline F. Bonsall

$400-600 Provenance: Private Collection, Southern California

Three Rookwood commerc

A Rookwood pottery vase 1925 Marked for Rookwood; Further The urn-form footed vase with 6.375” H x 2.875” Dia.

A Rookwood pottery vase 1947 Marked for Rookwood; Further The squat, urn-form vase with p 5.25” H x 3.5” Dia.

A Rookwood pottery vase 1920 Marked for Rookwood; Further The vase with bulbous body, ta 7” H x 3” Dia. 3 pieces $300-500

Provenance: Private Collection,

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cial ware pottery vases

r marked: XXV / 2112 incised Art Deco motif rim in cerulean blue matte glaze

r marked: XLVII / 6510 / 38 [inscribed in glaze] pinched neck and flared rim in Egyptian/light turquoise gloss glaze with low-relief floral motif

r marked: XX / 2308 [slightly illegible] all cylindrical neck, and flared rim in light blue matte glaze

, Southern California

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3078

3079

Two works:

Circa 1920s; Corning, N Each two-light table lam high relief applied leaf metal base with egret s electrified, 2 pieces Each base: 24.5” H x 7”

Two Rookwood pottery vases A Rookwood Double Vellum glaze pottery vase, Kataro Shirayamadani 1932 Marked for Rookwood; Further marked: XXXII / S [demonstartion piece] / [signed in Japanese for Kataro Shirayamadani] Designed by Kataro Shirayamadani (active 1887-1911 & 1921-1948), the baluster-form vase in semi-translucent matte glaze over a gradient blue to pink ground with slip painted white crocuses, Double Vellum glaze line 6.75” H x 4.25” Dia. A Rookwood pottery vase/planter, Lenore Asbury 1931 Marked for Rookwood; Further marked: XXXI / 6036 / L.A. [Lenore Asbury] Designed by Lenore Asbury (active 1894-1931), the rectangular-form, footed vase with a flared body in cream matte glaze with mottled, slip painted floral motif 6.125” H x 6.375” W x 4.375” D 2 pieces $800-1,200

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A pair of Steuben Ro

$2,000-3,000

ose Quartz glass table lamps

NY mp with a rectangular, matte rose quartz glass base with and vine motif raised on a conformingly shaped silvered supports, accompanied by two associated ivory silk shades,

” W x 4” D; Each overall: 24.5” H x 17.25” W x 12.5” D

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3080

A Steuben-style art glass table lamp

Circa 1920s Unsigned Possibly blue “Moss Agate” by Steuben, in the form of shape no. 8023, the two-light table lamp with a baluster-form, marbled blue and green art glass base mounted on a gilt-bronze base, with an associated ivory silk shade, electrified Overall: 31.5” H x 14.5” Dia.; Base: 31.5” H x 6” Dia. $1,000-1,500

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3081

A Steuben-style art glass table lamp

Circa 1920s-1930s Unsigned Possibly by Steuben, the two-light table lamp with a hexagonal, column-shaped cased and acid-etched cameo glass base cut from black to mottled blue, purple, and pink with tree and bird motifs on a footed metal base with silvered metal fittings, with an associated ivory silk shade, electrified Overall: 30.75” H x 16.25” W x 16.25” D; Base: 30.75” H x 8.75” Dia. $800-1,200

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3082

A Steuben art glass table lamp base

Circa 1930; Corning, New York With serrated Steuben paper label to underside of glass The two-light table lamp with a bulbous, dark pink art glass body with stepped collar and acid-etched scroll band, raised on a red marble and brass base, electrified 29” H x 7.5” Dia. $700-900

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3083

A Steuben “Marlene” art glass table lamp

Circa 1920s With acid-etched Steuben mark in low relief The four-light table lamp with a spherical, acid-etched white Cluthra glass body with “Marlene” floral motif on a footed gilt-wood and bronze base, with an associated ivory silk shade, electrified Overall: 35” H x 16” Dia.; Base: 35” H x 9.5” Dia. $500-700

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3084

A pair of Steuben art glass torchËres

Circa 1920s; Corning, NY Each shade with acid-etched Steuben mark in relief Each torchere with a flared Steuben acid-etched cameo glass shade cut from Rosaline pink to mottled white with floral motif, possibly the “Cliffwood” design, on a single-light bronze base with acanthus leaf details raised on a square onyx foot, electrified, 2 pieces Each overall: 68.5” H x 14” Dia.; Each shade: 8.5” H x 14” Dia. $1,500-2,000

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3085

Jack Cassinetto

(1944-2018, Sonora, CA) “Eucalyptus Row,” 2017 Oil on Masonite Signed lower left: J. Cassinetto; signed again, titled, and dated verso 11” H x 14” W $700-900 Provenance: The Collection of Dr. Denis Bettencourt, Item No: JC2 Notes: Presented in an artist’s hand carved frame from 2013.

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3086

Jean Mannheim

(1863-1945, Pasadena, CA) “Near Pasadena” Oil on Masonite Signed lower left: J. Mannheim; titled on a gallery label affixed verso 12” H x 16” W $2,000-3,000

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3087

Frank Coburn

(1862-1938, Santa Ana, CA) “Santiago Canyon (Oaks, Cattle),” circa1925-30 Oil on canvas board Signed lower right: Frank Coburn; titled and dated on a gallery label affixed verso 15” H x 19.75” W $2,000-3,000 Provenance: Orr’s Gallery, San Diego, CA

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3088

Will Sparks

(1862-1937, San Francisco, CA) “California Landscape - San Francisco” Oil on canvas Signed lower left: Will Sparks; titled on the stretcher, inscribed in another hand on the stretcher 9” H x 16” W $1,500-2,000

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3089

John Marshall Gamble

(1863-1957, Santa Barbara, CA) “Summer Wild Flowers, Ojai Valley (Wild Buckwheat & Turkish Rugging)” Oil on canvas Signed lower left: John M. Gamble; signed again, titled and inscribed verso: Santa Barbara Cal 24” H x 36” W $10,000-15,000 Exhibitions: Santa Barbara, CA, Santa Barbara Museum of Art, 1929.

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3090

Dana Bartlett

(1882-1957, Los Angeles, CA) “California Landscape” Oil on canvas Signed lower right: Dana Bartlett; signed again and titled on the stretcher 18” H x 24” W $2,000-4,000

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3091

Joseph Frey

(1892-1977, Hawthorne, CA) “High Sierras” Oil on canvas laid to canvas Signed lower left: Joseph Frey; titled on the frame plaque 39.5” H x 61” W $1,500-2,000

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3092

Douglass Thomas Fraser

(1883-1955, Vallejo, CA) “The Prune Tree” Oil on canvas Signed lower right: Douglass Fraser; signed again, titled and inscribed on a label affixed to the backing board: Near Mount St. Helena, Calif.

18” H x 22” W $1,000-1,500 Exhibitions: Bohemian Club, San Francisco, CA, n.d.

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3093

Joane Cromwell

(1895-1969, Santa Ana, CA) “Portal to the Mountain” Oil on canvas Signed lower right: Joane Cromwell; signed again and titled verso 24” H x 30.25” W $1,000-2,000

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3094

William Dorsey

(1942-2019, Ojai, CA) Eucalyptus landscape Oil on canvas Signed lower right: Wm. Dorsey 24” H x 30” W $1,500-2,000

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3095

Dana Bartlett

(1882-1957, Los Angeles, CA) Eucalyptus trees in a landscape Oil on canvas Unsigned, inscribed in another hand on the stretcher 16” H x 20” W $800-1,200

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3096

Manuel Valencia

(1856-1935, Sacramento, CA) “In the Shadow of Mt. Tamalpais” Oil on canvas laid to canvas Signed lower left: M. Valencia; titled on a gallery label affixed verso 12” H x 18” W $1,000-1,500 Provenance: DeVillar Gallery, Los Gatos, CA Nairn Farhat, Santa Cruz, CA Del Monte Fine Art, Carmel, CA Private Collection, Southern California

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3097

George Marks

(1857-1933, British) “Haystacks” Watercolor and gouache on paper under glass Signed lower left: George Marks; titled on a gallery receipt affixed to the backing paper Sight: 7.75” H x 10.5” W $700-900 Provenance: Sale: Sotheby’s London, April 17, 1989 Sale: Sotheby’s New York, October 29, 2002, Lot 139 Galerie Michael, Beverly Hills, CA The Collection of Dr. Denis Bettencourt Notes: An original sales receipt from Galerie Michael accompanies this lot.

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3098

William Alexander Grifith

(1866-1940, Laguna Beach, CA) “Montecito,” 1922 Oil on board Signed lower right: Griffith; signed again, titled and dated verso 13” H x 10” W $700-900

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3099

Henry Dietrich Gremke

(1860-1939, Oakland, CA) “Eucalyptus and Wildflowers,” circa 1920 Watercolor and gouache on paper under glass Signed lower left: H.D. Gremke; titled and dated on a gallery label affixed verso Sight: 10.5” H x 8.5” W $300-500 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

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3100

Percy Eckhart

(1877-1969, Lake Placid, NY) California landscape, circa 1952 Oil on canvas board Signed lower right: Eckhart; inscribed at length verso 8” H x 10” W $300-500 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA Notes: The artist’s inscription on a label affixed verso reads: Dear Jean, This little picture has been especially commissioned to tell you of my very great admiration and my affection for you. Percy / April 1952

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3101

Jack Laycox

(1921-1984, San Francisco, CA) “Shirtail Canyon” Oil on canvas laid to Masonite Signed lower right: Jack Laycox; signed again and titled verso 14” H x 11” W $400-600 Provenance: Private Collection, Southern California

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3102

Attributed to Mabel Wheelock (1887-1950, Wilmette, IL) Two works Trees in a river landscape Oil on canvas board Unsigned 9” H x 12.5” W Horse-drawn cart along a path Oil on canvas board Unsigned 11” H x 14” W $400-600 Provenance: Kamp Gallery, Winnetka, IL The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA w w w. j o h n m o r a n . c o m 1 1 5

3103

310

(1857-1933, British) “An August Eve in a Hayfield” Watercolor and gouache on paper under Plexiglas Signed lower left: George Marks; titled on a gallery reciept affixed to the backing board Sight: 6.25” H x 10.25” W

(1919San Ja Oil on Signed 25” H

George Marks

$700-900 Provenance: Sale: Sotheby’s London, April 17, 1989 Sale: Sotheby’s New York, October 29, 2002, Lot 139 Galerie Michael, Beverly Hills, CA The Collection of Dr. Denis Bettencourt Notes: A certificate of authenticity and original sales receipt from Galerie Michael accompany this lot.

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Rober

$2,000

04

rt Wood

-1980, Canadian) acinto Mountains, 1944 n canvas d and dated lower left: Robert Wood x 30.25” W

0-3,000

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3105

A Tiffany Studios “Acorn” table lamp

Circa 1902-1919; New York, NY Base spuriously signed: Tiffany Studios / New York / 28622 The pink and green leaded glass “Acorn” shade on a three-light patinated bronze Tiffany-style reproduction mushroom base with flared column raised on five ball feet, electrified Overall: 21.5” H x 16” Dia. $4,000-6,000 Provenance: The Alan Schneider Collection

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3106

A Pairpoint reverse-painted glass “Berkeley” table lamp

Circa 1907-1929; New Bedford, Massachusetts Base signed: Pairpoint / [“P” diamond monogram] / D 3016 / Made in U.S.A.; Shade appears unsigned The chipped ice finished glass “Berkeley” shade with reverse-painted polychrome flowers and C-scroll band on a three-light, urn-form brass base with scrolled handles and square foot, electrified Overall: 26” H x 20” Dia.; Shade: 8” H x 20” Dia. $800-1,200

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3107

A Tiffany Studios counter-balance floor lamp base

Circa 1902-1919; New York, NY Singed: Tiffany Studios / New York / 468 The single-light patinated bronze counter-balance base with plain narrow stem, weighted ball in a foliate cradle, and adjustable head raised on five curved legs with spade feet, electrified 56” H x 16” Dia. $1,200-1,800 Provenance: The Alan Schneider Collection

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3108

A Chinoiserie-style porcelain table lamp

20th Century The two-light table lamp with a gourd-form, white glazed porcelain body with low relief scrolled floral and dragon motif mounted with gilt-bronze raised on an openwork circular foot, electrified 23” H x 6.25” W x 4.75” Dia. $200-300

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3109

An art pottery table lamp

Mid-20th Century Base inscribed: 9 The four-light table lamp with a bulbous, urn-form pottery base with a semi-gloss mottled purple glaze, with an associated ivory silk shade, electrified Overall: 28” H x 16” Dia.; Base: 28” H x 11” Dia. $300-500

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3110

A Rookwood art pottery table lamp

1951 Marked for Rookwood; Further marked: LI / 2930 The table lamp with a with a bulbous, baluster-form body in high gloss oxblood glaze raised on an openwork metal base, with an associated red silk shade, electrified $300-500

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3111

An art pottery table lamp

20th Century Possibly Rookwood “Standard” or Weller “Louwesla,” the two-light table lamp with a baluster-form pottery base with a yellow-tinted, high-gloss glaze and slip painted berry motif with geometric borders, with an associated beige linen shade, electrified Overall: 34.5” H x 20.5” Dia.; Base: 34.5” H x 7” Dia. $300-500

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3112

A double gooseneck art glass table lamp

Circa 1925 Base marked for BS & Co., New York The 22k gold-plated metal base with onyx foot issuing double goosneck arms terminating in floriform sockets with gold iridescent art glass shades with green pulled feather motif, possibly by Steuben Overall: 19” H x 18” W x 5” D; Each shade: 5.75” H x 5” Dia. approximately $400-600

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3113

A Tiffany-style leaded glass table lamp

20th Century Shade signed: Art Glass Studio The polychrome leaded glass shade with magnolia motif on a three-light, bulbous patinated bronze base with molded foliate motif and blue and green mosaic, electrified Overall: 14” H x 16.5” Dia.; Shade: 7” H x 16.5” Dia. $500-700

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3114

A Tiffany-style leaded glass table lamp

20th Century Shade signed: Art Glass Studio The polychrome leaded glass shade in hues of red, yellow, and orange with a green meander band on a three-light patinated bronze mushroom-style base with a tapered column and flared base raised on three ball feet, electrified Overall: 21” H x 20” Dia.; Shade: 8” H x 20” Dia. $500-700

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3115

A Tiffany-style leaded glass table lamp

20th Century Shade signed: Art Glass Studio The polychrome leaded glass shade with magnolia motif in hues of blue, green, and purple on a three-light patinated bronze base with an openwork woven net motif containing a white blown glass body with interior light, raised on crab-form feet, electrified Overall: 23” H x 18.5” Dia.; Shade: 7.75” H x 18.5” Dia. $500-700

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3116

A Tiffany-style leaded glass table lamp

20th Century Shade signed: Art Glass Studio The polychrome leaded glass shade with poppy motif in hues of pink, green, and blue with pierced bronze overlay on a three-light patinated bronze base with a reeded column and conformingly designed, floriform mosaic foot, electrified Overall: 24” H x 20” Dia.; Shade: 8” H x 20” Dia. $500-700

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3117

A Tiffany-style leaded glass floor lamp

Second-Half 20th Century The polychrome leaded glass shade with red poppy motif in hues of blue, green, and red on a six-light patinated bronze base with reeded column raised on a circular foot with onion motif, electrified Overall: 79.5” H x 26” Dia.; Shade: 15” H x 26” Dia. $2,000-3,000

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3118

A Bradley & Hubbard table lamp with a leaded glass shade

20th Century Interior of base plate marked: B&H The pink and green floral motif leaded glass shade, possibly by Handel, on a threelight patinated spelter base with impressed roundels containing interlace triquetras raised on four flared feet, electrified Overall: 26” H x 18.25” Dia.; Shade: 8” H x 18.25” Dia. $2,000-3,000

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3119

Nell Walker Warner

(1891-1970, Carmel, CA) Floral still life Oil on canvas Signed lower right: Nell Walker Warner 24” H x 20” W $1,000-1,500 Provenance: Private Collection, Southern California

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3120

Nell Walker Warner

(1891-1970, Carmel, CA) “Flowers in Bloom” Oil on board Signed lower left: Nell Walker Warner; titled on a gallery label affixed verso 10” H x 8” W $300-500 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California Notes: There is an unfinished painting of trees verso.

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3121

Nell Walker Warner

(1891-1970, Carmel, CA) Floral still life Oil on board Signed lower right: Nell Walker Warner 8” H x 10” W $400-600 Provenance: Private Collection, Southern California Notes: There is an unsigned painting by the artist of an outdoor structure verso.

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3122

Mary DeNeale Morgan

(1868-1948, Carmel, CA) Still life Tempera on paper under Plexiglas Signed lower right: M. DeNeale Morgan Sight: 12.5” H x 9.75” W $700-900 Provenance: Trotter Galleries, Carmel, CA Private Collection, Southern California

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3123

3124

(1840-1907, Pasadena, CA) Pepper Tree Oil on canvas Signed and inscribed lower center: Ellen B. Farr, Pasadena, Cal. 16” H x 10” W

(b. 1951, Santa Fe, NM) Still life with California poppi Oil on canvas Signed lower right: Ennis 14” H x 18” W

Ellen B. Farr

$800-1,200

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Cary Ennis

$700-900

ies in a blue glass vase

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3125

William Dorsey

(1942-2019, Palm Desert, CA) Ojai Post Office Tower (Day) Oil on canvas board Signed lower right: Wm. Dorsey 60” H x 36.25” W $2,000-3,000

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3126

William Dorsey

(1942-2019, Palm Desert, CA) Ojai Post Office Tower (Night) Oil on canvas Signed lower right: Wm. Dorsey 32.5” H x 20.5” W $2,000-3,000

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3127

Ben Abril

(1923-1995, Los Angeles, CA) “Lingering Memories” Oil on canvas Signed lower right: Ben Abril; titled on the stretcher bar 24” H x 30” W $2,000-3,000

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3128

Ben Abril

(1923-1995, Los Angeles, CA) “Sea Mystery” Watercolor on Arches wove paper under glass Signed lower right: Ben Abril; titled on the backboard of the frame Image/Sheet: 22.5” H x 30.25” W $1,500-2,000

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3129

Channing Peake

(1910-1989, Santa Barbara, CA) “Harbor of La Paz,” 1962 Gouache on wove paper under glass Signed and dated lower right: Peake; titled on a gallery label affixed to the backboard Sheet/Image: 19.75” H x 25.625” W $2,000-3,000 Provenance: Gifted by the artist to a private collector Felix Landau Gallery, Los Angeles, CA Notes: According to a handwritten letter from the artist, now affixed to the backboard of the frame, this gouache was gifted to a private collector named “Barbara” on May 5, 1970.

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3130

3131

(1852-1941, San Francisco, CA) “Clouds Rest,” 1918 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / Sept. 9, 1918 / 2557; signed, dated and numbered again, and titled and inscribed verso 18” H x 12” W

(1852-1941, San Francisco, CA) “Sunset Glow,” 1916 Oil on canvas Signed, dated and numbered lower left: J.E dated and numbered again, and titled and the Woods in Southern Oregon 18” H x 30” W

James Everett Stuart

$1,000-1,500 Notes: The verso inscription reads: Original Sketch, Clouds Rest. Half Dome and Washington Column, Looking up the Merced River from near Camp Curry.

Yosemite National Park, California.

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James Everett Stuart

$2,000-3,000

E. Stuart / June 27, 1916 / 2204; signed, inscribed, verso: Union Peak and Lake of

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3132

James Everett Stuart

(1852-1941, San Francisco, CA) “Sunset Glow,” 1910 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / May 5, 1910 / 1559; signed, dated and numbered again, and titled and inscribed, verso: Mt. Hood from near Portland, Oregon 18” H x 30” W $2,000-3,000

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3133

James Everett Stuart

(1852-1941, San Francisco, CA) “Sunset Glow,” 1916 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / July 19, 1916 / 2224; signed, dated and numbered again, and titled and inscribed, verso: Mt. Hood from the Sandy River Canon, Oregon 18” H x 30” W $2,000-3,000

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3134

James Everett Stuart

(1852-1941, San Francisco, CA) “Golden Gate Park, San Francisco, Cal.,” 1925 Oil on board Signed, dated and numbered lower left: J.E. Stuart / Aug. 19, 1925 / 3345; signed, dated and numbered again and titled verso 15” H x 20” W $1,000-1,500

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3135

James Everett Stuart

(1852-1941, San Francisco, CA) “Near Livemore, California,” 1918 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / Dec. 4, 1918 / 2587; signed, dated and numbered again and titled, verso 20” H x 24” W $1,500-2,000

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3136

James Everett Stuart

(1852-1941, San Francisco, CA) “Poem in Green” Oil on canvas Signed, dated and numbered in the lower left corner: J. E. Stuart / Nov. 17. 1925 / 3326; signed and numbered again, and titled and inscribed, all verso 18” H x 30.25” W $1,500-2,000 Notes: The inscription verso reads: [illegible] of Lakes, Golden Gate Park, S. F. Cal.

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3137

James Everett Stuart

(1852-1941, San Francisco, CA) “Creek at the Base of the Olympics, Washington” Oil on canvas Signature and date incised lower left: J.E. Stuart / April 29, 1891; signed and dated again and titled verso 14” H x 22” W $1,000-1,500

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3138

James Everett Stuart

(1852-1941, San Francisco, CA) “Ranch House of Mrs. James J. Hughes, Sur Ranch, Monterey Co., California,” 1920 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / Sept. 29, 1920 / 2705; signed, dated and numbered again and titled verso 20” H x 24” W $1,500-2,000

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3139

Clyde Frederick Kelley

(1886-1965, Castro Valley, CA) “Shipyard,” circa 1930 Mixed media on paper laid to board laid to panel Signed lower left: C.F. Kelley; titled on a gallery label affixed verso 12” H x 16” W $2,000-4,000 Provenance: Papillon Gallery, Los Angeles, CA

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3140

Robert Farrington Elwell

(1874-1962, Phoenix, AZ) Three works: Bronco buster; Bronco rear quarter view; Bronco in a landscape Each: Ink on paper Each: Signed (the first two lower right; the third lower left): R. Farrington Elwell; the second signed again in pencil verso Sheet of the largest: 23” H x 17” W; Sheet of the smallest: 12” H x 10” W $300-500

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3141

A contemporary French oak coffee table, by Art et Meubles de France Late 20th/Early 21st Century With burn mark: Art et Meubles de France / Richelieu / Made in France The “Richelieu” Directoire-style oak coffee table with a rectangular top raised on four carved legs joined by a box stretcher, with an aged finish 16.25” H x 50” W x 39.75” D $500-700

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3142

Four Monterey A-frame wood chairs

Second-Quarter 20th Century Each with burned Monterey mark to underside Each wood chair with an A-frame back and painted central splat with polychrome floral motifs over a shaped seat raised on four turned and carved legs, 4 pieces Each: 36” H x 18.25” W x 20” D $500-700

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3143

Two Pacific pottery oil jars

Circa 1930s-1940s Each marked in-mold: Pacific / Made in USA / 1113 Each large ceramic oil jar, or jardiniere, with a wide shouldered body and lipped rim, one glazed in yellow and one in turquoise, 2 pieces Each: 11” H x 17” Dia. $600-900

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3144

Jack Youngerman

(1926-2020, American) “Mama Bronze Wave,” 1990 Patinated bronze Signed and dated: JY / 1990 12.25” H x 13” W x 3” D $5,000-7,000 Provenance: Washburn Gallery, New York, NY The Blake Byrne Collection

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3146

A Dryad cane chaise lounge

First-Quarter 20th Century The woven wicker and cane chaise lounge with curved seat and straight arm rest, with various woven designs 34” H x 68” W x 22” D $800-1,200

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3145

Sergio Bustamante

(b. 1949, Mexican) Hanging parrot Papier mache, paint, and brass Signed in black ink: Sergio Bustamante / A.P. 45” H x 16” W x 12” D $300-500

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3147

A contemporary ranch-style leather sofa

Circa 1990s The three-seat leather sofa with rolled arms and brass nail head trim, leather with a buffed nubuck-style finish 34” H x 93” W x 39” D $1,000-1,500 Provenance: Private Collection, Southern California

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3148

A contemporary Drexel Heritage leather club chair with ottoman

1995 With maker’s label to underside; dated: 4/21/95 The armchair in camel leather upholstery with rolled arms, nail head trim, and loose cushions raised on bun feet, accompanied by a conformingly designed ottoman, 2 pieces Chair: 38” H x 36” W x 34” D; Ottoman: 16” H x 29” W x 22” D $600-800 Provenance: Private Collection, Southern California

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3149

A wrought iron garden bench

Fourth-Quarter 19th Century Likely French, with a three-segment scrolled back flanked by two scrolled arms over a rectangular seat raised on six straight legs 42.5” H x 72” W x 16” D $800-1,200

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3150

Sam Hyde Harris

(1889-1977, Alhambra, CA) “Timeworn” Oil on canvas board Signed lower left: Sam Hyde Harris; signed again, titled and numbered verso: #A 397 16” H x 20” W $2,000-3,000

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3151

Sam Hyde Harris

(1889-1977, Los Angeles, CA) Desert landscape Oil on canvas board laid to foam board Signed lower right: Sam Hyde Harris 15.75” H x 19.5” W $1,500-2,000

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3152

Paul Grimm

(1891-1974, Palm Springs, CA) “Desert Guard” Oil on canvas Signed lower right: Paul Grimm; signed again and titled verso 24” H x 30” W $2,000-3,000

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3153

Paul Grimm

(1891-1974, Palm Springs, CA) “Mount San Jacinto & Smoke Trees,” 1972 Oil on canvas board Signed lower left: Paul Grimm; signed again, titled and dated verso 20” H x 24” W $1,500-2,000

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3154

Paul Lauritz

(1889-1975, Glendale, CA) “Santa Paula Valley” Oil on board Signed lower left: Paul Lauritz; titled on a label affixed to the backing board 13.5” H x 15.25” W $2,000-3,000

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3155

Paul Lauritz

(1889-1975, Glendale, CA) “Palm Springs (Desert Clouds)” Oil on canvas board Signed lower left: Paul Lauritz; titled on an exhibition label affixed verso 18” H x 20” W $1,000-1,500 Exhibitions: Vincent Price Gallery, Monterey Park, CA, “The Art Collectors,” Susan & Richard Moll Collection, April 22-June 8, 2001.

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3156

Ludwick Kuszewski

(1886-1960, Polish/American) “Morning in California Desert,” 1941 Oil on canvas Signed and dated lower left: L. Kuszewski; titled on a label affixed verso 24” H x 30” W $800-1,200 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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3157

Ludmilla P. Welch

(1867-1925, Santa Barbara, CA) Two works Desert mountain landscape Oil on board Signed lower left: L.P. Welch 5” H x 8” W Seated figures in a farm landscape Oil on board Signed lower left: L.P. Welch 5” H x 8” W $1,000-1,500 w w w. j o h n m o r a n . c o m 1 7 7

3158

Alfred R. Mitchell

(1888-1972, San Diego, CA) “Torrey Pines” Oil on board Signed lower left: Alfred R. Mitchell; titled and inscribed verso: “The salt marsh and North hill, with the road going up” 16” H x 20” W $6,000-8,000

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3159

Orpha Mae Klinker

(1891-1964, Hollywood Hills, CA) Village scene on a river Oil on canvas Signed lower right: Orpha Klinker 20” H x 24” W $800-1,200

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3160

Frank Harmon Myers

(1899-1956, Pacific Grove, CA) “A Quiet Sea” Oil on canvas board Signed lower left: F. H. Myers; signed again and titled verso 13” H x 16” W $400-600 Provenance: Cincinnati Art Galleries, Cincinnati, OH Private Collection, Southern California Exhibitions: Cincinnati Art Galleries, “Panorama of Cincinnati Art XXI,” November 30, 2006

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3161

Frank Harmon Myers

(1899-1956, Pacific Grove, CA) Rocky coastal Oil on canvas board Signed lower left: F. H. Myers 6” H x 8” W $500-700 Provenance: Private Collection, Southern California

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3162

Charles Rollo Peters

(1862-1928, Monterey, CA) “Moribahn,” 1894 Oil on panel Signed, titled and dated lower left: Charles Rollo Peters 10” H x 13.75” W $2,000-3,000 Provenance: Maxwell Galleries, San Francisco, CA Notes: This artwork is titled “Landscape (Hacienda at Night)” on a gallery label affixed verso.

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3163

James Everett Stuart

(1852-1941, San Francisco, CA) “Showers, near Point Reyes Light, Cal.,” 1922 Oil on canvas Signed, dated and numbered lower left: J.E. Stuart / June 5, 1922 / 2911; signed, dated and numbered again and titled verso 20” H x 24” W $1,500-2,000

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3164

Alexander Dzigurski

(1911-1995, Los Angeles, CA) Rocky coastal Oil on canvas Signed lower right: A. Dzigurski 24” H x 36” W $700-900 Provenance: Private Collection, Southern California

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3165

Beau Bernier Frank

(b. 1993, French/American) “Sierra Mar,” 2018 Oil on wood Signed, titled, dated and inscribed verso: Beau B. Frank / 09.28.18 Diameter: 24” $300-500 Notes: Additionally inscribed, verso: Post Ranch Inn / Big Sur, CA / Between mountains and seas I found a place to rest my head / 24 in. oil on wood panel / Gamvar Temporary Varnish 9/24/18

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3166

Dorothy Sklar

(1906-1996, Los Angeles, CA) Two works: “Green Trees,” 1945; Trees with distant tower, 1951 Each: Watercolor on paper under glass Each: Signed, dated and with the artist’s copyright lower right: Dorothy Sklar; the first titled on the backing paper in another hand Each Sight: 13” H x 19.5” W and 17” H x 22.75” W, respectively $400-600 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

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3167

Abraham John Schram

(1891-1951, Washington D.C.) Snowy landscape Oil on canvas Signed lower right: A. J. Schram 16” H x 20” W $300-500 Provenance: Private Collection, Southern California

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3168

Curt Walters

(b. 1950, Sedona, AZ) “Superstition Ignored” Oil on panel Signed lower right: Curt Walters; titled on the frame plaque and again on gallery labels affixed verso 12” H x 12” W $1,000-1,500 Provenance: Nedra Matteucci Galleries, Santa Fe, NM

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3169

An Art Deco-style figural pedestal

lamp Second-Quarter 20th Century The painted concrete lamp with a standing woman in tr surrounded by stylized geometric and architectural mo light sockets, raised on a conformingly designed colum 74.25” H x 13” W x 12” D $2,000-3,000

1 9 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

raditional costume otifs, issuing two brass mnar base, electrified

3170

Romain (Erté) De Tirtoff

(1892-1990, Russian) “Emerald Vase,” 1988 Cold-painted and gilt bronze with metal bead chains on marble base Signed: Erte; further marked: [copyright symbol] / 1988 / Chalk & Vermilion / and / Seven Arts / 322-375 / M 23.75” H x 5.25” W x 5.25” D $2,000-3,000

w w w. j o h n m o r a n . c o m 1 9 1

3171

Romain (Erté) De Tirtoff

(1892-1990, Russian) “Love Goddess,” 1988 Cold-painted and gilt bronze with metal bead chain Signed: Erte; further marked: [copyright symbol] / 1988 / Chalk & Vermilion / and Seven Arts / 359-375 / M 19.5” H x 7.5” W x 5” D $2,000-3,000

1 9 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3172

Romain (Erté) De Tirtoff

(1892-1990, Russian) “Bacchante,” 1987 Serigraph on paper under Plexiglas Edition CCX/CCL; signed lower right: Erte Sight: 32.5” H x 21” W $400-600

w w w. j o h n m o r a n . c o m 1 9 3

3174

Victor Pasmore

(1908-1998, British) Untitled from “Metamorphosis (Linear Motifs),” 1976 Etching and aquatint printed in brown and black on wove paper; White Ink Studio, London, prntr.; Marlborough Graphics, London, pub.

Edition 5/55; initialed and dated in pencil in the lower margin at right: VP; the printer’s blindstamp in the lower right margin corner Plate: 15.75” H x 15.75” W; Sheet: 27.75” H x 24” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

3173 No Lot

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w w w. j o h n m o r a n . c o m 1 9 5

1 9 6 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3175

Victor Pasmore

(1908-1998, British) “Points of Contact No. 23,” 1974 Color screenprint on paper under Plexiglas Edition 18/70; initialled and dated in pencil lower right: VP Image/Sheet: 39” H x 26” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

w w w. j o h n m o r a n . c o m 1 9 7

3176

3177

(1908-1998, British) “Linear Development 4” from “Points of Contact - Linear Developments Portfolio,” 1970-71 Screenprint in colors on wove paper Edition 8/60; initialed and dated in ink in the lower margin at right: VP Image: 16.625” H x 16.375” W; Sheet: 18.5” H x 18.75” W

(1908-1998, British) “Points of Contact No. 35,” 1981 Color screenprint on wove paper Edition 42/100; initialed and dated in t blindstamp in the lower right margin Image: 26.25” H x 19.25” W; Sheet:

Victor Pasmore

Victor Pasmore

$600-800

$600-800

Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

Provenance: The Estate of Jane Reism

1 9 8 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

the lower margin at right: VP; an unidentified n corner 34.5” H x 25.25” W

man and Neil Peter Jampolis, Los Angeles, CA

3178

William Scott

(1913-1989, British) “Spatial Displacement, Series (a),” 1964 Black chalk and pastel on paper under glass Signed and numbered verso: Von William Skott / 8 14.25” H x 13.25” W $2,000-4,000 Provenance: Bernard Jacobson Gallery, London, England The Blake Byrne Collection

w w w. j o h n m o r a n . c o m 1 9 9

3179

James Rosenquist

(1933-2017, American) “Diver’s Line,” 1979 Color etching and aquatint on paper; Multiples, Inc., New York, pub.

Edition 37/78; signed, titled, dated and numbered in pencil in the lower margin: James Rosenquist Plate: 17.75” 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

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3180

Victor Pasmore

(1908-1998, British) “Turning and Turning in the Widening Gyre,” 1974 Etching in brown on wove paper; White Ink Studio, London, prntr; Marlborough Graphics, pub.

Edition 45/60; initialed and dated in pencil in the lower margin at right: VP; the printer’s blindstamp in the lower right margin corner Plate: 15” H x 18” W; Sheet: 23.75” H x 27.75” W $600-800 Provenance: The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

w w w. j o h n m o r a n . c o m 2 0 1

3181

3182

(1880-1960, Santa Barbara, CA) “Cannas - Hinkle Garden” Watercolor and gouache on paper under Plexiglas Signed lower right: Hinkle; signed again, titled and numbered on backing board remnants affixed to the backing paper: B1-48-9 Sight: 25.5” H x 18.5” W

(1933-2017, Ame “Spring Cheer,” 1 Color etching and Edition 72/78; sig Plate: 17.625” H

Clarence Hinkle

$400-600 Provenance: Goldfield Galleries, Los Angeles, CA Notes: Cannas, or Canna Lilies, are among the most colorful summer bulbsóas flamboyant as their tropical American ancestryówith ruffled spikes tapering to refined buds.

2 0 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

James Rosenqu

$500-700 Provenance: The

uist

erican) 1978 d aquatint on paper; Multiples Inc., New York, pub. gned, titled, dated and numbered in pencil in the lower margin: James Rosenquist x 36” W; Sheet: 22.75” H x 39.75” W

Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

w w w. j o h n m o r a n . c o m 2 0 3

3183

3184

(1887-1950, Wilmette, IL) “Long Beach Fishboats,” 1928 Gouache and watercolor on paper under glass Signed lower left: Mabel Wheelock; titled and dated on a gallery label affixed verso Sight: 9.5” H x 12.5” W

(20th Century Abstract com Oil on canvas Signed lower 40” H x 44.75

Mabel Wheelock

$400-600 Provenance: Kamp Gallery, Winnetka, IL The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

2 0 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

Liga Pang

$1,000-2,000

y, Japanese) mposition with greens and blues s r right: L. Chen 5” W

0

w w w. j o h n m o r a n . c o m 2 0 5

3185

Steve Heino

(20th/21st Century, Seattle, WA) “’Axis Swing Tangent’ (Study),” 1983 Mixed media on Gatorfoam board under Plexiglas Signed twice, titled, dated and with the artist’s copyright verso 40.5” H x 41.5” W $1,000-2,000 Provenance: Jan Baum Gallery, Los Angeles, CA

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3186 Dirk Bell

(b. 1969, German) “Untitled,” 2002 Mixed media on paper under Plexiglas Appears unsigned, titled and dated on gallery label affixed to the frame’s backing paper Sight: 16” H x 11” W $400-600 Provenance: Gavin Brown’s Enterprise, New York The Blake Byrne Collection, acquired from the above

w w w. j o h n m o r a n . c o m 2 0 7

2 0 8 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3187

A Dunbar modern two-toned wood credenza

Mid-20th Century With metal factory tag: Dunbar / Berne, Indiana The two-toned wood credenza with a raised rectangular top over three variously sized, asymmetrically arranged drawers with brass hardware, one cabinet, and a compartment with a sliding tambour panel, raised on six straight legs 36” H x 73” W x 23.25” D $2,000-4,000

w w w. j o h n m o r a n . c o m 2 0 9

3188

A set of Michael Taylor “White” armchairs

Late 20th/Early 21st Century; San Francisco, CA Each with metal factory tag Each carved mahogany armchair in walnut finish with ebonzied channel details, with straight top rail and backsplat flanked by straight arms with curved supports over a caned seat with original cut velvet upholstered drop-in cushion raised on four saber legs, 4 pieces Each: 34.25” H x 22.75” W x 22” D $2,000-3,000

2 1 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3189

A Dunbar modern harvest dining table with chairs

Mid-20th Century Each with metal factory tag: Dunbar / Berne, Indiana The mahogany, harvest-style dining table with a circular top, hinged drop leaves, and pivoting, swing-out leg supports, accompanied by four side chairs and two armchairs with cane backs and purple fabric upholstered cushions, 7 pieces Table with leaves down: 29.25” H x 72” W x 18” D $2,000-3,000

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

3190

3191

Circa 1960s-1970s With factory paper label [partial] The Norwegian mid-century modern chair with a molded plywood seat with armrests and a black faux-leather loose fit seat cushion raised on four tubular chrome legs 31.25” H x 29.75” W x 18” D

Circa 1940s Possibly designed by Warren pair of seats constructed from upholstered back, seat, and p pieces Each: 41.5” H x 46” W x 24”

A Westnofa molded wood and chrome armchair

$400-600

2 1 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

A pair of modern airplane

$1,000-2,000

e seats

McAurthur (1885ñ1961, American), each a joined m a tubular aluminum frame with light yellow fabric padded arms, likely from a DC-3 or C-47 aircraft, 2 D approximately

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

3192

A Christian Krass lounge chair and ottoman

First-Quarter 20th Century; Paris, France The French Art Deco lounge chair with a cream leather upholstered back and seat on a wood frame flanked by upward curving arms with a box seat rail raised on low-sitting legs, with conformingly designed ottoman, 2 pieces Chair: 33.75” H x 26.5” W x 27” D; Ottoman: 17” H x 21” W x 16” D $2,000-3,000 Provenance: Karl Kemp and Associates Antiques, NYC, NY

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3193

A Cartier crystal ice bucket

Mid-20th Century Signed: Cartier The blue-tinted crystal bucket with square-form body with rounded corners and a gilt-metal bail handle 9.25” H x 5.625” W x 5.625” D $400-600

w w w. j o h n m o r a n . c o m 2 1 5

3194

A Jaeger-LeCoultre Atmos clock

Circa 1994 Dial signed: Swiss Made; Movement signed: Atmos / Jaeger-LeCoultre / Thirteen (13) Jewels / Swiss / 540; The mantel clock with a white enameled dial with black Roman numeral hour markers and outer minute track set in a glazed gilt-brass case, serial number 678440 9” H x 7.5” W x 6” D $1,200-1,800 Provenance: Sold: Sign of the Times, Carmel, CA, August 9, 1994 Private Collection, Southern California Notes: This lot is accompanied by a certificate of authentication from Sign of the Times, Carmel, CA dated August 9, 1994 and the original user’s manuel.

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w w w. j o h n m o r a n . c o m 2 1 7

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3195

Robert Crowder

(1911-2010, American) Japanese-style “Nihonga” byobu folding screen, circa 1975 Ink, guache, and silver leaf on paper laid to board Signed: Robert Crowder; signed again in Japanese characters: Shoji Kuroda [pseudonym] Overall: 93” H x 176” W x 1” D approximately $2,000-3,000

w w w. j o h n m o r a n . c o m 2 1 9

3196

A Fredrick Ramond chrome and glass chandelier

Circa 2002 With Fredrick Ramond label to canopy The chrome chandelier with central sphere issuing eight pivoting arms terminating in square lights with glass shades, suspended from a domed canopy with chain link harness, electrified 26.25” H x 22.5” Dia. approximately $1,000-1,500

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3197

An iron chandelier

Mid-20th Century Possibly by Paul McCobb (1917-1969,. American), the twenty-four light iron chandelier with central column issuing radial, upswept arms terminating in faux candle sleeves, electrified 28.75” H x 31.5” Dia. $800-1,200

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

3198

A Milo Baughman-style chrome and glass cocktail table

Second-Half 20th Century With square X-form chromed metal base surmounted by a rectangular glass top 18.75” H x 41.75” W x 41.75” D $800-1,200

2 2 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3199

A Milo Baughman-style chrome and glass end table

Second-Half 20th Century The square end table with a chrome frame and inset glass top 21” H x 26” W x 26” D $500-700

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

3200 No Lot

2 2 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3201

A Milo Baughman-style vitrine

Second-Half 20th Century The vitrine cabinet with laminated wood body framed by black acrylic molding surrounding two glass doors with chrome trim and details, enclosing a mirrored interior with three glass shelves 71.5” H x 42.25” W x 19.25” D $1,000-1,500

w w w. j o h n m o r a n . c o m 2 2 5

3202

An Ello Furniture Co. chrome and glass chest of drawers with mirror

Circa 1981 The nine-drawer rectangular dresser with plum-colored laminated glass top and fronted drawers fitted with chrome trim and tab pulls, supported on chrome slab sides, accompanied by a conformingly designed mirror, 2 pieces Dresser: 29.5” H x 75.5” W x 21” D; Mirror: 40” H x 24.125” W x 1.5” D $1,000-2,000 Notes: This lot is accompanied by manufacturer’s paperwork dated January 27, 1981.

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w w w. j o h n m o r a n . c o m 2 2 7

3203

Mathias Bengtsson

(b. 1971, Danish) “Spun Chaise Lounge,” 2003 Carbon fiber Edition of 20; signed: Mathias Bengtsson 33.5” H x 88.5” W x 31.5” D $10,000-15,000 Provenance: Sale: Galerie Maria Wettergren, Paris, France, November 8, 2010 The Blake Byrne Collection, acquired from the above

3204, 3205, 3206 No Lot

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w w w. j o h n m o r a n . c o m 2 2 9

3207

A Palecek woven leather armchair

Fourth-Quarter 20th Century With metal factory tag The armchair with black and beige woven leather upholstery in stripe and square motifs raised on four wood legs 36.5” H x 24” W x 22” D $800-1,000

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3208

An Odd Knutsen “LUNA” lounge chair and ottoman, for Hjellegjerde Co.

Fourth-Quarter 20th Century Each with factory labels The lounge chair with a four-post laminated wood frame supporting a sling seat with “Sahara” beige leather upholstery, accompanied by a conformingly designed ottoman Chair: 37.25” H x 28” W x 28” D; Ottoman: 17” H x 21” W x 21” D $400-600

3209

A set of koa wood bar chairs

Second-Half 20th Century Each with maker’s label: Bertolini Seating of California Each carved koa wood bar chair with a blue fabric upholstered seat and nail head trim raised on four shaped legs with a metal footrest, 4 pieces Each: 47.5” H x 18.25” W x 18” D $800-1,000

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

3210

Bill Mack

(b.1949, American) “Rhapsody,” originally designed 1993 Fiberglass composition Edition 28/75; signed in black pigment Overall: 42” H x 67” W x 15” D $2,000-3,000

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3211

David Remfry

(b. 1942, British) Couples dancing, 2014 Mixed media on paper under Plexiglas Signed and dated lower right: David Remfry; dated again and numbered upper left: #18 Sheet: 40” H x 47” W $600-800

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

3212

Leroy Neiman

(1921-2012, New York, NY) “The Maulers” Serigraph on paper under Plexiglas Edition 32/120; signed lower right: Leroy Neiman Sight: 31” H x 45.5” W $1,000-1,500 Provenance: Timothy Yarger Fine Art, Beverly Hills, CA

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3213

Leroy Neiman

(1921-2012, American) “Polo Lounge” (one sheet), 1989 Color screenprint on wove paper Edition 176/700; signed in pencil lower right: Leroy Neiman Image/Sheet: 25” H x 37.5” W $1,000-1,500 Notes: The total edition was 820 (there were also 100 artist’s proofs and 20 printer’s proofs)

w w w. j o h n m o r a n . c o m 2 3 5

3215

Early 20th Century Continental School

Trompe L’oeil Mixed media on paper under glass Unsigned Image: 13” H x 12.75” W; Sheet: 14.5” H x 14.25” W $2,000-3,000

3214 No Lot

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3216

Attributed to Donal Hord

(1902-1966, American) Two works: Life drawing of seated man, circa 1940 Pencil on paper under glass Appears unsigned, inscribed across the lower edge: “Original life drawing by Donal Hord, N.A. (1902-1966) -ca. 1940” Sight: 7.75” H x 6.5” W Life drawing of seated man, circa 1940 Pencil on paper under glass Appears unsigned, inscribed across the lower edge: “Original life drawing by Donal Hord, N.A. (1902-1966) -ca. 1940” Sight: 6.25” H x 9.5” W $800-1,200 Provenance: San Diego Historical Society, San Diego, CA

w w w. j o h n m o r a n . c o m 2 3 7

3217

Edward Dalton Stevens

(1878-1939, Metuchen, NJ) Woman and a parrot Oil on canvas Signed lower right: Dalton Stevens 31” H x 24” W $1,500-2,000

2 3 8 C al i for nia L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

w w w. j o h n m o r a n . c o m 2 3 9

3218

Theodore Jackman

(1878-1940 La Crescenta, CA) Woman in a garden Oil on canvas Signed lower left: Theodore Jackman 30” H x 24” W $800-1,200

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3219

William Frederick Foster A.N.A.

(1883-1953, New York, NY) “Teatime” Oil en grisaille on canvas Signed and inscribed lower right: To Abbie From Will Foster 38” H x 35” W $2,000-3,000 Literature: Phyllis Settecase Barton, “William Frederick Foster, A.N.A.: Portrait of a Painter,”1989, p. 172-173.

Notes: Original illustration for “At the Court of RussiaÖ”.

w w w. j o h n m o r a n . c o m 2 4 1

3220

William Frederick Foster A.N.A.

(1883-1953, New York, NY) “Craig Kennedy,” circa1913 Oil en grisaille on canvas laid to panel Signed lower center: Will Foster 20” H x 16” W $1,000-1,500 Literature: Phyllis Settecase Barton, “William Frederick Foster, A.N.A.: Portrait of a Painter,” Los Angeles, CA, 1989, plate 17, p. 94.

2 4 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3221

William Frederick Foster A.N.A. (1883-1953, New York, NY) “Lady with Cockatoo,” circa 1940 Oil on canvas Signed lower right: Will Foster a.n.a.

50” H x 40” W $1,500-2,000 Literature: Phyllis Settecase Barton, “William Frederick Foster, A.N.A.: Portrait of a Painter,”1989, plate 96, p. 360. w w w. j o h n m o r a n . c o m 2 4 3

3222

Attributed to Charles Griffin Farr

(1908-1997, San Francisco, CA) Abstract nude male, 1931 Oil on canvas Inscribed and dated in another hand on the stretcher: Farr 20” H x 16” W $3,000-4,000 Provenance: The Estate of Harold Christopher Davies

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3223

Charles Freger

(b. 1975, French) “Coiffe de Gouezec, Saint-Thois (1840-1900),” 2015 Color inkjet print on Luster paper laid to aluminum under glass Edition 2/5; signed on an artist’s label affixed to the backing board: C. Freger 39.75” H x 30.25” W $2,000-4,000 Provenance: The Blake Byrne Collection

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3224

Ernesto Seco

(1958-2011, Mexican) “S.B. Symphony Spring Concert,” 2007 Acrylic on canvas Signed lower right: Seco; signed again, titled, dated and inscribed verso 48” H x 60” W $400-600

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3225

Susan Scott

(1949, Canadian) “Study (91d11),” 1991 Oil on canvas Signed, titled and dated verso: S. Scott 16” H x 20” W $300-500 Provenance: Saxon-Lee Gallery, Los Angeles, CA The Estate of Jane Reisman and Neil Peter Jampolis, Los Angeles, CA

w w w. j o h n m o r a n . c o m 2 4 7

3227

Kelly McLane

(b. 1968, American) “No One’s Ark,” 2004 Oil and graphite on canvas mounted to panel Signed, titled, and dated verso: Kelly McLane 84” H x 108” W $3,000-5,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection Exhibitions: Cleveland, OH, The Cleveland Museum of Art, “Kelly McLane, My Blue-Green Algae,” May 2 - August 22, 2004

3226 No Lot

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w w w. j o h n m o r a n . c o m 2 4 9

3228

Christina Angelina

(21st Century, American) “Vita” Acrylic and glitter on canvas Signed inside circle, upper left: Angelina; titled on artist profile that accompanies the lot 60” H x 40” W $800-1,200 Provenance: The Collection of Dr. Denis Bettencourt

3229, 3230 No Lot

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3231

Marie-Jo Lafontaine

(b. 1950, Belgian) “La Lumiere de la Vie Est L’ombre de la Mort,” 1989 Mixed media on wood Signed, dated and titled in pencil verso: Marie-Jo Lafontaine 42” H x 134.75” W $4,000-6,000 Provenance: The Jack Shainman Gallery, New York, NY The Blake Byrne Collection

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3232

Alex Mueller

(Active 21st Century, German) “o.T. ,” (Series: Der erste Sekretar im zweiten Park/The first secretary in the second park), 2006 Acrylic, gold ink, and pigment on canvas in a white wood cabinet with white wood chair Unsigned Overall: 72.25” H x 40.75” W x 10” D; Chair: 34” H x 21.25” W x 19” D; Canvas size: 39.25” H x 39” W $1,500-2,500 Provenance: Galerie Vera Gliem, Cologne, Germany The Blake Byrne Collection

3233,3234 No Lot

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w w w. j o h n m o r a n . c o m 2 5 3

3235

Christian Holstad

(b. 1972, American) “Luggage Set,” 2005 Upholstery fabric, vinyl, nylon, buckles, zippers, foam, webbing fiberfill, tennis racket, cotton briefs, and tin can (five pieces) Each signed: A Treasure Forever By / Christian Holstad Dimensions vary, largest: 29” H x 23” W $3,000-5,000 Provenance: Sale: Daniel Reich Gallery, New York, NY, March 31, 2006 The Blake Byrne Collection Notes: Christian Holstad has been described as a “one-artist collective, equally at ease with knitting, quilting, collage, drawing and sculpture.” While his work is disparate in medium, it is often united by concept, questioning notions of identity, culture, and sexuality in a manner that combines high and low art. Holstadís art often employs craft techniques such as quilting and sewing, as seen in the present work. In “Luggage Set,” Holstad fabricates a backpack, replete with zippers, straps and unlikely fabric choices. His work often addresses gay culture, the AIDS crisis and employs fetishistic materials and themes. Born in Anaheim California in 1972, Holstad made his career in New York, where he continues his studio practice.

3236 No Lot

2 5 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

w w w. j o h n m o r a n . c o m 2 5 5

3237

An Anton Michelsen for Royal Copenhagen porcelain necklace

Circa 1970 Silver stamped: AM [within crown] / 925S / Danemark ; Porcelain marked: Royal Copenhagen Denmark / [waves] / [artist’s cipher] A modernist-style silver wire abstract collar with porcelain elements 16.625” C x 5.5” H 58.9 grams gross $1,000-1,500

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3238

A Catherine Noll resin and leather necklace

Circa 1970; (1945-1992, French) Appears unsigned A pebble-shaped carved resin drop necklace suspended on multiple leather cords adjusted with an ebonized wood slide 38” L x 2.5” H $1,800-2,500 Notes: Parisian jewelry artist Catherine Noll was still at art school in the early 1970s when her grandfather, the sculptor and designer Alexandre Noll, died. She soon began creating sculptural jewelry after inheriting his atelier full of tools and materials including exotic woods and horn. Inspired by nature, as well as by tribal art, her exquisite work highlights simple organic materials, with the occasional use of acrylic/Lucite as a counterpoint to rich natural textures. Her creative talent in combining these diverse elements has resulted in elegant and refined modern designs with a purity of form. Well-respected as an artist, Noll not only participated in three Bijou Triennales in Paris, she also created jewelry collections for Nina Ricci, Chanel, Christian Dior, Baccarat and Bergdorf Goodman. w w w. j o h n m o r a n . c o m 2 5 7

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3239

A Mary Schimpff blue enamel necklace

Second-Half 20th Century, American Stamped: 925; appears unsigned A modernist style necklace of alternating blue enamel panels and sterling silver spacers 17” L x 1” W 108.8 grams $1,500-2,000

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3240

A Björn Weckström of Lapponia silver “Big Drop” necklace

Fourth-Quarter 20th Century, (b. 1935, Finnish) Marked: Lapponia / National Mark [domestic] / Town mark / 925 / B8 [for 1979] A free-form sterling silver square with a green and clear acrylic drop, with the alternative title of “Pisaranmuoto” 29” L x 3.25” H 99.6 grams $500-700 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3241

A mixed set of Björn Weckström for Lapponia silver jewelry

Second-Half 20th Century; Finland Each stamped: 925 [control mark] / [Crown within heart as national domestic mark] / [Triple crown as maker’s mark] / 925 / Lapponia Two works: A 1990 “Space” series silver brooch entitled: “Strangers on Lo” Further stamped: N8 [for 1990] 1.5” H x 1.875” W A pair of 1976 “Space” series silver earrings entitled: “Galactic Wind” Further stamped: Y7 [for 1976] 2” H x 1.125” W 3 pieces 34.5 grams gross $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3242

A mixed set of Björn Weckström for Lapponia silver jewelry

A modernist silver cuff bracelet 1973; Finland Stamped: 925 / Sterling / Finland / [Triple crown as maker’s mark] / [Crown within oval as import mark] / U7 / Lapponia / BJORN Depicting abstract landscapes with diminutive figures 6.75” total inner C x 1.625” H, wrist opening: 1.25” A modernist oval ring 1970; Finland Stamped: 925 / 925H / Sterling / Finland / [Triple crown as maker’s mark] / [Crown within heart as domestic mark] / [Helsinki mark] / R7 / BW Depicting abstract landscapes with diminutive figures Ring size: 7; Raised platform: 1.625” L x 1.25” W x 0.6” H 2 pieces 88 grams $600-800

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3243

A Pal Kepenyes modernist brass and turquoise necklace

Mid-20th Century Stamped: Pal Kepenyes / Mexico The Brutalist brass necklace set with five nugget turquoise stones with a central drop 15” L x 2” H (drop) 184.7 grams $800-1,200 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3244

A Pal Kepenyes “Milagros” mixed metal necklace and earrings

Post 1956, Mexico Necklace stamped: Pal Kepenyes; Earclips stamped: [possibly MACIIES] Comprising a Brutalist-style necklace with articulated charms of various figurative forms (22.75” L x 2” W at center) and a pair of complimentary clip earrings (1.75” L x 1.5” W), 3 pieces 213.5 grams gross $600-800 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3245

A set of Pal Kepenyes bronze jewelry

Second-Half 20th Century Necklace with etched signature: Pal K_ [partial]; Earrings stamped: Pal Kepenyes / Mexico Comprising a Brutalist-style necklace of articulated links and drops (21.25” L x 1.75” H) and a complimentary pair of clip earrings (each: 1.625” L x 1” W), 3 pieces 125.5 grams $500-700

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3246

A Jose Puig Doria tiered bib necklace

Circa 1965; Spain Stamped: Puig Doria / 925 / Made in Spain A crescent shaped collar with crescent shaped drop links 13.625” inner C x 5.75” H x 6” W 99.7 grams $500-700

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3247

A James Parker silver and gem-set ring

Third-Quarter 20th Century; San Diego, CA Stamped for James Parker; Further stamped: Hand Made / Silver Centering a simulated turquoise cabochon set into a modernist knot ring Ring size: 8.25 16.5 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3248

Four Sigi Pineda sterling silver brooches

Third-Quarter 20th Century; Taxco, Mexico Each stamped: Sigi / Sterling / Tasco [sic] Each with fold and cut-work design, 4 pieces Largest (asterisk): 1.625” H x 2.125” W; Smallest (zig-zag): 1.875” W x 1.5” H 60 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3249

An Emilia Castillo “Artichoke Leaf” silver jewelry set

21st Century; Mexico Each stamped: Emilia Castillo / [a bird shaped pictograph] / Sterling A necklace with graduated shield-shaped plaques Further stamped: TO-85 24” L x 3.75” W A pair of matching wire earrings Further stamped: 925 Each: 1.75” L x 0.75”W 3 pieces 142.8 grams gross $500-700 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI 2 7 0 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3250

A Los Ballesteros hardstone figural brooch/pendant

Circa 1942-1980; Mexico Stamped: B / Talleres de Los Ballesteros / Taxco / Gro; Further stamped: Sterling / 925 / Eagle 42 / Hecho en Mexico A sterling silver and carved obsidian brooch / pendant depicting a masked woman 2.125” L x 1.5” W 44.9 grams $400-600

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3253

An assemb

Second-Qua Each stampe

A necklace o 19” L x 1” H

A tapering p 7” L x 1.75”

A pair of scre Further stam 0.875” H x 0 4 pieces 124 grams g

$1,000-2,000

Provenance:

3251

A set of Salvador Teran jewelry

Third-Quarter 20th Century; Mexico City, Mexico Each stamped: Salvador / Sterling / Mexico / 165; Two stamped: Eagle 36 Each designed with a shadowbox Aztec-style motif, comprising a necklace (16” L x 0.875”), a cuff (5.75” total inner C x .75” H), a ring (size 7.5), and a pair of screw-back hoop earrings (1” H x 0.625” W), 5 pieces 150 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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bled suite of Fred Davis silver and obsidian jewelry

arter 20th Century; Mexico City, Mexico ed: FD [for Fred Davis]

of alternating links of obsidian and silver architectural panels H

panel bracelet designed with oval obsidian cabochons ”H

rew-back earrings with obsidian cabochons mped: Made in Mexico 0.75” W

gross

0

: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

3252

A Fred Davis silver and amethyst bracelet

Second-Quarter 20th Century; Mexico City, Mexico Stamped: FD [for Fred Davis] / Silver / Mexico Designed as a stylized “X”-link with round amethyst cabochons 7” L x 1.25” H 77 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh w w w. j o h n m o r a n . c o m 2 7 3

3254

An Antonio Pineda silver belt buckle

Circa 1953-1979; Taxco, Mexico Stamped: [crown mark for Antonio Pineda] / Eagle 17 / Hecho en Mexico / PZ198 The stylized sash belt buckle with oxidized silver stripes 2” H x 4.75” W 66.5 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Illustrated: Stuart Hodosh, et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” 2008, p. 142, plate 177.

3255

Two Antonio Pineda silver bracelets

Circa 1948-1953 and 1953-1979; Taxco, Mexico A bracelet of scalloped hinged links each centering three silver balls Stamped: Silver by Tono; Further stamped: Mexico 6.375” L x 1” H A bracelet emulating the tail of the Pre-Columbian Ziuhcoatl (fire serpent) Stamped: Crown mark for Antonio Pineda; Eagle 17; Further stamped: 970 / Hecho en Mexico / Silver / ZZ687 7.5” L x 0.875” H 2 pieces 80.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Illustrated: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” 2008, p. 104, plate 105 (scalloped panels) and p. 127, plate 150 (fire serpent).

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3256

An Antonio Pineda silver and cultured pearl necklace

Circa 1953-1979; Taxco, Mexico Stamped: [crown mark for Antonio Pineda] / Eagle 17 / Hecho en Mexico / 970 The oxidized concave silver disc links centering cultured pearls 15” L x 0.5” H 85.2 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Illustrated: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” 2008, p. 112, plate 123.

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3257

A near-set of Antonio Pineda silver jewelry

Circa 1953-1979; Taxco, Mexico Each stamped: [crown mark for Antonio Pineda] / Hecho en Mexico / Silver / 970 A puzzle link necklace Further stamped: Eagle 121 15.5” L x 1” H A matching design 18 karat yellow gold and silver bracelet Further stamped: 18K / Eagle 17 7” L x 1” H 2 pieces 201.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3258

An Antonio Pineda silver and obsidian necklace

Circa 1953-1979; Taxco, Mexico Stamped: [crown mark for Antonio Pineda] / Eagle 17 / Hecho en Mexico / Silver / 970 Designed with geometric silver panels tipped with triangular-cut obsidian 15.5” L x 0.875” H 197 grams $1,500-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Illustrated: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” 2008, p. 76, plate 60.

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3259

An Antonio Pineda silver and moonstone bracelet

Circa 1948-1953; Taxco, Mexico Stamped: Silver by Tono / Eagle 17 / Made in Mexico / Taxco Designed with undulating links alternating with oval moonstone cabochons 6.5” L x 1” H 92 grams gross $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Illustrated: Stuart Hodosh, et al., “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” 2008, p. 114, plate 126.

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3260

A group of Antonio Pineda silver and amethyst jewelry Circa 1948-1953 and 1953-1979; Taxco, Mexico Three works:

A bow brooch suspending trumpet-style silver drops tipped with amethyst Stamped: [crown mark for Antonio Pineda] / Made in Mexico / Silver / PR527 / Eagle 17 4.25” L x 2.25” W A whimsical ribbon brooch centering a purple stone Stamped: Silver by Tono / Mexico / PR258 4.5” L x 2.25” W A knot style brooch suspending trumpet style silver drops tipped with amethyst Stamped: [crown mark for Antonio Pineda] / Eagle 17 / Silver / Sterling / Mexico / 970 4.25” L x 1.25” W 3 pieces 150.5 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3261

A group of Antonio Pineda silver fox-motif jewelry items

Circa 1953-1979; Taxco, Mexico Each: [Crown mark for Antonio Pineda] / Eagle 17 / Sterling / Mexico / Silver / 970 Comprising a pair of cufflinks (each: 1.125” H x .75” W) and eight buttons (each: .5” Dia.), each with a stylized fox design, 10 pieces 52.5 grams $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3262

Two pairs of Antonio Pineda cufflinks

A a pair of sterling silver, pearl, and onyx cufflinks Circa 1970; Taxco, Mexico Stamped: [Crown mark for Antonio Pineda] / Hecho en Mexico / 970 / Eagle 3 / Mota Tasco 1.125” H x 0.8” W A pair of sterling silver, pearl, and enamel cufflinks Circa 1962-1963; Taxco, Mexico Stamped: [Crown mark for Antonio Pineda] / Hecho en Mexico / 970 / Eagle 58 / Los Castillo / Soc Coop Scl Sec 2 1.25” H x 1” W 4 pieces 46.5 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3265

A modernist rutilated quartz pendant necklace

Second-Half 20th Century Stamped: 925 [on chain hooks]; Further illegibly stamped on pendant ring A large rutilated quartz pendant set in sterling with a three-prong setting and silver chain 23.75” L x 3” H 182.3 grams gross $200-300 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

3263

An Antonio Pineda silver and amethyst necklace

Circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: Eagle 17 The stylized “C” link necklace enhanced with cabochon amethysts, with clasp closure 17” L x 0.5” H 104 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3264

A group of Graziella Laffi sterling silver and enamel jewelry Circa 1960; Peru Each stamped: G. Laffi / Laffi / Peru / 925 Four works:

An abstract green and black enamel necklace 21” L x 1.25” H Two stylized bird motif and green enamel hinged bangle bracelets Larger: 7.375” inner C x 1.375” H; Smaller: 6.75” inner C x 1” H A wide fish motif and green enamel bangle bracelet 7” inner C x 1.625” H 4 pieces 299.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

ha

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3266

A large modernist beryl and silver pendant necklace

Late 20th/Early 21st Century Stamped: 925 / [unknown hallmark] Comprising a large beryl cabochon pendant set in sterling silver with a 6-prong setting suspended on a silver wheat chain with a barrel clasp 22” L x 3.3” H 343.4 grams $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3268

A Brutalist plaque with stone set chain

Fourth-Quarter 20th Century or Later Appears unmarked Comprised of a rectangular plaque set with turquoise cabochons suspended by alternating cabochon-set and decorative cast links 25.5” L x 7.375” H 176.6 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

3267

Two modernist silver pendants Fourth-Quarter 20th Century Two works

A Valdes Solvsmie abstract Art Nouveau-style pendant with pink tourmaline and rhodochrosite bezel set cabochons Stamped: Valdres Solvsmie / 925S / Norway 3.875” H x 2.25” W A Danish silver and stone disk pendant Stamped: JA / 925 / Handmade Denmark 4.25” H x 2.25” W 2 pieces 81.7 grams gross $200-300 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3269

A group of rings

Five adjustable Rebecca Collins rings Late 20th/Early 21st Century; Dallas Five stamped for sterling with various marks for Rebecca Collins Comprising a trilobite fossil flush-mounted ring with X-stamped band (ring size: 8.75); a shadowbox set carved stone scarab ring (ring size: 11); a flush-set Mabe pearl ring (ring size: 7.5); a large ancient coin with flush-set ring, with verdigris finish and further stamped with pictograph symbols (ring size: 10); a small ancient coin flush set ring (ring size: 8.25) A crosshatch silver and black enamel ring Late 20th/Early 21st Century With enamel initials “SH” on band, stamped: 925 Ring size: 8 A carved tiger’s eye scarab stone-set ring with decorated band Late 20th/Early 21st Century Unmarked Ring size: 7.75 7 pieces 141.6 gross grams $400-600

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3270

A group of modernist silver rings

Fourth-Quarter of 20th Century or Later A carved green beryl claw set ring with filigree accents Appears unmarked Ring size 6.25 A floral green stone set adjustable ring Stamped: China / 8._ Ring size: 9 approx.

An Art Nouveau-style Medusa portrait ring Stamped: Sterling / Leaf Ring size: 8.5 An ornate shadowbox lemon quartz bezel set ring Stamped: 925 Ring size: 7.5 A sculptural Quetzalcoatl ring with a carved aventurine quartz face and black and green inlay Appears unmarked Ring size: 8.5 A Renaissance-style ornate silver ring Stamped: CINI [possibly for Guglielmo Cini] / Sterling Ring size: 7.75 A simple silver band Stamped: 925 Ring size: 5.75 An openwork chainstitch adjustable silver ring Stamped: Spain / 925

Ring size: 7.75 aprox.

An openwork filligree silver ring Stamped: Thailand / 925 / FD Ring size: 7 A polished yellow stone set ring with twining snakes Appears unstamped Ring size: 6.25 A Danish aventurine Brutalist-style ring Stamped: P.W.N. [for Peter Wilhjelm Nielson, Copenhagen] / Denmark Ring size: 7 A mother-of-pearl and stone set filigree leaf ring Stamped: Sterling Ring size: 4.5 An ornate Mexican silver studded band Stamped: Sterling / ES / 925 / Taxco / Mexico / Eagle 3 Ring size: 9 13 pieces 154.6 grams gross $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3271

A group of modernist silver rings

Fourth-Quarter of 20th Century or Later A silver domed band with wire overlay Stamped: Noa Noa / 925 Ring size: 5.75 An abstract silver spiral adjustable ring with a small purple stone Stamped: Sterling / [unknown artist’s cipher] / [possibly] Zimmerman Ring size: 7.5 A silver ring of layered and crossed narrow bands Stamped: NF 925 Ring size: 7.25 An industrial-style ring formed of concentric wires Appears unmarked Ring size: 8.75

An organic-style textured band Appears unmarked Ring size: 4.75 A hammered silver ring of graduated upright ovals Stamped: [illegible] Ring size: 7.5 A ring depicting interlaced barbed wire points Appears unmarked Ring size: 9 An openwork band of interwoven upright branches Stamped: 925 / FAS Ring size 7.5 8 pieces 90.2 grams gross $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3272

A group of silver modernist rings Fourth-Quarter 20th Century or Later A large knotted wire ring Stamped: [possibly Terlin] Ring size: 9 A textured silver heart-shaped ring Stamped: 925 / [heart pictograph] Ring size: 5.75” A Mexican silver “tape measure” band Stamped: TL-69 [for Pedro LÛpez Brito] / Mexico / 925 Ring size: 8.25 A silver band with stamped pattern Stamped: Sterling Ring size: 9.5 An openwork silver band with Roman numerals Stamped: 925 Ring size: 6.5 A free-form puzzle ring with 4 linked bands Appears unmarked Ring size: 10 approx.

A Mexican silver geometric ring Stamped: MM 925 / Mexico / TM / [illegible number] Ring size: 9.25 A silver band with alternating geometric shapes Stamped: 925 Ring size: 8 A silver ring with openwork crown Stamped: Sterling Ring size: 6 An Emilia Castillo alligator ring Stamped: Emilia Castillo / Sterling Ring size: 6 A plain silver band Stamped: 925 Ring size: 6.5 12 pieces 124.2 grams $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

An grooved silver abstract ring Stamped: 925 Ring size: 9

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3273

A group of modernist silver rings Fourth-Quarter 20th Century or Later A curved teardrop (buta) dome ring Stamped: 925 / Mexico Ring size: 7.75 An oval dome silver ring Stamped: Orville of New Mexico [for Orville Tsinnie, Navajo / DinÉ]; Further stamped: Sterling Ring size: 6 A openwork lattice dome ring Stamped: Ster Ring size: 6 An oval ring set with abalone Stamped: Thailand Ring size: 11

An abstract graduated dome ring Stamped: Sterling Ring size: 6.5 A geometric bezel set onyx ring Appears unmarked Ring size: 7 A silver ring depicting a building with windows Stamped: Sterling / 925 Ring size: 7 A Lilly Barrack adjustable silver ring with a small silver cube Stamped: Lilly Barrack / .925 Ring size: 6.25 8 pieces 133.5 grams gross $250-350 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3274

A group of stone set modernist rings Fourth-Quarter 20th Century or Later A Brutalist ring featuring a large plaque adorned with various sizes of silver balls Appears unmarked Ring size: 12.5; 2”H An free-form, organic-style ring of curves and folds of silver Stamped: 925 Ring size: 10 A silver organic oval ring with bezel-set pink clam shell with small pearl in fold Etched: [possibly J___n] L Flanders / ©2007 / Sterling / [clam shell] Ring size: 7.75 An oval ring comprised of a bezel-set bone and pink shell combination Appears unmarked Ring size: 9.5 4 pieces 122.2 grams gross $200-300 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3275

A group of Mary & Doug Hancock jewelry items Fourth-Quarter 20th Century or Later Most marked: Mary Doug Hancock [on tag]

A macramé cord belt with medallions, stamped buttons, and beads 48” L x 2.25” W A macramé collar necklace of various medallions and beads with tie closure 15” L x 1.125” W A mixed-media pendant necklace of various clay and metal beads Appears unmarked 16.5” L x 4.5” H A five-strand collar necklace of various beads and charms with macramé tie closure 12” L x 5” H A multi-strand collar necklace with medallions and charms 15” L x 5” H 5 pieces $600-800

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3277

A group of modernist silver jewelry Second-Quarter 20th Century Four works:

A wire cuff depicting mice on silver wire in a freeform design Appears unmarked 7.5” approx. total inner C x 2” H A Brutalist-style cuff with organic openwork and free-form edges Etched signature: [illegible, possibly Barbara Bisand or Brand] 6.75” total inner C x 2.3” H, wrist opening: 0.75”

A biomorphic concave brooch with central cut glass stone and wire Etched with pictograph letter “H” or “K” with dragon’s head 3.5” L x 2.25” W

A pair of Brutalist-style earrings in an organic diamond shape with b ebonized wood Stamped: Pera / 975 3.5” L x 1.75” W 5 pieces 171.4 grams gross $500-700

Provenance: The Goodenough Estate, benefiting St. James Episco 2 9 4 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3276

A group of handcrafted artisan silver jewelry

Late 20th/Early 21st Century Each etched for unknown maker (possibly CPJ or PCJ) Four works: A star pendant with wire work, oxidized finish, and multiple bezel set citrines Further etched: 379 3.25” L x 2.25” W A pendant depicting a bird on a branch with an articulated wing, embellished with wire work and inset citrines and ruby stones Further etched: 310 / bird’13 / inca dove 2.75” L x 2” W An abstract stone set pendant Further etched: 174 3.3” L x 2” W An abstract necklace featuring a plaque of layered cloud shapes and claw set lemon quartz “sun” with wire work details and drops with inset blue stones, suspended from either side on a segmented chain Further etched: 131 / lil’ black rain cloud / #3 22” L x 3” H 4 pieces 111.5 grams gross $500-700 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

e accents

bezel mounted

opal Church, Waimea, HI w w w. j o h n m o r a n . c o m 2 9 5

3278

A group of Margot de Taxco

Third-Quarter of 20th Century; Ta Each stamped: Margot de Taxco Designed by Margot Van Voorhie matching brooch (2.325” H x 2.1 131 grams $600-900

Provenance: The Collection of Ci

3279

A suite of Margot de Taxco “Fanciful Pendants” jewelry

Third-Quarter 20th Century; Taxco, Mexico Bracelet stamped: Margot de Taxco / Sterling Made in Mexico / Eagle 16; Necklace and earrings stamped: Margot de Taxco / 925 Hecho en Mexico / Eagle 16; Each stamped: 5701 Designed by Margot Van Voorhies with turquoise enamel on silver drops, comprising a necklace (17” L x 1.75” H), a bracelet (7” L x 1.5” H), and a pair of matching ear clips (each: 1.25” H x .375” W), 4 pieces 106 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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o “Pointed Face” silver and enamel jewelry

Taxco, Mexico / Hecho en Mexico / Eagle 16 / 5414 es, comprising a necklace (15.5” L x 2.25” H x 2.125” W), a 125” W), and a slide pendant (2.325” H x 2.125” W), 3 pieces

indy Tietze-Hodosh and Stuart Hodosh

3280

A suite of Margot de Taxco silver and amethyst jewelry

Third-Quarter 20th Century; Taxco, Mexico Each stamped: Margot de Taxco / Hecho en Mexico / Eagle 16 / 5207 Designed by Margot Van Voorhies, comprising a crossover hinged bangle (6.75” total inner C x 3.75” H), a matching ring (ring size: 8.5), and a pair of screw-back earrings with amethyst drops (1.875” H x .75” W), 4 pieces 133 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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3281

A set of Margot de Taxco “Serpent” silver and enamel jewelry

Third-Quarter 20th Century; Taxco, Mexico Each stamped: Margot De Taxco / 925 / Sterling / 5554 Designed by Margot Van Voorhies, comprising an articulated serpent necklace (17” L x .8” W) and matching bracelet (6.75” inner C x 2.75” wide at overlap), each has clasp closure; bracelet has safety chain, 2 pieces 131.2 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietz-Hodosh and Stuart Hodosh

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3282

A group of modernist silver cuff bracelets

Second-Half 20th Century An Otto Robert Bade asymmetrical silver wire cuff Stamped: Orb / Sterling 7” total inner C x 3” H, wrist opening: 1” A Mexican sterling silver tapered cuff Stamped: Mexico / TR-06 / 925 7.5” total inner C x 1.75”- 2” H, wrist opening: 1.25” A sterling stacked-wire style cuff Stamped: Sterling 6.25” total inner C x 1.5” H, wrist opening: 1.25” 3 pieces 238.7 grams gross $250-350

3283

A group of modernist cuff bracelets

Second-Half 20th Century A Bayanihan chunky sterling silver hinged clasp cuff bracelet Stamped: Bayanihan / © / 925 6.5” total inner C x 2” H A heavy incised cast oval cuff bracelet Stamped illegibly 6.5” total inner C x 1.625” H A three wire stamped silver cuff bracelet in the form of wriggling snakes Stamped: 925 8” total inner C x 0.75” H, wrist opening: 1” A Swedish cuff bracelet with incised wave design Stamped: RG / Sweden 6.625” total inner C x 0.75” H, wrist opening: 0.875” A chunky brushed finish cuff bracelet Appears unmarked 7. 375” total inner C x 1” H, wrist opening: 1.5” 5 Pieces 374.6 grams gross (excluding pewter) $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3284

Three modernist silver cuff bracelets Fourth-Quarter 20th Century or Later

A three-wire stone set armband with woven and wrapped wire Appears unmarked 8.75” inner C x 5.6” H A hammered silver cuff Stamped: Mexico / 925; Further stamped: [unknown artist mark IV _IS] 6.75” total inner C x 1.75” H, wrist opening: 1” A basketweave design asymmetrical cuff Appears unmarked 6.75” total inner C x 1.5” H, wrist opening: 1.1” 3 pieces 199.7 grams gross $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3285

A group of modernist silver jewelry Fourth-Quarter 20th Century or Later

A floral relief cuff bracelet with spring hinge closure Appears unmarked 7” total inner C x 1.6” H A three-wire stone set cuff with central medallion Stamped: Mexico 7.1” C x 2” H, wrist opening: 0.75” An embossed hammered silver cuff bracelet Stamped: Silver / 925 / Italy / [star] / 196 / Roma 7.1” total inner C x 2.1” H, wrist opening: 1.1” A cast silver link bracelet of four leaf roundels Stamped: MAS / 925 / MDLL / Peru 7.3” L x 2” W 4 pieces 280.0 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3286

A group of modernist jewelry Fourth-Quarter 20th Century A Mexican silver cuff bracelet with a single bezel set cabochon goldstone Stamped: TF - 01 / Mexico / 925.

6.625” total inner C x 1” H, wrist opening: 1” A free-form silver link clasp bracelet Stamped: 925 [partially legible on clasp bar]; Further stamped with partial 92 inside hexagram 7.25” L x 1.5” H An openwork wire pendant Stamped: X X IIII 4.25” H x 3” W A leaf shaped silver brooch Stamped: Sterling 3” H x 0.625” W A Roland Landerholm openwork geometric pewter pendant with a central blue ceramic cabochon Etched signature: R Landerholm [for Roland Landerholm, Swedish]; Further stamped: TENN 2” H x 1.75” W A sculptural link collar necklace Appears unmarked 16.5” L x 2” H 6 pieces 177.5 grams gross (excluding pewter) $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI 3 0 2 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

3287

A group of modernist jewelry Mid-20th Century

An Atelier Borgila Swedish silver leaf linked bracelet Stamped: ABA / [town and crown hallmarks for Sweden] / S / G9 [for 1957] 7.25” L x 0.75” H A Mexican silver necklace of linked silver crescents Stamped: DAO / TA-19 / Taxco / Mexico / 925 17.5” L x 0.875” W A J¯rgen Jensen pewter triangular plaque linked collar necklace Stamped: J¯rgen Jensen / Pewter / Handmade / Denmark / 901 16” L x 0.625” W 3 pieces 147 grams gross (excluding pewter) $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3288

A group of modernist jewelry

Fourth-Quarter 20th Century or Later A silver overlay and stone set pendant Appears unmarked 3.125” L x 2.625” W An elaborate silver chain set with tumbled turquoise stones Stamped: 925 32” L x 1.125” W A Brutalist round pewter pendant and chain Stamped: Pewter / Warmind 30” L x 2.875” H A Danish pendant and chain Stamped: Lysgards Design / Jin / 200 / Made in Denmark 25” L x 3.5” H 5 pieces 199.3 grams gross (excluding pewter) $600-800 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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3289

A group of modernist jewelry items Second-Half 20th Century A mixed metal starburst brooch Appears unmarked 3” H x 2.75” W A mixed-metal abstract geometric interchangeable brooch / pendant Etched signature: Hall / McFall 1.5” H x 2” W A silver Jean Duclos Brutalist-style brooch Etched signature [Jean Duclo]; Further stamped: Electroformed / 925 2.5” H x 3” W A limited edition cast silver sculptural abstract bird pendant with central heart opening Etched: Vilo / 5/100 [edition]; Further stamped 925 4” H x 2.75” W

A Brutalist-style cast metal ‘”nugget” pendant with bezel set tigers eye stone Appears unmarked 1.5” H x 1.25” W A tiny silver abstract charm Marked: STER 1” H x 0.5” W A pair of Brutalist-style pewter cuff links Labelled: Warmind Pewter Denmark 1.125” H x 0.875” W 9 pieces 142.6 grams gross (excluding pewter) $200-300 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

A Brutalist cast openwork pendant Appears unmarked 1.625” H x 1.5” W

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3290

A group of jewelry

Mid-20th Century or Later A knot necklace of long hollow links Stamped: Mexico / Eagle 213 / AAF [possibly for Alfredo Villasana] 17” L x 1” H A double strand necklace of silver-toned beads Appears unmarked 17.5”-19.5” L x 0.3 - 0.5” Dia. A graduated double strand silver bead necklace Stamped: Sterling / Mexico 14.25”-17.5” L x 0.25”- 0.5” Dia.

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Large graduated cable link watch fob chain Stamped with horse cipher and unknown artist mark (possibly HD) 15” L x 0.6”- 0.8” W A silver twisted rope chain necklace Stamped: TS-22 / Mexico / 925 21.25” L x 0.5” W 5 pieces 541.8 grams $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

3291

A large group of Bakelite, plastic, and metal bangle bracelets

Mid-20th Century Appear unmarked Comprising bangle bracelets in a variety of colors, materials, and designs; some carved, some stone set, and ten are enameled metal; some are solid color, some transparent, mottled, or marbled; some with round edges, some with angled edges, 101 pieces approx.

7.25” inner C - 8” inner C (most are 7.5” inner C) x 0.125” W - 1” W $300-500

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Consign Today California Living Spring 2022

Frank J. Gavencky (1888-1966, Ramona, CA) “Salt Creek”

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 3 0 8 C al i fo r ni a L iv i n g l Tu e s d ay, Nov e mb e r 1 6 , 2 0 2 1

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 3 0 9

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Condition Reports

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3001 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: crazing and three localized areas of chips/ imperfections to glaze on underside, possibly inherent to the time of manufacture. No evidence of repairs or restorations under blacklight.

3002 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: pinholing to the glaze. No evidence of repairs or restorations under blacklight.

3003 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: an inherent .25” surface crack in ceramic to underside rim dating to the time of manufacture. No evidence of repairs or restorations under blacklight.

3004 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: pinholing to the glaze. No evidence of repairs or restorations under blacklight.

Condition Reports

3005 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: slight discoloration/darkening to interior from use; approximately two minor chips to raised surface design. Drainage hole to bottom.

312

3006 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor, unobtrusive abrasions and chips to relief surface designs. Wiring should be checked by a qualified electrician prior to use.

3007 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor chips to relief surface designs. Wiring should be checked by a qualified electrician prior to use.

3008 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: minor pinholing to the glaze. No evidence of repairs or restorations under blacklight.

3009 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

No evidence of restoration or hairlines under illumination.

3010 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.

3011 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Dust accumulation to interior. Mounting putty residue to underside. No evidence of restoration or hairlines under illumination.

3012 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation commensurate with age. Each arm moves slightly.

3013 Generally good condition. The sheet very slightly toned. Not examined out of the frame.

Frame: 39.25” H x 28.25” W x 1” D 3014 Generally good condition. Not examined out of the frame.

Frame: 29” H x 39” W x 1.5” D 3015 Generally good condition. Mounted to the recto mat with artist’s tape along the verso of the upper margin edge. A handling crease in the margin lower center.

Mounted but unframed

Unframed 3017 Generally good condition. A pinhead-size, slight pressure mark, center right, showing mostly in a raking light. A few specks of surface grime, showing mostly in a raking light. Minor creases at the tips of the upper margin corners. Tipped down at the upper corners to a backmat.

Mounted but unframed

3018 Generally good condition. Not examined out of the frame.

Frame: 48.5” H x 32.5” W x 2” D 3019 Generally good condition. Some pieces drymounted, some pieces mounted to the back mat with artist’s tape.

Mounted but unframed 3020 No Lot 3021 Each overall fair to fine condition with typical signs of shelf wear and wear from handling commensurate with age. Issues include, but are not limited to: creasing/wrinkling with minor losses to dust jackets, some dust jackets clipped, various cloth bindings with both sun fading and darkening/ soiling from being handled, scuffs/wear to pictorial pastedowns, fraying to headbands and tails, and some with loose hinge or minor cracked hinge. Each previously inscribed in pencil with various notations, personalizations, etc. to front endpage and flyleaves.

3022 Ranging from poor to very good condition with typical signs of shelf wear and wear from handling

commensurate with age. Various issues include, but are not limited to: creasing/wrinkling with minor losses to dust jackets, some dust jackets clipped, various cloth bindings with both sun fading and darkening/soiling from being handled, scuffs/wear to pictorial pastedowns, scattered wear/fraying to headbands and tails, some with cracked hinge, and some variously inscribed in pencil and ink to front endpapers. Most critical: “Captain Cook’s Voyages of Discovery” front cover detached.

3023 Each overall very good to near fine condition with shelf wear commensurate with age. Each with light wear and wrinkles to the dust jacket from handling.

Two with previous sales notation inscribed in penicl to front endpaper. The Marx with plastic cover over dust jacket and reinforced from back, price-clipped.

3024 Generally good condition. The watercolor mounted to the portfolio cover with some small paper losses, all confined to the background section of the composition’s upper half, the largest of which is approximately pea-sized. The etchings on loose sheets of paper with full margins deckled on all sides. Each with pale time staining showing in the margins and on the verso. The portfolio-box with scattered minor staining and soiling. One of the two metal hinges separated.

Overall: 9” H x 7” W x 2.5” D 3025 Overall good condition with minor scuffs and light scratches commensurate with age. Bottom edge with a 2” indentation to plaque with subsequent crazing/ hairlines to the enamel. Wood frame with lights scratches and shrinkage cracks. Enamel plaque loose of the right side and beginning to pull away from mounting, needs to be readhered.

3026 Each overall good condition with minor scuffs and light scratches commensurate with age. Plaque with crazing to the enamel.

3027 Overall good condition with scattered scuffs, inherent firing flaws, and dust accumulation commensurate with age. Reclaimed wood with inherent imperfections and splits. Mounting putty residue to underside.

3028 No Lot

Condition Reports

3016 Generally good condition. A small and very unobtrusive surface abrasion, visible only in a raking light, lower right. A paper loss at the tip of the upper right margin corner, not affecting the image. The sheet is loose, not mounted.

313

3029 Overall good condition with light scuffs, weathering, and dust accumulation commensurate with age.

3030 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With update dust cover to seat underside. Leather with sun fading, wrinkling, and scattered areas of soiling/ staining.

3031 Original finish and hardware. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Minor shrinkage cracks to lower portion of left side panel. Scattered nicked abrasions throughout with heavier wear and chips to the feet. The top with a 1” dark spot. Moisture spots to top-right and to lower interior left. One glass panel on right door with loose interior casing. Left lock sticks slightly. Includes key.

3032 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each likely reupholstered. Each with minor chips and nicked abrasions throughout. The first likely refinished. The second with heavier wear to the legs and stretchers and a shrinkage crack to the left stile.

Condition Reports

3033 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Has been previously refinished. Top with areas of fading and possible moisture spots.

314

3034 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier scuffs and scratches to feet.

3035 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Scattered heavier scratches to the top with a localized area of deep scratching to center left.

3036 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each nightstand with scattered scratches and moisture rings to top, one with moisture rings to undershelf.

3037 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Leather with minimal signs of wear, soiling/staining, and scuff to the buffed finish. Measurements reflect the most upright position.

3038 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear and scratches to feet. Top of right front post with patch of darkening. Leather upholstery with scattered scratches.

3039 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Arms with heavier areas of rubbed wear. Leather seat with creasing, wrinkling, and discoloration/darkening from use.

3040 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Drawers are tight from swelling and hard to open.

3041 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Bookcase is slightly wobbly. Missing one wooden peg to bottom shelf.

3042 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

3043 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Localized areas of light indentations, scratches, and nicks to the top.

3050 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Geode with inherent surface-reaching fractures, inclusions, and abrasions. Wood base with scattered scuffs, scratches, and nicks. Adhesive felt pads to underside.

3044 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. A 1” chipped loss to underside of one apron.

With base: 4” H x 11.125” W x 6.625” D

3046 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One with plastic bumpers to feet. One with more prominent scuffs/scratches to finish around perimeter of top.

3047 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Ball with areas of minor chipping/flaking to verdigris patination. Marble with inherent surfacereaching fractures, inclusions, and abrasions.

Adhesive felt pads to underside.

With base: 13” H x 4.5” W x 4.5” D 3048 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Adhesive pads to feet.

3049 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Wood base with minor scuffs and indentations.

Adhesive felt pads to underside.

With base: 6.25” H x 9.75” W x 5.75” D

With base: 7” H x 4.25” Dia. 3052 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Geode with inherent surface-reaching fractures, inclusions, and abrasions. Adhesive felt pads to underside.

With base: 3.25” H x 8” W x 5.5” D 3053 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3054 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3055 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

Condition Reports

3045 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

3051 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Geode with inherent surface-reaching fractures, inclusions, and abrasions. Adhesive felt pads to underside.

315

3056 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3057 Overall good condition with scattered minor scuffs, and inherent firing flaws commensurate with age.

Issues include, but are not limited to: scattered pinholing/imperfections to the glaze. Glaze with inherent crazing, normal for the glaze. Verso of plaque variously inscribed in pencil. No evidence of restorations or repairs under blacklight.

Frame: 14.125” H x 12” W x 1.5” D 3058 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

Condition Reports

3059 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

316

3060 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze; dark green daisy with localized areas of heavier scratches. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3061 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3062 Overall good condition with shelf wear, scattered minor scuffs and scratches, inherent firing flaws, and tarnishing commensurate with age. Issues include, but are not limited to: localized areas of heavier scratches to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3063 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections and ruptured air bubbles to the glaze. Evidence of a clear surface finish/coating along the rim with areas of wear it is chipping away from the actual glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3064 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze, and scattered ruptured air bubbles. Glaze with inherent crazing, normal for the glaze. Metal rim with light tarnishing/darkening and slightly out of round.

Bottom with a .5” drilled hole, possibly used as a lamp base. No evidence of repairs or restorations under blacklight.

3065 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze.

Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3066 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/ imperfections to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3067 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: localized areas of heavier scratches to the glaze.

Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3069 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered areas of heavier scratching to the glaze; possibly later-added engraved “V” symbol along bottom edge. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3075 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze; the black and pink pot with scattered ruptured air bubbles. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3076 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: minor pinholing to the glaze. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3070 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3077 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Art Deco trimmed vase with mounting putty residue to underside. No evidence of repairs or restorations under blacklight.

3071 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze.

Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3078 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze. No evidence of repairs or restorations under blacklight.

3072 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: recesses to the glaze/pinholing. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3079 Each overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age. Glass with no evidence of restoration or hairlines under illumination. Silk shades in fair to poor condition with scattered tears/rips and staining.

Lamps has been rewired. Wiring should be checked by a qualified electrician prior to use.

3073 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: each with scattered pinholing/imperfections to the glaze.

Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

3080 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation to bronze commensurate with age. No evidence of restoration or hairlines under illumination. Finial a marriage, not original. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

3074 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: pinholing to the glaze. No evidence of repairs or restorations under blacklight.

Condition Reports

3068 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing/imperfections to the glaze.

Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight.

317

3081 Overall good condition with shelf wear, scuffs, scratches, and oxidation to metal commensurate with age. Silvered metal fittings with scattered pitting from oxidation. The finial a possible marriage, not originally paired with lamp. Glass base with scattered chips along opening edges at top and bottom only visible when disassembled, not visible otherwise. No evidence of restoration or hairlines under illumination.

Shade with soiling/staining and lacking liner. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

3082 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Marble with inherent surface-reaching fractures, inclusions, and abrasions. Glass with no evidence of restoration or hairlines under illumination. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

3083 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation commensurate with age. Giltwood with scattered scuffs and chipped losses. Glass body with scattered inherent imperfections and ruptured air bubbles. No evidence of restoration or hairlines under illumination. Finial with loose flower. Shade with minor soiling/staining.

Wiring should be checked by a qualified electrician prior to use.

Condition Reports

3084 Each overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Each shade with scattered chips to the fitter rim; no evidence of restoration or hairlines under illumination. Bases slightly wobbly.

Lamps has been rewired. Wiring should be checked by a qualified electrician prior to use.

318

3085 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 21” W x 1.75” D

3086 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 19” H x 23” W x 1.5” D

3087 Visual: Generally good condition. Varnish discoloration throughout. A few artist’s pinholes near the outer edges and corners.

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

Frame: 23.5” H x 28.5” W x 1.75” D

3088 Visual: Generally good condition. Craquelure scattered throughout. A 5.5” light surface scratch in the sky upper right. Varnish discoloration throughout.

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

Frame: 14.5” H x 21.5” W x 2” D

3089 Visual: Generally good condition. Craquelure scattered throughout the sky and along the bottom edge. Minor surface dirt and grime.

Blacklight: A pea-sized spot of restoration upper center with a corresponding patch verso.

Frame: 27” H x 39” W x 1.5” D 3090 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 26.75” H x 32.75” W x 2.5” D

3091 Visual: Generally good condition. Craquelure throughout.

3096 Visual: Generally good condition. Craquelure scattered throughout.

Blacklight: Touch-up scattered throughout. Difficult to read under varnish.

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

3092 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 28” W x 2” D

3093 Visual: Generally good condition. Scattered craquelure.

Blacklight: Certain pigments fluoresce under blacklight, however these appear to be in the hand of the artist.

Frame: 28.75” H x 35” W x 2” D 3094 Visual: Generally good condition.

Frame: 17.5” H x 23.5” W x 1.25” D

3097 Generally good condition. Not examined out of the frame.

Frame: 14.75” H x 17.75” W x 2” D 3098 Visual: Generally good condition.

Blacklight: A few small spots of touch-up in the sky.

Frame: 19.25” H x 16.25” W x 1.75” D

3099 Visual: Generally good condition. Minor toning to the paper. Not examined out of the frame.

Frame: 19.25” H x 15.75” W x 1.25” D

Blacklight: No evidence of restoration under blacklight.

3100 Visual: Generally good condition. Slight surface dirt.

Frame: 31.25” H x 37.25” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

3095 Visual: Generally good condition. Small spots of paint loss in the center and upper center. Surface dirt and grime. Stretcher bar crease along the upper edge.

Frame: 12.75” H x 14.5” W x 1” D 3101 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 22.75” H x 26.75” W x 2.75” D

Frame: 17.75” H x 14.75” W x 1.5” D

Condition Reports

Frame: 46.5” H x 68.5” W x 2.5” D

319

3102 Visual of each: Generally good condition.

Blacklight of each: No evidence of restoration under blacklight.

Frame of larger: 17.25” H x 20.25” W x 1.25” D

3103 Generally good condition. Not examined out of the frame.

Frame: 20.5” H x 24.5” W x 2.25” D 3104 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases near all four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 29.5” H x 34.5” W x 2.25” D 3105 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Original shade with reproduction base and heat cap.

Approximately one glass panel with a crack. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

3106 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Two minor fleabites to fitter rim, scattered minor and unobtrusive fleabites to the bottom rim. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

320

3107 Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Central column with scattered scratches and wear to the patination with more prominent 7” scratch running vertically. With scattered areas of uneven texture to patination, possibly from being repatinated.

Has been rewired. Wiring should be checked by a qualified electrician before use.

3108 Overall good condition with shelf wear, scattered minor scuffs, oxidation to bronze, and inherent firing flaws commensurate with age. A 3” hairline in glaze to neck at rim. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

3109 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. Shade with light soiling/staining and breaks to hard liner. Wiring should be checked by a qualified electrician prior to use.

3110 Overall good condition with shelf wear, minor scuffs, inherent firing flaws, and oxidation to metal commensurate with age. Glaze with inherent crazing, normal for the glaze. No evidence of repairs or restorations under blacklight. Finial a possible marriage; final with small chip in ceramic at top.

Wiring should be checked by a qualified electrician prior to use.

3111 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. Has not been disassembled to check for a mark or factory assembly. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

3112 Overall fair condition with shelf wear, scuffs, scratches, dust accumulation, and oxidation to metal commensurate with age. Wear/darkening to gold finish. Minor bending to petals on sockets. One light socket disconnected and will not stay attached within housing, cannot support weight of shade, needs repair. Onyx with inherent surface-reaching fractures, inclusions, and abrasions. Each shade with no evidence of restoration or hairlines under illumination. Shades possibly by Steuben, appear to be period, but with no visible markings. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

Each fitter rim: 2.25” Dia.

3113 Overall good condition with shelf wear, minor scuffs, and oxidation with verdigris to bronze commensurate with age. Approximately two glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

3119 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

3114 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age.

Shade with verdigris. Approximately two glass panels with cracks. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

Frame: 30.5” H x 26.5” W x 3” D

3116 Overall good condition with shelf wear, minor scuffs, and oxidation with verdigris to bronze commensurate with age. Approximately twenty-one glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

3117 Overall good condition with wear, minor scuffs, and oxidation with verdigris to bronze commensurate with age. Approximately eight glass panels with cracks. Heat cap with small indentation to side.

Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

3118 Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age.

Shade possibly by Handel, but lacking any marking or “Handel” metal tag. Shade with approximately fifteen glass panels with cracks and scattered areas of possible repairs to lead. Lamp has been rewired.

Wiring should be checked by a qualified electrician prior to use.

3120 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.5” H x 15.5” W x 1.5” D

3121 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 11.75” H x 13.75” W x 1.5” D

3122 Generally good condition. Not examined out of the frame.

Frame: 21” H x 18” W x 1.25” D

3123 Visual: Generally good condition. Frame abrasion along the four edges. Minor canvas loss in the four corners.

Blacklight: No evidence of restoration under blacklight.

Frame: 24” H x 18” W x 2.75” D 3124 Visual: Generally good condition. A slight, peasized, reverse pressure mark left of center shows mostly in a raking light.

Blacklight: No evidence of restoration under blacklight.

Frame: 21.5” H x 25.25” W x 2” D

Condition Reports

3115 Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Shade with verdigris. Approximately three glass panels with cracks. Scattered loosening and rewelding of joins on woven net structure. Lamp has been rewired. Wiring should be checked by a qualified electrician prior to use.

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

321

3125 Visual: Generally good condition. Minor frame abrasion along the four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 71” H x 47” W x 1.5” D

3126 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 37.5” H x 25.5” W x 2.5” D

3127 Visual: Generally good condition. A light, scattered scuff mark upper right.

Blacklight: No evidence of restoration under blacklight.

Frame: 31” H x 37” W x 2.5” D

3128 Generally good condition. The full sheet with deckled edges. Pale mat staining verso. Remains of brown paper tape and blue, painter’s tape in each of the corners as well as at the center of the upper and lower sheet edges, verso.

Condition Reports

Frame: 32.25” H x 40.25” W x 1.5” D

322

3129 Generally fair to good condition. A pea-sized puncture, from verso to recto, near the right vertical edge. Artist’s pinholes in the four corners. Mat staining verso. The sheet taped to the overmat with masking tape along the top sheet edge and in one place at the lower sheet edge, verso.

Frame: 27.25” H x 32.25” W x .5” D

3130 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Varnish discoloration scattered throughout. A small verso indentation in the canvas upper left.

Blacklight: A 4” scattered line and a few small spots of touch-up upper center. A 1” line of touch-up in the lower right corner. A pea-sized spot of touch-up in the lower left corner.

Frame: 25.5” H x 19.5” W x 1.5” D

3131 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime.

Blacklight: Small spots of touch-up scattered throughout, the largest pea-sized.

Frame: 25.5” H x 37.5” W x 1.5” D

3132 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Small flecks of paint loss lower left, lower right and upper right.

Blacklight: Apparently a few spots of touch-up under blacklight. Difficult to read under varnish.

Frame: 22.5” H x 34.5” W x 2” D

3133 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges.

Blacklight: Touch-up in the four corners.

Frame: 23” H x 35” W x 2” D

3134 Visual: Generally good condition. A few tiny flecks of paint loss scattered throughout. Varnish discoloration throughout.

Blacklight: Small spots and lines of touch-up scattered throughout.

Frame: 22.75” H x 27.75” W x 1.5” D

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

Frame: 27.75” H x 31.75” W x 1.5” D

3136 Visual: Generally good condition. Craqueure throughout. A speck of paint loss at center. Stretcher bar creases near all four edges.

Blacklight: Scattered tiny touch-ups throughout, difficult to read under varnish.

Frame: 22.75” H x 35” W x 2” D 3137 Visual: Generally good condition. Varnish discoloration throughout. A small fleck of paint stuck to the varnish layer upper right.

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

Frame: 19.25” H x 27.25” W x 2.25” D

3138 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Varnish discoloration throughout.

Blacklight: Apparently a few spots of touch-up under blacklight. Difficult to read under varnish.

Frame: 27.25” H x 31.25” W x 1.5” D

3139 Visual: Generally good condition. A few tiny flecks of paint loss scattered throughout. Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout.

Frame: 18.5” H x 23” W x 2” D

3140 Each: Generally good condition. Slight surface soiling and some pale staining. Remains of old, dry, masking tape along the sheet edges verso.

The second example with old cellophane tape in the upper sheet corners. The sheets toned, most noticeably in the third example. The third example mounted to a support sheet.

Unframed 3141 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With faux-aged finish with imperfections and distressing.

3142 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Each with wear and craquelure to painted designs, areas of rubbed wear and darkening throughout, and matching horizontal abrasions at center of back posts.

3143 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: each with imperfections/thin spots to glaze along bottom rim underside; the turquoise with two inherent peasized holes on inside of rim dating to the time of manufacture.

3144 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

3145 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Scattered minor scuffs/abrasions and areas of cracking to papier mache surface. Brass with oxidation. Height measurement is height of sculpture, does not include any optional hanging chains of variable length.

Condition Reports

3135 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases and minor frame abrasion along the four edges.

323

3146 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cane with scattered areas of minor broken or lost strands, does not affect function or strength of weaving. Heavier wear, scratches, chipped losses, and shrinkage cracks at feet.

Has likely been refisinshed/sealed.

3153 Visual: Generally good condition. Minor surface dirt and grime.

3147 Overall good condition with scattered scuffs, scratches, and signs of wear commensurate with age.

Leather with scattered areas of wrinkling, scratches, discoloration, and soiling/staining commensurate with use, the largest an 11” x 7” area of yellow tinted discoloration to right arm.

3154 Visual: Generally good condition. Smalls flecks of paint loss scattered throughout.

Blacklight: Two tiny spots of touch-up upper center.

3148 Each overall good condition with scattered scuffs and scratches commensurate with age. Chair arms with heavier wear and slight discoloration.

3149 Overall good condition with scuffs, scratches, and areas rusting to iron commensurate with age. Very prominent rusting to underside of seat.

3150 Visual: Generally good condition. Surface dirt and grime scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 23.75” H x 27.75” W x 1.5” D

Condition Reports

3151 Visual: Generally good condition. Surface dirt and grime.

324

Blacklight: Scattered repairs and touch-ups showing mostly at the center right and near the upper left corner.

Frame: 22.5” H x 26.25” W x 2.5” D 3152 Visual: Generally good condition. A very light scuff mark upper right.

Blacklight: No evidence of restoration under blacklight.

Frame: 34” H x 40” W x 2” D

Blacklight: No evidence of restoration under blacklight.

Frame: 26.5” H x 30.5” W x 2” D

Frame: 20.5” H x 22.5” W x 1.5” D 3155 Visual: Generally good condition. A small hole in the canvas board upper center.

Blacklight: No evidence of restoration under blacklight.

Frame: 24.75” H x 26.75” W x 2” D 3156 Visual: Generally good condition. Craquelure throughout but showing mostly in the sky. Slight varnish discoloration showing in the sky. Stretcher bar creases along all four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 26.5” H x 32.5” W x 2” D 3157 Visual of each: Generally good condition. Minor surface dirt and grime. The second with spots of residue in the center.

Blacklight of each: No evidence of restoration under blacklight.

Frame of each: 7” H x 10” W x 1” D 3158 Visual: Generally good condition. A 1” line of craquelure upper right edge. Surface dirt and grime scattered throughout.

Blacklight: Two small spots of touch-up lower center.

A 2” area of touch-up upper right edge. Isolated spots of touch-up throughout the sky. The largest, a pea-sized spot upper right.

Frame: 24.25” H x 28.5” W x 2.5” D

3159 Visual: Generally good condition. Paint loss scattered throughout, concentrated mainly in the mountains.

Minor surface dirt and grime including residue drips down the center.

Blacklight: Two small spots of touch-up in the mountains upper left.

Frame: 23” H x 27” W x 1.75” D 3160 Visual: Generally good condition. Surface dirt and grime. Frame abrasions around all four edges and with attendant traces of the frame’s gold leaf. A pinhead-size paint loss near the center left edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 19” H x 22” W x 1.25” D

3164 Visual: Generally good condition. Light stretcher bar creases along the four edges.

Blacklight: No evidence of restoration under blacklight.

Frame: 29.5” H x 41.5” W x 2” D 3165 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 3166 Each: Generally good condition. Not examined out of the frame.

Frame of the larger: 24.5” H x 30.25” W x 1.25” D

Blacklight: No evidence of restoration under blacklight.

Frame: 9.5” H x 11.5” W x 1.25” D

3167 Visual: Generally good condition. Craquelure throughout the white pigments. Spots of paint loss scattered throughout the upper left quadrant.

Stretcher bar creases along the four edges. The canvas is slightly loose and rippled.

3162 Visual: Generally good condition. Varnish discoloration, surface grime and craquelure throughout. A few unobtrusive, pinhead-size, paint losses in the sky.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

3168

Frame: 15.5” H x 19.75” W x 1.75” D

Blacklight: Scattered touch-ups throughout, showing mostly at center and above.

3163 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Varnish discoloration throughout.

Some flaking to the varnish layer lower right.

Frame: 19.5” H x 19.5” W x 2.25” D

Blacklight: Small spots of touch-up scattered throughout. A 9” x 1” area of touch-up along the upper right edge.

Frame: 27.25” H x 31.25” W x 1.5” D

Frame: 22.25” H x 26.25” W x 1.5” D

Visual: Generally good condition.

3169 Overall good condition with scuffs, scratches, dust accumulation, and possible weathering commensurate with age. Finial is loose and does not attach properly. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

3161 Visual: Generally good condition.

325

3170 Overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age.

Marble with inherent surface-reaching fractures, inclusions, and abrasions. Areas of slight lifting to beaded chains where it is coming away from the figure at the waist. Adhesive felt pad to underside.

3171 Overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age.

Adhesive felt pad to underside.

3172 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 44.75” H x 33.75” W x 1.5” D

3173 No Lot 3174 Generally good condition. With full margins deckeld on all sides. The palest time staining at the exteme margin edges. A very soft and unobtrusive diagonal crease in the top right margin corner. The sheet is loose, not mounted.

Unframed 3175 Generally good condition. The full sheet deckled on all sides. Framed floating and hinged to the back mat. Not examined out of the frame.

3178 Generally good condition. Framed floating and hinged to the back mat in the upper corners.

Frame: 18.75” H x 19.5” W x 1.25” D 3179 Generally good condition. Full margins deckled all around. A .25” x .125” abrasion in the lower margin, to the left of the signature. Creasing at the tip of the top right margin corner. The sheet is loose, not mounted.

Unframed 3180 Generally good condition. Full margins deckled all around. The sheet is loose, not mounted.

Unframed 3181 Generally good condition. A minor crease to the upper right corner. Light, unobtrusive handling creases scattered throughout. Small scuffs to the paper scattered along the left edge. Not examined out of the frame.

Frame: 33.5” H x 26.5” W x 1” D 3182 Generally good condition. Full margins deckled all around. Slight paper toning throughout. Soft creasing across the bottom right margin corner.

Remains of old hinges in two places at the top margin edge verso. The sheet is loose, not mounted.

Unframed

Condition Reports

Frame: 44.5” H x 29.5” W x 1.5” D

326

3176 Generally good condition. Full margins deckled all around. A very pale stain in the lower margin at left, not affecting the image. Soft creasing at the tip of the top left margin corner. Old hinges at the verso of the margin corners. The sheet is loose, not mounted.

Unframed 3177 Generally good condition. With full margins deckled all around. The sheet is loose, not mounted.

Unframed

3183 Generally good condition. Not examined out of the frame.

Frame: 19.25” H x 22.5” W x 1” D

3184 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 45.75” W x 1.5” D

Frame: 42” H x 42.75” W x 2” D 3186 Generally good condition. Not examined out of the frame.

Frame: 22” H x 17” W x 1.25” D 3187 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Likely refinished with areas of craquelure to varnish.

Cabinet door loose, detached from bottom hinge with cracks/splits to door around hinge. Includes key.

3188 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear and scratches to feet. Upholstery with minimal signs of wear.

3189 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Table likely refinished with raised grain to top, scattered indentations and nicks along edge from use; legs with heavier scratches and scuffs; one foot lacking bumper. Each chair with scattered minor scuffs and scratches to legs; minor evidence of soiling/staining to cushions, one with more prominent soiling with darkening.

Table with leaves up: 29.25” H x 60” Dia. Each side chair: 32.5” H x 19” W x 21” D Each armchair: 32.5” H x 22” W x 21” D 3190 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Seat with localized areas of heavier scratches. Original fabric seat liner with staining/soiling and coming away from seat. Chrome with oxidation and pitting.

3191 Each overall good condition with scattered scuffs and scratches commensurate with age. Aluminum frame with spots of oxidation/rust and scattered indentations. Upholstery with scattered minor soiling/staining and minor holes from wear commensurate with use. Measurements reflect upright seat position.

3192 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Has been previously professionally restored, both refinished and reupholstered, though with scattered scuffs and scratches acquired post-restoration.

Heavier scuffs and scratches to feet.

3193 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Heavier scuffs and scratches to underside. Height measurement is with handle up. No evidence of restoration or hairlines under illumination.

3194 Overall good condition with minor scuffs and scratches commensurate with age. The front glass panel with minor chips to each bottom corner.

Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

3195 Overall good condition commensurate with age.

Scattered unobtrusive surface imperfections and wear/splits to silver leaf, likely inherent to the original manufacture process. Occasional minor surface dirt.

3196 Overall good condition with minor scuffs, scratches, and oxidation to metal commensurate with age.

Height measurement is from bottom of arms to top of canopy with hanging chain at pre-set length, lenght is variable. Various glass shades loose, one removable. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

3185 Generally good condition. Not examined out of the frame.

327

3197 Overall good condition with minor scuffs, dust accumulation/weathering, and oxidation to iron commensurate with age. One light socket currently inoperable and needs to be rewired. Height measurement is from the bottom of arms to top of column, does not include the variable length of the hanging chain. Wiring should be checked by a qualified electrician prior to use.

3198 Overall good condition with scattered scuffs, scratches, light oxidation, and pitting commensurate with age.

3199 Overall good condition with scattered scuffs, scratches, oxidation, and pitting commensurate with age.

3200 No Lot 3201 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One shelf with chip to corner. Lower right area of black molding with more prominent scuffs.

Condition Reports

3202 Overall good condition with scattered scuffs, scratches commensurate with age. Chrome elements with areas of oxidation/pitting throughout and scattered minor indentations. Glass panels with scattered visible areas of lifting/separation from purple laminate. Various pulls tabs slightly loose and have been previously reattached.

328

3203 Overall good condition with light scuffs and dust accumulation commensurate with age. Areas of pulled fibers.

3204 No Lot 3205 No Lot 3206 No Lot

3207 Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Leather with scattered areas of minor wear to surface and cracking/drying. Does not appear to have any loose weaves or unraveling. Heavier scratches to feet.

3208 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Leather with minimal scuffs/scratches and signs of wear.

3209 Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear and scratches to feet. Metal footrests with oxidation and pitting. Seat upholstery in need of repair, each seat with fading, holes, and losses to the weft.

3210 Overall good condition with minor scuffs and scratches commensurate with age.

3211 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat.

Not examined out of the frame.

Frame: 48.5” H x 55” W x 1” D

3212 Generally good condition. Not examined out of the frame.

Frame: 43.25” H x 57.75” W x 2” D

3213 Generally good condition. The full sheet with deckled edges. Very minor surface soiling. An unobtrusive, . 25” surface scrape near the top right corner. The sheet is floating, mounted to the back mat.

Unframed

3215 Toning to the paper. Foxing, staining to the paper and scuff marks scattered throughout. Hinged to the back mat with artist’s tape along the upper edge.

Frame: 18” H x 17.5” W x 1” D 3216 Each: Generally good condition. Toning to the paper.

Minor spots of scuffing to the paper scattered throughout. The first: Two small losses to the paper upper left edge.

Frame of first: 17” H x 14” W x 1.5” D Frame of second: 13.25” H x 16.25” W x 1.25” D 3217 Visual: Generally good condition. Fine craquelure and varnish discoloration throughout. Stretcher bar creases on all sides.

Blacklight: Scattered touch-ups throughout, the largest 6.5” x 3.5” to the left of the figure’s face.

Frame: 35” H x 28” W x 2” D 3218 Visual: Generally good condition. Surface dirt and grime. Craquelure throughout. Stretcher bar creases along all four edges.

3220 Visual: Generally good condition. The varnish layer slightly puckered throughout, visible mostly in a raking light. Surface dirt and grime recto and verso.

Occasional scattered surface scuffs in the lower quadrant, the longest approximately 1.5.” An old, random piece of masking tape verso wraps around the panel at the upper edge, just barely affecting .75” of the upper edge.

Blacklight: Apparently no evidence of restoration under blacklight, difficult to read under varnish.

Unframed 3221 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. Minor frame abrasion along the four edges. A small puncture in the canvas with paint loss lower center. The canvas is loose and slightly rippled along the upper edge.

Blacklight: Touch-up scattered throughout, the largest a 1.5” x .5” area in the crest of the cockatoo with corresponding patch verso.

Frame: 58.25” H x 48.25” W x 1.5” D 3222 Visual: Generally good condition. Craquelure throughout. Surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Blacklight: A few small areas of touch-up at the lower right, the largest approximately 1” x .5”

Frame: 26” H x 22” W x 2” D

Frame: 36” H x 30” W x 2” D

3223 Generally good condition. A series of tiny gouges to the paper along the lower edge and four along the right edge.

3219 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. The canvas is loose and rippled in the upper left corner. A pea-sized spot of scattered paint loss lower center.

Blacklight: Touch-up scattered throughout, the largest quarter-sized.

Frame: 43.5” H x 40.5” W x 1.5” D

Frame: 40.5” H x 31.25” W x 1.5” D 3224 Visual: Generally good condition. A 1.5” crescentshaped scuff mark upper left.

Blacklight: No evidence of restoration under blacklight.

Unframed

Condition Reports

3214 No Lot

329

3225 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

3234 No Lot

Frame: 17.5” H x 21.25” W x 1.5” D

3235 Overall good condition with scuffs and dust accumulation commensurate with age.

3226 No Lot

3236 No Lot

3227 Visual: Generally good condition. With wood supports and panel backing.

3237 In overall good condition with light scratches and tarnish commensurate with age and use.

Blacklight: No evidence of restoration under blacklight.

Unframed 3228 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

3238 In overall good condition with light scratches commensurate with age and use. A few tiny flea bites to one side of drop.

3239 Overall good condition with light tarnish and scratches commensurate with age and use. Some flaking of enamel on reverse at linkage points. Minor compression to a few silver spacers.

Unframed 3229 No Lot 3230 No Lot 3231 Overall good condition with minor scuffs, scratches, and inherent surface imperfections commensurate with age.

3240 Overall good condition with some scratches and tarnishing commensurate with age.

3241 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

3242 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Condition Reports

Unframed.

330

3232 Overall: Generally good condition. Quarter-sized spot of discoloration to right front leg. Canvas: Generally good condition.

Canvas Blacklight: No evidence of restoration under blacklight.

3233 No Lot

3243 Overall good condition with small scratches and tarnishing commensurate with age. Tumbled stones with scattered abrasions and surface-reaching fractures.

3244 Each in overall good condition with tarnishing and scratches commensurate with age and wear. Surface grime present in areas.

3245 Each in overall good condition with scratches and light tarnish commensurate with age and use.

3255 Each in overall good condition with tarnishing and light scratches commensurate with age.

3246 In overall good condition with light tarnish and scratches commensurate with age and use.

3256 Overall good condition with tarnishing and light scratches commensurate with age and use.

3247 Overall good condition with tarnishing and light scratches commensurate with age. The stone with eye-visible inclusions.

3257 Each in overall good condition with tarnishing and light scratches commensurate with age. The bracelet with glue to the link hinges.

3248 Each in overall good condition with tarnishing and light scratches commensurate with age. Minor bends to the prongs at the fold.

3258 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions. One stone with a chip to one edge.

3249 Each in overall good condition with light tarnishing and scratches commensurate with age.

3259 Overall good condition with tarnishing and light scratches commensurate with age and use. Scattered stones with abrasions. One stone with a fracture to the surface.

3251 Each in overall good condition with tarnishing and light scratches commensurate with age. Two dents to the top of the bracelet, the pattern is squished as a result.

3252 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions and chips. Stones with typical, natural eye-visible inclusions and surface-reaching fractures.

3253 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with minor abrasions and chips. One earring with a crack to the obsidian extending partway into the stone.

3254 Overall good condition with tarnishing and light scratches commensurate with age.

3260 Each in overall good condition with light tarnishing, and scratches commensurate with age. The amethysts with typical, natural eye-visible inclusions and surfacereaching fractures. Scattered stones with abrasions.

3261 Overall good condition with tarnishing and light scratches commensurate with age. Some button backs with minor bends.

3262 Each in overall good condition with tarnishing and light scratches commensurate with age and use.

3263 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions.

3264 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered enamel panels with abrasions. One bangle off round.

Two safety chains detached or broken. One bracelet with broken enamel panels throughout.

Condition Reports

3250 In overall good condition with light tarnish and scratches commensurate with age and use. Stone with scattered abrasions.

331

3265 Overall good condition with scratches and tarnishing commensurate with age and use. The stone is unpolished on back side and has typical natural eyevisible inclusions and surface-reaching fractures.

3274 Each in overall good condition with light scratches and tarnish commensurate with age and use. Pink shell and bone ring has small crack to one side of bone.

3266 Overall good condition with light scratches and tarnishing commensurate with age and use. A fracture to one side of the beryl stone.

3275 Each in overall good condition with light scratches and tarnish commensurate with age and use.

Scattered beads with abrasions. Light wear to cords.

One necklace missing clasp and signature tag.

3267 Each in overall good condition with light scratches and tarnish commensurate with age and use.

Scattered stones with minor abrasions, surface reaching fractures and visible inclusions. The Danish pendant has minor glue residue on one side.

3268 In overall good condition with light scratches and tarnish commensurate with age and use. Scattered stones with abrasions.

3269 Each in overall good condition with light tarnishing and scratches commensurate with age and wear.

Fossil ring has slight indent at top edge where silver follows line of fossil shape.

Condition Reports

3270 Each in overall good condition with light tarnish and scratches commensurate with age and use. Scattered stones with minor abrasions and inclusions. The carved green stone is slightly loose in its setting.

332

3271 Each in overall good condition with scratches and tarnish commensurate with age and use. Some have minor areas of surface grime. Purple stone has minor surface abrasions.

3272 Each in overall good condition with light tarnish and scratches commensurate with age and use.

3273 Each in overall good condition with scratches and tarnish commensurate with age and use.

3276 Each in overall good condition with light scratches and tarnishing commensurate with age and use.

Each with scattered stones with abrasions. Rain cloud necklace is slightly bent at top left of plaque and has one missing small drop. Abstract stone pendant has minor chips to one side.

3277 Each in overall good condition with light scratches and tarnishing commensurate with age and use.

3278 Each in overall good condition with tarnishing and light scratches commensurate with age. The necklace with crazing and hairline fractures to scattered enamel panels with corresponding nicks. The brooch with wear to the enamel around the nose and mouth.

3279 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered enamel with abrasions and minor crazing. Scattered minor losses to some enamel panels throughout.

Scattered enamel panels with total losses.

3280 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions. Stones with typical, natural eye-visible inclusions and surface-reaching fractures.

The hinge is slightly loose.

3281 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Necklace has fleabite loss to enamel at jawline.

3282 Each in overall good condition with light tarnishing, scratches commensurate with age and use.

3283 Each in overall good condition with light tarnishing and scratches commensurate with age.

3291 Each in overall good condition with minor scratches commensurate with age and use. A few have a minor flea bite chip to the inside edge. One enamel bracelet has a minor area of missing enamel.

3284 Each in overall good condition with light scratches and tarnish commensurate with age and use.

Armband has scattered stones with minor abrasions and chips.

3285 Each in overall good condition with scratches and tarnish commensurate with age and use. Stone with scattered abrasions, inclusions and surface-reaching fractures.

3286 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered abrasions. Pendant lacking central stone. One element of necklace detached and retained.

3287 Each in overall good condition with light scratches and tarnish commensurate with age and use.

3289 Each in overall good condition with light tarnishing and scratches commensurate with age. Stone with scattered abrasions.

3290 Each in overall good condition with scratches and tarnish commensurate with age and use.

Condition Reports

3288 Each in overall good condition with scratches and tarnish commensurate with age and use. Small areas of surface grime in places. Silver chain has minor bend to link edge nearest hook closure. This link also has a loose wire holding the stone. Tumbled natural stones with matrix and scattered abrasions.

333

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

SPECIALISTS

Head of Sale, Western, American Indian Specialist Maranda Moran Senior Vice President, Fine Art Director Morgana Blackwelder AAA Fine Art Cataloguer Anne Spink Furniture & Decorative Arts Cataloguer Shannon Dailey Fine Art Administrator Angela Bryant Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz 20th Century Design Specialist John Simon Taylor Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen 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.

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: A Tiffany Studios “Arrowroot” table lamp

Price Realized: $42,250

SINCE 1969

AUCTIONEERS & APPRAISERS 338

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SINCE 1969

AUCTIONEERS & APPRAISERS

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