California & American Fine Art — May 10, 2022 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, May 10, 2022

SINCE 1969

AUCTIONEERS & APPRAISERS

Tuesday, May 10, 2022—12pm Sale 210 145 East Walnut Avenue, Monrovia, CA 91016 Previews: Friday, May 6th: 12-4pm Saturday, May 7th: 12-4pm Monday, May 9th: 12-4pm Or by appointment

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

Jeff Moran President Fine Art Specialist jeff@johnmoran.com

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

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

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Grant Wood

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Grant Wood is perhaps best known as the painter of “American

Gothic,” an iconic example of Midwestern Regionalist painting that is today held by the Art Institute of Chicago. Wood was born in 1891 in Iowa, but spent the formative years of his youth in Cedar Rapids, Iowa. As a young student, he began submitting work to local art competitions before vowing to become a professional artist. Wood’s first visit to Europe took place in 1920, and he returned in 1923 to take classes at the Académie Julian in Paris. Through this time he expanded on his impressionist style of painting but upon his return to the United States, would later abandon this style in the late 1920s for the more precisely detailed and realistic manner of painting for which he is known today. Grant Wood would become one of the foremost artists of the Regionalist movement, joining the likes of influential artists such as Thomas Hart Benton and John Steuart Curry. In 1934, Wood began teaching at the University of Iowa in Iowa City as an assistant professor of fine arts. This would be his final resting place, as he passed away in Iowa City on February 12, 1942. Today, his works can be found in some of the most prestigious collections in the United States such as the Art Institute of Chicago, The Metropolitan Museum of Art in New York, The National Gallery of Art in Washington D.C, and the Los Angeles County Museum of Art.

Grant Wood

(1891-1942, Cedar Rapids, IA) “March,” 1939 Lithograph on paper under glass From the edition of 250; signed in pencil lower right: Grant Wood; Associated American Artists, pub., and with their printed information card affixed to the backboard of the frame Image: 8.875” H x 11.75” W; Sheet: 12” H x 15.875” W $2,000-3,000 Provenance: Property from a Private Southern California Estate Literature: Cole 14

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Thomas Hart Benton (1889-1975, Kansas City, MO)

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orn and raised in Neosho, a rural farm town in southwest Missouri, Thomas Hart Benton grew up accompanying his father on political campaigns. By the time he was 18, Benton had become a talented commercial illustrator, and moved to Illinois after enrolling in the Art Institute of Chicago in 1907. He would continue his studies a year later in Paris at the Académie Julian. Benton’s upbringing would go on to be a major influence in his work. His paintings, lithographs, and murals often depict rural farm life, many with political undertones, highlighting the life and struggle of the rural working class. It was Benton’s vision to provide an image of the American people often overlooked in history, and create work that he felt the average American could appreciate. Later in his career, Thomas Hart Benton went on the teach at the Art Students League in New York from 1926-1935, with one of his most famous students being Jackson Pollock. On January 19, 1975, shortly after completing a mural for the Country Music Hall of Fame in Nashville, Tennessee, Benton died of a heart attack at the age of 85.

Thomas Hart Benton

(1889-1975, Kansas City, MO) “Nebraska Evening,” 1941 Lithograph on paper under glass From the edition of 250; signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub., and with their printed information card affixed to the frame’s backing paper Image: 10” H x 13” W; Sheet: 12” H x 15” W $1,000-2,000 Provenance: Property from a Private Southern California Estate Literature: Fath 45 Notes: The alternate title for this lithograph is “Arkansas Evening.”

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Thomas Hart Benton

(1889-1975, Kansas City, MO) “The Corral,” 1948 Lithograph on wove paper From the edition of 250; signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub. Image: 9.625” H x 13.75” W; Sheet: 12” H x 16” W $1,000-2,000 Provenance: Property from a Private Southern California Estate Literature: Fath 71

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Thomas Hart Benton

(1889-1975, Kansas City, MO) “Haystack,” 1938 Lithograph on paper under glass From the edition of 250; signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub. Image: 10.125” H x 12.75” W; Sheet: 11.625” H x 14” W $1,000-2,000 Provenance: Property from a Private Southern California Estate Literature: Fath 21

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Thomas Hart Benton

(1889-1975, Kansas City, MO) “Goin’ Home,” 1937 Lithograph on wove paper, watermark Rives From the edition of 250; signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub. Image: 9.375” H x 11.875” W; Sheet: 11.875” H x 16” W $1,000-2,000 Provenance: John Moran Auctioneers, Pasadena, CA, April 17, 2012, Lot 1194 Property from a Private Southern California Estate, acquired from the above Literature: Fath 14

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Thomas Hart Benton

(1889-1975, Kansas City, MO) “The Fence Mender,” 1940 Lithograph on paper under glass From the edition of 250; signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub. Image: 9.875” H x 13.875” W; Sheet: 11.5” H x 15.5” W $1,000-2,000 Provenance: Property from a Private Southern California Estate Literature: Fath 40 Notes: This lot is accompanied by its original Associated American Artists information card.

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Gustave Baumann (1881-1971, Santa Fe, NM)

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Gustave Baumann immigrated with his family to the United States from

Germany in 1891 when he was ten years old. Shortly after their arrival in America, his family moved to Chicago to start a new life. Five years later, Baumann became an apprentice at a commercial engraving and printing company. This experience ended up serving as the impetus for his career as a fine artist. Baumann eventually took night classes at the Art Institute of Chicago before establishing his own engraving business in 1901. Around 1910, Baumann began producing the type of woodcuts for which he is now well-known. Several of his prints were featured in the 1915 Panama Pacific International Exposition, where he won a gold medal for Prints and an honorable mention for Color Woodcuts. Later, his works circulated around the country with traveling exhibitions sponsored by organizations such as the American Federation of the Arts and the National Association of Women’s Clubs. Baumann continued to produce prints throughout his lifetime, before dying in Santa Fe in 1971 at age ninety.

Gustave Baumann

(1881-1971, Santa Fe, NM) “Pine and Aspen,” 1920 Color woodcut on cream laid paper, watermark the artist’s hand-in-heart, under glass Signed: Gustave Baumann, together with the artist’s hand-in-heart orange ink stamp, and titled and inscribed “III 90-125, 1946,” all in pencil in the lower margin Image: 12.875” H x 12.75” W; Sheet: 17” H x 14.25” W $10,000-15,000 Provenance: Property from a Private Southern California Estate Literature: Acton 88

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Gustave Baumann

(1881-1971, Santa Fe, NM) “Cordova Plaza” 1943 Color woodcut on paper in original printed paper display-folder, as issued From the edition of 200; signed and titled in pencil in the lower margin: Gustave Baumann; Torch Press, Cedar Rapids, IA, prntr.; The Woodcut Society, Kansas City, MO, pub. Image: 7.75” H x 7.875” W; Sheet: 13.25” H x 11.375” W $2,000-3,000 Provenance: Property from a Private Southern California Estate Notes: This image is often called “Cordova Plaza (New Mexico).” An essay by George William Eggers is printed on the verso of the display-folder, as issued.

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Frank Tenney Johnson

(1874-1939, Los Angeles, CA) “A Rocky Southwest Landscape” Oil on board Appears unsigned; the artist’s estate label and number, verso 16” H x 11.75” W $2,000-3,000 Provenance: Sold: Bonhams, California, February 9, 2014, Lot 7021 Private Collection, California, acquired from the above Notes: The artist’s estate label, signed by fellow artist William P. Krehm, is affixed verso. The number 748 is also affixed verso.

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Frank Tenney Johnson

(1874-1939, Los Angeles, CA) “Desert Study” Oil on Masonite Appears unsigned; the artist’s estate label and number, verso 12” H x 16” W $2,000-3,000 Provenance: Sold: Bonhams, California, May 11, 2014, Lot 4043 Private Collection, California, acquired from the above Notes: The artist’s estate label, signed by fellow artist William P. Krehm, is affixed verso. The number 758 is also affixed verso.

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Cornelis Botke

(1887-1954, Santa Paula, CA) “New Mexico” (Ortiz Mountains near Santa Fe), c.1932 Oil on canvas laid to Masonite Signed lower right: Cornelis; titled verso 20” H x 26” W $3,000-4,000

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Thaddeus Welch

(1844-1919, Santa Barbara, CA) “Going To Market,” 1890 Watercolor on paper under glass Signed and dated lower left: Thad Welch; titled on a label affixed to back of framing paper Sight: 12” H x 18.75” W $3,000-5,000 Provenance: Property from a Private Southern California Estate

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Frank Coburn

(1862-1938, Santa Ana, CA) “Still Life with Corn,” circa 1910-15 Oil on board Signed lower right: Frank Coburn; titled and dated on a gallery label affixed to the backboard of the frame 16” H x 20” W $2,000-3,000 Provenance: Orr’s Gallery, San Diego, CA Private Collection, Los Angeles, CA Sold: John Moran Auctioneers, Pasadena, CA, June 17, 2003, Lot 120C

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Glenn Dean

(b. 1976, Santa Fe, NM) “Sandstone Fortress,” 2008 Oil on linen Signed lower left: G. Dean; signed again, titled and dated on the stretcher and on gallery labels affixed verso 20” H x 30” W $8,000-12,000 Provenance: Michael Wigley Galleries, Ltd., Santa Fe, NM Sold: Altermann Galleries & Auctioneers, Santa Fe, NM, August 10-11, 2018, Lot 152 Private Collection, California, acquired from the above Notes: Glenn Dean discovered his interest in American landscape painting in his early twenties after finding inspiration in the works of artists like Maynard Dixon and Edgar Payne. Largely a self-taught artist, Dean paints his landscapes on location in deserts, mountain ranges, and in coastal regions of the Southwest. Dean’s work has twice appeared on the cover of “Western Art Collector” magazine as well as numerous other publications. Dean currently lives and works along California’s Central Coast.

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Charles Arthur Fries

(1854-1940, San Diego, CA) Desert landscape, 1936 Oil on burlap laid to waxed canvas Signed and dated lower right: CA Fries 33.25” H x 48” W $3,000-5,000

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Gunnar Widforss

(1879-1934, Grand Canyon, AZ) “Mountain Landscape,” 1928 Watercolor on paper under glass Signed and dated lower left: Widforss; titled by repute 10” H x 14” W $3,000-5,000 Provenance: Property from a Private Southern California Estate

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Birger Sandzen

(1871-1954, Lindsborg, KS) Trees in mountain landscape-Granada, 1905 Oil on canvas Signed, dated and inscribed lower left: Birger Sandzen / Granada 19” H x 13” W $3,000-5,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, June 19, 2001, Lot #160B Property from a Private Southern California Estate, acquired from the above

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William Louis Otte

(1871-1957, Santa Barbara, CA) “Spring on the Desert - Antelope Valley, California,” 1922 Pastel on paper under glass Signed and dated lower right: William Louis Otte; signed, titled and dated again, and inscribed, “Golden Poppies and Wild Blue Penstemon,” in pencil on the back panel Sight: 21.5” H x 27.5” W $4,000-6,000

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William Alexander Griffith

(1866-1940, Laguna Beach, CA) Indian Wells landscape, 1922 Oil pastel on paperboard under glass Signed and dated lower left: W. A. Griffith Sight: 15” H x 19” W $3,000-5,000 Provenance: Artist’s Estate W.R. Jones, acquired from the above via the artist’s son, J.N. Griffith, 1957 Notes: A letter on J. N. Griffith’s personal stationery, signed “Nelson,” dated May 31, 1957, and attached to the frame’s backing paper, reads: “To W. R. Jones / In appreciation of your guidance / and advice during the past eighteen years. / Sand Dunes near Indian Wells in / Coachella Valley, the Little San / Bernardino Mountains are in the / background.”

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Dedrick Brandes Stuber

(1878-1954, Los Angeles, CA) “Near Red Rock Canyon” Oil on Masonite Signed lower right: Dedrick B. Stuber; titled on the frame plaque 20” H x 24” W $2,500-3,500

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Paul Grimm

(1891-1974, Palm Springs, CA) “Desert Slopes” Oil on canvas Signed lower left: Paul Grimm; signed again and titled verso 24” H x 30” W $3,000-4,000

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Paul Grimm

(1891-1974, Palm Springs, CA) “At the Foot of San Jacinto” Oil on canvas Signed lower right: Paul Grimm; signed again and titled verso 28” H x 36” W $3,000-5,000 Provenance: Kerwin Galleries, Burlingame, CA, #C1203

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Fred Grayson Sayre (1879-1939, Glendale, CA)

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Following a successful career in Chicago as a pen-and-ink illustrator, the

artist Fred Grayson Sayre relocated to California in 1915 with the hope of recovering from a severe case of diphtheria. Working in Glendale, Palm Springs, and Thermal, Sayre became an artist of some renown in the California art scene within a few years of his arrival in the Golden State. His works were exhibited in San Francisco at the Bohemian Club, and in Southern California at the Glendale Chamber of Commerce. In 1923, Sayre co-founded the Painters and Sculptors Club with the renowned artist Joseph Kleitsch and began a term as its President in 1929. Sayre painted images of the Coachella Valley, such as Mt. San Jacinto, throughout the time he spent working in California. At a talk given in 1926, Sayre remarked of the area: “There is something in the desert that meets the call of the artist. I have spent four months at a time in the Coachella Valley and it is always different. I sought for years to depict the mountain haze which adds as much to the western picture, as perfume does to the rose. Clear mountains can be painted easily, but painting the haze has been difficult. I feel a message in the vast, lonely spaces and that is what I am struggling to put into the picture.” Sayre died in Glendale in 1938 at the age of fifty-nine.

Fred Grayson Sayre

(1879-1939, Glendale, CA) “Mt. San Jacinto” Oil on canvas laid to canvas Signed and inscribed lower right: F. Grayson Sayer / Indio, Calif; titled verso 28.5” H x 36” W $3,000-5,000 Provenance: Property from a Private Southern California Estate

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Fred Grayson Sayre

(1879-1939, Glendale, CA) “Gila Mountain” Gouache on artist board under glass Signed and inscribed lower right: F. Grayson Sayer / Arizona; titled in pencil on the verso of the board 10” H x 14.75” W $2,000-3,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 24, 1995, Lot 27A Property from a Private Southern California Estate, acquired from the above

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Fred Grayson Sayre

(1879-1939, Glendale, CA) Landscape with snow-capped mountains Oil on canvas laid to Masonite Signed lower left: F. Grayson Sayre 25” H x 30” W $2,000-3,000

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Gene Speck

(b. 1937, Dayton, NV) “Living off the Land,” 1988 Oil on Masonite Signed and dated lower right: Gene Speck; titled on a label affixed to the verso of the frame 18.5” H x 24.375” W $3,000-5,000

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Gene Speck

(b. 1937, Dayton, NV) “Mauve Overcast,” 1988 Oil on Masonite Signed and dated lower left: Gene Speck; signed again and titled on the frame’s backing paper 12” H x 15.75” W $2,000-3,000

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Michael Coleman

(b. 1946, Provo, UT) Crow buffalo hunters, 1976 Oil on board Signed and dated lower left: Michael Coleman © Sight: 19.25” H x 29.25” W $7,000-9,000

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Tom Darro (b. 1946, American)

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orn in Chicago, Illinois, Tom Darro received artistic training from his father, who was a renowned religious illustrator and sculptor. After serving in the United States Navy Air Corp, Darro continued his studies with the European-trained artist Glen Vilppu - the head of the drawing department at the Art Center College of Design in Pasadena, California. Darro has lived and worked in the Southwest for the past 30 years, developing a unique style of painting inspired by a reverence for the land’s native people and traditions. His work has appeared in several leading Western art magazines published in the United States, including “Southwest Art” and “Art of the West”.

Tom Darro

(b. 1946, American) “Everything Ritual” Oil on canvas Signed lower left: Tom Darro and with the artist’s copyright; titled by repute 42” H x 24” W $6,000-8,000

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Conrad Buff

(1886-1975, Laguna Hills, CA) “Modern Purple Mountain” Oil on board Signed lower right: Conrad Buff; titled on a gallery label affixed verso 16.75” H x 24.5” W $2,000-4,000 Provenance: George Stern Fine Arts, West Hollywood, CA

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Gary Ernest Smith (b. 1942, Highland, UT)

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Gary Ernest Smith was born in Baker City, Oregon in 1942, which was

a town set in a rural area of the Columbia Plateau. After studying at Eastern Oregon College and Brigham Young University, the high desert region where Smith grew up would prove to be an endless source of artistic inspiration. Throughout his career, Smith had the opportunity to travel and study the works of both European and Southwestern artists that would later inform his own artistic practice. His work, frequently characterized as Regionalist in character, has often been described in terms of its relation to paintings by artists such as Maynard Dixon, Thomas Hart Benton, and Grant Wood. Smith served as the director of the Brigham Young University art gallery for three terms, and his work has been the subject of numerous solo and traveling exhibitions held across the country. Today, he lives and works in the state of Utah.

Gary Ernest Smith

(b. 1942, Highland, UT) “Barn Shape Silhouette” Oil on canvas Signed lower right: Gary Ernest Smith; signed again and with the artist’s copyright, and titled, on the stretcher 36” H x 40” W $7,000-9,000

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Gary Ernest Smith

(b. 1942, Highland, UT) “Barn in Low Light” Oil on linen Signed lower right: Gary Ernest Smith; signed again and with the artist’s copyright, and titled on the stretcher 40” H x 60” W $10,000-15,000 Provenance: Overland Gallery of Fine Art, Scottsdale, AZ

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Herman Maril

(1908-1986, Baltimore, MD) “Hilltop” Oil on canvas Signed lower right: Herman Maril; signed again and titled on the stretcher 28” H X 40” W $4,000-6,000

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Betty Anglin Smith

(b. 1946, Charleston, SC) “Salt Marsh VII,” 1994 Oil on canvas Signed lower left: Anglin Smith; signed again, titled, dated and numbered verso: #9408 36” H x 46” W $5,000-7,000 Exhibitions: The Wells Gallery, Charleston, SC, March 1995.

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Betty Anglin Smith

(b. 1946, Charleston, SC) “Summer House,” 1992 Oil on canvas Signed lower left: Anglin Smith; signed again, titled, dated and numbered verso: #9256 40” H x 40” W $5,000-7,000

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Dorr Bothwell

(1902-2000, Mendocino, CA) “Bird Refuge No. 3: The Gleaners,” 1957 Oil on canvas Signed and dated lower right: Bothwell 28” H x 42” W $3,000-5,000

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Si Chen Yuan

(1911-1974, Monterey, CA) Abstract figural Oil on canvas Signed lower right: S.C. Yuan 55.75” H x 46.25” W $4,000-6,000

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Phil Dike

(1906-1990, Claremont, CA) “North Coast #10,” 1959 Watercolor, gouache, and ink on paper under Plexiglas Signed lower right: Phil Dike; titled and dated on a collector’s label affixed verso Sight: 21.5” H x 27.5” W; Sheet: 22.25” H x 28” W $5,000-7,000 Provenance: The E. Gene Crain Collection, Laguna Beach, CA, Private Collection, Orange County, CA

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Phil Dike

(1906-1990, Claremont, CA) “Dory Fleet, Newport Beach, CA,” 1927 Watercolor on paper under Plexiglas Signed and indistinctly dated 6/3/27 in pencil at lower left: Dike; titled by repute 10” H x 13.875” W $3,000-4,000

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Emil Kosa Jr.

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Born in Paris, France in 1903, Emil Kosa Jr. was trained in

both music and art during his formative years. As a teenager, Kosa chose to pursue his artistic studies over a musical career before moving to California in 1920. Although Kosa would return to France on several occasions to further his artistic training, he became enmeshed in the fabric of the California art scene over time. After spending several years working as a mural and decorative artist, Kosa began shifting his interest towards watercolor painting in the early 1930s. With the encouragement of fellow artist Millard Sheets, Kosa began producing watercolors in earnest which led to him becoming the President of the California Watercolor Society in 1945. To support his family financially, Kosa worked as a scenic artist at Twentieth Century Fox Studios for thirty-five years; however, he also managed to maintain a studio practice and produced work until his death in 1968.

Emil J. Kosa Jr. NA

(1903-1968, Los Angeles, CA) “Hermosa Beach” Watercolor on paper under glass Signed lower right: Emil Kosa Jr.; signed again and titled on a very small piece of old backing paper partially attached to frame verso Image: 14.75” H x 21.5” W; Sheet: 15.75” H x 22.375” W $5,000-7,000

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Rex Brandt NA

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orn in Southern California in 1914, the artist Rex Brandt began his artistic studies at the Chouinard Art Institute while he was only fourteen and still in junior high school. After pursuing his arts education at Riverside Junior College, Brandt moved to Northern California to study at the University of California (Berkeley) with the well-regarded artist John Haley. Upon his return to Southern California following the completion of his studies, Brandt became an integral member of a small core group of watercolorists known for their vibrant depictions of life in the rapidly developing state. In 1947, Brandt and the artist Phil Dike established the Brandt-Dike Summer School of Painting in Corona Del Mar, where he taught summer classes on watercolor painting for thirty-eight years. He became a published author when his first book on watercolor painting was released in 1948. In addition to teaching, Brandt established a residential and commercial design firm and maintained a busy professional career until his death in 2000.

Rex Brandt NA

(1914-2000, Corona Del Mar, CA) Seal grotto, San Diego Zoo Watercolor on paper under glass Signed lower right: Brandt Image: 12” H x 20” W; Sheet: 14.75” H x 21.25” W $2,000-3,000 Provenance: Commissioned from the artist by Ford Motor Company, Pico Rivera, CA The Estate of John F. Tisdale, Los Angeles, CA, acquired from the above thence by descent in the family Private Collection, Southern California

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Rex Brandt NA

(1914-2000, Corona Del Mar, CA) “Water Skiing on the Colorado River” Watercolor on Arches paper under glass Signed in the image at lower right: Rex Brandt; with the artist’s ink stamp verso; titled by repute Image: 13.375” H x 21.125” W; Sheet: 15” H x 22.375” W $2,000-3,000 Provenance: Commissioned from the artist by Ford Motor Company, Pico Rivera, CA The Estate of John F. Tisdale, Los Angeles, CA, acquired from the above thence by descent in the family Private Collection, Southern California

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Rex Brandt NA

(1914-2000, Corona Del Mar, CA) “Morning at the Regatta,” 1970 Watercolor on Arches paper under glass Signed, titled and dated in the image at lower right: Rex Brandt / 7-17-70 Image: 13.5” H x 20.25” W; Sheet: 15” H x 22.5” W $2,000-3,000 Provenance: Commissioned from the artist by Ford Motor Company, Pico Rivera, CA The Estate of John F. Tisdale, Los Angeles, CA, acquired from the above thence by descent in the family Private Collection, Southern California

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James March Phillips

(1913-1981, San Francisco, CA) “Bridge View,” Bay Bridge, looking toward San Francisco from Clipper Cove Beach on Yerba Buena Island Watercolor on paper under glass; titled on gallery label on the verso of the front mat Signed lower left: James March Phillips Sheet: 15.5” H x 27” W $2,000-3,000 Provenance: Maxwell Galleries, San Francisco, CA Sold: Bonhams, California, November 23, 2021, Lot 115 Property from a Private Southern California Estate

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Richard Whorf

(1906-1966, Hollywood, CA) “Little Town of Bethlehem” Gouache on board Signed lower left: Richard Whorf; titled in pencil, verso, and again on a collector’s label affixed to the verso 29” H x 39.25” W $2,500-3,500 Provenance: The Vincent Price Collection Sold: John Moran Autioneers, Pasadena, CA, June 15, 1999, Lot 70 Property from a Private Southern California Estate, acquired from the above

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Paul Grimm

(1892-1974, Palm Springs, CA) “San Diego,” 1932 Oil on canvas board Signed lower right: P. Grimm; signed again, titled and dated verso 16” H x 20” W $6,000-8,000

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Sam Hyde Harris (1889-1977, Alhambra, CA)

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Born in Middlesex, England in 1889, Sam Hyde Harris

immigrated to the United States with his family at the age of 15 years old. Soon after, he became a successful commercial artist, painting signs and designing posters for advertising. In 1906, Harris was studying alongside other well-known artists such as Hanson Puthoff. By 1913, at the age of 24, he traveled back to Europe, visiting his homeland of England, while taking time to view and study Old Master works in Holland, France, and Germany. His study of more classical works, created within the confines of a studio, contrasted with his love for plein air painting. During the Depression Era, Harris began teaching art part time. It was then that he found a new passion, and taught art classes at the Chouinard School of Art for several years. In 1977, Harris passed away in Los Angeles, having had an incredibly fruitful career as an artist, winning hundreds of awards, and exhibiting his work for over 40 years across Southern California.

Sam Hyde Harris

(1889-1977, Alhambra, CA) “Early Newport” Oil on canvas board Signed lower left: Sam Hyde Harris; titled in another hand verso 16” H x 20” W $4,000-6,000 Provenance: Property from a Private Southern California Estate

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Ben Abril

(1923-1995, Los Angeles, CA) “Old Mission Church” Oil on canvas Signed lower left: Ben Abril; titled and inscribed on the stretcher: Los Angeles, California 24” H x 48” W $3,000-5,000

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Ben Abril

(1923-1995, Los Angeles, CA) “End of an Era” Oil on waxed burlap Signed lower right: Ben Abril; titled on the stretcher 29” H x 47” W $3,000-5,000

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Gunnar Widforss

(1879-1934, Grand Canyon, AZ) “Old Houses, Stockholm,” 1915 Watercolor on paper under glass Signed and dated lower right: Widforss; titled on an exhibition label affixed to the verso of a previous backboard now attached to the frame’s backing paper Image/Sheet: 13.125” H x 18” W $2,500-3,500 Provenance: T. L. Fritzen of San Francisco, as of July, 1939 Property from a Private Southern California Estate Exhibitions: San Francisco, San Francisco Museum of Art, “Swedish-American Exhibition,” July 29-August 5, 1939 Notes: Pencil notations at the verso of the upper sheet edge appear to read: Ny Forget 45 / Stockholm / 3-26-27

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Hanson Duvall Puthuff (1875-1972, Corona Del Mar, CA)

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native of Missouri, and a student of the Art Institute of Chicago, Hanson Puthuff moved to the Los Angeles area in 1903. Initially, he worked as a sign painter and muralist - a job that he held for over twenty years. Puthuff began sketching and painting during his free time, and in 1915 he received two silver medals for paintings that he exhibited at the Panama-California Exposition held in 1915. Puthuff began devoting himself solely to his own artistic projects in 1926. He frequently traveled with the artist Edgar Payne, and the paintings made by both artists in Canyon de Chelley, Arizona are highly regarded by critics and collectors today. Puthuff was instrumental in the establishment of the California Art Club and the Art Students League of Los Angeles. Today, Puthuff is remembered as a classic Californian Plein Air artist whose work has been exhibited extensively throughout the United States.

Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Placid Bay,” New York Oil on canvas Signed and possibly dated ‘07 lower left: H. Puthuff; titled by repute 20.25” H x 32.25” W $6,000-8,000 Provenance: Property from a Private Southern California Estate

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Alfred R. Mitchell

(1888-1972, San Diego, CA) “Goldenrod and Bergamot at Tunkhannock, PA” Oil on board Signed lower left: Alfred R. Mitchell; signed again, titled and numbered verso: #4 16” H x 20” W $4,000-6,000

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Nell Walker Warner

(1891-1970, Carmel, CA) Landscape with fence Oil on canvas Signed lower right: Nell Walker Warner 20” H x 26” W $1,000-2,000 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, January 26, 2020, Lot 2035 Private Collection, California, acquired from the above

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) Hilly landscape with a distant town Oil on burlap laid to waxed canvas Signed lower right with the artist’s monogram and signature: Puthuff 15” H x 16” W $3,000-4,000 Provenance: Property from a Private Southern California Estate

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Arthur Hill Gilbert ANA

(1894-1970, Monterey, CA) “The Oak” Oil on canvas Signed lower right and again verso: Arthur Hill Gilbert; titled by repute Sight: 15.5” H x 19.5” W $4,000-6,000 Provenance: Private Collection, Southern California

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Jean Mannheim

(1863-1945, Pasadena, CA) Coastal Cypress, likely Monterey Oil on board Signed lower left: J. Mannheim; pencil sketch verso 12” H x 18” W $3,000-5,000

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Arthur Hill Gilbert ANA

(1894-1970, Monterey, CA) Seascape, Northern California Oil on canvas Signed lower right: Arthur Hill Gilbert 11” H x 14” W $1,500-2,000 Provenance: Private Collection, Southern California

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Arthur Hill Gilbert ANA

(1894-1970, Monterey, CA) Tree in a landscape Oil on canvas Signed lower left: Arthur Hill Gilbert ANA 12” H x 16” W $3,000-5,000 Provenance: Private Collection, Southern California

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William Wendt

(1865-1946, Laguna Beach, CA) Ojai Valley, 1919 Oil on canvas Signed and dated lower left: William Wendt 16” H x 20” W $10,000-15,000 Provenance: Property from a Private Southern California Estate

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Meredith Brooks Abbott

(b. 1938, Rincon, CA) “Down and Across,” 2002 Oil on linen Signed and dated lower right: M. B. Abbott; dated again and titled on the stretcher 36” H x 60” W $5,000-7,000

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Granville Redmond (1871-1935, Los Angeles, CA)

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orn in Philadelphia in 1871, Granville Redmond spent his formative years growing up in San Jose, California. A childhood bout of scarlet fever left him profoundly deaf by age three, and Redmond attended the California School for the Deaf from 1879 to 1890 where he learned how to paint and draw. His early excellence in his artistic studies led Redmond to Paris, where he attended the Académie Julian on an academic scholarship. His success in Paris led to his painting “Matin d’hiver” being exhibited at the Paris Salon in 1895. Redmond returned to California in 1898, and married Carrie Ann Jean one year later. The couple lived in various cities across both Northern and Southern California. By 1905, Redmond had become well-known for his paintings of both coastal scenes and the California landscape. His ability to capture the transient effects of atmosphere and light upon lush countryside brought him great renown. Yet Redmond remains best known for his paintings of California poppies blossoming on rolling hills that he could scarcely paint enough of to meet public demand. Granville Redmond’s work can be found in many public collections, including the Los Angeles County Museum of Art, the Laguna Art Museum, and the Crocker Art Museum.

Granville Redmond

(1871-1935, Los Angeles, CA) Landscape with poppies and lupine Oil on canvas Signed lower left: Granville Redmond 16” H x 20” W $70,000-90,000

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Bruce Nelson

(1888-1971, New York, NY) “Morning Light” Oil on canvas board Signed lower right: Nelson; titled and numbered verso: #8 7.75” H x 10” W $2,000-3,000

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Nell Walker Warner

(1891-1970, Carmel, CA) “Eucalypti” Oil on canvas Signed lower right: Nell Walker Warner; titled on the stretcher 22” H x 28” W $1,500-2,500 Provenance: Property from a Private Southern California Estate

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Edward Dufner

(1872-1957, Caldwell, NJ) Impressionist outdoor landscape with stream Watercolor and gouache on artist board under glass Signed lower left: Edward Dufner 33” H x 29” W $4,000-6,000

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Anna A. Hills

(1882-1930, Laguna Beach, CA) Eucalyptus landscape with rolling hills, 1919 Oil on board Signed and dated lower right: A.A. Hills; indistinctly inscribed verso 14” H x 17.75” W $3,000-5,000 Provenance: Property from a Private Southern California Estate Notes: The now-faint inscription on the verso of the board reads, in part: “The Sentinals [indistinct]” / Painted by Miss Anna A. Hills / Laguna Hills, Cal.

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Angel Espoy

(1879- 1963, Seal Beach, CA) California landscape with eucalyptus, cattle and poppies Oil on canvas Signed lower right: A. Espoy 30” H x 40” W $5,000-7,000 Provenance: Property from a Private Southern California Estate

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Alson Clark

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lson Skinner Clark was born in Chicago in 1876 into a well-off family that supported his artistic studies at a young age. After graduating from high school, Clark enrolled at the Art Institute of Chicago, where he studied for one year before leaving school prematurely to move to New York City. There, Clark enrolled at the Art Students League of New York where he studied under William Merritt Chase for several years. In 1900, Clark and a group of friends moved to Paris to study at the Académie Julian and the short-lived Whistler School of Art. Within two years, Clark’s painting, The Violinist, was accepted and shown at the historically important Paris Salon. Clark also became interested in lithography around this time, before serving as a photographer for the Navy during the First World War. Clark and his wife, Medora, moved to Pasadena, California in 1919 and built a home and studio. He began teaching with Guy Rose at the Stickney Art School in Pasadena and later taught at Occidental College in Eagle Rock. Over the course of his career, Clark became a member of the Pasadena Society of Artists, the California Watercolor Society, and the California Art Club - among many other organizations. Clark died on March 22, 1949.

Alson Clark

(1876-1949, Pasadena, CA) Eucalyptus landscape with fisherman Oil on canvas laid to canvas Signed lower left: Alson Clark 27” H x 27” W $5,000-7,000

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George Demont Otis

(1879-1962, Kentfield, CA) Eucalyptus in the Arroyo, Pasadena Oil on canvas Signed lower right: Geo. Demont Otis 24” H x 30” W $5,000-7,000

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John (Jack) Frost (1890-1937, Pasadena, CA)

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The son of the famous illustrator Arthur B. Frost, the artist John Frost was born in Philadelphia on May 14, 1890. As a youth, Frost received artistic training from his father and pursued his artistic studies at the Académie Julien in Paris under the renowned artist Jean Paul Laurens. Between 1906 and 1908, Frost lived and worked in Paris and its surrounding areas, such as Giverny, where he honed his skills as an Impressionist painter working alongside Richard E. Miller. Frost moved to New York City to pursue a career as an illustrator, after spending nearly two years at a tuberculosis sanitarium between 1912 and 1914. He chose to relocate to Pasadena in 1918 for health reasons, which was a decision that brought him into close contact with the American Impressionist artist, Guy Rose. The two artists frequently made outdoor excursions with one another, each seeking to capture the beauty of the California landscape that they encountered. Painted in 1920, Misty View of the San Gabriel Foothills demonstrates Frost’s mastery of painting en plein air. During his time in California, Frost became a member of the California Art Club and the Pasadena Society of Fine Arts. Frost died in Pasadena on June 5, 1937 at the age of forty-seven.

John (Jack) Frost

(1890-1937, Pasadena, CA) Misty view of the San Gabriel Foothills, 1920 Oil on linen Signed and dated lower right: John Frost 24” H x 28” W $20,000-30,000 Provenance: Private Collection, Pasadena, California Note: A different artist, Edward B. Butler, is listed on a 1923 exhibition label affixed to the verso of this frame. It is clear that the frame was repurposed at some point to accommodate the dimensions of this painting by Frost.

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Robert William Wood

(1889-1979, Bishop, CA) “Headwaters of the Colorado,” 1944 Oil on canvas Signed and dated lower left: Robert Wood; titled and with the artist’s copyright stamp verso 25” H x 30” W $3,000-5,000 Provenance: Findlay Galleries, Chicago, IL

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Emil J. Kosa Jr. NA (1903-1968, Los Angeles, CA)

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Born in Paris, France in 1903, Emil Kosa Jr. was trained

in both music and art during his formative years. As a teenager, Kosa chose to pursue his artistic studies over a musical career before moving to California in 1920. Although Kosa would return to France on several occasions to further his artistic training, he became enmeshed in the fabric of the California art scene over time.

After spending several years working as a mural and decorative artist, Kosa began shifting his interest towards watercolor painting in the early 1930s. With the encouragement of fellow artist Millard Sheets, Kosa began producing watercolors in earnest which led to him becoming the President of the California Watercolor Society in 1945. To support his family financially, Kosa worked as a scenic artist at Twentieth Century Fox Studios for thirty-five years; however, he also managed to maintain a studio practice and produced work until his death in 1968.

Emil J. Kosa Jr. NA

(1903-1968, Los Angeles, CA) “Hills Over Hills” Oil on Masonite Signed lower right: Emil Kosa Jr.; signed again, twice, and titled verso 22.5” H x 34.5” W $3,000-4,000 Provenance: Property from a Private Southern California Estate

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Kenneth Miller Adams

(1897-1966, Albuquerque, NM) “Mountain Landscape” Watercolor on paper under glass Signed lower left: Kenneth M. Adams; signed again and titled on the frame’s backboard Image: 12.75” H x 19.75” W; Sheet:14” H x 20.5” W $3,000-5,000 Provenance: Sold: Bonhams, Los Angles, “Western Art,” February 26, 2021, Lot 19

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Rex Brandt NA

(1914-2000, Corona Del Mar, CA) Yosemite National Park Watercolor on paper under glass Signed in pencil lower left: Rex Brandt Sight: 12” H x 20” W; Sheet: 14” H x 22” W $2,000-3,000 Provenance: Commissioned from the artist by Ford Motor Company, Pico Rivera, CA The Estate of John F. Tisdale, Los Angeles, CA, acquired from the above thence by descent in the family Private Collection, Southern California Literature: Ford Times, “Uncle Sam’s Campgrounds”, June 1956 (color illustration front cover)

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Rex Brandt NA

(1914-2000, Corona Del Mar, CA) “Hernando’s Hideaway,” 1956 Watercolor on wove paper, watermark Arches, under glass Signed lower right: Rex Brandt; signed again, titled and dated verso: Rex Brandt, A.N.A Image: 12.5” H x 19.5” W; Sheet: 14.25” H x 21.25” W $2,000-3,000 Provenance: Commissioned from the artist by Ford Motor Company, Pico Rivera, CA The Estate of John F. Tisdale, Los Angeles, CA, acquired from the above thence by descent in the family Private Collection, Southern California

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Birger Sandzen (1871-1954, Lindsborg, KS)

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orn in Blidsberg, Sweden in 1871, Birger Sandzén studied art in Stockholm and Paris before emigrating to the United States at the age of twenty-three. After moving to Lindsborg, Kansas in 1894, Sandzén became a professor of language, music, and art at Bethany College. In 1899, Sandzén was appointed to principal art teacher and head of the Art Department, which was a position he maintained until his retirement in 1946. Artistically, Sandzén was a prolific oil painter, an accomplished watercolorist and draughtsman, and an occasional printmaker. During his time in Paris, Sandzén studied under Aman-Jean, an artist who once shared a studio with Georges Seurat, and who was responsible for introducing Sandzén to Pointillism and the broader Impressionist movement. Although Sandzén’s work has often been described in relation to the paintings of Vincent Van Gogh, the artist was known to chuckle at this comparison since he did not see his first painting by Van Gogh until 1924. Across his many travels, Sandzén captured the fleeting beauty of nature with a vibrant palette and wistful brush. The following watercolor was painted during the artist’s time in Rockport, Massachusetts in an area now known as Halibut Point State Park. This oceanside parcel of land was once a granite quarry, and is known today for its seaside views.

Birger Sandzen

(1871-1954, Lindsborg, KS) “Rocky Coast (Rockport, Mass),” 1948 Watercolor on paper under glass Signed lower left: Birger Sandzen; signed again, titled and dated on the original board affixed to the frame’s backing paper Sight: 8.5” H x 11.125” W; Paper: 9” H x 12” W $3,000-5,000 Provenance: John Moran Auctioneers, Pasadena, CA, February 15, 2005, Lot 136A

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Selden Connor Gile

(1877-1947, Belvedere, CA) “Lifting Fog,” 1920 Oil on board Signed, titled, inscribed and dated verso: Gile / Carmel Area 10.75” H x 14” W $3,000-4,000

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Maurice Braun

(1877-1941, San Diego, CA) “Autumn” Oil on canvas Signed lower right: Maurice Braun; titled on the stretcher 25” H x 30” W $8,000-12,000 Provenance: Property from a Private Southern California Estate

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Maurice Braun

(1877-1941, San Diego, CA) “Along the Waterfront,” San Diego Bay, 1925 Oil on canvas Signed lower right: Maurice Braun; titled in pencil on the stretcher 20” H x 24” W $4,000-6,000 Notes: An old, typed label affixed to the stretcher reads: Painting of San Diego Bay, California / by Maurice Braun of Point Loma, San Diego. / Painted about 1930 [crossed out and changed to 1925 by hand]

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Malvina Cornell Hoffman

(1885-1966, American) “La Frileuse,” circa 1912 Patinated bronze on wood base Signed and impressed in the casting: Malvina Hoffman © / RBW [Roman Bronze Works] 9.875” H x 2.25” W x 2” D $2,000-3,000

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Conrad Buff

(1886-1975, Laguna Beach, CA) Still life with zinnias and roses Oil on board Signed lower center: Conrad Buff 24.25” H x 20” W $2,000-3,000 Provenance: Property from a Private Southern California Estate

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Mabel Alvarez

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orn in 1891 on the island of Oahu, Hawaii, Mabel Alvarez was a woman who achieved early recognition as a talented artist. After relocating to California with her family at the age of fifteen, Alvarez began her artistic studies at Los Angeles High School. Under the tutelage of James Edwin McBurney, Alvarez assisted in the production of murals for the Panama-California Exposition that was held in San Diego in 1915. By her early twenties, Alvarez was praised for producing mural designs that were described as “half realistic and half idealistic and wholly out of the ordinary.” While Alvarez received high praise for her work in the style of California Impressionism, she instead chose to develop a style that was decidedly Modernist and uniquely her own. She became a member of the California Art Club, and won an honorable mention for her debut exhibition with the organization. Alvarez later became a student under the highly regarded artist Stanton MacdonaldWright who is now known as the co-founder of the Synchromism movement. Throughout her career, Alvarez made significant contributions to the development of California Modernism with her portraits, landscapes, and still lifes. Alvarez painted until her sixties and seventies before her death on March 13, 1985 at the age of ninety-three.

Mabel Alvarez

(1891-1985, Los Angeles, CA) Still life with fruit and a white footed bowl Oil on canvas Signed lower right: Alvarez 16” H x 20” W $3,000-5,000

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Laurie Kersey

(b. 1961, Pebble Beach, CA) “Roses in Silver Pitcher,” 2003 Oil on canvas Signed lower left: B.L. Kersey; signed again as Laurie Kersey, titled and dated on the stretcher 20” H x 24” W $2,500-3,500 Provenance: K. Nathan Gallery, La Jolla, CA Sold: Bonhams, Los Angeles, June 11, 2003, Lot 4340

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Franz Arthur Bischoff

(1864-1929, Pasadena, CA) “Hollyhocks” Oil on canvas Signed lower right: Franz A Bischoff; titled on a label affixed verso 24 “ H x 16” W $20,000-30,000 Provenance: Mrs. Franz Bischoff, Pasadena, CA Private Collection, Claremont, CA, purchased from the above Exhibitions: The Irvine Museum, Irvine, CA, “Gardens and Grandeur: Porcelains & Paintings by Franz A. Bischoff,” November 12, 2011-March 8, 2012 Literature: “Franz Bischoff: The Life & Art of an American Master,” “American Art Review,” December 2010, cover and p. 92, illustrated. Jean Stern, “Franz Bischoff: The Life & Art of an American Master” (Irvine: The Irvine Museum, 2011), p. 52, illustrated.

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Gordon Coutts

(1868-1937, Palm Springs, CA) Cows wandering along a path Oil on canvas Signed lower left: Gordon Coutts 12” H x 18” W $1,000-1,500 Provenance: Property from a Private Southern California Estate

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Jenne Magafan

(1916-1952, Woodstock, NY) “Pigs,” 1938 Oil on canvas Signed and dated lower right: Jenne Magafan; signed and dated again, and titled, on the stretcher bar 24” H x 35” W $1,500-2,500

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William Keith

(1838-1911, Berkeley, CA) “In the Glade” Oil on canvas laid to canvas Signed lower right: W. Keith / S. F.; titled in another hand on the frame’s cardboard backing 20” H x 30” W $2,500-3,500 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, February 15, 2005, Lot 103

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William McKendree Snyder

(1848-1930, Indiana) Road through a fall landscape Oil on canvas Signed lower right: W. M. Snyder 12” H x 20” W $2,000-3,000

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(1853-1921, New York, NY) Atmospheric landscape, 1893 Oil on canvas laid to canvas Signed and dated lower right: J. Francis Murphy 14” H x 19” W

(1844-1919, Santa Barbara Tonalist landscape with co Oil on canvas Signed and dated lower le 25.75” H x 46” W

John Francis Murphy

$1,500-2,500

Thaddeus Welch

$5,000-7,000

Provenance: Property from

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a, CA) ows grazing, 1912

eft: T. Welch

m a Private Southern California Estate

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Ferdinand Richardt (1819-1895, Oakland, CA)

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In 1873, Ferdinand Richardt immigrated from Denmark to San

Francisco. Prior to his transatlantic relocation with his family, Richardt was a renown painter to European royalty, including the King of Denmark and the Queen of England. In the 1850s, Richardt made several visits to the United States to fulfill commissions for venerable patrons such as William Vanderbilt. One particular assignment, painting the grandeur of Niagra Falls, proved to be a lucrative and high-profile artistic challenge. The endeavor ultimately afforded the artist the opportunity to work in the United States for an additional four years, during which time he readily established the reputation as a sought-after landscape painter. The present work, painted during the artist’s San Francisco period, is of noted historical significance. Richardt depicts a herd of cows watering in a shallow beach overseen by a cattleman and his dog. On the horizon, steam and sail ships make their way in and out of San Francisco Bay. Live oaks and scattered blooms of lupine punctuate the cliffside and suggest a spring afternoon on the coast. At first glance, this oil appears to feature the quintessential elements of a California pastoral landscape so often painted by Richardt’s Bay Area contemporaries, such as William Keith, Charles Dorman Robinson and Raymond Dabb Yelland. Yet upon closer inspection, the viewer cannot fail to notice the inclusion of a silhouetted figure on the bluff: the watchful eye of a soldier on the ridge. This subtle detail is a reference to the value and importance of the herd of cattle, as well as an invitation to imagine what might lie beyond the ridgeline. Richardt captures daily life at Fort Point (aka Fort Scott) on the west side of the Presidio. Due to its proximity to the Golden Gate, in the decades after the Civil War, the strategic significance of the Fort increased. While Richardt was painting this canvas, the Fort was a beehive of activity and new construction. Naturally, the battalions stationed there, in addition to hundreds of construction workers living nearby, required a vast supply of food including meat, baked goods and other necessities to fuel their daily activities. Richardt sensitively depicts details of the trade activities that sustained this bustling, strategic fort.

Ferdinand Richardt

(1819-1895, Oakland, CA) Cattle at Fort Scott (The Presidio), San Francisco, CA, circa 1870 Oil on canvas laid to canvas Signed lower right: F. Richardt 37.25” H x 55.5” W $20,000-30,000

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J. Carleton Wiggins NA

(1848-1932, Brooklyn, NY) Cattle watering in a sunset river landscape Oil on canvas Signed lower left: J.C. Wiggins 16” H x 30” W $2,000-3,000 Provenance: Sale: John Moran Auctioneers, Pasadena, CA, 6/11/2002, Lot 418 Property from a Private Southern California Estate, acquired from the above

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Henry Bispham

(1841-1882, Philadelphia, PA) Young Girl Feeding Cows, 1880 Oil on canvas Signed, dated and inscribed lower right: Bispham / Paris 1880 24” H x 36.5” W $2,000-3,000 Provenance: Property from a Private Southern California Estate

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Alfred Thompson Bricher

(1837-1908, Staten Island, NY) A beached dinghy along a rocky coastline Oil on canvas Signed lower right: A.T. Bricher 10.25” H x 20.25” W $7,000-9,000

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Henry Walcott Boss

(1820-1916, Binghamton, NY) River landscape with fishermen Oil on board Signed lower right: H Walcott Boss 12” H x 18” W $1,000-1,500 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, June 19, 2001, Lot 45 Property from a Private Southern California Estate, acquired from the above

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Frederick Carl Smith

(1868-1955, Pasadena, CA) “Ohio River - Near Cincinnati” Oil on canvas Appears unsigned; attribution and title from label affixed to the verso of the frame 22” H x 30” W $3,000-5,000 Provenance: Property from a Private Southern California Estate Notes: The label’s information continues,”...probably near Smith’s Landing - a pioneer settlement.”

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Sydney M. Laurence

(1865-1940, Anchorage, AK) Clipper ship, 1893 Oil on canvas Signed and dated lower left: S.M. Laurence 34” H x 44” W $15,000-20,000

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Warren Sheppard

(1858-1937, Greenwich, NJ) “Glory of the Seas” Oil on canvas Signed lower right: Warren Sheppard; titled and inscribed verso 28” H x 40” W $2,500-3,500 Notes: The inscription on the verso of the canvas reads: “Glory of the Seas” / built by / Donald McKay / at E. Boston in 1869 / 2102 tons A February 2017 treatment report by Northern California Art Conservators is included with this lot.

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Paul Starrett Sample NA (1896-1974, Hanover, NH)

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orn in Louisville, Kentucky, Paul Starrett Sample is remembered today as an artist with connections both to California and the Midwest. After serving in the Navy during World War II, Sample moved to California and enrolled at the Otis Art Institute and studied privately with Stanton Macdonald-Wright. By 1926, he became a faculty member at the University of Southern California and eventually the chair of the art department. The stability afforded to him by his position at USC enabled Sample to travel frequently and continue painting in his free time. The boats depicted in this Monterey, California scene are known as “double enders.” Built in the 1920s and used primarily for salmon trolling, they featured a pointed bow and stern, making them very friendly in heavy following seas. In 1938, Sample moved to New England and became an artist-in-residence at Dartmouth College. Several of his works were published as illustrations by highly regarded magazines during his career, and he was heavily exhibited throughout his lifetime. Sample died at his home in Vermont in 1974.

Paul Starrett Sample NA

(1896-1974, Hanover, NH) “Fishing Boats,” 1930 Oil on canvas Signed and dated lower right: Paul Starrett Sample; titled on the frame plaque 24” H x 30” W $8,000-12,000

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Frederick Waugh

(1861-1940, Provincetown, MA) “Memories of Cape Elizabeth” Oil on canvas board Signed lower right: Waugh; titled verso as well as on the frame plaque 25” H x 29.875” W $10,000-15,000 Provenance: Findlay Gallery, Chicago, IL Private Collection, Peoria, IL, purchased from the above, 1950 Private Collection, California, purchased from the above, 2012

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100

David Livingston Adam

(1883-1924, American) The ferry landing, Saugatuck, 1923 Oil on board Signed and dated lower left: D.L. Adam 23.5” H x 29.5” W $3,000-5,000 Literature: The Art Institute of Chicago, “A Catalogue of the Twenty-Eight Annual Exhibition by Artists of Chicago and Vicinity,” Feb. 1 - Mar. 11, 1924, illustrated pg. 8 Notes: A similar painting, The Ferry Landing, was later purchased by the Saugatuck Woman’s Club and hangs in their auditorium.

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101

Susan Gertrude Schell

(1891-1970, Titusville, PA) “Winter in Pennsylvania” Oil on canvas Signed lower right: S. Gertrude Schell; titled on a label affixed to the backing board 14” H x 16” W $2,000-3,000 Provenance: Newman Galleries, Philadelphia, PA Property from a Private Southern California Estate

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102

Ivan Summers

(1889-1964, Woodstock, NY) Stream through a winter landscape Oil on canvas Signed lower right: Ivan Summers 25” H x 30” W $2,000-3,000 Provenance: Property from a Private Southern California Estate

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103

Thomas Waterman Wood

(1823-1903, New York, NY) “Private Lunch,” 1869 Oil on canvas Signed and dated lower right: T.W. Wood; titled by repute 14” H x 11” W $8,000-12,000 Provenance: Private collection, Morristown, New Jersey Sold: Sotheby’s, New York, 27 May 1999, Lot 132 Acquired by the late owner from the above Property from the Estate of Danny Wiginton The Blake Byrne Collection Literature: “The Artist at Home,” New York Evening Post, June 8, 1868, p. 2. Note: This work will be included in the forthcoming catalogue raisonné being written by Paul Worman for the TW Wood Gallery, Montpelier, Vermont. In November of 2018, Christie’s New York offered this piece and included the following note: “According to the artist’s record books, Wood most likely painted the present work in 1868 but did not date it until 1869 at the time of its sale. In 1868, the New York Evening Post noted of the present work, “Mr. Wood has painted to order a little figure picture called ‘Private Lunch.’ It shows a little...bootblack eating a watermelon at one of the cheap stands and looking out anxiously over his shoulders for intruders. It gives one of the aspects of city life in summer.” (“The Artist at Home,” New York Evening Post, June 8, 1868, p. 2)”

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104

Albert Beck Wenzell

(1864-1917, Englewood, NJ) Pensive couple at an elegant evening gathering Oil on canvas Signed lower left: A B Wenzell 40” H x 32” W $6,000-8,000

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105

Albert Beck Wenzell

(1864-1917, Englewood, NJ) “She glanced complacently down at her softly glistening shoulders,” illustration for “The Grain of Dust,” 1911 Oil on canvas board Signed, dated and inscribed verso: A. B. Wenzell 24” H X 16” W $2,000-3,000 Notes: The inscription, verso, reads: “She glanced complacently down at Her softly / glistening shoulders Page 222 “Grain of Dust” / Illustrated by A. B. Wenzell / 1911.” Albert Wenzell was the illustrator for the 1st edition of David Graham Phillip’s “The Grain of Dust: A Novel,” published by D. Appleton and Company in 1911. 1 6 2 C al i fo r ni a , Am e r i c a n , & We ste r n F in e A rt l Tu e sd ay, M ay 1 0, 2022

106

Albert Beck Wenzell

(1864-1917, Englewood, NJ) “Evidently she had been crying,” illustration for “The Grain of Dust,” 1911 Oil on canvas board Signed, dated and inscribed verso: A. B. Wenzell 24” H X 16” W $2,000-3,000 Notes: The inscription, verso, reads: “Evidently she had been crying / Page 330 “Grain of Dust” by / David Graham Phillips / Illustrated by A. B. Wenzell / 1911.” Albert Wenzell was the illustrator for the 1st edition of David Graham Phillip’s “The Grain of Dust: A Novel,” published by D. Appleton and Company in 1911.

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Condition Reports

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1 Generally good condition. With full margins, deckled along the lower edge. The palest light staining and an occasional pinpoint-size foxmark showing in the margins. Taped to the back mat with white paper tape at the upper margin corners. Frame: 14.75” H x 18.75” W x 0.75” D 2 Generally good condition. A rich and luminous impression. Scattered unobtrusive foxing. Taped to the overmat with brown paper tape from the verso of the margin edges. Frame: 14.5” H x 18.75” W x 0.5” D 3 Generally good condition. With wide margins. The palest light staining showing in the margins. A very small piece of old white paper tape, from former hinging, in each of the upper margin corners. The sheet is loose, not hinged, stored in a thin paper mat. Unframed 4 Generally good condition. With wide margins, the lower edge deckled. A small and unobtrusive area of cockling at the lower left corner, showing mostly in the lower margin. A 0.5” diagonal printer’s crease in the left margin, not affecting the image. A pale foxmark near the deckle edge of the lower margin. Remains of brown paper tape along the verso of the margin edges. Hinged to the back mat at the upper margin edge.

Condition Reports

Frame: 19.25” H x 21.75” W x 0.625” D

166

5 Generally good condition. Full margins with deckled edges. Hinged to the backmat with various tapes, including scotch, at the upper margin corners. Unframed

6 Generally good condition. With wide margins. Pale light staining. Remains of old brown paper tape along the verso of the margin edges. Hinged to the overmat from the verso of the upper margin edge Frame: 16” H x 20” W x 1” D

7 Generally good condition. The colors fresh and the sheet retaining wide margins. The palest light staining. A very soft handling crease in the left margin, not affecting the image. Brown paper tape along the upper margin edge. A very small foxmark, lower left, showing through slightly from the verso. Pale, old, backboard staining, verso, except in the lower margin corners. Occasional foxmarks and traces of old brown paper tape or its residue, verso. A 0.875” band of very slight surface skinning along the verso of the upper margin edge. The sheet is loose, secured in its mat with archival display corners. Frame: 25” H x 22.75” W x 1.25” D 8 Generally good condition. The colors fresh, on paper with full margins. The woodcut still tipped into its original printed paper display-folder at the reverse of the upper margin corners, as issued. Unframed Folder: 16” H x 13” wide. 9 Visual: Generally good condition. Surface dirt and grime. An artist’s tack hole in the upper right corner. Occasional paint shrinkage near the right edge and in the lower left corner. Blacklight: A very narrow line of possible touch-up in the lowest 1.25” of the left edge. Frame: 23.25” H x 19” W x 1” D 10 Visual: Generally good condition. Surface dirt and grime. A pea-sized pressure mark and attendant 1” surface scrape, each touched-in, at the center of the left edge. Blacklight: No evidence of restoration. Frame: 17.5” H x 21.5” W x 1” D 11 Visual: Generally good condition. Blacklight: A few small spots of touch-up scattered throughout the sky. Frame: 25.25” H x 31.25” W x 2” D

12 Generally good condition. Minor discoloration in upper left and right corners. Very unabtrusive 0.25” scuff on right side of sky. Hinged to the back mat at the sheet edges.

18 A 2.5” diagonal crease in the upper left corner and another measuring 0.25” in the lower left corner. A 0.5” vertical crease in the upper right corner. Not examined out of the frame.

Frame: 17.5” H x 24.25” W x 1.75” D

Frame: 27” H x 33” W x 2.5” D

13 Visual: Generally good condition. Dust accumulation and occasional grime commensurate with age. Three small, faint areas of white residue at the far right, probably pigment and possibly in the artist’s own hand.

19 Generally good condition. Front matting and backboard are adhered together.

Blacklight: A small, 0.5” x 0.25” area touch-up near the center of the right edge.

20 Visual: Generally good condition. Surface dirt, grime, slight varnish discoloration and scattered pinheadsize nicks in places along the extreme edges, all generally commensurate with age. An unobtrusive, diagonal, 0.375” scuff line in the sky near the left edge. Frame abrasions along the upper, left and upper portion of the right edges.

Frame: 21.75” H x 26” W x 1.5” D 14 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 27” H x 37” W x 2.5” D 15 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Blacklight: Touch-up throughout, the largest a 7” x 3.25” scattered area upper right. Frame: 40” H x 55” W x 2.5” D

Frame: 23.75” H x 27.75” W x 1.5” D

Blacklight: Touch-ups scattered throughout the clouds. Difficult to read under varnish. Frame: 27” H x 31” W x 1.75” D 21 Visual: Generally good condition. Dust accumulation and grime commensurate with age. Stretcher bar creases showing along the upper edge and slightly along the vertical edges. Blacklight: Scattered touch-ups in the sky, mostly at right. The largest area approximately 6” H x 9” W

22 Visual: Generally good condition. Minor frame abrasion in the extreme lower right corner. Yellowing varnish throughout.

Frame: 14.5” H x 18” W x 1” D

Blacklight: No evidence of restoration. Frame: 35.5” H x 43.75” W x 1.75” D

17 Visual: Generally good condition. Fine craquelure scattered throughout. The canvas is bowed-in along the left side of the painting. Minor surface dirt and grime. Blacklight: No evidence of restoration. Frame: 24.25” H x 18.25” W x 1.5” D

Condition Reports

Frame: 28” H x 34” W x 2” D 16 Generally good condition. Very pale light staining showing slightly along the upper and left edges. Mat staining verso. Old masking tape along the verso of the upper sheet edge. Hinged to the overmat from the verso of the lower sheet edge.

167

23 Visual: Generally good condition. The canvas, as already stated, is laid to canvas. Dust accumulation, grime and craquelure commensurate with age. Stretcher bar creases along all four edges. Blacklight: Small dots and lines of touch-up scattered throughout, mostly near the edges and often attendant with former frame abrasions. Frame: 35” H x 43” W x 2.5” D 24 Generally good condition. Slight rubbing and wear along the extreme edges of the board. The verso of the board with scattered minor scuffing, wear, random markings and occasional minor stains. Hinged to the overmat from the verso of the upper edge with two short pieces of linen hinging tape.

28 Visual: Generally good condition. Would benefit from a cleaning. A faint, 1” diagonal surface scuff at center left. Blacklight: No evidence of restoration under blacklight. The unobrtusive surface grime already described is more apparent under blacklight, including an approximately 1.5” x 2.5” area along the extreme lower edge, at left. Frame: 29.5” H x 39.5” W x 2” D 29 Visual: Generally good condition. An occasional, very unobtrusive speck of grime in the lower half of the canvas. Blacklight: No evidence of restoration.

Frame: 20.75” H x 25.5” W x 1.75” D

Frame: 48” H x 30” W x 2” D

25 Visual: Generally good condition. As mentioned, the canvas is laid to Masonite. Certain pigments fluoresce in the sky but these appear to be in the hand of the artist.

30 Visual: Generally good condition. Occasional very fine craquelure. A speck of grime in the sky, right of center.

Blacklight: No evidence of restoration. Frame: 33” H x 38” W x 1.5” D 26 Visual: Generally good condition. Occasional scattered specks of grime commensurate with age.

Blacklight: An approximately 1” x 1” area of scattered touch-up in the lower portion of the left edge. Frame: 22.5” H x 30.75” W x 2” D

Blacklight: No evidence of restoration.

31 Visual: Generally good condition. Craquelure scattered throughout the sky. Small spots of white paint in the barn upper right and lower right.

Frame: 26” H x 32” W x 2.5” D

Blacklight: No evidence of restoration.

Condition Reports

Frame: 43.5” H x 47.5” W x 3” D

168

27 Visual: Generally good condition. Dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 18.75” H x 22.75” W x 1.75” D

32 Visual: Generally good condition. Minor surface dirt and grime. Occasional scattered short and very minor surface scratches, the longest approximately 2.5”. Blacklight: Apparently no restoration. Difficult to read under uneven varnish. Frame: 50” H x 70.5” W x 2.5” D

Blacklight: No evidence of restoration. Frame: 33.5” H x 46” W x 1.75” D 34 Visual: Generally good condition. A 9” scuff mark below the signature lower left. A small scratch with minor paint loss along the lower right edge. A small dark scuff mark along the upper right edge. Blacklight: No evidence of restoration. Unframed

39 Generally good condition. The colors fresh. Slight surface soiling commensurate with age. Occasional, scattered and soft, handling creases, mostly at left. A 0.5” diagonal tear at the upper sheet edge, not affecting the image. Glue remains along the vertical sheet edges. Hinged to the back mat from the verso of the upper sheet edge. Frame: 18.25” H x 21.5” W x 1.75” D 40 Generally good condition. The palest mat staining along the extreme edges of the image. The outer edges of the sheet masked by the artist with brown paper tape. Pale mat staining verso. Hinged to the overmat with brown paper tape along the verso of the top margin edge.

35 Visual: Generally good condition.

Frame: 22” H x 29” W x 1” D

Blacklight: No evidence of restoration.

41 Generally good condition. Older tape and label remnants on the verso sheet. The outer edges of the sheet masked by the artist with brown paper tape. Minor toning throughout. Hinged along the upper edge and upper right and left edges with masking tape.

Unframed 36 Visual: Dust accumulation commensurate with age. Stretcher bar creases showing slightly along the upper and lower edges. Scattered grime showing mostly near the bottom edge, left of center. Craquelure, occasionally with attendant small paint losses, pea-sized or smaller, scattered throughout. Three somewhat larger losses near the upper right corner, the largest approximately 0.5” x 0.25”. Blacklight: No evidence of restoration. Frame: 28.75” H x 42.5” W x 1.25” D 37 Visual: Generally good condition. Very minor surface dirt and grime. Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 57.5” H x 47.5” W x 1.5” D 38 Generally good condition. Mounted to recto mat with archival tape along the four edges. Frame: 32.5” H x 38.25” W x 1.5” D

Frame: 22” H x 30” W x 1” D 42 Generally good condition. Artist pinholes in the upper sheet corners. The outer edges of the sheet masked by the artist with brown paper tape. Old masking as well as a few small pieces of brown paper tape along the sheet edges, verso. Backboard staining, verso. The sheet is loose, mounted to the back mat with clear, archival corners. Frame: 20” H x 28” W x 1.25” D 43 Generally good condition. The full sheet with deckled edges. The outer edges of the sheet masked by the artist with brown paper tape. Remains of brown paper tape along the upper sheet edge and at the lower sheet corners, verso. The sheet is loose, mounted to the back mat with clear, archival corners. Frame: 26.5” H x 32.5” W x 1.5” D

Condition Reports

33 Visual: Generally good condition. Dust accumulation and occasional grime commensurate with age.

169

44 Visual: Generally good condition. Very minor toning throughout. Taped along all all four edges to the front mat. Frame: 24.5” H x 34.5” W x .75” D 45 Visual: Generally good condition. A 0.375” v-shaped scuff in the sky at upper right and two additional, smaller scuffs in the clapboards of the green house at lower left. A 1.75” long, horizontal crease in the lower left corner, not affecting the signature. Blacklight: Touch-up attendant with the scuff already described in the sky at upper right. 36” H x 47” W x 2” D

50 Visual: Generally good condition. The palest time staining showing mostly along the upper and left sheet edges. Remains of old brown paper tape along the verso of the left and right sheet edges. Hinged to the back mat from the verso of the upper sheet edge. Frame: 20” H x 25” W x 1.5” D 51 Visual: Stretcher bar creases along all four edges. A 1.5” line of paint loss in the upper center with another pea-sized loss in the extreme upper right corner. With other minor scattered losses througout. Stable craquelure throughout. Surface dirt and grime with yellowing varnish througout. Blacklight: No evidence of restoration.

46 Visual: Generally good condition.

Frame: 27.5” H x 39.5” W x 3” D

Blacklight: Three small touch-ups in the sky or outermost edge, upper right, the largest approximately 1.5” x 0.75”.

52 Visual: Generally good condition.

Frame: 22.5” H x 26.75” W x 2” D

Blacklight: Mauve color throughout the sky fluoresces, concentrated mainly in the upper right, possibly in the hand on the artist.

47 Visual: Generally good condition.

Frame: 20.5” H x 24.5” W x 2” D

Blacklight: No evidence of restoration.

53 Visual: Generally good condition. Unobtrusive specks of varnish discoloration or grime near the upper left corner.

Frame: 21” H x 25” W x 1.75” D 48 Visual: Generally good condition.

Blacklight: No evidence of restoration. Frame: 27.75” H x 31.75” W x 2.25” D

Blacklight: No evidence of restoration.

Condition Reports

Unframed

170

49 Visual: Generally good condition. Minor dust accumulation commensurate with age. A pea-sized pigment loss in the upper porch railing, at left. A pinhead-sized pigment loss near the upper edge, at right. Blacklight: No evidence of restoration. Frame: 33” H x 51” W x 1.5” D

54 Visual: Generally good condition. Scattered craquelure and dust accumulation commensurate with age. Blacklight: An approximately quarter-size area of touch-up in the far right section of the distant hill, and an approximately 1” x 1.75” area of touch-up near the crest of the same hill, at right. Frame: 19.25” H x 20” W x 2.5” D

Blacklight: Occasional pinhead-size touch-ups primarily in the sky. An approximately 1.5” x 1.5” area of touch-up near the upper left corner. An approximately 6” x .25” diagonal line of touch-up in the lower quadrant. A .25” x .75” area of touch-up near the lower edge, just affecting the first part of the artist’s signature. Frame: 19.5” H x 23.5” W x 1.5” D 56 Visual: Generally good condition. Blacklight: Scattered touch-up throughout the sky, the largest area is quarter-sized at the center of the upper edge. Small scattered touch-up in the foreground and along the right edge. Frame: 16.25” H x 22.5” W x 1.75” D 57 Visual: Generally good condition.

60 Visual: Generally good condition. Very slight varnish discoloration. Blacklight: Certain small areas fluoresce under blacklight, but these appear to be due to uneven varish application. Frame: 46” H x 70.5” W x 2” D 61 Visual: Generally good condition. Occasional slight craquelure scattered throughout. A speck of stray pigment near the upper edge, at right, however this appears to be in the hand of the artist. Blacklight: A few small touch-ups near the upper right corner, the largest approximately 0.375” x 0.75”. Frame: 20” H x 24” W x 1.75” D 62 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: No evidence of restoration.

Blacklight: Touch-up scattered throughout the sky and hills.

Frame: 17.5” H x 20.5” W x 2”D

Frame: 13.5” H x 15.75” W x 1.5” D

58 Visual: Generally good condition. Craquelure scattered throughout the sky. Stretcher bar crease along the right edge.

63 Visual: Generally good condition.

Blacklight: No evidence of restoration.

Blacklight: Clouds fluoresce under blacklight, likely done later in the hand of the artist.

Frame: 16” H x 20” W x 1.5” D

Frame: 30.25” H x 36” W x 2.25” W

Blacklight: Apparently no restoraion. Difficult to read under varnish. A very delicate 1” diagonal scratch right of center at the lower edge.

64 Generally good condition. Toning to the artist board commensurate with age. Occasional minor crazing in some of the gouche details. An unobtrusive pinheadsize surface nick at the lower left. Occasional artist’s tackholes in the corners and in places along the edges. General wear at the corners and along the outermost edges of the board. Mounted to the back mat.

Frame: 23.25” H x 27” W x 2.5” D

Frame: 44.5” H x 40.75” W x 1.5” D

59 Visual: Generally good condition. Surface dust and specks of scattered grime commensurate with age. Slight frame abrasion along the upper edge.

Condition Reports

55 Visual: Generally good condition.

171

65 Visual: Generally good condition. Surface dirt and grime commensurate with age. Blacklight: No evidence of restoration.

71 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 32” H x 44” W x 2.5” D

Frame: 19” H x 23” W x 1.75” D 66 Visual: Generally good condition. Dust accumulation, grime, varnish discoloration and craquelure commensurate with age. A few pea-sized, or smaller, pigment losses near the upper edge, at right, and another near the lower left corner. Stretcher bar creases along all four edges. Blacklight: No evidence of restoration. Difficult to read under varnish. Frame: 38” H x 48” W x 3” D 67 Visual: Generally good condition. Tacking edges reinforced. Blacklight: A few areas of touch-up in the sky, the largest approximately 2.5” x 1.5” at lower center. Frame: 33.5” H x 33.5” W x 2.25” D 68 Visual: Generally good condition. Faint stretcher bar crease along the upper edge. Minor, stable, scattered spots of craquelure throughout. Blacklight: No evidence of restoration.

Condition Reports

Frame: 29.75” H x 36” W x 2” D

172

69 Visual: Generally good condition. Surface dirt and grime. Stretcher bar creases showing slightly, primarily along the upper edge. Blacklight: A few small areas of touch-up near the upper edge of the sky, the largest approximately 1” x 3.5”.

72 Generally good condition. The image is masked with brown paper tape along the sheet edges. Hinged to the overmat from the verso of the upper masked edge. Frame: 20.5” H x 25.25” W x .75” D 73 Generally good condition. The colors fresh. Not examined out of the frame. Hinged to the recto with linen hinge tape at the upper sheet corners. Masking tape remains from a previous mounting along the verso edges. Frame: 22” H x 30.5” W x 1.5” D 74 Generally good condition. The outer edges of the sheet masked by the artist with brown paper tape. The palest mat staining showing at the outermost edges of the image. Remains of old masking tape and its residue along the sheet edges, verso. Hinged to the back mat with two pieces on linen tape at the upper sheet edge. Frame: 21.5” H x 27.75” W x 1” D 75 Generally good condition. The paper is toned througout. Red letters in marker “MSG” measuring 2.75” H x .75” W are drawn to the lower left verso. Marking is faintly visible from the recto. Paper watermark is visible in the lower right edge. Hinged in the upper right and left corners with a paper tape on top of an older hinging tape. Frame: 21.5” H x 24.5” W x 1.75” D

70 Visual: Generally good condition.

76 Visual: Generally good condition. Surface dust and grime commensurate with age. General wear to the extreme edges of the board. Frame abrasions along all four edges, but showing mostly along the lower edge.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 35.5” W x 2.75” D

Frame: 16.75” H x 19.75” W x 1” D

Frame: 32.5” H x 37” W x 2” D

Blacklight: A 7.5” x 7” scattered area of touch-up upper center. Frame: 33.25” H x 39.25” W x 3” D 78 Visual: Generally good condition. Dirt, grime and craquelure commensurate with age. Blacklight: No evidence of restoration. Difficult to read under varnish. Frame: 27.25” H x 31.25” W x 2.25” D 79 Overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age. Wood base with scratches. The mounting hardware sticks out on the underside causing the sculpture to not sit level. With base: 11.5” H x 3.875” W x 3.875” D 80 Visual: Stable crazing and craquelure throughout the blue/grey background and in the lower fabric. Spots of discolored surface grime throughout. A few minor flecks of paint loss in the upper left corner and one minor spot in the left rose. Blacklight: No evidence of restoration. Background fluoresces, but appears to be in the hand of the artist. Frame: 31.25” H x 27.25” W x 2.25” D 81 Visual: Generally good condition. Stretcher bar creases visible in raking light. Vertical lines of craquelure along the left and right edges. Skinning to the upper left of the bowl.

83 Visual: Generally good condition. A very small area of paint shrinkage lower center. Slight stretcher bar creases along the four edges. Blacklight: Small spots and lines of touch-up upper left, lower left and near the center of the right edge. A quarter-sized spot of touch-up in the lower right corner. Other possible spots of touch-up in the center. Difficult to read under uneven varnish. Frame: 34.25” H x 26.25” W x 4” D 84 Visual: Generally good condition. Varnish discoloration throughout. Minor surface dirt and grime. Blacklight: A few small spots and lines of touch-up in the sky. Frame: 16.5” H x 22.5” W x 2” D 85 Visual: Dust accumulation, grime and varnish discoloration commensurate with age. Craquelure throughout, some of which appears to be slightly unstable. Occasional pea-sized, or smaller, pigment losses scattered near the edges, mostly attendant with stretcher bar creases and frame abrasions. An unobtrusive repair at the upper left, with related 1.75” H x 2” W canvas patch affixed verso Blacklight: Touch-ups scattered throughout. Difficult to read under uneven varnish. Frame: 30.5” H x 41.5” W x 2” D 86 Visual: Generally good condition. Surface dirt, grime, craquelure and varnish discoloration commensurate with age. Frame abrasions along the left edge.

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

Blacklight: Occasional, small, scattered touch-ups throughout, the largest area approximately 3.5” x 2” at the lower right. Scattered touch-ups along previous stretcher bar creases at the lower and right edges. Difficult to read under varnish.

Frame: 25.5” H x 21.25” W x 2” D

Frame: 27.5” H x 38” W x 2.5” D

82 Visual: Generally good condition. Blacklight: No evidence of restoration.

Condition Reports

77 Visual: Generally good condition. A few small areas of craquelure and paint shrinkage scattered throughout.

Frame: 27” H x 32” W x 2.5” D 173

87 Visual: Generally good condition. Fine craquelure scattered throughout. Small splashes of white house paint in the lower left corner. Minor varnish discoloration.

92 Visual: Generally good condition. Dust accumulation, varnish discoloration and occasional craquelure commensurate with age. Stretcher bar creases and frame abrasions along the four edges.

Blacklight: No evidence of restoration.

Blacklight: A scattered, dime-size touch-up in the ear of the white cow and another in the ribs of the lightbrown cow. A 0.5” x 2” area of scattered touch-up in the grass directly below the ribs of the white cow. A pea-sized touch-up and related repair at the center of the upper edge. A 1” diagonal line of touch-up and probable repair in the upper left corner.

Frame: 17” H x 25” W x 1.25” D 88 Visual: Generally good condition. Craquelure throughout. Blacklight: Small spots and lines of touch-up scattered along the lower edge, the largest a 1” x .25” area lower center. Frame: 24.25” H x 29.25” W x 2.5” D

Blacklight: Scattered crack-fill throughout the sky.

Blacklight: Apparently no evidence of restoration. Difficult to read under uneven varnish.

94 Visual: Generally good condition.

Frame: 35.25” H x 55.25” W x 3” D

Blacklight: No evidence of restoration.

Blacklight: Small spots and lines of touch-up throughout, concentrated mainly in the sky, the largest a 1”x 2” scattered area lower center. Frame: 45” H x 63.5” W x 3” D

Condition Reports

93 Visual: Generally good condition. Stable craquelure throughout with micro fleck losses. Stretcher bar crease along the upper edge.

89 Visual: Generally good condition. Craquelure throughout the sky. A few small flecks of paint loss along the upper edge. The canvas is slightly loose.

90 Visual: Generally good condition. Fine craquelure scattered throughout. Paint shrinkage in some of the white pigments of the clouds. A small spot of paint loss in the center.

174

Frame: 32” H x 44” W x 3” D

Frame: 14.25” H x 24.75” W x 1.75” D

Frame: 16.25” H x 22.25” W x 2.25” D 95 Visual: Generally good condition. Scattered craquelure, dirt and grime. A 0.5” x 0.25” repair slightly visible between the trunks of the foreground trees at lower center, with a related 0.75” x 0.5” canvas patch verso. At least seven small and generally unobtrusive pigment losses, all pea-sized or smaller, a few with an attendant pin-head sized hole, near the edges. Frame abrasions along the upper edge at the far left.

91 Visual: Generally good condition. Fine, stable craquelure throughout. Faint stretcher bar crease along the upper edge.

Blacklight: Scattered touch-ups showing mostly in the sky and in the lower left corner. The largest area, in the sky at left, measures approximately 2.5” x 5”. Difficult to read under varnish.

Blacklight: Small pea-sized spots of touch-up concentrated in the lower right quadrant. One small pea-szied spot of touch-up to the upper right of the signature. Possibly older touch-up in the center left cow. Light varnish throughout, difficult to read under blacklight.

Frame: 27” H x 35” W x 2.5” D

Frame: 22.375” H x 34.75” H x 2.5” D

96 Visual: Generally good condition. Craquelure scattered throughout. Small areas of paint shrinkage in the body of the ship and the small boat. A peasized spot of paint loss near the center of the left edge. Minor surface dirt and grime. Blacklight: Touch-up along the upper and left edges. Difficult to read under uneven varnish. Frame: 48” H x 58” W x 2” D 97 Visual: Generally good condition. Stable craquelure and stretcher bar creases.

101 Visual: Generally good condition. Craquelure and paint shrinkage scattered throughout. Blacklight: No evidence of restoration. Frame: 20” H x 22” W x 1.5” D 102 Visual: Generally good condition. A tiny fleck of paint loss lower left. Spots of what appears to be mold and mildew throughout the verso. Blacklight: No evidence of restoration. Frame: 31.5” H x 36.5” W x 1.75” D

Blacklight: An approximately 1” x 1.25” touch-up near the lower right corner. One 0.5” diameter area of touch-up, as well as one 1.5” ring and one 1” ring of touch-up, all in the ship’s sails. Difficult to read under varnish.

103 Visual: Generally good condition. Craquelure throughout. Minor varnish discoloration.

Frame: 35” H x 47” W x 2” D

Blacklight: Touch-up and crack-fill scattered throughout. Frame: 26” H x 23” W x 4.25” D

Blacklight: No evidence of restoration. Frame: 33.5” H x 39.5” W x 2.5” D 99 Visual: Generally good condition. Dust accumulation commensurate with age. Scattered pencil pentimenti showing very slightly in the sky. Blacklight: Occasional dots and short lines of touchup scattered throughout, the largest 2” x 0.25” at the very top of the left edge. Frame: 31” H x 36” W x 2.25” D

104 Visual: Generally good condition. Dust accumulation and grime commensurate with age. Very occasional, scattered and unobtrusive, pin-head size pigment losses, mostly in the extreme upper left corner and at the lower right just beyond the hem of the woman’s dress. Blacklight: No evidence of restoration. Difficult to read under uneven varnish. Frame: 44” H x 36” W x 2” D 105 Visual: Generally good condition. Dust accumulation commensurate with age. The canvas layer bowing outwards very slighting at upper and lower center. Approximately five unobtrusive specks of stray white paint near the upper edge, at right. Blacklight: No evidence of restoration.

100 Visual: Generally good condition. Discolored varnish throughout. Blacklight: No evidence of restoration. Frame: 27” H x 33” W x 1.25” D

Frame: 23” H x 18” W x 1.75” D 106 Visual: Generally good condition. Surface dust and grime scattered throughout. A pinhead-size abrasion in the lower section of the extreme left edge. Blacklight: No evidence of restoration.

Condition Reports

98 Visual: Generally good condition. Fine craquelure scattered throughout. A small indentation to the canvas with minor damage and paint loss right center. Light stretcher bar creases to the four edges.

Frame: 23” H x 17.5” W x 1.25” D 175

Consign Today

California & American Fine Art Fall 2022

Ben Abril (1923-1995, Los Angeles, CA) “3rd Street East Los Angeles,” 1959

Price Realized: $28,125 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 176

Consign Today

Fine Jewelry & Timepieces September 2022

In our upcoming May 3, 2022 auction: Multiple lots of David Yurman jewelry to be offered.

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

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Post-War & Contemporary Fine Art Specialist Hayden Hunt Fine Art Cataloguer Anne Spink Vice President, Timepiece Specialist, Furniture & Decorative Arts Director Furniture & Decorative Arts Department Manager / Junior Specialist Furniture & Decorative Arts Cataloguer

Roland Rynkiewicz Danielle Kim Shannon Dailey

Jewelry Director Mollie Burns Keith, G.J.G 20th Century Design Specialist John Simon Taylor Western, American Indian Specialist Maranda Moran Silver, Western, American Indian Cataloguer Sally Andrew

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

Associate Director 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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