Modern & Contemporary Fine Art Online — February 16, 2022 | John Moran Auctioneers

Modern & Contemporary Fine Art Online Wednesday, February 16, 2022

SINCE 1969

AUCTIONEERS & APPRAISERS

Modern & Contemporary Fine Art Online Wednesday, February 16, 2022—12pm Sale 218 145 East Walnut Avenue, Monrovia CA 91016 Previews by appointment

Meet the Team Morgana Blackwelder Head of Sale Senior Vice President, Fine Art Director morgana@johnmoran.com Hayden Hunt Post-War & Contemporary Fine Art Specialist hayden@johnmoran.com

Bobby Cullen Junior FIne Art Specialist Senior Fine Art Cataloguer 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

1001

Scott Reeder

(b. 1970, American) “Eggsecution,” 2008 Oil on linen Signed, titled, and dated verso: Scott Reeder 17” H x 20” W $1,000-2,000 Provenance: Daniel Reich Gallery, New York, NY The Blake Byrne Collection, acquired from above

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1002

Scott Reeder

(b. 1970, American) “Bread and Butter (Museum),” 2009 Oil on canvas Signed, titled, and dated verso: Scott Reeder 24” H x 31” W $1,000-2,000 Provenance: Daniel Reich Gallery, New York, NY The Blake Byrne Collection, acquired from above

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1003

Jessica Lajard

(b. 1985, French) “Try Try Again,” 2010 Painted bronze Unsigned 9.5” H x 5.75” W x 5.875” D $1,000-2,000 Provenance: The Blake Byrne Collection

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1004

George Stoll

(b. 1954, American) “Untitled (Raspberry Car Sponge),” 2000 Burned balsa wood and alkyd paint Signed and dated: George Stoll / 2000; titled to verso 8.375” H x 4.875” W x 2” D $1,000-2,000 Provenance: The Blake Byrne Collection

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1005

George Stoll

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

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1006

Jason Byers

(b. 20th Century, United States) “T-4,” 2001 Oil on canvas Signed, titled and dated verso: Jason Byers 72” H x 56” W $400-600 Provenance: Newspace Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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1007

Rigo Schmidt

(b. 1974, German) “Untitled (Rhino),” 2006 Oil and acrylic on canvas Signed, dated, and inscribed verso: Rigo Schmidt / 04-05/2006 / O.T. (Nashorn) 9.5” H x 12” W $500-700 Provenance: Chung King Project, Los Angeles, CA The Blake Byrne Collection, acquired from above

1008

Cheryl Laemelle

(b. 1956, United States) “Trinity,” 1985 Oil on canvas Signed, titled, and dated “Cheryl Laemelle ‘Trinity’ 1985’” on tape adhered to stretcher bar (verso) 84” H x 72” W $500-700 Provenance: Sharpe Gallery, New York, NY Exhibitions: New York, Whitney Museum of American Art, Equitable Center Branch, “Real Illusions,” February 8 - April 11, 1990 Stamford, CT, Whitney Museum of American Art, “Real Illusions,” May 17 - July 18, 1990

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1009

Edward del Rosario

(b. 1970, American) Untitled (Rat filming other rats at play), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.75” H x 7.5” W $500-700 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

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1010

Edward del Rosario

(b. 1970, American) Untitled (Office rats), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $500-700 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

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1011

Edward del Rosario

(b. 1970, American) Untitled (Two rats on a chair), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $500-700 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

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1012

Edward del Rosario

(b. 1970, American) Untitled (Rats surrounding a bound rabbit), 2003 Watercolor on paper under Plexiglas Signed lower right: del Rosario; dated by repute Sheet: 7.5” H x 7.5” W $500-700 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

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1013

Edward del Rosario

(b.1970, American) “The Gift,” 2004 Oil on linen Initialed lower left: dR; titled and dated by repute 18” H x 18” W $700-900 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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1014

Martha Alf

(b. 1930, American) “Untitled,” blue/maroon, 1974, “Untitled,” red/green, 1974, and “Untitled” blue/blue, 1974 Each: Color photograph under glass blue/maroon: 7/15; red/green: 10/15; blue/blue: 6/15 Each: Named, titled, and numbered on gallery label verso Each: Site: 9.25” H x 14” W $300-500 Provenance: Newspace, Los Angeles, CA Corporate Collection, Los Angeles, CA

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1015

1016

(b. 1987, American) “Emma (Beach),” 2016 C-print on photographic paper under Plexiglas Edition 1/5; appears unsigned; title, date, and edition sequencing by repute 16” H x 24” W

(American, B. 1987) “Camilla (Couch),” 2015 C-print laid to photoboard Edition 2/3; unsigned; edit 30” H x 46” W

Chad Moore

22

Chad Moore

$1,500-2,500

$1,500-2,500

Provenance: Agnes b., New York, NY Private Collection, New York, NY, acquired from the above

Provenance: Private Collec

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d under Plexiglas tion sequencing by repute

ction, New York, NY

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1017

Chad Moore

(b. 1987, American) “Athena (Barbed Wire),” 2017 C-print on photographic paper under Plexiglas Edition 1/5; appears unsigned; title, date, and edition sequencing by repute 11” H x 17” W $1,500-2,500 Provenance: Agnes b., New York, NY Private Collection, New York, NY, acquired from the above

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1018

Frank Sturmer

(b. 1972, Romanian) Untitled, 2004 C-Print Signed and dated on the backing board: Sturmer Sight: 16” H x 10.25” W $100-200 Provenance: Galerie Christine Mayer, Munich, Germany The Blake Byrne Collection, acquired from above Notes: Depicting Holy Week in Spain, this image captures the annual tribute of the Passion of Jesus Christ celebrated by Catholic religious brotherhoods and fraternities that perform religious processions on the streets of almost every Spanish city and town during the last week of Lent, the week immediately before Easter. w w w. j o h n m o r a n . c o m

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1019

Jason Meadows

(b. 1972, American) “AK Gothic,” 2008 Welded metal, stained wood, wood laminate on board, found metal, and Plexiglass Appears unsigned; variously inscribed with numbers and identification letters in pencil and black ink 114” H x 51” W x 46” D $2,500-3,500 Provenance: Marc Foxx Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from above

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1020

Scott Treleaven

(b. 1972, Canadian) “Cimitero Drawing 16,” 2010 Vinyl paint and collage on paper under Plexiglas Appears unsigned; titled and dated on a gallery label affixed to the backing board 27” H x 17” W $500-700 Provenance: Marc Selwyn Fine Art, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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1021

Scott Treleaven

(b. 1972, Canadian) “We Love an Audience,” 2005 Collage on Masonite Signed, titled, and dated verso: Treleaven 10” H x 8” W $1,000-2,000 Provenance: Marc Selwyn Fine Art, Los Angeles, CA The Blake Byrne Collection

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1022

Scott Treleaven

(b. 1972, Canadian) “Witchcraft Through the Ages (x),” 2007 Watercolor and collage on paper under Plexiglas Signed, titled, and dated verso: Treleaven Sheet: 12.25” H x 11” W $1,000-2,000 Provenance: The Blake Byrne Collection

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1023

Scott Treleaven

(b. 1972, Canadian) “Witchcraft Through the Ages (iii),” 2007 Watercolor on paper under Plexiglas Unsigned; titled and dated by repute Sheet: 8.5” H x 6” W $1,000-2,000 Provenance: The Blake Byrne Collection

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1024

Mathew Weir

(b. 1977, English) “Needle Woman,” 2004 Oil on canvas laid to panel Signed, titled, and dated verso: Mathew Weir 14.5” H x 9” W $1,000-1,500 Provenance: Roberts Projects, Culver City, California The Blake Byrne Collection, acquired from above

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1025

Stephen Al

(b. 1981, Am “New Realiza Oil and enam Signed, titled 66” H x 44”

$2,500-3,500

Provenance: Private Colle 34

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1026

Rita McBride

(b. 1960, American) “3 to 1,” 1990 Velvet over wood with caning Unsigned Each element: 19.25” H x 19.25” W x 2” D $600-800 Provenance: The artist The Blake Byrne Collection, acquired from the above

ldahl

merican) ation: Twirl (Red and Black),” 2017 mel on canvas d, and dated verso: ALDAHL W

0

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1027

Rita McBride

(b. 1960, American) “No Cake Today,” 1990 Mixed media Unsigned 10” H x 16” W x 16” D $1,000-2,000 Provenance: Margo Leavin Gallery, West Hollywood, CA The Blake Byrne Collection, acquired from the above

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1028

Hannah Plotke

(b. 1988, American) “Nose,” 2016 Oil on artist’s board and plaster on wooden panel Appears unsigned; titled and dated by repute 12” H x 9” W $1,000-2,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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1029

1030

(b. 1988, American) “Beach Ball,” 2016 Mixed media on canvas board and plaster on wooden stretcher Appears unsigned; titled and dated by repute 12” H x 9” W approximately

(b. 1988, American) “Lady,” 2016 Mixed media on canvas board and plas Appears unsigned; titled and dated by 12” H x 9 “ W approximately

Hannah Plotke

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Hannah Plotke

$1,000-2,000

$1,000-2,000

Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

Provenance: CafÈ Society Alberto Cuad Private Collection, New York, NY, acqui

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ster on wooden stretcher repute

dros, Los Angeles, CA ired from the above

1031

Hannah Plotke

(b. 1988, American) “Bowls,” 2016 Mixed media on canvas board and plaster on wooden stretcher Appears unsigned; titled and dated by repute 12” H x 9” W approximately $1,000-2,000 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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1032

Markus Selg

(b. 1974, German) “Wir sind nicht immer gleich bei Sinnen,” 2002 Oil on linen Signed, titled and dated verso: Markus Selg 78.75” H x 70.75” W $1,000-2,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection, acquired from the above

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1033

Martin Kippenberger

(1953-1997, German) “80 Unique Books” (for “Parkett” no. 19), 1989 Photo-offset booklet on paper inserted in the photo-offset “Parkett” magazine; Z¸rich and New York: Parkett Publishers, 1989 Edition 17/80; the booklet signed and numbered in pencil Folio overall: 10” H x 8.25” W x .75” D $500-700 Provenance: Parkett Art Editions, New York, NY The Blake Byrne Collection, acquired from the above

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1034

Mark Dion

(b. 1961, American) “Fragments of Travel, Exploration and Adventure,” 2007 Illustrated book with tipped-in and loose lithographs and digital prints in a canvas-bound hard jacket; Christophe Daviet-Thery, Paris, pub.; Arte Print, Brussels, printer Edition 34/36; signed and dated: M. Dion / 2007 Overall book: 12.625” H x 10.25” W x .875” D $1,000-1,500 Provenance: Sale: Galerie Christophe Daviet-Thery, Paris, France The Blake Byrne Collection, acquired from the above Notes: This lot is accompanied by a personalized note and sticker from the publishing house.

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1035

Jim Hodges

(b. 1957, American) “Four Letters,” 1994 Paper, ribbon, and stickers Edition 93/250; signed, dated, and inscribed: Jim Hodges / 1994 / Petra Holtzman Multiples Ltd 11.375” H x 8.875” W $300-500 Provenance: Collection of the artist The Blake Byrne Collection, acquired from the above in 1999

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1036

Robert Russell

(b. 1971, American) “Paul McCarthy,” 2012 Oil on gesso board Signed and dated verso: Russell; titled by repute 11” H x 14” W $400-600 Provenance: Helene Bailly Gallery, Paris, France The Blake Byrne Collection, acquired from the above

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1037

Robert Russell

(b. 1971, American) “Llyn Foulkes,” 2012 Oil on board Unsigned 14” H x 11” W $500-700 Provenance: The Blake Byrne Collection

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1038

Rigo Schmidt

(b. 1974, German) “Fig. 5,” 2004 Oil and acrylic on canvas Signed, titled, dated, and inscribed verso: Rigo Schmidt / Siren [the latter then redacted] 12.25” H x 8” W $500-700 Provenance: Chung King Project, Los Angeles, CA The Blake Byrne Collection, acquired from above

1039

Markus Amm

(b. 1969, German) Untitled, 2006 Slate, wood, aluminum, c Unsigned 63” H x 46” W x 14.5” D $1,000-2,000

Provenance: David Korda California The Blake Byrne Collectio 48

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canvas, and photogram on pedestal

D

ansky Gallery, Los Angeles,

on, acquired from the above w w w. j o h n m o r a n . c o m

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1040

Ben Jackel

(b. 1977, American) “Mar-a-Lago,” 2017 Stoneware and ebony Unsigned 5.5” H x 17” W x 14” D $1,000-1,500 Provenance: L. A. Louver Gallery, Los Angeles, California The Blake Byrne Collection, acquired from above

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1042

Alex Mueller

(Active 21st Century, German) “Die Absolute Wirklichkeit (The Absolute Reality),” 2006 Metal, wood, and velvet Unsigned 15” H x 16.5” W x 2” D $400-600 Provenance: Galerie Vera Gliem, Koln, Germany The Blake Byrne Collection, acquired from the above

1041

David Hendren

(20th/21st Century, American) “Angled Looking Glass, a Proposal,” 2010 Wood, dibond, glass, and enamel Signed and numbered in black pen: [indistinct signature] / 10 17.5” H x 33” W x 11.5” D $500-700 Provenance: Emma Gray HQ, Los Angeles The Blake Byrne Collection, acquired from above

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1043

Andreas Diefenbach

(b. 1973, German) “Aesthetic-Tac-Toe,” 2007 Oil, lacquer, acrylic, dispersion, and vinyl on canvas Signed, titled and dated verso: Andreas Diefenbach 55” H x 45.25” W $700-900 Provenance: Jack Tilton Gallery, New York The Blake Byrne Collection, acquired from above

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1044

Axel Geis

(b. 1970, German) Untitled, 2007 Oil on canvas Signed and dated verso: Axel Geis 29.5” H x 19.5” W $700-900 Provenance: MOCA Art Auction, 2007 Los Angeles, CA Galerie Jan Wentrup, Berlin, Germany The Blake Byrne Collection, acquired from above

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1045

Anke Doberauer

(b. 1962, German) “Chris,” 2004 Oil on canvas Signed, titled and dated verso: Anke Doberauer 79” H x 47.25” W $1,000-2,000 Provenance: Mai 36 Galerie, Zurich, Switzerland The Blake Byrne Collection

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1046

Jimmy Baker

(b. 1980, American) “Study for Matt,” 2007 Acrylic screenprint and graphite on paper under Plexiglas Signed, titled and dated verso: Jimmy Baker Sheet: 13” H x 10” W $300-500 Provenance: Roberts & Tilton Gallery, Culver City, CA The Blake Byrne Collection, acquired from the above

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1047

Jimmy Baker

(b. 1980, American) “Study for Brandon,” 2007 Acrylic screenprint and graphite on paper under Plexiglas Signed, titled and dated verso: Jimmy Baker Sheet: 13” H x 10” W $300-500 Provenance: Roberts & Tilton Gallery, Culver City, CA The Blake Byrne Collection, acquired from the above

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1048

Jimmy Baker

(b. 1980, American) “Study for Robert,” 2007 Acrylic, screenprint, and graphite on paper under Plexiglas Signed, titled, and dated verso: Jimmy Baker Image/Sheet: 13” H x 10” W $300-500 Provenance: Roberts Projects, Culver City, California The Blake Byrne Collection, acquired from above

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1049

Jimmy Baker

(b. 1980, American) “Study for Alex,” 2007 Acrylic, screenprint, and graphite on paper under Plexiglas Signed, titled, and dated verso: Jimmy Baker Image/Sheet: 13” H x 10” W $300-500 Provenance: Roberts Projects, Culver City, California The Blake Byrne Collection, acquired from above

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1051

George Bolster

(b. 1972, Irish) “Jesus,” 2006 Customized gold jewelry, pencil, and paint on sycamore wood Signed, titled, and dated verso: George Bolster 12” H x 8.25” W $1,000-2,000 Provenance: Chung King Project, Los Angeles The Blake Byrne Collection, acquired from above

1050

Cornelius Quabeck

(b. 1974, German) “John,” 2006 Charcoal and fabric paint on nettle Signed, titled, and dated verso: C. Quabeck 90.5” H x 74.75” W $500-700 Provenance: Stephen Freidman Gallery, London, England The Blake Byrne Collection, acquired from the above w w w. j o h n m o r a n . c o m

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1052

Audrey Nervi

(b. 1974, French) “Metek,” 2001 Oil on canvas Signed, titled, and dated verso: Nervi Audrey 9” H x 15.5” W $500-700 Provenance: Galerie Frank Elbaz, Dallas, Texas The Blake Byrne Collection, acquired from above

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1053

Audrey Nervi

(b. 1974, French) “Greg,” 2006 Oil on canvas Signed, titled, and dated verso: Nervi 9” H x 15.5” W $500-700 Provenance: Galerie Frank Elbaz, Dallas, Texas The Blake Byrne Collection, acquired from above

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1054

Audrey Nervi

(b. 1974, French) “Guerilla 3,” 2004 Oil on canvas Signed, titled, inscribed, and dated verso: Nervi Audrey / France 9” H x 15.25” W $500-700 Provenance: Galerie Frank Elbaz, Dallas, Texas The Blake Byrne Collection, acquired from above

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1055

Audrey Nervi

(b. 1974, French) Two works “Gaz 1,” 2004; “Gaz 2,” 2004 Each: Oil on canvas Each: Signed, titled, dated, and inscribed verso: Nervi Audrey / Pologne [indistinct] Each: 6.75” H x 9.75” W $500-700 Provenance: Galerie Frank Elbaz, Dallas, Texas The Blake Byrne Collection, acquired from above

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1056

Sudarshan Shetty

(b. 1961, Indian) Untitled, 2007 Oil and acrylic on canvas Signed and dated verso: Sudarshan Shetty 48” H x 72” W $3,000-5,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection

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1057

Christian Holstad

(b. 1972, American) “Burning scented bridges in order 2(x)ist,” 2005-06 Collage on paper under Plexiglas (four panels) Unsigned Each: 18.25” H x 12.5” W $3,000-5,000 Provenance: Daniel Reich Gallery, New York, NY The Blake Byrne Collection

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1058

Lutz Braun

(b. 1976, German) “Nina Final,” 2005 Oil on a reappropriated piece of particle board Signed and titled verso: Lutz Braun; dated by repute Overall: 47.25” H x 23.75” W x .75” D $700-900 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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1059

Lara Schnitger

(b. 1969, Dutch/American) “Sexy Bitch,” 2006 Fabric collage over wood stretcher Signed and dated on the stretcher bar: L. Schnitger; titled by repute 58” H x 42” W $2,500-3,500 Provenance: The Blake Byrne Collection

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1060

Ben Jackel

(b. 1977, American) “Small Fire Extinguisher,” 2007 Stoneware and metal hardware Stamped: BJ 07 12” H x 5” W x 2.875” D $500-700 Provenance: L. A. Louver Gallery, Los Angeles, California The Blake Byrne Collection, acquired from above

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1061

Barbara Broughel

(b. 1956, American) “Cuban Long Filter,” 1988 Mixed media Unsigned 2.75” H x 8” W x 8.375” D $300-500 Provenance: Kent Fine Art, New York The Blake Byrne Collection, acquired from above

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1062

Barbara Broughel

(b. 1965, American) “Rum Cocktail/Molotov Monster,” 1988 Mixed media Unsigned 9.25” H x 5” Dia. $300-500 Provenance: Kent Fine Art, New York The Blake Byrne Collection, acquired from above

1063

Gabriel Vormstein

(b. 1974, German) “Hate to Feel,” 2004 Watercolor and gouache on newsprint Appears unsigned; titled and dated by repute 61.5” H x 44” W $1,000-2,000

Provenance: Meyer Riegger Gallery, Karlsruhe, G The Blake Byrne Collection 72

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Germany

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73

74

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1064

Thomas Fougeirol

(b. 1965, French) “Untitled,” 2017 Mixed media on canvas Signed and dated verso: Thomas Fougeirol; titled on a gallery label affixed verso 64” H x 51” W $1,000-1,500 Provenance: Praz-Delavallade Galerie, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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1065

Dan Bayles

(b. 1977, American) “Interior #4,” 2009 Mixed media on canvas over panel Appears unsigned 60” H x 72” W $500-700 Provenance: Francois Ghebaly, Los Angeles, CA The Blake Byrne Collection, acquired from above

76

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77

78

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1066

Tom Jenkins

(20th Century, American) “In Defense of Private Property,” 1983 Enamel on aluminum on wooden stretcher Initialed, titled and dated lower right: TWJ 36” H x 48” W $500-700 Provenance: Corporate Collection, Los Angeles, CA

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1067

Liam Jones

(20th/21st Century, American) “Tented House #5,” 2004 Acrylic on canvas over panel Signed and dated verso: Liam Jones 48.75” H x 72.25” W $1,000-2,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

80

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1068

Stephen Aldahl

(b. 1981, American) “New Realization: Psycho House,” 2017 Oil and enamel on canvas Signed, titled, and dated verso: Aldahl 66” H x 44” W $2,500-3,500 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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1069

Morgan Mandalay

(b. 1985, American) “The Expulsion Version 2,” 2016 Oil on canvas Signed, titled and dated verso: M. Mandalay 40” H x 32” W $1,500-2,500 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

82

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83

84

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1070

Aaron Curry

(b. 1972, American) “Untitled (Bricklayer),” 2008 Acrylic with gouache and collage on board under Plexiglas Unsigned, titled on a gallery label affixed to the backing board 26.25” H x 21” W $2,500-3,500 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, David Kordansky Gallery, “Aaron Curry, Richard Hawkins, Peter Saul,” September 26 - November 8, 2008.

Notes: Aaron Curryís works combine sculpture, drawing, installation, collage, and a painterly sensibility. He often imbues his pieces with an unexpected playfulness and makes reference to art historical precedent.

Born in Texas in 1972 and educated at ArtCenter College of Design in Pasadena, Curry has had a thriving studio practice in Los Angeles since completing his MFA. His work is held in museum collections around the world, inclusive of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the San Francisco Museum of Art, the Lincoln Center for the Performing Arts, the MusÈe díart contemporain de Bordeaux.

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1071

Christian Holstad

(b. 1972, American) “Luggage Set,” 2005 Upholstery fabric, vinyl, nylon, buckles, zippers, foam, webbing fiberfill, tennis racket, cotton briefs, and tin can (five pieces) Each signed: A Treasure Forever By / Christian Holstad Dimensions vary, largest: 29” H x 23” W $1,000-2,000 Provenance: Sale: Daniel Reich Gallery, New York, NY, March 31, 2006 The Blake Byrne Collection Notes: Christian Holstad has been described as a ìone-artist collective, equally at ease with knitting, quilting, collage, drawing and sculpture.î While his work is disparate in medium, it is often united by concept, questioning notions of identity, culture, and sexuality in a manner that combines high and low art. Holstadís art often employs craft techniques such as quilting and sewing, as seen in the present work. In “Luggage Set,” Holstad fabricates a backpack, replete with zippers, straps and unlikely fabric choices. His work often addresses gay culture, the AIDS crisis and employs fetishistic materials and themes. Born in Anaheim California in 1972, Holstad made his career in New York, where he continues his studio practice.

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87

88

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1072

Alex Mueller

(Active 21st Century, German) “o.T. ,” (Series: Der erste Sekretar im zweiten Park/The first secretary in the second park), 2006 Acrylic, gold ink, and pigment on canvas in a white wood cabinet with white wood chair Unsigned Overall: 72.25” H x 40.75” W x 10” D; Chair: 34” H x 21.25” W x 19” D; Canvas size: 39.25” H x 39” W $700-900 Provenance: Galerie Vera Gliem, Cologne, Germany The Blake Byrne Collection

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1073

Thaddeus Strode

(b. 1964, American) “Portrait of Inside the Buddha,” 2013 Mixed media on canvas Signed, titled and dated verso: Thaddeus Strode 10” H x 8” W $1,000-2,000 Provenance: C. Nichols Project, Los Angeles, CA The Blake Byrne Collection, acquired from the above

90

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1074

Andre Thomkins

(1930-1985, Swiss) “Maldorer,” 1960 “Lackskin” technique on paper under Plexiglas Signed and dated lower right: Andre Thomkins, titled lower left 8.25” H x 7.75” W $1,000-1,500 Provenance: Galerie Hauser & Wirth, Zurich, Switzerland The Blake Byrne Collection Notes: According to Galerie Hauser & Wirth, Thomkins used the “lackskin” technique to create “... otherwordly and amorphous forms by floating a coat of lacquer paint on the surface of water, before blowing, dripping, pulling and stirring the liquid.” w w w. j o h n m o r a n . c o m

91

92

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1076

Alexander Kroll

(b. 1981, American) “Cama,” 2012 Oil on canvas Signed and dated verso: Kroll 14” H x 11” W $1,000-2,000 Provenance: CB1 Gallery, LLC, Los Angeles The Blake Byrne Collection, acquired from above

1075 Dirk Bell

(b. 1969, German) “Ohne Titel” [Untitled], 2005 Mixed media on panel Signed, dated, and numbered verso: DB559; titled on a gallery label affixed verso 53.25” H x 42” W $1,200-1,800 Provenance: Jorn Botnagel and Yvonne Quirmbach, Cologne, Germany The Blake Byrne Collection, acquired from the above w w w. j o h n m o r a n . c o m

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1077

Michael Lazarus

(b. 1969, American) “Reverse,” 2006 Enamel, spray paint, collage, and acrylic on panel Signed, titled, and dated verso: Michael Lazarus 29” H x 21” W $500-700 Provenance: Sister Gallery, New York The Blake Byrne Collection, acquired from above

94

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1078

John Zinsser

(b. 1961, American) “Standard Atmospheres: Troposphere,” 2000 Alkyd, enamel and oil on Arches hot-press paper Signed, titled, dated, and inscribed: Zinsser / 9:07 P. M. / 5. 26. 00, all in pencil, in the lower margin 16” H x 12.25” W $400-600 Provenance: The Blake Byrne Collection

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1079

Cameron Shaw

(b. 1956. American) Untitled (vitrine with derby), 1996 Mixed media assemblage Edition 1/3; appears unsigned 78.5” H x 24.75” W x 20.75” D $400-600

Provenance: Louis Stern Fine Arts, We Richard Heller Gallery, Santa Monica, The Blake Byrne Collection, acquired

Exhibitions: West Hollywood, CA, Lou Surrealism Then and Now,” Septembe

96

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1080

Adam Helms

(b. 1974, American) “NFA Interior Fortification,” 2005 Pencil on paper under Plexiglas Appears unsigned Image: 37.25” H x 57.5” W; Sheet: 40” H x 60” W $500-700 Provenance: The Blake Bryne Collection

est Hollywood, CA CA from the above

uis Stern Fine Arts, “Imaginary Realities: er 19 - November 12, 1996

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97

1081

Federico Guz

(b. 1964, Spani “Noticia Sonica Oil monotype o Signed, titled, a 77” H x 47” W $1,000-2,000

Provenance: Ga Brooke Alexand The Blake Byrn 98

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zman

1082

Iva Gueorguieva

(b. 1974, Bulgarian/American) Untitled Ink on paper under glass Appears unsigned Image/Sheet: 10.25” H x 7” W $300-500 Provenance: Iva Gueorguieva The Blake Byrne Collection, acquired from above

ish) a,” 1990 on canvas and dated verso: Federico Guzman

aleria La Maquina, Barcelona, Spain der Gallery, New York, NY ne Collection w w w. j o h n m o r a n . c o m

99

1083

Brandon Drew Holmes

(b. 1985, American) “Choose a Baby to Hug and Love,” 2016 Graphite on paper in an acrylic box frame Appears unsigned, dated by repute; titled verso 11” H x 8.5” W $1,500-2,500 Provenance: CafÈ Society Alberto Cuadros, Los Angeles, CA Private Collection, New York, NY, acquired from the above

1 0 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1084

Randall Sellers

(b. 1969, American) “Beholden,” 2008 Pencil on stained paper under Plexiglas Initialed and dated lower right: R.F.S.; titled by repute Sheet: 8” H x 12” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

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1085

Randall Sellers

(b. 1969, American) “Untitled Landscape with Woman Pointing,” 2005 Graphite on paper under Plexiglas Initialed and dated lower right: R.F.S..; titled by repute Sheet: 7.75” H x 10.5” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from above

1086

Tom Allen

(b. 1975, American) “Putto with Mirror,” 2006 Oil on canvas Signed with the artist’s device and dated lower right; titled on the stretcher 56” H x 47” W $500-700 Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection, acquired from the above 1 0 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1 0 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1088

Tom Allen

(b. 1975, American) “Summerlands (#2),” 2010 Oil on canvas Signed with the artist’s device and dated lower left; titled on the stretcher 32” H x 29” W $500-700 Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection, acquired from the above

1087

Stuart Elster

(20th Century, American) “Spaceman III,” 2003 Oil on canvas Signed, titled, and dated verso: Stuart Elster 96” H x 73” W $1,000-2,000 Provenance: Lucas Schoormans Gallery, New York, NY The Blake Byrne Collection w w w. j o h n m o r a n . c o m 1 0 5

1089

Jessica Minckley

(20th/21st Century, American) “Let Me Go,” 2005 Watercolor, gouache, graphite, and acrylic on paper laid to Masonite Appears unsigned; titled lower center 47.75” H x 86” W $500-700 Provenance: L.A. Louver Gallery, Venice, CA The Blake Byrne Collection, acquired from above

1 0 6 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1090

Diego Groisman

(20th-21st Century, Argentinian) “Tori’s Duet,” 2017 Watercolor on paper Signed lower right: Diego; titled by repute; signed again and dated verso 14.25” H x 18” W $1,000-2,000 Provenance: 0.0 L.A. Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

w w w. j o h n m o r a n . c o m 1 0 7

1091

Dan McCleary

(b. 1952, American) “Kissing Couple,” 1983 Pastel on paper under glass Initialed and dated in pencil lower right: DM; signed, titled and dated in pencil on the frame’s backboard: Dan McCleary Image/Sheet: 30” H x 22.5” W $300-500 Provenance: Newspace, Los Angeles, CA Corporate Collection, Los Angeles, CA

1 0 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1 1 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1092

Dan McCleary

(b. 1952, American) “Querelle #2,” 1983 Pastel on paper under glass Initialed and dated in pencil lower right: DM; signed, titled and dated in pencil on the frame’s backboard: Dan McCleary Image/Sheet: 22” H x 25” W $300-500 Provenance: Newspace, Los Angeles, CA Corporate Collection, Los Angeles, CA, acquired from the above Exhibitions: “New California Artist IV: Sentiment & Obsession Dan McCleary & Seth Seiderman,” July 7 - September 4, 1983, Ex.43.18.

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1093

Chris Vasell

(b. 1974, American) “Untitled (Wipe),” 2004 Watercolor and gouache on paper Signed, numbered, inscribed, and dated verso: Chris Vasell / CV3904 / B + P Image/sheet: 16” H x 12.25” W $500-700 Provenance: Blum & Poe, Los Angeles, CA The Blake Byrne Collection, acquired from above

1094 He Sen

(b. 1968, Chinese) “Pretty Dudu and Pretty Toy,” 2008 Acrylic and oil on linen Signed and dated lower right: He Sen / 2008; signed, titled, and dated again in English and Chinese: He Sen 98.5” H x 78.75” W $10,000-15,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection 1 1 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1095

Colin Spencer

(b. 1933, English) “Study for Dancers for... [illegible],” 1982 Mixed media on paper under glass Signed lower right: Colin Spencer, titled illegibly lower left; dated by repute Sight: 13.75” H x 18.5” W $100-200 Provenance: The Blake Byrne Collection

1 1 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1096

Colin Spencer

(b. 1933, English) “Images of Mutation - Man & Armour - Warrior I,” 1982 Watercolor and ink on paper under glass Signed lower right: Colin Spencer, titled lower left; dated by repute Sight: 13.5” H x 9” W $100-200 Provenance: The Blake Byrne Collection

1 1 6 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1097

Colin Spencer

(b. 1933, English) “Warriors,” 1982 Watercolor and ink on paper under glass Signed and dated lower left: Colin Spencer, titled lower right Sight: 13.5” H x 9” W $100-200 Provenance: The Blake Byrne Collection

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1098

Andrew Hewish

(20th Century, English) “The Dinner Party (After Courbet),” 2010 Pencil on paper under glass Signed and dated lower right: Andrew Hewish, titled lower left; signed, dated, titled again, and inscribed on the backing paper: for Blake on your anniversary, Paris 2010 Sheet: 9” H x 6.5” W $300-500 Provenance: The Blake Byrne Collection

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1099

Kevin Wolff

(1955-2018, American) “Handmade Object with Hole #2,” 2005 Graphite on paper under Plexiglas Appears unsigned Sheet: 29.5” H x 22.25” W $400-600 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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1100

Chris Vasell

(b. 1974, American) “Untitled (The Meeting),” 2004 Watercolor and gouache on paper under Plexiglas Appears unsigned Image/Sheet: 16” H x 12” W $500-700 Provenance: Blum & Poe, Los Angeles, CA The Blake Byrne Collection, acquired from above

1 2 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1101

Kim Jones

(b. 1944, American) “Untitled,” 2006 Ink, acrylic, and ballpoint pen on paper Signed and dated verso: Kim Jones 17.25” H x 11” W $400-600 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection, acquired from the above

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1102

Tess Bilhartz

(20th-21st Century, American) “The Greenhouse,” 2016 Oil and pigment on panel Signed, titled, and dated verso: Tess Bilhartz 45” H x 36” W $1,000-2,000 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above 1 2 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1103

Duda Bebek

(b. 1986, Swedish) “Mira,” 2017 Acrylic on canvas Signed, titled, and dated verso: Duda 27.5” H x 22.5” W $3,000-5,000 Provenance: 0.0 LA Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above

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

1104

1105

(b. 1983, American) “Hotel Mirage,” 2015 Oil on linen Signed and dated verso: Jessica Williams; signed again and titled on the stretcher 24” H x 18” W

(b. 1983, American) “Night Club No. 2,” 2016 Oil on linen Signed twice verso: Jessica the crossbar verso 24” H x 30” W

Jessica Williams

$1,500-2,500 Provenance: Jessica Williams Studio, Los Angeles, CA Private Collection, New York, NY, acquired from the above

1 2 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

Jessica Williams

$1,500-2,500

Provenance: Jessica William Private Collection, New Yor

a Williams; titled and dated on

ms Studio, Los Angeles, CA rk, NY, acquired from the above

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1106

Chris Finley

(b. 1971, American) “Pattern Master,” 2005-06 Acrylic and oil on canvas over board Signed and dated on the board verso: Chris Finley 22” H x 30” W $1,000-2,000 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection

1107

Wawrzyniec Tokarski

(b. 1968, Polish) “Die Neverland Fahne (Surface Covers the Inside),” 2002 Acrylic on canvas Signed, titled, and dated verso: Wawrzyniec Tokarski 79” H x 59” W $500-700

Provenance: Galerie Karlheinz Meyer, Karlsruhe, German Galerie Vera Munro, Hamburg, Germany The Blake Byrne Collection 1 2 6 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

2

ny

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1108

Wawrzyniec Tokarski

(b. 1968, Polish) “Boring,” 2003 Acrylic on found materials Signed and dated verso: Wawrzyniec Tokarski 16” H x 16” W $500-700 Provenance: Galerie Vera Munro, Hamburg, Germany The Blake Byrne Collection

1 2 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1109

11

(1953-1997, German) “Vom Erzeuger Zum Verbraucher,” 1990 Offset printing, paper, cardboard, and resin Edition 8/34; signed and dated: [Illegible] / 1990 Announcement card: 4.25” H x 5.875” W; Box: .75” H x 4.375” W x 2.625” D

(b. 1 Unt Mix Uns 6.25

Martin Kippenberger

Cam

$200-400

$30

Provenance: The Blake Byrne Collection

Pro The

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110

meron Shaw

1956, American) titled, 1989 xed media assemblage signed 5” H x 18” W x 12.5” D

00-500

ovenance: Richard Heller Gallery, Santa Monica, CA e Blake Byrne Collection, acquired from the above

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1111

Faris McReynolds

(b. 1977, American) “The Falling Family,” 2006 Oil on canvas Signed, titled, and dated verso: Faris 62” H x 76” W $2,000-3,000 Provenance: Roberts & Tilton Gallery, Los Angeles, CA The Blake Byrne Collection

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1112

Faris McReynolds

(b. 1977, American) “Untitled (Family),” 2005 Oil on canvas Signed and dated, twice, and titled verso: Faris 18” H x 24” W $500-700 Provenance: Roberts Projects, Culver City, CA The Blake Byrne Collection, acquired from above

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1113

Chris Vasell

(b. 1974, American) “Untitled (Ape Face, Beams),” 2004 Watercolor, gouache, and collage on paper under Plexiglas Appears unsigned Image/Sheet: 16.25” H x 12.25” W $500-700 Provenance: Blum & Poe, Los Angeles, CA The Blake Byrne Collection, acquired from above

1 3 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1114

Lore Bert

(b. 1936, German) “Pillow,” 1986 Aquatech on paper laid to canvas Signed, dated, and numbered: Lore Bert / 1986 / 86-21 2” H x 10” W x 10” D $200-400 Provenance: Galerie Dorothea van der Koelen, Mainz, Germany The Blake Byrne Collection, acquired from above

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1115

Katie Grinnan

(b. 1970, American) “Untitled” (diptych), 2001 Collage and multi-media on two pieces of wove paper Each: signed and dated in pencil on the support sheet verso: Katie Grinnan One: 12.25” H x 10.25” W (irreg.); Other: 15” H x 15” W (irreg.) $400-600 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection, acquired from the above

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1116

Kevin Christy

(b. 1977, American) “Help Me Help You,” 2004 Gouache, graphite, and collage on paper under glass Appears unsigned Image/Sheet: 11” H x 8.5” W $200-400 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection

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1117

Allyson Hollingsworth

(20th Century, American) “Persephone #2,” 2005 Charcoal on Bristol board in vintage-style photography folder Signed on the front cover of the folder lower left: Allyson Hollingsworth; titled and dated lower right Sight: 6.5” H x 4.5” W $400-600 Provenance: Kohn Gallery, Los Angeles The Blake Byrne Collection, acquired from above

1 3 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1118

Jan De Maesschalck

(b. 1958, Belgian) Untitled, 2003 Acrylic and collage on Steinbach paper under Plexiglas Signed lower left: Jan De Maesschalck, dated and indistinctly inscribed in Dutch lower right: 16 juli ‘03 Sheet: 10.5” H x 14.25” W $500-700 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection

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1119 Dirk Bell

(b. 1969, German) Untitled, 2002 Watercolor and ink on tan paper under Plexiglas Appears unsigned Sight: 11” H x 16” W $200-400 Provenance: Gavin Brown’s enterprise, New York, NY The Blake Bryne Collection

1 4 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1120

Simon English

(b. 1959, English) “The Horse and the Angel,” 2006 Ink, watercolor, gouache, and crayon on paper under glass Appears unsigned Sheet: 14.25” H x 22” W $500-700 Provenance: Francois Ghebaly Los Angeles, CA The Blake Byrne Collection, acquired from above

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1121

Tim Berresheim

(b. 1975, German) Two Works - Diptych: “Rot Blau IA,” 2007 Print on wood Signed illegibly, titled and dated verso 78.75” H x 71” “Rot Blau IB,” 2007 Print on wood Signed illegibly, titled and dated verso 78.75” H x 71” Overall: 157.5” H x 142” W $3,000-5,000 Provenance: Patrick Painter, Inc., Los Angeles, CA The Blake Byrne Collection 1 4 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1 4 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1122

Alex Mueller

(21st Century, German) îFur alle wird’s gebracht (Something will be brought for everyone),” 2007 Silver spoons and ink Appears unsigned Dimensions variable $1,000-2,000 Provenance: Galerie Vera Gliem, Koln, Germany The Blake Byrne Collection, acquired from the above

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1123

Leo Copers

(b. 1947, Belgian) “00/9,” 2000 Mixed media on paper under glass Appears unsigned Image/Sheet: 8.25” H x 11.5” W $400-600 Provenance: Tilton / Kustera Gallery, New York, NY The Blake Byrne Collection

1 4 6 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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1 4 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1124

Sean Duffy

(b. 1966, American) “Times T,” 2010 Assemblage comprised of five issues of the New York Times Style Magazine, hand cut, under Plexiglas Appears unsigned 24” H x 21.5” W x 1.5” D $1,000-2,000 Provenance: Susanne Vielmetter Los Angeles Projects, Culver City, CA The Blake Byrne Collection

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1125

Isidro Blasco

(b. 1962, Spanish) “Untitled,” 2000 Mixed media Signed in pencil: Isidro Blasco / 100 11.5” H x 7.5” W x 5.5” D $300-500 Provenance: Galeria Marta Cervera, Madrid The Blake Byrne Collection, acquired from above

1126

Peter Rogiers

(b. 1967, Belgian) “Slagroom,” 2006-2007 Epoxy, iron, paint, and po Unsigned 31.75” H x 18.75” W x 13 $1,000-2,000

Provenance: Roberts Proje The Blake Byrne Collectio 1 5 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

olyurethane-foam

3” D

ects, Culver City, California on, acquired from above w w w. j o h n m o r a n . c o m 1 5 1

1127

Bruce Helander

(b. 1947, American) “Post Triangles,” 2009 Paper collage and gouache on museum board under Plexiglas Signed and dated lower right Sight: 17.25” H x 15.5” W $500-700 Provenance: Helander Gallery, New York The Blake Byrne Collection, acquired from above Exhibitions: Los Angeles, Don O’Melveny Gallery, “Five Easy Pieces,” 2009

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1128

Bruce Helander

(b. 1947, American) “Pivota Provinces,” 1988 Paper collage under Plexiglas Signed lower right: Bruce Helander; titled and dated on gallery labels affixed verso Sight: 13.25” H x 10.25” W $200-400 Provenance: Shippee Gallery, New York, NY The Blake Byrne Collection, acquired from the above

w w w. j o h n m o r a n . c o m 1 5 3

1129 Gabriel

(b. 1974, “Dead bu Watercolo Appears u 61.5” H x

$1,000-2,

Provenan The Blake 1 5 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1130

Kim McCarty

(b. 1956, American) Untitled (Baby), 2003 Watercolor on thick wove paper Signed and dated lower right: K McCarty Sheet: 13” H x 10.25” W $300-500

9

Provenance: The Blake Bryne Collection

Vormstein

German) ut dreaming,” 2005 or and pencil on newsprint unsigned; titled and dated by repute x 44” W

,000

nce: Meyer Riegger Gallery, Karlsruhe, Germany e Byrne Collection w w w. j o h n m o r a n . c o m 1 5 5

1131

Jason McLean

(b. 1971, Canadian) “In the Begining [sic],” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean; titled lower center and again verso 12” H x 8.5” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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1132

Jason McLean

(b. 1971, Canadian) “Around the Cotton,” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean; titled verso 12” H x 8.5” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

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1133

Jason McLean

(b. 1971, Canadian) “Mr. Mojo Rising and Jason,” 2003 Ink and watercolor on paper Signed and dated lower right: J. McLean; titled verso 12” H x 8.5” W $300-500 Provenance: Richard Heller Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above

1 5 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1134

Dennis Scholl

(b. 1980, German) “Regenland 3,” 2004 Pencil on paper under glass Signed, titled, and dated verso: Scholl Sheet: 11.75” H x 8.25” W $300-500 Provenance: Arndt & Partner, Berlin The Blake Byrne Collection

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1135

Dennis Scholl

(b. 1980, German) “Fehlgeschlagene Objektbesetzung 10,” 2004 Pencil on paper under glass Signed, titled, and dated verso: Scholl Sheet: 11.75” H x 8.25” W $400-600 Provenance: Bilderrahmen Janecki, Berlin, Germany Arndt & Partner, Berlin, Germany The Blake Byrne Collection

1 6 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1136

Thomas M¸ller

(b. 1959, German) Untitled, 2010 Mixed media on paper under Plexiglas Appears unsigned Image/Sheet: 11.75” H x 8.25” W $500-700 Provenance: Galerie Vidal-Saint Phalle, Paris The Blake Byrne Collection, acquired from above

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1137

Thomas M¸ller

(b. 1959, German) Untitled, 2010 Ink, acrylic, and oil on paper under Plexiglas Unsigned Image/Sheet: 11.75” H x 8.25” W $500-700 Provenance: Galerie Vidal-Saint Phalle, Paris The Blake Byrne Collection, acquired from above

1 6 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1138

Thomas M¸ller

(b. 1959, German) Untitled, 2010 Ink, graphite, and chalk on paper under Plexiglas Appears unsigned Image/Sheet: 11.5” H x 8.25” W $500-700 Provenance: Galerie Vidal-Saint Phalle, Paris The Blake Byrne Collection, acquired from above

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1139

Jan de Maesschalck

(b. 1958, Belgian) “Untitled,” 2015 Acrylic on paper under glass Signed, titled, and dated verso: Jan de Maesschalck / 19 II 2015 Image: 11” H x 8.75” W; Sheet: 15.75” H x 13.5” W $1,000-1,500 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection, acquired from above

1 6 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1140

George Bolster

(b. 1972, Irish) “Salome and J to the B,” 2005 Paint, pencil, and diamante on sycamore wood Signed, titled, and dated verso: George Bolster 11.75” H x 8” W $1,000-2,000 Provenance: Chung King Project, Los Angeles The Blake Byrne Collection, acquired from above

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1141

Philip Mullen

(b. 1942, Columbia, SC) “Lyn’s Ochre Circus,” 1978 Acrylic and graphite on canvas Signed, titled and dated verso: Mullen 42” H x 60” W $600-800 Provenance: Dubins Gallery, Los Angeles, CA Notes: Artist notations on the verso indicate that this painting could be displayed either vertically or horizontally.

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1142

After Richard Diebenkorn

(1922-1993, Santa Monica, CA) “Venice Art Walk,” 1989 Color poster on paper under Plexiglas Edition size unknown; signed in the lower margin, at right: Richard Diebenkorn Sight: 22.5” H x 29.5” W $300-500

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1143

After Richard Avedon

(1923-2004, New York, NY) “The 16th New York Film Festival (September 22-October 8, 1978),” 1978 Poster on paper under glass Edition size unknown; signed in pencil at the lower right: Avedon Sight: 44.5” H x 33.5” W $300-500

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1 7 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1144

“Star Wars” box office poster

Circa 1976; America Unsigned; Marked: 1976 20th Century Fox Æ “Coming to Your Galaxy This Summer: Star Wars” Ink printed on Mylar under glass Sight: 41” H x 26.625” W $400-600 Notes: The additional text on this poster reads: “George Lucas, The man who brought you ‘American Graffiti,’ now brings you an adventure as big as the cosmos itself: ‘Star Wars,’ the story of a boy, a girl, and a universe. It’s a spectacle light years ahead of its time. From 20th Century-Fox.”

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1145

ThÈo Mercier

(b. 1984, French) îLa danse macabre autour d’une carotte,” 2011 Plastic, acrylic paint, and gold on wood base 68” H x 38” W x 26” D approximately $2,000-3,000 Provenance: The Blake Byrne Collection

1 7 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1146

Marlene Dumas (b. 1953, South African) and Rita McBride (b. 1960, American) “Future Risk,” 2005 Etching on paper From the edition of 275; signed and titled in pencil lower margin: R. McBride / M. Dumas 11.25” H x 14.25” W $300-500 Provenance: The Blake Byrne Collection Notes: Limited edition for Mr. Blake Byrne’s birthday (Los Angeles, 2005).

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1147

Marie-Jo Lafontaine

(b. 1950, Belgian) “La Lumiere de la Vie Est L’ombre de la Mort,” 1989 Mixed media on wood Signed, dated and titled in pencil verso: Marie-Jo Lafontaine 42” H x 134.75” W $2,000-4,000 Provenance: The Jack Shainman Gallery, New York, NY The Blake Byrne Collection

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1148

Steven R. Heino

(20th/21st Century, American) “Polar Season,” 1990 Mixed media on wood in two parts Signed twice, titled twice, and dated verso: Steven R. Heino and with the copyright symbol Overall: 78” H x 100” W x 8” D $1,000-2,000 Provenance: The Blake Byrne Collection

1 7 6 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1149

Erwin Pfrang

(b. 1951, German) Untitled, 2004 Mixed media on paper under Plexiglas Signed in the image lower center: PFR Image/Sheet: 8” H x 6” W $500-700 Provenance: Daniel Weinberg Gallery, Los Angeles, CA The Blake Byrne Collection

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1150

Andreas Diefenbach

(b. 1973, German) îInteresting People Leaving at One-Thirty,î 2007 Fabric collage Signed, titled, and dated verso: Andreas Diefenbach 55” H x 39.25” W $500-700 Provenance: Jack Tilton Gallery, New York The Blake Byrne Collection, acquired from above

1 7 8 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1151

John Swanger

(b. 1956, American) Untitled, 1991 Mixed media on wood Signed and dated verso: John Swanger 22.5” H x 22” W x 2” D $300-500 Provenance: Margo Leavin Gallery, Los Angeles, CA The Blake Byrne Collection

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1152

Javier Perez

(b. 1968, Spanish) “Mascara mortuoria” [triptych], 2010 Three ink drawings on parchment in forged steel frames Signed in pencil in the lower right corner of the section depicting the palm of the hand: Javier Perez; titled and dated by repute Each: 19.25” H x 15.25” W $1,000-2,000 Provenance: Claudine Papillon Galerie, Paris The Blake Byrne Collection, acquired from above

1 8 0 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1153

Jessica Minckley

(20th/21st Century, American) “Birds and Bees,” 2005 Gesso, acrylic, watercolor and gouache paints, graphite, and ball point ink on paper under Plexiglas Appears unsigned Image/Sheet: 52.5” H x 52.5” W $500-700 Provenance: L.A. Louver Gallery, Venice, CA The Blake Byrne Collection, acquired from above

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1154

Anne-Laure Sacriste

(b. 1970, French) “Souche Bleue,” 2008 Watercolor on paper laid to panel Unsigned 51” H x 63.75” W $2,000-3,000 Provenance: Chung King Project, Los Angeles, CA The Blake Byrne Collection, acquired from the above

1 8 2 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

1155

Monique Prieto

(b. 1962, American) Untitled, 1999 India ink on rice paper under Plexiglas Appears unsigned; inscribed indistinctly lower left Sheet: 18” H x 12” W $500-700 Provenance: ACME Gallery, Los Angeles, CA The Blake Byrne Collection

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1156

Kelly McLane

(b. 1968, American) “Summer Vacation (Goat Soup),” 2003 Graphite on Arches paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $300-500 Provenance: Angles Gallery, Santa Monica The Blake Byrne Collection, acquired from above

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1157

Kelly McLane

(b. 1968, American) “Untitled (Bunny on Overpass),” 2001 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $300-500 Provenance: Lucas Schoormans Gallery, New York The Blake Byrne Collection

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1158

Kelly McLane

(b. 1968, American) “Untitled (Deer with Woman),” 2001 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.5” W $300-500 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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1159

Kelly McLane

(b. 1968, American) “Havilah Honey,” 2009 Graphite on paper under Plexiglas Appears unsigned Sheet: 15” H x 11.25” W $300-500 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection

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1160

Rick Wolfryd

(b. 1953, American) “The Magician,” 2021 [After Funko] Vinyl and beads Signed, dated, and titled: Rick Wolfryd / “The Magician” / T.P. 2021 / .0006; further marked: Funko LLC 2020 / www.funko.com / Made in Vietnam / ©Disney / FAC-053571-20281 12” H x 8.25” W x 3.75” D $500-700

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1161

Rick Wolfryd

(b. 1953, American) “Super,” 2021 [After Funko] Vinyl and beads Signed and titled: Chroma / Rick Wolfryd / 2021 / Elissa / TP / “Super” [with heart doodle]; further marked: Funko LLC 2020 / www.funko.com / Made in Vietnam / © & TM DC Comics (s20) / DRM201112 10.25” H x 6.5” W x 5.5” D $700-900

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1162

Rick Wolfryd

(b. 1953, American) “I’m All Ears” [After Funko] Vinyl and beads Signed and titled: Rick Wolfryd / TP .0006 / “I’m All Ears” / .0000; further marked illegibly with Funko markings 10.125” H x 8.75” W x 6” D $700-900

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Winter Modern & Contemporary Tuesday, March 1, 2022 Lita Albuquerque (b. 1946) Untitled $30,000-50,000 Consignment and Auction Inquiries: fineart@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 1 9 2 M oder n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

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Friedrich Kunath (b. 1974, German) “Thinking about You (Flower),” 2017, Price Realized: $17,500

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SINCE 1969

AUCTIONEERS & APPRAISERS w w w . j o h n m o r a n . c o m 193 193

1 9 4 M o der n & C o n t e m p o r a r y F in e A rt l We d n e sd ay, F e b ru ary 1 6, 2022

Condition Reports

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

1001 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1008 Visual: Generally good condition. A 4” horizontal line of stable craquelure off of the left center edge. Minor surface dirt and grime throughout.

Blacklight: No evidence of restoration under blacklight.

Unframed

1002 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

1009 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat.

Unframed

Frame: 15” H x 15” W x 1.25” D

1003 Overall good condition with minor scuffs, scratches, and inherent surface imperfections commensurate with age.

1004 Overall good condition with light scuffs and dust accumulation commensurate with age. Minor areas of indentations to lower right.

1005 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age.

1006 Visual: Generally good condition. Minor paint shinkage throughout. Not examined out of the frame.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

196

Frame: 73.375” H x 57” W x 4” D 1007 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 10.25” H x 12.75” W x 1.25” D

1010 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat.

Frame: 15” H x 15” W x 1.25” D 1011 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 15” H x 15” W x 1.25” D 1012 Generally good condition. Not examined out of the frame. Framed floating and mounted to the back mat.

Frame: 15” H x 15” W x 1.25” D 1013 Visual: Generally good condition. A 2.5” delicate surface scuff near the lower right corner, and a 3” soft, reverse pressure mark near the lower edge, each visible only in raking light.

Blacklight: No evidence of restoration under blacklight.

Unframed 1014 Each: Generally good condition. Not examined out of the frame. Grime under glass.

Each: Frame: 15.5” H x 20.25” W x 1” D

1015 Generally good condition. The paper fully affixed to matboard verso.

Frame: 17.25” H x 25.25” W x 1.25” D 1016 Visual: Generally good condition. Framed floating in the frame.

1023 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 11” H x 8.5” W x 1.5” D 1024 Visual: Generally good condition.

Unframed

Blacklight: No evidence of restoration under blacklight.

1017 Generally good condition. The paper fully affixed to matboard verso.

Unframed

Frame: 18.25” H x 12” W x 1.25” D 1018 Generally good condition. Not examined out of the frame.

1025 Visual: Generally good condition. A 3” area of stable craquelure in the left center.

Blacklight: No evidence of restoration under blacklight.

Unframed

Frame: 17” H x 11.25” W x 1” D

1020 Generally good condition. The paper is gently rippled. Isolated minor handling creases lightly scattered throughout. Framed floating and hinged to the back mat. Not examined out of the frame.

1026 Each element overall good condition with dust accumulation commensurate with age. Velvet with wear and fading inherent to the time of manufacture.

1027 Overall good condition with dust accumulation commensurate with age. Cake with scattered areas of chipped losses to raised and applied elements.

Acrylic cover with scuffs and scratches.

Frame: 31” H x 21” W x 1.75” D

1028 Generally good condition. Surface dirt and grime.

1021 Generally good condition. Minor creasing in the upper corners. Minor wear scattered along the edges.

Unframed

Unframed 1022 Generally good condition. Framed floating and mounted to the back mat.

Frame: 14.5” H x 13.25” W x 1.5” D

1029 Generally good condition. Surface dirt and grime.

Unframed 1030 Generally good condition. Stray drips of paint appear to be by the hand of the artist. Surface dirt and grime.

Unframed

Condition Reports

1019 Overall good condition with dust accumulation, scuffs, and scratches commensurate with age. Rust to iron bars inherent to the time of manufacture.

197

1031 Generally good condition. Craquelure appears to be part of the artist’s original intention. Surface dirt and grime.

Unframed 1032 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 1033 Overall good condition with wear commensurate with age. Magazine: front cover with two perpendicular vertical creases running length of cover, corners and spine with rubbed wear, and wrap-around band with scattered creasing and dark scuffs. Booklet: cover with a small carrot-shaped wrinkle/crease at outer edge of front cover, back cover with small spot of residue and black scuff.

1034 Overall good condition with minor areas of rippling to pages commensurate with age. Intentional deckling to various pages. Minor scuffs to canvasbound front cover upper right and to upper spine.

1035 Overall good condition with very minimal wear to corners of papers commensurate with age.

1036 Visual: Generally good condition.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

Unframed

1037 Visual: Generally good condition. A few very unobtrusive, pinhead-sized, pigment losses at the outermost vertical edge upper right. One very unobtrusive, pinhead-sizde fleck of pigment loss near the upper left corner.

Blacklight: No evidence of restoration under blacklight.

Overall: 14” H x 11” W x 1” D

198

1038 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 13” H x 8.5” W x 1” D 1039 Overall good condition with dust accumulation and scuffs commensurate with age. Slate with inherent surface-reaching fractures and abrasions. Pedestal base with scattered scuffs and scratches.

With base: 75” H x 46” W x 14.5” D 1040 Overall good condition with scuffs, dust accumulation, and inherent firing flaws commensurate with age.

1041 Overall good condition with dust accumulation commensurate with age.

1042 Overall good condition with dust accumulation and small areas of fraying to the trim commensurate with age.

1043 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 1044 Visual: Generally good condition.

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

Frame: 28.5” H x 20.5” W x 1.5” D

1045 Visual: Generally good condition.

1052 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed

Frame: 16.25” H x 13.25” W x 2” D 1047 Generally good condition. Framed floating and hinged to the back mat.

Frame: 16.25” H x 13.25” W x 2” D

1048 Generally good condition. Framed floating and mounted to the back mat.

Frame: 16.25” H x 13.25” W x 1.75” D 1049 Generally good condition. Framed floating and mounted to the back mat.

Frame: 16.25” H x 13.25” W x 1.75” D 1050 Visual: Generally good condition. Two faint damp stains. One in the center measuring 1.75” H x 3.5” W, the other right center 5.25” H x 4.75” W that wraps around the edge, possibly done by the artist’s hand.

1051 Visual: Generally good condition.

1053 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 1054 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 1055 Each visual: Generally good condition.

Each blacklight: No evidence of restoration under blacklight.

Each unframed 1056 Visual: Generally good condition. Spots of grime in the upper and lower left corners and scattered along the left edge. Two visible small spots of touch-up center right edge.

Blacklight: No evidence of restoration under blacklight.

Unframed

Blacklight: No evidence of restoration under blacklight.

1057 Generally good condition. Artist’s pinholes scattered throughout. Not examined out of the frames.

Unframed

Frame of each: 22.5” H x 16.5” W x 1.5” D

Condition Reports

1046 Generally good condition. Framed floating and hinged to the back mat.

199

1058 Visual: Generally good condition. The pseudo-wood surface appears to have been lightly abraded throughout as part of the artist’s process prior to applying the paint. A 1.5 x .75” surface loss at the lower right corner also appears to be as issued.

Blacklight: No evidence of restoration under blacklight.

Unframed 1059 Generally good condition.

1065 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed 1066 Generally good conditon. Occasional small surface scratches with attendant exposure of the aluminum layer, the longest approximately 0.5” at the upper left.

Unframed

Unframed

Condition Reports

1060 Overall good condition with dust accumulation, scuffs, scratches, and inherent firing flaws commensurate with age. Neck joint fluoresces under blacklight, possibly due to prior repair or method of original construction, and repairs to pin.

200

1067 Visual: Generally good condition. Several dusty fingerprints along the upper edge center.

Blacklight: No evidence of restoration under blacklight. An unobtrusive, 1.25” horizontal line of stray, dripped material which fluoresces under blacklight near the center lower edge.

1061 Overall good condition with dust accumulation commensurate with age. Four cigars with wear and separation/loosening of joined pieces; one with detatched missile head, loose in box.

Unframed

1062 Overall good condition with scuffs, scratches, and dust accumulation commensurate with age. Rust to metal inherent to the time of manufacture.

Blacklight: No evidence of restoration under blacklight.

1063 Generally good condition. The joined sheets of newsprint all issued during 2003 and with the usual toning, timing staining, minor surface dirt, grime, and occasional tiny nicks at the sheet edges as would be expected for paper of this type and age.

1069 Visual: Generally good condition. Crazing in the red pigments of the flowers. Areas of paint shrinkage upper center and upper right.

Unframed 1064 Visual: Generally good condition. It appears that a very small percentage of the fragmented mirror, plastic, green glass and so on, as originally applied by the artist, may have fallen off over time.

Blacklight: No evidence of restoration under blacklight.

Unframed

1068 Visual: Generally good condition. An unobtrusive .75” horizontal tear at lower center.

Unframed

Blacklight: No evidence of restoration under blacklight.

Unframed 1070 Generally good condition. Artist’s pinholes along the upper edge. Minor handling creases scattered throughout. Not examined out of the frame.

Frame: 28.75” H x 24” W x 1.5” D

1072 Overall: Generally good condition. Quarter-sized spot of discoloration to right front leg. Canvas: Generally good condition.

Canvas Blacklight: No evidence of restoration under blacklight.

1073 Visual: Generally good condition. Cracquelure showing mostly at center.

Blacklight: No evidence of restoration under blacklight.

Unframed 1074 Generally good condition. Framed floating and hinged to the backmat. Not examined out of the frame.

Frame: 18.25” H x 17” W x 1.5” D 1075 Visual: Generally good condition. Vertical edges of the panel have been rough cut inherent in the artists’ process. Surface dirt and grime throughout. An 8” vertical crack in the top layer of the panel.

Blacklight: No evidence of restoration under blacklight.

Unframed 1076 Visual: Generally good condition. Unobtrusive, scattered and tiny particulate matter, appears to be from the artist’s own hand.

Blacklight: No evidence of restoration under blacklight.

Frame: 15” H x 12” W x 2” D

1077 Visual: Generally good condition. Tiny flecks of paint loss lower left and lower center.

Blacklight: No evidence of restoration under blacklight.

Unframed

1078 Generally good condition. Various pinholes in the margin corners, all presumably by the hand of the artist. The sheet is loose and unmounted.

Unframed 1079 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age. One glass panel with crack to lower corner. With Louis Stern Fine Arts label to underside.

1080 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 44” H x 63” W x 2” D 1081 Visual: Generally good condition. A few small scuff marks and stains scattered throughout. Slight stretcher bar creases along the four edges.

Blacklight: No evidence of restoration under blacklight.

Unframed

1082 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 14.5” H x 11.5” W x 1.25” D 1083 Generally good condition. The paper is loose, not mounted.

Frame: 11” H x 8.5” W x 1.25” D

Condition Reports

1071 Overall good condition with scuffs and dust accumulation commensurate with age.

201

1084 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

1091 Generally good condition. Artist pinholes in the four corners. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 10.5” H x 14.5” W x 1.5” D

Frame: 35” H x 27” W x 1” D

1085 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

1092 Generally good condition. Artist’s pinholes in the four corners. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 10” H x 13” W x 1.5” D

Frame: 26.75” H x 29.25” W x 1” D

1086 Visual: Generally good condition. Minor abrasion to the lower left corner. Tiny chip of paint loss upper edge left.

1093 Generally good condition. The paper is loose, not mounted.

Unframed

Blacklight: No evidence of restoration under blacklight.

Unframed

1094 Visual: Generally good condition.

1087 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed

1095 Generally good condition. Not examined out of the frame.

1088 Visual: Generally good condition. A small chip of paint loss upper left corner.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

Unframed

202

1089 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18.5” H x 23.5” W x 1” D 1096 Generally good condition. Not examined out of the frame.

Frame: 17.5” H x 12.75” W x 1” D 1097 Generally good condition. Not examined out of the frame.

Frame: 17.5” H x 12.75” W x 1” D

Unframed 1090 Generally good condition. The sheet is loose and unmounted.

Unframed

1098 Generally good condition. The paper is loose, not mounted.

Frame: 10.5” H x 8” W x 1.5” D

1099 Generally good condition. Occasional pale scattered foxmarks showing mostly outside the image. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 34” H x 26.5” W x 1” D 1100 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 18.25” H x 14.25” W x 1.25” D 1101 Generally good condition. A pinhole in each corner appear to be in the artist’s own hand. The sheet is loose and unmounted.

Unframed 1102 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

1106 Visual: Generally good condition. Uneven varnish discoloration throughout. Surface dirt and grime. A few tiny and unobtrusive, pinhead-sized, pigment losses or pressure marks upper right. An unobtrusive .5” surface abrasion along the upper edge at right.

Blacklight: No evidence of restoration under blacklight.

Unframed / Overall: 22” H x 30” W x 2.5” D 1107 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1108 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed

Blacklight: No evidence of restoration under blacklight.

Unframed 1104 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1105 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1109 Generally good condition. Minor signs of handling and light bending to corners of paper commensurate with age.

1110 Overall good condition with dust accumulation commensurate with age.

1111 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1112 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Condition Reports

1103 Visual: Generally good condition.

Unframed 203

1113 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

1121 Visual: Generally good condition. A few minor nicks to board.

Frame: 18.25” H x 14.25” W x 1.25” D

1122 Overall good condition with dust accumulation, tarnishing, and inherent light scratches to silver commensurate with age.

1114 Overall fair to good condition with scuffs and spots of discoloration commensurate with age. Scattered small tears in in paper throughout, more prominent at corners. Splits in covered canvas at corner edges.

An 1.5” area of discoloration to bottom edge.

1115 Generally good condition. Pieces of double-sided hinging tape in places around the sheet edges verso.

Each sheet is loose, not mounted.

Unframed 1116 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 14.25” H x 11.5” W x 1” D 1117 Generally good condition.

Condition Reports

Folder: 10” H x 7” W

204

1123 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 16.5” H x 20.5” W x .75” D 1124 Generally good condition. Not examined out of the frame.

Frame: 40.5” H x 40.5” W 1125 Overall good condition with dust accumulation commensurate with age. Corners and edges to foam board with rippling, wrinkles, and slight bending.

1126 Overall good condition with dust accumulation commensurate with age. A crack in surface epoxy to one wire, undetermined if inherent to time of manufacture or later-occuring.

1118 Generally good condition. The upper edge is deckled. Framed floating and mounted to the back mat. Not examined out of the frame.

1127 Generally good condition. Not examined out of the frame.

Frame: 14.75” H x 18.5” W x 1.5” D

Frame: 25” H x 22.75” W x 1.75” D

1119 Generally good condition. A pea-sized pale stain upper center. Not examined out of the frame.

1128 Generally good condition. Not examined out of the frame.

Frame: 22” H x 17” W x 1.25” D

Frame: 23.5” H x 20” W x 1” D

1120 Generally good condition. An unobtrusive soft crease across the tip of the upper right sheet corner.

Framed floating and mounted to the back mat. Not examined out of the frame.

1129 Generally good condition. The joined sheets of newsprint all issued during 2003 and with the usual toning, timing staining, minor surface dirt, grime, and occasional tiny nicks at the sheet eges as would be expected for paper of this type and age.

Frame: 22.5” H x 30” W x 1.5” D

Unframed

1130 Generally good condition. A few minor, pale and very unobtrusive stains near the right sheet edge.

One very soft, horizonal, handling crease, visible mostly in a raking light, near the lower sheet edge and another of the same type in the top left sheet corner.

The paper is loose, not mounted.

1131 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

Unframed 1132 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

Unframed 1133 Generally good condition. A very soft and unobtrusive 1.5” vertical crease near the right sheet edge. The sheet is loose and unmounted.

1137 Generally good condition. Framed floating and mounted to the back mat.

Frame: 21” H x 17” W x 1” D 1138 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 20.75” H x 16.75” W x 1” D 1139 Visual: Generally good condition. Hinged to the overmat from the reverse of the upper sheet corners.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.25” H x 14.75” W 1140 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

Unframed 1134 Generally good condition. Framed floating and mounted to the back mat.

Frame: 13.25” H x 10” W x .75” D

1141 Visual: Generally good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration under blacklight.

Frame: 13.5” H x 10.25” W x .5” D

1142 Generally good condition. Not examined out of the frame.

Frame: 23.5” H x 40.5” W x 2” D

1136 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 21” H x 17” W x 1” D

1143 Generally good condition. Not examined out of the frame.

Frame: 46.5” H x 35.5” W x 0.375

Condition Reports

Unframed 1135 Generally good condition. Framed floating and mounted to the back mat.

205

1144 Generally good condition. Two narrow and unobtrusive horizontal lines in the black, each measuring approximately 3” long, near the left and right edges, where it appears that the poster could be in slight contact with the inner surface of the glass. Not examined out of the frame.

Frame: 42” H x 27.75” W x 1.25” D 1145 Overall good condition with light scuffs and dust accumulation commensurate with age.

1153 Visual: Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Blacklight: No evidence of restoration under blacklight.

1146 Generally good condition. The paper with deckled edges. Minor handling crease left edge center. The paper is loose, not mounted.

Frame: 56.5” H x 56.5” W x 2” D

1147 Overall good condition with minor scuffs, scratches, and inherent surface imperfections commensurate with age.

Unframed.

1148 Generally good condition. Surface dirt and grime. A dime-sized abrasion near the top of the red spiral and scattered minor surfaces scuffs.

1149 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Condition Reports

Frame of each: 19.75” H x 15.75” W x 1.75” D

With base: 85.75” H x 38” W x 26” D

Unframed

206

1152 Generally good condition. Slight surface dirt and grime. The sheets of parchment showing the usual features of this organic material. The section depicting the face with a few pea-sized scuffed areas lower left.

Frame: 14.5” H x 12.75” W x 1.25” D 1150 Generally good condition.

1154 Generally good condition.

Unframed 1155 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 21” H x 15” W x 1.5” D 1156 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 18.25” H x 14.25” W x 1” D 1157 Generally good condition. Minor toning to the paper.

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

Frame: 18.5” H x 14.75” W x 1” D

Unframed 1151 Generally good condition.

Frame: 22.75” H x 22.25” W

1158 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 18.5” H x 14.5” W x 1” D

1159 Generally good condition. Framed floating and mounted to the back mat. One hinge slightly loose.

Not examined out of the frame.

Frame: 18.25” H x 14.25” W x 1” D 1160 Overall good conditionwith light scuffs commensurate with age. Minor scattered areas of loss to beadwork.

1161 Overall good conditionwith light scuffs commensurate with age. Minor scattered areas of loss to beadwork.

Condition Reports

1162 Overall good conditionwith light scuffs commensurate with age. Minor scattered areas of loss to beadwork.

207

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Morgana Blackwelder AAA Post-War & Contemporary Fine Art Specialist Hayden Hunt Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Administrator Angela Bryant Fine Art Cataloguer Anne Spink Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Jewelry Director Mollie Burns Keith, G.J.G 20th Century Design Specialist John Simon Taylor Silver Jewelry Cataloguer Sally Andrew Furniture & Decorative Arts Cataloguer Shannon Dailey

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Consignment Coordinator

Julia Hamilton Operations Coordinator

Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Jacob Baer

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Allison Allyn

FOUNDERS

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

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

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

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

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

SINCE 1969

AUCTIONEERS & APPRAISERS

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